The 52 Album Year

Tackling one album review per week for one year - Plus additional music fandom.

[the52albumyear]

Week 36: Halsey - “Badlands”

            Regardless of where I am or what I am doing, I constantly have my music radar on. Whether it is a song playing in the distance or whispers of a hot new artist on social media, I become instantly intrigued and usually end up doing some extensive research solely for my own interest. Once I heard that this act was opening alongside Metric (one of my favourite Canadian groups), Halsey was added to my list of acts on my “radar”. After constantly hearing such high praise, I waited patiently for her first full length album to appear on the shelves of the music stores – and despite the hype, I was not let down. Still wet behind the ears in terms of her musical career, Ashley Frangipane ditched her plan to attend college to major in fine arts in order to pursue a creative writing major. Although she has a musical background reaching back to her childhood, starting with the violin and moving onto the viola, cello and eventually guitar, it wasn’t until she turned seventeen that she began writing her own material – but she was well known before that point. In 2012, among all of her other uploaded cover songs, Frangipane posted a video on her YouTube called “They Haylor Song” – a parody about Taylor Swift’s relationship with Harry Styles of One Direction to the tune of Swift’s tune “I Knew You Were Trouble”. Obviously landing her the attention of the right people, she signed to the label Astralwerks and released her debut EP as Halsey, an anagram of her first name. A year later, she has released her first full length album – and eleven songs later, “Badlands” renews my faith in up-and-comers and their ability to push boundaries and create fresh sounding tracks.

               Dark, industrial sounding percussion layered with deep electronic bass and synthesizer creates an unexpectedly intense opening track that builds, halts, then burst with heavy energy for the chorus. Making this transition even more significant is the beat-less, operatic choir prechorus that not only creates interest, but also serves to make the chorus itself stand out even more. Although it is easy to make the comparison between her and fellow female pop sensation Lorde because of their age (Frangipane is 21 and Lorde, 18), there are definitely similarities in vocal tone as well as in their song writing – especially in terms of vocal melodies. Lyrically, Frangipane speaks out about the judgement and attention that comes with fame; comparing people who don’t approve of her style or music as patriarchal nay-sayers who sit on the thrones of the general publics’ “Castle”. Changing gears by using a sample of Son Lux’s track “Easy”, “Hold Me Down” employs lightly staccato strings to brighten up the mood for the second song of the album. That being said, Halsey’s delivery of the chorus is punctuated by reintroducing some of the heavier synth and percussion elements heard in the previous track, reinforcing the idea that she is confident in her ways and actually thrives from having to prove others wrong – including her own personal demons. The third song, “New Americana” screams revolution, describing how today’s generation has been heavily influenced by pop culture (“Raised on Biggie and Nirvana”) which has helped young people embrace diversity more than previous generations – using current examples such as legal marijuana use, human rights, and homosexuality to drive her point home. The track itself supports this notion, using gang vocals and a prominent rolling snare beat to establish a sense of unity in protest of the previously acceptable viewpoints – making it inherently catchy as well. The relatively unstructured “Drive” is comprised of a collection of pieced together riffs atop a delicately plucked guitar melody, gradually becoming lush with parts as the song progresses and eventually including a strings section, programmed drums and synthesizer. With the obvious car theme, essentially describing Frangipane and her partner and how they would be too shy to express how they felt (“All we do is drive, all we do is think about the feelings that we hide”), some ambient tape deck and windshield wiper background sounds have been unnecessarily thrown into the mix. “Roman Holiday”, the fifth track, is chock full off peppy synthesizer, picking up the overall feel as one of the poppiest songs of the album. Most intriguing is the vocal melody of the chorus, mixing both her falsetto and non-falsetto vocal range with little to no transition – bouncing between the two flawlessly to create a perfect feel-good sing along. Continuing in a similar vein, “Colors” closes off the first half of “Badlands” with a second upbeat tune that has more depth than what meets the eye (and ears). Musically simple in the verses, the choruses burst with energy – with a new type of intensity being created between the steady, pounding kick drum and exploding electronic bits and pieces of bright synth. However, the poetic lyrics that use the colors red, blue and purple to describe the protagonists’ personalities and relationship juxtaposes the tone of the track; focussing on Frangipane’s friend and lead singer of The 1975, Matty Healy, and his struggles with depression and addiction (“Everything is blue – his pills, his hands, his jeans”).

               The seventh track “Coming Down” has a truly laid back feel, straying from the electronic theme throughout the album by centering the track around an elegant acoustic guitar melody instead of heavy synthesizer. Keeping it cohesive with the other components of the record, a prominent programmed drum beat provides a cold, industrial element to the otherwise softer track – once again creating an interesting contrast which Halsey seems to incorporate often in her music. Travelling further into the depths of Halsey’s mental landscape (“Badlands”), “Haunting” is just that – a dark track, not so different from the previous track aside from the reintroduction of more programmed instruments. Otherwise, the song is quite lacklustre – straight forward, with no apparent climax to really look forward to or make the track musically dynamic – aside from the phrasing of the chorus melody. Exploring the frustration and confusion that stems from her bipolar disorder, “Control” delves into how helpless she feels from day to day when her moods and feelings can shift from one extreme to another – leaving her to wonder “Who is in control?”. The lines of the chorus spell describe this manic change perfectly, almost apologizing for her behaviour in the first half (“All the kids cried out, “Please stop – you’re scaring me”. I can’t help this awful energy”), while the second last line (“God damn right, you should be scared of me”) embraces it. Her uneasiness is reflected in the pensive, delicate melody of the verses, slowly building to emerge into the slight chaos that is the chorus; a possible reflection of one of her bipolar episodes. Transitioning from a soft, ethereal vibe to dark, reverberating industrial sounds serves to convey the emotion felt by Frangipane throughout the tenth track - “Young God”. The name itself implies some sort of divine subject matter; in this case, the protagonists themselves, and the feeling of immortality that they, like many people who are deeply in love, claim to possess. This innocence and naivety eventually transform into power and greed, similar to that found in the patronizing themes of “Castle”, with the male protagonists’ voice contrasted with a low, distorted effect as he sings crudely about having sex with her – a far cry from the romance of the first verse. Last is “Ghost”; Halsey’s most popular single that was previously released on her first EP, “Room 93”. For a song of such depth and importance to her fans, I am surprised to find it haphazardly tacked on to the end of the album – when it is actually found as the seventh track on the sixteen song deluxe edition of “Badlands” – as it doesn’t seem to fit with the flow of the previous tracks until you take a look at the lyrics themselves. Perhaps it could be viewed as coming full circle, with Halsey’s disintegrating, overbearing relationship of “Young God” coming to an end and leaving her to cope with a void she can’t fill, yet oddly welcomes at the same time

Overall Impression:

               I must admit that I wasn’t expecting the level of intensity that Ashley Frangipane’s music possesses when I plucked her latest off the shelf – after all, the artwork employs gorgeous pastel colours that would suggest otherwise. Heavy in every musical sense of the word, an industrial tone is laced throughout the overall electronic album, with great depth found in her lyrics as well; touching on everything from current societal issues plaguing young people to even her own mental illness. However, despite the fresh approach Halsey brings to the table, the uniform vibe of the album starts to wash out the intricacies of each track, as all of the songs employ similar overall sounds and begin to regretfully sound the same before “Badlands” is halfway through.

“Badlands” on iTunes: https://itunes.apple.com/ca/album/badlands/id999617358

“New Americana” video: https://www.youtube.com/watch?v=b-eYbUVZedY

“Hold Me Down” live video: https://www.youtube.com/watch?v=i0Hds_9t8MU

“I Walk the Line” bonus track audio: https://www.youtube.com/watch?v=8qjl4lysi_s

[the52albumyear]

Week 35: The Weeknd - “Beauty Behind The Madness”

               These days it’s becoming more and more rare for me to be able to get into Top 40 style music. Between the predictable lyrics, recycled beats and overplayed nature of these songs, a sense of creativity and intrigue seems to be lost – or just never there to begin with. Enter Canadian contemporary R&B artist Abel “The Weeknd” Tesfaye. Since the anonymous release of his first three mixtapes in late 2010, the twenty five year old Scarborough native has gained support by huge names in the industry; including fellow Ontario hip hop sensation Drake. In fact, both Ed Sheeran and Lana Del Rey lend their talents as guest vocalists on this latest release, while Kanye West provides input on the production end of things – all very impressive collaborations for only his second full length album. Having only five years of experience as a recording artist, Tesfaye has also found great commercial success; selling over one million copies of the first single off of “Beauty Behind the Madness” in a matter of months, and hitting number one on the Billboard Hot 100 chart for the first time with the second single (three times, might I add – which has never happened before) that has also sold well over a million copies in the past three months. As for the music itself, the mixture between old school R&B with the introduction of modern synthesizer and heavy electronic beats allows music with substance and depth to be packaged in a way that both music critics and the masses can sink their teeth into.

               The contrasting sounds and instruments Tesfaye uses in “Real Life” perfectly demonstrates the overall concept of contemporary R&B right from the first seconds of the album. With a sultry piano melody and string section emerging from a harsh synth intro, all layered atop a prominent bass heavy beat, the dark subject matter is reflected in the song’s deeper tones, while the romance of R&B remains. The vocal tone and style of Michael Jackson, one of The Weeknd’s biggest influences, is more than evident – it almost seems as though he has unintentionally perfected imitating Jackson’s signature fills and trill, especially during the delivery of the higher notes of the bridge. Additionally, if imitation truly is the highest form of flattery, he may also be paying homage to Jackson through the prechorus of his own song, referring to his mother’s advice that his life is destructive (“Said it’d ruin me one day. Cause every woman that loved me, I seemed to push them away”), similar to the bridge of “Billie Jean” (“People always told me be careful of what you do…And mother always told me be careful of who you love”). The second track, “Losers”, continues to stand out the most on the track, employing a jazzy pulsing piano progression that appears in one form or another throughout the song. Sticking with a more raw piano sound during the verses and bridge, the beat drops after the hook, yet maintains that main melody by adding an electronic, almost dubstep, vibe to drastically increase the intensity. Produced by Kanye West, “Tell Your Friends” returns to a more traditional, sexy R&B track with big band flair; focussing on the vocals, rather than the cocktail of instruments Tesfaye created on the previous two songs. Blatantly juxtaposing this recurring jazz feel, the lyrics give a very transparent description of his lifestyle – covering everything from his career and fame to sex and drugs (“I’m that nigga with the hair, singin’ ‘bout poppin’ pills, fuckin’ bitches, living life so trill”). Continuing in the same vein, the fourth track “Often” provides listeners with even more details on his one night stands and the assortment of recreational substances he mixes into the experience. Similar to a sentiment expressed by Kendrick Lamar, The Weeknd sings “If I had her, you can have her, man it don’t matter”, essentially telling other men that he doesn’t care if they slept with the same woman, but makes it known that he was with her first. “The Hills” delves into a deeper register of his voice, lending a sultry sound to complement the bass-heavy track. Although I won’t spread any unconfirmed gossip, this song is said to be about relations he had with a celebrity pop star who was in a relationship with another artist in the music industry, hence the need to “Keep our business on the low-low”. Even with this affair, it is evident that he prefers sex without the emotional baggage of a relationship, especially in the line “I only love it when you touch me, not feel me” which drives home the strictly physical nature of their encounters. The song’s title comes from the bridge, where Tesfaye recognizes that his fame has made this situation more complicated, as he is always being watched and judged for his actions. An overall heavy hitting tune, the drama and intensity that it embodies has made it one of my favourite on the album – especially when the bass drops for the half-time chorus. Playing with the idea that he might be developing feelings toward a woman instead of disregarding her after sex, “Acquainted” is yet another sexy track both musically and lyrically. Although he won’t outright admit that it is love he is experiencing (“To say that we’re in love is dangerous, but girl I’m so glad we’re acquainted”), referring to a woman as “babe” is something that stands out in comparison to the description of his other escapades. The woman in question seems to be model Bella Hadid, as they have been spotted together and labelled as a couple for months now – which would also make the last line “These girls born in the 90’s are dangerous” make sense. The third single, “Can’t Feel My Face”, is a chart topping classic pop song that has been once again compared to the overall style of one of his biggest musical influences, Michael Jackson. Obviously much more upbeat and radio friendly than most of the other tracks on the album, this song shows Tesfaye’s effort to branch out from his darker side to make a light-hearted song. Employing a traditional pop song structure, the verses and choruses are extremely catchy, with the breakdown creating a slowed down, trance like feel that really accentuates the energy of the last chorus. But don’t let the peppy beat and danceable nature of the song fool you – the lyrics are bluntly personifying his cocaine habit.

               Maintaining a lighter feel, the eighth track “Shameless” employs a soft acoustic guitar melody that gives off a hint of Spanish flair and allows Tesfaye’s vocals to be showcased. The first song of the album to include a guitar solo (and a pretty gnarly, distorted one at that), it also stands out as being one of the only tracks to be less bass-y and instead utilize softer percussion sounds. Although the lyrics are essentially stroking his own ego, saying that women continue to come back to him because no one else can do it like he does, a more romantic vibe is established with the use of the falsetto range of his voice. Delving even deeper into this higher, more finessed range of his vocals, the next track was made popular by the controversial 2014 film adaptation of “Fifty Shades of Grey”. Despite the gorgeous string arrangement and piano of the track, the song itself drips of lust with every word Tesfaye sings. Obviously written for the movie soundtrack and storyline, the lyrics contradict his normal attitude toward relationships, singing right off the bat “Imma care for you”. Later, the lines of the chorus also follow Christian Grey’s principles of reward for sexual performance - “Cause girl, you’re perfect. You’re always worth it. And you deserve it, the way you work it. Cause girl, you earned it”.  Reaching the energetic climax of the album, “In the Night” is another straight up pop song, complete with programmed drums, an extremely MJ style vocal melody, and synth filled chorus. Modelled after the story of the late Marilyn Monroe, who was sexually abused as a child and ironically grew up to be “America’s Most Famous Sex Symbol”, Tesfaye actually came up with the concept while sitting on what used to be Monroe’s bedroom floor in her former home which has now been converted to producer Max Martin’s studio. Departing from an 80’s style pop song and transitioning into a 90’s R&B vibe, the tenth song “As You Are” is a fairly straight forward track. Showing a touch more emotion from Tesfaye, the lines “Show me your broken heart and all your scars. Baby I’ll take , I’ll take, I’ll take, I’ll take you as you are” reveal a softer side of Abel who accepts the woman for who she is – but that still doesn’t mean he wants more than a one night fling. At first, I wasn’t too sure how cohesive a collaboration between The Weeknd and Ed Sheeran would sound. However “Dark Times” incorporates simple clean guitar, an R&B feel via the electronic drum beat, dark yet introspective subject matter, all tied together by the sultry vocal melodies that highlight both Tesfaye and Sheeran’s talents. Written spontaneously after a party in The Weeknd’s Toronto apartment after a Much Music Video Award party, things get heavy during the chorus when the artists sing about “Promising everything I do not mean”. For Abel, this revisits the dark times in his life, such as when he would disappoint his mother or was sleeping with girls and telling them he loved them, just so he would have a warm place to sleep – hence, the title. The softer, yet powerful nature of both Sheeran and Tesfaye’s voices, as well as their impressive vocal control and styles, mesh really well together; in fact, sometimes it takes me a second to figure out which of the two is singing! The second collaboration follows with “Prisoner”, featuring the only female on the record, Lana Del Rey. Keeping with a simple R&B style vibe, the vocal melody (by both artists) is hands down my favourite aspect of the song – especially in the delivery of the lines “You bring good to my lonely life, honestly” by Tesfaye and “I think I’ve been in Hollywood for too long” by Del Rey. Both admit to their addictions – not only to sex and drugs, but also to their ambition, as the line “I’m addicted to a life that’s so empty and so cold” refers to how they are in some ways “lone wolves” who look out for themselves and their career at the expense of having relationships. Coming to the realization that one particular woman in his life deserves more than what he can emotionally offer her, The Weeknd wishes to give her wings and find someone who loves her back in “Angel”. Often mistaken for another contribution by Lana Del Rey, the uncredited voice of the “angel” in the latter portion of the song actually belongs to LA based artist Maty Noyes who happened to be working in the same studio as The Weeknd, recorded a version of the song with her guest vocals, and showed Abel – who obviously loved what he heard. With an uplifting piano and guitar based track, the musical component of this, the final track, stands out from the rest with more of a rock than pop or R&B feel, once again displaying the diversity in Tesfaye’s music – even right up until the last moments.

