Viewing entries in
Alternative

Big Scary – Animal (Album Review)

Big Scary – Animal (Album Review)

Released in 2016, Animal is the fourth studio album from Big Scary; a musically dynamic Australian duo that offers a mesmerizing exploration of human emotions and experiences, delivered via a unique blend of indie rock, electronica, and heartfelt lyrics. Each song from Animal contributes to the album’s cohesive narrative, one that asks us to transcend our animal instincts and rise above the animal within, making it a must-listen for anyone seeking an immersive musical experience.

Of course, before one can get to the music, the album artwork will draw you in as it’s simply stunning; in a non-traditional manner, that is! It’s eye-catching and stays with you while connecting with your soul on a level that only the visual senses can fully comprehend. If nothing else, it is the perfect visual accompaniment for the music that you’re about to experience. 

While such a visual element would be perfectly suited to the larger vinyl canvas, I’ve yet to pick up a copy on that format. A shame, yes, but with limited funds, my wish list is considerably lengthy as it is. Nevertheless, it gives me something to look forward to and until then I can say with certainty that the lossless Apple Music stream is sonically exquisite. 

If you are interested in seeking the album out on vinyl, you’ll notice an immediate difference to the streaming counterpart as the album is separated into Hunting, Lurking, Resting, and Walking themes; each presented on its own side of the double LP. The CD offers a similar breakdown, but due to the continuous nature of the format, it isn’t quite as unique as that of the vinyl release. For example, if you want to listen to just one aspect of the album, you can listen to that single side. This acts in much the same way as Sigur Rós’ () as it presents the album in a randomised, listener-determined, structure. Whether or not you find this aspect fascinating, it’s wonderful to see independent artists experimenting with their craft. 

While part of the artistic intent of Animal was to allow the listener to play the album in a non-linear manner, this review will focus on the sequencing released via Apple Music as that retains the core artistic intent.

Oxygen is a hauntingly beautiful track that sets the tone for the entire record. With its raw drum beat that harks to the core animal status within us all, to the sonically dry electronic rhythm, you’ll be captivated from the very first note.

Organism is diverse and layered, resulting in a song that is larger than the sum of its parts. Every aspect of Organism is perfect and it amazes me that music this good was made by an independent artist. I say that because Organism, and the entire album, sounds better than most big label/artist releases. 

Double Darkness is a little more subdued and introspective with a vocal tracking that is simply sublime. There’s much to love when Double Darkness comes on, and it’s one of the best songs on the album, but I find it’s the correlations I hear to Paul McCartney’s recordings that are the most interesting aspect here.  

Savior Add Vice transitions seamlessly from Double Darkness and while it has a greater rock vibe than the previous track, the distorted guitars and tempo quickly shift the atmosphere to one that is controlled by a sense of urgency. Additionally, I feel the vocal presentation is flawed on this particular song as it tends to get lost in the mix. While I acknowledge that that approach was likely intended, it results in a somewhat lacklustre performance. 

Lone Bird is a killer song with a perfect rhythm and composition. Incredible!

The Endless Story is thoroughly enjoyable. Not only are the musical elements compelling, but the vocal delivery is equally exceptional.

Flutism suits the album but isn't a track that connects with my soul. It isn't inherently bad, but it’s a little over-produced.

Up And Up And Up is incredibly addictive. I dare you to sit still while listening to this track; I can’t do it. 

Breathe Underwater reduces the tempo considerably and it may result in a shock to the senses; if you’re streaming that is. Breathe Underwater is the first song of the Resting element of the album and if you’ve picked up the vinyl release, the time delay, due to flipping sides, will be enough that you wouldn’t notice the shift as much as those of us who are streaming the album do. Nevertheless, Breathe Underwater is a lovely mellow song.

The Opposite Of Us is a beautiful tune that is not only an ideal fit for the album but flows perfectly through the Resting phase of the record. 

Heaven On Earth is atmospherically stunning. I can only imagine how exceptional it would sound on vinyl, for the Apple Music stream is already breathtaking.

Over Matter has a little too much volume and channel variation that I find to be rather distracting. Yes, it’s a technique but even if I could compartmentalise that aspect, the vocal pacing isn’t in harmony with the other songs from the album. The result is that Over Matter can sound like a garbled mess. Ultimately, however, that doesn’t deter me from the album experience but it is a low point in an otherwise exceptional release. 

Lamina has moody tones that are reminiscent of the opening tracks thereby making it an ideal bookend that compels me to listen to Animal again and delve deeper into Big Scary’s growing catalogue of music. 

