Hey, everybody..... Alright, so you guys remember that one time I said I was going to write on a consistent basis? Yeah, me too. Here's the problem with that. I like doing things. Those things may or may not include eating, sleeping, playing video games, watching movies/tv etc. These things often are much more appealing than taking the time and effort to study up on an album enough to write a relevant and meaningful review. Not to mention taking the time to write it. Despite how intelligent and insightful my reviews might seem, I actually take a lot of time writing them. Thinking of interesting things to say is difficult. Anyway, I'm rambling....
I'd like to apologize to anyone who might enjoy reading what I write on a regular basis (granted that is probably very very few people, if any.) In any case, I would like to try and recommit myself to this endeavor. I've recently gotten a premium subscription to Spotify which means I can listen to lots and lots of music while out and about. Spotify does not pay me anything for saying this, (yet) but it really is a great service. This will be nice because I can listen to full albums while working without having to worry about collecting a massive physical library of music.
In summation, I realize I've not been writing because I'm a lazy bum that likes doing lazy type things. I want to apologize for this crippling character flaw, and the resulting lack of content. Lastly, I want to recommit to talking about music as much as possible here. I've learned about myself that I stay committed more when I get feedback. So, please everyone, if you have anything at all to say about anything I say or do, say it. I want to hear from other people, and hear what they think. The conversation about music is what really draws me to this. Help me help you. You tell me what you think, I'll stay motivated to tell you what I think. Thanks again for your time everybody, and listen to something interesting!
Disclaimer: (if at all necessary) I make no claims to having anything to do with Spotify. I just use it to listen to music. Which is very very convenient. Again, Spotify is great. Lots of great music, great features and functions, and easy to use. Really, use it for listening to music. Just don't give me any credit for anything.....
Wednesday, May 13, 2015
Sunday, April 12, 2015
Billboard Top 10 Rundown!
It's sunday everybody, and although I've already posted 3 reviews I'm still going to give a quick rundown of the Billboard Top 10 songs. This is my first shot at this, so I'll try not to be too harsh, and Hopefull you'll grant me the same courtesy. Number 1. "Uptown Funk" by Mark Ronson featuring Bruno Mars. Now as far as I know, Mark Ronson is new to the limelight, but Bruno Mars has brought him to the party. This song has been on the charts for 21 weeks, and for good reason. It's funky, and fun as hell. Bruno Mars has the perfect image and personality to make this song the blast that it is. A simple funk song, with few complex chord changes to it, and a chorus that just feels sparkly wiith it's synth keyboard and resolving chord changes. This song is simple, but just so much fun.
Number 2. "Sugar" by Maroon 5
This song is not all that different from what they have been producing for the last few years, but it has an endearing sentiment to it. The groove feels good, with quiet background keyboard, and the focus on Levine's falsetto vocals make it exciting. A very simple radio tune. A very safe bet from Maroon 5 to keep them near the top of the class.
Number 3. "Love Me Like You Do" by Ellie Goulding
I'm not as familiar with Ellie Goulding, but from what I hear on the radio, it doesn't take much get familiar. She's got a nice voice that pulls off tender and vulnerable well, as well as powerful and bold. This is another typical trance type track. As a base for a vocal performance it works just fine, but for overall musical performance and expression there is little to nothing happening. Mainly drum beats and basic chords.
Number 4. "Earned It" by The Weeknd
Apparently this one is from Fifty Shades of Grey. I wouldn't know. I try to stay away from
crap. That being said, I'm actually okay with this song. It's in a style that hasn't been
largely popular since the Eighty's or early Ninetie's. That is unless you count Beyonce and the like. It's surprisingly soulful, if slightly overproduced. The song could use a more pronounced arc overall, but is still entertaining. If you like slow passionate R&B, this song's ranking at number 4 makes you quite happy.
Number 5. "Thinking Out Loud" by Ed Sheeran
This song has been around quite a while, and me feelings on it have not really changed since I first heard it on 'multiply'. It's a decent little song, but once the band comes in, it loses its acoustic identity that it tried to establish from the start. It's a decent song that, performed the right way, could be much better than it deserves to be. Unfortunately, Ed Sheeran doesn't quite get it right.
Number 6. "Trap Queen" by Fetty Wap
Now we get into the stuff that I don't really like. There's not much to make it stand out from any other mid tempo hip-hop track. Rhythmically, it's par for the course. Now I understand hip-hop/rap is largely about lyrical narrative, but it's often better done than it is here. This song is basically all about some hot girl at a club. Yawn. During verses, the lines sound they're being delivered by Don Corleone, in that it sounds like he's got something shoved in his mouth
muddling up his words. Not impressive.
Number 7. "Style" by Taylor Swift
Ah, the juggernaut that is Talyor Swift. I'm surprised this song isn't number 1. That's her thing right? Writing ridiculously popular songs? Anyway, this song sounds like an attempt at the classic eighties sound, at which it almost succeeds. The chord progression makes sense as a quasi ballad, and the synth style works too. If you like straight ahead time and simple droning keyboards that lay the groundwork for a uninspiring vocal performance. You're in luck. If you like interesting music, sorry.
Number 8. "G.D.F.R." by Flo Rida
Oh goody, more bland hip-hop. Another song about some party at the club that's gonna be off the chain. If you like going deaf from a way too loud bass system, then you'll probly enjoy this song. The rapped lines have no flow, and the phrasing is boring. Not to mention that if you listen very closely, you can hear a sample of War's "Low Rider". About the furthest jump in style that you could take from the original song. That makes me sad.
