Wednesday, February 11, 2015
Songs of the Day
Today's tracks up for review are numbers 1-4: "Cycle," "Morning," "Heart Is A Drum," and "Say Goodbye."
Morning Phase begins with a very sweet string intro, "Cycle." There's a great depth to it that pulls you in. It's only forty seconds, going right into the preceding song, but it does exactly what an intro is supposed to do and gets you excited for the record.
The transition into "Morning" is seamless as they are part of one another, and it has a great effect. What I think I like most about this track are the swells in dynamics, they have a wave-like quality to them that I find very relaxing. I like that the track as a whole is very simple, while still having multiple parts to it. The distance of the vocals add a cool, affective effect, particularly for this vibe. His vocal harmonies are great as well. The guitar and piano parts are sweet and simple, blending well with the strings and ambient feel of the groove. This number reminds me of the Flaming Lips a little bit. I dig it.
"Heart Is A Drum" goes right along with the same kind of simple, guitar-based groove. The layering of the vocals is really nice, and it adds a depth to the track that would have otherwise felt bare if it were just one or two vocal parts. I'm not a fan of the piano that comes in towards the latter half, I find it unnecessary and think it makes the groove sound a little cornier than it had prior. While this is certainly a nice, simple song, I think it might be a little long for what it is, as I found myself losing interest towards the end.
By "Say Goodbye," you get a sense of the vibe of this record. I like the simplicity to it, but I wish that this track had more of the dynamics that I enjoyed in "Morning." You can only have so much guitar with ambient vocals. I wish the vocals were up in the mix the whole song and not just on "to say goodbye," but I do really like the harmonies that come in on that line. The entrance of the banjo didn't do anything for me, and - like the piano in the previous track - I thought it made the song sound a little corny. Otherwise, it's a nice song. "Morning" is still my favorite of the day though.
Morning Phase begins with a very sweet string intro, "Cycle." There's a great depth to it that pulls you in. It's only forty seconds, going right into the preceding song, but it does exactly what an intro is supposed to do and gets you excited for the record.
The transition into "Morning" is seamless as they are part of one another, and it has a great effect. What I think I like most about this track are the swells in dynamics, they have a wave-like quality to them that I find very relaxing. I like that the track as a whole is very simple, while still having multiple parts to it. The distance of the vocals add a cool, affective effect, particularly for this vibe. His vocal harmonies are great as well. The guitar and piano parts are sweet and simple, blending well with the strings and ambient feel of the groove. This number reminds me of the Flaming Lips a little bit. I dig it.
"Heart Is A Drum" goes right along with the same kind of simple, guitar-based groove. The layering of the vocals is really nice, and it adds a depth to the track that would have otherwise felt bare if it were just one or two vocal parts. I'm not a fan of the piano that comes in towards the latter half, I find it unnecessary and think it makes the groove sound a little cornier than it had prior. While this is certainly a nice, simple song, I think it might be a little long for what it is, as I found myself losing interest towards the end.
By "Say Goodbye," you get a sense of the vibe of this record. I like the simplicity to it, but I wish that this track had more of the dynamics that I enjoyed in "Morning." You can only have so much guitar with ambient vocals. I wish the vocals were up in the mix the whole song and not just on "to say goodbye," but I do really like the harmonies that come in on that line. The entrance of the banjo didn't do anything for me, and - like the piano in the previous track - I thought it made the song sound a little corny. Otherwise, it's a nice song. "Morning" is still my favorite of the day though.
Tuesday, February 10, 2015
Album Factoids
Morning Phase
Released: Feb 21, 2014
Genre: Alternative
Label: Capitol
Producer: Beck
Released: Feb 21, 2014
Genre: Alternative
Label: Capitol
Producer: Beck
Week 99: Beck
So, I actually got the suggestion to review this a couple months ago from my boy Charley, but I went with something else instead (don't remember what). Now that all this "album of the year" drama went down at the Grammys, I obviously have to listen to the album that beat one of the most game-changing albums of all time, Beyoncé. I'm also looking forward to reviewing this, because other than his song "Loser," I'm pretty unfamiliar with the majority of Beck's work. I know that he's an amazing musician, and seeing as he's been around for 20 years, this seems to be an appropriate time to hear what all of the hoopla is about :)
Final Grade: A-
That's right, jazz heads, I didn't think Miles was perfect! Damn near, but not quite. Live - Evil is a phenomenal (as expected), game changing record. Listening to this in 2015, it has a style that you can tell fits in the 70s, but once you realize it was released in 71 it's evident that this was forward thinking, envelope pushing, and ahead of its time. This is not a record that I would recommend to any first-time jazzers - only the heavy hitters, or those more than familiar with jazz should attempt to dive into this one. It is easy to gather from the multiple 20+ minute long songs that there is a lot of jamming going on, which can be deterring for some, but for those willing to listen this record is filled with gems. There's no surprise that all of Miles' solos are borderline transcendent, as they crossed boundaries in improvisation, finding new ways to express one's self via their instrument, but he had plenty of help along with way with heavy hitters like Keith Jarret, Chick Corea, Herbie Hancock, and Jack DeJohnette to carry this album along. "Little Church" is probably my favorite track off the record, as there's a subtlety to it that contrasts the sometimes overwhelming jams going on throughout. The minus in this grade comes from "What I Say," as I felt that track to be repetitive, particularly for a song of its length. While this was certainly a feet first, eyes closed jump into the music of Miles Davis, it was a needed leap into the world of a master that for me had been fairly unknown (I had obviously been aware of Miles' more popular music). As stated before, this is not for the faint of heart, but should you like to be challenged and/or transcribe crazy scales, this record is for you.
Monday, February 9, 2015
Songs of the Day
Got the final 2 tracks up for review today: "Funky Tonk," and "Inamorata and Narration by Conrad Roberts." Both of these jams clock in at over 23 minutes, so I obviously won't be getting into serious detail, or else that would take me hours (and I still haven't had dinner). Anyway...
Man, everyone is going in on "Funky Tonk," almost distractingly so. There isn't much of a cohesive groove to the track (as has been the case with some of the previous tunes), so everyone is pretty much doing their own solo stuff for the majority of the track. This can sound very cluttered when done with musicians who don't know what they're doing, but that is obviously not the case here. The wah-wah on Miles' trumpet adds a cool effect to his solo, which is bananas. I think Gary Bartz on soprano sax takes the best solo in this number, some of the scales that he has going on around the 7 minute mark are nothing short of insane. Same with Jack DeJohnette on drums, but again, no surprise there. Around 17 minutes, the groove slows down and makes way for Keith Jarret on keys, and it's pretty beautiful. As soon as I listened to this section of the tune, I knew this was Keith and not Chick or Herbie on keys - he has such a distinctive style, particularly in the scales and chords he uses. He gets a solid 4 minutes on his own to shine before the rest of the band really comes in, and I must say the last 2 minutes are probably my favorite of the song. There's actually a groove to settle yourself with at the end, and it's nice to finally have something to anchor yourself to (even if it is still all over the place). This is another one for the serious jazz heads.
"Funky Tonk" goes right into "Inamorata," which is cool. I'm not sure if it's just spotify having a lack of transitions, but there was a pause between the two tracks even though it was clear that they went straight into one another. The tracks probably connected seamlessly on vinyl, but that space in between was slightly off-putting. This is another jam track with everyone going crazy doing their own thing. So, the end of the record is essentially an hour-long jam. There's a little more of a cohesive groove to this one, which is welcomed after the kind of hodge podge that was going on in the previous track. Miles' solo at the beginning of this is phenomenal to say the least. The things that man could do with a trumpet, goddamn. Michael Henderson on bass finally has his time to really shine starting around 11 minutes, and the man surely knew how to solo. I dig that the groove starts to slow down around the 17 minute mark, getting ready for Conrad Roberts' spoken word around 23 minutes. I a) wish I could hear him better, and b) wish that the groove had stayed subtle behind him - the groove got crazy again and was kind of distracting, and I was looking forward to a bit of a breather. The end of this track is pretty fucking rock n roll, and that's awesome coming from some jazz heads. Those unfamiliar with jazz jams will most likely get lost in these two tracks, but the brave ones can surely take them on.
Man, everyone is going in on "Funky Tonk," almost distractingly so. There isn't much of a cohesive groove to the track (as has been the case with some of the previous tunes), so everyone is pretty much doing their own solo stuff for the majority of the track. This can sound very cluttered when done with musicians who don't know what they're doing, but that is obviously not the case here. The wah-wah on Miles' trumpet adds a cool effect to his solo, which is bananas. I think Gary Bartz on soprano sax takes the best solo in this number, some of the scales that he has going on around the 7 minute mark are nothing short of insane. Same with Jack DeJohnette on drums, but again, no surprise there. Around 17 minutes, the groove slows down and makes way for Keith Jarret on keys, and it's pretty beautiful. As soon as I listened to this section of the tune, I knew this was Keith and not Chick or Herbie on keys - he has such a distinctive style, particularly in the scales and chords he uses. He gets a solid 4 minutes on his own to shine before the rest of the band really comes in, and I must say the last 2 minutes are probably my favorite of the song. There's actually a groove to settle yourself with at the end, and it's nice to finally have something to anchor yourself to (even if it is still all over the place). This is another one for the serious jazz heads.
