When the Los Angeles-based trio, Foster The People, first captured our attentions it was with “Pumped Up Kicks”; an instantly catchy song that eventually grew into the alt-rock anthem of Summer 2011. Beneath the song’s breezy exterior lay sharp lyricism and a darker element that runs through a lot of the band’s songwriting. And I love this about them. Foster’s thoughtful lyrics are never an afterthought and, in my opinion, play just as prominent a role as the music. Their debut, Torches, quickly became one of my most-played albums during my junior year of college when I first got addicted to Foster The People’s penchant for mixing electronic elements with their own upbeat, sugary rock. In my mind, the only pitfall of Torches is the band’s lack of experimentation and attempts to leave their comfort zones.
Supermodel, their latest record, sees Mark Foster and Co. take more risks and it pays off . The album has more of an edgier, psychedelic rock feel to it with an increased use of guitars and live drums. That’s not to say the pop tendencies don’t linger for certain tracks, but this time around, Foster The People’s influences are more worldly as they wander through a neon soundscape that’s coated in a light fog. The songs range from fuzzed-out rock numbers (“A Beginner’s Guide To Destroying The Moon”) to acoustic ballads that place Foster’s voice front and center (“Goats In Trees”, “Fire Escape”). Soon-to-be-single, “Best Friend” sees the band treading familiar Torches territory with verses that remind me of early MGMT. The darkness that creeps into most of the music this time around makes for a more mature record from the group. Supermodel sounds like a new Foster The People.
Overall: 8/10
Songs To Check Out: “Are You What You Want To Be?”, “Coming Of Age”, “Best Friend”, “Fire Escape”
It’s amazing to think how much the hip-hop landscape has changed in the past five years since Young Money, Lil Wayne’s record label, put out their first compilation. 2009’s We Are Young Money saw every member of the YM crew at a noticeably different moment in their career. Wayne was ruling the game with an iron fist, still celebrating the international success of Tha Carter III. The soon to be superstars , Drake and Nicki Minaj, still had not released their debut albums. And it would still be about two years before Tyga would introduce us all to “Rack City”. However, for every Young Money celebrity, there’s an artist that has yet to prove their significance. The past five years have not been kind to some of Wayne’s labelmates like Gudda Gudda, Lil Twist, and singer Shanell, who, after numerous delays and tentative release dates, still have yet to release their debut records. As is the way with the majority of crew albums, the rapping skill here is all over the map. While certain artists shine bright, others simply can’t keep up.
“We Alright”, the opener, immediately sets the pace with an intense verse from recent Young Money signee, Euro. He sounds hungry and he sets the track aflame with his undeniable passion. Euro not only outshines Birdman, who chimes in with a lazy verse, but Wayne himself who closes out the song with a lackluster performance. Later, on “Induction Speech”, Euro gets the spotlight all to himself and uses the moment to convert any remaining skeptics. He sounds right at home next to YM staples like Drake and Nicki Minaj who also have their own songs on the compilation. Speaking of which, Drake can only be heard on one track which makes me wonder how much this album would have benefitted more from his consistently strong verses. Of particular note is Minaj who returns to her rap roots and for a brief moment ditches the bubblegum pop elements that have recently become so prominent in her career. “Senile” and her solo effort on the album, “Lookin Ass”, sees Minaj dishing out some ferocious lines with no apologies.
The Young Money benchwarmers finally show their faces halfway through Rise Of An Empire to muddle what could be an otherwise decent crew album. The endlessly annoying, Lil Twist, does his best impression of a chipmunk on “Back It Up” which is only salvaged by a verse from Tyga. “When she backs that ass, I throw more cash,” quips the 21-year old Twist with full enthusiasm, but little believability. At nearly seven minutes in length, the overlong, “Fresher Than Ever”, features five rappers that offer nothing substantial by the track’s conclusion. It appears that Young Money decided to stack the front half of the album with heavy hitters and leave the forgettable tunes for the end. With the exception of Wayne’s “Moment”, the record ultimately concludes with a whimper rather than a bang.
