Kid A Review

Kid A is the fourth studio album from English rock band Radiohead.  This album marked a huge turning point musically for the band as they turned to a more electronic sound; mixing in elements of experimental rock and ambient sound.  The album still maintains Radiohead's melancholic overtones  the band made famous with albums such as "Pablo Honey" and "OK Computer", yet orchestrates the emotions in a new way that uniquely lays out Thom Yorke's message; giving listeners the first glance at what Radiohead eventually matures into.

Of course with a new direction musically, disagreements and turmoil within the band slowly rose to the surface. With the success of their previous album "OK Computer" Yorke felt the band hit a musical dead-end. Yorke feared the band being classified as a "one-trick pony" while their old style of guitar based rock music wasn't cutting it for him anymore.  Instead of guitars, the band put sounds, samples, and rhythms at the forefront while Yorke's voice was merely another instrument blended into the mix.  Other member of the band were skeptical of the new direction considering how successful they've become sticking to their roots; but through experimentation and the courage it took to completely knock down and rebuild what they've erected, "Kid A" shines bright in a world afraid of change.

The album's opener "Everything In Its Right Place" submerges you into this new world of Radiohead by bashing you over the head with sounds coming from every direction imaginable.  The lyrics are droning as you are placed into an odd, alien-like environment, wondering what else is going to pop up around you, or surprise you.  The track "The National Anthem" is hard-hitting, jazz influenced, and accompanied by an addicting bass line too.  The song eventually erupts into jazz overload as horns and trumpets invade the song as Yorke screams at the top of  his lungs "Turn it off!".

We are then taken from one extreme from another as the song "How To Disappear Completely" goes back to Radiohead's emotionally driven, guitar based roots in the style of a song like "Karma Police" mixed in with some beautifully stunning string instruments; blending spectacularly well with Yorke's tortured, straining voice.  The song "Treefingers" is entirely instrumental and serves a calming purpose as the first half of the album could be sensory overload the first time you listen through.

The album drops right back into the grungey "Optimistic" in which Yorke chants repetitively "You can try the best you can" over a heavy bass line.  The track is very full in the musical spectrum and although it speaks a strong message, the song is very straight-forward in nature (not in a bad way).  I also really enjoyed the last 20 seconds or so of the track.  It ends with a catchy little jazz session that nicely transitions into the next track "In Limbo".  "In Limbo" wasn't a track that spoke to me as much as I would like but it served its purpose as another track that Yorke could experiment with.  The mixture of different sounds, and the voice altering towards the end of the track was a unique, yet somewhat forgettable moment on the album for me.  

"Idioteque" is good look at what the future of the band beheld.  The catchy trip-hop beats at the beginning of the track, the fast paced yet slow, depressing, driving beats into your ear drums gives you a definite impression that this band has crossed over to something completely different; yet have fully accomplished what they intended to do.  The last two tracks feature some of the more experimental moments on "Kid A".  "Morning Bell" features more trip-hop, driving beats that are complimented with Yorke's emotional performance.  This song is very lyrically focused as you're simultaneously sucked into every new sound the band produces.  The mixture of sounds build up very slowly yet do not climax.  Instead, the song ends with some low bass notes as we move on to the final song on the album.  "Motion Picture Soundtrack" is a beautiful send-off for an album shrouded in mystery and anticipation.  "Motion Picture Soundtrack" brings the album down perfectly in a relaxing, ever so gentle way.  The organs on the track are stunning and they bring up many emotions in the process.  The lyrics speak of a longing of how things used to be.  About how we get fed all these lies through movies and media, while Yorke believes its all crazy talk.  He very fittingly ends the song with the line "I will see you in the next life", perfectly describing the bands situation and transition into this new, more artistic direction.

Final Summary:

"Kid A" is a very emotionally moving experience.  The use of new electronic sounds rather than guitar-focused rock music gives the band the fresh start that it needed; maintaining its humanity in an electronicly new landscape.  The delicately produced new sounds showed a glimpse into the future of the band, and in my opinion, the better half of the career of Radiohead.  This was essentially the tipping point for the band that helped produce future albums such as "In Rainbows" and "The King of Limbs".  I feel "Kid A" is a very important album but just like any new venture, it won't be fully developed right from the beginning as this primordial album is the first album of its kind for Radiohead.  "Kid A" is a surreal experience forcefully stepping Radiohead into the direction they were meant to follow and is fully deserving of all the acclaim the album received.

