Category: Music Reviews

It’s been three years since Gruff Rhys’ Hotel Shampoo, and he’s been busy. His newest album, American Interior, is more than just an album; it is a multimodal story. The album is accompanied by a book, a documentary film, and an app. The premise behind all of this is quite interesting and goes way back. Essentially, Rhys’ album tells the story of his distant relative, John Evans. Evans left Wales in the 1700’s to discover “a mythical tribe of Welsh speaking First Nation Americans” Rhys traced Evans’ steps to make his own discoveries about his relative’s involvement with American history and his final resting place. As for the mythical tribe, I guess we’ll just have to watch the documentary. Rhys’ multimodal project is a narrative for Evans’ adventures, and Rhys includes an artistic manifestation of Evans in his own performances.

Appropriately, Rhys’ album, American Interior, captures that bizarre history and adventurous story of Evans’ life. The album opens with “American Exterior,” a short intro with a robotic rhythm that seamlessly transitions into “American Interior.” In a sense, the exterior becomes interior as Rhys’ pulls us into his story. We can see Rhys’ combination of spacey and indie rock in his music video for “American Interior.” Throughout the video, Rhys sports a large fox hat and travels through a black and white landscape with his sidekick, Evans, in his artistic form looking rather serious. Pops of color give the video a psychedelic style.

Quickly following “American Interior” with energy is “100 Unread Messages,” which describes Evans’ arrival to America and traces his journey from Philadelphia to the western frontier in search for the lost tribe. The track has a classic country guitar style that embodies the adventure behind Rhys’ art. The style reoccurs in tracks like “Year of the Dog.” Other tracks give a road trip feel and adopt an 80’s pop-rock sound, such as “The Last Conquistador,” opening with a Napoleon Dynamite rhythm. “Lost Tribes” follows with the same style.

Shortly after, Rhys incorporates classical elements into the album with a piano and violins in “Liberty (Is Where We’ll Be)” and “lolo.” “Allweddallau Allwedol” keeps up the energy with lyrics that sound like a tribal language, of course adding to the lost tribe theme. Rhys speeds up and slows down, within tracks and throughout the album in general. Like his journey, there are breaks, lulls, and times of progress. The album ends with “Tiger’s Tale,” which comes back to the classic country style that reminds us of a road trip. The instrumental track is slower than the rest of the album’s high energy, but completes the album on a hopeful and successful note, as if to say Rhys’ distant relative did not fail at his search, but rather opened a door for creativity and stories.

Anyone who’s traced back their family line knows it’s a very personal experience, and you usually find out the most unlikely things about your long lost relatives and maybe uncover some secrets (or don’t). Rhys’ project is a collage and a tribute to Evans and what he stands for, adventure and risks.

5/5

After the success of their criticism-filled single “Girl in a Country Song” calling out perpetrators of “bro-country,” brand new duo Maddie & Tae released their much-anticipated self-titled debut EP today.

While their first single hasn’t achieved the No. 1 status yet (although it deserves to), it landed among the top ten on the U.S. Country charts. Many young artists fall victim to the trends of country radio in order to propel them to success. The duo defied the trends and went so far as to call out offenders of them. “Girl in a Country Song” is still the only single released from the duo since July, but that’s about to change with the release of their four-song EP.

The first song is their current single, which draws attention to the not-so-discreet role of women in modern country songs. The lyrics are some of the most biting in country music, especially because they contain references to popular songs by Blake Shelton, Florida Georgia Line, and Jason Aldean. The duo sings “We used to get a little respect/Now we’re lucky if we even get/To climb up in your truck, keep our mouths shut, and ride along/And be the girl in a country song.”  Female listeners, regardless of genre preference, can no doubt identify with the lyrics. With an eye-opening music video, it’s no surprise how successful the duo’s first song has become.

