This is a blog made by David Savage, Tyler Flynn, and Max Sagan in order for us to write reviews for music, write about any shows we go to, and basically write about anything pertaining to music that interests us. We are always looking to expand our music libraries and listen to anything that we can!
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"
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
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.
The
story of the band Run River North is an inspiring one. The Korean-American
folk-rock band was offered their first shot at fame performing on Jimmy Kimmel Live! after their music
video, shot in their Honda, went viral. Honda gave Run River North (formerly
known as Monsters Calling Home) a shot at the spotlight on Jimmy Kimmel in
2012, but they didn't have a solid record deal until now. Run River North’s
self-titled debut album is set to release on February 25th via Nettwerk
Records. If the indefinite hiatus of Mumford & Sons left a void in your
music library, check out Run River North.
What
a stellar debut album by the Korean-American folk-rockers, with a sound
relatively derivative to bands like Mumford & Sons and Of Monsters and Men,
but with such sincerity they make it their own. The six-piece band features
Alex Hwang (Vocals/Guitar), Daniel Chae (Guitar/Violin), Jennifer Rim (Violin),
Joseph Chun (Bass), John Chong (Drums), and Sally Kang (Vocals/Keys).
You
may notice something that isn't as present in the other big folk-rock acts. The violins. Violins are pertinent to Run River
North’s sweet special sound, giving a magnificent flow, swaying throughout the
record. Alex Hwang’s voice is a specialty in itself, with such a strong clean
voice surrounded by brilliant and intricate harmonies. The opening track,
“Monsters Calling Home”, blasts right into mountainous vocal harmonies, violin
swirls, and powerful claps on the rims of the drums. The song deals with the
story of an immigration struggle, a topic that seems to be near the heart of
this band. Aside from stories of being immigrants the band has other marvelous
tracks like “Growing Up”. This song is wrapped in different emotions; a bittersweet,
youthful, and ambitious anthem about surpassing the anxieties of age with lines
like “Growing old feels like you’re giving up your soul/ But I’d rather give it
freely to the ones that I call home”. That song really hits home for me, and I
feel like we all think about time whizzing by us.
This
self-titled debut from Run River North is an outstanding folk-driven record
with elements of rock tossed into the mix forming a well-balanced album. It’s
great to see that this band caught their break and can finally release a record
under a label. When you’re getting ready to have that record to play with the
windows down or around the fire, Run
River North is there for you. Be sure to pick it up on February 25th.
One
of the many things I love about music is seeing the evolution of an artist. I
often notice that the ones in the singer-songwriter genre, with nothing more
than an acoustic guitar and their voice, are the ones with such strong
prominent evolutions. They start their musical career with minimal instrumentation
and then become inspired to expand into something bigger and bolder. Angel
Olsen is prime example of this evolution.
Angel
Olsen has severed the acoustic shell that she was encased in on her first
record, Half Way Home. Combining the
casual acoustic singer-songwriter style with the thick reverb of her EP Strange Cacti, Burn Your Fire For No Witness is born. The opening track,
“Unfucktheworld”, has vintage vibes to it, with Angel Olsen’s voice sounding
like it’s escaping from a dusty phonograph. “Unfucktheworld” is a smooth way to
start the record with the powerful, yet simple, strums of the guitar with her
voice crooning through the air with trembling vibrato singing “I wanted nothing
but for this to be the end”. The record then jumps into the distorted rock
track, “Forgiven/Forgotten”.
The
thing that differs from Angel Olsen’s previous work is the heaviness of the
guitar and having a band to back her up, consisting of Josh Jaeger(drums) and Stewart
Bronaugh(bass). The heavy guitar weighs in and contributes to the dark and
melancholy tone of the record. One song that sticks out to me is the track “White
Fire”. The song has the guitar in the background, distorted and smothered in
reverb, allowing Olsen’s voice to be the main focus. Her voice, especially on
this song, is haunting in a way that gives me the chills. Lyrically this song (as
well as the whole album) is spectacular with somber lines like “Everything is
tragic/ it all just falls apart/ But when I look into your eyes/ it pieces up
my heart”, from “White Fire”.
Loss
and heartache hold close to the heart of Burn
Your Fire For No Witness, both lyrically and instrumentally. This record is
powerful. Angel Olsen is evolving as an artist and it is fascinating to watch
and listen to such an expansive record from someone whose debut was simply a girl
and her acoustic guitar. Burn Your Fire
For No Witness is an exceptional album by Angel Olsen.
