2013s BEST 25 ALBUMS IN ROCK AND POPULAR MUSIC

I'm not gonna lie, I didn't listen to enough music this year, but I still have around 25 good to great albums that are worth mentioning at the end of this year.  This list shall compile them.

25.) DARKSIDE- Psychic

     Nicholas Jaar made the best decision of his career when he decided to collaborate with Dave Harrington for this album.  Thanks to Dave's precise guitar playing, there's a welcome layer of pop harmony within the dark ambient washes of sound and texture.  It's an accessible foray into the world of microhouse with a personal and unique flair.

24.) Kvelertak- Meir
   

    If it ain't broke don't fix it.  At least that's what black metal giants Kvelertak thought as they recorded their follow up to one of the best metal records in recent memory.  Blistering riffs, booming drums, and those classic scratchy harsh vocals are still all there.  A must-listen for any metal fan.

23.) Deafheaven- Sunbather 


 
    Hipster black metal is back, and more emotional than ever.  Deafheaven alternate between echoic black metal and slow post-rock movements on their new LP off of Deathwish Records.  While the slower instrumental movements sometimes leave something to be desired, the great drumming and strong vocal and guitar presences make this both a novel and worthwhile listen.

22.) Future of the Left- How to Stop Your Brain in An Accident

     Noise-rockers Future of the Left honestly flew a little under the radar when they released this album.  It's their most conventional album to date, but it's odd-time signatures and meaty-yet-empty guitar timbres keep it interesting.  According to a random Youtube commentor: "It's like Queen on crack".

21.) The Underachievers- Indigoism


    The Underachievers haven't lived up to their name, because they definetely overachieved with their debut mixtape.  They're psychedelic influences drew Flying Lotus' attention, so they should probably draw yours.

20.) The Flaming Lips- The Terror



    The Flaming Lips don't like to stay in place, but The Terror seems like an appropriate step from the krautrocky jam-heavy masterpiece Embryonic.  Spaced out, loopy, and dark, The Terror lives up to its name in an unexpected way.

19.) Ka- The Night's Gambit

    Jagged, intense, and emotional.  The extremely poetic Ka's release The Night's Gambit is a perfect example of precise execution in every sense.  Each sample, snare hit, or synth part seems calculated, but not cold.  This kind of precision is exactly what underground hip-hop artists need in this the age of bombast.

18.) Daft Punk- Random Access Memories

    When Daft Punk released "Get Lucky" they took the world by storm.  Nobody expected Daft Punk to come out with a completely organic LP.  It turned out to be pop gold.  Seamless production, soaring melodies, and a complete reverence for its influences, Daft Punk succeeds where so many mainstream pop artists fail, reliving old musical traditions in a fresh way.

17.) Billy Woods- Dour Candy

    Billy Woods is a dark rapper.  His distinct arhythmic flow and true understanding of the pocket comes through clear on Dour Candy.  The beats on this LP take a more atmospheric turn, but don't lose their solid grooves, and the same could be said for Billy's rapping,

16.) Danny Brown- Old
 
    I will be the first to praise Danny Brown in all of his efforts.  I think that XXX is the best mixtape ever and ranks among the best hip-hop albums of all time.  Old delivers in similar fashoin.  There's contemplative raps on the first half, and absolute bangers on the second, with fat beats throughout thanks to a diverse group of producers.

15.) Death Grips- Government Plates


    Government Plates is Death Grips worst album.  And it still made my top 25 list.  And that's because they continually push the envelope, honing in on key aspects each record.  On Government Plates there's a sort of post-rap aesthetic, with much of Ride's vocals serving more as another instrument than lyric delivery.

14.) Tera Melos- X'ed Out

    Tera Melos have always made kickass music, but who knew that adding pop sensibilities would result in something so good?  The guitars and drums are still intense and mathy, but this time we get to sing along with the chaos.

13.) Oneohtrix Point Never- R Plus Seven


    There's really only one word to describe Oneohtrix Point Never's latest: texture.  Harmonically and rhythmically things tend to get a little all over the place, but it's all united in one of the best sounding records of the year.

12.) Clipping- Midcity



     Noise + rap = ???  It may seem like a gimmick, but the noise on this record is not exactly true to its Japanese roots.  It's much more rhythmic and softer, with some songs actually having harmony.  All I know is that this guy can rap and no one is making beats like this.

11.) Aye Nako- Unleash Yourself 


    What makes a good pop punk record?  Aye Nako seems to think that delicate melodies atop major key harmonies delivered by fuzzy guitars with classic lo-fi drums is the way to go.  With a product this good I think I believe them.

10.) Pusha T- My Name is My Name

    Where Kanye flopped with Yeezus, he succeeds with My Name is My Name as the record's executive producer.  Since Clipse Pusha T has really been searching for purpose, and his debut finds it.  The production is impeccable, combining full rich synths with sharp, dead, trap-inspired drum beats.  Pusha also delivers some of the best flows of his career.

9.) Queens of the Stone Age- ...Like Clockwork
 

     I'm really glad Josh Homme got his shit together.  With band issues and dying temporarily on an operating table, no one really expected him to deliver on this record, but he did.  These songs are well-crafted and each featured artist from Elton John to Trent Reznor only add the exact amount of touch without taking away from the QOTSA identity.  These songs groove hard and hit hard, especially "I Appear Missing" which in every sense seems like the culmination of Homme's career.

