While the band managed to churn out two great albums in essentially a year's time, they took their time with their third release, Picaresque. In doing so they made what is regarded by the vast majority of Decemberists fans to be their best album ever; I agree with that to an extent, though I've always been a bigger fan of their sophomore or their fourth album, The Crane Wife.
On first listen you can tell just how much time and care went in to each and every song on Picaresque; the arrangements are bigger, the vocals more layered, and the track lengths beefier. Also, the band went all in with their theatrics (made prominent by the album art) delivering tracks that were equal parts goofy, yet straight-faced as well, and it is this balancing act that proves to be Picaresque's greatest strength.
The band also happens to pen some of their best tracks here with "The Sporting Life" and "16 Military Wives" being among their poppiest, and to me, most memorable tracks. The former is a Wes Anderson esq story about a young athlete who sprains his ankle on the playing field and humiliates himself in front of his friends, family, and girlfriend (who is seen with the captain of the other team), but the character is set on proving them all wrong. The latter is an oddly political song that points at America's knack for sending its citizens off to war and the effects that has on the families of the soldiers.
We also get the wonderfully theatrical and over the top anthems "A Bagman's Gambit" and "The Mariner's Revenge Song" both of which weave movie like plots in under ten minutes and are considered by most fans to be the highlights of the album.
However, among the poppier moments and the more gaudy tracks, we get a lot more sad, slow tracks much like we got on the band's debut, only this time the production and stories are stronger, "Eli, The Barrow Boy" and "The Engine Driver"/"On The Bus Mall" coupling being my personal favorites.
The only weak moment here is the closer which has never in the nearly five years I've been listening to this album, never left an impression on me, thus making Picaresque slightly lesser in my eyes in comparison to Her Majesty, but don't let that stop you from enjoying The Decemberists at what many consider to be their creative peak.
Personally, I think the band has plenty more to offer going forward, though now we come to the spot in their career where things become a bit strange.
After the solid set of releases that The Decemberists put out in 2002, they wasted no time putting out their sophomore LP, Her Majesty The Decemberists. To me, Her Majesty is probably the strongest set of songs that the band put out in the early part of their career, and is in many ways my favorite release from them overall. They tightened up the instrumentation, melodies and even Colin's voice seems stronger on this LP.
The album starts with the sea faring "Shanty For The Arethusa" which shows how the band was embracing their more theatrical side, which would go on to define them in a lot of ways, that and the fact that this song is far more complex instrumentally than almost any of the songs on the band's debut. The following two tracks are much more pop focused and are some of the strongest songwriting the band has ever displayed in my opinion. "Billy Liar" is a quirky character portrait of a randy young man, and "Los Angeles, I'm Yours" paints the picture of a Los Angeles that despite its ugly side, the narrator still seems to hold a great affection for the place, whether that love is sarcastic or not is up to the listener.
The following track, "The Gymnast, High Above The Ground" is a personal favorite, and is a moment when the band writes a slower track and stretches the length of the track, but manages to put an interesting character on display; this happens again on the late album track "I Was Meant For the Stage", a track that seems to be a bit biographical as well.
Amidst the slower moments we also get the fan favorite "Red Right Ankle" which is a sweet little love song that poetically states how love can bind people together. There's also "The Bachelor and the Bride", but I find this track to be the most nondescript on the entire album. However, we also get a batch of more energetic moments which, to me, give this album its edge when compared to the debut; songs like "Song For Myla Goldberg" and "The Chimbley Sweep" are upbeat and quirky, but the true star of the more driving songs on Her Majesty is easily, "The Soldiering Life", a song about two soldiers who find love on the battlefield; this track is probably my favorite Decemberists song because it has such a great melody and the explosion of instrumentation and vocals during the chorus is just to good to deny, plus it is an incredibly sweet song to boot.
The closer her is a bit of an anomaly, but one that I actually enjoy quite a bit. It comes right after the long, winding "I Was Meant For the Stage", and features the most "lo-fi" sounding production I've ever heard the band use.
Her Majesty The Decemberists is such a great listen; it is easily my most re-visited Decemberists LP and still sounds fantastic 11 years after its release. If you want to give just one Decemberists album a chance, make it this one.
Well, 2014 is darn near over and I'm waiting on the new year to dawn before tackling any significant amount of new music. So in the meantime I thought it would be a neat to take a look at the current discography of one of my favorite bands, The Decemberists. To me, this band represents a turning point in my musical tastes; gone were the days where I thought the only legitimate form of music was Thrash Metal and in came a plethora of musical ideas and concepts that would forever alter the way I listened to music.
