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(01/23/15 8:03pm)
Released 1/20/2015
4/7 stars
The Decemberists return after a four-year hiatus with their seventh studio release, What A Terrible World, What A Beautiful World. The wonderfully titled album is full of folksy, chatty tunes that we’ve come to expect from the band. Only this time, it fails to enchant in quite the same way previous albums have.
“The Singer Addresses His Audience” opens the album with a cheeky sort of breaking of the fourth wall (do albums have fourth walls?). “We know, we know we belong to ya.” Colin Meloy explains to us that despite their fame and their fans’ idolatry, they had to change and evolve. This song, while humorous in a certain regards, seems a little unnecessary. It feels jaded and doesn’t fit thematically with the rest of the album. It’s a 4:43 prelude that we don’t need.
So many of the songs on this album, though lyrically interesting seem to lack the musical energy to match. “Make You Better” and “Till The Water’s All Gone” could be dazzling, but they just come off stale. Despite the band’s announcement that they’ve changed, many of the 14 songs on this album seems particularly comfortable with their perhaps too-familiar format.
Although a lot of What A Terrible World, What A Beautiful World doesn’t take your breath away, there are a handful of really lovely tracks. “Philomena” is a peppy song about a potentially illicit affair. “All that I wanted in the world, is just to live to see a naked girl.” Saucy Colin Meloy. “Lake Song” adequately captures the nostalgia of a naïve young love with poignant images of suburbia in the backdrop. “Anti-Summersong” is energetic and fresh and only lasts 2:12. A lot of the songs are drawn out, clocking in over five minutes, but “Anti-Summersong” keeps it short and it’s all the better for that.
The strongest track on the album is “12/17/12.” As is the trend with most date-titled songs, this one is intensely personal. Colin Meloy reportedly wrote it in response to the Sandy Hook Elementary School shooting. It’s introspective and weighty yet it transcends that particular incident to encompass what is the grander theme of this album: What a terrible world, what a beautiful world. It’s confusion, grief, longing, gratitude, and marveling at human existence all in three minutes. “12/17/12” is this album’s lighthouse.
While What A Terrible World, What A Beautiful World probably won’t make any best-of lists, it’s a worth-while listen for the few tracks that do exhibit that energy and nuance of which the Decemberists are capable.
(12/10/14 1:40am)
Rating 6/7
Released 12/9/14
I randomly messaged Jeanette Wall my senior year of high school because I was having some kind of life crisis and someone suggested that I talk to her about this. Keep in mind, I had never met her before and had only known about her through mutual friends and from reading her ultra-cool zine. But this was a crisis, so I took a chance. I remember rambling on about my life and what I wanted and college and things that seemed very important to me at the time, and her response to this complete stranger was so kind and loving and I felt that we had known each other forever. She encouraged me to submit stuff to her zine, The Miscreant, which was the first time I was ever given a platform to write about music in whatever context I wanted. Needless to say, Jeanette has been a superhero to me, so I am the most excited to tell you about her band’s debut album.
Jeanette paired up with Ben Bondy to form Band Practice and their album, Make Nice, is nine tracks of deeply personal and sometimes silly lyrics dressed up in indie pop style.
The album kicks off with “Band Practice Theme Song.” This track starts out simple with a guitar strum and the words, “I am an artist, and I have been drinking,” (put that on my epitaph) and it gradually builds into a fast-paced jam full of cymbal crashes. Does every band have a theme song? No. Should they? Probably.
“Bartending at Silent Barn” chronicles Jeanette’s experiences at the NYC venue. This could have been a purely comical track but lyrics like, “Nobody in my head likes me, so sometimes I get lonely,” takes this song someplace deeper. The last 40 seconds burst into this dense sound that complements the lyrics perfectly.
The acoustic guitar makes an appearance in “Put Up A Fight.” This is a lovely song about uncertainty and not knowing the right way to act in a relationship. But Jeanette and Ben sing, “I can fall in love with you,” and later, “I can dance pretty well.” Aren’t these the most important things anyway?
