Grizzly Bear: Shields Review (Three Takes)
It can be difficult to gain a balanced perspective on an album after reading a single summary of the music. Bias can tilt a review, as can personal taste, history and just about everything else that is unique to the person writing it. So in an effort to offer an expanded perspective in such a medium, here are three reactions, three impressions, three takes on Shields by Grizzly Bear.
Ali Elabbady (Background Noise Crew, Egypto Knuckles)
A lot of people thought it couldn’t be done. A lot of people saw the burst that was the critically acclaimed and commercially successful Veckatimest and thought how are Grizzly Bear going to top that? Well the answer is in Shields, Grizzly Bear’s fourth album. The album definitely continues to showcase the band’s amazing maturity, the fact that the focus is less on themselves and moreso in making a complete work shows the testament to their virtuosity and their amazingly uncanny knack for keeping the detail in their arrangements. It’s what allows the lead-off “Sleeping Ute” to shine, and allows something like “Yet Again” and “The Hunt” to really show off their growth. It’s really hard not to like their new work because it isn’t Veckatimest, but then again, with Shields, Grizzly Bear still create an awesome masterpiece.
I mainly think the new Grizzly Bear record is great – let me just get that straight first of all. If I had to find faults though I wouldn’t have minded more of Chris Taylor’s vocals. For me Taylor’s high pitched eeriness has always been one of the things that sets the band apart from say, Department of Eagles. To me this sounded more like a thoroughly Daniel Rossen dominated project – which is fine, I generally love Rossen – but at the same time I wouldn’t have minded more variety. I would prefer more Ed Droste as well – though as long as it isn’t in the form of songs like “Yet Again,” which sounds like a bit of an attempt to ape Arcade Fire. It isn’t half bad but it’s definitely not my favorite. Those would be: “The Hunt” and “Gun Shy,” both beautiful meditations on baroque chamber pop.
The record could also use a few frayed ends. Everything is so tidy, so beautifully elegant and soberly composed that I think a few raw edges here or there would have made for a nice dynamic. Still, I can’t complain much – even perfectly coiffed Grizzly Bear are still pretty gorgeous to listen to – and this album is no exception.
If you ever have been lucky enough to visit a city bursting with art and culture (I am thinking Florence, Italy), you know that feeling that can come from being slightly-to-completely overwhelmed by the magnitude of beauty that slaps you in the face around every corner. You try not to become apathetic to the beauty, but it can be so overwhelming, so omnipresent, that you can’t help but feel at times like you are not capable to absorb all that you should be absorbing. I have often felt that way with Grizzly Bear, and that feeling is amplified with their latest LP, the lush, ornate and exceptionally beautiful Shields. From the rich, multifaceted jangle of album opener “Sleeping Ute” to epic, six plus minute closer “Sun in Your Eyes,” Shields grabs the listener by the throat, albeit with a velvet glove, and doesn’t let up over the staggering 10 song album. From the Radiohead-esqe pop dissonance of “The Hunt” to the breezy harmonies of “Gun-Shy,” there wasn’t a point on Shields were I desperately reached for the “next” button. Yet I left feeling distant. Maybe it was the grandeur. Maybe it was that the record felt too immaculate, too groomed for its own good. I felt myself enjoying it from a distance, appreciating more than engaging. It was the fancy painting that I could not help but acknowledge, but it just didn’t hit that spot. Just like my college self walking past a museum to go to the bar, I will whole heartedly admit that Shields is an impressive record, one that I can and do like, but to be honest, I mostly just want to listen to the new Ty Segall record until my eardrums bleed.
Swans: The Seer Review (Three Takes)
It can be difficult to gain a balanced perspective on an album after reading a single summary of the music. Bias can tilt a review, as can personal taste, history and just about everything else that is unique to the person writing it. So in an effort to offer an expanded perspective in such a medium, here are Three reactions, Three impressions, Three Takes on The Seer by Swans.
Chris Besinger (STNNNG)
I’ve never been too fond of the Swans particular brand of blare. Despite great claims of the punishing and bludgeoning music (and hey I like getting bludgeoned) I usually found it boring and one note. It never sounded intense to me, at least never as intense as I wanted or needed it to be. Not that it didn’t have its moments, just for the most part their specific type of audio torture I was never drawn to. And those feelings were more or less confirmed when I saw them live last fall. So, let’s just say I was approached the idea of two hour new record with no small amount of trepidation.
And honestly the first song, “Lunacy” which sounds like “Tubular Bells” before it turns into a merry-go-round chant of “lunacy” certainly made me feel like I was in for a rough road to hoe. But soon the album’s centerpiece and title track “The Seer” turned my head, here was the first time I felt that the band truly lived up to their hype. A circular, keening wail, this was the Swans we were always promised, hypnotic, and primal, channeling Branca’s guitar orchestra theories back into rock, climbing to a majestic pummeling, before breaking it down to build back up on the back of coruscating guitar noise and then again diving deep into a lonesome valley of wet reverb and harmonica. The song runs over 32 minutes and is followed, in a hilarious bit of black humor, by “The Seer Returns” with a guest spot from former vocalist Jarobe and it could easily run for another thirty minutes or hours, frankly. Gira has noted that this is the album that combines all of the Swans version visions and incarnations into one and it is the perfect description. This has always been what they are pointing to, a sort of brutalist mood music.
