Lost In A Melody
It’s sick how the US X Factor machine has treated their “winner” Melanie Amaro. After first being eliminated from the competition, she was then brought back and pushed into becoming the champion, despite the fact that she doesn’t really have the personality to pull off being a world famous pop star. Still, she won and went on to release two singles and recorded a debut album which was due for release this month - but because the label and Simon Cowell’s “people” couldn’t be bothered to actually slow cook her, draw her persona out, make her interesting and give her world famous worthy material (instead opting for cheap dance tracks and ridiculously limited promo opportunities which more or less only consisted of performing on the show) they just decided to announce that they’ve dropped her.
The lesson learned here is probably that anyone who enters these kinds of competitions needs to look a lot more closely at the contract they’re signing and the mess they are getting themselves into - never agree to any deal that allows the label to simply drop YOU when they have fucked up, no matter how much you want to be famous and/or follow your dreams. It’s just disgusting - I mean, what the fuck happens now to that $5million contract that she won and they made such a big deal over because it was the biggest ever offered to someone in reality TV history?
Poor, poor thing.

What a bizarre coincidence - both Misha B and Amelia were X Factor stars that didn’t win the competition but went on to release surprisingly successful debut singles, followed by slightly less successful second singles - and here they both are, releasing dance pop tracks as their third attempts AND the lyric videos are not only released on the same day, but are almost identical in their styling! Weird…

Of the two, this is definitely my favourite. The first time I heard this on headphones I realised it’s once of those euphoric pop tracks that actually does take you to another place. I can’t put my finger on what makes this song so special when so many other people wouldn’t be able to identify it in a line-up of chart tracks but this song has really touched me and when I listen to it and close my eyes I feel like I’m being carried up in to space.

I think it might be something to do with the beautiful melodies in the chorus. Normally songs of this nature don’t bother with those, but thank the Lord that Misha did. She’s turning into one of my favourite pop stars at the moment!

It’s a new Amelia Lily single - and we know exactly what to expect by now. Dodgy verses, mental and explosive choruses and bland lyrics. Tick, tick, tick. Production is fantastic though and hopefully it equals another Top 10 hit for the former X Factor contestant which will be helpful in the run up to her debut album release.

But seriously, on the lyric front, what the fuck happened to Xenomania’s clever word play? Are they purposely avoiding it with Amelia to make her as commercial as possible?

I too had written Matt Cardle off as another bitter X Factor contestant and 9/11 conspiracy nut job - but here he is with the music video for his third single ‘Lately’, from independent second album ‘Fire’ (which managed to reach #8 in the album charts). I think I may have judged him too harshly. It’s definitely more interesting on a visual and sonic level than the majority of Leona Lewis’ latest effort anyway - and she barely managed to get past two singles from that!

Kudos to Matt for just getting on with it, it seems to be working for him.

A preview of Nicole Scherzinger’s new single Boomerang which simultaneously sounds like Call Me Maybe and something Katy Perry should be releasing (according to the Popjustice forums, anyway. I can kinda see the resemblance). The best part about this is that she’s clearly already filmed the video - talk about organised!

Bloody hell, well this has actually grown on me without me even knowing :|

Cher Lloyd continues to be one of the most fun female live performers around right now. Definitely did not see that dance break coming!

She’s Got A Motorcycle by Frankie Cocozza sounds like it could be all about how his girlfriend has a big cock, which seems appropriate given that the X Factor reject spends most of his debut music video bent over in pain, as though his arse in a great deal of agony.

God I hope she brings this to UK X Factor!

This is the first time in the entire No Doubt come back that the band look and sound like they’re actually having fun, so that is a triumph.

Coupled with an X Factor performance this weekend, I wonder if this could turn into a decent Top 40 hit for them in the UK?

EDIT: So this has now been removed by the band amid controversy that it was promoting negative stereotypes. So long Top 40 aspirations!

I’m expecting this new Amelia Lily single to do terribly for a number of reasons:

  1. The production is unbelievably generic and uninspiring
  2. Amelia’s voice is unbelievably generic and uninspiring (and awfully tuned on the big notes)
  3. The song doesn’t appear to even be about anything. The whole affair is just so anonymous and faceless and boring
  4. It’s called Shut Up (And Give Me Whatever You’ve Got)

Here is a preview of the upcoming Little Mix album. It sounds lazy, cheap and almost as dated as Parade’s debut record. The only one (aside from the lead singles, which obviously had most of the budget thrown at them) that shows a glimpse of promise is How Ya Doin’? Extremely disappointing.

Everything about this camp, faux-goth, Disney remake of Sin City music video for DNA is perfect. Little Mix are the best new girl band since The Saturdays - FACT. But then, we already knew that, didn’t we?

P.S. Can’t fucking wait for the X Factor performance

Hoping to follow the success of Wings, Little Mix are straight on to single number two, which is a bombastic and spooky electro ballad called DNA that will no doubt look and sound amazing when it comes to the inevitable X Factor performance.

The best thing about this song is the production - from the music box intro, to the spine tingling middle eight choir and the use of heartbeat and flatline effects running throughout. The vocals are on point as always (Perrie’s deeper tone is used particularly well in this case, and the “rap” is certainly a unique touch) but it’s a shame that the second half of the chorus isn’t as explosive as it could be - given that they solved that problem effectively on their last effort.