Surprisingly, Linkin Park put out another single for their upcoming May 19th release, One More Light, titled "Battle Symphony". It's release date was leaked a couple days before it came out, so it wasn't an actual surprise when it dropped on March 17th, but still unexpected so soon after "Heavy", the first single (see my review of it here). I think it's an indication that there will likely be at least two more singles released for the album before it officially drops.
The song itself starts off with a much more upbeat tone and vibe than the first single, "Heavy". It also feels a bit more like Linkin Park from the very start, something that Heavy didn't have, which in turn made the latter a bit difficult to swallow at first. The sampled vocal intro is really catchy, and the drop of the beat gets your head nodding along easily.
The verses really showcase this newer side of Chester's vocals that we haven't seen in previous releases. The lyrics and vocals are really at the forefront of this song and "Heavy", and I know that's a main focal point for the album as a whole, so it's definitely something to keep an eye out for with upcoming singles.
The chorus has a real anthemic sound to it, which was expected given the title. It's got some good layering to it, although the most prominent aspects of the instrumental are the synths and the drums. It definitely is similar to "Heavy" in terms of the construction. The lyrics feel a bit better on this track, but still not quite as inspired as they've managed to be in the past.
All in all, it's a continuation of the experimentation that "Heavy" introduced. It's a side of Linkin Park that hasn't really been shown off before, and is something that I know I will still need some time to really learn to appreciate in the same light as their other releases. They've mentioned in interviews that there's going to be a lot of blending of genres on this album, even more so than they've done in the past. I look forward to hearing that, but for now it feels like a lot of "pop" and not a lot of anything else.
I believe it's better than "Heavy", but still not the best that Linkin Park's put out so far.
3.5/5
Friday, March 24, 2017
Friday, March 10, 2017
Black Butterflies and Deja Vu (Single) - The Maine
I've written about The Maine before. I've been listening to them since I was in 8th grade; almost 10 years at this point. And throughout their entire career, they have continued to produce music that constantly surprises me and exceeds my previous expectations. The evolution of their sound has been such a pleasure to watch, from the early pop-punk of Can't Stop Won't Stop to the more mature and gritty Pioneer to the fun & thought-provoking American Candy. They're now preparing for their 6th studio album (6 albums in 10 years, not too shabby at all), Lovely Little Lonely, and we've seen two singles released so far; "Bad Behavior", a feel good tune full of clever innuendos and a groove so catchy that you cannot help but sway along and rock out (I write as my head and shoulders uncontrollably move to the beat). I got to see this one live at the 8123 Fest, a celebration of the 10 years of The Maine and all their friends, which was an absolute blast.
The real focus of this post is the second single that came out last week, "Black Butterflies and Deja Vu". The album comes out in less than a month, so getting another single wasn't really guaranteed.
But we did, and I can't remember the last time I was this excited and in love with a song. It opens fast and loud, with the beat almost feeling a bit "drum and bass" and a much faster tempo than "Bad Behavior". John provides some of the best vocals I've ever heard from him, with excellent harmonies and so much energy from every member of the band. You can't help but feel energized when the song plays. And some of the harmonies during the verses; absolutely stunning.
One of the coolest aspects of this song is the inversion of the traditional balance between the verses and choruses. Normally the verses are a bit more restrained and build into a big chorus, but The Maine use huge, full verses and very stripped down choruses to create some incredible contrast. It makes you listen; it forces you to break from the usual expectations and be attentive to what is happening.
The other part of this song I love is the lyrics. It's one of the more relatable songs I've heard in a while. Just look at the first half of the chorus: "I lose my voice when I look at you, can't make a noise though I'm trying to, tell you all the right words, waiting for the right words". They were able to capture the exact words about how it's sometimes so difficult to find the right thing to say. It's such genius lyrical work, and it's very applicable to situations most people go through. There's also beautiful lines like "you come around, I come undone" or "you crash like a rolling wave, you come around I lose my brain".
I was incredibly impressed with this song. I can see why the band is excited about the new album, and I cannot wait to hear it in its entirety.
Bad Behavior Rating: 4/5
Black Butterflies and Deja Vu Rating: 5/5
One last note; another thing I love about The Maine is their sense of family they have created with their fan base. They absolutely love their fans (I've met them before, and they were so down to earth and humble). One way they're showing their love is with the new program they're doing to promote the new album. They're letting their fans be the ones on the front lines, and they're rewarding them for it. I've signed on to be a record sales rep, which means that I actually get a commission on any albums that I sell through my own link to their merch store. So, if you like what you've heard from the band, please click here and check out their pre-order options. If you buy something through my link, I get a portion of the sales, and you help support The Maine to keep doing what they do. So please check them out!
The real focus of this post is the second single that came out last week, "Black Butterflies and Deja Vu". The album comes out in less than a month, so getting another single wasn't really guaranteed.
