When I interviewed Tyson of Crooked Teeth for my review of their rerelease of Pastel, he mentioned the influence that Fall Out Boy has had on the band, in terms of way they approach all aspects of the music biz and taking the risks that they have over the years.
As I was listening to the new EP, Honey, I found myself very much agreeing with that influence and seeing the way that Crooked Teeth is ready to take risks and make bold moves. With just five songs, the band really flexes their songwriting skills and showcases their wide-ranging influences, with elemtnts of hip-hop and pop smoothly mixing in with pop-punk and emo sounds. It's an ambitions venture, not trying to fit a single mold or set of expectations as the band lays it all out on the line. The whole EP only lasts for about 17 minutes, but each listen reveals the variety of sound spaces that the band chose to explore through. At it's heart, the band's pop-punk and rock sound holds true throughout. Each song of the release manages to incorporate an element or two that is not an obvious connection - the hip-hop beats of the title track, "Honey", and "You and Me (Whatever)", the synth/percussion melody line utilized in the intro and choruses of "Broken Bones", and the pop-leaning beat, synths, and echoing/super high vocals of "Absent" all reveal a much wider range of musical inspiration far beyond those of any one genre.
One of the most impressive elements of this release is the songwriting. It's incredibly strong, with all of the hooks for each song being both memorable and creative; tunes that get stuck in your head but still retain substance and intentionality. I think the song that sticks out to me the most is "You and Me (Whatever)" - the vocals and melody feel the strongest of the whole EP, showing pop-sensibility over both the synthetic beats and bass or the gritty guitars and crashing drums. The fact that they hold up so well over both sections, both of completely different directions and vibes, really is a testament to the band's songwriting and Tyson's vocal abilities.
The impressive nature of the songwriting goes far beyond the vocals; the instrumentals are all top notch as well. The flawless melding of the band's usual tools (guitar, bass, drums) with the synthetic and genre-crossing elements makes for an ever-deepening listening experience. Each time through leaves room for new discoveries, new a-ha moments. Not to mention there's just some kickass, jamming places that make your body want to move along. There's this place in "Absent" where the guitars hit these staccato, almost snarl-like notes, in sync with the drums that is just damn cool. The contrast of the verse in "Hate Me" between the muted guitar strums and drums and the full throttle wall of noise for Tyson to growl over. The drop into the first chorus of "Honey" where Tyson falls through a melody that conveys such anguish while Adam and Adam kick things into high gear to provide a ferocious wall of support. I could keep going, but the point is that the band knows what they're doing - these ain't no amateurs.
Lyrically, this release is a gold mine. Such well crafted songs about deep struggles and pain that life has brought and letting those responsible know what they've done. It's a very relationally-based set of songs, but one that feels very relatable and paints vivid pictures of the various situations. The chorus for "Honey is one such example:
"I think I might die
I feel the onset of this heart attack
While my hands are tied behind my back"
as well as part of the chorus of "Absent"
"It always happens, that I'm left hurting
Rather be absent, than feel like a burden
You draw me close, just enough to make me hang around"
The biggest stinger/call out, which I really appreciated the brutal honesty of the last few lines of the bridge for "Broken Bones":
"There's only so much you can buy
When there's just nothing left to hide behind
So smile big cause that's the only thing that's real".
Each song contains a number of lines that I imagine many people will grab onto and hold close to, capturing the different struggles of those with anxiety, depression, and heartbreak.
When I spoke with Tyson back in May, he said this about the forthcoming EP (Honey): "I think people are going to be pleasantly surprised at the growth there." He got it right on the nose. I think this EP has a little bit of something for everyone. Not only does it have elements that drew fans to the band, but shows the scope of their vision for what the band can accomplish and their willingness to take risk along the way. The payoff was definitely worth it; this is 17 minutes of super solid music that you won't want to miss.
Rating: 5/5
Recommended: "Honey", "You and Me (Whatever)", "Broken Bones"
Friday, November 23, 2018
Wednesday, November 21, 2018
Folds in Your Clothes - EP - Laureline
The more I listen to this EP, the more I find myself in wonder.
As a disclaimer to start, I went to college with Ciera (vocals/guitar) and Marian (bass) of LA-based band Laureline, so I'm somewhat biased towards the work that they do.
Now, does that mean that I am going to promote or encourage you to listen to their music just because I know & like them as people? No.
I'm going to tell you to listen to this EP because it's damn good.
The comparison to The 1975 feels too obvious (as well as something I mentioned in my review of their first single "I Love You"). It's an influence, no doubt, but isn't a defining aspect. Sonically, yes, it's similar. But the direction, the vibes? Much, much different. There's a clear intentionality about the music of this EP, a purpose and a passion with each track. It's all very atmospheric, layers of sounds building together to create an experience with each listen, not to mention the lyrics and the stories the band tells with each track.
