St. Lucia – Elevate

Tim: Somehow, we managed to review All Eyes On You, a track of St. Lucia’s from a couple of years back, twice, and both times, we gave it a near-unqualified four thumbs up.

Tom: That’s embarrassing. Still, with over 900 tracks in our archives now, that’s bound to happen sometime. It does suggest, though, that while the track is good it may not be all that memorable.

Tim: Well, the two times were twelve months apart, but anyway. Here’s a new one.

Tim: So how’s that for you? Because for me, once again it hits pretty much all the spots.

Tom: It does, but it occurs to me that I can’t actually recall much of it, even after listening twice in a row.

Tim: We have a quietly building ten second intro, then the production hits properly and pretty much lets us know what we’re in for.

Tom: It’s vaguely pleasant — and those synths have a distinctly 80s vibe to them that works rather well.

Tim: Very enthusiastic production, which at times almost competes with the vocal to be the most important part of the song, especially after the middle eight (which is actually more of a middle sixteen, but let’s not get bogged down in technical details), when there’s no semblance of it stepping out of the way to make room for the singing – just bring it on, and lets see which of us people like more.

To be honest, I don’t think it matters – they’re both damn good, and I’m happy to listen to all five minutes of this. As long as I’m not in a hurry.

Autoheart – Moscow

“It’s just genuinely nice.”

Tim: Indie pop for you, now, from London, but don’t worry – it’s not the boring type or the loud type. Just, the nice type.

Tom: Bloody hell, I don’t they could be any more “London indie pop” if they tried.

Tim: You see? The nice type. The happy, chirpy upbeat sounds of, according to the band, “the daft optimism of being in love, when you just want to run away with that person, dream about being together forever, the house, the dog, and nothing else matters.”

Tom: Yep, I can’t sum that up any better. It’s just genuinely nice. I was pleasantly surprised when it came back for one more verse and chorus at the end: it’d have worked without, but it didn’t overstay its welcome by any means.

Tim: There’s a fair political message in it for anybody in Russia, with the two blokes kissing in front of the Kremlin at the end; you can pay attention to that if you want, or alternatively you can just take Moscow for one of many potential romantic places to head off to.

Tom: Given that Putin has essentially banned being “out and proud” in Russia, I’d say it’s a message worth paying attention to anywhere.

Tim: Well, that’s very true. Either way, there’s no denying the ‘drum your hand on the table’ element of the music, which I often find a good test for music of this ilk, so I decree this to be good. Very good, in fact.

Saturday Flashback: One Direction – Forever Young

Exactly like you think it’s going to sound.

Tim: Remember how on Wednesday we mentioned Leona Lewis’s version of Burn getting leaked, and I said that that’s something that often happens? Well, this was recorded back in December 2010, and would have been released had they not lost out to Matt Cardle.

Before you listen to it, know this: it sounds exactly like you think it’s going to sound.

Tom: Crikey, it does as well. That’s utterly, entirely predictable. Which, I suppose, is kind of the point. I might have been surprised by the key change, if it wasn’t for the rising strings that telegraphed it coming.

Tim: This is… ludicrous. Forever Young can justifiably be described as one of the best-known tracks of pretty much ever. Wikipedia lists it as being used in six TV shows, several films and a multitude of advert campaigns, and even if the young folk have never heard the original they’ve almost certainly heard that nonsense that Jay-Z made of it, or the cover that went huge thanks to The O.C., or possibly the German rap version.

Tom: Although probably not the German rap version.

Tim: I don’t know, maybe. But now…well, you know that thing where you type the beginning of a question into Google and get the LOLs from the suggestions? Type “forever young” into the YouTube search box, and take a look. Go on, I dare you.

Tom: Ouch. I got One Direction as the third option — and before Alphaville, who originally sang it.

Tim: Indeed. And you know what the worst thing is? The worst thing about the fact that this fairly limp cover version by a now-getting-somewhat-annoying boyband has become the second most searched for version of a once great song?

Tom: That it’s a pretty good track?

Tim: Bang on. I actually really like this, with the just good enough harmonies, the overblown strings, the key change and the 2 and 4 beat claps at the end. It’s fantastic. Syco may be one of the most ruinous music labels out there, but damn, they can come up with the goods.

Leanne Mitchell – Pride

There are a lot of good parts in there.

Tom: Remember Leanne Mitchell?

Tim: Hell yeah – Can’t Fight The Moonlight was a fantastic track. From a while back though – she making a reappearance?

Tom: No, that’s LeAnn Rimes. Leanne Mitchell. Off The Voice last year?

Tim: Oh. Oh, that Leanne. Erm, no, apparently not.

Tim: Except for YouTube commenter SpieWacki: “I love this song so much I bought 894 copies of her album. I think her mum must have bought the other one.”

