Ke$ha Is A Pop Warrior - Album Review

Warrior is one of the best pop albums of all time. There I said it. You're lucky to get three or four good songs from an artist these days but K$ delivers gem after breathtaking gem. I'm so proud of her. Lady Dolla's sophomore set is brave, funny, raw, original, poetic and extremely fucking catchy. It's also inexplicably uplifting. The mind-expanding opus has perked me up no end - so I highly recommend gifting it to your depressed and downtrodden friends!

Sales predictions are in and the numbers are pretty disappointing. It doesn't help that the album leaked early or was released at the busiest time of year but all that shit is irrelevant. I stan for La Toya, so trust me when I say that chart position is no measure of greatness! And there are at least 6 or 7 potential hit singles on Warrior. It will come good - just keep the faith. Anyway, here's my review. Please note that my rating was changed to 4/5 as an editorial decision. In my mind it's perfect.

Read my Warrior review

10/10

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Gimme A Rihfund - Unapologetic Album Review

Rihanna is yet to release a truly great album - or even a moderately good one, for that matter. It's no surprise then that Unapologetic is a monumental failure on every level. The captain of the world's most incompetent Navy has always been a singles artist. That's fine. Some divas have mastered the art of the three and a half minute pop song but don't have the depth or talent to hold your interest for 40 minutes. Look at Madonna and Britney. They have only produced one good album between since 1983. The sad thing is - Rihanna doesn't even try. She probably spent more time shooting the cover than recording Unapologetic. And it shows.

Album number seven is a wildly uneven batch of soulless, disconnected tracks that - somewhat bizarrely given its lacklustre sales - picks up where Talk That Talk left off. The label is making a concerted effort to distance the 24-year-old from the commercial dance-pop that made her a superstar and reposition her as a gritty urban diva (albeit with enough electronica thrown in to keep radio happy). It's an uneasy fit. There are a couple of excellent tracks and some amazing production courtesy of the best knob-twiddlers in the game but even those gems are bogged down in tired filler and spoiled by the broard-foreheaded diva's increasingly unappealing attitude.

We get it. You're a bad bitch. But surely there's more to you than bragging about your tits and hits? I wish Rih would just realise that she's manufactured pop star and get on with churning out the generic floorfillers. Trying to cover up her shortcomings with increasingly pornographic photoshoots and invented scandals is becoming less convincing by the minute. Rihanna is less involved in her music career than Heidi Montag. She's just the puppet that Def Jam dusts off once a year to entertain basic bitches and ratchet gays. And we all know it - some of us just don't care.

Here is my track by track review of Unapologetic:

Presh Out The Runway - 1/10

"How could you be so hood but you're so fucking pop?" muses Riri in this pointless piece of noise pollution. Someone like Azealia Banks could have pulled this off. Rihanna just sounds like she's reading quips a cracked-out drag queen smeared on a napkin while doing lines with her in the club. The production is awful too. David Guetta and The-Dream sounds like an interesting combination on paper but it's absolutely painful in reality.

Diamonds - 5/10

I've already written about this Sia B-side at length, so I'll keep it short but I will admit that the song has grown on me. I think it's the Toto sample that holds my attention. Regardless, "Diamonds" is still a dreadful lead single that only got to number one on momentum and sheer marketing acumen. No one will remember this in 5 years.

Numb - 0/10

"Love The Way You Lie" is one of the greatest hip-hop/pop collaborations in recent memory. I feel every word of that song, so I was actually looking forward to Ms Fenty's reunion with Eminem. It turns out to be the album's lowlight. Download this shit if you want to hear the poor man's Shontelle say "numb" 30 times over a sterile beat.

Pour It Up - 2/10

Mike WiLL Made It is one of hip-hop's hottest producers. I loved 2 Chainz "No Lie" and Juicy J's "Bandz A Make Her Dance" but he really needs to stick to rap. The beats come thick and fast but there's no variety and Rihanna's endless bragging about her bumper bank account (thankfully) gets drowned out. It's an unsuccessful experiment but I'd take this over the generic Guetta tracks every single time.

Loveeeeeee Song - 5/10 

Leave it to Future to get the album back on track. I love the production on this. It genre hops effortlessly and the random electric guitar is a great touch. Think of this as an updated version of Prince and Madonna's "Love Song" from 1989 - only with lots of talk about niggas and bitches. Again it sounds forced but this is a solid record.

