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Album Of The Year.

Ignore the shitty cover and let me tell you this straight - self-confessed shy-starlet Pip Brown (a.k.a. Ladyhawke) has written the best pop record of the year. After hearing the singles I knew it was going to be pretty good but to hear the album is something else, with the singles making up the weaker tracks on the album. From the moment the words “and it’s magic” are uttered in opener “Magic” you know you’re onto something special. The arpeggiated backing synths provide an 80’s texture leading into huge hand-clap beats and a considerate chorus.

“Manipulating Woman” continues in the same vain with a frantic beat and buzzing synths that whirl across the soundscape. There’s something unclean and sexy in New Zealand-born Pip’s vocals. They’re not the usual perfect pop vocal but have an honest delivery.

Album high-light “My Delirium” provides Bloc Party-esque delayed guitar textures and huge saw-tooth synth riffs that keep the track ticking. The more you listen to the record the more backing synths you will pick out subtley creating the mood to the track. Pip sings “stop playing with my delirium // the longer I wait // the harder I’m gonna fall”. How many times have you felt like that?

The song breaks into an awesome slow guitar riff before the indie-rock beat and guitar jabs return. Which leads a few chorus’ into a nice vocoded opening for “Better Than Sunday”. With a subby-bass and a laid-back beat “Better Than Sunday” has the ability to wash over you a little, which can be a nice break from the dance-inducing obviousness of the rest of the album.

“Another Runaway” makes a return to the huge synth-pads of the 80’s with sparkley top-end riffs and big vocal harmonies. The progressive “Love Don’t Live Here” is a slow-building ballad continuing with the big sounding guitar parts and more subtle 80’s pads. The drums are especially 80’s in this track with the playing style showing Pip’s interest in classic rock.

“Back Of The Van” is a thoughtful Cure-esque track with vocal melodies that can only be compared to the likes of Fleetwood Mac. Singles “Paris Is Burning” and “From Dusk Till Dawn” are seperated by the honest “Professional Suicide”, which depicts the “hobby-like” music attempts of a boyfriend.

The album closes out with three of the best tracks. “Oh My” is a beyond-words 80’s electro-ballad which makes me want to literally cry with glee. From the tremolo on the guitar to the sharp-cutting frequencies of the synth programming - the track is, to put it lightly, gorgeous. Words which can be applied to follower “Crazy World” which shares similarities in context and sound to Sophie Ellis-Bextor’s hit.

Closer “Morning Dreams” will wash over you like a morning dream. The thoughtful, slow-dance composition is the perfect ending to the sexiest, most generous album of the year. I can’t stress how much you need to hear this record.

“Dusk Till Dawn”

• Ladyhawke Official Wesbite
• Ladyhawke MySpace

10/10.

In the name of huge hit counts and the imminent UK release of “One Of The Boys” by new-found pop-starlet Katy Perry, I thought I should reprint my review of the One Of The Boys album. Seeing as how NME only thought it shit because of what it stood for: well produced pop not incohesive shit.

Thus without further adieu, I give you the One Of The Boys review, again:

Newsflash: Katy Perry is going to be insanely huge. I said it in May when I heard second single “I Kissed A Girl” and since playing through debut album “One Of The Boys” there is no doubt in my mind that this album is going to blow up big time worldwide. She’s set to invade the UK in September — so if you want bragging rights or need to be aware of avoiding mainstream radio in September, here it is.

Katy Perry’s album has a unique yet mainstream sound at the same time: similarly to Lily Allen, Perry’s album is unique while still having a commercially accessible sound. This is manufactured pop at it’s best, so if you’re too cool for that - better skip the review.

The album track starts with title track “One Of The Boys” and it only takes 40 seconds of the song for you to know that this album is going to be both awesome and massive. Kicking of with chugging power chords and synths Katy opens with “I saw a spider I didn’t scream, ‘cos I can belch the alphabet just double dare me”. Essentially a song about not doing typical girlie things the song builds into a massive chorus where several harmonies support the main melody. The tune is hummable and likeable which culminates in a clapping breakdown before the final note rings out leading into the beat of second single (in the US), “I Kissed A Girl”.

“I Kissed A Girl” secures Katy’s tongue in cheek lyrical style as a fuzz bass-line chugs on top of the beat. She sings “it’s not what good girls do, not how they should behave” before culminating in the line “I kissed a girl and I liked it, // the taste of her cherry chapstick”. The chorus goes into a fit of saw bass and subby kicks which totally changes up the dynamic of the song and is going to set clubs alight this summer.

