Each week I will listen to and review/preview a handful of the more interesting music albums released that week. The genres I will mainly focus on are Rock, Pop, Indie, Hip-Hop, Rap, and Electronic.
Prolific R&B artist Robert Sylvester Kelly, better known by his stage name R. Kelly, releases the followup to his 2010 album Love Letter with his eleventh studio album.
Much like his last album, R. Kelly again gives a disc chock full of throwback R&B jams. The album opens with the eponymous "Love Is" which samples from the slow jams master himself (Barry White) with a melody that is borrowed from "Can't Get Enough Of Your Love, Babe" in a sweet and simple ditty that tries to define what love is.
That throwback feel lasts for the entire album. "Feeling Single" has a melody straight from Michael Jackson's Off The Wall while "Lady Sunday" sounds like a late The Commodores song (minus Lionel Richey's silky vocals, of course)--and those are just the opening tracks!
Love Is comes off almost as an homage album with nods to past greats like Barry White, Al Green and even a little Michael Jackson. Unfortunately, while the music echoes those past greats' classic hits, it doesn't come close to emulating them in terms of freshness, originality, or catchiness.
As much as I like classic R&B and as much as I wanted to like this album, it just doesn't hit on all cylinders. The album's lack of a true hit single plus songs that fail to leave any lasting impressions makes this a hard disc to recommend You're much better off sticking with his Grammy nominated Love Letter from a couple of years ago.
Score:5/10 Song(s) to Sample: "Love Is" and "Lady Sunday"
Maroon 5Overexposed
The Grammy winning, Adam Levine fronted pop rock band from Los Angeles release their fourth studio album
First off, thanks to Maroon 5 for our first nomination for the worst album cover of the year. It's new millennium pop art at its ugliest. Let's hope the music on the disc is better than the artwork that surrounds it.
On this album, the band seems to be searching for its sound bouncing back and forth from jangly bubblegum pop songs with their customary big hooks to tracks with techno-heavy beats and disco-lite melodies.
On some tracks they are able to blend the styles better than others. On the second track, "Payphone", where Levin's high alto singing voice blends well with the hook of the song, but guest artist Wiz Khalifi ends the track with a rap that seems to come out of left field and completely disrupts the flow of the music.
In what will come as no surprise to anyone, the band seems to shine brightest when they make the infectious and upbeat singles that will become staples in your local nightclub like on the track "Lucky Strike." On that track, the beat is fast tempo with a get-stuck-in-your-head hook and the Levine's vocals screech to perfection as he sings about finding his "one in a million."
Unfortunately, Overexposed, just like its album cover, is all over the place and that scattered nature makes it a hard album to immerse yourself in. There are some quality singles but the album itself lacks direction trying too hard to be too many things. The album is worth a listen but you'll be better off just buying the singles you like rather than purchasing the entire disc.
Score:6/10
Song(s) to Sample: "Lucky Strike"and "One More Night"
Fiona AppleThe Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Ever Do
Smart singer/songwriter Fiona Apple, mistress of the unnecessarily long album titles (and I thought When the Pawn Hits the Conflicts He Thinks Like a King was bad), releases her fourth studio album and first since 2005.
The good news is that despite the time between albums, Apple's style hasn't altered in that period still giving us intelligent baroque pop songs heavy on wit and personality with discordant, usually piano-driven, instrumentation that can be both enchanting and off-putting depending on the direction she wants to take you.
Long time collaborator Jon Brion (Magnolia soundtrack) is left off in favor of her touring drummer Charley Drayton for producing duties although Apple's songs in general still have strong Brion influences to them.
The lyrics writing is once again top-notch with beautiful imagery and brightly colored metaphors peppered throughout the entire album. The stark visuals she paints with her words are extremely vivid and effective.
In the extremely witty and well presented "Werewolf," Apple compares her former lover to dangerous things like the previously mentioned werewolf, a shark and a volcano; although she is sure to share in her portion of the blame for setting her lover off. It opens with the starkly told but beautifully imagined, "I could liken you to a werewolf the way you left me for dead/But I admit that I provided a full moon."
The Idler Wheel... is not the most accessible album out there today but fans of Apple will find it a wonderful edition to her breadth of work. Her songwriting chops are as solid as ever even if the music with its non-standard melodies and heavy emotions still won't have great appeal for a mainstream audience. However, indie music fans already in love with Apple now have reason to renew that love.
Score: 7.5/10 Song(s) to Sample: "Werewolf" and "Anything We Want"
The Smashing PumpkinsOceania
The Billy Corgan fronted prog rock band best known for their work in the 90's release their ninth studio album.
This is the band's second album since reforming in the mid-2000's (minus Chamberlin, Iha, and Wretzky) and since they started the Teagarden by Kaleidyscope project, for which they cobbled together enough songs to turn it into a disappointing album released at the end 2010.