Number 9. "FourFiveSeconds" Paul McCartney, Rihanna and Kanye West
Now I'll have you know, in the Billboard song credits, the artists are listed as Rihanna, Kanye West & Paul McCartney. In that order. I've elected to put McCartney first because he's the main reason this song is good. He's actually a good songwriter, and I feel Rihanna and Kanye get to benefit from his talents on this one. That may just be because I don't like either of them all that much. About the song though, it's good. Great guitar work that sounds energetic but gentle, and to be honest Rihanna and Kanye sound fine. I think it would be better with different singers but, hey, maybe Rihanna and Kanye might get something out of the experience. Doubtful.
Number 10. "See You Again" by Whiz Kalifa feat. Charlie Puth
Another song from a movie. This time Furious 7. It starts as a sentimental piano croon from Puth, then whiz Kalifa takes it in a hip-hop direction. Both artists in the track give a pretty good performance. Unfortunately the contrast between the 2 styles, the verses and the chorus, is too pronounced and overall it comes across mildly confusing. After a few listens, this one kinda grew on me but I'm not in love with it. Overall, it's a pretty good track, and feels sincere.
There you have it folks, that's my rundown of Billboard's Top 10. Now I could speculate on where each of the tracks will go into next week, but I feel I would be terribly incorrect. I just don't have my finger on the pulse of today's pop music. I'll have a shot at it anyway though. I think "uptown Funk" will stay on top, but I don't think "Sugar" will stick around much longer. Earned it might climb a spot or two, but won't make it to Number 1. "Thinking Out Loud" will continue to drop, while "style" will hold it's position to the effect of gaining a spot. "G.D.F.R" will likely stay where it is. "FourFiveSeconds" will continue to drop, despite how good it is it doesn't have the energy to hold off other songs. And, lastly, I think "See You Again" will keep climpbing and get up to about the 4 or 5 spot. It might be fun to see how predictions turn out. In any case, it's not like I'll be listening to any of these songs until next sunday. Thanks for your time, everybody!
Number 2. "Sugar" by Maroon 5
This song is not all that different from what they have been producing for the last few years, but it has an endearing sentiment to it. The groove feels good, with quiet background keyboard, and the focus on Levine's falsetto vocals make it exciting. A very simple radio tune. A very safe bet from Maroon 5 to keep them near the top of the class.
Number 3. "Love Me Like You Do" by Ellie Goulding
I'm not as familiar with Ellie Goulding, but from what I hear on the radio, it doesn't take much get familiar. She's got a nice voice that pulls off tender and vulnerable well, as well as powerful and bold. This is another typical trance type track. As a base for a vocal performance it works just fine, but for overall musical performance and expression there is little to nothing happening. Mainly drum beats and basic chords.
Number 4. "Earned It" by The Weeknd
Apparently this one is from Fifty Shades of Grey. I wouldn't know. I try to stay away from
crap. That being said, I'm actually okay with this song. It's in a style that hasn't been
largely popular since the Eighty's or early Ninetie's. That is unless you count Beyonce and the like. It's surprisingly soulful, if slightly overproduced. The song could use a more pronounced arc overall, but is still entertaining. If you like slow passionate R&B, this song's ranking at number 4 makes you quite happy.
Number 5. "Thinking Out Loud" by Ed Sheeran
This song has been around quite a while, and me feelings on it have not really changed since I first heard it on 'multiply'. It's a decent little song, but once the band comes in, it loses its acoustic identity that it tried to establish from the start. It's a decent song that, performed the right way, could be much better than it deserves to be. Unfortunately, Ed Sheeran doesn't quite get it right.
Number 6. "Trap Queen" by Fetty Wap
Now we get into the stuff that I don't really like. There's not much to make it stand out from any other mid tempo hip-hop track. Rhythmically, it's par for the course. Now I understand hip-hop/rap is largely about lyrical narrative, but it's often better done than it is here. This song is basically all about some hot girl at a club. Yawn. During verses, the lines sound they're being delivered by Don Corleone, in that it sounds like he's got something shoved in his mouth
muddling up his words. Not impressive.
Number 7. "Style" by Taylor Swift
Ah, the juggernaut that is Talyor Swift. I'm surprised this song isn't number 1. That's her thing right? Writing ridiculously popular songs? Anyway, this song sounds like an attempt at the classic eighties sound, at which it almost succeeds. The chord progression makes sense as a quasi ballad, and the synth style works too. If you like straight ahead time and simple droning keyboards that lay the groundwork for a uninspiring vocal performance. You're in luck. If you like interesting music, sorry.
Number 8. "G.D.F.R." by Flo Rida
Oh goody, more bland hip-hop. Another song about some party at the club that's gonna be off the chain. If you like going deaf from a way too loud bass system, then you'll probly enjoy this song. The rapped lines have no flow, and the phrasing is boring. Not to mention that if you listen very closely, you can hear a sample of War's "Low Rider". About the furthest jump in style that you could take from the original song. That makes me sad.
Number 9. "FourFiveSeconds" Paul McCartney, Rihanna and Kanye West
Now I'll have you know, in the Billboard song credits, the artists are listed as Rihanna, Kanye West & Paul McCartney. In that order. I've elected to put McCartney first because he's the main reason this song is good. He's actually a good songwriter, and I feel Rihanna and Kanye get to benefit from his talents on this one. That may just be because I don't like either of them all that much. About the song though, it's good. Great guitar work that sounds energetic but gentle, and to be honest Rihanna and Kanye sound fine. I think it would be better with different singers but, hey, maybe Rihanna and Kanye might get something out of the experience. Doubtful.
