Over the past few years, English born singer Charli XCX has become a household name within the world of pop music, thanks in part due to her collaborations with Iggy Azalea and Icona Pop and also with the release of her first two full-length albums. I was never blown away with the music Charli has released in the past, and for the most part all she offered was a fairly strong voice in terms of the pop realm, and lyrics that at times did stick in your head. With that being said, on her latest EP Vroom Vroom she looks to take a very different approach to her songwriting, and brings along talented producer SOPHIE to provide her with the suitable instrumentals.
SOPHIE, who just last year released his debut solo full-length Product has proven himself to be very gifted artist when it comes to creating wonky, unorthodox, catchy pop tracks and he furthers that with his work here. While the lyrics are rather catchy and are sure to please even those who are partial to traditional post-2010 radio pop, the real heart of the album is the club style production that is cranked full of loud bass, angry synths, and at certain moments some rather abrasive and in your face noises.
The project kicks off with the title track Vroom Vroom, a fast paced synth driven cut that houses some very loud drum work. The progression on the song is rather impressive as it switches back and forth from feeling like a club ready dance song during the verses, to highlighting Charli's vocal ability in a very radio friendly fashion on the chorus. Lyrically it introduces you to the same topics that are discussed throughout the other three tracks as well as they're simple, straightforward braggadocios lines that catch your attention during the hook and work together quite well with the production.
The second track Paradise carries an even quicker pace and contains some clear techno influence throughout. Bubblegum pop artist Hannah Diamond also makes an appearance on the track, and even with the inclusion of the sped up vocals that typically have me cringing over how similar they sound to Alvin and the Chipmunks fail to prevent me from enjoying this song. Up next is Trophy, a song that contains some more booming drums and an interesting vocal sample but plays to Charli's vocal ability quite well yet again. It's another moment where we find SOPHIE showcasing his ability to make a simple pop beat so much more, as we see many different passages and verses and the incorporation of a plethora of different sounds, something you wouldn't typically expect to find in your average pop tune. The closer Secret (Shh) is perhaps the most contradicting track on the album as it opens with rather ugly, noisy synth based production but transitions into a chorus that in many ways reminds me of a more well put together version of Iggy Azalea's Black Widow.
The chemistry between the two artists who created this project is shown in abundance on each and every track, and while it may not appeal to those who haven't at least found some enjoyment in either artists previous work, it is sure to please those who are already fans, or those who are interested in a wonky, unique bubblegum bass pop project. While incredibly short and to the point, this definitely puts the duo on my radar, and I hope to see them teaming up many more times in the near future.
It can easily be said that Macklemore has taken over as the face of pop rap over the last few years. Loved by the mainstream audience, but despised by many self proclaimed hip-hop heads, he's been put into a tough position because of his success. As an underground Seattle rapper, he released his fair share of projects, including his sole full-length album as a solo artist The Language of My Worldback in 2005. However, it wasn't until he met producer Ryan Lewis and the two decided to team-up that his career began to take off.
As a duo, the two independently released two EP's before their debut album The Heist hitstores in 2012. Packed full of decent production and fairly average pop rap rhymes, it was the subject matter of tracks like Same Love, and the catchiness and comedic punchlines of hits like Thrift Shop that helped the duo rise to the top of the charts. Of course it wasn't all smooth sailing for the duo however, as they received a fair bit of backlash from the rap community, especially when they were awarded the Grammy for rap album of the year in 2013 over Kendrick Lamar and his monumental release Good Kid MAAD City. The duo refused to let the lukewarm reception get to them though, and tracks like the new album This Unruly Mess's lead single Downtown made it clear they weren't prepared to back away from the pop sound anytime soon. That eventually became an afterthought however, as last month with the release of the album's second single White Privilege II, Macklemore took on a very important topic, and despite early criticism from your's truly, I've grown to enjoy the track quite a bit and respect it not only for it's relevancy, but also for what Macklemore offers lyrically.
Even with one solid single, I still went into this album expecting to be disappointed by sugary pop hooks and cringe worthy attempts at musical comedy. Nonetheless, I felt the need to give it the time of day, and astonishingly, I ended up being quite impressed.
The album kicks things off with one of the best lyrical displays Macklemore has offered thus far in his career, as Light Tunnels see's the Seattle emcee detail his experience at the Grammy awards and his thoughts during his upset win for rap album of the year. We also get a peak into the mind of the rapper, as he mentions how insecure and uncomfortable the award made him, as well as how much he began to doubt his skill after the criticism he received. Lines like "I don't like who I am in this environment, I forgot what this art's for" help reinforce what he explains throughout many of the albums deeper moments, which is that he cares about hip-hop and can offer more than just being "another white radio rapper." The song's chorus, sung by Mike Slap is the same generic pop hook I've come to expect from Macklemore, but it isn't enough to stop me from enjoying this track, as the introspective bars have me actually caring about what the emcee is saying, something that very rarely happened on his last album.
