Rapid Fire Reviews (The 1975, Meek Mill, Rita Ora)

Image result for the 1975 a brief inquiry into online relationshipsThe 1975 – A Brief Inquiry Into Online Relationships

British pop-rock band The 1975’s third studio album is easily their most experimental and ambitious, diverting from the typical straightforward guitar-driven anthems to a diverse and discordant array of genres with central themes of attacking the political landscape and our dedication to social media and technology. I’ve often found that the band has tried way too hard to make a huge statement that isn’t really there in the past, but frontman Matty Healy gets his message across a lot better here for the most part. Despite a couple experiments that don’t quite work out the way the band wants them to and a fair share of fake-enlightened ridiculousness, A Brief Inquiry into Online Relationships is a respectable step forward. I certainly didn’t see anything like this coming from them.

After a brief intro, we’re dropped into the high-pitched guitar riff of “Give Yourself A Try”, perhaps the track which recalls their earlier material the most of any here. A driving rock song, Healy’s voice cuts through the distorted mix as he immediately dives into some pretty dark topics, addressing struggling with finding meaning as he transitions into his 30s, even comparing his life with a young fan who took her own. It’s hard to understand the lyrics at times here when the mixes are so loud. Healy’s voice gets a little buried at times, but most of what he says is very pressing and poetic. The track “Love It If We Made It” has found its way onto numerous year-end lists, Healy singing “modernity has failed us” among a series of blunt and disjointed statements including Trump quotes, depictions of extravagant riches and Internet lingo. Healy pushes his vocals to the brink here – he sounds overwhelmed, breaking down, the song’s title repeated in the chorus as a desperate plea of sorts. The accompanying music is pretty great too – I love the half-time switch-up introduced in the second chorus, adding a funk bassline and some pounding walls of shimmering synth chords.

Sprinkled throughout the tracklisting are these completely unexpected switches in sound. “How To Draw/Petrichor” is a sparse and cinematic track that spans nearly 6 minutes that consists of twinkling orchestral instrumentals and beautifully layered vocals from Healy, ultimately adding an almost drum n bass dance beat – it complements the technological theme well, the digital intruding. One of my favourite experiments the band makes here is the addition of choral, soulful backing vocals on the tracks “Sincerity Is Scary” and “I Couldn’t Be More in Love”. The former is framed by some warm synth-piano chords and that accommodate the harmonies well, Healy toning down his vocals to an intimate and sincere level as he asks “why can’t we be friends?”, while the latter uses them to their full emotional effect, suddenly roaring in after an emotional soul ballad that goes full 90s R&B on the instrumental (there’s even a key change!). The track “It’s Not Living (If It’s Not With You)” is another great experiment, essentially sounding like a classic 80s pop anthem – the chorus melody actually really reminds me of “Heaven Is A Place On Earth”, and it captures the same euphoric high, with some celebratory harmonized gang vocals on the hook.

There are certainly a few experiments in genre that don’t really work out as well, however. The acoustic, folksy ballad “Be My Mistake” is relatively simple and repetitive melodically, and Healy’s penchant for the overtly blunt drops a few ridiculous lyrics into the mix that are all the more evident due to the minimal instrumental. I really didn’t think I’d get a trap beat on an album like this, but there it is on “I Like America & America Likes Me”. Healy’s vocals on the track are processed through some kind of Bon Iver-esque machine, and the tonal contrast, especially as he keeps hitting the same wailing vocal melody in the chorus with an unpleasant amount of distortion on his voice, turns the track into a bit of a chaotic mess. “Inside Your Mind” is another slower track where Healy sounds like he’s putting on a different voice, over-enunciating his words, which just gives me the chills due to the creepy subject material of the track. Healy described it as “wanting to know what your partner is thinking so much that you want to smash their head open to look” – except he takes it to a disturbingly literal level.

As the band has always been, most of this album is pretty self-indulgent, and when they start exercising some of their worst tendencies the project can go off the rails a bit. However, it’s almost as if the world has gotten so much more confusing and ridiculous that some of their typical ways to address it almost fit too perfectly where they didn’t before. This album is certainly nothing if not ambitious, and its high points are pretty incredible.

Favourite Tracks: I Couldn’t Be More In Love, Love It If We Made It, It’s Not Living (If It’s Not With You), Sincerity Is Scary, How To Draw/Petrichor

Least Favourite Track: Inside Your Mind

Score: 7/10

Meek Mill – Championships.pngMeek Mill – Championships

Meek Mill’s Championships is his fourth studio album, and the rapper returns with as much unbridled energy as before. Never afraid to get deeply personal, the project contains quite a few detailed narratives of his experiences in jail, extending it to a criticism of the justice system at large after an FBI investigation into the inappropriate conduct of his judge. While his lyrics and storytelling are always a strength, the album is a bit of a mixed bag standing at 19 tracks and over an hour in length. Meek’s boastful tracks are always fun to listen to when he backs it up with the over-the-top, insatiable delivery that he possesses, but there are more than a few misses where things go on for too long, or a guest vocalist doesn’t quite deliver. Still, there are a fair share of tracks here that are enjoyable for vastly different reasons.

Meek sends a shot at “mumble rappers” on his Phil Collins-sampling “Intro” track, and if anyone is the exact opposite, it’s him. Meek’s voice is always at a full-voiced and expressive shout that’s assertive without veering into the abrasive 6ix9ine territory and assists in delivering both his earnest and emotional life stories and his braggadocio bars. Things pick up for the first time on “Uptown Vibes”, a track that Meek’s energy sends through the roof built on a melodic, Hispanic-sounding trumpet loop and a beat that switches back and forth from aggressive trap to reggaeton – Latin trap artist Anuel AA even shows up to add some Spanish flair to the track. This transitions into “On Me” with Cardi B, and I couldn’t think of a better combination – these two are equivalents in the vitriol with which they attack the mic, and the sinister instrumental allows them each to do what they do best, as unapologetic and unbothered as ever. As much as I can never stand Kodak Black’s voice, “Tic Tac Toe” is another adrenaline shot that introduces another great back-to-back with the track “24/7” with Ella Mai. There’s something about her silky-smooth classic R&B vocals on the chorus complementing Meek’s exuberance. Mai taps into her inner Beyonce, singing a bit of her song “Me Myself & I”, which the track samples.

“What’s Free” is a 6-minute track that represents storytelling Meek at his finest as he recruits label boss Rick Ross and Jay-Z for some extended verses on the meaning of freedom. Meek attacks the judicial system with some slavery comparisons, while Jay-Z shuts the track down with some elder statesman knowledge about keeping his wealth secure and avoiding the injustices. The title track, as well, is a pretty poignant reflection from Meek on the system that holds him down over an extravagant and jazzy classic sample, speaking about his father’s death in a robbery, gun control, and simply trying to stay alive in the violent community. “Oodles O’ Noodles Babies” hits a similar mark with a soulful sample and political talk, but Meek’s technical ability as he rides over a pretty complex instrumental seriously impresses here.

