Agnes – All Want Is You

“There doesn’t seem to be that much to it.”

Tim: It’s another lyrics video! And this time, they’ve worked so hard that you can’t actually see some of it. Yay.

Tom: Let it go, Tim.

Tim: Oh, fine.

Tim: Tune, though, is good, though to be honest I’m not sure what there is to say about it, because there doesn’t seem to be that much to it. I like the you-oo-oo-oo-ou bits, and can imagine waving my hands around to them, and those occasional big beats that come in serve to give the tune some proper life, whenever it occasionally feels like it’s drying up.

Tom: There is a bit too much “drying up” in there for me, which is strange given how much I enjoyed Leona Lewis’ track yesterday. They’re very similar in tone, and yet this one doesn’t seem to work as well. This just seems less raw, less emotional, less… honest. It’s a generic dance-y track.

Tim: It is. And it’s a lot dancier than the first track off her album was; I’d normally put that as a good thing for me, I’m not so sure here, because it’s not got the same emotional pull. Admittedly, it’s not meant to have, what with it being a completely different type of tune with a different message entirely, but that last one was so definite in wanted it wanted to be (as a song) that this almost seems a bit half-baked.

Tom: Agreed. It’s stuck in some kind of odd between-genres dead-space, and I’m not sure it’s a good spot for it to be.

Tim: I almost feel there’s potential here that just isn’t reached – it should be (and probably can be) a much stronger track. It’s not even giving me enough energy to write a decent review about it, and that’s a proper shame.

Leona Lewis feat. Childish Gambino – Trouble

“Everything about this works for me.”

Tim: Leona’s not really been heard from since the whole Penguin/Fade Into Darkness/Collide clusterfudge last June, but hopefully everyone’s forgotten about that and can enjoy her new song about how she’s a terrible person.

Tim: Right. I am properly bored of lyric videos. They were a decent idea a couple of years ago when we all went ‘ooh, look what they’ve done with the writing, that’s fun’. Occasionally you still get ones where the people put effort in, like the Muse one or the Little Mix one, but this is not one of those. It is lazy, it is dull, and it is something anybody with a copy of PowerPoint and access to a stock video library could put together in about half an hour (and indeed have been doing on YouTube for the past six years).

Tom: To be fair, there’s a lot of subtle design work done on this one, particularly with the explosions – but unless you make motion graphics for a living, you probably wouldn’t notice them.

Tim: No. So I’d like it on record that now, I dislike them and songs we review that feature them will likely as not get me in a grumpy mood.

Tom: Well, you’re going to be grumpy for a while then, because lyric videos are here to stay. They need to get the track on YouTube, they want a cheap video that isn’t just a static image… you get a lyric video. Simple as that.

Tim: Hmm. Haven’t even mentioned the worst thing yet, though: they provide an opportunity to highlight the fact that apparently ‘tryna’ is now a word.

Tom: They could at least have put an apostrophe in there.

Tim: But…but where would it go? It’s not even a contraction, it’s just a mish-mash of letters.

ANYWAY now I’ve got that out of the way, let’s discuss the song, which is actually pretty decent. Is the rapper needed? No, and he’s most likely only there to bump up the radio & audience potential, but I suppose that’s pretty much why any element of any song is present so we shouldn’t really dock it points.

Tom: Bit of background about that rapper: “Childish Gambino” is the alter ego of Donald Glover, a comedian who’s best known for playing Troy in the brilliant TV series Community. He’s clever, he’s articulate, and he’s providing a rap that is – to borrow a phrase – “plot-relevant”. He’s not just bragging about himself. For the first time in a while: this is a rap bit that I like, and that fits.

Tim: As for her singing – it’s as raw, emotional and powerful as we’d all expect from Leona, so that’s a good thing indeed.

Tom: Agreed. Everything about this works for me: the dark tone, the rap, the backing. It’s very, very good.

Tim: I’m almost tempted to wait a few weeks until we’ve got a proper video to look at and I won’t have the anger from this bubbling away inside me, but I suppose that does at least set the scene for what the song’s about so it’s not so bad.

Tom: Try it without the video. It’s a cracking song.

Michael Feiner & Caisa – I Do

“It’s a corker of a dance tune.” (With bonus ‘your mum’ joke.)

