After 8 years without an official album release ( because a soundtrack is not the same) Daft Punk are finally releasing their new album, titled "Random Access Memories" and have teased towards it's release with this track, "Get Lucky".
And let me tell you, this is a freakin' smooth song. With Nile Roger's crisp guitar leads and Daft Punk's signature brand of production, the track will make your head bop and your hips shake. The one weak link, and it's really not a big issue, is Pharrel's singing. While not bad, he just doesn't bring the same level of excitement that Romanthony brought on "Discovery". Though I have yet to hear the full length song ( Which clocks in around 8 minutes) or Pharrel's other contribution to the album.
Regardless of the small issue, I'm even more psyched to hear RAM in full later this year.
Back in 1993, a group of young gentlemen from the east side called themselves Wu-Tang, and put out one of the most influential rap albums of all time, "36 Chambers". Among the elite stood Ghostface Killah, a high energy ( which in the context of Wu-Tang is no small feat) and lyrically quick MC, who proved to be a stand-out member in more ways than one. He not only held his own on "36 Chambers", but as far as solo Wu-Tang member projects go; Ghostface has probably the most consistent career of the entire Clan.
And that trend continues on his latest effort, a full length collaboration with producer Adrian Younge.
All you have to do is look at the cover to get an idea of what the production on this album is like. Younge creates a vibe reminiscent of 70's B-movies and grindhouse flicks, which Ghostface matches with lyrics that tell a story that could have easily come from Tarentino's brain. It's a story about a gangster named Tony Starks, who is betrayed by his employers and his body is pressed into 12 vinyl records to be shipped to the 12 bosses of the gang; but as soon as the records are played, they unleash the Ghostface Killah.
Yeah, the concept is pretty corny, but that's the point. It's supposed to bring to mind the late night grindhouse flicks that inspired movies like "Pulp Fiction" and "Hobo with a Shotgun:. And luckily, the music is pretty great too, with Adrian Younges tight production and contributions from other Wu-Tang members.
The opener, "Beware the Stare" sets the mood perfectly, with a soulful female vocal telling you to "beware the stare of the Ghostface Killah". And the tracks "Rise of the Black Suits" and "I Declare War" get the story rolling in earnest, keeping the track lengths short and concise. Which for some may be a downside, but I personally can't stand when a concept is so drawn out that I lose all interest halfway through... But Ghostface avoids that issue with a story that is over is roughly 40 minutes, making it a far more memorable tale.
This is a really great album, sure. But more importantly, it's a fun album; especially if you're into the style that it presents. And speaking as someone who is a huge fan of Tarentino and Wu-Tang, this album was an awesome surprise for the year.
The first time I listened to Tyler the Creator was back in 2010. As I perused The Needle Drop's channel on Youtube, I came across a review I hadn't watched yet, the review for Tyler's Bastard mixtape. As I pressed a link to a song from the album, I was greeted with a simplistic beat and a gravely voiced rapper who was obsessed with violence, rape and all manner of deviant behavior. In short... I wasn't into it. At the time, I saw him as a guy who simply wanted to shock. And to some extent he still is, since Tyler, along with the rest of the OF gang have been steadily releasing tracks and albums with shocking lyrics/ album covers ( upside down crosses are a huge part of their merchandise... and cats.) So while Bastard and his 2011 album Goblin didn't impress me at first, I slowly warmed up to his and a choice few OF related projects.
It had a lot to do with me listening and uncovering the deeper, more personal themes on Bastard, Tyler raps about growing up without a dad and how he came to form OF. Though I have to say, Goblin was a disappointment in that regard (and many others) since Tyler focused more on his internet drama and Odd Future antics then he did his themes of loneliness and outsider emotions.
So my anticipation for Wolf was pretty high, because while Goblin was a big letdown, I knew Tyler could potentially put together a really solid project, given the fact that he produced Bastard. And I'm glad to say that Wolf is in fact a solid album, and one that I think legitimizes Tyler as a producer/ MC.
The album starts strong with "Jamba" a quirky track backed up with some nice samples and synths. Tyler is spitting his usual immature lyrics, but is fully aware of that fact and Hodgy Beats shows up to drop a decent verse of his own. The track "Awkward" describes a situation where Tyler kisses a crush of his, but instead of being the life affirming moment he expected, it's awkward and he's left wondering what to do next.
"Answer" is a raw and heartfelt song where Tyler dissects his thoughts on his father who left him and it's the first time I've heard Tyler be this sincere about this subject. It's really quite amazing. The tracks "48" "IFHY" and "Rusty" are all great songs as well, with the latter featuring a fiery verse from OF member Domo Genesis and a Wu-Tang influenced beat.
