2017 in Music: Lorde

Now that we're at the halfway point of the year, I'd like to put up a handful of new music reviews as well as my top 5 or 10 albums of 2017 so far. However, I may have to post them tomorrow. For now, here's a review of Lorde's new album "Melodrama" (I wrote more than usual and figured I could make it a stand-alone post).

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Lorde - "Melodrama" (June 16, 2017)

I never would have guessed that a genuine art-pop concept album could make it in today's musical landscape, but Lorde pulled it off. Melodrama is a self-contained sprawling portrait of emotional evocation, full of slow pulsing beats, winding vocal landscapes, and lyrics that push the envelope of popular songwriting. Thoughtfully paced, it takes its time guiding you through the in's and out's of its meticulously structured music, allowing each song to connect and sink in they way they were meant to. While the album does have a properly modern sound, its artistic creativity is most obvious in the ways in which its minimalist approach fully meshes and plays with its pop-oriented leanings toward grandeur. Anticipating and denying the expectations for solo pop artists, this record simultaneously puts Ella Yelich-O'Connor fully on display as a person while highlighting her as the artist we know as Lorde. The spotlight is placed on the feelings conjured by her words and mostly-subdued voice rather than attempting to elevate her as the masterclass singer-songwriter her contemporaries often try to present themselves as. There isn't a single "big" song on it, but the beauty of this album is how perfect it is as a collection of tracks which come together to paint a picture of both relatability and individual personality most people have only wished to see in the realm of popular music. Melodrama certainly isn't a summer album meant to be played on repeat, nor does it pretend to be, but it is an album made to be appreciated. Her style of music may not be my preference, but Lorde has now fully piqued my interest, drawing me into her world. If it takes another 4 years to get album #3, I'll be patiently waiting. (Standout tracks, if you can call them that, include "Homemade Dynamite", "Sober II (Melodrama)", and "Supercut")

8.5/10

2017 in Music, Part 3

The New Pornographers - Whiteout Conditions (April 7, 2017)

In a single phrase, one hell of a fun album. Seamlessly weaving energetic synth-driven melodies and Talking Heads-esque art-pop aesthetics through a baroque, symphonic atmosphere, The New Pornographers have once again proven themselves to be one of the most interesting bands in the industry. Beautifully organized harmonies, ambient soundscapes, and an obvious instrumental expertise make up the backbone of this record, not only meant to be listened to but also fully appreciated. Standout tracks include "High Ticket Attractions", "Colosseums", and "Juke". 

9/10

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Mac DeMarco - This Old Dog (May 5, 2017)

Trading in most of his zany guitar chops for a more consistently-acoustic sound, Mac DeMarco seems to have found solace in a new kind of lo-fi. Although the production value of this record is slightly more polished, and there's a stronger embrace of the keyboard-driven sounds only hinted at before, the payoff is worth it. As always, this album is fueled by raw, uncompromising creativity, simultaneously exuding a unique take on genre bending alternative music as well as a newly personal sense of artistry in the truthful lyrics flowing underneath its bed of laid-back sonic pleasure. Standout tracks include "Baby You're Out", "A Wolf Who Wears Sheeps Clothes", and "On the Level". 

9/10

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Incubus - 8 (April 21, 2017)

A strong entry back into the music scene following a 6-year break in studio albums, this collection of songs is a welcome improvement on their previous effort. More concise and melodic, the album is a return to the band's beloved mix of chord-driven alt-rock and swelling ballads. But there is also a hint of experimentation, with newly found electronics peppered across the record, and even an instrumental track in the second half. All in all, this is a rather enjoyable album from the often-underrated Incubus. Standout tracks include "Nimble Bastard", "Loneliest", and "Love in a Time of Surveillance". 

8/10

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Pond - The Weather (May 5, 2017)

Never a band to stray away from the strange, Pond have put together another hypnotically provocative set of electronic tracks for their latest album. With their own brand of neo-psychedelic stylings, here they exhibit an effective mix of indie-tronic sound collages, mod-synth experimentation, and more pop-oriented hooks to create a wonderfully trippy journey through a record unlike anything else you're bound to come across. Check it out if you happen to know who they are. Standout tracks include "Sweep Me Off My Feet", "Edge of the World Pt. 1", and "The Weather". 