But we did, and I can't remember the last time I was this excited and in love with a song. It opens fast and loud, with the beat almost feeling a bit "drum and bass" and a much faster tempo than "Bad Behavior". John provides some of the best vocals I've ever heard from him, with excellent harmonies and so much energy from every member of the band. You can't help but feel energized when the song plays. And some of the harmonies during the verses; absolutely stunning.
One of the coolest aspects of this song is the inversion of the traditional balance between the verses and choruses. Normally the verses are a bit more restrained and build into a big chorus, but The Maine use huge, full verses and very stripped down choruses to create some incredible contrast. It makes you listen; it forces you to break from the usual expectations and be attentive to what is happening.
The other part of this song I love is the lyrics. It's one of the more relatable songs I've heard in a while. Just look at the first half of the chorus: "I lose my voice when I look at you, can't make a noise though I'm trying to, tell you all the right words, waiting for the right words". They were able to capture the exact words about how it's sometimes so difficult to find the right thing to say. It's such genius lyrical work, and it's very applicable to situations most people go through. There's also beautiful lines like "you come around, I come undone" or "you crash like a rolling wave, you come around I lose my brain".
I was incredibly impressed with this song. I can see why the band is excited about the new album, and I cannot wait to hear it in its entirety.
Bad Behavior Rating: 4/5
Black Butterflies and Deja Vu Rating: 5/5
One last note; another thing I love about The Maine is their sense of family they have created with their fan base. They absolutely love their fans (I've met them before, and they were so down to earth and humble). One way they're showing their love is with the new program they're doing to promote the new album. They're letting their fans be the ones on the front lines, and they're rewarding them for it. I've signed on to be a record sales rep, which means that I actually get a commission on any albums that I sell through my own link to their merch store. So, if you like what you've heard from the band, please click here and check out their pre-order options. If you buy something through my link, I get a portion of the sales, and you help support The Maine to keep doing what they do. So please check them out!
Friday, February 24, 2017
Heavy (Single) - Linkin Park
The only reason this review didn't happen sooner is because I wanted to give myself time to reflect on Linkin Park's latest single and really let my opinion of it be well rounded and not a knee jerk reaction. Being my favorite band, I wanted to be able to put my personal feeling aside and try to approach the song with a bit more of an objective view and less of a fanboy blind adoration.
This single is the first new song we've heard since the 2014 release of The Hunting Party, a raw and aggressive album full of heavy guitars and Chester's signature screams (see my review of that album here). "Heavy", ironically enough, is not as heavy as the last release in the slightest. It starts out with Chester's vocals over a fairly minimalistic instrumental, which was probably the goal as to put most of the focus on the vocals. They're very different from what Linkin Park has done in the past; it's more tender, more vulnerable than quite a lot of their previous releases. The band stated in interviews leading up to the release that this album was a different approach for the band; they started with the lyrics and vocals, and then built the instrumental around them, which is the opposite of what they've done before. It definitely shows here, with the fact that there are hardly any discernible guitars and that electronic drums and synths are the bulk of the backing track. It has more of a "pop" vibe than anything else they've ever put out, which has already had polarizing results amongst the fanbase.
The other big factor that sets this song apart from previous releases is the guest artist, Kiiara (her current hit song can be found here, "Gold"). They've done guest artists before, notably on The Hunting Party, but most have either been from rock, hip-hop, or EDM artists. Kiiara is pop through and through, and I think this was a good choice given the direction of the song. Vocally she almost steals the show, but the back and forth between her and Chester really brings the attention the the vocals. Especially near the end, when the instrumental builds for a moment and drums are crashing, the passion and vulnerability in their voices really shines.
I will say, however, that it took a while to get used to the sound. The first few listens left me a little underwhelmed, due to the pop nature of the song and the difference from their previous material. Instrumentally, it's not the most exciting thing they've done, which, as I've said before, was probably based on the decision to emphasize the vocals. However, it seemed to give the song less weight and less depth to it, although I was a fan of the lyrics (especially the line "I know I'm not the center of the universe, but you keep spinning round me just the same").
It was an interesting glimpse into the new sound being explored for the album, but will it go down as one of the best songs from the group? Most likely not.
The rest of the album, titled One More Light, will release May 19th.
Rating: 3/5
This single is the first new song we've heard since the 2014 release of The Hunting Party, a raw and aggressive album full of heavy guitars and Chester's signature screams (see my review of that album here). "Heavy", ironically enough, is not as heavy as the last release in the slightest. It starts out with Chester's vocals over a fairly minimalistic instrumental, which was probably the goal as to put most of the focus on the vocals. They're very different from what Linkin Park has done in the past; it's more tender, more vulnerable than quite a lot of their previous releases. The band stated in interviews leading up to the release that this album was a different approach for the band; they started with the lyrics and vocals, and then built the instrumental around them, which is the opposite of what they've done before. It definitely shows here, with the fact that there are hardly any discernible guitars and that electronic drums and synths are the bulk of the backing track. It has more of a "pop" vibe than anything else they've ever put out, which has already had polarizing results amongst the fanbase.