This album definitely would have benefited from some editing down – at a certain point, these three and four-minute tracks with Meek running through lengthy verses of political material with his voice at a constant shout starts to feel repetitive and tiresome to get through – it’s why I enjoy some of the more fun tracks at the end of the tracklisting more than most of them here, I needed a bit of a break (“Stuck In My Ways” has a quotable chorus that you can’t help but love). Meek doesn’t place a lot of emphasis on his diverse instrumentals, all of what he’s trying to convey is done through his words first and foremost – which works, in shorter doses. Some more minimal tracks with heavy subject matter like “Respect the Game” and “100 Summers” come to mind. There was bound to be a few filler tracks here, and they mostly come when Meek loses sight of his strengths. “Almost Slipped” is the first of a couple tracks where Meek tries his hand at singing and only succeeds at coming across as an off-brand Ty Dolla $ign – why remove that immediate, percussive impact of your words? Even “Going Bad”, the much-publicized reunion with Drake after a series of diss tracks, is a pretty lackluster effort from both of them, Drake dipping back into his disinterested flow and a few off-key melodic embellishments while Meek sounds like he’s holding back just a little bit to fit with the lower-key instrumental.

Meek is a serious mic presence and a compelling storyteller, but he’s not the most consistent rapper of all time. There’s a great album hiding somewhere in this tracklisting, but Championships diverts away from what he does best too often.

Favourite Tracks: Stuck In My Ways, 24/7, Uptown Vibes, Oodles O’ Noodles Babies

Least Favourite Track: 100 Summers

Score: 6/10

Rita Ora Phoenix cover.pngRita Ora – Phoenix

It’s surprising that Phoenix is only Rita Ora’s second studio album – after label disputes with Roc Nation and signing a new contract overseas, where she’s always been a lot more popular, her sophomore release comes 6 years after her first. Although its clear that this is more of a collection of songs than a fully defined album, pulling from collaborations, movie soundtracks, and songs that are over a year old at times, for the most part Ora recruits an impressive legion of some of the most tried-and-true hitmakers in the business and succeeds at creating some pretty smart and engaging, if not relatively safe, pop music.

All these tracks were new to me, despite some of them being released long ago – and some being huge international hits away from this continent. Opening track “Anywhere” is one of these, but it’s a great way to kick off this album regardless. Produced by Swedish DJ Alesso, the track evades some of the clichés of the pop song bridge building into the instrumental EDM drop with a nice acoustic transition and Ora’s sincere vocal delivery. The way Alesso chops up her vocals in his electronic chorus is ridiculously catchy. This transitions into latest single “Let You Love Me”, which despite that recent lip-syncing mess at the Thanksgiving Day parade is another well-structured pop track drawing from a more EDM style. The way the music cuts out when she hits the climactic highest note in the chorus before dropping into the heavy percussion of the dance break section is a pretty exhilarating moment, and I’m still not tired of the trend of using those vocoder/Prismizer computerized harmonies either – they sound great at the tail end of the track.

Even when the songwriting and production isn’t as strong, it’s hard not to at least nod your head throughout the duration of the album. These are all uptempo, high-octane pop tracks anchored around the strength of Ora’s voice – she has a surprising amount of power for someone who sticks to the dance-pop lane. The high-energy chorus for a track like “New Look” is puzzlingly short, but it’s great while it lasts. “Your Song”, a track written with Ed Sheeran and his production team, is pretty sanitized and inoffensive, but there’s nothing in it that’s overtly bad – as we progress through the album, the innovation goes down and most of these songs turn into background music, but there’s something in Ora’s delivery that keeps me engaged anyway even if there’s not going to be any awards for creativity here. By the time we get to mid-album tracks like “First Time High” though, the formulas are applied worse and worse and the transition to the electronic drop here is a bit of a mess.

There are a few songs throughout that take me out of the immersion of the album – as innovative as Avicii was, “Lonely Together” was one of his weakest recent tracks, and its placement in such a prominent area here despite already being released on his own album both decreases the quality of Ora’s project and unnerves me a bit for capitalizing on an unfortunate situation. “Summer Love”, a track with UK drum ‘n’ bass collective Rudimental, is another track that was released on another album first and doesn’t fit with the sound of the album at all, completely throwing the flow off. Rudimental themselves have a pretty solidified style that doesn’t switch up much from track to track, and hearing the same reiterated beat that I’ve heard before isn’t as exciting anymore. On the other hand, for a track from a movie soundtrack, the Fifty Shades Freed song “For You” with Liam Payne is actually pretty good. The syncopated and overpowering synth line in the chorus and Ora reaching up to some full-voiced high-notes, as well as the way Payne’s lower register complements and supports Ora so well, continues the franchise’s musical hot streak.

After getting through controversial and clunky mega-collaboration track “Girls”, the album ends pretty strong as well – Julia Michaels’ vocals are always appreciated on “Keep Talking”, a track that she wrote, but closer “Hell of a Life” is a true highlight – I love how the main vocal hook is teased earlier in the pre-chorus and cut off, and the off-kilter guitar pattern is a nice rhythmic switch-up.

Phoenix is a weird amalgamation of tracks from a star with a troubled career trajectory (in North America at least), but there’s enough pop starpower on board to make a few great songs – still, a lot of it is bogged down by filler material.

Favourite Tracks: Anywhere, For You (Fifty Shades Freed), Hell Of A Life, Let You Love Me

Least Favourite Track: First Time High

Score: 6/10

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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

Amy Shark – Love Monster

Love Monster CD by Amy Shark.jpgAustralian indie-pop singer Amy Shark, after rising to prominence with her contributions to the Love, Simon soundtrack, releases her debut album Love Monster. Shark takes some clear inspiration from other rising pop artists in her home country and neighbouring New Zealand, as well as some other megastars of the day, but manages to deliver a very strong debut due to her unique vocals and specific and personal lyrical content. A few superproducers hop on board for a single song each, but for the most part, this is one of the strongest debut projects of the year based solely on Shark’s own captivatingly refreshing presence as a newcomer to the music industry.

The album opens with a minimal, acoustic chord progression on the song “I Got You”, immediately introducing us to the perfect storm of what a star on the rise should harness on their debut album as the trap beat and catchy pop melody quickly cascade in. It’s a combination of sounds that’s been done before, of course, but something about the brightness of the acoustics, the way the beat doesn’t dominate the track, and Shark’s cheery lyrics delivered by a voice with the inflections to make her sound emotional even when completely casual creates a wonderful welcome to a surefire star in the making who uses trends sparingly to display her own personal artistry on top. The most obvious parallel you can draw to Shark’s work is Taylor Swift, especially the better half of her recent reputation. The way she throws her entire emotional being into her vocal performance, as well as the smartly written pop melodies and very slight hip-hop edge to charming pop tracks mirror the megastar in the best way.

