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(06/04/15 11:23pm)
Nepotism is one of Hollywood’s hardly-kept secrets (with The Kardashians being one of the most obvious examples) and since the beginning of the industry itself, the music world has been dripping in beautiful, rich, and famous spawn. However, these lucky ducklings shouldn’t be discredited due to their lineage; some have managed to not only create certified BangersTM but remain critically applauded as well. It’s important to remember the bearers of those precious musical genes, those artists who took the first steps into the limelight to lead a path for the ones behind them. From the most obvious to the most obscure, who's tied to who in the music industry?
Billy Ray Cyrus and his daughter Miley Cyrus
Well, this one isn't necessarily a secret. Miley was born as Destiny Hope Cyrus in a suburb of Nashville to Tish Finley Cyrus and Billy Ray Cyrus. She changed her name Miley Ray Cyrus in 2008 with her middle name paying tribute to her grandfather, and Democratic politician, Ronald Ray Cyrus. Billy Ray and Tish had four more children. Braison currently models, Brandi is a guitarist, Noah was the voice of 'Ponyo' in the english dub of Hayao Miyazaki’s “Ponyo”, and Trace was the lead singer of scene-pop one hit wonder band Metro Station before getting engaged to Brenda Song from “The Suite Life of Zack and Cody”. Where hasn’t the Cyrus bloodline infiltrated?
Julio Iglesias and his son Enrique Iglesias
Before we fell in love with his tender voice and iconic beauty mark, Enrique was born in Madrid, Spain to latin pop star Julio Iglesias and his wife Isabel Preysler. Enrique is also the half-second cousin of actor Steven R. McQueen. Reportedly, Enrique wanted his career to be based on his own personal merits and not that of his father. With the help of his father’s former publicist Fernán Martínez, his demo tape was released under the stage name 'Enrique Martínez', an “upcoming singer from Guatemala”. The name didn’t stick but that didn't seem to matter; Enrique Iglesias is still reaping the benefits of his fruitful career throughout most of the 2000s.
Jessica Jung and her sister Krystal Jung
Korean pop icons Jessica Sooyoun Jung and her younger sister Krystal Soo Jung were born in San Francisco, California. Their parents called California home after their immigration from South Korean in 1980s, and the sisters grew up knowing both English and Korean. During a family trip back to South Korea, the sisters were spotted by pop industry superpower S.M. Entertainment. Years passed and Jessica debuted as a lead vocalist in Girls' Generation, heralded as the biggest girl group in Asia. Krystal accepted S.M.’s offer a few years after Jessica and debuted as a lead vocalist in the largely successful girl group F(x). Recently, after years of consistent radio smashes and music awards, there was a major scandal; Jessica was shockingly kicked out of Girls’ Generation in 2014 and the events surrounding "why?" are still shrouded in mystery. Will Krystal come to seize the throne left behind?
Marilyn McLeod and her grandson Flying Lotus
Flying Lotus was born as Steven Ellison in Los Angeles, California. He's the grandson of singer-songwriter Marilyn McLeod, notable for writing the hits "Love Hangover" by superstar Diana Ross and "I Get High (On Your Memory)” by Freda Payne. Before Steven was Flying Lotus, he attended film school and experimented with beat-making, telling stories through his music like he would with film. The story goes that he was watching TV at his mother’s house when he saw that the Adult Swim program on Cartoon Network was asking for song submissions. He sent in a few songs under his now famous moniker, and the rest is history.
But wait, there’s more! Flying Lotus is also the grand-nephew of jazz musicians John & Alice Coltrane.
Ravi Shenkar and his daughter Norah Jones
Five time Grammy winner Norah Jones was born as Geetali Shankar in Bed-Stuy, Brooklyn, to American concert producer Sue Jones and world renowned Bengali sitar player Ravi Shankar. Norah grew up with her mother in Grapevine, Texas, where she sang in the high school choir and played saxophone. When she was sixteen, she legally changed her name to Norah Jones. In 1999, she left Grapevine to move to New York City and start a band with Jesse Harris; their releases were fairly successful. She was later signed to EMI and released her debut album "Come Away With Me" which was a critical and commercial darling. Norah recently performed her hit single "Don't Know Why" on the Late Show with David Letterman to commemorate her performance on the show 13 years prior.
