Imagine Dragons are back and seem intend to stick with their signature sound of mixing calm and thoughtful verses with loud stomping rock choruses.In fact the vocals in the chorus are almost screaming "I bet my life on you".The song is not as catchy as their previous material since the chorus is lacking replay value and the verses themselves are not enough to make the song anything special.
The bridge is the best part of the song with an especially emotionally break when all music starts to fade and we're left with Dan pleading to be forgiven for all he's ever done.
Final Say: The song is not on par with Imagine Dragon's top songs but it's not bad by any means and definitely fun to sing along despite a weak chorus.
6,5/10
Taylor Swift - 1989
Taylor Swift's lead single "Shake it Off" represents the epitome of cheap and calculated modern pop music.Lyrically,vocally and most importantly musically the song is so safe and uninspired it is ridiculous.It was alright though because I thought it is common for big artists to release their generic lead singles first and keep the good stuff for the album. However the sad truth is that almost the entire album consists of these lifeless and characterless bubblegum pop songs.The flow of this album is monotone and endlessly repetitive, which is only fueled by the fact that Taylow apparently thinks that repeating phrases over and over is enough to form a good pop song.Lyrically the album is completely forgettable and sounds like clichéd teenage fantasies mixed with a faux playful self awareness that some may view as maturity.The feelings that Taylot Swift tries to evoke through her lyrics feel contrived on all levels and not geniune at all unlike her previous records.. It is hard to point out anything positive on this album but the production on "Out Of The Woods" ,the Lana rehash "Wildest Dreams" and the decent pop song "Wonderland" are the only songs that leave any sort of impression after multiple listens. It is honestly stunning how fast he other ones fade away from memory considering that the whole album sounds like it was made just to be stuck in your head.
Final Say:Ironically Taylor Swift made better pop songs on her "country pop" album "Red" where some of the songs were intresting at the very least.The most self destructive thing about this album is the complete fear to do anything even slightly interesting or daring with pop music. It is not necessary for big mainstream artists to push music forward but most pop stars at least dare to switch it up a little bit or bring some new elements to their sound. As an established act Taylor Swift could've easily attempted something different but instead she released an album so generic and void of character it makes me wonder if there is any artistic value in it at all.
0,5/10
Iggy Azalea feat. MØ - Beg For It
Iggy Azalea seems to be the "It Girl Rapper" out right now cashing in succesful features left and right.First off Iggy has to be applauded for featuring the relatively unknown MØ.Musically the song is one of Iggy's weaker songs which is probably because you have heard it 100 hundred times before because the verses sound exactly like ehr hit "Black Widow" and the chorus exactly like her smash "Fancy". On top of that the song is going nowhere and doesn't leave a big impression nor is it as catchy as the song it tries to blend together.
Final Say: An uninspired rehash of two succesful songs in hopes to achieve the same another time. Iggy's flow is nice but the song is absolutely flat.
Imagine Dragons are back and seem intend to stick with their signature sound of mixing calm and thoughtful verses with loud stomping rock choruses.In fact the vocals in the chorus are almost screaming "I bet my life on you".The song is not as catchy as their previous material since the chorus is lacking replay value and the verses themselves are not enough to make the song anything special.
The bridge is the best part of the song with an especially emotionally break when all music starts to fade and we're left with Dan pleading to be forgiven for all he's ever done.
Final Say: The song is not on par with Imagine Dragon's top songs but it's not bad by any means and definitely fun to sing along despite a weak chorus.
6,5/10
Taylor Swift - 1989
Taylor Swift's lead single "Shake it Off" represents the epitome of cheap and calculated modern pop music.Lyrically,vocally and most importantly musically the song is so safe and uninspired it is ridiculous.It was alright though because I thought it is common for big artists to release their generic lead singles first and keep the good stuff for the album. However the sad truth is that almost the entire album consists of these lifeless and characterless bubblegum pop songs.The flow of this album is monotone and endlessly repetitive, which is only fueled by the fact that Taylow apparently thinks that repeating phrases over and over is enough to form a good pop song.Lyrically the album is completely forgettable and sounds like clichéd teenage fantasies mixed with a faux playful self awareness that some may view as maturity.The feelings that Taylot Swift tries to evoke through her lyrics feel contrived on all levels and not geniune at all unlike her previous records.. It is hard to point out anything positive on this album but the production on "Out Of The Woods" ,the Lana rehash "Wildest Dreams" and the decent pop song "Wonderland" are the only songs that leave any sort of impression after multiple listens. It is honestly stunning how fast he other ones fade away from memory considering that the whole album sounds like it was made just to be stuck in your head.
