It's been one heck of a week, hasn't it? After another year of silence, VMAs-related drama blew up social media with news about a supposed Kanye West presidential run in 2020, a Miley-Nicki Minaj feud, and even a surprise Miley Cyrus collaboration with the Flaming Lips. I always find it funny how an awards show that comes once a year, lasts only a few hours, and affects virtually nobody causes so much drama and makes so many people angry.
Either way, it's been a big week for music. New albums from Beach House and Motorhead, debuts from Maddie & Tae and Halsey, and a surprise from Miley Cyrus and the Flaming Lips. Of course, we can't forget about everyone's favorite R&B chart-topping crooner, The Weeknd. As usual, I'm going to review all of these to the best of my ability.
Either way, it's been a big week for music. New albums from Beach House and Motorhead, debuts from Maddie & Tae and Halsey, and a surprise from Miley Cyrus and the Flaming Lips. Of course, we can't forget about everyone's favorite R&B chart-topping crooner, The Weeknd. As usual, I'm going to review all of these to the best of my ability.
Beach House - Depression Cherry
When news of a new Beach House album was announce a few months ago, I was excited. I really loved their 2012 release Bloom, with its dreamy, atmospheric indie pop sound characterized by singer Victoria Legrand's equally dreamy vocals.
While Beach House's keeps their trademark dream pop sound on this new album, the atmosphere that was present on Bloom seems to have all but disappeared. The production is definitely on par with what was on Bloom, but the composition of the songs doesn't offer anything to compliment it, and the lyrics aren't even interesting enough to save it.
I loved Bloom so much simply because of the great combination of interesting lyrics, and dreamy songs with great compositions and production. Most of all, I loved it because it made me feel something. I felt both happy and sad while listening to Bloom. It relaxed me. This new album didn't do that for me like I had hoped.
On the better side of things, "Space Song" and "10:37" are both pretty great tracks, and Victoria Legrand's ethereal vocals are still ever-present. Still, I can't get over how uninteresting the songs are. They seem jumbled and disjointed, like an experimental pop record that could've been great but feel short.
Overall: 5/10
Favorite Tracks: Space Song; 10:37
While Beach House's keeps their trademark dream pop sound on this new album, the atmosphere that was present on Bloom seems to have all but disappeared. The production is definitely on par with what was on Bloom, but the composition of the songs doesn't offer anything to compliment it, and the lyrics aren't even interesting enough to save it.
I loved Bloom so much simply because of the great combination of interesting lyrics, and dreamy songs with great compositions and production. Most of all, I loved it because it made me feel something. I felt both happy and sad while listening to Bloom. It relaxed me. This new album didn't do that for me like I had hoped.
On the better side of things, "Space Song" and "10:37" are both pretty great tracks, and Victoria Legrand's ethereal vocals are still ever-present. Still, I can't get over how uninteresting the songs are. They seem jumbled and disjointed, like an experimental pop record that could've been great but feel short.
Overall: 5/10
Favorite Tracks: Space Song; 10:37
Halsey - Badlands
Halsey is a pop star who seems to have gained overnight fame with a sound that reminds me a lot of Banks meets Lana Del Rey. It was slow, moody, and had trip-hoppy instrumentals.
Before I attended Firefly this year, I decided to check out Halsey's music (because, you know, she was playing the festival), and I really liked her Room 93 EP. Her sound was like the lyricism of Lorde combined with trip-hop instrumentals that, as I said before, reminded me a lot of the instrumentals on Banks' 2014 debut Goddess. The EP felt very natural, and I was anxious to hear a whole album by Halsey.
The album, however, fell way short of what I expected, and somehow I felt like I knew it would. Hearing the song "New Americana", one of the lead singles from the album, I was a little afraid that we'd have a whole album of this. The song, with its chorus ("We are the new Americana / High on legal marijuana / Raised on Biggie and Nirvana / We are the new Americana") felt so forced and unimaginative that I really couldn't help but just laugh at it. It's good to see someone actually appreciate their generation, and given recent progress with marijuana decriminalization across the country, as well as federally-recognized same-sex marriage, I think our generation has a lot to be proud of. However, maybe this isn't really the song that should be our anthem.
