Jessie Ware - 110% (and everything else she's done)

I really like the title track, can't get enough of it. Incidentally, some of the harmonic stuff and the arpeggio effects going on in it reminds me a lot of "Bloom" by Radiohead.

it's all totally trip-hop revival. it confused me the first time i saw someone use that as an insult.

If so, we're still at the early, warm, Wild Bunch bit of trip-hop, rather than the dead-eyed Sneaker Pimps 1998 zombie incarnation. The latter bit would be the insult.

i actually liked that sneaker pimps album at the time

Having lived with this album for a month or so now I'm pretty sure that most of its faults come from the presence of the dude from The Invisible. There's a sort of damp and dusty worthiness to some of the production.

Ooof, not very good on Later.

Love the album 111% though.

It's like an X-Factor cover, maybe she's just nervous though.

Later last night was the first time I'd heard her. I thought that song sounded a bit like Roxette.

she was better at Maida Vale -

http://www.bbc.co.uk/radio1/sessions/2012-10-18_jessieware

i listen to this album all the time. I wouldn't really think to slot it anywhere near Blue Lines, it seems much more straightforward R&B to me. but it's very good.

I'm in love with the Ewan Pearson remix of No to Love

http://soundcloud.com/jessieware/sets/no-to-love-remixes/

Brownstone cover (produced by Japanese teenagers - ?!), Kate Moross video

https://www.youtube.com/watch?v=yXJl5Gf05zg

I love both of these things

i didnt think i liked the todd mix but it's v beautiful once it gets going

almost tempted to do a ware remixes poll but meh

https://www.youtube.com/watch?v=RkF7PZhVlNw

<3 this one

"Taking In Water" has become my jam .

it's my favorite from the album

well other than maybe "sweet talk"

or "110%"

as great as this album is, (still top 5 of the year for me) the remixes that have emerged for songs from it have been fucking great. the joe goddard "night light" remix is RIDICULOUS

https://www.youtube.com/watch?v=GZrThWeqmzs

This "sweet talk" remix too!

https://www.youtube.com/watch?v=kvOQHC4Muxs

love that "Night Light" remix

Finally got around to hearing this after months of loving "Wildest Moments." Good album, though I find that with the exception of the song I already liked (which is terrific both melodically and lyrically), the songs tend to live or die depending on the strength of the drum programming, which is odd.

I've not really wanted to go back to this that much of late but I might have a go at making a remix comp this evening.

"Still Love Me" sounds too much like Annie Lennox for me

the joe goddard remix of "night light" >>>>>>>>>>>>>>>>

There's been some very smart remix commissioning by Jessie Ware's people, in contrast to Lana Del Rey's label, which seems to have commissioned so many that even the good ones (eg Lindstrom, Photek, AlunaGeorge) have got lost in the pile.

That makes sense though, Jessie Ware is embedded in a scene and building a profile in the dance world as well as the pop world, in a way that Lana Del Rey isn't.

Oh sure, it definitely makes sense, but there seems to be no rhyme or reason to the LDR remixes. You can't even buy most of them - they're just floating about.

Haha I thought that "just floating about" was the default state for pop/indie remixes. The idea that anyone might actually pay money for most of them never really occurred to me.

I like paying when I can (eg Ewan Pearson's Ware remix) because it helps the remixer get more work. But I'm old and like paying for music so there's that.

Aeroplane told me that major labels deliberately overcommission remixes on spec, knowing that the ones they turn down and refuse to pay for will end up online anyway via the remixer and get them free publicity and kudos. That's what happened with their MGMT remix. It's a lousy trick, although we benefit either way.

It's more that I thought most of them were either unofficial or sat on by the label in the first place, a lot of them just seem to exist in Hype Machine land independent of any commercial imperatives at all bar getting a bit of attention for the producers.

(xpost - or that I suppose)

I mean I doubt anyone's profile suffered as a result of doing a 'Video Games' remix last year.

The nebulous idea of "profile" is fine when you're starting out but when you're established it's nice to get some £££ if you're doing work for a major label. If it's unofficial obviously that's different.

"video games" "vip mix"

About 452,000 results (0.35 seconds)

though er, most of those results aren't actually that - n/m

'110%' is now ‘If You’re Never Gonna Move’

I guess I'm the only one that thinks "Still Love Me" is the standout here? Also yeah this was on Spotify 2 wks ago and now it is totally gone!!

I think they took it off US Spotify only?

"Night Light" is the album's clear winner, imo.

"Taking in Water," hoss.

when she suddenly wails I'M TAKING WATER MY BROTHER I'm destroyed

This is like Born This Way, where everyone agrees to like the album and everyone's favorite track is different.

Apparently "'Taking Water' is about my little brother." And I'd already constructed a fiction in which the singer falls in love with a gay man.

Strangest Feeling and Devotion are my favorites.

This shit really needs to come out in the US. Listening to clips on YouTube is all I can do since Spotify yanked it.

She's touring now! Should I go see her in a few weeks for $15?

$15, worth it. From the live YouTube clips, seems like she has a similar "wow, that voice is real" power as the studio sound. (Not having seen her. That was my reaction to seeing Sade years ago.)

Don't know about regular concerts, but I saw her at a summer festival and it was great. She was surprised by enthusiastic audience (this was before album release) and seemed even a bit intimidated, but handled everything like a total pro. Great voice indeed, beats sounded really well, and she seemed super nice too.

this is nice

https://www.youtube.com/watch?v=wiWPsTeUNaI

Imma go ahead and see her Friday night in a 600-person venue for $15. I'm p stoked.

this sounds kind of reactionary but i feel like this album could use more traditional song structures and melodic variation. sometimes it feels like the melodies kind of dead-end in the middle of the song and it's diminishing returns after that point. i love a good disco vamp as much as anyone but the programming/arrangements seldom develope in a way that keeps me as engrossed as i feel i should be. and yet there's a lot of brilliance on this record and i find myself returning to it.