Rise Of An Empire was clearly made with the goal of making as much money as possible. By assembling a formidable roster, Wayne and Birdman can rest assured that people will buy this album. No boundaries are pushed, there’s no risks, and little, if any, artistic merit to it. Some of the Young Money stars do come out, but their moments are so fleeting that they leave the building just as soon as they enter it. In the end, it seems like Drake and Minaj appeared on Rise Of An Empire as a favor to Wayne. After his so-so efforts as of late, Lil Wayne doesn’t have the same amount of popularity or drive he had five years ago, but he still manages to turn in some decent verses here. However, a good compilation album should let everyone in the crew have their shining moment, not just those who have already made it.
GIRL arrives to the masses on the lofty wave of producer/singer/rapper Pharrell Williams’ recent success and resurgence into the mainstream. With his sophomore album, his first LP in eight years, Pharrell does a convincing job of proving why he is the hitmaker of the moment. Pharrell’s classy pop gleams with guitars, shining strings, and basslines that beg for a disco ball.
A heavy disco/Motown era influence pulses through this album’s veins. This comes as no surprise. One look at the recent Williams-produced hits “Blurred Lines” and “Get Lucky” show this trend in his work. GIRL treads sonic ground that is similar to Justin Timberlake’s The 20/20 Experience and makes me realize what a massive impact that album has had on the music world. Timberlake even makes an appearance two songs into the record. Pharrell doesn’t necessarily copy him or his style, but with this album he has condensed JT’s pop opuses into shorter and overall less interesting tracks. At the same time, GIRL has its own unique identity. Where Timberlake’s album sounded modern, Pharrell’s album thrives on funk and soul influences from the 1970’s.
Even though Pharrell is highly ambitious with this record, certain songs like “Hunter” and “Come Get It Bae” never quite explode and fall flat. On the flip side, when Pharrell allows himself to explore the songs deeper like in opener, “Marilyn Monroe”, he finds his stride and runs circles around his musical contemporaries. The throwback sound again works on “Happy” with its crisp hi-hats and funky percussion. The undeniable chorus demonstrates again just why this song became so popular and even got nominated for an Oscar. This track is without a doubt one of Pharrell’s best tunes to date in his long career.
Pharrell can write a catchy melody, but GIRL doesn’t showcase him as a consistent lyricist, especially in terms of his raps. For every hook that sinks in, there’s an inert line like “Duck Dynasty’s cool and all/ But they got nothin’ on a female’s call”. Thankfully, Pharrell’s singing abilities more than make up for his average rapping ability. Through the course of the album, it’s much easier to get into the music when he’s showcasing his smooth falsetto and versatile range.
The front half of this album is stronger than the back, with the latter being more hit and miss. The closer, “It Girl”, lets Pharrell conclude on a high note. He makes his grand exit to a similar soundscape that introduced him at the beginning of the record. Before his breakout year in 2013, Pharrell was mainly known as a producer, but GIRL verifies that he’s capable of standing in the spotlight by himself. Though the album doesn’t reach all of the heights it aspires to, it’s still a rock-solid release from Williams and a brief glimpse into the mind of a man who’s currently on top of the music world.
Overall: 6/10
Songs to Check Out: “Marilyn Monroe”, “Gush”, “Happy”, “It Girl”
As always, leave some comments letting me know what you thought of the album!
Major Lazer is an electronica/dancehall group that was created by super-producer Diplo in 2008. After two studio albums, they’re back with an EP that’s more than a worthy successor to past efforts. Here’s my track-by- track review of Apocalypse Soon:
“Aerosol Can”: Why not have Pharrell Williams open your latest release? It seems like anything he’s touched as of late has turned to gold including this song. With a beyond-minimalist beat that consists of a thumping bass drum and a metronome-like clicking sound, the song does become a little dull with no clear melody. On the flip this allows Williams to impress with his rhymes, both in speed and skill, and prove why he is one of the most sought after featured guests in the industry at the moment.
“Come On To Me”: Yes, that’s Sean Paul singing over that insane reggaeton beat. This one has become my favorite track on the EP as Major Lazer and Paul’s distinct voice make for the perfect combination. This song is one you’ll remember long after the party is done.
“Sound Bang”: What begins as an acoustic song with an island vibe soon turns into a massive rave with a pulsing house beat. This song sounds like a celebration on a tropical beach that begins at sunset and lasts until the next morning.
“Lose Yourself”: The massive drop is the best part of this one that treads over familiar Major Lazer territory and doesn’t stick quite as much as the other songs. That being said, you’ll probably still dance along when this comes on.
