Author Archives for Andrew McNally

Sigur Ros – “Kveikur”

Photo Credit: Wikipedia

Photo Credit: Wikipedia

Grade: B+

Key Track: “Brennisteinn,” “Hrafntinna”

Prolific and critically-acclaimed Icelandic alternative band Sigur Ros’s seventh album is a tad darker and more abrasive than their previous works, and it retains the band’s minimalistic qualities in its engrossing songs. I cannot speak to the lyrics of the album, as I know absolutely no Icelandic, but the vocals behind the lyrics fit amongst the band’s haunting music.

The band has always approached their music with a minimalist approach, consistently churning out music that builds upon itself, like a moderately more accessible Godspeed You! Black Emperor. Although they have always taken this approach, and continue to do so many years later, “Kveikur” has a slightly darker tone. The album’s opening track (and longest), “Brennisteinn,” begins with a pounding synthesizer rumble that sets the tone for what is a darker experience than the rest of their albums.

Sigur Ros have never been ones to seem comfortable with fame, and their ever-growing popularity might be a cause for the darker tone. “Kveikur” might serve as a response to all of the critics and musicians that cite Sigur Ros as inspirations and jumping-off points. The album might also be reflective of the loss of keyboardist Kjartan Sveinsson, who left the band last year. This is only their second album without Sveinsson since their debut, “Von,” in 1997.

“Kveikur” is a dense album, with a lot of winding music. It requires some participation from the listener, which is deserved. Sigur Ros are getting a little darker and they expect their core audience to follow. Thankfully, they provide no reason why we shouldn’t. The album builds and builds, and totally engrosses the listener. At points, it is repetitive, but this is Sigur Ros. We should all be on-board with what they’re offering.

-By Andrew McNally

Kanye West – “Yeezus”

Photo Credit: E!

Photo Credit: E!

Grade: B+

Key Tracks: “I Am a God,” “New Slaves”

(Note: This and a few other of my reviews will be featured weekly on The Filtered Lens)

Kanye might be one to constantly reinvent himself, but “Yeezus” will still be a mark in his discography, the moment where his music truly hit revolutionary ground. “Yeezus” is an eclectic work, resulting in what has to be the first ever industrial rock / hip-hop pairing. This is the result of Daft Punk, Rick Rubin and Bon Iver frontman Justin Vernon all showing up with writing and producing credits.

Musically, “Yeezus” is a sonic experience. West’s rapping is mixed over blends of house and industrial music, with dramatic tonal shifts at any moment. “I Am a God” switches from rapping to ambient screaming at one point. The music lands anywhere from personal to terrifying, in a way that flows throughout the whole album. It feels minimalistic, too, despite the genre blending and the originality. Rubin was brought in to make a more stripped-down sound. West released no singles for the album, because hearing a track on the radio would diminish its feeling of placement as musically, the album can only be appreciated as a whole.

West’s lyrics lack any sort of flow, providing a surprising disappointment for the album. They are effective on every song, but there is no zeitgeist, no general theme. Songs like “I Am a God” and “New Slaves” aim to make some serious notes on culture, while “I’m In It” is nothing more than a crude song about sex. With no flow, the statement songs are less effective because they sound like rants, even if they’re well-written and well-performed. Each track, individually, has great lyrics, but not the album as a whole. Still, “Yeezus” is a powerhouse of originality, worthy of all the attention it is receiving.

-By Andrew McNally

The Lonely Island – “The Wack Album”

Photo Credit: Pitchfork

Photo Credit: Pitchfork

Grade: B

Key Tracks: “I F****d My Aunt,” “The Compliments”

“The Wack Album” is more of an amalgamate of ideas. The band throws a lot of ideas at the wall,and as soon as one starts to get stale, they move on to the next. Not everything works, but some stick very well. Only two tracks from this album were viral sensations from “SNL,” a show which none of the three members are a part of anymore. This has allowed them to expand into some new territories, with mixed results.

