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(08/20/17 7:25pm)
Last night, I was fortunate enough to attend Kurt Vile’s packed show at the Bluebird. Kurt Vile is a breath of fresh air – he has a deep old voice and switches out his guitar after every song. Kurt Vile and The Violators are undeniably fantastic at the guitar, the long jam sessions being the obvious highlight of the performance.
Kurt has a large range of stringed instruments he plays from – banjo, electric guitar, etc. B’lieve I’m Going Down, released last year, covered most of the set list last night, with crowd favorites such as the western track “I’m An Outlaw” and the addictive number “Pretty Pimpin.” I had the pleasure to see him last summer at Pitchfork Music Festival, but nothing quite beats an intimate venue experience.
Kurt Vile is like a close friend on the stage. He jokes with the crowd and kept fans entertained with his down to earth nature. His nonchalant attitude makes it seem like he just woke up, in the best way possible. He's a natural on the stage and if you do get the chance to see him, take it. He is an incredible guitar player who I see being very successful in the near future.
The openers were also excellent. Purling Hiss, aka Mike Polizze, is touring with Kurt as a solo artist. That being said, the show was far from being “just a guy and a guitar.” His use of a looper machine filled the Bluebird with melody and, if I had shut my eyes, I easily would have believed there was a full band on stage. His voice is deep and raspy – excellent sound to accompany the intricate guitar melodies.
Before Purling Hiss, I caught Circuit Des Yeux, who sounded like a pretty typical alternative rock group, until the singer started. Suddenly, Circuit Des Yeux became extremely personal. Haley Fohr’s voice is beautiful in the most eclectic way: deep, a vast vocal spectrum, and quite an emotional and intense experience as a crowd member. She kept her face hidden by her curtain of hair for the majority of the show. Not to mention, the band’s creative use of flute and drum kit just added layers upon layers of complexity to their sound. At times, it was so powerful in noise, it was overwhelming. But overall, the performance was stunning and left me speechless. I have never quite seen or heard anything like it.
Overall, if you are looking for a mix between Nirvana
(04/18/16 9:33pm)
Released 4/8/2016
3/7 stars
M83, a band known for the mega-hit single “Midnight City” has released the newest album, Junk, on April 8. M83 is a French electronic band fronted by Anthony Gonzalez, and have released seven albums. Including, Hurry Up, We’re Dreaming which had been nominated for a Grammy. The band has a distinctive sound: saxophones, loud synth, peppy guitar riffs, and softly spoken lyrics, sometimes in French, underneath it all.
Granted, it is hard to follow the last release from M83- after all, Hurry Up, We’re Dreaming was highly praised and considered their best album to date. Junk tries hard to match the similar sounds from the 2011 hit album, but slightly misses the mark. Gonzalez is quoted as defining the album’s existence as: “An ‘organized mess’—a collection of songs that aren’t made to live with each other, yet somehow work together.” Some songs do a better job of this than others.
There still exist all the elements of M83 that loyal fans enjoy: the sexy, tenderly spoken French, booming saxophone, and swirling synth sounds. However, the album kind of reminds me of a metaphor I heard once about bikes: having too many different bike pieces and trying to build a functional bike often leads to the bike not working as a whole.
While as a whole, the album struggles to come together, there are definitely songs worth listening to on the album. Where Go!, tries to be what “Midnight City” was, “Walkaway Blues” takes old successful elements and creates a new and very enjoyable sound filled with choruses of electric brass and soft lyrics. “Time Wind” features none other than Beck’s pleasing voice reverb-ing against a 80s upbeat synth backdrop in a breezy, effortless track. “Do It, Try It,” is my least favorite track, with the slight offbeat nature followed by a booming chorus blasting with synth and overpowering electronic noise.
Maybe it’s that nothing can touch the original or maybe I am simply just expecting too much from M83 since Hurry Up, We’re Dreaming became one of my favorite albums. Either way, the album as a whole leaves much to be desired, but in single tracks, certain songs are unquestionably quality and worth a listen. Interestingly enough, in an interview Gonzalez predicts how fans will feel about the album: “They’re just gonna pick certain songs they like — one, two, if you’re lucky — and trash the rest. All else becomes junk.” While I don't write the album off, I would have to agree.