Number 10. "See You Again" by Whiz Kalifa feat. Charlie Puth
Another song from a movie. This time Furious 7. It starts as a sentimental piano croon from Puth, then whiz Kalifa takes it in a hip-hop direction. Both artists in the track give a pretty good performance. Unfortunately the contrast between the 2 styles, the verses and the chorus, is too pronounced and overall it comes across mildly confusing. After a few listens, this one kinda grew on me but I'm not in love with it. Overall, it's a pretty good track, and feels sincere.
There you have it folks, that's my rundown of Billboard's Top 10. Now I could speculate on where each of the tracks will go into next week, but I feel I would be terribly incorrect. I just don't have my finger on the pulse of today's pop music. I'll have a shot at it anyway though. I think "uptown Funk" will stay on top, but I don't think "Sugar" will stick around much longer. Earned it might climb a spot or two, but won't make it to Number 1. "Thinking Out Loud" will continue to drop, while "style" will hold it's position to the effect of gaining a spot. "G.D.F.R" will likely stay where it is. "FourFiveSeconds" will continue to drop, despite how good it is it doesn't have the energy to hold off other songs. And, lastly, I think "See You Again" will keep climpbing and get up to about the 4 or 5 spot. It might be fun to see how predictions turn out. In any case, it's not like I'll be listening to any of these songs until next sunday. Thanks for your time, everybody!
Royal Blood: Self Titled
And finally, the last of my stash...
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Now Royal Blood is a band I heard about through some Spotify ad. They were one of a number of bands in, I believe, American Family's Emerge competition. Just for kicks, I thought I'd check out the bands participating. I'm very glad I did. Royal Blood's full length album was not out yet, but it turned me onto to them so I would be ready when it finally was released. Royal Blood is Ben Thatcher and Mike Kerr, a drum and base duo from Brighton, UK. The self titled, 'Royal Blood' is their full length debut, including the songs from their previous EP 'Out of the Black'.
'Out of the Black', actually kicks off the album in a big way. Leading off the track is a mainly drum intro giving the impression of machine gun fire before the bass rips in and announces the general idea that you'll be wrapping your head around for the rest of the album. A very heavy, booming distorted bass is the trademark of this group and it takes no time to figure out this groups' approach. Heavy distortion and effects give Royal blood the ability to create diverse sounds to keep the music interesting, but there is no mistaking that this is going to be a hard rock album.
The second track, 'Come on Over' shows off Kerr's skills as a player. The opening riff and driving concept behind the song is a simple but very effective exercise in tapping. The rest of the track continues where 'Out of the Black' left off. with driving eighth notes and big syncopated hits from the drums. The following track, 'Figure It Out' is a little more of a playful romp then the previous song, but another opening riff with some simple taps is a strong theme here. The chorus is where the real impressive song writing comes in though, as the chord changes are more active and give it an almost bluesy feel. A small interlude drops out most of the bass and lets the drums groove for a while before Kerr rips back in and takes this thing home in double time.
With a slightly more subdued tune coming next, (about as subdued as this group can get), 'You can be so Cruel' kind of slumps in for the first two verses before, in a chorus evocative of Wolfmother's 'Woman', the song kicks off. The drums throughout take a great rolling approach on the toms in the verses, and drives the choruses with the triplet feel riff that makes this song one of the standout tracks of the record. Now as every appreciator of music knows, most albums have a sort of slower, quieter, midsection. 'Blood Hands' marks this part of the album, but is by no means a ballad. This song in 3/4 comes off feeling like a Led Zeppelin ballad, but much louder. The drums are easy to miss in this kind of slower song, but the understated hi-hat rhythms between the measured bass and snare give this a very relaxed swinging feeling and make sure nothing feels too urgent.
Starting the climb back up to full volume, 'Little Monster' starts loud and bombastic, but the vocals in the verse are accentuated by the sustained bass notes leaving plenty of space for expression. The chorus is one of the more active ones on the record with the chorus riff being one of the finest examples of the groups writing ability. 'Loose Change' is another example of this ability. The riff is interesting enough to grab your attention from the beginning and be fun throughout. What makes it stand out is how well it supports the chord changes, direction of the melody and the rest of the track. This track is one of the best arguments of Royal Blood as a Riff-Rock group.
As we approach the end of the album, 'Careless' is an adventure into another kind of song style and structure. Heavily carried by the drum groove in the verse, the bass takes up less space and makes room for the groove more than the notes being played. The following song, 'Ten Ton Skeleton' is along the same lines but is notably heavier and is easily one of my favorite songs on the record. The bass is less involved and is left to play more of a riff designed to outline the harmonic structure of the tune. The standout feature of this track is it's groove and easily miss-able drum part. During the verses Ben Thatcher plays a very rhythmically involved part incorporating lots of tom and subtle hints at upbeats on the hi-hat. During the chorus though, all complexity steps aside for the need to thump the downbeat and emphasize how heavy and driving this track really is. Closing out this musical brawl is 'Better Strangers'. Another track similar to the last few, leaving lots of space for the groove and plodding bass progression. This track leaves it's mark in the way it just plods along the chords and alternates between the high and low registers of Kerr's base. Leaving us on a slow burner, the track wraps up with the heavy resounding thumps of the chorus and a ringing hum of fuzzy distorted bass.
