So, I listen to quite a lot of albums. Usually I try to listen to around one a day, and naturally after every one I usually have a bunch of thoughts. I've now decided to start sharing these thoughts. For the most part, this is so I can refine my ability in writing about music through as much practice as I can get, but also largely because i'd hope others may share their thoughts on an album they have listened to as well, as this is something I always find interesting.
Anyway, I will be preserving these album blogs as a place where I share a few thoughts on all the albums I listen to. These are NOT reviews, any album I review I will listen to multiple times. Think of this as a diary, just a few lines of thought after the first listen and a reactionary score out of ten. Sometimes I will do a little update later on too, if I have a big change of opinion after a few more listens. The full reviews I will save for the Sunday Jamz Youtube channel and also some full written reviews outside of that, but this will very likely only be for 2017 releases. These immediate thoughts will be for any and every album I listen to, from any year and in any genre.
Here is the album blog from April: http://sundayjamz.blogspot.co.uk/2017/04/sunday-jamz-shak-album-log.html
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Here is the album blog from April: http://sundayjamz.blogspot.co.uk/2017/04/sunday-jamz-shak-album-log.html
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Artist: XXXtentacion
Album: Revenge
Genre: Trap Rap / Alternative R&B / Hip Hop / Post-Hardcore / Electropop
Year of Release: 2017
Year of Release: 2017
On First Listen (21st May 2017): Internet rap sensation XXXtentacion has a compilation released, and it seems to be a mix of older and
newer tracks. It kicks off with the artist’s most known song, Look at Me! The song has a blistering,
distorted and haunted beat and a delivery that builds in aggression throughout.
It’s characterised most by its tight rhythmic flow and cadence in the earlier
part, which is a testament to the potential catchiness of a rap verse. The next
track, I Don’t Wanna Do This Anymore, is
another fan favourite of X’s, as he sings a crude ode of love to some subject
in contemporary R&B style over some soothing, reverb-drenched moans.
After this we get to less familiar territory, with songs
that have not gained as much acclaim and traction as the two openers. Looking for a Star seems like X’s clear
attempt at making a trendy banger, as Diplo produces a house-inspired
electropop instrumental, however X does manage to blemish this with some
weirder, more abrasive sound effects which pop up later in the song. Valentine is a very forgettable, cloudy mix of R&B and what sounds like Post-grunge, alongside questionably mixed vocals. King tries to capture the Post-Hardcore sound of the 2000s but does
so with poor production and no real uniqueness, also whilst mirroring the melodrama that much of those bands suffered from. Slipknot aims to capture the sound of 1990s East Coast Hip Hop, and
does a pretty decent job. Yung Bratz
is reminiscent of Tyler, The Creator’s tracks Tina and Bitch Suck Dick, an
annoying, obnoxiously loud joke track which serves as just an annoying detour
from the music. And finally, RIP Roach
is taken from the closing track of Drown-in-Designer
and is a re-capturing of the kind of energy in Look at Me! just with a more forgettable, less organised verse from
X. Ski Mask however easily has the
stronger, as his more laid back flow provides a brilliant contrast to the (once
again) loud, low-heavy, distorted production. XXXtentacion is a jack-of-all-trades
but master of none on this small project, as he tries his hand in at least five
different genres, but excels in none of them (with the exception of the opener,
which is a notably well-written song not just for him, but for the modern Trap
movement).
Highlights: Look at Me!, I Don't Wanna Do This Anymore, Slipknot
Lowlights: King, Yung Bratz
Rating: 6.5/10
Artist: Oneohtrix Point Never
Album: Returnal
Genre: Progressive Electronic / Ambient
Year of Release: 2010
Year of Release: 2010
On First Listen (20th May 2017): Oneohtrix Point Never paints vivid pictures of sparse,
unknown world with electronics like no other. For a large portion of this album
Daniel creates spacious, eerie and towering fields of sound with space-y synths
and unsettling vocal snippets. However, Returnal
begins with a change of pace, as Nil
Admirari delivers a sound more like Noise. The galaxy Lopatin puts us in
here is abrasive and treacherous, with what starts as subtle screams swallowed
by the music but ends up as bellowing, pained vocal loops sitting on top of
piercingly high synths. Then we get a move to Describing Bodies, which feels more like quintessential Oneohtrix
in this era. Light keys float around in the huge hum and echoing ring. These
first two tracks create a brilliant juxtaposition overall. Stress Waves seems oddly similar to the prior track, with a likeness in the low-end bedding of the track. However, it replaces the heavenly
high rings with two sets of keys in different registers which bounce off one
another, making for a less sedated experience. This for me may have just been poorly placed by virtue of its
similarity, and may have worked better as a reprise of the sound later on.
