grandson is an artist I discovered (as usual) through Mike Shinoda, partially due to a playlist he put out featuring artists he has been listening to as well as his recent feature on "Running From My Shadow" from Shinoda's new album.
"Blood // Water" was the first song I heard of grandson's, and I found myself really intrigued by the variety of sounds and influences. On this song and throughout the album, you can find a mashing of rock, rap, EDM, and more, which reminds me of Linkin Park in their early days (in an obviously more modern setting).
But, what makes grandson stand out to me is the lyrical content. Over tracks with huge energy, raging guitars and thumping beats, grandson lashes out at the system and problems common in America today. Political music feels like something that has fallen to the wayside, despite there being plenty of issues to focus on. grandson manages to incorporate anger, rage, and melancholy in his songs both lyrically and instrumentally in a way that does not feel cliche or cheap. The lyrical content complements and enhances the music, in a way I haven't heard in a long time - perhaps since Rage Against The Machine (who seem to have been an influence for him).
I think another aspect that stands out to me about grandson is his combination of rap and rock. This is not something that's new, or even that relevant anymore - the rise of nu-metal came and went almost 20 years ago. What feels fresh is the way in which he combines the genres. His guitar parts have clear classic/hard rock influences, big distorted lines that are super gritty in comparison to the booming, sharp trap beats they roar over. While I have said in previous reviews that I'm not super big on trap, this is definitely an instance where it works really, really well.
Apart from "Despicable", it seems to me that most of the songs are politically based in the lyrical content. "Blood // Water" addresses corruption and the cost of it (perhaps more directly addressing the water contamination situation that Flint, Michigan has been facing for years), with lines like:
"The price of your greed
is your son and your daughter"
or
"You poisoned me just for
Another dollar in your pocket".
"Stick Up" is more centered around middle to lower class America, with the 2008 recession that cost a lot of people jobs and destabilized people's families and lives. It specifically goes through the story of "Tommy", with the first verse summarizing his situation:
"Now, Tommy's a good father
Of two sons and a daughter
But he wakes up and he asks himself:
"Why even bother?"
If he cannot feed his family
The wage he's paid, it's insanity
Every day he's dealing with a new calamity".
He's clearly not someone who is in an easy situation - trouble seems to be assailing him on all sides. The song tackles the fictional path that Tommy takes, feeling as though he has nowhere left to turn except to take action against the very people responsible for the economic downturn in a violent manner. While it's not the best solution to the problem, it demonstrates the level of anger and frustration people who live in Tommy's shoes might feel and the only path they can see left.
"6:00" and "Overdose" have political tones as well, but feel a bit more specific than the previous songs. "6:00" tackles the police brutality that has risen in the public eye in recent years, specifically referencing the death of Eric Garner at the hands of a police officer with the first half of the chorus:
"How can we stand by?
Yesterday, I turned on the TV
I saw another man down
He was screaming
He can't breathe no more".
The first line also touches on the apathy that seems to be prevalent with people’s reaction to the news and the terrible things happening. It’s a tough situation - seeing that something is clearly wrong, yet having an inability to act or create change. Often, I think people feel as though they can’t make a difference, that they can’t bring about change to the system or cycle that is occurring, so they choose to ignore it or not act.
“Overdose” is about drug use and the way in which it can spiral downwards, especially when they’re used to ignore or block out the problems and struggles of life. The first verse sets the tone from the start:
“I'm trying to feel like a rockstar, but
I can't just do one now, no
I've been way to numb now”
Drug use can start small, start simply, but ends up leaving the user feeling far worse than they would have been without the drugs. It was only a distraction from the reality of things, and can’t help you escape from that which you’re hiding from.
Now, the lyrical content is incredibly important and relevant to political and social discussions, but it also has such an impact because of the instrumentals over which grandson rages against the system. Like I mentioned before, there are elements of hip-hop/rap, rock and EDM in all the songs, but in different amounts and blends. Some songs have a heavier rap/trap influence, while others lean more into the EDM influence, and the classic/hard rock guitar prevails throughout all. "Overdose" is easily the most trap oriented, both in the instrumental and the vocals, which works for the lyrical content. "Stick Up" and "6:00" both lean heavily into their guitar parts, where as "Despicable" and "Blood // Water" give these huge, satisfying drops for the chorus. While some of these elements may, in concept, sound overdone or trendy, grandson manages to do it in a way that magnifies the fire and fury of his words. The EP, though short, is a non-stop ride of thrills, getting you on your feet, fired up, and ready to make a change. That's the beauty of it - it's meaningful music that still manages to make you want to head-bang and rock out.
For a debut, this EP is remarkable. The quality and range of music and content on this release is so engaging, leaving you thinking about it long after the music ends. grandson reveals his potential, and I sincerely believe is an artist to watch; he has only just begun.
Rating: 4.5/5
Recommended: "Blood // Water","Despicable", "6:00"
Thursday, June 21, 2018
Monday, June 18, 2018
Post Traumatic - Mike Shinoda
This is an album that I had a lot of anticipation for, while also feeling hesitant about looking forward to this release. Mike Shinoda, through Linkin Park and Fort Minor, has always been one of my favorite artists, and seeing him release music under his own name, without any sort of moniker has been incredibly revealing of him as a person and an artist. However, this release is a result of an immensely tragic loss, that of Chester Bennington last July. Nearly a year after his passing, Post Traumatic reveals, in its entirety, the journey that Shinoda has embarked on since that moment that altered his life forever.
While this album documents Shinoda's grappling with the loss of one of his best friends, it also shines a light on the process of moving beyond that struggle. In the course of 16 songs, the listener gets a deeper look into the personal and emotional states Shinoda as been going through in the time span of this album's creation.
I've already talked about a few of the songs in previous reviews - see my thoughts on the original EP here ("Place To Start", "Over Again", "Watching As I Fall") and the first two singles that came with the album announcement here ("Nothing Makes Sense Anymore", "Crossing A Line").
With an album like this, it's obvious that there's going to be a lot of focus and discussion on the lyrical content (and I will be no exception to that).
