The UrbanWire      

Imai Tsubasa (今井翼) has spread his wings (“Tsubasa” means “Wing” in Japanese) and released his solo debut single Backborn, almost 8 years after entering the music scene with Takizawa Hideaki (滝沢秀明) as duo Tackey & Tsubasa (タッキー＆翼). No, it’s not a typo or spelling error; “backborn” is a word invented by the 28-year-old from “backbone” and “born”, to illustrate his intention to go back to his roots. And from the name of the 2 concert tours Tsubasa held in Japan last year, his roots would be none other than Dance & Rock.

Long-time fans will marvel at how much Tsubasa has grown with this brand new offering. As his first step to carve out a name for himself, the talented dancer chose to go with a rock number instead of standing firm to his established image as one of Johnny’s “Dancing Kings”. Even the lyrics, penned by the man himself, seem to suggest that he’s not going to just let his wings ride along with the wind, but to show the world who he really is, as he roars that he’s “born to be wild”, “born to be free”, and “born to fly”.

The promotional video (PV), included in the bonus DVD in the “Music Clip” edition, accentuated the rock element well, where the flamenco enthusiast turns into the lead vocalist of a band, working his microphone stand skillfully while throwing a sure-kill look as he lets out a soft breath after the last chorus. It’d be interesting if he’d actually performed a choreography for this upbeat tune.

The song “Backborn” appears to be a showcase of what Tsubasa has absorbed and learnt over time performing other songs of the same genre such as “Samurai” and “Toriko” (“Prisoner”) instead of a virgin attempt. His vocals also proved to have matured into a deeper, richer voice compared to the younger, shallower singing in Tackey & Tsubasa’s debut album, Hatachi.

The coupling track “Kimi to nara” (translated as “If I am with you”) is an instant favourite, where the sweet guy belts out lines such as “守り抜く心を誓うさ” (translated as “I vow with my heart I’ll protect you till the end”) and “例え君が挫けそうな時も / そばにいるから My Precious You” (translated as “At times you feel defeated, I’ll be near, my precious you”), written as a message to his supporters. This lighthearted soft rock arrangement complements these saccharine words, and has the potential of topping karaoke charts as you hum along with him, “Baby, baby, baby”.

[ASAP], included only in the regular edition, is closer to the slightly techno dance genre that Tsubasa’s generally associated with, similar to his other songs like “Slave of Love” and “Edge”. It’s a motivational track that challenges you to “有言でTry” (try without going back on your word) and “勇敢にFly” (fly bravely). There’re some random abbreviations though, that left listeners to their imagination. “T4U” = “Tsubasa for you”?

Backborn is actually a platform for Tsubasa to convey his message, through writing the words for the entire single: that he wants to break out of his shell, to be himself and fly. It was a good choice to experiment different genres while still keeping a reasonable distance within the image he’s established so far. If there’re plans for a next release, UrbanWire hopes he’d go all out to show off what he does best: dance.

Title: Backborn
Artiste: 今井翼 Imai Tsubasa
Language: Japanese
Record Label: Avex Trax
Release Date: Feb 24, 2010

Tracklist:

1. Backborn
2. 君となら Kimi to nara
3. [ASAP]

Share this article with this URL: http://bit.ly/9M5Qq6

5 guys and a girl from Copenhagen, Denmark, turned down touring the USA with Katy Perry to focus on this piece of work. So, press play and prepare to be amazed – Alphabeat have returned with their brand of pure pop magic, in the form of their second album, The Beat Is….

Alphabeat first appeared in the UK music scene in 2008, with runaway hit song, “Fascination“. It peaked at no. 6 on the UK Singles Chart and was even used in a Coca Cola Light TV commercial in the region.

Stine Bramsen and Anders Nielsen are the lead vocalists (If the Danish names confuse you, Stine is the only female, and Anders male). They’re supported by another 2 Anders: Anders Bønløkke on guitar, Anders Reinholdt on bass, Rasmus Nagel on keyboards, and Troels Hansen on drums.

The Beat Is.. is 43 minutes of powerhouse aural magic that pays homage to early 90s dance pop. The band have credited their influences to 90s hit-makers Black Box, Corona, and Ace of Base, among others.

Compared to their debut record, This Is Alphabeat, the band’s taken the sugar-rush and happy down a notch, ditching their cheerful 80s vibe for sleeker outfits and a decidedly more electronic sound.

The record employs a good deal of digital arrangement, with synthesised vocal warbling, intense bass, and electro-instrumentals coming into the mix. Pretty much all the songs are about love, as is the case with most pop records.

Noteworthy tracks “The Spell”, “DJ”, and “The Right Thing” showcase the band’s talent for clear, pop-songwriting. Coupled with key elements like catchy choruses, dynamic beats, and strong vocals, Alphabeat prove to be true masters of their craft.

The album opens fittingly with first single, “The Spell” – a worthy tribute to 90s dance, driven by high energy, Stine’s astounding vocal prowess, and a smashing chorus. Magical stuff.

“The Spell” single deservedly hit the no. 1 spot on the Danish singles chart upon release, and was well received in the UK, and won over even critics who hated their first record. The music video is a sprightly rendition of the single, packaged in electric blue and flashing lights, reminiscent of a musical era past.

The third song, “DJ”, is probably the easiest tune to catch on to. It sounds very much like Daft Punk’s “Digital Love”, and is a tad more relaxed than the other tracks, but retains some energy in its rhythm. Remember the sheer excitement added to that feeling of restfulness when school’s out? This number feels just like that.

Another notable track is “Heat Wave”. The record reaches its peak as this fast-paced tune builds into the chorus, where Stine’s remarkable vocals bring things to a dynamic explosion, and you can’t help but start bobbing fitfully along to the music, if you haven’t already.

Alas, there’re some bumps along the track list. The mellower numbers don’t fare so well.

The song “Q & A” seemed to go on forever, with Stine moaning, “We need some Q, and A, Q and A-hey, Q and A-hey” for the entire chorus. The lyrics were too corny for this one, and since it’s a slow number, such flaws are more noticeable.

“Chess” had background instrumentals that had an annoying bubbling sound effect, and the slow sway of the rhythm made it seem like the kind of song you’d hear at a cheesy beach party. It has the potential to grow on you, but with a title like “Chess” and a vibe so different from the rest, it stuck out like a sore thumb.

Overall, Alphabeat have really polished their act, churning out a record worthy of pop greatness. This album saw male vocalist Anders take a backseat, while Stine’s mighty lungs gave their all, injecting power and spunk to every tune she belted out.

Opinions will swing both ways, and fans will either be thrilled or bummed by the band’s new sound, which has moved into a completely different genre of pop – from the happy, sugary 80s to the danceable tunes of the 90s.

