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[popvisionaire]

Kelly Clarkson's 'Heartbeat Song' Results Into An Ambient Sound

Everybody should know by now what makes a heartbeat --- a Kelly Clarkson record.

But what is responsible for the distinctive sound in ‘Heartbeat Song,’ the lead single from her upcoming sixth studio album, ‘Piece By Piece,’ scheduled to be release in early 2015 from her past discography?

Not only is  the record basically self-empowering for transcending those listening to the record in a state of mind of not emphasizing over a past lover but teaches everybody to live in a ‘Moment Like This.’

As the introductory verse joins her now known pop-rock sound, take notice once his or her hands begin to stomp and their feet choose to clap when Kelly’s vocals sing the following:

‘This is my heartbeat song and I’m gonna play it / Been so long, I forgot how to turn it,’ she sings over the bouncy guitar-pop record before chanting ‘Up, up, up all night long / Oh, up, up all night long.’

When she isn’t busy wrapping her audience with a Christmas album, Kelly Clarkson turns up the volume by reminding doubters her well-defined sound continues with the kind of music to prance around barefoot by pretending to be her during her 2005 MTV Video Music Awards performance. 

What we’re hearing is the sound of a mature pop star continuing to bring her own beat to Top 40 radio while incorporating synthesizers and chants from previous works, such as ‘Breakaway’ and ‘All I Ever Wanted.’

On the Kara DioGuardi, Audra Mae and Jason Evigan co-written record, Kelly references ‘Since U Been Gone’ by singing “I can’t believe I’ve ever breathed without you,’ proving she is ready to have fun while her fans continue to anticipate what’s to come.

With much action, it’s amazing ‘Heartbeat Song’ will keep up with the reckless night outs and become an anthem for the lovers, hipsters and the young teens to propel the pulse-racing anthem from the heart onto world.

'Heartbeat Song’ was released on January 12, 2015 through RCA Records.

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Meghan Trainor Is All About That 'Title'

In a world in pursuit of Photoshop perfection, Meghan Trainor entered the music scene fine-tuning the standard of beauty, having been labeled an anti-feminist, ‘All About That Bass’ continues to allow those listening to the record to make up his or her mind and walk down the street feeling good with themselves.

The catchy pop tune has become a musical phenomenon, not only for bringing booty back, but allowing parents and children to sing along the following co-written Kevin Kadish verse off-key:

‘If you got beauty, beauty, just raise ‘em up / Cause every inch of you is perfect / From the bottom to the top.’

With the ability to look into the baffling disorder of life and see things for what they are, not matter what others have to say, the 21-year-old proves to be lost in a daze of happiness through the lush throwback tunes inspired by the 1950s.  

Her debut studio album, ‘Title,’ which shares the same name with the previously released four-song EP, is a mixture of novelty doo-wop, bubblegum pop and hip-hop --- proving to be fluent in sass and self-empowerment.

The innocence of the self-titled track should become cartwheel memories, the kind lovers are supposed to share, if they were officially dating. In this case, Trainor is demanding her lover to put a name on their relationship status and not be taken for a fool.

‘Baby, don’t call me your friend/If I hear that word again/You might never get a chance to see me naked in your bed,’ she sings over the soca-pop inspired record.

Even if she is playing with the idea the female body only exists for the male pleasure, her lyrics transcend the same conviction as Adele, the nostalgic daydreams once echoed by Duffy and her tangy vocals reflect a pale-color version of Amy Winehouse.

Knowing the right balance of raunchy and sweet, Trainor manages to build a world all of her own with an unexpected surprise by welcoming her audience into the whispers-of-the-supermarket when it comes to ‘Bang Dem Sticks,’ an unapologetic pop anthem, when she self-consciously suggests her ‘drummer’ can ‘play all night’ and the very honest phone call to her father on ‘Walkashame.’

When she isn’t shy about kissing-and-telling about being a bold individual, Meghan has a checklist for her dream man to fulfill on ‘Dear Future Husband’ and loving him on the John Legend feature record, ‘Like I’m Gonna Lose You,’ a finger-snapping ballad reminiscent to the soulful records constructed by Tammi Terrell and Marvin Gaye --- sure to be a fan favorite for its vulnerable lyrics.

‘We were walking on the moonlight / And, you held me close / Split second and you disappeared  / And, then I was all alone,’ she sings before harmonizing with John Legend on the chorus:

‘So, I’m gonna love you like I’m gonna lose you / And, I’m gonna hold you like I’m saying goodbye. Wherever we’re standing / I won’t take you for granted / ‘Cause we’ll never know when, when we’ll run out of time.’

From the self-empowered sing-aloud pop anthem to the blue-eyed soul melodies, Meghan Trainor separates herself from the pop stars of today and establishes a sound all of her own where her music can be sung by senior citizens to old-soul hipsters.

‘Title’ is scheduled to be release on January 13, 2015 through Epic Records.

[popvisionaire]

Nicki Minaj Imprints The Future of Hip-Hop With 'The Pinkprint'

Four years have passed since Nicki Minaj first exploded onto the hip-hop scene with the release of her debut studio album, ‘Pink Friday,’ and continues to prove her sparking craftsmanship concerning her derrière and autobiographical experiences are reckon to be heard. 

Having created a well-established style and a trademark sizzle hard to cobble together, Nicki is a warrior of determination for becoming an influential female rapper not afraid to speak her mind.

When it comes to her third studio album, ‘The Pinkprint,’ which references Jay Z’s sixth studio album, ‘The Blueprint,’ it becomes no exception her spitfire personality shines through allowing up-and-coming female rappers to one day pattern themselves around her own musical aesthetic.

During an interview with Complex, Nicki was asked if there were any similarities between ‘The Blueprint’ and her album and stated the following:

‘The name of the album was inspired by Jay but not the body of work. I do think that it’s going to create new rules, though, in [the way] that [The Blueprint did],’ she said.

Raunchy may be the first word which comes to mind when thinking about her, but controversial amplifies Nicki’s character in the Polow Da Don and Da Internz-produced Grammy nominated second single, ‘Anaconda,’ which bestows a modern interpretation of both while sampling Sir Mix-a-Lot’s 1992 single, ‘Baby Got Back.’

