Ariana Grande - Dangerous Woman [Album Review]

Following on from 2014’s My Everything, Grande is back with a decidedly more risqué and adventurous album; a deviation from her previous work and musical styling. Indeed, in this deluxe ensemble, Grande gives it her everything (sorry, couldn’t resist) and turns to a multitude of musical genres to draw inspiration from (dance, pop, reggae, soul, funk, R&B). Despite some initial doubt about the focus of the album, and the initial removal of lead single ‘Focus’, after some re-structuring and name changing (from Moonlight), Grande settled on Dangerous Woman, named after the second song on the album. This proves to be a welcome change, as ‘Focus’ set up the album to be something similar to a ‘Problem’ 2.0, and there was slight apprehension that this new discography would be simply a rehash of what ‘worked’ before, instead of something fresh or new.

Fortunately, this appears not to be the case, as Grande opts for versatility and substance instead of simplicity and similarity. Of course, the collaborations are still there, and Grande teams up with Nicki Minaj for ‘Side to Side’ and Future for ‘Everyday’. The former arises after the duo established themselves as a featured pair on ‘Bang Bang’ and together on ‘Get On Your Knees’; their collaboration proving to be killer, and this is no exception. This time they make their mark on this reggae/pop banger, flooding the floor with Grande’s signature pitch perfect voice, while Minaj wastes no time in strutting out her verses across tropical beat waves – an overall catchy and confident collaboration. Elsewhere on the album, Grande opts for smooth and funky throwbacks to 90s R&B, with the fresh gem, ‘Be Alright’. As Grande coolly sings “But daylight is so close/ So don’t you worry ‘bout a thing/ We’re gonna be alright”, you instantly feel immersed in nostalgia as she effortlessly glides her way through this breezy addition. Grande may have just found her musical forte.

It has to be said that Grande has some killer writers on Dangerous Woman, particularly Max Martin and Savan Kotecha, and it is their combined effort that elevates the album to new heights of success. This is no more apparent than on the disco-dance-pop smash, ‘Into You’. As Grande drums out “A little less conversation and a little more touch my body/ Cause I’m so into you, into you, into you”, you can’t help but feel engaged, especially with those little nods to Elvis and her comparative idol, Mariah Carey. It’s clear Grande knows exactly what she’s doing, and she goes with it.

It's safe to say the winning streak continues throughout the deluxe version of the album, with ‘Touch It’, ‘Knew Better/ Forever Boy’ and ‘Moonlight’ showing what she can do. ‘Touch It’ is a self-assured and mature song that talks about knowing what you want and not being afraid to go get it, a confident recurring theme that traipses throughout the album. ‘Knew Better/ Forever Boy’ channels the Tinashe sultry smoothness, as Grande explores her inner woman and contemplates her own independence and reflects on relationship experiences in this impressive double dose. Meanwhile, opening track ‘Moonlight’ is reflective of My Everything, full of glitz and glamour with soaring vocals that place you right inside Grande’s world.

Despite these strong additions, ‘Bad Decisions’ leaves a lot to be desired, and almost teases what Grande could accomplish if she had given something a bit more – although her vocals are impeccable as per usual. Similarly, ‘Sometimes’ sounding a bit Ed Sheeran-esque, doesn’t seem to stack up well against her other tracks, and there is something not entirely together about this seemingly out of place song, despite its appreciated synths and instrumentals.

For all its efforts, Dangerous Woman seemingly highlights Grande’s growth as a musical artist, and her capability at lacing albums with rhythmic hits, but also draws attention to her general lack of cohesiveness. In this sense, the album’s general theming seems to be quite disjointed and uneven, and although Grande succeeds in experimenting with different stylings, there are minimal factors that tie and unify these songs together. Nevertheless, her third studio album is a diverse and energetic affair that she sweetens with her soaring vocals, as she delves into personal experiences, displaying intimacy and raw emotion that we haven’t seen before.