From start to finish, Animal is a masterful album that showcases the Australian duo's incredible talent for crafting deeply emotional and sonically rich music that is immersive. Animal really is nothing short of a modern indie rock gem and is one of the best albums released in 2016. 

KALEO – A/B (Album Review)

KALEO – A/B (Album Review)

Released in 2016, KALEO’s second studio album, A/B is an exceptional release with a unique blend of rock, blues, and folk influences, combined with the soulful and gritty vocals of frontman Jökull Júlíusson. With its rich musical diversity and emotionally charged lyrics, A/B presents a compelling journey that captivates listeners from start to finish.

Part of the compelling nature is the recording itself; one that has been captured, mixed, and mastered with pure perfection. The lossless Apple Music stream, an Apple Digital Master, is equally impressive and while I have heard, and thoroughly appreciated, the vinyl release for A/B, I feel that the best way to appreciate this album is via the lossless Apple Music stream for the differences are minimal at best. Naturally, the stream can’t compete with the physical nature of a record, but it’s so sonically pure that I don’t feel as though I’m missing out on anything from an audible perspective.

No Good is an instant classic that sets the tone for the entire album with some killer beats, riffs, and an exceptional vocal presentation that is perfectly suited to the song and KALEO’s overall style.

Way Down We Go slows the tempo of the album, but it’s simply magnificent and is, without a doubt, a standout tune on A/B. Júlíusson’s vocal is yet another highlight but you’ll be in rhythm and blues heaven with a bass and drum rhythm that reaches to the very depths of your soul. This is music you can feel and the sensory aspect has to be experienced firsthand. Therefore, may I recommend, that you take your headphones off, and play this masterpiece on speakers. 

Broken Bones is sublime!

Glass House picks up the pace again, featuring infectious rhythms and bluesy guitar riffs. While Glass House may be run-of-the-mill rock and roll, there’s nothing wrong with that!

Hot Blood exudes intensity and passion. The song's upbeat tempo and catchy chorus make it a standout track, showcasing the band's versatility in creating different musical moods.

All The Pretty Girls is a slower tune with a very interesting vocal presentation, in comparison to the other songs on the album. That said, it works extremely well with its gentle acoustic arrangement. It just goes to show the level of musicality that is present within the band, even at this early stage in their career.

Automobile is an incredibly catchy tune. I love it!

Vor í Vaglaskógi is sonic perfection! While it is the only non-English language song on the album, the vocal delivery is velvety smooth and is an absolute pleasure to listen to. The music, sans lyrics, is equally impressive. It’s such a beautiful song that I hope KALEO will, one day, release an entire album in their native Icelandic tongue.

Save Yourself is a lovely song but was always destined to be underwhelming following Vor í Vaglaskógi. 

I Can't Go On Without You is a soulful and heart-wrenching ballad that showcases the band's emotional depth. Júlíusson's powerful vocals shine through, making it one of the most emotionally resonant tracks on the album and a perfect closer that encourages the playing of the album again.

Overall, A/B is a stunning release that takes listeners on a captivating journey through various musical landscapes. From powerful blues-rock anthems to soulful ballads, the band showcase their musical prowess and emotional depth throughout the album. KALEO's ability to blend different genres seamlessly ensures A/B is a must-listen for fans of alternative rock and anyone seeking music with substance and soul. 

Nirvana – Bleach (Album Review)

Nirvana – Bleach (Album Review)

Released in 1989, Nirvana’s Bleach is a remarkable debut that laid the foundation for the success that would come with Nevermind, yet this is the stronger album. 

Aside from the controversial artwork, sales success, and the hit single Smells Like Teen Spirit, Nevermind is, dare I say, overrated. Seriously, dear reader, can you name a song on Nevermind other than the aforementioned track? Alternatively, who played the drums on Bleach? I’ll give you a hint, it wasn’t Dave Grohl, nor was it a single drummer.

Look, I love Nevermind as much as any other Nirvana fan. It’s an incredible album but the raw energy, angsty lyrics, and heavy guitar riffs heard on Bleach make it far more compelling. Plus, Bleach is underproduced by comparison with an additional grungy sound that comes through in bucketloads. It is as if you’re listening to Nirvana, playing out of a garage in your local, somewhat dodgy, neighbourhood. Nevermind, however, is far more presentable, radio-friendly, and more attuned to a band playing out of a garage surrounded by a white picket fence in a nice neighbourhood.

There’s little doubt that I’ve offended many people with my views on Nevermind. It’s important to note, however, that it isn’t because I dislike the album but that when I think of Nirvana, I immediately think of and want to listen to Bleach as it showcases Nirvana's origins before the revolutionary impact they would have on the music world. 