Don Ho and his daughter Hoku
Alright... this one is a bit of a stretch, but I know if you've seen the Resse Witherspoon classic "Legally Blonde" you'll know this girl. Hoku Christian Ho was born in Oahu, Hawaii to Patricia Swallie Choy and Hawaiian pop singer Don Ho; she was the seventh of his ten children. The family grew up very wealthy and after walking around in public together she realized her father was kind of a big deal. Hoku has essentially given her father credit for her entire (very short) musical career, whether it was teaching her to write songs as a child or helping her land a record deal with his name. Gotta give the girl some props for given credit where credit is due, especially in an industry as sneaky at this one.
(04/28/15 7:14pm)
5/7
You might recognize electro-R&B angel Tinashe (that’s tee-NAH-shay) from her 2014 summer hit “2 On” featuring Schoolboy Q. You might even recognize her as a voice actor in The Polar Express, Rocket Power and Avatar: The Last Airbender (Seriously... Google it). The point is that Tinashe has been around since way before the current buzz. In 2007 she started out in a short-lived girl group called The Stunners with Vitamin C, of “Graduation (Friends Forever)” fame. She later broke off into a solo career and released three mixtapes to light critical applause Last year, she released her full length studio album Aquarius to a wave of glowing reviews. Not missing a beat, she released a free mixtape, Amethyst, in mid-March and a music video for her second album single "All Hands on Deck" in early April.
Based on surface value, it's easy to claim that Amethyst lacks the infectious quality of her studio releases. Based on the tumblr-ready artwork, one could assume that this is more in the vain of boring #crystalhealingaesthetic and #orinicoflowwave R&B than something you can actually sing along to (I just made those hashtags up but let's make it happen). To an extent, that is true. You won’t find any insta-banger like "2 on" or "All Hands on Deck" on here; But I would argue that the songs on Amethyst are more representative of the Tinashe before she beeped on pop radar. Her strongest persona, or voice, is steeped deep in ‘vibe' akin to freestyling in a boy’s dimly-lit smokey basement.
Amethyst’s opener "Dreams Are Real" is a perfect example of that slow-burn. Layered vocals, echoes, sharp 808’s, and a twinkling piano create a swirling violet-tinted cloud for an atmosphere. Towards the end, she declares: “The future’s mine!”. This isn't so much a Kanye or Lady Gaga declaration of ego as it is the type of thing you'd shout out with a friend after you both stayed up to watch the sun rise on the beach.
“Wrong” is reminiscent to the production on one of her earlier mixtapes, and a personal favorite, In Case We Die. Heavy percussion and filtered vocals, harshened with a touch of vocoder, carry throughout the song. The lyrics seem to describe a modern day fantasy, complete with invaders, banishing boyfriends from castles and far away lands. Through another lens, the lyrics also parallel her recent history with heartbreak and recent success. The song gains steam as Tinashe belts out a battle cry of frustration and disappointment to her ex-lover. She asks him: "Do you even know who you are?". Could that be a question she also asking herself as a musician?
Later on, we hear "Looking 4 It”. I can already imagine all the different "parts" of the song assigned to different people in the car. It's like “Lady Marmalade” 2004 at the sleepover all over again. With lines like "think he 2Pac acting like a poet (You ain't 2Pac, bitch, you ain't 2Pac)" and "I be, on the low looking for it. Popping, popping corn looking for it", this song is more about personality than musicality. This gives the album something memorable, that keeps it from growing mold in your iTunes. One of the most fun songs to listen to on Amethyst, an instant favorite.
"Worth It" has the first and only feature on the release, IamSu! of "Gas Pedal" fame. He doesn't take away from the song at all, but he doesn't add much either. The song itself is sweet and performed well vocally, but other than the water droplet sample, there is nothing notable about this track. Oh, except for the excellent brass outro? How did that happen? Whatever the reason, I'm glad it did. It seemed like "Worth It" and "Wanderer", the song before, were leftovers from her previous album Aquarius. The mixtape lost my attention to a fondue recipe for about 7 minutes.
Closing out Amethyst, we have the beautiful acoustic and borderline glitch ballad "Just the Way I Like You". This song transports you to a place of tenderness and honesty. The lyrics read like secrets whispered between two lovers in burgundy of the so-late-it's-morning. The production is erratic and paradoxical; smooth vocals and chaotic guitar plucks mix together in a hypnotic way. A strong bass line doesn't even come in until about halfway through the song. Tinashe's vocals are pitch perfect and the emotion in her timbre fits the mood exactly. Abruptly, she closes the mixtape with a cold read "Amethyst".
