Posts Tagged ‘artwork’

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Christina Aguilera – Bionic. (album review)

June 14, 2010

As you can tell from my current blog layout, I am very much feeling the imagery of Christina Aguilera’s current Bionic era.  It’s fierce, severe and pushes the envelope.  Artwork such as the front cover (above) and other graffiti-inspired cyborg manipulations handled by D*Face push the envelope and also serve to symbolise Christina as human machine which creates fine music hence “Bionic”.  Various analyses of this robotic imagery could be and have been made: on the one hand, Christina Aguilera in her superhuman form triumphs over all her competitors and makes superior , near-perfect music because she has this bionic element to her; on the other hand, as part-robot, Christina can only ever produce a facsimile of what music is supposed to be, while never quite getting close enough to the organic, human qualities in music that elevate it beyond the calculable – qualities which cannot be quantified or mechanised.  In Bionic, as in life, the truth lies somewhere between these two opinions.

Bionic the album is a long listen – 18 tracks in its standard version, 23 in its deluxe (with iTunes bonus track “Little Dreamer”, a likeable but throwaway confection, making a grand total of 24).  I’ll dispense with the additional 5 bonus tracks first: they are, by and large, bonus tracks for a reason: either they are not strong enough to be considered for the main album (“Monday Morning” is pleasant but lackadaisical; “Birds Of Prey” is lyrically mysterious and interesting, but musically and vocally it’s too much mainstream dance that Kelis would do a lot better with on her current Flesh Tone project), or they don’t fit thematically with the empowering / sexual / carefree / mature feel of the album.  “Bobblehead” is a thrilling production that stutters and races to its climax with the wonderful lyric: “I never play dumb to get what I want / and always come out the one that’s on top”; however, its main hook is a nonsensical mumble that may be the point of the lyrics, dissing idiot girls who dumb themselves down and preferring to deploy her own intelligence, but it’s still a nonsensical mumble which fails to use Christina’s vocals to much effect.  “Stronger Than Ever” is a ballad that is lyrically strong (and embodies my current struggle with my parents) and vocally able, but it just lacks that something.  “I Am (Stripped)” is a lovely album closer but is a more acoustic version of one of the main album tracks, and so it’s understandable why it’s relegated to bonus status.

So, to the main event. To my ear, Bionic moves in three arcs.  In its first, it goes for the jugular with relentless, futuristic uptempos; it then cools down into a sensuous, emotionally vulnerable, mature ballad section; finally, it picks up again for a closing triad of uptempo songs that epitomise fun.  While it’s possible that the album could be trimmed down to make a more concise, compelling listen, it flows very nicely throughout and only has a couple of stumbling points.  Christina Aguilera said that she wanted something which sounded futuristic, but with elements of the organic; something which integrated her new emotional maturity as a mother with her desire to remain playful and sexy.  On this point, she has succeeded: Bionic has elements of all of this.  Tracks such as “Bionic” and “Elastic Love” incorporate computerised effects to distort Christina’s voice, along with buzzing, whirring productions that sonically embody the bionic cyborg face of her album cover. However, on tracks such as standout “You Lost Me” and “All I Need”, Christina is stripped of the musical gloss of the faster tracks to be backed by little more than a piano.  “All I Need” is also a touching, mature tribute to her son, which nicely avoids being mawkish or saccharine like Britney Spears’ unlistenable “My Baby” from Circus.  Finally, sex is all over this album, and from the enticing “Woohoo” to the seductive “Sex For Breakfast” (which I have yet to play for my boyfriend, but when I next see him in July, I am using this song on him!), it’s explicit without being pornographic, edgy without crossing that line.  In this respect, the Christina Aguilera of “Dirrty” is still present, knowing how to be provocative while still being musically relevant.

However, in the video for “Not Myself Tonight”, Xtina makes her return and perhaps pushes the envelope a little too far.  S&M get-ups, Madonna tributes aplenty, and bisexual flirtations are almost par for the course at this point, and Christina Aguilera is more than entitled to use them considering her influence on current female artists in the mainstream over the past 10 years.*  However, although “Not Myself Tonight” is an understandable choice as Bionic‘s lead single considering its radio-friendly sound, it’s not futuristic and it’s not exciting enough to merit the edgy, sex-fuelled imagery.  Rather than hookless, it sounds like a bunch of hooks jostling together for attention over a dance beat (which has a couple of exciting tribal flourishes), the result of which means that sometimes the song sticks, on other listens it doesn’t quite get there.  A better first single might have been the thrilling, soaring title track, or uptempo album standout and follow-up single “Woohoo”, on which Xtina extols the virtues of good oral sex, recruits Nicki Minaj for a fine rap segment, uses her vagina (the titular “Woohoo!”) for a cowbell, and tops it off with a throbbing, buzzing dance break coda for good measure.  Along with “You Lost Me”, “Lift Me Up” and album closer “Vanity”, “Woohoo” is an album standout where all of Christina’s chemical ambitions for Bionic come together perfectly to produce some exemplary pop.