But the album is more then just “The Seer”, it is surprisingly varied, highlighting much of what this current incarnation of the band is good at, with “The Seer Returns” a processional march in which Gira depicts an apocalyptic possession of spirit, “93 Ave B Blues” starts as a shrill wolf whistle of abstraction that is soon buried under an avalanche of drums, and “A Piece of the Sky” which starts as drone piece, chugs through the middle and goes all Nick Cave Xmas at the end. Not that the record is without a mis-step, namely “Song for a Warrior” with Karen O on vocals (and really it’s fine but I liked it better when it was called “The Evening Bell” on the Sunn O))/Boris colab) And for a band that prides itself on being so listener unfriendly the record rewards quite a bit too repeated spins, I’ve even kind of come around to some of those tubular bells. Some.”
I don’t know why it’s taken me this long to start listening to Swans – on paper everything about their sound is something I tend to be interested in, but somehow up until now the band only existed to me as an abstract. I didn’t know what they sounded like. I assumed – incorrectly – that they were probably just another one of the hard rock groups prevalent in the late 80’s and early 90’s that I had no interest in listening to. As it turns out they were (and are) a lot more than that.
So since Seer is my first proper listen of an entire Swans record my thoughts should be taken with a grain of salt. I have no idea how Seer compares to the Swans discography, but I do know that I (mostly) really like it. I tend to love dark, bleak, uncompromising music – and Seer takes those themes to such an extreme that it’s something of a Pride parade for dark, bleak, uncompromising music. It’s that over the top. It contains a dizzying array of musical instruments (including notably a Rufus Harley-esque bagpipe section(!)). It is thematically consistent from start to finish (ruthlessly serious) and it frequently attains moments of sublimated beauty that are brutally pounded out of discordant noise.
In short it’s great.
The band, however, seems painfully aware of its own greatness to an extent that it can get a bit tedious. A two hour noise opera might seem, in itself, to be a bit on the extravagant side – but generally I don’t mind it. In fact, I think that overall more musicians should take their art more seriously as opposed to less. Seer takes the seriousness to an entirely different plane however, and though I mostly can vibe with it, I occasionally found myself rolling my eyes. The prog-rock chorus parts in particular seemed a bit over-wrought. It’s one thing to spout melodramatic goth poetry (“kill the truth / speak the name…childhood is over,” etc) and quite another to do it grandiosely accompanied by a chorus that has the tendency to weight every utterance with like god-like solemnity.
Still, more often than not I was simply impressed by Gira and company’s commitment to their vision as well as their savagely beautiful orchestrations. I may have waited far too long to experience Swans, but at least their latest record has me wanting to go back and catch up on all that I have missed.
After spending 2 years out on the road touring behind 2010’s My Father Will Guide Me Up A Rope To The Sky, Gira and the current incarnation of Swans crafted an album that Michael Gira says is the result of 30 years of work. From the earliest days of slow motion illness inducing pounding through folk through Gira’s post-Swans Angels Of Light, Swans have always been constantly evolving their sound. The Seer is no small task to tackle clocking in at nearly two hours.
Opener “Lunacy” sets the tone from the beginning with percussionist Thor Harris’ chimes making the intro before the first of a number of guest spots is filled by Alan and Mimi of Low joining the Gira in a chant. After a similarly dirgey “Mother of the World”, “The Wolf” is a brief guitar and vocal intro by Gira before the albums title track and centerpiece. The 32 minutes of “The Seer” arc from dissonant noise to frantic percussion building itself into an intense tidal wave of noise. Karen O provides guest vocals to the beautiful “Song For A Warrior”, the standout opener to the 2nd side. The intense (and only 8 minute long) “Avatar” is almost lost before the pair of 19+ minute closers before the album finally closes itself in a squeal of violin into a flurry of drums.
The Seer succeeds in pulling together all eras of Swans (there’s even an appearance by Jarboe) into what plays out exactly as intentions stated. While some may be turned off by the 2 hour listening time this is exactly what Gira wants: if you’re going to do something, do it to the extreme.
See Swans this Saturday, 9/22 at the Fine Line Music Cafe
Wild Nothing: Nocturne Review (Double Take)
It can be difficult to gain a balanced perspective on an album after reading a single summary of the music. Bias can tilt a review, as can personal taste, history and just about everything else that is unique to the person writing it. So in an effort to offer an expanded perspective in such a medium, here are Two reactions, Two impressions, Two Takes on Nocturne by Wild Nothing.
Ali Elabbady (Background Noise Crew, Egypto Knuckles)
When Gemini came out by Wild Nothing, the artwork as well as the music provided immediately threw me back to the 80s and placed it in today’s context which made it sound very ethereal and atmospheric. If anything, Nocturne, the follow up, closely resembles music I remember from such groups like Morrissey meets The Cure, where it takes the synth pop alternative sound to places that are out of this world, and this is echoed tenfold on the maturity displayed on the end of summer jam, “Through The Grass,” the almost moody umbrage of “Only Heather”, and even utilizing the dance like drum overtures on “This Chain Won’t Break.”. Wild Nothing’s “Nocturne” in the end is especially great music for the end of summer/beginning of fall season.