“Dale Asi”: The final song goes off like the bomb on the cover of the EP. After an intro that builds up to the drop, “Dale Asi” begins to sprint and never looks back. Though I can only make out some of the lyrics, which are entirely in Spanish, the featured rapper, Mr. Fox has a flow that’s all over the map in the best possible way (see: rhymes about Candy Crush and NBA player Chris Bosh).
Overall: 7/10. Major Lazer makes the end of the world sound like a hell of a lot of fun.
So far, the career of alternative hip-hop artist, Kid Cudi aka Scott Mescudi, is a fascinating one. The Cleveland rapper garnered attention in 2008 with his single “Day N’ Nite” which introduced “the lonely stoner” and his unique, quick delivery to the masses. Cudi soon became known for his more introspective take on hip-hop in a style similar to Kanye West’s 808’s and Heartbreaks and Drake. Since his 2009 debut, Man On the Moon: The End of the Day, the rapper has been involved with projects both praise-worthy and confounding. His excellent sophomore record was quickly followed by a rock record with his side-project, WZRD, that was completely dead on arrival. For last year’s Indicud, the first hip-hop album released on the rapper’s own label, Mescudi tried his hand at producing and the results were a mixed bag. Which brings us to his latest offering, Satellite Flight: Journey to Mother Moon. In a recent interview with MTV, Cudi calls the album his “best work and a surprise”. Well, he got one thing right. The record is a surprise, but not for the better.
Just to clear the air, I’ve been a fan of Kid Cudi since the beginning. I had an instant connection with the first two Man on the Moon albums and they still stand as some of my favorite hip-hop albums in recent memory. With Satellite Flight, gone are virtually all of Kid Cudi’s raps, now replaced with a lot, and I mean a lot, of mediocre and frequent off-key singing. I understand he took a chance by leaving his comfort zone, but it’s a mystery to me why he insists on giving up his greatest talent: rapping. When Cudi sang on earlier releases, it was used sparingly, and if he did, it was filled with more emotion. It’s hard to listen to the breakdown of his unforgettable 2009 single “Pursuit of Happiness” and not feel his passion. The tracks on Satellite Flight rarely resonate emotionally and feel lost in the void that Mescudi has created. He eventually decides to rap halfway through the album on “I Have To Destroy You Now” which shines like a beacon in the dark. It’s the perfect blend of Cudi’s rapping and singing because the latter is held to a minimum. Always clever with his wordplay, the lyrics on Satellite Flight are vague and more straightforward, but infrequently garner notice. “Come get in my space whip”, he offers in one track, but it’s an invite I have to decline this time around.
Spacey, hazy beats have always been Kid Cudi’s signature, and those who like them, may find some solace in one or two songs. The most memorable production on the album arrives with “Going To The Ceremony” and the title track which find Cudi doing some of his most lavish work to date. A rousing string section accompanies the rapper’s nonsense about interstellar travel, planets, etc. For a record that’s only ten songs long, four of them are pointless instrumentals that sound more like unfinished demos. Like his music with WZRD, the world of alternative rock still has a strong grip on Cudi which does the rapper no favors. Monotonous guitars, cheap keyboards, and dull beats plague the majority of the tracks. I can’t imagine Cudi getting any help from other rappers on this project. There’s no guest features, only Neo-Soul singer Raphael Saadiq who appears on the halfway decent “Balmain Jeans”. I can’t blame other rappers for not wanting to touch this project with a ten foot pole.
At this moment in time, it’s difficult to place a genre label on Kid Cudi. He’s obviously no longer interested in following the road that made him a star in the first place. Forgoing rap for a more rock vibe hasn’t worked for him in the past and it continues to hinder his releases. I realize that he’s always trying to evolve as an artist, but it’s difficult to follow him if he chooses to go down this bland musical path. He may be “The Man on the Moon”, but for his next album, I sincerely hope he finds his way back to Earth.
Overall Rating: 2/10
Songs to check out: “Satellite Flight”, “Balmain Jeans”, “I Have To Destroy You Now”
Leave some comments letting me know what you thought of the new Kid Cudi album below!
