Feed Limmy Albums of 2018

I actually thought this might more straightforward than the ‘Songs of 2018‘ list since I haven’t listened to that many albums this year. Or so I thought. Perhaps it’s not necessarily true that I haven’t listened to that many albums. Music has never been more accessible to me ever. I tend to put on an album or a podcast episode when I’m engaged in a low-distraction task at home like cooking, cleaning or hanging the laundry. We are so spoilt in the streaming age – the convenience, the access, the sheer amount of material out every single week. It truly is overwhelming and hard to digest.

Over the past few years my listening pattern had changed. I absolutely relish in the control I have now as a consumer to be a complete master of my listening experience. I prefer to curate my own themed playlists which would soundtrack a myriad of moods and seasons (here’s my Spotify profile if you would like to peruse). I’d rather make my own ‘artist discography’ playlists rather than pass the hours with a prescribed set of songs picked out for me.

However, in the practice of me putting together my own playlists, I had come to really admire a well put-together body of work when I come across one. This list is more of 2018 honours list for bodies of work I have enjoyed. So in there will be a couple of mini-albums or EPs as well – whatever people wanted to call them. Here are 12 albums/EPs I have really enjoyed and connected with in 2018…

#12 – Charlie Puth “Voicenotes”

Literally no one I know listens to Charlie Puth. I don’t think I’ve ever seen him mentioned in my feed. Nothing. Therefore, I have zero self-awareness about liking his voice and his album. Basically, I went through this one week earlier this year where I was listening to a New York Times Popcast episode about Charlie and his Voicenotes album and then went to check it out and was surprised that I didn’t completely dislike it. Voicenotes dazzled me in the way Bruno Mars’ first album did back in the day. It’s a complete candyland of 80s/90s R&B influences without crossing over into pastiche, the silky vocals and youthful confidence is truly Charlie’s biggest drawing card. He, as I discovered, isn’t just a remarkable vocalist but also a brilliant producer, which really reflects in this album.

Key tracks: ‘Attention’, ‘Done for Me’ (feat Kehlani), ‘Slow It Down’

#11 – Years & Years “Palo Santo”

I distinctly remember getting butterflies halfway through my first listen of this album. It hit me that Olly Alexander and Years & Years would have been my teenage self’s absolute everything. Imagine what life would’ve been like as a young queer person and seeing Years & Years on primetime telly and playing big festivals. Palo Santo is nothing if not a collection of poems delicately wrapped in layers of electronic pop production that never try to outdo the heart of each song. In the centre is a rawness and vulnerabilty that draws you in to unpack more with each listen. Even now, I don’t feel I’ve fully gotten to the core of Palo Santo yet but I’m not in a rush. In an age of instant gratification maybe this is the kind of slow burn we need.

Key tracks: ‘All For You’, ‘Hypnotised’, ‘Hallelujah’, ‘Sanctify’

#10 – Troye Sivan “Bloom”

Bloom is such a gorgeous, highly stylised coming-of-age album that falls somewhere between soundtracking a Dolce & Gabbana citrusy-sea breeze fragrance commercial and an arthouse LGBT teen film. The charm is in the effortlessness of this – the unhurried pace, Troye’s chilled vocal delivery, and the themes of self-discovery. You walk around town on a quiet Sunday afternoon in spring with this in your headphones and I guarantee you’ll feel like you’re in an indie film.

