Album: Red
Artist: Taylor Swift
I’ve been a semi-closeted T. Swift fan ever since her self-titled album first released in 2006. Usually, it’s only teenage girls who share my love for her, but with Red I’ve found that her demographic has suddenly changed. No matter where you go, I promise you that someone will be (rather shamelessly) listening to Tee Swizzle.
Considering the difference in her sound on this album, it’s not so surprising. With Red, Swift is experimenting, having approached different producers and by exploring new genres. “We Are Never Ever Getting Back Together” is possibly the catchiest tune of the summer, with sarcastic voiceovers that somehow sound endearing instead of annoying. “I Knew You Were Trouble” makes use of dubstep, while the title song “Red” includes an auto-tuned chorus. But perhaps the most relevant song is “22,” which begins with a hipster reference and continues along in an “I no longer give a fuck” vein.
And while there are the requisite Swifty ballads (“Begin Again,” “All Too Well”), certain ones are complimented by featured artists like Ed Sheeran in “Everything Has Changed” and Gary Lightbody in “The Last Time.” Swift said that the album title comes from all of her recent feelings, summed up in one passionate colour. But perhaps if you listen more closely, you’ll feel green-tinged envy, blue-hued tragedy, and glowing yellow “Starlight,” too.
Palika Kohli
Achieving success with both Death Cab For Cutie and the Postal Service, it was only a matter of time before Benjamin Gibbard released a solo album. And now seems a more opportune time than ever, following his public break-up with Zooey Deschanel. Those expecting to hear an earnest, heart-wrenching album will be shocked to find Former Lives surprisingly upbeat. Complete with catchy lyrics and poppy tunes, you can’t help but tap your foot as you listen along. Gibbard claims that Former Lives summarizes the past eight years of his life in a single collective experience. Though songs cover a range of topics, the album still remains a cohesive entity. “Bigger Than Love,” a duet with Aimee Mann, captures the hope of reigniting a dwindling romance, while “Teardrop Windows” personifies Seattle skyscrapers, pitting the Smith Tower against its nemesis the Space
Tina Cody
Those who aren’t already fans of Odd Future may be unaware of MellowHype, one of the many sub-groups in the rap collective. Though most have either jumped on the Odd Future bandwagon or sworn off anything associated with the group, albums like Numbers are deserving of a good listen from anybody with a fondness for hip hop.
The biggest improvement on this album from MellowHype’s previous two is Left Brain’s production. It’s been almost five years since his debut as a producer, and his progress with layering and beats has grown by leaps and bounds. Hodgy Beats, the rapper of the duo, is one of the more established rappers in Odd Future, and he makes this even more obvious on Numbers.
For those who never stopped loving MellowHype’s more traditionally dark and eerie tracks, give “Grill” and “Beat” a try. Songs like “Untitled L” and “Monster” remind me of the dynamic chemistry that separates this duo’s sound from their other groups in Odd Future.
The many guest spots keep the album varied, from Frank Ocean dropping in for a subtle but melodic chorus in Astro to verses from Earl Sweatshirt and Mike G on “P2” and “666.”
Brody Weld
The Inner Mansions opens with “Heart of God,” a reflective, ambient piece that immediately sets Teen Daze’s latest record apart from the rest of his discography - it’s more evocative of Julianna Barwick’s ethereal vocal studies than Balearic house or disco. The soft, shimmering pads that mark the Fraser Valley-based producer’s style are still ubiquitous, but The Inner Mansions finds him substituting gauzy guitars for glo-fi funk.
Tracks like “Discipleship” are rhythmic exercises anchored by a four-on-the-floor beat that’s constantly being reinvented. Likewise, “Divided Loyalties” features layers of cymbals and hi-hats caked in hazy effects that mutate around a 4/4 kick drum.
Although “Always Returning” closes the LP on the same meditative note that is opens with, the mood of the album is undone by its disjointedness. “Spirit” dips into post-rock territory, while parts of “By Love” could be mistaken for Yanni. “Union,” the album’s biggest offender, resembles some of No Age’s less confrontational work.
It’s hard to fault Teen Daze for evolving musically, but The Inner Mansions is ultimately let down by its indecision.
Michael Skinnider
Halcyon
Ellie Goulding
In 2010, Ellie Goulding burst onto the indie pop scene with her debut album Lights. Garnering both critical and commercial success, she was heralded as one of Britain’s greatest exports. Attempting to surpass a successful first album can be difficult, but Ellie Goulding has met this challenge with expert skill. Halcyon improves on where Lights left off and further cements Goulding’s distinct style.