Tracks to Listen:
"Go!"
"Walkaway Blues"
(04/06/16 4:27am)
Released: 3/25/2016
3/7 stars
RJD2 has made some strides in electronic jazz. RJD2 composed the Mad Men intro song, a song that depicts Don Draper’s dark and manipulative side with his charming charisma. You may have heard RJD2 in the background of a Miller Light commercial. Chances are if you are into progressive soul music, you have heard of RJD2. RJD2 is known for channeling his musical roots, Philly, as his soul/jazz/funk-inspired sound.
On March 25, RJD2 released his sixth solo album, Dame Fortune. Born Ramble Jon Krohn, he began to create music in 1993. Krohn wears many hats in the industry: producer, DJ, singer-songwriter, etc. Released from his own label, RJ’s Electrical Connection, the album has received praise among critics. Though it does have occasional valleys, overall, I find myself generally enjoying the peaks of easy listening this album provides.
His genre is defined as hip-hop and indie rock, but there is so much more to it than that, as evident by his newest album. The album has the signature RJD2 vibe: electronic experimental sampling combined with jazzy horns and R&B flavor. However, I found myself unable to identify with one particular genre or even theme in the album. This is both a good and bad thing. After all, an album trying to be too much at once is simply overwhelming. Whenever I started to enjoy the funk and jazz direction the album was taking, the next track was a deviation. The tracks “Up in the Clouds”, which features hip-hop mixed with a guitar and builds into an intense string hook, and “The Sheboygan Left”, which takes on a jazzy sound with even a bit of gospel undertones, are so completely different, its hard to believe they are part of the same album.
Featured artists on the album provide depth and diversity. Son Little and Jordan Brown guest star on two of the albums most promising tracks. Overall, the album has a few star tracks on it, which stand out in an otherwise very typical RJD2 album.
Check out: “The Sheboygan Left,” and “Peace of What”, which are two songs on the album that are undeniably catchy and sound like what I hope RJD2 will channel in his future work.
(04/05/16 5:25pm)
On April 6, Bloomington has the pleasure of welcoming Nick Sanborn, otherwise known as Made of Oak, to the Bishop. Bloomington is his first stop on tour that will take him through the Midwest down to the southeast coast.
Known as an electronic musician and perhaps known better as one half of the Sylvan Esso duo, Nick is touring to promote his solo project, Penumbra. The project is intense and full of winding hip-hop inspired melodies, which, without the use of lyrics or words, manage to gracefully take the listener on an emotional journey. The music is dark, catchy, and artistic. It is heavy on bass, while still being weightless in sound. As a performer, Nick is not to be missed; he throws everything into the live performance and plays with unequivocal passion.
Opening for Made of Oak will be Naytronix, a solo project of Nate Brenner from the tUnE-yArDs. Naytronix is similar to Made of Oak in the sense that both are electronic by definition, but that is as far as the comparison goes. Both are so wildly unique in what they do with sound.
If you are looking for an unmatched musical evening, be sure to come to the Bishop to hear these two musicians throw down.
Doors at 8:30, show is at 9:30. 18+.
(03/30/16 3:07pm)
Over the weekend, I had the pleasure of attending Fountain Square Music Festival, a two-day music festival located in Indianapolis. The festival, which is known for local Indianapolis music acts, occupies four different music venues over the course of the weekend. The venues are all close by, located in Fountain Square: Pioneer, Fountain Square Theater, Hi-Fi, and White Rabbit Cabernet.
My goal was to see each venue at least once, which gave me the opportunity to see several outstanding artists I have never heard of. Additionally, during the daytime, there were free performances on different stages located close by the venues. Most of these day time shows started at 1 p.m., which the headliners at the venues started around 5:30 or 6 p.m., depending on the venue.
Personally, I have never been to a festival so unique. Usually, the festival consists of different stages in a big grassy field (Think: Lolla, Pitchfork, Bonnaroo…) Since all the stages are are at local venues, FSMF created an intimate experience no matter who I was seeing, which is honestly a quality that lacks at most bigger music festivals.
