Album Reviews
My method: I listen to the album a few times, and break down my opinion on how they hit my 6 criteria. After that, i develop my thoughts around my overall opinion on the project. I conclude my reviews with the "verdict", or final review of the album, enjoy :)
Album: Rothko Chapel
Artist: Morton Feldman
Genre: Chamber Music
Review date: 5/23/19
Album drop date: 1973
6 songs, 53 minutes
Lyrical content: N/A
Theme: 9
Production quality: 9
Song development: 7
Context in genre: 8
Rothko’s Chapel is a tribute from one legendary talent to the next. The muse for this album is Mark Rothko, who was a famed painter from the mid-20th century. He specialized in art that made powerful commentary on societal issues. From an oblique obsession with war to the lack of spiritual connectiveness Mark expanded the conversation around what society should look like and what it’s missing. His work simplified over the years and has evolved into the blocked colored hues that he is known for today. The focus has always been color and form with an expansive canvas that rivals the grandiose ambition of cinematic films. Morton Feldman, the legendary composer took the liberty to celebrate Rothko’s work by reflecting it in a uniquely meditative and chilling chamber piece.
Rothko’s Chapel is a tribute to the abstract texture of Marks work. Morton Feldman’s unique approach to chamber music came to his benefit here. On Rothko’s Chapel Feldman’s music is as attentive to form as Rothko’s socially conscience works were. The music is compelling even when it drags. Sometimes the distant keys even feel random until their repetitive pattern are unleashed, and their creepy nature is apparent. Some of the songs, like ‘What Pattern?’ Are exceptionally long and overwhelming. However, taken apart piece by piece and the genius behind the transition and the overall chilling atmosphere of the music brings the message from Rothko’s works alive.
The entire project is the furthest thing from pleasant and warm. Like Rothko’s haunting paintings the album features dark vibes from isolated sounds and yawning strings. From start to finish the unanticipated sounds leave the listener on edge. Like an Agatha Christie novel the music here leaves something to be discovered. Either that or the sensations make the listener feel like something is discovering them. By the last note played on Chapel your world can feel like its in a trap, with no way out. While Feldman brings brilliantly unnerving clarify to the chamber music world not everything sounds like the soundtrack to The Exorcist. Sometimes Rothko’s paintings contained bright color hues. At the beginning of ‘Chapel 4’ for instance the music takes a turn for the sublime. There are some heavenly pleasant flute notes bellowing into the ether reminiscent of Sia on the Kanye West track ‘Wolves’. As transcendent as these moments are they come too few and far between on an album that feels too placid at its low points and terrifying off-putting at its best.
While the album suffered from rocking too steady the overall vibes from the album is unbelievably compelling. Rothko’s work sometimes settled comfortably in its own obscurity. It took a lot to see what laid behind the curtain of his work. No matter what his message was finding it in his work was a familiar challenge. With that inspiration Feldman did a great job at reflecting those mellow inclinations and the immense atmosphere of mystery. Over the years this album will continue to reveal itself and messages that lie within it.
Artist: Morton Feldman
Genre: Chamber Music
Review date: 5/23/19
Album drop date: 1973
6 songs, 53 minutes
Lyrical content: N/A
Theme: 9
Production quality: 9
Song development: 7
Context in genre: 8
Rothko’s Chapel is a tribute from one legendary talent to the next. The muse for this album is Mark Rothko, who was a famed painter from the mid-20th century. He specialized in art that made powerful commentary on societal issues. From an oblique obsession with war to the lack of spiritual connectiveness Mark expanded the conversation around what society should look like and what it’s missing. His work simplified over the years and has evolved into the blocked colored hues that he is known for today. The focus has always been color and form with an expansive canvas that rivals the grandiose ambition of cinematic films. Morton Feldman, the legendary composer took the liberty to celebrate Rothko’s work by reflecting it in a uniquely meditative and chilling chamber piece.
Rothko’s Chapel is a tribute to the abstract texture of Marks work. Morton Feldman’s unique approach to chamber music came to his benefit here. On Rothko’s Chapel Feldman’s music is as attentive to form as Rothko’s socially conscience works were. The music is compelling even when it drags. Sometimes the distant keys even feel random until their repetitive pattern are unleashed, and their creepy nature is apparent. Some of the songs, like ‘What Pattern?’ Are exceptionally long and overwhelming. However, taken apart piece by piece and the genius behind the transition and the overall chilling atmosphere of the music brings the message from Rothko’s works alive.
The entire project is the furthest thing from pleasant and warm. Like Rothko’s haunting paintings the album features dark vibes from isolated sounds and yawning strings. From start to finish the unanticipated sounds leave the listener on edge. Like an Agatha Christie novel the music here leaves something to be discovered. Either that or the sensations make the listener feel like something is discovering them. By the last note played on Chapel your world can feel like its in a trap, with no way out. While Feldman brings brilliantly unnerving clarify to the chamber music world not everything sounds like the soundtrack to The Exorcist. Sometimes Rothko’s paintings contained bright color hues. At the beginning of ‘Chapel 4’ for instance the music takes a turn for the sublime. There are some heavenly pleasant flute notes bellowing into the ether reminiscent of Sia on the Kanye West track ‘Wolves’. As transcendent as these moments are they come too few and far between on an album that feels too placid at its low points and terrifying off-putting at its best.
While the album suffered from rocking too steady the overall vibes from the album is unbelievably compelling. Rothko’s work sometimes settled comfortably in its own obscurity. It took a lot to see what laid behind the curtain of his work. No matter what his message was finding it in his work was a familiar challenge. With that inspiration Feldman did a great job at reflecting those mellow inclinations and the immense atmosphere of mystery. Over the years this album will continue to reveal itself and messages that lie within it.
Album: You Only Live 2wice
Artist: Freddie Gibbs
Genre: Hip-Hop
Review date: 5/23/19
Album drop date: 3/31/2017
8 songs, 31:49 minutes
Lyrical content:7
Theme: 8
Production quality: 8
Song development: 6
Context in genre: 6
Before 2017 Freddie Gibbs’s future shined deep into the horizon. The sky was the limit. He was a father of a beautiful daughter, had respect in the rap game, acclaim in the music industry for Pinata, and was embarking on a European tour that was a testament to his success. All of this came to a halt when Freddie was accused by a 19-year-old girl in Vienna of rape one night after a show. With the tour cut short Freddie spent four months fighting the case. As the future again proved in favor of Freddie, he left Europe and began to work on a project that would articulate his mindset from that pivotal moment forward.
Freddie spent a total of four months in a Vienna prison fighting the rape charges. This period couldn’t have been easy, and the lawyer fees couldn’t have been cheap. In fact, according to Freddie it took eleven lawyers to level up and get the verdict in his favor. Hopefully justice prevailed and Freddie really didn’t do anything shameful. In the mindset that he truly is innocent a lot of the tracks on here can feel off putting in the context of his case. For a man who was accused of raping a girl at a hotel lines like ‘Ball so hard, got haters in the bleachers, I just fucked four bitches at Four Seasons, money made me forget—I got amnesia’ don’t inspire the same confidence as some of his other famed braggadocious bars. After some more listens the album begins to sound less like it was made from someone who isn’t learning from their mistakes and more from someone who accepts that they are in the process of being a better person. In the single ’Crushed Glass’ this speaks the loudest. In the music video for that song Freddie is trotting alone in a massive desert reflecting on his life and the ambiguous nature of it all. He takes this on-the-nose introspective space to let us know that letting he’s ‘going to be alright’ and that he’s ‘going to live’ his life. It’s a settling feeling for the listener and certainly for Freddie as well to finally get to this place.
Freddie is one of the sharpest lyricists in the game. His tight knit flow and ability to shift rhyming patterns with an alternating beat has given him respect amongst his peers. On the Scarface influenced ‘Alexys’ he paints vivid pictures with his words about the urban life he came up in. He also goes on to rap about the mistrust that can grow in your friend group after you gain some success. Although Freddie can rap with the best of them sometimes that craftsmanship overshadows the production of the track. For instance, on ‘Andrea’ Freddie uses an unnecessarily fast and aggressive flow on an instrumental that features some light chords and soft backing vocals. When this happens, the song comes across as awkward and the message gets lost. Whether it’s the 808-heavy jammer ‘Phones Lit’ or the more laid back trap inspired ‘Crushed Glass’ Freddie’s presence is always potent and takes control of the song.
You Only Live Twice is a meditative album. Freddie is already an introspective guy, but this album feels more intimate than ever before. The stakes feel higher. Not only was his rap career at stake but his character and relationship with his daughter was in jeopardy. In response, Freddie doubled down on his craft to create an album that spoke truth to his past and analytically assessed his future. He now looks at what’s to come with gratefulness and determination to make it the best he can. Mostly because he knows more than ever that the future isn’t promised.
Album: Dreams Comes True
Artist: Judee Sill
Genre: Folk
Review date: 6/2/19
Album drop date:3/2005
20 songs, 67 minutes
Lyrical content: 9
Theme: 9
Production quality: 5
Song development: 6
Context in genre: 7
Judee Sill is a folk musician from the 1960’s and 1970’s. Her magnificent artistry has unfortunately been overshadowed by the tragedy of her sudden passing. While her life deserves the attention and memory, I believe its more important to focus on the gorgeous music she gave us while she was living. After the underwhelming commercial success of her first two albums Judee was devoted to making her third project on her own terms. The album was going to be more personal, less radio friendly, and heavily informed by her faith. Despite the tracks not being fully mixed there were still a lot finished material by the time of her passing. About thirty years later these songs were packaged into a third album rollout that would have made Judee proud. Sometimes, even after life, dreams come true.
The marriage between gospel and folk music found a perfect host in Judee Sill. Never has the two genres felt so natural together. Across Dreams Come True Judee uses traditional folk chords and progressions to sing songs of worship, confession, and devotion to the Lord. Judee is enough of a craftswoman not to rely solely on her voice to emit pain and suffering to God. Sometimes just a three-minute soulful piano solo can make a significant statement. She even finds imagery as a powerful literary device. For instance, the track ‘The good Ship Omega’ has many references to Abraham. Like in her life Judee doesn’t always find restraint or artistic capabilities as the most useful outlet when it comes to getting her message out. On ‘500 Miles’ she’s speaking loud and clear to the Lord Almighty about the deep and entrenched pain she’s experiencing. It’s songs like that, where her emotions are on her sleeves, and the instrumental is hardly mixed, where we feel the closest to the magnificent talent of Judee Sill.
On the first couple of listens Dreams sounds like a run-of-the-mill set of light and pleasant acoustic folk tunes. However, after closer listening this album reveals itself more profoundly. This is a gorgeous group of raw and intimate recordings that promised a rising star the attention she deserved. Judee was always a compelling lyricist but on Dreams she really doubled down on her skills as a songwriter. She was able to turn simple situations into sky expanding life lessons. Take ‘Farmers Daughter’ for example. Here she reinforces the importance of parental guidance in a breathtaking tale about a parent giving up everything to protect their child. Maybe Judee found the role of parenting important because of her rocky childhood or maybe it’s just a single about a farmer’s daughter. Either way Judee’s intimate relationship with words connect to the heartstrings of listeners in a visceral way. If art imitates life then it makes total sense why Judee’s music carries a mood of sincere sadness and profound tragedy. Everything isn’t going downhill on this album however, and as Judee chimes on ‘Waterfall’, love will lead us home. That little bit of hope for a better tomorrow and faith in a higher power permeates throughout Judee’s music. This holy fever instills her songs with a poignant bit of humanity that speaks timeless wisdom to everyday people.
Dreams Come True contains the demos of the late great Judee Sill’s third album. Although the music wasn’t heard when it first came out later generations get to experience Judee’s brilliance with welcomed appreciation. Her talent is unmistakable. While her pain came from a real place it is that same past that brought songs of hope and love to the forefront of her message as a musician. There’s a lot to learn from the life and music of Judee Sill. Other than that of the album title sometimes talent isn’t felt by the masses the way we’d prefer, but talent is talent, and if one person recognizes it, then its there.
Artist: Judee Sill
Genre: Folk
Review date: 6/2/19
Album drop date:3/2005
20 songs, 67 minutes
Lyrical content: 9
Theme: 9
Production quality: 5
Song development: 6
Context in genre: 7
Judee Sill is a folk musician from the 1960’s and 1970’s. Her magnificent artistry has unfortunately been overshadowed by the tragedy of her sudden passing. While her life deserves the attention and memory, I believe its more important to focus on the gorgeous music she gave us while she was living. After the underwhelming commercial success of her first two albums Judee was devoted to making her third project on her own terms. The album was going to be more personal, less radio friendly, and heavily informed by her faith. Despite the tracks not being fully mixed there were still a lot finished material by the time of her passing. About thirty years later these songs were packaged into a third album rollout that would have made Judee proud. Sometimes, even after life, dreams come true.
The marriage between gospel and folk music found a perfect host in Judee Sill. Never has the two genres felt so natural together. Across Dreams Come True Judee uses traditional folk chords and progressions to sing songs of worship, confession, and devotion to the Lord. Judee is enough of a craftswoman not to rely solely on her voice to emit pain and suffering to God. Sometimes just a three-minute soulful piano solo can make a significant statement. She even finds imagery as a powerful literary device. For instance, the track ‘The good Ship Omega’ has many references to Abraham. Like in her life Judee doesn’t always find restraint or artistic capabilities as the most useful outlet when it comes to getting her message out. On ‘500 Miles’ she’s speaking loud and clear to the Lord Almighty about the deep and entrenched pain she’s experiencing. It’s songs like that, where her emotions are on her sleeves, and the instrumental is hardly mixed, where we feel the closest to the magnificent talent of Judee Sill.
On the first couple of listens Dreams sounds like a run-of-the-mill set of light and pleasant acoustic folk tunes. However, after closer listening this album reveals itself more profoundly. This is a gorgeous group of raw and intimate recordings that promised a rising star the attention she deserved. Judee was always a compelling lyricist but on Dreams she really doubled down on her skills as a songwriter. She was able to turn simple situations into sky expanding life lessons. Take ‘Farmers Daughter’ for example. Here she reinforces the importance of parental guidance in a breathtaking tale about a parent giving up everything to protect their child. Maybe Judee found the role of parenting important because of her rocky childhood or maybe it’s just a single about a farmer’s daughter. Either way Judee’s intimate relationship with words connect to the heartstrings of listeners in a visceral way. If art imitates life then it makes total sense why Judee’s music carries a mood of sincere sadness and profound tragedy. Everything isn’t going downhill on this album however, and as Judee chimes on ‘Waterfall’, love will lead us home. That little bit of hope for a better tomorrow and faith in a higher power permeates throughout Judee’s music. This holy fever instills her songs with a poignant bit of humanity that speaks timeless wisdom to everyday people.
Dreams Come True contains the demos of the late great Judee Sill’s third album. Although the music wasn’t heard when it first came out later generations get to experience Judee’s brilliance with welcomed appreciation. Her talent is unmistakable. While her pain came from a real place it is that same past that brought songs of hope and love to the forefront of her message as a musician. There’s a lot to learn from the life and music of Judee Sill. Other than that of the album title sometimes talent isn’t felt by the masses the way we’d prefer, but talent is talent, and if one person recognizes it, then its there.
Album: Houston to Denver by The Gatlin Brothers
Artist: The Gatlin Brothers
Genre: Country, Coutrypolitan
Review date: 8/9/2018
Album drop date: 1981
Group’s 5th studio album
11 songs, 37 minutes
Lyrical content: 8
Theme: 5
Production quality: 6
Song development: 7
Context in genre: 8
The Gatlin brothers have brought fabulous justice to the countrypolitan genre over the years. Their legacy is enshrined in smooth harmonies, clever lyrics, and awe-inspiring choir performances. Houston to Denver is one standout chapter in their impressive 30+ year music career. The album came out in the bands prime and is strong proof of their position at the forefront of country’s pop appeal.
Most artist add emotional layering to the track by adding heartfelt instrumentation. The Gatlin brothers add it through harmonies. The three-piece band’s genetic chemistry shine through their smooth vocal performances. On the soulful ballad ‘It’s Me’ Larry is singing at his finest with the accompaniment of his equally vocally talented brothers right beside him. Like that album highlight, most of the album is filled with songs that try to win the girl back. It’s a noble effort, and the harmonies that touch the soul seem to make the impossible task attainable.
Traditionalist love country for its simplicity – from the strumming on a vintage acoustic to the crooning about beer and love. However, for the Gatlin bros, simplicity isn’t enough. One of my favorite things about Houston to Denver is the strategic use of strings and a seemingly present choir. These aren’t included for the sake of complexity, they really add a another dynamic to the songs. For instance, there is a group of violins on ‘Dream That Got a little Out of Hand’ that just wash over you with unbelievable adoration and star gazing fantasy. Fans of traditional country may be repelled by this album tendencies to stray from the pack, but in that same act The Gatlin brothers attracted a new set of country fans.
Houston to Denver is an endearing and concise country album. The Gatlin brothers walk the fine line between pop and country with ease. Their music would make the perfect background music to late night front porch conversations about past loves and future dreams. Maybe it was a long road trip that inspired this albums content as well as its title. Or maybe their music is just meant for the listener to take these songs on a daring road trip of their own.
Artist: The Gatlin Brothers
Genre: Country, Coutrypolitan
Review date: 8/9/2018
Album drop date: 1981
Group’s 5th studio album
11 songs, 37 minutes
Lyrical content: 8
Theme: 5
Production quality: 6
Song development: 7
Context in genre: 8
The Gatlin brothers have brought fabulous justice to the countrypolitan genre over the years. Their legacy is enshrined in smooth harmonies, clever lyrics, and awe-inspiring choir performances. Houston to Denver is one standout chapter in their impressive 30+ year music career. The album came out in the bands prime and is strong proof of their position at the forefront of country’s pop appeal.
Most artist add emotional layering to the track by adding heartfelt instrumentation. The Gatlin brothers add it through harmonies. The three-piece band’s genetic chemistry shine through their smooth vocal performances. On the soulful ballad ‘It’s Me’ Larry is singing at his finest with the accompaniment of his equally vocally talented brothers right beside him. Like that album highlight, most of the album is filled with songs that try to win the girl back. It’s a noble effort, and the harmonies that touch the soul seem to make the impossible task attainable.
Traditionalist love country for its simplicity – from the strumming on a vintage acoustic to the crooning about beer and love. However, for the Gatlin bros, simplicity isn’t enough. One of my favorite things about Houston to Denver is the strategic use of strings and a seemingly present choir. These aren’t included for the sake of complexity, they really add a another dynamic to the songs. For instance, there is a group of violins on ‘Dream That Got a little Out of Hand’ that just wash over you with unbelievable adoration and star gazing fantasy. Fans of traditional country may be repelled by this album tendencies to stray from the pack, but in that same act The Gatlin brothers attracted a new set of country fans.
Houston to Denver is an endearing and concise country album. The Gatlin brothers walk the fine line between pop and country with ease. Their music would make the perfect background music to late night front porch conversations about past loves and future dreams. Maybe it was a long road trip that inspired this albums content as well as its title. Or maybe their music is just meant for the listener to take these songs on a daring road trip of their own.
Album: Remain in Light
Artist: Talking Heads
Genre: New Wave, Post-Punk, Worldbeat
Review date: 1/8/2019
Album drop date: 10/8/1980
4th studio album
8 songs, 40 minutes
Lyrical content: 7
Theme: 9
Production quality: 8
Song development: 9
Context in genre: 9
Remain In Light is the 4th full length studio album from the New York post-punk band, Talking Heads. The band was exceptionally adored by fans and critics alike. They were known for their geo-political commentary and ability to effortlessly fuse genres into appealing concert-ready anthems. In Remain In Light they take advantage of the post-Vietnam, post-Nixon administration era and do their best to make sense of it. Brian Eno comes in to introduce the band to afro beat and compliments their already catchy rock tunes with melodic guitar pop influences. This album also sets the band up for greater success and respect down the line. Eventually resulting in a spot in the rock and roll hall of fame.
A lot of the songs on Remain In Light reflect on the troubling accusations and actions of the Nixon administration. They fight for the truth in an era where the truth was stifled for political gain and corruptive motives. However, the truth is tricky and on ‘Crosseyed and Painless’ Talking Heads explores truth’s tendency to refuse blind allegiance to one perceptive. Within the song there is a dizzying state of cognitive dissonance that results in a permanent state of mystery. This lack of assuredness leaves open the question of Nixon’s intentions. Despite Nixon’s actions Talking Heads juggles with the idea that the ex-president may have meant well and that his intentions were pure. Overtop the psychedelic bass-led instrumentation and frantically delivered chorus the muse may be worth the sympathy given the unpredictability of the world. Through the full picture analysis of the possible reasons for abusive power Talking Heads land on the side of contempt. Through the dreary Joy Division inspired vocals and painfully depressing slow-moving airy bass on ‘Overload’ the final moments of Watergate are explored. From the pardon by President Ford to the negative national political atmosphere Talking Heads are far form content with how everything ended. There was an overload of emotions that came from the fear that another corrupt leader could lead and fool the people down the same immoral path. These experiences led the populace to a state of skepticism towards authority. Talking Heads flawlessly translates that skepticism into sound.
Talking Heads came out of the 1970’s New York post-punk era. Their music was political, controversial, and shameless. However, a bit of it latched on to conventual structures and subject manner. Although they were at the top of their game come time for a new album their ambitions wouldn’t let them stop there. A collaboration with the legendary producer Brian Eno would be just the ticket to enter a new phase of experimental rock that sparks old listeners interest and opens the band up to a whole new set of potential fans. Most of the music on Remain In Light is fun and upbeat. There are also strands of afrobeat at its’ finest. This shouldn’t be overlooked for a few reasons. One, they are a POST-PUNK band from New York and second, afrobeat was originated from West African polyrhythms. Eno was largely influenced by musician Fuli Kunti. The experiment pays off. For instance, on album opener ‘Born Under Punches’ the beat is led by this awkward and disjointed guitar rhythm. However, this song becomes more enjoyable as the paranoia creeps in through the lyrics and the fainting vocals hang overtop the production. The marriage between psychedelic rock and polyrhythms makes for a truly magical experience. The song ‘Houses In Motion’ carries a psychedelic kick to it but is hijacked by a defiant piano that calms the track down and is flared with funk influences through a delightful brass section. Time and again, Eno takes conflicting ideas and makes them feel like destined companions. Remain In Light is all the greater because of this willingness to try new things, and bring unknown beauty to light.
Like Remain In Light, Talking heads career started off exciting and full of life, reveling in the youthful defiance that illustrates most young adults. As most of us come to realize however, life comes with realities that may hurt and elsewhere strip the very vibrancy that gives youth its meaning. On the second half of Remain In Light the production doubles down on its contemplation, the mood gets darker, and the skepticism thickens. It’s all fun and games until the realization that the threat is real sets in. The found voices in the refrain of ‘Crosseyed and Painless’ ring off jokingly but by the time we get to the final track the same voices bounce around like the inner demons of a schizophrenic. The feeling is icy, cold, and isolating yet brilliantly captivating. In the context of their careers, this album pushed Talking Heads further ahead of the competition and solidified their place in rock history as an Avant Garde band.
The old ways of the post-punk scene from the 1970’s was soon to be over. In its wake came psychedelic rock, art rock, and funk rock. At the helm of that new movement was Talking Heads. While the world was still reeling over the chaotic final years of the Nixon administration Talking Heads was crazy enough to make sense out of the it all. They didn’t just recognize the contradictions projected by power, but they dabbled with it’s troubling repercussions on a personal level. Brian Eno adds to the mix by pushing the band to explore new rhythms and adopt more world style production styles. This ambitious and steadfast determination launched the already popular band into hall of fame levels of expertise and rarity.
Artist: Talking Heads
Genre: New Wave, Post-Punk, Worldbeat
Review date: 1/8/2019
Album drop date: 10/8/1980
4th studio album
8 songs, 40 minutes
Lyrical content: 7
Theme: 9
Production quality: 8
Song development: 9
Context in genre: 9
Remain In Light is the 4th full length studio album from the New York post-punk band, Talking Heads. The band was exceptionally adored by fans and critics alike. They were known for their geo-political commentary and ability to effortlessly fuse genres into appealing concert-ready anthems. In Remain In Light they take advantage of the post-Vietnam, post-Nixon administration era and do their best to make sense of it. Brian Eno comes in to introduce the band to afro beat and compliments their already catchy rock tunes with melodic guitar pop influences. This album also sets the band up for greater success and respect down the line. Eventually resulting in a spot in the rock and roll hall of fame.
A lot of the songs on Remain In Light reflect on the troubling accusations and actions of the Nixon administration. They fight for the truth in an era where the truth was stifled for political gain and corruptive motives. However, the truth is tricky and on ‘Crosseyed and Painless’ Talking Heads explores truth’s tendency to refuse blind allegiance to one perceptive. Within the song there is a dizzying state of cognitive dissonance that results in a permanent state of mystery. This lack of assuredness leaves open the question of Nixon’s intentions. Despite Nixon’s actions Talking Heads juggles with the idea that the ex-president may have meant well and that his intentions were pure. Overtop the psychedelic bass-led instrumentation and frantically delivered chorus the muse may be worth the sympathy given the unpredictability of the world. Through the full picture analysis of the possible reasons for abusive power Talking Heads land on the side of contempt. Through the dreary Joy Division inspired vocals and painfully depressing slow-moving airy bass on ‘Overload’ the final moments of Watergate are explored. From the pardon by President Ford to the negative national political atmosphere Talking Heads are far form content with how everything ended. There was an overload of emotions that came from the fear that another corrupt leader could lead and fool the people down the same immoral path. These experiences led the populace to a state of skepticism towards authority. Talking Heads flawlessly translates that skepticism into sound.
Talking Heads came out of the 1970’s New York post-punk era. Their music was political, controversial, and shameless. However, a bit of it latched on to conventual structures and subject manner. Although they were at the top of their game come time for a new album their ambitions wouldn’t let them stop there. A collaboration with the legendary producer Brian Eno would be just the ticket to enter a new phase of experimental rock that sparks old listeners interest and opens the band up to a whole new set of potential fans. Most of the music on Remain In Light is fun and upbeat. There are also strands of afrobeat at its’ finest. This shouldn’t be overlooked for a few reasons. One, they are a POST-PUNK band from New York and second, afrobeat was originated from West African polyrhythms. Eno was largely influenced by musician Fuli Kunti. The experiment pays off. For instance, on album opener ‘Born Under Punches’ the beat is led by this awkward and disjointed guitar rhythm. However, this song becomes more enjoyable as the paranoia creeps in through the lyrics and the fainting vocals hang overtop the production. The marriage between psychedelic rock and polyrhythms makes for a truly magical experience. The song ‘Houses In Motion’ carries a psychedelic kick to it but is hijacked by a defiant piano that calms the track down and is flared with funk influences through a delightful brass section. Time and again, Eno takes conflicting ideas and makes them feel like destined companions. Remain In Light is all the greater because of this willingness to try new things, and bring unknown beauty to light.
Like Remain In Light, Talking heads career started off exciting and full of life, reveling in the youthful defiance that illustrates most young adults. As most of us come to realize however, life comes with realities that may hurt and elsewhere strip the very vibrancy that gives youth its meaning. On the second half of Remain In Light the production doubles down on its contemplation, the mood gets darker, and the skepticism thickens. It’s all fun and games until the realization that the threat is real sets in. The found voices in the refrain of ‘Crosseyed and Painless’ ring off jokingly but by the time we get to the final track the same voices bounce around like the inner demons of a schizophrenic. The feeling is icy, cold, and isolating yet brilliantly captivating. In the context of their careers, this album pushed Talking Heads further ahead of the competition and solidified their place in rock history as an Avant Garde band.
The old ways of the post-punk scene from the 1970’s was soon to be over. In its wake came psychedelic rock, art rock, and funk rock. At the helm of that new movement was Talking Heads. While the world was still reeling over the chaotic final years of the Nixon administration Talking Heads was crazy enough to make sense out of the it all. They didn’t just recognize the contradictions projected by power, but they dabbled with it’s troubling repercussions on a personal level. Brian Eno adds to the mix by pushing the band to explore new rhythms and adopt more world style production styles. This ambitious and steadfast determination launched the already popular band into hall of fame levels of expertise and rarity.
Album: Teen Dream
Artist: Beach House
Genre: Dream-pop
Review date: 3/1/2019
Album drop date: 1/26/2010
3rd studio album
10 songs, 48 minutes
Lyrical content: 8
Theme: 7
Production quality: 9
Song development: 9
Context in genre: 10
Before their third project rocked the indie world by storm Beach House was a consistently slightly above average duo with a lot of potential. The critical acclaim and publicity from both their debut album and Devotion garnered them long term admirers on a national level. However, there was still more the Baltimore duo needed to prove. In comes Teen Dream. In the aftermath of this career defining album Beach House received top billing at festivals across the globe, consistent year end list slots, and the likes of Jay-Z and Beyonc? at their shows. It’s easy to think of Beach House’s discography from then on as before and after Teen Dream.
Teen Dream is an album wrapped in a colorful and radiant world. Emotions are high and passions are inflamed. In the introduction Zebra we are introduced to this beautiful yet dangerous past lover ‘arching among us’. A few tracks in the beats continue to radiate an air of nostalgia through euphoric harmonies. We are taken deeper into the past through lyrics like 'It is happening again' and 'In and out of my mind you would slip from my mind'. There’s a paradox that begins to emerge as well. Even though the memories in Teen Dream aren’t positive the duo emits a resonant feeling of lost lust and wonder.
Finally, the dangerous attraction begins to take shape. We hear it in the song ‘Lover of Mine’. The gut-punching bassline on there is marvelously placed. After it disrupts the hypnotic piano melody the album takes an abrupt shift. All of a sudden a darker tone starts to permeate through the album. Teen Dream is suddenly a dystopian wonderland of bad memories and cheap thrills. Metaphors for beautiful and costly relationships collide through each song. For instance, the metaphor on ’10 Mile Stereo’ pessimistically goes ‘the heart is a stone, and this is a stone that we throw’. Legrand’s husky vocals only deepen the emotional tug of the song and causes more angst to get out of the bad dream.
Relief is not too far away either. Better Times is the most intimate song of the album. Here, Legrand is wrestling with a troubling relationship and the effect of it on her character. The guitar piano melody is straight out of a 60's date night blues club. While this songs sophistication adds depth to the story our hope for warmth is met in the humbling closing track ‘Take Care’. The last song hosts a melodic humming guitar riff. On top of it Legrand croons redemptive promises to a far-away lover. Like the melodramatic life of youth Teen Dream rises and falls as deceptively erratic pace.
