Album Review: Born To Die -Lana Del Rey

Lana Del Rey has the Youtube generation to thank for her rise to “fame.” After her video for the song “Video Games” went viral, the pouty, self-proclaimed “gangsta Nancy Sinatra” became the center of online attention –both good and bad. The people that loved her couldn’t get enough, and the haters still reported on every move she made. Her somewhat alouf past, both professionally and pesonally, has been the subject of many blogs and music critics alike. But after bombing her US television debut on SNL, plenty of doubt has been placed on whether or not Del Rey is for real. Now after months of waiting, Del Rey has dropped her debut album, Born To Die. Unfortunately for the budding songstress, it’s not doing her case any favors.

Born To Die opens with the slow-burning “Video Games.” The song is still as beautiful as ever with its cascading string-section and soft piano. While Del Rey sings, “It’s you, it’s you, it’s all for you” it’s hard to tell if she’s sincere or not. Unfortunately, this doubt spills into the entire record. Like “Video Games,” tracks like “Without You” and “Dark Paradise” show Del Rey’s vulnerability, but at the same time make her sound like mellow-dramatic. The album’s constant theme is a love that Del Rey plans to hang on to forever, regardless of circumstance. While it may be relatable, it gets boring, needy even, and leaves her sounding desperate rather than strong.

While some of the tracks find themselves drowning in party clichés (the song “This Is What Makes Us Girls” even nausiatingly so) and youth rebellion, you can’t deny that they’re catchy. “National Anthem,” “Off to the Races,” and “Born To Die” are epic in some sense, but don’t convey any more power or prowess than the others. It’s Del Rey’s attitude that makes these songs stand out. Whether her sexuality is subtle or not, these songs are alluring and take more than one listen. Other tracks like “Million Dollar Man,” “Lolita,” and “Lucky Ones” are differently formulated, almost jazz-like. Del Rey’s husky vocals captivate, until her borderline-baby talk jolts the listener back.

The downside to Born To Die is that, although it’s her major label debut, it sounds amateurish. There doesn’t seem to be any real effort to make each track stand out while being cohesive and sounding like a complete record. Lana’s American teen runaway love story falls flat in the sense that it all seems one-dimensional. Hopefully on her sophomore effort, there’s a stronger sense of self-assurance, which should inspire new narratives and sounds. Born To Die wasn’t the ambitious, refreshing pop album we were all rooting for. Instead, it’ stagnant and repetitive. Maybe alter-egos aren’t the way to go anymore, maybe Lizzy Grant should make her return. **5.7/10

Album Review: Reign Of Terror -Sleigh Bells

In 2010, Brookyln-based rock duo Sleigh Bells released their full-length debut, Treats. What followed was a slew of tour dates, festival appearances, and raucous moshpits of zealous fans wanting to hear songs like “Infinity Guitars,” “Crown on the Ground,” and “Rill Rill.” Since then, the band was hard at work on their sophomore effort, Reign of Terror. On December 2, 2011, a teaser trailer was released, showing singer Alexis Krauss and guitarist Derek Miller looking ready for battle. On Reign of Terror, a battle does ensue, but between the band’s use of hard and soft sounds.

The album opens with “True Shred Guitar” and it’s exactly that. A live introduction to the raw power that is Sleigh Bells, you can hear the crowd going wild for Krauss and Miller. But while the first track is the noise-rock the band has become synonymous with, Reign of Terror has little “terror” to it at all. What follows are tracks with strong pop and r&b sensibilities with guitar accompaniments that seem to hug the songs rather than give them a good punch in the face.

Tracks like “Born to Lose” and “End of the Line” are mid-tempo, showcasing the sonic change. But while “Born to Lose” comes in heavy, “End of the Line” is mellow, with recognizable r&b influences. Though the foray into something more mellow is new for the band, and fans, the change of pace is complimentary to what follows. “Crush” an “Comeback Kid” are quintessential Sleigh Bell’s rallying songs. Krauss’ vocal come complete with bad-ass, almost cheer chants while Miller’s loud riffs duke it out with step-team beats. “Comeback Kid” features the catchiest hook on the album and the backbeat is absolutely punishing.

