The Singles Bar: 12/03/12

News reaches us here that, in the UK, Somebody That I Used To Know by Gotye has become the first track to shift 500,000 copies in the year of 2012. If that doesn’t hasten the need for new, fresh, exciting music to descend on the singles charts, I don’t know what does. Luckily, there are a smorgasbord of tracks ready for you below, so pull up a chair and tuck in.

M.I.A. – Bad Girls

It’s difficult for M.I.A. She’s on the verge of mainstream success but to achieve it, she risks losing what made her distinctive in the first place. In fact, I’m about to stake claim to the headline, “How do you solve a problem like M.I.A.?” so you need to talk to me first if you want to write that article. You get the feeling there will be mis-steps along the way but on Bad Girls, M.I.A. judges things perfectly. She manages to combine catchy rhymes with a commercial sensibility, hip-hop beats and the kind of Middle Eastern hook that 99% of pop stars wouldn’t go near. It’s done with aplomb, and while it lacks the punch of some of her earlier work, it could well be the catalyst to full crossover commercial success. 8/10

Alexandra  Burke – Elephant feat. Erick Morillo

As far as I can tell, Alexandra Burke won X Factor due to her ballad-friendly voice but, cover of Leonard Cohen’s Hallelujah aside, she’s concentrated primarily on club-friendly R&B instead since that victory. That powerful voice which caused so many to pick up the phone back in 2008 has been stripped of all semblance of character and auto-tuned to death on Elephant, with the consequence that this track could be by pretty much anyone. It’s yet more chart-friendly faceless Ibiza-influenced pop and, even for that most unlovable of genres, this is a poor and forgettable effort. Also, while this elephant in question may be the “elephant in the room” of a failing relationship, we’ve certainly learned that ‘elephant’ is not a word that goes particularly well with huge dance anthems. 1/10


Katzenjammer – I Will Dance (When I Walk Away)

As well as being the surname of Tamsin Greig’s brilliant Fran in Black Books, ‘katzenjammer’ is also German for ‘hangover’. See, you like this band already, don’t you? IWD(WIWA) is a chirpy piece of indiepop full of glockenspiel and melodica, that also has a slightly traditional Irish folk dance feel to it. There are some great singalong vocals though, and a sense that you’ve stumbled across an exquisitely hewn pop gem that’s going to get stuck in your head for a good few days. It’s also absolutely perfect for radio, which makes you wonder why it’s not completely unavoidable and why Katzenjammer aren’t the must-see band of the festival season. Listen to IWD(WIWA) and you’ll smile, you’ll dance, you’ll play it again as soon as it’s finished, and you’ll really feel that summer is just around the corner. 9/10

Michael Kiwanuka – I’m Getting Ready

The retro-soul sound of singer-songwriter Michael Kiwanuka has already won him the BBC’s Sound of 2012 poll, as well as plenty of plaudits elsewhere. He almost seems like a man from another era, and in an age of bountiful musical excitement, it seems a little sad that a hotly-tipped artist has to look backwards in time so obviously for inspiration. That said, Kiwanuka’s velvety croon is simply gorgeous, and the backing vocals in I’m Getting Ready complement his tones perfectly. It’s an immersive track, with the feel and structure of an old gospel song. It’s so easy and free, that’s it’s a lovely experience just to let the soothing sounds wash over you. Of course, it would be nice if the sound of today didn’t sound so indebted to the past but when a song’s this good, it’s hard to care too much. 8/10

Jay-Z & Kanye West – Niggas In Paris

It seems odd that a collaboration between arguably the two biggest stars in rap hasn’t set the world alight. Sure, there’s been plenty of attention on Watch The Throne, but nothing like you’d expect from the combined pulling power of Jay and Kanye. On Niggas In Paris, the two seem so wrapped up in their own rhymes and style, they’ve neglected to give too much attention to what’s going on outside of the vocals. This is ill-advised because, while no-one can deny they’re mega-stars, Jay-Z and Kanye West aren’t huge purely for their technical ability. In fact, on this tired effort, Kanye’s annoying drawling is turned up to eleven and there’s not much to latch onto. Really, it’s just the sound of a pair of gazillionaires boasting about how great they are – why wouldn’t you like it? 5/10