Cynic has always been a favorite of mine when it comes to progressive metal. Their progressive metal style along with some jazz-fusion influence and “auto tuned” vocals, they really have a very unique sound. That being said, I really love their new album for many reasons. The band took a step in another direction with their newest effort “Kindly Bent To Free Us.” With the lack of harsh (screaming) vocals and, from what I can tell, less vocoded vocals, the band drifted from their typical sound.
I’m not saying that they totally ditched the “robotic” vocals like they did their harsh vocals (due to the departure of guitarist Tymon Kruidenier), but there are definitely parts on the album where there are very little vocal effects. This, obviously, gives Paul’s voice a more natural sound and adds a new element to their music. It seems to me like this was a slower transition that I’m making it out to be, but after Re-Traced, released in 2010, I should have assumed that this would be the way that they would eventually go.
Every album of Cynic’s seems to add more and more texture work, adding a sense of ambiance to the record. This, in my opinion, is a trait of an evolving musician, especially for heavy metal acts. Instead of focusing on riffs or grooves, the musician is focused on the entire mood of the piece. Every album of Cynic’s since their release of their first in 1993, has become more textured and the overall mood and feel of the albums has changed. They still have their quintessential style of writing, but there is more depth to the music, engaging the listener and allowing them to connect at a different level.
Overall, I was very fond of this record. There are quite a few tracks that I find myself listening to more than others, but there isn't a bad song on the album . I’m not saying that the lack of the “robotic” vocals killed this album for me, because that’s not true at all, but I do wish they were more apparent. That is the aspect of Cynic that diversifies them and makes them different from all of the other metal and progressive metal acts in the scene today (and for the past 23 years). Favorite Tracks: “True Hallucination Speak”, “The Lion’s Roar”, and “Holy Fallout”
When Hospitality released their
self-titled debut album, they filled the songs with such pressing sound coming
from a mere three-piece band. The Brooklyn indie-pop trio explores the spectrum
of sounds and tones on their sophomore album, Trouble, with dark themes of being “out of place” in the world, as well as heartbreak, loneliness and
melancholy. Tracks like “I Miss Your Bones” give us some ear candy, but there
is loneliness below the surface. The title of the song gives you all the
information you need.
It’s often forgotten that Hospitality is
simple a trio of guitar, bass, and drums, because the bands creates such a full,
but balanced, sound. The band consists of Amber Papini (guitar, vocals), Brian
Betancourt (bass), and Nathan Michel (drums). One of my favorite aspects of
trios is that the bass is so prominent as opposed to other genres and larger
bands that drown out the bass with guitars and drums.
Papini’s voice should be paid
close attention to, with her double tracked vocals reflecting a ghostly entity
to the record. Let’s not forget about all of the lyrical gems, with lines like,
“Take all this ocean/and while you’re asleep in slumber/Break up these branches/and
mind leaves and sticks smooth/ try not to let the fire go” from “Sullivan”.
“Sullivan” is an absolutely stunning track from this record; my absolute
favorite. The simply strumming of the electric guitar starts with Papini’s
lyrics painting such a vivid image in my mind, and her crooning voice
eloquently glazing over and into imagination.
Trouble opens up and adds layers, but before you know it they are
progressively peeled away and the album closes with two stripped down acoustic
tracks, “Sunship” and “Call Me After”. “Sunship” is another personal favorite
of mine. Its simple acoustic chords are melded with horns, lush harmonies, and
Papini’s enchanting voice. With headphones on, the strumming is bounced between
ears and the horns hold out strongly. Trouble
holds a warm springtime vibe that is relaxing and beautiful.
Favorite Tracks: “Sullivan”,
“Sunship”, and “I Miss Your Bones”
Another album set to release on
April 1st is Manchester Orchestra’s fourth album, Cope. Andy Hull has been touring with
Bad Books, while its been three years since Manchester’s release of Simple Math. Manchester Orchestra recently did have the
song, “After The Scripture”, appear on the soundtrack for the motion picture
Dallas Buyers Club. The first track that has been revealed off of Cope is titled “Top Notch” and it is the
hard-rock, crunchy guitar sounds that I loved so much from Simple Math. I’m looking forward to the release of Cope, as well as their show at the House
of Blues on May 15th.