Where to even begin?
Shinoda goes over a lot of content and subject matter. Songs like "Ghosts" and "Hold It Together" touch a bit more directly on the notion of dealing with pain and loss. One of the lines from the latter that really stuck out to me was the following:
"They say that they sympathize
I'm grateful they take the time
But bringing it up at this six year old birthday
It kinda fucks up my vibe"
which is such an interesting insight into the process of healing. While people may have good intentions of bringing up someone's recent loss, there are good times and bad times to bring up something like that, and the birthday party for a six year old would definitely quality as the latter.
The chorus of "Ghosts"
"The lights go down
Holding every memory close
Tonight is for our ghosts"
feels like its from a moment that's a bit farther along the path of grief, yet still dealing with the unseen - memories and the imagination - creating moments of deja vu or unexpected sorrow or anger.
Some of the more intriguing songs, lyrically, were the more rap based tracks - specifically "Running From My Shadow (feat. grandson)", "Lift Off (feat. Chino Moreno & Machine Gun Kelly), and "I.O.U.". I've included my favorite lines from each song below:
"Wanna know where I don’t go
When it goes from OK to a oh no
When it goes from hi five to a low blow
When it goes from all five to a solo" (Running From My Shadow)
"You're the opposite of stars like rats spelled backwards
I flow poems out to Saturn and past it"
&
"Imagine me quittin' what a travesty that’d be
You space shuttle challengers are nothin' but tragedies" (Lift Off)
"I'm ‘81 Reagan with that nonsense, miss me
Father like Francis, Anakin or John Misty"
&
"A huge act man like I'm known for being Logan
X-23 I’m keen to leave 'em with a femur broken" (I.O.U).
All of these songs are very different, but what keeps them together is the spotlight all of them shine on Shinoda and his lyrical and stylistic versatility. While he has broken from his beginnings of simply rapping, the bars in these songs definitely showcase why he started there and his love for the game. He still has a fire, he can still flip a line and take someone down with lyrical wordplay, and isn't afraid to do it. It feels like him, in the sense that rap has always been a part of his identity. These moments show some progress on the path to the recovery of himself; changed for sure, but still there.
A big theme I found on multiple songs dealt with self doubt, something that's not surprising after such a loss, but also not as commonly talked about (at least from my experiences with it). "Promises I Can't Keep", "Make It Up As I Go (feat. K.Flay)", "Nothing Makes Sense Anymore" all specifically touch on this.
The chorus of "Promises I Can't Keep" is pretty clear in the grappling with confidence:
"I had so much certainty
Til that moment I lost control
And I've tried but it never was up to me
I've got no worse enemy
Than the fear of what's still unknown
And the time's come to realize there will be
Promises I can't keep"
as well as learning how to accept and acknowledge limitations.
"Make It Up As I Go" touches on this concept a bit farther down the line, where it's hard to know where you're at but you keep moving forward by making it up as you go:
"I keep on running backwards
I keep on losing faith
I thought I had the answers
I thought I knew the way
My brother said be patient
My mother held my hand
I don't know what I'm chasing
I don't know who I am
So, I make it up as I go".
One of the more interesting songs, lyrically, was "About You (feat. blackbear)". In an interview with Rolling Stone, Shinoda talked about how this song addresses the idea that a lot of people are going to assume all of the songs on this album are going to be about Chester when it's not necessarily the case. It's hard to avoid that association, but also a very good point, and something that I'm sure can be a bit difficult to deal with. The best summary of this concept comes in the second verse of the song:
"No, there's not a single thing that I can say
Not a single solitary, every meaning changes shape
Even when there's no connection back to you in any line
All of a sudden it's about you and it gets me every time".
Now, while there is a lot of focus on the lyrical aspects, the instrumentals should not be left out of the spotlight. In fact, the variety of sounds and vibes are a huge part of what help solidify and strengthen the songs and their messages. Some of the songs have just straight up cool moments. The outro of "Running From My Shadow" is this intense & gritty piece, distorted guitar over the booming beats that create a head-bang worthy moment. "Hold It Together" has a very Linkin Park-esc moment during the bridge, sounding similar to something the band might have done during the Living Things era, with the drums switching to a breakdown beat as the synth solos high while the guitar keeps itself lower and driving. The verses of "Make It Up As I Go" remind me a lot of the beat/sound from "Pray For Me" off the Black Panther soundtrack, which contrasts a bit with the chorus of the song and the inclusion of female vocalist K.Flay. Even the instrumental "Brooding" manages to build itself up from piano chords and a mellow guitar line to this thumping, headphone-rattling beat that reminds me a lot of the demos Linkin Park used to put out through the LP Underground. "Promises I Can't Keep", as a whole, feels like something that would have worked so well for Chester vocally. The fact that Mike can create and tackle something like that is a mark of the progress he has made and the talent he holds within himself. I could definitely hear that song fitting in well with the rest of the music from One More Light.
Cool parts aside, Mike goes all over the place with this album. We hear pop, we hear hip-hop/rap, we hear rock, alternative, electronic, all packaged up together in a cohesive yet versatile sound that shows the insane range of Shinoda as a musician. He wrote and recorded almost everything on this album himself, with some outside mastering and mixing help and the features from other artists. It's a really incredible piece of music, from beginning to end. Despite it's length, I find a hard time calling any of the songs filler. Each track feels intentional and specifically crafted to express some sort of sentiment or emotion related to the journey past the traumatic.
Not only is it something I know I'll listen to again and again, but that I can smile about. I know Mike is getting better, working through the struggles to move on with his life, and I hope that others can find the same sense of relief - it can get better.
Rating: 5/5
Recommended: "Promises I Can't Keep", "Nothing Makes Sense Anymore", "Running From My Shadow (feat. grandson)", "I.O.U", "Crossing A Line", "Over Again", "Lift Off (feat. Chino Moreno & Machine Gun Kelly)"
While this album documents Shinoda's grappling with the loss of one of his best friends, it also shines a light on the process of moving beyond that struggle. In the course of 16 songs, the listener gets a deeper look into the personal and emotional states Shinoda as been going through in the time span of this album's creation.