“Magic!” is a silly song about various bedroom activities. On this track, we get to hear Ben’s vocals front and center. It’s a fun listen and the rhythm of the electric guitars keep things interesting. “Lumps,” a song about cancer, balances heavy subject-matter with poppy instrumentation. At times, the lyrics are hard to decipher through the electric guitar and drums, but the story told through this song is incredibly poignant.
“Shawn Perry,” regains a lighter tone and doles out a bit of lyrical genius at the end with the repetition of “I don’t know what to say, but I know what lips do.” Very sweet. This would be a great prom song—but more like the movie version of prom where it’s actually aesthetically pleasing and the music doesn’t suck.
Next up is “Freddy”—a song about an apparently homicidal love affair. “Freddy baby, don’t you trust me, I could kill you, dear.” I’m not quite sure about the implications, but it’s a solid track.
Following “Freddy” is the heartbreaking and superb “Spare Parts.” This song is less than two minutes long, but it packs a punch. It starts off about tumors and then switches to lovers and the parallels feel incredibly raw to me. “If I’m just a spare part, well then leave me; and I’ve got a feeling I will be.” This song is short and insightful. Its length allows it to be completely vulnerable. It’s over before you know it, but it definitely leaves an impression.
Make Nice ends with what might be my favorite track, “Room.” This acoustic tune is perfect for pining away over someone. “See your room sometimes in pictures, never been there but maybe someday I’ll go.” Jeanette sings this so earnestly. It has the vibe of poems written secretly in a journal. I’d recommend listening to “Room” while you look out the window on the bus and sigh (proven to induce feels).
This album is such a gem to me. I love Band Practice’s ability to get really honest with songs like “Lumps” and then lighten things up with “Magic!” Heavy and light is really well-balanced on Make Nice. There is so much insight within these nine songs. I consider myself really lucky that even three years later, Jeanette is still sending me exactly what I need to hear.
You can listen to Make Nice here:
Make Nice by band practice
(12/07/14 6:40pm)
Here’s the thing: I want to like Christmas. I wish the holiday season filled me with glee and prompted me to say hello to friends I know as well as everyone I meet. Largely, the holidays kind of bum me out. Don’t get me wrong, I love the food and the cold air and the lights, but there’s also something really melancholic about this time of the year too. I don’t know whether it’s the fact that I’m not little anymore and so there’s less *magic* in the air, or that familial complexities seem to be under a microscope during this season—it’s probably a combination of both.
If you’re anything like me, and you find the holidays a little underwhelming, take comfort in the knowledge that there are a lot of non-peppy Christmas tunes out there to accompany your feels. So, grab your mug of hot cocoa and let’s get this party started (and by ‘party,’ I mean, staring out your window and sighing)!
1. “Christmas Time Is Here”—Vince Guaraldi Trio
This is a classic. The Peanuts gave us the epitome of the sad Christmas song with “Christmas Time Is Here.” It’s got the strange combination of jazz mixed with children’s vocals that works so well to create a sentimental sound. This is a great song for those times when you’re ice skating, but you’re not trying to have that much fun.
2. “I’ll Be Home For Christmas”—Bing Crosby
Fun Fact: this song was banned on BBC radio when it debuted in 1943 because officials thought it would be too depressing to soldiers fighting overseas. While BBC’s censorship was probably a little extreme, they kind of had a point. “I’ll be home for Christmas, if only in my dreams,” doesn’t exactly evoke holiday cheer.
3. “All Alone On Christmas”—Slow Club
If you haven’t listened to Slow Club’s Christmas Thanks For Nothing EP then you are missing out on some gloriously depressing Christmas songs. “All Alone On Christmas” is the perfect tune for lonesome walks through lit-up neighborhoods. Maybe you spy a couple sweetly kissing underneath some mistletoe, but hey, at least you have your cat!