Overall, Dangerous Woman is a confident and self-assured addition from a young woman who is exploring her musical versatility and isn’t afraid to experiment with musical genres. Significantly more mature than her previous editions, this album possesses a personal touch, marking the move away from the pristine glossy pop that Grande founded her fame on, and into something suitably substantial. Building upon this new found musical strength, and trusting her remarkable singing voice (which has one of the best ranges in the industry, it has to be said), Grande shows that she can switch between soulful songs and pop-tastic hits and still achieve success for the most part. 

Truthwitch (Witchlands #1) - Susan Dennard [Review]

Book: Truthwitch (Witchlands #1)

Author: Susan Dennard

Published: 14th January 2016

Publisher: Tor

Pages: 400

Rating: 4/5 stars

So I'd heard a lot about this book, some good, some less so, so I wasn't really sure what I would make of this. However, now having finished the book, I have to say I really enjoyed it. 

The world building in this can feel a little overwhelming at times - there is a lot of info ~sort of~ dumped on you about emperors, and domnas and princes, and some areas feel reminiscent of Bardugo's Grisha series, however, for me, it didn't detract from the story, as the main draw of this novel, for me, was the characters.

I really enjoyed the characters. There's something for everyone, really. Safiya is strong-willed and a bit hot-headed, so she's definitely a flawed type-of heroine, she's the ~main gal~ everyone wants to get their hands on (think Alina Starkov from the Grisha series, but less ditzy), however the real star of the show for me was Iseult. She's shunned by many for her heritage, and believes herself to be just a defunct threadwitch, although, as all stories go, there's much more to her than that. She's the dark to Safiya's light, and I really enjoyed her sections of the story. I also like their friendship, and their pairing is definitely more complimentary, and it really works. They are often found fighting in tandem against a bunch of threats, and they know their way around a cutlass, which I loved. 

In terms of the guy characters in the book, the two 'big' ones are Merik and Aeduan. Merik is your classic ~good guy~, he's loyal, passionate, true, and a man of the people. He can also dish out a fair bit of sass, so he had a fair few enjoyable lines throughout the book. The relationship between him and Safiya is predictable, but sweet, if you like that sort of thing.

However, one of the most interesting characters in this book is Aeduan. He's such a complex and layered character, on the surface he is vicious and intimidating, but there's clearly more going on under the surface. I'm excited to see how his character will develop, particularly his relationship with Iseult, as I think there is a lot that could happen there, and they are both very intriguing characters. 

Other honorable mentions go to Evrane (who reminded me of Brienne of Tarth from Game of Thrones, although I've no idea why - maybe it was the combination of strong fighting skills, and a moral, unfaltering outlook?) and the puppeteer, the latter who provided a consistently creepy presence and I'm definitely looking forward to how her character and story-line progresses in the next book, especially her connection to Iseult.

Overall, this was a really enjoyable read, and I think that the definite jewel of this book is the intriguing menagerie of characters. I shall be definitely looking forward to the sequel. 

Uncharted 4 (2016) - [Review]

It’s been 5 years since Drake’s Deception, and Uncharted 4: A Thief’s End has finally landed. Set 3 years after the events of the former, Nathan ‘Nate’ Drake (Nolan North) is living a meagre existence as a salvager with his wife Elena (Emily Rose), although neither of them seem entirely happy – but hey, there’s plenty of antiques in the attic to cheer them up. However, suddenly Nate’s long lost presumed-dead brother Sam (Troy Baker) shows up, and he’s in need of some pirate gold fast, since he claims that Hector Alcazar (Robin Atkin Downes) has given him three months to find the treasure or else (needless to say, it’s up to you to help him). Teaming up to find Captain Henry Avery’s mammoth fortune, the two brothers encounter an old partner, Rafe (Warren Kole), who is also searching for the treasure alongside mercenary Nadine Ross (Laura Bailey). Now the Drake brothers must enlist Victory ‘Sully’ Sullivan (Richard McGonagle) to aide them in their quest to find the Pirate’s booty – but of course, it’s never that easy.  