Rufus Wainwright – Out Of The Game

The lesser-talented Wainwright sibling (opinion: reviewer’s own) returns with a typically understated effort… or not. Of course, Wainwright’s voice is like incredibly rich food; wonderful to begin with but utterly insufferable if you’ve had too much. ‘Too much’ in this case relates to around 90 seconds or so, and the female backing vocals are just as overpowering. In fairness, Rufus has turned down the melodrama on this Out Of The Game – there’s not a symphony orchestra in sight – and it’s a fairly straightforward, guitar-led track. Yes, there’s the odd flourish and an attempt at a big climax (this is Rufus Wainwright after all) but this could be an appropriate entry point for any Rufus non-believers. Overall, it’s not too much to get excited about, whether you’re a fan or not. 4/10

Tango In The Attic – Paw Prints

The new single by Scots Tango In The Attic starts with a statement of intent: huge drums and intense riffing (which sounds awesome on headphones, by the way) that just seem to build and build. By the time the first section is over, we’ve got swirly, shoegazey guitars and unusual time signatures for company too. It’s a full two minutes before the bass comes in though, and Paw Prints is really missing it until its arrival. Blasts of visceral noise and an intricate structure elevate this above the average and push it in the direction of math-rock, but it can come across as an attempt to mask a lack of quality in the songwriting itself. That said, Paw Prints is certainly worth a listen and will blow the cobwebs away any day of the week. 6/10

Paul Weller – That Dangerous Age

Despite having spent the last decade or more releasing poor facsimiles of former glories, Paul Weller continues to be feted by an ever-fawning music press. Perhaps he’s especially nice to journalists, I don’t know. Anyway, Weller usually seems to be oblivious to the passage of time (and not just in his attitudes to haircuts) but on That Dangerous Age, he addresses his advancing years directly. Much of his latter-day work has been stodgy and bereft of inspiration, but here, there are handclaps, cowbells and a fuzzy bassline you could have a stab at busting a groove to. A welcome change in musical outlook from the man we’re contractually obliged to refer to as The Modfather, yet still anything but a classic. That said, not bad for a man on the verge of releasing his eleventh solo studio record. 6/10

Saint Etienne – Tonight

It’s unlikely I’ll ever be a member of royalty but if the unthinkable does happen, one of my first acts will be to award the members of Saint Etienne a collective knighthood. For over twenty years they’ve provided the world with dance music with substance, marvellously bonkers cut and paste albums and a general sense of musical joie de vivre. Tonight harks back to the classic three-minute instant pop of their 90s singles and is impossible to not get caught up in. Gloriously, it’s actually about going to a gig, getting caught up in the anticipation and then the “surrender to the sound” that comes with the best music. A little meta, perhaps, but a hook-filled wonder that never outstays its welcome and leaves you wanting more. Exceptional. 9/10 – SINGLE OF THE WEEK

Future Of The Left – Sheena Is A T-Shirt Salesman

We don’t have ‘Song Title of the Week’ here at The Singles Bar but if we did, this would win by some distance. Either way, it’s nice that Sheena is making a living and her days of punk rockerdom didn’t leave her entirely employable. SIATS is a breakneck thrash ride that races along without leaving room for you to breathe. There’s a hint of a band who are far too pleased with themselves though, and really, attention-grabbing titles aside, this is in no way enjoyable to listen to. Living under a (mainly) Conservative government, I can’t help but hope the future of the left is a whole lot brighter than this. 2/10

The Singles Bar - 06/02/12

As the Singles Bar makes its way into February, it’s interesting to note the juxtaposition between old and new in this week’s selection. Madonna, Mick Jagger and Paul McCartney all crop up below, but we also have new kids on the block, Friends, and 23-year-old rapper, Big Sean. Does this prove anything in particular? Maybe not, but we’ll see if the old guard can still do it faced with the latest crop of young pretenders.

