FIRST LISTEN!! Katy Perry - Prism

In a promo for Prism, we saw Katy Perry burning her iconic "California Girls" wig. A fairly bold commercial statement, given the colossal success of her consciously sickly sweet Teenage Dream record, but then the ultra-poppy "Roar" seemed like something of a back-track. Was the wig-burning just a red herring, an empty statement to cover up the fact that Prism is just in fact Teenage Dream Pt.2?

With Idolater kindly streaming the record in the days leading up to the release of Prism, I gave Katy Perry's third record a listen to see just how much Katy Perry has managed to shake off her teenage dreams, or whether she's still the same old California girl.

- TRACK BY TRACK -

ROAR
"Roar" is a rare thing. It's a song that's so immediate that you get sick of it very quickly, but then after constant exposure it grows on you again. A boomerang-grower of sorts. Totally feel good, would've fit on Teenage Dream perfectly. When the final chorus hits, it's a joyous ray of sunshine that only a Katy Perry song really manages to pull off.

LEGENDARY LOVERS

Awesome bhangra vibe to this one. Thanks to "Wide Awake", we know Katy can pull off a dark pop ballad, and "Legendary Lovers" is no exception. There's a hint of Florence and the Machine in the tribal pounding of the chorus.

BIRTHDAY
Disco guitars begin a song called "Birthday", and we're wondering when this 'dark' Katy is going to appear. No complaints though, as "Birthday" is catchy and Madonna-esque. A little bit anonymous, but good fun none the less. "It's time to bring out the big balloons, I'll get you in your birthday suit..." - Good to see she's still as subtle as ever.

WALKING ON AIR

Good ear for trends Katy! "Walking On Air" shamelessly ticks every early 90s rave revival box, and it strangely suits her. It sounds a BIT like Cher at times, but it has enough choppy samples to just about ensure it's the right side of cheesy.

UNCONDITIONALLY
Something for Teenage Dream Katy fans. After "Walking On Air", "Unconditionally" unfortunately comes off as filler. Despite Katy's trademark melodramatic yelping, it never quite grabs your interest on such an ambitious record.

DARK HORSE FT. JUICY J

The track that's caused the most buzz, the "Trap-pop" track, is actually relatively tame. The verses succeed in being relatively sexy and sleek thanks to Katy's breathy vocal, but the track never quite goes anywhere. "Dark Horse" is still too pop-cautious to really create the vibe it thinks it has. Saying this, in a club, this would probably be a different matter.

THIS IS HOW WE DO
A bit of a Skrillex edge to the production, and a late 90s R&B edge to the songwriting, and as much of a car-crash as this could've been it actually turns out to be a highlight of the record. Typically dorky Katy Perry lyrics, and like "Walking On Air", she sounds like she's genuinely having fun. Could've done without the "shout out" middle 8 however. Save it for the arena Katy.

INTERNATIONAL SMILE

A nu-disco sound on this one. Sounds like it was produced by the French Dr Luke, and it's gorgeous. Manages to be "lush" in a way that Katy never managed before, and it's another highlight. My god, even the keyboard solo works.

GHOST
Starts off promisingly with warm, bubbling synths, but it's ruined once it decides to go off on a techno tangent. It sounds like a Teenage Dream b-side. Shame, everything was going so well.

LOVE ME

Another one of Katy's ballads-with-a-beat that I'm really not fond of, but it wins me over once the chorus hits. It has a pretty and understated melody sung majestically by Katy, and the steady rolling drums and Avicii-lite pianos make it subtly epic in a way that we've not seen Katy pull off before.

THIS MOMENT
Oh hi Robyn, I didn't know you were at the Prism party! Chill, the Swedish popstress is not featured, but the burbling bassline and jittery electro beat on "This Moment" are straight from Body Talk. Shame the track itself isn't anything special.

DOUBLE RAINBOW

More elements of Swedish pop on this one too, dare-I-say a hint of bands like MS MR and CHVRCHES. It's pleasant, but where a band like MS MR would keep things exciting with their raw energy, Katy's voice and the production are both just too polished on "Double Rainbow" to really pull this off.

