Kurt Vile-B'lieve I'm Goin Down 9.2/10
"I woke up this morning/didn't recognize the man in the mirror/then I laughed and I said/oh silly me, that's just me." A puzzling, yet appropriate opening statement by a man so varied, yet so familiar as well. Kurt Vile has been making waves in the singer-songwriter world for about 7 years now, but things have really began picking up for Vile in the last couple of years. While his earlier work was a little more barred back by limitations of recording quality, and struggle with identity, his new material has been revered for has greatly improved in these areas. Smoke Ring For My Halo was a great step forward for Vile. The songs felt intimate and close to Vile's heart. Everything was markedly less robotic than before. These arrangements were also lush. The material was a little more immediate, while somehow not sacrificing any of his artistic ambitions. I thought this project was great, but I was wowed even more by 2013's Waking On a Pretty Daze. The atmospheres created on that record were just astounding. I felt like I could get lost in those tunes forever, and some of the guitar work was magnificent to me. I do think things dragged on a bit long on this record, but sonically I think it is still perhaps Vile's most impressive work. I think Kurt also can be a little tired and non-sensical on this record, but honestly that's kind of who he is. He's got that lazy vibe to him, and the more you listen to his music, the more you respect that. So after such magnificent progress, did Kurt Vile finally hit a plateau, or did he continue to put out consistent rock tunes? I'll just answer that by saying that this album is Pretty Pimpin'.
Much like any Vile project, I was not initially impressed here. Everything kinda just seemed so soft and laid back compared to the lavish Pretty Daze. I was kind of sad, but then one fateful day it started pouring outside, and I heated up some vegetable soup. I had a stuffed nose, and I just really felt like laying back and kind of sulking in my pain. Knowing that KV hits that sad spot in my heart extremely well, I put this baby on. I was amazed! I can't believe I slept on this thing. I think I didn't like it initially because there is so much to digest here. Pretty Pimpin' is both catchy and features Vile's best lyrics to date, Dust Bunnies is simultaneously extremely groovy and catchy, Wheelhouse is a slowburner that hits me in the feels, All in a Daze Work has excellent guitar work, really the list goes on. I think possibly the best thing about this album is that the dull moments are few and far between. With the exception of That's Life Tho (Almost Hate to Say It), nothing on here is particularly weak. That song isn't even that bad either, it just is way too long, and the lyrics are really iffy. Other than that song really nothing bad to say here. It is a relaxing record that won't blow you away or anything, but holy moly is it enjoyable to listen to. Vile's songwriting is sharper than it's ever been, and his tongue-in-cheek method is working way more affectively than on previous releases. While Vile stays pretty much in his comfort zone here sonically, I do appreciate that a lot of the "hazy sounds" on Pretty Daze have been replaced with a more clear and mellow studio sound. Songs like Wild Imagination and Stand Inside have a clarity that previous Vile releases don't necessarily have. Vile feels more in charge, whereas in some previous releases he would tend to get lost in the haze of music. Somehow, 6 albums in, Vile is just getting better and better with each tweak he makes. Although those tweaks may be small, they are effective. Vile has also improved his charisma and likability as a songwriter, so I honestly b'lieve the only direction he's going is up.
I would recommend this album to anyone who really loves lazy day music. There is so much beauty here, but it is also really easy to just get lost in. You can either dig into this thing, or you can just take it on its surface level, and I still think you'll really enjoy it either way. Yet again Kurt Vile has proven to me that he is one of the most exciting singer-songwriters in the game, and there is no reason to b'lieve he won't do it again.
Best Songs: Pretty Pimpin', Dust Bunnies, Wheelhouse, Life Like This, All in a Daze Work, Lost My Head There, Stand Inside, Bad Omens, Kidding Around, Wild Imagination Worst Songs: I'm an Outlaw, That's Life Tho (Almost Hate to Say It)
Pop culture has always been enamored with music. The bright lights, big stars, and wild antics often make for fantastic stories, but sometimes this causes misconceptions to spread throughout the music community. Stereotypes and myths are formed about certain groups, genres, and stars themselves, and a lot of the the things we hear are simply useless, or it is completely untrue. I strongly believe that certain publications and people in this world have printed libel and hurt the worlds conception about music today. This article is to kind of offer my opinions on the negative connotations of that libel. It is also to offer up my own opinions on the state of music today. Hope you enjoy!
Myth: Rock and Roll is Dead!
Older generations today will tell you that Rock & Roll is dead and that older Rock bands are far superior to what we have to offer today.
Truth: Rock is alive, Society is moving on
In all actuality there are plenty of great rock bands out there today. Perhaps why people may think Rock is dead is simply because the impact the music has on today's youth is significantly less than it used to. I think the music is definitely still there with great up and comers such as Courtney Barnett, Tame Impala, and The War On Drugs, but it just seems that the time for the genre is simply fading. Albums are still getting revered and appreciated by many, but it seems like people are not yearning to hear Rock music as much anymore. Perhaps this is because the lack of innovation the genre has encountered. There is not as much flexibility in Rock music than a genre like Electronica or Hip-Hop.
Myth:Country Music is Awful
Country music is seemingly pretty hit or miss these days. As a student, I encounter a wide variety of different opinions on the topic. You either love it, or you hate it. I happen to be from an area where people tend to hate it.
My Opinion: I agree slightly
It's really not awful, that's not what I should say. I think there is some great more underground Country artists such as American Aquarium or Chris Stapleton, but Country-pop, a genre that's been ever so thriving since the dawn of Taylor Swift, has taken an enormous plunge. Pop tunes from Johnny Cash with politically charged meaning use to rule the airwaves, but now I only hear songs about women and beer. Sorry Country fans :(. The whole genre is definitely completely awful in any way.
Myth: Drugs make you a better Musician
Many think the use of drugs can help a musician really come into their own. Some people think artists like Kid Cudi or even Julian Casablancas possibly "fell off" because their efforts to stay sober.
Truth: Depends
Really no way to prove this one. Sure certain artists have excelled while under the use of drugs, but many great artists also never use drugs. Some of my favorite albums ever were conceived because of drugs, but then again whose the say the drugs did the magic. For me it's more about the emotional state the writer is in, and when a writer is using drugs heavily they are most likely in a very fragile emotional period, which could lead to a fantastic, emotionally raw record. I'd say some people might need that feeling that drugs might evoke from them in order to feel that focus they need.
Myth:Rappers are not Musicians
Many people think rappers are not musicians. They believe their rhythmic skills and word play does not qualify them properly. Many think in order to be a musician you must be able to play a musical instrument
Truth:Rappers ARE Musicians!
As long as you are an active participant in making music, I would say you are a musician. In order to craft any song, you have to have the necessary skills of musicianship. Many rappers of today use complex rhythms, dynamics, and amazing vocal delivery in order to convey their message. They shape their raps much like a musician would work hard to properly shape a phrase. Last but not least, the voice is an instrument, so yeah this argument is completely irrelevant.
Myth:Making Hit Songs Makes You a Sell Out
If you are an artist that is willing to try to churn out pop single after pop single, then you must likely are a sell out who doesn't actually care about music.
Truth:Mostly False
Sure people try to milk music for the dough, but even our biggest pop stars are capable of doing insane things. Beyonce and Miley Cyrus for example both have been known to make pretty glitchy/experimental music from time to time, so it is acceptable to have a little fun. As long as you stay true to the reason you started making music you are fine. I think T Swift is a sell out, and I also cite Weezer and Green Day as two huge sell out bands. These bands dropped their authentic sounds in order to gain pop appeal :(.
Myth:Indie Kids are Music Snobs
Many people give me that negative tone for being an indie kid, but sorry haha, it's just what I happen to like.
Truth:We Are
I am totally a music snob, but you should be too! There is so much music out there to listen to, and honestly if you don't absolutely love it, why are you listening to it? There is something for all of us to dig into and enjoy, and I am willing to find it even if I hate a lot of the things in the way. I will say I am not a complete snob though. I love all genres, and I think that Hip-Hop is closing in on Indie for the best active genre of music.
The Return
I plan to return to doing full fledged music reviews very soon. My goal is 3 per week, but obviously I have a crammed schedule so that may not be possible. I'll do whatever is possible though. I have been so preoccupied as of late, but I haven't really stopped listening to music. I've just stopped writing about it. I'm not sure if I will write reviews or create a youtube channel, but either way I'm going to go back to my roots on this one. Reviews will probably be shorter, but just as in depth. I'm thinking I'll probably just do video reviews, but maybe I'll do both. We'll see.