Final Say:Ironically Taylor Swift made better pop songs on her "country pop" album "Red" where some of the songs were intresting at the very least.The most self destructive thing about this album is the complete fear to do anything even slightly interesting or daring with pop music. It is not necessary for big mainstream artists to push music forward but most pop stars at least dare to switch it up a little bit or bring some new elements to their sound. As an established act Taylor Swift could've easily attempted something different but instead she released an album so generic and void of character it makes me wonder if there is any artistic value in it at all.
0,5/10
Iggy Azalea feat. MØ - Beg For It
Iggy Azalea seems to be the "It Girl Rapper" out right now cashing in succesful features left and right.First off Iggy has to be applauded for featuring the relatively unknown MØ.Musically the song is one of Iggy's weaker songs which is probably because you have heard it 100 hundred times before because the verses sound exactly like ehr hit "Black Widow" and the chorus exactly like her smash "Fancy". On top of that the song is going nowhere and doesn't leave a big impression nor is it as catchy as the song it tries to blend together.
Final Say: An uninspired rehash of two succesful songs in hopes to achieve the same another time. Iggy's flow is nice but the song is absolutely flat.
Sticking to her usual schedule, Taylor has brought us her latest album two years after Red, an album that is undoubtedly difficult to follow up. It was an eclectic mix of country, pop, rock and folk influences, seeing Taylor branch out for the first time from her pure country roots, even if only tentatively - she was testing the waters, and after she reached new heights with heavily pop influenced singles WANEGBT, IKYWT and 22, it is not that big of a surprise that she picked this genre as the direction to go in for this new release, 1989.
I'll say it straight away: While I am in no way opposed to pop, I think Taylor only partly manages to successfully adapt this genre. She presents some beautiful gems, which harbour her typical charm and quirkiness, but there are also some duds, songs that are just too transparent in their attempt to sound commercial and likeable.
Working with reliable hitmaker Max Martin, Taylor's goal seemed to be to project her new found image - geeky hipster girl who loves cats and communicates with her fans on Tumblr - into her music, which worked well but makes the whole thing seem a tad too calculated and gimmicky. Songs like the inescapable "Shake it off" or "Bad Blood" try so hard to be cool with the sassy lyrics and attitude, but instead of calling out the haters nonchalantly, Taylor comes across childish and bitter. "Style" is so lyrically packed with hipster cliches, it's just begging to be used in every clothing commercial out there; "Welcome to New York" romanticises the Big Apple in a way only someone who has everything laid out for them on a silver platter could while autotune transforms Taylor's vocals in the most uncomfortable ways, and "Out of the Woods" is built around the seemingly endless repetition of the same words, not to mention it's musically ripping off CHVRCHES at their best.
The other side of the medal is that when Taylor strips herself of that faux cool image and focuses on what she does best - not thinking about who she wants to be and how she wants others to perceive her, letting the words and music flow freely without drowning them in mock 80s synths and beats - her true potential shows, and those moments save 1989 from being a complete disappointment. "Clean" captivates the listener with a soothing beat and organic sound that is refreshing like a summer shower in the heat; "This Love" is a beautiful ballad proving that oftentimes less actually is more. "Wildest Dreams" impresses with tender, dreamy vocals full of emotion, supported by subtle synths in the background.
It's this sophisticated sound that I wish she would take on constantly, as it suits her so much better than that bratty bubblegum pop that seems to be her thing now. Taylor used to set herself apart by not being part of the crazy pop world we know, being above that and showing maturity from a young age; with this album, it seems as if she has reversed all that, going through the rebellious phase she never had as an adolescent, sacrificing everything she has created up to the point in order to be a part of the glitz and glamour.
