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(05/15/17 7:00pm)
Perfume Genius, the solo project of Seattle’s Mike Hadreas, has changed a lot since its minimalistic debut Learning in 2010. That record was an intimate, deeply honest reflection on the love, loss, and fear inherent in being a member of the LGBT community in modern America, and with each subsequent record, Hadreas has kept a similar message while giving the music a greater immediacy and pop appeal. Throughout all adaptations of his sound, his project has kept a nearly unparalleled standard of quality. Every Perfume Genius album since 2012’s Put Your Back N 2 It has been one of the best albums of its respective year, and No Shape seems to be on pace to keep that trend going. Continuing down a path that is now well established for him, Hadreas has once again made his most bombastic album to date; still, beneath all the pounding drums and explosive walls of sound lies a reliably heartbreaking, confessional album that leaves very little to guessing.
(05/14/17 1:00pm)
by Ryan Fine
Perfume Genius, the solo project of Seattle’s Mike Hadreas, has changed a lot since its minimalistic debut Learning in 2010. That record was an intimate, deeply honest reflection on the love, loss, and fear inherent in being a member of the LGBT community in modern America, and with each subsequent record, Hadreas has kept a similar message while giving the music a greater immediacy and pop appeal. Throughout all adaptations of his sound, his project has kept a nearly unparalleled standard of quality. Every Perfume Genius album since 2012’s Put Your Back N 2 It has been one of the best albums of its respective year, and No Shape seems to be on pace to keep that trend going. Continuing down a path that is now well established for him, Hadreas has once again made his most bombastic album to date; still, beneath all the pounding drums and explosive walls of sound lies a reliably heartbreaking, confessional album that leaves very little to guessing.
“Don’t hold back, I want to break free”
Upon discovering that a new Perfume Genius album was imminent, I foolishly reasoned that it would need to be more restrained than his previous album, because there was no way he could make a bigger song than “Queen” and still keep it reasonably good. But “Slip Away”, the lead single from No Shape, is not only a candidate for the most massive Perfume Genius song to date; it’s also probably the best song of the year so far. The peaks and valleys of its dynamic range make it stand out as a jaw-dropping moment, even among all the other beautiful songs this album has to offer.
The introductory track of the album, “Otherside”, is similar in this regard. The first sounds on the record are cold, distant piano arpeggios, and the first minute would not be out of place on one of the first two Perfume Genius albums. However, as the song progresses, pummeling soundscapes come out of nowhere and unleash every force of nature at once upon the listener. The vast array of sound sources used in this one short moment foreshadows the entire album that follows it. No Shape contains far more instrumental variation than Hadreas has ever used before.
Apart from the assortment of very well-placed percussion accessories that find themselves at unexpected points on this record (notably the eerie cowbell breaks on “Go Ahead”), there are countless other daring instrumental choices that lend much more color to the album than if it had been only Hadreas at the piano once again. The hidden gem “Choir”, for instance, is driven by a violin line that barrels forward like the horses of the apocalypse while Hadreas simultaneously seems to be whispering into the listener’s ears. Despite essentially being a sampler platter of hundreds of different sounds, this record always sounds free and unrestrained without feeling like the mess it could have been.
Flowing in phases
For an album called No Shape, this record is certainly far from formless. In fact, it is probably the most cohesively flowing Perfume Genius album to date. The album essentially exists in two phases with the first one being inhabited mostly by catchy, sprawling pop tunes. These songs pull the listener in and build an expectation that the rest of the album will be equally danceable. But something changes after “Wreath” and pulls that expectation out from under the rug, starting with the detached beauty of “Every Night”. From this point forward, the default mode of the album is slow and incredibly dark.
After the previously mentioned “Choir” comes the unconventional love song “Die 4 You”, which shares a similar subject matter with “Run Me Through” later on. The entire final stretch of the album flows like a river until the end (though it does cut off slightly awkwardly at the end of the closing track), and the album never once breaks character after it decides to take a more hellish, Xiu Xiu-esque aesthetic. Although the sharp divide of “the catchy half” and “the dark half” might turn some people away as an unwise artistic choice, it does lend some definite unity to the record when interpreted as a descent into madness.
No shape, no secrets
Thought I'd hide / Maybe leave something secret behind / Never thought I'd sing outside.
"Alan"
Like all Perfume Genius music, No Shape is full of creative metaphors that are easy enough to read into and well worth the trouble to do so. The album offers a meticulously detailed exploration of the mind of Mike Hadreas, including his deepest emotions and even sexual fantasies. The songs “Die 4 You” and “Run Me Through” both detail enactments of very specific sexual fetishes and prove that Hadreas is willing to put even the most private, potentially embarrassing parts of his psyche out on the table if it will lend his music the feeling it needs. Hadreas has described “Die 4 You” as a song about erotic asphyxiation, in the sense of someone completely giving themselves over to another person to the point that they might very well die to make them happy.
Conversely, the closing track “Alan” is an evaluation of Hadreas’ life up to this point, named after his boyfriend of eight years. Like “Braid” a couple of tracks before it, “Alan” is of course a reflection on his current relationship, but it’s also more general than that. Back on his 2012 album Put Your Back N 2 It, Hadreas essentially sang about fear and struggle. Despite increased acceptance in recent years, Hadreas still felt like an outsider in the world as a gay man, like society was working against him while trying to tell him he was supposed to feel equal. With lines in “Alan” such as the simple refrain “I’m here / How weird”, he moves from a place of terror toward a thankful approach. Despite all the hardships of marginalization he still ended up being one of the ones who made it after all, and now he uses his platform to recognize those who have not been nearly as lucky.
Best tracks:
“Otherside”
“Slip Away”
“Wreath”
“Choir”
“Die 4 You”
“Alan”
Recommended if you like:
Xiu Xiu
Kate Bush
Low
All images from Spin
(05/15/17 2:00pm)
The latest studio album by famed punk/disco group Blondie stays with you. After dutifully absorbing the 46 minutes of confusion and sheer awkwardness, one would hope that the memory of such an experience would perish from your mind. But alas, it doesn’t. You’ll notice signs of Pollinator for days to come. The thud of a passing train will instead become a mismatched, overly sleek synth section. Conversations with people you thought were deep and intellectual will take on a more simple, and frankly foolish tinge. And most of all, Debbie Harry’s voice will stay with you. She will be the mournful echo to your benevolent existence. Instead of talking with your friends or significant others, your psyche will be blitzkrieged by specter-like repeat of “Does it take you a long time? Does it make you upset?”
