Rapid Fire Reviews (LSD, Cage The Elephant, Lizzo)

Image result for lsd cover artLSD – Labrinth, Sia & Diplo Present… LSD

While it seems like the oddest of pairings on paper, Diplo, Labrinth and Sia have teamed up for a brief project under the name LSD. Diplo is one of the most tried-and-true hitmakers in the business, and adding the nearly boundless voices of these British and Australian balladeers seems like a recipe for success … except that save for the standout tracks that they pushed as singles, most of this seems like Diplo reverting back to the most basic of pop formulas that he knows so well in order to stretch this musical partnership to a full-length project. While the vocal acrobatics are always engaging and there are a couple high-octane surprises in the tracklisting, most of this project is painfully safe.

The a cappella opening of the project previews just how good it could have been, Sia and Labrinth’s voices working surprisingly well together despite how distinctive and instantly recognizable they are. I would have loved to hear a lot more tracks that fit more into this slower tempo to really hear them thrive, but Sia’s attacked uptempo EDM tracks before and still brings the energy to a couple of these tracks. One of the best on the whole project might be the first full-length song, “Angel In Your Eyes.” It’s a seriously quirky electronic track that sees Diplo introduce us to a disorienting and woozy world that the cover art and the supergroup’s moniker suggests, though it’s really the only time this theme seems to fit here. The childlike backing vocals, hyperspeed tempo and chopped up melodies that bound madly around the soulful main hook and Diplo’s bleeps and bloops really demonstrate his strength as a pop producer. The last beat switch is a great shift in energy as well.

One of the greatest aspects that keeps up throughout this project is actually the way that Sia and Labrinth frequently trade off who sings every aspect of the verses and chorus, so you always get to hear both voices on every melody the song has to offer. It’s a nice twist that you weirdly don’t hear too often on pop duets. The triumphant “Genius” is another pretty great track before the project drops off in quality. Diplo makes his synths sound absolutely orchestral as the two make grandiose claims sounding like some mad scientists. The way Sia says “he’s a genius” is something that won’t leave my head in a while, and those belted harmonies at the end only reinforce the vocal talent on display here.

The other big single “Thunderclouds” doesn’t fare quite as well. There’s not much to say about quite a few of these tracks, they’re essentially made to not stand out. The melody doesn’t jump out at me like some of the others here, Diplo distilling the dying remainders of big, happy and upbeat pop music into one last swan song by amalgamating every trend there is.

So many of these other tracks fall so quickly into these pop tropes, with repetitive lyrics and dated dance breakdowns. It probably shouldn’t come as much of a surprise that it feels like this project was released so late, most of these tracks quite a few months old without many new ones coming on this release … anything new that we’re getting now really doesn’t measure up and seems like a lot less effort was put into these just to call it a full album. The track “Audio” seriously sounds like it comes from 2013, though it’s one that would have shut down the clubs back then. There must not be more than 50 words in the track, the rest taken up by one of those chill dance breakdowns that used to be in every pop song on the radio.

“Mountains” and “No New Friends” have some great elements mixed with a couple of melodic decisions which really don’t make sense, which is surprising considering the man behind the boards. The heavenly opening of “Mountains” sounds seriously promising, sounding like some kind of choral hymn as Labrinth reaches up into that famous falsetto, but then the track drops out into this tropical-house groove with some generic lyrics about moving mountains and a chaotic, badly mixed dance drop. When it tries to bring back the same choral sound for the second verse, it’s laughably out of place at that point. The carefree “la-la” chorus of “No New Friends” makes me want to get up and dance, but everything else about the track is pretty phoned in.

The project ends a little stronger with the tracks “Heaven Can Wait” and “It’s Time,” which are built to show off the strengths of the vocalists a little more. The former has a hook so perfectly tailored for Sia’s range, her playing off of Labrinth’s emotional vocals in the verses with some soaring notes that sell the chorus over some steel drums, while “It’s Time” takes a break from the frenetic pop jams for a minimal piano duet where the vocalists can really show off – it’s the kind of thing they should really be doing just about all the time.

Diplo is probably one of the greatest pop producers working right now, so it’s weird to hear what happens when his hitmaking instincts are still clearly there with a little less effort put into them. There’s a lot of great aspects to this project and I’d even love to hear the three work together in the future, but LSD is a seriously inconsistent exercise for now.

Favourite Tracks: Heaven Can Wait, Angel In Your Eyes, It’s Time, Genius

Least Favourite Track: Audio

Score: 5/10

Image result for cage the elephant new albumCage The Elephant – Social Cues

The alt-rock veterans are still going and making a huge impact in the music scene. With their fifth studio album, Social Cues, the band that’s always had the slightest bit of a hip-hop influence adapts their sound to a more modern context pretty perfectly, linking up with producer-of-the-moment John Hill, who has recently given hits to both established pop stars and indie bands looking to crossover – his biggest success being “Feel It Still.” This is a strong project from the group, combining their immediately memorable hooks and fuzzy guitar charm with some more modern percussion and compelling lyrics about mid-career contemplations in a struggling genre.

The opening 5 tracks of the project are a very impressive run, easily making a case for radio play with some seriously catchy hooks even when a lot of these tracks are driven by some almost garage-rock sensibilities instrumentally. They know it too – “People always say, ‘at least you’re on the radio’,” they sing on the title track “Social Cues” with a tinge of sadness as they sing of creative struggles and dealing with fame. The opening track might be the purest rock song of them all with some punchy guitar hooks, but tracks like “Social Cues” and “Black Madonna” remove the fuzzy filter on the vocals and make plays for arena-sized anthems. You’d think someone would have done it before, but it’s so interesting to hear a modern beat with prominent hi-hats played on a real drumset, or at least, one that can alter the sound and mute them like they do on the title track – although they go full computerized with the track “Night Running” later on to similarly great effect. “Black Madonna” is an absolute knockout of a song, continuing the themes of the previous track by sarcastically comparing the allure of fame to some kind of entrancing goddess as awe creeps into frontman Matt Shultz’s voice. It’s a pretty simple but effective instrumental, the bassline driving the track and building up to the intoxicating falsetto chorus.

“Night Running” features Beck and takes more of a dive into his darker, woozy sound with some reggae influence – quite a bit of this project actually reminds me of what made Twenty One Pilots’ recent project Trench so effective – their general sound is quite far removed from everything else on this level of popularity, but they’re not afraid to apply their trademark style to just about anything else and try out some new things. Some catchy synth piano leads us into the slow-burning “Skin and Bones,” which slowly builds up to a dramatic orchestral conclusion, but “House Of Glass” demonstrates exactly what I mean – it’s the shortest track here, but you wouldn’t realize that listening it since it goes to so many unexpected and experimental places and makes a lasting impression. Shultz’s vocals are rapped with a deadpan delivery before the chorus brings in some of the most distorted and chaotic guitars on the whole projects and some gang vocals shouting about an illusion. A virtuosic guitar solo caps the whole thing off.

Another great thing about this album is its structuring – even if there’s not a fully realized story from beginning to end, the band knows how to put tracks with similar themes together. After their discussions on fame in the first half, the way tracks like “Love’s The Only Way” and “The War Is Over” transition into each other and expand on some of the points brought up in the previous track keeps the listener engaged at all times, in this case Shultz finding a love that ends all of the negativity – or the “war” – that he sung about in the early goings of the album. The former especially is a pretty beautiful stripped-back and calming track with a great story behind it – the ode to love is intentionally written in a key higher than Shultz can sing comfortably, so that his brother who plays guitar in the band has to help him out on some of the higher notes – love’s literally the only way it can be performed. Ending the album on the absolutely heartbreaking “Goodbye” is quite the choice as well – Shultz could apparently only bring himself to sing a single take and you can seriously tell how much pain is behind his words as he sings of the end of his seven-year marriage, repeating “I won’t cry” and “it’s alright” unconvincingly.

The album is somewhat frontloaded, placing most of the best tracks in the first half as it loses a little steam towards the end, but most of these tracks have at least something to like about them. Tracks like “Dance Dance” and “Tokyo Smoke” have the same kind of enjoyable upbeat garage-rock strut that persists throughout the project, but they don’t distinguish themselves much from other tracks on the project, especially when most of them have some kind of instrumental surprise or genre-defying flourish that individualizes them.

