MUSIC

Album Review: Four Tet – 0181

Four Tet: 0181

Score: 6.0/10

Similar Artists: Bibio, Mum, Jon Hopkins

Genre: Folktronica, Trip-Hop, 2-Step

When first hearing that Four Tet had released a free to download album, and seeing the album consisted of one 38 minute track, I was under the impression that “0181” was one of the artist’s live DJ sets similar to that of his live Fabric mix (perhaps from one of his nights at The Boiler Room). As it turns out, this is a rarities/b-sides collection from tracks made around the time of Dialogue and Pause; Kieran’s first two albums as Four Tet. Those two albums, dating from 1999 to 2001 respectively, remain excellent representations of electronic music at the turn of the millennia, and should definitely be checked out if you only started following Four Tet after his sorta breakout album “Rounds” in 2003. This was a particularly crucial time period for the artist as his focus was shifted from his fading post-rock band “Fridge” to working on solo productions which turned out to be much more representative of his talent.

In comparison to his first two LP’s though, 0181 is less engaging and less than essential, standing more as an easy listening experience to play a few times and then forget about. Then again, it is a very generous offering for Kieran to be releasing this album completely free of charge, so if you have enjoyed his material in the past, you will want to hit the download button anyway; it just might not dominate memory on your iPod the way his other albums surely do.

Most of this “new” material could be lumped into the Folktronica genre which Kieran has moved passed with 2010’s mesmerizing “There is Love in You” and last year’s ultra modern single collection “Pink”. I say “most” because variety exists through traces of cool jazz, trip hop, robotic funk and 2-step. Describing this music as traces or sketches would be accurate because despite Kieran’s decision to release this as 1 long track, this is not a continuously flowing piece. There are pauses, and some sections feel unfinished, which gives an abrupt feeling to the music. This disjointedness clashes with the lively production to leave us with an album that lacks the artist’s trademark personality. However, the production work itself is still impressive, and certainly has aged gracefully in the often rapidly moving genre of electronica. One particularly memorable section samples bird chirps and softly toned guitars to delightful effect; another casts a piano interlude that recalls Brian Eno’s early ambient works. Every so often a section appears that sounds unique and not so easily comparable to his other work, but these sections never last long enough to leave an impression. If nothing else, this is a great reminder of how sleek Four Tet’s productions were so early on, but it could have been a showcase for how much untapped potential was left for future releases.

While this is an enjoyable album to listen to, in the end it leaves me wanting to revisit Four Tet’s other, more focused releases. Still, this doesn’t hurt his reputation in any way; he did release this for free after all. I applaud Kieran for being so incredible to his fans. I certainly remain a devoted one.

Track Listing:

1.) 0181

Album Review: My Bloody Valentine – M B V

by Rio Toro

My Bloody Valentine: M B V

Score: 10/10

Similar Artists: Slowdive, Ride, Cocteau Twins

Genre: Shoegaze, Dream Pop

Ah, I remember when the last My Bloody Valentine album came out; those were the good ol’ days. I might have only been an infant of 1 year and a few months at the time, but the roaring guitars completely stood out from the other albums my mom used as lullaby music. Ever since then, I, along with countless other fans have been eagerly awaiting the band’s follow up. Decade after decade passed and little to no news arose; although we still waited, most of us knew the sad truth that there simply wasn’t going to be any more material from the band. Well, it turns out that truth doesn’t really exist, as the new MBV album has just been released. As exciting as it is to know that dreams do come true, even after listening on heavy repeat for the last few days, it feels awfully strange to be writing this review. Despite the recent appearance of every other band from the 90’s reuniting to either put out a new record or roll around the country in a cash grabbing tour, this event seems bewildering, and similar to the music in question, dream like. The best comparison to this event would be the 44 year wait for The Beach Boy’s Smile sessions release, but even that was never actually completed. Now it would seem the only thing I have left to wish for is a new Neutral Milk Hotel record.

So the big question everyone seems to want to know the answer to is, “How does M B V compare to its highly lauded predecessor?” Let me talk about that. That album was known for its unexplainable production, restrictive use of non-guitar instruments, breathy vocals (often inaudible) and an ocean’s length of challenging tremoloed guitar waves. Well, this album has all of those things, and as it turns out, it has a whole lot more as well; so the question in hand should actually be “has Loveless been surpassed?”