Bionic itself has no bad songs, but there is some filler: “Prima Donna” comes at the end of the first album arc of jugular-ripping uptempos, and is the weakest of them, with little lyrical know-how or production excitement to give it its own identity after the tracks preceding it.  “My Girls” is a ‘riding in the car with your top down’ sort of song, but comes off as fluffy compared to the album’s meatier offerings: although Christina proves (responding to criticisms that she oversings) that she can vocally restrain herself on songs such as “Elastic Love” with its amusing and witty stationery metaphors, and the tender “All I Need”, “My Girls” needs the vocal melisma to give it some spark; as it stands, it’s a little too laid back.  Nevertheless, 2 out of 18 songs (or 15, excluding interludes) is not bad and perhaps a better result than I was expecting.  Sure, several songs on the album are not immediate: “Glam” takes a few listens to hit its stride with its subtle, fibrillating beats and “Vogue”-esque spoken-word verses, while “Vanity” initially startles the listener with its unbridled use of the word “bitch”, references to Christina making herself “wetter” before marrying herself as her “lawfully wedded bitch” and effectively giving the finger to everyone who doesn’t have such bravado.  Only by the song’s end (and possibly a couple of repeat listens) does it sink in that the track is a storming highlight, a perfect album closer, utterly hilarious and ridiculous (and knowingly so), with a vocal flourish that knocks all competition to the floor before her son’s voice confirms all suspicions: his mother really is the shit.

At the end of the day, it’s this kind of confidence that makes Bionic a great success – Christina Aguilera believes that she rules the world, and this kind of ambition almost single-handedly propels her music to heady heights.  It’s a new page for Christina, and she’s secure enough in her ability to try different things: the mélange of styles is a little disorientating until repeated listens expose the subtleties and intricacies in her vocals, lyrics and the songs themselves.  “Lift Me Up” is another beautiful, soaring track that was slightly superior in its stripped down live version performed on the Haiti telethon, but still thrills within the album.  “I Am” is a declaration of humanity, imperfection and adulthood that lends substance to the polished sheen of Bionic‘s robotic side, deployed confidently, efficiently and effectively for example on clubsong “Desnúdate” (which neatly remembers and includes Christina’s Spanish-speaking audience and heritage).  If Christina experiments with textures in her voice, sometimes preferring subdued rumbles to soaring melismas, she still shows that she can do both better than most other female artists.  At the end of the day, Christina Aguilera is an musical artist with a personal and professional vision that she fulfils 85% of the time.  Her misfires are excusable and never in poor taste so much as merely a little bland or inconsistent – in time, Christina will learn to totally excise these from her projects.  Most importantly, while some of Bionic indeed caters to current mainstream tastes and is hardly an obscure sonic revelation, the majority of it is interesting and thrilling, and rings true as Christina Aguilera’s own personality and intention which doesn’t give a fuck about current radio trends (in my opinion, less than half of Bionic would get spins on mainstream radio).  For this, her sales might suffer, but her artistic integrity remains intact and hopefully the mainstream radio audiences and buying public one day will catch up.

* I’ll address this once and only once: anyone who thinks that Christina Aguilera is copying Lady GaGa is a) suffering from memory loss and should go back to Christina Aguilera’s last two album eras which were mired with controversy and blazed with exciting fashions and imagery, b) suffering from hearing loss as Christina can sing GaGa – and pretty much anyone else – under the table, c) has no respect for what Aguilera has achieved over the past 10 years – while GaGa has had a fantastic 2-year run and displays much potential (her music and videos are definitely getting more intriguing), she’s still only been around 2 years and more respect should be shown to anyone who successfully completes a decade in the music industry, and d) completely overlooking Gwen Stefani, whose hairstyle Christina mimics in her “Not Myself Tonight” video, and whose image, sound and career Lady GaGa has borrowed liberally from, mixed with a bunch of fashion designers, and passed off as her own to those too young, too unaware or too amnesiac to know any better.

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Rihanna – Rated R. (album review)

November 14, 2009

Here is the album review I promised on my twitter yesterday!  Before I start, once again I want to thank you all for supporting my blog, both my music reviews and my personal entries.  I really appreciate all the views and I hope that you’ll keep it locked here because I ain’t stoppin’! 🙂 Thankyou.

