Smashing Pumpkins, 'Monuments to an Elegy' Album Review

On December 9th, 2014 The Smashing Pumpkins released their 9th studio album entitled Monuments to an Elegy. This album still embodies SPs signature sound but incorporates modern alternative elements too. In classic Pumpkins style, Billy recruited some new musicians for this record. Their drummer Mike Bryne left, and they picked up Motley Crue's Tommy Lee. Their bassist Nicole Fiorentino didn't record on this one, so Billy filled in for her. In addition to these two, their long time guitarist Jeff Schroder plays rhythm . Lets dive right in!

 Monuments to an Elegy is a continuation of the ongoing Teagarden by Kaleidoscope album cycle. Basically, Billy decided that his next three full length releases will be albums within Teargarden. Off first glance, Monuments looks more like a glorified EP with 9 tracks and a length of 32 minutes. I'll admit I was skeptical when I saw this. After my first listen, I had negative reaction. I said out loud three or four times "What...Are you kidding me?" This was NOTHING like the Pumpkins had ever done! But just as always, I remembered that one doesn't fall in love with their albums right away. It take three or four listens until you really begin to settle in to the sound and overall concept. So I played it again. And took notes this time on what I did and did not like about it. I found the positives out weighed the negatives.

The album begins with a quiet single handed piano notes, then explodes into a full ensemble of layered guitars and hard hitting drums. By my standards, the first song "Tiberius" is the best on the album. It sounded like it came right off their 2008 release Zeitgiest. It embodies their classic sound all around which is impressive considering only one of the original four members is still in the band. It even has a heavy instrumental guitar break that I absolutely loved.

I thought another good track was "Being Beige". This track had such an uplifting and inspiration feel to it. Pairing this with an addictively catchy chorus, makes it a hit. I wasn't surprised when I found out that they released this one as a single.

It's worth mentioning that with the edition of Tommy Lee, the drums have a regained sense of dominance. I used to think that they had such a dynamic presence in the mix. But since the departure of Jimmy Chamberlin in 2009, they lost their luster. Tommy Lee does a nice job of bringing this back with his unique and powerful style.

There were two songs that I could not get into. "Anise!" sounds forced and is over saturated with psychedelic synth lines. The chorus is weak and thin compared to others on the album. It almost sounds unfinished to me. "Anti-Hero" is one of the most generic sounding rock songs I've ever heard. It's like they took GarageBand loops for the guitar and drum tracks. The reason I like the Pumpkins is because they are not afraid to stray away from mainstream rock. But, this song was a let down because it sounded like the typical 4 chord rock you hear everyday on the radio.

Overall Monuments to an Elegy is a quick, powerful listen that will requires a couple plays to enjoy. There's no denying the new, synth-fueled sound you will hear in their newest release. The question is...are you ready to embrace it?

ALBUM REVIEW: 5/10

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Friday of Lollapalooza 2014

Friday of Lollapalooza 2014

    Lollapalooza. A time for friends to get together before school starts back up and enjoy 3 days of no worries and good music. Lolla has been my favorite summer event for the last 5 years. The closer I get to graduation, the more I think, "Maybe I won't have time for this when I'm older." Because of that, this year I unknowingly made Lolla my best one to date.

    We started the weekend off in Tinley Park, and took the Metra downtown as we always do. But this time, I decided we should change it up. Instead of taking the train to and from the city everyday (and losing 6 hours due to travel) why not stay downtown? I asked my step sister who lives in Lincoln Park if we could stay with her. She was all for it. Nice. We had plans to see the up and coming band Into it. Over it. as the first act on Friday, but we didn't get there in time so we settled in at Bombay Bicycle Club.

    I want to take a quick timeout to say that I walked into Lollapalooza with a different mindset this year. I alway try really hard to not be a music snob, or to be judgmental of other peoples taste in music. Sometimes it's hard for me because it is a subject I am so passionate about, I genuinely care about what others listen too. I love turning people on to new music, it is one of my favorite things to do. When someone discovers a new band because of me, I get a special feeling. Music should be perceived as an experience, and if it is a good one, I want that person to associate it with me! (I will include links to all artists and songs mentioned in case you would like to listen).

    So this year, I was unfamiliar with the majority of the lineup. I made the conscience decision to just go with the flow. Normally, I would spend all of July listening to all the bands I didn't know. I thought this was the only way to enjoy a concert; if you could sing along. I learned firsthand that this is not true. We sat down far in the back to listen to Bombay Bicycle Club. I didn't know one song by them and thoroughly enjoyed it. They were a cool English indie rock band that reminded me of a more relaxed Two Door Cinema Club. After this we had an hour to kill before Iggy Azalea. This is a perfect example of how I behaved differently this year. I was pretty sick of her hit song “Fancy”. My girlfriend was dying to see her so why not try it out. We walked over to Perry's and camped out just in front of the sound tent. It was fun. No shame in saying it. Plus, I think I fell in love that day. Iggy came out in very flattering tight jump suit with her clique of about 5 dancing girls. This caught my attention. And let me tell you, this girl can rap. I was totally expecting pop songs similar to "Work" and "Fancy" but what I heard was a badass white girl rapping to some upbeat EDM infused beats being played by DJ Wizz Kidd. I was very impressed by her flow and was loving the choreographed dancing by her crew. This definitely made for an entertaining good show to watch. After this, we had plans to hop into a time machine and travel back to middle school for AFI. We ended up getting a bite to eat instead. It was about 6:30 when we headed over to the Bud Light stage to check out Lorde. We were near the back sitting down and I was enjoying her unique sound. She was sporadicly shaking her entire body on stage which was different and interesting to watch. My ears perked up for her hits like "Team" and “Royals” which sounded impressively similar to the recordings. After this we began the long trek from the Bud Light stage over to the Samsung Galaxy to get a spot for the one and only Slim Shady. I was pretty torn between the two headliners that day, Arctic Monkeys or Eminem. I saw Arctic monkeys a few years back but loved their newest release AM PM. I decided on Eminem because I believe he will be remembered as one of the best rappers to ever pick up the mic. We settled in right to the left of the immense sound tent. He opened his set with a long and unusual documentary film clip surrounding the details of his popular song “Stan”. It lasted about three minutes long and I was anxious for him to make his appearance on stage. Finally he came out, and launched into the last verse of “Bad Guy”. I remember making a mental note that the sound quality was fantastic. Very well balanced, and had deep bass pumping out of the woofers and straight into your chest. The first half of the set he was playing very old and new material. I was always the kid who loved The Eminem Show and Encore so I did not recognize most of it. About half way through the set I began second guessing my decision and turned to my girlfriend and asked “Do you want to go check out Arctic Monkeys?”Just as I said that the stage went black and out from the depths of the stage, Rihanna emerged from a platform beneath them. The crowd went absolutely nuts and I saw about 100 girls pop up on their boyfriends shoulders to get a glimpse of the stunning pop singer. For me, it was one of those eye opening moments. I realized that I was in the presence of a powerful music entity. Rihanna has a shining passion that is expressed through her presence. Her and Em seemed to have a natural chemistry and really nailed the few songs they performed. Needless to say, I am glad that we stayed. After this there was a new energy in the crowd and to me the set list stepped in up a notch. The last ten songs included some of my favorites and then ended with his most popular “Lose Yourself”. I have to mention that he was one of the most energetic performers I’ve ever seen. He was running around the stage and constantly encouraging the crowd to “Wake the F*** up!” Overall, a very great and memorable show.