Rating: 8.7/10

Merriweather Post Pavilion Review

"Merriweather Post Pavilion" is the eighth studio album by American experimental pop group Animal Collective. This album can be a lot of things to a lot of people.  It could be a lot of noise to some people, and it can also be inspiring, innovative, and complex to the people who seek to listen.  This collaborative effort is one of the most critically-acclaimed albums in recent memory that could best be described as an onion of an album; and I mean that in the best way possible.  Figure that each song is its own layer.  You keep peeling and peeling until there's no onion left; leaving you with a very disappointing feeling.

Right off the bat the intro "In The Flowers" starts out slow but builds up to a stunning drum line right in the middle of the song that grabs your attention, and keeps you seated until the album ends.  The lengthy intro reminded me of what some progressive rock bands like ELP, King Crimson, or even Pink Floyd used to do at the beginning of their albums. Not only does the intro lure you into the unique world of Animal Collective, but its followed by one of the best songs on the album "My Girls".  The song is extremely catchy and well put together with stunning vocal synchronization that'll leave you speechless the first time you listen to it.  It's a modern experimental masterpiece that takes pieces from different genres such as house music, electronic rock, and indie-rock; just to name a few. 

Even though it may seem "Merriweather Post Pavilion" has a lot going on, it is considered a pop album.  The same way MGMT's "Oracular Spectacular" is considered a pop album.  Animal Collective's direction is very much a melting pot of different genres showcasing electronic melodies, catchy synth riffs, and diversity between each individual song making it hard to choose a favorite song.  A lot of people may gravitate towards "My Girls" for the vocal melodies and driving rhythms.  Others may prefer a song like "Brother Sport" that is very repetitive in nature, but offers catchy chants from Panda and Avey warranting it a song that you could even dance to. 

Listening to this album can be overwhelming at some points; leaving you wondering where the structure lies.  There have been monuments, and norms established in music.  This album epitomizes how to break through those norms.  The foundation of this album, in my opinion, is the vocal performances by Panda Bear and Avey.  Their melodies give the album a base of support while Geologist paints around it with electronic sound manipulation, and sampling.  

Even during the middle of the album you have songs that captivate, and stun in ways you would've  never thought possible.  "Summertime Clothes" offers a bouncy beat, catchy chorus, and driving momentum that works well with Geologist's samples, while "Guys Eyes" is a song that caught me off guard.  The song starts off making you feel like you're in a rain forest with rain/running water samples, frog croaks and cricket noise, and an airy atmospheric blend of electronic samples.  The way Panda and Avey go back and forth finishing each others sentences, and how the vocals are layered even gave me goosebumps at times; completely catching me off guard and I'm so glad it did.

Not to mention, you can tell this album is heavily influenced by many classic rock/progressive bands of the past.  You could say the vocal back and forth between Panda and Avey reminds you of the vocal melodies on The Beach Boys "Pet Sounds".  The driving, repetitive nature on many of these tracks could remind you of a track like "Dogs" off of Pink Floyd's "Animals".  And even though "Merriweather Post Pavilion" is heavily influenced by these bands (intentionally or non-intentionally), Animal Collective succeeds in creating an extremely unique sound to their own; essentially carving out their own genre, and carving their own, diverse spot in music history.

Final Summary:

This album is a modern masterpiece.  The excellent vocal work gives this album the structure it needs in order to thrive.  The carefully crafted work by every member of Animal Collective created one of the best albums I have had the pleasure to listen to, ever.  From beginning to end the album thoroughly surprised me.  The layers of different electronic samples, and driving momentum each track had, gave the album a very mechanical, computery base; yet the album didn't lose its passion and emotion.  I actually felt overwhelmed with emotion after listening to songs like "My Girls" and "Guys Eyes" and I was fully captivated throughout.  I would compare this album to a Jackson Pollock painting.  Each color thrown onto the eaisel tells it's own story yet blends well with everything else around it in a way that isn't forced, it just is. Easily one of the top 5 albums for me over the last 10 years and an absolute pleasure to listen to if experimental music is your cup of tea.


Rating: 9.4/10

House of Balloons Review

"House of Balloons" is the debut mixtape from Canadian R&B artist The Weeknd.  This album received critical acclaim across the board from many music critics when it was released for digital download in early 2011.  The Weeknd was basically unknown at the time when this dropped.  It received endorsement from rapper Drake who helped promote the record when it first hit the web (Thanks to his OVO crew).  The album brings together a mix of R&B, Soul, Hip-Hop, and various sub-genres of Hip-Hop to give this a very mainstream sound; that spans across a wide audience. 

