Arcade Fire – “Everything Now”

(Photo Credit: Spin)Grade: C+

Key Tracks: “Everything Now,” “Creature Comfort”

I recently read an article that called Arcade Fire’s “Rebellion (Lies)” one of the best rock songs of this century so far, and I don’t doubt this for a second. Arcade Fire’s perfect debut album “Funeral” helped energize the brewing indie revolution by adding a full, baroque sound. While bands like Interpol and the Yeah Yeah Yeahs beat them by a few years, they were championing a much more straightforward, guitar-driven approach. Unfortunately, that revolution came to a halt, and many of the genre’s best broke up or should’ve broken up. Arcade Fire were an exception until this point, finding ways to combine some current form of music zeitgeist with the general bleakness and storytelling of their indie background.

Unfortunately for Arcade Fire, they’ve always been a conceptual band, and each of their albums exists (very intentionally) in different spaces. Their first album is a bleak baroque tale of a town where only kids survive a snowfall so bad that it covers houses. “Neon Bible” is a Springsteen-tinged ode to America’s Bible belt. “Reflektor” is a sad dance party, accentuated by James Murphy and David Bowie (!). None of these are concept albums – just albums centered a relative narrative idea. Their idea for “Everything Now” (a tongue-in-cheek title, given the band’s patience in between releases), is one of a band that has hit a huge stature and is afraid of disappointing. This isn’t the first time a band has done this – Queens of the Stone Age attempted a similar idea on their last album “…Like Clockwork.” Foxygen did a similar thing on “Star Power.” It’s just that this idea….isn’t a very good one. There are many different routes that the band could take, from deep introspection on how fame changed their personal lives, or an intentionally messy album that doesn’t do any narrative justice. But they chose the option of being the band that disappoints with a boring album.

The worst part about this is that it doesn’t necessarily feel like a conscious change. “Everything Now,” produced partially by Daft Punk’s Thomas Bangalter (along others), feels like a natural progression to “Reflektor.” The album feels like the characters on that album have grown up more and made peace with their surroundings. So while the music of this album might feel intentionally lackadaisical, some of the other elements feel unintentionally so. Front and center is Win Butler’s vocals. The man has historically gelled into whatever the song needs. As I write this, “Modern Man” is playing. Butler’s voice in this is timid and reserved, especially compared to the high-volume of “Rebellion (Lies)” or the shout-y section of “Neighborhood #3 (Power Out).” On this album, though, Butler mostly meanders through his lyrics like he doesn’t even care that he wrote them.

And maybe he doesn’t – because on the whole the lyrics are pretty terrible. They sing repeatedly about the somewhat vague concepts of ‘infinite content’ and ‘everything now’ (which make up 5 of the 13 track titles), loose terms about the availability of music on the internet. Lyrically, the band is trying to hold themselves to an impossibly high standard, knowing all of their competition in the world. They’re throwing in a satirical white flag. So to hear such limp lyrics throughout is disappointing in both concept and reality. “Infinite Content” and “Infinite_Content” share the same lyrics, and they shouldn’t, because they’re all centered on a corny line. “Chemistry,” though one of the stronger tracks, also has corny as hell lyrics. So does “Signs of Life,” a song where Butler at one point literally raps the days of the week (yikes!).

This album is by no means a complete waste. The title track is dance-pop gold (though, as with “Reflektor,” they make the mistake of putting the best track early and releasing it as the first single). “Put Your Money On Me” takes a long time to build, but once it does it hits a climax more complex than the other tracks. Régine Chassagne has her moment on “Creature Comfort,” easily out-singing her husband. “Chemistry,” too, is pleasant – though it would be more pleasant if it was a different artist. There are undercurrents of new wave on this album, especially on “Chemistry” and “Signs of Life.” Butler’s rapping on the latter is reminiscent of Deborah Harry’s ‘rap’ verse on “Rapture,” although Harry’s was much more of a ‘time and place’ thing. The title track, as dance-pop as it is, also feels a little ripped from ’78.

But elsewhere, the album is just a big dud. Chassagne’s spotlight moment on this album comes on “Electric Blue,” a song so painfully dull that it took me two tries to listen to. “We Don’t Deserve Love” sets itself as the standout, and while it does have some of the album’s better lyrics, it’s a long dud that never does anything to grab the listener. Some of the album’s best points come in the intro/outro/interludes, which is telling. The punk blast that is “Infinite Content” is on par with their chaotic early days, but it’s only a fleeting memory, one that gets taken over by an immediate country-reworking of the same song.