    I had a fantastic time at Lollapalooza this year. I would really encourage people to approach festivals with the mindset I had this year. It was a first time experience doing this for me and I am glad that I did. I would even say that doing this has helped me be more open minded in life situations as well. 

Thanks for reading.

Notable Performances on Friday: Eminem

Notable Performances on Saturday: Desert Noises, Vic Mensa

Notable Performances on Sunday: Space Capone*, Cage the Elephant, Rebelution

*Favorite of the weekend. I highly recommend!

Follow Max Sagan on Twitter: https://twitter.com/xvwmax

Sylvan Esso, 'Sylvan Esso'

By: David Savage

                Last September I was at The Metro to see Volcano Choir, the project of Bon Iver frontman, Justin Vernon and who do you expect to open for Volcano Choir? Maybe an unknown indie band or a dude with an acoustic guitar? Wrong. Sylvan Esso opened for Volcano Choir that day. I will admit, I was quite shocked and not sure how to take their performance, but I knew it was special.

                Sylvan Esso is comprised of Amelia Meath of the band Mountain Man, and Nick Sanborn of Megafaun.  It’s not the duo themselves that are unlikely, but the style of music they create is what makes their collaboration interesting. Amelia comes from a trio of folk rockers while Nick comes from a folk band as well, yet here there are creating this bright synth-pop.   Their songs have these beautiful melodies coming from Amelia, and they are paired with bold beats and bass drops. This style that Sylvan Esso has created together is incredibly unique. I’m not entirely fond of dubstep, but Sylvan Esso seems to have taken small elements of dubstep and dance pop, and combined them with gorgeous lyricism and delightful harmonies.

                Their self-titled debut was released on May 13^th and Sylvan Esso could end up making its way on my list of favorites for this year. I love this record. After listening to it the first time, it was all I listened to for about a week. The opening track “Hey Mami” starts off with Amelia’s voice and then the harmonies begin looping, handclaps kick in, and before you know it the bass drops and Sylvan Esso is in full force. There a nice balance between the fast paced tracks and slow head bob tracks. Songs like “Dreamy Bruises” feature the quick beats of Nick Sanborn, and even vocal harmonies with both Nick and Amelia, while songs like “Could I Be” is the slow head bob type.

Every track on this album is brilliant so it’s hard to determine favorites, but “Wolf” is definitely in the running. The bass swells dictate the direction of the song, but the vocals carry over throughout the track with a subtle acoustic guitar hiding during the chorus. The heartfelt lyrics are just another wonderful aspect of a record like this, with lines like “All I want from you is a letter/ and to be your distant lover/ That is all that I can offer at this time”.

Sylvan Esso is full of heartfelt tracks, as well as fun party tracks like “Play It Right” and “Hey Mami”. This unlikely musical creation is bold, inventive, and memorable. Sylvan Esso has formed big shoes on their first record and I’m glad I saw them open for Volcano Choir, otherwise I may have never heard this record.

Favorite Tracks: “Wolf”, “Hey Mami”, and “Coffee”

Manchester Orchestra, 'COPE'

By: David Savage

                “Sometimes when you’re making up lyrics on the spot, God will drop one on you that you didn't intend” says Andy Hull, via Manchester Orchestra’s Facebook page. Manchester Orchestra frontman, Andy Hull, is referring to the line “And I hope if there’s one thing I let go, it is the way that we cope”, off the title track to their latest release, COPE.

                Manchester Orchestra didn’t exactly have a label, and questioned the potential existence of the band, so they decided to take matters into their own hands and build their own studio in a house in Atlanta, Georgia, where they would sculpt what is now COPE, their fourth studio album. This album is exactly what the music industry needs, and that is rock music. I still managed to be continually impressed with music today (not in the commercial sense), but rock music is lacking these days. There’s something different about being able to actually rock out to an album, start to finish, and that is exactly what COPE is; it is exactly what I needed.

                The second the album starts; I knew this is what I was missing. This may be a bold statement, but I think the opening track, “Top Notch”, will be one of my favorite tracks this year. It blows up in your face with that first crunchy chord, and just escalades to a fantastic rock song. The chorus screeches out “All that I know, it’s no way to fix it”, which could be further extending the theme of “coping”.

                I was obsessed with their last album, Simple Math, for its diversity, experimentation and impeccable lyricism, but like I said, I think an album that rocks from beginning to end is really what I needed, and so did this band. Songs like “Every Stone” have the more alt-rock feel to it, which works well for them, and then they come in with heavy hitters like the title track, “Cope”. This album carries Andy Hull’s lyrical talent with Hull singing out “Cause all the progress you made/ won’t end up meaning anything. / I won’t leave indentions of me/ I won’t leave intentionally” from the slower (but not too slow) song “Indentions”.

