Nowadays in our crazy, interconnected world, it’s not even a week after a hotly anticipated album releases that we are already on to the next thing. With instant streaming, leaks before release, and the ability to listen on any device at any time, we are digesting music faster than ever, and getting bored and moving on to the next hot item over and over. Continue reading “Kendrick Lamar Review Royale: To Pimp a Butterfly”
There are few media punching bags bigger than Coldplay. Yes, you have your Nickelbacks, Justin Biebers, and Shia Lebeoufs, but no one is less deserving of all the ragging they get than Coldplay. Sure they aren’t exactly hip and have dipped since their first few albums, but I would argue their biggest crime is being too earnest and wearing their heart on their sleeves. Sure Chris Martin is a bit of a cheeseball, but he has written some great songs and released at least three worthwhile albums with the band. Their latest, Ghost Stories, is the UK band taking a break (for the most part) from their arena rock ways in favor of a quieter, more melancholic sound. At only nine tracks, Coldplay show a welcome amount of restraint, even if they only hit on half the tracks. Continue reading “Coldplay Review Royale: Ghost Stories”
Akron Ohio blues duo the Black Keys have become one of the biggest rock bands in the world, and really one of the only big rock bands in the world. In a world dominated by hip hop and EDM culture, the Black Keys have managed to make a name for themselves on old-school macho blues rock, something that just doesn’t happen anymore. While some would cry sellout on the Black Keys since their 2010 megabreakout Brothers, I would actually say they have made some much needed changes to their sound and Brothers and the wonderfully greasy El Camino actually land as two of their three best albums in my mind (with their debut The Big Come Up being my other big favorite). On their latest Turn Blue, they quite literally turn blue and mellow out, creating a more somber and occasionally bombastic sound for the band.
Producer and frequent Keys collaborator Danger Mouse (of Gnarls Barkley, Broken Bells, Danger Doom, and countless other projects fame) is featured more prominently than ever on Turn Blue (the most since 2008’s Attack and Release) and I think while he gets some more intriguing sounds out of the band, Turn Blue sounds as much like a Danger Mouse record as it does a Black Keys record. The take-off point for this record in my mind was El Camino’s “Little Black Submarines”, the clear outlier on that album as it was a slow, growing guitar epic. Here, Dan Auerbach is playing these slow guitar epics like “Weight of Love” (which sounds eerily like Neil Young’s “Down by the River”), “In Our Prime”, and “It’s Up To You Now” and topping them off with these big showy guitar solos, something Auerbach has never really done on record.
Much of Turn Blue hits me a little more flat and generic than the last two Keys records. Also, the more rollicking songs in the style of El Camino like “Gotta Get Away” and “Fever” which are focused on the central melody and then filled in with playful and somewhat nonsensical lyrics don’t work nearly as well here and lack the same funky edge. However, Auerbach channeling his falsetto and tender heart on songs like “Waiting On Words”, “Turn Blue”, and “10 Lovers” is as good the album gets in my mind. While I don’t love all of Turn Blue, I do like that they are still exploring and trying new things, even if that means relying a bit too much on Danger Mouse.
The thing that I always loved about the Black Keys’ early work was the raw, gritty style of all the bits that made up the duo’s sound. The guitar, the vocals, the drums, the lyrics, the lo-fi recording; everything was just thrown together like a pile of dirty rags in a garage. It didn’t even matter if it was their own music or not. Most of their stuff was ripped from an old blues tune or influenced by some other rock group. In a sense, this is what I still love about them. They still carry their influences on their sleeve. Another thing that hasn’t changed is the fact that they still seem to just spitball off of each other musically, just playing the first thing that comes to mind and throwing it together. Which can also double for Dan’s lyrics as well. I think he just sings the first thing that pops into his brain while he is playing. The sad part is, that this strengths are now what is slowly becoming their vice.
It has been a few albums now that the Keys have been adding more instruments and even more production to their work. With every album they become a bit more “finely tuned”. The problem here is that the more “finely tuned” these guys sound, the more I tend to hear how sloppy they actually are. Or at least bland anyways. For my interest, the more straight forward your riffs, drums, and vocals are, the more fuzz it should be drowning in. That seemed to be the Black Keys mantra a few years ago. All these new instruments they are adding and clean production does’t make the music more complicated (something Arcade Fire fans believe to be true). Instead it thins it out and actually makes it more dull.
