November 13, 2011

Posts Comments

You are here: Home / Archives for Review

Album Review: Bon Iver, “Bon Iver”

July 10, 2011 By Leave a Comment

USD Radio’s Colleen Dunn reviews indie juggernaut, Bon Iver’s  lauded new self titled album.  The LP offers all of the trademark Justin Vernon components that have made Bon Iver an international indie favorite.

By: Colleen Dunn 

Bon Iver’s sophomore album was almost destined to disappoint. The first album, For Emma, Forever Ago, managed to become insanely popular while still maintaining its indie street cred. Songs like Skinny Love and Blood Bank crept onto the soundtracks of popular shows but succeeded in avoiding the downfall experienced by Foster the People’s summer hit Pumped Up Kicks: constant radio overplay. With their second album Bon Iver must not only meet the high expectations of their fans but also introduce something new to a repertoire that for many, has become as familiar as a lullaby. It is hard in some ways, to hear Vernon’s familiar voice crooning such unfamiliar words with that twinge of heartbreak that we had ceased to notice. The eponymous second album feels like the sound that escapes when a heart breaks. It hurts a little bit, and the hopeful quality that balanced the sorrow of the first album seems absent. This is best seen in the track Holocene, which builds you up with soft guitar picking and then slays you with the line “and at once I knew I was not magnificent.”

The album takes a slightly different direction musically by bringing in new people including a bass saxophonist and pedal-steel guitarist. Beth/Rest begins with an almost 80’s sound musically and Lisbon, OH is entirely music devoid of vocals. Both Minnesota, WI and Hinnom, TX play around with vocals of lower octaves and synthesizers. Despite these new developments, the album contains everything you’d expect from Bon Iver: soft leisurely vocals, gentle guitar strumming coupled with fingers sliding over the strings, and transitions that sometimes allow for a moment of silence. Most of all Bon Iver maintains the haunting quality of lyrics that somehow say exactly how you feel, even though you’re not completely sure what they mean. Towers is a particular strong point on the album with a slight country influence, along with the lullabylike Michicant and the flighty piano riddled Wash.

Justin Vernon, a.k.a. Bon Iver

For all it’s strong points, it is interesting that Bon Iver chose to release this album in the middle of summer. It’s textured melodies and painfully beautiful vocals feel at odds with lazy days of sunshine and margaritas by the pool. This is not an album to load on your ipod as you head to the beach, or air out with a breeze as you drive around with the windows down. Bon Iver is the soundtrack for a breakup, not a summer fling. Although it is sure to receive more than a few plays before then, this album will not hit it’s stride until months from now when it’s listeners are cozy inside with closed windows and warm sweaters.
—
Listen to “Calgary”, here.

Bon Iver - Bon Iver

Filed Under: Album Reviews, USD Radio Tagged With: , ,

Album Review: Tyler the Creator, “Goblin”

May 10, 2011 By 1 Comment

Tyler the Creator's "Goblin" is a breath of fresh air within rap

By Alex Floro

The much anticipated, hyped-out beast that is Tyler the Creator’s “Goblin” slaps you in the face with musings of suicide, thoughts of rape and therapy sessions with an ominous psychiatrist Dr. TC (who could very well be a cousin of Dr. Trevis from Redman joints).  But aside from the obvious conclusions that people may reach, Goblin is Tyler’s cry to the confused, the doubting and even the band-wagoning to sit down and “listen deeper to the music before you put it in a box.”

Tyler has the creative ability and potential to produce records and lyrics at the level of the most seasoned veteran. In an album almost entirely produced by himself, Tyler uses wordplay like it was second nature, followed by raw beats you know haven’t been touched by the grimy hands of any record company executive. At it’s best, the album tests the lines of right and wrong and showcase his inner demons with a sincerity most 20-year-old guys wouldn’t dare to touch upon. Most people don’t understand that, underneath the baby eating and decapitated heads, is an artistic expression that wrestles with frustrations with his absent father,  his past, and thoughts about the coming future.

On “She,” Tyler is accompanied by Odd Future member Frank Ocean, and I have to say that it was nice to see Tyler’s softer side. Tyler’s ode to a lost love proves that he is more than just another violent skate punk that some critics like to label him as. It is his version of a love letter that ultimately ends with a screaming dame and transitions to the head knocking “Transylvania.”

