Let's Talk About Glambert

It's time for me to say a few words about Adam Lambert as the release date for his second studio album draws nearer.  It's clear to everyone, fans and non-fans, that Adam Lambert is not only a superhuman singer, but a genuinely good man.  Adam has always supported philanthropic causes near and dear to his heart, whether it be involvement in LGBTQ activism or raising money for clean drinking water.  Outspoken, high-spirited, courageous & daring, Adam Lambert stands far apart from other POP acts who lack temerity & personality.  Guided by his gift & a true moral compass, Adam delivers passionate & provocative performances other singers could only dream of.  Yet, Adam is consistently under-appreciated. Why? 

There is, of course, a deeply-entrenched social bias against openly gay male performance artists, especially flamboyant ones.  Gregory wrote about this extensively last November.  Adam has valiantly battled prejudice since the very beginning of his career - not to mention carrying the burden of being the first openly gay mainstream POP artist.  But the other factor limiting his career is less clear cut: Adam Lambert's music.

I mean it kindheartedly when I say that so far, I am concerned about Trespassing.  The first 2 singles just don't sound like winners.  Sure, they are graceful love songs that exhibit Adam's heavenly vocals (hot damn can he hit notes!), but ultimately, they falter.  Though it premiered at #76 on the Hot 100 with virtually no promotion, Better Than I Know Myself appears stagnant.  Now we have Never Close Our Eyes, which is a fun but ultimately unexceptional track.  It sounds like Dr. Luke put in a C+ effort while Adam, of course, put in 350%.  And, as much as Never Close Our Eyes sounds current, I don't think it's realistic to expect a high position on the charts (I do, however, expect good things from Cuckoo if it is the third single, which hopefully, it is).

But Adam Lambert is a first-rate performer working with the best in the business, shouldn't he be #1? Yes, he absolutely should!  But is Trespassing going to get him there?  As much as I want it to, I have my doubts.  Although working with Dr. Luke provides Adam's songs with a modern, glossy finish, part of the end result is that his songs sound tragically generic.  Generic?  Yes, unfortunately, I said generic.  I know, how in the world can the Broadway-experienced Adam Lambert make a generic song?  This question continues to baffle me.

Watch Adam perform Cuckoo, one of the most exciting upcoming tracks off of Trespassing, below.

However, after much thought & many conversations with Gregory, I have a few suspicions - the most important one being that I suspect Adam's team factors in the great risk of trying to make a POP star out of a Broadway talent - namely, they fear making an album that sounds like Adam Lambert: The Musical.  To avoid this, Adam's producers compress his powerful voice into a robo-POP format that just does not fit his singular talents.  Moreover, most of his singles as lyrically limited to dramatic love songs that lack boldness or grit (this is one of the main reasons why I would have preferred Trespassing or Cuckoo as the next single, they are the kind of gutsy POP-rock jams that only Adam could do justice).

What are the alternatives?  Well, for one, I would prefer that Adam worked with different people.  Writing a song with, say, Greg Kurstin, is a great idea.  After all, Kelly Clarkson worked with Greg in part because of his ability to let her vocals carry the song without over-processing them.  Give Adam a GUTSY song!  Likewise, working with Ryan Tedder could produce a raucous, beat-heavy song that adds a bluesy atmosphere & compliments Adams vocals (wouldn't his cover of Rumour Has It be epic?).  Or even better, Adam should work with Liam Howe, who gave us the brilliant & unconventional Mowgli's Road.  Adam should be making stomping, rock 'n roll tinged, operatic POP, instead of music that is shmalzy, over-saturated, & conventional.  No Bruno Mars-penned tracks are needed, & the less Dr. Luke, the better. We can't keep giving Adam formulaic POP when he clearly has so much more to offer.

My strongest evidence is the 2009 track Time For Miracles, written for the blockbuster film 2012.  Poignant & timeless, in Time For Miracles Adam is free of the electroPOP song structure that suffocates his sound.  Sure, electroPOP sounds good on Adam, and at certain times, even great.  But does it do justice to all that he can deliver? 

