Five Finger Death Punch—”Over and Under It”
I’d like to think this record is a joke, but there’s nothing about the performance that indicates that it is, and I suppose they mean it. Which leaves us with the oxymoron of a metal band who are overly concerned about the haters who spread rumors about them, such as suggesting that they give a shit. It makes no sense at all. If they’re over and under it, why bother writing a song? And why bellow all the time?
A good record that should be especially enjoyed by those who wish Bjork’s career had moved in the direction of pop instead of the avant garde. The catchiness of this, though, sounds more like a piece of luck than anything else, and since Goulding isn’t Bjork, I don’t expect much from her in the future.
Mat Kearney—”Ships In the Night”
I’d swear I’ve heard this song before. Thousands of times, in fact. Once, long ago, it may even have been something I enjoyed.
Dev—”In the Dark”
Dev is essentially an icier version of Ke$ha. The subject matter is roughly the same—clubbing, partying, and sex—but the approach is more distant, hence more erotic. As long as The Cataracs are providing her beats, there’s doesn’t seem to be any reason she couldn’t keep this up for ever. Here they create a Euro-disco feel, only with more restraint and without the melodic cheesiness, and the result is actually looser and warmer than their previous records. It’s the new version of cool—Selena Gomez’s records have some of the same feeling—and they’re masters of it.
Tinie Tempah featuring Wiz Khalifa—”Till I’m Gone”
I like the way Tempah raps—in his British way he reminds me of Pitbull—but his verses seem to have nothing whatever to do with Khalifa’s generic chorus. I wonder which came first.
Tyga featuring Chris Richardson—”Far Away”
Richardson does Bruno Mars/Hayley Williams, Tyga does B.o.B., but they can’t seem to decide whether they’re doing “Nothing On You” or “Airplanes”. Or maybe they’re trying to do both at once. Not that it matters much. This is mediocre either way.