Another artist I've never listened to before have released a new album recently. From the very first track, you can tell that there's a lot of room for improvement. Perhaps influenced too much from other artists, Royal Blood have relied too much on mimicking. They are clearly skilled musicians, but the tune, beat and riffs are unoriginal and lack depth. Light Out follows the same pattern by introducing us to a slower rhythm, but some annoying backing vocals and an uninspired chorus that gets more and more jarring. There's some decent drumming, but the familiarity is overwhelming and undermines their entire aim.
I Only Lie When I Love You demonstrates more individuality. It coulda actually be a very good track to dance to, concentrating more on making a decent song rather than pandering to the masses. The guitar playing may be a bit cranky, but it has enough variety to be intriguing. The only problem I find is that the singing is very monotone. She's Creeping falls in that same trap, meaning that I'm already put off by the unattractive vocals - it's lazy and lacklustre to say the least. Look Like You Know is an attempt to shake things up, and it does show a different angle to the music. The drumming is a strength, and the vocals at least find some new notes to hit. This gives me a chance to listen to the lyrics, which may still seem amateurish, they actually have a lot of meaning. The middle of the song takes a lot from Muse, but it improves the song no end - especially the bass guitar, that really goes well with the drums. Where Are You Now? and Don't Tell go back to the boring basics, which is disappointing, seeing as I was starting to see some light in the shoddy darkness. Don't Tell may have a heavy bass-line, it struggles to do anything with it, replaying the same over and over again. Apart from the repeated opening sequence, this song is generally ridiculous - the music is ruined once again by the vocals, because the guitar riffs have a lot going for them. If you like, heavy blues-rock, this will probably the most appealing track, but don't expect anything incredibly groundbreaking, because we've definitely heard it all before. On the other hand, Hole in Your Heart shows that there's still life in this album. It's probably the best track on the album, simply because it takes a risk and does something a little different, offering up a nice electronic piano ballad - and the vocals don't get in the way of the music; they're subtle and actually quite melodic. Sleep is a little too noisy, so it seems like a reckless song to end on - it doesn't spend enough time on individual instruments, and once again concentrates too much on the lyrics. It's clear from this album that the band themselves are talented, but in my opinion, they haven't found anything standout or self-defining. They sound too similar to other artists, especially The White Stripes. It's also sometimes let down by the crass vocals that don't balance or compliment well with the music itself. They should perhaps concentrate more on creating their own melody rather then speaking their mind. 4/10
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The highly anticipated Fleet Foxes album is here! Crack-Up promises to be a continuation of the band's experimental folk rock, plus an extra flare of wisdom as they head into eleven years of being together. As the band stated themselves, this is the proudest they've been for an album. Well, honestly, as the first three singles from the album came out, that promise and statement was coming true.
The album itself is an experiment in self-rediscovery. The amount of original work is astonishing, and I don't just mean songs that haven't been done before, I mean tempos, combinations, harmonies that have never been done before. This is a reimagining of this very dear genre - one in which Fleet Foxes have built their own sanctuary. The first track is a fine example of this new, quality product, a mixture of general folk rock, but given an extra kick as it bounce between falsetto singing and the addition of some classical violins. It is a ballad of epic proportions, with little to no wrong-footing. Cassius is far more mellow, but it still has that sweeping sound lead by Pecknold's wonderful voice. It never seems to stop changing tempo as the song progresses - the only thing missing is a strong guitar piece; it relies too much on the harmony. Naiads, Cassadies is stunning though, quickly reminding us of how adept the band is when setting the mood for a song. As usual, there are also some fine lyrics, telling us a great story as we fall for its melancholic music. When the piano appears in the middle of the song though, the song gets even better - highlighting the soft rhythm. Missing the guitar? Well, Kept Woman demonstrates the skill of its musicians, leading a beautiful harmony. I know I keep mentioning the harmony, but it's the band's defining trait - the key to their immense success. Not much needs to be said about Third of May / Odaigahara, the first single that was released - it's an adventurous, full of wit and charm, and is akin to the band's earliest work, stuff like Mykonos and Ragged Wood. The almost nine-minute long song ends with a deep and undulating guitar, string and piano piece that could have so many meanings. If You Need To, Keep Time On Me is possibly the most saddening track on the album - an emotionally powerful ballad, that whilst seems to repeat itself over and over, always finds a new moment or chord to ensure that it keeps new and original. The message in the lyrics is also very powerful - about ensuring lovers spend as much time together as possible. Mearcstapa offers a darker tune for those of you