By now, Ke$ha has pretty much made a name for herself in the sleazy electropop/dance scene – she even has a song called ‘Sleazy’ on the re-release of her début album – and that’s not necessarily a bad thing. The one thing you can’t deny Ke$ha is her ear for an absolutely stonker of a chorus and an immensely catchy tune. Add in a touch of Dr. Luke magic and she’s ready to go, packing a huge musical artillery of infectious party anthems.
Never one to shy away from wearing the “Marmite Artist” medal proudly on her chest – but in the same breath, let’s make it clear that the “Marmite Artist” tag is simply something to be thrown at an artist when you’re not too sure what to make of them; it’s a very trivial metaphor with no real sense of justification from any person’s viewpoint – Ke$ha unapologetically tramples over the idea that an artist can be a good role model once again and makes no hesitations when it comes to singing about the clubs and being fond of a bit of alcohol on more than just the odd occasion.
And up to now, everything for Ke$ha has been going swimmingly, including my opinions of her and her music. But something hit me the other day whilst reviewing Natalia Kills’ début single, the over-hyped bit of alright that is ‘Mirrors’. That something caused quite an argument with myself.
Natalia thinks she can get away with singing about the sex as long as she’s artsy with it. She clearly fails and falls flat on her face. But then, if Ke$ha sings about being sleazy and falling over in the club then what makes her so different from all the other artists who do the same? You could argue it’s her melodies, you could argue it’s her taboo-ignorant brashness. Either way, Ke$ha seems to pull it off – that is, songs about clubbing and dancing – with tonnes more credibility than many of her contemporary peers.
‘Blow’ is a perfect example of that. Another bona-fide dancefloor smash, and with a bassline oozing the sexual appeal of Benni Benassi’s ‘Satisfaction’ and a chorus as big as a New York sky-scraper, Ke$ha only needs to utter the word “Dance…” for it all to kick off. Things get a bit grizzly on the auto-tune front when the bridge takes over though, where her vocals a quite frankly, painful to listen to with the amount of processing involved upon the line “It’s time to kill the lights”, but it’s only a small price to pay before the chorus fully takes over. The retriggered vocals and pitch bending are simplistic but effective and when combined with some racing synths and Ke$ha’s typical bratty attitude, ‘Blow’ only adds to her back catalogue of huge dancefloor hits.
Here’s the video: Oh my Lord.
Still reluctant to show her real vocal talents, Ke$ha sticks to her guns (literally) and delivers another hot-off-the-press trash-pop concoction like no other can. And it’s always nice to hear her sing instead of rap the verses.
Rating: 4.0 STARS
Download: April 24, 2011 (OUT NOW)
Featured Album: ‘Cannibal’