(05/12/17 10:46pm)
by Preston Radtke
The latest studio album by famed punk/disco group Blondie stays with you. After dutifully absorbing the 46 minutes of confusion and sheer awkwardness, one would hope that the memory of such an experience would perish from your mind. But alas, it doesn’t. You’ll notice signs of Pollinator for days to come. The thud of a passing train will instead become a mismatched, overly sleek synth section. Conversations with people you thought were deep and intellectual will take on a more simple, and frankly foolish tinge. And most of all, Debbie Harry’s voice will stay with you. She will be the mournful echo to your benevolent existence. Instead of talking with your friends or significant others, your psyche will be blitzkrieged by specter-like repeat of “Does it take you a long time? Does it make you upset?”
“Yes! YES!” you’ll undoubtedly shout, resulting in your friends placing you in the local psychiatric ward.
Pollinator is a bad album. The time of mourning what Blondie once was has passed. Pollinator’s cringey lyrics, cliché rhythms and disgusting vocals have driven out all sentimentality and fondness for the band. Tylenol is heavily advised.
Vocals: From experienced to old
The most offensive qualm with Pollinator is the vocal display by the intrepid Debbie Harry. Once the poster child for the whole punk/disco New York scene, Harry’s voice has gone the way of Atlantis. Her voice is no longer soothing, sensual and smooth; now, it’s no short of rough, decrepit and mispurposed. Songs like “Fun”, “My Monster”, and “Already Naked” are depressing exemplifications of just how out-of-touch Harry’s vocals are. Throughout this album, and especially on “Fun”, Harry’s vocals take on a playful, pop-infused tenor. Her vocal patterns lend themselves perfectly for anthemic, left-leaning works that both the indie and pop crowds could get behind. The problem is, her voice is just so old and out-of-place that these songs at best sound awkward, and at worst sound flat-out awful.
Harry’s voice is in fact salvageable, but she needs to sing slower tempo and perhaps jazzier songs. “Here’s Looking At You” off of 1980’s Autoamerican is an effective blueprint of how Harry should vocalize with her accelerated age. Never one to live in the high notes, the small vocal climbs that Harry does adventure in result in ear-achingly awkward and ineffective messes that leave the listener in a state of annoyance and sympathy toward the once-renowned vocalist. The only slight shining moment for Harry on this album is found in “Long Time”, the second released single. The track features a “Heart of Glass”-sounding vocal refrain in the build-up to the chorus that Blondie handles passingly well. Unfortunately though, that refrain is so obviously close to, and copied from “Heart of Glass” that the listener’s judgment is clouded by nostalgia from the blondest age of Blondie. On it’s own though, her refrain is average at best. Sadly, that was the highlight of Debbie Harry’s performance off Pollinator.
Writing: “Call Me” when you can write better lyrics
Blondie’s lyrics were never meant to - and should never - be taken too seriously. The punk band basked in the glory of creating a feeling and atmosphere with their lyrics, not starting a revolution or providing epiphanies. That in mind though, Pollinator’s lyrics are particularly cringe-inducing. “Doom or Destiny” finds Blondie purging the lyrical biosphere in the region of clear objects as metaphors: “Clear as a crystal ball”, “clear as a diamond”, “clear as a pane of glass”, etc. The obvious classic Blondie reference aside, the album is riddled with overdone motifs and thematic lyrical constructs that a band going on four decades of musicianship should avoid.
Additionally, the writing reveals too many obvious, corny rhymes and patterns for anyone’s good. The zenith of Blondie’s dismal rhyming and patterning is found in the overly cutesy and radio-begging song “Fun”, where Harry very bizarrely delivers the line “You know the problem with you”, followed with the answer “You’re too good to be true.” Instances like these and the previously mentioned lyrical clichés just make it all the more apparent that Pollinator is an album begging to be played on the local adult contemporary stations; one of those stations with blatantly fake and cheery morning shows, and the same stations that start playing Christmas music the second November 1 comes around.
It should be noted though; Debbie Harry, Chris Stein and Clem Burke are not the only people to blame for Pollinator’s painful writing. The eleventh Blondie album found input from at least ten other artists and composers. From guest vocals to guest writing, the album featured a veritable who’s-who of rock and pop heavyweights. So, with that, the lyrical blame spotlight must also be shone on Sia, Dev Hynes, and Charli XCX, three musicians who, again, should have known better.
Feeling: This album needs a Harry-cut
As bad as this album is, it legitimately could be an okay experience without Debbie Harry. She is in fact the only thing holding Pollinator back from being an effective dance floor record with pop and punk influences. Ignoring Harry’s voice (as truly gut-wrenching as that is to do), songs such as “Doom or Destiny”, “Long Time” and “My Monster” all feature dreamy, alluring synthetics that create an accessible, dance-ready experience with whispers of mystery and screeches of revelry. “Love Level” has the most advanced and effective instrumental work on the album. The song kicks off with a simple, yet heavy and mood-setting drum intro by Burke. Once the guitars and Harry enter the fold, they are backed by a synthetic horn section that provides texture and direction for the song.
The album features minimal nods and allusions throughout to past Blondie successes. The horns on “Love Level” sound oddly similar to “The Tide is High”, perhaps the most popular and controversial Blondie song of them all. If Harry was the devil on Pollinator, Clem Burke was God. His drumming was efficient and tempo-setting. As on most albums, the drummer blends in to the sound of the music, not sticking out in any major fashion. Burke, however, is the main catalyst for the song’s aesthetic and mood, his drum orchestrations providing the adequate amount of punch, gentleness, and personality for virtually all of the tracks on the record. Unfortunately though, a drummer can only be so effective. Burke’s work is still massively overshadowed by Harry’s mess.
Top track:
“Love Level”
Also in the Pollinator Family:
The B 52’s: The B 52’s
Bryan Ferry: Boys and Girls
The Human League: Dare
All images from DIY Magazine
(05/12/17 6:00pm)
Ten years after her linear breakthrough, The Reminder, Feist forges a masterpiece that wanders and marauds more than soars and illuminates. Pleasure is an objective and removed analysis of humankind’s more base and animalistic behaviors. It is a work that simultaneously haunts and surprises listeners desiring a more detached, impersonal experience. All the ingredients of Feist’s previous four records are present. However, they are all clouded by an impending storm of introspection and Freudian epiphanies with Feist’s airy voice and measured guitar work providing the choicest type of thunder.