Other deep cuts like the aforementioned White Privilege II which serves as the closer, and Kevin a track that features Leon Bridges and details the overdose of one of Macklemore's childhood friend's, show us a much more honest, down to earth conscious hip-hop side of the duo that I didn't expect to find on this record. In the past, with songs like Same Love, I've felt like Macklemore was simply using current world issues for his own gain, and while I'm not necessarily convinced that wasn't the case in the past, I don't feel that way with these cuts on Unruly Mess,because there's a touch of sincerity, and it feels like there's something to prove with each line delivered.
It's not all positives on the album though, and that same cheesy mainstream pop culture artist who we've come to know appears multiple times on the album. Downtown is an obvious example of that style, but we get tracks like Brad Pitt's Cousin, Dance Off, and Let's Eat as well which see rather lackluster punch lines and weak attempts to brag. I struggle to take Macklemore serious when he takes a braggadocios lyrical approach, and the overly radio friendly production doesn't do much to elevate the tracks either. There are however, a handful of cuts that sit somewhere between those that are self reflective and the others that are drenched in pop influence. Buckshot, a cut that features New York hip-hop veteran KRS-One and iconic producer DJ Premier centres around Macklemore's experience with graffiti art, something that any one familiar with KRS-One will know he also is well versed in. It's a very enjoyable track, and sits on the fun side without relying on too clean of a chorus or too much pop influence. The indie-rock flavored instrumental on St. Ides is another one of the album's highlights, as the lyrics reflect on Macklemore's history of alcohol abuse. The twangy guitar featured on the track helps make it one of the better beats throughout the project as well.
I've breezed over White Privilege II a few times already throughout this review, but I feel like it's important to address the track a bit further. The song of course discusses the black lives matter movement and the ongoing struggle between black youth and police officers in the United States. Macklemore mentions the silence he and many other white artists have resorted to while the incidents continue to occur, and he also reflects on the hip-hop culture and those who consider him to have "stolen the sound" for his own gain. I have already said I was dismissive of the song at first listen, but since I've come to respect the emcee more, not for making a track on something important, but as serving as the connection between what's occurring and a mainstream audience. No, you shouldn't feel sympathy for Macklemore when hearing this track, but it's purpose is instead to inspire those who have set in silence and have remained uninvolved with protests and demonstrations to stand-up and be heard. Regardless of your opinions on the matter, it's a track that warrants a listen for the power behind the message alone, and the lyrical display from a man who prior to this track was nothing more than a boring pop rapper, at least in my opinion.
The best moments on This Unruly Mess I've Made are easily the best that the duo have offered since they began teaming up, and I'm very impressed with what they've done throughout the LP. Unfortunately, there are still a handful of tracks that feel phoned in, as if the sole reason they were included was to appeal to a more a mainstream audience, and that hurts the album quite a bit. Nevertheless, my opinion on Macklemore and Ryan Lewis has been altered quite a bit, and I now see a lot more potential in their sound. If they can trim out some of the more uninspired moments in the future, Macklemore will have plenty more award shows to write about.
Rating: 3.5/5
You can listen to Macklemore and Ryan Lewis' White Privilege II below:
It's been over 15 years now since the Baltimore based experimental pop outfit Animal Collective released their debut album Spirit They've Gone, Spirit They've Vanished. Now, after a four year span without a full-length release, they have released their tenth studio album Painting With. Four years is the longest gap the group has even taken between releases, and they've used the extra time to reinvent their style, to some extent at least. David Portner, one of the group's co-founders who started in his own side project Avey Tare's Slasher Flicks while the group were on hiatus, stated that the goal whilst recording the album was to simplify their sound, and do away with the long passages and use of reverb that had developed into a very prominent element of their past material. While the decision to change such defying characteristics of their sound didn't hurt the music on Painting With, it didn't do much to help it either, as Painting With is perhaps the most average album the group have released.
The colorful, upbeat and cartoony tracks FloriDada, The Burglars, and Spilling Guts all still feel like Animal Collective, but are elevated by their simplicity, in comparison to the band's other material that is, as well as their short overall lengths. Painting With is the trio's shortest release, coming in at a modest forty minutes, which is proof enough already that they have done away with the use of extended passages. While the music is as mentioned, a tad simpler than those familiar with the band's previous albums may expect, they still create very lush, layered soundscapes that can be challenging at time to listeners. Unfortunately that doesn't always work well with the direct and to the point nature of the tracks, as throughout the album there are quite a few moments where the band have too much going on. On the opposite end of the spectrum, tracks like Hocus Pocus (which features Velvet Underground co-founder John Cale)and Vertical feel as if they're missing something, as if they're empty when stood up next to the rest of AC's musical catalogue.
