Source Music

A collection of music reviews, lists, and opinions

[source-music-blog]

LCD Synthsystem

LCD Soundsystem- american dream

 After a breakup, and seven years of anticipation, the New York group have returned with an album that channels the 80’s, building off friendships, love, and turmoil, while not properly executing their former method of style.

 For some reason, american dream is lower cased, as are all the songs on the album, which probably say something of how low of a record this will be in substance. Though the album artwork showcases otherwise? Quite confused, but other than that we are here yet again, seven long years down the road to what happened to be one of my favorites in the bands catalogue, This is Happening, which incorporated a lot of new wave and post punk musicality into Murphy’s songwriting. Cleanly produced and lavish, LCD Soundsystem reimagine themselves on this new record as adapting to the 80’s synth wave sound. Now it feels as though I am in an emotional discotheque waiting to be served music that will evidently end but seems to go on and on without actual meaning. At the start “oh baby” provides a lullaby like melody with Murphy’s vocals whispering in such a way I am almost cringing, because have we seen James Murphy? It is such a dull opener, even the follow up track doesn’t follow up. “other voices” has the bubbly melody with a groovy baseline that doesn’t do much for my ears, followed by synths that are over saturated, and then comes Murphy’s vocals echoing as if he is in a hallway singing. But we do get the signature cowbell which provides a reason to dance. That’s it though. Each song, whether it be “tonite” which is my favorite off the album because it does draw back to a type of structure that we have seen in past work, offers a very sci-fi feel, with its gummy keyboard lead and flash hitting snare. The 9 minute “how do you sleep?” also conjures a dark element of new wave which is absolutely a pleasant listen.

 I won’t dive into the lyrics on the album because they don’t provide anything to really drawback to. It is as simple of a lyricist album as you can get, and while there have been better times where LCD Soundsystem has had great lyrically profound songs, this project does not contain them. But we really aren’t here to pay attention to that usually, and this album totally justifies that because everything feels so muzzled and fuzzy.

 Not enough was poured into this record. Not enough passion, though, cleverness that we have experienced before, or even care. May it be just a record that the fans wanted, or may it be a record that was put together to serve their musical capabilities, this isn’t what LCD is, its so bleak and boring. Maybe it was best to call a quits when it was said, not to re-amp the group into something that is completely dull and effortless.

4/10

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22, Actually...

XXXTENTACION- 17

 Artists such as XXXTENTACION have a variety of sound and moods, but there isn’t really anyone like X to do what he is trying to do, well should I put it, accomplish on this “album”.17 is the debut album from Florida artist (because honestly after hearing this he is no rapper) and is at length, 22 minutes long. Yes this is an album, not a tape….

Frankly there isn’t much to it other than the change of music style from X’s Revenge, something that didn’t rub off on me. What really took me by surprise was how much it meant to me to hear his mind out, which makes me respect him. He’s young, my age, and to having gone through this mental battle with depression and anxiety is brutal, to anyone. And some may say about his wrong doings, we won’t discuss that so don’t bother to bring that thought to mind. This tape offers less bangers and more acoustical arrangements, mixed in with a piano piece “Orlando” which should of been the albums closer. “Carry On” is a song to self, debating a love for someone that has no reason to be loved.

While for most of what is listenable is boring, it serves little to no interest. Sure the lyricism is heavy and dark, but that doesn’t justify anything because its a massive black whole of sappy production, a change in tone, and just half assed simple beats. Not one song can climb for three minutes so there isn’t much room for explanation, instead we have him tell it to us in the beginning of the album like we’re idiots. Basically we’re riding a downward spiral of milky beats and meaningless edgy acoustic pieces. Let it be a mixtape.

3.5/10

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Saturated Once More

BROCKHAMPTON- SATURATION 2

 2 months ago saw the release of SATURATION, the first installment of three projects set to drop this year. A collective of young talent that hail from Los Angeles (and some Texas) composed a masterful Hip Hop project that surpassed my expectations and any other album this year. Each song held a unique presence of a each member, while carefully executing the rap-sung genre the album was offering. Almost like a daydream it stood out. Now 2 months later, Kevin Abstract and company are here to dish out more character and aggression of SATURATION 2.

