Tag Archives for C

Childish Gambino – “Because the Internet”

(Photo Credit: hiphopwired)

Grade: C-

Key Tracks: “I. the worst guys” “IV. sweatpants”

I’ll be upfront and say that I’ve never really gotten onboard with Childish Gambino. “You See Me” is one of my favorite hip-hop songs ever, but I find most of his other work a mix of tepid and unbelievable. Gambino is the alter ego of Donald Glover – Community’s Troy Barnes, founding member of Derrick Comedy and writer of 30 Rock’s classic “Funcooker” episode. Glover will always be Barnes to me – the endearingly naive manchild/football star. But Childish Gambino is more than a Wu Tang-generated name, it’s a whole persona. Gambino is moody and stubborn on this album, and it’s impossible to tell if it is sincerely reflecting Glover, or if it just fits into a crazy narrative.

The album is split into five parts, although the first two don’t really have any strong narrative structure. Each song is prefaced by Roman numerals, restarting at each section, which gets confusing. The first section is just two seemingly unrelated songs, “crawl” and “WORLDSTAR.” The former is dull, and the latter features some incredibly lazy rapping. The second section also seems to have no arc, although features some of the better songs (including my two key tracks, the first of which features Chance the Rapper). The third bit is a concise and slightly disturbing look at regretting throwing a party and wanting everyone to leave. It’s a cold and alienating bit, in both good and bad ways. Finally, the last two bits are much longer and more experimental, dishing out on the ironic alienation of the internet. It’s the most concise and interesting part, although it does feature a lot of clunky internet lingo like “GPOY” pretty frequently. Still, the tone of the last few songs is hauntingly engaging.

Gambino is a product of the internet age. He released the album online and promoted it online, as many others are doing. Wikipedia’s entry for the album even has the cover as a .gif instead of a .jpg. The messages about how the internet is becoming our universal language are all true and convincing, especially coming from someone of the right age. Without the original online Derrick Comedy sketches, he would’ve never been noticed by 30 Rock in the first place. The album just feels inconsistent. At points, Gambino’s rapping is urgent and frustrated, at other points it’s sluggish and too apathetic. The ideas and the experimentation are largely successful, and this ranks as one of the more original releases of the year. It just feels forced coming from the man who uttered the phrase “It touched my butt’s mouth” in the Community season 5 trailer that came out one week later. “Because the Internet” is a zeitgeist for my generation, about the headlong dive into the technological era. But it’s less experimental than Kanye’s “Yeezus,” less moody than Earl Sweatshirt’s “Doris,” and less online based than Death Grips’ “Government Plates.” Had those albums not come out within the last few months, “Because the Internet” might be a more important release. Surely, though, Glover will be back before we know it. I’ll be glued to my TV when Community comes back on.

If you like this, try: Earl Sweatshirt’s “Doris.” Though not one of the most memorable rap releases of the year, it’s one of the most consistent, and a deep look into a disturbed man.

-By Andrew McNally

Boston – “Life, Love & Hope”

(Photo Credit: bravewords)

Grade: C+

Key Tracks: “Heaven On Earth” “Sail Away”

Bands continuing on after the death a key member is no strange thing. Queen stumbled when they added Paul Rodgers, while Alice In Chains is continuing with a surprising successful replacement singer. These things happen, and whether you want to give the band the benefit of the doubt or not is dependent on the situation. Sublime should’ve stopped, while AC/DC only got bigger. But this feels different. “Life, Love & Hope” isn’t Boston moving on, it’s them remembering the life of Brad Delp. Delp was almost unmatched in rock – his voice was meteoric, screamingly loud and high while always gorgeous. And his style worked alongside Marc Bolan is ushering in rock’s glam phase. When Delp was found dead in his car in 2007, it was a crushing blow to a band that was already fading into the limelights. This album, through all it’s faults, serves as a parting piece for those of us that loved Delp. And Boston fans will want to give it the benefit of the doubt.

