Despite having a new album out last year, Everything, which included the radio hit/suicide awareness song "1-800-273-8255 (feat. Alessia Cara & Khalid)", Logic is already back with a sequel to his 2016 mixtape, Bobby Tarantino II. I remember hearing that first mixtape, specifically "44 Bars", one of the many examples of Logic's flow and rapping talent, seeing him spit about the crazy way's his life has turned out and how he's still trying to remember who he is and where he comes from. Other songs like "Flexicution", "Slave II", and "Super Mario World" all caught my attention (the latter of which samples Mario music and combines it with rap; how can you go wrong?) and I soon found myself exploring more of his music and past work.
The thing I've found about mixtapes is that they seem to capture the nature of rap better than most albums do; they feel more natural, off the cuff, less layered and bogged down by production. So when I saw that there was a sequel for Logic's first mixtape coming, I was very excited. I enjoyed certain parts of Everything, especially the way in which he is able to tackle real life issues and bring a positivity that is rarely found in the rap game. However, I found myself more drawn to the swaggering, fire-spitting Logic of Bobby Tarantino and wanted to hear more of that sound and persona.
The mixtape kicks off with an intro from Rick and Morty from the animated TV show, which at first feels surprising, but also fits in line with the feel of the mixtape and the album. The album kicks in from there, and it's evident that we're dealing with a different mixtape than before. Everything feels bigger, louder, even more swagger and even more opportunities for Logic to flaunt his speedy word-smithing. The first single, "44 More", is a reference to the song from his first mixtape that I mentioned earlier and sees him ripping through 44 bars again, referencing people like Harry Styles, Katy Perry, David Blaine, and Starlord among others. The "Sign of the Times" reference (which is a song by Harry Styles) was my favorite:
"Sold more albums my first week than Harry Styles and Katy Perry
If that ain't a sign of the times
Then I don't know what is, man this shit is scary".
His ability to take words and put them together and send them flying out at warp speed has always impressed me, and this song definitely shows that off.
As I began hearing the rest of the album, I realized, with some disappointment, that this mixtape wasn't going to have the same charm that the last one did. While there was a balance between the humility that Logic was known for and the swagger (which sounds contradictory, but worked on the first mixtape), that balance felt tilted much farther in one direction than the other. While there are some songs that show both his humble beginnings and his new success and the perks that have followed, it feels a lot like most other rap songs I hear (and then don't listen to again). I know that the whole Bobby Tarantino is supposed to be his other "persona", similar the Eminem and Slim Shady, but it doesn't feel like there's anything worth bringing to the table with a lot of the songs, apart from giving Logic a platform to brag. He does talk a lot about how he's worked hard for what he's gotten, and that is definitely evident - considering he's been putting out mixtapes and albums for almost ten years. This comes off as a bit repetitive, however, especially on the song "Everyday", which feels a lot different from the rest of the album in that the instrumental was done by Marshmello. Both the instrumental and the raps feel a bit flat, lacking a special quality to make the song worth listening to again and again.
There are certain songs stand out a bit for different reasons. "Midnight" slows things down a bit and has a bit of a melancholy tone with the more stripped down instrumental and piano chords (although the lyrical content doesn't quite match). Halfway through, the song completely switches gears, maintaining a slower pace but upping the intensity and energy to create a new vibe all within the same track. "Indica Badu (feat. Wiz Khalifa)" also slows things down a bit with a more R&B/Jazz vibe; the bass line is simple and repetitive, but grooves along really nicely with the simple drum-set beat. The song is, not surprisingly, all about smoking weed, so the lyrical content (again) isn't that noteworthy (especially the very imature sounding line "I smoke weed!"), but it's definitely a chill song to listen to (hmm, wonder if that was intentional). "Warm It Up (feat. Young Sinatra)" is an intriguing song as "Young Sinatra" is one of Logic's other names, meaning it's featuring his alter ego (Bobby Tarantino) and his other alter ego (Young Sinatra). It gives the lyrics additional layers as he's rapping through two different personalities and neither one is necessarily him. The instrumental also stands out from the other songs as it has a bit of a throwback, underground vibe to it when Young Sinatra is rapping, moving away from the trap sound until Bobby Tarantino comes back in.
I think I wanted to like this album more than I did. I definitely enjoy some of the tracks, and I know there's certain ones that I'll listen to in my car quite loudly and it'll be a great experience. However, in terms of something that was noteworthy or that's going to leave a lasting impression, I don't think this release is going to do that.
Rating: 2.5/5
Recommended: "Contra", "Warm It Up (feat. Young Sinatra)", "44 More"
Friday, March 16, 2018
Monday, March 12, 2018
The Neighbourhood - The Neighbourhood
This album had an interesting build up to it; while most bands usually release a couple singles and then the album, The Neighbourhood put out two full EPs, Hard and To Imagine, in September of 2017 and January of this year respectively. Along with the two singles they released leading up to the album release, exactly half (6) of the songs from the album were already out and available, some for many months at this point. It made for an unusual listening experience; the first couple of times I played through the album, it felt a bit disjointed, as I knew certain songs very well and others were brand new. After I've gone through it a few times now, I've begun to move past that point and can see the album a bit more as a cohesive unit.
