music review

Kelly Clarkson’s Album “Wrapped in Red”- A Review

Wrap Yourself In Kelly’s Red

Now that Thanksgiving is over, we can finally talk about Christmas stuff. Aren’t you glad I bothered to wait?! So, one thing that happens, just about every year, is a bevy of pop Christmas albums. From Destiny’s Child, to Nat King Kole, to Aaron Neville, we get bombarded with pop renditions of Christmas carols and newly written stuff that either makes a place in our traditions, or quickly falls by the wayside. So, of course, that’s exactly what this review is about!

Why did *I* wait so long? Well, I try to avoid Christmas music till Thanksgiving, so I kind of forgot that this thing came out, but we’re doing it now, and you still have enough time to download it and gift it!! [Read more…] about Kelly Clarkson’s Album “Wrapped in Red”- A Review

Album Review: James Ferraro – NYC, Hell 3:00 AM

by Rio Toro

James Ferraro: NYC, Hell 3:00 AM

Similar Artists: Dean Blunt, D’eon, Inga Copeland

Genre: Experimental

Label: Hippos In Tanks

I can’t say I’ve ever completely enjoyed a release by James Ferraro. With that said, he is a fascinating producer, and one I have always listened to with a perked ear. Within recent years — since the release of Far Side Virtual (an album of his I’m still torn on) — he has been viewed as one of the more forward thinking producers within the experimental realms. After the bizarre eccentricities (ads, Microsoft voices) that became a part of his sound with Far Side Virtual, he has moved down a darker, more R&B influenced path. Sushi, the album he introduced many of these new themes on, was a pull away from his hyper conceptual work, and with his Cold mixtape earlier this year — with the emphasis largely being put on the beats and Ferraro’s own voice — it seemed he was moving in a more accessible, or at least more digestible, direction.

However, NYC, Hell 3:00 AM sees Ferraro taking his newly found sounds and crafting them into a dense, multifaceted 60 minute album that recaptures his love for overarching conceptual design. As the title suggests, this album was inspired by NYC at its darkest, most depressed, and most surreal. On these terms, Ferraro has conquered, as the album is synonymous with subway systems, a lack of oxygen, and towering grey skyscrapers that keep you locked in like a prison. This is a new kind of darkness that Ferraro is playing with, and he’s not the least bit afraid to make us feel uncomfortable. While people have been attempting to fit Ferraro’s work in with the current wave of ghostly R&B — popularized by How To Dress Well, The Weeknd, etc. — in reality there is little comparison. While I don’t feel this direction is James’ attempt to make a mockery out of this style, he does play up the humor every once in a while. “Cheek Bones”, one of the lengthier, and even dancier tracks, has the main lyric of /I don’t want cancer, but these cigarettes give me cancer/ and there are similar moments of irony played out through the album. It’s for this reason that James’ closest comparison is label mate Dean Blunt, who took his turning step as a vocalist on “The Redeemer”, released earlier this year. Both have a sound that is impossible to categorize, and their music is frequently intoxicating because of it.

These 16 songs are often skeletal, and bereft of many components that would have suited them nicely. Even the beats, which Ferraro has previously piled layer on top of layer, are conspicuously absent for minutes at a time. What is there, however, is enveloping, and harrowing in its tone. This will likely go down as James’ ambient period, as he seems much more concerned with creating a dense, cataclysmic atmosphere rather than writing solid hooks…or poetic lyrics…or any of the other things an artist would add to their music to assure people would enjoy it. Take the opener, which begins with a loop of a feminine Microsoft voice saying “money” over and over again; we keep expecting a beat to drop in, but it never does, in turn introducing the album’s neglect towards our expectations.

Many tracks, especially during the first half of the album, feature organic instrumentation such as bells, as if they are being heard from a far away church, and they act as the one safe haven in a land crawling with filth. The field recordings — which pull from idle chatter to police sirens, to 9/11 news reports — add to the tense feeling that becomes burrowed within your skin through the endurance testing running time.