Reign of Terror is vastly more accessible than the riotous Treats. The band’s near ballad, “You Lost Me” is the album’s most beautiful track, creating a dream-like atmosphere around glistening arpeggios and lyrics like “You’re holding hands through your favorite bands.” But where there is accessibility, there’s still that hard-hitting intimidation factor. “Leader of the Pack” is definitely not a cover of the Shangri-La’s classic, but a track that busts down the door to make room for other tracks like “Demons” –an evil, yet oddly seductive, romp where Miller’s guitar battles Krauss’ roar, and “Never Say Die.” The opposite of the inviting “You Lost Me,” “Never Say Die” is creepy, nightmareish even. The vocals are shapeless and vaguely ghost-like while the mix of a constant, rumbling drum and repetitious guitar scale are spine-tingling.

While the album may not be the mosh-inducing fanfare that drew crowds as Treats did, Reign of Terror is good, REALLY good. What separates Sleigh Bells from everyone else is the control of loud, hard, and soft. Lyrically and sonically, Miller and Krauss have grown. Whether they’ve grown enough to be comfortable in the music they’re creating and true to the sound they’ve created remains to be seen. But the next time Sleigh Bells comes to town, I’ll be there –that’s for sure. **7.5/10

Top 35 of 2011

As another year comes to an end, I dug through the trash to find a few jems that made 2011 a pretty good year for music. If you're even the least bit curious as to why I chose these albums, PLEASE ask. I'd love to annoy and talk your ear off in order to explain why my musical taste is superior -I joke :)

1. Suck It & See –Arctic Monkeys
2. 21 –Adele
3. Dye It Blonde –Smith Westerns
4. Ceremonials –Florence + The Machine
5. Father, Son, Holy Ghost –Girls
6. Skying –The Horrors
7. Blood Pressures –The Kills
8. Strange Mercy –St. Vincent
9. Let England Shake –PJ Harvey
10. Wounded Rhymes –Lykke Li
11.El Camino –The Black Keys
12. King of Limbs –Radiohead
13. What Did You Expect From The Vaccines? –The Vaccines
14. Bon Iver –Bon Iver
15. Wild Flag –Wild Flag
16. Lioness: Hidden Treasures –Amy Winehouse
17. Only In Dreams –Dum Dum Girls
18. Mirror Traffic –Stephen Malkmus & The Jicks
19. Smoke Ring for My Halo –Kurt Vile
20. Watch The Throne –Jay-Z & Kanye West
21. Hurry Up We’re Dreaming –M83
22. Helplessness Blue – Fleet Foxes
23. Little Hell –City & Colour
24. Wasting Light –Foo Fighters
25. Wild Flag – Wild Flag
26. All At Once –Airborne Toxic Event
27. Cat’s Eyes –Cat’s Eyes
28. The Rip Tide –Beirut
29. 4 –Beyonce
30. As If EP –Sky Ferriera
31. Wild One –North Highlands
32. Colour of the Trap –Miles Kane
33. Last Summer –Eleanor Friedberger
34. Year of Hibernation –Youth Lagoon
35. Rome –Danger Mouse & Daniele Luppi

If you're curious as to why Angles by The Strokes did not make this list, it's because -after listening to the album OBSESSIVELY since March and having a small Albert Hammond, Jr intervention in early October -I realized that the 5 PRETTY GOOD songs on Angles can not outdo the other 5 HORRIBLE songs. Also, my favorite Strokes album is Room On Fire -and that's a LOT to live up to.

Album Review: El Camino -Black Keys

The Black Keys have been providing music fans with real-deal rock & roll since their 2002 debut, The Big Come Up. The duo, comprised of vocalist/guitarist Dan Auerbach and drummer Patrick Carney, put Akron, Ohio on the map with their modern spin on the classic rock sound. Their mainstream breakthrough, Brothers, marked the band’s unyielding success –winning 3 Grammy awards. Their latest effort, El Camino, is already topping ‘Best of 2011’ lists. But where Brothers was more soulful and bluesy, El Camino is roughly 39 minutes of fast-paced, rock & roll.