Some of the notable acts of my weekend ended up being random music acts that I originally had not planned to see. On Friday: Dream Chief, a local electro-pop group, topped my weekend with their “sexy beats,” as described by one audience member. Headliner Andrew W.K. was just as hardcore rock as everyone expected him to be, but I found myself sauntering over to Helado Negro’s extremely relaxed atmosphere after five minutes at Andrew W.K.
On Saturday: I found Saturday to be the more enjoyable of my two days at the festival. I enjoyed Varsity quite a bit, an alternative rock group originally from Chicago. They had a wonderful stage presence, and I found their performance very entertaining. The group has good chemistry, that much was evident to me. Next, while trying to get a good spot for Kishi Bashi, I found myself entranced by Sound of Ceres, which was as captivating as possible, complete with alluring lights and a stage presence from the lead singer that I can only describe as mesmerizing. Following that (and it was a hard act to follow!), Kishi Bashi was also excellent and there is really no comparison to his music; his use of string and looping machine along with his own voice is so completely unique to him. His show was a perfect cap to my night; I tried to run over to the final bit of Mexican Institute of Sound, but just missed it.
Fountain Square is the perfect place for this festival. The venues were all located steps from each other, there were tons of restaurants to eat at (it was not easy to pick where to eat!), it was easy to find parking, and the festival had an interesting atmosphere of being within a city, yet I still felt removed from the hustle and bustle of Indy. I would recommend this festival to anyone looking to experience great music and local environment mixed into one.
(03/28/16 1:39am)
Released: 3/11/2016 via Triple Crown Records
5/7 stars
Into it. Over it. That’s the name of Chicago musician Evan Thomas Weiss’s rock solo project. Admittedly, I was not prepared for Into It. Over It. being an underground punk-emo performer. Not usually one for emo-rock, I found myself pleasantly surprised that I thoroughly enjoyed this album. Weiss is multi-talented as a musician: vocals, guitar, bass, and other instruments round out his diverse sound.
On March 11, Into It. Over It. released their newest album, Standards, which will be followed by a tour this spring. Rumors confirmed, Weiss really did isolate himself in a cabin in the woods to connect with his own feelings to create this album. In collaboration with drummer Joshua Sparks, Weiss created a 12-track album flush with organic and loose melodies. The overarching theme is to “just go with it.” Aside from the beautiful soundscape Weiss paints for us with the use of guitars, synth, drum and a touch of piano, lyrically the album takes the listener through the emotional rollercoaster that is the rise and fall of a relationship.
The album stays mysterious in nature, allowing the listener not only to interpret the lyrics as applicable to their personal life, but also create meaning out of the guitar riffs and unanticipated bursts of strings. The album is methodical, and yet flows so easily and effortlessly and is subtly angsty.
The song “Open Casket” resonated with me – calm guitar backdrop over Weiss’ voice, which reminds me vaguely of Death Cab for Cutie lead singer Ben Gibbard. Another track on the album “Closing Argument” takes a different route – a bit more angsty, more guitar driven, heavy drums. Later in the record, “Old Lace and Ivory,” is so refreshingly beautiful in melody, with Weiss plucking at a guitar, light drums, and a woman’s voice providing an angelic backdrop. Similar to Modern Baseball lyrically, I find myself understanding what “renewed emo” means as a genre, and I like it. Don’t let “genres” or labels like “emo revival” scare you away from listening to this album. It is beautifully produced and written and will tug at least a few heartstrings along the way.
(03/24/16 3:11pm)
The Lone Bellow will be heading to the Bluebird this Thursday, to promote their newest album, Then Came The Morning. Since 2011, the Brooklyn indie folk trio has been collaborating and making music. Their debut album, The Lone Bellow, was no. 64 on the Billboard 200. The trio, which consists of Zach Williams on guitar and vocals, Kanene Pipkin on mandolin, bass and vocals, and Brian Elmquist on guitar and vocals, belts out heartfelt melodies, harmonizing a twang of American country mixed with folky rock.
Then Came The Morning, released in 2015, was greeted with critic’s praise. The Lone Bellow worked with the National's Aaron Dessner to produce this second album, which has proved the Lone Bellow a force to be reckoned with. If you enjoy the Avett Brothers or Dawes, The Lone Bellow will be sure to impress.
