Playlist HQ Review

We live in an age of accessibility. With this excess of information, it is inevitable that us humans will become overwhelmed at times. As a music lover, I often feel overwhelmed when perusing the countless summer shows that are available to me. The enticing events always end up crowding my Facebook feed leading to my eventual demise. I often forget what shows are on what dates due to this oversaturation on my feed. With Playlist HQ, a remedy to this problem is found.

Instead of having concert dates superimposed over pictures of your friends' cats, Playlist HQ puts all concerts in a certain city or venue in one accessible area. Once you have figured out what show or shows you are interested in, you can then select them from the list and use the site's algorithm to generate a Spotify or YouTube playlist. This playlist will get you hyped to see whatever event you have taken interest in.

This idea is extremely convenient for someone who doesn't like sorting through their Facebook events repeatedly to find out when shows are. It also is a nice tool for those who don't want to take the time to create a pre-show playlist as well. Even so, I have to admit Playlist HQ has some things I think it could improve on. I think it should be easier to create a playlist including multiple shows. I also believe that the interface could be upgraded. The archaic feel of the search engine ultimately slows down the process of finding shows in my opinion. Still, I have to admit I greatly appreciate what Playlist HQ and Songkick are doing. Allowing fans to have more accessibility to shows across the world is a great mission. If they can get people more excited about live music and the arts in general, then I would say they have done their job. Based on the words of Songkick founder Ian Hogarth, it looks like they are well on their way.

Album Review: David Bowie-Blackstar

  

David Bowie: Blackstar (9.3/10)

The Brightest Star of Them All

David Bowie is more than just a name: he's an attitude, an icon, and most importantly a star. Few artists have influenced as many as Bowie, whether it's in regards to music, pop culture, or simply the way they carry themselves. The man really was larger than life. He showed us we could be anything we wanted both in his music and personas. Characters such as Ziggy Stardust, Aladdin Sane, and The Man Who Sold The World all captivated thousands of us, and inspired us to be all we could be. But perhaps what was more enthralling than all these characters was the man who was beneath them. David Bowie just embodies the word power. His big and bold voice, his confident strut, and the way his music could cut through you like a machete all exemplify what him so great. Upon hearing news of his death, I felt shocked and unbelievably saddened. I immediately turned on Low and felt the music glide me away. Few artists could make me feel this way, I mean I was literally crying for a bit. That being said, just because someone dies doesn't mean their art or image does. Bowie will live on forever, and his swan song Blackstar will only solidify his place as a legend. 

On Blackstar's closer Bowie sings "I Can't Give Everything Away" a sentiment that so perfectly  Bowie's career as a whole. The man has always kept us guessing, which in the end we all thank him for. His career spanned about 5 decades and still nobody could quite figure him out, even when it came to his death. This album is no different. It starts out with the haunting 10 minute title track that is as weird as anything he's ever done. The song features gregorian chants, syncopated drumming, and scattered saxophone. It's really something to behold honestly. How it all comes together so smoothly is really quite astounding. Tis a Pity She Was a Whore is another great track. This is perhaps the most clustered track on the entire thing. At times the groove is somewhat hard to follow, and it just seems discombobulated, but in the end Bowie's triumphant yelps and screams sell you hard on this one. Lazarus is a true goodbye from Bowie, and a glorious one at that. The lyrical content is dark yet beautiful, and really gives you a snapshot of where Bowie was at just before he died. Sue (Or In a Season of Crime) is a flat out jazzy jam. This one combines light and finesse filled percussion, with gruesomely heavy guitar riffs. It's another excellently crafted tune, that's both challenging and very rewarding. Girl Loves Me is perhaps the strangest tune on here. Bowie echoes the line "Where The Fuck Did Monday Go?" throughout the song which you can't help but think is a reference to his death. What makes it even more haunting is that he died on a Sunday night, not even making it to Monday morning. Either way this track is extremely intoxicating. The unorthodox vocal delivery and echoing drums keep things more than interesting. Dollar Days is a classic Bowie ballad. It is a gut punch of emotion that really sticks to your ribs, and lastly, the previously mentioned I Can't Give Everything Away is an absolute triumph. It really feels as if these were meant to be his last words. There is nothing remarkable about the instrumental on this track, but Bowie really shines lyrically. He connects to the listener and makes this track a top-tier Bowie track. Overall, Blackstar is a fantastic album. I don't know if I'd call it a classic Bowie album, but it is certainly an incredible achievement. For someone this old, and this sick to do something this unique is truly remarkable. My respect for this man knows no bounds. 

Best Songs: Blackstar, Tis a Pity She Was a Whore, Lazarus, Dollar Days, I Can't Give Everything Away

Worst Songs: NONE

Album Review: Kurt Vile-B'lieve I'm Goin' Down

Another Not So Wild Imagination

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)

My Thoughts On Musical Myths/Stereotypes

Myths/Stereotypes In Music

Keith Moon of The Who playing drums

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. 

 

I'M COMING BACK THIS TIME LEGIT

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.

:)

Wilco-Star Wars Album Review

He Wants More.....

 Wilco-Star Wars (8.4/10)

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 

Titus Andronicus-The Most Lamentable Tragedy Album Review

Fatal Flaws

 Titus Andronicus: TMLT (7/10)

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 more fired 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