Overall Impression:

               Although the success of this album is hard to ignore, along with the multiple chart topping singles and widespread popularity of his music, The Weeknd has effectively produced fourteen songs of pure musical genius that also appeals to the masses. A diamond in the rough amid other artists of the same genre, the heaviness of the tracks and transparency into the life of Abel Tesfaye as reflected in his lyrics creates a layer of depth that most artists in his position cannot match. Between the sought after leaked songs, high profile guest vocalists and glamourized life of sex, drugs, and music he lives, it seems as though The Weeknd has yet to find “Beauty Behind The Madness”.

“Beauty Behind The Madness” on iTunes: https://itunes.apple.com/ca/album/beauty-behind-the-madness/id1017804831

“The Hills” video: https://www.youtube.com/watch?v=yzTuBuRdAyA

“Can’t Feel My Face” video: https://www.youtube.com/watch?v=KEI4qSrkPAs

“Tell Your Friends” video: https://www.youtube.com/watch?v=j1ngEIxopUU

“Earned It (Fifty Shades of Grey)” video: https://www.youtube.com/watch?v=waU75jdUnYw

“Can’t Feel My Face” Vevo live video: https://www.youtube.com/watch?v=a_7t9y4hZGo

“Earned It” live on the Tonight Show: https://www.youtube.com/watch?v=muXrpBEm2Mw

[the52albumyear]

Week 34: Frank Turner - “Positive Songs for Negative People”

                   Since starting my blog, I have become somewhat of a frequent buyer at a certain chain music and entertainment store by my house – so much so that I can pretty much get in and out, with everything I was looking for in hand, within a matter of minutes. Certain albums remain on display or on the front of the row in their respective alphabetized sections for extended periods, which is how I stumbled upon this week’s record. The vibrant red, blue and white caught my eye a few times, and despite never hearing his music before, I decided to finally pick up Frank Turner’s latest solo album. Playing music since he was in high school, Francis Edward Turner’s music career has included a few alternative and post-hardcore bands, including Kneejerk and Million Dead, plus six solo albums – all since 2001. The Association of Independent Music (AIM) even recognized him as not only the “Best Live Act”, but also as the “Hardest Working Artist” in 2011. Since that award, he has continued to write more albums and headline music festivals, as well as start up Möngöl Hörde (a hardcore punk band) and write a book of tour diaries and travel memoirs, titled “The Road Beneath My Feet”. It was during his book tour that he began hinting at the release of a new album, using social media to post lyric videos and teasers about the artwork, title, and finally, a full music video. I had no idea what to expect when I pressed play for the first time, but to say that I was pleasantly surprised by “Positive Songs for Negative People” is more than an understatement.

              A raw, acoustic recording of “The Angel Islington” opens the album with three solemn verses and a simple plucking of guitar chords. Chock full of English imagery and landmarks, this subdued ballad apparently continues on from where “Broken Piano”, the last song on his previous album “Tape Deck Heart”, left off; from “a singer amongst saved men, on the banks of the muddy Thames” to “By the waters of the Thames, I resolved to start again”. Both written from the perspective of Arthurian legend the Fisher King (the wounded last keeper of the Holy Grail) the first tune transitions from being lyrically dismal while the second ends with a glimmer of hope, paralleling with personal struggle likely endured by Turner. With this new album titled as it is, it appears as though he is trying to acknowledge this adversity as being in the past, recognizing that it is best to move forward by making the best out of even the worst situations. With this in mind, the second track “Get Better” offers sheer optimism. Completely straying from the softer feel of the opening song, you can hear Turner’s punk rock roots come through in the grungy, distorted bar chords, crisp snare drum and intense vocals. The last line of the chorus, “We could get better because we’re not dead yet”, punctuates this theme of constant self-growth and perseverance, suggesting that even when we aren’t happy with where we are in life or what is being thrown at us, everyone has the power to change their outlook. Combining two of my favourite structural elements, the stripped back intensity of the bridge slowly builds and erupts into the last chorus – which serves double duty as an outro, in the sense that the lyrics change slightly to drive home the message while wrapping up the song. Flowing seamlessly into the rolling piano intro of “The Next Storm”, a song employing a similar ending structure as the previous one, listeners are treated to another upbeat, inspirational song. Using the concept of storms as a metaphor for struggle, Turner sings “I don’t want to spend the whole of my life indoors”, describing how he strives to live his life to the fullest instead of just weathering each “storm” and waiting for the next to hit. Immediately reminding me of The Gaslight Anthem with a touch of Lorna Jane Grace’s vocal tone (from Against Me!), these last two tracks are major highlights for me because of their unique sound – which resurfaces sporadically throughout the rest of the album as well. Conversely, “The Opening Act of Spring” sounds like a cheery, bright version of a Mumford and Sons vibe, using less harsh vocals, soft harmonies in the chorus, and a plethora of stringed instruments. Inspired by advice Turner received from his friend, “Glorious You” proclaims the cheesy message that you’re not along – without being cliché in the slightest. Instead, it outlines importance of reaching out to not only provide others with support, but to also to take help when it is offered – “Come on now, if we all pulled together we could lift up the weight of the world from your shoulders – just for a moment or two”. The next song is a bit of an emotional heavy hitter that instantly resonated with me, literally stopping me in my tracks the first time I heard it. Aside from the instantaneously hummable simple vocals, enhanced by a piano line following the same melody, “Mittens” is so lyrically clever and powerful that it hurts. A song about someone who didn’t care enough (according to Turner), the relationship at hand is compared to mittens and gloves – “I once wrote you love songs, you never fell in love. We used to fit like mittens, but never like gloves”. Unlike gloves which perfectly fit each individual finger, mittens fit looser on the wearer’s hand, just as a relationship might have been “working”, but never truly was a perfect match. I seriously dare anyone to listen to this song and not feel something.

              The next two minutes are jam packed with the thrashing punk-inspired drums, surfer rock style guitar, banged-out piano, and angst-y sounding vocals that make up “Out of Breath”. Once again, the intensity of the musical portion is somewhat misleading, as most people would associate punk rock with protest or negativity - but this energy is merely another vehicle to deliver the message with. Turner sings “When you meet death, be out of breath and say you’re pleased to see him ‘cause you’re tired”, because just like life, this song starts and ends in the blink of an eye, with not a moment to spare. The eighth track follows suit, proclaiming “God damn, it’s great to be alive!”. Channelling a British classic rock vibe with clean sounding guitars, “Demons” also instills a sense of urgency when it comes to living (“Time is not there to be saved”) by putting Turner’s personal spin on the old adage of “when life gives you lemons, make lemonade” – instead, he suggests facing your demons and embracing the power that results from their defeat. At this point, all of the songs from this album that I personally connect with or find intriguing made their impact within the first few listens. But “Josephine” is different – it was song that I wrongfully overlooked. Waiting for his Josephine, just like Napoleon and Beethoven’s beloved of the same name, Turner is looking to find the woman of his dreams who pushes him to ultimately challenge himself to reach his full potential. The opening “Woah’s” and drum fill also create a sense of nostalgia, taking me back to my pop-punk days, with bands like All Time Low coming to mind every time I listen to it. Anyone privy to the sport of tennis would catch the hint that Turner isn’t so lucky in love in the tenth track, “Love Forty Down”. Another Mumford and Sons style song, complete with hastily strummed stringed instruments and a heavy kick drum, he feels as though the cards are stacked against him and he’s running out of time to find someone to be with – but by the end, he’s adamant that despite all odds, “I’m going to turn this one around”.A grungy ballad recalling the last moments of astronaut Christa McAuliffe’s life before the Space Shuttle “Challenger” plunged into the ocean during the late 1980’s, “Silent Key” is a bit of a morbid tune. Even the overall vibe given off is much different from the rest of the album, using heavier chord progressions (especially as he sings “You’re still alive”) as well as less instrumentation to focus on the story at hand. Turner claims, however, that it still gives off a positive message by celebrating her life, as McAuliffe died doing something she was passionate about – a feat that not everyone can brag about achieving. Despite producer Butch Walker’s work with Taylor Swift (and the record label’s vision), it was American folk-rocker Esme Patterson who appeared as a guest vocalist to sing the part of Christa; her airy vocals cutting through the grunge to create a wonderful contrast. Bursting with emotion as the audience sits in complete silence, the final track “Song for Josh” is a stripped back live recording that finishes the record in a similar way to how it began. Josh Burdette, who unfortunately committed suicide in 2013, was a good friend of Turner’s and the former manager of the club where this recording took place. Serving as an outlet for his guilt, Turner asks why Burdette didn’t ask for help or reach out, as he felt that he could relate and might have been able to change the outcome. Unlike all of the other songs on this record, I cannot find a positive spin to give this one – however it sort of makes everything come full circle, revealing a negative event that Turner is still searching to find  the positive in.

Overall Impression:

              Drawing from his eclectic rock background, Frank Turner has churned out a record that combines all of your favourite elements of rock songs in such a fresh and exciting way while keeping a touch of familiarity to makes it quite simple for any listener to sink their teeth into. Turner’s goal of creating a sort of concept album based on positivity after a year of personal strife could have gone one of two ways, with a thin line separating a record thick with clichés from one possessing powerful messages. Between the instant sing-alongs, inspirational lyrics and contagious beats, “Positive Songs for Negative People” accomplishes this balance beautifully, and is definitely successful in harboring a sense of optimism in the face of adversity.

“Positive Songs for Negative People” on iTunes: https://itunes.apple.com/ca/album/positive-songs-for-negative/id1005347481

“The Next Storm” video: https://www.youtube.com/watch?v=P4IZbCl6iR4

“Get Better” lyric video: https://www.youtube.com/watch?v=tB4Avdlz3lk

“Mittens” lyric video: https://www.youtube.com/watch?v=7Nn7uPD128I

[the52albumyear]

Week 33: Mac DeMarco - “Another One”

               As soon as the loose, laid back twangy guitar comes through the speakers, it’s pretty hard to mistake this artist for anyone else. A bit quirky to say the least, you will likely find him rocking some awesome 90s style overalls or an oversized plaid shirt while sporting his huge gap-toothed grin. Raised in Edmonton, McBriare Samuel Lanyon DeMarco (better known as Mac DeMarco) has had a fairly extensive music career in a short period of time, playing with a handful of different bands before branching out as a solo artist. Although he describes his music as “jizz jazz”, it has also been classified as blue wave, slacker rock and jangle pop. With three full length studio albums under his belt by the age of 25, his fourth release was both written and recorded within a two and a half week span between shows on his last tour. Coming in at just under 24 minutes in length, DeMarco’s latest is already making waves in the industry, clinching the title of his highest-peaking release to date and selling over 13,000 units in its first week – with almost half of those copies being on vinyl. The perfect album to groove along to on a lazy day, “Another One” is a slightly more refined offering that fans (both old and new) can sink their teeth into.

               Starting off with a standard style Mac DeMarco tune, complete with his signature guitar sound, a smooth yet simple bassline and minimalist drum beat, “The Way You’d Love Her” is a crush song. Longing to show true feelings for a special someone, the song describes how it feels to want to show a person how much you care – although you know you can’t express it to them. Aside from the saddening lyrics (“Never really got the chance to show her what it really means love her the way you’d love her”), the timbre in general is cheery and uplifting –especially during the brief guitar solo. The title track “Another One” ventures out of DeMarco’s comfort zone by straying away from his familiar guitar sound and writing a song with only piano and percussion. Even the ever-present reverb is slightly enhanced to give his vocals a trance-like effect to mesh well with the instrument change up, showcasing an overall softer and more serious side to his sound. Coming in with a prominent groovy bassline and bright guitar melody, “No Other Heart” gives off a cutesy vintage 1960s crooner vibe – which is especially evident in the vocals of the chorus. Blending the themes of the first two tunes, DeMarco just begs for a chance to impress a girl who he knows is not available, singing “Come on give this lover boy a try. I’ll put the sparkle right back in your eyes – what could you lose?”. One of my personal favorites of the album, the combination of the mashed out piano and wandering bassline along with the cymbal based beat come together to create a laid back, jazzy feel. Switching gears to what DeMarco calls a “grumpier love one”, the fourth track “Just to Put Me Down” is probably the most stripped back and simple. With a verse-chorus-verse-chorus structure and very limited lyrical content, it is his catchy, loose guitar lick that steals the spotlight – especially when the cleaner solo is layered on top.

               At only twelve minutes in, we hit the halfway point with another ballad. “A Heart Like Hers” maintains the simple structure of the previous song, cutting a bit deeper lyrically with a heartbroken DeMarco at the mic to spill his feelings of betrayal. The crooner style vocals appear once again, this time over a track that continues to push boundaries and branches out from the expected guitar based tunes we come to know from this artist. Dabbling with the synthesizer in an attempt to create a soulful, R&B vibe, DeMarco admits he was unsuccessful but instead created an eerie, gloomy feel that reminds him of the songs he wrote before his career even took off. “I’ve Been Waiting For Her” adopts a beachy sound and faster tempo to express the happiness in finding “the one”. Again, despite the simplicity of the main guitar riff, its catchy as hell and is a guaranteed mood lifter. Aptly so, the drum beat is another component to look forward to, especially since the lyrics tend to draw your ear to it as they keep referencing “The beat of a heart like hers”. However, this feeling is short lived, as “Without Me” seems dismal even at first glance. Just as the title suggests, the romance is no longer alive – but there’s no hostility or ill wishes, as he only wants her to be happy no matter what that may require. DeMarco employs some twangy, out of tune type effects on his guitar to channel a vintage vibe once again; something that I find to be quirky yet appealing on this record. Closing out the record is an extremely soothing, ambient soundscape of waves gently lapping against the shore. Brilliantly accompanied by some out of tune sounding synthesizer, similar to those on the guitar in the song that preceded it, this track makes you long for the tranquility and peace found on a quiet beach. One could tie it to the record by suggesting that such an environment would be conducive to moments of introspection following a break up. Either way, DeMarco finishes the track with what seems like a brief artistic narrative: “6802 Bayfield Ave, Arverne, New York. Stop on by, I’ll make you a cup of coffee. See you later!”. Turns out, this is his home address and his literally inviting his fans to drop by for a visit – and apparently over 30 listeners actually have.

