Album Review: Jessie J's "Sweet Talker" Is Her Best Yet

In less than 4 years of being a professional singer, Jessie J has experienced everything that artists normally take many, many years (if not decades) to experience. She's had a massive first album with 5+ chart hits, been featured on numerous soundtracks (The Mortal Instruments, Kick Ass 2, Easy A, etc.), shaved her head, broken her leg, experienced severe controversy (The Voice UK), released an album that was considered a critical and commercial failure and experienced a second coming in career. As an example, it took Britney Spears over a decade to complete a similar cycle (maybe 12 years), while it took Madonna roughly 25 years.

After the surprising outcome and subsequent success of the lead single from Sweet Talker, "Bang Bang", which was billed as Jessie J, Ariana Grande & Nicki Minaj, people were finally starting to hop back onto the Jessie J bandwagon. All of a sudden, the British artist announced that she'd be releasing a new album to worldwide retailers on October 14th. Several days later, a not so good looking album cover was released and the album's tracklist soon followed. But does Sweet Talker having anything else besides "Bang Bang" that's 'sweet enough' to be marketed toward potential buyers and listeners? Based on what happened with her last album cycle ("Wild" and Alive), you'd think not. Fortunately, Sweet Talker is a marked improvement over J's previous album. In fact, I'd consider it her best if you (like me) think songs exclusive to Who You Are: Platinum Edition should be considered excluded because they were also released as a separate EP.

Although there are some distinct problems with several song on the album, the set as a collective piece feels like it works well enough to drum up enough sales. It has the already recognizable "Bang Bang", the album's instantly catchy second single ("Burnin' Up") and most surprising win of them all: the album's title track ("Sweet Talker"), which is mild yet extremely powerful at the same time.

While "Burnin' Up (feat. 2 Chainz)" is similar to some other songs we've heard recently (the french horn element has been really popular this year in grimy pop songs), it's diverse enough to be chalked up to a win. Here's what I said about it upon release:

"Burnin' Up (feat. 2 Chainz)" couldn't fit her new style better. Similar to Cheryl Cole's "Crazy Stupid Love", "Burnin' Up (feat. 2 Chainz)" is a trap inspired dance number with an irresistibly catchy chorus. The addition of a featured rap verse from 2 Chainz doesn't really feel necessary, but in this case, it doesn't detract from the quality of the song either. Bound to be an instant hit, "Burnin' Up (feat. 2 Chainz)" should easily replicate the success of "Bang Bang" in a handful of countries (namely the United Kingdom, Ireland and Scotland) and could potentially be another hit for the artist in the United States (where "Bang Bang" has reached #3).

Not only should it become a big hit, it could end up topping the United Kingdom charts as well. As for other standout tracks, "Sweet Talker" would be my next favorite song from the album. While starting off much slower than the album's previous two singles, "Sweet Talker" packs a powerful punch, bolstered by impressive vocals from both the artist and her back up vocalists as well as a think skinned beat composition arranged by world class DJ Diplo. With a whizzing beat and out of the box production, the track feels like it could work on Adult Contemporary, Pop, Rhythmic and possibly Rap (if she re-releases the song to feature Tinie Tempah, the artist featured on the live version) radio formats and, while its likely that it won't, could become a hit in the United States. However, there are several areas that need significant work. Elsewhere, on tracks like "Fire" and "Loud (feat. Lindsey Stirling)", Jessie J is thrown increasingly dramatic back beats. Unfortunately, the writers of those works decided that short handing the chorus and several portions of the verses would go unnoticed... untrue. I will applaud "Fire" for being in the style of a John Newman song (a style I like; he co-wrote it), but it just has too many kinks to work well. As for "Loud", Jessie J literally says the word loud nearly 100 times within the 4 minute and 30 second song. Violinist Lindsey Stirling doesn't add any value to the track at all; she's completely worthless on this song. I was expecting something along the line of Stirling's own "Shatter Me" (which would be a standout on this album). Unfortunately, no such luck. This is the biggest disappointment for me from the album. Back to other tracks that deserve attention would probably be "Strip" and "Masterpiece". "Strip", while being reserved for the deluxe edition, is written and sung in the same vein that the artist's hit single "Price Tag" was. I could see it being used as a promotional tool/eventual single later on in the album cycle to drum up sales of the premium priced deluxe edition.
Overall, I'd say it's worth the purchase... Alive wasn't.
Rating: 81/100 (B-) Positive

Album Review: Maroon 5's "V" Has Hits, But Is It One Itself?

I'd pretty much consider myself a Maroon 5 guru -- I've purchased every studio album of theirs, have several CD singles, their live album and have seen them live in concert twice --, and a major fan as well, but Maroon 5's 5th disc, V, takes a little bit longer to digest. While being backed by a string of successful singles  ("Maps", "It Was Always You" and "Animals"), most other tracks included on the album don't feel like your typical Maroon 5 songs. Even with that being said, the new record isn't their worst one (I'd say that 2010's Hands All Over is narrowly their worst), and does have at least two to three more faired sized hits in addition to "Animals", "Maps" and "It Was Always You" ("Sugar", "Unkiss Me" and "My Heart Is Open").

Lead single "Maps" kicks off the party in a really odd, yet friendly fashion. While previous hits by Maroon 5 seem to focus on all parts of the band (bass, drums, guitar, keyboards, and vocals), "Maps" sees lead singer Adam Levine in the driver seat, with the rest of the band being almost entirely replaced by extremely sugary, pop beats. However, as live performances will reveal, the rest of the band's members do have prominent roles sprinkled throughout the song. Regardless, "Maps" wound up at #1 on the CDS Music Chart Hot 50, a position it held for 5 consecutive weeks.

And to those of you "Maroon 5 superfans" that say "Maps" is terrible compared to songs on their prior albums (Songs About Jane, It Won't Be Soon Before Long, Hands All Over): all bands need to change in order to stay solid. You shouldn't complain that their new material sounds overly pop, because if they did stick to just their original rock sound, you'd be complaining that they haven't changed enough. You can't call yourself a fan of Maroon 5 if you criticize them for changing; its what all artists do.

 

While "Maps" definitely helps make V a massive success, "It Was Always You" is easily the best track on the disc, as well as one of the group's most inventive songs of their career. Not only does it toy with electronic pop elements in a way that has never been done on any Maroon 5 song, it experiments with sounds and pops that help make it extremely unique. Additionally, the vocal work and radio friendly backing beat make it one of group's stronger efforts in recent years. It also topped the CDS Music Chart Hot 50, staying for the 3 weeks directly following the reign of "Maps". In total, Maroon 5 has topped the list for 8 weeks during this album cycle (they topped for 6 during the Overexposed album cycle).

