#jimstasbeendiggin

[ohitsjustjimmy]

Kurt Vile: "Wakin On A Pretty Daze" Review

    ("Comfort of codeine, and Springsteen pristine.")

When I believe I was about 11, I remember fumbling through my dad's massive collection of cds, tapes and other mediums of recorded music, resulting in stumbling upon various classic rock LPs of different styles and from different eras. The Cars' debut, Guns and Roses' Appetite For Destruction and several AC/DC and Led Zeppelin albums were among the plethora of music, but it was one album that stood out from the rest, even just by its iconic album artwork. This particular album was 1973's Dark Side of the Moon by Pink Floyd. Just by being intrigued from the cover, I decided to pop in one of the major LP's that would change the way I listen to, one day start to play and ultimately to this day, experience music into my Sanyo player. To my surprise, the first song, “Speak To Me” wasn't an instant hit, which led to me rapidly start to skip song after song, hoping to find one that was catchy enough to draw my attention. I finally land on the sixth track, the famous single “Money” and started to finally realize how important Pink Floyd was to rock music, and also how vital David Gilmour was to the guitar soon after. This wasn't no cd with a couple good hits here and there, with the rest of the tracks simply filling in the album. The Dark Side of the Moon is supposed to be experienced in full, in order to really indulge yourself into it's perfect structure from start to finish. I'm not trying to say something like Mr. Kurt Vile is in the same league of a group that big, or if he's even trying to be or anything like that. What makes his 5th studio album remind of me of the Dark Side is how much of an adventure this record was for me. Out of all the LP's I have come across this year, Wakin On a Pretty Daze is probably the most diverse and unpredictable one I have listened to. And if you are curious about accessibility, this one is most definitely a grower.

The spaced-out journey starts with it's opener “Wakin On a Pretty Day”, and suddenly I experience a sense of relief and comfort from this beautiful arrangement of layered guitars dancing upon one another. This track is the hint that Kurt is feeling to make a more “relaxed” composition this time around, as the intro could easily be placed into any of The War On Drugs' LP's, and would fit like a hand in glove. As both the chord progression and tempo change to a faster pace, “KV Crimes” chimes on in, leading to some more intertwining guitar magic, providing a soothing stereo effect accompanying Vile's chilled out vocal presence. “Was All Talk” accelerates the pace back with it's frantic drums carrying the personal tune about Kurt telling a tale about a time when people thought him to be “fake” in a sense. I deem this track to be a favorite of mine off the of the LP, which was a tad difficult to decide on because of how well each track meshes well with it's cohort throughout. The single, “Never Run Away” is an excellent example of Vile's ability to compose a tune that is as accessible as it is true to his natural style. This one quickly became another personal favorite. The calming atmosphere that the tracks on this album conduct seem to take a turn for the more sudden side presented in the song “Pure Pain”, as the pounding, starting and stopping drums when mixed with the heavy chord progression provide a new element not expected when considering the flow of the album. The acoustic break within the middle is another highlight of the track, as it was yet another moment I found unexpected. While tracks six and seven were a tad lengthy, “Shame Chamber” is a nice, shorter affair giving a bit of rest to the gargantuan feel of an album with the majority of its tracks being well over the five minute mark. The ninth song, “Snowflakes are Dancing” plays the in the same fashion as its predecessor, being just over three minutes. This is one of the qualities that the record possesses and in turn gives it just the right amount of depth, as Vile equally disperses the more easily indulging moments within the music he has made with the more adventurous ones. The ending track “Goldtone” is probably the most endearing moment on the record, lasting at almost 10 and and half minutes, which is the longest song on Wakin On a Pretty Daze. The beauty however is not just within the sound of the track itself, but the reward of successfully completing this massive song, and ultimately massive masterpiece of an album.

Kurt Vile is a simple man, with even simpler intentions. What gives his music the leverage to be considered the exact opposite is the way his trippy, calm, and sometimes random compositions play out in the end result. When separate, it could be easy to brand a track or two nothing more than adequate, or satisfactory. But that's the thing. Wakin On a Pretty Daze, just like any other album put together is meant to be listened to from the first track, to the last. It's only then, will you experience the full effect in what the record really has to offer, and in this case will be a beautiful ending result.