This new album title, “M B V”, splits the band’s name into 3 letters with a space in between each. This seems to be in relation to the three distinct sections of the album, (of 3 songs each). The end of each section even has a few seconds of rest to symbolize the changing direction. Because of this, the album can even be taken as a grouping of EP’s the band has deemed up to its standards. Those standards in question are exceedingly high ones, but this release is proof that these individuals are the same group of perfectionists they were in the early 90’s.

The first of these sections is best described as a continuation of the Loveless style. The sounds, textures and songwriting are arguably more accomplished than they were before. We enter with “She Found Now”, a particularly majestic song that keeps things slow moving, yet tense due to the jagged, storm-brewing undercurrents. “Only Tomorrow”, brings on the band’s sorely missed crackling guitar fuzz. Major chords are introduced ¾ through to remind us of how the band excels at combining the accessible with the non-accessible.

The second section opens with “Is This and Yes”, which is an electronic ambient piece led by bright organ drones, the light thumping of a drum, and Bilinda Butcher’s tenderly sung vocals (which are featured prominently through these 3 tracks). It is a curious track that brings to mind select pieces from Angelo Badalamenti’s “Twin Peaks” soundtrack. “If I Am” and “New You” are the most accessible moments on the record, the latter of which throw us into a guitar bass shuffle and ends with beautiful vocal harmonizing from Bilinda.

The last section is the loudest, fastest and least comparable to anything else in the group’s discography (or anyone’s discography for that matter). “In Another Way” is an achievement in its use of superbly warped guitar licks, and a keyboard that sees the band at their most ethereal. “Nothing is” is three and a half minutes of punishingly repeating guitar and drums, but it proves so hypnotic that the word “repetitive” never comes to mind. Final song “Wonder 2” is another out there track that I won’t embarrass myself by trying to put into words….

Of course… none of my words have any relation to what this music sounds like. The band’s indescribability is how they have managed to never falter in turning up repeatedly in day to day conversation. The time off has proved this laughably unprolific band to be a true one-of-a-kind act. MBV’s followers have had 21 years to make an album that sounds like Loveless and nothing has come close. So here we are, listening to this unexpected new release, and all I can think is “I don’t need Loveless anymore.”

Track Listing:

1.) She Found Now*

2.) Only Tomorrow*

3.) Who Sees You

4.) Is This and Yes

5.) If I am

6.) New You*

7.) In Another Way*

8.) Nothing is

9.) Wonder 2*

* – Album Highlight

R&B and Hip-Hop at the Grammy’s

by Ryan Shea

Music’s biggest night is headed our way as the 55th Annual Grammy Awards will be live this Sunday night at 8pm eastern time on CBS. Some of music’s biggest names will be performing, from Taylor Swift to Frank Ocean and most recently Justin Timberlake, who is not riding high so much on his failed first single “Suit & Tie”.

So who will be the biggest winners of the night? We already divulged into Record of the Year, but who will be crowned king in the rap and R&B fields? Here are my predictions as to who will win, should win, and was left in the dust. Leave comments if you agree or disagree!

Best R&B Performance-

miguel-adorn-video — Credit to- hiphop-n-more.com

Miguel- “Adorn”
Usher- “Climax”
Luke James- “I Want You”
Estelle- “Thank You”
Robert Glasper Experiment Featuring Ledisi- “Gonna Be Alright)”

Who will win- This should be an easy win for Miguel as “Adorn” got a coveted nod for Song of the Year, and that it pretty much is the best of the bunch. Grammy darling Usher could give him a run for his money, but this is a sure fire win for Miguel.

Who should win- Miguel. Repeat what I said before.

Who was left out- UMMMMMMMMMMMMMM “Thinking About You” by Frank Ocean. WTF. How is this in the Record of the Year category and not in this one? It makes no sense. Such a phenomenal R&B record and his vocals are haunting.

Best Urban Contemporary Album-

Frank Ocean- “Channel Orange”
Chris Brown- “Fortune”
Miguel- “Kaleidoscope Dream”

Who will win- Frank Ocean should be the only nominee here as far as I am concerned, and this will be his guaranteed win if he doesn’t get Album of the Year.

