[Music] The Statue of David – The Statue of David EP (review)

The Statue of David

Available to buy from iTunes 

Review: Christening your music project with the name of a universally renowned work of art may seem like textbook blog-baiting, but we are in an age where the Louvre happily flog flip-flops emblazoned with the face of the Mona Lisa in their gift shop, so we’re hardly in a position to clutch pearls.

If Lady Gaga’s convoluted Artpop manifesto hemorrhaged potential supporters by constantly looking forward to a future determined not by her audience but a bourgeois collective of artists including Jeff Koons, Marina Abramovic et al, then New York-based musicians Paul Alfonso & Cristopher Rodriguez’s appropriation of Michelangelo’s iconic, and arguably entry-level, masterwork offers the duo a certain degree of approachability – and that’s before you’ve heard even a note of their self-titled EP.

The Original Renaissance Man actually works as an unexpectedly credible statement of intent. The Statue of David produce music that is clean, toned and occasionally non-descript in its sentiments. They usurp another classic on their opening number, repackaging “House of the Rising Sun” as a fuzz-laden sprint through dystopia’s nightlife. Although driven by synths, cyber-punk flourishes and a 4/4 beat, the band retain the standard’s bluesy quality through the inclusion of real instruments and guest vocalist Anna Aversing’s cloudy delivery. Her howl is occasionally distorted into a blunt drone, sitting atop the mix like oil on water.

The rest of this three-tracker puts a breezier spin on their grungy dance-rock aesthetic. “Hawaiian Girls” mashes Beach Boys-style whimsy with the glittering testosterone of a Soulwax record. Riding waves of chintzy keyboard strokes, swirling electronica and a winking vocal performance from Alfonso, the band’s full time vocalist, it’s a blast from start to finish, with snapping drums grounding what could have been a fun but throwaway cut.

There’s a doe-eyed innocence to the drunken shout-along “Daddy’s Little Girl” that negates the slightly queasy implications of a lyric such as “I go to work while she’s at school / and we’ve got everybody fooled / It doesn’t matter what they say”. Bring out the pitchforks if you must. In allowing crass expressions of lust to stand as starkly naked as their namesake, The Statue of David are taking the necessary steps towards proving themselves worthy of it.

8.0/10

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[Music] All About She – Go Slow EP (review)

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Available as a free download from All About She’s Official Bandcamp

Review: We’re sure there’s a debate to be had over the validity of criticisms levelled at work an artist has chosen to give away for free. Those who believe music to be still worth paying for do so because they’ve come to equate a certain price tag with a certain standard of quality – take the fiscal aspect away, and who are we to expect a knockout product?

It’s a minefield we’re not compelled to enter here, as a quick listen to this buzz release from All About She sees the London neo-garage-house trio emerge practically unscathed. The title proves to be indicative of the six-track collection; Go Slow comes to life at a leisurely pace, as if waking up hung-over in a dew-drenched field. Neither “Remedy” or “I Can’t Wait” aim to replicate the high-octane thrill of their late 2013 hit “Higher (Free)”, driven instead by padded basslines and singer Vanya Taylor’s soft, inviting tone.

The latter breezes by with an appearance from Jacob Banks and lashings of a music box-styled xylophone, but it’s only on the thumping “All Night” that the party truly starts. It’s followed by “Happiness”, a dark, bare-bones bop in which in which Taylor emotes for the Gods, complete with a “No, no, no!” refrain that’s almost impossible not to waggle your index finger to.

The only conceivable obstacle facing All About She (which is also includes producers James Tadgell and John Clare) could be the repetition of flourishes – chiming instrumentals, lush if overused harmonies – that run not only throughout Go Slow but also Sasha Keable’s charming Black Book EP, which the group produced last year.

But for now All About She seem more than content with their identity. When a grizzled voice states “this is me” at the end of ambient come-down joint “C’est Moi”, concerns over this free EP’s worth seem redundant. You simply can’t buy this kind of self-assurance.