I've already talked about a few of the songs in previous reviews - see my thoughts on the original EP here ("Place To Start", "Over Again", "Watching As I Fall") and the first two singles that came with the album announcement here ("Nothing Makes Sense Anymore", "Crossing A Line").
With an album like this, it's obvious that there's going to be a lot of focus and discussion on the lyrical content (and I will be no exception to that).
Where to even begin?
Shinoda goes over a lot of content and subject matter. Songs like "Ghosts" and "Hold It Together" touch a bit more directly on the notion of dealing with pain and loss. One of the lines from the latter that really stuck out to me was the following:
"They say that they sympathize
I'm grateful they take the time
But bringing it up at this six year old birthday
It kinda fucks up my vibe"
which is such an interesting insight into the process of healing. While people may have good intentions of bringing up someone's recent loss, there are good times and bad times to bring up something like that, and the birthday party for a six year old would definitely quality as the latter.
The chorus of "Ghosts"
"The lights go down
Holding every memory close
Tonight is for our ghosts"
feels like its from a moment that's a bit farther along the path of grief, yet still dealing with the unseen - memories and the imagination - creating moments of deja vu or unexpected sorrow or anger.
Some of the more intriguing songs, lyrically, were the more rap based tracks - specifically "Running From My Shadow (feat. grandson)", "Lift Off (feat. Chino Moreno & Machine Gun Kelly), and "I.O.U.". I've included my favorite lines from each song below:
"Wanna know where I don’t go
When it goes from OK to a oh no
When it goes from hi five to a low blow
When it goes from all five to a solo" (Running From My Shadow)
"You're the opposite of stars like rats spelled backwards
I flow poems out to Saturn and past it"
&
"Imagine me quittin' what a travesty that’d be
You space shuttle challengers are nothin' but tragedies" (Lift Off)
"I'm ‘81 Reagan with that nonsense, miss me
Father like Francis, Anakin or John Misty"
&
"A huge act man like I'm known for being Logan
X-23 I’m keen to leave 'em with a femur broken" (I.O.U).
All of these songs are very different, but what keeps them together is the spotlight all of them shine on Shinoda and his lyrical and stylistic versatility. While he has broken from his beginnings of simply rapping, the bars in these songs definitely showcase why he started there and his love for the game. He still has a fire, he can still flip a line and take someone down with lyrical wordplay, and isn't afraid to do it. It feels like him, in the sense that rap has always been a part of his identity. These moments show some progress on the path to the recovery of himself; changed for sure, but still there.
A big theme I found on multiple songs dealt with self doubt, something that's not surprising after such a loss, but also not as commonly talked about (at least from my experiences with it). "Promises I Can't Keep", "Make It Up As I Go (feat. K.Flay)", "Nothing Makes Sense Anymore" all specifically touch on this.
The chorus of "Promises I Can't Keep" is pretty clear in the grappling with confidence:
"I had so much certainty
Til that moment I lost control
And I've tried but it never was up to me
I've got no worse enemy
Than the fear of what's still unknown
And the time's come to realize there will be
Promises I can't keep"
as well as learning how to accept and acknowledge limitations.
"Make It Up As I Go" touches on this concept a bit farther down the line, where it's hard to know where you're at but you keep moving forward by making it up as you go:
"I keep on running backwards
I keep on losing faith
I thought I had the answers
I thought I knew the way
My brother said be patient
My mother held my hand
I don't know what I'm chasing
I don't know who I am
So, I make it up as I go".
One of the more interesting songs, lyrically, was "About You (feat. blackbear)". In an interview with Rolling Stone, Shinoda talked about how this song addresses the idea that a lot of people are going to assume all of the songs on this album are going to be about Chester when it's not necessarily the case. It's hard to avoid that association, but also a very good point, and something that I'm sure can be a bit difficult to deal with. The best summary of this concept comes in the second verse of the song:
"No, there's not a single thing that I can say
Not a single solitary, every meaning changes shape
Even when there's no connection back to you in any line
All of a sudden it's about you and it gets me every time".
Now, while there is a lot of focus on the lyrical aspects, the instrumentals should not be left out of the spotlight. In fact, the variety of sounds and vibes are a huge part of what help solidify and strengthen the songs and their messages. Some of the songs have just straight up cool moments. The outro of "Running From My Shadow" is this intense & gritty piece, distorted guitar over the booming beats that create a head-bang worthy moment. "Hold It Together" has a very Linkin Park-esc moment during the bridge, sounding similar to something the band might have done during the Living Things era, with the drums switching to a breakdown beat as the synth solos high while the guitar keeps itself lower and driving. The verses of "Make It Up As I Go" remind me a lot of the beat/sound from "Pray For Me" off the Black Panther soundtrack, which contrasts a bit with the chorus of the song and the inclusion of female vocalist K.Flay. Even the instrumental "Brooding" manages to build itself up from piano chords and a mellow guitar line to this thumping, headphone-rattling beat that reminds me a lot of the demos Linkin Park used to put out through the LP Underground. "Promises I Can't Keep", as a whole, feels like something that would have worked so well for Chester vocally. The fact that Mike can create and tackle something like that is a mark of the progress he has made and the talent he holds within himself. I could definitely hear that song fitting in well with the rest of the music from One More Light.
Cool parts aside, Mike goes all over the place with this album. We hear pop, we hear hip-hop/rap, we hear rock, alternative, electronic, all packaged up together in a cohesive yet versatile sound that shows the insane range of Shinoda as a musician. He wrote and recorded almost everything on this album himself, with some outside mastering and mixing help and the features from other artists. It's a really incredible piece of music, from beginning to end. Despite it's length, I find a hard time calling any of the songs filler. Each track feels intentional and specifically crafted to express some sort of sentiment or emotion related to the journey past the traumatic.
Not only is it something I know I'll listen to again and again, but that I can smile about. I know Mike is getting better, working through the struggles to move on with his life, and I hope that others can find the same sense of relief - it can get better.