Tinashe demonstrated that the chart success hasn't changed her core artistry at all. Amethyst fits well as a partner to Aquarius, and cohesively with her previous mixtapes. I wouldn't call this her strongest album, her greatest songs still remain on her previous releases, but this does showcase the potential longevity of Tinashe. She doesn't seem to be one for changing her voice for the next trend on the horizon. The popular "sound" is ever-changing and you can be a master of it if you try (Hello, Madonna), but if it means compromising yourself as an artist, is it worth it? Artists seem to have the most success when the roots of their projects are deeply intertwined within themselves. Tinashe's impact on the charts may not be a clear forecast, but a strong, clear voice in the pool of muddy ones can mean everything when it comes to career. Here's to hoping we see a lot more from this jack of all trades.
If you like this release, check out her previous mixtape In Case We Die, Cassie's RockaByeBaby and Janet Jackson's Velvet Rope.
(01/21/15 11:43pm)
Release: December 15, 2014
Stars: 6/7
UK singer-songwriter Charli XCX, known for writing Icona Pop’s “I Love It” and singing the only tolerable bit of Iggy Azalea’s “Fancy,” released her second studio album SUCKER in December. After the massive summer success of the first single “Boom Clap,” her image seemed to have fully shed the creepers & VHS tape 2012 tumblr aesthetic of her first album True Romance for a more sweet pop sound. Does this mean SUCKER was her segway to selling-out? Absolutely not.
Despite her chart success over the past few years, the actual core of Charli XCX’s sound seemed to have only progressed naturally. True Romance and SUCKER are both light-hearted yet sassy pop releases. However, simply put, SUCKER is bigger. SUCKER feels 80’s stadium level massive, with the electric guitars and hand claps to match. Every song is under four minutes, in fact, half the album is under three minutes. There are no certified snoozers, which is a feat for recent pop albums, just powerhouse after powerhouse.
Opening with pounding heartbeats and a flatline is the title track “Sucker”. Charli screams a f-bomb in the first line to gear the listener up for the attitude laced throughout, and it’s awesome. This is definitely the loudest song on the album and the chaos of the production is actually fairly overwhelming on first listen. However, the second time around this ended up being one of my favorite songs.
“Break The Rules” was the second single released, featuring a music video overflowing with teen movie references, even Jawbreaker’s Rose McGowen makes a cameo. This song thrives off of the bass lines and the effortless build up of the catchy chorus. Despite the lyrics potential for eye-rolling, Charli’s sincere delivery makes you want to skip class with her and make the discotheque go up on a Tuesday.
The aforementioned “Boom Clap” steals the title for biggest ear-worm chorus of the summer. Oddly enough, this is one of the most subdued songs on the album, vocally and in production. Compared to previous five songs, "Boom Clap" is less chaotic and middle-finger-to-the-principal. The subtle taste of electro-pop modernizes just enough without making it seem dated. Also refreshing, this is one of only three love songs on the album.
“Doing It” is the recently released third single. One of my friends pointed out how excellently vague the chorus is, "I think we better do it like we're doing it now”. One could make “it” whatever they wanted it to be: party, run errands, fashion, etc. The middle eight of this song is it’s highest point; I can envision a room of girls getting ready together and suddenly singing it in unison. Yes, it’s just that cinematic. Rita Ora is featured on the radio single and I found that this gave “Doing It” the extra boost it needed for chart success, taking me by surprise.
“Body of My Own” is the most supremely 80s track on here; the chorus’s guitar riff is very much like a high-cut swimsuit beach party. Lyrically, this is obviously a long needed positive lady masturbation jam, the likes of which we haven’t seen since Britney’s “Touch of My Hand” in ’04. The breakdown of Charli’s breathing and electronic beeps is a high point, and keeps the song from veering into the monotonous.
Overall, SUCKER is a shameless bundle of fun. There is nothing too deep here; you won’t find a critique on capitalism or an introspective journey... and that’s totally O.K. SUCKER is the album you need on the weekends when the second week of the semester already has you burnt out. This album is demanding you to get up, go out, and be loud. Do it like she’s doing it now!
If you enjoy this release, try checking out her previous album True Romance, UK pop duo Shampoo’s singles “I Know What Boys Like” and “Trouble” (Hello, M.I.A...), and Carly Rae Jepsen’s album Kiss, which I promise is so much more than “Call Me Maybe.”
(12/07/14 6:45pm)
6/7
Azealia Banks broke through on Tumblr and shows like UK’s ‘Skins’ in 2011 with her dance rap ode to NYC - “212." Since then her career has been tumultuous to say the least; singles have been thrown around, semi-interesting sea punk mixtapes and EPs have been dropped, twitter beefs have started and faded into oblivion, record contracts have been torn to shreds. Yet throughout all of the chaos, there was confident chest-puff talk about her debut release: Broke With Expensive Taste but for years... no album.