In 2010, during touring breaks
with Bon Iver, Sean Carey (vocals, percussion) recorded his debut solo record, All We Grow, under the stage name ‘S.
Carey’. All We Grow was an elegant
record showcasing Carey’s skills as a percussionist as well as a pianist and
songwriter. In 2012, S. Carey released an intriguing EP titled Hoyas that focused on a more electronic
sound, without going overboard. It was announced that his first full length
studio album, titled Range of Light,
will be released on April 1st via Jagjaguwar. With the announcement of the sophomore album,
S. Carey released the track “Fire-Scene”.
“Fire-Scene”
features intricate finger-picking with soft piano fills and Carey’s beautiful
vocals. “On and on/ all I want is honesty”, S. Carey sings, and I feel a sense
of honesty coming from this track, and most likely this record. Carey’s music
is honest and compelling, streaming from the woods of Eau Claire, Wisconsin. I
look forward to hearing Range of Light
and am curious to see if Sean Carey combines the acoustic sounds of All We Grow and the intriguing
electronic elements of Hoyas.
A Great Big World has come a
long way since the release of the 2011 album, This is the New Year. The band was first regarded as Ian Axel,
which also consisted of Chad Vaccarino, a friend of Ian’s from NYU. When the
band changed their name to A Great Big World (from the song “Cheer Up!”), they
had to use crowd-sourcing website, Kickstarter, to record their Self-Titled EP.
After their song “Say Something” was featured on So You Think You Can Dance, Christina Aguilera showed interest in
the song and rerecorded the track with Ian and Chad. After receiving
wide-spread acclaim, the band is has released their album, Is There Anybody Out There?, off of Epic records.
Is There Anybody Out There? features a mostly familiar tracks to
longtime followers of the band, such as “Already Home” (previously recorded as
“Home”) and “This is the New Year”, the title track off Ian Axel’s first
record. It’s such a relieving change of pace when a pop band actually relies
heavily on guitar, drums, and piano, rather than electronic instruments. The
record features some emotional heartfelt tracks; like “Say Something” and
“Already Home”, but the most beautiful part of this band is how fun and
boisterous the rest of the record is (with hilarious songs like “Everyone is
Gay”). They have a reputation for being such a fun and
joyous group, and it absolutely shines through their music. Is There Anybody Out There? is such a
good clean record with a lot of positive vibes, that being said, I applaud the
success of A Great Big World.
Favorite Tracks: “Rockstar”,
“Already Home”, and “This is the New Year”
Female bands, as well as female
frontwomen, have been more and more common lately, with bands like Haim and
CHVRCHES having major releases recently. More often than not, the female bands
have been brighter pop-rock acts that are making a comeback in the music scene.
This is where Warpaint comes in. The female quartet of indie rockers from Los
Angeles released their second full-length album last month. The album is ethereal,
yet dark and ominous. The album starts with the strong dominant drums and a
grim guitar wailing in the distant background. The track after the “Intro”, “Keep
It Healthy”, gives the album a sense of lustrous momentum with airy vocals
creating a landscape of sound, echoing throughout the record.
Three years since their last
record, The Fool, was released, the
self-titled second album has a stronger framework, but also a sense of
edginess. The song “Biggy” even starts off sounding like it could be a gritty
hip-hop jam. Many of the songs are driven by a prominent drum beat that gives a
solid element for all of the other instruments to thrive off of. The record seems to
have a late 60’s, early 70’s psychedelic feel to it, vaguely reminiscent to
Jefferson Airplane. Many tracks are trippy and psychedelic, like “CC”, which
features dark bass riffs and ominous vocals singing “Give me more I haven’t had
this before”, giving you a feeling like you are slowly descending down the rabbit
hole. Warpaint is a great record that
has such a smooth, well-produced flow between tracks that send you in a trance.
Favorite Tracks: “Love is to
Die”, “Biggy”, and “Son”.
The first new album I have
listened to this year was James Vincent McMorrow’s Post Tropical. You know it’s going to be a great year for music
when the first album you hear is wonderful. The record jumps right into James’
airy musing voice backed by a low keyboard. As the song “Cavalier” opens up,
the more layers blossom and shows the listener that this record will have even
more to offer than the previous album. The impressively high, flourishing
falsetto sings out “I remember my first love”, while embedded into layered
backing vocals and distinguished horns.
