Tonight, the 56th annual Grammy awards will be held to look at back at the best in music of 2013. Or, to be more accurate, the best in music from October 2012 through September 2013, due to the September 30th cutoff date for albums to be considered for nomination. This stipulation means that some of the year's most celebrated releases, including Lorde's Heroine and Arcade Fire's Reflektor, won't be eligible until next year's Grammys. This is a pretty big flaw in a system that's already struggling, judging by the confusing nature of and general displeasure with what's been nominated. Today, I will be using the less-than-revolutionary format of "what will win" vs. "what should win" (with an added twist of "who wasn't nominated) to look at how several major categories may pan out this evening. Then, I'll be talking about performances and other parts of the show to look forward to. A list of all nominees & performers can be found here.Without further delay, here's this year's Grammy awards preview.
Album of the Year
The Blessed Unrest - Sara Bareilles
Good Kid, M.A.A.D City - Kendrick Lamar
The Heist - Macklemore & Ryan Lewis
Random Access Memories - Daft Punk
Red - Taylor Swift
Who should win:
Daft Punk's album was great. A cool fusion of dance, disco, electronic, funk, and pop, it produced some of the year's best singles in "Doin' It Right," "Lose Yourself to Dance," and of course the inescapable "Get Lucky." "Instant Crush" featured Strokes singer Julian Casablancas on vocals and rode a tasty groove, and "Contact" closed out the record in an epic, fiery blaze. Of these five, Daft Punk's album was the most enjoyable. I wouldn't mind if Kendrick won either; it was one of the best-received rap albums of this Grammy cycle, and it'd be nice for the Grammy awards to finally give a hip-hop artist Album of the Year honors for the first time since Outkast won in 2004 for Speakerboxxx/The Love Below.
Who will win:
Neither of those two. The Grammys are notorious for playing it safe in this category, as evidenced by past victories by Herbie Hancock, Eric Clapton, and Christopher Cross over the likes of Kanye West, Amy Winehouse, U2, and Pink Floyd. Macklemore will probably take this, as the voters will think they're giving a hip-hop album some recognition when really The Heist is mostly full of pop songs. Swift has a chance, but I think the amount of time that's passed since the actual release of her record (October 22, 2012) will hurt her cause. If Bareilles wins, it'd shock everyone, as nobody expected her to be nominated at all.
Who wasn't nominated:
My favorite album of 2013, Reflektor, didn't come out in time to be considered for AotY honors. I honestly wouldn't have expected it to be nominated either, though their win for The Suburbs maybe left the door open for a repeat. One record I honestly expected to see, however, was Modern Vampires of the City. That album was superb; it was also pretty universal, as I have trouble imagining anybody who wouldn't be entertained by this record. I even though it had a shot at winning, but unfortunately its not an option. I also think Kanye's Yeezus should be nominated, if not for its merit as a unique rap album then simply for its boldness.
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Showing posts with label 2013. Show all posts
Showing posts with label 2013. Show all posts
Sunday, January 26, 2014
Tuesday, December 31, 2013
#1 Album of the Year: Arcade Fire - "Reflektor"
Rating: 9.8/10
My album of the year is Reflektor by Arcade Fire, a band I dedicated an entire week to in anticipation of this album's release. Big surprise that it got #1 on this year's countdown, right? Seriously though, if you read my first review of the album (which you can do by clicking through that hyper-linked text), you'll know I adored the thing. When you got past all of the empty criticisms and the puzzling anger towards the allegedly over-the-top promotion of the record, what you had was a near-perfect group of songs from a band that have mastered their craft. Reflektor is an Arcade Fire album like no other; drenched in synthesizers, lacking much guitar, and driven by Caribbean-flavored beats, this sounds distinctly removed from the days of Funeral, Neon Bible, or The Suburbs. But then again, the band's identity remains intact. Win Butler's gusty voice and his wife Regine Chassagne's perky vocals are ever-present. The ambition, grandeur, and emotion are all stronger than ever. Most importantly, the pure skill of making great music stays.
Butler & co. are undoubtedly fantastic songwriters and performers, as the songs on Reflektor prove. The title track is one of the year's most universally beloved singles, thanks to an incredibly danceable groove, fluttering pianos, deep-rooted synths, and Butler and Chassagne's vocal trade-offs. The conga beat gives the song a foreign feel as Butler's mysterious lyrics leave the song open to interpretation. The other single off the record (so far) is the absolutely gorgeous "Afterlife," guaranteed to send shivers down your spine. Chassagne's "oh-oh's," the chiming keyboards, and jumpy beat all set the stage for Butler's haunted vocal. "Afterlife/Oh my God/What an awful word," he sings right out of the gate. The accompanying music video is just as wonderful as the song, and drives home the meaning of the song even more, as a father and two sons struggle to cope with the loss of the mother of the family.
As always, Arcade Fire tackle some huge themes with their lyrics. The aforementioned "Afterlife" deals with life after death (hence the title). "We Exist" tells the tale, according to Butler himself, of what it is like growing up gay in a particularly homophobic region. This is not from Win's personal experience, as he currently has a wife (fellow vocalist Regine Chassagne, as stated above), but that makes the song no less sincere. Early on, a son asks his father for his help, as Butler cries, "Daddy it's true/I'm different from you/But tell my why they treat me like this?" Later, the speaker becomes more defiant, exclaiming, "Let 'em stare!/If that's all they can do!/But I'd lose my heart/If I turned away from you." It's a pretty riveting track, and one that probably stems from the band's experience while in Haiti. The sounds behind the story are great as well, as the keys and drums swell up, bursting at the song's pivotal moments.
While the story behind "We Exist" likely came from Haiti, so too did much of the album's music. "Flashbulb Eyes" and "Here Comes the Night Time" play out back-to-back as a sonic representation of Haitian Carnival, with wildly fun conga beats and blaring horns. The latter is particularly superb, a song I found so enjoyable that I named it my favorite song of 2013. A rowdy guitar part kicks off the song as drummer Jeremy Gara plays with flair. The dancefloor-rush soon fades to a slow groove the bubbles up before the adrenaline-pumping "fast part" makes a spectacular return.
I can go on and on about each individual track, but I already did that in my last review. Instead, I'll wrap up the year with a more big-picture look at Reflektor for the rest of this post. This album has indicated a new direction for Arcade Fire, one that's much more LCD Soundsystem (whose main man, James Murphy, produced this LP) and Talking Heads than previous albums. Of course, they could take another sharp turn on their fifth release, whenever that may be.
Much spite was directed towards the band for how the promoted the album, while artists like Daft Punk and Justin Timberlake received no hate, and in some cases praise, despite having exponentially larger campaigns pre-release. They played SNL, including a post-show special in which they debuted several new songs, which I found pretty cool. The group performed other late-night shows, a pretty conventional way to generate buzz. The only really out-there method Arcade Fire used to hype Reflektor was that logo they had drawn everywhere. But in a year when Kanye West quite literally projected his face on buildings across the world, it seems hypocritical to call out Arcade Fire for what was possibly somewhat self-indulgent but nowhere near egregious. Some view the band as very pretentious, another unfounded claim in my eyes. I enjoy getting excited about a release, especially one as big as Reflektor.
Personally, Reflektor is the first Arcade Fire album where the band don't sound young anymore. Funeral was a youthful burst of energy, Neon Bible was a sort of coming-of-age, and The Suburbs felt like saying goodbye to childhood. Reflektor, however, is forwards-looking, dealing with uncertainties about life (and death) in the upcoming future. Nostalgia is swapped for anticipation, love lost exchanged for love to come. It's a logical step, considering that Butler and Chassagne recently became parents, and the band's only gotten bigger in cultural footprint since their last record and subsequent Grammy Album of the Year victory. The musical ideas are more thoroughly developed, too, as every detail was worked on meticulously, a clear sign of maturation of sound.
Reflektor is everything great about music packed into one, albeit lengthy, album. Deep lyrical themes, musical talent, catchy hooks, hypnotizing grooves, and songs that make you want to dance, sing, laugh, cry, and everything in between, sometimes all at the same time. Few bands can pull off having songs which contain the literal sounds of a party on the same record as songs dealing with love, death, and fitting in, but Arcade Fire is one of those bands. 2013 truly was an amazing year for alternative music, and music in general, in my opinion the best since the days of the early 1990's, and certainly the best in almost a decade. Even the mainstream finally started to shift towards higher quality music, as respectable artists like Macklemore and Lorde had smash hits with something to say. Valuable messages of restraint, tolerance, cooperation, and thriftiness left previous pop music ideals like over-indulgence, recklessness, and selfishness behind. People like to say every year that it was a bad year for music, but invariably look back years later and go back on their early words. 2013 is sure to be a year the world remembers as a strong one for music. Don't believe me? Reflektor is all the proof you need.
Key Tracks: "Reflektor," "Here Comes the Night Time," "Normal Person," "Afterlife"
December's been quite the month here on Facts for Whatever, as I published fifteen (!) album reviews in one month. That's almost one every other day! Thanks to everyone who followed along throughout. So, now, I present this month's work in list form. Here are, after long last, my top fifteen albums of 2013, summarized in list form. If you missed any of the full-length reviews, you can click on the album title in the list to jump to the page. Spotify links to the albums & songs of the years playlists will be embedded at the bottom of the post, and the AotY list will include Reflektor (though sadly not MBV - you can listen to that here), so you can hear it there rather than a separate embedment. Here's hoping 2014 gives us as much great music as 2013 has! (And fingers crossed Radiohead put something out!)
Top Fifteen Albums of the Year
1. Arcade Fire - Reflektor
2. Vampire Weekend - Modern Vampires of the City
3. Wavves - Afraid of Heights
4. Queens of the Stone Age - ...Like Clockwork
5. Washed Out - Paracosm
6. The Joy Formidable - Wolf's Law
7. Deafheaven - Sunbather
8. Nine Inch Nails - Hesitation Marks
9. The National - Trouble Will Find Me
10. My Bloody Valentine - MBV
11. HAIM - Days Are Gone
12. Lorde - Pure Heroine
13. Local Natives - Hummingbird
14. Mikal Cronin - MCII
15. Daft Punk - Random Access Memories
Thanks for reading!
