Hannah Cohen - Pleasure Boy [Album Review]

(For a TRACK-BY-TRACK review, scroll down) Relatively unknown, Hannah Cohen is an American singer and model whose first album, Child Bride, was released in 2012. Pleasure Boy is an album with deep undertones of loss and pain, insulated with a mix of sweet melodies and looming darkness. But what does Pleasure Boy sound like and how do each tracks fare? The album starts off with ‘Keepsake’, an ominous and captivating opening to Cohen’s second album. First impressions would lead you to believe this is going to sound like a mix between Lana Del Rey (there are some similarities in vocals) and Florence and the Machine (in terms of instrumentals). There is a very ethereal feel with Cohen's sweeping vocals combining with solid beats, it's definitely one to get carried away with. It grabs your attention and it runs with it; you’ll be hard pressed to keep up.

#2 is ‘Lilacs’ which is a mixture of some sweet synths and jazz beats, with plenty of opportunity for Cohen to show off her varying vocal range; from her low and deep drawl on the opening verses to the higher, rich tones on the chorus, we get it all on this track. Piano-laden ballad ‘Watching You Fall’ is there to cradle us with its soothing sound and mellow, drawn back nature. This is something you could easily listen to on a lazy afternoon in the summertime or early spring. ‘I’ll Fake It’ is an interesting change in styles, with the solid bass-line not sounding out of place on an r&b or dubstep track. A little darker and sultry in tone, Cohen's vocal confidence shines through on this track and she's in her element in this intriguing mix of musical styles. 

Number 5's ‘Claremont Song’ is certainly a strange addition. The consistent underlying beat in this track always has the potential to accomplish more, but chooses not to – it’s a more understated song that feels like it is on its own never-ending journey to an uncertain future. You’ll be in a constant state of apprehension listening to this, we’re pinpointing this as our ‘marmite’ track; you’ll ever love it or hate it. ‘Queen of Ice’ follows this with some striking lyrics; ‘Trace your fingers down my spine/ watch me crumble before your eyes’. A dark beginning for a haunting song from Cohen. The vocals flit between the frenetic and the almost numbingly still, whilst Cohen experiments in a most alluring way with the pace and feel on ‘Queen of Ice’.

‘Take the Rest’ continues the dark theme in a more subtle and subdued way although it doesn’t pack the same kind of addictive punch as ‘Queen of Ice’ and it leaves you wanting a little bit more. ‘Baby’ rectifies this mixed feeling with a strong guitar opening, allowing for Cohen’s vocals to stand-out in the ending song. This one’s got an air of country charm to it. A suitable closing track, finishing the album on a high note.

Overall Verdict:

It’s a bit of a beguiling mix between old and new styles, with various musical influences trickling through, from country to dubstep to electro-synth sounds. For the most part, Pleasure Boy entices you in and successfully delivers, with only the casual misstep; which is understandable given its vastly experimental sound and feel. The production is crisp and coherent, each track flows with a haunting rhythm into the next and everything feels like it has been executed to a high standard. It’s bold, sultry and sweet and it’s likely to be your next favourite record.

Sia - Big Girls Cry (Official Video) [+ Review]

Sharp. Emotional. Intriguing. It can only be the music video for Sia's new track 'Big Girls Cry' (scroll for video), and if 'Chandelier' and 'Elastic Heart' have taught us anything it's that Maddie Ziegler is likely poised and prepared in the wings waiting for her third video performance. 'Big Girls Cry' is taken from Sia's recent album, 1000 Forms of Fear, which attracted mainstream attention due to the popularity of 'Chandelier'. Predictably, in this latest video, Maddie does make an appearance, in what is turning out to be a memorable series of conceptual pieces focusing around issues and emotional experiences in the singer's life - the most recent of which centres on mental illness. 