As a general rule it’s not lucky to praise an album too highly in the context of a genre or a decade prematurely. However, critic after critic put this album in the top ten if not top five of the projects that would shape the decade. They were not wrong. After Teen Dream indie projects tackled soul like never before (10 Mile Stereo) adopted memorable melodies (Norway) and brought harmonies to a new level on album closers (Take Care). Alex and Victoria’s humble persona would not allow them to take credit for these accomplishment in indie, but their legacy will continue to say otherwise.
Artist: Beach House
Genre: Dream-pop
Review date: 3/1/2019
Album drop date: 1/26/2010
3rd studio album
10 songs, 48 minutes
Lyrical content: 8
Theme: 7
Production quality: 9
Song development: 9
Context in genre: 10
Before their third project rocked the indie world by storm Beach House was a consistently slightly above average duo with a lot of potential. The critical acclaim and publicity from both their debut album and Devotion garnered them long term admirers on a national level. However, there was still more the Baltimore duo needed to prove. In comes Teen Dream. In the aftermath of this career defining album Beach House received top billing at festivals across the globe, consistent year end list slots, and the likes of Jay-Z and Beyonc? at their shows. It’s easy to think of Beach House’s discography from then on as before and after Teen Dream.
Teen Dream is an album wrapped in a colorful and radiant world. Emotions are high and passions are inflamed. In the introduction Zebra we are introduced to this beautiful yet dangerous past lover ‘arching among us’. A few tracks in the beats continue to radiate an air of nostalgia through euphoric harmonies. We are taken deeper into the past through lyrics like 'It is happening again' and 'In and out of my mind you would slip from my mind'. There’s a paradox that begins to emerge as well. Even though the memories in Teen Dream aren’t positive the duo emits a resonant feeling of lost lust and wonder.
Finally, the dangerous attraction begins to take shape. We hear it in the song ‘Lover of Mine’. The gut-punching bassline on there is marvelously placed. After it disrupts the hypnotic piano melody the album takes an abrupt shift. All of a sudden a darker tone starts to permeate through the album. Teen Dream is suddenly a dystopian wonderland of bad memories and cheap thrills. Metaphors for beautiful and costly relationships collide through each song. For instance, the metaphor on ’10 Mile Stereo’ pessimistically goes ‘the heart is a stone, and this is a stone that we throw’. Legrand’s husky vocals only deepen the emotional tug of the song and causes more angst to get out of the bad dream.
Relief is not too far away either. Better Times is the most intimate song of the album. Here, Legrand is wrestling with a troubling relationship and the effect of it on her character. The guitar piano melody is straight out of a 60's date night blues club. While this songs sophistication adds depth to the story our hope for warmth is met in the humbling closing track ‘Take Care’. The last song hosts a melodic humming guitar riff. On top of it Legrand croons redemptive promises to a far-away lover. Like the melodramatic life of youth Teen Dream rises and falls as deceptively erratic pace.
As a general rule it’s not lucky to praise an album too highly in the context of a genre or a decade prematurely. However, critic after critic put this album in the top ten if not top five of the projects that would shape the decade. They were not wrong. After Teen Dream indie projects tackled soul like never before (10 Mile Stereo) adopted memorable melodies (Norway) and brought harmonies to a new level on album closers (Take Care). Alex and Victoria’s humble persona would not allow them to take credit for these accomplishment in indie, but their legacy will continue to say otherwise.
Album: My Xperience
Artist: Bounty Killer
Genre: Dancehall, Reggae fusion
Review date: 2/19/2019
Album drop date: 9/17/1996
7th studio album
20 songs, 72 minutes
Lyrical content: 8
Theme: 7
Production quality: 7
Song development: 6
Context in genre: 7
Dancehall was reaching heights unseen in America due to the work of Shabba Ranks, Capleton, and many others. In 1994 alone after starting his own label Priceless Records, Bounty released 4 albums to generate buzz. The ground work was successful and within the next two years the dancehall star was moving up the ladder with a dedicated fanbase. By 1996 Bounty had a ton of local hits under his belt and the audacity to spit his story just the way he wanted to. At a peak in dancehalls commercial appeal Bounty confidently was the flag bearer. My Xperience is shocking, abrupt, rhythmic, and a more aggressive approach to dancehall. It’s the staple piece to Bounty’s successful career and what initially put him on the global map for millions to appreciate.
On album highlight ‘Who Send Dem’ Bounty spits verses that are more cut throat than the bullets in the beat even suggest. He flows swiftly and takes on the dark and grimacing attitude that the song projects. He’s not shy from the gun talk as we can hear from the lines ‘confront me, pon the gravel’. His history with weapons echoes back to his childhood and a very serious personal experience when he was 14. The audacity is bold, and the song is just one many that breathes with fire under its belly. His fans loved him for his unapologetically forward lyrics and casual listeners were evoked by the provocative lyricism.
At the heart of Bounty’s more vulnerable side is the song, ‘Mama’. In the heartfelt deep album cut he details the troubles of his childhood. From the piles of debt his father brought upon himself to the large sacrifices taken on by his strong mother Bounty is reconciling with his past in real time. He feels in large part in debt to his mother and what she dealt with in order to foster in him the mindset to get out and make something of himself. While Bounty’s reality is shocking to many he is also speaking on a common experience for many Jamaicans. The popularity of Dancehall grows parallel with the widespread use of the sound systems played in outdoor localities. The faster paced reggae subgenre was packed with such visceral beats that a food market could transform into a dancehall at the turn of a song. These deep roots of the genre are continued by the intimate and personal lyrics by Bounty.
This album is filled with exhilarating moments and fun energy, however, it has it’s set of issues. For one, not all of the guests do the album justice. The Fugees-assisted track is awkward to a painful extinct. Neither the Fugees or Bounty sound comfortable in the pop-influenced party song. Moreover, the album is doing the same thing too many times. The gun-talk and tough speak beefs a lot of the songs up and adds a powerful top to some of the hard-hitting beats but in an album that lasts for over hour and ten minutes there needs to be more of a mix of melodic and tender tracks. Bounty may be too high strung as a person, but the album doesn’t need to suffer the same fate.
My Xperience gives an up close and personal look into the background of Dancehall legend Bounty Killer. Before he won a Grammy and was an international presence he was a star amongst his people. In 1996 he helped contribute to the worldwide appeal of Dancehall. The album is unapologetically brash and contains a plethora of fascinating Dancehall fusions. Bounty Killer never lets the album sit stagnant for too long and uplifts every song with startling commentary and his signature no mercy tagline. If anyone was curious about the history that could make Bounty Killer pick a name as frightening as Bounty Killer, this album puts those questions to rest.
Artist: Bounty Killer
Genre: Dancehall, Reggae fusion
Review date: 2/19/2019
Album drop date: 9/17/1996
7th studio album
20 songs, 72 minutes
Lyrical content: 8
Theme: 7
Production quality: 7
Song development: 6
Context in genre: 7
Dancehall was reaching heights unseen in America due to the work of Shabba Ranks, Capleton, and many others. In 1994 alone after starting his own label Priceless Records, Bounty released 4 albums to generate buzz. The ground work was successful and within the next two years the dancehall star was moving up the ladder with a dedicated fanbase. By 1996 Bounty had a ton of local hits under his belt and the audacity to spit his story just the way he wanted to. At a peak in dancehalls commercial appeal Bounty confidently was the flag bearer. My Xperience is shocking, abrupt, rhythmic, and a more aggressive approach to dancehall. It’s the staple piece to Bounty’s successful career and what initially put him on the global map for millions to appreciate.
On album highlight ‘Who Send Dem’ Bounty spits verses that are more cut throat than the bullets in the beat even suggest. He flows swiftly and takes on the dark and grimacing attitude that the song projects. He’s not shy from the gun talk as we can hear from the lines ‘confront me, pon the gravel’. His history with weapons echoes back to his childhood and a very serious personal experience when he was 14. The audacity is bold, and the song is just one many that breathes with fire under its belly. His fans loved him for his unapologetically forward lyrics and casual listeners were evoked by the provocative lyricism.
At the heart of Bounty’s more vulnerable side is the song, ‘Mama’. In the heartfelt deep album cut he details the troubles of his childhood. From the piles of debt his father brought upon himself to the large sacrifices taken on by his strong mother Bounty is reconciling with his past in real time. He feels in large part in debt to his mother and what she dealt with in order to foster in him the mindset to get out and make something of himself. While Bounty’s reality is shocking to many he is also speaking on a common experience for many Jamaicans. The popularity of Dancehall grows parallel with the widespread use of the sound systems played in outdoor localities. The faster paced reggae subgenre was packed with such visceral beats that a food market could transform into a dancehall at the turn of a song. These deep roots of the genre are continued by the intimate and personal lyrics by Bounty.
This album is filled with exhilarating moments and fun energy, however, it has it’s set of issues. For one, not all of the guests do the album justice. The Fugees-assisted track is awkward to a painful extinct. Neither the Fugees or Bounty sound comfortable in the pop-influenced party song. Moreover, the album is doing the same thing too many times. The gun-talk and tough speak beefs a lot of the songs up and adds a powerful top to some of the hard-hitting beats but in an album that lasts for over hour and ten minutes there needs to be more of a mix of melodic and tender tracks. Bounty may be too high strung as a person, but the album doesn’t need to suffer the same fate.
My Xperience gives an up close and personal look into the background of Dancehall legend Bounty Killer. Before he won a Grammy and was an international presence he was a star amongst his people. In 1996 he helped contribute to the worldwide appeal of Dancehall. The album is unapologetically brash and contains a plethora of fascinating Dancehall fusions. Bounty Killer never lets the album sit stagnant for too long and uplifts every song with startling commentary and his signature no mercy tagline. If anyone was curious about the history that could make Bounty Killer pick a name as frightening as Bounty Killer, this album puts those questions to rest.
Album: Guy Clark
Artist: Dublin Blues
Genre: Country
Review date: 5/24/18
Album release date: 4/4/1995
Artist’s 8th studio album
10 songs, 41:25 minutes
Lyrical content: 8
Theme: 7
Production quality: 6
Song development: 7
Context in genre: 6
Guy Clark is a pioneer of progressive rock, a subgenre stemming from the rebellious decades of the 60’s and 70’s. Dublin Blues finds the middle-aged legend in a sobering state of reflection and foresight. Out the gate Guy Clark is setting the scene and holding nothing back in the process. Dublin Blues shows off the spectacular places Clark has been and the people he’s seen. It’s less of an arrogant flaunt and more like a humble brag. He enters the rest of the album with the same propensity to share all that he knows.
Guy Clark finds a way to effectively walk the tightrope between sage advice giver and captivating storytelling. Songs like ‘Randal Knife’ ring with emotional wisdom but all hosts heart wrenching sadness and truth. Two incredibly motivational cuts and album favorites of mine are ‘Cape’ and ‘Hangin’ Your Life on The Wall’. In the eyes of the Tennessee native suffering is a not a sign of defeat but an inevitable part of life that builds character and resilience. In the relaxed horizon-gazing song ‘Hangin’’ in particular, Guy sings shamelessly about his shortcomings in the hopes of motivating perseverance.
‘Shut Up and Talk to Me’ is a prime example of the offhanded advice Guy Clark is a little too open with sharing. While the song holds some helpful advice with lines like ‘Love is never gonna be a solid bet, It's kinda like workin' without a net’ it also is a tad bit offensive to the partner. His public relationship with Susanna wasn’t the easiest so maybe Mr. Clark had to be harsh at times to get through those frustrating moments. The song also is devoid of a memorable flow and contains a painfully pluck heavy guitar outro. Clark balances the right amount of confidence and tenderness in other love centric tracks, like the delicate slow burner, ‘Tryin to Try’.
Dublin Blues arrives during the dawn of a legendary and unparalleled career in the country genre. The resounding part of the project is that Guy doesn’t sound stuck in his ways, or bitter about the past, or even pessimistic about the future. Maybe it’s his love for the finer things, like the knife of his late father. If any of his advice rings true for you, then I think he’d say he did his job.
Artist: Dublin Blues
Genre: Country
Review date: 5/24/18
Album release date: 4/4/1995
Artist’s 8th studio album
10 songs, 41:25 minutes
Lyrical content: 8
Theme: 7
Production quality: 6
Song development: 7
Context in genre: 6
Guy Clark is a pioneer of progressive rock, a subgenre stemming from the rebellious decades of the 60’s and 70’s. Dublin Blues finds the middle-aged legend in a sobering state of reflection and foresight. Out the gate Guy Clark is setting the scene and holding nothing back in the process. Dublin Blues shows off the spectacular places Clark has been and the people he’s seen. It’s less of an arrogant flaunt and more like a humble brag. He enters the rest of the album with the same propensity to share all that he knows.
Guy Clark finds a way to effectively walk the tightrope between sage advice giver and captivating storytelling. Songs like ‘Randal Knife’ ring with emotional wisdom but all hosts heart wrenching sadness and truth. Two incredibly motivational cuts and album favorites of mine are ‘Cape’ and ‘Hangin’ Your Life on The Wall’. In the eyes of the Tennessee native suffering is a not a sign of defeat but an inevitable part of life that builds character and resilience. In the relaxed horizon-gazing song ‘Hangin’’ in particular, Guy sings shamelessly about his shortcomings in the hopes of motivating perseverance.
‘Shut Up and Talk to Me’ is a prime example of the offhanded advice Guy Clark is a little too open with sharing. While the song holds some helpful advice with lines like ‘Love is never gonna be a solid bet, It's kinda like workin' without a net’ it also is a tad bit offensive to the partner. His public relationship with Susanna wasn’t the easiest so maybe Mr. Clark had to be harsh at times to get through those frustrating moments. The song also is devoid of a memorable flow and contains a painfully pluck heavy guitar outro. Clark balances the right amount of confidence and tenderness in other love centric tracks, like the delicate slow burner, ‘Tryin to Try’.
Dublin Blues arrives during the dawn of a legendary and unparalleled career in the country genre. The resounding part of the project is that Guy doesn’t sound stuck in his ways, or bitter about the past, or even pessimistic about the future. Maybe it’s his love for the finer things, like the knife of his late father. If any of his advice rings true for you, then I think he’d say he did his job.
Album: Whip-Smart
Artist: Liz Phair
Genre: Indie Rock, Alternative Rock
Review date: 9/28/18
Album drop date: 9/20/94
2nd studio album
14 songs, 42 minutes
Lyrical content: 7
Theme: 5
Production quality: 6
Song development: 8
Context in genre: 8
Although Liz Phair isn’t heralded as one of the alt rock greats she has made important contributions to the genre. Not only did she shamelessly talk about taboo topics like oral sex in the conservative years of the early 1990’s but she would take it one step further and croon through detailed accounts about one-night stands. Alternative rock was facing a wave of unapologetic women who could make memorable pop hooks and refused to conform to pop standards. E for everyone lyrics and obtusely feminine appearances were slowly becoming a thing of the past. Liz was amongst the best of them, and Whip-Smart, her sophomore album, is a collection of songs that prove just that.
Like her contemporaries Liz was ushering in a new generation of breathtakingly honest female songwriter’s. This honesty lives in the subject matter that breaks from the mold. It dares to be consumed. It dares to be recognized. Beyond the lyrics Liz tended to use her natural flowing melodies and relatable subject matter. These two strengths make a marriage on the album highlight ‘Dogs in LA’. Not only is the chorus catchy and nostalgic but the simple lyrics detailed a significant difference between her a close friend. Each song was like this. One after another Liz packed quirky stories that detail a complicated relationship or scenario.
Liz carried the bravado of a punk veteran and the sly deadpan sensibilities of a shoegazer. These two worlds collide when she’s faced with making decisions that go against her morals. These sensitivities extend to others in her life as well. For instance, on ‘Shane’ Liz follows in the tradition of her alt rock forbearers when she challenges her lover Shane to dodge the draft. The mere idea of fighting an aimless war is crazy in Liz’s mind. And the war, Liz acknowledges, is entirely counterproductive to the alt rock movement of individuality and the freedom of expression.
This period wasn’t only a defining moment for alternative rock in the states, but it was a highlight in Liz’s career, and probably the most raw and honest album she ever committed to since. Before she went pop all she had was her convictions and the naked truth. She wasn’t ashamed of it however and didn’t apologize or try to glamorize or cheapen the moments. Everything mattered because it was a part of her, and she was the most important thing at the time, flaws and all. The honest lyrics reflected that, the attitude exuded this, and the deadpan delivery confirmed it. She didn’t have to overly sing for us because she liked her sing-speak just the way it was. Inside and out we can hear the brutal and sometimes embarrassing honestly in Liz's approach to music. She was either brilliant or shameless. Why not both?
Artist: Liz Phair
Genre: Indie Rock, Alternative Rock
Review date: 9/28/18
Album drop date: 9/20/94
2nd studio album
14 songs, 42 minutes
Lyrical content: 7
Theme: 5
Production quality: 6
Song development: 8
Context in genre: 8
Although Liz Phair isn’t heralded as one of the alt rock greats she has made important contributions to the genre. Not only did she shamelessly talk about taboo topics like oral sex in the conservative years of the early 1990’s but she would take it one step further and croon through detailed accounts about one-night stands. Alternative rock was facing a wave of unapologetic women who could make memorable pop hooks and refused to conform to pop standards. E for everyone lyrics and obtusely feminine appearances were slowly becoming a thing of the past. Liz was amongst the best of them, and Whip-Smart, her sophomore album, is a collection of songs that prove just that.
Like her contemporaries Liz was ushering in a new generation of breathtakingly honest female songwriter’s. This honesty lives in the subject matter that breaks from the mold. It dares to be consumed. It dares to be recognized. Beyond the lyrics Liz tended to use her natural flowing melodies and relatable subject matter. These two strengths make a marriage on the album highlight ‘Dogs in LA’. Not only is the chorus catchy and nostalgic but the simple lyrics detailed a significant difference between her a close friend. Each song was like this. One after another Liz packed quirky stories that detail a complicated relationship or scenario.
Liz carried the bravado of a punk veteran and the sly deadpan sensibilities of a shoegazer. These two worlds collide when she’s faced with making decisions that go against her morals. These sensitivities extend to others in her life as well. For instance, on ‘Shane’ Liz follows in the tradition of her alt rock forbearers when she challenges her lover Shane to dodge the draft. The mere idea of fighting an aimless war is crazy in Liz’s mind. And the war, Liz acknowledges, is entirely counterproductive to the alt rock movement of individuality and the freedom of expression.
This period wasn’t only a defining moment for alternative rock in the states, but it was a highlight in Liz’s career, and probably the most raw and honest album she ever committed to since. Before she went pop all she had was her convictions and the naked truth. She wasn’t ashamed of it however and didn’t apologize or try to glamorize or cheapen the moments. Everything mattered because it was a part of her, and she was the most important thing at the time, flaws and all. The honest lyrics reflected that, the attitude exuded this, and the deadpan delivery confirmed it. She didn’t have to overly sing for us because she liked her sing-speak just the way it was. Inside and out we can hear the brutal and sometimes embarrassing honestly in Liz's approach to music. She was either brilliant or shameless. Why not both?
Album: Unknown Pleasures by Joy Division
Artist: Joy Division
Genre: Post-punk
Review date: 7/9/2018
Album release date: 6/15/1979
Lyrical content: 9
Theme: 9
Production quality: 9
Song development: 9
Context in genre: 10
Joy Division’s post-punk nihilistic thunder echoes loudly through the decades. This project feels far from static. It’s as if we’re taken on a journey through an unrecognizable realm. What’s that you hear around the corner? Is it glass shattering? Or is it a laser beam? Or maybe a cage door opening…or closing? Whichever it was, you feel trapped in a world that only seems to be getting worse. This is the scene that is set by Ian’s narrator styled vocals. Across the track listing he indulges in the chaos between certainties. This boundless reality is the haunting landscape of Unknown Pleasures – Joy Divisions debut album.
The lyrics revolve around societal decay. It’s incredibly pessimistic, yet awfully realistic. So realistic in fact, that the front man Ian Curtis commits suicide shortly before the release of the groups second project. Through the music the band makes it uncomfortable to live in this place. Eerie synth lines echo like a ghost in the background and cripple us into submission. The songs are simultaneously disturbing and dreamy. It’s hard not to listen to a song all the way through. Sometimes the songs use religious allegories to shed light on the destruction of society through our heinous acts towards the pious. Other times, the lyrics get even deeper into the weeds when by focusing on the psychological breakdown of a girl, like on the entrancing ‘She Lost Control’. The girl in question seems redeemable until she stops crying and begins to laugh the dark words, ‘I’ve lost control’.
If the lyrics didn’t unnerve you, then maybe it’s time to focus on the production. Division uses harsh guitar riffs like rope to wrap you into their small and dark world. On the closer ‘I Remember Nothing’ the stark production opens and lets in stinging laser beams from above and punishing guitar riff drumming like an angry mob in the background of the track. Maybe Joy Division was prophetic about the future. We seem to live in a chaotic world of never-ending turmoil and cognitive dissonance. Or maybe they’re just a legendary band that launched the subgenre out into the world for us to reconcile with our inner demons. I don’t know about you, but I’ll take the latter.
Artist: Joy Division
Genre: Post-punk
Review date: 7/9/2018
Album release date: 6/15/1979
Lyrical content: 9
Theme: 9
Production quality: 9
Song development: 9
Context in genre: 10
Joy Division’s post-punk nihilistic thunder echoes loudly through the decades. This project feels far from static. It’s as if we’re taken on a journey through an unrecognizable realm. What’s that you hear around the corner? Is it glass shattering? Or is it a laser beam? Or maybe a cage door opening…or closing? Whichever it was, you feel trapped in a world that only seems to be getting worse. This is the scene that is set by Ian’s narrator styled vocals. Across the track listing he indulges in the chaos between certainties. This boundless reality is the haunting landscape of Unknown Pleasures – Joy Divisions debut album.
The lyrics revolve around societal decay. It’s incredibly pessimistic, yet awfully realistic. So realistic in fact, that the front man Ian Curtis commits suicide shortly before the release of the groups second project. Through the music the band makes it uncomfortable to live in this place. Eerie synth lines echo like a ghost in the background and cripple us into submission. The songs are simultaneously disturbing and dreamy. It’s hard not to listen to a song all the way through. Sometimes the songs use religious allegories to shed light on the destruction of society through our heinous acts towards the pious. Other times, the lyrics get even deeper into the weeds when by focusing on the psychological breakdown of a girl, like on the entrancing ‘She Lost Control’. The girl in question seems redeemable until she stops crying and begins to laugh the dark words, ‘I’ve lost control’.
If the lyrics didn’t unnerve you, then maybe it’s time to focus on the production. Division uses harsh guitar riffs like rope to wrap you into their small and dark world. On the closer ‘I Remember Nothing’ the stark production opens and lets in stinging laser beams from above and punishing guitar riff drumming like an angry mob in the background of the track. Maybe Joy Division was prophetic about the future. We seem to live in a chaotic world of never-ending turmoil and cognitive dissonance. Or maybe they’re just a legendary band that launched the subgenre out into the world for us to reconcile with our inner demons. I don’t know about you, but I’ll take the latter.
Album: NEU! ’86 – NEU!
Artist: NEU!
Genre: Electronic, Krautrock
Review date: 6/17/2018
Album release date: 10/17/1995
Group’s 4th album
13 songs, 44 minutes
Lyrical content: N/A
Theme: 5
Production quality: 6
Song development: 8
Context in genre: 6
Neu! ’86 is a pleasantly hypnotic experience from a pair of pioneers who spearheaded a genre that never crossed into the mainstream. Neu! ’86 was originally released in 1995 but was soon pulled from circulation after it became known that both members didn’t agree on its release. I may have entered the wrong door into the Neu! catalogue but I must admit that ‘86 is an impressive display of airy and sophisticated post-peak Krautrock.
The album is loudly expressive in its first half and hosts a reoccurring and ferocious electronic guitar. On top of the prominent riffs are some wildly expressive vocals. The best example of these two elements working in tandem is on the album highlight ‘Crazy’. On this track there’s a fearless shrieking that populates every available space as the song progresses. It’s marvelous! The production isn’t always boundlessly psychedelic however and does steer straight on more reigned in tracks like ‘Danzing’ and ‘Paradise Walk’. As the songs progress it’s refreshing to hear how they refuse to conform to traditional rock compositions. After exhausting enough electronic energy the album mellows out and capitalizes off the ambient sound that the genre is known for.
In the second half of the album the project turns ethereal and nostalgic. Tracks like ‘November’ yearn for distance memories to resurface, and the sweeter than candy chords on ‘Wave Mother’ will have you boundlessly hovering towards the clouds. The rest of the songs are brief moments of bliss and finish up around the minute and half mark. The album could have closed out more naturally if the latter half wasn’t synthesized so heavily. This does however give some songs an undeniably dreamy texture. By the time ’86 ends the whole experience feels like one long passing dream.
It’s a shame this album was the subject of so much contention for Rother and Dinger. The only good thing I could think of that came out of that split was the remastering of ‘86. The songs shine with new life that permeates a transcendent aura.
Artist: NEU!
Genre: Electronic, Krautrock
Review date: 6/17/2018
Album release date: 10/17/1995
Group’s 4th album
13 songs, 44 minutes
Lyrical content: N/A
Theme: 5
Production quality: 6
Song development: 8
Context in genre: 6
Neu! ’86 is a pleasantly hypnotic experience from a pair of pioneers who spearheaded a genre that never crossed into the mainstream. Neu! ’86 was originally released in 1995 but was soon pulled from circulation after it became known that both members didn’t agree on its release. I may have entered the wrong door into the Neu! catalogue but I must admit that ‘86 is an impressive display of airy and sophisticated post-peak Krautrock.
The album is loudly expressive in its first half and hosts a reoccurring and ferocious electronic guitar. On top of the prominent riffs are some wildly expressive vocals. The best example of these two elements working in tandem is on the album highlight ‘Crazy’. On this track there’s a fearless shrieking that populates every available space as the song progresses. It’s marvelous! The production isn’t always boundlessly psychedelic however and does steer straight on more reigned in tracks like ‘Danzing’ and ‘Paradise Walk’. As the songs progress it’s refreshing to hear how they refuse to conform to traditional rock compositions. After exhausting enough electronic energy the album mellows out and capitalizes off the ambient sound that the genre is known for.
In the second half of the album the project turns ethereal and nostalgic. Tracks like ‘November’ yearn for distance memories to resurface, and the sweeter than candy chords on ‘Wave Mother’ will have you boundlessly hovering towards the clouds. The rest of the songs are brief moments of bliss and finish up around the minute and half mark. The album could have closed out more naturally if the latter half wasn’t synthesized so heavily. This does however give some songs an undeniably dreamy texture. By the time ’86 ends the whole experience feels like one long passing dream.
It’s a shame this album was the subject of so much contention for Rother and Dinger. The only good thing I could think of that came out of that split was the remastering of ‘86. The songs shine with new life that permeates a transcendent aura.
Album: Oil of Every Pearl's Un-Insides
Artist: SOPHIE
Genre: Avant Pop
Review date: 8/12/2018
Album drop date: 06/15/2018
Artist’s debut studio album
9 songs, 39 minutes
Lyrical content: 6
Theme: 7
Production quality: 9
Song development: 8
Context in genre: 9
I grew up on traditional pop artists like Britney Spears, Mariah Carey, and The Backstreet Boys. Their music was fun to me, and after awhile predictable. Year after year I could expect a similar pace to the chorus, or theme of young love and heartbreak. The singing after a while all sounded the same, and the looks was pretty much photo copies of one another. Thankfully, after a few years and a knack for the obscure I found exhilarating experimental artists like FKA Twigs, Grimes, and today’s review choice, SOPHIE.
Before I get into the euphoric club bangers that make up this wonder of an album I want to get into the general theme of Oil’s. SOPHIE’s knocking the status quo on it’s head for nearly 40 minutes and it’s never felt so good. She refrains from sounding vindictive as well. Instead, she utilizes the vibrancy of dance music to uplift herself through the constraints of societal gender norms. The song ‘Immaterial’ is a prime example of this. It’s just as ambitious as it is ecstatic. For years, SOPHIE was a pop enigma and elusively avoided publicly displaying what she looked like, or any other details about her personal life. It was primarily about the music. Eventually SOPHIE came from behind the curtains and showed herself to the world, most notably in the angelic music video for ‘It’s Okay to Cry’. However, now, more than ever, her music speaks volumes.
From top to bottom Oil’s is a riveting experience in Avant-pop done well. The transition from ‘Ponyboy’ to ‘Faceshopping’ for instance is nearly flawless and packs a bunch. SOPHIE is breathtakingly self-aware of her unique position in music and owns every bit of it. From ‘Is it Cold’ down to ‘Pretending’ we’re absorbed into this boundless world of glittering bells, industrial screeching, and distorted vocals. Everything feels new, but nothing feels underprepared.
Oil’s sounds like an ever-approaching future in pop music, which is why ‘Whole New World’ is the perfect sendoff title for the album. On the final track objects fly overhead, and unfamiliar howling echoes from underneath the main production. If this come across as unnerving at first, it’s because it’s supposed to. The new world is filled with change, and change is innately weird and uncomfortable. However, after a while, SOPHIE crosses the threshold from creepy to surreal very quickly with this tune. These elements project a surround sound experience that 3D mid-summer blockbusters would die for. By the time the song ends, the jaws will drop, and world will look more beautiful than it ever has before. This is SOPHIE’s doing.
SOPHIE proves that she is nothing short of a veteran producer, turned top-of-the-bill pop act, doing what she does best; creating the world she wants to see out of the one that hasn’t quite caught up yet. We’re just lucky enough to see what she’s been holding back inside this whole time.
Artist: SOPHIE
Genre: Avant Pop
Review date: 8/12/2018
Album drop date: 06/15/2018
Artist’s debut studio album
9 songs, 39 minutes
Lyrical content: 6
Theme: 7
Production quality: 9
Song development: 8
Context in genre: 9
I grew up on traditional pop artists like Britney Spears, Mariah Carey, and The Backstreet Boys. Their music was fun to me, and after awhile predictable. Year after year I could expect a similar pace to the chorus, or theme of young love and heartbreak. The singing after a while all sounded the same, and the looks was pretty much photo copies of one another. Thankfully, after a few years and a knack for the obscure I found exhilarating experimental artists like FKA Twigs, Grimes, and today’s review choice, SOPHIE.
Before I get into the euphoric club bangers that make up this wonder of an album I want to get into the general theme of Oil’s. SOPHIE’s knocking the status quo on it’s head for nearly 40 minutes and it’s never felt so good. She refrains from sounding vindictive as well. Instead, she utilizes the vibrancy of dance music to uplift herself through the constraints of societal gender norms. The song ‘Immaterial’ is a prime example of this. It’s just as ambitious as it is ecstatic. For years, SOPHIE was a pop enigma and elusively avoided publicly displaying what she looked like, or any other details about her personal life. It was primarily about the music. Eventually SOPHIE came from behind the curtains and showed herself to the world, most notably in the angelic music video for ‘It’s Okay to Cry’. However, now, more than ever, her music speaks volumes.