“Waking Up In Vegas” slows the pace of the album down where Katy shows off her vocal range. Her singing style is not over-the-top but has enough expression to it. The song builds into a track reminiscent of Avril Lavigne and Paramore — the commercial pop-rock sound. “Waking Up In Vegas” isn’t the strongest song on the album but is still perfectly hummable, like everything else on this album.

Moving on with the slower sound “Thinking Of You” kicks off with picked acoustic and Katy whining “comparisons are easily done // once you’ve had a taste of perfection”. Another of the more serious tracks on the album her voice almost reminds me of Dixie Chicks country rock.

“Mannequin” starts very delicately with a nice delayed piano riff and a subtle sawtooth synth riff before building into a chugging rock track, “you’re not a man, you’re just a mannequin”. The song is very progressive as it switches between nice and delicate and then constant building.

The first single in the US was “UR So Gay” which superstar Madonna touted live on radio, starting the snowball effect of Katy Perry fans in America. Definitely with Lily Allen in mind the song chugs along with a reggae/ska beat and bassline as Katy’s tongue-in-cheek lyrics return:

“I hope you hang yourself with your H&M scarf
While jacking off listening to Mozart
You bitch and moan about LA
Wishing you were in the rain reading Hemingway

You don’t eat meat
And drive electrical cars
You’re so indie rock it’s almost an art
You need SPF 45 just to stay alive

You’re so gay and you don’t even like boys”

The song is held together with a brilliant brass riff and some nice use of synthesizers and whistling. Definitely one of the stand out tracks of the album.

“Hot n Cold” starts off slowly with an arpeggiated synth and “house” drum beat before turning into another Kelly Clarkson-esque rock chick. Again it’s another super-catchy track but maybe not as original as the other songs.

“If You Can Afford Me” has a very stylised guitar strumming riff in the verse before building into another Avril Lavigne style chorus. However, like I’ve said about earlier tracks - Katy’s voice has little country flickers in it so these rock tracks sound more Dixie Chicks or Michelle Branch than Paramore or Lavigne. “Lost” continues the trend of acoustic guitars as Katy once again shows off her vocal range on top of a dreamy backing of xylophone and toms.

“Self Inflicted” is the punkiest song on the track: chugging power chords, distorted bass and Cure-esque dreamy delay pedals. This is the song that will make it ok for the “punk-kids” to listen to Katy Perry and still get away with wearing black even though tracks like “I’m Still Breathing” which is almost like a classical pop-song in influence contradict that.

“Fingerprints” closes the album with more Avril Lavigne-stylised guitar riffs and vocals. It’s a disappointing end to the album as it chooses to follow it’s pop-punk routes as opposed to it’s pop roots - but again it will appeal to the “goth-kids”. Note the tongue in cheek.

“One Of The Boys” may head too far in the direction of manufactured pop-punk for my liking but there is enough manufactured electro-pop in the record to keep me listening. Catchiest record I’ve heard for a while.

9/10.

• Katy Perry Official Website
• Katy Perry MySpace

Melody by Sharleen Spiteri Music Album Review

Paying homage to the sixties is all well and good so long as someone doesn’t find obscure Shangri-Las videos on Youtube. I guess plagiarism is acceptable if no one remembers the song you ripped off in the first place, right?

Melody is Sharleen Spiteri’s debut solo album after spending a gazillion years fronting pop-rock band Texas. Melody is a very subtle and chilled album reminiscent of early motown and just great pop from the sixties. The soundscape is filled with tapping piano chords, big string arrangements and brass trills. It’s a very retro sounding production which suits Sharleen’s vocals perfectly. Initial single “All The Times I Cried” is a really showcase for Sharleen’s range. Album standout “Stop I Don’t Love You Anymore” is a brutally honest break-up track dictated by a huge brass section.

Title track “Melody” is more laidback opting for big toms, lush helpings of reverb and some jangly guitar work while “I Wonder” picks up the tempo a bit opting for what can only be described as a soul sound. The tight drums are produced similarly to the kind we would expect from a modern day R&B hit which is Melody’s biggest charm — the production values are very modern but the songwriting is very retro-inspired.

“I’m Going To Haunt You” has a country flavour with acoustic guitars and some big percussion whereas “Don’t Keep Me Waiting” is very Supremes-esque. I actually think “Don’t Keep Me Waiting” would have been the best choice of single from Melody. Given this is an album Sharleen Spiteri has written, it’s interesting how few of the songs are genuinely catchy. Texas are well known for releasing catchy hook after catchy hook in virtually all of their releases but that’s what this album sadly lacks.

“You Let Me Down” has a very jazzy vibe but the motown sound is back for “Where Did It Go Wrong?” opting for acoustic guitars and an energetic bassline.