I firmly believe in a long-standing, trail-blazing future career for Adam, especially as POP music leans more & more towards rock 'n roll.  But when will he be front & center like he deserves?  Some might say "well, look, he already has a Grammy for Best Male POP Vocal Performance," to which I say: why stop there? Why shouldn't Adam receive both popular praise and critical acclaim?  Furthermore, why can't he make an album that sounds current but doesn't limit his sound?

I don't have all the answers, though I wish that I did.  I do know, however, that the millions of loving Glamberts will never let Adam drift from view, however peripheral.  Thank goodness.

Unapologetically,

Minna

Madonna: Leader & Misleader

On the very rare occasions that history & POP music overlap, a little part of me jumps for joy. Madonna's new movie, W.E., is such a circumstance.

Everyone knows that Madonna is back this year - album, single, Superbowl performance and all. And since Madonna is back, so is her ego. Most Madonna fans laugh off any scathing, blatant, or untrue remarks Madonna makes to the mainstream media, as "aw, good ol' Madonna!" as though her unbridled self-righteousness is merely a harmless aspect of the POP star persona. This tactic has never worked for me, though I respect Madonna as an artist.

W.E. coincides with Madonna's big POP comeback. The film centers around the famous American socialite and divorcee Bessie Wallis Warfield, otherwise known Wallis Simpson, with whom King Edward VIII fell in love, eventually abdicating the throne to marry her. Madonna seems to have taken quite a fancy for the Wallis character. "I love her," she gushed during her recent interview on 20/20. Madonna seems to view Wallis Simpson as a vastly misunderstood woman who found herself "trapped" in a world of "decadence." Her effort to portray Wallis as an imperfect human being is commendable. Yet, during "years of research," Madonna never came across any "evidence" of Wallis being a Nazi sympathizer.

Oh dear... There Madonna goes again?

Sorry guys, not this time. Her behavior shouldn't just be laughed off as "good ol' Madonna." These statements are very irresponsible at a time when regular teachers, professors, & historians everywhere are struggling to keep World War II relevant to a new and highly irreverent generation of students.

Wallis & Edward with German chancellor Adolf Hitler.

Let's get this straight: Madonna is not dissuaded by Wallis and Edward's high-profile visit to Adolf Hitler in 1937 (above), nor Ms. Simpson's public friendships with Nazi advisers, nor Simpson's alleged affair with Joachim von Ribbentrop, who was charged with war crimes at the Nuremberg Trials (for which he was convicted & hanged). The fact that Winston Churchill and President Roosevelt distrusted Wallis and Edward's pro-German politics does not resonate with her. Oh, and remember the numerous documents on Wallis' Nazi connections released by the FBI in 2003? Madonna dismisses the FBI as "notorious liars." Clearly, reality doesn't seem to be important to Madonna... Nor does the fact that her new movie is basically reducing political history to the level of Hollywood gossip.

Perhaps W.E. reveals the most disturbing fact of all: that POP stars can live pitifully and blissfully detached from reality.

Madonna, we're thrilled that the Windsor romance captured your imagination and inspired you to write a film... but just admit that W.E. depicts Wallis as you & only you perceive her! Try it out loud. Practice it in the mirror. I promise it's not as hard as it seems.

As for the rest us, let's appreciate Madonna's wisdom where it lies: in her iconic POP career and knee-jerk dance moves. As for the big questions of historical or political relevance... please, trust your teachers. At 53, they may look at bit different than Madonna does, but I promise you, they are all the wiser for it.

Unapologetically,

Minna

7 Reasons Britt Love Needs a Solo Career

Britt Love, the beautiful brunette who once, ever so long ago, performed as one half of British POP duo Mini Viva, has been lying relatively low lately.  We're convinced this is because she is secretly planning to launch a sensational solo career, POP star-style.  So for all music fans, here are our 7 reasons why Lady Britt needs a solo career.


1. She's got the moves.
The proof: Music Makes You Lose Control teaser.

2. She plays well with others.
The proof: Successful playdate with Monarchy on You Don't Want To Dance With Me.

3. She has dropped hints.

The proof: Popjustice knows best.

4. She sounds amazing live.
The proof: This acoustic live performance of Be Who You Are in someone's attic/bedroom/what does it matter?  It's spectacular!

5. Her hair.

The proof: Some stylish Aussie lady used Britt as a model for the "messy top-knot." So I'm not the only one who's obsessed.