who prefer the deeper and more involved songs - it has a brilliant underlining drum beat alongside its guitar piece. On Another Ocean (January/ June) gives more time to its piano, providing a more haunting ballad - and it continues to change the tempo just like many of the band's other songs. The only problem with this is that the songs are in danger of being forgettable. The best song of the album was the second single released - Fool's Errand. The beat is complicated enough to get the listener to concentrate. The singing is possibly the best I've ever heard from the band. The chorus is beautifully pure, the drumming giving it that sense of boundless sound, like someone riding a horse across a mountain range. Even the end of the song has it's own unique take, with the band deciding to simply 'oooh' in harmony accompanied by a quiet piano - unprecedented. I Should See Memphis is the band at their most skilled, it's almost progressive rock in its creation - I love the strings in the background. Another great track amongst many other great tracks. This album couldn't get any better. And yet, Crack-Up, the title track, reminds us that Fleet Foxes are a band who won't decease quality that easily. Another haunting track from them to complete this magnificent album, with good use of trumpets to emulate the emotion in the singing. There's a moment in the song where the song almost pauses to allow the trumpets to just breathe and the vocals to reverberate through the speakers. It reminds me a bit of some Gregorian monk singing - and it may have been the effect they wanted in doing so. Unfortunately, I'm not going to be able to say it's better than their debut, because I have a massive soft spot for that undeniably talented album, but Crack-Up shows that Fleet Foxes have widened their abilities and sharpened their lyrics to create skilled and prosperous music, still with their original sound and melodies in mind. They haven't really changed their method, only their aim. 8.5/10 Before we begin, I'd would like to start by saying I'm a big fan of the modern classical style of music - especially the produce that Two Steps From Hell has conceived over the last decade. There's something about the epic scale of the orchestra, the swaying sounds of the vocals and the ambition in the tunes themselves that sets them apart from the rest of the crop. Also, contributions from both Thomas Bergersen and Nick Phoenix allow for a variety of sounds and styles. My general preference is to Bergersen, but I will sometimes find myself listening happily to a Phoenix track.
This is a substantial collection of music, of the likes you will struggle to find again. But I suppose, as an anthology, the music is stuff that has already been produced and rereleased in a different format or different method. For instance, the first three tracks are variations of one song, Aesir. In any form is still sounds brilliant, slow and methodical to being with, but as with many of TSFH's music, finishes at an unprecedented crescendo. I prefer the ethnic version though, mainly due to the strong vocals. The orchestral and instrumental are not to be sniffed at though. As I mentioned before, there are a lot of old songs treated to an instrumental touch, and they all sound as good as new. My recommendations include Archangel, To Glory, United We Stand, Divided We Fall & Strength of a Thousand Men. Despite the lack of choral involvement, the music seems almost purer, allowing the instruments to show their true flavour. I can't tell you how much I enjoy listening to 'To Glory', the effect of the drumming is astounding - the best description is an army of horses galloping across a sprawling landscape of mountains. Closing your eyes and letting your imagination take over is possible the best advice I could give you for feeding off this music. There's a decent amount of new content on here as well. Interesting ones include Area 51, which contains far more heavy metal and progressive rock influences. The strength of the guitar is shocking to say the least, but it's unfortunate for me to say that is sounds very out of place in an album like this. While some songs like Tower of Mischief and Destiny Will Wait fall into a musical stupor, Crack in Time and Exodus keep things fresh. Exodus has an excellent beat that seems to give the choir more power when they kick in. Towards the end of the album, we are introduced to more eclectic musical choices, such as Lotus Mother that is most-definitely progressive in sound. To end with The Devil Plays a Smoking Trumpet was a bad decision, mainly because it isn't final enough for the denouement of an album this wide-ranging. Perhaps to end on an instrumental version of an old favourite would have been a better choice, considering the fact the have a meaningful representation of the amazing work that this artist has created over the years. Perhaps relying too much on the old to usher in the new, but there are some hidden gems in this album. Finding your own preference may be difficult due to the variety of styles and arrangements that are squashed together. Nevertheless, this is a satisfying example of how far Two Steps From Hell have come. They are clearly constantly regenerating their sound and genre, this time attempting to integrate progressive rock into their classical pieces. Being a massive prog rock fan myself, this is not shunted aside, but sometimes to doesn't work as well as they might hope. But as a prolonging celebration of the immense work in music, this is a great gift for any fan. 7.5/10 Erasure have had some cracking singles in the past, but does this new album have anything remotely comparable its past successes. Let's find out...