Jump - 7/10

UK dance act Chase & Status take Rihanna on a dub-step adventure and collect some major scalps. This is an irresistible club record that proves the Barbadian diva is at her best when singing inane lyrics about burning up the dancefloor. The sample of Ginuwine's "Pony" is inspired and I love how mental the breakdowns are. For everyone's sake I hope this is a single.

Right Now - 0/10

Generic David Guetta-produced dance trash for the lowest common denominator of homosexual.  

What Now - 7/10

The only thing I know about this producer is that he is responsible for Jessie J's "Do It Like A Dude". Which is a good thing because that song tricked me into thinking that heinous British bitch was the real deal. "What Now" is a towering, over-the-top electronic ballad that keeps on building and building to the point where it's kind of ridiculous but also rather amazing. Again, the production is great and I like Rih's vocal on this.

Stay - 8.5/10

Hats off to Rihanna's A&R team for stealing this gem from alt-pop maestro Mikky Ekko. No shade. They know a great song when they hear one. This pares things right back to basics for a semi-acoustic piano ballad that is actually rather gorgeous and, dare I say it, classy. It's inevitable that this will be released as a single and I won't even grumble when the pretty love song becomes her 217th number one hit. "Stay" is a quality and will hopefully be a powerful shot in the arm for Mikky's career.

Nobody's Business - 10/10

The star-crossed lovers gave everyone indigestion last year with their unfortunate "Birthday Cake" and I was really against Breezy lowering his standards to sing with Riri again but - to my great surprise - this is truly flawless. The-Dream's slinky, Michael Jackson-sampling production is a treat - I love the '90s vibe - and Chris' smooth vocal caresses your ears like a sex offender grabbing your butt on a crowded train. He really is the new King of pop. But the main reason I approve of "Nobody's Business" is the fact that it's genuine and sincere. I actually believe what Rihanna is singing for the one and only time on the album.

Love Without Tragedy/Mother Mary - 1/10

Best leave the sprawling 7 minute pop songs to Frank Ocean. This tries so hard to be deep and meaningful but it's a bigger misfire than Battleship.

Get It Over With - 1/10

Brian Kennedy produced Jessica Mauboy's "Saturday Night" so you know this is going to be shit. A boring mid-tempo mess that goes absolutely nowhere.

No Love Allowed - 1/10

I usually like Rihanna's dancehall-flavoured grooves but "No Love Allowed" makes "Man Down" sound like "Pon De Replay". No ID sucks the life out of the Caribbean queen on this cure for insomnia. It's obvious that the label were trying to show their cash cow's versatility but it just comes across as calculated and played out. This is the worst kind of filler.

Lost In Paradise - 4/10

My friend Labrinth gets a production credit on this intriguing if somewhat unsuccessful dub-step excursion. I would love an instrumental of "Lost In Paradise". The music is great but Rihanna's vocal gets swallowed by the bone-marrow shaking beats. The end result is well-crafted but unconvincing and ultimately pointless. Much like this album.

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Christina Aguilera's Lotus - Album Review

I spent a ridiculous amount of time listening to Christina Aguilera's Lotus over the weekend, so I could let it all sink in and review it with an open mind. The usual cunts have already written it off citing the failure of "Your Body" to set the charts on fire but I don't get why everyone is so concerned about sales. It's like you all became accountants just to drag Xtina. Surely it's more important that big-lunged diva has regrouped and delivered her best album since Stripped? There's a lot to love on Lotus if you can look past the half a dozen or so songs about her army of haters. The two Max Martin/Shellback dance songs are great but Adele 2.0 really comes into her own with the power ballads. "Sing For Me" and "Blank Page" (below) are the standouts and should have wide-appeal. Hate if you must but I give Lotus:

7.5/10

READ MY REVIEW

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Michael Jackson's Bad - 25th Anniversary Review

Michael Jackson's Bad turned 25 on Friday. While the album will always stand in the shadow of the pop icon's all-conquering Thriller, its achievements are staggering:

- An estimated 45 million copies sold (the 5th highest ever)
- 5 US number one singles
- 10 singles (7 in the US, two worldwide and one promotional)
- 9 music videos
- The highest grossing concert tour ever  

Idolator asked me to revisit the album in celebration of its 25th anniversary and it was like reconnecting with an old friend. Check out my review. I think it's one of the best I've written. And while you're at it, watch "Leave Me Alone" (below). The song and video have stood the test of time and illustrate the genius Michael was capable of at his peak.