My album of the year is Reflektor by Arcade Fire, a band I dedicated an entire week to in anticipation of this album's release. Big surprise that it got #1 on this year's countdown, right? Seriously though, if you read my first review of the album (which you can do by clicking through that hyper-linked text), you'll know I adored the thing. When you got past all of the empty criticisms and the puzzling anger towards the allegedly over-the-top promotion of the record, what you had was a near-perfect group of songs from a band that have mastered their craft. Reflektor is an Arcade Fire album like no other; drenched in synthesizers, lacking much guitar, and driven by Caribbean-flavored beats, this sounds distinctly removed from the days of Funeral, Neon Bible, or The Suburbs. But then again, the band's identity remains intact. Win Butler's gusty voice and his wife Regine Chassagne's perky vocals are ever-present. The ambition, grandeur, and emotion are all stronger than ever. Most importantly, the pure skill of making great music stays.
Butler & co. are undoubtedly fantastic songwriters and performers, as the songs on Reflektor prove. The title track is one of the year's most universally beloved singles, thanks to an incredibly danceable groove, fluttering pianos, deep-rooted synths, and Butler and Chassagne's vocal trade-offs. The conga beat gives the song a foreign feel as Butler's mysterious lyrics leave the song open to interpretation. The other single off the record (so far) is the absolutely gorgeous "Afterlife," guaranteed to send shivers down your spine. Chassagne's "oh-oh's," the chiming keyboards, and jumpy beat all set the stage for Butler's haunted vocal. "Afterlife/Oh my God/What an awful word," he sings right out of the gate. The accompanying music video is just as wonderful as the song, and drives home the meaning of the song even more, as a father and two sons struggle to cope with the loss of the mother of the family.
As always, Arcade Fire tackle some huge themes with their lyrics. The aforementioned "Afterlife" deals with life after death (hence the title). "We Exist" tells the tale, according to Butler himself, of what it is like growing up gay in a particularly homophobic region. This is not from Win's personal experience, as he currently has a wife (fellow vocalist Regine Chassagne, as stated above), but that makes the song no less sincere. Early on, a son asks his father for his help, as Butler cries, "Daddy it's true/I'm different from you/But tell my why they treat me like this?" Later, the speaker becomes more defiant, exclaiming, "Let 'em stare!/If that's all they can do!/But I'd lose my heart/If I turned away from you." It's a pretty riveting track, and one that probably stems from the band's experience while in Haiti. The sounds behind the story are great as well, as the keys and drums swell up, bursting at the song's pivotal moments.
While the story behind "We Exist" likely came from Haiti, so too did much of the album's music. "Flashbulb Eyes" and "Here Comes the Night Time" play out back-to-back as a sonic representation of Haitian Carnival, with wildly fun conga beats and blaring horns. The latter is particularly superb, a song I found so enjoyable that I named it my favorite song of 2013. A rowdy guitar part kicks off the song as drummer Jeremy Gara plays with flair. The dancefloor-rush soon fades to a slow groove the bubbles up before the adrenaline-pumping "fast part" makes a spectacular return.
I can go on and on about each individual track, but I already did that in my last review. Instead, I'll wrap up the year with a more big-picture look at Reflektor for the rest of this post. This album has indicated a new direction for Arcade Fire, one that's much more LCD Soundsystem (whose main man, James Murphy, produced this LP) and Talking Heads than previous albums. Of course, they could take another sharp turn on their fifth release, whenever that may be.
Much spite was directed towards the band for how the promoted the album, while artists like Daft Punk and Justin Timberlake received no hate, and in some cases praise, despite having exponentially larger campaigns pre-release. They played SNL, including a post-show special in which they debuted several new songs, which I found pretty cool. The group performed other late-night shows, a pretty conventional way to generate buzz. The only really out-there method Arcade Fire used to hype Reflektor was that logo they had drawn everywhere. But in a year when Kanye West quite literally projected his face on buildings across the world, it seems hypocritical to call out Arcade Fire for what was possibly somewhat self-indulgent but nowhere near egregious. Some view the band as very pretentious, another unfounded claim in my eyes. I enjoy getting excited about a release, especially one as big as Reflektor.
Personally, Reflektor is the first Arcade Fire album where the band don't sound young anymore. Funeral was a youthful burst of energy, Neon Bible was a sort of coming-of-age, and The Suburbs felt like saying goodbye to childhood. Reflektor, however, is forwards-looking, dealing with uncertainties about life (and death) in the upcoming future. Nostalgia is swapped for anticipation, love lost exchanged for love to come. It's a logical step, considering that Butler and Chassagne recently became parents, and the band's only gotten bigger in cultural footprint since their last record and subsequent Grammy Album of the Year victory. The musical ideas are more thoroughly developed, too, as every detail was worked on meticulously, a clear sign of maturation of sound.
Reflektor is everything great about music packed into one, albeit lengthy, album. Deep lyrical themes, musical talent, catchy hooks, hypnotizing grooves, and songs that make you want to dance, sing, laugh, cry, and everything in between, sometimes all at the same time. Few bands can pull off having songs which contain the literal sounds of a party on the same record as songs dealing with love, death, and fitting in, but Arcade Fire is one of those bands. 2013 truly was an amazing year for alternative music, and music in general, in my opinion the best since the days of the early 1990's, and certainly the best in almost a decade. Even the mainstream finally started to shift towards higher quality music, as respectable artists like Macklemore and Lorde had smash hits with something to say. Valuable messages of restraint, tolerance, cooperation, and thriftiness left previous pop music ideals like over-indulgence, recklessness, and selfishness behind. People like to say every year that it was a bad year for music, but invariably look back years later and go back on their early words. 2013 is sure to be a year the world remembers as a strong one for music. Don't believe me? Reflektor is all the proof you need.
Key Tracks: "Reflektor," "Here Comes the Night Time," "Normal Person," "Afterlife"
December's been quite the month here on Facts for Whatever, as I published fifteen (!) album reviews in one month. That's almost one every other day! Thanks to everyone who followed along throughout. So, now, I present this month's work in list form. Here are, after long last, my top fifteen albums of 2013, summarized in list form. If you missed any of the full-length reviews, you can click on the album title in the list to jump to the page. Spotify links to the albums & songs of the years playlists will be embedded at the bottom of the post, and the AotY list will include Reflektor (though sadly not MBV - you can listen to that here), so you can hear it there rather than a separate embedment. Here's hoping 2014 gives us as much great music as 2013 has! (And fingers crossed Radiohead put something out!)
Top Fifteen Albums of the Year
1. Arcade Fire - Reflektor
2. Vampire Weekend - Modern Vampires of the City
3. Wavves - Afraid of Heights
4. Queens of the Stone Age - ...Like Clockwork
5. Washed Out - Paracosm
6. The Joy Formidable - Wolf's Law
7. Deafheaven - Sunbather
8. Nine Inch Nails - Hesitation Marks
9. The National - Trouble Will Find Me
10. My Bloody Valentine - MBV
11. HAIM - Days Are Gone
12. Lorde - Pure Heroine
13. Local Natives - Hummingbird
14. Mikal Cronin - MCII
15. Daft Punk - Random Access Memories
Thanks for reading!
Friday, December 27, 2013
Albums of the Year - #3: Wavves - "Afraid of Heights"
Rating: 9.5/10
"We'll all die alone/just the way we live." So sings Wavves frontman Nathan Williams, the millenials' new poster child for snot-nosed garage punk, on Afraid of Heights opener "Sail to the Sun." On their latest record, Wavves veered off slightly from their lo-fi surf-rock path, adopting a more grunge-influenced sound and putting more effort into production. The result is the group's most polished, most mature, and in truth most enjoyable album to date. Though 2010's King of the Beach had a carefree, adolescent feel, it was somewhat one-dimensional. Afraid of Heights maintains that energy and youthfulness while also at times venturing off and exploring deeper, more complex psychological themes. Sure, there are still fast-paced, quick punk ditties like "Cop" and "Paranoid." But self-loathing tracks like "Beat Me Up" ("That's the reason why/I love the pain/It makes me wanna die") and "Everything Is My Fault" (see title) add a more profound layer to the music of what was once a decidedly straightforward band.
Of course, Williams sings some if not most of these lyrics with a wry smile. This tongue-in-cheek delivery is to be expected of the singer, and represents the spontaneous, live-in-the-moment attitudes of the band members. This kind of lifestyle can at times be reckless and self-destructive, which is what some of the songs on Afraid of Heights showcase.
Saturday, December 21, 2013
Albums of the Year - #5: Washed Out - "Paracosm"
Rating: 9.2/10
In August, chillwave gurus Washed Out gave us Paracosm, one of 2013's warmest, most embracing records. Upon its release, mentioned the album's "variety of lush soundscapes and irresistible grooves," all of which have only gotten better as summer slowly transitioned into fall and eventually winter. Most of what I said back in August still holds true; each track is just as bouncy, light, and smile-inducing as ever. The tranquil "Entrance" still paints an idyllic scene, with the sounds of nature lying under a simple, sleepy riff. Even the colorful album cover says "summer," matching the general tone of the music.
The standout tracks from my early review still sound great, but it's the other tracks which have grabbed my attention in the interim that merit a full-point jump up in score, from the original 8.2 to today's 9.2. The beautiful weirdness of "It All Feels Right" is created via the use of harps, strings, and nostalgic lyrics. In the chorus, Greene purrs, "close my eyes/think about the old times/what's it all about?/the feeling when it all works out." "All I Know" still soars in all of its 80's-inspired glory, soaked with synthesizers and a rhythm Depeche Mode would be jealous of. "Falling Back" and "Weightless" float high atop Greene's smooth vocals and wave upon wave of keyboard.
