Paloma Faith - Trouble With My Baby (Music Video) [+ Review]

The Mistress of eccentricity, Paloma Faith, has released another music video (watch below) for her third single 'Trouble With My Baby', from her most recent album, A Perfect Contradiction. Following on from 'Can't Rely on You' and 'Only Love Can Hurt Like This', the latest track is a fuse of mo-town jazz and a throw back to the vintage reminiscence of way back when. Whilst the track is up-tempo and features soulful vocals from Faith, we would have liked to see hidden gem 'Mouth to Mouth' being released next, as it is a true stand-out track from the album, as we have mentioned in our review of her most recent album. 

The whole premise of 'Trouble With My Baby', is in itself, rather self explanatory. Faith is singing about having 'trouble' with her partner, as she recognises that she needs help, and that she can't rely on her current partner 'I know/ I do/ Too much/ For you' and 'Had enough of being a hero/ One day I'm gonna' give you zero'. The infusion of classic sounds and smooth saxophones, nevertheless, make this an intriguing sounding track, and it does its best to hold its own next to Faith's previous heavy-weight tracks, even if it falls a little short, ultimately. Meanwhile, the music video is distinctly dark and vintage-inspired, as Faith sings lonesomely in the middle of a bar with her old-style microphone whilst her beau watches with a glazed look. 

The scene switches to a field where Paloma then walks across grassy ground in her striking red ensemble and eventually finds her partner relaxing looking up and the sky. In a rather subtle fashion, she draws a gun from behind and aims it at his head saying (off track) 'this isn't love', and whilst we are left in the dark until the end of the track, we do hear a gun shot go off after Paloma stares have disintegrated from screen. So we can safely assume someone died. Lovely. We kind of adore the toning to the video and Faith's outfits are always as mesmerizing and bright as ever, and the vintage levels are blasted to the max throughout the video, so if you like that sort of thing, you'll be probably love this video/and/or track. Watch the riveting music video below: 

Owl City, ft. Lindsey Stirling - Beautiful Times

The music video for Beautiful Times has been released, and it looks like another visually magic affair for synth-pop Owl City. Their latest track features the graceful violinist Lindsey Stirling, who is known for her infusing violin with dubstep, in her work. After her latest album was released earlier this year, she has now teamed up with Adam Young to create a beautiful blend of keyboard synth and electronica, with the added element of Stirling's violin beats, which elevate the track to new heavenly heights. 

There is a darker element to the song that lies within the lyrics, across its useful upbeat sound (like other Owl City songs), as Young sings reflectively 'I fought all through the night/ Oh, oh, but I made it out alive/ The sun's starting to rise/ Oh, oh, these are beautiful times'. The result is a distinctive mix of melancholic feelings, with a splash of hopefulness from Young that continues throughout the song, as he dwells on the world surrounding him and the experiences facing some, but that people can overcome the darkness and 'make it out alive'. 

The classical element from Stirling adds a sweeter tone to the song, and provides a lyric-free moment of instrumental relief, where one can truly appreciate the sounds of the track. Whilst we would have liked the track to have enough of a lyrical pause to feature a full instrumental throw-down from Stirling (similar to her 'Elements' songs, or 'Shatter Me'), the track still has enough points to showcase her talents, as well as Young's singing ability which is gently infused with Electronica and auto-tune. 

Cover Drive - Love Junkie (Music Video) [+ Review]

The lovely four piece group Cover Drive have recently released the music video for their latest track 'Love Junkie', which will be released on iTunes on the 27th of July in the UK and the rest of Europe, and the 29th of July in the US and the rest of the world. The track is slated to be there first release from their upcoming sophomore album. The track has distinctly Caribbean influences mixed with smooth R&B and dance elements, with Amanda singing 'Love Me Love Me/ Give me all you got/ Rush me Rush me/ Touch me till I drop'. Known for their most popular hits, 'Twilight' and 'Sparks', Cover Drive bring back the infectious beats they are known for, and Amanda's voice is particularly sultry and effective in this new track, though whether it will have the same success as 'Twilight' is debatable; only time will tell. The music video for the track see the group showcase their killer dance moves as the energetic beats overlay the song. Watch the music video, and listen to the track, below: 

