MUSIC

Album Review: Deerhunter – Monomania

Deerhunter: Monomania

Similar Artists: The Men, Radiohead, David Bowie, R.E.M.

Genre: Indie Rock

Label: 4AD

Deerhunter, or better yet, Bradford Cox – and let’s be honest, when people refer to Deerhunter, chances are they are in fact speaking of the ultimately prolific and eccentric front man – has built a career out of being completely out in the open. He’s open with his influences, experiences, and recently even his sexuality. There is no separation between this man’s art and personal life, and it has put him on a sort of pedestal above other indie idols. Add his outlandish personality with his odd appearance and you get one of the most interesting figures in modern rock. When he says things like “I need punk rock to live”, we believe him because it’s easy to see this guy has suffered. Even if you don’t agree with his opinions (or don’t like his music), it’s hard not to read one of his infamous interviews without cracking a smile. He’s trying to be the generation’s eccentric indie figure, and due to his skills as a spokesperson he is on his way to succeeding. On Monomania highlight “Blue Agent”, he even speaks out against anonymity with the lines /if you wear a mask, if you wear a badge, if you’re lost in the curtains of time, you will be erased/.

Deerhunter definitely don’t want to be erased – in fact, they are quite obsessed with the idea of crafting their eternal spot in the history of rock music. Obsessiveness is a characteristic that has permeated Deerhunter’s aesthetic for years, so naming this album Monomania is almost too fitting. Where they have previously been obsessed with genres such as shoegaze, krautrock, and psych pop, now they take their turn with lo-fi punk, working class blues rock, and something they like to call nocturnal garage. As you’d expect from a group this dedicated, it all fits together quite nicely. They also do a good job of adding their own spin to these genres so as not to be derivative.

The bulk of this music was recorded on low quality recording equipment to give it an authentic punk feel. While the guitars are certainly grainy, the vocals are what really stand out as ugly and dissonant. However, this is coupled by what is possibly Cox’s most beautiful and assured vocal performance to date, so a verdict on whether this is the band’s most or least accessible album is a hard one to draw. What can be said is that very few people are going to love this album on first listen; it’s a grower to say the least.

Cox has explained that he enjoys messing with the album format to create an experience that doesn’t offer immediate satisfaction, but instead caters to repeated listens. Monomania starts with “Neon Junkyard”, and “Leather Jacket II”, which are some of the noisiest songs on the record. The lo-fi quality accentuates Cox’s creaking vocals and sharp enunciation, but after the melody sinks in, it turns into somewhat of an anthem. The lyrics are also most representative of the album as a whole /finding fluorescence in the junk…If you’ve got a lot of pain, you’re at the how to speak/.

Tracks four and five might be the most surprising as they see Deerhunter embrace country and blues rock. While “Pensacola”, is a fun enough jam with some great guitar lines, it contains little in the way of intrigue to hold attention through multiple listens. However, “Dream Captain” is the one true low point of the album, as it proves to be too familiar musically and lyrically to hold its ground. While these songs prove the band to be more versatile, they do little to complement the energy and scope of the album and would have worked better as bonus tracks. Cox apparently wrote upwards of 300 songs to be considered for this release, so why he chose these in particular can be a bit of a head scratcher.

On the other hand, “Sleepwalking” and “Back to the Middle” are the most immediately accessible songs on the album. Both are so catchy and noise free that they almost seem too simple for Deerhunter. This moment of pop is essential though, for the last three tracks are the most raw of the bunch. “Nitebike” in particular seems impressively off the cuff and honest. During the final minutes he wails /found out my problems, they came right up to me/ in what is surely the album’s most cathartic moment.

Despite its differences, Monomania isn’t so much a turn in a different direction for the band than it is a reimagining of their previous themes. Here they adapt to fit within the strict confines of American rock music while still progressing on in their artistic direction. While it is a throwback album, Deerhunter have trailblazed their own path to where this sound can’t really be compared to much else. Despite a few gripes, Monomania ends up being a substantial effort from a band that are certainly on their way to being in the history books.

Track Listing:

1.) Neon Junkyard*

2.) Leather Jacket II*

3.) The Missing

4.) Pensacola

5.) Dream Captain

6.) Blue Agent*

7.) T.H.M.

