Thank Me Later Review

With songs that'll make you reminisce on the long weekends you had scouting girls and enjoying yourself; Drake's first studio album "Thank Me Later" serves as the crowning of the new prince in the rap game.  "Thank Me Later"'s production value is crisp as the ambient undertones, snare snaps, and moody groundwork lay the foundation for Drake's lyrical execution; focused on the ones that got away, being successful at the young age of 23, and ultimately, dealing with the fame when all you want is a quiet night with someone special.

Much like the blurriness on the cover art, "Thank Me Later" is a psychedelic experience encompassed by Drake's own unique style and delivery.  Tracks such as "Over" and "Find Your Love" serve as the radio-friendly singles that characterize the album to the public; though tracks like "Cece's Interlude" and "Fireworks" are the deeper cuts that tap into the more emotional side that Drake leans on for support.  Drake is an artist that uses his lonely image to the fullest extent; and the naturally somber stylings of Drake give him his own lane to do what he sees fit.    

"Thank Me Later" also received many comparisons to Kanye West's "808s & Heartbreak".  Both albums harp on past relationships as both artists use their platform to vent their emotional frustrations; though I feel Drake's emotions have more layers to them.  You can tell that the fame and fortune had a certain impact on Drake.  "Thank Me Later" feels like a journey that Drake goes on to find his new "normal" as his world is constantly changing, but his heart longs for a much simpler, traditional way of life.

Honestly, Drake's clean approach to hip-hop is a breath of fresh air.  The muddied-up scene that overwhelms rap can be a lot to handle.  Drake is so unique in that he doesn't need to curse or slander to get his point across.  His firm grasp on melody and clear vision of what he wants to say shows up and comers that you don't have to work blue to be successful.  The album also features Jay Z, Nicki Minaj, and Lil Wayne to help support the new rapper; bringing him in as one of their own.

Final Summary:

Don't get it twisted; this album is not perfect.  Some of these songs overstay their welcome as certain tracks go well over the 5 minute mark.  Drake could've cut a good 10 minutes off this record to provide a more concise album as "Thank Me Later"'s length makes it feel a little unedited.  But overall, Drake sticks to his guns as the "lonely guy" providing the musical product of his emotional distress.

Rating: 8.3/10    

Animals Review

"If you didn't care what happened to me, and I didn't care for you" 

Those first few lyrics gave me chills. This is an album shrouded in deeper meaning and metaphorical hyperbole.  The honesty of dogs, pigs, and sheep serve as a testament to a world confiscated of basic humanity, as we're thrown into a system that is lead straight to slaughter. Albums like "Animals" don't get made anymore.  Strictly from an analog standpoint, feeling every ounce of this album on vinyl is an experience like none other and should be experienced if able to.  I was fortunate enough to have a friend gift me this on vinyl.  Yet either way you slice "Animals", there is a message, a calling, an inkling absorbed into your brain that just sticks. Whether you strictly enjoy the music as it is; a progressive monument ahead of its time, or if you enjoy looking deeper into the lyrics and taking what you will from them.

"Animals" certainly takes a different direction from some of their previous albums (Dark Side Of The Moon", "Wish You Were Here") as the bold effort from Pink Floyd tackles more controversial subject matter.  The album is based loosely off of George Orwell's "Animal Farm" as the lyrics speak mainly about the our societal classes metaphorically depicted as animals.  The aggressive dogs, the bigoted pigs, and the brainwashed sheep.   The lengthy tracks serve as the meat and potatoes of the album as the two parts of "Pigs On The Wing" share opposing beliefs.  Part 1 is about not giving a damn for one another as we occasionally glance at each other through the murkiness of life, and Part 2 speaks about sheltering one another in companionship and relatability. 

What truly makes "Animals" special is seeing the dynamic duo of Water and Gilmour showcasing their strengths at the top of their game.  Some of Gilmour's best guitar work is displayed on this album. The lengthy tracks gave Gilmour his easel to paint on as "Dogs" and "Pigs (Three Different Ones)" are filled with tasty solos that show a musician soaring through his prime.  Waters' lyrical imagery is a gem that fills "Animals" with industrial, reality-ridden illustrations on what really is happening around us every day.  Just from the cover art, you imagine factories, industries, and machines pumping out product onto a conveyor belt; processed one by one.  The rural setting, and the perfectly placed pig in between the silos constructs an image of pollution, corruption, and unfortunately, society as is.

Final Summary:

"You know that I care what happens to you
And I know that you care for me too

So I don't feel alone of the weight of the stone
Now that I've found somewhere safe to bury my bone
And any fool knows a dog needs a home
A shelter from pigs on the wing"

Rating: 10/10

Port Of Morrow Review

"Port Of Morrow" is the fourth studio album from indie/alternative rock band The Shins.  Following James Mercer's ambitious stint with Broken Bells, The Shins got back together (well, Mercer found new musicians) to put together this 2012 release.  "Port Of Morrow" is the type of album your indie-rock friends could play on repeat for days on end; but your mother could also play it lightly in the dining room during dinner.  "Port Of Morrow" is the homecoming The Shins needed to show they haven't swayed too far from their roots; distancing themselves from a more electronic direction like many indie rock bands found themselves doing.  The album differs from "Oh, Inverted World" atmospherically, as well as lyrically.

The album's two singles "Simple Song" and "It's Only Life" are both upbeat, pleasantly smooth tracks that truly showcase Mercer's voice at the forefront.  The frosty atmosphere of these songs give you a bit of a whimsical feeling while listening; especially when you're looking at the abstract cover art.  The track "September" offers a breezy sea vibe that is accompanied by well placed tremolo effects and bongo drums.  The indie-pop sounds on "Bait & Switch" offers up one of the more upbeat tracks on the album; though it doesn't stray too far from the norm on "Port Of Morrow".