8.5/10

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[Music] Almamy – Digital Love (review)

Available to buy from iTunes

Review: Given their regal status in the industry, it takes a brave soul to even contemplate reworking the chrome-plated beats of Daft Punk. While the French duo may be best known for tracks propelled by a kind of cold vacuum-packed energy, their 2001 single “Digital Love” is unusually warm. The track excelled not only on the back of a guitar riff sampled from George Duke’s “I Love You More”, but also a rare emphasis on lyrics that amounted to more than glib party-baiting rhetoric.

Lines as bleakly sentimental as “Oh, I don’t know what to do [...] We’ll make this dream come true / Why don’t you play the game?” flew over helmet-shielded heads thanks to the emotional impotence of the robotic voice that sang them. By lending them a human avatar, New York-based ballet dancer-turned-singer Almamy unearths a few new layers of a beloved post-millennial classic.

His cover is something of a grower, beginning with a subdued squawk of a voice that we were initially tempted to compare unfavourably to Eric Cartman on helium. The presentation is extremely raw and borderline confrontational, but multi-tracked harmonies and a burbling bassline soon come to brighten up the palette. By the one minute mark, this breathy timbre makes imperfect sense among the colourful production. As Almamy fattens up the track’s hook with a series of coos, “Digital Love” hits the same sweet spot as the vocoded sections of Lipps Inc.’s disco staple “Funkytown”.

Just as the track finds its footing, however, it descends into a breakdown that clumsily apes the industrial crush integral to Daft Punk’s DNA. It’s a bemusing but ultimately satisfying U-turn that solidifies the track’s sweaty, late-night feel.

Not only is Almamy playing the game his own way, he’s doing a damn good job of it.

6.5/10

[Music] Shamir – Northtown EP (review)

shamir

Available to buy from iTunes

Review: A pseudo-harpsichord strain lands with an authoritative thud; its echoing presence still felt even when followed by successive stabs. A kick drum soon underscores a light, trembling squall: “You came without warning.”

The same cannot be said for Las Vegas-born teenager Shamir Bailey, whose sweet, affable features have been smeared across the pages of any alt music blog worth its salt since his icy house cocktail “If It Wasn’t True” gained traction this February. The sugar-coated apathy that won “True” its buzz is nowhere to be found on “I Know It’s A Good Thing”, a gospel-drenched ballad prone to lyrical regurgitation; once over a stark, church atrium-like soundscape, and again over a euphoric build powered by handclaps and a captivating vocal.

The swerve in tone is almost disorientating. The cloudy pessimism of lines such as “I would say I’m happy, but they say talk is cheap” take on a whole new significance in the celestial light Shamir recasts them in. It’s a revelatory song, one that could just as easily be synced with a bride and groom’s first dance as it could with an Apple campaign (or, indeed, a runway show at Paris Fashion Week), and engages just enough with the house music trend to feel current, but also marks out the long-term versatility of the artist behind it.

Elsewhere on the Northtown E.P., Shamir asserts his dance credentials on the still-brilliant “If It Wasn’t True” and “Sometimes A Man”, which attempts to mix its predecessor’s dispassionate throb with kitchen-sink production tricks. Sirens, growling vocal hooks, and crisp synth breakdowns all fight to make up for the track’s unflappable lack of melody, but it still carries a dark and compelling mystique.

The ballads rounding off the package – the sparse “I Will Never Be Able To Love”, a faithful cover of Lindi Ortega’s “Lived And Died Alone” – give weight to the hedonistic bent of the dance cuts. But as admirable as his abstinence from all things romance is, that final hopeful minute of “I Know It’s A Good Thing” will always beg to differ – at least until his first full-length arrives to add further dimensions to this fascinating character.

9.0/10

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[Music] Top 20 Tracks of 2014 So Far (#10 – #1)

Tracks #20 – #11 Recap 

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10. Ben Khan – Youth, 1992 E.P.

Available to buy on iTunes

On his debut E.P., London-born musician Ben Khan melds spirited guitar licks with soft, sugary synths and his own smoky tones. Standout track “Youth” adds gun clicks and spectral wails, providing an adventurous soundscape that offsets the cautionary lyrics. One to watch.

