Hilary Duff- Breathe In Breathe Out Track by Track

 

Before anyone even knew who the likes of Miley Cyrus or Demi Lovato were, Hilary Diff emerged as the first Disney alumni to successfully establish a bonafide popstar career. But for any artist, a eight year gap between records can be a tricky avenue to navigate. Does Hilary still have what it takes to be a popstar right now? And does her movement into being a mature artist have enough power compared to her Disney stardom?

Track 1- Sparks

After a lack of promotion and a bit of a lacklustre comeback in the forms of singles ‘Chasing the Sun’ and ‘All About You’, ‘Sparks’ marked the first full on start of this new musical era for Duff. Produced by Christian “Bloodshy” Kaarlson, the track finds the singer returning to the dance pop sound of her last album Dignity, with the track finding Duff in an amorous mood as she tells us how she sees sparks when she sees this guy. It is a simple, unabashed pop track that has a nice flirtatious air, brought out brilliantly by the softer style of Duff’s vocal. Bloodshy keeps the production streamlined and easy with a nice synthpop line coupled with a deliriously addictive whistling hook. For a comeback track it is just what Duff needs: simple catchy, and the right level of mature for where she is at her life now. This was a great single choice, and a great start to this record.

3.5/5

Track 2- My Kind

Keeping in line with the sexier vibes of ‘Sparks’, ‘My Kind’ is another simple pop track that finds Duff wanting to be with this guy for a night, as she something In him that she likes. The gentleness of the verses are offset nicely by the vibrancy of the chorus, whilst once again Duff’s softer vocal style works brilliantly in bringing out the message of the lyrics. What nicely separates the track from being a carbon copy of ‘Sparks’ is the production, with the track being enveloped in a slightly more tropical vibe with pulsating drum beats. The style is fun and fresh for Duff, although it may be a bit of a rip off of Gwen Stefani’s ‘Baby Don’t Lie’

3.5/5

Track 3- One in a Million

More of straight up pop sound than the last tracks, One in a Million finds Duff changing tact lyrically. Here the singer tells us of how she is an individual, and this guy is an idiot for not seeing the greatness he is going to lose out on. The lyrics are standard, slightly clichéd fare detailing a simple, dysfunctional relationship, but the breeziness of Duff’s vocal, couple with the stomping feel of the production makes One in a Million a cool pop track that sounds like it would be nice to sing along to and blast out of some speakers when you’re feeling a bit down.

3/5

Track 4- Confetti

With ‘Confetti’, Duff delves deeper into the realms of EDM, with the track being marked as a standout purely by the delirious tone of the production. The track focuses on Duff being hit by an overwhelming feeling of love, with this guy apparently turning her into Confetti. Lyrically this is much stronger than the previous tracks, with a lyrical intensity that is much more appealing. Duff’s light vocal seems to fit perfectly alongside the hectic EDM sound, and with a great interpolation of the Belinda Carlisle classic ‘Heaven is a Place on Earth’, ‘Confetti’ is a great pop track that sees Duff being enveloped in a sound that greatly suits hers.

3.5/5

Track 5- Breathe In Breathe Out

Title track Breathe In. Breathe Out finds Duff continuing with the more electronic based sound, but softening things down a minute for a nice mid-tempo offering. And here we find Duff delving into some more emotional material lyrically, as she reflects on the end of a relationship and how she is going to move on with her life. The lyrics are sweet and nicely reflect on Duff’s personal troubles, with the simple feel of the production acting as a great backdrop to the serious moment of reflection Duff is having here. Furthermore, with the soft, airy style of vocal comes a sense that Duff means what she says and is truly having a reflective moment here, something which her fans will undoubtedly enjoy.

3.5/5

Track 6- Lies

‘Lies’ finds Duff having a bit more intensity with her music, but this time with a bit of bit. The track focuses on Duff simply calling out the man in her life and telling him that she has had enough of his lies. The verses may be clichéd, but the simple quality of the chorus with the ‘la la la lie’ hook makes the track instantly catchy. Duff uses her voice in a natural and enjoyable way, with the softness of the verses nicely building up to a snappy chorus. The only problem with the song is the production. Whilst the booming horns and snappy rhythm is nice enough, the tracks style is just a bit too similar to ‘My Kind’, meaning this track definitely doesn’t stand out like it has the potential too.