It took me a long time to write this review after my first view listens, and I feel a little bad for waiting so long. As soon as I started it up again, I was reminded of how much I liked this album. Royal Blood carves a very big niche for itself in rock, and this is in no small part to its instrumentation and how they use it. With just a bass and drums that can leave a lot of the soundscape empty. With some heavy distortion and some creative playing though, it's near impossible to wish there was more going on. All the tracks are written to make perfect use of each of the riffs in each song. It can be hard for a duo to make all of the sounds necessary for a full fleshed out rock sound, and I have been skeptical of bands like this, such as The White Stripes. Granted it may be easier for a bass, it is still impressive to hear the kind of full-bodied sound that Royal Blood has made work for them. The best way I can describe this group is "heavy, riff driven rock". The riffs drive everything in this group. That is not to say nothing about the drums though. Thatcher so masterfully plays just what is necessary to ground everything, and in some cases fill space to provide for new ideas. I love listened to this album. It's fun, and it rocks hard. I so look forward to whatever these two musicians will do in the future.
Notable tracks: Out of the Black, Figure It Out, Loose Change, Ten Ton Skeleton
Vocal/Lyrics: 8/10 Never overdone, expressive and soulful. lyrics are evocative, youthful, and energetic.
Bass: 9/10 Well Written, expertly played, rich sound and rocks super hard.
Drums: 8/10 Essential and delivers in every way. Solid, locked in tight, never showy, very well crafted and complimentary.
Overall Rating: 9/10
Now Royal Blood is a band I heard about through some Spotify ad. They were one of a number of bands in, I believe, American Family's Emerge competition. Just for kicks, I thought I'd check out the bands participating. I'm very glad I did. Royal Blood's full length album was not out yet, but it turned me onto to them so I would be ready when it finally was released. Royal Blood is Ben Thatcher and Mike Kerr, a drum and base duo from Brighton, UK. The self titled, 'Royal Blood' is their full length debut, including the songs from their previous EP 'Out of the Black'.
'Out of the Black', actually kicks off the album in a big way. Leading off the track is a mainly drum intro giving the impression of machine gun fire before the bass rips in and announces the general idea that you'll be wrapping your head around for the rest of the album. A very heavy, booming distorted bass is the trademark of this group and it takes no time to figure out this groups' approach. Heavy distortion and effects give Royal blood the ability to create diverse sounds to keep the music interesting, but there is no mistaking that this is going to be a hard rock album.
The second track, 'Come on Over' shows off Kerr's skills as a player. The opening riff and driving concept behind the song is a simple but very effective exercise in tapping. The rest of the track continues where 'Out of the Black' left off. with driving eighth notes and big syncopated hits from the drums. The following track, 'Figure It Out' is a little more of a playful romp then the previous song, but another opening riff with some simple taps is a strong theme here. The chorus is where the real impressive song writing comes in though, as the chord changes are more active and give it an almost bluesy feel. A small interlude drops out most of the bass and lets the drums groove for a while before Kerr rips back in and takes this thing home in double time.
With a slightly more subdued tune coming next, (about as subdued as this group can get), 'You can be so Cruel' kind of slumps in for the first two verses before, in a chorus evocative of Wolfmother's 'Woman', the song kicks off. The drums throughout take a great rolling approach on the toms in the verses, and drives the choruses with the triplet feel riff that makes this song one of the standout tracks of the record. Now as every appreciator of music knows, most albums have a sort of slower, quieter, midsection. 'Blood Hands' marks this part of the album, but is by no means a ballad. This song in 3/4 comes off feeling like a Led Zeppelin ballad, but much louder. The drums are easy to miss in this kind of slower song, but the understated hi-hat rhythms between the measured bass and snare give this a very relaxed swinging feeling and make sure nothing feels too urgent.
Starting the climb back up to full volume, 'Little Monster' starts loud and bombastic, but the vocals in the verse are accentuated by the sustained bass notes leaving plenty of space for expression. The chorus is one of the more active ones on the record with the chorus riff being one of the finest examples of the groups writing ability. 'Loose Change' is another example of this ability. The riff is interesting enough to grab your attention from the beginning and be fun throughout. What makes it stand out is how well it supports the chord changes, direction of the melody and the rest of the track. This track is one of the best arguments of Royal Blood as a Riff-Rock group.
As we approach the end of the album, 'Careless' is an adventure into another kind of song style and structure. Heavily carried by the drum groove in the verse, the bass takes up less space and makes room for the groove more than the notes being played. The following song, 'Ten Ton Skeleton' is along the same lines but is notably heavier and is easily one of my favorite songs on the record. The bass is less involved and is left to play more of a riff designed to outline the harmonic structure of the tune. The standout feature of this track is it's groove and easily miss-able drum part. During the verses Ben Thatcher plays a very rhythmically involved part incorporating lots of tom and subtle hints at upbeats on the hi-hat. During the chorus though, all complexity steps aside for the need to thump the downbeat and emphasize how heavy and driving this track really is. Closing out this musical brawl is 'Better Strangers'. Another track similar to the last few, leaving lots of space for the groove and plodding bass progression. This track leaves it's mark in the way it just plods along the chords and alternates between the high and low registers of Kerr's base. Leaving us on a slow burner, the track wraps up with the heavy resounding thumps of the chorus and a ringing hum of fuzzy distorted bass.
It took me a long time to write this review after my first view listens, and I feel a little bad for waiting so long. As soon as I started it up again, I was reminded of how much I liked this album. Royal Blood carves a very big niche for itself in rock, and this is in no small part to its instrumentation and how they use it. With just a bass and drums that can leave a lot of the soundscape empty. With some heavy distortion and some creative playing though, it's near impossible to wish there was more going on. All the tracks are written to make perfect use of each of the riffs in each song. It can be hard for a duo to make all of the sounds necessary for a full fleshed out rock sound, and I have been skeptical of bands like this, such as The White Stripes. Granted it may be easier for a bass, it is still impressive to hear the kind of full-bodied sound that Royal Blood has made work for them. The best way I can describe this group is "heavy, riff driven rock". The riffs drive everything in this group. That is not to say nothing about the drums though. Thatcher so masterfully plays just what is necessary to ground everything, and in some cases fill space to provide for new ideas. I love listened to this album. It's fun, and it rocks hard. I so look forward to whatever these two musicians will do in the future.