8.) Sleepwalking*

9.) Back to the Middle

10.) Monomania

11.) Nitebike*

* – Album highlight

My exclusive with Long Island’s very own Kayla Stockert!

by Ryan Shea

Kayla Stockert is your typical 16 year old girl from Long Island with a really unique twist. She is poised to be a big star in the music industry by doing a modern take on retro-pop music. Working with the likes of other Long Island natives like the Como Brothers band, she drives her inspirations from artists as wide ranged as Freddie Mercury to Taylor Swift, Connie Francis to Lady Gaga. You can’t get more open than that? Yet she does it in a simple yet extraordinary way that keeps people at the forefront of their minds. I recently sat down with this talented girl to discuss her life so far and what she hopes for in her musical career. Oh, and a duet with Elvis. Yup. Check it out.

How old were you when you decided you wanted to take music seriously?

I was about 9 years old. I used to do covers and stuff and then I started writing my music, and I developed a passion for it. It was about a year later that I decided to take it seriously and here I am today.

Who are some of your musical influences?

Amy Winehouse definitely, I love her retro-style. Then I have a bunch of ones from older generations like Frankie Lymon and Connie Francis and Leslie Gore and all those kinds of people.

How would you describe your sound for me?

I think I have a retro-pop sound, and definitely unique sounding. I can’t really be sounding like anyone else at this point and time based on the material I put out.

You play Piano and Guitar. How long did it take you to master those?

Well I haven’t mastered them quite yet. I only play chords right now. I started playing them when I was 12 and everyday coming home from school and sitting down at the piano or with my guitar. For me, everyday it is something new that I learn, can’t ever learn too much you know?

Who do you get comparisons to the most?

I know that I get told I look like Taylor Swift, I don’t really see that. I’ve been told I sound like her a little bit. Others say Amy Winehouse, some say Miley Cyrus, I don’t know. People see different kinds of sounds that I don’t really see. It’s cool that people think you sound like other people.

You have worked with The Como Brothers Band in the past. What was that experience like?

It was good. I went to them and asked if they wanted to be my musicians and help me out with certain shows and stuff. They agreed, and wanted me to show them some songs and we can help you. I showed them my song “Don’t Go Messing”, and we collaborated on it and it turned out great. Overall it was a really great experience.

Favorite song you have recorded and why?

I definitely think it is some of my newer songs off of the EP. I really like the song “What They Say” off of the new EP because I remember in the recording studio we had a lot of harmonies and it was really fun so if I had to choose one it would be that.

Tell me about the new EP and other things you have planned.

I definitely want to come out with a full length album as the EP is only three songs. I also want to keep writing and practicing my guitar and piano and really honing in on my craft.

Who would you love to do a duet with, dead or alive?

Hmmm. I would go with Elvis Presley because he is a huge music legend. I think it would be a really cool thing do it a duet with him.

What is the one thing you want your fans and readers to know about you?

That I am a real person and I don’t strive to be perfect. I am unique and have my own little unique kind of style and always want to stay true to who I am.

Be sure to check out her new EP and everything Kayla by going onto her site and seeing more.

Album Review: Phoenix – Bankrupt!

by Rio Toro

Phoenix: Bankrupt!

Similar Artists: Hot Chip, Spoon, Air, The Strokes

Genre: Synth Pop, Indie, Glam

Label: Glass Note

Has there been a song to come out since 2009 that was anywhere near as catchy as “Lisztomania”? That tremendously buoyant single, along with the band’s other lead single “1901”, were tracks that literally renewed my faith in pop music. Even more astonishing was that despite Lisztomania being played on nearly every commercial break during a car advertisement, it didn’t even begin to annoy. Hell, it almost made commercial breaks tolerable. And what was it, exactly, that made those singles so damn amusing in the first place? Did Phoenix even have the right to make music which catered so appropriately to the generation of hyper active indie kids? While the band had certainly written catchy tunes before, the veteran musicians had reached a subtle evolution which made their music sound effortless while still retaining their off kilter personality that remained essential to their uniqueness.

And let’s not forget, the remainder of “Wolfgang Amadeus Phoenix” was a blast as well. As a whole, it represented music’s glorious return to the near forgotten genre of power pop. The record launched the French stalwarts into a late in career success status. This newfound popularity led the four piece on an exhausting two year world tour to places they had only dreamt of playing. Writing and recording for their next album began almost immediately after that last tour ended, so they have had plenty of time to make this follow up. Until earlier this year the group has been remarkably silent, only peeking their heads out for an occasional statement. The band’s Grammy award winning full length has yet to be matched in the four years since its release; so needless to say, we have all been waiting for something big.

