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Wednesday, 27 March 2013
Monday, 25 March 2013
About a year ago I wrote an article for Idolator about rising Australian pop stars. It was actually quite difficult to piece together because, let's be honest, the vast majority of local acts have a better chance of winning lotto than making the slightest ripple in America. Iggy appeared to be the glaring exception. She was already hyped as the next big thing and had a hotly anticipated major label debut album on the way. But it never came.
Instead, Mullumbimby's finest expert began modelling and soon fell into mixtape hell. She basically became Cassie with an Australian accent and lighter tan. That's when I stopped checking for Iggy. It was like she had been exposed as a gimmick and the whole world had finally woken up to it.
But this bitch is a fighter and proved me very wrong. The blond bombshell signed a new deal in the UK and scalped hoes with the sheer quality of her official debut single. Azealia Banks and Angel Haze are now the rap chicks with something to prove. Iggy has already delivered above and beyond expectations.
"Work" is such an impressive achievement. It took a couple of listens to click with me but now I'm completely obsessed and play the hypnotic jam at least 10 times a day. The production (courtesy of The Invisible Men and 1st Down) is spot on and Iggy's flow is slicker than ever but its real greatness lies in its authenticity.
The catchy track basically tells the diva's life story. The catchy track references the red sand of her hometown, the line about scrubbing floors is a nod to her stint as a cleaner, she raps about her move to America, that disastrous first record deal and the judgement she receives as a white, non-American rapper. It's honest and strangely universal. All of a sudden I like Iggy. She's a bad bitch.
And then there's the video (below). Who paid for this glorious extravaganza? Madonna is filming clips on her iPhone while a relative unknown gets a beautiful Jonas & François-directed opus that references Death Proof and, adorably, The Adventures Of Priscilla Queen Of The Desert.
It's audaciously cinematic and reminiscent of old school Missy Elliott with its bright colour palette. Most importantly, Iggy looks like a star. Her body is ridiculous and the styling is fantastic. I don't care how this performs on the charts. It's brilliant. Iggy can stay.
9/10
Saturday, 23 March 2013
Isn't this photo flawless? That fur. Those cheekbones. Sure, it might be a couple of decades old but Belinda hasn't aged a day since 1983 - so I think I can get away with it. If you don't follow the iconic diva on Twitter, you might not be aware that she is embarking on a major comeback, releasing her first US single in 15 years.
It came as a surprise to me too. I knew the yoga addict had been working on new music for what felt like an eternity but "Sun" seemingly dropped from the heavens and landed on iTunes with little fanfare.
The, as it turns out, pleasantly contemporary dance-pop tune was produced by frequent Dannii collaborator Ian Masterson and is distinctly amazing. "Sun" is a synth-drenched floorfiller that sounds better than 95% of the shit currently polluting radio. I love that Belinda has bequeathed her loyal army of gays with something they will actually want to listen to - without sacrificing her own personality.
There's something peculiarly authentic about "Sun". That voice is unmistakeable and the chorus could have been lifted from any of her late '80s albums but it's more than that. You can take the girl out of Cali but there's something undeniably chilled and breezy about Belinda's music that is quintessentially West Coast.
"Sun" is lifted from a new greatest hits compilation, which has just been released on US iTunes. Belinda has promised an international release in May - along with more new stuff. In the meantime, check out her glorious dance anthem below. Let the Carlisle revival start here.
Thursday, 21 March 2013
Can someone please remind me why Dragonette isn't one of biggest bands on the planet? Martina and the boys have never released a bad single (that I'm aware of) but remain - with the exception of "Hello" - hitless and largely underground. The thing is, I'm guilty of ignoring them too. I downloaded Body Parts when it was released late last year but never got around to listening to it. To be honest, I completely forgot it existed until I stumbled across their latest video on a blog and fell in love with the trio all over again.
"Run Run Run" is an early frontrunner for the best song of 2013. It's the kind of instantly memorable pop triumph that beguiles with its apparent simplicity and deceptively perky lyrics. That might be an odd description but underneath the sparkling chorus lies a bittersweet core that lifts Dragonette's latest synth-adventure to a higher plane. "Run Run Run" positively seeps with sepia-tinged memories and nostalgia, which makes it both beautiful and sad. You basically need it on your iPod. Now.
Having seen the light, I made listening to Body Parts a priority and, as expected, it's breathtakingly good. With any luck "Run Run Run" or another single will save it and bring the band the attention they deserve. In the meantime, revel in the brilliance of their new single and check out the video (below). It's a fairly simple affair. Martina basically gets drunk, smokes cigarettes and walks around the streets with blood on her dress. Just another Sunday afternoon for one of pop's most underrated divas.
Wednesday, 20 March 2013
Christina Aguilera's unbreakable lotus has finally been set free! After a couple of chart misfires, the iconic diva is rising up - back to the beginning - with another international smash. I wrote about "Feel This Moment" last month and basically called it a hot mess. That opinion still stands but the song has become something of a guilty pleasure and it warms what's left of my dead heart to hear Xtina's glorious pipes back on the radio.
