Discussion in 'Pop & Justice' started by Sam, Oct 3, 2018.
The Icarus remix is excellent.
The remix oh my god
I got the pleasure to hear the album already and I can tell you that it's a truly killer record. After the release of Glasshouse I would've never imagined Jessie doing such a vibrant and bold album in terms of sound. I'm going to write some track descriptions later to picture the album a little bit better for you all.
It feels like her best record, or very close second-best right after Tough Love for me. It's really a hard call.
I'm anxious as fuck she's going to push it back.
I don't want her to get to 'we don't know the other girl' status.
You’re making me so fucking excited!
June is long enough! If she wants to do a Dua and move it forward, I'll take that.
The Icarus remix... Ascending.
First of all, this is a very cohesive record, but each track is distinctive enough to stand on it’s own, so the overall result is cohesive, not too same-y album. We won’t find any ballad here, as it’s all bops or moody mid-tempos. Lyrically the album is pleasant and it’s all still very Jessie, but I would say that without the autobiographical touch? It will be up for you to decide.
Also, justice for Overtime as it fits great between first half of the album.
Spotlight (5:33) – I think I’m too used to the single version because it just seems perfect. In album version some of the parts are repeated and it all sounds a bit too chaotic. But that’s just my feeling, single version remains superior to me.
What’s Your Pleasure? (4:41) – I’m so glad that it’s title track, because it’s just pure bliss. I would say that it’s a new-disco style sounding track with pumping beat. It’s very sexual, both sonically and lyrically, and Jessie’s vocal delivery is soft and tender as it should be. Definitely one of my instant favourites.
Come on, push, press, more, less
Here together, what's your pleasure?
Stop, go, fast, slow
Ooh La La (3:51) – After pumping What’s Your Pleasure, we come to mild Ooh La La. It features motorcycle sounds as it’s Jessie’s lover coming to pick her from the avenue (lyrics alert!).This one feels much more 80’s/90’s, I would imagine Janet Jackson doing it (that’s probably hard overcome but that’s my feeling). As the song goes by, there are many different sounds and instruments popping in (sadly I don’t have enough music knowledge to describe what they exactly are). My favourite part is the bridge/outro, when the instumental picks up with a speed a bit.
Soul Control (4:01) – this one is a cold, 80’s synth new-disco banger. After mild Ooh La La, Soul Control comes off as bold statement from the very beginning. This time I felt like it was suitable song again for Janet Jackson or Paula Abdul. Synths are shimmering throughout the song and Jessie delivers bold vocal performance, which I absolutely adore. Again one of my faves from the album.
Soul control, that's how you want it
Soul control, that's how I give it to you
Save A Kiss (4:02) – with fifth track we slow down just a bit. Save A Kiss feels like one of the warmest tracks on the album, I feel like it channels Spotlight a bit because of the strings usage. But except strings, there is also a pumping beat in the background, so the final result is great, shimmering mid-tempo. I feel like it’s also one of the most „Jessie” track lyrically, it just seems naturally sweet.
Save a kiss for me tonight
Wait for me, no compromise
Promise you it won't be long
Just save a little bit and love me, baby
Adore You – still one of her best songs in my slight opinion!
In Your Eyes (4:59) – we are stepping into more intimate territory, In Your Eyes features strings (but also a haunting beat in the background), it’s a silky, moody mid-tempo with smooth vocal delivery coming from Jessie. It’s a pure 5-minute bliss and quite a nice showstopper after first half of the album. As the song goes by, we got more harmonies and layers coming through so the second half feels just lush.
And when you’re here, I leave all of them behind
And I’m not trying to fight it
I’ll just keep on dancing in your eyes
Step Into My Life (3:39) – beginning of that song feels like some wonky Girls Aloud track from their debut album, mostly because of the drums (?) and overall sounds. This is the only song that I’m conflicted with, as it’s a certainly a good song, but I just have no desire to play it on it’s own. I also feel like it’s too short and they’ve tried to put too many things here. Feels a little bit too chaotic for me. It works in the context of the album though.