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Mariah Carey's Triumphant - Song Review

I've had a really tough week. The kind of week that makes you wish you could go back in time and not completely fuck everything up. Unfortunately, I don't have a DeLorean at the ready but there is a new Mariah Carey single to lift my spirits. "Triumphant" is everything we've come to expect from new millennium Mimi - a slick urban groove with a deceptively catchy chorus that gets lodged in your brain and refuses to leave. Of course, the pop/R&B and acting legend is joined by a couple of random rappers but I love Rick Ross and Meek Mills is relatively inoffensive.

The real treat is Mariah's stunning vocal. That beautiful instrument is back to its best - rising and falling like a faulty hot air balloon. She even dusts off the wolf whistle! The thing is - Mimi could release any old shit, which this song most definitely is not, and I'd still love it. Mother Carey's voice is the musical equivalent of a big hug from someone you love. It just makes everything better. Particularly, when she's belting out lyrics uplifting lyrics like:

Realise all things are possible 
In your heart who’s the greatest 
Reach for the stars 
Be all that you are 
And make 'em all fall down

Thank you, Mariah for reminding me that there is more to life than stability and security. If you're happy just getting by on autopilot, you might as well be dead. Now all I need is a dance remix. Cheers!

9/10

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Kylie's Time Bomb - Song & Video Review

When I first heard "Time Bomb" my blood ran cold. I imagine Madonna fans must have experienced a similar feeling when they were first ear-raped by MDNA. But Kylie's cheap and cheerful electro-anthem is a grower and by the third or fourth listen I was on board. However, I stand by my initial evaluation. If anyone else recorded the song, I would be tearing it apart. "Time Bomb" sounds like a Rachel Stevens B-side from 2003 - only with worse production. What was Dada thinking with those tragic electric guitars? And I'm not even going to comment on the lyrics, which make Dannii's domestic abuse-themed club-banger "Love Fight" song like "War & Peace". Luckily, I'm hardwired to love Kylie and this effort proves beyond a shadow of a doubt that I could listen to her fart over a death metal instrumental and still enjoy it.

But enough with the criticism. While "Time Bomb" is far from the Queen of pop's best single, it is one of her smartest. The song is already top 10 on iTunes around the world and could turn out to be one of her biggest hits in years if radio plays along. Kylie has finally woken up to the fact that the mainstream doesn't really care about her experimental output or mid-tempo dance anthems (ie. 90% of Aphrodite) and dropped an incredibly commercial lead single. It's generic and sounds like everything else on radio. That's not a criticism but a compliment. She can still do current - unlike Madonna. I also hope they're lining up a bunch of remixes from low-rent DJs that actually get played in clubs instead of the usual too-cool-for-anyone-not-living-in-Hoxton crap they usually serve up.

And then there's the video. If you ignore the first minute, which looks like it was filmed on Dannii's iPhone, it's rather brilliant. I love Kylie's lipstick-lesbian makeover and the scene where she's writhing around on the motorbike is the hottest she has looked since the Fever era. It's dumb fun that appeals to the lowest common denominator. So it might even be played outside of gay bars. I know this post might sound negative but "Time Bomb" has really fired up my enthusiasm for her new album. Jake Shears' fag hag is coming for your faves this time around. Even if she has to sacrifice a little on quality.

Song = 7/10, Video = 8/10

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The Return Of M-old-onna

Madonna is smart. I'll give her that. "Give Me All Your Luvin'" is a triumph from a marketing perspective. Start a feud with Lady Gaga, hire Nicki Minaj for radio relevance and buy M.I.A.'s soul for credibility. Throw in a Super Bowl performance and a newly rejuvenated face and you have a hit single. But is it any good? The short answer is no.

To my ears, "Give Me All Your Luvin'" is the completely unnecessary sequel to "4 Minutes" - yet another embarrassing plea to be embraced by the kids. It wouldn't bother me as much if the track itself was forward-thinking and original but this is derivative beyond belief. For starters, cheerleader chants have been done to death. Avril Lavigne, Kylie and Gwen Stefani all went there years ago and did it considerably better. Then there's the biggest problem. Martin Solveig basically just recycled his current club hit "Big In Japan". It's exactly the same song - only better because Martina from Dragonette isn't egotistical enough to chant her own name.

And what about feature creatures Nicki Minaj and M.I.A.? They are just used as comparatively youthful scenery. Onika gets a tiny rap while her formerly hip partner-in-crime is reduced to shouting a couple of lines before fading into the background. The annoying thing is - Lady Gaga has made electronic music palatable to US radio programmers again. Madonna could have come back with another "Music" or "Ray Of Light" and it would have generated just as much attention without making her look ten shades of desperate.