See also:Savage”, “Drive, Pt. 1

9. Coldplay – “Magic”, Ghost Stories

Available to buy on iTunes

Gone are the homogenised chunks of Sky Sports advert-friendly pop-rock that Coldplay been both praised and reviled for over the years – “Magic” is a tasteful (and possibly unrequited) love letter recounted over bristling bass plucks, soft piano and ghostly atmospherics from producer Paul Epworth (Florence and the Machine, Adele).

With his voice front and centre throughout, Chris Martin’s pained falsetto splinters at all the right moments, but it’s the emotional sucker punch of a one-sided conversation come the finale that makes the band’s chart resilience something to cherish.

See also: Midnight

8. Veruca Salt – “The Museum of Broken Relationships”, TBA

Available as a free download from the Veruca Salt website

A reunion of Veruca Salt’s original line-up was so inconceivable for fans of the Chicago alt-pop-rock foursome that to see high-profile publications such as Pitchfork and Rolling Stone – who gave the group’s final record together a damning one and a half stars back in 1997 – come out to praise their latest track “The Museum of Broken Relationships” was merely icing on the cake.

It was only fitting, then, that this uncoiling bundle of frothy garage rock drips with Generation X apathy. “He loves me again” frontwomen Nina Gordon and Louise Post sing before clarifying their own stance on the matter: “I. DON’T. CARE!” The track breaks down into a storm of dark, jagged guitar and elated whoops, celebrating the re-arrival of a group who’ve transcended the need for industry approval.

See also:Seether“, “Volcano Girls

7. Ella Henderson – Ghost, Chapter One

Available to buy on iTunes

Under normal circumstances, a two year wait between a X Factor contestant’s elimination and the release of their debut single is never a good sign. With a new roster of starry-eyed singers cropping up every year, it’s all too easy to slip through the cracks of the public’s consciousness. But the emergence of Gabriella ‘Ella’ Henderson this year is a rare case of a talent being nurtured, not just juiced for a quick buck.

Paired with One Republic frontman and don of the noughties power-ballad Ryan Tedder, Henderson concocted the gospel-tinged “Ghost”; a fusion of dry, testy verses and a tsunami-sized chorus, with an enraptured performance from Henderson that will make you a believer.

See also: “Believe” (Cher cover)

6. Cher Lloyd – Bind Your Love, Sorry I’m Late

Available to buy on iTunes 

A self-proclaimed “brat” during her time on X Factor UK, Cher Lloyd was ill-served by the faux-urban EDM of “Swagger Jagger”, her first and only No. 1 single. Lloyd’s real strengths lie in either sweet’n’sour bubblegum pop (“Want U Back”) or graceful, rock-tinged torch songs (her cover of Shakespeare’s Sister’s “Stay”), with this cut from her latest album being a glossy combination of both.

See also:Sirens“, “I Wish” [feat. T.I.]

5. Beyoncé – Drunk In Love [feat. Jay Z], Beyoncé

Available to buy on iTunes

On the closest thing Beyoncé’s guerilla album campaign had to a lead single, Mr. and Mrs. Carter update their marital status from “Crazy” to “Drunk” – and the shift is palpable.

In 2003, Bey was love’s bewildered victim. The symptoms were wild and incapacitating, but relatively innocent. Fast forward a decade and she’s a motor-mouthed potty-mouth with an obvious addiction. As endlessly quotable as they are, Bey’s punky, twisted verses also reveal a strong character at home with not only her sexuality, but her very being. To think millions of listeners have been exposed to a revered female saying she has no complaints with her body is a wonderful thing.

Jay’s Anna Mae faux-pas robs the song of a crack at full-on brilliance, which is a crying shame considering he otherwise adapts quite well to the track’s kinky irreverence, a tone kick-started by a sumptuously reverberating bass, finger-clicks and a Hatsune Miku-alike warble that may be very well be the best call to the dance floor since Britney famously declared her arrival. Bitch.

