All The Rowboats-Regina Spektor

All The Rowboats

Regina Spektor

Sire Records

It’s been nearly three years since any new material was released from American/Russian Singer-Songwriter Regina Spektor. And although reportedly penned back in 2005, it’s taken till now for Regina to release All The Rowboats, her latest single taken from upcoming album, What We Saw From The Cheap Seats. 

Don’t be fooled by the electronic opening segment, as after 20 seconds the song descends quickly into the fast paced piano led piece that it is. Chords spiral up and down the scale in an erratic and somewhat creepy manor, setting an overall dark edge to the song. More and more sounds are added on top, with swelling melodies and exploding percussions joining the mix. In fact, the song reaches a point when it’s close to becoming just noise, encompassing and covering Regina’s vocals more and more, louder and louder until she is finally drowned out by the orchestral sounds. It’s a dangerous point for a song to be, balancing between brilliance and bewilderment. Yet, Regina keeps the track beautifully held at this point with her voice acting as the centre piece, orchestrating the dark and quirky undertones around her. 

Admittedly due to its fast paced verses, it did take several listens to fully capture every lyric, word and note. But once this is done, true appreciation for Regina’s poetic style of writing can be taken. The quirky lyrics describe museums and their artefacts as “Just public mausoleums/The living dead fill every room”. Regina truly showcases her talent for song-writing, creating interesting and intelligent lyrics with dark yet enlightening edge. 

 

In the overcrowded world of the female music scene, Regina is somewhat of an anomaly. She doesn’t have the force or power of Florence And The Machine, or  smooth subtleness of Lana Del Rey. But what she does have is a certain sense of character and skill seen in only a handful of artists. Vocally she is strong, pronouncing every word perfectly, drifting from chorus to verse and back again with the slightest of ease. With everything together, this makes for a great ‘comeback’ track.

 4/5

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Magic Hour-Scissor Sisters

Magic Hour

Scissor Sisters

Polydor

 

“I'm very critical of our own stuff” says Jake Shears of the Scissor Sisters. “But song for song, this is our best album.” It’s a bold statement to make, especially to criticise three albums that have turned this US band from quirky New-Yorkers to international Popstars. But at the same time, Jake may have a point, with many critics believing the Scissor Sisters are still yet to recreate the initial pizzazz seen on their self titled debut album. So, they return with their 4^th LP, Magic Hour, aiming to bring the fun back to the Top 40. 

Baby Come Home bounds in as the first track on the album, and the second single to be released from it. Piano chords bounce brilliantly along towards a chorus with one of the best hooks heard from the Scissor Sisters since I Don’t Feel Like Dancing. Best described as retro pop, it does exactly what a first track should do: open the album and entice the listener.  Keep Your Shoes On follows and is clearly inspired by Pet Shop Boys and balances between the funky and the annoyance. On first impressions it’s easy to reach for the skip button and jump past this club track, but if you give it time, you will be rewarded. Sear’s high pitched style of singing will always get comparisons to  the Bee Gees, especially on tracks such as Inevitable. This beautiful ballad builds into a melodramatic crescendo and is a much needed break before lead single Only the Horses. Featuring the Midas touch of DJ and producer Calvin Harris, Sear’s vocals soars over stabbing synths to make one of the best tracks on the album. Ana Matronic, the only female member of Scissor Sisters and one the most understated women in pop introduces Let’s Have a Kiki, explaining a “Kiki is a party, for calming all your nerves”. This peculiar track mixes catwalk style beats with spoken verses to create a song that is bizarrely highly infectious. But as odd as this is, it’s nothing compared to the pop-rap-esque combo of Shady Love. This track mixes styles and artists, namely Azelia Banks (Of 212 fame) to create a song that isn’t like any other Scissor Sisters track. But that is something that Magic Hour shows about the Scissor Sisters. They can use styles that they would be advised to steer well clear of, and yet still manage to make a hit. The Secret Life of Letters shows their vulnerable and slow side, with a backing piano spiralling up and down the scales accompanying the almost poetic lyrics. It makes for a beautiful track, that arguably should be released as a single. But not all tracks could be, with Self Control being littered with sexual undertones, while F**k Yeah is much more obvious with its message! But that is, and always has been the Scissor Sisters way: Cheeky; quirky and fun. 

