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Liam Payne | LP1 | December 6th

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Liam Payne will release his highly-anticipated debut album, LP1, on December 6.

Available in CD, vinyl and digital formats, the record will feature all of Liam’s global smash hit singles, as well as new unheard material, and is available to pre-order now.

Hit singles featured on the album include Liam’s debut “Strip That Down” featuring Quavo, which has sold a huge 11.5 million copies worldwide and has been streamed over 1.8 billion times, “Polaroid” which sold two million copies, and most recent single “Stack It Up” featuring American rap star A Boogie wit da Hoodie.

Recorded in a variety of locations across the globe including London, New York and LA, the album has Liam’s signature urban pop sound throughout plus some more stripped back tracks. The record sees him collaborating with a host of A-list producers and writers including Ed Sheeran, Ryan Tedder, Zedd, Jonas Blue, Steve Mac, Joe London, and The Monsters and the Strangerz.

Liam says: “I’m so excited to be releasing my debut album this December! I've had so many amazing experiences over the last few years which I've used as inspiration for this record - it's been a real labour of love. I've worked with some incredibly talented people in the studio to produce an album that truly represents me which I'm very proud of. Your support means the world to me and I can't wait for you all to hear it."

Platinum-selling Liam has sold more than 18 million singles in just two years as a solo artist since leaving One Direction. He has been streamed a staggering total of 3.7 billion times.

The full track-listing for LP1 is:
1. Stack It Up (feat. A Boogie Wit da Hoodie)
2. Remember
3. Heart Meet Break
4. Hips Don’t Lie
5. Tell Your Friends
6. Say It All
7. Rude Hours
8. Live Forever (with Cheat Codes)
9. Weekend
10. Both Ways
11. Strip That Down (feat. Quavo)
12. For You (Fifty Shades Freed) (with Rita Ora)
13. Familiar (with J Balvin)
14. Polaroid (with Jonas Blue & Lennon Stella)
15. Get Low (with Zedd)
16. Bedroom Floor
17. All I Want (for Christmas)

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the irony of this sharing an album title with one of the most innovative and unique albums released this decade

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11 minutes ago, Chapman said:

the irony of this sharing an album title with one of the most innovative and unique albums released this decade

Ms. Twigs doesn't hold ownership over putting 'EP' or 'LP' in the release title but go off wendy1

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4 minutes ago, Venom said:

Ms. Twigs doesn't hold ownership over putting 'EP' or 'LP' in the release title but go off wendy1

Nobody said she does. Her debut album will be remembered as an instant classic, timeless piece of music that blended different genres with innovative ideas and what’s important - one of the best albums of this decade. Nobody will remember the other one few days after and it’s going to be a certified garbage. That’s that on that. 

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10 minutes ago, Urbanov said:

Her debut album will be remembered as an instant classic, timeless piece of music that blended different genres with innovative ideas and what’s important - one of the best albums of this decade

The delusion brit15

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2 minutes ago, Venom said:

The delusion brit15

Critical receptionEdit

Professional ratings
Aggregate scores
Source Rating
Metacritic 86/100[21]
Review scores
Source Rating
AllMusic 4/5 stars11px-Star_full.svg.png11px-Star_full.svg.png11px-Star_full.svg.png11px-Star_empty.svg.png[1]
The A.V. Club A−[2]
Entertainment Weekly A[3]
The Guardian 4/5 stars11px-Star_full.svg.png11px-Star_full.svg.png11px-Star_full.svg.png11px-Star_empty.svg.png[22]
The Independent 5/5 stars11px-Star_full.svg.png11px-Star_full.svg.png11px-Star_full.svg.png11px-Star_full.svg.png[23]
NME 8/10[24]
Pitchfork 8.8/10[25]
Q 4/5 stars11px-Star_full.svg.png11px-Star_full.svg.png11px-Star_full.svg.png11px-Star_empty.svg.png[26]
Rolling Stone 3.5/5 stars11px-Star_full.svg.png11px-Star_full.svg.png11px-Star_half.svg.png11px-Star_empty.svg.png[27]
Spin 9/10[28]