With this album, Taylor placed herself next to Carly Rae Jepsen, Katy Perry and all the other pop starlets whom no one over the age of 13 would ever publicly admit to like. She effectively destroyed the hopes she had raised with Red, then giving the impression that she was a versatile songwriter who understands a variety of genres and is able to combine them in an endearing mix with intricate melodies and thoughtful lyrics. That all seems far away now, with the simplicity, dullness and genericness on 1989 which is not broken often enough for the album to be anything other than a quick pop fix and guilty pleasure.
Iggy Azalea's latest effort, Beg For It featuring Charli XCX MØ finds her continuing to ride the wave of success that Fancy brought her. Sonically, the song is similar to Fancy. This is not surprising when you consider that both tracks were produced by The Invisible Men, a team of English producers whose life goal is seemingly to rip off DJ Mustard as many times as possible. Beg For It's beat, slightly more hard-hitting and dark, is like Fancy's in that it mainly consists of a three-note riff with some backup instrumentation. Beg For It doesn't waste any time, as Azalea begins rapping at the 10-second mark of the song. Her delivery is confident and lively as usual, and although the lyrics are nothing special (with an overdose of braggadocio and a few lackluster puns here and there) the fast pace and intensity of the song allows them to take a backseat to the action.
The hook, performed by Danish singer MØ, is very catchy. A recurring theme throughout Azalea's success in the U.S. this year has been great hooks. Fancy and Black Widow's hooks are both very easy to jam/sing along to, and they don't try to be anything that they aren't. MØ sticks to the formula that Charli XCX and Rita Ora used earlier this year, and it works yet again. Besides the first line, the chorus differs significantly enough from Fancy. It doesn't drag on, and Azalea makes a wise decision to avoid messing around with a pre- or post-chorus, instead cutting right to the chase. The second verse of the song is a good continuation of the first and maintains the head-nodding intensity of the song. Azalea's distinctive flow, fusing pop and rap very well, continues to shine in this verse.
After the second chorus, Azalea launches into a 3rd verse/bridge that is almost as enduring as Fancy's iconic bridge. It talks about how all of the haters wanted to discredit Azalea, and how she is laughing because she is so successful. Cheesy, but par for the course. Following the final hook, MØ ends the song with a 20-second bridge that appropriately concludes with the line, "if you want my love, make me give a ****." This one line pretty much sums up the attitude of the whole song. At 2:58, Beg For It seems short, but it is so jam-packed with energy that its length seems appropriate.
After the song of summer 2014, Fancy, I was quite doubtful of Azalea's ability to craft a song as good as it. Although she hasn't done that (yet), she has followed up Fancy with two other songs in the same vein that are both jams. It has been suggested on this forum that she may well become the next Pitbull, creating fun party songs that reflect common attitudes in rap music today. Beg For It is just that, and manages to be not boring, not bland, and not unmemorable. Iggy Azalea is quickly finding her niche, and any doubters of this should hear this song. The lyrics are lame, the execution is safe, and the hook is uninspired, but nevertheless Beg For It is a very satisfying pop-rap banger.
Taylor Swift just released her first fully pop album. She’s gotten more pop with every single album and has made a good transition in doing it. I decided to listen to this album with all the hype that it’s being associated with, and frankly, I’m not impressed in the slightest. There are a couple of standout tracks like Blank Space, Out of the Woods, I Know Places, and Clean. However, the pop songs on Red are far superior in quality like I Knew You Were Trouble. This album also reminds me why I cannot get into Taylor Swift despite having a lot of success and hype surrounding her. A lot of 1989 sounds like it’s sung way too high in her vocal register and Taylor’s voice is paper thin and sounds like a child, especially when we get to the upper part of her vocal register and when she "belts." If Katy Perry or Carly Rae Jepsen were singing the same album, they wouldn’t get nearly the amount of praise and critical acclaim that Taylor Swift does for some odd reason. Overall, I’m unimpressed with 1989 and I got a bit sleepy after finishing that album. The one or two ballads don’t emotionally move me and the uptempo songs, for the most part, don’t make me want to dance or excite me.