2.5/5

Track 7- Arms Around a Memory

The most full on EDM track of the album, ‘Arms Around a Memory’ focuses on Duff once again reflecting on the end of a relationship, but this time around Duff laments the fact that she can’t have a relationship with just her memories, even if she realises the relationship has to end and both parties move on. Solely written by songwriter Matthew Koma, the lyrics are intricate and beautiful, with a poetic quality that you can’t help but love. Duff’s vocal tone is the perfect voice to bring out the tender, melancholic edge to the lyrics, with the track definitely seeing her doing some of her best vocal work. The build-up of the verses towards the standard EDM breakdown is nice, and although many elements of the production are standard fare for an EDM song, the producers never go into unnecessary, this is for the club mode, keeping the sound on the right side of simple but effective, and making for an album highlight in the process.

4/5

Track 8 Stay in Love

If the last track was about letting go of a relationship, then ‘Stay in Love’ finds Duff fighting for love, kind of. Whilst the verses focuses on the downfall of a relationship, the chorus find Duff wanting a reason to stay in love. The lyrical style is nicely complimentary, and the simple backdrop of a pulsating synthline and stomping drumbeats makes for a dramatic flair to the track. The only real issue here is Duff’s vocal. Whilst all of the previous tracks played well to the natural texture of her voice, ‘Stay in Love’ sadly finds Duff overreaching a bit in the chorus, trying to hit some higher notes that maybe should have been left alone. No one ever said she was Whitney Houston, and Duff always needs to recognise her vocal limitations.

3/5

Track 9- Brave Heart

With ‘Brave Heart’ comes a moment of change in the record, as the track finds Duff embodying more of the acoustic folk sound that the whole album was initially going to embody. That’s not to say it sounds out of place, and whilst the soft guitar and snappy production is definitely a change of pace, the song still has enough of a simple pop sensibility for it to naturally fit in with the rest of the album. Duff’s vocal nicely compliments the softer tone of the production, although the chorus once again finds her coming across a little whiny. Sadly the worst thing about the track is the lyrics, with Duff trying to evoke a feeling of bravely moving on with life after a break up. The problem is that everything is just so clichéd it sounds stupid, ultimately making Brave Heart the first major misstep on the whole record.

2/5

Track 10- Tattoo

The most stripped back track of the set, Tattoo is a standout on the record simply because so much has been made about the fact it was co-written by current megastar Ed Sheeran. The lyrics definitely have a Sheeran flair about them, with Duff reflecting about how this person who is no longer in her life has left a permanent mark on the person she is. The lyrics are nice and Duff brilliantly brings out the fragility of the track with the delicacy of her vocal. Furthermore, the production is nice and simply understated, with producer Jake Gosling doing a great job of making his mark on the track whilst putting Duff’s vocal centre stage. All in all this is a high profile collaboration that comes across nicely, rather than just a ‘hey looked who worked on my album’ moment.

3.5/5

Track 11- Picture This

If there is one song that should definitely not have made this album, it’s ‘Picture This’. Here we find Duff singing about a relationship that has turned into something that she didn’t see in her head. The concept isn’t exactly original, and the production is just dull with a annoying whistling melody and some clunky guitar riffs. But the major problem here is that Duff just doesn’t sound comfortable vocally at all. She is stretched way too thinly in the chorus, making for a really uncomfortable listen. Everyone loves a tryer, but Duff surely knows her vocal limitations, and if her or anyone involved in this album had any sense, ‘Picture This’ would have stayed buried in the Duff reject pile.

1/5

Track 12- Night Like This (featuring Kendall Schmidt)

Final track ‘Night Like This’ is a nice finish to the record that means we don’t end things on a sour note. Here we find Duff playing a flirtatious game, as she sings with guest artist Kendall Schmidt about taking cabs, having fun, and just having the kind of night where anything could happen. Backed by a simple guitar melody and some hand clapping moments in the chorus, the track nicely sits as a simple pop number that will charm you with its sweetness. The real beauty of the track is the way that Duff’s and Schmidt’s voices meld together, with the two artists sounding like they are really going out on some kind of fun, spontaneous date. It is a surprising collaboration in a way that comes across as proper pop duet should, and whilst many people may not really know Schmidt, hopefully ‘Night Like This’ may make them look out for him in the future.

3.5/5

Final Results

As far as comeback albums go, Hilary Duff has done a grand job. With ‘Breathe In. Breathe Out’ she has created a nice, streamlined pop album that both recaptures her musical essence that fans already loved (particularly the ‘Dignity’ era), whilst also giving us a contemporary sound. Aside from a few missteps, it is just a simple, fun pop album, with a straightforward approach to pop that some of her contemporaries might want to take notice of.