"Funky Tonk" goes right into "Inamorata," which is cool. I'm not sure if it's just spotify having a lack of transitions, but there was a pause between the two tracks even though it was clear that they went straight into one another. The tracks probably connected seamlessly on vinyl, but that space in between was slightly off-putting. This is another jam track with everyone going crazy doing their own thing. So, the end of the record is essentially an hour-long jam. There's a little more of a cohesive groove to this one, which is welcomed after the kind of hodge podge that was going on in the previous track. Miles' solo at the beginning of this is phenomenal to say the least. The things that man could do with a trumpet, goddamn. Michael Henderson on bass finally has his time to really shine starting around 11 minutes, and the man surely knew how to solo. I dig that the groove starts to slow down around the 17 minute mark, getting ready for Conrad Roberts' spoken word around 23 minutes. I a) wish I could hear him better, and b) wish that the groove had stayed subtle behind him - the groove got crazy again and was kind of distracting, and I was looking forward to a bit of a breather. The end of this track is pretty fucking rock n roll, and that's awesome coming from some jazz heads. Those unfamiliar with jazz jams will most likely get lost in these two tracks, but the brave ones can surely take them on.
Sunday, February 8, 2015
Songs of the Day
So, today it's three tracks up for review: "What I Say," "Nem um Talvez," and "Selim."
I'll be honest, "What I Say" isn't my favorite. It's definitely a solid number, but my god is it repetitive. I feel bad for Michael Henderson who essentially plays Bb the entire song, with the same rhythm the whole time. Not to say that what's going on here isn't dope, there are definitely some shining moments among the solos, but it's a jam over the same groove for 20 minutes. Twenty whole minutes of the same groove. That being said, having the same groove allowed for drummer DeJohnette to go off for the majority of it, and his skills are nothing short of amazing. I guess the simple groove also makes improvising over it that much easier, but I got the point after 5 minutes. This is one for the serious jazz heads that want to analyze and transcribe the insane solos that go on throughout this number.
"Nem um Talvez" is another number written by Brazilian composer Hermeto Pascoal, but this one isn't as off-the-bat Brazilian sounding as "Little Church." This track is very mellow, with an eeriness to it that's pretty cool. I like that this is another track where Miles and the vocals (again, by Hermeto) are in unison on the melody - it adds a richness to a melody that would otherwise feel somewhat empty were either of those parts on their own. The percussion (Airto Moreira) kind of makes the song feel like it's part of an evil seance, or something, which is pretty cool. Dope tune.
"Selim" is essentially the exact same song as "Nem um Talvez" except without the percussion, the bass line is slightly different, and it's half as long. I actually became familiar with this song at a very early age, as my father did a cover of it with the Yellow Jackets on his record Bang!Zoom!, but had been unaware that it was a cover until recently. Needless to say, this one has a soft spot en mi corazón :)
I'll be honest, "What I Say" isn't my favorite. It's definitely a solid number, but my god is it repetitive. I feel bad for Michael Henderson who essentially plays Bb the entire song, with the same rhythm the whole time. Not to say that what's going on here isn't dope, there are definitely some shining moments among the solos, but it's a jam over the same groove for 20 minutes. Twenty whole minutes of the same groove. That being said, having the same groove allowed for drummer DeJohnette to go off for the majority of it, and his skills are nothing short of amazing. I guess the simple groove also makes improvising over it that much easier, but I got the point after 5 minutes. This is one for the serious jazz heads that want to analyze and transcribe the insane solos that go on throughout this number.
"Nem um Talvez" is another number written by Brazilian composer Hermeto Pascoal, but this one isn't as off-the-bat Brazilian sounding as "Little Church." This track is very mellow, with an eeriness to it that's pretty cool. I like that this is another track where Miles and the vocals (again, by Hermeto) are in unison on the melody - it adds a richness to a melody that would otherwise feel somewhat empty were either of those parts on their own. The percussion (Airto Moreira) kind of makes the song feel like it's part of an evil seance, or something, which is pretty cool. Dope tune.
"Selim" is essentially the exact same song as "Nem um Talvez" except without the percussion, the bass line is slightly different, and it's half as long. I actually became familiar with this song at a very early age, as my father did a cover of it with the Yellow Jackets on his record Bang!Zoom!, but had been unaware that it was a cover until recently. Needless to say, this one has a soft spot en mi corazón :)
Thursday, February 5, 2015
Songs of the Day
Got the first 3 tracks up for review today: "Sivad," "Little Church," and "Medley: Gemini/Double Image."
"Sivad" is pretty long number (but not the longest on the record) at 15:14, so I obviously won't be touching on every detail of the track. No one's trying to read an essay, and I'm not trying to write one. Anyway, with that disclaimer, "Sivad" is quite the track to open up with. It starts off the bat with a heavy funk groove, which would have been time-wise right when this style was really starting to catch steam. Even though everyone is kind of going HAM and doing their own thing, the groove is still cohesive, which is not an easy thing to accomplish. The groove gets a little bit of a breather at 3:00 with a relaxed groove, but another even more relaxed groove comes in at 4:20 (how appropriate considering that in my notes I wrote "this is when the weed kicked in" haha), and this groove carries out for the remainder of the song. Some of these scales that Miles is doing are so ridiculous, it kind of blows my mind. The same can be said for John McLaughlin's guitar solo, oh daddy. Then Keith Jarrett comes in and does his solo thang on the keys at 12:30, needless to say it is another "are you kidding me" kind of moment. This groove goes on a little long, but that's what happens when you're doing a live thing with a bunch of class A musicians, so I'm not mad at them. The thing I took the most away from this track was how, although they were all doing their own thing, the groove still came together as one cohesive thought. I don't like how abruptly the track ends, but otherwise this is a solid, solid tune.
When I first listened to "Little Church," I immediately got an Arthur Verocai/Brazilian vibe from it, which makes total sense considering that it was written by Brazilian composer Hermeto Pascoal, who is also featured on this track as the whistler (as well as drums, and electric piano). The line up of musicians on this track is kind of ridiculous. How in the world do you get Herbie Hancock, Chick Corea, AND Keith Jarrett all to play keys on ONE TRACK?? You're Miles Davis, that's how. Anyway, this is a (thankfully) short number that has a very relaxed quality to it that is quite soothing. I like that the whistling and Miles' trumpet are in unison, it has a nice, calming effect to it. The chords on this one are pretty awesome too, and I wish that I actually knew wtf was going on, so someone transcribe this for me so I know what's up. The groove kind of makes you feel like you're floating on water, and I dig that.
"Medley: Gemini/Double Image" is quite an out tune, to say the least. Mainly centered around McLaughlin's guitar, the groove is very dark and ambiguous. It would be an appropriate soundtrack were you to get lost in the woods at night and had no idea what the fuck was going on. I don't mean that in a bad way at all, that's simply the image that comes to mind when I hear it. Very grunge before grunge was a thing. It also has a vacancy to it that I find intriguing, it's like a bunch of sounds just happened to come together in some crazy time portal, or something. While there doesn't seem to be a solid groove that this track is centered around, it's not so all over the place that you zone out. I'm gonna get super zooted next time I listen to this, as I'm sure that's the state they were all in while recording.
"Sivad" is pretty long number (but not the longest on the record) at 15:14, so I obviously won't be touching on every detail of the track. No one's trying to read an essay, and I'm not trying to write one. Anyway, with that disclaimer, "Sivad" is quite the track to open up with. It starts off the bat with a heavy funk groove, which would have been time-wise right when this style was really starting to catch steam. Even though everyone is kind of going HAM and doing their own thing, the groove is still cohesive, which is not an easy thing to accomplish. The groove gets a little bit of a breather at 3:00 with a relaxed groove, but another even more relaxed groove comes in at 4:20 (how appropriate considering that in my notes I wrote "this is when the weed kicked in" haha), and this groove carries out for the remainder of the song. Some of these scales that Miles is doing are so ridiculous, it kind of blows my mind. The same can be said for John McLaughlin's guitar solo, oh daddy. Then Keith Jarrett comes in and does his solo thang on the keys at 12:30, needless to say it is another "are you kidding me" kind of moment. This groove goes on a little long, but that's what happens when you're doing a live thing with a bunch of class A musicians, so I'm not mad at them. The thing I took the most away from this track was how, although they were all doing their own thing, the groove still came together as one cohesive thought. I don't like how abruptly the track ends, but otherwise this is a solid, solid tune.
When I first listened to "Little Church," I immediately got an Arthur Verocai/Brazilian vibe from it, which makes total sense considering that it was written by Brazilian composer Hermeto Pascoal, who is also featured on this track as the whistler (as well as drums, and electric piano). The line up of musicians on this track is kind of ridiculous. How in the world do you get Herbie Hancock, Chick Corea, AND Keith Jarrett all to play keys on ONE TRACK?? You're Miles Davis, that's how. Anyway, this is a (thankfully) short number that has a very relaxed quality to it that is quite soothing. I like that the whistling and Miles' trumpet are in unison, it has a nice, calming effect to it. The chords on this one are pretty awesome too, and I wish that I actually knew wtf was going on, so someone transcribe this for me so I know what's up. The groove kind of makes you feel like you're floating on water, and I dig that.
"Medley: Gemini/Double Image" is quite an out tune, to say the least. Mainly centered around McLaughlin's guitar, the groove is very dark and ambiguous. It would be an appropriate soundtrack were you to get lost in the woods at night and had no idea what the fuck was going on. I don't mean that in a bad way at all, that's simply the image that comes to mind when I hear it. Very grunge before grunge was a thing. It also has a vacancy to it that I find intriguing, it's like a bunch of sounds just happened to come together in some crazy time portal, or something. While there doesn't seem to be a solid groove that this track is centered around, it's not so all over the place that you zone out. I'm gonna get super zooted next time I listen to this, as I'm sure that's the state they were all in while recording.