                I was luckily enough to see Manchester Orchestra recently at the House of Blues, and they put on quite a show. Their set list was diverse ranging from all of their albums, and a visit from Kevin Devine, where he and Andy play the Bad Books song, “42”. Cope was a heavy guitar-driven record that I think music needs right now. Every record that Manchester Orchestra puts out seems to continually impress me and always keeps me rockin’.  

Favorite Tracks: “Top Notch”, “Every Stone”, and “Indentions”

Mogwai, 'Rave Tapes'

By: David Savage

                This album came out early in the year, but I still think worth writing now. There were two days in a row when I was driving home from work, listening to 93.1WXRT, and the songs that played were perfect. Like the rest of this winter, it was quiet and blustery, and the snow was stacking higher and higher on the streets. I used the Shazam application to find out what these songs were and on the first night, it was a song called “Heard About You Last Night” by Mogwai. The next night, another song by the same band, this time the track was “Remurdered”. I had no prior knowledge of this band before, but I knew I had to get acquainted.

                It turns out they had just released a record, titled Rave Tapes, on January 20^th. Like I said, I had never even heard of them before so I did some research. I found out they were a post-rock band from Scotland, and have been around since the early-to-mid 90’s. I guess I did things a little differently since Rave Tapes was the first record of theirs that I listened to. I fell in love with record, upon first listen. Instrumental acts aren’t too prominent in everyday airplay, so it was cool that my first experience with them came from the radio.

                The song that had me hooked was “Heard About You Last Night”. The first cut off Rave Tapes starts off very slow and ambient, and as the song continues it blossoms with steady bass notes and then the drums and guitar kick in. The first track is the most ambient and simple (in a good way) track off the record. The further in you get the heavier songs you discover, like “Hexon Bogon”. This is a band using synth in a more conservative way than most others. Mogwai lets the instruments shine throughout, but will occasionally give little hints of synth fills in the mix of the post-rock instrumentals.

                Rave Tapes is the type of record you let fill the background of a late night drive, or an outside look at the stars. The light vocal track, “Blues Hour”, features vocals that have a hint of Elliott Smith tied to them with a lasting crescendo to top it off. I dig Rave Tapes. I think it shows a good balance between rock, synth, and ambient instrumentals that is a breath of fresh air. I’m glad I turned on the radio to catch Mogwai.

Favorite Tracks: “Heard About You Last Night”, “Blues Hour”, and “Hexon Bogon”

Asher Roth, 'RetroHash'

By: David Savage

I’ve noticed artists will release “teaser trailers” for their albums which is what brought me to this record, RetroHash. For whatever reason, I looked on Asher Roth’s FaceBook page and noticed there was a link to a video “Pot of Gold”, so I checked it out. Turns out it was somewhat of a trailer for Asher Roth’s sophomore release, titled RetroHash. The video consisted of Asher riding a Sea-Doo followed by two topless women. In the background, the hook for the song “Pot of Gold” was playing. It was a mysterious one-minute video, but it caught my interest, and not just because of the topless women. The song playing in the background sounded nothing like the “I Love College” rapper I was familiar with.

I was a fan of Asleep in the Bread Aisle and heard some of his various singles that were released, so needless to say, I enjoy Asher Roth. There was something about this “Pot of Gold” video that intrigued me, because the sound was more developed and had a mellow, almost indie vibe to it. The first single, “Tangerine Girl”, was released and that was when I became extremely excited for RetroHash. The song spends the first half with just a chill vibe and falsetto singing Asher repeating the hook. Not exactly common for hip-hop to spend the first half of a track with predominantly instrumentals, but it worked. His vocal work was pretty impressive and unexpected.  

On April 22^nd, RetroHash was finally released and it was worth the wait. One word comes to my mind when I listen to this record, and that word is maturity. It’s easy to notice that this record is ahead of anything he has ever released; everything from instrumentation to lyrical themes is taken to the next level on RetroHash. “Fast Life” was one of those songs that took the record to a new maturity level for Asher. The video was a big reason for my love of this song, so go see for yourself why this song/video is an impressive level for this rapper.

Don’t get me wrong, there is still a slight taste of the rapper we know and fell for back when “I Love College” dropped. Songs like “Pull It” and “Last of the Flohicans” have that hint of childishness and laughability, but even “Dude” has some humorous wordplay that we like to hear from Asher Roth, with lines like “Good weed got me talking ‘bout deities/ Aphrodites, sucker for good lighting/ and neat handwriting, sorta like calligraphy/ trick or treat at thirty, dress up as Jackie Tree”. “Dude” also comes off sounding like a song by A Tribe Called Quest with that slick bass line throughout the track.

Overall this album takes Asher Roth’s reputation to a new level. Adding more real instrumentation and mature rhymes makes RetroHash an exquisite record for someone who used to be known as merely “The guy who sang ‘I Love College’”. The song “Pot of Gold” that was feature in the album trailer wasn’t released in its entirety until the record dropped, and that is another track of this album that is pure smooth, mellow, and mature hip-hop music. Asher Roth truly stepped his game on this record, and so when people say to me “He sings ‘I Love College’ right?” I tell them he is detrimentally more than that. Asher Roth holds an incredible amount of talent and maturity and it is great to see some of that spill out into his sophomore album, RetroHash.

Favorite Tracks: “Tangerine Girl”, “Parties at the Disco”, and “Pot of Gold”

Chevelle 'La Gárgola' Album Review

Chevelle 'La Gárgola' Album Review
By: Max Sagan

     Have you ever wondered what would happen if Tool and Queens of the Stone Age conceived and had a baby? Probably not.... BUT IF YOU DID! Chevelle's 'La Gárgola' would be there 13.4 pound bastard child. Punchy, tight drums compliment the distant guitar sounds all throughout Chevelle's latest 'La Gárgola'.
     I'll have to admit, I was oblivious to this band until my roommate demanded that I check them out. He likes working out to them, and I can see why. 'La Gárgola' is a very intense listen that sounds like it could be an action movie soundtrack. Right off the bat you can hear the massive Tool influence on "Ouija Board". This lead singer has got pipes that you will want to write home about. He has a pretty nice screaming voice too. Track two "An Island" has a unique underproduced, fuzzy guitar sound to it. At first I thought it was bad production on this particular track. But I realized this is the only song with these qualities so I think it was a artistic choice. They have a tasteful use of the popular metal bass drop right around the mark 3:35 that makes for a nice impact moment. If you are too busy to listen to the entire album, make sure to check this one out.

