pop

Review Schedule

Posted on by jamesreviewsblog

Over the next few weeks I am going to try and review a whole bunch of albums. Some of these will be new albums as they get released. As usual however I plan to be reviewing that I think may be interesting or potentially something I will fall in love with. Below are the albums that I am going to try and get through.

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Amongst this collection of albums, there are quite a few famous names. Artists like Björk, Bob Dylan, Joy Division and Neil Young are names known in most households. Found between these albums are lesser known albums, mostly famous in music nerd circles such as Big Star, Camel, Circulatory Control and Codeine.

My review structure for these albums may vary depending on how I feel about what I have listened to. Some reviews may be long form essays and others may be quick summaries.

 

 

 

 

Listen To This: S U R F I N G ~ Deep Fantasy

Posted on by jamesreviewsblog

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A E S T H E T I C

Listen: https://www.youtube.com/watch?v=NvU3JkngqvE

S U R F I N G  is a Melbourne duo who have gained quite a bit of attention since releasing their album Deep Fantasy in 2012. What separates S U R F I N G  from a lot of the other artists who are lumped under the Vaporwave moniker is there use of guitar. The sound of  S U R F I NG  is more akin to lo fi pop, with some vocal moments sounding similar to early Ariel Pink (especially his song Baby on Mature Themes) to me. There is some great lead guitar sprinkled throughout the track listing here.

Standout track Moonlight is a hazy dream, with its strong drum and bass groove and quiet, distorted vocals. There are some great moments found throughout this song whether it be bass pops, synth chords, samples or the thick, crunchy guitar.

Available to purchase on Bandcamp for $5 this is a great album to listen to with headphones on to hear the group’s dense, layered sound.

Buy: http://surfing.100percentelectronica.com/

Listen to if: You like lo-fi pop melodies, hazy synths and crunchy guitar

Reminds me of: Ariel Pink, Saint Pepsi

Standout Track: Moonlight

Air ~ Moon Safari

Posted on by jamesreviewsblog

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Tracksuit wearing synth wizards

 Listen: https://www.youtube.com/watch?v=99myH1orbs4
Moon Safari is the debut album of French electronic band Air, released in 1998, and is regarded as a crowning achievement by the band. Composed of Nicolas Godin and Jean-Benoît Dunckel, Air have become one of the best known bands to come out of France in the 90s and 2000s. Creating soundscapes with retro synths and traditional instrumentation, Air were able to create some truly beautiful and cinematic songs with absolutely stellar production. 

La femme d’argent

The album opens with the relaxing ambient sounds of running water. Soft percussion soon enters the mix and is promptly joined by a fantastic bass line by Nicolas Godin which really carries the song throughout its 7 minute plus runtime. The mixture of electric keyboards and synth strings and effects create some lovely textures, harmonies and melodies as the song progresses. As the opening song on the band’s debut album it’s a great introduction to what Air is all about. The introduction of the rapidly arpeggiating synth in the last quarter of the song keeps the song fresh and interesting, especially when paired with the outro melody. ★★★★★

Sexy Boy

Released as the first single of the album Sexy Boy follows a more traditional pop structure than La femme d’argent. With its catchy chorus and driving synth bass this is an extremely likeable song. The elegant autotuned french vocals pair effortlessly with the swirling synthesizers and gentle keyboard chords. The chorus is immediately catchy and features some distorted guitar. The song really kicks up a gear whenever the chorus is played. The keyboard solo in the bridge is not overly flashy and introduces some pleasant melodies into the song.  ★★★★★

All I Need

All I Need serves as a respite after the high energy Sexy Boy before it. With its calm female vocals (sung by Beth Hirsch) and stripped back instrumentation this is one smooth song. Again featuring excellent bass playing, the subtle synth flourishes add colour when needed, keeping the song fresh. A lower pitched synth is brought in half way through the song that brings in some lower end and gives the song some momentum as it concludes. ★★★★