From top to bottom Oil’s is a riveting experience in Avant-pop done well. The transition from ‘Ponyboy’ to ‘Faceshopping’ for instance is nearly flawless and packs a bunch. SOPHIE is breathtakingly self-aware of her unique position in music and owns every bit of it. From ‘Is it Cold’ down to ‘Pretending’ we’re absorbed into this boundless world of glittering bells, industrial screeching, and distorted vocals. Everything feels new, but nothing feels underprepared.
Oil’s sounds like an ever-approaching future in pop music, which is why ‘Whole New World’ is the perfect sendoff title for the album. On the final track objects fly overhead, and unfamiliar howling echoes from underneath the main production. If this come across as unnerving at first, it’s because it’s supposed to. The new world is filled with change, and change is innately weird and uncomfortable. However, after a while, SOPHIE crosses the threshold from creepy to surreal very quickly with this tune. These elements project a surround sound experience that 3D mid-summer blockbusters would die for. By the time the song ends, the jaws will drop, and world will look more beautiful than it ever has before. This is SOPHIE’s doing.
SOPHIE proves that she is nothing short of a veteran producer, turned top-of-the-bill pop act, doing what she does best; creating the world she wants to see out of the one that hasn’t quite caught up yet. We’re just lucky enough to see what she’s been holding back inside this whole time.
Album: Saba
Artist: Care for Me
Genre: Hip-Hop, Neo Soul, Jazz Fusion
Review date: 5/1/18
Album release date: 4/5/18
Artist’s 2nd studio album
10 songs, 41:35 minutes
Lyrical content: 7
Theme: 10
Production quality: 8
Song development: 7
Context in genre: 8
Saba is dealing with a lot this time around. Rather than escalating up the hill of obstacles the music industry throws at new artists, Saba is frozen in a state of inner turmoil. Instead of taking action, he is thinking and contemplating life in the wake of his cousin’s gruesome murder. Care For Me isn’t nearly as self-centered as the album title suggests. Instead, the phrase operates as a positive affirmation for Saba to give to himself, as reassurance that everything will be okay.
Saba isn’t just in mourning the loss of cousin on the album. He’s distraught and conflicted over many different issues. On the track, ‘Broken Girls’ for instance he’s unwrapping the insecurities and inhibitions that inform his romantic misfortunes. He bluntly addresses this with lines like ‘I still will keep ya in my back pocket, I know that I'm not shit, I know that it's toxic’. Despite the dark place that these songs are coming from the direction Saba is going on Care For Me is very refreshing in comparison with his rap peers. Saba carefully omits similar truths, but instead of glorifying his bad decisions, or his unfortunate encounters with a prom date boyfriend, he’s actively trying to learn from them.
This confessional of an album wasn’t made for us to pity Saba, or even for us to understand him entirely. Instead, Saba is drawing out these pictures and images from his mind because he’s ‘Just on a mission to find something’ By the time we get to the album closer ‘Heaven all around me’ Saba seems to have obtained meaning back into his life. Saba uses this newfound seed of motivation as fuel to propel him towards his wildest dreams.
Artist: Care for Me
Genre: Hip-Hop, Neo Soul, Jazz Fusion
Review date: 5/1/18
Album release date: 4/5/18
Artist’s 2nd studio album
10 songs, 41:35 minutes
Lyrical content: 7
Theme: 10
Production quality: 8
Song development: 7
Context in genre: 8
Saba is dealing with a lot this time around. Rather than escalating up the hill of obstacles the music industry throws at new artists, Saba is frozen in a state of inner turmoil. Instead of taking action, he is thinking and contemplating life in the wake of his cousin’s gruesome murder. Care For Me isn’t nearly as self-centered as the album title suggests. Instead, the phrase operates as a positive affirmation for Saba to give to himself, as reassurance that everything will be okay.
Saba isn’t just in mourning the loss of cousin on the album. He’s distraught and conflicted over many different issues. On the track, ‘Broken Girls’ for instance he’s unwrapping the insecurities and inhibitions that inform his romantic misfortunes. He bluntly addresses this with lines like ‘I still will keep ya in my back pocket, I know that I'm not shit, I know that it's toxic’. Despite the dark place that these songs are coming from the direction Saba is going on Care For Me is very refreshing in comparison with his rap peers. Saba carefully omits similar truths, but instead of glorifying his bad decisions, or his unfortunate encounters with a prom date boyfriend, he’s actively trying to learn from them.
This confessional of an album wasn’t made for us to pity Saba, or even for us to understand him entirely. Instead, Saba is drawing out these pictures and images from his mind because he’s ‘Just on a mission to find something’ By the time we get to the album closer ‘Heaven all around me’ Saba seems to have obtained meaning back into his life. Saba uses this newfound seed of motivation as fuel to propel him towards his wildest dreams.
Album: Berlin
Artist: Lou Reed
Genre: Rock, Art Rock
Review date: 7/13/2018
Album release date: 7/1973
Lyrical content: 7
Theme: 8
Production quality: 5
Song development: 6
Context in genre: 7
Lou Reed sheds light on the darker side of our domestic relations. In Berlin he explores the hazardous relationship between Jim and Caroline, a young couple whose drug induced turmoil rivals that of Whitney and Bobby, or Courtney and Kurt. The theme of the album is harsh, and the way Lou goes about it is nothing short of direct. Not to be mistaken as autobiographical (but who knows) Lou croons from both characters perspective. We aren’t meant to pick sides and maybe that’s because everyone is at fault. All that’s for certain is that Berlin is another ace in Lou Reeds long discography.
At the end of side one we’re met with a beaten and bruised Caroline crying to Jim, yelling ‘how could you treat me this way? Hey hey, how could you treat me this way?’. At first it seems that we’re meant to sympathize with the female protagonist. However, after a concentrated listen to Berlin we find fault in both actors. We discover that Caroline isn’t one for fidelity and that her nickname of Alaska isn’t because she’s super cool. Lou doesn’t need us to empathize, just to understand. The trials that this couple goes through can be our neighborhoods, friends, and family members. Lou does a great job taking on both characters and getting us to see through their lens.
The wonderous depth of the production on Berlin sets the stage for Lou to create an innovative live performance for fans. He has, over the years, incorporated a lot of these songs into his live albums. ‘Sad Song’s’ thematic intro is strengthened by the boundlessness of a gang of flutes. These percussions hover into the horizon with the support of the mind-numbing choir beautifully repeating the words ‘sad song’. The album even starts with a smooth and classy blues cut that features a piano composition Billy Joel would’ve died for. Any creative would happily take on the challenge of turning most of these songs into interactive live acts.
Rolling Stone went from calling Berlin lousy to listing it in their 500 greatest albums of all time list. This album is a grower for sure. It may be for a few reasons: Lou’s voice isn’t very attractive, the production isn’t ear-grabbing until the second side, and the title doesn’t make much sense until you listen to the whole project. While Lou’s voice isn’t the smoothest the perspectives he’s crooning from are observant and eye-opening. The first half actually does have some memorable production after you get through the awkward pace of some of the songs. Also, Berlin isn’t meant to be a strong focus of the album but a setting to keep in mind in the back of our heads while we listen. Give it some time, but Berlin is sure to be a treat if you let it.
Lou Reed is one of rock’s most widely known and well-respected forebears. He’s brash without being offensive and can get personal without it feeling too sensitive. It’s a pleasure seeing one of New York’s finest draw attention to the plight of drug culture across the world. It’s an even more important point knowing that these things happen, and that we should understand to some extent, how.
Artist: Lou Reed
Genre: Rock, Art Rock
Review date: 7/13/2018
Album release date: 7/1973
Lyrical content: 7
Theme: 8
Production quality: 5
Song development: 6
Context in genre: 7
Lou Reed sheds light on the darker side of our domestic relations. In Berlin he explores the hazardous relationship between Jim and Caroline, a young couple whose drug induced turmoil rivals that of Whitney and Bobby, or Courtney and Kurt. The theme of the album is harsh, and the way Lou goes about it is nothing short of direct. Not to be mistaken as autobiographical (but who knows) Lou croons from both characters perspective. We aren’t meant to pick sides and maybe that’s because everyone is at fault. All that’s for certain is that Berlin is another ace in Lou Reeds long discography.
At the end of side one we’re met with a beaten and bruised Caroline crying to Jim, yelling ‘how could you treat me this way? Hey hey, how could you treat me this way?’. At first it seems that we’re meant to sympathize with the female protagonist. However, after a concentrated listen to Berlin we find fault in both actors. We discover that Caroline isn’t one for fidelity and that her nickname of Alaska isn’t because she’s super cool. Lou doesn’t need us to empathize, just to understand. The trials that this couple goes through can be our neighborhoods, friends, and family members. Lou does a great job taking on both characters and getting us to see through their lens.
The wonderous depth of the production on Berlin sets the stage for Lou to create an innovative live performance for fans. He has, over the years, incorporated a lot of these songs into his live albums. ‘Sad Song’s’ thematic intro is strengthened by the boundlessness of a gang of flutes. These percussions hover into the horizon with the support of the mind-numbing choir beautifully repeating the words ‘sad song’. The album even starts with a smooth and classy blues cut that features a piano composition Billy Joel would’ve died for. Any creative would happily take on the challenge of turning most of these songs into interactive live acts.
Rolling Stone went from calling Berlin lousy to listing it in their 500 greatest albums of all time list. This album is a grower for sure. It may be for a few reasons: Lou’s voice isn’t very attractive, the production isn’t ear-grabbing until the second side, and the title doesn’t make much sense until you listen to the whole project. While Lou’s voice isn’t the smoothest the perspectives he’s crooning from are observant and eye-opening. The first half actually does have some memorable production after you get through the awkward pace of some of the songs. Also, Berlin isn’t meant to be a strong focus of the album but a setting to keep in mind in the back of our heads while we listen. Give it some time, but Berlin is sure to be a treat if you let it.
Lou Reed is one of rock’s most widely known and well-respected forebears. He’s brash without being offensive and can get personal without it feeling too sensitive. It’s a pleasure seeing one of New York’s finest draw attention to the plight of drug culture across the world. It’s an even more important point knowing that these things happen, and that we should understand to some extent, how.
Album: Now That The Light Is Fading
Artist: Maggie Rogers
Genre: Alternative, Indie
Review date: 6/8/18
Album release date: 2/17/17
Artist’s 1st Extended Play
5 songs, 17 minutes
Lyrical content: 8
Theme: 6
Production quality: 7
Song development: 8
Context in genre: 7
Indie’s latest sweetheart gives us a taste of what’s to come from with her latest EP ‘Now That The Light is Fading’. Her music is a sensitive blend of folk, EDM, and soft rock. There’s also a powerfully sad undercurrent in her music as well. Not only is she letting go of the past and some of its hang ups but she’s courageously moving towards an optimistic future.
While her production is getting the most credit in the mainstream, it might be her lyrics that catapult her past contemporaries. For instance, her stunning imagery on the song ‘Dog Years’ emits powerful images of things that move with time, like dancing, and the sea. She also has an innocence in her lyrics that cries for a reality that reflects her dreams. From the dreamy experience from an existential hiking experience in Alaska to her hope for everlasting love on Dog Years there is a future in Maggie’s eyes that’s feels to possible to overlook.
With 2 million monthly listeners on Spotify without a full length album under her belt the pressure is on for Maggie. Luckily her music feels so grounded in a truth that is asymmetrical with mainstream pop that her authenticity might survive the pressures of fame. Pharrell wasn’t on the brink of crying when he first heard ‘Alaska’ just because of the gorgeous melody and touching lyrics. It was Maggie’s pure and vulnerable spirit that shined through the music, and flooded into his heart, as it most likely did everyone else in the room.
The challenge for Maggie now is two-fold. On the one hand she needs to continue to grow her base while making hits that reflect her as a person. Secondly, she needs to find that motivation. When she met Pharrell she talked about her rural roots and finding motivation in nature. There’s no mistake that her music production stalled when she moved to the big apple. Hopefully, she can find motivation in a new relationship, or from touring, or from the dozens of inspiring artists she’s destined to meet with her new level of fame.
Maggie’s a one-of-a-kind artist with a truly unique background and a lot of promise. Hopefully she can streamline her sound in her debut project. There’s a lot of genre fusing on this EP which reflects an artist looking for their voice. I hope she continuous to sound inspired and to push this progressive folk via electronic music forward.
Artist: Maggie Rogers
Genre: Alternative, Indie
Review date: 6/8/18
Album release date: 2/17/17
Artist’s 1st Extended Play
5 songs, 17 minutes
Lyrical content: 8
Theme: 6
Production quality: 7
Song development: 8
Context in genre: 7
Indie’s latest sweetheart gives us a taste of what’s to come from with her latest EP ‘Now That The Light is Fading’. Her music is a sensitive blend of folk, EDM, and soft rock. There’s also a powerfully sad undercurrent in her music as well. Not only is she letting go of the past and some of its hang ups but she’s courageously moving towards an optimistic future.
While her production is getting the most credit in the mainstream, it might be her lyrics that catapult her past contemporaries. For instance, her stunning imagery on the song ‘Dog Years’ emits powerful images of things that move with time, like dancing, and the sea. She also has an innocence in her lyrics that cries for a reality that reflects her dreams. From the dreamy experience from an existential hiking experience in Alaska to her hope for everlasting love on Dog Years there is a future in Maggie’s eyes that’s feels to possible to overlook.
With 2 million monthly listeners on Spotify without a full length album under her belt the pressure is on for Maggie. Luckily her music feels so grounded in a truth that is asymmetrical with mainstream pop that her authenticity might survive the pressures of fame. Pharrell wasn’t on the brink of crying when he first heard ‘Alaska’ just because of the gorgeous melody and touching lyrics. It was Maggie’s pure and vulnerable spirit that shined through the music, and flooded into his heart, as it most likely did everyone else in the room.
The challenge for Maggie now is two-fold. On the one hand she needs to continue to grow her base while making hits that reflect her as a person. Secondly, she needs to find that motivation. When she met Pharrell she talked about her rural roots and finding motivation in nature. There’s no mistake that her music production stalled when she moved to the big apple. Hopefully, she can find motivation in a new relationship, or from touring, or from the dozens of inspiring artists she’s destined to meet with her new level of fame.
Maggie’s a one-of-a-kind artist with a truly unique background and a lot of promise. Hopefully she can streamline her sound in her debut project. There’s a lot of genre fusing on this EP which reflects an artist looking for their voice. I hope she continuous to sound inspired and to push this progressive folk via electronic music forward.
Album: Ghost Beach
Artist: Purple Dialect
Genre: Hip-Hop, Vaporwave, Electronic
Review date: 2/20/2018
Album release date: 6/21/17
9 Songs, 25 minutes
Groups 2nd EP
Lyrical Content: 6
Theme: 7
Production quality: 8
Song development: 6
Context in genre: 8
Contrary to popular belief, it is possible to be innovative and nostalgic simultaneously. Purple Dialect flourishes by doing just that. Underneath some infectious vaporwave instrumentals Ghost Beach contains very sincere and honest tales about life’s everyday struggles.
In one of the most entertaining and comical verses of the album, RayRayBeats talks about making a scene after he is unexpectedly fired from his job. This theme of daily trials and tribulations is threaded throughout the project. On ‘Shelf Life’, we’re taken on a journey with Purple Dialect as he illustrates the passing sequences of his day, which is clearly absorbed by consumer goods.
The eccentric cover of Ghost Beach contrasts greatly against the laymen ethos that Purple Dialect projects. He’s the poor man’s rapper. While I’m not too familiar with his discography I am happy that he’s approaching rap music with refreshing creativity and daring authenticity.
Artist: Purple Dialect
Genre: Hip-Hop, Vaporwave, Electronic
Review date: 2/20/2018
Album release date: 6/21/17
9 Songs, 25 minutes
Groups 2nd EP
Lyrical Content: 6
Theme: 7
Production quality: 8
Song development: 6
Context in genre: 8
Contrary to popular belief, it is possible to be innovative and nostalgic simultaneously. Purple Dialect flourishes by doing just that. Underneath some infectious vaporwave instrumentals Ghost Beach contains very sincere and honest tales about life’s everyday struggles.
In one of the most entertaining and comical verses of the album, RayRayBeats talks about making a scene after he is unexpectedly fired from his job. This theme of daily trials and tribulations is threaded throughout the project. On ‘Shelf Life’, we’re taken on a journey with Purple Dialect as he illustrates the passing sequences of his day, which is clearly absorbed by consumer goods.
The eccentric cover of Ghost Beach contrasts greatly against the laymen ethos that Purple Dialect projects. He’s the poor man’s rapper. While I’m not too familiar with his discography I am happy that he’s approaching rap music with refreshing creativity and daring authenticity.
Album: All Good Things Come
Artist: Kyle Hubbard
Genre: Hip-Hop, Garage House
Review date: 2/18/2018
Album release date: 9/18/2017
9 Songs, 35 minutes
Artist’s third album
Lyrical content: 7
Theme: 6
Production quality: 8
Song development: 7
Context in genre: 5
Although not many Hip-Hop fans will ever hear of Kyle Hubbarb, or his latest project, All Good Things Come, I think it’s a really interesting album to review, and one I found myself positively lost in.
To start, the Houston rapper, by way of Arkansas, has the lyrical chops to spit with the best of them. While his raps are dynamic and sharp he has the lazy tendency to rely on the same flow. The song could include lines about tooth paste or be about overdosing on alcohol and Kyle’s flow won’t change a bit. With the predictable style, some of Kyle’s more impressionable lines don’t go over as well as they could’ve.
The theme on this album is ultimately hopeful, however, as the album progresses death, sin, and our primitive vices occupy the subject matters to a depressing extent. Kyle, however, has a good way at taking our minds off things by breaking in some humor now and again. There’s a great line about health care that is well worth the listen on the album highlight ‘Swan’.
Another exceptional element to the AGTC is the instrumentation. I absolutely love the jazzy bridges thrown in the mix, the country styled outros, as well as some energetic rock chords. Kyle isn’t afraid to experiment and we’re better off for it, because he’s done a very good job at it. The dynamic production reflects an artist who is just as layered, and at 30 years of age, Kyle has a lot of depth. He’s continuing to grow and it’s become more evident in his recent departure from the city that gave birth to his music success. In the future I hope to see his albums receive even greater attention outside of the southern region. Until then, we can hope for more good things to come.
Artist: Kyle Hubbard
Genre: Hip-Hop, Garage House
Review date: 2/18/2018
Album release date: 9/18/2017
9 Songs, 35 minutes
Artist’s third album
Lyrical content: 7
Theme: 6
Production quality: 8
Song development: 7
Context in genre: 5
Although not many Hip-Hop fans will ever hear of Kyle Hubbarb, or his latest project, All Good Things Come, I think it’s a really interesting album to review, and one I found myself positively lost in.
To start, the Houston rapper, by way of Arkansas, has the lyrical chops to spit with the best of them. While his raps are dynamic and sharp he has the lazy tendency to rely on the same flow. The song could include lines about tooth paste or be about overdosing on alcohol and Kyle’s flow won’t change a bit. With the predictable style, some of Kyle’s more impressionable lines don’t go over as well as they could’ve.
The theme on this album is ultimately hopeful, however, as the album progresses death, sin, and our primitive vices occupy the subject matters to a depressing extent. Kyle, however, has a good way at taking our minds off things by breaking in some humor now and again. There’s a great line about health care that is well worth the listen on the album highlight ‘Swan’.
Another exceptional element to the AGTC is the instrumentation. I absolutely love the jazzy bridges thrown in the mix, the country styled outros, as well as some energetic rock chords. Kyle isn’t afraid to experiment and we’re better off for it, because he’s done a very good job at it. The dynamic production reflects an artist who is just as layered, and at 30 years of age, Kyle has a lot of depth. He’s continuing to grow and it’s become more evident in his recent departure from the city that gave birth to his music success. In the future I hope to see his albums receive even greater attention outside of the southern region. Until then, we can hope for more good things to come.
Album: Mother Earth’s Plantasia
Artist: Mort Garson
Genre: Easy listening, Electronic
Review date: 4/16/2018
Album release date: 1976
Lyrical content: N/A
Theme: 10
Production quality: 9
Song development: 7
Context in genre: 9
In 1969, Mort Garson dropped the earliest recording of the Moog Synthesizer in action. The staple instrument went from the fringes of psychedelic music to center stage on the pop stage. Make no mistake, the ubiquity of the Moog Synthesizer over the years is a direct reflection of its use by talented artists like Mort Garson. The Canadian producer pushes the boundaries of the avant-garde instrument even further in 1976, with the concept album, Plantasia.
While the music was intended to help plants grow, I can’t help but notice its therapeutic qualities to the human brain. Hypnotic singular synth lines on songs like ‘Ode to An African Violet’ are both pleasant and extremely entrancing. The trances this album creates is testament to Garson’s skills with the synthesizer. For instance, on the cut ‘Symphony for a Spider Plant’ the dancing percolations come across like an unidentified alien radar. Some of the impressive dizzying effects that are pulled off on Plantasia reflect an artist ambitiously dabbling with a new frontier in music.
Easy listening electronic music is a common sub-genre in today’s EDM landscape. The sound reached a sort of peak in Daft Punk’s 2013 Album-Of-the-Year winning project, Random Access Memories. On some of the album’s transitions one can hear remarkably similar dizzying synths reminiscent of tracks on Plantasia. The classic album’s impact continues to be felt over 40 years later.
Mother Earth’s Plantasia is the last album made from the legendary producer. Like some of the songs on Plantasia, Garson creeped in and out of the music scene with little notice, but heavy impact. We recommend listening to this album on a warm summer morning, while the sun is shining through the shades and the delicate synthesizers soak you in absolute euphoria. This music seems to come from the earth itself and can maybe help people grow as well.
Artist: Mort Garson
Genre: Easy listening, Electronic
Review date: 4/16/2018
Album release date: 1976
Lyrical content: N/A
Theme: 10
Production quality: 9
Song development: 7
Context in genre: 9
In 1969, Mort Garson dropped the earliest recording of the Moog Synthesizer in action. The staple instrument went from the fringes of psychedelic music to center stage on the pop stage. Make no mistake, the ubiquity of the Moog Synthesizer over the years is a direct reflection of its use by talented artists like Mort Garson. The Canadian producer pushes the boundaries of the avant-garde instrument even further in 1976, with the concept album, Plantasia.
While the music was intended to help plants grow, I can’t help but notice its therapeutic qualities to the human brain. Hypnotic singular synth lines on songs like ‘Ode to An African Violet’ are both pleasant and extremely entrancing. The trances this album creates is testament to Garson’s skills with the synthesizer. For instance, on the cut ‘Symphony for a Spider Plant’ the dancing percolations come across like an unidentified alien radar. Some of the impressive dizzying effects that are pulled off on Plantasia reflect an artist ambitiously dabbling with a new frontier in music.
Easy listening electronic music is a common sub-genre in today’s EDM landscape. The sound reached a sort of peak in Daft Punk’s 2013 Album-Of-the-Year winning project, Random Access Memories. On some of the album’s transitions one can hear remarkably similar dizzying synths reminiscent of tracks on Plantasia. The classic album’s impact continues to be felt over 40 years later.
Mother Earth’s Plantasia is the last album made from the legendary producer. Like some of the songs on Plantasia, Garson creeped in and out of the music scene with little notice, but heavy impact. We recommend listening to this album on a warm summer morning, while the sun is shining through the shades and the delicate synthesizers soak you in absolute euphoria. This music seems to come from the earth itself and can maybe help people grow as well.
Album: Discovery
Artist: Daft Punk
Genre: Disco, Garage House
Review date: 2/18/2018
Album release date: 2/27/2001
Songs, 61 minutes
Groups second album
Lyrical Content: 7
Theme: 9
Production quality: 9
Song development: 9
Context in genre: 8
In their second serving, Daft Punk risks their integrity as well as their fan base. With Discovery, the French duo leap from the periphery of mainstream disco scene to center stage. If history had score cards then they would show that Daft Punk landed with excellent form.
Guy and Thomas act as a bridge between their humblest influences and what the future of electronic music could sound like. ‘Digital Love’ features a George Duke sample that sounded substantially more futuristic, than nostalgic. I would easily believe it if someone told me it was recorded in outer space. The French duo continues to look ahead with tracks like ‘Crescendolls’. On this album standout, the group bring together a collection of sounds to create a house party from the future. They also take risks synthesizing the guitar on another album highlight, Aerodynamic. On this track, a lofty electronic guitar skates across a moving backdrop which features an even more erratic synthesized guitar. Most of these risks have become common place in modern pop music.
Before the ubiquity of auto tune, Daft Punk was heavily using the vocoder to stand out from the crowd. On nearly every track where there is vocals, Guy is the one performing through a vocoder. He doesn’t give a typical vocal performance however. Instead, the filter gives him an extraterrestrial presence. For instance, on the dreamy house track ‘One More Time’ the strange vocals entrance the listener to never stop dancing. A few songs down the track listing, on the smash hit, ‘Better, Faster, Stronger’ the repetitive, yet catchy, hook does nothing short of demand the listener to notice the peculiar ways in which we prioritize work over play. These critiques of society sound like they’re coming from an alien observer. That’s the effect of the computerized accent Guy has developed with a vocoder.
Maybe Discovery was a warning, and we’re in the workaholic world they were warning us about. In lieu of that accurate prediction, they seemed to also spearhead the electronic music and modern house. The French duo may have come up with a few discoveries after all.
Artist: Daft Punk
Genre: Disco, Garage House
Review date: 2/18/2018
Album release date: 2/27/2001
Songs, 61 minutes
Groups second album
Lyrical Content: 7
Theme: 9
Production quality: 9
Song development: 9
Context in genre: 8
In their second serving, Daft Punk risks their integrity as well as their fan base. With Discovery, the French duo leap from the periphery of mainstream disco scene to center stage. If history had score cards then they would show that Daft Punk landed with excellent form.
Guy and Thomas act as a bridge between their humblest influences and what the future of electronic music could sound like. ‘Digital Love’ features a George Duke sample that sounded substantially more futuristic, than nostalgic. I would easily believe it if someone told me it was recorded in outer space. The French duo continues to look ahead with tracks like ‘Crescendolls’. On this album standout, the group bring together a collection of sounds to create a house party from the future. They also take risks synthesizing the guitar on another album highlight, Aerodynamic. On this track, a lofty electronic guitar skates across a moving backdrop which features an even more erratic synthesized guitar. Most of these risks have become common place in modern pop music.
Before the ubiquity of auto tune, Daft Punk was heavily using the vocoder to stand out from the crowd. On nearly every track where there is vocals, Guy is the one performing through a vocoder. He doesn’t give a typical vocal performance however. Instead, the filter gives him an extraterrestrial presence. For instance, on the dreamy house track ‘One More Time’ the strange vocals entrance the listener to never stop dancing. A few songs down the track listing, on the smash hit, ‘Better, Faster, Stronger’ the repetitive, yet catchy, hook does nothing short of demand the listener to notice the peculiar ways in which we prioritize work over play. These critiques of society sound like they’re coming from an alien observer. That’s the effect of the computerized accent Guy has developed with a vocoder.
Maybe Discovery was a warning, and we’re in the workaholic world they were warning us about. In lieu of that accurate prediction, they seemed to also spearhead the electronic music and modern house. The French duo may have come up with a few discoveries after all.
Album: Pure Comedy
Artist: Father John Misty
Genre: Indie Rock, Baroque pop
Review date: 12/25/17
Album drop date: 4/7/17
13 songs. 74:17 minutes
Artist's 3rd album
Lyrical Content: 10
Theme: 10
Production Quality: 10
Song Development: 8
Context in genre: 9
Crashing down from the peak of humanity's accomplishments are our tolerance, respect for institutions, and goodwill. What remains at the peak are our stubbornness, disconnect from nature, and our joint frustrations at the world. This is the dismal scene that illustrates Misty's worldview for his epic, Pure Comedy.
While he has a tendency to get long winded on this project his devotion to detail is admirable. Every line appears to be carefully executed and backed up with significant meaning. Even if you disagree with his center-left perspective on hot topics like religion and the role of entertainment, there's something about his audacity to address these topics directly which deserves an applause. What comes in a strong supporting role is the sophisticated broadway styled instrumentation.
Misty recruits renowned mastering engineer Bob Ludwig to help him score the album. This remarkable contribution truly elevates Pure Comedy into a league of its own. The strings come in at precisely the right time, and the overall production takes a comfortable back seat when it needs to. With Pure Comedy, Misty demonstrates artistic growth to a resounding degree and delivers an insightful think piece that will leave us questioning our reality for years to come.
Artist: Father John Misty
Genre: Indie Rock, Baroque pop
Review date: 12/25/17
Album drop date: 4/7/17
13 songs. 74:17 minutes
Artist's 3rd album
Lyrical Content: 10
Theme: 10
Production Quality: 10
Song Development: 8
Context in genre: 9
Crashing down from the peak of humanity's accomplishments are our tolerance, respect for institutions, and goodwill. What remains at the peak are our stubbornness, disconnect from nature, and our joint frustrations at the world. This is the dismal scene that illustrates Misty's worldview for his epic, Pure Comedy.
While he has a tendency to get long winded on this project his devotion to detail is admirable. Every line appears to be carefully executed and backed up with significant meaning. Even if you disagree with his center-left perspective on hot topics like religion and the role of entertainment, there's something about his audacity to address these topics directly which deserves an applause. What comes in a strong supporting role is the sophisticated broadway styled instrumentation.
Misty recruits renowned mastering engineer Bob Ludwig to help him score the album. This remarkable contribution truly elevates Pure Comedy into a league of its own. The strings come in at precisely the right time, and the overall production takes a comfortable back seat when it needs to. With Pure Comedy, Misty demonstrates artistic growth to a resounding degree and delivers an insightful think piece that will leave us questioning our reality for years to come.
Album: In Mind
Artist: Real Estate
Genre: Indie Rock, Jangle Pop
Review date: 11/14/17
Album drop date: 3/17/17
11 songs. 44 minutes
Group's 4th album
Lyrical Content: 8
Theme: 7
Production Quality: 9
Song Development: 8
Context in genre: 9
Context in genre: 8
I came into Real Estate’s 4th full length curious and unassuming. After giving the album a few listens I found their laid-back approach both welcoming and a sign of maturity. Instead of hitting you over the top of the head with an overbearing hook or chorus line their instrumentals wash over you with their pleasant sounds and mellow lyrics. The band’s more welcoming appeal has rewarded them with a consistent fan base, and a great track record in the dream pop genre. In Mind keeps to that tradition.
While the Jersey boys refrain from engaging listeners with rudimentary hooks, they accomplish the same goal with visually adaptive lyrics. From the gate, they liken loneliness to ‘the moon retreat(ing) from sight’ and depression to ‘darkness surrounding me’. These descriptive lines aren’t just explanatory, but carry triggers for sympathy. Only the most experienced song-writers understand this element of creating a song, and accomplish it with such precision.