BY THE GRACE OF GOD
It's a ballad, would you have guessed? There's not a lot to say about this, you could interchange this with "Pearl" on Teenage Dream and it would still fit. If you like Katy Perry ballads, you'll love this. It's very "Wide Awake".

SPIRITUAL (BONUS TRACK)

Katy goes a bit Massive Attack, and bloody hell it works. It's surprisingly UK trip-hop sounding, with another one of Katy's new found subtle vocals. It could've easily made the non deluxe Prism better by punctuating it's mid-end album semi-slump.

IT TAKES TWO (BONUS TRACK)
A throwback to One Of The Boys with it's piano and guitar singer/songwriter based approach, which is quite refreshing. It's not spectacular, but a nice reminder that Katy is more than just a pop singer, she's an artist.

CHOOSE YOUR BATTLES (BONUS TRACK)

Another epic Europop number, and probably stronger than its sound-siblings "Double Rainbow" and "This Moment" that actually made the record. Katy does a great job, but I'd actually love to hear Florence Welch sing this. Maybe it's time for Katy to start giving away some tunes?

- VERDICT -

The experimentation on Prism is it's greatest asset, and a risk that has been taken cautiously but not timidly. As a result, it's not only her best record but probably the best pop album by a major artist this year.

It's not without it's flaws. The album's phenomenal party hits are bunched together in the first half of the record, leaving the much subtler tracks exploring her spirituality to unfold one after another in the second half, until the record fades out with a whisper, when it began with a "Roar". The weaknesses in Prism are amplified by this emphasized duality, and a more diverse track order could've distracted.from this. At 13 tracks non-deluxe, a couple of tracks could've been omitted also.

I should probably make it clear I'm nit-picking at what is essentially the most exciting pop record in years. It manages to juggle a fair few sure-fire hits with an artistic progression that has eluded her peers such as Rihanna and Britney Spears. Bear in mind this is Katy's 3rd record, whilst Rihanna and Britney are each approaching their 8th, neither of them with much artistic integrity to show for it.

Prism may be a hit and miss record, and perhaps a little self-indulgent when compared to the tight-commercial-mindedness of Teenage Dream, but it gives us hope that Katy could still be going and evolving in 10, even 20 years. With Prism, Katy Perry has just taken her first step out of pop stardom towards potential pop legend status. It'll be a long road, so don't let us or yourself down Katy.

- Joe Copplestone, 19/10/13
@JoeCopplestone

FIRST LISTEN! Miley Cyrus - Bangerz

What with Miley’s drastic abandonment of teen idol-dom, not to mention the one-two KO of her tumblr-happy, nudey, twerky videos for “We Can’t Stop” and “Wrecking Ball”, it seems very few of us are even considering that Bangerz could possibly be any good. But there's something about the personal and shallow nature of the hype surrounding Miley's coming-of-age record that suggests the real surprise of her comeback could lie in the actual music. 

Leaving my judgement and preconception hats on the shelf, I sat down to listen to the iTunes stream of Bangerz. My findings did indeed surprise me, but perhaps not as you might think.

- - - 

“Adore You”
No one could’ve expected this. It is a frankly genius move to open Bangerz with "Adore You". It is far and away the album’s most tender and surprisingly subdued track - a perfectly formed and convincingly delivered ballad, certainly better than anything Demi Lovato’s ever done. Its sheer critic-silencing beauty leaves you totally open to anything that could possibly follow it. Which is conveniently and ironically (and probably purposely)…

“We Can't Stop”
The ultimate grower of the year, slying gaining the repeat plays it needs with the meme-come-to-life video, couple of instantly infamous druggy double-entendres, and by now it's gained it's status as one of the most brilliantly provocative yet laid-back pop tunes of the year. For the little effort the track seems to put in, it somehow manages to deliver something new every time.

