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"
The female-fronted, Juno-award winning post-punk revivalist quartet from Canada also 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"
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"
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"
