Album Review: "Automaton" - Jamiroquai

Time flies so fast.  Can Jamiroquai really have been around for 25 years????  Yes, it's true.  But regardless of the changes in music trends and how music is consumed, the indisputable fact is that musical talent will prevail.

Jay Kay and his funky band have been any easy target for music critics over the years, yet I have loved their music from day one, and they are to me one of the UK's most underrated bands of the past, well, 25 years.

It's been 7 years since their last album "Rock Dust Light Star", and I thought for a while that it was over, that they would never make any more new music.  So it was a pleasant and long-awaited surprise when "Automaton" (the song, not the album) appeared at the beginning of 2017, with the announcement that an album would follow.

"Automaton" refreshingly doesn't make any concessions to the music of the moment: no dreary acoustic ballads, no tropical house, no landfill EDM...hell no.  Just Jamiroquai sticking to a very successful formula of funky, danceable, accessible pop music which is needed more than ever in these days when the mockery that is the top 20 singles chart is carved up between Ed Zzzzzheeran, Drake, Clean Bandit and the Chainsmokers.  For "the charts" have dramatically changed since the 90s when Jamiroquai were a regular fixture in the top 20.  Now, they won't even get a sniff of the charts in these years of Spotify streaming etc, but does it matter?  For as I said earlier, musical talent will prevail.

Jamiroquai continue to enjoy huge popularity particularly outwith the judgemental confines of the UK music scene - however they also have a massive UK following; over at the iTunes album chart, "Automaton" sits at no.2. this week between the all-conquering Sheeran and Drake.

The outstanding "Cloud 9" the second track which was released from the album, is probably my favourite track, with all the classic Jamiroquai trademarks, whilst "Summer Girl" will obviously soundtrack the (long hot?) summer of 2017.

Regular readers of my blog will be well aware that I don't always like a lot of music on first hearing, but Jamiroquai is an exception - they have such an appealing and effortless musical formula. On first hearings this is a much more accessible album than "Rock Dust Light Star" and certainly their best since the fabulous "Dynamite".

"Automaton" is an outstanding return to form.  Welcome back Jamiroquai, you have been much missed.  And you still kick ass.

Album Review: "Ice On The Dune" - Empire of the Sun

In this blogger's world there are the chosen ones.  A musical Premiership of sorts.  Regular readers will know who they are.  But if you don't know and/or need reminding, the creative Aussie duo Empire of the Sun figure in that very exclusive list.  So you won't be surprised to learn that "Ice On The Dune" was probably my most eagerly awaited CD of 2013 and I bought it immediately on its release. 

The big question is, does it measure up to its mighty predecessor, "Walking On A Dream"?  Well, yes, and no.  For "Walking..." was a great debut but also for me a patchy one, as I don't always play it from beginning to end.  Yet the greatness of the first four tracks on that album (and "Without You" in its remixed form) totally outweighs most of the recorded output by everyone else from that time and, well, ever since then. 

At that time they were compared to MGMT - an unfair comparison in my view, as EotS are (a) way better and (b) have their own unique sound and identity.  Add to that the unique back story of the duo's 'characters' ("Emperor" Steele and "Lord" Littlemore) and the fact that the divine Nick Littlemore does not take part in the band's live touring schedule, leaving main man Luke Steele and his backing band to do the honours, which just adds to the duo's intrigue.

"Lux" is the album's opener.  Fans will remember this as the opening number from the album launch gig at Sydney Opera House, which was streamed online.  It sets the scene for "DNA" which is one of the most instant and commercial sounding tracks, and very close in sound and spirit to the best tracks on "Walking On A Dream" so it's no surprise that this will be the second single to be released from this album.  It's catchy, distinctive and stands up to repeated listening. 

"Alive" is next in the track listing: released as the first single, it screamed "summer anthem" with its happy and positive vibe, yet (in the UK at least) was totally overlooked.  I still don't understand why the UK doesn't 'get' EotS although that's probably more to do with the emphasis on EDM and trashy grime/r'n'b/talent show acts in the charts and on the radio, and anything outwith that seems to be overlooked. 

"Concert Pitch" and title track "Ice On The Dune" follow, both maintaining the same recognisable vibe from the first album.  "Awakening" slows the pace down but is one of the album's real growers: this sounds like the Pet Shop Boys doing a variation on the Beloved's "Sweet Harmony".  Yes, that good. 

It took me a while to get into "I'll Be Around" but it was eventually very rewarding.  Again, there's a little PSB influence here. 

If you cast your mind back to earlier in the year, there was a little taster-video posted on YouTube for a song which we all thought was called "Discovery" but it's actually called "Old Flavours"  This was the song which followed "Lux" in the Sydney Opera House gig.  It's mainly an instrumental, which I'm not usually a fan of, but this is packed with greatness and again reminds me why I love Empire of the Sun so much.  The album ends with "Keep A Watch" which like "Without You" on the debut album will probably benefit from a dance remix in the future. 

They are promising a UK tour at some point.  One thing's for sure, I will "keep a watch" as that's one band I would love to see play live in my part of the world. 

"Ice On The Dune" still makes me happy and proud to call myself an Empyrean.  Although this album, like its predecessor, may not be 100% perfect from beginning to end, it has totally enriched 2013's musical landscape and was well worth the wait.

Jenifer's 'Déclaration': an unauthorised tribute

It seems no time since Jenifer Bartoli released her last album - "L'Amour & Moi". September 2012 to be precise.  Yet just 9 months after that album comes "Ma Déclaration"; it's not another album of new material though, but it's that curious and pointless exercise which many artists resort to during their careers - the covers album.  

In this instance, it's a tribute album to France Gall, who won the Eurovision Song Contest with "Poupée de Cire, Poupée de Son" in 1965 and went on to become one of the best-loved singers in French music history.  Her songs were regularly featured every year in Star Academy, which brings us nicely back to series 1 winner Jenifer.  

But why the quick release of this album?  A look at the chart positions in France for the 3 singles released from the last album may provide the answer. Even "Sur Le Fil", the first single from the album only got to no. 24 despite lots of publicity and heavy rotation on the music video channels when I was in France last September.  Her last two albums have failed to repeat the success of her early work; which suggests that her 11 year music career is on the wane. Thus the quick fix of the covers album.  

But here's where the fun starts....because France Gall, the notoriously reclusive singer who announced her retirement from music in 1997, is not happy.  In an interview with the Metro newspaper published last week, Jenifer claimed that her tribute album had been approved by France Gall, however this turned out not to be the case.  France then asked for a right of reply in Metro http://www.metronews.fr/culture/france-gall-sur-jenifer-je-n-ai-jamais-su-ni-entendu-quoi-que-ce-soit/mmff!yUG30uzDGHky6/ in which she said that she was never approached, knew nothing about it and never gave her authorisation for the project, ending her statement with "...I will say no more."  Apparently Jenifer and France had never spoken to each other in years.  Significantly, the title of the album was changed from the original "I Love France" to "Ma Déclaration" and there is no mention of France Gall's name in any of the advertising.  

Then there is the role of TF1, the channel which played a major role in Jenifer's rise to fame as the winner of Star Academy in 2001.  "Samedi Soir On Chante France Gall", a TV special featuring Jenifer and several other French artists was broadcast last Saturday night.  Very convenient promotion for this new album, don't you think?  But I digress.  Is the album any good?  Well, I like Jenifer, and I like France Gall, so that's a good place to start.  