It takes a lot to draw attention and praise from former Oasis frontman, Noel Gallagher. The notoriously outspoken singer isn’t easily pleased, especially when it comes to modern music. One band Noel does enjoy, however, is the new UK psych-rock band, Temples. He even criticized the BBC Radio directly for not playing the band’s music on their station. Though Gallagher has been known for making outlandish statements in the past, he isn’t alone in his praise of the group. Johnny Marr, former guitarist of The Smiths, has also hailed them as the best current British band. When a new band like Temples is drawing this much attention from hardened veterans before their debut has even been released, you know they’re on to something special.
Sun Structures is an album whose whole aesthetic is inspired heavily from late 60’s and early 70’s psychedelic rock. I would compare them to the Australian group Tame Impala, but Temples have far more of a throwback sound. When listening to the record, it conjures up imagery of the Summer of Love, hippies with flowers in their hair, and strange acid trips that last all night. James Bagshaw, the lead singer/guitarist of Temples, who also serves as the album’s producer, puts an echo effect on most of his vocals making them sound more dream-like and ethereal. Bagshaw’s voice is also buried under the guitars, keys, and drums which doesn’t necessarily hinder the album. Though it can be hard to hear his cryptic lyrics at times, the vocals blend well with the backing music and they eventually become one. On opener “Shelter Song” when Bagshaw sings, “Take me away to the twilight zone”, you realize that’s what the bands intends to do the listener with Sun Structures; bring you into their kaleidoscopic, mysterious world that’s teeming with possibilities.
The guitar work ranges from fuzzy and distorted in songs like “A Question Isn’t Answered” to classically influenced on “Sand Dance”, the album’s lengthiest track. The rhythm section composed of bassist, Thomas Warmsley, and drummer, Sam Toms, have non-flashy parts that don’t necessarily draw attention to themselves, but they fill in the backdrop of songs appropriately. Post- Revolver Beatles music and Pet Sounds era Beach Boys have a huge influence on Temples especially in the vocal harmonies and in the percussion section. It’s hard not to think of Ringo Starr when listening to the drums on songs like “Mesmerise” and the title track. That’s not to say that the band don’t put their own modern spin on their tunes. “Move With The Season”, a slower, downbeat track from the album, has noticeably prominent drums in the mix, making the band sound more contemporary. The modern production effects, when paired with the hazy vocals, make for a perfect match.
Even though Temples are inspired by the style of the late 60’s rock bands, Sun Structures doesn’t have as many inherently catchy hooks in their songs as their more notable predecessors. At times, the album can be a challenging listen. “Sand Dance”, for example, overstays its welcome when it starts to wander into jumbled psychedelic territory and never quite finds its way back. There are about three songs on the album that after multiple listens, still had no lasting effect. However, the majority of the songs did impact me in some way. At their best, Temples can write a catchy pop-rock tune as evidenced by “Shelter Song” and “Mesmerise”. At their lower points, the songs become muddled and any possible hooks are nowhere to be found.
With their debut record, Temples delivers a solid album whose flaws can easily be improved upon in their next outing. The press hype machine, especially the one that was behind Temples, has the potential to make certain bands crumble. Temples doesn’t crack under the pressure. Sun Structures will grow on you and it is ultimately rewarding. The truth is this band doesn’t need any celebrity endorsements.
Overall Score: 7/10
Songs to check out: “Shelter Song”, “Mesmerise”, “Move With The Season”, “Test Of Time”
With their 2010 self-titled debut, the So-Cal alt-rock band, Young The Giant, proved that they were capable of creating radio-friendly singles that had more emotion and substance to them than many of their contemporaries. Songs like “Cough Syrup” and “My Body” soon became staples on the rock airwaves and the band gained new followers due to the exposure. Among these fans was myself. I was a huge supporter of their first record and the group became one of my favorite newer rock acts. I was highly anticipating this album and couldn’t wait to get my hands on it. Young The Giant’s sophomore album, Mind Over Matter, picks up where they left off four years ago, but rarely adds anything new into the mix. Fans of their first album may be content with their latest offering, but will ultimately be left wanting more. That’s not to say this record doesn’t have its merits. Still intact are the band’s signature atmospheric sound and their ability to write tunes that walk a fine line between poppy alt-rock and a darker tone.