4. “Christmas Is In The Air”—The Tuts
The Tuts deliver a bummer Christmas song you can dance to. “Christmas Is In The Air” appeared on Kate Nash’s Christmas EP last year, and this song is pretty fun. It’s got all the charm of a twee girl-band but with lyrics like, “Mom and Dad are always fighting underneath the Christmas lighting, all I want for Christmas is a good time.” Don’t we all? *sips eggnog while gazing emptily at a Christmas tree*
5. “Have Yourself A Merry Little Christmas”—Judy Garland
This. Song. It is the saddest Christmas song I’ve ever heard, but it’s also my favorite Christmas song. There’s something so nostalgic in the fuzziness of the recording, and Judy Garland handles the vocals perfectly. Other artists after her have tried to really overdo it (Looking at you, Barbra Streisand). This song is so simple, and yet it conveys all of the hardship and hope of the holiday season.
The holidays can be tough. If you find that holly and tinsel aren’t enough to lift your spirits, steel yourself. I wish I could give y’all a collective hug and then knit you all cozy sweaters—even though I don’t know how to knit. In any case, I hope these songs can keep you company, and if things get too heavy, here’s this to balance it out:
(12/03/14 6:33pm)
Good news for those of you with the pre-finals blues! You can catch Jake Bugg with opener Greylag this Thursday at the Bluebird. Bugg is this year’s performer for WTTS’s Toys For Tots annual Christmas concert. Rock ‘n’ roll for a good cause? What could be better?
Doors open at 7 p.m. and Portland-based Greylag will start the evening at 8 p.m.. Tickets are $15 and the show is 21+ (Although Jake Bugg is only 20—some of us consider this age limit unfair, but them’s the rules).
Greylag will be doling out some solid folk-inflected rock. Their self-titled album, which came out in October, will surely lend itself to some foot-stomping and maybe even low-key head-banging. They manage to cover some really dark themes while still producing a sound that’s extremely palatable. I predict greatness from their set.
Jake Bugg will follow up with his signature mix of Dylan-esque folk tunes and pure rock ‘n’ roll songs depicting the gritty street life of Nottingham. Although Bugg is surely used to playing larger venues and festivals following the success of his two LPs, he’s decided to grace the Bluebird. And hey, if you go, you might just see a marriage proposal (just kidding, I’m a professional—I’ll wait until after the show).
This should be a no-brainer, but if you need more evidence you can listen to Greylag’s “Another” and Jake Bugg’s “Two Fingers.” See you Thursday.
(11/25/14 3:07am)
Rating 5/7
She & Him are at it again, bringing out sweet tunes that will please both you and your grandma. The aptly named Classics is an album full of old standards with little deviation from their original styles; and hey, why mess with a good thing?
She & Him is one of those bands that I don’t think anyone really hates. All three of their original LPs and their Christmas CD recall the nostalgia of a bygone era. She & Him really outdo their usual throwback sound by only doing covers on this album.
Classics starts off with “Stars Fell On Alabama.” It’s a dreamy sort of song equipped with strings and a warm electric guitar. This would probably be a big hit at a barn dance on a warm summer night. Do people still have barn dances? I hope so.
“Oh No, Not My Baby,” is a more soulful song about blindly trusting your S/O for better or worse. “It’s Not For Me To Say” follows with a full orchestra. It’s a melodramatic song that conjures images of classy nightclubs where couples dance amidst clouds of cigarette smoke after finishing martinis.
Probably the most poppy song on Classics is “Stay Awhile.” While, She & Him’s version seems a little watered down compared to Dusty Springfield’s 1964 hit, it’s still a solid track. The same goes for “This Girl’s In Love With You,” “Time After Time,” and “It’s Always You.”
M. Ward takes over lead vocals on Charles Aznavour’s “She.” She & Him’s version is far more subtle than the original and I think it better suites the song and the general vibe of the album. None of the tracks on Classics seem overdone, which makes listening to the entire thing seamless and pretty enjoyable.