Key tracks: ‘Seventeen’, ‘Bloom’, ‘My My My!’, ‘Dance to This’ (feat. Ariana Grande)

#9 – Ray BLK “Empress”

I’ve long been a fan of Ray since her 2016 Durt EP. She truly is a South London gem that should be appreciated and protected at all costs. Through her work you can see how she has grown as an artist and writer but I love that she has never wavered from her commitment to telling her story and painting you a picture of life in her community. The parallels to Ms Dynamite’s work is an obvious one. Let me just say, Ms Dynamite’s 2002 debut album holds such a special place in my heart. Even to this day, listening to ‘Brother’ would get me in my feelings. ‘Mama’ on Ray’s “Empress” EP brought that same feeling back around and I was listening to this for the first time while I was doing a food shop in Tesco and had to blink away the tears. At the same time, it made me smile that she did a rap from her mum’s perspective. My favourite line from the “Empress” EP is in ‘Got My Own’ where Ray’s doing a tongue-in-cheek flex about how much money she’s got and she’s treating her mum etc… and suddenly she adds, “I’ll get that pack of fizzy water, don’t use that tap no more – do I look like a buster?”. I mean, that is truly when you know you’ve fucking made it. When you’re buying sparkling water and you don’t have to entertain tap water any more.

Key tracks: ‘Mama’, ‘Run Run’, ‘Empress’, ‘Got My Own’

#8 – Kate Stewart “In The Beginning”

I just knew immediately after hearing ‘He’s Good’ that I was going to love this new incarnation of Kate Stewart (the artist formerly known as K Stewart). This was a proper 90s/00s pop R&B affair. This one’s for anyone who’s a fan of Mariah, JoJo, Samantha Jade etc. It’s pristine vocals and I mean proper vocal vocals. It is vibes. It is emotions. Nobody else is doing shit like this right now and the fact is not anybody can walk up and do this like Kate’s done it. This body of work needs to be celebrated. I can imagine her getting out to Asia performing there, and this just blowing up absolutely in every country. Vocal royalty needs to be treated as such.

Key tracks: ‘He’s Good’, ‘Distraction’, ‘Loving You’.

#7 – SUMNI “Warning”

This will be the only K-pop album/mini-album you’ll find on here this year even though Spotify Wrapped 2018 will let us know that my Top 5 tracks of the year were all K-pop bops. My low-key obsession with SUNMI (formerly of the legendary Wonder Girls) this year literally came out of nowhere. Even though she had been in the public eye for over 10 years, I had no knowledge of her until this era. Between Wonder Girls and her relaunching as a solo popstar (she had a solo EP in 2014), SUNMI tapped into a new performance style that was a little odder, for lack of better words. It was less preoccupied with the K-pop female idol archetypes of being cute or overtly sexy but rather this character was more standoffish and cold, and it really suited her.

Warning the mini-album is a collection of songs crafted around this newfound persona. Opening with ‘ADDICT’ (sung completely in English), SUNMI invites you into the world of this femme fatale rhetorically asking “Who’s running the show?”. ‘Siren‘ – which could be taken as either the bewitching folklore character that drew seamen to their doom, or a literal alarm – is ball-busting 80s disco romp warning lovers not to get attached because she will not emote or empathise even if they’re crying. In its corner are the singles ‘Gashina‘ (a post-tropical house banger about a woman scorned) and ‘Heroine‘ (a pantomime bop about a love-hate relationship where she lets her man go on acting like he’s her ‘saviour’). ‘Black Pearl’ is a gorgeous gem with its surprising sax solo and sultry demeanour. Overall, if you’re after a theatrical female K-pop project that has slightly more class and quirk to it, I’d recommend SUMNI and don’t forget to turn on the subtitles for her music videos.

Key tracks: ‘Siren’, ‘Gashina’, ‘Heroine’, ‘Black Pearl’

#6 – Robyn “Honey”

We’ve waited a really fucking long time for a Robyn album and this thankfully hit the mark for me. Although it wasn’t as generous of a classic as Body Talk was, this was a natural next step for her – and I got just as much out of it. I found myself walking alongside Honey like Robyn and I had never missed a beat. I realised I never really appreciated the warmth and knowingness in Robyn’s vocals until this album. She laid the sonic blueprint out for all her pop predecessors over the last 10 years to adapt but in all the love I have for these Robyn-inspired records, nothing felt like home like Honey.