Once again, proving her verses are vividly energetic and her wordplay is more compound, she chooses to express the song is for her ‘bitches with a fat ass.’

Having worked alongside artists like Britney Spears, Rihanna and Madonna, ‘The Pinkprint’ is set to feature hit-makers like Dr. Luke, Ester Dean, Boi-1da with collaborations by Ariana Grande, Lunchmoney Lewis and Chris Brown along with Drake and Lil Wayne on the vastly controversial lyric video for ‘Only.’

Nicki told The Fader, ‘pop music (has) made her have to retell her story’ when it comes to balancing her sound between pop and hip-hop, which becomes apparent ‘The Pinkprint’ is a justification of it for comprehending shade is best served hot on behalf of both genres.

When it comes to calling out a ‘Hard Core’ MC a ‘Stupid Hoe’ on her sophomore studio album, Nicki continues to assume the position and gives everybody the run down on Iggy Azalea’s alleged hypercritical career on the Cardo-produced record, ‘Big Daddy,’ featuring Meek Mill attesting even a small amount of honey may have a hint of drama.

‘Front like she tough, but that bitch keep on crying / Get this bitch a tissue,’ she snaps at her so-called competition over the rattling beat proving the deluxe edition of ‘The Pinkprint’ continues to imprint a no fucks given stance when it comes to being a top of her game. ‘For what it’s worth, when I took him I could tell he would never miss you / I ain’t even wanna diss you, but tell me what is this bitch issue?’

While she waxes off the shade thrown at female rappers with a simple hair toss, Nicki consoles herself by admiring her own position in the industry upon the Hit-Boy-produced record, ‘Feeling Myself,’ featuring Beyoncé.

‘Cookin’ up the base, lookin’ like a kilo / He just wanna taste, buildin’ up my ego,’ she raps on the self-pleasing, yet self-reassuring anthem.

Punch line or not, her own insecurities and ego make a heartfelt presence throughout the subtle production reminiscent to Kanye West’s sixth studio album, ‘808s and Heartbreak’ where the lyrics will transcend her audience into a world like no other --- a world only spoken through sincere emotion.

The 22-track record continues to sustain the idea even half a pill can’t cure a dystopian mentality where her own personal narratives regarding heartbreak, family and the annoyance of the industry may be the future of hip-hop with liberating productions on ‘Pills N Potions' and ‘Grand Piano.’

The best part of the record consists on the Pop Wansel-produced record, ‘The Crying Game,’ where the mesmerizing and soulful voice from Jessie Ware, who co-wrote the song, incorporate well with the devastating rapped verse from Nicki Minaj throughout the ghostlike production.

'We was just planning a wedding, caught cagin’ doves/You was just tellin’ your mans, that you hate the clubs/Now we in the crying game, heart laced with slugs,' sings Nicki only for Ware to add the following:

'I could’ve given everything, don’t wanna let the tears begin/We’re ’bout to play here…the crying game,' she gracefully croons.

Nicki Minaj continues to imprint her musical aesthetic on ‘The Pinkprint’ with sexual innuendos, all-around fierce character and lyrics deemed near genius-like, more importantly, not being afraid to take a risk by allowing everybody to balance his or her outlook of the album on her assets.

'The Pinkprint' may have leaked, but is scheduled to be release on December 15, 2014.

[popvisionaire]

Charli XCX Is A 'Sucker' For The Self-Empowering Rebels

There comes a time when a lover of ‘True Romance’ breaks through into the mainstream scene of popular music and makes it his or her own bitch.

Over the past two years, Charlotte Emma Aitchison, known for her stage name Charli XCX, has crafted number one hits for Icona Pop, Iggy Azalea and even managed to kick start her rebellious ways on ‘The Fault In Our Stars’ soundtrack with ‘Boom Clap,’ which peaked at number 8 on the Billboard Hot 100.

Even before the storming dance floor beat makes it presence, the catchy verse continues, to leave everybody unapologetically chanting:

‘Boom clap, the sound of my heart / The beat goes on and on and on and on and / Boom clap, you make me feel good / Come on to me, come one to me now.’

The second it comes to steaming her sophomore studio album, ‘Sucker,’ Charli XCX provides for the none bona-fide goth kids who dance to dominant pop tunes behind closed doors and the preppy kids who consider ‘Fancy’ an expression of fealty to ‘Break the Rules.’

Through her as if persona and 90s nostalgia, she comes across as the birth child of one of the successful filmmakers of the 1980s, John Hughes, and Mexican pop-rock singer-songwriter, Gloria Trevi, for empowering the no fucks given mantra throughout the 13-track record.

In an interview with DIY, she explained that she wanted her young, female listeners to experience ‘a sense of empowerment,’ adding, ‘I feel like this record is very feminine, and I remember when I first began writing it I wanted to write an album that I would’ve been obsessed with when I was 14. I would love to see a punk revolution, and loads of 14-year-old girls with shaved heads. I would love for girls to be able to celebrate this record.’

From the power of expression to the wraithlike album containing elements of punk, hip-hop and Björk-like synthesizers, she still manages to give another name to pop music by shifting from her previous goth-pop hooks on her debut album, ‘True Romance,’ and incorporate dance beats once expressed by 80s New Wave in songs like ‘Body Of My Own.’

On the Greg Kurstin-produced record, ‘Famous,’ Charli XCX manages to crash the party with a captivating sound dripping of eccentric vocals and her persistent signature punk-meets-pop-like atmosphere all while coming across as the anti-Spice Girl who happens to know every lyric to ‘Spice Up Your Life.’

‘One night, I’mma gonna come and crash the party,’ she chants over the thrumming guitar riffs on ‘Famous.’ ‘Weren’t invited but we’re feeling so outrageous / Just like we’re famous.’

‘Sucker’ constitutes itself as a love letter to early pop rock while she prances on stage in a rainbow-colored halo, ‘Heathers’ like signature style and surrounding her vision as an all-around ‘London Queen.’

‘Listen up, I ain’t coming back / Till I can fill the shack up with all gold plaques,’ she confidently proclaims in the Justin Raisen-produced third single proving to be well on her way to becoming a superstar in the US with a stellar performance on the 2014 American Music Awards and being a Billboard Women in Music Honoree.