“Teach Me Tonight” is an innuendo-laden song (“One thing isn’t very clear, my love; should the teacher stand so near, my love?”) with Andrew’s Sisters-esque harmonies. It’s one of the more upbeat, playful tracks on the album and it’s a great song if you ever find yourself in a musical scenario where you have to charmingly lure your beau into your arms.
Possibly the most ambitious choice is “Unchained Melody.” This 1955 song made famous by The Righteous Brothers could have come off as a total dud, but I think She & Him know what they’re doing. In the same ways that “She” isn’t overdone, “Unchained Melody” seems to balance the original sentiments with an understated melancholy that the original lacked.
You can still hear the country origins in “I’ll Never Be Free.” This song has an interesting rhythm and would be a good soundtrack for pining after your lost love at the soda shop. “Would You Like To Take A Walk?” might be a little too sweet, but at 2:05 long, it’s over before it gets too Pleasantville. The album appropriately ends with “We’ll Meet Again,” a World War II era hit. As Zooey sings, I can imagine a USO dance where couples sway to this optimistic tune.
All of Classics had me thinking of bygone days of letter-writing, sock hops and strolls down elm-lined lanes. It’s rosy and a bit sad. Not where I’d like to stay, but a lovely place to visit.
Classics is out everywhere December 2.
(11/12/14 8:40pm)
It's been ten months since the fateful day I heard Hozier's voice for the first time. If you weren't already on board with the Irish singer-songwriter, his flawless debut album probably converted you. Maybe you've just heard "Take Me To Church" or maybe you've listened to the entire album at least four times a day since its release. Wherever you're at in the process, I want to let you know I'm here for you. We can get through this.
Stage 1: Discovery
This is the beginning. Yeah, people have been talking about this "Take Me To Church" song, but you bet it's not even that good. Five seconds in--OH. MY. GOD.
Symptoms may include: Gasping, loss of appetite, manic episodes, calling your mom and crying over the phone, etc.
Stage 2: Disbelief
Similar to denial, disbelief is what happens as your brain tries to make sense of what you’re hearing. Maybe you’re thinking, “This guy probably only has one good song. Surely, they can't all be as amazing.” But they are. All of them.
*note the side eye at 2:42*
Symptoms may include: Weeping, the urge to pull out your hair, punching the nearest wall, etc.
Stage 3: Love
At this stage, you’re ready to buy a plane ticket to Ireland and settle down. Hozier is the real deal. You begin ferociously pinning wedding dresses to that Pinterest board we both know you have.
Symptoms may include: forgetting to do daily tasks, watching interviews to feel “closer” to him, refusing dates because you’re “totally in a serious relationship,” neglecting all other music
Stage 4: Obsession
This is similar to the previous stage, but because you have the internet, you can literally listen/look at/stalk Hozier 24/7. Your friends might be getting concerned for you at this point as you’ve openly bragged about the bubble gum shrine (a la Hey Arnold!) you’ve created in Hozier’s likeness.
Symptoms may include: hyperventilating, sobbing, throwing your desk chair through your window, temporary blindness, etc.
Stage 5: Agony
You can’t take it anymore. It’s all too much. How are you supposed to do anything but lie down on the floor and stay there until you die? How are you supposed to socialize, eat, bathe?
Symptoms may include: total loss of fine motor skills, forgetting how to speak, silent crying
Stage 6: Acceptance
Okay, so Hozier exists in the world. You still have to live your life! At this point, you leave the house again (hey, it only took 5 months!!); you start to shower regularly. Good for you. I’m proud of you.
Symptoms have subsided at this point. Some form of normalcy has resumed.
Stage 7: Relapse
You thought you were over it, but who were you kidding? Don’t bother trying to hide it. Embrace this crazy, soul-crushing love. Hozier is light! Hozier is love!
(11/06/14 12:06am)
Father John Misty’s long silence was finally broken this past week. He released “Bored in the USA,” a single off his upcoming album, I Love You, Honeybear. I found it this morning on Spotify, and while I wasn’t really expecting to be blown away by it, the song has stuck with me all day.
