Given that Kylie was my first MusicOMH review it’s fitting that she’s my last, at least in any regular sense. I want to devote more time to my own writing, including finally getting around to sorting out my own domain name and hopefully (slowly) sprucing up the blog.

It’s unfortunate that I disliked the album so much. Kylie is my third most listened to artist so no-one could accuse me of being a ‘hater’, yet I’ve grown increasingly frustrated by her trajectory over the past decade. She’s in a bit of an odd position in that she’s almost universally ‘loved’ but in a patronising and cloying manner which lacks any serious respect for her as an artist. Look at your average Kylie review or the comments beneath it and you’ll find endless variations of ‘you know what you’re getting with Kylie, she’s all about fun, don’t think about it too much’. It’s a damagingly dismissive attitude which rests on the notion that pop can’t be brilliant (and fun) if it means anything – rather the business of making art should be left to ‘serious’ artists’. The cracks in Kylie’s appeal as a cipher grew ever wider as it becomes increasingly incongruous for an adult approaching middle-age to be singing frothy identikit hits which could easily have been offered to one hundred other much younger artists. Down that road lies the musical irrelevance of Cher – and she at least has her larger-than-life persona to retain a degree of interest. Kylie just has…being nice. It already seems clear that Kiss Me Once isn’t going to do much commercially. Something has to give.

Kylie Minogue – Kiss Me Once

So, when all is said and done, it was actually pretty easy to review this. Cos it’s very very good.

Beyoncé – Beyoncé

This was quite an interesting one. My well-documented disdain for Lady Gaga led some friends to jokingly note that I couldn’t possibly be ‘objective’ when reviewing her new album. Yet such ‘objectivity’ surely doesn’t exist? We all approach music with our particular notions of what it is and what it should be; we particularly approach specific pop stars with these preconceptions. In the case of someone like Lady Gaga, whose personality is absolutely fundamental to her appeal, it’s disingenuous to pretend that you don’t have a particular view. Indeed, if you didn’t have one it would beg the question of why you were writing as a ‘critic’ in the first place. Sadly the decline of criticism and rise of marketing means that this isn’t viewed as particularly odd –it’s expected that a review will offer little more than bland statements as to whether you should spend your cash on the music in question. Here music is an extension of lifestyle rather than a cultural force with socio-political meaning. “Pop will never be low-brow”, indeed.

FWIW, my personal journey with Gaga is peaks and troughs…her initial single run was dazzling, even if The Fame was largely dreck. As I note in this review however, The Fame Monster is an incredible record. Unfortunately its success, particularly that of Bad Romance, has derailed her entire career. 

Lady Gaga – ARTPOP

My review of James Arthur’s debut is up. As night follows day, anyone emerging from X Factor who aspires to anything other than acting as a conduit for interchangeable POP! is instinctively attacked and mocked – I’ve already seen Arthur widely being labelled as ‘pretentious’, ‘bitter’, ‘angry’ etc with countless sneering references to ‘authenticity’ and ‘credibility’. Tedious beyond belief yet it’s kinda not the done thing to parse any negative effect which X Factor may have on pop music. You need only spend a few minutes on the #xfactor tag on a Saturday evening to see how degrading and tawdry the whole thing has become. It has an air of the colosseum about it – folk really think nothing of tearing these (mostly) kids apart in the most visceral, vicious ways. Yet despite treating it with utter contempt, the habitual cry of ‘snob!’ will go up whenever anyone dares to criticise the show, as if participating in the weekly hatefest is to be ‘down to earth’. Odd, to say the least.

James Arthur – James Arthur

A few hours after writing this I read Caroline Sullivan’s review in The Guardian. She calls it the ‘comeback of the year’ which, in a year where we’ve seen the return of David Bowie and Daft Punk, is hyperbole and then some. Still, having not paid attention to BG in years I was surprised by how right it feels to have him releasing music again.

Boy George – This Is What I Do

loved Teenage Dream, to the degree that I actually went to see Part of Me in the cinema (it was a 20 minute dvd extra stretched to feature length). Hopes were high for Prism and in my head I’d already planned a pre-emptively defensive piece on why Perry is a great pop star. Then I actually heard the album and it ruined everything – it’s just not that great and feels driven by marketing concerns more than anything else. Someone has pointed out in the comments that I mistakenly called International Smile, ‘International Lover’…but that’s because the former is so bland that after listening to it about 12 times I think I was subconsciously craving the Princely magic of the latter. Back in the day I loved Britney Spears and now I think she’s one of the worst pop stars in history; I had a similar trajectory with Rihanna; now I’m fearful Perry is heading the same way. I think there’s a lot in there regarding modern pop and commerce, touched on in the review…but that’s for another time.

Katy Perry – Prism

In retrospect I’m not entirely sure why I so anticipated a new album from an artist hardly renowned for churning out good albums…the only Cher album most people would even be able to name is Believe and part of that would be guesswork. So I was disappointed but never mind. I’ll still go and see her in concert and no doubt love it.

Cher – Closer To The Truth