However, with “Bankrupt!”, Phoenix have traded in their power pop aesthetics and memorable choruses for expanded non-sequitor instrumentation and extravagant genre hopping. They have also traded in their guitars for some seriously demanding keyboard work. It seems predictable that after being showered with success, the band would be inclined to follow up with a more experimentally infused effort – so in a way, this album’s unpredictability is hindered by the fact that we could see this coming. Don’t call it their “Kid A” though, because although Bankrupt is certainly the most challenging record of Phoenix’s career thus far, it’s also among their least focused.

At first, it really is difficult to discern what makes this album so much less likeable than Wolfgang Amadeus. Both albums have the same amount of tracks and have almost identical running times. Despite the virtuosic instrumentation, the lineup is also the same. The difference comes with the feeling. The sense of freedom and rebelliousness that gave their previous efforts so much momentum is largely absent. Even Mars’ fluttering voice sounds strangely constrained, as he attempts to change its presentation to better fit the instrumentation.

Although the 4 years it took the group to record Bankrupt would lead you to believe they found a natural progression into this new state of mind, the end result still feels less than fluid. Thomas Mars talked about combining the highbrow and the lowbrow to create a new sound with this record, but in actuality, he was making music that is “midbrow”. While each song has solid sections, as a whole they just don’t gel. A handful of moments still carry the band’s trademark energy and wit, but others should have been left out entirely. While the album couldn’t and shouldn’t be called bad, it doesn’t have staying power. Hopefully that other highly anticipated French album that comes out later this month will be more memorable than this one.

Track Listing:

1.) Entertainment!*

2.) The Real Thing

3.) S-O-S In Bel Air*

4.) Trying to be Cool

5.) Bankrupt!

6.) Drakkar Noir*

7.) Chloroform

8.) Don’t*

9.) Bourgeois*

10.) Oblique City

* – Album Highlight

Hip-Hop Icon Nature on his past, present and future with DCM

by Ryan Shea

Hip-Hop icon Nature has been in the game far longer than many rappers even dream of having that kind of longevity. A key and pivotal figure of the hip-hop movement of the 90’s, he successfully did what many artists dream to do in securing a number one debut with The Firm’s freshman release of “The Firm: The Album” with AZ and Foxy Brown. A childhood friend of Nas, he catapulted his career shortly afterwords with the release of “For All Seasons” and has become an important emcee in the game for over two decades. Now he has exclusively linked up with Long Island hip-hop label Deep Concepts Media and has released the first installment of “Seasons Changed 4” EP Series, produced by a variety of great guys from Little Vic to DJ Concept. In this exclusive two part interview with Manhattan Digest, Nature sits down with me to discuss his past with The Firm, his relationship with Nas, and his future with DCM. Check it out.

At what age did you know you wanted to take hip-hop seriously?

I was in love with hip-hop since I was a little kid, from aspects of break dancing to the graffiti and all of that. What I would do when I would come down to the actual rapping was change the words of the popular song and do my own thing with them. Around 12 or 13 is when I started to realize I had a knack for this kind of thing.

Who were you influences that inspired you to become a rapper?

When I growing up there wasn’t as many rappers out there as there are today. So for me it was legends like Run DMC, LL Cool J and the guys like that that were making their mark in the game. The first hip-hop record that I fell in love with LL himself with “Radio”.

When did things really start making waves for you in the industry?

Well I’m fortunate enough to come in the game with guys like Nas and Track Masters and Dr. Dre and stuff like that. There was no middle ground for me, it went from just rapping locally to the guys in school and the block and now you are flying out to Miami and LA and doing big things. It took a while to adjust to that. I went from the baddest box straight to third base pretty much.

How would you describe your sound overall?

My sound is pretty vintage. I come from an era where you had to make sense when you rhyme and it isn’t much about the materialistic things that seem to populate the airwaves right now. Mine is a mix of old and new, beats that I like. I am a fan of what is out today but I came in the game in the 90’s so I am attached to everything that was out in that era.

What was the process of coming into The Firm like?

For me it was cool because I got to go through Nas who was a childhood friend of mine so I didn’t have to go through A&R and all of that. Any questions that I had I would throw to him, didn’t really deal with the other people. I didn’t realize how big or how much potential that project had, it was my first real shot. I understood there was a lot of money put behind this, so each of us really put our best effort forward when it came to making this album and it really came together and the results were just phenomenal when it was released.

