My round up of the new singles available for digital download this week.
Austin Mahone – ‘What About Love’
You know when your media player of choice stutters and you get that awful stuck sound? Well here it is matched up with the sound of an angry wasp and a thumping bass, to back up a Justin Bieber / Backstreet Boys / *NSync match-up. The off-putting opening aside, this is actually quite a perky 90s-sounding hit that sucks you in quickly. It’s just a shame it’s heavy electronic moments knock it down a few notches. Outside of the questionable production choices, this is an interesting retro-trip and a shameless pop hit that takes a Bieber-style but gives it far more intrigue. (7/10)
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Azealia Banks feat. Pharrell Williams – ‘ATM Jam’
2013 has certainly been the year when Pharrell Williams has come into his own with appearances on big scorers ‘Get Lucky’ and ‘Blurred Lines’ and a few other singles, and here he is again. Production wise it feels quite fresh with its simplicity and mixture of instrumental lines and effects, but it’s a song that’s not going to endear him any more to his female audience after his appearance on the rape-alluding number one and now this hit. Pharrell’s rhyming chorus has a certain catchiness to it but is far too repetitive, and Banks’ Missy-Elliot-impersonation appearance is boring and forgettable, and certainly lacks the spark she showed off on her famous debut hit. A disappointment from both artists. (4.5/10)
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Basement Jaxx – ‘What A Difference Your Love Makes’
Not much has changed as the Jaxx release the first single from their seventh album; their distinctive sound is very much present alongside their happy, perky ear for a tune. Fans of the DJs – which includes me – will enjoy the return and it slots nicely into their discography, but it lacks the killer hook of their huge hits that will make it as memorable. That said it’s still a pleasing track with a satisfying chorus and a summery feel, it’s just not that much of a remarkable entry into their hits book. (6/10)
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Chase & Status feat. Moko – ‘Count On Me’
The second single from their upcoming third album suffers from similar problems to Basement Jaxx: it’s a perfectly serviceable and listenable song with an old school feel, but it’s ultimately too average to really grab you. A more free-form half-way point freshens it up a little and the 90s-esque vibe certainly sells it, but it struggles to grasp hold of a killer hook. Still, the chorus is pretty catchy and danceable so it’s not a waste of disc space. (6.5/10)
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Crystal Fighters – ‘LA Calling’
The second single from their ‘Cave Rave’ album, following ‘You & I’, feels just as warm and joyful but perhaps lacks the stand-out tribal sounds off that other hit. But if you are after a sunny and uplifting number that even throws in a small rap that ties in nicely with the drum work and choral effects, then this certainly ticks the boxes. It’s not a hugely memorable number but while it lasts keeps a smile on your face. (6.5/10)
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Daley – ‘Broken’
The second single from his latest album, ‘Broken’ once more showcases Daley’s powerful voice. With a strong feeling of Naughty Boy and Emeli Sande déjà vu – which is not, of course, a bad thing – alongside a Massive Attack resemblance, it works some cinematic strings and 2013-style beats together into a slick number. Its power is undeniable and its Sande-sound will sell it on the radio, and proves to be his best number yet even if it feels a little indecisive on what its aims are as a song. (7/10)
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David Dallas – ‘Runnin’’
With a vinyl-distorted gospel backing taken from ‘I Got the New World in my View’ starting off the record, it half feels like a shame that it’s covered up by a rap, even though the rap itself is well done. ‘Runnin’’ itself feels very motivating and inspiring and balances its styles well and the simple chorus sticks with you. A good blend of styles holds it together. It’s not quite Mo Farah but it keeps the distance. (6.5/10)
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Dizzee Rascal feat. Will.I.Am – ‘Something Really Bad’
I wasn’t holding out much optimism for this track based on the lacklustre singles both artists have released recently, but it’s better than I imagined, thanks to a more Richard X-style production in parts on the record, especially around the spoken moments, and some quick-licks from Rascal. But there is a certain sense of over-familiarity here with the drum beat, subject matter and electronic chorus, and it lacks any cohesive idea as if they’re trying to throw as much mud at the wall in hoping that something sticks. If the rest of the song felt as interesting as the bridge it would be better, even though that itself is too recognisable, but it feels restrained by Will.I.Am’s tired-production-style and lack of any fresh ideas. (5.5/10)
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Hudson Taylor – ‘Care’
‘Care’ is a stripped back slice of indie with a retro sixties feel and is very listenable in its simplicity and the balance of two vocals lifts it up a level. There’s something very cool about the piece from its smooth vocals to its fast-paced acoustic guitar solo and then break-down, and it certainly eschews more enjoyment than some of the overproduced numbers released this week. Love the sound. (7/10)
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Jake Bugg – ‘What Doesn’t Kill You’