This time around its more music from that project although on this version it's actually compiled and presented in such a way that the disc actually sounds like a cohesive album. In fact, that's not the only thing that returns to form as we get a sampling of music that actually reminds us of what made the band popular in the first place: distorted guitars, a keen indie music sensibility, and Corgan's poetic songwriting.
This 13-track album takes a couple of songs before finding its footing but by the third track, "The Celestials," you begin to feel that Corgan can summon that magic at least one more time. The track itself builds beautifully starting off with the acoustic guitar but flawlessly and brilliantly transitions to full electric guitar and bass as the song builds and Corgan warbles about finding your eternal love.
There are other gems as well on the disc. "My Love Is Winter" is a more pop-y song with a big hook and encompassing electric guitar work. "Violet Rays" is more of a ballad but the standout part of the song is Corgan's vocals emote the same level of tension that made his best songs so memorable. While on "Pale Horse" they use an Elbow-esque opening guitar melody to craft a bittersweet ballad where Croogan's pleading vocals add an extra level of tension that many other artists would be unable to pull off.
Oceania ends up being a really good album from the Pumpkins and their best release since their heyday. The songwriting is beautiful and varied, the vocals aren't any worse for the wear, and the absence of the other founding members isn't felt at all. For a band that had as many seminal albums as the Pumpkins, this album can't top their best but it is a welcome return to them creating songs that are both relevant and entertaining.
Score: 8/10 Song(s) to Sample:"The Celestials", "Violet Rays" and "The Chimera"
The quirky synthpop band from London changes labels from Parlophone to Domino on their fifth studio album.
I won't lie, I've been a huge fan of the band since their second album The Warning came out in 2006 as their unique mix of electronic and classic instruments to create techno-heavy melodies and beats has created some unique and catchy singles over the years.
Since their first album in 2004, the band has impressively managed to cobble together enough new material to release an album each even-numbered year since then. Now let's find out if the music they present on the disc is as consistent as their release schedule.
Although synthesizers and electronica influences still lay the groundwork for Hot Chip's music, they do show a softer side this time around with a couple of ballads that are good tracks ("Look At Where We Are") but are obviously not playing to the band's strengths.
However on their songs where they stick more true to form, like on "Flutes" and "Motion Sickness," the band creates tracks that shows that they can be as catchy and beguiling as ever.
In Our Heads ends up being an above average disc from Hot Chip. It's not as catchy in general as any of their previous three album although they do manage to keep the band's signature funky electronic style intact to great aplomb.
Whereas their previous albums immediately enthralled you and captured your attention, this time around the music is more likely to take you on an easily escapable yet still pleasant aural journey. Although this is not Hot Chip's best work, it is still much better than your average release and it is an album very much worth checking out.
Score: 8.5/10 Song(s) to Sample:"Flutes" [sample it below], "Look At Where We Are" and "Motion Sickness"
MetricSynthetica
The female-fronted, Juno-award winning post-punk revivalist quartet from Canadaalso release their fifth studio album.
Just like the last reviewed band, Metric had been on a pretty consistent schedule releasing an album every odd-numbered year since their debut in 2003 up until this album. Let's find out if the music presented to us was worth the extra one year wait.
The album starts of very well with the downtempo but sweet sounding, despite the heavy guitar feedback, "Artificial Nocturnal." As on previous albums, frontowman Emily Haines' vocals have a detached yet haunting quality to them and her tenor adds a lot of atmosphere to the album similar to how Shirley Manson's vocal stamp is all over Garbage's albums.
That track is followed by the first single off the album, "Youth Without Youth," which is easily the most accessible song from the disc with heavy new wave guitar licks and keyboard touches that pair well with the synthesizer work and punk inspired drumming to create a track that draws you in and never lets you go.
Towards the end of the album, you get Lou Reed providing primarily backup vocals on the track "The Wanderlust" where Haines' vocals take on an almost treacly sweet quality. Not exactly the pairing I have been dreaming about but the track has a fun and innocent feel to it.
Overall, Synthetica is an enjoyable disc although I did enjoy the first half with its rousing beats and more clever song writing a bit more than the second half. For better or worse, the band pretty much stays within itself on this album so there is a consistent sound on this disc when compared to their past works but there's also nothing that transcends this album's music into something greater.
Score: 7/10 Song(s) to Sample: "Youth Without Youth" and "Artificial Noturne"
Grace Potter & The NocturnalsThe Lion The Beast The Beat
Sultry vocalist Grace Potter returns with her band The Nocturnals to release the band's fourth studio album.
By now most people are familiar with the band after their last album cracked the Top 20 on the Billboard Top 200 Albums in 2010, but for those unaware the band makes R&B-influenced pop and blues-flavored rock heavy on moody neo-classic electric guitars and subdued rock drumming or, as one of my best friends from high school would have said, "soul music for white people."
The good news is Potter's vocals are as sexy and measured as ever providing a real punch to the mostly standard sounding lyrics, just like she had on past albums. On the best tracks, especially once you factor in her unique timber, Potter's vocals come across as part Pat Benatar and part Adele.