The other big factor that sets this song apart from previous releases is the guest artist, Kiiara (her current hit song can be found here, "Gold"). They've done guest artists before, notably on The Hunting Party, but most have either been from rock, hip-hop, or EDM artists. Kiiara is pop through and through, and I think this was a good choice given the direction of the song. Vocally she almost steals the show, but the back and forth between her and Chester really brings the attention the the vocals. Especially near the end, when the instrumental builds for a moment and drums are crashing, the passion and vulnerability in their voices really shines.
I will say, however, that it took a while to get used to the sound. The first few listens left me a little underwhelmed, due to the pop nature of the song and the difference from their previous material. Instrumentally, it's not the most exciting thing they've done, which, as I've said before, was probably based on the decision to emphasize the vocals. However, it seemed to give the song less weight and less depth to it, although I was a fan of the lyrics (especially the line "I know I'm not the center of the universe, but you keep spinning round me just the same").
It was an interesting glimpse into the new sound being explored for the album, but will it go down as one of the best songs from the group? Most likely not.
The rest of the album, titled One More Light, will release May 19th.
Rating: 3/5
Friday, February 10, 2017
I Decided - Big Sean
The latest release from Big Sean is a departure from what we've seen from him before. Dark Sky Paradise was hard and full of huge productions. I Decided takes a step back, peeling off the layers of who Big Sean is in a variety of ways. DSP felt like Big Sean was his most confident, the most reckless, whereas I Decided feels like he's almost lost his way a bit, he's unsure of himself and where he stands in life. It's not a bad thing; it gives the sense of vulnerability. He talked about in interviews that in this album, he explores a concept; the idea that he had a life, he lived it to the end, and he failed at everything, and this is his second chance to actually do things right. It's reflected in the snippets and interludes of his life, where his older self tries giving him advice while he continues to put off the people around him. It's a theme that he touches on in his lyrics as well, with lots of self-reflection and questioning where he stands. It feels like a departure from DSP in that aspect, as well as instrumentally. The layers of the instrumentals and beats are minimal, and the construction for each of these points more attention to the lyrics and vocals instead of drawing the focus back on itself.
The album flows in terms of energy, with the rising and falling of pride and confidence being a major thread. There are plenty of spikes in energy, with "Bounce Back", "Moves", and "No Favors" really exemplifying the more aggressive side of this album. "Bounce Back" has swagger but it's not the same as what we've seen before from Big Sean. It's not a "oh look at me I'm so badass" kind of swagger, but a "I've struggled and had downfalls but I'm still here so don't screw with me" swagger. He isn't afraid to make boasts because he knows what he's come through in order to be where he is. "Moves" might be the most minimalistic track, with dissonance and a spoken chorus providing contrast to the songs immediately before and after it. It brings to mind Big Sean's releases we've had before, such as "IDFWY" or "Blessings". It's short, concise, and to the point; a star at the top of his game and in control of his environment. "No Favors" is possibly best song of the album. Again, it has that stripped down production; it's not the same Big Sean we saw on the last album. Lyrically this song is incredible, with lines from Big Sean like:
"Kids who get sick with lead, others get hit with the lead,
From where they need a handout
But they tell you put hands up
Only deals I had was from the Sam's Club"
He manages to deal with a variety of issues in such a short span of time. The other stand out aspect is Eminem's verse; it's absolutely insane. He starts off slow, but then he hits hard at popular topics today, from Ann Coulter to Trump in his usual violent, graphic way. It's a reminder to his place within the rap game and his ability to spit bars at a mind boggling speed.
Songs like "Light", "Jump Out the Window", "Halfway Off the Balcony", and "Sunday Morning Jetpack" are parts of the lower end, pulling on the emotional and mental struggles Big Sean experiences. They reveal a star who feels like he's falling, where his confidence isn't bulletproof and he's not afraid to admit if he's made mistakes along the way. "Light" has a real soulful feel to it, thanks in part to Jeremiah's contribution on the chorus and the minimalistic keyboard chords. "Jump Out the Window" catches you off guard with the beat at first, giving it the feel of being harder, but it ends up being way more emotional than expected. The combination of Big Sean's singing and lyrics and the piano in the instrumental really give the song levels of depth without having the song be over produced and stuffed full of sounds. "Halfway Off the Balcony" is easily one of the best songs on the album. It finds Big Sean taking a step back from how he's approached life, maybe growing up a bit ; lines like:
"I realized when it comes to girls
That chemistry means way more than anatomy"
give weight to this argument. The music video is fantastic as well, creating this alternative world of neons and black lights where the young and old versions of Big Sean switch places as the video plays out. "Sunday Morning Jetpack" touches on the spiritual/religious aspect of his life, really being aimed at his Grandma and his relationship he had with her. The strings bring in a heavier emotional tone and feeling of reminiscing. Humility is very present throughout this song.