(05/09/17 7:39pm)
by Preston Radtke
Ten years after her linear breakthrough, The Reminder, Feist forges a masterpiece that wanders and marauds more than soars and illuminates. Pleasure is an objective and removed analysis of humankind’s more base and animalistic behaviors. It is a work that simultaneously haunts and surprises listeners desiring a more detached, impersonal experience. All the ingredients of Feist’s previous four records are present. However, they are all clouded by an impending storm of introspection and Freudian epiphanies with Feist’s airy voice and measured guitar work providing the choicest type of thunder.
Quirks: Samples, pullouts, and stripped-back reverbs abound
Despite Feist’s obvious low-fidelity creation, she still utilizes many nontraditional and synthetic inclusions to further construct Pleasure’s demeanor. “Baby Be Simple” is a 6-minute slow ride that touches on the inherent differences between men and women and how these differences clash to forge stereotypes and behaviors not necessarily desired by their partners. The song features a distant synthetic section that further projects Feist’s message in the song via the synths’ moody and slightly creepy manner. Keeping with the rest of the tracks, “Baby Be Simple” features a tantalizingly slow structure, distant yet punctuated vocals, and an airy yet pastoral sound. At around the four-minute mark, however, Feist’s sincere and isolated vocals suddenly get infiltrated by a far-off cross recording of Feist making what almost sounds like ghost-like hummings. As the song progresses, these “ghost-like hummings” get steadily louder until they almost overtake Feist the singer. This specter-like presence makes the song seem more holy and haunted at the same time; it seems as if Feist is hinting at something here. Mortality? Abuse? Divine romance?
The songs “Any Party” and “A Man is Not His Song” feature random sound samples at their conclusion. “Any Party” is the most consistently rough and heavy (relatively speaking) of any of the Pleasure tracks. Furthermore, the song takes on a light, almost benevolent temperament found in few other submissions off the album. The song closes with a cut of what sounds like someone walking down a street at night with cars driving by in the background. Quaint, and possibly joyous up to that point, the track suddenly ends with a car driving by blasting “Pleasure”, the lead single, and possibly the most haunting and Earthy of all the tracks, just to remind the listeners that Feist the Goddess of the Id is still watching. “A Man is Not His Song” features the most random and confusing cut of the entire album. Another vague yet Freudian-leaning track, “A Man is Not His Song” appears to end as most Feist songs do: gently wavering and traipsing off to a comfortable spot in the forest. This time though, the track ends with a surprisingly smooth, sneaky lead-in to “High Road” by Mastodon, an artist that is about as different from Feist as possible.
The Mastodon inclusion almost feels like an expression of Feist’s personality. It seems as if she’s toying with the audience and is enjoying watching their perplexed looks as they pick their jaws off the floor while listening to the hectic and cacophonous beginnings of “High Road.” On the other hand though, the “High Road” incident acts as a sort of inside joke for both Feist and Mastodon diehards. “A Man is Not His Song” is not the first time that Feist and Mastodon have flitted into the other’s music catalog. In 2012 the pair released a Record Store Day single of each covering one of the other’s tracks. The “High Road” incident is a subtle yet effective thank you and acknowledgement to Feist’s fans who had been bemoaning her extensive musical silence the past 6 years. For everyone else it’s one of the most perplexing and abstract Feist implementations to date.
Meaning: Sigmund Feist
Sex, betrayal, love and family turmoil serve as Feist’s punching bags and cuddling pillows off Pleasure. The previously scribed on “Pleasure” is a deep, dark exploration of our sexual, carnal instincts as humans. Feist’s brief yet continual lyrics provide guidance but also allow for self-reflection for the listener. The track features pastoral acoustic guitar solos, incremental vocal hikes, and even several heavy electric guitar inclusions that oddly enough sound like classic rock riffs, not folk pop. “I Wish I Didn’t Miss You” is a traditional mournful breakup song, except this track makes slight allusions to sexual and coarse elements of the singer’s relationship: not strictly the PG elements traditionally bandied about in most longing tracks. “I’m Not Running Away” is a far-out musical drama detailing a tug-of-wills of sorts between the singer and what appears to be a loved one or acquaintance. This track features the most – wait for it – feisty lyrics on the album, as Feist digs deep in to her songwriting supply kit to form sharp, deep critiques of whomever she’s aggressing. The song opens with a dreary, melodic guitar solo that reeks of classic country rather than pop rock.
Instrumentals: Feist plays to her strengths and makes some new ones
Feist aficionados will notice traditional Feistian instrumentation. Simple chord progressions, acoustic guitar solos, and sparing yet efficient drums all help form the backbone of Pleasure’s sound. Feist did experiment with some cross-genre motifs. The track “I’m Not Running Away” features both country and blues-infused guitar work backing traditional Feistian vocals. The album also has flashes of classic rock and even hard rock guitar sections, specifically on “Pleasure” and “Century.” Analyzing Feist’s experimentation is perplexing. On her previous records, Feist’s experimentations may have been as simple as singing with a greater pitch, or song length. Pleasure is in fact the most experimental of her records. That being said, the few instances of genre-experimentation provide a brief but intriguing snapshot of what Feist could be if she pushed even deeper in to these genres. For instance, the blues dabbling she partook in “I’m Not Running Away” made the song seem so much more gritty and blue-collar, traits that have never before described Feist’s work. In context though, Pleasure came out 6 years after 2011’s Metals, an album that featured significantly less experimentation than Pleasure. Perhaps then, Pleasure’s minimal experimentation is merely part of a gradual transition for Feist.
Top Tracks:
“Pleasure”
“Lost Dreams”
“Any Party”
“A Man is Not his Song”
“Baby Be Simple”
“I’m Not Running Away”
Other Members of the Pleasure Family:
Sufjan Stevens: Seven Swans
Andrew Bird: the Mysterious Production of Eggs
Kings of Convenience: Riot on an Empty Street
All images from The Line of Best Fit
(05/01/17 1:38pm)
Illuminate: Sensory Arts Festival 2017, hosted by
Muncie EDMC and held at Be Here Now, was LITerally lit up by glow sticks, strobe lights and people’s happiness as they danced the night away to electronic dance music. The line-up went Ventura Music, Shxps, T-Roub, Spacexlion, Magnetic, Mephysto, Indigo Child, Ejion, Re:born and finally Lonestra. INtune captured the whirlwind of an evening in pictures below. Enjoy.