Somehow, it works though. If only for its uncategorizable mood and consistently dense atmosphere, NYC Hell 3:00 AM, is an unforgettable work. It’s an album’s album: one that you couldn’t listen to a lot — or in this case, barely at all — but when that right time comes, it will be right there at the back of your mind begging you to explore its world one more time.

Track Listing:

1.) Intro

2.) Fake Pain*

3.) QR JR

4.) Close Ups*

5.) Beautiful John K.

6.) Stuck 1

7.) City Smells

8.) Upper East Side Pussy*

9.) Eternal Condition

10.) Stuck 2

11.) Niggas

12.) Stuck 3 (RATS)

13.) Cheek Bones*

14.) Vanity

15.) Irreplaceable*

16.) Nushawn

Album Highlight – *

Album Review: Various Artists – After Dark 2

by Rio Toro

Various Artists: After Dark 2

Similar Artists: The ones featured here

Genre: Italo-Disco, Synth-Pop

Label: Italians Do It Better

Choose any of the 15 tracks on After Dark 2, and chances are by the song’s end you will already have been sucked into the ultra stylish and noir-esque world of Italians Do It Better. If you’re familiar with previous releases from the label, then you know what you’re getting into here, but the fact that this isn’t a departure certainly doesn’t make the material any less mesmerizing. There’s a clear vision being expressed wholeheartedly by the artists’ here, and it’s arguable that their vision has never been implemented as precisely and seductively as it is here. There’s no denying that compiling the material for this album was a painstakingly tiring process — being plagued by delays since 2008, it even seemed doubtful that there would be an After Dark 2 at all — so the fact that it’s a near perfect representation of the label’s history is somewhat of a miracle.

Maybe it was because everyone was going crazy about darkly sensual “nighttime” electronic music in 2012 due to the popularity of Nicolas Winding Refn’s surrealist, late-night noir masterpiece “Drive”, but something about the two big releases from Italians Do It Better from last year — both Symmetry’s Themes for an Imaginary Film, and Chromatic’s Kill for Love — felt otherworldly and essential. Kill For Love in particular seemed to open a dimensional rift that led us into a 1980’s set in an alternate universe.

However, if you thought those two albums indebted too much to film scores — and consequently had too many drawn out ambient pieces — After Dark 2 is for you. As on After Dark (1), once again, label head Johnny Jewel (whose name still never falters to make me sprout with joy) produces and/or performs as a band member in the majority of these tracks — and once again again, the disk is led my the labels two most prominent acts, Chromatics and Glass Candy, who together make up 1/2 of the over hour and 15 minute running time. There are also a host of radiant “newcomers”, such as Appaloosa, Mirage, and Farah, who do in fact happen to steal the spotlight every once in a while — Appaloosa’s “Intimate” being my personal favorite.

It all feels remarkably well put together for a compilation, as there are instrumental excursions, four on the floor bangers — as well as minimal atmospheric pieces compared to more heady, maximalist ones. Even so, all the tracks contain a similarly fueled icy design, so there are no huge surprises or non-sequitors (except for perhaps the quite satanic sounding “Into Eternity”). This is possibly the best part about After Dark 2: when you put in on, you are immediately taken away, and you’ll know where you are until you choose to turn it off. Although this music at its heart may be most intended for night driving, it has the ability to change the form of any environment you might be in (subways, walks in the park, your living room…).

The coolness that is inherent to the album’s design gives it a lot of soul, but as on previous releases the music is somewhat devoid of emotion. Even when the vocalists are pouring their hearts out and reciting their vows, they still seem inhuman and robotic when we think of them as actual people. Although this may sound like a negative to some, the lack of humanity plays along with how remarkably stylish and mysterious the music is.

When I listen to this compilation I’m reminded of the essentials to dance music — like how a simple well placed bass drum can bring tremendous light to a melody, or how the seemingly endless repetition of a synth pattern can become our best friend when the atmosphere is just right. Even with the vintage synths and ancient machinery at work here, as a piece, After Dark 2 feels eternal. It’s almost too corny to say, but these Italians still, still, do it better.