I love the dual vocals - I have said it time and time again when reviewing other artists that utilize this, and I will always go on about it. It provides so many more opportunities for a band, places and sonic spaces that other groups can't explore. The way in which Laureline chose to have songs where the vocalist work together ("I Love You" & "Nothing") and also songs where each vocalist gets to lead ("Restless" for Ciera" and "Hum" for Chris). Each song reveals the vocalists' own strengths or allows one to shine while the other provides support.
"Restless" starts with this beautiful set of piano lines, echoing into each other as the rest of the song unfolds (which the beat, to me, reminds me of "100 Letters" by Halsey off her latest album). Ciera's vocals are really the highlight of the release though, floating over the track like a spirit with some real soul. The song has a little bit of fight, especially in the chorus and the last line: "when you say you want it back, you can have it"; clearly a relationship or friendship gone south is the fuel to this fire. I especially enjoy the saxophone solo, adding to the hearty and soulful sound of the track, despite the more modern instrumentation.
To me though, the highlight of the release is "Hum" and "Just Go Slow On Me", the last two songs that meld together to create a nearly eight minute long experience. They're softer, quieter songs; yet build in momentum and emotional weight as they progress.
The strongest, most pulling moment of "Hum" is the bridge, where Chris repeats the line, "Do you wanna love me now?", over and over, rising with the music as the intensity builds. It feels so vulnerable and heart-wrenching, and showcases the band's ability to craft such powerful pieces.
The follow up to that intensity, however, almost ends up overshadowing it. "Just Go Slow On Me" is shorter, but the second stanza of lyrics carries such weight despite it's brevity:
"But I can't
Hear you but you're talking to me
And I'm forgetting how you look already
And I told you please just go slow on me
When you told me that you like loving me
But I can't".
The two songs are certainly interconnected, and almost required together to fully experience the depth to which this band wants to bring the listener; cocooned in soft synths and warm bass tones as the sorrow washes over. That makes it sound a bit more emo than it is - but I promise, it's an experience worth going through.
What a phenomenal start for a group with such potential. Most definitely looking forward to future releases from one of LA's most promising young bands.
Rating: 4/5
Related: The 1975, Lany, Halsey
As a disclaimer to start, I went to college with Ciera (vocals/guitar) and Marian (bass) of LA-based band Laureline, so I'm somewhat biased towards the work that they do.
Now, does that mean that I am going to promote or encourage you to listen to their music just because I know & like them as people? No.
I'm going to tell you to listen to this EP because it's damn good.
The comparison to The 1975 feels too obvious (as well as something I mentioned in my review of their first single "I Love You"). It's an influence, no doubt, but isn't a defining aspect. Sonically, yes, it's similar. But the direction, the vibes? Much, much different. There's a clear intentionality about the music of this EP, a purpose and a passion with each track. It's all very atmospheric, layers of sounds building together to create an experience with each listen, not to mention the lyrics and the stories the band tells with each track.
I love the dual vocals - I have said it time and time again when reviewing other artists that utilize this, and I will always go on about it. It provides so many more opportunities for a band, places and sonic spaces that other groups can't explore. The way in which Laureline chose to have songs where the vocalist work together ("I Love You" & "Nothing") and also songs where each vocalist gets to lead ("Restless" for Ciera" and "Hum" for Chris). Each song reveals the vocalists' own strengths or allows one to shine while the other provides support.
"Restless" starts with this beautiful set of piano lines, echoing into each other as the rest of the song unfolds (which the beat, to me, reminds me of "100 Letters" by Halsey off her latest album). Ciera's vocals are really the highlight of the release though, floating over the track like a spirit with some real soul. The song has a little bit of fight, especially in the chorus and the last line: "when you say you want it back, you can have it"; clearly a relationship or friendship gone south is the fuel to this fire. I especially enjoy the saxophone solo, adding to the hearty and soulful sound of the track, despite the more modern instrumentation.
To me though, the highlight of the release is "Hum" and "Just Go Slow On Me", the last two songs that meld together to create a nearly eight minute long experience. They're softer, quieter songs; yet build in momentum and emotional weight as they progress.
The strongest, most pulling moment of "Hum" is the bridge, where Chris repeats the line, "Do you wanna love me now?", over and over, rising with the music as the intensity builds. It feels so vulnerable and heart-wrenching, and showcases the band's ability to craft such powerful pieces.
The follow up to that intensity, however, almost ends up overshadowing it. "Just Go Slow On Me" is shorter, but the second stanza of lyrics carries such weight despite it's brevity:
"But I can't
Hear you but you're talking to me
And I'm forgetting how you look already
And I told you please just go slow on me
When you told me that you like loving me
But I can't".