I will say that I was somewhat disappointed to see which of the songs ended up on the album from the EP's; "24/7" from Hard was one of my favorite songs of last year, yet was left out of the album, as well as "Heaven" from To Imagine. Both were catchy and intriguing songs for the band, utilizing different soundscapes while retaining the essence of the band. But the choices that they made did seem to fit the overall mood and flow of the album, so I'll be content to still have the other songs even if they didn't make the album cut.
If we're looking at The Neighbourhood in comparison to Wiped Out!, their last album release, the most obvious difference to me was the scope and emotions that are presented by the band. Wiped Out! showed us a band that was riding off the wave created by the very successful single "Sweater Weather"; lots of pop and hip-hop influences combining with their signature cool alternative-electronic sound. There were songs with large, huge sound waves that were contrasted by very drawn in and low energy tunes. The Neighbourhood, however, shows a band that's seen a bit more of the world, a bit more settled into reality and ways that life can change how things are perceived. The band has always been good about being vulnerable, but their latest album seemed to bring an even wider exposure to the inner feelings and thoughts of the band (or lead singer, Jesse Rutherford). Songs like "Nervous", "Void" (see my review here), "Too Serious", and "Stuck With Me" reveal the different struggles and insecurities faced in the band's position, whether it pertains to relationships or fame. "Too Serious" feels like the most revealing, with lyrics in the chorus being a prime example:
"Now I feel like I'm broken
Now I feel like I'm choking
How I wish I was joking with you"
It's a very honest set of lyrics, one that reveals a lot about the band and where specific members might stand in this point of their life.
There's definitely songs on the other side of this, songs that are more upbeat and less sorrowful. "You Get Me High", "Scary Love", and "Flowers" are all more upbeat, although they each have very different meanings and vibes. "You Get Me High" deals a bit with the band's success, but in a way that doesn't leave you feeling down. "Scary Love" talks about handling someone loving them so much that it feels frightening in its intensity. Again, I don't think it's in a bad way; it's just about how to deal with such a powerful set of emotions directed at you intimately from another person. "Flowers" is the most upbeat and poppy of the three songs, which is a bit ironic due to the lyrical content of dealing with having to put on a fake persona all for someone else's sake.
Instrumental-wise, this album saw the band moving further into the electronic space and experimenting more with new sounds while still retaining their sense of moody, cloudy-weather music. There was also a fair amount of trap influence, subtly in the instrumental but more obviously in the vocals. "Blue", "Reflections", and "Nervous" have the most obvious examples during various points in the verses, which if you're familiar with trap music, you'll know which points I'm speaking of. While I'm not really that big on trap, and think that it has reached it's tipping point, I think that the moments where it appears on this record are just enough to accent the influence of rap on The Neighbourhood and how they have represented the genre in their previous work (such as their lesser known mixtape, #000000 & #FFFFFF, from 2014 featuring a number of rappers such as G-Eazy and others).
I think the beauty of this band is that they haven't locked themselves into a specific sound. Their incorporation of multiple genres leaves them a lot of room to play around with different influences and sonic ideas. Their three albums and mixtape they've released have all shown very different sides of the band, and it reveals the potential they still have, despite the struggles they may have been dealing with as a band and as individuals. Music can be a healing, transformative process, and I would imagine that despite the pain and difficulties they have been facing, making this record and sharing it has been one that has helped them, as well as helping their fans who can relate. It might not be my favorite record from the group; I think the release set up and some of the songs themselves weren't as well executed. But, I know the band will be back with something different, as they always are, and I look forward to hearing what's next (and enjoying the songs I did like from this album/the EP's).
Rating: 3.5/5
Recommended: "Void", "Softcore", "Too Serious"
I will say that I was somewhat disappointed to see which of the songs ended up on the album from the EP's; "24/7" from Hard was one of my favorite songs of last year, yet was left out of the album, as well as "Heaven" from To Imagine. Both were catchy and intriguing songs for the band, utilizing different soundscapes while retaining the essence of the band. But the choices that they made did seem to fit the overall mood and flow of the album, so I'll be content to still have the other songs even if they didn't make the album cut.
If we're looking at The Neighbourhood in comparison to Wiped Out!, their last album release, the most obvious difference to me was the scope and emotions that are presented by the band. Wiped Out! showed us a band that was riding off the wave created by the very successful single "Sweater Weather"; lots of pop and hip-hop influences combining with their signature cool alternative-electronic sound. There were songs with large, huge sound waves that were contrasted by very drawn in and low energy tunes. The Neighbourhood, however, shows a band that's seen a bit more of the world, a bit more settled into reality and ways that life can change how things are perceived. The band has always been good about being vulnerable, but their latest album seemed to bring an even wider exposure to the inner feelings and thoughts of the band (or lead singer, Jesse Rutherford). Songs like "Nervous", "Void" (see my review here), "Too Serious", and "Stuck With Me" reveal the different struggles and insecurities faced in the band's position, whether it pertains to relationships or fame. "Too Serious" feels like the most revealing, with lyrics in the chorus being a prime example:
"Now I feel like I'm broken
Now I feel like I'm choking
How I wish I was joking with you"
It's a very honest set of lyrics, one that reveals a lot about the band and where specific members might stand in this point of their life.