Starting the evening at the Bluebird will be American folk/country artist David Ramirez. He has just released a new album Fables on Aug. 28. Ramirez writes from a deep place, after traveling and touring alone for many months at a time, and his fans find his shows both personal and intimate despite the big name acts he has opened for, such as Shakey Graves and Joe Pug.
Doors at 7 p.m. and show is at 8 p.m.. 21+
(03/23/16 4:55pm)
This coming weekend, Fountain Square Music Festival will be taking place in Indianapolis. Fountain Square, which started in 2013 as a simple passion project for the locals, has grown exponentially: nationally known talent at four Indianapolis venues: White Rabbit Cabaret, Radio Radio, the Hi-Fi, and Joyful Noise Recording. Additionally, this festival functions as a non-profit and donates 50% of all proceeds between Musical Family Tree and Girls Rock Inc. The fest won “Best Festival” in the reader poll “Best of Indy,” and boy, does this line up look good. Between local artists, a huge variety of genre and talent, local Indy beer and food vendors, and Lil Bub (!!!), I was convinced to dedicate my weekend to this festival almost instantly. This festival provides something for every fan: there is folk, a hip-hop stage, a dance stage, and eclectic, diverse headline artists.
The festival will take place on March 25 and 26. On Friday night, Andrew W.K will headline the Theater Building, Ghost Gun Summer rounds out the night at Pioneer, Andrew Belle will cap things off at the Hi-Fi, and Helado Negro will headline White Rabbit. Notable acts on Friday also include Reptar, Kimya Dawson, Mathaius Young and obviously Lil Bub.
On Saturday, the line up is sure to delight. Headliners include (venue in parentheses): Thurston Moore Group (Theater Building), Kishi Bashi (Pioneer), Mexican Institute of Sound (Hi-Fi) and Yoni Wolf (White Rabbit). Acts to note earlier in the day: Bloomington-based Hoops, (they'll also be at Culture Shock on April 9), Surfer Blood, Emperor X and Big Colour.
The scheduled line-up will take place from 7 p.m. to 10:30 p.m. at respective venues, followed by one main show at the Fountain Square. I will personally be found rocking out to Andrew W. K. on Friday night, and you can find me splitting my time between Kishi Bashi and Thurston Moore during Saturday evening. As for the rest of the day, I look forward to going with the flow, seeing the local art and venues, and discovering new talent. I have never been to Indianapolis, and I couldn’t think of a better way to explore a new city.
In addition, for early birds, there are activities during the day revolving around the local Indy music scene. These can all be found on the website, but some interesting events I will be checking out include: WFYI Public Radio Studio Session at 1 p.m., the New Day Folk Stage, and an intimate artists panel at 2:15 p.m., featuring artists (TBD) discussing tours, publicity and the industry. Lastly, there is an after party at the Hi-Fi, which is sure to be a hit.
Every artist performing this weekend has a biography and a YouTube video on the FSMF website, allowing festival goers to check out the music and create a personal schedule based on interests. Check it out and hopefully, I will see you at the Square!
(03/22/16 9:53pm)
Released: 3/4/2016
4/7 starts
Duo Stewart Bronagh and Joshua Jaeger, forming the American alternative rock group Lionlimb, released their debut album Shoo on March 4. From Nashville, Lionlimb has a sound comparable to Phoenix. The group sounds timeless, with some tracks feeling straight of the seventies, with light jam riffs and easy to listen to melodies, and other tracks have a sound from a jazz club during the ninety’s. Although the album gets a bit mild at times, overall the sound is enjoyable: music you listen to on your porch on a breezy summer day.
While listening, I found similarities between Lionlimb and other singer-songwriters such as Ben Folds or Elliott Smith. The album is unique in its own way though, not just being categorized as “light rock,” but also a bit of soul, pop and funk. The use of saxophone, piano and a variety of horns keeps the album upbeat and slightly on the jazzier side of things.
As much as some tracks were jazzy, others were psychedelic. “Turnstile,” is a 70s-style song, and one of the albums better tracks. Contrasting, the song “Domino,” perhaps the best song from the album, is boomingly upbeat and almost pop-rock in nature, with Jaeger going all out on the drums. Lastly the track “Lemonade” stood out, with winding guitar and just enough horn to possibly be considered a jazz or soul track.
