#leilaricca

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Three Point Perspective: Arctic Monkeys Tranquility Base Hotel & Casino

Freda Looker

The long-awaited Tranquility Base Hotel + Casino graced us with its epic release last Friday. Without a single released prior to the Monkey’s first San Diego show at The Observatory North Park since AM’s 2013 release, fans were left with the question of what the new era would sound like. With Tranquility Base Hotel + Casino finally being released, there are several themes that are spread throughout the tracks such as the importance of cell phones in modern society, and the effects of fame. ‘Star Treatment’ kicks off the album with Alex reflecting on his past times before the fame. Followed by ‘One Point Perspective’, a much darker track which seems to involve questioning fame once again and how it affects the band. Both ‘American Sports’ and ‘The Ultracheese’ from the very first second consist of Johnny Cash and Bowie’s spacey vibes. There’s no surprise that the band decided to incorporate a tad of Bowie in their new album after The Last Shadow Puppets decided to cover Bowie’s ‘Moonage Daydream’ during their Everything You’ve Come To Expect tour. The title track and ‘Science Fiction’ are lyrically the most creative listens. With lines such as, “Jesus in the day spa, filling out the information form’, and “Reflections in the silver screen of strange societies, swamp monster with a hard-on for connectivity”, reminding me of how much more lyrically impressive Tranquility Base Hotel + Casino is compared to AM. The transition specifically between ‘Golden Trunks’ and what seems to be most fan’s favoured track ‘Four Out of Five’ is a definite pick me up from ‘Golden Trunks’ dark political lines, “Bendable figures with a fresh new pack of lies” and a person’s blind devotion ‘“When true love takes a grip, it leaves you without a choice”. When the album’s titles were released ‘The World's First Ever Monster Truck Front Flip’ intrigued most. Assuming that there will be a heavy guitar riff or a similar AM ‘R U Mine?’ sound from the ‘roughness’ of the title was the complete opposite. What ‘The World's First Ever Monster Truck Front Flip’ brings is the most Suck It and See throwback feelings. The chorus throughout ‘She Looks Like Fun’ being the most intriguing with Alex referring to modern society scrolling through their Instagram feeds, “Good morning/Cheeseburger/Snowboarding”. ‘Batphone’ continues this theme of technology and how individuals aren’t living in ‘the reality’. Overall, it seems that opinions have been split from fans of AM’s 2013 era, but I personally am completely lyrically blown away from Tranquility Base Hotel + Casino’s entirety. It’s almost like a continuation of Everything You’ve Come To Expect with similar sounds of ‘The Bourne Identity’ and ‘Aviation’, but minus Miles. With new the additions of the piano, and synthesizers I believe that they have enhanced the new direction that the Monkey’s have stepped toward and I already can’t wait for what they’ll decide to make next.

Leila Ricca

Four out of five stars on Arctic Monkeys’ comeback ‘Tranquillity Base Hotel and Casino’

After five years of silence, the Arctic Monkeys make their much-awaited return with surprising and hypnotic ‘Tranquillity Base Hotel and Casino’. Perfectly managing to avoid self-parody or stylistic repetitions, this new album appears as a startling reinvention, a meandering and puzzling journey beyond known territories. Just like mankind first set foot on the moon on the ‘Tranquillity base’ site, the Arctic Monkeys disembark in an unknown universe in which they reveal a new, unexpected aspect of themselves.

It would be difficult to distinguish a single in this album: unlike 2013 structured indie rock success ‘AM’, ‘Tranquillity Base Hotel and Casino’ appears as a puzzle, a tangled enigma with no apparent solution, the value of which precisely resides in this sophisticated lack of clarity. As the album opens with the bewitching track ‘Star Treatment’, one is confounded in disorientation, before eventually letting the album settle a logic of its own. Some songs appear nearly unconstructed, yet simultaneously refined and complex, echoing the way in which the lyrics present a dense yet also elliptic unique form of prose, like a stream of consciousness, melodically unfolding itself. Turner’s deep and captivating voice strongly reminds of Gainsbourg’s early 70s half-spoken verses, sometimes erudite and poetic, sometimes full of derision, such as on the opening line of the album: ‘I just wanted to be one of the Strokes’. A sense of irony, or at least of strong self-awareness emerges throughout the tracks of the album, reflecting a conscious decision to move away from an older musical style that it would make no sense to replicate, in order to engage in a necessary and well-executed new path.