I was knocked out by the head in the clouds, lo-fi dream pop the Wild Nothing crafted on his really solid debut LP Gemini. He is back with his second Captured Tracks released LP Nocturne, which takes the same dreamy approach and adds a layer of sleek production to the process. While this process (going to the studio, polishing the edges) can often lead me to feel less conntected to an artist, the process actually works really well with Jack Tatum’s well manicured sound. The sound is still the rich melodies wrapped in bubbly reverb of his past work, but there are slight changes (like live drumming) in addition to the more advanced production methods that add a more full sound to Tatum’s songs. While his live set on his first tour stop here (at the Turf Club left a lot to be
Nas: Life is Good (Three Takes)
It can be difficult to gain a balanced perspective on an album after reading a single summary of the music. Bias can tilt a review, as can personal taste, history and just about everything else that is unique to the person writing it. So in an effort to offer an expanded perspective in such a medium, here are three reactions, three impressions, three Takes on Life Is Good by Nas.
Jon Jon Scott(Sound Verite)
In 1994 Queensbridge, NYC legend Nasir Jones, aka Nas, arrived with his fascinating, efficient and well-executed debut Illmatic, a true hip-hop classic. Although he has always been a strong lyricist, Nas has struggled to make another thorough, authentic, hip-hop record. It’s always his R&B joints that drive Nas purists crazy, because they always want him to return to the visionary style of his debut. His last record, 2008’s Untitled was originally called N*gga, which sparked some controversy, and the record was difficult, misunderstood and didn’t produce many memorable moments. In 2010, Nas collaborated with Damian Marley for Distant Relatives and traded verses full of righteousness over heavy reggae based production. On his 10th record Nas looks back to that kid of his debut for inspiration and continues another chapter with Life Is Good. After his breakup with songstress Kelis, Nas gets personal about their relationship, his daughter’s coming of age, hip-hop’s roots, Black Nationalism, lifestyle choices, excuses for failure, black urban youths and their unique struggles and celebrations.
Opening with the stunning salvo “No Introduction” where Nas reflects “Remember talking’ to Biggie inside his Lex truck, says stay fly when your by me, keep your pajamas Armani, hood forever, I just act like I’m civilized, really what’s in my mind is organizing a billion black motherfuckers to take over JP and Morgan, Goldman and Sacks, and teach the world facts to give Saudi their oil back”, over a thunderous Justice League production. He brings along Illmatic producer Large Professor on the nostalgic “Loco Motive” , over sparse stripped down drums with Large Professor on the ad-libs as Nas declares this is “For my trapped in the ’90s niggas.” Every Nas record has a tribute to his birthplace in the Queensbridge projects, and here it is “Queens Story”. The brilliant emotional center is the jewel “Daughters”; Life Is Good‘s most personal, defining moment as he reflects on his daughter’s upbringing and her growing pains. Another excellent flashback is “Back When” as Nas calls out folks who blame others for their situation: “You blame your own shortcomings on section, race, the mafia, homosexuals and all the Jews, It’s hogwash point of views, stereotypical, anti-Semitic like the foul words Gibson spewed, and it’s pathetic”. The reggae influenced banger “The Don” keeps it grimy describing his city “New York is like an Island, a big Rikers Island, The cops be out wildin, all I hear is sirens, It’s all about surviving same old two step, tryna stay alive when, they be out robbin, I been out rhyming, since born knowledge like prophet Muhammad, say the ink from a scholar, worth more than the blood of a martyr”. The throwback “Nasty” is a retro winner. Contemporary guest Rick Ross appears on “Accidental Murders” and actually sounds cool; then Nas finishes the song with strong conviction.
There are a couple of tracks the record could have done without: “Reach Out” with Mary J. Blige feels forced, a easy throwaway. Also underwhelming, although lyrically ambitious, is the easy going “You Wouldn’t Understand”. On the other hand the reflective ghetto narrative “World’s An Addiction” with soul man Anthony Hamilton works. The first impression of Swizz Beatz on anything is not a good sign yet here he delivers the potential radio jump with the spirited “Summer On Smash”. It is a cultural flashpoint as Nas shouts out the ladies of “black, Asian, Boriqua, Italian, mixed chicks, Middle Eastern, Eritrean, Ethiopian”. On the romantic side there’s the jazzy horns of “Stay” and the sultry, playful “Cherry Wine” co-anchored by the vocals of Amy Winehouse. The quartet of bonus tracks prove how motivated Nas was with the retro leanings of “The Black Bond”, “Roses”, “Where’s The Love” and “Trust”.
While Life Is Good clearly doesn’t have the hunger or direct vision of Nas’ debut Illmatic, it may be Nas most complete record since 2002’s God’s Son. With standout tracks like “No Introduction”, “Daughters”, “The Don”, ”Loco-Motive”, “Back When” and ”Nasty” he prevails in capturing the spirit of that kid from Illmatic. Also nice are “Accident Murderers”, “World’s An Addiction”, “Stay” and “Black Bond”. Often pulled in various directions, Nas has handed the sonics to two of his veteran producers No.ID (Common, Kanye West, Nas) and Salaam Remi (The Fugees, Nas, Amy Winehouse) who provide the musical backdrop to help keep Nas relevant in the current landscape while staying true to his origins. Life Is Good, Nas has reclaimed himself.