Alphabeat have proven themselves to be one of the better European pop acts to emerge in recent years, and are certainly not letting past Scandinavian pop greats – like fellow Danes Aqua and legendary Swedes Abba – down.

UrbanWire rates The Beat Is… a 4/5.

Title: The Beat Is…
Artist: Alphabeat
Choice Picks: The Spell, DJ, Heat Wave
Language: English
Record Label: Polydor UK
Release Date: Mar 1

Track list:

1. The Beat Is
2. The Spell
3. DJ
4.Hole In My Heart
5. Chess
6. Heart Failure
7. Heat Wave
8. Always Up With You
9. Q & A
10. The Right Thing
11. Til I get Round
12. 365 Degrees

Whatever it is that the Swedes add to their water, we want it. From the Cardigans to Ace of Base, and from ABBA to Lykke Li, these guys have been consistently and constantly churning out tunes guaranteed to make you bop and sway.

And they’ve managed to wear out our dance shoes again.

Famed Swedish producers Christian Karlsson and Pontus Winnberg, famously known as Bloodshy & Avant, team up with American singer-producer Andrew Wyatt to form Miike Snow.

The result – a musical triumph, if their eponymous first outing is anything to go by.

Miike Snow is a commendable, polished production. BBC Music proclaims it to be “damn near perfect”, and the Guardian calls it “…intelligent pop music that has the ability to cradle taste-making purists and reach anthemic heights”.

Of course, UrbanWire expects nothing else from a group of esteemed producers – the Swedes have worked with dance-pop music luminaries Madonna, Kylie Minogue, Jennifer Lopez and Britney Spears, while the American has headlined a few bands (Fires of Rome being one of them) and recently collaborated with Mark Ronson to produce Daniel Merriweather’s latest album Love and War.

What’s remarkable is that the guys managed to garner genuine interest for their music without revealing their star identities – they only did so after coming out from hiding behind the Internet to perform a couple of sets in New York.

The music can best be described as ambitious ‘winter pop’ – the type that transports you to a mildly cool, sophisticated winter’s day in Scandinavia. It’s loaded with addictive hooks and atmospheric charm. The album starts off strong and wanes off at the middle, before pulling itself together and concluding with aplomb. It’s an album that talks of loss and ruined love, but the musical arrangements, which sound upbeat and amazingly refreshing, suggest otherwise.

Their latest single, Silvia, is a standout of the album. The track,  released on Jan 25, is pure aural nirvana. Wyatt’s expressive vocals exhibit a sense of regret, longing and emotional depth over lost love, while the music reaches admirable crescendos that warrant repetition on your playlist. “Animal” brings together electronica and heady pop, and “Burial” is a track that sounds playful, but the macabre lyrics, which talk of misery and the pointlessness of fixing a broken relationship, are anything but fun.

The lyrics are a show of juxtaposition – poetry interspersed with contemporary American-style, rap-influenced lyricism. We like it that the stanzas don’t repeat themselves – a common annoyance in the latest pop tunes like J. Lo’s “Louboutins” and Chris Brown’s “I Can Transform Ya”. However, it sometimes seems like the band’s trying too hard to come up with arresting lyrics steeped in poetic melancholy that, quite frankly, don’t belong in the same league as anything from local music veteran Leslie Low.

That these guys have no name recognition in Singapore (or anywhere else!) is really unfortunate. This may be intentional, judging from their reputation for keeping things under the radar, but we see no reason why these guys should not be given the attention they deserve.

[Pullout quote]
“Well, you know, I think that doing interviews is great. But I don’t think we have any interest at all in being pop stars or anything like that. In fact, that’s kind of our worst fear…  We want people to get into that image; it’s more about, “Go have a crazy adventure,” rather than have it be about our personalities. Because it really isn’t. It’s an experiment, and it’s an adventure. And it’s not much about anything else. I think it’s always a mistake when you start connecting a band to a personality. You begin to limit what you’re able to do.” – Andrew Wyatt, interview with Interview Magazine, June 2009.

The UrbanWire gives Miike Snow 4 out of 5 stars.

Title: Miike Snow
Artiste: Miike Snow
Language:English
Record Label:Columbia
Release Date: 12 May 2009 (Sweden), 23 October 2009 (United Kingdom)

Tracklist:
1. Animal
2. Burial
3. Silvia
4. Song for No One
5. Black & Blue
6. Sans Soleil
7. A Horse is Not a Home
8. Cult Logic
9. Plastic Jungle
10. In Search Of

11. Faker

12. Billie Holiday (Bonus track)

Donning a superman-esque shirt on the cover of his new album, Singaporean singer Jing Wong (黄靖伦) aims to be OK Man. The sophomore effort from the winner of the Meritorious Newcomer Award at last year’s Singapore Hit Awards is more than just ok.

The 26-year-old’s claim to fame was his appearance on the third season of Taiwanese reality singing competition One Million Star as a contestant. His easygoing attitude and humorous mannerisms made Jing one of the well-liked contenders of the television programme.

After a successful debut with Jing’s Note (伦语录), which focused on his flair for ballads and downtempo numbers, Ok Man presents more genres of music. “Oh Mother” is one such experimental track with a British rock element. The actor doesn’t disappoint with his vocals in this piece and appears tougher than what we recall him to be. It looks set to be a foot-tapping tune with its catchy accompaniment and repetition of the song title.

Another new endeavour for this recording was his performing a rap segment in “Our Show”. Although Jing had attempted some aspect of rap in “Oh My God” from the previous album, this time it’s more substantial. While a little awkward, overall it was alright, although it’s evident that his gift is really in belting slow pieces.

“Transparent Man”, composed by prolific Singaporean musician and producer Lee Wei Song, has a haunting melody and unique background music. The strumming of a pipa (Chinese instrument with 4 strings resembling a lute) and Jing’s voice create separate sonic experiences but yet work to enhance the melancholy of the track. It’s also with this piece that the Chinese singer invented a new singing technique called “transparent vocals” to hit the treble key. A low-pitched airy tone of a bowed string instrument brings the number to a distinctive close.

Also noteworthy is “Salted Fish”, which is an insert track from the Taiwanese drama Momo Love. Jing’s casting in the show is the first major role that he’s landed since his foray into acting. In the production, he plays Yu Yi (余一: literally translated as extra or redundant one), a character that’s slighted by his 4 elder brothers. This upbeat song describes his role and how he intends to bounce back despite the constant bullying. The infectious chorus will also spur you to get back up and move on when life takes you down.