"Stay there don't move
I think its got fangs.
Watch if they turn
Become the villains."

     Track 3 "Take Out the Gunman" started to make me recognize how much these guys really sound like mid 90s Tool. The vocal melody in "Take Out the Gunman" sounds like it straight out of Tool's 'Ænima'. Skipping to track 6, they try to pull of the emotional ballad. This one did not work for me.  I don't know why these heavier bands insist on trying to do these. Don't get me wrong sometimes they work, but "One Ocean" just feels forced. It ended up sounding like a Muse song. I like Muse, but its confusing when in the last song they were screaming in my face. It really kind of killed my mood too. The rest of the album gets boring for me. Luckily, there was one more diamond in the rough. "Choking Game" is another high octane jam that sounds like it belongs in the first half of the album instead of where it is located in the 7 slot.  The second half of this album was a let down for me. If 'La Gárgola' kept up its pace it would have been much better in my opinion.
     All in all 'La Gárgola' had a promising beginning but just couldn't hold on to the intensity throughout. I am happy I finally got around to listening to this band, and would definitely recommend select tracks especially to people engaged in physical activities because they will get you going.

 ALBUM REVIEW 6/10

Notable Tracks: Ouija Board, An Island

Follow Max Sagan on Twitter: https://twitter.com/xvwmax

Asher Roth 'RetroHash'
     
                                                                                                                                          By: Max Sagan

     Get ready for a wild and emotional ride through Asher Roth's new album RetroHash! His sophomore album takes you though some deep conceptual subjects and makes it easy to get lost in the smooth beats of producer Blended Babies. First, let's go back to school and take a history lesson....
     Asher Roth, became active in the rap game in 2008. He began creating a buzz throughout colleges nationwide by recording himself rapping over other artist beats. This is what became his first release the Greenhouse Effect Vol 1. It was during this time that he hooked up with talent agent Scooter Braun (manager of Justin Bieber, PSY, Carly Rae Jepson, The Wanted, Ariana Grande) by simply sending him a message on MySpace. One Week after speaking to Braun, he flew down to Atlanta to begin recording. Since then Roth has grown his hair out, made one full length and 2 mixtapes which I encourage you to check out to hear the HUGE contrast from his latest and greatest RetroHash.
     Let's dive right into it. This album sounds drastically different from his earlier work. You might be thinking "Oh no! Not another one of these!" but hold your horses cowboy. Give it a chance and you won't be disappointed. From beginning to end RetroHash radiates a "keep it real" and free vibe throughout. The opening track "Parties at the Disco" demonstrates Asher's new skill: singing. I was blown away with the dudes voice! He really hasn't sang on his tracks much in the past and it was a very pleasant surprise. Im sure it helped that he has the female vocal powerhouse ZZ Ward backing him up, but impressive nonetheless. He sings a lot on this album with gets a big thumbs up from me.
     Track 2 "Dude" is the closest to anything you might have heard from a younger Asher Roth. Teaming up with Curren$y, they lay down the heaviest hip-hop track on the album. Asher reminds us that although he can now sing, he can still spit the crazy, off topic rhymes that his first album was riddled with. His wacky flow is probably the reason I was attracted to his music in the first place. Its so unconventional, and proves that you can rap about things like daily routines or what you had for lunch and still make it sound sick.

"Bolognese, homemade, only played croquet 
 In a cloak, and like old episodes of Soul Train
 Run with the O'Jays, Whole Foods for the groceries 
 OJ, Moets, cherries and Yoplait"

     Track 3 was the first single released. "Tangerine Girl" is a song composed of 90% singing and in my mind is Asher showing off his new found singing voice. I think its about a girl he's trying to get wth, but also seems open to interpretation. It resembles a psychedelic song from the 60's with long drawn out, falsetto singing layered with heavy vocal effects. Definitely the most spacey song on RetroHash but was a ballsy move to release it as the single. I can respect that.
     Lets skip to the 6th track "Fast Life". My favorite track on RetroHash and will be my designated Summer jam. If I had to choose, this track best represents the overall theme of his album. He talks about growing up, and trying to develop a purpose in life. I love the introspective view that this song hosts. Vic Mensa is the voice you hear in the second verse. Vic is a 20 year old and very talented from Chicago. You may recognize him from his work with Chance the Rapper. I'm glad he was featured on this track because he is not very well known yet and this is great exposure for him.
     In my opinion, the album goes a bit down hill from here. I don't want to say they are bad songs but they just dont live up to the expectations of the first 6. RetroHash is a front heavy album and the end comes to a slow rolling stop at the final track "Keep Smokin". The last song is the ultimate "blaze up" song featuring the frequent collaborator Chuck Inglish from The Cool Kids.

"Change of ways and make you raise a gun
A spotless mind can't erase the sun" 
from track 5 "Something for Nothing"
     I feel like hip-hop has been changing the last few years. It is moving away from about rhyming how much money/cars/women you have and moving down a more artistic avenue. Look at artists like Chance the Rapper, Childish Gambino, Kid Cudi, Odd Future, Maclemore, and Kendrick Lamar.  Along with Asher I believe these guys are on the forefront of this movement. If you listen to their music its now starting to incorporate more real instruments into the production giving it a more real and organic sound. The guitar, trumpet, string, piano, and live drum work you hear on this album really shines through and gives it that true, laid-back feel.
     All in all, I would recommend RetroHash to music fans of all capacities. You can hear the maturity from his last release and can see where he is headed in the future. I look forward to watching him grow as as artist and continue to expand the boundaries of modern hip-hop.

ALBUM REVIEW 7/10

Notable Tracks: Parties at the Disco(feat. ZZ Ward), Fast Life(feat. Vic Mensa), Something For Nothing

Follow Max Sagan on Twitter: https://twitter.com/xvwmax

TANK, '9'

                Anonymously, a four-track EP titled 9 was released, via Bandcamp by the artist known as TANK. TANK is said to be a project where the music surrounds you as if you were stuck in a tank of liquid, absorbing the noise around you.  It then began to act as a “Tank” to hold miscellaneous feelings, as well as music. The Bandcamp page describes it as such:

Imperfect and tangible. Liquid. An ominous slap to the soul. Listen, and you get it. Make yourself vulnerable. Eat the sound. Hear it, but do not listen. Let it naturally grow around you. Swim in the tank.