Ali Elabbady (Background Noise Crew, Egypto Knuckles)
It has been quite a ride for Nas, so much of one, that one would be surprised to find out that Life Is Good, his 10th album as an artist and the third one for Def Jam. But regardless of those facts, many have found a shit-ton to lament about Nas’s faults rather than his strengths as one of the most prolific and profound writers in music today. Any doubt or uncertainty with all the leaks from the album have put to rest those critics, as they will find very little to complain about in Life Is Good, largely because this album is anything but, with the situations facing Nas. He’s nearing his 40s, he just went through a divorce, and his daughter is now 17. But he uses those experiences and manages to deliver another great album in his discography. For everyone who might hate “Summer on Smash”, that’s made up for in such tunes as “Daughters” where he examines himself as a father for the world to see, and brings to light the trials and tribulations he faces as a father, and “Bye Baby” is nothing more than a goodbye more or less to his wife Kelis. A bulk of the credit goes to No I.D. and Salaam Remi, who produce 11 of the 17 album tracks, and know what to give Nas beats wise to keep Life Is Good being error free for the majority of the album. With the album already in the top 10 of Billboard, and critics being wooed by a consistent and great effort by Nas, Life Is Good manages to live up to that title.
Nas as late-period Sinatra, reclined in a leather booth in the VIP, ruminating over cigars and bottles of champagne that cost more than your rent. The open track, “No Introduction” is Vegas-era Nas, overblown, with the Don reminiscing about Queensbridge hard times with Celine Dion’s band.
On “Loco-Motive,” the still brilliant Large Professor flips a bassline similar to Jay’s “The Takeover” into a complex subterranean banger. Nas: “They ask how he disappear and reappear on top/They say Nas must have naked pictures of God.”
Elsewhere, on “Daughters” a guy that’s been a total asshole to women for years suddenly wonders why his daughter’s tweeting sexy pictures of herself. “Accident Muderers” is widescreen noir with a showstopping cameo by Rick Ross, who manages to upstage the legend on at his own party. Nas gets his swagger back on “The Don” and “Nasty” flip minimalist, golden-era beats and find Mr. Jones sounding as vital as he’s been since “Made You Look.”
Aside from the ill-fitting attempt as a club hit, the Swizz Beats-produced “Summer on Smash,” it’s a whole lot of Nas in introspective, lion-in-winter mode. It’s a good deal more satisfying than his last, self-titled album’s clumsy mix of pop aspirations and muddled political song – the man’s back to rapping about his one great theme: himself.
Frank Ocean: Channel Orange Review (Four Takes)
It can be difficult to gain a balanced perspective on an album after reading a single summary of the music. Bias can tilt a review, as can personal taste, history and just about everything else that is unique to the person writing it. So in an effort to offer an expanded perspective in such a medium, here are Four reactions, Four impressions, Four Takes on Chanel Orange by Frank Ocean.
Michael Herriges (Midwest Broadcast)
Frank Ocean has been a central figure in music news since a few weeks ago when he shared his beautiful and courageous “coming out” letter. Since then, the private and esoteric Ocean has made very public waves through a myriad of stories — his Fallon performance of “Bad Religion”, releasing Channel ORANGE early on iTunes, Target not carrying his CD, and countless reviewers declaring it an early album of the year candidate (perhaps a bit overzealously). But in the end all of this would be irrelevant, if not for the fact that Channel ORANGE is, in fact, a truly stunning debut album, and among the best to be released in 2012.
In a year where R&B traditionalists like Usher and R.Kelly have gotten praise for new albums, I’ll take Ocean’s hipster brand of nu-R&B instead. Channel ORANGE is all over the place sonically. There’s the meandering keyboards of “Sweet Life,” the throwback 90s R&B featured on “Thinkin About You” and other songs, the orchestral strings on “Bad Religion” and the futuristic funk of the epic 10-minute opus “Pyramids.” Unlike many reviewers of the album, I was thrown off by this dissonance at first, and felt disappointed by the album. But each new listen of Channel ORANGE finds me loving it more, and now I think it holds together as an album remarkably well.
This is due to the fact that Ocean has already vaulted himself into an elite group of contemporary songwriters. The songs on Channel ORANGE cover a wide range of themes and topics: life in high society, drug abuse (and its relation with the previous theme) and love, both found and unreturned. Gender is unimportant in most of these songs; Ocean’s strength is writing songs that are universally relatable, yet also rich in meaning. I’ve been listening to Channel ORANGE regularly since it came out, and I still feel like I’m digging deeper with each listen. To me, Channel ORANGE is an album that feels very of the moment, but also the work of a singular talent that I’ll return to for years to come.
Kyle Tran Myhre (Guante)
If you watched Frank Ocean’s virtuoso performance of the song “Bad Religion” on “Late Night,” let me warn you now: this album doesn’t get any better than that track. But that’s not necessarily a criticism; “Bad Religion” is about as good as modern R&B music gets—a beautifully-performed and powerfully poetic, multi-layered song that manages to tackle complex ideas about love and religion and identity inside a straight-forward storytelling frame. It’s smart and ambitious without being art-school pretentious or overly obtuse, and it’s just straight-up gorgeous on top of that.
And while the rest of “Channel Orange” doesn’t come close to reaching that perfect storm of substance, technique and originality, the general pattern still applies: these are R&B songs that do not fit the formula, songs that would rather challenge the audience than pander to them, songs that may not be as immediately catchy as the new Usher or Justin Bieber track, but will undoubtedly reward patient, active listeners, especially those listeners who value substance and poetry.
