[Music] Ciara – I Bet (review)

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Review: The sleek and modern R&B of Ciara’s 2013 self-titled album helped re-establish the singer as more than just the photogenic face of crunk&B’s once inescapable chart success, positioning her instead as an enduring talent – she debuted her “Goodies” all the way back in 2004 – with impeccable taste. It was the Future-assisted, hipster-approved baby-making jam “Body Party” that really set the project’s wheels into motion, and although this taster from Ciara’s sixth studio album Jackie comes courtesy of producer Harmony Samuels (Ariana Grande, Ne-Yo), it’s difficult to say Future’s presence is missed considering the track seems to address the breakdown of their relationship head-on.

The emotional impact of that maelstrom of alleged infidelity – no doubt complicated by their professional engagements and, of course, the fact that they had a son last May, also named Future – bears its teeth in “I Bet”, a nigglingly catchy mid-tempo replete with warm acoustic guitar, looped skittering drum machines and Ciara’s velvety, quivering, and at times motor-mouthed soprano. “You know it hurts your pride / But you thought the grass was greener on the other side,” she sings, prioritising a tone of curt matter-of-factness over any glib attempts at sass.

As addictive as “I Bet” may be, the track’s power is primarily fuelled by its torrid backstory, and had Ciara fronted an earlier album with it (which she may as well have with 2009’s Fantasy Ride’s syrupy “Never Ever”), we would most likely have written it off as dishearteningly pedestrian. But by keeping the vision she so brilliantly executed on Ciara in mind, “I Bet” cannot help but leave us excited for the comparably sensual and eclectic record that could be in store.

8.0/10

[Music] Top 35 Tracks of 2013 (#20 – #6)


20. Miley Cyrus – Wrecking Ball, Bangerz

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No chorus this year described an artist’s arrival into the pop arena better than “Wrecking Ball”. The reinvention of the artist formerly known as Hannah Montana was one of the most blatant stab-in-the-dark attempts at relevance in recent memory, but when you consider how Disney stars of a similar pedigree have fallen to the wayside over the years, you can admire Cyrus’ smash-and-grab approach. And as tiresome as her schtick could be, this gutsy, Fleetwood Mac-esque ballad offered the twenty-one year old some redemption. The main concern when it comes to ballads in the 2010’s is that they be appropriated and rendered anonymous by the singing competition circuit, so kudos to Cyrus for providing a raw, impassioned, twerk-free performance that should by right go down as her greatest achievement to date.

19. Jon Hopkins – Open Eye Signal, Immunity

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Jon Hopkins’ astonishing collection of muscled dancefloor odysseys was one of the most acclaimed albums of 2013. Gone are the soft ambient flavours of his early work; the weighty anthems of “Immunity” crack and fizz at an often hypnotic pace, lulling the listener into a state of astral projection. Standout track “Open Eye Signal” repurposes the dancefloor as a battlefield. Razor-sharp synths gurgle and race over a 4/4 beat, with occasional detours to the cosmos, and – at its finest moments – Heaven itself.

18. Sasha Keable – Careless Over You, Black Book Mixtape

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With production from All About She – who, between their dark electro-banger “Bullet” and Top 20 hit “Higher (Free)”, have been demonstrating their range for some time now – this magnetic mid-tempo chimes along as Keable’s vocal flits from smoky to breathless. The production is dense but never overpowers – ceasing almost entirely in time for an interpolation of Rudimental’s melodramatic hit “Waiting All Night”. It’s an inclusion that could have gone either way, but Keable manages to convey all of the heartbreak without any of the histrionics.

17. The 1975 – Chocolate, The 1975

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In 2012, Madonna included a song called “Masterpiece” on her twelfth studio album. The track is pleasant enough on its own terms, but considering the a) the stature of the artist in question and b) the portentousness of its title, the listener expects – nay, deserves – more, and as a result we’ve come to regard this track with disdain. Any track named “Chocolate” runs into a similar problem. How does one commit the many sensory pleasures associated with said food item to an aural experience? Kylie Minogue mapped out a sexy little number based on the stuff, and while we know The 1975 aren’t averse to the subject , their hit single is instead a colourful tribute to the joys of smoking marijuana. Frontman Matthew Healy may have the worst rock star name in recent memory, but his nasally squall is refreshing for its blunt emoting and bold lack of pretension.

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