[Music] Ciara – Jackie (review)

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Available to buy on iTunes

Review: In a move that would typically represent an artist’s desire to evoke an aura of maturity, the sixth studio album from R&B stalwart Ciara arrives christened with the name of her mother. But yet, in a move that would typically represent an artist’s appreciation for the plot of Freaky Friday, Jackie plays like the gum-chewing, Jell-O shot-sinking successor to 2013’s Ciara – a short, sweet and surprisingly ‘street’ ten-tracker that held the key to Cici’s hipster-R&B kudos in one hand (“Body Party”) and tasty forays into sparkling dance-pop in the other.

That record held off its Top 40-tempting behemoths (“Overdose”, “Livin’ It Up”) until the final stretch, almost as a reward for the casual fans who joined her on Ciara’s sleek, sensual narrative. Jackie, however, is content to put everything on the table. When Pitbull’s exasperated drawl treads the icy synths of “That’s How I’m Feelin’”, it’s the aural equivalent of waving a white flag from Credibility Castle. The track’s topline is regrettably Ester Dean-by-numbers, and does not even come close to matching the songwriter’s previous triumphs (“Super Bass”, “Rude Boy” et al), which is a shame considering Missy Elliott finally capitalises on the Super Bowl-induced nostalgia now synonymous with her name with a giddy contribution.

“Give Me Love” is an astoundingly generic appropriation of the Robin S. classic “Show Me Love” – although a disheartening portion of listeners are destined to recognise any similarities as analogous to Jason DeRulo’s “Don’t Wanna Go Home”. “Stuck On You”, meanwhile, with its pounding drums and speakerphone-assisted hooks (“Ain’t nothing like rolling with a Georgia peach”), is an admirable exercise in ratchet charm.

Ciara’s modest but plush soprano is given a good workout on the maternal ballad “I Got You”, and “I Bet”, an acoustic guitar-backed mid-tempo that addresses the singer’s fallout with ex-husband and collaborator Future in occasionally heartbreaking detail. But it’s the 80’s-inspired warmth of “Dance Like We’re Making Love” and “Kiss & Tell” that serve as Jackie’s most symbiotic marriages of voice and production: “Dance Like…” finds the singer breaking the word “love” down into seven syllables on a breathy staccato chorus, while the disco-lite embrace of “Kiss & Tell” captures butterflies-in-tummy anxiety over a shimmery but subtle groove. Cici goes hard on the title track, a maniacal expression of braggadocio that flits from trap to drum-and-bass nuances to arrogant twangs of electric guitar, accompanied by lyrics that are undoubtedly coming to an Instagram feed near you: “If you’d been through what I been through / Man, you’d be popping this shit, too!”

The largely jubilant nature of Jackie will most likely serve as an enjoyable change of pace for longtime fans, but it is disappointing that Ciara’s most pop-orientated record possesses such a restricted view of what pop music can be. The militant girl-power of bonus track “One Woman Army” suggests the potential for a slightly more imaginative approach to her art. Whether Ciara’s output continues to mature in reverse – or if her grandmother may want to consider a name change to spare her from future embarrassment – remains to be seen.

7/10

 

[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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