See also: Partition”, “Haunted”, “***Flawless

4. Katy B – Crying For No Reason, Little Red

Available to buy on iTunes // Read our review of Little Red

There was a time in early 2014 where Brixton-born singer Katy B looked set to join the likes of Diana Vickers, Little Boots and Alexandra Burke in the Hall of Spurned British Females, pop stars who fell prey to the British music industry’s fickle nature. Tastemakers championed Katy as the Next Big Thing back in 2011, but last year saw the singles preceding her sophomore record struggle to go Top 10. As anyone who’s ever had a teary jive to “5 AM” will tell you, quality wasn’t an issue. So what was one of pop’s most lovable ingénues to do?

“Crying For No Reason” once again proves that every record label should have access to a big red button with the name “GUY CHAMBERS” on it. As a producer, Chambers is no stranger to commercial resurrections – even mid-campaign, as the success of Robbie William’s career-saving hit “Angels” will attest too – and his collaboration with Katy is a sprawling ballad, with spacey synths running parallel with an earnest piano riff before the song suddenly shifts towards breakstep territory.

Much of the excitement comes from the production being consistently on the verge of a Robyn-style dance-the-tears-away breakthrough, but Chambers never lets the clattering percussion overwhelm his star. Katy has never had a better showcase for her pure, gently accented voice, and the dexterity with which she ramps up the drama in the final chorus is captivating. In carefully choosing which buttons to push, she demonstrates the difference with painstaking acrobatics and simply flinging oneself from an unwise height.

See also: Still“, “Everything“, “Aaliyah” [feat. Jessie Ware]

3. Shamir – “If It Wasn’t True”, Northtown E.P.

Available to buy on iTunes 

Las Vegas-born teenager Shamir Bailey boasts a raw, Nina Simone-alike timbre, one that effortlessly surfs the chilly house beats of his debut EP. On break-up track “If It Wasn’t True”, he summarises big emotions (“We can’t speak without a single shout”) with a knowingly dead-eyed delivery – that is until he trips what sounds like a nest of mechanised hornets, just in time for a last-minute eruption of relationship angst.

See also: I Know It’s A Good Thing“, “Sometimes A Man

2. Kelis – “Rumble”, FOOD

Available to buy on iTunes // Read our review of FOOD

Thematically split between the joy of an estranged ex handing back their key and a last-minute appeal for them to stay, the swampy “Rumble” is almost a duet. But for every squall of “Baby, don’t go!”, there’s a dose of the iconoclastic diva we know and love (“We don’t need therapy / What I need is you to leave”), with the song’s relieved chorus suggesting a burgeoning independence.

See also:Jerk Ribs”, “Breakfast”, “Biscuits’n’Gravy

1. Clean Bandit – Rather Be [feat. Jess Glynne], New Eyes

Available to buy on iTunes 

Oh, to be a fly on the wall at XL Recordings when two executives find their argument over which direction the label cash cow Adele’s should take on her next LP interrupted by a spirited, string-laden ditty blaring from the office radio. Classy but catchy, sprightly but sagacious, and with a vocalist who has more than a few shades a certain Diamond-certified seller to her nuances, “Rather Be” is that rarest of things: a hit you can’t hate.

Dwelling on Jess Glynne’s appearance seems a little besides the point, however, considering she is merely one of a dozen singers to grace the band’s debut record. Primarily comprised of a bassist, cellist, violinist, and a drummer and keyboardist, Clean Bandit are a group who live to up their moniker with productions that are fresh, streamlined, and yes, clean, but rarely clinical.

Adding strings is a classic ploy for credibility in pop music – a crime Clean Bandit have arguably been guilty of previously – but on “Rather Be” they’re used almost exclusively to complement the accompanying piano and popping synths that signal the group’s deep house fascination.

For all the quartet’s musical finesse, however, it is Glynne who stands out as the track’s MVP. “Rather Be” may be a pleading love song, but it’s hard to recall the last time an artist made co-dependency sound quite so empowering.