You already know what I think of Russian Roulette, and the other 3 songs we’ve heard already from Rated R.  Generally, they portray a darker, edgier side to Rihanna, both in the production (deeper, more menacing beats) and lyrical content that includes a bit of cursing, a lot of swagger and references to pain, trials and tribulations.  “Russian Roulette”, “Wait Your Turn” and “Hard” are more or less indicative of the album as a whole.  In contrast to her previous smash Good Girl Gone Bad, it’s a lot less uptempo.  The songs are mainly midtempos and ballads, which may alienate a lot of fans who want her faster, danceable material (though “Hard” and “Rude Boy” cater to these needs, and do so well with swagger lyrics – the latter seeing Rihanna come on to a ‘rude boy’ as if she were the guy who is gonna “put it on you”).  However, the slower material allows for two major things: one, to prove that Rihanna can actually sing.  Okay, she’s no Beyoncé, but she holds her own a lot better than many people might expect.  “Russian Roulette” and closing standout “The Last Song” don’t employ lots of vocal runs, but they emphasise strong, clear vocals that prove Rihanna’s got a voice as well as a body – btw. the artwork for this era is immense! – and also go well with the more emotionally searching and vulnerable material.  Two, it allows for Rihanna to delve into her pain, and although it’s never made explicit that she’s referencing her love, abuse and love lost with Chris Brown, songs such as “Stupid In Love” and the epic “Cold Case Love” immediately bring that whole affair to mind.

Not every song is concerned with love lost.  “Te Amo” is about a girl who’s infatuated with Rihanna, and its undulating beats have been beefed up slightly on the album version to make it more hypnotic and possibly (along with “Rude Boy”) the song that would have slotted in nicely on Good Girl Gone Bad.  “Rockstar 101” is backed up by Slash’s guitar work and like “Hard” and “Wait Your Turn”, it demonstrates Rihanna’s confidence in herself – something she perhaps wants to emphasise.  She is fierce!  However, compared to some of the other tracks, “Rockstar 101” falls somewhat flat, as it doesn’t have as much depth as the emotionally-charged midtempos, nor does it ring as true as the harder-knocking songs.  It does demonstrate that Rihanna is not an urban artist – she’s a pop singer who encompasses a range of music. On this album, she combines elements of rock, pop, R&B and melds them together to create a dark album that works for the most part.  And credit goes to her for trying to improve on each album – like Good Girl Gone Bad, the amount of filler on the disc is fairly minimal (in contrast to her first two records) and she’s tried to do something different that has evolved as she has as a person.  So I must applaud that.

A couple of the ballads such as “Stupid In Love” and “Photographs” (which benefits from will.i.am’s synthed beats that kick in midway) are perfectly solid, but pale in comparison to the best tracks.  These are, in a nutshell, first single “Russian Roulette”, “Fire Bomb”, “G4L”, “Cold Case Love” and “The Last Song”.  These all work because Rihanna is putting herself out there vocally and emotionally.  The producers do a fantastic job (praise must go in particular to Justin Timberlake and The Ys’ work on “Cold Case Love”, which shows a gradual building of beatboxing, standard beats, guitars and strings to an epic climax that fades out by itself and underline Rihanna’s pain at a love misfired – “Release me now ’cause I did my time”) more or less throughout, but Rihanna herself carries the songs.  “Fire Bomb” has been compared to something by Kelly Clarkson, but in my opinion it knocks much harder and is a compelling contrast to expectations – most people would expect a club banger from the title, when in fact it’s a slow pop/rock ballad which essentially says “if I’m going down in flames, you’re coming with me”.  “G4L” is one of the darkest songs which shows Rihanna pledging to be “down 4 life”, ride or die until the end.  The off-key tweaks at the beginning signal something mysterious, and the lyric “I lick the gun when I’m done ’cause I know that revenge is sweet” is one of the best opening salvos I can remember.  The track brings to mind the tiny gun tattoos on the sides of Rihanna’s breasts, demonstrating that even if she may be a sweet person on the surface, she’s also a strong and determined one – her attitude is reflected in her music as much as her body art.

“The Last Song” was the track that stood out to me most from listening to the 30-second snippets, and it doesn’t disappoint – it’s a perfect closer to the album, not only in name but in texture also.  It employs a soaring guitar and heartwrenching lyrics, chronicling the realisation of a breakup.  “The sad song ends up being the last song you’ll ever hear.”  Rihanna’s spare vocals almost seem to cry the lyrics throughout the track, and the buildup throughout the song until near the end where all the instruments fade out is done perfectly.  Rihanna said that she wanted Lil’ Wayne and Kings Of Leon to like her album, demonstrating her desired blend of urban and rock. The album is definitely a mélange of styles, but apart from “Hard”, I don’t see enough hip-hop for Weezy to connect with, and the rock elements are nowhere near as indie-pop as Kings Of Leon.  However, the soaring guitars provide something edgier and deeper within the context of a pop album, and the hard-hitting beats and synths knock plenty – the combination of which provide something quite extraordinary and special within itself.  Rihanna should be proud of this record.

