Tag Archives: electro

ALBUM REVIEW: Trespassing (Adam Lambert)

6 Jul

The reality show tag is a difficult cross for any musician to bear, and very rarely can an artist break out from the label. Adam Lambert would never have gained exposure and a record deal without American Idol, runner up or not, and yet he remains forever tarred with the reality TV show contestant brush. Disappointing, because he appears to be so much more than that.

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ALBUM REVIEW: Trouble (Totally Enormous Extinct Dinosaurs)

20 Jun

Perhaps best known for his trademark T-Rex costume at live gigs, Totally Extinct Enormous Dinosaurs – or TEED for short, as it’s a bit of a mouthful – has been fighting off comparisons to Hot Chip ever since his debut EP was released on Joe Goddard’s label. Now ‘Trouble’ could be the record to push him into an arena all his own.

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ALBUM REVIEW: Hot Pink Blush (Jackie Scott)

22 May

Jackie Scott is described as having a “playful voice” and “infectious hooks.” Putting aside the fact that I don’t actually understand how one can have a playful voice – tone, sure, but voice? – Miss Scott apparently also has “the charisma and the talent to make it.”

Which is why debut album Hot Pink Blush is such a disappointment. Introductory track Lovesick starts off well – the electronic beats aren’t original but they are catchy and do what they’re supposed to, but then Scott’s equally electronic tones kick in and it hits the vibe of those horrific Ark Factory Rebecca Black tunes that went viral on the internet last year.

There’s potential, sure, and the songs are catchy enough – there’s just something slightly too false about it. Autotune is great when it’s used in the right way, and might I suggest Kate Bush’s Deeper Understanding as an example, but here it just harkens to Paris Hilton and Millionaires-esque messes.

There are moments on Lovesick where something great bursts through – it is fun and slightly less irritating, but there’s just too much going on. If it was pared down – if someone took some hedge trimmers to it, then Lovesick would be a decent enough pop song.

Still, it’s nothing compared to the spoilt brat spoken word into to Don’t Mess with Me – the cutesy attempts at ‘whatcha gonna do’ just feel like Disney Original Movies rejects and make it almost impossible to keep listening past the first minute. Lyrics such as ‘don’t mess with this princess, baby / don’t mess with this bitch, I’m crazy’ are just sadly unoriginal and trite.

It would be too easy to make a joke about the unfortunately named Trainwreck – which is actually one of the better songs from the album. There is, as I said, definitely something good going on but it’s hidden under all the cutesy lyrics and electronised beats. Trainwreck has the edge missing from some of the other songs, and is gutsy and infectious enough that it almost saves the album. If there were more songs like this then Hot Pink Blush would be such a better album. Maybe Scott needs to find her sound,  but she’d do better to stay away from the pop and focus on the electro.

Visit Jackie Scott’s website here.

ALBUM REVIEW: Demons Are Real (Soccer96)

17 May

Electro duo Soccer96’s new album Demons Are Real provides a little bit of what electronica is supposed to be and a whole lot more of what they think it should be. This is in no way a bad thing; instead, the band eschew sequencers and laptops and bring the genre back to basics – or as basic as electronica really can be. Classic analogue synths are the method of choice, which add a slightly traditional sense to the sound – an odd choice of phrase, admittedly, but Soccer96 are a band adamant on doing things their own way. Fortunately, their way is a good way.

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ALBUM REVIEW: Specters (Stalking Horse)

23 Apr

Stalking Horse’s Specters has echoes of Radiohead and New Order, but manages overall to create a sound all their own. There is a certain unique aspect to the songs that seems to be missing a lot lately – an almost hypnotic factor that not only draws the listener’s attention but is also able to hold it. 

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SINGLE REVIEW: 1986 (Turnpike Glow)

23 Feb

The theme of 1986 is that of, apparently, ‘a relationship coming to its end amongst the heaviest snow fall in Rome since 1986’ (see where the song gets its name from?). Two out of five members of Turnpike Glow are actually from Rome, so it doesn’t seem as out of place as it perhaps could, although there’s no danger of accusations of subtlety here – mentions of snow are frequent, and ‘the heavy snow / to fall in Rome / since 1986’ is repeated throughout the chorus.

Read the rest here.