Who should win- Ocean.

Who was left out- Let’s rephrase this with “Who should’ve been left out”. Chris Brown’s homophobic ass. Please go away.

Best Rap Performance-

Drake Featuring Lil Wayne- “HYFR”

Jay_z-Kanye_West-NiggaS-In_Paris-e1328668654333 — Credit to- Straighttothea.com

Nas- “Daughters”
Jay-Z & Kanye West- “Paris”
Kanye West, 2 Chainz, Big Sean & Pusha T- “Mercy”
Young Jeezy Featuring Andre 3000 & Jay-Z- “I Do”

Who will win- God this really is a tough one, no joke. It’s between three- Nas, Jay-Z and Kanye. All three songs are strong in their own way. The Grammy’s love all three, but I think “Paris” will nudge the other ones.

Who should win- Not really a fan of “I Do” or “HYFR”. Lyrically, “Daughters” is amazing and one of Nas’ best songs ever, so that would be my pick.

Who was left out- Don’t kill me for saying this, but I happened to love “Beez In The Trap” by Nicki Minaj featuring 2 Chainz. The album sucked but this was a shining example of a rather dull album.

Best Rap/Sung Collaboration-

Jay-Z & Kanye West featuring The Dream & Frank Ocean- “No Church In The Wild”
Nas Featuring Amy Winehouse- “Cherry Wine”
John Legend Featuring Ludacris- “Best You Ever Had (Tonight)”
Flo Rida featuring Sia- “Wild Ones”
Rihanna Featuring Jay-Z- “Talk That Talk”

Who will win- It’s video was just as stirring as the song, so I would go with “No Church In The Wild”. Ocean’s voice is very subtle yet powerful for a song of this magnitude.

Who should win- Either “Church” or “Talk That Talk”.

Who was left out- SHOCKED and I’ve said this before, nothing for “Take Care” by Drake and Rihanna. Such a phenomenal record. I would’ve chosen the Chris Brown remix of “Birthday Cake” by Rihanna over “Talk That Talk” personally as well.

Best Rap Album-

Drake- “Take Care”
Lupe Fiasco- “Food & Liquor- The Great American Rap Album, Pt.1”

Nas- “Life Is Good”
The Roots- “Undun”
Rick Ross- “God Forgives, I Don’t”
2 Chainz- “Based on a T.R.U. Story”

Who will win- This is somewhat of a weak category, but Drake will finally earn his first Grammy after 9 nominations.

Who should win- Drake or Nas, the only two that I really think are that good for this category.

Who was left out- Either Macklemore or Kendrick Lamar. God knows why 2 Chainz got in here, good lord.

RuPauls Drag Race Recap: Queens of Yesteryear

by David Baxter

It’s RuPaul’s Drag Race time! Are you ready? Beat your mug and your loins girded for some drama! [Read more…] about RuPauls Drag Race Recap: Queens of Yesteryear

Album Review: Toro Y Moi – Anything In Return

by Rio Toro

Toro y Moi Anything in Return

Score 7.5/10

Similar Artists: Daft Punk, J Dilla, Caribou, Hot Chip, How to Dress Well, Miguel

Genre: Pop, Bubblegum, R&B, Hip Hop, Funk, Chillwave, Disco, House, Trance, Soul

As unprofessional as it may sound from a critical standpoint, I really tried to not like this album. I tried to dismiss the infectious bubblegum pop songcraft and titillating synths. I tried to find fault in the high pitched teenage vocals which are used unflinchingly in nearly every track. I was originally tempted to give this a low(er) score because of how corny and sour tasting the tracks can be, but if I’m being honest, through all of these critical thoughts, in the back of my mind I was thinking about how I couldn’t wait to play this music at a party. With mind blowing production and a plentiful amount of singles, this is a release you will want to test out in large groups at preferably spacious arenas. While previous full lengths “Causers of This” and “Underneath the Pine” may have been more visionary, this is more impressive, ambitious and massive.