El Camino’s lead-off single, “Lonely Boy” opens with what sounds like a purring el camino about to take off -go figure. It’s 3 minutes of hip-shaking accompanied by soulful “oh oh’s” and the story of a love that keeps singer Dan Auerbach waiting. If the instant, viral success of the track’s video wasn’t enough to keep you tuned in, listening to this song turned all the way up will. The following, “Dead and Gone” is reminiscent of the polished sound of Brothers’ “Tighten Up.” What stands out on both of these tracks is the furious restraint in Patrick Carney’s drumming. It’s hard, but controlled, adding just enough to each song to make it standout on its own.

“Gold on the Ceiling” features a bass/keys riff similar to last year’s “Howlin’ for You.” Auerbach’s slightly muffled vocal provide the track with a garage sound and is bound to be a single. El Camino’s standout track is “Little Black Submarines.” Dare I compare it to Zeppelin’s “Stairway to Heaven?” Maybe I won’t be so bold, but the song structure is there. The slower, acoustic beginning that makes the listener feel that they may be at a Renaissance fair, then slowly the drum kicks in, a soft organ adds climatic effect, and finally Auerbach’s heavy guitar –bringing the song into the 21st century. Clocking in at 4 minutes, it’s also the longest song on the record –but it’s worth listening to every second.

Tracks like “Money Maker,” “Run Right Back,” and “Nova Baby” are nods to the sexy, ‘70s tracks by rock giants like T.Rex and ZZ Top. What the Black Keys and producer Danger Mouse did was glam up what the band was already great at producing –real rock and roll for a society that has “club-ready” dance tracks take over radio waves and television sets. El Camino oozes confidence and sex appeal that wasn’t as apparent in the band’s previous efforts. Right now, this is the right sound for the Black Keys and the glam and polish on their retro, garage rock suits them well. **9.2/10

Album Review: Ceremonials -Florence + the Machine

In 2009, British songstress Florence Welch captivated music lovers with her soulful vocals and wonderfully theatrical songs. Florence + the Machine’ debut album, Lungs, went on to sell millions thanks to the commercial success of tracks like “Dog Days are Over” and “Cosmic Love.” Her sophomore effort, Ceremonials, is a sonic continuation of what makes Florence a true original and shows that she is a force to be reckoned with.

The album’s opener, “Only If For a Night” is a melodic feast of subtle harps and keys. Each track is a tale of love, whether it’s letting go of love or finding it. The theme is packaged in poetic lyrics and almost tribal drumming as each song unfolds itself. The released singles, “Shake It Out” and “What the Water Gave Me” represent the conceptual fight that runs throughout the whole record.

While Florence stuck with her unique sound and didn't give into whatever commerical success "Dog Days" had, there are new elements that show Ceremonials as a progressive growth. There are still theatrics, but there’s more of a soul undertone that is complimented by background vocals. The tracks “Lover to Lover” and "Spectrum" are reminiscent of gospel/soul songs from the ‘70s. Other tracks are true to now Florence + the Machine classics. “No Light, No Light” is similar to “Cosmic Love” while the dark ballad, “Seven Devils” seems like a sequel to “Heavy in Your Arms.”

The driving force that deems this record a true masterpiece is that Welch has completely embraced her lower register, giving the album a distinct, mature sound. Ceremonials is vocally and sonically stunning. Die-hard fans will appreciate the fact that she stayed true to herself and where she’s from instead of partnering with mega-pop producers like Dr. Luke or Timbaland. This latest effort shows that theatre and drama can be accessible and beautiful in contemporary music, and Welch proves that she’s that style’s queen. **10/10

Album Review: Mylo Xyloto -Coldplay

Since the late ‘90s, college kids and adult-alternative fans alike have turned to Coldplay for songs to help them get in touch with their deep, emotional side. Whether it’s a song with meaningful, somewhat melancholy lyrics that sounds like pop bliss or a piano-driven anthem, Coldplay has trascended leaps and bounds over their competition. With the upcoming release of their fifth, studio album Mylo Xyloto, Chris Martin and Co. remind their devoted fans why the love them and their critics why they don’t.