In order to review this classic debut, however, a decision had to be made as the only edition available via Apple Music is the Deluxe Edition (essentially the double CD re-issue from 2009). The non-Deluxe Edition is nowhere to be seen which is a shame for as much as I enjoy the additional live recordings, I much prefer to listen to the album in its original sequencing. Subsequently, when I add music to my Apple Music library, I’m eternally grateful that I can delete songs and rename the album so that it resembles that of the original release. I can’t, however, easily share that edit with you as Apple doesn’t permit it, but I can create a playlist, as seen below, that showcases the original 11-song lineup. 

Now, I’m sure someone is going to question why I didn’t include the early bonus tracks (Big Cheese and Downer) that have been a common addition throughout many reissues. Well, the reason is rather simple. I don’t feel they add any value to the album and I prefer the flow of the original 11-track version. You may, and likely do, have an opposing opinion and that’s fine because music is subjective and here at Subjective Sounds it is important for you to experience the music you love, the way that would bring you the most joy and happiness. With that in mind, let’s take a look at the original tracking for Nirvana’s debut album, Bleach.

Blew opens the album with a killer bass groove and sets the tone for the record by highlighting the musical skill and sonic adventure Nirvana was about to take us on. While Nirvana has always been instrumentally impressive, it’s Kurt Cobain’s vocal here, and throughout this debut, that is spectacular as his gravelly and brooding vocal is thoroughly captivating.

Floyd The Barber has an intense and extremely addictive rhythm. If you haven’t turned the volume up, you’re listening wrong, for Floyd The Barber comes alive when your stereo system is pushed to its limits. 

About A Girl is one of Nirvana's greatest recordings with a melodic and catchy style that is somewhat counter to Nirvana’s core grunge aspirations, yet it works perfectly! If you enjoy this recording of About A Girl, perhaps you should check out the MTV Unplugged performance for I truly believe that that version surpasses this original. Not by much, granted, but regardless of how you choose to enjoy this masterpiece, you’ll be left in awe. If nothing else, About A Girl showcases just how exceptional Cobain was as both a songwriter and vocalist.

School has a killer riff and rhythm that quickly fuses to your soul. It’s a shame then that the lyrics are a little mundane, especially when you compare them to the other songs from the album. Nevertheless, the musicality is off-the-charts.

Love Buzz is GROOVY! Krist Novoselic's bass work is pure perfection. As a Shocking Blue cover, Love Buzz showcases the band's ability to take existing material and infuse it with their own distinctive style. If you get a chance, take a listen to the original Shocking Blue recording, you won’t regret it.

Paper Cuts is a quintessential B-side and is a little mismatched to the overall tracking of the album. It’s got the raw underproduced feel to it that should appeal to fans of Nirvana’s early recordings, but it is so raw that it is almost as if it were still in the demo phase. Nevertheless, it’s a solid tune but you’re unlikely to seek it out outside of the album’s structure. 

Negative Creep exudes raw power. Cobain's vocals are aggressive and forceful, perfectly complementing the song's unrelenting intensity. If there is another song that best showcases Nirvana’s grunge roots, I don’t know what it is for Negative Creep is utterly perfect. 

Scoff features an addictive driving rhythm and heavy guitar chords that contribute to its overall presentation and showcases Nirvana's ability to convey raw emotion through music. 

Swap Meet has a fat guitar riff and a groovy rhythm that is its saving grace for it isn’t the strongest song on the album. Additionally, Cobain’s vocals, on this song, just aren’t solid enough to push it over the line either. In all honesty, Swap Meet could have been an exceptional instrumental tune. 

Mr. Mustache combines gritty guitar riffs with Cobain's aggressive vocals, resulting in a raw and intense track. I do wish, however, that Novoselic’s bass tracking was more prominent within the mix. 

Sifting has an impressively deep and dynamic drum beat and is a perfect closer and Cobain’s vocal delivery in the chorus will leave you wanting more. The result is that you’ll feel compelled to listen to the album again or stay within Nirvana’s back catalogue of music. 

Overall, Bleach is one of the most crucial albums in music history and is a landmark release for Nirvana. From the brooding heaviness of tracks like Blew and Paper Cuts to the melodic hooks of About a Girl, Bleach offers listeners diversity. It's, therefore, an essential listen for fans of Nirvana and lovers of grunge, alternative, and punk rock alike.

Nirvana - MTV Unplugged In New York (Album Review)

Nirvana - MTV Unplugged In New York (Album Review)

Experimenting with styles is a key motivator for most musicians, but who would have ever thought that Nirvana would perform unplugged and in the process deliver a recording that is superior to their studio albums? 

