The British piano prodigy boldly steps out of his jazz comfort zone and embraces a more pop-oriented sound with a unique stamp on his sixth studio album
JAMIE CULLUM/ MOMENTUM
Before the Essex-born pianist broke through to the mainstream with his third album, Twentysomething, jazz had always had a reputation for being the genre that seemingly appeals solely to the more mature and sophisticated crowd. While there's no denying that this popular notion still persists, Jamie Cullum has done his part to defy that stereotype with his youthful charisma, dynamic playing style and musical flair that speaks to those who aren't necessarily jazz fans. His live performances serve to prove that a pianist doesn't have to be confined to a piano bench and that he's free to crawl under the instrument, jump on top of it or even use it as a makeshift drum. Full of unpredictable antics, Cullum has never been one to hold back when it comes to performing.
Prior to his breakthrough album, Twentysomething, in 2003, he was an unsigned, relatively unknown artist who had little success with his self-funded debut, Heard It All Before. Later picked up by a major label, Cullum's second album, Pointless Nostalgic, plays up on his penchant for covering classics such as Russ Morgan's You're Nobody 'til Somebody Loves You and George Gershwin's It Ain't Necessarily So, as well as Radiohead's High and Dry. His third and subsequent records have continued in a similar vein with a handful of original songs thrown in including hit singles All At Sea, Mind Trick and I'm All Over It, and have earned him long-overdue critical acclaim and commercial success.
Cullum's latest offering, Momentum, doesn't stray too far away from the old-versus-new format (although the emphasis here seems to be more on the latter _ 10 of the 12 tracks are originals). The most surprising thing, though, is the distinct pop styling that manifests itself on the album's first three catchy tracks, The Same Things, Edge of Something and Everything You Didn't Do.
There are also bolder, more inventive gems such as the soulful, brassy romp of When I Get Famous and the hip hop revamp of Cole Porter's Love For $ale. The album's most memorable moments lie within the relentless rush of Take Me Out (of Myself) where he suggests: "You and me should go and get so high tonight/Just like everyone else," and those addictive "ey ey ey" and "oh oh oh" on the ballad Save Your Soul.
No longer relying solely on his jazz roots nor focusing his talent on reworking oldies, the British singer-songwriter has evolved into a place all his own, bravely forsaking blue notes and syncopation for vibrant synths and infectious melodies. In essence, Momentum is Cullum's foray into pop territory with all his artistic vision and integrity still very much intact. This is one brilliant pop album from one of the most talented and versatile artists of this generation.
THE PLAYLIST
Gramaphone Children/ Teenage Love
Jaree "Jerry" Thanapura, the man behind Bangkok-based electro-pop act Gramaphone Children, follows up his 2011 debut album, Ah-Huh, Ah-Huh, with a catchy new single called Teenage Love. The track strictly adheres to Gramaphone Children's signature '80s sensibility with the analogue-sounding synths taking centre stage. "Come a little closer, come on over here come lay next to me now," he sings in the opening verses, inviting us into the world of adolescent crushes. Fans of early Daft Punk, especially their Discovery album, shouldn't have any trouble enjoying this number.
Lana Del Rey/ Black Beauty
After appearing in H&M campaigns and providing the soundtrack to Baz Luhrmann's film adaptation of The Great Gatsby, the brooding American songstress has been keeping a relatively low profile and working hard on the follow-up to Born To Die. The first glimpse of Del Rey's second album comes in the form of Black Beauty, the "leaked" demo that is an instant reminder of previous material such as Video Games and Dark Paradise. Over minimal instrumentation, she croons: "I paint the house black, my wedding dress black leather, too." There are no big choruses here, however, only plenty of romanticised doom.
John Newman/ Love Me Again
Known for his collaborations with UK electronic act Rudimental, up-and-coming 23-year-old John Newman now releases his very own single taken from his yet-to-be-named debut album. "Know I've done wrong, left your heart torn/Is that what devils do?" Newman asks during the intro of Love Me Again. The song then shifts into an explosive chorus where he unleashes powerful vocals alongside epic horns and strings. Regardless of his unique voice that some find a little grating, the song itself is a brilliant blend of dynamic soul and pop with just enough hint of dubstep to keep us on our toes.
Kings of Leon/ Supersoaker
With the release of their sixth studio album just around the corner, American southern rockers Kings of Leon whet their fans' (and our) appetites with Supersoaker, a rock banger that revisits KoL's scruffier, catchy sound of their early days (think Youth and Young Manhood and Aha Shake Heartbreak). Featuring slick guitars and tight drumming, the song sees frontman Caleb singing about how he thinks "the kisses aren't clean" and how he finds to "super soak girl all the time". Nope, we're not exactly sure what he means by that either.
Azealia Banks (featuring Paul Oakenfold)/ Venus
The dancefloor anthem Venus is an unlikely collaboration between New York MC Azealia Banks and world superstar DJ/producer Paul Oakenfold. Rumoured to appear on the latter's upcoming album, the track features a somewhat hilarious refrain that goes: "Une chance, une dance, un rendez-vous en France", courtesy of Banks, while Oakenfold does what he does best. With its Ibiza-ready beat and arena-sized production, this one is sure to send club punters straight into rapture in no time.