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“All Loved Up”, produced by Swift and Shark’s common collaborator Jack Antonoff, is one of the most pop radio-ready tracks here – the verses feature Shark in a kind of hurried, out-of-breath delivery of faster-paced lyrics, as if she’s barely succeeding at fitting all of the many emotions running through her mind as she takes the exciting leap of faith into a committed relationship into her verse. The chorus is just as catchy as any here, but what sells it is Shark’s likability and relatability as she lays all of her emotions out. The next track, “I Said Hi”, is pop euphoria – and Shark has said she wrote the lyrics and melodies in an impassioned 10-minute burst of creativity, hurriedly recording it after the realization it was “Grammy Award-winning”. The trap-acoustic theme is played up to its maximum power here, with an absolutely monstrous drop into one of the most pristine pop melodies I’ve heard all year and hilariously passive-aggressive lyrics aimed at her doubters – I’m excited for her future if she can assuredly make something this excellent so quickly. New Zealand pop mastermind Joel Little assists on “Never Coming Back”, a lighter track where Shark plays up the sweet, breathier side of her vocals over some shimmering synth lines that remind me of Little’s excellent work with Broods. The track features some great harmonies leading up to an explosive conclusion.

Shark’s emotional songwriting reaches its heartbreaking peak on a song like “Leave Us Alone”, describing the best memories and feelings of a past relationship in vivid detail, repeating the titular “alone” in a much quieter voice that contradicts the stronger front she tries to put up. This continues on “Don’t Turn Around”, another complete knockout of a track where Shark fantasizes about reconnecting with an ex upon seeing them at an event, internally criticizing herself for it – “You’re two rows behind me and it’s hard not to turn around”, she says, as a distorted, higher-pitched voice sends the track into pop overdrive with some quicker, rhythmic vocals that complete the sonic picture the bright trap-pop instrumental paints. Shark’s versatility across this project is quite impressive, harnessing the appropriate volume and emotional delivery of tracks with more of a louder rock edge on the Mark Hoppus (Blink-182) featuring “Psycho”, to the EDM-leaning “Middle of the Night” to the quiet indie-pop variety that makes up the majority of the tracklisting here.

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If anything, 14 tracks feels just slightly long, a few of these tracks standing as slightly less effective versions of counterparts earlier on in the tracklisting. Placing a song like “The Idiot” after the stellar “I Said Hi”, the song possessing similarly dominant guitar stabs and a knocking hip-hop beat, makes it slightly redundant despite being pretty great in its own right. Shark does wear her influences on her sleeve as well, constantly bringing to mind the lyricism of Lorde, instrumentals and harmonies of Broods or the emotion of Swift. Her own personality does shine through though, and the added variation of any future material will likely confirm this.

Love Monster is the most confident and self-assured pop debut since Billie Eilish’s don’t smile at me EP, Shark quickly establishing herself as an artist to watch by endearing herself to the audience with her honest emotional delivery and specific, smart lyricism. Meanwhile, she capitalizes on the sound of the moment to a small enough degree that it doesn’t feel like trend-hopping. I’m very excited to hear more from her.

Favourite Tracks: I Said Hi, Don’t Turn Around, All Loved Up, I Got You, Mess Her Up

Least Favourite Track: Adore

Score: 9/10

Florence + The Machine – High As Hope

HighAsHope.pngIndie-pop band Florence + The Machine return after 3 years with their 4th studio album, their most minimal and personal yet. Standing at a concise 10 tracks, Florence Welch’s immediately distinctive vocals take the spotlight once again, especially as the instrumentals behind her calm down for the most part. The band draw on some gospel sensibilities across the board here, infusing some of these tracks with rich harmonies and powerful choral moments. Although I prefer the scarce occasions when things get a little more upbeat here, Welch’s voice the unrestrained ball of energy over the driving percussion, High as Hope is another overall solid project from the consistent group.

Opening track “June” quickly draws listeners in to the ethereal world of Florence + The Machine, Welch’s raw, fluttering and emotional vocal delivery backed by some sparse, moody piano chords and twinkling effects to further enhance the dreamscape that her vocals belong to. While the track and quite a few others here are less structured than I’d like them to be, the rhythms of the piano chord progression lining up in a slightly awkward fashion, the focus on Welch’s very personal inner monologues pull the stripped-back sound together, the surrounding instrumentals representing the chaos of the personal struggles she describes. Second single “Hunger” pulls all the great elements of the band together – Welch speaks on her struggles with an eating disorder as the gospel chords pick up and the percussion settles into a steady rhythm. The band’s greatest singles have always had this same quality of an anthemic mantra, Welch’s passion just selling the message. It’s a track that’s equal parts powerful and brilliantly catchy.

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“100 Years” is one of the only other upbeat tracks here, a prominent, fun stomp-clap rhythm backing up Welch’s empowering message of persevering despite disheartening world events – 100 years marking the length of time since women first voted in her home country of the UK. The band recruits a great list of collaborators here, and you can feel their effect – the whole album is produced with superstar indie producer Emile Haynie, but the writing credits boast unexpected names in Jamie xx, Sampha and Tobias Jesso Jr. You can hear Sampha’s influence especially on his co-written track “Grace” – the evocative piano and blunt, specific lyrics could have fit on his debut Process. The slow build of the track as Welch puts more power into the chorus each time, leading to a full-voiced, expletive-laden shout at the conclusion, is a perfect contrast to the verses where we hear the calmer, surprisingly sweet side of her voice. Quite a few of these songs capture a kind of larger than life, awestruck cosmic feeling as the deafening backing vocals roar in for the chorus. It’s the same thing we hear on their classic tracks like “Dog Days Are Over”, and it’s a truly unique thing that the band is able to bring out.

Penultimate track “The End Of Love” is the album’s greatest, featuring a chorus built on chilling layered harmonies. It’s a very minimal song, but it makes the bigger moments all the more powerful. The saxophone that briefly wails in as Welch describes a rushing river is a great touch that shows attention to detail, but that beautiful, shimmering chorus is the deserving centerpiece of the work.