(04/30/17 8:00am)
by Graham Taylor
With a musical career spanning 15 years, Ryan Joseph Karazija has remained fairly under the radar. His second band, Low Roar, received some internet fame when their songs were used in trailers for Death Stranding. However the group is still relatively unknown. Debuting in 2011 with their folk heavy self titled album, Low Roar explored themes of loneliness following Karazija's move to Iceland. Their sophomore album, 0 returned to similar topics, but with a much more electronic and dream pop influence paired with their acoustics. Once in a Long, Long While takes the positives of both previous albums and continues to expand upon them, refining their style.
Single track sample:
Once in a Long, Long While begins with "Don't Be So Serious," a track which would have been right at home on 0. Despite being similar to previous works, the song itself does an excellent job of highlighting many of the band's strengths and defining characteristics. Opening with a simple drum machine, some synths, and Karazija's ethereal voice, it eventually grow to incorporate an impressive collection of sounds. Piano, horns, more synths, and more percussion are added with each verse and chorus, creating layers and layers of sound on top of dark, dreamy vocals. This looping effect has become very characteristic of Low Roar and even helps to actualize the idea of going in circles, a recurring motif throughout the album.
Cleaner and Clearer than ever before
Many of the songs on the first half of the album follow this pattern, but that is not a bad thing. Each song is uniquely crafted with different instruments and sounds, and each track offering a different soundscape. The fact that many of these tracks also weave together also plays off this structure, where periods of quiet reflection start to turn into noisy turmoil only for it to calm back down again, mirror the songs themselves. "Waiting (10 Years)" to "Poznań" is practically one uninterrupted block of music. And while some of the breaks between songs are easy to hear, others can go by unnoticed. Production wise, the album is top notch. Beats are deep; synths are crisp, and the vocals are clean. Even with the frequent addition of sounds, nothing every really gets lost in the background.
Thematically, Once in a Long, Long While delves into subjects of isolation and sadness, stemming from betrayal, abandonment, and dead love. Again, this is not an incredibly original idea to explore, especially not for Low Roar themselves, but it manages to come off skillfully and well thought out. The music structure helps emphasize these notions, and the lyrics and instrumentals play off of each other well, creating a rather whole, moody experience.
Once in a Long, Long While is overall a good album. It's not necessarily a departure or overly innovative compared to their earlier repertoire, but it does not need to be. Low Roar skillfully crafted a musical layer cake, and while it does not deviate much from any sort of norm, the consistency can be appreciated.
Best Tracks
"Don't Be So Serious"
"Give Me an Answer"
"Once in a Long Long While"
Image from Pledge Music
(04/29/17 8:21pm)
by Graham Taylor
In 2011, Foster the People released their debut album Torches and took the radio world by storm. The summer airwaves were dominated with peppy indie hits, including “Don't Stop (Color on the Walls)” and of course “Pumped Up Kicks,” earning the (at the time) trio two Grammy nominations. Their sophomore album, Supermodel was a bit more subdued in sound and reception but was another step in their evolution as musicians. With the surprise release of the aptly titled III on April 27 teasing their upcoming untitled third album, Foster the People not only boasts a new sound but also a new lineup following bassist Cubbie Fink’s departure. Foster the People has incorporated electronic influence since their conception, but that influence comes out in full force over the course of these three songs. Featuring drum machines, synths, and even some trap/EDM-influenced instrumentals, III is certainly stands out compared to their other works. But they stick to their indie beginnings, using catchy choruses and dancey verses.
The first track, “Pay the Man,” hits listeners with boisterous horns and a heavy beat before Mark Foster’s breathy voice comes in asking “Whatcha mean?” From there it delves into a moody atmospheric jam that is without a doubt the strongest track on the compilation. Dreary, antagonizing, almost nihilistic topics prevail throughout the song, complementing the somewhat gloomy new sound, but it remains safely rooted in pop territory. “Pay the Man” ultimately culminates in a bittersweet yet optimistic ending before segueing into the next song.
“Doing it for the Money” picks up lyrically where “Pay the Man” leaves off. Ending with “we all run when the light comes on…” “Doing it for the Money” continues with “Just close your eyes/ We're gonna run this light.” It maintains this thematic upward motion, relaying this idea of being fearless in the face of darkness. It’s okay at best, but the message alone can’t save the song from extraordinarily lackluster instrumentation. Musically, the song is just incredibly generic. Whereas the first song took popular pop tropes of the past few years and applied them skillfully to Foster the People’s established style, “Doing it for the Money” seems to only use these tropes. This leads to the song sounding tired, sterile, and just soulless. It is easily the weakest part of the collection, which is a shame considering the other two are rather enjoyable.
“S.H.C.” is much more reminiscent of their earlier works with a flurry of psychedelic guitars introducing the track. The whole song has a very nostalgic feel, as a simple yet familiar structure leads listeners through a return to a more standard pop/rock format. The chorus could easily be mistaken for a Torches B-side, and after the previous two songs, this is a refreshing change of pace that doesn’t sound out of place. The tone of the song also calls back to Foster the People’s darker hits, the lyrics asking questions about depression, inner demons, and God, all masquerading behind the curtain of a catchy tune.
The full album is still untitled and does not yet have a release date, but is planned to drop over the summer. And if III is any indication, fans should be cautiously excited. Two out of three ain’t bad, but the sheer nondescript, boring nature “Doing it for the Money” should leave some weary. As long as Foster the People avoids overusing clichés, their new sound could be welcome entry in their catalog, and much like the overall message of the release, I believe we should be hopeful.
Image from Music Match
(04/29/17 8:00am)
By Preston Radtke
In recent decades, Brooklyn has been a notable musical-chairs setting for indie music. This time, it has found dream/garage outfit Cende paired with the musically gregarious Greta Kline for their latest single, “What I Want.” For Cende and Kline, the track is a slight, yet outlier-ish escape for both parties.