Having heard the 4 singles (GUMMY, SWEET, JUNKY, AND SWAMP), I knew that this would guarantee a more rap over sung bowl of tracks. Through a month of teasing us with references and brilliant singles, the Brockhampton family seem to care a lot for how their album is constructed. And being public like that truly shows the artists vision and not that they want to release music on a plastic disk, but make art that is meaningful. The orchestra that starts “GUMMY”, the albums lead off, is like we’re shining upon the Brockhampton house itself until we are slapped with the anger of Kevin stating that people take him for granted, and what would happen if he had vanished. “QUEER” right off the bat takes a turn back into the 90’s with it’s raw drum machine and rattling hi hats. “TEETH” is the personal side of Ameer, discussing is experience with racism and the relationship with his mother which he wants to make amends with. On this project we see more of the personal issues come out, as they were subtly addressed on the previous Saturation, here we are notified of some of the artists hardships. This could be cause we as an audience have come to know them more through the likes of the internet, and now they feel comfortable with addressing us on these topics, as we too might face them. Kevin explicitly shares his sexuality on tracks like “JUNKY” and the knot that has been made with his parents, along with speaking out as a gay rapper when asked why he brings it up so often. Joba has came across as some trippy songwriter that will take no ones shit while being fed up with what people have to say. He holds an odd vocal performance in “SWEET” that turns the song into a reprimanding of some sort. Matt Champion comes off as a nostalgic 90’s rapper that just comes off as being cool, whether it be the situation of throwing someone off the highway to cars swerving. Meryln Wood, the woodlands man, has developed a persona that I relate to some kind of cartoon character. He brings so much charisma to the table, as well as an energy that is certainly unpredictable, but at the same time you know what you’re in for. And Dom, he is more rabid than anyone else in the group, his flow and him alone prove that he can do much more than be a star.

 Certainly this album draws much more charisma than its predecessor. Brockhampton isn’t shy enough to reveal their oddness and creativity. Last record we were introduced to people we had no clue of, how they worked, what they though, how they lived, and what they stood for. Now after that success they were inspired to come back harder and take off the first layer of creativity and set a whole new sound that is as captivating as the first. Albeit not perfect, sometimes a little too much is going on, and some things should be concealed with certain songs such as “GAMBA” which may have been the most luscious track that offered way too much of whatever it was. Even then it still managers to keep itself intact and know what the album wants to be, cause need I say it, this is nothing like the first Saturation. Not as dreamlike as it is aggressive, and not as smooth as it is rough.

 We have come down from the clouds and onto the surface of reality, where people go through everyday struggles. Interpersonal this record is, rough around the edges, for sure. But I take it as a statement from the group, or the boyband as they want to be called. There is never any less space for creativity and consistency, all those are up to a number of bright minds that come together tightly to string together authentic notions that are able to come to life. In the grand scheme of things this is a mature follow up to one of the greatest albums of the year. It almost feels like this is their 36 Chambers, or I won’t get ahead of myself. Actually maybe I will.

9/10

[twixnmix]

Tina Turner recording “River deep, Mountain High” with Phil Spector at Gold Star Studios in Los Angeles, 1966. 

Phil Spector offered $20,000 upfront to Ike Turner in exchange for total control over the production. Spector made Tina Turner sing the song for hours on end until she got it just right. “I must have sung that 500,000 times,” she said. “I was drenched with sweat. I had to take my shirt off and stand there in my bra to sing.” Using Spector’s “Wall of Sound” production technique, it required 21 session musicians and 21 background vocalists for the recording, including Hal Blaine, Leon Russell and Glen Campbell. George Harrison praised the record, declaring it “a perfect record from start to finish. You couldn’t improve on it.” Though it peaked at 3 on the Billboard 100 in the United Kingdom, it was a relative disappointment reaching 88 in the United States. That drove Spector mad and he went into semi-retirement. “I think when it came out, it was just like my farewell,” Spector told Rolling Stone in 1969. “I was just saying goodbye, and I wanted to go crazy for four minutes on wax.”

