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20-year-old Shamir Bailey seems like the ultimate millennial to the point where it's a shock that Buzzfeed haven't snapped him up as their official mascot yet. If it were possible, the most apt way to describe him would be through emojis (namely hearts for eyes, nail paint and hands in the air). A '90s kid through and through, right down to his Saved By The Bell style shirts, Shamir is the type of guy that oozes self-confidence and is completely comfortable in who he is. It's a confidence that shines through in his debut album, Ratchet; an energetic, candy-coloured album that is sure to outlive the slang in its title.

Though he may only be 20, he's been making music for a long time. After all, as he pseudo rap-brags on the album's lead earworm 'On The Regular', he "wanted a guitar before I wanted a bike." From the rather quaint Las Vegas suburb of Northtown, far removed from the bright lights and extravagance of Sin City itself, Shamir picked up his first guitar when he was 9 and began playing small bars around Northtown. Inspired by seeing Taylor Swift on TV, he tried to break into the world of country music, but was told by a producer that his vocals just didn't work.

Now, many years later, it's Shamir's vocals that are the main talking point. His androgynous countertenor vocals, that are capable of flipping between glitter-spangled disco diva and ballad belting greatness at a moment's notice, feel like they've jumped straight from the mouth of Prince or a dancefloor-dominating Michael Jackson but with an idiosyncratic, almost bratty teen, twist that makes it distinctly Shamir.

You need only listen to 'On The Regular' to understand this, a colourfully explosive track that is as much a statement of intent for Shamir as it is, simply, a stone-cold pop banger. Though it does owe a lot to Azealia Banks' 212, with the hyperactive beats and braggadocios semi-raps, 'On The Regular' is an endearingly witty portrait of Shamir, instantly subverting those rap tropes by kicking things off with a "hi" and a "howdy". It's the perfect introduction to Shamir as a person; embracing his androgyny whilst telling listeners that that isn't the be all and end all of who he is. Anyone who has a problem with this will probably "get the bird/more like an eagle."

As an introduction to Shamir the musician, however, it's better to focus on his second single 'Call It Off'. 'On The Regular' is something of an outlier on Ratchet; a fantastic one that feels like a jolt of carnival fun to the brain, but an outlier nonetheless. The rest of the album feels like a mesh of '80s disco staples, ballads and all, with a frantic, dance-punk influence; Sylvester had he fronted The Rapture. 'Call It Off' is full of choppy guitars and synths that bleep and bloop like a printer having a meltdown, all tied up with Shamir's wonderfully soaring vocals. Had this been released in 2005, it would've sat perfectly amongst DFA's catalogue. It's the sort of outrageous fun that permeates much of the album.

If 'Vegas' was the minimal, chilled-out drive into the City of Sin, all soft trumpets and Shamir's crooning vocals telling of the promise of fun the city can bring to kick things off, then 'Make A Scene' is smashing face first into the garishly bright lights and loud noises of The Strip itself. An ode to teenage rebellion, 'Make A Scene' is packed with bubbling beats and electrifying synth breakdowns that bring to mind !!! at their most brilliant. 'Hot Mess' is the Grace Jones/Frankie Knuckles Chicago house stomper that you wish would've happened; four-to-the-floor goodness that you could just see going down a storm is a sweaty underground club.

Despite all this, though, where Shamir excels is when he puts aside that drunken disco to give his vocals real time to shine. In one of the album's more demure moments, 'Demon', Shamir's countertenor feels like it's at breaking point when he sings "If I'm the demon, baby, you're the beast that made me"; loaded with emotion and self-reflection. Penultimate track 'Darker' has all the stripped-back cinematic brilliance of an impressive Sade or Whitney Houston ballad.

Like 'On The Regular', it feels like a great departure from the rest of the album but it's a more than welcome one. It feels like a peek behind the sherbet covered curtain to see the real Shamir. Ballads in pop albums always feel like filler, the ones you'd skip over in an instant to get to the proper bangers that await, but 'Darker' feels just as vital to the album as something like 'Call It Off'.

Ratchet is instantly likeable and oh so infectious. A great pop album through and through, there's enough here to keep you dancing all through the summer. Like a pack of Revels, each track brings something different and fun to the table, be it a heartbreaking ballad or an arms-in-the-air pop smash. It's the sort of album so packed with variety that, by the time the thumping, LCD Soundsystem style disco beats of 'Head In The Clouds' come to a close, you're more than ready to jump right back in to Shamir's intoxicatingly dazzling world.

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