Tuesday 25 January 2022
Kero Kero Bonito "Civilisation I" (2021)
Sunday 23 January 2022
The Weeknd "Dawn FM" (2022)
Having made waves with his retro inspired After Hours, The Weekend returns two years on with Dawn FM. Leaning deeper into the nostalgia of 80s Pop music and aesthetics of Synthwave, this sixteen track dive sustains more of an album experience that its predecessor. Equally, without a spearhead song like Blinding Lights, it endures with consistency of mood. One can simply dip in at any point and relax with easy vibes, breezy cruising instrumentals and wonderful falsetto singing. So often do those high notes become the peak in this narrow range of creative avenues explored.
Thematically structured around the concept of an ethereal radio station, a handful of its spaced apart interludes play like broadcast ads. Decoded, its theme of suspension in limbo signals a direction out for the listener. Its a wonderful tie in, melding the overall mood with a bigger picture. The album doesn't peer into the unease or eeriness of the situation but essentially forges a link with its retroactive stylistic inspirations, as if the lyrical narratives explored reflect on memories gone by.
The lyrics themselves often linger on relationships, love and heartbreak with a common "looking back" perspective. Luckily his voice is charming, a soft and strong flow that can gracefully sweep between notes, lingering on them with emotion and passion in the vibrations. That's where the feeling is felt for me. Lyrically the concepts are often simple, straightforward and in the latter half of the track listing tend to feel rather shallow in terms of depth. The words recycled are unimaginative lines and sentences from love songs Ive heard done to death by many an artist before him.
Dawn FM shines consistently on its instrumental front. Its glossy, lush, spacy synths bring a sweet indulgence fit for its upbeat tempos and lazy slow riding grooves too. The easy going nature of Pop music is treated to an inspired aesthetic. The balance takes the better aspects of Synthwave tones without hounding them into the ground as many artist in this Retrowave movement do. On occasion The Weeknd and his production team lean hard into the buzz saws, psychedelic synth and punchy drums but its always timely and apt. Rarely do they loose focus on the underlying structure.
That brings me to the next strength of this record, song writing. Without anything to ambitious taking place, the stellar aesthetics and crooning moods seem to zap away the repetition and cycle of the verse chorus loop. Its there with the occasional shake up and interludes creating a series of soft "events" on the journey. Although not involved in song writing, Quincy Jones turns up for an interlude to see in Out Of Time. Its a seriously classic Michael Jackson alike song. It highlights a similarity in his vocal style with the King Of Pop and the instrumental pops like a PYT or Rock With You.
And that's what underpins many of the albums best songs, the brilliance of instrument variety ushering in soft plucks of guitar melody between gushes of vibrant synth and timely rock grooves. Its the subtle characterizations of Funk, Soul, R&B and Pop in the performance, beneath its oozy synth aesthetic, that make the magic. Its a true hail to the likes of Quincy. Sadly that is mostly speaking to the first half of the record as past the feature with Tyler The Creator, the gears shift pace quite notably as that song slows the pacing, cutting out the drums and transitioning us into a gentler intensity.
Its in this second half that the music tends to veer away from the variety and qualities heard on its opening stretch. The lyrics get watered down, pacing lulls on dreamy tempos and the Synthwave aesthetic grow into the main focus. We are not talking about every song but to my ears Dawn FM feels very front-loaded. Its opening tracks are truly remarkable and a peak of this era of music. Short and sweet would of been a better approach here, in aims of a classic. As a longer, drawn out, experience it does do a great job of suspending one in its spell. Either way, an impressive record!
Favorite Tracks: Sacrifice, Out of Time
Rating: 7/10
Wednesday 12 January 2022
Kero Kero Bonito "Civilisation II" (2021)
Kero Kero Bonito are a London based trio led by singer Sarah Perry, who's half Japanese status has a clear cultural influence on the Electronic group. With warm shades of J-Pop and K-Pop influencing the audios character, this short three track EP Civilisation II was an excellent entry point for me. The feel good uplift and structural sensibility of Pop music finds itself in the arms of deep grooving electronic styles that drift in a direction I am far more familiar and comfortable with.