The spacious production by Justin Meldal-Johnsen allows the band to breathe and, most noticeably, allows lead singer, Sameer Gadhia, to showcase his soaring vocals. I believe he’s the not-so secret weapon behind Young The Giant and consistently propels the tracks forward with a graceful voice that also has a rawer edge to it. This rawness can be heard best on the track “It’s About Time” which was released as the lead single to promote Mind Over Matter. “It’s About Time” is, by far, the heaviest song the band has released with distorted, chugging guitars that set the faster pace of the song. While this isn’t experimental by any means for most rock bands, for the often meditative Young The Giant, this is a completely new sound. They sound comfortable, but when the song dives into the cascading guitars from lead guitarist, Jacob Tilley during the pre-chorus, they truly sound at home. The song is also one of the moments on the album in which the band ingrains themselves into the listener’s head with a memorable melody.
As previously mentioned, Gadhia is the standout of this band. His falsetto on songs like the opener “Anagram” and “Firelight” recalls Chris Martin of Coldplay, a definite influence on Young The Giant. Gadhia’s previous lyrics had an overall introspective, deeper feel that went hand-in-hand with the instrumentation. Also, I felt as though they were easier to connect with as the listener. His musings on everyday life and people were simple yet effective. This is noticeably missing on the follow-up. Now, the lyrics have become far more generalized as he looks at themes of memory, travel, and the band’s growing fame. Likewise, the music that backs up his words on Mind Over Matter is blander and more repetitive in comparison to the debut. Noticeably improved though are the drums which carry the faster-paced tunes “Daydreamer” and “Teachers”. There are fuzzy, grittier bass parts on some of the tracks, but they often fade into the ethereal, moody backdrops.
All in all, the album is a mixed bag. As a fan, I was disappointed. The record doesn’t feel like a progression, but rather a step back. If you already like the band, Mind Over Matter probably won’t change your opinion of Young The Giant, or their past work, but I can’t see this record gaining them any new fans. It isn’t as inherently catchy as its predecessor making it a much more challenging listen. Most of the hooks that made up the bulk of the debut are noticeably gone. The songs also have the tendency to blend in with each other with only five or six songs that really caught my attention after multiple listens. That being said, there are rewarding moments and some solid tracks on here. I’m still interested to see what these guys do in the future. I’ll call the album a sophomore slump because I still see a lot of potential in them. They’re still newcomers to the music world and with the right instrumentals behind Gadhia’s voice, Young The Giant could be huge.
Overall Rating:5/10
Songs to check out: “Anagram”, “It’s About Time”, “Firelight”, “Waves”
After gaining notice in 2009, the Los Angeles based band, Best Coast, are back with a new EP, Fade Away. Here’s my track-by-track review of their new record.
“This Lonely Morning”: Best Coast opens their new EP with a poppy garage rocker that sounds like it came out of the 80’s. Singer and lyricist, Bethany Cosentino, has a decent, raw voice, but I think the producer, Wally Gagel, put it too far forward in the mix. If it were blended more with the punky guitars and drums, this song would’ve worked better for me. Overall, a good way to start things off on the record, but it’s a pretty average tune. 7/10
“I Wanna Know”: A surf-rock inspired with song with a 60’s drum beat, this song races ahead with high energy despite the lyrics describing a break-up. I’m not a huge fan of Cosentino’s childish, basic lyrics on this track, but the catchy music makes up for it. 7/10
“Who Have I Become”: The contrast of the fast verses and the slowed down chorus break up the monotony of the generally rapid drum beats on the rest of the EP. A solid guitar solo during the bridge shows off the talent of the band’s guitarist, Bobb Bruno. 8/10
“Fear of My Identity”: One of my problems with the entire record manifests itself in this song. Though Cosentino has a voice that works for the garage-rock genre, she sounds bored throughout the majority of the EP. This tune is no exception. On the flip side, Bethany’s brother, Ricky Cosentino, provides great drums on the track. 5/10
“Fade Away”: This slower tempo track has the most interesting instrumental parts on the album as the pace of the song leaves a lot of open room for creativity for the musicians. Cosentino is also at her best lyrically with the lines, “Sometimes I see/the person that’s inside me/she’s real/ she’s mean.” Her words are basic, but they’re her most poignant on the record. 8/10
“Baby I’m Crying”: A washed-out, plodding song that goes nowhere. The instruments don’t match the intensity of the emotion in Consentino’s voice which is again, too high in the mix. 3/10
“I Don’t Know How”: The best track on Fade Away, hands down. It’s no wonder that this was the single used to promote this record. Consentino is at her most powerful vocally as she harmonizes with herself over instrumentals that change accordingly to her emotions. What begins as a ballad quickly transforms into a fast-paced, instantly catchy song. It’s the perfect way to bring the energy back up on an otherwise so-so EP. 9/10
Overall Thoughts: Hopefully, their next full length record will keep the fun, retro sounding songs, but increase the liveliness in the band. After being hailed in the indie music world for their surf-rock aesthetic on previous albums, it sounds like for this release, Best Coast fell asleep during the recording process.
