5/28/11

Love?

I found my portfolio from high school. Everything I wrote for the "Phoenix Flyer" lies in plastic sleeves that are starting to rip out of the binder, doing more harm than good. <- That was me attempting to be descriptive and sound overly-intellectual. Ignoring my ill-fated attempt to make something boring seem interesting, I read my articles today. I even read my proposals. I wanted to write about love for the Valentine's Day issue, what a fresh idea. Actually, I wanted to write about what I think of love and what my friends think of love. What I discovered from my friends was that romance has a very limited shelf-life. I make my friends seem incredibly cynical...some of them are. Anyway, my idea was shot down by my professor. I understand that it was cliche and I, at the time 17 years old, could be seen as "too young" to tackle such an adult conversation. Yet, I wanted to do it and I still do so...I'll question a bit here.

Within my family members that I see at holidays, parties over the summer, regularly for weekend dinners, etc. -NONE of them have ever been divorced. So there's a part of me that has hope. Then, there are more than a handful of family members who are 50+ years old who are ALL ALONE...hope shattered. Now, I may seem... naive here, but isn't the old saying "There's someone for everyone"? I thought so. I have seen some of the oddest couples be hopelessly devoted to one another and yet, people who I think are absolutely AMAZING have a better chance being struck by lightning than finding love.

I guess this is my only inquiry -what do people who are forever single think once they hit a certain age? I doubt they accept it and move on. I think that they have the capacity to be happy, but there's got to be something missing, right? Of course, as a person who lives in her mind and has to place herself in to EVERY scenario, I worry. Will I be like my aunts or my uncles? Not saying I want to find the love of my life and get married at 19, but I have yet to have a boyfriend/be kissed at all. My first kiss was with my gay friend Jordan and it was all of 4 seconds, egged on by the OBSCENE amount of alcohol we had consumed just minutes beforehand.

Love is supposed to be something that everyone DESERVES to feel and have, yet there are people who will, unfortunately, die alone and could die without having experienced a great love at all. Then, I get cynical. If love is supposed to be this fantastic thing, why does it make some people so miserable? The single, slightly bitter and rigidly jealous part of me becomes prideful -WHO NEEDS A MAN/WOMAN!?

...Maybe it's a good thing I didn't write this piece. I'm way out of my league here. Is it wrong to think about the end when you've really just begun? Is it wrong to put yourself in the shoes of people who are older than you? Actually, that last one, probably.

How do you feel about love, or lack there of? And, pardon my rambling :)

5/27/11

Opening My Jar of Thoughts

So, in lieu of my most recent review postings, I've decided to really go all in with this music journalism thing. I know I've been saying it and wishing for it, but I think I have what it takes. I mean, I read reviews by Rob Sheffield and interviews done by Brian Hiatt and I just think, "I can write just as well as them." People, not just my friends who may hold a certain bias, seem to like what I'm saying -so why do I still question it? Maybe because the world is so fucked up, but how long can I keep using that excuse? Will the world stay in this turmoil forever? Actually...probably. ANYWAY, to stay out of those muddy waters, I'll just keep the focus right on myself, thanks :)

Regardless of what the future holds, I'm proud of myself for even posting my opinion on the internet, where it "can never really be deleted." The only person who was allowed to read my musings before this was my cousin Rachael, and though I love her, I don't think she ever really got it. I don't think a lot of people in my family get it...but I guess that unconditional love thing kicks in and it doesn't really matter.

Also, I've started writing fictional short-stories again. I kind of like where this one is going so, if worthy, I'll post a bit. I'm so glad to be out of my "emo" phase, you have NO idea. In all honesty, how many stories could one girl write about being an outcast and falling in love with the boy with chipped, black nails and a deep, dark secret? It got a little tired, but I did win a Young Author's Award for that masterpiece ;)

5/26/11

Review: Suck It And See -Arctic Monkeys

Five years ago, the Arctic Monkeys made a name for themselves in the UK with their smashing debut, Whatever People Say I Am, That’s What I’m Not. Frontman Alex Turner’s snotty lyrics about the drab life he and his mates lived in Sheffield made for perfect narratives that were brought to life with clever guitar riffs and a steady beat. Each album has been a success and the band have only continued to grow. 2007’s Favourite Worst Nightmare was more of the same while 2009’s Humbug revealed a band that had so much more to explore and give. Their upcoming release, Suck It And See, continues down Humbug’s journey with a more accessible vintage sound that isn’t afraid to get a little loud.