The two songs are certainly interconnected, and almost required together to fully experience the depth to which this band wants to bring the listener; cocooned in soft synths and warm bass tones as the sorrow washes over. That makes it sound a bit more emo than it is - but I promise, it's an experience worth going through.
What a phenomenal start for a group with such potential. Most definitely looking forward to future releases from one of LA's most promising young bands.
Rating: 4/5
Related: The 1975, Lany, Halsey
Tuesday, November 13, 2018
Simulation Theory - Muse
If I'm being completely honest, I wasn't planning on listening to this album.
I've been listening to Muse for quite some time now; nearly a decade of following their work (and lucking out with seeing them in 2010 - if you get the chance, I absolutely recommend it). I entered into their realm during The Resistance era, exploring back through their discography and anticipating each new release with much enthusiasm.
That is, until their last album, Drones. While I wasn't as active with my blog between 2015-16, that was one of the few albums I did review, and it was not my taste. So I was skeptical of new music from the group when they started releasing singles nearly a year an a half ago. I definitely enjoyed "Dig Down", but found myself feeling less and less optimistic with "Thought Contagion", "The Void", and "Something Human" (the later two of which I listened to maybe twice). It felt, from initial impressions, that the band went from revisiting their edgier rock roots to falling in with the trends.
So, when I was the album released, I didn't even try listening to it. I was feeling fairly uninspired by the singles, and not wanting to invest my time into an album that I didn't think I was going to enjoy. I don't have as much time as I'd like to just listen to music and potentially review it, so I've been more selective and stingy about what I listen to. Which is not always fair to music and the artists, but I can't waste time on music that doesn't catch me and excite me.
Yesterday, however, I was driving to work and the opening track came up on my weekly suggested playlist from Apple Music. So I decided to give it a go and see how it sounded.
I'm quite glad that I did.
While I was right in my initial impression that this album plays more with current trends in music, I was wrong in the depth and musicality of it. Trap high-hats, dubstep wobbles, and pop-star falsettos all make their appearances, but alongside layering of electronic synths, live drums, gritty bass and guitar lines, and a smattering of orchestral instruments. The result is an album that feels like Muse at their peak - intentionality and experimentation coming together in a way that promotes exploration without compromising the band's integrity or character. Simulation Theory feels like the band took all the tools they've been playing with over the last decade and brought it all together - much like Linkin Park did with their Living Things album in 2012.
Some of the songs and moments feel very similar to Muse's past material. "Blockades" feels quite like it could be at home in a set list right between "Starlight" and "Knights of Cydonia", with the synth arpeggios, sweeping vocals, and guitar solo that reminds you of Matt Bellamy's shredding skills. The wobbles of "Dig Down" bring to mind "Madness" and the almost heartwarming, hopeful nature of the song feels like "Undisclosed Desires". "The Void" could very easily fit in with the "Exogenesis Symphony" of The Resistance, with just a more modern/80's feel.
The band does make some moves in new and previously unexplored directions, however, and these ones pay off big time. "Propaganda" is probably the most obvious track in this case; produced by Timbaland, the song ends up feeling like a mash up between Muse and Justin Timberlake in the best way possible. While "Thought Contagion" felt like it was trying too hard, I think "Propaganda" manages to be this contemporary sounding song without feeling too weird or out of line. Timberland's touch was definitely helpful with this - but also was never a collaboration I would have dreamed of, which makes it all the better.
"Break it to Me" is similar in this sense, but with a much more gritty tone. This was the song that made me know I was going to review this album, that I was going to give it an honest chance. The bass and drum lines come together to give the song swagger, while the vocals give it a sensuality that I never, ever would have expected in a Muse song. It's been a long time since I heard a Muse song that got me excited, that got me dancing in my car. Not to mention the scratching (that I think is done on a guitar??) section in the bridge - I felt like I had been taken back to the Nu-metal days of the early 2000's. I want to write about every single moment of the track, but the bottom line is it's just a sick, cool-ass song.
"Get Up and Fight" is another one that caught my attention, drawing influence from alternative of the late 2000's and early 2010's. The chorus is the best part, shattering the minimalistic, calm verse with a wall of guitars, drums, and some of Bellamy's most earnest and honest sounding vocals in a while. I also discovered that the female vocals featured during the intro and transition from chorus to verse were recorded by To Love - someone I have listened to and appreciate, but an unexpected collaboration nonetheless.