“Heartbreaking Rain” is a track to look out for in this CD packed with outstanding songs. Written by Malaysian singer-songwriter Wu Jiahui (伍家辉), Jing goes back to his roots, singing a ballad and using his signature falsetto. The talented artiste also brings out the forlorn emotion evoked by the lyrics, “可是寂寞有时太清晰心碎雨将我的心一点一点点 散去” (translated as “But sometimes loneliness is too evident, the rain washes out my broken heart bit by bit”). The riveting composition also draws out the heavy-hearted sentiments with pauses between the touching melody.

The crooner also takes on the challenge of performing a duet with Taiwanese boyband Energy’s Edy Hsiao (阿弟) in “Unrivalled”. The contrast of Hsiao’s baritone voice and Jing’s high-pitched vocals is obvious in this number. A mysterious vibe flows through the track from the start with the mellow pulls of the cello’s strings. It’s a refreshing way to discern Jing’s singing in this musical style and to be amazed by the notes that he hits with his almost flawless falsetto.

Share this article with this link: http://bit.ly/a00sbT

Title: OK Man
Artiste: Jing Wong
Language: Mandarin
Record Label: Warner Music
Release Date: Dec 11, 2009

Track Listing
1. 我的妈 (Oh Mother)
2. Ok Man
3. 透明人 (Transparent Man)
4. 我会一直记得 (I’ll Always Remember)
5. 咸鱼 (Salted Fish)
6. 旧伤 (Old Wounds)
7. 我们的 Show (Our Show)
8. 心碎雨 (Heartbreaking Rain)
9. 怎么爱都不累 (Tireless No Matter How You Love)
10. 敌不过 (Unrivalled)

While some of Korea’s most popular male idol groups like Dong Bang Shin Gi and Big Bang remain away from the Korean music scene in order to focus on individual pursuits, the influx of new groups taking advantage of the situation (such as B2ST and MBLAQ) seems to be continuing into 2010.

Star Empire Entertainment, which manages the female idol group Jewelry, introduced their latest production, Children of Empire (力惫困酒捞甸) on Jan 7 with the release of Nativity.

Also known as ZE:A, the group faced controversy prior to their debut due to complaints by fans of the ever-popular Brown Eyed Girls that their names sounded far too similar, and could be confused with the girl group’s member, JeA.

Naming controversy aside, the group’s debut was also a long time in the making due to Star Empire Entertainment’s financial difficulties. In an effort to gain fans prior to their official launch, the group performed on the streets.

However, the 9-member group finally held its official debut showcase on Jan 13 at a club in Kangnam, Seoul. In a show of support for their label-mates, Jewelry’s Seo In Young and Park Jung Ah hosted the event.

According to various Korean news portals, the group performed songs such as “Love Coach” and “Mazeltov” from their debut album, Nativity. They also performed “Billie Jean” as a tribute to the King of Pop, Michael Jackson.

ZE:A reportedly entertained the 150 fans amongst the audience present at the showcase through their “nice choreography and brilliant vocal performances”.

“We finally made or debut,” ZE:A said during the event. “We’re really happy and we’ll do our best to work hard and show our best. We hope to become to best singers in Korea. We will work hard from now on.”

The group does seem slated for success, with their efforts paying off to a strong start for their career. Already, they’ve signed a contract with the mobile phone company, Sky, and filmed a commercial endorsing the Jamband phone, which was released just weeks after their official debut.

Mazeltov, which is an expression of congratulations in Yiddish/Hebrew, is the clear stand-out track in their latest release.

Though the music video for the song was criticised for being unoriginal, with the dark, manliner-ed look being too similar to SS501’s “Love Like This” and 2PM’s “Heartbeat”, it did the job of establishing a link between these more popular groups and ZE:A as a player in the industry.

The song follows the latest trend of ‘hooks’, making it catchy and easy to remember. This is done through an electronic feel, an addictive bass and repetitive lines such as “Friday Saturday Sunday”. However, MTV Iggy criticised the song for having such heavy autotunes that the boys’ original voices become difficult to hear.

For those with other tastes, the single includes a dance track (Love Coach) and an electronic RnB track (New Star).

Overall, this single receives 2.5 UrbanWire stars.

Title: Nativity
Artist: ZE:A
Language: Korean
Record Label: Mnet Media
Release Date: Jan 12

Tracklist
1. Love Coach
2. New Star
3. Mazeltov

Sources: Sookyeong, SSTV, Osen, S:asiae

Mention the name Vampire Weekend, and all you might get are blank stares here in Singapore. In contrast, the band from New York City set blogs abuzz even before their self-titled debut album was released in 2008. They went on to sell nearly half a million copies of it and debuted on the Top 20 of both American and UK charts, according to MTV and αCharts.

Predictably, the band received some backlash for their instant popularity that most new bands can only dream about.

Critics questioned whether they could keep up their popularity or fade to oblivion as a one-album hit band, while detractors grouse about the band’s pretentious image.

In truth, the band is a walking contradiction. The group, in their mid-20s, made up of Ezra Koenig (vocals, guitar), Rostam Batmanglij (keyboards, guitar, vocals), Chris Baio (bass) and Christopher Tomson (drums) met in Columbia University, an Ivy League college. They look just like it too, with their cardigans and plaid shirts, living in a world of butlers and Louis Vuitton (if the lyrics in their debut album are anything to go by). Yet, they’re dabbling in West African rhythms.

Defying cynics, Vampire Weekend have produced yet another great album. Besides, who can call them pretentious anymore when they openly admit their sophomore album, Contra is actually named after a video game?

For those unfamiliar with the band that named itself after a movie that Koeing made over the summer vacation in his freshman year of college, Vampire Weekend’s sound is probably unlike anything you’ve heard before. They fuse Afro-pop with Western Rock, which they dub “Upper West Side Soweto”. A term previously only associated with Paul Simon, most famous for being one half of Simon and Garfunkel, whose music was influenced by world music.

Lyrics-wise, Contra has matured since their debut album. This time, the band bemoans the state of society, internationally and locally to a joyous beat, dropping college life from one of its themes. However, the lyrics never get too heavy going and retain brightness in their melody like the first album.

But then again, the lyrics are still as opaque as ever. For instance, in their single, “Cousins”, the first stanza goes, “You found a sweater on the ocean floor / They’re gonna find it if you didn’t close the door / You and the smart one sit outside to the side / in a house on a street they wouldn’t park on at night”.

This is also partly due to Koenig’s love for obscure word play. The frontman who taught High School English for a year after graduation, rhymes the title of their first song “Horchata” (a Spanish beverage) with Aranciata (an orange flavoured soft drink), balaclava (a form of headgear that resembles a ski mask) and Masada (a site of ruins originally built by Herod the Great).