Kelly Watch the Stars

With its iconic table tennis film clip, Kelly Watch the Stars is Air’s most famous song and the biggest single off of the album. With a similar structure to Sexy Boy, Kelly Watch the Stars is carried by a strong, driving synth bass line. The autotuned vocals sing the mantra-like chorus throughout the song with different harmonies and inflections used. The bridge of the song is fantastic with numerous synths introduced as well as piano and filtered drums. The way Air manages to layer and introduce new instruments is truly one of the band’s greatest strengths and it is truly on show in this song.  ★★★★★

Talisman

Starting out with organ and bass, Talisman is an instrumental number that grows as it progresses. As melody is introduced with electric keyboard, new elements to the drums are introduced, which help pick up the pace of the song. The string arrangement of this song is very cinematic, reminding me of a retro movie from the 70s. ★★★

Remember

The cinematic vibe is continued into the next song with Remember boasting a similarly strong string arrangement. I feel that this is a stronger song than Talisman and a real hidden gem on the album. The combination of the vocals and spiralling instrumentation really creates an emotive and poignant soundscape. ★★★★

You Make it Easy

Another song featuring Beth Hirsch, You Make it Easy, is very similar to All I Need, with a stripped back slow arrangement. The measured piano chords and subtle guitar work as a suitable accompaniment to the vocals. The bridge is an interesting change of pace and works to separate this song from All I Need as they are really similar.  ★★★

Ce matin là

Another cinematic instrumental from Air, and in my opinion, the best one on the album. With its fantastic glimmering synths and shimmering guitars arpeggios this song creates a beautiful environment for its lead instrument, the trumpet. As the song progresses harmonica is introduced, transporting the song to a completely different mood and harkening back to the soundtracks in old western films. As the trumpet returns it is partnered with organ and vocal harmonies to see out the song in the most magnificent way. ★★★★★

New Star in the Sky

Continuing the old time Western vibe found in the bridge of the previous song, New Star in the Sky is a rather forlorn instrumental that slowly and subtly progresses over its 5 minute runtime.  With its mellotron flutes adding colour, autotuned vocals, piano and samples create a poignant atmosphere. While a pleasant song it does suffer from following the succinct Ce matin là, which manages to fit more ideas in its much shorter duration. ★★★

Le voyage de Penelope

The very retro synths found here are hazy and melodic and give off interstellar, spacey vibes. While not the strongest song on the album it serves as a solid closing track and features all the elements that make Air great; competing synth melodies, string arrangements and a solid groove. ★★★

Final Thoughts

Air have a real knack of hitting the right notes at just the right time in the song for peak effectiveness. Whether to introduce a new melodic or sonic idea or to add poignancy or emotion to their arrangement, the band are true masters of arranging. The patient and composed nature of the songs found on Moon Safari is a truly great set of songs. The vast array of instruments used throughout the track listing show a band in full creative swing and the results speak for themselves. It is easy to see the influence that the band had with the release of this album, with bands such as Daft Punk using similarly autotuned vocals on their album, Discovery. Overall Moon Safari is a fantastic album and is a very rewarding listen that will throw up new details each time it is played.

Rating:  ★★★★ (Great)

Buy: https://itunes.apple.com/us/album/moon-safari/id693063670

Listen to if: You want a relaxing listening experience, enjoy lush instrumentation and retro synthesizers

Reminds me of: Serge Gainsbourg, old movie soundtracks

Favourite Tracks: La femme d’argent, Sexy Boy, Kelly Watch the Stars, Ce matin là

Least Favourite Track: New Star in the Sky

 

 

 

 

Sheer Mag ~ III EP

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SHEER MAG - III 7- - cover

Bring out your dead

I have never heard of Sheer Mag before but they have been getting some positive reviews for their new project, III EP. First of all I can say that I like the band logo and album art choice. I’m always a fan of grainy black and white album art.