Demi Lovato - Really Don't Care (Music Video) [+ Review]

Oh, oh, oh, I really don't care. No, those aren't my thoughts, they are in fact lyrics from Demi Lovato's latest song 'Really Don't Care', for which the music video has just been released. In the music video, we can see Lovato taking it to the streets (more specifically to the streets of Los Angeles and LA Pride) and having a right block party, as she sings triumphantly on her parade float. The new track is a mix of bubblegum pop and up-tempo dance, and the lyrics relate to Lovato 'not caring' about what a certain person thinks any-more as she sings 'But even if the stars and moon collide/ I never want you back into my life/ You can take your words and all your lies'. 

The track is distinctly sass-tastic, and we had high hopes when we heard that there was going to be a collaboration with the now matured Cher Lloyd. However, Lloyd's verse is so short that you may not even notice it the first time around, which is a shame as they would have made one heck of a duo on the track (see Ariana Grande and Iggy Azalea for a suitable pairing alternative). If Lloyd's verse was longer and perhaps the sounding a little less generic in places, we would have penned 'Really Don't Care' as a summer smash, as it stands, it needs a little work to be that ultimate feel-good anthem, which is a shame. 

Nevertheless, Lovato's vocals are on point on the track, and Lloyd's section sounded good (from the two seconds we hear her), and it has that catchy chorus section involving moons and stars, that no doubt will resonate with some people. Add in some incorporation of fans into the video from the parade and celebrations, and you've got a pretty solid music video, that everyone can enjoy, it's just a shame it's missing a few things. Despite this, the actual music video centres around LGBT individuals, and it's an explosion of colours that gives every the chance to join in, and sing along, and feel good about themselves, which is a positive message to spread; one of inclusiveness. Check out the up-beat and funky fresh music video below: 

MØ - Walk This Way (Music Video) [+ Review]

Oh yes, the quirky singer is back with her new music video for her latest track, 'Walk This Way', which is taken from her début studio album; No Mythologies to Follow. We love the singer's fresh edge and her unique voice, and she drawls her lyrics out in satisfying fashion in this latest track. A fuse of electronic beats and indie pop, 'Walk This Way' is seemingly another success for MØ, as the singer struts about in her usual carefree manner in the music video. 

She seems very zen and at peace with herself, kicking out the old school moves such as head bopping and haphazard dancing, and everything just feels right. Joining her on quest to inject a little bit of fun and light humour into music videos are her student followers (one of which is wearing a Virgin shirt which is a reference to the direct translation of her name, which means Virgin in Danish) who are well equipped with an array of hairstyles (like the scraped back ponytail) to take on their routine dance moves. 

If we could describe an emotion of the backup dancers in the video, it would be 'bored', and all together its pretty hilarious to see their various facial expressions as the video progresses, and its quite obvious MØ knows what she's doing. The track itself is similar in sounding to XXX, and its got that upbeat feel to it, combined with the singer's distinctive warbling; it feels highly alternative (with a bit of 80s influence) and highway-esque, like the type of music you'd hear blasting out of a roofless 4 wheel drive, along the highway with the sunset fading in the back. You can check out the music video for 'Walk This Way', below: 

Musique Le Pop - Mateo

We're always keen to showcase new and upcoming talent, and Norwegian electro-indie trio, Musique Le Pop, fits the bill perfectly. Consisting of Christoffer Schou, Jon Kristian Furuheim and Elisabeth Thorsen, the group is very synth-heavy, favouring upbeat drums and airy vocals that elevate their tracks to dizzying new heights. The trio have recently released their new music video for their track 'Mateo', which is taken from their EP, l'été, which consisted of 5 tracks; 'Mateo', 'In My Arms', 'Turn To Sand', 'Falling in Love' and 'Dream Out Loud'. 