Take the last track on the album that Wes mentioned earlier, “Gotta Get Away”. This song has a very straightforward, classic rock vibe to it. Throw this in on an album like The Big Come Up, in all it’s bare-knuclked gritty glory, and it could have ended up as quite a tune. Instead, it feels as edgy as a ball of yarn (to play off of Wes’ “funky edge” comment). Rather the songs on the album work much better with this new format when they go in the opposite direction. Songs like “Turn Blue” and “In Time” have a slower groove to them, which ended up being the stand out tracks to me.
All that to say, the album shouldn’t be completely discredited. For what the Keys have become and the type of audience they are playing for at this point, it still is better than most things out there. I just personally found their music to have much more character, charisma, and appeal to it when it had much less clutter and “tightening up” to it.
I can’t believe Todd or Wes didn’t make reference to Danger Mouse’s collaboration with Italian composer Daniele Luppi, Rome, while discussing Turn Blue. There are a lot of similarities between the two projects. For one, both projects featured a legendary blues-influenced guitarist in Black Keys contemporary Jack White. In addition, many tracks on Turn Blue feature the spaghetti western soundtrack feel that was so prevalent on Rome.
I think where Turn Blue goes wrong is by not fully committing to this theme. I like a lot of the meandering psychedelic spaghetti western stuff that is going on here, but it is a style that is better enjoyed fully than in piecemeal form. It’s just a tough record to peg with it being all over the place. Auerbach sings and plays guitar in a much more traditional way at times, which may be the most alarming part of Turn Blue.
This record will probably end up somewhat of a novelty in The Black Keys catalog when all is said and done. Not great, but an enjoyable diversion from time to time. You just have to take it for what it is.
Can’t Miss: “Waiting On Words”, “Turn Blue”, “Bullet In The Brain”, “In Time”
Can’t Hit: “Year In Review”, “It’s Up To You Now”, “In Our Prime”
Two albums quickly come to mind as comparison points for Beck’s first studio album in 6 years: Beck’s previous departure into folk, 2002’s Sea Change, and the ultra-specific and ultra-personal Benji from Sun Kil Moon. Morning Phase in many ways acts as the sequel to Sea Change, with Beck shedding his chameleon coat for a straightforward and earnest singer/songwriter record. Sea Change happened following a breakup, and while it was beautiful at points, the overall tone of the record was reflective and sober. On Morning Phase, is similarly beautiful, but takes more of a turn towards the euphoric than the brooding, catching a glimpse of the beauty of life. Benji acts as the antithesis in many ways Morning Phase. Where Benji is hyper-specific and includes deeply personal accounts of Mark Kozelek’s experiences with death, Morning Phase is a very simplified and impressionistic look at life, allowing the viewer to read their own experiences into the words. They also work as a comparison since they are the two best records so far in 2014, masterful at the disparate approaches they take. Continue reading “Beck Review Royale: Morning Phase”
Nearly two years after the release of “Bad Girls”, one of M.I.A.’s biggest singles to date, as well as a slew of three additional pre-releases, we now finally have the mother albumto go with these albumless tracks, Matangi. After the non-success of her last album, MAYA (which I personally thought to be great) M.I.A. hit a creative wall, in which she was not only struggling with studio execs pressuring her to make another Kala, but was also suffering from some mild writers block. The good news is the frustration between artist and studio didn’t seem to have too much of an effect on the overall outcome of the album. After a trip to India she found inspiration from her Hindu roots in the goddess Matangi, the Hindu Divine Mother that governs music, knowledge and art. Fairly fitting I’d say, and her inspiration has led to yet another solid effort from our favorite English-Sri Lankan dub/electronica/world/hip-hop artist. Continue reading “M.I.A. Review Royale: Matangi”
Since I am the first one weighing in on Eminem’s MMLP2 I’m going to have to do some preemptive work to dispel the strong feelings against the album I’m sure Wes (and to a lesser extent Todd) are going to have against it. Wes doesn’t like Eminem for who he is. Eminem is unapologetically crass, emotionally raw to a terrifying degree, and cares much more about getting as many thoughts onto a record in word form than flashy production techniques. MMLP2 sticks to these tenets, and much like his previous record, Recovery, this all comes across with varying levels of success. Continue reading “Eminem Review Royale: The Marshall Mathers LP2”