Now it’s here, three years later. Though it’s recycled quite a few of her songs, the album manages to do the impossible and breathe life back into previously released tracks like the aforementioned “212,” “Luxury,” and “Gimme A Chance,” while also giving us solid new tracks to bump.
The album opens with “Idle Delilah” (by the way, this samples “Pearson Sound” by WAD). Azealia throws her first left hook, one of many, by singing instead of rapping on the first verse. The interesting percussive, bass heavy and guitar riddled instrumental carries her voice and incredibly creative lyrics in the form of a fable. However, in case you were confused, she returns true to style with her NSFW wordplay when the second verse hits.
A newly revamped “Gimme A Chance” is up next and is very different than the song before it. A hard rock instrumental, complete with bass, drums and trumpet. This sounds a lot like a remixed version of music that would play during a house party scene in ‘The Craft.’ Right as you start to get comfortable, suddenly there's a merengue dance break and Azealia is rapping in fluent spanish. The transition is absolutely seamless and retains the funk and sass of the first half, making it a clear stand out on the album.
Hands down, track 3 should have been the album opener. “Desperado” begins with an a radio announcer introducing his next song, stating that he’s been “waiting for Azealia Banks.” What could set the tone of the long awaited album better than that? Azealia’s flow is seamless and sensual while also having a taste of ferocity. The UK Garage beat (from MJ Cole’s “Bandelero Desperado”) is absolutely perfect for her voice while the flute echoing above it gives it an menacing vibe. The last minute and a half slows down to a syrup-y haze, speeds right back up, and before you know it you’re all geared up for the next song.
“Heavy Metal and Reflective” is the speediest song on the album (even the music video revolves around motorcycles) and it’s also one of the shortest. Warning: It is impossible not to go unbelievably hard listening to this song. Her flow, the lyrics, the beat, no matter where you are, I guarantee you’ll be lookin’ very heavy metal and reflective... also probably ridiculous. The song does slow down for a brief breather as she ominously quotes the 1981 existential sci-fi film ‘Blade Runner,’ but as usual, she closes out strong.
“Ice Princess” is produced by the incredibly talented, sampler board virtuoso, Araabmuzik, and seems to be the breakout hit of the album. If she hasn’t already chosen her next single, this should be it. Azealia rolls with the “demented turnt ballet performance” theme posed on the album cover with a music box melody over heavy beats. Boastful verses are paired with a pop radio ready chorus stating that she’s “feeling a change”. While the song ends, the storm clouds roll in, thunder claps, and “Yung Rapunxel” begins; a gigantic middle-figure-to-the-man neo punk-hop anthem. This song is an electric storm of pure energy, with the chorus literally being screamed through a megaphone. She is daring the listener (and specifically her record label) to come at her, she knows everyone is too scared to try. These two songs back-to-back are the climax of the album and pack a massive punch.
“Soda” is one of my personal favorites on the album. On the surface, this track sounds like a dance break up anthem which is fairly standard in club music these days. However, given the context of the rest of the album and the real life drama surrounding it, this song is the realization of what her rebellion in “Yung Rapunxel” has caused: falling out of the public’s spotlight (“I used to be your girl”) and turning to drugs to deal with the depression (hint: The Sprite is not clean and the Coke is not cola).
“Nude Beach a Go Go” continues with the brash juxtaposition of “Soda.” The genre whiplash is strong with this one and I love it. This Ariel Pink produced drunken beach bop is the shortest song on the album and features some biting commentary on the cultural appropriation of black culture (ex. Iggy Azalea/Igloo Australia and Miley Cyrus) with lines like “Black women's attraction, all the white girls join in the action”.
The album closes with “Miss Camaraderie” - Azealia’s personal favorite on the album and a great positive note to end on. This song is a triumphant strut refusing to be brought down by the broken promises, heartbreak and mistreatment she has faced throughout her journey on “Broke With Expensive Taste” and her career. The horn sections mimic the opening track “Idle Delilah,” creating subtle bookends for the album. The drawn out instrumental at the end signals a graceful exit.
Overall, this album is an absolute monster: energy, emotion, and genre diversity unlike anything I’ve seen in a long time. Azealia’s decision to ditch the Tumblr aesthetic and embrace the plethora of influences she's cited has only strengthened her career and helped her transcend the drama of her personal life leaking into her music (well... except for those Bill Cosby comments she made a few days ago). Broke With Expensive Taste is one of the most ambitious and unique albums of the 2010’s and deserves multiple full length listens.
