Sunday, February 22, 2015

Single Review: Kelly Clarkson - Invincible


After this disappointingly safe Heartbeat Song, Kelly Clarkson brings her A-game on new single Invincible. Co-written by Sia, "Invincible" sounds like classic Sia as well as a heavier yet more upbeat Already Gone.

Starting off with strings and piano, Invincible sets up its power ballad framework from the very beginning unlike other Kelly songs like Catch My Breath. Lyrically, it's not classic Clarkson but the new one. It's not a break-up anthem ala Stronger or Since U Been Gone, it's much more like older brother Heartbeat Song with lyrics discussing strength found in love (hence Invincible). Drums come crashing down in the chorus, with the strings taking on Coldplay style riffs. For the second verse, a chori can be heard backing up Clarkson's soaring voice. The bridge brings in some solid C5 belts and noticeably changed F5. This belt was placed closer to Clarkson's nasal cavity to sustain the note and vibrato, as opposed to the openness one would expect from her upper belts in the past. However, Clarkson can't disappoint her audience, so she throws in some glorious C6 falsettos to make the final chorus massive.
It's clear why Invincible was saved for a later release, as it is a darker sound for Clarkson. If this is a sign for where Piece By Piece is taking her, expect a My December / Stronger hybrid. Overall the song is still ever-so-slightly safe, lyrically it does seem like a Sia leftover as opposed to one of her stronger songwriting jobs. That being said, Kelly sells it with her phrasing and power she makes you believe the lyrics, she sounds fierce, and blows recent empowerment anthems like Roar out of the water. It's a beautiful track overall, the live performances of this monster will hopefully be just as incredible. If her album maintains this quality, she'll be in good standing.

Listen Here.

Overall: 8/10



Monday, February 9, 2015

Live Review: All 23 Grammy Performances in One Word (Maybe Two)


 The 57th Grammy Awards aired last night, showing off a respectable 23 performances from legends and newcomers alike. If you missed the show, let Critic of Music give you the run down.
AC/DC: Why?

Ariana Grande: Cute (& pitchy).

Tom Jones and Jessie J: Why?

Miranda Lambert: Fiery.
Kanye West: Disappointing.

Madonna: Well (then).

Ed Sheeran: Blissful.

Electric Light Orchestra: Forgettable.

Adam Levine and Gwen Stefani: Yawn.

Hozier and Annie Lennox: Holy (wow).

Pharrell: Mess.

Katy Perry: Stunning.


Tony Bennett and Lady Gaga: Classy.


Usher: Good.

Eric Church: Why?

Brandy Clark and Dwight Yoakam: Yawn.

Rihanna, Kanye West and Paul McCartney: Refreshing.

Sam Smith and Mary J. Blige: Eh.

Juanes: Catchy.

Sia: Tired.



Beck and Chris Martin: Eh.

Beyoncé: Vibrato.

John Legend and Common: Powerful.

Sunday, February 1, 2015

Live Review: Katy Perry - Pepsi Super Bowl XLIX Halftime Show


 The most viewed spectacle of the year: the Super Bowl halftime show. The star: Katheryn Elizabeth Hudson, better known as Katy Perry. Her twelve and a half minute set featured six of her Billboard No.1 singles, two other stars, and a shooting star. But was the show any good?

 Trotting out on to the field atop a silver tiger, Katy glided over her worldwide smash Roar. However, it instantly became apparent that this was not a typical live showing from Perry. She was in tune. The problem however was the metallic quality in her voice, which shows the use of vocal processing. Perry was using a pre-recorded vocal. Not as sinful as using the studio version, and even less sinful since she somewhat admitted she wouldn't be singing entirely live, but still worth a slap on the wrist.

Afterwards, she descended to the ground to tackle her last No.1, Dark Horse. With metallic bodies swarming around her, and the stage utilizing CGI effects, it was a captivating moment for the show. Her first guest, Lenny Kravitz, appeared to sing an unexpected Katy song - her debut single - I Kissed a Girl. Across America, suburban mothers tried to hide their children from the horrors of bisexuality references. Kravitz's appearance was surprisingly brief, and paled in comparison to Katy's successive guest.