This band has come a long way since “Ain’t No Rest for The Wicked.” Social Cues is a project that’s both surprisingly modern and true to their roots at the same time, with frequent surprises and no shortage of hooks that you’ll be absentmindedly singing along to in no time.

Favourite Tracks: Black Madonna, House Of Glass, Social Cues, Skin and Bones, Love’s The Only Way

Least Favourite Track: Dance Dance

Score: 8/10

Image result for cuz i love you album coverLizzo – Cuz I Love You

2019’s most explosive breakout star is finally ready to explode into the public eye with her third studio album, Cuz I Love You. Lizzo has already been somewhat of an icon in the LGBT community for years with her special brand of overwhelmingly self-affirming and confidence-boosting lyricism, but more and more people are realizing that the messages of inclusivity she preaches are so fun that just about anyone can get involved regardless of who they might be. Lizzo is a lot more than just a rapper, running through sparkly pop hooks, fully-belted R&B ballads and neo-soul, and even bringing her famous flute on board in a complete obliteration of genre conventions. Her off-the-cuff effortless charm is hilarious and she certainly has the talent to back it up.

Cuz I Love You is a project infused with Lizzo’s infectious personality, dropping quotable and fun rap lyrics while also translating her loud, unapologetic nature into passionate and impressively soulful R&B material. Thirty seconds into the opening title track, Lizzo has already sung a full-voiced a cappella soul belt, referenced a meme and giggled as she raps “what the f**k are f**kin’ feelings, yo.” “Cuz I Love You” is a doo-wop throwback with bouncy piano rap breaks and immediately introduces the listener to just how fun and dynamic Lizzo can be. Structured more like a series of fun dancefloor fillers than a cohesive album, the project still works because Lizzo’s all-out celebration of all aspects of her identity is genuinely inspiring – for example, she celebrates body positivity on “Tempo,” interracial love on “Better in Color” and enjoys the single life on “Soulmate.”

She puts some of her most pop-oriented tracks right up at the front and shows why she’s ready to break through to mainstream audiences. The second track “Like A Girl” sees her referencing some successful women in pop culture in her rap verses and a 90s-influened massive pop hook as she backs herself up with some shouted chants, cheering herself on in the way that only Lizzo can before a rhythmic switchup in the bridge where she takes full control, but “Juice” is the real shining centerpiece here. Lizzo’s music is essentially the perfect “getting ready to go out music”, strutting down the runway and proclaiming herself “goals” with a funky throwback instrumental and confident half-sung delivery. “Soulmate” continues the self-love theme with one of the most uplifting hooks on the whole project, a syncopated synthpop beat accentuating her flow as she sings “bad b*tch in the mirror like yeah I’m in love” with an audible smile on her face.

The most Lizzo song of all here might actually be “Jerome,” which blends together everything great about her into a song that’s simultaneously legitimately emotional and absolutely goofy, dropping into a waltz tempo as Lizzo introduces the track with a “Look, listen, shut up,” going for the Oscar and putting on her best melodramatic and theatrical voice as she instructs her man “take your ass home.” It’s so hard not to make this entire review quotes of Lizzo’s lyrics – everything she says is absolute gold, and her mixed vitriol and lingering affection for the song’s target generates some of her funniest and most relatable lines, all while demonstrating her ever-surprising talent with some seriously soulful falsetto notes at the track’s conclusion.

Lizzo’s got huge ambitions, and for someone who was dropping meme-raps like “Phone” back in the day, it’s always a shock to hear her legitimately pull them off. The next two tracks see her link up and hold her own with an idol of hers in Missy Elliot and go full Prince with the Minneapolis-funk inspired track “Crybaby,” where she completely abandons her rap persona and transitions fully into a soul diva.

The end of the project is just as strong, even if the lack of cohesion and Lizzo coasting through some of the less-organized off-the-cuff moments on sheer charm alone starts to become a little more evident as it hurtles towards its ending. “Tempo” is a great club track, but there’s not much about it that really comes together , while tracks like “Exactly How I Feel” and “Heaven Help Me” feel underwritten, just leaving a lot of space for Lizzo to show off her booming vocals without much attention paid to song structure – smooth Gucci Mane feature aside. Except for the fact that that sheer charm I mentioned is probably more powerful than just about anyone working in the game right now – you can’t possibly listen to Lizzo and not have a great time. It ends with the track “Lingerie,” a much quieter sensual track that moves through three different chord changes and leaves things off with the impression that Lizzo could seriously be a leading R&B artist if she wasn’t busy doing just about everything else as well.

Songs written for the primary purpose of being a feel-good anthem can often elicit eye-rolls, but Lizzo is both authentically herself and inclusive enough that it’ll make anyone want to join her party. She represents the perfect antithesis to the wave of sadness taking over popular music right now.

Favourite Tracks: Jerome, Juice, Soulmate, Better In Colour, Like A Girl

Least Favourite Track: Exactly How I Feel

Score: 8/10

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XXXTENTACION – SKINS

XXXTentacion – Skins.pngSince his death this past June, it’s becoming much more evident just how much of an incredible impact XXXTENTACION had on the direction of music and culture. While his projects were uneven and his career was mired in endless controversies, there was always a clear creative spark and an urge to put out something different, something uniquely him. SKINS is his first posthumous release, and standing at only 19 minutes in length, it’s clearly unfinished, most of these songs having issues with mixing and mastering or instances where X was recording a demo vocal to be replaced with something more substantial later. Although there are definitely a few issues with putting this out so quickly to capitalize on his name, looking back at how much the genre he kickstarted has grown has honestly made me appreciate the ideas presented on this tape for what they are – I can tell that if these were turned into full songs, it’d be a huge step forward from 17 and ?. If I’m evaluating this just on the music presented though, this barely qualifies as an album.

It’s immediately evident just how little new material we’re actually going to get here when the instrumental of the first full track, “Guardian angel”, starts playing – it’s just the beat of one of his biggest hits, “Jocelyn Flores”, reversed. X’s rapping on the track is honestly some of the best I’ve ever heard him, urgent and powerful, but the track ends before it even begins – this is just a tiny chunk of something he recorded. I always enjoyed his calmer raps, without the overuse of distortion, the most out of any of his wide variety of styles, and it continues on the next track “Train food” which sees X do something new and put together a full narrative and concrete idea – at almost 3 minutes, it’s an unusually long track for him. X’s lyrics are vivid as he paints the picture of encountering the figure of Death while walking home, enhanced by the sound effect of a punch before he wakes up tied to a railroad track. The repeated lyrics and very minimal instrumental suggest that this could have been even more powerful than it already is – that last verse is chilling and prophetic, as X raises his voice to a shout.

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The track “STARING AT THE SKY”, standing at under a minute and a half in length, sees X revert back to his full-voiced distorted yells and heavy metal production style interspersed with acoustic emo-folk delivery. It’s the kind of material that really made me worried for him on his previous projects, but the addition of a sinister whisper under his repeated yells of “WE’RE GONNA BREAK” is an absolutely terrifying touch that shocked me. It’s not something I’d ever want to return to, but it definitely made me feel something.

The heavy guitars continue to much better effect on “One Minute”, which recruits Kanye West and Travis Barker. Despite some seriously questionable lyrics, West absolutely demolishes his verse, the distorted guitars behind him injecting his confident and charismatic flow and delivery with some serious energy before X enters with a bloodcurdling scream – even if his part is minimal and clearly looped, it’s a pretty mindblowing track all in all.

It’s strange to accuse a 19-minute album of having filler tracks, but some of these songs are blatantly unfinished and it makes me worried that X’s team are suggesting that there is more to come if this is all they could muster to put on his first posthumous release. The tracks “whoa (mind in awe)” and “what are you so afraid of” are painfully repetitive and consist of little more than X’s whoa-ohs, suggesting that they were demos he recorded before adding actual lyrics. Most of the time, it doesn’t sound like he’s fully present in recording, like these were obviously nothing close to the final takes he was going to record.

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A track like “BAD!” sounds like it would have been an obvious hit if it were actually put together with some more effort – X’s words are barely clear, like he was unsure if he’d replace them later. The studio wizardry throughout is so clear, constructing tracks out of bits and pieces that it might not have ever been his intention to fit together. “I don’t let go” is another track that I can see coming together with more work – the glitchy instrumental from Cubeatz reminds me of “Moonlight” and X’s falsetto chorus is pretty enjoyable, despite its repetition without much else to switch up the energy of the track. Like everything else here, the idea is there, but the execution is far from complete.