Childish Gambino – All The Shine

I can’t help but think Childish Gambino is a kind of endearing nickname a parent would give to their mischievous offspring. Anyway, All The Shine starts with simple beats, a repeated “yeah”, and a guitar solo that sounds like it’s being played in another room. Then the rap comes in, and it’s cuss-laden, aggressive and the kind of thing record companies normally prevent artists from releasing as singles. The verses have an imperious feel like Kanye West’s Jesus Walks, but the chorus removes the anger and tension by being a bit too straightforward. There’s a wince-inducing reference to Mumford & Sons at one point too – ouch. Overall, All The Shine comes across as a little melodramatic and, while a decent track, Childish Gambino doesn’t quite have the acumen to hold it all together. 6/10

J Mascis – Circle

Despite J Mascis having been around for years, double-tracked, reedy vocals over an acoustic backing now immediately make you think of Bon Iver. Whether you like Circle or not will largely depend on your opinion of Mascis’ voice. This track is simply guitar, vocals and a thin synth line, so a lot of your attention will be drawn to Mascis’ cracked, self-pitying drawl. Circle suggests J Mascis hasn’t moved on too much from Dinosaur Jr.’s heyday, as this could have conceivably been released in the early 90s and rivalled The Lemonheads’ Into Your Arms. It’s a simple, unadorned song which isn’t going to set the world alight but, as a way to pass three minutes or so, it’s really rather lovely. 7/10

Friends – Friend Crush

Since discovering Friends via an article I wrote on critics’ tips for 2012, I’ve been playing last single, I’m His Girl, an awful lot. They’re a band I’m really excited about and capable of great things, which is why it’s hard not to feel a little let down by Friend Crush. It’s still a great track, but there’s little of the zip and invention on display that sets them apart on their other work. The vocals seem a little disinterested and the synth line is very MGMT. The core ingredients of Friends are still there; it’s a lean production with no superfluous embellishments and there’s a slight funk swagger to it, but it’s just a little lacklustre. It’s all relative though, and Friend Crush is still a darn sight better than most tracks you’ll hear. 7/10

Madonna feat. Nicki Minaj and M.I.A. – Give Me All Your Luvin’

Madonna’s indefatigable longevity means she’s now getting begrudging applause from even the hardiest of cockroaches (or at least, she would be if they had the requisite motor skills… and the inclination… and an understanding of human customs… ok, that’s a terrible analogy). Anyway, she’s somehow got a knack of coming up with absolutely belting lead singles and Give Me All Your Luvin’ is no exception. This is despite the fact there are numerous flaws with the song. The production isn’t beefy enough, Nicki Minaj’s rap is too self-serving, the slower section rids the song of all the momentum it had built up, M.I.A.’s contribution is largely forgettable – yet somehow we’re left with something ridiculously catchy and utterly addictive. Madonna’s not setting a ground-breaking agenda with this song, but neither is she following the crowd with a slice of Euro-trance pop. She remains a force to be reckoned with and – as the Superbowl show proved – Give Me All Your Luvin’ is fit to go toe-to-toe with her finest moments. I’m not always a fan, but on this occasion I L-U-V Madonna. 8/10 – SINGLE OF THE WEEK

Kelly Rowland feat. Big Sean – Lay It On Me

While Madonna may not be following the crowd, one solo artist who certainly does cling desperately to the shifting zeitgeist is Kelly Rowland. Lay It On Me is a tired slab of dance-pop which could be by just about anyone. As with Down For Whatever, Rowland demonstrates that she simply can’t play the smouldering siren, as she displays about as much personality and erotic appeal as a wicker basket. The plot – should you care – is that Kelly Rowland is in the mood for some form of loving, and Big Sean is (as well as being a terrible rapper) a ladies’ man of some repute, who has just the skills to ensure Ms. Rowland won’t be disappointed. It’s as convincing as James Murdoch’s protestations of innocence in the Leveson Inquiry though, and just as disheartening. 1/10

