Best Discoveries

 Katy B

Katy B shook up the clubs with her fantastic debut album, On A Mission, showing every pop tart in the business how to rock a club. When I first listened to the album, I wasn’t completely taken by it. Witches Brew ended up being a single and the video reeled me back in and I was hooked from that moment. When most people think of club music, the first thing that comes to mind is scantily clad women singing about sex. It’s not everyday you see a singer like Katy B, dressed up in jeans and sneakers, entering a genre that’s been dominated by the motto “sex sells.” She’s so appealing because she makes real club music about real experiences that go on in them. The spark that erupts from meeting someone, getting lost in the music, losing touch of everyone around you and ignoring the player that’s trying to win you over, she sings about it all. Katy keeps her emotions balanced. Depression and love are irrelevant in the club. It’s about having a good time, meeting new people and trying to make a connection. Her lyrics are so smart and mature, showing wisdom beyond her years.

 Lana Del Rey

I may have only discovered Lana Del Rey at the end of the year but she’s already on her way to become one of my favourite singers. Her look and music has garnered much controversy in just a few short months. Her lips have become a hot topic and the indie scene has had a lot to say about her. Regardless of what people are saying, I love everything I’ve heard, especially Born To Die and Off To The Races. Her droning voice, at first, sounds emotionless but listening through her songs  you see that there are a lot of different textures and tones to it. Her first album, Lana Del Rey A.K.A. Lizzy Grant, is an amazing record and listening to it is making the wait for Born To Die unbearable. She’s a remarkable singer and I love that she’s bringing with her a vintage look and sound. She’s been gaining a lot of attention and many people seem to be enjoying her music. It’s great to see an artist of her caliber causing such a big fuss on the internet. Hate her or love her, it’s going to be interesting to see what becomes of her. I’m so excited to see how Born To Die turns out but from what I’ve heard, I already know it’s going to be an amazing record.

 Natalia Kills

Zombie introduced Natalia Kills to me and it definitely kept her name in my mind. Then Mirrors came along and ignited a spark in me. When I found out her album was due out early in the year, I started looking her up and discovered amazing songs like Wonderland which made the wait for the album much harder. When it came out, I was hooked on my first listen and it continued to draw me in as I continued to listen to it. Looking back on her career, she’s changed so much. She’s gone from being called Verbalicious, Verbz and Natalia Cappuccini but the music was similar as she explored rap and pop. As Natalia Kills, her music has received a major overhaul but it’s reminiscent of what she’s done before. The raps are still there and some songs on the album were written before she became Kills. There’s been a lot of discussion on her look and attitude, people claiming that her whole persona is fake. I don’t see why people obsess over these things. I love everything about her image and from the interviews I’ve seen she’s very likable. The most important thing is the music and she’s put out an amazing debut album.

 Nicola Roberts

Nobody expects a surreal album to be made by a singer that’s part of a girl group, much less the one that’s thrown in the background. Nicola Roberts is the first soloist that I’ve ever witnessed to release an audacious and bizarre debut. Most would hire the most famous producers and writers, ensuring a hit that would bring them to the spotlight. Nicola took a different route, spending time in the studio writing and making sure everything was done to her satisfaction. When she announced that she was going to release a solo album, I didn’t think much of it. Honestly, I didn’t even care. Then Beat Of My Drum was released and it was somewhat interesting. It was slightly annoying but I later realized that its bratty nature is what makes it so good. It stood out to the other releases thanks to the crazy production and her vocal shrills. Her album is a collection of quirky tracks that show off her delicious voice. Her falsetto is amazing and I can’t get enough of it. Nicola always escaped my attention when she was in Girls Aloud but now she’s turned that all around, becoming the most interesting member from the group.

Sophie Ellis-Bextor

Sophie Ellis-Bextor isn’t a name new to me but her music certainly is. Make A Scene has a great European electropop flair that got my attention when I heard Starlight. The record is made of pure feel-good material, doing away with negativity and just bringing you into a vibrant world. There’s no time for heartbreak here. She delves into sugary love anthems and even stands up against the other woman in Homewrecker. She throws you into a synth paradise as each song boasts magical electronic melodies. Going through her discography proved her to be a formidable electropop star. Her first two albums, Read My Lips and Shoot From The Hip, aren’t great but they’re worth checking out for a few songs. Her third album, Trip The Light Fantastic, is so much better and contains very addicting songs like New Flame, China Heart, Catch You and New York City Lights. Her high voice is a pleasure to hear, blending with the electric pop melodies. It’s a delicate, soothing instrument but when she has to be tough there’s no hesitation. She’s a great artist to get into if you’re a fan of big, bright electronic songs.

Best Cover

Natalia Kills – Perfectionist

Natalia’s cover is eye catching and is spot-on in reflecting the concept of her album. The intro, Perfection, is a medical diagnosis and the cover portrays that visually. The chair resembles something that you would find in an old medical facility. There’s something unsettling about it and that’s why it’s so good because it’s the perfect display for her music. The black and white photo is accented by the red border and font. It looks very sharp and clean. I love how the title is placed in the x on her face. This cover stands out so much compared to others and I’ve never seen anything remotely similar to it.

Runner-up: Nicola Roberts – Cinderella’s Eyes

Best Single

Natalia Kills – Wonderland

I may have heard Wonderland at the start of the year but it has resonated with me until the end. This is the darkest pop gets and its menacing ambience is intoxicating. Her vocals are so twisted and the way it builds up to the chorus is amazing. The inclusion of the gothic choir halfway into the verses makes them ominous and the electric guitar in the pre-chorus  makes it edgier. It all blows up in the chorus and the infectious hook comes in, taking over your mind. Her ad-libs haunt the bridge as the heavy drums pounds away at it. This is such an evil pop song but the message behind it is incredible. It’s a realistic look at love, that it’s not always a fairy tale. This is a far cry from the love songs we’re used to hearing and her use of disturbing imagery is superb. Her dark approach on love is refreshing and it’s good to see a pop singer be brutally honest. She takes love apart and puts it into reality but this doesn’t mean that she doesn’t want love. “I believe in you and me” is the line of utmost importance because it’s hopeful and that’s the key to a relationship. It’s not holding impossible expectations but believing in each other. I was hooked on this the moment I heard it but every time I listen to it my love for it is renewed and solidified further. I don’t understand why this didn’t succeed because it’s the best pop song of 2011.

Runner-up: Natalia Kills – Free (feat. will.i.am)

Best Video

Natalia Kills – Wonderland

Being obsessed with the song, I could not wait for the video to be released. Two versions of the video were made, one censored and a director’s cut. The first is worth watching just because of the way they incorporated the censoring. It’s done well and in a way that makes it very mysterious. The video begins with Natalia wearing a red hood and being dragged by a group of soldiers. When the music starts, words are flashed across the screen, “nobody warned you” and “fuck love,” and they’re aligned with her entire message. Fairy tales are all lies and we’re constantly fed these happily ever after stories. Scenes of gore and war are also flashed and they add to the overall dark atmosphere. The most crucial part is the dining room scene and the majority of the video takes place in it. This is where elements of Alice in Wonderland come into play as all the women sitting at the table are wearing a rabbit mask. This isn’t like the tea party in the story though. While the Mad Hatter’s table was filled with tea and sweets, this one demolishes that and turns it into a gruesome scene. The cupcakes are decorated with drugs, the women are smoking and the cups are filled with alcohol. It’s the complete opposite of the fairy tale and it’s such a horrific scene. Natalia is the only one with a heart on her plate and throughout the second verse she’s hacking it up. The ideas of control and defying authority come up as she revolts against the fantasy. This leads into one of the most brutal scenes in a music video ever. The soldiers come down ripping the masks off of their faces, a sign that the fairy tale has been deconstructed, and horrifically beating them. She’s eventually dragged away screaming. She’s laid down with the camera rotating as the executioner runs his hand down her neck and this scene is just chilling. It’s beautiful but absolutely disgusting. The video ends with her beheading and her decapitated head is shown lying on the grass. There’s no other artist that I known who’s put scenes like this in a music video and I have to applaud her for it. Her horror-like videos are unique, matching her image and music. Natalia keeps her music videos to the length of the track but they’re filled with symbolism and meaning.

Runner-up: Lana Del Rey – Born To Die

Best Album

Natalia Kills – Perfectionist

I didn’t expect to love Perfectionist the way I do when I was waiting for it to be released. When I heard it, I couldn’t stop playing it and every day I became more enthralled by it. It’s my most played album in 2011 and one of my favourite albums ever. It’s so cohesive and sticks to its thematic concept for every single song which is rare nowadays for a pop album. Every song relates back to the overall message. Going through it, you can see how the songs work around the ideas that are presented in the introduction. The album deals with the frustrations, disappointments and aspirations that one experiences while trying to strive for perfection, ultimately discovering that it doesn’t exist. This is where her realistic approach to pop music comes into play. She’s labeled her music as “pop with an opinion” and you can clearly see that as you listen to the songs. The music is so brutal with imagery associated with death, blood and gore. However, there are songs that show her at her most vulnerable state. Broke is my favourite ballad of the year and it’s so dramatic, wrapped up in incredible metaphors and analogies relating to money. Heaven tears your heart apart with its warmth. It’s a song that effects your emotions in so many ways, moving between happiness and depression. The album was released in Germany at the beginning of the year and when it came out in North America, it was packaged with a new song called Kill My Boyfriend. It’s a bubbly love song that’s mutilated by her sadistic mind. No one else is signing songs like this but it’s something that comes across everyone’s mind. People are afraid to admit it but Natalia isn’t afraid to say what’s on her mind and that’s what makes Perfectionist so amazing.

Best Artist

Natalia Kills

Making her first appearance in 2009 as Natalia Kills, it took her two years to craft her debut album but everything fell into place for her in 2011. Even though her album is unknown to some and didn’t blow up as fans hoped, she’s not letting it faze her as she’s already working on her second album. Last year was quite a busy year for this new pop star. She toured with Robyn, The Black Eyed Peas, Ke$ha and Katy Perry which brought her music to large audiences of people. Her collaboration with will.i.am, Free (feat. will.i.am), sparked up an interest in her and it quickly became her most watched video on the internet. Her videos have all been on-point and perfect representations for her songs, following her conceptual vision. Her dark approach to music is refreshing and her total embrace of it is remarkable. The album, from start to finish, is a debauchery on pop music and all the songs stand on there own. Filler tracks are absent and each song provides a different look into the obsession of perfection. I haven’t been crazy about a singer like this in a long time and I just love everything she’s done and continues to do. She’s become one of my favourite singers ever and she’s already begun 2012 with a bang, releasing her music video for Kill My Boyfriend. I cannot wait to see what’s next for this axe-wielding artist.