Yes, fellow Nirvana fans, you may be offended by that declaration, and while I’m not suggesting that Nirvana weren’t an exceptional rock band and a highlight of grunge, punk, and alternative rock genres, there’s something magical about their MTV Unplugged In New York performance that can't be overlooked. Such a combination shouldn’t work, on paper, yet in retrospect, it isn’t difficult to suggest that Nirvana were ideally suited to the soft and/or folk-rock styles heard via this performance. This is especially relevant when listening to the dexterity in Cobain’s vocal range. 

Whether you agree, or not, with the above affirmation, there is no doubt that Nirvana’s 1993 live performance, MTV Unplugged In New York (released a year later, several months post-Cobain’s death, in November, 1994), is a no-compromise off-the-charts recording. Showcasing some of Nirvana’s greatest tunes, and incredible covers, while also being one of the best live recordings ever made; this is one release you should not ignore. Of course, you don’t have to take my word for it as Nirvana’s MTV Unplugged In New York impressively sold more than 10 million units and also won them a Grammy Award (their only one) for the performance. 

Interestingly, this concert was less about Nirvana’s well-known chart-topping hits and more about creative expression and the exploration of deeper cuts that most people, had they not heard the albums, would have been unaware of. Similarly, the inclusion of covers made this particular performance even more memorable. From The Vaselines to David Bowie to The Meat Puppets and even a Lead Belly cover, the songs were done so well that Nirvana made them their own. 

Flawless is certainly one way to describe this release, but if there was one criticism to make it would be that I generally dislike the conversation between songs. It isn't excessive, nor is it irrelevant, but the volume level is so low that the context isn't easily discernible. This is less problematic when using headphones, but I feel it should have been omitted from the music-only releases of the performance. 

Regarding the sonic qualities of the recording, MTV Unplugged In New York has been reissued numerous times, especially on physical formats. While I’ve been fortunate to own the 2008 vinyl reissue, this particular release isn’t as stunning as the Lossless Apple Music stream. The mastering simply sounds off. While Cobain’s vocal is front and centre, the instrumental backing is somewhat compressed and shriller than on the lossless stream. Additionally, you don’t get the sense that the band is in the room with you when listening to the vinyl counterpart; an aspect that is most certainly present on the Apple Music stream. In essence, if you choose this particular vinyl reissue, you’ll experience this performance via your speakers rather than being enveloped in the performance itself.

While I acknowledge that other vinyl releases, based upon reviews, suggest sonic superiority, it’s a case of once bitten, twice shy. Plus, when the Apple Music stream simply sounds right, with a more solid mid to low end, even I have to acknowledge that sometimes that is more than enough. 

Granted, the artwork is far more impressive on the physical counterpart and while it is a solid reproduction, there are flaws. If you take a closer look, you’ll notice the photos are softer than they ideally should be. Admittedly, the original artwork was compiled during the height of the CD era and we can subsequently assume that this reproduction has been done by merely enlarging the graphical elements. Yes, a vinyl edition was released in 1994, but without having one to compare it to, I can’t say if that original release is better than this reissue. While it isn’t a major problem, it’s one that every music-loving vinyl collector needs to be aware of for the format isn’t only just about that warm analogue sound. 

While there are a couple of different versions of the MTV Unplugged In New York performance, particularly following the 25th Anniversary reissue, this review will focus on the original track listing from 1994; the one that’s present on the aforementioned vinyl reissue and Apple Music stream. 

About A Girl is the only song from MTV Unplugged In New York to be released as a single and it’s no wonder for it’s a killer song when performed acoustically. With a soft alternative pop/rock feel, I can’t help but think of The Beatles, particularly from a barebones instrumental and vocal standpoint. The original, from the 1989 release Bleach, is somewhat similar and as much as I adore that recording, this live rendition surpasses it. It’s a simple case of Cobain's vocal delivery leaving me speechless when performed live. What an incredible talent!

Come As You Are, from Nevermind, is a mellow wonderland and while I adore the original studio recording, this live performance, similar to About A Girl, takes the song to another level.

Jesus Doesn't Want Me For A Sunbeam is a valued addition to their repertoire and is significantly better than The Vaselines’ edition titled Jesus Wants Me for a Sunbeam. No, it isn’t the strongest song in the lineup, but it works well within the structure of the performance. 

The Man Who Sold The World is an incredible David Bowie cover and while Bowie’s version is magnificent, in its own right, Nirvana further refined it and made it just as much their own as a homage to the originator. Due to the guitar styling of the original song, it becomes obvious why Cobain was compelled to use the fuzz box during the recording. While it may have fallen outside the parameters of the acoustic performance, there is no doubt that it is better for its inclusion. The result is an exceptional rendition of The Man Who Sold The World.