Rated R has a focused aggression to it that rings truer than it did on Good Girl Gone Bad. Despite the lack of uptempo smashes, it’s a fantastic record that hopefully will have as much repeat-play value as her previous record.  Whether it’s because of her personal struggles, maturity as a young woman or desire to experiment musically (probably a combination of all three), Rated R shows growth.  I pray that her label doesn’t re-release the album, since it’s perfect as it is and comes across as something sincere, rather than designed to make money as a light pop confection.  Why I’m impressed with Rated R, beyond the simple fact that most of the songs are solid or better, is because it’s cohesive.  All the songs work together to make the album more than the sum of its parts.  It has a big emotional impact, and it sets a musical mood (dark, edgy and yet heartfelt) that doesn’t let up throughout – in her own words, from “Hard”, “that Rihanna rain/reign”.  I didn’t know if she had it in her to best Good Girl Gone Bad, but even if it doesn’t have as many number 1 smashes and addictive beats, Rated R is a musical step forward that I personally value that little bit more.

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quiet storm track walkthrough (part i).

October 27, 2009

Hi there everyone! Thanks for the love you’ve shown my new album Quiet Storm.  I really appreciate it, from the bottom of my heart. ♥ If you have yet to download it, then you can get it here… –

(clicky) Quiet Storm (album download) (clicky)

This is gonna be the first instalment of a track-by-track rundown, so you can learn a little bit about each of the songs!  I’ll cover the first ‘arc’ of the album today, which are tracks 1-6! 🙂

1. Open

This is the album intro!  I wanted the title to have two meanings, one which was obviously the album intro being the ‘opening’ of the story / journey, but also for it to encourage listeners to enter the album with an open mind, open attitude and open heart.  The idea of “open your body / open your mind” was to combine the physical and mental, as some of the album songs are very much about physical sentiments such as sex, money and fashion; others are more to do with thoughts, emotions and relationships and our feelings and beliefs surrounding those situations.  It was also meant to have a somewhat mysterious feel, which is why my voice stutters and distorts at various parts. “I’m coming in” is your sign to get ready!…

2. All Night Long

…as I ask at the beginning of this song, “Are you ready?” The journey is beginning!  I wanted the album’s opening track (i.e. this is the first song proper) to be a slow, sexy song for two reasons: I thought it would be striking to open the album with a slower song, as all too often the temptation is to go in boom! bang! bang! with your uptempo.  I wanted the album to rise and fall in a more genuine way, and not to be front-loaded with club numbers.  I think that interspersing the album with uptempos, midtempos and slower songs throughout makes it more genuine and ultimately more engaging and cohesive.  This song was inspired by two songs: “Discipline” by Janet Jackson – but I hadn’t actually heard the song at this point! I’d read that there was an S&M theme, that it was a dark, slow song and I was inspired by those thoughts to make a song that I thought sounded like the essence of ‘discipline’ (hence its namecheck in the lyrics – “I exhibit discipline”); and “Mary Jane” by Mary J. Blige, from her seminal My Life album.  The hook of the song is a resung version of that song’s hook (which I’m aware is not the original use of that hook anyway, but it’s the version I’m most familiar with), but I slowed down the tempo and tried to do something a little bit different with it.  I also was tempted by the idea of putting this song first as it’s the most explicit, sexual song on the album – it’s the perfect start to the night-time, as Quiet Storm was largely inspired by the nocturnal, both in its soundscape and artwork.  And by getting the sex out of the way, we can focus on deeper things!  This actually being one of the very first songs I completed for the album, I don’t 100% remember how the beat breakdown came about now, but I love it and I felt that it was a really striking way to end the song… The breakdown is picked up by one of the songs at the album’s close, which also makes the album come full circle.

3. If I

Another one of the first songs I wrote for the album, this is probably the most dance-based song on the record, and it has a very nocturnal, dark feel again, as emphasised by the harmonies at the beginning which are nearly-but-not-quite off-key! It gives the song a mysterious introduction, which combined with the dance beat, makes it sound almost menacing.  The subject matter explores the fact that we all go to such lengths to please other people, and what would happen if we were just who we naturally are, rather than striving to meet others’ expectations?  At the end of the day, I’m just a young guy who wants to have fun and be happy and enjoy life!  Isn’t that what everyone wants?  Why should I put myself out for you?  What would happen if I did to you the things you do to me?  How would you feel about that?  That’s the main thematic of the song, and it’s one of the songs main uptempos.  The repetitive hook is actually quite en vogue now, but at the time of writing it, I really thought I was onto something and I felt that it was a little bit fun and kooky (as well as quite hot)!  But I generally liked the combination of the pulsing beats and the quite revealing lyrics: we all feel like a prisoner of other people’s “unrealistic expectations” and pressures at times, and although by living up to them we keep the peace and excel, to what extent do we sacrifice ourselves?  We all need to cut loose sometimes.