So let’s focus on the negatives first. There’s eleven songs on this album – eight if you don’t count reworked versions of “Someone” “Didn’t Mean To Fall in Love” and “You Gave Up On Love.” Of those eight, three have ‘love’ in the title ( that’s 5/11). There’s a lot of downtime on the album. Ballads galore, with plenty of acoustic and piano bits. Lyrically, it’s corny, it’s really corny. It’s called “Life, Love & Hope,” and my AP style insides are screaming. The glam scene that Boston had an early cog in was a largely corny genre altogether, so it’s expected, but it’s still a little over the top. And most of the album isn’t very memorable. While it isn’t bad, it’s best suited as background music and little else.

That said, Boston had one of the most definitively unique sounds ever, and this is Boston. The opening to the first song, “Heaven On Earth,” is a quick guitar slide that promises the listener that Tom Scholz has never turned his pedals off. It doesn’t have the energy of earlier releases, and there’s few (if any) solos on the album, but they still sound the same. Vocally, the album is all over the place, but it’s alright. Delp’s voice shows up on three songs, although two are previous recordings from reworks of songs on “Corporate America.” The other singers on the album, of which there’s five, simply aren’t as strong. The clever track listing lets Delp jump in at the right moments. But the addition of other singers, which include current lead singer Tommy DeCarlo, feels like a tribute instead of a fault. The album’s rough assemblage of new and old songs acts as a strong tribute to the fallen singer.

There is one new song on the album that Delp recorded after 2002’s “Corporate America.” It’s called “Sail Away,” and it’s in response to the government’s mishandling of Hurricane Katrina. It’s easily the best song on the album. Concise and a little more intuitive than earlier songs, “Sail Away” is a great example of how a band can still be on top of things years later.

It’s hard to believe that this is only Boston’s sixth album in thirty-seven years. I was co-runner of an embarrassing Facebook page in high school called “Boston should be in the Rock and Roll Hall of Fame” (that has since been removed). My music tastes have grown and are completely removed from what they used to be, but I continue to love Boston. Maybe because they’re named after my home city, but something always draws me back to them. And while “Life, Love & Hope” has many faults, it serves as a fitting tribute to the late Brad Delp, and as a positive notch in the history of a very interesting band.

-By Andrew McNally

M.I.A. – “Matangi”

(Photo Credit: 514blog.com)

Grade: C

Key Tracks: “Bad Girls,” “Bring the Noize”

There’s a line between controversial art for the sake of making statements and helping causes, and controversial art just for the sake of controversy. There’s a reason we follow Banksy’s every move, and there’s a reason why we left Marilyn Manson by the wayside many years ago. This is a line M.I.A. has been straddling for years, landing on both sides. And that’s just what this album does – it falls on both sides. Some tracks are musically abrasive and/or lyrically riotous. Others fall into the “we really need to do something” type of (l)ac(k)tivism. It’s a mess, and the amount of what works to what doesn’t is probably even.

The first real song on the album (after an intro), the title track, starts with a long segment of M.I.A. just naming countries of the world. There doesn’t even seem to be any point – Canada gets included. Canada doesn’t really have any of the problems M.I.A. is usually rapping about. Many of the tracks feel less resilient, they’re not calls to action but just recognition of the world’s problems. So they seem prodding and controversial, but they have nowhere to go. Also, given some unexpected problems I’ll get to, some of her references are just outdated. “Y.A.L.A” is the biggest example – one of the better songs, a direct response to Drake’s “YOLO” phenomenon, but it’s a phenomenon that’s already dead and has already been spoofed (by the Lonely Island).

Musically, the album is ambitious, maybe even to a fault. Beats drop away, volumes and tempos fluctuate wildly. It’s abrasive, and although it suffers from too many ideas, the ideas she had on paper were definitely successful. The album’s early tracks, and “Y.A.L.A” and “Bring the Noize,” even lack rhythms at times, jumping wildly from idea to idea. And with M.I.A. rapping over all of it, it’s a glorified mess, one that’s a lot more practiced and perfected than it sounds. “Matangi” doesn’t hold the tone, though, there’s a lot of more relative conventional songs that kill any kind of flow the album has. The last few songs sputter to a mediocre finish. Two duets with The Weeknd are wasted on boring songs (the first of which, as I was also wrapped up in an article on “Better Call Saul,” I forgot I was listening to). The better songs musically are able to grab current EDM and dance trends and turn them over into very original, often loud tracks. It’s inconsistent and sometimes boring, but the tracks that work musically are quite a marvel.