The next song stays true to the duo’s unique style with “Sierra,” a song about the pitfalls of being a shallow girl, which shows the potential to be their next single. The lyrics show off how incredibly fierce the duo can be without uttering a single swear word. They dance around the thought of using them with “Life ain’t all tiaras/You’re gonna find out that karma’s a…” and “Big pain in the…as far as I can tell/Yours is adding up fat.” It’s clear one of the qualities that sets these girls apart is their relentless truth throughout every line.

The EP takes a turn with the next song “Fly,” meant to be the inspirational aspect of the album. The slower song provides the opportunity to show off their already impressive vocals. While it may seem like a stereotypical moment of inspiration essential to most every album, a closer listen to the lyrics proves otherwise. Rather than only highlighting the positive aspects, the song analyzes both good and bad, providing a pleasant balance of motivation without being overly sappy or cheesy. The EP concludes with “Your Side of Town,” which offers a return to the spunk that kicked off the album.

Maddie & Tae show an incredible amount of potential to thrive in country music. Their debut EP is filled with their unique style that incorporates traditional country roots with lyrics that pack an intense punch. This duo is just what country music needs to set many of the superstars straight and redefine the genre. Maddie & Tae have only recently graduated high school, but their music is some of the most mature we’ve seen this year. The duo’s music shows strong ties to superstars like the Dixie Chicks, and they’re still a household name today.

4/5

Three years after their debut in 2011 with Infrared Daylight, Black Light White Light release Gold Into Dreams, a continuation of their vintage, psychedelic rock style. The Danish trio consists of singer/guitarist, Martin Ejlersten and brothers, Adam and Tobias Winberg. Think Jet but more intimidating, and much more badass.

With Ejlersten’s rough and raw vocals, along with the band’s echo effects and layers, Gold Into Dreams oozes sensuality and high energy. In addition to the album’s digital release, Black Light White Light has also produced a “Gold Digger” fuzz guitar pedal with USB socket and cable to download the album…figure that one out. The pedal seems to embody BLWL’s style perfectly: simple gold on red with a 70’s design and typography.  On top of that, Grammy-nominated producer Chis “Frenchie” Smith (Meat Puppets) largely contributed to Gold Into Dream’s production. How much cooler can you get?

The album opens with “High Like A Hurricane,” debuting BLWL’s signature style with ethereal vocals and a subtle western guitar style that becomes more prevalent in “Sex And Fury.” To match the vibrancy of “High Like A Hurricane,” the music video exemplifies Gold Into Dream’s artistic nature. Black and white imagery of the band layered with transparent images give the video that hallucinogenic effect that comes with their psychedelic style. Light and dark imagery contrast, appropriately, and reflections and collages give the video an art deco style.

“Gold Into Dreams” follows with a soft, dreamy sound. Delicate guitar picking creates a relaxing folk style. “And The Devil” also stays on the slow side but incorporates the sitar, which echoes The Beatles’ “Across the Universe” and “Within You Without You.” BLWL gives it their own stamp with background violins and unique vocals.

“Aim A Little High” takes the album back to the 90’s with a hazy rock effect that gives the album its vintage vibe. The track has an upbeat, optimistic sound that continues into “Revolutionary Sound Squad.” The western guitar style mentioned in “High Like A Hurricane” ends the album in “Fade Out,” which combines with their Beatles-inspired sound.

Although Gold Into Dreams is considered part of the rock genre, BLWL does a good job of keeping a balance between loud and relaxing, which I think is the point of the psychedelic genre – finding a middle ground, creating feng shui, etc. Ejlersten’s light vocals and the band’s unity do just that.

Gold Into Dreams is a conglomeration of eras and instruments and, ultimately, shows BLWL’s growth from 2011. This combination of sounds comes together perfectly to create one sound specific to BLWL’s artistic style.

3/5

Sam Hunt released his debut studio album Montevallo Oct. 27 after his four-song EP sold 20,000 copies just three months prior.