                Hard to argue with that. The EP opens up with the distorted guitar riff of “Confidential”, then continues with drums and another guitar added in. The vocal style comes in like blown-out speakers, or a distorted megaphone. TANK’s vocal style was mainly inspired by Youth Lagoon, but also took on some inspiration from Sigur Ros and Bon Iver. The emotion bottled up, with lines like “Let the cool kids that fucked up their lives compliment each other indefinitely”, eventually explodes more than half way through the track with heavier guitar, blasting drums, and a subtle squealing guitar in the distance. An emotional first track features even more heartbreaking lyrics, “It’s true what they say/ You can’t save anyone these days”.

                Thinking of this EP in relative terms of said “Tank”, I think of “Confidence” as being the first step of being thrown in and trapped in the tank. Its heavier guitar riffs and emotional lyrics suggest this. Then the second track “Overgrown” is fully submerged and forced to be in the tank. Slow percussive sounds surrounded by piano chords, and the vocals sound like they are underwater. Without the lyrics being on the page, you may not have even known that there were words present. 

                The third track, “Tall and Spineless”, takes on more of the rock element of the element, as well as anger and heartbreak filled lyrics. You can feel the pain and anguish in TANK’s voice screaming out “I’d rather be here, tall and spineless, / then be sure and perfect. / Any day of the week.” The vocals occasionally skipping and cutting out (intentionally) suggest a deeper sense of being cutoff and ignored by someone.

                The final track, “A Small Resemblance”, goes back on the more ambient and “liquid” sound experienced in “Overgrown”. Roughly halfway through “A Small Resemblance” the drums began to stop and cut out in a way that makes you check your headphone jack to make sure something hasn’t gone wrong, but it is in fact all intentional. 9 is full of powerful lyricism including lines like, “Look deep inside my eyes. / There is something dying and inside of you.” Let us not forget to mention that at the bottom of the artist’s page one of the tagged words is “lonely”. Among the words that describe what the music sounds like there is one word set aside that is the emotion of the music: lonely.

                This EP is multidimensional with so many layers and subtle intricacies in a short four songs. Be on the lookout for more from TANK, because we will be in for a treat. 9 is a fantastic EP that I only wish was longer, because those four tracks leave me begging for more. So take my advice, and “swim in the tank.” 

TANK Bandcamp Page

TANK Facebook Page 

S. Carey, 'Range of Light'

By: David Savage

Justin Vernon may have been the one in the spotlight of Bon Iver, but there was another member of the band with an extensive amount of talent. Sean Carey was the percussionist/vocalist in Bon Iver. On April 1^st, Sean Carey (under the moniker name ‘S. Carey’) released his first studio album, Range of Light. S. Carey did have another album, All We Grow, but it was more of a home recording. The new record was recorded at Justin Vernon’s studio, April Base in Fall Creek, Wisconsin. The title, Range of Light, comes from the way Sean Carey’s hero, naturalist John Muir, referred to the Sierra Nevada Mountain Range in California. In the sleeve of the vinyl, Carey writes that this record explores the beauties of nature, the way John Muir did. Even Sean Carey’s instagram (@scareypics) has photos dedicated for each of the tracks off the new record, looking like a transcendental journey.

S. Carey has released an album (All We Grow) and an EP (Hoyas), but never a studio record. Range of Light opens up with the track “Glass/Film”, featuring an array of instruments. The track features piano, vibes, banjo, and some subtle horns. Carey is a multi-instrumentalist, dipping his hands in as many instruments as he can on this record. In Bon Iver, he was known behind the drums, but by himself the piano is his instrument of choice.

Knowing that Sean Carey is a man of nature makes the music he creates even more beautiful. He paints vast images of nature with the sound of his music. The first single off the record, “Fire-scene”, is a wondrous song with intertwining piano and smooth finger-picked acoustic guitar. The lyrics further amplify the scene he his describing as “Reddest hue/ remind you of you/ clinging love and falling true”. It makes sense why Bon Iver was such a spectacular band, because there was endless creative talent in the group, and Carey’s talent is displayed in Range of Light.

Range of Light is soft and mellower than his previous work, but it’s such a soothing pallet cleanser. Songs like “Alpenglow” feel the way spring feels after a long winter, like the one we’ve had. The piano melody in “Alpenglow” is infectious in an interesting, soul-warming way. As mentioned, Justin Vernon did some work on this album as well, with some instrumentation as well as backing vocals. Easily detected on “Crown the Pines” is Justin Vernon’s signature falsetto, but you’ll find it tucked into other tracks, such as “Fleeting Light” and “Glass/Film”.

As a “debut” album goes, S. Carey pulls off a sweet sounding record to be heard out and about exploring the world. Range of Light explores “the light and dark in everything” according to Carey, and I couldn’t agree more. This record gives a taste of various instruments all in a calm soothing style, meshed with Carey’s vivid lyricism to set the scene for listeners. The final track, “Neverending Fountain, wraps up the album wonderfully, with pacing violin and a lullaby-like harp. Range of Light is an absolute success by S. Carey. 

Favorite Tracks: “Alpenglow”, “Fire-Scene”, and “Crown the Pines”

311 'Stereolithic' Review

311, 'Stereolithic'
                                                                                                                                          By: Max Sagan

        This a review I have been looking forward to doing for a while now. 311 has proved to be he most consistent bands from their first album 'Music' in 1993 to their latest 'Stereolithic'. On this album you will hear heavy droning guitars and funky bass lines that give it the classic fusion metal 311 sound. You will hear Nick Hexum's and SA Martinez's vocal melody lines that will get stuck in your head for days. (Seriously, I cant get some out of there) And after all these years, continuing with the 311 style this album keeps their message of positivity while slapping listeners in the face with its hard hitting rock/ reggae elements. I think this album is a great representation of who they are as a band and takes small characteristic elements from each of their previous albums and integrates into their latest and greatest, 'Stereolithic'

        I knew right from the beginning of the album it was going to be a good one when arguably the strongest track "Ebb and Flow" began. I've always been the guy who likes the energetic, get the people going openers and this one doesn't disappoint; it's nearly impossible to not start nodding your head to the beat. Following the opening track we have their other single "Five of Everything" which demonstrates that vintage Omaha sound with a HUGE guitar riff during the chorus. If you play you must check it out, and even if you don't you will hear what I am describing and surely love it. Okay, two solid opening tracks. But where's the Caribbean, reggae sounding, good vibe 311 that we know and love?  Right on cue, "Showdown" and "Revelation of the Year" make an appearance. "Showdown" demonstrates one of the most unique reggae rhythms I've ever heard, solidifying the unbelievable band chemistry these guys have together. Followed by this, "Revelation of the Year" has great use of  'Transistor' like spacey sampling complements of one of their Vocalist/DJ S.A. Martinez. 