Overall, I found myself listening to this album while driving down the coast of Oregon, and it completely fit that atmosphere. It was easy listening, a great start to Lionlimb as artists, and hopefully we will be hearing more from them in the coming future.
(03/03/16 10:54pm)
On March 1, El Ten Eleven, an instrumental duo comprised of Kristian Dunn and Tim Fogarty, stunned listeners with their trancing melodies and remarkable sound. For only two members, El Ten Eleven was able to fill the entire Bishop Bar with remarkable melodic complexities.
Drummer Fogarty utilizes acoustic and electric drums, while Dunn frequently switched between a doubleneck guitar and a bass. To up the musical intricacy, Dunn also frequently used a looping machine and multiple effects pedals.
Those who were present at the Bishop Tuesday night had a generally stellar experience. Between the elaborate music effects taking place before my eyes, the stage presence of the two, who have been making music together for close to fourteen years, and the set list, which was around 80 minutes long and never had a dull moment, the show was the epitome of post-rock experimental jaw-dropping power.
(02/04/16 6:24pm)
Released: 1/29/2016
4/7 stars
Power synths is making a comeback and it has been a long two years since St. Lucia has made any new music in the genre. Jean-Philip Grobler, otherwise known by stage name St. Lucia, released his second indie synth-pop driven album, Matter, on Jan. 29. This album, a followup to the debut album, When the Night is sure not to disappoint loyal fans. The sophomore album brings out all the best themes of St. Lucia and the eighties: bedazzled melodies and layers upon layers of intricate details built around catchy hooks and uplifting synthesizers.
Grobler, born in South Africa, prides St. Lucia on successfully collaborating 80’s pop with alternative rock and a slight touch of the tropics. Many guest writers appeared on this album to create a well-rounded set: Tim Pagnotta from Walk the Moon and Jack Antonoff from Fun. and Bleachers, to mention a few. The high-energy liveliness of the album starts on the first track and does not take a break for the entire album. The premiere single off the album “Dancing on Glass” is upbeat, fun, and almost glittery in sound. The album does not really deviate from that theme, yet somehow that is perfectly fine.
Over all of this though, St. Lucia is known for their spectacular live shows. The group is outstanding live and this album will be sure to provide a dynamic concert, packed with electro pop certain to move bodies on the dance floor. I can imagine this album performed live by Grobler, who never seems to run out of energy. If you have not seen St. Lucia live before, especially after this album packed with bangers, add it to your bucket list.
Says Grobler of the second album: “On the last record, I was trying to fit every instrument on every track, layering all these lush sounds. If the last album sounded like the tropics, this album is the desert.”
Tracks to Listen to:
“Dancing on Glass”
“Physical”
“Help Me Run Away”
(01/31/16 5:43pm)
Released: 1/22/2016
5/7
Founded by the very talented Emily Sprague, Florist released their debut album The Birds Sang Outside on Jan. 22. Sprague began writing and recording the album after she suffered a severe biking accident, leaving her essentially bedridden. With a broken neck and arm, Sprague has found strength in writing. Her mastery of poetic lyricism has not gone unnoticed; Florist was recently named a Stereogum “band to watch.”
The album is a journey told from the perspective of a woman healing from deep pain, both physical and emotional. The members of Florist, Emily Sprague, Rick Spataro, Jonnie Baker and Felix Walworth, arranged the album in a unique way as some of the tracks are the full band, while others are just Emily.
Certain tracks off the album are clearly personal and painfully lonely, while other parts are full of rejoice and optimism. Sprague explains “it's one part a personal, autobiographical, and almost completely chronological telling of a time in my life full of confusion, physical + emotional pain, loneliness, and hope. It is another part a rebirth of a musical friendship between my best friends in the whole world, and an attempt to highlight the importance of love and the things in life that give you something special to hold on to, to find a calm that can carry you through being alive and being scared.”
It is not so much that I enjoyed the soft vocals, but more the message behind the album. However, the message was never the same. The project is completely compelling and each time I listened, I heard something new and I felt a new way about it. Florist throws everything into this creative and deeply private album.