Having come across Real Estate through music site articles, I had very little to go by in terms of context for this album listen. After reading over some reviews of In Mind I discovered that this album is chalk full of production risks paying off. This bit of information surprised me, because they sound naturally inclined to such arrangement explorations as extended guitar instrumentals over the minute mark, and separating the riffs, like on the opener of ‘Holding Pattern’ to both earphones independently.
Real Estate is a great reminder of the importance of consistency. They’ve been able to capture new fans by always stretching their comfort zones. This was always done with an active willingness to not compromise on their core sound and appeal. In the making of In Mind the band had done enough innovation and creativity to come up with possibly their greatest produced album yet. In this progressive step, Real Estate has proved that even in the wake of their lead vocalist abandoning the group their core essence was never lost.
Artist: Real Estate
Genre: Indie Rock, Jangle Pop
Review date: 11/14/17
Album drop date: 3/17/17
11 songs. 44 minutes
Group's 4th album
Lyrical Content: 8
Theme: 7
Production Quality: 9
Song Development: 8
Context in genre: 9
Context in genre: 8
I came into Real Estate’s 4th full length curious and unassuming. After giving the album a few listens I found their laid-back approach both welcoming and a sign of maturity. Instead of hitting you over the top of the head with an overbearing hook or chorus line their instrumentals wash over you with their pleasant sounds and mellow lyrics. The band’s more welcoming appeal has rewarded them with a consistent fan base, and a great track record in the dream pop genre. In Mind keeps to that tradition.
While the Jersey boys refrain from engaging listeners with rudimentary hooks, they accomplish the same goal with visually adaptive lyrics. From the gate, they liken loneliness to ‘the moon retreat(ing) from sight’ and depression to ‘darkness surrounding me’. These descriptive lines aren’t just explanatory, but carry triggers for sympathy. Only the most experienced song-writers understand this element of creating a song, and accomplish it with such precision.
Having come across Real Estate through music site articles, I had very little to go by in terms of context for this album listen. After reading over some reviews of In Mind I discovered that this album is chalk full of production risks paying off. This bit of information surprised me, because they sound naturally inclined to such arrangement explorations as extended guitar instrumentals over the minute mark, and separating the riffs, like on the opener of ‘Holding Pattern’ to both earphones independently.
Real Estate is a great reminder of the importance of consistency. They’ve been able to capture new fans by always stretching their comfort zones. This was always done with an active willingness to not compromise on their core sound and appeal. In the making of In Mind the band had done enough innovation and creativity to come up with possibly their greatest produced album yet. In this progressive step, Real Estate has proved that even in the wake of their lead vocalist abandoning the group their core essence was never lost.
Album: Cyclical
Artist: Small Circle
Genre: Alternative, emo, indie rock
Review date: 10/1/17
Album drop date: 9/8/17
10 songs. 24 minutes
Group's debut album
Rate: 8
General thoughts
Whenever I start to listen to a new artist, or, in particular, a new band, I’m always conscious of the genre’s position in modern culture and opinion. Rock isn’t the most exciting genre anymore, and its gutsy lead singers and songstresses feel like long lost artifacts compared to the typical mundane characters occupying today’s bigger bands. With that in mind, I don’t expect a newer band to be controversial or edgy, instead, I expect them to present some attractive music that I want in my life. Small Circle makes their presence known as a dynamic small guitar, bass, drum band with incredibly quaint and fun songs that I could hum for a while. Rock just got a little more exciting.
Melody seems to come naturally to the group, which I find to be impressive for a newer band. They accomplish this feat without sticking to a familiar verse-chorus-verse formula. Experimentation in song structure is a sign of a group familiar with one another. Such cohesion in band dynamic is evident in the outros, which come in the form of instrumental tirades or Cam and Miranda bellowing out into the abyss how things should have turned out.
The 3 to 4-minute song lengths appear to be a deliberative move, and although it works for the most part, I’m not sure it made album feel as finished by the end. For instance, I’m almost begging for the end of ‘Spinning’ to turn into a bridge rather than a resounding outro. I would have loved to hear ‘About You’ go on for a few more minutes, and ‘Ritual’ was ambitiously gaining steam before it’s less then 3-minute length closed the song too soon. These are creativity decisions that come with experience and live performance experimentations, unless this band sees their shorter lengths as a signature part of their appeal. I hope deliberations from the former turns out to be true.
Decorative song structures and quick memorable lines make for an enticing single or album highlight, but not an album as a whole. Small Circle makes the case to invest in their music for the foreseeable future, however, if they want to stand out amongst the foray of their peers, they’ll need to heighten their determination to make complete and fleshed out tracks. Fortunately, the foundations there, and I can’t wait to hear more from this band and the direction they plan to take their sound.
Rate: 7.5
Standout track(s): Spinning, Ritual, Cooler Mood
Artist: Small Circle
Genre: Alternative, emo, indie rock
Review date: 10/1/17
Album drop date: 9/8/17
10 songs. 24 minutes
Group's debut album
- We Belong Here: An endearing opener, with an enjoyable kick accompanied by some easy-going vocals.
Rate: 8
- Vague Consensus: An air of shameless punk reigns over this track while a beautiful melody carry’s it to a gorgeous place.
- Spinning: The most disappointing part of this song is its criminally short length. As an early end is unfortunately happening I cannot come to think of a better opportunity to input a capitalizing and exciting bridge. To save face, I suppose the band justifies the songs short length by exerting the clear chemistry of the two lead singers Cam and Marissa by their absolutely beautiful harmonization.
- Mornings: While the guitar has mysterious Mexican vibes going for it I'm afraid the layer of awkward sweet melody confuses this tracks purpose.
- Point Breeze: lighter and tender strings are excellently accompanied by a catchy melody. Can't come to figure out for the life of me why the singing on the bridge was so aggressive, and not in a loving way like the song presumes.
- Ritual: mesmerizing, like a daunting ritual transitioning adolescent members into adulthood.
- Stuartess: A sweet and gorgeous little ballad. The misfit of the relationship is covered by the adoring love that connects the singer and then muse.
- Futile: The most apparent emo song in the track listing this far. Filled with unforeseen habits and regretful contradictions this tracks flair of punk is attractive on many levels.
- Cooler Mood: A 'cooler mood' was magnificently captured by a combination of pretty keys and some light strummed chords.
- About You: I don't think I've ever listened to a band that uses two lead singers as interchangeably as Small Circle does, with that being said I like Miranda voice better. However, Cam drives this album home with a ferocious call out to a lover in the name of dual consideration. Both partners want to feel well and comforted.
General thoughts
Whenever I start to listen to a new artist, or, in particular, a new band, I’m always conscious of the genre’s position in modern culture and opinion. Rock isn’t the most exciting genre anymore, and its gutsy lead singers and songstresses feel like long lost artifacts compared to the typical mundane characters occupying today’s bigger bands. With that in mind, I don’t expect a newer band to be controversial or edgy, instead, I expect them to present some attractive music that I want in my life. Small Circle makes their presence known as a dynamic small guitar, bass, drum band with incredibly quaint and fun songs that I could hum for a while. Rock just got a little more exciting.
Melody seems to come naturally to the group, which I find to be impressive for a newer band. They accomplish this feat without sticking to a familiar verse-chorus-verse formula. Experimentation in song structure is a sign of a group familiar with one another. Such cohesion in band dynamic is evident in the outros, which come in the form of instrumental tirades or Cam and Miranda bellowing out into the abyss how things should have turned out.
The 3 to 4-minute song lengths appear to be a deliberative move, and although it works for the most part, I’m not sure it made album feel as finished by the end. For instance, I’m almost begging for the end of ‘Spinning’ to turn into a bridge rather than a resounding outro. I would have loved to hear ‘About You’ go on for a few more minutes, and ‘Ritual’ was ambitiously gaining steam before it’s less then 3-minute length closed the song too soon. These are creativity decisions that come with experience and live performance experimentations, unless this band sees their shorter lengths as a signature part of their appeal. I hope deliberations from the former turns out to be true.
Decorative song structures and quick memorable lines make for an enticing single or album highlight, but not an album as a whole. Small Circle makes the case to invest in their music for the foreseeable future, however, if they want to stand out amongst the foray of their peers, they’ll need to heighten their determination to make complete and fleshed out tracks. Fortunately, the foundations there, and I can’t wait to hear more from this band and the direction they plan to take their sound.
Rate: 7.5
Standout track(s): Spinning, Ritual, Cooler Mood
Album: Kin Sonic
Artist: Jupiter & Okwess
Genre: World, Country, Rock
Review date: 7/20/17
Album drop date: 3/3/17
10 songs. 24 minutes
Group's 2nd album
Hello: An ambitious opener, sequences an attractive lead guitar and exciting adlibs throughout. Welcome to the album.
8.8
Munonsu: A bit all over the place, production wise, but relentlessly on message. A decree of unity, heightened by an infectious dance number.
9.2
Ofakombolo: With incredible fast pace and dense rhythm this universal joy reflects the commonality it preaches.
8.3
Benanga: Some electrifying riffs on the back end of this thing really makes it pop out. Reaching independence complemented by powerful ambition are the themes, and it shows.
8.5
Pondjo pondjo: If I read the definition of pondjo currently, those saddening strings add depth to the sorrow felt from a loss of world possession. Admirably this song speaks against those connections to find solace in earthly energies. My early favorite.
9.4
Emikele Ngayon: A jubilant summer flavored song with a hook to rock on with.
8.6
Nkoy: This song exists possibly a warning. This song gives me some old western sentiments, with the horizon looking dim but steadfast in my earnest.
9.1
Nzele Momi: An up-tempo song that absorbs itself in its own fun. There may be a tinge of tragedy, from what I observed in the music video.
8.5
Le temps passe: Happy with the switch up to French, so I understood some of it. Ahhh relish in the passing of time...
8.9
Ekombe: Fantastic tune. Nuff said.
9.4
Bengai Yo: This album in a triumphant rock induced banger. The highs were there, with some native arrangements in the mix for taste.
8.0
Representing the Congolese people in the most honest fashion; Jupiter has gifted us with a project that gives a voice to a region that is too often forgotten. What's also astounding about Kin Sonic are it's themes, and their universality. Whether it's rewriting a crooked history for the sanctity of its heritage, or denouncing a corrupt government for not following up on its promise, these sentiments can be felt by billions of self-determined persons across the planet. It adds to mention that the music is pretty good too.
At the outset, with ‘Hello’, the only English-titled track, the group is welcoming it's listeners, recognizing their growth in audience with an aggressive guitar riff that rivals the foremost American classics, cue the rolling Stones. Hereafter they welcomed a plethora of genres, fusing parts of Congolese rumba, soul, folk, and country, among many others.
Culminating in a totally world sound album, Kin Sonic makes the trials facing mankind seem a little bit smaller, and forcing us to come to terms with our own country's shortcomings, makes a welcoming statement that we’re all kin in this fight for justice.
Rate: 8.5
Standout Track(s): Bangai Yo, Nkoy, Pondjo Pondjo
Artist: Jupiter & Okwess
Genre: World, Country, Rock
Review date: 7/20/17
Album drop date: 3/3/17
10 songs. 24 minutes
Group's 2nd album
Hello: An ambitious opener, sequences an attractive lead guitar and exciting adlibs throughout. Welcome to the album.
8.8
Munonsu: A bit all over the place, production wise, but relentlessly on message. A decree of unity, heightened by an infectious dance number.
9.2
Ofakombolo: With incredible fast pace and dense rhythm this universal joy reflects the commonality it preaches.
8.3
Benanga: Some electrifying riffs on the back end of this thing really makes it pop out. Reaching independence complemented by powerful ambition are the themes, and it shows.
8.5
Pondjo pondjo: If I read the definition of pondjo currently, those saddening strings add depth to the sorrow felt from a loss of world possession. Admirably this song speaks against those connections to find solace in earthly energies. My early favorite.
9.4
Emikele Ngayon: A jubilant summer flavored song with a hook to rock on with.
8.6
Nkoy: This song exists possibly a warning. This song gives me some old western sentiments, with the horizon looking dim but steadfast in my earnest.
9.1
Nzele Momi: An up-tempo song that absorbs itself in its own fun. There may be a tinge of tragedy, from what I observed in the music video.
8.5
Le temps passe: Happy with the switch up to French, so I understood some of it. Ahhh relish in the passing of time...
8.9
Ekombe: Fantastic tune. Nuff said.
9.4
Bengai Yo: This album in a triumphant rock induced banger. The highs were there, with some native arrangements in the mix for taste.
8.0
Representing the Congolese people in the most honest fashion; Jupiter has gifted us with a project that gives a voice to a region that is too often forgotten. What's also astounding about Kin Sonic are it's themes, and their universality. Whether it's rewriting a crooked history for the sanctity of its heritage, or denouncing a corrupt government for not following up on its promise, these sentiments can be felt by billions of self-determined persons across the planet. It adds to mention that the music is pretty good too.
At the outset, with ‘Hello’, the only English-titled track, the group is welcoming it's listeners, recognizing their growth in audience with an aggressive guitar riff that rivals the foremost American classics, cue the rolling Stones. Hereafter they welcomed a plethora of genres, fusing parts of Congolese rumba, soul, folk, and country, among many others.
Culminating in a totally world sound album, Kin Sonic makes the trials facing mankind seem a little bit smaller, and forcing us to come to terms with our own country's shortcomings, makes a welcoming statement that we’re all kin in this fight for justice.
Rate: 8.5
Standout Track(s): Bangai Yo, Nkoy, Pondjo Pondjo
Album: Still and Moving Lines of Silence in Families of Hyperbolas
Artist: Alvin Lucier & Nick Hennies
Genre: Classical, Avant-Garde
Review date: 5/14/17
Album drop date: 1972 (Original), (Version under review) 10/28/03
4 songs. 48 minutes
Composer’s 8th Project LP
Track by track:
The two composers put a very personal spin on typically layered instruments. Using four similar instruments from the struck idiophone subfamily these four tracks explore the range of the sound of their sonic capacity. On first listen the songs may have appeared warried or overextended, but as you explore the finer limits of each instrument each song is a personal sonic memoir. For instance, the expressions emitted by the Glockenspiel are a lot milder and timid than the resolute and identified Vibraphone.
It’s also interesting how these instruments are typically consumed by the listener out of this projects context. They are resoundingly similar, almost to a keen ear raised difference. What Alvin and Nick have accomplished here is exemplary drone music in our finest classical underdogs.
Rate: 9.0
Standout track(s): Glockenspiel
Artist: Alvin Lucier & Nick Hennies
Genre: Classical, Avant-Garde
Review date: 5/14/17
Album drop date: 1972 (Original), (Version under review) 10/28/03
4 songs. 48 minutes
Composer’s 8th Project LP
Track by track:
- Marimba: Drone music. Sound is packed with the droning note of a single chord with the repetitious belting of a Marimba. Not bad, extremely calming, opens up a space for proper concentration.
- Xylophone: A lot more awning, concisely tuned to the point of being mistaken for eerie tv static noise. Enjoyable, and whole heartedly music reserved for the half listening of background music.
- Glockenspiel: Lighter tone than previous two. More steady pauses. Shier approach. More delicate instrument, giving the song a more productive style.
- Vibraphone: Faster paced, emitting a more defining sound.
The two composers put a very personal spin on typically layered instruments. Using four similar instruments from the struck idiophone subfamily these four tracks explore the range of the sound of their sonic capacity. On first listen the songs may have appeared warried or overextended, but as you explore the finer limits of each instrument each song is a personal sonic memoir. For instance, the expressions emitted by the Glockenspiel are a lot milder and timid than the resolute and identified Vibraphone.
It’s also interesting how these instruments are typically consumed by the listener out of this projects context. They are resoundingly similar, almost to a keen ear raised difference. What Alvin and Nick have accomplished here is exemplary drone music in our finest classical underdogs.
Rate: 9.0
Standout track(s): Glockenspiel
Album: Vampire EP
Artist: Mai Lan
Genre: Alternative
Review date: 4/8/17
Album drop date: 3/8/17
5 songs. 17 minutes
Songstress’s 2nd LP
Track by track:
Mai Lan emits the sonic value of an aspiring pop star. Not yet dynamic enough in really generating any noticeable buzz other than making the typical Spotify weekend playlist, or mid to high on a viral list here and there. The French-Vietnamese songstress has the looks to play the part, but the substance is sadly not strong enough.
There are bright moments on Vampire, which should be noted is an EP and only a taste of what the artist has to offer. If she is able to transfer the witty satire of ‘Technique’, the textured brooding on ‘Haze’, and quick pop appeal of ‘Vampire’ then her progression in the upcoming year is positive.
Rate: 5
Standout(s): Haze, Technique.
Artist: Mai Lan
Genre: Alternative
Review date: 4/8/17
Album drop date: 3/8/17
5 songs. 17 minutes
Songstress’s 2nd LP
Track by track:
- Pas d’amour: A passionate, sorrowing tale on love.
- Vampire: A care-free bubble gum pop tune reminiscent of less-appealing features of M.I.A…
- Nail Polish: Another directionless synth heavy filler. With an unimaginative chorus and weak lyrical content, I can’t help but question the motive around this EP’s release.
- Haze: A delightfully daunting track on the ever-search for love. Mai’s lyrics come across as interesting and attractive, with a catchy high hat and drawing string section to match.
- Technique: Fast-paced, barely audible, but a catchy closing track. Still a bizarre approach to the subject matter, but is upbeat enough to keep the ears perked.
Mai Lan emits the sonic value of an aspiring pop star. Not yet dynamic enough in really generating any noticeable buzz other than making the typical Spotify weekend playlist, or mid to high on a viral list here and there. The French-Vietnamese songstress has the looks to play the part, but the substance is sadly not strong enough.
There are bright moments on Vampire, which should be noted is an EP and only a taste of what the artist has to offer. If she is able to transfer the witty satire of ‘Technique’, the textured brooding on ‘Haze’, and quick pop appeal of ‘Vampire’ then her progression in the upcoming year is positive.
Rate: 5
Standout(s): Haze, Technique.
Album: The Feminine: Act 1
Artist: Anna Wise
Genre: Electronic
Review date: 2/19/17
Album drop date: 4/26/16
7 songs. 18 minutes
Songstress’s debut album
Track by track:
Rate: 7.8
Verdict:
The wave of feminism is at its most noticeable as well as its most toxic. Anna decides to give us the fine line to where she stands. The offensive name-calling and dehumanizing ways by which women are handled in society finds itself as the centerpiece to Anna’s sonic direction. In surprisingly powerful anthemic tracks she captures the grudge felt by the female gender, and in the moment calls for unity, understanding, and for blame to be properly given out.
Where Anna steers left is towards the very end on the album, on the finale, ‘Go’. Everything she sings and puts out in this art piece is finally woven into a fruitful piece of the chorus where she goes:
‘I used to love it, love it
But you still love it’
It’s a love song buts its message rings true from the theme throughout the album. In society where they were both adhering to the norms he remained in love with it, and in conjunction her, while she found herself apart from it, completely disgusted with its ramifications. The relationship ended, and Anna now knows how she likes to be treated, along with all women, for they deserve better.
Rate: 8.6
Standout track(s): ‘Decrease My Waist, Increase My Wage’, ‘Go’.
Artist: Anna Wise
Genre: Electronic
Review date: 2/19/17
Album drop date: 4/26/16
7 songs. 18 minutes
Songstress’s debut album
Track by track:
- The Feminine: Artfully addressing the topic of the album with a serene string backdrop. A woman right has been opened.
- Precious Possession: There’s two things going on here. Anna is conjuring up this idealist persona of the perfect women ‘Blank slate big smile, nice pout long hair, toned thighs big legs’. At the same time, she’s pressuring this socialized norm, exclaiming that she’s lying to herself, not really in love with this unattainable goal of beauty and attraction. Sonically the song is top notch, incredible waning drums and dreary chords.
- How Would You Call a Dog?: Bringing to light the incredible crude and disrespectful way women can be addressed in public or private. This interlude is comparing the incessant cat-calling to that of an actual dog.
- BitchSlut: The banger of the album! Here Anna takes full on the problem that persists in our society. In a lot of cases, the woman merely can’t win.
- Decrease My Waist, Increase My Wage: Turns out I mis-stepped in my previous track review and THIS is the album banger. Touching upon the importance of unity among women in a very hate-filled world Anna brings the heat here. The 808’s are punchy, and some of her lines are pretty rap-like and ‘coool’.
- Girl, Mother, Crone: It’s hard not to head bop to this short tune here. Mocking the gender roles of the present in repeating fashion, similar to its
Rate: 7.8
- Go: Flossy and self-empowering, Anna rolls out the album in style in one of the more dynamic and flexed out songs on the album.
Verdict:
The wave of feminism is at its most noticeable as well as its most toxic. Anna decides to give us the fine line to where she stands. The offensive name-calling and dehumanizing ways by which women are handled in society finds itself as the centerpiece to Anna’s sonic direction. In surprisingly powerful anthemic tracks she captures the grudge felt by the female gender, and in the moment calls for unity, understanding, and for blame to be properly given out.
Where Anna steers left is towards the very end on the album, on the finale, ‘Go’. Everything she sings and puts out in this art piece is finally woven into a fruitful piece of the chorus where she goes:
‘I used to love it, love it
But you still love it’
It’s a love song buts its message rings true from the theme throughout the album. In society where they were both adhering to the norms he remained in love with it, and in conjunction her, while she found herself apart from it, completely disgusted with its ramifications. The relationship ended, and Anna now knows how she likes to be treated, along with all women, for they deserve better.
Rate: 8.6
Standout track(s): ‘Decrease My Waist, Increase My Wage’, ‘Go’.
Album: Varmints
Artist: Anna Meredith
Genre: Electronic
Review date: 1/6/17
Album drop date: 4/4/16
11 songs. 45 minutes
Composer’s debut album
Track by track:
1) Nautilus: A hypnotic opener presents with a cinematic presence. The repetitious shifts that kept returning added anxiousness and anticipation for a grand finish.
Rate: 8.8
2) Taken: Unexpectedly lyrics per further review, ‘taken’ comments on the polarization of political parties and hyper tension of todays culture. Complemented by uplifting light dual vocals that share the range of opinions in the world.
Rate: 9.0
3) Scrimshaw: Working as an audio telling of a scrimshaw carving this song explores a tale of its own. The drum loops in the mid-section and tale end of the track exemplify a wave sensation while the whirling percussions emit adventure and the future.
Rate: 9.5
4) Something Helpful: The integral vocal layering that remains a strongsuit of the album is a highlight for something helpful. Through the mixing of ideas the verse/chorus’s sound like a delightful argument with no end in sight.
Rate: 9.2
5) R-Type: Easily could have been pulled off as a video game soundtrack track. THe title is in direct reference to a famous alien video game circa 80’s. A combustion felt finish leaves the song in a state of euphoric entertainment, the plight of every game led child.
Rate: 8.5
6) Dowager: Masterpiece. Listen and love.
Rate: 10
7) The Vapours: This decorative electric thrill feels like the cure to music’s mundane continuity.
Rate: 8.5
8) Honeyed Words: Simultaneously eerie and beautiful, this track beckons to
be realized and sends waves of mystery and yearning.
Rate: 8.6
9) Last Rose: Through some thin and enticing violins the song was euphorically elevated to extended heights of anxious compassion and love. Almost as beautiful as the summer is nostalgic the texture of the instrumentation was clean and pleasant.
Rate: 9.1
10) Shill: As the song progresses, so the thickness of the production, building and building into this monstrous overtop border line metal record. Similar to the steady realization that everything you know about a situation is a little weird, off even. That is until you’ve realized that you’ve been conned.
Rate: 8.6
11) Blackfriars: A dampening conclusion, showcasing a friar never ending love and solemn forgiveness.
Rate: 9.6
Anna Meredith touches on a number of subjects on this ambitiously startlingly debut project. Her mature depth in lyrical content as well as sonic experimentation are comforting factors for a new artist’s foundational longevity. This inherent depth in her music is rooted on the importance of duality. It’s a strong statement on life, and it’s lack of simplicity. Through vocal layering, like on ‘Something Helpful’ an argument is taking place in a much more powerful and compelling way. The lack of communication between the two showcase a common thread in many dysfunctional relationships. This theme of duality exists in ‘Honeyed Words’ as well, where the sounds of two simultaneously playing violins represent the types of beauty words make, despite their connotations and historic relevance’s.
An existential questioning is also a reoccurring theme that runs through the album. The idea of natures ratio, the Fibonacci sequence, plays a crucial role in understanding the overarching drive of this albums meaning. For instance, the first track is titled ‘Nautilus’, a mollusk whose very shape exemplifies the sequences numerical order. Even the horns on this track surpass the changing arrangements unchanged, like the ubiquitous formula is nature. Nature’s connection to religion has been a correlation since the dawn of civilization, so it’s only right to end an album with such an existential presence with a song called ‘Blackfriars’. Neither the violin nor the behavior of the friar is aggressive nor outstandingly extroversive, but rather a relaxed disposition.
Varmints are pests and any animal undesired in a community, conclusively bent to be destroyed with haste. This may be a way by which Anna is attempting to tell us how our own earthly desires are corrupting our salvation, and causing more harm than we’d like to admit. Whether it’s relationships, videogames, drawings, money, or the seasons, our earthbound wants and urges must be better tailored to fit our needs. This sentiment is accurately portrayed in ‘Taken’:
‘And all our money running out; what seemed a good idea has fast become a fraying waste of time’
Our obsession with things that may be better prioritized is the plight of the human condition. Recognizing a problem is something we’ve always been good at, but the changing of habits, and confrontation of norms has been where the drawback occurs. Until that process is more effective and reveals itself in the progressive activities of people we will continue to unabashedly party and ignorantly scream yeah like in the chorus of ‘Taken’, sounds fun doesn’t it?
Rate:9.5
Standout tracks: ‘Scrimshaw’, ‘Dowager’, ‘Blackfriars’
Artist: Anna Meredith
Genre: Electronic
Review date: 1/6/17
Album drop date: 4/4/16
11 songs. 45 minutes
Composer’s debut album
Track by track:
1) Nautilus: A hypnotic opener presents with a cinematic presence. The repetitious shifts that kept returning added anxiousness and anticipation for a grand finish.
Rate: 8.8
2) Taken: Unexpectedly lyrics per further review, ‘taken’ comments on the polarization of political parties and hyper tension of todays culture. Complemented by uplifting light dual vocals that share the range of opinions in the world.
Rate: 9.0
3) Scrimshaw: Working as an audio telling of a scrimshaw carving this song explores a tale of its own. The drum loops in the mid-section and tale end of the track exemplify a wave sensation while the whirling percussions emit adventure and the future.
Rate: 9.5
4) Something Helpful: The integral vocal layering that remains a strongsuit of the album is a highlight for something helpful. Through the mixing of ideas the verse/chorus’s sound like a delightful argument with no end in sight.
Rate: 9.2
5) R-Type: Easily could have been pulled off as a video game soundtrack track. THe title is in direct reference to a famous alien video game circa 80’s. A combustion felt finish leaves the song in a state of euphoric entertainment, the plight of every game led child.
Rate: 8.5
6) Dowager: Masterpiece. Listen and love.
Rate: 10
7) The Vapours: This decorative electric thrill feels like the cure to music’s mundane continuity.
Rate: 8.5
8) Honeyed Words: Simultaneously eerie and beautiful, this track beckons to
be realized and sends waves of mystery and yearning.
Rate: 8.6
9) Last Rose: Through some thin and enticing violins the song was euphorically elevated to extended heights of anxious compassion and love. Almost as beautiful as the summer is nostalgic the texture of the instrumentation was clean and pleasant.
Rate: 9.1
10) Shill: As the song progresses, so the thickness of the production, building and building into this monstrous overtop border line metal record. Similar to the steady realization that everything you know about a situation is a little weird, off even. That is until you’ve realized that you’ve been conned.
Rate: 8.6
11) Blackfriars: A dampening conclusion, showcasing a friar never ending love and solemn forgiveness.
Rate: 9.6
Anna Meredith touches on a number of subjects on this ambitiously startlingly debut project. Her mature depth in lyrical content as well as sonic experimentation are comforting factors for a new artist’s foundational longevity. This inherent depth in her music is rooted on the importance of duality. It’s a strong statement on life, and it’s lack of simplicity. Through vocal layering, like on ‘Something Helpful’ an argument is taking place in a much more powerful and compelling way. The lack of communication between the two showcase a common thread in many dysfunctional relationships. This theme of duality exists in ‘Honeyed Words’ as well, where the sounds of two simultaneously playing violins represent the types of beauty words make, despite their connotations and historic relevance’s.
An existential questioning is also a reoccurring theme that runs through the album. The idea of natures ratio, the Fibonacci sequence, plays a crucial role in understanding the overarching drive of this albums meaning. For instance, the first track is titled ‘Nautilus’, a mollusk whose very shape exemplifies the sequences numerical order. Even the horns on this track surpass the changing arrangements unchanged, like the ubiquitous formula is nature. Nature’s connection to religion has been a correlation since the dawn of civilization, so it’s only right to end an album with such an existential presence with a song called ‘Blackfriars’. Neither the violin nor the behavior of the friar is aggressive nor outstandingly extroversive, but rather a relaxed disposition.
Varmints are pests and any animal undesired in a community, conclusively bent to be destroyed with haste. This may be a way by which Anna is attempting to tell us how our own earthly desires are corrupting our salvation, and causing more harm than we’d like to admit. Whether it’s relationships, videogames, drawings, money, or the seasons, our earthbound wants and urges must be better tailored to fit our needs. This sentiment is accurately portrayed in ‘Taken’:
‘And all our money running out; what seemed a good idea has fast become a fraying waste of time’
Our obsession with things that may be better prioritized is the plight of the human condition. Recognizing a problem is something we’ve always been good at, but the changing of habits, and confrontation of norms has been where the drawback occurs. Until that process is more effective and reveals itself in the progressive activities of people we will continue to unabashedly party and ignorantly scream yeah like in the chorus of ‘Taken’, sounds fun doesn’t it?
Rate:9.5
Standout tracks: ‘Scrimshaw’, ‘Dowager’, ‘Blackfriars’
Album: Street Corner Symphony
Artist: The Persuasions
Genre: Soul, a capella, R&B
Review Date: 12/1/16
Release Date: 1971
10 songs. 29:00
Group’s 3rd album
1) Buffalo Soldier: Absolutely stunning and breathtaking opener. This song is presumably about Native Americans and questioning when they'll receive the respect they deserve. The layering here really overwhelmed me with great emotion.
Rate: 9.5
2) Good Times: The recently popularized track Good times is an uplifting soul ballad. Decorating the track with their pleasantly synced voices the group gives a telling expression of overcoming hard times.