Tom: She’s a damn good singer, as she should be given the title of the show she won. And there’s nothing wrong with this song…

Tim: There certainly isn’t – in fact, there are a lot of good parts in there.

Tom: …but that might be because it bears an uncomfortable resemblance to Next To Me by Emeli Sandé.

Tim: There’s that, screaming out in your face, yes…then there’s also the beginning of the verses from Mad World, and the chorus start from Titanium (with, in fact, the exact same lyric). Hmm. Lots of good bits, but not many that I haven’t heard before.

Tom: It’s like someone’s put all those songs in a blender, and what’s come out is not a delicious smoothie, but some kind of… mush.

Ellie Goulding – Burn

“A wonderful two part chorus.”

Tim: New track for you here, presumably from the soon to be re-released and embiggened Halcyon album. Annoying when artists do that, but that’s a gripe for another time. Here’s this.

Tim: Pretty good, no? Halcyon was, unfortunately, a tad disappointing – a couple of decent tracks on there, but largely filler. This, on the other hand, is a very good track indeed – a wonderful two part chorus, with the lovely melodic first half and the nicely aggressive second burn with the bells and synths and everything else coming in.

Tom: Agreed. Big commercial pop music is all about the “hooks” — as many memorable bits as you can, crammed into a chorus that is, as Sum 41 said, “all killer no filler”. That’s strongly evident here.

Tim: It was originally recorded by Leona Lewis a year ago, though never released in any form.

Tom: Other than on YouTube, apparently. Wonder why that was?

Tim: Not sure – I’m guessing it was recorded, then ditched as people weren’t entirely happy with the way it worked. Something about the deeper voice, perhaps, which doesn’t quite work for me like this does. Then it got leaked, as these things have a way of doing. It’s not a hugely different sound, really, lack of bells and different vocal style aside.

Tom: This one, quite literally, has the bells and whistles. And it works.

Tim: I prefer this – it has a nicer contrast between the singing and backing, resulting in what seems to be a more identifiable vocal. And that’s a nice thing, when the lyrics are about what they are about – “we got the fire, and we’re burning one hell of a something”.

Matt Cardle & Melanie C – Loving You

“It sounds like it could be from a High School Musical film.”

Tim: Matt Cardle: one of the less impressive X Factor winners. Melanie C: easily the best post-Spice Girls Spice Girl. So let’s combine the two, and see what happens.

Tim: I promise I mean this in a good way: it sounds like it could be from a High School Musical film.

Tom: Crikey. I know you mean that as a positive thing, but it’s a difficult sell.

Tim: Admittedly “I wanna get under your body” probably wouldn’t make it past the Disney execs, but for comparison, I recommend Can I Have This Dance, the peak of the franchise in terms of cheese (so much so that if you stay with it until the two minute mark you’ll hear Gabrielle singing in harmony with herself).

Tom: More than that: Cardle and C have a patchwork of musical… well, shall we say “homages” to other tracks? I’m sure I’ve heard most of this before, just in a different form, and not put together quite as slickly. You’re right: it’s a Disney number.

Tim: It didn’t hit me until the second time I heard it come back from the middle eight, but it’s got all the hallmarks: a vibrant chorus with a decent earworm for a hook, a pause before said chorus to emphasise said vibrancy, instrumentation that’s as standard as it possibly could be, a quiet middle eight coming back into a triumphant closing section, and then the killer feature of two people singing at each other and not really paying attention to what the other is saying.

Tom: Russell T Davies describes dialogue as “just two monologues clashing”. This pretty much sums that up.

Tim: Top that off with a slight laziness when working the harmonies, and you’ve got everything you need. This is a textbook Disney song, and it’s pretty great for it.

CHVRCHES – Gun

“I first heard it and thought ‘oh’.”

Tim: Unfortunately, Recover got neither the airplay nor the sales it deserved, and charted really rather low. However, Lauren, Iain and Martin are hoping this one will fare somewhat better, and help them live up to their Sound of 2013 shortlisting.

Tom: Thanks for that reminder, Tim. How are the rest of the Sound of 2013 crew doing?

Tim: Ooh, six months on isn’t a bad time to check, I suppose. Not so bad – AlunaGeorge got to number 2 as a featured artist and have been playlisted a few times, Laura Mvula has apparently had a top 10 album (though I’ve not heard of her at all). HAIM have had a couple of top forty tracks and Angel Haze is best known for releasing a couple of ‘diss tracks’ aimed at Azealia Banks.

Tim: This took a while to grow on me – I first heard it and thought ‘oh’.

Tom: Yep, same here. It was more of a “meh”, but the sentiment’s the same. Surprisingly good video, though: taking the 80s aesthetic and using modern tech.