Other highlights include the sprawling, ambitious “Pyramids,” the slice-of-life profile “Crack Rock” and the California-girl/boy deconstruction “Sweet Life.” All of these songs—and the album as a whole—explore the relationship between addiction, hedonism and unrequited love; I wouldn’t call “Channel Orange” a concept album, but it is impressively cohesive, both musically and thematically. This cohesiveness covers up some of the not-so-strong tracks and creates a strong, holistic hour-long listening experience.
While comparisons to Maxwell and Musiq Soulchild might be more obvious, I’d argue that Ocean draws more from Prince, Curtis Mayfield and Stevie Wonder than any true contemporary, though even those comparisons risk underselling how fresh this album feels. “Channel Orange” is more than “neo-neo-soul;” it’s something truly new and exciting.
While “Nostalgia. Ultra.” caused all the hype for Frank Ocean, it’s easy to see why. This is echoed ten-fold on “Channel Orange” an album that is pretty much psychedelic-and-b styled music. While many people have had time to absorb the hit “Thinkin Bout You,” the 10 minute time travel that is “Pyramids” best describe Ocean’s greatest strengths as a singer – his comforting voice and a flawless falsetto tend to accentuate the production throughout “Channel Orange” whereas you have Andre 3000 doing his best “SpottieOttieDopaLicious” impression on “Pink Matter.” Fellow cohort Earl Sweatshirt stops by on “Super Rich Kids”, and even John Mayer shows up too on “White.”. While the now infamous tumblr post he made has everyone talking, there isn’t any doubt or uncertainty about what “Channel Orange” provides, which is a wonderful time trip further down the rabbit hole of what music should sound like when being as adventurous as Frank is.
Jon Jon Scott (Black Corners)
Odd Future’s soul crooner Frank Ocean released the breakout modern soul record of 2011 with his mixtape Nostalgia, Ultra. Nostalgia, Ultra’s gorgeous melodies showed the promise of a new paradigm by creating a R&B record that reached for the outer limits. Since then, the singer-songwriter has penned tracks for Beyonce, John Legend and made appearances on Kanye West & Jay-Z’s Watch the Throne, as well as various music with his Odd Future crew. He has emerged as avoice of a changing generation whose vulnerabilities are on full display. Along with the The Weeknd’s Abel Tesaye, they have changedwhat “R&B” means as they take different paths down the same lane. While Tesaye seduced with his drugged out references, Frank Ocean wins with the charm of a clean cut, golden church kid. On his debut full release Channel Orange, Ocean’s voice commands center-stage with clever production assistance from Om Mas Keith, formerly of Sa Ra Creative. Ocean takes us in a personal journey of his emotions and struggle to find himself with attention to everydetail. That focus is powerful, but sometimes gets caught up in its own artiness.
The feel good summer vibeof “Sweet Life” imagines a prime Stevie Wonder with co-production from Pharrell Williams. “Super Rich Kids” pokes and jabs atrich kids with a cameo from Earl The Sweatshirt over Elton John’sclassic “Bennie and the Jets”. Ocean also explores the darkerdemons on “Pilot Jones” and “Crack Rock” where he offers another bleak view into the epidemic’s effect. On his epic 9 minute “2 songs in 1″ track “Pyramids”, Ocean’s displays passion for watching strippers over a Micheal Jackson style mid-tempo jam that after the five minute mark the track shifts gears into a lush, seductive slowjam.
The emotional centerpiece is the grand indictment, “Bad Religion,” where he questions religious truth, and who can tell someone whom they should love. Drenched in beautiful gospel inspired strings and piano he seeks counsel from a taxi driver. “He said “Allahu Akbar I told him don’t curse me,but boy you need prayer, I guess it couldn’t hurt me. If it brings me to my knees its a bad religion”.Outkast fans are going to go crazy over the subdued space funk of “Pink Matter” with an assist from Andre 3000. Along with some of the skits and having John Mayer on his record there’s many confusing moments like “Fertilizer”,“Forrest Gump”, “Pilot Jones” and “Monks”. There’s alsoa bonus track “Golden Girl” featuring Tyler The Creator that’s surprisingly listenable.
Frank Ocean has made a quite a powerful statement, colored in so many shades of pop music’s kaleidoscope. Whether as keeper of the flame of a Wonder or Prince or as playfulwith the experimental cadences of Kayne West and Fiona Apple. Itseems he was inspired to deliver a great record full of bold confessions, joy, personal tragedy, dark views of city life andbeautiful conceptual narratives. Ocean’s falsetto is rich, nuanced and full of drama. With standout tracks like “Thinking Of You”,“Pyramids”, “Bad Religion”, “Sweet Life” and “PinkMatter” Frank Ocean has arrived as this year’s Bon Iver.
Stream the whole record HERE.
Chromatics: Kill for Love Review (Three Takes)
It can be difficult to gain a balanced perspective on an album after reading a single summary of the music. Bias can tilt a review, as can personal taste, history and just about everything else that is unique to the person writing it. So in an effort to offer an expanded perspective in such a medium, here are Three reactions, Three impressions, Three Takes on Kill for Love by Chromatics.