Key tracks: ‘Honey’, ‘Send to Robin Immediately’. ‘Missing U’, ‘Because It’s In The Music’.

#5 – MNEK “Language”

I know that Uzo is a student of Mariah and Janet like I am. I know that he understands the magic in creating a body of work that takes people on a journey, bonded with interludes etc. Language is truly best experienced as a whole from start to finish, with its various chapters. This is an unapologetically queer album written from a young black man’s perspective but overall, the themes are pretty universal – ‘Tongue’ tackles infatuation, ‘Girlfriend’ addresses a secret affair with a closeted man (OK maybe not that universal), ‘Phone’ vexes over trying to get over an ex that won’t stop getting in touch.

Key tracks: ‘Girlfriend’, ‘Tongue’, ‘Correct’, ‘Honeymoon Phaze’, ‘Paradise’

#4 – Kali Uchis “Isolation”

I’m still not sure exactly what a Kali Uchis is but what I know is when I randomly played her Isolation album, I knew this was one of the best albums I’ve heard this year. The Colombian-Amerian artist created her own vortex of Winehouse-esque soul, pop, reggaeton, R&B, and funk – and I’m living for it. It’s sort of retro in a Latina Lana Del Rey kind of way but still incredibly modern in its approach and fusion.

Key tracks: ‘Dead to Me’, ‘Body Language’, ‘Tyrant’ (feat. Jorja Smith), ‘Just A Stranger’ (feat. Steve Lacy’),  ‘After The Storm’ feat. Tyler The Creator and Bootsy Collins).

#3 – Kacey Musgraves “Golden Hour”

This is my gardening album of 2018 and it means a great deal lot to me. Whenever I’d be in my backyard weeding or planting or tidying up, I’d have this album on. As far as modern country records go, this does a great job of reaching out to the pop audience without losing its identity. Tracks like ‘Slow Burn’, ‘Lonely Weekend’, ‘Happy & Sad’ have been really comforting whenever I’ve been alone.

Key tracks; ‘High Horse’, ‘Lonely Weekend’, ‘Happy & Sad’, ‘Slow Burn’.

#2 – Mariah Carey “Caution”

As any Lamb would tell you, this truly is a brilliant Mariah Carey album for 2018. A solid R&B body of work that doffs its hat to her musicality without dating her. She may be known worldwide for her multi-octave range, whistle notes and big belting finales but in Caution she strips it all back to show that she doesn’t have to showboat to get your attention. The Blood Orange collab ‘Giving Me Life’ is a mood and a moment – slotting beautifully in with some of her fan favourites ‘The Roof’, ‘Babydoll’ and ‘Lullaby’. ‘A No No’ is a classic showcase of Mariah’s wits and sharp lyricism, “Snakes in the grass, it’s time to cut the lawn / Ed Scissorhands aka I cut you off”. If you don’t know, you better know.

Key tracks: ‘A No No’, Giving Me Life’, ‘The Distance’, ‘Portrait’.

#1 – Janelle Monáe “Dirty Computer”

What a masterpiece of a concept album. What a masterpiece of an album about womanhood, queerness and breaking free of societal expectations. It is proud, political, angry, sincere and sensual all at the same time. The spirit of Prince is more than alive here, especially in ‘Make Me Feel’ and in the hedonistic ‘Screwed’ and ‘Crazy Classic Life’. ‘Pynk’ and ‘Django Jane’ are a celebration of female sexuality and liberation. It’s hard to think of a feminist body of work more significant, intelligent and truly aurally pleasurable than this in recent years.