Much of the rest of the album consists of looping sounds
which rarely evolve or progress. Much of it feels like a glitch in space-time,
as sound represents the nature of cyclicality. The song Returnal achieves this in methods somewhat unusual to Lopatin of this era, as
he brings the contorted vocal samples to the forefront and has a much bolder
and more defined synth lead than the prior songs. This album succeeds, for the
most part, in what it wants to do, in creating these scenes of static, orbiting
experiences. And the closing track, Preyouandi,
echoes the sentiment even further as the project loops back to its first point
with another busy, harsh atmosphere. This album perhaps lacks some sort of
flare in idea, similar to Zones Without
People. Nevertheless, on no level does it fail, it just does not exceed my
neutral expectation of this point in Lopatin’s career. I believe he went on to
significantly expand his musical scope from Replica
onwards.
Highlights: Nil Admirari, Describing Bodies, Returnal, Ouroboros
Lowlights: None
Rating: 7.0/10
Artist: Buckethead
Album: Population Override
Genre: Jazz-Fusion / Progressive Rock / Jam Band
Year of Release: 2004
On First Listen (18th May 2017): Buckethead’s twelve studio album (which for Buckethead, is a
very early point in his career) is one that attempts to craft and mould what is
essentially a jam into a cohesive and emotive experience, and to a significant
extent, he succeeds. We kick off with a very Jazz Fusion-style track. The
keyboards maintain a prominent funk atmosphere whilst the loud bass guitar and
lead guitar dance over the percussion in a Jazz-like intricacy. The next few
songs then follow a fairly strict order. Too
Many Humans has at its helm a more emotional playing style from Buckethead,
all the while the drums fill the base with some rolling hi-hats to keep the
percussion light. Technicality and sentimentality can often be a tightrope,
where an artist can trip into indulgence and snobbery and lose all emotion they
were trying to convey, but Buckethead avoids this pitfall. The spacious guitar
and the moaning keyboard notes which hold and then scatter are all great ways
of manipulating the tempo to mirror the experience of sadness. The next song
picks up again, and then after that we have a little, beautiful guitar
interlude in Humans Vanish, and then
the next song is another softer moment. The first seven tracks resemble a wave,
peaking and falling in energy. In one sense, it shows Buckethead’s careful
plotting of track procession, but in another sense, the idea seems worn out by
the time we get to Earth Heals Itself. The
static track progression leads to a mechanical feeling, like a machine who only
transitions between two activities.
Following this, the rest of the tracks decide to stay in
this softer dimension, however do not necessarily explore it in much newer
ways. Although on a song like Clones
he is successful in conjuring the feeling that he wants to invoke from the
listener, he was invoking this very same feeling more potently in earlier songs
like Cruel Reality of Nature. On this
earlier song, he uses a lack of percussion to wonderfully accent an isolation
and vulnerability, and every softer moment following this cannot really live
up. The final two tracks are very unusual. Super Human is a lull moment but rather
than a serious low-energy emotion, this seems to aim for a more easy-going,
relaxing vibe, which seems very misplaced here. And finally, …, although certainly enjoyable, is essentially a solo guitar tribute to seventies hard rock music. And thus, bizarrely,
an album that was so heavily calculated in its structure in the earlier half,
becomes very unusual in its last quarter, with songs feeling slightly out of
place.
This album has its merits: Buckethead must be given praise
for his playing, synergy with his fellow musicians and his ability to translate
feeling without words (which is a difficult skill). However, some tracks feel
as if they did not belong, and others felt like they added nothing new that
earlier parts of the album had not already explored.
Highlights: Unrestrained Growth, Too Many Humans, Humans Vanish, Cruel Reality of Nature
Lowlights: Earth Heals Herself, Super Human
Rating: 7.0/10
Artist: Mac DeMarco
Album: 2
Genre: Indie Folk / Jangle Pop / Psychedelic Pop / Singer-Songwriter
Year of Release: 2012
On First Listen (15th May 2017): 2 is perhaps the
most unlikely riff fest of an album you will ever come across. Whilst Demarco’s
overall monotony has a certain simple charm, and whilst the moments where he
finally breaks from that are satisfying, his glaring talent is in his guitar
work. Cooking Up Something Good is led
by a funky and memorable riff, and beneath that Demarco arranges layers of
guitar to compliment. A song like Ode
to Viceroy creates a great contrast through a call-and-response between
Demarco’s deadpan vocals and bright, sunny guitars in the refrain. And then on Freaking Out the Neighborhood, we get
what I would argue is his highest point of playing. The riff to kick the track
off is exceptional, and it can take the spotlight atop of the unassuming, light
percussive tambourine and drums and Demarco’s equally modest singing (although
we do see his vocal capabilities in this song also, especially in his delivery
of the line ‘starts freaking out the
neighborhood’). Demarco champions versatility with funky, jangly rhythms,
folky chord progressions, psychedelic atmosphere and soaring lead work, a
diversity one may not expect in a singer/songwriter/indie style, and as such
feels fresh and innovative in his genre.