With a push in the “weird” direction, Mylo Xyloto balances its R&B influences with industrial rock overtones and quintessential piano jams. The album plays with the ideas of addiction and escape, heavy and light, fast and slow, love and hate. But while its predecessor Viva La Vida was clear in its concept, this album is muddled with Martin’s vocals often being outshined by the instrumentation and production distortions.

Irrelevant storyline aside, each song should be taken for what it is. Tracks like “Hurts Like Heaven,” “Don’t Let It Break Your Heart,” and “Paradise” are masterpieces within themselves. Each track is joyful, festival-ready, and embody a certain flare that has been a part of Coldplay’ aesthetic since the beginning. While these tracks are not completely disconnected from the sonic ideals of Viva La Vida, the obvious R&B, dance feel is fresh and exciting.

The album’s standout track is also its most peculiar. “Princess of China” features vocals from Rihanna, a pairing more unexpected than Coldplay’s pairing with producer, Brian Eno. As unnatural the feeling of these two artists finding a common ground, everything works. The cascading keys add an originality to the song when in contrast with the acoustic guitar. While it can be said that this song is the band’s attempt at a huge radio hit, it shouldn’t be tossed aside as just that. This track in particular shows growth and confidence (and still would even without Rihanna’s help).

While Coldplay diehards may be put off by the dance feel of many tracks, there are moments of classic Coldplay that remind the listener of greats such as “Yellow,” “Shiver,” and “The Scientist.” Chris Martin’s quintessential loveletter rears its head on the track “Us Against the World” and “Up With the Birds.” The piano remains gentle, complimentary Martin’s almost-raspy vocals and seminal falsetto.

As Mylo Xyloto appears to be pretty perfect, the “bore” and “pretentious” tags that have become assimilated with the band are still there. “U.F.O.” does its best to draw influences from U2, but fades into the background and the 3 track intermissions don’t add any musical merit or interest to the album as a whole. Also, the fact that the album has 14 tracks could be assumed that each song was “too important” to leave behind (and some could have been).

Shortcomings aside, Coldplay is who it is. The British entity has said that this could be their last record, let’s hope not. **8.2/10

Review: The Way Sound Leaves A Room - Sarah Jaffe

For the current generation, a strong female presence, stripped of auto-tune and fuzzy distortions, is hard to come by. But Texan-native Sarah Jaffe may just be the perfect contender to take that title –and own it to its fullest capacity. Reminiscent of an early Sarah McLachlan with an endearing brood and raw vocal power, Jaffe brings more than honesty and a hypnotic, ethereal melancholy to the 8 tracks that make up The Way Sound Leaves A Room.

To make a more current comparison, Jaffe’s sound is right up there with the likes of Beach House, Laura Marling, and even Mumford & Sons. The opening track, “All That Time” is ethereal at its simplest, with echoing vocal layers. Much like other tracks, “The Way Sound Leaves a Room” and “Clementine” –instrumentation takes a backseat to Jaffe’s truly beautiful vocals and round melodies and harmonies. The roughness of her tone sounds perfect in juxtaposition to her feminine lyrical content, “I wish I was more delicate.”

While the first half of the EP leans more to a relaxed, singer-songwriter vibe –the second half shows Jaffe testing out new boundaries with a subtle hip-hop influence. From her cover of Drake’s “Shut It Down” to her own song, “When You Rest.” Other stand-out tracks that turn up the tempo with sexy bass lines and an almost danceable groove are “A Sucker For Your Marketing” –which is too short and leaves the listener wanting more, and “Louder Than Ever”, which is much more than relatable. The latte track is poetic and yearning, almost as if Jaffe left the purest part of her soul on the floor.

In all honesty, the only negative I have about this EP is that some tracks feel like incomplete thoughts. Whether Jaffe ran out of words or chords to create something new, a few tracks can become those songs that transport the listener back to a special time and place where they first heard it. **9.6/10