Showing posts with label Pop. Show all posts
Showing posts with label Pop. Show all posts

Friday 13 October 2023

Gunship "Unicorn" (2023)

 

Five years proved a worthy wait, Unicorn returns riding into a surreal synthetic sunset of its own design. Fully focused on fundamentals, the British duo Gunship fine tune their classy Synthwave sound, pulling no new strings and sticking to proven ideals. To achieve this, songwriting must reign supreme. That challenge is met with an impressive cast of musical genius. Returning unions with Tim Cappello and Carpenter Brut prevail again, alongside giants like John Carpenter and Dave Lombardo, once of Slayer. An impressive roster, who admittedly appear on the records stronger tracks.

Its catchiest hooks, the lyrically infectious cadences and tantalizing neon synth melodies, a fruitful yield of collaborative chemistry. A delight early on within its loaded roll out. Vocal variety proves a strength, former Fightstar band mate Charlie Simpson, one of the best fits among a talented cast. The band Health bring keen Prodigy flare to the fold and Power Glove seems the most subdued arrangement given there reputation for lively retro VGM inspirations. Ghost plays a sleepy lull between the energetic dance-floor thrusts of Weaponised Love and Darkness For Dreams.

 In this final stretch the record steadies into a soft groove, arriving with less flash in the pan. Focused on its lyrical manifestations of nostalgic imaginations, the lengthy hour traverses its final temperaments with moody indulgences and subdued flavors. The love of craft and care in handling these inspirations percolates its glossy aesthetic, bowing out with strides for anthemic heights that landed off a little to my ears. Unicorn is a brilliant return. Not a perfect record but seemingly the best of their three chapters.

Rating: 7/10

Saturday 23 September 2023

Olivia Rodrigo "Guts" (2023)

 

Two years on from Sour, Olivia matures, returning with welcome yet familiar tuneful dances of vulnerable self expression. Guts possibly signals the expression of having enough to bleed these pained relationships she divulges in detail. Among its twelve tracks, we experience the flip side, highs and lows, loves and heartbreaks, all in broken sequence, letting each song take form with its own identity.

Like last time around, mature, expressive and palatable singer songwriter bites get wedged between chirpy, catching hooks and pop sensibilities. Often teenage in nature, Olivia has no difficulty finding relatable words with an essence of youth and soft touch of rebellion. Not my preferred picks yet her vibrancy so clearly on the pulse of those young years, one can take a step back into those spaces faded by age.

A notable 90s Post-Grunge, Alternative Rock aesthetic rears its head on occasion. My favorite track, Pretty Isn't Pretty, bolsters a gorgeous shoe-gazing guitar lick. Underneath a luminous baselines marches with a delicate assemble of subtle instruments coloring its calmer moments. The tone is wonderfully balanced, fresh yet nostalgic, she yields her voice to whats asked of the instrumental. Stunning song!

These revived sounds kick off the album back to back. All-American Bitch and Bad Idea Right? get there Pop Punk kicks on with fun and cheeky expressions. The later reminding me of Devo's Whip It in an obscure way, must be that tight overdriven guitar riff! Every time an energetic song arrives, it always comes with a complimentary sense of specific inspiration from the 90s and 00s alternative music scenes.

The soft and vulnerable cuts found between are my favorites. When the guitars fade and airy synths rise, alongside moody pianos and tempered strings, Olivia opens up with endearing stories of personal woes felt in her voice. It strips out the attitude and quirk of catchy hook writing, saying similar things but from direction experiences. This is where the guts of the record lay, their pacing between other sounds is apt.

Lastly, the record ends with Teenage Dream, reflecting on artistic and cosmetic atrophy. A tender track exposing her relationship with the massive pressures of fame and public opinion. Its quite saddening considering how heavy such thoughts can weigh. Feels like an potential premonition, a self fulfilling prophesy. Hopefully getting it off her chest wont make that so! This album was remarkably gratifying, just as good if not better than Sour. I'm left knowing I will keep coming back to this one.