However, as great as Wolf can be, there are a few potholes. I'd say the tracks "Parking Lot" "Slater" and the medley in the middle of the album "PartyIsntOver/ Campfire/ Bimmer" could have been completely removed from the album, since Wolf is already a hefty 18 tracks, and these songs add nothing to the concept and mood that Tyler is putting together on Wolf
But that aside, Wolf is the kind of album I hoped I'd see Tyler the Creator put out after Goblin. It shows that he's improving and that even with some missteps along the way, he's getting closer and closer to releasing a truly outstanding album.
Remember the 90's? Well as someone who was fairly young during that infamous decade, I'm surprised by how much I do in fact remember bands like Nirvana, Foo Fighters and Weezer. And it seems that Wavves has an even better memory for that bygone era of Grunge and moody Rock that dominated the charts during the mid nineties.
Wavves' music has always shown theses influences, but on their latest album Afraid of Heights; they embrace it wholeheartedly. In fact, their reverence borders on rehash at some points on this LP with songs like "Dog" and "Demon to Lean On" having eerie similarities with nineties hits from Weezer and Nirvana. But I wouldn't say these similarities totally ruin the enjoyment of this LP, in fact, I think this is a pretty great album.
The aforementioned "Demon to Lean On" is a fantastic, driving track that got me excited for the release of this LP early on, and is still an awesome track to this day. Other Highlights include the opener "Sail to the Sun" with it's bright, lullaby like intro; and the title track has a fantastic chorus that sums up the attitude of this LP, and Wavves' music pretty concisely.
That attitude is on of the loner, with nihilistic lyrics like "I'll always be on my own/ F**ked and alone" and "Holding a gun to my head/So send me an angel/ Or bury me deeply instead/ With demons to lean on". It's a familiar premise, one that was prominent in the era of music that seems to dominate the writing behind a lot of Wavves' music and this album.
While I can't say this is going to go down as a classic, or even Wavves' best album; I can say that it's a very enjoyable listen, especially if you're looking for a bit of Grunge or Alternative Rock.
Back in 2009, Beach Fossils released their self-titled debut; and ushered a wave of jangly, slightly nostalgic rock and pop music. Bands such as Wild Nothing & Diiv have all been influenced by what that debut album put forward. But as much as I enjoyed the last Wild Nothing release, very few albums in this style have appealed to me, the first Beach Fossils album included.
Luckily, that has changed with their latest release, Clash The Truth. Which finds the band playing more lively and energetic songs, with more emphasis on melody and standout playing. From the opener, the post-punk tinged title track; it's clear that Beach Fossils are sounding not only more clear, but also penning far more memorable tunes. In fact, I'd say they're writing some of the finest in the style on this LP. "Generational Synthetic" is a catchy and bright song with a driving guitar melody and infectious chorus, while the following track "Sleep Apnea" goes for a more laid back and dreamy sound, reminiscent of the bands earlier material, but with clearer production.
Clash The Truth features one strong track after another with only a couple of "Ok" moments, all of which are relegated to the interludes and perhaps the track "In Vertigo" ( which features the lead singer of Blonde Redhead) could have been more memorable. But this is still a top-notch dream pop album, and one that may change your mind about the style if you haven't enjoyed music like it in the past.
I want to make one thing clear before I start this review... I have a soft spot for Fall Out Boy. No, I don't own any of their albums, in fact, I only really like material from their first couple of albums. But the songs I do enjoy, I enjoy for their energy and yes, catchy choruses. Because, c'mon, you can't deny the pure ear-candy of "A Little Less Sixteen Candles" or "Dead On Arrival"... I dare you.
But sadly the latest track from FOB in what, 8 years? is anything but great. To start, the instrumental; who thought that taking away the fast and punk-esque instrumentals and replacing them with bland electronics was a good idea? I mean, yes, when done well, this style of rock music can be pretty great. Unfortunately, I just don't think they executed this style well, and just end up sounding bland and un-inspired. And the lyrics... I know FOB was never a thought-provoking band, but their older songs at least had some form of endearing charm in the lyrics... which is nowhere in sight on this track. So really, aside from the overly-long title; this song just doesn't have any of the elements that make FOB an enjoyable band; at least for me.
"Demon To Lean On" is the latest single from Wavves' forthcoming LP "Afraid Of Heights", which will be released on the 26th of March. This, and the other single dropped so far, seem to point toward a stylistic change for Wavves; moving away from the stoner surf-rock of "King Of The Beach" in a more 90's tinged, grunge-y sound.
I'm finding this to be a rather refreshing change of pace for the band, seeing as I wasn't really big on Wavves' prior material. I'm looking forward to the release of "Afraid Of Heights" and hope that the rest of the tracks on it can live up to the first two singles.