To start, I'm only going to cover the main album releases from The Decemberists, no EPs or live albums, though I will try to make mention of them if they relate to the current LP I'm reviewing.
The Decemberists are essentially a folk band, though that description is pretty limited since they also dabble in country, sea faring tales and on occasion some Pink Floyd esque psychedelia. However, folk was the prime focus on their first couple of releases, the Five Songs EP and their debut full length Castaways & Cutouts. On these two releases the band penned songs that dealt with love and death, but often through the lens of a character or odd story, all the while, using some pretty heady vocabulary, a trait that the band has never really abandoned.
C&C starts with the gloomy "Leslie Ann Levine" which tells the tale of a dead girl who is mourning her own lost life, this song sets the mood for the album perfectly and is easily in my top favorite Decemberists songs. Next there is the ever addictive and mesmerizing "Here I Dreamt I Was An Architect", a track that portrays a series of characters and is wrapped in the most wonderful electric guitar lead on the entire album.
The album for the most part is a collection of sadder, slower paced tracks, dealing with an unfortunate death ("Leslie Ann Levine"), a special memory ("Grace Cathedral Hill") or even the dark tale of a prostitute ("Cautionary Tale"). However, there are a couple of more upbeat moments, though these too have there an element of darkness to them; for instance, on "July, July" the driving chorus is punctuated with lyrics about blood running down a drain, or the late album burst of "Legionnaires Lament" where the narrator describes being stranded in a desert.
The album in my opinion does hit a small slump in the middle with the tracks "Odalisque" and "Cocoon" though that has more to do with the length of those tracks than the quality of the tracks themselves, something I found myself thinking about a lot of Tarkio's material (the band that frontman Colin Meloy was in previously).
Really, this album is a fantastic debut from a band that would only push their sound farther on successive albums. Though this is just the first review, I can honestly say that C&C is the one Decemberists album I can put on any time and while it isn't my absolute favorite, it is an LP that I hold near and dear.
Well, it's that time again! Time to list off my favorite LPs of the year. Personally, this list was very hard to put together, because there were just so many solid albums that I listened over and over again. However, I'm very confident in my choices and hope you enjoy them as well!
#10: Tune Yards: Nikki Nack
I never saw myself enjoying a Tune Yards album, but luckily Nikki Nack came along this year and really blew me away. Few albums this year were as colorful and oddly dark as the one that Tune Yards managed to put together. It has incredibly strong pop songs mixed in with sociopolitical and serious topics, a mixture that works so well it turned a former hater into a fan.
#9: Timber Timbre: Hot Dreams
The day that Timber Timbre put out an album I don't love will be a truly sad day indeed. Fortunately, I don't see that happening any time soon because Hot Dreams is simply their best album, ever. It (like the album above) mixes pop song structures with incredibly dark sounds and subjects. However, this album also contains an element that Timber Timbre always incorporate; a looming sense of doom and creepiness that makes songs like the title track take on a completely different meaning when analyzed closely. The perfect album for the month of October, or really any month.
#8: Mac Demarco: Salad Days
Ahh, the most chilled-out album of 2014. Sure, it isn't anything radically different from Mac's last album, but I still found myself putting this album on repeat all throughout the summer and beyond. Salad Days is the sound of an artist sticking with his guns, despite anyone's judgment or criticism. Luckily for Mac, the critics still kick back after a log day and mellow out to the smooth grooves of tracks like "Blue Boy".
#7: Freddie Gibbs & Madlib: Pinata
The tough as nails rhymes of Freddie Gibbs and the never disappointing production of Madlib come together and make Pinata a true modern classic in the gangsta rap genre. The sound of this album is just so masterful and irresistible; every time I put this on I lose myself in the smooth, crispy samples and satisfying drum kicks. Plus you have Freddie Gibbs putting together his best rhymes ever, and even bringing in some pretty great features as well.
#6: Future Islands: Singles
To be honest, I thought this album would be my album of the year for a good while, but then a lot of albums that were just as great came out and I had to make a decision. But don't let this album's place stop you from listening to this years finest pop album. Singles shows Future Islands working with a cleaner recording and writing their tightest hooks and choruses, ever. Plus it's always a joy to hear the vocals that this band brings to the table; soulful and slightly off their rocker.
#5: Swans: To Be Kind
I'll admit it, I'm a bit of a glutton for punishment when it comes to rock music. I like it loud, dark and twisted, and that is exactly what Swans do on a regular basis, but especially on their latest serving of pain, To Be Kind. This album is relentless in all of it's facets, but most importantly, it was (to me) endlessly enjoyable. I've sat through this albums 2 full hours over a half dozen times since it's release, and I've gone back to cuts like "Oxygen" and "Just a Little Boy" many more times than that. This is rock music at it's most eccentric and mesmerizing.