"Voices In My Head/Stick To the Plan" is one of the other stand out tracks due to it's erratic nature. It changes tone, it changes speed, it changes vibes, all in such a way that it embodies the internal struggle Big Sean has expressed throughout the album. It's a real testament to his artistry, being able to create something that has levels of meaning and displays conflict explicitly and implicitly.
There are some misses among all these hits, however. "Sacrifices" could have been a great song if not for the featuring of Migos, who, in my opinion, are the cancer of hip-hop. Their presence is felt in the lyrics and the production, pulling from the depth of the rest of the album and feeling like every other rap song out there at the moment. Other songs suffer from a lack of a wow factor, such as "Owe Me", which just lacks something to really grab on or to make it memorable.
Overall, this is a really great outing from the Sean Don. He's growing in his craft, he's expanding his ideas of who he is and what he can accomplish with his music. I'm especially excited for the rest of the music videos, if they're going to be as visually stunning and further explore the themes and story Big Sean began telling with the first two videos.
Overall Rating: 3.5/5
Recommended Tracks: No Favors, Halfway Off the Balcony, Jump Out The Window, Bounce Back
Related Artists: Kanye West, Chance The Rapper, J. Cole
The album flows in terms of energy, with the rising and falling of pride and confidence being a major thread. There are plenty of spikes in energy, with "Bounce Back", "Moves", and "No Favors" really exemplifying the more aggressive side of this album. "Bounce Back" has swagger but it's not the same as what we've seen before from Big Sean. It's not a "oh look at me I'm so badass" kind of swagger, but a "I've struggled and had downfalls but I'm still here so don't screw with me" swagger. He isn't afraid to make boasts because he knows what he's come through in order to be where he is. "Moves" might be the most minimalistic track, with dissonance and a spoken chorus providing contrast to the songs immediately before and after it. It brings to mind Big Sean's releases we've had before, such as "IDFWY" or "Blessings". It's short, concise, and to the point; a star at the top of his game and in control of his environment. "No Favors" is possibly best song of the album. Again, it has that stripped down production; it's not the same Big Sean we saw on the last album. Lyrically this song is incredible, with lines from Big Sean like:
"Kids who get sick with lead, others get hit with the lead,
From where they need a handout
But they tell you put hands up
Only deals I had was from the Sam's Club"
He manages to deal with a variety of issues in such a short span of time. The other stand out aspect is Eminem's verse; it's absolutely insane. He starts off slow, but then he hits hard at popular topics today, from Ann Coulter to Trump in his usual violent, graphic way. It's a reminder to his place within the rap game and his ability to spit bars at a mind boggling speed.
"I realized when it comes to girls
That chemistry means way more than anatomy"
give weight to this argument. The music video is fantastic as well, creating this alternative world of neons and black lights where the young and old versions of Big Sean switch places as the video plays out. "Sunday Morning Jetpack" touches on the spiritual/religious aspect of his life, really being aimed at his Grandma and his relationship he had with her. The strings bring in a heavier emotional tone and feeling of reminiscing. Humility is very present throughout this song.
"Voices In My Head/Stick To the Plan" is one of the other stand out tracks due to it's erratic nature. It changes tone, it changes speed, it changes vibes, all in such a way that it embodies the internal struggle Big Sean has expressed throughout the album. It's a real testament to his artistry, being able to create something that has levels of meaning and displays conflict explicitly and implicitly.
There are some misses among all these hits, however. "Sacrifices" could have been a great song if not for the featuring of Migos, who, in my opinion, are the cancer of hip-hop. Their presence is felt in the lyrics and the production, pulling from the depth of the rest of the album and feeling like every other rap song out there at the moment. Other songs suffer from a lack of a wow factor, such as "Owe Me", which just lacks something to really grab on or to make it memorable.
Overall, this is a really great outing from the Sean Don. He's growing in his craft, he's expanding his ideas of who he is and what he can accomplish with his music. I'm especially excited for the rest of the music videos, if they're going to be as visually stunning and further explore the themes and story Big Sean began telling with the first two videos.
Overall Rating: 3.5/5
Recommended Tracks: No Favors, Halfway Off the Balcony, Jump Out The Window, Bounce Back
Related Artists: Kanye West, Chance The Rapper, J. Cole
Sunday, January 1, 2017
Top Songs of 2016
So 2016 is a wrap, and in terms of music, it was a pretty great year. I've decided to take the time and list my top songs for the year, starting with #10 and moving up. Picking the order seemed easy at first (at least, for the top 5). But a lot of songs fought for their claim to the list, and I'll also include some honorable mentions at the end.