I've read about Halsey's backstory of her being bi-racial and bisexual, and for that reason I believe that she has a lot more to offer. If you're like me and were disappointed by this album, I would advise you not to write of Halsey just yet. I believe that, on her next album, we will see considerable growth. That is why I am looking forward to her next album.
Overall: 5/10
Favorite Tracks: Castle; Colors
Before I attended Firefly this year, I decided to check out Halsey's music (because, you know, she was playing the festival), and I really liked her Room 93 EP. Her sound was like the lyricism of Lorde combined with trip-hop instrumentals that, as I said before, reminded me a lot of the instrumentals on Banks' 2014 debut Goddess. The EP felt very natural, and I was anxious to hear a whole album by Halsey.
The album, however, fell way short of what I expected, and somehow I felt like I knew it would. Hearing the song "New Americana", one of the lead singles from the album, I was a little afraid that we'd have a whole album of this. The song, with its chorus ("We are the new Americana / High on legal marijuana / Raised on Biggie and Nirvana / We are the new Americana") felt so forced and unimaginative that I really couldn't help but just laugh at it. It's good to see someone actually appreciate their generation, and given recent progress with marijuana decriminalization across the country, as well as federally-recognized same-sex marriage, I think our generation has a lot to be proud of. However, maybe this isn't really the song that should be our anthem.
I've read about Halsey's backstory of her being bi-racial and bisexual, and for that reason I believe that she has a lot more to offer. If you're like me and were disappointed by this album, I would advise you not to write of Halsey just yet. I believe that, on her next album, we will see considerable growth. That is why I am looking forward to her next album.
Overall: 5/10
Favorite Tracks: Castle; Colors
Maddie & Tae - Start Here
Maddie & Tae is a Nashville-based country duo comprised of Maddie Darlow and Taylor Dye. The ladies became famous last year for their feminist answer to hypermasculine bro-country, "Girl In A Country Song." Since hearing the song, I've been looking forward to a full release from this talented country act.
One of the things that immediately stuck out to me in this album was the soaring harmonies. Even back in high school when I wasn't really into country, I'd always enjoyed hearing women in country harmonizing, especially in the way that Maddie & Tae do. Thankfully, the two also compliment their awesome vocals by delivering on the lyrical front as well as the vocal. Songs like "Smoke" and the aforementioned "Girl In A Country Song" prove this.
There isn't much else I can say about this album, unfortunately. It's an awesome country album. It's nothing new, but it's still awesome. I would highly recommend it to fans of Miranda Lambert and Kacey Musgraves.
I also want to draw attention to one lyrics in "Sierra" that I thought was pretty awesome, just because: "That high horse you're riding can buck you off quick." If that isn't one of the best lyrics in modern country, then I don't know what is.
9/10
Favorite Tracks: Waitin' On A Plane; Girl In A Country Song; Smoke; Fly; Sierra; Your Side of Town; Right Here, Right Now; No Place Like You
One of the things that immediately stuck out to me in this album was the soaring harmonies. Even back in high school when I wasn't really into country, I'd always enjoyed hearing women in country harmonizing, especially in the way that Maddie & Tae do. Thankfully, the two also compliment their awesome vocals by delivering on the lyrical front as well as the vocal. Songs like "Smoke" and the aforementioned "Girl In A Country Song" prove this.
There isn't much else I can say about this album, unfortunately. It's an awesome country album. It's nothing new, but it's still awesome. I would highly recommend it to fans of Miranda Lambert and Kacey Musgraves.
I also want to draw attention to one lyrics in "Sierra" that I thought was pretty awesome, just because: "That high horse you're riding can buck you off quick." If that isn't one of the best lyrics in modern country, then I don't know what is.
9/10
Favorite Tracks: Waitin' On A Plane; Girl In A Country Song; Smoke; Fly; Sierra; Your Side of Town; Right Here, Right Now; No Place Like You
Miley Cyrus and the Flaming Lips - Miley Cyrus & Her Dead Petz
Smiley Miley Inc; 2015
Nope.
Motorhead - Bad Magic
Motorhead is a band that I've been a fan of since high school. I thought their approach to metal was a little unconventional, since Lemmy himself doesn't even consider the band metal; in fact, he considers them to be a rock 'n' roll band, and I certainly see where he comes from with it . His music, influenced by 50s rock artists such as Little Richard and Eddie Cochran, is fast, loud, and mean.