Rating: 5/5
Recommended: "Promises I Can't Keep", "Nothing Makes Sense Anymore", "Running From My Shadow (feat. grandson)", "I.O.U", "Crossing A Line", "Over Again", "Lift Off (feat. Chino Moreno & Machine Gun Kelly)"
Tuesday, June 5, 2018
"Give Yourself A Try" (Single) - The 1975
After a countdown that started at the beginning of May, The 1975 have finally released the first single to their much anticipated follow up album, currently titled A Brief Inquiry Into Online Relationships, which the band announced is scheduled to be released in October of this year. They also announced that they would be releasing another album in May of 2019, titled Notes On The Conditional Form, which they explained is not meant as a double album but all part of the same era, dubbed "Music For Cars".
The single, titled "Give Yourself A Try", immediately sets the tone for this new era as being pointedly different from the majority of the last album, I Like It When You Sleep, for You Are So Beautiful yet So Unaware of It. The song begins with a more electronic sounding beat, and some feedback noises that cumulate in the guitar riff that continues for the majority of the song. It's gritty; almost a bit messy, unlike the clean and smooth tones of their last album, but still manages to be bright and poppy at the same time. The production on the track feels different, lending itself more towards being noisy and less of a crisp, super-high production quality. Matty Healy's vocals come in soon after, serving as contrast to the instrumental's noise with the slight set of effects applied to his voice (echo and pitch correction, if I'm correct). The highest point of contrast is the chorus, where the instrumental seems to peak in terms of the amount of distortion and Healy's vocals sweep over the track as he sings "Won't you give yourself a try?" again and again.
The song is catchy as hell. It's obviously upbeat, with lots of bright tones despite the overall distortion and grittiness. However, there's an ever so slight sense of melancholy, perhaps a tinge of emo, that seeps through the whole song. A big part of that is the lyrics, which are one of the more intriguing aspects of the track and keeps me coming back time after time. The line that first caught my attention (for a few reasons) is in the second verse:
"I found a grey hair in one of my zoots
Like context in a modern debate I just took it out".
For those unfamiliar (as was I; I had to look this up), the term "zoot" is slang for a joint. I swore that they were saying "suit", which in my mind makes more sense; oh well. The line as a whole, though, is so simple yet absolutely relatable and true. I think about that line a lot now whenever I'm on social media sites, reading through stories and people's thoughts. It's so easy for people to take what they want from a story or source, and use it completely out of it's context to supplement their own argument or point.
The third verse is also spectacular as a whole:
"'And what would you say to your younger self?'
Growing a beard's quite hard
And whiskey never starts to taste nice
And you'll make a lot of money, and it's funny
'Cause you'll move somewhere sunny and get addicted to drugs
And spend obscene amounts on fucking seeds and beans online"
The whole song touches a lot on dealing with the changes of growing up and dealing with the changes of adulthood, but this verse felt particularly relatable. The more I grow up, the more I find things I wish I could tell myself when I was younger; especially when it comes to this notion that growing up and being an adult makes everything better. As I've discovered and am constantly learning, that is not quite the case - being an adult has it's perks, no doubt about that, but it also has it's own pitfalls and struggles. I think the last part of the verse really exemplifies that notion, with making a lot of money (which people automatically assume means your problems go away) but usually just results in a different, more specific set of issues. I also just really liked the second and third line; as someone who is working on the beard thing and hasn't quite learned to like whiskey, I can laugh a little and know that other people my age feel the same.
I absolutely love this song. I wasn't sure what to expect with this new album(s), but this song shows me that The 1975 will continue to be one of my favorite groups, and that I get to grow up with them in this new era.
Rating: 5/5
Monday, May 28, 2018
I Love You (Single) - Laureline
Laureline is a LA-based band consisting of members Ciera Bardowell (Vocals/Guitar), Marian Nutley (Bass), Chris Rasmussen (Vocals/Guitar), & Nico Hernandez (Drums). I knew Ciera and Marian during my time at Azusa Pacific University, and was able to witness their talent long before they came together with Chris and Nico to form this alternative-pop group.
The song, titled "I Love You", draws considerably from a similar sound pallet to The 1975 (which I confirmed was a definitely an inspiration for the band); a sort of dreamy sound, full of soft, echoing tones and smooth lines. It sounds like something you might listen to while driving by a nearly deserted beach; a place full of life yet peaceful, slowly moving, waves ebbing and flowing and creating a natural rhythm. It soars a bit, flowing from one part to the next, with each instrument adding their part without taking hold of the spotlight.
I'm always a fan of contrast, and the vocals do an excellent job of creating just that. The separation and coming together of Chris & Ciera's vocals is really beautiful, in an almost haunting manner. The harmonies on the chorus are absolutely stunning; their voices plus the ever so slight vocal distortion create a beauty tinged with sadness. The back and forth nature with Chris doing the first verse and Ciera doing the second verse adds more contrast, with the two verses feeling quite different just with the difference in their voices and styles. Their vocal interplay reminds me a bit of Of Monsters & Men; obviously in a different setting, but similar in the way that their voices work fantastically together and apart. The contrast doesn't end with there - the way in which the vocals and lyrics contrast with the instrumental is quite surprising. The track has a definite upbeat vibe to it, but the lyrics have a more wistful tone, a definite sadness that permeates the vocals and ever so slightly seeps into the instrumental. It's a contrast of a high and low, of love and sadness, that comes together in a really exceptional way.
The song clocks in at a little over 3:20 seconds, but feels like it's gone in a flash. The music draws you in, making you want more but finishing just before you feel like you're ready for it to end. Even as I listened to it, I found myself at the end of the song much quicker than I anticipated, not having made enough notes before the song comes to a close, and having to start it over again. It's fleeting, like a ghost, which I think fits perfectly with the ever so slight haunting vibe the song creates.
For a first single, this song feels incredibly well done. This is not a band still trying to form their identity or still trying to get their feet of the ground. This feels like radio-ready music, a band waiting for the right moment to burst forth and ride a wave into big spotlights. If you enjoy The 1975 or The Japanese House, you'll for sure want to check out this up & coming, very talented group of individuals.