With 3^rd album, “Anything in Return”, Chaz Bundwick has reestablished himself as a bona-fide pop star comparable to contemporary R&B acts “Miguel” and “The-Dream”. His voice has never sounded this spot-on and confident. One could imagine hearing many of these tracks on the radio, which couldn’t be said about Toro y Moi’s bedroom-leaning previous work. This new found radio-friendly style may cause some detractors, but will undoubtedly gain him more fans than he will lose. Much like Daft Punk’s move from Homework to Discovery, Toro y Moi is on his way from being an indie producer to a sold-out stadium act.

Chaz Bundwick has never quite fit in with his peers of the so-called “Chillwave” micro genre (a tag which he of course hates, despite the fact that he is known as one of its progenitors). He is too disco to be compared to Panda Bear, too hi-fi to be compared with Neon Indian, and way too serious and non self parodical to be compared to Ariel Pink. Although on first listen one might feel that Chaz is “having a laugh” when a track’s influences span five decades worth of pop music, you will soon realize there is no irony. This is both a positive and a negative, for it is what makes Toro y Moi original as well as why the music can be so off putting.

The album doesn’t quite have filler, but the first four tracks pretty much sum up the variety and breadth of influences offered throughout. The first of these, “Harm in Change”, contains shimmering piano chords reminiscent of something off of a “How to Dress Well” LP. First single, “Say That” is brilliant funk pop that exists as the album’s danciest moment. “So Many Details” is a few shades darker, and although its rhythms are not nearly as avant as its creator believes they are, it is still a welcome and memorable track. “Rose Quartz” mixes an assortment of perfectly placed vocal samples with a steady drum pulse and trance synths. If these first tracks are deemed the most exciting, the remaining nine are comparatively chill (save the emotional bombast of the last two).

So it turns out that I do like this album. Perhaps it is a testament to its artist’s supreme confidence that “Anything In Return” can exist outside its noticeable flaws and be seen as a perfect party record. When I listen on in the future, I’m not going to be thinking about what this album doesn’t have, I’ll be too busy enjoying it as the complete statement it is.

Track Listing:

1.) Harm In Change*

2.) Say That*

3.) So Many Details

4.) Rose Quartz*

5.) Touch

6.) Cola

7.) Studies

8.) High Living

9.) Grown up Calls

10.) Cake

11.) Day One

12.) Never Matter*

13.) How’s it Wrong*

* – Album Highlight

Raw Henry Wagons

by Pamela Gordon

Henry Wagons’ EP “Expecting Company,” brings the vintage Johnny Cash sound back with a twist. Wagons, of Australia, expressively howls through the 7 track EP with the accompaniment of other vocalists on almost each track. It’s a trippy sound with raw vocals that are undeniably full of Western masculinity.

Wagons’ has carefully paired other vocalists on his tracks, where not to shadow his talent, but rather compliment each note. While I listened to the opening track, “Unwelcome Company,” I felt transported into Wagon’s and Alison Mosshart’s state of mind, which was probably altered by some sort of recreational supplement. It encompasses that 1960’s sound and channels the track “Jackson” by June and Johnny Cash, with a darker edge.

During “Give Thing’s a Chance to Mend,” I could not stop thinking about film. Initially I was confused why I felt I was in a movie and then it came to me. All I kept hearing was Nancy Sinatras “Bang Bang” in the female vocals section. I did a little research and found that this song with featured in the film Kill Bill. The similarities are almost frightening. The strum of the guitar progression, the sound of the vocals and even the tempo; it’s a good song, but I still feel the album altogether is missing something.

The track that saved it for me was “I Still Can’t Find Her.” It sounds original and catchy (yet not annoying) while keeping me interested. The track tells a story and is musically and lyrically captivating. It has that something that the other tracks don’t have, and for me that’s heart.

Don’t get me wrong, the other tracks on the album are good, but it feels like Wagons may be trying a little bit too hard. His problem is trying to balance being too cool with a sound of country and a side of raw rock and roll. Sometimes a little bit of everything doesn’t make an album commendable. He should stick to what he’s good at and that can ironically be found in “I Still Can’t Find Her.” Since it’s a short EP it’s fairly inexpensive, so give it a listen it’s at least worth the exploration into Wagons’ head.

Beyonce SHUT IT DOWN

by Ryan Shea

Boy oh boy did Beyonce have a lot to live up to last night. After being criticized since her supposed “lip sync” at the Inauguration a couple of weeks back, she knew she had to bring it hardcore to the Super Bowl. So did she accomplish that? From my point of view and several millions of people, she freaking did.