The faults of the record aren’t necessarily M.I.A.’s fault – she started recording the album in 2010. It was originally supposed to be released last December, before Interscope shelved it for being too upbeat (can you imagine?). So the album’s frustrating delays don’t help the quality (and it’s something to keep in mind when listening). Also, in a moment that falls way, way on the wrong side of the controversy for a cause vs. controversy for controversy debate is M.I.A. working with Wikileaks leader/convicted molester Julian Assange. Assange helped her write the album’s dumbest song, “aTENTion.” It all feels like a plea for, ugh, attention, with no real artistic merit. And that’s reflective of the album – it’s listenable, some songs are great, but it’s so inconsistent and groan-worthy that it just can’t stand up to her earlier work.

-By Andrew McNally  (Post #100!)

Los Campesinos! – “No Blues”

(Photo Credit: Pitchfork)

Grade: C+

Key tracks: “Cemetery Gaits” “Avocado, Baby”

Do you remember being happy? Do you remember what it feels like? On “No Blues,” the Welsh (not Spanish) indie sextet Los Campesinos! seem to have remnants of happiness. The band that once sang about Spiderman and the seductive nature of envelopes in fast, poppy songs with a double-dose of cheer and enthusiasm, ended up getting very sad very quickly. I’ll put on their 2010 album “Romance is Boring” when I feel like listening to the saddest thing in my entire music collection. And while that album is perfect, their 2011 follow-up “Hello Sadness” just wallowed in it’s own misery, permanently midtempo and self-indulgent to a too abrasive point. “No Blues” seems to be a turn-around of sorts – there’s glimpses of joy, even if they feel nostalgic. There’s still no cheery twee-pop, but there’s a diversity and a more then-and-now, complete sound that was sorely lacking on “Hello Sadness.”

The first few tracks aren’t really remarkable. They’re still wandering around in a medium tempo and hazy confusion. LC! are at their best when they’re on a mission – which always results in either intense, slow songs or quick and bouncy ones. These early meddling ones, like most of “Hello Sadness,” don’t seem to know what purpose to serve. “For Flotsam,” “What Death Leaves Behind” and the misplaced acoustic track “A Portrait of the Trequartista as a Young Man” don’t exactly start the album off on the right footing. But the repetitive and engaging synth riff on “Cemetery Gaits” is hauntingly nostalgic – like a musical equivalent of looking through old photo albums. This track, more than any other on “No Blues,” portrays the album’s theme of longing nostalgia.

Not every following track lives up, but many do – “As Lucerne / The Low” displays the same sentiment. “The Time Before the Last Time” acts as a quiet and begrudging acceptance of the present, before the rousing (if not overlong) finale of “Selling Rope (Swan Dive to Estuary).” “Avocado, Baby” even borders on fun, something we haven’t gotten from the band since the morbidly entertaining “We Are Beautiful, We Are Doomed” album.

The beauty of LC!’s albums is how there’s always a few stand-out tracks that can be repeated endlessly. “You! Me! Dancing!” didn’t get old before Budweiser commercials, and it still hasn’t. “Miserabilia,” “Straight In at 101,” even “By Your Hand” from “Hello Sadness” are ones that will never get old to me. This album will probably take a few more listens to get into, but I can really only see “Cemetery Gaits” and “Avocado, Baby” being songs to listen to frequently. The album still meddles, and even when it’s being thematic, it isn’t as catchy any other LC! album before it. The metaphors and honest lyrics are all still there, as is Gareth Campesinos!’s reliant vocals. It just all feels a little too introspective; a little too personal. It’s certainly an improvement over “Hello Sadness,” thematically and musically, and the tonal shifts back towards lighter times is very welcome. This is by no means a mediocre album. And with a few more (definite) listens, the grade might get bumped up. It’s just some of the magic over the first three very, very different albums seems to have gone away, and they’re only semi-trying to get it back.