It’s also telling that I can’t pick a pinpoint critique to go on about. Arcade Fire are one of my favorite bands (I mean this), but this album is just a burned-out fuse top to bottom. There is no energy, corny lyrics, and tepid vocals. Nothing that Arcade Fire is known for is done on display here, it’s just a dull dance-pop album start to finish. The band – which still has more members than most bands – rarely alters between a few chords throughout the album. There just doesn’t seem to be anything inspired at all here, and if it’s all part of the image of the album, then it is not successful. Either way, it’s a misfire. This album won’t damage the love that I have for the band, because their music has helped me in ways that I can never explain. But it’s also completely forgettable from start to finish. The fact that the last track resets back into the first one is a kind of ironic poison, that is has to live in its own prison of mediocrity. This isn’t a water putting out the Arcade Fire, but it is a rekindling. This album will never stand up to the ones that came before it; to those who still derive a lot of pleasure from it, the more power to you. I’m seeing them in September and I hope these tracks translate better live. But for now, we’re left with a big pile of nothing.

-By Andrew McNally

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Favorite Songs & Albums of 2017 (So Far!)

(Photo Credit: Rolling Stone)

So listen – I’ve only listened to 29 albums this year. This is embarrassingly small for me, who tries to do 2-4 new releases a week. But what can I say! I spent the first few months of the year working on my thesis and looking for a job (both successful!). But, I still wanted to talk about my favorites. I regret that there are many albums by bands I love (Gorillaz! Pissed Jeans!) that I haven’t had a chance to spin yet. I wrote my annual halfway point critic-y sister post over on The Filtered Lens, but here’s my purely personal post of the songs and albums I’ve loved so far this year. Up first – songs.

Favorite Songs of 2017 (So Far):

#25. “Is This the Life We Really Want?” – Roger Waters

(review)

Waters, both in Pink Floyd and solo, was never interested in subtlety. And any remaining subtlety has withered with age. This track, which sounds like a “Wall” cut, bemoans all of the injustices of the Western world – journalists facing danger, schoolgirls facing danger, the Earth facing danger, and fascist leaders not facing danger, all with savage profanity and an angry whisper. If this isn’t a call to arms, then what is?

#24. “Hard Times” – Paramore

After a few years dabbling in adult rock and a general grown-up alternative sound, the folks in Paramore looked to new wave inspirations for their fifth album, “After Laughter.” The best example came early, in single “Hard Times,” a completely rousing and bouncy joint that sees the group willfully eschew adult alternative for a Devo inspiration.

#23. “Everything Now” – Arcade Fire

Arcade Fire’s slow transition from existential indie rock group into bouncy disco band has had many factors, from a shortening in members to an acceptance of fame. And it soldiers onward to “Everything Now,” one of the most outwardly danceable songs the band has ever produced. Although still not an optimistic song, the production from one of the Daft Punk men robots sure heralds their new turn.

#22. “Firing Squad” – Power Trip

The thrash/heavy metal band Power Trip spent a long time recording their sophomore album – five years. And it was worth it – the dudes in the band are riff machines, and it’s prevalent throughout their album. In this track, the lead single, the guitars hit an incendiary rhythm that doesn’t let up past one of the highest, most excruciatingly shrill guitar notes this side of Dave Gilmour’s solo in “Money.” Rock on.

#21. “Ignorecam” – Pissed Jeans

The dudes in Pissed Jeans – only dudes since their ~2012 reformation – are one of the only dude bands that fully recognize their place in music, as a bunch of dudes. They did it just fine on their absolutely stellar 2013 album “Honeys.” They continue on this song, sung from the point of a dude camgirl-watcher who gets off on being ignored. Not sure why exactly they felt the need to give the voice to this group of men, but it’s a killer (and tongue-in-cheek) song either way. Singer Mark Kovette usually sounds like he’s guzzling whiskey mid-song, and his throaty, guttural vocals sound especially so here.

#20. “Pink Up” – Spoon

Admittedly, I’ve never been the biggest fan of Spoon. While I recognize their immediate legacy in the indie-rock movement, they have never really done it for me. But their new album gets permeated by a completely pleasant pseudo-avant-garde track in “Pink Up.” It’s what the avant-leaning indie movement of ~2007 did best. It’s a perfectly enjoyable track that twists and turns but never loses it’s deeply pleasant rhythm.

#19. “Continuum” – At the Drive In

(review)

After 17 album-less years, ATDI finally saw Hell freeze over and blessed us with “in•ter a•li•a,”and while it’s far from perfect (‘perfect’ here meaning “Relationship of Command”), it has plenty of killer, gut-punching tracks. “Continuum” is driven almost entirely by Cedric Bizler-Zavala’s screamy vocals, which have only gotten stronger over time. The climax of the song, which literally jumps from a whisper to a scream, is one of the best bridges of the year.

#18. “Passionfruit” – Drake

And here I thought I was done with Drake. After three straight releases that I absolutely couldn’t listen to (two of which were loooooong, too), Drake came through with the music-heavy ‘playlist’ “More Life.” One of the breakouts is single “Passionfruit,” which starts with a sobering minute-plus synth rhythm (sobering, despite the DJ literally cutting in to tell people to drink more). It’s a pleasant track that sounds a lot like “One Dance,” but smoother, more digestible, and, well, fruity. Keep it up, Drizzy.