Runner-up: Nicola Roberts

2011 was a spectacular year, right from the beginning all the way to the end. So many singers blew me away and turned me into a huge fan. I’ve added so many new singers to my all-time favourites and it’s great to see artists who challenge the mainstream. There were many albums, too many, and I wasn’t able to mention them all here, hence my “Best Of 2011: Honourable Mentions” post. Having release after release of phenomenal albums has made 2011 one of the best years of music in my life. I’m not saying that past years have been bad but I have discovered and fallen for so many great singers. This year is shaping up to be as exciting already. Rumours of Christina Aguilera’s new single have been flooding the web and I’m looking forward to seeing her on The Voice, Ameriie is set to release her next album in the spring, Lady Gaga might release a new album, Natalia Kills is already working on new material and Lana Del Rey is set to take over in a few weeks. I’m excited to see what happens this year and I hope it’s full of surprises.

Best Discoveries

LIL

I don’t even remember how I came across LIL but I’m pretty certain it was the album cover that caught my attention. It was so bizarre that I had to listen to how the music sounded. LIPS IN LUSH is a hardcore electropop album and I wasn’t expecting it to sound that way at all. It’s the hardest electropop album I’ve heard from Japan and it’s not easy to take it all in. I wasn’t sold on the group at first but after becoming familiar with the songs I started to see how great they were. “Moshi Moshi” Radio is all the great things about electropop rolled into one while me, too shows just how heavy their music is. There’s great variety between the tracks, some contain a very dark ambience while others are poppy, bright tunes. Earlier in the year, they released their second album, Synchronize. It still had some heavy tracks but there wasn’t as much of a focus on them anymore. Carnival, BLACK WALL feat. MIYAVI and Girl in the mirror are must-hear tracks and she hits some awesome notes in the latter. They’re not well-known but they’re great electropop artists and fans of the genre should check them out.

Miu Sakamoto

Miu Sakamoto is an artist I came across two years ago and I was impressed by PHANTOM girl. Her operatic vocals are so amazing and unique, a very unusual voice for an electropop singer. I wasn’t enamoured with her until last year. News of her album came out and when I went back to listen to her, I liked her much more. This isn’t the usual electropop most are used to. It’s otherworldly and her melodies are full of imagination. Her voice is part of the instrumentation, bringing a listening experience that is truly unique to her. Thanks to a few friendly bloggers, I was able to find her old material. It’s different than her material with Dave Liang but the experience is the same. Her music is always fresh, taking you into a beautiful world that’s atmospheric, almost euphoric. It’s a shame an artist like her isn’t well known because she has so much to offer.

Shiina Ringo/Tokyo Jihen

Shiina Ringo is an artist that I never thought I would fall for. I disliked her voice and I couldn’t get into any of her songs. However, 4lvy sent me the video for Noudouteki Sanpunkan and I loved it. I was so surprised because I could never find a song from her that I liked and then this one came along, shifting my whole view of her. I immediately went through her entire discography as well as her Tokyo Jihen discography and I enjoyed everything. The songs I heard before sounded much better. There’s so much more to her voice than I had previously thought. Her raspy voice is actually incredible, a perfect voice for rock music. The more I read and see of her, the more I love her. Her live performances are incredible and she has pretty wicked music videos. Tokyo Jihen released a new album, Daihakken, last year and I liked it but I still need to give it more time. It hasn’t really sunk in yet. I’m more excited for her solo material though. She released a new single, Carnation, and I liked it much more so hopefully her next releases are just as good. Her voice definitely takes time to appreciate as it’s very unusual but once you do, it’s hard to ignore.

Best Cover

Namie Amuro – Checkmate!

There weren’t any covers that really caught my attention and wowed me but Namie’s cover is the most memorable. It’s not the most creative and the chess theme is very predictable. However, it all comes together visually. The colours work so well with each other. The emphasis on black makes her stand out and she looks beautiful. She’s one of the Queens of J-pop and taking on the role of the queen piece in chess is a nice nod to that title. She looks like a total diva and the purple looks so good on her. This cover is all about her and there’s nothing wrong with that because she’s flawless.

Runner-up: MAA – BubbleMan Engine

Best Single

Maki Goto – What is LOVE / SCANDALOUS

I had such a hard time deciding for this category because I haven’t been listening to too many singles lately but this is the one that stood out to me the most. She released this single as a lead-up to her debut album and both tracks were hot dance tunes. Many people, myself included, hoped she would release music similar to her SWEET BLACK material and these songs brought that hope to reality. What is LOVE is dance perfection. The introduction is fire, catchy beyond belief and leads into a raving synth and bass beat. The dark elements take it above and beyond and her voice is packed with an infectious liveliness. Her vocoded moans in the breakdown are so sexy and its trance-like influence is amazing. It was the first song that I adored from her and it really pushed me into liking her a lot more. SCANDALOUS has a different dance flavour to it but it’s equally brilliant. Her high register, sadly underused by her, dominates it with the electric synths. The 80s flair takes it even further and the chorus provides a taste of synth heaven. It’s easy to lose yourself in the beat and her screaming after the breakdown is very sexy. Not only are these tracks amazing singles, they’re some of the best tracks her album has to offer. It was a smart move on her part to release them because it definitely had more people anticipating the album. Credit for the cover goes to KKalil.

Runner-up: Namie Amuro – NAKED/Fight Together/Tempest

Best Video

Miu Sakamoto – Precious

Miu Sakamoto single-handedly showed every other J-pop singer how a music video should look. While it’s simple, there’s a beauty that resonates and captivates until the end. It’s not easy to make a simple video interesting but when it’s done, it needs to be praised. What starts off emulating a promotional ad for a drink quickly turns into a sparkling wonderland. Everything in this video literally sparkles and the scenery is gorgeous. It’s so vibrant and dominated by blues that are so cheerful. Blue is my favourite colour and this video reminds me why. There are a few shots that focus on her baby blue ring and I don’t know why but I love them. It’s such a simple shot but there’s magic in them. The endless blue sky carries an unimaginable beauty and the beach scenes with the water behind her are the most beautiful moments in a music video I’ve seen. It’s so natural and it compliments the song well. This was the first time I got a good look at Miu and she’s stunning. I wish more artists would release videos like this because it’s effective and you don’t get more beautiful than this.

Runner-up: Namie Amuro – Naked

Best Mini-Album

Ayumi Hamasaki – FIVE

FIVE wins by default because it was the only mini-album that I heard. I didn’t love this release but it’s a great little unit of songs. All the collaborations turned out well, my favourite being Why… feat. JUNO. progress is the gem and it’s the type of song that I love from her. I always look forward to her rock influenced tracks and it was chock-full of energy. Its action oriented, I wouldn’t expect any less from a Tales theme song, and it builds up quite nicely into the climax. The song that surprised me the most is beloved because it’s such a simple and elegant ballad. From what I heard about it, I didn’t think I would like it but it turned out to be one of the best songs. She may not be part of my favourite singers but I do enjoy her music and she’s proven again why she’s one of the best pop stars in Japan.

Runner-up: None

Best Album

Maki Goto – Ai Kotoba (VOICE)

Of all the albums that came out, I never thought that Maki would come out on top but Ai Kotoba (VOICE) blew me away. In the beginning of the year, I thought Maki would only have me as a casual fan but her debut turned out to be remarkable. Not only is this an amazing debut, it’s also a compilation as it contains most of her collaborations, making the whole package a complete success. The amount of amazing songs is unbelievable and it’s impossible not to find something to love. What is LOVE, SCANDALOUS, EYES, and Paradise are the dance songs I’ve been craving. The heat that they carry is phenomenal and they all have a delicious retro flavour. Believe and Tsukikage show a different side to her that I’ve never seen. I love the traditional aspects of the production and her voice is astonishing on these ballads. The second disc of collaborations contains songs that are just as hot. Her SWEET BLACK material is a nice bonus and it’s her best work ever. This release is very lengthy but there isn’t any song I dislike. I have to give it to her for releasing this unexpected gem.

Runner-up: Namie Amuro – Checkmate!

Best Artist

Maki Goto

Who would’ve thought that this former Morning Musume member would come out on top in 2011? During her time at avex, she released four mini-albums, each one demonstrating a different sound and style. While some loved what each mini had to offer, others were uncertain with her direction as an artist. Despite this, her debut album took all the great things about the minis and focused them into a single unit with brand new songs that complimented them. This resulted in a surprisingly cohesive record. Her vision finally came to fruition and it’s a really great pop album. Moving from her Morning Musume days, where I didn’t care for her music at all, and watching her mature into an artist was a journey worth being part of. Her music, as she has matured over the years, has continuously become stronger and more impressive. She’s gone through so much to get to where she is now. Her brother was arrested back in 2007 and her mother died soon after she signed to avex. She’s had to grow up and learn to cope while being a celebrity in the spotlight. She’s shown a resilience that is inspirational and has constantly put her all into her music. It’s understandable that she’s going on hiatus but it’s sad to see an artist who was showing promise have to put it on hold. Thankfully, she released an incredible album and said her goodbyes during her G-Emotion FINAL ~for you~ concert. It’s kind of bittersweet that I’ve become a fan now that she’s leaving the music scene behind for a while. However, I‘m looking forward for her to return and hopefully her next release is as amazing as Ai Kotoba (VOICE).

Japan had a slow start at the beginning of the year but the releases started picking up and by the end of the year I was satisfied with what I heard. In a way, the slow start was beneficial because it forced me to find new music, leading me to discover some amazing artists. There were other releases that I liked but didn’t get a chance to mention. Genki Rockets’ GENKI ROCKETS II -No border between us- , Angela Aki’s WHITE, MAA’s BubbleMan Engine, Rie fu’s I Can Do Better, alan’s JAPAN PREMIUM BEST & MORE, BENI’s Fortune, MISIA’s SOUL QUEST and MISIA no Mori -Forest Covers- and moumoon’s 15 Doors are all amazing albums and worthy of your time. 2012 is already looking interesting with Koda Kumi releasing JAPONESQUE at the end of the month. Ayumi’s going to release an album this year as well and ayaka’s coming back from hiatus, maybe she’ll win me over this year. After a bunch of singles, MiChi has stated that her sophomore album will be out sometime soon. moumoon is coming back already with a new album due out in February so 2012 is already looking like it will be busier than last year.

Best Discoveries

Ji Sun

Ji Sun was an artist that was recommended to me by 4lvy. I listened to her debut album, The Mermaid… Comes Back Home, before but I couldn’t remember anything about it. After my talk with him, I went and listened to the album again hoping that it would quench my thirst for new K-pop material. It certainly did and I’m so grateful for the recommendation because I have another K-pop artist to love. Her high, powerful voice is so refreshing. The blend of electropop with deep, heartfelt melodies results in beautiful material that is emotional and infectious. She does it all as she delivers fresh ballads, elegant mid-tempos and exciting up-tempos. The Mermaid… Comes Back Home, He Doesn’t Love You and Goodbye Heart are the album highlights. Her voice on these tracks is absolutely stunning. I ventured into her Loveholic material and I didn’t enjoy it as much as her solo material. Her debut is brighter, more animated and so much more fun than her Loveholic material.

