“There really is nothing beneath the veneer”
Digital Release: October 30, 2011
Physical Release: October 31, 2011
There’s not much you can say about Nicole Scherzinger that isn’t already blindingly obvious. A purveyor of distinctly average pop tunes, any real analysis of her as a credible music artist only emboldens her slightly cheapened approaches to everything she puts her name to. Things such as her lyrics, her melodies, her voice, and even her more relied-upon assets like her song-writers, producers and promoters reek of perfunctory ideas, with next to no traceable incentive to look much further than the ends of their noses when it comes to finding some original angle to attack a fresh demographic from. Take ‘Try With Me’, Scherzinger’s new single; the lead single from the re-packaged and re-released ‘Killer Love’ album. All it successfully manages to say to those more astute about the intentions of monopolising record labels like Interscope is that there were no more good cuts to be had from ‘Killer Love’, or at least none that would’ve shifted the album more than if they pushed forward a re-release just in time for the Christmas market to start. There’d be no valid reason in slamming the timing of the re-release though: labels have always done it. But the quality of the work can be criticised.
‘Try With Me’ starts of as a pleasant enough ballad looking to do the emotional rounds yet never quite passing the first hurdle because of the auto-tune caked onto Scherzinger’s voice. Her lyrics are still as aimless as ever, sounding like the setting of any number of other ballads about car keys and trysts. But before long, she’s jumped straight into her more typical sound when a buzzing bassline enters with some trite synths. She herself sounds distant, with no emotional undercurrent because trying to sing like Leona Lewis when you’ve only a mediocre vocal talent is, quite simply, never going to pay off. Part of you actually misses the more sultry purr that’s accustomed from Scherzinger in light of her monotonous wailing, her voice so thinly drawn out it barely holds it’s own amongst the swarm of electronic backing.
It then strikes you then there really is nothing that Scherzinger can offer that she hasn’t already offered within the first few bars of the song. The song refuses to lift itself off the ground even with the introduction of the faster dance-pop vibe; it stays flat and it’s production is dated, making it hard to extract any form of emotion from the song or expand it’s meaning to a more human level. Scherzinger’s love woes are pleasant enough for the first minute or so, but can’t reverberate enough sentiment once it becomes clear there really is nothing beneath the veneer.