Pennyroyal Tea, from In Utero, is a Cobain vocal masterpiece. This is yet another example of where the MTV Unplugged performance surpassed the brilliance of the studio recording. 

Dumb has all the groove and rhythm of the original, as heard on In Utero, yet this performance takes the song to heavenly heights previously unheard on the studio recording.

Polly, from Nevermind, is an incredible song that is perfectly suited to the unplugged ethos of this performance, despite my preference for the studio recording.

On A Plain, from Nevermind, is far greater performed unplugged than it is on the critically acclaimed 1991 release. Yes, the style and intent are slightly different, but On A Plain further validates how well-suited Nirvana’s music was to being performed acoustically. 

Something In The Way, from Nevermind, is one of the most beautiful Nirvana songs ever recorded. While nothing could ever beat the original studio recording, this performance is utterly exceptional and brings a smile to my face every time I hear it.

Plateau, the first of three Meat Puppets covers, is musical perfection! The intermix of the instrumental backing and Cobain’s vocals reminds me fondly of Neil Young's style in the 70s while the original Meat Puppets recording has a Beck feel to it. Either way, it’s a great song and I’m so glad that Nirvana chose to cover it.

Oh Me is one of those tunes that didn’t immediately grab me. Yet, intriguingly, I don’t know why, for the song and the performance are both excellent. The Meat Puppets’ original recording is thoroughly enjoyable and while I don’t have a preference per se, there’s always room for various interpretations. 

Lake Of Fire is one of the greatest songs Nirvana ever recorded. Yes, it’s a cover, but the song suits Cobain’s vocals so well that I dare say this is the only version you need to listen to. 

All Apologies has a killer groove but I’ve always preferred the studio recording as it’s the perfect closer to Nirvana’s final album. On In Utero, the mix and associated wall of sound best this live performance with regard to giving the song a sense of presence that I feel is missing on the MTV Unplugged edition. 

Where Did You Sleep Last Night, is the Leadbelly cover I alluded to earlier and what a way to close out this performance. While the original recording is iconic, as it pertains to the history of recorded music, as far as I’m concerned this is Cobain’s song for no one has done it better and I doubt anyone ever will. 

Nirvana's MTV Unplugged In New York isn't just an exceptional live album, it is the quintessential Nirvana album; one that should be in every fan’s collection. It’s also unique in that it isn’t just a collection of well-known tunes performed live as it offers a different perspective into a band that was creatively greater than their acclaimed three-album run, between 1989 and 1993, would suggest. 

The Lumineers – BRIGHTSIDE (Album Review)

The Lumineers – BRIGHTSIDE (Album Review)

Storytelling is one of the most interesting aspects of music for each song is a self-contained life experience, but one that shifts meaning for the individual, based on our own subjective life experiences. Throughout the years I’ve often ignored literal lyric interpretation, instead choosing to appreciate the human voice as an instrument in its own right. It isn’t that I disagree with the lyrics in many songs but, although that is inevitable at times, the emotive feeling and how the song touches me on a musical level is what I truly value. After all, unless it’s a song like The Smashing Pumpkin’s Bullet with Butterfly Wings, the music resonates with my soul well before the introduction of lyrics which are often as convoluted as poetry in its written or spoken forms. 

Thankfully I’m not alone for I know many music lovers who are captivated by the sonic aspects of music and Wesley Schultz (guitarist and lead vocalist of The Lumineers) indicated that the writing and recording of BRIGHTSIDE were approached by tapping into a feeling first then applying the stories and lyrics after the music had been written. While it signifies a shift in The Lumineers’ recording process, BRIGHTSIDE is a further evolution of their artistry. Fans looking for ultimate lyrical styling would be best sticking to III or their eponymous debut for the storytelling is arguably more prominent on these earlier releases. That isn’t to suggest BRIGHTSIDE is absent of meaning, anything but, but upon comparison BRIGHTSIDE is focused more on the incredible sonic experience with added lyrics that, despite being well-polished, are closer to fully realised demos. 

Speaking of sonics, the Dolby Atmos stream on Apple Music is subtle in its use of space and while nothing specifically stands out, either positively or negatively, the mix is thoroughly enjoyable with a more immersive sound signature than the lossless stereo edition. Stereo fans, however, won’t be disappointed as BRIGHTSIDE is on par with the superb mix and mastering heard on their earlier albums. 