Notable tracks: Out of the Black, Figure It Out, Loose Change, Ten Ton Skeleton
Vocal/Lyrics: 8/10 Never overdone, expressive and soulful. lyrics are evocative, youthful, and energetic.
Bass: 9/10 Well Written, expertly played, rich sound and rocks super hard.
Drums: 8/10 Essential and delivers in every way. Solid, locked in tight, never showy, very well crafted and complimentary.
Overall Rating: 9/10
Linkin Park: The Hunting Party
Next up from my little stash...
I'll preface this review by saying a few things about my Linkin Park experience. I have listened to Linkin Park quite a bit a long time ago, but their recent singles and releases have left me unimpressed. Not to say the last few singles have been bad, but I enjoyed the first two albums a lot more than anything I've heard by Linkin Park recently. With that said, let's get into it.
My issues with the last few Linkin Park songs that have hit it big is the loss of what makes Linkin Park so satisfying to listen to. Early Linkin Park is hard. It's angry, aggressive, and in your face. As it opens, this albums makes it clear that Linkin Park wants to bring that back. It's a good thing too. It's what makes their music relate-able. They even introduce the rapped verses into their new sound. It's very punk/grunge, and it just makes you feel like screaming right along with the opening lines, "No Control, No Surprise!" The first track "Keys to the Kingdom" is a fantastic, in-your-face anthem that we haven't heard Linkin Park do for quite a while, and I love it. They keep up the intensity for a good couple of tracks too. (You've got to appreciate the fun addition of a little kid yelling, "I not allowed to say certain things, AAAGGGHH! Just funny.) after a familiar sampled segue, "All For Nothing" keeps the hits coming with a loud distorted guitar, followed up with a booming drum intro to get you in the mood. What follows is what sounds like a breakdown from the previous track and slows down the feel, but every bit the rocker just the same. I couldn't help but feel feel happy with the drum track on this song, as it's simple but just what the song needs.
"Guilty All The Same" makes sure to drive this home with it's drum/guitar opening. Locked in, simple, but lays down a very militant groundwork for a straight forward rocker. Vocals are tight after a somewhat lengthy intro, with much of the volume and instrumentation dropping out, but the drums and vocals keep the intensity going throughout the song although there's not much going on harmonically. This is definitely a sing along and a rocker, and just pushes the tempo hard through the whole track. Just past the halfway mark, it breaks down and makes room for the kind of rap verse that Linkin Park made great early in their career. At this point in the album, you get the very distinct impression that Linkin Park is back to it's roots in a very fresh, exciting way, complete with electronic influences and sampling between tracks. Which is just what "The Summoning" is going into "War". Another early Punk/Grunge influenced song, "War" not something you hear a lot these days, but Linkin Park does very well at. Clearly not a radio single, as it is not at all what the public has come to expect from Linkin park. It's not the greatest track on the album, but a solid two minutes of in-your-face, don't-give-a-damn thrashing fun. "Wastelands" is another track that brings back familiar sounds of older Linkin Park with a very rhythmically focused song that focuses on rapped verses and nigh-screamed vocals during the chorus. The chorus takes a more minor ballad-esque feel, but the heavily distorted guitars coming off each chorus remind you this is still 'us against the world' Linkin Park.
Unfortunately, this is where things take a turn for the less exciting. "Until It's Gone" is an attempt at the same kind of quasi-ballad that gave Linkin Park the recognition that took them to the next level in the popular charts. The premise of the song is the old cliche, "you don't know what you've got until it's gone," with that being the chorus, almost word for word. It still has the same guitar sounds that the previous tracks have had, but it's clearly meant to be a chart topper.
Don't get your spirits too low though, because "Rebellion" is right around the corner. Again, this is the kind of new sound and experimentation that you want to hear from an artist that has released 5-6 albums now. It almost sounds like a System of a Down song from the start, but the guitar line on the bridge is doubled an octave higher with some cool electronic sounds that gives it a Linkin Park signature. "Mark the Graves" is another song that sounds very much 90's punk in it's intro. An interesting change from the rest of the album so far, it takes a major key and an overall positive tone. A half-time feel is a cool contrast from the highs and lows of the chorus and the verses respectively and, as the album has played out so far, this comes along to set a more even keel for "Drawbar" to wash in like a slow tide. It's entirely an instrumental, focusing mostly on the piano, but builds to a high point supported by some steady marching drums and elevated with some high guitar picking. A beautiful call back to earlier albums where shorter instrumental songs filled space and it was very much okay. It sets a easier, more somber tone for "Final Masquerade" Which is probably the only true ballad on the album. It's easy to miss on a casual listen through of the album, but the best way to hear this song is with some time to commit and really feel what it's trying to accomplish. Pay attention and it is actually quite pretty. In all honesty, It caught me by surprise. A large part of that is probably due to the more orchestral sound it takes throughout most of the song.
Wrapping up the album is "A Line In the sand". Starting out it transitions well from "Final Masquerade", keeping the same tone with ambient keyboard sounds and subdued clear vocals, feeling generally very intimate. But don't be fooled, a very aggressive drum and guitar riff bridges the first and second verse and the chorus is where everything kicks off. There's the obligatory rap breakdown, and the rest of the track pretty much vamps the defiant line "give me back what's mine" and in the end breaks off to leave you with the subdued vocals and ambiance from the songs' opening.
