Troublemaker makes risque return

Troublemaker 
“Chemistry”
(Universal Music)

The duo that made a sensation with risque dance moves on the hit single “Troublemaker” is back with another scandalous concept, but this time in the form of an EP, “Chemistry.”

The 5-track EP starts surprisingly strong with “Turn Up the Volume,” featuring a refreshing acoustic sound. Hyuna’s vocals aren’t striking, but her unique tone works well with Hyunseong’s clear voice.

“There is No Tomorrow” portrays the listless life of a man living in the fast lane, providing more of a social commentary that was lacking in the duo’s previous single “Troublemaker.” Storywise, the song has substance, but the singing isn’t the best. Instead of using her normal singing voice, Hyuna takes a questionable “rap-talking” approach for most of the track.

“The Girl Who Wants to Play” is a standard K-pop-meets-R&B affair.

“Attention” features a playful saxophone in the introduction with a funky drum beat.

Hyuna’s voice definitely gets better with the livelier electronic tracks that she usually performs as a member of 4minute. Lively hip-hop electronic number “I Like It” is a regular club-suitable song and features artist Flowsik from Aziatix.

(yorimcha@heraldcorp.com)

Joe Nichols changes direction, not quality

Joe Nichols 
“Crickets” 
(Red Bow)

After eleven years as one of the most effective traditional country singers of his generation, Joe Nichols crosses over to rocking contemporary songs, most of them about seducing young women and sentimentalizing the rural lifestyle.

Nichols has always been good at injecting personality into novelty songs, and he elevates even the corniest of these formulaic tunes (“Yeah,” “Hee Haw”) by giving them a swagger equal to that of Tim McGraw and Trace Adkins. Give him a memorable song like “Gotta Love It” ― reminiscent of Nichols’ 2010 top hit “Gimmie That Girl” ― and he stands above most of the new country stars to rise in his wake.

Nichols frontloads “Crickets” with his aggressive attempt to fit into modern country conventions. But he reminds everyone of what an outstanding, old-fashioned country singer he can be when he uses the tail end of the 16-song collection to present the philosophical “Old School Country Song,” about how chat rooms and cellphones don’t soften the pain of heartbreak, and a fine cover of Merle Haggard’s classic “Footlights.” (AP)

Katy Perry plays it safe on ‘Prism’

Katy Perry 
“Prism” 
(Capitol Records)

Katy Perry’s “Teenage Dream” was perfect pop pleasantry, full of back-to-back hits that were oh-so-fun and addictive, fused with humor, emotion and a hint of edge. How could you resist?

“Prism” was primarily written and produced with her frequent collaborators and hitmakers Max Martin, Dr. Luke and Bonnie McKee. But they don’t always bring out the best Perry: “International Smile” is cheesy and “Legendary Lovers” is forgettable. Even “Roar,” the eighth No. 1 hit for Perry, lacks oomph and swag. It can’t compete with Sara Bareilles’ similar “Brave.”

Her team fares better on the sultry and upbeat “Birthday” and “Dark Horse,” featuring rapper Juicy J, which works thanks to its mesh of Southern hip-hop and electronic flavors.

When Perry borders on changing up her sound and taking some risks, she is best. The irresistible deep house track “Walking on Air,” a collaboration with Swedish producer Klas Ahlund, is a shining effort, while the bonus track “Spiritual,” co-written with beau John Mayer, is a groovy highlight. (AP)