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Some of the quieter tracks here fall a bit short due to the traditionally uncontrolled, warbling nature of Welch’s voice – the band doesn’t give enough to rein in and support its wilder qualities at times here, giving off the impression that she’s making up these melodies on the spot. A track like “South London Forever” has one of the safest instrumentals here, a steady, reflective pop piano loop that doesn’t mirror Welch’s shouted vocals, the hook suddenly cascading in unexpectedly without the track doing much to signify its arrival. Welch sings with reckless abandon, throwing in the squeaks and uncontrolled vocal runs that make her so unique – on tracks like “No Choir” and “Big God”, we get to focus more on all those quirks without the energetic instrumental behind. While Welch’s lyrics are still very compelling, the vocal eccentricities sound improvised and out of place when the supporting cast isn’t as dynamic and passionate as she is.

High as Hope finds Florence Welch at the most vulnerable we’ve ever seen her, and the quieter contributions from the band exposing her raw vocal delivery reflect this move. Running through loss of family members, relationship struggles, religion and personal anxieties, Welch’s lyrics are the primary focus here. While the music can leave me anticipating more of the high-energy experiences Welch’s distinct instrument is more than capable of delivering, this is a very cohesive and well-thought-out project.

Favourite Tracks: The End Of Love, Hunger, Grace, 100 Years, June

Least Favourite Track: South London Forever

Score: 7/10

Rapid Fire Reviews (Vance Joy, Tory Lanez, Tech N9ne)

Image result for nation of two vance joyVance Joy – Nation of Two

Indie-pop singer-songwriter Vance Joy returns with his second studio album, almost 4 years after the runaway success that was “Riptide”, a song which was run into the ground to a rather annoying degree for this reviewer personally. Joy’s sentimental songwriting and catchy falsetto melodies are back on this project, and while a few of these breezy and instrumentally sparse tracks can seem overly simple or derivative at times, Nation of Two does stand out as a solid project due to its thematic cohesion and Joy’s undeniable ability to write uplifting tunes that we all want to sing along to. The album details the story of what Joy calls a “perfectly self-contained couple”, and the highs and lows of their blocking out most of the outside world.

The album opens with “Call If You Need Me”, potentially the closest thing on the whole album to exactly what we expect of him, the instrumental little more than a repetitive, plucked guitar pattern backed up by some ghostly indie-folk falsetto vocals that we’ve heard on his earlier work, and many others’. Joy knows what works for him and plays it safe to a degree that doesn’t really engage me quite a bit. There are more interesting musical choices than I would have expected after that intro, however, as the album starts to pick up immediately. “Lay It On Me” is a great track that sees Joy get more upbeat than usual, building into an explosive brass-backed chorus with some nice harmonies and a huge drum build-up. The fuller instrumentals work to his benefit, giving more power and support to his singalong choruses. Even if he uses some of the same tricks repeatedly, Joy’s earnest and confessional approach to songwriting fits as the instrumental raises and lowers volume in accord with the more emotional moments in his delivery. Joy’s voice is the perfect instrument to deliver the heartfelt declarations of love he is so fond of, accompanied by tiny wavers when he holds out a note and appropriately soaring for the bigger, celebratory choruses. There’s something indescribably unique that connects him to a listener.

Still, by the 5th or 6th time a song opens with the same basic picking patterns you’ve heard your friend play on the ukulele more than once the album starts to get tiresome. There’s a reason Joy was rewarded with a prime spot opening for the perfect exercise in pop marketing – Taylor Swift’s 1989 tour. Joy’s approach to songwriting can be intentionally formulaic and accessible to a lowest common denominator audience, not deviating from the song structures or content that is expected.

Joy went bigger on this project without altering too much of what got him here in the first place, and despite the lingering feeling that we’re simply being presented with a cookie-cutter “wholesome” façade, there’s enough underlying talent that it doesn’t matter much.

Favourite Tracks: Lay It On Me, We’re Going Home, Alone With Me, I’m With You, One of These Days

Least Favourite Track: Call If You Need Me

Score: 7/10

Tory-lanez-memories-don't-die.jpgTory Lanez – MEMORIES DON’T DIE

Toronto singer and rapper Tory Lanez’ second studio album, MEMORIES DON’T DIE, is just as overlong and derivative as his debut project I Told You. For someone who has had numerous conflicts with fellow Torontonian Drake in the past, his emulation of his processes and formulas on this project is surprising. While the production on this album can certainly save a few of its tracks, too often we return to uninspired piggybacking on OVO trends such as the fake dancehall tracks, Lanez possessing a small fraction of the charisma that allows Drake to pull it off.

Most of the album is backed up by the same spacey, moody R&B instrumentals and trap beats that can be found on every artist riding this new wave’s projects. Lanez is a much more engaging rapper than he is a singer, although even this comes with its clear influences from others – “Benevolent” is just a better than average Drake track with its soul flip and entrancing dark trap instrumental. Worse, Lanez has the audacity to suggest that others are copying HIM on “Old Friends x New Foes”. His singing can be overly indulgent, slowing songs down and contributing to the extensive runtime of the project. He does mix the two together, like another larger artist we might all know, but he can’t pull off the disinterested, barely trying attitude that makes these kind of mixed vocalizations sound listenable. He sounds downright obnoxious on a track like “Shooters”, falling off the tone at the end of his sentences and confusing his Auto-Tune machine. Lanez’ delivery doesn’t feel genuine or natural at times either, often adopting a higher, strained baby voice to accompany the fake accent he uses on dancehall tracks like “Skrt Skrt” and “4 Me”.

Certain tracks do possess some more interesting musical deviations in the instrumental. “48 Floors” is one of the catchiest tracks here, mostly thanks to a melodic panflute instrumental from lesser-known producer Mansa that blends well with Lanez’ repetitive earworm of a hook, while Benny Blanco and Cashmere Cat’s trademark atmospheric pop style fits surprisingly well on “Hypnotized”. Still, tracks like “Real Thing”, with a pretty energetic trap beat, can still be pulled down by Lanez’ substandard delivery. The string of features near the albums’ tail end didn’t seem to put in much effort, with the exception of 50 Cent, who can still drop an engaging verse. NAV, Fabolous and Wiz Khalifa are just as inept as usual, however.

Tory Lanez doesn’t do anything on this project that isn’t done more effectively somewhere else. His team does everything they can to mask the fact that his personality is rather indistinct, but MEMORIES DON’T DIE falls flat.

Favourite Tracks: 48 Floors, Hypnotized, B.I.D.

Least Favourite Track: Shooters

Score: 3/10

Image result for planet tech n9neTech N9ne – Planet

Prolific independent rapper Tech N9ne releases yet another in a long string of albums over the past few years. Although he is heralded by his lightning-fast “chopper” style that raises him high above most rappers in terms of technical skill, his lyrics and attempts to mix his work with other genres have often left something to be desired. Tech N9ne always has the capacity to surprise the listener with his ability even after so many years, but his albums are often a mixed bag of quality and Planet is no different.