Rate: 9.4
3) I could never Love Another (After Loving You): Beginning the song with a lack of understanding the reason his girl left him I find it funny how slowly throughout the song, as he sings through it, it becomes evident why she left. Beautifully sung and a sweet quick pace here.
Rate: 9.6
4) Tempts Jam: Don't Look Back/Runaway Child, Running Wild/Cloud Nine: What an effortless poppy tune. Encompassing FUN lyrics for young girls to fell motivated to as well as a Freestyle to ride out to.
Rate: 9.2
5) People Get Ready: one climatic and thrilling finisher in this song! A strong and passionate song about something that's coming...REVOLUTION! (I want to think)
Rate: 9.7
6) Christians Automobile: faith in God, short and simple! This song came through lie a sermon with the reat of the group backing the lead like a choir.
Rate: 8.5
7) The Man in Me: You what's a wonderful feeling? The emotion I have after listening to this track. Cute and steady paced.
Rate: 7.9
8) Be Good To Me Baby: The boys take a step back from their typical apologetic persona and want the ladies to take some accountability this time. Menacing choral vocals. Way to draw the true whole picture of the blame game.
Rate:8.4
9) So Much in Love: Here is a presented a fluttery summer tune, basking in the sun the group sings in the sheer love they have for this girl. Fantastic melody served by the background vocalist. Mesmerizing enough to convince me to sing along like I can sing a lick.
Rate: 8.8
10) Medley: He ain't Heaven, He's My Brother, You've got a friend: a wonderful medley, the boys showcase their vocal layering skills. Operating throughout the track like a true united entity. Super soulful
Rate:9.3
What impressed me the most about this album was the groups ability to shake and fold melody ever so effortlessly. In a music world where synthesizers used 60 times over by artist across the spectrum it's refreshing to hear music originate from the artist themselves. These guys were telling real stories, displaying honest insecurities and being unabashedly open.
The Persuasions have created soulful street corner styled gospel music since the 1960's coming out of Brooklyn New York. They've covered everyone from Elvis, to the Beatles and Sam Cooke. They've even made children albums and are known for their addition to the E.T. Soundtrack. Gaining traction in an era where it was just as important to be able to create a hit as it was to have the talent to sustain it the Persuasions surely had no issue persuading fans to love their music.
This compilation project was my introduction to the historic a cappella group and they did little disappoint. In fact I was graciously enthused by their nonchalant approach to developing melodies and hooks. Additionally I found their subject matter reminiscent of my own and could draw parallels and relate to their stories on a real personal level, which was encouraging as a listener, it made me feel like I could've known these guys and been friends. I will more than likely play this album from time to time and dig deeper into their discography to find even more gems in their catalogue.
Rate: 9.0
Standout(s):'Buffalo Solider', 'People Get Ready', 'I Could Never Love...'
Artist: The Persuasions
Genre: Soul, a capella, R&B
Review Date: 12/1/16
Release Date: 1971
10 songs. 29:00
Group’s 3rd album
1) Buffalo Soldier: Absolutely stunning and breathtaking opener. This song is presumably about Native Americans and questioning when they'll receive the respect they deserve. The layering here really overwhelmed me with great emotion.
Rate: 9.5
2) Good Times: The recently popularized track Good times is an uplifting soul ballad. Decorating the track with their pleasantly synced voices the group gives a telling expression of overcoming hard times.
Rate: 9.4
3) I could never Love Another (After Loving You): Beginning the song with a lack of understanding the reason his girl left him I find it funny how slowly throughout the song, as he sings through it, it becomes evident why she left. Beautifully sung and a sweet quick pace here.
Rate: 9.6
4) Tempts Jam: Don't Look Back/Runaway Child, Running Wild/Cloud Nine: What an effortless poppy tune. Encompassing FUN lyrics for young girls to fell motivated to as well as a Freestyle to ride out to.
Rate: 9.2
5) People Get Ready: one climatic and thrilling finisher in this song! A strong and passionate song about something that's coming...REVOLUTION! (I want to think)
Rate: 9.7
6) Christians Automobile: faith in God, short and simple! This song came through lie a sermon with the reat of the group backing the lead like a choir.
Rate: 8.5
7) The Man in Me: You what's a wonderful feeling? The emotion I have after listening to this track. Cute and steady paced.
Rate: 7.9
8) Be Good To Me Baby: The boys take a step back from their typical apologetic persona and want the ladies to take some accountability this time. Menacing choral vocals. Way to draw the true whole picture of the blame game.
Rate:8.4
9) So Much in Love: Here is a presented a fluttery summer tune, basking in the sun the group sings in the sheer love they have for this girl. Fantastic melody served by the background vocalist. Mesmerizing enough to convince me to sing along like I can sing a lick.
Rate: 8.8
10) Medley: He ain't Heaven, He's My Brother, You've got a friend: a wonderful medley, the boys showcase their vocal layering skills. Operating throughout the track like a true united entity. Super soulful
Rate:9.3
What impressed me the most about this album was the groups ability to shake and fold melody ever so effortlessly. In a music world where synthesizers used 60 times over by artist across the spectrum it's refreshing to hear music originate from the artist themselves. These guys were telling real stories, displaying honest insecurities and being unabashedly open.
The Persuasions have created soulful street corner styled gospel music since the 1960's coming out of Brooklyn New York. They've covered everyone from Elvis, to the Beatles and Sam Cooke. They've even made children albums and are known for their addition to the E.T. Soundtrack. Gaining traction in an era where it was just as important to be able to create a hit as it was to have the talent to sustain it the Persuasions surely had no issue persuading fans to love their music.
This compilation project was my introduction to the historic a cappella group and they did little disappoint. In fact I was graciously enthused by their nonchalant approach to developing melodies and hooks. Additionally I found their subject matter reminiscent of my own and could draw parallels and relate to their stories on a real personal level, which was encouraging as a listener, it made me feel like I could've known these guys and been friends. I will more than likely play this album from time to time and dig deeper into their discography to find even more gems in their catalogue.
Rate: 9.0
Standout(s):'Buffalo Solider', 'People Get Ready', 'I Could Never Love...'
Album: David Bowie
Artist: Black Star
Genre: Art Rock, Jazz, Experimental Rock
Review date: 11/10/16
Album drop date: 1/8/16
8 songs. 51:12 minutes
Artist’s 25th album
Track by Track Review
1)Blackstar: We’re in for a long jazzy ride! Extremely smooth and calming music. Bowie’s voice has this graceful presence that can alleviate ones stress and sense of unease.
Rate: 9
2) ‘Tis a Pity She Was a Whore’: Loved the riffs here, very emotional and grave tones here. It extended itself nicely and kept my attention.
Rate: 8
3)Lazarus: Reminiscing on the time he lived in New York. The strings and strums ring in nostalgia and looking back. I felt their subtle grooves soothing my ease and drifting me into a peaceful place.
Rate: 8.6
4)Sue (Or in a Season of Crime): More aggressive riffs mixed in with synthed out strings and Bowies voiced pushed back into the track created a very toxic and dangerous sounding track. He exuded anxiety and fright over a lover he’s concerned about.
Rate: 8.4
5)Girl Loves Me: The horns overcast this song with a daunting mystique. Bowie’s flow is ambitiously original and he’s beckoning for a past moment that passed way too fast.
Rate: 8.8
6)Dollar Days: Such a clear and descriptive depiction of nearing death.
Rate: 8.4
7) I Can’t Give Agent Everything Away: Very Breazy and exonerating track. Lingering notes spellbinding me to its glow.
Rate: 9.1
Verdict:
David has amazed me with a strong and dynamic album this far into his career and this close to his unfortunate death. Nowhere can it be seen that his sharp mind for musicality has lost a sound bite. Whether it’s the title track, ‘Lazarus’, or the closing, ‘I cant Give Agent Everything Away’ Bowie is completely and utterly present in his current life stage. He’s without a doubt taking agency at a moment when most would want to give up and let life take them into its cruel dark side.
Death is understandably a reoccurring topic on Black Star and the sounds and moods of this album reverberate between old and new. Bringing the passions and sorrows of old school jazz with the distance and airy qualities of modern R&B Bowie presents to us an widely accessible album. The chords and vocals echo throughout the songs like death calls in deep underground chambers. We are dually at one with our inner mortality and driven to insanity by its innate mystery. Fine-tuned to ear marked precession Black Star doesn’t miss a key with every turn and chord progression.
Bowie’s presence isn’t extremely direct on the album either, with songs like ‘Sue’ and ‘Blackstar’ that take on contrastingly abstract and aggressive tones. This ability to showcase all parts of a song displays the importance of incorporating each instrument equally. David Bowie is one of the most iconic and creative artist in American popular music, and his legacy will carry on in artists and albums for years to come. We can only hope he left us in peace and is continuing on well on the side of a star, the black side.
Rate: 8.1
Standout(s): Black Star, Girls Love Me, I Can’t Give Agent Everything Away.
Artist: Black Star
Genre: Art Rock, Jazz, Experimental Rock
Review date: 11/10/16
Album drop date: 1/8/16
8 songs. 51:12 minutes
Artist’s 25th album
Track by Track Review
1)Blackstar: We’re in for a long jazzy ride! Extremely smooth and calming music. Bowie’s voice has this graceful presence that can alleviate ones stress and sense of unease.
Rate: 9
2) ‘Tis a Pity She Was a Whore’: Loved the riffs here, very emotional and grave tones here. It extended itself nicely and kept my attention.
Rate: 8
3)Lazarus: Reminiscing on the time he lived in New York. The strings and strums ring in nostalgia and looking back. I felt their subtle grooves soothing my ease and drifting me into a peaceful place.
Rate: 8.6
4)Sue (Or in a Season of Crime): More aggressive riffs mixed in with synthed out strings and Bowies voiced pushed back into the track created a very toxic and dangerous sounding track. He exuded anxiety and fright over a lover he’s concerned about.
Rate: 8.4
5)Girl Loves Me: The horns overcast this song with a daunting mystique. Bowie’s flow is ambitiously original and he’s beckoning for a past moment that passed way too fast.
Rate: 8.8
6)Dollar Days: Such a clear and descriptive depiction of nearing death.
Rate: 8.4
7) I Can’t Give Agent Everything Away: Very Breazy and exonerating track. Lingering notes spellbinding me to its glow.
Rate: 9.1
Verdict:
David has amazed me with a strong and dynamic album this far into his career and this close to his unfortunate death. Nowhere can it be seen that his sharp mind for musicality has lost a sound bite. Whether it’s the title track, ‘Lazarus’, or the closing, ‘I cant Give Agent Everything Away’ Bowie is completely and utterly present in his current life stage. He’s without a doubt taking agency at a moment when most would want to give up and let life take them into its cruel dark side.
Death is understandably a reoccurring topic on Black Star and the sounds and moods of this album reverberate between old and new. Bringing the passions and sorrows of old school jazz with the distance and airy qualities of modern R&B Bowie presents to us an widely accessible album. The chords and vocals echo throughout the songs like death calls in deep underground chambers. We are dually at one with our inner mortality and driven to insanity by its innate mystery. Fine-tuned to ear marked precession Black Star doesn’t miss a key with every turn and chord progression.
Bowie’s presence isn’t extremely direct on the album either, with songs like ‘Sue’ and ‘Blackstar’ that take on contrastingly abstract and aggressive tones. This ability to showcase all parts of a song displays the importance of incorporating each instrument equally. David Bowie is one of the most iconic and creative artist in American popular music, and his legacy will carry on in artists and albums for years to come. We can only hope he left us in peace and is continuing on well on the side of a star, the black side.
Rate: 8.1
Standout(s): Black Star, Girls Love Me, I Can’t Give Agent Everything Away.
Album: Lady Wood
Artist: Tove Lo
Genre: Alternative
Review date: 10/31/16
Album drop date: 10/28/16
12 songs. 39 minutes
Singer’s 2th album
Track by track:
Fairy dust: Smoke is her fairy dust. This track introduces the synthetic texture of the album. 8
Influence: The sexy drug anthem continues with ‘Influence’. Tove finds herself feigning for certain vices all across the track, with Wiz as her degenerate hype-man. 9
Lady Wood: Tove's ability to create these flows and melodies in the verse is amazing. Here she wants the loving of someone whose been critiqued and looked down upon for their drug habits like she. Drugs and love are recurring themes so far. The rhythm is hard to catch at first, but once you find it, wow, extremely creative and catchy. 8.9
True Disaster: Another absorbent banger! Attracting men to enter her turbulent, disastrous world. The spaced-out drums on here release such passion and thrill, it's intoxicating. 8.3
Cool Girl: Bass alone has me grooooovin'! This track embraces the bad side yet again. Very hard-hitting, and a breezy exotic chorus. 8.5
Vibes: The High is officially over. Was feeling the acoustics, but not the crazed chorus melody, I suppose it represents the feigning personality. 7.9
Fire Fade (Chapter 2): The low commences with a dark and airy vocal display. Tove is lost in the drugs, and can't find her way out, let's find her.9.0
Don't Talk About It: Really good production, a bit of a mouth full in the chorus. Tove sets the scene artistically for each verse, describing the secrecy of party drugs and the innate unspoken consent given when in the proximity of the intake. A shiny depressing song 8.9
Imaginary friend: Outstanding song. Fun and exciting chorus over a belting vocal performance by Tove. Her drugs keep her going as well as fearless as she pursues further and further up her career ladder. A toxic bliss of a song 9.5
Keep It Single: A relationship threatens her curent state if being, and Tove is afraid. This song adequately represents that feeling of fear and repression. 8.3
Flashes: The plight of the paparazzi and media harassment. Tove chooses to back away from it. Here the chorus is ongoing taking most of the attention of the song. 8.7
WTF Love Is: What an enrapturing closing track, Tove is infused in this lifestyle with little end in sight, finalizing the track, and conclusively the album, with a 'I need another', let the cycle continue. Hey, it makes great and guilty music we love to enjoy (in secret). 9.2
Tove’s recent commercial success is in part due to her writing chops, exploring subject’s others still frown upon or contains stigma’s about, and her seemingly eloquent yet hazardous voice. On ‘Lady Wood’, Tove is as boundless and forward thinking as she’s ever been, expounding her thoughts on parties and drug culture all the way to the lines.
The album is split into the two sides of the crazy lifestyle, sharing the highs and low moments. Here we find Tove more focused, and controlling which emotions she wants to express when. I find this as reassuring that Tove is taking her artistry seriously and not just releasing banger after banger with no long term though process backing it. Her production all Lady wood is bombastic and spectacular. The level of intensity some of the songs conveys brings about the true euphoria the rush encompasses. Shout out to The Struts for some ridiculous tracks hard-hitting in ‘Imaginary Friend’ and ‘Cool gir’l.
Tove also completes very effective and thrilling choruses, and captures melodies very well in pockets of the track most artist save strictly for a chorus or bridge. This fine-tuned alteration from traditional song format is refreshing and explains a lot of the creative of the artist and how they work.
Tove has been quoted saying this is the first half of a double album and if that comes to be true than I’ll be more than happy to listen to more of this exciting gateway music. It’s a release from the pressures of daily life, and a conduit for carefree love and expression, two things I’m all for. I’m proud of Tove Lo for sticking to what she’s great at and what skyrocketed her success. May her lady wood continue to rise (pun intended).
Rate: 8.8
Standout(s): WTF Love Is, Imaginary Friend, & Lady Wood.
Artist: Tove Lo
Genre: Alternative
Review date: 10/31/16
Album drop date: 10/28/16
12 songs. 39 minutes
Singer’s 2th album
Track by track:
Fairy dust: Smoke is her fairy dust. This track introduces the synthetic texture of the album. 8
Influence: The sexy drug anthem continues with ‘Influence’. Tove finds herself feigning for certain vices all across the track, with Wiz as her degenerate hype-man. 9
Lady Wood: Tove's ability to create these flows and melodies in the verse is amazing. Here she wants the loving of someone whose been critiqued and looked down upon for their drug habits like she. Drugs and love are recurring themes so far. The rhythm is hard to catch at first, but once you find it, wow, extremely creative and catchy. 8.9
True Disaster: Another absorbent banger! Attracting men to enter her turbulent, disastrous world. The spaced-out drums on here release such passion and thrill, it's intoxicating. 8.3
Cool Girl: Bass alone has me grooooovin'! This track embraces the bad side yet again. Very hard-hitting, and a breezy exotic chorus. 8.5
Vibes: The High is officially over. Was feeling the acoustics, but not the crazed chorus melody, I suppose it represents the feigning personality. 7.9
Fire Fade (Chapter 2): The low commences with a dark and airy vocal display. Tove is lost in the drugs, and can't find her way out, let's find her.9.0
Don't Talk About It: Really good production, a bit of a mouth full in the chorus. Tove sets the scene artistically for each verse, describing the secrecy of party drugs and the innate unspoken consent given when in the proximity of the intake. A shiny depressing song 8.9
Imaginary friend: Outstanding song. Fun and exciting chorus over a belting vocal performance by Tove. Her drugs keep her going as well as fearless as she pursues further and further up her career ladder. A toxic bliss of a song 9.5
Keep It Single: A relationship threatens her curent state if being, and Tove is afraid. This song adequately represents that feeling of fear and repression. 8.3
Flashes: The plight of the paparazzi and media harassment. Tove chooses to back away from it. Here the chorus is ongoing taking most of the attention of the song. 8.7
WTF Love Is: What an enrapturing closing track, Tove is infused in this lifestyle with little end in sight, finalizing the track, and conclusively the album, with a 'I need another', let the cycle continue. Hey, it makes great and guilty music we love to enjoy (in secret). 9.2
Tove’s recent commercial success is in part due to her writing chops, exploring subject’s others still frown upon or contains stigma’s about, and her seemingly eloquent yet hazardous voice. On ‘Lady Wood’, Tove is as boundless and forward thinking as she’s ever been, expounding her thoughts on parties and drug culture all the way to the lines.
The album is split into the two sides of the crazy lifestyle, sharing the highs and low moments. Here we find Tove more focused, and controlling which emotions she wants to express when. I find this as reassuring that Tove is taking her artistry seriously and not just releasing banger after banger with no long term though process backing it. Her production all Lady wood is bombastic and spectacular. The level of intensity some of the songs conveys brings about the true euphoria the rush encompasses. Shout out to The Struts for some ridiculous tracks hard-hitting in ‘Imaginary Friend’ and ‘Cool gir’l.
Tove also completes very effective and thrilling choruses, and captures melodies very well in pockets of the track most artist save strictly for a chorus or bridge. This fine-tuned alteration from traditional song format is refreshing and explains a lot of the creative of the artist and how they work.
Tove has been quoted saying this is the first half of a double album and if that comes to be true than I’ll be more than happy to listen to more of this exciting gateway music. It’s a release from the pressures of daily life, and a conduit for carefree love and expression, two things I’m all for. I’m proud of Tove Lo for sticking to what she’s great at and what skyrocketed her success. May her lady wood continue to rise (pun intended).
Rate: 8.8
Standout(s): WTF Love Is, Imaginary Friend, & Lady Wood.
Album: Signs of Light
Artist: The Head and the Heart
Genre: Alternative, indie folk, indie rock
Review Date: 9/28/16
Release Date: 9/9/16
13 songs. 49:13
Band’s 3rd album
1.All We Ever Know: ‘when I sleep in the morning’. ‘she’s only in dreams’. Sweet piano keys. Fun chorus. Luscious chords. Effective violin. Generic sound however. Could limit their message.
Cute little opener. Nothing that honestly stood out from it, other than the personal touch of the string section. The lead singers voice is nothing I haven’t hear before either.
Rate: 8.2
2.City of Angels: punk rock start. Cruising music. ‘and I know just where my heart should be’. Cool woman intro. Up tempo, fun track. Piano on the end of this song, smoothing it out. Beautiful ethereal atmosphere. ‘I found a lot of love in this town’.
I really liked this tune right here. It wasn’t trying too hard to be a fast tracked fun song, but gradually grew on you, presenting different aspects of its appeal as the song progressed. My favorite part the latter half here, really organic feeling.
Rate: 8.5
3.Rhythms & Blues: YASSSSSS, now we’re getting somewhere. Guitar and drum combo magnificent. ‘ain’t it nice to be so loved’. ‘won’t you let me, drive you home’. Sullen voice, can get melancholy quick. Ironic cause these songs are in up tempo. VIOLIN!
Another great track. Really nice beat, and catchy rhythmic pattern. Had me head-nodding.
Rate: 8.7
4.False Alarm: Cool intro instrumental. ‘pages torn out, I made up my own word’. Imagine dragon esque. Cool vocal sample.
A more laid back track with more layers attributed to the overall continuation of the song. It was more complex, but the message was simple, avoid false love.
Rate: 8.3
Rate: 8.1
6.Library Magic: Old western feel. Cool country track. ‘self-imposed adventure, that selfishness drives’. Dual singing, girl and guy. Twinkling acoustic guitar, strumming along, catching the melody.
Subtle beauty in this song. I’d compare it to an 80’s love ballad. The acoustic guitar added a nice touch to an otherwise country twang tune.
Rate: 8.3
7.Turn It Around: Country twang with a late 90’s rock pop single appeal. Sweet background vocals. Bright tune. Cool insertion of synthesizers. New to the album.
There wasn’t much flavor to this song. Everything seemed too calculated and brand named. I wanted more character here, because I think the song was good, but could’ve been great.
Rate: 8.0
8.Colors: Reverse music? Night time beachy feel. ‘what can we say, when the love starts to fade away’. Women’s voice is such a relief.
Trevors insight: Good song, but not good enough to be popular. Sink back into obscurity, and it might be a hidden gem, but for a band at this quality, they don’t deserve it.
Rate: 7.8
Suggesting the passage of time, this song is a heartfelt ode to love. Lovely tune here.
Rate: 8.3
10.Oh My Dear: Guitar solo. Could be mixed better. ‘you can watch the dust collide’. Slow and emotional. ‘if that’s what it takes to be on and the same’. More inflections here. Vocal range pushed.
Beautiful evocative song. Filled with immense pain and longing. Amazing transition as well.
Rate: 8.1
Favorite song on the album, well done boys (and girl). Still had melancholy lyrics but with a bright outcome. The lyricist is an optimist when it comes to love.
Rate: 9.2
Calming and uplifting song. Almost suffered from being too even cut to the point where I wanted to sleep. I loved the singers voice, and the layering was on point. Kudos !
Rate: 8.7
13.Signs of Light: Piano intro. ‘what do you think, hope your thinking of me’.
Sweet ending tune, sorrow vocals that were spotlighted accurately.
Signs of Light proves to be an album that will suffice fans but not necessarily create a swathe of new ones. The music here is good, there is no doubt about it. The melodies on catchy tracks like ‘All We Ever Knew’ and ‘I don’t Mind’ are captivating and really exciting. However, where the band finds it shortcomings is in its tendency to sound generic, and done before. Half of the choruses on this album sounded familiar, and I have not heard of this band before last week. With that being said I would still consider this sound quality enough for a recommendation, but not a must hear album, or an under recognized talent.
The Head and the Heart are a Washington State centered band with a plethora of band mates. Their female songstress is an outstanding contributor to the music, and really lightens the mood while adding a sincere dynamic to songs. She elevates my moods on some and connects me closer to the songs purpose on others. The two lead singers sounded extra special and comfortable together on ‘Library Magic’ where everything they tried just worked!
The lyrics on here are sad and focus on a relationship that has ended. Most of the songs are nostalgic, but there isn’t necessarily a negative feeling about them. Instead there is a ‘sign of light’ at the end of the commitment. This is something I personally appreciated and found unique, whereas in usual relationship-ending songs the protagonist is typically bitter, or unequivocally saddened and damaged by it. This can be heard on the track ‘Take a walk’ where Josiah presents a positive outlook on where things may lead singing ‘its not as bad as you think’ encouraging a walk to be taken to clear the mind.
Sings of Light is a remarkably album that focuses on the bright side. In the tumultuous and sometimes troubling times of today this can be a real ear raiser and breath of fresh air. Must be all that clear air after the Washington rain. Continue what you guys do best and stay positive, it’s contagious.
Rate: 8.1
Standout(s): ‘I Don’t Mind’, Rhythm & Blues’, ‘Library Magic’.
Artist: The Head and the Heart
Genre: Alternative, indie folk, indie rock
Review Date: 9/28/16
Release Date: 9/9/16
13 songs. 49:13
Band’s 3rd album
1.All We Ever Know: ‘when I sleep in the morning’. ‘she’s only in dreams’. Sweet piano keys. Fun chorus. Luscious chords. Effective violin. Generic sound however. Could limit their message.
Cute little opener. Nothing that honestly stood out from it, other than the personal touch of the string section. The lead singers voice is nothing I haven’t hear before either.
Rate: 8.2
2.City of Angels: punk rock start. Cruising music. ‘and I know just where my heart should be’. Cool woman intro. Up tempo, fun track. Piano on the end of this song, smoothing it out. Beautiful ethereal atmosphere. ‘I found a lot of love in this town’.
I really liked this tune right here. It wasn’t trying too hard to be a fast tracked fun song, but gradually grew on you, presenting different aspects of its appeal as the song progressed. My favorite part the latter half here, really organic feeling.
Rate: 8.5
3.Rhythms & Blues: YASSSSSS, now we’re getting somewhere. Guitar and drum combo magnificent. ‘ain’t it nice to be so loved’. ‘won’t you let me, drive you home’. Sullen voice, can get melancholy quick. Ironic cause these songs are in up tempo. VIOLIN!
Another great track. Really nice beat, and catchy rhythmic pattern. Had me head-nodding.
Rate: 8.7
4.False Alarm: Cool intro instrumental. ‘pages torn out, I made up my own word’. Imagine dragon esque. Cool vocal sample.
A more laid back track with more layers attributed to the overall continuation of the song. It was more complex, but the message was simple, avoid false love.
Rate: 8.3
- Dreamer: Blues feel. Bass/electric guitar mix. ‘holding on for you!’. Raw feeling, part of the mix most likely. Lets gooooo!
Rate: 8.1
6.Library Magic: Old western feel. Cool country track. ‘self-imposed adventure, that selfishness drives’. Dual singing, girl and guy. Twinkling acoustic guitar, strumming along, catching the melody.
Subtle beauty in this song. I’d compare it to an 80’s love ballad. The acoustic guitar added a nice touch to an otherwise country twang tune.
Rate: 8.3
7.Turn It Around: Country twang with a late 90’s rock pop single appeal. Sweet background vocals. Bright tune. Cool insertion of synthesizers. New to the album.
There wasn’t much flavor to this song. Everything seemed too calculated and brand named. I wanted more character here, because I think the song was good, but could’ve been great.
Rate: 8.0
8.Colors: Reverse music? Night time beachy feel. ‘what can we say, when the love starts to fade away’. Women’s voice is such a relief.
Trevors insight: Good song, but not good enough to be popular. Sink back into obscurity, and it might be a hidden gem, but for a band at this quality, they don’t deserve it.
Rate: 7.8
- Take a Walk: Subtle violin nice. ‘take a walk…it’s not as bad as you think’. Catchy beat here. Relaxing song. ‘I try to erase you in the morning’. Cool drum bridge.
Suggesting the passage of time, this song is a heartfelt ode to love. Lovely tune here.
Rate: 8.3
10.Oh My Dear: Guitar solo. Could be mixed better. ‘you can watch the dust collide’. Slow and emotional. ‘if that’s what it takes to be on and the same’. More inflections here. Vocal range pushed.
Beautiful evocative song. Filled with immense pain and longing. Amazing transition as well.
Rate: 8.1
- I Don’t Mind: Guitar riff. Impeccable transition. ‘I crushed it into blue’. Fantastic vocals. Violin used well. ‘she told me, never come back alone’.
Favorite song on the album, well done boys (and girl). Still had melancholy lyrics but with a bright outcome. The lyricist is an optimist when it comes to love.
Rate: 9.2
- Your Mothers Eyes: Choir voices. Array of scattered instruments. Melody comes in. ‘don’t be afraid of the world, cause I’m right here’. A definitive folk band here.
Calming and uplifting song. Almost suffered from being too even cut to the point where I wanted to sleep. I loved the singers voice, and the layering was on point. Kudos !
Rate: 8.7
13.Signs of Light: Piano intro. ‘what do you think, hope your thinking of me’.
Sweet ending tune, sorrow vocals that were spotlighted accurately.
Signs of Light proves to be an album that will suffice fans but not necessarily create a swathe of new ones. The music here is good, there is no doubt about it. The melodies on catchy tracks like ‘All We Ever Knew’ and ‘I don’t Mind’ are captivating and really exciting. However, where the band finds it shortcomings is in its tendency to sound generic, and done before. Half of the choruses on this album sounded familiar, and I have not heard of this band before last week. With that being said I would still consider this sound quality enough for a recommendation, but not a must hear album, or an under recognized talent.
The Head and the Heart are a Washington State centered band with a plethora of band mates. Their female songstress is an outstanding contributor to the music, and really lightens the mood while adding a sincere dynamic to songs. She elevates my moods on some and connects me closer to the songs purpose on others. The two lead singers sounded extra special and comfortable together on ‘Library Magic’ where everything they tried just worked!
The lyrics on here are sad and focus on a relationship that has ended. Most of the songs are nostalgic, but there isn’t necessarily a negative feeling about them. Instead there is a ‘sign of light’ at the end of the commitment. This is something I personally appreciated and found unique, whereas in usual relationship-ending songs the protagonist is typically bitter, or unequivocally saddened and damaged by it. This can be heard on the track ‘Take a walk’ where Josiah presents a positive outlook on where things may lead singing ‘its not as bad as you think’ encouraging a walk to be taken to clear the mind.
Sings of Light is a remarkably album that focuses on the bright side. In the tumultuous and sometimes troubling times of today this can be a real ear raiser and breath of fresh air. Must be all that clear air after the Washington rain. Continue what you guys do best and stay positive, it’s contagious.
Rate: 8.1
Standout(s): ‘I Don’t Mind’, Rhythm & Blues’, ‘Library Magic’.
Album: Home EP
Artist: Jessie James Decker
Genre: Country, pop
Review Date: 9/14/16
Release Date: 4/18/14
6 songs. 19:09
Girls Night: ‘making love, and not to remember’. Thin and funky chords. Care-free tune. A little busy, trying a tad hard to be pop country. Not sure if she has range yet.
Fast paced energetic opener. I’m feeling optimistic about the more refined sound and complexity of the EP. Overall I think it’ll be very brief and full of straight forward pop tracks with southern twang thrown in there for the country fans. Fun up tempo intro! Good job girl!
Rate: 8.6
Rain on the Roof of This Car: slow, violin and acoustic instrumental. ‘I like the sound of the rain on the roof of this car’. ‘falling hard like the rain on the roof of this car’. Nostalgic song.