Most of what I enjoyed from this project is simply from my fascination with the creative processes of one of the most culturally influential artists in recent memory – hearing X’s ideas in their bare-bones form gives me hope that he was moving in a more positive artistic direction, and that some of these tracks could have been a lot better than his previous work. There are a lot of things to like here, but the fact that we never really get to hear them come to fruition makes this a seriously underwhelming release that makes me nervous for just how long we’re likely going to be milking X’s work after he’s gone.

Favourite Tracks: One Minute, Train food, I don’t let go

Least Favourite Track: whoa (mind in awe)

Score: 4/10

Twenty One Pilots – Trench

TOP Trench Album Cover.jpgUncategorizable alternative duo Twenty One Pilots release their fifth studio album, and first after becoming household names with 2015’s uneven but hugely successful Blurryface. While I’ve often struggled with the duo’s consistency in the past, as they seemingly mashed disparate styles together for no reason other than the fact that they could, Trench sees them take better control of their more outlandish artistic impulses, combining it with the catchy pop songwriting and heart-wrenchingly descriptive and personal lyrics that made them such a success previously. While their mid-song transitions could still use some work, Trench is the best kind of wildly versatile project that somehow works cohesively, and it’s likely their best work yet.

Kicking the project off with their heaviest song in years, we’re immediately dropped into the droning guitars of single “Jumpsuit”, which introduces just how great the production across the board is going to be on the project – there are so many little details that enhance the world of the song, especially as it ties into the conceptual landscape of the fictional city of Dema that each song is tied to. Something like cutting back to just the menacing bassline for a second in the paranoid second verse works wonders. One of the most consistently engaging things here is how well they’ve fit their more commercially oriented pop choruses so well onto the darker, heavier instrumentals of their past. Writing an inescapably catchy chorus is still one of frontman Tyler Joseph’s greatest strengths, a few of these tracks drawing on 80s synthpop in their most pop-oriented moments. Not many of them stay in that mode for the whole song, but “My Blood” does, and it’s a pretty euphoric experience.

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“Chlorine” might be the catchiest hook of all here, though. A more low-key track, the cascading piano embellishments and major-key fanfare of a bassline add to its memorability. The back-to-back tracks “Nico and the Niners” and “Cut My Lip” both dive back into the subtle reggae influence the band has borrowed from in the past and do it better than ever before. The way the vocal modulations on “Nico” frame the drop into the final, speedy rap verse on the track makes my heart skip a beat every single time, while “Cut My Lip” features a final, repeated refrain built for an arena to sing along to. It’s one of the most emotionally sung tracks here as well, Joseph reaching into his upper register. “Pet Cheetah” is just … absolute madness. The glitchy, lurching synth-bass collides with in-your-face hip-hop production for a track that quickly switches back and forth between the panic-inducing hellscape (in the absolute best way!) of the former and the softer, sung sections of chorus.

As usual, Joseph addresses some pretty heavy topics across the board here as well. On the track “Neon Gravestones”, he muses on the romanticizing of celebrity suicide over a somber piano loop and skittering drumbeat, acknowledging how much more famous he’d get if he killed himself. As he’s acknowledged having these thoughts in the past, he bluntly sings that if the worst does happen, he doesn’t want his fans to feed into the culture of celebrity and move on. At the end, he switches the narrative, saying to celebrate grandparents who have lived a full and accomplished life instead – the dedication is particularly poignant due to the death of Joseph’s own grandfather, who appears on the cover of the duo’s 2013 album Vessel. The track “Legend” here is a heartfelt dedication to him, featuring a final verse where Joseph outright states that he recorded it on the day of his passing.

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In an album that goes to so many interesting and diverse places so well, a track like “The Hype” feels far too one-note, essentially just structured like an everyday pop song. The falsetto delivery almost reminds me of an older song from a band like Foster the People. As well, Joseph’s rapping has always sounded a little off to me, and while he’s certainly improved here there are a still a few moments where it sounds like it’s just not something he should be doing at the time. On tracks like “Pet Cheetah” and “Levitate” something about the places he emphasizes his syllables throws the rhythm off slightly. “Levitate”, especially, has a pretty great throwback hip-hop percussion groove with the off-kilter Twenty One Pilots edge, but Joseph’s higher-pitched delivery doesn’t fit right with the tone of the track. Follow-up track “Morph”, on the other hand, sees him settle in perfectly. Another exquisitely produced track, the emotion creeps into his delivery over the chilling synth-piano eerie carnival ride of an instrumental. I love how many different places the track goes without losing its essence – through the almost future bass swells, the falsetto pop chorus, the tropical house synths at the end … it’s boundless creativity at work.

Tyler Joseph and Josh Dun have essentially done the best possible thing they could do here after skyrocketing to fame, taking some of the greatest elements of what the general public were drawn to and combining it with some of the greatest elements of what made them unique in the first place. I’m sure their diehard fans are getting even more enjoyment out of the complicated lore behind the project as well. Another contender for the Most Improved Award.

Favourite Tracks: Morph, Neon Gravestones, Nico And The Niners, Pet Cheetah, My Blood

Least Favourite Track: The Hype

Score: 8/10

Mitski – Be The Cowboy

Image result for be the cowboy mitskiOne of the most consistently critically acclaimed artists in the indie community, indie-pop and alt-rock singer-songwriter Mitski returns with her 5th studio album and first following her major-label breakthrough with Puberty 2. Be the Cowboy is a similarly eclectic and intentionally off-kilter collection of brief and often existential tracks. Blending her unassuming, indie-leaning vocal work and bleak and vulnerable lyricism with bombastic, distorted guitar instrumentals, there’s certainly nothing out there that comes even close to what Mitski is doing here. I’m all for experimentation, but it’s honestly hard to tell if I fully like the music here or I just respect it as a completely out-there idea. Although there are brief moments where things get a bit too chaotic here, for the most part the project is elevated by Mitski’s beautiful vocal moments and songwriting abilities.

Listeners are introduced to the kind of album it’s going to be pretty early on, some full, vibrant orchestral strings opening first track “Geyser” before the brief, horror-movie jumpscare type distorted noise honestly shocked me and the track eventually builds up to some underlying heavy distorted guitars as the rest of the pop elements of the track swell to their greatest cinematic peak. It’s all a little much, but it’s nothing if not ambitious. Mitksi’s use of distortion and chaos across the board is used to illustrate the mental state she describes in her lyrics, but it makes it hard to want to give a lot of these tracks repeated listens, especially when she intentionally doesn’t want to settle into a particular groove, switching things up immediately after they’ve begun.

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Mitski is at her best when she embraces the quirky indie-pop singer-songwriter angle: “Why Didn’t You Stop Me?” uses the guitars more sparingly, punctuating powerful moments instead of taking everything over. There are some serious 80s synthpop vibes on the song, driven by a pulsating bassline and catchy synth hook that frames the sweeter areas of her voice well. On the song, Mitski expresses disappointment that an ex doesn’t want her back, even though she’s the one that ended it in the first place, and her confused and chaotic mindstate regarding romance continues to show up as a theme here. Almost all of these songs don’t even break the 3-minute mark, making the project resemble a series of disjointed, impulsive thoughts – and her lyricism and even her melodies often reflect this. Mitski has expressed in interviews that she didn’t necessarily want everything to come together perfectly, the distress she expresses on these tracks evident through the music itself. She discusses conflicted feelings on returning to a toxic relationship out of fear of being alone on “A Pearl”, where her vocal lines fluctuate around and never really settle on a direction, and continues to return to the theme of a kind of existential loneliness that has her losing her mind on tracks like “Lonesome Love” and “Blue Light”.

At the same time as this disjointedness works well for what Mitski is trying to express here though, many of my favourite moments on the album are over before they have even begun. “Lonesome Love” is one of the more instrumentally simple tracks here, Mitski adopting an almost folk/Americana cadence over little more than acoustic strumming, and the increased focus on her voice is welcome – but we don’t even hit the 2-minute mark here. “Me And My Husband” is another great moment here, the instrumental reminding me of the kind of old-school piano rock that appears on a Father John Misty project. Hearing Mitski’s vocals on an instrumental capable of turning her emotional vocal delivery into an anthemic mantra as she desperately clings on to a fading partnership.