“Bangerz” (feat. Britney Spears)
A feisty, very old-school-Britney number, which makes sense considering the pop princess herself makes an appearance. The prominence of relatively unknown producer Mike-Will-Made-It, here and elsewhere on the record, is another clever choice, giving a musically credible edge to Bangerz. Oh, and the title track provides the third almost-subtle drug reference on the album, with “You know I’m on that Miaow". The track doesn’t need it, but it’s cheekily thrown in anyway.

"4x4" (feat. Nelly)
The country stomp should by rights be unbearable, but Miley, having already seemingly pulled out every stop already so far, pulls it off, with her voice revealing its natural country gal twang. The track would be better without Flo-Rida’s dishonorary older brother Nelly, but he seems timid next to the ultra confident Miley. When Nelly’s suddenly bearable, you know something’s going very right.

"My Darlin'"
Although this sub-Wrecking Ball power ballad is the least impressive track so far, it shows off Miley's not unimpressive silky pop voice when she doesn't bounce her ass fat up against some poor awkward soul.

"Wrecking Ball"
The most grandiose track by far, clearly an obvious choice for a single. But without the video (or even with it - for those of us not looking to complain about nudity) the song is like the climax of a West End show with a super-pop production sheen.

"Love Money Party" (feat. Big Sean)
A low-key hip-pop party anthem, and somewhat filler, but Big Sean's playful and relaxed flow suits the album's house party feel.

#GETITRIGHT
Taking a production leaf out of Justin Timberlake's book of modern funk, this is another laid back number. Punctuated once again by another 'say-whaaaaat' lyric, as she rolls "I feel like I've got no panties on" off her tongue, just casually. It's the second track of a slight mid-album dip, but this dip would be a highlight on Selena Gomez's record.

Drive
A surprisingly dated dubstep throb is soon redeemed by a big ol' power ballad beat and a gorgeously understated "you can drop your keys off in the morning" chorus refrain. Like "Wrecking Ball"'s more in-control older sister, but no less emotional because of this.

"FU" (feat. French Montana)
By this point you realise that Bangerz-Miley doesn’t do things by half measures. She’s either entirely chilled, or melodramatic and grandiose. "FU" is another pop goliath that could bless (and I mean *bless*, it’s a stonker) a West End Show. You can picture French Montana donning in a tuxedo, top hat and cane as he lays down his brief rap.

Do My Thang
The clubbiest track so far. Featuring sharp, exciting Trappy production, and a delicious scrunch-face drop, Miley rides this track just as comfortably as she carried Mike-Will-Made-It‘s “23”.

Maybe You’re Right
Another Wreckin’ Ball, this time with an Alicia Keys piano-pop edge.

Someone Else
Like Do My Thang, the track is super slick Trap-Pop that suits Miley’s youthful swagger to a T, boasting one of the most infectious beats on the record. It’s a surprisingly but effective closer, leaving the more-ish taste of Bangerz on your tongue.

- - -

All in all, Bangerz lives up to it's name more accurately than anyone could've predicted. An album called Bangerz could've been a vacuous and appalling record based around a big US record label's idea of what makes a hit. Instead Miley delivers 13 defiantly provocative and almost obnoxiously confident tracks, clearly without a thought towards what her critics are saying. As a result it's humanly flawed, but carefree and seriously good fun.

About halfway through "Maybe You're Right", Miley tries yelling out an ultra high note that she doesn’t quite hit, and even the autotune has a hard time correcting it. But that’s all part of the what makes Miley ‘13 such an engaging pop star - her overconfidence leads to her taking risks that are ridiculous on paper. Her eagerness is charming, and her charm on Bangerz is infectious. 

And enough charm can convince the general public to buy into anything. Miley may have been a (perfectly willing) victim to all sorts of critical and public vitriol after her shamelessly bold rebrand, but once these detractors actually hear what Bangerz has to offer, the massive teddy-bear backpacks and twerking in Miley's past will be all but forgotten. 

...then again, maybe she'll go on to sexualize line-dancing in her next video and open herself up to a whole new wave of disgust. We can only hope.