The album seems to lull in the latter half though, as the guitar
begins to take more of a backseat. My
Kind of Woman does not seem to have much in the way of a memorable riff,
and tries to compensate with lingering, reverb-y notes hanging in the
background and a multiple-track vocal psychedelics. But what made the first
half special is not here, and without those guitars, Demarco struggles to distinguish
himself as a sound. Even in the purely instrumental interlude Boe Zaah, this is nowhere near his most
interesting or explorative instrumentation on the project. And finally, on Still Together, although this may be a
vocal highlight, the guitar work feels quite derivative with regards to his
Indie Folk/Indie Pop contemporaries and predecessors. On first listen, this
seems to be to be a top-heavy album, and he does not play to his song-writing
strengths enough in the latter half.
Highlights: Cooking Up Something Good, Freaking Out the Neighborhood, Ode to Viceroy, The Stars Keep On Calling My Name
Lowlights: My Kind of Woman, Boe Zaah
Rating: 7.5/10
Artist: UNKLE
Album: Psyence Fiction
Genre: Trip Hop
Year of Release: 1998
On First Listen (15th May 2017): UNKLE’s debut album is an interesting and unmissable venture
in the Trip Hop sound. Although, it gets off to an awkward start, with Guns Blazing being dominated by the
rapping features and not being able to truly showcase any kind of identity of
UNKLE. UNKLE’s contribution to this track feels too minimal, as if they simply
provided a beat for these rappers. What’s more, the rapping arrangements here
could do with some tidying. It seems to me it would have made much more sense to have started the album with U.N.K.L.E. Main Title Theme. However, one recurring signature which we do see
here and we also see manifested and developed throughout is the exploration of
drum sampling. The brash and bold snare hits feel reminiscent of the 80s Hip
Hop drum sound. The drums continue this but also begin to evolve throughout the
track-list. Bloodstain is a high
point for the drums, as they transform throughout, throwing in different loops
and patterns to accompany guitar cuts and menacing keyboards. By doing this,
UNKLE create a more natural and organic sound than their contemporaries, comparable almost to live band instrumentation. In The Knock, Mike D is able to encapsulate
and reflect the character of the drums with his signature 80s rapping style.
All the while, UNKLE creates a darker world for Mike D to inhabit, and thus we
have the two artists pushing each other and creating a highlight.
Where this album gets very hit-and-miss is in the features.
Features such as the perfectly placed Mike D and the emotionally fierce Richard
Ashcroft work to help diversify the experience of the album but maintain UNKLE’s
atmosphere. Thom Yorke also, who always suits more discordant arrangements,
spearheads the ominous and unusual Rabbit
in Your Headlights, with oddball compositions and unpredictable song
progression. However, Alice Temple seems somewhat flat on Bloodstain, luckily for her the production is stellar enough to
pick the song up, and more vocals come in towards the end of the track to bring
the missing emotion to surface. For that reason, I would still consider it a high-point. Badly Drawn Boy on the other hand, have an irredeemable
contribution to the album, as they deliver an emotionally vapid vocal section
over a total mess of a song which basically amounts to an overly-loud loop of
harsh guitar and erratic drums. Another weak and unfocused track is Chaos, which seems to have no bearing on
the rest of the project, as Atlantique provides an acoustic ballad-style song. Both
tracks seem to not fit into or reflect any kind of over-arching idea of the
album, and merely serve as tangents of an otherwise cohesive project. It proves
even more questionable when we see that UNKLE can shine on their own, like in
the layered and exciting Celestial
Annihilation, in which they display manipulations of vocals and samples in
an original and captivating way. With perhaps a rethinking of the features, the
track ordering and which tracks even made the final cut, then this could have
been a really great album. On first listen however, I’m not too sure I can go
as far as to call it that. Nevertheless, this album intrigued me and perhaps its low and middling points will grow on me.