Ibadi

I’m a huge fan of Clazziquai Project and when I discovered that Horan, one of the lead singers, had a side project under the group Ibadi, I had to listen to them. This occurred last year but it wasn’t until this year that their music clicked with me. They’re an acoustic-based group that dabbles in folk music. It’s unlike anything that you usually hear in Korea and that was a really big part of why I started loving them. Horan’s voice is beautiful and soothing just like their somber music. There are so many layers and textures to her voice. Getting to hear her explore her vocal range is exciting and every song displays her voice in such a gorgeous way. Flowing Afternoon Forest and Nostalgia, from Story Of Us, are gorgeous songs. The latter is an atmospheric ballad with vocals that send chills down your spine. They released their second album near the end of 2011 and it’s just as amazing as their first. Their releases are fantastic and I highly recommend them if you want to listen to something other than electropop.

IU

IU is an artist that I tried to get into before with her mini-album, Real, and while I enjoyed it, I wasn’t impressed by it. When she released her second album, Last Fantasy, she had a lot of people talking about how amazing it was. Turns out they were right and I’m thoroughly enjoying it. It gets much better with repeated listens and now I’m really interested in checking out her older releases. You And I is cute but it’s not overly sugary like most cute idol songs are. It’s mature and deep which is something that most cute songs lack. Secrets is a killer track, building up constantly until the very end where everything comes together. Check out the album if you haven’t already because it’s one of the best releases from last year.

Best Cover

Brown Eyed Girls – SIXTH SENSE

The cover for SIXTH SENSE is flawless. They’re clad in incredibly hot and fierce leather outfits that demonstrate how comfortable they are with their sexuality. They look absolutely beautiful. These aren’t little girls trying to be sexy, these are women who are confident and in control of their sexuality. They do it tastefully and classy which isn’t something you always see. It could have been better if there wasn’t so much empty space but other than that it’s an excellent cover. It gives off a sense of mystery and their aggressive look matches the music.

Runner-up: 2NE1 – 2NE1 2nd Mini Album

Best Single

Brown Eyed Girls – Sixth Sense

There isn’t a song that came out in Korea that matches the audacity, power, and originality of Sixth Sense. Brown Eyed Girls didn’t try to recreate the success of Abracadabra, they sought to outdo it and they did. This song effortlessly blends jazz, soul, electropop and disco elements into a musical masterpiece. Each member puts their all into it and it’s the most impressive vocal performance of the year. There’s no other girl group that has the vocal power that this quartet has. Hitting crazy belts and a co-operative whistle notes is not easy to accomplish but they do it like it was a simple task. The rap is so perfect, so mature and its sophistication added depth to it. Sixth Sense is a musical experience like no other. It takes all of you senses and explodes them into a euphoric state. They combine the catchiness of K-pop with a truly different sound, a sound that no one else in Korea has explored. That, in itself, is what makes this song so remarkable

Runner-up: 2NE1 – I Am The Best

Best Video

Brown Eyed Girls – Sixth Sense

Brown Eyed Girls slay once again, this time with their phenomenal music video. The theme of resistance and revolution is executed well, in a way that grabs your attention instantly. Each member represents a different aspect of resistance, each of them constrained and being watched. It’s very intense, wild and conveys the feeling of a massive rebellion. The visuals are breathtaking. The scenes where they’re tied down has a vulnerable beauty and it’s empowering watching them break free at the end. The scenes where they’re clad in army uniforms show their stronger side and their will to fight. The semi-splits that Narsha does is insane. I was left speechless when I first saw it and even had to replay it. The final scene where the fight takes place is epic. It represents the climax of the song and all the energy that explodes from the chorus is captured in that scene. This video is fierce beyond belief and there’s nothing else that comes close to it. This is, without a doubt, a piece of art.

Runner-up: 2NE1 – I Am The Best

Best Mini-Album

2NE1 – 2NE1 2nd Mini Album

Of course, 2NE1 manages to finds their way onto another end of the year list and this time with their second mini album, 2NE1 2nd Mini Album. This album led them to accumulate a large number of new fans and gained the attention of many Westerners. Their popularity expanded again and their reign over Korea doesn’t seem to be losing steam. I Am The Best brought their sound to the next level and it’s catchiness is impossible to resist. I’m sure many fans were ecstatic that they minimized their use of vocoder and their voices got to shine on tracks like Loneliness and UGLY. They can rap, sing and put on spectacular performances. They bring the energy like no other girl group and they always prove why they deserve to be on top. 2NE1 is planning on bringing their hot style over to America and have been in the studio with will.i.am. It’s going to be exciting to see if they can make it over here. Regardless of what happens, I’m positive that they’ll release great material.

Runner-up: None

Best Album

Brown Eyed Girls – SIXTH SENSE

SIXTH SENSE is not only the best Korean release but one of the best releases of 2011 period. The sheer force of this album is remarkable. They made it even better by repacking it with the melancholic Cleansing Cream which left many dazzled by its radiance. The album is a throwback to jazz and it’s a delicious journey. Their vocals harmonize in ways that they never managed to do with their previous albums. An Inconvenient Truth is goose bump-inducing and the way their voices melt into each other is like magic. I’ve already said enough about Sixth Sense and Hot Shot brings the jazz into a club atmosphere that will force you to groove along to it. The concept is on-point, visually and musically. They wanted fans to experience music in a new way and brought songs that teased every sense of the body. This isn’t just an auditory experience. It’s a sensual journey that should not be missed. They may have taken quite a long time to release this but it was worth it in the end. It’s not an inflated tracklist that gets lost with filler. It’s precise and to the point. Every song has a purpose and meaning.

Runner-up: Ibadi – Voyage

Best Artist

Brown Eyed Girls

Brown Eyed Girls dominated and slayed like no other girl group. They’re vocal powerhouses and they showed off every aspect of their voices with their new record. They hit notes I never knew they could, gave some of the best live performances ever and released the best videos of the year. This group is a force to be reckoned with. The members are older than most idols in Korea but it’s refreshing. There’s a maturity that other girl groups lack and a sexuality that others simply cannot emulate. Each member brings something to the table and they’re all equally talented. It’s rare to find a girl group where every member pulls their weight. There are countless girl groups where some members are overshadowed. That’s not the case for Brown Eyed Girls. Sure, Narsha and Ga-In are my favourite but Jea and Miryo are just as amazing. They’re confidence on stage demands attention and their music is nothing short of amazing.

Runner-up: 2NE1

There’s not much variety but these were the most memorable releases in Korea last year. 2NE1 and Brown Eyed Girls simply cannot be touched. IU and Ibadi released fantastic albums and they’re great alternatives to the electropop craze. I don’t really mind that there weren’t more albums that I loved because the ones I did more than make up for it. I’m excited to see what 2012 brings and there are already some comebacks that I cannot wait for. I really want to add more Korean reviews to my blog this year. I’ve been neglecting it for far too long. I’m hoping to resume reviewing Clazziquai Project and hopefully getting to popular acts like Girls’ Generation. I’ll definitely be reviewing Ivy’s discography and I’m really excited to get them done.

Nicola Roberts – Cinderella’s Eyes

Nicola had me hooked the minute she released the bratty Beat Of My Drum, displaying a fresh new sound for 2011. She demonstrated to the world that she wasn’t just the quiet ginger that Girls Aloud pushed to the background. Cinderella’s Eyes allowed her to be herself and showcase how amazing she could be if given the chance. Her voice is one of a kind and it may take a while to get used to but once you do, you’ll never be able to stop loving it. Her falsetto is incredible and hearing it is one of the highlights of the album. She released the most original album of the year. Songs like Gladiator and Take A Bite throw you into a world hardly explored by pop artists while the personal and tragic sticks + stones is the icing that tops it off. Try listening to it and not get teary-eyed. There is no other album that comes close to how experimental this album is. She didn’t release for the fame because if she did she would have played it safe. She clearly set out to offer something new and the risks she took are commendable. If you haven’t already had the chance to listen to it, I urge you to do yourself a favour and experience this amazing work.

Katy B – On A Mission

British female singers dominated 2011 and Katy B’s On A Mission boasts some of the best dance music to come out in years. This BRIT school graduate dabs into some exciting genres ranging from dubstep, R&B, house and garage. Her album sounds like it was created in the depths of the underground in England. She’s unlike other pop artists for the simple fact that she makes real, relatable club music. This isn’t your typical electropop dance music. Her music is centered on what it actually feels like to be in the midst of a crowd, dancing and feeling the music with every single one of your senses. Katy On A Mission, Easy Please Me and Broken Record are examples of that while Witches Brew attracts attention with it’s American appealing production. Not only does she have some of the hottest productions ever, she’s also an excellent singer and Go Away shows just how amazing she is. The album is a non-stop party and even the slower tunes have rocking beats. It’s not everyday an electropop artist has a voice like hers and she proves you don’t have to use auto-tune/vocoder to make good music. On A Mission is a throw back to when music had integrity and didn’t rely on cheap tactics to sell.

Adele – 21

What would a “Best Of 2011” list be without Adele? She single-handedly slayed every chart in 2011 and was the most talked about artist. Rolling In The Deep and Someone Like You were some of the most successful songs of the year and they’re definitely up there as the best. This wasn’t a case of a singer being overhyped because she had the album to back up the success. Without a doubt, she is the best vocalist to come out in years. While electropop was dominating, she came out of nowhere and released a soulful album that captured the hearts of millions. 21 is filled with music that everyone can relate to, my favourite song being Set Fire To The Rain. Her appeal transcends demographics and this is the reason for her massive success. She doesn’t use gimmicks or crazy fashion to get attention. She keeps it simple, something that many artists these days aren’t able to do. Adele is a talented artist who deserves all the success she has received and will continue to receive. No one has made heartbreak sound this good.

Kelly Clarkson – Stronger

Stronger may have not been a change from her usual material but it was definitely much more mature than her past releases. It’s not overly pop or dark. It’s a balanced record that contains great songs. Kelly, once again, does a little bit of everything and succeeds in all the genres that she touches. Mr. Know It All was such a different sound for her to return with but it was good. This isn’t the most creative release of the year but she sticks to what she’s comfortable with and that’s what I’ve always loved about her. Her music never lacks heart and Stronger continues that trend. Unlike her past releases, this album sticks to a single theme and each song revolves around it. There’s still fun songs like You Can’t Win and Don’t Be A Girl About It as well as ballads fans have come to love from her, Honestly and The War Is Over. All the songs share a similar sound which isn’t a bad thing because there isn’t any token rock or dance song. It’s all very cohesive and every song brings something new to the album.

LIGHTS – Siberia

LIGHTS ventured into a grittier and dubstep influenced sound with her sophomore release, Siberia. As a result, her music received a polish that it didn’t have before and the production was so much edgier. It’s quite a dark album but there are still some light moments that are reminiscent of her past release but they received a massive surge of vibrancy. The lighter songs, Banner and Peace Sign, are enthusiastic power anthems of hope and love. Flux and Flow and Suspension are the best songs she’s ever done and I still love them to death. I was happy to see her include more ballads as well. And Counting… is so stunning and its romantic air is simply adorable. Her little voice grew during her break and she reached new heights with it, hitting notes I never thought she would sing. It’s an understatement to say that this is a good pop record because it’s more than that. She fought with her American label that wanted to mold her into a clone and released an album that she could be proud of. As a fan, that’s all I can ask for in an artist.