Born in Cedartown, Georgia, Hunt achieved much of his early success in athletics, going on to fill the role of quarterback for the University of Alabama at Birmingham. Instead of accepting an offer from the Kansas City Chiefs, he opted for the road perpetually travelled to Nashville. A publishing deal proved successful, as he wrote multiple singles for country superstars Kenny Chesney, Billy Currington, and Keith Urban. Following in the footsteps of many rap and hip-hop artists, he released a free mixtape in 2013. After signing a deal with MCA Nashville, he released a four-song EP, which sold 8,000 copies in the first week. With the first single off his album already certified gold, Montevallo shows potential to follow in the same direction.

Despite growing up in the south, Hunt lacks the traditional country style, setting him apart from the usual top country artists. Without the ever-present hat and boots, he’s nearly unrecognizable within the genre. His voice is without the usual twang and sounds more like a rock or pop act.

During a recent interview with Rolling Stone, he was questioned about how he fits into the country genre.

“I do think I’m country,” he says, “but your definition of that word might be different from my definition. In my opinion, country music, the sound of country, has always evolved. But the one thing that has not changed is the story element. And I think country songs are truthful songs about life written by country people.”

The first song on Montevallo solidifies Hunt’s style. Rather than show off his vocals immediately, “Take Your Time” begins with him speaking quickly over the music, but not quite rapping. This style filters throughout many songs on the album. The speaking segues into singing when the chorus hits. It’s different without branching too far from traditional country concepts.

Next follows the artist’s biggest hit to date, “Leave the Night On,” a catchy song that has favored well among the country charts. He brings new meaning to the term with the next song, “House Party.” The assumption would be to groan and complain about how he’s just another artist singing about alcohol, but the song is about two people just having a good time at home, apparent through the lyrics “You ain’t gotta leave the house to have a good time/I’ma bring the good time home to you/We’ll have a house party, we don’t need nobody.”

Following is a return to the style that kicked off the album with “Break Up in a Small Town,” one of the most notable songs. While not all country fans will like the style of the song, it’s clear Hunt knows what he’s doing when it comes to the storytelling element.  The only song that incorporates some country stereotypes is “Raised on It,” but it still sets itself apart.

Sam Hunt is not your traditional “country” star. He doesn’t look the part or write every song about beer and trucks. His songwriting is intricate and gives phrases a new meaning. His play on words is impressive and definitely causes him to stand out among other country artists. Montevallo may not please everyone in the country genre, but it should based on the storytelling Hunt works so hard to incorporate into every song. This album contains the perfect mix of emotions, balancing serious songs with catchy ones.

Loveskills (aka Richard Spitzer) is a Brooklyn-based producer of enticing sounds and eclectic electronica that pulls from the various influences of R&B, pop, hip-hop, trap, and electro-soul subgenres. With these, he fashions beats that amaze and astound, rearranging them into moving contraptions powered by copious amounts of the cool and crisp elements of EDM in liquid form. At least, that was my first impression.

His debut EP, Multiplicity, premiered last year with No Shame Records; now, we have the privilege of bringing you a review of the latest fruits of his labor.  Loveskills’ Pure EP dropped today, courtesy again of No Shame Records.

The Pure EP brings to light some of the more ethereal components of electronica in its song selection, all of which move at a comfortable BPM pace (a rarity these days, if my anecdotal experience is any indication). The first track is a fantastic crossover cover of Smashing Pumpkins’ “Luna,” and is pretty much sure to draw you in if you like the idea of classic things coming in new flavors. Give it a listen if you haven’t yet, and fear not—the five tracks that follow it are just as certain to please.

“White Diamonds” feels like peering into a super cool, beguiling sort of refracted truth laced with LED lights and a backbeat; the R&B/hip hop influences shine through here, with Loveskills’ featured artist spouting a lyrical flow that is both smooth and, if my ears and understanding of metaphor do not deceive me, a touch risqué. The song “Pure Crystal” actually features a spot of guitar, which I can say loosely expands Loveskills’ genre surfing into the outskirts of funk territory. Pulsing rhythms and a solid house effect pervade through the duration of both tracks, and were it not for the ever-positively-oriented side of the music spectrum Pure roots itself in, I might submit that it, along with evocatively monochrome (emphasis on the chrome part) songs like “Chanel,” could be distant cousins of DYE’s “Fantasy.”