BRIGHTSIDE has a magnificent intro that reminds me somewhat of Neil Young & Crazy Horse; particularly the style applied on their album Psychedelic Pill. That correlation aside, BRIGHTSIDE is magnificent and sets the tone of the album. The level of distortion on the guitar track is utterly perfect and along with the bass and drum rhythm creates a solid basis for all other musical aspects and lyrical storytelling to lay on top of the bed of music. There is little wonder in my mind as to why BRIGHTSIDE was chosen as the lead single, yet there are arguably better songs to be heard on the album. 

The accompanying music video is a little left-of-the-centre, but that isn’t necessarily a criticism. Usually, with music videos, I like for them to start immediately with little to no fanfare. Of course, that limits the creative vision somewhat and in this case, The Lumineers have asked random people to describe what love means to them. You may recall that I don’t always focus on lyrics, but this question, and the responses, relate to the song’s theme.

Following the introduction, the imagery and overall edit are perfectly synchronised to the music before we’re taken to a small faux live performance of the song with intermingling scenes that depict life’s infatuations. Unfortunately, while I would love to declare that this music video is amongst the very best I’ve seen in recent years, the wedding injection that appears in the final minute of the music video detracts from the song itself. It was a strange creative choice and one that, if I’m to be completely honest, I don’t fully grasp.

A.M. RADIO has such a delicate introduction that it’s nothing short of exceptional. If Schultz’s vocal prowess doesn’t move you, you’re listening wrong. A.M. RADIO, however, builds to an epic chorus that showcases not only how talented The Lumineers are but how every little element is essential in the mix for the layers of detail reveal themselves upon repeat listens. It’s an astonishingly good song and, again, that chorus is magnificent. 

The music video, not unlike that of BRIGHTSIDE, starts with a live recording backed by a series of early video clips as The Lumineers explain to their live audience how a call and response functions in a live setting. Again, it’s a distracting element that doesn’t allow you to get straight into the music video, but I find this style is less distracting on A.M. RADIO as it builds anticipation in the viewer/listener’s mind, especially if you already know the song and its hook. That said, the song is far superior to the music video as the visual accompaniment doesn’t seem all that well-suited to the song itself. 

WHERE WE ARE creates an earworm but it’s such a great composition that I don’t mind. Perhaps the greatest element in this song is something that you may miss unless you’re listening for it and that is the slap on the piano/organ keys. It contrasts with the highly polished output of the rest of the song and is one of those elements that I’m so glad they chose to leave in. It isn’t overused, which is good, but it certainly helps with rhythmic connection. 

One of my processes when evaluating how strong an album is is to listen to the first three songs as they either make or break a release and as you may have already been able to tell, dear reader, this is one exceptional album and WHERE WE ARE is a masterpiece.  

The music video is fantastic and has a fundamental concept that I can most certainly get behind because even though it is focused on a single event, the song’s chorus is applicable to any experiential moment and is strangely comforting.  

BIRTHDAY is campy, like really campy, but I’d be lying if I said I didn’t like it. I love the Beatles-esque styling and I dare say it will be a guilty pleasure for many of us.

BIG SHOT is magnificent. I adore the simple musical accompaniment to the vocal and that call and response element that is attached to the chorus is out-of-this-world. It’s songs, and music like this, that remind me why music is so special to the human experience. Thank you, Lumineers!

This music video is simultaneously the best from BRIGHTSIDE, but it’s depressing. Yet, I wouldn’t change a thing for the music video makes you think about the decisions you make in the course of your life and the consequences of your actions and how regret plays a role even if you’re doing something deemed to be necessary at the time. 

NEVER REALLY MINE is a solid tune, even if it sounds as if the vocals are not fully formed, thereby being closer to a demo recording. While NEVER REALLY MINE isn’t as strong as the rest of the songs on BRIGHTSIDE, the slow build midway through really take the song to a whole other level that allows it to blend more seamlessly with the other songs and the overall style of the album. 

ROLLERCOASTER sees a return to the slapping piano keys that I loved from WHERE WE ARE. While the composition is delicate, there isn’t anything missing as the musicality and vocal are perfectly mixed and remain at the forefront of the experience.

REMINGTON is the shortest song on the album but sometimes less is more and the gapless segue into REPRISE is a musical masterstroke. 

REPRISE is, dare I say, the best song on the album as it bookends BRIGHTSIDE perfectly thereby encouraging us to listen to the album again. It simultaneously permits contemplation and without a doubt is one of the greatest closing tracks ever recorded, by anyone. 

While BRIGHTSIDE, much like The Lumineers’ other albums are on the shorter side of what we normally experience, it’s the perfect length as it prevents the mind from wandering, thereby allowing the music to fully integrate with our souls. As one of the best albums of 2022, and possibly The Lumineers’ greatest musical achievement, I look forward to seeing how they will top it with future releases. 