Highlights: U.N.K.L.E. Main Title Theme, Bloodstain, Lonely Soul, Celestial Annihilation, The Knock (Drums of Death Pt. 2), Rabbit in Your Headlights
Lowlights: Nursery Rhyme / Breather, Chaos
Lowlights: Nursery Rhyme / Breather, Chaos
Rating: 7.5/10
Artist: Steve Roach
Album: Structures from Silence
Genre: Ambient / Space Ambient
Year of Release: 1984
On First Listen (12th May 2017): Steve Roach’s Structures
from Silence creates a sound which feels as vast as the cosmos. His music
here travels to the peaks of heaven, using keyboards and synths to mirror the
orchestral strings of paradise. This is in every song, blistering electronic
bliss staying always in the high notes and submerging the listener in some form
of sonic purity. However, accompanying this on the first track is a shady spot.
Reflections in Suspension is
populated by a darker, more ominous synth. It runs through the veins of the
piece, never allowing the immaculate comfort that the lighter synths tease. And
to me, therefore Reflections in
Suspension is the most potent and most effective of the three tracks. The
atmosphere is complex and almost paradoxical, like the eternal space he seeks
to photograph. This alien, melancholic, existential synth lingers always, and
in doing this, creates a unique and even more powerful muddied beauty. A beauty
that can speak to the bleaker emotions.
Another moment of this occurs on the latter portion of Quiet Friend, the angelic section
maintains but is met by a dark but delicate, galactic synth lead. Until this
point though, which is not until around the eight-minute mark, the song feels
more unified in its positive sound. And Structures
from Silence, the title and final track, is entirely in these higher, more optimistic
spaces. Structures from Silence has a
pulsing, droning beauty, but lacks the lower frequencies to round the sound off
like the album opener. As an album where atmosphere and feeling is paramount,
the submergence in atmosphere and emotional stimulation I feel is unfortunately
uneven on this project. For this reason, I could not claim to love it like I do
some other ambient records, but it still is faultless in execution and a pleasant
listen.
Highlights: Reflections in Suspension
Lowlights: None
Lowlights: None
Rating: 7.5/10
Artist: Arca
Album: Arca
Genre: Glitch Pop / Latin Electronic
Year of Release: 2017
On First Listen (10th May 2017): My first experience with Arca is a unique and exciting one.
Arca creates a distinct universe of his own through this album, one that thrive
on bright flickers amongst an eternal ominous space. Another unique thing about
this experience is the oddball electronic soundscapes being clashed together
with his native vocals. Anoche in particular
explores this mix, employing what sounds like maracas to accompany his singing,
emphasising what is already a vocally intensive song, and highlighting the
sharp contrast even more. This whole project in fact is very centred his vocal
performance, with a loud mix demanding listener’s attention. So naturally, one
of the high points on the album, Desafio,
is special through a vocal performance that rises above much of the rest.
The vocals here are softer, higher and bleed into the background very nicely,
all the while still winning your concentration. However, interestingly, my
highest point on this album is the instrumental track Urchin. Much of the composition here is stellar, with the huge bass
filling the floor of the song, and the creative implementation of the melodic
release points at the end of each bar. The sound in this track is expansive,
whilst still maintaining the very dark and spacious core of the album.
This album is very consistent, but unfortunately, I could
only describe as consistently good, rather than consistently great. There seems
to be a lack of distinction here. This may be just because it is an album that must
be listened to many times to really stick, but on first listen I cannot give it
an abundance of praise. Whilst there are small variations, like the more
traditional (but still heavily manipulated) lead piano in Coraje or the memorable and menacing synth lead in Miel, most of this album seems to blend
together. As a whole, it is successful, but when reduced to its parts, much of
it does not stand out amongst the rest.
Highlights: Urchin, Reverie, Desafio, Miel
Lowlights: None
Lowlights: None
Rating: 7.5/10
Artist: Del the Funky Homosapien
Album: I Wish My Brother George Was Here
Genre: West Coast Hip Hop / Funk
Year of Release: 1991
On First Listen (9th May 2017): Eccentric rapper Del the Funky Homosapien released his debut
solo album I Wish My Brother George Was
Here in 1991. Although related to Ice Cube, his sound and, more
specifically content diverged greatly from the likes of his cousin. Del manages
to create captivating raps about much more every day phenomena, weaving
observatory but non-intensive narratives together. A notable example of this
being The Wacky World of Rapid Transit,
where Del explores the insignificant struggle of waiting for and then
travelling on a bus, all the while making the listener wholly engaged as if it
was something much more eventful and exciting. And then again later, Del does a
similar thing Sleepin’ On My Couch.