Rating: 8/10

Wednesday 9 August 2023

Post Malone "Austin" (2023)

 

Returning swiftly from the lukewarm reception of Twelve Carat Toothache, Post Malone returns with a notable progression in his persona and musical identity. Austin, named after himself, is a traditional leaning Pop record that initially disappoints with its generic withdrawal from what made him standout as an artist. Flushing out percussive Trap influences and stepping back from the embellishment auto-tune offered, this new direction withdraws into pleasing practices and sensibilities established for years now.

With a lack of aesthetic novelty to draw one in, Its with repetitions that one gets to know these songs. Humble and sincere, Post revels in his emotions with an authenticity complimented by his voice. Ditching auto-tune for the most part, merits emerge in his singing that prove this talent is beyond gimmicks. The melodic lines and catchy lyrics are illuminating when they land. Backed by subtle swooning instrumentals, the union lands songs sweetly when the stars align.

With less hands involved in the records production, the trio emerge with a cohesive vision pulling on a little kick clap of coffee shop Rock, the shimmer 80s Synthpop and dreamy touch of modern Pop. Compositions are apt, purpose built, across a range of tones all lavished in gorgeous aesthetics. Its builds a summery indulgence of warmth and good times masking an underbelly of sunset reflections on masked pains.

Brushing aside the false start of the self-pity opener Don't Understand and yearning Gospel cries of Something Real, an arc emerges from upbeat to introspective. Early on the best tracks arrive on pacey percussion tempos and cool breezes. As the record matures, the calmer acoustic leaning expressions steadily shift its focus. Its a decent trajectory but given only a handful of songs really pulled this listener in.

I found Austin's lulls to highlight how well its uplifting choruses landed. Early on, every other song croons and grooves on its slick impressions. As moodier acoustics roll in, mediocrity rises. Curation is often a pitfall on lengthy records. At an hour long, its clear a concise expression of Post's warmth would have rocked strong. The reveling on melancholic vibes didn't land with the same infectiousness. This could of been something special but its retained to a handful of songs that stand apart.

Rating: 6/10

Wednesday 31 May 2023

Jessie Ware "That! Feels Good" (2023)

 

Following up on the stunning What's Your Pleasure, singer-songwriter Jessie Ware leans even harder into this craft of love. Going beyond a revivalist sentiment, her passionate presence and luminous instrumentals play like a force of infection pulling one into a personal fantasy from a bygone era. These songs ooze with class, as a slick production steeped in attitude. A return to the glory of 70s Disco, Funk and Pop, steeped with a little 90s Dance pianos, House grooves and Daft Punk sensibilities.

The opening stretch has a groovy rhythmic persuasion. A beautiful balance is stuck, inspired words swoon over mighty bold melodies, full of upbeat jovial spirit, striving forth with a dance-able confidence. The theme of empowerment in pursuit of pleasure and indulgence is executed with warmth and compassion. A very humanist oriented energy emanates, painting vivid images of fun social parties and the nightlife bliss.

Past its first five songs, a few tracks hit a subtle difference in stride. It seems 70s cheese and less favorable cliches of that era get a keen focus. Raunchy "wink wink" lyrics, chirpy melodies and quirky hooks paint an interesting picture of bygone trends, reviving them with a lot of energy. Initially, these crude strides turned me off but repetition has worked its charm. I'm still not sold but I can't deny its a brilliant exercise in taking dated ideas and putting on polish, while clearly having fun in the process.

Between those numbers, the music looses some of that opening vibrancy. Perhaps the endless upbeat march is a little much for me. I loved how the previous record moved into theatrical strides with emotive beats, leaning to the melancholy alongside adorning string sections. This effort felt strictly settled on its Disco dance floor orientation. The moody shift of Lightning lacks a spark on the way out to provide that variance. Overall, That! Feels Good has some absolutely brilliant, infectious music but it waivers when leaning harder into its mightily enthused ideas over and over again.

Rating: 7/10

Monday 15 May 2023

VNV Nation "Electric Sun" (2023)

 

A five year gap between Noire and Electric Sun has elapsed, the largest among VNV's twelve records. Evidently a veteran of ones own identity, this re-emergence offers next to nothing new. Its steady stream of melancholic warmth resonates on familiar footing. Harris' soft fatherly voice words lyrics steeped in compassion, introspection and wisdom. The message of victory not vengeance persists, navigating humanist struggles and emotive pains through grandiose metaphors. An easily digested balance of darkly Club synthesizers and thumping Dance percussion whirls up energy. Slick Neo-classical instrumentation ushers itself in, fanning emotive flames with soothing pianos, completing a glossy aesthetic housing both softness and edge.