Jake Bugg is an artist that is the golden child of many reviewers but I’ve yet to see him recreate the magic of ‘Lightning Bolt’. After a handful of lukewarm singles, ‘What Doesn’t Kill You’ feels more like it, with an Arctic Monkeys sound flowing in between the record, even if it’s sung as if he’s desperate for the toilet and needs to finish quickly. The energy shown in the single is definitely addictive and the urgency works, though his squeaky-voice is not as likeable. Better, but lacking that ‘Lighting Bolt’, er, spark. (6/10)
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Jessie J – ‘Sexy Lady’
Following her high-pitched wailings on the ‘Domino’-esque ‘It’s My Party’, Jessie J at least calms it down here even if her falsetto does try to burst through now and again, though thankfully it eschews any talking moments. ‘Sexy Lady’ certainly wears its pop credentials well and has a repeatable, catchy chorus and plenty of attitude and some neat pop-guitar but it does feel like she’s trying too hard and drowning under too much production. That said, it’s very singable and feels like a strong companion to her last single, even if it lacks the darker attitude of her first album. (7/10)
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Justin Timberlake – ‘TKO’
Never one to do anything by halves with another 7min+ single, ‘TKO’ feels like ‘Cry Me A River’ 2013 sharing many of its styles, effects and the backing beat, but lacking the emotion or key memorable chorus. Though lacking the brilliance of ‘Mirrors’ from part one of this album – Trouser Snake’s only recent single to really win me over – this feels much better than we’ve had from him. It’s not a return to form, as it still feels like a sub-par song from his earlier albums and there’s nothing he does that, pun-aside, justifies the length, but it’s better than we’ve had recently with some interesting threads of production. A welcome return but I had enough by the three minute mark. (6.5/10)
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Kathryn Williams – ‘Heart Shaped Stone’
‘Heart Shaped Stone’ is an emotive, atmospheric ballad that might not be the most revolutionary thing you’ve ever heard but it’s a pleasant, touching number. It is smothered a little too much in the piano and strings backing but it’s a welcome distraction amongst the less enjoyable numbers of the week. A neat little number to chill too with a drink, I think. (6.5/10)
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Katy Perry feat. Juicy J – ‘Dark Horse’
Appropriately for the title this is a much darker song than ‘Roar’ with a thick, dark ominous-sounding backbeat with a much more of an ethnic sound and a much more adult sound than we usually get from Perry. It lacks the kick and catchiness of her recent number one – naturally, as it’s a difficult style of song, and it’s a little more formulaic than ‘Roar’, and Juicy J’s rap is serviceable and adds little to the record. It’s not a bad follow-up but lacks the killer moments that made her last number so good. (6.5/10)
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Maxsta feat. Little Nikki – ‘Wanna Go’
I’m sure I’ve heard ‘Wanna Go’ before but that time it had Rizzle Kicks and Olly Murs appearing on it. That similarity aside ‘Wanna Go’ is a bit of a mixed bag. Musically well done, the production-style works, but it’s got a lot of ingredients thrown into a relatively small pot. Little Nikki’s verse is a sunny additional to what is a pretty derivative track and adds a stronger flavour to the recipe, preventing it from getting too bland. In fact, I could listen to her for the whole record quite happily. The switch up of ideas three-minutes in adds a little bit of freshness, creating a fun, harmless enough pop number with a little bit of edge. (6.5/10)
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Mike Will Made It feat. Miley Cyrus, Juicy J and Wiz Khalifa – ’23’
Miley Cyrus continues her transformation from Disney darling to controversial artist with her appearance on this urban track though the most shocking thing about her presence is how she hasn’t administered quality control. ‘23’ is a boring, pondering clichéd hip-hop record with only Cyrus’ distinct vocals making any impact. Fans of the genre will lap it up but it’s nothing that we’ve not heard many times before, with the beats, themes and effects all very over-used. (5/10)
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Nelly feat. Nicki Minaj and Pharrell – ‘Get Like Me’
Oh it’s Pharrell again. And on ‘Get Like Me’, a Nelly track in which he overshadows the main artist, he sounds either bored or he just fancied whispering. Throw in another nonsensical rap from Nicki Minaj and a lacklustre, tired backing drum beat and a lack of distinguishing moments between Nelly and Pharrell, and there’s little to recommend. At least when Nelly was joining Florida Georgia Line he added some excitement to it. This is just yawn-inducing. (3/10)
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The Other Tribe – ‘My Girl’
‘My Girl’ is a funky, chill-out track with an enjoyable Caribbean feel to proceedings but it fails to really get your pulse racing. If you want to sit back on a break then this sets the mood but it’s a little pedestrian and leaves your memory after its last bars finish, and the keyboard riff is too familiar sounding. (4/10)
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Two Door Cinema Club – ‘Changing Of The Seasons’ (EP)
A new record not from their most recent album seems much more energetic and, well, listenable than what I think of when I think of TDCC. Built over a bouncy, ‘Satellite of Love’-style riff, the production from Madeon clearly has had a big impact and bodes well for them. ‘Changing of the Seasons’ doesn’t quite have the same effect elsewhere with a chorus that doesn’t particularly thrust itself forward but it’s a welcome change in sound for the group and I approve of their new direction, with poppy vibes that tick my boxes! ‘Crystal’, ‘Golden Veins’ and a remix of the EP’s title track complete the release. (6.5/10)
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