Evanescence – Evanescence

Gothic rock made a return when Evanescence released their long-awaited album and it was so worth the wait. Sure, it may have been overly cohesive but it was filled with brilliant hard rock masterpieces. Lost In Paradise, Swimming Home, My Heart Is Broken and Secret Door are out of this world and Amy’s haunting voice is so special. She sounds like an angel and they’re the most melodic ballads I’ve heard all year. The whole band came through on each track and that was something new for them as the focus has always been on Amy. They were more intense and aggressive with their productions which led to more headbanging anthems from the band, Oceans and Never Go Back are the bands classic sound mixed with a new energy. Evanescence is truly a unique rock band as they push the envelope time and time again. They’re not afraid to experiment but they’re also not afraid to hold back and stick to their roots. The feeling of having a band I adored when I was younger make a successful comeback is indescribable. It’s such a great feeling and I’m so happy for them.

Lady Gaga – Born This Way

Born This Was may have been an overhyped mess for some but for me it secured my love for Lady Gaga. The songs were interesting, daring and so infectious. Heavy Metal Lover, Scheiße and Government Hooker are the album highlights and her best songs. The religious themes left a bad taste in some people’s mouths but she’s not the first and certainly won’t be the last artist to use religion in music so I don’t see what the big deal is. Moreover, only a few of the songs use these themes so it’s not really an issue and they’re some of the best songs on the album, Judas, Electric Chapel and Bloody Mary. Most of the songs deal with the album’s major concern which is about not being ashamed of who you are. The 80s and European pop influences are a breath of fresh air. Gaga is heavily inspired by the 80s and this album is full of throwbacks to the era. It’s a look into her past and her teenage life, making her more accessible on a personal level.

Sophie Ellis-Bextor – Make A Scene

I heard of Sophie a few years back but I never heard any of her music until last year when I found out Richard X, a producer who worked with Rachel Stevens, produced a song for her called Starlight and it was a synth masterpiece. Make A Scene turned out to be a deliciously crafted electropop album. Everything from the up-tempos to the symphonic ballads utilizes synths in magical ways. Her music is very European so except some fantastic slices of disco heaven. Bittersweet is a melodic song that touches the border between mid-tempo and up-tempo, Heartbreak (Make Me a Dancer) is the type of song that doesn’t let you stop moving and Dial My Number, my favourite, is hardcore synthpop. These are massive songs designed to get you to dance but Sophie’s not afraid of slowing down and getting sensual, Synchronised being proof of that. The title track, Make A Scene, is a quirky concoction of beats, something that seems like it shouldn’t work but does. Make A Scene is her best album yet, providing the finest slice of European pop you can hear.

Simon Curtis – R∆

As I’m sure you’re all aware, I don’t praise male artists that often but Simon Curtis is an exception. He released R∆, his second album, and it was a blast of excellent electropop hits. His first album was amazing and it’s not everyday you hear a male vocalist singing this kind of pop music. He’s been regarded as a male alternative to Britney Spears so expect heavy dance tracks. Flesh is the hottest and dirtiest song released last year and it’s a must-hear. What makes him so remarkable is that he’s not signed to a label. The amount of work he puts in to his albums is incomparable to someone who has a huge label backing them up. Despite this, his music never sounds low budget and it’s one of the best releases of the year. Compared to his debut, the music is darker, better produced and there’s more variety. It’s not a departure from his previous sound but it’s an improvement and that’s all that matters.

Ro Danishei – End of the Rainbow

Ro is another unsigned artist and a friend of Simon’s. She also shares a love for electropop and she’s just as talented. End of the Rainbow was a fantastic surprise and boasted some of the catchiest songs of 2011. Later in the year, she released it on iTunes with brand new songs and remixes. The new songs were just as catchy and they made the album better. Even the remixes were well done and weren’t the type of lame remixes that most artists tack on to fill space. They brought a different feel to the song that was enjoyable and certainly very interesting. The album as a whole is strong and dominated by songs that long for the dance floor. Blackout and Baby Doll are club hits that force you to move to their delicious beats. Her collaborations, Michelle (feat. Simon Curtis) and Wicked Baby (feat. Simon Curtis), are the best pairing of artists I’ve ever witnessed. They’re a match made in heaven. She may not be the greatest vocalist but she knows how to use her voice and doesn’t try to be anything that she’s not. She makes feel-good dance music that’s meant to be fun and exhilarating which is exactly what this album is.

Genki Rockets - GENKI ROCKETS II -No border between us-

Genki Rockets blew their debut away with their second album, GENKI ROCKETS II -No border between us-. Dropping their virtual sound, they opted for a more realistic approach to their music and look which benefited them greatly. The heavy use of vocoder was dropped and Lumi’s natural voice was granted the freedom to breathe. Furthermore, there was also a focus on organic instruments that raised their melodies to unbelievable heights. There were still tons of synths but they worked with the organics to produce infectious songs. Curiosity, Touch Me and make.believe are excellent electropop songs, the best from Japan, and they show off their new style perfectly. Their first album was based on the concept that Lumi was born in outer space and wanted to come to earth. This one gives the impression that she, in some way, has made contact with earth which explains the emphasis on natural elements. I honestly thought that I wouldn’t hear from them again but I’m so glad I was wrong because this album is incredible.

Namie Amuro – Checkmate!

This is the only compilation on the list but there’s no denying how amazing Checkmate! is. Namie is always spot-on with her collaborations and to have an album of them is a fans dream come true. She didn’t just release an album of old material though. She packaged five brand new songs that were unique and unexpected collaborations. Finally having Luvotomy / m-flo loves Namie Amuro and BLACK DIAMOND / DOUBLE & Namie Amuro on a Namie album was a great treat. Despite having some old tracks included, I never heard many of them so most of the album felt new. There’s a lot of variety and it shows all the different musical trends she’s gone into. She’s extremely versatile and the album shows that in the best possible way. Her collaborations are amazing and they should not be missed.

Best Single

Brown Eyed Girls – Sixth Sense

Runner-up: 2NE1 – I Am The Best

Best Video

Brown Eyed Girls – Sixth Sense

Runner-up: Katy Perry – E.T. (feat. Kanye West)

Best English Album

Adele – 21

Runner-up: Britney Spears – Femme Fatale

Best Japanese Album

Ayumi Hamasaki – FIVE

Runner-up: Maki Goto – Ai Kotoba (VOICE)

Best Korean Album

Brown Eyed Girls – SIXTH SENSE

Runner-up: Wonder Girls – Wonder World

Congratulations to all the winners and I hope everyone is happy with the results!

1. My Life Would Suck Without You
2. I Do Not Hook Up
3. Cry
4. Don’t Let Me Stop You
5. All I Ever Wanted
6. Already Gone
7. If I Can’t Have You
8. Save You
9. Whyyawannabringmedown
10. Long Shot
11. Impossible
12. Ready
13. I Want You
14. If No One Will Listen
15. Tip Of My Tongue
16. The Day We Fell Apart
17. Can We Go Back

Kelly Clarkson made a deal that after she released My December she would go back to a commercial sound for her fourth album. I had mixed feelings because I loved her third album and wanted her to continue in that direction. When I heard the lead single my hopes were shattered. I didn’t dislike it but it wasn’t the direction I wanted her to pursue. However, I decided to withhold my full judgment until I heard the album. When I did, my feelings were still conflicted. It was so commercial compared to anything she did before and it was so pop. I was upset by how it turned out and felt like it was a step back. Kelly went from penning all the tracks on her last album to penning only seven on this one. Furthermore, some of the songs were demos from other singers like Katy Perry so it was a bit disheartening to see her lose involvement. Eventually, I went back into it with a different mindset and ended up falling for it. What started to grow on me was that the album wasn’t angst and instead showed off a different side to her. After two moody albums, it’s great to see her changing it up.

My Life Would Suck Without You took a while to grow on me because I was hoping for something different but it’s extremely catchy and it’s refreshing to see such a bubbly love song from her. You notice the difference immediately as bright drums, guitars and synths barge in. Her voice is sparkling with a new life that’s rarely heard from her, “I know that I’ve got issues/but you’re pretty messed up too/either way I found out/I’m nothing without you.” It’s a cute, feel-good love anthem that’s a total 180 from her previous eras. A dance-pop flavour is intertwined with the rock beats in the chorus and her upbeat vocals wrap it all together in a beautiful way. It’s full of life and excitement. The synth arrangement brings the energy in a way that the rock elements alone couldn’t have. She rarely incorporates synths into her music so it’s a great twist to her usual pop rock sound. I Do Not Hook Up continues the fun and offers a great message for the youth of today, “oh no I do not hook up, up/I go slow/so if you want me/I don’t come cheap/keep your hand in my hand/and your heart on your sleeve.” Her vocals are on-point and they carry on the liveliness of the first song but she adds some sassiness to them. The blaring guitars are infectious and they’re even catchier during the chorus when they’re combined with a barrage of drums. The fun never ends due to the engaging instrumentation and her belts in the bridge are amazing. This has “hit” written all over it and it’s no surprise it ended up being a single. It has great vocals, energy and a much-needed message. Girl power dominates this track and it’s a success because of it.

The album takes a breather with Cry, a gorgeous power ballad. With sweeping strings and a strumming guitar, it’s your typical ballad but that’s never been a bad thing as long as it’s good and this is a great song. As it approaches the chorus, it gets a louder and grander rock arrangement before it finally explodes as she belts with breathtaking vocals, “is it over yet/can I open my eyes/is this as hard as it gets/is this what it feels like to really cry.” This is how you make a rock ballad and Kelly nails it vocally. The strings take on a new sound during the bridge. Their tempo is increased to give it just that little extra kick and her killer note at the end is flawless. Emotions run wild with the engrossing instrumental and her incredible vocals. Don’t Let Me Stop You packs a massive and hard rock melody that instantly grabs you and sucks you in. It settles down for the verses but it quickly picks up again in the pre-chorus, my favourite part of the song. Her melodic vocals take over and the flow is exquisite, “this is gonna sound kind of silly/but I couldn’t help but notice/the last time you kissed me/you kept both eyes open.” It’s so damn catchy and the hard beats reappear in the chorus to match her aggressive vocals. Kelly does not tone down her vocals one bit and they shine throughout, especially her ad-libs in the final chorus. She’s relentless as she tears down her so-called lover and the power circulating in this song is contagious.