All in all, this album is a job well done. Drawing from popular trends such as trap and 80's sounds, while working with new producers and pushing the boundaries for the band as a whole, has demonstrated that the band is working to create new areas to explore while still retaining their sense of self. Something this album does well that I noticed in the Apple Music description is the general sense of positivity in the songs. The band has delved into some darker and more cynical notions the last few albums, and hearing more hopeful and uplifting ideas from this album helps to make the album something I'm more likely to come back to for more. It's not perfect, but it's definitely a solid, exciting record. I'll gladly admit that I made a wrong assumption about this record, and I will be sure to keep that in mind as I listen to their music and that of others in the future.
Rating: 3.75/5
Recommended: "Break it to Me", "Get Up and Fight", "Pressure", "Blockade"
I've been listening to Muse for quite some time now; nearly a decade of following their work (and lucking out with seeing them in 2010 - if you get the chance, I absolutely recommend it). I entered into their realm during The Resistance era, exploring back through their discography and anticipating each new release with much enthusiasm.
That is, until their last album, Drones. While I wasn't as active with my blog between 2015-16, that was one of the few albums I did review, and it was not my taste. So I was skeptical of new music from the group when they started releasing singles nearly a year an a half ago. I definitely enjoyed "Dig Down", but found myself feeling less and less optimistic with "Thought Contagion", "The Void", and "Something Human" (the later two of which I listened to maybe twice). It felt, from initial impressions, that the band went from revisiting their edgier rock roots to falling in with the trends.
So, when I was the album released, I didn't even try listening to it. I was feeling fairly uninspired by the singles, and not wanting to invest my time into an album that I didn't think I was going to enjoy. I don't have as much time as I'd like to just listen to music and potentially review it, so I've been more selective and stingy about what I listen to. Which is not always fair to music and the artists, but I can't waste time on music that doesn't catch me and excite me.
Yesterday, however, I was driving to work and the opening track came up on my weekly suggested playlist from Apple Music. So I decided to give it a go and see how it sounded.
I'm quite glad that I did.
While I was right in my initial impression that this album plays more with current trends in music, I was wrong in the depth and musicality of it. Trap high-hats, dubstep wobbles, and pop-star falsettos all make their appearances, but alongside layering of electronic synths, live drums, gritty bass and guitar lines, and a smattering of orchestral instruments. The result is an album that feels like Muse at their peak - intentionality and experimentation coming together in a way that promotes exploration without compromising the band's integrity or character. Simulation Theory feels like the band took all the tools they've been playing with over the last decade and brought it all together - much like Linkin Park did with their Living Things album in 2012.
Some of the songs and moments feel very similar to Muse's past material. "Blockades" feels quite like it could be at home in a set list right between "Starlight" and "Knights of Cydonia", with the synth arpeggios, sweeping vocals, and guitar solo that reminds you of Matt Bellamy's shredding skills. The wobbles of "Dig Down" bring to mind "Madness" and the almost heartwarming, hopeful nature of the song feels like "Undisclosed Desires". "The Void" could very easily fit in with the "Exogenesis Symphony" of The Resistance, with just a more modern/80's feel.
The band does make some moves in new and previously unexplored directions, however, and these ones pay off big time. "Propaganda" is probably the most obvious track in this case; produced by Timbaland, the song ends up feeling like a mash up between Muse and Justin Timberlake in the best way possible. While "Thought Contagion" felt like it was trying too hard, I think "Propaganda" manages to be this contemporary sounding song without feeling too weird or out of line. Timberland's touch was definitely helpful with this - but also was never a collaboration I would have dreamed of, which makes it all the better.
"Break it to Me" is similar in this sense, but with a much more gritty tone. This was the song that made me know I was going to review this album, that I was going to give it an honest chance. The bass and drum lines come together to give the song swagger, while the vocals give it a sensuality that I never, ever would have expected in a Muse song. It's been a long time since I heard a Muse song that got me excited, that got me dancing in my car. Not to mention the scratching (that I think is done on a guitar??) section in the bridge - I felt like I had been taken back to the Nu-metal days of the early 2000's. I want to write about every single moment of the track, but the bottom line is it's just a sick, cool-ass song.
"Get Up and Fight" is another one that caught my attention, drawing influence from alternative of the late 2000's and early 2010's. The chorus is the best part, shattering the minimalistic, calm verse with a wall of guitars, drums, and some of Bellamy's most earnest and honest sounding vocals in a while. I also discovered that the female vocals featured during the intro and transition from chorus to verse were recorded by To Love - someone I have listened to and appreciate, but an unexpected collaboration nonetheless.