The anticipation built as the 2nd quarter ended. Coming out in a leather, dominatrix type outfit, she blew the stage up with several of her different hits from “Baby Boy” and “Crazy In Love”. It was the only time during the entire show that I actually stood close to the television screen to get a better view as to what was going on. I was HOOKED. The best part of course was when her Destiny’s Child crew, Michelle Williams and Kelly Rowland, popped out of nowhere to do “Bootylicious” and sing on her uber-huge hit “Single Ladies”. Cue to me going ballistic. Everything about the performance in itself was electrifying, as she herself is exactly that kind of an entertainer. There was really no need for a zillion backup dancers, bands, or anything else to distract from what people really wanted to see- her.

This was an improvement by a million miles from the Black Eyed Peas two years ago, and even Madonna a year ago. It seemed to flow a lot better than both of theirs and to silence her critics, she performed the whole damn thing live. That is an arena that is very tough to do so, and she did it. Freaking phenomenal.

According to ABCNews.com, she generated 5.5 million tweets (I made about 1.2 million of those), and many joked she was the one that caused the 34 minute power outage to happen as a result of how great it was. There were also rumors of the triangle finger sign she gave to the camera. Some people thought it meant illuminati (look it up), others thought it was designed for her hubby Jay-Z, who is known to make that kind of a symbol.

People who book the performers at the Super Bowl need to remember a night like tonight. Quite frankly, since the Janet Jackson one back in 2003, and perhaps the Prince show a couple of years back, the halftime shows have been a snore fest based off of what i feel of them afraid to book younger performers. There is nothing wrong with that, and there are several artists now that are an somewhat of a level that Beyonce is on and they can carry that kind of momentum. I wouldn’t mind seeing a repeat of tonight in the years to come, but Beyonce once again proved why she is queen of the castle and will stay that way for a while.

Even if it’s Frank Ocean’s fault, why we will never side with Breezy.

by Ryan Shea

A recent story in the media that has been huge is of course the fight between Chris Brown and Frank Ocean that happened the night of January 27th outside of a recording studio parking lot. This fight was over a parking space. Yes, a parking space. Today, The Boombox has stated that Ocean will not press charges over the alleged incident in where Brown punched him and got jumped, stating-

“As a child I thought if someone jumped me it would result in me murdering or mutilating a man,” the R&B star wrote on his Tumblr page Saturday. “But as a man I am not a killer. I’m an artist and a modern person. I’ll choose sanity. No criminal charges. No civil lawsuit.”

If you have been living under a rock or in a country where music doesn’t exist, Chris Brown has had quite a few altercations over the past couple of years with several different people. The most noted one is four years back where he beat the living hell out of Rihanna the night before the ’09 Grammys. Now, they are allegedly back together and doing music as well (“Nobody’s Business”, “Birthday Cake Remix)”. That is a story I could write about forever, but as I’ve stated in the past, it’s her choice. She wants to go back to that, and not listen to the millions of people who think she’s a fool to go back to the modern day Ike Turner, then go for it. Be an idiot.

He has also gone after a slew of other people from Jenny Johnson, Raz-B from B2K, Miranda Lambert and so many more. I find it interesting when this cat came into the game about eight years ago. He screamed rising star, and was the nicest guy in all of his interviews and I generally loved his persona and music. I don’t get why he went from that to now looking like a Dennis Rodman lookalike who has to be so freaking gangster in everything he does. It’s baffling to me that he wants this image, but then again he still has ten million fans on Twitter, so he must be sadly doing something right. Sadly.

All the reports online don’t really favor Chris in this because of said history with other artists and of course Rihanna. He was seen with a cast on his arm recently, which should garner some sympathy, but for the masses of people who believe he shouldn’t be a celebrity anymore with his abuse against women, it falls on deaf ears. Plus Frank Ocean really isn’t know for being controversial in that kind of arena. He is just a talented dude. This fight better not have been over homophobia either, because that would just further Chris Brown on his tour of ultimate douchebaginess. Both of them are up for the same Grammy Sunday- Best R&B Album. Go Frank.

