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