6. The terribly short POP life-span of Mini Viva.

The proof: Few were surprised, but many shed a tear when Frankee & Britt split without even the release of a debut album. 

7. She knows how to play the game.

The proof: She's got a song about it.

Playing The Game (Clip) - Britt Love

Need I go on?  Because I could.  But... I think you get the idea.

Britt, the idea of your solo career has us pretty much falling off the edge of our seats with excitement (We need full songs! The audio clip on repeat just isn't the same).  Alas, we know when the time is right, Hurricane Britt Love will hit us full force.  So keep up the hard work with those cute guys of Youth Kills!  We'll be waiting for you.

Unapologetically,

Minna

P.S. - Show Britt some LOVE: Check out her Facebook Page & follow her on Twitter. Let her know you like her work!

Why I'm Not Banking on Azealia

Photo by Richard Johnson, NME

Often artists come around in a flurry of disproportionate excitement. I want to like them. Oh, how I want to like them. In the naughty and foul-mouthed Azealia Banks, who plans on rapping her way to a singing career, the music world sees a teenager who is "challenging the conventions of hip-hop" and "moving rap forward." I see a buffoon. 

After listening to the verse “I guess that cunt gettin’ eaten” for the umpteenth time on her viral hit 212, I couldn’t help but yank at my hair & wonder why the hell is this exciting? Am I the only one who ever listened to Amanda Blank, Kid Sister, or Santigold?  Electropop star Peaches was just as explicit in her tracks - and she actually had something to say.  Amanda Blank, the Philly-reppin' multi-talented muse of my college-years, rapped on Spank Rock's tracks "my pussy's tastin' the best."  Even Pitbull, lord of the dancefloor, rapped "I'll give you a lick of this mighty tongue" back in 2004.  I hate to break it to you, but rapping about cunnilingus is not new. 

 But when Azealia Banks spits "now she wanna lick my plum in the evening/ & fit that tongue deep in" in a cute Mickey Mouse sweater and pigtails... it's supposed to rev our engines.

It is worth noting that Azealia's Harlem roots certainly work in her favor.  Since the early 20th century Harlem has carried an almost mythical musical and artistic quality.  As a result, artists who hail from Harlem are usually automatically considered textured and authentic.  The UK, Azealia's new-found homebase, is not above being believing the urban myth of the unsung Harlem superstar.

I cannot help but ask myself an uncomfortable question: are listeners truly excited by Azealia or are they enamored with the idea of a pretty, trash-talking black girl from Harlem who raps? It seems to me that the consumer world is imposing an identity on her- and Azealia, hungry for fame, is gobbling it up.  Peeling away at the layers of filth, hype and self-promotion reveals an immature teenager who used the oldest trick in the book: slamming out promiscuous lyrics to grab international attention.  Now sporting a top position on the NME Cool List & an honorable mention by the BBC Sound of 2012, Azealia will be inescapable in 2012.

There is no denying that Azealia is very gifted.  Her years as a devotee of musical theater served her voice very well.  Liquorice, her most recent release, features a combination of sung melodies and rapped verses and is very well-produced.  But even Liquorice features Azealia's favorite topic - you guessed it - oral sex ("stimulate her /take a lick up on my genital / then sit to savor").

Many music critics have readily acknowledged that Azealia is not entirely original, but claim that her youthful energy and spunk make her fresh.  They write that Azealia's gritty lyrics and promiscuous word-play make her inventive, witty, and clever.  On the contrary, I find female MCs who don’t rap about sex to be far more “inventive." And guess what?  They are probably more marketable, too.

So what is the real future of Azealia Banks?  The Telegraph UK aptly points out the hipsters who originally hyped her will probably be put off by her obvious mainstream ambitions (the girl had the nerve to laugh off the idea of releasing a free mixtape in her Pitchfork interview).  Azealia evidently never considered going the independent route. Since she wants to be a commercial chart topper, working with Paul Epworth is certainly the way to go.  But is the UK really craving a Top 40 hit by a teenager whose devilish image is brattier than that of Ke$ha and Christina Aguilera combined?

Sorry, but I am not banking on Azealia.

Unapologetically,

Minna

RiRi's Sloppy Singles

Holler!