Album Review: Mountains – Centralia

by Rio Toro

Mountains: Centralia

Score: 8.5/10

Similar Artists: Emeralds, Tangerine Dream, Tim Hecker, Fennesz

Genre: Kosmiche, Space-Rock, Experimental Ambient

A first for my album reviews, I gave this a go with neither listening to any of “Mountains” previous work, nor knowing what style of music they played. My reasoning behind this was for the sake of removing preconceptions from the music, and allowing myself a clean slate in which to hear it. For some reason, I was expecting “Centralia” to be either “Godspeed” post-rock or “Crystal Castles” arcady synth pop. I found out that I had much more work cut out for me when it turned out that “Mountains” are more indebted to the Kosmiche of “Tangerine Dream”, or more recently, the now defunct “Emeralds”.

Brendan Anderegg and Koen Holtkamp of “Mountains” build their sound through the use of insurmountable synths/guitar. The Brooklyn based band creates effervescent soundscapes with a deeply textured, ever-changing electronic palette. While many spacey synth/guitar duos have been known for impromptu, half improvisational affairs, “Mountains” stand out (much like Julia Holter’s work) because it is organized and flows naturally from one theme to the next. Fear not, for this does not mean they don’t delve into the trippy, kaleidoscopic or hallucinatory; terms you would certainly use to describe the impeccable, 20 minute long centerpiece “Propeller”. The scene that “Mountains” are a part of is a cluttered one to say the least, but because of the fastidiousness that went into the production work, “Centralia” stands out among the band’s peers.

Centralia’s beauty is shown off quickly on 11 minute opener “Sand”. The heavy, stylized production incorporates whirring synths and a zoned out keyboard refrain. Near the end of the piece, the elements are washed out by swelling orchestral strings. These strings seem particularly demanding of one’s attention for how rarely they are used to such delirious affect in music of this variety. The album progresses to include other, surprising, instrumental forays, such as the arpeggiated acoustic guitar on “Identical ship” or “Tilt”, and the huge, feedback laden, black metal guitar chords on “Liana”. “Living Lens” ends the spaced out journey with a slice of delectable ambient wash. Highlights are abundant, so picking apart the album by playing tracks separately or out of order is not recommended.

It is easy for an artist to become engulfed in the random when dealing with music this massive, but everything on this album sounds necessary. There are no cacophonous yowls or overly drenched atmospherics. If there ever was a veil to curtain the talent of these two artists, it is surely pulled away on “Centralia”, and my god have they got some!

Track Listing:

1.) Sand*

2.) Identical Ship

3.) Circular C

4.) Tilt

5.) Propeller*

6.) Liana*

7.) Living Lens

* – Album Highlight

Through The Eyes Of Brandi Carlile

by Pamela Gordon

Through the Eyes Of Brandi Carlile

When I used to hear the words “Country Music” I had a narrow minded view of a spoon slapping, twang sounding, lyrically limited genre. Brandi Carlile’s “Bear Creek” is a perfect illustration of how vast country musics reach can be while touching the many emotions of the soul.

Carlile’s lyrical genius manages to evoke emotion and put me in the shoes of a child, a lover, a strong women and a lost soul. Each and every track tells a different story, rather then having a constant theme throughout the album.

I feel that to do “Bear Creek” real justice, this review must go into several of her tracks in depth, as each has its own special element that deserves to be explored. The opening track, “Hard Way Home” has a musically upbeat sound, including a bit of a “soul clap” giving that boisterous feel. “Raise Hell” encompasses a powerful element, while allowing to feel her struggle not only through her lyrics but through her voice. During “Keep Your Heart Young”, Carlile demonstrates the classic country sound with beautiful harmonies, with an exquisite accompaniment of an acoustic guitar, a walking upright bass line and the soft sound of brushes tickling the snare drum. With the ballad “A Promise to Keep” the sorrow of Carlile is expressed with her melodic lyrics and classical quartet with the accompaniment of a guitar, touching both your heart and soul.

Carlile has effectively and emotionally put out an album with cutting-edge elements that many artists strive to have. She displays lyrical mastery, vocal finesse and is accompanied by a variety musical styles, putting together what REALLY makes an album. Each track has something special to give to the listener, and is worthy of a gander so we can share the Carlile experience together. Do yourself the COUNTRY favor.

Pamela Erin Gordon

MUSIC

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