My crush on Zombie Boy continues...

Review: Dedication -Zomby

The upcoming release from Zomby, a Brit producer of dubstep and Eskibeat, is full of electro beats and beeps. The album, Dedication, isn’t a far jump from his previous works but that’s not necessarily a bad thing. The cold, almost gothic overtone on the album is welcomed change from the constant pounding from the likes of groups such as Crystal Castles. Not to say the record can’t hold its own among this new era of electronic music. While the album relies on the simpler state of things, it has moments of high energy and bits of nostalgia for the ‘90s rave scene.

The album’s sixteen tracks flow with a cinematic drama about them. The earlier tunes, “Natalia’s Song” and “Witch Hunt” are slower, setting the mood for what’s to come. It’s almost as if the listener is entering a haunted house complete with cathedral-esque echoes. From then on, tracks like “Vortex” and “Digital Rain” completely amplify the record to its climax. It’s high heart-rate, accessible dance music that could be played alongside anything to create a new, musical atmosphere.

As a conclusion, Zomby returns to a mellow lucidity with tracks like “Haunted” ,which is driven by what sounds like violins accompanied by a piano, and “Mozaik” ,which sounds like ending credits to a video game. What’s great about the end of the record is that it feels whole –as if it perfectly punctuated Zomby’s every thought.

While the album may be an acquired taste for some, it’s worth listening to. In the United States, at least, dubstep and “rave” music have been pigeon-holed as having to contain heavy bass and the same, repetitious set of keys and synths. With Dedication, the “genre” is more artistically crafted rather than slapped on due to sonic appeal. **8.3/10

Review: A Flower in Your Head -John Gold

Los Angeles singer/songwriter John Gold recently released his third, proper studio album A Flower in Your Head. With two of the album’s tracks already making it into rotation thanks to MTV shows like Teen Wolf and 16 & Pregnant, this new effort is getting Gold some well-respected attention. However, solid tracks aside, the album falls short due to lack of standout moments and sense of direction.

The album is singer/songwriter at its most cliché. Sonically, there is (and maybe unintentional) influence from bands like Augustana, Hanson, and the Honorary Title. The theme of the “broken relationship” runs its course through tracks like “Vampire’s Kiss” and “Augusta Vail.” But, where it succeeds is in the track, “Baby It’s Your Life” which is the most interesting track including vocal distortions during an infectious chorus that break-up the monotonous tone of the other songs.

As a whole, the record’s atmosphere is subtle –almost fading into the background. Half of the album includes acoustics and piano that put you to sleep rather than make you want to continue listening. The album’s unnecessary “Interlude” and the song “The Flower in My Head” are simply boring. Too much emphasis is placed on the lyrics making the listening tedious.

The other half of the record shows Gold really falter. Tracks like “We Get High” and “Honeymade” include dance beats and keys that show Gold’s muddled sense of direction. The idea of “commercialism” can plague an unknown singer/songwriter, but Gold seems like he’s trying too hard to find some type of success and room to fit into any specific genre.

Though the cons of the album outweigh its pros, there are a few solid tracks that show promise for future works. “Skyscraper”, “Thursday” and “The Loop” can stand on their own amongst an album of underwhelming pop songs. Though he has three albums under his belt, Gold still doesn’t know who he is musically. Hopefully he discovers his true inspirations and sound and can finally release the album that catapults him to stardom. **5.6/10

Review: Alexander -Alexander Ebert

Alexander Ebert, the enigmatic frontman of neo-hippie jam band, Edward Sharpe & the Magnetic Zeros, has released his first solo effort Alexander. There’s not a huge, musical jump from the sound of Edward Sharpe, but the difference lies in Alexander’s sheer simplicity. What Ebert has created is 11 of the best campfire songs influenced by one of the best eras of music –the ‘60s.

As a whole, the record shines with influences from the obvious Bob Dylan, to The Byrds, and even Sam Cooke. Ebert sounds like he should’ve been born early enough to enjoy California’s Summer of Love in the late sixties than in the late seventies Los Angeles. Sonically, the record roots itself in acoustic rockabilly and southern toe-tapping, hand-clapping jams. The album’s best numbers hold that at its core, but incorporate subtle touches of blues, Motown, and even reggae.