All I Ever Wanted is groovy, intense, and straight-up amazing. A funky beat is brought on by the guitars and I love how addicting the “every day, every day, every minute” parts sound. At first, it gives of the appearance that it’s a simple mid-tempo but the second it enters the chorus it switches to a power anthem with Kelly belting out like no one else, “all I ever wanted/all I ever wanted/was a simple way to get over you.” The chorus is packed to the brim with emotion from both the instrumental and the vocals. The bridge is a total shift from the rest of the song because all the beats mellow out and some great backing vocals are thrown in. At first, it sounds slightly awkward but it’s grown on me and it acts as a strong transition into the powerful final chorus which is amazing thanks to all the different tones she uses for her ad-libs. This is a standout and should not be missed. The song that captured me instantly and is now one of my favourite songs is the phenomenal ballad Already Gone. This is, hands down, the biggest and most amazing ballad in her discography. It effortlessly blends a slew of emotions together. It’s tragic but not completely because it’s beautiful and there’s so much love in it. The emotions are conflicting and it really comes out in the lyrics, “it never would have worked out right, yeah/we were never meant for do or die/I didn’t want us to burn out/I didn’t come here to hurt you now I can’t stop.” A soaring piano and set of strings lead as an intense drum beat holds it all together. There’s a classical aspect to the instrumental that elevates it beyond a standard ballad. Her determined and vulnerable vocals lead you through a heartfelt story of friendship and love. “I want you to know/that it doesn’t matter/where we take this road/but someone’s gotta go/and I want you to know/you couldn’t have loved me better/but I want you to move on/so I’m already gone,” she cries in the chorus which is one of the saddest and most beautiful hooks I’ve ever heard. The bridge takes it to another level as the backing vocals create a euphoric state while she laments over them, “you can’t make it feel right/when you know that it’s wrong.” It’s an atmospheric and breathtaking moment that is simply stunning. This is pure gold and it will go down as one of her greatest songs.

If I Can’t Have You is unexpected coming from her because it’s a massive dance song. She’s never really ventured into dance music but she does it exceptionally well here. What I love about it is that it still contains her signature sound as the rock instruments are blended with infectious synths. The beat alone will get you moving but with her vocals you get more than a generic dance tune. She turns into a vixen as he sings with sexual, aggressive and wanting vocals, “hearts break too fast when they’re sentimental/won’t stay, won’t last when it’s love at first sight/so why are my convictions blinded by your spotlight?” The lyrics are clever and the rock elements make the synths more intense. This is a delicious hybrid and it only gets crazier when it erupts in the chorus. Kelly’s voice is vocoded slightly in the bridge as it slows down but a drumline comes stampeding through and makes it go back into dance mode. The song is ended by her frantically repeating the title until she finally sings “think of all the love that you will lose/if I can’t have you.” Kelly went outside of her comfort zone and she killed it. A sweet piano and guitar lead the way for the next ballad, Save You. Unlike the previous ones, it’s very bright and peaceful. Her vocals are strong and the harmonies during the pre-chorus are insane, “where were my senses?/I left them all behind/why did I turn away?” The backing vocals blend with her main vocals and it’s so beautiful. The chorus gets an unexpected aid from some synths that compliment the organic instruments. They sound very rich together and I love how it crescendos with an electric guitar as she sings “it’s gonna be alright.” The second chorus isn’t as empty because the percussion kicks in during it and follows into the second chorus. The piano and string breakdown and the flow of her vocals are lush. It’s a nice change to the melody and the song ends on a high as she throws in some amazing ad-libs.

Whyyawannabringmedown is short but it’s jam packed with a fury that has yet to be seen in Kelly. The guitars attack persistently with the pounding drums and the way she performs is so playful. She accentuates every syllable and it’s contagious, “this situation if it gets any deeper could be critical/I’m not your love monkey so be takin’ back all of the lies you sold.” In the chorus, everything becomes hyper as the instruments and vocals become fast-paced. Hearing her shout “so what’s your evil attitude?/when you got me spendin’ my time pleasing you/why must you keep me underground?/tell me tell me whyyawannabringmedown?” with such anger is a delight. After the bridge, a gritty guitar riff is utilized and makes the beat even harder. She kills yet another new sound and it’s easily the most playful track in her discography. The strings and haunting vocalizing in the introduction of Long Shot is misleading because in a few short seconds they’re replaced by a blazing guitar. The verses are incredibly strong and catchy, making them the highlight. They have a dramatic flair to them and the way she pauses every so often emphasizes this, “I felt it/the wire touched my neck/and then someone pulled it tighter/I never saw it coming.” Slowly, drums are added and it starts to fizzle out of the dramatic melody into a more fluid one. This is where the song loses its spark because it turns into a typical pop rock anthem. The chorus lacks the edge of the verses and it sounds a little too generic. The last chorus is the best of the three because her ad-libs and the layering of her vocals over each other make it sound richer.

Impossible is another favourite of mine. The first verse utilizes a decadent piano melody whereas the second verse is quite barren. There’s an a capella moment and she’s just supported by drums until the guitar joins. The two different sounds of the verses are equally great and they contain an inspiring message, “ain’t no need to dry my eyes I haven’t cried in quite some time/every day I fight it/you know it’s possible.” In contrast to the verses, the chorus has a busier instrumentation due to all the synths, rippling guitar riffs and deep bass beats. There’s a lot of power in it and its very addicting, “can’t rise above this place/won’t change your mind so I pray/breakin’ down the walls/do the impossible.” All the vocal harmonies and layers in the final chorus make for a strong conclusion. Ready begins with the cutest synth riff so far. A set of drums come in and the melody takes on a breezy summer feel and it even has a slight country twang to it. Her voice flutters in and dances around the vibrant beats, “I fly like stones in my heart/drowning in doubt, for what reason?/I sit so patiently/drenched in what you want me to be.” This song is adorable and its feel-good melody is addicting. As it goes on the beats get louder and quirkier, getting one final boost for the chorus. Her exciting shrills dominate the chorus and the repetitive lines stick to you like glue. The “ohs” are heavenly and I love the way she plays with her voice.

I Want You takes on a summer vibe too but it combines both a sexy and cute Kelly. It’s reminiscent of 70s/80s beach music with bubbly synths, drums and guitars.  Her cool voice occasionally works its way into sexy tones, “kiss me, like when I first saw you/you figured out I couldn’t be without you,” and the way she stutters “I want you” is adorable and infectious. The background “yeahs” sound like they’re straight out of the jazz era. A lot of changes occur in the instrumental and it goes between high and deep beats. It switches tempo at the end and settles down into a soothing percussion and guitar beat. The final ballad, If No One Will Listen, doesn’t disappoint and surprisingly enough it’s the first track she’s produced. For her first time, she does an extraordinary job because it doesn’t sound any less impressive than the other tracks. In fact, it’s one of the most beautiful pieces. Thanks to the stripped-down melody, her vocals are allowed to breathe and take the stage, “maybe no one told you/there is strength in your tears/and so you fight to keep from pouring out.” Her vulnerable, breathless voice is stunning and she works her high register a lot throughout this ballad. The strings in the chorus bring an elegant atmosphere and a more depressing tone to the song. I wasn’t expecting it to pick up but in the second half the arrangement contains drums and the rest of the instruments don’t sound as tragic. The song brightens, most noticeably in the final chorus, and a sense of hope floods it, “if no one wants to look at you/for what you really are/I will be here still.” Her voice will definitely have ears locked on to this tune.

Tip Of My Tongue is one of her most memorable tunes and it finds her dabbing into R&B. A clapping drum beat and eerie synth riff paves the way for her tough, attitude-filled vocals, “never saw ‘I love you’ as a trend/‘cause I don’t really work like that/I mean what I say when it leaves my lips, oh.” The instrumental remains steady in the pre-chorus but she uses her high register to lure you in. In the chorus, the percussion is intensified, an electric guitar makes a sporadic mark, and her voice is much more dramatic, “‘cause goodbye’s on the tip of my tongue/tell me there’s a reason to stay/‘cause I’m about to get up and run.” Her backing vocals add to the atmosphere and her ad-libs in the post-chorus are so melodic. A dreamy atmosphere invades the bridge as a piano is thrown into the mix. It’s quite a shock to see the melody change so suddenly but it’s a nice surprise. I was ecstatic when I heard The Day We Fell Apart because it’s the only song that comes close to sounding like anything on My December. It’s hardcore, loud, in-your-face and she takes on a dark, seductive persona, “what happened to the man who used to take me/straight into misery?/I want you back and now I must admit it shames me/how could this be?” The bombardment of drums and angry guitar riffs is twisted and delicious. It’s the catchiest beat on the album and one of her best vocal performances. The chorus is intoxicating with her high energy vocals, “‘cause once I ran away/I loved you since the day/the day I broke your heart,” and the way she stutters “heart” and “apart” is amazing. In the post-chorus, she gets in some fantastic notes and it just blows me away every time I hear it. The energy never stops and it pumps you up like crazy. In the following choruses, backing vocals support her and they make it sound even better. Then the bridge comes in with a sinister grasp and Kelly’s voice is drowned underneath it. This is my favourite Kelly song ever and it’s the best on the album. Can We Go Back closes the album with a bang. The guitars are violent and carry a heavy sound while Kelly sings aggressively to it. The chorus elevates into heavy rock and she makes it all about her vocals, “can we go back to the way we used to be?/back to the butterflies/staring deep in your eyes?” The electric guitar in the bridge is sick and she still manages to leave me speechless with her voice. Her voice never falters and she throws out crazy belts. It’s fantastic that she ends the album in wild way and with the biggest rock song no less.

Conclusion: All I Ever Wanted may have struck a wrong note with me at first but after getting over my initial disappointment I ended up loving it. What it lacks compared to My December it makes up for it in other ways. It’s the most fun album she has and she sounds so happy. Of course, it has its fair share of depressing tunes but Kelly has never sounded so playful and wild. The album’s variety is another strong point and it doesn’t end up sounding all over the place. Everything is well placed and constructed. You’re never bored because she constantly switches it up and offers surprise after surprise. She plays with genres like dance and R&B, showing once again how versatile she is. It’s her fourth album but she’s still trying new things and constantly nails them. All I Ever Wanted is as pop as you can get but is that a bad thing when it sounds this good?