Rating: 9.5/10

Favorite Tracks: “Wakin On a Pretty Day”, “KV Crimes”, “Was All Talk”, “Never Run Away” and “Pure Pain”.

[ohitsjustjimmy]

Queens of the Stone Age: "...Like Clockwork" Review

Smooth, indulging vocal work. Fuzzy, chunky and meaty guitar riffs. Regardless of what the current line up is, a solid, in-the-pocket sound. These are some of the few qualities that Joshua Homme and his most famous project have presented throughout their quite ongoing musical career. Sure, this guy has done some quality stuff with even more friends in other groups such as his first musical contribution from Kyuss, the band Eagles of Death Metal, and the more sharply sounded supergroup Them Crooked Vultures, featuring the one and only Dave Grohl on percussion, and former member from one of rock and roll's most iconic bands, John Paul Jones on bass. Although line-ups like this would sound like practically any musician's fantasy, Homme has both harnessed his instrumental and writing talent and garnered the most attention with Queens of the Stone Age, which in fact has the most line-up changes out of the four. Some could say that the band has come quite a long way from their debut year of 1996, while others could feel that the band has not really made any drastic change within their style, sound or almost any major characteristic noticeable until now with ...Like Clockwork. And to be frank, either party couldn't be more right in my opinion, as I feel almost the same both ways about the band myself. Is this a bad thing? Of course not. Rated R was what I believe the ignition to their driving success, proving with singles like “The Art of Keeping a Secret”, and disturbing, yet infectious tracks like the LP's opener “Feel Good Hit of the Summer” and “Quick and to the Pointless”. When Homme and the gang gave us Songs For the Deaf, their musical machine was practically redlining, awaiting the next gear forward, as I believed this was their most commercially successful album at the time. Following after the small hiatus the band decided to take part in after 2007's Era Vulgaris, the next sinful compilation these gentlemen would put out is QOTSA's 6th full-length album to date. Talk about a discography.

So the album creeps up to the opener that is “Keep Your Eyes Peeled”, where I feel as I'm listening to what could almost be backing music to a horror-film. Down-stroke style picked guitars, some wha pedal power chords and Josh's eery and melodic crooning set the stage for yet, another bleak experience that the band is known for effortlessly executing. As the sorrowing strings conclude the track, “I Sat By the Ocean” takes part as one of the album's more driving and straight-forward pieces. Although I've mentioned about such patterns in other artist's albums and my unfortunate disliking to some of their outcomes, I am happy to report that the queens do not disappoint here, as the album carries on with an ocean sized wave of synth starting the next song “The Vampyre of Time and Memory”. The piano chord progression accompanying Joshua's weary vocal delivery, reminded me of the track “Mosquito Song”, a hidden gem off of Songs For the Deaf. Consistency is a major key here on this LP, with every track basically being just as fulfilling as the next, which is quite refreshing, especially for a band that has more than 5 releases under their belts. “If I Had a Tail” is one of my personal favorites. The simple bass kick, snare hit beat along with the choppy two note riffs bouncing off of the drums makes for an ultimately catchy tune, while Homme talks of sensual desires, propaganda, and what it sounds to me as greed, or gluttony. The lines “Get your hands dirty, roll up them sleeves. Brainwashed or true believers? Buy flash cars, diamond rings, expensive holes to bury things” are just down right gritty. The album's lead single “My God Is the Sun” more than proves it's worth of that title, as it is on constant play among radio stations in the central valley. “Kalopsia”, another slower starting track is quite a treat within it's own right, as the ballad like beginning is torn apart by a wall of distorted guitars and pulsating drums, only to be back aloft the soft backdrop once again. Josh also does the track even more justice by providing lush, harmonized vocal work along the track's up and down-hill like structure. While I find little to no drawbacks on this record, I couldn't really find myself to dig the track “I Appear Missing”, as I thought of it's length a tad too long for it's own good. As for the closer, which is the albums title, I found this to be my favorite moment on the entire thing. It starts out with just Josh and his Piano, as a thick wall of sound suddenly starts to rise, then as it falls, comes back to the front man and his keys, except with the rest of the band to turn the last page and close the book that is ...Like Clockwork.

