VIDEO Vibe single reviews: Olly Murs, Rizzle Kicks, The 1975, Ciara ft Nicki Minaj and Pet Shop Boys (From News Shopper)
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VIDEO Vibe single reviews: Olly Murs, Rizzle Kicks, The 1975, Ciara ft Nicki Minaj and Pet Shop Boys
10:01am Wednesday 28th August 2013 in Leisure latest news
VIBE'S music guru Oliver Rose does not want you to waste your 79p on a duff tune, so he's helpfully listened to some of this week's latest releases for you.
The 1975 – “Sex”
Noteworthy not just for the incredibly atmospheric production on their records, but also for the comparably sharp, pointed lyrics of lead singer Matthew Healey, The 1975 are a relatively new band out of Manchester, bringing with them the toe-tapping, gleaming synthetics of post-punk new wave music that helped make the city so famous in the 1980s.
”Sex”, from the first punch of the snare drum is a rollicking tune, addressing, with danceable swagger, the delicate topic of a failed more-than-friends relationship to the sonic backdrop of dotty snythesisers and screeching guitars, an ecstatic bass buzzing fuzzily around underneath, aided furiously by the carnally frustrated cries of the vocalist to finish.
A classic indie-rock tune and definitely a keeper...
Ciara feat. Nicki Minaj – “I’m Out”
Disappointingly, Nicki Minaj’s career, kick-started by the catchy “Super Bass” in 2010, has since been a near-endless stream of forgettable, senselessly profanity-ridden 3 minute throwaways, marred by a lack of ingenious lyrics and made all-the-more painful by a tirade of blandly programmed synths set to soul-destroying and dull auto-tuning software.
Things took an especially tempestuous dive with Bieber-duet “Beauty And A Beat” and seem finally to have hit rock-bottom with this unintelligent F-bomb dropping track – and yet a placing in this week’s top 40 is more or less inevitable.
Ciara herself is virtually indistinguishable from Minaj, whose guest spot seems to dominate the track.
Regardless, the derogatory lyrics and relentlessly similar percussion seem to retain appeal from the public; I don’t know why – I can only advise you steer clear of this musical train wreck.
Rizzle Kicks – “Lost Generation”
Taking their genre in an alternative, more reggae-based direction, the bassy, off-beat duo of “When I Was A Youngster” fame make a musical stand from the remainder of the rap music producing crowd with their intuitive, funky and slightly vintage sound.
However, there is much left to desire in terms of their lyrics and aesthetic; the video does nothing for the condemned image of the youth of today, and the words say even less in favour of a damned generation, reassuring middle-aged observers of today’s music that thuggish behaviour and pinhead literary observations are on the rise and exclusively represent our ‘lost generation’.
And no – it isn’t tongue-in-cheek; it’s just a bit naff...
Olly Murs – “Right Place Right Time”
X-Factor winner and all-round good-spirited troubador Olly Murs is set to hit the top-end of the charts again with this, the fourth single from this third album of the same name.
It’s a classic pop tune, with an unexpectedly light dubby, dance edge replacing his signature acoustic-pop swing style sound.
Olly himself performs a set of pretty uninteresting lyrics, but articulately and with the unquestionable skill of a really decent singer; like him or not he’s a talent – and something of an unstoppable one, with already a few number ones under his belt!
This is classic, harmless pop music with no edge or pointedness, but done very well to put the icing on the cake. Great stuff.
Pet Shop Boys – “Love Is A Bourgeois Construct”
Flamboyant national treasures Neil Tennant and Chris Low, famous for hits “West End Girls”, “Always On My Mind”, “Go West” and, in more recent years, “Love Etc.”, are back with the third single from their first independent album, a move made after departure from 28 years with the Parlophone label.
Nothing, thankfully, has changed.
In fact, the move to musical autarky seems to have benefited the output of the duo, whose fat digital beats retain sophistication absent from the majority of modern electronic music; Chris Lowe’s tenure as a keyboard player is resolutely clear.
Finishing off the sonic gracefulness here is Tenant’s pretentious lyric, dismissing emotion for creative conceptualism and serenading loneliness in what comes across as a 6 minute disco justification song.
It’s really rather profound. And, embedded with a catchy Michael Nyman sample, I don’t think you can go much amiss here...
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