Tag: album review

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Music Quickspins

QUICKSPINS: Eminem – Music To Be Murdered By

Eminem continues his streak of horrible albums with his newest surprise release.

The greatest trick the devil ever pulled was convincing the public that Eminem is the greatest rapper alive. On Music To Be Murdered By, his latest offering since 2018’s Kamikaze, the Detroit-based edgelord tries to maintain his relevance by rapping fast and recruiting modern producers.

To the chagrin of my ears, Eminem has somehow managed to top Kamikaze’s awful raps by including some of the worst bars ever written (But I’m contemplating yelling “Bombs away” on the game / Like I’m outside of an Ariana Grande concert waiting).

Before heading into everything wrong with this album, there are a few interesting moments that distract from Eminem’s terrible lyrics. The hook on “You Gon’ Learn” is engaging and pleasant over the richly-produced beat from frequent collaborator Royce Da 5’9”. Juice WRLD and Black Thought’s inclusions on “Godzilla” and “Yah Yah,” respectively, are nice but can’t save the tracks from a jarring Eminem desperately trying to convince the listener he’s still got it.

The best track on the album comes from the Anderson .Paak-assisted “Lock It Up” that sounds much better than it should have been. Paak adds a fiery hook and Eminem isn’t that bad on it, which makes it digestible.

For the most part, the instrumentals are sound and Eminem’s rapping is technically decent, but not much else can be said about the positive aspects of this project.

Once again, Eminem decides to collaborate with pop singers like Ed Sheeran and Skylar Grey in which the song with the former sounds like a five-year-old created a beat on a Fisher-Price toy piano. Both singers sound sleepy and disengaged from the songs they’re on.

The most glaring issue with this new album is Eminem’s failure to put the spotlight on Griselda, the group of rappers he signed to Shady Records. It’s almost a certainty that their inclusion would have elevated this album in every conceivable way given that their recently released project, WWCD, is a breath of fresh air in rap.

The album is also painfully long and clocks in just over an hour with 20 tracks, including some skits. 

Despite all these issues, this is Eminem’s best work since The Marshall Mathers LP 2, though that’s not saying much. It’s a step in the right direction as Eminem smartly drifts away from the pop songs that made his previous efforts so unbearable.

Unless Eminem starts rapping about interesting topics and stops sounding like an adult baby, he will never return to making compelling music again. Can someone please teach Eminem that rapping fast does not equate to rapping well?

Rating: 4/10

Trial Track: “Lock It Up (feat. Anderson .Paak)”

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QUICKSPINS: Selena Gomez – Rare

Nearly five years after Revival, Selena Gomez releases her new album, Rare.

Nearly five years since her last album, Selena Gomez has finally returned with a new project, Rare; her most personal and introspective album thus far.

Gomez uses extremely powerful lyrics to explain what she’s been through in the past few years. Struggling with her kidney transplant, lupus, and Justin Bieber drama, Gomez shows that she’s back and stronger than ever, and uses deep bass in multiple songs to emphasize it.

When listening to Rare in order, it does exactly what Gomez intended: it tells her story—loud and clear. There’s a good balance of soft songs, like “Cut You Off” and “A Sweeter Place (feat. Kid Cudi),” and fast-paced upbeat songs like “Look At Her Now” and “Let Me Get Me.”

The rawness of songs like “Vulnerable” adds to the authenticity of the story Gomez is telling, with the use of soft, low vocals and slow beats.

However, 13 songs feels like a lot for this album as they get a little repetitive by the 10th track “Kinda Crazy.” A seven-song album would’ve worked just as well, but since Gomez uses the album to share her feelings, and given it’s been so long since her last project, a 13-track album is perfectly understandable.

Rating: 8/10

Trial Track: Look At Her Now

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QUICKSPINS: Mick Jenkins – The Circus

The Circus is Mick Jenkins’ most accessible project since Wave[s]

When a new Mick Jenkins project drops, it’s always expected to be an incredibly dense thematic experience with thoughtful lyricism and wavy beats—most appropriate for a smoking session. The Circus, the newest EP from the Chicago rapper is nothing if not complex, but its short length makes it entirely more digestible and engaging.

While his 2018 album, Pieces of a Man, was solid, it simply hasn’t stood the test of time and has been all but forgotten by anyone outside of his core fan base. At seven songs and under 20 minutes, The Circus takes everything he did so well on his previous projects and compresses it into a brisk EP that highlights Jenkins’ strong rapping and the best instrumentals he’s rapped on since his Wave[s] EP.

The Circus begins with “Same Ol,” with Jenkins rapping about walking into a room where he’s virtually unknown but maintains his confidence. The beat is tight and aggressive, featuring a single synth cord to drive the track home. It’s simple, yet appealing and fits Jenkins’ flows nicely.