“What I Want” is a musical middle ground for both Kline and Cende. Kline coming off of her critically acclaimed 2016 release Next Thing with Frankie Cosmos, has fully implanted herself in the lo-fi, amateuristic section of indie rock. However, Cende had begun to make a name for their dream/garage rock fusion as evidenced on their self-titled EP. “What I Want” however is a more guitar-driven experience new for Kline, but still melodic and lyrical in a very Next Thing sort of way. Cende steers clear of yelled lyrics and cacophonous guitars/drums reminiscent of their first EP. Cende lead singer Cameron Wisch abandons his volatile vocality for a more measured and linear aesthetic, soaring through puffy clouds at some points and sloshing through dingy dark alleyways at others. Kline’s vocals are more congruent with previous work, save the fact that her voice sounds a tad bit more weathered and rough on this track. Next Thing’s gentle delivery and lo-fi thematics allowed Kline to settle her voice in a more comfortable and personable level, whereas “What I Want” features more rhythm and prominent guitar chords that force Kline to sing louder and more pronounced.
A new phenomenon for both, “What I Want” features a very present and effective string section. On the second verse when Kline comes in, a backing violin section guides the song through the peaks and valleys to come. Both Cende and Kline with Frankie Cosmos had never featured anything but guitars, keyboards, and drums in their instrumental sections. The violins added texture and emotion to “What I Want”, which is a breakup song at its core, focusing heavily on internal, unspoken desires of both of the supposed partners.
Other Members of the “What I Want” Family:
Teen Suicide: “Bad News”
Sorority Noise: “No Halo”
Turnover: “Sasha”
All Images From: Paste Magazine
(04/26/17 11:23pm)
by Sarah James
Paramore has returned.
For the first time in four years, the Tennessee-raised alternative rock band has released a new single, “Hard Times” along with an announcement of the upcoming album After Laughter which will be released on May 12th. This song and album also marks the return of original drummer Zac Farro, and the departure of bassist Jeremy Davis. With a new line up and different sound, Paramore is ready to come back strong.
“Hard Times” sounds like something straight from the 80s, with a driven groove and slick guitar phrases that punch. This style is something they played around with in their 2013 hit, “Ain’t it Fun,” which was definitely a funkier move towards pop and away from rock. Now, in 2017, Paramore has kept the funk, but also added their rock roots back into the mix in a retro way. It’s bright, fun, and easier to move to, which stands in opposition to the lyrics.
Coming from an “emo” scene, Paramore has consistently had lyrics that tackle difficult subjects. “Hard Times” is no exception, and counteracts its high energy with more serious lyrics. Hayley Williams plays with the idea that once you hit the lowest you can go, the only way to go is up, as evidenced by the repeated lyric, “And I gotta get to rock bottom.” This song is extremely relatable in its lyrics, asking how and why we are able to get through the difficult moments in our lives. And all of this is perfected in the vocal prowess of Hayley Williams. Her performance is stellar and genuine, adding a rocker’s edge to a poppier tune. The performance from all three members of the band really sell the song, and excite fans for the upcoming album.
All images from Genius
(04/22/17 4:48pm)
WARNING: This review quotes lyrics from the album that contain strong language.
(04/22/17 1:30pm)
by Dalton Martin
WARNING: This review quotes lyrics from the album that contain strong language.
Kendrick Lamar has already earned his spot as one of the greatest rap artists of this decade with albums Good Kid, M.A.A.D City and To Pimp a Butterfly, the latter of which has become a rallying album for the Black Lives Matter movement. Where Lamar focused heavily on pushing hip-hop to the limits with his unique style and sound in his earlier albums, Lamar has dropped the heavy electronic vibes and funky basslines in DAMN. in favor of a more classic hip-hop sound that would be more fitting in the 90’s.
Where To Pimp a Butterfly ventured inside the multiple personalities and voices of Lamar, in DAMN. he explores almost everything with the same voice, opting to tackle his internal and external problems with a singular focus. This flow allows many of the tracks to mesh together, with many tracks purposefully juxtaposed to highlight the inner contradictions of Lamar. One of biggest themes of DAMN. is Lamar’s personal battle with humility with the track "LOYALTY," likening boasting to a sign of weakness with Rihanna proclaiming "It's so hard to be humble." Quickly followed up by "PRIDE," Lamar laments about almost being obligated to be prideful, saying "I can’t fake humble just 'cause your ass is insecure." The three part personal journey is finally capped off with "HUMBLE," having Kendrick finally proclaim "Bitch, be humble."
While the LOYALTY/PRIDE/HUMBLE trilogy explored Kendrick’s personal battle with humility, the larger story present is the reason he feels the way he does. The opening track has him trying to help an old woman find something that is lost, only for him to be killed by the very person he is trying to help. With lines like “I feel like the whole world want me to pray for 'em/But who the fuck prayin' for me?” it is evident Lamar feels weighed down by what society thinks and what they want him to be. With that type of influence and power given to him, it is no wonder he bounces back between prideful bravado and waning pain and suffering.
DAMN. is at its best when Kendrick delves into the philosophical spaces of the album. It admittedly lags slightly whenever the humility concept loosens, which is by no means a bad thing. “LOYALTY” and “LOVE” have all the makings of a summer hit, but at the cost of becoming a low-risk track. That being said, “LOVE” is one of my favorite songs from the album, being a tender and catchy track that flawlessly alternates between the falsettos of Zacari and Lamar proclaiming his undying feelings for his fiancée. While a nice breath of fresh air from some of the more suffocating themes, you can’t help but feel if they were included to add a bit of commercial flair to a rather philosophically inclined album.
While it will be argued where DAMN. ranks with the rest of Kendrick’s discography for months to come, this is hands-down his greatest story-driven album and feels like a complete exploration of the psyche of a man who is raised up and brought down by pride and humility. Being Kendrick Lamar, there was never any questioning about the production behind the album. The man has proven yet again why he deserves to be considered one of the greatest of not only this decade, but of all time.
Best tracks:
“LOVE”
“DNA”
“DUCKWORTH”
Recommended if you like:
A Tribe Called Quest
Drake
Schoolboy Q
All images from Tiny Mix Tapes
(04/21/17 5:36pm)
House devotees got quite the shock when Darren Cunningham, AKA Actress orbited out of retirement to produce AZD, a back-to-basics record for the UK-based composer. Much less apocalyptic and heavy than 2014’s Ghettoville, the record finds Actress focusing on rhythms and moods previously realized on 2010’s Splazsh and 2008’s Hazyville. Actress merges elements of R&B, electronica, and outsider house to form a sound reminiscent of such giants as Aphex Twin and Oneohtrix Point Never.