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In the middle of all of this genre-bending madness, there’s what is essentially a perfect pop song in the single “Nobody”. Mitski’s voice already has such a Lana Del Rey-like automatic flair for the vintage, and there’s something about the chorus melody that captures it perfectly here, underscored by those low piano chords and almost disco synths. So many worlds collide on the track in the best possible way – the live percussion on the track elevates it to another level as well, and we’re catapulted into an off-kilter ethereal section of the track as it comes off the rails, Mitski’s voice becoming filtered and robotic as the song ends abruptly after a key change, repeating the title over and over to further illustrate the loneliness she outlines elsewhere. “Washing Machine Heart” is another great track where the almost too-perfect, adorable tone of Mitski’s voice is made to sound detached and robotic with the kind of childish yet eerie melody you’d hear at a carnival, the song ending with a single, terrifying second of static as the speaker becomes unhinged.

Be the Cowboy is certainly one of the most unique listening experiences I’ve had all year, but from everything I’ve heard Mitski say about the album its clear that she has a clearly defined artistic vision and she’s executing it about as well as she possibly could. There are quite a few very powerful musical moments on this album, and despite the lack of replayability, it’s a lot better listened to as a full experience than returning to single songs.

Favourite Tracks: Nobody, Washing Machine Heart, Me And My Husband, Why Didn’t You Stop Me?, Lonesome Love

Least Favourite Track: A Horse Named Cold Air

Score: 7/10

Trippie Redd – Life’s A Trip

Image result for life's a tripSteadily becoming one of the leaders rising to the top of the new class of alternative rock and pop punk-influenced emo rap artists, Trippie Redd’s debut studio album is a melancholy, raw project framed by Redd’s unique, strained and distressed vocal delivery. He references Lil Wayne’s music on the project, and he comes across here as the most obvious offspring of Wayne’s ill-conceived but undoubtedly influential 2010 rock album, Rebirth. Ultimately, Redd’s vocal delivery verges on painful to listen to, and his ridiculous lyricism and meandering, directionless moody emo-trap song structures greatly let down the novelty of the act that he is.

Trippie Redd is often lauded for his lack of Auto-Tune usage, unlike his contemporaries in the genre, simply presenting his raw, unfiltered vocals that supposedly better express the darker thoughts that pop up in the new landscape of hip-hop. This would be a perfectly appropriate comment if Redd’s vocals weren’t so hard to listen to – Redd seems to take this too far, straining his vocals and every so often extending a note too far with a garbled scream. Young Thug’s worst tendencies are right at home on this album, appearing on the track “Forever Ever”. The two each throw their voice around with reckless abandon, forgetting that a concrete musical rhythm and structure exists for a reason. The songs on the project that extend past the usual 2 or so minutes that most Soundcloud rapper adhere to feel completely self-indulgent, Redd repeating the same refrains without a hint of a memorable, catchy melody as he runs up and down the scales completely off-key.

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It really does feel like all of these songs are freestyles at times, like he goes into the booth without an idea of what’s going to happen. The track “Bird Sh*t” sees him suddenly latching onto a single musical phrase in the middle of a verse and repeating it, seemingly just because it fit his liking in the moment regardless of how it worked with the rest of the song. Longer tracks “BANG!” and “How You Feel” are even more excruciating, Redd singing the entire chorus with his strained, yelling vocal on a song that extends to nearly 5 minutes on the former and sounding completely out of place on the guitar instrumental on the latter. It’s a few guitar chords that simply loop for 4 and a half minutes, accompanied by a higher-pitched wail in the background and Trippie repeating the title in his often pitchier higher register seemingly emulating a rock n roll frontman, occasionally breaking the cycle to offer a ridiculous lyrical simile or absurd melodramatic proclamation. Travis Scott-featuring single “Dark Knight Dummo” goes the other way, the beat a complete sensory overload that tries to do too much, and the only thing that could draw attention from the instrumental is of course the same strained vocal on top of all of the background mess.

Redd does attract some great collaborators to this project, and at times you can see some good songs hiding underneath all of the mess coming from Redd himself – the legendary Scott Storch lends a catchy, poppier instrumental to the track “Taking A Walk”, which is over too quickly and is let down by Redd’s vocals, for example. Sometimes, the good song is literally hiding underneath – Redd adds the Diplo collaboration “Wish” to the tracklist with a new “Trippie Mix”, after he expressed his disdain with the changes Diplo made to the song on his own project. Turns out, Diplo simply removed all of Redd’s terrible ideas and turned it into an enjoyable song. Redd reinserts a delayed echo affect that throws off the melody and some awful harmonized vocals completely out of sync with the rest of the song that left me shaking my head in disbelief at how passionately he felt about such incompetence.

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Redd’s rap tracks do fare slightly better, especially “Oomps Revenge”, where he clears up his voice and raps over a great chopped up soul sample – he kind of sounds like Chance the Rapper. “Missing My Idols” had potential, but his apparent thought process that an obnoxious vocal delivery means clearer expression of self reappears even here and he loses the rhythm a bit in the second half of the song extending his words too far and raising his voice.

After pioneer XXXTENTACION’s death, I can only see this style continuing to grow and prosper – there’s evidently something about it that does succeed at drawing people in. Whatever it is, I personally have no idea how to relate to or understand it.

Favourite Tracks: Oomps Revenge, Taking A Walk

Least Favourite Track: Gore

Score: 2/10

Meg Myers – Take Me To The Disco

Image result for meg myers take me to the discoPop-rock singer-songwriter Meg Myers’ sophomore album, Take Me To The Disco, sees the singer discover a middle ground between the upbeat, poppier melodic approach of her debut Sorry and the abrasive, almost grunge edge that coloured her earlier EPs. 4 years after her breakout single “Desire”, Myers still exists in her own lane as a completely unique artist and one of my personal favourite singers who is still moderately lesser-known, blending heavy guitar work and haunting, tortured rock vocal abilities with some aspects that could easily fit on pop radio. However, while still possessing the infectious qualities of songwriting and song structure that knows just how to highlight the greatest parts of her voice, Take Me To The Disco sounds more subdued than Myers ever should be. She never quite recaptures the snarl that accompanied her early delivery, or commits fully to the experimental, pop-oriented angle that appeared on Sorry. Still, Myers delivers another strong body of work.

The title track which opens the album essentially acts as an introductory preface to the explosive lead single “Numb”, one of the greatest tracks here. Myers’ voice on the opening track is featured more due to the more minimal instrumental constructed of orchestral strings and a light, poppier percussion section, but you can still hear the intensity and emotion in her every note, her voice catching and stopping up on certain notes, even if she takes her vocals to a more breathy place than usual. I always find myself wanting her to return to the full-voiced early-90s grunge scream and aggressive, disdainful tone that surprised me so much the first time I heard her – and she comes closest to it on the chorus of “Numb”. The deafening lead guitar roars in after a verse with a delightfully off-putting childlike nursery rhyme melody (“I don’t wanna grow up, la la la la la”, she sings), catching the listener off guard with some serious vocal ability with a huge slide up to an impressive note that she hits at full power, bringing back her catchy pop songwriting that she expresses in the most intense, contradictory way possible that works perfectly regardless.

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“Tear Me To Pieces” is another equally chilling track. I love how she over-enunciates each one of her words, making me feel the anger behind each. Her expletive-laden accusations of her partner’s lies remind me of her older songwriting, and the demonic, distorted lower supporting vocals and the way the song cuts out to highlight her most emotional vocal moments make it a standout. The juxtaposition of the quiet piano section before the final, screaming conclusion never fails to give me goosebumps. “The Death Of Me” reminds me of the pop half of Sorry more than anything here, a much brighter piano riff colouring the track that provides the perfect contrast to the pessimistic and anxious lyricism of the chorus that acts as the biggest artistic risk on the project. Main co-writer Leggy Langdon lends his vocals to the track as well, providing a distinctive, unique lower voice that provides great support for Myers. “Little Black Death” is another pretty flawless marriage of the two styles, the upbeat track taking on an almost disco flavour due to the syncopated rhythm of the chorus melody. It’s a lot of fun to hear a distorted guitar emulating this kind of upbeat instrumental, and Myers taking the final chorus an octave up is a pretty stunning vocal moment.