Sound Of A Woman - Kiesza October 26, 2014 - November 1, 2014
Kiesza | Island | Release Date: October 21, 2014
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based on 3 Reviews
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Summary: The debut album from the Canadian singer-songwriter.
Record Label: Island Genre(s): Pop, House
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Sound Of A Woman results.
The asterisks will be used by me from now on to signify that the result includes 5 reviews or less, meaning that very few people contributed to the score.
I think music that gets below 5 reviews should not be official.
Stuff like 3 members is too small and would mostly be people who love it, and Metacritic themselves requires atleast 4 reviews and we have like 100x more members versus the reviewers they put on their site.
I think music that gets below 5 reviews should not be official.
Stuff like 3 members is too small and would mostly be people who love it, and Metacritic themselves requires at least 4 reviews and we have like 100x more members versus the reviewers they put on their site.
That's what the asterisks are for; it makes the scores unofficial. I tried to fit an asterisk inside the green box but couldn't.
After releasing one of the most acclaimed (critically/commercially) mainstream albums in the last couple of years. Taylor returns with 1989, a big love letter to late 80's pop. Ever since her debut back in 06', Swift's sound has become more and more pop. Many thought RED in itself was a pop album but let's put it in this way...if you compare it to 1989...1989 would be NYC to RED's Ozarks.
The album's highlights come in the shapes of Blank Spaces, Style and All You Had To Was Stay. These are the songs you're going to want to play if you're feeling more upbeat while ballads like This Love and Clean will make you feel sentimental and even strong.
Other noticeable sections of the album are Out Of The Woods, I Wish You Would, I Know Places and Wildest Dreams which bring out the emotional yet energetic Swift that we're used to. Shake It Off sounds out of place on the tracklist but remains just as fresh and catchy as it was when it came out. The album's duds are Bad Blood and How You Get The Girl. Though both aren't too bad, they don't add any emotion to an album jam-packed with personality. Welcome To New York is iffy but works as the album's opener.
Conclusion: Though I don't know yet if it'll hold up like RED, one of my favorite albums ever, it does the job right in strapping Taylor in the pop world. An extremely solid and cohesive body of work that nonetheless shows why Taylor Swift is one of music's biggest album pushers.
Taylor decided to go pure pop in this solid album that's bound to record-breaking sales and incredible success, though keeping some country elements such as heavy guitar use and ballads that could've easily belonged to her previous albums. Max Martin and Shellback, the producers of most of the album, didn't seem to do much more than just producing the tracks and possibly editing some lyrics, as Taylor's unmistakable style can be breathed in each of the 16 tracks on '1989'. Despite having nothing innovative - and perhaps sounding a tad like Carly Rae Jepsen's 'Kiss' at some points - most of the tracks don't come off as generic, and manage to sound fresh and repeat-worthy.
TRACK-BY-TRACK REVIEW
1. "Welcome to New York" (6.5/10)
A weak album opener that features heavy use of synthetizers, in which Taylor symbolically tells us that she's no longer the Southern Belle we've pictured her as so far.
2. "Blank Space" (7/10)
Perhaps the most generic and impersonal track on the album, it's catchy enough to become a successful single - though is says nothing about Taylor. She clearly saved the best for later.
3. Style (9.5/10)
This track sounds very New York (even more than the album opener). It sets a peaceful atmosphere, and can even make you feel like you're walking in the streets of the Big Apple. The "just take me out" part generates EARGASMS. The only flaw of the song is perhaps the last chorus, that I would've repeated twice.
4. Out of the Woods (7.5/10)
Though many criticize it for being heavily repetitive, this feature completely suits its genre: the first promotional single off '1989' is the furthest from country Taylor has ever gone. Sure, we all expected far better from the song inspired by Harry Styles.
5. All You Had to Do Was Stay (9/10)
Though this track might sound a bit like 'I Knew You Were Trouble', it's a complete smash. Taylor sounds almost angry in the powerful chorus. Single maybe?
6. Shake It Off (9/10)
Taylor couldn't have chosen a better lead single for '1989'. It's impossible not to dance to this track that is perhaps the catchiest of the year. Talking about the view the media and the general public have on her is also a great move.