The songs are very familiar to French music fans, and are remade in Jenifer's easy-going pop style, although "Evidemment" and "Diego" lose the emotional pull of the original versions and are just too lightweight. The original version of  "Ella, Elle L'a", my favourite France Gall song, still sounds as fresh today as it did 25 years ago, yet the version on this album sounds a little cheap and throwaway.  The wonderful Christophe Willem gets involved for a cover of France's duet with Michel Berger, "Ça balance pas mal à Paris" which is ok and not too different from the quirky original. It's only on "Resiste" and "Message Personnel" where Jenifer really manages to stamp her own authority on the songs. Going back to my original comment though, the whole thing is a pretty pointless exercise, as with all cover albums you find yourself wanting to listen to the original versions.  It's a bit like a rush-released covers-packed first album by an Idol winner, or the Star Academy albums from a few years ago, the latter also coincidentally being more of a cheap marketing exercise by TF1 and Universal rather than an attempt at any artistic credibility.  

Although first week sales are good (the album currently stands at no.2 in the French iTunes chart) I can't see this having the sustained success of the "Generation Goldman" album which has done very well over the last few months in France.  This was a similar tribute project and TV special featuring a number of today's artists interpreting the classic songs of the excellent Jean-Jacques Goldman. 

All in all, there is nothing particularly wrong with "Ma Déclaration", but it's a rather unnecessary project and it doesn't bode well if you don't have the approval of the artist whom you are paying tribute to! 

Album Review: "Colourblind Stereo" - Bressie

I previously blogged about London-based Irish singer Bressie (Niall Breslin) back in September, http://europecrazy.blogspot.com/2011/09/introducingbressie.html and decided to buy his just-released debut CD "Colourblind Stereo" during our recent trip to Dublin.

Bressie was previously the frontman of a very popular Irish rock band The Blizzards, however he is now getting in touch with his pop side on a very good debut. The album kicks off with "Can't Stay Young (Forever)" which was his debut single as a solo artist.

The radio-friendly "Breaking My Fall" (not sure if this is going to be a future single) and "She Ticks All The Boxes" keep the momentum going.

Fans of The Script may enjoy Bressie's mix of big anthemic pop-rock songs, although Bressie avoids that over-wrought trap which The Script fall into at times. The mood is consistently upbeat and positive.

I particularly want to highlight "Android Heart" as one of the album's highlights - the robot metaphor lyrics may be a bit too cheesy, but it's a very pretty song. Bressie is a clever lyricist, although some of his lyrics can be a little on the cheesy/corny side at times. Nevertheless he knows how to craft a good pop song.

"Good Intentions" was of course the song which brought Bressie to my attention, and it's the one which still stands out on this album. It's the kind of song which would sound great on British radio, if they removed the endless urban rubbish and "the new boring" and go back to a time of good quality pop music which didn't need to resort to lyrics about being on the floor, in the club, 'featuring' all the usual suspects. This album is refreshingly free of any of that.

Amongst the pop-rock there are some electronic touches, and "Wall of Sound" particularly evokes some old-school dance memories. It just proves Bressie's talent and versatility that he can turn his hand to different musical styles. He has co-written all of the songs on this album and his compositions may soon be turning up on other artists' albums too, as he's currently part of the 19 Entertainment stable and is involved in songwriting and production there. Bressie cites Dr Luke and Max Martin amongst his production heroes so there's no doubt that there's a very strong pop heart beating inside this rock star.

To date, "Colourblind Stereo" has only been released in Ireland however I wouldn't bet against an international release at some point - especially when the tide eventually turns away from the dross which has passed for "pop music" over the past couple of years. Hopefully we will hear a lot more from this very talented guy in future.

Album Review: "Svart Vitt Och Allt Däremellan" - Daniel Adams-Ray

Once upon a time there was a Swedish rap duo named Snook, who made some great music and promised much for the future. And then they disappeared, never to be heard again....but that's not the end of the story. Because, in this fairytale, you get a happy ending.

In 2010, one half of Snook, Oskar Linnros, became a very successful solo artist following the release of his debut album "Vilja Bli". As if that wasn't good enough, the other half of Snook, Daniel Adams-Ray, got around to releasing his debut album later in the year - which has also done very well. So instead of mourning the end of Snook, it's a win-win situation as we get two high-quality solo artists out of it.

"Svart" kicks off the album and is a very different sound to what you'd expect from the guy who was, after all, 'big Danne' the rapper in Snook. This is a more energetic style of track which you'd expect from, say, Håkan Hellström, whilst throwing in wordy rhymes and Beach Boys-style harmonies. Who knew that he could sing as well as rap? It's like he's channelling Moneybrother at times.

"Voyeuren" is a complete contrast - "I am in love with the picture of you/not with you". This is a much warmer track with lots of strings. Recent single "Gubben I Lådan" has also helped to build Daniel's fanbase. You could just imagine this song being a massive festival favourite with its singalong chorus. Still on the singalong front, the very catchy "Lilla Lady" is going to be the next single and again I think this will become a big favourite.

"Förlåt Att Jag Aldrig Sagt Förlåt" has also spent some time in the Sverige Topplistan singles chart even though this hasn't officially been released as a single. It's a ballad, yet it clearly displays Daniel's skill as a rapper-turned-singer, the way he weaves his words.

Daniel's first single "Dum av Dig" still sounds as fresh and appealing as ever, even in the context of this album. And yes, the chorus is, for me, still reminiscent of George Harrison's "Got My Mind Set On You" - but if you're gonna borrow, then borrow from the best. Right? It's such a feelgood, summery track that it will have you dancing round the room.

I'm maybe not so keen on "Himlen Luktar Plast" as I am on some of the other tracks, but it's not too bad either.

"Gryningspyromanen" is one of the strongest tracks on the album which sets darker lyrics against the upbeat, galloping rhythms - "yesterday I was at the top/tomorrow I am down below" and "a million in the bank/but nothing to live for".

This is immediately followed by another of the album's best tracks "Medan vi Faller" which is probably the closest musically to anything on the Oskar Linnros album. Ah yes, I've mentioned him again. Anyway there is an exquisite arrangement and production here, in a retro-soul style.

There are some notable similarities between Daniel and Oscar's albums - take the cover art for example. Oskar does body paint....so does Daniel. Then there are the musical similarities too....but when you consider the quality of the music on both albums, then that's ok. And anyway, I would probably attribute this more to both artists being in the same band for a long time and absorbing similar musical ideas. And so what if there are similarities? When they are this good, it's the listener who benefits.

The album ends with "Vitt" which sounds as if it could have been a track on Paul Simon's "Graceland" and which musically acknowledges Daniel's background of growing up in Kenya. In recent Swedish media interviews, Daniel described his experiences of being bullied for being "different" with his cosmopolitan background - well who's got the last laugh now? Daniel Adams-Ray has made an excellent debut album, blending a number of musical influences and succeeding throughout. Well done!

Album Review: "Masumiyetin Ziyan Olmaz" - Mor ve Ötesi

Back in 2008, the Turkish rock band Mor ve Ötesi represented their country at the Eurovision Song Contest in Belgrade with the song "Deli". My first reaction was surprise: I didn't expect to hear Turkish rock music at Eurovision, but what a pleasant surprise it was.

Fast-forwarding two years: Turkey sent another rock band, maNga, to ESC. But what had become of Mor ve Ötesi?

Whilst on holiday in a boiling Bodrum in Turkey, watching Power Turk TV, Mor ve Ötesi grabbed my attention once more, with the dark video for "Araf", which received regular rotation on the channel, and reawakened my interest in this band. Several plays later, I was completely hooked and headed off to one of the local record shops to buy the band's latest album, "Masumiyetin Ziyan Olmaz" (Your innocence won't go to waste) and I wasn't disappointed.