4. Hook Boy

I love this song!  It was a song I wrote lyrics to quite early on, but I just could not get right for ages!!!!! Ultimately, it was one of the last songs I completed for the album, as it was in work-in-progress stage for possibly a year!  This song is about swag, and also about songwriting prowess – I am still learning and honing my craft when it comes to singing, writing and producing, and I appreciate that on Garageband there’s only so much I can do. But at least I have total control of my music, and I’m pretty pleased with what I produce at this stage.  I can say, hand on heart, that this album is something I am very proud of!  And to be in charge of all these aspects of my music is very important to me, as it pisses me off to see certain stars who’ve made it big without much talent to speak of.  So I’m bigging myself up on this song, and although you could read it in terms of sexual prowess or swagger, to me, it’s really about being the best singer and songwriter I can be, and trying to offer something fresh.  Being a “hook boy” refers to being able to write a decent, catchy hook!  But as the coda of the song says (where the beat changes and becomes a little more complex – another end-of-song development I love!), sometimes people take your ability for granted, and at the same time as we may be skilled and have swag and talent, we have to make sure that people don’t take us for a ride without appreciating who we are and what we do.  We need to be proud and confident in ourselves, and it’s nice for others to recognise that, but we also need to make sure that people don’t take advantage of us.  So there’s an extra layer in there.

5. Focused (Interlude)

This interlude is thrilling to me because I finally got some harmonies exactly how I wanted them – there are about six layers of vocals in this!  It’s short and sweet, and essentially segues between the three beat-driven songs we’ve had so far (slow, deep sexual beat; mysterious, menacing dance beat; midtempo, stuttering beat) and the next song which will be the album’s first proper ballad.  “I’m too focused on the beat, gotta focus on the melody!”

6. Secret

This song is one where I wanted my voice to stand out, and that’s why it starts off acapella – I wanted it to be a stark contrast to the songs which came before, and to really be melody- and vocal-focused.  A good melody can make or break a song, and I wanted the heartfelt nature of this song, the album’s first romantic track, to really come through in the melody.  I also wanted a song which was vocally-driven, as I want to reinforce that I am a singer and confident vocalist first and foremost.  I was inspired by Delta Goodrem’s “Believe Again” – although that song has a more electronic, dance undertone than this track, I loved how the beats and effects built up through the song, so that was something I sought to replicate here.  After the second verse, the beat chips in, and it’s sorta off-kilter (not a straightforward 2/4 or 4/4).  It drops out again completely for the bridge, leaving my voice to carry the song to its finale.  I wanted to emphasise the vocals and the vocal melody line as the spine of the song, especially as the lyrics are so romantic and heartfelt.  It’s quite possibly the most purely optimistic song on the record – it’s a very positively romantic song not coloured by heartache, and brings the first arc of the album to a satisfying close, while seguing into the next songs…

… which I’ll cover in part 2!  Enjoy and keep it locked, and download Quiet Storm if you haven’t already! 🙂 Thankyou xxx

(clicky) Quiet Storm (album download) (clicky)

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quiet storm. (THE ALBUM! + download.)

October 25, 2009

AS PROMISED…

Quiet Storm coverMy album is here!  I sincerely hope you like it – I’ve already been showing you some of the artwork in the past week, and you get all the m4a files + an album booklet with all the lyrics and a few photos in it.  I do you right! 🙂  I’ll be uploading more links during the next day or so, but for the moment you can download it HERE!  Songs for preview are available on my myspace if you wanna have a listen to some of the songs. 😉  Enjoy!!!  I’ll run through the various songs in a post soon so you’ll learn a bit more about them, but some of them are very fun, while others are quite personal to me.  Thanks for the support, and I really hope you like the music and feel it.  Here’s the tracklisting once more:

tracklist

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iii.

October 22, 2009

Prada sunglasses

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Shakira – She Wolf. (album review)

October 11, 2009

Shakira’s new album She Wolf is her first album in four years (since 2005’s Oral Fixation volumes 1 & 2, which represented her best work to date, especially on the Spanish-language vol. 1) and represents a similar transformation to Jewel’s 0304 – Shakira has made an almost-purely danceable, modern album.  Unlike Jewel’s efforts prior to 0304, Shakira has made addictive up-tempo music before: see “Whenever, Wherever”, “Objection (Tango)”, “La Tortura”, “Hips Don’t Lie”.  But never before has she devoted an entire album to the stuff; gone are the tender, thoughtful ballads such as “Underneath Your Clothes” or “Illegal”.  The question nevertheless remains – is Shakira, whose image is now more sexually potent than ever (straight blonde hair, dancing in a half-catsuit in her “She Wolf” video), cashing in, or does she still remain herself?