Within Pure can also be found a bit of nostalgia. The scratch work in “Fine Lines” combined with a beat that consistently rounds itself out like a blast of arctic air provides for just the right mix of modern and futuristic OST characteristics to send me straight back to my Jet Set Radio days. To top that, I actually scrambled during the first few seconds of “Point Of View” to recheck the title; I didn’t recall seeing a Cruxshadows remix on the song list (someone out there knows what I am talking about), but the hope was a bit of a stretch in retrospect.

This EP felt like it came charging way out of left field—like it turned its back on the foreboding obelisk of turntable-ism and just booked it until it found the promised land of crystalline whimsy that, lo and behold, gets realized when a talented producer deigns to compose music on a piano before caressing a synthesizer. I say this free of conceit: Pure comes across as both refreshing and unexpected, not at all unlike getting caught in a five-minute rainstorm on the most blindingly sunlit day you can imagine.

4/5

New Zealand shares yet another refreshing sound with Ha the Unclear’s newest album Bacterium, Look At Your Motor Go, which was released in the U.S. September 30^th (yes, we are a little late to the game, but this was too good to pass up talking about). Michael Cathro leads the four-piece band in this vibrant and cool album. It takes me back to the melodies of The Shins and the vocals of The Wombats.

The album opens with “Corstorphine.” The track opens the album with a soft rock sound and a subtle background choir. We get our first listen to Cathro’s lively accent and upbeat lyrics. The songs range from strange accounts of inanimate objects (i.e. mannequins and furniture) to touching scenes of nostalgia.

“Once We Were Schoolkids (Drunk on Youth and Friendship)” exudes a fun and youthful beat that embodies being young and reckless. This mood defines the entire album in general. Cathro’s lyrics and vocals are exuberant and can make any listener want to dance, as is the case with “Mannequins.”

However, the album does have it’s slow and sensitive side. In contrast to the craziness that comes with remembering childhood adventures, “85” shows a different side of reminiscing. With a slow combination of folk and 50’s doo-wop, Cathro relays the story of a spouse looking back on a failed marriage. Expectations of an ideal future “with trinkets on the mantle” are replaced with disappointment. Cathro describes a relationship grown old and doomed from the start, “I was having sickening thoughts back then…But we stuck it out because the church told us to.” The track is heart wrenching and beautiful wrapped into a story of a generation much different from our own, and Cathro gives it the passion and emotion it requires.

The fluid melodies continue with “Mortality (A Million Years Ago)” and “Apostate” (another quick definition – Apostate: “A person who renounces a religious or political belief”). “Apostate” echoes aspects of “85” but with dreamy chants, “We all run around with ash on our heels.”

“Infatuated” follows and picks up the pace a little bit with light guitar picking, which continues throughout the track with more speed and creates a starry sound that reminds me a little bit of Devotchka. Ha the Unclear has created an album that has set a high standard for many records to come. The group combines layers and various styles to create something not quite rock, but not quite folk. Either way it is new, refreshing, and genuinely beautiful. We’re ready for your next album already.

4/5

Cold War Kids released their fifth album on Oct. 21.

Sadly, none of the band’s albums have lived up to the high praises of their debut, Robbers & Cowards. With the exit of their lead guitarist in 2012 and drummer in 2013, the band has faced some of the most devastating obstacles within a group. In a more positive turn of events, the band acquired former Modest Mouse drummer, Joe Plummer, former Modest Mouse guitarist, Dann Gallucci, as well as taking on a full-time keyboardist, Matthew Schwartz. Since their formation in 2004, Cold War Kids has been experimenting with everything from blues and soul to indie. While they have received more mixed reviews with the release of their past three albums, both Loyalty to Loyalty and Mine is Yours reached No. 21 on the Billboard 200. In recent years, the band has failed to generate much popularity. But all of that may change with the release of their latest album, Hold My Home.