                                                (gif: SiaFurlerSource; tumblr)
With no big gimmicks or fancy sets it can be difficult to understand the stripped back, in-your-face style of video the singer and her team produce, which may make it difficult or uncomfortable to watch at first. But this is exactly what the essence of the song is all about, and the video makes a lasting impression on the multitude of emotions and actions a person can face and make, and what kind of effect this can leave on someone. Sia has never been an ordinary pop artist (in recent years she has made the decision not to face the camera during live performances and often opts for a paper bag or some other cover-up) and this video shows the type of aesthetic the singer prefers - one that is gritty, unusual and in some cases, unsettling. It's designed to provoke questions and stimulate answers. 

                                                 (gif: SiaFurlerSource; tumblr)
On the track itself, Furler teams up with Chris Braide, whose lyrics are as memorable and poignant as ever; 'And I don't care if I don't look pretty/ Big Girls Cry when their hearts are breaking'. The result of the pairing is a more vulnerable and introverted song, with Furler's rawness coming through in bounds, hitting the notes with utter simplicity and passion. 

If you want to be taken on a ride with Sia and Ziegler then check out the gritty video below: 

Purity Ring - Another Eternity [Album Review]

(For a TRACK-BY-TRACK review, scroll down.) The second studio album from Canadian duo Purity Ring was always going to be notable, whether it followed the same musical route as Shrines (2012) or tried something new. In the case of Another Eternity, it isn't held down by musical classifications, but it certainly has taken a turn for the more pop-centric and has attracted attention from the mainstream music scene. But is it a step in the right direction for the duo or a unfortunate manoeuvre? The answer isn't that clear. Whilst Another Eternity is a mix of intriguing sounds and blissful vocals, some tracks fall short of the duo's potential, and may leave listeners disappointed or simply wanting more. 

‘Heartsigh’ opens the new album, possessing a sweet melody that bewitches upon first listen and develops into a culmination of airy vocals and mid-tempo beats. ‘Bodyache’ follows this with a more mainstream sound, which could get a bit dull after repeated listens, but has an initial charm that may not wear off as quickly for some listeners. The dazzling ‘Push Pull’ succeeds this, which is overall a strong tune that has garnered a decent amount of mainstream popularity upon its release, and it’s not hard to see why. The solid production, the combination of dynamic duo James and Roddick, and the witch house feel leave an everlasting impression. 

Unfortunately, the strong start doesn't last and the aptly titled 'Repetition' is awfully repetitive and a little boring. 'Stranger Than Earth' is up next and is an unusual addition. You might expect to hear something similar on an R&B or rap album, and is a strange choice for a middle-track. The mixed frenetic beats pair with dramatic drops and changes in vocal pitch and intensity and a grimy sound that sounds misplaced. Re-assuringly, the memorable 'Begin Again' is here to satisfy those who are perhaps a little confused at this point. Shrines era fans will either love this or hate it, but it has the fusion of music genres that make it stand out from your regular EDM or electro-pop tracks, and James' vocals draw you in with great ease and aren't drowned out by beats unlike other tracks on the album. 

‘Dust Hymn’ is track #7, and it comes out fighting, blending hypnotic beats and strong visual lyrics from James', making for an enthralling listen. ‘Flood on the Floor’ is a mix of EDM and strong electro with a strong instrumental accompaniment from Roddick and lyrics that sometimes don’t make sense but for some reason strangely work. This one's hard to easily forget. The unforgettable ‘Sea Castle’ is next and it's a slightly eerier track with all the atmospheric beats that Purity Ring are known for. James’ vocals are still the most captivating part of the track and the sweet contrasting beat mesmerise in all the right ways. The last song on the album is ‘Stillness in Woe’ which has a strong instrumental opening that compliments James’ soaring voice and has a sound similar to a CHVRCHES track, but we would say this is a good thing. Dreamy and ethereal, ‘Stillness in Woe’ is a worthy listen and allows the album to end on a high note. 

