Category Archives for Uncategorized

David Lynch – “The Big Dream”

(Photo Credit: Pitchfork)

Grade: C

Key Tracks: “Wishin’ Well,” “I’m Waiting Here (feat. Lykke Li)”

Do you remember the movie Kazaam, with Shaquille O’Neal? It was a fun movie, totally depth-less and objectively terrible, but enjoyable nonetheless. This is usually the best to hope for when a celebrity of one medium attempts to transition into another. David Lynch’s “The Big Dream,” his second album after 2011′s “Crazy Clown Time,” is similar to this. It isn’t great, by any means. It drags on through some rough patches. But Lynch is trying, and he obviously cares about what he is recording, even if only he ends up enjoying it. “The Big Dream” is yet another artist trying out a different medium than the one they are used to, with even more mixed results.

But “Kazaam” is about as far away from David Lynch as you can get, so let’s compare it to the first episode of Lynch’s near-perfect show “Twin Peaks.” As far as pilots go, “Twin Peaks”‘s is a pretty good one. The episode starts on a dreary note, with the discovery of Laura Palmer’s body. From there, it continues throughout the small town, introducing the key characters, one by one. “The Big Dream” operates in a similar way, introducing many ideas without actually acting on them. The opening song, “The Big Dream,” is perhaps the album’s weirdest, equating finding a dead body to what comes after. Lynch’s tracks often go nowhere from where they start, as if he intentionally did not finish a single one of them. Like a character, whose future is not yet known. For every Shelley Johnson, there’s a “Last Call.” For every Big Ed, there’s a “We Rolled Together.”

Unlike the pilot of Twin Peaks, however, these songs don’t sound like precursors to something great. They just sound like ideas, and they aren’t anything more than that. Every song is a song, and that’s that. It maintains a consistency, one that borders between surrealism and conventional music. Unfortunately, it is not enough of either, which leads to a collection of tracks that are enjoyable, but feel wholly unnecessary. As for the music itself, Lynch is not a strong singer, so he hides his voice behind ambient and dreamy microphone settings, which often complement the dreamy electronic-influenced music. He has surrounded himself with some talented names, and there is genuine inspiration in the work they’ve done. It is just an inspiration that has not been properly drawn-out. The album’s only great song is a bonus track (but lead single) called “I’m Waiting Here,” and features the only guest spot, with Lykke Li on vocals. It is not a bad album, but it is slight and annoyingly uncreative. I’m not sure who the target audience is for “The Big Dream,” but it is only a footnote on Lynch’s career. Definitely not worthy of massive quantities of cherry pie.

-By Andrew McNally

Marla Mase – “Speak”

(Photo Credit: Bandcamp.com)

Grade: B

Key Tracks: “Piece of Peace,” “Lionness”

Musician and activist Marla Mase’s new album “Speak” is lengthy – sixteen tracks that stretch into a long running time – but the album’s message is consistent. Mase has been making a name for herself as an activist-performer, writing songs about equality, peace and feminism and equating them with raw and multimedia performances. “Speak” delves and winds through many genres. Opener “Piece of Peace” is a building rock song, reminiscent of “Gloria,” the song that started off Patti Smith’s legendary “Horses” album, only with a much different and more peaceful message. Next is “Open Up My Heart,” a spoken word track, and “Dance the Tango” embraces reggae later on. There is no consistent genre of music, just consistent messages of peace and love. “Lioness” is easily the album’s most experimental song lyrically, a song about feminism that has Mase growling like a lioness (in tune with the song, too, which is pretty tough). Mase is joined by eight musicians on the album, that help to create the ambient twisting through genres. The instruments themselves are all traditional of rock and pop music – guitars, bass, drums, keyboards, etc. – but Mase’s inspiration lends to the blending that the musicians create.