In August, chillwave gurus Washed Out gave us Paracosm, one of 2013's warmest, most embracing records. Upon its release, mentioned the album's "variety of lush soundscapes and irresistible grooves," all of which have only gotten better as summer slowly transitioned into fall and eventually winter. Most of what I said back in August still holds true; each track is just as bouncy, light, and smile-inducing as ever. The tranquil "Entrance" still paints an idyllic scene, with the sounds of nature lying under a simple, sleepy riff. Even the colorful album cover says "summer," matching the general tone of the music.
The standout tracks from my early review still sound great, but it's the other tracks which have grabbed my attention in the interim that merit a full-point jump up in score, from the original 8.2 to today's 9.2. The beautiful weirdness of "It All Feels Right" is created via the use of harps, strings, and nostalgic lyrics. In the chorus, Greene purrs, "close my eyes/think about the old times/what's it all about?/the feeling when it all works out." "All I Know" still soars in all of its 80's-inspired glory, soaked with synthesizers and a rhythm Depeche Mode would be jealous of. "Falling Back" and "Weightless" float high atop Greene's smooth vocals and wave upon wave of keyboard.
Thursday, December 19, 2013
Albums of the Year - #6: The Joy Formidable - "Wolf's Law"
Rating: 9.0/10
The Joy Formidable are a wonderful little trio from Wales who continuously put out magnificient rock-revivalist albums filled with ambitious sonic landscapes and mammoth drums. Their music is a refreshing take on the modern alternative rock sound: each song radiates positivity as the band aren't afraid to show off their skills with complicated, arena-shaking instrumentals. Singer Ritzy Bryan's bubbly persona and perky vocals only add to the sense of joy in the group's music, as the name suggests. Their style of music lends itself well to a live show, as their songs commonly break off to high-flying instrumental jam sessions of epic proportions. When I saw them back in June, they rocked the Boston House of Blues into oblivion, cranking everything up to eleven in their unapologetically enthusastic way. The show, which had been postponed from April due to the city-wide shutdown during the manhunt of the Tsarnaev brothers who bombed the Boston Marathon, was probably the best of all the concerts I saw all year. This includes the whole of Boston Calling fall's Saturday lineup, which featured Vampire Weekend, Airborne Toxic Event, Gaslight Anthem, and Local Natives.
On Wolf's Law, they continue down the path that their full-length debut The Big Roar forged for them, adding a bit more polish at the expense of some spontaneity. There's no "Whirring" on Wolf's Law, as fewer tracks extend past the five-minute mark, but this makes room for dream-pop pieces and catchy hooks. "Forest Serenade," for example, contains a driven guitar riff and soaring vocals, and follows a more typical verse-chorus format. "Little Blimp" is one of the most forceful tracks on the record, despite taking up under three minutes' worth of disc space. An energetic bass riff and wailing guitars sit under Bryan's encouragement of "paddle me closer, I promise you'll never look back down."
Wednesday, December 18, 2013
Albums of the Year - #7: Deafheaven - "Sunbather"
Rating: 9.0/10
A black metal album that isn't really a black metal album, San Francisco group Deafheaven's sophomore effort Sunbather ended up being one of the most polarizing and unique releases of 2013. Many people are immediately turned off by the label 'black metal,' not subsribing to the screamed vocals or lengthy track times you'll find throughout the genre. At first, I was one of those people. My knowledge of metal in general is minimal, as I have no clue as to the nuances that separate subgenres and for a long time didn't understand the appeal. Then, I decided to go in with an open mind based on all of the positive reviews from critics and fans alike. Clearly, something was remarkable about this record, whose soft pink cover and stylish lettering didn't exactly scream "metal." It actually ended up the highest-rated original release of 2013 on Metacritic, excluding reissues, box sets, and a Wonder Years album whose score was skewed as it only had four critic reviews total. It also landed in the top ten of year-end lists at Pitchfork, Stereogum, and SPIN, among others. Clearly, there was something presumably excellent that I was missing out on, so I tried something I'd never seriously done before; listening to a black-metal album.
From the moment "Dream House" started, I knew something was special about Sunbather. Yes, the screams are there, but they are pretty much buried in the mix, and actually add to the music (but more on that later). What is so different about this so-called black metal album is that it's just as much post-rock and shoegaze as it is metal. On the surface, Sunbather presents a wall of furious guitars, thundering and lightning-quick drums, and snarled vocals. However, as each song progresses you are greeted with a wave of emotions, including one not typical of a black metal record; happiness. While whether the album is truly metal has been debated by self-nominated "true metalheads," there's no denying that Sunbather is one of the year's most cathartic pieces of music. Fury, grief, melancholy, loss, happiness, tranquility, anxiety, and everythhing in between are represented here. This is because so much emphasis is put on the instrumentals, particularly on the chord progressions of the guitars, which climb summits and sink into valleys time and time again throughout the blissful journey that is Sunbather.
Thursday, December 12, 2013
Albums of the Year - #10: My Bloody Valentine - "m b v"
Rating: 8.2/10
Perhaps the most exhilirating album release this year was My Bloody Valentine's stellar comeback record, m b v. Unsigned to any major record label, the Dublin-based band and unchallanged kings of shoegaze felt it best to simply make the album available for digital download or physical purchase on their website. Evidently, they either underestimated how much traffic they would receive or overestimated the strength of their servers, as the site crashed within minutes. Considering it was the group's first release since 1991's legendary Loveless, and had been rumored to be in production since 1992, m b v was easily one of the most highly-anticipated indie releases of all time. So, naturally, when the group came out of the blue with a whole new record, thousands instantly tried to purchase it. Think of it like shoegaze's Detox, except it actually saw the light of day and isn't destined to be a disappointment. The site's crashing produced some pretty entertaining reactions online as excited fans were teased by the knowledge that there was new My Bloody Valentine music out there which they were unable to hear.
Perhaps the most exhilirating album release this year was My Bloody Valentine's stellar comeback record, m b v. Unsigned to any major record label, the Dublin-based band and unchallanged kings of shoegaze felt it best to simply make the album available for digital download or physical purchase on their website. Evidently, they either underestimated how much traffic they would receive or overestimated the strength of their servers, as the site crashed within minutes. Considering it was the group's first release since 1991's legendary Loveless, and had been rumored to be in production since 1992, m b v was easily one of the most highly-anticipated indie releases of all time. So, naturally, when the group came out of the blue with a whole new record, thousands instantly tried to purchase it. Think of it like shoegaze's Detox, except it actually saw the light of day and isn't destined to be a disappointment. The site's crashing produced some pretty entertaining reactions online as excited fans were teased by the knowledge that there was new My Bloody Valentine music out there which they were unable to hear.
Monday, December 9, 2013
Albums of the Year - #11: HAIM - "Days Are Gone"
Rating: 8.0/10
HAIM have had quite the year. After generating buzz last year with their three-song EP Forever, this band of sisters took 2013 with the hook-laced Days Are Gone. Melodious harmonies, plucky guitar riffs, and skittish drum beats characterized the indie-pop record that landed on numerous year-end lists. Several fesitval shows and an SNL appearance later, HAIM have been labeled by many as the best new artist of 2013. (Though they missed out on a Best New Artist nod at the upcoming GRAMMY Awards thanks to a confusing nomination process.)
Over the two months between my original review of the record and this one, my love for Days Are Gone has only strengthened, thus the jump up from a 7.1 rating to a flat eight. Songs like "Forever" and "The Wire" are undeniable pieces of pop-rock gold. On "Forver," the start-stop coordination between the bass and drums give the song a nervous feel as main vocalist Danielle is joined by sisters Este and Alana for the chorus. "The Wire" rides on the backbone of a riff that could've been plucked straight from Rumours, incorporating keys and thundering drums for the hook. "Always keep your heart locked tight/don't let your mind retire," urges Danielle. A miniture guitar solo takes prominence right at the track's conclusion.
HAIM have had quite the year. After generating buzz last year with their three-song EP Forever, this band of sisters took 2013 with the hook-laced Days Are Gone. Melodious harmonies, plucky guitar riffs, and skittish drum beats characterized the indie-pop record that landed on numerous year-end lists. Several fesitval shows and an SNL appearance later, HAIM have been labeled by many as the best new artist of 2013. (Though they missed out on a Best New Artist nod at the upcoming GRAMMY Awards thanks to a confusing nomination process.)
Over the two months between my original review of the record and this one, my love for Days Are Gone has only strengthened, thus the jump up from a 7.1 rating to a flat eight. Songs like "Forever" and "The Wire" are undeniable pieces of pop-rock gold. On "Forver," the start-stop coordination between the bass and drums give the song a nervous feel as main vocalist Danielle is joined by sisters Este and Alana for the chorus. "The Wire" rides on the backbone of a riff that could've been plucked straight from Rumours, incorporating keys and thundering drums for the hook. "Always keep your heart locked tight/don't let your mind retire," urges Danielle. A miniture guitar solo takes prominence right at the track's conclusion.
Saturday, December 7, 2013
Albums of the Year - #12: Lorde - "Pure Heroine"
Rating: 7.7/10
Editor's Note: This review will be more "big picture" analysis than track-by-track descriptions. If you want a more direct look at this album's music, read my review of the record from earlier this year at the link below.
http://factsforwhatever.blogspot.com/2013/10/albums-of-week-lorde-haim-and-yuck-new.html
Two months ago, I gave the newly-released Pure Heroine the same rating you see above. In my review, I emphasized how mature Lorde sounds for her age. Now 17, the teenage Kiwi singer has so far stood by her message of avoiding over-indulgence and hasn't let the fame get to her head. Some feared her down-to-earth quality might evaporate once she reached the level exposure she's currently at, but there haven't been signs of that happening to date.
Editor's Note: This review will be more "big picture" analysis than track-by-track descriptions. If you want a more direct look at this album's music, read my review of the record from earlier this year at the link below.
http://factsforwhatever.blogspot.com/2013/10/albums-of-week-lorde-haim-and-yuck-new.html
Two months ago, I gave the newly-released Pure Heroine the same rating you see above. In my review, I emphasized how mature Lorde sounds for her age. Now 17, the teenage Kiwi singer has so far stood by her message of avoiding over-indulgence and hasn't let the fame get to her head. Some feared her down-to-earth quality might evaporate once she reached the level exposure she's currently at, but there haven't been signs of that happening to date.