The xx – I See You (Album Review)

The xx – I See You (Album Review)

The more music we listen to, the more we refine our likes and dislikes. Yet, there is no guarantee as to which emotion we’ll feel for that is equally elusive; a somewhat puzzling conundrum I explored in Music Isn’t Always The Universal Harmoniser. Hence, when I came across The xx, a band that I had completely ignored until their 2017 release I See You, I was left in a state of emotional flux for I was intrigued, but as I sampled I See You, I simultaneously felt as though something was missing. 

It turns out that there wasn’t anything missing in the music, but by listening to I See You on a relaxing Sunday drive, everything fell into place and allowed me to connect with the music in a manner that I was incapable of via any other method. It was such a revelation that I couldn’t help but wonder if other albums, that I had dismissed, wouldn’t have appealed more to me in different listening situations. 

While I acknowledge that The xx isn’t your typical driving music, escaping from my familiar surroundings ensured that my mind was ready to accept a new musical experience, one that allowed the music to intertwine with my outdoor surroundings thereby permitting a greater sense of connection, realism, and appreciation for I See You and The xx. 

The real lesson here is, of course, there is no perfect way to listen to music.

Dangerous sets the tone of the album with a horn introduction that is pure perfection. The bass beat throughout, while predictable, is pleasing to the ears and has more than enough depth to captivate your senses.

Say Something Loving has a unique vocal introduction that is well-suited to the track and as the song progresses the vocal tonality and variance in the beat is superb. It’s an exceptional song, but I would be lying if I didn’t say that it could be more dynamic as the soundstage is a little too shallow and subsequently fails to completely absorb the listener in the music.

Lips launches with a glorious vocal interlude, reminding me why, more often than not, I consider vocals to be akin to a musical instrument. Lips has a perfect harmonic presentation and is thoroughly engaging. If you only listen to one song from I See You, make it this one!

A Violent Noise slowly builds to a sonic masterpiece. It pulls you in, captivates your soul, and is nothing short of spectacular!

Performance is a lovely ballad-styled song that presents Romy Croft’s vocals so clearly and forward in the soundstage that one would believe she is present in the room with you. It's a performance, no pun intended, that has to be heard to be believed.

Replica follows the ballad pace of Performance beautifully and is equally compelling. Simply Magnificent!

Brave For You is perfectly tracked and isn’t merely there to provide filler for the album as it, along with the previous two songs, are amongst some of the best compositions on the album. The bass tracking throughout Brave For You has an incredible timbre, amazing me every time I hear it.

I simply love On Hold.

I Dare You has a fantastic rhythm that would make a perfect addition to any road trip playlist.

Test Me, while not as upbeat as the rest of the music, is a lovely song to close the album with.

While it may have taken listening to The xx’s I See You in the background, on a Sunday drive, for me to fully appreciate their musicality, I See You is a sonic masterpiece that has become a valued addition to my music library.

Muse – Absolution (Album Review)

Muse – Absolution (Album Review)

I often find myself amused as to just how much I adore the music of Muse, yet how infrequently I reach for their music. Absolution, Muse’s third studio album is, without doubt, one of my favourite alternative albums yet in a dichotomy that I can’t explain, I have yet to pick up this release on Vinyl or CD, instead choosing to appreciate it via Apple Music; an Apple Digital Master. While the collector in me questions my sanity, for this is one album most certainly worthy of adding to my physical collection, from a sonic perspective I’m never left with the feeling of wanting more after listening to the album on Apple Music. 

What is missing, however, is the extensive liner notes. Still, as fond as I am of the physical counterpart, that tactile element pales should the mastering, on a particular medium, cause the music to sound lacklustre to my ears. Hence, I find that where streaming is concerned, as long as I thoroughly enjoy the sonic presentation, then I can generally be content by not owning everything.

Of course, some may question if Muse’s Absolution does really sound that good; after all, their music could be classed as being overly compressed or brickwalled, yet what I would normally associate with these aspects I don’t find with the stream of Absolution. Yes, I note a level of distortion and it is a loud recording, but I feel that enhances the music somewhat. I find it neither distracting nor harsh and as it pertains to the edition found on Apple Music, the soundstage is well-developed, with adequate instrumental and atmospheric separation.

Intro is simply that, an introduction that leads perfectly into Apocalypse Please. In all honesty, at only 24 seconds in duration, one has to question if it wouldn’t have been better to simply tack it on to the beginning of Apocalypse Please. 