One thing needs to be said before I start this review. This is the worst titled album of 2015, and it is not even close. Alright lets begin. Wilco seemingly went missing in recent years after their great 2011 record: The Whole Love. Frontman Jeff Tweedy did a side project with his son, and other members took the time to continue with other side projects as well. Tweedy's side project was pretty decent, but I was starting to get worried about this band. After 20 years together at it, you have to know that any day a band could just go out and quit. Perhaps this is why I was so happy when I saw Star Wars pop up on Facebook page. The album seemed so silly, so fresh, and it really just seemed like they made a record to have fun. I was really excited to listen to it with all these thoughts rushing through my head. To me Wilco has not missed a beat in their career, but things haven't really felt loosey goosey since pretty much Summerteeth. Perhaps I only say this because I am aware of the tension that was going on in the band, but I really feel like some of that intensity and awkwardness is still really present in the band's tunes. Anyways, before I get off on a complete tangent, I'll just end it here: I was really hyped. Amazingly, Listening to this album only made more excited too. I think it's truly brilliant, and few bands this old could pull something this well made off. Although Star Wars may not be anything particularly new, it certainly still pulls the listener in with extremely odd and interesting instrumentals. These songs breathe new air into a band that has been called a "dad rock" band, or a fedora haven. This album really shows that this band has a lot of different aspects to them, and that is truly beautiful to me. Perhaps what makes Star Wars stick out so much is its individuality, and to think that a band that is 20 years old is still building on their name is truly incredible. Star Wars is certainly not perfect, but sometimes the sweetest surprise is a lolipop rather than a chocolate cake anyway.
From the get go we hear EKG which very much mimics Yankee Hotel Foxtrot/ Ghost Is Born era Wilco. This track features many meter changes and just super insane glitchy guitar parts. The song is definitely one of the coolest pieces of music the group has made in some time. It truly does feel chaotic, and its probably the band's weirdest track in the last 5 years. More.. is a pretty classic Wilco song with an extremely polished and catchy chorus. This song kind of feels anthemic, and you can't really help but sing along. Random Name Generator follows a simple guitar riff and the vocal delivery from Tweedy can get annoying, but the layering in this track is magnificent. The instruments all coming in together towards the end sounds really powerful, and it is totally refreshing. Joke Explained is too hokey for me, but You Satellite is absolutely mind blowing. This song feels pretty atmospheric with a droneish sounding guitar part, and sloshy drums. The song goes through many changes musically, and it enhances the song tremendously, and it really needs to be heard to be explained. This track is brilliant. Taste The Ceiling is pretty beautiful and relaxed like something off Sky Blue Sky, but it feels a little more friendly with the extra instrumentation. Pickled Ginger is a driving song that really sticks out on the album. It's energy is unrivaled on here, and a lot of these songs don't really move you the way this one does. Where Do I Begin feels like the most sentimental song on here, and I just love how the drums and guitar kind of just solo over the end of the track. The whole thing is gorgeous. Cold Slope and King Of You are definitely my least two favorite songs on here though. These songs really blend into each other, and their low tempo speed really makes these songs a real bummer. There are not bad hooks here, but considering everything I've heard from Wilco before, these tracks are not good in any way. Thankfully, the album closes out with Magnetized. The track is pretty Abbey Road sounding. It's made up of a demonic keyboard part and a great guitar solo. The track seems to tell a love story in an unconventional way too which I certainly appreciate. Overall, The whole thing is pretty entertaining. It's short sweet and that's all that really needs to happen. It makes me excited so I'll always love it, but I cannot forget that there are certainly some misfires here. Overall Wilco stepped up big here, and perhaps it's actually because they are having fun again. I gotta say, whatever happened, I want more.
BEST SONGS: EKG, More, Random Name Generator, You Satellite, Where Do I Begin, Pickled Ginger, Magnetized, Taste The Celing
WORST SONGS: Joke Explained, Cold Slope, King Of You
Patrick Stickles is a madman. The guy has sounded pretty enraged throughout his career, and many people have written him off because of it. While this passion and insanity has drew some away from the punk band's efforts, it has also been perhaps the band's biggest strength in many peoples' opinion. The Monitor showed Stickles calling America on its shit, and his commanding, powerful voice was the perfect voice to have everybody truly listening. These "rants" were topped off with hard hitting guitar and drum riffs that really made for an anthemic album. This album was extremely ambitious because of its concept, but also because of its length. The album clocked in over an hour, and it featured only ten tracks. Punk albums can be long, but sometimes Titus Andronicus just really runs with it, and I guess that can just feel stale after a while. Anyway, this ambition seems to have returned on their newest album. Local Business was a solid effort, but it was shorter and less gritty than its predecessor. The Most Lamentable Tragedy, however, is longer than both of these records. Clocking in around 93 minutes long, this album really does feel like a story. There are a lot of layers to it, and it is honestly pretty hard to interpret. The basic concept revolves around a main character who has a mental disorder, and the album kind of just takes you through this person's various states of mind. This is a pretty hard thing to capture, but I believe, for better or for worse, Titus Andronicus did it very well. This album is wild, unpredictable, and at times pretty cringeworthy much like the life of a mental health patient. What I'm saying is: Yes, this album is very cool and conceptual, but sometimes that honestly can hurt it.
This album has 29 tracks. 29. That's a lot, or so I thought. The amount of tracks that are either interludes or under 2 minutes amounts to 13. If take those 13 tracks away this album does not lose much, and it is honestly way easier to digest. I guess it is cool that these great 2 minute punk songs exist, but honestly if 13 songs on your album are not vital, then something is just not quite right. Also, I understand Stickles is portraying a character that many would consider insane, but he literally sounds cringeworthy at moments during this album. Sometimes it really detracts from the tunes on here. I feel like it was probably intentional that he sounded extra screamy and angsty, but a lot of the time his vocals simply sound bad. Despite his sometimes average voice, Stickles still packs a ton of punch on these tracks and I certainly appreciate that. At times he felt soulless on Local Business, so it was really refreshing to hear him morefired up (pun intended) and passionate on this baby. These instrumentals really shred too! The energy is just palpable on tracks like Dimed Out and Fired Up. These tracks have really catchy hooks, and they just feel extremely true to the band's roots to me. Dimed Out especially reminds me of The Airing of Grievances. Also this album has two centerpieces that are both just insanely good. More Perfect Union shares the same title as the opener to The Monitor, and honestly this track might rival that one. The song just sounds so immense. It channels arena rock, punk, and hokey rock and it does so in such a natural and organic way. (S)he Said/(S)he Said feels a little less substantial instrumentally, but this song is oozing with emotion. Stickles lyrically just sounds out of his own body on this song. He really feels as if he is struggling with temptation in so many different ways, and you can just feel the struggle in his voice. This song is pretty epic as well, and to me it's the best track on here. But for every one of these tracks there is a I Lost My Mind (both versions aren't good), Lonely Boy, or Come On Siobhan. These tracks just feel like generic, dad Bruce Springsteen piano rock. While that is not necessarily bad, on an album full of ambitious punk tunes, it is the last thing I want to hear. I Lost My Mind really is just unremarkable and Come On Siobhan just doesn't even sound like the band. Lonely Boy is extremely strong lyrically, but sonically I just cannot get behind it. There were other bad moments too. I'm Going Insane is just a rehash of a Local Business tune in a different key, Stable Boy just tries way too hard to be emotional, and Please is just non coherent. Still, the weak moments are nothing compared to the good stuff here. As a whole the album is pretty mediocre, but if you think this band lost their edge, I would debate you on that. I think this album's concept was amazing, but it may have actually hurt the record, so I am left kind of in between here. They did the concept well, but perhaps sometimes this madman was just too real for me.
Nothing describes this album better than Fatal Flaw. During the chorus Stickles proudly chants, "Let me show you my fatal flaw", and that's pretty much what he's doing to us on this record. He is bearing his heart out for all of us, so we really get to see everything about him/his character he is playing. Honestly although it can get tiresome, it certainly is pretty unique to see, and for this reason, I can at least respect this record. I'd recommend you at least give this baby a try.