Its a bright, thoughtfully crafted execution of a familiar blueprint. Its glittery melodies, grand stings and pulsing dance floor drums are left dulled by their lack of surprise. Having acquainted with and grown fond of an unshaken sound so many moons ago, its left this listener with little to love beyond its pleasantries. Both aesthetic and thematically resolute, even Electric Sun's structure felt archetypal. The same rotation of gleaming astral interludes and a dark banger, Artifice, rolled out with familiar feeling. Its a fine record but perhaps not something I was in the mood for. I'm sure these songs would find themselves home on rotation in a VNV Nation playlist.

Rating : 5/10

Monday 8 May 2023

Enter Shikari "A Kiss For The Whole World" (2023)

 

Two decades have passed since Enter Shikari made waves playing in our local music scene. With an unwavering resilience, they retain a relevancy that took me by surprise, having grown comfortable in the silent interval between records. Re-arranging their youthful character once again, Shikari still have the bite to hook, line and sink one into their party-like carnival Rock-Electronic realm again. With fond familiarity and spicy seasoning, A Kiss For The Whole World blazes by this listener in a whirl of engrossing charisma. Topically flourishing, their restless offerings come woven with compassion and hope, matured out of once angered social political lyrics.

This positivity emanates instrumentally, made starkly apparent by Rou Reynolds' passionate pleas, warm wisdoms and mellow metaphors. Practically every song has an infectious hook, his catchy wordings deliver hope and uplift, arriving on a flush of creativity. Its fun, engaging, refreshing and keeps once locked in with its nimble stride as these apt thirty three minutes sprint by with every moment revealing its purpose.

Their pop sensibilities have matured to a level of class, leveraging the appeal of popular musics most gratifying structures against the rampant creativity of their eclectic musical pallet. Echo's from the web of early 90s electronica still loom boldly, most keenly The Prodigy. Some moments just cant escape their legacy. Shikari are further forging their signature sound, yet not exactly advancing on new territory.

This record signifies a peak in the assembly of Metal tinged Rock, echoing Hardcore. Club music, Drum & Bass weave their aesthetics and components dynamically. Splashes of classic instrumens align with a keen cheek and cheer. Playing a role for narrative and direction to blossom. In short, everything they have done before, successfully re-emerging on a creative high for fans new and old to be taken away by. With each of my many spins I wonder if the cracks will appear. Despite having favorites among the crowd, it plays wonderfully as a complete experience.

Rating: 8/10

Monday 24 April 2023

Janelle Monáe "Dirty Computer" (2018)

 

As the last of Janelle Monáe's offerings, Dirty Computer signifies a departure from its established android protagonist narrative. Where that theme evaporates, so does its 70s Psychedelic, Soul and R&B elements. In essence, an entirely different sound with Janelle operating on the level of an 80s Pop powerhouse front-woman affirming her stature. Intermingled with trendy tones of the times, its instrumental offerings ran a little weak for my taste. Many musical elements are striped to a mild resonance, energies muted, with a hyper focus on catchy hooks and empowered braggadocio.

It does however kick off with three decent numbers. Brian Wilson of The Beach Boys lends his iconic swooning vocal sways to the background of a tender, harmonious introduction. Gears then shift as a dazzling mix of modern production collides with echos 80s Synthpop. This luminosity fades as the lyrics become bold, overt and obvious. Substance is inherent but its musical chemistry rubs me the wrong way. From here the record leans hard into the Pop trends of the time. To my ears, all to dull.

In its final third, the gears shift once again. Brushing shoulders with great songs from nostalgic eras, the influences come obvious and stiff, failing to ignite. This stripped compositional approach sours here, leaving its songs instrumentally underwhelming. Janelle seems unable to spark the magic either. Little of the conjured greatness beforehand is present. Clearly a different vision, one I'm sore I didn't connect with.