#4: Perfume Genius: Too Bright
Mike Hadreas changed his sound up on Too Bright, and I think it payed off in a big way. We get to hear his voice more clearly, and we get to see him incorporate more sounds and attitude into his usually downbeat, contemplative music. It may not be my favorite in his discography, but that has more to do with the time and place his last album hit me and less to do with the actual quality of the music on Too Bright, which is easily his most cohesive and approachable album to date. I'm happy to see Mike strutting his stuff and still writing excellent tunes in the process.
#3: Run The Jewels: RTJ2
If you remember last year's list, you'll recall that I said that anything with both Killer Mike and EL-P was bound to end up on my top 10... well that's still the case. However, I actually think that the dynamic duo did one better, and put together an even stronger album than their debut. RTJ2 is thoroughly enjoyable and darn near perfect with really only one track standing out as "good, not great". This has been on constant rotation since the day it came out, and will continue to for the foreseeable future.
#2: Iceage: Plowing Into The Field Of Love
When these fine young Danes came out with their sophomore album You're Nothing I was incredibly close to putting it on that years list, but I thought that with just a bit more substance, Iceage would be an undeniably great band; and that is exactly what they did with their latest album, Plowing Into The Field Of Love. To me, this is the album that all future modern goth-rock and post-punk albums should be compared to because Iceage are on a whole other level on this LP. From the moment that "On My Fingers" starts, I'm one hundred percent lost in this album until the very end. Add to that the years best rock song (in my opinion) "The Lord's Favorite" and I can no longer hide the fact that I love this album from top to bottom. Utterly amazing.
#1 Sun Kil Moon: Benji
This may not be a surprise if you've been following the blog, but I think that this album is flawless. Yeah, not a single track on this album is even remotely bad or anything less than superb. From the moment I first heard it all the way through, I knew this was the only acceptable spot for it when it came to end of the year lists. The amount of emotion here is staggering, and it is one of the few folk albums that after listening to it, I felt like I knew the artists better on a human level. The stories on display here range from heartbreaking, to inspiringly sad and heartwarming. The perfect picture of an artist who is experiencing life on the other side of middle age.
Young West-Coast rapper Vince Staples has been making noise in the underground rap scene ever since he dropped a remarkable verse on Earl Sweatshirts album Doris, on the track "Hive", a personal favorite of mine from last year. And while I haven't exactly been too hot on the past couple of mixtapes that Vince has dropped, I have to say he's in prime form on his latest EP, Hell Can Wait.
On this EP, Vince drops a lot of solid verses and some decent choruses, backed by a lot of eerie buzzing beats that call back to the west coast greats of the 90s, but also bring to mind the new faces of the west coast, such as that latest LP from Schoolboy Q, and some bits of Odd Future as well.
The EP flows pretty well too, with the first four tracks focusing on everything from a tough childhood being raised by paranoid drug dealers ("Screen Door") to Vince's own take on the recent media focus on police brutality on the superb single "Hands Up".
I would say the only weak track on the entire LP is the closer, "Feelin' The Love" which is a little too repetitive for my taste, and features one of the weaker hooks as well. However, I found myself being really into the albums other softer moment, "Limos" with it's description of a problematic relationship, and a wonderful vocal feature from Teyana Taylor.
I can't exactly knock the EP for being short, but I can honestly say that it left me wanting more. I can only hope that his next full length is as interesting and fleshed-out as this EP is. I'm glad to see Vince living up to his massive potential.
Iceage are a noise-punk band hailing from Denmark, and they've been making a lot of waves in independent music ever since their debut, New Brigade. While that album was good, I thought the follow-up You're Nothing was much better and was a sign that these four extremely young Danes were maturing. However, Plowing Into The Field Of Love is bound to go down as the moment Iceage went from being a good band to a truly great one.
PITFOL is a much more ambitious and lengthy album, clocking in at around 50 minutes, it runs nearly as long as the band's entire discography up until this point. And that ambition is fully realised, with tracks that feature a lot more harmony and are backed with some fantastic extra instrumentation. Plus, Iceage has gotten even better at creating tracks that emphasize their goth-rock influences, but still utilize their punk edge. One of my favorite tracks "Glassy Eyed, Dormant and Veiled" is a perfect example of how Iceage balances slow, mournful verses with truly explosive choruses that seethe with aggression and sound incredibly weary.