Overall Impression:

               Reflecting on all the different aspects of love, including everything from being in love to not wanting love at all, the fast growing success of “Another One” can be partially attributed to the relatability of the subject matter at hand. A generally straight forward yet thoroughly enjoyable album, there are many little musical treats to be discovered and enjoyed, namely the rhythm section in my personal opinion. My only complaint is that it is over in the blink of an eye, but in the case of Mac DeMarco, there is definitely something to be said for the importance of quality over quantity – and it is quite obvious that he places an emphasis on the former more than the latter.

“Another One” on iTunes: https://itunes.apple.com/ca/album/another-one/id986081055

“Another One” video: https://www.youtube.com/watch?v=gbg27oT8Z9M

[the52albumyear]

Concert Review - Mumford & Sons (with Jack Garratt & The Vaccines) - August 11, 2015

Photo by Kaitlyn Skaley (on the world’s worst iPhone camera)

               After hearing so many people speak highly of Mumford & Sons’ live performances, I finally pulled up my socks and snagged tickets for their third visit to Edmonton. For some reason, it took years of kicking myself for not seeing them in concert to finally do so, but it was well worth the wait. Promoting their third studio album “Wilder Mind”, featured on Week 20 of “The 52 Album Year”, I was intrigued to see how they would integrate their two different sounds – the folky sound of their first two albums and the edgier vibe of their latest. Needless to say, the show was nothing short of incredible, with songs from their entire discography seamlessly woven throughout the night’s set list.

               Due to traffic earlier in the day and taking transit to Rexall Place, we unfortunately only caught the tail end of Jack Garratt’s slot. That being said, I would have loved to see the look on our faces when we walked down the stairs toward our seats, hearing this huge sound complete with percussion, bass, guitar and vocals coming from a lone artist piled with instruments and equipment in the middle of the stage. Shortly after, indie rock band The Vaccines took the stage with a sound that reminded me of a mix between George Ezra and Vampire Weekend. Packed full of energy, this London group got the crowd warmed up and dancing around as more people continued to file in and take their seats. My sister and I had seats that were right beside and slightly behind the stage – which I think most other people would consider terrible tickets. However, I have never experienced a concert from that angle before and found it entertaining to watch the roadies and sound engineers work between and during sets. Being only sixteen rows from the floor also provided us with an impressive vantage point to watch the bands’ chemistry from, both between their fellow musicians as well as the fans.

               Everyone rose to their feet the moment Mumford & Sons kicked the show off with “Snake Eyes” off of their latest “Wilder Mind”. A smart choice, as the song starts soft and subdued, gradually adding more layers until the full electric guitars and pounding drums enter in full force. Building on the energy, they emerged into a crowd favourite from their second album. “I Will Wait” was chock full of the upright bass, kick drum and tambourine, hastily strummed acoustic guitar and banjo that made Marcus Mumford a household name. We quickly observed that a distinction was made between the acoustic and more rock-inspired songs not only in sound but also in their presentation, with songs from “Sigh No More” and “Babel” lit in warmer yellows and oranges while selections from “Wilder Mind” stood out in bright pinks and blues. That being said, a fair amount of songs were chosen from each album, providing fans of any of their three records with a more than entertaining show. Alternating between fast and slow paced songs as well, “Below My Feet”, “Wilder Mind” and “Awake My Soul” followed – each even more mind blowing than the last. In particular, the harmonies of “Awake My Soul” send chills down the collective audience’s spine. Despite the large concrete box we were enclosed in, I have never heard such great sound quality at this venue, likely due in part to the caliber of vocalists and musicians on stage – which brings us to “Lover of the Light”. Another popular radio single, the crowd went wild for the song in general, but what shocked me was that Mumford stepped behind the drum kit and played throughout the song while singing. Coming back to a more intimate tune, “Thistle & Weeds” was moving to say the least, with Mumford wailing the lines “I will hold on” with so much power and vulnerability while his bandmates pounded on their instruments beside him, creating melodic chaos. Knocking out some more emotional heavy hitters, the flawless performance continued with “Lovers Eyes”, “Believe”, and “Tompkins Square Park” (the latter being a personal favourite that really shakes me, and was therefore even more powerful to experience first-hand). The band then invited tour mates Jack Garratt and The Vaccines on stage for an edgy, rockin’ version of the Eurythmics’ classic “Sweet Dreams”, with Garratt on the drum pad, Mumford on guitar, and everyone else filling in between. “The Cave” started with strong crowd interaction, with the sound of thousands of voices filling the arena, singing along, which also continued as the vibe became more upbeat for “Roll Away Your Stone”. Looking back on it and listening to these tracks again, it’s fascinating that although many of their songs are fairly laid back in nature when it comes to tempo, the intensity and emotion keep listeners and concert-goers engaged throughout the show, without ever having the “it’s time to go to the washroom” moment – for example, two more low key songs, “Broad-Shouldered Beasts” and “Monster”, can be paired without fear of losing an ounce of audience interest. Mumford did pump everyone up again with his crowd interaction during “Ditmas”, dropping the guitar and teetering on the edge of the stage to sing closely with the audience as well as visiting the patrons in the front row. Obviously not the last song of the show, but the last song of their “actual” set, “Dust Bowl Dance” was a dark and intense choice to close with, however it did succeed in getting the crowd amped up for an encore. Sneaking to the back of the arena with plenty of security in tow, the band performed their first two encore songs where the front of house sound and lighting engineers were located, in the gated area directly across from the stage, turning anyone’s tickets on the opposite side of the arena into front row seats. Crowded around a single microphone, you could seriously hear a pin drop among thousands as they performed stripped down versions of “Timshel” and “Cold Arms” (although there were a few of “those people” who couldn’t contain their screams during). Running back to the main stage to actually close out the show, the band eased the crowd into the conclusion with “Hot Gates” , another new track that gradually builds intensity and nicely bridged the gap between the two previous songs and what was to come. Pulling out all the stops, they finished the show with “Little Lion Man” and “The Wolf” – bringing the crowd to their feet once again, dancing along with the band who was quite obviously having a great time playing together on stage. To be honest, the experience itself is impossible to describe – I highly encourage anyone and everyone to grab tickets next time they come through your area! (http://www.mumfordandsons.com/)

[the52albumyear]

Week 32: Lamb of God - “Sturm und Drang”

               By this point, it seems as though we have covered a wide array of genres; from hip hop to rock, folk and different subgenres of pop. However, one that is near and dear to my heart has yet to be explored. Believe it or not, metal played a large role in shaping what my music taste has evolved into today. To be honest, I received most of my metal knowledge from a select group of friends as well as the documentaries “Metal: a Headbanger’s Journey” and “Global Metal” by Canadian film director and anthropologist Sam Dunn. In these films, Dunn provides a comprehensive run down of the different themes and subgenres of metal – and if you’ve ever had an interest in this genre, you know that there are quite a few. During high school I was mostly interested in ‘80s hair metal bands, namely Guns N’ Roses and Mötely Cruë, but not exclusively  - I did dabble in some of the heavier subgenres with groups such as Children of Bodom, Sonata Arctica and this week’s artist - Lamb of God. A largely contested subject among metalheads, it seems as though this group has been pegged as a groove metal band. Characterized by its moderate tempo take on thrash metal, complete with screaming and growling vocals, it was actually Sepultura and Pantera that served as the forefathers of this genre.

               Their first album in three years, Lamb of God’s latest comes after a forced hiatus after lead singer Randy Blythe was accused of manslaughter. These charges and the five weeks of jail time in Prague that followed stemmed from an incident where a 19 year old audience member was swiftly removed (pushed) off of the stage by Blythe. After the Dimebag Darrell shooting incident, I personally think that removing unauthorized personnel from the stage is extremely important at any cost – however I’m sure Blythe did not intend for that cost to be a young fan’s life. Using his experiences that resulted from this to fuel the creative process of this album, the title couldn’t be more fitting. With a title that translates to mean “storm and stress”, “VII: Sturm und Drang”, one can only expect some heavy hitters to come – and listeners like myself are more than ready, black nail polish and all.

               Disguised as a pounding headbanger, “Still Echoes” drips with heavy metal filth while delivering some gruesome imagery. Inspired by the history of Pankrác Prison where Blythe was housed during his imprisonment, the lyrics reflect some of the horrific events that have unfolded there. In fact, the line “The reich’s relentless blade, thirsty and shining red, still echoes of their screams” describes the guillotine used for mass executions during Nazi rule that still sat down the hall from Blythe’s cell. The second track, “Erase This” starts out deceptively low key, with a half time cymbal beat and what guitarist Mark Morton calls “trademark Lamb of God riffing”. Referring to the melodic yet dark nature of the guitar lines, this characteristic of the band’s music plays a huge role in what initially piqued my interest in their music. Even as the song gains momentum through the first verse and into the remainder of the song, the main lick is maintained and built upon, creating an element of juxtaposition between the rapid yet cleanly executed guitar parts and Blythe’s gravelly, growled vocals. Continuing into the next track “512”, the guitar draws me in; starting with a creepy, sharp riff that is accompanied by a spoken word verse. Eventually reintroducing the screamed vocals as the song progresses, the chorus hits with each component firing on all cylinders – driving bass, banging drums and percussion, and layers upon layers of expertly picked guitar, thick with distortion. Influenced once again by Blythe’s time in Pankrác, he outlines how the whole experience was changing him as a person. He describes how inmates resort to primal behaviour and aggression to hide any trace of weakness all while maintaining a sense of obedience to both inmates and guards in order to merely stay alive. The powerful lines “My hands are painted red. My future’s painted black” refer to how hopeless Blythe felt after being pinned as a criminal for an unintentional action that led to death, and therefore the metaphorical blood on his hands. Despite the rough, throaty characteristics of Blythe’s vocals, they soar over the pounding guitar of the chorus in “Embers” – a tune that touches on death and the turmoil it can leave for those near and dear to the departed. The final verse, featuring vocals by Chino Moreno of Deftones (an alternative metal band), is actually an alternative ending that was written by Morton in an attempt to stray from how the group would typically close out this song. Moreno’s less harsh vocal tone along with the slower, more romantic melody nicely coincide with the pain associated with the lyrics he sings and once again providing contrast against both the heavy track and the vocals that preceded his guest spot. By this point, it’s obvious that there is a great deal of depth to Lamb of God’s songs – both musically and lyrically. I feel as though many people discount the quality and intelligence of metal music, and instead assume that all songs are about anger and rage due to the intense or dark presentation the messages are delivered by – but this is clearly not the case. In the fifth track, “Footprint”, Blythe talks about the greed of humans and their lasting impact on the planet via their carbon footprint, as illustrated in the following excerpt from the last verse: “The swollen fingers of the modern age, the human condition in a gross display. Anemic and weak with intemperance, covered in the grease of indulgence. Clutching at the latest distraction, bleeding a most savage reaction”.

               Employing a bluesy, Slash-esque lead guitar vibe while maintaining a slightly heavier drum beat and rhythm section, “Overlord” has to be the most memorable track on the record for me. Not only does it provide a bit of a change up tempo wise, but it also showcases Blythe’s non-growling vocals for the majority of the song, giving off a hint of a Velvet Revolver era Scott Weiland vibe until the breakdown during the final three minutes. Wasting no time, “Anthropoid” is a bit of a shock to the system after the last, more laid back, track. Returning to the theme of Nazi Germany in Czechoslovakia, this song is an ode to the group of Czech paratroopers who carried out the only successful assassination attempt on a high ranking Nazi official, eventually killing Reinhard Heydrich - also known as the Butcher of Prague (“We are the apex predator – bleed the butcher dry”). Dubbed “Operation Anthropoid”, this mission came as a reply to Heydrich’s brutal actions while executing the Final Solution during World War II, and therefore serves as a fitting title. Both “Engage the Fear Machine” and “Delusion Pandemic” express Blythe’s frustration with media and the internet. Alluded to in the title itself, the former questions the reason for scare tactics in the media, especially during times of disease outbreak. In the line “Here we go again, the world is coming to an end. Engage the fear machine and collect the dividends”, he explains his belief that all of the attention these situations receive just means more money in the bank for advertisers and media corporations. Similarly, in the latter he outlines how using the internet for anything but learning and sharing knowledge has actually been detrimental to creativity, claiming that it is “clogging your mind”. He considers this “The rise of our demise” and through a slightly Shia LaBeuf (“Just do it!”) style spoken word pep-talk mid-song, he urges listeners to take ownership of their actions and make positive changes in their lives since no one else will do it for them. One last heavy hitter to close out the album, “Torches” unfortunately refers to a Czech student who lit himself on fire to protest the communist rule being maintained in Czechoslovakia during the late 1960s. The abundance of a screaming versus growling vocal during this song highlights the emotional connection Blythe has with the song, as he visited this young man’s grave and learned about his protest while awaiting his own trial. Along with vocalist Greg Puciato from mathcore group Dillinger Escape Plan, the record ends with as much intensity and drive as it started with, leaving Lamb of God fans more than satisfied and chomping at the bit for the first round of live shows since Blythe’s incarceration.

Overall Impression:

               After taking an unintentional hiatus from listening to metal, Lamb Of God’s newest record has filled a void that I didn’t know existed. Chock full of the thick, speedy guitar riffs and pounding drums all layered beneath Blythe’s signature growl, “Sturm und Drang” satisfies listeners’ longstanding craving for fresh music from this group. Serving double duty, this album also proves that metal is more than the intensity and volume of its music, but also tells a story – in this case, one enriched by history and personal struggle. Although this one will definitely be staying in my daily rotation for awhile, I would not suggest taking it in during rush hour traffic; steering wheel drumming with double kicks isn’t conducive to safe driving practices.

“VII: Sturm und Drang” on iTunes: https://itunes.apple.com/ca/album/vii-sturm-und-drang-deluxe/id1000708954

“512” video: https://www.youtube.com/watch?v=dulxbKkj9Wg

“Overlord” video: https://www.youtube.com/watch?v=RNRsvFsY9qk

[the52albumyear]

Week 31: Tame Impala - “Currents”

         Typically, groups like Led Zeppelin, The Beatles and Pink Floyd come to mind when I think of psychedelic music – but this particular Australian band taps into a slightly different vein. Following a path paved largely by The Beach Boys and the Bee Gees, they actually fall under the classification of psychedelic pop. A genre defined by the infusion of sitars, fuzz guitars and tape effects into pop songs, topped with drug references scattered throughout the lyrics, it is no surprise that it was most prominent in the 1960s and 70s. Reviving this sound by giving it a modern twist, Tame Impala embraces the mesmerizing qualities of this style to create a completely unique sound for their latest. Inspired by the fluid mechanics concept of vortex shedding, the album’s artwork literally depicts a metaphorical representation of how this group is breaking the mould by disturbing the lazy flow created by mainstream music. Aptly named, their third studio release “Currents” is not only celebrated by critics, scoring an 84 out of 100 on Metacritic, but has also made waves on the charts across the globe – even beating Jack White’s record breaking vinyl sales in the week following the release of “Lazaretto” in 2014. Exclusively written, produced, recorded and mixed by mastermind Kevin Parker, this week’s selection was quite obviously a labour of love that explores a less rock, more electronic side to Tame Impala.

