Category: Music Reviews

Weezer released their ninth studio album, Everything Will Be Alright in the End, on October 7.

With only one single and various song leaks released from the new album just a few months prior, the band accumulated intense buzz, especially since they haven’t released an album since 2010’s Hurley. Much to fans’ approval, the band reunited with the producer of two earlier albums, the Blue Album and the Green Album. Many of the songs are reminiscent of the Weezer we fell in love with in the ‘90s and signify a change of pace for the band. Rivers Cuomo, Weezer’s lead vocalist, pulls from earlier inspirations, which established the band’s reputation. With their last couple of albums failing to claim positive reviews, the new album gives some hope into Weezer’s future.

A return to basics is the theme of Everything Will Be Alright in the End. The album kicks off with some heavy guitar riffs, signaling nostalgia for lifelong fans of the band who have a particular love for Pinkerton. “Ain’t Got Nobody” also calls on those heartbroken lyrics the band has carried with them throughout their entire musical career, also apparent later in “Cleopatra.”

Next comes “Back to the Shack,” which was the only single released before the album. The single’s lyrics show, at least in the lead singer’s perspective, how the band wishes to return to their ‘90s-era style and feels the album can provide a new start for the music.

“Eulogy for a Rock Band” is exactly what it sounds like: a eulogy. Weezer could be singing to themselves with the lyrics, “Goodbye heroes/You had a good run/15 years of ruling the planet/But now your light is fading” (or, if you can’t bear the thought of the band quitting music, just dedicate it to a band who needs to step down). These first three songs are some of the most notable.

Of course, no Weezer album would be complete without songs about girls – welcome “Lonely Girl,” “Go Away,” and “Da Vinci.” “Go Away” is a particular treat, featuring vocals from Best Coast’s Bethany Cosentino.

Similar to other albums, Cuomo writes about his absent father with “Foolish Father.” The album concludes with a three-part incredibly dramatic finale, showcasing the band’s musical talent.

Everything Will Be Alright in the End is a completely decent album. When compared to the magic created on Pinkerton, the Blue Album, and even the Red Album, this one comes up short. This is the best album Weezer has come out with since 2008. It’s filled with stabbing lyrics and pop-infused rhythms, while still being completely unique. The songs are catchy and fun but cannot capture the perfect mix of seriousness and creativity achieved in their earlier career, lacking the raw intensity that we know the band is capable of.

However, given the less-than-mediocre attempts at their two previous albums, this is a welcome change of pace for the band. If they continue along this revert to their classic style and expand upon it, their next album could be just as, or even more, successful.

3/5

With his first single gaining momentum on the top charts, Hozier released his debut studio album October 7.

While the name may point to a band, Andrew Hozier-Byrne acts all on his own. The Irish musician released two EP’s previous to the studio album, one in 2013 and another earlier this year. What set the artist’s popularity off was the release of the video for his first single “Take Me to Church.” The music video for this powerful song shows a relationship between two men that takes a turn as the couple faces the consequences of a masked anti-gay group. When asked about the video in interviews, Hozier said the video is a statement against the anti-LGBT laws and oppression in Russia. The single has favored well in the U.S., topping numerous Billboard charts, such as Hot Rock Songs and Alternative Songs. After his Saturday Night Live debut this past weekend, he is sure to have gained even more fans with his album predicted to land in the top 10. Already awarded with a No. 1 album in his home country of Ireland, Hozier has become a worldwide sensation.

“Take Me to Church” launches the album and immediately draws the listener in with church acting as a metaphor. Hozier sings, “The only heaven I’ll be sent to/Is when I’m alone with you.” While the video depicts a relationship between two men, the song uses female pronouns.

The second song on the album was debuted on Saturday Night Live alongside “Take Me to Church.” “Angel of Small Death and the Codeine Scene” is a more upbeat and less heavy song than the previous. The next song, “Jackie and Wilson,” continues with the same attitude. While the songs are more upbeat, their meaning isn’t lost. The artist sings, “I need to be youthfully felt ‘cause, God, I never felt young” about raising children on rhythm and blues.

The album reverts back to its original feel of seriousness with “To Be Alone.” A few songs later comes “In a Week,” the only song that features someone other than the artist. The duet is haunting and deeply moving with the two vocalists acting as a deceased couple, repetitively singing “I’ll be home with you.”