Tracks like “Bad Bad Love” and “Glimpses” are soulful and stripped down with Ebert’s higher register strongly echoing. “Bad Bad Love” is the edgiest track, and the only track featuring a recognizable bass sound, while “Glimpses” is reminiscent of Sam Cooke’s classic “A Change is Gonna Come.” A truly standout track, “Truth” features Ebert almost rapping over a slightly reggae groove accompanied by a breathy saxophone accompaniment.

While the softer moments on the record seem to stand out the most, songs like “Let’s Win!”, “Awake My Body”, and the Traveling Wilburys-esque love song “A Million Years” are lively accounts directed towards the youth of this generation with a hint of nostalgia for a simpler time. On “Let’s Win!”, Ebert speaks for the lost, singing “I hear myself screaming for the truth!” The track “In the Twilight” even proposes the question, “Would you call the Earth an asshole?”

While the album could have the unfortunate fate of being deemed homage to Bob Dylan (the track “Awake My Body” features background vocals that sound uncannily like the legend), there’s more to it. To generalize it as such or even a stripped version of Edward Sharpe would take away the beauty of it. Nothing is overly-produced, not too many hands have touched it. It’s beauty is in its simplicity and what was created is a breath of fresh air accented with a welcomed bit of nostalgia. **9.0/10

Keeping Busy

Hello shy (I'm assuming) yet dedicated readers!

I have to say, I'm really loving writing for Napiers News. There's some really great stuff coming up so be sure to visit the page and browse :) I'm reviewing two new albums now so when they're posted -check. them. out. PLEASE. Writing these is only furthering my LOVE of reviewing, music, etc. Speaking of which -did anyone see Pirate Radio?

If you haven't -PLEASE find a way to get your hands on it. If you LOVE music; geek over it, debate it, would make love to it -you NEED to see this film. The cast is great, Philip Seymour Hoffman's as yet another a rock and roll connoisseur (of course, my favorite performance as Lester Bangs in the movie that changed my life Almost Famous), DJ "The Count." As well as Robert Pattinson's BFF and fellow hottie, Tom Sturridge and cinema's triple threat Kenneth Branagh (actually, he may be a quadruple threat). The ending -and this could just be me being an overly emotional being, I cried.




Can I just say -I was born in the COMPLETELY WRONG DECADE! If I was a teenager in the 60s...damn ;)

My Body's a Zombie for You

Song of the Day

"Thunder Road" -Bruce Springsteen.


The screen door slams
Mary' dress waves
Like a vision she dances across the porch
As the radio plays
Roy Orbison singing for the lonely
Hey that's me and I want you only
Don't turn me home again
I just can't face myself alone again
Don't run back inside
Darling you know just what I'm here for
So you're scared and you're thinking
That maybe we ain't that young anymore
Show a little faith there's magic in the night
You ain't a beauty but hey you're alright
Oh and that's alright with me

Review: Bon Iver -Bon Iver

In 2007, Justin Vernon independently released Bon Iver’s debut For Emma, Forever Ago. The album year lists, and won several awards. The long-awaited follow-up, simply entitled Bon Iver, is the spring-like compliment to For Emma’s songs of wintery sadness.

The last the music world heard of Bon Iver before this record was Vernon’s collaboration with Kanye West on the track “Lost in the World” from West’s masterpiece My Beautiful, Dark, Twisted Fantasy. That influence trickled into Vernon’s own work on this record. Tracks like “Calgary” and “Hinnom, TX” both contain synth that bring an almost danceable life into the record. Other tracks, “Michicant” and “Minnesota, WI” have a progressive, R&B feel to them. “Minnesota, WI” has a slight, Jamaican groove feel to it while “Michicant” has distortions that create an affect that is completely new terrain for Bon Iver.

With remnants of R&B being peppered amongst the classic acoustic strings, there is a slight country feel to the record. The song “Towers” is the liveliest on the album, the complete opposite of the wintery sounds on For Emma. Along with the rollicking country groove, it’s got a slight blues tone that is also accompanied by violins.

“Holocene”, “Perth” and “Wash” are quintessential, Bon Iver tracks. The heart-breakingly beautiful lyrics and acoustic guitar are what made this band’s debut the success it was. But where “Holocene” and “Perth” have the ethereal, Vernon vocals, build-ups of snare drums, and soft keyboards, “Wash” stays consistent with a soft piano. “Wash” is by far the sleepiest track on the album, but its counterparts make the album special.

“Wash” isn’t the only track that holds the album back. The instrumental “Lisbon” really serves no purpose. At its most rudimentary, it’s a prelude to the album finale, “Beth/Rest.” The final track roots itself deep in ‘80s, synth-pop. Vernon’s vocals have the most production I have ever heard on a Bon Iver record. He almost sounds like Chris Martin of Coldplay.