The standout for me, though, is “Golden.” The song encompasses almost all the themes of the album including missing his best friend, new found fame and, ultimately, his sanity. It is 5 minutes and 44 seconds of true, vintage Tyler spilling over chilling vocals and a heart pounding beat. “Golden” is one of those songs that you have to play more than once to catch everything contained in the track. In a move that almost mocks his loyal followers, Tyler addresses the issue of Earl, stating, “N***as saying ‘Free Earl’ without even knowin’ him/ See, they’re missing the new album, I’m missing my only friend.”  In the outro, the creepy Dr. TC, with a voice lower than the baritone of Tyler’s, finally subdues Tyler and delivers: “Your friends, they’re just figments of your imagination/Dr. TC, see Tyler, I’m your conscience/I’m Tron Cat, I’m Ace, I’m Wolf Haley, I’m…/Me.” In my opinion, if the album had ended with this, it would have made a greater impact (not that the album doesn’t already deliver a mind f***). So if you’re planning to listen to this song alone, late at night, I advise against it. Just like Tyler, your inner demons may just wrestle you into a straight jacket and throw away the key.

The Internet has been hot on Odd Future’s tail for the better part of two years, with a whirlwind of press surrounding both the group as a whole and the leader of the pack, Tyler the Creator. In a rap climate that has been ridden with overly styled and shallow lyrics, “Goblin” feels like a tornado sweeping through. I had high hopes for the record, anticipating the much expected shock value of his rhymes, as well as bass centered beats any horror movie soundtrack would embrace. What I got were both of those things, but do I think its “greatest of all time” material? Far from it.  What it is though is a breath of fresh air, a new perspective, and a sign of even better things to come from the Creator.

Goblin - Tyler, The Creator

Filed Under: Album Reviews, USD Radio Tagged With: , , , ,

Album Review: Atmosphere, “The Family Sign”

April 30, 2011 By 2 Comments

 

The Family Sign: Atmosphere's dark new album

 

By  Tom Roth

It is impossible to do a casual review of Atmosphere. In fact, approaching Atmosphere casually in any regard is almost as inappropriate as describing Inception as a movie about dreams. With a canon of albums reaching back to 1997, Atmosphere established themselves as one of the most important underground rap unions a long time ago – a legacy which continues with their latest studio album, The Family Sign.

A casual approach is also something Atmosphere doesn’t do well, particularly on The Family Sign. This is their Guernica; the album features dark tales of abuse and disparagement with no respite to be found. The head-banging beat heard in “Shotgun” from their latest EP release, To All My Friends: Blood Makes the Blade Holy is absent, replaced with the likes of “Bad Bad Daddy,” an account of modern day poor-parenting. The downward spiral continues on “If You Can Save Me Now,” in which the blood and broken glass of a car crash are par for the course. On each, Slug brings the listener into the story with a first-hand account of events, a surefire way to catch any listener’s attention.

The lyricism for which Atmosphere has become famous is clear on many tracks as Slug addresses heavy topics of death, insincerity, and even domestic violence. Most times, the attack is frontal, but in true Atmospheric fashion, it sometimes blindsides the listeners such as on “Became.” Listen closely. You’ll be surprised.

To listen to all fourteen tracks is a struggle simply because of the weight of issues addressed. The Family Sign exacts an emotional toll on the listener. This one’s not for the faint of heart.

Listen to “The Last to Say” here

 

The Family Sign (Deluxe Edition) - Atmosphere

 

Filed Under: USD Radio Tagged With: ,

Album Review: Wonder Age by Air Dubai

April 17, 2011 By Leave a Comment

Tom “Wonderboy” Roth is studying in Dubai, contributing concert and album reviews to USD Radio. Denver-based rap group Air Dubai was too appropriate not to review. Read on for his take on their latest album, Wonder Age.

By: Tom “Wonderboy” Roth

When Flobots updated their social media outlets with the announcement “We kick off a full free show at 3pm sharp! Breckenridge peak 8 base. Air Dubai at 2!” I could hardly believe what I was reading. Were Flobots, the mildly popular rap group from Denver really coming to the Middle East? In a fit of excitement, I checked my tour sources.

Nope. Flobots had no scheduled stops in Dubai.

Wait, I thought. Air Dubai? Maybe they meant ‘Fly Dubai’, one of the main airlines for flights in and out of the UAE. I checked. Nope. No such carrier as ‘Air Dubai’ but Google yielded something else: ‘Air Dubai: free music, tour dates, photos, video’.

The free music was good but I wanted more. A quick email to the group was returned with a copy of the group’s latest album, Wonder Age, attached. A quick listen left me satisfied. Air Dubai was more than just a catchy name for a band but did nothing to prepare me for the group’s sound.