Bad Suns was a a band that I had listened to a little here and there, their first album being a pretty solid debut (especially Cardiac Arrest). When I heard this song though, I knew it was going to be an instant hit, at least for me. It has a sense of urgency to it that I hadn't experienced with their previous work. The bass grooves, the drums are tight, the synths add just enough depth, and this all comes together to form a fantastic instrumental for Christo Bowman's vocals to float over. His use of falsetto during the chorus gives an incredible contrast to the instruments. The best moment of the song is the guitar line during the final chorus, cycling up and down in a manner that adds to the desperate tone of the song. Definitely the type of song that you can listen to again and again.
Issue's first album was a hit and miss debut, but they really began to shine on their sophomore attempt, Headspace. They finally found the right balance of their hardcore foundation and their pop/R&B tendencies, and this song encapsulates that balance very well. Alternating between softer vocals and stripped down instrumentals during the verses and a huge wall of sound during the chorus, they managed to finally click with their own sound in a way that kept me coming back for more. Tyler Carter's vocals continue to impress me, both with the range he can span as well as the wide variety of emotional tones he can access. A fantastic lead single that led into a great album.
I had heard of Banks before 2016, but I had never really given her much attention until this single dropped for her latest album. I was blown away by the raw emotional power she is able to draw on. The song cuts deep, stirring the heart with sorrow and anger simultaneously. Lyrically, I was very impressed; she manages to string together words in a way that is causes the listener to really take notice and creates a vivid story for the imagination. Her vocals alone would be impressive, but the instrumental adds to the power of the song; she combines hip-hop tendencies with singer-songwriter sounds and synths to create a striking song.
This song is absolutely infectious with it's cheery tone and sense of innocent fun. The rest of the songs might not reflect this same tone, and normally I don't like songs that don't have some sort of weight or dimensional aspect to them. This song, however, makes it impossible to not dance along to the groove it creates. Even as I write this, I'm bobbing my head along, and I'll confess to the many times I've listened to this song in my room and danced and screamed my lungs out. It's got energy and good vibes, and sometimes that's all you need from a song. The inner romantic in me gets its fix from this tune, with the snappy bass and the fantastic backing vocals singing of a love that doesn't care about the rules and worries of the world.
Crown The Empire is a band I've watched closely since seeing them over a year ago. Their live show was incredible, and I was thrilled when I heard they were planning on putting a new record out this past summer. "Zero" was the lead single, and it set the tone for what became one of my favorite records of the year. "Zero" found the band shying away from a strictly metalcore sound and moving more towards a heavy rock sound. David Escamilla's screams are still very much present, but the over all sound moves away from breakdowns and towards a overall melodic sense. The chorus feels powerful, it feels big and epic and it remains a blast to listen to currently.
Maika Maile was the former lead singer of There For Tomorrow, a band I very much enjoyed in middle and high school. After their disbanding two years ago, Maika finally released his first solo effort, and it was so much more than I could have anticipated. The versatility of his voice is astounding; I always loved it in the pop-punk/alternative rock setting he had previously been in, but I knew from the moment I heard this song that this was Maika in his element. The hip-hop swagger of the beats, combined with the riffing guitar, create a minimalistic instrumental over which Maika lays out his heart, bearing his feelings and pains for all to see. As it goes on, it gains some airy synths and an atmospheric sense to the tone, building in the tone and drive until a fitting stripping down of just vocals and occasional beats, which Maika crying and crooning more and more softly until the song fades and the listener is left breathless. Easily the most underrated song on my list, so do yourself a favor and listen to this one.
One of the few shining points on an otherwise disappointing follow up album, The Weeknd started his "transformation" with this incredible collaboration with the boys in the helmets (Daft Punk). They creates this techno/R&B/hip-hop smash hit that has been getting heavy airplay since its release. I was very surprised when I saw they were working together, but I knew it was a success when I listened for myself. It's catchy, it's got swagger, it's haunting, it's everything I was hoping for in The Weeknd's follow up to his previous stellar album, Beauty Behind The Madness. While the rest of the album, Starboy, doesn't live up to the same standard, this song was worth it all.
The song heard round the world - this single lead to one of the greatest comebacks in recent music history. Blink-182 was a reputable band before, but lots of internal fighting led to the band falling to the wayside for most of the 20th century so far. After recruiting a new member, Blink finally found the groove they were looking for, and this song was a perfect indication of it. Lyrically it's fun, with some interesting wordplay and great lines like "life's too short to long". Instrumentally, it hits hard and gave 2016 the pop-punk revival it didn't know it needed. Each member's contributions are evident and strong, and create a unified sound that the band has been missing since their self-titled release in 2003.
Pvris has become one of my favorite bands over the past two years, and this song in particular exemplifies why. The build of "Empty" is absolutely incredible; it takes epic to a whole new level. It feels raw and honest, with lines like "I'll confess I've just been obsessed with life and death and emptiness". Instrumentally, it builds off choral synths and Lynn's incredible vocals. The way that she is able to flow from such soft tones to the jaw dropping high notes of the climax continues to baffle me. To this day, the song gives me chills. It is something truly beautiful; a perfect amount of building while still feeling unexpected. Absolutely stunning.