But of course, I can't ignore this LPs more "upbeat" moments, with lead single "The Lord's Favorite" being a prime example. At first, I wasn't sure about this tracks rockabilly style, but after a couple more listens, and a thorough readthrough of the lyrics, I realized what the band was going for; a track that paints the bands usual Nihilism in the light of a night of drinking and partying, leading to a bitter, but somehow raucous little tune that is really a highlight for the entire year. Other tracks that fit this bill are "Abundant Living" and "Against The Moon".
I simply love how this band is able to write such dark and moody tracks, but still back them up with the ferocity of punk music. It makes for a listening experience that is worth revisiting and analyzing, but doesn't require you to sit down and fix your chin on your fist to enjoy properly. Instead, you can thrash about and have a great time.
This is the kind of music I want kids of my generation listening to, the kind of music that delves into dark subject matter, but still has energy and aggression. Finally, I'm glad to see that Iceage are maturing even more, and with two LPs under their belt that I've had nothing but love for, I'm excited to see them become the legends that their posed to become.
It's been a long road for Weezer. They released two of the most celebrated (in retrospect) and loved LPs of the 90's rock era, but never seemed to find their footing in the years past Maladroit, an album that is usually just seen as "good for what it is". To me, Weezer was never more compelling and worthwhile than on their sophomore album, Pinkerton, an album I have reviewed on this blog, and love dearly.
However, despite the severe disappointment that the last handful of Weezer albums have presented, I have always been open to the band rediscovering their sound, and Everything Will Be Alright is exactly that; the sound of a band reconnecting with their roots, and releasing their most satisfying and worthwhile album in over 10 years.
The album opens up with the track "Ain't Got Nobody" which has a great melody and a wonderfully chunky sound. In fact, the first four tracks are fantastic rock tunes; they sound great and showcase the chemistry that Weezer seemed to have lost after Maladroit. I especially like the track "Eulogy For A Rock Band", sure it's a little cheeky, but that is what I always enjoyed about early Weezer tracks, their ability to be both emotional and funny.
The only major flaws on this LP are some spotty moments in the mid-section ("Da Vinci" and "Go Away") and some weak lyrics, though it could be argued that Rivers Cuomo has never had a way with words on any of his tracks. However, some questionable lyrics aside, I think this album is incredibly solid and enjoyable; it glides easily from one song to another with little to know interruptions, such as the cringe-worthy moments on albums like Raditude and Hurley *shudders*.
So, as the title of the album states, everything WILL be alright in the end, because Weezer have actually made a new album worth listening to from beginning to end; something that I thought impossible a year ago
Mick Jenkins is a Chicago rapper who has been putting mixtapes out for a goo while, but with his latest release The Water(s), Jenkins proves that he can put out a concept album and keep it interesting throughout. And even though this is the first project I've ever heard from this guy, I have to say I wish I'd heard of him sooner. Mick has a great sense of style, and his flows are smooth when he wants them to be, but can be hard as nails as well (especially on tracks like "Jerome").
The concept of the album is pretty self explanatory, Mick pens a series of tunes that either create the sonic idea of water, or he straight up references water itself. But he goes beyond the mere idea of water as the thing that covers most of the earth (though he does mention that), he actually sees water as a healing substance, both physically and spiritually. The track "Healer" is one of the best representations of what this album shoots for, and it's a pretty solid slow jam as well.
Though I actually think this album goes for a more socially aware angle. Mick makes a lot of references to drinking water, which I can only imagine actually means that he wants people to "drink" from his well of wisdom, or just wisdom in general. A specific line that points to this would be one found on the title track, where in the chorus he mentions water being more important than gold (or riches) while urging other rappers to "save your soul".
Though this may sound a bit preachy, and the whole concept of water does become a little redundant, I personally think Mick balances this out pretty well with a lot of solid bars and some really stand out lines. The production is great too, with everything from trap to boom-bap making an appearance.
Overall, I really enjoyed this LP, it has a lot of great moments, and while I wish it was just a tad bit shorter (cutting tracks like "Who Else" and "Canada Dry") I was really impressed with a vast majority of this LP and am looking forward to whatever Mick has in store for the future.
It's been a while since I've heard anything from La Roux. Back in 09' the former duo had one of my favorite pop songs of that year with "Bulletproof", but I never bothered to look deeper into the album that that song came from. However, I did notice that La roux seemed to disappear from the pop scene entirely. Turns out, the duo were going through a bit of a rough time, which resulted in them splitting up, leaving the name and creative output to frontwoman Elly Jackson.