        Moving on, "Sand Dollars" keeps the chill mood going by beginning with Tim's lovely signature bubbly tone we've heard in their popular song "Amber" and other songs like "Champagne". The next song "Boom Shanka" gives us a nice change of pace and shows us that that they are still tastefully utilizing that octave guitar tone they have been using for years. If you don't quite know what I'm talking about with this whole octave guitar thing, listen to the song Homebrew. It is a very cool effect that this Omaha native band started using in the early 90s. If their guitar tone interests you read more here. Next was the first track on the album that didn't particularly impress me. "Make It Rough" is my least favorite track on the album because it is just too generic. The next song "The Great Divide" picks it back up with an angry verse but a happy, sing-along chorus which is another unique thing that 311 does pretty frequently. Lyrically this song excels too. If you can use the word "indubitably" in your rap and still make it sound good, you're okay in my book. "Friday Afternoon" is one of those jams that starts nice and slow and like a snowball rolling down a hill it just picks up into a unstoppable groove. This one has one of my favorite guitar drum dynamics on 'Stereolithic'. Listen to right around 3:12 and you'll hear exactly what I am talking about. 

        "Simple True" is that track where they are just jamming. I totally get a Red Hot Chili Peppers vibe from the intro. And that super slow fadeout at the end is entrancing. Moving right along "First Dimension" totally reminds me of the song "Evolution" from 'Sounds System' with its crazy, otherworldly lyrics that keep the listener interested throughout. This just another way I hear them integrating other album influence into 'Stereolithic'. And that guitar solo near the end...DAMN. Props to you Mr. Mahoney. "Made in the Shade" had this cool Pink Floyd intro which I really dug. This was definitely the saddest song on the album but I thought it was cool to see that a band who preaches positivity isn't afraid to write about vulnerability. This song really speaks of redemption to me. I would love to know what it is really about, but that is part of the magic of music; using your imagination to make up your own story of what it is about and relating it to your own life. 

"You got to keep on climbing the hill, Cause if you think you'll make it you will".

        Their drummer Chad Sexton really shines on the next track "Existential Hero". He has some impressive drum fills near the middle of the song. Next, "The Call". I really can't say enough about this song. It's refreshing to see a song so low on a track list that is one of the most memorable and powerful songs on the album. This displays the perfect example of powerful vocal harmonies that will make the hair stand up on the back of your neck. This is my favorite track on the album and easily in my top five 311 songs ever (that's saying a lot because there are over 170 songs that I am familiar with!) "The Call" is a really, really great song and if anybody takes anything from this review, I encourage you to show your friends this one. I absolutely love when an album has a strong ending and I was ecstatic when 'Stereolithic' ended with "The Call" and "Tranquility". Such and appropriate ending to the best album I've heard in a long time.

        I can confidently say that head guys are the most consistent of any band I've ever heard. They continue to make fantastic music for over 25 years. 311 is one of my few favorite bands and I hold them to a high standard, and they did not disappoint. Tim's guitar playing has never been better. Chad's drumming remains as creative as ever. Nick and SA still have magic vocals melodies that leave an everlasting imprint in your mind. Tim was quoted saying that he can see no reason why the band couldn't continue to make music for at least another 20 years. That is great to hear, but for now let's take a page out of  the 311 handbook and stay positive and love our lives. 

ALBUM REVIEW 9/10

Notable tracks: The Call, Ebb and Flow, Revelation of the Year

Follow Max Sagan on Twitter: https://twitter.com/xvwmax

311 Stereolithic Album Review

by Tyler Flynn

311 is an alternative rock/rap rock/reggae/funk rock band out of Omaha, Nebraska. Receiving much success in the 90's and early 2000's with some of their songs like "Amber", "Creatures (For a While)", and "Down", they have always been a consistent alternative band releasing an album every few years. Since they were able to release the album on "311 Day" this year, that meant the band had a very busy 24 hours. Every 311 Day, the band plays a 5, or so, hour long show, including multiple setlists and hours of music, including old songs, new songs and everything in between. 

But enough about 311 Day, let's get to the album. Stereolithic (or STER3OL1TH1C starts very strong with the track "Ebb and Flow." Definitely one of the harder hitting tracks on the album, with a heavy riff, and a relatively heavy chorus with Nick and SA's clean harmonized vocals on top, the track really stuck out in my mind, especially for an opener for an album. I like me some heavy, fast openers. 

The album has a good mix of heavier songs, and reggae songs, but in my opinion, they lacked a little bit on the reggae songs. They have a few good ones in there like "Sand Dollars", and "Friday Afternoon" (which starts off that way, but goes wayyyy off into an Avenged Sevenfold ending). So, if I could change anything about the album, that would be my input.

The album has many strong qualities, however. The entire band seemed to step it up, in every aspect, on this album. Cooler drums, harder guitars, funkier bass, and amazing harmonies on the vocals. It is a typical 311 album, because you get all of those elements, but it seems like they tried to push themselves out of their comfort zones on this one. They have some tracks that sound totally different than anything that they have done before. They even stepped it up production wise on this album. I would argue that this is by far the best sounding 311 album, sonicly. 

All in all, this is a very impressive album from one of my favorite bands of all times. They really stepped it up on this record, and I couldn't have asked for anything more as a dedicated fan. I'm looking forward to seeing them this summer, and I'll be writing a review on the concert. But if you're a fan of 311, or you were a fan, or you have never heard anything by them, give this album a shot. I promise that there's one track for everyone.