7. I Wish You Would (8.5/10)
It's definitely not that type of love-at-first-play song, but play after play it gets to show all its beauty. The "2 A.M. in your car" line is one of the highlights of the album.
8. Bad Blood (5/10)
Taylor's attempt at pulling a 'Hollaback Girl' comes off as a weak track with poor production and a bitter feeling in it.
9. Wildest Dreams (8.5/10)
Another amazingly-produced song with a haunting vibe to it. Plus it was surprisingly one of the most successful songs on digital retailers upon the album's release.
10. How You Get the Girl (8.5/10)
Despite sounding like a leftover from Carly Rae Jepsen's album recording sessions, this song still manages to sound fresh and sincere. Nothing we haven't heard before, though.
11. This Love (7.5/10)
Penned by Swift alone, and perhaps the least catchy track on '1989', this song gets a honorable mention for its lyrics, some of the best on the album.
12. I Know Places (6/10)
Cute lyrics, but completely generic, impersonal sound. It sounds like a mashup of six '1989' songs. It's the definition of album filler. Taylor's vocals on the voice memo of the song, that can be found on the deluxe edition of the album, are astonishing in the stripped down version of the song, suggesting that the final version had been quite overproduced.
13. Clean (8.5/10)
The right adjective to describe this beautiful track is "calm". It gives the listener tranquillity, almost making them feel like they're relaxing in a locus amoenus. I honestly expected something boring from Imogen Heap, so I'm positively surprised.
14. Wonderland (8/10)
A powerful track after a placid one. It could easily fit into a Hunger Games soundtrack.
15. You Are in Love (8.5/10)
Another atmosphere-setting song, featuring a peaceful rhythm that you'd love to play in your car on the way home after a cute date.
16. New Romantics (7/10)
A less original version of "Wonderland", "New Romantics" is a good album closing track, but nothing more.
After making country pop music for the past 3 1/2 albums [Red basically was the transition stage], Taylor finally succumbed to straight out pop music. To cut the story short, I'm pretty impressed with the whole album. I'm not doing track by track but from my first listen, I enjoyed it. I enjoyed it better than Red. The album is straight out pop music but isn't the type typically hear on the radio. The production isn't generic and is as light as it can be.
One thing I always admired from Taylor is how she can craft a really good record and you can still feel she's having so much fun doing it. The lead single Shake It Off certainly did not do justice to this very well laid out album. While I like it, I think it still falls flat compared to my 2 favorite Taylor Swift albums, Speak Now and Fearless. With that said, this one sits really pretty inside the Top 3.
I couldn't pick favorites right now as the album just went past through me just yet but all I wanna say is that she really did find inspiration from some Indie-Pop bands like CHVRCHES and Tegan and Sara, at least with Heartthrob.
I'm still disappointed that she didn't go through with the "Safe and Sound" route.
To close this, this record is pretty decent. I certainly enjoyed it more than her previous effort but it's not as good as Fearless moreso Speak Now.
The asterisks will be used by me from now on to signify that the result includes 5 reviews or less, meaning that very few people contributed to the score.
Can I still review?
EDIT: I'm sorry. This isn't my type of music. I'm listening to her recent single right now.
It was in the thread for days, you along with anyone else was welcome to review it, if you aren't a fan.
Kiesza though.
I doubt someone who isn't a fan has the time to review an album they know they won't like though. We don't get paid to review this the way professional critics do. If it's someone you don't like, what's the point of sitting there listening to a whole album and writing out a review when it virtually holds no value? You could easily not waste the time and find entertainment in trolling in a thread, if that's what tickles your fancy.
To expand your musical knowledge and get into new artists? That's one of the plus sides of this thread. I never said people who dislike the person should be forced to review it, I just said it's open for anyone to review, should they wish. Nobody said anything about trolling either. At the same time people shouldn't complain if an album get's a good score with limited reviews, we shouldn't punish acts for having a smaller fanbase. If they're bothered by it having limited reviews they should review it themselves or just leave it.
Well said! This is like the people who didn't vote at the elections complaining about the results and the absenteeism