Follow me on Twitter @feedlimmy / Instagram @lovelimmy

And my 2000s pop podcast Right Back At Ya! – @rightbackpod

iTunes: https://itunes.apple.com/gb/podcast/right-back-at-ya/id1384164995?mt=2

Spotify: https://open.spotify.com/show/0XLneIjlau2BxFZcTecdP6?si=xn7p0mkiQWSDNI0rKm6zUg

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BBC Sound of 2017, Kylie’s Retro Hits Suddenly Appear on Spotify, and New Tunes by MUNA, Nicole Millar and Girls’ Generation’s Hyoyeon

It’s barely lukewarm let alone been a hot take, so I reckon let’s not jazz it up too much around here. For the past few weeks I’ve been getting my ass into the habit of blogging once a week (because I really miss doing it). I couldn’t think of a proper catchy way to package this whole weekly pop opinion piece/ round-up of things that caught my eye shebang, so my brain in a hungover state farted ‘Limmy’s Hot Take‘, which let’s face it… wasn’t all that great or accurate. So scratching that title. That title is cancelled. She is done.

A lot has changed in the pop blogging world since I started Feed Limmy in 2008 (I had another pop blog on Blogspot for like two or three years before that). Lots of people from when I started aren’t doing it anymore – real life happens, they end up getting very good jobs and you know, you get too busy to keep it up.

In the last 10 years I’ve met so many amazing people through doing this. I found my tribe on Twitter. People who were into this stuff as much as I was. Growing up in Melbourne suburbia, I didn’t come across very many people who were as passionate about pop music as I was. Pop was frowned upon as ‘guilty pleasure’ and somehow it was made even more unbearable for me to express my love for it when people started calling me ‘faggot’. I’d dread every single time Geri‘s ‘It’s Raining Men’ or Christina Aguilera and co.‘s ‘Lady Marmalade’ came on the radio after the lunch time bell. So after leaving high school and having my own little corner on the internet to write about all the great stuff I was listening to and being able to share it with like-minded Twitter friends was a real game changer for me.

Now that I guess I actually am part of this industry, I do see things a little differently and have to obviously, you know, gurl’s gotta eat and gurl’s got bills to pay so he’s gotta be careful of how he frames his opinions. I also now see hype and media coverage very differently. I appreciate it more, of course, knowing how much goes into it. I am more sympathetic to artists as well and I am also increasingly aware that the more I see the less I know. And I’m OK with that. It keeps me on my toes. This is such a rapidly evolving industry that it’s now more important than ever to question what is really important and relevant.

Everyone in the music industry is going crazy over ‘ones to watch’ type lists right now -i.e. the BBC’s Sound of 2017, Brits Critics’ Choice Award, MTV Brand New, VEVO dscvr, … *Shirley Caesar voice* YOU NAME IT! They are all huge targets for label marketing and music PR types because they are, of course, a really big stamp of approval for any emerging artist and it’s what separates them from other newcomers. It’s the difference between getting booked to play Wembley or a dive bar as the fourth support act, shopping at Selfridges vs. living on Lidl vouchers – you get the picture. The success story that gets wheeled out a lot: Adele. Her career started with a bang when she won the BBC’s Sound of 2008 and then her debut album 19 went on to win the Brits Critics’ Choice Award and then came a Grammy nomination and so on and so forth.

You also tend to notice the same names being hyped and thrown back and forth around this season. Sometimes people still talk about them after a year, sometimes they barely get a mention after three months. The hype can fade as quickly as it rose. As the years go by, however, it seems increasingly difficult to call who might actually their way to the top as the true rising star of the next 12 months.

BBC Sound of 2017: Could an urban artist win it – and actually dominate the year?

This week the BBC announced their Sound of 2017 longlist, informed by tips from 170 critics, DJs and music writers. You know, people in industry who really know their shit. While it’s obviously a practice of self-fulfilling prophecy, I do find it quite exciting to discover new artists this way and see who is tipped for big things.

These are the ones tastemakers are not only predicting will shape the sonic trend of 2017 but also represent what will be most commercially successful. It’s actually incredible that the list is dominated by urban music acts. MTV UK also released their shortlist of Brand New 2017 acts with the same handful of urban music rising stars AJ TraceyNadia RoseRay BLK and Stefflon Don.