LP1 received widespread acclaim from music critics. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream publications, the album received an average score of 86, based on 38 reviews, indicating "universal acclaim".[21] Miles Raymer of Entertainment Weekly stated, "A singular kind of diva who asserts herself subtly, twigs sings in a near whisper that often threatens to blend in with the instruments behind it. But she exerts enough of a magnetic pull to lure listeners into some challenging territory".[3] Christopher Hooton of The Independent wrote that "while sultry, drug-addled R&B is an increasingly crowded genre, Twigs takes a hammer to the kind that The Weeknd made famous and plays in the rubble." Hooton continued, "FKA Twigs emerges the high priestess of R&B's latest corruption, and the world will kneel at the altar."[23]Kyle Fowle of The A.V. Club commended FKA Twigs for "manag[ing] to craft a cohesive aesthetic that draws on modern R&B and electronic while also remaining inventive", concluding, "Few debuts possess such control and ambition all in one; LP1 is the rare album that manages to sound both lived in and completely futuristic."[2] AllMusic's Heather Phares noted the album contains "a lusher sound that's more accessible, and more overtly R&B, than FKA Twigs' earlier work but maintains its ethereal sensuality", adding that "FKA Twigs' music was already so fully realized that LP 1 can't really be called Barnett coming into her own; rather, her music has been tended to since the 'Water Me' days, and now it's flourishing."[1]

Jonathan Zwickel of Spin described the album as "unconventional stuff, drug-like, elemental and extraterrestrial" and opined, "In its menacing incandescence, LP1 sounds like nothing else in the world right now."[28] Pitchfork'Philip Sherburnepraised LP1 as a "huge album" and a "monumental debut", while writing that "FKA twigs is not a masterful lyricist, at least not yet; some of her couplets feel clunky, like she's grasping in the dark for rhymes and coming up with the objects closest to hand [...] But when she zeroes in on the essence of a thing, she hits hard."[25] Alexis Petridis of The Guardian viewed the album as "a singular piece of work in an overcrowded market", and expressed that it "has its flaws [...] but you leave it convinced that FKA Twigs is an artist possessed of a genuinely strong and unique vision, one that doesn't need bolstering with an aura of mystique."[22] Hazel Sheffield of NME commented that the album "impresses with its futuristic vision of R&B" and remarked that FKA Twigs's "pervading sense of control and commitment to her art proves that Twigs is set on building the sound of the future all by herself."[24] Felicity Martin of Clash stated, "Fragile, heavenly and utterly compelling; this debut paves the way for boundaries-pushing pop. This is music that shatters you with a single tap."[29] Q praised the music as an "uncanny" hybrid variously recalling "indie R&B... and nervy trip hop".[26] Rolling Stone's Julianne Escobedo Shepherd found the album to be "far more substantial" than FKA Twigs's two previously released EPs, adding that her "deconstructed shards of U.K. grime and garageland heavier, while elegiac vocals soften the songs without blunting their edge."[27]

AccoladesEdit

On 19 August 2014, LP1 was included at number 87 on Pitchfork's list of The 100 Best Albums of the Decade So Far.[30] The album was shortlisted for the 2014 Mercury Prize.[31] It was also nominated for Best Recording Package at the 57th Annual Grammy Awards.[32] In late 2014, LP1 was voted the fifth best record of 2014 in the Pazz & Jop, an annual poll of American critics published by The Village Voice.[33]

Publication List Rank
The A.V. Club The 20 Best Albums of 2014[34] 6
Clash Top 40 Albums of 2014[35] 1
CMJ The 30 Best Albums Of 2014[36] 2
Complex The 50 Best Albums of 2014[37] 10
Cosmopolitan The 20 Best Albums of 2014[38] 18
The Daily Telegraph Best 50 Albums of 2014[39] 17
Drowned in Sound 50 Favourite Albums of 2014[40] 15
Entertainment Weekly 10 Best Albums of 2014[41] 9
Fact The 50 Best Albums of 2014[42] 16
The Guardian The Best Albums of 2014[43] 3
The Huffington Post The 23 Best Albums of 2014[44] Unranked
Mojo 50 Best Albums of 2014[45] 9
musicOMH Top 100 Albums of 2014[46] 5
NME Top 50 Albums of 2014[47] 21
Paste The 50 Best Albums of 2014[48] 35
Pitchfork The 50 Best Albums of 2014[49] 2
PopMatters The 80 Best Albums of 2014[50] 8
Q Top 50 Albums of 2014[51] 8
The Quietus Albums of the Year 2014[52] 11
Rolling Stone 50 Best Albums of 2014[53] 16
Slant Magazine The 25 Best Albums of 2014[54] 7
Spin The 50 Best Albums of 2014[55] 21
Stereogum The 50 Best Albums of 2014[56] 9
Time Top 10 Best Albums of 2014[57] 1
Time Out London The 30 Best Albums of 2014[58] 7
Uncut The Top 75 Albums of the Year[59] 4
Under the Radar Top 140 Albums of 2014[60] 13
Vulture The 32 Best Pop Albums of 2014[61]

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On 10/18/2019 at 1:22 PM, Chapman said:

the irony of this sharing an album title with one of the most innovative and unique albums released this decade

Yate-Artwork-20191019210311.jpg

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  1/5 Stars Guardian

http://www.theguardian.com/music/201...review-capitol
 

 
Liam Payne recently lamented that when One Direction’s management realised he was the sensible one, they made him keep his bandmates in check. Getting cast as Mr Boring was annoying, he explained, yielding him the least screams from fans. Happily for Payne, solo freedom has let him reap maximum screams and embrace his officiousness: with 3.7bn streams, he is the most commercially popular 1D member.