The band has been around for quite a few years but there is a freshness and urgency pulsating through this album from beginning to end. "Korkma" kicks it all off, and from there on it's just one great track after another.

"Yorma Kendini" was the first single from the album, and is probably the most commercial and upbeat track with an almost funk-rock feel. I'm not so keen on the video though....did they really need all that gratuitous 'eye candy' when the music can speak for itself?

Talking of eye candy....the band's lead singer and guitarist Harun Tekin is charismatic and not entirely unattractive (!) but apart from that, he has a great voice too, and I could listen to him singing all day. There are also some very good vocal harmonies on the album. If you're unfamiliar with Turkish language rock music (as I was) you wouldn't know what to expect, but this is an extremely accessible album of what could be best described as Turkish indie/alternative rock.

I've also been checking out some lyrics translations on the internet and their lyrics can be pretty dark and hard-hitting: particularly "Festus" about a man who died in police custody in Turkey.

"Araf" is for me the album's best track, and indeed one of 2010's best tracks (expect to see a very high placing in my 2010-50 chart for this one!) - it's a slower song but it's compelling, and it completely draws you in and doesn't let go. Harun's vocals are superb on this song.

The other track I want to single out is "2012" which I suppose is the album's title track, given the repetition of "Masumiyetin ziyan olmaz" throughout the song. It may be a little jarring at first, the way he seems to be singing behind the beat, but eventually you realise that's what makes it special. The song builds and builds into a fabulous and anthemic 4½ minutes of chiming guitars and soaring harmonies. Of course, another contender in my year-end chart!

I've never stopped playing this CD since I returned from my Turkish holiday in September, and I'm still not tired of it either. In fact I would go so far as to say that it's my second favourite album of 2010.

Album Review: "Body Talk Pt 2" - Robyn

How many artists out there would be bold and ambitious enough to release three albums in one year, particularly in today’s very fragile music marketplace? Not many, I would imagine, so it’s "three cheers" for Robyn as she has boldly gone where most other artists wouldn’t dare to go.
"Body Talk Part 2" is, as the title suggests, the second part of the trilogy. Already well-received by music critics in her native Sweden, who are particularly proud of one of their country’s hottest musical exports of recent years.

At a time when female acts seem to be dominating the charts, and you can’t open a tabloid newspaper without daily shots of Katy Perry, The Saturdays, Cheryl Cole etc, Robyn’s profile in this country is still relatively low. Which is just fine: despite her own very striking image, she is still known first and foremost for her music, and continues to compete on her own terms.

Where its predecessor opened in confrontational manner with the stark "Don’t F****** Tell Me What To Do", the second album opens in a warm and welcoming manner with "In My Eyes", in which she reassures us that everything will be all right - "....it’ll be OK". This song is better than OK, actually: it’s a perfect example of her effortless style of pop.

The good feeling continues on "Include Me Out" which is less electro-pop and more electro-r’n’b, complete with a mid-song rap from the lady herself.

"Hang With Me" previously debuted on "Body Talk Part 1" as a ballad, but here it is in all its dance-pop glory. Like all the best pop acts, Robyn knows the value of simplicity in getting her point across, and "don’t fall recklessly, headlessly in love with me" is probably one of the best lines in a pop song for a long long time.

Robyn continues to get her point across on the pulsating electro track "Love Kills" which has a very clear message - "protect yourself!" - and a catchy chorus.

As with "Body Talk Pt 1" though, things get a little patchy. I wasn’t so impressed by "We Dance To The Beat" which I’d only consider as filler and no more. "Criminal Intent" is a little better, with that hookline "somebody alert the authorities, I’ve got criminal intent", but again it’s not much of a song. On the plus side though, they do show off her versatility as an artist and her hip-hop/dance influences.

A guest appearance next from Snoop Dogg, who seems to be a bit of a rapper for hire these days, but at least he gets more to do on this than his recent, lazy contribution to Katy Perry’s "California Gurls". This one merits the ‘Parental Advisory’ sticker thanks to Robyn’s fondness for the ‘F’ word on this one. "U Should Know Better" offers the advice not to mess with her, and I love that lyric "...the whole industry knows not to f*** with me". Both Ms Carlsson and Mr Dogg sound as if they had a great time making this one.

Finally, "Indestructible" which, in the style of "Hang With Me" appears here first in ballad form and is promised to return on "Body Talk Part 3" (due for release around December 2010, I think??), in its full dance-pop glory. The ballad version is fine - although maybe not as good as the ballad version of "Hang With Me" - but as I always prefer uptempo to ballads, then I’m looking forward to the dance-version will definitely improve the song.

Like its predecessor, "Body Talk Pt 2" isn't quite a ten out of ten album, but it's still one of the best recent releases I've heard. Both albums demonstrate the talent and versatility of one of today’s best pop artists. Imagine how good her "Best Of" album will be....in the meantime, bring on Part 3!!

Album Review: "The Defamation of Strickland Banks" - Plan B

This year, more than ever, I've been turning my back on British music. Having a blog called "EuropeCrazy" might be an indication that this is a deliberate choice, but I can definitely assure you it's not. I want British music to be good, to be great, to be innovative - not for any particularly patriotic reason, but purely because I'm a music fan, and I want to love good music wherever it's from. So I'm particularly delighted with the success of Plan B, who is one of the very few new acts who have broken through this year who are actually worth bothering about.

Versatility is also a talent to be treasured. When Plan B kicked off his music career as a gritty rapper, his music had completely passed me by at that point. The last thing you'd have expected was for his next step to be a retro-soul revelation. Who knew that he had such a fabulous white soul falsetto voice?

My first encounter with Plan B, mk II, was on hearing "Stay Too Long" and it literally stopped me in my tracks. With its Northern Soul-type beat (an immediate winner for me), bursting with urgency, it seemed to perfectly capture the spirit of a 'lads night out'.

The unusually titled album is that very un-2010 concept, a concept album, about an innocent man found guilty of a crime he didn't commit and he's sent down...so hence "Welcome To Hell"...and things get darker for the main protagonist. Yet despite the dark theme, Plan B has taken up residence on many a radio playlist thanks to the massive, catchy hit "She Said" although I prefer the follow-up, "Prayin'" which might I suggest owes a great big debt to "Beggin'" - another song which I completely love, so borrow from the best I say!

Whilst listening to this album I thought of another former favourite of this blog - Daniel Merriweather, whom I had high hopes for but his debut album was an overall disappointment. Dare I suggest that "The Defamation Of Strickland Banks" was the album that Merriweather should have made.

A further indication of Ben Drew's versatility is that he will now turn his back on the retro-soul sound for his third album, "The Ballad of Belmarsh" which will be a hip-hop album. Clearly he doesn't 'stay too long' (groan) with the same musical style!

"The Defamation...." meanwhile accurately captures a 60s soul sound and updates it for the 21st century - and defines 'soul' in the true sense, rather than the soul-less drivel which has hijacked that term in recent years. Well done Plan B.

Album Review: "Night Train" - Keane

The casual radio listeners could be forgiven for thinking that Keane’s recorded output stopped after "This Is The Last Time", as none of their subsequent singles have been a fixture on any radio playlists since then.

So I was pleasantly surprised to hear their most recent single, "Stop For A Minute" getting regular airplay on my local radio station recently. Keane have been away for a while, but they’ve been working hard on new material and been prolific enough to release this mini-album as a stopgap between "Perfect Symmetry" and their fourth full album.