All in all, this album is a job well done. Drawing from popular trends such as trap and 80's sounds, while working with new producers and pushing the boundaries for the band as a whole, has demonstrated that the band is working to create new areas to explore while still retaining their sense of self. Something this album does well that I noticed in the Apple Music description is the general sense of positivity in the songs. The band has delved into some darker and more cynical notions the last few albums, and hearing more hopeful and uplifting ideas from this album helps to make the album something I'm more likely to come back to for more. It's not perfect, but it's definitely a solid, exciting record. I'll gladly admit that I made a wrong assumption about this record, and I will be sure to keep that in mind as I listen to their music and that of others in the future.
Rating: 3.75/5
Recommended: "Break it to Me", "Get Up and Fight", "Pressure", "Blockade"
Monday, October 29, 2018
If I Say (Single) - Mumford & Sons
I wasn't specifically planning on reviewing the new music from Mumford & Sons. After I had heard "Guiding Light", I found myself a bit underwhelmed - lyrically I really enjoyed it, and felt there was a lot to be appreciated - but the instrumental feeling somewhat lackluster. It was very much in line with the progression of sound I could expect from M&S, and didn't feel quite like it took any chances or risks; a little too safe to be memorable.
However, when I listened to the latest single, "If I Say", in a very intentional manner, I found myself i immediately much more drawn in. The song starts off slow and low, with just synths and keyboards providing the background for Marcus Mumford's vocals that match the softness of the instrumental. Despite that quiet nature, it is clear that the song has urgency, that it is working towards somewhere further on; adding elements with each verse, each repeating chorus. Strings and electronic drum elements mix in, as well as a full drum rhythm and the rest of the band members until the song reaches it's peak, building an intensity that's evident in multiple dimensions of the song. The lyrics of the chorus are really what bring the song together;
"And if I say I love you, well, then I love you".
It's so simple, yet carries so much meaning and power to it. Marcus Mumford continually repeating his love, the words that mean something, that aren't just sounds that make up a phrase but words that barely manage to encapsulate an immensity of feelings that he truly, deeply means. It's something I've grown to appreciate more as I've grown older, and this song captures that life lesson and realization so well.
The subtleties of this song, the lyrics building upon themselves and the instrumental slowly fleshing itself from a soft, delicate piece into a sweeping, breathtaking avalanche of sounds, are what impressed me and made me be a bit more intrigued about the rest of the upcoming album. The previously more unexplored use of electronic elements, the orchestral sense to the song, working a bit outside the norm of the band's previously tested waters; all of that is growth that I am appreciative of. Mumford & Sons had a sound they captured and perfected by their second album, but it is clear after their last album, Wilder Mind and their forthcoming album, Delta, that the band has more territory to explore.
I wrote most of this review on Saturday, the 27th. Earlier on the evening of the 28th, I found out that one of my closest friends lost his father. I found myself listening to this song after I got off work, turning it up in my car as I was driving along and thinking about my friend, thinking about his loss and how even though I hardly knew his father, I felt such sorrow, such a strong sense of mourning. The song built and I starting singing along with the chorus each time, growing and singing louder, until I was yelling it in my car despite feeling my heart in my throat and my eyes wanting to release these tears. Thinking about what this line might mean to my friend, imagining his father relaying that message to him, imagining our Heavenly Father reminding us of that love He has for us.
I already was really enjoying this song. But these kinds of moments, these kinds of instances of music and reality crashing together to create such beautiful and sorrowful moments; this is why I love music so, so very much. This song will most definitely hold a special place in my heart in the years to come.
I was going to put a rating, as I usually do, but that felt too calculated. Too cold. This is a beautiful song, and I think that you are sincerely missing out if you don't listen to it.
I wrote most of this review on Saturday, the 27th. Earlier on the evening of the 28th, I found out that one of my closest friends lost his father. I found myself listening to this song after I got off work, turning it up in my car as I was driving along and thinking about my friend, thinking about his loss and how even though I hardly knew his father, I felt such sorrow, such a strong sense of mourning. The song built and I starting singing along with the chorus each time, growing and singing louder, until I was yelling it in my car despite feeling my heart in my throat and my eyes wanting to release these tears. Thinking about what this line might mean to my friend, imagining his father relaying that message to him, imagining our Heavenly Father reminding us of that love He has for us.
I already was really enjoying this song. But these kinds of moments, these kinds of instances of music and reality crashing together to create such beautiful and sorrowful moments; this is why I love music so, so very much. This song will most definitely hold a special place in my heart in the years to come.
I was going to put a rating, as I usually do, but that felt too calculated. Too cold. This is a beautiful song, and I think that you are sincerely missing out if you don't listen to it.