It would be great to have a real and raw British R&B star like Ray BLK reaching Adele and Sam Smith level of mainstream dominance. Hailing from a working class background in South London and proudly embracing her roots (‘My Hood’ is basically her ‘Hometown Glory’ but less vanilla and tea cakey), I so want to believe the UK is ready to really big up an artist like her instead of another prosaic guitar noodling substitute for Ed Sheeran, but from what history has informed us that is rarely the case. It’s been years since we’ve seen a super real and distinctly British R&B act embraced by the mainstream. Seriously, please name me one. Whoever it is that ends up taking home the Sound of 2017, I hope we don’t see a repeat of what happened with this year’s lot.

Jack Garratt, who won Sound of 2016 was literally everywhere at the start of the year. After being announced as the Sound of 2016, he went onto collect the Brits Critics’ Choice Award and then wasted no time in releasing his debut album in February, which entered the charts and peaked at #3. It only stayed in the Top 20 for two weeks and then he sort of vanished. By summer, the name seems like a vague memory. Runner-up Alessia Cara, a soulful teen Youtube sensation from Canada, didn’t manage better either. While the brilliant breakthrough hit ‘Here’ flexed for a really bloody long time, her album only managed to peak at #14 and subsequent singles missed the Top 50 altogether. She was nominated for New Artist of The Year at the American Music Awards but lost to ZAYN. I only remembered I had bought her album when I saw her pop up as a feature creature on a Troye Sivan single a few months ago.

Maybe part of why Garratt’s hype wasn’t sustained was because there are literally hundreds of artists doing the type of electronic-R&B fusion with scratchy soulful, folk singer vocals. The market was already saturated by the time he came into primetime attention. But perhaps maybe why it didn’t work was because the tunes just weren’t memorable at all. They go to great lengths to stress he is a multi-instrumentalist, which you know, instills a level of authenticity, and his work is very immaculately produced but where are the tunes? Where is the song that makes people feel something?

Sometimes I think people in our industry forget that all these accolades and lists don’t really matter to the vast majority of the record buying public. Most people don’t care. People will buy records they connect to. People will support artists people they like.

Every single one Kylie’s retro hits are now on Spotify

On Friday, without formal warning, all of Kylie‘s Stock Aitken and Waterman era releases (her first four albums, which were all bloody huge) suddenly appeared on Spotify. I am talking not just all the albums but all the remixes, the B-sides, you name it. I am literally gagging.

This is sort of a nice reminder of one of the many highs in Kylie’s long pop career. While the Christmas stuff she’s doing now is a very clever and savvy business decision, I can’t stress how much I need for her to return to making brilliant pop for the other 11 months of the year.

Check out my 30 favourite ‘retro’ Kylie tunes:

Top tunes of the week

MUNA ‘I Know A Place’

L.A. girl band MUNA has delivered a shimmery, feel good song for the LGBT community. According to Time, ‘I Know A Place’ is “meant to be a rallying cry and a reminder that safe spaces can exist”. If you’re into HAIM, you need to get into this.

Nicole Millar ‘No Bad Vibes’

Smoky-voiced Australian singer Nicole Millar definitely should be on everyone’s pop radar. ‘No Bad Vibes’, taken from her new EP Communication, is a calypso pop treat with trap beats about blocking out negativity.

Decco featuring Mapei ‘Shooting Stars’

It’s good to hear from Swedish-American soul pop singer Mapei. Can’t believe ‘Don’t Wait’ came out three friggin’ years ago. This twinkly radio-ready club pop tune is possibly the most commercial sounding record she’s done and I’m here for it. Part of me wishes Alexis Jordan would come back with something like this right about now.