Photos by Ray Avery

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Somber Soul

Daniel Caesar- Freudian The young R&B soul singer has delivered his debut LP which offers far more than the average Toronto R&B singer that we have been exposed to for the past year. But does it have any sort of place of its own?

 Built up from singles like “Get You” which caught the attention of many, Freudian delivers song alike, while mixing many beautiful female features that add a plentiful amount of soul to the album. Daniels performance stands out as powerful and vocalizes himself from perspectives of love and relationships. The first half of the album is a slug of sleepy soul ballads that don’t do much for the listener. As soulful as “Get you” is, it doesn’t stray far from the next 4 songs. “We Find Love” introduces Caesars take on love, “We find love/we get up/and we fall down/we give up” which stands as the most memorable of the album. As for its successor, “Blessed” follows the pain ballad that draws slight inspiration from Stevie Wonder (for me that is). The second part of this album is more tolerable than the first, may that be in terms of instrumentation and song writing, and where Caesar doesn’t rely on features to override his song.

Sonically this album isn’t mixed all that well. At times the bass feels too mumbled, but then could feel sugary, adding some sweetness to tracks like “Take Me Away”. But a song like “Loose” can feel too claustrophobic and tight, with not much room to breathe.

 If down, or lonesome, Daniel Caesars soft songwriting can help you through a night of trouble, or even spark something relatable. But the question still stands if this project has any place of its own. Apart from those whom stem from the OVO Sound label, Caesar definitely stands out as more of an independent and free artist, he knows what he is working with, and he has captured his sound. Though he doesn’t bring anything captivating to the ears. With a few songs that may strike as a way to preach and sing along to, and others that fall short and seem rather distant, it needs work. Its typical lonesome songs that try to run, but end up standing still.

6/10

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Ugly Tape

Ugly God- The Booty Tape

At track three I knew I had to talk about this project, I just knew. Ugly God was featured on the XXL Freshman Class of 2017, and along with all the other features has no creativity nor prosper to be an artist that we can take serious. Usually I introduce an artist with their past work, luckily here I don’t.

 This might have to be the worst project that I’ve listened to this year. It feels like I’m just ranting now, usually I take time to write these or put some thought into these reviews, but I don’t think I need to now. Every track is half assed and below 4 minutes, most of them under 3. Thats not even the worst part, but all the songs are senseless and idiotic. The production feels generic and almost as if it was produced through the GarageBand app on an iPhone, which honestly I wouldn’t put it passed me considering who Ugly God is, a walking meme. Not an ounce of this tape is enjoyable nor worth listening to. You’d have to be bored out of your mind to listen to this more than once because there is not a single piece of creativity on it. “Thanks Ugly God” irritates each song, I would rather hear DJ Khaled.

It just doesn’t get any worse for Hip Hop this year, I don’t want to know who is next in line to be in the XXL. Because obviously now I hope they regret it…I mean come on…he doesn’t even want to be a rapper, which makes no sense cause he just made a tape. Did I mention it’s called The Booty Tape?

1/10

[holybolognajabronies]

He’s a meme of a rapper… but shit, if he can get on with nothing but naughty songs, I'ma bout to start recording my fuckery and put it on spotify and make it onto the XXL list next year right next to Blac Chyna, just watch!!

[source-music-blog]

You do you man! It's all about the fun in making music, just be clever on how you express it and make it stand out!

[source-music-blog]

Ugly Tape

Ugly God- The Booty Tape

At track three I knew I had to talk about this project, I just knew. Ugly God was featured on the XXL Freshman Class of 2017, and along with all the other features has no creativity nor prosper to be an artist that we can take serious. Usually I introduce an artist with their past work, luckily here I don’t.