"Animals", which I struggled with enjoying upon first listen, seemed to have the most support from fans to be the album's second single (over "It Was Always You") when it dropped last weekend. It quickly reached #2 on the United States iTunes Store (behind only Taylor Swift's massively successful "Shake It Off") and held well in sales, even with the car company KIA giving out over 200,000 free downloads of the song to anyone who wanted one in the United States. Thanks to the track becoming a quick favorite (among most), it was announced on August 25th (three days after it first premiered) that the track would be serviced to United States pop radio later that day as the album's second official single. While I believe that decision to be a bit stupid (as I was much more in favor of the group releasing "It Was Always You"), the song itself is still pretty solid.

Built around a high energy, funky, bass beat, "Animals" sounds like a radio winner for the group -- even if it takes a while to warm up.

Other highlights include "Sugar", "My Heart Is Open (feat. Gwen Stefani)", "Unkiss Me" and "Coming Back For You". Among those, "My Heart Is Open (feat. Gwen Stefani)" is clearly the most likely to become a hit single, with "Unkiss Me" and "Sugar" also having a good shot. Even though "My Heart Is Open (feat. Gwen Stefani)" is bound to be a hit, the 4th and 5th best songs (after "It Was Always You", "Maps" and "Animals") have to be "Unkiss Me" and "Sugar".

"Sugar" is one of my favorites mainly because its sexy, it's explicit and it clearly has some single potential. "Unkiss Me" is more of a classic Maroon 5 song, mellow but piercing, familiar yet fresh.

Update: As most of you know, "Animals" was selected as the album's 2nd single. According to listings on several online retailers and other sources, "Unkiss Me" will be serviced to radio as the album's 3rd official single. At this point, it's unlikely that we'll get an announcement about a 4th single until either the end of this year or early next year. Remember this hasn't been confirmed, but it appears that Maroon 5 is fully backing "Unkiss Me" as the next single.

Update 2: Maroon 5 will not be releasing "Unkiss Me" as the album's 3rd official single. Instead, "Sugar" will be serviced to radio as the third single after the promotion for "Animals" concludes. In an interview, the band announced that they've already made some progress in the planning of the video for "Sugar" as well.

Overview: Maroon 5's V appears to lack any sort of theme, but multiple re-listens will show just how well the songs mesh together. Almost every sort of style that Maroon 5 has ever done appears in someway or another, whether it be in the form of piercing vocals, or plucked strings, everything is there. It's basically a greatest hits filled with completely new material.

Now, I'll admit that there are some noticeable low points (the deluxe bonus tracks except "Sex and Candy", "New Love" and "Feelings"), and some marginal lyrics: "Show me that phone in your pocket" ("In Your Pocket"; this is not the proper way to call out your lover for cheating), but the album is still one of their most solid efforts to date. There's several other songs that have strong single potential, and even some tracks that'll miss radio and still become fan favorites. By no means has Maroon 5 lost touch; they're expanding their style while trying to stay true to their original sound.

     86/100 (B+)

Album Review: FKA twigs Shines On "LP1"

"No one else can make electropop tracks sound this graceful and dirty at the same time"

Tahliah Barnett, professionally known as FKA twigs, is known for her odd fashion sense and more importantly her odd musical style. Her work, which has been dubbed R&B/pop meets electronic, has received massive critical acclaim from nearly every mainstream critic that's heard it. But does that also mean that FKA twigs appeals to the average person? Yes and no. The average person doesn't even know a thing about her, with only 10,000 people purchasing LP1 in the United States in its first week of release, but then again, almost everyone who did buy her album has given it a positive review.

So what about FKA twigs is really appealing? She's able to produce absolutely crazy electronic songs and contribute her own vocals to the projects as well. She's really got it all the components needed to dominate the industry, something few artists have. When have you heard of a singer that produces, writes and sings on all of their tracks and is also a trained dancer? Honestly, that's impressive.

LP1 is riddled with hits, all of which spew out filthy, sex related lyrics. On the biggest standout of them all (as well as the album's lead off single), "Two Weeks", twigs shifts her vocals in and out alongside pulsing synths and extremely raunchy lyrics about how she'll be better in bed than the subject's previous lover within two weeks. FKA twigs sings: "Higher than motherf***er, dreaming of you as my lover/Flying like a streamer thinking of new ways to do each other/Pull out of the incisor give me two weeks, you won't recongnize her/Mouth open you're high".

On other highlights ("Lights On", "Pendulum" and "Video Girl"), twigs further experiments with beats inspired by the jungle, the orient, the future and much more, while delivering a vocal performance unlike any you've ever heard.

Overview: While LP1 isn't flawless (nor do its songs hold up as well individually), the 10 song project has a little bit of everything. As a collection, LP1 is one of the most straightforward efforts of the year, with lyrically coherent tracks, brilliant production and a theme that seems to stick together throughout the majority of the songs. While only one track sounds like it could even have a shot at making radio ("Two Weeks"), LP1 is one of the most consumer friendly releases in quite a while. You can literally listen to the whole 10 song set (without pauses) and be impressed again and again. FKA twigs created this work to sound like a body, focusing on all aspects, instead of making several pieces look amazing in a field of filler (like most artists do). It's easily one of my 5 favorite albums of the year and could easily become one of my top 10 favorite albums by the time the end of the year rolls around. 95/100 (A+)

Album Review: Ariana Grande's "My Everything" Turns On Variety... A Little Too Much?

Ariana Grande first soared onto the music scene with "The Way (feat. Mac Miller)", a catchy yet heavily sample driven rhythmic pop production. She rapidly accumulated fans by the hundreds of thousands and began working very hard on what would eventually become her first studio album, Yours Truly, which saw release in August of 2013. About 4 months later, Grande returned with a digital only Christmas inspired EP, Christmas Kisses, which received instantaneous critical acclaim. Similar critical acclaim came in April 2014 with the release of Grande's never before heard new single, "Problem (feat. Iggy Azalea)".

When "Problem" debuted on the Hot 100 with sales of 438,000 (the year's biggest debut thus far), Grande had solidified her status as a pop diva and stripped away any remaining Nickelodeon threads. She was shining and there was nothing anybody could do about it. Unfortunately for Grande, not all of My Everything really seems up to par with "Problem" and "The Way". Sure it shows more maturity and a lot more variety, but it doesn't seem to encompass one true body or theme. It's a bit too scattered. "Problem" was not a good representation of anything else on the album at all.