Keane’s critical acclaim for "Perfect Symmetry" didn’t quite translate into commercial success as it seemed the fickle British record buying public had moved on. The band do however have a loyal fanbase who put "Night Train" into the top 10 albums on its release, although the state of the British singles chart suggests that a band like Keane will probably never make the top 20 singles chart again. So it was no surprise that despite the airplay, "Stop For A Minute" failed to chart.

"Night Train" is further proof that Keane are one of this country’s best bands - although remain extremely underrated following the initial hysteria of their debut album "Hopes and Fears" which for me remains their best work. However they continue to musically develop and explore new musical styles.

"Back In Time", which follows a short instrumental intro track, sees Keane in more familiar territory, then the aforementioned "Stop for a Minute" has a guest appearance from rapper K’naan, who’s currently burning up the worldwide charts with that great little World Cup song "Wavin’ Flag".

"Clear Skies" is a more acoustic flavoured song which is well worth a listen.

If a second single is to be released off the album (although I doubt this - I could be wrong though?), "Your Love" would be a great choice. This is a major departure for the band as it features Tim Rice-Oxley on vocals (did I ever tell you that I had a minor crush on Mr Rice-Oxley??) - he’s not just a pretty face but a talented songwriter and rather good singer too. When you have such a great vocalist as Tom Chaplin it could be quite intimidating stepping out into the spotlight, but Tim does it with some style. You can see why there are some well-documented ‘power struggles’ within the band.

"Looking Back" er, ‘borrows’ from the Rocky theme. Another track which features K’naan. I’m not sure if Keane and rapping works, but they seemed to enjoy it. "Ishin Denshin" is a bit strange, and closer "My Shadow" is a U2-style building ballad, but I wouldn’t be too bothered if I heard it again.

"Night Train" may be a little patchy in places, but it proves yet again that Keane have a lot of life left in them yet, and it's enough to keep the fans happy until the next album comes along.

Album Review: "Body Talk Pt 1" - Robyn

With "Body Talk Pt 2" on the way and already causing much excitement I thought I'd better get a move on and get my review of Part 1 out of the way :)

It’s been a long time since Robyn released her hugely successful self-titled album. So it’s about time for another one. Or in Robyn’s case, another three (!) Yes, this is the first part of a trilogy of new albums from ‘the killingest pop star on the planet’. But is this all killer and no filler?

Robyn has her own distinctive musical style which has certainly influenced the recent crop of electro-influenced female singers. It’s clear that she’s not like all the other girls though... Those acts who were last year’s next big thing will fade fast but Robyn will still be around, because she's not a one-dimensional bandwagon jumper: instead she has the talent, the versatility and she does it all on her own terms.

A fact that’s very obvious in the first track on the album, "Don’t F****** Tell Me What To Do". Unfortunately it’s a little repetitive, with the singer rapping about all the things that are ‘killing her’. It’s, um, different I guess, but I don’t think I’d be giving this one repeated listening.

"Fembots" was the first song we heard from the album, and it combines a cute and catchy chorus line with something a little more leftfield, although the rest of the song isn't as good as the chorus.

The album’s high point is "Dancing On My Own". When you hear this winning combination of melancholic lyrics and pulsating electronic beats - a formula which previously worked so well on "With Every Heartbeat" you can see why it was chosen to be the album’s first single. Robyn makes pop music which sounds effortless - "Cry When You Get Older" is a good example of a catchy pop song and if you had any doubt that Robyn could turn her hand to other styles check out "Dancehall Queen" - electro-reggae.

"None of Dem" - a collaboration with Royksopp, with whom she worked on "The Girl and the Robot" isn’t quite as good as that track but it’s a grower as it goes on.

"Hang With Me" is a lovely piano ballad - you get the feeling that Robyn ‘means it’ and that’s what sets her apart from all those other female acts. Of course this track has now been remade in a dance-version and opinions are divided. For what it's worth though, I like both versions - which yet again says a lot about Robyn's talent: the emotional pull of the ballad version and the electro-dance remake both pack a punch.

Finally, Robyn puts her own distinctive stamp on traditional Swedish folk song "Jag Vet En Dejlig Rosa" - I particularly love it when Swedish pop stars sing in their own language!

All in all, "Body Talk Pt 1", on its own may not be an absolutely classic album, but it may just turn out to be an important part of a classic trilogy. Roll on part 2!!

Album Review: "Now 76" - Various Artists

"It's back!!!" as the TV ad used to say. But things have changed. Once upon a time I eagerly awaited the release of Britain's longest-running and most successful chart hits compilation album. But with the British singles chart in steep decline, I inevitably greeted the latest in the series with a weary shrug instead of gleeful enthusiasm.

It's not the fault of the album's compilers as they have so little in the way of chart hits to go on - since the arrival of the download single I had hoped that this would call a halt to the pre-download trend of 'in at no.1 one week, dropped to no. 23 the next' but instead the chart has become so stagnant that you could take a break from looking at the chart for a few weeks and on your return you would still find the same songs.

So as I said they don't have too much selection of hits to choose from, but they manage to get an accurate reflection of the UK Top 40 at present - a mix of American pop, tedious r'n'b/grime, kiddie/X Factor pop and the odd dance track. Highlights are few and far between - only Robyn, Example, Scissor Sisters, K'naan, Swedish House Mafia, Train and David Guetta get the thumbs up from me, otherwise most of it just sounds like the Galaxy Radio playlist, and if you are "lucky" enough to live in a reception area for that station then you'll know that's definitely not a good thing.

If we can be reassured on one thing, it's that pop music goes in cycles, and that this musical hell shouldn't last too much longer. And for everything else, there's the music blogs: where you will discover more good music than you ever thought existed!!

Album Review: "Vilja Bli" - Oskar Linnros

Back in this blog’s early days (summer 2007) one of its earliest Swedish musical discoveries was the young rap duo Snook, comprised of Oskar ‘Kihlen’ Linnros and Daniel Adams-Ray. Their "Är" CD became a firm favourite with its mix of sharp lyrics and elaborate musical backdrops. The duo had been critically and commercially successful and I had hoped to hear more music from them, but they stopped making music together: Adams-Ray concentrating on his "Lagom" clothing line and Kihlen working with Maskinen, and his talent as producer coming to the fore on his then girlfriend Veronica Maggio’s Grammis-nominated "Och Vinnaren Är..."

Spring 2010: out with the old rapper Kihlen, and in with Oskar Linnros, solo artist. I welcomed the news of his return, with much celebration and anticipation of his debut solo album which for me would be one of the most eagerly awaited Swedish album releases in a year where there has already been many of them.

And it doesn’t disappoint. Linnros is a revelation, with an intelligent musical heartbeat and quality pop music running through his veins. Some of Snook’s material certainly hinted at that, but here we have a top quality album that sounds like nothing else at the moment.

Like many in a long line of Swedish ‘do-everything’ artists (Salem Al Fakir, Tingsek...) Oskar Linnros is a multi-talented singer, songwriter, musician and producer.

The album starts fabulously with the pounding "Genom Eld" which for about 10 seconds brought Nordman to mind (!), and then turned into a great big life-affirming drum-driven anthem. Total fabulousness indeed.

The retro-flavour which ran through Maggio’s album is a significant feature on "Vilja Bli" - there is an almost Northern Soul-vibe going on in the hugely successful single "Från Och Med Du" and the album’s first single "Ack, Sundbyberg".

There’s a very good production on "Debut" (which makes good use of stereo!). "25" is maybe a little too busy but I can imagine it working well as a live track.