-By Andrew McNally

Pearl Jam – “Lightning Bolt”

(Photo Credit: antiquiet)

Grade: C-

Key Tracks: “Mind Your Manners” “My Father’s Son”

Just last week, I was driving when I did something I never do – I turned on the radio. One of Boston’s classic rock stations, WZLX, came on, and they were playing Pearl Jam’s “Daughter.” I can only imagine the meeting they held to determine whether or not early 90′s grunge acts now constitute as “classic rock,” but as someone who was three when that song came out, I’m uncomfortable with this progression. Now in 2013, Pearl Jam have released “Lightning Bolt,” and many critics are praising the album’s misalignment to today’s radio rock. But “classic rock” comes to mind, because it’s structured just like a classic rock album. And that’s really not a good thing.

Even bandwagon Pearl Jam fans know of Eddie Vedder’s punk attitude, much stronger than that of all his grunge peers. Their two most punk songs – 1994′s “Spin the Black Circle” and 2011′s non-album track “Ole,” have been completely upstaged by lead-off single “Mind Your Manners.” The rapid-fire song is almost like a lesson to punk bands, and serves as one of their best songs in years. But the album’s strict lack of any sort of narrative leaves the song out of place on the album. The first three tracks (including “Manners”) properly build the album up, and they’re all pretty decent songs, but the energy is completely killed by the ballad “Sirens.” Not only is the song extremely corny, but it stops the vibe the album gets into, and everything after it feels like disconnected songs. They put what they feel are the best songs at the beginning and fill the rest with the lesser tracks, with no sort of flow at all. It’s just like a classic rock album.

The band, of course, sounds great. They’re all great and diverse musicians. And Vedder’s growl-singing sounds as good now as it did in ’91. Even on the otherwise terrible “Sirens,” Vedder sounds phenomenal. One standout track is the eerily foreboding “My Father’s Son,” because of Vedder’s consistently strong lyricism. But they sound a little too comfortable. They’re not trying to prove anything, and the result is a bunch of bland and unrelated songs that aren’t anything original or memorable.

It’s actually a little tough to review this album, for two reasons. One, I’ve loved Pearl Jam for many years and I can’t stand saying anything bad about them, and two, I truly don’t remember this album even though I just listened to it two hours ago. It’s so uninspired that you come off only remembering the best and worst tracks. The first three and the ballad closer “Future Days” are worth the listen, “Sirens” is not, and everything in between is just dull and mid-tempo. It’s easy on the ears, especially for fans, but it’s instantly forgettable and dull, and its got a frustratingly  misleading name.

-By Andrew McNally

Lee Ranaldo and the Dust – “Last Night on Earth”

(Photo Credit: whenyoumotoraway)

Grade: C

Key Tracks: “Lecce, Leaving” “Blackt Out”

I’ve written already about the sad and sudden break-up of one of my favorite bands, Sonic Youth. One thing that isn’t surprising about the break-up is that the members have stayed prevalent in music, all approaching different projects with their own freedom. What is surprising, though, is that Lee Ranaldo was the quickest to release anything. Thurston Moore’s new band Chelsea Light Moving channels a more energetic Sonic Youth, Kim Gordon’s new duo Body/Head lets Gordon dig much deeper into the experimental drones she pushed for before. (Both debuts were near-perfect.) But Lee Ranaldo – Sonic Youths’ “third voice” released a solo album last fall, before either Moore or Gordon had music out. “Between the Times and the Tides” was a largely successful output, predictably combining typical structure with more noisy influences. He’s already got a second album out, with a new backing band.

And with this new, full, backing band (that includes Sonic Youth drummer Steve Shelley), Ranaldo sticks to more traditional rock structures, at times even resembling a Doobie Brothers type folk-rock. There is less experimentation, but it is definitely intentional. Ranaldo has always been less focused on a specific idea than his Youth bandmates, which can result in albums that vary wildly in both content and quality. “Last Night on Earth” is faulty – his combinations of influences feel a little more awkward and inconsistent.