#17. “DNA.” – Kendrick Lamar

(review)

Lamar might be the only person in music currently challenging Beyoncé in the combo of mixing ambition, stage presence, and popularity. “DNA.” is a dirty, rapid track that showcases the two things Lamar does best – boasts and vulnerability. He also tackles another target – Geraldo Riviera. Riviera naturally said some pointless, racist stuff about Lamar in the past, so Lamar responds to it directly, even including a soundclip of Riviera’s comments for all of us to hear. Savage? Jury’s out, but it’s great either way.

#16. “Bad and Boujee” – Migos ft. Lil Uzi Vert

Migos aren’t exactly upstanding guys, and it feels bad to support them. But this song has been stuck in my head since January and there’s nothing I can do about it. Migos excel in simplicity; the rhymes here often sound like poetry written by (filthy) kindergartners – but it’s all in the rhythm of the vocals. The easiness of the song isn’t laziness but a calculated exercise in infecting listeners with a rhythm that’s bound to survive past the year and into the ‘classics’ hall. And it was a #1 to boot. Yeah yeah yeah yeah yeah yeah yeah yeah,

#15. “Nightmare Logic” – Power Trip

I’m not up to date on this year’s metal albums, but no song I’ve heard has had a more commanding central riff than this title track. The riff is so simple that it seems criminal how catchy it is, but that seems to be Power Trip’s MO. And although the lyrics seem to invoke a fight against an other-worldly evil being, they can be easily (and probably intentionally) applied to the resistance felt in our own country. This song is the fierce shot in the knee we all need this year.

#14. “Cut to the Feeling” – Carly Rae Jepsen

How good was Carly Rae Jepsen’s 2015 album “E•MO•TION?” She released a follow-up EP of cut tracks, and still had some gold leftover. This track, cut from both the album and the EP, is pop powerhouse. Jepsen practically smothers us in her voice, piercing through the music to belt the song’s title. Also, “Cut to the Feeling” feels like a description of the lyrics to every song she’s ever written.

#13. “Shining” – DJ Khaled feat. Beyoncé & JAY-Z

Khaled has a habit of bringing in some of rap & R&B’s best talents and bringing out the best in them, even over his simple beats. “Shining” is no exception, although the features make it worth the while. HOVA’s verse is on par with his verse in last year’s “I Got the Keys,” breathing energy into his limping* career. But Bey owns this tracks, singing at full volume and rapping a verse. It’s just a winning combination.

* – 4:44 is great, I wrote this bit before the album dropped and was kinda predicting it to be less so.

#12. “Run” – Foo Fighters

After a lackluster conceptual album and tour fatigue, Foo Fighters took a well-deserved break. And I, personally, thought that their glimmer was fading fast. But they returned recently with “Run” (no relation to their previous single “Walk”). The song stands as arguably the heaviest in their discography, with a riff boarding on metal and Dave Grohl’s screamed vocals. It’s whiplash in song form, in a way the Fighters haven’t delivered in a while. Also, the video is a masterpiece.

#11. “Governed By Contagions’ – At the Drive In

(review)

Boasting a title that sounds like it came from an ATDI song name generator, the band exploded back into the scene after 17 years with this single, a punk-induced blast that effectively uses both of the band’s singers. It’s as blood-boiling as anything in their back catalog, and appropriately dense. It’s also likely the best track on their new album. Turn the volume all the way up.

#s 10-7. “Talk to Me,” “Legend Has It,” “Call Ticketron,” “Hey Kids (Bumaye) [feat. Danny Brown]” – Run the Jewels

Okay is this fair? Maybe, maybe not. This is my blog, I do what I want. Run the Jewels have made a habit of putting out albums that flow like long suites. Their new album, “Run the Jewels 3,” opens with a surprisingly light track called “Down.” But then they kick it into high gear with “Talk to Me,” loudly announcing the album’s title. Their first two albums saw them justifying their own existence through searing political tracks. But this release sees them recognizing their popularity and rapping more about themselves. It’s less dark (though still dark), and often more fun. My personal favorite from the album, “Call Ticketron,” is just about the experience of seeing Run the Jewels live. Also, props to Killer Mike for some of the year’s best lines: “We are the murderous pair / That went to jail and we murdered the murderers there / Then went to Hell and discovered the devil / Delivered some hurt and despair” (“Legend Has It,” which also has a great video). Here’s a fun parting fact: both El-P and Killer Mike are 42, making the combined age of Run the Jewels 84. Legends.

#6. “call the police” – LCD Soundsystem

I have very mixed feelings about the publicity stunt that was the “break-up” and “reunion” of arguably-one-man band LCD Soundsystem. That said, James Murphy’s first single in seven years is exactly what you want from a Soundsystem song – nearly eight minutes, lacking a palpable central chorus and rhythm, and still inherently danceable. His lyrics are usually either completely targeted, or all over the place – and this song is the latter. Murphy sings like he’s throwing darts at a dartboard filled with “gentrified Brooklyn problems.” It’s a ton of fun stretched out over a long time, and it stops abruptly right as it becomes tedious. The true James Murphy way. Dance yrself clean.