Well the tone was definitely properly set with the strings and chord instrumental. What I wasn’t too fond of was the repetition, the verses were harshly over casted by dominant and expansive choruses. She ran into the same issue in the opener, maybe she’ll grow from it deeper into the track list. Loved the imagery however, and she has some distinctive notes that her hit on mark. Cool nostalgic tune here.
Rate: 8.1
Coming Home: passionate introduction. ‘let me tell you what im gonna do’. New pitch ??? ‘yeah’
THERE WE FUCKING GO JESSIE!!! At times in the previous tracks I was worried she sounded to similar to popular country pop artist that play that fine line between the two, creating a generic voice. Jessie fluctuates the notes effortlessly and expressively enough to keep my attention the whole time. The song was sweet and slow, with a warm comforting instrumental. I felt like I was drifting on a cloud. Best song yet!
Rate: 9.5
Diary: Electronic country pop time? I can dig it! ‘you told me all your secrets, you can tell me the truth’. Wordplay on this is strong. Dude has a diary? Interesting.
Okay, atypical premise, the girl is reading the BOYFRIENDS diary??? It makes sense, guys are usually pretty emotionally distant compared to their female companions. I wouldn’t normally think of it, so I was caught off guard and held in attention. Swell track here.
Rate: 8.8
Breaking Your Heart: wedding music vibe. ‘Reached from my heart, when the light turned green, I was only 17’. That gush at the end was very well put!!!! Hit the perfect spot.
Very mild and chilled out love song. Remembrance on an old love whose moment can’t be recreated, despite the urge to do so (man, can I reLATE! UGHHH). Loved her vocals on here, contracting her own sound here. Proud.
Rate: 9.2
Mama Wrote You a Lullaby: Bring us home with straight country! Is this a cover? Delicate notes.
SUCH A TREAT. Sweet and pretty vocals complemented by a minimalist chord progression. I loved it.
Rate: 9.8
Verdict:
Jessie James, despite her pop looks, star capabilities, and production team, is a country singer. I hear it the notes she naturally reverts to on songs like ‘Diary’ and ‘Rain on the Roof…’. Reading through her biography I found out that this album came after she was dropped from her label Show Dog-Universal Music for refusing to adopt their vision of her, and instead stood to her convictions and passion and decided to make her own country project. I am more than proud of her for that.
Of course to stand up to a label is extremely difficult for numerous reasons, and she surely lost money for this decision, but sometimes making the right decision is not always the one that will benefit you in the short-term. Jessie sounds great on this project, and her happiness shines through. With the energetic and powerful intro track ‘Girls Night’ we can see the 26 year old enjoying life, and not letting the dissenters and powers-that-be control her sense of self and image. All of the artist that she could have sounded like and even was told to sound like (her label apparently told her to sound more like Britney spears early in her career) end up not forming due to her will to sound like herself and express life in her inherently unique way. Mix this with putting her in intensive recording session with producers from all types of genres from pop to hip-hop, a weaker willed person would have lost their way and sunk under such overbearing influences. Jessie, however, proved she was and still is stronger that than.
Instead of falling for misty label promises and adjusting to people who want to make more money out of you every day rather than see you smile and genuinely enjoy what you’re creating, Jessie came home, to country music. Now, there is tinge’s of pop in here, and some of the overarching production sounds are pop centric, however, the bubbling undertone of her voice and writing style is undeniable that of country. She was met with resounding support upon her homecoming, by making it a #1 album on the Itunes top albums chart and peaking at an astounding #5 on the billboards top-country albums. With home comes love, and Jessie returned with the love and support of fans and music listeners alike. I’m glad I was able to hear here express herself in such a comfortable and natural state.
Rate: 9.0
Standout(s): ‘Coming Home’, ‘Breaking Your Heart’, ‘Mama Wrote You a Lullaby’
Artist: Jessie James Decker
Genre: Country, pop
Review Date: 9/14/16
Release Date: 4/18/14
6 songs. 19:09
Girls Night: ‘making love, and not to remember’. Thin and funky chords. Care-free tune. A little busy, trying a tad hard to be pop country. Not sure if she has range yet.
Fast paced energetic opener. I’m feeling optimistic about the more refined sound and complexity of the EP. Overall I think it’ll be very brief and full of straight forward pop tracks with southern twang thrown in there for the country fans. Fun up tempo intro! Good job girl!
Rate: 8.6
Rain on the Roof of This Car: slow, violin and acoustic instrumental. ‘I like the sound of the rain on the roof of this car’. ‘falling hard like the rain on the roof of this car’. Nostalgic song.
Well the tone was definitely properly set with the strings and chord instrumental. What I wasn’t too fond of was the repetition, the verses were harshly over casted by dominant and expansive choruses. She ran into the same issue in the opener, maybe she’ll grow from it deeper into the track list. Loved the imagery however, and she has some distinctive notes that her hit on mark. Cool nostalgic tune here.
Rate: 8.1
Coming Home: passionate introduction. ‘let me tell you what im gonna do’. New pitch ??? ‘yeah’
THERE WE FUCKING GO JESSIE!!! At times in the previous tracks I was worried she sounded to similar to popular country pop artist that play that fine line between the two, creating a generic voice. Jessie fluctuates the notes effortlessly and expressively enough to keep my attention the whole time. The song was sweet and slow, with a warm comforting instrumental. I felt like I was drifting on a cloud. Best song yet!
Rate: 9.5
Diary: Electronic country pop time? I can dig it! ‘you told me all your secrets, you can tell me the truth’. Wordplay on this is strong. Dude has a diary? Interesting.
Okay, atypical premise, the girl is reading the BOYFRIENDS diary??? It makes sense, guys are usually pretty emotionally distant compared to their female companions. I wouldn’t normally think of it, so I was caught off guard and held in attention. Swell track here.
Rate: 8.8
Breaking Your Heart: wedding music vibe. ‘Reached from my heart, when the light turned green, I was only 17’. That gush at the end was very well put!!!! Hit the perfect spot.
Very mild and chilled out love song. Remembrance on an old love whose moment can’t be recreated, despite the urge to do so (man, can I reLATE! UGHHH). Loved her vocals on here, contracting her own sound here. Proud.
Rate: 9.2
Mama Wrote You a Lullaby: Bring us home with straight country! Is this a cover? Delicate notes.
SUCH A TREAT. Sweet and pretty vocals complemented by a minimalist chord progression. I loved it.
Rate: 9.8
Verdict:
Jessie James, despite her pop looks, star capabilities, and production team, is a country singer. I hear it the notes she naturally reverts to on songs like ‘Diary’ and ‘Rain on the Roof…’. Reading through her biography I found out that this album came after she was dropped from her label Show Dog-Universal Music for refusing to adopt their vision of her, and instead stood to her convictions and passion and decided to make her own country project. I am more than proud of her for that.
Of course to stand up to a label is extremely difficult for numerous reasons, and she surely lost money for this decision, but sometimes making the right decision is not always the one that will benefit you in the short-term. Jessie sounds great on this project, and her happiness shines through. With the energetic and powerful intro track ‘Girls Night’ we can see the 26 year old enjoying life, and not letting the dissenters and powers-that-be control her sense of self and image. All of the artist that she could have sounded like and even was told to sound like (her label apparently told her to sound more like Britney spears early in her career) end up not forming due to her will to sound like herself and express life in her inherently unique way. Mix this with putting her in intensive recording session with producers from all types of genres from pop to hip-hop, a weaker willed person would have lost their way and sunk under such overbearing influences. Jessie, however, proved she was and still is stronger that than.
Instead of falling for misty label promises and adjusting to people who want to make more money out of you every day rather than see you smile and genuinely enjoy what you’re creating, Jessie came home, to country music. Now, there is tinge’s of pop in here, and some of the overarching production sounds are pop centric, however, the bubbling undertone of her voice and writing style is undeniable that of country. She was met with resounding support upon her homecoming, by making it a #1 album on the Itunes top albums chart and peaking at an astounding #5 on the billboards top-country albums. With home comes love, and Jessie returned with the love and support of fans and music listeners alike. I’m glad I was able to hear here express herself in such a comfortable and natural state.
Rate: 9.0
Standout(s): ‘Coming Home’, ‘Breaking Your Heart’, ‘Mama Wrote You a Lullaby’
Album: Birds in the Trap Sing McKnight
Artist: Travis Scott
Genre: Trap, alternative R&B
Review date: 9/2/16
Release date: 9/2/16
14 Songs. 53:38 Minutes
The Artist's 2nd Album
Track by track:
1. the ends: ‘2am I live outside, looking but I cannot find’. Decorated production. Dark. Worm filter. Paranoid. Travis is more aware now. ANDRE!!!! loose beat, lots of dope open pockets. Great transition
Way to go Travis!!! Fine opener here, ambitious, powerful, made a statement, and had 3 stacks spitting a dynamic verse with a versatile flow.
Rate: 9.4
2. way back: ‘I can’t get no rest’ Samples from school boy, Swiss and Ye. Signature ‘YEAH’. Great airy yet darker keys used. Switch up! Cudi!!!!! Or at least Cudi like. This is gorgeous. Triumphant, what the hell, go Travis!!!!
Alright Travis, you are maintaining my attention whole heartedly. Keep it up. Amazing song, fantastic transition. Developed the song maturely and had an outstanding outro.
Rate: 8.6
3. coordinate: Travis friend voicemail. ‘Maria I’m Drunk’ keys, yessssss. ‘im gonna need some more if I really want to feel it’. ‘make that money fast if I have to’. Psychedelic production.
Not as captivating as the last two tracks, however the production quality was still there. He lacked in lazy lyrical content however.
Rate: 8.1
4. through the late night: has to be Cudi. Slow and steady, keep it up. Subtle build up! Cudi stretching that voice! Woo! Fun hook. ‘4 in the morning, how did I get in this place’. Day and night line by travis, changed it up! Haha sweet.
Awesome song that’s the result of a newly solidified voice in modern rap and his idol. This has that day and night feel with the Travis Scott angst party driven anthems that Cudi was previously known for. Both artist sound natural on this track, with no one outshining the other.
Rate: 8.0
5. biebs in the trap: ‘she got Anna Nicole, all in her nose’ ‘she says she wants more’. Cool mood ring line. ‘
Pretty good party song, woozy synths here, made me feel like I was on drugs .Okay, so let me get this straight… white is cocaine, and all white people’s name represents the drug, got it. Alright, back to the album.
Rate: 8.0
6. sdp interlude: WHEEWWWWWWWWWW!!! That sample or whatever the fuck this vocal input is, shit. Have to freestyle, HAVE TO! ‘smoke some, drink some, pop some’. Omg I love this. It’s so fucking catchy. Echoing outro.
YES YES YES!!!! MY BODIES READY FOR THE SECOND HALF!
Rate: 9.9
7. sweet sweet: flute reverbed out, no wait, whistling? No wait, 808’s woo!!!!! Fav song of Travis’s. Okay this is incredible. Simple yet passionate beat pattern. Switch up! Kacy would kill this.
Very good song, Travis really out did himself here. He sounded interesting, had a compelling melody and some strong 808’s to keep my head nodding.
Rate: 9.7
8. outside: fat beat, definitely sounds more like Houston this time. ‘all my niggas outside, ain’t going in, we’ve been hanging outside, and going in’.
Alright song, nothing too spectacular about it. Had a cool little verse and a funky beat, but that about covers it.
Rate: 8. 2
9. goosebumps: mumblings, hazy. ‘I get those goosebumps, when you’re not around me’ OOoooo this is really GOOD!!!!! Great flow, will be in my head for a whole day. KENDRICKKKKKKKK. King, just the king. Best song on the album.
YESSSSSSSS! Loving this album, great song. Kendrick delivered appropriately, and had me spazzing out of excitement. Smart idea to have no features listed, makes you appreciate the song more on the first listen and understand its artist working in unison not just surprise guest stealing the show.
Rate: 9.5
10. first take: murky ass synthesized drums. This is actually beautiful! In a travis way haha. Background vocals excellently utilized. Soul FUCKING SAMPLE!! I’m so happy with this track.
A slow track to reset the speed of the album, bring us back to basics. A beautiful ode to an ex presumably and still as gut wrenching and hazy as any party banger he makes.
Rate: 9. 4
11. pick up the phone: Phenomenal song, I already heard. Thugga thugga floating over this beat, Travis cascading through the beat. Still with dark undertone, the song manages to be up-tempo.
Rate: 9.5
12 lose: hard hitting strings. ‘I got shit to lose’. More firmly directed tracks.
Powerful song again, cinematic production with a wide range of appeal and captivity.
Rate: 9.2
12. guidance: faster pace. Island drums, catching the trend with his signature woozy sound.
Fun song, keeping the energy up for the finale of this album
Rate: 8.8
13. wonderful: heard this, loved it, it’s a WRAP!!!!
Rate: 9.0
Travis Scott is one of the foremost MC’s who, although he doesn’t consider himself a rapper, is as ambitious and forward thinking as any in the genre at the moment. With an idol and mentor as creatively aware as Kanye West, it is without doubt that this Houston rapper can continue to push the boundaries and sonic pallet the music world delivers on a normal basis. Rodeo, in my opinion, was a great debut album that showed a lot of promise and creativity. The only places where Travis seemed to miss was cohesiveness between tracks at times, and a sense of directionless artistry. This pitfall was surely avoided on Birds. This go around, Travis is focused and his murky echoing signature sound channels the darkest of metal and the brashness of gangster rap.
There is plenty to love on birds, with the lyrical exercise intro with an outstanding verse from the legendary rapper Andre 3000 (who I’m even more impressed by every single verse). Here, Travis is letting us into his stormy and outrageous lifestyle. Discussing fame, women, and partying is, to most, a side conversation, something that is only an escape from daily life, where the release that the conversation brings is filled with fun and practiced storytelling. For Travis, however, this takes a toll on his mental stake, and the pressures and surreal dealings with crazed party goers and heartless women is getting to him. He’s letting us know that it’s not all fun and games, and if you allow yourself to get hurt, you can. Lucky for Travis he has what it takes to exist in this world, even if it means being crazy enough to withstand it.
There’s trap on here, island grooves, love songs, and party anthems. What more can you ask for in an artist that is presumably dynamic in today’s era. I cannot only say I’m impressed by Travis’s ability to create another time tested album but for it to be delivered the following summer of his previous work is a treat I wasn’t sure I deserved. The kid must have had much of the music made around the same time or rather close to one another. His music cannot sound anymore crisp and his character as an artist is continually becoming more centered towards a radiant and powerful voice in music. His influence is increasing, and I’m sure Kanye could not be more proud of the artist. I can happily listen to this and continue to digest Rodeo for another year or so, Travis has made me a very happy fan. Kudos, my friend.
Standout track (s): ‘sweet sweet’, ‘the ends’, ‘pick up the phone’
Album rate: 9.5
Artist: Travis Scott
Genre: Trap, alternative R&B
Review date: 9/2/16
Release date: 9/2/16
14 Songs. 53:38 Minutes
The Artist's 2nd Album
Track by track:
1. the ends: ‘2am I live outside, looking but I cannot find’. Decorated production. Dark. Worm filter. Paranoid. Travis is more aware now. ANDRE!!!! loose beat, lots of dope open pockets. Great transition
Way to go Travis!!! Fine opener here, ambitious, powerful, made a statement, and had 3 stacks spitting a dynamic verse with a versatile flow.
Rate: 9.4
2. way back: ‘I can’t get no rest’ Samples from school boy, Swiss and Ye. Signature ‘YEAH’. Great airy yet darker keys used. Switch up! Cudi!!!!! Or at least Cudi like. This is gorgeous. Triumphant, what the hell, go Travis!!!!
Alright Travis, you are maintaining my attention whole heartedly. Keep it up. Amazing song, fantastic transition. Developed the song maturely and had an outstanding outro.
Rate: 8.6
3. coordinate: Travis friend voicemail. ‘Maria I’m Drunk’ keys, yessssss. ‘im gonna need some more if I really want to feel it’. ‘make that money fast if I have to’. Psychedelic production.
Not as captivating as the last two tracks, however the production quality was still there. He lacked in lazy lyrical content however.
Rate: 8.1
4. through the late night: has to be Cudi. Slow and steady, keep it up. Subtle build up! Cudi stretching that voice! Woo! Fun hook. ‘4 in the morning, how did I get in this place’. Day and night line by travis, changed it up! Haha sweet.
Awesome song that’s the result of a newly solidified voice in modern rap and his idol. This has that day and night feel with the Travis Scott angst party driven anthems that Cudi was previously known for. Both artist sound natural on this track, with no one outshining the other.
Rate: 8.0
5. biebs in the trap: ‘she got Anna Nicole, all in her nose’ ‘she says she wants more’. Cool mood ring line. ‘
Pretty good party song, woozy synths here, made me feel like I was on drugs .Okay, so let me get this straight… white is cocaine, and all white people’s name represents the drug, got it. Alright, back to the album.
Rate: 8.0
6. sdp interlude: WHEEWWWWWWWWWW!!! That sample or whatever the fuck this vocal input is, shit. Have to freestyle, HAVE TO! ‘smoke some, drink some, pop some’. Omg I love this. It’s so fucking catchy. Echoing outro.
YES YES YES!!!! MY BODIES READY FOR THE SECOND HALF!
Rate: 9.9
7. sweet sweet: flute reverbed out, no wait, whistling? No wait, 808’s woo!!!!! Fav song of Travis’s. Okay this is incredible. Simple yet passionate beat pattern. Switch up! Kacy would kill this.
Very good song, Travis really out did himself here. He sounded interesting, had a compelling melody and some strong 808’s to keep my head nodding.
Rate: 9.7
8. outside: fat beat, definitely sounds more like Houston this time. ‘all my niggas outside, ain’t going in, we’ve been hanging outside, and going in’.
Alright song, nothing too spectacular about it. Had a cool little verse and a funky beat, but that about covers it.
Rate: 8. 2
9. goosebumps: mumblings, hazy. ‘I get those goosebumps, when you’re not around me’ OOoooo this is really GOOD!!!!! Great flow, will be in my head for a whole day. KENDRICKKKKKKKK. King, just the king. Best song on the album.
YESSSSSSSS! Loving this album, great song. Kendrick delivered appropriately, and had me spazzing out of excitement. Smart idea to have no features listed, makes you appreciate the song more on the first listen and understand its artist working in unison not just surprise guest stealing the show.
Rate: 9.5
10. first take: murky ass synthesized drums. This is actually beautiful! In a travis way haha. Background vocals excellently utilized. Soul FUCKING SAMPLE!! I’m so happy with this track.
A slow track to reset the speed of the album, bring us back to basics. A beautiful ode to an ex presumably and still as gut wrenching and hazy as any party banger he makes.
Rate: 9. 4
11. pick up the phone: Phenomenal song, I already heard. Thugga thugga floating over this beat, Travis cascading through the beat. Still with dark undertone, the song manages to be up-tempo.
Rate: 9.5
12 lose: hard hitting strings. ‘I got shit to lose’. More firmly directed tracks.
Powerful song again, cinematic production with a wide range of appeal and captivity.
Rate: 9.2
12. guidance: faster pace. Island drums, catching the trend with his signature woozy sound.
Fun song, keeping the energy up for the finale of this album
Rate: 8.8
13. wonderful: heard this, loved it, it’s a WRAP!!!!
Rate: 9.0
Travis Scott is one of the foremost MC’s who, although he doesn’t consider himself a rapper, is as ambitious and forward thinking as any in the genre at the moment. With an idol and mentor as creatively aware as Kanye West, it is without doubt that this Houston rapper can continue to push the boundaries and sonic pallet the music world delivers on a normal basis. Rodeo, in my opinion, was a great debut album that showed a lot of promise and creativity. The only places where Travis seemed to miss was cohesiveness between tracks at times, and a sense of directionless artistry. This pitfall was surely avoided on Birds. This go around, Travis is focused and his murky echoing signature sound channels the darkest of metal and the brashness of gangster rap.
There is plenty to love on birds, with the lyrical exercise intro with an outstanding verse from the legendary rapper Andre 3000 (who I’m even more impressed by every single verse). Here, Travis is letting us into his stormy and outrageous lifestyle. Discussing fame, women, and partying is, to most, a side conversation, something that is only an escape from daily life, where the release that the conversation brings is filled with fun and practiced storytelling. For Travis, however, this takes a toll on his mental stake, and the pressures and surreal dealings with crazed party goers and heartless women is getting to him. He’s letting us know that it’s not all fun and games, and if you allow yourself to get hurt, you can. Lucky for Travis he has what it takes to exist in this world, even if it means being crazy enough to withstand it.
There’s trap on here, island grooves, love songs, and party anthems. What more can you ask for in an artist that is presumably dynamic in today’s era. I cannot only say I’m impressed by Travis’s ability to create another time tested album but for it to be delivered the following summer of his previous work is a treat I wasn’t sure I deserved. The kid must have had much of the music made around the same time or rather close to one another. His music cannot sound anymore crisp and his character as an artist is continually becoming more centered towards a radiant and powerful voice in music. His influence is increasing, and I’m sure Kanye could not be more proud of the artist. I can happily listen to this and continue to digest Rodeo for another year or so, Travis has made me a very happy fan. Kudos, my friend.
Standout track (s): ‘sweet sweet’, ‘the ends’, ‘pick up the phone’
Album rate: 9.5
Album: Jazz
Artist: Queen
Genre: Rock
Review date: 7/9/16
Release date: 11/10/78
13 Songs. 44:44 Minutes
The Bands 7th Album
Track by track:
Rate: 7.0
Rate: 8.7
Rate: 8.2
Rate: 8. 2
Rate: 8.8
Rate: 6.7
Rate: 7.6
Rate: 8.5
Rate: 8.6
Rate; 6.6
Rate: 9.3
Rate: 9.2
ALBUM FINISHED OFF STRONG!!!!
Verdict
This was definitely an experimental album for the band. Encompassing unusual production shifts, that included Freddie going on vocal tirades and the choir screaming at unbearable levels. What the album still able to maintain was its hits value, for the band kept up the catchy choruses and strong key lead melody’s by Freddie. I loved many of the acoustic tracks, but even those never stayed acoustic, and definitely left me either disappointed, or honestly confused.
The meaning of the album was lost to me, for it was titled Jazz but none of the songs contained musical elements similar to the predated rock art form. Thanks to the final track ‘More of that Jazz’ where Freddie is being uncompromisingly adventurous with the direction of the band’s sound and is rehashing all of the songs melodies and hooks in the latter half of the track. The song is mean, ambitious and loud, also spanning a lengthy 4 minutes which is longer than most of the songs on the album. This statement proved that the album was meant to be this left field in its delivery and for us to recognize it for what it is and love them for their passion in making it.
Ultimately, I found this to be an album that requires multiple listens for a sounder analysis. Surely a lot for the lyrics were lost to me during my entanglement with the production. From what I could hear and make out from this album however is that it was pretty entertaining and a ride to experience. Queen is one of the foremost musical talents of modern times and it’s telling to hear a shift in their direction as musicians and the statement they were making in music coming out of a radical times like the 1970’s and 1960’s when the band initiated. Take your time with this album, listen carefully and be seat belted in for surprises from any direction or headphone.
Rate: 8.4
Standout(s): ‘More of That Jazz” ‘Leaving Home Aint Easy’ ‘Fat Bottomed Girls’.
Artist: Queen
Genre: Rock
Review date: 7/9/16
Release date: 11/10/78
13 Songs. 44:44 Minutes
The Bands 7th Album
Track by track:
- Mustapha: ‘mustapha ibrahim’ a capella singing opener. Show them vocals Freddie. Louder volume. Short and choppy chords.
Rate: 7.0
- Fat Bottomed Girls: ‘are you going to take me home tonight, besides that red fire light’. A Capella intro again. Right ear guitar solo, mix it up. Country influenced. Experimental album I see. Anthemic chorus. Nicely done.
Rate: 8.7
- Jealousy: slow paced, piano led. ‘I wasn’t mad enough to let you hurt my pride, now im only left with my own jealousy’. Tinder little ballad. Beautiful vocals.
Rate: 8.2
- Bicycle Race: acapella intro. ‘don’t believe in superman’ ‘I want to ride my bicycle. Lots of shifts in production style. Bicycle bell’s rung. Lot’s of call and response.
Rate: 8. 2
- If You Can’t Beat Them: guitar in left ear. ‘trying to wind me round and round’. Cool classic rock feel. More mainstream guitar lead. Electric guitar solo’s.
Rate: 8.8
- Let Me Entertain You: Too all over the place. I can’t keep track. Sweet vocals though
Rate: 6.7
- Dead on Time: fast and riveting guitar. ‘leave on time, your never gonna make it’.
Rate: 7.6
- In Only Seven Days: ‘Monday, start of my holiday’. Go in Freddie!
Rate: 8.5
- Dreamer’s Ball: ‘take me, take me, to the dreamer’s ball’ awwhhh this is cute!!! Impactful background vocals. Electric and banjo combo?
Rate: 8.6
- Fun It: Disco influenced. ‘everybody, in the night time, should have a good time, all night’.
Rate; 6.6
- Leaving Home Aint Easy: acoustic guitar. Violin leads. ‘and im through and tired, im all tired of tears’. Female vocals (for the first time). Gorgeous arrangement.
Rate: 9.3
- Don’t Stop Me Now: Ooooooooh I like this!!! Those choir vocals are so engaging. ‘I am a sex machine, ready to reload, like an atom bomb!’ ‘200 degrees, that’s why they call me mr. Fahrenheit’. Adlibs on point!! Piano during freddie’s part mesmerizing as well.
Rate: 9.2
- More of That Jazz: Dope guitar. Oooooooh yeah! Guitar riffs on point. Freddie sounding iconic as shit. ‘rock and roll just pays the bills. Our team is the real team’ talk that talk!! Wow, incorporated all of the hooks in the song. That’s unique as fuck!!!
ALBUM FINISHED OFF STRONG!!!!
Verdict
This was definitely an experimental album for the band. Encompassing unusual production shifts, that included Freddie going on vocal tirades and the choir screaming at unbearable levels. What the album still able to maintain was its hits value, for the band kept up the catchy choruses and strong key lead melody’s by Freddie. I loved many of the acoustic tracks, but even those never stayed acoustic, and definitely left me either disappointed, or honestly confused.
The meaning of the album was lost to me, for it was titled Jazz but none of the songs contained musical elements similar to the predated rock art form. Thanks to the final track ‘More of that Jazz’ where Freddie is being uncompromisingly adventurous with the direction of the band’s sound and is rehashing all of the songs melodies and hooks in the latter half of the track. The song is mean, ambitious and loud, also spanning a lengthy 4 minutes which is longer than most of the songs on the album. This statement proved that the album was meant to be this left field in its delivery and for us to recognize it for what it is and love them for their passion in making it.
Ultimately, I found this to be an album that requires multiple listens for a sounder analysis. Surely a lot for the lyrics were lost to me during my entanglement with the production. From what I could hear and make out from this album however is that it was pretty entertaining and a ride to experience. Queen is one of the foremost musical talents of modern times and it’s telling to hear a shift in their direction as musicians and the statement they were making in music coming out of a radical times like the 1970’s and 1960’s when the band initiated. Take your time with this album, listen carefully and be seat belted in for surprises from any direction or headphone.
Rate: 8.4
Standout(s): ‘More of That Jazz” ‘Leaving Home Aint Easy’ ‘Fat Bottomed Girls’.
Album: The Glowing Man
Artist: Swans
Genre: Alternative/Experimental Rock/No Wave
Review date: 6/27/16
Release date: 6/17/16
8 Songs. 118 Minutes
The Bands 14th Album
Track by track:
1. Cloud of Forgetting: Chilling sound. Reverberating strums. More direct chords now. Nice rhythm. Ayyyyyye! A lot of instruments have joined the party. Fantastic smooth arrangement. Vocals! ‘Reaching out’ sounds like he’s straining his voice even singing that note, like he’s releasing something, anger, guilt, angst, I can’t tell. Those riffs were so powerful, fuck, woozy even. ‘I am blind…I am blind…I am blind…blind’.
One hell of an opener, so much emotion. Alright, I see what this bands deal is. They create an entire body of expression in each track, far from avoiding any intricacies of woes or love.
Rate: 8.8
2. Cloud of Unknowing: Violin. Menacing, darker tones already. Very quick and tense riffs. Wow, kick come right on in! Vocals! ‘Ahhhhhhhhhhhhhhhhhh I’ ‘I am I am I am’ He’s taking his time on this one, whew. He’s clearly free-styling this, Let the music run through you! There’s a choir?!?!??! Let's goooo! Okay, this hard. Bells, welcome. Switch up, Cool. ‘Jesus, Jesus, feel’ ‘sucker’. Cryptic almost. ‘I am washing, I am calling, I am washing off your skin, your sun/son’.
Fuck that was deep. A break up song like I never heard before. So real, like I was going through the motions of the finality of the relationship with him. Outstanding track.
Rate: 9.1
3. The World Looks Red/ The World Looks Black: Western feel. I’m ready. ‘People with fish eyes’. Stretching the last words can be more audible. Dave Mathews is great at it. Fantastic so far with a catchy groove. Flow is dope. Mmmmmm smooth. ‘Life from a…’ ‘Survive’ shit that's cool. ‘Bury my mind’. Really feeling this. ‘Bury my mind’. Transition at the exact halfway mark, phenomenal execution. Picking up the past, woo! ‘THE SLEEPER MAN’ Fuck this is cold. Go go go ! ‘Follow the sleeper man’.
Loved the duality of this track, very dope. Both songs stood out to me and continue the amazing production and subject matter that this album brings.
Rate: 9.0
4. People Like Us: Old blues feel. Percussions killing it!!! Grow, build, climax!! ‘Must you fly’ ‘ships made of seal’ ‘black sky's washed with milk’. Beautiful production. Fluttering background vocals.
Solid end to the first half of this album. Surprisingly short. Love this project so far.
Rate: 8.5
This may be an ode to Frankie, a friend of the bands leading singer or whoever writes the music who died from suicide. The entire orchestration, from the first to the fourth or fifth different arrangements were outstanding. This song had a refined women’s choir vocal melody come in and out of parts to add emphasis to whatever the instruments were playing at the time. Very strong song. I liked it a lot.
Rate: 8.6
Great typical rock song. Tangible groove that I can understand and get a foot on. Passionate lyrics, with some compassionate vocals. All together a great transition into the next 20+ minute blocker.
Rate: 8.7
Probably my least favorite song from the album. However, the contrast here was the greatest. Way darker than any other song. The metal influenced second half of the song was surprising satisfying. They had a hypnotizing rhythm that kept me interesting for a solid amount of time.
Rate: 8.6
Rate: 9. 4
Verdict
The experimental veteran rock band Swans has complemented their discography with another project full of exciting genre fusions and gorgeous orchestrations. The band is known for their 20 minute plus length songs that encase a number of instrumentation shifts with immense emotional impact and grand production. This album is a joyride and an audio trip to go on, cascading your eardrums in amazing and unbelievable directions. Sonically, I was impressed by this album and really understood it’s message and meaning within each track, something that was lost to me during their last album, ‘To Be Kind’.