See also: Extraordinary“, “Mozart’s House“, “Cologne

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[Music] Top 20 Tracks of 2014 So Far (#20 – 11)

No musical trend in recent memory has maintained its credibility quite as strongly as the house resurgence. In it’s purest form, the sparse but meticulously built beats affiliated with the genre are putty in the hands of a capable songwriter. Repetition is a hallmark, but so is solidity; with a serviceable melody locked down, certain artists thrive in their adventures with the blank canvas, an honest musical space that leaves orthodox themes (love, sex, heartbreak, repeat) ugly and exposed. This inherent pluckiness means that even the most chart-chomping house cut can find some love from the alt-music blogosphere, if not for its emotional resonance, then for a semi-ironic admiration of it’s 90’s credentials.

The house movement has been something of a trojan horse in the UK, ushering a host of homegrown talents – MNEK, Duke Dumont, Clean Bandit – into the Top 40, as well as allowing comparably exotic acts – Kiesza, Faul & Wad Ad – to be welcomed with open arms (Take that, UKIP). Our list reflects this popularity, but also bridges the gap between radio-friendly hits and Pitchfork-approved gems. Also on our radar this year are talent show also-rans, a Cuban sex-pest and a smattering of “conscious uncouplings”.

Enjoy.

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20. Pitbull – Timber [feat. Ke$ha], TBA

Available to buy on iTunes

The unlikely union of country music and dance arrived last year in the form of Avicii’s “Wake Me Up”, but that was a rather stony-faced foundation for what should have been an unashamedly tacky subgenre.

Enter mediocre rapper Pitbull, LOL-pop refugee Ke$ha, and a tangy, harmonica-led instrumental. “Timber” is purpose-built for dance floor domination; Mr. Worldwide’s verses are mercifully brief, serving as clumsy foreplay for the song’s infectious hook and riotous breakdown. He isn’t a complete spare part, however: that pre-chorus is what sweaty, late hour nightclub-based dreams are made of.

See also: “Wild Wild Love” [feat. GRL], “Wake Me Up” / “Hey Brother” by Avicii

19. Le Youth – Dance With Me [feat. Dominique Young Unique], TBA

Available to buy on iTunes

On his second single, L.A.-based DJ Le Youth eschews the sumptuous ebb and flow of his Cassie-sampling breakthrough hit “C O O L”, instead turning in a relentlessly funky jam built on curt snippets from TLC’s iconic “No Scrubs”. Jubilant house piano stabs and a spongy bassline negate Dominique Young Unique’s limp rap.

See also: Le Youth’s excellent Fixtape, “Falling Scrubs” (TLC vs. Haim – Carlos Serrano Mash-Up)

18. MNEK – Every Little Word, TBA

Available to buy on iTunes

Considering the current ubiquity of the genre, rising British star Uzoechi Osisioma Emenike (A.K.A MNEK) took a gamble in not following up his Gorgon City collaboration “Ready For Your Love” with another sleek house-inspired gem. “Every Little Word” is arguably just as sweet in its content, but frames MNEK’s soulful voice with confrontational production tricks. Drums pound, basslines wobble comically, and a randy Darth Vader asks repeatedly if we “fuck to this sh*t”.

No judgment if you do.

See also: Ready for Your Love, Baby”  by Rudimental [feat. MNEK & Sinead Harnett]

17. Faul & Wad Ad VS. Pnau – Changes, Changes E.P.

Available to buy on iTunes

With a whirling saxophone, euphoric synths and a children’s choir (lifted from Pnau’s frankly creepy 2007 single “Baby”) all vying for your attention over the course of six minutes, it’s a miracle this debut effort from French producers Faul & Wad Ad isn’t a convoluted mess. The duo take care to ensure the separate elements all get a chance to shine, but it’s that sax-lad denouement that lends “Changes” its earthy beauty.

See also: Changes” (Bontan Remix)

16. Kiesza – Hideaway, TBA

Available to buy on iTunes

This ridiculously assured debut from Canadian pop ingénue Kiesza hit the UK No. 1 spot in April, although punters were perhaps so entranced by the transcendent deep-house cut’s one-take, choreography-heavy video that they failed to notice a crucial lack of identity between the strong verses and understated breakdown.

As much she feels like a guest vocalist on her own track, Kiesza still has the makings of a top tier popstar.