Monday, October 15, 2018
Trench - twenty one pilots
Trench was an album that I've been anticipating for quite some time, long before it was announced this year. Watching twenty one pilot's assent into the limelight has been more surprising for me, just in the uniqueness of their sound and appeal. Perhaps that is the strength and driving force behind it - the versatility of their sound, the fluidity, genre-hopping nature of the duo behind one of the biggest names in alternative music right now. It is because of that ever morphing sound, that constant drive and push towards new ground and sonic territory, that I continue to want more (and clearly many other fans do as well). I was very curious to see the direction of this album - their last album was a knockout, but was also still built outside of the limelight and without huge, looming expectations. Whatever came next, after Blurryface, however, was going to be under such intense scrutiny from the world, and I was interested to see how the band would tackle such a daunting task.
Recommended: "Jumpsuit", "Levitate", "Morph", "Neon Gravestones", "Smithereens"
Trench was just the right step for the band.
It has elements of Blurryface - more so than any of the transitions I've witnessed between albums for the band - yet is also it's own beast. Sound-wise, it's one of the more consistent albums for the band, exploring still while utilizing the tools and tones that the band has become known for. Some of the most interesting songs, instrumentally, are "Morph", "Cut My Lip", and "Pet Cheetah" ("Jumpsuit" and "Levitate" are as well, but I already reviewed them here and here).
"Morph" has a bit of a swagger to it, mostly thanks to that bass-line that grooves throughout the song, all with Joseph rapping tongue-twistingly fast over the verses. The chorus is my favorite part, however, with Joseph switching to sing as he alternates between falsetto and lower registers to create this beautiful contrast. The way the melody runs, it captures such a sorrow and loneliness in it that's impossible to not be affected by.
"Cut My Lip" reminds me a little of "Ride" from the last album, but slowed down and with more intensity. The contrast between the verses and the chorus creates such an impact; these low, brooding moments of the almost stripped down verses with the synth driven chorus. The chorus continues to build with each rendition, bringing the listener to the edge of their seat time after time until the moment of certain breakdown - that is, until the band switches gears and cuts the momentum. It's done so masterfully, it gets me every time. I think the song is about to explode into this crazy, intense moment, but it switches into a more dreamy state, showing the band's awareness of the listener's anticipation and predictability of song patterns and their desire to cut through that to create something new.
"Pet Cheetah" is probably the weirdest track on the album, switching between these gritty, synth driven rap verses and a more soulful, mournful chorus. It's a drastic enough difference that the different parts could be on completely separate songs, but they're not - the band really makes the song work as a whole unit. The best part is probably the outro, which consists of Joseph and other voiceovers repeating "pet cheetah" over and over in a very ominous manner as the song does a very light/minor breakdown. It's almost silly, but still really engaging and strong writing from the band.
Trench also goes even deeper into the mind of Tyler Joseph, with his transparency and honesty at the forefront of the songs and lyrics. I'll be honest, some of it is still over my head - I've been using Genius to see what the popular interpretations of the lyrics are, but only a few are clear to me. And I'm okay with admitting that, and knowing that the more I listen, the more I'll understand and decipher the lyrics. There's also a bit of a story woven into the album - this concept of Nico and The Niners and all the lore the band has built up leading to the release of the album. I haven't delved into that, but it is definitely heard in certain songs as well as the visuals provided by the connected music videos for "Jumpsuit", "Nico & The Niners", and "Levitate".
I do know that the parts of the music I have been able to understand deals heavily in mental health and dealing with depression and anxiety. There's also a large amount of faith in these lyrics, something that I wasn't aware of from the band until recently - Joseph is a practicing Christian. There are certain lines that the meaning now becomes much more apparent with that in mind. For example, much of the song "Morph" deals with the notion of the inevitability of death, especially from a faith perspective. The following lines illustrate some of this:
"We're surrounded and we're hounded
There's no above, or under, or around it
For "above" is blind belief and "under" is sword to sleeve
And "around" is scientific miracle, let's pick "above" and see
For if and when we go above, the question still remains
Are we still in love and is it possible we feel the same?"
this part of the verse talks about how death is going to happen; as humans, it is unavoidable and ever present as a thought ("we're surrounded and we're hounded"). Three options are presented; "above", "under", or "around"; going to heaven, going to hell, or attempting to avoid death altogether (respectively). Joseph picks above, but wonders what it'll be like when he arrives - will he still feel, will he still love? I think this refers to the people in his life, whereas the annotator on Genius believes it is whether Joseph and God will still love each other (I don't know if or where it discusses that in the Bible/in theology, so if you do, please let me know).
The amount that I can unpack from just a part of a verse of one of the songs astounds me - there's such a depth and multi-dimensional aspect to these lyrics, and it's part of what has kept me coming back to this album this past week.