You can preview their EP on SoundCloud below: 

https://soundcloud.com/musique-le-pop

Musique Le Pop has that dreamy quality that you just don't get enough of nowadays, and 'Mateo' is no exception, with whimsical, calypos-esque beats that take you away to the sun, sand and sea. 'Turn to Sand' has an enviable rhythm that latches on and refuses to let go, bringing together euro-pop with synths to create something sublime. Their latest EP really reflects the summer months of blissful enjoyment and carefree evenings, so it's pretty apt that it is available now (also via itunes). So, inject some sunshine into your life and have a listen! 

Paloma Faith - A Perfect Contradiction [Album Review]

In a rather belated fashion, we turn our attention to Paloma Faith's latest album release, A Perfect Contradiction. We wanted to give the album a chance to fully resonate with us before we attempted to give an accurate and coherent review for you. The plucky Paloma's newest album is her usual mix of R&B, with some (very) funky disco tunes fused with a bit of Motown and jazz, combined with her soulful, powerful voice. Ever the original, we were a bit disappointed to see Faith sacrifice some of her quirkiness and uniqueness to compile a bit more of a commercial album (no doubt influenced by her record company). However, the tracks on the album are indeed beautifully and soulfully sung by the music artist, and the whole album has that feel-good vibe to it, with its up to mid-tempo beats bringing the party to your ears. 

In true fiery style, Paloma kicks off the album with the sassy 'Can't Rely on You'. We have to say, the track does grow on you. Written alongside Pharrell Williams (who acts as the producer), the track worryingly starts off in a 'Blurred Lines' manner, but that quickly descends into a compilation of up-tempo beats and jazz vibes that effortlessly 'introduce' Paloma's soulful voice that truly soars over the chorus in a distinctively dominant manner. Sufficed to say, this song really packs the musical punch. The album then quickly shifts to the incredibly disco-themed 'Mouth to Mouth', the second track-listing, where Paloma gives it all she's got, belting out the chorus with undeniable vigour 'Let you go so just/ Do it like we never met before/ Give me mouth to mouth'. There's also some subtle heavy-breathing to really hammer home the effect of the track. 

The stand out tracks (aside from 'Mouth to Mouth' and 'Can't Rely on You'), come in the form of 'Only Love Can Hurt Like This' and 'Impossible Heart' (though we particularly like the sound of Paloma's voice on 'The Bigger You Love', as well). Perhaps the only ballad-esque track on the album, 'Only Love Can Hurt Like This' is a jazz and soul influenced song, with a more understated feel and solemn lyrics from the singer. True to form, she delivers a powerful performance on the chorus as she riffs between different tempos to create that power-house effect, and its one of the more sentimental tracks, in what is unfortunately, a sea of generic-sounding album fillers. 

What the album lacks, perhaps, is the substance to back it up. Whilst Paloma is undeniably brilliant with her vocal ability and the tracks have an energetic vibe to them, lyrically - there doesn't seem to be much there (aside from the few mentioned above). It seems that amongst the great sounds of the album, and the way in which it is stylistically presented, we would have liked there to be a little bit more soul to fill the rest of the tracks. 'Other Woman' is a case of this, where lyrics are repeated in a hap-hazard fashion, to little or no effect, and the result is easily forgettable. 

Whilst the album artwork screams individualism, the actual content of the A Perfect Contradiction is wavering somewhat, getting lost in the genericness, despite the musical artist having plenty of personality and vocal soul to take the album to new heights. Whilst we are confident that Faith can deliver, and hopefully will do just that on her next album, we are left a little disappointed by the offerings in this album - it's fun enough, but it lacks the substance to deliver a true throw-back to the sixties and seventies, and we're left clinging to any element of quirkiness and personality that we can find. 

True Blood - Season 7, Episode 1 'Jesus Gonna Be Here' [Review]

Here it is, Truebies! The long-awaited, final season of True Blood has begun, and kicked off in an especially bloody fashion with the Season 7 Premiere episode. After 6 seasons and a whole lot of crazy, the adventure has now reached the beginning of the end, with audiences keen to find out what had happened to Eric (Alexander Skarsgard) after his nude reading turned into a blazing affair in the last episode of Season 6, not to mention what fate would befall the other inhabitants of Bon Temps, as they can never seem to catch a break.