               “Let It Happen” kicks the album off with almost eight minutes of ambient synth psychedelia, supplemented with good ol’ hand claps and a loose bassline to reinforce its contagious groove. Shifting the mix back and forth between the left and right channels sonically drives home this concept of flow already established by the other non-musical components of this album, mentioned above. Sending listeners into a trance-like state, the track itself is mesmerizing – lush with soft layers and gentle vocals, a short-lived orchestral component, and punctuated by the heavier synth parts that are eventually made to sound as though the record was skipping. Although brief, coming in at just under two minutes, the second track is interesting both musically and in lyrical content. In fact, “Nangs” is a slang term that refers to canisters of nitrous oxide (laughing gas) when used as a recreational drug. Repeating the line “But is there something more than that?”, it is obvious that this song is modeled after the feeling of getting and being high – especially with regards to the way that the song slowly becomes more trippy as it progresses. Continuing the theme of living in the moment and going with the flow, as first explored in “Let It Happen”, the more crisp and upbeat bassline and harpsichord sounding synth create an overall optimistic vibe in “The Moment”. A drastic change up from the previous tracks in tone and tempo, Parker also unleashes his higher vocal register to add to the positivity, yet keeps the phased echo effect to maintain the soothing dream-like quality of his voice. Again, listeners are immersed into the song’s psychedelic realm with the mesmerizing ambience that shifts between the channels to create the feeling of waves washing over them – a great example of how beneficial it is for artists to be so involved in the entire process of their ideas coming into fruition, as the mix most definitely elevates the music itself. Upon listening to “Yes I’m Changing” for the first time, I was immediately reminded of the Beach Boys; especially in terms of Parker’s vocal tone and melody, as well as the driving bassline that cuts through the otherwise simple track. Lyrically, the song sticks with the theme of movement and change, this time applying it to relationships. The line “There’s a world out there and it’s calling my name. And it’s calling yours, girl it’s calling yours too” is not only one of my favourite moments on this album melody wise, but it also sums up the concept that there’s more for him to see and experience outside of the partnership – and that these opportunities exist for his partner as well. However, I personally have an issue with any type of siren or traffic sounds in songs, as I am always listening to music when I drive and commonly experience a momentary heart attack when these sound effects come blaring through my speakers. Either way, I honestly don’t even think that this song requires the inclusion of the ambient traffic horn honking – but that’s just me. Deemed by Parker as the most emotional song on the record, “Eventually” reads like a break up – which is extremely evident in the line “I know that I’ll be happier, and I know you will too – eventually”. Another personal favourite, this song has more catchy synth riffs that ooze both an irresistible groove and powerful bits and pieces that punctuate the painfully optimistic feeling Parker strives to convey. Bridging the gap between this upbeat tune and the heavier hitting next track, “Gossip” creates a bit of a palate cleanser, transitioning from the end of a relationship to being single and alone. Apparent in “The Less I Know The Better”, he is struggling with letting former partner go, but can’t stand to see her with anyone else. Even though Parker claims that this tune shouldn’t appear on a Tame Impala record due to its heavy disco influence, the bass focussed track once again draws me in and hooks me with its contagious groove, establishing this track as my favourite off the record.

               A pitch dropped monologue, thick with Parker’s Australian accent, welcomes the second half of the album with the eighth track, “Past Life”. Reminiscing about his former life, Parker revisits all that he’s left behind, including the relationship touched on in the first portion, eventually caving and calling his ex-lover whose answer ends the track on a suspenseful note. Unlike all of the songs that precede it, “Disciples” shakes things up a bit with a 70s inspired sound compares his slight obsession with his past partnership to dedicated music fans; “I used to take the long was just so I could walk past your door” and “I used to wait outside, but I guess I won’t anymore” reinforce this idea as well. Both songs are fairly short in length, especially the latter, and employ more laid back tempos to really drive home the fact that Parker is losing ground on his “progress”. Aside from the sexy, soulful vibe of the tenth track “’Cause I’m a Man”, this one is also quite emotionally powerful. Essentially beating himself up for all of his wrong doings, he admits he’s human and therefore makes mistakes too – which some claim is Parker taking a shot at his own masculinity, however I think it takes a man to admit that he has done wrong and is accountable. The Bee Gees vocal tone provides a bit of relief from the gravity of these lyrics, affording a degree of groove and vocal flair without taking away from the underlying message. Although I don’t find the eleventh and twelfth tracks, “Reality in Motion” and “Love/Paranoia”, particularly memorable musically, they both perfectly fit into the album’s storyline. Becoming stronger as time goes on, Parker describes the exciting yet unnerving first intimate encounter with a new partner in the former, and trying to fall in love again despite his past experiences and hurt in the latter. The focus also shifts slightly from the ambient electronic music component to the story itself, as these tracks are some of the most lyrically dense of the record. Reflecting on the album in its entirety and the transitions that have happened both personally and musically throughout, “New Person, Same Old Mistakes” leaves the listener with a resolution that is both optimistic and realistic. Interestingly enough, this song briefly addresses the anticipated backlash to result from the different sound and feel of “Currents” compared to Tame Impala’s past work (“I can just hear them now – “How could you let us down?””). Relationship wise, Parker is almost talking down his new experiences, with lines “But you’ve got your demons, and she’s got her regrets” suggesting that his current state of bliss will wear off and there will likely be some conflict to deal with once the honeymoon phase comes to an end. Ending on a high note, Parker`s story comes to a close as he finally combats his self-doubt and feels like there are no boundaries preventing him from achieving what he wants, both personally and musically.

Overall Impression:

               Exploring unchartered territory with synth heavy ambience and psychedelic elements, Kevin Parker has not only successfully ventured outside of Tame Impala’s established rock roots, but has also done so alone. The connection between Parker’s vision for the project and the actual product itself is blaringly apparent, as there are few albums that can boast of the level of cohesiveness that he has been able to establish. What could be considered a concept album, “Currents” follows the story of his personal and musical growth throughout the entire record – and does so tastefully and creatively, without having to lyrically spell it out for the listener and while providing amazingly lush tracks to accompany it.

“Currents” on iTunes: https://itunes.apple.com/ca/album/currents/id989492285

“’Cause I’m a Man” video: https://www.youtube.com/watch?v=hefh9dFnChY

Tame Impala Live at Coachella 2015: https://www.youtube.com/watch?v=ykkrKaQRUZY

[the52albumyear]

Week 30: MS MR - “How Does it Feel?”

               Despite the popularity of the single “Hurricane” off of their debut album “Secondhand Rapture“, it wasn’t particularly MS MR’s (pronounced “Miz Mister”) music that drew me to this selection. In fact, the duo’s creative team should be applauded for the extremely colourful, flashy artwork that greatly contrasts the muted black and white tones of the majority of the reviews I’ve done lately. Hailing from New York, vocalist Lizzy Plapinger and producer Max Hershenow come together to form what is labelled as a dark wave, dream pop group – even though I’m not exactly sure what that means – and are often praised for their vintage feel. After a few listens, the articles comparing them to huge acts like Florence and the Machine and Lana Del Rey are more than laughable, as I can find little to no similarities between the two. Aside from having strong female vocalists, MS MR is a primarily a pop group whereas Lana Del Rey’s music is heavily influenced by jazz. In the same respect, I find that Plapinger’s voice largely lacks the flawless control and incredible range of Florence Welch. Regardless, anyone can appreciate a well-written pop song – and I’m a sucker for some catchy synthesizer.

               Opening with a bright piano line, driving synth and a killer kit drum beat, “Painted” is highly repetitive, asking “What did you think would happen?” literally twenty four times per chorus. Hidden by the uplifting sound of the tune, it seems as though Plapinger is having an introspective moment, almost putting herself down for losing a part of herself and not feeling comfortable in her own skin. Adding a positive twist at the bridge, her self-talk becomes constructive, vowing that “One day I’ll be stronger than my own doubt”. Taking the idea of being “partners in crime” to the next level, “Criminals” suggests that the protagonist and their significant other run away to escape their past and get into trouble together (whether it is literally or metaphorically). Aside from the clever metaphors, the tone of the synths and siren-like ambient additions help to incorporate the aforementioned vintage sound of the 80’s. Kyboshing the negative connotations surrounding things or actions that make us feel good, the third track (“No Guilt in Pleasure”) questions why an inherent state of guilt should be related to pleasure. Once again, repeating the line “Who are we to stay away?” on multiple occasions reminds us that pleasure doesn’t necessarily have to turn to greed; instead, it is a natural urge that we strive to fulfill. Slightly more dynamic than the previous two tracks, the chorus comes in much more lush and intense than the vocally focussed verses that only employ a programmed beat, bassline and synth riff. Personally, the partially acapella outro is the highlight of the song to me, showcasing the different facets of Plapinger’s range while following a strong kick drum beat. “Wrong Victory”, the fourth track off of the album, picks up where the first song leaves off in terms of storyline. Describing the feeling of being disconnected from your normal self, this might be a true contender for my personal favourite track on the album. The simple vocal melody and lyrics thrive from the subdued musical aspect as they are able to take center stage and effectively convey a bit more emotion than any other song – likely due in part to the increased intensity in Plapinger’s vocals that unfortunately only appears briefly in the last minute. Next up are two more upbeat tunes that are both fairly simple musically but almost too “fluffy” lyrically in the sense that they seem over the top with metaphors and descriptors. The first, “Tripolar”, once again calls upon the more powerful side of Plapinger’s voice, adding some much needed depth and intensity (literally almost used the term “balls” there) to the tune, whereas the title track begs for crowd participation with its straightforward chanted lyrics of the chorus.

               Not many people know that I am a huge fan of dubstep and other electronic groups (with a special soft spot for anything Skrillex touches) – especially those with firmer roots in rock music, like New York duo Phantogram. At this point in the record, I am discovering that when it comes this particular genre, I naturally gravitate toward dynamic songs and albums that also utilize deeper, richer sounds. Because of this, it is no surprise to that it took a solid five to six listens in order for any of the songs on this record to fully register or slightly peak my interest. In my opinion, the lighter pop vibes highlighted on this record create a great dancey feel but don’t lend themselves to be heavy hitters (musically or lyrically) that evoke emotion like some other artists within the electronic realm are able to do – making even actively listening to each of these tracks somewhat challenging and dry. That being said, the latter half of the album is completely foreign to me – not because I haven’t listened to it, but because nothing about it has struck me as being memorable. Both the seventh and eighth tracks, “Tunnels” and “Leave Me Alone”, are lower key both tempo and intensity wise, employing similar structures. Striving to create contrast between the verses and choruses by bringing in more instrumental components isn’t effective enough however, as the vocals remain relatively unchanged throughout. Again, I crave a climax or pivotal moment of sorts, either within the tracks or among the twelve songs on the album. But at two-thirds of the way through the album, I feel as though it should have already taken place. The ninth track starts picking up the pace again with a blend of hasty programmed and live kit drum sounds as well as layers of both lush, ambient and highly electronic, pulsing synthesizer. “Reckless” is actually the last tune on the album to have a quick tempo, leaving the rest of the album to slowly taper off for the last 13 minutes. Borrowing a line to pay homage to Nirvana in the bridge (“Come as you were, as I want you to be”), one can assume that with the attention to lyrical detail that’s been paid, the relationship being described in “Cruel” was not fabricated. Outlining the difficult situation of trying to move forward while being stuck in the past (“A hand in the present, a foot in the past”), this is one of the only moments where the vocals stand out. By incorporating brief notes that reach into her falsetto range, a vulnerable side of both Plapinger’s voice and emotions emerges – especially when they are offset by her more intense non-falsetto. Staying with the broken relationship theme, “Pieces” explores how despite the fragile or destroyed state of a relationship, sometimes picking up the pieces and repairing the damage is actually comforting, especially in comparison to the alternative. Saved for last, the twelfth and final track “All the Things Lost” is the most musically and lyrically diverse song on the entire album. Written about an extremely emotional theft of their laptop that contained all the songs that they had ever written, a generally more genuine and heartfelt vibe is given off. Similar to how many of the previous albums have finished on a slowed down or even lullaby-esque note, this track is piano, percussion and strings based, and although it seems extremely late in the record for a breath of fresh air, this change up is still welcomed and possibly more suitable musically for the overall softer tone to Plapinger’s voice. In fact, it would be interesting and possibly quite beneficial to hear all of these songs in a more acoustic, less electronic format of this entire album one day.

Overall Impression:

               Even though there’s a first for everything, MS MR’s latest seriously left something to be desired – unlike any of the other reviews I have done. Despite their efforts, a memorable track is somehow nowhere to be seen; quite possibly lost in and among the blanket of synth that covers all twelve songs. In a setting where consistency isn’t always sought after, the anti-climactic nature of “How Does it Feel” made for an overall lacklustre album – especially in comparison to Plapinger’s incredible shiny red pants and hair.

“How Does it Feel” on iTunes: https://itunes.apple.com/ca/album/how-does-it-feel/id999897471

“Criminals” live video: https://www.youtube.com/watch?v=c1jwSaluFZM

“No Guilt in Pleasure” live video: https://www.youtube.com/watch?v=x3RUXmoEuRs

[the52albumyear]

Week 29: James Taylor - “Before This World”

           When choosing which album to review each week, it’s a toss-up between if I researched what was being released that particular week or if I just “winged it”. This week’s selection happened to be one of the latter, as it just happened to intrigue me while I was perusing the new release wall – posing a slightly bigger challenge since I am honestly not familiar with this artist at all. Since then, I have done a lot of digging and discovered the impressive career that American singer-songwriter James Taylor has carved out for himself thus far. Through his forty five years as a recording artist, Taylor has overcome some incredible obstacles, including bouts of severe depression, heroin addiction, a major motorcycle accident that broke both of his hands and feet, and the loss of multiple friends due to addiction. Even more impressive are his accomplishments that have resulted from his seventeen studio albums, many of which feature guests such as Paul McCartney, George Harrison, ex-wife Carly Simon, as well as Paul Simon and Art Garfunkel. On top of his multiple honorary degrees in music and chart topping hits, Taylor has also been awarded with five Grammy Awards – and he is still forging on, releasing another successful album this past June. Debuting at number one for the first time, “Before This World” proves that not only is James Taylor a musical legend, but that his work is truly timeless.