Mainly, I argue for the latter.  Once the initial shock of the dense production and pounding bass subsides, the melding of cultures and instruments that has always been evident in Shakira’s work is here too.  Listen to “Long Time”, and its reggae beat which gives way to an instrumental bridge that prominently features what sounds like a gypsy saxophone; “Mon Amour” employs a rocky half-time clap that is reminscent of Shakira’s spunkier moments such as Fijación Oral vol. 1‘s “Escondite Inglés”; the only semi-slow moment on the album is to be found in “Gypsy”, where Shakira employs an island feel with a plucked guitar, Caribbean-esque drums and Eastern-European string accents on the chorus.  Not to forget “Why Wait”, which is 2009’s update of “Ojos Así / Eyes Like Yours” with its Middle-East-meets-West instrumentation and production over a storming 4/4 bassline (which becomes positively incendiary in the bridge).  Musically, although it’s a little bit of a readjustment to our expectations of what Shakira’s music sounds like, it is still definitely her, and her claims of wanting to make a “bassy, beat-driven record that maintains experimentation with sounds from other parts of the world” ring true.

Shakira’s lyrics have always been put under a microscope – a fact that has irritated me immensely through the years.  Not only is Shakira an incredibly intelligent woman, but her lyrics are far and away of a much higher quality than those of the majority of traditional pop made by native-English-speaking artists.  The criticism she has gained from reviewers and comedy sketches alike (see MADTV’s parodies of “Whenever, Wherever” and “Objection (Tango)” on youtube – they’re funny, but they’re also unwarranted) is totally unfair and disrespectful of an artist who has mastered a complex language (once you get past the basics, English is a complicated language to speak fluently – I should know, since I have taught it) when I wager that the majority of these critics can’t speak more than a few basic sentences of phrase-book Spanish.  Because Shakira dared to say “Lucky that my breasts are small and humble” in her first English hit does not make her nonsensical.  Listen to “Octavo Día” and “Timor”, songs in both Spanish and English that express criticism with the way that the world is run and our own media-obsessed culture, and you’ll understand that Shakira is very well-aware of what she sings and what she has written.  On She Wolf, there is nothing as incisive as “Timor” or “How Do You Do” (both from Oral Fixation vol. 2) but its opening salvo of “A domesticated girl, that’s all you ask of me / Darling it is no joke, this is lycanthropy” is certainly more sophisticated than “I think you wanna come over, yeah I heard it through the grapevine / Are you drunk, are you sober? Think about it, doesn’t matter” from Madonna’s current hit “Celebration”.  “Mon Amour” delivers a fantastic kiss-off to a boyfriend who has gone to Paris with another woman, while “Men In This Town” ruminates on where are all the good men who can appreciate what Shakira has to offer?  (I feel her on that one.)

I suppose that a certain amount of lyrical straightforwardness is to be expected on an album which is almost purely uptempo and flirts specifically with the electro-pop genre – I can’t get too mad that some of Shakira’s more insightful and wittier metaphors have been sacrificed.  But the three Spanish tracks that round out the album – “Lo Hecho Está Hecho” (“Did It Again”), “Años Luz” (“Why Wait”) and “Loba” (“She Wolf”) – are lyrically superior to any of the album’s English tracks.  For example, “Años Luz”‘s “Esperar es un mar que aún no sé navegar / No te quedes años luz, ya estoy decidida y quiero saber si lo estás tú” translates as “Waiting is a sea that I don’t know how to navigate / You haven’t got light years, I’ve already made my mind up and I want to know whether you have too”.  The English version, “Why Wait”, says “One more night with you, I won’t think it through / Time’s money, but you knew / There’s nothing in the world you can think of that I won’t do to you”.  It’s the same thought, but in Spanish it just comes across as much more elegant and sophisticated.  Not to mention that “Loba” in particular seems to flow much more naturally in Spanish than in English, and the lyrics are perhaps more comprehensible.  In any case, the Spanish tracks add to the album, even though they are retakes of English songs from its first half – it serves to reinforce the fact that Shakira is a bilingual artist who refuses to neglect either her Spanish or English audiences, but instead (as on the Oral Fixation era) seeks to satisfy them both.  This is laudable, and I hope that Shakira comes out with a full Spanish album next year (as has been rumoured).