So did Queens of the Stone Age call the corner pocket, line the cue ball up and send that 8 ball into it's pocket? My opinion is most definitely. Once again the band has proved that regardless of what plethora of trends take place, swarms of bands aiming to make it big, or nay-saying and nitpicking like today's most hardest and ever-growing number of critics, possessing sheer creativity and a passion for your art can pay off time and time again, so long as you put every ounce of your heart and soul into what you create. I also wouldn't hesitate to say that the progression and consistency of the group's discography is quite a bit like, well, mechanical clockwork itself.

Favorite tracks: I Sat By the Ocean, If I Had a Tail, Kalopsia and ...Like Clockwork.

Rating: 9.5/10

[ohitsjustjimmy]

James Blake: "Overgrown" Review

While some artists find themselves struggling to launch their name into the air and get it known, others effortlessly get picked up and are easily adorned and let their career take flight. Now for London's James Blake, I feel like he has nudged himself towards a “middle-ground” of some sort. He is not too well-known, yet at the same time is known enough to where he does get a fair amount of recognition and a strong fan-base, especially within the scenes of electronic and underground music. This young lad has quite a knack for manipulating sounds and harmonies in such a way to where he produces something completely unique, interesting, and at most times beautiful. His self-titled debut was a clear example of this, showcasing James' obvious influences in styles consisting of trance, modern electronica and even hints of “dubstep” type elements, mixed with the primary thing that makes him stand out from so many other artists within the musical ecosystem. His voice is the quality that makes his craft completely a definite caliber all it's own, with Blake's emotional and soul-infused output. Tracks like “Unluck”, “I Never Learnt To Share” and one of his most popular ones “The Wilhelm Scream” differentiate from practically anything I have ever heard, as James uses the many vocal harmonies, pitch shifts both high and low patched together with some heart-pulling context to create some mesmerizing experiences. After a considerable amount of hype following his release of the single “Retrograde” from his newest piece titled “Overgrown”, Mr. Blake has put together another audible journey for us to venture provided from his much awaited sophomore release.

A flourish of dropping piano notes accompanied by a deep vocal melody introduces me to the next chapter that is Overgrown. I suddenly realize that this is not the same James Blake I listened to on the first full-length. The title track is the first example of how much he has matured in terms of legitimate song-writing, as well as becoming more confident with using his own voice, in contrast to putting it through the various effects found on the predecessor. Now don't get me wrong, as those elements are still present on Overgrown, as I will explain later on throughout. “I Am Sold” is the next track, and is quite a repetitive one, as far as lyrical content goes, which reminds me of the debut however, the kicker is when James provides a lush backdrop full of little drips of subtlety adding up more and more until the climax becomes a wave of sound that suddenly crashes and begins my favorite track off the LP “Life Round Here”. This track combines his earlier chopped and screwed style with his new found more focused approach to how he composes his tracks in such a way that it meshes perfectly to where it feels familiar, yet at the same time new and refreshing. The LP gets even more intriguing when the next number starts, “Take A Fall For Me”, featuring former leader of the hip-hop collective Wu-Tang Clan and wide collaborator within the rap game, RZA. James is pleading in the background “You can't marry her yet!”, while RZA tells a tale of explaining such vivid examples of how it is to love this particular woman, and the emotional coaster he is going through because of their relationship. This is by far the most unique thing I have seen Mr. Blake try his hand at, and to be honest I believe it worked out quite well, as I see it as another standout track on the LP. The 7th track “Digital Lion” is the most reminiscent to James' past, with it's swirling percussion and bass lines, accompanied by other chimes and sounds that I can't really decipher, resulting in a straight-up, dis-jointed, yet danceable affair, despite my lack of being able to. While I have been enticed by the album, there are a few small flaws that aren't virtually a step back or anything of that sort, just some things that I didn't dig too much. The two tracks “DLM” and “Voyeur” didn't seem to really catch my attention, as they ended up sounding a tad on the tedious side to listen to, when compared to the rest of the record. Nonetheless, the album's closer “Our Love Comes Back” makes an excellent climax to this challenging, but worthwhile piece of audible artwork.