Now, I may be the wrong guy to be discussing the obviously sensitive subject the breakup of La Roux as a duo, but I have to say, at least in terms of the music, Elly seems to be doing just fine by herself. Because Trouble In Paradise is easily my favorite pop album of the year, and is bound to make its way onto my end of the year list in some capacity.
First of all, this album has a fantastic aesthetic. The pulsating bass lines and chunky synths remind me of some of the 80's best hit singles. Mix that in with a bit of Bowie and Prince worship, and you have an album that is incredibly easy to love; it also helps that the songs on this LP are incredibly sharp and catchy as well, with a fair bit of ambition to boot. I mean, at the end of the day, these are pop songs about love, and the troubles that one can find whilst being in and out of it. But with tracks like "Silent Partner" with its earnest beat and Depeche Mode esque darkness, not to mention length, it's hard not to admire La Roux for being this creative in the pop music she creates.
However, while there some great slow moments on this LP, like the single "Let Me Down Gently", it's the brighter, more swaggering moments that stand out the most. For instance, the opener "Uptight Downtown" has some of the brightest and most fun guitar leads I've heard all year, and Elly delivers her verses with confidence and finesse. The following track "Kiss And Not Tell" and my personal favorite "Sexoteque" are both superb bits of Prince fanfare, with Elly owning the tracks with her rather impressive vocal range.
I'll cut my self short by simply saying that I think Trouble In Paradise is easily La Roux's crowning achievement thus far. Sure, it's not reinventing anything, but I;d argue that it is injecting a stale idea, 80's nostalgia, with a shot of life that it has been in desperate need of.
Unlike most of my classic reviews, I'll spare you the background. Because if you've been paying attention to rock music for the past 20 years, then you know who Nirvana are. Instead, I'm going to go straight into telling you all about there rather unappreciated first LP, Bleach.
Most people know their breakout classic Nevermind, a fantastic LP with some of the 90's best alternative rock. However, few people seem to acknowledge their debut for the fantastic LP that it is. Recorded on a $600 budget in a very short amount of time, Bleach has the sound of a low-fi album, but is never short on thick riffs and Kurt Cobains signature growl.
In fact, while Nevermind is easily the better produced LP, I actually prefer the sound of the recording on Bleach for how raw and in the moment it is. Plus, it's hard to deny the songs on this LP, from the opening notes of "Blew" to the creeping beauty of "About A Girl", this album is a showcase for just great a songwriter Kurt was, and how tight the band's playing was even before the addition of Dave Grohl on drums.
Other great cuts include "School", "Love Buzz" and my personal favorite, "Negative Creep" a track that sees Kurt shredding his voice over the albums hardest and most intense riff. Track for track, Bleach shows off the talent that Nirvana possessed and would continue to showcase on their following two LPs.
While it may not be the popular opinion, I do think Bleach is my favorite Nirvana album, with In Utero and Nevermind trailing behind. I just love the rawness of this album, and how freewheeling it all sounds; it's Nirvana at their genesis, and it's a superb rock album. 9.3/10
Perfume Genius is the moniker of singer-songwriter Mike Hadreas. Mike has been making moody, fragile sounding music under the Perfume Genius name since 2010, when he released his debut LP Learning. Now I've been a pretty big fan of this guy's music ever since he put out his last full length, Put Your Back N 2 It a couple of years ago. In fact, that album made its way on to my end of the year list for that year, and I admitted to being unable to write a formal review, due to the fact that I couldn't honestly describe the achingly beautiful songs and emotions of that LP. However, now that I've had a lot of time to digest not only that album, but the rest of PG's music, I can say without hesitation that PYBN2I is one of the most heartfelt and beautiful albums to be released in at least the last five years.
Now, nearly two years later, we have Too Bright, an album that, even from the first single "Queen" promised to be a big shift for Mike. No longer is he a quiet, solemn voice accompanied only by his piano and a few synths, or an acoustic guitar. Instead, Too Bright sees Hadreas expanding not only his musical horizons with a plethora of new sonic additions, but we are also witnessing a man who is embracing, even more than before, his sexuality and the identity that comes along with it.
Songs like "Queen" and "All Along" seem to directly confront bigots and those who are "scared " of how Mike carries himself. The former with an incredibly bright and powerful chorus that has one of PG's best refrains yet, "No family is safe/ When I sashay...". This line alone shows Too Bright's shift in confidence, and it is truly inspiring to see Mike bloom as an artist.
Other standouts (in an album full of them) include the second single "Grid" which sounds more akin to an industrial Swans track than anything that PG has done before; the track "My Body" has a similar quality to it. However, among these more vibrant and aggressive moments, Hadreas still graces us with the style of song that made his music such a treat in the first place; minimal tracks that feature him and his piano, though this time around there are cellos and other instruments in place to give a bit more warmth to the mix.