Tuesday, February 3, 2015
Album Factoids
Live - Evil
Released: November 17, 1971
Genre: Jazz
Label: Columbia
Producer: Teo Macero
Released: November 17, 1971
Genre: Jazz
Label: Columbia
Producer: Teo Macero
Week 98: Miles Davis
This week's album will be none other than Miles Davis' Live - Evil. This is another suggestion from the big brother, but he's my go-to music guru, so there's no surprise there. Miles was a huge inspiration to my father and his use of improvisation, he even goes to say that without Miles, my brothers and I might not be here. That said, it was definitely important for me to check out at least one of his records before I finished this quest, and the honor goes to Live - Evil. I also haven't reviewed any jazz or older records in a while, so this should be a nice switch up.
Monday, February 2, 2015
Final Grade: B+/A-
Yellow Memories by Fatima is a super solid record. Fatima's vocals are so diverse, they work almost effortlessly above the different styles going on throughout. The different styles is probably where the record loses some of its steam. While it was nice to hear variety, particularly in what Fatima is able to do vocally, the album didn't come off as a cohesive project. It starts out like a jazz/fusion kind of record, but then gets more into electronic, to a cappella, to future soul, back to jazz - it felt a little all over the place stylistically. "Do Better" was a great way to start off the album, but I feel would have been a more affective start to an album of that style. Just the same, I wish there could be a whole records worth of tracks like "Technology," and "Ridin' Round (Sky High)," which I felt showcased Fatima's vocals best. Those tracks also provide something a little fresher, and I think a full album of that future-soul style could have been more successful. That being said, I will definitely have a handful of these tracks on my subway playlist, and will certainly look out for more of Fatima's material in the future. Solid stuff.
Thursday, January 29, 2015
Songs of the Day
Got the final four on deck for review this evening: "Underwater," "Rest in Peace," "Talk," and "Gave My Name."
"Underwater" is certainly titled correctly, as the bass and guitar give this track a definitely underwater vibe. I like how smooth and relaxed the groove is, and while it gets a little repetitive, you can definitely get lost in it. Simple vocals from Fatima blend nicely with the beat, it's all very suave. I'm not the craziest about the horn sample, something about it sounds a little smooth jazz-y, which - let's be honest - isn't the best kind of jazz, but it works for what it is. The track is short and sweet, but its simplicity makes it a little forgettable compared to other tracks on this record. An overall good song.
It's unfortunate that I'm not a fan of either of the a cappella tracks, because I'm such a sucker for that. While I like "Rest in Peace" better than I did its a cappella predecesor, "Sun, Star, Solar," the harmonies still seem off for me. Her lead vocals sound great, but the backgrounds don't click for me. Like SSS, this track is also very short, more of an interlude if anything, so it's not too much of a bother for me. I could do without it though.
"Talk" has a slow, eerie vibe to it that I dig, but like "Underwater," it's almost too simple and gets lost among the rest of the record. The bass is probably my favorite aspect of the beat, it's so low and in the background that you almost can't hear it, but when you do, it becomes very strong and present. Fatima's vocals are nice, but they don't showcase her talent in the way that other tracks have. It's got a dream-like feel to it, but like many dreams, I might forget about it as soon as I wake up.
"Gave My Name" ends the record on a jazz note just as it had begun, but this definitely isn't my favorite track. The rhodes sounds great (but when doesn't a rhodes sound great?), but this is probably my least favorite track vocally. Fatima comes in flat, and the pitchiness is definitely noticeable in other spots throughout the song. She sounds good for the most part, but since this track is just rhodes and vocals, the spotiness in her vocals is much more noticeable, and can be distracting at points. Her vocals simply aren't as strong as they are on tracks like "Do Better," and "Family," which is a shame because she has a really lovely voice. That being said, it's very clear that she's giving her all into this track, and that says something. I would have hoped for a more solid ending to what was overall a strong record, but we can't always get what we want.
"Underwater" is certainly titled correctly, as the bass and guitar give this track a definitely underwater vibe. I like how smooth and relaxed the groove is, and while it gets a little repetitive, you can definitely get lost in it. Simple vocals from Fatima blend nicely with the beat, it's all very suave. I'm not the craziest about the horn sample, something about it sounds a little smooth jazz-y, which - let's be honest - isn't the best kind of jazz, but it works for what it is. The track is short and sweet, but its simplicity makes it a little forgettable compared to other tracks on this record. An overall good song.
It's unfortunate that I'm not a fan of either of the a cappella tracks, because I'm such a sucker for that. While I like "Rest in Peace" better than I did its a cappella predecesor, "Sun, Star, Solar," the harmonies still seem off for me. Her lead vocals sound great, but the backgrounds don't click for me. Like SSS, this track is also very short, more of an interlude if anything, so it's not too much of a bother for me. I could do without it though.
"Talk" has a slow, eerie vibe to it that I dig, but like "Underwater," it's almost too simple and gets lost among the rest of the record. The bass is probably my favorite aspect of the beat, it's so low and in the background that you almost can't hear it, but when you do, it becomes very strong and present. Fatima's vocals are nice, but they don't showcase her talent in the way that other tracks have. It's got a dream-like feel to it, but like many dreams, I might forget about it as soon as I wake up.
"Gave My Name" ends the record on a jazz note just as it had begun, but this definitely isn't my favorite track. The rhodes sounds great (but when doesn't a rhodes sound great?), but this is probably my least favorite track vocally. Fatima comes in flat, and the pitchiness is definitely noticeable in other spots throughout the song. She sounds good for the most part, but since this track is just rhodes and vocals, the spotiness in her vocals is much more noticeable, and can be distracting at points. Her vocals simply aren't as strong as they are on tracks like "Do Better," and "Family," which is a shame because she has a really lovely voice. That being said, it's very clear that she's giving her all into this track, and that says something. I would have hoped for a more solid ending to what was overall a strong record, but we can't always get what we want.
Wednesday, January 28, 2015
Songs of the Day
Giving tracks 5-8 a listen this evening: "Ridin' Round (Sky High)," "Family," "La Neta," and "Biggest Joke of All."
"Ridin' Round (Sky High)" is a certified banger, and I'm about that life. It's got a Little Dragon kind of vibe that I'm really digging (I reviewed their 1st and 3rd records) - a perfect blend of electronic, hip hop, and a little extra grit that makes your head nod. This is along the same feel as "Technology" from yesterday, which was probably my favorite track of the first reviews - that kind of old school steady meets new school experimental ish. Fatima's vocals work great on this style as well, probably the best of any style shown on this record so far. I'm sure I'll be singing "ridin' round sky hiiiiigh" all evening. So dope.
While the groove on "Family" is awesome, I think the way Fatima's voice floats on top of it is my favorite aspect of the song. The melody is nice and light, which is a nice contrast to how staccato the bass line is, and Fatima's vocals glide on top of it perfectly. The B section is less exciting than the A, but the feel switch is cool and keeps you interested. The groove has a latin flavor to it that makes you want to move your body, which I'm all about. I also dig how minimal this track is, making Fatima the focal point. I dig, I dig.
"La Neta" is such an interesting groove. You immediately feel the waltz/3 feel going on, which combined with the chimes & bass line remind me a bit of a circus, but in a cool way? It's curious, but I'm intrigued, especially when it picks up into the triplet part of the groove. The rhythm play with this track is my favorite part as it keeps me interested as to what's going on/where's it going (but in a good way). Dope harmonies on this one as well, they provide a richness to the groove that I enjoy. "I can do what I want" is her final line, and she has certainly made her case.
"Biggest Joke of All" brings the feel back to the jazzy element first brought by the opener "Do Better." It's simple with keys, drum, bass, and Fatima's vocals, so you certainly pay attention. I think her vocals could be a little higher in the mix, but what vocalist doesn't feel that way? I love the melody of the verses, fast and slow right when it needs to be. The groove stays simple until a little past the midpoint, which I think was smart as it gave the listener time to relax and vibe out to the simplicity of the initial groove. No bells and whistles to this one, and there's no need cuz the lady's holdin it down. Solid.
"Ridin' Round (Sky High)" is a certified banger, and I'm about that life. It's got a Little Dragon kind of vibe that I'm really digging (I reviewed their 1st and 3rd records) - a perfect blend of electronic, hip hop, and a little extra grit that makes your head nod. This is along the same feel as "Technology" from yesterday, which was probably my favorite track of the first reviews - that kind of old school steady meets new school experimental ish. Fatima's vocals work great on this style as well, probably the best of any style shown on this record so far. I'm sure I'll be singing "ridin' round sky hiiiiigh" all evening. So dope.
While the groove on "Family" is awesome, I think the way Fatima's voice floats on top of it is my favorite aspect of the song. The melody is nice and light, which is a nice contrast to how staccato the bass line is, and Fatima's vocals glide on top of it perfectly. The B section is less exciting than the A, but the feel switch is cool and keeps you interested. The groove has a latin flavor to it that makes you want to move your body, which I'm all about. I also dig how minimal this track is, making Fatima the focal point. I dig, I dig.
"La Neta" is such an interesting groove. You immediately feel the waltz/3 feel going on, which combined with the chimes & bass line remind me a bit of a circus, but in a cool way? It's curious, but I'm intrigued, especially when it picks up into the triplet part of the groove. The rhythm play with this track is my favorite part as it keeps me interested as to what's going on/where's it going (but in a good way). Dope harmonies on this one as well, they provide a richness to the groove that I enjoy. "I can do what I want" is her final line, and she has certainly made her case.
