In Rainbows Review

I remember the first time I heard "In Rainbows".  I remember downloading it back in 2007 days after it was released to the public.  I synced it onto my Ipod and listened to it on the bus to school.  The music went through my ears and opened up my eyes to something breath-taking.  "In Rainbows" was the mellow, scenic beauty that I needed right from the moment I popped in my ear buds.  Each track brings you to a different place, each moment you feel more and more encapsulated on this adventure through space, through trees, through time, and reality.  "In Rainbows" was the album I listened to before I even knew who Radiohead was.

"15 Step" brings you back to "Kid A"'s style of trip-hop drum beats that marked the rebirth of Radiohead; but didn't become a clone of "Kid A" as the album sways far away from "Kid A"'s style after "15 step".  "Bodysnatchers" goes back to the true roots of the band as the song's foundation is build upon a muddy guitar riff followed by an acoustic breakdown in the middle.  Also, "Bodysnatchers" was recorded in one live take in an English mansion.  Producer Nigel Godrich thought the uncomfortable situation would create a unique atmosphere for the recording; and it certainly did.

"Nude", "Weird Fishes/Arpeggi" and "All I Need" showcase the new style constructed by Radiohead.  "Nude" has the capability to put you in a trance as the gentle drum beat accompanied by Yorke's mellow, gingerly placed vocals bring you to another world.  I imagine myself floating through space; looking at the stars and planets while I'm sitting in my chair, or looking outside my window. "Weird Fishes/Arpeggi"'s click and thud drum beat comes full circle as the arpeggios madden you into disbelief ; the sound is such an anomaly. "All I Need" follows suit as the mellow progressions and synth tones overwhelm you into isolation; as the song has a lonely feeling to it.

"Faust Arp" kicks off the second half of "In Rainbows" with another mellow rendition that speaks of feeling stuck, whether it be in a relationship, or an unpleasant situation; whichever way you take it.  "Reckoner" has the strange ability to make you dance yet it has the somber overtones that could also make you cry.  There is only a shortlist of bands that could pull off that mixture of emotions, and Radiohead is one of those bands at the top of the list.

"House of Cards" feels like a filler song as the riff is very basic, yet serves its purpose as it leads well into "Jigsaw Falling Into Place".  Right off the bat, "Jigsaw" is very upbeat and familiar to the ear.  The song doesn't experiment too much as it could be classified as a standard rock/alternative tune.  With an overly melancholic middle of the album, "Jigsaw" provides the balance needed to bring "In Rainbows" into the upper echelon of not only Radiohead albums, but albums of the 21st century.  The final note on the album is the overtly depressing "Videotape".  Yorke's vocals bring the album to a close in a funeral-esque way as I could imagine "Videotape" being in the background during a burial.  The droning piano, the tearful march off to an album soaked in rain; the final waltz.

Final Summary:

"In Rainbows" masterfully depicts depression, melancholy, and sadness.  The way Thom Yorke pours his soul out onto this album had such an impact on me in my teenage years that I've become a lifetime Radiohead fan because of it.  Song like "Bodysnatchers", "15 Step", and "Jigsaw Falling Into Place" give the album balance as the overtly depressing tracks could deter you from this album after a while; but the stability makes this an album that is firing on all cylinders.  This was the album that started it all for me even if I was late to the party and listened to Radiohead's albums out of order; I'm forever grateful that this was my first taste.  "In Rainbows" is an experience unlike any other and it will always hold a special place in my music library.

Rating: 9.6/10



 

Purple Review

"Purple" is the fourth studio album from heavy metal band Baroness.  With the bus crash incident the band suffered through in 2012, it's been almost four years since the band released a studio album. You can tell from the lyrics and even the cover art that John Baizley (lead vocalist) wanted to portray that experience here in a way that brings you to the very moment before, during, and after a bus crash.  The riffs hit you like a bus, the vocals cry out the pain and agony of recovery and restructure, and ultimately, you've got a band using hindsight as their drive and direction.

The opening track "Morningstar" rips right into "Purple" with ferocity as the lyrics speak about damage done and how to carry the weight of it thereafter.  "Shock Me" speaks about being thrown into a new reality needing to rebuild, in a good way.  The way Baizley shouts these songs gives off a sense of happiness and thankfulness as he chants his new lease on life throughout the album.  The lyrics are epically depicted as a type of knight's tale through flames and destruction as Baizley paints with his words and progressive melodies.