How did it feel to have that album hit number one on the Billboard 200?

That was amazing! Everywhere that I went people would recognize me and know certain things and I was like “Whoa! This is crazy!” I didn’t have enough time to adjust to it. We would go out, make an album and shoot some videos and all of a sudden it was number one.

Check back here tomorrow where he discusses his thoughts on hip-hop today, his new EP and his plans for a hopeful future. Take a listen to his new EP here and for all things DCM click on this link.

Album Review: The Haxan Cloak – Excavation

by Rio Toro

The Haxan Cloak: Excavation

Similar Artists: Demdike Stare, Andy Stott, Vessel, Raime

Genre: Experimental

Label: Tri-Angle

If you currently listen to music by way of earbuds/low quality headphones, I am going to ask that you make an upgrade before listening to Excavation. The album bears a startling physicality that stems from low bass frequencies which morph into dense pulses of sound waves. Each note burrows closer and closer into your skull until it has a hold of your very being. However, without the proper equipment, you would essentially be listening to a dark ambient record. Although it’s certainly a different genre, the deep, never ending chords are reminiscent of Sunn O))) at their heaviest. This is downright massive music, as there are single notes which seem to go forever inward. It’s easy to imagine these pulses expanding onward into an unknown oblivion whilst absorbing everything in their path.

Like many artists on Tri-Angle, Bobby Krlic is one of those next level producers whose music requires complete immersion of the senses. If you’re brave enough, surround yourself in darkness for this album’s duration; I dare you to come out of that experience unaffected. Even for those of you who are used to Demdike Stare or Andy Stott, this stands as something else entirely. While there has been a noticeable influx of producers making dark electronic music as of late, The Haxan Cloak has created an album that seems to have a personal tie with the netherworld.

With each track, Krlic guides us into the depths of the afterlife. It’s a place where serpentine bass slithers across our backs and razor wires slice inches away from our necks. Based on the cover alone (which casts a noose suspended in mid air against a black void) you could tell that the album is representative of a hostile environment, but thankfully, the album is much more than a simple horror film soundtrack.

Although Excavation chronicles a voyage that takes place after death, the scenery couldn’t be described as either heaven or hell. The place Krlic has imagined is much closer to a purgatory – or the intermediary portal that eventually leads to a higher state of being. Through the 50 minute running time, we get the feeling of being taken deeper and deeper into the unknown. Each plummeting bass drop sends us spiraling into the abyss. There’s no doubt that it’s an unsettling experience for those of us who are afraid of death – and after all, who isn’t?

It might seem overly esoteric and inaccessible, but despite its harrowing theme, Excavation proves to be strangely inviting. It’s a deeply personal record as well. After you look past the horror aspect, it’s easy to realize how emotional it all is. If you look hard enough, you can even find a lingering optimism regarding the afterlife. As the album progresses, brighter patterns seem to rise from the darkness such as synths and ominous bell segments. It hints at the protagonist’s progression towards a new state of being within a higher realm of existence.

The finale in particular is riveting. Simply titled “The Drop”, it explores a sound palette that is broader and more accessible than the previous tracks, yet it still contains the same sense of mystique and intrigue as what came before. Although it still calls to mind the feeling of being surrounded by darkness, now the very essence of the void has shifted into something that is elegant and beautiful. In a way, it feels as though Krlic has come upon an emotion that is removed from human experience.

Of course, no one knows what the afterlife really is like (if there is one at all). It would be silly to say that this album represents a realistic depiction of death. However, the album is so affecting on a gut level that it is safe to say that the music is representative of something. It may seem overly vague, but that’s the point. That “something” may be a place that exists in the back of your mind or in the depths of your soul. We all have a chasm locked away within ourselves that contains the secrets we long for; this album might be the perfect way to excavate them.

Track Listing:

1.) Consumed

2.) Excavation (Part 1)*

3.) Excavation (Part 2)

4.) Mara

5.) Miste*

6.) The Mirror Reflecting (Part 1)

7.) The Mirror Reflecting (Part 2)*

8.) Dieu

9.) The Drop*

* – Album Highlight

Charity, Music, and Prom; My interview with Brittany Smooch

by Ryan Shea

Brittany Smooch is a young, up and coming teen pop star and Hip Hop artist. Brittany’s music is fun and catchy and her personality is similar. I had the pleasure of speaking to Brittany yesterday about her music and charity work she has participated in. On the phone, Brittany seems sweet and determined. She knows what her goals are and she is pursuing them with great success. Brittany recently did work with the WGirls for their charity Project G.L.A.M, which gives prom dresses and accessories to girls who can not afford them. You can check it out at http://www.wgirls.org/get-involved/project-glam/

As soon as Brittany answered I knew she was going to be fun to interview.