Paul McCartney – My Valentine

Let’s get this out of the way right now. Paul McCartney’s new album is called Kisses On The Bottom. Yes, I know. We can now move onto this track. McCartney’s in a no-win situation, really. His canon of work is unsurpassable, plus he’s been without his songwriting partner-in-crime (and, crucially, the man who would curb his more sentimental instincts) for over three decades now. My Valentine is a pretty ballad which contains several chord changes which are unmistakeably McCartney, plus a tasteful Spanish guitar solo. However, it’s also far too syrupy and cloying – both lyrically and musically – and, as such, is an unessential track. It’d be too easy to go down the “Why does McCartney still bother?” route – especially when if anyone has earned the right to do what he chuffing well likes, it’s Sir Wacky Macca Thumbs-a-Loft – but you can’t help but feel the world wouldn’t have been particularly different if this track hadn’t been made. 4/10

M83 – Reunion

Only someone with a heart of stone wouldn’t be delighted that M83’s Midnight City is currently enjoying its fifth week in the UK singles chart. Like that track, Reunion owes a heavy debt to slick, over-produced pop of the 1980s. M83 may be an incredibly popular group with the tastemaking blogosphere, but that doesn’t mean they don’t sound like Duran Duran. In fact, if they weren’t several albums into their career, this could all come across as some exceptionally trendy, arch in-joke. However, the reason those pop hits this track recalls have endured is because of the quality of the songwriting, and Reunion luckily taps into that tradition too. There are warm layers of synth, a singalong chorus, and a commanding bassline to propel the track forwards. Joyful, uplifting stuff, and you shouldn’t care less that it doesn’t contain even the slightest hint of originality. 8/10

Kelly Clarkson – Stronger (What Doesn’t Kill You)

Oh good, the usual Kelly Clarkson, throw-everything-in, you’ve-wronged-me-but-I’ll-get-over-it, I-Will-Survive-lite, Pro-Tooled-to-death, self-obsessed, about-as-inspiring-as-Athlete’s-Foot nonsense that Christina Aguilera used to release about a decade ago. I listened to this all the way through. It didn’t kill me, yet I feel significantly weaker, in mind, body and spirit. Thus, as well as being relentlessly terrible, it’s also factually inaccurate. 0/10

will.i.am feat. Mick Jagger and Jennifer Lopez – T.H.E (The Hardest Ever)

Having endured Kelly Clarkson, this wasn’t exactly what I was looking for to provide some kind of respite. As anyone with even one functioning ear knows, will.i.am is a musical abomination who should be the subject of a restraining order from every recording studio in the world. To start with, the vocal is auto-tuned so heavily it’s genuinely uncomfortable to listen to. As far as the music goes, it sounds exactly as you’d expect a will.i.am song to sound in 2012, i.e., like Black Eyed Peas with a smidgen of David Guetta thrown in while will.i.am raps some old toss about how great the track is. Two-thirds of the way through, it morphs into a marginally different, faster track, then Mick Jagger makes his entrance and claims he’s “hard like geometry and trigonometry”. God knows what he’s doing on this track; it’s enough to make you want to throw all your Rolling Stones records out of the window. The fact thousands and thousands of years of human achievement and progress have led to this moment makes me want to take a vow of silence and live in a kibbutz and OH I GET IT NOW HIS STAGE NAME IS A PUN ON HIS REAL NAME OF WILLIAM THAT’S HILARIOUS LOLOLOLOLOLOL !!1!!12!!1! *throws self off Mount Everest*. 0/10

Atom Eye – Trilogy 120 Part 1

After that will.i.am track, I am incredibly grateful for Atom Eye. Trilogy 120 Part 1 is the first of a – you’ve guessed it – three-part project, where each section will be released as a separate EP. From the off, this is dark and atmospheric. The beats lurch cumbersomely from bar to bar, like the walk of an elephant, and a repeated piano motif ratchets up the tension. There’s a filmic quality to Trilogy 120 Part 1, and it builds superbly into something quite unsettling. We rarely tackle the ambient stuff here at The Singles Bar but this is a thing of wonder. As the track progresses, African rhythms enter the mix, and there are expertly-employed hints of granular synthesis sprinkled in too. If this were to be used in cinema, it would soundtrack the build-up to the kind of awful event it’s impossible to tear your eyes away from. Then, it fades away, leaving just a low-level drone and a feeling of exhaustion. This isn’t the kind of track you’d want to listen to on a regular basis but as a stand-alone mood piece, it’s hard to fault. 8/10

My Night Out at Later... with Jools Holland

How much do you think it would cost to get into a Kings of Leon gig with a capacity of less than 300? And to be just a few metres from Caleb and the boys, how early do you think you’d have to get there? Oh, and you might want to factor into the equation that Eric Clapton’s going to do a few numbers, how does that change things?