8.) Pharmakon- Abandon
   
     Industrial seemed like a man's game for so long, but Pharmakon is living proof of the power of a feminine perspective on a dark and intense art.  This is the kinda of music that makes you go, "shit".

7.) Sigur Rós- Kveikur


     Sigur Rós handled their lineup change perfectly with a shift in their music.  They kept those signature soaring vocal melodies, but they changed the underpinnings completely.  The drum parts clang with orchestral precision while a strong industrial bass line keeps everything in place.

6.) Run the Jewels- Run the Jewels


     Rap's most dangerous (and unconventional) duo proved that unlikely combos can lead to fantastic results.  El-P's signature production is dialed back (but still present) and he and Killer Mike have the best back-and-forth out of any modern rap duo or group.  This kind of chemistry is rare, and it has me craving more.  Good thing Run the Jewels 2 is out next year.

5.) Iceage- You're Nothing

     Sloppy, loud, somewhat incomprehensible, but genius nonetheless.  Iceage has established itself as one of the strongest punk bands in recent memory.  As masters of dissonance (both harmonically and production-wise) they truly capture punk's spirit.

4.) Chance the Rapper- Acid Rap

    Chance the Rapper made the best hip-hop album of 2013, and it wasn't even an album.  Diverse grooves, potent and clever lyrics, and some of the most emotive delivery ever really makes this mixtape something special.  As Chance says himself, he did a good ass job.

3.) Jucifer- за волгой для нас земли нет

    It's hard to make yourself stand out as a small metal band.  So many people think it all sounds the same anyway, how can a band be recognized without rehashing the same old shit?  The key I think, is diversity.  Jucifer's 2013 release is extremely diverse and emotive harmonically, and its amazing what two players are able to craft.  Heavy at some times, yet light in others, with strong motifs throughout. This is the direction modern metal must take.

2.) Factory Floor- Factory Floor


    Not since LCD Soundsytem's debut has an electronic album grooved so unbelievably hard.  Built off of loops, live drums, and trippy reverby synth punches, Factory Floor have delivered the best dance record of 2013.  Released on DFA Records, this post-industrial techno masterpiece is very unique, yet totally belongs on its label.  If your looking for something to trip acid and dance to you've found it right here.

1.) Thee Oh Sees- Floating Coffin


    What can I say?  Thee Oh Sees are the most consistent modern rock band.  John Dwyer pumps out songs like Mrs. Fields pumps out cookies.  And these songs are so fucking delicious.  On Floating Coffin, the riffs are huge, the grooves heavy, and the melodies catchy as shit.  Each song is marked by something completely different, yet they work together, just like every other Thee Oh Sees record.  The heaviness is so welcome.  From the franticness of "I Come From the Mountain" to the fuzzy and hollow "Toe Cutter-Thumb Buster" to the slow melancholy of "Minotaur" this Floating Coffin seems to be floating on a stormy as fuck sea.

Sigur Rós: Kveikur 

Album: Kveikur
Artist: Sigur Rós*
Genre: Post-Rock/Industrial Dream Pop

8.4/10






     Icelandic now-trio Sigur Rós have been in the second-wave post-rock game for a long time now.  So long, in fact, that their sound has shifted further and further away from post-rock in an effort to keep from getting stale.  On Kveikur, Sigur Rós offer intricate arrangements, clashing percussion, and the scariest group of Sigur Rós songs yet.
    The album opens with "Brennisteinn", a track released months before this album came out, and it serves as a perfect intro to the textures and tones explored throughout this LP.  Guitars crash alongside what sounds like 20 drummers hitting the rims of their snares, while singular, fuzzy bass tones round out the sound, all while those signature soaring vocal melodies push the track forward.  Other tracks like "Hrafntinna" and "Ísjaki" utilize similar orchestration, but highlight certain instruments.  "Hrafntinna" utilizes chiming bells and trumpets while "Ísjaki" contains a glockenspiel melody.
    That's what makes this album great, it's smart arrangement of similar tones.  Each track has very similar instrumentation and rhythm, but by highlighting certain melodic interludes and pieces each track can stand out.  "Yfirborð" has tape loops and a mournful double bass intro.  The title track has a climbing chord progression and is the noisiest track.  "Var" ends the album with a quiet piano progression alongside droning high-register strings.
    The percussion also needs to be addressed.  The drum kit is utilized in a different way on this LP.  Each part of the kit is used in some way to drive each song.  It's not a simple bass-snare pattern with little tom fills now and again.  Everything from booming toms to dry cymbals can be heard.  This leads to a more orchestral feel on many tracks, but certain songs have a groove to them.  "Rafstaumur" is by far the poppiest track, but it's a sophisticated pop with an interesting and grooving drum part and a classic chord progression.
   Overall, there's little to complain about on this record, but it is a subtle one.  The tracks are similar, but not redundant.  It's definitely one of the more challenging Sigur Rós records, but also one of the most rewarding.  8.4 candlewicks (Kveikur in English) out of 10.

FAVE TRACKS: Brennisteinn, Yfirboro, Kveikur, Var

     *Fuck you Sigur Rós you made this great album but it's gonna take me forever to type out these track names.