At this point, y'all know I'm a RiRi fan, but I can't help but be seriously annoyed by how terribly mismanaged her single choices and song release schedules have been since the Rated R album. I'm aware she has minimal control over what gets released (except on Rated R), but how has SOMEONE not noticed that there's a major issue?

With Rated R, Rihanna was reeling over her nasty abuse at the hands of Chris Brown and the scandal it caused, and so the album was angst-filled, dark, and actually quite good. However, just because a song is good, doesn't mean that it's a proper single. The right choice for radio release must have spark, energy, and some sort of crossover mainstream POP appeal. With this album, Rihanna likely had more control over what became a single than on any of her other records. Her label saw the Rated R project as a way to build RiRi's artistic credibility, or at least that's what they said. We all know what that means - they all didn't like the album and thought it was blech. Like I said, I enjoyed it, but Rihanna's not the type of artist that requires credibility, and her label is hyper-aware of this. She's not a true musician or songwriter. She's only gotten songwriting credits on a few tracks, and I doubt that was a difficult feat - she probably penned two words on each of those. Girlfriend is a POP songstress, which is no to say that musicianship and POP stardom are mutually exclusive (i.e. - Michael Jackson, Prince, GaGa, Katy Perry, etc.), but let's not pretend that RiRi is anything other than an enjoyable sugary confection. A few of her songs may have meaning, but her celebrity persona doesn't, so unless that meaning is rolled up into POPtastic hits, it's lost on most folks.

During the Rated R era, the Def Jam execs should have allowed RiRi one angsty, emotional song for all the hard work she put in and money she made them (and herself). Her number one choice was probably Russian Roulette, considering it was the first release from the album. After that, the only singles should have been Rude Boy, which I called as single-worthy months before it went to radio, and Te Amo, which probably wouldn't have been as big of a hit as Rude Boy, but would've charted higher and made more money than Hard or Rockstarr 101, due to it's Stargate produced synths and catchy, hummable melody. This song would have been the perfect single choice after Rude Boy slid down the charts in late spring 2010 because it SOUNDS LIKE SUMMER. Ugh, why oh why did they release it as the single everywhere but the States, where we were dealt Rockstarr 101, a song most people couldn't wait to end?

Let's move onto the next record, shall we? Loud was supposed to be RiRi's return to breazy, danceable POP, with the occasional side of West Indian spice. While Only Girl (In The World), What's My Name, and S&M were absolute knockouts, the other singles were totally wrong for radio, which is probably why you've never heard of them. Do you remember Raining Men (which was so unsuccessful, they didn't even make a video for it), Man Down, and California King Bed? No? NOT surprised. The first two tracks aren't very catchy, and while the latter is a beautiful ballad, RiRi isn't known for belting out an instrumental song - the only girl who can shoot a piano ballad to the top of the charts is Adele. Cheers (Drink To That) was a an okay track. I went from hating it to loving it to hating it, to loving it when I heard it on the radio, to hating it two weeks later. It's just not that melodic and catchy. It's like a slow, more depressing version of Katy Perry's insanely addictive Last Friday Night. No gracias. The perfect single choice would have been Complicated, a synthy, groovy, but super catchy track that sonically reminds me a lot of Katy's E.T. The success of Katy's song should have indicated that Complicated would be a hit, and it's electro-vibe would be PERFECT for remixing in the clubs. Like, hellooooo?

Now, here we are, with Rihanna's sixth album, Talk That Talk, which, like most of her records, is a hit and miss affair. Seriously, Katy Perry deserves major props for SPEARHEADING (yes, it was her decision, not the execs, which is not to say that they opposed her) to make an energetic bubblegum POP album, Teenage Dream, in which almost every track hits it out of the park (oy, did I just use a sports metaphor?). A feat like that is most definitely NOT a common occurrence. Anyhow, We Found Love is one of the greatest songs ever. The song is emotional and intimate, yet simultaneously epic, electronic, and utterly danceable. It's the new Like A Prayer (minus Madonna's commentary on race/religion), in that it's this dance-POP carnival shell filled with a warm, gooey, tear-jerker core, kind of like a chocolate covered caramel (although candy doesn't typically make me cry). NO song on this album is as good as We Found Love, which is sad, but understandable. It made me have incredibly high expectations for the album, and what could live up to it? Anyhow, when I heard that Dr. Luke would finally be working with RiRi, I thought they would produce some amazing material together. He's THE hitmaker, but RiRi's second single, You Da One, doesn't do it for me. It's almost too gritty, too hip-hoppy and islandy. Yesterday, I heard Talk That Talk featuring Jay-Z on the radio. Is someone trying to recreate Umbrella or Run This Town? It's not working - the song is decent, but it's a bit flat and lacks sugar.