Rating: 4/10

Saturday 15 April 2023

Janelle Monáe "The Electric Lady" (2013)

 

 Unabashed, bold and brazen, this sophomore follow up confidently struts its thematic concept directly into the spotlight. Where The Archandroid maneuvered its robotic humanoid inspirations with intrigue, The Electric Lady hits these beats on the nose with no subtleties. Key protagonist and android messiah, Cindi Mayweather is thrust against fear and ignorance. Crudely deployed with overt interludes between songs, a radio show host reigns in calls of colorful bigoted callers, reputing their hateful views revealed. An obvious metaphor for various phobias that grip people in current times.

Contrasting this illumination of social ills, most these songs are positive, uplifting, striding with themes of empowerment and strength. Its title track plays like an homage to the powerhouse anthems of Soul and Disco crossovers from the 70s and 80s. Unsurprisingly, this era is where much the records stylistic draw comes. On this track however, its self assured execution and expressions of female empowerment fall flat against a perfected checklist of tropes, notes and beats to hit in emulating this style.

Originality and inspiration is in question. The albums second phase hits an thematic echo with Ghetto Woman. I prefer this one, however its instrumental is clearly lifted from Stevie Wonder's blueprint of vibrant expressions. Although only palpable on occasion, much of the record drifts by without that keen infectious spark of its predecessor. Its historic sentimentality left exposed in the shadow, an awkward underwhelming stretch of luscious, warm, soft to touch music that rarely peaks.

One track hit a groove. Dance Apocalyptic swiftly picks up pace, deploying a chirpy percussive jive to wiggle with. Instrumentally soft all over, a youthful love of live emanates through its lively assemble of carefully performance instruments. Even turntable scratches can be heard in the mix. Janelle's jovial chorus and cheeky hooks are a delight, "shellang-alang-alang". One to get stuck in the ear, among a lengthy stretch of songs lacking the depth and charm seemingly lost from that last triumph.

Rating: 6/10

Saturday 25 March 2023

BABYMETAL "The Other One" (2023)

 

A lack of anticipation for this newest BABYMETAL record seems obvious in retrospect as its singles and promotional songs mustered little excitement in the build up. Having binged the record somewhat, I've been struck by how underwhelming the music is in comparison to prior records. Where are the banging riffs, cheeky chants and surprises along the way? The Other One seems subdued in approach, toning down extremities and eccentricities, curbing the wild in favor of easily digestible song writing.

Much of the heavy lifting is handed to Su-Metal, who struggles to find hooks and cadences to forge the unforgettable songs heard in the past. She sits front and center with a tame sequence of bland singing that feels so monotone in creative terms.

Perhaps Mirror Mirror comes close to capturing that old magic, a willingness to embrace the wild instrumentally can be heard but referencing the old "mirror mirror on the wall" fable leads nowhere. Elsewhere on the record eclectic directions can be heard but never does a melody, hook or groove converge on something memorable.

Time Wave explores a soft take on Club and Trance aesthetics, Metalizm toys with hard percussion underneath eastern and oriental melodics, Monochrome traverses all too familiar Pop Metal trends with oh-woo chorus chants and a warm guitar melody.

Despite having much of the original band behind the music intact, The Other One feels like a shadow of former glory, a withdrawal to safe territory where ambition is traded for safety. Its an aesthetically treat, a gorgeous mix of Metal, Electronics and J-Pop singing. The songs may be pleasant and welcoming yet their bite is absent. Every song here feels like the one you might of skipped on previous records, to get to those fan favorite tracks like Gimme Chocolate, Karate and The One.

Rating: 5/10

Sunday 5 March 2023

Gunship "Dark All Day" (2018)

 

With an enigmatic dystopian eclipse cover and suggestion of darker themes among its title, one might suspect a mood shift towards the more sinister Synthwave machinations of Carpenturn Brut. Alas, the opposite seems true, honing in on Synthpop influences a cheery narrative of uplift against struggle prevails, perhaps best exemplified on When You Grow Up, Your Heart Dies. Its christening bells add a resonant gloss of warmth to a spirited battle against the odds, with warm, fuzzy blurts of sentimental language to uplift spirits wedged into its telephone call interlude.

Dark All Day's atmosphere suits its presentation well. Many of the songs hold this ecliptic tension. Punchy bass synths, lined by meaty percussive grooves hold a mean edge against the soar of warm lead melodies and bright instruments acting as the light around this circular edge. Although Thrasher and The Drone Lacing League lean into nightly territory, its the melancholic warmth of its 80s influences that find dynamics to emerge as the narrative resolution. One of inspiration and uplift from hurt.