- Joe Copplestone, 3/10/13

MADONNA - MDNA - FIRST LISTEN & THOUGHTS

Ok, downloaded this at 1.04am, here are my groggy first impressions. Only the regular edition by the way, not deluxe. Not made of money.

Girl Gone Wild
Sounds somewhat better on record, maybe it was a grower after all. Although the "forgive me father" spoken word intro is pretentious as hell. Moving on.

Gang Bang
"Impressive instant"? Very gay disco pulse. Could've been on "Music" if it wasn't for the somewhat superfluous dubstep breakdown. The shouting "drive bitch/die bitch" outro is self-indulgent, but actually fits the whole "drug/club" atmosphere.

I'm Addicted
Pretty addictive... a very "Confessions on a Dancefloor" electrodisco number, with a ravey euphoric breakdown. "MDNA" chant at the end is perhaps a bit of a cop out, but this is still better than both the singles combined.

Turn Up The Radio
Ah, we're back to genericity, just when I was beginning to get into the druggy feel. Some nice chord sequences, but this is "Girls Gone Wild"-esque sing-song chart Guetta-dance.

Give Me All Your Luvin' (feat. Nicki Minaj & M.I.A.)
Sounds pretty dull in the context. This isn't classic Madonna.

Some Girls
"Fake tits and a nasty mood?" Ew, Madge. This is similar to "Gang Bang" in it's 70s gay disco feel. "Confessions"-esque again. Vocoder-tastic, but actually kind of quirky and enjoyable.

Superstar
Oh god, another "Give Me All Your Luvin'" style 'Hey Mickey' sugar-sweet pop number. Oh wait no, it's worse. A sing-song yawnfest that sounds a bit all over the place too, unfinished like. Oh and what the hell is this?! A dubstep-lite breakdown?! WHY?! Definately the worst track so far.

I Don't Give A... (feat. Nicki Minaj)
Trust Madonna to have a lyric like "Walk outside, shake my ass, I know how to multitask". Mid-tempo swagger-pop, but something strangely likeable about it... a pretty good hip hop beat. Nicki Minaj sounds much better here, less hysterical, more "gangsta". Has a wiff of "Let Me Blow Your Mind" by Eve. Dramatic choir outro that N-Dubz would've loved.

I'm A Sinner
Typical latter day Madonna thanks to William Orbit. Could almost fit onto "Ray of Light" or "Music" with its crunchy dance beats and dusty guitar loops. Very "Beautiful Stranger" actually. The lyrics cheapen it a bit, but it's nice to hear Orbit use some "RoL" tricks.

Love Spent
Banjo... sharp electro beats and nintendo synths. This is very "American Life" in its melancholy robot ways. Goes a bit Hi-NRG at 1.40. Not bad, but loses it's way a bit towards the end. There have been a lot of 'pleasant' tracks in a row by now, need some wowing here.

Masterpiece
Heard this one too. It's a very soothing ballad with a lovely chorus. Not as good as "Devil Wouldn't Recognise Me" from "Hard Candy", but still heads and shoulders over almost everything else here.

Falling Free
Another ballad, sweeping, subtle yet symphonic. This is actually very elegant sounding and quite beautiful, like most of Madonna's latter day ballads. A great closer, it's hard to believe that "Masterpiece" and "Falling Free" are from the same album as "Girl Gone Wild" and "Give Me All Your Luvin'"

So first impressions are mixed. "MDNA" is a bit inconsistent, unsure of what it really wants to be. You've got the chart-hungry stuff, which is fairly dire, the underground disco stuff, which could've dominated this album successfully, the closing ballads which are rather gorgeous, and then a couple of tracks that don't really know where they stand.

Would've been nice for her just to work with one producer rather than two as different as Martin Solveig and William Orbit. But on the whole, I don't think she's totally shot herself in the foot here, there's the occasional inspired stroke here and there. But truth be told, not enough to really warrant coming back to more than about 4 tracks, 5 tops.