#5. “On Hold” – The xx

The xx have never been the most upfront band. Even in the reformed group’s ‘new’ approach, they’re still very muted and emotionally vulnerable. And this is the exact reason why I, personally, don’t care for them. But for this track (the album’s lead single), Jamie xx takes a sample of a Hall & Oates song and exploits it as one of the song’s central rhythms. It’s an inherently catchy song that transforms a familiar rhythm into something else entirely. It’s a very groovy song, but one that repeatedly catches you in it’s cold, cold subject manner. The lyrics are just sad as all hell.

#4. “Sign of the Times” – Harry Styles

This song was a bold move, and one I deeply respect. At 5:41, the track is longer than every song in the One Direction discography (one remix matches it). It’s a somewhat bold lead single, one that signals an immediate shift away from the group he is permanently entwined with. And what a song – a piano ballad that’s vaguely about war (“Dunkirk” in theaters July 21st!) but also about personal relationships. It’s no secret that Styles was one of the better voices of the group, and it gets put on full display on this lead single. It’d be fun to watch the guy let loose if it wasn’t so emotional.

#3. “HUMBLE.” – Kendrick Lamar

(review)

The biggest jam of Lamar’s “DAMN.” was also its leadoff single. The song, less than three minutes, is a searing indictment of various things wrong with pop culture today. He touches on photoshopping models, billionaires giving talks and, vaguely and perhaps ironically, the luxury of millionaire celebs. And he does so with a ferocious energy, like he’s being paid word-per-second. The track is incendiary, the musical equivalent of a long string on fire, leading up to a bomb. Tense, direct, and catchy, it showcases Kendrick at his peak, truth-spewing form. And since I’ve done it a few times already – it has one of the best videos in years.

#2. “Fragments” – Blondie

(review)

The fun thing about doing pieces like this on my personal blog is being able to talk about any random album tracks I please, and there’s always ones that I love. This time around, it’s the final track on Blondie’s good new album “Pollinator.” The song is a left-field choice for my #2 of the year, for sure. It’s two seconds shy of seven minutes, and is a cover of a song written by a movie blogger. But Deborah Harry and co. just own it. It’s a new-wave song in the fullest – a slow intro that drags the listener long enough that they expect it to stay a sad ballad. And once that expectation is passed, the band locks in and jumps the tempo to practically double. Blondie don’t need to be putting in this much energy in 2017 (Harry just turned 72, for chrissakes), but the fact that they do makes this song so supremely entertaining. And the band stays locked in for most of the song’s runtime, before bringing it back in for a slower finale. I didn’t think we needed new Blondie in 2017, but we did.

#1. “Green Light” – Lorde

(review)

The first thing you should know about this song is that hitmaker Max Martin told Lorde her songwriting on this track was “incorrect.” She respectfully ignored his advice and released the song anyways. And man she dominates this song. The first minute sounds like old Lorde, piano ballad about meeting people in bars and what not. But once that off-beat piano kicks in, her whole history gets thrown out in favor of an excessively danceable tune that matures her teenage ennui in a very natural way. This song is the equivalent of a night where you went out a little too long – where you had a little too much, and got a little too emotional. But it’s also the morning after, when you realized that you don’t really care all that much after all. It’s three simultaneous emotions packed into one, and the pure volume and energy of the song make it difficult to handle. The proper response to this happens near the end of the song, when all instruments but the synth drain out in a supposed bridge, but one that Lorde ignores and keeps singing at high volume. This is a track for the bored teens, the 20-somethings who feel stuck, the 30-somethings who have to accept that life isn’t working out the way they want. It’s restless, fidget-y, and sleepless, but optimistic in a way that only Lorde could pull off. In other words, it’s 2017 in a song.

Favorite Albums of 2017 (So Far):

#10. Feist – “Pleasure”

Sparse, minimalist indie-pop isn’t usually something that barks up my tree, because I personally find it leaning more towards uninspired than emotional. But “Pleasure,” Feist’s first album in six years (and released only weeks before her appearance on the new Broken Social Scene record), feels intentionally lacking, like pieces have removed. It’s sparse to the points of actual silence, and yet the album has an undercurrent of something much bigger and darker. It covers a lot of ground, a lot of emotions and situations that are begrudgingly necessary in our own lives. This is a long way from an iPod commercial.