(04/21/17 11:00am)
by Preston Radtke
House devotees got quite the shock when Darren Cunningham, AKA Actress orbited out of retirement to produce AZD, a back-to-basics record for the UK-based composer. Much less apocalyptic and heavy than 2014’s Ghettoville, the record finds Actress focusing on rhythms and moods previously realized on 2010’s Splazsh and 2008’s Hazyville. Actress merges elements of R&B, electronica, and outsider house to form a sound reminiscent of such giants as Aphex Twin and Oneohtrix Point Never.
Album Structure: Shuffle is Advised
Actress has long mastered the art of the album layout. On many of his previous releases, the handoff from song-to-song was unnoticeable and natural. However, AZD features many awkward and clunky transitions. Additionally, many tracks on the record when repositioned would transition smoother and more efficiently. For instance, the song “FANTASYNTH” is a classic sounding dance-ready piece featuring house and some disco elements. Unfortunately, the song ends rather abruptly without any sort of musical resolution or natural regression. As abrupt as the song’s conclusion is, that conclusion could have been made more effective by a proceeding piece featuring similar beats and rhythms. Instead, the following track, “BLUE WINDOW”, is a slow-rising, Orb-esque ambient piece that rather exposes “BLUE WINDOW”’s relative aggression and converse aesthetic. These mismatched moods and awkward transitions do not allow the record to acquire any sort of overarching theme or sentiment. AZD instead feels like a fractured collection of 12 singles compiled from previous Actress releases.
Meaning: A Change of Style with Blemishes
On Ghettoville, Actress projected a more grim and Armageddon-esque sound that completely shattered previous Actress constructs and traditions. Gone were the days of edgy dance floor experiences, replaced with moody synth-driven textures that promoted contemplation instead of jubilation. Though a welcome and obvious throwback, AZD still carries certain Ghettoville elements that intermingle with classic Actress textures. In many cases though, the moody synthetics do not mix well with the uptempo house beats. In many cases, it seems as if the songs themselves are fighting each other. “THERE’S AN ANGEL IN THE SHOWER” is perhaps the most perplexing track on AZD. The song begins with downtempo ambient synthetics that promote a sense of despair and emptiness. Further into the song though, a steady house beat appears that doesn’t match the tenor and mood set earlier in the song. The result is a disjointed and awkward piece that lacks direction and purpose.
Samples: WE WANT MORE!!!
Actress historically has been rather conservative with inclusions of audio samples and media clips. Traditionally, Actress has relied more on synthetics and textures with less emphasis on sound bytes and audio cuts to forge his message. AZD differs because it’s the first time in Cunningham’s career that the samples were truly effective and artfully engrained in the pieces. “CYN” is the most complete and well-mixed song off the album. The song opens with an apparent DJ calling out to his audience, followed by a steady yet dynamic house beat. Additionally, the piece includes hypnotic and trippy synths that only shove the listener deeper and deeper into the song. Throughout “CYN” the DJ’s opening refrain gets repeated sporadically, adding incrementally more energy and punch to the dance piece. Conversely, the song “X22RME” operates as a slower version of “CYN”, with a hint of noir. However, at about the 4-minute mark the song cuts to a young British male translating the words of a woman speaking in the background in what sounds like Japanese or Korean. His translations are eerie, yet applicable to the song and album at hand: “Just makes me wonder. Everything. Everything has different meanings. It has one state of meaning, but can be determined in so many different ways.” From that moment on, the song feels more mysterious and significantly more haunting. Sadly enough, that is the extent of samples on AZD. More samples would have made the album more accessible and infinitely more understandable for the listeners. Often times, electronic music relies heavily on individual listener interpretation for meaning assignment. Nonetheless, from a sound and context standpoint, AZD would have greatly benefitted from more sampling.
Top Tracks:
“CYN”
“UNTITLED 7”
“BLUE WINDOW”
”RUNNER”
Other Members of the AZD Family:
Arca: Arca
Tim Hecker: Love Streams
Blanck Mass: World Eater
All images from NinjaTune
(04/20/17 9:27pm)
Pentatonix released their newest EP Volume IV, also known as “Classics”, on Friday April 7th. The EP consists of seven songs: Queen’s “Bohemian Rhapsody”, John Lennon’s “Imagine”, the World War Two tune “Boogie Woogie Bugle Boy”, Abba’s “Take On Me”, Elvis Presley’s “Can’t Help Falling In Love”, and Dolly Parton’s “Jolene” with Dolly herself featured in the song. PTX announced and advertised this EP with the release of their music video of “Imagine”. They also released the song early for anyone who preordered the EP. On the surface, this may seem like a good move on Pentatonix’s part. PTX has suffered some criticism for their newer albums such as Deluxe Edition when they switched from covers to originals. So when I saw the track list on this EP, I got really excited. I have been a Pentaholic since they won the Sing-Off in 2011. I admit I was not an avid fan of the show so I didn’t really hear about them much while the season was airing, but I looked back at all of their performances during the season. The fact that Pentatonix was moving back to covers and also covering such brilliant masterpieces, I was pumped. Unfortunately, the EP is fairly mediocre with numerous tracks committing the sin of repetitive arrangements with not much dynamic range. When reviewing the EP I will be scoring based on the Innovative Arrangement of the collection, the Entertainment Value and the Importance of the music.
(04/20/17 6:12pm)
by Stuart Elmore
Pentatonix released their newest EP Volume IV, also known as “Classics”, on Friday April 7th. The EP consists of seven songs: Queen’s “Bohemian Rhapsody”, John Lennon’s “Imagine”, the World War Two tune “Boogie Woogie Bugle Boy”, A-ha’s “Take On Me”, Elvis Presley’s “Can’t Help Falling In Love”, and Dolly Parton’s “Jolene” with Dolly herself featured in the song. PTX announced and advertised this EP with the release of their music video of “Imagine”. They also released the song early for anyone who preordered the EP. On the surface, this may seem like a good move on Pentatonix’s part. PTX has suffered some criticism for their newer albums such as Deluxe Edition when they switched from covers to originals. So when I saw the track list on this EP, I got really excited. I have been a Pentaholic since they won the Sing-Off in 2011. I admit I was not an avid fan of the show so I didn’t really hear about them much while the season was airing, but I looked back at all of their performances during the season. The fact that Pentatonix was moving back to covers and also covering such brilliant masterpieces, I was pumped. Unfortunately, the EP is fairly mediocre with numerous tracks committing the sin of repetitive arrangements with not much dynamic range. When reviewing the EP I will be scoring based on the Innovative Arrangement of the collection, the Entertainment Value and the Importance of the music.