While it isn't as accessible as it's predecessor, Overgrown is more finely tuned, contains more depth, and shows James covering more ground with his music than he has ever done in past releases. I believe that this record will be an outlet for not only more fans and noticeable presence, but also plays the building block needed for him to take his craft to the next level while he progresses as not just a musician or singer-songwriter, but as an artist.

Rating: 8.8/10

[ohitsjustjimmy]

Phoenix: "Bankrupt!" Review

            The Parisian cool kids who showed us their chops with studio-grade execution on their last LP are back for another round with their wound as wire sound. “Wolfgang Amadaeus Phoenix” was in my opinion a perfect album with all the right elements, with just one exception. It's length. With the marker at a mere 36 minutes, Armistice, while being an excellent closer for the album, unfortunately left me wanting a little more. Now this strictly falls under anyone's preference, as I believe a typical LP's length is around 45 to an hour, but that's just me. Phoenix have taken about 4 years to give fans some fresh new material, so at long last, we have Thomas Mars and the gang's 5th piece titled “Bankrupt!”. But it is worth the wait?

“Entertainment”, the albums starter and first single more than properly introduces what the listener is in for, being instantly infectious as soon as those oriental keys strike. Thick and fuzzy synths mixed with the rest of the instruments create such a backdrop that only Phoenix can paint. However, Mars still finds himself singing in fragments, or so they seem to be, which makes songs like Entertainment or The Real Thing, the next track a little difficult to decipher. While the second track isn't as catchy or engaging, “S.O.S. In Bel-Air” rapidly picks up right where the former left off. The way the digitized notes stringed along with some power-chord strumming bounce around the accompanying drum beat is just lovely. The words “Put my name on your list S.O.S. In Bel-Air!” will also most likely embed itself within your memory banks. The title track serves as a 6 minute recorded improvisation of some sort, which in my opinion doesn't necessarily dim the album's presence, yet doesn't really help illuminate it either. I almost thought of it as kind of like a long, stretched out filler track, that is until Mars started singing, which came around the 4:40 mark to my surprise. It was then that the track reminded me of what the band did with the Love Like A Sunset parts on the last album. The sixth track “Drakkar Noir” brings things back up to speed once again with some heavy, but pleasant sounding flange effect laden guitar riffs. The following tracks Chloroform, Don't and Bourgeois, only sweeten the listening experience, as they nicely differentiate themselves from each other, which I believe is one of the LP's greatest qualities, as it keeps things fresh and interesting. Oblique City is the albums closer, and just like the rest of the tracks shows how the group uses their squeaky clean production to their advantage, instead of tarnishing it, which could be relatively easy, especially when a band reaches a certain point in their career. While the closer isn't breathtaking, the acoustic chords on the last stretch do a lovely job of ending the chapter that is Bankrupt.

With the addition of playing at Coachella this year, not to mention an usual, yet awesome on stage collaboration with R. Kelly (Thank you Diego!), Phoenix is a band that I believe still has quite a bit going for them. After listening to this LP, I have a feeling of both contentment, and high hopes for what they have in store for the future. And while they have named the record Bankrupt, the reality is that the experience is actually anything but.

Rating: 9.4/10

[ohitsjustjimmy]

Daft Punk: "Get Lucky" Track Review

          They are the digital pioneers of a funk and techno fusion. They have re-invented the electronic style with their foreign touch of abstractness. They've been widely acclaimed, sampled in a Kanye West song, and even written a score for a disney movie. Their next electronic affair will be named “Random Access Memories”. This gargantuan duo is named Daft Punk. It can be easily said that the french djs haven't done too much musically, with the exception of the score to the critically acclaimed and reimagined movie “Tron”. However, just as I have expressed in several of my other entries, the year 2013 is starting to present itself as quite a musical one, with artists from the both the old and the new either dustin off the old amps and equipment, or fine tuning their craft and using the interweb as their gateway to simply get their name out there and garner attention. The newest release from the duo features the notorious Neptunes frontman Pharrell and is titled “Get Lucky”, which the group debuted as an official single on the 19th of April. However, as often as it is, the song was actually leaked a couple days prior to the release. It was also featured in an advertisement broadcast during an episode of Saturday Night Live, which was also before the 19th.