"Annie Hall" starts off with a "My Life Would Suck Without You"-riff but is altogether more chilled and is one of the album’s best tracks.

Reviewer after reviewer cited Oskar as this decade’s successor to the likes of Orup in producing intelligent Swedish-language pop. A lazy comparison maybe, but I can see where they’re coming from. Parts of "Din Mamma" for example scream "Orup!!!" But rather than being the second Orup, Oskar Linnros is....the first Oskar Linnros and we should celebrate the arrival of a bright new talent in Swedish music, and like all the best Swedish musical geniuses (you know who) he takes influences from here and there, past and present, and turns them into something new and completely accessible.

In a recent Aftonbladet interview, http://www.aftonbladet.se/nojesbladet/article7449539.ab Linnros stated that there is "no love" between himself and Daniel Adams-Ray any more. And what of the other half of Snook? Well he too is now a solo artist: first single "Dum av Dig" (try not singing "Got My Mind Set On You" to it) is out now and his debut album will follow in September 2010. Snook, it would appear, is a million miles away now, but at least we now have two solo artists to get excited about.

Oskar Linnros will appear on SVT's "Allsång på Skansen" on Tuesday 20th July. More information at http://svt.se/2.37615/allsang_pa_skansen?lid=index_2059174&lpos=sajt&from=innehall_ao

Oskar's official website: http://www.oskarlinnros.se/

Album Review: "Restless Soul" - Tingsek

From what seems like an endless line of creative Swedish musical geniuses comes Malmo’s very own Magnus Tingsek, with his fourth album "Restless Soul", which he tells us on the sleeve notes was made in a 25m² room in Malmo, and should be played loud. Sometimes you wonder what they are putting in the water in Sweden, to create so many talented singer/songwriter/multi-instrumentalists. He writes, sings and plays bass, drums, guitar, piano, percussion...the list goes on.

One other thing I noticed on the sleevenotes was a heartfelt comment by Tingsek: "I make music for one reason only: I love it and simply can’t live this life without it". I think that speaks volumes about this man’s passion for music - and I could identify with that as a listener too.

To describe Tingsek’s music? Well, the best description for me would be "acoustic soul". "Good Vs Bad" which is by far the best track on the album, was also released as a single and just missed out on my 2009-50 chart because I discovered it too late. Had I heard it earlier, it would probably have made my top 10 songs of last year. (I didn’t expect any new material from him so soon after 2008’s "Too Many Feelings At The Same Time" so that was my main reason for not checking if he had any new material coming out.) Tingsek has his very own sound but brings in some other influences from time to time. "Stimulation Overload" with its chord progressions completely reminds me of Sinclair, one of my favourite French artists (although is not really indicative of Sinclair’s predominantly soul/funk style - but, well....still reminds me of him anyway, I’m finding it hard to describe!)

"Six Years" is very indicative of the Tingsek template - choppy guitars and minimal keyboards - and features Pauline on guest vocals. I was unfamiliar with her work prior to Melodifestivalen 2010, where she competed with "Sucker For Love" which has totally grown on me since then even though she didn’t reach the final. Anyway this works very well.

The other guest artist on the album, Slakah The Beatchild, adds an extra dimension particularly on "Leave It All Behind". Another track worth recommending is "Stick To You" which is very danceable and has that Daft Punk "Harder, Better, Faster Stronger" feel to it, only in Tingsek style of course.

There are also delicious string flourishes which often add a special touch. My only criticism of this album is that melody is often sacrificed for exquisite musical arrangements. Tingsek’s passion for his music is unquestionable, but a bit more work on the melodic side wouldn’t have gone amiss. What can’t be denied however is that Magnus Tingsek has a very distinctive sound and a creative spark which will ensure that he will be around for a long time to come.

Album Review: "Ignore This" - Salem Al Fakir

This review has been republished from my other blog, Planet Salem. The review was originally published there on 22.03.2010 but I wanted to share it here too :) - Enjoy!

Almost a year to the day since Salem Al Fakir released his second album, the criminally underrated "Astronaut", here comes album no. 3, delivered in remarkably quick time - but given Salem’s continually prolific and creative musical nature then this isn’t such a surprise after all.

When you make the commitment to becoming a Salem Al Fakir fan, you sign up for a journey which is full of surprises at every twist and turn, and you leave any preconceptions behind. So we arrive at the latest stop on the journey, "Ignore This" Of course Salem’s music is completely unclassifiable but if you were to compare his three albums so far, you might say that "This Is Who I Am" was the soulful, 70s-influenced one, "Astronaut" was the rockier, 80s one, and "Ignore This"? The electronic one, and despite the fact that he doesn’t listen to current/recent music, it’s possibly his most contemporary collection yet.

But that’s only scratching the surface - the thirteen tracks on this CD are as diverse as ever in their musical arrangements. I’d say it was an album with one foot in the past and one foot in the future, as I feel that one of Salem’s many strengths is the way that he uses influences from the past to craft his music into something genuinely original, that you haven’t heard before.

In its musical layout "Ignore This" takes us back to "This Is Who I Am": it begins with a short instrumental track, and there are two other instrumental interludes along the way.

Here is my track-by-track review.

Track 1: "The Song I Never Wrote"
An electronic, chilled-out, spacey introduction to the album, and in a similar style to "Begin" which heralded the arrival of "This Is Who I Am", three years ago. There’s not really much else I can say about this, it’s short and sweet!

Track 2: "4 O’Clock"
"Get on up on your feet to the love store/Hey bubbles, wanna smell the candy?"

Salem is particularly gifted when it comes to producing strong melodic songs and this is one of the best on the album. It’s commercial and radio-friendly, with an anthemic ‘here we go again’ chorus, an irresistible, almost calypso-styled rhythm. The feel of the song reminded me a little of "New Song" by Howard Jones (if you are old enough to remember that!).

If you thought the lyrics on "Astronaut" were a significant improvement on his debut, then one of the most significant aspects of "Ignore This" is Salem’s development as a lyricist, and his ability to tell a story through his songs. "4 O’Clock" clearly demonstrates the more playful side of Salem, and it’s a very good way to kick off the album.

Track 3: "Virgin Mary"
"Didn’t wanna be around when it all fell down/So lucky I got out in time"

Already a firm favourite with fans and bloggers, this is perhaps one of Salem’s most accessible songs in a long time. Very personal lyrics about love-gone-wrong set to catchy, insistent keyboard beats. The first time I heard this, the keyboard-riff sounded very familiar and then it struck me - it’s like a speeded up "This Is Who I Am" (and thanks also to my friend Fredrik for also pointing this out). Extremely catchy, high energy song, and one of the best on the album.
Possible future single?

Track 4: "Red Rock"
"Heroes, low life grinders/Everyone’s invited"

This is the song where Salem has gone all Kanye West on us (!) with vocoded vocals throughout (so I’m glad when I got the lyrics so I could see what he was singing). This wasn’t originally one of my favourite songs when I heard the album at first, but it has really grown on me and I think it’s one of the most musically ambitious songs - and when the pulsating beats erupt into that big symphonic chorus (courtesy of Salem’s big brother Ayman, guesting on French horn) it becomes pretty fabulous. But then I also love that moment at about 2:45 into the song when it all subsides and begins to wind down too!

Track 5: "Keep On Walking"
"I was aiming for the sky/Ended up flat on the ground/But once again the sun is rising..."