Settle

Disclosure: Settle Review

Artist: Disclosure

Album: Settle

Genre: UK Garage/Deep House

5.9/10

     I almost feel bad giving Settle this score, because they almost don't deserve it.  Producer/brothers Guy and Howard Lawrence have a distinct way of blending crisp drums, high-register synth textures, sleek bass leads, and soulful vocal samples in a way that only they could.  So what's the issue here?  The issue is that this distinct combination of tones is exemplified in the same way...on nearly every song.

    Album opener Intro/When A Fire Starts to Burn puts a motivational speaker on center stage lifted by disco-beat drums and a catchy, groovy bass line.  I found myself tapping my feet and imagining how tight it would be to incorporate this into a set.  But after 2 minutes I started to realize that the structure of the song was going to stay where it was, with only subtle dynamic shifts.  A bold move, I thought.  I wonder if this pattern will continue...

    And it did, more or less.  The next tune "Latch" features guest vocalist Sam Smith, who kills with an incredibly soulful chorus complimented by a tasteful "FairPlay" sample atop a scarily familiar instrumental.  As the record went on, I found myself memorizing Disclosure's tactics.  

    It seemed as if there were two kinds of songs on this record, songs built around short vocal samples that featured busier drums and a deep bass lead in the style of classic garage artists, or songs in the style of deep house tunes, built around featured artists like AlunaGeorge or Jessie Ware.  So in order to really enjoy this record, I had to be 100% down with the vocalists.  Sadly, the vocal talent failed to live up to the standards of "Latch".  Bits and pieces stand out, like AlunaGeorge's chorus on "White Noise" or Ed Mac on "Defeated No More" (which sounded way too much like "F for You").  The melodies seemed to borrow from each other and from the UK pop scene in general.  I could tell these artists were talented, but they failed to bring the diversity that I so craved.

     So I'm left with a difficult decision.  Do I endorse this record for you to listen to?  Is my opinion on the vocal leads too personal?  Would more people like the repetition?  Perhaps, but I will say this: Disclosure has refined their sound, but there's no doubt that they need to diversify when it comes to melody and especially when it comes to writing drum tracks.  If you want the classic disco-beat in all of your tunes you'll love this record.  If you are a large fan of a portion of these guest artists it's worth a listen as well.  But if you're like me, and you approach this album with no expectations, you may find yourself disappointed.  I'll settle for a 5.9 out of 10.

The Terror

The Flaming Lips: The Terror Review

Album: The Terror

Artist: The Flaming Lips

Genre: Ambient Pop

7.2/10

    

    The Flaming Lips used to be fun.  Whatever happened to the wackiness and quirkiness of "The Yeah Yeah Yeah Song"?  Now we have song titles like "You Are Alone" and "Turning Violent".  The   latest release from neo-psychadelic pop/rock outfit The Flaming Lips combines harsh yet quiet synths, minimal drums, and more than enough spaciousness, as well as Wayne Coyne's soft and sad crooning.

     It's hard to go at this album track by track because it really has a uniform sound.  The tones and textures on each of these tracks are remarkably similar, which seems to be a common quality with ambient music.  This album lives in a sort of limbo however, as it combines aspects of ambient with aspects of a much more accessible genre, pop.  Wayne employs harmony and clear melodies against a backdrop of minimal and dark synths on each of the tracks.  Live drums are hard to find, coming in only on the opening and closing tracks, and to be honest the presence is sort of missed.  The songs have a definite hollow and bleak quality, which is the aesthetic they were going for, but certain songs fail to establish these qualities strongly.  The three-song run of "Try to Explain", "You Lust", and "The Terror" boast near-identical instrumentation and musical qualities, with subtle changes added to establish diversity.  Most instrumentation is brought down in the mix, allowing Wayne to come through a bit too clearly to really establish that hollow atmosphere.  

    The album shines where they successfully blend the best ambient qualities and the best pop qualities. Opener "Look...The Sun is Rising" boasts echoic drums, tape loops, sharp guitars, and brooding synths.  Closer "Always There... In Our Hearts" also features drum parts once again, allowing a sort of groundwork to build textures off of.

     I found myself listening to this record intensely.  There is more going on that one would hear initially.  It really demands one's undivided attention to really be appreciated.  The problem this album has is that it sometimes has problems justifying the droning aspects.  It's too spacious to really be pop, but too busy to be drone or ambient.  Certain parts blend them perfectly, while others struggle to stay fresh and interesting.  It's worth a listen, however, and I respect the vision of this band.  7.2 terrors out of 10.