Recommended Tracks: The Day We Fell Apart, Already Gone, If I Can’t Have You, Tip Of My Tongue, All I Ever Wanted, Impossible, If No One Will Listen, Whyyawannabringmedown and Can We Go Back

Rating

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1. Never Again
2. One Minute
3. Hole
4. Sober
5. Don’t Waste Your Time
6. Judas
7. Haunted
8. Be Still
9. Maybe
10. How I Feel
11. Yeah
12. Can I Have A Kiss
13. Irvine
14. Dirty Little Secret
15. Not Today
16. Fading

After the success of Breakaway and while on tour, Kelly Clarkson fell into what she has said to be the lowest point in her life. As a result, she began to write new material for her third album, My December, which she said was therapeutic for her. She penned all the songs, making this her most personal and involved album. She started getting personal on her sophomore record but not to this extent. The album is a reflection of all the lows that she experienced so it’s extremely dark. The angst, anger, bitterness and rock sound that laced Breakaway are amplified. She sought out to prove her artistry and take control of her music even if it meant losing sales. Sadly, her record label wasn’t on the same page. Rumours surfaced claiming that the label wanted to make significant alterations or delete the entire project and she later confirmed they were true. They believed the album was too dark and negative which would prevent it from reaching the success of her previous album. Despite all the negativity surrounding the album, she stuck to her beliefs and refused to make any changes

There’s no other song that could have opened the album like Never Again does. It takes all the sounds that Kelly was experimenting with on Breakaway and makes them harder, louder and darker. “I hope the ring you gave to her turns her finger green/I hope when you’re in bed with her, you think of me,” she sings coldly and this sets the tone for this vengeful rock anthem. The guitar riff that aids her is melodic and phenomenal. There are a few spurts from another guitar that creates a slight tension. It’s clever how the instrumental becomes more aggressive as her voice crescendos to angrier tones. When she increases her vocals strength in the pre-chorus, the percussion kicks in and adds a new layer to the track. The rock instruments explode in the chorus while Kelly displays just how cruel she can be, “does it hurt to know I’ll never be there?/bet it sucks, to see my face everywhere/it was you, who chose to end it like you did.” I love the angst atmosphere from her sophomore record but this takes it up a notch and it’s much edgier. In the bridge, things die down briefly for a short drum section but shortly after the guitars start breaking through as she belts “never again will I kiss you/never again will I want to/never again will I love you.” The vocals and melody are so full of energy and excitement, making this one of my all-time favourite Kelly songs. One Minute is introduced by spastic guitars and drums. It has the most interesting rock composition due to its hectic nature which actually ends up being extremely fun. It’s not dark like the previous song because there’s a light vibe to the melody but it’s still very much hard rock with depressing lyrics. Her high backing vocals are infectious and I love how they bounce around the melody. “One minute you laugh/the next minute you’re slowly sinking into something black/I get the feeling that lately nothing ever really lasts,” she exclaims as a rush of beats take over in the chorus. The energy is relentless and the constant grazing of the guitar just locks you in a barrage of infectious sounds. Kelly fills the bridge with her soft vocalizing before the final chorus takes over. This took a while to sink in but once it did I was hooked.

Hole is another hit and boasts the most intense rock performance on the album. At first, a gritty and somewhat typical guitar riff starts it off but then a drumline comes with a groovy guitar riff. The instrumental packs a huge punch and it’s so delicious. The verses have Kelly singing in a calm manner, “tired/of everything around me I smile/but I don’t feel a thing/no,” which contrast the busy beat but she starts to add the intensity to her voice during the pre-chorus and fully integrates it in the chorus. Everything sounds louder and stronger in the chorus as her pain-ridden vocals take over and blend with the amazing guitars, “there’s a hole/inside of me/it’s so cold/slowly killing me.” The bridge is my favourite part and she tones down the vocals at the start but once the main guitars come back she screams “something’s gone/I can feel it/it’s all wrong/I’m so sick of this.” This track is so infectious and there are so many great things about it. The aggression, the attitude and the power that comes pouring out of it is incredible. Sober is a gorgeous ballad, an album highlight for sure. Consisting of an acoustic-based guitar melody, it’s simplicity at its finest. Her vocal delivery is raw, full of emotion, and it’s one of her best songs to date, “and I don’t know/I could crash and burn but maybe/at the end of this road I might catch a glimpse of me.” Her soft voice is wonderful. The pain lying beneath her words seeps out and brings a haunting air to the melody. It’s simple but so magical, especially in the chorus when it opens up and becomes just a bit more emotional, “three months and I’m still sober/picked all my weeds but kept the flowers/but I know it’s never really over.” The song hits its climax during the bridge in a big way and it’s breathtaking. Her voice heightens into a delicious high register as she cries “wake up” and it leads to a sequence of choruses that get a rockier arrangement. Her cry continues to echo in the background and her vocals get stronger with each chorus she performs. After this massive build-up, an electric guitar riff comes in mimicking the melody and Kelly finishes with her soft last words. It’s a beauty from start to end and it’s sad that it wasn’t well received because it was one of the best songs released that year.

Whoever said the album didn’t have any catchy hooks obviously didn’t listen to Don’t Waste Your Time, one of the poppiest songs on the album. Still carrying intense rock elements and mournful lyrics, it switches the angst atmosphere for a slightly bright and carefree one. I was surprised when I heard it because the label made such a big deal about the album lacking radio-friendly tracks but then this comes along providing a hook that’s just as catchy as anything on Breakaway. “Don’t waste your time trying to fix/what I want to erase/what I need to forget/don’t waste your time on me my friend/friend, what does that even mean,” she sings in the boisterous pop rock chorus. There’s more focus on the drums in the bridge and I really like that because it goes well with her strong vocals. This song is certainly infectious and the arrangement is so fun, a must-listen. The song that I was anticipating the most by title alone was Judas. It’s a title that is hardly used so I was ecstatic to see how it would turn out. As expected, it’s chock-full of biblical references and she immediately begins by singing “the only one who took you in/the only one who held your hand/defended you against the others,” backed up by a light drumline. It doesn’t take long for it to expand into a rock medley with stronger vocals. The chorus packs a massive punch as the guitars blast to her screaming vocals, “I didn’t know, I didn’t know/I couldn’t see, I couldn’t see/never thought you’d forget me.” The atmosphere is tense and infused with her anger. It’s energetic and so catchy. The belting at the end is an excellent addition and Kelly really gets her message across.

She shifts to the darkest moment on the album with Haunted, a song about the suicide of a friend. A screechy and horrific guitar riff starts it off but then clock-like guitar plucking and percussion takes over. Her singing is relaxed; however, the dreary tone that she employs reflects the dark atmosphere, “now you’re gone/and I’m still crying/shocked, broken/I’m dying inside.” Her backing vocals sneak in and lead to the chorus where she laments, “where are you?/I need you/don’t leave me here on my own.” Similarly to the other songs, the chorus features a heavy guitar riff and it’s not as engaging but I like how tormented she sounds. The second verse has a fuller arrangement and she’s livelier, getting angrier as it goes on. Kelly throws in a great belt during the bridge and the end overlaps the chorus under the post-chorus. For the finale, the screechy guitars return and she repeats “you were smiling” which is the most unsettling line in the whole song. It’s so creepy and you’re left with this horrible feeling. Kelly strips everything away once again for the second ballad, Be Still. It’s a touching ballad with beautiful lyrics, “foolish one with the smile/you don’t have to be brave/I’ll gladly climb your walls/if you’ll meet me halfway,” and a delectable melody. A relaxing acoustic arrangement flows throughout and guides you on a gorgeous listening experience. The instrumental never tries to be big. It stays as peaceful as possible and it’s a breath of fresh air from the angst songs that are thrown at you. Her voice is like silk. The sultry tones that she uses are jaw-dropping and she delivers a very controlled performance. There are no belts or powerful moments. It’s smooth to the end with the vocals, elegant guitar, piano and strings.

The ballads continue with Maybe and it’s also a stunner. The acoustics aren’t as airy as the last ballad and Kelly’s singing, while calm, is stronger. I love the lyrics, they’re about acceptance and admitting your faults, “I’m strong/but I break/I’m stubborn/and I make plenty of mistakes.” The song comes to life after the second chorus due to the drum beats and her delivery changes to an intense style. She puts so much passion and beauty into her vocals, “yeah I’m gonna try to give you every little part of me/every single detail you missed with your eyes.” There are occasional blasts of synths and everything eventually dies down to a piano which is the first time you hear one so clearly on the album. Her soulful voice takes over and the rest of the instruments come back but the acoustic guitar is changed to an electric one. There are so many changes to the vocals, instruments and structure. There’s a lot of detail put into it which elevates its beauty.  The second pop-infused song, How I Feel, comes in to wash away the emotional aftertaste of the ballads. This is the most addicting piece and its melody is fire. The guitar has a groovy bounce and she throws away the bitter tones for a fun and feminine vocal approach, “this fire is getting hot again/but I touch the flame ’cause I’m a curious cat.” The way her voice heightens throughout the verses makes them a delight. Her vocals in the chorus are killer and the way she screams out “oh” in a piercing high register is so awesome. I can’t get over how infectious she sounds, “I’m getting tired of believing/even sicker of pretending/that it’s not so bad, just wait it out.” It’s so refreshing to hear this tone and the fist-pumping guitar melody accompanying it is a blast of fun.

Yeah is so different compared to everything else so it really stands out. It’s unique to the album due to the fact that it displays a retro, almost jazz beat. It’s the shortest track and I wish it was a little longer because it’s great. Her vocals are powerful but there’s a flirty, aggressive and confident flavour to them that’s very sexy. The chorus is pure ear candy as she performs with shrilling vocals, “yeah/let me know, let me know.” Her vocals are just insane and the spurts of horns bring it to another level. This brings sex appeal like no other Kelly track and the bridge dives deeper into it as she whispers to a seductive percussion sequence. I wasn’t expecting this type of song so it’s a wonderful surprise and I adore the jazz influence. Once again, the album goes in a new direction and this time it’s for the adorable Can I Have A Kiss. It’s not a total shift in the instrumental department because it’s composed of an acoustic guitar but it’s a nice change of pace lyrically, “excuse me for this/I just want a kiss/I just want to know what it feels like to touch/something so pure.” The melody picks up in the pre-chorus and it’s the cutest moment on the album. The lyrics have a feel-good nature to them and they just put a smile on your face, “don’t move/it’s only a breath or two between our lips.” It becomes brighter in the chorus and features a fast-paced delivery. There are synths laced underneath and they’re not dominant but they add a nice flair to the instrumental. This is such a bubbly tune that has just the right amount of sugar. It’s a breath of life for the album as it’s the only uplifting song.

Irvine is a beautiful and haunting prayer that she wrote after her Irvine show. Kelly has stated that it was the lowest point of her life and this song is what came out of it. “Are you there?/are you watching me?/as I lie here on this floor/they say you feel what I do,” she coos, joined by a somber acoustic guitar. There isn’t much of a structure in terms of verses and choruses because each stanza is different. Her voice is masked behind by what sounds like a vintage microphone and it gives it a transcendent feel. There are a lot of emotions running through and it’s certainly the most creative song she’s ever done. The haunting instrumental is perfectly tuned to her melancholic vocals. It’s depressing because you feel her helplessness, “why is it so hard?/why can’t you just take me?/I don’t have much to go /before I fade completely,” and it ends up being a lullaby of sadness. Hidden on this track is the country-like Chivas. Again, it sounds like a vintage microphone was used during the recording but it sounds much more retro. The crackling brings out the old school sound even more and her soulful voice is a great companion to the instrumentation, “guess I fell too fast/guess I learned my lesson/so much for true love/I’ll take this chivas instead.” There’s no change to the melody whatsoever but it works just like it did in the previous song. This is another unique track and it’s definitely a nice bonus.