If you enjoy this album consider checking out M.I.A’s first mixtape Piracy Funds Terrorism Vol. 1 and Gorillaz’s Plastic Beach for some more genre-defying, energetic music.
(07/14/14 9:34pm)
6/7
Lana Del Rey a.k.a Lizzy Grant rose to fame in 2012 with the sleeper hit “Video Games” that shot her second studio album Born To Die high up on the charts, as well as shrouding her in infamy when she performed said song quite weakly on Saturday Night Live. However, the misstep didn’t slow Lana’s roll, and her third studio album Ultraviolence promised a more refined and vintage sound as compared to her prior pop-oriented releases. Should Lana go back to the sound that launched her into success? In my opinion, definitely not.
We open with “Cruel World,” one of the best tracks of the album. This song spirals in and out of control, just as Lana does in the world of her lyrics, and... it’s mesmerizing to say the least. This song features one of my favorite lines on the album: “Get a little bit of Bourbon in ‘ya, get a little bit suburban and go crazy.” “Cruel World” sets the tone for the rest of the album and puts you under the influence.
“Ultraviolence,” the titular track, definitely delivers (and for those unaware, it’s title was lifted from Anthony Burgess 1962 classic “A Clockwork Orange”). The song details a tragic abusive relationship between Lana and “Jim,” quoting a famous song, with familiar subject matter, by The Crystals: “He hit me and it felt like a kiss.” Though the spoken word moment towards the end is a bit distracting from the tone of the song, this is one of the strongest on the album for sure.
“West Coast” is the first single from the album and what a single it is. The change of tempo from beach jam session to nodding out in the back seat of a Cadillac is executed well and keeps the song interesting. This tempo change is visualized perfectly in the video for the song and should also be checked out if the song gets you in the groove.
“Sad Girl” drips of insatiable sexuality, complete with breath-y ad-libs and a jazz flare. This track is rumored to be the next single and it seems like a solid choice. The song is a great representation of the sound on the album and could potentially become a hit like her single “Video Games.”
“Old Money” is the fraternal twin to “Young and Beautiful,” Lana’s critically applauded contribution to the soundtrack of Baz Lurhmann’s version of The Great Gatsby. With similar themes wrapped up in an earnest but desperate lullaby, this song is a stand out on the latter half of the album where some of the weaker tracks (like F**ked My Way Up To The Top and Money Power Glory) reside.
One of Lana’s best songs ever, “Black Beauty,” is hidden in the bonus tracks rather than shining on the main tracklist (with other gems such as "Florida Kilos" and "Is This Happiness"). Lyrically, this song is stronger than most of her efforts, and the mysterious vibe she conjures is opaque, aromatic, and most importantly, convincing. These are the kinds of tracks Lana’s voice lends the most to.
The production on Ultraviolence does wonders for her unique, though often divisive, vocals (much thanks to Dan Auerbach who I mentioned was working with Lana in WIUX’s review of Turn Blue). Comparing this to her older work, this seems like the sound she has been aiming for all along. There are some drawbacks however. Sorry to say, but Lana’s lyricism hasn’t much improved. It takes only 1:20 seconds to get the first staple lyric in her repertoire: “put my little red party dress on,” and there’s plenty of name dropping, mascara, dads, and references to Hollywood to go around. It’s difficult judge someone’s writing when it’s as personal as her’s. Many songs on this album are speculated to deal with former boyfriend Barrie James-O’Neill, and the often mentioned Jimmy Gnecco could be the Jim discussed in the title track “Ultraviolence." However, her repetition gets distracting at points, and thus weakens the potential strength of the album overall. Always bringing the cinematic melodrama, dripping with real personal tragedy, Lana Del Rey is honing into her prime sound and I am beyond pleased with the results. Bar-hopping on Hollywood and Vine and watching the sun rise on the beach, Ultraviolence is one-night journey, and your waltzing in a drunken stupor with the songstress herself.
If you liked this album, check out The Abbey Road Sessions by Kylie Minogue, a “best of” collection re-recorded acoustically at the famed Abbey Road studios, which delivers on sensuality, strong hooks and airy vocals. Also take a listen to I Never Learn by Lykke Li, which has all the melodrama of Ultraviolence but with vocals more akin to the late Amy Winehouse.