Mase’s singing voice, on the whole, isn’t overly strong. Some songs are talk-sung, and as a singer she never attempts to make her voice the focal point in a song. Normally this wouldn’t be good for a solo singer, but Mase’s voice isn’t the point here. The lyrics to her songs have much more depth than most other pop/rock singers. Thankfully, the strongly poetic lyrics and consistent genre-switches easily save the album from sounding awkward because of this. Again, think Patti Smith. Smith’s lyrics are often stronger than her voice, and her music is more often successful than not. Mase channels a lot of activist singers (John Lennon, Midnight Oil, etc) but none more than an early Patti Smith. Mase’s message is clear, and while “Speak” might feel a little long and sound a little too apparent that Mase is a young artist, learning the ropes, it works as a consistent message and an engaging listen.

Mase is performing the mutimedia presentation of this album on August 17th (my birthday!) at the East River Park in NYC. Admission is free. The album “Speak” can be streamed here or here.

If you like this, try: Patti Smith’s album “Banga” from 2012. A great album that went relatively unnoticed.

-By Andrew McNally

Ciara – “Ciara”

Photo Credit: the Huffington Post

Grade: B-

Key Tracks: “I’m Out,” “Super Turnt Up”

You have to admire Ciara’s perseverance. Lead-off single “Body Party” is her first song to make a dent in the Billboard chart since roughly 2010, usually the kiss of death for solo R&B / rap artists. Her last few albums have not been successes either critically or commercially, even if they were not exactly failures in both categories, either. I don’t want to bring up her critical and commercial struggles, because every review of “Ciara” begins with that fact. But it is an important lead-in to this album. The album is simply titled “Ciara.” Bands and artists that choose to self-title a non-debut are often making a statement, that the album encapsulates all of the artists’ progress until now. Some work, (“Fleetwood Mac,” “Social Distortion”) while some are misguided declarations into new territories (“Metallica,” “blink-182”). “Ciara” is the former. It is a completely safe and standard album, but one where Ciara can put her foot down and announce that, despite a consistently slipping presence, she is still here, and will not let past failures stop her.

That being said, it is a very safe album. Opener “I’m Out” is a very dance-friendly track, constrained to medium-volume beats and even features an only-slightly-uncensored guest spot from the often pervasive Nicki Minaj. The album continues down this path: basic R&B songs, basic club tunes, basic songwriting. “Body Party” is the only song that really features Ciara’s strong voice, the album’s biggest downfall. Also, it’s relatively quiet demeanor shows up too early on the album, as the third track, and it is a little off-setting against the early club songs that are still winding up the album.

“Ciara” is not a long album, only ten tracks ranging mostly between three and four minutes. This is probably good, because of how underhand the album feels. If it were to go on much longer, it would feel too tepid instead of feeling like a collection of what she has done so far. It is not great, and commercially and critically might go down as another hit-and-miss effort. It’s mixing of different ideas does seem to have a purpose, however, one that might not go noticed to the listeners but one that does tie up her career to this point. It is a basic work, one that is enjoyable and almost immediately forgettable. Depth-less and easy, without overstaying it’s welcome.

Also, side note: I’m always down for a song called “Super Turnt Up”

-By Andrew McNally

Midterm Reports:

I was going to list a “Top 15” of the year so far, but when I listed them I out I realized there were 27 albums I wanted to mention and three acclaimed ones that I felt should objectively make the list, so I went ahead and listed out thirty. This is a rough list, based more objectively than subjectively. I valued creativity, flow and general entertainment, with a slight emphasis on creativity. I might make a Top 10 subjective list, just for fun. There are a few acclaimed albums from the year, like releases from Boards of Canada and Eleanor Friedburger, that I have yet to hear. If you can’t tell, I tend to stray towards alternative.