Kicking off the EP is the track Can’t Stop Fighting, which features some delicious lead guitar. The vocals sit rather low in the mix but are still clear and sung with confidence. Its a catchy and upbeat power-pop tune seems to harken back to the 80s with its in your face guitar.

Worth the Tears is more restrained than the opener, yet still features a ripper guitar lead. The vocals are more prominent in the mix and the song benefits, with another confident performance from singer Christina Halladay. Night Isn’t Bright is similar to the opening track and sounds like  a Joan Jett or Heart song from the 80s if it was performed by The Strokes or Yuck.

Nobody’s Baby is the final song and is super catchy and is a great closer to the EP. The crunchy guitars and vocals are a perfect compliment to the grainy album art and band logo and it seems like an under appreciated relic from the not so distant past. The solo at the end of the song is fantastic and doesn’t overstay its welcome.

With just four songs to be found on this EP, Sheer Mag have delivered a bite sized collection of power-pop tunes, all killer no filler and it was definitely worth the $4 I paid on Bandcamp. Definitely go and check these guys out.

Rating: 3.4/5

Buy: https://sheermag.bandcamp.com/

Listen to if: You’re craving tasty guitar leads and catchy choruses

Reminds me of: Pat Benetar, Joan Jett, Yuck

Favourite Tracks: Worth the Tears, Nobody’s Baby

Least Favourite Tracks: n/a

My Bloody Valentine ~ You Made Me Realise

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you made me realise

Deep

My Bloody Valentine is probably the band most synonymous with the Shoegaze genre from the late 80s and early 90s. You Made Me Realise was one of the EPs that the band released before their debut album, Isn’t Anything.

The title track kicks off the album and it is a loud and in your face introduction to the band. The dissonant riff and rumbling bass give this song an almost punk energy for most of the song. The bridge however is pure noise, sounding like a jet taking off, as the band make their guitars wail and scream. Its a cool element to the song and shows that the band were already investigating unique ways to get their guitars to sound different. The ending of this song is a great mix of the punk verse and the loud bridge and builds up to a crescendo before ending.

Slow has a loud overdriven bass and a trippy, discordant guitar riff that sounds like an out of tune accordion. It’s less abrasive than the opener and almost has a slacker vibe to it, with its meandering tempo. I enjoy the simple but catchy vocals and find it interesting that what appears to be bass is taking centre stage in a MBV song. Thorn has a tremolo picked guitar riff that is an interesting counter point to the jangle pop guitar that sits underneath in the mix. The drums are big and booming and dominate the song, perhaps they are mixed a bit too loud for my taste. Its a pleasant enough pop song with some vocals that are similar to some of the band’s UK contemporaries who would go on to inspire Britpop (The La’s, The Jesus and Mary Chain). Despite the loud drums its one of the most accessible tracks on the EP and has strong pop sensibilities.

Cigarette in Your Bed seems a bit aimless for the majority of the song, only really picking up when the electric guitar comes in. When it does however it helps to make the song quite a pleasant listening experience. The female vocals from Belinda Butcher are a nice contrast to the previous songs on the EP which were sung by Kevin Shields. I can see myself liking this song more and more with repeated listens, as I do like the melancholy transmitted through the vocals. Drive It All Over Me is the closing track to the EP and doesn’t really blow me away, being a rather standard jangle pop tune. While not a bad song, its rather forgettable.

You Made Me Realise is an interesting look into a band that were coming to grips with a new sound and finding ways to incorporate it into their already solid indie tunes. The guitar effects found on the opening track, Slow and the end of Drive It All Over Me are all indicators of the direction the band was heading in. A very promising EP from an intriguingly interesting band.