Another Eternity is certainly a move to the more mainstream pop industry and it's unclear if this is a calculated risk or just mere experimentation. No doubt what some may have liked about their debut album Shrines will have been the edginess and indie-esque nature, and this album certainly is not that – however, it is a clear new direction where the duo have tried out different styles and it does work in some areas. The album is an unusual turn for the electronic pop that is perfected on such tracks like ‘Push Pull’ and ‘Begin Again’, whilst there are still the strong visual lyrics and similar atmospheric audio to the previous Shrines. James’ vocals are best heard on tracks which truly allow them to shine, without being overpowered by dulcet, repetitive tones on aptly named ‘Repetition’ and ‘Bodyache’, which may not be to everyone’s tastes. Roddick and James succeed best when they are seemingly not trying to be more pop-central and stick to their roots, as ‘Sea Castle’ and ‘Dust Hymn’ prove. Overall, Another Eternity is a riveting mix of a multitude of musical genres which are not so easily sub-divided and classified, and perhaps this is best for the group, who seem to work best when they have no limitations, even if this is a risk that sometimes doesn’t pay off.  

Marina And The Diamonds - FROOT [Album Review]

(For a TRACK-BY-TRACK REVIEW, scroll down.) The third studio album in Welsh singer-songwriter Marina Diamandis' (known professionally as Marina and the Diamonds) discography, is the ever-colourful FROOT, which the quirky singer has been working on since 2013. After the commercial and cult success of Electra Heart (2012), which saw the singer take on a different persona and multiple personalities, FROOT is a significant difference in styling's which shies away from the gimmicky for a more personal touch. Showcasing an obsession over fruit-machine style conceptuality, Diamandis assigns a particular colour and relevant 'fruit' to each track, starting off with yellow 'Happy' and concluding with green 'Immortal'. But does this vividly colourful style pay off for the singer? Read our track-by-track review below (or simply scroll to your favourite song to hear our thoughts!). 

Starting off at #1 is 'Happy', a stripped-down, soft piano ballad that does its part in expressing the raw emotion behind the song from Diamandis. The rather simplistic instrumental nature of the song focuses the attention on Diamandis’ vocals, which are moving and mellifluously hopeful. #2 'Froot' toes the line between the sensational and the sexual, with the title track from the album demonstrating a sumptuous mix of seductive vocals and sweet highs and lows. Diamandis definitely serves up a juicy helping of electro beats for listeners to enjoy, reminiscent of her electro-pop filled Electra Heart. One for particular clever word play and certain euphemisms, Marina packs a punch with this salacious song, “I’m you carnal flower, I’m your bloody rose/ Pick my petals off and make my heart explode”.  

#3 'I’m A Ruin' – One of the most notable songs on the album, and the first official single, ‘I’m A Ruin’ is a synthpop disco mix which ramps up the energy for the vibrant chorus. Like many tracks on the album, the song starts off in a more sombre, introspective manner, and the element of the personal (which comes from being penned solely by the singer, like the other tracks) adds a special touch to the overall feel of the track. In at #4 is 'Blue' which is decidedly disco, sounding in a way like an arcade song, coinciding with the fruit-machine feel of the album. It’s undeniably quirky and upbeat for a song which is essentially about not feeling down or sad about anything anymore. It is certainly a pattern that the more emotional songs tend to possess a more cheerful acoustic, even if the song itself is not happy at all.

#5 'Forget' is a like an individual with a relinquished past, striving for the new with every thought and action it takes but not forgetting its memorable life before that, it combines the old and the new (it’s only suitable it should follow on from ‘Blue’!). A more sedated angst and brimming confidence underlines the song, and Diamandis’ switches between beautiful soaring vocals and quieter, subtle murmurs. #6 'Gold' is a euphoric, glitzy addition with sweet falsettos from Diamonds, and the acoustics are reminiscent of a lazy summer afternoon. #7 'Can’t Pin Me Down' is a snappier and sassier addition to the singer’s discography and features some explicit vocals and smooth rock beats that add to the punchy more brash nature of the track. This one's a bit like Marmite – you’re either gonna’ love it or hate it.