The subject matter isn’t really anything new. Disillusionment. Boredom. The insignificance of human existence. Not really groundbreaking for Father John Misty a.k.a. Josh Tillman. “Bored in the USA” is beautifully crafted with sparing piano, an almost cinematic-style strings section, and Tillman’s vocals. I found myself laughing at the way he earnestly sings, “Save me, white Jesus.” But then, just on the edge of absurdity, a laugh track comes in—half mocking Tillman for his menial life and half mocking me for thinking this was funny. This song could be whiny and it definitely borders on being overdone, but I think it’s just too honest to be anything other than captivating.
I Love You, Honeybear comes out February 10.
(10/31/14 8:40pm)
Happy Halloween week, you little ghouls! In need of some tunes to get you in the holiday spirit? Look no further! Play this mix at all your parties/séances and you’ll for sure be voted Spookiest Kid 2014 (not a real award but I think it totally should be).
1. “Season Of The Witch”-Donovan
We all need some Donovan in our lives. You can’t go wrong with this classic. For full effectiveness, I’d suggest blasting this from a boombox as you walk across campus. Let people know you’re here, you’re witchy, and you’re ready to party.
2. “I Put A Spell On You”-Nina Simone
As all good witches know, the best way to make someone love you is to cast a powerful love spell on him/her—I have several you can borrow if such things interest you. This Screamin’ Jay Hawkins song transforms from a campy spectacle to a serious and foreboding love song in the hands of Nina Simone. Her sultry vocals cast a sort of spell themselves.
3. “Dearly Departed”-Shakey Graves
A song full of ghostly moans, hand claps, and tales of haunted houses—what’s not to love? If you want to really get down this Halloween, I’d say this is a must for your party mix.
4. “Spooky”-Dusty Springfield
Maybe this autumn has brought around a new l-u-v. Perhaps you’re not sure where it’s headed. Maybe your new cutie keeps you guessing. Just follow Dusty’s groovy lead and go with it. After all, what’s spookier than love?
5. “Seven Devils”-Florence +The Machine
Do you guys remember Florence + The Machine? This track off her last album is legitimately creepy. Her wailing vocals mixed with the repetitive piano melody work to create an unsettling song that nevertheless retains the sort of ethereal beauty Flo is known for. This would be a great background track for any occult business you might be getting up to (i.e. opening portals to the ghost world, resurrecting the dead, etc.)
6. “Monster Mash”-Bobby “Boris” Pickett
Did you really think I’d leave this CLASSIC out? This 1962 hit has endured for some reason, and I for one couldn’t be happier. Legend has it (and mental_floss confirms) that “Monster Mash” was banned by BBC radio for being “too morbid.” Perhaps the prime audience for this song has moved on, but if you play this at your party, I guarantee at least one person will still be dancing (assuming I’m invited).
I hope this handful of songs gets you in the right frame of mind to have a frightfully good time--couldn't help it.
(10/22/14 3:19pm)
Released 10/21/2014
5/7 Stars
If you’re going to be in a bummer mood, it’s important to have a good soundtrack. The good news is that Bear’s Den is here to help—or at least commiserate. Bear’s Den gives us their debut album Islands following two EPs over the past couple of years. The London trio is built on a solid foundation of folk-infused rock and incredibly doleful lyrics. While their music isn’t particularly ground-breaking, it’s done well.
The 12-track album starts with “Agape.” This song was on their first EP, but it shows up on Islands sounding spruced up and more powerful. This is the case with “Isaac” and “When You Break” as well. They’re older songs, but they fit into the album without feeling tired.
Things pick up with the second track, “The Love That We Stole.” This reverb-heavy song has a big sound that works really well with the tinny banjo and solid drum beat. “Above the Clouds of Pompeii” offers a melancholy narrative about death. It starts off with a simple acoustic guitar but builds steadily throughout. The addition of horns is unexpected, but mixes beautifully with the banjo and the kick drum.