The album eerily unfolds with “She’s Thunderstorms”, a poetic ode to Turner’s girlfriend, Alexa Chung. The song itself is lucid, parallel to Turner’s vocals that sound almost whispered. The second track, “Black Treacle” has lyrics reminiscent of The Beatles’ “Lucy in the Sky with Diamonds.” Nothing sounds too dark, there’s no exceptional hook unless guitarist Jamie Cook’s slide work that gives the track a bit of an Oasis sound. The great thing is that the band comes out, guns blaring, with each member playing to their individual strengths.

Tracks like “Brick by Brick” and “Don’t Sit Down ‘Cause I’ve Moved Your Chair” pack a heavier punch than their predecessors. Turner adapts to his lower register, as drummer Matt Helders relies heavily on hitting his cymbals as hard as he can. The guitar work, from both Turner and Cook, is much more intricate than on previous albums. Solos are placed where solos usually aren’t found while the frantic, 3-chord progression that helped catapult them to indie stardom is nowhere to be found.

As the songs themselves become more intricate, so do the lyrics and song titles. The irrelevantly titled “The Hellcat Spangled Shalalala” showcases the Monkeys’ first real heavy bass groove from Nick O’Malley while the always leading guitars echo into the background.

There are quintessential moments on Suck It, however. “Library Pictures” sounds uncannily like “The Bad Thing” and “Do Me a Favour” before slowing into a more psychedelic trance -only enhanced by Turner’s hypnotic vocals. “All My Stunts” could have easily been placed on Humbug, sounding like a mash-up of “Dangerous Animals” and “Secret Door.” It is, however, the band’s most inspired track –featuring vocal overlay and back-up vocals courtesy of Josh Homme, guitar distortions, and Helders’ heaviest drumming to date.

“Reckless Serenade” is by far the most beautiful and poetic track. The caverns of Alex Turner’s mind must be filled to the brim –half with sappy love songs (“I’m a fool for you”) of really any decade and half with the biting wit of poets such as Bukowski (“Your waitress was miserable, and so was your food”). As far as modern lyricists go, he is on another level. He is a lyrical poet of Morrison’s caliber. The heartbreakingly honest “Love is a Laserquest” reminds me of “Only Ones Who Know,” where Turner reminisces about a love who moved on, leaving him to rot alone –only this time, he’s calling her out.

“Suck It & See” and “That’s Where You’re Wrong” cap off the album. The suggestiveness of “Suck It & See” could easily be about finding true love as it could be about sex, while “That’s Where You’re Wrong” is a layered, shrilling beacon of ‘60s peppered rock & roll. Turner is crooning on this track, capturing each theme the album holds into a perfect four minutes. The song is happy and sad, but optimistic rather than sarcastic and cynical. It sounds as if it was written on some beach on the west coast, rather than in the confined, industrial town that is Sheffield.

The great thing about the Arctic Monkeys is that they grow just enough to remain relevant and exciting, yet they know where their roots are. If the album has that late ‘60s, California pop ring to it, it’s because that’s what it is at its inner-most core, yet it’s heavy enough to still be considered “rock and roll” or, at its most dumbed down, indie. All the familiarities remain; poetic tangents, ubiquitous narratives, Turner’s soft yet commanding vocals, and a band that’s playing as tight and as together as ever. Where the album lacks in hooks, frantic dance-ability, and tracks that can stand out as obvious radio “singles”, it ironically makes up for it with its sheer simplicity. **9.4/10

5/18/11

Lady GaGa is the lovechild of Madonna & Bruce Springsteen on Born This Way

Lady GaGa took over pop music in 2008 –catapulting it into strange and uncharted territory like performance art, outlandish outfits, and actually singing. She brought back the fun of Madonna and coupled it with her own New York City Club Kid aesthetic. Since the debut of The Fame, her pop counterparts; Katy Perry, Rihanna, and Britney Spears, have all tried to get on her level. Hate or love her, GaGa hasn’t apologized for anything she has done. With the release of Born This Way, she is still as unapologetic as ever and it’s continuing to work in her favor.