#8 'Solitaire' is possibly one of the best records on the album. Blissfully understated, it has a particularly relaxing effect, with the sounds of waves crashing over the background in a calming manner. A prominently individual track, the sound is unlike anything else on the album, showcasing Diamandis' talent in both song-writing and singing. Not content with mere people-pleasing, the singer goes all out for the chorus; “Solitaire/ Something you consider/ Rare/ I don’t wanna be compared/ With that cheap shimmer and glitter/ Solitaire”.  #9 'Better Than That' is perhaps a little bit out of place, although not terrible, it doesn’t feel like it lives up to the quality of the rest of the songs on the album. Perhaps give this one a pleasant miss. #10 'Weeds' on the other hand, is a perfectly pleasant pop addition, that is drenched with personality and flair, and an interesting guitar rift in the latter part of the track.

Perhaps just surpassing 'Solitaire', 'I'm A Ruin' and 'Immortal' in quality is the society-central 'Savages' at #11. Possessing a fascinating and intriguing chorus that tackles the possible true nature of humanity, the track is unapologetically provocative; “Underneath it all we’re just savages/ Hidden behind shirts, ties and marriages/ How can we expect anything at all?/ We’re just animals still learning how to crawl”. One of the more frenetic and fast-paced additions on the album, Marina switches between haunting ending vocals and deeper toned mid-shifts, culminating in a truly captivating chorus and pre-chorus. #12 'Immortal' concludes the album in an ever-eternal fashion. Hauntingly combining soft and elusive instrumentals with particularly catchy, brash lyrics, this one is hard to forget. One segment that particularly sticks out is “everybody dies, everybody dies/ If I could buy forever at a price/ I would buy it twice, twice”, which benefits from an addictive rhyming pattern. Surrounded by a certain sense of solemness but also enlightenment, ‘Immortal’ is the type of though-provoking track you just don’t come across in certain mainstream pop songs, and is aided by angelic vocals from the singer that soar above the slow rhythmic beat.

Diamandis certainly has a certain knack for combining catchy choruses with real contemplation on life and society, and FROOT is an example where this all pays off well for the singer. Long gone are the days of Electra Heart and The Family Jewels (2010) era, and whilst some singers may be dwindling in creativity by their third album, Marina and the Diamonds is coming into her stride. Rare in its cohesive nature and overall quality of concept, FROOT doesn't just settle for a few massive hits, but offers up plentiful supplies of pop perfection. Diamandis' latest album shows that it has the heart and emotive content to compel its listeners and the catchy choruses to keep them hooked. Likely to satiate fans for a few years, FROOT is a rare gem amongst some desolate pop shores. 

If you want to hear more from the singer, you can check out our 'Top 10 Marina and the Diamonds' segment, which details her best songs pre-FROOT era. 

Charli XCX - Sucker [Album Review]

The ferocious Charli XCX is back with her third studio album, Sucker, and after multiple delays it proves to be worth the wait. Relatively unknown up until recently - when her and Iggy Azalea's smash hit 'Fancy' braced itself for world domination - Charlotte Aitchison a.k.a. Charli XCX has crash landed onto the airwaves in recent months. The english singer-songwriter sound is a mix of power pop and punk pop with the singer taking influence from the 70s, 80s and 90s in both her musical and personal styling. Sucker has the vibrant energy, the acidic attitude and strong electric sound that Charli XCX is becoming know for. The album is unapologetic and rightly so. For a track-by-track review, read below: 

‘Sucker’ – Suck on this. A striking heart beat opens the first track, which is a heart-stopping punk pop fusion. Dripping with sass and possessing a throwback chorus, 'Sucker' is the track where the English singer literally tells everyone to go fuck themselves. The initial image the album conjures is of the carefree, rebellious youth who doesn’t care about telling the world to screw itself. It’s refreshing to hear something so abrasive and sweet-to-the-ear at the same time. It’s sugar pop punk at its best. In at #2 is ‘Break The Rules’, which is a brazen, outlandish and fun-loving and unruly song, with a heavy bass that compliments the rebellious nature of the track. Charli’s ‘I don’t wanna go to school/ I just want to break the rules’ is no doubt an anthem teens across the nation and worldwide can easily sing and thrash along to.