Modern Vampires of the City

Vampire Weekend: Modern Vampires of the City Review

Album: Modern Vampires of the City
Artist: Vampire Weekend
Genre: Baroque Pop


7.5/10





      The main criticism that I have (and many people have) for Vampire Weekend is that their work is somewhat monochromatic.  They've focused on restrained and preppy pop ditties for their last two albums.  Not that it's a terrible thing.  I for one enjoyed "A-Punk", "Oxford Comma", and "Giving Up the Gun".  I think they took this criticism to heart though, because on this, their third album, they've attempted to really bring the "baroque" into "baroque pop", blending digital and analog effects as well as instruments like the double bass and harpsichord.  The biggest surprise about this album, however, is the sudden shift in quality in the second half.  The first six songs on this record are dynamic, fluid, and are really the best songs they've ever written, but the second half boasts messiness and a sad return to that mono-chromaticism.
     "Obvious Bicycle" opens up the album with a quiet and soft vocal melody driven by what sounds like the movement of a bicycle pedal marking the beats.  Soon gorgeous harmonies emerge as Ezra climbs to the top of his range.  "Unbelievers" picks up the pace, but only by a little bit.  The drummer plays a simple quarter-note four-on-the-floor beat while playing eighth notes on the high hat, only coming in at the end of each phrase and marking flourishes in the chorus.  The second chorus is introduced with a full and resounding brass chord sure to send shivers down the spine of any listener.  Step brings the baroque (as well as a heavy Paul Simon influence) and the nonsensical.  Then Diane Young comes on and things really get crazy.  Synths, overblown drums, and pitch modulation combine to make the whole thing sound like Elvis in a food processor.  "Hannah Hunt" is sure to be a feelsy favorite.  It transitions from spacious and lamenting to grooving and passionate incredibly well.
     And that's where my amazement ends.  The drums on "Everlasting Arms" clash with the piano and bass work in an undynamic mess.  "Finger Back" is even messier with its choppy drums and uneven tempo.  "Worship You" continues with the ideas found in "Unbelievers" with its hymnal qualities, but the rapid (almost rapping) verse just doesn't fit.  "Ya Hey" is just a chore for me to listen to, as its ideas repeat itself for over 5 minutes, exemplifying lazy songwriting.  Also there's chipmunk vocals and I hate that shit.  "Hudson" is the worst track however, throwing in random noises and keeping the choral instruments way too low in the mix.  "Young Lion" is a nice little song with a good baroque-inspired piano line, but doesn't go anywhere.
     So we are presented with a phenomenon, one half amazing and one half subpar.  What should I get it?  Well, seeing as I use a number system, an average of the two seems appropriate.  So the final verdict: it's p good.  7.5 modern vampires out of 10.


FAVE TRACKS: Obvious Bicycle, Unbelievers, Diane Young, Hannah Hunt

Run the Jewels

RUN THE JEWELS: SELF-TITLED ALBUM REVIEW

Album: Run the Jewels
Artist: Run the Jewels
Genre: Hardcore Hip-hop


8.3/10




     Killer Mike and El-P are two rappers who are much bigger than they seem.  El-P has been producing experimental and innovative hip-hop for over a decade and Killer Mike won a Grammy on his first verse ever on Outkast's "The Whole World".  However it wasn't until they both released their most popular and critically acclaimed albums last year (El-P's made it up pretty high on my Best of 2012 list) that they returned to the spotlight.  Hoping to plant themselves in this light, El-P and Killer Mike have collaborated to release a free full-length album.  And it looks like they're here to stay.
    The album draws heavily from the styles of their last two records.  El-P's distinctive dark, grimy production is near-replicated here, and Killer Mike retains his ferocity from R.A.P. Music for the most part.  The real difference on this album is the coordination between Killer Mike and El-P.  On each track they each take a shorter amount of time to deliver their thoughts, which leads to an exciting, frantic, yet controlled result.  "Banana Clipper" feature's Outkast's Big Boi on the opening and closing verses with each rapper bringing short and not-so-sweet anecdotes.  On 'Get It" they both deliver stellar rhythmic performances built around a heavily manipulated "South Bronx" sample.  They bring their signature dark humor alongside Prince Paul's interpretation of Chest Rockwell on "Twin Hype Back".  (The track features Prince Paul spiking a girl's Mountain Dew with a half gram of molly).  This relationship does change song to song, however.  "DDFH" and "Sea Legs" allows Killer Mike and El-P to take their time and really work with the beats, which are really something else.
    El-P dials it back somewhat on this album, but many of these tracks have some awesome components.  "Sea Legs" transitions from atmospheric to lamentful with it's intricate synth work.  "DDFH" is a crunchy, busy, and scary song.  "Job Well Done" brings a tapestry of elements and Southern rap influences that makes it most thug-tastic track.  It also features some crazy scratching and a dolphin sample.  Songs like the opener and closer feature more restrained and spacious production, which allows the rappers to shine, but denies the listener that WOW factor of 'Get It", "Job Well Done", and "Banana Clipper".
     This is a killer album.  Perhaps not as great as their previous work, but great nonetheless.  It's also a huge testament to their talent and their deserved success.  Do yourself a favor and download it.  It's free, goddammit.  8.3 jewels out of 10.

http://consequenceofsound.net/2013/06/download-el-p-and-killer-mikes-run-the-jewels/


FAVE TRACKS: Banana Clipper, DDFH, Job Well Done, Get It

Kanye West: Yeezus Review

Album: Yeezus
Artist: Kanye West
Genre: Industrial Hip-hop

3.9/10





UH HUH HONEY!!