Just when it appears Charli XCX is clinging to a dream, she collaborated with a diverse group of producers and songwriters on ‘Sucker,’ involving Weezer frontman River Cuomo on ‘Hanging Around’ and Vampire Weekend’s Rostam Batmanglij on ‘Need Ur Love’ elevating the singer-songwriter from the teenage ambassador for glorifying recklessness to proving our world is best lived reminiscing on the moments spent holding a virtual lighter on his or her cell phone when listening to records like ‘Die Tonight.’

‘Oh, I could die tonight / Cuz I got the magic in my blood,’ she institutes on the live-for-today anthem predestined to be the final single from ‘Sucker.’ ‘And, I’m staying till the sun comes up / Oh, I could die tonight / Cuz I got the magic in my veins / And, I’m goin’ hard with all my friends.’

Proving there is more than glitter in the moonlight and chaos in her character, her greatest pleasure isn’t proving she is a ‘Sucker’ for pop music, but succeeding in teleporting her audience from his or her routine lifestyle into a 38-minute journey to a night accented with neon nights on the Le Tigre-like no need of a man title track record, ‘Sucker,’ and the melancholy journey of a love affair on the Nick van Hofwegen and Benny Blanco co-written record, "Caught In The Middle,’ proving Charli XCX is more than a dancehall queen when it comes to ‘Doing It’ right.

On the verge of something new and different, Charli XCX easily has become a big threat in pop music with ‘Sucker’ for reintroducing today’s generation to actual hair tossing, fun to the bone and reckless pop tunes destined to enter a trance. 

'Sucker' is scheduled to be release on December 15, 2014.

[popvisionaire]

Nicki Minaj Opens Up With 'All Things Go'

Every second is a second lost in the music industry and no attack is made unless the artist continues to parade him or herself as a musical joke for gifting their fans with generic hooks and danceable beats appose to human emotion.

In the opening track, ‘All Things Go,’ from Nicki Minaj’s forthcoming third studio album, ‘The Pinkprint,’ she vents about personal issues regarding an abortion, family and her relationship with Safaree ‘SB’ Samuels.

While chasing questions of great importance, the Boi-1da and Allen Ritter-produced record spirals into an emotional path of logic as the pulsing beat establishes the longing to display the meaning behind virtue and intent.

‘I look beyond what people sayin’, and I see intent,’ Nicki raps on the opening verse by confessing she takes her time to decode the meaning behind every word told to her. ‘Then I just sit back and decipher, what they really meant. Cherish these nights, cherish these people.’

By embracing her own personal struggles in past records like  'Autobiography’ and becoming determined to put an end on her own adversities in ‘Fly,’ there is no denying, records like these allow Nicki to prove she is more than an entertainer who flaunts her assets on national TV by aspiring to one day take her ‘daughter to preschool.’

Having mentioned her use of pills (and potions) as a coping mechanism to dwell on the devastating death of her cousin, mentioning she would have had a child at 16 and the maternal urge to raise her younger brother like her own child.

Even when she chooses to remain a private individual, Nicki attests she’s not fake, but overprotective when it comes her family in the following verse: ‘The more I work, the more I feel like, someone they’re neglected / I want ‘Caiah to go to college, just to say ‘We did it!’ she raps on the co-written Ester Dean and Anderson Hernandez record, which samples ‘Chicago’ by Sufjan Stevens.

Nicki Minaj has proved waiting is a type of war with ‘The Pinkprint,’ but ‘All Things Go’ has easily become a distant anthem of human emotion allowing the lyrics to spark its listeners with his or her own imprint.

‘The Pinkprint’ is schedule to be released on December 15, 2014 through Young Money, Cash Money and Republic Records.

[popvisionaire]

Selena Gomez Breaks Down Knowing 'The Heart Wants What It Wants'

In an industry where entertainers are dehumanized for the profitable appraisal of others despite the fact having to deal with the million of scattered reasons, whether or not their heart knows what it wants when it comes to Selena Gomez, she has vulnerably opted to showcase her crushed heart for the world to fix.

‘The Heart Wants What It Wants’ serves as the lead single from her first greatest hits record, ‘For You,’ scheduled to be released on November 24, 2014 as her final release with Hollywood Records, having signed a new deal with Interscope Records.

Despite the ongoing headlines of her on-again, off-again relationship with Justin Bieber, the rumors and outspoken criticism becomes a testament the heart always seems to have a mind of its own forcing media and fans to yield and cling of the clamoring of remaining hopeful.

‘I know I’m acting a bit crazy / Strung out, a little bit hazy,’ she proclaims over the somber electro-pop production complete with the reminiscent Britney Spears-like ‘My Prerogative’ and 'Everytime' anthems. ‘Hand over heart, I’m praying / That I’m gonna make it out alive.’

Whether or not the heart makes sense, Selena opens up about not knowing how to live without her so-called true love and the happy moments once lived become a modern fairytale destined to depend on a breathless outcome.

‘The bed is getting cold and you’re not here / The future that we hold is so unclear,’ she coos on the Rock Mafia-produced record. ‘But, I’m not alive until you call / And, now I bet the odds against it all.’

While contributing to comfort, companionship, understanding and ease, ‘The Heart Wants What It Wants’ proves love is a matter of the heart, not the mind by urging those around her/us ‘to save (their) advice cause (we) won’t hear’ when sobbingly shouting the following verse aloud:

‘You got me scattered in pieces / Shining like stars and screaming / Lighting me up like Venus, but then you disappear and make me wait / And, every second is like torture.’

Like most, Selena Gomes finds herself learning the hard way when it comes to love, not afraid to devoid her heart from a romantic experience, when individuals should be willing to take the leap in order to experience the joy of the fall.

‘The Heart Wants What It Wants’ was released on November 6, 2014.

[popvisionaire]

Theophilus London 'Vibes!' to A New Sound

Theophilus London will give those streaming to his forthcoming second studio album, ‘Vibes!’ through his Soundcloud page to take control of their past memories only to be compelled to vibe to the motion of his or her own shadow.