Thursday, December 5, 2013
Albums of the Year - #13: Local Natives - "Hummingbird"
Rating: 7.6/10
The second album from L.A.-based indie rockers Local Natives, the airy, lighthearted Hummingbird suffers from a classic case of having excellent singles but also possessing way too much filler. The record is strongest when the band are at their most ambitious, and is weakest when the songs become simpler and less involved. Still, there aren't really any bad songs on Hummingbird; only boring ones. The album at times is dark, something the group's 2009 debut Gorilla Manor did not forge towards, or at least not as successfully. The lyrics were apparently influenced by the death of singer/multi-instrumentalist Kelcey Ayer's mother and the departure of original bassist Andy Hamm.
The more morose tunes are some of the album's best moments, as it doesn't get much better than the opening one-two punch of "You & I" and "Heavy Feet." The former utilizes an edgy drum beat and mysterious guitar twists that sit under a confused, wandering vocal. "When did your love go cold? The closer I get, the farther I have to go" cries Ayer. The song reaches a climax during the bridge, as an early break of "oh"'s, horns, and tribal drums gives way to one of the best-sung notes of the year. Accompanied by an even sadder video, "You & I" nabbed the #27 spot on my countdown of the year's best individual songs. When I had the pleasure of seeing these guys live at this past September's Boston Calling, this song was the definite show-stopper during their set. It's one of this young band's best songs to date, and definitely their most mature one.
"You & I"'s partner-in-crime in starting off Hummingbird is even more impressive. "Heavy Feet" focuses in on a complex drum beat, complimented with handclaps and stellar bass play, and features excellent overall sound thanks to album producer and The National member Aaron Dessner. The change in intensity between the verse and chorus is more than noticable, as the guitar tones make the song bigger than expected.
The group clearly draws influence from fellow up-and-comers Grizzly Bear, most evident on songs like "Bowery" and "Black Balloons." Each feature vocal harmonies and dreamy guitar work. Other notable songs include "Wooly Mammoth," a relentless and frantic track, and "Ceilings," a more relaxing but still enjoyable song.
Still, there are some duds that you wish had been modified or scrapped altogether, and this really holds the album as a whole back. "Three Months" feels like it lasts for three months, though the official track length reads about four and a half minutes. "Columbia" is a piano ballad that never quite seems to come together. The record is also top-heavy, which disrupts the flow greatly; arguably the two best tracks are the first two, and the only other truly stellar song comes fifth on the setlist.
That fifth song is "Breakers," another drum-heavy song with jangly guitars, though this time the chorus soars above the clouds and seems to be enjoying itself. In the chorus, the band's other vocalist, Taylor Rice, sings, "breathing out only to breathe in, I know nothing's wrong but I'm not convinced." A wave of hi-hats and "ooh"'s overtake the breathtaking chorus.
Hummingbird is a strong effort that arguably produced Local Natives' two best songs to date. However, it is less consistent throughout than Gorilla Manor, and has its dull moments. Nevertheless, some tracks are so superb and others are still far enough above average that Hummingbird certainly warranted a place on my top 15.
Key Tracks: "You & I," "Heavy Feet," "Breakers"
The second album from L.A.-based indie rockers Local Natives, the airy, lighthearted Hummingbird suffers from a classic case of having excellent singles but also possessing way too much filler. The record is strongest when the band are at their most ambitious, and is weakest when the songs become simpler and less involved. Still, there aren't really any bad songs on Hummingbird; only boring ones. The album at times is dark, something the group's 2009 debut Gorilla Manor did not forge towards, or at least not as successfully. The lyrics were apparently influenced by the death of singer/multi-instrumentalist Kelcey Ayer's mother and the departure of original bassist Andy Hamm.
The more morose tunes are some of the album's best moments, as it doesn't get much better than the opening one-two punch of "You & I" and "Heavy Feet." The former utilizes an edgy drum beat and mysterious guitar twists that sit under a confused, wandering vocal. "When did your love go cold? The closer I get, the farther I have to go" cries Ayer. The song reaches a climax during the bridge, as an early break of "oh"'s, horns, and tribal drums gives way to one of the best-sung notes of the year. Accompanied by an even sadder video, "You & I" nabbed the #27 spot on my countdown of the year's best individual songs. When I had the pleasure of seeing these guys live at this past September's Boston Calling, this song was the definite show-stopper during their set. It's one of this young band's best songs to date, and definitely their most mature one.
"You & I"'s partner-in-crime in starting off Hummingbird is even more impressive. "Heavy Feet" focuses in on a complex drum beat, complimented with handclaps and stellar bass play, and features excellent overall sound thanks to album producer and The National member Aaron Dessner. The change in intensity between the verse and chorus is more than noticable, as the guitar tones make the song bigger than expected.
The group clearly draws influence from fellow up-and-comers Grizzly Bear, most evident on songs like "Bowery" and "Black Balloons." Each feature vocal harmonies and dreamy guitar work. Other notable songs include "Wooly Mammoth," a relentless and frantic track, and "Ceilings," a more relaxing but still enjoyable song.
Still, there are some duds that you wish had been modified or scrapped altogether, and this really holds the album as a whole back. "Three Months" feels like it lasts for three months, though the official track length reads about four and a half minutes. "Columbia" is a piano ballad that never quite seems to come together. The record is also top-heavy, which disrupts the flow greatly; arguably the two best tracks are the first two, and the only other truly stellar song comes fifth on the setlist.
That fifth song is "Breakers," another drum-heavy song with jangly guitars, though this time the chorus soars above the clouds and seems to be enjoying itself. In the chorus, the band's other vocalist, Taylor Rice, sings, "breathing out only to breathe in, I know nothing's wrong but I'm not convinced." A wave of hi-hats and "ooh"'s overtake the breathtaking chorus.
Hummingbird is a strong effort that arguably produced Local Natives' two best songs to date. However, it is less consistent throughout than Gorilla Manor, and has its dull moments. Nevertheless, some tracks are so superb and others are still far enough above average that Hummingbird certainly warranted a place on my top 15.
Key Tracks: "You & I," "Heavy Feet," "Breakers"
Tuesday, December 3, 2013
Albums of the Year - #14: Mikal Cronin - "MCII"
Rating: 7.5/10
Sunday, December 1, 2013
Albums of the Year - #15: Daft Punk - "Random Access Memories"
Rating: 7.4/10
The most instantly recognizable track off Random Access Memories is lead single "Get Lucky," a summertime smash hit which featured Pharrell Williams on vocals. Built around a funky guitar riff and Pharell's falsetto, the single went triple platinum in the United States and sold over seven million copies worldwide. However, unlike other recent chart-toppers, "Get Lucky" had critics raving, and the so-called "return of disco" was declared perhaps over-optimistically.
Wednesday, November 27, 2013
Top 75 Songs of 2013
With very little music expected to be released this December, and as other music blogs beginning their 2013 round-up processes, I figured I'd do the same. To start, I'll be ranking (though not reviewing) my seventy-five favorite songs of this calendar year below & embedding a Spotify playlist containing each song listed descending from #1 down to #75. Feel free to post your top 10's/20's etc. in the comments below, and expect a more in-depth countdown of 2013's best records over the course of December.
75. Vampire Weekend - "Hannah Hunt"
74. Nine Inch Nails - "Various Methods of Escape"
73. Deerhunter - "Back to the Middle"
72. Pearl Jam - "Mind Your Manners"
71. Sky Ferreira - "24 Hours"
70. CHVRCHES - "The Mother We Share"
69. Washed Out - "Weightless"
68. Balance and Composure - "Reflection"
67. HAIM - "Forever"
66. Washed Out - "Entrance"
Thursday, October 31, 2013
Album of the Week: Arcade Fire - "Reflektor"
Rating: 9.7/10
"Do you like rock and roll music?" asks Win Butler at the beginning of "Normal Person," before answering his own question with a half-hearted "'cause I don't know if I do." It's a fair question to ask, based on the way Reflektor sounds. For their fourth record, Arcade Fire have ditched their former anthemic indie style for a synthed-out, danceable, new-wave direction for the majority of the new tunes. Guitars do not play nearly as large a role on Reflektor as they did on any of the band's previous three releases; the same can be said about violins. Instead, the samba-influenced drum beats have moved to the forefront, giving several songs an upbeat, exhilarating pace. Butler told Rolling Stone last week that the band "just wanted to make a record Regine could dance to." The thirteen-track double album sounds like a party all the way through, though it's lyrics tell a different story.
"Do you like rock and roll music?" asks Win Butler at the beginning of "Normal Person," before answering his own question with a half-hearted "'cause I don't know if I do." It's a fair question to ask, based on the way Reflektor sounds. For their fourth record, Arcade Fire have ditched their former anthemic indie style for a synthed-out, danceable, new-wave direction for the majority of the new tunes. Guitars do not play nearly as large a role on Reflektor as they did on any of the band's previous three releases; the same can be said about violins. Instead, the samba-influenced drum beats have moved to the forefront, giving several songs an upbeat, exhilarating pace. Butler told Rolling Stone last week that the band "just wanted to make a record Regine could dance to." The thirteen-track double album sounds like a party all the way through, though it's lyrics tell a different story.
Sunday, October 6, 2013
Album(s) of the Week: Lorde, HAIM, and Yuck New Albums
Thanks to it being the deadline for qualification for the upcoming Grammy awards, this was a big week for new releases and, frankly, it would've been unjust to only review one and ignore the other two. So, while the three records aren't necessarily equally good, they're all worth your while. Choosing just one would be unfair to the other two, which in slower weeks would absolutely grab the top slot. So, instead of one longer review, I'll be briefly discussing three new releases from this past Monday: Lorde's "Pure Heroine," "Days Are Gone" by HAIM, and Yuck's "Glow & Behold."