Planet opens strong with “Habanero”, featuring a catchy chorus from one of the Strange Music label’s most promising young artists in Mackenzie N Tech doesn’t go all out on his verses here, but his boasts are a good intro the album displaying a small portion of his technical ability and deferring most of the song’s staying power to Nicole. The album wakes up in full on the track “Don’t Nobody Want None”, where Tech pays homage to his roots as a breakdancer with an old-school 80s breakbeat that fits his slightly goofy persona perfectly. Hearing Tech’s chopper flow over a beat that was never supposed to accommodate it is absolutely impressive. “Bad JuJu” might be Tech’s strongest vocal performance on the album, and King Iso’s feature is just as mindblowingly speedy. Closing track “We Won’t Go Quietly” might be Tech at his career best, an incredibly powerful track where Tech addresses racism and the extreme political divide preventing artists from stating their true feelings over uplifting piano chords. What might have gotten my attention the most, however, is how strong the transitions are between tracks on this album, flowing into each other seamlessly in a surprising way due to the many genres the album attempts to span. It’s impossible to notice the tracks skipping over here.

One thing Tech has done more in recent years is show an affinity for metal music, even collaborating with members of Slipknot and System of a Down. While these have been an interesting contrast to his music, Tech’s attempts on his own to scream like a metal frontman over some harder, guitar-driven beats have often proven awkward at best. Tech doesn’t have the lyrical skill to go as cinematic and grandiose as he does on tracks like “Brightfall” either, complemented by full-blown operatic choirs as he speaks about his complicated relationship with religion. Tech’s lyricism is often affected by his desire to spit so quickly, due to having to find so many words to rhyme as the lyrics fly by and simply finding a word that fits the rhyme scheme much better than the narrative. Tech also inexplicably adopts something of a country accent on the obnoxious hook of “Kick It With Myself”, previewing the later “Not a Damn Thing”, where it returns in a messy genre clash between the harder verses and harmonized chorus. 20 albums in, it’s tough not to repeat as well, and “Comfortable” is basically a retread of one of Tech’s biggest hits in “Fragile”, criticizing broadcast media rather than print this time.

It’s undeniable that Tech N9ne is and has been one of the most technically gifted rappers in the industry, but so many other aspects surrounding his music could use better execution. When it comes together perfectly, it creates something very powerful, but that’s becoming more of a rare occurrence later in his career.

Favourite Tracks: We Won’t Go Quietly, Don’t Nobody Want None, Bad JuJu, Never Stray

Least Favourite Track: Kick It With Myself

Score: 5/10

Rapid Fire Reviews (6ix9ine, MGMT, Nipsey Hussle)

Bensbeat is back for the summer and I’ll be catching back up to the present with a lot of these quicker posts.

6ix9ine – Day69

Controversial Brooklyn rapper 6ix9ine delivers a debut project infused with the unique scream-rap energy he brought to the singles that made him famous, but it lacks the lyrical content and adaptability to back him up over the course of a full-length project, even one that stands at only 29 minutes. Despite this, his production from some pretty unknown names (save for rising star Pi’erre Bourne on hit single “Gummo”) is frequently top-notch, riding a surprisingly melodic wave and adapting to a style that is distinctly 6ix9ine’s. The sheer blunt force and energy of some of these songs is hard to deny, but more often than not, there just isn’t enough here.

The album opens strong with the quick intro “Billy”, which is one of the most intense and cinematic beats on the whole project. The trap hi-hats and orchestral, almost operatic instrumental is such an interesting sonic playground to drop the unstoppable force of 6ix9ine’s vocal cords into, and it’s over before it even began. For some reason here, it works – he’s established himself as a quick jolt of energy and you can’t expect him to give much more as he pours everything into his delivery. I always preferred single “Kooda” to “Gummo” – the latter is a preview of where the remainder of the album can fall flat. Pi’erre’s beat is chilling, yet perhaps a little too reserved for 6ix9ine’s yelps. The repetitive songwriting found here persists throughout the project, some tracks like “Chocolaté” content to repeat the same lines for most of the track, and not in a fun, “Gucci Gang” way. The subject material never deviates from threats to others, references to his weaponry, and the like. When he switches up his flow on that delightfully melodic beat on Kooda – “You can talk hot on the Internet, boy!” – even that is enough of a distinct artistic choice to push the track over the edge. The track is a pure adrenaline rush. “93”, as well, features a great grinding, industrial instrumental that pummels the senses.

The tracks with features, “Rondo” and “Keke”, each try to fit three quite distinct artists into songs that barely exceed two minutes and make such a unique presence in 6ix9ine feel incredibly out of place. There’s nobody else in the realm of old-school hardcore rap he is trying to revive and artists like Young Thug and A Boogie wit da Hoodie are gone before you were even able to appreciate that they were there. The largely unrelated track names don’t help much with identifying the differences between the tracks in the back half of the project either – most of it blends together, 6ix9ine’s voice abrasive and threatening over instrumentals that never quite accommodate it.

Day69 is certainly a breath of fresh air – if 6ix9ine can incorporate more tracks like more recent single “Gotti”, where he introduces a more melodic vocal delivery, he might have a shot at outlasting his peers.

Favourite Tracks: KOODA, BILLY, 93, DOOWEE

Least Favourite Track: MOOKY

Score: 5/10

Image result for little dark ageMGMT – Little Dark Age

The indie-pop duo returns with their fourth studio album, a pretty fun, occasionally humorous and surprisingly dark set of breezy, psychedelic synthpop tracks. The band offers some critiques of modern society disguised behind some maddeningly catchy pop hooks, pointing the finger not only at others but themselves as well. Working with Chairlift’s Patrick Wimberly, many of these tracks assert their slightly off-kilter position and somber lyrical content with the slightest uneasy twinges in the instrumental, revealing the lurking foreboding warnings underneath the shimmering pop veneer. Frontman Andrew VanWyngarden’s voice is as calm and soothing as ever.

We open with the hilarious “She Works Out Too Much”, which intersperses the happy yet disengaged voice of a workout tutorial instructor behind lyrics of a relationship not “working out”. The relationship in the song is described on the surface as legitimately failing because of the man’s disdain for exercise, but the catchy female voice delivering that hook contrasting with VanWyngarden’s existential crises in the verses reveals something else. “He didn’t work out” – his issues – “enough”. It’s a great build up to the chaotic conclusion, a frantic saxophone roaring in. These tracks are frequently driven by pulsating synth patterns, pushing themselves to the forefront ahead of the vocals. The title track delves into an area of synth-funk, snapping into a decisive minor chord at the end of the chorus as VanWyngarden delivers some confessional lyrics about depression.