There's definitely songs on the other side of this, songs that are more upbeat and less sorrowful. "You Get Me High", "Scary Love", and "Flowers" are all more upbeat, although they each have very different meanings and vibes. "You Get Me High" deals a bit with the band's success, but in a way that doesn't leave you feeling down. "Scary Love" talks about handling someone loving them so much that it feels frightening in its intensity. Again, I don't think it's in a bad way; it's just about how to deal with such a powerful set of emotions directed at you intimately from another person. "Flowers" is the most upbeat and poppy of the three songs, which is a bit ironic due to the lyrical content of dealing with having to put on a fake persona all for someone else's sake.
Instrumental-wise, this album saw the band moving further into the electronic space and experimenting more with new sounds while still retaining their sense of moody, cloudy-weather music. There was also a fair amount of trap influence, subtly in the instrumental but more obviously in the vocals. "Blue", "Reflections", and "Nervous" have the most obvious examples during various points in the verses, which if you're familiar with trap music, you'll know which points I'm speaking of. While I'm not really that big on trap, and think that it has reached it's tipping point, I think that the moments where it appears on this record are just enough to accent the influence of rap on The Neighbourhood and how they have represented the genre in their previous work (such as their lesser known mixtape, #000000 & #FFFFFF, from 2014 featuring a number of rappers such as G-Eazy and others).
I think the beauty of this band is that they haven't locked themselves into a specific sound. Their incorporation of multiple genres leaves them a lot of room to play around with different influences and sonic ideas. Their three albums and mixtape they've released have all shown very different sides of the band, and it reveals the potential they still have, despite the struggles they may have been dealing with as a band and as individuals. Music can be a healing, transformative process, and I would imagine that despite the pain and difficulties they have been facing, making this record and sharing it has been one that has helped them, as well as helping their fans who can relate. It might not be my favorite record from the group; I think the release set up and some of the songs themselves weren't as well executed. But, I know the band will be back with something different, as they always are, and I look forward to hearing what's next (and enjoying the songs I did like from this album/the EP's).
Rating: 3.5/5
Recommended: "Void", "Softcore", "Too Serious"
Tuesday, February 27, 2018
Sunpools (Single) - Death & His Couch Band
Death & His Couch Band is a project by Charles Crowley, a friend from college who has been very busy with his music career since graduating a few years ago. He was part of Yume, of which I did a review of their EP A Violet Light & a Hum last year.
While "Sunpools" is not the first release from this project, it is distinctly different from the previous singles Charles has put out under the DTHCOBA name. I will say that I had heard some of the other material before, and some of it wasn't quite my taste (however, I did just discover how great the song "Biting Lips" is, a perfect mix of 90's and angst). The new release differs from these songs in the vibe and sonic pallet used; while many of the other songs were in the same vein of "Biting Lips" in being loud, distorted and more on the aggressive side, "Sunpools" moves in a much more dreamy, drawn out direction (similarly to Yume's sound). It takes it's time building up, utilizing repeating stanzas of lyrics and melodies to grow and grow into this echoing, pulsing piece of art. It's definitely not traditional in terms of the structure or sound; it's not something you're going to hear on most radio stations soon, but that's not a bad thing. These are the kinds of songs that help push the boundaries and experiment in ways that popular music doesn't.
I think what draws me most to the song is the way that it draws the listener in and lets you get lost in it. The vocals are fairly buried under the other elements, the guitar probably being the most prominent aspect, and it takes quite a few listens to really understand the lyrics (or you could avoid the trouble I had and see them written out on the project's Bandcamp page). I spent some time looking over the words, as well as talking to Charles a bit about what it meant to him and the ideas that inspired the song. His answer was something I really, thoroughly enjoyed:
"It's about damage and coping and the endless search for lightness."
I asked him to expand a bit on the idea of an "endless search for lightness", as I found the phrase really intriguing, and he described it as:
"feeling good in this way where things don't feel heavy anymore...a hopeful, bright, weightlessness".
Which was interesting to me, because my initial thought was lightness in terms of the light that we see (brightness), not a light that we feel (weight or a lack thereof), especially given the references to the sun and light in the song (Charles stated that he also likes how the image of light does come along with the kind of language he uses, so I wasn't too far off) When you look at the lyrics, you can definitely see the idea of weightlessness present, as well as in the instrumental and the way you can lose the sense of feeling and weight that can so easily bog people down.
If you haven't heard anything that Charles has done yet, then I promise that you're missing out on some really spectacular talent. Don't sleep on it anymore; support local talent, and show it some love!
Rating: 4/5
Death & His Couch Band's Website: dthcoba.com/
While "Sunpools" is not the first release from this project, it is distinctly different from the previous singles Charles has put out under the DTHCOBA name. I will say that I had heard some of the other material before, and some of it wasn't quite my taste (however, I did just discover how great the song "Biting Lips" is, a perfect mix of 90's and angst). The new release differs from these songs in the vibe and sonic pallet used; while many of the other songs were in the same vein of "Biting Lips" in being loud, distorted and more on the aggressive side, "Sunpools" moves in a much more dreamy, drawn out direction (similarly to Yume's sound). It takes it's time building up, utilizing repeating stanzas of lyrics and melodies to grow and grow into this echoing, pulsing piece of art. It's definitely not traditional in terms of the structure or sound; it's not something you're going to hear on most radio stations soon, but that's not a bad thing. These are the kinds of songs that help push the boundaries and experiment in ways that popular music doesn't.