When did you get into hip-hop?

I have always been into hip-hop music. But when I started writing my own songs it just came out that way. It just sounded like a rap.

When did you know you wanted to pursue a career in music?

I have been involved in music my whole life! At 5 years old I was taking singing lessons and by 7 I was writing my own music. I have always known that this is what I wanted to do.

Who is your favorite rapper?

Oh my God! I have so many favorites. But I guess if I had to pick it would be T.I. He is amazing!

You have a unique Urban style, where do you love to shop?

I love Patricia Field. They have a store in the City and the clothes are so crazy and cool. I really like anything that has a unique feel. I also really like Betsey Johnson.

How did you become involved with the WGirls and Project G.L.A.M?

I have always been involved with charity work. I really enjoy it. I was working with the NY city charity NY Cares and when the chance to do Project G.L.A.M came along I took it. Its really an awesome charity and I love being able to help young girls.

This charity is so amazing, and it must have been cool to see the girls faces as they got their dresses, how was that?

Seeing their faces was priceless. Watching the girls try on dresses and find ones they loved was really exciting.

What did you wear to your prom?

Well, I’ve actually been to a few proms. But my favorite dress was one I wore to a Long Island prom. It was really girly and looked like a Princess dress. It was pink and lacey. Usually I don’t like really girly clothes but this dress was beautiful and really made me feel like a princess.

Do you have any advice for prom goers this year?

“Don’t fall into peer pressure.” Have fun and enjoy this time in your life but don’t think you have to do something you don’t want to. That is really important to me.

What do you have coming up?

Well, I just released my EP and now I am working on my new album. I just finished up my High School concert tour and am getting ready for my next performance. I am performing at Six Flags Boston on June 29th.

Who would you love to collaborate with?

Well of course, T.I. since he’s my favorite rapper, but I also think it would be really cool to work with powerful women in music. I’d love to do something with Nicki Minaj, Fergie, or Britney Spears.

What is one lyric to describe your life right now?

It would definitely have to be the chorus of my song, “Super Turned Up.” Because that’s how everything in my life is right now, “Super Turned Up.”

You can check out Brittany Smooch on her website http://www.brittanysmooch.com/

You can also check out her interview in Vibe magazine.

http://www.vibe.com/article/new-music-brittany-smooch-booty-bounce-gal-behind-booty

Andy Grammer on his past, present and hopeful future

by Ryan Shea

In a world of John Mayer’s and Jason Mraz’s, one might find someone who is a singer-songwriter like that very hard to not only stand out but shine at the same time. Andy Grammer has been able to do both in a really unique way. It’s hard to believe the song that really started it all for him, “Keep Your Head Up” is three years old now. He has done a lot of exciting things since then such as open up for Colbie Cailat, Plain White T’s and even secured a coveted spot at SXSW back in 2011. He currently is in the midst of his first headlining tour which hits UNC Charlotte next on April 28th. The Platinum Records recording artist recently sat down with me to discuss his history of where he came from, thoughts on his new album and how it felt to have one of his songs be an international hit. Check it out-

How old were you when you decided you wanted to get into music?

I have always been fascinated with what entertains people. So whether it was magic trick, a backflip on a trampoline, a last minute basketball shot, I loved entertaining. In high school I found songwriting and that became my favorite. You can entertain but do so much more as well.

Who are some of your inspirations?

My musical inspirations come from genres. I love piano rock, hip hop and acoustic guitar. I try to blend all three in my music. Lauryn Hill, Coldplay, and John Mayer are a few I love.

How would you describe your sound?

Piano rock, hip hop and acoustic guitar had a musical child.

Your song “Keep Your Head Up” blew up on charts all over the world and hit number one on VH1’s Top 20 Video Countdown. How did that feel?

Pretty incredible, especially having come from street performing. I had friends in Italy, China, Australia, hitting me up saying they were hearing it in the grocery store and stuff. Crazy.

What do you think separates yourself from all the singer-songwriters out there now?

