Nice Hits! is a Reverb column that unironically dissects, reviews, and appreciates the best songs of the current Top 40. It is unsnobbishly premised on>"/>
Nice Hits! is a Reverb column that unironically dissects, reviews, and appreciates the best songs of the current Top 40. It is unsnobbishly premised on the logic that just because a lot of the music on the radio is crap doesn't mean all the music on the radio is crap.
Current chart position: #112 on iTunes, #31 on the UK Singles Chart, too early for most recent Billboard chart.
The team: "Timebomb" is a commemorative single, released in celebration of Minogue's 25 years in the music business; it was co-written by a songwriter whom Minogue has worked with in the past, Karen Poole. Poole's written a scad of songs for mostly British pop stars, including Lily Allen, Victoria Beckham, Girls Aloud, and Boyzone; she contributed tracks to two of Minogue's past records, 2003's Body Language ("Red Blooded Woman," "Chocolate," "Sweet Music") and 2007's X ("Heart Beat Rock," "No More Rain," "Wow"). Poole shares writing credits on "Timebomb" with Matt Schwartz and Paul Harris, both of whom also produced the song. Schwartz is a British/Israeli DJ who's released his own music under Dada, The Drill, and M'black; Harris is a member of the British house trio Dirty Vegas. (Remember?)
Breakdown: If, in celebrating her 25th anniversary in the music business, Kylie Minogue was trying to indicate that she's still going stronger than ever, this song was a fantastic way to get that point across. Not only does spend the "Timebomb" video tearing around London on a motorcycle, shoving people on the street out of her way, and strutting around in a bodysuit made out of some strategically placed black strings (God, please let me look like that when I'm 44), the song sounds just as sexy and dominating as she looks.
Much of that is due to the track's overriding element, the thick, fuzzy synthesizer that bounces through the song, so huge you can almost visualize it. Minogue's airy voice skims on top of the synth and the drumbeat, steady and measured in the verses and then revving faster to match the frenetic chorus. The chorus is what makes this song special. There's nothing deep or complex about it--the big beat, neatly placed handclaps, a few energized whoops, and Minogue's buzzing, almost robotic vocals singing some sexually charged lyrics ("Do you wanna, wanna dance/Like it was the last dance/We're on a timebomb/You might not last long/So let's just do it right now/Do it, come on"). But there was nothing deep or complex about Britney Spears' "Till the World Ends," and it was roundly considered one of the best songs released in 2011. Both tracks are infectious party jams, and I can't ever get enough of those. Although, as a point of contrast, on her song Minogue wants everyone to know that things aren't ending at all--"When walls are shaking/Ground feels like a mind break/It's not the end of the world/It's just the start of me and you." Keep it grooving, Kylie.