“Lecce, Leaving,” the opening song, is one of the times where two contrasting ideas really work. It starts as a typical folkish-rock song, but has a long period of hyper-energy guitar build-up, calling back to early 90’s Youth. But otherwise, occasional noise influences and psychedelic bridges don’t really fit into the conventional structures of the song. “The Rising Tide” has a moderately short bit of psychedelia in its middle that fits well, but the multi-minute bookends that surround it (the song is 9+ minutes) make it seem too short. Luckily, the final song, “Blackt Out” (at 12 minutes) seems to completely regain Ranaldo’s experimentation, making a noisy and winding song that’s equal parts fun and fitting for the album’s end.

The main criticism of the album should probably fall on its length. The album is over and hour, at nine songs averaging around 7 minutes. Nearly every song feels a little too long, and when not every idea works, then the album should’ve been slimmed down a little. It’s a long listen, and one that isn’t always engaging.

Ranaldo himself still sounds good. His half-singing fits in the album and he always sounds gleefully comfortable to be fronting his own project. The album is lacking some of his insane guitar, but to hear Ranaldo at the forefront is enough of a pleasure. “Last Night on Earth” isn’t a great album – it suffers from it’s own length, and a full band going with Ranaldo’s noise-folk ideas sounds often sounds unnatural – but it is a decent listen. Devoted fans of the noise side of Sonic Youth might not find much to like, but their not the target audience. Ranaldo, as he always does, is simply doing what he wants to. And although it isn’t his best release, it’s great enough that he’s still recording and getting the chances to just do what he wants.

-By Andrew McNally

Sleigh Bells – “Bitter Rivals”

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

Grade: C+

Key Tracks: “Bitter Rivals,” “Minnie”

What’s a band to do when they can’t shock listeners anymore? They do the opposite – they give us what we don’t expect. This is what Sleigh Bells have struggling with since the release of their perfect 2010 debut, “Treats.” “Treats” has proved itself as the loudest and most abrasive alternative album of the century, mixing hip-hop beats and pop vocals over the crunching,  amp-destroying guitar. But the band’s follow-up, 2012′s “Reign of Terror” attempted to even volume with songwriting, resulting in an abysmally boring album that failed at both. “Bitter Rivals” isn’t great, but the band expands their sound in a promising way.

The title track starts the album. Alexis Krauss’s exuberant “Hi!” gets followed by snapping and an acoustic 12 bar blues rhythm, which feels intentionally deceiving to new listeners. When the lyrics – “It was the best of times / It was the worst of times / I had to kill the new sheriff in town” finally kick in, they bring that debut album intensity with them. It’s very reminiscent of “Treats” – ear-shatteringly loud but so catchy that it’ll get in your head permanently. The song does feel a little more influenced, though, and that picks up as the album goes on. Follow-up tracks “Sugarcane,” “Minnie” and “Sing Like a Wire” are loud but varied, as the band has finally figured the keys to writing actual tracks that exist beyond volume.

Unfortunately, it doesn’t stay as bombastic, as the songs get less memorable. Their embracing of other instruments and continued use of acoustic is great, but once the balance of songwriting and volume starts to tip in the favor of the former, the album loses steam. Some, like “Tiger Kit,” manage to work just based on principle, but others like “You Don’t Get Me Twice” are largely unoriginal. Also, Sleigh Bells aren’t known for long works – all three albums have a total 31 songs – but this album’s 29 minute length just doesn’t feel like enough.

It is definitely a step forward. The band welcomes everything that it’s debut seems to have turned away, because they know they need to stay fresh. “To Hell With You” is even kind of a slow song, and while it isn’t great, it’s a lot different. The songs have depth and less predictability than before. “Treats” is still far and away their best album, but “Bitter Rivals” is certainly an improvement over their sophomore album, and represents steps in the right direction.

-By Andrew McNally

MGMT – “MGMT”

(Photo Credit: thelineofbestfit.com)

Grade: C

Key Tracks: “Your Life Is a Lie,” “Plenty of Girls in the Sea”

With their 2007 debut, “Oracular Spectacular,” MGMT burst onto the scene with mainstream experimentation that hadn’t been seen since the Talking Heads. More conventional than Animal Collective and giddier than Radiohead, MGMT showed the world that experimental pop could be popular while still being ‘weird.’ What the band struggled with after, though, was following it up. Refusing to make an album as catchy as their debut, they released 2010′s confusing and inconsistent “Congratulations.” And now, in 2013, we have a self-titled album that regrettably fits in between the two. “MGMT” has the more conventional natures of their debut without the catchiness, and the abstract qualities of “Congratulations” without any of the fun tonal shifts.