Tim: It’s an introduction vaguely reminiscent of the cast of Glee’s Don’t Stop Believing, which is always good to get me going. BUT DOES IT CONTINUE?????

Tim: With the tune and genre, not remotely.

Tom: Yep, I figured if it was an a capella version of a Journey track, you probably wouldn’t be sending it to me.

Tim: Well, let’s not rule anything out just yet. But as to whether this tune will get me going, absolutely. It’s a corker of a dance tune – massive synth with a great melody and heavy drum beats just enough so that they’re a main part of it but not so much that they get in the way of everything else.

Tom: It manages the proper balance between pounding CHOON beats and calm, hands-in-the-air moments.

Tim: Then also, much as you pointed out with Sash! recently, there’s some proper emotion in the vocals. Not only does that make for a more satisfying experience all round, but also it means that drunken dancers like me have a proper excuse for yelling our heads off: “it DOESN’T WORK if you don’t SHOUT ABOUT IT!!! COME ON!!!”

Tom: Note to readers: I’m informed that’s also what Tim’s been known to yell in bed.

Tim: Oh, that’s nice – your mum told me you’d fallen out with each other, but I’m glad you’re on speaking terms again.

Tom: Ouch. Well played.

Tim: And I like the video for this, as well – live performances are generally a bit dodgy because they scream out “we don’t have a budget”, but this one is saved by a few particular dancers – most notably the two guys at 1:14 and 2:27, who both have a confidence that we see tragically little of on most dancefloors today.

Tom: Apart from when someone plays Aqua and we’re on the dancefloor.

Tim: A good night. Still don’t understand the look of fear that was on everyone else’s face, though.

Fear of Tigers – Revenge of the Tripods

Not your standard 2012 pop tune.

Tim: This is the first I’ve heard of Fear of Tigers, so let’s learn about this electro act together. According to Facebook, it consists of a London-based guy called Benjamin, who has cats called things like Alice von Catkins and Jeffrito de la Macha; Wikipedia tells me that as well as his own tunes he does quite good remixes (example, example); and Twitter tells me he has a new tune out.

Tom: I was not expecting any of that. As soon as that synth melody line hit… wow. I am impressed. I really like this. I think.

Tim: Good, because it’s not your standard 2012 pop tune, what with it sounding like a 1980s instrumental, complete with accompanying ancient-looking video. Of course, the title doesn’t make any sense until said video is watched, and if we’re honest the video doesn’t make any sense whatever you do, but neither of those things means we can’t enjoy listening to it.

Tom: That video is actually clips from the BBC 1980s TV series “Tripods”. I think. Has he CGId himself into some scenes? I’ve no idea – I’ve never seen the original beyond, well, a few clips like that.

Tim: I myself have never even heard of the original, although it would explain the title. Although, not really why they’ve chosen it as a basis for a music video. ANYWAY, it’s hard to judge this objectively, because I’ve got no idea what it’s meant to be. Mainstream? No, because it’s unlikely to get mainstream radio play any time soon. Club music? Possibly, but I can’t see it fitting well into most DJs’ sets.

Tom: Other than at 80s bars. It’s a cracking track, though.

Tim: Oh, absolutely. So is it meant to be enjoyed at home? Probably, because that main hook (that accompanies dramatic moments such as the appearance of the glowing pyramid thing which is presumably what the whole war’s about, or the breakout of fighting after the poor lad’s been crushed by an evil tripod) is absolutely lovely. That, therefore, is what I shall do, and wait until his new album comes out soonish and I can hear more.

Saturday Flashback: Mark Brown feat. Sarah Cracknell – The Journey Continues

It’s lovely, isn’t it?

Tim: You’ve commented before about my apparent penchant for songs from adverts, be they for tea, fizzy drink or yogurt; now let’s add a 2007 bank advert to the list, because when the songs are this good, I don’t care.

Tom: AdBlock Plus, and a lack of actual TV, means I managed to somehow avoid this. Let’s have a listen.

Tim: Because face it: it’s lovely, isn’t it?

Tom: Not bad, certainly.

Tim: Three components to this, really. First, the instrumentation, which is just standard dance backing until you consider the quiet, simple and yet brilliant two-bar loop in the background.