The album’s opener, “Marry the Night” reveals the record’s agenda: a timeline of GaGa’s life and love. It’s unassuming in its ‘80s drivetime style. It’s actually her most conservative track and to use it as an opener for an album that is supposed to be a landmark, it’s unimpressive.

The title track, “Born This Way” straddles the line between the breakthrough power anthem GaGa wants it to be and the gayest thing you’ve ever heard. I get it –be who you are, not who you’re not. Don’t change yourself to fit any else’s mold; it’s all great. But what came out of that inspiration machine quickly turned into repetitious, only-tolerated-in-the-club, four and a half minutes of over-indulgence. Maybe if she had spent more than ten minutes penning it, it would’ve been more.

“Government Hooker” opens with GaGa’s earnest attempt at something more operatic. The beginning is repetitive but the chorus hits closest to sounding like it could’ve fit on The Fame Monster. It’s the most Gothic, industrial sounding song on Born This Way, as well as the darkest lyrically. Not lacking in controversy however, GaGa speaks, “Put your hands on me/John F. Kennedy” as if it’s been her childhood fantasy. Where the track lacks in lyrical value, it also lacks in anything more interesting than the industrial sounds of “Bad Romance.”

“Judas” is one of the best tracks on the album. Ignoring the Biblical undertones, the song stands on its own as a masterpiece of metaphor. Is it annoying that she still feels the need to remind us that her name is GaGa? Yes, but when that beat drops, it’s an instant reminder of why we care that she is GaGa. The song is the most cohesive lyrically, telling a full story instead of trailing off and becoming something else entirely. Much like “Government Hooker”, “Judas” could have easily been a sibling to “Alejandro” on The Fame Monster.

“Americano” opens similar to Rosemary Clooney’s “Mambo Italiano.” Of course, GaGa puts her dance spin on the track, ushering it in with “la la la’s” and masking the flamenco guitars with a familiar dubstep beat. As flourishing violins battle with flamenco guitars who are in their own battle with a rave bass, this bilingual romp proves that while Gaga is best when she’s stylized, she has the capacity to be even better when she’s over-stylized.

“Hair” is sure to be an anthem, period. Is the first verse horrible? However, the saxophone contributions from Clarence Clemence of The E-Street Band give the song a different effect. The song definitely shows GaGa trying something new –for her aesthetic at least. Surprisingly, the inspiration factor in the chorus works in her favor unlike the chorus in some of the other tracks. The bridge however, sounds like 16 year-old GaGa sticking it to anyone who ever doubted her. If maturity was a serious factor in pop music, she would lose points with this one.

“Scheibe” has GaGa speaking German and honestly –does anyone care what she’s saying? No, because the track takes on a life of its own and is one of her best. It’s definitely a “fashion” song, deemed to be played on runways next Fashion Week. Its Euro-trash dance music at its finest –the constant shooting-siren exemplifies the dance track cliché but GaGa rocks it with her own performance art swag. It’s not a new formula, as “Dance in the Dark” followed the same recipe, but it’s GaGa and we love her for it.

“Bloody Mary” is sweeping before the beat begins. GaGa sings slowly, “I’m gonna d-d-dance with my hands above my head/ Just like Jesus said.” The violins pluck before a suppressed scream brings the song back to life. Lyrically, it is poetry. “We’re not just art for Michelangelo to sculpt” she states before continuing on her journey to get to the heart of what love, beliefs, and life is really about.

“Bad Kids” is the evil twin to “Born This Way.” It should’ve been played during the Disco Bloodbath inspired film Party Monster. It’s back to the floor with this one; a bit Donna Summer with some electric guitar. The relentless declarations, “I’m a bitch” and “I’m a punk” will probably continue to annoy those who already find the Lady annoying, but it’s hard not to adore the chorus.