     It's actually pretty funny how Kanye could go from making one of the best pop-rap records ever to a complete mess in a short 3 years.  I've always respected Kanye West's unique ability to inject a true R&B/soul flair into his music.  It was something the industry definitely needed in the early 2000s.  But here we are in 2013, with hip-hop reaching new heights in both popularity and quality, and it seemed as if Kanye would be one of the leaders.  With his new record Yeezus, however, everyone's favorite rapper has brought messy sample splicing, hollow synth leads, and some of the worst mixing/mastering I've ever heard.
     From the very beginning Yeezus seemed doomed, even with help from all-stars like TNGHT, Daft Punk, Justin Vernon, and Rick Rubin.  Opener "On Sight" begins with laser-synths and overblown drums contrasted unpleasantly with Kanye's smooth flow.  Halfway through the song "Sermon (He'll Give Us What We Really Need)" begins to play by itself with no context, and then is abruptly cut off seconds later.  This messy sampling style is rampant throughout the record.  Tracks "I Am A God" and "Bound 2" both feature heavy samples.  "Bound 2" utilizes the track "Bound" (probably why it's called Bound 2) by Bobby Massey as the entire beat for the verses.  "I Am A God" contrasts  "Forward Inna Dem Clothes" with Kanye's weak screaming.  "Send It Up" actually breaks out a dub track to work as an outro.  
    And this leads me to the next criticism: the vocals.  Kanye does everything from vocoder crooning to outright screaming, but each line and flow seems tired and undynamic.  Even Kanye's screams on "Black Skinhead" and "I Am A God" seem forced and even gimmicky.  Chief Keef's vocals get a good little autotune, but are way too slow and unrhythmic to be enjoyable.  Vernon shines on "I'm in It" however, as well as Assassin.  Both bring their unique styles to the track.  
     There are some redeeming qualities, even if each track has glaring issues.  "Blood On The Leaves" samples the incredibly dark "Strange Fruit", a song about a slave hanging by his neck from a tree.  Kanye executes this sample alongside the amazing brass line from TNGHT's live-only track R U Ready.  The result is something dark and captivating, even if only for part of the track.  "Bound 2" has a great soulful chorus that is cut mid sentence by the "Bound" sample.  "New Slaves" boasts an actual synth line and chord progression that serves as the only solid instrumental for Kanye to work off of.  These small blessings prevent the total flop of this record.
     Yeezy has tried something different, something that casual listeners may believe is fresh.  But if you take the time to check out truly great industrial hip-hop artists like Death Grips, dalek, or Techno Animal, you'll find that Kanye has merely grazed the surface of the true darkness, and cohesiveness, of the genre.  It's not the worst hip-hop album of all time, but it's the worst industrial hip-hop album of all time.  3.9 gods out of 10.

Fave Track: Blood on the Leaves

Daft Punk: Random Access Memories Review

Album: Random Access Memories
Artist: Daft Punk
Genre: Nu-Disco


7.9/10




      Random Access Memories is my "overrated but still quite good record" of 2013 thus far.  This prestigious award went to channel ORANGE last year, another album that was surrounded by hype.  Unlike channel ORANGE (which had some serious hiccups), every one of these tracks actually has merit to them, it just fails to keep its energy and vitality up in certain points.
     Daft Punk have been accepted as innovators in the electronic dance music scene.  Their focus on intense repetition and catchy, hooky, vocal and vocoder lines helped establish a precedent for other house acts to follow.  On Random Access Memories, Daft Punk craft a radically different sound than their previous efforts, calling in a large amount of collaborators and instrumentalists as well as blending a large amount of influences to create an organic, analog experience.  Opener "Give Life Back to Music" starts with grandiose drum and piano breaks alongside Nile Rodgers' signature tight guitar work.  It's incredibly danceable but hardly electronic, save for that signature robotic vocoder lead.  "Lose Yourself to Dance" pushes Pharell to the top of his range and layers climbing vocal and synth leads.  It also accomplishes a shift in tone, bringing up images and feelings of age and the loss of youth.    "Touch" boasts the best chord progression on the album, played in a variety of ways, from jazz piano and trumpets to a mournful electric piano.  Paul Williams brings his best to the track, fluctuating his voice to adapt to the natural swells of the tune.  "Doin' It Right" brings the signature Daft Punk repetition and combines it with the reverb-bathed and Beach Boys-inspired voice of experimental musician (and drummer/vocalist of Animal Collective) Panda Bear.
     It's important to note that there are no strictly bad songs on this record, just songs that have interesting components but perhaps don't combine them in the best way.  "Instant Crush" brings a weirder production style, bending Strokes' singer Casablancas' voice to near-unrecognizable pitches.  Guitars are featured in a palm-muted and are frequently heard run backwards.  The song structure follows a predictable pop verse-prechorus-chorus pattern, which wouldn't be an issue if the production wasn't so wonky.  "The Game of Love" has a great drum part and a powerful mournful atmosphere, but the lack of dynamics leave me wanting more.  "Beyond" boasts an incredibly out-of-place and cheesy string part, as well as incredibly similar tones and melodic ideas as previous tracks in the album.
     So did I expect more out of a new Daft Punk record?  To be completely honest, no.  When I first heard the snippet of "Get Lucky" (summer pop jam of the year btw) I could tell that they were going to do something different, and when bands make a radical shift, bumps are expected.  These bumps prevent this album from truly being that great album that everyone wanted.  There's a few truly amazing tracks on this LP, though, and it definitely deserves a listen.  It's got something for everyone that's for sure.

FAVE TRACKS: Give Life Back to Music, Get Lucky, Lose Yourself to Dance, Touch, Doin it Right

Queens of the Stone Age: ...Like Clockwork Review

Album: ...Like Clockwork

Artist: Queens of the Stone Age

Genre: Alternative/Stoner Rock

8.0/10

      

    Queens of the Stone Age are almost huge.  They're definitely well known, but no one could really argue that they're a stadium-filling band.  They do have a myriad of moderate hits and usually grab a high place on the Billboard album charts, but they never seem to reach that Foo Fighters level of rock popularity, and for awhile I never understood why.  The more I listen to their new record, however, the more I realize perhaps why they aren't that popular.  With crashing guitars, intense solos, dirty production style, and above 4:30 song lengths, the songs on ...Like Clockwork just have too much for a casual rock listener to handle.  They're content with their straightforward pop-rock antics like the Foo Fighter's "The Pretender" or Jet's "Are You Gonna Be My Girl".  Queens of the Stone Age are definitely accessible, but they also have a truly musical component that can set them above other modern mainstream acts.