“Tourniquet”, on the other hand, feels emptier and more underwritten than anything here, the melody too quick and choppy for the quieter, acoustic guitar pattern that dominates the instrumental space, most of the chorus just involving an “ay-ay-ay” extension of the titular word – it’s missing the sharp, often terrifying songwriting that I’ve come to know Myers by over the years, and it feels like she’s trying to play into more of a marketable angle here for the first time. It’s one of her least shocking songs and easily has crossover potential.

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Looking at the larger picture, a few of these tracks do feel like older Myers tropes that just aren’t taken as far as they used to be, exhibiting a few similarities across the tracklist. “Some People” is a slower, orchestral, more introspective track that doesn’t really pick itself off the ground due to Myers relegating her vocal power until a final, explosive section that comes too late and feels repetitive after the similar structure of the preceding tracks. “I’m Not Sorry”, as well, features yet another juxtaposition of a quieter refrain, Myers repeating a strained, breathy “stay”, with a briefly abrasive section that isn’t executed as well as other tracks here.

All things considered, Myers at her least interesting is still pretty incredible and refreshing. There’s nobody else in the current musical conversation coming anywhere close to emulating the combination of sounds that she does, and her song structures are always electrifyingly clean and well thought out. Now moving forward as an independent artist, she should hopefully regain some creativity once again.

Favourite Tracks: Tear Me To Pieces, Numb, The Death Of Me, Little Black Death, Done

Least Favourite Track: I’m Not Sorry

Score: 7/10

Rapid Fire Reviews (Tinashe, J. Cole, Bishop Briggs)

Tinashe - Joyride (Official Album Cover).pngTinashe – Joyride

Joyride is a project that frequently underrated R&B artist Tinashe has been promoting since 2015, delayed multiple times as it was apparently held back by label deman 2016’s Nightride album was a catchy, ethereal teaser, but it may have ended up being better than the final product. The label intervention is evident across this project, Tinashe’s quieter style frequently offset by obvious attempts to land her another radio hit with awkward rap features (one fittingly being Offset himself) and production from pop hitmakers like Stargate. The album is a directionless mixed bag, but she still manages to shine in the few occasions where she’s allowed to do what she wants here.

Tinashe has always been at her best on more throwback production styles, rather than the more marketable and upbeat party tracks that take up most of the space on this album. Sometimes the two styles are mixed together and the juxtaposition is too much, like on title track “Joyride”, which places a loud “la-la-la” melody and huge beat overtop of the orchestral and spacey synths and strings that she is more known for, which fail to accommodate the constant high energy of the rest of the track. The pure pop tracks fare a little bit better – I’m not going to lie and say “No Drama” doesn’t get stuck in my head for days at a time – but it’s far from the artist I know she can be, she’s a better singer than this basic melody over a trap beat. “Me So Bad” is the most blatant attempt at a trend-riding track that never would have made it onto a Tinashe project with creative freedom, the lyrics doing little more than pointing to her looks with a pretty inexcusable French Montana feature and a beat that manages to take the worst elements of both the tropical and dancehall trends at the same time. The last few tracks on the album never quite come together, the scores of writers in the credits becoming evident as the commercial aspect overrides artistry, the hint of a trap hi-hat echoing on even the slowest tracks. What in the world is that disjointed Future verse??

It would be a much different story if the whole album was filled with tracks like “He Don’t Want It”, the closest thing we get to the highlights of Nightride like “C’est La Vie” and “Ghetto Boy”. Tinashe uses both ends of her vocal register, the breathy falsetto verse introducing the more powerful chorus. I love when most of the elements of the track are made of Tinashe’s dynamic vocal abilities, and the ethereal backing harmonies complete the picture here. It’s great to hear elements of a trap beat without the same rhythms we’re all familiar with from all-star hip-hop producer T-Minus as well. Follow-up “Ooh La La” is an homage to the early-2000s R&B that Tinashe would have thrived in, with a pretty fun flip of a sample from Nelly’s “Dilemma” and calmly picked guitar melody reminiscent of “Suga Suga”, while an unexpected collaboration with Little Dragon on “Stuck With Me” is a fantastic surprise, Tinashe and Yukimi Nagano’s voices occupying that perfect space of having a similar tone that’s just distinct enough to distinguish the individuals.

The way Tinashe’s career has been handled is one of the most consistently depressing things about the music in Here’s hoping she goes independent and drops some old-school R&B gems on us.

Favourite Tracks: He Don’t Want It, Stuck With Me, Ooh La La, No Drama

Least Favourite Track: Joyride

Score: 5/10

JColeKOD.jpgJ. Cole – KOD

North Carolina rapper J. Cole bounces back in a huge way after 2016’s disappointing 4 Your Eyez Only with his 5th studio album KOD, a concept album of sorts that sees him discouraging forms of substance abuse that have affected him and those he observed in the past by through some Kendrick Lamar-esque play with the embodiment of opposing characters and points of view. While Cole doesn’t really do anything groundbreaking here musically, he escapes criticism by tying it perfectly into the theme of the album, stating that the addictive, repetitive hooks and trap beats resemble the drugs he speaks of. Plus, what I was really missing from Cole was the fire in his delivery, and that’s fully returned with this more modern, upbeat style.

“There are many ways to deal with pain … Choose wisely”, echoes a voice throughout the album. The tracklist is divided about half and half, sometimes on the same song, as Cole portrays either himself making the wise choices in the present or a character addicted to or dependent on one of the many “drugs” he describes, both literal and more abstract, like money, power or love. Opening track “KOD” lets listeners know early that Cole has snapped out of the trance that dominated his previous album, offering a rapid-fire triplet flow and booming bassline. The popularized Migos flow shows up quite a bit across this project, but it’s still great to hear Cole’s take on it since his voice and delivery can be one of the most engaging in the industry when he wants it to, always with a sarcastic wink and a jovial bounce. Cole produced nearly all of the beats on this project without any assistance, raising the impressiveness again. My favourite beat of all though is attributed to T-Minus, on standout track “Kevin’s Heart”. Cole makes his dexterous flow sound easy mainly due to the chilled out, 8-bit video game-style instrumental that makes everything sound more impressive on an intoxicating half-time tempo.

Perhaps the fact that I’m so drawn to Cole’s repetitive tracks like “Motiv8” and “ATM”, where he portrays a character dependent on an unstable source of income, proves his point. These cheap thrills really are easy to turn to, rather than paying attention to what he’s saying on the more lyrical tracks. While they do veer a bit into the same sluggish tempos he employed earlier, tracks like “Brackets” and “Once an Addict” revive Cole’s elite storytelling ability to tell some tales of how his community and his own life are affected by what he describes. Cole’s advice across the board is never preachy because he is quick to acknowledge that he himself had fallen prey to it as well – he tells a heartbreaking tale of both he and his mother turning to drugs and alcohol to deal with the abusive stepfather that has turned up in many tracks across his career, offering genuine advice to personal friends and younger rappers on “Friends” and “1985” about falling prey to all the various drugs of life, admitting his message isn’t “the coolest” in an endearing way.

One of the main themes that frequently seem to hold a Cole album back is his singing, which he almost always relies on more than he should. It makes a few hooks here more awkward than they should be, such as on “Photograph” where he never quite clicks into the beat perfectly. His Kill Edward character’s pitch shifted delivery also muddles his words and throws the pitch off on tracks like “The Cut Off”, but it still adds to the message of the song, the addicted Edward sounding lost and troubled, out of step with the rest of reality.

KOD delivers an important message in a very smart way, Cole bringing back his relatable character and storytelling ability to spread awaren Luckily, by exploring characters Cole can do this and deliver some upbeat, fun tracks at the same time. He boasts about his versatility contributing to his longevity over trend-hoppers on closer “1985”, and KOD backs up his point.

Favourite Tracks: Kevin’s Heart, ATM, FRIENDS, KOD, BRACKETS

Least Favourite Track: The Cut Off

Score: 8/10

Image result for church of scars bishopBishop Briggs – Church of Scars

British alt-pop musician Bishop Briggs’ debut studio album Church of Scars comes in the wake of the success of her 2016 single “River” on alternative and rock radio due to her trademark growl and heavier approach to poppier melodies. Her songs have been used in commercials, also contributing to her steady rise, and this album makes it easy to see why. Her formula across these brief 10 tracks becomes incredibly evident and safe, reminding me of Imagine Dragons’ latest project Evolve in terms of the build-up to an explosive chorus over some soul chords that she employs in every song. While her vocal power is undeniable, Church of Scars loses its element of surprise immediately.