Comedy troupes that spoof hip-hop are certainly not a new thing. It is a very tired route for comedians to take, thanks to the Internet. The Lonely Island were by no means one of the first groups to do it, but they were among the first of the Internet era (remember “Lazy Sunday”? The song aired on “SNL” eight years ago). The Lonely Island have come under the ironic problem of having to sidestep the generic hip-hop parodies that they helped spawn. “The Wack Album,” their third full-length, has its hits and misses. The guest list on the album is as expansive as anyone could possible ask for: Lady Gaga, Justin Timberlake, the return of T-Pain, Kendrick Lamar, Adam Levine, Kristin Wiig and Hugh Jackman, among others. The guest stars, all having fun in the studio, help to add to the album’s theme of spoofing the very foundations of hip-hop.

The best bits on the album are the ones that have the simplest concepts. “The Compliments” is the three band members – Akiva Schaffer, Andy Samberg and Jorma Taccone – simply complimenting each other, making fun of insult songs. The song features the best guest spot, from rapper Too $hort, who has no idea what he is doing there. “Meet the Crew” is a parody of rappers constantly saying their own names in songs by being a band introduction with many, crazy personalities (ending with Rod Stewart, played by Samberg). “I F****d My Aunt” has the band members (and T-Pain) recounting childhood memories and following them up with “and [x] years later I f****d my aunt.” It’s an incredibly simple concept with no context, and works well because of it. The album’s best tracks all share this.

The more inventive and inspired bits actually do not work as well here. “YOLO” and “3-Way” are well thought-out, but regular “SNL” viewers are already familiar with those two tracks. “I Run NY” features Samberg rapping from the perspective of NYC mayor Michael Bloomberg. The song’s inspiration was, inventively so, to spoof all NYC rappers that claim to own the city. But the song falls flat as it quickly becomes a bit about Bloomberg saying profane things he would never say normally. “I Don’t Give a Honk” and “Hugs” cancel each out, as both songs are about replacing the F-word with a safer term, neither of which are very funny. Finally, “Diaper Money” is rapping from the perspective of a married man, but a very profane one, and it all doesn’t really make sense. The Lonely Island have never been ones to stray away from crude and bodily humor (“Dick In a Box” won them an Emmy), which is why the more inspired ideas end up missing. The characters themselves tend not to make sense. “The Wack Album” is at it’s best when the trio, guests or not, are stripped down and working solely with funny concepts.

If You like this, try: “The Sounds of Science,” the Beastie Boys box set that contains some of their lesser-known funny songs. Another white trio from NY that revolutionized comedy-rap.

-By Andrew McNally

Myq Kaplan – “Meat Robot”

Photo Credit: Vegetarian Star

Photo Credit: Vegetarian Star

Grade: A

Key Bits: N/A, because they’re all equally great.

“You seem like a good crowd, like my demographic, which is people that know the word demographic” quips Kaplan on the opening bit of his album, “Meat Robot.” The comedian, still on the rise, is known for rapid-fire jokes that often involve clever wordplay and math. Kaplan is a vegan, and has used that as the basis on many bits from his two albums, this and his equally excellent debut, “Vegan Mind Meld.” The third track on “Meat Robot” sees him coming up with names of fake meats that have yet to be invented, including fake chicken called “Fiction,” “Chicken Pretenders,” “Baby Back Fibs” and “Ven-Isn’t.” This is just a taste (pun somewhat intended) of the wordplay Kaplan delves into.

Kaplan comes off as being as nerdy as he looks, and he has always used this as an advantage in his comedy. “Apollo is Apollo in Greek, in Roman, in French, in everything except Spanish, where he is a chicken.” Yet he still makes bathroom humor and race jokes, in totally inverted and original ways that appeal to broad audiences.

The only fault in “Vegan Mind Meld” is that Kaplan’s rapid-fire delivery went too fast at points, and although it makes it funnier, it requires a few listens to pick up every joke. He is still very speedy on this album, but he slows down a bit. At points, he audibly stops himself to slow down. Every bit on this album sticks. Some require a little work and patience, others are instant one-liners. But Kaplan’s grasp at smart and original stand-up is wholly original. The only fault on this album is not one of Kaplan’s, but the constant shrill of one audience member who almost ruins jokes. “Meat Robot” is a work of comic brilliance, one that tests the audience, but pays off on every single joke.