It seems like a lot of producers give Rihanna material that's Caribbean-esque and hip-hoppy because she's Bajan and Black, without realizing that she is more than her race/ethnicity. She is the dance diva PREMIER - that's what she does best, but it appears as if record execs, producers, and RiRi, herself, define the POP star and her demographic very narrowly. Her Dr. Luke collabs could have opened the gates to dance-POP heaven, but instead they fall quite short.

Anyhow, there's not much we can do but choose properly from the best songs on the record. The second single should have been either Roc Me Out or Drunk on Love. Both songs are structurally quite similar, but are sung in different pitches/scales. The former is a catchy mid-tempo track, while the latter grabs you with its melody and beautiful moodiness created using a sample of the XX's Intro. The third single (insert Where Have You Been) should bring things back to an up-tempo pace. This song is a club-banger written and produced by the combined efforts of Dr. Luke and Calvin Harris. While it definitely does NOT measure up to We Found Love, it's danceable and both radio and club-friendly. The fourth single should be the song that wasn't picked for the second (so either Roc Me Out or Drunk on Love). If Island Def Jam and RiRi decide to go for one more single, We All Want Love is the perfect choice. It's kind of ballad-esque, but in a fun dancehall way. Although this track provides more proof of how pigeon-holed RiRi and her music are, it's done well. It glows, and would make for the perfect conclusion to the Talk That Talk era.

I hope that on Rihanna's next album, the people in charge will stop trying to place this girl in a box and embrace the endless possibilities of dance music. You might think that club-bangers form their own box, but there are so many types. The genre is large enough to accommodate a number of influences.

Also, one final issue. RiRi and her team MUST STOP putting out the next single while the current one is still hot. They did it on Loud by releasing What's My Name before Only Girl (In The World) peaked at #1, and have done so again by putting out You Da One while We Found Love is still all nice and steamy at #1. A little bit of air keeps a flame going; too much, and the fire's out! What are they trying to achieve? RIHANNA'S   ALREADY   SUPER   RELEVANT. Overexposing RiRi and her music WILL   ONLY   MAKE   PEOPLE   SICK   OF   HER   AND   SHORTEN   THE   LIFE   OF   THE   ALBUM. They should give the singles time to simmer and reach a full boil. Look at Katy Perry - she and her label don't put out a new single until the last one is sliding down the charts and out of the Top 5 for good. Katy is STILL working singles from an album that came out before Loud, while RiRi's already onto her next record. It's about quality, not quantity! From May 11, 2010 (the release date of California Gurls) to today, Katy has had one album with six singles, all of which have been memorable and culturally relevant. In that same time frame, Rihanna has released two albums with a combined total of nine singles, but only four (maybe five, if you include Cheers (Drink To That)) have been pop-culturally relevant.

Girlfriend (RiRi, sometimes I pretend we're POP star friends, sipping green-apple martinis in our Ray-Bans while trading stories about how we love being famous), listen up! You have GOT to sit some of your people down and TALK   THAT   TALK.  These rush-released singles reek of inadequate management. Better yet, go hire Katy's people! It seems like you two besties already share wigs, lip gloss, and private jets; why not add management to the list?

Love you, RiRi. Hope you and your team (the members with your best interests at heart - the rest deserve the boot) take our advice. Your star is one that does well when shining super bright.

Unapologetically,

Gregory

P.S. Don't forget to take a nice long nap! You must be exhausted after three years of non-stop touring and promotion. It's OKAY to take a break. We'll still be here when you're all rested up. :)

Ke$ha-Bo-Be$ha

Holler!