Whether this is the best album made by the New-Yorkers is still undecided. But what this fab four piece band has done has brought their unique style back to UK. A much needed return from a group that clearly enjoys making musical magic. 

4/5

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Your Song-Ellie Goulding

Ellie Goulding

Your Song

Polydor Records

The latest single from singer/songwriter Ellie Goulding is a reworking of Elton John’s classic 1970s hit, Your Song.  It comes from her latest album Bright Lights, which is a special edition version of her chart topping debut, Lights.  

The beauty is in the simplicity of this song, with Ellie’s soft and sultry vocals tunefully accompanying the backing piano and strings.  She manages to make this classic song her own, Ellie portrays so much emotion through her voice, and along with Elton John’s lyrics it manages to both raise a smile and pull the heart strings.

Your Song is being by the department store John Lewis as the backing music for their 2010 Christmas Adverts. The last time John Lewis used a famous British singer to cover an old song for an emotive advert was Billy Joel's She's Always A Women, covered by Fyfe Dangerfield. That reached No.7 in the charts, while the advert was viewed over 570,000 times on Youtube. 

Therefore it’s not surprising that, with the combination of Ellie’s beautiful voice and the regular TV airtime,  Your Song  has already been tipped for Christmas number 1 by the UK Press. That’s obviously ignoring who-ever wins the X Factor and their “Winner’s song” but its miles better than any auto-tuned X Factor reject anyway.  Because by covering this moving rendition of a classic, Ellie has struck Gould...Superb. 

4/5

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Bright Lights-Ellie Goulding

Ellie Goulding

Bright Lights

Polydor

Bright Lights is the deluxe edition of Ellie Goulding’s debut album, Lights, and contains all the original tracks as well as 7 brand new ones. The release of this special edition album rounds off a brilliant year for Ellie, which started with her winning both the Brits Critic’s Choice Award 2010 and BBC Sound of 2010. Then her debut album, originally released in March 2010, rocketed to the top of the charts, selling almost 40,000 copies in its first week. 

And it’s easy to see why the original album did so well. Guns and Horses kicks off the album, with its clever and entertaining mix of pop, eltro-sounds and even folk guitars.  Mixing a large number of sounds into one album is one thing Ellie does well, seamlessly creating her own sound from it all. Starry Eyed is probably one of Ellie’s most well known releases, and is definitely one of the best songs on the album, with its fast and upbeat chorus proving to be a hit.  However, it doesn’t mean that the rest of the album is made of ‘fillers’, with it also containing some strong romantic ballads, such as Wish I’d Stayed, This Love (Will Be Your Downfall) and the beautiful The Writer, that just oozes emotion and feelings. This emotion is portrayed in not only Ellie’s vocals, but also her lyrics which are soulful and personal, leaving Ellie singing with her heart on her sleeve. 

The ‘Deluxe’ portion starts with title track, Lights  followed by Human, both with slightly fantasy-style lyrics and catchy and memorable choruses. Little Dreams has a less of a folk-feel about it compared to other songs on the album, but still seamlessly fits in with every other track.  Animal is a much more ‘dancier’ track, with big base beats at a high tempo in the chorus, intertwined with chimes that are reminiscent of Florence And The Machine.  Home adds another notch to the emotional level of this album, with Ellie stretching her vocals to explain her love of home. The album is rounded off in style with Ellie’s cover of Elton John’s classic Your Song, which peaked at No.2 in the charts and was used by John Lewis for their 2010 Christmas TV Adverts. It’s a beautifully simplistic song, which ends the album on a slightly softer note.

Overall, if you didn’t catch Ellie’s album the first time it was released, then the extra tracks are even more of an incentive to get it on its second time round. Ellie has added to her already great album with some fantastic new songs, leaving the listener waiting for her next ‘full’ album. The future is already looking Bright for her...

