Better, Still - First Impressions of It's Not Me, It's You

Despite an ungodly amount of time spent waiting, a unfortunate name change and album art that just isn't working for me Lily's sophomore effort, It's Not Me, It's You is edging ever nearer towards it February 2009 release date. Fans have been drip-fed tasty nuggets of Lily-related news via her MySpace and an odd partnership with The Sun (which she derides in The Fear but how and ever) but now comes the biggest treat so far, a 7-minute sampler made up of 6 tracks. Included is the new (and bloomin' marvelous) single The Fear, MySpace faves Everyone's At It and Fuck You and three never-before-heard album tracks.

Everyone's At It - A Killers-esque, thumping electro pontification regarding drug use with biting lyrics and a memorable beat. 4/5

The Fear - A scathing commentary on celeb culture set to a simple structure, lush, airy production and a sweeping chorus. 5/5

Not Fair - A tongue-in-cheek dressing down of a boyfriend lacking in the bedroom department despite scoring favourably in all other areas, hardly new ground for Lily but the bizarre and strangely appropriate wild west instrumentation make it stand out. Just like the jovial matinée feel of Alfie's production made that track feel like a concept piece, Not Fair's western vibe gives this slice of cheeky, fun pop a distinct theme. 4/5

22 - A strutting, piano-bar-stlye tale of a woman who people reckon is a bit passed it at the tender age of 30 that lacks a clear hook in its chorus but works overall. 3.5/5

Never Gonna Happen - An accordion and hand-clapping set the backdrop to Lily's frustration with a relationship that has no hope of resuscitation with a pleasing, catchy chorus that lacks a little oomph. 3/5

Fuck You - An anthem that lacks subtlety but more than makes up for it with it's thumping beat, clanging chimes and sweetly sung chorus made up of the rather concise message "Fuck you very much", a sing-along favourite to be sure. 4.5/5

So I suppose what we have here is a pretty strong selection of tracks that certainly whet the appetite for Lily's second outing though hopefully, much as it pains me to say it, we won't be hearing any more album tracks until the the release date. There are only a handful that haven't been heard yet and I look forward to discovering them when the album finally comes out in the new year. It seems Lily put her best foot forward all those months ago when she first released The Fear and I Could Say on her MySpace followed by Fuck You, all of which are still the strongest tracks I've heard thus far. Having said that, when a little ditty like Not Fair comes out of nowhere and delights in an effortlessly joyous way, it serves as a reminder that Lily always have an ace up her sleeve and that she knows how to turn the ridiculous into the sublime when it suits her...

UPDATE: Well against my wishes more material has been released to the public in the form of 15 second or so previews on certain websites and even though I know I should have been strong, I cracked and listened to them....

I Could Say - This sounds much the same as the luscious MySpace demo version that won me over months ago with its plinking, electro loveliness and bittersweet lyrics. This album version spit-shine makes it come up a treat!

Back to the Start - A cluttered, breathless, electro-tinged chorus that should induce a migraine but instead works wonderfully in contrast to the affected, simple verses.

Who'dve Known  - This was a favourite of mine when released on her MySpace and I despaired that it wouldn't make it onto the album due to Take That-related legal issues but perhaps it would have been better left as as it was. The key change in the chorus and polished production detract somewhat from the understated raw simplicity of this little love note.

Chinese - Very much in keeping with the more ethereal, electro sound of her demos this has potential but slightly banal lyrics give it an unwelcome touch of Nash.

Him - Hmmm, Lily musing on the subjects of politics and God should make this a disaster but Lily's trademark astute humour and some airy, simple production make this delightful, as well as a little thought-provoking.

He Wasn't There - More sweet vocals, simple melodies and honest lyrics, this time about Mr.Allen, and it's all beginning to feel a little like old hat at this stage, especially as this is the album's finale but some crackly, faux-vintage production help give it a more pronounced identity.

BRING ON FEBRUARY 9!!!

Amy V Adele (Yes, I'm aware that I'm late to the party but this one has been sitting in My Documents for ages so I might as well share it...)

I feel terrible doing this, honestly I do, but it must be done, a certain Ms. Winehouse and a little record called Back to Black will be mentioned by the time this article has ended. ‘The New Winehouse’, the media raved, many critics replied with sceptical tuts, claiming that Adkins’ debut, 19, had a long way to go before it reached the dizzying heights of Amy’s opus. It seems a little harsh though, doesn’t it? Has Adele done a Beatles and proclaimed that’s she’s bigger than Jesus, or er, Winehouse? Not to my knowledge, a young woman of nineteen years (and not stone as she joked in an interview while promoting the album) presents an immaculate, if somewhat safe, collection of self-penned, raw, heartfelt, soulful ballads and mid-tempos. Stripped back production leaves her rich, versatile and emotionally charged vocals to take centre stage and they never miss a beat or fail to impress. She also exerts a damn sight more personality in one ‘pfft’ on the jazzy little ditty, My Same, than Welsh warbler Duffy conjured up in an entire album. All of this is made even more impressive by the fact that this entire album feels as though Adele is serenading you by firelight or that she’s the talented youngster in the corner of the pub, captivating the patrons with just a guitar and sumptuous voice. And then of course there’s the simple fact that there’s no glossy veneer or heavy-handed production, it’s raw and filled with more resonance because of it.

All of which leads me to my Winehouse comparison. Although she’s a megastar now and highly respected because of her stellar sophomore effort, we mustn’t forget that Back to Black was just that, her sophomore outing. Her debut, Frank, while filled with a handful of exquisite singles, a wonderfully distinctive and powerful vocal style and bucket-loads of potential, wasn’t all that great (low as one might be to admit it through the rose-tinted glasses of hindsight). 19 has no business being compared to Back to Black, or anything else for that matter, it should be taken as it is and for what it is, not what the media buzz imposes upon it. But if we simply must make a comparison, then pit one debut against the other and in doing so, personally, I believe that 19 comes out looking stronger. It’s simply a far more consistent collection of songs than Frank, which even Winehouse has since knocked down a peg or two by admitting that she no longer cares for many of the songs featured on it. Something tells me 19 will stand the test of time more successfully and will be seen as a strong start rather than just the raw potential that Frank now exerts. And then there’s every chance that Adele will reappear on the scene in a couple of years with a stronger, more distinct image, a hum-dinger of a lead single and a bastard of an on-again/off again boyfriend to berate on her second album. It worked once already didn’t it?