‘Tranquillity Base Hotel & Casino’ however seems to reflect Turner’s personal evolution more than it presents a real fruition of the Arctic Monkeys as a band, and the instrumentals, although displaying intense and elegant arrangements, create a harmonious echo to the vocals rather than they truly establish the band’s presence. The addition of the piano accompanying Turner’s reflective vocals partially replaces Helder’s vibrant drums that helped define the band’s early albums and marks a notable shift, both asserting a form of musical maturity, and avowing the forfeiture of a constitutive element of the band’s sound. ‘Tranquillity base hotel & casino’ seems to retain a sense of continuity with Turner’s side project The Last Shadow Puppets, and particularly of their 2016 album ‘Everything You’ve Come to Expect’, although it appears to be more intricate and subtle in many of its aspects. Final song ‘Ultracheese’ captures the best this album has to offer, presenting a rich and magnetic journey in this captivating new universe.

Despite its obviously divisive aspects, this album undeniably presents an extremely successfully crafted creation, a melodic and truly bewitching masterpiece. ‘Tranquillity Base Hotel & Casino’ reflects the Arctic Monkeys’ ability to transcend genres and provide their audience with impressive yet always effective transformations.

Sarah Beckford

The year is 2018 and the Arctic Monkeys have returned. To celebrate their return, they’ve given us their sixth record, Tranquility Base Hotel & Casino. And yes, though it’s 2018, this album feels like it belongs right in between vinyl copies of the Beach Boys’ Pet Sounds and David Bowie record. With this record, one has to remember this album isn’t the sequel to AM, nor it should it be viewed as its heir. This is a record that’s beyond its years that also dwells in the time before it, and it’s more conceptual than full story sometimes- nonetheless it’s still a record.

The album starts with ‘Star Treatment,’ a glittering Bowie-esque opening that’s chock full of jazz tones, vocal effects, and piano. Here, Alex Turner plays the reflective celebrity, singing in whispery echoed tones about how he wishes he was one of the Strokes, or just someone unforgettable. Peppered with pop culture references and metaphor, ‘Star Treatment’ is sultry and mysterious, as if Turner’s singing in dim light surrounded by fog and old-school movie lights.

After ‘Star Treatment’ is ‘One Point Perspective,’ has an opening much like the opening piano notes of Panic! At the Disco’s ‘Nine in the Afternoon,’ but has a much different mood than the aforementioned. This song instrumentally blends classical elements with lounge music and is reflective like the blues as Turner, or at least the song’s character laments former dreams and youthful aspirations. The music helps fill in the gaps on this track a great deal, as there are a number of instrumental breaks. The album then abruptly shifts into the spoken-word like ‘American Sports,’ is a veiled commentary on the similarities and differences between the fictional society described in the album and present-day- “Breaking news, they take the truth and make it fluid…A montage of the latest ancient ruins/Soundtracked by a chorus of "You don't know what you're doing"”.

The album’s title track is woozy and moody, and Turner uses his voice and volume to make for an interesting narration to the story presented in the song. He gives us a slightly morose and faraway idea of what exactly we’re supposed to visualize- as if we’re staring at Earth right from this supposed lunar resort’s call center. But Turner paints life there is not all that it’s what it’s cracked up to be as he sings, “And do you celebrate your dark side/Then wish you'd never left the house? /Have you ever spent a generation trying to figure that one out?”. ‘Golden Trunks,’ is possibly unintentional political commentary, but besides that, much like the rest of the album, it uses metaphor and lyric to graze pointed satire and musings about society, which is a prevalent theme on the album. It’s as if perpetually being in this world that Turner’s created moves one to think more and open up as well, considering this is the closest thing we have to a love song on this album.

Next is ‘Four Out of Five,’ which possibly wins the prize for fan favorite. ‘Four Out of Five’ is the grounding track, the one that sounds the most like the quintessential Arctic Monkeys we’re familiar with since the song is the perfect balance of mysterious but quotable lyrics, a catchy bassline, and an outro that drives one to hit the replay button. Lyrically, the song further explains the concept of Tranquility Base Hotel and Casino, while also leaving fans to wonder the intricacies of an information-action ratio, the idea that we have a myriad of information that we’ve no idea how to deal with.  ‘The World’s First Ever Monster Truck Front Flip’ discusses the instantaneous nature of technology and Turner wonders if its effects are positive or not- and yes, the title of the song was somehow wonderfully in the lyrics, which is a feat all on its own. ‘Science Fiction’ asks for a lasting impression that might be temporary- “So I tried to write a song to make you blush/But I’ve a feeling that the whole thing/May well just end up too clever for its own good/The way some science fiction does”.  ‘She Looks Like Fun’ is the most lyrically confusing yet genius track on the record, with a chorus so bizarre it almost makes sense, but doesn’t. The album closes with ‘The Ultracheese,’ a piano-heavy track that brings the album back to where it started- a reflection upon what’s been gained, lost, and blurred through celebrity and life in general. It’s a beautiful, downtempo ballad between a man, his mind, and his piano that provides a clearer close to a record that’s quite interesting.

