Category Archives for Pop

Pharrell – “G I R L”

(Photo Credit: Hollywood Reporter)

Grade: B+

Key Tracks: “Hunter” “Gust of Wind”

This was a risky time for Pharrell to release a solo album. He’s riding the waves of one of the most successful years someone in music can have. He had guest spots on the two biggest songs of last summer – “Get Lucky” and “Blurred Lines,” and he co-wrote and produced two songs on Beyonce’s instant-legend self-titled album. He wore a silly, hip-hop-historical and now famous hat to the Grammy’s, and he released a 24 hour music video for his big hit, “Happy.” Pharrell is, nowadays, now famous for producing and guest spots, hugely overshadowing his solo work and his music with N.E.R.D. and the Neptunes. So if “G I R L” were to be underwhelming, it would likely derail the ever-increasing speed of the train that Pharrell is at the helm of. Luckily, “G I R L” is a sufficient pop release. It isn’t the most memorable of albums, but it strongly benefits from an all-inviting sound, a consistent feminist agenda, and huge name guest spots from Pharrell’s long, long contact list.

Pharrell tried to hit all bases with “G I R L,” and he certainly succeeds. It’s sexy – like the sweaty “Hunter.” It’s classy, with opener “Marilyn Monroe.” And it’s friendly – centered around the smash hit “Happy,” which seems to actually be stylized on the album as “Happy (from Despicable Me 2).” You know, the kids movie. The very next song is “Come Get It Bae,” featuring the not-family-friendly Miley Cyrus. Whatever your fancy is with pop music, “G I R L” likely hits it.

The guest spots, though usually not the focus of a review, are something to marvel at. As mentioned, Miley drops in. And so do Alicia Keys, Daft Punk, Kelly Osbourne, a very falsetto-y Justin Timberlake, Timbaland (relegated to beatboxing) and, unpredictably, JoJo. And the strings on the album – arranged by Hans Zimmer. The cast on this album reads like a Wes Anderson movie. And just like an Anderson film – some of the appearances are solely based on “look who I got to be here!,” while some, especially Daft Punk, add a whole level of depth and help separate each track from the next.

And it’s good that each song is distinct enough to stand out – because Pharrell, on his own, isn’t actually all that strong. The rare moments when he raps on the album work, but otherwise, his voice usually just blends into the background. Think about “Happy” – his voice only overpowers the music because the music is minimal during the chorus, and it’s catchy because of how his voice acts as an instrument, not for the lyrics. There are moments where he ups into falsetto, and he really doesn’t hit the notes. There are a couple moments were it resembles watching a Top 12 American Idol giving what you just know is their last performance. It just isn’t quite there, overall. But it’s a boatload of fun, so it’s never an issue.

“G I R L” is all linked together by a distinctly feministic tone. It’s almost possible to see this – and “Get Lucky” and his work on Beyonce’s album – as an apology for the gut-wrechnigly misogynist (and possibly divorce-causing) “Blurred Lines.” Pharrell sometimes skirts the lines of male pop feminism – respecting women’s bodies and sexual desires, etc., and sometimes fully delves into actual feminism. It helps to create a consistent tone, and let’s be real, it’s just nice to hear. Inviting feminist-leaning artists like Daft Punk, Timberlake and the severely misunderstood Miley Cyrus only helps that. The era of patriarchal sex-pop is coming to a close, and Pharrell seems to be the one locking the doors.

So “G I R L” only suffers from Pharrell himself not being the most talented singer. And given that this is his first solo album in eight years, it’s not his specialty. He produced the whole album, and wrote every song, much more his strong suits. The album is not the most memorable, because it all feels familiar. But it’s still enjoyable and every song is unique. It sounds by the books, if every song was taken from a different book than the one previous. “G I R L” is a listen for those of all ages and musical preferences. There’s something for everyone, and his “music for everyone” approach helps to bolster the feminist themes. “G I R L” won’t be one of the albums of the year, but it’s a more than decent pop release, and one that will help Pharrell continue his unstoppable reign.