Rating: 4.5/5
The song, titled "I Love You", draws considerably from a similar sound pallet to The 1975 (which I confirmed was a definitely an inspiration for the band); a sort of dreamy sound, full of soft, echoing tones and smooth lines. It sounds like something you might listen to while driving by a nearly deserted beach; a place full of life yet peaceful, slowly moving, waves ebbing and flowing and creating a natural rhythm. It soars a bit, flowing from one part to the next, with each instrument adding their part without taking hold of the spotlight.
I'm always a fan of contrast, and the vocals do an excellent job of creating just that. The separation and coming together of Chris & Ciera's vocals is really beautiful, in an almost haunting manner. The harmonies on the chorus are absolutely stunning; their voices plus the ever so slight vocal distortion create a beauty tinged with sadness. The back and forth nature with Chris doing the first verse and Ciera doing the second verse adds more contrast, with the two verses feeling quite different just with the difference in their voices and styles. Their vocal interplay reminds me a bit of Of Monsters & Men; obviously in a different setting, but similar in the way that their voices work fantastically together and apart. The contrast doesn't end with there - the way in which the vocals and lyrics contrast with the instrumental is quite surprising. The track has a definite upbeat vibe to it, but the lyrics have a more wistful tone, a definite sadness that permeates the vocals and ever so slightly seeps into the instrumental. It's a contrast of a high and low, of love and sadness, that comes together in a really exceptional way.
The song clocks in at a little over 3:20 seconds, but feels like it's gone in a flash. The music draws you in, making you want more but finishing just before you feel like you're ready for it to end. Even as I listened to it, I found myself at the end of the song much quicker than I anticipated, not having made enough notes before the song comes to a close, and having to start it over again. It's fleeting, like a ghost, which I think fits perfectly with the ever so slight haunting vibe the song creates.
For a first single, this song feels incredibly well done. This is not a band still trying to form their identity or still trying to get their feet of the ground. This feels like radio-ready music, a band waiting for the right moment to burst forth and ride a wave into big spotlights. If you enjoy The 1975 or The Japanese House, you'll for sure want to check out this up & coming, very talented group of individuals.
Rating: 4.5/5
Thursday, May 24, 2018
Tranquility Base Hotel & Casino - Arctic Monkeys
It's always interesting when a band takes an extended time to put out a new record. With a gap of two or three years, most shifts and changes in musical sound are expected and predictable. When you start to get into the five years or more mark, things become a little less clear. People can change a lot in a year, so five years between one release and another can see a band or artist go through multiple changes. When the Arctic Monkeys released their last album, AM, in 2013, they were on top of the alternative rock world. With huge singles like "Do I Wanna Know?" & "R U Mine?", the band sat atop the charts and received much critical acclaim for a little while before taking a two year hiatus.
When the band finally came back together and recorded, Tranquility Base Hotel & Casino was the result; and boy, was it across the galaxy in terms of differences from their previous sound. Gone the gritty guitars and crashing drums, gone the rock n' roll and alternative swagger, replaced with echoing piano chords, brooding bass lines, and Alex Turner's vocals switching for high & soaring to a low, almost talking-tone of a weary storyteller. You can easily hear the influences of David Bowie & Leonard Cohen in different aspects of the music.
Not only is this album light-years away from it's predecessors, it transports the listener to a place and time far from the modern world. I find myself flying to a bar, smoky and dimly lit, located on the edge of an astroid field where characters from all over the galaxy come to trade stories and have a quiet drink with a view of the stars. It creates an atmosphere that is totally it's own, with a history waiting to be discovered.
I'll be totally honest and say that this album took a few listens. With a shift in sound and direction like this, it was bound to be polarizing amongst listeners, and I was almost confused upon my first listen through the album. I was expecting a follow up to match the intensity and energy of AM, and found the band had moved in the opposite direction. But the more I listened to the album, the more I found myself coming back again and again and again. Since it's release, I've listened to it at least once a day from start to finish, if not two or three or more times. It's so unique in the scope and concept, I can't get enough of it.
It's difficult to talk about the songs individually - it feels like looking at just one part of a larger picture. Obviously they each differ and have their own specific sound, but at the same time they all work off of a similar sound pallet, creating a seamless experience from start to finish. When I listen to it, I have a hard time shuffling it or hearing songs by themselves in a playlist. It feels like it's meant to be together, it's meant to be experienced in a manner which is not as common anymore. Labels market singles, they want that smash song that people will get sick of on the radio. People buy songs individually more often than by the album, so to create a piece of art that demands to be listened to in it's entirety is a bold move.
The theme reminds me a lot of retro science fiction; stories from the era of Issac Asimov and Ray Bradbury where the future teetered between the sides of glimmering, shiny hope and the dark, brooding pessimism. It's not quite as serious and dystopian as sci-fi has generally become, but it clearly reveals that something is not quite right - an inkling of a suspicion, a hint that someone or something is lurking, waiting for the right moment to be revealed. This is a galaxy of opportunity, both reputable and not, probably riding closer to the science side than the fiction. There isn't as much myth to this place, nothing like Star Wars; closer to Star Trek, but a tad bit darker and less optimistic.
Lyrically, it feels a bit more abstract than AM. For me, that might have been an issue years ago - I liked it when I could decipher what I was listening to and find a meaning. With time, I'm sure I'll be able to grasp some of what Turner is crooning about. But for now, I'm just fine without knowing - it feels as though I don't have to focus on the words and let the overall sound wash over me, taking me to this unknown world I have yet to fully discover. There definitely are lines that I thoroughly enjoy - take this one from "Star Treatment":
"So who you gonna call?
The Martini Police"
Something about the way Turner delivers the line makes it so amusing & mocking of the intended target - someone who seems to be snobby or uptight about ridiculous things.
Another fun set of lines lies farther along in the song:
"I just wanted to be one of those ghosts
You thought that you could forget
And then I haunt you via the rear view mirror
On a long drive from the back seat".