As the Trinidadian-born American rapper from Brooklyn becomes the future of music through the Brodinski and Club Cheval-produced lead single, ‘Tribe,’ featuring Jesse Boykins III by acknowledging everyone needs and craves to be given affection as the repetitive tribal-inspired hook and finger-clicking, feet-shuffling beat achieves to teleport everybody to the festivities taken place in Saint Lucia.

From the half-crooned vocals to the set in motion drum outbursts, Theo continues to be in control of his own rhythmic beat, which allows for him to separate himself from the cookie-cutter world of music currently being heard on Top 40 radio.

‘In my process of creating, I didn't want to say, 'OK. This is what the album title's going to be' and start creating around that. I more so want to be free and creative at all times,’ he stated to The Fader regarding the process of naming the album.

‘‘…The album is called Vibes because everything that happened creatively and spiritually just all vibed together. Everyone who worked on it with me did it on a family level. We all vibe together. You couldn't even plan it. It was all vibes,’ he said.

After reportedly hearing ‘Neu Law’ on his car system while driving through Paris, Kanye West became executive producer of the album only to allow London to inflict R&B and 80s new wave into his already constructed experimental club-ready pop tunes.

While serving as a mentor for Theophilus, West encompasses the richness of human experience through love and heartache as the conversion-minded anthem, ‘Do Girls,’ provides a self-assured creation to a mischievous tale of romanticizing a lesbian behind closed doors.  

‘She a runway tall model, pretty white girl,’ he raps over the radiant co-produced Cid Rim record and arranged by Kanye West. ‘I never discriminate, just dated three black girls / That’s my private life, so you don’t know that, girl.’

When it comes to highlighting ‘Vibes!’ as a sophisticated club record for exposing London’s near-genius talents for creating soulful, pop melodies easily influenced by Michael Jackson, Prince and The Smiths on ‘Take and Look,’ ‘Heartbreaker,’ ‘Need Somebody’ and ‘Figure It Out’ featuring Devonté ‘Blood Orange’ Hynes, which are equally destined to appear on future Chanel fashion show playlist having Karl Lagerfeld been the art director of the album.

The self-driven record ‘Can’t Stop’ featuring Kanye West turns out to be an interstellar production for managing to revive the minimalistic, yet futuristic approach depicted on West’s fourth studio album, ‘808s & Heartbreaks,’ for breaking through to the typical sound of hip-hop and evoking a presence of a tribal-enthused production during the following:

‘Can’t stop, you can’t stop / Can’t, can’t stop, you can’t stop my love / Can’t stop, you can’t stop my love,’ Theophilus echoes over the exclusionary production prior to West’s explosive verse allegedly aimed at his ex-girlfriend Amber Rose: ‘Might have caught you clappin’ every Sunday at church / You still ratchet cause they play your favorite song and you twerk.’

By strongly influencing what he thinks and feels, Theophilus London creates a new vibe by undoubtedly exposing a new sound onto the world through ‘Vibes!’ as those listening to the album will be encouraged vibe to ‘Vibes!'

'Vibes!' is scheduled to be release on November 4, 2014.

[popvisionaire]

Gwen Stefani Proves This 'Baby Don't Lie'

Gwen Stefani returns from an 8 year hiatus with her first solo lead single, ‘Baby Don’t Lie,’ since she last released, ‘Early Winter,’ from her highly underrated sophomore studio album, ‘The Sweet Escape.’

Having mastered a sound all of her own by exploring genres and techniques outside of the eclectic No Doubt trade mark and incorporating an 80s dance-pop production into the R&B-modified sound on ‘Rich Girl’ featuring Eve, ‘Baby Don’t Lie’ comes across as a bit of a surprise.

When it comes to highlighting the insecurities in a relationship the co-written Ryan Tedder record acknowledges the inflected reggae-inspired beat is the only separation from current Top 40 hits.

Gwen manages to outshine any current pop trend due to her thriving career and unique vocal talents, allowing a simple record like ‘Baby Don’t Lie’ to teleport just about anybody into a tropical heaven as he or she opts to ska across the living room at ‘4 in the Morning’ while chanting the following chorus:

‘Baby don’t, baby don’t, baby don’t lie / I don’t wanna cry no longer,’ she croons over the midtempo Benny Blanco-produced pop record. ‘Baby don’t, baby don’t, baby don’t lie / I’mma need a love that’s stronger.’

‘What you waiting for?’ should be the only response given to the comeback single since it’s reminiscent of No Doubt’s sixth studio album, ‘Push and Shove.’

The radio-friendly pop song is not ‘Bubble Pop Electric,’ but its ‘Rock Steady’ yelp in the introductory verse will have everybody going ‘B-A-N-A-N-A-S’ for her long-awaited third studio album.

With that said, join the tug-of-war struggle between two lovers who want to win control by urging out, ‘I can tell what you’ve been hiding boy / And, you can tell me if I’m getting warm’ over the hip-hop-enthused breakdown as a response to: ‘Uh-huh / Here we go.’

'Baby Don't Lie' was released on October 20, 2014.

[popvisionaire]

Taylor Swift Finds One Direction ‘Out of the Woods’

Taylor Swift manages to discover a new sound for her upcoming fifth studio album, '1989,' with the release of her second promotional single, 'Out of the Woods’ who previewed the record on Good Morning America on Monday.

It has become a known fact, Swift is well known for using her own relationships as inspirations for her music and/or continuously labeling herself the victim of heartbreak.

With the release of ‘Out of the Woods,’ she doesn’t address the rumor about the record being inspired by her relationship with One Direction singer Harry Styles, who she used to date after discovering she didn’t know where this particular relationship was headed.

According to an interview with ABC, the promotional single is about a relationship where you never feel like you’re standing on solid ground. And that kind of feeling brings on excitement, but also extreme anxiety with endless questions.

The co-written record of Fun.'s Jack Antonoff showcases the frantic feeling of anxiety and the moment’s worth wild during the following repetitive chorus:

'Are we out of the woods yet? / Are we out of the woods yet? / Are we out of the woods yet?' she frantically echoes over the back-vocals by Swedish music producer and songwriter, Max Martin. 'Are we out of the woods? / Are we in the clear yet? / Are we in the clear yet? /  Are we in the clear yet? / In the clear yet? / Good.'