Preface: I was motivated to write this review after seeing Blink-182 perform the “Untitled” record in full during their brief run of LA shows in support of the album’s ten year anniversary.
From their inception in the early 90’s, many thought the Poway, California pop-punk trio, Blink-182, would never grow up. By 2003, Blink had built a reputation on tight melodies, catchy hooks, punk energy, and, let’s not forget, toilet humor and dick jokes. Not that there’s anything wrong that, but the band realized it was time to change after releasing the blockbuster, Take Off Your Pants and Jacket (get it?) in 2001, becoming their fourth album in a row to stick to this tried and true formula. After renting a home in San Diego for almost an entire year to record their follow-up, Blink delivered a body of music to the public that no one expected. Blink 182’s untitled recordis not only their best album, but it has become a staple in the modern pop-punk canon. The album has become something of the band’s Sgt. Pepper’s or Magical Mystery Tour, in the metaphorical sense. In 2013, ten years after the album’s release, this record is still relevant.
Blink’s sonic charge begins with the album’s first song, “Feeling This”, a tune drastically different from their old material, yet still grounded in their past. Their signature punk energy and sound is not lost within the song as Mark and Tom revive their classic call and response vocals throughout. Mark was always the vocal yin to Tom’s yang and they’ve never complemented each other better than on this song and likewise, on this entire album. Per usual, Mark Hoppus delivers a solid vocal performance while Tom does what he does best… sneer his way through the vocals with his nasal delivery. I’ve always loved this about Tom. His voice is inherently more “punk” than Mark’s, always giving Blink that raw edge during live performances and in the studio. Tom has never been able to sing “pretty”, and that’s alright. By the time he’s screaming “Fate fell short this time” at the end of “Feeling This”, you’ll be wishing you could do it as well as him.
Say what you will, die-hard Blink-182 fans, but Tom and Mark both deliver their strongest vocal performances to date on the untitled record. Sure, they’re both getting some light assistance from studio effects, but the dual vocalists bring their A-games. Take the smash hit, “I Miss You”, the band’s first true ballad. Mark handles the lower notes with ease while Tom sings his heart out on the chorus (Which, to me, will forever sound like he’s saying “Voice inside my ‘yed [sic]”). The song brings out emotive vocals from both singers and proves that they can excel at tunes with a slower tempo. This track is also a highlight of the album as it is was their first serious acoustic attempt at a song on any of their records up to this point.
On “Stockholm Syndrome”, the darkest, heaviest song on the record,the duo switches things up. Mark hits his highest notes in the entire band’s discography during the bridge. “You’re cold with disappointment, while I’m drowning in the next room,” he wails over the chugging distorted guitars from Delonge and the complex beat by Barker. The sheer strength in Hoppus’ voice during this section is enough to force anybody to listen up. Again, on the back-half fast-paced track “Go”, Mark brings to the table a song filled with difficult subject matter (divorce, disillusionment) and he pushes his words right into your very being.
If you look closely at the lyrics on the album, you’ll notice a drastic evolution from previous Blink outings. Most notably, there’s not a mention of genitalia in sight. Nor is there any reference to having sex with dogs or the elderly.The themes on this record range the gamut from love, isolation, and a loss of innocence. Delonge best encapsulates these sentiments when he sings, “This room is bored of rehearsal, I’m sick of the boundaries, I miss you so much”, in standout track, “Asthenia”. At its heart, that’s what this album is about: missing that significant other (lover or otherwise) and longing for someone or something to fill the void. These universal themes don’t lose their effect on Blink’s audience a decade later. Hoppus and Delonge even include a voice- over segment of a woman, reading an authentic wartime letter, at the conclusion of “Violence”. This message, from a woman to a soldier, reflects the tone of yearning for an individual that Blink wants to express with this record. Overall, there’s nothing that groundbreaking here lyrically, but for a band that was talking about grandpa “shitting his pants” an album earlier, the untitledrecord sounds like poetry. Well, I guess this is growing up.