Tim: Not hugely special, not even near the same league as Recover. But I listened a few more times, and it grew on me a bit, and then someone played it at work and I really liked it, although I didn’t know recognise it as this track. Based on that, I reckon it’s a really good song to hear in the background.

Tom: Damning with faint praise there. So it’s, what, elevator music?

Tim: It doesn’t stand up to that much scrutiny, and if you really pay attention to it there’s not a lot to say about it – sure, it’s got the nice twinkly synths and her lovely vocals, but the main problem is that it’s just not what it should be. I know I said last week that we shouldn’t judge tracks based on previous releases, but here it’s unfortunately almost impossible not to. On the other hand, listen to it while you’re concentrating on something else, like I’m doing now writing this, think of it as just another electropop track, and it’s absolutely fine.

Just, nowhere near as good as Recover.

Lucy Spraggan – Lighthouse

“…ooh, quite good.”

Tom: She’s doing “acoustic folk hip-hop”. She’s that one who pulled out of the X-Factor. She’s NORTHERN. And she’s…

Tom: …ooh, quite good. I mean, I suspect it won’t light up the charts given her previous performances, but this is a really nice track.

Tim: Huh. I was all prepared to go “yawn, next please” with this, especially with that introduction (hip-hop? Seriously?), but as it happens it’s not bad.

Tom: But let’s not forget that the X Factor wasn’t her breakthrough: she’s been performing at festivals for a while, and put a first album out herself. She’s not someone with a good voice who’s suddenly shot into the limelight: she’s a competent singer-songwriter who’s been gigging for a while.

Tim: True, but does that make a difference in the long run? She’ll get quite a bit more publicity, I guess, but likely at the cost of “authenticity”. Silly word, that, but there are some people (generally bell-ends) who insist on it.

Tom: I suspect that, if she keeps going like this, she won’t be “that person off the X Factor” – she’ll be “that folk singer who did the X Factor once”.

Tim: I don’t care what she’s known as, I want to know what her fans are calling themselves, because if they’re not going with “Sprag bols” they’ve really missed a trick.

Backstreet Boys – In A World Like This

“Backstreet’s… something.” Here? Returned? Around?

Tim: Tom – help me. There’s a fairly well-known phrase, but I can’t quite think what it is, and you might know it. Two words, “Backstreet’s… something.” Here? Returned? Around?

Tom: “Almost certainly not as good as everyone remembers?”

Tim: Blimey – fighting talk from the man in the red corner, who’s clearly forgotten works of art like The One, Larger Than Life, Quit Playing Games (With My Heart) and this album cover.

Anyway, they’re all back together for the first time since 2006, they’ve got an album on the way that’s “a personal record” about what’s going on in their lives right now. With that in mind, let’s hear the lead single.

Tim: So there’s personal, and then there’s bringing in one of the most prolific and bestest songwriters around (Swedish, which always helps), and getting him to pull out the big guns, and my word has he done a good job here.

Tom: Bloody hell, I’d encourage our reader to check that Wikipedia link. That’s an astonishing list of songs.

Tim: It is indeed, and with this one they’re basically singing what could be a certain other band’s next big hit. Roughly half the age of these guys, just made in big in America – really, really big – you know the one I mean.

Tom: I wasn’t sure about that — it sounded a bit too generic and, well, “meh” — but then that glorious final chorus hit.

Tim: It’s a great track, and to be honest it’s hard to imagine this not being a hit – not only have they got the bang up to date sound spot on, but they’ve still got the massive fanbase from back in the day. This will be a big track, albeit not a remotely personal one, and it will deserve it.

Tom: Agreed. Backstreet is, indeed, back.

Tim: Also, I repaired a MacBook Pro belonging to Nick Carter a while back. Probably wasn’t this Nick Carter, but it was still quite exciting.

Saturday Flashback: Michael Bublé – It’s A Beautiful Day

“The best cheery breakup song since Cee-Lo.”

Tom: I know what you’re thinking. Bublé? Have I gone mad? Well, not really – because this isn’t him crooning some old track. It’s a very good bit of pop music with a big-band sound to it. And better than that: it’s the best cheery breakup song since Cee-Lo.

Tom: Isn’t that wonderful?

Tim: Haha, oh, it certainly is that.

Tom: A brass section that seems to be hopped up on caffeine, a traditional bassline — by which I mean, something played on a bass guitar — thumping along below it, and a major-key happy melody line about a breakup.

Tim: It’s great! It’s almost impossible not to smile when watching that. He’s just so jaunty, it’s almost infectious.

Tom: Plus, a lyric video that includes video footage! And it’s really well animated!

Tim: A nice change from what we’re used to, though I’d expect nothing less.