As for the video, it's a fail too. The horizontal walking is stolen from Kylie's last concert tour (look up "Wow" on YouTube) and I'm bored with all the self-referential garbage. She looks utterly ridiculous in that whit dress. Looks like Lady Gaga gets the last laugh. Fuck all of our lives!

RATING: 3.5/10

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Talk That Talk - Pop Trash Review

"Talk That Talk" could be the bomb that sinks Rihanna's all-conquering Navy. There is nothing to redeem this sloppy mess. No artistic growth or experimentation to dull, or at least explain, the overwhelming awfulness. It's just a lazy mish-mash of hollow dance tracks and left-over drivel from "Loud". This is the Sex & The City 2 of albums - a rushed follow-up to an unexpected smash hit that lacks all the charm of its predecessor. Worse still, it threatens to put the entire franchise in jeopardy.

Make no mistake. "Talk That Talk" was supposed to be Rihanna's ticket to the very pinnacle of pop. Despite all her number one hits, the rich man's Shontelle was still dismissed as an embarrassing Beyoncé-wannabe as recently as the "Rated R" era. But then everything came together. She threw all credibility out the window, jumped on the urban-dance bandwagon and worked with the hottest names in the game. It was all very desperate but RiRi's manufactured bad-girl persona struck a chord and "Loud" established her as arguably the hottest pop-star on the planet. But instead of building on that by retreating from the spotlight to come up with something fresh and exciting, Rihanna just covered her well-endowed forehead with a new wig and shat out more of the same. The result is "Bionic" on Viagra - only without the Sia-penned power ballads and ridiculous RedOne knock-offs that made Christina's opus bearable.

Here is my track by track review:

1. You Da One

RiRi has always been a label puppet but at least her team usually hooks up interesting collaborators to give her some edge. However, this time around they just called all the usual suspects. Seriously, Dr Luke? I'm surprised there's no Max Martin or Rico Love. But back to the good Doctor. I love his work with Katy Perry and Ke$ha but "You Da One" is the weakest jam the super-producer has put his name to in years. Disturbingly, the sloppy, faux-reggae album-opener is one of the better songs on "Talk That Talk". It's perfect radio-fodder and should be massive. The fact that it's a lame re-hash of "What's My Name?" is the only stumbling block on its way to the top of the charts.

2. Where Have You Been

I love Calvin Harris but he clearly kept all the good stuff for himself. This is no "Feel So Close" or "Bounce". Hell, it's not even another "Ready For The Weekend". The meaningless lyrics hover over generic dance-beats that sound like they've been rescued from 1997. The most galling aspect is the limp dub-step twist. I never thought I'd say this - but Britney did this shit way back in 2007! It's tired and boring now. Rihanna's transformation into this generation's throwaway dance-pop diva is almost complete.

3. We Found Love

Rihanna repeatedly wailing the same cheesy line over a Euro-trash instrumental still fails to excite me. Dressing it up with an "edgy" (if you're 12 and watch a lot of Nickelodeon) video doesn't change the fact that "We Found Love" is disposable rubbish that will one day stand next to LMFAO's "Sexy And I Know It" in a museum exhibit called 2011 - The Year The Music Died.

4. Talk That Talk (Feat. Jay-Z)

Urban RiRi is not a good fit, as "Rated R" proved once and for all. Which makes the album's title track something of a surprise. Maybe it's just the bouncy Stargate production and Hova's killer intro but I like this. The chorus is cute and it's a relief to hear something a bit different in this sea of bad dance-music and shitty ballads. I'm not sure it's single material but this is definitely a standout for me.

5. Cockiness (Love It)

I probably would have enjoyed lyrics like "suck my cockiness, lick my persuasion" when I was 12 but I'll take a pass now. Who does Rihanna think she's shocking? She sings about her pussy more often than Janet in the '90s. And we all know how well that worked out for Damita. On the bright side, "Get 'Em Girls" is no longer the lamest song in Bangladesh's discography. Jessica Mauboy is holed up somewhere in Darwin crying tears of relief! This is a new low for Rih-cycle.

6. Birthday Cake

The-Dream gave Beyoncé "Single Ladies", "1+1" and "End Of Time". Rihanna got a 1:30 minute sex-interlude with not-so-brilliant lyrics like "cake, cake, cake". That pretty much sums up the Barbadian's current status in the pop hierarchy. Better luck next time.

