Sneaky Nights.
SNEAKY SOUND SYSTEM
Two
(WHACK) A+
Let’s get this out of the way now. Whilst their first album, 2006’s Sneaky Sound System was a great party mix-tape, it sometimes lacked consistency in its musical approach. Still a great record, but with the star power of Miss Connie Mitchell missing on some of the tracks, it was hard to really love the others as much as those she appeared on. Luckily for us (and cleverly for them,) their follow up record, simply titled 2, comes filled to the brim with Miss Connie love; just the way it should be.
Ten tracks. All with Connie on lead vocals. Not one moment on this record is a dud and, essentially, every one of these tracks could be singles. The projects lead release, the anthemic “Kansas City,” is a pulsating and glittering concoction of dance floor beats and pop hysteria; a true modern day classic. Following such beauty is hard, but not only do the two tracks which follow manage to do so in fine fashion, they also top “Kansas City” in brilliance. “16” is the records greatest asset; bonza verses with not one, but TWO CHORUSES (!!!!!!!!!!!!!!!), both of which are electrifying in their approach to musical perfection. In comes the jittery beats of “When We Were Young,” which contains a manic Connie shouting “I told you to eat your dinner!” before launching into a stunning chorus with a deliciously summer vibe about it. It all ends with an operatic finish, and is an absolute masterpiece.
“It’s Not My Problem” sees the group channel Fleetwood Mac’s “Dreams,” a bold step that may not always work (see The Corrs’ cover of the actual track for a prime example,) but by golly Sneaky not only pull it off, they own it. It also includes the pearler line; “Always is better, but never on Tuesdays.” 21st century genius! The repetitious (and all the better for it, mind) “I Just Don’t Want To Be Loved” sees Connie deliver a message of urgency; “I just don’t wanna be loved by anyone, and I never understand why you wanna be on your own.” Then, taking the musical-car of literal lyrical statements down a road that would even make Beyonce blush, a vocodered MC Double D appears over the top of the middle 8, repeating “this is the best part, the very very best part.” And it actually is.
“Lost In The Future” sounds like technopop which is, again, quite literally, lost in the future, “Because Of You People Think I’m Crazy” is the closest things get to replicating last years single “UFO,” with dark verses and a joyous bubblegum chorus. “Don’t Get You” is almost like a willing nod to the eurodance sounds of the mid to late 90’s; very Pro DJ records and a little Hitz FM whilst still sounding incredibly fresh and current. “I Want Everything,” a track the System wrote for Kylie Minogue (which she stupidly rejected,) is a static-attack of synth delights in which Connie informs her subject “I don’t your body, I want, I want EVERYTHING.” And what Miss Connie wants, she gets. Finally, “Where Do I Begin” is the closest 2 gets to delivering a ballad. A light, samba-nights inspired lament which showcases Mitchell’s vocals in all their glory.
This is, without a doubt, a leaps-and-bounds improvement on the bands debut album. It’s an album of dance-pop which really pushes down the boundaries of the hybrid genre’s conventions, much like Dannii Minogue’s 2003 release Neon Nights. In fact, this almost plays like an unofficial sequel to that record, a fine testament to how strong the material on this album actually is. Experimenting with poppier sounds, tighter production and exciting lyrics, Sneaky Sound System are the thinking persons pop act. In fact, they’re our very own Girls Aloud, and this is something we should be very, very thankful for.