So it all sounds good so far.  Well, the album is a consistent listen, and its brevity means that each song gets you moving but doesn’t outstay its welcome.  The dense production, in the main courtesy of Pharrell and John Hill, flows throughout (except for the break provided by the relatively lightweight “Gypsy”).  Because of this, there are no really weak tracks, although surprisingly, the Wyclef Jean collaboration “Spy” seems the most rote and uninspired song on the set – its straightforward 4/4 beat has nothing extra to catch the listener’s ear, and sounds lazy compared to Pharrell’s musically adventurous soundscapes in “Why Wait” and “Long Time”.  “Gypsy” sounds like nothing else on the album, but its dip in tempo serves as a break which can sometimes be appreciated by the listener, but at other times seem like an interruption of the party, so depending on your mood, it could be a help or a hindrance.  Other than that, all the tracks are solid, but none of them are immediate standouts save the last track, “Mon Amour”.  With its decidedly rocky, guitar-led music and handclap-driven beat that intensify into a crunchy, heady chorus, it’s the kind of track that you can’t help but get wrapped up in.  Shakira’s vitriolic lyrics, snarling vocals and cutesy airline announcement closing out the song are the icing on the cake, and perfectly embody a girl’s anger with her straying lover’s neglect of her (perhaps similar to 2005’s “Don’t Bother”).  With repeated plays, the appeal of “Did It Again”, “Why Wait” and “Men In This Town” reveals itself, but the songs are certainly not immediate hits like “Hips Don’t Lie”, “La Tortura” or “Objection (Tango)”.

I therefore think that this is a solid Shakira album, and definitely stronger than her breakthrough Laundry Service which contained some fantastic songs but also some uninspired, pedestrian ones (here, the only track I recommend skipping is “Spy”).  However, for me it falls just short of Oral Fixation Vol. 2, because She Wolf is a tiny bit too one-note in its electro-pop approach, and slightly diminishes Shakira’s lyrical mastery in the process.  In terms of her entire catalogue, Dónde Están Los Ladrones? and particularly Fijación Oral Vol. 1 (the Freudian / Eve in the garden of Eden / Madonna and child symbolism were inspired and have yet to be matched in this album’s artwork and photography) are still Shakira’s crowning glories, but the Spanish-language tracks on She Wolf are lyrically more adept than their English counterparts and a worthy addition to both the album itself and to Shakira’s Spanish-music legacy as a whole.  In short, Shakira has far from sold out, and has made a pop album that other artists should be humbled by, such as it melds other cultures and quirky wordplay more than most radio-oriented pop.  And perhaps it is a compliment to Shakira herself that this album still falls somewhat short of her best work, and what I know she is capable of.

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about high fashion.

October 1, 2009

Just a quick track-by-track run-through of all the songs on my High Fashion mixtape!  I hope you enjoy it and this fleshes out the stories behind the music for you all 🙂

High Fashion

The photos for this mixtape were actually the last thing to get done! I had a lot of ideas for it, but basically it involved playing dressup and taking lots of fun fun pictures of me pouting in designer accessories and too much lip balm and radiating attitude! Trust me, some of the pictures were horrendous, but I was pleased that I got some decent ones that I chose to use.  In contrast to the Quiet Storm artwork, which incorporates a lot of dark blues, purples and blacks with white type and layered translucent textures (evocative of the intimate, nocturnal atmosphere embodied by the album), the artwork for the mixtape is very bright, very immediate (no gloss or photoshopping!) and very tongue in cheek – I do not dress that ostentatiously in real life!!!  But it was a lot of fun 🙂

Official Boy

This song was recorded a year ago – obviously, it’s a cover of Cassie’s song “Official Girl”… I seem to be the only one who loved that song!  I was obsessed with that song at the time because I could relate – I was semi-dating somebody but didn’t know where I stood. (It turned out to be nowhere.)  So I got the instrumental and decided to rerecord my version – in the process, I learned a lot about creating vocal layers and harmonies and counter-melodies, and I appreciated how densely the original song is constructed.  I also wrote my own rap, which was really fun.  I really liked Cassie’s latest material, as I did a cover of this song and “Touch Me” samples another Cassie song, “Nobody But You”.

Touch Me (see post!)

Hook Boy (Remix)

This song uses the instrumental of Day26’s “Imma Put It On Her”, continuing the love for Bad Boy artists.  I have always been impressed by Diddy’s production skills and most of the Bad Boy tracks that have come out over the last 12 years have had really solid music and production.  It’s a remix of the song “Hook Boy” on Quiet Storm, and so I changed up the melody and some of the lyrics somewhat, but the basic skeleton of the song remains the same, though this remix has a more celebratory, uptempo feel to it, relishing being in the club and being with the one you love.

Get Me Home (Interlude)

I liked the harmonies on this one, but I have an interlude called “Focused” on the album where I did a superior job of a similar type of harmony, so I removed this track from the album and kept it for the mixtape.