 This might have to be the worst project that I’ve listened to this year. It feels like I’m just ranting now, usually I take time to write these or put some thought into these reviews, but I don’t think I need to now. Every track is half assed and below 4 minutes, most of them under 3. Thats not even the worst part, but all the songs are senseless and idiotic. The production feels generic and almost as if it was produced through the GarageBand app on an iPhone, which honestly I wouldn’t put it passed me considering who Ugly God is, a walking meme. Not an ounce of this tape is enjoyable nor worth listening to. You’d have to be bored out of your mind to listen to this more than once because there is not a single piece of creativity on it. “Thanks Ugly God” irritates each song, I would rather hear DJ Khaled.

It just doesn’t get any worse for Hip Hop this year, I don’t want to know who is next in line to be in the XXL. Because obviously now I hope they regret it…I mean come on…he doesn’t even want to be a rapper, which makes no sense cause he just made a tape. Did I mention it’s called The Booty Tape?

1/10

[source-music-blog]

Born Again

Tyler The Creator- Flower Boy

 Back in 2013 I discovered the album Wolf, a transparent and mindless album that consisted of none other than Tyler The Creators immature sense of humor and rather disgusting imagery. Following that record, Cherry Bomb became his next solo effort which greatly failed to impress over its predecessor. Flower Boy on the other hand pushes away from the outspoken antics, into a more soulful and mature style of music.

We’re starting over now. Everything feels almost brand new. The colors, the sounds, and the emotions are almost something that have not been present. Flower Boy is the latest LP from Tyler The Creator and is his musical renaissance. This effort has established Tyler as an artist that knows how to expand his musical horizons, especially in a more personal matter. Rather than stating its message I would rather let an album like this speak for itself, because it comes from the heart.

 It feels as almost we’re in a dream through the album, with guest appearances by Frank Ocean, Kali, A$AP Rocky, and even Jaden Smith which has full effect on “Pothole”, opposed to his own music. “Who Dat Boy” is a skippy violin piercing where Rocky and Tyler hit off each other so cleanly its almost as good as Walter and Jesse. Honest songs like “Boredom”, “911/ Mr. Lonely”, and “November” are immensely personal and heart spoken, which is what we don’t get much from Tyler. The albums banger “I Ain’t Got Time”, which opposes “Boredom” in which says to find time to do something, is the banger that releases all aggressiveness. 

 When an artist comes to a point in their life where they realize who they really are, it almost guarantee’s a masterpiece (sometimes). Though not a masterpiece in the music scene, it surely makes a spot in Tyler’s discography as his stand out album.

8/10

[source-music-blog]

Everything Before Too

Arcade Fire- Everything Now The now disco oriented Arcade Fire (the worlds once beloved indie band) have gathered here again to offer something far much more out of reach than we are used to. We know they’re absolutely weird and creative in that same sense, though in a way they’ve reached their peak?  

2013’s Reflektor birthed a disco themed piece of Arcade Fire, which was far off from the groups previous efforts usually revolving heavily on classical instruments and almost no electronic instruments. In its success, Reflektor served as a wholesome listen at the time. Four years down the line, easily forgettable and for the right reasons. Shifting not so far from the sounds of disco, but straying away from the more lyrically heavy side of the band, Everything Now recycles the sound of their previous record with a more socially aware conscious. If I told you that what you were about to spring into would be as lengthy, and as immersive as Reflektor, I would be wrong, way wrong. This new EP is headed in a direction that was almost predictable and bound to happen for this group, and has many shortcomings in its songwriting and album structure. 

There is no doubt about it that the messages being conveyed in this album are in a way important, and sometimes even effective such as tracks like “Creature Comfort” where the song writes about young teens suicidal tendencies and insecurities. Obviously due to the political climate we are in, the title track being the most uplifting song to open an album this year, is a bold statement considering how we are as people and how we have consumed what has been given to us, whether it be law or materialistic. As an album it falls short very fast. Midway through the repetition of each songs composure lacks variety. Considering we are getting music from the most notorious indie act of all time, its hard to believe that they even fall short of creativity. Even the songs themselves become dull and inconsistent. “Chemistry”, “Infinite Content”, and the albums most deliberately annoying song “Electric Blue” which contains the worst vocals by Regine. Then we think back to Reflektor and how much more cohesive it was, in sound and body, it brought a more energetic musical experience unlike what we have here.