               Coming in with a country vibe, complete with twangy guitar and violin, the first track reminds me of the small town jamborees I attended as a child with my grandparents. Utilizing a simple, repetitive structure, it eases the listener into the record with an inviting and familiar sounding song that has you at least tapping your foot by the middle of the first verse. Although some of the lyrics touch on some dismal topics (“Somehow I haven’t died”), it closes on a positive note; looking back on life and embracing the present – “Today Today Today”. Renowned European cellist Yo-Yo Ma accompanies a romantic nylon string guitar and piano melody, adding depth to the instrumental portions of “You and I Again”. Abandoning the country feel that precedes this song, an “adult contemporary” label would be more fitting – mostly due to the easy listening nature and instrument choice on this track. Musically and lyrically comparable to ABBA’s “Slipping Through My Fingers”, the vocal melody has a smooth, pulsing flow to it, as it crescendo and decrescendos without changing notes. It tells a nostalgic story of longstanding love, unfortunate timing and the perseverance that eventually allowed the relationship to blossom – “In the time we have here, this time we have it all – you and I again”. Highlighting the true singer-songwriter aspect of Taylor’s style, “Angels of Fenway” follows a narrative concept, outlining his Nanna’s love for the Red Sox and how they bonded when she passed this interest down to him. The chorus-type lines (starting with “Angels of Fenway…”) briefly punch-in with a fittingly angelic aura to break up the cheery guitar lick. Henry, whom I assume to be Taylor’s grandson, appears during the second verse, mimicking an exchange between James and his Nanna – a neat, full circle type detail. The fourth and fifth tracks, “Stretch of the Highway” and “Montana” respectively, complement each other in the sense that they explore the highs and lows of being on the road. The first is an upbeat tune that exudes a Sunday afternoon drive type vibe, complete with a lazy brushed snare beat, a peppy bassline, and bright horn section. On the other hand, the latter can be described as a folk-inspired waltz. More subdued instrumentally and melodically to match the subject matter, the track is also primarily guitar and piano based, once again allowing the vocals and narrative to be in the spotlight. Lyrically, the two are also polar opposites, as Taylor describes “My favourite thing is to miss my home” in “Stretch of the Highway” while in “Montana”, he longs to be in the comfort of his home (“I wish to my soul I was back on Montana, high on my mountain and deep in the snow. Up in my cabin, over the valley. Under the blankets with you”).

               Kicking off the second half of the record by returning to a faster paced tune, “Watchin’ Over Me” hints at some the biggest obstacles that Taylor has overcome throughout his life. For example, the first line, “Watchin’ over me when I was high”, is most likely about his aforementioned heroin habit. But instead of dwelling on the serious negative impact this had on his life, this song shows his gratitude and appreciation for life – “Guess I got to say it’s a lovely day”. Musically, the acoustic guitar riffs and rhythm section combined create a bit of a tropical destination vibe, grounded by the subtle clean guitar noodling in the right channel as well as the addition of staple folk music instruments (like the violin, accordion and organ). Upon the first listen, the seventh track, “Snowtime” was admittedly conceptually confusing to me. Evident in the opening line “Oleana, Via del Norte, O Canada”, Taylor uses a mixture of Mexican and Canadian imagery into his lyrics, and supplements the musical component with traditional Mexican instruments. Once the chorus hits, however, everything falls into place: “Someone summoned up summer just strumming on an old guitar. And every note was the antidote to December” – essentially describing the ability to use music as an escape. Packaged as a two-part piece, the title track consists of another Yo-Yo Ma collaboration in conjunction with a gorgeously harmonized folk singalong – and features artist Sting accompanying Taylor on vocals. “Before This World/Jolly Springtime” is an ode to creation with subtle religious undertones. Focussing on the creation of the earth in the first half and the beginning of new life in the springtime during the latter, the track follows suit musically – employing powerful instruments to drive home the deep questions behind existence and a lighter, more carefree sound to represent the spring. Atop a drumroll beat and powerfully strummed guitar, Taylor sings about America’s blinding patriotism in “Far Afghanistan”. His thought that “The enemy’s no different” stands out to me, as most war-related songs written by Americans tend to be brutally overdone. Similarly, a musical fusion of American folk and traditional Middle Eastern instruments binds the song together; integrating the sound of the sunny shehnai into the mix for added effect. “Wild Mountain Thyme” closes out the album with a calming Scottish folk song written by Irish musician Francis McPeake in the early to mid-twentieth century. With other musical greats, such as Bob Dylan, putting their stamp on this classical tune, it only fits that Taylor takes a stab at it as well. Also, besides the fact that his rendition is a beautiful arrangement, he also pays respect to McPeake and gives credit where it is due, unlike Mr. Dylan.

Overall Impression:

               With an impressive music career spanning nearly half a century, it’s no wonder that this expertly written album by James Taylor has received such high praise among critics and fellow musicians alike. So much so that the fact that it was recorded in a converted barn in rural western Massachusetts is not only unbelievable, but slightly humorous. Chock full of guest artist appearances and vivid story-telling, “Before This World” is best described as easy listening with major credentials. Although there is no apparent climax or highpoint of the album, this release is thoroughly soothing and serves as the perfect antidote to a hectic day.

“Before This World” on iTunes: https://itunes.apple.com/ca/album/before-this-world/id980668059

“Before This World” album teaser: https://www.youtube.com/watch?v=Tfwf14gIsNk

“Shed a Little Light” and “Today Today Today” on the Today Show: https://www.youtube.com/watch?v=12Sn5yq_hL0

[the52albumyear]

Week 28: Joy Williams - “Venus”

               In late 2011, a friend lent me an album that has forever held a special place in my heart since. Creating songs that emotionally move listeners in ways that not many other artists can boast about these days, solo artists John Paul White and Joy Williams joined forces in 2009 to establish the folk rock group The Civil Wars. Between the duo’s perfect harmonies and intense chemistry that can be sensed both in their recordings as well as on stage, it is no surprise that both of their full length albums “Barton Hollow” (2011) and “The Civil Wars” (2013) won a combined total of four Grammys. Never have I been so heartbroken to hear of a band’s split, as I fell in love with their music instantly and so desperately longed to see them live. With all of the speculation and rumours floating around, no one truly knows what caused the break up, however I automatically discounted the quality of the solo album Williams announced not long after the fall out. With ten other releases under her belt, on Christian label (Reunion) and her husband’s label (Sensibility Music), it’s safe to say that she has also had great success as a solo artist. Upon purchasing this album with the obvious intention of reviewing it, I was worried that I wouldn’t be able to look past the fact that it was only Williams on the record – to be honest, I was almost certain that there was no way I could like it at all. I was definitely proven wrong. The dynamic qualities and impeccable control of Williams’ voice that evoke the powerful emotions I crave from her work are widely present on her latest pop-rock album “Venus” – and have helped make her career path change an easier pill to swallow for wavering fans.

               The first taste of Williams’ revamped solo career comes in the form of the peppy yet haunting “Before I Sleep”. A song she openly describes as being sonically and lyrically similar to her work in The Civil Wars, it was actually the first track she wrote after the disbanding. The journey described in the lyrics refers to the difficult process of moving on but the need to put one foot in front of the other in order to forge on. In fact, the beating drums throughout the song seem to channel the sound of determined footsteps pounding on the ground, while Williams’ vocals show moments of both strength and weakness – representing the aforementioned inner struggle. Changing gears to an easy listening, contemporary track with a soft vocal fill, “Sweet Love of Mine” is an ode to her young son Miles. With lines like “I gave you your name; you gave me back my life. You’re the heart of me, oh sweet love of mine”, it is clear that her life was literally lit up when her son came into it. Simple but calming, the vocal melody was even written while rocking little Miles to sleep on her front porch when he was a newborn. Without sounding like a lullaby or cliché, Williams’ extremely personal touch comes through to only fortify her already heartfelt performance. Opening with a bit of a tribal feel, complete with a pulsing clapped beat and chanting in the background, “Woman (Oh Mama)” strives to empower people (namely, women) to celebrate themselves, have vigor for life and embrace what they have to offer. Although one of Williams’ favourite lines off of the entire album appears in this lead single, “I am a universe wrapped in skin”, might not exactly rub me the right way, she once again dials in her vocals to perfectly suit the confidence and positivity the song exudes – especially when she effortlessly nails the high note during the phrase “Women rise!”. The fourth song, “One Day I Will”, personally reminds me of The Civil Wars’ vibe more than the first track – mostly because of its ability to destroy me emotionally. Once again, save for a small build in intensity with the addition of some sampled bass and drum tracks for added depth, Williams’ vocals take center stage with a strictly muted piano melody for the majority of the song. Toying with the concept of being hopefully optimistic in an otherwise bleak situation, the way she restricts her vocal delivery gives the impression that she is almost whispering these deep feelings to whoever is listening. The intense lyrics continue to flow the moment that the kick drum and synth of “Not Good Enough” introduces this pop-based, upbeat fifth track. Spilling some of her marriage’s darkest moments, the line “Don’t try to leave – try to stay” is extremely personal and intimate, as it refers to how throwing in the towel might sometimes seem like the easy way out versus sticking it out through a relationships’ hardships and realizing that some struggle is natural – “When will we ever learn that perfect is just not good enough?”. At this point, it is important to note the differences between the musical components of Williams’ music versus her work with White. While the duo had a more folk and country style sound with strictly acoustic instruments, Williams allows her sound to branch out and incorporate the likes of many types of instruments, including acoustic and electronic elements. Although piano driven “What A Good Woman Does” is specifically about the feud between White and Williams after the disbanding of The Civil Wars, it could quite easily be relatable for anyone. Based on the difficult idea of taking the high road in any moment of sheer frustration or heartache (“I could tell the truth about you leaving – but that’s not what a good woman does”), it also raises the question of what a “good woman” is. Her lyrics are not outright bra-burning feminist in nature, however Williams does seem to bring some of these concepts to the table for discussion.

               The electronic nature of “Until the Levee” offers a unique, borderline dubstep, quality that is new territory, but a great medium, for Williams’ voice. Coming in at just under three minutes, this synth heavy tune packs a punch in a short period of time. A song about being resilient among trying times, Williams gained her inspiration for the track from her role as a new parent, the diagnosis of her father’s stage four cancer, her marital challenges, as well as the obvious career path change. The intensity gradually increases as if the water behind her emotional levee is also builds, eventually bursting at the end of the song with the powerful vocals of the last chorus. With a piano melody comparable to a jewellery box, the gorgeously dainty “You Loved Me” is a raw, honest love song about unconditional love. Keeping within the softer parameters of Williams’ vocals allows for a more vulnerable side to shine through, adding to the sheer sincerity of the track, as though she were singing it directly to producer husband Nate Yetton himself. Tapping into a darker side of her writing style, both musically and lyrically, “The Dying Kind” explores the inevitable ending to the human experience and the need to embrace it while it lasts. Musically, the track reminds me of Massive Attack’s “Teardrop” – sort of creepy with the electronic element, but with elegant piano undertones. Personally, this track stands out from the rest and took a little bit more settling than the others. Both “Til Forever” and “Welcome Home” are extremely personal songs for Williams – which is evident in their emotional vocal delivery. With the former touching on rebuilding her marriage, the chorus (“Lover, find me underneath the covers. We will stay here until we discover all that we have to give each other – ‘til forever”) is almost a plead to reconnect and never give up on their relationship that was evidently strained, to say the least, during the latter part of her career with White. Meanwhile, the latter sends shivers down my spine during every listen. The raw emotion that the lyrics are sung with is impossible to ignore – especially after discovering that she is once again singing about the birth of her son after experiencing difficulties and miscarriages. Using her delicate, whisper style voice, she serenades listeners into a deep state of gratitude – and usually inspires me to hit play once for another listen through the emotional rollercoaster that is this album.

Overall Impression:

               Drawing inspiration from the record’s namesake goddess, themes of love and beauty are strewn throughout Joy Williams’ empowering album “Venus”. Returning to her solo career in structure, but not style or sound, the fusion of pop and rock with a hint of electronica undertones creates a fresh, interesting flavour for old and new listeners alike. With moments that both move and empower, Williams has used this record to establish once again that she is not only a force to be reckoned with in the female pop music industry, but is more accurately a resilient musical powerhouse.

“Venus” on iTunes: https://itunes.apple.com/ca/album/venus/id991353044

“Woman (Oh Mama)” video: https://www.youtube.com/watch?v=55sY1WqGyMY

“Until the Levee” video: https://www.youtube.com/watch?v=bV5q_mzqC_I

[the52albumyear]

Week 27: Wolf Alice - “My Love is Cool”

               Gloating about being the first person to discover a new band or artist is something I try to avoid. That being said, my own rule might need to be broken when it comes to Wolf Alice. With their roots set in London, England, this group has only dabbled in the North American music scene thus far. Formed in 2010, the band has only previously released two EP’s (“Blush EP” in 2013 and “Creature Songs” in 2014) before cutting this, their first full length studio album. Upon researching their (albeit, short) career thus far, they have already achieved some pretty incredible accomplishments, including been dubbed “Best Breakthrough Artist” at the UK Festival Awards in 2014 – the same year they played the sought-after Glastonbury Music Festival. Quickly gaining momentum and popularity across the pond, this self-proclaimed “rocky pop” four-piece will be making major waves on this side of the world in no time – a fairly impressive feat for a band who has only existed for five years. But to be honest, I can’t take all of the credit for sharing this album with you. A board operator at the University of Toronto community radio station and fellow music enthusiast (who only recently relocated from Ireland) tipped me off about  Wolf Alice’s debut album “My Love is Cool”, telling me that it was “causing a mini storm in the UK”. I’d say that’s review worthy.              

               The first of thirteen, “Turn to Dust” eases listeners into the record by starting simple, slowly building layers to create what the lovechild of psychedelic rock and twangy country music over a programmed drum beat would sound like. What makes this song intriguing is the combination of effected and clean sounding instruments. Both the percussion and bass are very crisp and sharp notes, contrasting the more elegant guitar and vocal parts that flow among them. Singer Ellie Rowsell‘s voice has a very ethereal vibe on this track, while utilizing a tone and melody that is very structured and precise – almost reminiscent of a church hymn. The added echo on the vocals also produces a slightly hypnotizing effect by adding another layer of depth to the track. Busting out the more rock-based sound I was initially expecting, “Bros” employs a lot more electric guitar and a badass, groovy drumbeat. Despite the relatively simple lyrics and vocal melodies, the track has an irresistible quality. The complexity of the powerful rhythm section and guitar lines lends itself to keeping the other elements of the song a little less intricate – save for the break down and build up created in the latter portion of the song, during the bridge (“I tell you all the time – I’m not mad. You tell me all the time – I got plans”). Taking their sweet time with an intro that gains momentum for the first minute and a half, “Your Loves Whore” eventually busts out of its slow saunter into a full out sprint. Basslines are wildly underrated as an integral component of a song; however this group has perfected using them to their advantage. Once again, when combined with the hi-hat heavy percussion, not moving to the beat proves to be impossible. The effortless delivery of the vocal melodies throughout the song continues to balance the more hectic guitar, bass and drum parts. In fact, the echo effect softens Rowsell’s voice even more, allowing it to blend in to the music instead of creating a division between the background and foreground, with the exception of the energetic bridge where the song’s title finally appears and her vocals harden to enhance the emotion behind the lyrics. Getting heavier as we reach the fourth track, “Moaning Lisa Smile” starts with an innocent acoustic guitar chord progression that quickly becomes distorted, dripping with a crunchy grunge feel. Alternating between clean and distorted sounds for the verses and choruses (respectively) establishes a tension between the pop and rock sides to their sound that is bridged by the repeated vocal riff “moan”. “You’re a Germ” follows suit, this time bouncing between a laid back indie vibe and punk rock sound. Obviously less refined than the previous songs, Rowsell’s screams still possess a melodic element, reminiscent of Karen O from the Yeah Yeah Yeahs. Even the lyrics are more edgy, earning one of the only “Explicit” warnings on the album (“You ain’t going to heaven ‘cause I’m dragging you down to hell. Where’s mom and dad so you can tell them you’re a dodgy fucker as well?”). Both the sixth and seventh tracks switch gears a bit, with “Lisbon” maintaining more of a rock persona, including a breakdown with guitar licks that are reminiscent of the ending of Third Eye Blind’s “Wounded”, while “Silk” is almost a combination between Courtney Barnett and Lana Del Rey.              