Relying on the strength of co-headliners like Iggy Azalea, The Weeknd, Nicki Minaj, Jessie J, and Zedd, My Everything falls a bit flat when it comes to solo performances. I mean why include "Bang Bang" if you're in the backseat the entire time? An additional slew of unneeded track samples further downgrade the quality of the album as a whole. What's the point of including a sample of Diana Ross' "I'm Coming Out" on "Break Your Heart Right Back (feat. Childish Gambino)" if its going to get hidden in the backbeat? It makes the younger generation confused and the older generation disgusted.

With that being said, there are some distinct highlights on My Everything. "One Last Time" (probably my favorite track other than the singles) blends the right amount of dance vibes and pop vibes, while supplying vocals that aren't too candy coated nor overly dull.

Among the other highlights are "Break Free (feat. Zedd)" (which was released as the album's second single), "Love Me Harder (feat. The Weeknd)" and of course "Bang Bang". Unfortunately, that short list of about 4-5 songs is composed nearly entirely of tracks that feature help from other artists, bringing several questions to mind. Most notably: Was this album rush released and filled with as many cheap collaborations as possible to distract us from the fact that Ariana hadn't actually grown that much 12 months? I'm betting on a yes.

I guess I should have known something was up when I wasn't impressed with the "Break Free" video:

"While the rest of Ariana Grande's music videos are far from perfect, the music video for "Break Free" borders on the edge of utter ridiculousness -- her worst video to date. The inspirations behind it -- original Star Trek episodes, space dominatrixes, Katy Perry's "E.T." video, Star Wars, etc. -- would normally all work together to create a strong final product, but the lack of originality and an interesting story line, combined with the fact that nearly everything in the entire video was developed on a green screen, make for a really uncomfortable and downright stupid video.
I understand that you can't actually shoot a project in space, but it feels like they spent too much time on Grande's appearance rather than the sets and plot itself. Okay, yes, she looks cute but then again when has she not?
Despite critical opinions popping up all across the internet, most of America has embraced the video for "Break Free" with open arms -- Ariantors have made sure of it. Once again, a terrible video will help propel a decent song to success. We needed another one of those."
I guess the same thing can be applied to the album. It has solid material, yet it also has some songs that sound like they were strung together randomly.

Overview: While My Everything is far from terrible, it lacks uniform and has a lazy overall structure. The over used samples and overly promoted collaborations make for an album that feels just a bit rushed. There are some notable and worthy highlights on the album ("Problem", "Break Free", "One Last Time", "Love Me Harder" and "Bang Bang"), but everything seems to lie on the shoulders of the collaborators, which is the exact opposite of what happened on her last album. Overall, the individual themes on My Everything are all pretty much clear, but when they're combined together, everything seems a lot hazier and the overall theme feels distant. There's too much going on. There's lots of pop, lots of r&b, lots of rap, lots of EDM and a lot of filler. It's solid, but at the same time its not.

Rating 71/100 (C-)

Album Review: "The Voyager" by Jenny Lewis

The Voyager by Jenny Lewis

July 29, 2014

(Warner Brothers Records)

To be honest, Jenny Lewis has never actually been on my radar, but with the release of her latest solo album, The Voyager, she's popped up for a reason that you'd never actually guess. Surprisingly, the album cover for The Voyager drew me to the artist. Further critical acclaim and strong word of mouth prompted me to give the album a fair chance. I guess some promotional tactics really do work better than others.

Jenny Lewis actually has a huge discography and musical past, which makes her eventual breakthrough story all the more entertaining. She's released six prior studio albums (only two solo albums proceeding the release of The Voyager), with most of them obtaining critical success. With that being said, the albums were much less successful commercially -- none of them broke past 30,000 in first week sales. With The Voyager debuting at #9 on the Billboard 200 with 25,000 copies, Lewis has proven to be both a solid artist, and have a solid fanbase. Even with the severe erosion of album sales in the United States (both digital and physical), and extremely limited availability in certain regions (there's notably a shortage of the album in the Pacific Northwest), The Voyager has actually outperformed most of its predecessors.

But what's keeping Jenny Lewis afloat (other than her album art)? The quality of her work.

The album's lead off track ("Head Underwater") offers up a decently enticing palate of strummed instrumentals bouncing around desert brushed rounds of gospel tinged voices. Unfortunately, "Head Underwater" does not open the gates of The Voyager in the right way. It feels like a forced effort that, while encompassing the themes and styles of the album as a whole, feels rushed and just downright uncomfortable.

With hopes bordering on disappointment, going on could break the entire album. Thankfully it doesn't.

As the album intertwines between the next several tracks, it progressively gets a whole lot better, with cuts such as "She's Not Me", "Just One of the Guys" and "The New You" being among the album's finer pieces. With upbeat, psychedelic, country twinged guitar solos "The New You" is not only one of the simplest compositions, it's also your typical empowerment track -- which isn't always necessarily a bad thing. "She's Not Me" feels like it could potentially become a multi platform radio smash, with components that feel both special and appealing.

 

Ending on a high note (and the collection's self titled track), The Voyager comes together as a unique experience -- a smoothie like concoction of jazz, soul, classical and pop music bursting at the seams with colorful, southern California styled loops and beats. It's not the most original thing you'll ever hear, nor is it exactly an indie styled collection. It's one of those records that will be a common go to disc for listeners that are ready to stare into the blue sky and soak up a boat load of feelings.

74

Rating (Out of 100)

Positive

Your thoughts on the new disc from Jenny Lewis? Let me know in the comments below.

Album Review: Laura Walsh's "Laura Walsh" EP

Well known for her stint on Gorgon City's massive #1 single, Laura Welsh just popped up out of nowhere with her debut release "Break the Fall". While the single has yet to officially crack the CDS Music Chart Hot 50, it is worth pointing out that the alternative tinged track was actually the track of the week at the end of June. Looks like her quick success has lead to even more. Her debut extended play (called Laura Welsh) has already made a whole bunch of waves since its quiet July 8th launch date. The 4 piece album sampler is the current iTunes album of the week. Included on the tracklist is "Break the Fall" and two other tracks for a heavily discounted price alongside a track called "Ghost", which is offered for the premium price of $1.29.

Rating (Out of 100)

Generally Positive

Album Review: Sanna Nielsen's "7"

Sanna Nielsen may not have won the 2014 installment of the Eurovision Song Contest for her home country of Sweden, but not to worry. She's still serving up new tracks by the boatload. Channeling her inner Celine Dion, Nielsen crafted her latest album, 7, mainly just this year. Recording sessions took place between the end of December 2013 and May 2014. The end result is one of the finest works by Sanna to date. Despite being only 9 tracks long, 7, is a nice volume of music.