The first song that Salem wrote for the album, and which came out of a very dark time for him. But it is also extremely hopeful and uplifting too, in a way that seems to come naturally to him. It’s full of heart and soul, and everything about this song just completely grabs your emotions and doesn’t let go. And that, for me is probably what Salem Al Fakir is all about: his natural ability to reach out and connect with people.

Musically, it is Salem at his absolute best: piano, strings, synths and just overflowing with emotion. And what a fabulous singer he is, he can convey so many different emotions within his songs. No wonder everyone loves him now - it’s no surprise ;))

Of course, in an ideal world, he would have won Melodifestivalen, but for me he will always be 2010’s true winner, as he has emerged from the contest with his credibility intact and a whole new audience who completely love his music. Job done.

Track 6: "This Is For"
"I wanna ask questions till your ear falls off"

Perhaps musically and lyrically the toughest song on the album: words that taunt and torture from beginning to end. Initially I was shocked and surprised by the vengeful tone of the lyrics, but they seem to fit with the urgency of the music and the vocoded chorus which gives way to an instrumental fadeout. It may be uncharacteristic for Salem, but it works. The result is insistent and irresistible, (if initially slightly disturbing!) Someone must have really annoyed him....!.

Track 7: "Part Of It"
"Skewed faces and scary eyes/I dare you to take a step outside"

This is a song full of contrasts. Dark lyrical themes mixed with an almost hymn-like chorus, with backing vocals provided by Sami Al Fakir and Linn Segolson. This is maybe not as instant as some of the other songs on the album, but it is proof of Salem’s effortless ability to produce any musical style - in this case a magnificent choral piece.

Track 8: "Brooklyn Sun"
"I would trade away the stars and moon/if you came, came, came back soon, my darker days would all be done"

For me, this is the best track on the album (apart from the now-classic "Keep On Walking" of course) and possibly one of the loveliest songs that I’ve ever had the good fortune to hear.

"Brooklyn Sun" is a moving and beautiful song, with simple instrumentation, which still manages after all this time to send a shiver up my spine and puts a lump in my throat. Heartbreaking and heartwarming at the same time, with a sense of longing that most songwriters would do anything for....

One significant change I’ve noted on "Ignore This" is that it’s also the first time that Salem has shared any songwriting credits - in the case of "Brooklyn Sun" it’s the appropriately Brooklyn-based American singer/songwriter Nate Campany (check him out at www.myspace.com/natecampany)

Track 9: "Don’t Wanna Talk About It"

Another musical interlude, this time in bonkers-techno mode. It stops and starts and then goes into hyperspace (!) I remember someone on Twitter comparing this to Mr Oizo: I understand where they’re coming from!

Track 10: "Bloody Breakfast"
"Make your own path or keep on living two steps behind"

Some telling lyrics which I would interpret as Salem’s take on the nature of fame, however this musically experimental song could probably be interpreted in many ways? This may be one of the most underrated tracks on the album, but became a firm favourite for me very quickly. The "ooooooooo" chorus is original and different, the musical arrangement won’t let you go, and it has some reassuringly warm moments though - "are you a saint or a sinner? Mm-hmm" is just
soooooo Salem :))))

Track 11: "Split My Personality"
"I’m disgusted with myself/can’t be trusted"

Another co-written song, this time with the very talented Linn Segolson, whom I previously wrote about on Planet Salem two years ago - http://planetsalem.blogspot.com/2008/02/new-linn-segolson-video-footage-on.html

Musically I’d describe this as probably the most contemporary/recent sounding track - you could imagine the backing track on a Coldplay or Killers album, but what as ever sets it apart is Salem’s unique, distinctive, touching voice, singing some regretful lyrics against the muscular

musical background. I think this will work very well in a live context.

Track 12: "Cowboys and Dinosaurs"

Final instrumental interlude, with a sweet, lullaby quality. Premiered at Salem's Berwaldhallen shows at the end of 2009.

Track 13: "I’m So Happy"
"I'm so happy cause you are gone"

We’ve known long enough about Salem’s natural melodic ability, but this time he’s thrown in a distinctive lyrical twist which initially shocked and surprised me. However, the result is one of the strongest tracks on the album, which turns into a massive singalong, and which will, for sure, be one of the biggest songs in Salem’s live concerts this year. I can’t get this song out of my head...!

So, does "Ignore This" live up to expectations? Yes - of course it does! It’s the album that Salem wanted and needed to make, on the next step of his musical journey. It’s adventurous, daring, different, and special....in other words, Salem Al Fakir.

"Ignore This"? Impossible to do so.

Album Review: "Now 75" - Various Artists

Firstly I just want to wish a happy three-quarter-century to one of our most favourite compilation albums!

Welcome to Now 75, which from its tracklisting could also be described as the flat-lining of the British singles chart. Although it could be said that the 'Now' series has never been an accurate reflection of the British music scene as a whole, however it has always been a pretty accurate measure of the British singles chart, and when the musical historians come to unearth the time capsule of British chart-pop then the 'Now' series would inevitably be there.

Looking at the tracklisting it becomes very apparent that on digging up the buried musical treasures of late 2009/early 2010 then we can expect those historians to be very depressed indeed. For much of Now 75 is cluttered up with the autotuned-to-death urban/grime/r'n'b which is polluting the charts to the exclusion of any decent music. Iyaz? Tinie Tempah? Chipmunk? Chiddy Bang? Young Money? Naughty Boy? Who are these people and what gives them the right to chart, just because their songs have been played to death on Galaxy and their videos are on heavy rotation on most of the music channels?

It's not all bad though: CD1 does have Lady GaGa's "Bad Romance" on it, which is that rare thing in these times - a memorable pop single which actually did well in the charts - but there is very little on CD1 that I would want to hear again, with a couple of exceptions - "On A Mission" by Gabriella Cilmi and "About A Girl" by the much-maligned Sugababes mk.25 (or thereabouts). CD1 also has a nod to X Factor/Team Cowell and its dreary hangers-on: Alexandra Burke, Joe McElderry and the hideous Jedward. How they were ever allowed to make a record is anyone's guess :( And as for "Everybody Hurts" by Helping Haiti: good cause, completely duff record.

There are a couple of rare gems on CD2 - I was very surprised that a simple little song like "Fireflies" by Owl City could get to no.1 in these miserable musical times, whilst I can only cheer that something genuinely different and original like Plan B's "Stay Too Long" - one of the best singles of 2010 and a cert for my 2010-50 chart at the end of the year - made it to the top 10 of the UK singles chart.

Another treat on the album is "Many of Horror" by Biffy Clyro - a very rare sighting of a "real band" among the grime-dross, over-hyped pop and overplayed tripe.

CD2 also features some of the over-hyped quirky females who have taken over the charts in recent times - Florence & The Machine, Marina & the Diamonds, Ellie & the Goulding - sorry I mean Ellie Goulding, whose "Starry Eyed" is probably the most bearable of all three.

Now 75 also features not one but two versions of "Don't Stop Believin'" - the Journey original and the nightmare that is the Glee Cast cover. Now don't get me wrong: I like "Glee" a lot, but the musical soundtrack is increasingly making me cringe and I reach for the fast-forward button whenever the songs come on.

CD2 is probably better than CD1, although it kicks off with what feels like the most-played song on the radio in recent years - "Empire State of Mind", this time in its Alicia Keys-version rather than with Jay-Z; we don't have to wait too long for Mr Z though, as he pops up shortly afterwards with Mr Hudson on "Young Forever".

All in all, "Now 75" is a very depressing compilation, although I will reiterate that it is a completely accurate reflection of the current music scene. The one positive thing to take from it is that there is good music around elsewhere: you just have to know where to look for it.