See also: What Is Love

15. St. Vincent – Digital Witness, St. Vincent

Available to buy on iTunes

Critics bemoaned the lack of Anne “St. Vincent” Clark’s signature riffing on her latest self-titled record, but the glossy, pseudo-psychedelic saunter of “Digital Witness” is all the better for it, instead leaving the heavy-lifting to a rubbery horn section and stonking bass.

A scathing treatise on social media, Clark asks “If you can’t see me / What’s the point of doing anything?” – skewering our if-a-tree-falls-in-a-forest approach to what were once life’s simple pleasures.

See also: Birth In Reverse”, “Prince Johnny

14. Ariana Grande – Problem [feat. Iggy Azalea], TBA

Available to buy from June 29th on iTunes

An underfed chorus mars this otherwise brilliant slice of summery hip-hop-pop, courtesy of perennial hit-maker Max Martin (Britney Spears, Katy Perry). Nickelodeon star Grande has been on our radars since last year’s “The Way” positioned her as the new Mariah Carey, but “Problem” ushers the twenty year old into more club-friendly territory.

Her sugary but powerful voice contrasts nicely with the track’s thumping beat and post-“Thrift Shop” saxophone breakdown, but it’s rapper Iggy Azalea who really impresses, putting tired assertions of her “swag” aside for a moment to deliver an attitude-packed verse.

See also:The Way”, “Wait (The Whisper Song)” by Ying Yang Twins, “Fancy” by Iggy Azalea [feat. Charli xcx]

13. Shift K3Y – Touch, Touch E.P.

Available to buy on iTunes

There’s a whiff of Craig David’s early noughties forays into garage on “Touch”, thanks in part to Shift K3Y’s (nee Lewis Jankel) soft, nasally timbre. The italo disco-flavoured production is surprisingly minimalist, although the track whirls by at such a pace that mistaking it for a kitchen-sink affair would be forgivable.

See also: Make It Good, Keep Your Mouth Shut (Things That We Do)” [feat. Griminal]

12. Soft Lit – Ocean King, GODMODE: Common Interests Were Not Enough to Keep Us Together

Available to buy from Godmode’s online store 

New York-based roommates-turned-musical duo Tyler McCauley and visual artist Tara Chacon meld R&B-friendly melodies with airy, organic production on “Ocean King”, one of the many highlights from Godmode’s excellent label showcase compilation Common Interests Were Not Enough to Keep Us Together.

McCauley contrasts almost-murmured verses with dark, fizzing synths and rattling drum machines come the chorus, with Chacon’s Kate Bush-style harmonies selling a dramatic tale of a love gone sour.

See also: Lately

11. Shakira – Empire, Shakira

Available to buy from iTunes

Blank out all memories of the underwhelming Rihanna duet “Can’t Remember to Forget You”; pop’s ultimate bohemian streamlined her baroque musical style into an Alanis Morissette-esque piano ballad-cum-rock number that only she could pull off, complete with distorted stadium-sized howls.

See also: Chasing Shadows“, “Cut Me Deep” [feat. Magic!]

Continued – Tracks #10 – #1

[Music] “Me, Myself and I”: Why Beyoncé’s Most Underrated Single May Be Her Most Important

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Cast your mind back to 2004, where, in the final moments of Sex and the City’s television run, Carrie Bradshaw came to the conclusion that the most “exciting, challenging and significant” relationship anyone can develop is with themselves. As arbitrary as this revelation may have felt – after six years of mostly romantically driven storylines, the denouement took great care to ensure each of the show’s quartet was paired up – Bradshaw wasn’t wrong, just late. A year earlier, recently established solo star Beyoncé Knowles had committed this message to record in the form of “Me, Myself & I”, a sumptuous slow jam that served as the third single from her multi-platinum debut Dangerously In Love. But despite the star returning to a more subdued R&B sound on her latest self-titled effort, the track remains an anomaly in her extensive discography.