The highlights range from the pop power ballad "Undo" (which ended up peaking at #1 on the CDS Music Chart Hot 50) to "Breathe" a fast paced pop track that shows a sunnier side of Sanna. "Rainbow" (the album's second single) is also an adrenaline packed punch that could wind up being another smash single for Sanna.

What sets 7 apart from other pop albums is immediately clear upon first listen: It doesn't try to hard, because its material is strong enough to support itself. "Undo" leads the pack in terms of vocal punch, with even live performances being extremely outstanding. "Rainbow" and "Breathe" are also huge standouts that have major potential. "Skydivin" and "Trouble" are among the more moderate tracks with "Ready" being the worst track (that's really not saying that much though).

While this album is kind of in the middle of the road for Sanna (it's a departure from her mainly Swedish discography while still capturing her voice in the style of Celine Dion lil her previous works), it seems like the right direction. For the most part, Sanna Nielsen gets it spot on (there are still a few tough areas), which makes 7 one of her most impressive albums to date.

Rating (Out of 100)

Generally Positive

Album Review: Trigga (Target Exclusive) by Trey Songz

Trigga (Target Deluxe) by Trey Songz

July 1st

(Atlantic/WEA International)

Trey Songz first really caught my eye with the release of 2010's Passion, Pain and Pleasure, which brought the rise of smash single "Bottom's Up (feat. Nicki Minaj)". The track eventually became his biggest hit in his career (to date) and is perhaps most famous for almost single handedly launching the career of Nicki Minaj, who has gone on to notch 20 Hot 50 entries since the chart's inception in early 2012. Still, that wasn't enough for me to really start taking a liking toward his music.

Then came August 2012, which brought his 5th album (properly titled Chapter V). The album spawned the hit singles "Heart Attack" (which peaked at #41 when the chart was only 40 positions long) and "2 Reasons (feat. T.I.)" which reached the top 40 and became my favorite track of his to date. At that point, I decided that Trey Songz would be moved onto my "purchase list" (a list of artists that I support and buy albums from).

When the lead single from Trigga (December 2013's "Na Na") was dropped, I was a little bit disappointed with the results, but decided to give Trey another chance as I was somewhat against "Heart Attack" (his previously released lead single from his 5th album). Thank god I didn't overlook Trigga.

Going into Trigga, I really had no idea of what to expect, but album opener "Cake" is more of a mixed bag than I had initially anticipated. It sure is a steamy, club ready track with pounding, booty smashing beats, but it really isn't much more than that. The lyrics feel lifeless, and the entire song feels like a tired train wreck that never quite got swept under the rug. Mediocre at best.

"Foreign" (and its official Justin Bieber remix) are doused in loads of auto-tune and somewhat dried over lyrical stylings, which make it an automatic turn off. The original is actually halfway decent, but the remix is just a waste of time: not only is sticking another artist on a track without changing anything else not a remix... Justin Bieber of all people. Really? Come on Trey. This is like a bird taking a dump on a terribly flavored ice cream; and no, I will not take it back.

The album's lead single, "Na Na", is definitely a major improvement over the first two tracks, combining elements of "2 Reasons", "Heart Attack" into a DJ Mustard produced club banger. Still, it can't help but feel like somewhat of a repetitive dud at times, and it bares way too many similarities to fellow DJ Mustard produced "2 On (feat. Schoolboy Q)" by Tinashe.

"Touchin, Lovin" is actually the first Trigga track that I full on respect. The lyrical matter is very similar to that of Enrique Iglesias' "Tonight (I'm Loving You)", but it's actually very refreshing to hear an R&B version of this type of track. Sure it's a touchy subject, but Trey's vocals, the smooth electro-tinged beat and Nicki Minaj's spitting verse combine for a great track. "Disrespectful (feat. Mila J)" is a respectable follow up track, an equally powerful track (it should actually be called a duet).

"Dead Wrong (feat. Ty Dolla $ign)" ended up being yet another perfectly crafted Trigga cut, with a more manageable rap verse (courtesy of featured artist Ty Dolla $ign) and a much more accessible beat that I had even thought possible for a song like this. I had some bad feelings going into this cut, but it turned out to be one of the album's better works. "Late Night (feat. Juciy J)" also goes into this category; I had mixed feelings, but it turned out to be one of the most outstanding tracks he presented on Trigga.

On the other hand, "All We Do" kind of invents its own song category. Is it a ballad? Is it a slow tempo, sexy R&B jam? I don't know. It is way too hard to tell in this case. Overall, it's a dull waste of space on an album that should be packed with punches and great beats.

Rating (Out of 100)

Mixed to Positive

Album Review: Don't Kill the Magic (Target Exclusive) by MAGIC!

Don't Kill the Magic - MAGIC!

July 1st

(RCA/Latium Records)

MAGIC! is one of those acts that you'll never really understand. All of a sudden, the Toronto based band popped up out of the blue with a single called "Rude" and a follow up titled "Don't Kill the Magic" (the album's title track). What's really odd, is that Americans tend to dislike Reggae themed tracks, but "Rude" instantly became a smash single. I mean of all the talents in Canada, this one  seems the most unlikely to breakthrough. 

MAGIC! is backed by lead vocalist Nasri Atweh, who is famous for mainly writing mediocre pop songs that never made it quite big enough (though his production on Chris Brown's F.A.M.E. resulted in a 2012 Grammy win). He has written and produced for New Kids on the Block, Cheryl Cole, Kat Deluna, David Guetta, Shakira, Cody Simpson, Vanessa Hudgens, Big Time Rush, Akon and Pitbull along with others such as Justin Bieber. That definitely worried me when I decided to go out and purchase the album. I was hesitant, but with a first week price tag of just $7, I decided to pick it up and give it a few spins. That was somewhat of a mistake.

Album Review: Hideaway EP by Kiesza

Hideaway EP by Kiesza

July 7th/July 22nd

(Island Records/Lokal Legend)

Kiesza is everything everyone looks for in a musician. She's fresh, she's talented, she's energetic, she's engaging... but does she have the ability to captivate? I wouldn't have started this review out with "Kiesza is everything everyone looks for in a musician" if she didn't. While it's not quite her full length debut, Kiesza's US Hideaway EP pulls out all the stops, staying strong throughout. Kiesza displays such a rich and interesting blend of styles in these 4 songs alone, something powerful superstars have a hard time with in the vast majority of their full lengths. The extended play's title track sounds familiar yet as inciting as ever, while follow up "Giant In My Heart" has an emotional twist that works surprisingly well with catchy hooks and infused melodies. "So Deep" displays a trace/dance quality that feels so unique and glamorous all together. The EP wraps with a piano and sting cover of Haddaway's dance sensation "What Is Love"; a picture perfect finish to a steadily displayed work of art.