Album Reviews Round-Up

Trying to clear the decks before the pre-Christmas blogging (not to mention Christmas itself!) So here are some mini-reviews of some recent albums.

Firstly, "Conditions" by The Temper Trap.

I loved "Sweet Disposition" from the moment I heard it in that ad (for 4 Music if I’m right), and this song is one of the most welcome and underrated chart hits of this year. They are an Australian band now based in the UK - there is so much musical talent coming out of Australia now. "Conditions" is like a musical series of controlled explosions. OK so much of it is not original, and much of the time melody and hooklines are sacrificed in favour of atmosphere. Their ace card however is super vocalist Dougy Mandagi, whose powerful falsetto tones are the most distinctive I’ve heard in a long time. I would imagine that they are great live; we’re going to hear a lot more from them. Best track: "Sweet Disposition" (of course!)

"500 Dågar Om Aret" - Tomas Ledin

I continue to have a strong sense of loyalty to many of my ‘foreign favourites’ whom I’ve supported over the years. Like Tomas Ledin for example; who at 57 years old has had a music career spanning almost 40 years and he keeps on rockin’! Over recent years - and I say this as a fan - I feel his recorded output has deteriorated and he only seems to be capable of two songs - the ‘anthemic rocky one’ and the ‘acoustic ballad’. This album doesn’t really dispute that thinking, mixing up the smooth acoustic songs - some of them rather nice, don’t get me wrong - with the stadium-rockers like the title track and "Medelklassens Okrönta Kungar", (which got a lot of press attention at the time of the album’s release due to Ledin’s claim that it’s a rock anthem for the middle classes). His voice has deepened over the years, but vocally he still has it. The problem continues to be the unimaginative musical settings for his songs which are less varied now than in his ‘golden era’ of the 70s, 80s and early 90s. First single "Håll Ut" was disappointing on first hearing, and it still disappoints; I like the catchy foot-tapper "Ut på Vagarna Igen" though.

"Röd" - Kent

Loved and acclaimed by the Swedish critics and music fans alike, Kent continue to push the musical boundaries in a more electronic direction and manage to keep their music fresh on their new album. It starts bizarrely, with bells and a church choir, but it’s not long till the pounding, pulsating electro beats kick in, topped by Joakim Berg’s distinctive voice. If first single "Töntarna" didn’t really leave an impression, they make up for it for example with "Taxmannen", "Krossa Allt" and the epic "Sjukhus", the latter building up into a fast, funky, New Order-ish (yes, that good) adventure, and the outstanding, equally epic "Vals för S***n". If I have a problem with many of the songs on this album it’s that many of them are a bit too long and can overstay their welcome, but one thing is for sure - their electro-disco-rock-melancholy is in a class of its own. You can be sure that come awards season, they’ll be walking away with a few. Like all Kent albums they need some time to grow on you; and like the others, this definitely brings its rewards.

"Zij aan Zij" - Clouseau

Here’s a band which has rediscovered its joie de vivre, its musical mojo, call it what you will. Many bands go stale with the passing of time, but not Flemish-speaking Belgium’s most popular group of the last 20 years. After spending the mid to late 90s in easy listening territory, they rediscovered the excitement of their early days and their last 3 albums have been filled with power-pop guitar driven songs with anthemic singalong choruses which are just tailor-made for their annual residency at Antwerp’s Sportpaleis. Their trademark ballads are still there though, but even these are a bit more muscular - like the ‘With or Without You’-influenced title track. "De Juiste Vergissing" is a very good opening track whilst "Leve België" is interestingly, a song for unity in their divided country. "Zij aan Zij" may have nothing distinctively new or different to offer, but if you’re a Clouseau fan you will enjoy it, and it would appear that there is still a lot of life left in the Wauters brothers’ winning musical formula.

Album Review: "The Boy Who Knew Too Much" - Mika

Time for that "difficult second album" with the usual big dilemma - how do you follow a phenomenal worldwide success like "Life In Cartoon Motion"? More of the same? Something radically different?

In Mika's case, he's smart enough to know his audience so he doesn't venture too far away from the first album's blueprint.

Lead-off single "We Are Golden" kicks off the festivities and welcoming you back to Mika's very own flamboyant musical universe. On first hearing I hated this song but it soon grew on me, however my enthusiasm stopped short of the enduring love that I have for "Relax Take It Easy" and of course "Grace Kelly". I won't be the first or the last to suggest that Mika, how shall I say, uses little musical reference points in his songwriting and half the fun is spotting them, e.g. "We Are Golden" = "Heaven Is A Place On Earth"/"Walking On Broken Glass".

Two more reference points for "Blame It On The Girls" which is an extremely catchy piano-driven foot-tapper. It starts with that "That's Not My Name"-type drumbeat, by way of "No Scrubs", anyway it's a typical Mika song and I can see it as a single somewhere along the way.

For me, "Rain" (the second single) is the best track on the album and I can only describe it as a pure pop song with an insistent dance beat which will appeal to fans of Europop: this one will go big on the continent, no doubt.

"Dr John" sees Mika in more overindulgent mood although this has also grown on me. "Blue Eyes" takes the "Graceland"-era Paul Simon route, via "Girls Just Wanna Have Fun", but it's not really one of my favourites despite there being nothing too wrong with it. As for "Good Gone Girl" this, like "Big Girl (You Are Beautiful)" is catchy and irritating in equal measures, but once that chorus is wedged in your brain you won't be able to remove it. As for "Touches You", well this throws in everything but the kitchen sink - gospelly vocals, over-indulgent falsetto vocals - and the result is reminiscent of "Love Today" only a bit more irritating.

Something completely different - "By The Time", which completely reins in Mika's trademark flamboyance and shows another more subdued side to the artist, which he may wish to develop as his career progresses. This for me is one of the best tracks on the album - it's pretty, quite dreamy, and very nice.

Back to the madness with "One Foot Boy" which, reference-point-wise, is a distant cousin of "We Are Golden" and the lyrics (my interpretation) could possibly be about journalists, or fans, or fame itself? Many of Mika's lyrics remain as ambiguous and private as the man himself.

As for "Toy Boy", can I say that this probably belongs more to musical theatre than on an pop album? I don't particularly like this song, it proves that Mika has great musical versatility and can write songs in a number of styles.

The album ends with "Pick Up Off The Floor" which may have become a fan-favourite already, but I really don't like it and can't see my opinion changing. It has a quite bluesy piano hookline and whilst I'm usually ok with his falsetto thing going on, it totally annoys me here.

Verdict: It's a good album however it's not a great one, and it's lacking a classic timeless song like "Grace Kelly" or "Relax". No great surprises here, it's Mika being Mika, which is fine by me. It's pleasing his current fanbase and not alienating anyone, however if he is to truly develop as an artist in the future, he may need to make some significant changes to his musical style.

Album Review: "Metamorfoz" - Tarkan

It’s a very different Tarkan who stares from the cover of his most recent album "Metamoroz" which was released at the end of 2007 and which I bought on my recent Turkish trip. Like most other Europop fans I became aware of Tarkan when "Simarik" took over the European charts at the end of the 90s - except in Britain of course where this ridiculous intolerance of music not in the English language meant that we had to wait until Holly Valance recorded it in English before it became a hit over here.

Tarkan is probably the world’s best-known Turkish pop star and it’s no surprise as he’s got it all - looks, vocal and songwriting talent and lots of star quality. But "Metamorfoz" is a very telling title for it’s a definite change of musical style. It’s not just a musical change but visually it’s a very different Tarkan too if the cover is anything to go by - shaven hair, bearded, dressed in a smart suit, shirt and tie. He looks more like an office manager than a hot pop star! Of course it’s all about the music, so on with my review...

