TINIE TEMPAH'S sound is still alive on 'THE NIGHT'S NOT DEAD'

Tempah Is The Night...

By TIM DAVID HARVEY

Disturbing London once again, Tinie Tempah is back! It may have been eleven years since the last album ('Youth') from Plumstead's very own, but don't discount the 'Demonstration' artistry from a man who has so many clothes he probably still keeps some in his aunt's house. Ever since the 2010 release of his definitive 'Disc-Overy' discography released, to the month, a sweet sixteen years ago, Tempah has set the grimy tempo of UK rap music. Not to mention, other artist's own discographies. Like Labrinth? It was Tinie who helped set that big 'Earthquake' up in here. Stormzy. Little Simz. They all have Patrick Chukwuemeka Okogwu to thank, like Kano, Skpeta and Giggs.

After huge hits, like 'Pass Out', the future of this rapper, singer and television presenter was 'Written In The Stars', so to sing. As British as a cup of tea and biscuits, but as dangerous a talent as some of his contemporaries across the pond, in the New York birthplace of hip-hop, Tinie Tempah put us in the UK on the rap map. 'Not Letting Go', he's already passed the equally legendary Dizzee Rascal for most number one singles by a rapper from the United Kingdom. His middle name, "Chukwuemeka", in lbgo language means "God has done more", and the Lord, and his mysterious ways, really have for the platinum and gold star of Nigerian descent. Ever since using a thesaurus in class to juxtapose his name and ameliorate the aggressive sound of anger in his last. Following the inspiration he found watching the massive music video of So Solid Crew's '21 Seconds' to go. The wordplay has been potent ever since as we say bonjour and hello to Uncle Fester once again, for someone who says he's getting goose bumps, "like R.L. Stine". Genius credit!

Turning Disturbing London into the UK's Def Jam or Rocafella records, kicking in the door with big smoke. Performing at Glastonbury with uncle Snoop Dogg. Teaming up with the iconic Swedish House Mafia for 'Miami 2 Ibiza'. Brits, MOBO's and a blue belt in Brazilian jiu-jitsu, Tempah could even take on the Bane of Tom Hardy, as it seems the 'Mobland' and 'Peaky Blinders' actor could him in the rap game, if you've seen that latest music video with the Wu-Tang Clan. But now, Tinie is taking on the enormous challenge of returning to the game he hasn't played for in over a decade. Will it still be the same. Will he. His before its time sound sounds nostalgic now, but that's just nuanced in a good thing for all those who miss the good old days and the ways it paved. You can hear all that on strong singles like, 'Eat It Up', 'Closer', 'Living Life', 'Energy', 'Heaven Or Hell', 'To The Floor' and 'Rude x Badger x Travy'. X, like this marking the spot on these collaborations with Skepsis, Abi Flynn, Daecolm, Alex Mills, Reggie, and AFROJACK and Tropkillaz on the last cut, respectively.

Collaborations also come thick and fast with a 'Backstage' Elipsa and HolyBrune on the Japanese inspired 'Studio Ghibli'. An animated Tempah also takes hip-hop back to its storytelling roots with the compelling arc of '10 Minutes Later', as inspired as New Jersey's own presenter Joe Budden's own ten-minute track off his eponymous debut that pumped it up. From the dark 'Don't Ask Me About Last Night', to the 'I Lied' lyric video, Tinie is resurrecting the night he once ran with, like Richie. Party, but no bulls### for the rapper who can switch styles like he British GQ pioneers fashion. On 'Start A Fight' the beat punches with more dark, cinematic auras ready for Halloween. 'Cause It Feels So Good' and 'Body 2 Body' keep the sexy style in check. But it's 'Get My Attention' that will really get yours as Tempah raps, "back with a vengance/with sir independent/ask my accountants how we been spending/don't at me come out my mentions/aura winter collections/living like you ain't trying to see your pensions/eight to tens in our sections/no videos, not natural selection (whoo)." Yeah, don't call it a comeback!

