Nobody needs a song tracklist that was clearly designed to pander to streaming habits thinly veiled as a "double album". But its biggest flaw is its bland familiarity. Malik treads much of the same terrain that he did on his debut album, "Mind of Mine," without enough growth or fresh material to keep the experience interesting. Indeed, some of the songs actually originated in sessions for "Mind of Mine.
Malik's lyrics continue to underwhelm. Naturally, his vocals are as smooth and seductive as ever, but that's just to be expected.
Stylistic consistency isn't necessarily bad. But when a musician leaves a beloved group in order to flex different muscles, when he repeatedly criticizes said group for making him feel artistically stunted, it's reasonable for fans to expect some ingenuity — especially with a sophomore album, after getting plenty of thoughtful feedback. The framework of "Icarus Falls" suggests that Malik fancies himself as an experimental, high-concept artist.
But the evidence shows he hasn't yet fulfilled that potential. He's talented, sure, and intriguingly enigmatic. But the bright spots and funky pop strokes on "Icarus Falls" are too few and far between to truly redeem it. If anyone was going to cling onto their One Direction sound on their solo work, it was surely going to be Horan. So naturally "Flicker" should delight fans of the boy band — but it's clearly missing the other members.
Horan just wasn't innovative enough to carry an entire album by himself when "Flicker" came out, but at least it's not like, bad bad. It's a true middle-of-the-pack album.
What I will say though, is Horan knows how to pick a good single. The first two leads — "This Town" and "Slow Hands" — are easily the best moments on the project. His voice also blends incredibly well with that of Maren Morris on "Seeing Blind" for a countrified folk moment.
But songs like "On the Loose" and "Mirrors" feel just a little too much like Horan stole them right off 1D's cutting room floor to really land without his former bandmates' harmonizations. But at least they're not as unforgettable as some of the other songs on this tracklist.
Malik's debut album has its flaws, but "Mind of Mine" is a whole smoldering mood. If you can get past the distractingly try-hard lettering of its tracklist "BoRdErSz? Adorably, the "Flower" intermission is one of the album's most tender and captivating moments, paying homage to Malik's Pakistani roots. Perhaps the album's greatest triumph is how its pared-down production spotlights Malik's vocals, who was always One Direction's strongest singer.
Unfortunately, Malik's glossy voice is rarely singing anything particularly interesting or insightful. Like, lots of sex. As we noted in our first-listen review of "Heartbreak Weather," there are some stellar moments on this album. Horan shows a great deal of growth as an artist, though he also manages to maintain the winking charm of some of One Direction's best music.
The album doesn't command respect or attention as much as you'd hope, and though I'd never run from it, I haven't rushed back to it, either. Read our full track-by-track review here. One Direction: Love Songs When their voices come together, it's pure romance. Drag Me Down feat. Home - Single Perfect Matoma Remix - Single Perfect Stripped - Single Night Changes - Single Live Albums. About One Direction. Similar Artists See All.
Little Mix. Harry Styles. Niall Horan. Louis Tomlinson. Liam Payne. The Vamps. Some songs still borrowed outrageously from the classics, but hey, imitation is the sincerest form of flattery, right? Plenty of One Direction songs are too irritating to sit through, but this one from their debut album, Up All Night , with its racing synth beats and mindless chorus, beats them all.
Louis Tomlinson, the weakest singer of the group, is painfully off-key. Enjoy unlimited access to 70 million ad-free songs and podcasts with Amazon Music Sign up now for a day free trial.
The rock-influenced Midnight Memories saw One Direction become the first band in history to have their first three albums debut at the top of the US charts. Anyway, this song literally makes no sense. A co-write between Ryan Tedder, Tomlinson, Styles and Payne, this is a merely passable attempt at a soaring anthem.
The synths here are so saccharine, they might give you a toothache. Also from Take Me Home , this features a similar beat with a marginally catchier chorus that sound a little like Shania Twain, who happens to have a song with the same title. A surprisingly mature song born from a Tomlinson and Payne writing session, for their fourth album, Four inspired, I know.
Yet another pounding, synth-driven track from their debut album, benefiting from some polish on the production but weakened by a bland chorus. A moment of quiet among the more hyper tracks from Up All Night allows the boys to push themselves vocally.
Apparently, this song was written while the boys were being driven around London in a black cab. The band went full-on rock with this one, and it alost works. The harmonies are great, and the whole song has a slick, Eighties feel. Sadly dumped on an EP, when it would have slotted in nicely on Made in the AM , or could even have replaced a song. An perfectly satisfactory Eighties style power-rock number taking cues from the likes of Bruce Springsteen.
A surprising touch of baroque pop with some Queen guitar references for good measure in the vein of Panic! This bonus track from Take Me Home emulates Journey in its big, euphoric chorus — perfect for driving with the top down.
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