I have little to say about the lyrics for the first song, Love You to the Sky (just as much as Andy Bell has to say), but it has a decent beat and there are some generally unobtrusive synths that take part in the tune. It's just a shame that it is so formulaic. It's more annoying than listenable, and that's the best I can say about it. The second track takes it a bit slower with a more anthem-like tempo. The singing is much better, and the lyrics have more serious meaning. As I listen, in fact it's quite an amiable track that could grow on me, mixing some ambient pop and psychedelic vocals - it's almost dreamy. The title track definitely has more substance, giving me hope for the rest of the album. Unfortunately, it's let down by an unchanging rhythm - even though Bell tries his best to hold everything together with his sobering voice. It can't quite escape its circular beat, and never tries to shake up the format. A Bitter Parting delves into something a little different, relying more on a heavy drum beat to carry the song and a more African-style tempo. It has great potential, but once more it can't quite regenerate its sound to give the listener more variety. After a mixture of quality in the first four tracks, Still It's No Over promises something original. It builds well to a heart-warming crescendo and is complimented by some interesting electronic sounds - the lyrics are also commendable. Andy Bell doesn't let down the vocals either - it's the best song so far on the album. Track number six returns to a slow beat, but it fails to start the second half of the album well - more confused and over-complex. Sweet Summer Loving has all the hallmarks of a catchy dance pop track, controlled by some strong, high-pitched synths. Far more innovative than the rest of the album, but the lyrics disappoint again - too cheesy and obvious. Towards the end of the album, Oh What A World gathers a darker feeling, propelled by some hard chanting and a choral background. Inventive, yes, but perhaps the most appealing track in Erasure's bank - may be held back by being too robotic and unexciting. Lousy Sum of Nothing has a more uplifting message, but as the penultimate track, it doesn't have the impact or power to attract more listeners. I won't criticise the great synths that come and go in the background. Finally, Just a Little Love has a far more nostalgic element, even from reading the title. It's just a shame that it sounds too much like something from the 80s - it's not new and revolutionary enough. A disappointing ending to a relatively sub-par album from Erasure. 4.5/10 I've decided to broaden my horizons with music. This album seems a bit far-fetched for my tastes, but there's something mesmerising about electronic pop when it's played well. This French group appear to have all the right ideas and enough imagination to conceive an attractive piece of music. The question is, wether the entire album has enough of an impact to keep me invested in their work.
The first track, Abysse, promises some eccentric rhythms and tunes. It's a nice introduction the album, offering up some soft synths with an almost medieval-styled tone. The constant rising and falling of the notes allows the listener to be lulled into a dream-state, and that's exactly what you want from this type of music. Aqualand turns on dance-mode. Far more in your face and with serious attitude, it's equally appealing. The shuffling of different electronic instruments might usually be a challenge, but they make it sound easy with this one. Even by its third track, the artist hasn't stopped adapting its genre, this time adding a quiet guitar riff to the mix, giving it that more realistic flavour, instead of relying too much on the electronic sounds. Unfortunately, towards the centre of the track, instead of continuing to develop the tune, they have opted to fall back on the lazy electronic manipulator that turns it too much into a formulaic dance floor song. In the end, it doesn't really get out of the repetitive cycle, which is a real shame. Coeur cruise is another eccentric listen, that provides a nice, catchy melody. Zoom Zoom is less appealing though and quickly stumbles into a messy furore of electronic madness that is really hard to get out of your head. For those who enjoy this type of bass-invasion will probably enjoy it, but with an unchanging tune, its hard not to be put off. Following on from this, Nana is definitely the most annoying of the album, offering some chaotic synths that have caused me to lost concentration, much less dream. Now, Kirghiz is a good track, with some heavy beats that are simple to dance to, but the song is quickly ruined by some high pitch synths that never shut up - they sound like an endless car alarm - how