I think the main thing that separates any artist from each other is point of view. My point of view is a bit a different. The better you get at being specific the more you stand out.

You’ve opened for some pretty big acts over the years like Plain White T’s and Colbie Caillat. What was your favorite tour and which city did you have the most fun in?

Opening wise they were all so different. Opening for Train this summer was a blast shear numbers wise. Performing in front of such big crowds every night was a rush. Colbie has become a really good friend and brought me out on tour a bunch of times now. She might be my favorite to hang with.

Tell me about the new album you have coming out. What can your fans expect from it?

I’m still working on it. Hopefully they can expect great songs. I put a lot of time and effort into creating songs that I can stand by. Hopefully I get them.

What is your favorite song off the album and why?

That’s like asking a parent who their favorite child is 🙂 They are all my little babies.

Plans for 2013 and beyond?

New album and take over the world?

What is the one thing you want your fans to know more than anything about who you are as an artist, ultimately the thing that defines you.

I’m just a normal guy chasing dreams. If you listen to my album I hope that it inspires you to chase yours.

Want to know more about Andy’s tour, new album and everything else Mr. Grammer? Check out the sites below for more information on this talented dude!

Main Site

Facebook

Twitter

Album Review: The Flaming Lips – The Terror

by Rio Toro

Flaming Lips: The Terror

Genre: Krautrock, Neo-Psychedelia

Similar Artists: Mercury Rev, Super Furry Animals, Radiohead

Label: Lovely Sorts of Death

Wayne Coyne has made it clear that nothing can stop him from being the manic, hijink involved front-man that he is. So unless he dies, it is pretty safe to say that “The Terror” will not be the final album by The Flaming Lips. However, their 13^th album represents a sort of ultimate destination that would act as the perfect conclusion to the group’s astounding legacy. Of course, let’s hope that isn’t the case.

While lately, the band has become increasingly known for their stage antics and headline worthy mischief, starting with their 1999 masterwork “The Soft Bulletin”, their subsequent full lengths have continued down the road of unbridled seriousness. They might not have had a perfect run, (“At War With the Mystics” being a noticeable low point) but their work has always possessed a beating heart that shows how dedicated these artists are to their work. And yes, they have also put out some incredibly silly non-album work, such as last year’s “Heady Fwends” collab and the 24 hour long “7 Skies H3”. Luckily, (so far) none of The Lips’ studio albums have came encased with anyone’s blood in it. So while they might be pranksters in the spotlight, there are few bands as hard working as this one when they sit down in the studio. Don’t expect this music to make you laugh; it’s more likely to make you cry.

This album proves to be yet another artistic shift for the band. With their busy past few years they have honed their craft and advanced their sonic capabilities to arrive at an entirely new direction. With 2009’s Embryonic, the band’s sound turned a few shades darker as they ventured into the depths of the experimental void. Now, with The Terror, they have climbed out of the rabbit hole to find that the world has fallen apart. The album is composed of dreadfully dark psychedelia, and speaks of a near hopeless post apocalyptic world bathed in red, radiated sunlight. The Lips have brushed upon post-apocalyptic premises in the past, but none have been as thematic or believable as this. In fact, this possibly ranks as The Lips most concise record; from the first note to the last, every theme flows perfectly into the next. It is even difficult to discern when one song ends and another begins – which means this is an album meant to be listened to in a complete session.

The music itself is a combination of hypnotic pulsating keyboards, ambient flourishes, steady Krautrock percussion, and the occasional scraping guitar fuzz. All the songs follow a similar formula, which means there are no guitar freakouts or mid album surprises. The Lips have traded in hit songs and singles for an album that breathes continuity. Because of this conciseness, there are moments during the album where the mind tends to wander – which begs the question if these songs could have been just as worthy with a few minutes shaved off. Still, there is nearly always something interesting to be heard in the mix if one is focused enough.

The heavy handed concept would have fallen flat if its creators weren’t able to realistically convey feelings of loss, so it is a good thing that The Lips continue to be masters of translating emotions to music. Although they won’t admit it quite yet, with Wayne Coyne recently breaking up with his partner of over 20 years and Stephen Drozd’s continued substance abuse, the album was clearly birthed out of painful experiences.