The episode opened in a particularly archaic manner, as the poor residents of Bon Temps were attacked by some remaining Hep-V vampires, who quickly chow down on the unfortunate townsfolk. So, a couple of people die no big deal for the hardened residents of Bon Temps, eh? Well, the big shocker happened in the first couple of minutes as quicker than a flash – Tara (Rutina Wesley) dies. No sooner have we seen her back in the game, she apparently dies as her mother is left grieving over her remains, all stuck to the ground. To say this was rushed, would be an understatement. There one minute, and literally gone the next, Tara’s death acted as more of a sloppy plot-device to provoke emotional reactions from her fellow friends, with Sookie (Anna Paquin) flipping out and going off on Alcide (Joe Manganiello) about it. Tara’s death was executed in such an unbelievable fashion, you’ll be left wondering whether it actually happened or not, as she didn’t even die ‘on-screen’. At this point, you can’t help but feel bad for Tara as her death was so anti-climatic and flippant that you are left feeling quite disappointed and disengaged for the rest of the episode. There are so many more directions that the writers could have taken with the character, so it’s a bit of a shame to see them kill her off in such an abysmal manner.

With that in mind, the rest of the episode was rather understated, with writers clearly wanting to tie off loose ends and have the story arc play out as Bon Temps vs Hep-V Vampires. The delightful additions to the episode came in the form of Jessica and Pam; with Deborah Ann Woll’s performance as the former vampire being the most memorable, as her character struggles to come to terms with what she has done to the Bellefleur family, whilst she also tries to protect Adilyn Bellefleur (Bailer Noble) from other infected vampires, and herself. Woll’s character is more of the more intriguing left in the series, and so far, in the absence of Eric and the breakdown of Sookie/Bill (Stephen Moyer), it seems to be the only strong arc in the episode.

Having said that, Anna Paquin puts in a plucky performance as the telepathic waitress, who finally stands up to all the townspeople bad-mouthing her and blaming her for what has happened (even though these types of events have been going on since Season 1, so you think they’d have learned to deal with it by now...), as she delivers a hopeful speech in her usual manner. In the absence of Eric, Pam (Kristin Bauer) is back, and on her hunt for Eric we get to see her engage in a silver bullet Russian roulette-style shoot-off to gain information about his whereabouts. Here we are treated to some classic sassy Pam lines from Bauer, whose performance as Pam is always a treat, as her character puts on a brave-face in the absence of her maker.

With the first episode of the final Season dishing out some dramatic events in a rather sloppy manner, but ultimately ‘tying off loose ends’, we hope that the rest of the Season will be executed in a more coherent and satisfying manner, and that the missing characters quickly make their return to the series before the whole affair gets a little stale. That being said, there are plenty offerings to keep fans enticed, and much to hope for from future episodes, such as the fate of Arlene (Carrie Preston), Holly (Lauren Bowles) and company, after their kidnapping at the hands of the infected vampires. 

Ed Sheeran - X [Album Review]

Ed Sheeran's second album, entitled X (or Multiply), comes hot off the trails of his 2011 album (aptly titled '+' or Plus), and sees the singer putting his vocal talents through their paces on his latest album. The new album shows the level of growth the singer has undergone since his début, and the new efforts of the album are greatly appreciated, as Sheeran pushes new boundaries between folk and R&B, infusing the two together to create an almost seamless album that enthrals and delights. 

Ever seeking to create something new and improve and explore into different musical territories, Sheeran has pushed himself to create a new album that varies from his usual stylings. X is an infusion of R&B, rap influences, folk and pop that actually works rather well, with energetic guitar and drum beats fusing successfully to form catchy and unique individual songs, that actually maintain their memorability. The quick-spitting and frenetic 'Nina' sees Sheeran taking influence from rap to create a track that is dynamic and hook-heavy. Relying on a key use of piano and featuring excellent guitar beats, 'Nina' is essentially Sheeran telling a woman to stay away from him.  