 After Girl, Perry was suddenly at the beach for Teenage Dream and California Gurls. Surrounded by palm trees and signing sharks. Though these smashes are undeniably the guilty pleasures, the sharks did end up stealing the show at this point. The attentions wavered here, ever so slightly, but Katy quickly snatched them back by allowing Missy Elliott to rock the show.

 Katy slid mostly into the background, allowing Elliott's more experienced stage presence to take on Get Ur Freak On, Work It and Lose Control. The production here worked incredibly well with the darkened stage, adding heavy contrast to the beach scene preceding it. Perry covered her bases with Elliott, making sure she appealed to her pop, rock and rap crowds. Brilliant.

 And predictably, she closed her show with Firework and a strap to her microphone, sending Twitter ablaze. Attaching herself to a shooting star, she rode around the Arizona stadium belting out her biggest hit (more or less of it being live). Fireworks lit up the sky, and with a final thank you, the show was over.

 Overall, Katy played to her strengths: not relying entirely on live vocals, using bright colors and other visuals and not sticking entirely to one genre for the show. She was a solid choice for the show, and did her job: entertain America for thirteen minutes. It's unlikely that her show converted any haters, and that's okay. She stuck to her guns and blazed through a solid show.
Overall: 8/10

Thursday, January 8, 2015

Single Review: Ellie Goulding - Love Me Like You Do


 Is Ellie Goulding the new "it" girl of soundtracks? Goulding has been featured on the Twilight, Hunger Games, Divergent and now 50 Shades of Grey soundtracks, some pretty respectable films (that also have/will have sequels for more music opportunities). It's clear to see why she's landing so many gigs, she's fantastic at this kind of stuff.

 Love Me Like You Do is an interesting track to say the least. Lyrically, it's very safe, even bland. But the production value sells every word that rolls off of Goulding's tongue. The chorus of LMLYD is one of the best choruses of recent memory - the actual chorus of singers is mind blowlingly amazing and simple. It's a great pick for the soundtrack, and Goulding makes this kind of work seem easy.

 Her voice overall has matured significantly in this track, with a darker and heavier tone present. Her head voice, one of her biggest if not the biggest strength, sounds pillowy and full, and delivers some needed emotion. Her belts also sound less pinched; hopefully she carries on these new characteristics to the follow up album to 2012's Halcyon later this year.
Overall: 8.8 / 10
(Single cover artwork by Colourcrayon on Deviantart)

Friday, January 2, 2015

Can Idina Menzel Sing Let it Go Live?


Idina Menzel had the privilege of singing one of the biggest songs of the year on the 2nd biggest album of the year. However, it may have turned out to be a curse. Menzel clearly struggled with her performance on New Year's Eve, and at her performance at the Academy Awards in February. This is not a one time thing, it is evident of a real problem.

Now we all know that it was cold in New York that night (snow can be seen falling all around her), but while this would be an excuse in most cases - at least Beyoncé would think so - Idina also butchered her performance in an air conditioned theater in February. Both performances were screechy and pitchy, and it's hard to give her a pass for either performance. Yes one performance was stressful on the vocal chords themselves and the other on nerves, but audiences don't care. In this business, you make it work, or you fail. It's a tough rule, but a Broadway icon like Idina should know and understand that by now, and simply make things work.
The real problem here is a strange one, Idina is not mixing her head and chest voices at all. She's simply screaming and screeching in every performance, hoping that pushing a lung's worth of air forward will sustain her higher notes. This is not good technique, and very strange for a Broadway performer since mixing is almost a requirement for musical singers.

All of that being said, Idina has had decent performances of the song IE her Jimmy Fallon performance, though lowered a key and still showing some fatal vocal practices. Idina has some things to work on and consider for the future, including hitting more than 75% of her notes.