Lorde - Pure Heroine
Rating: 7.7/10
By now, you've probably heard Lorde's story; 16-year-old New Zealand singer hits it big in the US with "Royals," making her one of 2013's breakthrough artists. It's astounding how such a young musician can make music as mature-sounding as the songs on Pure Heroine. This would be an impressive album from an already established artist, so the fact that it's a debut album from a teenage star is even more remarkable. The typical 16-year-old starlet is a Disney-manufactured singer whose music is aimed towards preteens and young children. Lorde's music, on the other hand, sounds experienced, cultured, and serious.
Pure Heroine is refreshing in that it incorporates some of pop's stronger elements in a minimalist way all the while mocking the lyrical content of mainstream music. On "Royals," her breakthrough hit, Lorde sings of being fed up with pop stars and hit rappers bragging about luxury and excess. After leading in with "but every song's like," she lists all of the things Top 40 lyrics mention that are unattainable by the fans listening to those lyrics. It's a very down to earth song, especially considering her age, and hopefully her fans pick up on the message and demand more realistic and relatable lyrics from their pop stars.
"Team" has a similar tone to it. For the main hook, Lorde croons "I'm kind of over getting told to throw my hands up in the air," pointing out the ridiculous number of songs that contain a similar lyric. ("Applause," "Boom Boom Pow," "Party in the USA," "Single Ladies," and "California Girls" just to name a few.) Her sultry voice is being put to good use, as it is rare a popular crossover artist so openly criticizes pop music. Ironically, now, "Royals" has gone platinum and is currently #1 on the Billboard charts, meaning now Lorde's music in the same place the songs she had been critiquing had inhabited.
Other highlights of the album include "Ribs," free on iTunes right now, which incorporates angelic harmonies splendidly, and "Tennis Court," a song that says money isn't everything. Lorde has a rare opportunity to really change the pop culture landscape for the better. Her minimalist sound is so far pretty universally liked, as it uses elements of pop, hip-hop, electronica, and indie to create an excellent crossover album. Her music is reaching millions of ears, and thus so is her message of stronger lyrical content. It's up to the world to decide whether to listen or not.
HAIM - Days Are Gone
Rating: 7.1/10
Fleetwood Mac comparisons aside, HAIM (pronounced so that it rhymes with 'time') are an excellent band in their own right. This trio of sisters know how to write a song, and are pretty apt instrumentalists as well. Days Are Gone is a jittery, upbeat record full of evidence of songwriting genius. The band is clearly influenced by '70's classic rock, but this album could just have easily been released in 1985 as 1977 or 2013. Essentially, there's no clear label for Days Are Gone. It sounds extremely modern yet still pays tribute to Americana, '80's keyboards, and all of the 1970's.
Simply put, the album is a collection of fasntastic tunes that are a lot of fun to listen to. "Falling" opens the album with nice guitar work and vocal gasps. "Forever" shuffles along for four minutes, characterized by jumpy drum beats and a fast-spoken vocal track. "The Wire" is the track that draws the most Fleetwood Mac comparisons, and understandably so.
The album's best song, in my opinion, is the '80's-tinged "Don't Save Me." The plucky guitar track creeps up and down the fretboard, and HAIM's vocals have never sounded as full. Handclaps, hi-hat hits, and cowbell fence in the chorus, while keyboard flourishes let it soar.
These girls mean business and, like Lorde, lived up to their hype and should hope to capitalize on their early success.
Yuck - "Glow & Behold"
Rating: 6.7/10
If HAIM were a 1970's throwback, Yuck is absolutely the '90's alt-rock sound transposed to 2013 production values. The sophomore album from this British band, Glow & Behold is Yuck's first without former lead singer Daniel Blumberg, who sang and wrote most of the songs on their self-titled debut. Other founding member/core songwriter Max Bloom now tales the reigns, filling in on lead vocals for the band's follow up. Whereas their debut was distorted and fuzzier, Yuck's newest record is cleaner, clearer, and more polished. Yuck had excellent energy and guitar work, but so does Glow & Behold. It's not quite up to par with their debut, but Glow & Behold turned out much better than expected, with many followers skeptical that band could live on without Blumberg.
"Middle Sea" is the album's standout single, and could've been plucked straight from the group's debut. The guitar riff is addictive, and the entire song charges ahead relentlessly. The song sounds like somethiing Dinosaur Jr. would have written, if they were English and in their 20's again. "Rebirth" is clearly shoegaze-influenced, and it's fair to say you could see My Bloody Valentine performing a track like this one. Echoing guitars add to the song immensely, as is common for a Yuck song.
The whole album is a pretty pleasant listen, at times possibly a little too pleasant. Some songs sound a little too corny and soft, like the slow-moving "How Does It Feel," or the needlessly lengthy "Somewhere." Still, it's good to see Yuck making solid music after the loss of such a key member.
This may have been a big week for music, but there's still a handful of exciting releases already announced for this fall. With Pearl Jam, Arcade Fire, and others on the way, it's going to be one great conclusion to an already fantastic year for music.
As always, check out key songs from the album(s) reviewed this week below.
Lorde - Pure Heroine
Rating: 7.7/10
By now, you've probably heard Lorde's story; 16-year-old New Zealand singer hits it big in the US with "Royals," making her one of 2013's breakthrough artists. It's astounding how such a young musician can make music as mature-sounding as the songs on Pure Heroine. This would be an impressive album from an already established artist, so the fact that it's a debut album from a teenage star is even more remarkable. The typical 16-year-old starlet is a Disney-manufactured singer whose music is aimed towards preteens and young children. Lorde's music, on the other hand, sounds experienced, cultured, and serious.
Pure Heroine is refreshing in that it incorporates some of pop's stronger elements in a minimalist way all the while mocking the lyrical content of mainstream music. On "Royals," her breakthrough hit, Lorde sings of being fed up with pop stars and hit rappers bragging about luxury and excess. After leading in with "but every song's like," she lists all of the things Top 40 lyrics mention that are unattainable by the fans listening to those lyrics. It's a very down to earth song, especially considering her age, and hopefully her fans pick up on the message and demand more realistic and relatable lyrics from their pop stars.
"Team" has a similar tone to it. For the main hook, Lorde croons "I'm kind of over getting told to throw my hands up in the air," pointing out the ridiculous number of songs that contain a similar lyric. ("Applause," "Boom Boom Pow," "Party in the USA," "Single Ladies," and "California Girls" just to name a few.) Her sultry voice is being put to good use, as it is rare a popular crossover artist so openly criticizes pop music. Ironically, now, "Royals" has gone platinum and is currently #1 on the Billboard charts, meaning now Lorde's music in the same place the songs she had been critiquing had inhabited.
Other highlights of the album include "Ribs," free on iTunes right now, which incorporates angelic harmonies splendidly, and "Tennis Court," a song that says money isn't everything. Lorde has a rare opportunity to really change the pop culture landscape for the better. Her minimalist sound is so far pretty universally liked, as it uses elements of pop, hip-hop, electronica, and indie to create an excellent crossover album. Her music is reaching millions of ears, and thus so is her message of stronger lyrical content. It's up to the world to decide whether to listen or not.
HAIM - Days Are Gone
Rating: 7.1/10
Fleetwood Mac comparisons aside, HAIM (pronounced so that it rhymes with 'time') are an excellent band in their own right. This trio of sisters know how to write a song, and are pretty apt instrumentalists as well. Days Are Gone is a jittery, upbeat record full of evidence of songwriting genius. The band is clearly influenced by '70's classic rock, but this album could just have easily been released in 1985 as 1977 or 2013. Essentially, there's no clear label for Days Are Gone. It sounds extremely modern yet still pays tribute to Americana, '80's keyboards, and all of the 1970's.
Simply put, the album is a collection of fasntastic tunes that are a lot of fun to listen to. "Falling" opens the album with nice guitar work and vocal gasps. "Forever" shuffles along for four minutes, characterized by jumpy drum beats and a fast-spoken vocal track. "The Wire" is the track that draws the most Fleetwood Mac comparisons, and understandably so.
The album's best song, in my opinion, is the '80's-tinged "Don't Save Me." The plucky guitar track creeps up and down the fretboard, and HAIM's vocals have never sounded as full. Handclaps, hi-hat hits, and cowbell fence in the chorus, while keyboard flourishes let it soar.
These girls mean business and, like Lorde, lived up to their hype and should hope to capitalize on their early success.
Yuck - "Glow & Behold"
Rating: 6.7/10
If HAIM were a 1970's throwback, Yuck is absolutely the '90's alt-rock sound transposed to 2013 production values. The sophomore album from this British band, Glow & Behold is Yuck's first without former lead singer Daniel Blumberg, who sang and wrote most of the songs on their self-titled debut. Other founding member/core songwriter Max Bloom now tales the reigns, filling in on lead vocals for the band's follow up. Whereas their debut was distorted and fuzzier, Yuck's newest record is cleaner, clearer, and more polished. Yuck had excellent energy and guitar work, but so does Glow & Behold. It's not quite up to par with their debut, but Glow & Behold turned out much better than expected, with many followers skeptical that band could live on without Blumberg.
"Middle Sea" is the album's standout single, and could've been plucked straight from the group's debut. The guitar riff is addictive, and the entire song charges ahead relentlessly. The song sounds like somethiing Dinosaur Jr. would have written, if they were English and in their 20's again. "Rebirth" is clearly shoegaze-influenced, and it's fair to say you could see My Bloody Valentine performing a track like this one. Echoing guitars add to the song immensely, as is common for a Yuck song.
The whole album is a pretty pleasant listen, at times possibly a little too pleasant. Some songs sound a little too corny and soft, like the slow-moving "How Does It Feel," or the needlessly lengthy "Somewhere." Still, it's good to see Yuck making solid music after the loss of such a key member.
This may have been a big week for music, but there's still a handful of exciting releases already announced for this fall. With Pearl Jam, Arcade Fire, and others on the way, it's going to be one great conclusion to an already fantastic year for music.