"Biggest Joke of All" brings the feel back to the jazzy element first brought by the opener "Do Better." It's simple with keys, drum, bass, and Fatima's vocals, so you certainly pay attention. I think her vocals could be a little higher in the mix, but what vocalist doesn't feel that way? I love the melody of the verses, fast and slow right when it needs to be. The groove stays simple until a little past the midpoint, which I think was smart as it gave the listener time to relax and vibe out to the simplicity of the initial groove. No bells and whistles to this one, and there's no need cuz the lady's holdin it down. Solid.
Tuesday, January 27, 2015
Songs of the Day
Got the first four tracks on deck today: "Do Better," "Technology," "Circle," and "Sun, Star, Solar."
"Do Better" is a pretty dope start to the record. The unison guitar & bass line gives me a little bit of a Budos Band kind of vibe, and I dig that. I also like that the record is opening with real instruments, a nice full band. The horns come in really strong, which coupled with Fatima's entrance, makes me pay attention. Fatima has a nice tone to her voice that I enjoy - it's soft, but it's got some umph behind it. I do wish the mix had her vocals more in the forefront though, as she's getting a little lost behind the colorful band (particularly when the horns are in). The build up is super dope, and I like that it drops off to the opening bass & guitar line again, going out nice and smooth til the end with Fatima singing "I can do better." Solid way to start the record off.
From the beginning, "Technology" has a heavy vibe that grabs you (or at least it did me). I love how the vocal melody is in unison with the bass line - simple, yet effective. The beat has an old school hip hop feel to it that I dig, it sounds like Tribe could have rapped over. The groove is very simple, which is quite the juxtaposition from the last track, but I think that makes it that much easier to vibe out to. Dope track.
So far, I'm diggin that every track has its own feel to it - it gives Fatima a chance to show off her vocal versatility. "Circle" has the most "future-soul" feel to it, and is also the first fully synth track. Both the groove and her voice have a darker kind of vibe, which I dig. It's a kind of grime that gives you stank face, and you gotta love some good stank face. Love the layering of her vocals on this track, as I am always a sucker for some good harmonies. Some of the synth sounds add an old school element that I dig, and her smooth vocals pair well with them. Two thumbs up!
"Sun, Star, Solar" is my least favorite track of the day, which is disappointing considering it's a cappella, and I luh me some good a cappella. I'm just a little confused by the harmonies going on. It's as if they're going for the complicated kind of feel, but it comes off more out of tune than anything. I can't immediately detect the key, and that's off-putting to me. Maybe she wants the listening to be uncomfortable? Luckily it's a short track, so my discomfort was tolerable. The other tracks make up for it.
"Do Better" is a pretty dope start to the record. The unison guitar & bass line gives me a little bit of a Budos Band kind of vibe, and I dig that. I also like that the record is opening with real instruments, a nice full band. The horns come in really strong, which coupled with Fatima's entrance, makes me pay attention. Fatima has a nice tone to her voice that I enjoy - it's soft, but it's got some umph behind it. I do wish the mix had her vocals more in the forefront though, as she's getting a little lost behind the colorful band (particularly when the horns are in). The build up is super dope, and I like that it drops off to the opening bass & guitar line again, going out nice and smooth til the end with Fatima singing "I can do better." Solid way to start the record off.
From the beginning, "Technology" has a heavy vibe that grabs you (or at least it did me). I love how the vocal melody is in unison with the bass line - simple, yet effective. The beat has an old school hip hop feel to it that I dig, it sounds like Tribe could have rapped over. The groove is very simple, which is quite the juxtaposition from the last track, but I think that makes it that much easier to vibe out to. Dope track.
So far, I'm diggin that every track has its own feel to it - it gives Fatima a chance to show off her vocal versatility. "Circle" has the most "future-soul" feel to it, and is also the first fully synth track. Both the groove and her voice have a darker kind of vibe, which I dig. It's a kind of grime that gives you stank face, and you gotta love some good stank face. Love the layering of her vocals on this track, as I am always a sucker for some good harmonies. Some of the synth sounds add an old school element that I dig, and her smooth vocals pair well with them. Two thumbs up!
"Sun, Star, Solar" is my least favorite track of the day, which is disappointing considering it's a cappella, and I luh me some good a cappella. I'm just a little confused by the harmonies going on. It's as if they're going for the complicated kind of feel, but it comes off more out of tune than anything. I can't immediately detect the key, and that's off-putting to me. Maybe she wants the listening to be uncomfortable? Luckily it's a short track, so my discomfort was tolerable. The other tracks make up for it.
Album Factoids
Yellow Memories
Released: May 12, 2014
Genre: future-soul
Label: Eglo Records
Producers: Floating Points, Oh No, Computer Jay, Shafiq Husayn, Scoop DeVille, Flako, Knx
Released: May 12, 2014
Genre: future-soul
Label: Eglo Records
Producers: Floating Points, Oh No, Computer Jay, Shafiq Husayn, Scoop DeVille, Flako, Knx
Week 97: Fatima
This week's suggestion comes from my big brother Taylor, as this is the record that won Gilles Peterson's "Record of the Year" (beating his own debut in the process...I still love ya, bro). Figured that it must be dope if it beat out my brother's record Early Riser, which was fucking amazing. I've never heard of Fatima and am completely unfamiliar with her music, so it'll be nice to check out what she's about. Yellow Memories, my fourth-to-last record, let's see whatcha got.
Wednesday, September 24, 2014
Final Grade: B-/C+
I should say to start off that this is definitely more B- than C+. That being said, I was overall pretty disappointed with this record, mainly because it had a lot of unreached potential. It's apparent that FKA Twigs has her own sound, one that is super unique, but I don't think this record showcased it as well as it could have. So much of this record was over produced, and unnecessarily so. She has such a small, breathy voice, and instead of the beats enhancing that, they clouded it and she got lost in the background. "Lights On" was by far the best track, I've listened to it on repeat, but even that could have done without a few things. If anything, it's very evident that this is a debut record, but that means there's room to grow. I think that if she really hones in on the important aspects of her sound and leaves all the excess behind, she could make some really incredible music. I guess that's what I was mainly disappointed in - she/the sound she's going for has a lot of promise, it just needs some refining before it's there. My friend told me to check out her EP, saying that it's a better example of her music, and luckily I believe in what she's trying to go for, so I won't let LP1 deter me from checking that out. She'll get there, but this record as a whole didn't do it for me. Maybe round 2?
Songs of the Day
OK, time for the final three tracks on the album: "Closer," "Give Up," and "Kicks."
"Closer" starts off pretty cool, melodically quoting "In My Room" by The Beach Boys (more or less), which is cool (although I'm sure many people won't be able to decipher that). I like the layering of the voices on this one, but the beat doesn't really support it the way I'd like/expect. This is another track that falls victim to the "over-produced" vibe that many of the songs on this record have. There's just too much unnecessary sounds going on - the track would be much more affective were it a little more stripped. The chorus has a haunting feel to it that's cool, but there isn't much about this track that really captures me. Eh. I like that "Give Up" has the single vocal line without any effects in the verse, which is something that isn't common on this record - nice to switch it up a little bit. This beat has a little less going on than the previous, which I like, and also gives you a chance to pay more attention to the vocals (since you're not getting distracted by all the bells and whistles of the beat). Her vocals could be brought up in the mix a little bit though, the combo of her low mix and breathy vocals makes it difficult for me to understand anything she's saying, which is always a bummer. Decent track, nothing to write home about though. I like "Kicks," but it, yet again, is another track that I feel is overproduced. The chorus is really catchy, vocally speaking, but I'm distracted by all of the bells and whistles going on in the background. And I dig that the verses are much more bare, but even in the bareness, there's not enough cohesion for me to really get behind it. All the random vocal samples throughout it are cool, but could be placed better. Just like this record, this track had a lot of potential to be cooler than it is. That being said, it's probably my favorite track of the day, mainly because of the vocals in the chorus. Again, decent, but I still like a couple other tracks better.
"Closer" starts off pretty cool, melodically quoting "In My Room" by The Beach Boys (more or less), which is cool (although I'm sure many people won't be able to decipher that). I like the layering of the voices on this one, but the beat doesn't really support it the way I'd like/expect. This is another track that falls victim to the "over-produced" vibe that many of the songs on this record have. There's just too much unnecessary sounds going on - the track would be much more affective were it a little more stripped. The chorus has a haunting feel to it that's cool, but there isn't much about this track that really captures me. Eh. I like that "Give Up" has the single vocal line without any effects in the verse, which is something that isn't common on this record - nice to switch it up a little bit. This beat has a little less going on than the previous, which I like, and also gives you a chance to pay more attention to the vocals (since you're not getting distracted by all the bells and whistles of the beat). Her vocals could be brought up in the mix a little bit though, the combo of her low mix and breathy vocals makes it difficult for me to understand anything she's saying, which is always a bummer. Decent track, nothing to write home about though. I like "Kicks," but it, yet again, is another track that I feel is overproduced. The chorus is really catchy, vocally speaking, but I'm distracted by all of the bells and whistles going on in the background. And I dig that the verses are much more bare, but even in the bareness, there's not enough cohesion for me to really get behind it. All the random vocal samples throughout it are cool, but could be placed better. Just like this record, this track had a lot of potential to be cooler than it is. That being said, it's probably my favorite track of the day, mainly because of the vocals in the chorus. Again, decent, but I still like a couple other tracks better.
Tuesday, September 23, 2014
Songs of the Day
So, I was sick, and then I was out of town, and then I got sick while out of town, hence the week hiatus, but I'm back to finish reviewing the FKA Twigs record. Alrighty then...
Songs up for today are tracks 5-7: "Pendulum," "Video Girl," and "Numbers."