Penultimate track “Day Tripper” is a midtempo classic pop track with an awesomely uplifting string and brass riff. Unlike most albums Melody gets stronger towards the end. Final song “Francoise” is a very nice retro-flavoured ballad and a beautiful closing to the album.

Listening through the first few tracks of Melody is not so much a chore — more a build up to the inevitably great tracks you would expect on an album Sharleen Spiteri has written.

• Sharleen Spiteri Official Website
• Sharleen Spiteri MySpace

7/10.

Formed in Florida back in 2006, Black Kids‘ debut album “Partie Traumatic” pays more than a little homage to 80’s rock-pop band The Cure. Vocalist Reggie Youngblood’s delivery is akin to the style of The Cures very own Robert Smith. Jazz pianos, bass hooks and guitar stabs occupy the album’s collection of 80’s inspired indie-pop tracks. Everything is tied together by the sparse use of a classic synthesizer which will take you back to the glory days of “Just Like Heaven“.

Singles “Hurricane Jane” and “I’m Not Gonna Teach Your Boyfriend To Dance” are strong examples of the type of experience you will get from listening to Black Kids debut release - an eclectic collection of danceable, retro-fueled infectious dittys. The drums are big and driven, the guitars are subtle and lush and the synths are well programmed.

Standout tracks include opener “Hit The Heartbreakes” with it’s wah driven guitar riffs and excellent call and answer vocal layout. “I’m Making Eyes At You” is another excellent track with synth driven soundscapes as Youngblood whines “I’ve been making these eyes now since 1982″.

Fans of The Cure or modern pop-rock will undoubtedly enjoy Black Kids debut release but many will ask the question of when homage becomes blatant plagiarism.

7/10.

• Black Kids Official Website
• Black Kids on MySpace

I never quite got round to checking out The Subways previous album “Young For Eternity” but I was always a frequent listener to their debut single from that album, “Rock ‘N’ Roll Queen“.

After reading about a “gritter” Subways in Clash Magazine, I felt it was time I checked out one of their albums at last. “All Or Nothing” definitely has an edgy pop-rock sound going on — it kinda reminds me of an “Echo Park” era Feeder.

Debut single “Girls & Boys” starts off with a slow picked guitar riff and tom backing before hitting into a bass solo and rapid power chords; finally adventuring into a massive, bouncey guitar riff. The opening lyrics are beautifully executed showing the varying singing styles between gritty lead singer Billy Lunn and the child-like innocence of Charlotte Cooper’s vocals. They rally “the world is always // Some kind of daydream” building into an anticlimatic chorus “the girls and boys”. The song has enough riffs to keep it pleasurable but I’m surprised at it’s choice of first single.

“Kalifornia” is a breakneck punk-rock song which breaks into a very Feeder sounding chorus backed by lush acoustic guitars. Second single “Alright” kicks out with some acoustic-sounding chords before developing into a brilliant verse and again another slightly lacklustre chorus.

“Shake! Shake!”, my personal favourite track on the album kicks off with a bass solo which runs throughout the verses before developing into an absolutely brilliant, break-neck chorus which culminates in the group calling out “Shake! Shake!”. It’s fun, it’s angry and it literally makes you want to jump around the room you’re playing it in. “Move To Newlyn” instantly releases the tension with a country-esque, meloncholy strummed track. Lunn’s voice is accompanied by harmonies from Charlotte Cooper supporting a beautiful melody.

Title track “All Or Nothing” is a classic-punk-rock track which plods along with a strummed power chord riff and bumbling bassline. “I Won’t Let You Down” brings The Subways back to their heavier sound as Lunn screams “get out of my town // Get out of the spotlight”. “Turnaround” keeps up the heavy classic-rock illusion as the bass bumbles and the drums get smashed. Cooper’s voice returns in “Turnaround” which again reinforces the “perfect compliment” theory as Lunn screams “yeah, yeah, yeah” and Cooper sings “I would say that you don’t understand”.

“Obsession” keeps the punk theme running with a series of power chords and some great bass playing by Cooper. “Strawberry Blonde” serves purpose to release the tension of the previous tracks with strumming acoustics and a melancholy piano riff. Definitely one of the standout tracks of the album.

“Always Tomorrow” has an almost Arctic Monkeys feel to proceedings with Cooper’s harmonies sounding great once again. Last track “Lost Boy” is an acoustic closer filled with sing-along melodies.

Produced by Butch Vig, of Nirvana fame, it’s unsurprising The Subways have a heavier sound in this album. It’s a sound of frustration but there is enough melody and sing-along for this album to be accessible by all.

8/10.

• The Subways Official Website
• The Subways MySpace