Iggy Azalea - Beg For It ft. MØ (Audio) [+ Review]

After a string of successful hits, Iggy is back with another - and this time she's teaming up with MØ to do it. After topping charts with Charli XCX on 'Fancy' and then with Rita Ora on 'Black Widow', Azalea has joined forces with Danish singer MØ on this funky drum track, entitled 'Beg For It'. The production on 'Beg For It' is pretty slick, and the end result is a pristine pop song that's easy on the ears and packed full of plenty of Azalea sassiness. 

MØ's guest vocals provide an appropriate interlude to Azalea's rapping verses, whilst the beat of the track sounds almost exotic and has a calypso vibe. The fresh addition to the Australian rapper's discography sees another potential hit for the music artist, who has enjoyed a recent stream of successes, and it would seem this one is no exception. 'Beg For It' is taken from Azalea's upcoming re-issue of her The New Classic album, entitled Reclassified, which sees a couple of new songs appearing for listeners to indulge in. The new re-issue is available to purchase on November 24, later this year. 

Just in case you thought Iggy's partnership with Charli XCX was done for now, you'll be pleased to know that the English singer wrote the hook for 'Beg For It' whilst Azalea wrote the other verses (and The Arcade and The Invisible Men produced it). Charli XCX's distinct sound resonates in the hook, even if she isn't the one singing it, and the easy-listening nature of the track means it is likely to be successful on mainstream radio and iTunes. 

'Beg For It' contains the usual dominance from Azalea, who shows that she's in control of the situation; 'Get up out my face like who d'ya think you are/ talking all this trash like blah-di-blah-di-blah'. Azalea's 'Beg For It' certainly has some stand-out lyrics, and 'P-p-pussy power, pay me by the hour' will certainly stick out in your mind. As lyrics goes, it's pretty powerful stuff and sums up Azalea's sassy nature in one single line. The follow-up lyric hits hard as well; 'I need me a Braveheart, can't deal with a coward'. If there's one thing Azalea does well its create memorable lyrics that you simply just can't ignore and definitely won't forget. Have a listen to 'Beg For It', below: 

David Guetta - Dangerous ft. Sam Martin (Lyric Video)

David Guetta has teamed up with Sam Martin on his latest track, 'Dangerous', which now also has a new lyric video out. 'Dangerous' is taken from his upcoming sixth studio album, entitled Listen, which is due for release on November 21, later this year. Meanwhile, singer-songwriter Sam Martin reunites with Guetta on 'Dangerous' following their successful collaboration on one of Guetta's previous tracks; 'Lovers On The Sun'. Martin's prominent vocals are featured heavily in the new track, which has a distinctive disco vibe, despite starting off relatively classical, with piano instrumentals and violins in the background. 

Getting a little bit more funky, the track builds with accompanying techno and electric beats that create intensity for the single. There's a certain air of emergency in the track, which ties in suitably with its 'Dangerous' title. The disco and dance vibe of the song helps to create a smooth and retro-sounding addition to Guetta's discography, firmly putting him back on the map as a successful DJ and record producer. Guetta also doubles up as the producer of the track, along with Tuinfort and Evigan. Guetta's upcoming album, Listen, will also feature notable names in the R&B, Pop and Hip-Hop worlds, with not only Martin making an appearance, but also the likes of Nicki Minaj, Sia, Lil Wayne, Krewella, Natalie Kills, Akon and Chris Brown. 

Listen to the space-bound 'Dangerous', here: 

Marina and the Diamonds - FROOT

Feeling a little fruity? Then come and enjoy Marina Diamandis' new track 'Froot', which is the first track to be released from the singer since her Electra Heart days back in 2012. Her new album, allegedly set for release in 2015, has allegedly taken the name of this first track, and if 'Froot' is anything to go by, Diamandis' next album looks set to be pretty immense. The 5 minutes and 30 second track is classic Marina, with plenty of electro vibes, with the singer's vocals being a mix between high and low tones. Diamandis' voice is very distinctive, and considering the popularity of singers with particularly deep voices recently (Charli XCX and Lana Del Rey), there seems to be a good chance that Marina will prove to be another success. 

The singer has, of course, been around in the music industry since 2010, with her album The Family Jewels proving to be a successful debut album of the singer. Diamandis, known for Electra Heart tracks 'How to be a Heartbreaker' and 'Primadonna', incorporates her love for metaphors in her new track, with 'Froot' being in a similar fashion to 'E.V.O.L' with was a play on words for 'evil' and 'love'. These clever little in jokes and wordplay make Diamandis' tracks far more deep and intrinsic than you might realise upon first listen. Notable lyrics include 'I'm your carnal flower, I'm your bloody rose/ Pick my petals off and make my heart explode/ I'm your deadly nightshade, I'm your cherry tree', which forms as part of the interlude before the chorus.

