This week’s tracks

Michael Cragg

The Guardian - The Guide - - Music -

TRACK OF THE WEEK Zayn ft Sia Dusk Till Dawn Hav­ing chan­nelled the Weeknd on Pil­lowtalk, Frank Ocean on his de­but al­bum and Drake on this year’s non-hit Still Got Time, Zayn’s now set his doe-eyes on Sia’s gusty-pop crown. In fact, the bil­low­ing Dusk Till Dawn fea­tures Sia her­self on back­ing vo­cals, the pair’s high-wire emot­ing cat­a­pult­ing the now-this-is-how-you-do-apop-cho­rus cho­rus sky­wards, leav­ing the rest of the song es­sen­tially cow­er­ing un­der the sheer weight of it all.

Tove Lo Disco Tits Al­to­gether now: “I’m fully charged, nip­ples are hard, ready to go”. So runs the cho­rus to Tove Lo’s Disco Tits, a sub­tlety-free sex jam­boree that could never hope to live up to its ti­tle but has a pretty good go any­way. Over sup­ple beats Lo up­dates us on her cur­rent ex­cite­ment lev­els (“I’m wet through all my clothes”) be­fore un­leash­ing per­haps this year’s big­gest un­der­state­ment: “I know how to dial it back, not this time”.

U2 You’re The Best Thing About Me The last time we heard from U2 they’d taken the un­prece­dented de­ci­sion to up­load their new al­bum to every­one’s iPhones, a PR dis­as­ter of such mag­ni­tude that even Bono seemed hum­bled. Af­ter three years of wound-lick­ing they’re back with a song fea­tur­ing all the things you ex­pect from U2: a chim­ing gui­tar fig­ure Cold­play have prob­a­bly al­ready ripped off, a sta­dium ready break­down and clunky lyrics about chil­dren be­ing the real teach­ers.

Kelly Clark­son Love So Soft Pop is so con­fus­ing. One minute it’s all “love me harder” – then, ac­cord­ing to Clark­son, it’s best to be soft, which if we’re be­ing crude seems to go against ba­sic bi­ol­ogy. Sadly, Love So Soft is a stinker; Clark­son’s un­de­ni­able voice – which blows up a man­sion in the video – strug­gling to mask the whiff of Meghan Trainor cling­ing to each plas­tic-sound­ing retro-fied horn blast.

Sam Smith Too Good at Good­byes The cover art for Sam Smith’s new sin­gle fea­tures a mas­sive bunch of de­cay­ing flow­ers droop­ing on an art­fully frayed table­cloth. The pic­ture is in black and white to con­note ex­pen­sive, stage-man­aged sad­ness, which is ba­si­cally what Too Good at Good­byes is. The choir is lush, the pro­duc­tion from for­mer Mis-Teeq col­lab­o­ra­tors Star­gate is slick, the voice quiv­ers when it’s sup­posed to, and yet the re­sult is about as emo­tion­ally in­tox­i­cat­ing as Ja­cob Rees-Mogg

Sud­denly I Sia Zayn goes for gusty pop

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