Bohemian Rhapsody
Bohemian Rhapsody was not the worst of the EP but it’s certainly nothing special. Whenever a group/band tries to take on (no pun intended) this prized jewel, the issue that is always presented is the lack of opportunity to expand on it. “Bohemian Rhapsody” is great song. No one denies that, and anyone who dares to simply is not making an educated statement. There are numerous aspects of the song that makes it come alive: its iconic choral setting with the dissonant harmonies and the electric guitar features. Nobody has covered this song successfully by omitting those prized passages. That’s the issue with the PTX cover. It’s a remake of the original but just a cappella, heck there’s even a spot when Mitch Grassi, the group’s tenor/alto voice mimics the guitar solo note for note. Overall the a cappella arrangement is entertaining but it is an exact replica of the songs orchestration and therefore lacks importance and is not that innovative. Lastly, I’m suspicious of the fact that PTX had done a short segment of this song on their “Evolution of Music” video which sounds incredibly similar. More on that later.
Imagine
If you’re looking for any reason to buy this album, search no more. PTX’s cover of “Imagine” is a beautiful rendition of an already heart-filled song with amazing passion present within the performance. Pentatonix first advertised for the EP with the release of their music video of “Imagine”. The video may make some people cry and carries the bulk of the emotional impact. In the past, PTX had been known for being politically neutral or almost absent. Sure, some of the members have their own branches of media where they display their personal thoughts, but the group as a whole generally does not make a grand stance on certain issues, nor do they make a big stance in this video. What they do, however, is send a message that is true to the lyrics John Lennon wrote. Each member towards the middle of the video holds a sign that represents a group that they are a part of. Mitch and Scott both hold up “LGBTQ+”, Scott holds up a sign that says “Man”, hands it to Avi who holds up “Jewish” and “American” to which Kevin holds up “Black” and “Christian”, and finally Kristin holds up “Latina” and “Woman”. This sends a powerful message and after Kristin holds up the last sign the group breaks out into this spectacular coda with each voice harmonizing and screaming the lyric “Live as one”. Once the coda ends, Kevin repeats the main lyric “You may say I’m a dreamer…” with the group joining in and eventually reaching unison with the finishing line “and the world will live as one”. During this, the group picks up each of their signs again but instead of the previous words, each sign holds a letter and when read in order reads, “HUMAN”. A message that was well needed and presented in a way that could not have been done more beautifully. This arrangement is incredibly innovative, entertaining and the emphasis on the lyrics makes it a very important piece. Go watch the video, cry and then go buy this song at least.
Boogie Woogie Bugle Boy
This is a fun song. It’s not spectacular or life changing, just fun. PTX has done this same arrangement in their “Evolution of Music” video during the “1940’s” portion about two minutes in the video. Because of that, this song didn’t really surprise me in any way. It still had a fun jingle and you will have a good time listening to it. The arrangement is not that innovative because it is an expansion of a segment from their video. It’s entertaining but is not that important due to its repetitive nature and lifeless lyrics. That’s pretty much all there is to this song.
Over The Rainbow
In case you haven’t picked up on it, PTX also has done an arrangement of this song in the past as well. You won’t find it on Pentatonix’s channel but you will on Todrick Hall’s in his “Wizards of Ahhs” video. Putting that aside, the arrangement of this song didn’t really do anything for me. It’s very repetitive and at one dynamic level throughout the entire length, which is a shame because “Over The Rainbow” has a lot of beautiful renditions of it that takes it in a variety of directions that surprisingly works. Unlike “Bohemian Rhapsody”, “Over The Rainbow” has that capability and PTX just didn’t take advantage of that in this one This piece scores right in the middle for its repetitive arrangement and unentertaining dynamics. It at least treats the lyrics with some importance.
Take On Me
Ah yes, who can do a “Classics” cover album and not do A-ha’s “Take On Me”? Like “Bugle Boy”, “Take On Me” in its own right is a fun song, but like “Over The Rainbow”, it stays at one dynamic level the entire song. The song itself has a pretty standard form (Verse, Chorus, Verse, Chorus) so I can’t really bash PTX for that, but other than some cool harmonies and passages, it’s a straightforward a cappella cover of an 80’s song that doesn’t take any interesting turns.
Can’t Help Falling In Love
This falls just short of “Imagine” as one of the best songs on the EP. “Can’t Help Falling In Love” is the opposite of “Bohemian Rhapsody” where every artist in the country could do a cover of this song and no one would be upset, because it’s just that beautiful of a song with beautiful lyrics and a lot of expressive potential. PTX takes advantage of that by making this a full 5-part arrangement. They have done this in songs like “Run To You” and “Silent Night” on their Christmas album. There’s always a song that PTX comes out with that becomes the “a cappella/show choir ballad 101” song, and I have a feeling this arrangement will win that title for this EP. There’s not much else to say about this piece since they don’t change the dynamic level, but they don’t have to with this song. As stated earlier, this song doesn’t need those special ornaments or decorations to maintain the spectacle of the song. The importance of the lyrics does that for itself, and the 5-part harmonies express it spectacularly.
Jolene
Why is this here? I must admit that I’m not really a country music fan (who really is anymore?), and I’m also not fond of Dolly Parton as a singer. I’m especially not a fan of her vocals mixed with Pentatonix’s stylistic, a cappella voicing. In all seriousness, this had to be one of those situations where they needed a seventh song and they thought they could bring this song in that they did September of last year and no one would notice. Well I noticed, and I’m disappointed they didn’t pick another iconic classic that would’ve taken this EP over the edge. “Jolene” primarily features Dolly Parton as the main soloist with PTX singing backup vocals. There is a moment in the beginning of the second half where Parton drops out and Scott takes over the lead with Kirstin and Mitch building cool harmonies, but they shortly return to singing backup vocals to Parton. Overall, a really disappointing closer to the EP.