'Froot' is certainly a comeback for the singer, and the sweet highs and lows in the track (especially around the chorus and 'life couldn't get much sweeter') make for a captivating listen. The track possesses the same catchy nature of recent hits like 'Fancy' and Charli XCX's 'Break The Rules', with Marina serving up a juicy helping of electro beats for you to enjoy. A mixture of electro and dance, 'Froot' is one of those tracks that you just can't help but get into your head, and this is helped by the hook 'I'll give you all I've got/ Yeah you know that it's true/ I've been saving all my summers for you'. Diamandis' track comes a little later in the year for a summer hit, so perhaps 'Froot', which offers more than your classic pop song, with be a hit in time for Halloween. 

Listen to new track, 'Froot' from Marina and the Diamonds, below, and let us know your thoughts in the comments! Are you excited for the return of Marina? 

Beyoncé - Flawless ft. Nicki Minaj (Remix) [+ Review]

Mega star alert - it's rapper Nicki Minaj and celebrated pop star Beyoncé joining forces in one song. The flawless remix of 'Flawless' (too much?) features none other than a new segment featuring the rapper who has become some what of a hot topic at the moment. But there's more - you can now listen and watch the live version of the track featuring the two popular singers, as they took to the stage to perform their track. About two and a half minutes into the video, Pop queen Beyoncé triumphantly announces to the crowd that Nicki Minaj will be joining her on stage for the remixed version, and it's safe to say the crowd goes wild. Whilst we envy everyone in the audience, the track itself has that extra bite and sass to it courtesy of Nicki's rap segments, and the solid beat makes for an even more addictive version of the song. 

Minaj kills her verses, and the gradual speed in her verses builds the song appropriately, until the low beat in the background returns and the crowd screams. Beyoncé's lyrics are particularly relevant and contain some subtle digs at previous events, such as the elevator incident, in which she screams 'of course some shit gonna go down when there's a billion dollars in the elevator'. Whilst we would have loved an actual music video version for the track (it seems to be the latest rage for musicians to include live recordings instead of pre-rehearsed music videos for the accompany 'video' to a song), the live version still has everything you would expect in a usual pop video; there's slick dancing, captivating visuals, funky costumes and of course, killer high notes. It's undeniable that the chemistry between Nicki and Beyoncé is electric, and Minaj is particularly endearing in the video as she giggles and smiles away as she raps and sings along with her on-stage partner. 

Overall, the song is catchy and current (what is it with remixes some how sounding marginally or drastically better than the original?), and in a similar vain to J-Lo's 'Booty' remix, which sounds 10 times better with Azalea's rapping segment, Beyoncé's 'Flawless' remix sounds that little bit more dramatic and insanely catchy with Minaj's verse - could we see a pattern emerging amongst musical artists? Will rap remixes become a thing once again? Only time will tell! In the mean time, check out the flawless video below and bounce along with Nicki and Beyoncé: 

Veronika Vesper - Suffocate

Veronika Vesper. Heard of her? Well, you should have. The captivating space pop singer has released the music video for 'Suffocate', and it showcases the inner emotion of the singer, effortlessly encompassing the feelings of restriction and immobility, which has been present in her musical efforts so far. The track itself is a mix of dark, classical instrumentals and dubstep, with your beloved drum and bass thrown in for good measure. The pop track is an interesting blend of different styling, and the chorus with Vesper's enchanting voice makes for a track that is almost impossible to stop listening to. 

The subtle voice-over esque effect towards the end of the track is particularly enthralling. Vesper's track showcases her unique style and really establishes herself as a strong, forward-thinking artist with plenty of creative musical flair. The video is equally engaging, and we love the blend between fantasy and sci-fi, with Vesper herself describing it as a mix between 'Lara Croft' and '5th Element', and the overall effect is certainly cinematic. There's certainly a place in the musical market for a singer such as Vesper, so time will tell whether she manages to fully embrace the position she is in, and we look forward to listening to future music from the singer. 

Check out the powerful 'Suffocate', below (and tell us in the comments your thoughts!): 

Lorde - Yellow Flicker Beat (Official Audio) [+ Review]

The Mockingjay musical frontrunner Lorde's new track 'Yellow Flicker Beat' is the lead single from The Hunger Games: Mockingjay Part 1, and it's certainly an atmospheric addition to the singer's discography. With elements of darkness and rebellion, the track certainly echoes the tone of the first instalment in the two-parter finale to The Hunger Games film series, which are of course, based on the books by Suzanne Collins. 

