For one week only my All Noise reviews will appear here - enjoy!
Aiden Grimshaw- Curtain Call
Another single from an X-Factor reject – this time from 2010 – is a Moby-esque pondering ballad with an Alt-J feel. The backing choir and the high-pitched chorus are highlights but it’s not a particularly strong or involving single and doesn’t really build on any of its elements. He has a strong voice but at times he sounds too sombre and bored. Has its moments and smooth enough for background music but it’s very middle of the road. (5/10)
Far East Movement feat. Cover Drive - Turn Up The Love
If you can imagine what a collaboration between Far East Movement and Cover Drive would sound like then you’d probably get this. With a nicely-sung but repetitive and off-the-shelf chorus from Cover Drive and a standard quickly knocked-up series of raps from Far East Movement, the pace change sounds like two songs shoe-horned together. It’s fun and summery but shallow and a carbon copy of everything you’ve heard by the bands so far. They try and throw in some hooks with the dubstep backing, clapping and the ba-ba-ba vocal bits but it comes across more as desperation. (4/10)
George Michael – White Light
Inspired by George Michael’s recent near death experience after suffering pneumonia, ‘White Light’ is a bit of an enigma to me. The more I listen to it the more I enjoy it but also hate other aspects of it. Musically the throbbing backing and Michael’s smooth voice work well but instead of making the single short and punchy the verses waffle on for far too long as if he had too many lyrics and not enough music to set them to. There are great moments in the song but they’re encased in some bad decisions such as the meandering verses and the track length. (5/10)
Honey Ryder - You Can't Say That
Jumping on the Lady Antebellum bandwagon, here is Honey Ryder with ‘You Can’t Say That’. But on jumping on the bandwagon they have created a catchy, country-tinged pop tune, with a pulsing drum track that carries you through the song. Sounding like Blondie meeting Shania Twain and having drinks with Fleetwood Mac the mix of vocals and perky feel make this is a summer winner. The bridge perhaps loses focus a little but it comes back with the enjoyable chorus. (7/10)
Jason Mraz - 93 Million Miles
Jason Mraz’s latest single isn’t a million miles away from his standard formula but lyrically and thematically this is perhaps his best song, certainly up there with ‘I’m Yours’. There’s something heart-warming about the subtle rhyming and the shifts in pace as the lyrics are delivered. Sit back with a drink and enjoy this perfect slice of chill-out summer pop with a touching life-affirming message behind the lyrics. Or something like that! (7/10)
Lemar – Invincible
On first listen I would never have guessed this was Lemar. Sounding more like ‘The Wanted’ this will, though, cement Lemar as one of the few credible artists to emerge from a reality show. With a verse as powerful as the chorus, but with both immediately grabbing you, the song is also supported by a rousing orchestral backing and drum beat. This is another song that, though not an official Olympic song, is pretty much the soundtrack to a television highlights package. Excellent comeback from Lemar. (8/10)
Noisettes - That Girl / Winner
After second album track ‘Don’t Upset The Rhythm’ set the world alight after being on that car advert, supported by two other top class singles at a similar time, they’re back after a three-year gap with this double a-side. ‘That Girl’ mixes the style of ‘Never Forget You’ with ‘Wild Young Hearts’ with a retro fifties feel ala ‘Poetry In Motion’ – with modern reference thrown in for good measure though. If you enjoyed their previous material then you’ll love this catchy pop tune with some smooth laid-back lyrics delivered in the band’s familiar but retro enjoyable style, made even more fun with the mid-way introduction of some competing male vocals. ‘Winner’, at least the third song recently with this title, is a much bigger move away from their traditional sound and much more uptempo than the first side. As strong in a different way with a bigger focus on guitar and an Olympic-style chorus, a singable bombastic alternative to the calmer first track. Separate both songs are worthy singles, together this is an unbeatable double-package this week. (8/10)
Paloma Faith - 30 Minute Love Affair
The second single from her second album, ’30 Minute Love Affair’ isn’t a massive leap in sound from ‘Picking Up The Pieces’ – in fact could be seen as part two of that song – but it’s a formula that works and this follow-up, kicking off with the short, emotive chorus, is another story song set to a simple but appealing backing. The building bridge really sets up the chorus, which works throughout the song. It’s not particularly revolutionary compared to her previous material but another strong single from Paloma. (8/10)
Porter Robinson – Language
And now for something a little different, with a slice of electro house. A mostly enjoyable three-and-a-half minutes with a memorable riff and a pleasant surprise in the form of some vocals two-thirds-in. The first minute of laid-back piano does lead into a section that doesn’t work as well with too many alarm sounds to hold it together, but it soon finds its footing again. Though the riff may sound a little like the theme tune to Teenage Mutant Hero Turtles slowed down it’s an above average tune in the genre and a definite grower. (7/10)
Red Hot Chili Peppers - Strange Man / Long Progression
The first of the special singles released by the band consisting of two songs not included on their latest album. ‘Strange Man’ is a serviceable song with a guitar track and sombre bridge, and to some extent the chorus, that saves it from obscurity, and isn’t so bad that I couldn’t imagine it being on their album. The “adlib” vocals on the track add to the tune and, though I’m not a big Peppers fan, this would be a song I’d like to hear if I was. ‘Long Progression’ is the weaker of the two tracks and doesn’t quite flow as well in parts, but has its moments for fans and, of course, non-fans, with the building chorus becoming quite catchy. For two b-sides thrust into a package this is actually enjoyably strong. (7/10)
Rita Ora – How We Do (Party)
According to Wikipedia this song has thirteen writers and two producers. And to be honest I’m not sure what they were doing apart from sampling a Notorious B.I.G. song called ‘Party and Bullshit’, two things that the song has in spades. It’s Rihanna-esque with smidgens of Avril Lavigne and has a distinct party-style and though the verse promises something the bridge and chorus are overtly generic. It’s standard pop with smatterings of autotune and sub-par lyrics, but that annoying catchiness that battles against its shallowness. It’s enjoyable while it lasts but you’ve heard it all before. (6/10)
Spector - Never Fade Away
After the amazing ‘Celestine’ I have high hopes for this single. Initially released as their debut single before being re-issued, this is sadly not up to the quality and appeal of their previous track. There is though some great guitar work and drumming but the overly repetitive opening and chorus make it less imaginative than their last one, though it does hit you by the end of the song with a welcome clapping ending. It is a grower so give it a few listens but I wish there was more to the chorus (7/10)
Trey Songz – Simply Amazing
It’s always dangerous naming a song that could be used against them by reviewers, like the musical equivalent of ‘Superbad’. And, yes, I will use it. This isn’t ‘simply amazing’. With a spoken opening and particularly cheesy lyrics, it could easily be taken as a spoof on first listen, but it’s serious. Like a sub-par Usher tracks, it’s perfectly OK but it’s not going to blow you away. (5/10)
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