I think what draws me most to the song is the way that it draws the listener in and lets you get lost in it. The vocals are fairly buried under the other elements, the guitar probably being the most prominent aspect, and it takes quite a few listens to really understand the lyrics (or you could avoid the trouble I had and see them written out on the project's Bandcamp page). I spent some time looking over the words, as well as talking to Charles a bit about what it meant to him and the ideas that inspired the song. His answer was something I really, thoroughly enjoyed:
"It's about damage and coping and the endless search for lightness."
I asked him to expand a bit on the idea of an "endless search for lightness", as I found the phrase really intriguing, and he described it as:
"feeling good in this way where things don't feel heavy anymore...a hopeful, bright, weightlessness".
Which was interesting to me, because my initial thought was lightness in terms of the light that we see (brightness), not a light that we feel (weight or a lack thereof), especially given the references to the sun and light in the song (Charles stated that he also likes how the image of light does come along with the kind of language he uses, so I wasn't too far off) When you look at the lyrics, you can definitely see the idea of weightlessness present, as well as in the instrumental and the way you can lose the sense of feeling and weight that can so easily bog people down.
If you haven't heard anything that Charles has done yet, then I promise that you're missing out on some really spectacular talent. Don't sleep on it anymore; support local talent, and show it some love!
Rating: 4/5
Death & His Couch Band's Website: dthcoba.com/
Friday, February 23, 2018
Thought Contagion (Single) - Muse
Muse's last release was the single "Dig Down", which came out in May of 2017 - quite a large gap in-between singles that are supposed to be connected. As with that song, there are heavy electronic elements present in "Thought Contagion", the latest single in preparation for what will be Muse's eighth studio album (and which is currently nameless and has no set release date yet).
The song kicks things off with a high soaring synth line over some slightly distorted guitar, sounding like somewhat familiar territory for Muse. However, when the verse kicks in, it's a bit of a directional change - 808 drum beats and trap-influenced high-hats lead the way for Matt Bellamy's vocals in what still managed to feel stripped down, which is odd for a band who is known for their bigger than life sounds. The chorus comes in with a bit of the more signature sound for the band, with a chorus of voices singing as Bellamy sings (repeatedly) "Thought Contagion".
The problem I have with this song is that it doesn't feel like it does anything significant or go anywhere musically. Muse songs tend to have a bit of a wow factor - those boys are gifted in terms of crafting very unique sounds and tones. However, with this song, it feels like a moulding of their skills to current trends in music: electronic elements and trap sounds. While the former is something Muse has done in the past, and done very well, the later is not something that I think they needed to dabble in. Trap is a trend that I am very, very ready for it to be gone. It's shown up in everything, much like dubstep did before it 4 or 5 years ago (something that Muse also tapped into, but did in a really cool and unique way).
This song is, in all honesty, forgettable. Compared against their other music, even against the similarly electronic "Dig Down" (which I liked, for the record), it falls flat. The one part that feels like it could be leading somewhere, the bridge, gets you going until the guitar solo comes in to just play a more distorted version of the synth melody line. The song doesn't feel like it utilizes the talents of the bands, and the result is lackluster.
I hope that what else we will see from the band will be of more substance, and less playing into the popular trends for the sake of being current.
Rating: 2/5
The song kicks things off with a high soaring synth line over some slightly distorted guitar, sounding like somewhat familiar territory for Muse. However, when the verse kicks in, it's a bit of a directional change - 808 drum beats and trap-influenced high-hats lead the way for Matt Bellamy's vocals in what still managed to feel stripped down, which is odd for a band who is known for their bigger than life sounds. The chorus comes in with a bit of the more signature sound for the band, with a chorus of voices singing as Bellamy sings (repeatedly) "Thought Contagion".
The problem I have with this song is that it doesn't feel like it does anything significant or go anywhere musically. Muse songs tend to have a bit of a wow factor - those boys are gifted in terms of crafting very unique sounds and tones. However, with this song, it feels like a moulding of their skills to current trends in music: electronic elements and trap sounds. While the former is something Muse has done in the past, and done very well, the later is not something that I think they needed to dabble in. Trap is a trend that I am very, very ready for it to be gone. It's shown up in everything, much like dubstep did before it 4 or 5 years ago (something that Muse also tapped into, but did in a really cool and unique way).
This song is, in all honesty, forgettable. Compared against their other music, even against the similarly electronic "Dig Down" (which I liked, for the record), it falls flat. The one part that feels like it could be leading somewhere, the bridge, gets you going until the guitar solo comes in to just play a more distorted version of the synth melody line. The song doesn't feel like it utilizes the talents of the bands, and the result is lackluster.
I hope that what else we will see from the band will be of more substance, and less playing into the popular trends for the sake of being current.