#9. Drake – “More Life”

Dammit, I like Drake again. His last three albums lost me completely – “Reading This” was frustratingly downtempo, “What a Time” was a cash grab and “VIEWS” was a painfully unlistenable act of showing you the table you’re going to put all of your emotions on, but then not actually doing it (as well as an exercise in the dangers of adopting another culture’s styles). But the common missing link in these albums was any remotely interesting music. Here, Drizzy incorporates music entirely, from the flutes in “Portland” to the sobering synth in “Passionfruit” that sounds like a tamer, better version of his inane and appropriative “One Dance.” Drake himself seems relaxed and in focus, more so than usual. And although this isn’t an album – it’s a ‘playlist’ – it’s still one of the better releases in his catalog.

#8. Foxygen – “Hang”

Foxygen are a pretty weird group. At their core, they’re early Rolling Stones imitators. Their music is very loose and fun, while being artfully destructive. But they do exist in 2017, an age where you can say “let’s spend the night together.” Foxygen exist more as the wet dream that exists in some Rolling Stones & Velvet Underground mix. This album, one of their better releases, is a large orchestral ensemble suite, although the band still officially credits only two members. Tracks like “Follow the Leader” and “America” wouldn’t have sounded out of place on a more experimental prog-classic rock album, while maintaining a certain loose energy and heavy production that couldn’t have existed then. It’s a rare balance, and they haven’t always pulled it off in the past, but this album is a real gem.

#7. Slowdive – “Slowdive”

At it’s heaviest and loudest, shoegaze can be one of the most physically draining and ear-ripping experiences (My Bloody Valentine were regularly voted one of the loudest live bands and, well, Deafheaven). But at the other end of the spectrum are bands like Slowdive. They, like MBV and the Jesus + Mary Chain, regrouped for the current shoegaze revival and released their first new album in 22 years. The album retains shoegaze’s wall of sound, but through a dream-pop filter. The tracks on this album (especially “Star Roving”) fill you with a loud but warming sound that somehow reaches down into you like cocoa on a snowy day. It’s a summer-y album for people like me that don’t really like summer albums. Don’t feel like going outside? Let this be your sunshine instead. Note: headphones required.

*Doctors recommend a daily dose of sunlight. “Slowdive” has not been verified by the FDA and should not be considered a long-term replacement for vitamin D. Also don’t yell at me for calling Deafheaven shoegaze. “Sunbather” is.

#6. Roger Waters – “Is This the Life We Really Want?”

(review)

This album title has a simple answer – no. Waters was never very subtle in his decades in Pink Floyd, and he has been even less so in his solo work. In fact, Waters is more direct in his lyrical attacks than any young punk band you’ll ever see. This album is chock-full of specific ailments the world faces. Waters (and all of Pink Floyd) is deeply anti-fascist, and with the rise of fascist and fascist-adjacent politics, Waters immediately followed suit. Although much of the album is acoustic and subdued (think “Mother”), his anger is broiling over the pot and onto the stove. Sure, at one point he refers to an unnamed world leader as a “nincompoop,” but most of his attacks land hard – he chronicles governments killing journalists, the indifference to women being murdered, climate change and police brutality in one verse. Waters is just as angry as ever. Also, happy 40th, “Animals.” You’re aging well, unfortunately.

#5. Power Trip – “Nightmare Logic”

I’d call this the best metal album of the year – to be fair, it’s the only one I’ve listened to so far. But it’ll probably stay that way. Power Trip take the best components of heavy metal and thrash metal and boil them down into songs that are straightforward but punishing. Metal bands can often be a little silly, but Power Trip demand to be taken seriously on this album, with grave political songs and mind-blowing riffs. The songs on this album are often somewhat basic, but they approach simplicity with a renewed energy, something most metal bands avoid (by either rehashing the same ideas, or trying to be overly conceptual). The rhythm in the title track barely stretches across more than one note, but it’s as effective as the best Motorhead classics.

#4. Lorde – “Melodrama”

(review)

From synth to industrial to piano ballad, Lorde’s sophomore album hits practically every point. The beauty of the album lies easily in how much of a sophomore album it feels like. Her first album was about life as a bored New Zealander teenager, minimalist and bleak; this album shares the sentiment, but from the POV of a 20 year old who has deeper experiences. Lorde’s choice to show those advancements through music rather than lyrics is brilliant, as it gives the album a whole depth that was intentionally missing from her debut. It’s a completely separate and distinct record, one that takes the already palpable emotions from her first record and translates them into different terms. This record is plagued with uncertainty about the future – it just switches between worry and carelessness. Lorde seems wise beyond her years, and this album shows.

#3. Kendrick Lamar – “DAMN.”

(review)

K-Dot’s last full album was, need I say, “To Pimp a Butterfly.” The modern masterpiece will almost definitely go down amongst “The Chronic” and “Stankonia” on the list of all-time best rap albums. Lamar presents himself on that album as a deeply flawed person, but does so in an otherworldly manner. On this album, he falls back down to Earth to compete at a fair level. The album is grittier, dirtier, and grounded more in velocity and realism than ambition. But don’t mistake that for a lack of creativity, because Lamar brings the heat. The album is full of intense boasts and rapid-fire rapping, from “DNA.” to “HUMBLE.” As always, the features are sparse, mostly centered around a solid Rihanna duet. And the album climaxes with a track that gives the oral history of the time Lamar’s father met the man who founded Top Dawg, the label Lamar is on – and then reimagines their interaction as a violent one. Lamar’s verses about addiction and personal demons actually feel more suited to this gritty album, and while it’s no “Butterfly,” it’s still a damn delight – sorry, a DAMN. delight.