I read a super-interesting post by our blogger friend Vertigo Shtick, titled Dr. Luke & the Women. In it, he writes about Ke$ha and how, through a great deal of research, he's come to the conclusion that she will last in this business. I'm sure he's far more well-versed in Ke$ha knowledge than I am or ever will be, but I don't completely agree with him. I've always believed that Miss K-dollah was a book-smart chick. After all, she got a 1500 on her SATs and used to attend history lectures at various colleges in Nashville while she was in high school, not for any sort of credit, but purely to feed her curiosity. With that said, I do think she's a bit ignorant, using offensive terminology like "tranny" in her tunes.

Her music is a whole other ballgame, though. Ke$ha's songs have always seemed like a creative orgasm for her infamous producer, Dr. Luke (who I reckon might be a bit of a Svengali in the way that Clive Davis was with Whitney or Tommy Mottola was with Mariah). Some call her style "turbo-POP," and I understand why. It's electronic, beat-driven, and has a million different layers sliding together simultaneously, as if Dr. Luke threw all these different elements in while thinking, "why not?" That's pretty cool of Luke, but in doing so, he's pigeon-holed Ke$ha in such a way that will deem her irrelevant in the years to come. Of course, Ke$ha has been just as much a part of pigeon-holing herself, because while Luke has constructed her sound, she's built her aesthetic as a bratty-grungey-hipster (but with glitter, because hipsters hate glitter, right?). It was cute at first, but now it's just kind of annoying, and the unfortunate thing is that no matter how hard she may try to escape that image, it will stick to her like glue in a way that Madonna's early look never did. Madonna utilized image to sell records, but she never looked like her music sounded, whereas Ke$ha appeared just as we expected her to, covered in shiny dirt like a slightly filthy, bratty POPster. Ms. Let's party and get glitter in our hoo-ha is the female equivalent of LMFAO. It's cute... until it's annoying. (Don't get me wrong - I'm a fan of glitter glitter everywhere, but not when it's been dipped in mud. That can cause in infection.)

I view Ke$ha in the same way I do Avril Lavigne. Ke$ha is essentially the 2010 version of Avril. They're both bratty, party POPsters, except the latter came around when POP-rock was predominant, while the former made her debut during the electro-POP era. I do think Ke$ha will always be around, but she'll never again be as relevant as she has been because she is the spitting image of her music and of the last two years. She is a moment in time, and times change. Avril will never escape 2002-2004. She may have a hit every once in a while, like 2007's Girlfriend, but no matter how good the songs are (I LOVED What the Hell, which is basically a more melodic Girlfriend), she'll never outgrow what she was (in our minds, anyway). Another example is Alanis Morrisette. She came out at the perfect time, and will forever be remembered as the rebellious 20-something singing songs from her iconic 1995 album, Jagged Little Pill. Despite the fact that she has the occasional hit every now and then (like the gorgeous Thank You or Hands Clean), Alanis will never be as big or relevant as she was. These POPsters are not as timeless and versatile as Mariah, Madonna or Michael, or even Britney or Beyoncé, all of whom have maintained their A-list status.

This is not a reflection of Alanis, Avril, or Ke$ha's vocal or songwriting talent. Ke$ha can certainly hold a tune, as this video of her singing the Rolling Stones' White Horses at a Hollywood party proves. Still, Rihanna, Katy Perry, Lady GaGa, and even Justin Bieber all have the potential to last because their music is a bit more timeless - and their images are not a precise projection of their sound. Lady GaGa may not be the biggest POP star in the world forever after, but she'll always be among the leading pack and will be venerated in later years, like the aforementioned legends. Sorry, K-dollah, but I just don't believe you'll ever be one, regardless of whether or not you deserve to.

Unapologetically,

Gregory

The BBC Breakdown

The BBC Sound of 2012 is out. Well, we found this year's selection a bit... puzzling. The list ranges from over-exposed Harlem rapper Azealia Banks to independent Brooklyn-band Friends. But are we left groping in the dark for star-power?

Is this the same list that gave us the likes of Jessie J, The Vaccines, and James Blake? Drawing from a wider array of musical knowledge than just POP, let's review the motley selection:

A$AP Rocky - Big talent, good future, but unfortunately not Top 5 material. Still, he'll make DMX proud. Verdict: No spanx (but keep rapping!)