Now this isn’t a terrible album, it isn’t even remotely the worst album of the year, by far, because there is substance and care within each song. But not enough care to make each song stand out as an important song, or even memorable. Lets ditch the electronic get up and the goofy outfits, and play music that has more impact on the heart, and move away from the social issues that we face. At this moment we don’t need reassurance on what is happening with everything now, we want to know whats happening with Arcade Fire.

5/10

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Big Fish, Small Bowl

Vince Staples: Big Fish Theory Fresh off of the 2016 EP release of Prima Donna, Vince Staples sets his foot in realm filled with collective dance bangers and his taste for fruitful features.

  Big Fish Theory is Staples second full length LP since 2015’s Summertime ’06. Not too long has it been since that release, yet Vince has swapped his moody west coast vibes for a more determined dance floor aggression. Though nothing different from past projects he keeps himself in check lyrically and never delivering a clunker of a bar. What really takes over this project is the immersive bangers that are one after another. Totally diverging itself away from the tone of Summertime ’06, we have a fresh basket of creative sounds and beats. Whether it be the upbeat “Homage” to the slow slapping “SAMO”, these songs offer an atmospheric realm never quite explored by other artists alike. 

 Yet that’s what distinguishes Vince from other artists, he is sort of the “Big Fish”. Throughout the course of the LP he speaks of being the center of it all, but not in the way that you’re thinking, more of how he is noticing the people around him. “Yeah Right” which features a stellar verse from Kendrick Lamar, is poking fun at the things people brag about, seamlessly saying “oh yeah right you got that, for sure” in the sarcastic way that some people do. Going back to “Homage” where Vince declares none of the BS from people will hold him back, and how he himself has brought his own style to the table, questioning where his accolade is. The singles such as “BagBak” and “Big Fish” give more emphasis on the album, and as I wasn’t too crazy for “Rain Come Down”, it serves as a warm closing track after listening to the full project.

 The progression in which Vince has demonstrated over the last two years has been nothing but fine tuning and shear maturity. Big Fish Theory feels like something that hasn’t been crafted before, a new taste for hip hop, a new exposure to the mainstream in which I personally feel this sound should be. Over that white washed dance hall that has been seeping through the radio, this project certainly has the capability to pioneer a new type of music.

9.5/10

[source-music-blog]

Saturated

BROCKHAMPTON: SATURATION

 When a group gains overnight success, without having any knowledge of them, something is either positive or negative. SATURATION offers a hip hop album so out of line, it feels almost normal and familiar, when in reality we don’t know a single thing about it.

BROCKHAMPTON derive from musician Ian Simpson, who masterminded this group in late 2014, originally going under Kevin Abstract. BROCKHAMPTON includes 7 performers, Kevin included, which allows the album to offer various musical types. It is as if Frank Ocean were  still apart of Odd Future, but was offering more of an angry persona. Not to say that the album is centralized around anger, it isn’t, its the performance of each musician that distinguishes a sort of aggressiveness, with a passionate way of composing each song, and each being fairly different. To put it in a more simple phrase, a cesspool of musical persona with a lot to speak about.

What grabs the attention of the listener is each performers different way to offer a different style of each song. From the power of “STAR” and the laid back Frank Ocean like sounds of “BANK” it is almost certain that there are many ideas and creativity being thrown into this project. The amount of fluid energy that Kevin is able to spring off his head is as consistent as rapid waters.

 When focusing on the theme of this album it is hard to narrow it down to just one thing. Indeed  self worth is the highlight and overall message Kevin is shooting for, but also accepting yourself, facing challenges that may seem hard to overcome, things that not only can the youth relate to, but everyone. Even though it may seem like a mixed bag of messages at first listen, all intertwine into one wholesome point of view and outlook on life. Surely there are problems and we have to get through them, whatever it may be.

A powerhouse unlike an other hip hop record out in 2017, BROCKHAMPTON soars for new heights in representing a weird glitzy vibe, along with oceanic sounds that offer for an immersive listen. Most importantly it shows how to be different, just something we need right now.

