The exhilaration and exuberance of Icona Pop's debut full-length This Is (Big Beat/Atlantic) begin to wear thin after only the first few tracks. That's disappointing because the young Swedish duo's breakthrough hit "I Love It" (featuring Charli XCX) was the kind of lightweight summer anthem that could extend its lifespan into other seasons. But when you get to "On a Roll," which comes off as the inferior distant cousin of "I Love It," you realize that Icona Pop's iconic pop status might be short-lived. There's a monotony here that even Ke$ha avoids, on songs "All Night," "We Got the World" and "Ready for the Weekend." There are a few exceptions, including "In the Stars" and "Just Another Night." We get it: Icona Pop is a pair of fun-loving party girls. Now where's the Adderall?
Finalists on the US version of TV talent-show X-Factor (yawn) trio Emblem3 (who don't look too bad shirtless!) have nothing new to say and no new way to say it on their unfortunately titled debut album Nothing To Lose (SYCO/Columbia). Ever wonder what it would sound like if white boys from the Pacific Northwest rapped? Have an air-sick bag nearby and listen to "Chloe (You're the One I Want)," about the sister of a hot girl who has her own special attributes. Emblem3 is reason enough for the TV talent-show trend to come to an end, not to mention a good argument for declaring a moratorium on songwriting by committee.
Mariah Carey better watch her ass, because Ariana Grande has her sights set on it. In fact, on her debut album Yours Truly (Republic) Grande does Carey one better by transferring the elder diva's vocal technique and acrobatics to the 21st century, something Carey has failed to do on her recent recordings. This is best illustrated on "The Way," on which Grande makes her way through Carey's bag of tricks, including hip-hop (the song features rapper Mac Miller). But there's more to Grande than her spot-on conjuring of a predecessor. Grande brings the drama in her own way on the duet "Almost Is Never Enough" (with The Wanted's Nathan Sykes), the pop confection "Piano" and a sweet remake of Mika's "The Popular Song," featuring the out singer/songwriter himself.
Combining the piano theatrics of Elton John with the vocal dramatics of Jeff Buckley, young British singer/songwriter Tom Odell hits the heights with his debut album Long Way Down (RCA/ITNO). Odell originals "Grow Old with Me" (not to be confused with the John Lennon song of the same name) and the rousing "Hold Me" indicate his knack for creating pop songs. Odell also shows an appreciation for another piano-playing singer/songwriter, Randy Newman, with a reverent cover of Newman's "I Think It's Going To Rain Today."
Attention spans being what they are, it was brave of Janelle Monae to take three years to release her second album The Electric Lady (Bad Boy/Wondaland). Dismal cover aside, what an electrifying second album it is. As with its predecessor, which featured guest appearances by Of Montreal and Big Boi among others, The Electric Lady's guest roster includes Prince, Erykah Badu, Solange, Miguel and Esparanza Spalding. The Electric Lady feels grounded in the recent past and the approaching future. Cool tracks include the title cut, "Q.U.E.E.N.," "Dance Apocalyptic," the wondrous Stevie Wonder-influenced "Ghetto Woman" and "Dorothy Dandridge Eyes."
In a year of fascinating debuts, sister trio Haim (Danielle, Alana and Este) is close to the top of the list. Effortlessly channeling influences such as Florence + The Machine and Feist, vintage Liz Phair and Eagles, with strong echoes of 80s dance pop (dig those programmed drum/synth beats), Haim is proof positive that sisterhood is powerful. Lead vocalist Danielle's style is as timeless as the songs she sings. You might find yourself listening to "Honey & I" and "Running If You Call My Name" 10 years from now. No dance mixtape will be complete without "If I Could Change Your Mind."
If you find yourself wondering what a New Zealand Lana Del Rey (minus the attitude) would sound like, look no further than the debut full-length Pure Heroine (Lava/Republic) by Lorde (aka Ella Yelich-O'Connor). The definition of a teen sensation, Lorde is a modern pop goddess poised somewhere between blase and blazing. Whether you're still a teen or those years are a distant memory, Lorde makes you wish that she'd ask you to hang out with her so you can see the inspirations for her titillating tunes "Buzzcut Season" and "A World Alone." Call her "queen bee" and enjoy her sting.
Of all the 21st-century female singer/songwriters to become an inspiration to other artists, the distinctive Feist might not seem like the most likely. But you can hear her influence in the work of Lucy Rose on her debut disc Like I Used To (Columbia). Brit folkie Rose's songs come in somewhere between imitation and innovation. When she steps out of that scenario, as she does when she gets feisty on "Don't You Worry" and the upbeat "Be Alright," she shows greater promise.
In the tradition of elder surf statesman Jack Johnson, sun-kissed youthful Aussie Cody Simpson charts a similar path on Surfer's Paradise (Atlantic). Simpson has a pleasant voice that fits the sand-and-surf nature of the tunes. It's just that monotony sets in, akin to waves lapping the shore. You might find yourself wishing for a shark sighting about halfway through the disc.
Self-proclaimed "dirty damsel" Natalia Kills comes across as a potty-mouthed, sexually compulsive Lady Gaga on her second album, Trouble (Interscope/Cherry Tree). "Saturday Night" could have been an outtake from a Gaga session. The one thing Kills has going for her is raunch, which she serves up on "Boys Don't Cry" (not The Cure song), "Stop Me" (she puts her high heels on to be "closer to God" while getting fucked), "Controversy" (not the Prince song) and "Rabbit Hole." "Daddy's Girl" makes interesting use of a Hall & Oates "Rich Girl" sample, but Kills still ends up sounding like someone else �" in this case, Katy Perry.
It's been awhile since The Paley Brothers were under 30. But when they were, they were briefly the toast of the music world, releasing an acclaimed debut album in the late 1970s (on Sire Records, no less!) that didn't live up to its commercial potential. Still, they did get to hang out with the likes of Patti Smith and the Ramones, and they developed a devoted cult following. That following and newcomers alike will find much to admire on The Complete Recordings (Real Gone Music), which combines the 10 songs from the brothers' eponymous debut with 16 more tracks to finally give the duo their due.