Stella Le Page and other effeminate voices featured compliment a stellar variety, breaking up the soaring calls of Alex Westaway who sings with a stride in his tenderness. More would have easily been welcome, their contrast a great dimension. Dark All Day is a rare record for me, where the voices really nail the instrumental theme, guiding the aforementioned tensions to a glistening resolution. They were a key component to solidifying these glossy soundtracks of nostalgic imagination. This one is definitely a shade better than their debut self titled Gunship.

Rating: 7/10

Saturday 4 March 2023

Janelle Monáe "Metropolis: The Chase Suite" (2008)

 

Prelude to The Archandroid and first installment of a conceptual series of records, Metropolis is a fair introduction to Janelle's quirks as an artist. For this listener, the spoils of what follows overshadows its charms. Metropolis plays as another union of instrumentals reaching into a diverse past for inspiration, paired with sharp, groove inducing percussion, its a fantastic reinvention of timeless musical expressions.

With March Of The Wolfmasters, the thematic premise is laid bare, somewhat spelt out. Outlawed robotic romantics, a vision of science fiction imagined future, plucked from the 20th centuries early decades and intermingled with a very human narrative. So to does the music plunder gloriously with trumpeted Swing band elements, theatrical string sections and stabbing horror organ melodies spun to a jovial rhythm.

Although a brief EP, its focus slips at the end with Mr. President. Pivoting to a plea on current social woes, the shift in tone is jarring. Then proceeded by a cover of Smile her incredible voice sadly doesn't quite suite. It was however an excuse to learn about a song covered many times, going far back to Charlie Chaplin. On Metropolis, Its clear the groundwork was laid for great things to follow, however the core three songs that merited this thematic inspiration was ready for more at this point in time.

Rating: 5/10

Tuesday 28 February 2023

Len "You Can't Stop The Bum Rush" (1999)

If mid 80's Hip Hop with its clunky grooves, fun but dated rhyming tropes is your niche, then You Can't Stop The Bum Rush might just float your boat. I'm quite partial to the era, however Canadian group Len's millennium offering has little to add aesthetically, essentially a stiff nostalgic resurrection. Its bizarre his how eclectic and interwoven with other genres this record is, however the music isn't all as fluent.

Echo's of classic 70s Electronic music to the likes of Kraftwerk emerge, as a string of songs foray into crossover with Hip Hop the likes of Afrika Bambaataa once flirted with. Loaded with body popping vibes and vibrant 808s, the authenticity should be sky high with legends Biz Markie and Kurtis Blow hopping onboard to lend their voices. Despite this, the lack of reach to new territory has a stale energy about it.

After Cold Chillin the flow looses pace, ditching the Hip Hip beats to explore Rock, Punk Rock, Pop and Jazzy vibes to see the record out. Although its nice to hear such diversity, only June Bug swoons with its easy flow and gentle singing. Of course, the albums star is Steal My Sunshine, a massive hit known the world over. An oddity, considering how little of its charm gets echoed elsewhere. Worth a listen but quite mediocre.

Rating: 4/10

Wednesday 15 February 2023

Gunship "Gunship" (2015)

 

A gratifying sense of inspiration and class washes over with first impressions. Oozing out the gates with its glossy retro-aesthetic and twinkling melodic might intact, this British duo Gunship stands apart from other Synthwave projects. This is mostly due to its revolving cast of guest vocalists who fill a void the genre's instrumental approaches often leave unsatisfied. Performances conjure the 80s greats. Some more unabashed than others, Peter Gabriel seeming a keen influence. The stylings of Chino Moreno rears itself too. It makes perfect sense upon learning Charlie Simpson is on the record. Turns out, the aforementioned duo are his former band mates from Fightstar.

Behind some fine vocal performances, the pair find wondrous compositions of meaty bass synths churning pulsing grooves alongside competent percussion that leans into the cheesy synth toms of the era with an apt touch. Its a solid foundation, conjuring those nightlife neon-light highway speeding fantasies. Its forward synths crash in with dazzling flushes of tunefulness, overlapping and taking turns as atmospheric layers build cohesion. Sometimes, its care and attention to subtle details in the cracks. More often, the lead notations, carrying the 80s attitude, are its strongest focal point.