Favorite Tracks: "Boom Shanka", "Sand Dollars", "The Great Divide"

St. Vincent, 'St. Vincent'

By: David Savage

I’m hopping on the bus a little late on this one, but St. Vincent’s new record, St. Vincent, is brilliant. As soon as the first track, “Rattlesnake”, begins you are set up for a fun synth-pop dance record. For those of you who are unfamiliar with this artist, St. Vincent is the stage name of Annie Clark. NPR Music did an interview with Annie Clark, about the new record, which was an interesting insight to the foundation and depths of the album. A busy Annie Clark stated that “I got home and I started writing this record about 36 hours after I finished a year of touring [with David Byrne]”.

The instrumentation is really intriguing and “You get the feel of a human, but the sound of a machine”, according to St. Vincent in the NPR Music interview. The band is playing these instruments, but the sounds get tweaked, pushing the boundaries of your typical instrument, like the guitar. “Digital Witness” may or may not be a horn-heavy cut or it’s simply the electric guitar being dressed up to sound like a horn section, but regardless of the fact, this song is so catchy and probably describing herself with the lyrics “what’s the point of even sleeping?”, seeing as St. Vincent never stops writing and touring.

Right in the middle the album, “I Prefer Your Love” takes a breather from the upbeat, catchy, dance-rock tunes, with a soft symphony with Annie’s voice singing out “I prefer your love to Jesus”, surrounded by strings and a smooth crisp beat. This ode to her mother has beautiful lyricism, “Sure as mother licking her finger/ wipe the blush and smudge from my cheek and/ wonder what will become of your little one”. Lyrically this song is powerful and the instrumentation only further exemplifies the strength of this song.

St. Vincent gives a combination of hard rock and synth-pop in a way that seems truly unique and original. St. Vincent’s fourth (fifth if you’re counting Love This Giant) album, St Vincent, is a magnificent medley of synth-pop, dance, and rock that plays out so wonderfully, ending with the nostalgic “Severed  Crossed Fingers”. If you haven’t heard this record yet I strongly suggest that you do so. 

Favorite Tracks: "I Prefer Your Love", "Rattlesnake" and "Digital Witness"

Pharrell - G I R L Review

by Tyler Flynn

It seems like Pharrell has been EVERYWHERE this past year. He won 4 Grammys, including producer of the year, and featured on Daft Punk’s album of the year. He was also a member of the hit song “Blurred Lines” by Robin Thicke. Pharrell has been part of the music scene for almost 15 years, working with artists such as; Snoop Dogg, Jay-z, and T.I. Pharrell has made most of his career by just acting as a featured artist in songs until 2006 when he released his first album In My Mind.

This past week, Pharrell released his newest project G I R L, a dance-pop/funk record that really pulled me in. I’ll be honest, I really only bought the album because of his work with Daft Punk, and his single “Happy” that was attached to the movie “Despicable Me 2”. But upon listening, I was very surprised at the diversity on this album.

While it is a pop album, and it has those elements, Pharrell seems to take a liking to funk music as well, and the sound definitely resonates throughout the album. With the typical funk driven bass lines, and fairly simple muted guitar chords, the album just screams 70’s funk. I feel like funk music is definitely coming back and I feel like Pharrell is going to be one of the major influencers in the bringing back of this genre.

Another element that took me by surprise about this album is how diverse all of the songs are. While they all have similar pop and funk elements, he did a great job of making the album unique, allowing the listener to feel like they’re not listening to the same song over and over again. The wide range of featured artists also helped give the album a unique sound.

Overall, this is probably going to be one of my favorite pop albums of the year. Yes, I can tell that already. I also feel like “Happy” is definitely going to be a front-runner in my favorite song of the year as well. That song grabs you in, and never lets you go. After listening to that song once, it will be stuck in my head for days. It’s amazing.

Beck, 'Morning Phase'

By: David Savage

                There are some bands that I feel everyone else is very familiar with, or they are very well-known, yet I seem very unfamiliar with them. These could be bands that I never grew up listening to, or my parents never played when I was a kid, or just artists that I never explored more deeply. I feel like Beck is one of those artists. The most I know of Beck are mainly singles like “Loser”, “Girl”, and “Nausea”; the ones that everyone knows. When I heard about Beck headlining some festivals this year, and his new record getting some great critical reception I figured now is my chance to get into Beck and see just what he is all about, and it was a great decision.

                 Morning Phase is Beck’s newest full-length studio album in about six years. It is said to be a type of “sequel” to Beck’s Sea Change. When I used to hear the name Beck I thought of whacky guitar and fun, almost psychedelic-rock, full of slide guitar, but Morning Phase has opened my eyes and proven me wrong. Maybe I was quick to judge before actually getting familiar with Beck’s repertoire.

                Morning Phase opens up with a 40 second orchestral snippet that basically paves way for the entire record and flows right into “Morning”, a beautifully slow ballad that sounds vast with vocals enchanted with reverb. This record features a very folk driven acoustic guitar, but not the crazy fast finger-picking type, but a chord-heavy decadence that is coated with the string section. As much as there are some drums present, as well as a prominent string section, it is really the acoustic guitar that takes over the record, for me. Quite possibly my favorite track is “Heart is a Drum”. The picking style on this one sounds similar to Nick Drake, and the bass notes just float so well through the track, then ends up being intertwined with piano fills and whirring effects.

                This album gives off a summery vibe, which surprised me with the February release, but nevertheless brilliant. Topically, this record expands to a more self-reflective theme than previous works. On “Blue Moon” Beck begins with “I’m so tired of being alone/ These penitent walls are all I’ve known/ song bird calling across the water/ inside my silent asylum”, which is absolutely stunning lyricism if you ask me.

                There are pieces of this album that retrace back to the opening orchestra; “Cycle”, “Wave”, “Phase”, and then concluding with “Waking Light”. For being someone who was pretty unfamiliar with Beck prior to now, I must say that I am intrigued and impressed. I love Morning Phase. The flow of this album is arguably perfect. There just something wonderful about an album that flows together and doesn’t feel like a compilation of tracks, and I think that is one of the main reasons I truly enjoy Morning Phase.

