![]() ![]() Its synth-heavy instrumental and explosive performance draw from my favorite SHINee era – the 2012-13 Sherlock/ Misconceptions/ Everybody years. One of these is Heart Attack – perhaps the closest to a “classic SHINee sound” that the album gets. There are at least three songs on here that have made stunning singles. It’s just a shame that the group didn’t stick to their strengths and choose a different track to promote. This has always been my preferred SHINee sound, so I couldn’t be happier with many of the b-sides. While Don’t Call Me (the song) has a heaviness in keeping with K-pop’s current love of hulking beats underlined by skittering hi-hats, most everything else is light on its feet with a real sense of life to it. Kindĭon’t Call Me (the album) is not what you’d expect from its title track. Let’s just hope the film is this good too.Enough of you asked for it, and who am I to deny? It’s time to dive deep into SHINee’s long-awaited comeback album Don’t Call Me, track-by-track.ġ. Powerful, expertly produced and catchier than a rash, ‘Don’t Call Me Angel’ has turned a chaotic idea into something excellent. But whilst ‘Don’t Call Me Angel’ doesn’t quite manage to reach the slick, stomping, perfect for singing when you’ve been spurned by a fuckboy brilliance that ‘Independent Women’ did, it comes close. It’s hard not to compare it to Destiny’s Child’s ‘Independent Women’, which appeared on the soundtrack for the original Charlie’s Angels film. It’s a well-choreographed dance, with each vocalist spending a moment in the spotlight, and then falling back and showcasing the other vocalists, offering up harmonies and ad-libs when needed. Meanwhile Del Rey takes the reins on the bridge, a shimmering, stripped back moment filled with expansive beats and eerie synths (and Grande’s ghostly whistle notes). Grande’s verses feature glittering production that’d fit comfortably on her latest record ‘Thank U, Next’, combined with her trademark belted vocals and close-knit harmonies.Ĭyrus brings the strength that permeated her latest release ‘She Is Miley Cyrus’, as she belts out her biting lyrics ( “I make my money, and I write the checks/So say my name with a little respect”). What’s brilliant about ‘Don’t Call Me Angel’ is none of the artists sacrifice the music they usually make in order to be on the song. Opening with a jangling riff that’s repeated throughout, ‘Don’t Call Me Angel’, the three artists’ collaborative theme song from the upcoming Charlie’s Angels reboot, bursts into a powerful R&B-flecked chorus, with Grande taking the lead. The artists all create markedly different genres of music, so how would Del Rey’s emotive soft rock croons fit amongst Grande’s whistle notes and trappy beats? The answer: quite wonderfully. Putting together Ariana Grande, Miley Cyrus and Lana Del Rey – three of the most vocally distinctive artists around – is an exciting if unnerving prospect. On paper it’s a disaster waiting to happen. When putting a group of the most recognisable artists in the world together you have to deal with different vocal styles, different musical visions and different ideas of how the final tune will sound. Or when Jessie J, Ariana Grande and Nicki Minaj all hopped on the gargantuan ‘Bang Bang’.īut more often than not it’s a total mess (the less said about Rita Ora’s tone-deaf ‘Girls’, which featured Cardi B, Bebe Rexha and Charli XCX, the better). Sometimes it results in a megawatt tune, like in 2001 when Christina Aguilera, Lil’ Kim, Mýa and Pink joined forces for their now-iconic version of ‘Lady Marmalade’. Everyone once in a while a gang of excellent pop artists will team up and form an all-star group.
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