Track Listing:

1.) Warm In The Winter*

2.) Tears From Heaven

3.) Let’s Kiss*

4.) Fill the Blanks

5.) Looking For Love*

6.) Heart of Darkness

7.) Camera

8.) Half Lives

9.) The Possessed*

10.) Cherry*

11.) Beautiful Object

12.) Into Eternity

13.) Intimate*

14.) The Magician

15.) Redheads Feel More Pain

Album Highlight – *

Album Review: Daft Punk – Random Access Memories

by Rio Toro

Daft Punk: Random Access Memories

Similar Artists: Giorgio Moroder, Nile Rodgers

Genre: Disco, House, Pop, Dance

Label: Columbia

With Random Access Memories, Guy-Manuel and Thomas Bangalter have created an album that is so meticulously detailed and expensively produced that it is essentially critic proof. At 320 kps, RAM is simply one of the best sounding records of our time, and it makes all other factors such as songwriting and originality seem far less important than they should be. It is not an exaggeration to say this is the new go to album when testing out the quality of a new set of speakers/headphones. Still, while critical reception has been, for the most part, very positive, this has to do with it being undeniably solid and pleasing to the senses rather than it being groundbreaking.

On first listen, it is easy to be disappointed – I for one was expecting something much more progressive. After the resounding amount of hype surrounding this release, it is slightly disheartening that 2/3rds of the record is made up of slow jams. As a whole, this is a record that is neither as fun as Homework, nor as revolutionary as Discovery. Instead, RAM stands on its own within the group’s discography, and in its own way, it ends up being just as impressive as the duo’s previous landmarks.

Obviously, this is a record that looks to the past for inspiration, and here we get to see the duo wear their long time influences on their sleeves in spectacular fashion. Many of the duo’s long time influences even take part in songwriting credits and vocal duties. The concept of the album is about living in the sounds of the past to arrive at a new destination that encapsulates the spirit and energy of a time long gone. This is most present in the Todd Edwards sung title track “Fragments of Time”, where he repeatedly sings /I’ll just keep playing back, these fragments of time, everywhere I go, these moments will shine/ during the chorus. Unfortunately, that song ends with a Peter Frampton like vocoder guitar solo that is one of the few instances where the sound comes off as being nearly pastiche. Most of the time, the album plays true to this theme of reinventing the past while still sounding modern and fresh.

The list of collaborators that took part in the construction of RAM is sprawling, and representative of an array of genres spanning multiple decades. A whole lot of talent, such as Nile Rodgers’ disco infused guitar work and Paul Williams’ emotive, almost broadway vocals, is showcased throughout the hour plus running time. Some of the most interesting collaborations come with newer artist’s such an Noah Lennox and Julian Casablancas lending their gifts to the sounds of 70’s and 80’s house music. While a look at the production credits would leave one to believe the album would be a clusterfuck of auto-tuned vocals and incongruous harmonies, it is to the producers credit that the opposite is true. In fact, the pairings are often so smooth and nuanced that the results seem far too natural and human for a group as robotic and mechanized as Daft Punk.

While Daft Punk has always been cheesy in their own delightful way, here they have taken more than a few steps into adulthood. After all, these are two grown men who are pushing their mid 40’s; so it is no wonder why they have thrown out many of their less mature charades. However, some of the cheesiness that fueled their earlier work still has a lingering presence – it is during these moments where the album occasionally falters, as we feel they aren’t in on the joke of how silly some of this music is. One such instance that calls to mind is the album’s miraculous and spectacle worthy “Touch”, which is almost ruined when Paul Williams sing’s /Touch sweet touch, you’ve given me too much to feel, sweet touch, you’ve almost convinced me i’m real/ in a disastrous cry of self pity that proves way too broadway for this reviewer.

Above all else, this is an album in the truest sense of the word. It is meant to be listened to in unison, and after it sinks in, you could easily live with this music for weeks on end. Best represented by Giorgio’s voiceover on “Giorgio by Moroder”, RAM is an album about disco rather than a disco album – not unlike how DJ Sprinkles fantastic “Midtown 120 Blues” was an album about the classic deep house scene. Daft Punk have perhaps created the most expensive music history lesson of all time. Although the effect it will have on the future of music is uncertain, as of now it is an absolute essential to any music lovers catalogue.