Considering the large amount of anticipation for the first part of Mockingjay, it seems destined that Lorde's track will prove to be a favourite amongst fans, and suitably gear them up for the film's release in November, later this year. The soulful songstress, whose previous memorable hits include 'Royals', 'Tennis Court' and 'Team', seems to be the particular flavour of the year, and no doubt her addition to the soundtrack will help to promote the film and its musical accompaniment as well. Lorde is an interesting choice for the lead track artist, and 'Yellow Flicker Beat' is a very intriguing song which appears to reference Katniss Everdeen's rise to the status of the Mockingjay, as demonstrated through its poignant lyrics 'People talk to me, and all their faces blur/ But I got my fingers laced together and I made a little prison/ And I'm locking up everyone who ever laid a finger on me/ I'm done with it'. The track is able to also demonstrate the inner conflict and outward battles the character has faced through her existence, which is particularly beautifully expressed through the following lyric; 'And my necklace is a rope, I tie it and Untie it/ And now people talk to me, but nothing ever hits'. 

The composition of the song also reflects this feeling of urgency and rise, as the beat gradually builds, with different instrumentals slowly creeping in until they reach full impact when the chorus beckons in. Having this kind of build up provides the catchy nature of the song, but is also suitable for the kind of drama that is trying to be created, and the tense storyline that it revolves around. The second verse has similar acoustics to that of Lorde's 'Team', which is typical in its styling, but this track has a notably more darker tone to it. The lyrics are certainly more 'deep' and showcase a different side to the music artist, whose is known for her carefree 'Royals', and allow us a glimpse into her musical potential, as an up and coming recording artist. Lorde and Joel Little did an excellent job when writing the key lyrics for this particular track. 

Check out the official audio for the track, right here: 

You Should Be Watching: Glue [+ Review]

Airs on E4, Monday, 10pm

Skins and This is England ‘86 writer Jack Thorne has debuted a new murder mystery drama series, Glue, an 8 episode series depicted in the idyllic English countryside. But this is no Midsomer Murders. It is quickly established that someone has met a sticky end, and almost everyone is keeping tight grip on their secrets.

Feel free to check out this review online over at Concrete, and give it some love! Click here. 

The new E4 show features a whole range of talent, from Harry Potter’s Jessie Cave (who plays housemate Annie) to one half of Rizzle Kicks, Jordan Stephens, who portrays Rob, boyfriend to Tina (Charlotte Spencer), who has no idea about his future plans and seems to be perfectly happy hanging around in a bath with her all day. Also part of the countryside gang is Cal (Tommy-Lawrence Knight), brother to Eli (Callum Turner), Janine (Faye Marsay) and James (Billy Howle). With so much talent to give it’s no surprise that the show starts off in a rather intriguing, albeit slow, manner. We’re introduced to the cast slowly, which allows them to fully take centre stage.

The group spend their free time taking drugs and generally goofing off, and it seems that there are some interesting characters to deal with. Rob seems to be one of the more brazen of the bunch, and certainly appears to be one to watch across the next couple of episodes, along with his girlfriend Tina, who seems to have a wilder side. The episode is constructed well enough to showcase both sides of the characters, and their relationship as a whole. Jessie Cave performs particularly well as Annie; her wide eyed stare becomes a frequent feature of the episode. Turner’s Eli, with his wide range of emotions and sullen attitude, is captivating.

After the death of one of the group, it becomes clear that everyone’s got an agenda and some people know more than others. Cue police officers, enter right. Yasmin Paige sheds her skin as Beth Mitchell in Pramface, and takes on the role of the young and equally ambitious police officer Ruth, who is appointed secondary on the case. Ruth seems to know a bit about the other young characters, and this is what makes her possibly one of the most intriguing additions to the show so far. She shows young talent at its best.

Glue, unlike other series based in the city, has a unique set of sequences. For instance, where else would you see grain tombstoning? It’s a spectacle to behold on screen, and one of the more visually pleasing sequences that manage to engage you without saying much at all. Although the episode starts out like any other drama, it quickly distances itself from some more contrived shows, due to how much more realistic in terms of teen behaviour and the secrets that people can keep. The characters are engaging without being overtly annoying, and the drama is drawn out, and by the time you are half-way through you’re more than likely hooked. The actors are fresh and original, and the self-destructive nature of some of the characters is undeniably appealing and thought-provoking, which makes for a great beginning to a short series.

If you do nothing else on Monday, make sure you’re watching Glue. The series seems destined to get even better, so immerse yourself in a countryside which holds plenty of hidden secrets, and more than a few surprises.