The third track on the album is the flawless 'Sing', which features Sheeran executing falsettos accompanied by a sultry-smooth track that has the sexiness that so many tracks aim for, but ultimately lack. In a manner to Justin Timberlake, Sheeran achieves the flirtatious nature of his counter-part, creating a song that is mesmerizing. The track, produced by Pharrel Williams, has the usual 'Blurred Lines' esque beats that you would expect from the producer, but Sheeran has enough charisma and vocal ability to carry it off as a new and exciting track, instead of an unfortunate reminder of the poorly constructed tune. We would describe this as 100% better than 'Blurred Lines', with 100% more Ed Sheeran, and genuine sexiness. Simple, eh? 

One of the gems on the track is the smooth and deceitful 'Don't', which references a girlfriend who cheated on Sheeran. The singer was initially reluctant to put the record on the album as he felt it was 'too personal', and we get why he might be reluctant. 'Don't' is incredibly personal, and the hurt and deceit is felt throughout the track as Sheeran sings; 'Don't fuck with my love/ That heart is so cold/ All over my arm/ I don't wanna know that babe'. The track is so passionate and ultimately angry, and with high emotions and an addictive chorus, 'Don't' is a triumphant addition to the album from the singer. 

Track number 6 on the album is the piano-ballad, 'Photograph'. The track features Sheeran's voice in a more fragile and tender manner, as he sweetly sings 'So you can keep me/ Inside the pocket of your ripped jeans/ Holding me close until our eyes meet/ You won't ever be alone'. This particular track is a more understated addition to the album, and it works phenomenally well, as one of the album's most endearing and exquisite tracks, that is complimented by Sheeran's soaring vocals on the chorus.  

The guitar-laden 'Bloodstream' features some fluid and sleek vocals from Sheeran, and the track sounds distinctively folky, with incorporation of r&b 'Fading out again/ I feel the chemicals burn in my bloodstream/ so tell me when it kicks in'. This particular track is quite hypnotizing and it shows how far Sheeran has come with his music, and the falsettos featured are beautiful. 

Bonus tracks from the deluxe version, also include the Hobbit-infused 'I see Fire' which features as a track from the aforementioned film (Desolation of Smaug), and as usual, Sheeran is brought to a unanimous climax by strong guitar beats and resonating violins. The majority of the album sees Sheeran triumphant and victorious in his efforts to exceed his usual comfort zone, and X is a confident new addition to the singer's discography, which emulates the singer's passion and emotion. Whilst the album can at times feel a little bit timid or tame (in comparison to some of the more triumphant and captivating songs), Sheeran is successful in his more gentle vocals that come courtesy of the more warming, powerful tracks like 'I'm a Mess', 'Bloodstream' and 'Photograph'. That being said, Sheeran has pushed the boundaries of his music so far, and X is a living example of this, infusing R&B and folk to create a solid and emotional album. 

Marina and the Diamonds - The Top 10 Songs

Continuing our 'Top 10' feature, we delve into the lands of electro-pop where we find Marina and the Diamonds (Marina Diamandis). Currently working on a third studio album (which will hopefully be released in the near future!), Marina is a Welsh singer and song-writer who has had successes with her previous two albums; The Family Jewels (2010) and Electra Heart (2012). In this addition, we'll be looking at the Top 10 Best tracks from the quirky singer to date. So, without further adieu, let us begin the countdown! 

10: I Am Not a Robot

Taken from her début studio album, 'I Am Not a Robot' was ridiculously infectious, with its indie-pop beats and Marina's vulnerable voice turning it into a recognisable hit. With such a distinctive voice, 'I Am Not a Robot' showcased Marina's talents well and the track itself is one of the more simple but still effective songs, that resonates in your mind long after you have listened to it. The accompanying music video was equally as impressive as it featured Marina in an abundance of special effect make-up that gives it an out-of-world feel. 

9: Radioactive 

Coming in hot off the Electra Heart runway is 'Radioactive', an Eurodance song, taken from her second studio album. The fusion of catchy club beats with Marina's hypnotic vocals make this an extremely confident addition to her discography, as she opts for a more popular acoustic but still with meaningful lyrics 'My Heart is nuclear/ Love is all that I feel/ Ready to be let down/ and now I'm heading for a meltdown'. We like to describe it as pop, but with a witty edge.