“Highway Unicorn (Road to Love)” is guilty of two things; a horrible title and sounding like a b-side to the Killers’ Day & Age. With the exception of the over-produced chorus and fuzzy melody, Brandon Flowers could have easily sang this and, to the decree of his band mates, been shut down immediately. Each verse is strong but GaGa loses it at the chorus, where the image of a unicorn does come to mind. Only, instead of it being viewed as something artistic, it comes off cheesy. Lyrically, it’s similar to Bruce Springsteen’s “Born to Run” -2 lovers on some desolate road who would rather die or constantly be on the run than have some sense of security.

“Heavy Metal Lover” is the brute-force cousin of “Teeth.” It’s absolutely filthy, from the beats to the lyrics, “I want your whiskey mouth/All over my blonde south.” Where the song is sexy, with GaGa sounding like she could be Marilyn Manson’s long-lost sister, it gets to be a bit much.

The Pop Queen gets heavy on “Electric Chapel” with the opening riff sounding like any 80s metal band’s chord progression. It’s definitely a stand-out; a dark, forbidden love anthem that could pass as a Blondie jam. If GaGa ever wanted to rock, she definitely worked those demons on this track. The bridge displays her raw, guttural vocals which are a welcomed change from her polished pop persona.

The first time GaGa played “You & I” was on Good Morning, America. She sat at her piano, after rain fell in New York City, and sang just as raw as she was playing. The song allowed everyone to catch their breath after being pummeled with industrial dance beats and heavy bass. The album version however, brought GaGa’s piano soul down to zero as it’s masked with guitar distortions and soft-eighties background vocals. Her narrative about a love that just won’t die quickly turns into a 5-minute recap of her rise to stardom where “You & I” becomes more “Me, Myself, and I.”

“Fashion of His Love” is really GaGa at her most Madonna. The beat is reminiscent of Madonna’s “Open Your Heart” as well as sounding like it would be played in the mall scene in any John Hughes’ film. If it were ’86, Whitney Houston probably would have killed to call this song her own. It’s overly polished, cutesy, and too happy for a woman who notoriously speaks of her “dark period” of substance abuse, broken love, and suffering through life up until now.

“Black Jesus –Amen Fashion” isn’t about what you’d think. Much like “Born This Way” it’s a song about GaGa. It’s her life, born to be a star. Yet another song born to be played on the runway, it’s apparent that she wrote this with her dear friend, Alexander McQueen in mind. Though, 2 minutes in, it gets boring to listen to. If GaGa is fashion and fashion is GaGa, then what’s left? Oh right, Jesus is the new black, who knew?

Honestly, the best track on Born This Way is “The Edge of Glory.” It’s pure, unabashed ‘80s pop –glistening in love and life. The song features another saxophone solo by Clarence Clemence, but where his previous addition brought something new and not-so welcomed, it fits perfectly here. The song is a celebration, and leaving here there, it can be seen as the triumphant finish of a mostly good album, which is a beautiful image.

With trying to turn Jesus into some pop culture, fashion trend, it’s not a perfect pop album. While some tracks can stand on their own as “masterpieces”, GaGa can only go up from here. It’s not a substantial growth, but it’s a growth that will keep her “little Monsters” happy and may draw more people to her shows. What she continues to show is that she has the chops; she has an image, she has a gimmick, she has a presence, but most importantly –she has a voice. **8.8/10

5/16/11

Review: All At Once -The Airborne Toxic Event

In August 2008, the fresh sound of California’s Airborne Toxic Event travelled through radio waves and the hit single “Sometime Around Midnight” was played in heavy rotation on Vh1. The self-titled EP was the band’s first and brought a fresh sound to a heavy hip-hop and electro-pop industry. Each song sounded good, from the summer-ready recollection of singer Mikel Jollet’s first love in “Gasoline” to the sweeping violin in “Sometime Around Midnight.” The band’s edge was Jollet’s relatable lyrics coupled with his melodic yet raw vocals. Everything just worked and, although never fully breaking into the mainstream, the EP showed the band’s potential for something greater. Their newest release, All At Once, is packed with Jollet’s honest lyrics, but fell short with its less-than-upbeat sound.