It kicks off with The Princess And The Clock, the chirpiest track speared on by driving percussive kicks that dial up the energy of a youthful, dancey, daydreaming song. Perry resonates warmly, her lyrics mirroring this slightly dreamy aesthetic has she sings a fairy tale of a royal prophecy fulfilled. 21/04/20 mellows out in a direction reminiscent of Anime theme music as its sparkly lead melody blossoms out of a glossy toned song. Perry's lyrics embellish normality with a sunny pleasantry as she words out the details of what might be a mundane day into something much prettier.
The third and longest cut at seven minutes is my favorite. Well Rested swiftly drops into an easy breezy groove of deep soothing bass and steady percussion. Its reminiscent to me of my favorites songs in the realms of Downtempo and Ambient electronic music. The mood is rustled up along the way with Perry making commanding remarks on a cadence fit for an activism rally. It arrives alongside jolty, slightly frenetic electronic leads that usher the second half of the jam into a livelier version of its own first half.
All of this wonderful songwriting is channeled through a wonderful productions that musters a fair helping of glossy reverb and timely echo to embellish that dreamier tone. All the while its many electronic instruments stay crystal clear and chirpy, dense in texture and color. The percussion too is imaginative with a great selection of both samples and pattern arrangements. All in all this brief fourteen minute outing is absolutely solid and has me very excited to discover more from this dynamic trio.
Rating: 5/10
Tuesday 16 November 2021
Spellling "Mazy Fly" (2019)
Having been dazzled by an enchanting music experience with The Turning Wheel, this sophomore predecessor suffers the fate a shadow can cast. Its a notable experience Ive had on this journey when turning back the ticking hands of time. Mazy Fly has the same peculiar chemistry, a heart of soul espousing an eclectic convergence of styes and aesthetics. My lack of indulgence came about in its comparatively less nuanced approach. The brash 808 percussive pallet in the opening tracks exemplifying this bare bones feeling where the shades of chemistry seem obvious and separated.
For me this mid track was very much the albums crescendo, a peak reached that its successor cruised along. The rest of the record has these peculiar arrangements of Neo Soul, Chamber Pop, Psychedelia and Electronic aesthetics that don't quite align with the singing. The vocals swell with power and cower with breathy vulnerability but for all the orchestration animating away, It didn't resonate on the same wavelength as my first and powerful introduction to this interesting artist. I think I will leave the exploration here and keep an ear out for future releases!
Rating: 6/10
Tuesday 5 October 2021
Spellling "The Turning Wheel" (2021)
In search of new sounds and experiences, I've found a record strung out with familiarity yet blindingly powerful in its execution of inspiration. It works for me, something I could swiftly get into and mull over these last few weeks. Chrystia Cabral, the brains behind the Spellling name, lends her immaculate voice to a timely orchestration of genre influences adjacent to the world of popular music. She is a powerhouse of breathy expression, rooted in classic soulful stylings. Her range is wide, diving with a masculine low on Magic Act and sailing to a childish, playful resonance on Little Deer. With each of these arrangements offering up a different temperament, she is the beacon that shines and guides us through these twelve offerings as they grow increasingly atmospheric, occasionally peering into a brittle darkness.
I could easily rattle off lists at this point. With a backbone of warm baselines, Organs, Pianos, String, Horns and strong vocal harmonization parade upfront in a variety of compositions that usher in many vibes. Pop music of the 60s, Soul, R&B, a little Jazz, Chamber Pop and Lounge too. There are subtle electronic influences worming there way in too. Always sounds more like an 80s Synth-pop ballad and after the slow brewing Awaken, aligned strongly with Classical ideas, the album starts to open up. Emperor With An Egg accrues various waveform instruments alongside its Classical instrumentation and the following Boys At School at school hints at Synthwave vibes which blossoms on Queen Of Wands, a track akin to Chelsea Wolfe's Pain Is Beauty. Its use of wobbly, eerie, spooky Horror synths a sensibility here that resurfaces, seemingly at odds with the mood of Sweet Talk. Little moments like this are littered throughout, sounds that seem out of context but work wonderfully.