Track Listing:

1.) Give Life Back To Music

2.) The Game of Love

3.) Giorgio by Moroder*

4.) Within

5.) Instant Crush

6.) Lose Yourself to Dance

7.) Touch*

8.) Get Lucky*

9.) Beyond

10.) Motherboard

11.) Fragments of Time

12.) Doin’ in Right*

13.) Contact*

* – Album highlight

Album Review Jamie Lidell – (Self Titled)

by Rio Toro

Jamie Lidell: Jamie Lidell

Similar Artists: Cee-Lo, Otis Redding, Marvin Gaye

Genre: EDM, Neo-Soul, R&B

Label: Warp

For a white guy, Jamie Lidell has an immaculate and beautifully soulful voice, so it is interesting that despite its prevalence throughout his work, it has never been what has made his music great. Although he probably likes to see himself as a relevant artist in contemporary r&b, in reality he has received little crossover success beyond electronic circles. Although his voice has been a nice enough addition, it is the production that has always shined. As a radio friendly self titled album, this seems to be Jamie’s final push in an attempt to be seen as more than a very talented electronic producer.

I will get to the results of this rebirth soon, but first a quick overview. Jamie Lidell creates glimmering and intelligent EDM that captures the essence of the 70’s and early 80’s while employing updated technology. He is a stellar producer who has recently reached veteran status in the field. In the late 1990’s to early 2000’s he earned recognition as one half of experimental techno unit “Super-Collider” and subsequently began releasing solo material for Warp Records. His best albums under his birth name (most notably “Multiply” and “Compass”), have a sense of radical adventurousness associated with them and are gems within their niche.

Sadly, here Lidell trades in much of his unorthodox trademarks for near pastiche. Each song becomes somewhat of a “name-the-influence” game, and despite the greatness of these influences (Prince, D’Angelo, Marvin Gaye), the results are far inferior to their parents. It certainly isn’t a bad thing that this is a radio friendly “pop” album – you would think Jamie would be the kind of producer who could break into the top 40 without having to sell out – but the songs are hindered by vocals that are either too emotional or not emotional enough…I often can’t tell which.

Toro Y Moi’s “Anything In Return” was similarly geared towards larger scale success, but on that album, Chaz Bundwick added his own distinctiveness to pop-radio to create a fresh (if not entirely original) sound. This is much more effortless in comparison, and is disappointing concerning how talented we know the artist to be. Even worse though, is that this album isn’t even enjoyable to listen to. There is clearly an element of enthusiasm lacking here, so it is a wonder if Jamie even had fun making it.

A few months ago, when first single “What a Shame” was released, it garnered critical acclaim and Jamie received a popularity boost to boot. This track stands as a template for what much of the remainder of the album attempts – action packed, 3-4 minute pop jams with big choruses – and it is all equally well produced. While “What a Shame” stood as a somewhat exciting lead single, just like the rest of the album, it fails to hold its own after multiple plays. So much pop music has taken the route of production over style and grace, and this falls into a similarly dark pothole.

I could go on to write about more songs, and their individual characteristics within the album, but the thing is, these songs don’t really inspire much in the way of words. Over the last few years, with artists such as “How to Dress Well”, “Frank Ocean”, “Autre Ne Veut”, and even “The xx”, R&B has been awakening from an incubation period. For a moment, it seemed that Jamie would be one of the leading contributors in this exciting evolution. I’m sad to say that this rebirth doesn’t warrant him a spot alongside these artists; how could it if it doesn’t even cause us to turn our heads? 🙁

Track Listing:

1.) I’m Selfish*

2. ) Big Love

3.) What A Shame*

4.) Do Yourself a Faver

5.) You Naked

6.) Why_Ya_Why

7.) Blaming Something*

8.) You Know My Name

9.) So Cold

10.) Don’t You Love Me?

