Katy B - On A Mission, a review

The rise of dubstep has been a little bit unwelcome for me. I'd quite happily assert that the average piece of this genre I've heard is a case of people wanting to hear something good, and since the majority of it violates the regulations and conventions of classical or even popular music, it's easy to get away with that. But it's more of a placebo than a cure. The majority I've heard is repetitive, soulless, bland cack and it's only obvious that the genre should be kicked into others in order to give it a direction: M.I.A. borrowed the unusual sounds for her aggressive shtick; others have taken beats for garage or dance music. The latter category contains current UK dubstep queen, Katy B.

Opener 'Power On Me' is a pretty solid start, bringing a fresh new direction to the pretty stale and turgid UK garage scene that never really got anywhere in the early 2000s, thankfully. Brien's voice is subtle but quite soulful, less whiny than I've heard on singles. The tune is pretty conventional but slick grooves and beats kick off the album ably. The lead single captured the UK's hearts and endured a lengthy stint on the top end of the charts, and 'Katy On A Mission' is indeed a pretty solid debut. With an inescapable hook, her whispered vocals evoke the likes of Ms Dynamite and Mutya Buena in that kind of understated sweetness, whilst synths play tricks with your eardrums.


'Why You Always Here' is told from the other woman in a tryst's perspective, dropping complaints and sex appeal in subtle contrasts over a pretty standard beat, which at 5 minutes long quickly grows whiny. There's a certain magic to 'Witches Brew', a step back into conventional dance territory with Prodigy-style synths and a touch of Crystal Castles influence with the 8-bit track loops, but it's Katy herself who dominates through her howls and purrs. In 'Movement' the dancier vibes continue to pleasant effect, evoking some elements of the early 90s rave scene.

The samples and trickery continue into 'Go Away', a fairly restrained affair that makes use of Brien's considerable vocals to great effect. A catchy drumbeat persists in 'Disappear' that is as lyrically revelatory and tinged with poingnacy as Lily Allen in her prime - all despondence and sulkiness that's worryingly infectious. The pop appeal is reasserted in 'Broken Record', all repeated lyrics and inoffensive tunes that're poised to be burned onto every 13-19yos' iPod.

Try as I may I just can't appreciate 'Lights On'. Featuring one of the banes of my early teenage life, Ms Dynamite, it's all disjointed garage and frankly dull tunes that I honestly don't see how anyone can get passionate about - it's one of those dancefloor tracks that prompt the epiphany "what the fuck am I doing?" before you go off to drown your newfound existentialist sorrows. Lily Allen lyricism returns in 'Easy Please Me', which introduces itself with "Standing at the bar with my friend Ol-iv-ee-ar". The chorus is pretty catchy, placing her in the early Sugababes era.


The Magnetic Man collaboration 'Perfect Stranger' finds its way onto the album in order to make sure it's promoted on adverts with little bits of her hits. I'm generally not a fan of the dubstep trio, but the track is certainly catchy and further evidence of that understated, cool vibe that's a world away from the "DAMN YOU'S A SEXY BITCH *obliterating hook*"s. 'Hard to Get' contains a hidden track but is still the longest track, a slow and sensual dance track that winds down the atmosphere well with plenty basking synths and a devil-may-care beat. After a long pause there then comes 'Water' the hidden track, a suddenly tribal revival that gives a sense of rebirth to the album, perhaps a devilish ploy to make you listen on repeat.

You have to be thankful that she doesn't dabble in autotune, and this record is prevented from the same repetitive dreariness that most contemporary R&B or dance records embody. There are shades of genuine sex appeal and the whole thing is welcomely smoke and mirrors, rather than drafting in T-Pain to sing about booties. The production is slick; both contemporary and classic. There's just a slight lack of convincing diversity on the album and as someone generally not a fan of either dubstep or garage, it's just not my thing. For what it is, it's great, though.

Rating: 7/10
Highlights: Katy On A Mission, Power On Me, Disappear, Go Away
Avoid: Lights On, Why You Always Here