Sunday, 29 November 2015

Review of 'AQUARIA' by Boots


Boots (not to be confused with Little Boots, Moon Boots or Puss in Boots) is an American singer and electronic producer. Some of you may know him as the dude who produced Beyoncé’s ‘Haunted’. Some of you may now him as the dude who produced that recent FKA Twigs EP. Some of you may know him as the guest vocalist on that Run the Jewels track ‘Early’. Some of you may not know him at all, in which case don’t despair, I’m here to fill you in.

Friday, 27 November 2015

Review of 'Purpose' by Justin Bieber


It's 2015 and Justin Bieber is no longer that mop-haired squeaky-voiced Canadian kid singing schmaltzy love songs for fourteen-year-old girls. No, he's now a fully-grown adult male human being with tats and a six-pack making club anthems for his fellow twenty-something drinkers.

Sunday, 15 November 2015

Review of 'Me' by Empress Of


This new avant-garde dance-pop album is the masterful work of Honduran-American singer-songwriter Lorely Rodriguez AKA Empress of.

Empress of what? I tried googling an explanation behind the artist's name but came back empty-handed. Unsurprisingly, a lot of fans have been asking the same question, so much so that Lorely almost titled her album 'what? lol' so that the album text would read 'Empress of what? Lol'.

However, for better or worse, she decided against that idea, instead titling the album 'Me' as to read 'Empress of Me', which is fitting considering all the songs on this record are about taking charge of oneself. Following a personal breakup and produced and written in the solitude of her Mexico City lakehouse, 'Me' is an album inspired by being left on one's lonesome. The lyrics see Lorely indecisively coming to terms with her newfound single-ness, mourning the loss of her ex one moment and fiercely embracing her independence the next: 'Can I get up off my knees and find a rhythm of my own?'. It's an album about letting go of that bae that used to whip you, whilst at the same time wanting them back. It's an album about being your own empress but not quite knowing how.

Empress Of  looking troubled


Vocally, Lorely captures this inner turmoil well - sounding both positively bouncy and dejectedly sighful. This inner turmoil is also reflected in the quirky beats (produced by Lorely herself!). The energy is upbeat and danceable but the sounds used are twisted and pained, comprised of over-distorted digital drums and sour synths. The most noticeable example of this is the track 'Water Water', which starts with sad wails over dissonant chord splodges, later evolving into a bright house tune of sorts.

Clearly the aim is to create a confused mixture of emotions. The result is a sound that is entirely unique. To some degree you could call these pop songs - they're catchy and charmingly simple in structure. However, the strange palette of sounds and the tortured lyrics add a complexity that prevents any of these from being radio-worthy, appealing more to underground junkies like myself. I guess there are slightly Bjork-ish tones to her voice, but otherwise she's the empress of her own musical style.


TRACK TASTER:


Sunday, 8 November 2015

Review of 'Delirium' by Ellie Goulding


Ellie Goulding has a voice like a cartoon mouse on helium. I’m not sure it’s a cadence I’m entirely keen on, but I respect it’s individuality. 

Sunday, 1 November 2015

Review of 'The Anthropocene Extinction' by Cattle Decapitation



San Diego deathgrind band Cattle Decapitation have dropped the hippy ethos. No longer are all their members vegetarians and no longer do they write songs about mankind's mistreatment of animals. Instead, they've turned to psychopathic songs about their hatred of humanity.

Their last album contained romantic song titles such as ‘A Living, Breathing Piece of Defecating Meat’ and ‘Dead Set on Suicide’. This album meanwhile settles for less explicit (but equally misanthropic) titles such as ‘Not Suitable For Life’ and ‘The Burden of Seven Billion’. Fittingly evil lyrics ensue - all to the accompaniment of blast beats, machine gun riffs and bowel-emptying breakdowns. 

Cattle Decapitation have never been softies sonically. On this record they attempt to show off their entire arsenal of extreme techniques. Most metal bands favour a certain pace but Cattle Decapitation seem to be both masters of breakneck speed and crawling sludge. Their vocalist Travis Ryan also shows impressive versatility – alternating between death growls, black metal screeches and a unique semi-sung snarl that sounds like its being delivered by a toothless pirate. 

Occasionally, the band don’t quite know how to integrate all their ideas into a flowing song – shoving riffs and  interludes together in a start-stop motion. This makes it a little messy at points. But it's still very exciting.