“Think of England” is a really dense track about a sour relationship. If Islands wasn’t already breaking your heart then after this song, it’s going to. Followed by “Magdalene” and “When You Break,” Bear’s Den is laying the melancholy on thick.
The bleak subject matter has the potential to get too heavy, and at times, Islands walks that line. However, the harmony-laden delivery and the rich texture of each song saves it from becoming cliché.
“Above the Clouds of Pompeii” and “Elysium” are definite stand-outs. These tracks are excellent examples of Bear’s Den’s ability to craft soaring songs. The album wraps up with “Bad Blood.” This song about brutal honesty might be the most angsty of the bunch. The final vocals are delivered with a quiet, defeated tone as if all of the band’s secrets and stories have now been exposed—which is sort of what listening to Islands feels like. There is the semi-uncomfortable sense that I know too much, but there is understanding there too.
There could also be a comparison to Mumford & Sons made, but I feel like Bear’s Den isn’t quite as cut-and-dry. While the two bands might be outfitted similarly, Bear’s Den goes places lyrically that Mumford doesn’t. That being said, there isn’t anything that radical about Islands, but I think that’s what makes it a success. It has a familiarity to it. If you want well-crafted folk rock, Islands delivers.
(10/16/14 6:39pm)
Have you had to remind yourself several times this week that you do not live in Washington State? Did you consider skipping class to spare yourself from the spitting drizzle we’ve had for the past three days? Same. It’s safe to say this weather is the pits (where’s my scenic Bloomington autumn?). However, rain can be alright—even comfy—with the right tunes.
1. “Gloomy Sunday”-Billie Holiday
No one does gloom better than Billie. Legend has it that she had to rewrite the end of this song because it was too depressing for the radio.
2. “Carol Jean”-The Red River
This song is so perfect for rainy days. And sunny days. And overcast days. Really, any time you want to stare out the window and contemplate life, play this song. There is something very rosy and nostalgic about the simplistic lyrics.
3. “Hoped To”-Busman’s Holiday
This song gives me major feels. This Bloomington band will bring your rainy day mood to a new level with lyrics like “a conscious state is a constant waste of time if all you know is a conscious mind.”
4. “Promise”-Ben Howard
Ben Howard is the ultimate rainy day artist. His acoustic, brooding tunes lend themselves perfectly to traipsing across campus in your wellies. This song actually has the sound of rain in the background. Meta.
5. “American”-Ciaran Lavery
Upon first listen, this track sounds utterly depressing. It’s actually a love song—albeit a somber one. “So put me in a teacup, and give me a spin. You’ll love you crazy like you’re an American.” This might be a good time to make yourself a cup of tea.
6. “Long Shot”-Brazos
Brazos has accompanied me on many a rainy day and pensive night. The lyrics can stand alone, but the steady guitar and glimmering piano elevate this track into something in the realm of spectral.
7. “Don’t Think Twice, It’s Alright”-Bob Dylan
This is a sad song. No way around it. Rainy days can be bummer days. If you have to brave the wet weather, I’d suggest plugging this in and letting the precipitation and folk sounds mellow you out.
8. "The Woods"-Daughter
No rainy day playlist would be complete without a Daughter song. This track off of their His Young Heart EP is sparse with only acoustic guitar and vocals. The vulnerable and heart-breaking lyrics are sure to set the mood for a dreary/utterly depressing day.
Hopefully the rain/clouds/general misery lets up soon. Until then, put on some cozy socks, listen to these tunes and embrace the damp.
(10/09/14 3:12pm)
Released 10/7/14
6/7 Stars
Slip on your cowboy boots and pour yourself some moonshine because And the War Came is here. The second full-length album from Shakey Graves is full of the rusty sorts of tunes we’ve come to expect from the Texas native. While this album definitely has a fuller, more polished sound compared to Roll the Bones, it still has the same raw and gritty vibe that makes Shakey Graves so special.