They’ve also have toned down the brand name-dropping a notch this time, (perhaps due to the backlash?) sticking to more subtle hints like going on ski trips, aristocrats, and having a friend who’s a diplomat’s son.

Thankfully for their listeners, most of whom may not be able to make head or tail of the lyrics, their songs are fabulously unique and exotic sounding. On top of Afro-pop, this second album borrows sounds from Mexico, Puerto Rico, Jamaica and California Ska-punk, and actually sounds more exciting than the debut album.

“White Sky” and “Run” make use of stereo sound, reverberating from your left ear to right to dizzying perfection, and showcases Koenig’s stretchy, malleable voice.

“Holiday”, “Cousins” and “Giving Up the Gun” are surprisingly infectious tunes that lean more towards pop inclinations. Die-hard indie fans might disparage this, but the mainstream audience, probably the ones these are written for, will lap it up.

“California English”, which describes the disparity between the rich and the poor, using contrasting lines like “someone took a trip before you came to ski in the Alps” and “no one sits inside a freezing flat and stays there ’til May” 2 stanzas down, without getting overtly angsty, unlike punk rock bands like Green Day. However, the synthetic voice effect that lends itself to make this piece the most unconventional of the lot is used a tad too much here.

While there’s no unanimous decision as to which track is the best, “Diplomat’s Son” is a quick favourite. The chants of what sounds vaguely like “chachalaca” and Koenig’s hauntingly hypnotic vocals, eccentric music arrangements somehow work when juxtaposed together.

2 songs that stood out for their slower tempo, “Taxi Cab” and “I Think UR A Contra” show the softer side and emotional depth of the band. Especially so for the latter that uses what appears to be an acoustic guitar in the background, which is unheard of for Vampire Weekend.

All in all, if you happen to be tired of the same old songs on your play list, Contra is a nice addition to spice it up, but even if you aren’t, it’s still worth the listen.

Title: Contra
Artiste: Vampire Weekend
Language: English
Record Label: XL
Release Date: Jan 12

Tracklist:
1. Horchata
2. White Sky
3. Holiday
4. California English
5. Taxi Cab
6. Run
7. Cousins
8. Giving Up the Gun
9. Diplomat’s Son
10. I Think UR A Contra

^{(All pictures courtesy of Ke$ha’s official website)}

Most of you may know Kesha (often stylised as Ke$ha) from her catchy electropop hit single “TiK ToK” which gave her the honour of being the female artiste with the highest number of digital downloads, and second overall, at 610,000. But, did you know that the 22-year-old provided the vocals for Flo-Rida’s “Right Round”, the champion that reigned with 636,000 downloads, as well?

Yes, so watch out world, her debut album, Animal, is definitely going to be a chart topper.

The Hits

A definite hit from the album was “Stephen”, a gospel inspired track that faded out into Kesha’s signature rough street style. The song starts with her complaining about how ugly her object of desire’s girlfriend is, but fades to her whining in the catchy chorus, “Stephen/ I’m feeling pathetic/ I can’t take rejection/ Why won’t you call me?” This track is undeniably a very fun song for any lovelorn girl to listen to.

More rhythmic tracks like “Hungover”, “Animal” and “Dancing With Tears In My Eyes”, show off her vocal prowess that may remind you a lot of the Avril Lavigne of yore. In fact, “Hungover” has a very strong resemblance to “I’m With You” and “Happy Ending” both by punk princess Avril. Ditto to “Blind” and “Party at a Rich Dude’s House”.

If you’re expecting the “TiK ToK” Kesha, her signature style still prevails in tracks like “Blah Blah Blah (feat. 3OH!3)” and “Take It Off”. The latter sampled a rather rude childhood ditty “The Streets of Cairo” that everyone would recognise as the standard snake charmer tune.

Of course, Kesha put her own spin on the lyrics changing it from one of the many (rude) variations, “There’s a place in France, where naked women dance” to “There’s a place down town where the freaks all come around”. Brilliant and original. Kudos to the lyrical genius of the song, but not so much to the overused synthesiser.

The Misses

The award for ‘Most Irritating Song’ on this album definitely goes to “Backstabber”. This track sounds like a bad cheer with repetitive shouting of “You’re such a backstabber/ You’re such a shit-talker”. After a few times of that, you’d really want to stab yourself, one way or another. Take the crazy down a notch here, Kesha.

“Dinosaur” also rings a similar bell to Avril Lavigne’s “Girlfriend” and Gwen Stefani’s “Hollaback Girl” with the cheerleader-type tune and playground lyrics, “Hey you old man man/ Why you staring at me/ Mack on me and my friends it’s kinda creepy”. This song also has the potential to be very annoying after a few rounds.

Tracks like “V.I.P”, “Boots & Boys” and “Your Love Is My Drug” were almost tuneless with the last one being saved by a passable chorus.

“Kiss N Tell” had shades of techno inspiration that had a little too much going on, resulting in a very messy arrangement.

The Verdict

Overall, Animal proves to be a good effort from Kesha. She sounds a little confused on what direction to take on this album with a mish-mash of different inspirations. Call it diversity if you want, but what makes the album shout KE$HA is definitely her signature rough vocals that either makes you want to groove to the beat, or stick a piece of duct tape over her mouth. Love her or hate her, she’s definitely one to watch out for.

Title: Animal

Artiste: Ke$ha

Language: English

Record Label: RCA

Release Date: Jan 5

Track list:

1) Your Love Is My Drug

2) TiK ToK

3) Take It Off

4) Kiss N Tell

5) Stephen

6) Blah Blah Blah (feat. 3!OH3)

7) Hungover

8) Party At A Rich Dude’s House

9) Backstabber

10) Blind

11) Dinosaur

12) Dancing With Tears In My Eyes

13) Boot & Boys

14) Animal

15) V.I.P

As the blaring sounds and fireworks of 2010 start to play and remind us that we’ve come to the end of yet another decade, UrbanWire compiles the greatest of the reigning 8 American Idols debut music for your auditory pleasure.

At no cost or canticles, it’s our way of wishing you the very best for the new year ahead!

This article is the last of a 3-part series on American Idol releases. Be sure to check here for a recap of past seasons and here for our review on reigning Idol champ Kris Allen’s debut CD!

The brand new ninth season of American Idol begins on Jan 12.

She’s one who wows the audience with her powerhouse vocals. She’s known for her dexterity skills with her piano keys. Her fame never dies down as she’s got a strong foothold in the music industry. She’s a 9-time Grammy award winner. She’s known for her signature hit “Fallin‘”. This diva is none other than Alicia Keys.