For the first time that I can recall, this track actually sounds like there are real instruments in place of synthesized ones, which is a refreshing change for the group. The trademark vintage sounds of voice on vocodors are still present, but only compliment Pharrell's pleasant addition to this sensual track, along with some funky guitar riffs courtesy of the one and only Nile Rogers, discrete background synths, and an accompanying drum beat, which also sounds live. This is an unusual collaboration in my opinion, however Mr. Williams does an excellent job vocally, as he hits those higher notes with ease. Even with live instrumentation, the duo still posesses that nifty abilitiy to compose tracks guilty of getting you moving.

Pharrrell is quoted to say that “the song is not just about a sexual conquest, but the fortune in finding potential chemistry in someone.” This I believe gives this track a different light than at first glance presented with it's rather frank title. Us american folk will have to wait until May 21st in order to pick up an official copy of Random Access Memories, while both Australia and the United Kingdom will be able to get their hands on it a few days earlier. This LP is supposedly focused on representing tribute to the 70's through early 80's era of american music. To be specific, they are aiming mainly on the sounds of the City of Angels' scenes during this period. Tell me what's on your noggin. Are you stoked for the album? Do you think it's going to be terrible? I'd love to hear what you guys think.

You can check the futuristic timewarp here.

[ohitsjustjimmy]

Vampire Weekend: "Diane Young / Step" Split Review

It’s been three years since Ezra and his sharply dressed cohorts released any material as their most familiar moniker named after a college presentation.  Vampire Weekend is one of the few bands that can honestly make good use of their consistency, while not having to radically change their style or the way their music sounds in order to keep fans and newcomers alike to dig them.  It’s been three long years since the group has given any hint or taste of what their future material is going to be like, that is until now, as they have actually given us two new singles off their next full-length record.  “Diane Young” was the first song I discovered of the two, just around late March.  I stumbled upon the second single “Step” shortly after, actually finding a lyric video on Youtube to be specific.  The two tracks differ quite a bit from each other, while still maintaining to be something completely relevant for the band.

“Diane Young”:  With an apparently controversial video featuring the burning of a Saab 900-series coupe, Vampire Weekend has made quite a spark with one of their latest tracks.  Diane Young sees the group take the electronic approach that was mostly evident throughout the LP Contra.  The thing that separates this from their early material has to be the lyrics’ context.  The words that Ezra is singing here are quite bleak, which honestly took me by surprise, especially from a band like these guys.  I mean, the title itself pretty much says it in plain English.  Diane Young reminds me a bit of the track “Cousins” with its speed and spastic presence, yet at the same time it is presenting something new to their typical catalogue.  Check the torching of the 2 door Swedish vehicle here.

  “Step”:  In complete comparison, Step is the more laid-back of the two, and just like Diane Young, possesses some similar elements present in their earlier work.  I mean, to be frank, this isn’t anything “groundbreaking” or ultimately original, but that’s the not point.  It doesn’t have to be.  This band knows how they want their music to sound like, given it’s not the taking of their most adventurous moves.  Just like Diane Young presents a familiarity to their sophomore album, Step gives me a bit of the same vibe as their self-titled debut, with its simple, yet effective beat accompanied by some classical piano keys.  Ezra’s vocal ability is still just as potent here as it was ever before, as he modestly belts out those higher reaching notes.  You can check out the awesome lyric video here.

  “Modern Vampires of the City” is scheduled to hit both physical and digital shelves on the 14th of May.  I am genuinely excited and eager to give this LP a listen, and will be more than glad to share all of my opinions on the chance that I do.  What do you guys think of the new tracks? Will you be purchasing this LP?  Drop me a comment in either the question box or comments.  Thank you guys.

“This is actually a photograph taken in 1966 of the smoggiest day in New York History.”