It's a strangely relatable line - at least for those of us who are perhaps a little more paranoid or fearful of that which lurks in the dark. The imagery of a lingering lover as a ghost somewhat out of reach, but on the edge of awareness.
This album truly is a masterpiece - a well crafted work of art that manages to acknowledge the past while looking forward. The way in which the music creates it's own physically manifestation is the most remarkable aspect; something that I know will keep me coming back for more and inspiring me in my own work.
Rating: 5/5
Recommended: "Star Treatment", "Tranquility Base Hotel & Casino", and "She Looks Like Fun"
When the band finally came back together and recorded, Tranquility Base Hotel & Casino was the result; and boy, was it across the galaxy in terms of differences from their previous sound. Gone the gritty guitars and crashing drums, gone the rock n' roll and alternative swagger, replaced with echoing piano chords, brooding bass lines, and Alex Turner's vocals switching for high & soaring to a low, almost talking-tone of a weary storyteller. You can easily hear the influences of David Bowie & Leonard Cohen in different aspects of the music.
Not only is this album light-years away from it's predecessors, it transports the listener to a place and time far from the modern world. I find myself flying to a bar, smoky and dimly lit, located on the edge of an astroid field where characters from all over the galaxy come to trade stories and have a quiet drink with a view of the stars. It creates an atmosphere that is totally it's own, with a history waiting to be discovered.
I'll be totally honest and say that this album took a few listens. With a shift in sound and direction like this, it was bound to be polarizing amongst listeners, and I was almost confused upon my first listen through the album. I was expecting a follow up to match the intensity and energy of AM, and found the band had moved in the opposite direction. But the more I listened to the album, the more I found myself coming back again and again and again. Since it's release, I've listened to it at least once a day from start to finish, if not two or three or more times. It's so unique in the scope and concept, I can't get enough of it.
It's difficult to talk about the songs individually - it feels like looking at just one part of a larger picture. Obviously they each differ and have their own specific sound, but at the same time they all work off of a similar sound pallet, creating a seamless experience from start to finish. When I listen to it, I have a hard time shuffling it or hearing songs by themselves in a playlist. It feels like it's meant to be together, it's meant to be experienced in a manner which is not as common anymore. Labels market singles, they want that smash song that people will get sick of on the radio. People buy songs individually more often than by the album, so to create a piece of art that demands to be listened to in it's entirety is a bold move.
The theme reminds me a lot of retro science fiction; stories from the era of Issac Asimov and Ray Bradbury where the future teetered between the sides of glimmering, shiny hope and the dark, brooding pessimism. It's not quite as serious and dystopian as sci-fi has generally become, but it clearly reveals that something is not quite right - an inkling of a suspicion, a hint that someone or something is lurking, waiting for the right moment to be revealed. This is a galaxy of opportunity, both reputable and not, probably riding closer to the science side than the fiction. There isn't as much myth to this place, nothing like Star Wars; closer to Star Trek, but a tad bit darker and less optimistic.
Lyrically, it feels a bit more abstract than AM. For me, that might have been an issue years ago - I liked it when I could decipher what I was listening to and find a meaning. With time, I'm sure I'll be able to grasp some of what Turner is crooning about. But for now, I'm just fine without knowing - it feels as though I don't have to focus on the words and let the overall sound wash over me, taking me to this unknown world I have yet to fully discover. There definitely are lines that I thoroughly enjoy - take this one from "Star Treatment":
"So who you gonna call?
The Martini Police"
Something about the way Turner delivers the line makes it so amusing & mocking of the intended target - someone who seems to be snobby or uptight about ridiculous things.
Another fun set of lines lies farther along in the song:
"I just wanted to be one of those ghosts
You thought that you could forget
And then I haunt you via the rear view mirror
On a long drive from the back seat".
It's a strangely relatable line - at least for those of us who are perhaps a little more paranoid or fearful of that which lurks in the dark. The imagery of a lingering lover as a ghost somewhat out of reach, but on the edge of awareness.
This album truly is a masterpiece - a well crafted work of art that manages to acknowledge the past while looking forward. The way in which the music creates it's own physically manifestation is the most remarkable aspect; something that I know will keep me coming back for more and inspiring me in my own work.
Rating: 5/5
Recommended: "Star Treatment", "Tranquility Base Hotel & Casino", and "She Looks Like Fun"
Tuesday, May 15, 2018
Pastel (Single) - Crooked Teeth
While this is not necessarily a new release, LA-based Crooked Teeth have rereleased their EP Pastel through Rude Records, the label that the band signed with back in March. The band consists of Tyson Evans on vocals/bass, Adam Miranda on guitar, and Adam Galindo on drums. The tracks have all been re-mixed and re-mastered by Matt Lang and Kris Crummett respectively. I asked the band about what it's been like to be on a label now, and Tyson shared his excitement, talking about how being "part of an established label/band relationship like this so to make that happen with a team who genuinely want to see us do great things and maintain our artistic integrity is such a win".
Within the span of three songs, LA natives Crooked Teeth demonstrate their wide range and musical abilities. “Crawl” reminds me ever so briefly of “In Too Deep” by Sum 41, specifically the guitar part in the beginning, but quickly drifts away from that sound and takes on a more serious tone, as the band's vocalist and bassist Tyson sings about a broken relationship and trying to take the high road in the toxic aftermath of pain and heartbreak. The emotional turmoil is very evident, in the ways in which Tyson switches between the soft & gentle side and the intense and gritty higher vocals and the strength of the instrumental crashing behind his voice and lyrics. This release sees the addition of Bonnie Fraser from Stand Atlantic, which creates another layer of depth as well as providing some excellent contrast to Tyson's vocals. She soars when he goes low and provides another octave of emotional intensity.
"Out of Place" is probably the most upbeat song of the release, and delves into the topic of belonging and struggling with feeling like you should be here. The chorus especially exemplifies that:
"When you start to feel like running away
To another time, to a different place
When you start to feel yourself slipping away
Do you feel anything, do you feel out of place?".