-By Andrew McNally

Ummagma – “Rotation / Live and Let Die”

(Photo Credit: bandcamp)

Grade: B+

Ummagma are a little bit of an unconventional group – a sort of dreampop/shoegaze hybrid, consisting of just Shauna McLarnon from Canada and Alexx Kretov from Ukraine. McLarnon handles the lyrics and vocals, while Kretov tackles all of the instrumentation. The duo has released a single, containing “Rotation” and “Live and Let Die.” Both songs properly showcase their crossover sound in some memorable and easily listenable dreampop.

“Rotation” is a slow-building song. It starts with a low-key drum and synth beat, that kicks up around 35 seconds in. It’s centered around a repetitive synth beat, that seeps the song into a serious dreampop feel. McLarnon’s vocals sound swooping inside of a very condensed sound. The song’s medium energy and consistently full sound lend to a shoegaze resemblance, even if the guitar is only a slight factor. “Rotation” is ultimately the cross between dreampop and shoegaze, and it does both very well.

“Live and Let Die” is a much catchier song. It opens with a drum beat that’s already louder than the previous song’s peak. The song continues with the condensed, shoegaze type sound, but it features a guitar rhythm that’s much more resembling of a garage rock band. A heavier guitar presence lends to a dreamy sound, just one that’s more alt-based instead of pop. “Live and Let Die”s moderate tempo and medium volume acts as a compromise between dreampop and post-rock, and sounds familiar even though it really isn’t.

This is a very solid single, and a nice tease at anything the band might be working on. There seems to be a little something the songs are missing, just to pump up a little energy. But both songs are intricate and unique, combining a number of influences into an aura that sounds conventional until you really listen. They’re very easy songs to enjoy, dense without being unbreakable. Ummagma are doing their own thing; combining genres and doing it well. “Rotation / Live and Let Die” brings hope for whatever the band might release in the future.

The two songs are available for download and streaming here.

-By Andrew McNally

Weepikes – “We Are Weepikes”

Grade: A

Key Tracks: “Bad Valentine” “Flatliner”

“We Are Weepikes” is probably a very fitting name for the Finnish avant-pop group’s latest release. The band, which consists of Pasi Peni on vocals and guitar, Jyrki Lehto on guitar, Tomi Nuotio on bass and Ari Reiska Lehtinen on drums, is coming off a 13-year hiatus. Originally forming in 1994, they released a couple EP’s before disbanding in 1997. The reformed in 2010 and, after releasing a couple EP’s, dropped the longer “We Are Weepikes” in February of 2013.

The album has a distinct Lou Reed feel to it.  It is guitar-heavy, and stays melodic without venturing into catchy. Unlike most avant-pop groups, Weepikes focus more on the “avant” than the “pop.” Peni’s vocals align with Reed’s slightly gritty, melodic talk-singing. That’s the most apparent on “Flatliner,” a nearly six minute track of spoken word chaos.

“We Are Weepikes” has a little bit of a lo-fi feel to it, and the whole album has a heavy energy that resembles that of a 90’s alternative band. The last part of “Bad Valentine” has a particularly heart-pounding energy to it. Plus, the album is capped off with two remixes, and because they don’t exactly fit with the more straight-forward blasts before them, they actually strengthen the album’s avant feel.

“We Are Weepikes” has a hybrid alt-pop spirit, gleefully different without being too unapproachable. The band channels 60’s pop-rock and avant-garde, and every song is unique and memorable while still fitting in with every other song. It is simply a great release, and it won’t be attractive to everyone but it should fine a healthy audience.

The album can be streamed and purchased here.

If you like this, try: Another recent bandcamp release, The Raspberry Heaven’s “Nascent Meadows.”

-By Andrew McNally

Beyonce – “Beyonce”

(Photo Credit: thisisrnb)

Grade: A-

Key Tracks: “Mine” “Flawless”

Long live the queen. Beyonce caused an internet explosion the other night by nonchalantly dropping sixteen new songs (and videos) on iTunes, with no promotion or even any announcements. How no one knew it was going to happen is still astounding. Magazines and websites have taken down their year-end lists and re-tooled them accordingly. She is in no way the first to do it, Death Grips did the exact same just a few weeks back (also with video – and there’s was free), but this album is different. Its lack of a title and unannounced release back up the album’s theme of self-confidence and self-realization. At sixteen songs and a few minutes past an hour, it doesn’t always keep the listener interested, but it’s diverse sonically and consistent thematically.