Crowned as the queen of R&B with her greatest hits like “If I Ain’t Got You” and  “Karma” from her stellar album The Diary of Alicia Keys in 2003, and chart topping first single “No One” in 2007, the end of 2009 marks the return of her much-awaited fourth studio album, The Element of Freedom.

Alicia’s capable of outdoing her own success and once again, she proved that she’s powerless by pushing the boundaries with her sky rocketing hit “Empire State of Mind”, a collaboration with hip-hop legend Jay-Z for his 11^th studio album The Blueprint 3. The result of the dynamic duo’s partnership? Their ‘empire’ currently holds the highest rank on the Billboard Hot 100. Keys did her own version, a piano-driven sequel to the original song with “Empire State of Mind (Part II)” in her newest album.

The Element of Freedom is a good mix of the soft and vulnerable side of Alicia Keys matched with her powerful vocals. UrbanWire highlights the hits and misses of Keys’ new album that’s fresh out of the oven.

The Hits

The most notable hit of this album, “Empire State of Mind (Part II)” brings out the best of Alicia Keys’ talent and incredible vocal range, which is her powerful voice and her way with her piano keys. Ode to Keys’ hometown, New York, this inspirational track is a soulful and ‘heavenly’ version compared to the original ‘rough’ version done with Jay-Z. After listening to this track, the effect is that New York came across as the right place to be at.

Everyone loves a little more collaboration and Canadian rapper Drake joins Alicia Keys in this sensual song “Unthinkable”, which is about lovers wondering if they should do the unthinkable, and get together. Nicely balanced out, this track brings out the sexy and sultry side of Alicia Keys with Drake’s vocals providing a more masculine side to the song.

Another love-inspired tune, “Distance and Time”, is one track that tugs at your heartstrings, especially if you’re in a situation where you’re separated by, as the title suggests, distance and time to be with the one you love.

The Misses

When 2 big names (or even the most talented woman) in the R&B scene take on a song, you’d expect some killer tunes or something extraordinary that’ll make the headline. However, “Put It in a Love Song” featuring Beyoncé Knowles left me feeling utterly disappointed. The tune of the song was almost monotonous-like and it had a repetitive beat that was a little too characterless – and definitely not a signature tune. The song seemed pretty rushed and to put it bluntly, it was boring, and did no justice to the divas of R&B. In comparison to the hit by Keys’ collaboration with Knowles’ significant other, “Put It in a Love Song” falls below the benchmark.

That being said, if you’re looking for a heart racing song, the persistent drumming base line of this song sets the perfect upbeat feel.

Although her fourth album does no justice to honour her reputation in the R&B scene, it has a few noteworthy tracks that are out of this world. The Element of Freedom captures heavy emotions of love, pride, inspiration and strength, and is well balanced out just as how Alicia Keys puts it, “The music is really strong, and the drums are really aggressive, but my voice is vulnerable and delicate.”

Album: The Element of Freedom

Artist: Alicia Keys

Record Label: J Records

Language: English

Release Date: Dec 15

Rating: 3/5

Track list:

1. Element of Freedom (Intro)

2. Love Is Blind

3. Doesn’t Mean Anything

4. Try Sleeping with a Broken Heart

5. Wait Til You See My Smile

6. That’s How Strong My Love Is

7. Un-thinkable (I’m Ready)

8. Love Is My Disease

9. Like the Sea

10. Put It in a Love Song (featuring Beyoncé)

11. This Bed

12. Distance and Time

13. How It Feels to Fly

14. Empire State of Mind (Part II) Broken Down

All images courtesy of TATY Press Portal and t.A.T.u’s official Pinger.

Bad vocals and uninspired beats make up most of  Waste Management, the long awaited third English album from Russian faux-lesbian duo t.A.T.u .

When Lena Katina and Yulia Volkova burst into the electropop scene in 2002, they caused much controversy with their hit single “All The Things She Said”, showing both girls kissing in their music video.

Lena Katina (sporting red hair) came to Singapore during the MTV Asia Awards 2004. The feisty girl even told the cheering crowd “Silence, please!” when she was giving her speech on stage. Unfortunately, Yulia was “sick” (but later confirmed to be pregnant) at that point of time and couldn’t be there.

Oops, lesbian-cover blown.

Remember that edgy pair in their other hit single “All About Us” that showed tough fighting, a shoot out and both of them singing forcefully? Forget those girls now. They’ve gone soft with weak vocals in most of their tracks.

Okay, English may not be their first language but the least they could do was to put more strength into their vocals instead of concentrating on the pronunciation. Their 14-track album was nothing but one long bad dance party with brief glimmers of hope.

The Hits

Their second track, “You and I”, had slightly stronger vocals and a catchier hook than the rest of the songs. “You and I” (also known as Finding t.A.T.u) was also part of the soundtrack for the movie of the same title, starring the girls themselves as well as Mischa Barton.

The saving grace of the album was definitely the Russian song “Marsianskie Glaza (Martian Eyes)”. Maybe, because it was sung in their native tongue, the girls seemed much more at ease with this number and they could focus on their vocal quality instead of the language. It was definitely a nice break from the terrible beats of the previous songs with soothing guitar riffs. It reminded me a little of Nelly Furtado’s “All Good Things (Come To An End)”.

“Fly on the Wall” was also another great track, with a good hook minus the boring rhythm overpowering the girls voices. Without a doubt, this number proved itself to be a danceable song.

There are also 3 bonus tracks: the remixed versions of “White Robe”, “Don’t Regret” and “Running Blind”. The first 2 sounded infinitely better in Russian and the remaining track had a foot-tapping beat that would be suitable for the dance floor.

The Misses

The album got off to a bad start with “White Robe” as their first track with their monotonous vocals and boring bass beats. The lyrics make no logical sense but they make a load of lyrical sense. It would’ve made a better poem than a song.

Subsequent tracks “Sparks”, “Snowfalls“ and “Little People” headed down a slippery slope to the trance/techno genre that will remind you of being in a club playing bad music. Ditto to “Running Blind”.

“Don’t Regret” was mostly forgettable and tired and almost devoid of a note-worthy chorus.

And then, out of nowhere comes “Waste Management”, which was a tad strange as most people would expect an instrumental piece to kick start the album. The record suddenly takes a tribal turn with the track “Time of the Moon”, but the instrumental was let down by the girls’ vocals and blasé tone.

The Verdict

Even if you’re t.A.T.u’s number 1 fan, I would strongly suggest you get the original Russian version of this album Vesyolye Ulybiki (translated as Happy Smiles). The girls don’t seem to be able to catch the beat of their own songs singing in English.