Playlist Picks: '10 Minutes Later', 'Living Life (Tinie Tempah x Daecolm)', 'Studio Ghibli (Feat. HolyBrune)'.

Spin This: Tinie Tempah - 'Disc-Overy'.

MAX RICHTER does not go gentle into that good night 'WHILE THE FLOOD RAGES'

Rage, Rage...

By TIM DAVID HARVEY 

Dylan Thomas's 1951 villanelle 'Do Not Go Gentle Into That Good Night' is a profound poem urging a resistance against the reaper in the "rage, rage" refrain. A father's timely advice to his son it was famousely used in Christopher Nolan's inspired 'Interstellar' starring Matthew McConaughey, Anne Hathaway, Jessica Chastain and Michael Caine. It also serves as symbolism here in Max Richter's latest album, 'While The Flood Rages', as the last half of the album, featuring the legendary likes of 'A Sweet Air', 'Dawn' and 'My Body Is My Earthly Ark', sounds like it could have been used, like Ludwig Göransson, in the stead of Hans Zimmer's incredible soundtrack, because Lord knows the maestro is oftentimes busy.

Nothing can replace the Hans on the time of that soundtrack. And Max Richter's latest scale, following the portrait of 'In A Landscape', feels worryingly about our "place in the dirt", post-apocalyptic. All the way down to the Muse like amazing album artwork of a structural future-scape with "love" written like a sign, or cry, for help in the frozen tundra below. Actually, 'While The Flood Rages' and its 'Wave After Wave' cautionary tales we should 'Tell The Bees', whilst 'The City Was A Chaos' is actually inspired by the testament of the legendary 'The Handmaids Tale' author Margaret Atwood. Fitting after we've just finished the Canadian icon's 'Book Of Lives' 24-hour 'Memoir Of Sorts' amazing audiobook. Highly recommended like her hot off the press Substack page and feed. An Orwell for our time. Influenced by the 'Alias Grace' writer's 'MaddAddam' trilogy. Field-recorded elements of her dystopian trilogy incorporated into the British/German composer's own three-act structure of work.

'On The Nature Of Daylight', the 60-year-old composer's magnum opus has been used in everything from Scorsese and DiCaprio's shuddering 'Shutter Island' (mixed with the great Dinah Washington's 'This Bitter Earth'), to Richter's own scored single and an utterly raw and moving music video, featuring your very own June star of 'The Handmaid's Tale', Elizabeth Moss. Most recently, however, it gave us the most touching moment in Shakespeare's Globe Theatre for Chloé Zhao and Jessie Buckley's 'Hamnet' adaptation of Maggie O'Farrell's beautiful book. Yet 'The Flood Rages' takes us even further into the heart of mother earth. Spearheaded by the single of eleven-minutes, 'Now We Can Sing', offering us a Noah like way out of this rising ride and all the trouble of a world at war today that doesn't seem to subside. 

A classic collaboration with choreographer Wayne McGregor makes this all feel even more like a stirring soundtrack with absolute urgency. The advance of technology in the age of A.I. The fall of nature in our wounded land. And not to mention, we as a people and our resistance to all of that. These themes and ideas are explored in the sonic soundscape of Max's latest epic effort. Not to mention, one of his best yet in quite a year for the man who would have already been legendary if he took time off work during COVID-19, instead of spending time working in his home studio for music that echoed the times we have, are and continue to live in to this day and accelerated age. Powerful and profound, it's a necessary percussion, punctuating all we're living through as we speak in an album that really does so, without so much as a laced lyric. Orchestral and choral, taking us to an electronic church in the wild, the light is still alive in a man standing at the edge of the flood until it recedes. Raging against the machine, Max Richter is in control of his narrative in the eye of the storm. It's time, for the world, that we were, too.

Playlist Picks: 'Wave After Wave', 'The City Was A Chaos', 'Tell The Bees'.

Spin This: Max Richter - 'In A Landscape'.

EELS refuse to slip on 'COOKIE HAPPENED'

Accept Cookies...