[ohitsjustjimmy]

Jimsta's Been Diggin'...January.

How are your guys' resolutions going? Any success?  Regardless, here are some songs that I just could not fail mention anything about this month.  Please note that I don't just post strictly new material. Enjoy!

12.  Rockie Fresh - Nobody

 - One of Maybach Music's newest recruits I believe, Rockie Fresh brings a nice hybrid of laid back hip-hop lines with a touch of electronica.  The music video is pretty much a blast from the past, I mean come on, he's driving a Delorian.  This track is taken off of his new mixtape "Electric Highway".  Great Scott!

11.  My Morning Jacket - Wordless Chorus 

 - A classic track from a classic album from quite a while back in 2005.  A simple, yet effective verse and chorus pop tune with some nice layered vocal work mixed with a solid overall performance from one of indie rock's more notable groups.

10.  Maps & Atlases - Vampires 

 - When a band like this completely changes practically everything about what people know them for, the outcome can be a mixed bag.  Dave Davison and the gang have put their technical prowess aside and have in place put their effort into more focused song writing and accessability which results in quite a refreshing sound for the band.  Check out the rest of the LP "Beware and Be Grateful".

9.  Le Loup - Outside Of This Car, The End of The World 

 - This track, especially from reading the title is a bit of a grim one.  However, this group incorporates many members who themselves incorporate a vast array of instruments and sounds.  This song is taken off their album "The Throne Of The Third Heaven Of The Nations' Millennium General Assembly".  Yeah, I know.

8.  Japandroids - Young Hearts Spark Fire 

 - Summer, Sweat, and good vibes man.  This is the kind of atmosphere I get from this Canadian garage-rock duo.  I'm starting to believe that Canada is the new haven for great music, as so many great bands and musicians have and are still coming from the world's second largest country.  Check out their full-length titled "Post Nothing".

7.  Imperial Teen - Runaway 

 - When Roddy Bottum (Faith No More) teams up with some close friends from other notable groups, we get an indie pop outing with a solid and demanding sound.  Bottum is in the forefront here performing lead vocals and guitar, which makes it quite intruiging to think that this is the same man who took part in the group responsible for writing the classic track "Epic". Quite straightforward but solid tune.

6.  Edward Sharpe And The Magnetic Zeros - Janglin' 

 - This is an extremely catchy tune from frontman Alex Ebert of the group Ima Robot, except this is the other stuff he's been working on in the meantime.  Chanting choruses with folk inspired rhythms come together in a joyful expression of what Edward Sharpe and friends are portraying on this album.  This song is taken from the album "Up From Below".

5.  Benjamin Gibbard - Bigger Than Love 

 - Mr. Gibbard is quite a respectible example of powerful and heart-pulling songwriting ability, along with a trademark voice practically anyone can recognize.  This is a catchy morsel from his newly released solo CD "Former Lives".  This track is also graced by the one and only Aimee Mann.

4.  Andrew Bird - Eyeoneye 

 - This man is a musical genius, yet is in my opinion not as credited enough as he should be.  His ability to play practically any instrument he picks up gives him the ability to captivate listeners within his compositions.  This track, along with several others off of "Break It Yourself" shows Bird taking more of a band type sound, rather than a composed one.  Intelligent, catchy and engaging.

3.  Cold War Kids - Hang Me Up To Dry 

 - Here is a straight up soulful piece of emotive expression from the one and only Cold War Kids.  These guys put out some great material that incorporates elements of general rock, soul and a bit of garage style type stuff that is increasinlgy popular this day and age, although this LP came out around 2007.  Definitely one of my favorite groups.

2.  Simon and Garfunkel - Sparrow 

 - Now we're really taking a trip in the time machine with this one.  There are few artists who can match the genuine chemistry of Paul Simon and Art Garfunkel.  Sparrow is at first a bit of a depressing tune, but at the climax uplifts your spirits with a quite meaningful message, as most of their songs include.  A classic ballad from a classic record.