Title: Waste Management

Artiste: t.A.T.u

Language: Russian and English

Record Label: Coqueiro Verde Records

Release Date: Dec 15

Track list:

1. ”White Robe”  – 3:14

2. “You and I”  – 3:14

3. “Sparks”  – 3:09

4. “Snowfalls” – 3:16

5.”Marsianskie Glaza”  – 3:09

6. “Little People” – 3:28

7, “Waste Management” – 2:05

8. “Running Blind” – 3:40

9.”Fly on the Wall”  – 3:57

10.”Time of the Moon” – 3:24

11.”Don’t Regret”  – 3:09

Bonus Tracks:

12. “Beliy Plaschik” (Fly Dream Remix)” – 5:32

13. “Running Blind (Transformer Remix)” – 3:53

14. “Ne Zhaley (Sniper Remix)” – 4:58

Some called her a one-trick pony. Some said she couldn’t live up to the expectations set by herself when she first wowed the crowds on national television. There were even others who questioned the authenticity of her song gifting.

In the company of all that negativity and overdrive of media frenzies, it’s no wonder that Susan Boyle was checked into a psychiatric ward by Britain’s Got Talent’s show executive for emotional and physical tiredness shortly after the results were announced. She was tipped as the hot favourite to win the third season of the immensely popular talent contest but eventually placed second in the finals.

And now, with the release of I Dreamed A Dream to record-breaking figures, the runner-up to the star-search programme can finally stick a finger up to her naysayers. It’s estimated by her label that the CD has collected worldwide sales of more than 5 million, overtaking rapper Eminem for the highest sales in its opening week. This makes the never-been-kissed singer a major contender for the biggest selling album of the year, backed by the apt description of her astonishing claim to fame in the teaser for her promotional appearance on The X Factor: “She sang… and the world listened”.

Her sultry, warm and emotionally riveting vocal performance is absolutely stunning to the point of perfection. It’s hard to deny the singing sensation’s god-given gift of timbre and tone that lends a certain degree of timelessness to her debut album of 11 covers and 1 original composition. Whether it’s the jazz-soul standard of “Cry Me A River” or grandiose Christian hymns (“How Great Thou Art”, “Amazing Grace”), her mighty chops are spot on and pitch-perfect.

The studio recording of her signature song from the musical Les Miserables is essentially fashioned in the same mould as the “I Dreamed A Dream” performance that turned the frumpy, cheeky and unknown 48-year-old into an overnight household name. Just when you thought it couldn’t get any better, the monumental track on the album sounds more polished and majestic this time round – definitely a highlight of her grand entrance into both worlds of reality television and the music business.

But amidst the bundle of gems, the Britain’s Got Talent finalist shines her brightest in the 1971 Rolling Stones classic “Wild Horses”. Accompanied by a sparse piano arrangement, her composed delivery drips of melancholy and heartbreak so powerful that every note overwhelms your auditory senses and sends tingling waves of goosebumps after each stanza. This is a vocalist not particularly pretty nor nubile and young, but she sings like she’s been singing for all her life and before. One can only wonder how the world could’ve missed this Scottish spinster’s world-class talent previously, before reaching out for the nearest Kleenex when she belts out the climatic closing chorus: “Fate has been suffered and tears must be cried / So let’s do some living after we die / Wild horses, would of dragged me away / But wild horses, couldn’t drag me away…away”. The original writers, Mick Jagger and Keith Richards, would’ve been proud.

The album doesn’t come without a few missteps. “Who I Was Born To Be” – the only original piece that’s basically the Youtube star’s famous overnight rag-to-riches story set to song – sounds like a cheesy American Idol winner ballad that is instantly forgettable. Also, Madonna’s defiant ballad “You See” doesn’t quite suit Boyle’s knack for showtunes. The 43-minute long CD, packed with downtempo and dramatic tracks, may also be a tad too slow for those who are already accustomed to the thump and thrum of contemporary radio.

But that little miscalculation pales in comparison to her awe-inspiring talent. Because Susan Boyle embodies a timely reminder for those of us who have forgotten what music is truly about – that is, to just sing, and sing like you mean it. Not even this year’s best production technicalities or the biggest stars of Taylor Swift, The Black Eyed Peas, Kanye West, Lady Gaga and 10-time Grammy winner Beyonce can steal Boyle’s well-deserved thunder.

All in all, I Dreamed A Dream is a pop album stylised with the author’s unique brand of classic music, making the record sonically ravishing and almost magical – one that’s for the ages and those to come.

The UrbanWire gives I Dreamed A Dream 4/5 stars.

Win Susan Boyle’s I Dreamed A Dream from UrbanWire!

Album: I Dreamed A Dream

Best tracks: “Wild Horses”, “I Dreamed A Dream”, “Amazing Grace”

Artist: Susan Boyle

Distributed by: Sony Music Singapore

Language: English

Track list:

1.  Wild Horses (by The Rolling Stones)

2.  I Dreamed A Dream (from Les Miserables)

3.  Cry Me River (by Julie London)

4.  How Great Thou Art

5.  You’ll See (by Madonna)

6.  Daydream Believer (by The Monkees)

7.  Up to the Mountain (by Patty Griffin)

8.  Amazing Grace

9.  Who I Was Born to Be

10 . Proud (by Heather Small)

11. The End of the World

12. Silent Night

Share this article with this URL: http://bit.ly/5de2BA

At a time when melancholic music in the style of Dashboard Confessional and Death Cab for Cutie is popular, We The Kings’ unabashedly cheerful music brings some sunlight to dreary grey skies.

The group from Bradenton, Florida are best known for their previous single “Check Yes Juliet”, which peaked at 37 in U.S. Billboard Pop 100 charts in 2008.

The band members, Travis Clark who provides the lead vocals and plays the guitar, Hunter Thomsen on the guitar and backing vocals, Drew Thomsen on the bass and Danny Duncan who does the drums, go way back. They originally started as a high school band, and began touring when in college. However, the annals of history tell us they really met at Martha B. King Middle School (Middle School is typically for between 11- to 14-year-olds), which provides the inspiration behind band’s name.

Compared to their self-titled debut album – this sophomore effort, Smile Kid, delivers another catchy, foot-tapping album. Unfortunately, the lyrics lack depth, revolving mainly around the themes of love, girls, with the occasional ode to their hometown.

The music is energetic, and beats are infectiously upbeat, which will translate into live performances nicely. This time, however, the long-haired boys dabble in a bit of electric with the synthesizer, which does the delicate balancing act of making their music more interesting, yet staying faithful to their pop-rock roots.

Smile Kid supplies some notable tracks that fans will enjoy. The album opens promisingly with “She Takes Me High”, “Promise The Stars” and “Heaven Can Wait” with its many hooks, positive lyrics about the depths of love and the typical WTK’s high-powered chorus that will make you bop to the music.