Ali Elabbady (Background Noise Crew, Egypto Knuckles)
Read the Wikipedia page for Chromatics and their bio compares closely to the Libertines in one familiar facet: numerous lineup changes saw the Chromatics go from noisy punk-pop to dreamy shoegaze electro-pop. But the great thing in Chromatics is that regardless of those lineup changes, they have albums that speak volumes. Take, for example, their fourth effort, Kill For Love, a 17-track, 92-minute tour de force that basically carries a torch-bearing standard full of great progressions, such as pulsating kicks and building bass lines in “Back From The Grave,” and the slow but ethereal “Into The Black.” All the while the band remains close-knit, regardless of their line-up changes, and provide us with an album that provides great mid-tempo-energy-ridden songs like “The Page,” and the electro-jam-packed “The Streets Will Never Look The Same.” If there’s one thing that still stands true for Kill for Love, it’s that Chromatics albums all have a different feel. Kill for Love is another notch in the belt of the band’s great discography.
I have been struggling to think of much to say about the new Chromatics record. On one hand, it sounds pleasant enough, if this kind of chill, electronic groove music is your thing. But for me, whenever I listen to it, I find that I can scarcely remember any song after I have heard it. While listening my impression is, “yeah, this is nice,” though nothing sticks out about it enough for it to not be instantly forgettable. (I seem to have the same issue with most of the output on the Italians Do It Better label.) They consistently put out stuff that gets respect, but it just doesn’t really interest me. If my opinion sounds a little vague, I guess that’s kind of how I feel about the entire record. Vaguely dancy. Vaguely pop. Female vocals that are good but not so good as to really stick out. There are too many great albums out there to waste a lot of time banging your head against the ones you are lukewarm about, and for me anyways, I am ready to give this album up as a lost cause.
I am late to the Chromatics bandwagon, but I am now fully on board. The band’s fourth studio LP (and first since 2007) is a dark soundtrack to an unwritten film noir epic (or Drive), and a resounding success at that. From the chilly, detached, yet funky “Broken Mirrors” to the to anthemic, hazy dance title track, Kill for Love is an engrossing and commanding record. Songs like “Lady” find the group sharpening their dark pop-disco chops with stuttering synth tracks and darkly sensual vocals from lead singer Ruth Radelet. Producer Johnny Jewel, who is also in the band Glass Candy and runs the band’s label Italians Do It Better, helps to give the band a huge sound that never ventures into creepy or cheesy territory, which is a real fear for this type of music. Kill for Love is a stunning achievement and should give the band the attention that they have worked for many years to achieve.
Killer Mike: R.A.P Music Review (Four Takes)
It can be difficult to gain a balanced perspective on an album after reading a single summary of the music. Bias can tilt a review, as can personal taste, history and just about everything else that is unique to the person writing it. So in an effort to offer an expanded perspective in such a medium, here are Four reactions, Four impressions, Four Takes on R.A.P Music by Killer Mike.
Kyle Tran Myhre (Guante)
It’d be easy to judge this album, “on paper,” and love it without really listening to it. An unjustly overlooked underdog rapper with a mean political streak (and the street cred to back it up) hooking up with an underground rap legend, one of the most unique and talented producers ever to emerge from indie hip hop—it’s Def Jux meets the Dungeon Family, NYC sewer-rap meets the Dirty South, a new millennium version of the Ice Cube/Bomb Squad collaboration. How could it not work?
I’d say that the album just about lives up to the hype. Mike has always been a good MC knocking on great’s door, and while there are a few “look at me” moments on this album where Mike flexes and shows off his technique, he really shines on substance-oriented tracks like “Reagan” and “Anywhere But Here,” where he slows down and just spits from the heart. Overall, he still has a few too many filler lines and awkward punchlines, a few of his hooks fall flat, and his hyper masculine schtick sometimes bumps up against his political content, but he’s still a monster of an MC with as good of a combo of content, ability and voice as anyone in hip hop.
El-P is a surprisingly great match, too. The cinematic scope and density of his production is as impressive as always, and Mike has a delivery powerful enough to cut through the noise. After a few listens, I think I prefer this album to El’s new solo album (at least musically); it feels like working with another artist has really focused his production, stripping away some of the longer instrumental breaks and more experimental sounds without losing any of his sonic personality—it’s just trunk-rattling, neck-breaking, beautiful rap music.
Michael Herriges (Midwest Broadcast)
“This album was created entirely by Jaime and Mike” is the statement that opens “Jojo’s Chillin,” an essential track on Killer Mike’s excellent new album, R.A.P. Music. Seeing Mike and El-P team up for a whole album is a prospect that would have seemed unfathomable a few years ago. But, the pairing actually makes a lot of sense. Both artists share influences (the two have frequently name-dropped albums like Ice Cube’s AmeriKKKa’s Most Wanted in recent interviews) and address similar themes and topics in their music. Furthermore, Killer Mike, despite putting out increasingly strong solo albums, has yet to issue that career-defining statement album, while El-P is a master of crafting start-to-finish cohesive projects.
Lyrically Mike is as razor-sharp as he’s ever been. On album-centerpiece “Reagan” Mike is name-checking Ronald Reagan, the Bushes, Clinton, and Obama as “just another talking head telling lies on teleprompters” and discussing the racist implications of the War on Drugs. There’s enough topical content here for a sociology dissertation, but the album never comes off as too dense or preachy. Plus Mike is just as potent on the less-serious tracks like “Go!” and “Southern Fried,” where his second and third verses contain some of his finest technical delivery on the entire album.