The first time I heard "Pendulum," I had a moment of confusion. It starts out with this knocking sequence, and I kept going to my door thinking someone was there - false, it's just the intro. This song has a bareness to it in the verses that I dig, it makes you pay attention to the vocals (which once again, have a haunting feel to them). I must say, I could do away with the offbeat knocking by the second verse though, as I feel it kind of gets in the way/clashes with the rest of the beat. The chorus is definitely where this track comes together, both within the beat and vocally. Love the hook of "so lonely trying to be yours/when you're looking for so much more" - definitely a feeling many can relate to. Towards the end of the track, the beat seems to get a little clouded (which is something I feel happens a lot throughout the record) - it could do with a little editing. Cool track, not my favorite, but still cool. "Video Girl" is another example of a song that could use a little bit of editing. I get where it wants to go, but it doesn't execute it as well as it could. The meters a little all over the place, and too much to be interesting; if anything, it comes off as confusing. Her voice is also a little too breathy for me on this track, or at least her breathiness doesn't work as well on this track as other. The beat also doesn't have any elements that really draw me to it, and it seems to get lost in itself. I would also expect something a little more angry considering the lyrical context of the track (she's accusing her man of cheating). This one doesn't do much for me. Luckily, "Numbers" is a track that I can get down with (probably my favorite since "Lights On"). I dig that it opens up with the chopped n screwed element before it really gets into the track. It's also a beat that doesn't seem to be all over the place like the previous. Her voice is much better suited to this track as well. Love the hook of "was I just a number to you," as so many people have felt that very way. And even though this track does have a lot of elements to it, all of the elements seem much more cohesive than those of the previous tracks. The end didn't need to get as out as it did, but luckily it doesn't last long before ending where it began. Dope, I dig.
Songs up for today are tracks 5-7: "Pendulum," "Video Girl," and "Numbers."
The first time I heard "Pendulum," I had a moment of confusion. It starts out with this knocking sequence, and I kept going to my door thinking someone was there - false, it's just the intro. This song has a bareness to it in the verses that I dig, it makes you pay attention to the vocals (which once again, have a haunting feel to them). I must say, I could do away with the offbeat knocking by the second verse though, as I feel it kind of gets in the way/clashes with the rest of the beat. The chorus is definitely where this track comes together, both within the beat and vocally. Love the hook of "so lonely trying to be yours/when you're looking for so much more" - definitely a feeling many can relate to. Towards the end of the track, the beat seems to get a little clouded (which is something I feel happens a lot throughout the record) - it could do with a little editing. Cool track, not my favorite, but still cool. "Video Girl" is another example of a song that could use a little bit of editing. I get where it wants to go, but it doesn't execute it as well as it could. The meters a little all over the place, and too much to be interesting; if anything, it comes off as confusing. Her voice is also a little too breathy for me on this track, or at least her breathiness doesn't work as well on this track as other. The beat also doesn't have any elements that really draw me to it, and it seems to get lost in itself. I would also expect something a little more angry considering the lyrical context of the track (she's accusing her man of cheating). This one doesn't do much for me. Luckily, "Numbers" is a track that I can get down with (probably my favorite since "Lights On"). I dig that it opens up with the chopped n screwed element before it really gets into the track. It's also a beat that doesn't seem to be all over the place like the previous. Her voice is much better suited to this track as well. Love the hook of "was I just a number to you," as so many people have felt that very way. And even though this track does have a lot of elements to it, all of the elements seem much more cohesive than those of the previous tracks. The end didn't need to get as out as it did, but luckily it doesn't last long before ending where it began. Dope, I dig.
Saturday, September 13, 2014
Songs of the Day
Got the first four tracks on deck for today: "Preface," "Lights On," "Two Weeks," and "Hours."
"Preface" is a pretty dope way to start the record off. The layered vocals have almost a gregorian chant feel to them, which is actually kind of eerie, and cool all the same. There are so many textures and layers to the beat, it's a little hard to describe, but it builds nicely and definitely makes you pay attention. Short, sweet, and to the point. "Lights On" is the preview that I listened to on iTunes that made me try the record - it's super dope. This track also has a very unique feel to it, I can't really compare this style to anything else. It's electronic, but soulful, and definitely some hip hop elements. Considering one of the genres listed for this album is "trip hop," it completely makes sense. I love the hook "when I trust you we can do it with the lights on," especially how soft she's singing it, juxtaposed by how out all of the electronic elements are. And that upright bass on the chorus though - awesome touch. Arca produced this track, and I definitely want to check out more of their stuff after listening to this. Super dope all around. "Two Weeks" was the first single released off of this record, which makes sense - the structure of this song, while very electronic, seems to be the most "radio friendly" as it's not overly experimental. That element of part of why I don't like this track as the previous, as I feel like I've kind of heard similar stylings before. Funny little melodic reference to "All Out of Love" by Air Supply. I'm also not crazy about her vocals on this one - they're a little thin. The track is cool, I just wish it had a little more of the trip hop element that the previous one had. "Hours" is pretty dope in some areas, but I think a lot of it tries a little too hard. It's almost like there are too many elements for how bare it's trying to be, which might actually be the point. I do love the hook "I could kiss you for hours," because I think we all know that feeling (or at least I would hope so). Her voice is a little less produced on the verses on this track, which I like, and her airiness works well with the track. I just feel as though the beat is exploring the whole time and never settles into its own thing, which I think the track could have benefited from. But it's fairly cool otherwise.
"Preface" is a pretty dope way to start the record off. The layered vocals have almost a gregorian chant feel to them, which is actually kind of eerie, and cool all the same. There are so many textures and layers to the beat, it's a little hard to describe, but it builds nicely and definitely makes you pay attention. Short, sweet, and to the point. "Lights On" is the preview that I listened to on iTunes that made me try the record - it's super dope. This track also has a very unique feel to it, I can't really compare this style to anything else. It's electronic, but soulful, and definitely some hip hop elements. Considering one of the genres listed for this album is "trip hop," it completely makes sense. I love the hook "when I trust you we can do it with the lights on," especially how soft she's singing it, juxtaposed by how out all of the electronic elements are. And that upright bass on the chorus though - awesome touch. Arca produced this track, and I definitely want to check out more of their stuff after listening to this. Super dope all around. "Two Weeks" was the first single released off of this record, which makes sense - the structure of this song, while very electronic, seems to be the most "radio friendly" as it's not overly experimental. That element of part of why I don't like this track as the previous, as I feel like I've kind of heard similar stylings before. Funny little melodic reference to "All Out of Love" by Air Supply. I'm also not crazy about her vocals on this one - they're a little thin. The track is cool, I just wish it had a little more of the trip hop element that the previous one had. "Hours" is pretty dope in some areas, but I think a lot of it tries a little too hard. It's almost like there are too many elements for how bare it's trying to be, which might actually be the point. I do love the hook "I could kiss you for hours," because I think we all know that feeling (or at least I would hope so). Her voice is a little less produced on the verses on this track, which I like, and her airiness works well with the track. I just feel as though the beat is exploring the whole time and never settles into its own thing, which I think the track could have benefited from. But it's fairly cool otherwise.
Wednesday, September 10, 2014
Album Factoids
LP1
Released: Aug 6, 2014
Genre: PBR&B (hahahaha!), trip-hop
Label: Young Turks
Producers: FKA Twigs, Arca, Clams Casino, Cy An, Paul Epworth, Emile Haynie, Devonté Hynes, inc, Sampha, Tic
Released: Aug 6, 2014
Genre: PBR&B (hahahaha!), trip-hop
Label: Young Turks
Producers: FKA Twigs, Arca, Clams Casino, Cy An, Paul Epworth, Emile Haynie, Devonté Hynes, inc, Sampha, Tic
Week 96: FKA Twigs
So this week, I have decided to check out an artist that I am completely unfamiliar with - FKA Twigs. I've seen her picture here and there (especially recently, as she's rumored to be dating Robert Pattinson), and her style seems sick, so why not? Previewed some of the track on iTunes, and it seems pretty cool. Always love diving into new shit.
Final Grade: B
Lyrically, Marvin sure did master the art of throwing shade with this record, and I love that about it. You never had to guess what emotions he was feeling during the creative process, because he let it all out on the table. Sonically, the record has a nice flow to it, I just had to get passed the outdated synth (but that's what I get for being a part of this generation). The reoccurring theme of "When Did You Stop Loving Me, When Did I Stop Loving You" was a nice touch, and tied the whole record together very nicely. "You Can Leave, But It's Going to Cost You," and "Falling In Love Again" were my favorite tracks on the record, ending the record on a high note. There were some spots that seemed as though he had just put the song together for the sake of having something (more jam-like stuff), which brought the record down a bit for me, but that's yet another example of how Marvin really conveyed how he was feeling to the listener. While this isn't my favorite Marvin record, it's still a solid one that I will certainly revisit.
Tuesday, September 9, 2014
Songs of the Day
Finishing out the album today with the final five tracks: "When Did You Stop Loving Me, When Did I Stop Loving You (Instrumental)," "A Funky Space Reincarnation," "You Can Leave, But It's Going to Cost You," "Falling In Love Again," and "When Did You Stop Loving Me, When Did I Stop Loving You."