One of the things that strikes you the most when playing is how captivating the visuals of Uncharted 4 are. It’s a masterclass in dedication to complete immersion and the graphic visuals in the game are stunningly crafted and envisioned. From the Italian architecture to tropical shores, the snowy hilltops of Scotland cliffs to the gorgeous African plains, every destination is expertly designed and the attention to detail is astonishing. It would certainly be fair to say that Uncharted 4 has significantly raised the bar for visual graphics, and all involved should be immensely proud of themselves and their creation.

As aesthetically pleasing as the game is, it doesn’t rely on this sole element to carry the game to completion – instead, the narrative is actually one of the most cohesive and adventurous, and the inclusion of new and old characters makes it one of the most compelling. As Nathan, you get to team up with Sully, his brother Sam, and even (spoiler) Elena at one point, the latter of which is refreshing and the gameplay would have proved a bit repetitive if it had been a constant Sam/Nate outing. The characters and dialogue are humorous and appropriate, and the voice actors really give each character life and personality, with Elena and Nate’s goofy, loveable and dynamic relationship properly given its time to shine, as well as old buddies Nate and Sully. The backstories of Sam and Nate are too, given more screen time in this epic chapter adventure, as we are transported to their childhood and learn where they got their passion for treasure hunting and their infamous last name – certainly not something to miss out on.

The action sequences and gameplay options are also greatly improved, as is their seamlessness; the cinematic switching between cut-scene and gameplay scenes are enviable and may actually make you forget that you have to start playing again. The introduction of stealth elements allows you to be a bit more calculated with your kills (afforded to you by long grass and cover), whilst the different weapon options increase your versatile arsenal; grenades, pistols, assault rifles and RPGs are just some of your options. 

The handy grappling hook allows for high-intensity action sequences where death is a mere missed grapple away, or an ill-timed jump from a rope swing. But it doesn’t stop there, and players can now take control of vehicles – like Sully’s jeep – to traverse vast landscapes and uncover hidden treasures (which are everywhere on the massive map) and scale mud slides and cliff edges with the useful winch. The diversity of weapons, and optional stealth kills allow for the game to be played in a multitude of ways (although, if you go in all guns blazing, you may find yourself at the wrong end of a sniper rifle), which increases enjoyment and investment in the game’s outcome.

Uncharted 4 combines problem solving elements – in the form of pirate and pattern puzzles – with engaging action sequences (and equally funny death scenes should you fail) and incredible visuals for a truly remarkable and innovative game that makes use of the technology available. So, get ready to sail off with Nathan Drake for his final outing as the infamous treasure hunter, as Uncharted 4 has succeeded in making sure his send-off is one to be thoroughly celebrated.

BABYMETAL - New Music Spotlight

BABYMETAL. An intriguing name for a group, and the concept perhaps even more: a trio of 'cutesy' Japanese girls that happen to sing along (and rock out) to heavy metal music. But Su-metal (lead singer), Moametal, and Yuimetal are much more than that, and their music has had quite the dramatic effect on the world - and this is what makes them our new music spotlight for this week. 

Over the years, our spotlights (also known as our new music discoveries) have focused on international music, covering the rise of French singer Indila, to the enigmatic Stromae, and violin-dubstep artist Lindsey Stirling, all of which you can read about above. But this time we're heading all the way to Japan - and although we have previously discussed our favourite K-Pop videos - Japanese idol bands have a whole different following, conceptual style and musical influence. BABYMETAL is perhaps one of the most intriguing phenomenons, whose tour sells out all over the globe, and whose fans are every bit committed to rocking out along with the metal members as they are. 

While the concept seems novel, the execution is anything but, and the group benefits from its strong instrumental roots and the stage presence of its singers; all three of them. While Su-metal does most of the main vocals (most likely due to her age of 18), Moametal and Yuimetal perform some impressive supporting vocals, and have become even more involved as they have grown older. It certainly begs the question as to what the trio could accomplish in five years, considering their rise to mainstream fame and growing popularity amongst a multitude of audiences. 

But what makes BABYMETAL so appealing? Is it their energetic and enthusiastic performances? Or their own personal style combined with bubbly personalities? Or the music itself? There are no shortage of things to love about the group as a whole, even if the members itself admit to being "afraid" of hearing metal music for the first time (they were created as a group by a Japanese idol company). Oddly enough, this just makes them more loveable and endearing. 