As Taylor yearns for a fairy tale ending, the song is vocally reminiscent of Lauren Eve Mayberry, the lead vocalist of the Scottish synthpop band CHVRCHES, as the twisting 80s-enthused beat leads her into a state of remembrance for the similarities found in Charli XCX‘s debut studio album, 'True Romance' and M83's 'Saturdays = Youth.'

As of last December, Swift may be staring at Polaroid pictures taken from the once happy couple who decided ‘to move the furniture so (they) could dance' like 'two paper airplanes flying, flying, flying.'

Taylor Swift will continue to write a record for every future failed relationship, but ‘Out of the Woods’ becomes a standout record concerning her own discography and cruciating lead single, ‘Shake It Off,’ for acknowledging it takes two to fall in love and live in a world streaming in color. 

‘Out of the Woods’ was released on iTunes on October 14, 2014 when pre-ordering '1989.'

[popvisionaire]

Jessie Ware On the Trouble with ‘Tough Love’

On the surface, tough love comes across as a phrase used to strongly help an individual for his or her own good. As if, magically pointing the index finger at someone were enough for him or her to hear the sincerity in the voices of those who are talking about everlasting devotion.

Then why is it those who speak the truth often the ones who end up getting hurt?

With the release of her upcoming sophomore studio album, ‘Tough Love,’ Jessie Ware isn’t afraid to demonstrate a personal side of her while other female entertainers are opting to make their lives simpler by experimenting with beats to the point where their audience no longer is able to comprehend their own actions.

Since moving away from heartbreak is the strongest human dedication, Jessie finds herself using the same sound created in her debut studio album, ‘Devotion,’ when it comes to exploring about love and heartbreak throughout the implacable lyrics, sound-wise productions and her over the moon vocals.

The minute it comes to the idea concerning what to say and what to do in regards of fear and grief, the title track record, ‘Tough Love,’ proves the minimal drums and moody production allows her to defeat heartbreak over the following sung chorus:

‘So you wanna be a man about it, do you? / And have you thinking out all you wanted, have you? / When you heart becomes a million different pieces / That’s when you won’t be able to recognize this feeling,’ she sings on the BenZel produced record over the repetitive echoed vocals, ‘That’s called tough love.’

As fear gets the better of everybody and individuals occasionally avoid facing genuine affection, she respectfully admits not wanting to fall in love with someone who doesn’t make the attempt to love as a way of proving dishonesty is less painful and requires her to be less brave.

Jessie Ware comes across as a modern-day Sade and Lauryn Hill with her soulful voice filled with reason throughout the coherent 11-track record, which purposely becomes an acknowledgment of those who have influenced her to become a singer-songwriter whose ‘Wildest Moments’ consists of briefly working as a journalist for The Jewish Chronicle and The Daily Mirror.

When it comes to controlling pop music, the Dev ‘Blood Orange’ Hynes-produced dance track, ‘Wants Your Feeling’ will shed light on the ‘Tough Love’ for its softened bass allowing her to change her ways and tells her audience her most intimate secrets.

‘Light still shining in the room / You left me here / I wanted to show you / I wanted to control you / Light still shining in the room,’ she seductively coos over the lighthearted 90s synths and super addictive production.

As Ware’s sophomore studio album becomes an album filled with ‘Champagne Kisses’ and destined to be the presumptuous background music during the filled memories of a once romantic first date only to force one another to ‘Say You Love Me,’ every bit will become well remembered especially when it comes to saying goodbye.

On the Julio Bashmore-cowrittern record ‘Keep On Lying,’ Ware churns about a rocky relationship over a hymn-like chorus and church acoustics, which blends into a powerful ballad reminiscent of ‘Ex-Factor’ by Lauryn Hill.

‘Is it real? / I can't tell,’ Ware sings as her voice trembles with profound doubt.

Regardless of the occurrence of infidelity, we all have the freedom to choose to fall in love and fall apart as ‘Cruel’ manages to prove actions, do in fact, speak louder than words on the James Ford and Dave Okumu-produced record.

‘Do us both a favor (Tonight) / If you want to do the real thing (Make it right),’ she sings sweeping strings and 80s-like production. ‘You need to mind your mind (Just try) / Do you feel me reach the end of the line?’

Everything from the ‘Sweetest Song,’ which comes across a Miguel record to it’s simplicity production allows Jessie Ware to comprehend ‘Tough Love’ will ‘Kind Of… Sometimes… Maybe’ teach those listening to the album not to cry for somebody who never said the three words to stop a heart from breaking while allowing her to stay true to who she is without the need to become somebody she’s not.

‘Tough Love’ is scheduled to be release on October 13, 2014 in the UK and October 24, 2014 in the US. 

[popvisionaire]

Tinashe Carries 'Aquarius' Into a New Sound of R&B

‘Welcome to my world,’ Tinashe seductively incites toward the end of the title track record from her debut studio album, ‘Aquarius,’ which is currently streaming on iTunes Radio.

‘Aquarius is my official album introduction to the world and represents a new season of music and art,’ she said in a press release. ‘I cannot wait to finally share with the world what I have been working so hard on for the past few years. This is just the beginning.’

As the whirlwind production begins it leads to a deep commemoration from her third self-released mixtape, ‘Black Water,’ only for the slow moving beats to easily flow over the pulsating lyrics while surrounding both sound and water waves as a way of symbolizing the motion of time, hope and the need for one to cleanse and purify a broken heart with alcohol, sex and other drugs.

The enlightened atmosphere on the Boi-1da-produced record, ‘Cold Sweat,’ evidences on the endless time Tinashe has spent thinking how things may be better after enduring on the pressure of aspiring to define a five star relationship when it becomes apparent she wants to be aware of what is going on behind her own field of vision throughout the expressive verse:

‘I like being alone / I’m out here, spent plenty of time on your own / Cause the city ain’t kind, other people who sign can’t take no. Complacent,’ she exclaims over the thumping, shivering production. ‘This ain’t a place to be making friends, they all got tendencies / Eyes on your back and in your neck.’