Wonder Age belies the breadth of Air Dubai as a group. With a membership seven-strong, the group is a veritable orchestra. Led by the lyrics of Julian Thomas and Jon Shockness, the jazz-infused raps usher themselves in from the opening track, “Restless Youth”. The riding geet-beat and clap rhythm are reminiscent of 1950’s blast-from-the-past doo-wop track.

The funky rhythms form a nice base for Thomas and Shockness’ love odes which range from blithe summer love on “Ten Weeks” to the maddening frustration of that hard-to-get woman to whom “Black and White” is dedicated.

The poets take a break from lamenting their lost loves to boogey down on “Lasers”, whose heavy-beat can loosen the stiffest of crowds. Shockness dispels any assumption that Wonder Age is a ballad-album when he claims to “drop lyrical disasters on demand like it’s Comcast. Feel it in Japan like a nuclear bomb blast”. Politically correct? Definitely not. Floetic? One hundred percent.

With a solid collection of well-constructed rhymes and crafty instrumental backing, Wonder Age bridges the gap between hip-hop’s current state and its earliest origins in brass n’ bass jazz. Air Dubai, all seven of them, have put themselves on the less-traveled but always stimulating path of alternative rap and it’s worth a listen. Check out Air Dubai’s single “Weekends” off of Wonder Age here.

Click here to download Air Dubai’s remix album from their official website.

Filed Under: Album Reviews, USD Radio Tagged With: ,

Album Review: The Joy Formidable- “The Big Roar”

March 11, 2011 By Leave a Comment

Looking for some new jams? Welsh trio, The Joy Formidable might be worth your time. The trio is led by a (possibly) angry chick named Ritzy, meaning her friends probably call her Ritz which is a good cracker.

How is that relevant you ask? Because just as Ritz is a good cracker, The Joy Formidable is a good act! They have a little something different. Somewhere between Alanis Morissette’s tormented lyrics and the spunk of the Yeah Yeah Yeahs.

The Big Roar

Their new album, “The Big Roar” is a commendable piece of indie/alternative musicianship. For a three piece, they sure do make a lot of noise, though it is all narratted beautifully by Ritzy Bryan’s heartfelt melodies.

Pulsating drums and spirited guitar riffs persist throughout the album. The standout tracks on this oft- hyped album include “Austere” and “I Don’t Want To See You Like This”.

The band is currently tearing it up at SXSW, and they will be coming to a Coachella near you on April 16th!

The Joy Formidable

 

Filed Under: Album Reviews, USD Radio Tagged With: , ,

Album Review: Reflection Eternal- “Revolutions Per Minute”

May 26, 2010 By Leave a Comment

Talib Kweli and DJ Hi-Tek have reunited as Reflection Eternal.

The last time Brooklyn MC Talib Kweli and Cincinnati DJ Hi-Tek partnered under the Reflection Eternal moniker, it was back in 2000 with their critically acclaimed album, Train of Thought. It captured the essence of hip hop as Kweli and Tek sketched their lives as artists and young men. Train of Thought combined Kweli’s high-caliber rhymes and poetical intuition with Tek’s deeply layered beats to create a classic.

Kweli and Tek have done fairly well outside of their affliation as Reflection Eternal, with Kweli releasing three LPs since 2002 (Quality, The Beautiful Struggle and Eardrum) and Tek with his Hi-Teknology trilogy. However, both of them have reconnected on various projects, including Tek producing “More or Less” on Eardum and Kweli making numerous appearances on the Hi-Teknology series. It was only a matter of time before Kweli and Tek collaborated again as Reflection Eternal.

Ta-Da! Without further ado, Talib Kweli and Hi-Tek present: Revolutions Per Minute. Although Reflection Eternal became the oldest sophomores in hip-hop history with their latest release, the chemistry between Kweli and Tek has not wavered and has steadily become stronger. While Train of Thought enlisted beat production that incorporated pulsating drums and blaring horns, the beginning of “City Playgrounds” reverses that approach with a much more low-key sound, allowing Kweli to be heard loud and clear. In “Back Again” (featuring RES), the pace increases dramatically and focuses on their triumphant return to music. With “Strangers (Paranoid)” (featuring Bun B), capitalism, the health care system and government spying are issues fired upon by Kweli and former UGK member, Bun B.

There are several standout tracks on the album, such as “In This World,” “Ballad of Black Gold” and “Just Begun.” With “In This World,” Tek concocts a marching beat for Kweli, who rhymes about the effect poverty has had on black people as well as shedding light on how hard work and diligence led him to a successful career in hip-hop. In “Ballad of Black Gold,” Kweli sounds off on the oil industry and the effect it has had on the Middle East and Nigeria. Then there is “Just Begun”, a track that encompasses three incredible lyricists: Jay Electronica, J Cole and Mos Def. An intermittent generational gap is forged between Talib Kweli and Mos Def with Jay Electronica and J Cole.