Not only has Kiesza proven to the world that she's an elegant singer with a soft spot for funky deep house, she brings something fresh and new to the deep house game: a personality. While deep house is a grooving dance sub genre that's crawling with freshly baked hits, most of its familiar faces are invisible. Know what Jess Glynne looks like? If you're not living in the UK, then no, you do not. How about that girl behind Secondcity's "I Wanna Feel" and Duke Dumont's "I Got You"? She's not even credited for her #1 works.

Kiesza manages to deliver a small slice of  joy for everyone whether you enjoy dance, trance, deep house, covers, funky hooks, pop infused works, or all of the above. She's not giving everything she's got away either, so be on the lookout. The whole effort "sends a shiver up my spine". I'm looking forward to more.

Rating (Out of 100)

Critical Acclaim

Kiesza has not only showered us with hours of dancing, she's showered us with a brilliantly crafted EP that shows off a decent amount of what she's made of... saving a few surprises for later of course.

Album Review: Paula by Robin Thicke

Note: I normally would do a track by track review, but in all honesty I can't do so with this album.

After the massive success of his 2013 #1 hit single "Blurred Lines", Robin Thicke pretty much single handedly secured himself a spot among the greatest R&B/Soul performers of all time. His next single ("Give It 2 U") even became a success, and his appropriately titled (yet still controversial) Blurred Lines album debuted in the United States with 177,000 copies sold in its first week. That was good enough for a #1 bow on the album chart. Unfortunately, Robin Thicke got a little too big for his britches. Pictures and videos of him kissing other females (other than his wife) in public places spread like wild fires, and soon Thicke's conquered empire crumbled. He was left without a wife and got a sour reaction from "fans" and others in the music and entertainment businesses. Less than a year after the release of his highly successful Blurred Lines album, Thicke's thoughts from the past several months since his separation have been recorded, pressed and shipped to all your local stores under the name "Paula", in an attempt to rekindle his romance with his wife (Paula). Unfortunately, lots of people are skipping it (Billboard estimates first week sales to be 25,000 at most) and for good reason too.

Paula starts off with a 6 minute attempt at trying to be Justin Timberlake called "You're My Fantasy". Sadly, Thicke sounds more like a predator with vocals that sound like a poor man's John Legend meets Mariah Carey. It's a waste of time. Up next is "Get Her Back" (the album's lead single) which is a slight improvement... but to be honest its no enough of a fix to feel even halfway decent. The album's 3rd effort ("Still Madly Crazy") feels like a cheesy John Legend impersonation, and lacks much of any structure at all. "Lock the Door" is actually a decent track (I actually enjoy it), filled with '60s style female background singers and tingling beats. It's a little too personal of a display, but its the album's most impressive track so far. "Whatever I Want" feels like a reprise of "Lock the Door", but it doesn't work this time... it's just simply annoying this time around.

Despite the fact that "Living In New York City" has the reverse affect that all the rest of the album's other tracks have, which is odd because it really has nothing to do with Paula in any way, shape or form. It's confusing and mind boggling. Either way, it's still a mixed bag of a song.

The rest of Paula doesn't get much better than that. It's an unfortunate outcome that'll likely ruin his career. Paula feels too sappy, too painful and worst of all, too revealing. If you're trying to get Paula back, this was the wrong way to do it. If I was in Paula's shoes, I'd run even faster than before. What a waste.

Negative

Album Review: 1000 Forms of Fear by Sia

1000 Forms of Fear by Sia

July 8th, 2014

(RCA/Monkey Puzzle)

After being being exclusively behind the scenes for over 4 years, Sia Fuler is finally back with another new album titled 1000 Forms of Fear. The new release comes after Furler's writing stints on recent albums by Rihanna, Angel Haze, Eminem, Beyoncé and Christina Aguilera throughout the past 2 years. While her songwriting skills have churned out major hits for nearly all the artist's she's worked with thus far, Sia proves that she still has some powerful lyrics (and of course pipes) in her... saving some of the best chops for herself. Sia makes the business look so easy, ditching the slow jam inspired sounds that consumed her prior discography for fresh new powerful and slick pop jams all filled to the brim with simplistic (yet moving) lyrics.

1. "Chandelier"

It was hailed by TIME Magazine as the best Rihanna track released or meant to be released in 2014. Not only is that a hilarious joke (since Sia has written several hit singles for Rihanna, most notably her #1 hit single "Diamonds"), they're exactly right. "Chandelier" is a beautifully produce pop power ballad that mixes danceable beats, a cleverly crafted chorus, smooth verses and a feel good hook. Most importantly: the track contains a strong set of overlaying vocals. It was instantly one of my favorites of Summer 2014, quickly debuting at #11 on the CDS Music Chart Hot 50. It currently sits at #20 on the most recent current chart

2. "Big Girls Cry"
No it's not a jab at Fergie's massive hit single "Big Girls Don't Cry". Instead. its more of a different perspective of the same story. Interestingly enough, Sia's "Big Girls Cry" is undeniably simple, yet gets its message out there really quickly. Fergie's similarly titled release felt (and still feels) fuzzy and at times unorganized. Overall, with "Big Girls Cry", Sia proves that she can turn a fairly simple topic into a major track and most importantly... nearly everyone will love it. Here's what I first said in my review of the track taken from my most recent CDS Picks:

"While "Chandelier" was a major game changer, follow up promotional single "Eye of the Needle" fell a little flat when it came to overall quality. Thankfully, Sia's next release, titled "Big Girls Cry", is a much more interesting track." 

3. "Burn the Pages"
Rounds of bubbling and fizzing vocals pop up all over "Burn the Pages", with classical influences being clearly heard solid throughout. Filled with ghost like noises, a pop radio friendly beat and plain simple lyrics, this track dances across sub genres and styles, leaving you guessing at what's coming next. Best of all, it does it all without sounding like an awkward mess.

4. "Eye of the Needle"
Sia started off 2014 with a large bang. "Chandelier" opened at #11 on the CDS Music Chart Hot 50 in its debut frame (though it subsequently dropped the most positions in history in its sophomore frame) and currently still ranks in the top 20 as of this week (it climbs 21-17). Now, Sia has continued to tease her fans by releasing a new promotional/official single from her forthcoming 1000 Forms of Fear record (due out July 8th).

"Eye of the Needle" isn't anywhere near the level of amazingness that "Chandelier" clocked in at, but it really shows off her vocals and songwriting chops which have taken a break from mainstream releases (the end of 2012 was the last time period that was dominated by releases penned by Sia).