The record’s lead-off single “Changing” is the band’s only effort to try and break into mainstream radio. The hook is infectious, with Jollet reminding his lady-love that he is “a gentleman” while a simple drum beat holds the song together. Lyrically, “Changing” is Jollet’s only attempt at something happier, with every other song depicting images of broken hearts, lost childhoods, and just all around sadness. Though his lyrics are beautiful and poetic, the listening almost becomes tedious and heavy rather than an all around enjoyable experience.

The track “Welcome to Your Wedding Day” sounds like the worst of what Muse and The Strokes have offered in the past 5 years. On this track, it’s almost as if the band took all the clichés of a harder, indie song and stuffed them into three minutes and forty-four seconds.

Though the album has its obvious mishaps, there are reminders of why this band should matter. A personal favorite is “Half of Something Else” which sonically could be the sibling of “Sometime Around Midnight.” The song is hypnotic, with Jollet and keyboardist/violinist Anna Bulbrook’s voices harmonizing perfectly. The song really hits around the three minute mark, where Jollet shatters all hope of his romance being able to continue with his scream flying above the hard drum-kick and shifty guitar work. “All I Ever Wanted” is the only track featuring Bulbrook’s violin, but relies too much on recognizable “indie” chords and progressions.

All At Once is worth having in any record collection. I wouldn’t regard it as a sophomore slump; it shows growth and a band who has established its own identity. It’s an album that should be celebrated for its lyrical value rather than the way it sounds. Once each member figures out how to marry each element, everything will fall into place. **7.5/10

7:15 P.M.

"Better Man" has been on repeat for the past 15 minutes. I've been on this Pearl Jam thing. Actually anything remotely "grunge." With this said, I'm 90% sure I will be attending Pearl Jam 20 Festival this September. I'm going for The Strokes (like that needed to be said) but Queens of the Stone Age are playing too so it'll be a good time. Plus, I'll get to skip Monday's 8 a.m. lab to sleep in and bask in the up-all-night beer drinking and dancing that is bound to ensue.

In Guilty Pleasure/Reality TV news: Real Housewives of New Jersey starts tonight. Now, as a woman, I am...shall I say...offended(?) that these women act like lunatics but as a person who likes to be entertained -this show is QUEEN! I'll miss that crazy, wannabe Lesbian Danielle Staub though. Her logic, or lack there of, was always a Monday night favorite among my mother and I.

In Music news: There's this dispute going down between Tyler, The Creator and well...everyone, especially Sara Quin of Tegan & Sara. I, in NO way, support homophobic or misogynistic ideals, but I really like Tyler's music.


Of course, as a supporter of the LGBT community and Gay rights, 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", but should this 20 year-old's rhymes be taken so literally? The rap community has built an empire on homophobic and misogynistic music and, up until now, the majority of people have ignored it because of the beat and presence in the club.

It's not right, obviously, and if the world was perfect none of it would exist. But who said that the meaning of life could be found in the lyrics to "Yonkers" or "AssMilk"? I mean, even the titles of some of the tracks show that it's not to be taken so seriously. I've never been a huge hip-hop enthusiast, but this is how the kid writes, this is how he expresses himself, and if it's not literally hurting anyone, then let him be. If you don't like it - don't listen to it.

Have I deleted some of Tyler's tracks that take it to a repellent level? Of course. So why doesn't everyone else?

Ok, I'm off my soap box. I have nothing else to say. I wish my life was more interesting. Summer has just begun and maybe it won't be so bad.

5/7/11

We all need a fix, I guess I need one, too

This documentary is reminding me just how much I love The Airborne Toxic Event. Their first album was so beautiful and I hope All At Once follows suit. To whoever reads this, expect a review (probably in the next post)



I will be updating blogger more as I dedicate my summer to improving myself both mentally and physically. I've reached my breaking point and I'm not going to let myself fall. I'm too young to be this messed up, honestly.

Anyway, the "renewal" is kicking off with an organic bowel cleanse, followed by buying a bike for my work-out routine. As far as the mental situation, I'm made a plethora of appointments so we'll see where that goes.

ON A LIGHTER NOTE: My Pitchfork tickets are FINALLY purchased. Can't wait to see Twin Shadow, Odd Future, and Deerhunter. I'll be that girl sweating in red lipstick with her camera so find me and say hello if you're attending :)