The quality of that track is representative of how good the other six songs are as well. Highlights like “The Light” and “Different Scales” are quintessential Mick Jenkins tracks and encapsulate what made Jenkins a highly touted MC to begin with.

The Circus isn’t a reinvention or an innovation in rap music. It’s a step back from Mick Jenkins that allows him to shine his brightest on a tight EP that has barely any cracks in it.

Rating: 8/10

Trial Track: The Light (feat. Earth Gang)

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QUICKSPINS: Motoko & Myers – Basis Key [OPEN HAND REAL FLAMES]

When Motoko & Myers first began to work on their debut album in an Oakland, California home studio, did they intend on producing what could be an extension to the cult-favourite game Portal 2’s soundtrack? We may never know, but it sure sounds like it. The dub-tinged ambient work is warm and often whimsical, yet at times suggests a sense of unease. This is most apparent on “Sans Time Tone Milk,” where the droning hums of both human and machine are layered beneath scattered drips and unsteady distortion (the darker levels of Portal 2 come to mind). The album is at its most playful on “Super Potato” — a bouncy yet drowsy six minute danceable track. While the album certainly presents a strong sense of cohesion, it feels as though the two producers could have pushed their sound a bit deeper.

7.2/10

Trial Track: “Super Potato”

 

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Loma – Loma

Loma – Loma (Sub Pop) *Editor’s Pick

Shearwater’s Jonathan Meiburg pairs with Cross Record on a record that moves with the glacial pace of a deteriorating relationship, interwoven by a template of cavernous chamber pop and 90s slowcore. Cross Record’s multi-instrumentalist Dan Duszynski and lead singer Emily Cross were married when they began this collaboration, but split at some point during the recording process. It’s not clear whether their breakup influenced the direction of the album, but the record unfolds with layers of overwhelming melancholy that make a strong case for it. Isolation can be quite purifying. The compositions feel heavy with the burden of Fleetwood Mac’s Rumours, an album bred from destructive inner-band tension. Despite the toxicity lying underneath, Loma displays a kind of artistic chemistry that coheres almost inherently. Tracks “Dark Oscillations” and “Who is Speaking?” ripple with a veneer of ornate string arrangements and acoustic balladry. Loma is a rare record that actually makes use of organic tones to amplify emotional expression, rather than using it to relish in gratuitous sentimentality. The musicality feels natural, like the instinct of breathing.

Rating: 8.5/10

Trial Track: “Dark Oscillations”

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Everything Everything – A Fever Dream (RCA Records, 2017)

Since emerging in 2010, Everything Everything has formulated a way of writing songs uniquely and effectively, and their fourth studio album, A Fever Dream, is no different. The album’s forthcoming and cryptic sound reflects a concern with the modern human condition. This is due in part to the album’s politically driven lyrics, which display feelings of disillusionment with the world’s current political climate. Musically, however, there is a clear playfulness and restlessness that downplays the political undertones. Everything Everything is successful in always inventing new ways to twist and bend rock and electronic to create surprising sounds. A Fever Dream flows really well, sucking you in with the moody “Night of the Long Knives” and picks up tremendous pace with the catchy “Can’t Do.” If you want a good introduction to the band, have a listen to “Desire,” a foot-stomping track that has everything you’d expect from the monumental Everything Everything.

 

Trial Track: “Desire”

9/10

 

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Grizzly Bear – Painted Ruins (RCA Records, 2017)

Grizzly Bear’s new album, Painted Ruins, is an airy and ambient journey. Five years since their last album, the band comes back with impeccable production, clean instrumentation and grand vocal performances. The group has constructed an amazing sounding album. “Four Cypresses” features tight drumming, chill guitar riffs, swelling synth sounds and strings. Despite that, the band’s blend of electronic and organic instrumentation sounds like something Beck has done before. The group’s grandiose-sounding vocal performances complement the descriptive yet ambiguous lyrics. The lyrics provide a neat sense of mystery, such as, “Eyes on the lost sons trained in the tricks of the world / Fathers and keepers packed in that crowded room,” from the track “Glass Hillside.” Painted Ruins channels the feeling of walking in a grassy field on a breezy morning with clear blue skies above.