By TIM DAVID HARVEY

Defying death, both literal and critical, the Eels are back again, slippery when wet, for 'Cookie Happened'. Inspired by the Sesame Street monster that loves chocolate chip baked goods, complete with a neon green, slam-dunking skeleton. 'Cap In Hand' ("here is the church/here is the steeple/open the door see, all the broken people" reminding me of games with my Gran), at your door with the lead single for their sweet sixteenth set, Mark Oliver Everett (E) and the boys in the band are still as fresh as the day they went to 'Susan's House', with 'Novocaine For The Soul' spluttering out as 'Beautiful Freaks' in '96. And that still must be her sister. It must be her sister...right?!

Two years ago, the Eels showed us in a scorching summer that it was 'Eels Time!' once again in a powerful and profound comeback album for the 'Daisies Of The Galaxy' legends. The subtle sonics of 'IF I'M GONNA GO ANYWHERE' and the simple notion of the lyrics, "love, what else is there, but love/What else is there?", still on my playlist, remains my personal favourite track of 2024. And despite being 'Clobbered', 'Bamboozled Again' and 'Lost and Barking', E knows it was all worth it on a beautiful break-up album of sorts whose disc would have either been in your stereo, or on top of all the other jewel cases next to it, back in the 90s, for how much you'd play it. "All of this will be forgotten. Every joy, accomplishment and hardship will one day become so irrelevant it will be as if none of it occurred," Everett tells us. "But as the great philosopher of our times, Cookie Monster once said: ‘Me no cry because cookie is finished. Me smile because cookie happened.’ This will all be forgotten. But isn’t it still a beautiful thing that it happened?"

Now, making a mark and taking a bite, it's not 'All Forgotten' on the single with the beautiful B-side of 'I'm On Standby' which is really here for you, even when the record doesn't play. Lyrics lingering like, "They broke your heart, looks like the end/I'm on standby/Your car is broken, your dog got sick/And it's cold/The boss can't wait to fire you/I'm on standby." The kindness, that like a friend, we all need in these troubled times. 'Taking Pictures' sharpens the focus with Mark Oliver putting us in the frame of "No one loves you in New York/Don't try making her go up north/And no one gets you back in Hollywood." The Los Feliz, Los Angeles, CA band bring back the 'New Story' with pages of guitar breaks and Hollywood like orchestral strings that show us their sound is timeless, "never a bore." On a swing, 'Congratulations To Me' offers that same celebration of joy in harmony with harps. Freakishly beautiful these indie legends and the rock alternative you forgot you were waiting for to come back.

'One Razzle, One Dazzle' continues that sleight of hand, one-two punch. "You gotta wow them, zonk, biff, and pow them/That's what my dad used to say", Mark Oliver E advises like a caped crusader in Adam West era, 60s tights. All you Burt Ward's will love the 'Dum Dums' that come shooting next, picking up that electric bright red telephone. Engaged with the lines, "I wish the world was just a beautiful place/A generous smile upon each and every face/Good-hearted people sharing all the riches/But the world's chock-full of dum-dums and little b#####s." The inspired instrumental break helping you put this all in perspective. In the end, 'The Way I Was Made' curtain does it E's way on electrics strummed like acoustics with the soars. "The gifts that I possess/Don't come without duress/It's just part of the deal/It's the way I was made/I didn't ask for any of it/But I try to make it work." In a day and age where New Music is forgotten way before the next Friday, we have another subtle classic on our hands that we should refuse to allow to be slept on. Don't reject all this happening, Cookie.

Playlist Picks: 'Cap In Hand', 'Taking Pictures', 'I'm On Standby'.

Spin This: Eels - 'Eels Time!'