The Irish singer/songwriter
offers more than the traditional guitar and piano cuts like the last record. Some
songs even feature the mandolin, often sounding like a wind chime, in a
heavenly fashion. “Red Dust” is a track that sounds so vast with the piano
being wrapped inside of claps and bass kicks. The numerous layers of this
record are so passionate from every beat of a drum to the whirring of James’
layered harmonies that feel almost infinite. Post Tropical is a satisfying balance between real instrumentation
(most of which played by James himself) and electronic instrumentation. Post Tropical is a smooth,nostalgic, self-reflective record that
submerses you in such a range of sounds that grasp our emotions. Start to
finish this is a record I could not help but be invested in.
I’m going to be honest, the only
reason I gave this album a shot is because of “Royals”. Getting that off my
chest, I’m VERY glad I did. This album is incredible. I don’t give much pop
music a chance because it’s
typically not my thing. But that’s the point of me
doing this blog, right? So I can expand my musical horizons.
After giving this
album a shot, I was impressed beyond belief. I love that this album isn’t
another dubstep
pop album that talks about partying and drugs. This album
actually speaks on the opposite. It speaks from
her being sick of these
stereotypes and this notion that all people need to behave this way in order to
enjoy
their life. I love the music and I especially love the harmonies. Like
I’ve said before, I’m a sucker for vocal
harmonies and this album contains
quite a few of them. Overall, this album is fresh and it’s definitely
something
I needed to hear for the future of pop music’s credibility in my opinion.
Favorite Tracks: “Royals”,
“Team”, and “Glory and Gore”
9)The Dillinger Escape Plan – One Of Us Is The Killer
The Dillinger Escape Plan is definitely not a band for everyone. As a matter of fact, the average listener would consider their music as just “noise”. The beautiful thing about this band, is that they’re able to create album after album of this “noise” and they’re all so diverse. The Dillinger Escape Plan is a progressive metal/mathcore band from New Jersey. Most of you are probably thinking “What is mathcore!?!? Math and music? Wahhhh!?” Yes. It is a thing. The genre consists of constantly changing odd time signatures throughout their songs. The Dillinger Escape Plan do an incredible job of blending their heavy mathcore elements with hard rock with clean vocals. Greg Puciato has a very ear piercing scream and a very soothing rock voice. He truly has the best of both worlds. It’s incredible that a band like this has created such a name for themselves in the metal community because of their very unique sound. Their amazing musicianship and incredible stage presence make them one of the biggest bands in the progressive metal scene. Favorite Tracks: “When I Lost My Bet”, “Prancer”, and “Paranoia Shields”
8)Arctic Monkeys – AM
The Arctic Monkeys are an English indie rock/punk rock band that has been one of the more prominent bands in the “post-punk revival” scene. While I never really explored this band until recently, I found that AM was an album that I just couldn’t take out of my CD player. Taking a break from their more punk rock sound, they were able to create a more mature, well rounded album. The album still contained some of their faster punk rock songs like “R U Mine?”, but they were able to throw slower songs into the mix like “Why’d You Only Call Me When You’re High?” and “No. 1 Party Anthem”. This album was definitely a step forward for the band with more maturely composed music and tasteful song writing. Plus it has a cameo from my boy Josh Homme. Always a plus. Favorite Tracks: “Do I Wanna Know?”, “R U Mine?” and “Knee Socks”
7)The Dear Hunter – Migrant
The Dear Hunter is a progressive indie rock band from Rhode Island. Casey Crescenzo, the lead songwriter, vocalist and guitarist of The Dear Hunter, is always pushing himself musically. After releasing The Color Spectrum in 2011, a 36 song, 9 EP compilation, everyone was wondering what Casey would do next. It’s hard to live up to something as epic as The Color Spectrum, but in my opinion, he was able to in a very different way. Migrant was quite a bit different than their previous efforts. This album was more of a compilation of songs instead of an album with one large concept, like the Acts have been. With songs like, “An Escape”, “Let Go”, and my personal favorite, “Shame”, they were really able to create an incredible album with very well written songs that are different from their former concept albums. I’m not sure if I would like every album to be like this, but it was a great and fresh change for the band.