               If British pop singer Lily Allen were to dabble in indie rock, the eighth song “Freazy” would be the type of tune she would create. The track opens with a Death Cab for Cutie inspired lick atop yet another prominent bassline that drives the song along. It even has hints of Zeppelin’s “Ramble On” during the breakdown (“I will meet you where the grass is greener. Hats on the clock, no I ain’t want you to meet her”) in the sense that it walks up and down the fretboard in the same relaxed, groovy way. “Giant Peach” incorporates a little more electronic sampling than the other tunes – a welcomed switch-up at this point in the record. Together with the partially spoken-word, partially screamed vocals, the delivery and structure of this track reminds me of a modern version of The Runaways – pulsing guitars and powerful female vocals with tons of drama and sass.  And who doesn’t love a heavy, half-time breakdown and outro? As the name suggests, “Swallowtail” slows things to a screeching halt. A gorgeous, acoustic ballad sung by drummer Joel Amery – with some impressive falsetto melodies! Slowly, percussion and electric guitar ditties are introduced as ambient components to fill out the track. That is, until the last 50 seconds where all hell breaks loose, complete with drum solo-worthy percussion and feedback-laden guitar fuzz. Rowsell returns to the mic for “Soapy Water”, where her vocal tone returns to the softer, ethereal vibe found earlier on the record. It seems as though many of these songs remind me of other tracks or groups – which isn’t necessarily a bad thing, as I just find it hard to put my finger on their sound and instead find it helpful to compare it to other artists’. For example, this song, both musically and vocally, makes me think of a softer version of MS MR’s “Hurricane” – both of which employ prominent beats, predominately electronic music and simple, effected vocals. “Fluffy”, like the fifth track, is a mixture of melodic and punk rock-esque vocals, bouncing between frantic and laid back moments. Finishing on a more reserved note with “The Wonderwhy” (and a hidden acoustic bonus track afterward), it’s impossible to not notice yet another Lily Allen style melody – especially the vibrato during the line “Now give me faith so I have boxes to take”. Although we briefly had a reprieve from the slow, lullaby style album closers, the roughly recorded bonus track gives off a vintage feel and sends us off with the sound of the switch turning off the reel to reel recording machine.  

Overall Impression:

               Although this group doesn’t necessarily cross genres, they are able to successfully incorporate many different sounds on one record by both promoting and embracing their ability to do so without sounding forced. In doing so, they create a diverse niche for themselves in the pop- and indie-rock scenes. With their popularity in the UK, and now North America, still growing as their career begins to take off, “My Love is Cool” proves that despite the fact that Wolf Alice is still wet behind the ears as a band, they’re obviously doing something extremely right.

“My Love is Cool” on iTunes: https://itunes.apple.com/ca/album/my-love-is-cool/id976387708

“Bros“ video: https://www.youtube.com/watch?v=TD_Q9CxXTo4

“Moaning Lisa Smile“ video: https://www.youtube.com/watch?v=z71df68qLp0

Wolf Alice live at Glastonbury 2014: https://www.youtube.com/watch?v=GyFWfoLCtec

Wolf Alice live at KEXP: https://www.youtube.com/watch?v=scuuvcZGlUU

[the52albumyear]

Week 26: Foreigner - “The Very Best... and Beyond”

                 As I was approaching the half way point of my one full year of blogging, I knew that I needed to briefly depart from my normal format and possibly do a little something special. After tossing around a few different ideas, including attempting to choose my absolute favourite album and review it (which proved to be impossible), here it is: a true “Flashback Friday” (note: typing those words is causing slight indigestion).

               Throughout this blog, I have mentioned the constant presence of music in my life – and I mean that in the most literal sense. I have memories of being a chubby toddler, playing while watching country music videos on CMT or singing at small town jamborees (alongside my sister and grandfather) at the age of three. I even remember standing in line for hours at the shopping mall box office with my mom and sister to secure tickets to what would be my first concert ever - Shania Twain during her “Come on Over” tour – at around age six. Even more great memories lie in our cherished family road trips. My dad loves cars and loves to drive (and thus, has a bit of a lead foot), making CD selection a very important role in not only maintaining his sanity, but also in getting to our destination as fast as possible. Many of the staples have remained in rotation to this day, including Thornley’s “Come Again”, Default’s “The Fallout”, a lot of Nickelback (I won’t take your snarky remarks seriously until you truly listen to their first albums and make valid arguments against them), The Cars “Greatest Hits”, an d this week’s album, Foreigner’s “The Very Best…and Beyond”. On a side note, Nazareth’s “Greatist Hits” album was also included intermittently; however it was temporarily “left at home” when we were younger, as we had a tendency to sing along to “Hair of the Dog” just a little bit too loudly.

               This British-American rock band formed in the late 1970’s and still tours to this day – in fact, they’re currently the opening act for southern rocker Kid Rock this summer. With worldwide record sales of over 80 million units, they are also considered one of the world’s best-selling bands of all time. But that’s not what drew me to them. Apart from the obvious nostalgia that emerges as soon as the first song blares over the speakers, their music is quite incredible. From straight up rock songs with great guitar riffs to powerful ballads, this compilation of their greatest hits (released before I was even born) reminds me that rock music can truly be timeless.

               Two high energy tracks kick off this collection, with the first being “Soul Doctor”. As previously mentioned, this song is off and running as soon as the driving guitar and pounding drums come in – shortly followed by vocalist Lou Gramm’s signature shrill voice. My favourite part is actually the prechorus, with its pulled-apart musical elements and off-beat vocal melody that builds the energy for the impending chorus. Chock full of brief, perfectly executed vocal runs, “Prisoner of Love” is an upbeat love song that inspires lovers to move mountains – literally. Between the pulsing piano and rhythm guitar, the chorus is one that demands singing at the top of your lungs while executing your best 80’s rocker power stance. Many of you might not know just how much I love hair metal, and therefore a good old fashioned power ballad. Brace yourself for one of my top picks, “With Heaven on Our Side”. Complete with electronic drums, a sexy shaker beat, some organ sounding synth and a pounded out piano melody, it starts out fairly low key – in both complexity and vocal register. Gaining speed as the second verse enters and the chorus draws near, the prechorus moves the listener, as if Gramm were begging you to “Come home, come home. Come on back to me”. Continuing this sentiment through the chorus, a full choir of background vocalists add and ethereal element that enforces the sheer power behind the lyrics. My sister and I have a tradition of trying to duplicate the best part of the song (with little success, might I add) – the insane vocals in the latter half of the song. It usually happens during road trips and is likely quite the sight to see two girls just belting it out to each other. The bassline of the fourth track “Juke Box Hero” carries the song from the slow, intense verses through to the energy explosion of the prechorus and into groovy chorus. The tension that these sudden intensity changes create is one of my favourite elements of the song, as it is so choppy and all over the place while maintaining a cohesive groove. “Hot Blooded” and “Cold as Ice” are up next, which I have found ironic since I was young. Just as their polarizing titles suggest, the songs themselves are actually somewhat opposites of each other, with the former being more guitar driven, upbeat and tells the story of the pursuit of a gorgeous lady. The latter, concerning itself with being rejected, is piano based (with a very brief, killer guitar solo) and has a slower tempo. The differing musical elements create completely unique feels between the two songs, expertly evoking the emotion that corresponds to the subject of the lyrics. Despite the fact that is a greatest hits album and therefore wasn’t recorded with a specific concept or overall sound to bind the tracks together, they actually meld really well as a complete record – for example, the seventh track “Head Games” continues on from where the previous one left off even though they were originally released on two separate albums. The second ballad appears around the half way marker, and employs a killer synthesizer lick. Fortified with a jazzy bassline and gentle drum beat, “Waiting for a Girl Like You” is a mostly keys-based song, using a healthy mixture of both piano and synth layers to create a romantic vibe. With its release in 1981, I can almost guarantee that this single was the most popular wedding song of its time. Another one of my all-time favourites, “Urgent” completely turns things around with the hastily plucked bass, pulsing synth and saxophone solo that musically reinforce the lyrical content. However, it is the electronic drum fill that truly steals the show, inspiring steering wheel drumming on highways across the nation – or at least among my family.

               Contrasting the upbeat verses with the sort of psychedelic chorus that puts you in a trance, “Double Vision” is another favourite, as it is bursting with sonically pleasing bits and pieces. For instance, the guitar melody that subtly walks up and down in the background of the chorus has such an unusual tone that adds to the mystical sound, as does the way the lead vocals are split into the right and left channels. The power ballad to top all power ballads, “I Want to Know What Love Is”, begs for lighters to be waved in unison, all while showcasing Gramm’s incredible vocal control and heartfelt delivery. Again, the chorus is supplemented and uplifted by the inclusion of a choir of multiple part harmonies, and his voice cuts through to allow for some welcomed runs and riffs. Lyrically moving as well, the prechorus is heartbreaking (“In my life there’s been heartache and pain. I don’t know if I can face it again. Can’t stop now, I’ve travelled so far to change this lonely life”) but followed by an optimistic chorus – “I want to know what love is, I want you to show me. I want to feel what love is, I know you can show me”. Maintaining this energy, the twelfth and thirteenth tracks, “Say You Will” and “That Was Yesterday” respectively, once again employ the intensity of Gramm’s voice to imply a sense of urgency and heartbreak as he pleads for answers and forgiveness. With any music from this era, the artist runs the risk of being classified as cheesy or stereotypically “80’s sounding”, however the execution of Foreigner’s songs help the music maintain its integrity through the years – and these songs are a perfect example of that. Both widely utilizing the bright synthesizer common in most 80’s music, they balance it out by layering more grounded guitar and soaring vocals atop it. “I Don’t Want to Live Without You” is a simple, low key love song, proving that sometimes less is more. Very stripped back compared to the other ballads they present on this record, it provides listeners with a bit of a palate cleanser before the last few, upbeat tracks play. I have always loved the vocal tone and melody of the chorus in “Rev on the Red Line”, balancing the wistful higher notes with perfect vocal control. Of course, it immediately reminds me of my dad too with the use of car lingo – I seriously love the nostalgia of really listening and reflecting upon these songs. Closing out the seventeen track collection are two strong singles. The first, “Dirty White Boy”, is a playful tune with a sleazy blues inspired guitar riff, followed by the poppy, synth and organ covered hit “Feels Like the First Time”. And trust me, the irony of this last pairing isn’t lost on me either…

Overall Impression:

               Aside from the obvious nostalgia this album brings, “The Very Best…and Beyond” still remains one of my absolute favourites to revisit every now and again. Best described with the single word “power”, both the musical and vocal elements make an impact on the listener – physically and emotionally. Between the pounding drums, driving guitar, groovy bass undertones and insane vocal range, each song possesses at least one of these characteristics that make it unmistakably Foreigner.  

Foreigner on iTunes: https://itunes.apple.com/ca/artist/foreigner/id564219

“Double Vision” live video: https://www.youtube.com/watch?v=t13mQmeIM8g

“Juke Box Hero” live video: https://www.youtube.com/watch?v=EAUOx4lpt24

[the52albumyear]

Week 25: Muse - “Drones”

               Continuing the European invasion of the American Billboard 200 chart, this prominent British band presents their seventh studio album – their first since the 2012 record “The 2nd Law”. To be honest, when I heard rumblings of a new release from Muse, I was more excited that this release would result in another huge world tour. After experiencing one of their live shows on the Canadian leg of their “The 2nd Law World Tour”, I would kick myself if I missed out on the next chance to see them live – between their spot-on performance, transforming stage and laser light show, it was one of the most incredible concerts I have attended. An attempt to return to their roots of a simpler rock sound comprised of only guitar, bass, drums and vocals, this album still provides listeners with the powerful, anthemic songs they crave from this progressive rock group. However, it has not been as well received by critics as some of the albums I have previously reviewed - earning only a 66 of 100 rating by MetaCritic and piling up just as much criticism as praise for their latest release. Reading the track listing alone hints that the album as a whole tells a story of sorts – and upon further research, it actually does. Presented as a concept piece, the protagonist goes through a journey from feeling empty and lost to being turned into a human drone – hence the title of this latest release, “Drones”.    

               The first single of the album, “Dead Inside”, thrusts listeners into what lies ahead with a snappy, powerful drum and bass beat. When compared to their previous release “The 2nd Law”, this track sounds slightly less dark than Muse fans might be used to - likely due to the obvious presence of lighter, more electronic sounding fuzz bass. It’s not actually until after the second chorus that lead singer and guitarist Matt Bellamy’s distinct signature guitar licks are heard – and they follow suit with the synthesizer; still grungy but a little less dark. In fact, a local radio station has created a mashup between this opening track and the blips and sound effects from the Mario videogames (check out the link below). A personal highlight is Bellamy’s vocals during the bridge – his higher register continues to give be goosebumps, no matter how many times I hear it, as it just soars effortlessly over the track and acts as a contrasting element that cuts through the distortion. A twenty second sound clip of a drill sergeant connects the first and second track “Psycho”, enforcing the fact that the protagonist has now began his journey to becoming brainwashed. As outlined later in the song when the drill sergeant asks “Are you a human drone?” and “Are you a psycho killer”, the protagonist has given up all his power. Following the melody of the main guitar riff of the song, the chorus screams with heavily distorted vocals “I’m gonna make you a fucking psycho”. An overall dark and somewhat unnerving song lyrically, the musical component also follows suit, with pulsing thick bass and guitar that keep rhythm during the verse and open up to wail during the chorus. The third track comes in with a lighter feel, thanks to the bright piano and more electronic sounding guitar runs. “Mercy” showcases Bellamy’s softer vocal tones and operatic style in his higher range, all while delivering some very intriguing phrasing patterns – sounding almost like run-on sentences. At this point in the protagonist’s journey, it seems alarmingly soon to be asking to be saved, at only three tracks into the record – it appears as though his situation will only become more dismal from this point forward. This is evident in “Reapers”, the first of two epics on this album. Chock full of frantic riffage throughout its six minute duration, the main lick is reminiscent of Van Halen’s “Eruption”. Busting into a less hectic, more driven chorus, Bellamy sings “You kill by remote control and the world is on your side…killed by drones”, outlining the concept of human drones as apathetic killing machines that are controlled by the commands of others. As the half way point of the album is reached, the protagonist undergoes yet another change. Within the fifth track itself, he acknowledges those who are controlling him, saying “You were my oppressor and I, I have been programmed to obey. Now you are my handler – and I will execute your demands”. However, after returning from a guitar solo, he exclaims “I am escaping from your grip, you will never own me again” – executed powerfully, of course, with a gradually increasing vocal pitch in a way that only Bellamy can. At this point, I am realizing that I personally am not a fan of this ongoing concept of drones that is interwoven throughout the album; it seems that reading the lyrics takes away from the musical and vocal aspects that I so look forward to.