I give this EP a 6 out of 10 for Innovative Arrangements, a 7 out of 10 for Entertainment Value, and a 6 out of 10 for Importance of the Lyrics. I do not necessarily believe this EP is terrible but there were a lot of missed opportunities that PTX could have taken. As much as I have griped about the expansion of previous arrangements, I would take a mediocre a cappella arrangement of “Don’t Stop Believin’” over Dolly Parton’s “Jolene” any day. I highly recommend watching both of their music videos that are on YouTube and preview their song “Can’t Help Falling In Love”. If those three things sell the entire thing to you, then by all means. However, be warned that there is a lot of filler material that you may or may not be more inclined to just listen to “Imagine” for a seventh time instead.
All Images From: Youtube
(04/18/17 10:00am)
by Ryan Fine
When Future Islands made their network television debut on David Letterman in 2014, their performance of “Seasons (Waiting On You)” briefly brought them worldwide attention. Vocalist Samuel Herring’s idiosyncratic dance moves and occasional death growls took the world by storm, proving once and for all that this band has the capability to evolve into one of the most timeless indie pop bands of this generation. With The Far Field, the band is just about there, which has been a common sentiment among their fanbase for years. The album’s predecessor Singles contained many of their best songs but lacked the consistency to make it great as a whole. Ultimately, this isn’t much of an evolution in their style, but the songwriting is a little bit more consistent and it’s certainly a fun listen regardless.
The worst parts are just a little bit better
The most commonly repeated criticism of Future Islands is a legitimate one: the best songs on the album are incredible, but the deeper cuts don’t have much to offer. Though the band’s sound has slowly but surely changed over the course of their five albums, this issue has remained consistent the entire time. They’ve never written bad music per se, but the typical Future Islands record has at least a few moments that border on dull. For some reason, they are perfectly capable of writing great music but not 45 minutes of it in a row.
The Far Field fixes this problem a little bit. Although the beginning of the album is noticeably better than the end, there are no real duds anywhere to be seen. The worst songs are still pretty good, or at least contribute to the album in a way that makes it better. Among these weaker tracks is “Candles” for instance, but despite its faults that song still brings a slower pace to the album that would have been missing if they had omitted it. “Shadows” is worth keeping if only for the feature from Blondie’s Debbie Harry, whose voice fits surprisingly well with Herring’s.
The lyrics reach new heights on this album for the Future Islands discography. There are some weak spots in this element as well, but at their best, they are one of the major sources of innovation on The Far Field. They start at their strongest with the first verse of the opener “Aladdin”. It’s easy to miss how mysterious and poetic this verse really is, because the vocals fit right in with the rest of the mix. Herring’s wonderful delivery of these lines makes it easy to forget to listen for their meaning, which only makes the song more enthralling on repeated listens.
Future Islands stay rooted in the past
Now that Future Islands have transitioned fully into making synthpop music, they spend a lot of time paying homage to the new wave bands of the ‘80s. Some of the more energetic moments call to mind a more serious version of The Human League or A Flock of Seagulls. It’s a great sound that a lot of bands are toying with right now, and Future Islands are doing it better than many others, but there’s still not much musically that’s different from groups who have already had their time.
The less incredible lyrical moments also reveal the strength of the ‘80s influence. Some people will like that the band doesn’t shy away from showing their admiration for this sound, but it would have been nice to see them work more for their own style of lyrics when the notes already pull so much from old synthpop. This is really only an issue with songs like “Through the Roses” where the chorus is “We can pull through together”, although the context and buildup of the song creatively turns the trope on its side.
A sonic jigsaw puzzle
Without exaggeration, the musical chemistry of Future Islands is one of the most unstoppable forces in music right now. Each member of the band is brilliant on his own but also contributes to the sound as a whole in a way that creates an incredibly warm sonic atmosphere overall. It would be easy to rave endlessly about Sam Herring’s vocals, which are the most flexible and unique part of the album, but credit is due for the performers behind him as well.
Bassist William Cashion also has a ridiculous amount of talent, immediately catching the listener’s attention with the groovy line at the beginning of the brilliant single “Cave”. Although this song marks the point where the bass is at its most prominent, the omnipresent dark tone throughout the album is one of the major factors in giving The Far Field its serious, sophisticated feel. Meanwhile the synths are as effective as they have ever been, and there is quite a bit of creativity in the percussion as well with the clever use of claves and agogo bells in “North Star”.
The performance aspect alone keeps hope alive that Future Islands are eventually going to move past making good albums and start making great ones. They clearly have the talent to make it happen, and until it does, their next album will always be something worth getting excited about. Meanwhile, the ones they are releasing now are nothing to dismiss at all. This may be the most thoroughly enjoyable Future Islands record to date, and if this is the sort of thing they want to keep releasing, more power to them. But if they can create something with significantly more variation and meaning, they have the potential to cement themselves as one of the most powerful bands in the world.
Best tracks:
“Aladdin”
“Time on Her Side”
“Cave”
Recommended if you like:
A Flock of Seagulls
Talk Talk
U2
All images from Stereogum
(04/18/17 3:00pm)
When Future Islands made their network television debut on David Letterman in 2014, their performance of “Seasons (Waiting On You)” briefly brought them worldwide attention. Vocalist Samuel Herring’s idiosyncratic dance moves and occasional death growls took the world by storm, proving once and for all that this band has the capability to evolve into one of the most timeless indie pop bands of this generation. With The Far Field, the band is just about there, which has been a common sentiment among their fanbase for years. The album’s predecessor Singles contained many of their best songs but lacked the consistency to make it great as a whole. Ultimately, this isn’t much of an evolution in their style, but the songwriting is a little bit more consistent and it’s certainly a fun listen regardless.
(04/18/17 12:30am)
After the unparalleled success of 2014’s Brill Bruisers and the ominous silence that followed, few people expected to hear much from Canadian supergroup New Pornographers in 2017. Six albums in, three years seemed like the midpoint of a prolonged gap between releases. However, on January 26, to universal surprise, the New Pornographers announced the release of their seventh project, Whiteout Conditions. Whiteout Conditions finds the band sticking to their youth-centered indie pop rock, splashed with synths and baroque pop-inspired piano sections. The record however is noticeably less quirky and free-spirited than previous New Pornographers material. Furthermore, the group delves deeper into the usage of synthetics and nontraditional harmonies.