“MGMT” is the band’s first structured and consistent record, and it works nicely as a whole listen. Their first two albums were designed around enjoying tracks individually, while “MGMT” is almost only listenable as a full album. The transitions between songs aren’t as rough as their previous albums, as songs more represent differing pieces of a whole instead of standalone tracks. Individually, though, the songs lack the goofiness and urgency that their other albums enjoy. “Congratulations” was too confusing and too messy, but the energetic “Flash Delirium” is still one of the most fun four and a half minute songs out there. There’s no energy on “MGMT,” evidenced by the frustratingly mid-tempo opener, “Alien Days.” Every song wallows in synth-heavy rhythms, without actually having catchy hooks. The far and away catchiest track is “Plenty of Girls in the Sea,” which doesn’t come until the penultimate spot. There are certain spots, like the nearly six minute “I Love You Too, Death” where the band takes some time to actually develop something musically, but they’re few and far between.

One of the strongest points of both “Oracular Spectacular” and “Congratulations” was the clarity of the vocals, no matter what crazy melodies were happening behind it. Here, the vocals are intentionally buried behind distortion, taking more inspiration from Lightning Bolt than Elvis Costello. It’s very easy to ignore the vocals and take your focus away from the often interesting lyrics.

“MGMT” would have been the logical transition between the band’s first two albums, had it come out earlier. Now, it just sounds like a weird conglomerate that takes the faults of both albums. It’s not a bad record, but it just feels rushed and distant. The individual songs all sound a little too similar, and none of them are catchy enough to be hits nor experimental enough to be worthy of the MGMT name. The band should be praised for constantly experimenting off what their last record was, but nearly every part of “MGMT” just feels dull and underprepared.

If you like this, try: Animal Collective’s superb 2012 album, “Centipede Hz”

Arctic Monkeys – “AM”

(Photo Credit: Spin)

Grade: C-

Key Tracks: “Do I Wanna Know?” “R U Mine?”

Bands by no means have to retain any sort of their original sound. Five albums and seven years later, the Arctic Monkeys do not need to sound like the bratty teenagers they were on their debut. But this album feels like such an antithesis to their debut that it ends up being frustratingly disappointing. When they shot out of nowhere in 2006, they were four teens playing wild, sloppy songs about underage drinking and one-night stands. Now, they’re well-dressed and playing metrical and over-produced odes to maturity and bachelor life. In some ways, a band maturing is nice, and this is the first Arctic Monkeys album where the members seem to fully realize who they are and what they’ll become. But this Arctic Monkeys seems like it would scoff at the 2006 Arctic Monkeys, and the 2006 Arctic Monkeys seems like it would despise what it’ll eventually become.

The band took a different approach to this album. Their recent, public relationship with Josh Homme of Queens of the Stone Age (and a tour with the Black Keys) has largely benefited them. Homme appears on this album; Alex Turner appears on QOTSA’s “…Like Clockwork.” The band has, for whatever reason, decided to ‘Americanize’ their music by recording in the desert with Homme and basing beats off of Dr. Dre. It’s an interesting idea, and one that fits wonderfully within the band’s running thing of each album representing some aspect of life. But the new songs are so beat-based that they feel like a how-to guide for people just starting to learn music. The drum machine and artificial clapping are basic and pointless. And the album is so slickly produced that it makes old songs like “A Certain Romance” feel like underground recordings from the ’70’s. The band and the production are both so slick and so smooth, that it doesn’t feel real. And that’s the last thing I ever expected from them.

Had this album been released by a different band, it would probably be a good recording. There’s diversity amongst the tracks, and a common theme of being a bachelor. The songs ask questions, the lyrics are provocative, and the music is catchy without being overblown. Taking it out of the history of the band, it’s a pretty decent recording. I wouldn’t recommend this as an introduction to the band (that might go to 2011’s “Suck It And See”), but if someone were to listen to this album with no prior knowledge of the group, they might enjoy it.