BEST TRACKS: NO FUTURE PT. IV, Look Alive, Lookalike, Dimed Out, Fired Up, More Perfect Union, She Said/She said, Pair of Brown Eyes, Intro To The Void, NO FUTURE PT. V
WORST TRACKS: All Those Random Soundclip Interludes, Lonely Boy, I Lost My Mind X2, Mr. E Mann, Sun Salutation, Intermission, Come On Siobhan, Stable Boy, I'm Going Insane
What the hell is the big deal with Tame Impala? The band has been everywhere lately, especially on my facebook page. Everyday it seems like a see a new article detailing the inner workings of the mind of frontman Kevin Parker. While this can get annoying, I have nothing but respect for the band. Kevin is certainly an extremely hard worker, and their it really shows in their music. They've never really made something that has wowed me, but honestly I had plenty of reason to be excited for this album. Their work has been continually improving, and some of the singles for this album really clicked for me. Let It Happen is a musical journey which features irresistible synth lines and a nice bass groove as well. This song definitely goes through many cool changes throughout the song, but I really like how that synth motif really is present throughout pretty much the entire track. The song is long, but it goes through enough different sections/layers that it doesn't feel stale. Disciples was the extreme opposite of this song. That song was short and a little more basic in structure, but honestly Parker's bubble-gummy singing is no less charming on this track than it is on the former track. This comparison says a lot about this album as a whole. Throughout many of the different sounds and textures on this album, Tame Impala's sound remains close to their roots and relatively intact. While Currents certainly sees a shift away from the band's more psych-rock sound, it also really still feels like a Tame Impala record. Kevin Parker and company are still providing excellent basslines, hard hitting drums, and in my opinion even better hooks than usual. So to say this album is album is a change in current would be correct, but if it is a hard pill for you to swallow, I really don't quite understand.
I bet you guys think I'm about to kiss Kevin Parker's ass, and give this thing a 9, but honestly, even with my respect for Kevin, I still wasn't really blown away by this record or anything. To me Currents is just another improvement for the band, and if the band keeps this up, I will probably EVENTUALLY (song pun) love one of their projects. Before I get into the highlights, lets just get the real bad stuff out of the way. One thing this album really suffers from to me is its pretentiousness. To me Kevin always is trying to say something important, but honestly I feel like the way he says things is just pretty much the easy way out. Perhaps this is most evident on track 4: Yes I'm Changing. This track is kind of a middle finger to all the people who will hate the "new" Tame Impala synth driven sound, which is honestly a cool route to go down, but for every intelligent and witty lyric Kevin will write, he write another line that is just cliche and gross. "They say people never change, but that's bullshit, they do" has to be the most cliche lyric I've heard on an album all year. The lack of specific real life, personal lyrics on this track is really a bummer because honestly the message was cool, and the instrumental was ok, but Kevin simply is not interesting on this track. Past Life is also a warbled mess. Whoever thought that computer automated voice was a good idea needs to be smacked. The voice just gets annoying, and honestly that mundane voice combined with just a bland instrumental makes a pretty terrible track. This record also occasionally does feel a little too samey as well. While the end of this record is very strong, it is also extremely similar. Reality In Motion, Cause I'm a Man, Love/Paranoia all kind of use this airy synth and high pitched vocal formula that really is not a huge problem, but when you hear this on over 75% of the record, it does start to become annoying. This is why tracks such as Less I Know The Better and New Person, Same Old Mistakes feel so good. These tracks really are not the best on here, but within the scope of the album they feel a little more fresh after hearing a kind of formulaic sound repeated a lot. Despite the sound being somewhat formulaic, there is more than enough musical moments to make the tracklist interesting. Eventually really feels like a beautiful combination of both synth and rock sounds, and its hook is honestly so catchy, how could you not love it? Nangs is a really twisty-turny interlude that just feels really refreshing, especially after the barn-burner that is Let It Happen. The Moment features some really cool drums over an unbelievably funky bassline. Plus this song really feels passionate. Parker really digs in with his vocals on this one. Also I love the layering of extraneous vocals, synths, and guitar parts. This song is definitely the closest thing to a mind blower on here for me. Less I Know The Better turns a hard nosed bass riff into a sweet song which was a pretty deceptive trick, and Cause I'm a Man is just an absolutely crazy atmospheric tune. That tune really makes the listener just lose their head in the music. It is so hazy, but at the same time so involved. I think that actually the whole album is pretty atmospheric, which I will certainly give it props for. I guess my biggest qualm about this thing is that there is no "wow" moment on here. Sure it's a catchy synth-pop record, but honestly nothing on here actually makes me pumped up or amazed. I will certainly listen to these songs a lot because they are fun and catchy, but when a record like this is hyped so much, it is hard not to expect big things. While this thing is certainly great ear candy, it is in no way remarkable. I still think this band has it in them, and this record is certainly a step in the right direction, but until they blow me away, I will always think of Tame Impala as prospects. Now it's just up to them if they are going to the next Jordan or the next Sam Bowie.
Best Tracks: Let It Happen, Nangs, The Moment, Eventually, Less I Know The Better, Cause I'm a Man, New Person Same Old Mistakes Worst Tracks: Yes I'm Changing, Gossip, Past Life, Love/Paranoia
The date was July 20th, 2015, and I was riding a train, both physically and mentally. The Metra train in which I was aboard ferociously approached my home, but in my mind I was still stuck in yesterday's news. I knew that living in the past is never a smart thing to do, but man, this experience just seemed so important and so big that I could not help but revisit it. I had just spent the prior three days at Pitchfork Music Festival in Union Park, Chicago, IL, and it was honestly such mind blowing weekend in so many ways. Not only was I surrounded by such an immensely talented group of artists, but I was also surrounded by people who were all united and truly devoted to music. This felt absolutely incredible, and honestly having the ability to connect to so many people I was previously strangers with such such an enlightening experience. Above all of this, the best part of the weekend was perhaps my realization: your opinion is the only one that matters. Honestly, I've spent the better part of my life just worrying. I cannot seem to help it, and for some reason it has consumed me. school, my music, and my social life has always been hindered to some degree because I, for years, have been afraid. But, for whatever reason, my weekend at Pitchfork Music Festival changed my perspective on how I view the world around me. As I sang, danced, and jumped around I realized I have let my life control me. I am always too worried about messing up or making simple mistakes that I often do not let myself see my full potential. Over the weekend I observed many people just really going all out. People there seemed so carefree and very accepting in the same breath. It really just feels like a place you can be yourself. This environment was perfect for me because it allowed to really just have some important "me" time, and seeing everyone else enjoy themselves so much perhaps taught me to loosen up. Even if the bands I saw this weekend were awesome, and the camaraderie I felt was very enjoyable, I have to say the greatest part of this weekend was just getting to know myself better. Alright, enough with the sappy stuff! Let's get down to business.
FRIDAY
Wilco-Random Name Generator
After about two hours of train riding, my friend Matt and I arrived in Chicago. We were staying the weekend in an apartment a little bit out of the city with my brother and his girlfriend. On Friday, everyone staying in this apartment was going to the fest. This was interesting because we had people from all different kinds of festival going experience in our group. My friend was going to his first festival as was my brother's girlfriend's roommate, while my brother and I had been to the festival a couple times before in the past. This excited me a lot actually because it is always interesting seeing people go to their first festival. It really is a unique experience. Anyway after cups of coffee and brief meals we made our trek to the festival. The day began at the Red Stage with Natalie Prass. The weather was unreasonably hot, and so was Natalie Prass! The heat was really beating down on the fest goers, but man was my optimism high. This was going to be a great day, and I just knew it. Natalie Prass put on a nice show, but I really do prefer her album to her live show. Her live set up does not allow a lot of the arrangements that were written for her album to come out. Still, her show was pretty entertaining and I wasn't too upset. Next there was kind of a lull in the day, so my friend and I decided to just camp for Mac DeMarco. Unfortunately while we camped, we could hear the obnoxious ILOVEMAKONEN which I can honestly say was one of the worst shows I've ever seen. MAKONEN brought a lot of energy to the stage, but his DJ was lackluster and his tunes just don't have any depth really. The wait for Mac was one of the first painful parts of the weekend. My legs already started aching, so I knew I was in for trouble in that department. Despite the pain, Mac DeMarco's show was extremely fun. The man didn't sound amazing or anything, but he is such a goofball and he really knows how to interact with a crowd. His twangly guitar tunes kept me entertained his entire set, and overall it was a fantastic show. Next we moved onto Panda Bear. During this show I met up with my dad, who was waiting for Wilco. It was great to see him, and I hope he had a good time. Anyways, Panda Bear was a very cool show. Quite unlike anything I saw all weekend. Noah Lennox went from tune to tune with seemingly absolutely no bumps. It was a really cool set, but I can't help but feel it was maybe not catered to a festival. It is the type of show I'd much rather see in a venue in the dark. It was still very cool nonetheless. After Panda Bear we just stayed at the Green Stage and camped for Wilco. We could hear Chvrches and they sounded tight, but our seats for Wilco were well worth skipping out on them. My second time seeing Wilco was absolutely incredible. They played their new album Star Wars front to back, and honestly it was astounding. This band has been around for 20+ years and yet they still are putting out great fresh material. You Satellite sounded particularly amazing. Glen Kotche was absolutely destroying the drumset, and Nels Cline was a monster on guitar. After they played the new album, they rocked through some of their greatest hits. This show just constantly amazed me. Tweedy and company have a mastery of their craft that few bands can achieve, and honestly watching them just run with it is remarkable. If you ever get the chance to see this band live you NEED to take it! I think they are possibly one of the best live bands in the game right now, and I guarantee they won't disappoint you. Anyways, after the show was over all of us were really exhuasted, but it turns out that the next bus back to the apartment wasn't for 15 minutes so we needed to hold on just a little bit longer. Eventually we made it back and we spent the rest of the night eating ice cream and pizza, and watching movies from my brother's laptop. Overall it was an amazing day of music, but I knew I still had plenty of work left to do for the weekend.