Hyoyeon (from Girls’ Generation) ‘Mystery’

I’m still shook from Tiffany‘s “I Just Wanna Dance” earlier this year so it’s great to see that K-pop’s longest running girl band Girls’ Generation has yielded yet another solo star. Hyoyeon‘s debut solo single ‘Mystery’ (“Miss Terry” if you’re nasty and singing along) is much more rhythmic, giving you Bhangra beats that nod to Selena Gomez‘s ‘Come and Get It’ but much spicier.

And finally…

On this day 10 years ago, Emma Bunton released her last solo album Life in Mono. I’d be quite happy if she banged out another Free Me, which I guess was what Life in Mono was meant to be but not quite on the same breadth of excellence. Although I still enjoy the title track, ‘Wasn’t Looking (When I Found Love)’, ‘All I Need to Know’ and ‘Take Me To Another Town’.

The album features her cover of ‘Downtown’, as you might remember. It was the BBC’s Children in Need charity single that year and reached a peak of #3 on the UK charts.

Album Review: Tinashe “Aquarius”

If you liked FKA Twigs’ elemental approach to making R&B music but secretly wished it was more accessible, then walk this way. Tinashe’s debut album Aquarius delivers that and so much more.

Tinashe Aquarius

The 21-year old American singer/songwriter has been regularly name-checked by urban music tastemakers as one to watch out for ever since her debut single ‘2 On’ hit blogs this year.

The track is like nightclub candy, setting tongues wagging with its crisp beats, ice queen finger snaps and Tinashe’s sultry tones. The overall impression is sexy and daring without being raunchy, if you know what I mean.

 

The rest of Aquarius, however, takes on a more subtle approach. The album dives deep into atmospheric and fluid soundscapes that sound heavily influenced by the likes of Sky Ferreira and Jessie Ware in parts. Dev Hynes (who has produced for the likes of Ferreira and Solange) hems one of the album’s signature cuts: ‘Bet’.

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Feed Limmy Top Albums of 2013: Tina Arena “Reset”

Tina Arena is pretty much universally recognised as one of the best female vocalists Australia has produced. If this doesn’t sound like gospel to you, cancel your plans tomorrow and spend the day YouTubing her live performances.

Tina Arena Reset

Reset is Tina’s first English album of originals in over a decade and the title neatly sums up the sentiment of ‘picking up right where we left off’.

For many loyal fans, this album harks to all the fond hallmarks of a Tina Arena masterpiece. The only difference is that the beltings are now scaled back from the Pangea-splitting level she is known for. More often than not on Reset, the beauty is most striking when you just close your eyes and take in Tina’s tone and the effortless delivery.

As a body of brand new mid-tempo pop numbers, Reset arrives graceful, profound, and already feels lived-in. The comeback single ‘You Set Fire To My Life’ is an elegant affair. It took it as a profound reminder in today’s aggressively overproduced pop climate that a simple, effective melody needs no smoke and mirrors.

Watch the video for Tina’s single ‘You Set Fire to My Life’:

Album opener ‘Love You Less’, which Tina co-wrote with super producer Stuart Crichton and Ilan from The Potbelleez, sounds like a confident future radio hit. Ex-Australian Idol contestant-turned-celebrated songwriter Hayley Warner co-wrote the massive track ‘Still Running’, which reconnects listeners to the passionate delivery we loved Tina for in ‘Burn’.

‘Reset All’, tucked at the end of the standard edition, is the grand dame of the album. Unfolding with a faint piano tinkling, the track takes you on a journey (sorry to borrow such a worn out reality TV phrase) with crescendoing strings and Tina’s own vocals, which pick up in tenacity as she drives home the desire to start over.

After several listens, my eyes have somehow trained itself to water on cue when this line comes on: “I’ve been holding on just to let go, turn a blind eye, not sure I want to know.”

Listen to Tina’s ‘Reset All’:

There is no doubt that Tina Arena is the high priestess of her craft and we can only hope she continues to deliver more new material as beautiful as this.