Since his arrival in 1998, Travis Barker has been the backbone of the Blink-182 engine that could. He has cooked up creative and innovative drum parts in a genre that generally suffers from routine drum lines. By the record’s release in 2003, Barker had already established himself as the dominant musician in the group possessing the most inherent technical talent jiving with the strength of his bandmate’s songwriting ability. From his Blink debut on Enema of the State, he demanded in the pop-punk world. Within the album, Barker plays his most complex drums yet. With everything Barker does, his drums always fit the overall composition perfectly. Take a look back at, “Stockholm Syndrome”. Barker’s blazing hi-hats and rattling snare complement Hoppus’ sung verses with an energy that’s impossible to ignore. On “Go”, Travis recreates the mile-a-minute vibe found on earlier Blink albums like Dude Ranch and Cheshire Cat driving the song home with a fast-paced punk beat that does wonders for the overall urgency of the song. Even people who aren’t fans of the band acknowledge Travis’s skill and power. I think many onlookers are quick to look down at Barker due to his popularity and celebrity status, but he’s earned all the praise that’s been given to him.
The experimental side of Blink-182 shows its face again during “The Fallen Interlude” which occurs exactly halfway through the album. What is essentially an extended drum solo for Barker becomes one of the band’s most stimulating tracks due to its instrumental nature and its beat based more in moody electronica than alternative rock. It’s mellow, but Barker’s drum rolls at the conclusion ground it back in familiar punk terrain. Two tracks later on “Asthenia”, Delonge insisted on using vintage NASA sound footage at the beginning of the song to create a ethereal atmosphere before his vocals kick in. These samples work for me and naturally make me think of space and the loneliness associated with it. Tom has always been fascinated with space (see: “Aliens Exist”), and his brief use of the imagery on the untitled albumoutshines any of the effects found in the discography of his side project, Angels and Airwaves. It’s because you get the feeling here he’s not trying as hard to convey his message to his audience as he frequently does with his other “space-art-rock” band.
The untitled record also spawned Blink-182’s first collaboration with another artist. For the gothic slow-burner “All of This”, they recruit The Cure’s Robert Smith to perform the lead vocals. While I understand the overall mood Blink was going for with this song, I think it would have been more interesting to have Mark sing the verses with Tom still on the chorus (as is done live). I can’t help but wonder what it would have sounded like if the band had not used any outside help in creating this album. This is only a minor problem for me, as Smith is a great surprise.
Blink closes out the album with Tom singing, “I’m Lost Without You”. At over six minutes, it’s Blink’s longest song and also one of their most effective closers. A mid-tempo tune, Delonge sings with such passion you know he believes every word that he’s saying. As I mentioned before, I’ve never thought Tom Delonge to be a great vocalist in the traditional sense, but it is his continued intensity with which he sings that serves as his selling point. Barker closes out the album with a drum solo on two different drum kits recorded at separate times. He concludes the untitled record on an uncertain note as his last snare hit seems to hang in the air. Maybe Blink didn’t realize this at the time, but this sense of ambiguity at the song’s conclusion became a symbol of what the band would eventually become. Tensions mounted and the trio ultimately went on an “indefinite hiatus” in 2005.
This year marks the tenth anniversary for the record and it rings just as potent now as did in the mid 2000’s. Blink-182 went on to inspire dozens of copycats and I believe part of it had to do with this album. Even a quick glimpse at the current day pop-punk scene proves that newer bands still worship Blink. After all, they widened the boundaries for what was acceptable under the punk rock umbrella and produced a record that was so unique for them, yet representative of everything of which they were capable. Ten years later, and I’m still feeling this.