In at #3 is ‘London Queen’ which kicks it back with more funky guitar beats and a sound which isn't dissimilar to that of The Clash’s ‘London Calling’. Charli’s infectious vocals demand attention and her personality shines through this addictive piece of ear candy. ‘Breaking Up’ is up next, and it cranks up the attitude. This is a suitable alternative to the break-up anthem for those who are not quite content with other pop stars' offerings. Track listing #5 is 'Gold Coins', whose psychedelic digital beats clatter against the heavy guitar rhythms. Charli's starts off with subdued vocals that eventually culminate themselves for a full blast off at the chorus, whilst broken-up guitar solos add to the solid sounds. 

‘Boom Clap’ is in at #6, fusing full drum and synth beats with an undeniably catchy chorus that proved widely successful for Charli XCX. The track also served as the first single for The Fault in Our Stars' soundtrack. The song depicts a giddy romance, with Charli singing 'Boom Clap/ the sound of my heart/ the beat goes on and on and on on on on'. It's easy to get behind this one. Next up, Charli teams up with Rita Ora (who seems to be doing the rounds on everyone's album) to make ‘Doing It’ - although we're not really sure if it is doing anything at all. The track is a bit generic and there is nothing particularly outstanding or ear-catching about it, despite it's solid production and glossy finish. It just doesn't seem to spark much personality or soul. 

In at #8 is ‘Body Of My Own’ where the songstress belts out lyrics at a super lightning speed, and with a particularly frenetic beat to match. The result is a drug-induced haze where ‘Body Of My Own’ is pure pleasure. ‘Famous’ – Wanna feel ‘So Outrageous/ Just Like we’re famous’? Well then Charli’s got you covered on this whimsical feel-good party track. ‘Hanging Around’ is track #10, although there's not really much to hear here, we get the vibe it's more of a filler track. Up next is ‘So Over You’, where the sounds (and Charli’s chorus vocals) are a little reminiscent of Britney here, and it strangely works; ‘My tears, they cried/ Like a waterfall in the light/ My rose don’t bloom, since you left me blue’. This is another alternative break up song, but one which possibly works more than ‘Breaking Up’ (available on European versions of the album).

In at #12 is ‘Die Tonight’, which sounds like one of those tracks you sing at the end of a concert with your friends to play out the end of the night. Charli sings triumphantly that she could die tonight and still be perfectly content, ‘Cause I’ve got the magic in my veins/ And I’m going hard with all my friends’. Euphoric beats and a simple guitar strumming paired with understated vocals from Charli XCX make this a memorable addition as #12 on European Sucker additions (and #11 on North America versions). #13 ‘Caught In The Middle’ is far too similar to previous pop offerings - you can probably skip this one. ‘Need Ur Luv’ is a sweet and airy closing track which finishes the album off nicely. If you have the European version, you'll also have track #15, which is 'Red Balloon', where Charli once again stretches her vocals chords and shows how fast she can sing out verses over a slick production sound featuring plenty of gimmicks and attitude. Definite feel-good vibe. 

Overall, Sucker has it's highlights and although some songs are frankly forgettable, it's strong tracks reaffirm that the singer is headed in the right direction, and the throwback style is definitely her forte. The rebellious and head-strong nature of the album is best emulated by Charli XCX, whose brash and unique vocal style make her one of the more memorable voices in the music industry, whilst the mix of pop punk and power-pop stand her apart from her bubblegum peers. A nod to misfits and youths, Sucker is electrically charged and inspirational to the rebel in all of us, with its cool production and mix of volatile language and retro sounds. 

4 stars.