The first three songs set the stage for a powerful album that mixes old and new ideas. “All This Could Be Yours,” the current radio single, draws listeners in with the singer’s unique wail echoing over the familiar driving piano rhythm, which is reminiscent of previous songs like “Something is Not Right With Me.”

The second song, ironically titled “First,” is an anthem that commands the listener to clap to the beat and sing along with the chant, “First you get close, then you get worried.”  Next is “Hot Coals,” which contains some of the album’s best songwriting with the lyrics, “I suspect the reason I am loved/Is because of how tight I’m holding on.”

The two new members, plus a permanent keyboardist, are allowed their debut on songs such as “Drive Desperate” (one of the most notable songs on the album), “Hotel Anywhere,” and “Go Quietly.” The new members bring somewhat of a new start to the band. “Go Quietly” leaves us in awe over the singer’s incredible falsetto, as if he could surprise us any more than he already has with his unique voice.

The remainder of the album isn’t as noteworthy as it is a repeat of the tried practices the band has tackled before. One notable song is the second to last, “Harold Bloom,” a slow, haunting song that features the singer’s voice accompanied by only a piano.

Hold My Home contains some of the strongest songs heard from the band since their debut album. Not every song is a homerun, but the album is definitely a step in the right direction for any future albums the band wants to release.

The addition of new band members allows for more powerful instrumentals, especially with a full-time keyboardist who adds to the powerful tones of each song. While this album may not entirely redeem their past work, it’s a definite improvement. Hold My Home contains some of the best songwriting seen from the band in a while. Most every song on the album holds some emotional depth, which the band was criticized for lacking on previous albums.

3/5

Little Big Town released their much-anticipated album, Pain Killer, on Oct. 21.

The group has been paying their dues since 1998 and just recently became a household name with their first Top 10 song, “Little White Church,” in 2010. They didn’t earn the title of a No. 1 song until 2012 with the infamous “Pontoon.” The same four members who founded the group are the same four you see today, which adds to their authenticity.

While they’ve never won a Country Music Television (CMT) award, despite multiple nominations, the group has collected an array of awards from the Academy of Country Music and the Country Music Association. They’ve managed to snag a Grammy and even an Emmy. Just two weeks before their latest album release, Little Big Town received the prestigious honor of joining the Grand Ole Opry. The group is one of the most underrated in country music.

The quartet joined their last album’s producer Jay Joyce, who has worked with Eric Church, Cage the Elephant, Emmylou Harris, and various others to create the album. With the assistance of someone so well-versed in music, Pain Killer is a beautifully assembled album that instills the group’s relevance among the top charts.

Following the same path as Eric Church, the group’s latest album strays more into the rock realm as opposed to the increasingly popular hip-hop tendencies present in the country genre. Much of the songwriting took place while the band was separated. The two men wrote together, and the two women of the group wrote together simultaneously, resulting in a slew of differentiating songs that contribute to the album’s uniqueness. The group itself co-wrote eight of the 13 tracks.

From the sounds of Pain Killer, it’s clear none of the songs, besides the single, “Day Drinking,” were written solely for radio purposes. In an interview with Rolling Stone, group member Karen Fairchild said, “It’s a lot more fun to be popular. But it’s super fun to be popular and respected. It’s fun to have voicemails on your phone from your peers in the business saying, ‘I can’t wait for this album to come out.’ Or, ‘that inspired me.’ So I want to believe that it can all happen.”

The first single, “Day Drinking,” from the album is the only semi-disappointing song. It was released to draw fans in and then expose them to the incredible depth of the other 12 songs on the album.

