LSD – 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
Cage 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
Lizzo – 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