This album is a little tough to classify. It’s pop, it’s R&B, it’s hip-hop. But unlike most genre-mixes like this, “Beyonce” has a mission statement, bringing lessons about mixing fun and family with a feminist touch. Beyonce has been married since ’08, and she sings a message about being independent within a marriage. There’s tracks about partying, tracks about a strong, independent composure and still, on “Drunk On Love,” lines about remedial marriage chores like doing the dishes. “Beyonce” is devoted to teaching feminism as an internal motivator, teaching that it is as much about self-confidence as it is equality. The album’s lyrics don’t always hold up, but when she is upfront (especially in the album’s latter half), they’re very strong.

There’s only five guest spots across sixteen songs on the album, cementing the album as a Beyonce effort – she’s front and center (as if we were unsure of it at all). Frank Ocean’s majestic talent is again wasted in a meaningless role, as it was on John Mayer’s recent album. But Drake shines in the very respectful song “Mine,” where he takes both a rhythmic background and a strong forefront in his verses. The other three guest spots hardly constitute as “guest spots” – Jay-Z gets a verse in “Drunk On Love,” as song about their marriage, Blue Ivy Carter’s voice is mysteriously droned in a finale song about Blue Ivy Carter, and Chimamanda Ngozi Adichie gets sampled reading her poem, “We Should All Be Feminists” on “Flawless.”

So Beyonce establishes herself as the queen we already saw her is. The promotion works, the well-placed guest spots work, and her lyrical narrative is largely strong. Is the music actually good? Yes. Of course it is. Bey raps on “Drunk On Love,” and raps well. She boasts “I sneezed on a beat and the beat got sicker” on “Yonce.” She’s alternately sweet, on “Superpower,” booming on “Rocket,” pained on “No Angel,” and funky on the Pharrell-produced “Blow.” In other words, she’s human. She has a bunch of inconsistent and complementing emotions, that come through in a set of consistent beliefs. She believes in herself; she believes in all of us. “Beyonce” isn’t so much an album as it is a reflection of Beyonce as a person. Which is probably why the nameless album has been dubbed “Beyonce.” In a world filled with celebrity feuds, drama and boasts, Beyonce and Jay-Z have established themselves as the power couple – rich, powerful, respectfully boastful, and talented, while remaining focused on family and marriage. But Jay-Z’s 2013 contribution was a forgettable release, while “Beyonce” is not. It’s doubtful that they’re competing at all, but if they are, then Beyonce is winning.

-By Andrew McNally

Britney Spears – “Britney Jean”

(Photo Credit: Rolling Stone)

Grade: B

Key Tracks: “Alien” “Passenger”

Britney’s eighth album has been heralded by her as her most personal album yet, and a conceptual one about “the loneliness of pop life.” She’s not exactly uninformed on the subject – we all witnessed her meltdown a few years ago and her surprising comeback. But Britney is now staring down a new issue – this is her first album in her ’30′s, and she has to fight to stay relevant. Pop music can be a lonely world, and Britney knows it best.

The first track, “Alien,” works the best for the concept – a very literal song about being alone, with a feeling of reluctant acceptance about it. “Work Bitch,” the leadoff single, sees Britney giving very simple advice to younger singers who are trying to make their way (although ironic, given Britney’s instant fame). Songs later on down the album help to bolster the concept of loneliness, like “Don’t Cry” and “Passenger,” a great track about not really being in control of your life, having everything dictated. “Chillin’ With You,” a duet, would totally break the concept if it wasn’t for the duet being with family – her own sister Jamie-Lynn (remember her??).

Unfortunately, where the concept works at the album’s bookends, it almost totally disappears in the middle. will.i.am and T.I. show up for guest spots that feel out of place on a somewhat bummer record. Songs like “Body Ache” and “Tik Tik Boom,” which is not a Hives cover like I had hoped, are really just generic pop songs. The album’s midpoint sags lyrically, as Britney gives way to musical progressions that are foreign to her, instead of following through with the concept.

Musically, there is a lot on the album. The more basic nature of the opening songs gives way to moments that flirt with EDM, until the will.i.am collaboration “It Should Be Easy” dives right into it, in a dubstep rhythm that would make Skrillex proud. Spears definitely experiments around with the music of today. There are moments of heavy electro freakouts and booming dance beats, as well as her more familiar sound.