Favorite Tracks: “Heart is a Drum, “Blue Moon”, and “Waking Light”

Beck - Morning Phase Review

           by Tyler Flynn

Beck is an alternative rock act from Los Angeles, and is known as one of the biggest names in the scene. While I’ve never been a dedicated fan, I’ve enjoyed his singles and other random songs that I’ve heard. When I was looking for some new music to listen to, I discovered that his album came out recently, and decided to give it a shot. After looking into it, I discovered that it was an acoustic “companion piece” to his 2002 release Sea Change.

           

            Morning Phase is an incredible record. Full of folky acoustic elements, it seems to take a classic alternative look at the new acoustic folk scene that seems to be very popular nowadays. With a wide range of vocal styles, from his typical style to something that is reminiscent of Bon Iver, it gives the album a fresh new sound. It doesn’t seem like Beck is ripping off or trying to copy todays popular music, it seems that he has just taken influence from these new genres and it has changed his music.

Obviously, this isn’t his new sound, since it is just an “acoustic” album, but you can tell where his mind has gone after all of these years of releasing alternative rock records. It’s nice to get a fresh new sound, for both the artist and the listener. This gives the artist a vessel to express this type of music that doesn’t typically fit the norm of his or her releases.

Overall, this is a very solid record. Folky, acoustic, ambient and very emotional. I am very excited for Beck’s next release which is scheduled for later this year, and once the release date is set, I’ll be marking it on my calendar. Give this album a shot no matter what you listen to. It appeals to the masses. Favorite Tracks: "Blue Moon", "Unforgiven" and "Phase"

Kid Cudi 'Satellite Flight'

 Kid Cudi, 'Satellite Flight'
                                                                                                                                          By: Max Sagan
               
If you are looking for a classic Hip-hop album, look else-where. 'Satellite Flight' proves to be very different sounding than Mr. Rager's previous albums but instrumentally closely related to his most recent 'Indicud'.

I've been hooked on Kid Cudi ever since I heard 'A Kid Named Cudi' mix tape. That mixtape relied heavily on his rhyming and his ability to rap. As Scott has progressed as an artist we all know he has changed significantly, now producing most of his own beats, and relying more and more on the sounds that surround his words.  This is the case with 'Satellite Flight'. The album begins with an instrumental track (one of 4 on the album) that resembles beginning of Indicud. I have to admit, I was skeptical at first, but just as always, Cudi delivers the goods.

The songs "Going to the Ceremony" and the title track "Satellite Flight" kick it off and both have the distinct sound of Kid Cudi humming the melodies along with the spacey beats. Don't fear old school Cudi fans, he still has several verses where he raps quickly and just as good as ever. Don't believe me? Two words for you. TRACK SIX.

For all you hipster die-hards, remember WZRD*. Tell me you dont hear that in this. Several tracks in 'Satellite Flight' feature guitar, which I tend to enjoy in his stuff. Sure they helped out with a couple tracks, but their of ambient, atmospheric production style bleeds through the entire album.

Personally I like the direction that he is going in; producing his own stuff, doing his own album designs, and calling out the majors on their "weak ass promotion" for his previous albums. It shows his rebellious side and who doesn't like to see an artist lose their shit in public?

One thing I didn't like about this release is that it was done with almost no promotion. He dropped the 10 track with only hours notice for his fans. This probably hurt his first day sales quite a bit, but if this is all I have to complain about, consider me a happy camper.

"Satellite Flight starts where Indicud left off perfectly, 
and takes you right into MOTM III"  

Well said Mr. Solo Dolo. I know we are all anxiously awaiting the return of the man on the moon.

Notable Tracks: Return Of The Moon Man (Original Score), Going To The Ceremony, and Satellite Flight

ALBUM REVIEW 7/10

Follow Max Sagan on Twitter: https://twitter.com/xvwmax

*Listen to WZRD

Live Acts: Josh Ritter Live at The Fourth Presbyterian Church

                Friday night was a cold blustery one in Chicago; the kind that reminds you why they call it the windy city. It was as noisy and busy as any other, but in this one particular area there was warmth and silence. Right across from the John Hancock Center is the Fourth Presbyterian Church. A beautiful old building smack dab in the middle of all the big modern ones.  I suppose it’s an acoustic musician’s dream to play in a church, especially one as beautiful as this. I didn’t think I’d ever see a show like this in a church, but sure enough, I sat in the pews on Friday to see Josh Ritter perform on his acoustic tour.

                It felt odd seeing a concert in a church. Being seated to me is always different too, and no constant flow of beer was definitely strange.  I’ve seen Josh Ritter one before, at The Vic last April, with the full band, so I was looking forward to seeing him in a much more intimate setting, with two other band members.

Gregory Alan Isakov was the opener, and he put a good mellow set, definitely a good choice to play before Josh. The church was very dark, as opposed to a bright Sunday mass, with changing amber lighting upon Gregory Alan Isakov like a bonfire would. Accompanied by two other members, violin and cello, it was a beautiful, but melancholy set that was well-executed with the music echoing through the church.

Also accompanied by two other band mates, Josh Ritter had a stand up bass by his side, as well as another guitarist. Josh put on yet another incredible show and I couldn’t have wished for a better venue. Josh displayed a diverse set with tracks off of many of his albums. I was incredibly excited that he played my personal favorite song, “The Temptation of Adam”. Josh Ritter is one of the most talented singer-songwriters that I have ever been able to experience live, with his vivid lyricism and perfect finger picking.

One of the most special moments of the night was when Josh asked to have the lights turned completely off and played a couple songs. It isn’t common that you see an artist have the lights completely off for an entire show, and this is the second time I’ve seen Josh do this live. The first time I witnessed it was at The Vic when he played “In the Dark” literally in the dark and without mics or amps. I must admit I was hoping he would have done the same that night, but nevertheless, he put on a fantastic show. When all of the lights were off, the only lights remaining in the room were peeking through the stained glass from the outside Chicago lights, and the exit signs, being the only piece of reality reminding us that eventually the night would end and we would indeed have to exit this unique venue, and this wonderfully unique show.  I would strongly recommend everyone to go and catch a Josh Ritter show the next time he is in town, because it is always something special.

Photo taken by me via iPhone