4/5

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Who You Are-Jessie J

Jessie J

Who You Are

Island/Universal

After bagging both the BBC’s Sound of 2011 Award and the Brits Critics Choice Award,  a lot of hype has surrounded Jessie J. Born Jessica Cornish, she has already gained her first UK number 1 single, leading her to rush-release her debut album, Who You Are. After successfully co-writing hits for other artists, including Miley Cyrus’ Party in the USA (Love or Loathe It), Jessie J is finally stepping out into the spotlight to showcase her own vocals.

Price Tag kicks off the album and ,with its insanely catching lyrics, it’s easy to see how it scored Jessie’s first UK Number 1. It tells the story of how money doesn’t make the world go round, and how “We don’t need your Money, Money, Money” (No jokes about having to pay for the album though please...)  Nobody’s Perfect  is rumoured to be the next single to be released, while Abracadabra has somewhat of a Pixie Lott feel about it, with soft lyrics and a chorus that matches that of Katy Perry’s Teenage Dream. Big white room (Live) consists of just Jessie and a guitar, showing off her amazing range of vocals.  It’s an enjoyable acoustic ballad, but it is slightly ruined by the fact that it has been recorded live, with cheering and clapping included. It just doesn’t fit the rest of the album, and highlights the fact that maybe it was released too early and ‘unfinished’. However, on the other hand, it does show that Jessie is as good live as she is on every other recorded track. Casualty of Love is another pop-ballad crossover with very little instruments involved, allowing Jessie’s vocals to take centre stage. 

However, Rainbow sees a change for Jessie, with her mixing R&B verses with more soulful choruses. As if moving into the more sassy section of the album, Who’s Laughing Now is a cheeky number with Jessie poking fun at her past ‘Haters’.  The once YouTube-Artist laughs anyone who ever bullied or doubted her, as if to prove them all wrong. Do It Like A Dude follows and, although seemingly written by an angry child, it is packed full of attitude. Jessie’s sassy side is released, snarling her way to Number 2 in the UK Singles Chart earlier this year. This track manages to stick in your head all day whether you like it or not.  Mama Knows Best is reminiscent of Christina Aguilera’s Ain’t No Other Man that finds Jessie scatting and hollering over a big brass band. It’s one of the best tracks on the album, that oozes power and strength, both vocally and lyrically. 

From here on in, the album takes a slower turn, with all the attitude from earlier tracks being replaced by emotion. L.O.V.E explains how it’s about time to for Jessie to make a love-song. It is full of emotion and genuine love. Stand up, and title track Who You Are are both beautifully uplifting songs, that each have separate messages of how to be proud of, and true to, yourself.

Overall, it is clear to see that Jessie is musically multitalented. Sadly, there are moments where she nearly loses her originality, almost falling into the trap of sounding like other artists. But, it is still a very good album, with a mix of pop, R&B and ballads intertwined with Jessie’s strong vocals and lyrics. 

4/5

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Papi-Jenifer Lopez

Jenifer Lopez

Papi

Island

Jenifer Lopez is no longer just ‘J-Lo from the block’. After taking the lead in a string of hit movies and writing countless multi-selling albums, the 42-year old American artist is back with her latest album Love?. Taken from this album, J-Lo’s seventh, is her latest single Papi. 

If Papi sounds familiar in any way, then that’s probably because of the fact that the chorus was featured in the music video for J-Lo’s earlier single I’m Into You. Admittedly it felt a bit out of place in that video, consisting of only a 20 second clip that was used for Lopez to show off her dancing skills. Yet, this track defiantly wouldn’t feel out of place on a dance floor. 

The Latino beats and rhythmic drums open the track,  setting the tone for this massive dance anthem. Tribal beats are then mixed with pounding synths bringing this track into the modern age. Lopez’s powerful and fierce vocals then elevate the track. There is even a chance for Lopez to speak with pure Latin flare, creating a hypnotic effect on the listener. Although the lyrics are simplistic in places “Move your body, Rock your body...” it is this simplicity that makes the track so much fun, and a great song to dance to. This fun and upbeat feel carries over into the official video, which hilariously sees J-Lo being chased through New York streets by an ever increasingly large group of men, all wanting her affections. 

Overall, it’s not a track that will “define genres” or “change the face of music”. But it will raise a smile and make you determined to find the nearest dance-floor.