Unfortunately, the songwriting this time around can't match up with the vocal talent as we are given no standout tracks like their past hits "Paris (Oh La La)" or "Goodbye Kiss." There are quality songs from beginning to end like the sweet but beguiling "Never Go Back" and the more prog-sounding "Keepsake," just not any songs you will set aside for your next mix tape.
The Lion The Beast The Beat is decent album from beginning to end. However, it won't win over any new fans to the band as the songs this time around don't match up to their past hits. Longtime fans should be satiated by this release but let's hope for wider appeal the next time around.
Score: 5.5/10 Song(s) to Sample: "Keepsake" and "Loneliest Soul"
UsherLooking 4 Myself
The multiple Grammy winning media mogul finds time away from managing Justin Bieber's career to record his seventh studio album.
Usher once again teams with songwriter and producer Rico Love on this release which is shockingly low on guest vocalists. Only three of the 14 tracks feature a guest artist, with Rick Ross and Pharrell being the biggest names.
Whereas his last album Raymond Vs. Raymond was his bitter, post-divorce album, this time around Usher is back in the dating game and he's all about scoring the booty with song titles like "Scream," "Climax," and "Euphoria."
For example, on the song featuring Rick Ross, "Lemme See," Usher croons on the chorus, "She says she wanna take her skirt off/ Be my guest!/ I decided to take my shirt off/ And show my chest!/ And we been sipping on that Merlot/ So you know what's next." My educated guess is that Usher is implying that what followed wasn't a quiet night of reading (unless the book was the Kama Sutra).
As far as the music itself, Usher goes for a more pop-heavy sound toning down the club-ready, crunk-driven flourishes that have fueled his most recent releases. The soulful jams are still readily present with make-out songs like "Dive" and "What Happened To U" making an alluring pair near the middle of the album.
Looking 4 Myself shows Usher gradually taking a different direction from club ready hits to more toned down and personal ditties. This is not to say Usher has completely changed as the music still has a groovy R&B feel and the themes are obviously still very adult but it is a more mellow album in general than what came previously.
I'm not sure if Usher has matured, if he's going after a more mature audience, or if he's trying to just take his music in a slightly different direction but it's a more adult sound (in more ways than one) from the man. A quality make-out album overall but I find it less enjoyable on its own than Here I Stand or Confessions.
Score: 7.5/10 Song(s) to Sample: "What Happened To U" [sample it below] and "Numb"
Thehard rocking Swedes come back from their five year hiatus to release their fifth studio album.
Over that five year period the band dropped its former label and formed their own record company and this is the first release on the Disque Hives label. The standard disc has twelve self-produced tracks although you can purchase a deluxe, digital-only version of the album with two additional tracks produced by Queens of the Stone Age frontman Josh Homme.
As you would expect, the album has a fervent energy that begins straight from its short opener, "Come On!", with its thumping drums and soaring guitar licks. Next up is the catchy ELO homage and the most accessible track from the album, "Go Right Ahead." That song, which features a rousing rising guitar riff straight from ELO's "Don't Bring Me Down", is an infectious rock anthem that will be blasted at summer BBQs and beach parties all of this year.
The raucous fun continues from there with the witty "1000 Answers" and the more throwback "Patrolling Days" which has a bluesier influences.
Lex Hives ends up being a fun and energy filled album that grows on you with repeated listens. You may not fall in love with the album on your first listen but you can discern really creative and clever touches to the tracks each time you listen to them. Even non-fans of the band should give this album a fair shot as there is beauty to be found that becomes more readily apparent on repeated listens.
Score: 7.5/10 Song(s) to Sample: "Go Right Ahead" [sample it below], "Without the Money" and "1000 Answers"
Curren$yThe Stoned Immaculate
The New Orleans rapper enlists the help of a slew of big R&B artists for his eighth studio album.
Some of the artists getting "featured" credits on this album is very impressive. Wiz Khalifa is featured on two tracks while the following artists get credit on individual tracks: Pharrell, Estele, and Marsha Ambrosius.
Unfortunately, while those artists do bring a wide diversity to the tracks, the album itself seems to be all over the place not being able to find a common theme either in terms of the story the album is trying to tell nor in terms of having a cohesive musical bridging of melodies. So while there are individual songs that are worthy of your attention, the album is pieced together like a sloppy compilation disc.
The biggest breakout track is the Pharrell featured "Chasin' Papers" which samples the classic Nina Simone hit "Ooh Child" to maximum catchiness effect. Sadly, the tracks with Marsha Ambrosius and Estele don't exhibit the same creativity with those two artists' silky vocals being preceded by uninspired raps and surrounded by boring melodies.
The Stoned Immaculate has a couple of tracks that are worth checking out but the album as a whole is very inconsistent. You'll be better off just buying the tracks below as singles instead of shelling out the dough for the album as a whole.
Score: 6/10 Song(s) to Sample: "Chasin' Papers" [sample it below] and "What It Look Like"