It's always an interesting concept to me, when a band or artist is able to discuss something that's not necessarily happy or cheerful over an instrumental that's upbeat and gets the listener going. This song is a great example of that, with a solid instrumental (Adam G's drums are tight and driving, and Adam M's guitar really helps lead the melody in the moments where Tyson's vocals fade away) that makes you want to rock out while the lyrics make you think and (perhaps) get emotional. The message behind the song is very relatable, especially for those of you who identify strongly with the emo music scene (no wonder these guys played Emo Nite in LA last year).
"Helpless" finishes out the EP on a darker, heavier note. This song is part of what helps distance the band a bit from the pop-punk crowd and shows some rock & alternative-rock influences (Tyson mentioned that some of their influences include Slayer and Slipnot among the likes of Jimmy Eat World, The Maine, and Fall Out Boy), and shows their ability to synthesize their influences into one, unique sound. The drum work on this song is especially notable, between the clean verses and the almost breakdown moment of the pre-chorus; creating contrast in rhythm alone is impressive. The lyrics and vocals really drew me to this song as well, such as the chorus:
"I could fake this pain
Keep my thoughts at bay
I could whisper all my fears or keep it down when you're around
If I fake this pain".
The song talks about dealing with internal pain, fear, and anxiety, and the struggles with trying to cope and keep your composure for those around you. It's a hard thing to deal with, especially when you feel as though you can't talk about what's going on inside and trying to pretend like everything is okay. Tyson's vocals reflect this turmoil, showing us his ability to yell and scream on the bridge, repeating the line "when I feel helpless" over and over. It's a heavy song, but a well crafted and passionate tune that really resonates with the listener.
This release really shows the strength and passion of the band, a group that feels ready to explode and, as Tyson put it, "preparing to take over the damn world". When asked about some of their influences and role-models in terms of other bands and artists, Tyson mentioned that Fall Out Boy "has influenced our outlook on how to approach our art and the avenues we want it to travel down. We really dig how they've just played the whole spectrum. They kill it in artwork, collaborations, songwriting and most importantly they take risks and there's something really inspiring about that".
I appreciated that notion of taking risks and expanding a group's sound and influence, something I can already hear in Crooked Teeth's current sound and expect to hear more of in future releases.
Speaking of that, the band will be heading out on tour with Belmont and Young Culture later this month and Sundressed and Tiny Stills after that. Stay tuned this fall for their follow up EP on Rude Records that the band is really excited for; the band says they thin fans will "be pleasantly surprised at the growth there". Check out all their information for tour dates and music on their website here, and watch their latest music video for "Crawl" here!
Rating: 4.5/5
Within the span of three songs, LA natives Crooked Teeth demonstrate their wide range and musical abilities. “Crawl” reminds me ever so briefly of “In Too Deep” by Sum 41, specifically the guitar part in the beginning, but quickly drifts away from that sound and takes on a more serious tone, as the band's vocalist and bassist Tyson sings about a broken relationship and trying to take the high road in the toxic aftermath of pain and heartbreak. The emotional turmoil is very evident, in the ways in which Tyson switches between the soft & gentle side and the intense and gritty higher vocals and the strength of the instrumental crashing behind his voice and lyrics. This release sees the addition of Bonnie Fraser from Stand Atlantic, which creates another layer of depth as well as providing some excellent contrast to Tyson's vocals. She soars when he goes low and provides another octave of emotional intensity.
"Out of Place" is probably the most upbeat song of the release, and delves into the topic of belonging and struggling with feeling like you should be here. The chorus especially exemplifies that:
"When you start to feel like running away
To another time, to a different place
When you start to feel yourself slipping away
Do you feel anything, do you feel out of place?".
It's always an interesting concept to me, when a band or artist is able to discuss something that's not necessarily happy or cheerful over an instrumental that's upbeat and gets the listener going. This song is a great example of that, with a solid instrumental (Adam G's drums are tight and driving, and Adam M's guitar really helps lead the melody in the moments where Tyson's vocals fade away) that makes you want to rock out while the lyrics make you think and (perhaps) get emotional. The message behind the song is very relatable, especially for those of you who identify strongly with the emo music scene (no wonder these guys played Emo Nite in LA last year).
"Helpless" finishes out the EP on a darker, heavier note. This song is part of what helps distance the band a bit from the pop-punk crowd and shows some rock & alternative-rock influences (Tyson mentioned that some of their influences include Slayer and Slipnot among the likes of Jimmy Eat World, The Maine, and Fall Out Boy), and shows their ability to synthesize their influences into one, unique sound. The drum work on this song is especially notable, between the clean verses and the almost breakdown moment of the pre-chorus; creating contrast in rhythm alone is impressive. The lyrics and vocals really drew me to this song as well, such as the chorus:
"I could fake this pain
Keep my thoughts at bay
I could whisper all my fears or keep it down when you're around
If I fake this pain".
The song talks about dealing with internal pain, fear, and anxiety, and the struggles with trying to cope and keep your composure for those around you. It's a hard thing to deal with, especially when you feel as though you can't talk about what's going on inside and trying to pretend like everything is okay. Tyson's vocals reflect this turmoil, showing us his ability to yell and scream on the bridge, repeating the line "when I feel helpless" over and over. It's a heavy song, but a well crafted and passionate tune that really resonates with the listener.
This release really shows the strength and passion of the band, a group that feels ready to explode and, as Tyson put it, "preparing to take over the damn world". When asked about some of their influences and role-models in terms of other bands and artists, Tyson mentioned that Fall Out Boy "has influenced our outlook on how to approach our art and the avenues we want it to travel down. We really dig how they've just played the whole spectrum. They kill it in artwork, collaborations, songwriting and most importantly they take risks and there's something really inspiring about that".
I appreciated that notion of taking risks and expanding a group's sound and influence, something I can already hear in Crooked Teeth's current sound and expect to hear more of in future releases.
