This week’s Single Reviews is a surprisingly positive affair, which is a rare occurrence. It’s actually quite unsettling. Rest assured, we’ll be back to our usual bitter outlook before too long. No doubt with the X Factor final in sight, it won’t just be back, it’ll be coarser than ever. But for now, enjoy this brief moment of optimism. Just don’t get too used to it...
We begin with
Katy Perry, who thankfully is keeping the smutty, unfunny innuendo to a minimum on the acceptably treacly
The One That Got Away. If you can overlook the “I’m-really-credible-honest” references to Johnny Cash and Radiohead, and unintentionally hilarious video, it’s actually a pleasing few minutes of midtempo melancholy that far outshines her seemingly endless torrent of cheesy underage disco fodder.
In the wake of the Westlife split, there’ll be a fair few surplus key changes knocking about the music industry – but fear not, as
Beyoncé has used literally all of them in
Love On Top. Go on, count ‘em, there’s like 19 or something. But it makes for a big, commanding track in what starts life as a fairly bland 80s soul offering, so kudos for managing to keep our attention and create what’s actually quite the head-turner.
We’re not big ol’ fans of re-releases round these parts, but five years (give or take a couple of months) is probably an acceptable amount of time between stabs at the chart, plus this take on
Rosé is a reworked version, so we can forgive
The Feeling. Stripped back to just piano and strings, it’s a more modest yet significantly more dramatic arrangement, and proves itself as a stunning piece of music the band have yet to top.
And we round things off with
Example, who grits his teeth for the expressive dubstep of
Midnight Run. It’s heavy but melodic, and does a good job in managing to convey such an intense level of sentiment over such busy beats, with the rap breakdown adding another dimension to proceedings. Tough competition on this particular round-up, but
Midnight Run is a well-deserved
Single of the Week.
We begin with Katy Perry, who thankfully is keeping the smutty, unfunny innuendo to a minimum on the acceptably treacly The One That Got Away. If you can overlook the “I’m-really-credible-honest” references to Johnny Cash and Radiohead, and unintentionally hilarious video, it’s actually a pleasing few minutes of midtempo melancholy that far outshines her seemingly endless torrent of cheesy underage disco fodder.
In the wake of the Westlife split, there’ll be a fair few surplus key changes knocking about the music industry – but fear not, as Beyoncé has used literally all of them in Love On Top. Go on, count ‘em, there’s like 19 or something. But it makes for a big, commanding track in what starts life as a fairly bland 80s soul offering, so kudos for managing to keep our attention and create what’s actually quite the head-turner.
We’re not big ol’ fans of re-releases round these parts, but five years (give or take a couple of months) is probably an acceptable amount of time between stabs at the chart, plus this take on Rosé is a reworked version, so we can forgive The Feeling. Stripped back to just piano and strings, it’s a more modest yet significantly more dramatic arrangement, and proves itself as a stunning piece of music the band have yet to top.
And we round things off with Example, who grits his teeth for the expressive dubstep of Midnight Run. It’s heavy but melodic, and does a good job in managing to convey such an intense level of sentiment over such busy beats, with the rap breakdown adding another dimension to proceedings. Tough competition on this particular round-up, but Midnight Run is a well-deserved Single of the Week.
No comments:
Post a Comment