"No Way Down" was lyrically inspired by the U.S. trade deficit and how it has affected the economy as a whole.  The song is a straight-forward indie/alternative rock song with lyrics that share a powerful message; warranting further examination.  Lyrically, the remainder of the album harps on Mercer's past relationships, his childhood that had him moving around due to his father's military job, and songs for his wife.  The album does have a sweet, nostalgic feeling to it as it seems Mercer used this album to vent some of the issues he may have shied away from on earlier Shins' records.  With maturity comes more confidence as this album comes off as a bolder effort from Mercer.

It's hard to call this a "Shins" record.  The album's only original member James Mercer should've titled this one a Mercer solo album as many critics (myself included) feel he has outgrown his identity.  Though this "Shins" record may be mistitled, you cannot deny the lovely, satisfying hooks Mercer put together on this album; epitomizing the maturity of James Mercer, as well as placing him as one of the true, long-standing front men of indie rock.

Final Summary:

"Port Of Morrow" satisfies on many levels.  The catchy hooks, the deep, well thought out lyrics, and the often pleasing musical structure transforms an album with an identity crisis, into one with much to be desired.  The album confidently marches forward not afraid to tackle social issues, or even deep seated personal issues; giving the album a bold feeling.  "Port Of Morrow" is undeniably the James Mercer show, but either way, it's a treat that a wide audience can enjoy.

Rating: 8.5/10

The Life Of Pablo Review

"The Life Of Pablo" is the highly anticipated seventh studio album from rapper Kanye West.  The weeks leading up to the release of "TLOP" were filled with the confusion of when the album would actually drop, or even the official name of the album.  The album finally dropped after Kanye's performance on SNL (February 13th 2016) as I swiftly downloaded a copy.  The album also features a plethora of guest features such as The Weeknd, Kendrick Lamar, Chris Brown, Frank Ocean, and Rihanna.  

You can call this Kanye's attempt at a "White Album" as each track doesn't fit one mold.  His previous release "Yeezus" was met with mixed reviews as the Chicago rapper was at the height of his fame, and with that, the height of his eccentric behavior.  "TLOP" showcases a man in the spotlight who has settled into his role in pop culture; embracing everything that has been thrown his way.  The opening track "Ultralight Beam" is a great opener as the guest vocals helped propel this song to new heights; as the chanting gospel choir in the background gives the track extra depth. Chance The Rapper, and the stunning vocal stylings of Kelly Price make the song come full circle as I wished the remainder of the album followed suit. 

"Father Stretch My Hands Pt 1 & 2" seemed very filler as Kanye takes a full verse from Desiigner's song "Panda" in Pt 2.  This copy and paste effort gave these two tracks a very empty feeling as they stray extremely far from the style of "Ultralight Beam".  "Famous" helps the album regain some credibility as Rihanna gives the song a great hook accompanied by some hard hitting beats.  But still, with lyrics talking about how Kanye may still fuck Taylor Swift, my head shakes in disappointment when childish rhymes clutter an album that was so highly anticipated.

"Feedback" was a glimpse back to the "Old Kanye" as the song reminded me of a track that would be off of "Late Registration" or even "Graduation".  I'm glad he went back to his roots with this one as I was getting annoyed listening to a line of tracks that felt empty to me.  "Highlights" is a song that utilized gospel chants alla "Ultralight Beam" and turned out to be a strong point on an album so far comparable to a blind man punching the air trying to hit pay dirt.  "Highlights" gives some legitimacy to the album as the smooth R&B beats mixed with gospel undertones is an breath of fresh air like "Ultralight Beam".  "Freestyle 4" and "I Love Kanye" are more filler tracks that don't overstay their welcome.  The quick "I Love Kanye" is funny as he talks about how everyone misses the old Kanye, but isn't meant to be taken seriously. 

"Waves" featuring Chris Brown has a very catchy beat but I felt like I was listening to a song produced by DJ Khaled.  The repetitiveness was annoying although Chris' hook was well done in my opinion.  "FML" comes out of left field as the dreariness of the track opened up my eyes.  Kanye was on point with his somber lyrics and when The Weeknd shows up, the track becomes breath-taking.  The Weeknd and Kanye bounce back and forth in a well-balanced effort.  "Real Friends" lyrically speaks about how we all get caught up in our lives and that we don't make time for our real friends, as we only have a couple in this world.  "Wolves" has some great guest features (Frank Ocean, Sia) and overall is a solid track. I also believe it was the correct length before it became daunting to listen to.   "No More Parties In LA" put Kendrick Lamar up against Kanye and Kanye won.  In my opinion, Kanye put more care and control onto his verses as Kendrick's verse was good, but Kanye seemingly felt like he had something to prove on this track.

Final Summary:

"The Life of Pablo" is an album that lacks direction.  There are definite highlights such as "Ultralight Beam", "FML", and "Real Friends"; but there are more filler tracks than solid ones for me to consider this album a stroke of genius.  Kanye's effort is seen sporadically throughout this album and it seems to me that Kanye feels he doesn't have to prove anything to anyone anymore.  Kanye is using his high-profile status as the draw, and in my opinion, straying away from what made Kanye great in the first place.  I'm hoping with his apparent summer 2016 release we see more of the "Old Kanye" because just like on "Yeezus", "The Life Of Pablo" is all talk and no substance.

Rating: 6.3/10   

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