Overall rating: 9/10
Songs to check out: “Feeling This”, “I Miss You”, “Stockholm Syndrome”, “Asthenia”
Perhaps one of the most talked about aspects of Lorde (b. Ella Yellich-O’Connor), a New Zealand singer-songwriter, is her age. After all, while listening to her unavoidable single, “Royals”, it’s easy to see why many find it hard to believe she’s only sixteen years old. In the hit song, Lorde’s able to simultaneously lampoon an entire society’s obsession with high culture while employing an instantly catchy electronic dance beat. In turn, this gives “Royals” an almost hip- hop feel. Additionally, she uses the now-famous lyrics, “Gold teeth, Grey Goose, dripping in the bathroom” and other symbols associated with rap, to further prove her point: that the lives of celebrities, which many aspire to have, are ultimately pointless and vapid. To the listener, it’s apparent that Lorde doesn’t desire or need the lavish lifestyles that are constantly thrown at youth through music videos and reality television. “Royals” is but one example of the sense of restlessness that lies under the majority of her debut record, Pure Heroine. Lorde is uneasy about the changing world around her due to recent fame, but still confident in herself as an individual.
Lorde’s haunting voice is the most standout part in the minimalistic production scheme envisioned by her producer, Joel Little. From the opening song “Tennis Courts” one can instantly sense the emotions Yellich-O’Connor is trying to convey with her unique style of singing. In my mind, I hear Lorde as a Lana Del Rey with more passion and excitement. Her voice is backed by bass-heavy beats and littered with ticking hi-hats created by drum machines. The hi-hats get repetitive midway through the album and made me wonder why Little couldn’t find a more creative sound. In addition, there is no real guitar, bass, or percussion found on the entire album giving the work an obvious “produced” feel. None of the sounds on Pure Heroine have an inherent warm quality to them, resulting in an overall mellow and hazy tone. This can at times be tedious due to lack of urgency. However, whatever the soundscapes lack in complexity is made up for by the sheer vocal talent of Lorde. By harmonizing with her own voice, Lorde creates densely layered tracks that don’t feel as sparse as they potentially could have. Her background vocals range from basic supporting harmonies (“400 Lux”) to a beautiful haunting chorus found at the conclusion of the penultimate track, “White Teeth Teens”.
The lyrics on Pure Heroine reflect Lorde’s obvious maturity for someone who’s still a teenager. Often poetic and enigmatic in nature, Lorde enjoys maintaining her mystery. Her words often have a hint of melancholy attached to them reflecting a desire for a greater purpose in the world rather than giving in to the dull routines of daily life. Lorde’s age gives her poetry a sense of wide-eyed wonderment about the society that surrounds her. At the same , to use the tired phrase, Lorde is “wise beyond her years”. Her lyrics give the basic pop orchestrations that extra punch, forcing the songs to stick with her listener. “Royals” is the hit that brought attention to Lorde as a lyricist, but it is by far not her strongest writing on the album. Take the opening of the song “Team” in which Lorde sings, “Wait till you’re announced, we’ve not yet lost all our graces, the hounds will stay in chains”. She meditates on her potential fame and seems to be waiting for the world to devour her completely, for better or for worse. If Lorde is this gifted as a songwriter at this point in her career, age will only make her stronger.
Despite generally formidable songwriting, the middle section of Pure Heroine drags at certain points, with the exception of the aforementioned “Team”. It’s her newly released single and a worthy successor to “Royals”. Songs like “Buzzcut Season” and “Still Sane” though had little effect on me. The only saving grace of these otherwise lifeless compositions is Lorde’s soulful voice. Though the album isn’t perfect I found that when the majority of the songs hit you, they hit hard.
At only ten songs and a little over thirty-seven minutes, Lorde’s debut ends as quickly as it begins. However, this is also one of the album’s greatest strengths. Pure Heroine is just long enough to have the listener craving more as Lorde exits abruptly at the conclusion of “A World Alone”, Pure Heroine’s closer. Though she seems unfazed by her recent wave of publicity, Lorde is all too aware of the spotlight she stands in. “The people are talking” are her last sung lyrics on the record serving as her acknowledgement to the onlookers and the gawking public. At the same time, one realizes that she doesn’t care what anyone else thinks about her. With the obvious rise of Lorde’s success in 2013, one can hope that she’ll usher in a new type of pop-star: one that has introspective, intelligent lyrics while using radio-friendly backing instrumentals. In Pure Heroine, Lorde has created a debut album that will have listeners hooked and coming back for more.
Overall rating: 8/10
Songs to check out: 400 Lux, Team, White Teeth Teens, and Royals (if you’ve been living under a rock)
What did you guys think of Lorde’s debut? Post in the comments below!