What We Saw From the Cheap Seats
I don’t know if female singer-songwriter is really a particular genre of music because female singer-songwriters can span many genres. Either way, I really have a thing for female singer-songwriters. A few, like Cat Power, Joanna Newsom, Fiona Apple, and Jenny Lewis have never done anything to substantially turn me off throughout their careers. Regina Spektor, on the other hand, released Far as her follow-up to the wonderful 2006’s Begin to Hope. Far managed to temper a lot of the anticipation I may have had for her fourth major release, What We Saw From the Cheap Seats.
Continue reading “Regina Spektor Review: Cheap Seats, Sick Beats”
Lana Del Rey
Born to Die
From the very get-go, people questioned Lana’s legitimacy. She seemed like a great catch at first, but she was only a YouTube sensation without a full album. Her voice is deep and dark, and has this classic feel to it that catches your attention instantly. Meanwhile, the music backing her is almost more intriguing than her voice. Hip/hop beats, beautiful baroque orchestration, and sadcore synth stylings all fused together. Because she seems so original, and seems to have a stunning voice paired with such dynamic music production, it catches people off guard, and they gravitate towards it instantly. On the surface this seems great, and in some ways, it really is. However, if you’re digging for substance you may come up a little empty handed. Nonetheless, the album hit it big on the charts, topping at #2 in the US, and selling about as well across the rest of the globe which garnered her overrated reviews by the “indie” critics and famously positive reviews by the “label” critics. Playing out exactly as expected if you break this down.
Continue reading “Lana Del Rey – Born to Die Review”