SATURDAY
Sleater Kinney-Words & Guitars
After a long day of festival going, your body is bound to be tired. Perhaps this is why the 5 hours of sleep I got this particular night seemed to just obliterate my body and mind. All complaints aside, day 2 was an even more amazing day than day 1. Spectacular performances, good food, and ultimately surprisingly good seats really helped make this day fantastic. The day started out with coffee in the apartment again, and sadly I just cannot bear coffee. I am sorry, I like it just about as much as I liked ILOVEMAKONEN'S performance. Still, I am always down for a good bagel and egg breakfast, so I will keep my mouth shut. After breakfast we just chilled until we could catch a bus to the festival. The doors open earlier at noon on Saturday and Sunday, so that means we caught a lot more performances (YES!)! After being dismantled of all of our water by security (c'mon guys!) we finally were in the fest. Since we got there early we had plenty of time to fill up on water, and enjoy the record stores and accessory shops inside the fest. This was a pretty great experience, especially in a weekend so jam-packed with action. It was nice to just witness the culture of the fest for a little bit and just kind of look around. After we were done with this we headed over to the Blue Stage for the first time of the weekend. We caught Bully perform a short, but brilliant set full of energy and flair. Singer/guitarist Alicia Bogananno really brought so much to the table. She can scream, sing pretty, and her guitar playing is pretty badass too! Honestly this set was a real treat (if Smid is reading lol). After this set was done we stayed put and camped for Mr. Twin Sister, which was yet another spectacular show. Few bands at the fest had as unique of a sound as Twin Sister. They experiment with plenty of different synths, drum loops, wind instruments, etc.. Overall, it makes for a just a fantastic show. Their music really has a kind of airy and atmospheric feel to it, but it still feels dancey at the same time. Few bands can hit this balance, so it's really cool to experience this live. About half way into this set it started pouring. I'm not kidding, It was an absolutely menacing downpour, this was pretty cool seeing the band perform through this, but sadly shortly after Mr. Twin Sister the fest was post poned for about an hour. This was disappointing, but honestly it couldn't have came at a better time. It came at kind of a gap in the day, and it allowed my friend and I to see the posters and other accessories pitchfork had to offer. We weren't technically allowed to be in the park, but the security honestly just did not enforce the cancellation very hard, so many people just stayed in the back of the park kind of hidden. Things got started again around 4:45 and I realized that Kurt Vile's set was going to be cut tragically short, so we ended up just going to the Red Stage to camp for Parquet Courts. Kurt's performance was kind of muddled down by sound issues, which I completely understand because of the quick turn around after the cancellations, but Parquet Courts ruled! The crowd got really into it, and the band sounded great. There was energy coming from both sides, and honestly that is the way it should be. The mosh pits got pretty intense, and my body was pretty dehydrated at the time, so I decided against it, but the show was still pretty fantastic. Plus, my friend and I got extremely dirty during this show, which was pretty cool. I'm pretty sure he landed face down in the mud while he was in the mosh, which i've never seen happen. Anyways, you get it, very tight show! After PC, we saw a longtime favorite of mine The New Pornographers. Despite much of the band's live lineup being different than usual, they still brought the house down. A.C Newman and co. really still have it, and their setlist really made me happy. Lots of old songs from them, and you best believe I was singing every word. Shortly after my friend and I indulged on some delicious fries and pizza before we just camped out for Sleater Kinney. We heard Future Islands from a distance and they sounded good. Sam Herring really packs a ton of energy into his performances with the band, which I appreciate. After an hour of waiting, Sleater Kinney brought the house down! Carrie Brownstein was constantly going berserk on stage, which was both funny and badass. The girl really knows how to put on a show. Corin Tucker still has an amazing singing voice, and despite Janet Weiss' strange technique, she was rock solid on drums as well. Through all the struggles of the show (Carries fall, and a simple screw up during the encore) the band still managed to put on a fantastic show. Day 2 left me feeling more satisfied than a piece of sausage pizza, and although I was dirty, I really felt on top of the world. I encountered so many great people and artist, and I just couldn't wait to finish it out. After a short transit back to the apartment, we ended up washing our clothes and shoes out in a broken fire hydrant! If that's not life changing, I don't know what is. So yeah, when a day ends like that, you know it was worthwhile.
SUNDAY
Caribou-Our Love
The last day of a festival is always something special. We had made it through 2 days already, so what were we to fear? Nothing. It was just time to go out one last time, and really put an exclamation point on the weekend. Going into the fest I knew most of my hyped artists were playing on Sunday, so honestly I was beyond amped. The prospect of being able to Courtney Barnett, Jamie xx, Caribou, Todd Terje, and Chance all in row just absolutely blew my mind. And guess what...it didn't disappoint at all, in fact, it might have even exceeded my expectations. But let's not get ahead of ourselves, lets for one last time start at the beginning of this (even though no one is reading this...still). Another nice breakfast included eggs, toast with cream cheese, and an apple. My brother introduced me to some new music I've never actually heard before after breakfast which was definitely a much needed kick in the right direction (I'm going to try to do reviews again, I know I messed up). After that we pretty much discussed our favorite sets of the weekend, and found ourselves in sometimes heated arguments. After we finished this, we headed over to the fest for one last go around. We got there early again, so we checked out concessions and it turns out Topman was giving away free shirts. The shirts were being pressed there, so seeing the process was actually pretty interesting. Also, who could pass on free stuff? That's one amazing thing about the fest. They always seem to give a lot of stuff away, whether it is water, or just cool merchandise. After acquiring my shirt, we headed over to see Viet Cong. The band released one of my favorite records of the year, so my expectations were high. Overall the performance was at times just ok, but the sheer intensity made it a can't miss set. The band brought a ton of energy to the set, and hearing Matt Flegel just scream out his vocals made everyone in the crowd really hyped. The second guitarist did occasionally really mess up or just not finish his phrases, but honestly a good performance moves the crowd, and Viet Cong made the crowd go nuts! Death is seriously one of the best live songs I've ever heard, just pure bliss. After Viet Cong we saw Kate Crutchfield's Waxahatchee. This set was unbelievably tame compared to VC's. It wasn't bad, but it didn't really pack the excitement of the previous band. I'm not mad about it at all though because it gave Matt and I a great opportunity to sit down and rest our bodies before the day destroyed us. After Waxahatchee we moved on to Madlib & Freddie Gibbs. This show was ultimately very entertaining, and just a great come-home show for Freddie Gibbs. The man really knows how to connect with a crowd. He made us laugh constantly with his goofy antics. He claimed to be "drunk as hell" and I wouldn't doubt it, but still if that man can rap that well when he's "drunk as hell" then he's a legend in my book. Madlib is a legend, and his production was just cream of the crop as usual. It was refreshing to hear a great DJ after seeing the atrocious DJ of ILOVEMAKONEN. Perhaps Freddie talked too much, but honestly I still really enjoyed myself immensely. After this we just needed to eat. There was no if ands or buts about it. We filled up on water and enjoyed delicious pulled pork sandwhiches while also munching on some fries which sadly made us miss about 20 minutes of Courtney Barnett's set. We got back though, and at least I know I felt phenomenal. Better than I had felt in days. Courtney sounded amazing and honestly everyday my mind changes about her. That album that I gave such a low score is actually pretty amazing (sorry Courtney!). Her band, with just 3 people, blew the house out of the water. It was a set that was both moshable and just enjoyable from an observers perspective. After a little bit of CB we decided to head over to Jamie xx. His set was a DJ set, but he does things the old fashioned way. He has two record players and some beat boards that he is constantly checking and playing with in order to create his music, and it was honestly unbelievable work. Anyone who says being a DJ is easy clearly needs to see this set because Jamie was always busy. He is always playing with something or switching something up. Everyone really dug his set, and it was really the beginning of a non-stop dance party. Caribou followed Jamie xx in just a monstrous way. The band's four man set up is simply incredible when you consider how much noise the group can make. Dan Snaith is always toying around with synths and even often playing drums to tracks to spice things up a little bit. Caribou, in terms of precision, might have been the best band I've ever seen. They can switch the groove to seemingly any feel or meter and everyone will still be together. This was really shown on the magnificent track Mars. The drummer's groove is completely arrhythmic to what the rest of the band is doing, but still he does not miss a beat. It's pretty incredible set. Two more highlights of this performance: Matt and I danced with a complete stranger for the last 20 