Ladies and gentlemen, welcome to the world of Later… with Jools Holland. For the uninitiated, it’s a British television institution now in its 37th series. The premise is simple; a range of bands gather in a room and play a few of their tracks while the ex-Squeeze man compères. There’s the odd interview and maybe a smattering of archive footage, but the show really is all about the music. This may not sound special on paper, but seeing quality live bands on television isn’t that common. While new and exciting music is well-catered for on the radio (and, in particular, by the BBC’s stations), the screen is the airwaves’ forgotten cousin if you’re a music lover.

When Later… is in the middle of a run, it’s broadcast twice a week: a recorded show on a Friday night preceded by a live broadcast on Tuesday evenings. In the studio, the pre-record is done first before the tiny studio goes live to the homes of Britain at 10pm. And it really is tiny - despite being stood in a corner at the back (and invisible to the viewers; I’ve already checked), I was only 20ft away from both Kings of Leon and Eric Clapton.

So, to the line-up. Later… is known for having a diverse range of up-and-coming and established acts, and this week was no exception. As previously mentioned, Kings of Leon and Eric Clapton were in attendance, and they were joined by hotly-tipped rock outfit, The Vaccines, a début UK television appearance from M.I.A. (backed by The Specials), eleven-piece folk act, Bellowhead, and relatively unknown singer-songwriter, Jonathan Jeremiah.

There were few musical surprises when the cameras started rolling - these bands are tight. The Specials have an incredible sense of rhythm that it’s almost impossible not to move to, Jonathan Jeremiah has a marvellous voice and Bellowhead are an incredible live proposition. In fact, Bellowhead were a revelation - think of a 21st Century Pogues but with a brass section and you’re on the right lines. Eric Clapton was the act of the night though, he may be 65 but he showed the stadium-baiting, anaemic Kings of Leon how it’s done and blew away the stodgy, meat-and-potatoes rock of The Vaccines.

Not being particularly au fait with the world of television, the most interesting part was seeing how it was all put together. There’s a large number of people constantly running around and even when acts are playing, there’s more activity at the other end of the studio to prepare the next song. I also had the opportunity to observe how musicians react to other musicians. It’s not often any of these acts stand around in plain view while their contemporaries ply their trade, but that’s the kind of show Later… is. I even devised my own game, “What does Clapton think?” where I looked over to see his reaction as events unfolded throughout the recording. My conclusion is that, like me, he’s now a fan of Bellowhead, but that’s little more than conjecture on my part.

At this point, I’d love to include some startling celebrity revelation that would have publicists tearing their hair out, but unfortunately, no dice. I passed Bellowhead’s Jon Boden in a corridor and saw soul singer Adele having a cigarette outside, but that’s hardly going to keep Perez Hilton busy.

What I can say, however, is how much fun I had and how much I hope to be able to spend another evening with Later… in the future. The show is only as good as its acts but in an age where there’s little music programming on television to speak of, Later… is a show we should appreciate, cherish and enjoy.

/\/\/\Y/\

M.I.A. - /\/\/\Y/\

released 12 July 2010 on XL

London-born Sri Lankan Mathangi “Maya” Arulpragasam could just be the perfect pop star. She’s that irresistible, hard-to-ignore mix of intrigue, fun, controversy, branding know-how and beauty. She’s always on hand with a quotable soundbite, whether it be pertaining to herself, other artists or political activism. Last year, she was listed as one of Time magazine’s 100 “World’s Most Influential People” and - despite not even considering herself a musician - she’s already made two albums of glorious, cacophonous, joyous, genre-melting, Technicolor pop. Both Arular and Kala tore up the rule book, with M.I.A.’s keen magpie-like musical eye picking out hip-hop beats, playground rhymes, bhangra rhythms, philosophical rhetoric and unlikely sound effects, and blending them into something greater than the sum of their parts. In 2005, none other than Nas called M.I.A. the sound of the future and over the last five years, he’s been proved correct.