Fans have begun expressing their appreciation for the album, specifically for a song called “Girl Crush.” This song makes for some of the most intricate lyrics and truly takes the album to an entirely different level. Fairchild sings, “I want to taste her lips/’Cause they taste like you” and later, “I want her magic touch/Maybe then you’d want me just as much.” The second part of the group’s female vocals comes from Kimberley Schlapman, who shows her ferocious side on “Save Your Sin,” which we had yet to hear from her before.

The album holds an immense amount of creativity on everyone’s part, from the producing, songwriting, music composition, etc. Pain Killer is Little Big Town’s best album, and they can now say they’ve truly “made it.”

4/5

Gwen Stefani released her first solo song in 8 years on Oct. 19.

Stefani returned to her band No Doubt after promoting her second solo album, The Sweet Escape, which was released in 2006. Since then, she has toured and released an album with the band that is currently on a hiatus. Stefani has resumed her solo work, along with taking on the role of a coach on The Voice. With the release of her single “Baby Don’t Lie,” her third solo album is aimed to release in December of this year. It was confirmed earlier this year that Pharrell is accompanying her in the studio.

Rather than opt for another driving song like “Hollaback Girl,” Stefani instead chooses a more mellowed out feel that’s nearly psychedelic. Her voice flows well over the song’s steadfast drum kicks. While it doesn’t scream “comeback,” it’s a decent song that has been generally well received by critics. The lyrics cover some of the same-old concepts we’re a little sick of hearing. For example, she sings, “But there’s something behind those eyes, those eyes/That you can’t, that you can’t disguise.”

My main complaint is that the song isn’t nearly as experimental or authentic as the ones that solidified her stance as a solo artist. Overall, the new single is a good statement for Stefani to claim she’s back in the solo business as long as the remainder of her album branches out.

2.5/5

Florida Georgia Line released their second installment to their discography Anything Goes on Oct. 14.

Since the duo released their first single “Cruise” in 2012, their career has exploded. Every single released since then has reached No. 1 on Billboard’s Hot Country Songs and Country Airplay charts. Their debut album Here’s to the Good Times was certified double-platinum earlier this year. It is very rare for an artist to be this successful on their first try, but Florida Georgia Line has been breaking records since they launched onto the music scene. Given their success up until now, the latest album appeared at No. 1 on the day of its release.

If you’re looking for an innovative, enlightening country album, avoid this like the plague. From the first song, it’s clear the album is just a washed-up bundle of repetitive songs. Their first single from this album, “Dirt,” gave listeners the assumption this album would be more mature and possibly revert back to country’s traditional roots. But it appears that may be the only stand-out song on the album. Just by looking at the song titles, one can infer that they all sound relatively the same. Their debut album was mainly about partying as well, so it would be expected a second album should move on from that scene. Unfortunately, it doesn’t and basically repeats everything they’ve already covered, but in a less unique way. The songs overlap and cover the same material. The album begs the question, “If the song doesn’t reference alcohol, did Florida Georgia Line really sing it?”

While their first album contained much of the same material, it didn’t rely nearly as heavily on techno or drum beats through each song. There was more reliance on instrumentals, which helped the duo to still have some ties to country music. Any of the last remaining ties to the genre were thrown out on this album. Country artists are free to be innovative and break away from “traditional country,” much like in any genre. This is generally welcomed among newer generations of fans.

Many criticize the duo for not staying true to the genre, but the real issue is not making good music. This album belongs to a whole different genre of fans, specifically pop. The duo is following in the footsteps of Taylor Swift, who was reluctant to be called a “pop” artist until this year despite the undeniable shift in her music that occurred soon after she got her start. But her success hasn’t faltered, and I doubt the duo’s will either.

Fortunately, the album doesn’t contain much of their “hick-hop” style like on songs such as “This is How We Roll.” The album is more consistent than their debut, but in a way that makes it almost boring. Despite how repetitive it may be, the duo built up an enormous fan base with their touring and first couple of singles. Because of the massive amounts of fans they’ve acquired, this album will likely rise to the top just as their debut did, despite the differences between the two.

2/5