Tom: Crikey, that is just two bars, isn’t it? There’s occasional changes, but other than that it barely changes. I hadn’t even noticed that until you pointed it out.

Tim: Then there’s the vocal, which talks first about raining, but then also about what we’re going to do about everything, which is quite a hefty and ambitious subject for a short dance tune to deal with when you think about it. Then of course, there’s the ah-ah-ah-ah-etc that everybody knows, which is instantly recognisable, calming and, well, beautiful almost.

Tom: Almost. If you’ve been introduced to this via that particular operatic vocal, and you’re expecting it, maybe it’s a bit better – going in cold, it does seem a bit out of place.

Tim: Well most people were introduced to it that way – they saw the advert, and that then got so well-known it was fleshed out a bit a few months on to make this, now generally referred to as ‘that song off that bank advert’. And advert or otherwise, this is wonderful, and you can’t deny it.

Tom: I’m not going to go so far as ‘wonderful’. ‘Nice’, I’ll grant you.

Tim: Oh, fair enough. BUT I’ve just thought of another advert with lovely music from about the same time, which you should watch. Here.

Tom: There’s something wrong with you.

Ronan Keating – Fires

It’s quite a bit louder than I was expecting

Tim: There’s not a lot left of the 1990s Irish boyband scene; in fact, unless I’m missing someone, there’s only Ronan still doing stuff.

Tom: Blimey. That’s a surprise to me.

Tim: Almost to me too, really.

Tom: No, I mean that Ronan’s still going.

Tim: Oh. Well, let’s see what he’s leading his new album with.

Tom: The birdsong in the video set the scene for a quiet ballad. That’s not what actually happened.

Tim: No – it’s quite a bit louder than I was expecting, I’ve got to say, although that might be because it’s been so long since I paid attention to him that I still think he’s all Life Is A Rollercoaster and Love Me For A Reason. That’s actually a nice thing, though, because to be honest it wouldn’t have surprised me if he’d gone and been boring as seems to be the fashion nowadays, DOESN’T IT ED SHEERAN AND LANA DEL RAY??

Tom: I’m still bitter about Ed Sheeran covering Pink Floyd at the closing ceremony. To be fair, I’m still bitter about the closing ceremony.

Tim: But yes, this has energy to it and is pleasant. It’s nothing special, admittedly, but it’s, well, good. Not sure quite what more there is to say about it, mind, but I enjoy listening to it and that’s what matters.

But now, if you’ll excuse me, I’m off to buy a Bentley. Not sure why, just seems like the sort of thing I want to do.

Tom: Do you also want to run in pretentious slow motion? Just thought I’d ask.

Tim: Already got my route planned to the garage, yes.

Anna Bergendahl – Live and Let Go

She sounds a bit like a lost member of the Corrs.

Tom: Not a kids’ cover of “Live and Let Die”, I’m guessing?

Tim: You guess correctly, and because last week you didn’t remember Greta from this year’s Eurovision, I’ll assume you don’t remember Anna, who represented Sweden in 2010 but (for the first time for Sweden), didn’t qualify for the final.

Tom: I remember thinking she sounds a bit like a lost member of the Corrs.

Tim: Two and a half years later, she’s hoping the Swedes will have forgiven her and has a new track out.

Tim: And it’s…well, it’s even less interesting than the Eurovision one was, disappointingly. It would have been nice if it had been a properly exciting “Hey! Look at me here! Go on, I won Idol in 2008 and Melodifestivalen in 2010! Look, remember how amazing I am?” but it seems it’s not to be.

Tom: She’s basically the Joe McElderry of Sweden, then?

Tim: Erm…yes, that just about stands up as a comparison.

It’s alright, I suppose – it’s a decent ballad, but it never goes anywhere. It’s starts quiet and soulful, and it finishes quiet and soulful. Which is fine if that’s what you’re looking for. It’s pleasant enough, and I do like that chorus melody.

Finally (and somehow I’ve only just noticed this), “I’d rather just go” is hardly an appropriate chorus line for a comeback track, is it?

PULS – Platin

“I think the video made me dislike the music.”

Tim: The first thirty seconds of this video will irritate you; the remainder of it will freak the hell out of you.