El-P brought his A-game for R.A.P. Music, too. El-P was making his solo album Cancer for Cure at the same time he and Killer Mike were collaborating, so he could have easily taken throwaways from his solo work and gave them to Mike. This is not the case. In an interview with The Fader, El-P stated, “I knew what I wanted to bring for Mike and it wasn’t what I wanted to bring for myself.” He toned down his signature futuristic low-fi boom-bap sound to craft excellent beats that push Mike slightly out of his comfort zone. And while the styles switch from song to song — the industrial thump of “Untitled,” the funk of “Ghetto Gospel,” and the arena-ready synths of “R.A.P. Music” that would sound just as fitting for Watch the Throne — the album maintains a sonic cohesion throughout that holds everything together. (Special shout out to local legend DJ Abilities, who did all the scratching on the album.)
Killer Mike and El-P stay focused throughout to keep the entire album free of any filler, and as soon as the album ends, you find yourself returning for a repeat listen. In the end what we’ve got is one of the leading candidates for rap album of the year, Killer Mike’s first undeniably great solo album, or maybe just what he describes R.A.P. Music as in its title track: “What my people need and the opposite of bullshit.”
Ali Elabbady (Background Noise Crew, Egypto Knuckles)
When you got El-P as the main producer behind your record, you better come with some interesting ideas and things to the table. Killer Mike, having had 5 records to his name, delivers that promise in spades on “R.A.P. Music,” which not only places his fury and intensity on the mic in the proper spot, but he rises to the occasion and then some, be it delivering a punishing political critique on “Reagan,” and “Untitled,” or going toe to toe with T.I. and Bun B on the albums ferocious single “Big Beast.” Elsewhere he also delivers wonderful, detail rich stories on “Don’t Die” and also still manages to flex his double time muscle on “Go!” with some awesome scratches thrown in by Minneapolis’ own DJ Abilities. We’ve been blessed this year with a lot of great releases, but if this isn’t in your album of the year contenders, you are sorely mistaken.
It’s pretty rare for me to love a rap album all the way through as much as I have Killer Mike’s new record R.A.P. Music. It’s not that I don’t love rap – I do, but more so than any other genre (at least in my opinion) rap is frequently subject to inconsistency. I don’t know why that is – whether it’s a bad skit, a poorly thought out guest appearance, or just a plain bad song – just about every hip hop album that I know of has its Achilles Heel. What makes R.A.P. Music so amazing to me is that if it has a fatal flaw, I certainly can’t hear it.
Lyrically Mike is a chameleon. At times he sounds like he’s fully embracing his Southern roots. At others, he sounds like an ice-cold East Coast wordsmith or even a West Coast gangsta rapper. At all times though he is lyrically flawless – never getting lazy, never relying too much on the beat to carry a song. R.A.P. Music is angry without sounding out of control. It’s political without being unintelligent. Its humorous without seeming like a joke. Killer Mike has been in the business of producing good albums for years but with R.A.P. Music he’s gotten as close to perfection as anyone else in the game. OK, so maybe following up “JoJo’s Chillin” with “Reagan” sends a bit of a mixed message (in the space of two songs he seems to both embody as well as discredit the playa lifestyle) but since both songs are stone cold jams it is easily forgivable. I am ready to put R.A.P. Music up there with the greats and for me at least, that is a pretty exclusive list.
Spiritualized: Sweet Heart Sweet Light Review (Three Takes)
It can be difficult to gain a balanced perspective on an album after reading a single summary of the music. Bias can tilt a review, as can personal taste, history and just about everything else that is unique to the person writing it. So in an effort to offer an expanded perspective in such a medium, here are three reactions, three impressions, three Takes on Sweet Heart Sweet Light by Spiritualized.
It’s always taken me a long time to get into Spiritualized albums. I never really “got” the band until I saw them live in 2008. Though I loved Spacemen 3, Jason Pierce’s more recent project didn’t do it for me for many years. Despite the band being perhaps one of the least interesting live acts on the planet, somehow hearing them live was what eventually changed my mind. Still, it took me many listens to warm up to the band’s most noted recorded works, namely Let it Come Down, Ladies and Gentleman… and A&E. Listening to each, I was always struck by the fact that for every Spiritualized song that I loved, there were at least three or four that I thought were pretty unremarkable. However with repeat listening somehow I was only able to recognize the greatness a little bit at a time. It was an effort that required discipline but one that also generally paid off in the end. I feel as if I have only just begun the process for Sweet Heart Sweet Light. My impression right now is that there about three songs I really enjoy, and a bunch of other stuff that sounds kind of boring. I imagine that after I listen to it enough, I will eventually begin to appreciate it more and more (just as I have past Spiritualized albums). Until that day though my score for the record will remain steadfastly in the average range.
Ali Elabbady (Background Noise Crew, Egypto Knuckles)
Looking at the album artwork for Sweet Heart Sweet Light, the 7th record from Spiritualized, your first word about it might be what’s on the album’s cover, the word “Huh?” Regardless of the album art however interesting or stupid it may look to you, the proof is in the music itself that Spiritualized has put together, and starting with the numerous movements involved in “Hey Jane,” this picks up definitely where Songs in A&E left off. Then the melancholic yet rhythmic awesomeness of “Little Girl” sets in, and the melancholy continues on with “Get What You Deserve,” and it proves what’s so great about Spiritualized. They’re constantly at an endless bout of experimentation, sweeping instrumental changes over Jason Pierce’s amazing vocals, that end up giving tunes like “Too Late” and the acoustic guitar backed “Freedom” legs to walk out these really great pieces of work that dazzle throughout the 60-minute opus. Spiritualized is still one of those rare bands that still manages to get better and better with time, regardless of their line-up changes.