3/5

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The Shield and The Stone-Clare Maguire

Clare Maguire

The Shield and The Stone

Polydor Records

After winning “The Next Big Thing” at the Q Awards and being nominated for the BBC’s sound of 2011, Clare Maguire releases her next single The Shield and The Stone. Taken from her debut album Light After Dark, it has already been Radio 2’s “Record of the Week” and reached the UK Top Ten.

The track starts with a beautiful mix of strings and pianos riffs, and along with the pulsating percussion beat it’s this melody that instantly draws in the listener. The track is produced by Fraser T. Smith, who has worked with a huge amount of award winning artists including: Adele; Ellie Goulding; and Cee-lo Green to name but a few.  However, what really makes this song is Clare’s captivating vocals, which are full of both force and passion. Her voice is reminiscent of a young Annie Lennox, but with the power and might of Florence and the Machine. Clare appears to effortlessly hold the soaring notes with her smooth vocals, as she sings the gothic style lyrics about going through the heartache of ending a relationship.

With the lyrics, the enchanting melody and Clare’s vocals you’ll find yourself hitting repeat before you know it. 

4/5

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Secret Symphony-Katie Melua

Katie Melua

Secret Symphony

Dramitco Records

Katie Melua is a instantly recognisable British Singer-Songwriter, gaining in popularity ever since she debut back in 2003. Now from the singer who told us how many bicycles are in Beijing (9 million apparently) comes her latest album Secret Symphony. Released on the 5^th of March, it is Katie’s latest album since her UK No. 4 The House, released back in 2010. 

Gold In Them Hills starts the album with the familiar raspy tones that we have come to expect from Katie. Admittedly the lyrics do remind the listener of an old prospector (“There’s Gold In Them Hills”), but it is still a lovely song. In fact, the album is full of ‘lovely’ songs, with Better Than a Dream, the first single to be released from the album, and All Over The World continuing this theme. But all is not as happy in Melua’s world. The Bit I Don’t Get details the sudden break up of a long-term relationship. The lyrics are so emotive and powerful that you can almost feel the pain and confusion in Katie’s voice as she explains how she “Didn’t see the writing on the wall”. Moonshine sees Katie change her style, with the song having a distinct country and western feel to it. This American feel carries over into Nobody Knows You When You’re Down And Out. The smooth sounding trumpets allow Katie to wander into the New Orleans Jazz Scene, creating a beautifully intimate feel. So much so that the listener can easily picture Katie strewn across a large black grand-piano in a small and smoke-filled jazz bar. All this put together makes it one of the best tracks on the album. 

Like most other albums by Melua, the best way to describe this record is as “Mellow Pop”. It is an album that can play in the background, with Melua’s vocals floating from melody to melody, song to song. It’s not a bad thing, but several songs, including The Cry OF The Lone Wolf and Heartstrings, drift past with no memorable lines or noticeable tunes. Melua herself explained how “There is a simplicity to the album that I love” which is very true, with each song showcasing Katie’s unique vocal style perfectly. Yet the simple and beautiful sounds of Melua’s voice and lyrics aren’t for everyone. But Melua fans will love it, and the varying styles and emotions may gain her a few more this time round. 

3/5

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A Night Like This-Caro Emerald

Caro Emerald

A Night Like This

Grandmono Records

Joining Tulips, Clogs and Heineken Beer, Caro Emerald is the latest  export to come from Holland. Although she is only a rising star in the UK, back in her homeland Caro Emerald is something of a record breaking musician. Her debut album, Deleted Scenes From the Cutting Room Floor, has been number 1 in the Dutch Album charts for nearly 30 Weeks, and as of June 2011, it has been in the Top 10 for over 70 weeks! 

A Night Like This is taken from this Dutch debut album, which has been released throughout Europe following its initial success. A beautiful mix of Rumba and 1950’s rhythms make up this track, inviting the listener to sway to the beats and repetitive piano rift. Reminiscent of Michael Buble’s Sway, it is an upbeat and fun song with a wonderfully catchy chorus. Caro Emerald’s stunning vocals give this song a modern edge, and paired with the backing trumpets and guitar solo the track becomes effortlessly cool. Bringing back jazz and swing with a mix of pop is not easy, but it seems to come naturally to Caro Emerald, making this a Perfect song for a summer of lounging by the pool with a Martini (Weather permitting of course).