If you like this, try: “I Have a Pony” by Steven Wright. A classic comedy album from an even more deranged mind.

-By Andrew McNally

Black Sabbath – “13”

Photo Credit: Rolling Stone

Photo Credit: Rolling Stone

Grade: B+

Key Tracks: “God is Dead?” “Methademic” (Bonus Track)

“13” is refreshing, because it proves that bands long past their prime can still make quality records. I was losing faith in this after Megadeth’s awful Collider came out just last week.

“13″ is the first Black Sabbath album to feature bassist Geezer Butler in nineteen years, and singer Ozzy Osbourne in thirty-five. Drummer Bill Ward, originally part of the recent reunion, is not on the album because of a contract dispute, and has been replaced with Brad Wilk (Rage Against the Machine). Even with positive early reviews and three-quarters of a reunion, fans are most likely skeptical about a new album. Butler, Osbourne and guitarist Tony Iommi are 63, 64 and 65, respectively. But Sabbath brought in legendary producer Rick Rubin, who has done wonders for everyone from System of a Down to Johnny Cash. What resulted from their sessions is an album much more similar to classic, early Sabbath and not the tepid albums that came later.

Black Sabbath have often been misunderstood as a band that sang/sings exclusively about doom and gloom, life and death, heaven and hell (which is the name of one of their more famous songs). But closer listens to their early albums show that they expanded far out beyond those themes, lyrically. Yes, they were embraced and continue to be (like 13′s “God Is Dead?” and “Pariah”). But the band has always sung about more than that, evident in songs like the poorly-titled “Methademic,” that deals with years of drug problems. “13″ has some of the best lyrics in Sabbath’s history.

The biggest surprise of the album might be the quality of Ozzy’s voice. If you’re reading this, then you can probably imagine what Ozzy’s talking voice sounded like on MTV in 2004, and maybe even what it has sounded like on his more recent albums. But those albums were Rubin-less, and Rick Rubin did his best to bring the band back to it’s seventies roots. Iommi’s riffs are there, Butler’s bass is booming, Ozzy’s voice fits nicely, and there is a constant impending sense of doom. It has all the key elements of early works like “Paranoid” and their self-titled debut. Something is lacking, however. It seems like it is a mix of energy and volume. It is certainly loud, but it feels like it should be more so, and with a little more urgency. Still, the album comes as a nice surprise and just goes to show that when the line-up is back, they haven’t lost a thing.

If you like this, try: If you’re exploring this album as a classic rock fan, then Bob Dylan’s “Tempest,” another great album coming out late in the game. If you’re exploring this as a metal fan, then System of a Down’s “Toxicity,” to see both religious lyrics brought in alongside silly ones, and the magic of Rick Rubin.

-By Andrew McNally

Surfer Blood – “Pythons”

Photo Credit: Rolling Stone

Photo Credit: Rolling Stone

Grade: B-

Key Tracks: “I Was Wrong,” “Slow Six”

Surfer Blood’s John Paul Pitts sure is sorry. The band’s second full-length, “Pythons” acts as one long apology. The line ‘apology, meet apology’ shows up on a track that is not “I Was Wrong.” The whole album is pretty much apologies or Pitts singing about putting himself in uncomfortable situations because he feels like he deserves it. Why? Domestic abuse charges from August 2012. So Pitts has every right to be apologizing in his music.

The music of the album presents a challenge, because Surfer Blood’s sound has not really ever been one to match up with the uncomfortable lyrics presented on “Pythons.” Many tracks just follow basic, poppy melodies with sometime group choruses. Occasionally, Pitts will fall into screams in the chorus, possibly trying to emphasize the internal pain he’s feeling. But they usually do not fit within the context of the song. The only song that really grabs is “Slow Six,” the penultimate track, one heavier than anything presented before it. The other songs all feel too easy, and although they are catchy, they do not work alongside the apologetic lyrics.