10/10

[source-music-blog]

Youthful Mellowness

Lorde: Melodrama

It has been 4 years since the debut of a pop icon, Lorde, having shown great maturity from her debut LP Pure Heroin she continues down the void of young youth, something she knows too well. It is clear that Lorde isn’t living the life of an average teenager. 

With the amount of fame that she has gained in the last 3-4 years it is sure that her life differs greatly from others around her age bracket. This doesn’t mean that she doesn’t feel the same feelings others do, or go through the same distraught others may. Surely she knows heartbreak, thus has a bright side to it. The youth she represents, since LP one, has been portrayed as reckless yet kind hearted. There is no pure innocence in anyone, Ella is no innocent girl, though she means well in her actions. She only wants you to have a good time when things are rough, and wants you to know the good of people even if they break you. It always comes back to you, who you are as a person, she makes it clear in “Liability” a beautiful piano ballad where Ella’s voice carries the entire song swiftly, such like a lullaby.

The dance infused songs do seemingly give the album more life than it truly holds. What hold’s this album back from being more enjoyable than it should is that not only is it lacking pace, but lacks the ability to keep the listener even interested with the repetitive use of onomatopoeia in most of the first half of the album. This became enticingly annoying whereas I would cringe at each use of it. “Boom, boom” and imitating an explosion effect, totally just is a filler for a line. Though I digress. “Green Light” remains a solid opener, and stands off as a single that will go on the best of’s of this year. Its catchiness is nothing to shy away from or disregard in if played in the club, something Ella would definitely approve of. 

I find it to be more appropriate that soon Ella steps away from talking about the young life, in fact I take that back. I am glad she is, in the right way, where it isn’t overly sentimental, but where it is true with perfected lyricism that is truly engaging. Lorde may have shunned herself away to write this album, but it is clear now why she did. She wanted to give us her life so far, through parties and heartbreak. It’s good to be young, and live it while it lasts, and thats what Lorde is getting around to.

7.5/10

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A Relaxing Triumph

Alt-J: Relaxer

 In the wake of a 3 year absence, Alt-J have delivered us a refreshing and relaxing project that differs greatly from their past. This time, a more focused, and less annoying performance is demonstrated on Relaxer, opposed from the groups first two LP’s An Awesome Wave and This Is All Yours.

 The core of this project strays away from its previous folk like electronic style and onto a more ballad oriented and acoustical approach. Tracks like “3WW” and “Adeline” remain as peaceful acoustical pieces that are haunting, yet so beautiful and calm. The electronic presence remains in Alt-J’s signature sound, with the quirky vocals to go along with each quirky song that reminds you that yeah, this is still Alt-J. “Hit Me Like That Snare” adds a whole bunch of oddness to the bands catalog, from referencing Radiohead’s latest effort, to being fisted on the floor by your family, which is brilliantly bleeped out opposed to the word “fuck”. 

Its digital layered instrumentation allow the album to represent a whole new sound for Alt-J. Though where the album shows it’s strong suite are within the lyrics. It’s almost as lonesome as the instrumentation, thus accompanying it nicely to develop a more subtle tone. “3WW” is in reference to the three words we tell our lover everyday, “I love you” and in this case they become worn out. “I just want to love you in my own language” is as heavy as a lyric that I have heard this year, and possibly the most relatable to those whom are in love and are finding it hard to express its continuity. Emotionally hitting, and always exciting to know what is next to hear, Relaxer is the pinnacle of Alt-J’s discography. With songwriting that is more meaningful, not scrambled, and cuts to the chase with its simple complexity, it has so much to offer. “Pleader” ends off with a string arrangement that is enchanting unlike its moody opener. Finally putting an end to the relaxation with the question, “how green was my valley?”.

9/10

[source-music-blog]

Best Albums of 2017 So Far...

It’s been a rough year with school and personal things, so here is what I feel are the best albums of the year so far, in no particular order. I may not have reviewed them, but I have given heavy listen to each and every one of them, enjoy and maybe gather a few listens!