The album does contain some fun moments, as well as a handful of well-crafted enjoyable pop cuts. Despite that, the music is constantly bogged down by the similarities found throughout the record, as it constantly feels as if the band decided to confine their songs and are frequently holding back intentionally rather than expanding their sound as they have previously done with every new release.
At it's core, Painting With is the poppiest and most fun that Animal Collective have ever been, but it's also the simplest and most direct record that they've released thus far. It's not the fleshed out, unique, experimental pop record that the band are known for, but that doesn't mean it isn't worth a listen. It's hard to get through the full project without tapping your foot and singing a long to at least one of the peppy, upbeat songs, and while Painting With isn't quite their best, I wouldn't say it's their worst release either.
Favorite Tracks: FloriDada, The Burglars, Spilling Guts, Golden Gal Least Favorite Tracks: Vertical, Summing the Wretch Rating: 3/5
Check out the album's lead single FloriDada below:
R&B/pop artist Rihanna has been a part of the mainstream pop scene for what feels like forever now. As hard as it is to believe, it's been over 10 years since here early hits Pon de Replay and SOS hit the airwaves for the first time. During her career, Rihanna has at the very least, attempted to change her musical style multiple times, to varying degrees of success. On her last release back in 2012 Unapologetic, she attempted to incorporate elements of EDM in her music, a change that while an interesting idea, didn't add very much to the music she was creating.
Now, 4 years have passed since the release of Rihanna's last full-length album. Not only did she decide to drop an album without much notice or singles to hype the release beforehand, but she also looked to go against the "grain of pop music" so to speak, even naming her album Anti, because as she stated "the album will be the very antithesis of what the public expects." With that being said, Rihanna isn't the first pop star to try and reinvent the formula, and if the risk doesn't pay off, she won't be the first to fail either.
First, let's look at the bad. The lyrical content on this album is arguably the most dumbed down you will find on a pop record. It goes without saying at this point that Rihanna doesn't write her own music, but typically, hearing that an artist does not write their own songs leads one to expect fairly catchy and simplistic songs. However, that isn't always the case on Anti. Instead, we get horribly written lines like James Joint's "I'd rather be, smoking weed, whenever we breathe" and whatever you want classify the mumble filled moments of the album's only single so far Work, which happens to be easily the least enjoyable track on the album as Rihanna comes through as both obnoxious and non-sensical at times, and even a feature from one of the biggest acts in hip-hop Drake can't seem to save face. As the album nears the finish, we also get a trio of slow, uninspired, all together boring ballads. The first of which, Love on the Brain is a clear ode to early mainstream soul artists, but falls completely flat and is nothing new to see from a pop singer as just last year Meghan Trainor's album Title was an equally uninspired throwback doo-wop album. The second to last track Higher sees a very quiet piano based instrumental hide in the background as an attempt to showcase Rihanna's vocal talents. While Rihanna has, without a doubt, a fantastic voice, there's nothing aside from her voice to take away from the track, as it simply offers nothing else. Finally, the closing track Close to You is another piano ballad, this time a break-up song. It's a very forgettable track, and could be interchanged with any other ballad on any other of her earlier albums (so much for the antithesis right?)
Now, onto the areas were the album truly impressed me. The opening track, Consideration, features a glitchy drum pattern focused instrumental, and is one of my favorite cuts on the whole album due to the dub/reggae elements incorporated. We also get a guest appearance from TDE signee SZA, and the two come together for a short yet very enjoyable opener. Desperado is also a very enjoyable track, thanks to the explosive piano/synth based instrumental which also features some of the better lyrics on the record. The Hit-Boy/Travis Scott produced Woo sounds like it would have belonged perfectly on Scott's last full-length Rodeo, and for that reason alone is very easily one of the best songs I've ever heard from Rihanna. Of all these moments, perhaps the album's peak moment comes on Same Ol' Mistakes, a cover of Australian psychedelic-rock act Tame Impala's song by the same name. Not only does Rihanna handle the track incredibly well, but it was recently reported Tame Impala's Kevin Parker is "very happy with how the song turned out" which should definitely say something of her performance.
Anti is easily one of the more interesting pop records I've heard in the past few years, and Rihanna manages to take influence from many artists and genres as a whole throughout the project. Not only is this, in my opinion at least, a new career high for the Barbadian singer, but it's also perhaps her most divided album as far tracks go. The songs range from boring and disappointing, to unique and innovative, and the transitions between are often so quick that sometimes you might forget you're listening to an album from a Top-40 Billboard artist, and I mean that in the best way possible. Unfortunately, the base formula that often times comes with being such a successful mainstream act appears quite a bit throughout Anti, and while it doesn't ruin the album, it does take away from what could have easily been a milestone release. Favorite Tracks: Consideration, Desperado, Woo, Needed Me, Same Ol' Mistake, Least Favorite Tracks: Kiss It Better, Work, Higher, Rating: 3.5/5