(06/05/14 9:10am)
Released: 5/13/2014
5/7
The Black Keys' 8th Studio album, Turn Blue, has hit us at the perfect time. The summer vibe is strong in this one, and it’s easy to picture yourself blasting this album out of a jeep while the sun sets on the horizon in front of you. All the classic blues and psychedelic rock elements of The Black Keys are here, so long-term fans, don’t be dismayed. The instrumentation is always spot on in their studio albums, and this is no different. The production is also impeccable, with much help to their ongoing collaboration with Danger Mouse, who produced the Gorillaz album Demon Days and was also one half of the duo Gnarls Barkley. His touch is definitely seen on Turn Blue, starting with the opening moments of the album itself.
“Weight Of Love,” the first track, uses theremin throughout, which gives it a mysterious, vintage tone. The first two minutes of this song reminds me of Yes’s “Gates of Delirium,” and the psychedelic rock influence shows itself overall in this track. The heavy “weight” of the opening instrumental divulges into a faster pace once the singer comes in, giving the rest of the album it’s life. A great album opener, and the outro is wonderful as well, bookending the track with a slow, ominous and dreamy feel.
“Turn Blue,” is obviously the title track, however, I found this one to be very forgettable overall which is unfortunate. Layered vocals and light electronic instrumentation sets the mood for this song, but the steam is lost a third of the way in and the song barely keeps trudging through.
One of the bluesiest titles on album, well... other than “Turn Blue,” “Bullet In The Brain” is surprisingly upbeat considering the subject matter. Lyrically, this is a biting break up song with the lead singer belting lines like “I know I share the blame for what’s in store. I was in the wrong, but weren't you in it more?” Without knowing the title or lyrics, you would never guess the subject matter at hand, but the juxtaposition of the instrumental and the material works well.
“Waiting On Words” was a sleeper hit for me. It’s slower song, with lighter production overall compared to the rest of the album, but is by far an album highlight. Dan Auerbach does a great job vocally on this song in particular. This track fantastically sets the mood for the last half of the album.
“In Our Prime” is the “noisiest” track, especially towards the end when the guitar is turned up to 11. This song gives off a very ‘sunglasses emojii’ brand of cool and an almost shoegaze-y vibe. The awesome guitar work at the end segues nicely to the ending track.
“Gotta Get Away” sounds exactly like a song that would play at the credits scene of “Dazed and Confused” and thus makes for an excellent album closer. The chorus is incredibly catchy, and the verses are just quick enough to keep the flow moving. This is definitely another album standout, that just screams ‘youth in the summertime.’
The 70s nostalgia wash is deeply permeated in this album, like all their others, but this is where the problem comes in. This album is cohesive... almost too cohesive. Turn Blue is a good album, but at their 8th studio release, it seems like very little progression or experimentation has occurred for The Black Keys at all. But then again, why fix what isn’t broken?
If you like this album, try out the classic 70’s groups Yes and KC & The Sunshine Band. If you’re looking for something more “now," Lana Del Rey’s newest singles "West Coast" and "Shades of Cool" off of her new album Ultraviolence are produced by none other than the singer and guitarist of The Black Keys, Dan Auerbach, and it’s easy to see. If you’re a seasoned Black Keys’s superfan, I have no doubt that you’ll enjoy this release. If you’re a casual listener of the band, you should be in no rush to check it out. But, if you have never heard a Black Keys’s album before, this is certainly not a bad place to start! So roll down your windows, grab a couple of your close friends, put on The Black Keys’s Turn Blue and cruise the night away.
(04/20/14 10:40pm)
6/7
Skrillex, post-hardcore rock singer turned to Electronic Dance Music (EDM) darling, just released his 8th album Recess after managing to stay in the EDM sphere despite the rabid fad of dubstep fading away. To say that Skrillex changed the state of music is an understatement, the cultural zeitgeist of dubstep and EDM permeated into radio waves and still has yet to leave. Yes, Recess is still abrasive, loud and glitchy, just like his fans like it, but there is a definite diversity (not to mention it's dripping with collaborations) and progression that makes the album incredibly impressive to listen to. As someone who didn't consider herself a Skrillex fan, or at large, a dubstep fan, I found myself really enjoying this album.
The album opens with "All is Fair in Love and Brostep," a very typical dubstep album opener, gives off the vibe that you're taking off to planet earth and crash landing, which goes with the ominous alien face on the album cover. It's not really my favorite, but it's a good opener of what's to come later on the album. It sounds exactly like the title would imply, "brostep" all the way.