However, Del still dedicates a track to delving into the street life on Hoodz Come in Dozens, however takes more
of a commentary approach than perhaps the first-person style of a rapper like
Ice Cube. In doing this, he provides a valuable and unique perspective onto the
world and, accompanied by a funky, bouncing beat and a great four-bar beat
switch in the second verse, creates a clear highlight on the album. The
production on this album is responsible for many of the high points. Mistadobalina has powerful, booming
drums and perfectly funk-inspired guitar licks all over, which combines with
the brilliant hook and flawless delivery by Del to emerge as the clear peak of
the album. Also, Pissin’ On Your Steps has
bright and colourful production, again utilising the vintage, energetic guitar
sounds and this time it is merged with soulful vocal samples to embellish it
even further.
However, the album has very low lows unfortunately. Dark Skin Girls, is ill-thought out,
tacky and has lyrical themes that border on ignorant discrimination. Also, the
subtle tongue-in-cheek vibe cannot compensate for the so poorly constructed and
irritating hook. Money for Sex is also tackily handled with shallow,
pseudo-intellectual lyrical themes. Combine this with a few other songs around
the album’s middle that are only decent, and this album falls short of
maintaining the consistency of its early, towering moments.
Highlights: Mistadobalina, The Wacky World of Rapid Transit, Pissin' On Your Steps, Hoodz Come in Dozens
Lowlights: Dark Skin Girls, Money For Sex
Lowlights: Dark Skin Girls, Money For Sex
Rating: 7.0/10
Artist: Gorillaz
Album: Plastic Beach
Genre: Electropop / Hip Hop
Year of Release: 2010
On First Listen (8th May 2017): Plastic Beach is
Gorillaz’ most other-worldly album, but also their most funky and most sunny.
This is showcased immediately with Welcome
to the World of the Plastic Beach, which has a great funk=inspired bass and
drum section with Snoop delivering sporadic ad-lib style contributions, all of
which steer clear from anything that might sound too earthly. And as with usual Gorillaz fashion, straight away the
eclecticism is on full show. The next track is very different to what we begin
with, as White Flag blends together
an unlikely pair of UK Hip Hop and Classical. This album, and Gorillaz in
general, tend to put rappers on unorthodox, beats, but when this is done
successfully, the rappers feel very much transported to the worlds that exist
in this fictional universe. The greatest moment of this for me is undoubtedly Superfast Jellyfish, that features a
very bright and fun instrumental section, with playful keys and De La Soul
delivering a lively and light-hearted rap to match. However, there are points
in this album where this does not work quite as well, as both of Mos Def’s
features are questionable. The first, Stylo,
is him being underused and the second, Sweepstakes,
containing this grating, repetitive refrain, a messiness and, ironically,
perhaps a little too much Mos Def.
2D (Albarn) has many fantastic moments on this project. Lots
of vocal layering and texture in Empire
Ants bolsters up 2D’s already beautifully toned performance. Also, the
brilliantly catchy hook in Broken and
the tenderness and innocence on display in On
Melancholy Hill and the bouncy, raw and unpolished falsettos in Plastic Beach.
Unfortunately, this album has spots of weakness, like the
Mos Def songs mentioned above and the directionless instrumental interlude of Glitter Freeze. Cloud of Unknowing also
feels somewhat out of place, as it seems to want to capitalise on its late
position on the album with a slower, more epic atmosphere but comes off more as
lacking ideas and unengaging. What’s
more, Bobby Womack does not seem to be able to capture the same mood and
feeling that has shined through this album. At least however, Pirate Jet brings us back into the right
vibe with unusual imagery like ‘we left
the taps running for a hundred year’ and some signature space-y synths.
Overall, this project is a good project and a testament to
Gorillaz’ unwavering form at the time of this release. However, now I would say
it falls somewhat short of their self-titled album and Demon Days. But the
experience was undeniably very enjoyable, and I see this album only gaining
fondness over time.