Abel (The Weeknd) opens the album up with "High for This" which emphasizes the sexual nature of lyrics which is a main point on this mix tape.  His sound is very much R&B but I feel the subject matter is more of the Hip-Hop variety.  Drugs and sex are at the forefront lyrically as its clearly stated in the track "House of Balloons/Glass Table Girls".  Although the subject matter may turn some people away from this mix tape, you can't deny the soothing sounds/overtones that encapsulate this record. It's the type of music to set the mood to, wind down to after a long day, or even to chill and relax with some friends.  

This album reminds me a lot of Frank Ocean's mix tape "Nostalgia Ultra".  The druggy, overtly sexual lyrics make me reminisce about that album, and how R&B and Hip-Hop are fusing together in a different, yet musically satisfying way.  I'd say the standout song on this album to me is "Wicked Games" which epitomizes what this album is all about.  It's almost as if Abel is begging this girl to be with him; luring her back with drugs and for the high of being in love, even if its just for one night.  It's nocturnal, melancholic feel paints a perfect picture of a lonely guy using other means (such as drugs and alcohol) to fill this void in his life; a message that a lot of people could relate to.

The use of electric guitar on tracks such as "The Party & The After Party" gives the mix tape a slow jam vibe that converts into a druggy, almost rock n' roll feeling.  The lyrics and the music bring you back to those moments of being hung over after a long night of partying, and looking back at all the trouble and temptation the night brings with it. 

Final Summary:

The melancholy, the sadness, the grittiness of an artist emoting about his experiences epitomized into one solid mix tape.  The album does take some patience to listen to, depending on your musical taste.  If you are a fan of R&B, Soul, or Hip-Hop you will probably start grooving to this mix tape straight from the beginning.  If not, the subject matter alone may swing you away from an album like this.  This batch of slow jams mixed with Abel's emotional, Michael Jackson-esque vocals is a digital delight for listeners who enjoy this blend of different genres, but this certainly isn't your daddy's Al Green record.

Rating: 7.9/10

            

Madvillainy Review

The debut album between MF Doom & Madlib turned out to be iconic.  Released in 2004, Madvillainy is the critically acclaimed album that grabbed indie, underground, and mainstream hip-hop attention; for good reason.  Madvillainy's dark atmosphere, strange ways (pun intended), and quirky, cartoonish theme layered on top of some sick underground beats makes for a unique, yet fulfilling listening experience.

Fate would have it that these two coming together for a record was not only what both their careers needed at the time, but what hip-hop history needed as well.  Madlib had stepped away from hip-hop for a couple of years.  He explored new ventures but ultimately came back in 2003 with two collaborative efforts.  One with fellow producer J Dilla, and "Madvillainy" with MF Doom. The two seemingly came together at the perfect moment and created this iconic record in peanut-butter & jelly fashion.

Many of the songs on the album run for less than two minutes such as "Curls", "Bistro", "The Illest Villains" just to name a few.  But the short length of each track give this album a smooth track to musically indulge in.  The carefully crafted beats congeal this album in a perfect way, and its a real testament to the effort, and care that Madlib put into each and every track.  MF Doom's rhymes didn't have to be fast and furious either.  His steady flow narrates us straight to the end with his consistent delivery; mixing well with Madlib's base oriented beats.  His dark, grimy, almost hypnotic voice makes a b-line straight through track 1 to track 22; as he often speaks in third person describing his villainous deeds.

One of my personal favorites is the track "Strange Ways".  It cuts in right away as Doom touches on various different societal issues in his same moderate tempo.  The vocals are hard hitting, they have purpose, and "ya can't reform 'em".  Also the track "All Caps" really stood out to me musically in many different ways.  The way the piano keys at the beginning sound as if they're drowning underwater, the almost whistle-like riff during the verses, and even the use of horns/trumpets at the end of each verse gives this song a lot of character and depth.  Mix in some cryptic lyrics and you've got a song firing on all cylinders.

The last thing i'll touch on is the cartoonishly dark themes that overlay the entire album.  One moment you'll feel like your reading a comic book or watching a Saturday morning cartoon, the other you'll be tugged back into the murkiness of underground hip hop.  Surprisingly, the two unique styles work together cohesively to create a unique sound and feel throughout the album.  Each track blends together beautifully with little delay and absent of any track feeling overextended.