11.) Track 11*

Album Review: Iceage – You’re Nothing

by Rio Toro

Iceage: You’re Nothing

Similar Artists: The Fall, No Age, Metz

Genre: No-Wave, Goth-Rock, Punk, Post-Hardcore

Label: Matador

Somehow, this nihilistically driven punk band made up of Danish teenagers has gotten a lot of attention in America as of late. Ever since their debut in 2011, seemingly due to their blood splattering live shows that excellently showed off the band’s raw intensity, they have been called “saviors of punk” and “the only authentic punk-revivalists”. It’s funny though, that many label this as straight up punk music, because it actually has much more in common with no-wave bands or sludgy goth-rock. Sure, there are hooks and some poppy moments, but the music should have proved inaccessible to most indie rock listeners (It hasn’t). If a change is happening regarding ugliness ever so slightly making its way into the mainstream, Iceage are leading the battle, and they certainly have enough energy and wit to do so.

Regardless of whatever astronomical alignment brought this band into the spotlight, they are surely worthy of the praise they have received. With “New Brigade” and now this, Iceage have crafted some of the most brash and delightfully sloppy rock music in recent memory. Just like some of the best hardcore albums, at fewer than 30 minutes, these two are exceedingly brief and spontaneous. There is no repetition, and each song encapsulates an impressive amount of detail. The cavalcade of distortion, grimy textures, and Elias Bender Rønnenfelt’s dogly yowl of a voice make this a difficult listen, but much like a My Bloody Valentine album, the waves eventually part and we can tell just how labored over these songs are.

“You’re Nothing” sees the band make the appropriate improvements to their sound without sacrificing any of their grit. This is a tighter record in terms of songwriting and just about everything else as well, but it still feels that these young punks are simply making music for themselves, and that they don’t give a shit what anyone else thinks. This album is certainly no overhaul in sound, and it shouldn’t be, because Iceage are mining territory that no one else is right now.

Each and every song here is worthy of analysis, but I’ll just remark on a few key pieces. Opener “Ecstacy” is the band’s brazen stomp of dirtiness that conveys the album’s heavy, anxiety led themes. During the verse Rønnenfelt sings /Pressure, Pressure, all god knows/ in his zombie drawl while we are buried by creaking gothic guitars. “Burning Hand” is a heavier piece that incorporates sludgy “Melvins” inspired guitars and dreadful vocals. In case you thought these guys couldn’t kick out a demanding and fastidious guitar riff, “In Haze” puts you to rest. The link that holds all these pieces together is the infusion of manic, sweat inducing percussion.

“Morals” might be the true highlight here, with piano chords (yes, you read that right) laying alongside exasperated vocals that cry, /to be someone like you/ which recalls “The Cure” at their self loathing best. The second part of the song continues with the painfully sung verse /where’s your morals/ which is surely to be one of their defining live moments. “It Might Hit First” is screams and dissonance, lightning fast chord patterns and incessant drumming. The last two songs, “Awake” and “You’re Nothing” are some of the most accessible. The title track in particular is very reminiscent of 70’s pop punk, and surely contains what is to be some of their most shouted lyrics at upcoming shows.

While describing this band, it is necessary to use negative adjectives (incessant, exasperated, dreadful) that you wouldn’t imagine added up to good music, but somehow it all works perfectly here. To take a quote from David Byrne “The better a singer’s voice, the harder it is to believe them”. This completely describes why so many people become infatuated with artists such as Dirty Projectors, or the even uglier Xiu Xiu. Like those artists, (Talking Heads included), Iceage is pure, expressive and wholly authentic, three traits that have always added up to make great music. They have always been the traits that I have followed in my quest of endless music discovery, and as of now, I will follow Iceage wherever they take me.

Track Listing:

1.) Ecstacy*

2.) Coalition*

3.) Interlude

4.) Burning Hand*

5.) In Haze

6.) Morals*

7.) Everything Drifts

8.) Wounded Hearts

9.) It Might Hit First

10.) Rodfæstet*

11.) Awake

12.) You’re Nothing*

Album Review: Nick Cave & The Bad Seeds – Push the Sky Away

by Rio Toro

Nick Cave & the Bad Seeds: Push the Sky Away

Similar Artists: The Mountain Goats, Tom Waits, Scott Walker

Genre: Singer-songwriter, Post-Punk, Indie

Label: Bad Seeds Ltd.