Rating: 3.8/5

Buy: http://www.amazon.com/You-Made-Me-Realise/dp/B00004SF22

Listen to if: You want to hear the beginnings of shoegaze, loud guitars

Reminds me of: Sonic Youth, The Jesus and Mary Chain

Favourite Tracks: You Made Me Realise, Slow, Thorn

Least Favourite Tracks: Drive It All Over Me

DMAs ~ Hills End

Posted on by jamesreviewsblog

dmas

We dress the same in every photo

DMA’s are a Melbourne group that have had a quick ascension to the top of Australian indie and alternative music. Being signed to influential label I Oh You before they had even performed live, the band has quickly amassed a large following and will be performing on The Late Show with Stephen Colbert later this month. Hills End is their debut album and is a collection of songs that they have been performing live around the world for a while now. Having seen the band live at Laneway Festival in Brisbane I am interested to see how these songs translated from the live spectrum into studio recordings.

Timeless is the album opener and immediately introduces the listener to the Liam Gallagher-esque drawl of singer Tommy O’Dell. Featuring a spritely bass line and an upbeat drum part which set up a solid platform for the layered guitars to build upon. The guitar solos that split up the song offer a nice respite to the wall of sound that makes up the majority of the song.

Lay Down was my favourite song the band played when I saw them live and was released as a single prior to the album’s release. It features a tender vocal delivery in the verse and a nimble and lithe guitar riff that opens the song and appears in the chorus. Its more subtle than the opener and isn’t such a barrage on the senses. I like how the chorus is stripped back and then becomes more layered and the outro to the song is executed well.

Delete was the first single the band released and really brought the band to many people’s attention. A vulnerable ballad that features a delicate string part in the chorus that complements the acoustic guitar and sparse electric. Like the best sections in Lay it Down, DMAs seem to excel with a stripped down sound where all the elements can be heard clearly and O’Dell’s voice has its own sound rather than the Gallagher tones it appropriates at louder volumes. The song builds to a joyous climax and as the drums come in during the outro the layered vocals help to create some nice textures.

Despite the many comparisons to Oasis, musically the band sounds much more similar to 80s bands such as The Go-Betweens and The Stone Roses, with twinkling guitars and a strong, defined acoustic guitar sections. Its usually in the choruses that the big power chords appear and the Oasis comparisons are justified. This can be seen perfectly on Too Soon, which features all the elements previously mentioned and a bass fill that sounds suspiciously like Taxman by The Beatles. Its a strong song which is held back by the power chords that open the chorus and change the feel of the song. I really enjoy the outro solo and appreciate the guitar tone used for the lead.

In the Moment features a nimble bass line and some pleasant acoustic guitar but it doesn’t stand out in the track listing for me. Step Up the Morphine has some hazy guitars and is an understated feature among the track listing. Its at this point in the album that I find myself wishing that the drum parts in these songs were a bit more creative, or had a few fills here and there. The drum beat in Step Up the Morphine is incredibly similar to the opening track, just played at a slower tempo. So We Know is another delicate ballad that I really enjoy and reminds me of the same mood that Dick Diver is able to create in songs on their most recent album. DMAs appear to have the ability to make music that has a humble and understated quality to it, which to my ears is the perfect soundtrack to suburbia in Australia.

Melbourne features an insistent drum and bass groove that propels the song forwards at a pace that seems a tad to fast for me. A rather forgettable song, it doesn’t seem to have the same intricacies that DMAs have shown they’re capable of on other tracks on this album. Straight Dimensions features more of the jangle pop that DMAs do best. The opening is a pleasant change from the noisy ending of Melbourne and the melodic chorus and bridge are pulled off expertly.

Blown Away features an interesting sounding drum loop and a string arrangement that makes up the bulk of the instrumentation. Its one of those songs where I can imagine the film clip is shot in black and white and the lead singer is walking around in a trench coat. The Switch features some electric piano at the start which is a surprise, however the song is a relatively straight forward jangle pop song. The lead guitar that comes in after the verse features a pleasant melody and the ending of the song features some excellent guitar textures on the rhythm guitar. Album closer Play it Out has a monolithic feel to it and features a lot of reverb and guitar parts. It plays the part well but I kind of wish it went on longer or had more parts to it.

