Glee – The Power of Madonna
Various
Sony
I hate musicals. Wait… no. I’ll correct that: I loathe musicals. I secretly, however, like Glee and think it is quite possibly one of the most awesome emotionally uplifting shows on television at the moment. Phew… sorry, I need to lie down after that compliment. Anyway, it’s a ‘like’ that manifests into genuine admiration here. These kids have produced a mini-album that is equal parts clever, cute and well produced. Highlights include the audacious 4 minutes and the dry charmer Vogue, delivered by deadpan sardonic wicked bitch Jane Lynch. Now… this review never happened!
Scott-Patrick Mitchell
Gabriella Cilmi
Ten
Warner
Riding on the success of her recent single On A Mission, Gabriella Cilmi’s latest release Ten is a far cry from her pop-rock debut and is destined to be a pre-party essential. The album is packed full of electronic-pop soul sounds that will surprise anyone expecting a return to her Winehouse-esque ways. The album is peppered with synth-pop gems such as Robots, Superhot and Boys. However, Cilmi’s soul-diva sounds are inescapable, coming through loud and clear on each track. It’s an album that will undoubtedly make its way to a dance floor near you.
Benn Dorrington
Operator Please
Gloves
EMI
Mmmmm… pop! Operator Please have superseded all expectations with this brilliant little gem. Drunk on ’80s synths and funked out rhythm guitars, this is like some moody New Romantic love child of Prince, if such a thing were possible. Logic, Back And Forth and Just Kiss are all highlights, the album’s sound only slightly petering off toward the end. What is unmistakable here is the fact that Operator Please once again jump on to the radio friendly front with enough fodder to take us through to summer, reinstating their place as the princes and princess’ of Oz pop.
Scott-Patrick Mitchell
Cassette Kids
Nothing on TV
Sony
This new album will be a staple this year for any indie or dance fan. With sounds similar to Digitalism and The Presets, this release crashes through the genres of pop, electro and indie to form a new blend of dance sounds. Fronted by strong female lead Katrina Noorbergen, it’s sure to invoke uncontrollable sing-a-long reactions with its fiery and gritty lyrics. With production influences from the likes of Richard Wilkinson (Hot Chip, Adele) and Michael Di Francesco from Van She, it sounds like Ladyhawke jammed full of indie-electro goodness.
Benn Dorrington
Tracey Thorn
Love And Its Opposite
Inertia
Tracey Thorn rose to fame as one half of Everything But The Girl, a dreamy Brit pop duo huge in the ’90s. Here, 10 years after the fact, Thorn returns with a hauntingly delicate recount of life in modern urban England. Opening track Oh, The Divorces is blisteringly observant and a testament to her writing ability. While largely safe and middle of the road, Thorn’s third album reveals its charm slowly. Marked with collaborations from the likes of Hot Chip, The Invisible and Lost Valentinos band mates, this is a steady grower.
Scott-Patrick Mitchell
Tina Arena
The Onstage Collection
Liberation
Like all great Australian icons, Tina Arena is definitely something to be marvelled at. Her latest album, recorded live in Melbourne in 2009, is a collection of some of her greatest hits (Chains, Burn, Je m’appelle Bagdad, et al.) synergised with a faultless repertoire of her favourite songs. With her crystal clear timbre and effortless reach, she does justice to every note of each song as she moves from ballads to upbeat. The album also features a DVD of the concert including 12 songs. Tina Arena is undeniably one of Australia’s greatest exports.
Ollie Pincott
Mark Vincent
Compass
Sony
Wow. OK. I take back for a second every negative little thought I had about reality music shows and the products they produce. Obviously mechanisms like Australian Idol were all about the pop charts in the sometimes most blatant and unremarkable ways. Australia’s Got Talent clearly allows the individual to follow their own path, point in case Mark Vincent. His voice is remarkable. Incredibly so. While largely devoted to musical numbers and show tunes (excuse me while I wretch), Vincent’s voice is the real star here. Perfect for old dears and young aficionados.
Scott-Patrick Mitchell