8: Girls 

Heading back to The Family Jewels, this one is a little bit more obscure. 'Girls' is one of the lesser known tracks from the album, but we think it is probably one of the most effective and culturally significant. Often misinterpreted as being a criticism of the 'girls' themselves, the track is more a criticism of society and its expectations of the female gender role. Pretty powerful stuff, right? Featuring lyrical gems, sung in a truly effortlessly sarcastic manner, such as 'Girls are not meant to fight dirty/ never look a day past 30/ not gonna' bend over and curtsy for you' and 'making money off your insecurities and doubt'. You can always count on Marina to stick a few societal criticisms into her songs.




7: Sex Yeah 

Whilst 'Girls' may have been a good song, 'Sex Yeah' is most definitely the better song that touches on feminism. With such meaningful lyrics that invite others to question their own perception and the stereotypes around them 'Question what the TV tells you/ Question what a Pop-star sells you/ Question mum and question Dad/ Question good and question bad', 'Sex Yeah' is more than just your average pop song. Add in an addictive hook and catchy beat and you've got an unquestionable hit on your hands. 'Sex Yeah' is pretty self-reflective and has a multitude of meanings, so we'll leave you to your own devices on this one, but it is certainly more though-provoking than your average bubblegum pop.

6: Are You Satisfied? 

Are you satisfied, with an average life? No, that's not some motivational speech I've just made up, it is in fact some of the lyrics from our number 6 song 'Are You Satisfied?'. The track is taken from Marina's first studio album, and although not one of the main released tracks, 'Are You Satisfied?' strikes quite a strong chord with us. Questioning the value of life and what it means to be happy and content with yourself, the song is pretty hard-hitting in terms of lyrical content, and features some gut-wrenching instrumentals that we haven't really recovered from 'Do I need to lie/to make my way in life?/ Are you satisfied/with an easy ride?/ Once you cross the line/will you be satisfied?'.




5: How to Be a Heartbreaker 

Get ready to amp up the satire levels to one hundred, as our next addition to the list, rocking in at number 5, is the oh so self-mocking 'How to Be a Heartbreaker'. We sure hope you don't take any of the lyrics seriously, but we do hope you take the message of the track (and indeed the video) seriously. Marina's songs are known for their wit and satire and this is no exception, as she explores the archetype of a female character who doesn't want to have her heartbroken, so she forms meaningless and detached relationships with others 'Don't get attached to/somebody you could lose/ so let me tell you/this is how to be a heartbreaker'. Featuring a video which switches the gender objectification (thereby highlighting how ridiculous it is), 'How to Be a Heartbreaker' makes a big impact both visually and audibly.

4: Buy The Stars 

A little less 'dance-y' and a little more ballad-esque, 'Buy The Stars' is taken from the deluxe version of Electra Heart. 'Buy The Stars' is a little less upbeat than previous songs, and a little more solemn and isolate, as the solitary piano plays across the track. The song is also one of the best to highlight and accentuate Marina's vocals, and of course, it features some rather poignant lyrics 'and still/you like to think you own me/you keep buying stars' and 'you know/only/how to/own me/ your mind starts to shut out the light/ we come alone and alone we die'. This track showcases a different side to the singer, and we like it as serves as a testament to the singers ability, not to mention the fact that it is rather distinctive, and musically, beautiful. 

3: Primadonna 

This may very well be the most well-known Marina and the Diamonds track, and it earns its place, rightfully, at number 3. Almost a parody of itself, Primadonna is so rife with satire that we can almost not contain ourselves. But if you think the track itself is rather hilarious, then take a look at the music video, as this compliments the song even better. Marina has a real knack for comic timing and her facial expressions and acting are on point in the video, and we love this particular female archetype that she is exploring in the video. The track centres around the notion of a 'Primadonna' (taken from the term 'Prima' as in first/main and 'donna' as in woman) a person with a temperament and an inflated view of their own self-importance and/or talents 'Primadonna girl/ all I ever wanted was the world/ I can't help that I need it all/the Primadonna life/the rise/the fall'. Marina's voice packs the punch, and the variations in pitch from the sultry lows, to the heavenly highs, make this track a universal success.