Rating: 2/5
Wednesday, February 21, 2018
Void (Single) - The Neighbourhood
The Neighbourhood has had a busy past few months. Since September, they've released two EPs - Hard & To Imagine, both of which I thoroughly enjoyed & previously reviewed (click each EP name for links). Much to my surprise, they announced that they have a full length album coming out next month, which is self-titled (The Neighbourhood) and released a new single, "Void". This track is in the same veins as the previous two EPs, containing lots of synths and drum machines with Jesse Rutherford's vocals slowly coming in and taking the spotlight. There's definite 80's vibes, but it's also got a pulsing, sensual feel to it that differs it from the other single they released for To Imagine, "Scary Love". I much prefer "Void" to "Scary Love", as it has a bit more of a dark feeling, (not necessarily ominous but borderline for sure), mostly due to the bass synth that looms in the background. The vocals definitely take the focus of the song, with Rutherford utilizing the soft and vulnerable side of his voice that is one of the reasons I continue coming back to this band. I also very much enjoy the lyrics of the chorus:
"And now I need you to feel the vibe
I need you to see the point
I need you to feel alive
I need you to fill the void"
utilizing simple language to convey a very deep sense of struggle and need. Upon first listen, I thought the song was about a person or relationship, but I also realized it could be about an addiction, be it drugs, sex, or something else. And that realization made me think about how frightening that prospect is. That someone could be talking about a person or about an addiction (or even both things in one), and it's hard to discern what the real subject is. That a person or an addiction to sex or drugs could fill the same space within us, or that we could become so delusional or fixated to the point where we replace the love of someone with substance abuse, or with an idea of the person that replaces the person themselves. There's some definite postmodern ideas thrown around in there, a representation of something replacing the thing itself - something that can be all too common in our world still, despite postmodernism being more prevalent during the mid to late 20th century.
The song is a definite sign that the band is trying to move a different direction than their previous release, Wiped Out!, which largely consisted of these echoing sounds that built on each other to create huge soundscapes in the same way a rock band might riff and jam into big, open sections of songs. They managed to do this, however, with lots of electronic elements, which gave them a wider variety of tones and vibes that they could use and focus on. With this release, however, it's a more stripped down, more focused on smaller elements and giving them their own time instead of letting the sounds all mix together and create one huge, layered sound. I enjoyed Wiped Out! very much, but I also really have been enjoying the new sound and direction the band has been pursuing. I'm definitely looking forward to hearing the rest of the album, besides the songs from the EP's that I've already heard and know I enjoy.
Rating: 4/5
"And now I need you to feel the vibe
I need you to see the point
I need you to feel alive
I need you to fill the void"
The song is a definite sign that the band is trying to move a different direction than their previous release, Wiped Out!, which largely consisted of these echoing sounds that built on each other to create huge soundscapes in the same way a rock band might riff and jam into big, open sections of songs. They managed to do this, however, with lots of electronic elements, which gave them a wider variety of tones and vibes that they could use and focus on. With this release, however, it's a more stripped down, more focused on smaller elements and giving them their own time instead of letting the sounds all mix together and create one huge, layered sound. I enjoyed Wiped Out! very much, but I also really have been enjoying the new sound and direction the band has been pursuing. I'm definitely looking forward to hearing the rest of the album, besides the songs from the EP's that I've already heard and know I enjoy.
Rating: 4/5
Thursday, February 15, 2018
Black Panther: The Album (Music From And Inspired By)
When I first heard that Kendrick Lamar would be one of the main producers and contributors to this soundtrack, I knew I was going to be excited about it. I talk about how incredible I think he is just about every chance I get, whether it's his performances at awards shows or his continually intricate and profound music releases. I knew a soundtrack, for what is shaping to be a boundary-pushing superhero movie, produced by one of the greatest artists of our time, would not be something I would want to miss.
However, the closer it grew, the more I felt apprehensive about doing any sort of review of it, much for the same reasons that I ended up not doing a review of Kendrick's 2017 DAMN. I felt that, being white, I wasn't really in a position to review work that clearly speaks of and to the experience of being black in America. It made me uncomfortable to try and tackle a subject that I have absolutely no experience with or true understanding of, and I didn't want to make any sort of comment that would not be correct or come off as ignorant.
After listening to the album, I found myself thinking about the music and the way it came about, and found myself wanting to write my thoughts on it, despite my apprehension. I realized the difference it makes, giving the creative reigns of the soundtrack for a superhero movie about an African superhero to people of color. The authenticity of the sound, the vibes, the movement and feeling of the album are leaps and bounds beyond anything a typical movie soundtrack would have. I've recently been reading The Sympathizer by Viet Thanh Nguyen, and there's a scene that reminded me of my realization. The narrator points out to a filmmaker that it would seem logical for a movie about Vietnam to have actual speaking parts for Vietnamese people. Proper representation and input for people who are the subject matter of a movie or story makes a big difference in the final product.
Even though Kendrick is a huge name right now and was guaranteed to draw people in, they could have given it to someone who would have played things safe, who would have washed it down just enough to make people, (specifically white people like me), feel comfortable and sell more records. But the people at Marvel didn't; they made a more risque move and the result couldn't have been more appropriate for what I'm sure we will soon see with the movie this coming weekend.