The reprise of "When Did You Stop Loving Me, When Did I Stop Loving You (Instrumental)" is the same groove as the first, and while it has "Instrumental" in the title, a single vocal line goes on throughout the track. It's mainly "ooos," with the occasional chorus. This song represents the theme of the entire album, which is why it comes up on the record three times. Love that the sax goes in. Still a solid groove, but seeing as it's the second time around, I think they could have made it shorter than 6 minutes. "A Funky Space Reincarnation," which happens to be the longest track on the record, is also the oddest. It's definitely a cool groove, quite funky indeed, but the future/space talk seems out of place with the rest of the record. On its own, it's dope, I just think it's pretty random. If anything, it's maybe Marvin's idea of he and Anna meeting each other again, but reincarnated, and in space (2073 or 2084, to be specific). This is another track that could be cut back a few minutes, I was good at about the 6 minute mark. Especially once it starts getting into the outdated synth outro, those sounds are not my steeze (can't completely blame them, it was all so new). I'm confused, but I can get down with it. "You Can Leave, But It's Going to Cost You," is one of my favorite tracks on the record. This groove seems to hit the right balance between the style of the time, while incorporating the new synth stuff without sounding annoying. I also enjoy this chorus the most of any on the record, "she said 'you can leave, but it's going to cost you -" it makes you think his ex-wife really did say that to him (even if she didn't it did cost him, and in the form of this record) - and the groove is killin too. The layering of vocals has a nice effect to it that works well with the groove. And you gotta love some good chorus clave. Really solid groove, me gusta mucho. The record's ending on a pretty solid note thanks to the previous track and "Falling In Love Again." This is another dope track, and I'm glad it stayed upbeat. The synth balance isn't as great as "You Can Leave," but everything else about it is pretty solid. Love me some good background vocals, which this certainly has, and I love that the sax line goes with them as well. This track might be the biggest piece of shade thrown by Mr. Gaye, as he closes the record by saying that he is "falling in love again," aka "here you go, and I don't need you anyway." At least he's happy, which is probably why this groove is so up, and funky. This track gets you moving the most of any, and I definitely can get down with that. I dig, I dig. And we close the record with a third and final reprise of "When Did You Stop Loving Me, When Did I Stop Loving You," but at only 44 seconds. Really, it's just the chorus. A good final statement to the record.
The reprise of "When Did You Stop Loving Me, When Did I Stop Loving You (Instrumental)" is the same groove as the first, and while it has "Instrumental" in the title, a single vocal line goes on throughout the track. It's mainly "ooos," with the occasional chorus. This song represents the theme of the entire album, which is why it comes up on the record three times. Love that the sax goes in. Still a solid groove, but seeing as it's the second time around, I think they could have made it shorter than 6 minutes. "A Funky Space Reincarnation," which happens to be the longest track on the record, is also the oddest. It's definitely a cool groove, quite funky indeed, but the future/space talk seems out of place with the rest of the record. On its own, it's dope, I just think it's pretty random. If anything, it's maybe Marvin's idea of he and Anna meeting each other again, but reincarnated, and in space (2073 or 2084, to be specific). This is another track that could be cut back a few minutes, I was good at about the 6 minute mark. Especially once it starts getting into the outdated synth outro, those sounds are not my steeze (can't completely blame them, it was all so new). I'm confused, but I can get down with it. "You Can Leave, But It's Going to Cost You," is one of my favorite tracks on the record. This groove seems to hit the right balance between the style of the time, while incorporating the new synth stuff without sounding annoying. I also enjoy this chorus the most of any on the record, "she said 'you can leave, but it's going to cost you -" it makes you think his ex-wife really did say that to him (even if she didn't it did cost him, and in the form of this record) - and the groove is killin too. The layering of vocals has a nice effect to it that works well with the groove. And you gotta love some good chorus clave. Really solid groove, me gusta mucho. The record's ending on a pretty solid note thanks to the previous track and "Falling In Love Again." This is another dope track, and I'm glad it stayed upbeat. The synth balance isn't as great as "You Can Leave," but everything else about it is pretty solid. Love me some good background vocals, which this certainly has, and I love that the sax line goes with them as well. This track might be the biggest piece of shade thrown by Mr. Gaye, as he closes the record by saying that he is "falling in love again," aka "here you go, and I don't need you anyway." At least he's happy, which is probably why this groove is so up, and funky. This track gets you moving the most of any, and I definitely can get down with that. I dig, I dig. And we close the record with a third and final reprise of "When Did You Stop Loving Me, When Did I Stop Loving You," but at only 44 seconds. Really, it's just the chorus. A good final statement to the record.
Sunday, September 7, 2014
Songs of the Day
Gonna do 5 songs today, so it's tracks 5-9 on deck: "Is That Enough," "Everybody Needs Love," "Time to Get It Together," "Sparrow," and "Anna's Song."
"Is That Enough" has such a late 70s/beginning-to-transition-into-the-80s-vibe from the jump that it's almost comical, but that's the extra critical part of me. The groove, once it gets goin, is actually very cool - it's chill, while still having a nice back beat, and a relaxed funky feel that I dig. Marvin sounds good vocally, but I don't know if he's just low in the mix or something, but I can't really understand the majority of the things that he's saying. That does happen in his songs every now and then ("Got to Give It Up," anyone?), so maybe he's just mad relaxed on this track. I feel like I should be chillin on my bed, smoking a joint to this jam, which is a positive comment coming from myself. "Why do I gotta pay attorney fees/this is a joke/I gotta smoke" - ha! Gaye's got jokes! The song both lyrically and sonically sound like a jam, like everyone's just kinda riffing and doing their own thing. It comes together well though, so it's not a problem. Solid jam. "Everybody Needs Love" is the same groove as the opener/title track "Here, My Dear," which is rather chill, so I'm down with it. Lyrically, it's essentially listing all the people that need love, which as you can tell by the title, is everybody (and particularly Marvin at this given time). I need some love too, Marvin. Chillin tune. Now, "Time to Get It Together" has the kind of synth sound that I get down with - hollerrr. I like that this song is a little more upbeat than the previous ones - it gets you movin, gets you groovin. This is another one that sounds more like a jam than anything else. You can kind of tell that he was just putting things together to have something to put out to give to his soon-to-be ex-wife. "I've been racing against time/tryin best to find my way" - aren't we all, Marvin. The groove is cool, but there's not much lyrically to go crazy about. It's also pretty short. Nothing amazing, but I can get down with it. Now, "Sparrow" is a groove that I can def get down with. That bass - mmmmmm! It's laid back, but still has a groove that makes you move, which I'm down with. The bass and percussion sound really good together, and then the sax doin its own thing in the back is a really nice touch. It's a simple groove, but sometimes the simple ones are the most affective. Dig. "Anna's Song" has a cool groove to it, kind of stantard 70s feel. The synth sounds are a little weird, but they didn't know about all that back then, so I can't be too mad. Nothing about this song really captures me, I got distracted a number of times listening to it. The shade is pretty funny though, but that's the whole album. I guess I was expecting more from the track named after the woman this album is for. Eh.
"Is That Enough" has such a late 70s/beginning-to-transition-into-the-80s-vibe from the jump that it's almost comical, but that's the extra critical part of me. The groove, once it gets goin, is actually very cool - it's chill, while still having a nice back beat, and a relaxed funky feel that I dig. Marvin sounds good vocally, but I don't know if he's just low in the mix or something, but I can't really understand the majority of the things that he's saying. That does happen in his songs every now and then ("Got to Give It Up," anyone?), so maybe he's just mad relaxed on this track. I feel like I should be chillin on my bed, smoking a joint to this jam, which is a positive comment coming from myself. "Why do I gotta pay attorney fees/this is a joke/I gotta smoke" - ha! Gaye's got jokes! The song both lyrically and sonically sound like a jam, like everyone's just kinda riffing and doing their own thing. It comes together well though, so it's not a problem. Solid jam. "Everybody Needs Love" is the same groove as the opener/title track "Here, My Dear," which is rather chill, so I'm down with it. Lyrically, it's essentially listing all the people that need love, which as you can tell by the title, is everybody (and particularly Marvin at this given time). I need some love too, Marvin. Chillin tune. Now, "Time to Get It Together" has the kind of synth sound that I get down with - hollerrr. I like that this song is a little more upbeat than the previous ones - it gets you movin, gets you groovin. This is another one that sounds more like a jam than anything else. You can kind of tell that he was just putting things together to have something to put out to give to his soon-to-be ex-wife. "I've been racing against time/tryin best to find my way" - aren't we all, Marvin. The groove is cool, but there's not much lyrically to go crazy about. It's also pretty short. Nothing amazing, but I can get down with it. Now, "Sparrow" is a groove that I can def get down with. That bass - mmmmmm! It's laid back, but still has a groove that makes you move, which I'm down with. The bass and percussion sound really good together, and then the sax doin its own thing in the back is a really nice touch. It's a simple groove, but sometimes the simple ones are the most affective. Dig. "Anna's Song" has a cool groove to it, kind of stantard 70s feel. The synth sounds are a little weird, but they didn't know about all that back then, so I can't be too mad. Nothing about this song really captures me, I got distracted a number of times listening to it. The shade is pretty funny though, but that's the whole album. I guess I was expecting more from the track named after the woman this album is for. Eh.
Thursday, September 4, 2014
Songs of the Day
Got the first three songs up for review: "Here, My Dear," "I Met a Little Girl," "When Did You Stop Loving Me, When Did I Stop Loving You," and "Anger."