2: Power and Control 

As we draw into the home stretch, the track that was just short of the top position is the dark and deceptive 'Power and Control'. Containing an undeniable amount of sass, the electro-pop track is full of echoes and repetition that make it attractive to the ear, and we adore some of the throw-down lyrics that are used 'think you're funny/think you're smart/yeah you may be good looking but you're not a piece of art'. The track commands attention and feels rather atmospheric when you listen to it, and these are qualities that we really value in songs, as it has that element of gravitas, and indeed, power. Of course, the video is suitable in style as it takes place in a dimly lit room in which Marina and another man are having their 'war', so to speak. 'Power and Control' is considered one of the best songs from Electra Heart and it's not hard to see why.

1: Teen Idle 

So, what track managed to snag the top spot amongst our list and beat out all the other great songs from the singer? Well, it is none other than 'Teen Idle', a lesser known track from the Electra Heart album. This little gem features the immortal lyrics 'I want blood, guts and chocolate cake' and 'the wasted years/ the wasted youth/ the pretty lies/ the ugly truth', and let's face it, that is something pretty powerful stuff. Featuring relatively heavy and dark lyrics, amongst its sickly sweet tune makes for a strong juxtaposition. It sounds almost like an anthem, and a disturbing one at that, and this makes the song memorable and perplexing at the same time. There are so many layers to the song that you can't appreciate it after just one listen, so we encourage you to sit back and have a think about the song itself, and of course, enjoy Marina's voice and persona in this track.

We hope you haven't enjoyed this addition to 'The Top 10' Music addition, featuring Marina and the Diamonds, and let us know in the comments if you would have ranked them differently! Is 'Teen Idle' your favourite? Or would you have added something to the list that is not already there? 

X-Men: Days of Future Past (2014) Review

'The Past: a new and uncertain world. A world of endless possibilities and infinite

outcomes' 

Transporting us back in time to the freedom power of the 70s is Bryan Singer’s latest addition to the X-Men film series; X-Men: Days of Future Past. A sequel to both X-Men: The Last Stand and X-Men: First Class, this new venture is inspired by the ‘Days of Future Past’ comic (as part of Marvel’s Uncanny X-Men series), which sees a shift in focus from two alternate time-periods; 1973 pre-assassination, and the future, where robot Sentinels dominate and exterminate mutants (and the humans who help them or carry the gene).

In order to save both the mutant race and the humans, Professor Xavier (Patrick Stewart) locates Kitty Pryde (Ellen Page) along with Magneto (Ian McKellen), Wolverine (Hugh Jackman) and Storm (Halle Berry). Pryde’s group - consisting of Iceman (Shawn Ashmore), Bishop (Omar Sy), Colossus (Daniel Cudmore), Blink (Fan Bingbing), Sunspot (Adan Canto), and Warpath (Booboo Stewart) - have been on the run from the Sentinels, but keep surviving due to Pryde’s ability to send someone’s consciousness back into their younger past self, so as to warn the group that the Sentinels are coming. Professor X sends back Wolverine with the help of Kitty to his younger self, to stop Mystique/Raven (Jennifer Lawrence) from assassinating Bolivar Trask (Peter Dinklage), the creator of the Sentinels, as this is what kick-starts the wide-spread mutant panic, and eventual extermination. To do this, Wolverine must locate and unite young Xavier (James McAvoy), young Magneto/Eric (Michael Fassbender), with the help of young beast (Nicholas Hoult), and young Quicksilver (Evan Peters).

Where past X-Men films have wavered between enthralling and mind-numbing, X-Men: Days of Future Past makes sure to avoid the faults of its predecessors, as it offers up an almost seamless journey of action and adventure, with a suitable balance of special effects and intriguing plot to keep the viewer thoroughly engaged throughout its 131 minute running time. While some films suffer from being overdrawn due to the lengthy time span, the movie does not feel like it is adding in needless material for the sake of making it seem like an epic adventure. Whilst X-Men: Days of Future Past seems to start off on the slow-burner, it quickly progresses itself, as the momentum of the characters picks up, and the performances of the cast glide the picture to its climax in a satisfying fashion.