5. "Hostage"
This track really kept me on my feet the entire time. With its strong verses and hook, "Hostage" relies chiefly on these outstanding components to pull it together, as it lacks a complex structure. In fact, the chorus doesn't even exist (though that's not necessarily a bad thing in this case. It feels radio friendly, simple, easy to listen to and is easily one of 1000 Forms of Fear's greatest successes. It's among one of my all time favorites from Sia.

6. "Straight For the Knife"
After a piano dominated 30 second introduction, listeners were left pondering the possible outcome of the track: will it be fast or slow? Sadly, the iffy quality of "Straight For the Knife" throws that question directly in the trash. Who cares?I know I don't. The whole concept of "Straight For the Knife" is a strong one, so it's extremely unfortunate that Sia wasn't able to deliver something special and memorable this time around. It's the only song I dislike from 1000 Forms of Fear, but that's not even that bad.

7. "Fair Game"
This track is another disappointment. It's just downright creepy and odd. With lyrics like: "So go and challenge me, take the reigns and seat/Watch me squirm baby, you are just what I need/And I've never played a fair game, I’ve always had the upper hand/But what good is intellect and nerve if I can’t respect any man/Yeah, I want to play the fair game", it's hard to even call "Fair Game" a song. It's more of an overly detailed sex scene. It's a disturbingly explained picture that I (like most people) would not want to hear ever again.

8. "Elastic Heart (feat. The Weeknd & Diplo)"
It's a little disappointing that Sia took up a slot on her 12 song 1000 Forms of Fear album for a track that's been widely available from a variety of sources for over 9 months, but that doesn't mean that "Elastic Heart (feat. The Weeknd & Diplo)" isn't the perfect song. Built around an intricate trance inspired beat, "Elastic Heart" feels very Sia-like, as well as perfect for The Hunger Games, perfectly simulating the main character's emotions throughout the entire movie:

"I've got thick skin and an elastic heart/But your blade it might be too sharp/I'm like a rubberband until you pull too hard/I may snap and I move fast/But you won't see me fall apart/Cause I've got an elastic heart"

9. "Free the Animal"
Starting with a thumping, heart pounding introductory beat, "Free the Animal" quickly reaches its climax, with thin verses and much broader and extended chorus sequences. It's easily one of the album's more interesting inclusions, containing stuttered lines, a slick beat and a memorable chorus. It's a beautifully produced inclusion that feels like it could potentially end up conquering British radio if it's ever released as a single.

10. "Fire Meet Gasoline"
An explosion of piano beats and a strong set of vocals combine for a massive heated track that screams "play me!". "Fire Meet Gasoline" experiments with different singing styles that mix well with Sia's thick, accented vocals. It's not super original, but it's still a great effort that is incredibly catchy.

11. "Cellophane"
While "Cellophane" isn't nearly as strong as some of the other tracks on 1000 Forms of Fear, it's home to some of the most dazzling beats and lyrics. It's set apart from the pack as somewhat of a standout because it feels original, its unlike anything else on the album, and it feels like a ballad with a passionate twist. Unfortunately, it's not an instant favorite because it feels like the components of the track (while being stunning on their own) don't mesh in the same way that the structures of other tracks on the album do.

Still, "Cellophane" has Sia soaring sky high with her impressive vocal chords. It's definitely a grower. It will surely captivate your heart -- literally (you'll see what I mean when you listen to it) -- it just may take a few listens.

12. "Dressed In Black"
Wow! 1000 Forms of Fear closes with a stunning masterpiece. "Dressed In Black" starts off with a gentle twinkling beat, that quickly progresses into a monster, uptempo piece of pop perfection. The vocals and lyrics mesh together perfectly, with layered croons dominating the second half of the track in a brilliant way. Simply amazing. One of the album's best tracks, and while its unlikely to become a hit, it's likely to be remembered as one of Sia's finer moments for years to come. A great closer to an extremely strong album (thankfully, it's the longest song on the album).

Rating:

Overview: 1000 Forms of Fear proves that Sia has still got it. The Aussie performer -- who has penned many hits for shining stars -- did an excellent job writing this album... as well as performing it (there are very few who can accomplish such a feat). But what Sia does the best, is transform (and surprise). If anyone else recorded this album, it would be critically panned because first off, nobody (and I mean it) can sing or perform like Sia. She makes things most would find dull into beautifully executed cuts that are both pleasant to listen to and creative.

The entire album encompasses the central theme, and the low points are kept to a minimum. There's stories of pain, emotion, power, love and death -- something for everyone when you think about it. Additionally, the best two tracks lead off and close the album, which will help listeners through the whole effort.

While Sia may have scored her most mainstream hit to date in the US (#20 with "Chandelier"; #11 on CDS Music), she's not about to go mainstream. She's keeping true to her style, and trying to keep as low of a profile as possible (see album cover, May 19th Ellen performance where she literally kept her face in a wall during the entire performance).

Sia has created the perfect record. In fact, it has inspired me to attempt to do something new this summer: attempt to be as iconic and famous as Sia's hair.

Top Tracks + Quick Thoughts
1. "Chandelier"
2. "Dressed In Black"
3. "Big Girls Cry"
4. "Hostage"
5. "Eye of the Needle"
6. "Cellophane" (On first listen #9)
7. "Free the Animal" (On first listen #6)
8. "Burn the Pages" (On first listen #7)
9. "Elastic Heart" (On first listen #8)
10. "Fire Meet Gasoline"
11. "Straight For the Knife"
12. "Fair Game"

Album Review: In the Lonely Hour by Sam Smith

1. "Money On My Mind"
Kicking off a rather mundanely simple set with a falsetto baring pop production is a bold move -- and a good one too. While "Money On My Mind" is far from the perfection and upper reaches of In the Lonely Hour's most entertaining efforts ("Stay With Me", the acoustic rendition of Disclosure's "Latch" and "Leave Your Lover"), it's easily one of the albums most accessible cuts and one of the few that'll still be able to appreciate listen after listen after listen. It was already a success in the United Kingdom (#1 in January), and I'm willing to bet US pop radio will eat it up as well. It may take a while (as the gospel tinged "Stay With Me" is currently being shopped to domestic stations), but trust me, it's bound to happen.