As always, check out key songs from the album(s) reviewed this week below.
Saturday, September 14, 2013
Fall Music Preview
2013 has been a year full of excellent album releases, and that pattern looks set to continue with a bevy or promising records set to drop in the upcoming months. Just some of the artists putting out new releases this fall include:
Grouplove (Sept. 17th)
The Naked and Famous (Sept. 17th)
Chvrches (Sept. 24th)
Deer Tick (Sept. 24th)
Kings of Leon (Sept. 24th)
Mazzy Star (Sept. 24th)
HAIM (Sept. 30th)
Lorde (Oct. 1st)
Moby (Oct. 1st)
Yuck (Oct. 1st)
Cage the Elephant (Oct. 8th)
Cults (Oct. 15th)
Pearl Jam (Oct. 15th)
TLC (Oct. 15th)
Best Coast (Oct. 22nd)
Arcade Fire (Oct. 29th)
Cut Copy (Nov. 5th)
MIA (Nov. 5th)
Cloud Nothings also may or may not be releasing something at the tail end of the year, but we'll have to wait and see whether they or anybody else surprises us and drops a new album before 2013 is up.
To get you geared up for this slew of upcoming new music, preview some of the albums mentioned by listening to a few of the lead singles below. You can also find a complete list of anticipated releases here, courtesy of Metacritic.
Grouplove (Sept. 17th)
The Naked and Famous (Sept. 17th)
Chvrches (Sept. 24th)
Deer Tick (Sept. 24th)
Kings of Leon (Sept. 24th)
Mazzy Star (Sept. 24th)
HAIM (Sept. 30th)
Lorde (Oct. 1st)
Moby (Oct. 1st)
Yuck (Oct. 1st)
Cage the Elephant (Oct. 8th)
Cults (Oct. 15th)
Pearl Jam (Oct. 15th)
TLC (Oct. 15th)
Best Coast (Oct. 22nd)
Arcade Fire (Oct. 29th)
Cut Copy (Nov. 5th)
MIA (Nov. 5th)
Cloud Nothings also may or may not be releasing something at the tail end of the year, but we'll have to wait and see whether they or anybody else surprises us and drops a new album before 2013 is up.
To get you geared up for this slew of upcoming new music, preview some of the albums mentioned by listening to a few of the lead singles below. You can also find a complete list of anticipated releases here, courtesy of Metacritic.
Monday, September 9, 2013
Song of the Week: Arcade Fire - "Reflektor"
It's finally here. Three years removed from their Grammy-Album-of-the-Year-winning The Suburbs, indie giants Arcade Fire are back with their brand-new single "Reflektor." The song marks a bit of a left turn for the band, who have ditched their sincere, folksy sound for a more dangerous new-wave style. The track clocks in at just over seven and a half minutes, and features alternating vocals from married lead singers Win Butler and Régine Chassagne. Typically only one will sing lead on a given track, but "Reflektor" contains more cooperation on a vocal track between the two singers than seen on the previous three records. It's an all-out blitz of glamorous new-wave synth swirls and disco drum beats, and it's truly fantastic. The song is by far the longest in Arcade Fire's discography, surpassing Funeral closer "In the Backseat" by over a minute. It's been a good year overall for longer tracks, with Kurt Vile's "Wakin On a Pretty Day" and Deafheaven's "Dream House" both seeing moderate success within their genres despite being over nine minutes long. "Refelktor" gets me even more excited for the Canadian group's upcoming album, due out October 29th. The song, which were supposed to be released at 9:00 PM (EST) today, leaked early. As a result, Arcade Fire have gone ahead and published the correlating music video to YouTube early as well, all set for you to watch & listen below.
Friday, September 6, 2013
Album of the Week: Nine Inch Nails - "Hesitation Marks"
Rating: 7.8/10
Trent Reznor's one-man industrial machine Nine Inch Nails has done it again. Coming off a hiatus in which he scored The Social Network, The Girl With the Dragon Tattoo, earning an Oscar in the process for the former, he's left no doubt that he's still got the amazing musical talent that was so evident on 1994's extremely dark The Downward Spiral. During this time he also wrote the theme for the immensely popular first-person shooter Call Of Duty's latest installment, Call of Duty: Black Ops II, as well as his first release as How to Destroy Angels. Now, he's gone back to what made him famous in the first: making great Nine Inch Nails record.
Released this past Tuesday, Hesitation Marks can be seen mainly as a toned-down version of The Downward Spiral. Dark themes are still present, but the instrumentation and production are less harsh, the lyrics less vulgar and more nuanced. This is not to say the album is weak in any way; comparing an album's intensity to The Downward Spiral is like comparing an album's angst to Nevermind; it just can't be beat. Instead, Hesitation Marks wallows in a more subtle kind of despair, one that's less direct and more hushed. Whereas The Downward Spiral showcased youthful fury and turmoil, Hesitation Marks manifests a more mature anger, with somewhat hopeful moments shining through every now and again. Still, it's a considerably grim album, categorized by repeating keyboard blips and Reznor's signature growl. It's one of those records that gets better with each listen - streaming it as I write, I'm noticing things I hadn't picked up on before and I don't think I've yet enjoyed it more than I am right now.
Instrumental opener "The Eater of Dreams" sets an eerie tone straight from the get go just by its title alone. The fifty-three second track creaks along before distorted yells make their way into the mix, preparing the listener for the next thirteen tracks aptly. Up next is the bleak "Copy of A," which opens with an unembellished keyboard riff and gradually evolves into a full-on synth wash in a similar manner to the second half of Reznor's controversial and explicit hit "Closer." Violent lyrics are still present here ("I am just the finger on a trigger"), but so are more introspective ones ("I am just a shadow of a shadow of a shadow, always trying to catch up with myself"). It's one of the stronger songs here, and deserved its single status.
Lead single "Came Back Haunted" slots in at third, and contains some of the best lyrics and melodies on the record. Reznor's vocals really stand out here, as he sings with a sense of renewal after an apparent near-death experience ("Saw some things on the other side"). The synth work here is magnificent here as well, and I consider it the best song on the record.
"Find My Way" is definitely one the quieter, slower, simpler songs on the album, but it also one of the most desperate ones. A disjointed drum pattern and poignant lyrics such as "Lord my path has gone astray, I'm just trying to find my way" depict an older Reznor possibly regretting some of his actions. The first four tracks of the album are all fantastic in their own unique way, which speaks volumes to how great of a musical mind Trent Reznor is.
Nine Inch Nails' aggressive, intimidating side only appears in small glimpses on Hesitation Marks, but more cynical moments can be found on tracks five and six, "All Time Low" and "Disappointed." "All Time Low" is certainly the more violent of the two, with lyrics like "get down on the floor" speaking for themselves. The second of the two is more of a warning than anything else, as a muffled Reznor cautions the listener, "If i were you, I wouldn't trust a single word I say." Reznor has always been an extremely intelligent guy, and his albums tend to follow one of two paths; either he tries to make a political statement, as he did with "The Hand That Feeds" and the entire Year Zero record, or he writes an album exploring the depths of human psyche, usually the negative parts. The latter of the two is definitely what he's going for here, and I think it's both more unique and effective. While many other bands have used music to speak their minds, Reznor's personal struggles give him a rare combination of insight into feelings of depression and the musical genius to portray those emotions accurately. Reznor's music has always been pretty emotionally transparent, and the schizophrenic seventh song "Everything" embodies this excellently.
"Everything" starts of as a jovial, head-bopping pop-punk riff & vocal line one might find on a Jimmy Eat World album. But, if one listens closely, there is a hint of cynicism in his voice as he sings "I've survived everything," but not without a dash of pride. Soon, however, the apparent happiness of the verse transforms into a panicked, quickly derailing chorus that calls the speaker's sanity into question. "All the walls begin dissolve away," Reznor states without bothering to add the particle 'to' to the infinitive, adding, "Do your hands begin to shake, shake, shake, shake, shake?" Then the verse returns, more content than ever before. This wild swing of emotions will absolutely catch you off guard, another thing Reznor does so well. The song may be talking about someone who is saying goodbye and has conflicting emotions of peace and terror.
Though still strong, the second half of the album drags on a little too long, and some of the songs begin to blend together. Standout tracks here the slow-burning "Various Methods of Escape," the pleading "I Would For You," and the looming instrumental finisher "Black Noise."
All in all, Hesitation Marks covers all of the expected bases from a Nine Inch Nails record and then some. Songs like "Came Back Haunted" and "Everything" are immediate classics, fitting in seamlessly with other legendary NIN tracks. "Copy Of A," "Find My Way," and hold their ground as well and should by no means be overlooked. While there's nothing that compares to the gloomy masterpiece "Hurt" here, and nothing is quite as abrasive as past songs like "Heresy" or "Big Man With a Big Gun," Reznor's latest output is still something to take notice off. The man's a legend, and shows that nearly twenty years after his most insurmountable achievement and almost 25 years into a career that he still has what it takes to mark a beautifully dark album. Listen to key tracks below, and check out some of Nine Inch Nail's other works on iTunes/YouTube/Spotify, etc. while you're at it.
Key tracks: "Copy of A," "Came Back Haunted," "Find My Way," "Everything"
Trent Reznor's one-man industrial machine Nine Inch Nails has done it again. Coming off a hiatus in which he scored The Social Network, The Girl With the Dragon Tattoo, earning an Oscar in the process for the former, he's left no doubt that he's still got the amazing musical talent that was so evident on 1994's extremely dark The Downward Spiral. During this time he also wrote the theme for the immensely popular first-person shooter Call Of Duty's latest installment, Call of Duty: Black Ops II, as well as his first release as How to Destroy Angels. Now, he's gone back to what made him famous in the first: making great Nine Inch Nails record.
