Category: Reviews

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

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