On the track “A Hospital + Crucifix Made of Plastic,” Sprague hauntingly purrs “I am weightless; I am bone” over and over. It really is quite moving. At moments, the album felt so intimate, so personal. I felt like I was reading her diary. The fifth track, “Thank You” is Emily poetically reading to the listener with light noise behind her.
I am not going to tell you which tracks I found to be the highlights of the album, as I normally would in a review. I truly believe that with this album some tracks will connect more with the individual than others, and they might not be the tracks I pick out. Instead, I will share which tracks Emily recorded alone and which she recorded with the band, which lends an idea toward the general theme of the song:
tracks 1, 4, 5, 6, 10, 11 recorded by emily sprague
tracks 2, 3, 6, 7, 8, 9 arranged and recorded by emily sprague, rick spataro, jonnie baker, and felix walworth
(01/24/16 5:08pm)
Diane Coffee has an effect on you: mesmerizing and utterly unforgettable. The band, an aesthetically pleasant conglomerate of glam pop meets 60’s rock, has entertained the people of Bloomington twice within the last year. Nothing less than charming, front man Shaun Fleming was passionate and engaging. He is a showman – utilizing the entire space of the stage, bending down to serenade joyous fans, and expelling good energy to all corners of the Bluebird. About three quarters of the way through the show, he left the stage, allowing the band to transition into a new upbeat melody, at which point he returned dressed in a completely different and slightly gender bending outfit, complete with flashy headpiece. Diane Coffee’s ambiance is warm and lighthearted, as theatrical as it is contagious. The concert plastered a smile on my face from start to finish.
Diane Coffee’s new album Everybody’s a Good Dog was written in Bloomington and last night, the high energy at the Bluebird demonstrated how much Bloomington residents loves their local music.
(01/12/16 2:15am)
Released: 12/11/2015
3/7 stars
Coldplay has been a staple in the pop-rock genre for quite awhile. Formed in 1996, Coldplay has now released seven albums including their newest album A Head Full of Dreams. Chris Martin, lead vocalist and guitarist for Coldplay, hinted that this may be the band's farewell album.
Overall, the theme of Head Full of Dreams seems to be optimism. Right off the bat, the title track implies epiphanies of waking up and realizing your dreams. The album is full of this: cheesy, yet charming indications of being free and liberated. Surface level as it may be, it is nice to hear hopeful melodies. After all, according to the track “Adventure of a Lifetime,” “everything you want is a dream away.” There are lots of whimsical references on the album: birds, dreams, kaleidoscope, color spectrums and amazing days. The glee really never stops.
“Adventure of a Lifetime” is the banger track on the album. The track is lighthearted and the guitar riffs are pleasing, but the song lacks depth. What could be progressive and experimental turns instead to standard predictability.
One of the only fresh and unique aspects the album was able to accomplish were guest singer appearances by Beyonce and Tove Lo, who both bring a positive and interesting sound to an otherwise ordinary Coldplay album. In addition, the collaboration list on the album was rather impressive: President Obama singing “Amazing Grace” and Martin’s ex Gwen Paltrow assisting in backup singing, as well as Noel Gallagher from Oasis.
(12/08/15 11:38pm)
It is hard to believe Leon Bridges is new to the music industry. For only being signed to Columbia records one year ago, Bridges has gained substantial popularity, including performing on Saturday Night Live less than a week ago. Coming Home, Bridges sensational debut album, has received critical acclaim over the past year. From being a dishwasher in Texas to quickly becoming a Top 10 Viral Artist on Spotify, Bridges is the epitome of a success story.
On Sunday evening, Bridges made a stop on his tour in Bloomington at the Bluebird. The show was sold out and the venue was jam-packed. Wall to wall, fans of Leon’s soulful, velvety voice and heartfelt lyrics anxiously anticipated his performance. Leon kept the crowd waiting a while past the door time, but the wait was well worth it. When he came on stage, everyone cheered and the brass section began to belt out a cheerful harmony. All I can say is he looked the part. Dressed in a golden suit, with his hands gently wrapped around the center stage microphone, the crowd was immediately absorbed by his presence.