The opener "I Decline" is just so soulful, and features an almost gospel-like chord progression that reminds me of "Sister Song" from his last album. The title track and closer are two top notch ballads as well, as well as the album's centerpiece "Don't Let Them In".
I have yet to be disappointed by anything that Perfume Genius has released, and I'm already preparing a nice spot for this LP on my end of the year list, it's really that fantastic; you should listen to it.
It's no secret at this point, you know I'm a sucker for west coast hip hop. And as far as classic of the west coast are concerned, very few come close to The Chronic. Released late in 1992, Dr Dre dropped what is considered one of the best and most influential LPs in rap music. Which is no overstatement, since a lot of the lines, flows and even production styles of this album can still be heard being referenced or straight-up stolen in modern rap music. Guys like Kendrick and YG are constantly referencing, or working with Dre and Kendrick even had a major feature with Dre on his last full length on the track "Compton".
So, The Chronic is a pretty well known and respected LP, and truth be told, that is still true to this day. Though there is some pretty terrible things said about women, and pretty much anyone who isn't on Death Row records, The Chronic still proves to be a hard-nosed, sometimes hilariously clever hip hop album that I enjoy immensely.
Tracks like the classic "Nothin' But a G Thang" and the smooth "Let Me Ride" still sound fresh and for an album that is just about 21 years old, that's no small feat. I also really enjoy the little skits that play between some of the songs, most notably (though I'm not proud of myself) the one introducing the track "Deeeez Nuuuuts".
Though The Chronic is a lot of fun, there are more serious moments, like "Lil Ghetto Boy" and "The Day The N****z Took Over", which actually has a sinister beat that I absolutely love. Also, it's hard to deny the flows on this LP, they're simply immaculate, with Dre and a young Snoop Dogg, who is easily one of my favorite MC's of all time, especially on this and his own debut Doggystyle.
Aside from some questionable lines about women and certain parts of the male anatomy, The Chronic still stands as one of, if not the best, examples of west coast hip hop and rap in general. I love this album, and chances are you already do too, but if you've never given the album a listen, I implore you to do so ASAP.
Death from Above 1979 are a duo that got their start back in 2002 with their EP Heads Up, which displayed the duo's ability to craft tight, danceable tunes with a lot of guts. Their debut LP further proved this, but where You're a Woman, I'm a Machine resonated with the public, critics weren't as keen on it ( at least at the time of its release). In retrospect, that LP was the precursor to what was acceptable in mainstream rock music, with a lot of feel-good songs wrapped in rough, chugging riffs.
The Physical World is the long awaited follow up to YAWIAM, and it sticks pretty close to the blueprint that that LP used, which leads, unsurprisingly, to another wholly enjoyable rock album, though it is a little less exciting. That's not to say TPW won't get your blood pumping, but its just not the left-field attack that their last album was, though that has everything to do with how influential that LP was.
The album kicks off with some nice riffs and a pretty strong hook on the track "Cheap Talk". The lyrics are decent, though fairly unobtrusive, something that is true of pretty much all of DFA's material. But the album continues its run of groove-heavy riffs and crisp choruses with the following two tracks "Right On, Frankenstein!" and "Virgins", even though the latter has one of the most boilerplate lyrical concepts on the entire LP.
I would say that every track on TPW is solid, and not a single one does anything offensive. However, the flip side is that none of the tracks do anything radically new, for both rock music and DFA as a band. But, I honestly can't say I'm too upset with that, since DFA still know how to pen a tune, and are still cranking up the volume nobs on their amplifiers to 11, incorporating plenty of distortion as well.
The band also manages to work in a couple of slower moments like the album centerpiece, "White Is Red" where the lyrics describe a relationship that went south, over a familiarly chunky instrumental and what sounds like a synth lead in the background.
So, if you're in the market for a chunky, headbang- worthy rock record, then The Physical World has you covered. For what it lacks in innovation it really makes up in just being solid rock LP from top to bottom.
In the past couple, DJ Mustard has made a name for himself in the world of modern West-Coast rap music. His style is very stripped down and slightly old school, but despite his tendency to be pretty straightforward and sometimes redundant, DJ Mustard is still a pretty compelling producer at the end of the day.
This was certainly the case on my favorite mostly Mustard featured project, YG's My Krazy Life. On that LP, Mustard proved to have both the most, and the best, beats. In fact, his beats are pretty much the reason I enjoyed that LP, and continue to do so. So, of course I was interested in an album of Mustard beats featuring a variety of MC's on them: now we have 10 Summers.