This new album by Motorhead comes with unfortunate news of Lemmy's deteriorating health after years of doing drugs and drinking. I'm quite honestly he made it this far, considering that, medically speaking, he really shouldn't be alive.
Drugs or not, Lemmy's reckless and relentless lifestyle isn't what inspired me. As a bass player, there's no reason not to love Lemmy's style of playing the bass. He doesn't play it like a bass, but more like a guitar, opting to use power chords and play with a pick rather than the traditional style of playing bass fingerstyle and in the background, only keeping the groove. Lemmy is able to keep the groove and also be a big part of the music.
On top of that Motorhead have never really tried to be innovative, despite the fact that many metal bands after them, particularly Metallica, have cited them as a huge influence. This album is the band's 22nd studio album, and it doesn't seem like much has really changed. For Motorhead, it's very much the ol' "If it ain't broke, don't fix it" adage. Playing rock 'n' roll that's fast loud, and mean is what the band does well, so why change it?
I think the beauty of Motorhead's music is that they're able to play the same style over the course of 40 years as a band and not really change much in the formula of how their songs are made, and yet the music doesn't become stagnant. It's because of that that I don't have a whole lot to say about this record or what sets it apart from classics such as Ace Of Spades or Iron Fist. There is, however, a fantastic cover of "Sympathy For the Devil" that closes out the record. The album is one that will please Motorheads of all ages.
Overall: 8/10
Favorite Tracks: Shoot Out All of Your Lights; Sympathy For the Devil; Thunder & Lightning; Electricity; Evil Eye; Till the End; Tell Me Who To Kill
This new album by Motorhead comes with unfortunate news of Lemmy's deteriorating health after years of doing drugs and drinking. I'm quite honestly he made it this far, considering that, medically speaking, he really shouldn't be alive.
Drugs or not, Lemmy's reckless and relentless lifestyle isn't what inspired me. As a bass player, there's no reason not to love Lemmy's style of playing the bass. He doesn't play it like a bass, but more like a guitar, opting to use power chords and play with a pick rather than the traditional style of playing bass fingerstyle and in the background, only keeping the groove. Lemmy is able to keep the groove and also be a big part of the music.
On top of that Motorhead have never really tried to be innovative, despite the fact that many metal bands after them, particularly Metallica, have cited them as a huge influence. This album is the band's 22nd studio album, and it doesn't seem like much has really changed. For Motorhead, it's very much the ol' "If it ain't broke, don't fix it" adage. Playing rock 'n' roll that's fast loud, and mean is what the band does well, so why change it?
I think the beauty of Motorhead's music is that they're able to play the same style over the course of 40 years as a band and not really change much in the formula of how their songs are made, and yet the music doesn't become stagnant. It's because of that that I don't have a whole lot to say about this record or what sets it apart from classics such as Ace Of Spades or Iron Fist. There is, however, a fantastic cover of "Sympathy For the Devil" that closes out the record. The album is one that will please Motorheads of all ages.
Overall: 8/10
Favorite Tracks: Shoot Out All of Your Lights; Sympathy For the Devil; Thunder & Lightning; Electricity; Evil Eye; Till the End; Tell Me Who To Kill
The Weeknd - Beauty Behind the Madness
I wasn't a fan of Kiss Land, really. I thought it was just slow, boring R&B. And yet, I was still looking forward to this newer release from Canadian singer/producer Abel Tesfaye, also known as The Weeknd.
I've always thought of him as an interesting artist, too. His production, while boring and unexciting at times, was distinctive, as well as his voice. His unusual hairstyle also set him apart from the crowd. So for that, The Weeknd has had my attention even after not liking Kiss Land.
When I first heard the song "Earned It" from the Fifty Shades Of Grey soundtrack, I became a little more at ease with how the next album was going to sound. While I still hate the creepy lyrics and slightly uncomfortable video, the production was fantastic. The stomping waltz provided by the strings and percussion really did a better job of setting the mood for a film like Fifty Shades... than the Weeknd's grating falsetto.