A Crow Looked At Me by Mount Eerie

I See You by The XX

DAMN. by Kendrick Lamar

Pure Comedy by Father John Misty

Common as Light and love Are Red Valleys of Blood by Sun Kil Moon

Hot Thoughts by Spoon

Drunk by Thundercat

The French Press by Rolling Blackout C.F

RTJ3 by Run The Jewels

No Shape by Perfume Genius

Rock n Roll Consciousness by Thurston Moore

Rap Album Two by JonWayne

[source-music-blog]

Lil Tritey

Lil Yachty: Teenage Emotions “Break that bitch back like a tree twig” has been engraved into my mind since first listening to “X-Men” off of this new LP. Though that is the only ounce of this project that has left me to remember even any of it. Lil Yachty rose to stardom last year with his debut Lil Boat. After a full year of getting to know Yachty’s character and shortcomings, we are graced with a full fledged hour long project that entails nothing of his past originality. On Teenage Emotions Yachty presents to us a blabbering sex craving rapper who is only in it for the money. The content of the album doesn’t necessarily live up to its title, unless the context proves otherwise for those who want to skeet on others. It is more or less an album of rambling, inconsistency, and what Yachty shouldn’t be taken too seriously for, trite lyricism. The records unoriginality makes Lil Boat seem like a masterpiece in a more simplified world. Though when it comes to the production behind the album, it’s safe to say that this in fact is a solid sounding album. Even when Yachty tries to throw it back with an 80’s dance pop sound it ends up sounding halfway decent. I’m not saying that it is at all anything new apart from other albums, but it works with this LP. It sucks to say that this project had to turn into an unfunny mess, something that I was hoping to be present in this album was a sense of humor, but it all fell flat. Especially when one mistakes a cello as a woodwind instrument. Whether it be a form of laziness, absent minded moments, or rushed song writing, this album lives up to no hype. What still boggles my mind is if we will still be listening to this bubble gum trap 10 years from now.

3/10

[source-music-blog]

A Sweet Trio of Nostalgia

Rolling Blackout C.F: The French Press

On their second EP the band manages to find a soft spot for the oceanic vibes of Australia, though in some way remains a darkened tone through the album. Like other Australians acts such as Tame Impala being an indie favorite amongst many. the band hoists a jittery vibe with not so clean production (excluding Currents). Most of The French Press is dealt with uncertainty and social scenes, a youthful life if you’d say. “French Press” definitely sets the vibe for what is to come with it’s beachside groove and tiresome vocals. It’s quite nostalgic actually because it feels as though this trio is grasping from it’s greater indie predecessors such as The Strokes, The National, and Interpol. But not entirely are they a spit image of any of those bands, they go about their own way of songwriting and musicianship to form a unique, though not so original, indie rock sound.

The most rock friendly song, and possibly boy friendly, is “Sick Bug” where reminiscing about a kiss the singer once shared with a girl leads him to ponder over her room and her touch. He’s only growing older so therefore he must have her now, sort of cliche but so relatable nonetheless. “I want you/ I want you/ I want you/ I want you/ I want to see you smiling on this blue afternoon” is almost anyones fantasy as a teenager. Some acoustical arrangements make their way onto the track “Dig Up” and serve as a tasteful transition from electric, even if it seeps into a tight electric solo. Thus with its closer “Fountain of Good Fortune” sounds like it is straight of the 70’s, say a Grateful Dead song, though far much more steady and Aussie. “Ive been washed Ive been anointed/ Ive eaten the body of the lord/ Its from the fountain of good fortune/ Brings dirty, cloudy water/ That pollutes the mind of anyone around”. Here without care we are basically being told out societal issues, us as ourselves, maybe some, stick to ourselves while we see life go to hell. With some speculation as to around what it also may refer to  (because this song garners rather multiple listens) being baptized and having more fortune than others.

Without a doubt this group manages to pull off a great vibe with structured songwriting that embodies the listener to put together a meaning, while most indie suits are rather straight forward. The French Press does justice for the listener as well for itself, never seeming to disconnect from its theme and always stating itself as it is originally from the first track.

8.5/10

[monarchofficial]

Last of the legendary heroes, Samuel L Jackson