Chart Feed – 17.09.12

No need to front like you haven’t been doing the ‘Gangnam Style’ routine down the supermarket aisle.

chart feed

This has been a good week for K-pop icon PSY, Amelia Lily, Taylor Swift and Pet Shop Boys.

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Quick Feed: Mariah shoots comeback video, Tulisa’s ‘Live It Up’ remixes and Ronan Keating’s return

For those who just don’t have the luxury of time to sit around waiting for Limmy to write faster – myself included – here is a shotgun solution.

Let’s do this thing called Quick Feed, where you get a quick compilation of new music updates delivered through your driver seat window every other day in a brown take away bag with an unfathomable amount of serviettes, and you tell me whether it works or not.

Collect your first edition at the next drive-thru window. The receipt is in the bag.

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Havana Brown “When The Lights Go Out” EP review

I bowed my head slightly, said a prayer to the Lord, and sprinkled holy water from the Tabernacle of Michelle Williams on my iPod before I hit ‘play’ because I knew I was going to hate this and I was seeking grace from above to find something noteworthy to say about Havana Brown‘s new EP.

First of all, I need you to know that I am quite happy to be a Havana Brown Apologiser because I love a good Australian female pop vixen. Her breakthrough smash ‘We Run The Night’ was one of my favourite songs of 2011 and I still krump furiously to that dance breakdown at every chance.

However, here’s where the great chasm of doubt crosses our path. The Australian producers behind ‘We Run The Night’ and its lesser follow up ‘Get It’ – More Mega – were ditched long before When The Lights Go Out even spawned. Havana’s personal and professional relationship with her early hitmakers pretty much soured when mega pop producer RedOne got involved with her career – read: remixed ‘We Run The Night’, slapped on Pitbull, and propelled the song to global success.

RedOne himself serves as executive producer on this EP (producing three of the five tracks) and the whole project is released under a partnership between his 2101 label and Island Australia. The Moroccan producer’s Midas touch would’ve been selling point enough for any pop music surveyor to get on board When The Lights Go Out – except, guess what? The songs are rubbish.

Here we see the DJ-cum-popstar front a string of uneventful dance cuts that wash up exactly like what you’d expect from a Sophie Monk 2012 comeback. Almighty pop hooks that match the immensity of ‘We Run The Night’ – absent. Any hint of star potential and personality – absent.

RedOne‘s own contributions are perhaps the most dire of the lot – particularly the single ‘You’ll Be Mine’, which is evidently the most spectacular piece of fairground music ever written for a Hello Kitty theme park.

Richard Vission (producer behind several of Hilary Duff‘s Dignity tracks and more recently, Luciana‘s hit ‘I Like That’) hems a frenetic dubstep ballad – ‘One Way Trip’ – that would have sounded exponentially better if the productions had been more restraint.

The beastly R3hab-produced club track ‘Big Banana’ is possibly the only track I would salvage from this godforsaken project. I won’t sugar coat it. Y’all will hate it for the insipid lyrics, Havana’s knock-off Ke$ha rap, and various elements recalling everything you dislike about LMFAO – but it is by far the most infectious track here. And put it this way, if this was released by your favourite K-pop girl band like, say, 2NE1 – y’all would be crying and shaking over it, so embrace the track for what it is.

The title When The Lights Go Out may have been snatched from ‘We Run The Night’ lyrics but the smash single itself doesn’t feature on the Australian version of the EP. In fact, that’s probably what bothers me the most about this project. This sense of disconnect from what I felt was a promising start in pop for Havana Brown – one where she might emerge with a distinct and tailored club/pop hybrid sound of her own rather than something this deflated and devoid of personal style.

Listen to the international version of When The Lights Go Out – featuring the ‘We Run The Night’ remix in place of another track titled ‘Wonderland (La Da Da Da Di)’, which is on the Aussie edition:



Footnotes:

Havana Brown‘s new single ‘You’ll Be Mine’ was serviced to Aussie radios last week and the above EP is, of course, out now.