Another notable song comes later, called “Work Song,” which provides a feel similar to the first.  Hozier sings, “I’m so full of love I could barely eat/There’s nothing sweeter than my baby” in this romantic ballad. The album nears its end with “It Will Come Back,” a hypnotic -and possibly the most blues-inspired – song on the album. A live acoustic version of “Cherry Wine” is the last song on the album, showing off the artist’s talent with simply a guitar.

The album revolves mostly around women, but the context of each song is different and meaningful in its own unique way. Hozier is a real gift to the music industry. His lyrics are insightful and easily relatable. In times of happiness or incredible sadness, every song provides an aspect of a relationship. While the album can be a little morbid at times, it doesn’t offset the natural flow from one song to the next. This album is comprised of 13 songs filled with raw emotion that encapsulate some of the best, extremely personal songwriting produced this year.

4/5

Milky Chance is a project from humble roots, comprised of Philipp Dausch and Clemens Rehbein, two acquaintances that sought to make music throughout their high school career while living in Kassel, Germany. Over the course of two weeks in 2013, they cut their full-length album, Sadnecessary, in their home studio — a culmination of their previous experience performing in a local band before becoming YouTube sensations with their breakthrough single, “Stolen Dance.” As of October 7^th, 2014, “Stolen Dance” has been certified gold, having been digitally sold and streamed over 500,000 times in America. Sadnecessary, put out independently in Europe last year via the band’s own Licthdicht Records, is already a holder of a spot in the Top 10 out of 9 countries. Now, the record is geared up for its North American release on October 14^th, 2014 (U.S. release through Republic Records).

Milky Chance’s Sadnecessary is a debut of their hallmark style more than anything else; self-described as melancholy with a positive spin (because you can dance to it — and I have been), the downtrodden drawl of Clemens backed by Philipp’s vocal harmonies are a persistent reminder that the up-tempo strumming and dance beats are underlain by personal accounts of lost loves, moments missed, and longings for things that could have been. Whether or not it was intentional, “Stunner” is the name of the first track on the album, and most notably sets the mood for everything that flows out of your speakers from then on out.

The group has been named by Rolling Stone as one of their “10 Artists You Need to Know Now,” and after now knowing them, I can say that they are not far off. There is something channeled in tracks like “Running,” “Fairytale,” and “Down By The River” that smarts of somber reggae and folk popping and reverberating through the concrete halls of a derelict building. What you hear is clearly unassuming, preferring to bounce around the room you are sitting in — the better to let you discover how catchy and mellow the wake of an album like Sadnecessary can be without coming across as needlessly obtrusive.

What is incredible, at least to me, is that this record was brought to life sans producer or large, studio setup. Milky Chance had played two shows prior to laying down Sadnecessary in a way that was free from industry expectation. Fortunately, relatable things catch on, and so, songs like “Feathery” and “Loveland” hit hard enough to sink in.  They are capable of eliciting memories we have all felt in the midst of a blue summer; after drawing to a close, that particular notion about the album demands some reflection. It is no mere chance that Sadnecessary’s accessibility stems from the phenomenon that a good portion of the fabric of influential songwriting is loomed from how despondent and wistful one can get before picking up a guitar, and Milky Chance’s approach to musicianship supports that completely. Bravo!

4/5

With the upcoming release of her third studio album, Sweet Talker, on October 14, Jessie J has included a free download of “Personal” with the pre-order.

This will be the third single from the new album, but it’s the first one that isn’t a collaboration. “Bang Bang,” featuring Ariana Grande and Nicki Minaj, reached #1 on iTunes upon its release, while “Burnin’ Up” included 2 Chainz. The British artist isn’t only making strides in her home country, but also dominates the charts in the U.S. as well. Her debut album, Who You Are, sold over four million copies and was certified multi-platinum in over 15 countries. With the momentum she has gained over the past few years, her latest endeavor is sure to be a success.

With “Personal,” Jessie J opts for a more subdued sound, which, nevertheless, is just as powerful with her contagious voice. With less reliance on drum beats and instrumentation, her voice echoes over the monotonous rhythm. The listener is forced to admire the range of her unique vocals. She demands the listener to hear what she’s saying clearly. Jessie J sings, “when you fall in love/You can’t help it when you act like a fool/When you look above/You see the reasons why we do what we do.” Upon listening to the track, it is apparent the song is very meaningful and, well… personal.