SHERYL CROW'S new album will 'PICK YOU UP'

A Crow Left Of The Disorder

By TIM DAVID HARVEY 

A change would do the world some good right about now, but until then, how about a new album from legendary American singer-songwriter Sheryl Crow to 'Pick You Up'? Like Norah Jones off the floor. The 'If It Makes You Happy' singer giving us her first since the 'Revolution' of 2024. "All I wanna do, is have some fun", the golden era 90s star once sang, alongside soaking up the sun and singing 007 themes for James Bond's Pierce Brosnan era 'Tomorrow Never Dies'. But Missouri's own musical mainstay, with a favourite mistake, still knows that every day is a winding road. And whilst we all get a little bit closer to that land of the free that was promised to us again, Crow's compelling, trademark and true inspired idealism and outstanding optimism carries us over like the country strong star's blend of blues, rock, folk and pop.

Strong enough on this seventh seal tracking thirteenth studio album that's lucky for us, Sheryl urges us to get onboard the 'Freedom Bus' with former Dead Indian and Cosmic-American frontman Jesse Wells. The single, and the all-encompassing, great American video wonders in protest, "What if everyone took a civics class?/I'm not sure I know anyone who'd pass/But how wе live today comes from the past/If wе forget, it could slip from our grasp/Whatever happened to the Golden Rule/Whoever wrote it wasn't just a fool/We watch the thread unravel from the spool/When you preach love but you still act so cruel." Imprinting her own Big Green Barn productions, with Thirty Tigers providing the distribution, this twenty-five-minute album, running through with the spearheaded second single of a 'Freight Train', brings an art artwork or animals that Noah would be moved by, two-by-two.

Co-wrote with calendar by calendar, constant collaborator Jeff Trott (Counting Crows, Jason Mraz, Rob Thomas of Matchbox Twenty), this album, and its powerful and propelling title-track honours the album artwork of Tyson Grumm's painting 'The Elephant Who Forgot The Ocean', one brought by Crow at auction, addressing America's elephant in the room, and the watching world also at war and woe. Originally meant to be an EP, until a trip on the 'Freedom Bus' was deemed a necessity with the current state of the world, 'Pick You Up' is highlighted by the picks on 'Perfect' and 'I've Got Your Number'. Reflecting fellow blues legend Seasick Steve's 'Last Season Of America' from a few weeks back, any 'Flat Earth' believers may feel uncomfortable on a track that makes you "feel like staying in bed/Pull up the covers and watch an old movie instead." Yet it's 'Heaven Help Us' that may strike the deepest chord, like Kravitz's, telling us "It's so hard to believe/That from a burn out tree/A flower draws a bee/And life will keep on living/With every broken heart/Where all is torn apart/You get a brand-new start/But not without forgiving." This fall we have a chance to pick. The only way is up.

Playlist Picks: 'Pick You Up', 'Heaven Help Us', 'Freedom Bus (Feat. Jesse Welles)'.

Spin This: Seasick Steve - 'The Last Season Of American'.

SAKANACTION'S SAKANAQUARIUM just keeps getting bigger

The Age Of Aquarium

By TIM DAVID HARVEY

Until this time last week, Japan experienced 34 consecutive days of rain. And we're talking typhoons, not just mere drizzles. The longest streak since they started measuring this kind of thing, way back in 1886. Dampening a usual scorching summer that's way too hot and humid. That's not the only reign that can't be stopped. Top Japanese band Sakanaction, from Sapporo, Hokkaido, have been on a tear all year. Fresh off their Summer Sonic set, in Osaka and Tokyo, where they backed up the great Talking Head of David Byrne, they're burning down all sorts of houses like the Tom Cruise 'Digger' trailer.

Kaihin-Makuhari Station, the closest to the Summer Sonic festival stages in Tokyo, was covered in promotion for the 2026-2027 SAKANAQUARIUM tour. You couldn't even touch your Passmo or IC card on the ticket barrier reader without swiping some Sakanaction. The Sakanaquarium was setting all sorts of stages last year. Selling out two consecutive nights in Yokohama's K-Arena (the world's biggest arena solely dedicated to music). It will conclude next year, in 2027, marking Sakanaction's 20th anniversary since they were formed in Hokkaido with their current line-up. Ichiro Yamaguchi (vocals and guitar), Motoharu Iwadera (guitar), Ami Kusakari (bass guitar), Emi Okazaki (keyboards) and Keiichi Ejima (drums). And that's no crazy coincidence. It was written. Fine-tuned, like their studio to soundscape stage. 