While Bon Iver is often put in the same category of bands such as Iron & Wine, this album shows Justin Vernon’s growth as a lyricist and composer. There’s no lack of emotion or heart on this record. The problem seems to be fitting the influence into each song to make it a cohesive album. Where the songs are most upbeat and lively, the band shines. To the band’s credit however, you do get lost in the music and there’s nothing wrong with that. **8.0/10

Review: Goblin -Tyler, The Creator

As the leader of the rap collective Odd Future (fully entitled Odd Future Wolf Gang Kill Them All), Tyler, the Creator has made a name for himself through his music as well as his antics. Whether it’s getting involved in a war of words with Sara of the Canadian-indie act Tegan & Sara, or getting arrested for “disturbing the peace”, Tyler is as unapologetic as his twenty-year old self allows. His latest release, Goblin, is a track by track account of his life –from growing up without a father, to finding first loves, to teen angst and eventual fame. What the leader of hip-hop’s new sonic wave is saying is a force to be reckoned with.

Goblin is a follow-up to his self-released debut Bastard. What continues is Tyler’s own psycho-analysis of himself; tracks that include and distorted voice (Tyler’s own) act as a therapy session and precursor to the song that will follow. The song “Goblin” is Tyler establishing who he is. The record opens with it, Tyler confessing ins and outs of his life, calling himself out as well as calling out others. While explicit, it’s his honesty that is separating him from other rappers. There’s nothing radio-friendly, there is nothing that would make a good club jam –it’s brute honesty –an autobiography of a straight-edge, 20 year old skater-turned-rapper.

The album’s first single, “Yonkers”, is almost a self-loathing/self-promoting, shameless track for attention. He sets himself up to be the best, a fresh voice, a master of hard knocks and pulling out to win. Calling out fellow musicians such as B.O.B. and Bruno Mars, controversy is a thread holding Goblin together. The track is addictive; the beat almost overpowers the rhymes, creating a hypnotic energy.

On tracks like “Radicals” (which includes a “random disclaimer” where Tyler says that the song is “fiction”) and “Tron Cat”, Tyler unleashes his demons with no remorse. While battling the egos of others, he also gives his own quite a beating on the piano-driven track “Nightmare” before attacking feelings of lust on “She (feat. Frank Ocean)” and “Her.”

Lyrically, the same misogynistic and homophobic undertones are as present here as on any other rap album. Is it right or ok? Of course not; I take offense to the word "fag" and, as a woman, don't think that it should be acceptable for the rap community to constantly refer to women as their "bitches.” The cuts “Bitch Suck Dick” and “Transylvania” are more or less unlistenable and the lyrics “Rape a pregnant bitch and tell my friends I had a threesome” show his immaturity which, in turn, show the misfires on the record to be trying too hard to be a “gangster.”

The entire record is 20 minutes too long, but the obvious lack of outside help proves that Tyler’s auteur-style is still there. He does, to stay current in the lingo of this generation, have swag. Where he’s strong, he’s strong, but where he falters, he pigeonholes himself. Once he learns to edit and maybe find some humility, he can get to work on being the innovator he deserves to be recognized as and maybe all of this can occur before he turns 25. **7.9/10

Life Update.

I titled this very literally, this is an update of my life.

First off, I'm now contributing to Napiers News. I'll be posting my album reviews there and who knows where it can go after that! But it's really exciting and I owe Mal HUGE props for hooking me up :)

Secondly, I'm writing a review of some Odd Future stuff. Tyler is getting a lot of heat, but I honestly can't stop listening to Goblin. I promise my review will be fair, I'm not going to kiss his ass or defend him to an insane, biased level. But, I'm excited to get to write about the new direction hip-hop is going (sonically, not lyrically).

So that's it; short and sweet. Right now, I'm watching Jane's Addiction Live at Voodoo so Perry Farrell is getting all of my attention...actually no, Dave Navarro is :)

Review: Codes & Keys -Death Cab for Cutie

Washington’s Death Cab for Cutie has excelled at bringing somewhat sad narratives to fans across the world since the late nineties. With central lyricist and lead singer Ben Gibbard at the helm, the band has created seven albums that blend indie rock and folk, creating beautiful, simplistic songs that are relatable; which help set them apart from their musical counterparts. Their newest effort, Codes & Keys, may be their best full-band sound to date with cascading guitar that don’t overpower, vintage keyboards, and a steady, but subtle drum beat. What has been able to withstand the past 13 years is a band that has not only grown up but found something greater to inspire it.