Amidst the darkness, Wayne is the component that holds all the others in place. After being lulled into a daze of abstract existential thought, his voice is what brings us back to reality. Under the impressive palette of sounds he sings in a mournful cry unlike anything he has done before. At certain moments he sings like he is on his death bed, barely being able to muster the words from his mouth. Again, it is impressive because it is believable; never through the impressive running time do we doubt that Wayne has felt the pain of a broken heart.

His lyrics are also among his darkest – like when he says “You’ve got some nerve you fuck with me” at the start of the 13 minute centerpiece “You Lust”. Through many songs he references the big ball in the sky, but instead of being the usual metaphor for good days and happiness, in The Terror, the sun is a sign of impending doom. While it may keep us alive, it is also what causes us pain and eventually kills us.

In the end, the album’s message is clear. Love and pain are connected in the same way as life and death. These things exist without us even wanting them to, and once we have fallen in we have no choice in how they end up. The Terror stands as a singular piece in the group’s discography. It may not be their most defining, and it certainly isn’t their catchiest, but in the end, it’s no less essential to their portrait.

Track Listing:

1.) Look…The Sun is Rising*

2.) Be Free, A Way

3.) Try To Explain*

4.) You Lust*

5.) The Terror

6.) You Are Alone

7.) Butterfly, How Long it Takes to Die*

8.) Turning Violent

9.) Always There in Our Hearts*

* – Album Highlight

Album Review: Blake Shelton’s “Based On A True Story”

by Pamela Gordon

Blake Shelton’s new album “Based on a True Story,” is a bit like a roller coaster. You go up, up, up but occasionally you go down a bit too much. Don’t get me wrong, it still has great moments, but on some of the tracks I want to shake him around and ask him “WHAT WERE YOU THINKING!?!”

Opening up with “Boys ‘Round Here” rubbed me the wrong way. It seems to be crawling next to the category of country/pop. Not that there is anything wrong with a little pop, but I expected a little more from Shelton, especially on an opening track. What he follows up shortly with thereafter is like a car crash that I can’t stop looking at, whilst shaking my head in disgust.

I understand why he decided to record “Small Town Big Time”, he missed home while taping “The Voice” in Hollywood and how importance is on materialistic items and not life. But the auto-tune was unnecessary. I could go on for days on how much I loathe auto-tune, but I will spare you all. To have an artist like Blake Shelton use auto-tune strictly for proving a point and not having to cover up a voice, because he does have a great voice, is not acceptable by me. It brings down not only the song, but Shelton himself. The point was taken through the lyrics of the song,

With them red Maserati’s and them tuned up bodies
And everybody gonna be the next somebody
Yea, this place is a trip
Hey but meanwhile back in the stick

Somebody’s having a small town big time night
Somebody’s rocking the main street with red tail lights
Somebody’s cranking it up or falling in love
Or keeping the buzz sipping on a little moonlight.

Other than these down points, there are some great tracks on the album. “Frame of Mine” emulates the old country western sound, showing off Shelton’s vocal capability. Or during the ballad of “Do You Remember,” I can feel his strong sense of love and devotion being eluded to, that he once had. During “My Eyes,” Shelton shares the microphone with Gwen Sebastian and harmonies about taking everything except for his eyes off that one special lady. Probably my favorite is “Lay Low”, while Shelton swoons from note to note, with the same sounds of one of my favorite tracks by Josh Turner “Your Man”. Although having its own entity, it shares something which brings that classic ballad to my heart.

I may have sounded a bit condescending starting this review off, and I have to somewhat revise my tone. I really do enjoy listening to the album, but those two tracks stick out so much it left me with a bad taste on my tongue. But looking at the album as a whole, it does show the ability of Shelton’s talent and devotion for love and country music.

: Courtesy of tasteofcountry.com

Chatty Talk with Elise

by Elise Pentz

Hello & welcome back!! Let’s begin with the week(or weeks!) in review, shall we? !

Margaret Thatcher just recently passed away, at the age of 87. For those of you living under a rock, she was a British politician who was the Prime Minister of the United Kingdom from 1979 to 1990 and the Leader of the Conservative Party from 1975 to 1990. She was a magnificent human being & may she rest in peace.

It’s a BOY for Milan Akerman & hubby Roberto Zincone & they named him Sebastian! 🙂 Congratulations to the new parents!!

Roberto Zincone and Malin Akerman — Credit: Starpulse.com

More great baby news as Backstreet Boys’ Kevin Richardson Expecting Second Child With Wife Kristin! Babies on the brain in hollywood!

MUSIC

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