Hills End is a solid debut from DMAs that finds the band showing off what they do best instrumentally and vocally. The textures, song structures and chord progressions are of a high quality and there are some great moments throughout this LP. DMAs sound like they are still trying to find their sound however and figuring out whether they want to do big rock songs or more restrained songs. I feel their next release, whether an EP or an album, will be an interesting insight to where the band is going.

Rating: 3.6/5

Buy: http://www.dmasmusic.com/

Listen to if: You miss the 90s, you enjoy jangly acoustic guitar

Reminds me of: Oasis, Dick Diver, The Go Betweens, Stone Roses, early Primal Scream

Favourite Tracks: Lay Down, Delete, So We Know

Least Favourite Tracks: Timeless, Melbourne, Blown Away

 

 

Animal Collective ~ Painting With

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Animal_Collective_-_Painting_With_-_Panda_Bear

Argh! My face!

Animal Collective are a band who aren’t short on plaudits and critical acclaim from almost all music critics and publications. Their streak of albums culminating in Merriweather Post Pavillion are some of the most highly regarded albums of the 2000s and their unique and ever-changing sound has left a huge impact on the indie landscape. Their latest album Painting With follows up their divisive album Centipede Hz, released in 2012.

Floridada is the first track on the album and it is a colourful and upbeat opener. Almost immediately my ears are greated by numerous harmonies and squelchy synths. Its a great opener for the album and one of my favourite songs by the band. I can see why the band chose this as the first single for the album as features an insanely catchy chorus. The harmonies on this track really help add to the overall sound of the song and are a throwback to earlier work from the band.

The next track Hocus Pocus continues the colourful synth sounds of the previous track and mixes them with a slow, drum rhythm. Its a pretty chaotic listen with a lot going on all at once. As the song opens up slightly in the chorus, the dual vocals become a bit disorientating. The second verse sounds like the musical equivalent of the album art, and becomes more focused than the first half of the song. There is a multitude of interesting synths and samples throughout this track, however it doesn’t leave a lasting impression.

An organic and percussion heavy drum beat anchors the next track Vertical. Featuring  heavily distorted vocals at the start which are soon overpowered by Panda Bear and Avey Tare’s vocals. This song is rather stripped down compared to the previous synth heavy songs on the album, however it does introduce elements to the instrumentation as the song progresses.

Lying in the Grass opens with an acid bass synth line which is built upon with piano, vocals and what sounds like woodwinds and brass. The off kilter drum beat and warped singing give this tune a really strange vibe but I find myself enjoying the random nature of the song. Its refreshing to hear all the creative sounds and melodies that the band can come up with to be played over the rather simple synth bass line.

The Burglars features some rapid fire vocals and has  a 60s psychedelic vibe, reminding me of some of the trippier Beatles songs, perhaps from Rubber Soul or Revolver. The song builds up to a high crescendo and the vocal delivery reaches a ridiculous pace and I can barely understand the lyrics being sung. I love the synths found in the following track Natural Selection, and its slower pace is a welcome relief from the chaos of The Burglar. The vocals and the synths seem to be in competition with each other, trying to to take centre stage in the mixing, which leads to a lot of swelling in the dynamics of the song.

Bagels in Kiev is a rather forgettable tune that features rather wordy verses that lack the melodic phrasing found in the best parts of this album. The instrumentation is nice enough in the chorus, but I find little in this song that warrants further listens.

On Delay immediately captures my attention with its vulnerable synth timbres and as the harmonies wash over me I’m hooked. The hushed yet excited vocals work wonderfully with the melodic synths in the background of the track. As the song opens up in the chorus and the synths and harmonies start swirling around together it leads to a blissful listening experience. The piano sounding patch that comes in the second verse is a great addition to the song and gives an organic feel to the synth heavy song.