I could go on but essentially we have bright and clear instrumentation arranged wonderfully with beautiful aesthetics and expressive instrumentation that despite showing its influences, feels entirely distinct as the web of influences weave together. The record sets out feeling more Soul and Baroque pop oriented but swells of instrumentation gives it a Progressive edge that blossoms as the songs continuously explore, bringing in more instruments, sounds and aesthetics as it goes on. Its melodies too often feel interchanged between these style, ushering in just the strangest sense of ideas in action. One can almost see the blueprint yet its outcome feels completely inspired and magical, without any design.
Rating: 8/10
Friday 26 February 2021
Jessie Ware "What's Your Pleasure" (2020)
The record is a classy affair. Kicking off with its catchy dance floor numbers one will be lured in by its attitude, jive and confident energy. A general sense of the eighty and Synth-pop resides here. A pivot in the midsection runs through some modern downtempo driven atmospheric tunes to relax the tempo. These deep moods recur again in its final phase shuffled between more classic vibes culminating in the timeless Remember Where You Are, a song for the ages. Its cinematic theme and swells of warm, sunny smiles are utterly classic and moving every time it closes the album.
Jessie is the glue. The stylistic pivots and musical diversity are held together by her unassuming voice. With power and emotion she sings without an obvious distinction most singers catch my ear with. She is well composed, strong and sings with confidence through the ranges that stretches to the breathy voice on occasion. Her attitude and posture matches the tone of these numbers on every track and her common presence unifies. Tracks like Ooh La La and In Your Eyes sound miles apart separately but with her guidance its all comes together in the grander experience.
The instrumentals are a delicacy. Aesthetically every sound is lavish and stunning. The tone, and temperament of these instruments are gorgeous. The bass guitar oozes with texture as it prowls along as the musical backbone. Brief ushers of guitar licks shimmer in the breeze and the diverse pallet of percussive sounds get worked in to suit its songs main stylistic focus. The synth work too is sublime, from big and bold to soft and subtle everything is a joy to indulge with and take in.
Musically, many of the ideas lack true originality with its roots in the deeply explored styles of past but in execution the song writing hits the mark with a stunning sense of charisma. The best comes from the overlaps of 70s and 80s era moods with the more modern House and Downtempo beat frameworks. Another stunning aspect is the deployment of these upfront, in your face cheesy synths. Once a retro stain of the 80s, in this context it is wonderfully worked around the attitude of Jessie on a couple of songs, making much fun of a once dated style.
These songs have life, soul and experience to them. Ranging from boisterous fun and flirtatious struts to weepings of heart breaks and pains suffered, Jessie puts her personality into every moment. It all comes with a gleam of uplift. Often fun and playful, even its reflective, melancholic tracks resolve to a positive space.
Friday 25 September 2020
Ulver "Flowers Of Evil" (2020)
Thinking back on The Assassination Of Julius Caesar, this latest installment from Norwegian musician Ulver has failed to feel as remarkable and that is probably down to its carbon copy nature. There isn't an inch or a mile of difference between the two records temperaments and so the warm, inviting music of this intellectual artsy rock fused with soft synth and percussive electronic elements, finds itself with the edge dulled for this listener. It is however, much like before, a riveting yet safe experience of melodic crooning, noninvasive music that sways with own particular swoon.
Once again Rygg's voice shines like a beacon. Smooth and powerful he lights up the songs with classy melodies to compliment the drive of blinking electronic instruments that weave together airy piano chords, warm droning baselines and spontaneously adventurous percussion. Together they forge an Ethereal edge to the aesthetic when the vocals are striped back and instruments reverberate with a calming, indulgent intention. Swaying from these states and brief moments of percussive rigidity strip back the curtain of their design, a positive moment many of the songs here possess.