Highlights: Superfast Jellyfish, Empire Ants, On Melancholy Hill, Broken, Plastic Beach
Lowlights: Glitter Freeze, Sweepstakes, Cloud of Unknowing
Lowlights: Glitter Freeze, Sweepstakes, Cloud of Unknowing
Rating: 7.5/10
Artist: Have a Nice Life
Album: Deathconsciousness
Genre: Shoegaze / Post-Rock / Post-Punk
Year of Release: 2008
On First Listen (6th May 2017): Have A Nice Life create a work that is eclectic at its core,
exploring a variety of genres and ideas on this project. At many points on this
album, the characteristics of Shoegaze are brought out and exceptionally
handled. For example, the drowned out and smothered vocals in The Big Gloom. However, they contrast
this with a clearer, rockier riff and an unusual drum sound that feels
somewhere in the distance. Another defining Shoegaze moment is the opener that
employs a constant ethereal hum and huge waves of perhaps electric guitars,
washed in reverb, that come and go, painting the vivid picture of a time coming
in and fading away. However, there is an abundance of moments on this album stray
quite clearly away from this. Black Metal
Records for example, has a heavy rock form with a hard and memorable riff
paired with a soaring presence in the vocals. Also a song like Telephony, with the post-punk, Joy
Division-esque atmosphere. And even within songs, we find sharp turns in sound,
such as in the song Holy Fucking Shit: 40,000,
which begins very intimately with just the vocals and an acoustic guitar,
almost reminiscent of a folk song. But the song progresses into a much harder
rock sound, with electric guitars and pounding drums that burst through to take
centre stage.
This album even fluctuates in volume and mixing. Songs like I Don’t Love fill the entire room with
beautifully abrasive and overwhelming clusters of sound, whilst other songs
like Telephony keep their jangly
guitars and rhythmic drums to a quiet level. You have songs with huge bass,
like the earth-shaking There Is No Food. Also songs where vocals are booming but quite indiscernible like Who Would
Leave Their Son out in the Sun? and others where they are much clearer but
also quieter, like the dazzling, soft beginnings of Hunter. There is truly too much to say about this album that I can
hope to sum up in a couple paragraphs after a single listen, but this is a
great album that I will be absolutely returning to. I only have two small
gripes, one is that whilst this album overall is strong, and every song is very
good if not great, there’s only a couple moments that manage to astound me, the
most notable one being Hunter, with
its fantastic ending refrain, building atmosphere and explosive distorted peak.
However, this may just be a first impression thing, I think many other songs
may well hit me in this same way in the future. My other gripe,
controversially, is the ender. For such an explorative and unpredictable album,
Earthmover feels like simply a mix of
Shoegaze with a drawn out Post-Rock crescendo. For now, I am missing the magic
of this track, and although it is good, it is my weakest moment.
Highlights: A Quick One Before the Eternal Worm Devours Connecticut, Hunter, There Is No Food, Waiting for Black Metal Records to Come in the Mail, Holy Fucking Shit: 40,000, I Don't Love
Lowlights: Earthmover
Lowlights: Earthmover
Rating: 8.5/10
Artist: Grimes
Album: Visions
Genre: Synthpop / Experimental Pop / Electropop
Year of Release: 2012
On First Listen (5th May 2017): Grimes showcases her experiments with pop clearly here.
Her versatility of synths, layering of vocals and overall challenging yet
pop-bound composition is all on display. We see the poppy bounciness in the
playful pianos and dance beat of a song like Genesis, but on top of this, Grimes creates a textured, ethereal image
with her vocals. And although perhaps this song may have benefited from a more
immediately catchy and mesmerising use of refrains, this is not a problem on
most of the album. Oblivion has very
heavenly and catchy vocal arrangements through the verses and a chorus that, although
doesn’t burst away from the song, is very memorable.
The way Grimes handles her vocals in general undoubtedly takes the spotlight on
this album. A song like Visiting Statue
for example, has a masterful use of vocal multi-layering, as you hear the
different vocal tracks play off each other on top of a glitch-y, but fun
dance-able groove. And then later, on a song like Skin, we hear some astonishing falsetto beauty as Grimes exercises
the range and capabilities of her voice. She also manages to create multiple
hypnotic refrains throughout, an example being the ‘see you on a dark night’ moment in Oblivion, or ‘I'ma, ready to say, I'ma
working to the bone all day’ in Circumambient.
There are a few
lull moments on this album though. Eight seems
rather pointless, with the tacky robotic voice samples, although on it she
delivers a very high register, almost traditional Asian-sounding vocal
performance on this song, which gives it at least some appeal. Also tracks like
Symphonia IX and Nightmusic seem to lack any sort of catchiness, and Nightmusic especially feels a little too
laid back in its execution. I do not think these kinds of songs compliment what
she excels at, namely her incredible vocal soundscapes and expansions on pop
principles. The album ends on a high note however, with a perfect showcase of
these talents through vocal tracks that were presented all over the album being
brought once again to the forefront, and leaving a reminder in the listener’s
mind that she has a towering skill in this avenue of sound. As it stands, I don’t
think I prefer it to Art Angels, as Art Angels seems to have less weak
tracks. Although, Art Angels grew on
me over time and even went up a score, and this may well too.