The album’s lead-off single, “You Are a Tourist” shows the newer, more optimistic Gibbard and Co. “When there’s a burning in your heart, don’t be alarmed” he sings, encouraging the listener rather than reminding them that life and love ultimately end. What this song, as well as others such as “Monday Morning” brings to the table is a sense of maturity and an understanding of purpose. “Under the Sycamore” shows the strength of the new and improved Death Cab for Cutie. The sound of the piano and the sweetness of what sounds like tapping on glass jars propels this record in to a state of its own.

There are bits and pieces of the Death Cab that we would all play when we were sad and wanted to be alone with our thoughts. Tracks like “Home is a Fire” and “Portable Television” are quintessential, deep melancholia that are predictable, but enrich the album by rounding out its edges. Gibbard’s signature, whisper-like vocals bring out the emotion rooted in every word, and buries each sound into the listener’s mind. “Portable Television” especially, is the go-to lullaby on Codes & Keys, much like previous tracks such as “I Will Follow You into the Dark” from the album Plans.

Not to say that the record is perfect. While beautiful, some tracks such a “Some Boys”, “Unobstructed Views”, and “St. Peter’s Cathedral” seem to drag on. With little to no change in tempo or sound, the songs get boring and tedious.

Where it shines, it’s brilliant, and where it falters, it’s still great. Pitchfork was way off when writer Larry Fitzmaurice called the album “emotionally distant.” Each note played by the band is packed with more emotion and feeling than Fitzmaurice has in his whole body. If anything, Death Cab for Cutie has to hone that emotion and make it stand out, rather than let some fall as background noise. **8.0/10

Every Teardrop is a Waterfall

What I think of the NEW Coldplay track:
Lyrically, it's catchy and relatable. There's more of a narrative like their earlier tracks. It's very electro, sonically reminding me of "Lovers in Japan." It's commercial for radio and sounds like what you'd expect from Chris Martin and Co. I don't think there's a lot of growth, it's almost too familiar, but I do like it.

Hopefully the album brings something new to the table. Viva La Vida: Pt. 2 isn't really what I wanting from this band.

This Old Machine

My mom was just on the phone will my grandpa. He's been in the hospital for almost a month and he just found out that my aunt was admitted for the fourth time this month. He told her he already knows, but he's on the "pot" so he can't go visit her right now. I, having selective hearing and being more than 20 feet away, screamed, "PAPA'S SMOKING POT!?" No...my grandpa is not smoking pot, but how funny would that be?

I always think of how my grandparents probably were when they were young. My mom told me Al Capone hit on my grandma (asked her out, not put a hit on her) and my grandpa reminisces about the bar fights he got himself in to during World War 2. All in all, sounds like fascinating stuff to me. I probably would've been friends with them.

The song "The Boxer" by Simon & Garfunkel kind of reminds me of my grandpa. I wonder if he knows that song...if I get the chance, I'll play it for him one day.

You Look Like You've Been For Breakfast at the Heartbreak Hotel

Submarine opens in Chicago June 3rd, SO excited.



The film seems whimsical and quirky, also nostalgic. Plus, the soundtrack is AMAZING.



As if Alex Turner wasn't amazing enough as it is :)

Someone is going to have to go see this with me. It will be a $10 spent well.

Synonyms for "Inspiration"

I'm currently writing my review of Death Cab for Cuties' Codes & Keys. The album is beautiful, but I have no idea where to begin. I could start off with something like,"In the past, Death Cab for Cutie has released albums that reach into your soul; each track's tale of romantic sadness burrowing itself into the caverns that surround your heart...", but how CYNICAL does that sound? That is how their music made me feel though. Ben Gibbard understood that everything dies; the idea of love, lovers, family members, etc. Life ends and life isn't always happy and sometimes you're alone...then you wake up, clean up, and BOOM! -you're married to the indie darling who is Zooey Deschanel. Well, we can't all share that tale, can we?

Anyway, what's really going on is that I'm INCREDIBLY wrapped up in my short story/could possibly be turned into a novel -that's how ridiculously stimulated I am with this story. I gave it a serious overhaul and BOOM! -inspiration...I'm really overdoing it with the onamonapia usage here, apologies.