On their first full-length in four years, Spiritualized hit many of the same notes they did on their last, Songs in A&E, with gospel-inflected pop melodies arranged with electric guitars playing in front of classical orchestration and choir. And what worked on that album works on this album. However, many of the songs on Sweet Heart Sweet Light lack the punchy concision that characterized Songs in A&E. Half of the songs here run somewhere between 6 and 9 minutes, and what they all have in common is that if they had been cut to 3 minutes, they would have been great songs. As they are, they feel like 3 minute songs that just keep going and going . . . until you hit the skip button.
Jack White: Blunderbuss Review (Three Takes)
It can be difficult to gain a balanced perspective on an album after reading a single summary of the music. Bias can tilt a review, as can personal taste, history and just about everything else that is unique to the person writing it. So in an effort to offer an expanded perspective in such a medium, here are three reactions, three impressions, three Takes on Blunderbuss by Jack White.
Steve Skavnak (@steveskavnak)
I’ve always enjoyed Jack White’s work in his other projects, but I wouldn’t say I’ve ever been a devout follower of his career. With that, I went into Blunderbuss with absolutely zero expectations. I had heard “Sixteen Saltines” and “Love Interruption,” thinking favorably of both, but not blown away by either. I came away pleasantly surprised, fond of the large majority of the record and more appreciative of the man who has become a musical icon of our generation.
Anyone that saw Jack White’s recent SNL performance witnessed the adorably campy way White switched from an all-female backing back to an all-male one of the second song of the evening. While this seemed to be all for show, when listening to Blunderbuss’ 13 punchy tracks, you can actually envision this change and understand that it’s for sound. The album alternates between White’s signature crunchy guitar hooks and a newfound (or at least more prominent) love of piano, which works the best near the middle of the record on the emotive “Hypocritical Kiss” and the urgent bellowing on “Weep Themselves to Sleep” (which also boasts one of White’s killer screeching guitar solos). Then there’s the beginning of “I’m Shakin,’” which could easily be mistaken for a tune by The Black Keys (the irony has seemingly come full circle). The standout for me, though, may very well be the most timid track on Blunderbuss. Take away the intermediate drumming and “Hip (Eponymous) Poor Boy” sounds like a White Stripes outtake done right, with White utilizing some of the same production mastery he used on Loretta Lynn’s Van Lear Rose.
Now if Mr. White would just visit Minneapolis for a night or two, it’d be nice to hear some of this new material live before he moves on to his next endeavor.
Ali Elabbady (Background Noise Crew, Egypto Knuckles)
Numerous side projects, managing the day-to-day at Third Man, and a daunting task to show what’s so different about Jack White aside from the band known as The White Stripes, how does one overcome all that to create Blunderbuss? There’s really not a question as to Jack White’s virtuosity, and Blunderbuss showcases that in a lot of ways. What comes in this debut solo record from Jack White is not so much drastically different from his work with his various side projects and his work with the White Stripes, if anything it sheds another layer as to what Jack White can do with all that influence, and its evident in “Freedom At 21″ where a nice groove settles in and Jack blurts out lyrics similar to bounce type hip-hop, riding the rhythm perfectly. “Sixteen Saltines” is an outright rock jam, whereas “Love Interruption” is a nicely tinged acoustic song with some well-done keyboard work. Which brings us back to the initial question: what’s so different about Blunderbuss? Really, if you’re looking at the album from an aesthetic point of view, not much has changed. Sure there may be more mid-tempo jams around and a fair share of nicely done acoustic ones, but one thing is for sure, Jack White continues to be a man who can wear many hats and still treat every project like its something new.
I didn’t jump into the Beach House review we did last week, but despite the fact that I like Beach House much more than Jack White, I couldn’t help but having the same thoughts about both albums. How many times can you go back to the same well before people get tired? With his first solo LP Blunderbuss, Jack White goes back to the sounds that have made him so famous with the White Stripes, Dead Weather, The Raconteurs and his other various projects. White takes the listener on a tour of his previous greatest hits, ranging from the hard charging garage blues of “Sixteen Saltines” to the melody rich piano jaunt “Hypocritical Kiss” to the folk-y “I Guess I Should Go To Sleep” and back to the sultry, organ groove of “Missing Pieces.” Like always, there is clear talent present on the album, with White able to wring a slightly new sound or different take on a sound that is many lifetimes older than him, but how long can you walk down the same path before it starts seeming a bit redundant? Like Beach House, most fans with previous experience with his work would be able to pinpoint that this a Jack White effort within the first minute of any of these songs. This speaks to a distinctive and meticulous sound that has been perfected over the years, but I couldn’t help but thinking what could have been if he had taken his talent in different directions. His work with Loretta Lynn was cool—why not a rustic, old school country album? He put out a White Denim LP on his Third Man Records—why not a pysched out blues meltdown? Blunderbuss will appease current fans of White, bring in a few new listeners and leave causal fans like myself feeling wildly indifferent.