Highlights: Oblivion, Circumambient, Visiting Statue, Skin, Know The Way
Lowlights: Eight, Symphonia IX, Nightmusic
Rating: 7.5/10
Artist: Slowdive
Album: Slowdive
Genre: Dream Pop / Indie Pop / Shoegaze
Year of Release: 2017
Full review here: http://sundayjamz.blogspot.co.uk/2017/05/sunday-jamz-shak-album-review-slowdive.html
Artist: Travis Scott
Album: Rodeo
Genre: Trap Rap / Experimental Hip Hop
Year of Release: 2015
On First Listen (3rd May 2017): Travis Scott shows on Rodeo
that he clearly has the artistic edge on many of his direct contemporaries.
Much of the loud production and song progressions and deviations give the album
and experimental flavour. Rodeo is at
its best however when it manages to fuse this with the safe sonic appeal of
Trap, catchy hooks and addictive melodic arrangements. Nightcrawler uses a piercing alarm sample in the earlier portion
with various layers of synth added throughout the song, and brilliant verse
from Chief Keef, all the while maintaining a catchy chorus, something Scott is
a master of crafting. Oh My Dis Side
is a song of two distinct parts, and he uses his musical curiosity to play with
his hook in the first part, shifting pitch and register with the repetition of ‘oh
my’. In doing this, he encapsulates the strength of the album, using something
so emblematic of the Trap genre, but playing with it to make it far away from
the norm. Antidote serves as the
height of this fusion, with lots of vocal warping, and quiet lulls in the beat,
all the while using constantly intoxicating vocal arrangements underpinning the
raps in the verse and one of the strongest hooks on the album. 90120 is another positive, although for
quite a different reason. The Kanye West influence is evident all over this,
with the first half having the electronic spark of 808s and Heartbreak and the second half with the nostalgic-feeling,
sentimental samples you may find on The
College Dropout or Late Registration.
Underlined by a hard snare drum beat more reminiscent of classic Hip Hop.
On some of the tracks however, the ambition of Scott seems
wasted. Ironically, this seems evident most on Wasted. A weak feature from Juicy J and lack of a remarkable chorus
leaves the song quickly forgettable. Pray
4 Love delivers another underwhelming guest performance, with The Weeknd
being lost in the heavy effects of the hook, and giving a below part verse when
he is finally audible for his outro verse. 3500
also did not go down completely positive with me, feeling overly-long due to
the dragging, disappointing verse of 2 Chainz, which If axed, would have made
for a much stronger song.
Rodeo is a mixture
of an artistic push of Trap Rap, an embrace of Scott’s influences (most
obviously Kanye West and Drake) and a desire to still be entertaining on a
simpler level. It succeeds in parts and on certain songs, and fails or under-performs
on others. On first listen, the magic has not hit me as hard as some, and this
album strikes me as perhaps somewhat overrated, but I am curious to how I will
feel after more.
Highlights: Oh My Dis Side, 90210, Nightcrawler, Piss On Your Grave, Antidote
Lowlights: Wasted, Pray 4 Love
Rating: 6.5/10
Artist: Black Tape for a Blue Girl
Album: Remnants of a Deeper Purity
Genre: Neoclassical Darkwave / Dark Ambient
Year of Release: 1996
On First Listen (2nd May 2017): This album has two very distinct sounds and two very
separate takes on the Darkwave genre. The four three and a half tracks embody
the Neoclassical edge to Darkwave. Redefine
Pure Faith makes a success of this sound, using the bleeding violins,
operatic backing vocals and a spoken word shadow to bolster the dramatic
vocals. This song feels like the darker moments of classical pieces captured
and expanded, where atmosphere is paramount. Unfortunately, the next two and a
half songs do not do the same level of justice to the idea. Fin De Siècle has a very beautiful ominous
drone that fills the back of the song, but at the front the female vocals here
don’t hold me with the same captivation. Although they sound blissful and
angelic when in the falsetto registers, the vocal arrangements in the lengthy
lull periods feel uncreative and lacklustre. Similarly, it is the vocals again
on both With My Sorrows and the first
section of For You Will Burn Your Wings
Upon the Sun that hold it back. In the former track the vocals again are
too unassuming at their tamer, medium points, but in the latter, they feel
overdone and overdramatic to the point of cheesy. The second part of For You Will Burn on the other hand,
consists solely of an instrumental ensemble, creating, by the lack of vocals, a
much more ambient experience, which leads nicely into the second half.