Halcyon is carefully produced, utilizing orchestral instruments and a bevy of back-up singers. These new elements add tremendous depth and subtlety to the record’s tracks. In just two years it seems that Goulding has matured both technically and emotionally as an artist. With a perfect jumble of electro and techno beats, Halcyon is bursting with catchy tunes. “Figure 8” will prove to be a massive club hit while “Explosions” will have you reaching for a box of tissues. And with the help of Calvin Harris, “I Need Your Love” is one of the record’s most successful songs.
Although Halcyon is distinctly pop, it will be sure to gain approval in both the mainstream and alternative music worlds - a feat that few records have been able to achieve.
By: Tina Cody
Local Business
Titus Andronicus
The most obvious point of comparison for Local Business is undoubtedly The Monitor, Titus Andronicus’ Civil-War themed 2010 LP that somehow found the punk-rock ethos in the writings of Abraham Lincoln. Local Business sees the New Jersey rockers reining in this ambitiousness somewhat, as they forsake both an overarching concept and bagpipe breakdowns.
An even more fitting counterpart for Local Business, however, might be Japandroids’ Celebration Rock from earlier this summer. This album caused a blogosphere sensation with its blitzkrieg riffage and post-adolescent rebelliousness, making it a lock for upcoming best-of-the-year lists. Hopefully Local Business is also so recognized, however, because it surpasses the thematically and sonically similar Celebration Rock in several regards.
While Japandroids’ only dynamics are faster and louder, Titus Andronicus craft epics like “Still Life with Hot Deuce on Silver Platter,” with three-guitars and even more choruses. Moreover, while Japandroids repeat the same fist-pumping slogans, Titus Andronicus lead vocalist Patrick Stickles channels a similar youthful swagger with rap-battle-level wit and wordplay. Celebration Rock gets the blood pumping, but when the best rock albums of 2012 are chosen don’t forget to support your Local Business.
By: Cooper Long
Daughter of Cloud
Of Montreal
Of Montreal is one of those strange new-wave bands, showcasing an amalgam of musical styles that sometimes doesn’t even make sense. Generally speaking, their albums sound like something David Bowie and Prince might come up with if they dropped acid together in the middle of a carnival. Daughter of Cloud, a compilation of rare recordings from 2009-12, is no exception.
I’m going to be honest, I don’t even know what I think of the band, and this is the third album of theirs I’ve listened to. The elements of funk are well placed, and the dreampop feel of the production is nice, but the frequent mid-song genre changes always throw me off. Highlights include the Sgt Pepper-esque “Tender Fax,” the falsetto-powered “Georgie’s Lamnets,” and the lyrically gorgeous “Psychotic Feeling.”
The rest of the songs all have these tiny, 8-bar gems of super tight production and dynamic melody, but the illusion is shattered when – seemingly without cue – the song recedes into atmospheric background music while frontman Kevin Barnes rants about erections (not joking, listen to the hilariously titled “Jan Doesn’t Like It”). Too bad I can’t rate this album “question mark” out of five.
By: Brody Weld
The Soul Station Vol. 1: The Songs of Sam Cooke - A Tribute
Jarvis Church
Jarvis Church is a soul singer! The former frontman for the Philosopher Kings (as Gerald Eaton) has done some outstanding work as a producer for Nellie Furtado but his passion is behind the mic, not the board. Unlike his 2009 release The Long Way Home where he explores his personal musical roots, here he’s channeling Sam Cooke – right down to the tight suit and look.
The release of this CD is very timely. It’s been almost 50 years since the passing of Sam Cooke (Dec. 11, 1964), but his songs are timeless. In fact, Barack Obama used the lead track on this CD, “A Change is Gonna Come” as his theme song in the 2008 election campaign (Seal had a hit with it then). Perhaps Church will get a sales burst this time.
The music was recorded “live and off the floor,” which means that all the musicians played the songs as though they were performing them live – no overdubs or studio tricks. Church has surrounded himself with some fantastic musicians, notably Michael Kaeshammer (who’s worth the price of admission in concert himself).
All-in-all a cool CD, the first in a series that commemorates the soul greats (Otis Redding next?). It’s mainly covers, but the three new songs fit in well, especially “She Keeps Me Up All Night.” If you want to learn more about Sam Cooke, check out the book “Dream Boogie” by Peter Guralnick. I’ll loan you my copy. Meanwhile, check out The Soul Station.
By: Phil Wood
Green Day - American Idiot
American Idiot is one of the most controversial albums of the last twenty or so years, mostly because of its clearly "political" nature and overblown and bizarre concept. I,however, have no problem with either, and in some cases they make the record more interesting. While Green Day may not be the most well-informed when it comes to politics, I applaud them for attempting something different from the usual derivative pop-punk album.