And, it seems, I'm not alone. Despite minimal promotion, the '80s classic-sampling club banger is shooting up the charts worldwide. It would have been nice for one of the many great tracks on Lotus to get this kind of attention but I guess you need Pitbull's insightful musings - "I'm a genius, I mean brilliant" - to get bitches to click download. But that's a complaint for another day.
A belated video dropped over the weekend and it's as low brow and seemingly low budget as the song. There's a lot of tour footage, Mr Worldwide looking moronic but sexy (shut up - there's something about him!) and Godtina redefining flawlessness. I love her ridiculous wig and the fact that she's wearing more make-up than a Mexican tranny.
But most of all, I live for the parts where she's mouthing the words to Pit's rhymes, like she's collaborating with Jay Z or someone vaguely relevant. Christina is so awkward that it's endearing. I really hope she gets her groove back and reminds everyone how a real diva does it. This is a step in the right direction.
7/10
Monday, 18 March 2013
I remember March 17, 2003. As a life-long, demented Dannii fan I had been anticipating Neon Nights for months. This was back in the olden days when albums didn't leak and fans still rushed to record stores on the day of release. Even then there was a feeling that we were in for something extraordinary. After turning unwarranted flopping into artform in the late '90s, things were finally looking up for my childhood idol.
"Who Do You Love Now?" reintroduced the younger Minogue to Australian nightclubs in 2001 and the holiday connoisseur took things to the next level in late 2002 with the then extremely raunchy "Put The Needle On It". That brilliant pop tune was a well-deserved top 20 hit and, more importantly, a rebirth of sorts. Dannii was now the sexy, edgy Minogue and radio ate her new sound up.
It seemed improbable that she could maintain this level of quality over a full album but then "I Begin To Wonder" dropped and I got the sneaking suspicious that Kylie's wig was about to snatched by her own sister.
As it turns out, I was right. Neon Nights was the album everyone wanted Body Language to be. It picked up where Fever left off but took a more colourful path. For all the moody synths and pouty photoshoots, Dannii's fourth opus is a remarkably fun and carefree affair.
I can't think of another album that makes me as inexplicably happy. And while the lyrics never stray far from clubbing and bedroom antics, the production is wildly adventurous - tapping in disco, '80s pop and the emerging French house movement. 10 years on, Holidannii's masterpiece holds up brilliantly.
Idolator recently asked me to write a retrospective to celebrate the birthday of 2003's best album and I hope I did it justice. Dannii and Kylie both tweeted the link, so I'll take that as implicit Minogue approval.
Sunday, 17 March 2013
It's hard to type while crying and shaking and holding prayer beads but I'll bravely soldier on because today needs to be documented for future music historians. Earlier this morning, Beyoncé nonchalantly put a new song on Soundcloud and the internet almost melted. "Bow Down/I Been On" had an immediate polarising effect.
The Hive lost consciousness and woke to find their collective wig cleanly snatched, while the usual haters went to town on the highly unconventional first taste of era V - calling it ratchet, uncommercial and disrespectful. And to be honest all three adjectives fit. The track is ghetto as fuck, sounds like an intro or snippet (more about that in a minute) and ruthlessly drags every bitch in the game.
I still can't deal with the lyric "I know when you were little girls, you dreamt of being in my world. Don't forget it". It's the shadiest moment of Bey's career since that line in "Survivor" about selling nine million. You just know Rihanna, Keri and Ciara are currently reevaluating their entire existence! The thing is - B has the receipts to support every sliver of shade she throws.
Mrs Carter is the measuring stick for musical excellence, chart success and career-longevity, so I'm glad she finally snapped and put the pretenders in check. Trust me, I've listened to the edgy anthem at least three dozen times and I still detect no lies.
"Bow Down/I Been On", as it turns out, is actually two separate songs mashed together to generate buzz for the new album - mission accomplished. The former is produced by Hit-Boy, while the latter is the handiwork of Polow Da Don, Timbaland and Planet VI. Bizarrely enough, I think they work brilliantly together and almost wish this was the lead single.
The production from all involved is breathtaking. I love the staccato beats and exaggerated bravado of "Bow Down", while "I Been On" incorporates operatic elements and morphs Bey's voice into a fucking man. Who else does that shit? The sound is so fresh and experimental. This era promises to be one hell of a wild ride!
I guess the main thing we can take from Queen B's latest pioneering masterpiece is the fact that she clearly has zero fucks left to give. She will throw her shit on Soundcloud in the middle of the night without as much as press release and rap about being better than your faves if she gets the urge. If you were expecting a generic will.i.am or RedOne-produced club banger to guarantee radio airplay, you were dead wrong.
Bey remains in her own lane and that's the way I like it. 4 was one of the top 10 best-selling albums of 2011 in America with no hits, which proves that mainstream success is largely irrelevant to Beyoncé. She's above that now. Who else could sell out a world tour with no new music? Bow down and salute the Queen! Trust me, you're not worthy.
11/10
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