Dirty Little Secret is the first of the iTunes bonuses and I didn’t get a chance to hear any of them until years after the album came out. It doesn’t share the lyrical themes as the others but it does share the pop rock sound. The instrumental isn’t totally dark. It’s more on the gritty and dirty side. She displays her high register frequently in the chorus which is the highlight. The flirty vibe to her voice is delicious and catchy, “oh (don’t wait too long)/I see it now/I know your dirty little secret.” The gritty nature of the guitars brings something new to the album and it all comes together in a very sexy way. Not Today opens with an optimistic guitar and drum beat. It’s not the greatest and there’s something off about it but it’s a decent listen. The chorus is the best part because the guitars blast life  into it and she sings with much more passion, “is anybody this weird/will someone ever get my twisted thoughts/my ways/I guess not today.” It has a really great beat to it that makes it mildly infectious so that’s a plus. I like how the instrumentation starts to get faster right before the end and then settles right back into its main melody. Fading, the Japanese bonus, suffers from the same issue. These last two tracks seem to be lacking the polish that the rest of the album has and it makes them sound like demos. Regardless, there are some very catchy moments. In the verses, her fast-paced singing is great and the pre-chorus, when the guitar hardens, is a delight as her voice is filled with angst, “amongst these faceless others/underneath the surface/everything’s so backwards/it’s all a lie.” The chorus is as energetic and her vocals drift along to the barrage of beats. In the end, I don’t necessarily dislike it but compared to the other songs, it’s not as great.

Conclusion: My December blew me away completely. I loved her sophomore effort but this is so much more amazing. The dark themes that she started to get into are expanded into angrier, feistier and more emotional material. Her record label is clearly clueless if they couldn’t see the brilliance of this album. Everything is catchier, stronger, more beautiful and just overall better than anything on Breakaway. This is my favourite album from Kelly and I don’t know if she’ll ever top it. It’s her most personal and involved album which shows in every single song. This album has it all from rock anthems to dreamy ballads to infectious pop hits and to soul-infused retro songs. Her voice is at its finest and she’s never sounded better. My Decemeber is a masterpiece and like most it has gone unnoticed and unappreciated.

Recommended Tracks: Never Again, Sober, Judas, Hole, Maybe, Yeah, Don’t Waste Your Time, How I Feel and Irvine

Rating

1. Daydreamer
2. Best For Last
3. Chasing Pavements
4. Cold Shoulder
5. Crazy For You
6. Melt My Heart To Stone
7. First Love
8. Right As Rain
9. Make You Feel My Love
10. My Same
11. Tired
12. Hometown Glory
13. Painting Pictures
14. Now And Then
15. That’s It, I Quit, I’m Moving On

With the buzz surrounding Adele this year I knew I had to finally give 19 a shot. I heard many things about it when it was released but I never ended up even checking it out. After listening to her sophomore record, I didn’t even need to think twice and immediately went to see what I had been missing. Adele boasts a voice like no other. Delving into blues, jazz and pop, she brings her own unique twist to these genres and puts her spectacular songwriting skills on display. Only nineteen when the album was written, the reason for its title, she exudes a confidence and maturity that many other young artists lack. This might translate to some that she’s boring but that is far from the truth. Of course, you won’t find any up-tempos here but what you get is a well-crafted record detailing the experiences of a woman coming of age.

Daydreamer comes in showcasing Adele’s vocal prowess as she performs over a simplistic guitar and piano melody. “Daydreamer/sitting on the sea/soaking up the sun,” she sings, using her deep timbre to lure the listener in. The instrumentation takes a back seat and the focus lies on her vocals. The entire track is carried by her voice and she’s a pleasure to listen to. She truly has an exceptional voice that’s distinct and her high register in the chorus is angelic. The way she stretches and expands the words is beautiful, “you can find him/sitting on your doorstep/waiting for a surprise/and he will feel like/he’s been there for hours/and you can tell that he’ll be there for life.” What a simple and fresh way to start things off. Adele flutters into jazz for the retro and delicious Best For Last. The composition is engaging, heavy guitar chords are the key player, and her sweet performance is outstanding. Adele makes it highly addicting and actually quite playful. About halfway into the verse, the guitars crescendo to a groovy beat and the tempo increases once again in the phenomenal chorus. “You should know that you’re just a temporary fix/this is not rooted with you/it don’t mean that much to me/you’re just a filler in the space/that happened to be free/how dare you think you’d get away/with trying to play me,” her voice dances to the infectious beat which adds a funky piano and drumline. The backing vocals support her voice wonderfully and they really enhance the overall feel. It’s great to see her play around with jazz and the happy air it emits is contagious. The gem of the album, Chasing Pavements, was the first song to truly stick with me. The verses consist of a touching piano and guitar melody, later including percussion, while Adele sings calmly. Her emotional vocals soar in the chorus and the soft melody is replaced by grandiose strings, “should I give up?/or should I just keep chasing pavements?/even if it leads nowhere/or would it be a waste/even if I knew my place.” It’s stunning and Adele sounds unbelievably amazing. Everything works so well in the chorus and it ends up being one of those songs you’ll be humming all day. Her mature voice shines through this number and the punch in the chorus is so great and captivating. It’s a wonderful song that shows off her chops and her beautiful songwriting.

Cold Shoulder boasts an interesting intro that consists of vibrant drums and stuttering strings. Her soulful voice joins the beat and works its magic as she effortlessly takes control of the song. The instrumental is quite upbeat for the lyrical content but it works and I love her energy, “you grace me with your cold shoulder/whenever you look at me I wish I was her/you shower me with words made of knives.” Between the chorus and verse, there’s a dramatic sequence of strings that’s very cool and totally unexpected. Continuing with the surprises, the bridge turns into a loud instrumental clash while she sings using a raspy tone. I didn’t expect the song to sound like this but I love it. Crazy For You is another throwback and it has a slight country vibe to it. This is similar to the first track because it has a minimal instrumental and focuses more on the vocals. Her powerful vocals glide along the light guitar chords and it sounds really nice. I don’t find it as astonishing as some of the other songs but I do enjoy it for the most part. The chorus is definitely the highlight due to the delicious manner she sings “crazy for you.” Her high tone is breathtaking and she puts so much emotion into her voice that it sounds like it will crack at any moment. Her voice is flawless and I wish the instrumental was a bit more engaging but regardless, it’s still a good track. Melt My Heart To Stone is a gorgeous mid-tempo. It comes alive as it progresses and moves from a piano arrangement to include a drum beat in the second chorus which makes it stand out. The first verse dazzles with its strings and her vocals are a blend of high and low tones that leave me speechless. I love the way her voice stretches to reach the high notes and it just sounds unreal, “and I hear your words that I made up/you say my name like there could be an us/I best tidy up my head I’m the only one in love.” The bridge brings all these great elements together and raises them into a beautiful, vibrant sound.

A charming music box opens First Love which is the only melody that is utilized. Although not a favourite, its cute melody is hard to resist. I’m not surprised that the lyrical content is saddening, “this love has dried up/and stayed behind/and if I stay I’ll be a lie/then choke on words I’d always hide,” but a part of me believed that this would be a sweet song. Nothing really happens and that’s why I have a hard time getting into it. It’s basically the same from start to end and you end up hoping for something to happen. Right As Rain brings a much-needed funky blues beat and livens the album up after the last few somber tracks. Adele opts for a more feminine singing style and its addicting paired with her soulful tone. “‘Cause when hard work don’t pay off/and I’m tired there ain’t no room in my bed/as far as I’m concerned/so wipe that dirty smile off,” her voice crescendos to the fun piano and drum instrumental. I love the old school vibe that comes out of the gritty jazz beats and backing vocals in the chorus. The end marks the first time she shows off the belting side of her voice and it’s wonderful. I’m surprised she hasn’t hit that many belts but, in a way, that’s what makes her refreshing. Adele covers Bob Dylan’s Make You Feel My Love next and her rendition is great. All that backs her up is a piano and it lets her luscious voice take center stage, “when the rain is blowing in your face/and the whole world is on your case/I could offer you a warm embrace/to make you feel my love.” Her delivery is simple yet incredibly passionate and emotional. There are some moments where the backing vocals support her and they’re very tender. I love how smooth this track is and her dreamy vocals glide easily to the melody. Near the end, strings are added to expand the arrangement and she adds just a bit of strength into her vocals. I can see why she likes this song and she really makes it her own. Its content really fits with the rest of the album.

I wasn’t expecting My Same to be introduced by weird vocalizing, “aye aye,” but it definitely help it stick out. It’s filled with a retro beat that has a distinctly modern flair due to its quirkiness. I knew I was going to enjoy this right when I hear the intro and it’s such a great tune. Adele sounds like she’s having a blast as her voice bounces to the guitar. I adore the last lines of each stanza because the backing vocals come in and she plays with her vocals as she alternates between different tones, “you’re so provocative I’m so conservative/you’re so adventurous I’m so very cautious/combining you’d think we wouldn’t but we do.” Her kooky vocalizing shows up again during the bridge for a while until she switches up to some very impressive runs. I like this song a lot and it’s one of the most memorable. Tired is similar to the rest of the album but at the same time it’s different because it’s the only one to use synths. The synths are barely used in the verses, a drum and guitar beat dominates them, but during the chorus they come to life, “I’m tired of trying/your teasing ain’t enough/fed up of buying your time/when I don’t get nothing back.” Furthermore, the second chorus features brighter synths as they’re joined by a set of strings that raise the atmosphere. In the bridge, the tempo gets a drastic reduction and the light electro beats fade for a symphony of strings that are accompanied by her haunting whispers. It gives the song an interesting layer which prevents it from being predictable and helps it stand out a bit more. The album ends with the song that introduced Adele to the world, Hometown Glory. What starts as a delicate breeze of a piano soon fleshes out into a warm melody that finds her singing about her love for her home. Adele’s voice is rich and deep with emotion, getting more vulnerable as the song moves on. Once in the chorus, her voice takes on a husky tone that conveys a sense of nostalgia and affection, “round my hometown/memories are fresh/round my hometown/oh the people I’ve met/are the wonders of my world.” What’s more amazing is the high vocalizing that she does at the end. This is a very comforting song and a gorgeous conclusion.

On the Japanese release, three additional songs were included and the first is Painting Pictures. There’s a brooding feel contained in the instrumentation, at least for the start, and it’s a nice change of pace. Her vocals have some aggression in them which compliments the dark arrangement and the way her voice sharpens when she sings “I want to feel my heartbeat so/with the world that you feel/leave” is incredible. Most of the music fades so it’s almost like an a capella moment and the music comes back but it’s a completely different beat. The second half is upbeat and it has a slight rodeo groove as she delivers a much more energetic performance. It’s a shame it didn’t make it on all versions of the album because it’s a very strong track. Now And Then offers the same old and it’s nothing extraordinary. Like most of the album, it consists of a soft acoustic guitar and that’s pretty much it. The final chorus is the best part because her tone and the backing vocals give it a fuller feel, “‘cause hearts break and hands wave/to make us grow fonder/then our eyes cry and souls sigh/so that we know that it hurts.” The Sam Cooke cover That’s It, I Quit, I’m Moving On is the shortest track on the album, coming in just over two minutes. This is practically a throwaway track even though it’s decent. I can’t fault the vocals or the production because it’s a nice simple song but it’s boring, especially since there are other tracks that do all these things much better. The short length doesn’t help either because it makes it hard to get a grasp of it.