8/10

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On another note, the next two months will be full of new releases from the likes of Roger Waters, alt-J, Phoenix, Royal Blood, HAIM, and Arcade Fire. Should be a great summer.

As always, Happy Listening.

2017 in Music Continued... (Delayed Post)

Alright. 2017 in music, continued...with a bit more variety this time.

Kendrick Lamar - DAMN. (April 14, 2017)

A very intelligent and well-constructed album. Combining politically-aware, engaging lyrics with Kendrick's technical prowess and a steady soundscape of jazzy, R&B-infused beats, this is modern hip-hop at its finest. Rhianna and U2 also make for awesome guest artists. I enjoyed it, it made me think, go check it out. A great album all the way through, a few standout tracks include "FEEL.", "LUST.", and "FEAR." 

9/10

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Temples - Volcano (March 3, 2017)





Diverging from the 60s psychedelia of their debut album, Temples trades in their Tame Impala-inspired guitar and drums structure for a more interesting take on 70s space-rock meshed with modern electronica. Like ELO meets Wilco meets M83, this is a sonically brilliant record, and fun to get lost in. Standout tracks include "I Wanna Be Your Mirror", "In My Pocket", and "Roman Godlike Man".

8/10

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The Jesus and Mary Chain - Damage and Joy (March 24, 2017)






The band's first album in nearly 20 years, this is a welcome comeback from one of alt-rock's giants. There are plenty of nods to the band's noisy post-punk heyday, but this album deliberately brings itself closer to mainstream territory, and does it successfully. More akin to The Dandy Warhols than Joy Division, this is an eclectic but highly enjoyable addition to The Jesus and Mary Chain brand. Standout tracks include "All Things Pass", "The Two of Us", and "Presidici (Et Chapaquiditch)".

8/10

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Mastodon - Emperor of Sand (March 31, 2017)





While this record doesn't tread new territory, it's still a merciless ride with one of modern metal's most talented bands. Mixing the more polished production style of their latest efforts with the crunch they're known for, Mastodon has yet again unleashed an epic collection of songs that should please any fan. Standout tracks include "Show Yourself", "Roots Remain", and "Andromeda".

7/10

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As a friendly reminder, Royal Blood has also released their newest, long-awaited track, "Lights Out", hopefully pointing towards a new album this year. Update: Royal Blood's new album is coming out on June 16th.

Happy listening.

2017 in Music...So Far (Quick Reviews)

Spoon - Hot Thoughts (March 17, 2017)

Definitely a favorite of mine thus far. This album sees a consistently great band experimenting a bit, and for all the better. With hints of funk and jam band aesthetics, it's a fun, sometimes hypnotic listen. Stand out tracks include "Hot Thoughts," "Do I Have to Talk You Into It," and "Shotgun".

9/10

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Depeche Mode - Spirit (March 17, 2017)

A decidedly political turn as far as lyrics go, it does have a slight lull half way through (though not one of boredom, just simple repetition). It still features a lot of great sounds from one of the best bands in the electronic biz. Stand out tracks include "Scum," "Poison Heart," and "No More (This Is The Last Time)".

7/10

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The Flaming Lips - Ozcy Mlody (Jan. 3, 2017)

An interesting mix of the band's more recent delve into electronic psychedelia and the dream pop leanings of their more popular output. One hell of a trip, and possibly their best release since 2009's Embryonic. Stand out tracks include "There Should Be Unicorns," "One Night While Hunting for Faeries and Witches and Wizards," and "Listening to the Frogs with Demon Eyes".

7/10

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Bush - Black and White Rainbows (March 10, 2017)

I was excited for this album, especially since I quite enjoyed their last release in 2014. But I was sadly disappointed...It's a flat, overdone, monotonous collection of tracks bloated with uninteresting arena pop sensibility. Zero stand out tracks.

4/10

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If you've made it this far, I have not included John Mayer's recent EP's (even though there isn't a bad song between them) simply because I'm waiting to hear the full album. If you haven't checked out his new music, I recommend "Moving On and Getting Over," "Still Feel Like Your Man," and "Helpless".