hard is it to keep to simplicity? Dorothy doesn't offer up anything original either and follows the same pattern as the others, sticking to the maddening electronic spirals. Plage Isolee, which is actually a track that has already been released by the artist, is genuinely great for dancing - it has an almost African rhythm, reminding me a bit of Paul Simon's Graceland. Despite the progressively complicated arrangements the artist has concocted for Mexicali, it doesn't quite escape the fact that it's still taking notes from previous tracks, making me feel like I'm listening to the same tracks again. But, in their final two tracks, Polo & Pan have struck gold, with some genuinely emotional synths that actually give you something to look forward to as you go through the album. Pays imaginaire especially has a psychedelic feel, owing to the angelic voices provided by the vocals. The slow beat might take away the dance, but it will hopefully have a different effect on your emotions. Rather more melancholy than exciting. A completely different side to the music spectrum that touches on aspects of dance, house, shoegaze and electronic pop, the album promises a lot of great music, but it often fails due to lack of originality or lazy musical arrangements. If you really like electronic pop though, this is definitely an album for you, and the first track and last two tracks do stand out as decent compositions that are letdown by the fact that they're sitting amongst less inventive content. 6.5/10 Just to set records straight, I've never been a fan of One Direction's work - I thought their music was uninspired and devoid of character or individuality. Catchy, yes, but that's never a gateway to mainstay music or poignancy. Nevertheless, I have high hopes that Harry Styles' debut album as a lone songwriter could be promising. First impressions are always related to the cover, and it has already made me question my decision.
However, listening to the first two tracks, there's definite potential here. Sombre and dragging in parts, like someone pulling a sack along the floor, it's already clear there's a certain audience target for this album. I must admit though, that Sign of the Times is a good single, even if the guitar-play doesn't change, not even to change a chord. Styles does have a good voice though, and his capability in the higher octave does amaze me - he has clearly trained well. The second two tracks get a little more upbeat, and there's a genre transformation, becoming very old-fashioned in my opinion. More Beatles than anything I've ever heard in any new music. Two Ghosts is amiable with a nice guitar riff, paralleled by Styles' high voice. It's probably good to daydream to, but nothing further. I don't doubt that his music is nice on the ears, it just doesn't attempt to challenge me or engross me emotionally - even if the weepy guitar is begging to be loved. The second big single, Sweet Creature, is another example of good guitar work, that has me thinking about Fleet Foxes, but as the song is only filled with Style's voice and a guitar, there's not much happening at all - a pity, considering how good this might have been with some subtle percussion. It's clear that Harry Styles has gone back to the old classics to find inspiration, but it does nothing to shake up the current music field, most of the work in the second half of his debut album is filled with rehashes of old stuff - Kiwi in particular is actually a bit embarrassing especially as Styles doesn't change from singing one note constantly. Finally, Ever Since New Work demonstrates good use of percussion, that provides a sincere rhythm to the song, and it's complemented well by the already strong guitar and voice. Probably the best track on the album, but it still doesn't resonate with me as an instant classic, or anything that will stick with me for a while. The bass on Woman does have some great rock vibes, but it doesn't go beyond the reference, as the song is completely ruined by this incessant noise that keeps repeating throughout the song. Going back to sombre doesn't exactly help the denouement of the album, but it does define the album well. This is a bold attempt at nostalgic discovery of music that is invincible to modern touch, unless it's done by the same musicians who did it back then. 5.5/10 You can immediately tell from the cover that Wilsen are an incredibly creative artist. I'd never heard of them before until this album popped up a couple of weeks back. It turns out, it's a good find. Keeping away from the mainstream, populist music, this band have opted for a more experimental album that is filled with heartfelt emotion and commendable musicianship. This is a fine little album, with all the makings of a classic.