How many people can say they truly know Nick Cave? I certainly can’t, and I don’t think I would want to either. He is a perplexing artist whose ideals have stretched his work far beyond that of any of his so-called peers. His extensive discography with the Bad Seeds alone has been consistent enough that each new release has presented the band’s signature style in a freshly drawn light. Despite their increased age, these folks have never lost their edge as musicians, and the material they are putting out nowadays is arguably as great as its ever been. However, and this is a big however, if you are a newcomer, there is a time consuming process involved for full enjoyment.

If you aren’t familiar with this band’s previous work, it is quite essential that you start at the beginning, with 1984’s “From Her To Eternity”, or better still, you can start with Nick Cave’s highly influential goth-rock group “The Birthday Party” in 1980. So this is undoubtedly a lot of music to listen to, and taking the plunge will likely put you out of listening to anything else for about a month, however, the process is crucial because of Nick Cave’s constant progression upon past ideas and his use of “inside jokes” that only the closest-knit fans will comprehend. Missing out on even one album can be detrimental to your view on the band’s universe as a whole. If you are a hardcore music nerd like me, you shouldn’t allow that for yourself.

Still, despite having listened to the entirety of this band’s music, I can’t say I have digested all of it, especially when speaking of lyrical content. True lyrical insight here requires focused listens, preferably accompanied by a lyric sheet – but any fan will tell you it is worth the extra time. Much like Tom Waits or John Darnielle, Cave has created a dense mythology around his work. Encased in these albums are several novels worth of picaresque characters, interesting scenarios and fantastical settings; all of which revolve around Nick Cave’s black sense of humor and irresistibly sardonic tone. Nick Cave is not simply trying to be the coolest person in the world; he is also trying to be the most interesting and intelligent.

This is his 15^th album with the Bad Seeds, and alongside “The Boatman’s Call”, “No More Shall We Part” and “Abbatoir Blues”, it is among his most somber and least rock & roll. Only on “Jubilee Street” are we greeted to anything resembling a traditional rock piece. Assumingly inspired by Nick Cave and Warren Ellis’ film scores over the past few years, this is music of the cinematic variety. All the tracks here are accompanied by some sort of orchestral element. The production values are high, as we are now used to with this band, but the instrumentation is all used tastefully to prevent any bombastical splurging.

We have heard orchestral before from these guys, so what really sets this album apart from previous work is its lack of percussion. This lack of a beat gives the album a buoyant, dream like feel, and is best represented with the mesmerizing opening and closing tracks – which are peerless when concerning any of the band’s previous sounds. With that said, you certainly won’t be mistaking this for any dream pop band, it is still Nick Cave & the Bad Seeds, but now they are wearing a highly glossy new shed of skin.

Some songs, such as “Finishing Jubilee Street”, are clearly about dreams, but with the bizarre imagery laid throughout I wouldn’t be surprised if the entirety of the album was culled from nocturnal fantasies. There are some truly head scratching lines here, like when Mylie Cyrus and Hanna Montana play roles in a song that clearly has nothing to do with them/her, or a reference to Wikipedia being heaven. Similarly, the spelling of the first track, “We No Who U R”, seems to reflect that the band is poking fun at an earlier generation. Previously, most of Cave’s lyrics have been enrooted in the past, so this new, very modern approach of spawning lyrics from random internet searches seems all the more grasping (and of course, hilarious). It is a nice change of pace for the band, as many of the lyrics seem more open to interpretation and impressionistic, yet still containing Cave’s knack for storytelling.

So if I haven’t made myself clear already, this is a great album, and one that has its own spot in the group’s discography. After the high octane rush of “Dig, Lazarus, Dig” and the Grinderman side project, we needed something more mellow. This is the perfect antithesis of those records and shows yet another, just as worthy side to the band.

Track Listing:

1.) We No Who U R*

2.) Wide Lovely Eyes

3.) Water’s Edge

4.) Jubilee Street*

5.) Mermaids*

6.) We Real Cool

7.) Finishing Jubilee Street

8.) Higgs Boson Blues

9.) Push the Sky Away*

* – Album Highlight

music review

Wrap Yourself In Kelly’s Red

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