My round up of the new singles available for digital download this week.
Amber Run – ‘Heaven’
Avicii meets Mumford and Sons meets Autotune in this cross pollination of genres. A slow burner, taking half of its running time to even touch on its chorus, fans of Coldplay and similar indie bands will seek refuge in this new material though it feels like it never really hits home with a big memorable hook, so just seems to fade away after a “chorus” that is all woo-s. It’s a nice enough indie song, with some smooth musical moments, but it’s ultimately pretty unremarkable until the a cappella ending. (6/10)
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Arctic Monkeys – ‘One For The Road’
Another month and another new track from the Sheffield rockers. The fourth cut from their fifth album is possibly the first that hasn’t fully grabbed me, relying as it does on a thick bass riff that, though well composed, steals too much from ‘Why Do You Only Call Me When You’re High?’. The falsetto calls of the song title and the accompanying impersonation of a train (!?) make this record, and the general feel and guitar breakdown make it a listenable number, especially when the pace kicks up a little, but it feels less grabbing than their previous run of quality singles. If you’ve enjoyed what you’ve heard so far then this should be a further convincing encouragement for you to buy the album. A good track that stands on its own as a listenable slice of indie, just not a thrilling single. (6.5/10)
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Avicii feat. Dan Tyminski – ‘Hey Brother’
The third single from Avicii’s debut album, that has so far spawned two huge songs, doesn’t take much of a departure from his winning formula. Definitely running with the motto of ‘it isn’t broke, don’t fix it’, ‘Hey Brother’ feels like ‘Wake Me Up’ part two, with its country-tinged verses from the distinctive – but autotune tweaked – vocals of Tyminski, over a minimal beat, a style that continues into the chorus before the trumpets come in. In defence of Avicii this is much better than what other dance DJs are doing, with the overall feel being much more real than computer generated, and the musical riff that becomes the focus feels much more credible and enjoyable. With a strong production and catchy elements Avicii continues to exploit his familiar template, but it still works. Unoriginal, but very good. Oh, and internet mumblings of comparisons to ‘Victory Celebration’ from Star Wars 6 are not entirely off the mark. (7/10)
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Bellowhead – ‘Christmas Bells / Jingle Bells’
Last coming to my attention with their excellent ‘Roll The Woodpile Down’, this familiar musical sound and distinctive lead vocals comes back here but with a more festive feel on lead track ‘Christmas Bells’. With an interpolation of ‘Deck the Halls’, this is a joyous number that will make you smile, even if it’s a bit messy as lots of ideas are thrown out at once, coming across as Pirates of the Caribbean meets a folk band meets the Pearl and Dean cinema riff. That said there are some witty lyrics and a genuine feeling of fun – and it’s constructed as a song to end the night with – with a nice shift at the end, and it looks like the band had a really good laugh. It’s not a Christmas classic, but very much worth a listen. They also have done a version of ‘Jingle Bells’ on the record. (6.5/10)
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Ben L’Oncle Soul – ‘Hallelujah!!! (J’ai tant besoin de toi)’
Last heard adapting the White Stripes before Marcus Collins blatantly copied the idea wholesale, Ben L’Oncle Soul is back with a new album. Sounding like a cross between James Brown and Stevie Wonder, this is a soulful, gospel-tinged number with a refreshingly retro sound. It lacks the immediate wonder of his most famous cover, but standing on his own feet here works. Short but sweet, with a raw sound, it’s actually pretty catchy thanks to its funkiness though the chorus isn’t quite as killer as it could be. (6.5/10)
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Catfish and the Bottlemen – ‘Pacifier’
Sounding like a cross between Robbie Williams and one of the Gallagher brothers, ‘Pacifier’ is a track that shifts along nicely but the gruff and meandering nature doesn’t pull me in as much as I’d hoped it would. The chorus kicks things up but the single just feels too distant and moany, and lacks that memorable moment, and the lead vocals are ultimately not my cup of tea. Lacking structure and rambling on for too long, ‘Pacifier’ doesn’t find its path and it’s not a song I can get on with. (5/10)
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Charli XCX – ‘SuperLove’
After the strangely addictive ‘You (Ha Ha Ha)’ and her appearance on the huge Icona Pop number one, Charli XCX is back with this cut from an upcoming new album. Far camper, faster and funkier than ‘You’ this is a really cracking tune, pulling you in with its fast tempo, handclaps, singable bridge and faster danceable chorus. With shades of Kylie Minogue’s ‘Wow’ this deserves to score highly on this week’s chart. Pop-dance at its best. (8/10)
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Chloe Howl – ‘Paper Heart’
Her debut ‘No Strings’ was an incredible debut and though follow up ‘Paper Heart’ doesn’t live up to the first its eighties-style funky musical riff, story-lyrics and the attitude and distinctive, loveable, vocals of Howl make for a successful follow-up. The chorus lacks the pizzazz of its predecessor but the song is definitely a grower and its multi-layered approach hooks you in. A promising follow up for one of the artists of the moments and after a few listens its pop-crossover appeal with get to you. (7/10)
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The Courteneers – ‘Are You In Love With A Notion’ (EP)
Joined by a remix and acoustic version, ‘Are You In Love With A Notion’ is a song that meanders for too long in its verses, which is a shame as the chorus is pretty sharp and catchy. A dark number, led by the vocal calls of the group’s lead singer Liam Fray, it takes a few listens to settle in and its lyrical storytelling is what will eventually win you over. Musically a little basic, it’s not their best single by a distance – they’ve never really matched ‘You Overdid It Doll’ – but it’ll please the fans and the indie crowd. (6/10)
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Faul and Wad Ad vs Pnau – ‘Changes’