Each member has their own subtle and unique styling that ties in fittingly with the rest of the group's signature colours (black, red and silver). Su-metal usually has a different torso styling or cover, and her hair in a ponytail, whilst Moametal has one ringlet pigtails and usually a tutu, and Yuimetal has multiple smaller ringlet pigtails and a tutu to match. Not to mention the signature hand movements, signs and dances the group perform, much to an eager crowd's delight. And let's not forget their allegiance to the 'fox god' (their version of the metal 'rock out' finger sign). All of this makes BABYMETAL what they are, and the idol group just keeps going from strength to strength with every album they make. 

Their first studio album, simply entitled Babymetal, was released back in 2014, and contained their signature song 'Gimme Chocolate!!' - as well as several other classics, such as 'Megitsune' (one of their best) and 'Ijime, Dame, Zettai'. Following up from this, the group released their second studio album, Metal Resistance (containing incredible anthems like 'Karate' and 'Road of Resistance'), earlier this year in March, which received positive reviews and skyrocketed to the tops of charts in Japan, the UK, Australia and the US - an incredible feat for such a young group. 

The future is certainly promising for the trio, and whilst it could be difficult to understand the appeal of 3 young girls rocking out to metal music, if you watch one of their videos or concert sets, maybe you'll see why. Their energy, humour and personality shines through each of their performances, and it is perhaps the sheer joy that you can get from listening and watching them that inspires others to just take a step back and immerse yourself in something you've probably never heard before. 

Melanie Martinez - Cry Baby [Album Review]

If we were to tell you that Melanie Martinez was a competitor on The Voice you’d probably assume she had dipped back into obscurity – especially if we told you she was eliminated in week 5 – but you’d be wrong. Martinez didn’t stop there and instead chose to pursue her passions and thus, Cry Baby was born. Martinez’s musical stylings are similar to that of Marina and the Diamonds – both in tone and layering – and the album is representative of this, evoking fond Electra Heart memories, whilst her vocal styling is more similar to that of Halsey. But Martinez possesses a star quality of her own, and her album feels entirely personal from beginning to end, and not just a mere rehashing of what someone else has done before.

Like Diamandis, Martinez’s music is no fun-house, and behind every door is a disturbing musical surprise waiting just for you, in the best possible way. The sickly sweet theming continues throughout the album, with Martinez offering up track after track of candy-coated instrumentals and sinister lyrics; an effective way to have your thoughts easily digested by listeners. Overall, Cry Baby is an experimental pop album at its core, and utterly committed to its core theming of infancy, complete with samples of crying, liquid pouring, and soap sounds, which adds unique acoustic elements.  

‘Dollhouse’ and ‘Cry Baby’ are some of the most intriguing songs on the album, incorporating though-provoking lyrics, upbeat pop tempos, and catchy choruses. Drawing on her childhood nickname, the latter shows the amount of attentiveness and commitment Martinez has contributed to make her kiddie creation come to life in such vibrant and creative ways. ‘Carousel’ – featured on American Horror Story: Freak Show – is a fairground for the ears; spectacular and breath-taking, whilst ‘Pity Party’ is a misfit’s anthem for every generation. ‘Tag you’re it’ combines dark concepts like sexual assault with childhood games to emphasize the ingrained nature of entitlement to women’s bodies, and it works. ‘Mad Hatter’ takes the Alice in Wonderland motif to a new level and runs with it down the rabbit hole, marking another triumph for Martinez.

Whilst Cry Baby stays true to its conceptual idea, some tracks – when lined up with the other absolutely artistic creations on the album – fall short, and ‘Pacify Her’ is just average, whilst ‘Alphabet Boy’ wanders into bizarre territory. But when you’re aiming for an ambitious album like this one, you’re bound to have a few fatalities.

However, Cry Baby’s juxtaposition of sugary superficial sounds and harrowing, heartfelt lyrics give the album its edge above competitors in the alt-pop scene and Martinez’s cotton candy creation is as delicious as it looks on the cover. Overall, the 13-track album is a combination of pure ambition and imagination.