Conclusion: 19 is a great album that is slightly brought down by a few songs that don’t meet their full potential. When Adele gets it right, she slays. The album is packed with emotion and her real life experiences which makes it all the more beautiful and tragic. Due to the album’s heavy lean towards a certain sound, some of the songs do come close to sounding similar and it affects the listening experience. When you get to the end you feel as if you’ve already heard all that it has to offer. Adele’s vocals shine throughout though as she showcases her deep, rich and passionate instrument. The songs that I’m not too crazy about are still worth listening to just because of her voice. Sometimes singers with big voices end up falling into a stereotypical sound that prevents me from enjoying them fully. Adele is a strange case because that didn’t happen with her for me. I actually fell for her quickly and this album is a great introduction to her music.

Recommended Tracks: Chasing Pavements, My Same, Best For Last, Right As Rain, Painting Pictures, Cold Shoulder, Daydreamer and Melt My Heart To Stone

Rating

1. Breakaway
2. Since U Been Gone
3. Behind These Hazel Eyes
4. Because Of You
5. Gone
6. Addicted
7. Where Is Your Heart
8. Walk Away
9. You Found Me
10. I Hate Myself For Losing You
11. Hear Me
12. Beautiful Disaster (Live)

Thankful found Kelly Clarkson etched in a typical genre that many Idol’s find themselves in. Despite being a good, it was a very predictable route for her to go in. With her second album, Breakaway, she literally breaks free from the tired pop formula and discovers her defining genre. The soulful roots of her previous effort return and they’re infused with a rock sound that suits her voice wonderfully. The music has much more of an impact and her voice is far more impressive. I didn’t think she would ever go this hard into pop rock but she excels at it. It has become her staple genre and Breakaway showcases the beginning of her dive into it. This is her most successful album and the most successful by an Idol to date.

I’ve never cared for the title track, Breakaway, but I’ve warmed up to it over the years. Kelly opens this bright number with some nice vocalizing and she’s joined by a serene acoustic guitar. Her voice is crisp and soft but still very strong. The instrumental gives off a sense of freedom, or a sense of obtaining freedom, which is something she has done with this album. “I’ll spread my wings and I’ll learn how to fly/I’ll do what it takes ’til I touch the sky/and I’ll make a wish/take a chance/make a change/and breakaway,” she proclaims in the chorus while the guitar crescendos to an even more optimistic melody. The cheery sound really sticks to you and the inclusion of strings in the bridge gives it some edge with its dramatic flair. I like this much more than I used to and her vocals are fantastic during the last chorus. It’s stronger than her old material and gives a sneak peak of what is to come. Since U Been Gone is her iconic song. I don’t think I could find someone who hasn’t heard it. It is one of the best breakup songs of the decade and the one that got me into her music. “Here’s the thing we started out friends/it was cool but it was all pretend,” she begins with a steady bass and guitar beat. It’s a bit quiet until she vents in the chorus, “but since u been gone/I can breathe for the first time/I’m so moving on/yeah, yeah.” The hook is catchy, edgy and the rock elements bring it to a higher level. My favourite part is the bridge where she employs a higher tone to bash the ex-boyfriend and reaches the climax with a piercing belt, “shut your mouth I just can’t take it/again and again and again and again.” This leads to a short but delicious gritty guitar riff before moving to the final chorus which is filled with amazing ad-libs and backing vocals. The song is incredible and it’s no surprise that it’s praised by many to be one of her best.

The previous song may have begun my love for Kelly but Behind These Hazel Eyes cemented it. This song is dark, emotional and it features a heavy composition. Immediately, angry guitars and vocalizing comes in, leading to the beautiful verse which consists of a lovely, light guitar and drum melody, “seems like just yesterday/you were a part of me/I used to stand so tall/I used to be so strong.” The melody picks up during the pre-chorus and becomes full-fledged pop rock during the chorus. Kelly delivers a tragic and hateful vocal performance, “here I am, once again/I’m torn into pieces/can’t deny it, can’t pretend/just thought you were the one.” I love how her vocals express pain and rage all at once and her screaming backing vocals are a superb touch. The highlight and the peak of the song is the bridge. I’ve always loved it since the first time I heard it. The melody morphs into a spiral of hard and dark instruments while Kelly provides my favourite vocal moment. The belt that she hits is stunning and I love how the music fades away to accent it, “seeing you it kills me now/no, I don’t cry on the outside/anymore.” It’s an epic moment and the final chorus is made better with strong ad-libs and vocal runs. I’m a fan because of this song and I can never get tired of it. Next up is the first ballad, Because Of You, and she wrote it when she was younger to deal with her parents’ divorce so it’s the most personal song in her musical repertoire. Even if you haven’t experienced the subject the song deals with it’s still easy to relate to. She sings to a haunting piano and it sends chills down your spine. Her performance is raw and she lays all of her emotions out on display. Her delicate timbre carries the song well and the chorus is filled to the brink with her despair, “because of you/I never stray too far from the sidewalk/because of you/I learned to play on the safe side so I don’t get hurt.” The added percussion beats and strings drive the emotion further to the forefront. In the bridge, the strings are much more prominent and her backing vocals are to die for. There’s a second set of vocals supporting her main vocals and the two come together beautifully, “you never thought of anyone else/you just saw your pain/and now I cry in the middle of the night/for the same damn thing.” I love the stripped chorus and how it returns back to its original form but is enhanced by her powerful vocals.

Gone follows in the footsteps of the first few songs but its rock elements are more in-your-face. The guitar bounces in the verses and Kelly mimics it with her voice, giving it a dramatic snap. The chorus is a lot more fluid as the bounce is done away with and her sassy tone is exquisite, “if you think you can walk right through my door/that is just so you/coming back when I’ve finally moved on/I’m already gone.” It sounds so good and it’s very catchy. The rock influence isn’t angry or depressing so it’s refreshing and ends up being one of the lighter moments on the album. It’s great to see her classic belting make a return at the end and it’s a great way to finish. The most impressive song and one of my all-time favourites is the dark and sensational ballad, Addicted. Despite being extremely dark, the song is sex to the ears due to her alluring vocals which carry a deadly air. The piano melody is simple but effective and displays the emotional anguish that Kelly is in. I love how descriptive the lyrics are because it makes for a strong visual experience, “it’s like you’re a leech/sucking the life from me/it’s like I can’t breathe/without you inside of me.” It’s beautiful and grotesque at the same time, a great display for the addiction of love. The song progressively gets more intricate and louder as it approaches the chorus. It’s in the chorus that it shifts to a power ballad and Kelly’s vocals are so strong and mesmerizing as she expresses her conflicting situation, “it’s like I can’t breathe/it’s like I can’t see anything/nothing but you/I’m addicted to you.” The layering of her backing vocals, both high and low, is stunning and adds so much to the chorus. A dramatic set of strings appears in the bridge as she sings in an infectious fast pace with haunting backing vocals supporting her. The tempo changes halfway in and becomes even more aggressive as two angry sets of her vocals come in. This is a masterpiece and the best track on the album.

I’ve never been a fan of Where Is Your Heart and I thought it was total filler. Now, labeling it a filler track is too harsh because it’s actually not that bad. A lighthearted string and piano melody starts it off and her voice takes on a sad but sweet tone. It’s nice to see her move away from the depressing and angry tones that have so far dominated the album and that’s one of the reasons I like it more than I used to. A drum beat makes an appearance in the chorus and the strings take on a more important role than they do in the verses. Her subdued vocal approach in the first half is lovely and in the second half of the song the chorus gets an edgy guitar riff. Though not outstanding, it’s an enjoyable song with great vocals. Walk Away is the sassiest Kelly has ever been and it’s such a fun track. Like the last song, it also departs from the album’s usual themes but it’s much better. It’s catchy, full of attitude and she plays with her vocals a lot. In the verses, where she’s backed up by hard guitar and drum beats, she sings with attitude and she sounds quite sexy, “so before you point your finger/get your hands off of my trigger.” The chorus is a funky mess of screeching guitars and strong vocals, “I’m looking for attention/not another question/should you stay or should you go?/well, if you don’t have the answer/why are you still standing here?” It’s irresistibly groovy and the bridge takes it up another notch as she delivers one hell of a sassy fit, “I wanna man by my side/not a boy who runs and hides/are you gonna fight for me?/die for me?/live and breathe for me?/do you care for me?/‘cause if you don’t then just leave.” I’m always left in awe because of how amazing she sounds. It’s a great song and it’s powerful but the fact that it’s so fun makes it better.

You Found Me is adorable and it’s the only positive song about love. Surprisingly, the music isn’t happy or bright. Instead, it maintains the brooding sound of the other songs. The guitar is laced with moody beats and she sings in a very relaxed manner. You would expect an uplifting performance for a song like this but she still has a lingering sadness in her voice. I actually love that and a brighter sound does arise in the chorus so you do get a happy Kelly, “the ups and the downs/and you still didn’t leave/I guess that you saw what nobody could see/you found me.” It’s refreshing to finally have a hopeful track since the opening. The album’s first and only mishap is I Hate Myself For Losing You. This is average compared to the rest of the album and it’s because of the faulty production. Kelly sings well but she sings to a bland beat which makes for a mediocre listen. The pop rock elements are very unoriginal and nothing exciting happens. The beat is monotonous throughout and despite an increase in tempo in the chorus it still manages to be uninteresting. I like her vocals in the bridge because of how powerful they are and it’s the liveliest part of the track. On the other hand, Hear Me is amazing. Her fragile voice enters, joined by a melancholic piano that sets the mood for the entire track. The instrumental is so captivating and it emphasizes her soulful voice. I love how the verses are calm and soothing whereas the chorus is intense due to the blast of guitars and belting, “hear me/I’m cryin’ out/I’m ready now/turn my world upside down.” It’s her strongest delivery and the energy that’s infused in the chorus is infectious. I love her angry vocals and this song is filled with them, especially in the final chorus where she goes all-out. The album ends with Beautiful Disaster (Live) and this was the first time I actually heard this track. I prefer this to the studio version because it’s more emotional. The uplifting guitars are replaced by a solemn piano and it adds a new flavour to the song. The melody is steady throughout and it carries a sad feel. It sounds great as a piano-driven ballad and she sings it much better live.

Conclusion: Breakaway is a huge departure from Kelly’s debut. While she explored pop rock for a few songs, this album focuses solely on the genre and as a result is much more cohesive. Pop rock and Kelly go hand in hand and her voice sounds richer than it did before. Many of the songs no longer have the belts that she did in her debut because she doesn’t need to do them anymore. She’s already proven what a tremendous vocalist she is. Here, the focus is showcasing her voice in a new way. The soulful twang to her voice was overused and now she explores soft, elegant and sassy tones that she never fully utilized before. She doesn’t sound like a typical pop artist anymore. She’s matured as a singer and this album shows that.

Recommended Tracks: Addicted, Behind These Hazel Eyes, Since U Been Gone, Hear Me, Because Of You, Gone and Walk Away

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