There is no doubt for me that the second half of this album
is much stronger. Black Tape for a Blue
Girl seem to craft Darkwave songs that are more focused on Dark Ambience
better than they do the more classically inspired style. Wings Tattered, Fallen is pure atmosphere, with the harshly
reverbed vocals melting into the sea of swirling ambience beneath conjured by
the incredibly smoothed out string sections. This new direction is continued on
Fitful with wordless moans wailing
atop another bed of ambient sounds. Remnants
of a Deeper Purity then throws a brilliant oddball with an acoustic-led
Dark Folk track, and then following from this, we have the beautifully simple
piano led interlude in Again, To Drift,
and subtle vocals and a wave of vocals drawing you in on the finale. The
strange thing about this album is that it has a quality that is both a great strength
and flaw: these unobtrusive vocals. They seem to just feel incomplete and
lacking memorability in the earlier Neoclassical section but blend perfectly in
the hyper-atmospheric latter portion.
Highlights: Redefine Pure Faith, Wings Tattered, Fallen, Fitful, Remnants of a Deeper Purity
Lowlights: Fin De Siècle, With My Sorrows
Rating: 7.0/10
Artist: Freddie Gibbs
Album: You Only Live 2wice
Genre: West Coast Hip Hop / Gangsta Rap / Trap Rap
Year of Release: 2017
On First Listen (1st May 2017): Freddie Gibbs tries to find middle-ground between his West Coast
Hip Hop roots and the modern trends of Trap on this project, all the while
mixing in blemishes of soul-esque tenderness through the instrumentals and
lyrics. Whilst I have no back-catalogue to compare this album to (I know, I
know, I’ll listen to Piñata soon, it’s on my list), the cadences and flows on most
of these songs seems an embrace of the West Coast Gangsta Rap traditions found
in the 90s and early 00s. However, this contrasts with a softer take on the
beats. Alexys, for example, uses
perhaps an instrument as light as a xylophone as the meat of the track, accompanied
by an epic beating string section. However, I am not convinced that the
emotions that these production tricks attempt to bring are all that successful
in relation to reflecting the content of the album. Alexys, along with many other moments and songs on the album, do
not seem to have a fresh lyrical outlook on the tribulations of the street life
that are so often reported on in Hip Hop, and it’s hard to find a lyric on this
project which doesn’t feel very slightly stale in the larger musical context.
The strength of Gibbs on this project is really with the more tonal and
structural qualities of his rapping rather than the semantics. His flows are
often catchy in their rhythmic patterns, and are also very diverse. A song like
20 Karat Jesus has an exposition of multiple
different flows, all of which blend well. There are also two separate beats
used, the earlier more ethereal one, and the later more soulful one, both of
which complement the changing deliver, and thus the overall variety in this
song makes it an easy highlight. Another highlight of the album for me is Amnesia, a very contemporary sounding
song with a full adoption of the Trap sound. The song is bouncy and fun but
also eerie, with a looped and manipulated male moan to remind the listener of
the darker side of the song’s ideas.
However, as I began to state earlier, this album is plagued with
weaknesses. Another glaring weakness for me is the project’s choruses. A song
like Dear Maria has a painfully
uninspired and basic chorus: ‘See the game, it gon' never change, Cocaine, Mary Jane, got
me everythin', yeah’,
which sits on top of an irritatingly busy drum section and is surrounded by
slurred and awkward verse deliveries. What’s more, the singing of this chorus
feels like something from the early-mid 2000s: where forced, r&b-esque sung
choruses were a mandate for a marketable rap song. A similar thing can be said
about Phone Lit, with a chorus that
sounds so dated it could be out of a Ja Rule song. This album boasts technically proficient, exuberant and dynamic
rapping, and alongside it, production that at the best of times can capture a choral-filled
sentiment comparable to Kanye. But, the album is held back by an uncreative
concept, a lack of powerfully resonating lyrics and choruses and a failure to
hit home emotionally. Homesick makes
a good attempt, but in the end just feels like a cliché ultimatum point for a
semi-sensitive project.
Highlights: 20 Karat Jesus, Crushed Glass, Amnesia
Lowlights: Dear Maria, Phone Lit
Rating: 6.5/10
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