7. We All Want Love

Nothing makes my blood run cold like a Rihanna ballad. With the exception of "Take A Bow" because that was genuinely amazing. Produced by frequent Jay-Z collaborator No I.D., "We All Want Love" is relatively inoffensive. The mid-tempo slow jam lacks the kind of big hook needed to take it to the next level and suffers from a bad case of Hallmark Card lyric-itis but at least it deals with feelings and emotions instead of RiRi's nuclear-powered pussy. My biggest problem with this track is its mediocrity. There's no way "We All Want Love" would have made the cut for "Loud". So why is it being rolled out here?

8. Drunk On Love

The first 20 seconds of "Drunk On Love" is breathtaking because it reminds me of the Dolly Parton of forehead's finest moment - her lesbian-stalker anthem "Te Amo". Unfortunately, it's all downhill from there. This dreary Stargate ballad gets my vote for the worst song on "Talk That Talk". Deleting it from my iTunes will be a pleasure.

9. Roc Me Out

Oh look, it's another Rihanna song about fucking! Whatever will she do next? Let's be real for a moment. This is getting old. Madonna did it first. Janet did it second and now Jay-Z's moneymaker is the stuck between the sheets. The whole sex kitten routine works for a while but it inevitably backfires. People joke about Beyoncé's female empowerment anthems but at least she's trying to tell women they have more to offer the world than a moist orifice. RiRi is beyond basic. As for "Roc Me Out", I forced myself to listen to it twice but there's nothing to distinguish the track from any of the diva's other sex jams. Gift it to your favourite prostitute.

10. Watch N' Learn

It's my own fault. I asked what Rihanna would do next. The answer is a mid-tempo groove about cunnilingus. Purse those lips and get busy if that's your thing. Personally, I'm going to pretend this never happened. It's a shame because Hit-Boy's production is easily the most innovative on the album.

11. Farewell

RiRi must be a closet Vanessa Williams fan because she kept the best for last. Now I know what I said about her eardrum-injuring ballads but this overwrought "Halo" rip-off works for me. Alex Da Kid announced himself as producer of merit when he helmed Tenitra's "Hello Heartbreak", before moving on to more obscure songs like "Love The Way You Lie" and "Airplanes". He gives Rihanna a lush orchestra of synths to bleat over and she does her best with that limited vocal range. The lyrics are cute and I could hear this in public without feeling like my civil liberties were being been violated. It's a nice song but definitely a case of too little, too late.

2.5/10

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From Here To Anywhere - Album Review

This is a revised version of a review I wrote for Channel V, which might explain why it's a bit more... restrained than usual. Enjoy!

Sneaky Sound System's third album picks up where their underrated 2008 sophomore effort "2" left off - with a dreamy mix of '80s synths and cutting-edge electronica. Only this time around, the Australian duo is less concerned with crafting radio-ready pop hits (although there is no shortage of singleworthy material) and more intent on putting their own unique spin on an ambitious array of dance music sub-genres.

Album opener "Friends" rides a thumping bassline all the way to a gigantic chorus that heralds the return of two of the nation's best songsmiths. The track is seeped in lashings of late '90s house-beats, which should prove irresistible to clubbers and pop fans alike. That gem is followed by their current radio hit "Big" and the album's misguided lead single "We Love". The latter is the easily the weakest moment on "From Here To Anywhere" and, unfortunately, gives a false impression of what the third-coming of Sneaky Sound System is all about.

Happily, that generic club-banger makes way for the shimmery "Really Want To See You Again" and all is forgiven. Miss Connie really shows her vocal chops on this effortlessly pretty tune and continues to mine the heartbreak on the Human League-inspired "Remember". Albeit this time against a towering wall of synths. After a couple of sonic detours, the duo return to more commercial ground on "The Colours" and "I Need You So". Both are expertly crafted floorfillers and will, no doubt, find their way to a nightclub near year you in the not too distant future.

Perhaps more interesting is the ambitious "1984", which sounds like a bizarre cross between Pet Shop Boys and Enigma. The quirky lyrics and experimental production flourishes mark this as one of the band's most accomplished tunes. "I'm Not Leaving", on the other hand, is the record's pure pop moment. An irresistibly catchy blend of '80s Donna Summer and early noughties Kylie Minogue, this summery tune is destined to be a future single.

The album closes with "Lovetown", a sexy Balearic anthem that shows how far Miss Connie and Black Angus have come in the past three years. "From Here To Anywhere" is a perfectly judged comeback from one of the country's most consistently brilliant pop acts.