This album is 100% Mustard beats, and that alone makes it worth listening to; however, there are a few major drawbacks to this LP. One, not all MC's on 10 Summers are created equal. For instance, I enjoy features like Jay 305, and Teecee on the track "Ghetto Tales" and I really enjoy the opening track to this LP. Unfortunately, it doesn't take long for poor verses to start flooding these tracks, like the ones on "No Reason" a track that features the likes of YG and Jeezy, and has one of the weakest hooks on the entire LP. But that track has nothing on the shear awfulness of "Giuseppe", a track that just stops 10 Summers dead in its tracks, with one horrendous verse after another and a truly miserable hook delivered by the otherwise charismatic and enjoyable 2 Chainz.
The following two tracks "Face Down" and "Down On Me" both offer up a different flavor of the same old sex-fueled antics that tracks like "Do It To Ya" offered up on YG's LP (Except that track was devoid of a typically laughable verse from Big Sean).
Overall, I was mostly pleased with the beats here, but the rappers were pretty disappointing. So, if you like DJ Mustard beats, this LP is worth at least a couple of listens.
Bright Eyes is the moniker of modern folk icon,Connor Oberst. He started putting albums out in the mid nineties and built up a pretty good reputation before the time he put out I'm Wide Awake, It's Morning in 2005. Personally, I'm not the biggest fan of Bright Eyes; that's not to say that I don't enjoy anything else in Oberst's discography, but I just find that most of his other material is far less passionate and a bit more mopey than this LP. However, this album is also easily one of my favorite modern singer-songwriter LPs, so I'm a bit biased.
Luckily, that bias is justified, because Wide Awake is an incredibly consistent and heartfelt album, and it manages to pull together a lot of different emotions in it's ten song length.
The opening track for example starts with Connor telling a short story about a man and woman on a plane that crashes into the sea. The way he tells it, and the eventual fevered strums of acoustic guitar are the perfect way to start this LP. The lyrics throughout this track show that Oberst is able to throw out a lot of imagery and political ideas without coming off as preachy (a quality that is sorely lacking from most of his other work).
The following song is a slower moment, but is evened out by a nice female vocal accompanying Oberst, who really goes for broke with darn near every one of his vocal performances on this LP, leading to a lot of passionate, though slightly strained lead vocals. The track "Lua" has one of my favorite vocal concepts on the entire album with a series of lines describing the way the morning and evening can affect a person's outlook on the world around them.
Other tracks that stick out are the marginally popular "First Day Of My Life", a pretty somber love song that throws around a lot of heartfelt lines like, "Yours is the first face that I saw/ Swear I was blind before I met you".
Really, every single track on this album is worth discussing and analyzing, but I'll leave that to you, because I really do think you should give this album a listen if you haven't already, and be prepared to feel a lot of sad, but life affirming lyrics backed by some very simple, but moody instrumentation.
The year was 1991 and mainstream rock music had just received one of it's biggest shocks of energy in about a decade with the release of Nirvana's Nevermind. That album proved to be a defining moment in the genre, but in retrospect it was kind of one dimensional, and some may even say a bit over-produced. However, following in their footsteps by only a few months, and also produced by Nevermind mastermind Butch Vig, Gish put a slightly different spin on the grunge genre.
In my opinion, Smashing Pumpkins represent the nerdier side of grunge music, but where the word nerd brings to mind thick-rimmed glasses and lots of D&D figurines, SP were more nerds for guitar solos, nimble bass lines, and fluid drum rhythms. Gish is a strong debut from an act that would continue to release some of the most noteworthy LPs of the 90s. To me though, Gish is still a personal favorite, with its killer trio of opening songs and deep cuts that revel in lots of atmosphere and as I mentioned above, intricate playing from each member of the group.
Tracks like "I Am One" "Siva" and "Tristessa" are early signs that these guys knew how to write killer rock tunes that were equal parts aggression and atmosphere. It's also hard to deny the slower moments like the ever popular "Rhinoceros" or the closer "Daydream", which again point to future tunes that would go on to define the band.
The album moves from one one great song to another without so much as a stutter, and it also keeps up an alluringly downcast and dark mood throughout. In a way, this album is goth music without a deep-voiced crooner, or a metal album without the masculine peacocking.
While it may seem like I'm only focusing on the future releases that the band would put out, it's only because I think this LP has all of those elements, but in a focused attack, rather than a sprawling double album. Gish is a quick, concise LP that rarely loses itself, though the middle section does slow down considerably. I simply love this album, and think it is the most well rounded SP album, in my honest opinion.