Final Summary:

I discovered this album back when I was in high school and I am ever so happy to have rediscovered, and given full praise to this masterful album.  The album has dark & light elements blended together in a way that has never been done before .  It influenced many up and coming DJs and MCs but no one can truly replicate what Doom and Madlib did here.  This album works at any time of the day, but I recommend if you're discovering this record for the first time, a bit of advice would be to listen to it on a rainy day.  It's muddy and moody and goes well with the weather in the background.  There's very little I could critique on "Madvillainy".  It's like Madlib put each track under a microscope and made a perfectly unique diamond from scratch.  Doom's narration and Madlib's care for his craft perfectly guide this record to an almost perfect rating from me.

Rating: 9.5/10





  

808's & Heartbreak Review

808's & Heartbreak is the fourth studio album from the eccentric recording artist Kanye West.  Right from the beginning of the album you can sense that this album was written from a different viewpoint from Kanye's previous albums such as "The College Dropout" or "Graduation".  Kanye wrote this after enduring some very distressing personal events and right from the albums cover, you can tell this is a more emotional rendition from Kanye, rather than a straight rap attack.  You're probably already familiar with some of the hit singles off this record such as "Heartless" and "Love Lockdown" but I'll go further into the record to find some of the deeper cuts, and songs you may have missed.


"Say You Will"

The album starts out with this somber track that really sets the tone for the rest of the album.  The droning heart monitor beat in the background really goes well with the lyrics and you could really feel the emotional connection when they are played together.  The lyrics really demonstrate a longing for someone to crash-land into his life again, and how he can't seem to drop this person out of his life yet.  The strain in Kanye's voice really shines through on this track and is a great tip off to this album.  Even though I feel he could've cut this song short by at least two minutes.  I know the droning heart beat is left for effect, and moans and screams are mixed into the beat as well, but just in my opinion, it could've been a bit shorter.  

"Welcome To Heartbreak"

This song was inspired from a conversation Kanye had with MTV executive Dave Sirulnick.  Dave showed Kanye pictures of his wife and kids which left Kanye with a silent, sad, and jealous feeling.  At this point in his life, the whole wife and kids thing hadn't worked out for him, and the lyrics of the song made this ever so apparent.  This track also features a newly signed Kid Cudi to help on the hook.  The track starts out with a mellow vibe featuring some violins and violas for the first couple of seconds, then quickly changes to a more upbeat, smacking beat.  Kanye's lyrics continue to paint this picture of the celebrity lifestyle he has taken on.  The desolate feeling of not having anyone to share his success with, rather feeling empty inside with all the money and accolades to fill his shell.  "Welcome To Heartbreak" in my opinion is one of the highlights from 808's.  The beat sticks with you, the lyrics aim for the heartstrings, and even though many of us aren't in the same financial position Kanye or any other big celebrity may be in, we could all relate to the feeling of being lonely with no avenues, or end in sight.

"Heartless"

Probably the song that got the most airtime from this album.  Heartless shot to the top of the charts when it was released and it even garnered a few covers from notable artists "The Fray" and former American Idol winner Kris Allen.  I believe what gives "Heartless" its chops is not only its catchy beats that definitely have a bounce to them, but in the way Kanye uses auto-tune to give off a unique vibe which helps Kanye elate more than if the vocals were dry.  The auto-tune didn't drown out the vocal performance whatsoever but I truly believe it gives it a special quality.  The song could also be translated into many different genres of music.  I wouldn't call Kanye a Bob Dylan type of artist, but this song could be transcribed into different genres quite easily as The Fray most notably proved.

"Amazing"

With a tribal drum beat, and some dark piano keys blended into the back, "Amazing" hits your right in the face straight from the start.  "Amazing" turned out to be another song off this album that seemed to take a life of its own.  The song was very wide-spread across many platforms, mainly through many sports organizations such as the NBA who used this song to promote the 2009 playoffs and even in UFC.  Young Jeezy makes an appearance on the track and it marked the second time the two worked together, previously on Jeezy's 2008 single "Put On".  You could describe this as a song that is meant to "pump you up" but I believe the song harps on how he holds on to what he believes in, that even through the toughest times he can think back to what his late mother taught him, and be able to convert that raw emotion into a song that grabs your attention right from the start.   