Jump Off (Part I) (Snippet)

The original version of a song which is on the album (appropriately called “Jump Off (Part II)”), this is a very straight-up R&B ballad, no frills.  The lyrics have been kept more or less identical between the two songs, but Part II has a much more R&B, nocturnal feel which I fell in love with and which suited the feel of the album as a whole much more.  I might finish this version eventually, because I think it has potential, but I kinda left it by the wayside in favour of Part II, which is one of my favourite tracks on Quiet Storm, and very lyrically honest.

Don’t Look Now (Game Over)

This song was written after I was seeing somebody who just suddenly disappeared with the excuse that “I need space”… BULLSHIT mayne!!!   I decided to channel my irritation positively, and this record was a cutting, dance-type response to that whole situation.  I like the lyrics in it, which pay a nod to “Bad Girl” and “Pretty Boy” by the now sadly defunct Danity Kane, as well as Beyoncé’s “Irreplaceable”.  My favourite lyric is “dangerous and brokenhearted”, and I briefly considered that as an album title.  I love the ring of it, but ultimately there is something about the song that meant it couldn’t hang with the rest of the tracks that made the album, so ultimately it got relegated to the mixtape!

Pronunciation (Interlude)

This was just a big big laugh… it sets the scene for the next song, “Armani Earrings”, which is a track on Quiet Storm that I just had so much fun writing, as it really epitomises swagger!  The idea came from the “learn Italian” tapes they play in the bathrooms at Frankie & Benny’s restaurants, and working in The Perfume Shop and getting irritated at how many designers names got mangled by customers on a regular basis.  So this interlude is a play on all of those things, as well as a lead-in to the next track.

Armani Earrings

… you’re gonna have to wait for the story behind this one!!!  Just enjoy it for now 🙂

Can’t Play A Playa

Originally I was so excited about this track, with the military gunshot-style intro and the catchy hook… but somewhere along the line, although I tried out a lot of different ideas such as having a rap in the middle of the song instead of at the bridge, and multiple hooks and stuff, I felt it lost the sparkle and drive I was aiming for the song to have, so I didn’t feel it was strong enough to make the album.  I like the song, but I just couldn’t execute it the way I wanted to so I kept it back for the mixtape.

Wild Heart

During my time at Oxford uni, I became friends online with a guy who got into trying to write and produce his own songs.  He sent me this track that he’d written and produced (the production is a slightly different style to anything I’ve done, though the song itself I like), and asked me to resing it.  I went a bit crazy with it, attacking it with different melodies and ad-libs, and when I sent it back he was like “WOW you have CHANGED it!!!” I really liked the way it turned out, but I think he was somewhat taken aback… I never really considered this song for the album, especially as my only input into it was changing some of the melodies, harmonies and structuring, but I like it nonetheless so I thought that there was no harm in putting it on High Fashion.

Role Model

The first element of this song that I had was the bassline, and then I just started adding lyrics to it.  I remember half of it was written in my head on a car journey with my parents, and the minute we got back in the door I rushed upstairs and spent an hour creating the song.  I like the sung chorus element, because it really expressed how I don’t feel that I fit easily into many categories that people try to pigeon-hole me into.  In terms of the music I listen to, my educational background and my sexuality (among other things), I don’t really feel that what is widely portrayed in the cinema really represents me, and I wanted to put across the fact that just because there is a stereotype for these things doesn’t mean that everybody necessarily fits them.  Although it’s not my finest hour rapping (and I like to think that the rhymes on “Armani Earrings” demonstrate how much I’ve improved), the lyrical subject matter is very true and I am positive I am not the only young person who feels misrepresented.  You have to be who you are, for the sake of who you are.

Broke WIthout Remedy

I was listening to Erykah Badu’s most recent album New Amerykah and wanted to do a song which was a bit more unstructured and organic sounding, so I hit up Garageband and started playing with samples. This is the result! I was near the end of my university degree at Oxford, and I was kinda frustrated because I didn’t know where I was going next and I was in a lot of debt and I was just like “what happened? I thought this degree would solve all my problems and it’s just left me with more!”  With my new uni course and being so happy and that being beyond me, the perspective I now have of Oxford is perhaps more balanced and I can appreciate the quality of degree and the good friends that I got from there, but at the time of writing / singing the song, I was feeling quite down.  Towards the end, my voice cracks and I kept it in as evidence of too much cigarettes + emotional despair = raw vocals!

I Want To Know What Love Is (see post!)

High Fashion (Acapella) (Outro)

Another little acapella taster of the “High Fashion” track on my album.  The Intro uses some of the backing music, and the outro uses the first verse and chorus of the song.  Although I’m not 100% happy about ending the album with 2 acapellas in a row, I definitely thought that these last two songs both deserved to be on the mixtape and both fit at the end.

So there you are!  Once again, you can download the mixtape HERE and I really hope you enjoy it! 🙂