Following the success of ‘2 On’ and ‘Pretend’ featuring A$AP Rocky, Tinashe proves this is the type of album easily influenced by Janet Jackson due to its storytelling while hinting ‘Aquarius’ may be the type of album Aaliyah would have released following the success of her self-titled third studio album and the soul Beyoncé continues to aspire for on any future album.

The elements associated with the 18-track album are the unconventional productions combining neo-soul with alternative synths and the added constructions by Mike WiLL Made-It, Detail and StarGate only enhance the moody textures music aficionados have learned to admire from her.

Though her sensual falsettos and smooth lyrics do not determine the 21-year-old singer-songwriter but her input in taking control and allowing ‘Aquarius’ to stand the test of time by admitting to Wondering Sound she ‘was super in control of all the creative elements from the look and the styling to the title, to the track list to the songs themselves — the beats, the lyrics.’

Managing to be in control of her debut album, Tinashe admits to being a ride-or-die girl and the ideal girlfriend anyone could wish for on the DJ Dahi-produced record, ‘Bet,’ featuring guest vocals and guitar solo from Dev ‘Blood Orange’ Hynes, who previously produced ‘Fugitive,’ a sad record from her 2013 mix tape.

‘Bet on it / Bet on it / Pay no mind to what the doubters all say,’ she sings over the experimental R&B record. ‘I’mma be around forever, always / You can bet on it.’

As the near-genius album finds itself, exploring the sound waves of ‘Nightfall,’ the impacting interludes simply add the much-needed oomph to set the tone and potentially continue to prove those listening to ‘Aquarius’ will enter a mental state of ease as Tinashe travels ‘Deep In Thought’ to her childhood recital while managing to incorporate elements of Janet Jackson’s 1986 hit, ‘Funny How Times Fly’ on ‘How Many Times’ featuring Future.

‘Aquarius’ is not only determined to make the world of R&B a better place for music aficionados, but highlights on new thoughts and ideas from the empty void of a wasted heart on ‘All Hands on Deck,’ to her nervously holding her breath in hopes of giving herself to her man on ‘Bated Breathe’ only to express her raunchy persona on ‘Feels Like Vegas’ during the following verse:

‘Let me set the stage for ya / Cause you know I like it when I dance for ya / Been anticipatin’ when you make it over / Furniture rearranged, I need some space open / Ooh, you lose your mind every time,’ she breathily coos over the airy beat.

As the Aquarian zodiac embodies visionaries and trailblazers, Tinashe’s collaborative effort prove a strong-minded singer-songwriter like she shouldn’t be afraid to live in her own world by making more than one ‘Thug Cry’ after constructing one of the best R&B records with ‘Aquarius.’

‘Aquarius’ is scheduled to be released on October 7, 2014 through RCA Records.

[popvisionaire]

Fergie Likes to Love with 'L.A. Love (La La)'

Fergie continues to prove ‘A Little Party Never Killed Nobody’ with the release of her first lead single in six years.

The soon to be a West Coast anthem, ‘L.A. Love (la la),’ was produced by DJ Mustard, which stands for every continent, country and province in the world, but will leave those listening to the pop-meets-urban enthused hook belting out the following:

‘You on that Cali shit? / You like to like it / We legalizing it,’ she sassy proclaims during the up-beat record from her forthcoming untitled second studio album. ‘Yes you can join us now / We like to love it.’

Even when the proclaimed love letter to Los Angeles comes across as promotional single or an Iggy Azalea demo, the infectious construction, repetitive lyrics and geography lecture becomes the ideal record, as of now, to jam along to by forcing one to smile rather than crying for being stuck on the northbound 405 Freeway. 

With that being said everyone should playful fuss over the following verse: ‘Every city, every state, every country you know / All around the globe / This is how we roll,’ before cooing ‘La la la la la’ with his or her best Jamaican accent.

‘L.A. Love (la la) was released on September 29, 2014.

[popvisionaire]

Chris Brown Marks the Spot With 'X'

From legal troubles to a Rihanna liking spree on Instagram, Chris Brown continues to try and separate his hectic public lifestyle through his forthcoming sixth studio album, ‘X,’ which saw numerous delays over the past year.

This time around, the moderate success Brown received by releasing six singles prior to the release of the album appears to reintroduce his side of the story – through a sound he has mastered by accommodating musical influences from Michael Jackson to conceding music genres like EDM into R&B, yet managing to provide the sexually explicit innuendos he has become known for since the beginning of his career.

While most would have liked for him to shed some insight into certain aspects of his life, there is no denying ‘X’ will make his audience listen by means of trying to interpret the singer-songwriter and producers lyrics proving life changes and careers will turn out to be marked like his own album cover.

On the title track of the album, he provides a sound sure to catch the heart of his audience while asserting the common saying: ‘You’re only as good as the company you keep’ on the introductory verse before admitting being ready to move on from the negative press following his known history for losing his temper.

‘I swear to god I’m moving on (Mm, back up) / I ain’t go back no more, I ain’t go back no more,’ he calls out over the smooth R&B tune intertwined with the custom production known from Diplo who produced the record.

According to an interview with MTV, Chris Brown stated the following in regards to the message behind ‘X:’

‘The song and the album title ‘X’ has a couple different meanings,’ he said. ‘It can refer to an ex-girlfriend; in terms of you always look forward to moving forward from. It’s also about being a reject in a sense. In me being myself, being able to grow up, me not always hanging around the right crowd or doing the right thing all the time – It’s me saying, ‘I’m over it. I’m past the bulls**t now.’”

The 21-track record consists of numerous guest appearances from alternative R&B newcomer Jhené Aiko to unaccredited vocals from Ariana Grande on what was once rumored to be a potential single, ‘Don’t Be Gone Too Long,’ prior to his jail sentence.

When the world became doubtful of his contradictory life choices being portrayed in his music, Chris has no problem acknowledging the women he meets in the club only want to sleep with all the men in the industry and shouldn’t be considered ‘Loyal’ by means of him coming across as an authority figure when meeting a 'New Flame,' which the music video pool scene is the same Britney Spears used in her video for 'Work Bitch.'