You’ve probably heard their latest single, “Heaven Can Wait” on the radio. While their music video doesn’t quite make sense, the concept of a Dog Show is quirky nonetheless and produces some chuckles.

Unfortunately, the album loses momentum towards the middle with “Rain Falls Down” and “Spin”, which are less than memorable, compared to the other tracks and feel overly long at 4:30 minutes and 4 minutes respectively.

Their seventh track in this album stands out with its progressive story-line type lyrics. Synthesized music is used to good effect in “In-N-Out”, which makes this number sound kooky and fun.

Once again, you can’t escape the group’s love for their hometown, although the references are less direct, unlike “This is Our Town” from their debut album. “Anna Maria” is probably named after the island just off the coast of Bradenton, while “Summer Love” is reminiscent of balmy summer days, freshly-cut grass and afternoons spent at the beach – doesn’t that remind you of the ever-sunny state of Florida? However, both songs lack that something to make them stand out.

Disney girl, Demi Lovato joins the boys in the sweet and wistful, “We’ll Be a Dream” in this ballad that’s perfect for the hopeless romantic in you. The song is well suited to be a duet and has a lovely melody as well as a euphoric chorus. Demi’s strong vocals complement the band well, although there are instances where she overpowers them.

If you purchase the deluxe edition from iTunes, it includes 2 bonus tracks, the acoustic versions of “Heaven Can Wait” and “She Takes Me High”. They are a much welcome addition, as there’s more emphasis on the frontman, Travis Clark’s vocals, which are pleasing to the ear.

Overall, We The Kings know their what they’re good at – catchy melodies and hooks, but don’t rock the boat too much by embarking into more adventurous waters.

Smile Kid provides plenty of fun, infectious tunes, which will definitely please their teenage fans. Most tunes grow on you, although tracks are best played in shuffled mode, otherwise you’re warned against having them played altogether or on repeat, especially if you are not a huge fan of pop music. This can be overwhelming. Ultimately though, to the discerning ear, the album leaves something wanting.

Title: Smile Kid
Artiste: We The Kings
Language: English
Record Label: S-Curve Records
Release Date: Dec 8 2009

Track list:

1. She Takes Me High
2. Promise The Stars
3. Heaven Can Wait
4. The Story Of Your Life
5. Rain Falls Down
6. Summer Love
7. In-N-Out (Animal Style)
8. Spin
9. Anna Maria (All We Need)
10. We’ll Be A Dream (feat. Demi Lovato)
11. What You Do To Me

Bonus Tracks:

Heaven Can Wait (Acoustic)
She Takes Me High (Acoustic)

With the release of the multi-platinum selling Good Girl Gone Bad in 2008, the world crowned its newest pop princess. Robyn Rihanna Fenty seemed destined to rule the fickle kingdom of mainstream music.

The album was a career-defining moment for the Umbrella hit-maker, one that thrust her into the international spotlight thereafter. But just when the coronation ceremony was about done, ex-boyfriend and dethroned R&B prince Chris Brown quite literally knocked the mojo out of Rihanna with his primitive and violent behaviour.

Rated R, the album that comes hot on the polished heels of her abusive relationship, is unmistakably the 21-year-old’s response to the dramatic episode. Thematically, the concept isn’t unheard of, (think Janet Jackson with The Velvet Rope) except that the lyrical and production value of Ms Jackson’s critically-acclaimed CD are far stronger than what’s heard on almost-princess Riri’s new album.

These days, all that Jay-Z’s protégée looks and sounds like is a good girl gone really, really angry.

Granted, music is supposed to be an outlet of expression where the musician tells her side of the story. But for all 13 tracks on a commercial studio album to be dedicated to an outpouring of overdramatic grievances (“Photographs”, “The Last Song”), mad revenge fantasies (“G4l”, “Fire Bomb”) and unnecessary self-reprimand (“Stupid In Love”) is just plain pathetic to the point of self indulgence. When pop icon-turned-pop trash Britney Spears was more known for her wardrobe malfunctions and hair-shaving craziness, her record label knew better and channelled all of Spear’s personal troubles into the makings of the slick electro-pop Blackout, arguably her best album, both sonically and critically, to date. The singer’s emotional burden was carefully and cleverly layered into the modern sounds of the album that made all the difference. (Are you taking notes, Def Jam?)

Such a pity for the Barbados diva who used to command the club, urban, pop and Top 20 formats like no other – her chart-topping prowess rivalling even that of R&B queen Beyonce Knowles. With chart heavyweights like Britney’s dancefloor romp of “3”, Lady Gaga’s kickass single “Bad Romance” and Jay-Z’s hot collaboration with Alicia Keys “Empire State of Mind”, Rihanna’s lacklustre efforts simply don’t stand a chance – Not even with her label going full force in backing her up.

Before all you Rihanna-diehards condemn UrbanWire to the rat holes and dungeons of hell, there are a few tracks on Rated R that are worth a listen. “Russian Roulette” should be given credit for its shock value and artistic maturity. From its first note, the unsettling number doesn’t hit you like her previous hits of “Disturbia” or “Take A Bow”, but put the song on repeat and you’ll find yourself drawn to the hypnotic and broody imagery that it conjures.  If you ask us, either “Rude Boy” or “Wait Your Turn” should’ve been the lead single to precede the release of the album. The hard rock and club beats of the former stay in your head like a bad cold that won’t go away. We can’t say this enough, but on the latter track, the anthemic chorus is pure ecstasy when the lady purrs, “It’s getting crowded over here / But babe the wait is ova / Sometimes it takes a thousand tries to win / The wait is ova / Fumble don’t you fumble / That’s a flag on the play / Babe if you don’t wanna / Then you don’t have to wait / But together we gon’ be taking over”. Justin Timberlake appears and contributes lyrics to the curious “Cold Case Love”, which features a highly intriguing soundscape made up of groaning organs, melodramatic beats and orchestral-type strings.

And for all it’s worth, her immaculate sense of style and fashion remains on top of the game. For the cover art of “Russian Roulette”, Rihanna can be seen topless and provocatively wrapped in barbed wire that strategically hides her lady bits. She is even sporting a Mohawk-styled hair for her album promotional appearances.

Other than that, the overdramatic Rated R doesn’t quite fit in the current market that Lady Gaga seems to have dominated with her club-friendly melodies and eye-popping music videos. Even by her own standards, Rihanna disappoints with her fourth album, that’s better off in the discount bins.

The UrbanWire gives Rated R 2.5/5 stars.