Some of the songs on here are even pretty good. “Boulevard of Broken Dreams” is one of the best pop-punk songs I've heard in a while, “Give Me Novocaine” is an underrated rocker and “Whatsername” is a solid closer. But unfortunately, there are some annoying tracks; “Holiday” immediately comes to mind as being one of the most irritating songs of the last ten years. Other duds, such as the boring “Are We The Waiting” and the uninteresting “St. Jimmy” add nothing to the album.
The big talking points of American Idiot are the two nine minute songs, “Jesus Of Suburbia” and “Homecoming”. The former is fairly interesting, with its intricate structure and many different parts. “Homecoming” is the stronger of the two, and features Tre Cool singing for one of the few comic relief moments on the album. Regardless of its political wisdom, this is a strong pop-punk album whose pros outweigh its cons and while some may disagree with me, that's fine - all
I ask it that you listen with an open mind.
3 out of 5.
- Alexander Sallas
Megadeth - Peace Sells... But Who's Buying?
Peace Sells... But Who's Buying? was, for a while, my favourite Megadeth album. This has since changed (with Rust In Peace overtaking it in my books), but that doesn't make this CD any less fantastic. It boasts some amazing tracks, from thrash anthem "Peace Sells," to the superb "Good Mourning/Black Friday," to closer "My Last Words." The guitar playing on this album is incredible - every song features at least one wickedly fast guitar solo (most contain two, three or even more), and the rest of the instruments are superb as well. I find that there are three main points of discussion with this album: Mustaine's vocals, the production, and the length.
First, I thoroughly enjoy Mustaine's vocals. He may not have the sleekest voice ever, but his trademark “snarl” fits the music perfectly. He really has established his own style, and it works.
Second: the production. I own the 2006 re-release of this record, so I can't really comment on it since it has been improved. But I will say, however, that the rough production only increases its raw sound.
Finally, the length. Here is where the main problem lies. At only thirty-six minutes, this record flies by. With that said, though, every song on here is quality, and I would take an awesome thirty-six minute album over a terrible 78-minute one any day. However, a song or two more would have been welcome here. The bottom line: should you buy this? Yes. It is a classic thrash album that should be heard by anyone who considers themselves a metalhead (and everyone else for that matter).
4.5 out of 5
- Alexander Sallas
The Freewheelin’ Bob Dylan is his second album, the one that established Dylan as a legitimate artist at the age of 22 and led to his rise as an icon during the 1960s protest movement.
It begins with “Blowin’ in the Wind,” the anthem of every freedom movement that has occurred since it was released. Perhaps that’s because we are the same age as Dylan when he produced this album—that right now, we get it; maybe it’s that we can relate to it when we’re in the middle of a midterm, staring into space, because there we are: looking for the answer that’s blowing in the wind.
Dylan sings of long-distance love in “Girl from the North Country” and then laughs about it in “Down the Highway”. He is disgusted by the politics of war in “Masters of War” but again finds a satirical perspective in “Talkin’ World War III Blues.” His contradictions spell out your latest existential crisis, and then he sends your emotions a shock with the poignant accuracy of his words in “Don’t Think Twice, It’s Alright.”
Dylan’s true artistry lies in his lyrics. His rhythm is punctuated with messages that will resound forever. He reminds you of the power of all things blue – the stormy haze of it in your dreams at night, the depths of it as you stare out at the sea, in the endless expanse of the sky, and finally in a haunting melody that wakes you from a prolonged stupor.
4 out of 5
- Palika Kohli
The Clash – The Clash
It’s sort of funny how the noisiest, grungiest, shoutiest bands are often the ones with the most to say. In 1977, The Clash reinforced this by releasing a self-titled album with more political messages than guitar chords.
Amidst the beautiful noise of the English punk band’s overdriven guitars are statements on everything from the Americanization of Europe (“I’m So Bored With The USA”) to the ailing job market of 1970s England (“Career Opportunities”). The scope of their insight is pretty formidable too.
“Remote Control” is a complaint song about bureaucratic control of local concerts, whereas “White Riot,” with the line “all the power’s in the hands of people rich enough to buy it,” rings true about capitalism on a global scale.
The craziest part of this album is that it was hugely successful, peaking at the 12th spot on the billboard charts and becoming known eventually as one of the greatest punk albums of all time. The Clash’s self-titled album may be over three decades old by now, but it’s still a shining testament to the general rule of politically inspired music: if you are loud enough, you will be heard.
4 out of 5
- Brody Weld