The topics of the album appear to range from love gained to love lost, friendships shattered, and existential crisis’s revealed. Swans doesn’t directly address these topics but rather exudes the emotions that would accompany the realizations of certain experiences and thoughts. This translates into long and extended lines of rhythmic patterns that hit the ears hard and the chest even harder. When the song was sad, I was sad, angry, I was angry, lost, I was completely gone from reality. Swans had its start in the early 80’s and continue to push rock forward with their sonic experimentation and willingness to dabble in genre combinations uncanny and risky to most artist.
This is album may go down as one of my favorite of the year. It is like nothing I heard before. Containing grooves that challenged the greatest Funk bands of the 70’s, abstractness that rivaled Radiohead, and heavy metal that sounds as focused and driven as any metal band you want to put up against them. I highly recommend listening to this album, somewhere you can see time past, outside somewhere in real time, because this album feels timeless.
Rate: 9.0
Standout(s): 'Cloud of Forgetting', 'The World Looks Red/ The World Looks Black', 'Frankie M'
Artist: Swans
Genre: Alternative/Experimental Rock/No Wave
Review date: 6/27/16
Release date: 6/17/16
8 Songs. 118 Minutes
The Bands 14th Album
Track by track:
1. Cloud of Forgetting: Chilling sound. Reverberating strums. More direct chords now. Nice rhythm. Ayyyyyye! A lot of instruments have joined the party. Fantastic smooth arrangement. Vocals! ‘Reaching out’ sounds like he’s straining his voice even singing that note, like he’s releasing something, anger, guilt, angst, I can’t tell. Those riffs were so powerful, fuck, woozy even. ‘I am blind…I am blind…I am blind…blind’.
One hell of an opener, so much emotion. Alright, I see what this bands deal is. They create an entire body of expression in each track, far from avoiding any intricacies of woes or love.
Rate: 8.8
2. Cloud of Unknowing: Violin. Menacing, darker tones already. Very quick and tense riffs. Wow, kick come right on in! Vocals! ‘Ahhhhhhhhhhhhhhhhhh I’ ‘I am I am I am’ He’s taking his time on this one, whew. He’s clearly free-styling this, Let the music run through you! There’s a choir?!?!??! Let's goooo! Okay, this hard. Bells, welcome. Switch up, Cool. ‘Jesus, Jesus, feel’ ‘sucker’. Cryptic almost. ‘I am washing, I am calling, I am washing off your skin, your sun/son’.
Fuck that was deep. A break up song like I never heard before. So real, like I was going through the motions of the finality of the relationship with him. Outstanding track.
Rate: 9.1
3. The World Looks Red/ The World Looks Black: Western feel. I’m ready. ‘People with fish eyes’. Stretching the last words can be more audible. Dave Mathews is great at it. Fantastic so far with a catchy groove. Flow is dope. Mmmmmm smooth. ‘Life from a…’ ‘Survive’ shit that's cool. ‘Bury my mind’. Really feeling this. ‘Bury my mind’. Transition at the exact halfway mark, phenomenal execution. Picking up the past, woo! ‘THE SLEEPER MAN’ Fuck this is cold. Go go go ! ‘Follow the sleeper man’.
Loved the duality of this track, very dope. Both songs stood out to me and continue the amazing production and subject matter that this album brings.
Rate: 9.0
4. People Like Us: Old blues feel. Percussions killing it!!! Grow, build, climax!! ‘Must you fly’ ‘ships made of seal’ ‘black sky's washed with milk’. Beautiful production. Fluttering background vocals.
Solid end to the first half of this album. Surprisingly short. Love this project so far.
Rate: 8.5
- Frankie M: Sounds like the opening of a movie. Creepy female vocals. Feels like they’re beckoning me to enter a void, of no return. Bee noise vibrating throughout the background. Shimmering Hi-hat’s. Damn near tribal. Picked up pace! Vocals still in the background, high! Finally, to Frankie. M. ‘frankie m, live again’ smoothest and catchiest groove all song. ‘mdma’ ‘frankie why’. Mixing four sounds, a combination of vocals and instrumentation. ‘other night’.
This may be an ode to Frankie, a friend of the bands leading singer or whoever writes the music who died from suicide. The entire orchestration, from the first to the fourth or fifth different arrangements were outstanding. This song had a refined women’s choir vocal melody come in and out of parts to add emphasis to whatever the instruments were playing at the time. Very strong song. I liked it a lot.
Rate: 8.6
- When Will I Return?: upward strums. ‘His hands are on my throat’. Simplistic arrangement. Vocals and acoustic. ‘when will this big man stop’. ‘his stink is like a dog’. Accordion.
Great typical rock song. Tangible groove that I can understand and get a foot on. Passionate lyrics, with some compassionate vocals. All together a great transition into the next 20+ minute blocker.
Rate: 8.7
- The Glowing Men: Synthed out chords. Lo-fi. Very different from the rest of the album so far. Radiohead-esque. Tapping. FUCK, heavy metal turn. Heavy rhythmic guitar riffs. Constant charging. ‘joseph is me, and you are a liar’. Chaos, pure chaos.
Probably my least favorite song from the album. However, the contrast here was the greatest. Way darker than any other song. The metal influenced second half of the song was surprising satisfying. They had a hypnotizing rhythm that kept me interesting for a solid amount of time.
Rate: 8.6
- Finally, Peace: Harp? Unique. Percussions issuing us in for the finale. ‘your glorious mind’. Positive song, for once. Beautifully pleasant.
Rate: 9. 4
Verdict
The experimental veteran rock band Swans has complemented their discography with another project full of exciting genre fusions and gorgeous orchestrations. The band is known for their 20 minute plus length songs that encase a number of instrumentation shifts with immense emotional impact and grand production. This album is a joyride and an audio trip to go on, cascading your eardrums in amazing and unbelievable directions. Sonically, I was impressed by this album and really understood it’s message and meaning within each track, something that was lost to me during their last album, ‘To Be Kind’.
The topics of the album appear to range from love gained to love lost, friendships shattered, and existential crisis’s revealed. Swans doesn’t directly address these topics but rather exudes the emotions that would accompany the realizations of certain experiences and thoughts. This translates into long and extended lines of rhythmic patterns that hit the ears hard and the chest even harder. When the song was sad, I was sad, angry, I was angry, lost, I was completely gone from reality. Swans had its start in the early 80’s and continue to push rock forward with their sonic experimentation and willingness to dabble in genre combinations uncanny and risky to most artist.
This is album may go down as one of my favorite of the year. It is like nothing I heard before. Containing grooves that challenged the greatest Funk bands of the 70’s, abstractness that rivaled Radiohead, and heavy metal that sounds as focused and driven as any metal band you want to put up against them. I highly recommend listening to this album, somewhere you can see time past, outside somewhere in real time, because this album feels timeless.
Rate: 9.0
Standout(s): 'Cloud of Forgetting', 'The World Looks Red/ The World Looks Black', 'Frankie M'
Album: Strangers
Artist: Marissa Nadler
Genre: Alternative
Review date: 6/17/16
Album drop date: 5/20/16
11 songs. 79 minutes
Singer’s 7th album
Track by track:
Rate: 8.0
Rate 8.4
Rate: 8.5
Rate 7.8
Rate 8.0
Rate: 8.5
Rate: 7.0
Rate: 8.3
Rate: 8.0
Rate: 8.1
Rate: 8.6
Verdict:
The veteran Massachusetts songstress has delivered again with her 7th studio album. Hardly a Marissa Nadler fan I know she has a lengthy career in the music industry as a girl who sticks to her chops and makes intimidate acoustic led ballads for diehard fans to enjoy. Strangers sounds a tad more melancholy and distant than some previous work I’ve listened to. Marissa Nadler uses similar cadences and vocal patterns as the famous Lana Del Ray, however, what Lana dominates in provocative lyrics and stringy bombastic production Marissa falls very short. On songs like ‘Katie I know’ which could have come off as a lot more direct and coming from an honest place it felt removed and nearly dismissed. That’s how this album is almost a miss for me, because it fails to capture any attention in its execution. It’s as if the music is happily going on whether you are listening or not. I understand her appeal however, the music is undoubtedly calming and singular in a loud and overcrowded world. Stangers is an escape from a crazy fast world, and to dissolve ones thoughts and emotions into another’s pain and anguish is gateway to peace and harmony worth anyone’s time. In that respect, I enjoyed Strangers quite a bit.
Rate: 7.9
Standout(s): Katie I know, Dissolve, Strangers.
Artist: Marissa Nadler
Genre: Alternative
Review date: 6/17/16
Album drop date: 5/20/16
11 songs. 79 minutes
Singer’s 7th album
Track by track:
- Divers of the Dust: So long it hurts, got to find the origin of this sound.
Rate: 8.0
- Katie I know: Guitar lead. ‘so many fair weather friends’. I feel you there. Western feel. Trudging along riffs. Nice subtle layering. Violin ripples.
Rate 8.4
- Skyscraper: ewwwwwwwwww dope melody. Guitar chords are sharp, haunting. ‘we are down to your home, unravel, like a bone’.
Rate: 8.5
- Hungry is a Ghost: kick kick kick. Pretty opener. Like the sun rising. ‘Overtime I’ve come to see that I’m the better part’. ‘it’s the beginning of june, I don’t know, what to do’. Solid background vocals there. Twirling synths.
Rate 7.8
- All the Colors of the Dark: Country feel. ‘white alpine leaves’ ‘this is not your world, anymore’. Damn, talk that talk girl! Nice and easy rhythm.
Rate 8.0
- Strangers: ‘danger came around, with her heavy key’. I’m a stranger now. Melancholy. Reverbed out electric guitar. Echoing on back sides of the headphones. Beautiful feel. ‘strangers lit the fire, strangers came’.
Rate: 8.5
- Janie in Love: Similar production. Nothing new. Atleast change your vocal pattern!!! Who’s Janie??? You? Your friend? Your alter ego?
Rate: 7.0
- Walking: More lazy music. It’s ironic cause the hook is ‘I fell asleep’ which is what I want to do listening to this.
Rate: 8.3
- Shadow Show Diane: guitar. ‘I look into windows, see the people well, I want to be someone seen, sometime somebody else’.
Rate: 8.0
- Nothing Feels the Same: ‘lying on the ground, our town used to be, so strange particles, through my periphery.’
Rate: 8.1
- Dissolve: Unique strums, finally. ‘and you, never bring me down’. Norah jones like. Way better direction!!! Great vocals.
Rate: 8.6
Verdict:
The veteran Massachusetts songstress has delivered again with her 7th studio album. Hardly a Marissa Nadler fan I know she has a lengthy career in the music industry as a girl who sticks to her chops and makes intimidate acoustic led ballads for diehard fans to enjoy. Strangers sounds a tad more melancholy and distant than some previous work I’ve listened to. Marissa Nadler uses similar cadences and vocal patterns as the famous Lana Del Ray, however, what Lana dominates in provocative lyrics and stringy bombastic production Marissa falls very short. On songs like ‘Katie I know’ which could have come off as a lot more direct and coming from an honest place it felt removed and nearly dismissed. That’s how this album is almost a miss for me, because it fails to capture any attention in its execution. It’s as if the music is happily going on whether you are listening or not. I understand her appeal however, the music is undoubtedly calming and singular in a loud and overcrowded world. Stangers is an escape from a crazy fast world, and to dissolve ones thoughts and emotions into another’s pain and anguish is gateway to peace and harmony worth anyone’s time. In that respect, I enjoyed Strangers quite a bit.
Rate: 7.9
Standout(s): Katie I know, Dissolve, Strangers.
Album: February 15 EP
Artist: NAO
Genre: Electronica, Soul, Funk
Review Date: 6-3-16
Album drop Date: 5-1-15
5 Songs. 18.29
Artist 2nd EP
Verdict:
NAO is a London based singer-songwriter who up until the past few years has been either singing backup for larger British artist or as a member of an a cappella group. I neither know the reason nor the motivation behind the seemingly sudden shift in position on stage, but what I do know is that the talents there. She’s definitely not a Beyoncé, or FKA Twigs, but she has the voice, the production, and musical ambition to get there. What I appreciate firstly is her ability to fuse genres, something extremely necessary in today’s globalized world. In doing so she brings listeners together who would otherwise not be into the same shows or albums. Her age is a testament to that, being in her late 20’s I’m sure she has gone through that experimental phase in her music and now this fusion is more a result of her understanding the connections between genres rather than the discovery of her sound. She has a way to go, and I plan on listening to her debut full length album ‘For All We Know’ this summer (In Mississippi) with the best of intentions and expectations. Hopefully she takes what worked well on this EP and expands it, that being maintaining the fusion of soul and electric while slowing down the tempo at times to extenuate her voice, energy and ambition to the listener. I wish her all the luck.
Standout(s): Apple Cherry, Its You
Rate: 8.6
Artist: NAO
Genre: Electronica, Soul, Funk
Review Date: 6-3-16
Album drop Date: 5-1-15
5 Songs. 18.29
Artist 2nd EP
- Inhale Exhale (’15) – ‘running out of luck’ strong bass line. Mary Vibe. Groovy hook. Break down, ayeee.
- Zillionaire- Synthesized horns. Haha cause zillionaires don’t exist. That’s rich. Super funky. Loved that soulful diversion. Break it down now. Nice ending.
- Apple Cherry- Lighter voice. FKA-esque. R&B based. Loving this production, so airy. Reverbed out drums. Background vocals powerful. Layer that shit. Woo!
- Golden- guitar lead. Stevie like. Electric guitar now! Break down dope again. Slow that guitar down girl!
- It’s You- First slow jam. Janet influenced. Real pretty chorus. The infusion of that 808. Amazing contrast. Production insertions on point.
Verdict:
NAO is a London based singer-songwriter who up until the past few years has been either singing backup for larger British artist or as a member of an a cappella group. I neither know the reason nor the motivation behind the seemingly sudden shift in position on stage, but what I do know is that the talents there. She’s definitely not a Beyoncé, or FKA Twigs, but she has the voice, the production, and musical ambition to get there. What I appreciate firstly is her ability to fuse genres, something extremely necessary in today’s globalized world. In doing so she brings listeners together who would otherwise not be into the same shows or albums. Her age is a testament to that, being in her late 20’s I’m sure she has gone through that experimental phase in her music and now this fusion is more a result of her understanding the connections between genres rather than the discovery of her sound. She has a way to go, and I plan on listening to her debut full length album ‘For All We Know’ this summer (In Mississippi) with the best of intentions and expectations. Hopefully she takes what worked well on this EP and expands it, that being maintaining the fusion of soul and electric while slowing down the tempo at times to extenuate her voice, energy and ambition to the listener. I wish her all the luck.
Standout(s): Apple Cherry, Its You
Rate: 8.6
Album: Need Your Light
Artist: Ra Ra Riot
Genre: Indie Rock, Baroque Pop
Review date: 2/29/16
Album drop date: 2/19/16
10 songs. 35.48 minutes
Bands 4th album
Track by track:
Love this song! Pretty sure I had it saved on my music on Spotify before, which explains how much this song already resonated with me. It’s about taking a leap of faith, jumping into the water and letting your inhibitions go for that true feeling inside. Very good, I was singing along. Let’s keep it coming!
Rate: 9.5
Rate: 8.4
Rate: 5.9
Rate: 9.1
Rate: 9.0
Rate: 8.4
Rate: 8.6
Rate: 7.9
Rate: 8.0
Rate: 9.0
Ra Ra Riot’s music sounds just the way it reads, like a riot. With the not so subtle interventions by some instruments in great sounding compositions the band can set up an off putting aura in the song. However, what I enjoy about Ra Ra Riot is there willingness to experiment with different sounds, not just for an entire album but per song. Song’s like ‘Water’ and ‘Absolutely’ keep it safe and ended up being my standouts for the album, so maybe they need to find a better middle ground when it comes to venturing out of their typical sound. This is also Riot’s 4th studio album and for the sake of relevancy and appeal they have to sound a bit new and refreshed from before. I have yet to hear their previous work but will definitely explore those albums as well. I’m curious to see if they refined and fleshed out their music or if it was even more radical before. Maybe it’s the New York in them because the band has this life in their music, which shines above everything else. The chorus’s on ‘Instant Breakup’ and ‘Bad Times’ really warp you into their world as they take you on this journey through love and pain. I’m glad I gave this album a listen, I enjoyed it and would recommend people to definitely give this album a listen.
Rate: 8.4
Standout(s): ‘Water’ ‘Suckers’ ‘I Need Your Light’
Artist: Ra Ra Riot
Genre: Indie Rock, Baroque Pop
Review date: 2/29/16
Album drop date: 2/19/16
10 songs. 35.48 minutes
Bands 4th album
Track by track:
- Water: Cool gutter sound. Fuck I know this song. Great drums. ‘Don’t, don’t punish me! For what I feel!’. ‘I jumped into the water’. Woo!
Love this song! Pretty sure I had it saved on my music on Spotify before, which explains how much this song already resonated with me. It’s about taking a leap of faith, jumping into the water and letting your inhibitions go for that true feeling inside. Very good, I was singing along. Let’s keep it coming!
Rate: 9.5
- Absolutely: Pressured production, like you’re in it. ‘Absolutely loving, absolutely’. Fat drum. Very bright colors here. Such a sweet chorus!! Awwwww.
Rate: 8.4
- Foreign Lovers: Strong strings. Mix-in that high hat! Violins too?? Interesting…’I got no idea what’s fair, but I knew before…you got foreign lovers’.
Rate: 5.9
- I Need Your Light: Petting cowbells. I don’t know what the hell they’re doing right now. Heavenly. Build up is nice. ‘Cause I, can’t see nothing, without your light’.
Rate: 9.1
- Bad Times: Electric pop almost. Groovy ayyyyee. One Directionesque. ‘End up on the wrong side’. Now this is how the production should go. Sick breakdown. Go ,go , go , go. Let the strings work their shit!!!
Rate: 9.0
- Call Me Out: plucking strings. Minimalist. Quirky background sounds. ‘and that’s when you call me out, out of the dark and into..’ ‘maybe you’re not my kind’. Dark section. SUPER BASS!!! Beautiful sung.
Rate: 8.4
- Instant Breakup: ‘ Can we do this thing w/out instant breakup’. Cool background vocals. FEAR. Somber violin. Hey! Chorus catchy. Layer those vocals. Sudden end.
Rate: 8.6
- Every Time I’m Ready To Hug: A little off putting. Cool claps in the beginning though. Great strings, strong vocals. Very emotive in approach. ‘Every time I’m ready to play you don’t know what to do’. ‘Ready to loveeeeee’. Ayyyyye. Ho hoooo. Let the string put in that work (again) !!!!!
Rate: 7.9
- Bouncy Castle: Throwback feel. ‘I do, I do, I do’ drums. Work! Light vocals. Ayyyyye. ‘it’s for love ya know!’ Queens like. Mid-80’s pop rock. Crusty ending, eww.
Rate: 8.0
- Suckers: Damn. String game strong! Gorgeously arranged.
Rate: 9.0
Ra Ra Riot’s music sounds just the way it reads, like a riot. With the not so subtle interventions by some instruments in great sounding compositions the band can set up an off putting aura in the song. However, what I enjoy about Ra Ra Riot is there willingness to experiment with different sounds, not just for an entire album but per song. Song’s like ‘Water’ and ‘Absolutely’ keep it safe and ended up being my standouts for the album, so maybe they need to find a better middle ground when it comes to venturing out of their typical sound. This is also Riot’s 4th studio album and for the sake of relevancy and appeal they have to sound a bit new and refreshed from before. I have yet to hear their previous work but will definitely explore those albums as well. I’m curious to see if they refined and fleshed out their music or if it was even more radical before. Maybe it’s the New York in them because the band has this life in their music, which shines above everything else. The chorus’s on ‘Instant Breakup’ and ‘Bad Times’ really warp you into their world as they take you on this journey through love and pain. I’m glad I gave this album a listen, I enjoyed it and would recommend people to definitely give this album a listen.
Rate: 8.4
Standout(s): ‘Water’ ‘Suckers’ ‘I Need Your Light’
Album: Nabuma Rubberband
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Album: Ghost Stories
Artist: Coldplay
Genre: Alternative Rock
Review date: 5/21/14
Album drop date: 5/19/14
9 songs. 42.37 minutes
Band’s 6th album
Track by track:
- Always in My Head: airy sound. Percussions used. Hymes, choir like. Heavenly. Mean drum comes in. laid back rhythm. “I think of you, the heaven slayer”. “my body moves, goes where I will”. “heart stays still”. Distorted horns in back pushing song. Smooth production. “always in my head”. Nice vocal variety. Uses famous falsetto. Quiet end.
Chris Martin is getting through this breakup. He’s deeply saddened, and it’s clear with his sad tone and the airy production. It’s like we’re going on this emotional journey with him. Nice smooth sound, enjoyable, but nothing special. 8.5/10
- Magic: smooth groove. Nice kick. “call it magic, call it truth”. Bob Dylan sound. Intro of piano. Nice development. “broken into two, still I call it magic”. “I don’t want anybody else but you”. Use of famous high notes. Beat switch up. Murky sound. Catchy hook. Guitar takes more control. Nice layers. “ I fall so hard, and I call it magic”. Good variety on production from instruments, live band sound. Smooth ending.
Chris is reflecting on the good parts of the relationship and calling it magic, or commenting on how magical the love was. Another smooth groove, great guitar and enjoyed how it moved to the front of the production until it was the last thing you heard when the song ended. With familiarity of the song it is understood why it was one of the leading singles for the album, catchy hook, nice vocals, but kind of sounds lazy at times. Very Bob Dylanish and Lou Reedish with his cadences and ending of words. 8.8/10
- Ink: cool island sound, with drum pattern. “got a tattoo” free sound. “cover your name with my pocket knife”. Faster pace. Gets you in a motion. “broken inside”. “im lost whenever you go” “all I know is that I love you so, so much that it hurts”. Great show of emotion. More ambitious. Great use of layers. Production grows, good. Background voices nice touch. Adds emotion. Beautiful guitar at the end.
Really good song, like really really good song. Such a happy tune yet extremely sad and depressing lyrical content sad. The song appears almost hopeful for the future in its tone and reveals that little bit of happiness from a love that is now gone. Chris uses more vocal variety on this track, great use of layers and background voices that make this song pop. Definitely my favorite insofar. 9.7/10
- True Love: airy sound. Quirky piano. “I wish you could have let me know what was really going on”. “tell me you love me, if you don’t then lie”. Good vocals. Nice strings. More vocals variety. Kinda bland. “call it true love”. Different guitar used, interesting mix. Famous falsetto used. Guitar Solo! Yes! Instruments soloing it out for a strong closing part. Christ returns. Hurting bad.
Song definitely flows into the next one well. Still isn’t over even though it was stopped at the last minute. This will grow on me. Has a lot of potential. Kind of dry in the beginning but picks up for a strong emotional finish. Christ is still hurting, and sounds more hurt than ever when saying things like “tell me you love me, if you don’t then lie”. He’s in a bad place and is evoking emotional jerks and yearnings with his famous falsettos repeatedly throughout the track. 8.6/10
- Midnight: Bon Iver sound. Airy. Repetitive piano key. Dark spooky layers. Distorted. Good use of bell. “millions on…” “running with the…” great bass! Production expansive. Switch up drums. High intensity. Rising notes. Techno thing going on, fast, cool though. Adds a hype bump. “in the darkness, for the dawn” “leave a light, a light on”.
He’s consumed by the melancholy his break up has caused him. The song is so good and Bon Iver-like that I wish Bon Iver did it themselves. I really enjoyed the heavy bass and creative syths. It was hard to figure out what exactly Chris was saying (like Justin Vernon at times) but overall it was a really creative track that kept me listening intently. 9/10
- Another’s Arms: Choir singer, great notes. “late night watching tv, used to be here right beside me” pretty piano. Big drums come in. singer comes right back in, beautiful voice. Provocative and shocking use of layers with no instrumentation in the back temporarily. “when the world means nothing to me, anothers arms”. Beautiful sounding song. Production takes over. Martin in the back reminiscing.
Martin’s still bad, reminiscing on when they used to watch TV together, one of the most relaxing and intimate things you can do with your spouse. The action is such a simple thing but represents that link the two lovers have. Having that missing greatly affects Chris and he’s feeling the pain right now. Great production, very big, luscious, wonder who the other singer is, or is it a sample, either way, amazing sounds. 9.5/10
- Oceans: acoustic guitar, with key board type sound. “wait for your caller, the call never came”. “im ready for the day”. “meet me again, in the rain”. Strings, very saddening. “im trying to change” cool reverb. Very emotional. More strings come in heavy. Brings emotion in fully. “to find yourself alone in this world”. Crooning hard. Church bells, ruffling of leaves, syths back and forth in headphones. Mellowed out.
He’s trying to get over things, there’s definitely progress being made. Chris is coming to the present for once and not reflecting or reminiscing and dealing with the problems at hand. He is willing to start over and live in the present again. Emotional song, every word I was hanging on too. Very good. 9.4/10.
- A Sky Full of Stars: comes in hard, with famous piano type from Chris. Old Chris is back. “cause you’re a sky full of stars, cause you lied up the park” “I don’t care, go on and tare me apart” “I don’t care if you do”. Strong ambitious vibrant chords. faster paced, up beat. Party-like. House enthused. Fast guitar riffs. Famous falsetto used well. Pop sound, dance jam. First woo I heard all album.
Finally! He’s upbeat again, energized, he doesn’t care about Gwyneth anymore. Well, he clearly does, but he’s getting a lot better at faking it and showing some life and positive vibes. This easily could have been a cut off of Mylo or Viva. Great classic Coldplay keys and use of that strong heavy bell banging you into the dance moves you love to do in private. Great song. 9.5/10
- O: Piano, darker tone. “flock of birds, hovering above” “that’s how you think of love”. “I always, look up to the sky, breathing for the dawn”. Beautiful songggggg, so pretty how he’s singing with the piano. Heavy bass, evokes more emotion. “fly on”.bird sounds, yessssss. “right through”. “maybe one day I fly next to you”. minute break, choir sound to end it off, brilliant. Heavenly. Chris crooning with it.
Good finish, the break caught me off guard, but I really liked it. Chris for sure moved on and was really introspective and open on that last track, and let us know how he was feeling. The bird analogy was brilliant, beautiful and inspiring. The weightlessness of those bird sounds gave me a sense of floating on top a cloud and made me want to melt and go to heaven. Well done. 10/10
Verdict
Overall I think this album will polarize a lot of people. On one hand I can see the side that will argue that the album is too slow and dull, Chris really didn’t give a lot of emotional provocation on a lot of these tracks. However, I would side with the other side that would say this album is a concept album and Chris is going through a very intense divorce with someone he loved and was married to for a decade. That’s no an easy thing to get over, and I see each of these tracks as emotional outlets for his sorrow and sadness. I thoroughly enjoyed this album, sometimes Coldplay’s sound gets played out but this album was different. Different in a good way, because now not only were they a little more laid back than usual (even though they are known for a lot of their more smooth enthused songs like ‘Yellow’ and ‘Fix you’) but having a more darker sound that evokes a lot of strong emotions that I found free finally feeling. Coldplay will be back and stronger than ever in no time but let their leader sulk on this album and let out his feelings in the manner he wishes too. He does it quite well, I enjoyed this album and can’t wait for more of their work.
Standouts: “Another’s Arms”, “O”, “Magic”
Rate: 8.4
Album: Unorthodox Jukebox
Artist: Bruno Mars
Genre: Pop/R&B
Review date: 6/6/14
Album drop date: 12/7/12
10 songs. 34.51 minutes
Artitst 2nd album
Track by track:
- Young Girls: strings, bells. “I spend all my money, on a big ol fancy car, bright eyed honeys”. Drums. Strong vocals. “all you young wild girls, you make a mess of me/you’ll be the death of me!”. “love don’t exist when you live like this”. “I always come back to you”.
- Locked Out of Heaven: Beat it sounding. “OH!” hook. “Never wanted to put my heart on the line”. “I’m born again every time you spend the night”. “Your sex brings me to paradise”. Strong drum thumping. “you make me feel like, I’ve been locked out of heaven for too long”. Guitar groove, groovy. Dope production on the switch end.
My all-time favorite song is “Beat it” by Michael and on the mere fact that this song is a modern day version of it makes me love this song unconditionally. From the fun production to the powerful singing Bruno proves why he is one of the most acknowledged names in popular music. He finally found love and she gives him great sex, so much, that he feels like he’s been locked out of heaven. She must be great. Phenomenal song. 9.9
- Gorilla: island drums. Rock band drums. “Look what’ve you’re doing, look what you’ve done, but in this jungle”. “You and me baby making love like gorillas”. Great chorus. Strong vocals. Passionate. Darker production. Guitar sets moody overtone. Falsetto’s killed it, next level.
Damn, I didn’t know how upper echelon that song was. Well, he still loves the girl, not only does her sex take him to a heavenly bless but they get so wild it’s like gorillas getting it on. The vocal variety was wider than all previous songs. Although what this song lacked in lyrics it flourished in passion intensity. I was feeling that drums hit my chest by the end of the song. Amazing. 9.99
- Treasure: Guitar grooveeeee. “Treasure, love is what you are, you my golden star…if you let me treasure you, oh oh ohhhh”. Guitar is impeccable. That BEAT. Loud production.
Such a beautiful song, gets me every time. That guitar is unmatched. A fun chorus. Also, Less sexual than the previous two songs regarding his love but just as powerful. He’s in a happy place. 10
- Moonshine: piano, slow tempo. “hello, you know you look even better than you did before”. “sex and your chemicals”. Very passionate. “Moonshine, take us to the stars tonight, take us to that special place, the place we went the last time”. Strong drums at the end.
Great song, beautiful piano, slower ballad, very passionate. He is still in love and it is a nighttime song this time, other than the other more lively upbeat daytime songs. He loves her. Great track. 9.4
- When I was Your Man: Piano, Billy Joel like. “Same bed, but it feels a little bit bigger now”. Recent heartbreak song. Beautiful falsetto. “I should have brought you flowers”. Lady has moved on. “I hope he buys you flowers, I hope he holds your hands”.
Damn, it’s over, and he messed up a lot of things which he wished he should have done. Unfortunately she has a new man and he seems to be pretty good. Bruno is in heartbreak mode. Those pleasant falsetto’s and smooth piano keys really set the scene beautifully. Amazing ballad, a hit. 9.4
- Natalie: clap, deep drums. “Never done this before, never want to do this again”. “She got me for everything”. Sick sample pieces. “Natalie, she ran away with all my money”. “if you see her, tell her I’m coming”. “She never said forever”.