I didn’t realize how dark the album really is until “When You Die”, which plays off this dichotomy perfectly. It’s genuinely shocking when you hear such a pleasant voice declare “Go f*ck yourself” in monotone, kickstarting a chorus where he contemplates suicide and happily declares “It’s permanently night” at the end. The track contains genuinely the most cheerful melody on the whole project. Later on, the band criticizes dedication to electronics and dives into political commentary with the beautiful closer “Hand It Over”, the closest thing we get to dreampop – “The joke’s worn thin, the king stepped in”, VanWyngarden sings, the track culminating in a gospel-tinged singalong repetition of the title. The band can still write a soaring chorus – a sparkly synth pad and backing vocals support the celebratory “Me and Michael”, changed from the original “my girl” for the sheer purpose of ambiguity.

The chillwave sound has died down a bit, and MGMT still proudly carries the torch. It’ll be tough to get any of these tracks out of your head. It’s a great return to form, coming closer to the joys of the late 2000s tracks that catapulted them into the mainstream.

Favourite Tracks: Hand It Over, She Works Out Too Much, Me and Michael, When You Die, Little Dark Age

Least Favourite Track: One Thing Left To Try

Score: 8/10

Image result for victory lap nipseyNipsey Hussle – Victory Lap

The veteran West Coast rapper finally drops his debut studio album, abandoning his dedication to numerous mixtapes. He continues his partial revival of the G-funk sound on this project, bridging the gap to the modern era with some more trap-oriented sounds. Spanning over an hour, Hussle clearly had a lot to say saved for a debut project of this magnitude, but not all of it connects. His delivery and lyricism are his strong suits much more than his flow, and quite a few of these tracks can slip into filler territory by extending themselves past their welcome without much of a catchy, driving rhythm to keep them going. Hussle brings out some impressive guests in fellow Californians YG and Kendrick Lamar, even getting an appearance from Sean Combs himself. It’s a lot of content, but not enough of it sticks.

Production is handled mostly by underground west coast duo Mike & Keys, who broke out with a hit in G-Eazy’s “Him & I” this year and do a great job of emulating the old-school West Coast style despite the temptation to give into trends of today. “Last Time That I Checc’d” makes up for Hussle’s disinterested delivery with a bouncy synth bass instrumental that sounds like it could be a classic E-40 track. The homage to the past continues on “Hussle & Motivate”, one of the album’s best tracks, in which Hussle settles into the flow nicely over a slowed down sample of Jay-Z’s classic “Hard Knock Life” instrumental. The ordering of the album can be confusing, most of the weaker tracks present at its beginning. The back half meets expectations pretty consistently, Hussle sounding more urgent – “Status Symbol 3” is carried by a great melodic hook from Compton rapper Buddy and a harder-than-usual beat pattern that Hussle adapts to with a faster flow. Many of these tracks take the form of a long, winding story, Hussle speaking about his tumultuous upbringing and rise to the top, hence the title “Victory Lap”, and these streams of consciousness can be quite compelling.

Hussle doesn’t develop nearly enough of a distinct personality despite the expansive runtime he had to do so. When guests appear, especially Kendrick Lamar on “Dedication”, Hussle clearly attempts to emulate their styles in order to make the track sound more cohesive, but I really wanted to hear more of his own artistry in a world quickly becoming inundated with rap as its top genre. It’s a perfectly solid project without much obviously wrong with it, there’s just not enough to make me pay attention.

Favourite Tracks: Hussle & Motivate, Status Symbol 3, Keyz 2 The City 2, Dedication

Least Favourite Track: Succa Proof

Score: 6/10

BØRNS – Blue Madonna

Borns - Blue Madonna.pngRetro-pop singer-songwriter Børns’ sophomore project continues to display his old-soul mentality, reviving the classic pop sounds of groups like the Beach Boys while infusing the style with more modern synth-based production and moody lyrical musings that attracted a prominent collaborator in Lana Del Rey to the project. Made with only a single producer in Tommy English, Blue Madonna is an exhilarating and upbeat experience, if the slightest bit inconsistent. Still, its highs are experimental pop at its best.

The album really hits its stride in its middle section of four, elevating itself from the slower nature of the first four tracks and kicking the album into a higher gear that never lets up. The track “Man” immediately snaps into a bouncy synth piano groove as Børns forms his own backup vocal trio with some harmonized embellishments and he demonstrates just how strong that falsetto belt can get. “Iceberg” might be my favourite song of all, a more laidback track that is the most sonically experimental thing here. Børns tenderly croons the title as the synths shimmer like the glow on ice behind him, each time he drops into the verse the main synth-bass hook getting stronger before everything converges for the rhythmically dramatic conclusion.

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“Second Night Of Summer” and “I Don’t Want U Back” stray closer to pop territory, but Børns’ ability to switch between his softer, indie-pop vocals and his full-voiced rock and roll wail in the chorus is what gives these tracks a truly special and individual quality that could only come from him. Those crunchy synths as he extends that note on “throwin’ me that shaaade” give the track a great electronic groove. I’m not sure if another song captures Børns’ retro aspirations better than the single “Faded Heart”, which sees him reach high up into his falsetto for the kind of lovesick, saccharine and pleading chorus that could have come straight from someone like Frankie Valli – it emphasizes the effect when a kind of muffling effect is put on his vocals later on in the track, like we’re hearing the track played on an ancient gramophone.

Many of Børns’ melodies have the kind of crunchy, surprising quirks in note choice that simply aren’t around as much anymore, evoking a different time perfectly. I also certainly wasn’t expecting this album to leave me completely heartbroken at its conclusion, but the painfully real songwriting on closing track “Bye-bye Darling” is beautifully bittersweet, reminiscing on the good times and emphasizing that nobody will ever know what they had – but of course that just makes it worse in the end.

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Opening track “God Save Our Young Blood” brings Lana Del Rey out from her backup vocals position with a full feature credit, and I’m not sure if this was recorded before her brilliant Lust For Life album, but she brings out Børns’ worst tendencies for a rare misstep. He demonstrates later on in the album how much more than this somber, swaying mood music he is, and something about the chord progression into the chorus really doesn’t sit well with me, especially as the key changes closer to the end of the track.

While his trademark falsetto is often very strong at communicating the overall feel he aims for, the real charm comes from the joyful, twinkling instrumentals that accompany them, and sometimes making an album with a single producer can create some tracks that lag behind others in this regard. A song like “Sweet Dreams” is a solid track, and we feel every word he says, but the production isn’t as rhythmic as the other tracks and as a result isn’t as immediately impactful.

We’ve certainly been hearing a lot of retro flavour in pop music recently, but not many artists are going quite this far back with such a clearly loving dedication to the style they pay homage to. Børns certainly avoids the sophomore jinx here with some smart songwriting and enticing vocal delivery.