This year, Sakanaction even won big at the Japan Music Awards thanks to their monster hit 'Kaiju'. Scooping up awards for all their hands. They may have missed out on the Best Artist Award, presented by Japanese acting legend Ken Watanabe ('The Last Samurai', 'Inception', 'Tokyo Vice'), as Mrs. Green Apple took home the fruits of their labour, but it's no biggie. The notorious, or should we say renowned, dance rockers of action fishing deserve their round of applause for so much more. Mrs. Green Apple may be the most popular band in Japan, right now, but Sakanaction are much more legendary. Whether it be Ichiro's inspired lead that has even given himself his very own outstandingly popular podcast, Motoharu's motoring guitar licks surrounded by pom-poms, Ami's always amazing bass, right in the pocket with perfection, Emi's shaded style, as iconic as the last notes on the 'Kaiju' keyboard, and Keiichi's kicking drum which rolls this all together. Just like his closing comments with Yamaguchi in a brother, and sisterhood, of beautiful bond banter.

This band are tight, like their sound, and as thick as thieves. Stealing your hearts and minds anytime you dive into the one aquarium you should never Celine Dion think twice about paying admission for. Especially when you can pick-up all sorts of sweet Sakanation merchandise. From rally towels, to iconic logo t-shirts, that are as original as the band's genre blending styles and signatures. They even have a throwback netted shopping bag for you to carry all this in, but I digress. When The Beatles first played the iconic Nippon Budokan, back in the summer of 1966 (a familiar one for the English), there was an uproar, as this traditional Tokyo 1964 Olympic venue was used for the sacredness of sports only. These days, everybody plays. I even saw Norah Jones and The Smashing Pumpkins here in the space of one week, this time last year. 

Yet, it was sixty years ago that the Fab Four took to the floor. Now, all these decades later, Sakanaction are making it their own. Especially with a sound even clearer than the d&b Soundscape they brought to bear, back in April, for their members only vote countdown show of classics at the renamed SGC Hall in Ariake. No one has played the beautiful Budokan like this. That's because of the bold and brilliant way Sakanaction, and their team and crew of t-shirt wearing workers who don't just promote, but emote this portmanteau of a band, work so hard to go further to the future each and every time, giving everything. Which is refreshingly rare and real in this day and age of cutting corners and costs. That's why, when you get to the seamless instrument to turntable (and Okazaki sunglasses) transition of the religiously felt 'Holy Dance', you're greeted with the three dimensions of a neon rectangle that borders the band. A cuboid of the perfect prism, laser hitting all of the lights you reach out for, like a dark side of the moon.

For the love of all that's holy, put those rectangles, you use to send texts and tweets, in your pocket, right away. Because this is an experience, like Jimi. From the 'Asa No Uta' opening surprise, that will have you hitting the arm of the person next to you, to the cheerleading ('Shin Takarajima') and roaring red skyscraper siren ('Kaiju') hits that are now joined by recent viral classics. The memoirs of a pair of geishas in 'Yoru No Odoriko', with perfect harmonies, and the 'Miami Vice' jackets of 'Wasurerarenaino', feel like new singles themselves. The latter has become a social media sensation of late thanks to Ichiro's dance and Ami's brilliant bass slapping solo. Everybody wants to try their hand and Instagram handle at the moves and strums. How the band brought it back to the stage, with palm trees in the video screen background (another classic component of the show) is the real winner, mind you. Simply sensational, there's nothing like a Sakanaction show. Dive in and swim.

Set-List Picks: 'Asa No Uta', 'Holy Dance', 'Wasurerarenaino'.