4/5

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Jar Of Hearts-Christina Perri

Jar Of Hearts

Christina Perri

Atlantic

Jar Of Hearts is the debut single from Philadelphian born singer-songwriter Christina Perri. Taken from her album Lovestrong, it has already become a huge hit in the States after it was featured on So You Think You Can Dance, even before Christina was signed to a record label. Following this, Jar of Hearts was covered on hit US TV show Glee, performed by Rachel Berry at the end-of-year Prom.

However, it could be argued that this would be the most awkward prom song ever. Jar of Hearts is an autobiographical telling of an ex-boyfriend who wants to get back together following a tough break-up. The repeated line of “Who do you think you are?” sets the tone for this emotive and powerful ballad. 

Perri’s style is best described as a ‘down-trodden’ version of Californian Singer-songwriter Sara Bareilles, with only smooth strings and stomping piano chords to support her raw and heartfelt vocals. Describing an ex-boyfriend as a “Collector of Broken Hearts” makes this a truly emotional break-up song with truly brilliant lyrics, making it hard not to weep for Christina’s shattered feelings. But Perri portrays so much power and force in her voice that it elevates the song into an amazingly brilliant debut track, that is sure to be an instant hit. 

4/5

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Body and Soul-Amy Winehouse and Tony Bennett

Amy Winehouse and Tony Bennett

Body and Soul

Sony

It’s always sad having to review an artist’s talents in the ‘past tense’. But Amy Winehouse had a one of a kind voice, which makes it even more upsetting that she passed away recently, aged only 27. Her final studio recording, Body and Soul, (released on what would have been her 28^th birthday) features a duet with Tony Bennett. The 85 year old legendary crooner has had over 30 charted singles and released nearly 70 albums over a career spanning nearly 60 years, and Body and Soul is taken from his latest album Duets II.

Body and Soul is a beautifully simplistic song, with very little backing instruments or vocals, allowing Winehouse and Bennett to take centre stage. Despite being generations apart, their voices match and compliment each other’s perfectly. Due to Amy’s distinctive singing style, it can be quite hard to catch some of the lyrics, as her vocals run together. However, along with her Bee-Hive Hair and many Tattoos, this unique style of singing became one of Winehouse’s trademarks. Ultimately, this track shows Amy back on top form, equal to her Back To Black era. The song comes to a crescendo end, with Winehouse and Bennett harmonizing the beautiful final line.

With all the proceeds going to the Amy Winehouse Foundation, set up by her Dad Mitch, there is no better send off for a songwriter, musician and voice of a generation. 

4/5

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21-Adele

Adele

21

XL

It’s been nearly three years since Adele released her debut album 19, yet it feels like it hasn’t been away, with both the album and track Make You Feel My Love recently re-entering the charts after an performance on X-Factor. Now, after wining numerous awards and accolades, including 2 Grammy’s and a Brit, the singer songwriter is back with her follow up album, 21.

Rolling In The Deep is the first track on this record, and also the first single to be released from it. It’s a song of epic proportions, with a great American-Blues feel about it. The foot-stomping beat and Adele’s soaring vocals make this a brilliant way to kick off 21.  It shows her sassy and strong side, as she responds to the hurtful words of an ex-lover. And this sassiness continues to Rumour Has It, with the cheeky lyrics complementing the thumping drums and catchy chorus. Turning Tables is the first of several slower, more emotional tracks on the album. It is the first time on the album that you can gain full respect for the wonderful voice that Adele has.  By using her own experiences in life, she is able to create lyrics that are moving and open, but something that the listener can easily relate to. So much emotion and soul is portrayed through this and the following song, Don’t You Remember, with her vocals almost quivering with sorrow.  

At the other end of the spectrum, I’ll be Waiting is an upbeat number that is reminiscent of some of  James Morrison’s early work,  with a huge brass band supporting Adele. Set Fire To The Rain is rumoured to be the next single to be released, and it’s a powerful track where Adele shows off her stunning vocal range. 