Damn, Marvin comes out of the gate with the shade on the first and title track "Here, My Dear." He gives a nice little monologue, "even though I might not be happy, this is what you want, so I've conceded." Shade is nothing new, my friends, and Marvin threw it. The groove has a sweet feel to it, which is a nice juxtaposition against the words. Although, I can't really get down with the synth strings, but this is 1978, and the synth was so new - I'll give you a pass, Marvin. This track definitely sets the tone for the rest of the record, which is what you want from an opener. I like that it immediately goes into "I Met a Little Girl," which has a similar, but slower feel to it as the opener. This is a nice little love song, obviously the beginning of their relationship (oh the happier times), and Marvin is singing it oh so sweetly. If only these damn string synths weren't all up in the mix - they're slightly distracting, and for me take a little bit away, but that's just the 21st century girl in me. I love the story factor to this, which is something that is certainly lacking in today's songs (unless said story is about going to the club and getting wasted). Solid slow jam, with very sweet "hallelujia"s at the end. While I'm all about a good slow jam, I'm happy that it picked up a little bit with "When Did You Stop Loving Me, When Did I Stop Loving You." The groove's got a little samba feel to it that I'm down with, but again with these damn synth strings - I'm just gonna pretend they're not there, because it looks like they're staying. "You say you loved me with all of your heart, but if you really loved me with all of your heart, you'd never take a million dollars to part" - daaamn, Marvin, not even trying to be subtle! He's seriously throwing the shade on this one, and you can hear the anger in his voice. It honestly sounds like he wrote a letter to his wife, and then just put a melody to it. That's one thing I've always loved about Marvin - you could always hear his emotions clearly, he always sang directly from his heart. The groove is decent, but the lyrics (aka shade) are the clear winner on this number. And for the final song of the day, we have "Anger." I must say, the growling in the beginning is a little funny, but it gets the point across. This is my favorite groove of the day - it's got a nice bit of funk, a nice lil spice of latin - I'm into it. I like that, unlike the previous tune, this is more of an apology, which in this case is aimed towards his anger. "Anger will destroy your soul," ain't that the damn truth! He's got some nice modulations, reminding me of a little bit of some Stevie flair. Nothing crazy to it, but it's an overall good track. Dig.
Damn, Marvin comes out of the gate with the shade on the first and title track "Here, My Dear." He gives a nice little monologue, "even though I might not be happy, this is what you want, so I've conceded." Shade is nothing new, my friends, and Marvin threw it. The groove has a sweet feel to it, which is a nice juxtaposition against the words. Although, I can't really get down with the synth strings, but this is 1978, and the synth was so new - I'll give you a pass, Marvin. This track definitely sets the tone for the rest of the record, which is what you want from an opener. I like that it immediately goes into "I Met a Little Girl," which has a similar, but slower feel to it as the opener. This is a nice little love song, obviously the beginning of their relationship (oh the happier times), and Marvin is singing it oh so sweetly. If only these damn string synths weren't all up in the mix - they're slightly distracting, and for me take a little bit away, but that's just the 21st century girl in me. I love the story factor to this, which is something that is certainly lacking in today's songs (unless said story is about going to the club and getting wasted). Solid slow jam, with very sweet "hallelujia"s at the end. While I'm all about a good slow jam, I'm happy that it picked up a little bit with "When Did You Stop Loving Me, When Did I Stop Loving You." The groove's got a little samba feel to it that I'm down with, but again with these damn synth strings - I'm just gonna pretend they're not there, because it looks like they're staying. "You say you loved me with all of your heart, but if you really loved me with all of your heart, you'd never take a million dollars to part" - daaamn, Marvin, not even trying to be subtle! He's seriously throwing the shade on this one, and you can hear the anger in his voice. It honestly sounds like he wrote a letter to his wife, and then just put a melody to it. That's one thing I've always loved about Marvin - you could always hear his emotions clearly, he always sang directly from his heart. The groove is decent, but the lyrics (aka shade) are the clear winner on this number. And for the final song of the day, we have "Anger." I must say, the growling in the beginning is a little funny, but it gets the point across. This is my favorite groove of the day - it's got a nice bit of funk, a nice lil spice of latin - I'm into it. I like that, unlike the previous tune, this is more of an apology, which in this case is aimed towards his anger. "Anger will destroy your soul," ain't that the damn truth! He's got some nice modulations, reminding me of a little bit of some Stevie flair. Nothing crazy to it, but it's an overall good track. Dig.
Tuesday, September 2, 2014
Album Factoids
Here, My Dear
Released: Dec 15, 1978
Genre: R&B/Soul
Label: Tamla
Producer: Marvin Gaye
Released: Dec 15, 1978
Genre: R&B/Soul
Label: Tamla
Producer: Marvin Gaye
Week 95: Marvin Gaye
And after quite a hectic summer, I have returned to finish what I started. I've decided to go with Marvin Gaye's "Here, My Dear," because I've actually never listened to this record fully. Got the recommendation from a good friend of mine, Louis Cato (incredible drummer/multi-instrumentalist that everyone should check out), and since my last few reviews have all been newer albums, I figured it was time to take it back a couple decades. This record was made by Marvin as payment for his ex-wife during their divorce, hence the title (oooo, scandalous). Marvin is still one of the greatest vocalists of all time, and with all these bullshit singers running shit at the moment, I think he deserves a good listen.
Tuesday, April 15, 2014
Final Grade: A
I love this album, start to finish. It's sweet, short, and simple - such an easy listen. Robin Hannibal did a wonderful job of orchestrating the whole things, and Milosh's vocals are so hypnotizing. I was skeptical when hearing he was a man that sounded like Sade, but it works in the best way possible. I've already hit up multiple people asking if they've heard of these guys, and I will continue to spread the love. This record will definitely be on rotation for some time to come!
Songs of the Day
Finishing off the last 5 tracks of the record this morning: "3 Days," "One of Those Summer Days," "Major Minor Love," "Hunger," and "Woman."
Man, what a lovely little harp intro "3 Days" has! How could you not enjoy something so pretty. I'm glad that the groove picks up after that, because it's for sure not the direction you would expect. The opening line "oh I'm famished, so I eat your minerals" sticks with me every time I hear it, I just love the wording of that. As does the hook "we've got 3 days to feel each other, we've got 3 days to sing this song" - it's damn catchy. The groove continues with the sweetness of the previous ones with the addition of the strings, and I'm all about it. Another good one for Rhye.
Bringing it way down with "One of Those Summer Days." I could go back to sleep right now, it's so damn relaxing. I love that it's just Milosh and guitar in the beginning, and then the soft horns coming in rounding out the whole sound. Again, Robin did a great job composing this piece, the layers are really entrancing. This song could have been boring, but the well composed groove accompanied by Milosh's hypnotizing vocals keeps you locked in. The swell to the end it really nice as well (thanks strings). Me gusta.
"Major Minor Love" is one of my favorites on the album, for sure. The song starts with a nice little vocal intro (which comes back around at the end). What is it about this soft spoken (or singing, rather) man that is so hypnotizing? This track is another that has great layering going on from start to finish. Starts with just vocals and bass, and then come the drums and strings, so on and so forth. I love how gentle the whole thing is, you kind of just want to sway. And I love the concept of "some major minor love." The small, slight electronic break towards the end is a perfect little break. Harmonies at the end are so sweet. Love it.
The pace steps back up on "Hunger," which is a smart after 2 rather slow tunes. Gets you groovin again, and I'm all about that. It's got just the right about of electronic elements in it to stand out, which I dig, while still keeping the elements that have made this album so great. Love that there's a trombone solo in the middle! It's short, but still, I dig it. I'm grooving in bed, I love it.
And so we have reached the final, and title track of the album with "Woman." It's just key bass, synth, and Milosh singing "woman" drawn out in various melodies, to then be layed by himself, strings, and final horns. I love that "woman" is the only lyric in this song, it's all it needs. It builds, and then it's done. Short and sweet, and a pretty way to end the album.
Man, what a lovely little harp intro "3 Days" has! How could you not enjoy something so pretty. I'm glad that the groove picks up after that, because it's for sure not the direction you would expect. The opening line "oh I'm famished, so I eat your minerals" sticks with me every time I hear it, I just love the wording of that. As does the hook "we've got 3 days to feel each other, we've got 3 days to sing this song" - it's damn catchy. The groove continues with the sweetness of the previous ones with the addition of the strings, and I'm all about it. Another good one for Rhye.
Bringing it way down with "One of Those Summer Days." I could go back to sleep right now, it's so damn relaxing. I love that it's just Milosh and guitar in the beginning, and then the soft horns coming in rounding out the whole sound. Again, Robin did a great job composing this piece, the layers are really entrancing. This song could have been boring, but the well composed groove accompanied by Milosh's hypnotizing vocals keeps you locked in. The swell to the end it really nice as well (thanks strings). Me gusta.
"Major Minor Love" is one of my favorites on the album, for sure. The song starts with a nice little vocal intro (which comes back around at the end). What is it about this soft spoken (or singing, rather) man that is so hypnotizing? This track is another that has great layering going on from start to finish. Starts with just vocals and bass, and then come the drums and strings, so on and so forth. I love how gentle the whole thing is, you kind of just want to sway. And I love the concept of "some major minor love." The small, slight electronic break towards the end is a perfect little break. Harmonies at the end are so sweet. Love it.
The pace steps back up on "Hunger," which is a smart after 2 rather slow tunes. Gets you groovin again, and I'm all about that. It's got just the right about of electronic elements in it to stand out, which I dig, while still keeping the elements that have made this album so great. Love that there's a trombone solo in the middle! It's short, but still, I dig it. I'm grooving in bed, I love it.
And so we have reached the final, and title track of the album with "Woman." It's just key bass, synth, and Milosh singing "woman" drawn out in various melodies, to then be layed by himself, strings, and final horns. I love that "woman" is the only lyric in this song, it's all it needs. It builds, and then it's done. Short and sweet, and a pretty way to end the album.
Monday, April 14, 2014
Songs of the Day
So seeing as I'm a little behind this week, I'm gonna go ahead and do the first half (5 tracks) of the album: "Open," "The Fall," "Last Dance," "Verse," and "Shed Some Blood."