The song I want to talk about the most, lyrically, has to be "Neon Gravestones". I could tell this song was different just from the sound, the instrumentation and more somber mood inspired. However, the more I listened to and processed the lyrics, the more I knew this song was going to be the standout. "Neon Gravestones" tackles the notion of suicide, especially amongst celebrities, and how the way in which society reacts to these events becomes very dangerous. Early on in the song, Joseph sets the tone:
"We glorify those even more when they...
My opinion, our culture can treat a loss like it's a win
And right before we turn on them
We give 'em the highest of praise
And hang their banner from the ceiling
Communicating, further engraving
An earlier grave is an optional way
No"
By talking about those whom we've lost in a way that highlights all their achievements, it can wrongly lead people, especially those who are emotionally vulnerable and possibly contemplating suicide themselves, to think that suicide can make them seem better to those around them - that their names might be glorified after death because of the tragedy. As Joseph points out later in the song:
"I could use the streams and extra conversations
I could give up, and boost up my reputation
I could go out with a bang
They would know my name
They would host and post a celebration"
Those lines further cement this idea further, the glorification of suicide.
Joseph makes sure to address the people who help enable this in the second half of the second verse:
"My opinion will not be lenient
My opinion, it's real convenient
Our words are loud, but now I'm talking action
We don't get enough love?
Well, they get a fraction
They say, "How could he go if he's got everything?"
"I'll mourn for a kid, but won't cry for a king.""
People can say that it's tragic, that the loss is terrible, but then refuse to adjust their mentality when thinking about the well-being and mental state of those in the spotlight. Just because they have material possessions and are considered to be well off, that's not enough on it's own. As we've seen many times, wealth and success and fame don't solve problems; often times, they make it more difficult to deal with and heal from.
The idea of trying to write a song like this seems so incredibly impossible. The topic of suicide is difficult on its own, but to try and call out the way we've begun to shift our thoughts about the subject as a culture in a dangerous direction; I can't think of many bands that would be able to approach the subject in a way that honors those we've lost while pleading with and calling out the people and habits that enable more loss and tragedy to occur. I have such an immense respect for the band for taking this subject head on, as it's something I've thought about and talked about with friends, family, and through previous posts through the last year or so. It's absolutely important to talk about this, but also to act on it and work towards preventing more people thinking that suicide can be an answer. This song is by far one of the most important songs I've heard this year, if not the most.
Not all the songs dwell in such heavy and dark places, however. Songs like "Legend" and "Smithereens" both have a much more lighthearted and positive light to them, especially the later. "Smithereens" is a love song at it's core, as the chorus states:
"For you, I'd go
Step to a dude much bigger than me
For you, I know
I would get messed up, weigh 153
For you
I would get beat to smithereens"
The song was written by Joseph for his wife, and is one of the more authentic and sweetest love songs I've heard in years. It's really important and well placed on the album, providing a respite for the listener and a song that brings a smile to one's face.
While I think that people will always fawn over Blurryface as it was the album that broke the band into the spotlight, Trench is going to be one that really defines and cements the status of the band as being quality songwriters and incredible musicians. I think this is their best work yet - it feels confident while not being prideful, shows growth and awareness of the duo's fame and position without abusing it. This is masterfully made art; this is how music can transcend being simply notes and words and create an experience, a lasting impression.
Rating: 5/5
Recommended: "Jumpsuit", "Levitate", "Morph", "Neon Gravestones", "Smithereens"
Tuesday, September 25, 2018
Ever Changing - EP - The Neighbourhood
This EP marks the end of the last year of music from The Neighbourhood, starting last September with the Hard, followed by To Imagine, and most recently with their self titled album (click on any of the names to read my reviews for each release). When you put the names of the releases together, the titles come together to say "Hard To Imagine The Neighbourhood Ever Changing". In an interview with The Los Angeles Times, the band talked about how they wanted the releases to create a sentence that made a statement & how they staggered their new music over three EPs and a LP to keep momentum going. I have to say, it's been effective - I've been listening to the band a lot over the last year, both their newer and older material.
With the entire set of music out now, I've been taking time to look at it as a whole unit, a complete piece, instead of each individual release. This latest chapter for the band has definitely seen them flexing their range of sounds and vibes, and what defines them as a group. I think that a lot of casual listeners who mostly know of The Neighbourhood from their breakout single, "Sweater Weather" would find themselves very surprised to come back to this release and see what the band is doing now. This comes back to my post about Mac Miller, and the idea of putting artists in these boxes and being surprised when they don't conform to it. For example; in 2014, the band put out a mixtape, titled #000000 & #FFFFFF (which are the HEX codes for black and white), which featured many rappers and hip-hop sounds - much like Ever Changing. It's a very natural progression, listening to the mixtape and then hearing their latest EP - but if you were outside of that knowledge, it might seem like a weird leap. But it most definitely makes sense for the band, being comfortable territory for them. I definitely have a lot of respect for the band in terms of the scope and vision that went into this series of releases - they decided to try something different
Now, the features on this release are a bit different than the band's last foray into rap. I knew who most of the guest artists were (G-Eazy, YG, Dej Loaf, French Montana), whereas with Ever Changing, I only knew of Ghostface Killah (thanks to Fort Minor). To be honest, I think the features were some of the weaker aspects of the songs - IDK and Nipsey Hussle specifically. Their verses felt flat and unimaginative and both sounded (in their own ways) like Eminem copycats, with IDK being the biggest offender.