 

Trial Track: “Glass Hillside”

9/10

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Queens of the Stone Age – Villains

Alternative rock band Queens of the Stone Age collaborated with pop producer Mark Ronson for their newest album, Villains. The product of this collaboration is a new sound for the group — an energetic, stylistically consistent and synth-heavy album. Tracks like “Fortress” and “Feet Don’t Fail Me Now” feature groovy synth leads reminiscent of John Carpenter’s sound. Most of the lyrics seem cliché though, like this line, “With one quick twist, love turns to scar,” from the song “Hideaway.” Josh Homme’s lead vocals are hit or miss. “Un-Born Again” has one of the stronger vocal melodies, akin to Rob Zombie’s “Dragula.” The track “Domesticated Animals,” on the other hand, features a strange, almost baroque vocal performance. The neon-tinged pop sounds and fun hooks of this album pair especially well with the hard rock sound of the band’s earlier albums. Also, the cover art has a rad, sinister vibe. It’s awesome.

Trial Track: “Feet Don’t Fail Me Now”

7.5/10

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Quick Spins

Bass Drum of Death – Rip This (Innovative Leisure; 2014)
by Mia Pearson

For first-time listeners of Bass Drum of Death, you’ll first be slapped by John Barrett’s guitar which has overdrive cranked to 11

For first-time listeners of Bass Drum of Death, you’ll first be slapped by John Barrett’s guitar which has overdrive cranked to 11. That’s exactly how all of Rip This sounds—it’s completely driven by glass shattering heavy guitar that only occasionally pauses to let this infamous “bass drum”  be heard. Rip This rips your eardrums apart in a good way: Barrett’s boyish punk vocals are angry enough to ascend the brawny guitar’s distortion, and on a song like “Sin Is In 10,” Barrett adds some cute and mean harmonies.

He has an inimitable knack for writing an album full of the catchiest tunes in town, and has established an instantly recognizable sound.

However, BBoD’s sound hasn’t changed whatsoever since 2011’s GB city or 2013’s self titled album. Barrett plays it way too safe throughout, sticking to the same song formula, which leaves the songs one dimensional and hard to tell apart. Instead of being all about the chase, Barrett should come up with catchy licks, add some atmospheric wailing guitars, or, like, hire a flute player for good measure.

Trial Track: “For Blood”
Rating: 7/10

The Twilight Sad- Nobody Wants To Be Here and Nobody Wants To Leave (Fat Cat Records; 2014)
by Jessica Romera

The Twilight Sad’s fourth LP to date, Nobody Wants To Be Here and Nobody Wants To Leave sees the disintegration of a toxic relationship. The Scottish three-piece start off with “There’s A Girl In The Corner”, highlighting feelings of isolation and setting a somber tone for the rest of the album. The shoegaze style of guitar playing and reverb is at the forefront of most of the tracks, along with a darkly brooding melancholia. Comparisons to The Cure are easily felt on tracks like “It Never Was The Same” and “I Could Give You All That You Don’t Want” with frontman James Graham’s echoey vocals. Though a raw display of human emotion is felt through the deep basslines and percussion, the album’s gloom can become overwhelming, and at times suffocatingly so. Ultimately, there is no resolution for this downward spiral of a relationship, but The Twilight Sad manage to accurately capture every moment of this cruel twist of fate.

Trial Track: “I Could Give You All That You Don’t Want”
Rating: 6.5/10

Allo Darlin’ – We Come From the Same Place   (Slumberland: 2014)
by Oneida Crawford

Fresh from Australia, Allo Darlin’s We Come From the Same Place was released Oct. 6 on Slumberland Records.

Fresh from Australia, Allo Darlin’s We Come From the Same Place was released Oct. 6 on Slumberland Records. We Come From the Same Place starts with a relaxing ukulele and guitar ballad. Then, it gradually progresses from a few fun and gentle tracks to a slightly punk-esque vibe, especially noticeable on track seven, “Half Heart Necklace.” Singer-songwriter Elizabeth Morris’ charming vocals are clear and calming, with a subtle twang of her Aussie accent. The lyrics tell stories of love, travelling, and nostalgia. While the album overall is slightly repetitive and thus not terribly exciting in that sense, it is worth a listen for those who enjoy simpler indie-folk, or singer-songwriter tunes. We Come From the Same Place is highly recommended to fans of bands like This is Ivy League and Laura Marling for similarities in style.

Title track: “We Come From the Same Place”
Rating: 5/10

The Budos Band – Burnt Offering (Daptone; 2014)
by Paul Traunero

Marked as a clear departure from The Budos Band’s previous three enumerated self-titled releases, Burnt Offerings introduces an unexpected genre into the band’s instrumental afro-funk mix: doom metal.

Drawing clear influence from psychedelic rock and early heavy metal bands like Black Sabbath and Pentagram, Burnt Offerings is spooky, funky and savage. Its distorted guitar, heavy metal drumming and eerie organ add a primordial and almost occult vibe to the band’s signature afro-funk horns, while a funky bass that underlines the album.