#2. Mount Eerie – “A Crow Looked At Me”

The fact that I made it through this album in one pass is amazing. The fact that I did it over a drink is downright impressive. Only in rare circles of indie-folk do you find music this depressing and, when you do, it’s usually unwarranted and/or fictionalized. This isn’t. This album is the chronicles of folk/metal singer Phil Elverum losing his wife to pancreatic cancer shortly after she gave birth to their first child. The album acts as an extended news clip from a small-town station, a prolonged eulogy, and an admission of guilt over feelings Elverum maybe wanted to ignore. The album is entirely acoustic, and was structured chronologically from the immediate aftermath of her passing to acceptance a year later. The album’s songs are largely devoid of rhyme and structure, and are just thoughts thrown onto a page. Elverum describes the simplest of tasks – taking the garbage out, collecting her mail – with an emotional intensity that an average listener cannot relate to. It is extensively brutal, emotional, and honest. The entire album resembles a Mountain Goats song boiled down to it’s core and re-worked to be even more honest and unfiltered. If you think you can handle this album – then go for it. Elverum himself says there isn’t a lesson, that it’s just life. But even that can be overwhelming.

#1. Run the Jewels – “Run the Jewels 3”

Run the Jewels have nothing left to prove. The two rappers, Killer Mike and El-P, spent the group’s first two records using their respective underground statuses to reach newfound fame. And now, both men (each 42 years of age), have hit that status. So their third album is less political and more vocal flexing. When you have both El-P and Killer Mike onboard, some narrative boasting is exceptionally enjoyable. They spend much more time on this album rapping about their own status as newly-christened throne holders. And they do it with flair – Danny Brown, Tunde Adebimpe, Trina, BOOTS, Zack de la Rocha and Kamasi Washington make appearances. RTJ have spent their first few years existing on a kind of fringe – a band more political than most current popular rappers, with a intensity not suited for radio. This album sees them join the ranks of current rappers and outdo nearly all of them immediately. The album follows their previous works, in that often songs blend together in one long suite (as you saw above), resulting in a constant crush of beats, El-P’s otherworldly one-liners and Killer Mike’s energy. Truly, a match made in heaven.

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Highly doubt anyone’s still reading (I didn’t), but if you did, thanks and remember to smash that like and follow button (did I do that right). Hopefully by the end of the year I’ll have listened to, you know, a bunch more albums. Also remember to check out The Filtered Lens for occasional reviews from me and great takes on film and TV from others. See you in December!

Blondie – “Pollinator”

(Photo Credit: Spin)Grade: B+

Key Tracks: “Already Naked,” “Fragments”

Certain bands hit a legendary status where they can have others write music for them. We saw it last with the proto-new Monkees album that had contributions from both Harry Nilsson and Rivers Cuomo. Well, Blondie have hit that status. Although they don’t have the amount of material or the longevity (remember their 15 year break), Blondie shook music so much that they’re able to have outside help.

But before we discuss the non-Blondie elements, we should discuss the band itself. This album has a renewed energy and a consistent groove to it, and it’s safe to say it rivals that of their original late ’70’s run. The band is locked in on every song. And, as with any great Blondie album, there’s a respectable mix of new wave, ballads, disco and punk. The album is bookended with two great rock songs, “Doom or Destiny” and “Fragments,” the latter sporting an unexpected and effective tempo change. “Long Time” balances out a pleasantly bouncy beat with a delicate bridge. “When I Gave Up On You” is a great ballad, and one that brings the album’s momentum down a bit. And although “My Monster” might not be the best track, the blending of guitar and synth over unexpectedly monotone vocals makes it arguably the most interesting. Debbie Harry hasn’t missed a beat – her voice dominates the album. It hasn’t changed in the slightest – modest, but dominating. Only in “Already Naked” does it feel like the band relies on her, though, which is good. In the album’s other ten tracks, her voice patiently but strongly leads the band.

After a fairly mediocre outing where the band took on a more electronic approach, Blondie decided to tag in to some other writers for this album. This isn’t to say they’ve given up – merely that they felt fans would rather appreciate great songs written by other people to decent songs written by them. And the person who shows up the most in the songwriting credits is indeed Debbie Harry. The classic duo of Harry and guitarist Chris Stein penned two tracks on this album: opener “Doom or Destiny” and “Love Level.” Harry also has a credit alongside Blood Orange on “Long Time.” Keyboardist Matt Katz-Bohen and his wife Laurel are credited on two songs as well. Other songwriters that aided include Dave Sitek from TV on the Radio, Charli XCX, The Gregory Brothers, and Adam Johnston, a writer for YourMovieSucks.org. Almost ironically, the album’s weakest track “Best Day Ever,” was written by Sia and Nick Valensi of the Strokes.