"Recess," the title track, has the potential to be the EDM summer banger of 2014. Fatman Scoop is a great hype man, a highlight for sure, and keeps the listener pumped up the entire four minutes. It's a fascinating mix of stomach retching "wubs" and candy-colored schoolyard joy (complete with children cheering).
One of the highlights of the album "Coast Is Clear," features Chance The Rapper, the newest indie rapper that pop culture has sunk its teeth into. The song begins with a really interesting and uncomfortable opening with competing tempos that eventually converge into a brassy, sexual, drum-and-bass type groove groove. Right before a familiar Timbaland-esque beat box breakdown, Chance commands the crowd to “dance until it hurts to stand still”. A really different sound for Skrillex, with lots of charm and zest, and it's one experiment that works wonderfully.
Up next is "Dirty Vibe," featuring the king and queen of South Korean hip-pop, G-Dragon and CL (a personal favorite artist of mine). Aided with trap music’s crown prince, Diplo, and dripping with swag and intimidation, this song is music you both fight and dance too (with lots of strobe lights of course). CL particularly bring a lot of personality to the song, taking it to another level of fun.
Then comes the goofily titled "Doompy Poomp," one of only two songs that doesn’t feature a collaboration with another artist on the entire album. This track is slow and glitchy, a lot like a Wax Tailor song. The best way to describe it is that is sounds like a malfunctioning VHS of a children’s television show from the 80s, and that's a very good thing. About halfway through, gentle "wubs" emerge (true to Skrillex's form), but it doesn't take away from the atmosphere of the song. It’s clear Skrillex is experimenting with different soundscapes and genres, and "Doompy Poomp" definitely adds to the album’s diversity.
The final two tracks have a tint of melancholy to them. "Ease My Mind" follows the emerging trend of vaguely foreign-accented female singers belting out on EDM tracks. The lyrics of this song are flat out depressing, describing a woman who goes to club to forget a break up: “Tonight, I want to forget. I want lights to blind me. I want peace, want to disappear (to disappear)”. Also a curious trend, the “sad beat drop” (seen in Britney Spears’s “Til It’s Gone” and 2ne1’s “Come Back Home”), makes a triumphant appearance and intensifies the emotional downpour of the song.
"Fire Away" is the album closer, and another prime usage of the “sad beat drop”. With glitching robotic vocals begging: “take me with you when you go, don’t leave me out here on my own”, I’m reminded about the alien on the cover, and a story emerges. Maybe, this is a human begging to come back with the aliens (who landed in "All is Fair...") because he feels so out of place. This song is also incredibly reminiscent of the soundtrack for Harmony Korine’s “Spring Breakers” (which Skrillex worked on with Cliff Martinez, whom you may remember doing the soundtrack for "Drive"), which had similar themes of isolation and desperation for companionship in both the film and soundtrack.
Overall, "Recess" is not what you would expect it to be... yet sometimes it is. Despite a couple filler tracks, the album is incredibly strong, with it's diversity and experimentation being the strongest part of it. Even if you're not a dubstep fan (like myself), I encourage you to give the album a chance. Go a little wild, it's Recess! School's Out! (well... almost).
(03/03/14 8:23pm)
Released: 2/24/2014
5/7 Stars
Indie pop darling Annie Clark, under the stage name St. Vincent, released her fourth and self-titled album St. Vincent on Feb. 24. St. Vincent fans will be sure listen to the album, but should newcomers, traversing the landscape of alternative pop, searching for their new dream girl, feel the same? Well... the answer is complicated.
The album's soundscape is grunge-amp and reverb blanketing the nostalgic late 80's-early 90's tone of Clark's music. Unfortunately, the major downfall of this album is that some songs drag on a bit too long, and the album quickly loses steam. The strongest songs are the album are definitely the singles, with a few exceptions.
"Birth in Reverse," the second song and first single, definitely packs a punch and proved to be one of my favorites on the album. The fourth track "Huey Newton," is primarily a transitional song; the first half of this track just simply seems to build up to the explosion of the second half. However, this song could still benefit by being about a full minute shorter.
"Digital Witness," the fifth track and second single, reminds me a lot of 2000s era Madonna. This is another standout, and one of the more exciting tracks on the album. This song gets you back into the groove that "Birth In Reverse" set us up for.
"I Prefer Your Love" is the first song on the album that was never released as a single that I really ended up enjoying. This tune is a slow jam, reminiscent of Air and their work on the soundtrack of the Sofia Coppola film "The Virgin Suicides." Annie Clark's line “I prefer your love to Jesus” is one of the my favorite lyrics on the album. The transition from "I Prefer Your Love" to "Regret" worked really well, despite the wonkiness of the rest of the transitions throughout the album. However this song is a lower point for me, and just feels like background music.