6)Protest the Hero – Volition
Protest the Hero has always been one of my favorite progressive metal bands. Not conforming to the Meshuggah influenced “djent” style of progressive metal that most bands seem to do nowadays, they have really stuck out with their fast riffing and Rody’s hair metal influenced vocals. The band really pushed themselves with Volition, their 2013 release. I was nervous when it came to the release of this album because they made the mistake of releasing Fortress early on in their career. Releasing a perfect album so early in a bands career can make every album after seem underwhelming and disappointing. I also wasn’t too fond of their 2011 album Scurrilous. The change in their guitar tone and lyrical content disappointed me greatly. Another factor that contributed to my nervousness of this album release was the departure of their long time drummer, Moe Carlson, a very talented individual. However, they were able to recruit Lamb of God drummer Chris Adler. Being in a groove metal band, I was curious as to how his drumming style would fit in PtH, but it did! He’s a very diverse and talented drummer; with insanely fast double bass, awesome fills and killer beats, he really nailed the drum parts on this album. However, Volition really surprised me. Going back to their old guitar tones, and old lyrical style, this album is one of my favorites of 2013. Fast lead guitars, crushing riffs and epic choruses are what make this band incredible, and they really brought a lot to the table with this album. Favorite Tracks: “Clarity”, “Drumhead Trial”, “Animal Bones”
5)Iron & Wine – Ghost On Ghost
Sam Beam started Iron & Wine in his home, releasing acoustic albums of just him and his acoustic guitar. Since, he has grown incredibly much as a musician and an artist. My first experience with Iron & Wine was when I was looking to expand my musical horizons; I went to Best Buy and bought Kiss Each Other Clean. This album is beyond incredible. Using characteristics of big band style including instruments such as saxophones, trumpets and the catchy female backing vocals, this album caught me by surprise. I was listening to this album obsessively for months. Ghost On Ghost is Iron & Wine’s 2013 release, continuing with this newer big band, blues, and jazz style, I found myself listening to this album over and over again. Starting the album with “Caught in the Briars”, it starts with this sort of jazz style intro that transitions right into the catchy, acoustic guitar, main riff of the song. The horns and backing vocals really drive this album musically. The trumpets, saxophones and other horns are key elements in adding depth to all of the songs musically. Another aspect of Iron & Wine that I love so much is that Sam Beam really has a way with words. He is my favorite lyricist of all time, because he is really able to paint a picture in the listener’s mind of what he’s trying to express. I’ve never had such a clear image in my mind when listening to music and that’s what really got me into his music. This is an album that’s hard to just listen to 1 song without listening to the whole album all the way though. It flows magnificently from one track to the next, and that, in my opinion, is what makes an album truly great. Favorite Tracks: “Caught in the Briars”, “Low Light Buddy of Mine”, “Grace for the Saints and Rablers”
4)Nine Inch Nails – Hesitation Marks
Trent Reznor, the heart and soul of Nine Inch Nails, is a very busy man. Since the release of their 2008 album, The Slip, Trent has been very busy with other projects such as How to Destroy Angels, and his work with movies such as The Social Network, and The Girl with the Dragon Tattoo. Showing how talented and diverse he is the last few years, he has CHANGE IT TO ‘HAD’ taken a break from Nine Inch Nails. Until recently, most people thought the project was done, especially after its farewell tour in 2009. In May of 2013, Trent came out and stated that he had been working for a while on a new Nine Inch Nails record without telling the public. This created much hype and excitement for a new full length Nails record. Upon its release in late August of 2013, it’s another record that I’ve had a hard time putting down. I find myself listening to it for weeks at a time on repeat in my car, singing along to every song. This was a huge step for Trent, because it really showed him going back to his roots in a new way. Going with a more electronic approach to this album, which has been very different than his more previous efforts. It seems as though he’s tapping into his early music, but in a new way. He didn’t just release another Pretty Hate Machine or The Downward Spiral. He really took the best of both worlds and used his evolution over the past years and his roots to his advantage. This is definitely my second favorite release from him after With Teeth in 2005. It still has his quintessential dark and ominous vibes, but he is still expanding and experimenting with the upbeat track “Everything”. My favorite track on this album, by far, is “All Time Low” for one reason. Funk. This track is beyond funky and it’s really a catchy and fun song. This album flows from one track to the next and is truly not only a great comeback record, but a great standalone record. Favorite Tracks: “All Time Low”, “While I’m Still Here”, and “Various Methods of Escape”