 His hunger for women in ‘Drown In It’ featuring R Kelly becomes an illusion of lyrics brought to life in his own discography to be idealized by the men who objectify women and beats sure to make women not to feel ashamed of exploiting themselves behind closed doors.

On the Mel & Mus-produced record, 'Songs On 12 Play,' featuring Trey Songz finds both entertainers serenading women by referencing the debut studio album of R Kelly, who is considered one of the most successful R&B artists of the last two decades, during the following hook:

‘Cause’ your body’s calling me / And with your permission let me start your ignition,’ the both sing. ‘Don’t you know that you’re reminding me of a song on 12 play / You’re like a song of 12 play.

"I tried to stay away from the Euro beats, and not go totally pop," he told Rolling Stone. 'Instead, I wanted to take the Quincy Jones approach (by wanting) to put that classic essence of R&B and soul with the new age of music now. There's a lot of live instruments, and a lot less Auto-Tune. I really wanted to demonstrate my vocal ability, creating the vibe of me singing along with a band."

Just when individuals listening to the album thought it was over as others wonder on his relationship status with on-and, off-again girlfriend Karrueche Tran, highlights of ‘X’ disclose the mathematical solution to obtaining the attention of a female on the Danja-produced up-tempo record, ‘Add Me In,’ the ex-lovers anthem featuring Brandy on ‘Do Better’ --- where he proclaims to hating himself a little more, each day.

When it comes to the standout record and destined to be a future single, Kendrick Lamar, American recording Hip-Hop artist, remain vulnerable while embracing his inner Eminem throughout the following spitfire verse on ‘Autumn Leaves.'

‘When it gon’ rejoice and forgive, tell me how I stay positive / When they never see good in me / Even though I got hood in me / Don’t mean he won’t redeem me, Lord,’ Kendrick raps over the delicate Bam-produced record as Chris Brown finds himself transitioning from two lovers by admitting: ‘I’m confused who’ll I’ll spend my forever with.’

In an industry where art is proclaimed to imitate life, ‘X’ allows Chris Brown to sing about ‘F.A.M.E.,’ ‘Fortune’ and the struggles and tribulations a 25-year-old will make along the way by trying to be an enhanced interpretation of ‘Chris Brown.’

'X' is scheduled to be release on September 16, 2014 through RCA Records.

[popvisionaire]

Lights Chases the Shadow of the Night On 'Little Machines'

Lights continues to question her truth in the forthcoming third studio album, ‘Little Machines,’ by continuing to try and prove a never-ending story when encountering a brawl between fantasy and reality.

From the shadowing hooks to the trailblazing lyrics, the 14-track record comes across as an indie film set in person: its creation is catapulted to take its listeners on a journey to the greatest love story ever told as the main characters become enchanted by its free-spirited meaning of thinking highly of the times spent being young and wild.

Without superimposing one picture onto another and remaining true to her musical aesthetic, the second single, ‘Running With the Boys,’ restrains itself from coming across as a cheesy pop tune for its carefree and honest understanding of growing up and allowing oneself to be a kid.

Everything from its liberating beat will force everyone to put his or her hands in the air and dance on their tippy toes, oh so high while mesmerizing over the following chorus:

‘So turn up the noise / Dressed to the nines / Running with the boys,’ she sings over the rhythmic strings and thumping drums. ‘Your hand is mine / Singing every song, loving every line / Til the night is done / Just like the old times.’

Behind the tranquil shaking of the fist to the world, the nostalgic record portrays the same reverence from other female singer-songwriters who march to the beat of their own drum, such as Björk and Kate Bush only to under see the distinctive sound from her previous standout studio album, ‘Siberia.’

While ‘Siberia’ felt like a risk, she recently told Billboard the purpose behind ‘Little Machines:’

‘With this record … it was more like, ‘Let’s write some incredible songs that everyone can sing along to and lyrically latch onto.’ It was all about that — making really good individual songs and then putting them all together as an album.’

On the Drew Pearson-executive produced record, Lights manages to capture the innocence of moving on, acknowledging what makes her who she is as an individual and understanding nothing is forever when ‘Oil & Water’ have logically proven not to be a good equivalent for one another.

‘Before we let go / Always separate / Nothing is the same forever,’ she echoes while repeating ‘oil and water’ on the numinous production. ‘See you drive away / Wish I could make you stay,’ before continuing with a metaphor to describe the aftermath of a separation: ‘Kicking, screaming, softly speaking, near or parting ways.’

Throughout the production, ‘Little Machines’ proved to be like a film whose only conflict was its strict similarities containing the same electronic edge and folk-like qualities found in Ellie Goulding’s discography and the Avril Lavigne-like lead single, ‘Up We Go,’ yet managing to find its own glory in ‘How We Do It’ for allowing her audience to chase the thrill of life, the message of invincibility on ‘Meteorites’ and her own reflections of life with ‘Portal’ by comparing herself as a ‘ruby red river’ with the potential to bring others into her own problems.

As the album progresses from becoming a roller coaster ride filled with regretful reactions, ‘Muscle Memory’ grasps its audience by accumulating on the idea of Lights not trying to forget those who have supported her along the way by singing:

‘I see you when I reach (Muscle memory) / I feel you when I sleep (Muscle memory).’

Proving nostalgic and virtue played a major role in ‘Little Machines,’ Lights is not being afraid to surround the album on poignant lyrics, which depending on the listener, it will either come across as a compelling indie production or a love story destined never to be told.

Either way, Lights are meant to chase the shadows of the night.

‘Little Machines’ scheduled to be release on September 23, 2014 through Warner Bros. Records.

[popvisionaire]

Kid Ink Is A Skilled Professional In 'Body Language'

Kid Ink appeared on the music scene wanting to party with his ‘Main Chick’ with the success of his critically-accepted sophomore studio album, ‘My Own Lane,’ having done so, he has released his latest lead single, ‘Body Language,’ from his upcoming and currently untitled third studio album featuring up-and-coming R&B singer-songwriter Tinashe and Usher.

The co-produced Cashmere Cat and Stargate record premiered on Power 106 on Big Boy's neighborhood where its bubbly and radio-friendly productions interconnects well with Kid Ink’s play on words and Ushers infective hook.