Alright he’s upset, that’s clear here. Natalie who took all his money is making fun of him for falling for her gold digging antics and he is furious. He wants people to know he’s coming for Natalie and won’t let her live this down, but is upset over how much of a fool he was. Powerful drums, amazing samples, really brought this track to life. Layers were on point as well. 9.5
- Show: island drums, guitar. “Baby here we are gain”. Singing in a reggae tone. “Pleasure Pleasure Island is where we can go”. Rebound song, in the islands. Horns for party or festival.
Good, he’s back in the game and swing of things. I’m presuming he took a little vacation to clear his head and met this pretty young thing that he defiles constantly and this song is in celebration of that. I loved the reggae feel to this song, the party horns and back up “boop boop boop” made me feel as if there was a festival going on and everyone was in large commotion and happiness. Glad to here Bruno back in full form, not his strongest lyrically, kinda weird sound but he made it work for the most part. 8.7
- Money Make Her Smile: synths, money sound. Guitar groove with smooth drums. “Pretty little thing won’t let you down”. “Hey!” sample, Kanye-esque. “Music makes her dance, and money makes her smile”. “it’s funny, money makes her smile”. Techno beat, party beat.
Still talking about gold diggers, not really finding love yet. Great beat however, techno over this steamy fast sample beat that is a club type banger. His vocals are ferocious on this track and he is at his most passionate for sure. 9.0
- If I Knew: old school soul track. Guitar groove, band drums. Pain in his voice. Reminiscent. Duet? “I know it breaks your heart, to picture the one you love in someone elses arms”.
He’s singing of a long coming. A strong love that will give him innocence and that which he wishes to give back to her because it makes him feel so good. Beautiful song, definitely a closer for the ages, I will be replaying this song for a while. 9.6
Verdict
Bruno Mars is one of the foremost Pop artist of the past 5 years, with a number of hit singles and a super bowl half time performance for the record books. He’s a cool and collective guy but once he performs he puts on this show that is truly remarkable. Unorthodox Jukebox was his way of expressing emotions he doesn’t usually show unless he’s performing, like love, lust, heartbreak, and fulfillment. He develops these emotions with old school production patterns and a soulful vocal performance that sucks you right in. From top to bottom this album takes you on an emotion rollercoaster with Mars and by the end you’ll be begging for more. Bruno Mars delivers on this album and gives you a piece of him you’ll cherish for a while. He has so much more to give as well, which makes his future look very bright.
Standout(s): ‘Treasure’, ‘If I knew’, ‘Locked Out of heaven’
Rate: 9.1
Album: Merriweather Post Pavilion
Artist: Animal Collective
Genre: Experimental pop, psychedelic pop
Review date: 11/10/15
Album drop date: 1/20/09
11 songs. 54 minutes
Bands 10th album
Track by track:
1) In The Flowers: gurgling sound in production. Crunching noise. ‘Couldn’t stop that spinning force, I felt in me’. Very psychedelic. ‘if I could just leave my body for the night’. Fast wavy paste. ‘To all of human time’. Fast build up. Sounds like alien’s leaving the room.
Quiet psychedelic, I liked it. Slow starter but I understand what they were doing with this introduction. It was as if we were entering their world, getting ready for all the crazy shit we’re about to hear. I’m strapped in.
Rate: 8.5
2) My Girls: nice transition. Fluttering beat. Ay, this bumps! Great drums. ‘I’m about this’ rebel song. Needs sex from girls, not material things. Youth anthem. Productions becomes more intricate as song progresses. Sounds like alien walking away.
Woo! Had my moving, okay that was a nice pickup from the last song. Definitely a party song, about sex and the fun things youth looks forward to everyday.
Rate: 9.2
3) Also Frightened: layered vocals. Stomping. ‘will it be just like im dreaming’. ‘no one should call you a dreamer’. Stuffy production. Good thumping repetition. Sounded like an alien moaning this time lol they’re something special with these endings I swear.
Okay so this third track is more along the lines of telling the listener to follow their dreams despite what others may say or think. I can 100% back that message. Solid production, great pace, layers made it more in your face so you comprehended what was being presented, good job.
Rate: 8.7
4) Summertime Clothes: okay so transitions are a thing, cool. Darker song. Drums thumping, sounds like you’re’ in the middle of a rave. ‘SO’ same darkish beat is cool and catchy now. ‘Rip off your sleeves and ill ditch my socks’. ‘I walk, I walk, around with you’. ‘With you, with you, with you, with you’. Finally an abrupt ending!
I see how the song is titled SUMMERTIME clothes but this track had more of a Halloween feel to me. Still a pretty cool track, nothing special. Probably liked the darkish beat the most. Talking about walking with a girl, and funny imagery about taking off their clothes before having sex.
Rate: 8.4
5) Daily Routine: zing sound cool. Additional drums, adds a bounce. Psychedelic. Great production, almost sounds like it’s going backwards. High hat? ‘Look at the traffic signal’. Edited vocals. Super reverb. Like he’s entering a vortex. Alien wolf? Underwater sensation.
Very interesting unnerving track. There was a lot the singer was saying but with the pitch of the production coinciding with the reverbed vocals I couldn’t make out much. Still good production, solid vocals, I liked the first quarter of this track a lot, had my mind all over the place with the added sounds coming from everywhere.
Rate: 8.5
6) Bluish: Heavy synths. ‘back to the time when we were green’. ‘touched your hand’. ‘im getting lost in your curls, getting crushed by things that only I can see’. Nice ending, great vocals.
Alright, cute love song in a very psychedelic way. About the way he loved her when he was younger and her curls were so encapsulating he’d find himself lost in them just by looking at her. Lost in the production, a good thing.
Rate: 8.0
7) Guys Eyes: Sounds like crickets and birds from outside. Jungle vibe. ‘woooooo’ ‘need to’. Two singers at once, cool effect. Stick drums, has me moving lol ‘I want to WHAT’ .Fllute that’s the driving sound. And leads us into the next track.
I really liked this one. Very panda bearish, has you in a trance contemplating the same few words over and over again. Solid track, might be my favorite so far but its only half way.
Rate: 8.8
8) Taste: ‘can you, find my’. Funky beat w/psychedelic underpinning. Digital sound. ‘am I really all the things that are outside of me’. Chanting again. Panda bear taking the lead.
Nice almost tribal song. Chanting like a panda bear song. I can dig it, good song. No complaints. Keep em coming.
Rate: 9.1
9)Lion In A Coma: Grunge foundation. Nice beat. Subtle background vocals. Fast front vocals. Production makes word unintelligible. ‘Get into my bedroom’ all I can catch. ‘Sometimes I don’t agree, with my thoughts on being free’. Very mixed thoughts in lyrics, caught in between two extremes of ideas. Play on the word ‘lying’ in a coma. Time to think of such topics.
Great production, like these guys are extremely special when it comes to that psychedelic sound. I now I’m not too savvy on it yet but I can understand why they got such high marks on this album. Okay back to the song. It appears the angle of the lyrics is geared towards a man in a coma and contemplating his thoughts on life. He continuously goes back and forth on ideas and the back and forth of the instrumental gives the listener an anxious trapped feeling, like someone in a coma.
Rate: 9.0
10) No More Runnin: Church piano, slow drums. Or cello. ‘it’s what I hope for, no more running!’ dreamy state. Kind of beautiful in a longing way.
Beautiful song, very smooth and thoughtful. You can feel the longing to stop running away and to stay and face whatever it is the singer is facing. Gorgeous piano chords. Darker tone but kindly arranged.
Rate: 9.2
11) Brother Sport: ‘Sports brother’ nice bounce. Faster pace, ‘wooo’ siren sound back and forth back and forth. Faster. Ay ay ay that’s me lol techno feel. ‘too fully grown, you have a real good shout’ ‘keep it real’ great ending.
Very good ending, back to the reverb back and forth vocals that are essential to these guys appeal. I was dancing a lot and lost myself for a minute there. Don’t really know what they’re saying half the time but I loved it.
Rate: 9.5
Verdict
Animal Collective is a super group and side project from producers of multiples bands in America. There specialty in genre bending into a psychedelic trip is mind-blowing to say the least. There was more than 10 times where I didn’t understand what I was hearing but knew it sounded great and kept dancing through it all. This being there10th studio album I can’t even begin to contemplate how their sound has majored and changed over the years. I’m 100% committed to finding out more about this band. Since psychedelic music isn’t too well known to me I’m going to figure out more about this movement and have a better ear for what to like and what to stray away from. So far this album is my model (That and some Panda Bear projects) and I’m more than happy for the ride.
Rate: 8.7
Standout(s): ‘Brother Sport’ ‘Taste’ and ‘’My Girls’
Artist: Animal Collective
Genre: Experimental pop, psychedelic pop
Review date: 11/10/15
Album drop date: 1/20/09
11 songs. 54 minutes
Bands 10th album
Track by track:
1) In The Flowers: gurgling sound in production. Crunching noise. ‘Couldn’t stop that spinning force, I felt in me’. Very psychedelic. ‘if I could just leave my body for the night’. Fast wavy paste. ‘To all of human time’. Fast build up. Sounds like alien’s leaving the room.
Quiet psychedelic, I liked it. Slow starter but I understand what they were doing with this introduction. It was as if we were entering their world, getting ready for all the crazy shit we’re about to hear. I’m strapped in.
Rate: 8.5
2) My Girls: nice transition. Fluttering beat. Ay, this bumps! Great drums. ‘I’m about this’ rebel song. Needs sex from girls, not material things. Youth anthem. Productions becomes more intricate as song progresses. Sounds like alien walking away.
Woo! Had my moving, okay that was a nice pickup from the last song. Definitely a party song, about sex and the fun things youth looks forward to everyday.
Rate: 9.2
3) Also Frightened: layered vocals. Stomping. ‘will it be just like im dreaming’. ‘no one should call you a dreamer’. Stuffy production. Good thumping repetition. Sounded like an alien moaning this time lol they’re something special with these endings I swear.
Okay so this third track is more along the lines of telling the listener to follow their dreams despite what others may say or think. I can 100% back that message. Solid production, great pace, layers made it more in your face so you comprehended what was being presented, good job.
Rate: 8.7
4) Summertime Clothes: okay so transitions are a thing, cool. Darker song. Drums thumping, sounds like you’re’ in the middle of a rave. ‘SO’ same darkish beat is cool and catchy now. ‘Rip off your sleeves and ill ditch my socks’. ‘I walk, I walk, around with you’. ‘With you, with you, with you, with you’. Finally an abrupt ending!
I see how the song is titled SUMMERTIME clothes but this track had more of a Halloween feel to me. Still a pretty cool track, nothing special. Probably liked the darkish beat the most. Talking about walking with a girl, and funny imagery about taking off their clothes before having sex.
Rate: 8.4
5) Daily Routine: zing sound cool. Additional drums, adds a bounce. Psychedelic. Great production, almost sounds like it’s going backwards. High hat? ‘Look at the traffic signal’. Edited vocals. Super reverb. Like he’s entering a vortex. Alien wolf? Underwater sensation.
Very interesting unnerving track. There was a lot the singer was saying but with the pitch of the production coinciding with the reverbed vocals I couldn’t make out much. Still good production, solid vocals, I liked the first quarter of this track a lot, had my mind all over the place with the added sounds coming from everywhere.
Rate: 8.5
6) Bluish: Heavy synths. ‘back to the time when we were green’. ‘touched your hand’. ‘im getting lost in your curls, getting crushed by things that only I can see’. Nice ending, great vocals.
Alright, cute love song in a very psychedelic way. About the way he loved her when he was younger and her curls were so encapsulating he’d find himself lost in them just by looking at her. Lost in the production, a good thing.
Rate: 8.0
7) Guys Eyes: Sounds like crickets and birds from outside. Jungle vibe. ‘woooooo’ ‘need to’. Two singers at once, cool effect. Stick drums, has me moving lol ‘I want to WHAT’ .Fllute that’s the driving sound. And leads us into the next track.
I really liked this one. Very panda bearish, has you in a trance contemplating the same few words over and over again. Solid track, might be my favorite so far but its only half way.
Rate: 8.8
8) Taste: ‘can you, find my’. Funky beat w/psychedelic underpinning. Digital sound. ‘am I really all the things that are outside of me’. Chanting again. Panda bear taking the lead.
Nice almost tribal song. Chanting like a panda bear song. I can dig it, good song. No complaints. Keep em coming.
Rate: 9.1
9)Lion In A Coma: Grunge foundation. Nice beat. Subtle background vocals. Fast front vocals. Production makes word unintelligible. ‘Get into my bedroom’ all I can catch. ‘Sometimes I don’t agree, with my thoughts on being free’. Very mixed thoughts in lyrics, caught in between two extremes of ideas. Play on the word ‘lying’ in a coma. Time to think of such topics.
Great production, like these guys are extremely special when it comes to that psychedelic sound. I now I’m not too savvy on it yet but I can understand why they got such high marks on this album. Okay back to the song. It appears the angle of the lyrics is geared towards a man in a coma and contemplating his thoughts on life. He continuously goes back and forth on ideas and the back and forth of the instrumental gives the listener an anxious trapped feeling, like someone in a coma.
Rate: 9.0
10) No More Runnin: Church piano, slow drums. Or cello. ‘it’s what I hope for, no more running!’ dreamy state. Kind of beautiful in a longing way.
Beautiful song, very smooth and thoughtful. You can feel the longing to stop running away and to stay and face whatever it is the singer is facing. Gorgeous piano chords. Darker tone but kindly arranged.
Rate: 9.2
11) Brother Sport: ‘Sports brother’ nice bounce. Faster pace, ‘wooo’ siren sound back and forth back and forth. Faster. Ay ay ay that’s me lol techno feel. ‘too fully grown, you have a real good shout’ ‘keep it real’ great ending.
Very good ending, back to the reverb back and forth vocals that are essential to these guys appeal. I was dancing a lot and lost myself for a minute there. Don’t really know what they’re saying half the time but I loved it.
Rate: 9.5
Verdict
Animal Collective is a super group and side project from producers of multiples bands in America. There specialty in genre bending into a psychedelic trip is mind-blowing to say the least. There was more than 10 times where I didn’t understand what I was hearing but knew it sounded great and kept dancing through it all. This being there10th studio album I can’t even begin to contemplate how their sound has majored and changed over the years. I’m 100% committed to finding out more about this band. Since psychedelic music isn’t too well known to me I’m going to figure out more about this movement and have a better ear for what to like and what to stray away from. So far this album is my model (That and some Panda Bear projects) and I’m more than happy for the ride.
Rate: 8.7
Standout(s): ‘Brother Sport’ ‘Taste’ and ‘’My Girls’
Album: Adore Life
Artist: Savages
Genre: Post Punk Revival, Noise Rock
Review date: 1/22/16
Album drop date: 1/22/16
10 songs. 39 minutes
Bands 2nd album
Track by track:
The singer is trying to convince the guy to cheat w/ her, scandalous! Great song right here, heavy thick groove, okay vocals and compelling lyrics. The sound grew and grew as the song progressed, and that stop?? Super dope.
9.0
2. Evil: Cool dark. Nice guitar and drum combo. ‘soak your actions in self-doubt’. ‘why is it you’re so afraid’. Guitar is killing it here. About parents?
Rebellious. ‘don’t try to change’.
Passionate track, wish it showed more emotion. She seems to really not like her parents. Evocative lyrics, nice guitar lead. Jamming.
8.0
3. Sad Person: Volume low during inception. Sudden decibel increase. ‘you are never satisfied’. ‘What happens to your brain is the same as rushing cocaine’. Calling herself the sad person? “I am I am a sad sad person’. Tender guitar is the far back. Quality depth. That high note!
Okay Jehnney did everything right in this one! Her vocals were on point, showing her range. Lyrics were provocative like always, and really revealing. She showed emotion in her tones. The guitar was especially spectacular here. Well done.
9.4
4. Adore: Starts quiet again. Kinda like it. Slow drum and guitar instrumental. ‘I adoreeeeee life’. Such a dark song for a pretty title and topic, interesting. Sounds like Florence welch right here. Suffering cause of the adoration of life. ‘I understand the urgency of life’. Huge space, add emotion, fan-fucking-tastic. LET ME KNOW JEHNEY! Beautiful!!!!! Goooooooo!!!!
Alright so their thing is pauses in the middle of songs and abrupt endings. I can dig it. With that being said Savages are growing on me here. Second track in a row that I really liked. All my better comments are in my initial reaction. Her voice is very Florence welch like here, in a good way, less powerful but more tamed and pleasantly beautiful, like if Florence is a grown lion Jehnney is her adolescent child. Keep em coming.
8.9
5. Slowing Down the World: Eruption, growing in noise. Such a subtle noise rock band. Way more enjoyable this way. “Is it for you I lay down, anywhere’. Pleasant and grunge all in one. When you slow down the world and time for that instance what you do, the bad things I’m guessing, become more apparent.
Deep song, with a message. When you pay attention to what you’re doing by taking the time to notice things or ‘slowing down the world’ you see the obscurities of everything. It’s an eerie awareness that I can relate to. Bonus for lyrical deepness.
8.8
6. I Need Something New: Vocal exercise. Go GIRL! It’s like she summoned the instruments in this séance. ‘I’m kicking the wall’. Frustrated, production displays that. Monstrous.
Solid track, really explored different reaches with her voice. Enjoyable. Not my fav but a good song all together. Instruments had a mind of their own, amazing ending.
8.6
7. When in Love: Beautiful to dark real quick. ‘Is it love, or is it boredom, that took me up to your bedroom’. Makes sense why beginning started beautiful and went to hell.
Good song, strong finish. Loved the topic, how love can make you do stupid things. Accessibility there. Keep it up!
8.4
8. Surrender: Woozy, buzzing sound. Higher notes in between that beat. Ayyyye groove it dope. ‘what we do, what we should’. Background vocal game on point! Johnney showing some vulnerability here!
Alright, so we’re getting near the end, and every tough layer from earlier in the album is being unpeeled, rather harshly by the sounds of the production. Its unnerving how she lets it all go, every secret, every inhibition. The groove on this one is up there with ‘The Answer’.
8.7
9. T.I.W.Y.G.: ugly. Screeching. ‘This is what you get when you MESS WITH LOVE’. She admits she does, we all do it. Second half FIREEEEEE!!! THAT GUITAR IS DISCRETLY KILLER. DYNAMIC FAM.
Way to gooooo!!!!! I love this song, everything is perf. I can relate to this the most. Shows honestly, dynamic production, changed up and then WENT BACK TO FINISH US OFF. Quality to its finest.
9.5
10. Mechanics: Atmospheric. Hollow. Haunting. ‘I want to learn the touch of love, how you can burn with just one touch’. Raw. Vocals going with that lead guitar, beautiful and scary at the same time. Instrumental overcrowding the sound. Taking over.
Really enjoyed that finish. Slowed us down and let us know her love has stood the test of time. It’s all in the mechanic, how you can maneuver through all the problems that tests your love for someone. The layering of the guitar and drums created a blissful awakening for my ears.
9.4
Verdict
Bringing a postmodern revival edge to the punk movement Savages create a very accessible album. With guitar riffs and grooves that carry the tune of the tracks there is little in the way of their appeal. Another aspect of their sound is noise, in respect to the noise rock sub-genre of rock. Savages has utilized that part of their instrumental repertoire to drive the back end of songs home for eventful finishes. The album is vulnerable, cynical, convoluted and peaceful throughout, not for one instance letting the listener think they have everything figured out about the Singer. Off of my one and only listen I know for a fact that I have more listens coming, there were some words I didn’t catch, and I believe finding those new things will create an even more enjoyable experience for me. The U.K. based band has a number of music that is available for me to explore, and after enjoying Adore Life I’ll definitely check more what they have to offer.
Standout(s): T.I.W.Y.G. , Sad Person, Mechanics.
Rate: 8.2
Artist: Savages
Genre: Post Punk Revival, Noise Rock
Review date: 1/22/16
Album drop date: 1/22/16
10 songs. 39 minutes
Bands 2nd album
Track by track:
- The Answer: Grungy, ‘if you don’t love, don’t love anybody’. Great build up. Scandalous lol. ‘I’ll go insane’. Gothic vocals. ‘love is the answer’. Hell of a groove at the tail end. Oh shit. Wild finish.
The singer is trying to convince the guy to cheat w/ her, scandalous! Great song right here, heavy thick groove, okay vocals and compelling lyrics. The sound grew and grew as the song progressed, and that stop?? Super dope.
9.0
2. Evil: Cool dark. Nice guitar and drum combo. ‘soak your actions in self-doubt’. ‘why is it you’re so afraid’. Guitar is killing it here. About parents?
Rebellious. ‘don’t try to change’.
Passionate track, wish it showed more emotion. She seems to really not like her parents. Evocative lyrics, nice guitar lead. Jamming.
8.0
3. Sad Person: Volume low during inception. Sudden decibel increase. ‘you are never satisfied’. ‘What happens to your brain is the same as rushing cocaine’. Calling herself the sad person? “I am I am a sad sad person’. Tender guitar is the far back. Quality depth. That high note!
Okay Jehnney did everything right in this one! Her vocals were on point, showing her range. Lyrics were provocative like always, and really revealing. She showed emotion in her tones. The guitar was especially spectacular here. Well done.
9.4
4. Adore: Starts quiet again. Kinda like it. Slow drum and guitar instrumental. ‘I adoreeeeee life’. Such a dark song for a pretty title and topic, interesting. Sounds like Florence welch right here. Suffering cause of the adoration of life. ‘I understand the urgency of life’. Huge space, add emotion, fan-fucking-tastic. LET ME KNOW JEHNEY! Beautiful!!!!! Goooooooo!!!!
Alright so their thing is pauses in the middle of songs and abrupt endings. I can dig it. With that being said Savages are growing on me here. Second track in a row that I really liked. All my better comments are in my initial reaction. Her voice is very Florence welch like here, in a good way, less powerful but more tamed and pleasantly beautiful, like if Florence is a grown lion Jehnney is her adolescent child. Keep em coming.
8.9
5. Slowing Down the World: Eruption, growing in noise. Such a subtle noise rock band. Way more enjoyable this way. “Is it for you I lay down, anywhere’. Pleasant and grunge all in one. When you slow down the world and time for that instance what you do, the bad things I’m guessing, become more apparent.
Deep song, with a message. When you pay attention to what you’re doing by taking the time to notice things or ‘slowing down the world’ you see the obscurities of everything. It’s an eerie awareness that I can relate to. Bonus for lyrical deepness.
8.8
6. I Need Something New: Vocal exercise. Go GIRL! It’s like she summoned the instruments in this séance. ‘I’m kicking the wall’. Frustrated, production displays that. Monstrous.
Solid track, really explored different reaches with her voice. Enjoyable. Not my fav but a good song all together. Instruments had a mind of their own, amazing ending.
8.6
7. When in Love: Beautiful to dark real quick. ‘Is it love, or is it boredom, that took me up to your bedroom’. Makes sense why beginning started beautiful and went to hell.
Good song, strong finish. Loved the topic, how love can make you do stupid things. Accessibility there. Keep it up!
8.4
8. Surrender: Woozy, buzzing sound. Higher notes in between that beat. Ayyyye groove it dope. ‘what we do, what we should’. Background vocal game on point! Johnney showing some vulnerability here!
Alright, so we’re getting near the end, and every tough layer from earlier in the album is being unpeeled, rather harshly by the sounds of the production. Its unnerving how she lets it all go, every secret, every inhibition. The groove on this one is up there with ‘The Answer’.
8.7
9. T.I.W.Y.G.: ugly. Screeching. ‘This is what you get when you MESS WITH LOVE’. She admits she does, we all do it. Second half FIREEEEEE!!! THAT GUITAR IS DISCRETLY KILLER. DYNAMIC FAM.
Way to gooooo!!!!! I love this song, everything is perf. I can relate to this the most. Shows honestly, dynamic production, changed up and then WENT BACK TO FINISH US OFF. Quality to its finest.
9.5
10. Mechanics: Atmospheric. Hollow. Haunting. ‘I want to learn the touch of love, how you can burn with just one touch’. Raw. Vocals going with that lead guitar, beautiful and scary at the same time. Instrumental overcrowding the sound. Taking over.
Really enjoyed that finish. Slowed us down and let us know her love has stood the test of time. It’s all in the mechanic, how you can maneuver through all the problems that tests your love for someone. The layering of the guitar and drums created a blissful awakening for my ears.
9.4
Verdict
Bringing a postmodern revival edge to the punk movement Savages create a very accessible album. With guitar riffs and grooves that carry the tune of the tracks there is little in the way of their appeal. Another aspect of their sound is noise, in respect to the noise rock sub-genre of rock. Savages has utilized that part of their instrumental repertoire to drive the back end of songs home for eventful finishes. The album is vulnerable, cynical, convoluted and peaceful throughout, not for one instance letting the listener think they have everything figured out about the Singer. Off of my one and only listen I know for a fact that I have more listens coming, there were some words I didn’t catch, and I believe finding those new things will create an even more enjoyable experience for me. The U.K. based band has a number of music that is available for me to explore, and after enjoying Adore Life I’ll definitely check more what they have to offer.
Standout(s): T.I.W.Y.G. , Sad Person, Mechanics.
Rate: 8.2
Album: 99.9%
Artist: KAYTRANADA
Genre: Electronic
Review date: 5/6/16
Album drop date: 5/15/16
15 songs. 58:08 minutes
Producer’s debut album
Track by track:
Rate: 8.5
Rate: 8
Rate: 9.0
Rate: 8.8
Rate: 7.9
Rate: 8.6
Rate: 8.1
Rate: 8.0
Rate: 8.7
Rate: 8.6
Rate: 9.2
Rate: 9.4
Rate: 9.5
Rate: 9.3
Rate: 9.0
Verdict
Under a recommendation from a friend I chose to listen to this up and coming Canadian producer’s debut album, and man was I impressed. I had no preconceived notions on how I believed the album would sound, and that allowed for me to internalize everything fresh and without prejudice. KAYTRANADA is gifted as a producer, at the ripe young age of 23 he has already matured his sound to sound trained and tested. From the sick sample’s dancing throughout the tracks, smooth and subtle bass lines, and hard-hitting 808’s he is capable of morphing generations of music into one fun 2016 audio experience. The beats will suck you in but the intricacies of the transitions and beats switch ups within the songs will keep you there. Where the Montreal producer succeeds in delving into the past to add on a modern twist and instrument he might come across as unoriginal and lacking personal expression. Sometimes it’s hard to tell what he likes and what he creates from his heart. This unintentionally comes with young age and the lack of personal experiences to draw those beats and rhythms from. That emotional attachment to the past can sometimes be a cop out or handicap to derive ideas and generate inspiration from. In years to come I’m sure KATRANADA will have his own unique sound, he’s living in a country where much of today’s modern pop music is deriving its sound from.
Rate: 9.0
Standout(s): YOU'RE THE ONES, VIVID DREAMS, LITE SPOTS.
Artist: KAYTRANADA
Genre: Electronic
Review date: 5/6/16
Album drop date: 5/15/16
15 songs. 58:08 minutes
Producer’s debut album
Track by track:
- Track Uno: Fluttering keys, 80’s disco feel. House music. Great distortions and shifts in beat pattern. High hat, ayyyyeeee.
Rate: 8.5
- BUS RIDE: smooth, nice kick. Such a laid back beat. Like a stroll down the block feel. Jazzy violin.
Rate: 8
- GOT IT GOOD: Finally vocals!!!! Woo, R&B. Sounds like Usher, get it Craig David! That sample is life. Nice Drake line, so Canada haha. Sweet use of the vocals in separate headphones, girl and guy vocals respectively. Melody in humming form, well played.
Rate: 9.0
- TOGETHER: This guy loves the high hat. Sytheziser! 90’s R&B singer influenced. Whack rhythms and flow lol Not mixed well, underneath the beat.
Rate: 8.8
- DRIVE ME CRAZY: His flow is either crazy dope or off as fuck, damnit Vic. Chorus not bad. Granted it’s a strange beat, with a pointy high pitch sound reverberating throughout the track. Guitar should have been more profound on bridge. Wow, 808’s okay. End was clean.
Rate: 7.9
- WEIGHT OFF: Jazzy feel! Great drums, bass guitar is the lead instrument. Very pleasant. Awesome build up. Distracted by my own freestyle.
Rate: 8.6
- ONE TOO MANY: Loves his high hat and snare. Similar to Frank Ocean, in vocals and production. Jazzy hip-hop tribe called quest back ground adlibs. Cool bar line, I want to steal it lol
Rate: 8.1
- DESPITE THE WEATHER: Bells, feels like some old school 70’s R&B group intro music. Chilling in a lounge, getting some wine, pretty girl next to you. Smooth.
Rate: 8.0
- GLOWED UP: Halloween synthesizer. Dope 808’s. West feel. Intoxicating beat. Second half, high hats back, slowed down. Pretty keys.
Rate: 8.7
- BREAKDANCE LESSON N.1: Hey! Woo! Some soul train dance music. AHHHHH that 808!
Rate: 8.6
- YOU’RE THE ONE: I love Syd’s voice. Beautiful, ahhhhhh so beautiful and freeing. Transition is dope as hell!
Rate: 9.2
- VIVID DREAMS: Dark overtones. Haunting syths. Nice little vocal adlib. Layering on point. Very compelling. Build up strong!!!
Rate: 9.4
- LITE SPOTS: THAT SAMPLE THO!! Fuckkkkkk that clap. Bounce, bounce, bounce, bounce.
Rate: 9.5
- LEAVE ME ALONE: Sample game is fucking strong. Very spacy beat. Synthesizes keys here, similar to house. House drops. Pretty vocals by Shay, killing it.
Rate: 9.3
- BULLETS: high hate king. Almost psychedelic. Very cool. Sweet house tune.
Rate: 9.0
Verdict
Under a recommendation from a friend I chose to listen to this up and coming Canadian producer’s debut album, and man was I impressed. I had no preconceived notions on how I believed the album would sound, and that allowed for me to internalize everything fresh and without prejudice. KAYTRANADA is gifted as a producer, at the ripe young age of 23 he has already matured his sound to sound trained and tested. From the sick sample’s dancing throughout the tracks, smooth and subtle bass lines, and hard-hitting 808’s he is capable of morphing generations of music into one fun 2016 audio experience. The beats will suck you in but the intricacies of the transitions and beats switch ups within the songs will keep you there. Where the Montreal producer succeeds in delving into the past to add on a modern twist and instrument he might come across as unoriginal and lacking personal expression. Sometimes it’s hard to tell what he likes and what he creates from his heart. This unintentionally comes with young age and the lack of personal experiences to draw those beats and rhythms from. That emotional attachment to the past can sometimes be a cop out or handicap to derive ideas and generate inspiration from. In years to come I’m sure KATRANADA will have his own unique sound, he’s living in a country where much of today’s modern pop music is deriving its sound from.
Rate: 9.0
Standout(s): YOU'RE THE ONES, VIVID DREAMS, LITE SPOTS.