His 60’s soul-gospel melodies serenaded me the entire night. He played all the crowd pleasers: “Coming Home”, “Smooth Sailing”, and “Better Man” to name a few. His stage charisma is noteworthy: joyful dancing while the complementing horns bellowed and well-placed one liners sandwiched between songs kept the energy in the venue alive. Bridges takes us on a journey back in time, drawing inspiration from music icons Sam Cooke and Otis Redding. Bridges sound is timeless and to all who were able to come out last Sunday, the performance was enchanting. I am looking forward to what Bridges will bring to the genre in the coming years.
(12/07/15 10:34pm)
6/7
Adele’s new album, 25, has been praised for brilliance; it is said to be the most anticipated album of the year. So, how do I objectively review this album when the media has been raving about it for weeks prior to the release? I heard about this album’s potential success weeks before the release date and my curiosity got the best of me. Remaining as unbiased as I possibly can, I approached the album as a person who has never before listened in depth to Adele. Before the end of the first week of the release, Adele had shattered the record for highest single-week album sales, previously held by NSYNC for No Strings Attached. Although some people will argue her album sales are due to not releasing the album on major music streaming services, there is definitely no denying the anticipation for 25 was high leading up to the release on Nov. 20.
25, named appropriately after Adele’s age, follows 21, her sophomore album. Adele says, “My last record was a break-up record, and if I had to label this one, I would call it a make-up record. Making up for lost time. Making up for everything I ever did and never did. 25 is about getting to know who I've become without realizing. And I'm sorry it took so long but, you know, life happened."
And what a make-up album it is. 25 did take awhile, with work being done on the album from 2013-2015. Nevertheless, fans (and non-fans!) can be assured the wait was well worth it. As I listened to the album, I felt like I was being told an intimate story; her pain, but also her happiness, on the table for anyone to judge.
This album consists of eleven tracks that vary in elements of soul, pop, rock, R&B and a touch of jazzy folk. Of course, Adele is known for her ballads and heart wrenching lyrics of love lost, and the new album will not disappoint. The hit single off the album “Hello,” addresses Adele’s heartbreak that haunted the first two albums. In spite of this, “Hello” shines with power and confidence. 25, despite being such a sensation, is relatively uncomplicated. Adele is the co-writer on most of the songs on the album and her voice is the sole driving factor; instrumentation is minimal. 25 is clean.
I thoroughly enjoyed the ballads on the album. Yet, I found myself returning to a few of the more upbeat songs on the album. “Send My Love,” the second track on the album, is surprisingly up-tempo and although could be classified as pop, Adele’s powerful voice is not lost on the track.
The tracks of this album differ so much; the variation and diversity within the album is refreshing, but only illustrates further exactly how talented Adele really is. “Water Under the Bridge” and “River Lea,” the sixth and seventh track on the album respectively, possess booming soul-heavy choruses. “I Miss You” includes elements of effortless poise and rock.
Overall, Adele’s vocals are astounding; she is perhaps one of the most authoritative voices in the music industry today. 25 demanded attention and, without a doubt, delivered.
Songs to listen to:
“Water Under the Bridge”
“River Lea”
“Send my Love”
“I Miss You”
(11/17/15 10:47pm)
On Wed. Nov. 18, the Dandy Warhols and the Shivas will be coming to Bloomington! What a better way to conclude your hump day than by coming to the Bluebird to hear two incredible alternative-rock bands? Both rock groups, originally out of Portland, Oregon, are both heavy on the psychedelic sound. The Shivas have a 60s surf sound (Beach Boys anyone?), while the Dandy Warhols have the psych-pop sound comparable to The Velvet Underground.
The Shivas are newer to the rock scene, forming in 2006. The band is a little punk, a little garage, and a lot of fun guitar jam. Their 2014 release, You Know What To Do, is their most popular album yet. This is sure to get the crowd jumping and grooving.
The Dandy Warhols have been making music for quite awhile now – since 1994. Their recent release, Thirteen Tales from Urban Bohemia Live at the Wonder, was recorded live at the Wonder Ballroom in Portland and are following that release up with a tour. The Dandy Warhols embody what modern neo-psych rock is, especially with crowd-pleasing hit songs like “Bohemian Like You” and “We Used To Be Friends”.