"Open" is a really wonderful way to start off Woman. How could you not love a string opening like this? And it's got a great build into the verse - it's hard to resist. Milosh has such an interesting sound to his voice. When my friend told me he sounded like Sade, I was slightly confused, but as soon as he starts singing, Sade is instantly what you think of (and that is meant in the most positive sense). Even though he kind of sounds like a chick, it still works. I love how smooth the groove is, and his voice sits so gently over the simple synth and guitar lines. Great interjection of a couple horn lines, and bringing back the strings at the end. A really simple, sweet tune that is easy to sit back and listen to.
Since the opening track was so soft, I'm glad things picked up a little bit on "The Fall" while retaining the same sweet feel as before. The track layers nicely, starting with the piano, then the vocals, bass, drums, and finally strings (gotta love some good strings on a track). The doubling on Milosh's voice works great with the groove as well - it beefs up his soft voice just enough. Robin Hannibal (talk about an unfortunate last name) - the instrumentalist of this duo - did a great job of orchestrating all of these pieces together. I was happy to hear a little bit of an instrumental section that was able to show off his composition skills. And how can you resist a song that starts out with "make love to me" in a world that's saturated with songs about "fucking bitches?" Another solid tune.
"Last Dance" keeps the the groove going, but in its own way, which I really enjoy. It's got this funkier feel going on with the bass, guitar, and synth sound, and of course the horns (while I think they're programmed) add to that feel. Something about Milosh's voice is so hypnotizing, like I'm listening to a lullaby - I can't get enough of it. Dig dig dig.
We come back down a little bit with "Verse," but I'm all about it. This groove, while having many elements, has a stripped down essence to it that I really like. And again with these strings - so pretty! Love that Milosh has some bigger harmonies going on on this track, you know how I luh me some good harmonies. Sheesh, this track is almost too relaxing. The only complaint I have about Milosh's voice is that sometimes it's hard to understand what he's singing because he is so soft spoken. I don't really care though, because everything else works so well. Solid, once again.
"Shed Some Blood" gets back into the funkier feeling we had going on in "Last Dance," and I dig it. I love how Robin and Milosh have managed to have this soft feel while retaining a funky feel. The guitar and bass grooves really hold this one down, which I am all about "Don't call me 'love' unless you mean it" - PREACH, HONEY! These tracks are all really short, but the perfect kind of short, the easy kind of short. So into all of it.
"Open" is a really wonderful way to start off Woman. How could you not love a string opening like this? And it's got a great build into the verse - it's hard to resist. Milosh has such an interesting sound to his voice. When my friend told me he sounded like Sade, I was slightly confused, but as soon as he starts singing, Sade is instantly what you think of (and that is meant in the most positive sense). Even though he kind of sounds like a chick, it still works. I love how smooth the groove is, and his voice sits so gently over the simple synth and guitar lines. Great interjection of a couple horn lines, and bringing back the strings at the end. A really simple, sweet tune that is easy to sit back and listen to.
Since the opening track was so soft, I'm glad things picked up a little bit on "The Fall" while retaining the same sweet feel as before. The track layers nicely, starting with the piano, then the vocals, bass, drums, and finally strings (gotta love some good strings on a track). The doubling on Milosh's voice works great with the groove as well - it beefs up his soft voice just enough. Robin Hannibal (talk about an unfortunate last name) - the instrumentalist of this duo - did a great job of orchestrating all of these pieces together. I was happy to hear a little bit of an instrumental section that was able to show off his composition skills. And how can you resist a song that starts out with "make love to me" in a world that's saturated with songs about "fucking bitches?" Another solid tune.
"Last Dance" keeps the the groove going, but in its own way, which I really enjoy. It's got this funkier feel going on with the bass, guitar, and synth sound, and of course the horns (while I think they're programmed) add to that feel. Something about Milosh's voice is so hypnotizing, like I'm listening to a lullaby - I can't get enough of it. Dig dig dig.
We come back down a little bit with "Verse," but I'm all about it. This groove, while having many elements, has a stripped down essence to it that I really like. And again with these strings - so pretty! Love that Milosh has some bigger harmonies going on on this track, you know how I luh me some good harmonies. Sheesh, this track is almost too relaxing. The only complaint I have about Milosh's voice is that sometimes it's hard to understand what he's singing because he is so soft spoken. I don't really care though, because everything else works so well. Solid, once again.
"Shed Some Blood" gets back into the funkier feeling we had going on in "Last Dance," and I dig it. I love how Robin and Milosh have managed to have this soft feel while retaining a funky feel. The guitar and bass grooves really hold this one down, which I am all about "Don't call me 'love' unless you mean it" - PREACH, HONEY! These tracks are all really short, but the perfect kind of short, the easy kind of short. So into all of it.
Saturday, April 12, 2014
Album Factoids
Woman
Released: March 1, 2013
Genre: Alternative R&B (ooo la la)
Label: Polydor
Producer: Rhye
(again, cant post a photo cuz of le ipad)
Released: March 1, 2013
Genre: Alternative R&B (ooo la la)
Label: Polydor
Producer: Rhye
(again, cant post a photo cuz of le ipad)
Week 94: Rhye
So, usually I start with a "this week's album" post, but my ipad is being a bum and wont let me post a picture of the album cover, so I'm just gonna skip that one. My friend Ross told me about them last night and played me the whole album and I dug it super hard. I'm surprised I hadn't heard of them before seeing as Woman (which was released last year) was critically acclaimed all over the place. From my one listen, Rhye seems to have a really unique sound that's interesting. Looking forward to taking a more in-depth listen to the record.
Wednesday, April 9, 2014
Final Grade: B
This was a pretty solid album from St Vincent. The first half of the album was really fun and had a cool edge to it, but I felt as though that edge was lost towards the end of the album. I just wouldn't have expected the album that started off with a track like "Rattlesnake" would end on a dud like "Severed Crossed Fingers." There was a lot of potential for this album to be great, but I don't think it tried hard enough. That's what it is! - the second half of the album sounds kind of lazy. That being said, St Vincent definitely has her own sound, and a lady can respect that in a world where conformity seems to win. "Prince Johnny" might be my favorite track, it was stuck in my head all week. Some tracks will definitely be on continued rotation, but I'll forget about some of the others. I feel as though this was a good first look into St Vincent, and I'll definitely keep my eyes and ears open for this fellows Berklee alum.
Tuesday, April 8, 2014
Songs of the Day
Got the final 3 songs up for review today: "Psychopath," "Every Tear Disappears," and "Severed Crossed Fingers."
"Psychopath" isn't one of my favorite songs. I don't know what it is exactly, but there's a corniness to it that isn't working for me, and said corniness isn't catchy enough. I also don't really dig how the melody is purposely out of tune at the beginning of the verse, but maybe that's just me being a stickler. The chorus also doesn't do much for me either, the strings don't help the groove. And the somewhat random guitar solo in the middle kind of comes out of nowhere - it's confusing. No to the end modulation as well. This track is very "eh," especially compared to some of the other songs on the record.
"Every Tear Disappears" goes down the same kind of "just ok" route as the previous track. I think the groove is a lot cooler, but the whole thing just comes and goes without any leaving any particular kind of impression. The track starts off promising - I really dig the opening line of "oh a smile is more than showing teeth;" preach, honey. The whistle thing in the chorus is a little wack. I don't know, the vocals are a little to airy and therefore get kind of lost, and the groove isn't cool enough to stand alone. The groove switch at the end is also nothing special. I had to listen to the song a couple times because I kept getting distracted with something else. It's that kind of song.
Fortunately, the final track of the album is a little more solid than the previous two (but it's not much). I was a little surprised that "Severed Crossed Fingers" ended up being one of the slowest songs on the album, not only because of the title (um, hello, that's weird/gross), but because I thought she would have wanted a more upbeat track to end things on. I think the correct elements are here to make a really cool groove, but some of the synth/effects on the track are a overused and kind of beginner-sounding. The best part of this track is how it goes into this weird, white noise ending building up to the chorus again. Cool, but the ending chorus could have had some more umph. Ok track, but it could have been stronger.
"Psychopath" isn't one of my favorite songs. I don't know what it is exactly, but there's a corniness to it that isn't working for me, and said corniness isn't catchy enough. I also don't really dig how the melody is purposely out of tune at the beginning of the verse, but maybe that's just me being a stickler. The chorus also doesn't do much for me either, the strings don't help the groove. And the somewhat random guitar solo in the middle kind of comes out of nowhere - it's confusing. No to the end modulation as well. This track is very "eh," especially compared to some of the other songs on the record.
"Every Tear Disappears" goes down the same kind of "just ok" route as the previous track. I think the groove is a lot cooler, but the whole thing just comes and goes without any leaving any particular kind of impression. The track starts off promising - I really dig the opening line of "oh a smile is more than showing teeth;" preach, honey. The whistle thing in the chorus is a little wack. I don't know, the vocals are a little to airy and therefore get kind of lost, and the groove isn't cool enough to stand alone. The groove switch at the end is also nothing special. I had to listen to the song a couple times because I kept getting distracted with something else. It's that kind of song.
Fortunately, the final track of the album is a little more solid than the previous two (but it's not much). I was a little surprised that "Severed Crossed Fingers" ended up being one of the slowest songs on the album, not only because of the title (um, hello, that's weird/gross), but because I thought she would have wanted a more upbeat track to end things on. I think the correct elements are here to make a really cool groove, but some of the synth/effects on the track are a overused and kind of beginner-sounding. The best part of this track is how it goes into this weird, white noise ending building up to the chorus again. Cool, but the ending chorus could have had some more umph. Ok track, but it could have been stronger.
Saturday, April 5, 2014
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