Britney still sounds as good as ever. Her voice is still strong, and still has that slight touch of snarky ego. Even on a moody album, she sounds like she’s having fun. And ultimately, that’s what makes the album succeed. Britney is doing a slight transformation, necessary with the times. Although it’s a little awkward and alienating, she knows exactly what she’s doing. The concept doesn’t always hold and the songs are somewhat inconsistent, but you want her to succeed. You spend the album rooting for her, because few stars ever have such a comeback. Give “Britney Jean” the benefit of the doubt, because it’s Britney, bitch.

Lady Gaga – “ARTPOP”

(Photo Credit: wallpaperswala)

Grade: D+

Key Tracks: “Venus” “Swine”

There’s a piece in some corner of the MoMA that’s a light, plugged in and emitting a low strobe, on top of a piece of wood and a tire. Some people might call it a true artistic endeavor. Some, including my normally artsy self, will just call it stupid and self-indulgent. That’s what Gaga’s third album intends to be – something to take in on both a superficial and an artistic level. But it’s really only enjoyable at the most superficial basis. Sure, it’s an alright listen, but to try and analyze any merit would just be a waste of time.

Gaga said she was inspired by the word “Artpop,” and felt it reflected what the project is. She also said it’s a “reverse Warhol” formula and a “celebration and poetic musical journey” with “a lack of maturity and responsibility.” I don’t exactly know what “reverse Warhol” is supposed to mean, but this isn’t it. Warhol’s work is full of immaturity. For “Empire,” he filmed the Empire State Building for eight hours, as it did nothing. “ARTPOP” is actually an embracing of everything Warhol was about – fame, loose caricatures, controversy, and a disconnect with the general audience. Except there’s no art here.

The first track, “Aura,” is one of the album’s more interesting songs. It’s about taunting the audience by promising them looks into the artist beyond the work. But it’s an EDM track, simply. Zedd and Infected Mushroom collaborated with her on it, and while they’re great at what they do, there isn’t exactly much artistic merit in it. It’s club beats. The album’s first half is full of this frustration – songs that think they’re experimental but are just club-ready doses of EDM, electronic and pop. Most of the earlier tracks are great listens. They’re booming jams, even bigger than what she’s done previously. Somewhere along the way, the music loses it’s touch. The album’s second half is almost totally forgettable. It’s not as catchy, and although it’s more the faults of the vocals, it’s completely ineffective pop. “Swine” has a spine-tingling keyboard rupture, and R. Kelly duet “Do What U Want” has some sweet R&B. But those aren’t enough to save the album’s dragging second half.

Lyrically, Gaga has fallen under whatever caused Jay-Z’s “Magna Carta Holy Grail” to be so irrepressibly bad. There’s a total disconnect to the audience. Gaga’s two previous albums have been so, so good because she created huge club songs while still sounding like someone you could call up to have lunch with. She was easy to relate to. Here, though, she’s not. Two straight songs are called “Donatella” (as in Versace) and “Fashion!” She’s fallen prey to Jay-Z’s ‘If I sing about luxury, people will respect me’ train of thought. Nearly every song is just basic club lyrics. The R. Kelly duet, an intended sexy song, is made creepy by the presence of R. Kelly. Only two songs explore any sort of topic – the decent “G.U.Y.” looks at male submission in sex, and “Mary Jane Holland” is a cliche and trite look at marijuana. “Venus,” the album’s best song, is the only really poetic track. Everything else is just simple rhymes.

I didn’t find anywhere to work this in but I still want to mention it – there’s one track called “Jewels N’ Drugs” that has a few notable rap guest spots. The last is from Twista, and I’m just really glad to see him still popping up in places; I don’t think I’ve seen him on a track in years. He hasn’t lost anything – he still raps at a world record speed.

So “ARTPOP” is really a total misstep. Not artsy, sometimes not even catchy, and unintentionally alienating. This is why I chose the image that I did for the review.  It feels experimental, but there’s nothing artistic about the album, it’s really just Gaga. Any experimentation has no real basis or reason. Some of the songs work, a lot are at least enjoyable, and some are just bland and useless. Diehards will eat it up, those looking for a dance record will be more than pleased, but those looking for the promised experimentation will only find a light on top of a stick and a tire.