The energy of rock will be alive and well at the Bluebird! Doors at 7 p.m.; 21+, tickets can be purchased in advance here.
(11/16/15 11:19pm)
Released: 11/13/2015
4/7
The last time I heard MUTEMATH, it was on the soundtrack for Twilight. The band released a new album, Vitals, on Nov. 13, and while it is sure to please old and new fans alike, it will not be featured alongside Edward Cullen.
MUTEMATH, an alternative rock band from New Orleans, began making music together in 2003. The group is made of four musicians: Paul Meany (lead vocals and keyboard), Darren King (drums), Todd Gummerman (guitar), and Roy Mitchell-Cardenas (bass). MUTEMATH draws from an assortment of sounds; however, they do utilize heavy synthesizers, amplifiers, and drums to create their particular sound. Interestingly enough, most of the members of the group are multi-instrumentalists, enabling them to broaden their musical scope more than other rock groups.
Vitals is a respectable rock-pop album. There are a few standout tracks and this is a well-executed album, but overall, it felt safe and predictable. These are not necessarily negative features though. While some rock bands alternate their original sound in order to appeal to larger audiences, MUTEMATH keeps it genuine for their supporters. Old fans will appreciate that the album does not deviate far from their older releases. New fans will enjoy the catchy hooks and choruses, lively riffs, and overall pleasing ambiance this album delivers. In fact, this album is perhaps the best release from MUTEMATH so far.
One of the singles off the album, “Monument” demonstrates the group’s ability in experimentation while still keeping rooted to their true sound. Overall, The album is full of little wonderful moments: booming hooks and playful synth melodies. Meany, lead vocal describes the album to have a celebratory tone. “Hope is vital. It happens from finding a way to believe something great still lies ahead.”
Personally, my favorite track off the album is titled “Joy Waves”. This song is the first track off Vitals, placed appropriately to introduce the album: merry, creative, lighthearted, uncomplicated. If you like The Civil Twilights or As Tall As Lions, you will most likely enjoy MUTEMATH, and following, you will probably enjoy this album. A few tracks off the album to pay attention to:
Monument
Joy Ride
Light Up
Remain
(10/20/15 1:05am)
Released: 10/162015
5/7 stars
Neon Indian, a relatively new band from Texas, released a long anticipated new album, Vega INTL. Night School, Oct. 16. The group first appeared on the music scene in 2009, with their debut album, Psychic Chasms, for which Rolling Stone named Neon Indian one of the best bands of 2010. Six years later, the new album lives up to expectation. Alan Palomo, who writes and records lead vocals for Neon Indian, goes above and beyond to gather together a hodgepodge of sampling and experimental sounds for an album that pulls listeners in and keeps their interest for the entirety.
First listen, simply put: there is a lot going on. The album consumes the listener in an indietronic, synthpop stupor with multicolored layers of sounds and transitions.
Overall, the album is of a vivacious 80’s sound mixed with easygoing reggae undertones. VEGA INTL Night School, as psychedelic and kaleidoscopic as it may be, remains surefooted and progressive. Palomo takes everything to the next level – from the synth progressions to the lyrical play of “Annie”, about a missing girl that Alan cannot find or get to answer her phone. The album grasps for 80’s roots, especially in the track “The Glitzy Hive”, where listeners can instantly be reminded of Prince. The cover of the album features Palomo posing in an 80’s synthpop artist and there is even a hotline set up for fans to call. A smooth, female voice will answer, “Hey there, sexy.” (Seriously, call the hotline! 512-643-VEGA). A listener could say the album is bizarre, but a better word here is eclectic.
“Slumlord”, a single released off the album, is sure to be a dance floor favorite, with heavy drums and a catchy collage of sound variety. “Slumlord” is dangerous, groovy, and fun as hell. Palomo stated in a press release, “Most of what I have learned about my 20s has happened after dark. People are just kind of more honest then. More deliberate. I like to call the places I go to Night Schools.”
Must listens:
“Slumlord”
“Annie”
“The Glitzy Hive” – vocals reminiscent of Prince
https://play.spotify.com/album/5jgrzAcDHJ5Nb2viW52OlR