7/10

Best Track- Arms Around a Memory

Worst Track- Picture This

Jessie J- Sweet Talker Track by Track

 

 

After the postponement of an American version of 'Alive', Jessie J returned in 2014 with a whole new album, 'Sweet Talker', with the singer making no aspersions that this album was for global music domination. But does this record measure up to her previous albums, or is this a case of a rushed record that falls below par?

Track 1- Ain’t Been Done

Right off the bat, ‘Ain’t Been Done’ just sounds like a track that was destined to be an album opener. Here we find Jessie telling us how she is going to be original and be the best, with the lyrics having a fast paced edge in the verses that nicely builds to a snappy and simple pop chorus that will be great to sing along to live. Jessie’s vocal is definitely on point, with the singer allowing her pipes to be stretched nicely in the chorus and adding a sassy flair throughout that some other artists might not be able to pull off. The production is solid with some groovy drum beats and an overall fun rhythm that you cannot help but enjoy, making for an overall solid start to the record.

3.5/5

Track 2- Burnin Up (featuring 2 Chainz)

Second track and second single ‘Burnin Up’ finds Jessie in a sexual state, as she tells this guy of how he is raising her temperature, and she likes it. The lyrical content lacks the depth of her previous material, but it is cool to hear the single tackle more adult territory. Vocally Jessie exudes a silky smoothness in the verses that is perfect for the track, and the way that her voice builds in the chorus really allows her to show us the strength and intensity that lies in her voice. Production wise the snappy beats and rumbling guitar line is nice and fun if not exactly ground breaking, and really the only big problem here is 2 Chainz, whose lazy rap brings absolutely nothing to the track. Kind of pop by numbers, but still a fun tune nonetheless.

3/5

Track 3- Sweet Talker

Title track 'Sweet Talker' find Jessie continuing the sensual vibes of the previous track, with the song focusing on Jessie telling this person to just talk sweet to her, and she will be theirs. The lyrics are ok but once again lack some depth, with some clichés really just being annoying. The smoothness of the vocal is strong, but at times Jessie lets her vocal inflections take over too much, making things a little more annoying. The production also lacks pizzazz, with producers Diplo and the Picard Brothers just bringing a squiggly, electro style that just sounds like music flavour of the month rather than something long lasting. In ways the track could be much worse, with Jessie still creating an infectious personality in the track, but at the same time, it needs some work.

2.5/5

Track 4- Bang Bang (with Ariana Grande and Nicki Minaj)

Lead single 'Bang Bang' was a great start to this album campaign, and even now it is just a simple pop gem that will forever be one of Jesssie’s best songs. Here we find the singer telling us of how this she has things others don’t, and can take us to another place. The lyrical suggestiveness is simple, direct but playful, with the chorus being snappy and catchy in equal measure. The combination of Jessie’s powerful pipes with the airiness of Ariana Grande makes for a stellar collobaration, whilst Nicki Minaj provides a brilliant rap that just makes the song complete. Whats great is that Jessie still maintains her presence in the track, not being overpowered by these two American stars and still showing listeners why she is such an acclaimed singer. Max Martin does a brilliant job with the production, with the stomping, soul influenced production creating a modern but throwback sound you can’t help but love. Simply put, this is a blinder of a pop song.

5/5

Track 5- Fire

After the storming pop fun of ‘Bang Bang’, things get more serious and reflective with 'Fire', a dramatic track that focuses on Jessie singing about how she can’t get away from this guy who is so intense, but she still wants him. The songs positioning after the fun of ‘Bang Bang’ makes for a sharp but pleasant contrast, and vocally Jessie is brilliant here, adding a theatrical air that shows off her theatre roots. The sharpness of the violin heavy production perfectly matches the intensity of the lyrics, and although the lyrical repetition is slightly annoying, overall the track beautifully shows the versatility of Jessie J as an artist.

3.5/5

Track 6- Personal

‘Personal’ continues the drama of the previous track, although this time things are a little softer and more reflective. The track finds Jessie looking on her life and how you sometimes have to step back and look at the reasons behind things, with the singer acknowledging that she gets too personal at times. The track acts as a standout in the set purely because the lyrics hold a lot more depth and intensity for once, reflecting more of the Jessie J that people were first attracted to. The simple guitar riff and melodic, soothing tone of the production is nice but not exactly original, whilst the vocal is nice if perhaps too overdramatic. If things were perhaps dialled back both with the vocal and the production this could be a really powerful tune, but instead the sincerity of the lyrics gets a bit lost.