"Bring Me Your Loves" comes immediately after and wakes the listener right back up. This might be my favorite song on the album, and it is much more exciting and interesting than the previous song "Regret." The light tambourine during the chorus adds texture to the song, making it standout. This track tears up all 3 minutes and 15 seconds and personally, I wish the rest of album sounded more like this song.
"Every Tear Disappears" has a 'wearing sunglasses indoors' type coolness to it. There is also possibly some theremin in the background (which Annie Clark plays) which I adore. The song itself is not that exciting, however, and in another context would be great, penultimate, slow you down for the finish, track, but this album has a bit too many of those types of songs on it already for this to work properly.
St. Vincent benefits from the nostalgic sound and simultaneously groove-able and dream-like tracks that Clark's voice is simply built to sing. However, the album suffers from too many filler tracks, and for every memorable song there is one that just becomes background noise. St. Vincent has a cohesive sound, but comes across as out of order because of the odd transitions between songs. The album is not a bad by any means, there are some great songs, but overall the album does not stand out as anything quite spectacular.
(02/16/14 10:42pm)
Released: 2/15/2014
6/7 stars
Cibo Matto (meaning crazy food in Italian) was formed in 1994 by two Japanese ex-pats, Yuka Honda and Miho Hatori, who both now reside in New York City. After releasing two albums, the noise-rock Viva La Woman! and the atmospheric funk-dream Stereo ★ Type A, they disbanded in 2002. Fast forward 12 years later and, out of the blue, a new single and video are released with the promise of a new album called Hotel Valentine to be released on Valentine's Day. Well, the day has come and Hotel Valentine is here. As a fan of Cibo Matto, I was simultaneously ecstatic and nervous, would the album be worth waiting all this time for? The answer, in short is: Yes... oh, yes.
Overall, Hotel Valentine has some of the old staples we've come to love from this band: great bass lines, awesome use of traditional jazz and latin instruments, and unique and inventive lyrics. This album seemed to be a tonal hybrid of their two previous full length albums, with the chaotic nature of Viva La Woman! (without the screaming) and dreamy instrumentals of Stereo ★ Type A. Hotel Valentine has a cohesive sound, but enough diversity and excitement to keep you invested. Though the whole album is worth a listen, start to finish, I'll go over the "important" songs to note.
One of my personal favorite tracks on the album is "10th Floor Ghost Girl," which tells the story of a mysterious girl who "talks like American, dances like Brazilian." The song is very danceable, with great guitar throughout (courtesy of Wilco) and a saxophone breakdown towards the end that brings the funk we've come to expect from these girls. Things slow down a bit with "Emerald Tuesday" a very dreamlike track that morphs into an alcohol-fueled nightmare. Soft spoken lyrics like “Hmm... I wonder what’s in this drink. The sky is so pink” set the mood for the descent into madness, reminiscent of the soundtrack to "Naked Lunch" after a night of drinking Absinthe.
"MFN" is the first single off the album and was paired with a loud colorful video that fit the song's swaggering synth explosion to a tee. This track brings some of the ferocious lyricism from Viva La Woman! (“Don’t tell me what to do, I’m a ghost! Don’t throw the f#&*ing oyster shell at me!”), but ends very serenely and sets us up for the upcoming song and title track "Hotel Valentine." Miho’s vocals really shine on this track, very smooth and sensual, and paired with the wonderful percussion on this song in particular, they work beautifully. "Lobby" is another favorite of mine, great food related lyricism again, “I had some cheese and seedless grapes for lunch and floated around for the rest of afternoon,” while we follow a trippy day-in-the-life of Yuka Honda and Miho Hatori. The closing song, "Check Out," is a great way to check out of the album. Ending with Miho’s light vocals and acoustic guitar, it signals the end of our exploration in the titular Hotel Valentine.
Whether or not you're a Cibo Matto fan, you won't be disappointed. The album is dripping with personality and swagger, and it's quite apparent that the girls have not lost their touch. Other than a few odd transition between songs (particularly from "Housekeeping" to "Check Out"), this album makes you feel as though you were one of the "ghosts" so commonly mentioned, haunting the Hotel Valentine, and eating sweet seedless grapes with the band. If you enjoy them, I highly recommend bands like Halcali, Maluca Mala (if you like their more upbeat, danceable tracks) and Me'Shell Ndegeocello (if you like their slower, funky tracks).
Bon Appétit, Cibo Matto!