Released this past Tuesday, Hesitation Marks can be seen mainly as a toned-down version of The Downward Spiral. Dark themes are still present, but the instrumentation and production are less harsh, the lyrics less vulgar and more nuanced. This is not to say the album is weak in any way; comparing an album's intensity to The Downward Spiral is like comparing an album's angst to Nevermind; it just can't be beat. Instead, Hesitation Marks wallows in a more subtle kind of despair, one that's less direct and more hushed. Whereas The Downward Spiral showcased youthful fury and turmoil, Hesitation Marks manifests a more mature anger, with somewhat hopeful moments shining through every now and again. Still, it's a considerably grim album, categorized by repeating keyboard blips and Reznor's signature growl. It's one of those records that gets better with each listen - streaming it as I write, I'm noticing things I hadn't picked up on before and I don't think I've yet enjoyed it more than I am right now.
Instrumental opener "The Eater of Dreams" sets an eerie tone straight from the get go just by its title alone. The fifty-three second track creaks along before distorted yells make their way into the mix, preparing the listener for the next thirteen tracks aptly. Up next is the bleak "Copy of A," which opens with an unembellished keyboard riff and gradually evolves into a full-on synth wash in a similar manner to the second half of Reznor's controversial and explicit hit "Closer." Violent lyrics are still present here ("I am just the finger on a trigger"), but so are more introspective ones ("I am just a shadow of a shadow of a shadow, always trying to catch up with myself"). It's one of the stronger songs here, and deserved its single status.
Lead single "Came Back Haunted" slots in at third, and contains some of the best lyrics and melodies on the record. Reznor's vocals really stand out here, as he sings with a sense of renewal after an apparent near-death experience ("Saw some things on the other side"). The synth work here is magnificent here as well, and I consider it the best song on the record.
"Find My Way" is definitely one the quieter, slower, simpler songs on the album, but it also one of the most desperate ones. A disjointed drum pattern and poignant lyrics such as "Lord my path has gone astray, I'm just trying to find my way" depict an older Reznor possibly regretting some of his actions. The first four tracks of the album are all fantastic in their own unique way, which speaks volumes to how great of a musical mind Trent Reznor is.
Nine Inch Nails' aggressive, intimidating side only appears in small glimpses on Hesitation Marks, but more cynical moments can be found on tracks five and six, "All Time Low" and "Disappointed." "All Time Low" is certainly the more violent of the two, with lyrics like "get down on the floor" speaking for themselves. The second of the two is more of a warning than anything else, as a muffled Reznor cautions the listener, "If i were you, I wouldn't trust a single word I say." Reznor has always been an extremely intelligent guy, and his albums tend to follow one of two paths; either he tries to make a political statement, as he did with "The Hand That Feeds" and the entire Year Zero record, or he writes an album exploring the depths of human psyche, usually the negative parts. The latter of the two is definitely what he's going for here, and I think it's both more unique and effective. While many other bands have used music to speak their minds, Reznor's personal struggles give him a rare combination of insight into feelings of depression and the musical genius to portray those emotions accurately. Reznor's music has always been pretty emotionally transparent, and the schizophrenic seventh song "Everything" embodies this excellently.
"Everything" starts of as a jovial, head-bopping pop-punk riff & vocal line one might find on a Jimmy Eat World album. But, if one listens closely, there is a hint of cynicism in his voice as he sings "I've survived everything," but not without a dash of pride. Soon, however, the apparent happiness of the verse transforms into a panicked, quickly derailing chorus that calls the speaker's sanity into question. "All the walls begin dissolve away," Reznor states without bothering to add the particle 'to' to the infinitive, adding, "Do your hands begin to shake, shake, shake, shake, shake?" Then the verse returns, more content than ever before. This wild swing of emotions will absolutely catch you off guard, another thing Reznor does so well. The song may be talking about someone who is saying goodbye and has conflicting emotions of peace and terror.
Though still strong, the second half of the album drags on a little too long, and some of the songs begin to blend together. Standout tracks here the slow-burning "Various Methods of Escape," the pleading "I Would For You," and the looming instrumental finisher "Black Noise."
All in all, Hesitation Marks covers all of the expected bases from a Nine Inch Nails record and then some. Songs like "Came Back Haunted" and "Everything" are immediate classics, fitting in seamlessly with other legendary NIN tracks. "Copy Of A," "Find My Way," and hold their ground as well and should by no means be overlooked. While there's nothing that compares to the gloomy masterpiece "Hurt" here, and nothing is quite as abrasive as past songs like "Heresy" or "Big Man With a Big Gun," Reznor's latest output is still something to take notice off. The man's a legend, and shows that nearly twenty years after his most insurmountable achievement and almost 25 years into a career that he still has what it takes to mark a beautifully dark album. Listen to key tracks below, and check out some of Nine Inch Nail's other works on iTunes/YouTube/Spotify, etc. while you're at it.
Key tracks: "Copy of A," "Came Back Haunted," "Find My Way," "Everything"
New Arcade Fire Song Coming Monday
Arcade Fire, winner of Grammy Album of the Year for 2010's The Suburbs, have announced the release date for their newest single, "Reflektor." It premieres (online, assumedly?) at 9:00 PM on 9/9, which is this upcoming Monday. The song is the first single from their upcoming album by the same name, due out in late October. Other than two tracks for the Hunger Games film soundtrack, the haunting "Abraham's Daughter" and instrumental flourish "Horn of Plenty," which was used as the national anthem of the governing body in the film. The song will also be accompanied by a music video upon release. The band has done an excellent job of keeping everything about the new record under wraps, with not even the slightest detail, let alone any of the music, leaking online from any source other than the band itself. All three of their records have been outstanding, and yet have still varied greatly from one another. Where Funeral was raw, Neon Bible was dark and The Suburbs was nostalgic. No one really knows what to expect from Reflektor, but Arcade Fire haven't let us down yet, so I'm sure it will be a major highlight on an ever-increasing list of great albums released this year. Check back here next week where, barring a particularly heavy Monday night workload, I'll have the song posted.
Sunday, August 25, 2013
VMA 2013 Not-So-Live Blog
Busy day at the beach means I have the VMA's on DVR - will be fastforward commercials, etc., so eventually I may catch up. Either way, make sure to keep refreshing the article page for every update!
Most excited for Kanye's performance and Gaga.
Gaga imitating Timberlake's "bring it on down to ___ville" SNL skit.
Man can she sing, though. Systematic boos throwing me off.
Mom - "She looks possessed."
Dad - "Is this a Bond song?"
Camera angles making this look like a Palladia concert
Two costume changes in two minutes - she should go for the world record one day.
Still think the song is nothing special, another plain old dance track.
Creepy bird in the back
Unfortunately I think she's losing a bit of her touch. This performance isn't on par with some of her others - remember when she method-acted as a man?
Best pop video: Mars' video looks like an instagram, Miley's just bizarre, Timberlake's makes me dizzy. Hope fun. of Selena wins, those videos are kind of interesting.
Can live with that. Little suprised considering it's public vote, expected Timberlake or Miley to win because their songs are the most recent.
Happy for Janelle Monae, she's pretty talented. Wish "Sacrilege" had beaten out "Suit & Tie" for best direction.
Forgot Daft Punk were performing, they should be good.
Is that Vanessa Bayer?
She really likes her tongue...
Nothing screams "serious artist" like a former Disney star dancing with demonized teddy bears in an extremely suggestive way
The difference in her singing ability and Lady Gaga's is startling and vcry apparent after hearing them back to back.
Even people like Rihanna have no idea what on earth Miley is doing
OH HE'S WEARING STRIPES BECAUSE THE SONG IS "BLURRED LINES" AND STRIPES ARE LIKE LINES FOR CLOTHES SO CLEVER
Mom - "He looks like he's in prison."
Me - "He should be."
Foam finger... why?
2 Chainz... why?
Could this be any more random? Contemporary art glitter-fied, massive female dancers, eight songs in one, Miley being trashy, and skylights. Plus out-of-tune singing.
Brother - "It's like I'm watching an alien subculture."
How many times have they said Brooklyn so far?
Best hip-hop: Hope Macklemore wins. Got good intentions, inoffensive songs, fun/meaningful videos.
Clearly Iggy & Lil Kim hadn't rehearsed... "you just say who wins..."
Kevin Hart's back, but not hosting...
Yet another Brooklyn home-fan catering....
Twitter says Eminem announced an album and something about a TLC movie...
Also think Lamar's SNL performance was better than his VMA performance
Artist to watch- rooting for Twenty One Pilots & The Weeknd
Jared Leto looking like Bret Michaels. Guy knows how to make a video
Weezy time. Wish he were doing "New Slaves" and not "Black Skinhead." Gonna take this all in- be back in a jiffy
This isn't "Black Skinhead" as I was told it would be... he was singing though rather than rapping, which is very 808's and Heartbreak
Can't see anything.... just silhouettes and the backdrop
Kind of pointless to have two entire lines of the song bleeped out...
He jumped around a lot, and sang well, but it wasn't what I was hoping for. Guess I should've expected a minimalist performance based on Yeezus
That is one shiny Daft Punk video
Oh they're just presenting... why shouldn't they play?
DREADS
Best female video: "Stay" should win. Well-written song, fitting video.
Knew it would be Swift. Popular vote, folks
Where's Kanye now? Demi Lovato made one of the most average videos of all time. ALL TIME
Also Miley & P!nk both had teddy bears in their videos.
Best song w/ social message is a really great, innovative category.
Says a lot that Macklemore's pro-gay song won by popular vote, esp. when you consider the constituency.
He's a pretty well-spoken guy
He just echoed my earlier post, good for him for standing up for what he believes in and taking a big risk in the process
Ed Sheeran just chilling in the back
Another Robin Thicke video with an inordinate number of hashtags, Awesome.
Passion Pit & Taco Bell? Could be a match made in Heaven.
Jimmy Fallon!
They've been hyping this... Timberlake & the not-so-secret NYSNC renunion better be good
"I'm bringing boy bands back" - Justin Timberlake, "SexyBack (2013 Remix by me)"
Everyone kind of agrred this album wasn't great right? Songs too long, weird production, boring tracks
Timberlake without a fedora is like no Timberlake at all.