Spilling Guts features a rigid synth chord riff that keeps the song grounded and allows the band to build upon it, similar to Lying in the Grass. This song is over too quickly however and I find myself thinking that perhaps the band ran out of ideas for this song.

A sample from the show Golden Girls opens up the song Golden Gals, the most recent single released from the album. The song seems rather restrained in the first verse, with a rather simple bass and drum groove accompanying the vocals with sporadic synth effects creeping into the mix. The harmonies in the chorus are pleasant however I feel that this song could have been more, having heard the lush soundscapes the band is capable of creating on this album.

The final track on the album Recycling stars with a rather jarring and dissonant synth loop that thankfully fades out and is replaced by a great synth and drum groove. I love the subtle bass line that sits behind the synths and vocals, giving the song quite a groove. This is one of the strongest tracks on the album and a suitable choice as an album closer. The xylophone which is introduced towards the end is an interesting choice of instrumentation and I enjoy how the synth adapts to playing the same melody.

Overall I found this to be an enjoyable listening experience and much more accessible than their previous album Centipede Hz. The high points on this album contain some of the strongest material that the band has released, mixing synths and vocals harmonies to create lush soundscapes. However I feel that some of the tracks could have had more added to them and feel a little bit lacking.

Rating: 3.6 /5

Buy: https://itunes.apple.com/us/album/painting-with/id1058904300

Listen to if: You love synths being layered and used in interesting ways, vocal harmonies

Reminds me of: The Beatles, Beach Boys, Battles

Favourite Tracks: Floridada, Lying In the Grass, On Delay, Recycling

Least Favourite Tracks: Vertical, Bagels in Kiev

Twin Peaks ~ Wild Onion

Posted on by jamesreviewsblog

wildonion

Damn young people

I haven’t really listened to Twin Peaks before this review although I have had friends mention them to me quite a lot since this albums release. Up to this point I was under the impression that this was a British band, but after some research I have found they’re from Chicago and hang out with The Orwells.

The first track, I Found a New Way, starts off with a joyous guitar riff that is reminiscent of Palma Violets. The vocals are gritty and cool and are paired with some gorgeous yet subtle vocal harmonies in the background. This track is a great introduction to the power-pop style that this band specialises in, reminiscent of early 70s bands from Detroit like Death.

The second track Strawberry Smoothie kicks off immediatley after track one and keeps the upbeat pace of I Found a New Wave but mixes it with psychedelia. There are some great guitar tones that accentuate this feel and I can feel a heavy 60s inspiration.

The intense start of the album drops down for the third track, Mirror of Time. This song features some intricate guitar playing and sounds like Twin Peaks attempt at jangle pop crossed with surf rock. The vocal style sounds eerily like Julian Casablancas which is quite a contrast to the vocals in the previous tracks. The song is over just as I get settled into it and I can’t say it left a huge impression. Sloop Jay D is another forgettable track that follows immediately and seems to have the same surf rock vibe with Joey Ramone-esque vocals.

Shock Horror, the next song features vocals that sounds like a singer from the past too! How refreshing. Making breakfast features an Iggy Pop like croon and its at this point i’m getting a bit exasperated at how brazenly Twin Peaks wears their influences on their sleeves. I feel Twin Peaks works best doing their upbeat power-pop songs such as the album opener. The multitude of surf rock songs found in the middle of the album seem to drag the album down and I feel my attention span starting to wane.

Musically the band plays their instruments competently and there are interesting ideas sprinkled throughout the track listing. Sweet Thing features a cool drum beat that has some additional percussion and a great guitar tone that that swells up under the vocals in the first chorus. Saxophone greets my ears in the interlude Stranger World and I have to admit it caught me off guard. Usually I don’t care for interlude tracks but I actually quite enjoy this track and wish it went on longer as it features some interesting, melodic guitar at the end as it fades out.

