You can always count on Gaga to deliver a visual feast and she doesn't disappoint with the video for her new single, 'Applause'. Taken from her upcoming ARTPOP album, the song carries many of Gaga's usual trademarks; it's a self conscious celebration of pop culture, commercialism, and fandom. The video is a fast moving montage of abstract poses, remote pop culture references, plus a good dollop of oh-so-fabulous Gaga choreography. it's a visual spectacle directed by renowned Dutch fashion photography duo Inez and Vinoodh It's great;she's like a 21st century musical version of Andy Warhol. Say what you will about Lady Gags, but no one right now is doing it quite like her- while most artists are concerned with portraying "bleak, gritty, realness" in an effort to appear genuine Gaga is giving us pop for pop's sake and it's refreshing and exciting! I love this.
British singer Bluey Robinson puts his own spin on Justin Timberlake's most recent offering, 'Take Back The Night'. The London singer, whose new EP is due out later this year, is on top form as he performs this acoustic rendition of the track. Showing off his awesome Michael Jackson-esque vocals, and taking full advantage of the song's retro vibe, Robinson switches up his version with a snip of the Luther Vandross classic, 'Never Too Much'. Hear what you think, here...
One of UK music's most exciting newcomers, Elli Ingram has dropped the video for her latest single, 'Mad Love'. The song is taken from her debut EP, Sober and tells a tale of obsessive love, and infatuation. The video sees Ingram playing a repressed housewife with a dark side. And in keeping with the EPs artwork, the visual has an overall retro feel from the chintzy china teasets, to the brilliant white Ford Fiesta which apparently belongs to Ingram's love interest in the video. A case of fancy wheels for a fancy man? See for yourselves...
JT gets his Fred Astaire on in the video for 'Take Back The Night'. The retro- disco flavoured track is the first single to be taken from part two of his 20/20 Experience album. The video sees JT in a city street setting, throwing a number of slick shapes, with trendy friends, and a cute kid in tow. There are also a selection of "in the club" shots, as well as footage of his performance at New York's Yankee Stadium too. Mr Timberlake sure knows how to do a feel-good song really quite well. Check it out here...
Keen to keep momentum up, Mancunian singer, Daley is back with his next single 'Broken'. The song starts out sounding like an atmospheric pop ballad, then evolves into a more Breakbeat inspired vibe, with Daley's emotive vocals squeezing out a catchy melody. This song is addictive; yet another solid offering from this talented artist. Have a listen here...
Following the success of his hit song, 'Blackout', Wretch 32 returns with 'Doing OK'. The uplifting mid-tempo features Wretch's trademark laid back flow, alongside smooth vocals from Jacob Banks. The accompanying video is tells story of 'hope restored' against a stark, but welcoming African backdrop; and the little girl is just adorable. The visual fits perfectly with the song; the positive, uplifting beat, and message make 'Doing OK' ideal music for the summer time. Check it out.
Elli Ingram is the latest female UK star to hit the scene. Having caught the attention of many a music loving YouTuber with her reworked version of Kendrick Lamar’s “Poetic Justice”, the Brighton singer/songwriter has continued to impress audiences with her particular brand of mellow jazz infused soul music. This has prompted critics to compare Ingram to some of the UK’s finest modern female vocalists such as Amy Winehouse, and Adele. Her debut EP, Sober, is an impressive six- track compilation of laid back songs, injected with acute youthful wisdom, and edgy personality.
There’s a real focus on emotional experience throughout this EP. Many of the songs detail the struggle to deal with conflicting emotions, and bittersweet moments. It manages to be introspective and personal, without becoming too heavy, or overly self indulgent. Featuring production from London producers, Felix Joseph, and Rudi Redz, Sober comprises a broad mix of musical elements such as Jazz, Pop, Blues, and R&B. These sounds provide an ideal backdrop for the engaging, quirky lilt of Ingram’s voice, which fluctuates between the light, breezy tone of Lily Allen, and the delicate emotive drawl of Sia. Although, musically this EP is steeped in tradition, there is something about Sober that just feels so unmistakeably like now.
The chilled vibe of the title track, “Sober” lulls you into a false sense of calm. Its misty, muted beats, coupled with the soft, rhythm of Ingram’s voice, and the elegant horn section make it sonically deceptive. Lyrically, “Sober” is about being anything but. The song looks at alcoholism, and the often mentally and physically addictive nature of a self destructive lifestyle.
“Then I lose my soul to the poison that I’m on, but I can’t let it go to waste, and I love the way it tastes”
Conceptually, Sober looks at the idea of trying to maintain a balance between indulgence, and restraint. The musical flourishes are used sparingly; they are brief and tempered with simple lyrics and laid back vocals. Even The EP’s striking artwork alludes to the theme of moderation versus excess: A straight-faced Ingram sits, sporting a flush of white-pink hair, and clutching a bottle of whiskey, while surrounded by all the trappings of a chintzy, 60s-style afternoon tea. It acts as a visual representation of the internal conflict brought about by the desire for sobriety and intoxication simultaneously.
“Fun” is a great example of this. One of the standout tracks on the EP; it’s a light-hearted tale of good times. Ingram’s syrupy voice slides over the simple piano- led melody, and soaring strings, which give this track a real sense of scale, and whimsy. In terms of mood and subject matter, “Fun” is like the flipside to “Sober”: where the latter is filled with a sense of murky anguish and guilt, about getting drunk, “Fun” details an altogether more positive experience. The two songs display opposing attitudes towards similar circumstances. But Ingram never allows herself to get entirely carried away in one direction, or another- nothing is all good, or all bad. Even with the frivolous freedom of “Fun” the good times are tempered with sobering thoughts of consequence. That is what gives this song its flighty, yet grounding feel; it’s a gorgeous tune, definitely one you’ll be pressing the skip-back button for.
Elli Ingram is an artist who shows, music’s ability to evolve and adapt. Perhaps not in the most flamboyant or obvious way, Sober includes subtle elements of so many different styles. There’s the 90s R&B flavour of “Mad Love”, and the Neo soul influence on “Elliot”. Her cover of Kendrick Lamar’s “Poetic Justice” is what brought her to the attention of so many. She takes a song that is fast becoming a modern hip hip classic and, (to use a coveted TV talent show catchphrase) makes it her own. It just sounds hot, fresh, and deliberate. It’s a re-work that’s more than worthy of the copious accolades it has received.
Sober is a strong debut. It’s a cohesive culmination of well produced tracks, which are instantly relatable. With these songs, Ingram tells the kinds of stories that a lot of people want to hear, and she manages to strike the perfect balance between personal and accessible while doing so. She has hints of Drake or The Weeknd’s introspective perspective; the catch-you-off-guard, lyrical bite of Ed Sheeran; and this all set to richly textured, Sade-esque vibes. What Elli Ingram has to offer is fresh out of the kitchen stuff. It’ll be exciting to hear what’s to come from this rising UK talent.
So here's the video for the third official single to be taken off Justin Timberlake's latest album, The 20/20 Experience. "Tunnel Vision" features signature sounds from production virtuoso, Timberland, and actually sounds a little like his track for 50 Cent, "Ayo Technology"- which features also JT, funnily enough.
No one does an edgy love song quite like Justin Timberlake, and "Tunnel Vision" is a prime example. The accompanying video is an intense, smoky series of close ups, and slick dance flourishes. Warning, the visual contains copious amounts of, I guess 'arty' nudity- perhaps to to cover the fact that the song is the tiniest bit (can't believe I'm going to say this, and I still love you forever and ever, Mr Timberlake) underwhelming. It's a great driving song, it's just not that interesting, that's all. Anyway see/hear what you think...