Favourite Tracks: Iceberg, Man, Bye-bye Darling, Second Night Of Summer, Faded Heart

Least Favourite Track: God Save Our Young Blood

Score: 8/10

Rapid Fire Reviews (Tove Lo, Walk The Moon)

Image result for walk the moon what if nothingWalk The Moon – What If Nothing

Walk the Moon’s third studio album and first since exploding with their 2015 hit “Shut Up and Dance” is a mixed bag that sees the band attempting to both recapture lightning in a bottle and pay homage to their beginnings as a rock band, both tasks not receiving the full extent of their focus and neither being performed to their greatest effect.

I prefer the pop material on this project to some of the off-kilter decisions they make when the guitars roar back in. “Headphones” juxtaposes frontman Nicholas Petricca’s shouted rap vocals and terrible lyrics with rapid-fire guitar solos for chaos that never clicks together. The ordering of the album is very strange in this regard – the band switches back and forth between this and tracks like “One Foot”, an incredibly bland pop song that brings back the marching-band drum tempo, rapidly syncopated one-note vocals and gang vocals reminiscent of their biggest hit.

The band haven’t lost their touch entirely, however – opening track “Press Restart” is legitimately a great pop song, as the effect of the band showing restraint for once is shown, the track beginning quietly and culminating in the explosion the band is known for. The main hook is catchy, and when all the elements they introduce finally click together, we get the sense of euphoria the band is clearly trying to achieve. The harmonies on “All Night” are a surprise in new wave bliss, as the band displays their highest level of musicality, Petricca sounding engaged in the music instead of trying his hardest to create a hit song.

The main problem What if Nothing suffers from is a lack of originality. The album stretches to nearly an hour’s length, and too often I just feel like I’m listening to retreads of “Shut Up And Dance” that aren’t as immediately impactful, a band desperately trying to achieve stadium status but lacking the songwriting ability and creativity to connect on that level. All of these songs blend together – and this review is a bit shorter because it’s tough to distinguish them enough to write in specificity. They have the ability – “Sound Of Awakening” is a 6-minute shifting, changing experiment in vocal effects that actually goes over pretty well, but opted to be safe instead.

Favourite Tracks: All Night, Press Restart, Sound Of Awakening

Least Favourite Track: Headphones

Score: 4/10

Image result for tove lo blue lipsTove Lo – Blue Lips [lady wood phase II]

Tove Lo’s third studio album comes shortly after last year’s largely inconsistent and disappointing Lady Wood, representing its second “phase” and a huge step up in quality. The production here is much more complex and engaging than its predecessor, as she finds all the best spots in her vocal range to move past the bland pop of last year. While the lyrical content can still leave a bit to be desired, sometimes its bluntness fits the overly sexual mold she has come to embody over the course of her career, the musical decisions here at time as bold as that album artwork.

Tove Lo works harder here to create an ambient, electronic world, frequently incorporating aspects of her own vocals into the instrumental to great effect, as it offers the quality of sonic intimacy, wrapped in her soft vocal tones, that the content of her music demands. “shivering gold” is an incredible track, building on extended, creeping low synth bass notes before exploding into a pulsating, syncopated chorus as she hits high notes I never knew she had in her between the rapid juxtaposition of synth stabs and tiny moments of silence. Some of the chord progressions here are clearly 90s inspired, slower tracks like “dont ask dont tell” offering an intoxicating piano melody straight out of a slow dance in a teen movie.

On Lady Wood, her vocals were secondary to overproduction, but the mix here is greatly improved without the instrumental getting any less bombastic – you can tell because for once, you are paying attention to her every word, her sultry vocals drawing you in. “bitches” packs so much fun into its brief 2-minute runtime, Tove Lo swinging her vocals over a prominent rock and roll drumbeat and woozy synths in the background, while closer “hey you got drugs?” is her most emotional track yet – she stated she was crying in the studio in an interview and you can tell – her harmonized, anguished repetitions about a relationship’s end – “You won’t save the night for me” – are incredibly visceral.

Even so, lead single “disco tits” is a little too ridiculous for me. The spoken, repetitive vocals are just too awkwardly phrased and overtly sexual to be enjoyable despite that pounding, inviting instrumental. The album’s second half is a little weaker, the energy letting up on tracks like “romantics” where the production drops out for the lower-tempo verses, coming back with clichéd trap hi-hat rolls.

Still, Tove Lo’s melodies themselves are so much better than Lady Wood, the album much more sonically cohesive. Blue Lips is a step in the right direction, Tove Lo coming into her own in the experimental alt-pop scene.

Favourite Tracks: shivering gold, hey you got drugs?, dont ask dont tell, bitches, struggle

Least Favourite Track: disco tits

Score: 8/10

St. Vincent – MASSEDUCTION

Image result for masseductionSt. Vincent’s fifth studio album, her second since attracting widespread critical attention with her self-titled 2014 effort, is yet another quirky and ambient rock-influenced pop album with a heaping degree of sardonic social commentary to go along with it.

MASSEDUCTION is futuristic and funny, as St. Vincent thrives in the genreless chaos but always maintains enough of a musical and narrative thread to lead listeners along her examination of narratives of sensuality and stimulants. I’d call it one of the strongest pop albums of the year, but that would almost be doing a disservice to all of the many diverse and engaging places Annie Clark manages to transport us to over the course of a single album.

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The album was written and produced almost exclusively by Clark herself and superproducer Jack Antonoff of Bleachers, who has contributed to some of the greatest pop albums in recent years and certainly makes his trademark style felt all over this project. While there are not as many Antonoffian repetitions of musical motifs, certain themes continue to resurface as the album progresses, making it somewhat of a concept album with a narrative thread.

“Pills” is quintessential St. Vincent – the chorus syncopates a childlike, advertising jingle of a melody with a gargantuan beat that makes you feel like you’re losing your mind. On this chorus, none other than actress and Clark’s ex-girlfriend Cara Delevingne sings a few repetitive and hypnotic lines explicating how taking pills for many ordinary facets of life can become disastrous. On the same track, we get a roaring guitar solo, Kamasi Washington’s saxophone embellishments and a beautiful gospel-tinged outro that takes the sarcastic and cynical nature of the song to the next, darkly hilarious level.

Many tracks on this album inherit this same hypnotic quality, as St. Vincent spends a lot of time criticizing how easily we are indoctrinated by advertising, religion, and the like. They are driven by fast paced beats and techno synths, but the undercurrent of Clark’s guitar sends the entropy of the album into overdrive.