8/10

Edit: My only criticism of this fantastic album is the lack of killer singles. It suffers a bit from Aphrodite-itis. there are lots of very good songs but only two that really scream out to be played on the radio ("Big" and "I'm Not Leaving"). I like that the band is exploring new sounds but it would be sad to see them descend into the cool-electronica-that-nobody-buys ghetto currently occupied by Miami Horror and Cut Copy.

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Zoë Badwi - Album Review

Zoë Badwi's album has been out for a while now but as Sirens' biggest (and possibly only) fan, I feel it's my duty to preach the virtues of this wondrous listening experience to anyone who will listen. There's another reason why this project is close to my heart. A long time ago in galaxy far, far away I did some work for Neon Records and one of my first tasks was putting together digital promos for Zoë's early club hits like "Don't Wan'cha", which didn't make the album, and "In The Moment", which did. Since then I've followed the blond bombshell's career closely and know how much hard work has gone into this extremely impressive album. Here is my track by track review:

Freefallin'

Zoë's irresistible commercial breakthrough needs no introduction. Co-written by legendary three-hit wonder Amy Pearson, the uplifting dance anthem rocketed into the national top 10 and ruled the airwaves for months. Everything about this is perfect, from the uplifting lyrics to Denzal Park's perky production. It was always going to be hard to duplicate the magic but a couple of tunes come close.

Until You're Over Me

I love DNA. The songwriters behind Marvin Priest's "Own This Club" - among other hits - team up with the omnipresent Amy Pearson to create another epic floorfiller. This is being bandied about as the album's next single but I'm not convinced it's the right choice. "Until You're Over Me" is lovely (and I've always had a soft spot for bittersweet dance music) but it's a bit too soft and pretty for commercial radio.

Release Me

This fucking song could survive a nuclear war. Three years after it was released, I still hear "Release Me" every time I go out. And that's the way I like it. The TV Rock-produced anthem is insidiously catchy and easy to sing along to while inebriated making it a true Oxford street classic.

Carry Me Home

Zoë's cover of Sarah Connor's "Carry Me Home" is the kind of classy, mid-tempo electronica that rarely gets made in this country. The song's thoughtful dance overhaul works a treat and it has a rich, dreamy quality that sets it apart from the usual club fare. I still don't get the video but you can't have everything.

Accidents Happen

Time to come clean. I never liked this clumsy pop tune and only pretended to be mildly enthusiastic to avoid offending anyone. Sorry!

Never Let You Go

I swear Amy Pearson's butterfingers are all over this album. The British sex symbol has songwriting credits on 8 of the 12 tracks. Unfortunately, this is easily her worst contribution. "Never Let You Go" isn't awful. It's just kind of there. The lyrics are generic and Zoë inexplicably sounds like Alison Goldfrapp with a head cold. Only slightly better than "Accidents Happen".

Reckless

After a couple of underwhelming cuts, the album bounces back on track with this killer anthem. Another DNA production, "Reckless" is furiously upbeat and extremely catchy. I love the chorus and sentiment of the lyrics. This sounds radio ready and should be a strong contender for the LP's next single.

One Step Behind

This is great too! I love the spacey production - courtesy of Grant Smillie and Nordean - and the quirky sound palette. It's thematically odd but I'm twisted so I kind of like that. From what I can tell "One Step Behind" is a darkly romantic stalker anthem. Play this loud the next time you're having a Single White Female moment!

In The Moment (Denzal Park Edit)

I love "In The Moment" but the original trance-tastic version is infinitely superior. Download that from iTunes instead and brace yourself for the magic of this fabulous 90s flashback.

Believe You

Zoë Badwi tackling a pared-back ballad is like hearing Barbra Streisand experiment with death metal. Somewhat disconcerting. It took me a couple of listens to wrap my head around this startling development but ultimately "Believe You" is as satisfying as a freshly cooked cheesy nugget. Exquisite!

Relapse

And the award for my favourite song on the album goes to "Relapse". If Nicki French covered ABBA the resulting masterpiece would struggle to be as camp as this piping hot mess. On an album heavy with sleek floorfillers, this poptastic gem stands out like a sore thumb. In a good way. This would be my choice for the next single. It's big, dumb fun that gets stuck in your head after one listen. I'm obsessed.

The Other Side

Happily, "Zoë" ends on a high note. "The Other Side" covers similar lyrical ground to "Freefallin'" - it's about moving forward with your life - but it has a distinctly darker edge. I like the brooding production and understated chorus. This is further proof of Zoë's growing versatility and depth as an artist.

8/10

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