The opening track, Centipede, is sombre enough, but thanks to the background drumming, it holds out as a neat track with some wonderfully underplayed singing from Tamsin Wilson. The album quickly shuffles onto its hit single, Garden, which is far more upbeat, and balances a dance opportunity with a more anthem-like rhythm. A great track, but believe it or not, it's not my favourite on the album. I'm already loving the changing of tempo that each tracks exhibits - it gives the music an originality. It does emulate Daughter a lot though. A harmony in the third track progresses the album into more formulaic territory, but it's lovely to listen to, and undeniably catchy. However, the voiceover in the background can interfere with the flow of the track. Heavy Steps, the fourth track, does attempt to move away towards a different genre, but does not hold out by itself. Otto, on the other hand, is a great attempt at dark, ambient blues - currently it doesn't grab my attention that much, but it could grow on me in the future. After Light Between the Leaves, which is a quaint interlude of a mournful guitar, we get a rehash of the band's first hit single, which is not bad, but I don't think it warrants its praise entirely. True theirs an instrumental bridge towards the centre of the song that ties the instruments together deftly, controlled well by Wilson's incredible voice. Getting closer to the end of the album, it finds a more upbeat tempo in A Parting, that uses its percussion well; providing some awe-inspiring moments. It's let down though, by the fact that the guitar can't escape the tone of the album - this reminiscent plucking that seems to exist in every song so far. You'll be glad you reached the end though, because there's three fine tracks to end this above average album. Emperor especially is a favourite of mine, combing sorrowful lyrics with a tuneful melody. It has a great beat as well, allowing Wilson to create a gradually ebbing effect with her voice, almost as if she's bringing you on a journey through her book of days. Don't miss this one. Final and Told You are also recommended along with Centipede and Garden, offering more percussion-heavy songs that work incredibly well in what is an otherwise ambient-dominated genre. In a world filled with a lot of modern pop, this a refreshing change from the norm. With a variety of experimental offerings to choose from, you'll probably find at least one track you like. It's greatest success is how Wilson can match her beautiful voice perfectly with the instruments used, allowing her singing skills to take you into a dream state - an intention they probably had in making and titling this album. So, job done, and done well. 7.5/10 As a big fan of progressive rock, it's always a thrill to see artists of the meticulous genre bring out their latest work. Procol Harum are best known for their awesomely experimental track, A Whiter Shade of Pale. Whilst their later work has never been as iconic as their first, the new album is very promising indeed. With the first track, already there's a blues rock feel that is both old-fashioned in tone, but modern in perspective. The mix of instrument seems very inclusive and cooperative.
The second track, however, takes a completely different direction though (but not in a bad way). Last Chance Motel is more soft rock than usual, and gives lead singer Gary Brooker a chance to show off his breadth and skill. He's a natural rock singer, even in his later days - his voice is just as crisp and natural as it has always been. Alongside a catchy and rhythmic flow to the music, the second is genuinely lovely, with piano and guitar sharing the spotlight in the middle of the song. Use of synthesisers in the fourth track brings a modern take into the latest album, but it doesn't quite fit. This is mainly due to the fact that it sounds too similar to the last two tracks that have already played. This may be derivative of a lack of new ideas, but it doesn't help to inspire me to keep listening, after two fairly good tracks to start. Unfortunately, apart from a uneven tone in "Neighbour", the album can't get out of the repetitive wheel of blues rock. They are clearly enjoying making these tracks, but the variability is minimal. Even with Businessman, which has a great rhythm and a bridge that connects well to the chorus, it still remains familiar. It's sad considering how much talent there clearly is in this band, and how many wonderful compositions have come before this. Regardless, the guitar solo in Businessman is brilliant. Moving on to Can't Say That, however, now we have something different. You can already tell from the length of the track that there will be prog elements embedded within, but it's all prog rock. It's a neat track, with some inspire bass-playing, and cohesive musical interplay. There's even a hint of jazz in the self-indulgent mucking about towards the end of the track. It even ends perfectly, with a silent, yet beautiful guitar chord. The final two songs are more mournful than the rest of the album, and don't necessarily suit Brooker. As a pianist, however, it's ideal. But to end on this melancholy tone was an odd choice, and I don't think it will grab many listens. To be honest, I would've finished with Can't Say That as it has such a great ending. Comparatively speaking, the general idea of their new album is low-key, blues and soft rock, with a heavy concentration on retrospective, emotional tunes. It isn't always successful, but the musical capabilities of the band never falters in their attempt. But, above all else I recommend their new prog rock song, Can't Say That, it's undoubtedly a new gem from the famous Procol Harum! 6/10 I haven't really followed Texas since their superb album, I Don't Want a Lover. Their mix of acoustic, contemporary rock has always been quite nostalgic for me, and remain to be some of my childhood tunes. That being said, there's some work into their latest album. Formulaic, yes, but a little different from their usual genre. Dance pop has certainly taken centerstage from the onset.