Somebody Like You tells the tale of coming to terms with a failed relationship, and it finishes the album with class and emotion. Similar to Hometown Glory from 19, it is breathtakingly brilliant in its simplicity of just Adele’s vocals and the backing piano.  It is a beautifully tragic ballad that ends an album that shows Adele has overcome the Second-Album-Syndrome, and produced a record that shows how talented, both vocally and lyrically, Adele is. 

5/5

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The Constant-I Blame Coco

I Blame Coco

The Constant

Island Records

The constant is the debut album by up-and-coming artist, I Blame Coco.  She is better known as Coco Sumner, and even better known as the daughter of Sting and Trudie Styler.  There is a large amount of hype surrounding Coco, mainly because of her famous family, but also because she signed a multi-Album deal with Island Records at the age of just 17.  Furthermore, she has recently supported La Roux on their 2010 UK-wide Tour.  Oh and she used to be a Burberry Model.  So finally, at the age of 20, Coco has released her much awaited debut, The Constant.

Selfmachine kicks off the album, with its mix of electronic tones and piano riffs.  The lyrics are intriguing and unusual, but in a good way.  Coco’s husky vocals compliment the uplifting backing synths, getting the album off to a good start.  It contrasts beautifully with In Spirit Golden which has Coco stretching her voice to reach some long extended notes.  Quicker is one of the best songs on the album, with its simple but clever lyrics telling about the “frustration of time”. Described by Coco as a “dance track with house piano” it has an easily memorable and upbeat chorus.  

One thing I Blame Coco does well is to mix dark or saddening lyrics with upbeat and uplifting rhythms and synths.  This is shown in a number of songs, including Turn Your Back On Love and PlayWrite Fate, both having an enjoyable and fun sound.  However, there are a few melancholic songs, such as the soulful and heartfelt Summer Rain. Coco also manages to avoid the usual clichés of some modern music, creating some interesting vocal delights.

No Smile was written by a 15-year-old Coco, and it has more of a reggae feel to it, even though it still contains dark and mysterious lyrics. Caesar was the first single released by Coco, which also features the vocals of Swedish Singer Robyn. It is a much darker track, with Coco spouting sinister and moody lyrics.  Therefore, it’s Robyn who makes this song, as her cool and soaring vocals compliment Coco’s husky tones in the choruses. 

Overall, I Blame Coco has created an impressive debut album.  It’s going to be tuff for her to make her mark in the music world, without someone constantly repeating who her parents are(Guilty as charged...). But this album shows how she is trying to step out from behind their shadow and to let her music do the talking, rather than family history.  It’s a promising start from a rising star...

3.5/5

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Doncamatic-Gorillaz Featuring Daley

Gorillaz Featuring Daley

Doncamatic

Palophone

Doncamatic is the latest offering from Gorillaz, and is the fourth single to be taken from their latest album Plastic Beach.  The title comes from a Japanese synthesizer that was made in 60s which is used on this record alongside the vocals of up-and-coming British singer/songwriter Daley.  

I’ve always been told that Gorillaz are an “acquired taste”,  where you either love them or hate them, and this is definitely shown in this song. Obviously Gorillaz fans will love it no matter what, but for everyone else looking into their ‘cartoony-world’, it may seem to be a bit of strange tune. The lyrics are very typical Gorillaz, with the usual random and meaningless phrases: “Close the white book/ unpluck the brain from the game/ Cause it's time to wipe out/ till the stars get on the fame”.  The record doesn’t seem to go anywhere, and the chorus isn’t very catchy or memorable.  

However, this song is wholly bad.  It does take a few listens to start to fully enjoy the song, but Daley’s vocals are pleasant and very easy on the ears.   Also, The backing techno tune created from the Doncamatic is different and edgy, and in fact it sounds like some sort of electronic bugle or trumpet, (if there ever was such a thing!). 

Overall, it’s not the worst Gorillaz song ever, but then again I doubt it would make it onto a greatest hits album.  The vocals are cool and crisp, but the lyrics leave you feeling lost and confused, almost marooned on Plastic Beach...