minutes, and Dan Snaith played a pan flute on Odessa. Pretty amazing stuff. After this, we stayed back for about 3 songs of the badass, in your face hip-hop group Run The Jewels which was extremely enjoyable. We didn't have much time before Todd Terje, so we decided to stay back, but I mean even from far away, how can you not love RTJ?!? Soon enough we went to the Blue Stage to see the legendary Norwegian DJ Todd Terje (HOW DO YOU PRONOUNCE TERJE?!?!). His live set was sporting a full band, which was just incredible. It made the tracks groove so hard, and honestly if you didn't dance during this set you are inhuman. Todd Terje honestly was just a superstar up there, and to see the rest of the band was just icing on the cake. My mind was actually so ecstatic during this entire set. My life may have peaked during the just delicious performances of both Svenk Sas and Alfonso Muskedunder. The crowd was just unbelievably energetic, and I was so happy to be part of it. The music was on point, the energy was there, what else could have made it better. The day could have ended there and I would have been completely content, but thankfully there was one more act to cherish. Chance The Rapper gave me one last piece of "Sunday Candy" (laugh at my joke please) for the day and boy was I grateful. During the show Chance energetically bounced from his early to his more recent projects, and he really connected with all the audience. His live band killed it, except for you Donnie Trumpet. Stop playing your instrument so damn loud. The set was just a perfect goodbye to the weekend. As Chance told Chicago how much he meant to him, it was hard not to feel proud. I was just proud of my family, my peers, and my community. I felt so happy to in that moment at that time, and only special person can do that. Thank you, Chance!!! As the day ended, we encountered some more funny people, and kind of just reflected on the whole experience. We knew we had to leave the next day which was depressing, but honestly I was ok with it. I accomplished everything I set out to do and more that weekend, and I am just happy that it happened. After all, Dr. Seuss says.....you get what I'm trying to say. We've all heard that quote a million times. As the day winded down I really got to think about everything in my life, and how perfect it all is. I have great friends, great family, a great education, and a great community. Sometimes you need a little vacation to see what is so special in your everyday life, and although that may be ironic, it is certainly true. Pitchfork was my vacation. It was a release from all the pent up emotions I had faced in the prior months (lol teenage angst). And even though I know it's not always going to be peaches and cream, at least I can always look back on moments like this and just really feel blessed. Life can be crazy and sometimes illogically strange, but then again, so can Pitchfork Music Festival, so maybe life really is beautiful.
IF YOU DON'T WANT TO READ THIS ENTIRE THING:
Pitchfork Music Festival was on July 17th-19th and I found out a lot about myself during this weekend. I learned that ultimately my opinion is the only one that matters in my life, and that I should not be worried about what others want me to be.
I stayed in Chicago with my brother, my brother's gf, and my friend Matt. We chilled hard lol. We ate some delicious food, listened to great tunes, and did not sleep well.
FRIDAY HIGHLIGHTS: Wilco's amazing musicianship and overwhelmingly powerful show, Mac's audience connection, Panda Bear's unique show, Natalie Prass is really hot!, amazing strawberry ice cream after
SATURDAY HIGHLIGHTS: Delicious Bagel breakfast, Bully's powerful yet quick set, Twin Sister in rain, Parquet Courts mud bath, New Pornographers still got it, Sleater Kinney prove women are bigger rockstars than men.
SUNDAY HIGHLIGHTS: Burritos at end of day, Viet Cong's passionate performance, Chilling in grass at Waxahatchee, Freddie Gibbs & Madlib's hilarious yet impressive set, Jamie xx's old fashioned performance, Caribou's tight as nails sound/dancing with cool guy during this set, Todd Terje's crazy fun dance party in the dark, Chance's intimate and touching hometown show.
Sappy line about me saying sometimes the only way to remember the great joys of everyday life is to take a vacation
Sappy line about me comparing life's craziness and hectic nature to a Pitchfork Music Festival's craziness and hectic nature.
I made a lot of jokes in here, so if you aren't reading, I'm sorry.
Jamie xx has spent the better part of his career as the often overlooked member of the critically acclaimed group The xx. The group is known for their somber and minimalistic music; I would describe their music as haunting yet gripping. Jamie has done a lot of the bands production and mixing work, and he does not appear as a singer, so it is understandable why he has been overlooked, but I think he is more crucial to the xx than people think. A lot of the time the production can really help create an atmosphere, and I think Jamie's production really enhances that dark, desolate feel that the xx really exemplify so well. Anyways, Jamie xx is Jamie's way of breaking off from the band. He has not left the band or anything, but this project really gives Jamie a chance to shine on his own as a musician. His music is a lot more dancy and electronic than the xx's and it is certainly a lot more colorful. Jamie has gotten a lot of steam from remixes he had made over the years, and just now it is really starting to come to fruition. His record has been very well hyped up, and he seems to be really making a name for himself, but is Jamie ready to shine on his own, or should he have just stayed put? I'll just say one thing: this man knows what he's doing.
This album is perfectly described by its title: In Colour. This album can take you to a lot of different places, and whether it's an exciting place or a very relaxed place, this album always seems pull it off well. Sleep Sound and Loud Places both take you into this kind of drowned out environment. They seem to do so little, and they kind of excite your brain because of that for some reason. It really allows the listener to focus in on the very gorgeous instrumentation, and it does not drown us out with layers upon layers. Gosh is a hard edged electro tune that is very different to say the least. The groove is kinda mundane for me, but then the synth line at the end absolutely saves the song. This song really showcases just how gorgeous the instrumentation on here can be. Also very beautiful, is the steel drum led Obvs. This song does add a lot of layers into the mix, but unlike a lot of other electronic songs, it doesn't do so obnoxiously. It is very subtle in everything it does, and that's why this tune is fantastic. Stranger In The Room sees Jamie reacquainting himself with bandmate Oliver Sim. It is a very eerie tune kind of similar to the xx's music, but instead the synth kind of gives Oliver a brand new canvas to sing over and it sounds very nice. Romy also sees a couple appearances on this album, and she sounds nice over this instrumentation as well. Maybe the xx should make an album that is completely led by Jamie xx. That would be interesting for sure. Seesaw has probably the coolest transition on the album. The song kind of just sneaks up on you, and I thought that was very cool. I thought this track was also extremely good a long with this transition. Lastly, I Know There's Gonna Be (Good Times) is an absolute banger. This tune is an old-timey hokey hymn song mixed with today's "trap rap" sound. Overall it blends a lot better than you'd think, and Young Thug holds his own surprisingly. The album then proceeds to close out very strongly, but at this point that is no surprise, Jamie completely earned my trust, and the rest of my thoughts were just noise (that's a good track by the way).
Overall this album is one of the best dance records of the year because of its colorfulness and its wild diversity. This album is not always the most upbeat and happy album, but it still really just throws itself at the listener, and by the end of this ride, you almost can't deny it. This album was a huge step forward for Jamie xx and I really look forward to what this guy may have in store.
Best Songs: Gosh, Sleep Sound, SeeSaw, Obvs, Stranger In A Room, Loud Places, Good Times Worst Songs: Just Saying, Girl
Sorry I Missed These Faith No More-Sol Invictus 6.0/10
Certainly not terrible, but also not really anything too exciting. Pretty disappointing after it being their comeback record. I feel like if you are going to make a comeback, it has to rival your previous work, and this album simply doesn't. Hiatus Kaiyote-Choose Your Weapon 8.2/10
extremely soulful and colorful album. Really sad I didn't get to properly review this album, and I feel like it blends electronic, jazz, and r&b influences extremely well. The songs are pretty interesting but surprisingly direct, and how could you not love that voice? Drake-If You're Reading This, It's Too Late 7.7/10
Undeniably powerful for Drake. Really have never been a fan at all, but this thing is chalked full of accessible and energetic rap songs that do not lack in the lyrical department either. It's not amazing or anything, especially compared to K.Dot's album, but it deserves a nice little shout out from me. Good job Drake. Waxahatchee-Ivy Tripp 8.7/10
A simple, yet very emotional record that wins you over with its charm and heart. Kate Crutchfield pours her soul all over this thing and honestly although its simple, it's secretly one of my favorite indie records of the year. Thee Oh Sees-Mutilator Defeated At Last 7.8/10
Another really solid art-rock/punk album from Thee Oh Sees. This album is another pretty simplistic album, but it thrives off it's catchy choruses and it's hard hitting tunes. Another good effort from a consistent band. Natalie Prass-Natalie Prass 8.3/10
a very nice, sprawling debut record for singer and songwriter Natalie Prass. This album is lovely on the ears, and it showcases the beautiful voice Natalie has. This album has some pretty tasteful old-school instrumentals that include strings, harps, etc. This album is a little sleepy though, so if you are tired do not listen to this.