Tom: Yep. Anyone who’s got issues with kidnapping and violence – played for bloodless brutality, but not for laughs – shouldn’t watch this.

Tim: Blimey. Not sure how often the whole psycho-stalker thing has been tackled in music videos previously, but it certainly works to distract attention from the music.

Tom: I think the video made me dislike the music. It’s just unpleasant. There’s no real story there, no rhyme or reason behind it, it’s just nasty throughout for the sake of it.

Tim: It is, really. I don’t know if distraction was the point, but I can’t quite think why it would be because the tune is, quite frankly, a BANGER. It is loud, it is jump-around-able, it has excellent vocal parts to begin with and calm down to.

Tom: I listened again, keeping away from the video, and I’m still not convinced. It’s a BANGER, that’s for sure, but it seems to fall more into ‘noise’ territory than ‘music’ for me – the rap bits in particular leave me cold.

Tim: It’s also nice to hear the return of the snare drum build-up, which I haven’t heard in a while despite them being obligatory up until quite recently. So great song, shame about the video (although if you put it in a background tab, the five seconds from 2:55 do sound quite fun when you’re not expecting them).

Tom: This is one where I’m going to disagree: it’s an unpleasant video for an unpleasant song.

Joe McElderry – Here’s What I Believe

It desperately needs something special.

Tim: This here’s the lead single from his fourth album (or second, if you don’t count the classical one or the Christmas covers one).

Tim: No, he doesn’t.

Tom: Good, because that’s a stupid belief.

Tim: It is. You’ll likely be relieved to know that he also doesn’t believe that the sun will never set upon an argument, which is equally stupid.

Tom: Oh, don’t get me started on that bloody song.

Tim: Now this song pretty much fits the template we came up with last week, so I won’t say much about it, except that it desperately needs something special to kick it at the end, because when the instrumentation’s that calm in the background an extra ‘ohhh’ in the background just doesn’t cut it.

Tom: He’s targeting the Radio 2 audience – and not unsurprisingly, they’re the first to play it. But I didn’t just link to Robson and Jerome up there to remind you of how bad pop music can get – it’s also there to demonstrate the absolute other end of the scale. Two minutes long, gospel choir, bells, designed to hit every emotional beat as cheaply as possible.

This is about as “middle of the road” as you can get, and it’s probably going to sink because of it.

Tim: Almost without a doubt, yes.

I would like to say, though, that I feel a tad sorry for Joe, because one thing this song does do is demonstrate the fact that he’s got a bloody good voice. Dammit, he won the biggest TV singing contest there is but then pretty much got roundly ignored, and I don’t really understand why. Maybe it’s just that he’s a guy, and male winners have never done well (every single one of them got forgotten about in the recent promo for the new series), but if that’s the case then it’s a shame.

Tom: Well, he’s not done badly. After all, there are countless vocalists who haven’t got as far as he has. He’s still playing big concerts. Don’t feel too sorry for him.

Tim: True, and I suppose it’s not like we have a shortage of pop stars, and I can’t say I missed him while he wasn’t around, but I do feel sorry for him.

Muse – Madness

Like a cross between George Michael and Freddie Mercury.

Tom: I know, they’re not remotely Europop. But they’re also one of the biggest bands in the world, and taking an interesting new direction – so let’s have a listen to this one.

Tim: Is that it? Because, well, that is an interesting new direction if they’ve pretty much dropped everything a lot of people associate with Muse (i.e. loud guitars and drums and rock stuff).

Tom: They’ve never been a band scared of experimentation, despite their mainstream popularity: they had a 13-minute symphony on their last album. And now? Well, they’ve found dubstep, released a calm track, and Matt Bellamy now sounds like a cross between George Michael and Freddie Mercury. In fact, Muse seem to be closest we have to a modern version of Queen – and I mean that as a compliment, not in the sense that they’re ripping them off.

Tim: Well, possibly, though I’d add Bono into that collective. It’s interesting how they use the instrumental break to pretty much completely switch genres, turning the dance stuff way down low until the very end when there’s nothing else left.

Tom: It’s the epitome of a slow builder, ending in a positively triumphant chorus. It’s not traditional Muse, and I don’t know what the fans will think – but I like it.

Tim: I like it too, which really isn’t the sort of thing I thought I’d end a review of a Muse track with.