That being said, the band gave me something that they’ve never given me before, and that’s a large chunk of an album that’s truly boring. There’s a section of three or four songs in the album’s midpoint that should not be as dull as they are. And a song called “No. 1 Party Anthem” should not be one the album’s slowest songs. Unless, of course, this is a grown-up party with adults discussing current events. And this may be the Arctic Monkeys that we have come to.

I’ve been a lifelong fan of the Arctic Monkeys. I keep their debut, “Whatever People Say I Am, That’s What I Am Not,” as one of my go-to albums in my car. I loved “Favourite Worst Nightmare,” I enjoyed “Humbug,” and I adored “Suck It And See.” So to see the band go so slick and smooth felt, to me, like a total loss of principle. They may have been heading in that direction, but I didn’t think they would hit this point so quickly. This album is the direct opposite of their debut, and I find it hard to believe that these guys could truly mature this much in so few years. I will stick by this band, I’ll still see them if they come around this way, but I can’t see myself listening to “AM” again anytime soon.

If you like this, try: The new Queens of the Stone Age album I linked to, it’s another boring album by one of my all-time favorite bands.

-By Andrew McNally

John Mayer – “Paradise Valley”

(Photo Credit: Rolling Stone)

Grade: C+

Key Tracks: “Dear Marie,” “Call Me the Breeze”

It’s important to note that John Mayer underwent throat surgery last year, which sidelined him from the public eye and lessened the landing of his 2012 album, “Born and Raised.” “Paradise Valley” might suffer a small blow, too, although an extensive tour he’s currently on will help advertise. It’s important to note that because it explains the album’s subdued nature. After recovering from throat surgery, Mayer surely wanted to lay low and take things easy on the next album. There’s no reason to blame him for that. And there are some very quaint and pretty songs on the album, with an unusual eclecticism. But the little energy there is used up by the halfway point. It actually audibly drains out during the sixth track, slightly past the halfway point, and never comes back.

As with some of Mayer’s previous works (and in response to his recovery), the music is the primary focus of the album. It is still resembling of a pop album, but with sections of full instrumentation, often harmonica or guitar. Mayer is, admittedly, a phenomenal guitarist, and many songs feature his rambling, passionate solos. His guitar work proves that a good guitar solo doesn’t have to have any urgency or rapidity to it, as long as the emotion is there. The other good point musically is the slight eclectic nature. There are just enough blues and country elements thrown in to save the album from being too boring.

But it does get pretty boring. While it is often gorgeous, many of the songs are also forgettable. It’s a thin line, and the album falls on the wrong side of it a few too many times. No idea sticks around longer than it needs to, but the ones on the album’s latter half are often boring from the start. A cover of JJ Cale’s “Call Me the Breeze” (often wrongfully attributed to Lynyrd Skynyrd) bolsters the varying elements, and serves as a nice, unplanned tribute to the recently fallen blues hero.

Vocally, Mayer’s voice still sounds good when he wants it to. Again, it isn’t the focus, but adds a nice accompaniment to the music. It is still pop, after all. What may the album’s worst quality is two wasted guest spots. Mayer is alone on nine of the eleven tracks, so his two guest spots already feel a little out of place. The first, a song called “Who You Love” (the aforementioned, energy-draining sixth track) delegates Katy Perry to some harmonious background vocals, most of which could have just been recorded by a session singer. The second spot, “Wildfire,” features Frank Ocean on a song that’s only 1:26 long. Ocean mostly does that somehow-beautiful pitch-singing he does, resulting in what’s basically just an interlude. It’s almost as if Mayer and Ocean recorded the song out of necessity, to sign their names on a continued partnership. Ocean is one of the most talented and interesting people in music today, so the point of the song is largely lost.

Save the guest spots, there is nothing inherently wrong about the album. It eventually succumbs to it’s own dullness and it’s largely unremarkable, when Mayer isn’t strumming away. It often sounds pristine, and it’s a nice listen for someone looking for a smooth and low-key listen. Otherwise, it drags on too long with it’s overly subdued sound. A little energy wouldn’t have hurt.

-By Andrew McNally