Taken for what it is without any knowledge of the album’s inspiration, “Pythons” is an enjoyable and catchy record. It isn’t great but it’s worth a listen for fans of general pop-punk and surf rock. The B- is a response to this listening. The album takes on a new reflection when the listener knows why Pitts is so apologetic. Pitts might really be feeling the internal pain he sings and screams about, but with poppy and largely uninspired music, there’s no way to believe it. Which, ultimately, gives us no reason to care. I try my hardest to separate albums from the personalities that make them, but when an album like “Pythons” is so reflective of it’s maker, and an unconvincing one, I can’t help but to discredit it.

If you like this, try: “Crazy For You,” Best Coast’s debut. Not a fan of the band, personally, but they’re a similar sound.

-By Andrew McNally

Disclosure – “Settle”

Photo Credit: Wikipedia

Photo Credit: Wikipedia

Grade: B+

Key Tracks: “When A Fire Starts to Burn,” “F For You”

A debut from a European dance band coming only weeks after Daft Punk’s “Random Access Memories” burned up the charts might not seem like a good decision. It worked. Perhaps it was unintentional, but Disclosure might be on to something. The British duo – two brothers of ages 21 and 18 – have perfected an album harking back to dance music of the 90’s, not unlike the aforementioned French duo. Americanized house and dance music (the abrasively loud forms of EDM and dubstep I embraced in college) is still very popular, but has a definite expiration date, and that date might be coming soon. As “Get Lucky” climbs the charts, Boards of Canada release a comeback and Disclosure release a well-anticipated debut on the same day, all signaling a potential return to more controlled forms of dance music.

There is really nothing new on this record. It greatly succeeds, however, as an exploration and combination of many different forms of dance and house music. The combined opening tracks of “Intro” and “When A Fire Starts to Burn” present an almost Prodigy-type of heavy, hip-hop influenced type of electronica. This doesn’t stick around, as the album shifts through various volumes and tempos, and with a whole and welcomed line-up of up-and-coming British singers.

“Settle” is, at its core, exactly what it wants to be, and that is an effective dance record. It even flows well as an album, something nearly every dance band seems to struggle with. It might be very long, but if it’s put on at a party, that will no longer be a complaint. The beats are cooled and controlled, with little invention going on. In a world now filled with Skrillexs and Diplos, that might be just what we need.

-By Andrew McNally

Jimmy Eat World – “Damage”

Photo Credit: Antiquiet

Photo Credit: Antiquiet

Grade: C+

Key Tracks: “Byebyelove,” “You Were Good”

After some relative successes in the early- to mid-2000s, Jimmy Eat World have been quietly chugging along down the same relative path that led to fame in the first place. Kinda sad, kinda introspective, kinda inspirational, kinda pop, kinda punk alt-rock that is immediately listenable but never very interesting. “Damage,” their eighth album, is really no different. It’s more consistent and related than many of their previous albums, while also falling sometimes into forced or corny moments.

The members of Jimmy Eat World are approaching forty, and their inevitable disconnect from young crowds is becoming apparent. “Damage” tries, with moderate success, to be an ‘adult, break-up record.’ Lyrically, the album is among their stronger works. When it is effective, there are moments of Jim Adkins tearing away at the walls of youth hood. When it isn’t effective, the lyrics are cheesy bits of bad poetry. The album is pretty mix-and-match in this regard. It is consistent, at least, weaving through similar themes in many of the songs, definitely an intentional move.

The music of the album presents a problem, as the band has opted to largely keep the pop-punk sound of their previous albums, which does not successfully correlate with the themes they are attempting to highlight. It also means that many of the songs end up sounding too similar. The tempo is rarely a large difference from the previous track, and the volume almost never changes. This is expected of an album by a band like Jimmy Eat World, it just feels behind-the-times given the lyrical content.

The album’s two best tracks are actually the final two – the awfully-titled “Byebyelove” and “You Were Good.” The penultimate song is the only track on the album that has changes in volume, and has a certain intensity to it that is not achieved anywhere else on the record. “You Were Good” is a dramatic departure for the band, with a stripped-down, acoustic lo-fi sound, reminiscent of depressing folk singer-songwriters like Nick Drake. The change itself is so delightful and unexpected that I found myself caught up more in the realization than the actual song. “Damage” is definitely bolstered by it’s final two songs. Overall, it’s a decent record, one that is worth your time but not your memories. The band struggles to mature, but they’re trying.