A$AP Rocky has been one of the more hyped rappers in recent years, and he certainly has some great "cloud" rap songs. Rocky has made a name for himself by making very whispy, chilled out rap songs that occasionally have a nice pop appeal. A$AP is not really the most talented lyricist or anything, but he certainly brings a unique style to the board which is probably what intrigues me the most about him. While A$AP has certainly found success on his prior two albums, I think it is evident there is nothing groundbreaking on these projects. I think even Rocky himself is aware of this simply because of the sharp turn in sonic attitude he made on this latest project: At Long Last ASAP. This album is a hodge podge group of songs that are often unconventional and are even sometimes just downright disturbing. While this was a great idea on paper in my opinion, I have to say the execution is beyond flawed. Some of the songs are just so lazy, and some of the lyrics/features really hinder the end result of this project. While I have never been a huge A$AP fan, I must admit he certainly stood apart from many other rappers in his field. He excelled at what he did, but on this project we just do not see this level of execution. A lot of these tracks are simply not very memorable and the whole thing really feels like it could have used a little more time to really solidify itself. If this album is as big as the title implies than I have to say I'm very disappointed. At Long Last ASAP implies that this is who he has always wanted to be, but frankly I think this is his least focused effort he has ever released.
Don't get me wrong this thing certainly has highlights. It opens up with the grimey sounding Holy Ghost. This song features A$AP spitting at his best, and it also has a very anthemic chorus. The whole thing feels very badass. Canal St. also is a very minimalistic beat which really allows A$AP to shine. This track is just that kind of hypnotic cloud rap we have known to love from Rocky. Great lyricism over a very eerie piece of music. Electric Body shows A$AP flowing like Lupe Fiasco over a pretty sinister beat. While the lyrics are pretty questionable it still is a lot more interesting than the Migos-esque flow we got on a lot of this album. Schoolboy Q also is just intimidating as all hell on this track, and he feels great over the sinister beat. Also I really like how the tone of the track just kinda twists towards the end. Jukebox Joints is a very soulful track that just feels right at home. It has that Kanye West College Dropout thing going on, which is definitely not coincidental because Kanye is on this track. A$AP spits on this track and so does Kanye, so I do not really have any complaints here. Wavybone is perhaps the best track on here. The track has a nice hook and oozes confidence, and it features a lot of great rapping, even from Juicy J. M'$ also is a dark as hell beat, and it features a great verse from Lil Wayne. This track is not fantastic, but it's beat if pretty intriguing with the staggering 808 pattern. Back Home is also a really nice closer that also really feels badass. The beat has that grimey feel to it again, and it also has A$AP Yams on it which really feels like an appropriate tribute to one of Rocky's close friends. This beat also kind of flips on itself halfway through and it turns into a very airy song, but the song ties up the album nicely so I cannot complain. Other than those songs, I really don't have a lot of good things to say. A lot of the flows on this album are just so generic and plain and do so little to draw in my attention. This really hurts because A$AP isn't really known to be a fantastic lyricist in the first place. Also, some of these songs are weird, which is not necessarily a bad thing, but I feel like they are weird for no reason. If you decide to have a sonic change that is fine, but you still have to have a sense of direction in your songs. Songs like LSD and Fine Whine really feel like good ideas that were lazily put together. These tracks have no direction, and they really have no purpose quite honestly. They don't have a lot of great qualities and I feel like the album would be better without these tracks. The tracks following these tracks also generally just feel lazy. Excuse Me is very bad lyrically and it just feels like A$AP so much more capable than this. Lord Pretty Flacko Jodye has an atrocious chorus and the beat feels like something you would hear inside a Reebok store. Also annoying synth line on this one. West Side Highway is not very good content wise, and it also is a lazy track. The track literally is so boring and bland, and a very poor use of James Fauntleroy's talents. Everyday has some great ideas, and it is decently executed, but the ideas just do not blend into each other and it is sad. That track was a blown opportunity for sure. Better Things sounds exactly like Excuse Me, so that hurts both of those tracks. Overall this thing just blows a lot of opportunities. A lot of good ideas are just lazily sewn together which is really sad to see. So can A$AP come back from this? I'm not so sure. He seems pretty satisfied with this, but honestly a lot of people are not happy. I don't think our opinion matters that much to him, which I can respect, so I'll just let him do his thing.
Best Songs: Holy Ghost, Canal St., Electric Body, Jukebox Joints, Wavybone, M'$, Back Home
Worst Songs: Fine Whine, L$D, Excuse Me, Lord Pretty Flacko Jodye, JD, West Side Highway, Better Things
I Love Summer
Summer has a certain kind of attitude about it that is just so fun and care free, and I believe what you listen to this summer should reflect that. I really enjoy some early 2000s indie rock during summer, but there is definitely plenty to choose from overall. The following list is just my favorite albums to listen to during summer, in no particular order.
Enjoy!
The Essentials:
Bombay Bicycle Club-I Had The Blues But I Shook Them Loose
Tokyo Police Club-Champ
50 Cent-Get Rich Or Die Tryin'
Arctic Monkeys-Whatever People Say I Am, That's What I Am Not/Favourite Worst Nightmare
The Strokes-Is This It?/Room On Fire
Titus Andronicus-The Monitor
M83-Saturdays=Youth
Cloud Nothings-Attack On Memory
The Cribs-Men's Needs, Women's Needs, Whatever/The New Fellas
Nas-Illmatic
Albert Hammond Jr.-Yours To Keep
Weezer-Blue/Pinkerton
Kendrick Lamar-Good Kid M.A.A.D City
Modest Mouse-Building Nothing Out Of Something
Arcade Fire-Funeral
Pixies-Surfer Rosa
Caribou-Swim
Broken Social Scene-You Forgot It In People/Broken Social Scene
Deerhunter-Halcyon Digest, Microcastle
Built To Spill-There's Nothing Wrong With Love, Keep It Like A Secret
Wavves-King Of The Beach
Death Grips-Exmilitary
Kanye West-Yeezus/Graduation
Mac DeMarco-Salad Days
The New Pornographers-Twin Cinema/Electric Version
Interpol-Turn On The Bright Lights
LCD Soundsystem-Sound Of Silver/This Is Happening
Pavement-Crooked Rain, Crooked Rain/Slanted & Enchanted
Outkast-ATLiens/Aquemini/Stankonia Check It Plz
Suna-Sometime EP
Algernon Cadawaller-Parrot Flies/Some Kind Of Cadawaller
American Football-American Football
Tallest Man On Earth-Wild Hunt
The Walkmen-Bows & Arrows
Cymbals Eat Guitars-Why There Are Mountains/Lenses Alien/LOSE
Todd Terje-It's Album Time
Charles Bradley-Victim Of Love
Wild Nothing-Gemini
Clark-Clark
Wye Oak-Shriek
Washed Out-Within And Without
Unknown Mortal Orchestra-II
Strand Of Oaks-Heal
Speedy Ortiz-Major Arcana
Slowdive-Just For A Day/Souvlaki
The Promise Ring-Very Emergency/Nothing Feels Good
Portishead-III/Dummy
Lower Dens-Nootropics
Beach Fossils-What A Pleasure EP
Sleater Kinney-The Woods
Parquet Courts-Light Up Gold
SPORT-Bon Voyage/Colors
Tune-Yards-Nikki Nack
Donnie Trumpet & The Social Experiment: Surf 7.2/10
Let's get one thing straight right away: This is not a Chance The Rapper album. This is a collaborative effort between Chance, Peter Cottontale, Greg Landfair Jr., Nate Fox, and Donnie Trumpet himself. Why is this important? Well, at least to me, I have been pretty frustrated to see the general public not giving these other musicians their fair share of credit. There's no denying that Chance is a great talent, but giving him all the credit for a project like this is simply ignorant. These other musicians put in a lot of work into making this album, and I just felt like that should be at least acknowledged. Now that that's done, lets get to the review! I have loved Chance's work with the band thus far, so I was heavily anticipating this project, and I have to say, my expectations have been met, definitely not exceeded, but met. This album is an interesting blend of neo-jazz, soul, and hip-hop that is just really unique. Not a lot of people are making music like this today, and it is cool to see someone like Chance continue to branch out musically. Some tracks are energetic and punchy, but most of this album is actually very quiet and atmospheric. This is a very spotty direction for the band to go in because although the musicians are very talented, most of the group's vocalists have a really hard time carrying a track by themselves. Also, the quiet nature of this LP ultimately loses my attention sometimes. It's not that the music itself is boring, it is just that these musicians usually are way more vibrant with their songs, and I felt like some of these songs just lost life half way in. Regardless of this change, all the instrumentals/beats are very well done, and it seems like this group was more than capable of pulling off this change. Most of the songs on here are still rather captivating, but honestly compared to what I envisioned it just seems sort of lifeless. Overall, I still enjoyed the album, and there was still plenty to enjoy.
