Harry Styles’ “Sign of the Times” is a shaky six-minute pose

harry styles

For millennials, the past two years have been a crash course in uncertainty. Will the EU crumble? Should we ready our outfits for #nuclearholocaust? Go vox popping and you’ll find there’s only one thing the youth know for sure: Harry Styles will be a superstar.

Flanked by millions of fans and fêted by the media, Styles’ success is a rare inevitability. The One Direction heartthrob could afford to tear up the rulebook, but debut single “Sign of the Times” doesn’t even dog-ear a page for fear of creasing a holy text.

‘Sources’ were keen to cite David Bowie’s influence, apparent in the sense that he too had a Y chromosome and was known to sing over piano. At best, the song recalls Robbie Williams’ chest-puffing balladry – at worst, it’s a shaky six-minute pose.

Styles’ falsetto cuts through the neutered guitars and crashing drums, but strains to add meaning. Only a truly privileged artist can scream “We’ve got to get away!” while digging their heels into the safest sound imaginable. Now that’s a sign of the times.

[Music] Craving Soup at a Warhol Exhibit: Britney Spears’ “Pretty Girls” VS PC Music

britney-spears-iggy-azalea-pretty-girls-2015-billboard-650-promoPretty Girls” has been born into what may prove to be an ideal climate. This is not merely in reference to Britney Spears’ apparent appeal for a summer hit; although the presence of Iggy Azalea and a sticky, “Fancy”-mimicking beat are perhaps enough to account for whatever vitriol may be levelled by detractors of the single, the first to be lifted from Spear’s upcoming album.

Instead, one may take interest in the fact that Spears’ return coincides with A.G. Cook’s ambitions to proliferate both the sound and philosophy of his London-based label PC Music. This month sees the UK releases of what could be viewed as two integral pillars in Cook’s musical colosseum: PC Music Vol. 1, the label’s first official compilation, and the single “Hey QT”, an electro-europop earworm that works as both a parody and celebration of the often shallow nature of mainstream music.

Cook and his collaborators and protégées are receiving praise for applying a thick gloss of irony to pop music’s inherent immediacy. At the core of “Hey QT” is an infectious Aqua-esque melody, one that could have easily been tamed into a legitimate, chart-ready anthem. But the focus is instead on the individual cogs that keep the engine of an effective tune chugging along. As a result, “Hey QT” boasts few layers; the drizzles of crisp synth evaporate on impact, while the decidedly artificial treatment of QT’s (AKA Quinn Thomas, as portrayed by performance artist Hayden Dunham) vocal is a clear nod to artists of Spears’ questionably talented ilk.

These are hallmarks of PC Music’s output, however, and the QT project is certainly witty in its promotion of the titular star as both a pop music siren and a refreshing energy elixir – two essential ingredients for a transcendent dancefloor experience. But it is also rather galling that Spears’ “Pretty Girls” seems destined to be criticised for being built on the same foundations that “Hey QT” coldly sifts through to rapturous applause.

“Pretty Girls” mocks the male gaze (“Is it true all these men are from Mars? / Is that why they be acting bizarre?”) and salutes female vanity in the vaguest possible terms; lyrically, at least, the track never backs its headliners into a corner of self-objectification, and this novel air of innocence is somewhat striking.

But with such an unnerving distinction between Spears’ digital detachment and Azalea’s comparable lucidity, their collaboration is almost a parody in itself. As the designated driver tasked with bringing Spears’ drunken cyber-chipmunk home safely, Azalea emerges as the track’s MVP by default. Her brief but confident verse even harks back to Spears’ own heyday with a tip of the hat to “… Baby One More Time”. While the reference does serve to commemorate the singer’s seventeen-year long career, it also highlights her regression as an imposing presence on her own work; with every yelp of “We’re just so prett-EH!”, Spears’ once inimitably nasal purr is stretched and smooshed into the mix in order to emulate the brassy Brit snarl of Azalea’s “Fancy” co-conspirator Charli XCX.

While one can appreciate the respective merits of “Hey QT” and “Pretty Girls”, we feel compelled to honour the track most purposefully built to entertain. In addition to possessing a smattering of hooks and beefy production from The Invisible Men, the components of Spears’ new single can be delineated and fitted around PC Music’s pseudo-cynical agenda. Like a soup kitchen adjacent to a Warhol exhibit, “Pretty Girls” feeds both the very human needs to observe and participate. RG

[Music] Florence + the Machine – What Kind Of Man (review)

Florence-The-Machine-What-Kind-of-Man-iTunes

Available to buy on iTunes

“So you think that people who suffer together would be more connected than people who are content?”

Review: Challenging the cogency of a relationship based on penance, “What Kind Of Man” does little to advance the gothic chamber-pop sound of Florence + the Machine’s majestic – if at times exhaustingly cohesive – 2011 album Ceremonials, and is all the better for it.

The band’s decision to lead their third studio album How Big, How Blue, How Beautiful with a more straightforward gospel-inspired pop-rock number may appear to be a bold move, but the dramatic bombast of their music has always had less to do with the production hallmarks slung by longtime collaborators such as Paul Epworth and Eg White – bewitching multi-tracked harmonies, cacophonous drums, probable abuse of the mixing desk’s “reverb” button – than it does with Florence Welch’s peerless voice. “What Kind Of Man” finds this voice as bellowing and as gutsy as ever, instantly giving the track an air of celestial hysteria that its jagged guitar and Will Gregory’s warm brass arrangements seem eager to avoid.

Like Rihanna’s “We Found Love”, the emotional impact of “What Kind Of Man” is similarly indebted to its video’s prologue, a touching snapshot of a couple ricocheting between carnal adoration and chilly indifference. The reluctance of Welch’s boyfriend to “intervene” with her night terrors reflects the principle of celebrated suffering that the song rages against in its ghostly extended intro: “So I’d reasoned I was drunk enough to deal with it / You were on the other side / Like always, you could never make up your mind”. This preamble soundtracks flashes of all they stand to lose (steamy sex, balcony-set kisses, romantic estrangement) amongst some cultish shenanigans that emphasise the sense of guilt, obligation and self-flagellation that stand as the main pillars of their relationship, culminating in the one-two punch of a car collision and grouchy guitar licks that may have you wishing that such a high-quality visual were for a better song.

“What Kind Of Man” is not a bad single by any means, but in ditching the dense production that embellished some of the band’s very best songs, it seems the intricate melodies of tracks like “No Light, No Light” and “Only If For A Night” (a Ceremonials cut so good that even Rihanna thinks it’s ripe for sampling) were also sacrificed, and as a result there is little to unpack upon subsequent listens. It is almost entirely down to Welch’s visceral delivery to elevate the track, and it is only her thickest rallying cries (such as her out-for-blood shriek of “What kind of man loves like this?”) that manage to leave much of an impression.

7.5/10