-By Andrew McNally

Paul McCartney – “New”

(Photo Credit: Rolling Stone)

Grade: B+

Key Tracks: “Save Us” “New”

It takes an audacious sense of humor to name a new album “New.” It takes someone even more audacious to also name the leadoff single “New.” And it takes a very bold person to release an album called “New” more than fifty years into their career. But that’s what we expect from Sir Paul. And it’s just over the top that the album is filled with innocent 60′s songs, like contemporaries to the Beatles themselves.

The Beatles first landed in America fifty years ago, and maybe Paul is getting nostalgic. There’s a number of songs on this album that recall memories of Paul’s from before he and John even formed the Beatles. Nowhere is this more noticeable than on “On My Way to Work,” about Paul’s days as a driver. The lyrics are filled with curiosity about life, adulthood and love. The title track is about falling in love and not being able to answer questions about it – a response to his recent marriage, but one that sounds more in place coming from a teenager. Innocent questioning was a big part of the Beatlemania era. Paul’s wide eyes towards the world shouldn’t be believable this late into his career, but it completely works.

Nearly every song, with “Appreciate”‘s modern beats being the only real exception, completely grab the 60′s sound – simple and catchy rhythms, and songs that end on the lower side of three minutes. Not all of them have enough energy to really make the album last, though. “Save Us” and “New” are the most energetic, with the latter being one of the many songs that channel the “Revolver”-era Beatles. But a number of the songs are so self-introspective that they aren’t necessarily memorable. Still, the album acts as a delightful throwback and a change for McCartney, who might just be entering a new phase of his life.

You can never really know what Sir Paul is going to do next. He’s released techno albums and composed classical pieces. Some of his most recent albums have been a little weirder and polarizing than his fans are used to. But “New” kicks it way back, with 60′s jams and simple pop-rock. Although it isn’t overly memorable, it’ll surely be a pleasure to his wide-ranging fans.

If you like this, try: There’s a million classic rock and pop albums I could recommend, so I’ll take a different root: Jake Bugg’s self-titled debut. A teenager from England who channels early ’60’s acts like Sir Paul himself.

-By Andrew McNally

The Perms – “The Aberdeen EP”

(Photo Credit: Youtube)

Grade: B+

There’s a very comforting sound the the music of the Perms, and there’s good reason for it. The group’s powerpop/pop-punk sound sounds ripped straight from the peak of blink-182, without sounding like a rehashing. The band has been around since 1998, a product of the era instead of a regrettable throwback. With dual male singers, the band nails the late-90’s pop-punk sound, as they have been doing for years.

At four songs and only 11 minutes or so, this is only a small sampling size. But the four songs properly convey the sense of urgency in the genre. Rousing guitar opens “It’s Mania” before being matched with a “whoa-oh” vocal harmony in a predictably catchy number. “Aberdeen,” the only song over three minutes, is a bit slower and a little less catchy. It benefits from some sneering vocals, making a little less of an attempt to harmonize. “The Parent Thing” is the biggest throwback on the EP, sounding straight out of 2003 with the almost-too-catchy pop guitar and clear vocals. Finally, “Walk Away” focus a little more on the rock than the pop, with the vocals sharing a rhythm with guitar.

This EP has a very clean sound – everything sounds well-produced. Each of the four songs sound ready for the radio, catchy but with a nice helping of energy and fuzzy guitar. Pop-punk may be a genre filled with a number of mediocre and/or blindly nostalgic bands, but the Perms are a band that actually lived through it. They’ve made an original sound for themselves in a field full of unoriginal bands.

-By Andrew McNally

Miley Cyrus – “Bangerz”

(Photo Credit: Rolling Stone)

Grade: B

Key Tracks: “4×4,” “Wrecking Ball”

The opening track on “Bangerz,” called “Adore You,” is a very slow-crawling song about romance. It’s unexpected, but it sends a message – theatrics aside, Miley is taking her music seriously. She easily (and maybe expectedly) could’ve released an album of fun, partying Ke$ha copies, but she hasn’t. There is some of that present, but the focus is on a more mature persona. And she’s showing her maturity in countless ways; the album mixes club beats, synth and even country rhythms over songs about love and romance (sometimes). And say what you will about her VMA’s bit, anyone that still sees her as a young child star is blind to the maturity of the performance (shame on you, Robin Thicke). Maybe it wasn’t the best way to do it, but the message was sent, she watched the waves that were made, and she’s standing by it.