Then, Tesfaye dropped "Can't Feel My Face" at a conference for Apple Music in June, and this track immediately got me more excited for his new album. It was a Michael Jackson-esque dance floor filler that sounded a lot like another track from earlier this year that I loved: Jason Derulo's "Want To Want Me". With this new, fun, and danceable track on the airwaves, I felt like Tesfaye might've finally gotten to me.
At the start, what I hear sounds like Tesfaye keeping some of those same sounds from Kiss Land, but making them a little more accessible to mainstream crowds. At the time of my writing this [late] review, The Weeknd currently has eleven singles on the Billboard Hot 100, all from this album. If there's a sign that he's changing up his sound a bit for more mainstream appeal, this is it. Sure, he was already pretty big before, but this time, he's really going for the gold.
While I may not love the sounds on here as much as I do contemporaries like Frank Ocean, I'm still digging this new stylistic change from The Weeknd. He brings in many sounds such as horns and piano, plus the strings on "Earned It". Also worth noting is that his voice isn't quite as grating as it was on Kiss Land. Still, the high points of this album are on the production. Sometimes the sexual lyrics just sound silly when being sung in the way that they are. I guess that's what you get from The Weeknd, huh? There's certainly nothing wrong with expressing one's sexuality through a song, but delivery is important when singing about it, and here it just sounds kinda creepy.
However, regardless of how creepily sexual these lyrics get, nothing on this album compares to the awesome nu-disco dance-floor burner that is "Can't Feel My Face".
Overall, it's just an all-around more enjoyable and engaging release than his last album. I think that's a sign of great things to come for Tesfaye. There's a chance he could become among the biggest pop stars in the world currently, and this album is another stepping stone into superstar status.
Overall: 7/10
Favorite Tracks: Losers; Can't Feel My Face; Acquainted; In the Night
I've always thought of him as an interesting artist, too. His production, while boring and unexciting at times, was distinctive, as well as his voice. His unusual hairstyle also set him apart from the crowd. So for that, The Weeknd has had my attention even after not liking Kiss Land.
When I first heard the song "Earned It" from the Fifty Shades Of Grey soundtrack, I became a little more at ease with how the next album was going to sound. While I still hate the creepy lyrics and slightly uncomfortable video, the production was fantastic. The stomping waltz provided by the strings and percussion really did a better job of setting the mood for a film like Fifty Shades... than the Weeknd's grating falsetto.
Then, Tesfaye dropped "Can't Feel My Face" at a conference for Apple Music in June, and this track immediately got me more excited for his new album. It was a Michael Jackson-esque dance floor filler that sounded a lot like another track from earlier this year that I loved: Jason Derulo's "Want To Want Me". With this new, fun, and danceable track on the airwaves, I felt like Tesfaye might've finally gotten to me.
At the start, what I hear sounds like Tesfaye keeping some of those same sounds from Kiss Land, but making them a little more accessible to mainstream crowds. At the time of my writing this [late] review, The Weeknd currently has eleven singles on the Billboard Hot 100, all from this album. If there's a sign that he's changing up his sound a bit for more mainstream appeal, this is it. Sure, he was already pretty big before, but this time, he's really going for the gold.
While I may not love the sounds on here as much as I do contemporaries like Frank Ocean, I'm still digging this new stylistic change from The Weeknd. He brings in many sounds such as horns and piano, plus the strings on "Earned It". Also worth noting is that his voice isn't quite as grating as it was on Kiss Land. Still, the high points of this album are on the production. Sometimes the sexual lyrics just sound silly when being sung in the way that they are. I guess that's what you get from The Weeknd, huh? There's certainly nothing wrong with expressing one's sexuality through a song, but delivery is important when singing about it, and here it just sounds kinda creepy.
However, regardless of how creepily sexual these lyrics get, nothing on this album compares to the awesome nu-disco dance-floor burner that is "Can't Feel My Face".
Overall, it's just an all-around more enjoyable and engaging release than his last album. I think that's a sign of great things to come for Tesfaye. There's a chance he could become among the biggest pop stars in the world currently, and this album is another stepping stone into superstar status.
Overall: 7/10
Favorite Tracks: Losers; Can't Feel My Face; Acquainted; In the Night