3/5

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Ceremonials-Florence And The Machine

Florence And The Machine

Ceremonials

Island

There’s no disputing that Florence and The Machine has an impressive set of lungs. Vocally, she was one of the biggest acts of 2009-2010, and her debut album, Lungs, took the UK music scene by force. It spent more than 12 months in the charts, selling over 3 million copies. Florence then spent the year frantically touring both the UK and America, modelling for Chanel and writing tracks for the Twilight Soundtrack. Somehow she managed to find time to write her sophomore album, Ceremonials.

Only If For A Night begins the album, and it’s a strong start. The sound is both similar and different at the same time, as if linking the end of Lungs to the start of Ceremonials. The booming piano  chords and backing choral groups set this album off well, showing how Florence hasn’t lost any of her Gothic-edge. Shake It Out follows with its epic and catchy chorus, with Flo repeating the title at full force. Lyrically, Florence has never been ‘mainstream’, and her dark, gothic-style lyrics and phrases are wonderfully intriguing and thoughtful. This is shown for example in What The Water Gave Me, a wonderful song with bizarre undercurrents of watery graves and drowning. Never Let Me Go is a beautifully stripped back song, with Florence revealing a insecurity and vulnerability in her voice. A surprising highlight of the album is Breaking Down, where Florence almost whispers the verses, instead of belting them out at full force. Although there is nothing wrong with Florence’s vocal power (In fact, it’s one of her best assets) it does make a refreshing change to reveal her softer side. Florence herself explained how Ceremonials is a more joyous album compared to Lungs, and this can be clearly seen on Lover To Lover.  A mixture of gospel organs, soulful choirs and stomping Motown-inspired backing beats makes this a stand out track. The American blues scene is a new sound for Flo which creates an upbeat, fun and fantastic song. All This And Heaven Too is another joyous track, detailing the language of the heart. 

No Light, No Light is rumoured to be Flo’s next single, and is another vocally amazing song, containing the albums longest note. It oozes pure strength, and is spine-tingling brilliant. Seven Devils on the other hand is a truly haunting song, and it starts to make sense why this album was released on October 31^st. Eerie strings and mystical repetitive piano keys create a stunning atmosphere while tribal beats and powerful choral groups feature heavily on both Heartlines and Spectrum. These massive 5-minute long anthems show how this album never lets up, never creating any fillers or weak tracks. 

The pure force, power and strength that Florence has both vocally and lyrically shows how she is a one-of-a-kind act, and how Ceremonials is a truly stunning second album. (And if you need more Flo, then a deluxe version of Ceremonials is also available, containing the epic anthems Strangeness and Charm and Landscape (Demo) as well as others.)

5/5

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Next To Me-Emeli Sandé

Next To Me

Emeli Sandé

Virgin Records

2012 is looking bright for Scottish born Emeli Sande, who is currently riding high from the success her own UK No.2 for Heaven as well as starring in Professor Green’s No.1 hit “Read All About It”. But it is not just commercial success Emeli is currently receiving. Her material released so far has caught the attention of critics and music moguls alike, having already been awarded the Critics Choice Award at this year’s Brits, as well as being nominated numerous times for Best Newcomer at various ceremonies. Her much anticipated debut album is due to be released in the UK on the 13^th of February, with Next To Me being the 3^rd single to be lifted from it.

The basis of this song is completely different to her previous singles Heaven and Daddy. Whereas Heaven had Sande’s voice soaring over an epic drum and bass backing, reminiscent of Katy B’s underground sound, Next To Me is a much more blues inspired piece. It is a purely piano-driven number, with a thumping drum-beat to accompany it. There are hints here of the American-Blues style that was seen on Adele’s latest album 21.(Emeli’s real name is actually Adele, but thought it best to change it!) However, that doesn’t mean that Emeli doesn’t have her own unique sound. Her soulful vocals intertwine beautifully with this new style, while the uplifting “Woo-Hoos” make it almost irresistible for the listener not to join in. 

Both musically and lyrically it is a fun and moving song that showcases Emeli both as a writer and singer.  If this pure musical talent transcends into every song on her upcoming album, titled Our Version Of Events, then it is surely destined for the Number one slot.

4/5

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