     Deep and messy tracks like opener "Keep Your Eyes Peeled" layer on component after component. Drums boom for one verse and become filtered for the next.  Clear piano chords resonate alongside fuzzy bass lines.  "Smooth Sailing" features some heavy syncopation and interplay between the instruments, with Homme reaching as high as his vocal register can while still retaining that constant heavy atmosphere.  Trent Reznor really brings a creepy factor to "Kalopsia".  Heavy breathing and deep subbass synth tones give the first part of the track a near-ambient break in the fast-pacedness of this record.  This tone doesn't linger though, as guitars screech and crash to bring in the most powerful chorus on the record.  "I Appear Missing" boasts an over 6 minute song length that is justified with a dichotic breakdown and noisy outro.

    While these components are the ones that truly set Queens apart, Josh Homme's pop smarts cannot be denied either.  Homme has a knack for crafting simple yet catchy melodies on top of his layered, methodical instrumentals.  "The Vampyre Of Time and Memory" and "Fairweather Friends" both boast incredibly catchy vocal lines.  He creates a perfect amount of space between him and the chord changes, and embellishes his voice to match the theme of the song.  Single of the record "My God Is the Sun" is a deceptively simple track that is a clear choice for lead single.  It's danceable, singable, and ends with the oh-so-tantalizing half-time outro.

     The record is not without fault however.  Sometimes the messiness loses its charm and becomes somewhat muddled like on the opener.  If you pay attention to lyrics in your music you may not like what you hear, as Josh relies heavily on cliches throughout the record.  The ending of "Fairweather Friends", while funny, definitely denies the listener a satisfying end to the tune.  Finally, the last track is pulled straight out of a rock bible, with a slow piano chord intro, swelling strings, and tired melody.  It's something we've heard a dozen times a dozen times before.  But overall, it's a satisfying return to form for QOTSA, and their best record since Songs for the Deaf.  8.0 clocks out of 10.

Fave Tracks: I Sat By the Ocean, Kalopsia, My God is the Sun, I Appear Missing

Chance the Rapper- Acid Rap Review

Album: Acid Rap
Artist: Chance the Rapper
Genre: Hip-hop/Pop-rap


8.2/10






     Summer time is fast approaching, and with it the demand for songs to play while enjoying summer activities.  May I suggest the latest effort from Chi-town native Chance the Rapper, Acid Rap.  Now I wouldn't say this is an album to listen to while taking acid; I would say this is the album to play while reminiscing on that time you took acid.  On Acid Rap Chance takes a look back musically, drawing influences from classic R&B, hip-hop, acid jazz, and even ragtime.
    The production on this mixtape is really top-notch.  The drums especially are extremely crisp and the parts themselves fit well with the style of each individual song.  Leadoff hit "Good Ass Intro" starts off with a baptist-style choir as he breaks out some wacky a capella rapping.  Once the drums come in, there's a clear dynamic shift, leading to a more grounded feel.  The main chord deliverers on this mixtape are organ, piano, and clavinet.  Simple pop chord changes are played soulfully and voiced beautifully on tracks like "Cocoa Butter Kisses" and "Interlude".  Vocal samples aren't utilized much but when they're heard they're just right.  "Chain Smoker" effectively syncopates some emphatic 'yeahs' with the busy drum beat.
    The real kicker here though is Chance himself.  Chance the Rapper establishes himself alongside Danny Brown as one of those great 'weird' rappers.  Chance's vocal textures vary from atonal laughs to soulful dirges.  He can transition from soft to harsh on a dime and back again.  He establishes his singing voice often.  He could easily pass for a R&B singer on "Interlude" backed up by that classic soul chorus.  On "Favorite Song" he busts out the catchiest hook on the record.  Super sing-a-long-y, it's sure to grab even the biggest naysayer.  On "Juice" we hear the nod to ragtime, with Chance croaking a bluesy intro filtered with an old-timey effect.  His rapping fluctuates madly on every track, and he incorporates singing and rapping fluidly, not sticking to the old fashioned rap-verse sing-chorus bullshit.
  Lyrically Chance also shines.  With likes like "It's easier to get a gun than a parking space" and the spiritually present motif "I think we're all addicted" Chance attempts to act as a humble, but wise messenger.  He is a big fan of interior rhyme and building off of motifs.  "I got burn holes in my hoodie/I got burn holes in my head or "Keep a tab on my exes, keep some 'x' on my tongue Keep my work out in Texas, that's just me flexing my lungs".  This is just a taste of Chance's poetry in motion
   The guest spots are not the strongest aspects of this record, however.  Most guests provide some nice contrast, but are completely dwarfed by Chance in all respects.  Childish Gambino goes at "Favorite Song" with his signature anti-swag, and Action Bronson brings some childishness to "NaNa", but these spots are decent at best.  The first half is also somewhat better than the second.  The second half of the mixtape still has some great tracks, but Chance takes a much more introverted turn, with mostly just 'good' results, and not fantastic ones like the first.  Also I should note that I don't care for 'NaNa'.  The track is meant to represent schoolyard rivalries (na na na na naaaaaaa type stuff) but the hook's playful annoying quality turns into real annoyance quickly.
     Overall this is dope.  There are some really stellar songs that will fit in nicely in your summer playlist.  But this is also a mixtape to be listened to all the way through, seeing as it has an intro, interlude, and outro.  Check this shit out.  8.2 tabs out of 10.