3/5

Track 7- Masterpiece

The dramatics continue with 'Masterpiece', a track that focuses on Jessie J singing of how she makes mistakes in life and is still working on being the best version of herself, because she is human and just growing up. The self-empowerment theme is aggressive and inspiring, with the rap style of verses nicely complimenting the slower, powerful chorus. The problem is that, whilst vocally the singer brings across the songs sentiment in a confident way, the lyrics are full of clichés that are ingratiatingly annoying, whilst the production follows a bass heavy formula that is equally as clichéd. All in all, ‘Masterpiece’ is another ok tune that sadly suffers from problems that could have been avoided.

3/5

Track 8- Seal Me with a Kiss (featuring De La Soul)

Things are brought back to a more fun pop state with ‘Seal Me with a Kiss’, with a funky, disco infused vibe that is immediately infectious. The track finds Jessie looking at this guy and telling him how she finds him attractive, and she just wants him to make her his. Lyrically things are on better form, with the softer, seductive edge to verses perfectly complimenting the snappy chorus that sees Jessie simply lay he feelings on the line. The throwback edge to the production immediately makes you want to dance, with the old school vibe allowing for Jessie’s diva vocals to sound cool and lovely to the ear. De La Soul act as a smooth addition to the track that nicely compliment the flirtatious quality of the song, making for ‘Seal Me with a Kiss’ being a return to form.

3.5/5

Track 9- Said Too Much

After the flirting of the previous track, things once again get more serious with ‘Said Too Much’. Here we find Jessie getting aggressive with a former love who has messed things up, and she now realises that she needs to move on as she can’t fix things. The dramatic break up track loses a lot of it’s power because of an array of unnecessary clichés, whilst the forceful tone of the production is another example of pop by numbers. The vocal is also boring, with Jessie just sounding like she is on auto pilot, with the final sections of the track simply seeming like the singer is trying to prove just how many trills she can do. It is definitely a step back from the quality of the previous track, and shouldn’t have really made the album.

1.5/5

Track 10- Loud (featuring Lindsey Stirling)

The dramatic flair of the album continues with ‘Loud’, where we find Jessie singing about being overwhelmed by everything in the world. The lyrical quality is slightly better, but again the chorus uses repetition that just doesn’t really seem necessary. The production nicely melds together some cool electric guitar with smooth violin, with collaborator Lindsey Stirling nicely melding her classical style with Jessie’s pop sound. The vocals are strong if once again slightly overpowering, with Jessie needing to just hold back some times, but with the lyrics focused on the world overpowering her, this time the singing can kind of be forgiven.

3/5

Track 11- Keep Us Together

After the crazy intensity of ‘Loud’, ‘Keep Us Together’ feels like a nice change, as things feels a bit more hopeful. The song lyrically focuses on how relationships are hard, but Jessie hopes that her and her beau have enough of something to keep them together. Things are nice in that the lyrics are both melancholic but sweet in equal measure, with this mix perfectly embodying the human experience of being in a relationship, as everyone has their ups and downs. The vocal here is much stronger, as Jessie seems to know when to hold back and when to really let her voice do its magic, whilst the smooth, clattering tone of the production keeps things light but forceful in an infectious way, making for a relationship tune that really works for once.

3.5/5

Track 12- Get Away

Final track 'Get Away' is a simple pop ballad, where we find Jessie reflecting on the love she has with this person, with the singer realising that she needs to get away from this kind of love. The songs strength definitely lies in the pairing of simple, piano focused production style with a powerful and dramatic vocal performance. Whilst the lyrics definitely suffer once again from repetition and cliché, Jessie definitely saves things by really making the point that she is a brilliant singer, and so whilst it could have been stronger, ‘Get Away’ ends the album on a good note.

3/5

Final Results

'Sweet Talker' is by no means a bad album. There are some definite high points here, and it is great to hear Jessie really use her voice, particularly as she has made no secret that she wants to be known for her voice. The problem is that, whilst individually there is nothing really wrong with the tracks, as an entire album things just don’t work. Many tracks come across like the producers aren’t really trying, whilst other songs find the singer enforcing her ‘I am a brilliant singer’ brand too much, to the detriment of the quality of the songs. The lyrical content also dips from nice to awfully clichéd, with the fact that the album sees Jessie contribute significantly less to the writing than her previous records potentially being a major problem. 'Sweet Talker' could have been brilliant, but instead we have to settle for commercially designed mediocrity.

4.5/10

Best Track- Bang Bang

Worst Track- Said Too Much