The next couple of tracks mellow out for a bit including the instrumental "Fugue" which fuses together melodic guitar riffs with wah-wah sprinkled over it.  It brings the middle of the album to a calm as we're brought to the first single released off of "Purple" "Chlorine & Wine".  This track does an excellent job of slowly bringing the album back to the pace of the beginning.  The almost 7 minute epic starts with the tail-end of "Fugue" and eventually climbs back into the drivers seat; with lyrics speaking of survival and prevail.

"Iron Bell" and "Desperation Burns" provide two more hard hitting tracks paved with melodic riffs and "If I Have To Wake Up (Would You Stop The Rain?)" is a breath of fresh air as its completely different from any other track on the album.  Its played at a slower, rock beat with metal elements added in.  The lyrics are powerful as it leaves you with a feeling of breathing your final breath and pondering how you would spend it.


Final Summary:

"Purple" drives you through tragedy, recovery, reflection, and aftermath.  It shows you Baroness' experience over the past four years in a way only they can; through progressive metal/sludge metal, elements of rock, and shouting cries of rebirth.  Although I am not a huge metal fan, I can appreciate the passion put into this project and all the steps taken by Baroness to make this album happen.  Given the circumstances leading up to this album, "Purple" leaves you with a sense of amazement, joy, and love for life.

Rating: 8.6/10

What a Terrible World, What a Beautiful World Review

"What a Terrible World, What a Beautiful World" is the seventh studio album from Indie-Rock band The Decemberists.  With it's mixture of somber ballads and catchy "four minute or so tunes", the album blends together a diverse experience marred by inconsistencies.  Although the album has some definite high points, the snail-like pace of the album could deter you from getting through "What a Terrible World, What a Beautiful World".  Though songs such as "Philomena" and "Make You Better" serve as perfect renditions of The Decemberists' style; showing off a more mature sound as they mark their 15th year together as a band. 

The opening track "The Singer Addresses His Audience" does a nice job of building up slowly as the album starts off on a crescendo, setting the tone in a bittersweet way; leaving you with a glimpse of the over-extended nature of many of these tracks.  It is undeniable that many of these songs do have extremely catchy riffs and vocal melodies.  "Cavalry Captain" and "Philomena" hit you back to back with two three minute tunes that'll stick in your head for days on end.  The risque lyrics in "Philomena" talk about going down on a girl; yet when you get into the song, your head will bob as the lyrics fly past your head; its a very enjoyable track if you disregard the lyrics.  

"Make You Better" could be classified as the album's anthem.  The poetic lyricism shown on "Make You Better" paints a perfect portrait of Colin Meloy's feelings on love, loss, regret, and restructure in life.  The backing vocals from Rachel Flotard on the chorus give the song a stunning quality; you've got yourself an excellent track.  "Lake Song" is a sweet, yet somber track that is complimented by jangling acoustic guitars and piano keys; but is almost 6 minutes in length. This song could've easily been reduced by two minutes and if it was "Lake Song" could've had the potential to really stand out on this album.  

The middle of the album becomes a snooze fest as songs like "Till The Water's All Long Gone" and "The Wrong Year" come off as lazy, uninspired efforts thrown into the mix to put more time on the album. "Better Not Wake The Baby" is catchy yet repetitive as all hell; thankfully the song is only 1:45 in length. "Carolina Low" was a track that caught me off guard.  It reminded me of a Neil Young/Late Beatles acoustic track that didn't overstay its welcome.  The swampy, dreary feel to the track is another highlight for an album that ultimately is lacking in direction.

Final Summary:

Overall, the album is a bit of a mess.  In the midst of some straight up catchy, Beatle-like tunes comes a batch of lengthy tracks that would've been fine if they were limited to 4 minutes each.  Songs such as "Make You Better", "Philomena", and "Cavalry Captain" will stick in your head for days and you'll find yourself gravitating towards them.  And even though the album also offers some hidden gems like "Carolina Low" and "Anti-Summersong"(Great folk track), "What a Terrible World, What a Beautiful World" is over 52 minutes in length in the "fast-click" 21st century.  I wish I could give this album a higher rating but its very much muddled down by lengthy songs that could've been cut in half.

Rating: 6.8/10    

   

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