Either way, every song defines itself, leaning into the various Synth-Pop styles and song formats of the era. With straightforward structures, verse and choruses swoon with an easy persuasion one will be familiar with. The nostalgia tinted, glossy re-imagination of that decade is approached with such care, this debut Gunship simply turns out songs that last. Carpenter Brut seems a keen influence here, his presence co-insiding with my personal favorites, the chunkier, harder hitting songs of the record.

Rating: 7/10

Tuesday 31 January 2023

Janelle Monáe "The Archandroid" (2010)

As both an actress and musician, Janelle Monáe is clearly an artistic talent beyond auditory constraints. A passion for cinema and theater permeates this blinding debut. I've been under its spell for some time now, losing track of how many spins have blessed these ears. Its charm resides in diversity, the execution enthralling. The Archandroid courses through cherry picked motifs conjuring remnants of musical greats yet harnessing them through a modern approach that brings out the very best of the territories it embarks upon. Its lofty, yet wonderful, concept stratifies the ages through an effeminate android who is sent back through time to encounter an unenlightened past. A firm premise for lyrical commentaries browing humanistic and social-political insights but for this instrumental mind, it served as the jumping off point. A freedom to move its stellar songs through the decades of musical evolution.

From the outset, its evolving themes are accompanied by cinematic transitions, pivots from soundtrack to contemporary and back again. Modern, popular verse chorus writing get seasoned by rich orchestration to tease the mind with its grand, visual sense of scale, fit for a movie experience. With its R&B and Hip Hop influences aptly deployed, subtle drifts into rhythm and groove blur the lines of ambitious distinctions. It allows one to enjoy the experience, engulfed in a diversity which astonishingly avoids any sense of "mash up", or "crossover", as picking apart its instrumental components reveals avenues of influences. However on occasion, its can be all to brash.

Make The Bus unapologetically reeks of Bowie. Come Alive shudders with a stiff brazen union of cheesy Horror aesthetics and British Punk. The two are my least favorite cuts, Mushrooms & Roses flirts among them with an obvious Psychedelic Rock pivot fortunately saved by the mesmerizing guitar lead that pulls the song through its own dreamy haze. Fortunately everything else is utterly fantastic, mostly ruminating on 70s and 80s Soul and R&B, mingled between its theater motifs. The influence of Outcast can't be understated, Big Boi turning up to feature on Tightrope. It has the The Love Below stamp all over it. Perhaps continuing where they left off, in terms of bringing together modern percussion and sounds decades prior.

Despite distinct influences, The Archandroid never loses sight of its own story. Staying firmly rooted, flowing through its motions to conclude on a high. BaBopByeYa brings out the finest of Janelle's range. Having been a continual source of infectious engagement throughout, on this cautiously unwinding track she soars to new heights. The swells of emotion are unavoidable as her rise to utter the title words have a focal gravitas. The instrumentals gracious deconstruction somehow illuminates the word building that came before it, as each violin, piano and string seems to echo the epic embarked on. There is more I could say but its seems I am still ensnared in mighty gaze, wondering when this magical adventure might exhaust itself.

Rating: 9.5/10

Saturday 14 January 2023

Type O Negative "Dead Again" (2007)

 

 I'm under the impression that front man Steele was responsible for much of Type O Negative's musical writing. It blossoms again in refined directions on this final record. His passing a few years later sealing the groups fate, them choosing not to continue on without him. From the offset, Dead Again bestows a different intensity. Distanced somewhat from the Gothic tonal cheese, always orchestrated with emotional connection, Steele leans into certain inspirations present since their inception.

Kicking off with dense guitars lunging into burly Doom Metal groans, followed by a sudden energetic drive of hurried Hardcore aggression, the metallic, mainly Black Sabbath inspired focus makes itself known. Equally split with The Beatles influences and Pop Rock ideals from decades back, many songs beautifully journey through lengthy non-linear song structures. It gives the record a perpetual sense of excitement, as more gratifying compositions seem to lurk around every corner.