I went into this album not expecting much, judging from what I'd heard from Linkin Park in previous years. What I didn't expect was to be surprised by a Linkin Park I hadn't heard before but was still recognizable and carried much of the weight and intensity that I appreciated them for years ago. A very punk/grunge sound made for a great rock album that you could very well make yourself hoarse and give yourself a headache to. With a more committed listen, I thought the track order was very well selected and made for a good flow over the whole experience. Maybe I haven't enjoyed Linkin Park because I haven't taken the time to really listen to their albums. Singles are released to make money, but albums are crafted for the devoted listener to enjoy, And I surprisingly did. This is by no means my favorite album, or the best album I've ever heard, but a very strong offering from a band that I had given up on.
Noteable Tracks: Guilty All The Same, War, Rebellion, A Line In The Sand
Drums: 8/10 Nothing fancy, just consistent solid groundwork
Guitars: 6/10 Aggressive, but not used for much musically
Vocals/lyrics: 7/10 good variety, Very aggressive, Best lyrics come from raps
Overall: 7/10 Nice to hear some different sounds from Linkin Park, and I was pleasantly surprised. Some longer songs show promise in song-writing. Not a whole lot of diversity, and does not bear repeat listens They still fit into a small stylistic box, and don't have much room to grow due to the differing tastes of their fanbase and popular demand.
I'll preface this review by saying a few things about my Linkin Park experience. I have listened to Linkin Park quite a bit a long time ago, but their recent singles and releases have left me unimpressed. Not to say the last few singles have been bad, but I enjoyed the first two albums a lot more than anything I've heard by Linkin Park recently. With that said, let's get into it.
My issues with the last few Linkin Park songs that have hit it big is the loss of what makes Linkin Park so satisfying to listen to. Early Linkin Park is hard. It's angry, aggressive, and in your face. As it opens, this albums makes it clear that Linkin Park wants to bring that back. It's a good thing too. It's what makes their music relate-able. They even introduce the rapped verses into their new sound. It's very punk/grunge, and it just makes you feel like screaming right along with the opening lines, "No Control, No Surprise!" The first track "Keys to the Kingdom" is a fantastic, in-your-face anthem that we haven't heard Linkin Park do for quite a while, and I love it. They keep up the intensity for a good couple of tracks too. (You've got to appreciate the fun addition of a little kid yelling, "I not allowed to say certain things, AAAGGGHH! Just funny.) after a familiar sampled segue, "All For Nothing" keeps the hits coming with a loud distorted guitar, followed up with a booming drum intro to get you in the mood. What follows is what sounds like a breakdown from the previous track and slows down the feel, but every bit the rocker just the same. I couldn't help but feel feel happy with the drum track on this song, as it's simple but just what the song needs.
"Guilty All The Same" makes sure to drive this home with it's drum/guitar opening. Locked in, simple, but lays down a very militant groundwork for a straight forward rocker. Vocals are tight after a somewhat lengthy intro, with much of the volume and instrumentation dropping out, but the drums and vocals keep the intensity going throughout the song although there's not much going on harmonically. This is definitely a sing along and a rocker, and just pushes the tempo hard through the whole track. Just past the halfway mark, it breaks down and makes room for the kind of rap verse that Linkin Park made great early in their career. At this point in the album, you get the very distinct impression that Linkin Park is back to it's roots in a very fresh, exciting way, complete with electronic influences and sampling between tracks. Which is just what "The Summoning" is going into "War". Another early Punk/Grunge influenced song, "War" not something you hear a lot these days, but Linkin Park does very well at. Clearly not a radio single, as it is not at all what the public has come to expect from Linkin park. It's not the greatest track on the album, but a solid two minutes of in-your-face, don't-give-a-damn thrashing fun. "Wastelands" is another track that brings back familiar sounds of older Linkin Park with a very rhythmically focused song that focuses on rapped verses and nigh-screamed vocals during the chorus. The chorus takes a more minor ballad-esque feel, but the heavily distorted guitars coming off each chorus remind you this is still 'us against the world' Linkin Park.
Unfortunately, this is where things take a turn for the less exciting. "Until It's Gone" is an attempt at the same kind of quasi-ballad that gave Linkin Park the recognition that took them to the next level in the popular charts. The premise of the song is the old cliche, "you don't know what you've got until it's gone," with that being the chorus, almost word for word. It still has the same guitar sounds that the previous tracks have had, but it's clearly meant to be a chart topper.
Don't get your spirits too low though, because "Rebellion" is right around the corner. Again, this is the kind of new sound and experimentation that you want to hear from an artist that has released 5-6 albums now. It almost sounds like a System of a Down song from the start, but the guitar line on the bridge is doubled an octave higher with some cool electronic sounds that gives it a Linkin Park signature. "Mark the Graves" is another song that sounds very much 90's punk in it's intro. An interesting change from the rest of the album so far, it takes a major key and an overall positive tone. A half-time feel is a cool contrast from the highs and lows of the chorus and the verses respectively and, as the album has played out so far, this comes along to set a more even keel for "Drawbar" to wash in like a slow tide. It's entirely an instrumental, focusing mostly on the piano, but builds to a high point supported by some steady marching drums and elevated with some high guitar picking. A beautiful call back to earlier albums where shorter instrumental songs filled space and it was very much okay. It sets a easier, more somber tone for "Final Masquerade" Which is probably the only true ballad on the album. It's easy to miss on a casual listen through of the album, but the best way to hear this song is with some time to commit and really feel what it's trying to accomplish. Pay attention and it is actually quite pretty. In all honesty, It caught me by surprise. A large part of that is probably due to the more orchestral sound it takes throughout most of the song.