The song of the year. I knew this was going to be my favorite for a long time. It was impossible for it not to. I remember the first times I listened to it, falling instantly in love with the vibe of the song and later on becoming completely enraptured by the lyrics. "Our love has gone cold, you're intertwining your soul with somebody else" continues to move me every single time. The overall theme of the record was something that resounded with me on so many levels, and the way that The 1975 managed to take 80's era synths and electronically driven beats and make them truly beautiful will always impress me. It drives along, it makes you dance but it also makes you think and contemplate your past loves, your previous relationships. It's such a gorgeous song; I really can't express it enough. It will forever remain as one of my all time favorite songs, it's as simple as that.
Honorable mentions:
"Wherever I Go" & "Fingertips" - OneRepublic
I've always enjoyed this band, and their latest return to the music world was a success on many levels. These two songs were standouts to me, for various reasons. "Wherever I Go" was a radio ready hit that you can't help but dance to, full of swagger and catchy tones. "Fingertips" was a song that made you stop in your tracks, one that really pulled you in and forced you to listen with intention and focus. Both were great in their opposite natures, and reflected on the album as a whole being wonderful.
I will forever enjoy the work this group does, and while their latest album didn't capture the same intensity of their last few albums, it was still a captivating listen in it's haunting and chilled out sound. "Hello" is a perfect example of this idea, with a very minimalistic sound that combines Joey's ghost-like vocals with a brooding bass and delicate finger-picked guitar tones. A perfect song for those late night moments when you lay in bed and stare at the ceiling or at the stars.
A bit different from most of the songs on this list, this song comes from Logic's stellar mixtape, Bobby Tarantino, the grand and proud follow up to his hit album The Incredible True Story. The album sees Logic shed his humility to call out his haters in an arrogant way that surprisingly works. He has the skill to back up his claims, with a knack for stringing raps together at breathtaking speeds that continues to astound me. This song in particular sees him reflecting on the way in which he can switch between humility and swagger, and how he's just a man and not some set of stereotypes and expectations. His talent is undeniable, and I can't get enough of the insane lyrical gymnastics he does. He could give Eminem a run for his money.
Monday, December 12, 2016
4 Your Eyez Only - J. Cole
While hip-hop is not the normal genre that I tend to review albums in, it is definitely a genre I enjoy and stay up to date on. Ever since my freshman year roommate introduced me to "Work Out", I've delved into J. Cole's albums and anticipated each new one with much enthusiasm. His last album, 2014 Forest Hills Drive, had some incredible stand out tracks; from the now overplayed "No Role Modelz" to the revealing and personal "Wet Dreamz", J. Cole created a album full of anthems and radio hits while still crafting great lines and thoughtful raps. 4 Your Eyez Only continues the same direction lyrically, but takes a different approach instrumentally. Subdued is an appropriate word, with the beats becoming much more of a background instead of a focal point and full of jazzy tones and instruments. J. Cole moves from the confidence and occasional swagger of his last album and into a place of passion, vulnerability, and sorrow. According to his producer, Elite, the lyrical content and focus is not necessarily J. Cole's own perspective, but of the people around him. It's important to note that, as he is not always rapping about his own struggles, but instead bringing to light the struggles of people whose voice might not necessarily be heard by such a wide audience.
Now, with all that in mind, the album takes a bit of an adjustment when listening to, especially after his last album. This isn't the type of record that you'll play to pump yourself up, but the type that works very well for late night drives and calm moments of solitude. In the wake of the type of year 2016 has been, this album is a great summary to the struggles of various peoples. From the corruption of the justice system to the hypocrisy and shallowness of the rap game, J. Cole offers great perspectives from within these communities. Stand out tracks like "Immortal", "Change", and "Neighbors" all highlight issues that J. Cole excels at bringing the spotlight to with his storytelling skills. "Deja Vu" is both satirical and ironic, with a sample of Bryson Tiller's "Exchange" driving the track about a certain girl at the club, which seems to call out all the other rappers that use this sort of content to sell records while doing the same thing (the song is currently the most popular song of the album and on Apple Music overall). Songs like "She's Mine Pt 1& 2" and "Foldin Clothes" go a different route, focusing on the important people in J. Cole's life and how his love for others drives him to prioritize others and their needs above his own. The title track ends the album with an almost 9 minute long post-death monologue spoken to a daughter, although whether it's his own or a close friend is a bit hazy. Throughout the album, the number of shifts in perspectives and personas can become a bit confusing, requiring a few listens to be able to pick apart the different directions the album takes.