LEON BRIDGES offers the world 'HAPPINESS ANYTIME'

The Pursuit Of Happiness

By TIM DAVID HARVEY

Dark days might be consuming the world, right now, but here's a Bridge to happiness. Leon Bridges is a throwback. Not only that, the Wrangler, who makes records about a 'Texas Sun' with Khruangbin, is one of the most underrated modern-day greats in an industry that would do good with his inspiration and influence. The 'Coming Home' singer has been steadily chipping away at a classic career and catalogue ever since he took us to 'The River' just over a decade ago. 'Good Thing' (2018) and 'Gold-Diggers Sound' (2021) took us to different and diverse, soulful soundscapes. And his subtle protest record, akin to 'Happy Birthday's' from Stevie Wonder, or the greatest of Marvin, 'Sweeter' (featuring Terrace Martin on the horns), came at the right sobering time, during 2020's COVID-19 pandemic and the turning point of the Black Lives Matter movement. Most recently, he gave us his eponymous 'Leon' two years ago, and just like Miley last week (with her 'Bass Persuades' lane change), he's big enough, in our eyes, to go by just one name.

But why burn Bridges? Especially now. In a cruel, callous and cynical time we could all use a little love right now. Or at the very least, a pick me up. And that's what Leon Bridges is doing for us, taking us to an island in the sun, this summer, for 'Happiness Anytime'. A creed we should all aspire to and a release he wants us to feel "in (our) bones.". Bridges has been releasing a steady stream of this album over the last few months, four-tracks at a time, but now on this new day he gives us the full music Friday of his latest, and one of his greatest records to date. Because of the way he put this out, via mini-EP's, akin to an experiment Norah Jones (they made a great Christmas song together) had when she wanted to 'Begin Again' with how she released albums, everything feels like a single on this somewhat visual album. Right from the moment he rides on his bicycle, all the way through to 'Light The Way'.

Leon cries 'Tears Of Joy', the happiness gets so good, as he sings, "I hang my jacket up beside the willow tree/You know where the devils are, they don't belong with me/I hear water calling, it came and said to me/"Ten more years of glory/These arе our tears of joy"/Oh baby, tears of joy." And on a perfect 'Illusion' the drums can't stop, like his livin'. Making love to the rhythm this might be the most soulful expansion pack since Wyclef Jean's recent take on jazz. This lyric video, in grainy 80s like the new VHS version of season one of 'Stranger Things' on Netflix, is the perfect thing to sing-a-long to anytime, like the takes on Angus & Julia Stone's latest, 'Karaoke Bar'. Part one concluded with the standout 'Your Love Is Electric' that's David Gray lightning in veins. But CD2 got even better with the likes of the title-track and the so smooth, 'Talk It Over'. Collaborating 'All Day, All Night' with producer Lydia Kitto, the good times and this album just don't stop.

"Heavenly, I won't live a day without you next to me/Take me by the hand/I don't wanna let you walk away again/Darlin', honestly, even when it hurts, I'm not the one to leave/I won't let you go/Maybe you and I were always meant to be", Leon sings on 'Fly Baby' concluding the pre-album release eight wonders, offering a love so bright it might burn you, but will always soothe when it's got you. An everyday, forever love that feels like it has already always been here. Kind of like the soul and sound of this album that seeps into your subconscious until you're humming along and feeling all the better for it without even realizing. 'Watch You Dance' continues to move the crowd, down the line of "Wanna watch you dance/Get on your toes/A little romance/Only lightning knows." It's a hook that will have you, sinking through the speakers. That's just 'The Way It Goes' with Janet Jackson smoothness. As Leon says 'Take My Hand' all the way to the end, you'll feel the river again, by the sandy shore of so much more. Even when this record ends on the sea change beautiful ballad of a sombre note ('Please Don't Say Goodbye'), you know what it is. Joy always. The tide is high.

Playlist Picks: 'Your Love Is Electric', 'Fly Baby', 'Please Don't Say Goodbye'.

Spin This: Leon Bridges - 'Gold-Diggers Sound'.