"Vay Anam Vay" kicks the album off. This was, I believe, the first single released from the album and it didn’t really bode well for me as it’s more in a very contemporary electro-r’n’b style. Now I know that style is hugely popular, and I know musicians have to change their sound to keep it fresh, but if we’re honest, we like Tarkan doing the more traditional style of Turk-pop so I wasn’t too keen on this opening track. Happily the foot-tapping "Dilli Düdük" finds him in more familiar territory. This is probably my favourite track on the album.

"Arada Bir" is a nice blend of the old and the new. As for "Istanbul Ağliyor", well this is one of my favourite tracks. You know I’m not a ballad fan but this has a particularly wistful and longing feel to it, I don’t know what the lyrics are about but I’d imagine it was quite a sad song? Very atmospheric.

On to "Hop Hop" which starts off like an old Max Martin/Britney song, now you definitely wouldn’t expect that from Tarkan. This definitely works for me though.

You wouldn’t expect Tarkan to rock out either, so be prepared for a major surprise with "Dedikodu". Again this manages to mix the Turkish style with rock guitars. You may like this, you may hate it, that’s up to you. I like it!

"Bam Teli" is next, this is another wistful ballad with Tarkan in particularly good vocal form. He has a very distinctive voice and despite the change in musical style on this album, that doesn't change. "Gün Gibi" is yet another ballad. I would have preferred more uptempo songs, but having had this album on one day whilst doing some housework it also makes some nice background music too!

I mentioned Max Martin earlier - well, the opening notes of "Çat Kapi" brought to mind Lucy Street’s "Girl Next Door" (one of the great lost European pop hits of all time!) - and this has a little electro-vibe running through it which makes it very contemporary. It’s also very catchy too, although it’s in a definite Western pop style than the traditional Turkish pop you expect.
The album closes with "Pare Pare" which is another very nice, piano-driven ballad.

Verdict: "Metamorfoz" is not the album I expected from Tarkan, but having said that it’s not all bad. It’s Tarkan, but not as we know him: if you want him to try different styles of music then you will probably love this, but if you expect more of the high-energy Turk-pop which made him famous then you may feel a little disappointed.

Album Review: "Hassle" - Erik Hassle

I mentioned in my previous post about Neil McCormick’s article on the rise and fall of the next big things, and how that fate may or may not befall Erik Hassle. Big in blog-land this year, and tipped for Robbie-sized success (Guardian’s new band of the day), Erik Hassle had a lot to live up to before his debut album was released.

On the evidence of "Hassle" recently released in Sweden - the British version, with a different title ("Pieces") and album cover, is out later this year - he needn’t worry, because he delivers.

I initially didn’t understand why "Hurtful" wasn’t the first single in the UK, but thought some more about it and realised that maybe that was quite a smart decision, as releasing "Don’t Bring Flowers" has got him some publicity and some press coverage, so maybe by the time "Hurtful" is out, the recognition will already be there and - hopefully - the charts will be there for the taking.

"Bump in the Road" is a powerful opener. "Hurtful" is still the standout track on the album. "The Thanks I Get" is also impressive: it’s a teary-eyed lovelorn ballad. Now you know I don’t like ballads but I find this one genuinely touching.

"Wanna Be Loved" comes on like a cross between EMD’s "Baby Goodbye" (the whistling hookline) and The Beatles’ "Eleanor Rigby" (the "all the lonely people" lyric) yet is an uptempo pop-rock track which succeeds on its own merits. The lyrics on "First Time" recall teenage memories and will feel very relevant to anyone in that age group, whilst the more mature "Bitter End" is reminiscent of Coldplay and Keane’s big sweeping soaring anthems.

There’s another pretty acoustic ballad, "All I Wanted Was You" - what particularly struck me about this track (and the album in general) is that young Mr Hassle isn’t following the crowd and is just making the music he wants to make, whilst having the potential mass appeal of an act like The Script for example. My worry is that in the cureent UK musical climate, there doesn’t seem to be any room for quality pop music, and I return to the "next big things" debate.

In Sweden, Erik Hassle will be allowed to develop as an artist: that isn’t such a certainty in this country. A young man with big hair and big talent, Erik Hassle deserves massive success. I only hope that he will be allowed to have it.

Rating: 7½ out of 10.

Album Review: "Ready For The Weekend" - Calvin Harris

It’s that age-old dilemma once again: can dance acts make good albums? In many cases the answer is a definite ‘no’. But Calvin Harris is not just any old dance act. Regular readers of this blog will be well aware that I’ve liked his music a lot since his debut - "Acceptable in the 80s" and "The Girls" were never off my stereo at the time, and with "Dance Wiv Me" (also featured here) he managed to do the impossible and get me to like a Dizzee Rascal record. The first time I heard "I’m Not Alone" (which is officially the most searched-for song on this blog, ever!) I absolutely loved it and couldn't wait to hear this album.

At the moment, you could be forgiven for thinking you’ve been time-transported back to, say, 1982: we’re deep in recession, three million on the dole, the record companies are falling over themselves to sign one electro-pop act after another, and the British charts are full of rubbish.
But here is Mr Harris to cheer us all up with a dose of euphoric dance-pop which, even if most of it sounds "acceptable in the 90s" then what’s wrong with that? (I happen to think that the 90s was an underrated musical decade which will someday get the positive re-evaluation it deserves).

The album starts off with an absolute cracker - "The Rain" had me hooked immediately. Despite its title it’s a dance anthem filled with positivity and sets the tone for the rest of the album. The title track (and follow-up single to "I’m Not Alone") is a hands-in-the-air dance anthem with a great chorus.

"Stars Come Out" is like two songs in one: to these ears it’s got more of an 80s electro-house vibe than a 90s feel, and I love the way it changes about halfway through. "You Used To Hold Me" doesn’t float my boat so much, purely because its repetitive chorus really annoys me, but this is one for the electro-dance crowd.

"Blue" shows off a more reflective side to Calvin, and is probably as near as he gets to a ballad, well an electro-one anyway (!) I do like his vocals, even if a lot of the time he chooses to feed them through a vocoder/autotune thingy, but he even does this in a more positive way.

Next is "I’m Not Alone" which is my favourite single by a British artist in 2009 so far. Euphoric, commercial dance at its very best, which recalls Faithless at the top of their game, and that unforgettable chorus - "If I see a light flashing, could this mean that I’m coming home?"

I read somewhere that "Flashback" is to be the next single: it's perhaps more trancey than its predecessors and probably won't do so well as a result, although artistically it's a triumph I guess.

"Worst Day" reminds me, for no particular reason, of N.E R.D.'s "Maybe" and is a diversion from the stadium dance concept of this album. Like many other albums of late, "Ready For The Weekend" loses its focus a little in the latter tracks but is still very much worth a listen. Despite its title, "Burns Night" isn’t an electro-bagpipe piece of haggis-house but is a reflective instrumental; "Yeah Yeah Yeah La La La" won't ever win any prizes for lyrical genius but reminds me of Bob Sinclar, for some reason.

The ‘rich kids’ in the media who dictate and force-feed us with musical trends may not like this album and prefer to push on with hyping this year’s thing, but Twitter-rant aside, I doubt if Calvin Harris should really be too bothered about their criticism, as he's made a commercial dance album to be very proud of indeed, and has brought some long overdue musical sunshine into these dark, rainy days.