‘You ain’t gotta say too much / She ain’t gotta say too much / I can read your body language,’ Usher considers not judging a book by its cover as Tinashe croons throughout the background of the record.

As the female adverts her own gaze and both men and begins to draw attention to her own hands, Kid Ink finds himself becoming a skilled professional in body linguistics during the following verse:

‘It ain't hard to tell,’ he recalls through the bells, whistle and DJ Mustard-like beat. ‘If you don't wanna take it too far then well / You better stop flirtin', and stop twerkin' / So perfect, 'cause it's workin'.’

Proving those who don’t pay attention are probably missing an authentic signal for grasping the meaning behind ‘Body Language.’

Without a doubt, Kid Ink, Usher and Tinashe understand the human behavior by recognizing a hit, which will lead anyone listening to the record to comprehend the signs proceeding around sexual fantasies consistently running through his or her mind while timidly being remembered of the beat on 'Loyal' by Chris Brown.

‘Body Language’ is scheduled to be released on iTunes on September 9, 2014 through RCA Records.

[popvisionaire]

Is One Direction Able To Withstand A Relationship With 'Fireproof?'

What seems like the first time since 2010, One Direction has released a free 24 hour download single, ‘Fireproof,’ from their forthcoming fourth studio album, ‘Four,’ rumored to be released on November 17, 2014 through Syco and Columbia Records.

In spite of touring the world in pursuit of contemplative ‘Midnight Memories’ and alleged split-up rumors, the English-Irish boy band attests other boy bands like 5 Seconds of Summer should not get too comfortable with the idea of so-called mainstream success since the band next door will force anyone listening to ‘Fireproof’ to go in one direction – from the hipster head bob to the cool kid dance only to leave true ‘Directioners’ to potentially lose their minds.

Band mates, Louis Tomlinson and Liam Payne wrote ‘Fireproof’ alongside John Ryan, Jamie Scott and Julian Bunetta who were responsible for their 2013 hit single, ‘Story Of My Life.’

Containing the same acoustic Mumford & Sons-like pop vibe from their previous record intertwined with the 'Good Vibrations' from The Beach Boys, the 5-group band will be making their past relationships recall on the good times they once had as the sentimental following verse:

‘I think I’m gonna lose my mind / Something deep inside me, I can’t give up,’ the boys admit before proclaiming their memories by synchronizing, ‘Cause nobody knows you baby the way I do / And, nobody loves you baby the way I do.’

Might ‘Fireproof’ be The X Factor UK alumni's ‘Best Song Ever,’ yet proving anything can be better than the current Billboard No. 1 Top 100 Hit released from Taylor Swift, so ‘Shake It Off’ to ‘Fireproof.’

'Fireproof' was released on September 8, 2014 through their official website.

[popvisionaire]

Jhene Aiko Posses Empathy And Affection On 'Souled Out'

Jhené Aiko has a concept of conversion with her upcoming debut studio album, ‘Souled Out,’ which is currently streaming on iTunes Radio one week prior to its release date, leaving her fans to become wanderers by focusing their attention on her lyrics only to question the hopelessness of his or her past life and the forthcoming of their future.

Her fresh stanzas accompanied by the out of the ordinary production continue to prove her declarations are like a breeze of fresh air as her vision for eternal freedom comes across as a composed act for survival, forcing our emotions to act quickly when listening to an album capable of taking her audience on a journey of self discovery. 

With an adorning style of sincerity and the yearning of not wanting to reside in an in-between state of Heaven and Hell, Jhené Aiko demonstrates individuals will encounter ‘The Pressure’ in his or her everyday existence but one should embrace the natural beauty of life.

As the album continues to tell the story of her dealing with heartbreak, the mayhem of becoming numb after the death of her brother, ‘It’s Cool’ makes her have reservations about having a man for mental and physical support while trying to untangle herself from feeling pain.  

‘My escape from everything / Please say you’ll be mine out there,’ she powerlessly admits to losing her smile over the soothing beat. ‘And, I will give you everything / Man, you are really something else / You caught me at an awful time.’

In a recent interview with The Fader, Aiko described the album’s sound as ‘a younger Sade with urban stories’ and added, “I always say, ‘Keep it pretty but I want you to be able to ride around to it in your car… with something that makes a beat. As far as the lyrics go, they’re super honest and on this album you’ll see me doing different things with my voice. It’s not so rap-influenced. It’s just me being a singer and doing the different things I can do.’” 

On the Dot Da Genius-produced record, ‘Wading,’ Jhené references ‘Picture Me Rollin’’ by 2Pac in the introductory melody and admits not being perfect during the conscience-stricken hours of waiting for her past relationships not to mold her into thinking love is colder than death.

‘Picture me rolling / Out in the open, baby I know that you would notice / You have been hoping I wouldn’t go,’ she whispers alongside the tranquility of the ocean waves production and ticketing beats.  ‘Should I be wading? / Should I be wading for you? Don’t keep me waiting / I will turn blue.’

Throughout the 14-track album, Jhené Aiko finds ecstasy in holding her position about love by depicting its truth on ‘To Love & Die,’ quoting John C. Maxwell on the No I.D. produced record, ‘Spotless Mind,’ the turmoil of dealing a perfect heartbreak with ‘Brave’ and the thought-provoking production about believing everything in life happens for a reason during the following verse in ‘Eternal Sunshine:’

‘Is it strange for me to say that, if I were to die today / There’s not a thing I would change / I lived well,’ she wholeheartedly admits by possibly referencing ‘Eternal Sunshine of the Spotless Mind’ as the main characters are laying on their backs, staring at the sky and admitting to being okay with dying since they have one another.

‘Souled Out’ posses empathy and affection from beginning to end and allows its audience to wipe tears of happiness as he or she meditates for a new day, a new season of tenderness while listening to the standout record, ‘Promises’ featuring her daughter Namiko and her late brother, Miyagi only to be enlightened by the real life experiences depicted on the record:

‘Life is what you make it / And, anything can happen,’ she declares on ‘Promises.’ ‘But, you just gotta get past it, you just gotta laugh at it / And, anything can happen, you fall down get back up.’

'Souled Out' is scheduled to be release on September 9, 2014.