1.  The xx - Chained 

 - This group has a way of taking the most minimal approach to writing a song, utilizing every aspect of it, and making that song into something just utterly beautiful.  From the subject, the atmospheric instrumentation, to the vocal harmonizing of Oliver Sim and Romy Madley Croft, this is a band who are as confident as they are humble.  This track is a slick, sensual masterpiece along with their sophomore release "Coexist". Who would of thought the mixture of oil and water could be so amazing?

This list is a bit longer than the previous entries, yet I feel that this particular one is the most diverse collection thus far.  Hopefully you guys will find at;east a song or two you can dig.  Thank you for checking this out. Much love, keep good music alive!

[ohitsjustjimmy]

Jimsta's Been Diggin'...December.

I hope Christmas was as pleasant for you as it was for me.  Aside from work, killing zombies with Britt on Black Ops II, and generally not having much free time, I’ve managed to conjure up some of my favorite tracks from this month.  Much love to those who check my stuff, and hopefully you’ll dig some of these tracks.

9.  Jack White – I’m Shakin’

 - Within every project this man has participated in, it is clear that Mr. White has proven to be one of the busiest men in the music industry.  This song is yet another single off of his exceptional solo album, and a groovy one at that.  His guitar work along with the songwriting just hits all the right notes which makes for a nostalgic, yet at the same time fresh new feel.

8.  The Weeknd – The Morning

 - This year, Abel Tesfaye, better known as The Weeknd has taken all three of his beloved mixtapes and has respectively re-mastered each of them, while releasing them in one package titled Trilogy.  This is great for Tesfaye, as he has made quite a mark within the underground scene with his sensual take on the experimental R&B scene taking place this day and age.  This track is off of “House of Balloons”, and serves as one of my personal favorites.

7.  The Tallest Man On Earth – Into the Stream 

 - Kristian Matsson brings his bare bones folk tales all the way from Dalarna, Sweden.  His expertise in flamenco style guitar play reminds me of the simple yet captivating sounds of the late Nick Drake.

6.  The War On Drugs – Brothers 

 - Kurt Vile and the gang are a genuinely talented group of guys who know how to create mesmerizing walls of sound with a touch of folk and grit.  If you dig this one, be sure to check the rest of the LP “Slave Ambient”.

5.  Hanni El Khatib – Build. Destroy. Rebuild

 - This is what it sounds like when an avid skateboarder decides to dabble with a guitar, then decides to put words together and flesh out a full band.  Hanni El Khatib is pretty much a great example of the ever-growing revival of the garage rock style that is rapidly emerging from the various scenes within this day and age. 

4.  Shabazz Palaces – Swerve… The Reeping Of All That is Worthwhile (Noir Not Withstanding)

 - This group is a tad difficult to pinpoint or tag a certain label to their sound, as they incorporate many indistinguishable textures and beats into what I can only describe as another hip-hop group who is taking the genre as we know it, and morphing it into something completely new.  Shabazz Palaces are respectively original, yet catchy enough to embed themselves into your brain.

3.  The Lumineers – Flowers In Your Hair 

 - The Lumineers are another successful indie / folk style group that composes tales in the form of song.  This track is the introduction to a great debut LP, while showing exceptional songwriting and clean musicianship.  I look forward to these guys’ future material.

2.  Anchor & Braille – Knew Then Know Now 

 - This intimate sounding side project is presented by lead singer Stephen Christian of the group Anberlin, along with the producing efforts of Aaron Marsh of Copeland.  This track is taken of their second release titled “The Quiet Life”, which is more of an electronic affair in place of an acoustic one.

1.  Kendrick Lamar – Bitch, Don’t Kill My Vibe 

 - Many describe Kendrick Lamar as either the new “Tupac”, or Tupac reincarnated.  While I realize why this comparison takes place, I have to disagree on some terms.  Kendrick is completely original within his own right, quite respectively.  His music is the freshest breath of air I have experienced from hip-hop in quite a while, as his lyrics tell stories so noteworthy within every one of his songs.  If there is anyone who is bringing the genre back to what it should be, this guy is effortlessly doing it as shown by his incredible LP “good kid, m.A.A.d city”.

  Have a happy new year guys! What is your resolution? Mucho Amore.

(Don't forget to click the artist and song name to check the track out!)