               Following an excerpt from “The President and the Press” (a speech by John F. Kennedy in 1961) on a form of government that rules by fear and oppression – similar to what would happen under the presence of human drones, the sixth track “Defector” is honestly lacking. Aside from the inclusion of an orchestral element in which the string section briefly mimics the guitar melody, the track itself presents nothing that we haven’t already heard in the previous half of the record. Again, as a concept piece, the story is more so the focus – and at this point, our main character proclaims himself as being free from his oppressors (“Free, yeah I am free from your inciting. You can’t brainwash me. You’ve got a problem. Free, yeah I am free from society. You can’t control me.”). Suddenly changing gears to what could be my favourite from this record, “Revolt” has an 80’s rock type vibe, with simpler strummed chords and less grungy tones. The prechorus builds in intensity, alluding to the powerful chorus to come. However, the groove surprisingly stays relatively low key, employing a simple chord progression and clean, slightly twangy sounds. Hearing the group test the waters with this type of song makes me want to hear more in this style, as this is more of what I would expect when they claim to be making a more stripped back rock sounding record. In context, this song serves as another pivotal moment in the protagonist’s journey, as it describes how they persist in fighting the powers controlling them. With many references to “we” in the lyrics, it can be assumed that our freed drone has followers who have also revolted and are fighting for their freedom. “Aftermath” follows; a sentimental tune that reads almost like a love song. With lyrics “We’ve gone against the tide – all we have is each other now. I am coming home now, I need your comfort”, this tune gives the impression of a sense of connectedness between the people who resisted becoming drones – despite all of the war and hardship they have had to endure. The music itself is much more delicate than the rest, using simple techniques and sounds throughout – even during the melodic guitar solo. Coming in at just over ten minutes in length, “The Globalist” is the second epic of the album. Mostly instrumental, this track draws from bits of Edward Elgar’s “Enigma Variations: Nimrod” composition – something that is not unusual for Bellamy. A sort of “Bohemian Rhapsody” of this album (in the sense that it jumps around from different tempos and styles), it truly showcases multiple sides to Bellamy’s voice as well. At this point, warfare has destroyed the Earth and humankind – and the outcome is looking pretty bleak, to say the least. Somewhat fading into the title track (and final song of the record), “Drones” is lush with vocal harmonies and layers that sound like they belong in a grand cathedral. Coming full circle to sum up the dangers of using these brainwashed humans for combat, void of any empathy or compassion, the final line so eloquently explains “Now you can kill from the safety of your home with drones”.

Overall Impression:

               Still unsure as to how I feel about the album in its entirety, I do have to hand it to Muse for their valiant effort on their latest. As with any effective concept album, all of the tracks must progress as the protagonist’s story moves forward all while ensuring that the main theme – in this case, human drones and the danger of losing empathy as humans – is prominent throughout. In this sense, they were mighty effective. However, for the first time with this particular artist, I feel that it might take a few more listens to make “Drones” settle with me, as it lacks the power and vocal surprises that previously captivated me. But one thing is for sure: this definitely won’t stop me from snagging tickets on their next world tour – and despite my uncertainty with this album, I would recommend you do the same.

“Drones” on iTunes: https://itunes.apple.com/ca/album/drones/id973555620

“Dead Inside” video: https://www.youtube.com/watch?v=I5sJhSNUkwQ

“Mercy” video: https://www.youtube.com/watch?v=yj8Xpdx60Ws

“Dead Inside” Mario mashup: http://www.sonic1029.com/2015/03/25/muses-dead-inside-mario-mash/

[the52albumyear]

Week 24: Florence + The Machine - “How Big, How Blue, How Beautiful”

                A constant fixture in my day to day playlist, this English beauty’s 2009 release “Lungs” remains one of my all-time favorite albums to date. With her incredible vocal range and control, as well as her unmistakable tone, Florence Welch sets herself apart from all other female pop and rock vocalists of her time. I have always wondered about the origin of her group’s name; apparently she and bandmate Isabella Summers referred to themselves as Florence Robot and Isabella (Isa) Machine in their early days – obviously an inconveniently long name that would later be shortened to Florence + the Machine. Formed in 2007, this group’s success has been widespread from the beginning, especially in the UK and across North America, earning multiple award nominations throughout the years, including Critic’s Choice and British Album of the Year at the Brit Awards in 2009. Since the release of their first album, the aforementioned “Lungs”, their songs have been featured in popular movies and television shows – a trend that continued with their second album “Ceremonials” that came out in 2011. Following some extensive touring and vocal health issues, the long awaited sequel “How Big, How Blue, How Beautiful” reminds us music fans exactly why we can’t get enough of Florence.

               Busting out of the gate with the album’s second single “Ship to Wreck”, a noticeable difference can immediately be heard between this record and the last. Straying away from the lush, string-heavy, orchestral tracks of “Ceremonials” to return ever so slightly to the whimsical nature of “Lungs”, a lighter tone is set early on. Although the lyrics pertain to Welch’s self-destructive tendencies that lead to problematic relationships (“My love remind me, what was it that I did? Did I drink too much? Am I losing touch? Did I build a ship to wreck?”), the prominent peppy bassline with accompanying bells, tambourines and shakers, and delicately strummed acoustic guitar create an overall groovy, upbeat tune. Upon hearing “What Kind of Man” for the first time, I immediately thought that the somewhat acapella beginning was interesting but raised some concern as to what was to follow, as the lead single from any album can give a fair amount of insight as to how the rest of the tracks will unfold. But as soon as the heavy, distorted electric guitar and heavy bass drum kicks comes in, it’s an immediate “Hell yeah!” from me. Showcasing a different type of power behind Welch’s voice, the verses require not only impeccable vocal control, but also evoke such strong emotion – her frustration with the state of limbo her relationship is in. Adding another interesting element, the booming background vocals and horn section elevate the level of drive and power this song packs, forcing you to feel something – both emotionally and physically – while listening. The third track “How Big, How Blue, How Beautiful” utilizes some intriguing tempo flip-flops, starting and ending with a smooth and sultry acoustic feel with short lived driving bass and percussion during the sped up verses and choruses between. Ending with a minute and a half worth of horn soloing (again, hell yeah!), the powerhouse trifecta comes to a close –in the sense that by this point, both singles and the title track have been presented. One of my favorite moments of the entire record originates in the prechorus of “Queen of Peace”. The melody of the line “Like the starts chase the sun over the glowing hill, I will conquer” and how it run into the next lyric “Blood is running deep – some things never sleep” is so unique and genius – demonstrating the sense of whimsy I felt was missing from Florence + the Machine’s last album. Another powerful song chock full of pounding drums and regal sounding horns, the energy established from the first seconds of the opening track has definitely been maintained thus far. “Varioius Storms & Saints” serves as the emotional pinnacle of the album; a stripped back track compared to the others and predominately orchestral in nature, both Welch’s vocals (and the story they convey) absolutely soar. Once again employing beautiful yet effective metaphors in her lyrics, Welch compares her tumultuous relationship to a storm, telling herself “I know you’re bleeding, but you’ll be okay. Hold on to your heart, you’ll keep it safe. Hold on to your heart – don’t give it away”.  Rounding out the first half of the album, “Delilah” is not only a great tune to jam out to, but is also extremely full of meaning. Referencing the Biblical story of Samson and Delilah, Welch describes how she felt waiting on her boyfriend’s long anticipated phone call while she was away in Jamaica. Going through the all too familiar stages of emotions in a situation like this, she sings about experiencing the full spectrum - from anxiety and frustration to anger and betrayal. But you wouldn’t really catch that unless you listened closely, as the track itself is lively and impossible to not clap along to.

               Ambient and haunting, “Long & Lost” is delicate number that is mostly kick drum, guitar and piano based. Focussing on both the lower and higher registers of Welch’s softer toned head voice, the effects just add a mystical romantic vibe, and once again airing her troubled relationship through song. The same vocal tone is used in the opening lines of “Caught” – a track that is gentle and soft during the verses, gradually gaining speed as the prechorus comes in, and eventually switching back to Welch’s powerful non-falsetto for the choruses. The line “Cause when I sleep, I never dream of you” shows that she is coming to a realization in her relationship that even though she wants her relationship to succeed, it seems as though it is destined to fail. This ongoing theme is becoming more and more heartbreaking as the album progresses, as there are some seemingly deep emotions embedded within the lyrics of this album, but on the other hand, the sadness is almost welcomed as it has become the inspiration for such wonderful music. Changing pace completely, Welch presents a completely novel style in “Third Eye”. Beyond the drastic change in tempo from the last few tracks, the overall sound seems unlike any other Florence + the Machine release before, especially in the half-sung, half-spoken-word verses. Between the sing-along inducing backing vocals, constant clapping, and bright piano chords being banged out, this song is a definite show stopper. On the other hand, “St. Jude” is a soft, ambient song with a simple yet beautiful melody that highlights Welch’s lyrics – otherwise, it is fairly anti-climactic musically. Another comparison of her relationship to a storm, St. Jude is not only the patron saint of lost causes (as outlined in the lyrics), but also the name of a British storm that hit in 2013. Closing with what has been dubbed as a “psychedelic blues explosion”, the eleventh track “Mother” is thick with grunge and distortion. Reminiscent of Jefferson Airplane due to the heavy involvement of juicy synth and wailing guitars, Welch has surrendered to the failure of her relationship. Calling on Mother, what seems to be her female image of God or possibly Mother Nature, she asks to not be allowed to love anymore to prevent the same heartache and suffering. One of the first albums in the past month to not end on an acoustic or lullaby-esque note, Welch takes a completely different approach and closes the song with an edgy distorted guitar and synth outro – continuing to setting herself apart as the final seconds fade.

Overall Impression:

               Florence Welch does it again with another unique masterpiece for pop and rock music alike. Her passion and deep connection with the both the content and performance of each song allows her to write an entire album about love and heartbreak without compromising the integrity of her music. The perfect combination of showing off amazing vocals layered on top of heavy hitting, emotion evoking tracks, there is literally nothing today in the music industry that can be compared to Florence + the Machine’s latest “How Big, How Blue, How Beautiful” – but then again, that also applies to their two previous releases as well.

“How Big, How Blue, How Beautiful” on iTunes: https://itunes.apple.com/ca/album/how-big-how-blue-how-beautiful/id965934471

“What Kind of Man” video: https://www.youtube.com/watch?v=XgeKHTcufLY

“Ship to Wreck” video: https://www.youtube.com/watch?v=B9v8jLBrvug

Florence and the Machine live at Coachella 2015: https://www.youtube.com/watch?v=gU0yE-X1Gbw

[the52albumyear]

Week 23: twenty one pilots - “Blurryface”

               Hailing from Columbus, Ohio, this group considers itself a part of an “unofficial subgenre of pop” known as “Schizoid” (or Schizophrenic) pop – mostly because they bridge so many different genres that it is difficult to find only one that fits. When I first heard them perform at Sasquatch! Music Festival just over a week ago, I thought the exact same thing. From electronica to rock, rap, reggae and pop, Twenty One Pilots crosses boundaries and blends genres both fearlessly and effectively. On top of their full-bodied, spot-on musical performance (yes, lots of it is sampled and not necessarily played live), Tyler Joseph and Josh Dun are all over the stage – actually, they’re just all over. Their live show was impossible to sit down for, inducing at least a head bob from even the toughest of critics. After poring through other live shows on YouTube, it becomes apparent that backflips off of the piano, venturing off the stage to explore the audience, and crowdsurfing with a drum kit are all common fixtures at their shows. But wait - did you catch that earlier? I just mentioned Tyler and Josh – yes, there are only two of them! Although their lineup has slightly changed (and become smaller) since the band’s formation in 2009, this duo has released three successful albums (with the first being a self-release and the latter two on label Fueled by Ramen). Ever heard of them? I definitely hadn’t. But since it’s not every day that an album sells 147,000 copies in its first week or debuts at number one on Billboard, there’s no time like the present to discover what their latest, “Blurryface” has to offer.

               “Heavydirtysoul” starts the album off with a bang, setting the pace with a crisp drum beat that leads into Joseph’s speedy yet melodic rapping. According to the group, the poetic nature of their lyrics meshes well with the rhythmic phrasing of rap. In fact, sometimes it’s the only way to make all of the lyrics fit into the song! On the musical end, they’ve accomplished a perfect balance of heavy synth and electronic ambience with bright piano lines. One of my favourite parts is when the beat drops during the latter half of the chorus for the first time (“For me – can you save my heavy dirty soul?”), as the beat takes over your body from that point on. Slower paced, but just as groovy, “Stressed Out” is a touch less electronic, focussing on the vocals as well as the piano and stringed instruments - namely the upright bass line that is subtle but still manages to cut through the mix. Coming in with yet another catchy melody, the prechorus and chorus have been stuck in my head constantly for the past few days – a possible contender for my top pick off of this record. The lovechild of modern pop and reggae, “Ride” continues on the lyrical journey of singer Tyler Joseph’s insecurities that make up the subject matter of the album as a whole. Contrasting the happy sounding track, the lyrics touch on some heavy topics, for example, how saying things like “I’d die for you” or “I’d live for you” to show someone you love them is something that most individuals don’t have the ability to fully commit to  - no matter how much you care for them. The chorus (“I’m falling so I’m taking my time on my ride”) is said to imply that even though doubts and failure are always going to be present, life’s journey continues and should be enjoyed. Next up is the first single from this release. The clever concept of being “Fairly Local” metaphorically refers to how the group (namely Joseph) can relate to the listeners psychological landscape and experiences. Another heavy hitter, Joseph writes about the two sides to his personality in each verse; the first where he is dark and stagnant and second where he is motivated to do what is right in order to move forward and improve. This juxtaposition translates into the music itself, as orchestral elements are interwoven into the foreboding electronic track to create a sonically interesting score for these lyrics. Changing gears completely, “Tear in My Heart” returns to a more pop-rock foundation, reminding me of Andrew McMahon’s band Jack’s Mannequin. A cutesy, dance-inducing song based on the idea that sometimes you have to hurt to truly appreciate love, this track definitely falls into the typical pop structure category, hitting the first verse under a minute into the song. The instantly memorable melodies throughout the song are layered over the soaring piano (turned booming synth) line – especially after the breakdown. The track’s intensity suddenly drops off, showcasing a sense of vulnerability in Joseph’s delivery of the last lines “My heart is my armor. She’s the tear in my heart – she’s a carver. She’s a butcher with a smile, cut me farther than I’ve ever been.” Returning to a reggae inspired feel, “Lane Boy” uses a highway metaphor to describe Twenty One Pilot’s genre-hopping music. The repeated line “They say ‘stay in your lane boy, lane boy.’ But we go where we want to” proves that this group follows their own rules when it comes to their music. Lines “All these songs I’m hearing are so heartless” and “Don’t trust a perfect person and don’t trust a song that’s flawless” run with this concept, expressing their frustration with current artists who are in the industry solely to write meaningless hits. They admit that although some of their songs sound like they’re written for radio success (for example, the previous song), Joseph and Dun don’t believe in dumbing down their music or tailoring it for the masses – which is apparent when you dig deep into not only their tracks, but into the stories behind the lyrics as well. With my research, I found that Joseph has been a practicing Christian throughout his life – which makes the premise of “The Judge” fairly obvious. Running with this Biblical reference, Joseph is asking to be saved by God (or by whomever the listener decides “the Judge” is) despite his cold, sinful heart. Again, this heavier subject matter is nicely contrasted by the light-hearted musical aspect of the song; ukelele and piano in the forefront with loads of peppy falsetto vocal melodies. At this point, many other similar catchy vocal bits have appeared throughout the album; in this song, little “Na na na na oh” ditties are scattered here and there, again keeping the mood light and airy.