Despite the credits, the album is somewhat sparse on actual guest appearances. Joan Jett (who is not credited as a songwriter) appears on opener “Doom or Destiny.” Johnny Marr, Charli XCX, the Gregory Brothers and Adam Johnston appear on the songs that they co-wrote. The sole other appearance is that of John Roberts. Readers may know Roberts as the voice of Linda Belcher on the unbelievably great FOX animated show “Bob’s Burgers.” I do not know the circumstances that led him to appearing on a Blondie record. The track he shows up on, “Love Level,” is the only one that approaches hip-hop in any way. Admittedly, it’s pretty jarring, because it’s not only the only pseudo-rap heard on the album, it’s also the only prominent male voice. As a song, it works, but in the context of the album, it’s a little much of a curveball.

At the end of the day, this is just a very good Blondie album. For a band that spent their heyday trying everything, they sound comfortable going back to some basics. They nail both the jams and the ballads, and they sound great as a collective. The energy is there, the diversity is there, and Debbie Harry’s vocals are there, so there is reason to rejoice. Forty-three years and eleven albums in, Blondie still sound young and fresh. And really, isn’t that what Blondie is supposed to be?

-By Andrew McNally

An Intimate Night With the Greatest Punk Band That Ever Was

(Photo by me)

Whomever said punk is a young man’s game is sorely mistaken. Last night, I got to see Television live, and even in 2015 they absolutely crushed it. I’ve been doing some thinking lately, nothing more than shower musings, about who I think is the best band in each genre of music, the one that defines it the most. I haven’t come to many conclusions, but one that I did come to was that Television was the best punk band. Sorry, Clash. The band’s attitude and style is what did it, but they convinced me as much in 2015 as they would have in 1976.

Punk, as I have come to understand in my years transitioning from Rancid to Patti Smith, is more a spirit than a genre. It’s not necessarily about anarchy and destruction, though a part of it. It’s about doing what’s unexpected, unwanted; breaking the status quo. Iggy & the Stooges did this in Detroit, so did the MC5. They rallied against the sex, drugs and blues-rock and roll of the time in the same way Black Sabbath did. They upped the volume and came out angrier. The Ramones changed the game again by setting a template – power chords, 2:30 songs with apathetic or political lyrics. This template is still in place today – everyone from NoFX to the Dropkick Murphys to FIDLAR follow this format in some way. But that’s the problem – it’s a format. Punk, itself, has an incredibly tired and ironic template to it.

Television was one of a few CBGB’s bands in the late 70’s that seemed to foresee this template problem. Blondie and the Talking Heads added pop elements, and took off a whole new genre. Patti Smith was setting her spoken word poems to music. Television looked less at the music and more at the template – short songs, fast, loud music, and did away with all of it. Their classic album “Marquee Moon” is marked with slow-burners, tracks over (or well over) five minutes, and long, technically proficient guitar solos on every song. A virgin ear might mistake them for a classic rock band living in the wrong part of the city. Their songs are restrained, but the band has an energy to them – noticeable on the very first chord of “See No Evil” – that says they can run with the big dogs, they’re just choosing not to.

Tom Verlaine’s lyrics, making allusions to poetry and art (the Venus de Milo, for instance), didn’t stand on the same platform as, say, “I Wanna Be Sedated.” Maybe Television was in the right place at the right time. Or maybe, when we look back at them today, we still consider them a punk band because their music demands so. Technically remarkable lead and rhythm guitars interlock across albums, with Verlaine’s and Richard Lloyd’s tension almost palpable. And with the general lack of guitar distortion, and a clean, jazzy sound, it was the purest of music. It was what the other bands weren’t doing. It was punk.

I truly had no worries about Television ruining this legacy for me. I knew that if they couldn’t sound great live, they wouldn’t tour. And they delivered, from a performance standpoint – next to nothing was changed in the songs. At first I was disappointed in the lost opportunity for longer solos, but then I remembered that their albums aren’t punk statements, they’re works of art, and fine art should not be tampered with. And as such, their setlist consisted of every song off “Marquee Moon,” out of order. Verlaine played piano sections on his guitar, muting his strings to sound like piano keys. And on a number of songs, he self-indulged and plucked and warped the strings to sound like a one-man string section. I couldn’t wrap my head around it and I still can’t.

The crowd was as diverse as expected – fathers and sons, lost young scuds like me, and older burn-outs. A man in front of me who could have passed for Hilly Kristal wore a Patti Smith Group sweatshirt and jammed to every song like it was his 200th time seeing the band, gleefully ignorant of the 35+ years behind him. To the right of me was a pretentious 30-something who played air guitar the whole night, despite having a drink in one hand and his other arm over his girlfriend’s shoulder.