2. "Good Thing"
The pain of a twisted and complicated love is always referred to in some way or another one an album, even in ways that you can't figure out (at times). But when a whole album is about a lonely heartbreak, it's hard to find a track that really stands out as truly outstanding when it comes to heartbreak. "Good Thing" is so so sad, it and its dripping instrumentals will reduce you to tears:

"I had a dream I was mugged outside your house/I had a dream in a panic you came running out/For a moment you were sure I'd die on you/For a moment I believed you loved me too/But life is never like this, and you're never strong"

3. "Stay With Me"
The spine tingling, gospel choir backed sounds of "Stay With Me" are both chilling and graceful at the exact same time -- even if that doesn't seem possible. The track navigates and shape-shifts through love brushed verses and rounds of choruses that feel like they could be sung at church congregation every Sunday without ever getting boring. Currently being shopped to pop radio, "Stay With Me" has become a runaway success for Smith, as well as his most successful release to date. And it makes sense too -- it's extremely catchy.



4. "Leave Your Lover"
In a world -- and by that I mean album -- filled with the pain of heartbreak and sorrow, it's odd to find a piece of music that actually asks the person in question to inflict pain on their lover and trade in for a new one. It's sad because the track is actually a great stand out on In the Lonely Hour, but the whole concept makes me uneasy. If you're spending the rest of your time gushing about how cruel love can be on a full length album, I feel it's not appropriate to inflict someone else with the same pain you're planning on babbling about for a complete hour. It's just cowardly and completely hypocritical. It's even more sad, given its one of the album's more exquisite offerings (in terms of sound).



5. "I'm Not the Only One"
There's no denying that Sam Smith can tell a vibrant, passionate, heart-wrenching story, but when you compare the bold and downright ridiculousness of "Leave Your Lover" to what you hear on "I'm Not the Only One", you get a sense of confusion. For those criticizing "Leave Your Lover" for being hypocritical, it's hard to still call Sam Smith a hypocrite by the time the end of strings and chords come to a bitter end in "I'm Not the Only One". Why? Because you've already forgotten about the previous track, and are engrossed at the possibilities of what's next to come.

I'll give Sam Smith one thing: he's surprisingly good at telling a type of story that he hasn't had much experience with.

6. "I've Told You Now"
The instant shifts between falsetto vocals and standard pop chords would normally seem a bit jolting or uneven, but somehow everything seems to snap and flow well on "I've Told You Now". It's extremely enjoyable to listen to whenever you're down -- and even includes a picture perfect ending. Unfortunately (or fortunately; depending on your point of view), the story seems a bit undeveloped, seeming to be open to interpretation. While that's not necessarily a bad thing, it seems odd to have one story that makes you think in a sea of clearly explained chapters. Smith croons: "I've told you now", but you can't help but ask him to at least explain what he's told his lover.

7. "Like I Can"
Sam Smith has voiced his opinion for immensely successful, fellow British singer/songwriter Adele many times before: he loves her and her music. What better compliment to a fellow artist than to rip off one of their most successful singles of all time, right? No. "Like I Can" is easily one of the album's shiniest moments. It's not stripped down, it's bold and its extremely catchy... courtesy of Adele. Now, I'm pretty sure everyone who had a hand in producing In the Lonely Hour would call this criticism of the track preposterous if they read this review, but I (along with a large group of others) noted that "Like I Can" sounds almost identical to Adele's #1 single "Rolling In the Deep" (in terms of the beat structure). It starts off almost the same, and progresses to include the banging of a drum within 3 seconds of when "Rolling In the Deep" does it (0:21 versus 0:24) and the chorus explodes around the sam time as well (0:40 versus 0:50 and 1:00). Hmm...

8. "Life Support"
Is it just me, or is there a sense of trap flavored music discreetly stuck right in the middle of the beat here? Okay that's just a bit odd. Anyway.... "Life Support" is just in the style of the album's other ventures, with an extra load of somewhat creepy falsetto. The entire chorus sounds like it was sung by a female ghost. Sorry to say it that way, but I could easily do without this mess.

9. "Not In That Way"
As the guitar strums in the background stay gentler than a tear rushing down a face throughout the entire length of the track, "Not In That Way" proves to me that Sam Smith does know how to sing. Sure, it's evident on other tracks as well, but not in the same way. This track feels wholesome, down to earth and completely naked. It feels more real, and gives the listener -- what appears to be -- at least somewhat of a true look at Sam Smith's life. It's both elegant and enjoyable.

10. "Lay Me Down"
What I don't understand, is how this wasn't well received upon release. It really makes no sense. "Lay Me Down" (Smith's initial lead single) is better than over 1/2 of In the Lonely Hour, yet nobody payed attention to it. Now, they're engrossed in an album that's of a worse quality. It's a real shame, because "Lay Me Down" could have easily become a hit if "La La La" had been released before it.

11. "Restart"
It's a decent way to start off the deluxe version of the album, but its not amazing. It works well in a cheesy, '80s euphoric way similar to Katy Perry's "Walking On Air" (minus the dance ready beats).

12. "Latch (Acoustic)"
This is actually really painful to listen to in full. It's tear reducing, gust busting and just pure grim. The oddest thing is that the original Disclosure produced track appears to be a feel good, party track about love. If you're reading to hear some true heartbreak (instead of an hour long whine), then "Latch (Acoustic)" is perfect for you. Sorry, it only comes on the deluxe edition of the album.

13. "La La La (feat. Naughty Boy)"
This track really does not fit the theme of the album, and feels just like a random filler that was both unnecessary and unwanted. It's a good pop song, but it gives off a mixed signal. Why include a complete swerve from the main road the album has already developed for the past 12 tracks? It makes absolutely no sense. And don't even give me that "Well he just wanted to put it for the longtime fans" crap. Everyone who intended to buy "La La La" already did so, and that's just that. If it was acoustic (like Sam Smith's other collaboration, "Latch") it would have fit into the pool so much better.

Rating: 70/100 (C-)

Quick Wrap: Sam Smith captivates with the promise of an interesting story and killer vocals, but there are too many blips and blemishes to accept it without ridicule. In the Lonely Hour proves that music designed around heartbreak and pain is profitable and sometimes easy to write... even when everything that comes along with it is completely fabricated.

Album Review: X by Ed Sheeran

1. "One"

Building on the sounds of his debut studio album (+), “One” tells the sweet melancholy story of a true love felt by Ed Sheeran and of course his lover. It’s a slow paced folk-pop infusion record that feels full of live yet incredibly delicate and sparse. I honestly think that every other singer wishes they could paint a story as vivid without trying hard – Ed Sheeran is one of the few that knows how to do time and time again.

2. "I'm A Mess"
Ed Sheeran goes for a much more acoustic approach, applying minimal effects to "I'm A Mess" (there's a guitar and a dash of a beat, but not much more). This stripped down track is even more bare boned than "One", which led the album off on a familiar note to satisfy his longtime fans (for those of you that recall +, the English singer's first album).