Briggs blends elements of the past and present across the whole album to varying degrees of success, mixing rock and blues instrumentation with modern trends of pop music such as electronic synthlines and hip-hop influenced percussion, a computerized water-droplet beat quickly snapping the old-soul sound of Briggs’ vocal delivery into the more modern era in opening track “Tempt My Trouble”. While this track serves as one of the most immediately catchy offerings, even it falls into the repetitive techniques that plague most of the tracklisting. Briggs’ voice really does have a lot of potential, and I could see her imbuing it with the genuine emotion that the power behind it deserves to make some powerful content, but she settles for Chainsmokers-style thematic lyricism around a seemingly randomly generated noun and melodies that stay in a safe position in order to build up to the reveal of the only trick she has – the overriding of a vaguely electronic blues-rock template with her growling, explosive vocal wails.

Her blends of styles often come across as trying too hard. I feel like I write the word “trap” in every review I write nowadays, but the plaintive acoustic background of a song like “Lyin’” sounds ridiculous with those persistent hi-hats at a time when we hear them everywhere, and whoever did the backing vocals doesn’t help the track much either, sounding too anthemic and angry for the instrumental since an explosive rendition of the chorus is apparently a necessity for each and every track regardless. “White Flag” shows that the vitriol she spits into every syllable doesn’t work as well with rapidly delivered vocals, the rhythm of the chorus lagging behind. As the album goes on, we lose any hope of being moved by Briggs’ power, since we expect her to be yelling at us by the end of every song, knowing not to trust the quieter acoustic introduction.

There really are quite a few promising elements here, such as the industrial and menacing horn section on “Wild Horses”, but an attempt at an EDM-style chorus breakdown changes the tempo in such a miniscule way that it becomes irritating, throwing off my rhythm. It all comes together best on “Hallowed Ground”, which incorporates a gospel organ and horn section breakdown that switches things up instrumentally for a break in the monotony.

Briggs has a lot of raw talent, but she relies much too heavily on a formula attempting to place her in the modern musical context that she doesn’t really need. With a better team around her, I hope she can convert the energy she possesses into more creative, well-structured song material.

Favourite Tracks: Hallowed Ground, River, Tempt My Trouble

Least Favourite Track: The Fire

Score: 4/10

Rapid Fire Reviews (The Decemberists, Jack White, Diplo)

Image result for decemberists i'll be your girlThe Decemberists – I’ll Be Your Girl

The Decemberists return with a delightfully melodic and cynical take on the state of the world, taking a much more electronic path than their previous works and relying more on synths. The band named New Order as a major influence for the project and it definitely shows. While the project can prove to be meandering and unsure of its overall statement, the harmonies present and the humorous juxtaposition of joyful instrumentals and pessimistic lyrics make I’ll Be Your Girl an overall enjoyable listen.

I’ve seen quite a few people compare frontman Colin Meloy’s writing style across this project to the conventions of children’s music, and I can certainly see where they are coming from. There’s a degree of catchy simplicity to many of these tracks, with repetitive, easily remembered and sung along to hooks. The greatest part is, they use these juvenile sensibilities to deliver some quite cynical lyrical content, and the jubilant earnestness with which they sing about impending doom hits a degree of absurdism that I can’t help but love. The tracks “Everything Is Awful” and “We All Die Young” – which features a chorus of children yelling the title – in particular are structured like folksy childrens’ melodies. The layered ‘everything’s building up to that small break in the music before the first harmonized “EVERYTHING IS AWFULLLL” made me crack up immediately – because it is, and we’re trying our hardest to smile about as hard as Meloy’s joyful melody suggests anyway.

Meloy’s vocals are certainly coming more from the folk and Americana side of the Decemberists’ music, a matter-of-fact tenor delivery with trademark indie vocal inflections, and the addition of computerized synths that back up his acoustic guitar often give his sharp lyrics a bit more of a punch on tracks like “Severed”. He’s the main guitarist as well, delivering a great solo that emulates the synths on upbeat, theatrical track “Your Ghost”. One of the greatest parts of the album are the strong harmonies that make these simple and beautiful storytelling melodies even better. “Sucker’s Prayer” is the best track here, bringing a catchy piano hook running through the track that cuts out at just the right times. Meloy taps into his most soulful chorus yet and higher female harmonies back up his exasperated declaration – “I wanna love somebody but I don’t know how” as a drum fill reintroduces the calmer piano chords of the verses. It’s a pretty impossibly perfect song.

The band’s transition to a more electronic influence isn’t always seamless. The ascending and descending synth arpeggios that cascade through a track like “Cutting Stone”, which opens with the folksiest of acoustic chords, seem incredibly misplaced for the melody of the track, which is clearly influenced by the simplicity of Americana melodies. The instrumental is too busy for the beauty of Meloy’s stark vocal. The middle of the album becomes a bit similar, not possessing the energies that open and close the album, particularly on the one-note “Tripping Along”. The intersection of genres and trepidation towards a full commitment to making the album political shows a lack of direction, and nowhere is this better emphasized than the 8-minute “Rusalka, Rusalka/Wild Rushes”, a slow and meandering track that sees Meloy, out of nowhere, begin describing a tale of some sort of Russian succubus mermaid. It doesn’t really serve a purpose here, either narrative or musical.

I’ll Be Your Girl is one of the calmest and most comforting albums about how, well, everything is awful that I’ve heard. The vocals are top notch across the board – enjoy a quirky mashup of electronica and indie-folk.

Favourite Tracks: Sucker’s Prayer, Everything Is Awful, Your Ghost, I’ll Be Your Girl, We All Die Young

Least Favourite Track: Rusalka, Rusalka/Wild Rushes

Score: 7/10

Image result for boarding house reachJack White – Boarding House Reach

Former White Stripes member and garage and blues rock guitarist Jack White drops his most polarizing and confusing work yet, hitting a degree of experimentation that will determine listeners’ enjoyment level based on their willingness to embrace White’s most theatrical and whimsical tendencies. White barely sings on Boarding House Reach at all, filling the project with spoken word pieces, extended bluesy instrumentals and distorted backing vocals. I fall onto the side of loving this project, as I simply haven’t heard something this sonically ambitious on a mainstream release in a long time. White throws song structure out the window and takes listeners on a consistently surprising electronic journey through the capitalist apocalypse.

As White’s career progresses, he’s adopted more and more of a flair for the melodramatic. Throughout the album White’s vocals are intentionally so passionate that they almost fall off the pitch, while his backing vocalists are always at full volume. Rock ballad “Connected By Love” opens up the album, the drums rolling and something like a rock organ pounding away as White relishes in the sonic misdirection of the clashing tones of the track, shouting his proclamations of love and thriving in the chaos before bringing it back down with the most mournful “what have I done” you’ll ever hear. The authenticity White brings to his delivery is always evident, sounding absolutely miserable on the philosophical “Why Walk A Dog?” as he contemplates his passive acceptance of his slavery to the music industry’s demands.

The theme of capitalism persists throughout the project. White adopts the voice of a commercial announcer on interlude “Everything You’ve Ever Learned”, suggesting that all information has a corporate attachment – “brought to you by…”, but the greatest culmination is outstanding track “Corporation”. The first half of the track is entirely instrumental, filled with interlocking punchy blues rock guitar hooks and a mad bongo drummer before White arrives with the ferocity and conviction of a deranged preacher, rhythmically rallying people to join him in starting a corporation, which he states is the only way to succeed today. The slight shifting of the basic instrumental motifs building up to White’s most wide-eyed declarations is an absolute experience. “Ice Station Zebra” feels almost like old-school hip-hop, a stuttering boom-bap beat backing White’s rapped vocals and some catchy blues piano riffs, while “Over and Over and Over” is classic White Stripes with some intense rock vocals and chilling, horrific pitch shifted vocals signifying futility. There are too many great tracks to acknowledge here, but “What’s Done Is Done” is hilarious – White harmonizes a somber country ballad with full acknowledgement of his own ridiculousness, resorting to ending the life of one of the two in a failed relationship – “and it won’t be me”, the female voice closes the track.