Having now left Elton John alone in the recording studio, Pnau continues on his electronic road, teaming up with two more artists with unusual names to record ‘Changes’, a warm, summery number, but one that sounds in its opening minute like it’s either lift music or the backing soundtrack to a television commercial. Eventually the child-like vocals come in to add a bit more depth, and it settles in to be a gentle, progressive instrumental-led number, with nods towards the classic period of the Pet Shop Boys. It’s very much a casual, sit back and enjoy number rather than a piece that will grab you on the radio, but this slow burner works well and is a pleasing listen. (7/10)
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Fynnjan Leach-Verhoeven – ‘The Spirit Of Christmas’
Raising money for an autism charity, this is a song that nails the warmth and charity of the season, led by the cute, enjoyable voice of Fynnjan. With the support of good drum and piano tracks and a chorus, your enjoyment of the track will ultimately depend on your tolerance for overtly sweet lyrics and vocals. But it’s for a great cause and the young boy pulls the record off very well. It’s actually a better Christmas record than some huge established artists have done. Good luck to him. (6.5/10)
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Jason Derulo – ‘Trumpets’
The fourth single from his third album is ‘Trumpets’ built around a simple line created by said instrument and Derulo’s impersonation of them, coming across as more B.O.B. than his usual sound. Turning into a song whose lyrics are built on as many instrumental and musical terms he can think of, this poppier number than we expect from him injects a bit of freshness into his discography. It’s quite a fun track that doesn’t take itself seriously and offers something a little bit different and though it won’t blow you away lyrically, it’s a perky enough piece. (6.5/10)
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Jessie J – ‘Thunder’
I’m not sure what Jessie J is doing with the singles on her album. Just like ‘It’s My Party’, ‘Thunder’ is a great, building pop song with a singable, powerful chorus, but it feels just too high, as if the producer has accidentally knocked the pitch knob. Underneath the sheer unlistenable shrillness of the chorus, there is a great track screaming – high pitched of course – to get out. Luckily for Jessie J there is enough popability, sultry lyrics, tappable drum beat and catchy moments to pull it back from the brink and it becomes pretty singable. The best single so far off the album I just wish they’d scale back her shrillness which is just too much. (7/10)
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Justin Bieber – ‘Change Me’
And it’s the time of the week again where we hear the latest Bieber ‘Music Monday’ release and thankfully this is the ninth of ten. After the relatively enjoyable ‘Roller Coaster’ of last week ‘Change Me’ returns us back to the blander side of the releases, a slow stripped back piano-led number. Bieber gets a chance to show off his vocal range but he’s saying very little and after a sub-three minutes little has really happened. It’s OK rather than awful, bland rather than bad. Though it’s the only song this week where I’d rather listen to the YouTube advert before it. (3/10)
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Katy Perry – ‘Unconditionally’
The second single from her latest album ‘Prism’, ‘Unconditionally’ lacks the commercial hook and fun of ‘Roar’. That said Perry is on strong form with her vocals and the soaring chorus works well, though the length of the titular word feels forced into the piece. It’s a powerful number but it lacks the usual spark we expect from a Perry song though the mood set by the production works well and there’s plenty of oomph in it, which fits in well with the festive feeling around at the moment. (6.5/10)
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The Killers feat. Dawes – ‘Christmas in LA’
The Killers prove as festively chronologically reliable as ever with their eighth Christmas song raising money for AIDS charity Project Red. Sadly, the cliché of diminishing returns applies with their first festive four still the best with the last four being a little less guaranteed. ‘Christmas in LA’ is, though, better than last year’s thanks to its guitar work, Innuendo-style opening and memorable chorus, though Flowers feels like he’s straining at times, and Taylor Dawes’ vocals are not to my tastes. The story-heavy lyrics and touching accounts of a struggling actor do pull at the heartstrings and it’s very well written, but an interpolation of ‘White Christmas’ doesn’t quite work. It’s a grower and shows its good beats soon, but it’s a struggle as a solid piece that mis-fires as often as it works, though after a few listens it is more in its favour, but it’s not for everyone. (6.5/10)
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London Grammar – ‘Nightcall’
The follow up to the brilliant ‘Strong’, ‘Nightcall’ feels as evocative, sombre and beautifully produced but doesn’t have the same pull in the chorus. Hannah Reid’s vocals are gorgeous and atmospheric, and the backing music holds together in setting the scene, but it doesn’t come together in a stand out song, which is a shame. (5.5/10)
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Sigma feat. Doctor – ‘Rudeboy’
A drum and base track not connected to the Rihanna song of the same name, ‘Rudeboy’ is a fast-paced number with a few neat vocal hooks to keep you interested. It’s nothing particularly different to what you’d expect from the genre and the drum line seems a little fast compared to the slower pace of the Jamaican-influenced lyrics, but they somehow work together. The verses lack the immediate excitement of the chorus for the satisfying vocals are smooth and enjoyable. (6.5/10)
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Susan Boyle feat. Elvis Presley – ‘O Come, All Ye Faithful’
Susan Boyle teams up with Elvis Presley thanks to the power of technology on this straight up version of the classic Christian hymn. The counterpoint pitches of the two singers complement each other but outside of the novelty of the two acts singing together it’s not a particularly different version of the oft-covered song. It’s very well sung though, with soaring choirs and music, though Boyle does feel lost in the mix after that initial verse. (6.5/10)
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You Me At Six – ‘Fresh Start Fever’
And finally for this week this Fall Out Boy sounding number from their ‘Cavalier Youth’ album out next year ticks along nicely with a beat-perfect driving forward song. It fits too neatly into FOB’s sound to really be distinct enough with its own identity but it is a listenable slice of emo-rock that should please the Boy fans who didn’t like their supposed change in sound. (6.5/10)
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