There's always next year

There's always next year

The YP team's music geeks reveal who they feel were snubbed in this year's Grammy nominations, and why they deserved a nod

The 56th Grammys will take place in Los Angeles tonight at 8pm (9am tomorrow HKT), with performances ranging from Katy Perry, Robin Thicke and Lorde to country singer Kacey Musgraves, rockers Imagine Dragons and classical pianist Lang Lang.

Many of the usual suspects are up for awards - Jay-Z leads with nine nods; Pharrell Williams is up against himself in three categories; and Taylor Swift is nominated for the third year in a row.

But some people feel there were some glaring omissions, particularly in the two main categories, Album of the Year and Record of the Year. The YP musos have taken it upon themselves to set the record straight on who should've been included.

Album: Bad Blood by Bastille 

The British alternative band's first album has spawned six singles and propelled them to international stardom. They debuted at number one on the UK Album Chart and charted on others around the world. The entire album, from top to bottom, is an enjoyable listen which is a rarity these days as most albums ride on the success of one or two hit songs. Bastille's blend of electronic beats, solid instrumentation and eerie-sounding vocals results in an album of danceable pop hits.

Record: Wrecking Ball by Miley Cyrus 

If you forget about the tasteless music video and just listen to the song by itself, you'll hear the catchy gem that it is. The ballad about the ending of a relationship is both sombre and powerful as Cyrus's emotional vocals are the focus (as they deserve to be) rather than obnoxious party references of her other songs. Her delivery perfectly illustrates the pain and frustration of the situation, connecting listeners to the spirit of the song.

Leon Lee, Web Editor

Album: The Stand-In by Caitlin Rose 

Rose makes indie music with a folky twang. Shee is clearly sincere; she's not singing for fame or money but because she loves it. Yet she still manages to write a catchy pop song, too. It's a shame talented, young musicians like her aren't given more credit.

Record: St8 Outta Mumbai by Jai Paul 

Jai Paul is a mysterious character. He hasn't released much but there's a lot of buzz about him. Even Kanye is said to be a fan. The song's a perfect blend of London cool and Mumbai zing, with a dubstep beat and Bollywood samples. It sounds authentic too, unlike most of the commercial rubbish on the radio.

David Bartram, Sub-editor

Album: MGMT by MGMT 

My money is almost always on indie kids. American alternative band MGMT first came into the spotlight in 2007 after dropping the (in)famous single, Kids, following them up with more chart-topping, strong-beat tunes such as Time to Pretend and The Youth. But the duo never ceases to amaze. In their self-titled third album, Benjamin Goldwasser and Andrew VanWyngarden step up the maturity as well as the complexity, putting out a psychedelic album that boasts innovative beats and incredible post-production work. If an Australian indie singer-songwriter could snatch three titles last year, one of the most Grammy-worthy indie acts should definitely have been these two boys.

Record: Overgrown by James Blake 

Not only is Blake an impeccable singer, the 2-metre-tall musician is a scientist. The English wunderkind manages to whip up extremely complicated tracks, but somehow still makes them whimsically catchy. Overgrown is one of those tracks. Powered by Blake's distinctive vocal and dreamy beats, with cryptic lyrics and an off-kilter melody, the track pulls you out of reality, and takes you to a hypnotic looping dimension.

Chris Lau, Entertainment reporter

Album: Days are Gone by Haim 

Given the amount of commercial and critical success these three Los Angelenas enjoyed on the release of their debut album, it's little short of astonishing that "the Academy" ignored this record altogether, let alone for the year's best album. The three sisters are a little bit folky, a little bit rock, all underpinned with R'n'B-worthy harmonies. They write their own songs, play all the instruments, and manage to reinvent the good bit of the 80s - bubbly, infectious and actually fun.

Record: Victim of Love by Charles Bradley and Hold On, We're Going Home by Drake 

Drake is known for his smooth flow and occasional tussles with fellow rappers, so this soulful track - where he SINGS - was a glorious surprise. It's a 70s-soul throwback, an ode to a loved one, a foot-tapper you'll want on repeat.

And I just couldn't ignore my recent discovery Charles Bradley, who came to fame in his 60s, could've competed on the charts with Otis, Sam or Marvin. Tracks like this - simple guitar strumming, a shaker, the occasional "ooh" from a backing singer and lead vocals so powerful they flood like electricity through your spine - restore your faith in the music industry.

Karly Cox, Deputy Editor

 
This article appeared in the Young Post print edition as
There's always next year

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