Telephone starts rather drably but grows into one of the best songs on the album by the time the chorus kicks in. With harmonies, an upbeat drum groove and some wonderfully layered guitars creating a great crescendo at the songs peak. Flavor is the next track which is a power-pop tune that takes an acoustic detour in the bridge but it is a reminder that this is what Twin Peaks do best.

No Way Out is a fun garage rock song found at the tail ending of the track listing. As usual the guitar is excellent and is one of the most upbeat songs on the album. When this band clicks they are capable of producing some great tunes.

Overall Wild Onion is a mixed bag for me. I found my attention starting to slip with the multitude of surf rock songs found in the first half of the album. However after the interlude the album picked up and the band started playing to their strengths. I can see myself listening to a few choice songs regularly but I probably won’t be listening to this album in its entirety in the foreseeable future.

Rating: 2.5/5

Buy: https://itunes.apple.com/us/album/wild-onion/id876535575

Listen to if: You love power-pop crossed with psychedelia and garage rock

Reminds me of: The Stone Roses, Death, The Beatles, The Stooges, The Byrds

Favourite Tracks: I Found a New Way, Strawberry Smoothie, Sweet Thing, Telephone, No Way Out

Least Favourite Tracks: Mirror of Time, Sloop Jay D, Making Breakfast, Fade Away

Rihanna ~ ANTI

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Rihanna_-_Anti

Creepy kid is creepy

I didn’t think I’d end up reviewing a Rihanna album on this blog. Having never listened to one of her albums before I wasn’t sure what to expect, especially from the deeper album cuts. What piqued my interest was the fact that there was a Tame Impala cover, which to me is pretty darn unexpected.

Consideration kicks the album off with a grimy beat which is matched by Rihanna’s heavily accented singing. The bass line in this song is surprisingly smooth in contrast to the distorted drums. SZA makes an appearance and sings an off kilter hook, and sings harmonies with Rihanna. Its a strong opening track and sets the tone for the first half of the album.

James Joint is a short sketch of a track which has a gentle instrumental featuring strings and electric piano. The lyrics are pretty crass, being about smoking weed but the vocal performance is decent. Its an odd place in the track list for such a forgettable song.

The next track however makes up for it almost immediately. Kiss it Better is a great track which features a laid back chorus and a hazy beat. It sounds like it could be a single off this album and is easily the strongest track on the album so far. I love the subtle guitar (or guitar sounding synth) that is added to the instrumentation in the chorus. The song fades out with the guitar and vocals playing off each other.

The most hyped song on this album, and the first single is next. It features Drake and is called Work. Honestly I prefer the preceding track, however this is a solid track with Rihanna’s strongest vocal performance on the album so far. The beat is bouncy and colourful and reminds me of the Bahamas. Drake does a Drake verse, doing his trademark singing/rapping style which compliments the vibe of the song perfectly.

The beats on this album are really top notch and suit Rihanna’s aesthetic perfectly. They vary from dark, crunchy beats to bouncy, sunny beats and yet both styles sound at home underneath Rihanna’s vocals. This is made clear in the track Woo which features a jilted beat and stop start drums. This song wouldn’t sound out of place on an album like Yeezus.

Same Ol’ Mistakes is the Tame Impala cover (the original is on the album Currents) and the beat doesn’t sound too out of place on this album. Rihanna’s airy vocals are actually a pleasant change to Kevin Parker’s falsetto that was all over Currents. The chorus on this track sounds absolutely massive and reminds me what a great producer Kevin Parker is. Rihanna’s layered vocals really add to the airy atmosphere of this track and its one of my favourite on the album.

It seems that Same Ol’ Mistakes marks a turning point in the album as the next track surprisingly features a stripped back instrumental featuring an acoustic guitar. Its a pleasant change in pace for the album and it really gives a sense of intimacy. I can see this song being sampled by an EDM artist and turned into a club hit.