3/5

Jessie J Tour Dates:

October 9        New York, NY – Gramercy Theatre

October 14      Los Angeles, CA – El Rey Theatre

The last time Vinyl Mag talked to Luke Winslow-King was during South by Southwest back in March.  At the time, Winslow-King was performing songs from his 2013 album, The Coming Tide, which features a more bluesy, alternative sound.

In the interview, he briefly mentioned his then-upcoming album, which dropped yesterday.  Everlasting Arms embodies the typical New Orleans style with a rock and roll twist. Having attended the University of New Orleans for the classical music program, Winslow-King really highlights the blues and jazz sound of the Louisiana heritage. He refers to the genres as “really the only original American forms that were created in America.”

Everlasting Arms opens the album with female vocals to harmonize with Winslow-King’s smooth, southern voice. The sweet and simple song transitions into “Swing That Thing,” a track that really shows off Winslow-King’s southern rock and roll sound and reminds me of Eric Clapton’s From the Cradle.

“Levee Man” is the definition of New Orleans sound. The track opens with a trumpet and a banjo that, with the help of a piano and some brass, transports the listener to different time.

“Graveyard Blues” exhibits a slower sound with the female harmonization to put a modern twist on a classic blues piece.  Going back to the genre-specific sound, “Cadillac Slim” follows with an upbeat sound and female back up singers that give the track a Louisiana-style doo-wop feel. The Louisianna sound continues with “La Bega’s Carousel,” which is reminiscent of New Orleans classic, “Iko Iko.”

Trumpets are unique instruments (not that I’ve ever had any personal experience with them), but one basically must vibrate his/her lips to create sound.  If you’ve ever seen a trumpet solo live, you’ve seen how red the player’s face gets.  I’m sure it takes serious lung power and a lot of Chapstick, and I commend anyone who can pull it off as well as this player does in “La Bega’s Carousel.”

“Wanton Way of Loving” features female dominant vocals and a more “country” sound with a violins and banjos; Winslow-King makes a subtle appearance. The album comes to an end with “Home Blues,” a somewhat slower track that’s maybe a tiny bit ominous, but true Blues nonetheless.  Winslow-King sings, “Blues’ll make you do things you would never do. They’ll make you mean; they will make you cruel…”

Finally, “Travelling Myself” ends with a southern sound that makes me think of O Brother Where Art Thou.

The album takes listeners to a different place and a different time. Winslow-King’s music education and sheer skill are prevalent throughout the album and create an embodiment of Louisiana blues and jazz. If Everlasting Arms doesn’t make you want to pack up and head to New Orleans, I don’t know what will.

New Politics released a new single on Sept. 23 to give listeners a taste of what their third album could entail.

This is the Denmark band’s fifth single since they formed in 2009. With the success of their biggest hit “Harlem” last year, the band landed opening spots on desirable tours such as Fall Out Boy, Paramore, and Pink. Their current headlining tour is guaranteed to propel them into the realm of more recognizable alternative rock bands.

“Everywhere I Go (Kings and Queens)” is geared toward young adults, ideally college-age, who just want to hear a song they don’t have to think about. The commanding tone of the song is full of angst and demands attention. While it may seem like an immature theme, everyone needs a full-out reckless anthem to turn the mood around after a long day. The lead vocalist chants “All the giving, the taking, the taking, the giving/We’ve taken enough, it’s enough, it’s enough/So just sing.” With the thumping drum beat and persistent lyrics, the energy is relentless.

The song is easily relatable for those times when you’re just fed up with the ways of the world, which can be fairly often. The only issue with the single will be increasing the popularity via radio because of the countless f-bombs dropped throughout.

3.5/5

The likes of Billy Burke, Anthony Boyer, and David Cook comprise Sydney’s own hardcore punk-imbued trifecta of kickass disarray that is Yes I’m Leaving, and after two LPs, this Australian band is looking to hit things back off with their album Slow Release, out via Homeless Records come September 29, 2014.