White himself has acknowledged how annoying this album has the potential to get on tracks like “Hypermisophoniac”, in which he was apparently actively trying to create something listenable out of the most annoying sounds possible, starting with the beeps and whirs of his son’s toys. It doesn’t line up on purpose, and this is the track where this idea is pushed too far to the point of unlistenability. “I don’t think we succeeded, but we definitely got the annoying part down.”, White said. The title of the track refers to an affliction causing extreme hatred of certain sounds. A few tracks at the end feel underwritten – I really want to hear White’s command of the mic more, but tracks like “Get In the Mind Shaft” and “Respect Commander” still have a great experimental garage rock feel.

Boarding House Reach is certainly not for everyone, and it is sure to be one of the most divisive recordings of the year – think Kanye’s “Yeezus”. White’s theatricality and social commentary turns the project into grandiose, intense performance art. It’s a daring and ambitious statement, and I think the risk paid off.

Favourite Tracks: Corporation, Over and Over and Over, Ice Station Zebra, Connected By Love, What’s Done Is Done

Least Favourite Track: Hypermisophoniac

Score: 9/10

Image result for diplo california epDiplo – California EP

EDM superstar and producer Diplo drops a brief, 6-track hip-hop leaning EP that shows him perfectly embracing summer sounds about as well as contemporary Calvin Harris did with his Funk Wav Bounces. Diplo brings his trademark influences of dancehall and trip-hop to a pulsating, gyrating mixture of fun synth lines – just enough to disguise the heartfelt emotional content lurking beneath. Diplo recruits an all-star crew of rap’s new insurgence of earnest goofballs and emotional crooners that believe every word they’re saying, including Lil Yachty, Lil Xan and Trippie Redd. It’s tough for Diplo to go wrong at this point – the man knows what he’s doing, and his take on new rap trends with his own signature electronic sound is another success.

Diplo plays directly into the strengths of his guests, providing the soundscape each can excel in while still maintaining the aspects that make these tracks easily identifiable as a Diplo song. We open with “Worry No More”, a track that plays into the carefree, childlike side of Lil Yachty and complements it with the high-pitched voice of Santigold. “I’m chasing after my dreams”, Yachty sings in an intoxicating melody over a beat that sounds like it comes from those Jimmy Fallon videos where he replicates a song with classroom instruments. “Look Back” is a much more cinematic track perfect for the gravitas of DRAM’s booming R&B singing voice. The track plays out like Diplo’s take on a Bond theme, orchestral synths swelling in the background to match DRAM’s theatrical and distressed wails at the top of his range.

The final 3 tracks on the project are where Diplo’s blend of his older style and the trends of today are fully realized. “Wish” immediately drops into an incredible 90s piano groove reminiscent of classic Diplo production, the upstart Trippie Redd opening with a catchy pop melody that quickly grows into the depressed proclamations and emo vocal inflections he is known for. It fits shockingly well, even as every musical sensibility is screaming that it shouldn’t. On “Color Blind” Lil Xan’s subdued, barely there delivery is played off of like its own instrument with the most aggressive instrumental on the project, hitting the listener with a barrage of synth triplets at the forefront of the mix. The closing track, a new remix of “Get It Right”, is simply classic pop Diplo. Set to triumphant and uplifting piano chords, Mo’s shouty prechorus kickstarts a huge buildup that drops into a glitchy chorus of pitched vocal samples and a soulful rap verse from GoldLink. It’s easily the most dancefloor-ready track here.

“Suicidal”, featuring Desiigner, is the only misstep here, a much emptier track in comparison. Diplo often specializes in crowding his tracks with an immersive wall of sound, and this track’s repetitive nature and Desiigner’s delivery doesn’t really command the more ethereal, spacey instrumental.

Now 40 years old, Diplo has been making hits for long enough that he’s reached the perfect place in which he has a complete command of a unique personal style, and yet can release a great EP like this that adapts to trends of today like it’s simple. The veteran producer keeps on rolling, and with a collaborative project with Sia and Labrinth in the works, it’s looking like another great year for him.

Favourite Tracks: Color Blind, Get It Right Remix, Wish

Least Favourite Track: Suicidal

Score: 8/10

 

Rapid Fire Reviews (Logic, Lil Yachty, XXXTENTACION)

BobbyTarantino2.jpgLogic – Bobby Tarantino II

The newly minted king of woke rap enters another instalment into his less formal series of mixtapes after breaking through to the public in a major way with his latest album Everybody. While Logic does show both a hilarious level of self-awareness at how annoying his preachiness can be and a large sample of the technical skill we know he possesses, Bobby Tarantino II falls short of its predecessor by turning up the blatant copying of other successful rappers he has always been accused of to the most obvious degree yet. As well, it’s strange to hear Logic back on this material he acknowledges himself is fun and meaningless in that earnest, awkward, high-pitched voice we heard singing about suicide prevention. His creation of an album that was trying so obnoxiously hard to spread a message has created a no-win situation for him. As Pitchfork wrote, “Once you’ve gone full Macklemore, you can’t walk all that sanctimony back”.

The project opens with a Rick & Morty skit in which the straightforward Rick prefers “Mixtape Logic” – criticizing “oooooh, equality” – to the idealistic Morty’s “Album Logic”, and it’s honestly great to hear how self-aware Logic is about his own music, and there really are some tracks here that call back to the quality of his music before the fame. Opening track “Overnight” brings to mind the standout track on the first Bobby Tarantino mixtape, “Super Mario World”, as Logic addresses his detractors over a fuzzy video game-esque synthline and trap beat. “Contra” feels like classic Logic as well, his delivery energetic and his speedy flow relentless. “Indica Badu” is a great microcosm for Logic’s career recently, the verses displaying the greatest extent of his enormous talent and technical skill – even bringing out what might be featured artist Wiz Khalifa’s career-best verse – before ruining it with a basic hook inexplicably delivered in the most annoying possible falsetto voice.

Sometimes I feel like I criticize Logic much more than he deserves, since it is clear that his potential is limitless. Even on projects that are as solid as this one, his brief deviations into his worst tendencies are frustrating. Logic has always been accused of lifting ideas from his contemporaries such as J. Cole, Kendrick Lamar and Drake, and it seems like his latest fascination on this project is none other than Travis Scott, as half of the project is filled with the eerie, laidback trap instrumentals and melodic Auto-Tuned yelps he is known for, particularly on “BoomTrap Protocol” and “Wizard of Oz”. He shows an affinity for jumping on trends in a different way with the awkward Marshmello collaboration “Everyday”, the watered-down Chainsmokers-lite EDM instrumental not complementing Logic’s awkwardly sung hook. Even when Logic is on a mixtape where he acknowledges that he’s going to flex and little else, he still feels the need to insert a few lines about self-love, being a good person and the like that weren’t present on his earlier projects. Although these are just side deviations on this project, his surface level approach to these topics is still annoying.

The majority of the tracks on this album are actually pretty impressive in comparison to Everybody, and even though I try to separate the art from the artist as much as possible, hearing the tiny inklings of his pandering, public persona on a project like this brings me out of the experience.

Favourite Tracks: Overnight, Contra, 44 More, Wassup

Least Favourite Track: Everyday

Score: 6/10

LilBoat2.jpgLil Yachty – Lil Boat 2

SoundCloud rap pioneer Lil Yachty, still only 20 years old, releases the followup to his major label, genre-shifting debut Teenage Emotions with a sequel to his successful Lil Boat Since Yachty was truly one of the first people to popularize what has become commonly known as mumble rap with his endearingly haphazard approach, the genre has shifted a bit more towards the “sadboi” stylings of people like Lil Uzi Vert and XXXTENTACION, who I’ll cover later in this review, passing Yachty by. Lil Boat 2 goes a bit darker than his previous work in response, foregoing his melodic exploits for eerier instrumentals and straight rap bars. While he makes a significant improvement in this area, one that suffered on his previous projects, the loss of Yachty’s distinct personality on this project brings it down.