Azealia Banks - She’s young & potty-mouthed. We’re over it. Azealia just topped the NME Cool List, so give someone else a chance. Verdict: Ick.

Dot Rotten - Talk about flow! He's good grime, but Wretch 32 & his compatriots don't get enough airwave-love. Verdict: super talented, keep rapping.

Dry The River - Pretty good for post-punk. No matter where they're placed on the list, they're working with Peter Katis (Interpol, The National), so they're in good hands. Verdict: Approved.

Flux Pavilion - Not dubstep’s best, but not its worst. Verdict: Mediocre meh.

Frank Ocean - Electro RnB with a voice attached. A solid producer, but his songs need a cube of sugary POP for some added FUN. Verdict: We're not sure we're ready for a swim yet.

Friends - These indie POP kids have made it far in a very short time! We appreciate bands that love their instruments. Verdict: Holler!

Jamie N Commons - Jamie could have written a badass soundtrack for True Grit, but we're not sure the radio can handle his rough-n-tough swagger. Still, for a raspy voice, he's got style. Verdict: Come swagger over to our house, mister.

Lianne La Havas - Her voice belies her age, but we're underwhelmed by her live performance. Still, the girl is touring with Bon Iver. Verdict: Werk. Practice makes perfect.

Michael Kiwanuka - Michael is a massive talent with a beautiful, soulful voice. With adequate support, he could make Jazz POP fusion at its best. Let's bring the blues back. Verdict: Support!! (Esp. when he's cute AND talented).

Niki & The Dove - Didn’t they make it on the list last year? No? Well, then it’s about time! Verdict: Finally!

Ren Harvieu - Is she 2012's Clare Maguire? We're unsure about her voice & musical direction. Verdict: In need of guidance.

Skrillex - The “brostep pioneer” and frat-party favorite already scored Grammy nods. Verdict: enough cocky jockies. We'll pass.

Spector - They're cute, POP-friendly & can craft a catchy tune. Rock! We're excited for the 2012 album. Verdict: Waiting with anticipation while doing our nails.

Stooshe - Woa. Very funny, raunchy ladies, but a bit too stooge-ish. Verdict: good for a girls' night in.

Unapologetically,

Gregory & Minna

In Defense of Lana Del Rey

 

There is a lot of venomous commentary online concerning Lana Del Rey.  As a fellow upstate New Yorker & music-lover, I thought it was time for me to defend Lana.

Still relatively unheard of in the US (this will soon change, her NYC show sold out quickly) Lana Del Rey is currently making a huge splash in the UK.  Her tickets are selling like hot potatoes and she is a recurrent name on the blogosphere (read our original post on Lana here) As fortunate and attractive as she may seem, Lana Del Rey is being viciously scrutinized as a “re-branded” and “inauthentic product” of “the industry.”  The vast majority of people are not criticizing her songs, but her looks.

That fact that the music industry manually sculpts artists’ image is not news.  Classic rockers like David Bowie engaged in flagrant image lunacy – but back then Bowie was free from the victimization of the 21^st century cyber-microscope.  The crux of the arguments against Lana is that her aesthetic “overpowers” her sound.  But why are we overlooking something vital here: her music?  Lizzy Grant is a gifted lyricist and an exceptional songstress.  We cannot forget this.

Yes, the truth is unavoidable: before she was Lana Del Rey, Lizzy Grant was a thin-lipped blonde with an unsuccessful EP.  She reemerged in 2011 with a “Lolita in the hood” style and a contract with Interscope Records.

The bottom line is this: Lizzy Grant invented Lana Del Rey with managers and lawyers.  Why?  Because she is a genuinely creative, talented woman who recognizes that we live in an age where imagery is vital to music-making.  The invention of Lana Del Rey is, yes, purely an invention.  But Lizzy Grant worked too hard for too many years (7, in fact) to let opportunity slip through her fingers.

I recognize that Lana is a divisive musician, but I sincerely beg those who are fiercely anti-Rey to redirect their rage.  I can see where her success may seem an injustice, but like it or not, we have big pop potential on our hands.  And I don’t think she’ll be leaving anytime soon.

We wouldn't have it any other way.  

Unapologetically,

Minna

P.S. Check out our newer features on Lana! "Lana Del Rey vs. Hipster Snobbery"