"Love Lockdown"

My Personal Favorite.  "Love Lockdown" presents the album with another song that is far removed from Kanye's previous work, Its the type of track that displays the artistic direction he's been moving towards showing growth and different dimensions to his craft.  The song hooks you from the beginning with the simple bass line and crescendos into a more tribal drum beat reminiscent of "Amazing".  Again, the use of auto-tune was tasteful and didn't overwhelm the track.  The only knock I can put on "Love Lockdown" is the fact that it is repetitive in nature.  The bass could be droning to some listeners but in my personal opinion, I could listen to this song over and over again and not get bored with it because it is so catchy.  The song is inspired from synthpop stars such as Phil Collins and it is shown in this song that the crescendos leading up to the chanting vocals pay homage to that era in a new, modern way.

"Paranoid"

"Paranoid" has a disco vibe to it and takes some aspects from synthpop to create the back beat of the track.  The song features British recording artist Mr. Hudson who recently had signed to Kanye's label.  The song has a catchy beat but isn't one of my personal favorites.  I feel the album hit a bit of a speed bump after "Love Lockdown".  Though the song is upbeat and could be classified as a modern day disco song, there are other bands/artists who have perfected that type of music that I'd prefer to listen to.

"Robocop"

This song opens up with a very industrial beat that grabbed me from the beginning due to my NIN fandom.  The lyrics talk about a clingy "spoiled L.A. girl" that won't stop won't stop invading his personal life.  The violins during the chorus are my favorite part of this song.  It gives it a nice crescendo and brings you right back down to bobbing your head to the beats.  This track wasn't the most popular off the record but I'd say its the main hidden gem on this album you might've missed.

"Street Lights"

This song is very one dimensional...in a good way.  The same way you'd enjoy a low-fi song by Guided by Voices.  The song isn't too long, it doesn't overstay its welcome, but your head will bob with the lyrics and the back beat.  The song is about moving from one place to another, but it's also about missing precious moments in life in the process.  So even though there is a driving back beat that gets you through the song, it does have a somber overtone which gives this one-trick pony depth.

"Bad News"

Even though the song has a catchy "click-clacking" beat that does sound good, the song just doesn't do it for me.  Everything about the track screams filler song and there isn't much to it.  I'm sure it was meant to be like that, but just like how "Say You Will" overstayed its welcome, you could say the same about "Bad News".

"See You In My Nightmares"

Kanye and Lil Wayne kick back and forth this song about letting go of the past and how quickly a fairy tale could turn into a nightmare.  Again, the auto-tune is very noticeable on this track but I didn't mind it.  Auto-tune could really drown out a song if not used correctly but I didn't mind the use on "See You In My Nightmares".  The two ramp up as the song goes on, screaming about how the past may have gone differently.  But even though both of them seem to really get ramped up in this song, I didn't feel the passion like I wanted to.  The robotic auto-tune, although it's used properly, gave the song an empty feel and I would've like to hear more passion from both of them.  Overall the song has a cool vibe to it and to hear these two artists spit back and forth is a treat, It left me wanting more.

"Coldest Winter"

One of the more emotional tracks on the album and one of the best songs on the album in regards to the overall theme of the record.  The bass drum in the song gives "Coldest Winter" its drive, and Kanye's voice is clean during most of the song, showing off some raw emotion which there could've been more of on this album.  It's a shorter song but its a great way to bring the album to a close.

"Pinocchio Story" is a live freestyle he threw on at the end of the album as a hidden track.  I'm not going to go too deep into this track because all it feels like is a cluster fuck of mixed emotions from Kanye.  I could've done without it and I consider "Coldest Winter" the close of the album.


Final Summary:

"808s & Heartbreak" had its highs (Coldest Winter, Street Lights, Love Lockdown) and lows (Bad News, Paranoid, Pinocchio Story) but overall I was expecting more from an album that was written about someone going through an emotional roller-coaster.  Some spots on the album I felt raw emotion, and I thought the first half of the album was actually solid.  But for my personal taste, the auto-tune drowned out the "what could've been" on this album, leaving it with a hollow, emotionless, robotic feeling and less of an artist with a heavy heart.  When I hear artists like Alice and Chains, or Radiohead emote; I really hear it.  You can feel the strain and sadness in their vocals as they go through tough times. And as unfortunate as Kanye's situation at the time was, he could've crafted an album that was more tangible emotionally, rather than opting to auto-tune just about everything....now off to listen to T.L.O.P.


Rating- 7.2/10