Branding in Music Videos

Branding in music videos. A common feature amongst many visual accompaniments for tracks, with popular music artists Nicki Minaj, Lady Gaga, Britney Spears, Miley Cyrus, Katy Perry, Ke$ha and more opting to include not-so-subtle product placements. I recently wrote an 'Against' branding in music videos segment online over at Concrete, whilst Eve Lacroix argues for the 'For'. Feel free to check out both the arguments over on Concrete, right here. 



For full link version, click here: http://www.concrete-online.co.uk/branding-music-videos/

The Big Bang Theory - Season 8, Episode 3 'The First Pitch Insufficiency' [Recap + Review]

Back with its third episode of the season, The Big Bang Theory delivered up a surprisingly awkward adventure for Howard, who quickly signed himself up to pitch the first ball for the LA Angels of Anaheim - bad idea. Keep on reading for the recap or scroll down for our review of the night's episode. 

Recap

In the ever-expanding relationship land of Leonard and Penny, the two managed to find themselves engaged in another battle with Sheldon and Amy, the latter couple thinking that their relationship was superior to that of the former. Sheldon, using a on-line test, managed to determine the high mark that Sheldon and Amy got for their relationship, and encouraged Leonard and Penny to do the same, whilst the four dined together on a double-date. Penny got upset and went to drown her sorrows at the bar, with Leonard in quick pursuit. The two manage to resolve their differences by agreeing that they are both scared for the future of their relationship. 

Meanwhile, Howard has agreed to pitch the first ball for the LA Angels of Anaheim and Bernadette isn't pleased. She, knowing Howard, asks him if he can actually play baseball, and it is determined he cannot. She agrees to train him on how to pitch the first ball. Howard's space buddy also agrees that he should not participate in the game as if he does good, no one will remember, but if he does bad, it'll be on YouTube forever. Bernadette attempts to train Howard but he is so bad it is impossible. In the end, Howard gets the Mars Rover to pitch the ball, but the machine takes so long that people (including Sheldon) start booing Howard whilst he stands idly by, no doubt wishing the ground would swallow him up. 

Review

Landing in this week is ‘The First Pitch Insufficiency’, which rather obviously references some inability with sports. So, just who could have some terrible athleticism? Well, with plenty of people to pick from, it was Howard who stepped up to the plate to showcase his absolutely diabolical sportsman skills.

This week’s episode focused mainly on Howard’s poor athletic ability and Sheldon’s idea that his relationship with Amy was superior to that of Penny and Leonard. The episode kicked off in usual fashion, with Leonard and Penny’s newly developed relationship (engagement) sewing its way into the plot lines, as the subject of when the marriage is going to happen comes up; something that is likely to be at the forefront of viewer’s minds. Penny and Leonard seem to have more genuine moments in the season so far, as their relationship has been a particularly rocky one over the series, and the episode dealt with the instability of the two in an actual believable manner, not deviating from the two character’s usual persona but still adding in little lines and quirk that make the storyline humorous and satisfying. Galecki and Cuoco-Sweeting really managed to focus the attention on their characters, which is something that is difficult to do when you have to compete with the scene-stealer that is Bialik’s Amy and the ever-captivating Sheldon (portrayed by Parsons).

There were plenty of clever in-jokes in the episode that helped to balance off the tension between Sheldon/Amy and Leonard/Penny, which made this an all-round hit for the current season. The pacing was overall suitable, except for a point near the end of the episode which felt like it was a bit abrupt, and could have possibly done with a smoother ending to what was, so far, a confident instalment in the eighth season.

But it wasn’t just Cuoco-Sweeting and Galecki’s characters who got a chance to shine, Helberg’s Howard breezed his way to the forefront of the episode, with his goofy mannerisms and silly plans making sure the attention was all on him (whether he liked it or not). It’s been shown in previous episodes that Helberg’s Howard doesn’t always think things through before doing them, and this was never more evident in this episode, where he agreed to pitch the first ball for the LA Angels of Anaheim in honour of space day, as an astronaut. Melissa Rauch’s Bernadette was quick to pick up on this, and demonstrated one of the many reasons that there is to love Rauch’s character. Quick-witted, ruthless to an extent and straight-talking, Bernadette made sure Howard knew what he was getting himself into and Rauch did an excellent job portraying the feisty side to her character that only comes out when someone is doing something stupid, when she’s angry, or when she’s in a particular competition (remember ‘The Scavenger Vortex’?).

Aside from the uneven pacing towards the latter half of ‘The First Pitch Insufficiency’ and the abrupt ending, the episode gave you a lot to love in terms of classic humour from Sheldon, with his relationship agreement, the complications in Leonard and Penny’s relationship and, of course, Howard’s hilarious gym sequences with Bernadette and Raj (who was throwing that ball!).