If you like this, try: Weezer’s “Maladroit.” I personally think “Damage” will mirror “Maladroit” as an underrated entry in the given band’s canon.

-By Andrew McNally

The Ducky Boys – “Dead End Streets”

Photo Credit: Ducky Boys bandcamp page

Photo Credit: Ducky Boys bandcamp page

Grade: B

Key Tracks: “Up, Down & Wrong,” “I Was Intoxicated”

Boston street-punk legends the Ducky Boys returned from a second hiatus and even more line-up changes in 2011, and their second album since is a solid effort. It isn’t a goldmine, but it holds up remarkably well amongst the albums of their other aging contemporaries. The Ducky Boys have stuck to the same successful status quo, and it produces another good album. Lyrically, the album is kind of all over the place, in a good way. There is some emotional damage coming through in some lyrics, as the Ducky Boys have always defied some punk stereotypes and been ones to open up and explore themselves. There is, of course, typical street-punk songs too. Songs like the title track and the opener “You Don’t Wanna Know Me” exemplify the 90’s Boston street-punk scene that brought them thus far.

Musically, most tracks follow the simple punk formula, which is completely expected. In fact, it is welcoming to embrace, as most punk bands that survive the same length of time that the Ducky Boys have often open to slower and catchier music without any reason. The Ducky Boys have reason when they do, as they occasionally embrace acoustic, bluesy or reggae-inspired rhythms throughout the album, which provide some nice breaks in between stacks of punk songs. When the Boys switch up their influences, they work, because they have their reasoning to back it.

“Dead End Streets,” like many other punk albums, does begin to become tedious by the end, as the band’s better ideas are exhausted earlier in the album. Punk albums tend to have a way of making 34 minutes feel longer. “Dead End Streets” is still a strong record though. It is not completely original, and it does not stand up against classic punk. It does not try to be anything more than what it is, though, and it excels as an enjoyable and listenable street-punk record from some legends.

If you like this, try: “State of Grace” by Street Dogs, 2008.

-By Andrew McNally

Megadeth – “Supercollider”

Photo Credit: metalsucks.net

Photo Credit: metalsucks.net

Grade: D

Key Tracks: “The Blackest Crow”

Old age isn’t going to stop Megadeth! Well, they’re going to try not to let it. Rather unsuccessfully. It’s sad to see heroes fall but it can happen to the best. Dave Mustaine’s lyrics aren’t hitting as hard, the band’s volume isn’t as ferocious. Nothing works well on this record, apart from a few acceptable songs.

First, the music. The band is not achieving the heaviness that they once were. The leadoff track, “Kingmaker,” is not a good song, but it does have flickers of the 80’s thrash. It is readily apparent that these flashes are about the most the listener will get. The album as a whole tends to fall closer to a really heavy radio rock work, lesser than the thrash metal that made the band renowned in the 80’s and 90’s. The drums are beating and the guitars are crunching and rapid-fire, but it is all less than before. It is at least entertaining, as it is still heavy and should be recognized as so. It just is not of the same caliber as their previous successes.

Speaking of declines from previous successes, Mustaine’s lyrics are downright awful. His political leanings have always made for awkward and forced lyrics, but they are particularly cheesy on this release. “Dance in the Rain” is the ‘standout’ on the record, as the chorus is supposed to inspire people to dance in the rain and enjoy life, like life lessons from a cool uncle. An abrupt switch/interruption happens during the song when Mustaine begins to sing about the “racist, sexist wars in the middle class” or something like that. It really doesn’t make sense. Mustaine’s lyrics are consistently forced and corny, and often fail to rhyme or fit into any sort of rhythm.

Halfway through this album, I had to put on “Hangar 18” to be reminded of better times. “Supercollider” is tedious and corny, a bad mix for a thrash metal band. One footnote should be mentioned – “The Blackest Crow” is a well-crafted song, albeit not thrash metal. The track starts with an acoustic guitar rhythm and builds intensity around a more haunting sound than the rest of the album. It is far and away the best song on the album. Otherwise, “Supercollider” is a total miss.

If you like this, try: “From Mars to Sirius” by Gojira.

-By Andrew McNally