There’s always something to be said for the sheer sense of joy to be making music Yachty communicates through his excitable and childlike delivery. I used to say that it made up for Yachty’s lack of musicality, but that has certainly improved across the board on this project, as he is capable of pulling off speedy triplet flows without falling off the rhythm as he had in the past. Tracks like “BOOM!”, “DAS CAP” and “POP OUT” are incredibly fun for this reason, Yachty repeating the title as a high-pitched adlib in the background while rapping better than we’ve heard him before. Yachty’s lyrics are absolute nonsense, but it honestly fits this persona at this point. “she ready” is easily the best track here, and possibly the closest track to his older style, a falsetto melody in the chorus set over another great addition to the flute trap instrumental trend. “MICKEY” shows his newfound harnessing of his rapping ability, holding his own with Offset and creating a flow I haven’t heard before in the chorus by drawing out his final syllables.

Yachty’s attempts to get grittier on this project often leave his tracks a bit empty. The most appealing thing about him in the past was his ability to create joyful, catchy melodies with a positive and idealistic outlook on life. In comparison, a track like “OOPS” sees him drop his voice lower to match the featured 2 Chainz over a very minimalistic trap beat set to nothing more than some low, rolling bass notes. There’s not enough to hold his slightly off-kilter flow in place. Yachty was never meant to follow trends, so seeing him veer closer to the patented and popularized Migos sound is disappointing. Both Quavo and Offset appear here, and “GET MONEY BROS.” sounds more like a Migos leftover than anything else.

There aren’t many new concepts to be found here, and even though that is what drew me to Yachty in the first place, his relentless attack to these tracks and clear improvement of an area of his work contribute to another respectable project from him. Now that he’s proven himself here, can we get back to those tropical, fun tracks?

Favourite Tracks: she ready, MICKEY, DAS CAP, BOOM!

Least Favourite Track: GET MONEY BROS.

Score: 6/10

XXXTENTACION-Sad-Changes-Single-Cover.jpgXXXTENTACION – ?

Diverse and controversial emo rap enigma XXXTENTACION’s sophomore album expands him into the mainstream even further, improving his songwriting ability and singing voice from the disjointed and disappointing debut 17 despite his insistence on keeping many of his tracks infuriatingly short, ending before any concrete ideas take off. Emerging onto the scene with shockingly distorted and aggressive tracks like “Look at Me!” X has since reverted to folk and emo-rock emulating guitar-based tracks with depressing lyrical content regarding his personal life and his own issues, of which he has many highly publicized examples. While X certainly shows the ability to pick out a great melody is there, proving he’s much more than we initially thought, there are far too many terrible and confusing musical decisions across this project for it to be truly enjoyable. X’s music is too much of a disturbing cry for help at this point.

Previously we only heard X’s singing voice on some lo-fi, depressed, uncomfortable moaning melodies but he certainly finds a few places to hit his stride as a songwriter and vocalist here. The track “Moonlight” is incredibly catchy, set over a unique glitchy synth instrumental – I really wish it was longer. This transitions into his first top 10 hit, “SAD!”, the plaintive melody of which has clearly resonated with people despite the uncomfortable message disguised within that hits a little too close to the abuse we’ve heard he’s capable of in the news. The chemistry he shows with Joey Bada$$ on “infinity (888)” is pretty undeniable as well, X dropping some rapid-fire triplet flows over a boom-bap instrumental featuring a melancholy, distant saxophone.

Despite the successes he finds on this album that weren’t present on the dismal 17, there are still quite a few moments where he takes the vibe of that album and escalates it to an even more obnoxious place by fleshing it out into what is … well, ALMOST a full song. Opener “ALONE, PART 3” is more of the same whining over sad guitar patterns, whereas X goes full screamo on tracks like “Floor 555”, reminiscent of his early work – the level of anger he displays here is genuinely terrifying and worrying as he blows his voice out on the chorus – as well as the Travis Barker-featuring “Pain = BESTFRIEND”. These just leave me hoping X gets some serious help. The right way to do this is “the remedy for a broken heart (why am I so in love)”, which sees the trademark folksy guitar patterns juxtaposed with a faster flow from X and a few sparse trap hi-hats that represents the first time he convinced me that this genre-mixing is possible. The back half of this album is a complete mess of genres that just alerts me to X’s instability more than anything else. He brings on 13-year old Matt Ox on “$$$” for an intolerably Auto-Tuned hook and disappears for most of the track on “I don’t even speak spanish lol”, an extremely basic reggaetón track that shows … that X heard “Despacito”.

The title ? is quite appropriate, since it is never quite sure of what it is. The real thing that will keep me from returning to the project, however, is just how real X’s pain sounds on this project, and it is impossible to empathize with him. His unhingedness creates something worthwhile on a few brief occasions, but mostly just creates messy exhibitions of his sadness and anger that leave me concerned.

Favourite Tracks: Moonlight, the remedy for a broken heart (why am I so in love), infinity (888)

Least Favourite Track: Pain = BESTFRIEND

Score: 3/10

Fall Out Boy – M A N I A

Fall Out Boy - Mania.pngVeteran rock band Fall Out Boy’s seventh studio album, delayed for four months after their bassist Pete Wentz explicitly admitted the songs weren’t good enough in an interview, is certainly a lot more impressive than I’m sure most people expected. However, as evidenced by opening EDM misfire “Young & Menace” remaining on the project, M A N I A is still inconsistent and directionless at times. But standing at only 10 tracks, there is not much room for filler, and Patrick Stump’s trademark vocals and the band’s dedication to heavier instrumentals are still as powerful as they’ve ever been.

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It appears that Fall Out Boy was at least partially inspired by labelmate Paramore’s transition into retro-pop on their fantastic After Laughter, offering some similar tropical pop chords infused with their trademark style of guitar riffs on “HOLD ME TIGHT OR DON’T”. The effect of someone with a voice as commanding as Stump’s transitioning to a more modern instrumental is quite powerful – he hits some huge notes in the chorus, bringing the stadium rock anthem into a new era. As the tribal drums hit in the track’s bridge and he holds that note on the final “knife” to his voice’s breaking point, I can already picture the scores of crowds singing along to that final chorus.

“The Last Of The Real Ones” brings frequent Weeknd collaborator Illangelo on board, and the track evokes the same kind of indescribable dark energy that a song like “The Hills” has. I give credit to the band for still sticking fast to emphasis on the musicality of the band, actual instruments (especially that impressive drum work!) prominent on every song here where most rock bands turn to more produced pop beats and synths – where this would frequently sound dated, Fall Out Boy bring just enough modern elements in to keep the classic idea of the heavier rock band at the forefront of pop culture alive.

The back to back tracks “Church” and “Heaven’s Gate” might be the band’s best work in years, Stump channelling every ounce of soul in his voice for some more R&B influenced tracks. The latter especially features a beautiful doo-wop instrumental and Stump harmonizing with himself on some seriously impressive high notes before giving the chorus everything he has, showing restraint and emotional vulnerability at just the right moments.

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There are certainly some lyrical shortcomings on the project that bring you out of the songs for a second – especially when comparing the group to the work of some fellow surviving bands lumped together under that “emo” umbrella from the mid-2000s. Where many have grown up in their lyrical themes, there’s something a little weird about hearing a 33-year old structure a chorus around the lyric “I’ll stop wearing black when they make a darker colour” on “Wilson (Expensive Mistakes)”. Adding a few awkwardly shoehorned pop-cultural references into the mix only exacerbates this – especially when they’re as poorly timed as their villainizing of Tonya Harding on “Stay Frosty Royal Milk Tea”.

The juxtaposition of that track with preceding “Champion” is noticeable for the repetition of the same tired tropes of self-empowerment they already had a big hit with in “Centuries”. They do know what they’re doing though – “Champion” is much less contrived than the former, and when everything collides together at the end it is legitimately an electrifying experience despite being derivative. Stump still possesses a live wire of a voice that can break through the mediocrity. The project can’t seem to settle on a concrete direction either, jumping between dance-inspired electronic guitar effects, finger-snap poppier tracks, and even a strange feature from Nigerian artist Burna Boy that attempts to jump on the dancehall trend.

The project is at its best when Fall Out Boy adhere to what got them here in the first place, making it less blatantly obvious that they’re trying to fit in when they incorporate some more modern pop trends on tracks like “HOLD ME TIGHT OR DON’T”. Still, even on such an inconsistent project, you have to give the band credit for sticking to their guns as much as they do, still capable of making some pretty great music even as the modern pop landscape starts to pass them by.

Favourite Tracks: Heaven’s Gate, Church, HOLD ME TIGHT OR DON’T, The Last Of The Real Ones

Least Favourite Track: Stay Frosty Royal Milk Tea

Score: 6/10