Although this is her fourth album as Miley Cyrus, she’s calling it a ‘debut,’ because it’s the first album she’s released since leaving behind Hannah Montana. (On last Saturday’s “SNL”, she offered a brief update on Montana: “She was murdered”). It does definitely feel like a debut, or even the debut of a new character. She’s only 20, but being a child star, going through a failed engagement and being scrutinized under the public eye since she was young have certainly given her material. Lyrically, she’s fitfully dealing with adulthood, trying to recoup by sounding seasoned but still gleefully admitting to partying, driving fast and drug use. (Yes, it is a little uncomfortable to hear a 20 year old singing about Molly, but less uncomfortable than hearing the 55 year old Madonna sing about it). “4×4″ and “We Can’t Stop” are odes to a wild life, while “Wrecking Ball” and “Adore You” show varying struggles of recovery.

The album has great diversity, not without faults. It isn’t as fun as it seems like it should be. Some songs, like “FU,” really don’t go anyway and would’ve been better off staying on the drawing board. And, as much as it’s common practice for a song to get introduced by saying a rapper/producer’s name, the number of songs that start with Miley just saying “Mike Will Made It” gets very comically repetitive/annoying. Still, the faults are predictable ones for a star attempting to re-distinguish herself.

What wasn’t expected was the guest spot contributions. Britney Spears shows up for a great spot on “SMS (Bangerz),” and Future backs up the soulful “My Darlin’.” Even Nelly sounds great on “4×4,” rapping over what I can only call electro-country on the album’s most diverse and fun song. Miley doesn’t rely on the power of her voice nearly as much as she should, but when she does, you’re reminded that she can really sing. The ballad (and big hit) “Wrecking Ball” and the surprisingly effective closer “Someone Else” are the two songs where she shines vocally. She should’ve relied on her own vocals more, and the album is certainly faulty, but “Bangerz” is still a very memorable and progressive release.

-By Andrew McNally

Lorde – “Pure Heroine”

(Photo Credit: http://www.ddotomen.com)

Grade: A-

Key Tracks: “Royals,” “A World Alone”

Taylor Swift is twenty-three years old. Lorde, an up-and-coming singer from New Zealand, is seven years younger than her. But Lorde’s sound is already established and much more mature than Swift’s is. And she’s ousted Jake Bugg as 2013′s best new sixteen year old artist (sorry Jake). Lorde’s various singles and her “Love Club EP” have all been released within the last year, and have been strong enough to give her the meteoric rise to fame she’s enjoyed over the past two months. Her full-length, “Pure Heroine,” delivers on the minimalist pop her early singles have promised.

Fans of her hit “Royals” notice a medium tempo and a very relaxed attitude, and it’s consistent through the album. Opener “Tennis Court,” one of the three previously established songs on the album (the others being “Royals” and “Team”) sets the tone, with Lorde singing about arguments and iPhones over a synth drone. “400 Lux” sets a little more of a melodic tone – more rhythmic and a little faster, before transitioning into the minimalistic and extremely catchy big hit “Royals.” “Ribs” is a dreamier song, with both Lorde and the backing beat building up to a reverb climax that sounds like more of a finale. The next few tracks succumb to the minimalist idea too much and, although certainly not bad, aren’t as catchy or memorable. “White Teeth Teens” brings the tempo back up before leading into the great finale “A World Alone.”

Joel Little produced the album and is listed as a co-writer on six of the album’s ten songs, but Lorde still contributes enough of her own self to be a surprise for a sixteen year old. Her voice is impeccable, sometimes melodically beautiful, sometimes just a little gritty. And her lyrics are very poetic and mature, especially given what our other teen stars have given us lately. Lorde has been very influenced by royalty, and her mature look at the world is refreshingly original (and probably honest, “Royals” was written in 30 minutes). Musically, she took influence from Lana Del Ray, and that’s a little too apparent at times. But for the most part, pop, R&B, even doo-wop gets mixed together and watered down into some great minimal art pop. It’s tough to say whether Lorde will become huge, or if her music will eventually disconnect from audiences, but for now she’s given us a pretty solid and memorable debut.

-By Andrew McNally