I still need to listen to The Shins' new album Heartworms... and I'm looking forward to the return of The Jesus and Mary Chainwith their first album in nearly 20 years, Damage and Joy.

Happy listening.

Contact: The Near-Great Zemeckis Sci-Fi (Film Review)

                   

Released in 1997 and directed by Robert Zemeckis, Contact is a story about a scientist (played by Jodie Foster) who happens upon an extraterrestrial signal sent to Earth, after devoting years of her life to finding proof of an alien existence in the universe. Through a series of events, Foster’s character, Dr. Arroway, becomes the chosen human to make first contact with these otherworldly beings. Unfortunately, what is supposed to be the greatest discovery in human history turns out to be the most divisive event on the planet, letting loose religion and science to confront one another on a massively public scale. As Arroway is accompanied by a host of scientists and government officials throughout the movie, it's her relationship with Palmer Joss, a Christian philosopher played by Matthew McConaughey, which takes focus. While the film starts out as an alien-encounters picture, Contact soon becomes a meditation on humanity and belief, following Arroway’s journey to finding faith in something other than God. By the time the credits begin to roll, however, it’s clear that a decent script is one of just a few aspects which save the movie from falling too far short of greatness.

An interesting story grounded in the real world and peppered with hard science, what Contact largely presents itself to be is a movie less concerned with the aliens it speaks about, and instead focused on the humans an alien discovery would affect. But despite the film’s almost self-aware desire to separate itself from traditional science fiction fare, it struggles to draw a line between Hollywood blockbuster and the “thinking man’s movie” it wants you to believe it is. In fact, it’s so concerned with not being a run-of-the-mill Hollywood sci-fi that when it utilizes the very cinematic aspects it has seemingly been avoiding, those moments do nothing but negatively impact the story’s value. Yes, the slow pace of the movie can be attributed to its sense of detail in regards to its characters’ personalities and making sure that their world is as much ours as it is theirs. And the film is certainly an interesting take on the religion/science divide, dissecting what it means for the two fields to have dissenting universal truths. But as intellectually engaging as the film can be, Contact also employs some of the trappings of mainstream dramas. Romance between Arroway and Palmer tends to feel out of place; the use of John Hurt as a pseudo-James Bond villain becomes clearly unnecessary; and the machine’s overblown destruction sequence retrospectively seems straight out of a Michael Bay movie. If it wasn’t for the film’s run time spacing out these scenes, it surely would have turned into popcorn fodder for the casual viewer.

              

Of course, even with its shortcomings, Contact is still a generally appealing film, thanks in great part to its lead actress. Arroway’s character is certainly supplemented by a supporting cast worth their own recognition, but the movie is undoubtedly carried by Jodie Foster’s brilliant performance. Known for her many standout roles as strong, independent women, Foster brings a serious tone and intensity to Dr. Arroway which keeps the character interesting enough to care about her. The story nearly opens and closes with monologues on her part, telling someone about how she’ll never quit her present endeavors. And throughout the movie, Arroway clearly has an affinity and love for the work that she does (even though she sleeps with Palmer in the first 20 minutes, she does leave him behind to track auditory satellite movement at three in the morning). Near the end of the movie, too, as it becomes less tethered to reality, Foster’s visual channeling of emotion becomes the thing which keeps us in our world, as she ironically leaves it behind, if only for a moment.

       

While Contact does have a good buildup to a sort of ambiguous or unpredictable “climax,” it unexpectedly, and perhaps unnecessarily, takes the overdone, stereotypical Space Odyssey route and makes the last 40 minutes or so about this “experience” Arroway undergoes. It could have done more, or done something different, such as focusing on her actual thoughts rather than the spectacle of the travel, which ultimately only creates the situation where no one believes her, a very obvious outcome. It is also fairly slow moving, and often relies on clichés and seemingly random plot points or plot holes, but it’s an all around decent film. The subject matter is enough to stay intrigued, and Zemeckis’ down to Earth directing style allows for a grounded take on the epic sci-fi ideal. Hardly a perfect science fiction film, Contact may actually be the right sort of movie to introduce the genre to those who may flinch at man-killing cyborgs or look down upon epic space battles.

Rating: 3.5/5