It’s hard to see why. Despite LP1’s effortful attempts to cast Payne as a sexual piranha, the 26-year-old generally comes off as an uptight scold. On Hips Don’t Lie, he stares at a woman’s groin as she dances and warns that she’d better not be wasting his time. “I hope your hips don’t lie unless they’re lying with me,” he sings, a conclusion so deathly it feels like a funeral for reproduction. The thrumming Rude Hours finds him inviting a lady to a “parking lot”. “Might be a bad idea,” he admits, “I’ll probably do your ass in the car.” But never let it be said that Payne is boring and responsible: “Key unlocks the door, ticket on the floor.” If it’s a pay and display, there’ll be murder if it’s not clearly visible. Stack It Up is halfway between a 2003 50 Cent single and the Tory manifesto: “If you wanna stack it up,” he advises, “you gotta work for it.”

Such are the accidental highs of an album empty of intentional humour, heart, or anything much human at all beyond base carnality. Its generic trap and Latin-tinged production and its many guest rappers suggest Payne is trying to keep pace with Drake and the Weeknd. He can’t, because his rank randiness lacks the sense of guilty pleasure that makes his Canadian contemporaries irresistible. The simmering Both Ways, about a woman who loves threesomes, finds him and her “sharing that body like it’s our last meal”, like cheetahs at a carcass. On Familiar, he admires a lady who’s “shaped like a model or some kind of bottle” – Orangina? Ketchup? Perhaps this leg-crossing horror show is another sign of Payne’s prudence: LP1 is a terrible pop album, but very effective contraception.

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On 12/6/2019 at 12:08 AM, Moist Mahomie said:

I’m enjoying this so far :) 

 

It’s been a whole since I’ve had a decent pop album to listen to 

ari7

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6 hours ago, ParentalAdvisory said:

  1/5 Stars Guardian

http://www.theguardian.com/music/201...review-capitol
 

 
Liam Payne recently lamented that when One Direction’s management realised he was the sensible one, they made him keep his bandmates in check. Getting cast as Mr Boring was annoying, he explained, yielding him the least screams from fans. Happily for Payne, solo freedom has let him reap maximum screams and embrace his officiousness: with 3.7bn streams, he is the most commercially popular 1D member.

It’s hard to see why. Despite LP1’s effortful attempts to cast Payne as a sexual piranha, the 26-year-old generally comes off as an uptight scold. On Hips Don’t Lie, he stares at a woman’s groin as she dances and warns that she’d better not be wasting his time. “I hope your hips don’t lie unless they’re lying with me,” he sings, a conclusion so deathly it feels like a funeral for reproduction. The thrumming Rude Hours finds him inviting a lady to a “parking lot”. “Might be a bad idea,” he admits, “I’ll probably do your ass in the car.” But never let it be said that Payne is boring and responsible: “Key unlocks the door, ticket on the floor.” If it’s a pay and display, there’ll be murder if it’s not clearly visible. Stack It Up is halfway between a 2003 50 Cent single and the Tory manifesto: “If you wanna stack it up,” he advises, “you gotta work for it.”

Such are the accidental highs of an album empty of intentional humour, heart, or anything much human at all beyond base carnality. Its generic trap and Latin-tinged production and its many guest rappers suggest Payne is trying to keep pace with Drake and the Weeknd. He can’t, because his rank randiness lacks the sense of guilty pleasure that makes his Canadian contemporaries irresistible. The simmering Both Ways, about a woman who loves threesomes, finds him and her “sharing that body like it’s our last meal”, like cheetahs at a carcass. On Familiar, he admires a lady who’s “shaped like a model or some kind of bottle” – Orangina? Ketchup? Perhaps this leg-crossing horror show is another sign of Payne’s prudence: LP1 is a terrible pop album, but very effective contraception.

They incinerated him burn1

gag1

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1 minute ago, ParentalAdvisory said:

whit1

I have it in my queue to stream, but I think I will just delete it nicki5

 

 

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