The album starts out with “Only Son,” which has a solid foundation of finger-picking acoustic guitar and a steady beat. This song is similar to “Hard Wired” in that is feels vulnerable and honest. Opposed to other songs on the album, these two are stripped back and allow us to really hear Shakey’s vocals.
“The Perfect Parts” is a more rock-inflected tune full of kitschy lyrics like “I used to take my women on the rocks.” Full of growling electric guitars and drums, there’s still something that keeps this song from being solely rock. If we’re calling it anything, it’s rockabilly, but I’d argue that there isn’t a need to force it into any one genre. It dances around the intersection of rock, rockabilly and sort of jaunty country—and it does it well.
“If Not for You” is in a similar vein; the electric guitar grabs you and digs in. Lyrically, the song tells the story of after-sundown fun. There is something unsettling about the melody though. I feel like a lot of these songs have two-sides to them. It seems like a heady tune about a party or a girl, but there’s always something going on just below the surface. This element is what makes And the War Came such an interesting listen.
“Family and Genus” is a slow-burning tune with layers of synthy bass and strings. This is an excellent example of the sort of evolution Shakey Graves has gone through. The sound quality is clearer and the experimentation with synths has grown into a unique style that you won’t hear from anyone else.
What really elevates this album is Shakey Graves’s partner in crime, Esme Patterson. The singer-songwriter shows up on three tracks and they are all the better for it. Her vocals shine on the morbid, yet absolutely amazing “Dearly Departed.” This is arguably the best song on the album and the single that really brought Shakey Graves a lot of attention. “Big Time Nashville Star” is a heartbreaking song disguised as a jaunty country tune of old. In it, their voices complement each other and the harmonies they create feel almost effortless—like their voices just fit together. The album ends with “Call It Heaven,” in which the two sing of heartbreak. This song has a field recording feel—as if the two just recorded it in their living room and let us hear it. It’s a delightful way to finish.
I first heard Shakey Graves over the summer when “Dearly Departed” was generating some buzz. After listening to that, I was eagerly anticipating the full-length album. I’m happy to say that it fulfilled my expectations. And the War Came has that rare quality of being at once nostalgic and brand-new. This album will hold your attention and keep your foot stomping throughout.
(09/23/14 4:15pm)
Released 9/9/2014
4/7 stars
Banks’ debut album, Goddess, offers the listener lots of bass, lots of heartache and lots of songs that could be better. While her London EP was much buzzed-about, it seems that Banks’ momentum couldn’t be sustained for the full-length album.
The album opens with “Alibi,” a signature Banks-style bass-heavy, repetitive track in which Banks laments her behavior in a relationship. While it’s not an uncommon thing to base an entire album off of feelings of love and regret, Goddess feels oversaturated with this sort of misery at being misunderstood in the game of love.
The album style is sparse, with lots of bass lines and Banks’s characteristic vocals, which have the potential to be seductive and raspy, yet an equal potential to sound whiny and strained. Vocals definitely stand out in the piano-heavy ballad, “You Should Know Where I’m Coming From.” The lyrics dip into the cliché, but Banks’ voice, which is usually at a husky whisper, explodes into a surprisingly strong belt.
Most of the subject matter on this album is about being in a messed up relationship, which would be fine, if Banks had anything new to say about it. While we might not have heard this stripped-back R&B before, we are certainly familiar with the disillusioned, lovelorn angle. It feels contrived and a little dusty.
Although the album over all doesn’t dazzle, tracks like “Waiting Game,” “Beggin For Thread,” and “Warm Water” all sound really well done.
“Waiting Game” delivers glimmering vocals to a story about an ill-fated love affair between two performers and “Beggin For Thread” is a faster-paced pop song done right; the track has the potential to stick with you.
The aptly named “Warm Water” is a hypnotic tune that will pull you under Banks’ spell—if only for three and a half minutes. These songs are the promise of where Banks could take her music, proving that her talent isn’t all hype.
While most of the album doesn’t wow, there are moments of greatness. Banks has an interesting style that could develop into something really unique. Goddess might not be the best example of that, but there are definitely places to go.