Top 30 full-length albums* of the year so far, a totally unofficial list:

* – Had the “D.A.I.S.Y. Rage” EP from Kitty counted as a full album, it’d be hovering around #15

30. Baths – “Obsidian”

29. Dirty Beaches – “Drifters / Love is the Devil”

28. James Blake – “Overgrown”

27. Kurt Vile – Wakin’ on a Pretty Daze”

26. The Strokes – “Comedown Machine”

25. Disclosure – “Settle”

24. Chelsea Light Moving – “Chelsea Light Moving”

23. FIDLAR – “FIDLAR”

22. Pissed Jeans – “Honeys”

21. John Fogerty – “Wrote a Song For Everyone”

20. My Bloody Valentine – “m b v”

19. A$ap Rocky – “LONG.LIVE.A$AP”

18. Frightened Rabbit – “Pedestrian Verse”

17. Queens of the Stone Age – “…Like Clockwork”

16. Waxahatchee – “Cerulean Salt”

15. Foals – “Holy Fire”

14. Justin Timberlake – “The 20/20 Experience”

13. Laura Marling – “I Was an Eagle”

12. Phosphorescent – “Muchacho”

11. Daughter – “If You Leave”

10. Phoenix – “Bankrupt!”

9. Deafheaven – “Sunbather”

8. Kanye West – ‘Yeezus”

7. Savages – “Silence Yourself”

6. The Flaming Lips – “The Terror”

5. Daft Punk – “Random Access Memories”

4. Foxygen – “We Are the 21st Century Ambassadors of Peace & Magic”

3. David Bowie – “The Next Day”

2. The National – “Trouble Will Find Me”

1. Vampire Weekend – “Modern Vampires of the City”

 

Top 10 Debuts of 2013 (so far, an equally unofficial list):

10. Pyyramids – “Brightest Darkest Day”

9. I Kill Giants – “I Kill Giants”

8. Mwahaha – “Mwahaha”

7. The World is a Beautiful Place & I Am No Longer Afraid to Die – “Whenever, If Ever”

6. Disclosure – “Settle”  (#25 above)

5. Chelsea Light Moving – “Chelsea Light Moving”  (#24)

4. FIDLAR – “FIDLAR”  (#23)

3. A$ap Rocky – “LONG.LIVE.A$AP”  (#19)

2. Daughter – “If You Leave”  (#11)

1. Savages – “Silence Yourself”  (#7)

 

Finally, five disappointing albums of 2013:

5. Laura Stevenson – “Wheel”  Her previous album is among my top 10 of all-time, but she feels distant and disconnected here.

4. Dave Grohl & Friends – “Sound City – Reel to Reel”  Dave Grohl assembles huge name friends to record boring radio rock. Only three stand out tracks.

3. Eric Clapton – “Old Sock”  Clapton finally embraces his reggae influences, and could not be more boring about it.

2. The Front Bottoms – “Talon of the Hawk”  Painfully cheesy lyrics and rushed rhythms tainted one of my favorite bands.

1. The Yeah Yeah Yeahs – “Mosquito”  No real explanation here. It’s just really, unexpectedly bad.

Mavis Staples – “One True Vine”

(Photo Credit: Pitchfork)

Grade: B+

Key Tracks: “Jesus Wept,” “One True Vine”

Mavis Staples, 73 years old, proves on her thirteenth studio album that she can still make any song sound gorgeous.

Mavis Staples originated as a member of the Staple Singers, the legendary gospel-soul group. But after the family stopped recording music, Mavis came into her own through her solo work. “One True Vine” finds her reconnecting with the man who produced her previous record, Wilco frontman Jeff Tweedy. The songs on the album are primarily covers, ranging from Nick Lowe, to a surprising cover of a Funkadelic song, and a cover of a song from the alt-rock band Low (that’s only a few weeks old, and was also recorded by Tweedy). Tweedy composed two of the tracks, “Jesus Wept” and “One True Vine,” two of the best songs on the album. Staples’ voice sounds as strong as ever, as she takes sometimes painful and emotional lyrics and turns them into beautiful songs.

Tweedy’s work on the album, as with Staples’ previous work, is intentionally minimalistic. A majority of the tracks are just vocals and acoustic guitar, with an occasional inclusion of drums or other instruments. Tweedy played all of the instruments on the album except drums (which were played by his son), which adds to the low-key feel. The focus of the whole album is on the vocals. “One True Vine” is a short and quiet album, stripped away of any distractions. Staples still has a beautiful and strong voice, and the album is a strong and creative blend of gospel and soul because of it.

-By Andrew McNally