Now entirely stripped of prior flirtations with crass humor and noisy aesthetic interludes, their collective eclecticism flows focused and gratifying. Barely a wasted second goes by, Steele leans into his vision and delivers a plethora of intriguing arrangements. Personally its clearly cathartic, channeling catchy lyrics over grabbing melodies, they frequently skirt easy conventions, offering truly distinct music.

Some songs stick to one of its three main styles, others easily chop through wildly different intensities as Doom Metal, Hardcore and Pop Rock get a fascinating salute from these brooding Gothic oddballs. Its seems with age came maturity and the hunger of expression never faded. Dead Again has a notable shift yet with it an awe and fascination as to how the odd mix of chemistries could emerge again as exciting as ever! Despite the remarkable impression October Rust left on me, I get a sense this could be my favorite given more time to sink in.

Rating: 9/10

Wednesday 23 November 2022

Brockhampton "The Family" (2022)


 With wounds still fresh, Brockhampton supposedly returns from their recent post Roadrunner breakup. In less than a calendar year, this resurrection paints a sour flavor in its expressed explanation of existance. Dominating the airwaves, through commentary and production, The Family arrives like a Kevin Abstract record for this outsider looking in. Peeling off scabs from a painful separation, the woes of using drama for content seems lost on the nature of this dissection of their unraveling.

On one hand, The Family plays as a wonderful self analysis, a raw reflection. Like a fly on the wall of a therapists office, we cycle through events and dramas that tore the group apart. Its candid, unabashed and sudden. The other hand, an eerie postmortem called while a pulse can still be felt. This unease is steered by Kevin, lopsided in representation and drowning the music with early era Kanye West imitations.

Often do his vocally directed instrumentals reek of Kanye's genius. So do the flows, cadence and expressive schemes play uncannily alike. Its not found at every turn but throws what could of been a luminous reflective concept record into the unease based on imitations and a questionable timing that seems to retread some of the lessons its trying to learn through this open autopsy. Despite that, there is class at play, music to be enjoyed. Production is well rounded, topicality interesting, engaging yet that lack of self awareness breeds the inescapable odd tension, throwing all feelings into doubt.

Rating: 4/10

Friday 11 November 2022

Polyphia "Remember That You Will Die" (2022)

 

Last I heard of then Texans Polyphia, they were lumped in a then emerging Djent camp. Still echoing time signature grooves and the guitar styling of the scene, a clear evolution beyond it has served them well. Now they perform a smart, sophisticated game. Rocking jazzy, Progressive arrangements and mixing what would often be snubbed as technical "guitar nerd" music with Pop sensibilities. It commands ones attention, the two often opposed ideals meld invitingly when this quartet perform.

With an intricate approach, dazzling technicality and performative tenacity, crafty compositions of dexterous notations gleam with satisfying melody atop sharp percussive rhythms. A simpler key focus always captures ones attention while around it a whirl of showmanship embellishes an inviting idea into a wild ride of tricky performative art. Bass guitars slap and pluck away with impressive precision. Alongside, a three armed drummed who fleshes out tight fills and jolted hi-hat rhythms between electronic drums that snap and kick with a modern punchy brightness.

The records opening songs focus on the instrumental aspect with guests bringing pianos and horns to the mix. With ABC the focus shifts as quest vocalists and rappers really sell the pop appeal. Its a warm fusion, where the band revolve around that focal simplicity their friends bring. It gives the album another dimension to dip in and out of, keeping a fresh flow. Interestingly its most memorable moments are birthed from the catchy hooks guests bring. Not a surprise if you think about it. These things do tend to trump the incredible gifted abilities they have as musicians. Steve Vai signing off on the album closer is a real testament to their accomplishments as musicians.

Rating: 7/10

Sunday 11 September 2022

Depeche Mode "Violator" (1990)

 

Hailed by some as a classic, I approached this record with persistence. A turning point came four or so spins in. Suddenly, the brash, jolting instruments began to blossom. Its snappy arrays of waveform synths revealing secrets. The bold, rigid deployment of its punchy melodies and calculated drum patterns birthing emotional resonance from the void they dance above. Violator's aesthetic philosophy leaves a sparse quiet behind the fast attack and decay of its electronic zaps and stiff sampled percussion.