But aside from the performance, Television delivered in the punk spirit as well. Permanent Lloyd stand-in Jimmy Rip came out in a bowl hat and beard that looked like a high-dollar Tom Waits Halloween costume. Verlaine, in an unzipped hoodie that may have been a size too big (he hasn’t gained a pound since they shot the “Moon” cover). The setlist consisted of “Marquee Moon,” but the encore was pure unpredictability – “Little Johnny Jewel,” a cover of Count Five’s “Psychotic Reaction” (always a staple of their live show), and an unreleased track called “I’m Gonna Find You.” Their second two albums “Adventure” and “Television” were left untouched. The show itself had an aura of unpredictability – opener Dennis Driscoll performed with an improvised saxophone, courtesy of Morphine’s Dana Colley, and his set ran long. Soon into Television’s set, someone behind me yelled to turn the bass up, to which Verlaine pointed to Fred Smith and said aloud, “Move closer to him.” Verlaine was louder when he was talking to the audience than when he was singing into the mic, the vocals lost in the music. And in the encore, when they were transitioning between “Reaction” and “Find You,” a game being played by an excruciatingly bored security guard on his phone was audible. For a show with 65+ year old men on stage, in a small but classy venue and a randomly assorted audience, a punk spirit still came through. The Ramones may have passed, the Sex Pistols riddled by death, the Clash riddled by maturity. But for one night, the spirit of 1976 came through, if only briefly. Television, keep doing your thing.

-By Andrew McNally (photo credit is mine)

White Lung – “Deep Fantasy”

Grade: A

Key Tracks: “Drown With the Monster” “I Believe You”

In a world where punk is an ever-increasing and subjective term, we’re seeing more and more bands stretch the limits of the genre – the Waxahatachees and Andrew Jackson Jihads take a more acoustic-driven approach, and the Menzingers and the Modern Baseballs opt for deft poetry instead of angst. So it’s almost surprising to hear a band like White Lung, a well-oiled machine of anger and energy. They have a ferocity normally reserved for hardcore, and indeed, their music tends to hover towards hardcore and thrash metal, but it stays distinctly punk. Their excellent third album, 10 songs and 22 minutes, is a sweaty and kinetic burst that never once lets up.

White Lung aren’t changing anything on “Deep Fantasy.” This album isn’t an increase in power – they’ve always been as intense as they are here. But it’s still impressive. All ten songs on “Deep Fantasy” are at a non-stop, ferocious volume, as if they don’t know anything except that. White Lung have the ability to make a song that’s 2:26 feel long. The music is no frills – no drum fills, no theatrics, no breakdowns, no intros, no outros. Just volume. And yet, it doesn’t quite align with punk or metal. If they were to rely more on chords – which I’m glad they don’t – they’d veer into thrash metal. But the verses are usually marked by guitarist Kenneth William’s shearing, high-pitched rhythms, adding a shrieking element that isn’t metal at all.

Mish Way’s vocals dominate the album. She inverts some typical vocal structures by letting her voice fly high over the verses and taking a backseat, sometimes in a deeper pitch, during the choruses. Her voice is more stable on this time around, actually sounding intentionally conventional at most times. It creates a weird disparity – there’s clear, common vocals centered around a mass of volatile, unstable music. Her voice, at least on this record, actually resembles that of Debbie Harry’s, and the result is the album that Blondie always sounded like they wanted to experiment with, but never did.

To refer to a band, especially a punk band, as “female-fronted” in 2014 is ineffectual and stupidly ignorant, but for “Deep Fantasy,” it’s important to point out the album’s feminism. With blinding punk like this, you’d expect angry lyrics, whether personal, political, etc. And sometimes that’s the case – the repeated line “the water looks good on you” on “Drown With the Monster” speaks volumes. But some of the songs are poignant and rational. The album’s most intense track, the 1:42 blast “I Believe You,” is in response to sexual assault. Elsewhere, Way sings about other issues that society has laid on women – eating disorders, sexual fantasies and body image. To present rational and balanced lyrics in an otherwise aggressive setting brings home the importance of what Way presents – forcefully saying we need to address these issues in a safe manner.

White Lung only does one thing, and they do it extremely well. At 22 minutes, the album is a chugging engine that never gets repetitive or tired. It just keeps going, until you’re starting to break a sweat, and ending before the actual pain comes. Years ago, White Lung turned their instruments all the way up, and they haven’t adjusted them since. “Deep Fantasy” is an aural assault, and one of the best punk albums of the year. The band is a driving force in punk, and “Deep Fantasy” establishes them as a deafening group to watch out for.

If you like this try: an obvious comparison is equally feminist group Perfect Pussy, but they include effective moments of silence and feedback as major song points, that White Lung instead totally eschews. So, a better comparison might be noise-punk group So Stressed’s album “Attracted to Open Mouths.”

-By Andrew McNally