Just from looking at the artists involved, you can see the diversity in terms of genres and influences. Hip-hop and R&B have the most presence, but even then, you get a variety of sounds within the genres. Trap rears its head on tracks like "X", "King's Dead", and "Big Shot", with "X" feeling more syrupy smooth to fit with featuring artists Schoolboy Q and 2 Chainz and "Big Shot" having the signature big-bass-with a-high-flute-hook sound of Travis Scott. "King's Dead" utilizes very minimal melodic elements in favor of lots of drums and bass, giving an almost detached vibe. "Paramedic!" brings me back to growing up in the San Francisco Bay Area, with the kind of underground hip-hop sound that's bad but in a good way, taking it's time as opposed to the more popular trap sound (sadly, there were no featuring of my old favorite NorCal slang, "hella"). "Opps" takes things in a completely different direction with a more house, electronic base to the instrumental that leaves lots of room for Vince Staples and Yugen Blakrok (and an uncredited Kendrick) to spit fire over the pulsating beat. "Redemption" and "Seasons" take different approaches to featuring African (specifically South African) artists and sound palates. "Redemption" utilizes a more tribal sounding beat with lyrics in Zulu, a commonly spoken language in South Africa, as does "Seasons", although over a more modern beat and feel instead of the tribal. "I Am" and "The Ways" both lean R&B, but with very different results. "The Ways" has Khalid's free flowing sound to it as moves along through subdued trap, while "I Am" uses gritty, guitar over a slow yet steady beat to create a much darker, more sensual vibe that grooves.
There's also some really interesting lyrical elements to this album. Kendrick specifically raps from the prespective of two of the characters from the movie, T'Challa and Killmonger (the protagonist and [one of?] the antagonist). I doubt this is the first time an artist has done this for a movie soundtrack, but Kendrick does it in such a believable manner, showcasing both the hero and the villain and their perspective on aspects. At the very beginning of "Paramedic!", Kendrick says "I am Killmonger", indicating that the song is supposed to be from his perspective or inspired by his character (which I find is interesting, given that it's probably the grittiest, more underground sounding track, which might be seen as showing him as being more rough or less noble, as what we have seen of T'Challa in Captain America: Civil War was a very regal character, although he isn't afraid to get in the middle of the fight). "Bloody Waters" starts with the line "meet the man in the mask", which might indicate this one is from the perspective of T'Challa, and shows a very different feeling and vibe than "Paramedic!" reveals of Killmonger. The two come together at the end of "Seasons" with Kendrick's outro:
"I am T'Challa
I am Killmonger
One world, one God, one family
Celebration"
which then brings the point of duality, of good and bad existing together. I haven't seen the movie (obviously, since it isn't out), but I would imagine that we will probably find T'Challa and Killmonger working together at some point.
Beyond the movie tie-in lyrics, the majority of the lyrics fall in line with some of the more established and dominant themes found in rap music. A lot of the rappers featured on the album discuss their struggles growing up in dangerous and poor neighborhoods, of struggling and working incredibly hard to get where they are. There's also talk about the various material things they have now acquired through their new status and position in the world, but if you take that in the context of coming from poverty, coming from being in unsafe households and schools and cities, then it makes perfect sense. These people have come from a hard, hard place, one that I personally have not been in and cannot say that I understand what they've experienced. And now they've gotten themselves to a place where they don't have those same problems and worries, where they can provide for themselves and their families and those around them. So while I don't always find the lyrics that rotate around all their material perks of being wealthy and successful, I can understand the reasons for them and appreciate what they mean.
All in all, I found myself more and more impressed with this album the more I listened to it and did research. This is not your standard soundtrack; it was truly inspired by the movie and made as a part of it, not just another way to make more revenue on a product. These artists resonated with the movie they were creating sounds for, and the result is evident, it's authentic.
Rating: 4.5/5
Recommended: "Opps", "Paramedic!", "I Am", "Seasons", "All The Stars"
However, the closer it grew, the more I felt apprehensive about doing any sort of review of it, much for the same reasons that I ended up not doing a review of Kendrick's 2017 DAMN. I felt that, being white, I wasn't really in a position to review work that clearly speaks of and to the experience of being black in America. It made me uncomfortable to try and tackle a subject that I have absolutely no experience with or true understanding of, and I didn't want to make any sort of comment that would not be correct or come off as ignorant.
After listening to the album, I found myself thinking about the music and the way it came about, and found myself wanting to write my thoughts on it, despite my apprehension. I realized the difference it makes, giving the creative reigns of the soundtrack for a superhero movie about an African superhero to people of color. The authenticity of the sound, the vibes, the movement and feeling of the album are leaps and bounds beyond anything a typical movie soundtrack would have. I've recently been reading The Sympathizer by Viet Thanh Nguyen, and there's a scene that reminded me of my realization. The narrator points out to a filmmaker that it would seem logical for a movie about Vietnam to have actual speaking parts for Vietnamese people. Proper representation and input for people who are the subject matter of a movie or story makes a big difference in the final product.
Even though Kendrick is a huge name right now and was guaranteed to draw people in, they could have given it to someone who would have played things safe, who would have washed it down just enough to make people, (specifically white people like me), feel comfortable and sell more records. But the people at Marvel didn't; they made a more risque move and the result couldn't have been more appropriate for what I'm sure we will soon see with the movie this coming weekend.