Keeping up with the energy of First Class, the film features some intriguing storylines that centre on Pryde’s ability to transport people’s minds back into their younger selves. Although this differs from the original storyline in the comics, (where Pryde instead transports her own mind into her younger self instead of Logan/Wolverine) this does not impact greatly on the film’s overall structure, although we would have been pleased to see Pryde in a more dominant role over Wolverine. This complex, but not overwhelming, plot makes for captivating viewing, and combined with the outstanding performances from its cast, and the overall arsenal of special effects that are thrust towards us, we can’t help but feel X-Men: Days of Future Past is probably the best X-Men film to date.

Undoubtedly, the latest film benefits from the ‘marvel-lous’ (see what we did there) performances from its cast - with James McAvoy putting in a strong performance, as the struggling young Xavier who has lost everything. McAvoy is able to truly emulate the depression of his character, as he has to reunite with the person who took it all away from him – Eric. There are some unexpected tear-jerker moments in the film, courtesy of McAvoy and Lawrence, surprisingly, as McAvoy’s Xavier attempts to get through to Lawrence’s Mystique.

Speaking of Lawrence, she is back and bluer than ever, in the infamous role as the coloured-skin mutant, who is able to change shape to suit her purpose. Lawrence is dedicated to the role, and performs confidently in a role for which she was heavily criticised by some for taking, with audiences having high expectations left from Rebecca Romijn’s performance as the older character. However, Lawrence proves that she is a perfectly capable actress, and high-kicks her way past the critics to deliver a pleasurable performance as the ever elusive character.

Of course, we also have the return of the acting heavy-weights, in the form of Ian McKellen and Patrick Stewart who reprise their roles as Magneto and Professor Xavier. The two deliver masterful performances as their characters, with Stewart embodying all the wisdom and grace that his character is famous for, whilst McKellen has a whale of a time as Magneto, whilst also uniting with Stewart to deliver some quite emotional and touching sequences of the film. X-Men: Days of Future Past also sees the return of some familiar faces, such as Kitty Pryde, portrayed by Ellen Page, Halle Berry’s Storm, and Nicholas Hoult’s Beast, to name a few. Ellen Page’s Pryde is as fantastic as ever, and she serves as a key feature to the film, whilst Berry’s Storm is as potent as ever.

The film makes sure to introduce some new characters, in the form of young Quicksilver, who is portrayed by the delightful Evan Peters, whose performance is one of the best in the film. Peters commands every (albeit brief) scene he is in, showcasing the true mutant talents of his character in all their glory, and adding a quirky and comedic edge to the film that would otherwise be lacking. Game of Thrones’ Peter Dinklage also heads up the film as the notable ‘villain’, as Boliver Trask, whose ambition is to create Sentinels that will hunt and destroy mutants. Over-ambitious to say the least, Dinklage is at ease in the role and although there is some confusion as to whom the ‘villain’ actually is, his performance is still strong enough to carry the film.

So, with all the performances and plot-lines aside, are the visuals up to scratch for a film that has the utensils (and budget) to make its aesthetic so striking? In short – yes. Whilst action films often have a tendency to go full-blown over-board with the amount of special effects included (the result of which being something that is just pure spectacle and serves no actual value), X-Men: Days of Future Past makes sure that it uses its effects sparingly, but still effectively. The big ‘fight’ sequences are daring and exciting, (without inducing multiple headaches as you struggle to keep up with everything) with particular reference to the ending sequences as the film reaches its climax. In a film rife with mutant powers, we are treated to an array of abilities (from phasing to teleportation, shape-shifting to metal manipulation) that are showcased imaginatively on-screen, and that serve as one of the best elements of the film.

Overall, X-Men: Days of Future Past is a slick, frenetic, adventure that is elevated to new heights by the outstanding performances from its cast, and the superb visuals that are to be revelled in.