Wrapping up the album is "A Line In the sand". Starting out it transitions well from "Final Masquerade", keeping the same tone with ambient keyboard sounds and subdued clear vocals, feeling generally very intimate. But don't be fooled, a very aggressive drum and guitar riff bridges the first and second verse and the chorus is where everything kicks off. There's the obligatory rap breakdown, and the rest of the track pretty much vamps the defiant line "give me back what's mine" and in the end breaks off to leave you with the subdued vocals and ambiance from the songs' opening.
I went into this album not expecting much, judging from what I'd heard from Linkin Park in previous years. What I didn't expect was to be surprised by a Linkin Park I hadn't heard before but was still recognizable and carried much of the weight and intensity that I appreciated them for years ago. A very punk/grunge sound made for a great rock album that you could very well make yourself hoarse and give yourself a headache to. With a more committed listen, I thought the track order was very well selected and made for a good flow over the whole experience. Maybe I haven't enjoyed Linkin Park because I haven't taken the time to really listen to their albums. Singles are released to make money, but albums are crafted for the devoted listener to enjoy, And I surprisingly did. This is by no means my favorite album, or the best album I've ever heard, but a very strong offering from a band that I had given up on.
Noteable Tracks: Guilty All The Same, War, Rebellion, A Line In The Sand
Drums: 8/10 Nothing fancy, just consistent solid groundwork
Guitars: 6/10 Aggressive, but not used for much musically
Vocals/lyrics: 7/10 good variety, Very aggressive, Best lyrics come from raps
Overall: 7/10 Nice to hear some different sounds from Linkin Park, and I was pleasantly surprised. Some longer songs show promise in song-writing. Not a whole lot of diversity, and does not bear repeat listens They still fit into a small stylistic box, and don't have much room to grow due to the differing tastes of their fanbase and popular demand.
Ed Sheeran: Multiply
I've written a couple of reviews in the last couple months, so I'm gonna share them with you now. First up is...
Ed Sheeran's Multiply.
I have been hearing a lot about this Ed Sheeran guy lately, so as I was looking for albums to review I stumbled upon this one on the Billboard Hot 200. I didn't know anything about his music at all except that he was apparently a beautiful wordsmith. So, I figured I'd look into this one. I can appreciate acoustic music as I grew up listening to a lot of James Taylor and Simon & Garfunkel. You know, old stuff. Frankly, going into this one I had no idea what to expect, and that may or may not have been a problem.
Opening up the album is "One", A very intimate ballad that Sheeran delivers with a very breathy falsetto. Overall quite pretty, but to be entirely honest, it does not provide the right attraction and hook that an album opener should have. Right off the bat, this album has a hard time grabbing your attention. In contrast though, the next track "I'm a Mess" has the necessary energy for an opener, but not quite enough to make up for past mistakes. It's clips along with a more upbeat tempo and has some very welcome driving bass drum. It's well written song and Sheeran opens up his voice and shows that his expressiveness works in a wide range of tones.
After track two, I'm getting a good vibe from the record and am interested in seeing what follows, but unfortunately this is where Pharrell Williams gets his grubby little hands all mixed up in "Sing". As a wonky turn, the first thing we hear is a R&B/hip-hop drum machine beat that has no place following the previous two acoustic tracks. The whole track has Williams' mark all over it with fabricated "cool" hip-hop sounds thrown in but, it comes off generally upsetting. The emotional, vulnerable lyrics that Sheeran is known for fly out the window for some semblance of pompous club banter and braggadocio. Sheeran's vocal performance is entertaining, but honestly this song has no business being on this record.
The next track, "Don't", is in the same hip-hop/R&B vein but fortunately Pharrell Williams has bowed out. It comes off a lot more soulful and has left out the hip-hop cliches in favor of more acoustic percussion with bass and claps. This song comes across much better as the performance and production are clearly more tailored for Sheeran to genuinely perform. There is still some synth bass during the chorus, but luckily it's understated and used much more effectively than it's predecessor. Moving on into "Nina", we get a somewhat similar song, but with a more somber tone. It's got a decent groove, and has some good sounds from a hinted string background and piano counterpoint in the chorus. I'm not sure how I feel about it though, as the background drone seems unnecessary and the piano counterpoint doesn't quite fit in. Still a passable effort at branching out stylistically.
Approaching the back half of the album, we get to return to the Sheeran we met at the beginning of the record with the acoustic instrumentals and more sincere, vulnerable vocals. "Photograph" opens with Sheeran and his guitar slowly introducing piano in the second verse with drums coming in later to give it more heart and impact. It keeps building but never quit hits a good peak before dropping out to let Sheeran do his thing with intimate vocal closing lines. "Bloodstream" can be easily overlooked on a casual listen, but after taking some time to really pay attention to it, I believe this is where Sheeran belongs. A great instrumental blend of crooning acoustic and pop rhythms, this track finds you feeling the passionate acoustic and vocal performance that you want to hear from Sheeran and still head-bobbing with the gentle thump of a groove.