Speaking of that, the band will be heading out on tour with Belmont and Young Culture later this month and Sundressed and Tiny Stills after that. Stay tuned this fall for their follow up EP on Rude Records that the band is really excited for; the band says they thin fans will "be pleasantly surprised at the growth there". Check out all their information for tour dates and music on their website here, and watch their latest music video for "Crawl" here!
Rating: 4.5/5
Saturday, May 12, 2018
My Little Awkward Body - Death & His Couch Band
I’m pleased to again be reviewing a new release from my friend Charles Crowley through his passion project, Death & His Couch Band. I previously reviewed the single “Sunpools”, and really enjoyed the work Charles put into the music. This new release continues that sense of vulnerability and honesty that marked “Sunpools”.
With “My Little Awkward Body”, Charles uses the track to open up about his struggles with self-image and the ways in which that has impacted his life thus far. What’s really cool is the companion piece he wrote up for the song (read it here), which I’ll reference as well. In terms of the instrumental, it moves in a bit of a different direction than “Sunpools”, being more upbeat and with a more intense sound. The drums are much different, giving the song a sense of urgency and adding to the prominent shoegaze/dreamo sound found throughout. The bright synths add some contrast to instrumental, soaring and echoing while the guitars and drums are more precise and gritty.
The song is mostly instrumental until the vocals/lyrics kick in at the 1:20 mark, which is more than halfway through the two and a half minutes of the track. I really enjoy the lower and higher vocals playing on each other, adding further depth to an alread well layered track. It almost gives the sense of two vocalists, two voices conveying different emotions and emphasizing different points. The lower obviously is more reserved, a sense of brooding contrasted by the louder, almost screaming nature of the higher vocals. Even when the vocals show up, they don’t exactly feel like the focal point - the mixing blends them into the track in a way that forces you to be attentive while also allowing for the listener to let the track wash over them in a wave of sound.
Now, the lyrics. It's only two almost identical stanzas, which I'll post below:
"don't wanna feel like I've lost myself
today's the only day I have left
today's the only day I have left
today's the only day I have left
in my awkward body
my little awkward body
don't wanna feel like I've lost myself
today's the only day I have left
always the only day I have left
always the only day I have left
in my awkward body
my little awkward body
my little awkward body
my little awkward body".
I think these lines, combined with the companion piece I mentioned/linked to earlier, really present an honest and open portrayal of a struggle that many people can relate to. I especially like that Charles is talking about it as a man; while it is more well known for women to struggle with body image and the pressures of societal norms and expectations, it also falls on men as well. I myself have struggled with this (and still do on occasion), and I know many others do. Not only that, but with the notion of how connected we as people with our bodies and that they are simultaneously a vessel in which we reside and also a part of who we are. No wonder what we think of our body can affect us so deeply. It's this conversation, this part of our humanity that I am really glad Charles was able to bring up and share his experience with so as to create conversation and be vulnerable. Vulnerability is obviously a difficult thing to do, but often helps bring about the changes that humanity needs.
While I think I prefer "Sunpools" as a track, "My Little Awkward Body" has such depth and meaning behind it that I know I'll be listening to it and sharing it with people around me. I'm grateful to Charles for taking the time to put forth this work (which he mentioned was due in part to encouragement from a friend and bandmate of his from his other group, Gardenside, "Robby Craig, who also mixed & mastered the tracks"), and for sharing his thoughts with me. He will be working with a director on a music video for the track, so keep your eyes peeled for that!
Rating: 4/5
With “My Little Awkward Body”, Charles uses the track to open up about his struggles with self-image and the ways in which that has impacted his life thus far. What’s really cool is the companion piece he wrote up for the song (read it here), which I’ll reference as well. In terms of the instrumental, it moves in a bit of a different direction than “Sunpools”, being more upbeat and with a more intense sound. The drums are much different, giving the song a sense of urgency and adding to the prominent shoegaze/dreamo sound found throughout. The bright synths add some contrast to instrumental, soaring and echoing while the guitars and drums are more precise and gritty.
The song is mostly instrumental until the vocals/lyrics kick in at the 1:20 mark, which is more than halfway through the two and a half minutes of the track. I really enjoy the lower and higher vocals playing on each other, adding further depth to an alread well layered track. It almost gives the sense of two vocalists, two voices conveying different emotions and emphasizing different points. The lower obviously is more reserved, a sense of brooding contrasted by the louder, almost screaming nature of the higher vocals. Even when the vocals show up, they don’t exactly feel like the focal point - the mixing blends them into the track in a way that forces you to be attentive while also allowing for the listener to let the track wash over them in a wave of sound.
Now, the lyrics. It's only two almost identical stanzas, which I'll post below:
"don't wanna feel like I've lost myself
today's the only day I have left
today's the only day I have left
today's the only day I have left
in my awkward body
my little awkward body
don't wanna feel like I've lost myself
today's the only day I have left
always the only day I have left
always the only day I have left
in my awkward body
my little awkward body
my little awkward body
my little awkward body".
I think these lines, combined with the companion piece I mentioned/linked to earlier, really present an honest and open portrayal of a struggle that many people can relate to. I especially like that Charles is talking about it as a man; while it is more well known for women to struggle with body image and the pressures of societal norms and expectations, it also falls on men as well. I myself have struggled with this (and still do on occasion), and I know many others do. Not only that, but with the notion of how connected we as people with our bodies and that they are simultaneously a vessel in which we reside and also a part of who we are. No wonder what we think of our body can affect us so deeply. It's this conversation, this part of our humanity that I am really glad Charles was able to bring up and share his experience with so as to create conversation and be vulnerable. Vulnerability is obviously a difficult thing to do, but often helps bring about the changes that humanity needs.
While I think I prefer "Sunpools" as a track, "My Little Awkward Body" has such depth and meaning behind it that I know I'll be listening to it and sharing it with people around me. I'm grateful to Charles for taking the time to put forth this work (which he mentioned was due in part to encouragement from a friend and bandmate of his from his other group, Gardenside, "Robby Craig, who also mixed & mastered the tracks"), and for sharing his thoughts with me. He will be working with a director on a music video for the track, so keep your eyes peeled for that!
Rating: 4/5
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