FAVE SONGS: Good Ass Intro, Cocoa Butter Kisses, Juice, Interlude, Everything's Good
   

Thee Oh Sees- Floating Coffin Review

Album: Floating Coffin
Artist: Thee Oh Sees
Genre: Psychedelic Garage-rock


8.5/10





 

      I think this is the record that has established Thee Oh Sees as one of my favorite bands.  They're just so friggin' consistent.  John Dwyer has about a million song ideas in his head and he records every one of them.  Plus they release an album every year.  I don't know how they do it to be honest.
   On this new record, and with each of their records, they tweak their signature sound with one key alteration.  With Floating Coffin Thee Oh Sees take a dark and twisted turn.  You could see this change with your very eyes just by watching the video for "Toe Cutter- Thumb Buster" or by looking at the album cover.  John Dwyer's sweet falsetto is directly contrasted with furious guitars, pounding drums, and noisy solos.  Album opener "I Come From the Mountain" features classic Oh Sees guitar noisiness alongside strong simple melodic keyboard leads.  The next track features a much angrier and more powerful two-chord progression.  It establishes a sludgy quality that contrasts with a lighter chromatic quality.
     Guitar layering is a key musical motif in this record as well.  Dwyer layers guitar part on guitar part in every song, focusing it especially in 'No Spell" and "Strawberries 1 + 2".  This syncopation has been less pronounced on their previous records, but is a welcome addition on this one.  It gives it a full, rich sound while still retaining that glorious DIY attitude.
    It's also their most intense record, with large crescendos and frantic dynamic shifts.  Distortion is a key element not only in the instrumentation, but in the vocal filtering.  John Dwyer is mostly intelligible, with only the crunchy melody coming through.  The dark lyrics cannot be understood, but once you read them alongside, the record becomes that much more disturbing.
    But don't let the scariness scare you off!  These songs are very enjoyable and quite accessible.  The first two tracks should hook you for the rest of the album.  You'll be hypnotized by the drums and the guitar breaks will make you say "Fuck Yeah!".  At least they did for me.  The only real problem I have with this record is that they put the two best tracks as the first two songs.  8.5 coffins out of 10
 

Listen to Queens of the Stone Age play 2 new songs

    As you probably know, Josh Homme and his merry men are returning with a brand new album due out June 4th.  They've been teasing us with clips and the shortest track on the record, and now we have two new tracks performed live.  The first of which definitely sounds like it could've been pulled off of Lullabies to Paralyze, complete with sleek slide guitar line and sing-along chorus.  The second is much darker, utilizing a punchy vocal delivery and syncopated descending guitar and bass chords, along with that signature QOTSA crunchy guitar tone.  Take a listen.

Lonely Woman Track Review

  

   The Shape of Jazz to Come is, as it's name suggests, an important album in the world of jazz, but it serves also as an inspiration for all musicians.  The post-hardcore band Refused paid tribute to Ornette Coleman by naming their best album The Shape of Punk to Come.  The album serves as a massive structural influence on the jazz to come and a spiritual influence on musicians everywhere.

    "Lonely Woman" is a fascinating tune off of this record.  The key idea that emerged as I was listening was contrast.  Dissonance and harmony interplay with the natural ebb and flow of the tune.  Billy Higgins drives the song with a frantic and driving ride cymbal part as Charlie Haden ditches the classic walking bass line for a one-powerful-note-at-a-time pulse.  This creates a chasm within the rhythm section that is filled by Don Cherry and Ornette.  Cherry busts out a cornet to create some truly interesting chords with Ornette, who plays alto saxophone.  With only two high-register horns, the two players are forced to embellish texture to make the tune stand out.  They create grace notes with each other and trail off at seemingly random times.  The so-called B section sees a stronger presence from the kick drum and tom-toms.  This bipolar interplay between these four musicians creates a dichotomy between the somber and the manic that slowly increases in intensity until the only feeling left is moment-to-moment expression of emotions that never truly resolve.

    Such is the goal of free jazz, not to play as wildly or as dissonantly as possible, but to use one's instrument as a portal directly into the heart of the musician.  It is the peak of music as art, rather than as entertainment.

Happy Birthday to the Late Great Captain Beefheart

     One of the most maniacal musical geniuses of the 20th century would be 72 today if he were still alive.  Captain Beefheart aka Don Glen Vilet released a string of albums by himself and with His Magic Band.  He covered many genres from free jazz to folk to blues but his most genre-bending release would be the calculated insanity of Trout Mask Replica.  This staggering double album produced by Frank Zappa contained some of the harshest, most cacophonous blues/rock to ever emerge in the history of music.  Captain Beefheart wrote wailing parts for drums, guitar, bass, piano, and clarinet that when combined initially sounds like sheet music in a blender, but when listening closer, one hears how deliberate he was in these meter modulations and pitch shifts.  An extremely influential album in spirit more than in function (who could possibly replace Captain Beefheart?), Trout Mask Replica is a must-listen for anyone willing to challenge themselves and discover how music should be interpreted, as art.