Even though Revolutions Per Minute integrates more hip hop and pop together to appeal to a larger demographic more so than Train of Thought, Kweli and Tek showcase their fortitude and virtuosity by delivering another record imbued with social and political overtones.

Although the hip-hop industry has evolved immensely over the last decade, Reflection Eternal has maintained the fundamentals of hip-hop with their consistency and devoutness to musical integrity. Talib Kweli and DJ Hi-Tek have proven that even a lengthy hiatus will not deter their spirits nor infatuation with music.

In This World

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Ballad of Black Gold

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Just Begun

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

 

 

 

Filed Under: Album Reviews Tagged With: , , , , , ,

Album Review: A Review of Theophilus London’s “This Charming Mixtape”

April 4, 2010 By Leave a Comment

Ladies and gentleman, say cheese!

The head nodding of instant approval, as well as a sense of disbelief, does not even come close in describing the sort of feeling I experienced after listening to This Charming Mixtape. Theophilus London takes advantage of his opportunity to be center stage and utilizes everything he has in his arsenal to deliver a mixtape that is both spellbinding and eclectic. The mixtape combines the elements of eletro-pop and hip hop/rap together to produce something that will knock you out of your comfort zone and introduce you to a newly formed genre. From top to bottom, this entire mixtape takes you on a journey that you will undoubtedly enjoy once the ride is over with a multitude of upbeat and colorful beats together with the rhymes protruding from the archetype of individuality and diversity.

The roots of Theophilus London stem from NYC, within the state that has been home to the most abundant and influential acts in hip hop. His decision to stray from the mainstream avenue and open himself to a different outlet has paid dividends. There are few emcees who have delved into such a scenario as this and been successful. This Charming Mixtape not only reveals that Theophilus London is beginning to craft himself as a household name, but also that he’s already more than willing to take risks.

The appeal and popularity of music that was witnessed in the ’80s seems to be returning with a vengeance. This Charming Mixtape proves that eras that have come and gone will never have a final resting place in our minds. The generation that I have grown up with would never in their wildest dreams have thought that the sights and sounds of their childhood would be generated into music, let alone be encompassed within the vastness and richness of hip hop. There were some instances when a smile would appear on my face and I begin to chuckle every time I heard something familiar, like “You’re The One,” a track reminiscent of the storied video game Super Mario.

The various samples that are adopted in the mixtape originated from music that was well-recognized in the ’80s, including “Ain’t No Sunshine” by Bill Whither. The smooth delivery of his rhymes hand in hand with such a classic has allowed the former to become more evolved and more dynamic. Although offered as a snippet on This Charming Mixtape, “Humdrum Town” is a track that is both profound and personal. It tells the tale of Theophilus London, who yearns to live in a city devoid of all the fame and glory he’s recently attained and have it be more mundane in order to appreciate what he truly loves. The growing awareness of this track has enabled it to garner much interest by listeners who’ve ventured onto the Green Label Sound website and YouTube.

What else can I say about Theophilus London? He’s an anomaly that I’ve yet to fully analyze, let alone comprehend. However, This Charming Mixtape has enabled me to expand my horizons and engage myself with artists like Theophilus London who have turned the hands of time and taken the next step in revolutionizing music.

Theophilus London

Theophilus’ MySpace

“Humdrum Town”

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Filed Under: Album Reviews Tagged With: , , , , ,

The Middle East Reigns Supreme in Australia

December 1, 2009 By 1 Comment
The Middle East (Luckybuster.com)

The Middle East (Luckybuster.com)

A short silence, a whispering count, and then a swirling melancholy acoustic guitar lulls the listener into a state of painful reflection. This is the folk inspired sound that is Townsville, Australia’s brilliant new seven piece band The Middle East.

The debut release on Spunk Records Recordings of the Middle East- EP is not a band to be missed for any fans of Fleet Foxes, Sufjan Stevens, and Iron and Wine. The lonely, spaced out guitars of Jordan Ireland and Rohin Jones is pure brilliance. From start to finish, this five track EP shows promise for the emerging Folk-Indie scene.

While the music alone is enough for any fan of quieter sounds is enticing enough, it is the artfully crafted lyrics that raise up skeletons of sorrow left idly in the deepest reaches of one’s mind. The opening track “The Darkest Side” notes, “When I lose I find my identity.” This seems to be the fuel for The Middle East, that there is a great deal of hope found in painful experiences in life.