Love on the Brain is a great, nostalgic sounding song inspired by soul music. This is a side of Rihanna’s music that I’ve never heard before and its a song I really enjoy. I love the organ that floats in the back of the song and Rihanna’s vocals suit this style of music surprisingly well.

The final track on the album is an intimate ballad called Close to You that features a delicate piano instrumental. Its a fitting end to the album and despite musically being in stark contrast to the first half of the album the track seems right at home within the second half of the track list.

Overall this was an enjoyable listen and featured strong songs throughout the album rather than just obvious radio singles. I enjoyed the darker and harsher sounding beats at the start of the album and also really appreciated the more organic beats found towards the end. I am interested to see where Rihanna goes with her sound after this album and whether her songs with the stranger beats are a success commercially for her.

Rating: 3.5/5

Buy: http://smarturl.it/RihANTI

Listen to if: You like a darker take on pop music

Reminds me of: Yeezus, FKA Twigs, Love on the Brain

Favourite Tracks: Kiss it Better, Work, Same Ol’ Mistakes,

Least Favourite Tracks: James Joint, Needed Me, Higher

Majical Cloudz ~ Are You Alone?

Posted on by jamesreviewsblog

MajicalCloudz_AreYouAlone_webres

Always

I wouldn’t consider myself a fan of Majical Cloudz. I don’t think they’re either good or bad, just they’ve never really entered into my listening habits for any extended period of time. In my head I have always categorized them (probably incorrectly) as a sad and dreary version of The Presets. This will be the first time I have listened to one of their projects from start to finish.

The album kicks off with delicate piano chords, accompanied by strings and vocals. This track, Disappeared, has a serene atmosphere and moves calmly at its own pace and is an enjoyable and relaxing listen. I love the hints of saxophone in the last few seconds.

I know almost immediately that I am going to enjoy the second track titled Control. I think its the combination of the synths and minimalist bass groove. The first two tracks on this album have caught me off guard completely. Rather than dreary and sad they seem upbeat and joyous, with beautiful production. The vocals are also high in the mix and clear, which complements the production.

Are You Alone? reminds me lyrically of the Radiohead song Motion Picture Soundtrack. Surely this is an intentional homage. I really enjoy the drum rhythm in this track and how the synths increase with volume throughout the song. It also features another great vocal performance by Devon Welsh, who hits some blissful high notes.

At this point in the album I am starting to reassess my thoughts on this band. Rather than an electro band they remind me of possibly something harking back to the 80s. Perhaps Depeche Mode but mixed with modern influences to create something quite unique. The synths remind me of work by Chet Faker.

Silver Car Crash stands out from the hazy production found on the rest of the album with its piercing synth found in the chorus. I can imagine hearing this song live would be a fantastic experience #Lanway. I am left wishing that this song went longer, getting louder and more involved, however it is cut short.

With the exception of Silver Car Crash the album does fall into the trap of a lot of songs being rather similar. While the sound found on most of the album is a great sound it doesn’t vary too often. Some of the tracks almost seem to be just a platform for the vocals rather than a unique piece of music that could stand on its own.

Game Show is a highlight found late on in the album and features a melodic keyboard part that sounds like it wouldn’t be out of place in a lullaby. Harsher sounding synths envelop the keyboard to create an epic backdrop that fight with the vocals to be prominent in the mix.

Overall this album was a pleasant listening experience and had a great atmosphere throughout. However I wouldn’t say there were too many standout tracks or moments that really grabbed my attention. I will however definitely see them at Laneway as I can see this album translating to a live setting in the best possible way.

Rating: 3.1/5

Buy: http://store.matadorrecords.com/are-you-alone

Listen to if:  You enjoy dreamy, synth heavy production

Reminds me of: Depeche Mode, Chet Faker, Future Islands

Favourite Tracks: Control, Silver Car Crash, Game Show

Least Favourite Tracks: Heavy, So Blue