A robotic voice repeats the album’s title on “Masseduction” – ultimately turning to “mass destruction” as Clark submits to the seduction of the masses, while she draws reference to her genderfluidity on “Sugarboy” as the rolling drums pound and a distorted voice repeats “Boys! Girls!” The whole song is full of ambient noise and chaos, but Clark’s mellifluous voice rises above it all to make sense of the madness. It’s all a lot to take in, but more often than not she throws in just enough of a catchy hook somewhere that you become drawn into the explosions and panic – as the album’s title would suggest.

Clark’s voice is incredibly dynamic, capable of delivering a dramatic and emotional hook on a track like “Los Ageless” or resorting to softer, almost angelic tones on stripped-back tracks like “Happy Birthday, Johnny”. The latter is one of the strongest tracks here, as Clark proves she can make magic out of the minimal just as much as the chaotic.

Adopting a theatrical tone that might be confused for Lady Gaga at her most vulnerable, she sings a rather ambiguous address to a self-destructive and displaced person with whom she had some relationship in the past over some somber and achingly beautiful piano chords. “Johnny’s just Johnny – doesn’t everyone know a Johnny?” Clark said when asked to clarify.

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Clark’s lyrics are the glue that holds all of this together. Her dark twists remind me a lot of Father John Misty’s “Pure Comedy”, often blunt and sarcastic but dropping the occasional lyrical gem that makes you think about the state of the world in the same way.

Clark is not afraid to address more serious topics either, and she does it in an absolutely spine-chilling way on closing track “Smoking Section”, where she addresses her real-life suicidal thoughts. Her emotional tone really makes you picture it as she describes the gun to her head, or standing on the ledge of a building, as the voice in her head repeats “let it happen, let it happen” with the most profoundly unsettling melody. The track gives me chills every time, Clark’s lower growl contrasting with eerie piano notes and deafening synth explosions. When she reverses course at the end of the track, the album fading away as she ironically repeats “it’s not the end”, it’s an absolute relief.

The album might have benefited from a bit more concision, as some of its more redundant and less defined chaotic moments are all placed closer to its end. “New York” was written as a counterpart to “Los Ageless”, but since it is displaced from the former in the tracklisting the less dramatic, simplistic version of the similar themes feels less potent and unnecessary.

A track like “Fear The Future”, meanwhile, contains the same distortion as many of the tracks that preceded it, but as it is one of the album’s most underwritten tracks and less sticky melodies it quickly becomes easily skippable due to the difficulty of consuming the sheer wall of sound.

“Young Lover” doesn’t do a much better job at reining in the distortion either, although the track does provide some necessary continuation of the narrative of St. Vincent’s mysterious partner – likely Delevingne at this point due to her familial history with drug abuse – continuing to succumb to the world’s, well, masseduction.

MASSEDUCTION is just as much of a masterpiece in experimental pop as St. Vincent was, as Clark’s dynamic voice, intelligent lyrics and guitar shreds collide into a confusing and beautiful sonic world.

Favourite Tracks: Pills, Smoking Section, Happy Birthday Johnny, Masseduction, Los Ageless

Least Favourite Track: Fear The Future

Score: 9/10

Rostam – Half-Light

Image result for rostam half lightAll-star producer and former Vampire Weekend guitarist Rostam Batmanglij’s debut album Half-Light sees him venture closer to the melodic art-rock of his past than his more recent pop exploits, making the kind of off-kilter and unique artistic statement that we only could have expected from him. After contributing to recent masterpieces from Frank Ocean, Solange and Carly Rae Jepsen, Rostam’s spacey, low-key tracks here come from a much different world.

Rostam imbues many of these tracks with a Middle Eastern flair associated with his Iranian heritage, but there isn’t much else going for it in the way of cohesion – Rostam even included some loose tracks dating all the way back to 2011 on this project. I appreciate being able to observe the many strange places Rostam’s mind goes when completely unhinged, but his less than stellar singing voice and overly indulgent and sluggish tracks make Half-Light an underwhelming experience.

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Some of Rostam’s best ideas come when he taps into the orchestral and classical influences that colored his work with Vampire Weekend. On more than one occasion, the instrumental made me think that he was sampling a well-known symphony, as it sounded so familiar. Opening track “Sumer” is the only one that actually does, as he sings over a joyful choral piece from the 13th century.

Half-Light is at its best when it is more upbeat, the album frontloaded with some of the only jolts of excitement here. There is an anthemic quality to Rostam’s best production work: “Warm Blood”, “Ivy”, “Little of Your Love”. The chorus of “Sumer” and the buzzing, synth-infused “Bike Dream” definitely fit the bill.

“Bike Dream” especially makes me wonder why so many of the other tracks here aren’t as melodically competent, content to settle for minimalistic repetition and sparse, isolated vocals. Title track “Half-Light” is another standout, as Rostam reaches into his falsetto over some pleasant acoustic chords and a persistent, wandering synth lead that accentuates his yearning vocals well.

The main problem Half-Light suffers from is Rostam throwing so many insane ideas at the wall at the same time and expecting them to stick. It often makes for some strange musical mismatches, such as on “Thatch Snow”, where the first two thirds consist of Rostam’s ambling vocals failing to keep up with the bouncy and joyful string part in the background – before exploding into a breakbeat on top of all of this.

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Rostam’s musical knowledge is incredibly vast – he said he was trying to emulate “Appalachian choral music” on that one – but pulling from so many diverse worlds at the same time just collides together awkwardly. “Hold You” begins with 30 seconds of Auto-Tune and trap hi-hats, before Dirty Projectors’ Angel Deradoorian cuts the beat and comes in with some angelic choral harmonies. It gets laughable when he tries to combine the two later on.

Quite a few of these tracks, especially nearing the album’s end, have a promising start before an abrupt shift occurs halfway through and sends it careening off the rails. “When” begins with an inviting Middle Eastern drum pattern before devolving into a minute and a half of spoken word conversation, distorted painfully past the point of comprehension. “Rudy” begins with one of the catchiest melodies here as the openly gay Rostam sings of a young boy coming to terms with his sexuality before a chaotic and off-key saxophone solo storms in and Rostam starts screaming.

I can’t help but think that he should stay behind the boards as well. While he does have some nice sections of falsetto, his lower range is less focused, often modulating around when holding a longer note and even breathing in strange places in the middle of a phrase. Some of these tracks have interesting instrumentals that might have been carried by someone with more of a vocal presence.

Ultimately, knowing when kinds of joy Rostam’s music has given me in the past, it is quite disappointing hearing his long, drawn-out tracks that ultimately go nowhere here like “Don’t Let It Get To You”, a very repetitive track that extends past 5 minutes and serves as the centerpiece of the album. You can tell the wheels were turning here, but Half-Light needs a gallon of extra polish.

Favourite Tracks: Half-Light, Bike Dream, Sumer

Least Favourite Track: When

Score: 4/10