Just from looking at the artists involved, you can see the diversity in terms of genres and influences. Hip-hop and R&B have the most presence, but even then, you get a variety of sounds within the genres. Trap rears its head on tracks like "X", "King's Dead", and "Big Shot", with "X" feeling more syrupy smooth to fit with featuring artists Schoolboy Q and 2 Chainz and "Big Shot" having the signature big-bass-with a-high-flute-hook sound of Travis Scott. "King's Dead" utilizes very minimal melodic elements in favor of lots of drums and bass, giving an almost detached vibe. "Paramedic!" brings me back to growing up in the San Francisco Bay Area, with the kind of underground hip-hop sound that's bad but in a good way, taking it's time as opposed to the more popular trap sound (sadly, there were no featuring of my old favorite NorCal slang, "hella"). "Opps" takes things in a completely different direction with a more house, electronic base to the instrumental that leaves lots of room for Vince Staples and Yugen Blakrok (and an uncredited Kendrick) to spit fire over the pulsating beat. "Redemption" and "Seasons" take different approaches to featuring African (specifically South African) artists and sound palates. "Redemption" utilizes a more tribal sounding beat with lyrics in Zulu, a commonly spoken language in South Africa, as does "Seasons", although over a more modern beat and feel instead of the tribal. "I Am" and "The Ways" both lean R&B, but with very different results. "The Ways" has Khalid's free flowing sound to it as moves along through subdued trap, while "I Am" uses gritty, guitar over a slow yet steady beat to create a much darker, more sensual vibe that grooves.
There's also some really interesting lyrical elements to this album. Kendrick specifically raps from the prespective of two of the characters from the movie, T'Challa and Killmonger (the protagonist and [one of?] the antagonist). I doubt this is the first time an artist has done this for a movie soundtrack, but Kendrick does it in such a believable manner, showcasing both the hero and the villain and their perspective on aspects. At the very beginning of "Paramedic!", Kendrick says "I am Killmonger", indicating that the song is supposed to be from his perspective or inspired by his character (which I find is interesting, given that it's probably the grittiest, more underground sounding track, which might be seen as showing him as being more rough or less noble, as what we have seen of T'Challa in Captain America: Civil War was a very regal character, although he isn't afraid to get in the middle of the fight). "Bloody Waters" starts with the line "meet the man in the mask", which might indicate this one is from the perspective of T'Challa, and shows a very different feeling and vibe than "Paramedic!" reveals of Killmonger. The two come together at the end of "Seasons" with Kendrick's outro:
"I am T'Challa
I am Killmonger
One world, one God, one family
Celebration"
which then brings the point of duality, of good and bad existing together. I haven't seen the movie (obviously, since it isn't out), but I would imagine that we will probably find T'Challa and Killmonger working together at some point.
Beyond the movie tie-in lyrics, the majority of the lyrics fall in line with some of the more established and dominant themes found in rap music. A lot of the rappers featured on the album discuss their struggles growing up in dangerous and poor neighborhoods, of struggling and working incredibly hard to get where they are. There's also talk about the various material things they have now acquired through their new status and position in the world, but if you take that in the context of coming from poverty, coming from being in unsafe households and schools and cities, then it makes perfect sense. These people have come from a hard, hard place, one that I personally have not been in and cannot say that I understand what they've experienced. And now they've gotten themselves to a place where they don't have those same problems and worries, where they can provide for themselves and their families and those around them. So while I don't always find the lyrics that rotate around all their material perks of being wealthy and successful, I can understand the reasons for them and appreciate what they mean.
All in all, I found myself more and more impressed with this album the more I listened to it and did research. This is not your standard soundtrack; it was truly inspired by the movie and made as a part of it, not just another way to make more revenue on a product. These artists resonated with the movie they were creating sounds for, and the result is evident, it's authentic.
Rating: 4.5/5
Recommended: "Opps", "Paramedic!", "I Am", "Seasons", "All The Stars"
Thursday, February 8, 2018
Man of the Woods - Justin Timberlake
Up until his announcement, I didn't know Justin Timberlake was gearing up for an album release this year. I was very intrigued by the singles, with "Filthy" and "Supplies" being instant hits in my books. And right before he took one of the biggest stages in the world, he dropped the whole album, Man of the Woods. Being a big fan of The 20/20 Experience and FutureSex/LoveSounds, I was very much looking forward to the new album and his exploration of a different set of sounds and inspirations.
As I've listened through the album a few times now and have really given me enough time to avoid a knee-jerk reaction, I find that what I'm left with is...disappointment. Don't get me wrong, there are some really, really good songs on here. Songs that show his ability to explore and expand and mix his pop roots with a variety of sounds. "Filthy" and "Supplies" are easily my favorite songs off the record, both having swagger and grooving in different ways (click either song to see my full reviews).
Other songs showcased the Americana/Country sounds he worked with throughout the album, like "Say Something (feat. Chris Stapleton)", "Man of the Woods", or "Livin Off The Land". These ones all were a fairly even balance of pop/hip-hop sounds with his southern roots, not leaning too far one direction or the other.
"Say Something" manages to feel big and sweeping without being overwhelming, building acoustic elements with the back and forth of the vocals between Timberlake and Stapleton never overtaking each other. The mood created is emotionally binding without being too specific or over the top, as a lot of country music can be.
"Man of the Woods" brings the lightheartedness country music can have over an 808 beat, which seems like it wouldn't work so well (and there are other tracks where this doesn't work) but slides along in a smooth and laid back manner. "Livin Off the Land" feels a bit more pulled back in terms of the pace and tone, a bit darker and more earthy, fitting with the subject matter. The beat on this song also feels like something from a hip-hop track, but mixes with the richness of the bass and the guitar in a way that makes you realize, as Timberlake said in an interview, "you just didn't know you could dance to the mountains" (see the whole interview here).
"Higher Higher" and "Morning Light (feat. Alicia Keys)" both play more on the RnB sound, which Timberlake has delved into before, but in a more mature and grown-up manner, focusing on the love of his life and not seducing a random woman. Both of these songs are good, but it's that approach to the lyrical content and focus that help them to stand out.