While still borrowing from their signature Fela Kuti-inspired jazz funk style, the The Budos Band have expanded their sound to better reflect their live show and full-band dynamic. Though some purists may be turned off by the new direction, Burnt Offerings is a refreshingly passionate vision from a band that has been playing it safe for far too long.

 Trail Track: “The Sticks”
Rating: 8/10

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Clement Jacques on language, passion and life

Jacques Clement album.

The video for Clement Jacques’ “Femme invisible ” was shot on the road from Montreal to Saguenay-Lac-St-Jean, his hometown.

Jacques Clement album.

“Maybe I should go back and drive up to the north/Far from all that I’ve been trying to flee […] Came here to find some truth not easy to believe […] I’m afraid it is too late.” He wrote these lyrics after the move from his native home to Montreal a couple of years ago, uncertain about this shift.

“I wondered at that moment if it would have been better to have stayed in Saguenay and get a normal job,” said Jacques. “I didn’t know if I had made the right choice.”

Apparently he did.

After releasing his first album in English, Consumed and Guilty, the folk singer-songwriter launched Le Maréographe in 2011, his first French record. With this second album, Jacques dipped into the francophone scene and gained radio airplay. He was also part of the D’une île à l’autre artist series, which was launched in promotion of the French language and emerging francophone artists. His decision to shift from English to French was not a conscious one, nor was it something he took the time to think out rationally. It came naturally.

“In French, I sing more intellectually,” said Jacques. “I sing with my heart and guts. It’s not that I don’t do that in English, it’s different.”

Music may be his primary passion, but he also works at a bike shop to make ends meet, and for the diversity.

“I don’t think I’m meant for a steady job. I love to try my hand at different things,” said Jacques. “It clears my head. I have the impression of self-accomplishment, of thriving.”

Music gives him the opportunity to communicate differently than in words. Music ‘speaks’ for him, and allows him to reach out and touch people. Jacques’ main goal is to continue composing music and to be as proud of it as possible, independently of the amount of people it attracts.

“An album is meant to stay for life. Even when you’re dead, it is something that will stay on earth,” said Jacques. “It was recorded in a certain way, you can’t backtrack. Your goal is to be proud of it so you’ll never regret it.”

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Les Pauls, Marshall Amps, High Vocals and Analog Recordings

Rating: 7.6/10
Rating: 7.6/10

Featuring the vocals of Myles Kennedy, drums by Brent Fitz, and bass by Todd Kerns, legendary guitarist, Slash (aka Saul Hudson), released his sophomore solo-effort, Apocalyptic Love, on May 22.

Unlike his previous effort, no guest vocalists, apart from the work by Myles Kennedy, feature on the just over 54 minute hard-rock album. Eric Valentine, famous for producing Smash Mouth, The All American Rejects, and Good Charlotte,returns behind the sound engineering board.

Classic ‘90s production is in effect, with heavy, catchy riffs and solos by Slash, played through cranked Marshall amplifiers. However, it is Kennedy’s vocal range and ability that steals the show from the guitar-layered wall of sound. From high falsettos to low growls, his voice captures more than what most artists are able to achieve in a particular range.

However, as the tracks progress, the guitar work becomes monotonous and stale. Most guitarists will see their Slash appreciation faltering.

Still, the album is sure to please rock and guitar fans in search of a flashback to the ‘90s.

Trial Track: “One Last Thrill”

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John Mayer, reborn and resurrected

Rating: 9.1/10
Rating: 9.1/10
John Mayer has had his ups and downs in the media. After capturing our attention with his breakthrough album, Room for Squares, he continued to impress by dabbling in different genres, all the while sticking to his signature raspy vocals.

But when his poorly thought out comments hit the presses in both Rolling Stone and Playboy magazine, it heavily damaged his public image, and forced him to retreat from the spotlight. It did not help either that his previous album, Battle Studies, was considered one of his weakest efforts to date, as he churned more radio-friendly material.

In his latest effort, Born and Raised, Mayer has gone to the roots of American music, with  classic rock and country thrown in for good measure. The result is one of his best works, which draws heavy influence from Neil Young and southern rock legends like Lynyrd Skynyrd.

However, the greatest influence to the album is Mayer’s personal roadmap, and each track seems to offer an apology. Lead single, “Shadow Days,” asks fans and exes for forgiveness with the lyrics “I’m a good man with a good heart/had a tough time/got a rough start/but I finally learned to let it go.”

Though the record is an excellent listen, fans will be disappointed to learn that Mayer is suffering from throat granuloma, which has forced him to cancel his upcoming tour. Nevertheless, the album, set for a May 22 release, serves as an excellent comeback album, full of the songwriting and technical ability that fans have loved for the past decade.

Trial track: “A Face to Call Home”

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