Apocalypse Please makes for a solid opening song with a musicality that demands one’s attention. 

Time Is Running Out has a killer intro with a rhythm that is addictive and will get you moving; I love it!

Sing For Absolution is a beautiful vocal-focused song. The soundstage is well-developed and while it is a little shallower than I’d like from a track like this, every element in the mix is clear thereby allowing you to be captivated by the music itself. 

Stockholm Syndrome is a hard-hitting riff-focused song that will give your stereo a workout. Yes, this is one track that is right on the border of acceptable as it pertains to loudness, but it works surprisingly well for the song and the usual brickwalled elements are not present meaning that Stockholm Syndrome can still be thoroughly enjoyed. 

Falling Away With You slows things down a little and arguably returns to a little more dynamic range; a range that is perfectly suited to this style of song. That said, depending on your setup, you may wish to reduce the bass levels as I found they were too prominent on my setup when playing Falling Away With You. Overall, a great song!

Interlude is seamless in its connective purpose.

Hysteria is a killer alternative rock tune. 

Blackout is magical; Matt Bellamy’s vocal tracking here is exquisite. 

Butterflies And Hurricanes is a great song but I do wish the soundstage had a little more depth as Butterflies And Hurricanes sounds quite congested and it would be lovely to hear every element even clearer than it currently is. 

The Small Print starts out well, but the sibilance in Bellamy’s vocal is a distracting element here. Nevertheless, the song works well within the context of the album. 

Endlessly is a great tune that I keep coming back to time and time again. Endlessly, literally, can be played endlessly on repeat as far as I’m concerned; I like it that much!

Thoughts Of A Dying Atheist is a fantastically witty song.

Ruled By Secrecy is an incredibly delicate tune that slowly builds as the song progresses. It’s magnificent! 

Fury (Bonus Track) is utterly brilliant and is worthy of inclusion on Absolution, but I’d argue that Ruled By Secrecy was the perfect closing track that allowed one to sit and reflect on the song and the album itself before spinning it again.

From start to finish, Absolution is a sonic experience that has to be heard. There isn’t a B-side to be found and while not all songs stand out, collectively as a piece of musical art, it is a remarkable achievement that borders on being nothing short of a masterpiece. 

MUNA – About U (Album Review)

MUNA – About U (Album Review)

About U was the debut release from MUNA; a band thoroughly engrossed in electronic pop. As far as debuts go, they’re normally not as polished as this release and while some may lament the use of AutoTune-styled vocal manipulation and presentation, it works exceptionally well for this style of music and other than a couple of times throughout the entire album, I don’t feel it is a technique that is overused. 

Released in 2017 on Vinyl, CD, and Compact Cassette, About U is a stunning introduction to MUNA and while I’ve yet to pick up a copy of the album on Vinyl, I look forward to adding it to my collection in the near future for it’s energetic and utterly addictive, meaning that it is very likely that I’d wear that record out. In the interim, however, the Apple Music stream, an Apple Digital Master, is simply magnificent. The album has most certainly been recorded, mixed, and mastered incredibly well and while it has a modern sound, that isn’t a detriment for the soundstage is immersive with great separation between each musical element. There is little doubt in my mind that you will adore the streaming version of About U if you don’t have access to a physical copy; I know I do.

So Special sets the tone of the album from the moment the song begins and the depth of the musicality with the vocal sitting right on top of the mix is utterly perfect. 

Loudspeaker will get you moving, either on the dance floor or via some toe-tapping and head-bopping. A great song!

I Know A Place has a killer rhythm and is a solid tune with a catchy lyrical aspect. 

Winterbreak is a little weak, but perhaps it is simply due to the tempo shift as the previous tracks were a lot more upbeat in comparison to Winterbreak. 

Around You picks up the tempo and this pace is where I feel MUNA shines.

After is EPIC; I love the moodiness. 

Promise isn’t a standout but works well within the album structure. 

If U Love Me Now is a lovely vocal-focused song with a solid beat that works well for this style of music. 

Crying On The Bathroom Floor is ready for the dance floor; exceptional!

End Of Desire is a B-side; not a bad one, but not a standout either. 

Everything is another spectacular vocal-focused song with a musical backing that is absolutely captivating; I love it! Everything is, without doubt, one of the best songs on About U. 

Outro closes the album perfectly, although this is one song where I feel the vocal manipulation was taken a little far and is subsequently distracting. Nevertheless, Outro encourages me to play the album again and remain within MUNA’s expanding catalogue of music. 

From start to finish, About U is absolutely incredible. There isn’t a bad song to be heard on the album and that is something that simply cannot be said for most debuts. A masterful release!