Yes I’m Leaving’s aptly entitled follow-up to their 2013 reissue record, Mission Bulb, is a cement mixer of grunge, grit, and nihilism set to a four count, and I just spent most of my day trudging around to it blaring from my earphones. To start, it was slow going (absolutely zero pun intended) listening and re-listening to this album through from beginning to end, and it wasn’t until I found myself in the midst of the wracking dissonance so characteristic of tunes like “Alchemy” and “Secret” that I finally succumbed to nodding my head to the band’s volatile rhythm section while taking to scowling at everyone who looked at me longer than a few seconds.

Listeners can expect to hit the ground running with “One” as it erupts in a surge of fat bass chops and a couple of old school, pseudo-crust, vocal wails (contradictory proclamations, really) belonging to front man Billy Burke; this introduction stands to give the impression that whatever is coming next is likely going to be a bumpy ride, and I would be lying in claiming that the following tracks, “Puncher” and “Fear,” are anything short of turbulent.

Another checkpoint and notable mention at number five in the lineup is “Timer,” a jam that stands out on the album at certain parts that—dare I say it—would fall somewhere in the same genus as a Nirvana if they were a bit more thrash and had originated somewhere in the Tropic of Capricorn.

Then there is the blast of static that is “Mania,” at number eight, which melds nicely with the album’s gradual, seemingly out of control spiral downward until it burns itself out three tracks later with “Husk”—and in this humble reviewer’s opinion, in the most forthcoming instance of YIL’s splash of controlled chaos on the record.

Slow Release comes off as delightfully anxious, but leans heavily on a tone that can, at the best of times, be described as incredibly consistent. Overriding what some might call a tight performance geared toward those clamoring to be awash in an aggressive squall of noise is the group’s propensity for making songs by sticking to a “play-the-measure/repeat-the measure” formula. While this can be chalked up to Yes I’m Leaving’s self-stylization as a droning force of off-kilter and provocative guitar riffs, looking at Slow Release from a technically critical standpoint leaves something to be desired.

3/5

Meghan Trainor has become an immediate star in just the last few months with the release of her first single “All About That Bass,” which has been sitting atop the charts for several weeks.

Just when the song was starting to get out of everyone’s heads, Trainor released her debut EP this month. The four-song album, plainly titled Title, refuses to conform to traditional top chart albums.

“All About That Bass” isn’t the only positive, encouraging song on the album. It sets the theme for her entire EP. Each song addresses important issues for women with Trainor’s own style to make the album different from any other. Her tone throughout each song is endearing and light-hearted, while still packing a punch through her lyrics.

The album begins with her No. 1 single “All About that Bass,” a much-needed song about appreciation for all body types. With the pressure of society to be a “stick figure silicone Barbie doll”, Trainor refutes the idea that a size two is all a woman needs to find a man and be happy.

This is followed by the title track, “Title.” The ukulele-powered song revolves around the idea of needing a title before continuing on with a relationship. While this is a stereotype of women, Trainor addresses the issue with a nontraditional approach. She sings “I know girls aren’t hard to find/But if you want to try/Consider this an invitation to kiss my ass goodbye.”

Her newest single, “Dear Future Husband,” may begin as a romantic ballad but changes within the first 30 seconds into a fun, trumpet-filled chant. She changes the expectation that women are to remain at home, singing “You got that 9 to 5/But, baby, so do I/So don’t be thinking I’ll be home and baking apple pies.”

The album closes on an even more encouraging note than it started out on, if that’s possible. The final song, “Close Your Eyes,” pushes everyone to recognize their specific beauty and be independent of the norm. This song is extremely important in a society that expects the same standard of beauty for everyone. She sings “Everybody’s born to be different/That’s the one thing that makes us the same.”

Title is an album that couldn’t have been released at a better time. The positive messages address issues in society that have existed for many years and probably will continue. This album provides hope for a society where there is no expectation for a woman to look, feel, or act a specific way.

From stereotypes to body types, Trainor addresses them all with a bouncy, cheerful style. While she is hitting the nail on the head, her songs are catchy and fun. She is truly a unique artist who knows how to shed light on certain situations without inflicting too much seriousness in her music. With so many negative influences fluctuating throughout the industry, this music is a breath of fresh air and provides concepts anyone can relate to. This is one of the most important albums of 2014.