3. "Sing"

When “Sing” was first released as the album’s lead single, it sparked lots of complaints from the fans. Many claimed he was trying too hard to fit in with mainstream format, but if you listen closely to “Sing”, you’ll realize that Ed Sheeran isn’t trying to fit into a pattern, he’s trying to create his own. I mean honestly… when have you ever heard another innocent English singer/songwriter try his hand at a hip-hop inspired pop song. That’s what I thought… never.

4. "Don’t"

There’s no better way than this to get back at an ex-girlfriend who cheated on you: come up with a slick melody, make it catchy and of course, include all the juicy details. The concept of “Don’t” likely revolves around Ellie Goulding (who he briefly dated several years ago), but it feels like Ed had someone else on his mind when he came up with this one: Taylor Swift. T Swizzle (Ed Sheeran’s American best friend), who is notorious for not only being the only country artist with two albums that debuted with first weeks sales of 1,000,000+, is also well known for writing about all the people who “brake her heart”. I know it wasn’t his intention, but “Don’t” can’t help but feel like a punch in the face for Swift. Her best friend (who’s more junior when it comes to the music business) just created a single song that’s better than ½ of her break-up discography.

Lyrically, the song opens up about how this mysterious relationship started off slow but quickly took off until the couple was ordering pizza to-go, singing on Sheeran’s couch and spending a night in a hotel room. It also details how the relationship crumbled: she cheated on Ed with someone on the same floor of a hotel they were staying at. Ed sure knows how to keep it both sassy and classy.

5. "Nina"
Written with perhaps Nina Nesbitt in mind, Ed Sheeran goes all over the place about a love that ended just as soon as it began. It's both pop and hip-hop inspired (yet again), but takes a different approach on love. While "Don't" focused on cheating, "Nina" focuses more on not being able to connect with your lover. At one point, Ed even sings "You should go Nina/Cause I ain't never coming home Nina", a truly heart crushing line.

6. "Photograph"
When I first listened to this track, I got a really strong "Lego House" vibe (for those of you that don't know, that track featured on Sheeran's debut album; it's also my favorite track from that album). Unfortunately, "Photograph" still really doesn't compare to "Lego House" in terms of overall quality (and that's a bit of a shame). It is, however, nice to hear a piano for the first time on any part of this album.

7. "Bloodstream"

Let’s just start by saying this: it’s a disappointment. Why? Because it gets you all pumped up, but it turns out to be a dud. “Bloodstream” isn’t a bad song - in fact it’s one of the album’s better ventures – yet it feels over simplified. The verses and the pre-chorus make it feel exhilarating (by Ed Sheeran standards), but the chorus itself ruins the song. Ugh. It just bothers me for some strange reason. Ah…oh well.

But on a more positive note, "Bloodstream" does contain some of the most creative lyrics on X, and its overall structure trumps most of the albums other songs as well. A river of "mmmhhs" and a side of "ahhhs" wash over the base of the track in a melodic, end of the world fashion.

8. "Tenerife Sea"
The calming lullaby whooshes of "Tenerife Sea" are both soothing and heart melting. As the track progresses, it becomes perfectly clear: Sheeran is a master craftsman. As his voice weaves around a melodic guitar, the true essence of beauty and emotion are heard more clearly than ever before. It's not a game changer, or something you'll end up hearing on the radio, but "Tenerife Sea" will forever remain etched into the minds of listeners as a pure pop gem.

9. "Runaway"
Though this track didn't really strike well with me upon first listen, after several more plays, I began to enjoy it. With that being said, "Runaway" is still among one of the album's sinking points mainly because it feels a little lost in the sea of 'runaway' hit singles that surround this track (see "The Man", "Bloodstream", "Afire Love", etc.).

10. "The Man"

Built around a "boom-boom-clap" beat, "The Man" blends an very thick accented proper English free style rap with a clean cut chorus where we find Sheeran belting out: "I don't love you baby/I don't need you baby/I don't want to love you no, anymore. The track gives off a strong hip-hop vibe that appears to over power, but a closer listen reveals a meadow of folk-pop sounds echoing throughout.

The thing that really sets "The Man" apart from the rest of the pack, is its ability to feel both complex and twisted while remaining in seemingly safe territory for Sheeran (who's no beginner when it comes to the less is more concept). Additionally, it has a strong replay quality that'll help it find its way into the hearts of millions of fans around the world.

11. "Thinking Out Loud"

Just like Rixton's Jake Roche said on Twitter: "Just downloaded "Thinking Out Loud" by Ed Sheeran. I had a cry. A crouch down in the shower until the water runs cold kinda cry". There's simply no better way to put it, "Thinking Out Loud" really sounds like that. Drawing inspirations from a variety of male pop vocalists hand crafted for Adult Contemporary radio, the track is reminiscent of approximately 1/4 of Jason Mraz's discography (that's actually quite a bit). It is not a runaway success like "The Man" or "Don't", yet "Thinking Out Loud" still puts up a good fight.

12. "Afire Love"
Written with his late grandfather in mind, "Afire Love" is one of the most touching ballad styled tracks on the entire album. More importantly, it is one of Ed Sheeran's most prolific efforts from X, mainly because it stands out in the waves of hip-hop or folk-pop inspired tracks. Scratch the hip, the hop and the folk, because "Afire Love" is a pure pop gem with a solid chorus and monumental verses.  What's more touching than the song itself? It was lyrically completed at Ed's grandfather's funeral. Watch out for this one... it'll likely impact pop radio sooner rather than later.

Rating: 94/100 (A)
Certified Fresh

Overview: I definitely had a hard time giving this album a 94 (that's the highest I've given since I started doing reviews in November), but it feels right. Why? Because Ed Sheeran knows how to deliver something all audiences (not just average teenage girls) will remember and cherish for quite a while. Sheeran's debut studio effort, +, was set in a very subtle singer/songwriter fashion and was draped with dreary lyrics and snotty-Kleenex/bawl-your-eyes-out music (acoustic works, folk pop, and indie pop all in slow fashion). Follow up x is a huge departure from the Tumblr girl's favorite record sound of +. Incorporating more mature themes (songs written about actual relationships), new sounds (hip-hop flavored verses and pop radio styled hooks), and more people (notably Pharrell  Williams), is what really set x apart from +. I mean let's be honest: Ed Sheeran could have created a body of work worse than +, and it still would have sold millions. Luckily for him, x ventures to a mature enough mark to appeal to a broader spectrum of listeners, and it's also chalk full of interesting highlights.

From the tear welling "Afire Love" to the heart crushing "Don't", x has something for all kinds of lovers (and listeners).