So the year is a little more than half over, and I decided to join the crowd this year and make on of these lists! This is in no particular order, just naming of my top 10 so far, enjoy!
#1. Sun Kil Moon: Benji
Singer-songwriter album of the year, easily. Benji was my first experience with a Sun Kil Moon record and I am now officially a fan of everything he's put out. Benji just connects with so many different emotions for me, though they are mostly sad. I love this album even more now than I did upon my first listen, it is simply a fantastic album, and one that I will be enjoying for years to come.
#2. Swans: To Be Kind
I first listened to Swans in 2012 when they put out The Seer, a truly nightmarish release that both scared me and enthralled me. Now, about a year and a half later we have this LP, To Be Kind, which is less hellish, but even more hypnotic. I wasn't able to write a formal review, mostly do to being busy, but partly because It takes me a really long time to digest a Swans album. Especially with this and their previous LP clocking in at over two hours. However, I just couldn't wait til the end of the year to talk about To Be Kind because it is not only one of my favorites from this year, but also from the entire experimental rock realm of music.
#3. Freddie Gibbs & Madlib: Pinata
With Freddie Gibbs' hard nosed rhymes and Madlibs vintage production, Pinata was bound to be a favorite of mine. This LP sends my mind to the streets of New York circa 1970, and Madlib paints a picture of a cold and calculated gangster, but also manages to throw in a few personal moments in as well, making for a well rounded character and album. Also, the title track may just be my favorite collaborative hip-hop track of the year, with one tight flow after another.
#4. Mac Demarco: Salad Days
Oh Mac, you're so goofy and lovable. Just like the LP 2, Mac Demarco writes some of the breeziest and carefree music you're bound to hear all year long. This album may not be a huge change for Mr. Demarco, but it sure does what it does better than anybody else can. I hope that Mac utilizes some different techniques in the future, but for now, I'll just listen to Salad Days and drift off for a while.
#5. Death Grips: Powers That b Part 1: N****S On The Moon
Alright, so Death Grips have broken up. The news was pretty sad, but honestly not vary surprising. To me, the group seemed like they were getting their best ideas and sounds out as quickly as they could and surely enough they claim that they are "the best they've ever been". Luckily, the first part off their now swansong The Powers That b is easily their most complex and experimental LP yet, combining every element that Death Grips has cultivated. This is also the most diverse LP vocally for Death Grips, seeing Ride go from whisper quiet, to his signature paranoid screams. So, even though it will be their last, it may just be their best as well.
#6. Timber Timbre: Hot Dreams
Timber Timbre have been getting better and better with each new LP. Their self-titled debut was a good swamp-folk album with a few great singles such as "Demon Host", while their sophomore LP Creep On Creepin' On was a fifties-tinged bit of spook-rock. And now there's Hot Dreams, an album that is equal parts alluring as it is alarming. From sensual cuts like the title track, to creepy, low key burners like the opener, this LP has proven to be a rewarding one that will most likely end up on my end of year list somewhere as well.
#7. Future Islands: Singles
I love Future Islands. That bias may be present, but only because they put out LPs like Singles and just demand to be loved. I've probably listened to this LP over forty times from the day it was released, and I'm still not tired of it. I just can' get enough of the smooth production, and Sam Herring's awe- inspiring vocal performances. This year has had some pretty amazing LPs so far, but this is easily one of my favorite.
#8. Mastodon: Once More 'Round The Sun
I was pleasantly surprised when I heard the first single from the latest Mastodon album "High Ground". It signaled that their latest LP was still going for a more accessible sound, but also could still pack the punch of LPs like Blood Mountain. While OMRTS may not be the band's best album, it is certainly their best attempt at their current sound, and a darn good metal album too. I also dig the album art immensely.
#9. Tune-Yards: Nikki Nack
Having gone from hating this band to being a fan, I can honestly say that Nikki Nack is one of those LPs that can completely change a person's few on a band. I think that the group has finally ( FINALLY!) managed to find a comfortable and smooth middle ground between their sappy and crazy side, and the result is an album that goes from hot to cold, but doesn't ever stop at room temperature. I think this album is great, and can't wait to see what Tune-Yards has in store on their next LP.
#10. YG- My Krazy Life
I have to admit, I have a soft spot for Gangsta Rap. Sure, this LP isn't groundbreaking or "smart", but it is a whole lot of fun and the beats are great. Plus, there are a lot of good features on here from the boys at TDE and a couple good singers on some of the albums slower tracks. Finally, I have to give YG props for at least attempting to make this album flow smoothly, and create some kind of concept as well.