               “Doubt” and “Polarize” return to predominately programmed tracks that are probably some of the most Top 40 sounding tunes off the record. Although the former has a grungier, dark sound and the latter is upbeat, both come at a pivotal point in this album. “Doubt” deals with a lot of personal issues, including Joseph’s continuous struggle and journey in keeping his faith alive, where as “Polarize” has been described as the climax or turning point where he is actively trying to separate the positive and negative influences in his life by calling upon God. Despite reading up on the group, as well as Joseph and Dun individually, I didn’t realize how prevalent the themes and struggles of Christianity were in their music until I listened to the album as a whole, deciphering the lyrics as I go. The crowd interaction during their performance of “We Don’t Believe What’s On TV” made this song another favourite, again pulling out the ukulele and peppy, snare-heavy drum beat to get the crowd on their feet. Coming in at just under three minutes, it is also the shortest track on the album – but that doesn’t mean it should be discounted as filler. Joseph led the crowd in a call and reply style of chant for the “Yeah yeah yeah!” parts, inviting fists to be thrusted along to the beat at the same time. Both the eleventh and twelfth tracks (“Message Man” and “Hometown”, respectively) utilize tones in Joseph’s voice that haven’t been showcased yet on this album. Returning to their reggae-pop style, “Message Man” revisits their resistance to compromising the integrity of their music to please the powers that be in the industry – “Please use discretion when you’re messing with the message, man. These lyrics aren’t for everyone, only few understand”. Joseph’s lower vocal register is showed off in “Hometown”- which, along with the somewhat emotionless delivery, fits the subject matter of this upbeat yet sinister song. Lines “Where we’re from, we’re no one. Our hometown’s in the dark” again refers to the mind as a place – this time, their hometown. With this, a sense of hopelessness in this darkness is established not only within Joseph’s mind, but also in those affiliated with the Skelton Clique who can relate to these feelings of depression. Things start to look up during “Not Today” where Joseph has a conversation with his insecurities and doubts (given the name “Blurryface”), telling himself that he will rise above his negative mental state. “Goner” – and ode to the finally defeated Blurryface – is a song that has been released and floating around since 2012. The extremely stripped down sound is only solely interrupted by a brief burst of energy during the last chorus, driving this victory home with a powerful ending.  

Overall Impression:

               If there is a running contest for which album has taken me the longest to review, this one might take the cake – mostly because it is proving impossible to sit still long enough to write about it. Making quite an impression at Sasquatch! 2015 and taking the American music scene by storm, Twenty One Pilots and their large, loyal fan base, known as the Skeleton Clique, are without a doubt promoting innovation and creativity in pop music . Combining unlikely sounds and genres together to push boundaries and generate the best possible backdrop for Joseph and Dun’s poetic lyrics, “Blurryface” deserves every ounce of praise it has earned thus far – and then some.

“Blurryface” on iTunes: https://itunes.apple.com/ca/album/blurryface/id974485462

“Stressed Out” video: https://www.youtube.com/watch?v=pXRviuL6vMY

“Tear in My Heart” video: https://www.youtube.com/watch?v=nky4me4NP70 

“Ride” video: https://www.youtube.com/watch?v=Pw-0pbY9JeU

“Fairly Local” video: https://www.youtube.com/watch?v=HDI9inno86U

“Holding on to You” live video: https://www.youtube.com/watch?v=HWZiez9HsoM

[the52albumyear]

Concert Review - SASQUATCH! Music Festival - May 22-25, 2015

              First and foremost, I would like to sincerely thank everyone who has supported The 52 Album Year thus far - your feedback has made this endeavor extremely gratifying and your donations made this trip possible. I have always wanted to travel to a large scale music festival, with Coachella being on the top of my bucket list, however the lineup didn’t really impress me this year. Thankfully, the SASQUATCH! 2015 Music Festival lineup more than exceeded my expectations, so naturally, tickets were bought the moment they went on sale (*note: use a damn computer. I did it off of my phone while in a waiting room and I thought I was going to lose my mind). 

               When I decided that a review of the festival would be in order, I originally assumed that I would stick to the same format as the rest of my pieces. Realizing that I would have to make extensive notes along the way in order to properly remember all of the highlights and artists, I grabbed a video camera, packed my bags, and made an amateur documentary instead. 

Major Highlights:

- Twenty One Pilots’ whole show. We had never heard of them before but had so much fun during their set. Not only were they extremely tight performance wise, but their energy and crowd interaction was unreal, with both artists entering the crowd (and even crowdsurfing...with drum kits), dancing and doing flips and getting the audience to move along to the music. The experience as a whole gave me chills and got my really excited about music once again. Upon arriving home I immediately picked up their brand new album “Blurryface” and would recommend that everyone does the same

- The Decemberists were a group that we unintentionally ended up in the pit for, however they really impressed us with the way they worked the crowd. Lead singer Colin Meloy was hilarious, telling stories about what inspired his songs, including a song he wrote to make his child eat their breakfast.They finished by having the band “attacked” by a prop whale that was carried out by a group of cute little kids, showing the light-hearted, laid back nature of their show

- Spoon sounded exactly like their albums, and hearing “I Summon You” live was mind blowing, as that was the first song of theirs that we really got into during high school 

- Royal Blood’s set was incredible, producing an extremely full sound from only a bassist and drummer - again, sounding identical to their debut album. We ended up literally walking right up to the front rail (we thought we would have to throw some elbows to get a good spot) and ended up meeting a group of gentlemen from Edmonton who rocked out with us during their set. Turns out some elbows were thrown anyway, as there was an insane mosh pit directly behind us (another highlight) and my sister Ashlyn was killing it in there

- Jenny Lewis! Need I say more? She played all of our favorite Rilo Kiley and Jenny Lewis songs, rocked her performance and smiled directly at Ashlyn when she was singing along to every word

- Lana Del Rey has greatly improved her stage presence and vocal performance. Despite hardly being able to breathe during her set, everyone was so excited and the energy was amazing

- Robert Plant playing “Babe I’m Gonna Leave You”

- We were literally feeling the music during Dan Mangan + Blacksmith due to the bass, but still an amazing show

- Ryan Adams performance was bang-on, but hist stage banter was unreal. He called out an audience member who was yelling “Summer of 69!” (making a Bryan Adams joke) from the get go. By the end of his rant, he said “Know what? I still fucking love you and here’s another song”, moving things right along and squashing any further problems throughout the set, although he did later accuse us of having a terrible sense of humor...

Disappointments:

- Although Modest Mouse’s performance should really fall under the highlights section, the audio issues (problems with the mix, constant feedback, etc.) were extremely annoying and distracting. They did however play an amazing. While waiting for them to come on, I mentioned how I hadn’t heard “The World at Large” in forever - and they ended up playing it!

- Kendrick Lamar’s set was amazing, with every crowd member on their feet, hands in the air, rapping along. However he played “mAAd city” 4 times and left the stage 10 minutes before his set time was over instead of playing more songs - which could have included more than one number from “To Pimp a Butterfly”. Ironically, he killed the audience’s vibe by leaving the stage on that disappointing note 

Tips for Future Concert Go-ers:

- Pack for anything and everything - but keep it at the campsite. Don’t bring too much to the venue itself if you like to dance around or else your large, bulky backpack will get annoying really fast

- Showers are annoying and scarce - stock up on baby wipes and dry shampoo

- HAND SANITIZER. Although I was honestly shocked at how clean and well-stocked the washrooms were...

- Establish a meeting point with your friends in case you get separated. We didn’t have our phones on us, but we met many people whose friends took their backpacks (with their phones in them), leaving them with no line of communication

- Bring flashlights for the walk back to camp and to navigate around your campsite - the amount of rolled ankles I saw was unreal (it’s the desert, the ground is uneven people)

- Dress for comfort. I saw way too many outfits that looked super trendy and fashionable, however the people wearing them looked hot, uncomfortable or had to rest their sore feet

            The overall experience was amazing - so much that we have found ourselves already making mental notes of what to bring next year or what we would do differently. Hopefully the lineup is just as impressive, and we will see you next year at The Gorge!

[the52albumyear]

Week 22: Brandon Flowers - “The Desired Effect”

             It’s definitely no secret that I have always been a huge fan of this artist’s work, starting in the mid-2000’s with his first release with The Killers. “Hot Fuss”, their debut album, was (and still is) a staple during our family road trips, encouraging speed limit violations from the get-go by jumping right into the heavy bassline that is “Jenny Was A Friend of Mine” – a song whose killer synth solo has the privilege of being my ringtone for the past three years. I have since collected more of their music, including their live DVD performance at the Royal Albert Hall – which sometimes fills the void of not experiencing them in concert, but more often just makes me jealous of those who were actually in attendance. Releasing his first solo album “Flamingo” in 2010 (described as a homage to his hometown of Las Vegas), lead singer Brandon Flowers used his brief hiatus from The Killers to explore his sound – which happens to not stray too far from the group’s. Although I usually try to refrain from listening to any of the singles released from the albums I plan to review (I prefer to hear them within the context of the entire album), I honestly couldn’t help but dive right in and listen as soon as possible. Like a trusted old friend, Flowers always seems to deliver; this time with “The Desired Effect” - a pop-rock release bursting with catchy hooks and beats. But if you already saw the 80’s inspired artwork, I’m sure you’re already expecting that.

               Coming in strong with bold horns and a drumline style beat, “Dreams Come True” kicks off the album with a major feel good vibe. Despite following the cookie cutter pop song structure (verse, chorus, verse, chorus, breakdown/bridge, chorus), the instruments and melody make this song soar – and anything but typical. Not to mention, it contains a healthy dose of chimes, adding an air of whimsy. Next up is the first single, and still my favorite song off the record, “Can’t Deny My Love”. The opening synth and electronic drums especially remind me of The Cars albums we listened to when we were growing up, which is likely not a coincidence since Flowers is a fan of them himself. Leading into the chorus is an almost acapella portion (“What’s going on in your head now? Maybe something I said now? I know that you’ve been living in the past”) save for the multiple part, echo-y female harmonies. Instantly bursting with energy and emotion is the straight up 80’s pop style chorus, layered with bright synth and guitar, topped with the instant sing-along vocal melody. The subtle heaviness of the synth and bass keep the tune grounded however, preventing it from sounding cheesy by sounding a little more rock inspired. Keeping with this theme is the third song “I Can Change”. Driven by a powerful electronic drum beat that follows the pulsing synth, the intensity gradually builds, filling out as the song marches on. Pausing briefly for a sultry bridge of sorts, the final chorus comes in stronger than ever, once again inspiring listeners to plead along with Flowers –“I can bend, I can break. I can shift, I can shake. Blaze a trail through the driving rain. I can slip, I can slide. I can run, I can hide…Girl, I can change for you”. Employing a peppy Caribbean-type sound, swapping the steel drums for synthesizers and a clapped beat, “Still Want You” is the album’s second single – with good reason. Yet another catchy tune off this album, Flowers’ song writing knowledge is showcased once again. Finishing each line of the chorus with an embellished “I still want you”, he uses repetition to create an instantly memorable hook. At the half way point, “Between Me and You” slows the pace with the first ballad. Mostly piano and vocally based, the 80’s feel isn’t completely lost. A palm muted guitar and cymbal pitter-patter keep the rhythm alive and the muffled synth fills out the overall sound, slowly building in intensity by straying from this soft feel for only the bridge – using an inverted structure than we are used to, where the intensity normally builds until the breakdown, then returns for the last chorus. Lyrically heartbreaking, repetition is once again integrated (not unlike many 80’s pop songs and ballads), but this time during the verses. The chorus breaks up the softer melody of the verse by speeding up the phrasing of the lines “These hours I’m working ain’t nearly enough, and sometimes it’s like a bullet came and blasted me right out of the blue”.

               Chock full of everything electronic – from synthesizers to bass lines, drums and auto-tuned vocals – the subtle inclusion of some electric guitar, bass and drums (by guest artist Danielle Haim of the group HAIM)  not only adds to the layers that make “Lonely Town” so lush, but once again keep all of the synthesizers from sounding corny. With a more rock feel (in the sense that there is less focus on the synthesizer parts), “Diggin’ Up the Heart” picks things back up again with what a modern pop song should sound like. At this point, it is obvious that Flowers’ voice is perfectly suited for this type of peppy, bright music – which happens to be a personal highlight of this tune. The smooth rise and fall of the bassline reinforces an old-school rock vibe and is a nice little treat to discover layered beneath the other instruments. Another piano and synth based power ballad, “Never Get You Right” is a cutesy love song that still delivers in the groovy department. The lines “But they’ll never get you right – I’ve been watching you all night. And the people passing by should tremble at your sight” describe the feeling of being misunderstood by most and only truly appreciated by few. “Untangled Love” is another one of my favorites, again reminding me of The Cars with a perfect combination of clean electric guitar and synth parts as well as the rare appearance of non-programmed drums on the album. Closing with a song both written and produced by Flowers himself, “The Way It’s Always Been” slows everything down to continue the trend of the last few albums. Showcasing the similarities between Flowers’ solo work and his music with The Killers, this song could go either way and I wouldn’t be surprised if it shows up on both of their setlists in the future.

Overall Impression:

               What is now known as pop music needs to listen to this album, take notes, and follow suit. Departing from the typical lyrics and completely programmed tracks that now make up Top 40 songs, Brandon Flowers infuses his musical influences into a modern take on classic pop songs as they’re meant to be structured. With the consistently catchy melodies and hooks, dance-inducing beats and energy filled tracks, administering this album definitely produces “The Desired Effect”.

“The Desired Effect” on iTunes: https://itunes.apple.com/ca/album/the-desired-effect/id976674053

“Can’t Deny My Love” video: https://www.youtube.com/watch?v=9iiDlU4rhlY

“Still Want You” video: https://www.youtube.com/watch?v=vX5fAb76r-U

“Lonely Town” video: https://www.youtube.com/watch?v=jcZ-0o53md8

“Can’t Deny My Love” live video: http://www.sonic1029.com/2015/03/24/watch-killers-frontman-brandon-flowers-on-fallon/

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