A$AP Rocky- Long.Live.A$AP Review

Artist: A$AP Rocky
Album: Long.Live.A$AP
Genre: Swag/Real Trill Shit


7.0/10

      You ever watch Immortal Technique videos on Youtube?  You ever read the comments?  “This is real hip-hop.  Fuck those rappers that just rap about bitches, money, and weed.”  Well A$AP Rocky is the rapper that comment is directed at.  He’s a capable rapper with a signature style but his flow is not super unique, so why is he so popular?  The got damn production.  His beats are completely fresh and musically engaging, and Long.Live.A$AP doesn’t disappoint beat-wise.

     The title track and opener sets a pretty different mood than his debut mixtape.  Thunder and dreamy synths loom over a creepy beat.  A$AP lays back on the beat and breaks out a nice little falsetto for the hook.  He tries to recreate this aesthetic in different ways in different parts of the album with varied results.  “LVL” and “Hell” have interesting texures, but A$AP fails to really deliver, lagging just too far behind.  His use of pitch-modulation to lower his voice also is hit or miss.  I’ll be listening to a track like “LVL” and suddenly I’ll hear these distracting “uh…aw…yeah…asap…” in the background.  Album closer “Suddenly” accomplishes this dynamic well, mainly because of a well-executed sample and a nice crescendo.  The preceding track “Phoenix” also executes a more somber tone with stand-alone flows and airy piano chords.  It’s a nice contrast with the bangers on the album.

    And that’s where the true greatness comes out of A$AP, in the louder tracks.  A$AP is all about confidence, so it makes sense that the best tracks would be loud, obnoxious, and arrogant.  Single “Goldie” uses the pitch-modulation perfectly.  A$AP sits right behind the tight beat and his overall flow is quicker while still remaining relaxed.  ‘”Fuckin Problems” features Drake, 2 Chainz, and Kendrick Lamar all doing what they do best.  Drake’s signature soft-rap and sing style is evident.  2 Chainz yells about fucking bitches, and Kendrick decides to sport another character of his invention.  “Wild For the Night” features “his nigga Skrillex” and the results are surprisingly good.  It’s a very fun song.  The brostep synth line is wonky, but tasteful and I could definitely rage with that playing in my speakers.  “1 Train” features a slew of features over a nice sublte string-incorporating beat.  Each feature showcases their signature style.  Kendrick manipulates meter and his voice, Joey Bada$$ brings his youthful energy, and Danny Brown keeps it nice and weird while streamlining a bit to not scare off new listeners.

    Overall, its hit or miss, and honestly not as good as his mixtape, though some of his best songs are on this record.  I appreciate how A$AP wanted to keep things somewhat fresh from track to track, but his flows get a little rehashed on the slower tracks, reusing some of his tricks a bit too often.  Still, I recommend listening to it in full to see which side of A$AP you prefer.  7.0 swags out of 10.

FAVE TRACKS: Goldie, Fuckin Problems, Wild For the Night, 1 Train, Suddenly

NEW MY BLOODY VALENTINE???

    After My Bloody Valentine posted some binary on their (tripped-out) website, some smart /mu/tants translated the above message.  First release in 21 years.  Stay #noided.

HONORABLE MENTION

OR: GOOD ALBUMS THAT DIDN'T MAKE THE CUT

Frank Ocean- channel ORANGE

Genre: PBR&B

OFF!- OFF!



Genre: Hardcore Punk









Dirty Projectors- Swing Lo Magellan

Genre: Experimental Pop








 Ty Segall Band- Slaughterhouse

Genre: Garage Rock









Bob Dylan- Tempest

Genre: Folk/Blues

ALBUM OF THE YEAR

DEATH GRIPS

THE MONEY STORE

     Death Grips.  The name itself brings up images of pain, paranoia, and anger.  Once you hear their music it all makes sense.  Sickly synthesizers, scary samples, frantic drumming, and most of all MC Ride's terrifying bellow creates an entire horrific atmosphere. 

   But it's not just a one-trick pony.  These songs are crafted with precision.  They have subtlety, if you could believe it.  They have careful placement of certain rhythms, like the drop in "Punk Weight".  These songs have danceable beats, heavy bass, and actual hooks.  It's for this reason that they can be called "innovative".  Their combination of hip-hop, noise, industrial, techno, and bass music is unlike anything most people have ever heard.  It's rooted in so many different essential groups and yet it carves out a unique sound.

    The opener "Get Got" is the tamest song on the record.  MC Ride's flows are more traditional and the beat easier to bob you head to.  Then they blow the doors off with "The Fever (Aye Aye)".  MC Ride bellows while Zach's furiously fast feet bust out a head crushing groove.  Songs like "Lost Boys" and "Fuck That" ditch conventional rhythm and structure for a groove-less attack on conventionality.

    The final song "Hacker" ties everything together though.  It combines MC Ride's spoken-word ramblings with samples and punchy synths for a sonic roller-coaster.  And when the chorus finally emerges, an excited MC Ride sings for the only time on the LP: 'I'm in your area'.  Death Grips are in our area, and their here to stay, but what they didn't expect is that they're more than welcome to.

10/10