To me it feels like the record sets off in a darker place, the synths tinged with a Synthwave tone illuminate a subtle nightlife vibe. Lyrics carry an anxiety, dystopian topics unravel as Rygg packages his lyrics with a poetic ambiguity. As the music progresses to warmer shores the wording becomes more direct and less of his catchy wordings arise. That however is just my take on an area I tend to gloss over more in music. Ultimately its another eight fantastic songs to fit this current stylistic stride but with a less remarkable impact given how little of the music here offers up something new in the shadow of its predecessor. Good but not quite great.
Rating: 7/10
Wednesday 27 May 2020
Queen "The Miracle" (1989)
Friday 22 May 2020
The Weeknd "After Hours" (2020)
Favorite Tracks: Blinding Lights, In Your Eyes, Save Your Tears
Rating: 5/10
Monday 18 May 2020
Austra "Hirudin" (2020)
Sunday 12 April 2020
Grimes "Visions" (2016)
Friday 13 March 2020
Queen "A Kind Of Magic" (1986)
Monday 2 March 2020
Grimes "Art Angels" (2015)
Grimes brings in her sometimes childish, playful and innocent voice that transforms to a mature and spirited swoon, ascending to a heavenly dimension as she soars with a freedom in the crescendos. Cruising through the clouds and leaving all earthly weight behind, she births many an entrancing passage when reaching to the peaks of her singing. Its in these climatic moments you'll forget everything. Its liberating.
Monday 9 December 2019
Aurora "Running With The Wolves" (2015)
Tuesday 12 November 2019
Queen "Flash Gordon" (1980)
Favorite Tracks: Flash's Theme, Football Fight, The Hero
Friday 14 June 2019
Windows96 "One Hundred Mornings" (2018)
One Hundred Mornings gets off to a reasonable start with slightly off kilt drum arrangements and quirky synth tones taking up most of the focus. It builds atmosphere and steadily lures one into its particular vibe, a mesh of nostalgia tones and childish wonder. Its kitsch snippets of obscure cartoon sounds bouncing of the multiple layers of resonant synths has it start with its magic muffled somewhat.
The pivot feels somewhat inspired by 80s Synthpop, the chord arrangements and notations of Bliss seeming almost like a Tears For Fears song re imagined through a new set of sounds. Its a very enjoyable record, warm uplifting mellow moods through the lens of nostalgia play, acting as if it resides in a infatuated past. The off kilt and sample oriented components don't hit home as hard but when the real musical composition comes through it shines bright in these lovely surges of swooning melody.
Tuesday 2 April 2019
Jean Michel Jarre "Magnetic Fields" (1981)
Saturday 23 March 2019
Pale Waves "My Mind Makes Noises" (2018)
My Mind Makes Noises is a frankly disappointing debut record from this youthful eighties revival band. Its a rather different experience from their promising four track, All The Things I Never Said. The excitement of a young new act and nostalgic vibes stirred quite hype but its weak points, mainly lyrics, never stood out as much as it does on the fifty minutes one has to endure here. Singer Baron-Gracie has the clean cut voice perfect for simple pop songs but the lyrical simplicity is almost painful. Her use of plain observational language, a lack of creative lyricism and heavy repetition cycles through the same bleak teenage relationship topics over and over again. Insecurities, envy, jealous, infatuation and raging youthful emotion froth to the boil on every song. Its just not my cup of tea unfortunately.
Behind her words glossy, squeaky clean instrumentals pump out eighties melodies in dead simple song structures for fourteen songs with little in the way of variety. Its a tolerable experience with gleaming melodies glistening over steady beats and sturdy foundational baselines. They come repackaged again and again with varying degrees of tone but ultimately the same formula. Its little distraction from the self indulgent, aggrandizing lyrics that elevate surface emotions over self reflection or introspection.
Its quite frankly immature and that is fine, Its clearly for a younger audience and I could totally see a young me digging it. The music is tolerable but the lyrics were like an ear worm. I don't think the EP's words were less formed in this direction and thus got away with one but at this point I am not terribly excited about where they go from here. I will probably pick up the next album if its singles show signs of development. Seems unlikely but would be nice to hear this sound go to new places.
Rating: 2/10