3)Kanye West – Yeezus
I’ve never really been too big into rap or hip hop music. I listened to Eminem when I was younger, and I’ve dabbled in some artists like Childish Gambino within the past few years, but Yeezus is an incredible album. There is a very negative connotation when it comes to the name Kanye West. Whether it’s his narcissistic attitude, his “I don’t give a shit” attitude, or what he did to Taylor Swift during the VMA’s a few years back, most people don’t like Kanye as a person. But regardless of what kind of person he is, or what kind of person you see him as, he’s a very talented artist. He has a way of releasing hits and great albums. Yeezus, his 2013 release really pushed the envelope for Kanye, changing the rap scene forever. Starting off with “On Sight,” it’s definitely one of the darker rap songs that I’ve heard. To me, it sounds like he’s really taken influence from artists such as Tyler the Creator and all of OFWGKTA. To me, however, he has taken influence from more than that. I hear quite a bit of Nine Inch Nails influence. Whether it’s the darkness of these tracks, or the more industrial approach to the beats on this album, I’m not exactly sure what screams Nine Inch Nails, but I absolutely love it. This album definitely changed the rap scene forever. There were many people I talked to that didn’t love this album, most of these people were radio only listeners, but this album was a game changer for sure. With tons of critical acclaim, this was one of the biggest albums of 2013. Whether it was celebrities, critics, other musicians, everyone in music seemed to love this album. The flow on this album is another thing to mention. The album starts off so heavy and dark, but it really transitions to a upbeat and happy closer, “Bound 2.” Favorite Tracks: “On Sight”, “Black Skinhead”, and “New Slaves”
2)Daft Punk – Random Access Memories
Holy crap! This album is amazing! I did not expect it from Daft Punk. I’ve heard their radio singles in the past and I’ve liked them, especially “Stronger” by Kanye West, but I’ve never been a diehard fan. So, on that note, this album definitely took me by surprise. This album was recommended to me by quite a few people, and even if it’s not in my parameters of music, I’ll give it a listen. I’m so glad that I did on this one. It’s so funky! And I’m all about funk! They really went back to their roots and influences on the whole disco and funk sound. “Give Life Back To Music” is an amazing intro. Even after hearing “Get Lucky” a million times on the CD, and on the radio, I still love that song. Start to finish, this album flows incredibly, the music is incredibly catchy, fun and interesting, and it’s not just another electronic album like all music seems to be nowadays. I still put this CD in about once a week and give it a full listen on my way to work. If you haven’t listened yet, you need to. Favorite Tracks: “Get Lucky”, “Instant Crush”, and “Fragments of Time”
1)Queens of the Stone Age - …Like Clockwork
Alternative rock has always been my thing, and Queens of the Stone Age have recently become one of my
favorite acts in the alternative rock scene. …Like Clockwork is my favorite album of the year for many
reasons. The first reason is that it’s a very different album for the band. Their previous efforts are more
musically driven and had a harder rock sound. Not that this album is slow, but it definitely has slower
elements in comparison to its predecessors. The album opens with a very dreary “Keep Your Eyes Pealed”,
which was a great album opener, in my opinion. It’s not a hard hitting fast intro like they’re used to, but this
dark song creates a sort of atmospheric tone for the rest of the album. However, right after this song, they go
right into “I Sat By The Ocean”, a more bright and upbeat rock song. It’s these song transitions and the wide
variety of song choices that really tie this album together. Every song sounds so different, keeping it from
being boring in any way. This album is very vocally driven, which is a different path than the band has taken
previously. With impressive harmonies in every song, some even sung by Sir Elton John, they really kicked it
up a notch. This album has everything from slower ballads, like, “The Vampyre of Time And Memory” to
fast hard rock songs like, “My God Is the Sun.” This is by far the most mature record for the band and in my
opinion, the best written and organized. It’s this sort of musicianship that I look for when deciding my
favorite album of the year. With dark songs, odd time signatures, vocal harmonies, guitar solos, catchy riffs,
harmonized guitars, and random ass guest vocals, this album is a huge step forward for the band and gets me
very excited for what they have to offer in the future. Favorite Tracks: “I Sat By The Ocean”, “The Vampyre