Overall, this album is not J. Cole's best, but it is a worth addition to his repertoire. The shifting of perspectives and taking on of different personas to relay their stories is both a strength and weakness of the album. It's both his most sincere and forced album yet, with his own voice becoming hard to discern amongst the adopted ones. The timing is great, with the issues addressed still being very relevant, from the Black Lives Matter movement to the issues of mass incarceration of African Americans. His jabs at other rappers, also highlighted in pre-album singles False Prophets and Everybody Dies, are appreciated (at least by me), controversial (unsurprisingly), and hypocritical (at times). This album and the production direction reveals a lack of substance in a lot of the songs that are currently hits in the rap game (a sentiment I have expressed for a while now). This album may not produce the radio hits of his last one, but J. Cole retains his status as one of the best rappers of today and continues to stick to his values and ideals.
Overall Rating: 3.5/5
Recommended Tracks: "Change", "Immortal", "Neighbors", "Foldin Clothes".
Related Artists: Kendrick Lamar, Childish Gambino, Logic.
Now, with all that in mind, the album takes a bit of an adjustment when listening to, especially after his last album. This isn't the type of record that you'll play to pump yourself up, but the type that works very well for late night drives and calm moments of solitude. In the wake of the type of year 2016 has been, this album is a great summary to the struggles of various peoples. From the corruption of the justice system to the hypocrisy and shallowness of the rap game, J. Cole offers great perspectives from within these communities. Stand out tracks like "Immortal", "Change", and "Neighbors" all highlight issues that J. Cole excels at bringing the spotlight to with his storytelling skills. "Deja Vu" is both satirical and ironic, with a sample of Bryson Tiller's "Exchange" driving the track about a certain girl at the club, which seems to call out all the other rappers that use this sort of content to sell records while doing the same thing (the song is currently the most popular song of the album and on Apple Music overall). Songs like "She's Mine Pt 1& 2" and "Foldin Clothes" go a different route, focusing on the important people in J. Cole's life and how his love for others drives him to prioritize others and their needs above his own. The title track ends the album with an almost 9 minute long post-death monologue spoken to a daughter, although whether it's his own or a close friend is a bit hazy. Throughout the album, the number of shifts in perspectives and personas can become a bit confusing, requiring a few listens to be able to pick apart the different directions the album takes.
Overall, this album is not J. Cole's best, but it is a worth addition to his repertoire. The shifting of perspectives and taking on of different personas to relay their stories is both a strength and weakness of the album. It's both his most sincere and forced album yet, with his own voice becoming hard to discern amongst the adopted ones. The timing is great, with the issues addressed still being very relevant, from the Black Lives Matter movement to the issues of mass incarceration of African Americans. His jabs at other rappers, also highlighted in pre-album singles False Prophets and Everybody Dies, are appreciated (at least by me), controversial (unsurprisingly), and hypocritical (at times). This album and the production direction reveals a lack of substance in a lot of the songs that are currently hits in the rap game (a sentiment I have expressed for a while now). This album may not produce the radio hits of his last one, but J. Cole retains his status as one of the best rappers of today and continues to stick to his values and ideals.
Overall Rating: 3.5/5
Recommended Tracks: "Change", "Immortal", "Neighbors", "Foldin Clothes".
Related Artists: Kendrick Lamar, Childish Gambino, Logic.
Friday, October 28, 2016
Everything Feels Better Now - From Indian Lakes
In light of going to see From Indian Lakes tonight in Santa Ana, I thought I'd sit down and put down some of my thoughts about their latest record, Everything Feels Better Now. It's been out for a couple weeks now, so I've had enough time to process it and listen through it enough to begin understanding what the band was going for with this album. It was a bit hard to understand at first with the two singles, "The Monster" and "Blank Tapes". Both were a bit different from each other, and from the last record, Absent Sounds; they weren't quite as intense or large in terms of the sound. "The Monster" took a longer time to grow on me than "Blank Tapes", with the former being a bit different in structure and sound than a lot of previous singles. "Blank Tapes" was a more familiar, and therefore comforting sound, but they were both good to me and played constantly till the whole album was out.
When it was released, it was evident that this was something that was true about all of the songs. While some did include electronic elements, they were less polished than songs like "Come In This Light" or "Sleeping Limbs". It felt more subdued, but not necessarily in a bad way. Retro is the right word for this album. Or chilled out. I find all of FIL's music to be relaxing, but this album took a step back from the huge sound space explored on Absent Sounds and became more introspective in it's stripped down state. "Happy Machines" starts the record off in a more abstract state than their other records have been, perhaps drawing off the acoustic work the band has been doing recently. It's less tight, in the sense that the music allows itself to ebb and flow as it needs to. It feels like it captures the grit of their earlier albums The Man With Wooden Legs and Able Bodies, but with the maturity and complexity they've come to demonstrate.
It broods, it's more haunting than anything they've put out before. "Hello" is an excellent example of this. The combination of the low repetitive bass with the finger-picked acoustic guitar lays down a foundation for Joey Vannucchi's echoing and harmonized vocals to float in like a whispering ghost. It's hard to listen to this one and not find yourself giving all your attention to it. "Come Back" is similar in terms of the truly haunting vibe; the simple melody that starts off the song captures your imagination, and Vannuchi begins crooning about a lost lover, a ghost of a relationship who's time had come and gone. The contrast between the sharp drums of the verses and the minimalistic approach to the pre-chorus creates a striking moment, forcing the listener to really give it their attention and not just let it be background music.