This thing kicks off with the mystical, yet powerful Miracle. This thing features a great verse from Chance, and immediately shows the listener that this thing is going to a pretty different sounding album. My only complaint on this song is that the singing kind of just blends together into a mess, but otherwise this song one of the album's highlights for me. Slip Slide starts out with a very awesome Marching Band introduction which just sounds great. This song feels more Acid Rap-esque and it has that childish, yet fun attitude that we all love. It features a great guest verse from Busta Rhymes and another great verse from B.O.B. Janelle Monae also offers some great vocals here. I really love the vocals in the hook, and how they just make it so much more fun. The way they say Slip SLIIIIIIIDE makes me chuckle (in a good way). My one complaint about this one is that it abruptly ends. It kind of settles into a piano interlude with Chance on vocals, but then just disappears. I really liked what I was hearing there, but it didn't develop at all. Warm Again features great verses from J. Cole and Chance, but on this track the struggling vocals are pretty apparent. NoName Gypsy just cannot carry a hook, so I kind of just tune out during the chorus. Nothing Came To Me is a ballsy trumpet interlude, but although I kind of like it, I will admit this piece of music has absolutely no direction. It makes it a little hard to listen to at points. I think it is still a well played piece of music, but it just seems like mumbo-jumbo trumpet sounds at some points. Wanna Be Cool is definitely my least favorite cut on the album. The message is good, but Chance's vocals fail tremendously on the hook, and the rapper at the end is just simply annoying. When Big Sean is the best part of a song, that is not good news. Windows is one of the more emotional songs on here, and it is probably another favorite of mine. This song feels pretty sincere, and Chance seems to be telling his fans/followers that he is not a role model, but he does it in a way that somehow just makes you love the guy more. Caretaker is an extremely forgettable interlude that just kind of states one idea and never develops on it. I really feel like these 1 minute tracks on this album are pretty lackluster overall, and we could have done without them. Just Wait has a fantastic groove and Chance feels right at home on the track, but yet again this track ends with such a bummer. The trumpet part at the end showed promise, but it just feels unfinished. The track ends with 15 seconds of silence which is ultimately pretty disappointing. Familiar is a soul-funk tune that feels pretty great. The instrumental sounds bouncy and lovable, and there is also a sense of camaraderie on this track. Everyone kind of seems to be in this together. This song also features a Migos verse that is pretty bad, but yea not a huge surprise so no points off there. SmthnthtIwnt is actually the one great interlude on here. A great eerie instrumental with straight bars from Saba. Loved it. Go was a really big disappointment for me. Other than a couple of verses, and a guitar solo at the end, this song is just a looped groove. Although this thing is funky, it just seems pretty repetitive and annoying. Questions falls pretty hard because it really isn't a developed song, and Something Came To Me is not nearly as good as its predecessor track. It just feels like lazy trumpet playing over lazy drums, and until the blaring trumpets at the end, nothing special happens. Rememory is my favorite song on the album because it blends the intimacy of a Chance song with the added instrumentation of the Social Experiment. AlsoErykah Badu has a great connection to Chance on this track, and they fit together perfectly on this song. Sunday Candy would fit perfectly on Acid Rap, and ultimately is so catchy and huge sounding that I find it hard to believe that anyone would hate this. Pass The Vibes is a bad closer though. This song goes out on an eerie note which I can appreciate, but this song also never develops on its original idea, and just relies on wordplay to get it by. I really think this thing could've ended with a band, so that made me sad. Still, there is plenty of great songs on here, but also plenty to dissect and correct for the next release. Overall I enjoyed it, but I will admit that this thing could have been much better even. I still have very high hopes for these musician's futures.
Overall, if you are just into hearing some fresh sounding music, I would recommend this. There's not much that sounds like this right now, and even if it can fail at times, the whole thing is really cool, and I can certainly appreciate their vision. This album is not great, but it is certainly good, and I think that is good enough for me. Best Songs: Miracle, Slip Slide, Nothing Came To Me, Windows, Familiar, SmthnthtIwnt, Rememory, Sunday Candy Worst Songs: Warm Again, Caretaker, Just Wait, Don't Wanna Be Cool, Go
This album is frustrating: I really have no other way to say it. Vessel had its moments i'll admit, but this thing just seems very fake to me. Twenty One Pilots spend a lot this album calling out others for making formulaic meaningless pop music, but ironically this thing is pretty much the same thing as what they are calling out. I get that this group is creative in sense, but believe they are deceptive. A lot of these songs sound very different from each other, yet almost all of them are just different forms of very stereotypical pop songs. They have songs about being bored, not wanting to grow up, and of course songs about internal struggles (which sound like pretty petty to me, sorry.) Ultimately, Blurryface tries to be a smart, left field pop album, but it fails tremendously at this. It fails because like I said its whole thematic concept feels fake and its sounds are frankly not very creative, but it also fails because it beats a dead horse. The things that I liked about vessel are just being reused, and that is really not a good sign. I understand that people enjoy a band that can blend a pop-rap-punk attitude, but yea that's been done before. Honestly if a band continues to just use this strategy they are bound to fall into oblivion: just look at Linkin Park. Also they insisted on making yet another ukelele song seemingly just to continue the trend. As a band you are not forced into any songs, and honestly I feel like TWP need to learn that. These tricks just feel old, and I think that this whole twenty one pilots sound could use some tweaking. Hell, even Tyler Joseph says that he feels like his music is affected by the media and fans. Brother, just do what you have to do to really make your music. Do not let anything get in the way of that. This is why Blurryface is so frustrating. Joseph even admits that he strips back on his music for the mainstream appeal, but he criticizes others for doing so. I feel like twenty one pilots could have made a great album here, but they half committed on an idea, and honestly doing something half way is worse than not doing it at all. As Mike Ehrmentraut says, "No more half measures Walt".
I'm not going to bother criticizing the album any further because I simply have a lot to say in that regard. I could sit here all day and talk about this album, but ultimately a lot of the complaints will just blend together. I don't want to hurt the fans of this band, and I honestly think that you guys are completely valid in liking this band. If something makes you happy, and if you like something don't hide it. You guys are loud and proud about this band, and quite honestly that is very refreshing to see. My opinion shouldn't mean anything to you, so if you are reading this and you completely disagree with all my critiques above, just know that we probably are very different people with very different faces. While you may be a Blurryface, I will never be one and that is completely ok.
Best Songs: HeavyDirtySoul, Not Today, Goner
Worst Songs: Stressed Out, Ride, Fairly Local, Tear In My Heart, Lane Boy, Polarize, We Don't Believe What's On TV, Hometown
Hot Chip has made a name for themselves over the years for their quirky, indie-electro dance tunes that usually featured a twinge of experimental. I often hear them grouped with groups such as LCD Soundsystem and Cut Copy, which is very high praise. Still, I don't see them as a giant success. I have undeniably enjoyed many tunes of theirs in the past, but most of their albums just are not complete enough for me. This new one fixes this issue, but also creates a new issue. I feel like while this album is very catchy all the way through, it also lacks the creative energy of the first few records. Sure I can sing these to myself and I can give more proper full listens, but to me the songs just do not feel as unique as they used to. Pop tunes such as Doctors and How Do You Do just seemed to stick out a little bit more. These two tunes really stuck out to me just because they sound a little bit more unconventional. Doctors is a melody led by steel drums, and electronic glitch beats are thrown into the mix and the ending result is pretty awesome. How Do You Do is pretty awesome just because it is fun, but it also features a lot of fun accessory percussion (maybe I just love percussion timbres). These tunes felt very unique to the band, but the new album just kind of feels bland in comparison. Don't get me wrong, the new album is far from bad, but to me, Hot Chip still has not really struck a perfect medium of poppy songwriting and complex, interesting instrumentation. Based on this album I can at least say they are improving in some regards, so my hopes are not completely broken.