MILEY'S 'BASS PERSUADES' us to dance

The Art Of Persuasion

By TIM DAVID HARVEY 

Bass for your face. Mononym armed, Miley is back as you've never heard or read her before. But she really never left. As Miley Cyrus, this pop megastar was on a tear like no other. This queen went radio Gaga. Ever since those blonde pixie-cut 'Bangerz' came in like an iconic you know what. From 2020, when most people stopped, she's released a fantastic four. 'Little Plastic Hearts' (which this new album has the most in common with), the emancipation, and iconic artwork of an 'Endless Summer Vacation', and 'Something Beautiful', for her visual, final Columbia Records album before signing with Atlantic for this. Cinematic, classic, and a calendar and change ago. Now, a big-three, the previous pair coupled up with this, completes the next emancipation of Miley. 

Meet Miley on a bold, new breakout that still can't be tamed like her 'Dead Petz'. This tenth album is top-tier and it's a return to the dancefloor, like her country strong 'Younger Now' (teaming up with her late, great godmother, the legendary Dolly Parton for the LGBTQ anthem 'Rainbowland') was a trip back to her Tennessean roots to be Franklin. Now, just weeks after losing her dearly departed family member, and dropping her surname from the billboards, Cyrus shows us she is the closest thing to part two of Madonna's 'Confessions' in the booth in this endless Summer. Gaga? Britney? B####, please. They're working hard, too. But only Taylor is bringing it like Miley, right now. Now, the cult pop art icon is giving us her latest album artwork, in black-and-white, with a white rose in her mouth for a classic cover. This princess getting symbolic with the one name. All on the same New Music Friday headlined by the fact that Beck is back.

'Bass Persuades', like 'Ride Lonesome' (from the 'Sea Change' and 'Morning Phase' album artist), begins with it's title-track and lead single. And boy is it a big one. From pop opera to nocturnal pop grunge, Miley moves the crowd with the words, "Glued your eyes to the telephone screen/But you missed the hit without MTV/Go analog (Yeah), make it cinema (Yeah)/Just look out the window and what do you see?/In the treetops, it's a clear shot/Yeah, chaos is king, but you know that you can't stop, won't stop/New fit is a monster/Love it so much, go and hang it on a poster." And to think they say "the kids don't wanna dance". They'll be alright now, thanks to Miley and this album produced by the likes of Kid Harpoon, from Harry styling fame. The one direction of this new record, is the floor. Thanks to Harpoon shots and guest features from Andrew Wyatt of Miike Snow (not to mention the stellar sprinkling of a song called 'Snow' ("we shouldn't be in Kyoto/We've never been here before")) for the glare of 'Neon Signs' and Model/Actrix's 'Different Religion'.

Put your hands together for the Model/Actriz that also 'Remixx' 'Bass Persuades', and will open for Miley during her October two-night residency at the Hollywood Bowl in Los Angeles, California. The sweet persuasion continues, singing 'Let's Get Married', like R&B's very own Jagged Edge to new fiancé, Maxx Morando. In a different 'Orbit', this outstanding set beats to the rhymes and rhythms of love and life. Sonically surrendering in all its electronic elements to a night of disco and dance. A district of 'REDLIGHTS' in all-caps, that has nothing to do with selling, but instead, celebrating yourself. Forget your phone and find yourself in the 'Aftermath' of atmospheric hooks that sink into the speakers, singing, "Does it all come closer or just the sound?/I'm sick of poets and being profound/You bathe in the sweat, your mouth like a straw/You're callous, but soft, you trace every flaw." "You were mine", on repeat. "Grace comes with age, but don't tell her/Fall out from the fame, claim my mother's maiden name/Lips in crimson shades, how I love her," the 'Innocent Ways' of this mother's daughter sings. Beyoncé, Rihanna, Madonna. Miley. Sometimes icons can just go by their first name basis.

Playlist Picks: 'Bass Persuades', 'Let's Get Married', 'Snow'.

Spin This: Madonna - 'Confessions II'.