In the drone of its repetition, what I failed to hear was the build up. Songs start minimal and simple, with all components laid bare. Dave Gahan brings in his steely tender voice to take hand and lead along the lyrical narrative with an engulfing persuasion. Under his spell the instrumental broods these emotive swells as the complexity increases. Leaving its simpler crafts in formation, the later arrives toy with organics as dense guitar wails, dawning string sections and abstract electronic.

As I understand it, Voilator was also their debut venture to include guitars. Sometimes performed but mostly sampled, the acoustic tones fit effortlessly to their demeanor. I sensed the commercially exploited Personal Jesus might become an irritation but alas, under repetition I came to appreciate its genius, and union of digital and analog.

The records character lingers mostly on relationships woes, a sadness that permeates loves struggles without conclusion. The tone teases, toying with a curious poise. A soft sadness, melancholy on the horizon, all whilst being dramatically catchy. Its a highly digestible set of Pop tunes, weaving in odd electronic sounds to its tapestry. As the rush increases, so do strange zaps and brash noises. Quite the delight.

Ultimately I can only conclude to agree with its acclaim. Despite lacking the depth time with records offers, my ever growing love of its persuasion is wondrous. In comparison to Black Celebration, Violator stands matured and cunning by a band forging their expressions with sharpened wit and intellect. The underlying emotional rawness heard through voice and instrument is as before. I'm unsure as to why I did not hear it on Music For The Masses? Its earned my attention for a revisit.

Rating: 9/10

Sunday 31 July 2022

Billie Eilish "Don't Smile At Me" (2017)


Ignorance leads to serendipity, as unbeknownst to me When We All Fall Asleep, Where Do We Go? was not Billie Eilish's debut. Furthering an excitable confusion, all the songs of this prior EP were already relatively well known, given the extensive air play and commercial application her music as received. Stripped of experimental leaning aesthetics yet to germinate, Don't Smile At Me serves as a slick, slender collection of Pop tracks. Its hard to nail down its attributes, as flashes of various genres pass by. The music mostly leans on Billie's presence and Finneas's keen percussion, which carries the pacing through its spurts of instrumentation.

Both his apt production and balanced compositions are fantastic. Simple, catchy and clean, they compliment Billie's vocal melodies and lyrics so well. The genius clearly runs in the family. Now listening further back into her youth, as a teenager, Billie's lyrics are so surprisingly self certain. Mostly musing her words on the matters of love and relationships, not only does her voice shape luminous feelings into infectious hooks, her sincerity strikes with maturity too. Her massive success is no surprise.

These humble origins are yet to establish a unique tone among the loose and cluttered genre of Pop music. Despite this, the bright, brimming talents of this sibling duo would be heresy to dismiss. Most mystical of all, their youth. Both musical and emotional maturity displayed seems a true rarity. So as of late these nine songs, including a brief feature from Vince Staples, have been on heavy rotation. The downside? This moment in time has surely passed, unlikely to be captured again.
 
Rating: 8/10

Monday 18 July 2022

Regina Spektor "Home, Before And After" (2022)

 

Six years have whizzed by since Remember Us To Life. An impression was left, one of age and fragility, a beautiful moment of vulnerability captured on Obsolete. That emotive power of honest introspection has felt absent on this newest venture. Regina goes through the motions with embellished instrumentals, a far cry from the origins of her lone voice and piano. Still singing in her cutesy quirky cadence of whispers and wordplay, the synergies between intention and expression seem bold and obvious.

Home, Before And After mostly struggles with if that synergy clicks. Each song has its own character, often emphasized more by the extended array of warm instrumental sounds than Regina herself. On-boarding lavish string sections and 80s Synth Pop tones among others, the album cycles through bright and varied aesthetics. So often do they burst to life with emphasis and purpose, as if to say the words not spoken.

Its simplest song, Raindrops, was my favorite. Just her delicate voice and a soft piano. Humming tunes along the way, the endearing Regina emerges in her element. Many of the other songs have these humble beginnings too. Yet they often stray into the crescendo, a need to swell and bloom in extravagant conclusion. From a song writing perspective, its well orchestrated but on this outing the big production stripped out her charming personality. The instrumentals seem to drain Regina's unique vibe. They drift away from the magic, a soft, subtle and calming setting she is more suited too.

Rating: 5/10