Is that rape prevention organization still angry with him?
The man is talented, there's no denying that - but I prefer him as an actor, specifically as an SNL host
Medleys make it feel like the Superbowl halftime show. Who's gonna do that this year anyways? Holding out small hope for Foo Fighters (most realistic) and/.or Radiohead or Arcade Fire (still pretty popular)
Joey Fatone looks ridiculous
Timberlake-d out, this has been like a 10 minute performance. This never ends, just like a 20/20 Experience song.
Zing.
Gaga doing her best Little Mermaid imitation with the clam bikini
Lifetime achievement award at age 32 is pretty impressive
Why is Kevin Hart still here? His first bit wasn't funny at all...
Vampire Weekend! Everyone's favorite awkward geniuses!
Seriously though, love those guys. Ezra is a talented dude
If "Get Lucky" isn't song of the summer the world might explode. It hasn't yet so I assume it won.
Honestly. Daft Punk indisputably dominated EVERY music niche this summer, and a One Direction pat-yourself-on-the-back song that's been out a month? You live by the popular vote, you die by the popular vote.
Surprise appearance from Jason Collins, MTV really pushing this. Nothing wrong with that IMO.
Weird to see a song with actual meaningful lyrics top the charts.
Could be a big moment... turning point of sorts, having the American flag as the backdrop. Being an independent artist (as Macklemore is) allows him to take more risks
Here comes TLC to make their beig announcement
Left-Eye hologram doing Waterfalls and No Scrubs PLEASE
You were on Degrassi, argument invalid
No sign of Bieber anywhere. Luckily.
Or Nicki Minaj. Night getting better by the minute
Best Male Video: Sheeran's video is histerical, so it should be him, but...
DAT HEIGHT DIFFERENCE
Bruno's was fine, I guess. Sheeran's was awesome, though. In fact, here it is.
That's Ron Weasley (Rupert Grint) folks
Mars does have great stage presence, I'll give him that. Something about his voice bugs me sometimes, though.
Mars managed to give a good performance without doing anything crazy - just good old fashioned singing (I think he's a good singer, his actual voice just isn't for me though) and some really flashy lights.
Video of the Year: Should be "Thrift Shop" out of the five. Looked like a lot of fun to make
God Mirrors is so on-the-nose. Song is "Mirrors" and the video takes place in a hall of mirrors. Honestly.
In a perfect world, "You & I" by Local Natives would have won. Will post more about that later though...
Sweet that he thanked his grandmother.
Katy Perry looks EXACTLY like Monica Gellar (Friends) right now.
All in all, a lot of "Brooklyn"'s, about 800 shots of T-Swizzle, and a lack of recognition for the great videos this year. Had I chosen the nominees for Video of the Year,, it would've looked something like this:
Yeah Yeah Yeahs - "Sacrilege"
Local Natives - "You & I"
Yeah Yeah Yeahs - "Despair"
Vampire Weekend - "Diane Young"
MGMT - "Your Life Is A Lie"
The Joy Formidable - "This Ladder Is Ours"
'Til next year.
Most excited for Kanye's performance and Gaga.
Gaga imitating Timberlake's "bring it on down to ___ville" SNL skit.
Man can she sing, though. Systematic boos throwing me off.
Mom - "She looks possessed."
Dad - "Is this a Bond song?"
Camera angles making this look like a Palladia concert
Two costume changes in two minutes - she should go for the world record one day.
Still think the song is nothing special, another plain old dance track.
Creepy bird in the back
Unfortunately I think she's losing a bit of her touch. This performance isn't on par with some of her others - remember when she method-acted as a man?
Best pop video: Mars' video looks like an instagram, Miley's just bizarre, Timberlake's makes me dizzy. Hope fun. of Selena wins, those videos are kind of interesting.
Can live with that. Little suprised considering it's public vote, expected Timberlake or Miley to win because their songs are the most recent.
Happy for Janelle Monae, she's pretty talented. Wish "Sacrilege" had beaten out "Suit & Tie" for best direction.
Forgot Daft Punk were performing, they should be good.
Is that Vanessa Bayer?
She really likes her tongue...
Nothing screams "serious artist" like a former Disney star dancing with demonized teddy bears in an extremely suggestive way
The difference in her singing ability and Lady Gaga's is startling and vcry apparent after hearing them back to back.
Even people like Rihanna have no idea what on earth Miley is doing
OH HE'S WEARING STRIPES BECAUSE THE SONG IS "BLURRED LINES" AND STRIPES ARE LIKE LINES FOR CLOTHES SO CLEVER
Mom - "He looks like he's in prison."
Me - "He should be."
Foam finger... why?
2 Chainz... why?
Could this be any more random? Contemporary art glitter-fied, massive female dancers, eight songs in one, Miley being trashy, and skylights. Plus out-of-tune singing.
Brother - "It's like I'm watching an alien subculture."
How many times have they said Brooklyn so far?
Best hip-hop: Hope Macklemore wins. Got good intentions, inoffensive songs, fun/meaningful videos.
Clearly Iggy & Lil Kim hadn't rehearsed... "you just say who wins..."
Kevin Hart's back, but not hosting...
Yet another Brooklyn home-fan catering....
Twitter says Eminem announced an album and something about a TLC movie...
Also think Lamar's SNL performance was better than his VMA performance
Artist to watch- rooting for Twenty One Pilots & The Weeknd
Jared Leto looking like Bret Michaels. Guy knows how to make a video
Weezy time. Wish he were doing "New Slaves" and not "Black Skinhead." Gonna take this all in- be back in a jiffy
This isn't "Black Skinhead" as I was told it would be... he was singing though rather than rapping, which is very 808's and Heartbreak
Can't see anything.... just silhouettes and the backdrop
Kind of pointless to have two entire lines of the song bleeped out...
He jumped around a lot, and sang well, but it wasn't what I was hoping for. Guess I should've expected a minimalist performance based on Yeezus
That is one shiny Daft Punk video
Oh they're just presenting... why shouldn't they play?
DREADS
Best female video: "Stay" should win. Well-written song, fitting video.
Knew it would be Swift. Popular vote, folks
Where's Kanye now? Demi Lovato made one of the most average videos of all time. ALL TIME
Also Miley & P!nk both had teddy bears in their videos.
Best song w/ social message is a really great, innovative category.
Says a lot that Macklemore's pro-gay song won by popular vote, esp. when you consider the constituency.
He's a pretty well-spoken guy
He just echoed my earlier post, good for him for standing up for what he believes in and taking a big risk in the process
Ed Sheeran just chilling in the back
Another Robin Thicke video with an inordinate number of hashtags, Awesome.
Passion Pit & Taco Bell? Could be a match made in Heaven.
Jimmy Fallon!
They've been hyping this... Timberlake & the not-so-secret NYSNC renunion better be good
"I'm bringing boy bands back" - Justin Timberlake, "SexyBack (2013 Remix by me)"
Everyone kind of agrred this album wasn't great right? Songs too long, weird production, boring tracks
Timberlake without a fedora is like no Timberlake at all.
Is that rape prevention organization still angry with him?
The man is talented, there's no denying that - but I prefer him as an actor, specifically as an SNL host
Medleys make it feel like the Superbowl halftime show. Who's gonna do that this year anyways? Holding out small hope for Foo Fighters (most realistic) and/.or Radiohead or Arcade Fire (still pretty popular)
Joey Fatone looks ridiculous
Timberlake-d out, this has been like a 10 minute performance. This never ends, just like a 20/20 Experience song.
Zing.
Gaga doing her best Little Mermaid imitation with the clam bikini
Lifetime achievement award at age 32 is pretty impressive
Why is Kevin Hart still here? His first bit wasn't funny at all...
Vampire Weekend! Everyone's favorite awkward geniuses!
Seriously though, love those guys. Ezra is a talented dude
If "Get Lucky" isn't song of the summer the world might explode. It hasn't yet so I assume it won.
Honestly. Daft Punk indisputably dominated EVERY music niche this summer, and a One Direction pat-yourself-on-the-back song that's been out a month? You live by the popular vote, you die by the popular vote.
Surprise appearance from Jason Collins, MTV really pushing this. Nothing wrong with that IMO.
Weird to see a song with actual meaningful lyrics top the charts.
Could be a big moment... turning point of sorts, having the American flag as the backdrop. Being an independent artist (as Macklemore is) allows him to take more risks
Here comes TLC to make their beig announcement
Left-Eye hologram doing Waterfalls and No Scrubs PLEASE
You were on Degrassi, argument invalid
No sign of Bieber anywhere. Luckily.
Or Nicki Minaj. Night getting better by the minute
Best Male Video: Sheeran's video is histerical, so it should be him, but...
DAT HEIGHT DIFFERENCE
Bruno's was fine, I guess. Sheeran's was awesome, though. In fact, here it is.
That's Ron Weasley (Rupert Grint) folks
Mars does have great stage presence, I'll give him that. Something about his voice bugs me sometimes, though.
Mars managed to give a good performance without doing anything crazy - just good old fashioned singing (I think he's a good singer, his actual voice just isn't for me though) and some really flashy lights.
Video of the Year: Should be "Thrift Shop" out of the five. Looked like a lot of fun to make
God Mirrors is so on-the-nose. Song is "Mirrors" and the video takes place in a hall of mirrors. Honestly.
In a perfect world, "You & I" by Local Natives would have won. Will post more about that later though...
Sweet that he thanked his grandmother.
Katy Perry looks EXACTLY like Monica Gellar (Friends) right now.
All in all, a lot of "Brooklyn"'s, about 800 shots of T-Swizzle, and a lack of recognition for the great videos this year. Had I chosen the nominees for Video of the Year,, it would've looked something like this:
Yeah Yeah Yeahs - "Sacrilege"
Local Natives - "You & I"
Yeah Yeah Yeahs - "Despair"
Vampire Weekend - "Diane Young"
MGMT - "Your Life Is A Lie"
The Joy Formidable - "This Ladder Is Ours"
'Til next year.
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