Read My Lips (4:02) – this one feels similar to What’s Your Pleasure, Ooh La La and Soul Control, as it also feels 80’s/90’s in terms of sound. It features Jessie blowing kisses and her amazing vocal delivery once again. Except of having great, melodic chorus, it also features one of the best bridges on the whole album, simple yet very effective. That song just stays in your head and it’s a center piece of the album.
If you wanna know the truth
Read my lips
Cause they're telling you to make your move
Steal a kiss
Mirage (Don’t Stop) – as it was the weakest from the released tracks, it stands better in the context of whole album.
The Kill (4:37) – this one opens with hard bass and it already feels like the darkest song on the album. I’ve got that sinister vibe going on throughout the song, mostly because of strings sprinkled all over. It’s a mid-tempo with amazing build-up to final bridge-outro and great mood changes (where verses are more dark, lights up in chorus, to swing back again and again in bridge-outro). I think it’s my favourite song of the album, because of the great vibe and also because of really good piece of lyrics here. I would compare it to Midnight Caller, just because of the placement of the album and overall vibe (in context of both albums).
*I believe that there’s kind of interpolation in the bridge-outro, since it features vocals that sounds like the’ve been taken from some 80’s song (I would compare them to the vocal interpolation in Walking On Air by Katy Perry). I could be wrong though and maybe Jessie is doing god’s work here ddd.
Tell me what you wanna know
And I'll tell you everything in time
I'll tell you that you wanna run from me
Don't try to kill me with you love
Don't kill me with your love
Remember Where You Are (5:34) it’s the most adult contemporary song on this album and the closest to the ballad. Bur overall it’s a lovely mid-tempo with vibrant backing vocals and living instrumental. It seems like a perfect track to close the album because it sets such a good mood of hope? I think that this one is also the most „storytelling” type of track of the album. It features some kind of choir in chorus (or just heavy backing vocals in choir style).
Every day you get up and look out of the window
Take a breath of morning air and listen to the people out there
The heart of the city is on fire
Sun gonna rise, the highs are gonna fall
But nothing is different in my arms
I'm living for this album and I'm living for the fact that Jessie had such a clear vision of what she wanted to do with this album, and she achieved it like a true master. Popjustice category winner "Had it, lost it a bit and then had it big again" is here.
I suck at descriptions but I tried my best guys.
You've more than done your job because I am LIVING for these descriptions!! I really hope she doesn't delay this album because this is my most anticipated album of the year!
- The world
She has a few decent ballads but honestly the last album was enough
yeah even I who loved the last album (in all its pedestrian Sade-lite sound) don’t really want or need more ballads from her at the time being
I walk past the Radio and within 2 seconds I’m immediately drawn to the pop perfection BBC Radio 2 is pumping out.
Without hesitation a Shazam reveals: Jessie Ware - Spotlight.
I’ve never paid much attention to Jessie Ware, but if this the kind of material she’s putting out on her new album, then I’m jumping on board.
Do the whole retroactive thing, @AshtrayHeart! "Glasshouse" is very underrated, but not really the direction anyone wanted for her.
Thanks, I'll give it ago! I'll definitely be giving her back catalogue some attention.
Yeah, her ballads are nice sometimes but she ~shines~ on moody mid-tempos or straighforward bops. That's why I find this new album all killer, no filler.
The descriptions give me very groovy Lisa Stansfield and I can stan it.
If we get anything as groovy as 'Let's Just Call It Love', I'll be very happy.
An album of sultry, boppy midtempos? I've been ready for her So Intense.
Anything compared to Midnight Caller has already won me over as that’s my favourite track of hers overall!
Yep, I presumed the album would be similar in vibe to "Midnight Caller", since James Ford produced it as well.
Separate names with a comma.