Let's Work is Out is pleasant, but it is ultimately unfulfilling as the opening track. Can't Control is equally unsatisfactory, but at least there's a new angle of music being experimented here. The electronic manipulations are interesting, but they don't have the same impact as Texas' old tracks would manage. Tell That Girl is a little more familiar, with a more rocky feel, but it does take elements from many other songs that have come before, and despite some excellent drum work, the song once again falls flat at the feet of originality. Something to take from the second half of tracks is that the band have done some more genre-exploring. Blues rock track, Sending a Message, is a little darker and more sombre, and the guitar work does a decent job of creating haunting riffs as background to Spiteri's dreary vocals. Once again, I'm left unmoved by a rather unadventurous tone. The first slight saving grace is the more melodic Won't Let You Down, which has some supportive riffs that gives it the edge it needs to take a more immersive role. The chorus is also really approachable with some lovely, precise chords simultaneously hit by the guitarists and singers. Midnight and Round the World bring up the rear. Midnight is uninspired, but it's fun and catchy. However, Round the World is what this album really needed to conclude. It has the scope and understanding to be more anthem-like for the band. Some synths placed in the background are interweaved well into the bass. There's something rather psychedelic about it, very different from Texas' usual style of general and simplistic rock. It's a breath of fresh air in an otherwise unremarkable album. Seriously, I'm not a big fan of their latest edition of music, but credit to the band - they've tried exploring some new areas of music that they've never discovered before. Some of it works, perhaps not cohesively, but the dance tracks are at least catchy. Spiteri is always a great contributor, but the whole band each have their own standout moments. Track 10 is definitely my personal favourite, but each song probably has a section that I can appreciate, but their overall product doesn't complement that. Admirable new album, but unemotional. 5.5/10 I haven't listened to Deep Purple in a while, and listening their 20th studio album is quite an achievement for such an old-fashioned band. Their old rock style, especially from albums such as Deep Purple in Rock, is completely outdated - but at the same time their work is so incredibly iconic, that they make no difference. Nevertheless, this new album feels like a mix of old and new.
Blues rock tracks such as Hip Boots and One Night in Vegas are definitely old school, but they somehow fit in this relatively darker-toned album. I refer to darker tones due to the hard-hitting opening track. A mix of Black Sabbath and new rising stars of Sweden, Ghost B.C., A Time For Bedlam has got to be one of the darkest tracks they ever created, about the autonomy of humanity and its many flaws. Don't get me wrong, the opening and ending sequences are effective, but when you delve into the later songs of the album, it seems out of place. And unfortunately, the other tracks pale in comparison. This is not the blame of the musicians themselves. Ian Paice is a master drummer, with both pace and versatility to keep a track interesting and noteworthy. Morse and Airey complement each other very well with the guitar providing a wave for which the songs to ride on, and the keyboard giving it that extra kick. At some points I felt an amalgamation of Asia and Boston, especially in those guitar riffs in Johnny's Band. Ian Gillan's distinctive voice still rings through though, and he carries each song well, even if they aren't all outgoing. Some of the songs, such as Get Me Outta Here and On Top of the World feel half-hearted and understated. There's a lot of effort gone into each song, but the listener isn't rewarded with original or contemporary tunes. Apart from the more flamboyant lyrics, there's nothing memorable about some of these tracks. If there's any consolation (and it's a good consolation), Time For Bedlam and the Surprising are two really great additions to this uneven album. The former is perfectly proportioned with an intriguing opening and ominous ending, and a fluorescent and exciting middle. Even better, the Surprising is one continuous adventure of experimenting with different tempos. Ian Paice certainly depicts his masterful skill in that one, and his stamina is commendable. If it weren't for these two tracks, I wouldn't recommend inFinite unless you were a devout follower of Deep Purple. But, in all honesty, these two tracks make it absolutely worth it. 6.5/10 |
AuthorA very passionate Welsh nerd... Archives
October 2017
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