2007. The year the iPhone and the final harry potter book were released, when Madeleine McCann disappeared and the controversial UK smoking ban came into effect; all in all it’s fair to say that 2007 wasn’t a great year in the history of earth. But it was the year Mika’s Debut Life in cartoon motion came out, and boy did it make a fuss, if people didn’t know who grace Kelly actually was, they most certainly still don’t, however most will associate the name with the chart topping success, that was Mika.
Grace Kelly: an impressive mix of alto falsetto vocals with soft high vocals; catchy, yet actually quite intelligent lyrics, put-on top of a simple yet effective bouncy melody; starting simply but building into a fantastic over the top poppy chorus, yes, Grace Kelly is definitely the theme tune to my ‘land of chocolate.’ Filling the pop-spectrum with paced-out songs such as Relax or straight up ballads like Happy Ending, or even the hilariously thought out Billy Brown, We will happily say Life in Cartoon Motion, as much as the ‘cool kid’s will disagree, is a well thought-out, original pop album; The Origin Of Love most certainly is not that.
Anyone here like George Michael new stuff? Well if you do you’ll love this…
Because that’s what this feels like. It doesn’t feel arty and original, it doesn’t stand out and would fit very comfortably on heart radio. That’s not to say this album is necessarily bad, its more just really bland. Take the opening song, Origin of love; it doesn’t really change tempo- its terrible use of an echo effect makes it sound way too samey and with references to Adam and Eve through to Thor & Iggy Pop its hard to even know what the hell this song is even on about.
Songs written about a girl are usually terrible, track two, Lola, is no exception. The next two songs can only best be described as JLS rip offs, they’re that bad. Underwater starts nicely with a progressive soft piano medley, a soft beat providing a bit of funk overlade with Mika’s soft vocals; This is all then ruined by a terrible chorus which merely repeats ‘I can breathe underwater.’ On the whole the album seems to flip randomly between a terrible overproduced modern Rnb sound and George Michael/ Robbie Williams new stuff. In fairness Celebrate with Pharell Williams brings these sounds together in a possibly credible way, but it’s still not great. To continue the happy note I Only Love You When I’m Drunk and Popular bring us back to Mika’s original charm, with a similar feel to Big Girls, and are probably the best songs on the album, but that’s not saying much
To finish; we think it would make better use as a Frisbee than a piece of music. Mika, as lovers of cartoon motion we pray you were drunk whilst writing this.