Release Date: November 20, 2009

Artiste: Rihanna

Album Title: Rated R

Track List:

1. Mad House

2. Wait Your Turn

3. Hard (featuring Young Jeezy)

4. Stupid In Love

5. Rockstar 101 (featuring Slash)

6. Russian Roulette

7. Fire Bomb

8. Rude Boy

9. Photographs (featuring will.i.am)

10. G4L

11. Te Amo

12. Cold Case Love

13. The Last Song

These days, John Mayer is popular just for being popular.

He’s everywhere. The media closely watches the details of his relationships, life and music career, and his online presence is phenomenal – he has over 2.6 million followers on his twitter feed. He gives the media something to be interested in, and there’s so much to like about this snarky, enigmatic, anti-hipster.

And it’s at a time like this when he’s at the peak of his popularity that he releases his fourth studio album, Battle Studies.

The album has a total of 11 tracks, with one bonus track if you pre-order it from the iTunes store. With track titles like “Heartbreak Warfare”, “All We Ever Do Is Say Goodbye”, “Perfectly Lonely”, “Friends, Lovers Or Nothing”, Battle Studies seems to take a more reflective tone as compared to his last album, Continuum.

While Continuum contained themes about war and politics and is said to be the album that helped to establish John Mayer as one of the guitar greats of this generation, Battle Studies is, in a nutshell, a melancholic chronicle of relationships past and heartbreaks.

Not that John Mayer has lost his touch, because Battle Studies contains gems like his remake of “Crossroads” (originally by Robert Johnson), a fast and catchy melodious work of his guitar, and “Perfectly Lonely”, featuring a long guitar solo at the beginning that seems to really hit the spot with heartbroken souls everywhere.

Other tracks like “Do You Know Me?” don’t quite do justice to John Mayer’s portfolio of deep and emotive songs. The song is decent, but isn’t memorable or quotable.

However, the single, “Who Says”, manages to be a huge hit with his fans. With lyrics like “Who says I can’t get stoned” and “I don’t remember you looking any better, then again I don’t remember you”, John Mayer seems to channel a modern day Holden Caulfield, the rebellious teenager from JD Salinger’s The Catcher in the Rye. The music video is set in New York City at night, and the scenes are of him carelessly living his life as if it were a party.

Battle Studies may not be John Mayer’s best work, but it’s packed with tiny anecdotes in every song, revealing a very boyish and emotional-at-heart John Mayer, but hey – he’s still brilliant at making music.

Title: Battle Studies
Artiste: John Mayer
Language: English
Record Label: Columbia
Release Date: Nov 17

Tracklist:

All songs written by John Mayer, except “Crossroads” by Robert Johnson and “I’m on Fire” by Bruce Springsteen.

1. Heartbreak Warfare
2. All We Ever Do Is Say Goodbye
3. Half of My Heart (feat. Taylor Swift)
4. Who Says
5. Perfectly Lonely (feat. Taylor Swift)
6. Assassin
7. Crossroads (Robert Johnson cover inspired by Cream)
8. War of My Life
9. Edge of Desire
10. Do You Know Me
11. Friends, Lovers or Nothing

iTunes pre-order edition

12. I’m on Fire (Bruce Springsteen cover)

^{(All pictures from Lady Gaga’s official website)}

After Lady Gaga’s massive success with her debut album, The Fame, I was wondering if she could replicate that effect with her 8 new singles off her bumper album.

UrbanWire reviews the hits and misses of The Fame Monster.

The Hits

I must say, when I first heard the leaked demo version of her first single “Bad Romance”, I was rather disappointed. It sounded great of course, however, I wasn’t impressed by the lack of innovation with the repetitive hooks. Even the Lady herself, tweeted: “Leaked next single is makin my ears bleed. Wait till you hear the real version ;)”

I’m happy to report that the official “Bad Romance” single is going to be the next “Pokerface”. The Fame Monster shows off Lady Gaga’s strong vocals, proving that she isn’t a synthesised-to-death artiste. Especially with her fourth track, “Speechless”, which takes on tones of “Brown Eyes”  from her previous album but with more range and depth to her voice.

The Lady also seems to be experimenting with linguistics in this album with a French lyric,“Je veux ton amour, et je veux ta revanche” [which means "I want your love, and I want your revenge"] thrown into “Bad Romance” and a weird Spanish accent kicking off seemingly telenovela inspired the second track “Alejandro”.

However, the crown for “Song That Can Potentially Grow On You” is swept away by the sixth track, “Telephone”, where the risk taken paid off handsomely. In this standout track, there’s the odd combination of R&B princess Beyoncé Knowles‘ vocals and Lady Gaga’s electropop beats meshed beautifully together creating a perfectly danceable song. Trust me, this one will be playing in clubs in times to come.

Lady Gaga’s lyrics seem to take a darker turn in The Fame Monster where she sings about heartbreak and rejection in other tracks (“Eat my heart”, she intones in the song “Monster”) but demands that you take “a bite of (her) bad girl meat” in the final track “Teeth”.

The Misses

“So Happy I Could Die”, feels uninspired although she sings the provocative line “I touch myself can’t get enough” while fantasising about a “lavender-blonde” girl, presumably herself as Lady Gaga had purple and blonde hair for a while. It lacks the powerhouse vocals and strong beats to do the lyrics justice. The chorus sounds like a cross between Natasha Bedingfield’s “Pocket Full Of Sunshine” and the beats from “Lovegame”.

“Dance In The Dark” had promising lyrics as well with her singing about a girl getting breast implants – “Silicone/Saline/Poison/Inject me/Baby, I’m a free/ B***h”, for her boyfriend who still left her but it frittered off into boring-land with the repetitive 80s disco-esque hook.

The Verdict

Overall, an excellent effort by the Lady to reinvent herself by showing off her vocal prowess instead of hiding behind a barrage of bass beats. Awesome music to club to and you’ll definitely see me on the dance floor if any of her songs are playing.

This is where it shows that the Lady really cares for her fans. There will be 3 different versions of The Fame Monster to cater to every fan out there.

The Fan

For those who crave the new tracks only, a regular version of The Fame Monster with the new 8 singles is just the album for you.

1. Bad Romance
2. Alejandro
3. Monster
4. So Happy I Could Die
5. Speechless
6. Dance In The Dark
7. Telephone
8. Teeth

The Double-Duty Fan

If you missed Lady Gaga’s debut album, the deluxe version includes all the tracks from The Fame as well as the 8 new tracks.

The Uber Fan

For Lady Gaga’s monsters, there’s a collector’s edition super-deluxe art book version, which includes both albums, fanzines, 3-D glasses, paper dolls, a puzzle, pictorials, a lock of Lady Gaga’s hair and other surprises.

Excited yet?