The track’s reputation suffers not only from the being sole downtempo cut to be issued from its parent album, but also comparisons with the similarly-themed and infinitely more popular “Irreplaceable”. But “Me, Myself And I” is arguably  a product of a more innocent time, before the concept of directly equating of love and wealth became the major motif of Beyoncé’s career. On album track “1+1”, she comfortably eschews one for the other, while “Upgrade U”, “Ring The Alarm” and even “Dance For You” (in which she thanks her man for “the mula, for the power… of love”) all deal with the various tribulations of a world-conquering love built on a rich fiscal foundation. On “Irreplaceable”, this outlook extends to sculpting a healthy personal identity. It’s an uplifting song, but its most potent lyrical examples of self-empowering moments hinge on assertions of the singer’s largess:

“What did you think I was throwing you out for?
Because you was untrue
Rolling her in the car that I bought you.”

This is in addition to her ability to land another partner at the drop of a hat (“I can have another you in a minute / Matter of fact, he’ll be here in a minute”), but the song’s reliance on these factors isn’t problematic. Beyoncé has never had the magpie tendencies of Madonna; her reference points have been largely restricted to current R&B trends, as well as standard tropes set by icons of the genre. This duality has lent her music some much-needed edge since its introduction on her sophomore album B’Day, but it’s also exactly why a track like “Me, Myself And I” has become a curio.

For much of its duration, “Me, Myself And I” is an emotionally detached post-mortem of an unbalanced relationship. Even when Bey refers to herself as “dumb and naïve”, it doesn’t scan as self-deprecation; she’s simply holding a mirror to the man who hurt her. Nonetheless, let’s be honest here; to squander years of your life in an abusive relationship is pretty dumb, and there’s a strong chance some instincts were ignored in favour of sticking it out – but that’s OK. These admissions pave the way for a personal reconciliation, allowing the implications of the chorus to form organically.

“Me, myself and I
That’s all I got in the end
That’s what I found out
And it ain’t no need to cry
I took a vow that from now on
I’m gonna be my own best friend.”

The onslaught of self-empowerment hits in recent years – “Firework”, “Born This Way”, Bey’s own “Pretty Hurts” – saw a lot of songs being written on the assumption that anyone who listens to the radio is suicidal, and in desperate need of a sonic cuddle. While we’re sure the people behind these songs meant well, it seems a little disingenuous to suggest that flitting from being “one blow from caving in” to a colour-burstin’ firework is a normal (non-drug assisted) emotional trajectory. There’s no in-between, no stability.

“Me, Myself and I” doesn’t rely on tired platitudes. The gentle ebb and flow of producer Scott Storch’s funk keyboards, perky string sections and unimposing bass reflects the track’s admirable lack of histrionics. The lyrics aren’t poetry, and they certainly don’t dig much deeper than the singles we’ve mentioned, but this subtlety is its main strength. Is it not exhilarating to hear someone – anyone – simply say “I know I will never disappoint myself”?

It helps that the song contains some of Beyoncé finest vocal work to date. Even if she hadn’t quite mastered the art of emoting at this point, her voice is at the forefront of Storch’s lilting instrumentation, simultaneously proving herself to be a capable storyteller. Most exquisitely of all is how she punctures the line “Even your very best friend / tried to warn me on the low” with a belt before wrapping her silky voice around it. Even if the song fights Madonna’s claim that “only the one who inflicts the pain can take it away”, it’s as if this flourish sees Beyoncé applying a balm to the wound.

“Me, Myself and I” promotes independence in a way unique not for only Beyoncé, or Destiny’s Child, but any artist this side of Whitney Houston (whose classic “The Greatest Love of All” is an obvious reference point). Not even the prerequisite “girlfriends” are name-checked as her saviors, resulting in a Beyoncé-only affair. This is particularly striking considering that between leading the DC sisterhood, as well as her chronic ubiquity as part of music’s ultimate power couple, Knowles has rarely had a moment to stand alone.

Which brings us to the most pertinent question. Should we be concerned that such an iconoclastic song appeared – and, for many people, disappeared – so early in her career? Not exactly. If anything, it’s a virtue that she learned this lesson at such a young age. Lord knows Carrie Bradshaw could have saved herself a lot of time and stress had she done the same. RG