"Tenerife Sea" is just the 3/4 love song you expect to hear from not just Sheeran but pretty much anyone else who makes similar music. I honestly can't say much about this song as I really found nothing particularly remarkable about it. The vocal harmonies sound nice, hummed over picked guitar, but nothing really interesting is done until the last chorus where another guitar picks through a nice triplet pattern, but there is nothing the make the choruses worthwhile. It's not a bad song, but I found no reason to keep listening to it. "Runaway" is a welcome break from the sappy crooning, and brings back the more funky side of Sheeran with a more bluesy tinge. The groove isn't too heavy and is another solid genre move that still allows for a good vocal performance. It's a nice change of pace, but sadly has the same issue that "Tenerife Sea" had with little to keep you interested.
If you thought Sheeran had done enough expirementing, I regret to inform you that "The Man" is another exploration of hip-hop. An unabashed rap track, where unfortunately Sheeran feels the need to lament over some lost love and his mixed feelings about the matter. The chorus is catchy and easy to sing along with. but there is nothing else really going on musically and just adds to another song to the record. "Thinking Out Loud" takes Sheeran in another new direction, but this one goes much better. It starts off with the expected vocals and guitar, but after a quick verse it merges into a satisfying soulful tune that sounds like it could be a cover from one of the soul classics from the 70's and 80's complete with chilling-at-home, intimate lyrics. This is a Sheeran that I'd enjoy hearing more of. The last track on the album, "Afire Love" does everything it can to leave an impression after everything we've heard so far. It does a pretty decent job of it too. It's the most musically rich track with all the instrumentals working in harmony to make a very heartfelt groundwork for Sheeran to express himself and show off the best qualities of his voice in a powerful, emotional song with the choir singing out the refrain as it reaches a close and making room for the strings and guitar to echo out the last few notes of the album.
Now I have to be honest. After a few casual listens throughout the record, I didn't like it. I was reluctant to listen to it each time I clicked the first track, nothing was cohesive, Sheeran's musical identity was not fully developed, and frankly it sounded like a mix CD where all of the songs just happened to be by the same person, who could be easily mistaken as Jason Mraz. Finally, though, with a final committed listen, things started to clear up and I started to appreciate it more. Not much more, but a bit. Sheeran's voice is gentle and expressive. It's clear why the girls love him. As an acoustic/folk performer he shines, but it's in his more adventurous forays into new territory where his premise falls flat and simply doesn't measure up. I looked up the writing credits to this album and found a lot of collaborations, to which I accredit much of this records mediocrity. Without genuine songwriting from the performer, things can get lost. I think one of those may be a dilution of the human heart and identity, which in this case resulted in a lack of interest in many of the songs here. There are some good songs and Sheeran has some great qualities as a musician, but on Multiply there is not much that works very well and he sounds misdirected musically.
Notable Tacks: I'm a Mess, Don't, Bloodstream, Thinking Out Loud
Drums/Percussion: 5/10 acceptable, Backing up leading man, not noticeable except in cases where it's bad.
Guitar: 7/10 picking executed well, not as prevalent as I'd like,
Bass: 5/10 acceptable, Not noticeable in any case but when it's bad.
Vocals/Lyrics: 7/10 Clear heartfelt vocals, not as expressive as they could be. Inconsistent lyrical themes, but some good lines.
Overall: 6/10 Albums are best as full, cohesive experiences. This is at best a collection of songs with some decent ones thrown in.
Let's try this again...
It's been a long time everybody, (I know that "everybody" is not necessarily a lot of people), it's time I started writing again. There's a lot going on in the music world, as always, and I want to talk about it. I know I will likely be one of those people who won't shut up about how their taste in music is better, or how smart they are when it comes to music, but I think I can be slightly less annoying. Besides, I think what I have to say is worth saying, even if it's not worth hearing. So, from here on out I want to make a strong effort to consistently write about the music I'm hearing and listening to lately.
I'd like to write 2-3 pieces a week, with one on Sundays being a breakdown of the pop charts. Now, I know I don't seem like the kind of person who gives a crap about the pop charts, and that's true. In my personal opinion, there is not much going on in popular music that is really creative or artistically genuine, but I would like to take this seriously and as much like a career as possible. That includes talking about the stuff that everyone else is talking about. no matter how much I may dislike or be bored by pop music, that's where the party is at, so I'll be talking about it once a week. I'd like to make it a musical breakdown though. I don't want to focus on the popularity contest and publicity games that mainstream music has become. I'll be taking a look at the top 10 songs on the Billboard charts and talking about them musically and artistically.
Music is something I'm passionate about, and if you're reading this, obviously you are too. so, to anyone who has been waiting for me to start writing again, you're in luck. I'm going to. I might just get lazy again though, so keep me motivated with your thoughts, comments, and suggestions. Be gentle though, I have a very weak constitution, and I don't know what might happen if my feelings get hurt. Thanks for your time and consideration!
I'd like to write 2-3 pieces a week, with one on Sundays being a breakdown of the pop charts. Now, I know I don't seem like the kind of person who gives a crap about the pop charts, and that's true. In my personal opinion, there is not much going on in popular music that is really creative or artistically genuine, but I would like to take this seriously and as much like a career as possible. That includes talking about the stuff that everyone else is talking about. no matter how much I may dislike or be bored by pop music, that's where the party is at, so I'll be talking about it once a week. I'd like to make it a musical breakdown though. I don't want to focus on the popularity contest and publicity games that mainstream music has become. I'll be taking a look at the top 10 songs on the Billboard charts and talking about them musically and artistically.
Music is something I'm passionate about, and if you're reading this, obviously you are too. so, to anyone who has been waiting for me to start writing again, you're in luck. I'm going to. I might just get lazy again though, so keep me motivated with your thoughts, comments, and suggestions. Be gentle though, I have a very weak constitution, and I don't know what might happen if my feelings get hurt. Thanks for your time and consideration!
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