Now, not all of the songs on this record will keep you up at night (just kidding); some still embody the sense of urgency that FIL has mastered. "Sunlight" has that dreamy sense, both in sounds that melt together and lyrics like "we're swimming in the sunlight" that really give the song a fantastic, otherworldy impression. "The Monster" is probably the most intense song in terms of tempo and instrumentation, being much faster than most of the other tracks. It gets you tapping your foot along to the beat, which is more of the focal point of the song than the other instruments. It also feels more compelling, it has a dark sense despite it's fast pace and it draws the listener in in a way that gets your heart rate going; not necessarily because the monster in question is out there, but perhaps, as the lyrics seem to suggest, it's within each of us. "Nome" is not quite as fast paced as the previous two songs, but it has that larger sound in the chorus that gives it the familiarity of the Absent Sounds. It creates a great contrast as well, similar to what I discussed in "Come Back", where the verse is more muted and the chorus comes roaring in. "Feel Love" is probably the most upbeat song on the record, in terms of the tempo, sound, and lyrical content. I wouldn't say its happy, but I also wouldn't say it's sad. FIL is good at making music that makes you feel good without it being generically upbeat, a trait hard to come by in music.
When it was released, it was evident that this was something that was true about all of the songs. While some did include electronic elements, they were less polished than songs like "Come In This Light" or "Sleeping Limbs". It felt more subdued, but not necessarily in a bad way. Retro is the right word for this album. Or chilled out. I find all of FIL's music to be relaxing, but this album took a step back from the huge sound space explored on Absent Sounds and became more introspective in it's stripped down state. "Happy Machines" starts the record off in a more abstract state than their other records have been, perhaps drawing off the acoustic work the band has been doing recently. It's less tight, in the sense that the music allows itself to ebb and flow as it needs to. It feels like it captures the grit of their earlier albums The Man With Wooden Legs and Able Bodies, but with the maturity and complexity they've come to demonstrate.
It broods, it's more haunting than anything they've put out before. "Hello" is an excellent example of this. The combination of the low repetitive bass with the finger-picked acoustic guitar lays down a foundation for Joey Vannucchi's echoing and harmonized vocals to float in like a whispering ghost. It's hard to listen to this one and not find yourself giving all your attention to it. "Come Back" is similar in terms of the truly haunting vibe; the simple melody that starts off the song captures your imagination, and Vannuchi begins crooning about a lost lover, a ghost of a relationship who's time had come and gone. The contrast between the sharp drums of the verses and the minimalistic approach to the pre-chorus creates a striking moment, forcing the listener to really give it their attention and not just let it be background music.
Now, not all of the songs on this record will keep you up at night (just kidding); some still embody the sense of urgency that FIL has mastered. "Sunlight" has that dreamy sense, both in sounds that melt together and lyrics like "we're swimming in the sunlight" that really give the song a fantastic, otherworldy impression. "The Monster" is probably the most intense song in terms of tempo and instrumentation, being much faster than most of the other tracks. It gets you tapping your foot along to the beat, which is more of the focal point of the song than the other instruments. It also feels more compelling, it has a dark sense despite it's fast pace and it draws the listener in in a way that gets your heart rate going; not necessarily because the monster in question is out there, but perhaps, as the lyrics seem to suggest, it's within each of us. "Nome" is not quite as fast paced as the previous two songs, but it has that larger sound in the chorus that gives it the familiarity of the Absent Sounds. It creates a great contrast as well, similar to what I discussed in "Come Back", where the verse is more muted and the chorus comes roaring in. "Feel Love" is probably the most upbeat song on the record, in terms of the tempo, sound, and lyrical content. I wouldn't say its happy, but I also wouldn't say it's sad. FIL is good at making music that makes you feel good without it being generically upbeat, a trait hard to come by in music.
Overall, this album wasn't the band's strongest work, but I don't mean that as criticism. They took a step back from the intensity of Absent Sounds and tried for a different kind of intensity. It was the right step for them creatively, and while I might not consider this album to be their best album yet or my favorite, I know it was what they needed to do; therefore it was the best album for them to do right now. If they were focused on getting radio play and topping the charts, they wouldn't make the kind of music they do. FIL makes music, (at least this is what I've gathered), for the sake of creating and expressing the things they find beautiful and terrible and necessary. It's always an honor to listen to their hard work, and I highly recommend giving them a chance if you haven't yet.
Overall Rating: 4/5
Recommended Tracks: "Hello", "Come Back", "Bare It", "Blank Tapes".
Related Bands: Lydia, Moving Mountains, A Will Away
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