I recommend The Middle East to anyone and everyone searching for a sound not yet found in music. Though they are just starting up, there is hope yet for 21st century folk. Unfortunately, it seems as if The Middle East is touring extensively in Australia for the time being, but be sure to look out for an American tour in the near future.

Filed Under: Album Reviews Tagged With: ,

Just Giving Wise Buddha Props- Pirate Radio Review

November 13, 2009 By Leave a Comment

Pirate Radio poster

No, I’m not talking about the religious figure.  Wise Buddha was the jingle producer for the new comedy Pirate Radio, as well as the last name in the credits.  The movie was so absolutely good, I just had to give Wise Buddha some credit because hardly anyone stays until the end of the credits.  If you are one of those people, however, you might get to see a little something extra in this case… But lets get to the review.  As far as I’m concerned, there are two aspect of this movie that made it amazing: great comedic performances and a soundtrack that could wake the dead.  On the acting side, Phillip Seymour Hoffman (The Big Lebowski, Along Came Polly) and Nick Frost (Shaun of the Dead, Hot Fuzz) both give comedic performances fans have come to expect from them.  There were also some hilarious characters played by relative unknowns.  For example Rhys Darby (Flight of the Conchords) is quite funny as Angus, and Tom Brooke’s role as Thick Kevin was the highlight of the film for me.  This movie actually pleasantly surprised me.  For some reason, I expected the whole movie to be based around Phillip Seymour Hoffman’s character, the Count, but it was more about the entire boat.  The movie could have definitely banked on the fact that they had an Oscar winner in their midst, but they didn’t.  One thing that did kind of bug me was this silly subplot about the main character finding his dad.  That part of the story wasn’t very good.  It just didn’t get the attention a story like that should get.  It was very lazily glanced over and “resolved.”  Overall, though, this movie was very funny thanks to the comedic acting of its stars.

The soundtrack is also a gem.  I mean, the royalties on this album alone must have set the production company back a pretty penny.  There are hits from The Beach Boys, The Who, The Beatles, and Jimi Hendrix, just to name a few.  The people who put together the soundtrack might be upset because the songs in the movie are songs that are so great, people already have them in their music libraries.  Maybe I am just bias because I used to absolutely adore classic rock, but the songs just fit so well into the movie.  Even the Count muttering “A-wop-bop-a-loo-bop-a-lop-bam-boom” as he jumps off the boat is just gold.  Solid gold.

Here is the long and short of it: go see this movie.  It’ll make you feel good.  If you want to see more information about the movie or the actual pirate radios this movie was based on, try http://pirateradiomovie.com

Filed Under: Album Reviews, USD Radio Tagged With: ,

Album Review: The Avett Brothers Mellow Return

October 26, 2009 By Leave a Comment

The Avett Brothers, allknowingforce.com

The Avett Brothers, allknowingforce.com

Every so often, a band comes along that seems to pour its heart and soul into every track. The Avett Brothers seem to be one of those bands.

From the first pained piano chords of the title track off of The Avett Brothers newly released EP I and Love and You, the listener is placed into a state of sorrow. By the time the soothing caress of the cello enters, the listener is swept away, placed into a state of of sorrow and hope simultaneously.

The North Carolina group seems to show a softer side on this album, and this is saying something. Prior to I and Love and You, The Avett Brothers had over fourteen songs with the name “pretty girl” in the title. While at times the songs might sound slightly sappy, it is crucial that the listener slowly considers the complexity of the songs. From a steady bass to slow banjo strumming, a relaxed guitar, and a quiet drum that seems to tie it all together, there are a lot going on in these tracks.

Beyond the actual tune, quite possibly the most unique facet of The Avett Brothers are their lyrics. This album seems to intensify their lyrics while slowly down their tempos. The track “Laundry Room” describes love in quite a unique way stating, “I woke with a head full of songs/I spent the whole day/I wrote ‘em down but its a shame/Tonight i’ll burn the lyrics, ‘cause every chorus was your name.” This expressive way of stating a deep infatuation shows the unique creativity of Seth Avett.

Critics of this album might say that The Avett Brothers are leaving their unique style behind for a more mainstream sound, I beg to argue the exact opposite. While perhaps some of the tunes might at time sound generic, the beautiful tangents of guitar picking and banjo lines will comfort any fan of the classic Avett Brothers sound.

The Avett Brothers begin an extensive tour of the East Coast and the Midwest starting October 29, 2009. Be sure to look out for The Avett Brothers to head out to the West Coast this spring. More information can be found at www.theavettbrothers.com .

Filed Under: Album Reviews Tagged With: , , ,
« Older Posts