However, I can't say that the whole album hit the mark. Songs like "Midnight Summer Jam", "Sauce", and "Flannel" were all further attempts to mix americana with pop and hip-hop sounds that just didn't quite land. They feel too jumbled, too much going on at once for anything to blend smoothly. The first two songs feel like they could be even more sensual, but instead, the bright tones of the country and americana influences give it too much twang to really create a mood.
These songs feel like Timberlake is trying to go a direction that ends up being forced instead of a natural, creative project. He wanted to explore his roots and homeland with this album, but the main issue is that these were sounds and musical ideas that he really never utilized in his music before (apart from "Drink You Away" from his last release, which combined country with his signature pop/hip-hop sound in a way that felt good and smooth). In the same interview I referenced earlier, he talks about how being from the South, he and those around him felt he was a good fit to explore the sounds of where he's from with where he has gone in life (see that here). I feel like it just didn't mesh like he had hoped. The soul searching, the "introspective" aspect of the album that he discusses, ends up feeling too scattered, too lost in different directions to go far any one way. At times, Man of the Woods feels like a man who isn't quite sure of himself, at least in terms of the musical sound he wants to put out. It's a bit ironic - an album that is rooted in nature and being at home in the woods and mountains that ends up feeling forced and unnatural.
In the end, this record will make a splash, but not a big enough ripple to upset the music scene for too long. It's a good pop record - it's definitely got some songs that will get radio time and "Filthy" will most definitely end up somewhere high in my top songs for the year. But the album won't make it, I know that much; hopefully the 5 or so years of waiting for Timberlake's next record will produce an album that feels a bit more natural.
Rating: 3/5
Recommended: "Filthy", "Supplies", "Montana", "Say Something (feat. Chris Stapleton)"
As I've listened through the album a few times now and have really given me enough time to avoid a knee-jerk reaction, I find that what I'm left with is...disappointment. Don't get me wrong, there are some really, really good songs on here. Songs that show his ability to explore and expand and mix his pop roots with a variety of sounds. "Filthy" and "Supplies" are easily my favorite songs off the record, both having swagger and grooving in different ways (click either song to see my full reviews).
Other songs showcased the Americana/Country sounds he worked with throughout the album, like "Say Something (feat. Chris Stapleton)", "Man of the Woods", or "Livin Off The Land". These ones all were a fairly even balance of pop/hip-hop sounds with his southern roots, not leaning too far one direction or the other.
"Say Something" manages to feel big and sweeping without being overwhelming, building acoustic elements with the back and forth of the vocals between Timberlake and Stapleton never overtaking each other. The mood created is emotionally binding without being too specific or over the top, as a lot of country music can be.
"Man of the Woods" brings the lightheartedness country music can have over an 808 beat, which seems like it wouldn't work so well (and there are other tracks where this doesn't work) but slides along in a smooth and laid back manner. "Livin Off the Land" feels a bit more pulled back in terms of the pace and tone, a bit darker and more earthy, fitting with the subject matter. The beat on this song also feels like something from a hip-hop track, but mixes with the richness of the bass and the guitar in a way that makes you realize, as Timberlake said in an interview, "you just didn't know you could dance to the mountains" (see the whole interview here).
"Higher Higher" and "Morning Light (feat. Alicia Keys)" both play more on the RnB sound, which Timberlake has delved into before, but in a more mature and grown-up manner, focusing on the love of his life and not seducing a random woman. Both of these songs are good, but it's that approach to the lyrical content and focus that help them to stand out.
However, I can't say that the whole album hit the mark. Songs like "Midnight Summer Jam", "Sauce", and "Flannel" were all further attempts to mix americana with pop and hip-hop sounds that just didn't quite land. They feel too jumbled, too much going on at once for anything to blend smoothly. The first two songs feel like they could be even more sensual, but instead, the bright tones of the country and americana influences give it too much twang to really create a mood.
These songs feel like Timberlake is trying to go a direction that ends up being forced instead of a natural, creative project. He wanted to explore his roots and homeland with this album, but the main issue is that these were sounds and musical ideas that he really never utilized in his music before (apart from "Drink You Away" from his last release, which combined country with his signature pop/hip-hop sound in a way that felt good and smooth). In the same interview I referenced earlier, he talks about how being from the South, he and those around him felt he was a good fit to explore the sounds of where he's from with where he has gone in life (see that here). I feel like it just didn't mesh like he had hoped. The soul searching, the "introspective" aspect of the album that he discusses, ends up feeling too scattered, too lost in different directions to go far any one way. At times, Man of the Woods feels like a man who isn't quite sure of himself, at least in terms of the musical sound he wants to put out. It's a bit ironic - an album that is rooted in nature and being at home in the woods and mountains that ends up feeling forced and unnatural.
In the end, this record will make a splash, but not a big enough ripple to upset the music scene for too long. It's a good pop record - it's definitely got some songs that will get radio time and "Filthy" will most definitely end up somewhere high in my top songs for the year. But the album won't make it, I know that much; hopefully the 5 or so years of waiting for Timberlake's next record will produce an album that feels a bit more natural.
Rating: 3/5
Recommended: "Filthy", "Supplies", "Montana", "Say Something (feat. Chris Stapleton)"
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