However, M.I.A.’s latest LP, the typically contrarily-titled /\/\/\Y/\ - or, if you prefer, Maya - hasn’t quite been receiving the praise of her previous two efforts. This review comes over a week after the album has been on general release, and while it may be considered bad form to read the views and reports of others before setting out to chronicle your own opinions of a record, the fallout has been difficult to sidestep. So, why the cold shoulder for /\/\/\Y/\? Has M.I.A. really released a dud, or is it the revenge of the hack - payback for M.I.A. tweeting the telephone number of New York Times journalist Lynn Hirschberg after an unfavourable profile? Happily, I can report that M.I.A. has NEVER made my telephone number available in the public domain (she doesn’t even have my number - ha! More fool her), so you can rest assured this review is free from any personal vendetta I may have had.

Although M.I.A.’s endlessly quotable persona can be a gift to the press, she does tend to lean heavily towards conspiracy theory on occasion. She recently claimed that the Sri Lankan government are watching her and her child, and the theme of invasion of privacy continues with opening track, The Message, where over a burbling bass motif, a distorted, robotic voice unemotionally states that “the iPhone’s connected to the Internet connected to the Google connected to the government”. Outlandish maybe, but about ten times more interesting and inflammatory as you’re likely to get from your average airhead pop strumpet.

Where M.I.A. really excels though, is her innate ability to create an addictive kaleidoscope of sound, crashing disparate elements together and forcing them to fuse like a persistently stubborn alchemist.Steppin Up, in particular, is an intoxicatingly heady mix of drills, urban machinery, whistles and the kind of playground rhymes you’d expect to hear over footage of schoolgirls playing Double Dutch in the street. An interesting side-effect of listening to M.I.A. is that the utter uncompromising brashness of her music is so exhilarating that it can inspire confidence in you. Try listening to Steppin Up or the jackhammer drums and crunching, clipped riffs of Meds and Feds while walking through a populated area and it’ll make you feel around ten feet tall.

M.I.A. isn’t a one-trick pony, however, and she deftly demonstrates that she can do things slightly more subtly when required. Paper Planes is her best-known song and her most accessible, and it’s a combination she looks to repeat on leading single, XXXO. It’s odd to hear M.I.A. not rallying against some form of oppression and doing what could almost be considered a traditional love ballad, but her restrained vocals give the music the chance to take hold and envelop your senses. The disorienting recipe of huge bass drum, auto-tune and hardly any mid-range make Tell Me Why consistently intriguing, and the Animal-from-the-Muppets drumming, buzzing riff and primal vocals make Born Free a defiant joy.

All this means that /\/\/\Y/\ has some of the best tracks of any album you’ll hear this year. When M.I.A.’s on her game, there really is no-one to touch her. It may well be heavily disguised by the spacing of the good songs but unfortunately, /\/\/\Y/\ just seems to not have enough ideas. Maybe it’s no longer being able to provide “the shock of the new”, maybe it’s the distraction of family life, maybe it’s just a stumble or maybe it’s - whisper it quietly - the fact she’s so busy courting controversy she’s lost sight of what made her great in the first place, but this album sounds half-baked on more than one occasion. Teqkilla is a bad title and a worrying example of when M.I.A.’s Midas touch deserts her, It Takes a Muscle is rancid ska-lite and final track, Space, is disappointingly non-descript.

In fact, the blandness of a closing track of Space is symptomatic of the contradictory nature of /\/\/\Y/\: an album that veers between quixotic brilliance and insipid dullness. It’s possible that the crossover success of Paper Planes has left M.I.A. in a difficult position where she wants to stay true to her roots and ethos whilst also attempting to break into the mainstream. On the evidence of /\/\/\Y/\, she could be in danger of achieving neither.

Let’s get some perspective here, /\/\/\Y/\ is a good album by anyone’s standards. However, it’s the fact we’re judging it against M.I.A.’s (granted, incredibly high) standards that it’s so frustrating, and we all know she can do better. M.I.A. has now made a trilogy of inventive, engrossing records, but for the sake of music we’d all better hope that /\/\/\Y/\ isn’t the beginning of the end.