This album opens with the super catchy Huarache Lights which actually to me is not a great start. I think the lyrics and some of the progressions are really nice, but I simply think a lot of this track just seems borrowed. It feels very Daft Punk inspired and to me I just do not hear a lot of innovation. Still though, I have to say there are positives about the track. The way the track kind of just gradually builds is really nice and while the synths are very repetitive, they are also pretty cool and powerful. Overall it's a good track that could have been a lot better. Love Is The Future is a great track which just feels pretty comfortable in its own skin. The track doesn't feel forced, and it kind of reminds me of something off the latest Passion Pit record, just more focused. The emotional sounding synth lines mixed with the jumpy drum groove feels right at home for this band. This track, however, does feature a rap verse that just feels so awkward and unnecessary. Without this verse the track would be better. Crying For You has some absolutely great keyboard and bass work, but the vocals just don't even nearly sound good till the chorus. While this song may have a lot of choruses and a nice outro of synthy poppy goodness, its verses ultimately just make me lose interest in the tune. Started Right is a funky song that just feels right. The track features back up string, guitar, and keyboard parts that just layer on top of each other well. While this track is a little overly generic, I will admit it works this time. White Wine and Fried Chicken is my favorite tune on here just simply because it doesn't sound like Hot Chip. It sounds more like a conventional indie band, but at the same time Hot Chip generally stays out of this territory. It was kind of nice to see them play into this non-electronic kind of realm. The tune is pretty simple actually, but the charm kind of just passes it by and wins you over. Dark Nightis too long for its lack of ideas, and it honestly sounds like a ton of other bands, so yea that one doesn't hook me. Easy To Get is a great tune that feels pretty Caribou influenced. The synth arpeggiation kind of just reminds me something Dan Snaith would do, and overall this track just has the laid back, yet badass feel of a Caribou track. Killer track. Also the way this track fades out into more dissonant textures is pretty awesome for sure. Need You Now is pretty good, but a little too repetitive. Admittedly I don't get really into it until the last minute when the vocals kind of just fade in and out of the track. Still, those layered vocals on top of some patchy, yet great drum work really drew me into that track. So Much Further To Go is an absolute dud for me. It's not bad, but this track loses all direction immediately, and while I do enjoy the more relaxed vibe of that song, it just has nothing to draw you in. Everything on it just feels so plain. In contrast, Why Make Sense is an immense closer. The synth and drums build on top of each other, and the whole thing just feels really important to the band. This track feels complete in every way from it's arrhythmic synths to its story it tells in the lyrics. This track just feels exciting, and it is everything I do enjoy about this band. It is a very musical track that just still feels very poppy and energetic. So is Why Make Sense? a failure of an album? Hell no. This album spawned a lot of interesting moments and great things, but is it progression? No. This band can still create musical builds and great moments, but the creativity overall on this thing seems a little restricted, and I have to say that Hot Chip could really be dangerous if they could ever walk the tight rope of popularity and creativity well. I'm pretty amped to hear more from this band, and I have to say that I am betting on them for the future.
Overall this album is very good, but I do not necessarily think it is better than their old material. It has great catchy tracks, but every once in a while it just seems like they lazily sewed a track together. This can be frustrating from a band with such good potential, and I feel like until they really force me to listen to them, I cannot reward them. This album is good, but ultimately it is not their best, and I still am not a huge Hot Chip fan.
Best Song: Love Is The Future, Started Right, White Wine and Fried Chicken, Easy To Get, Why Make Sense, Need You Now
Worst Songs: Huarache Lights, Crying For You, So Much Further To Go
As ridiculous as that title may seem, it is easy to overlook anything Snoop Dogg has done in the last 10 years quite honestly. The man is comfortable and there is no problem with that, but it has gotten to the point where Calvin Broadus is more popular for his stoner persona than his actual music. And while I think Snoop is a more than capable rapper, it is really hard to say he has impressed me a lot recently. However, within the last year and a half, he is starting to do some cool things in my opinion. I thought some of his collaborations with Flying Lotus were pretty cool, especially Dead Man's Tetris, and I also thought he sounded right at home on Kendrick Lamar's new album To Pimp A Butterfly. What did these two tracks have in common? They weren't conventional Snoop sounding songs! On Dead Man's Tetris Snoop rapped over video game sounding beats with very cool synth progressions, and this gave Snoop's routine a little more life. On Institutionalized off Kendrick's new album I heard Snoop rapping with a little more emotion than usual as of late. He did not disappoint, even when paired with one of the world's best rappers which really impressed me. This track sounded a little early Snoop inspired, and it was refreshing to hear Snoop back in that type of setting. On BUSH Snoop continues to try some new things, and actually even go back to his roots in some ways. BUSH is easily Snoop's best work in years, and it is not because he dropped bars and went back to his gangster sound, but rather it is because he provided a more focused stylistic change to keep listeners intrigued. While this album doesn't feature nearly as much rap as his other efforts, it does hold my attention a lot, and it has a lot of great things going on. Some of the production and features are very well done, especially all work done by Pharrell Williams. This album just feels like a breath of fresh air for me, and it actually ironically sounds more focused and reggae influenced than anything Snoop Lion ever produced. While this thing will definitely not live up to albums like Doggystyle or The Doggfather, it will certainly be another good edition into Snoop's discography, and at this point that is a good accomplishment.
BUSH opens up with quite possibly my favorite pop tune of the year in California Rolls. This tune features Pharrell Williams with a catchy hook and crisp production. The song feels very old school, yet with a touch of new to it at the same time. This track's hook also has cool word play with the food California Rolls and the phrase "How California Rolls' as well. Stevie Wonder is also on here with presumably some piano and back up vocal contributions. Overall this track just feels smoother than a glass of lemonade on a nice summer day, and it is by the far the highlight of the album for me. The next track admittedly loses some steam for me. This City is not awful, but it simply feels kind of bland after the great opener, and I was not happy to hear this. R U A Freak sees Snoop at his most funkadelic and mysterious. The bassline on this track is just incredible, and it has me dancing every time. The song can feel lazy lyrically for sure, but honestly it's just a simple sexy funk tune, and there's nothing wrong with that. Still sometimes Snoop's lyrics just feel awkward and forced. Awake also has Pharrell on the hook, and he yet again just adds a certain spark to the song. These two seem to just create great hooks together. This track also has those funky guitar chords that I love. They are very corny, but they still work well. This track just feels like it was so fun to make also. Everyone contributing vocally just feels into it, and the groove just fills my body with joy. So Many Pros is probably too long, but it still has some great things on it. The backup singers are just singing their ass of on this one. I really love hearing that, but in comparison Snoop just feels lazy on this track. This one is also catchy and funky, but it doesn't posses the same spark as Awake. Peaches N Cream is also too long, but yet again the instrumentation just feels spot on. Phat drums, groovy bass, and the camaraderie in the vocals just puts me in a great mood. Edibles is so tightly produced that I can't hate it. The song itself is actually pretty bad, but the drums are just so tight sounding, and the blending of real instrumentation with drum machines is pretty awesome. Pharrell really saved this album at times actually, especially considering how poor the lyrical output was. Still the instrumentals are constantly amazing sounding, and I just am having a blast listening to this. The last 3 songs are undoubtedly really disappointing though. I Knew That is just so forgettable. Snoop does not have much charisma on here even though he tries, but almost everything he says on here just feels really creepy actually. Run Away tries to the most charming track on here with the trade off between male and female vocals, but Snoop and Gwen Stefani establish no connection on here. I cannot really feel anything for either protagonist of this song, which is really disappointing. Lastly, I'm Ya Dogg is actually pretty good, but when you put two legends in Snoop and Kendrick on a track I expect better results. Kendrick kind of saves this track from oblivion, but overall it's still pretty listenable. Also this thing kind of just fizzles out, which is such a bummer. This track does not pack the energy that some of these other tracks do, and on such a fun summer loving album this just feels inappropriate. Despite all its flaws, this album still impressed me though. I have to say Snoop pulled through on this one, and I think that this will please many people.
Overall if you love more instrumental rap music check this thing out. It does not have great lyrics at all, but it is fun, catchy, and simply groovy and sometimes that is all you need. I feel like Snoop will never make another classic, but with BUSH he has proven he still at least has more to offer.
Best Songs: California Rolls, R U A Freak, Awake, So Many Pros, Peaches N Cream, Edibles, I'm Ya Dogg Worst Songs: This City, I Knew That, Run Away