On the other hand, Denzel Curry did very well on the first song of the release, "Kill Us All"; the song has a mix of 90's rap vibes and modern alternative, and Curry's West Coast style fits in perfectly. Ghostface brings a similar strength to "Beat Take 1", which is on the opposite spectrum from "Kill Us All", with a slower pace, more chilled-out vibe, that has a hint something more serious. The only song on the release without a feature, "Paradise" is a stand out track - both for the change in tone and the quality. It's a glimpse of the band that most people are used to, which while I understand their desire to push their boundaries, I find myself most drawn to this track out of them all.
This EP, to me, felt like the most scattered of the releases for this era of The Neighbourhood. That's not saying that it's bad - I think that it's a really different move for the band, and I very much respect that. The overall release is definitely enjoyable, even if I'm not a fan of all the individual songs. It's a fitting end for this series from the band - it shows their courage to be themselves as artists and not to worry about the notions and ideas that people have of them. Definitely worth checking out.
Rating: 3/5
Recommended: "Paradise", "Kill Us All (feat. Denzel Curry)", "Beat Take 1(feat. Ghostface Killah)"
Now, the features on this release are a bit different than the band's last foray into rap. I knew who most of the guest artists were (G-Eazy, YG, Dej Loaf, French Montana), whereas with Ever Changing, I only knew of Ghostface Killah (thanks to Fort Minor). To be honest, I think the features were some of the weaker aspects of the songs - IDK and Nipsey Hussle specifically. Their verses felt flat and unimaginative and both sounded (in their own ways) like Eminem copycats, with IDK being the biggest offender.
On the other hand, Denzel Curry did very well on the first song of the release, "Kill Us All"; the song has a mix of 90's rap vibes and modern alternative, and Curry's West Coast style fits in perfectly. Ghostface brings a similar strength to "Beat Take 1", which is on the opposite spectrum from "Kill Us All", with a slower pace, more chilled-out vibe, that has a hint something more serious. The only song on the release without a feature, "Paradise" is a stand out track - both for the change in tone and the quality. It's a glimpse of the band that most people are used to, which while I understand their desire to push their boundaries, I find myself most drawn to this track out of them all.
This EP, to me, felt like the most scattered of the releases for this era of The Neighbourhood. That's not saying that it's bad - I think that it's a really different move for the band, and I very much respect that. The overall release is definitely enjoyable, even if I'm not a fan of all the individual songs. It's a fitting end for this series from the band - it shows their courage to be themselves as artists and not to worry about the notions and ideas that people have of them. Definitely worth checking out.
Rating: 3/5
Recommended: "Paradise", "Kill Us All (feat. Denzel Curry)", "Beat Take 1(feat. Ghostface Killah)"
Saturday, September 22, 2018
A Music Lover's Brief Update
Lately, when I’ve been listening to music or browsing what’s new, I have often ended up listening to older music - either from earlier this year or in the last few years. I’m just finding that a fair amount of the new songs and albums don’t have the same repeatable factor that I’ve been hearing in other songs. That, and lately my mood has not always been reflected by or compatible with the music coming out.
So I’ve been going back to what’s comfortable, what’s familiar. The songs I know that will fulfill that need, the emotional craving inside. I love exploring sounds, finding new artists, but sometimes it doesn’t work for me. I don’t like trying to review or make judgments on music when I’m like that, as I feel it doesn’t give the songs or artists the chance they deserve. Sometimes, I end up feeling guilty if I don’t review something for a long period of time, at least in the last two years or so since I’ve been posting regularly again.
I know I’ve done some reviews for the sake of it, to be consistent and keep up the image of being a good blogger (whatever that means). I also know that part of it lies in my need to feel productive, to feel like I’m doing something and see results and have other people see that as well. The search for validation and results, two things that I’m constantly searching for.
More reviews will be forthcoming. There’s been some stuff coming out that I’ve got my eye on to write about, but I felt like I needed to put this out as well and be authentic in this process. Thanks as always for reading and indulging my thoughts.
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