With ‘Tranquility Base Hotel and Casino,’ Alex Turner and Co. are not here to make lovely ballads. If the Arctic Monkeys have been christened as indie-rock gods, then these gods are acting in their sovereignty to do as they please, not to save what’s in need to be saved. This is the Arctic Monkeys at their most honest, and even if this honesty is befuddling lyrically, it’s still honesty displayed in its most semi-autobiographical form.

#reviews #arcticmonkeys #sarahbeckford #leilaricca #fredalooker

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Hinds return with a new album for you, ‘I Don’t Run’

Leila Ricca 

After their 2016 debut album ‘Leave Me Alone’ and the release of three singles in the past weeks (‘New for you’, ‘The Club’, and ‘Finally floating’), Hinds reveal this second record and its outstanding genuineness. With their distinguishable sunbathed authenticity, the Madrid-based four-piece uncover a new, sometimes more reflective side of their music, while further asserting their distinct lo-fi unpolished sound.  

Guitarists and vocalists Ana Perrote and Carlotta Cosials join their lively, rough, yet sometimes surprisingly harmonious vocals in a symbiosis that could be vaguely guessed in previous tracks and truly establishes itself as a central element of this new record. Through reflections and echoes, exchanges and overlapping lines, their voices create a form of complementary duality, pushed to its climax in tracks such as ‘Echoing my name’. Surprisingly melodic ‘Linda’ creates a nostalgic halt between more energetic songs, and reflects the range of emotions and moods Hinds manage to convey without ever losing their central uniqueness.

In this record, Hinds gain a stronger voice, and a richer instrumental composition. Bassist Ade Martin creates an essential yet evolving musical structure to the liveliness of the record, and drummer Amber Grimbergen truly affirms her fundamental contribution to the band’s sound in ‘Finally Floating’. Opening track ‘The Club’ appears as the quintessential Hinds song, a perfect inauguration of the record, and encloses the listener in the dazed atmosphere of Hinds’ universe: ‘From now on, it’s our presentation card’, said the band. Contrastingly, the final song ‘Ma Nuit’ unearths a more vulnerable side, mixing the usual English lyrics with their native Spanish as well as some French verses, which create a universal subtlety to this touching track. By exposing the difficulty of intertwining the shared world of touring, and the intimacy of personal stories, this songs discloses a new sense of melancholy perhaps unseen in Hinds’ earlier work.

In fact, this second album seems to have an additional dimension, a deeper, more intense aspect that confirms Hinds’ musical identity, while at the same time revealing a new complexity of their sound and lyrics. Without the pretentions of innovating, their authenticity and the clear effort put in the creation of this record is an exact image of the band’s musical truthfulness.

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#reviews #hinds #leilaricca

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Cage the Elephant: Unpeeled at Le Trabendo in Paris, France 

Photos: Sharon Lopez

Leila Ricca 

October 24, 2017

Known for their energetic live performances characterized by spectacular crowd-surfs, lively festival sets, and sometimes eccentric looks, Cage the Elephant surprisingly maintained their live charisma within the intimacy and uniqueness of this exclusive acoustic show.

While in Paris to open for the Rolling Stones' three stadium shows, the American rock band announced two special headlining dates: an electric show on the 18th of October and an acoustic one on the 24th. After Grammy-winning album Tell Me I’m Pretty, the group released ‘Unpeeled’, a live acoustic album featuring the band’s biggest hits and covers accompanied by string arrangements. These “unpeeled” versions come from various concerts from their USA tour, making this acoustic show in Paris an unprecedented and unique event.

“As you might have noticed, this show is a little different”, stated lead vocalist Matt Shultz after opening the concert with a touching and rich performance of ‘How Are You True’. The relatively small venue gathered an intimate and harmonious audience in front of a really small stage. Radically different to the Élysée Montmartre, a spacious venue with a vast stage where the band performed last January, Le Trabendo was unexpectedly well suited to this surprisingly intimate performance, with a powerful sound and a warm atmosphere. Matt Shultz established his stage presence in a striking way within this unusual setting. Refusing the static presence one could have expected from such a show, Shultz fully occupied the limited stage that was available to him, and used this rare closeness with the public to interact differently with it. Instead of giving this impression of being trapped – or should I say caged -, he managed to use the space limitation in order to further enhance the intimacy, but also occupied it fully with impressive dance moves and liveliness. It is no wonder that Cage the Elephant are opening for the Rolling Stones given the similarities between Shultz and Jagger: from movements, energy and presence to facial expressions and some vocals, the resemblance is remarkable.

Throughout the concert, the band managed to balance the intimacy provided by the setting or the acoustic resonances of the strings, and the powerful energy and liveliness that particularly distinguishes them. Shultz confused lyrics twice through the show, on Spiderhead and Whole Wide World (a cover of Wreckless Eric’s 1978 track), which would have been disappointing or irritating in another context. However, it only appeared as a touching secondary mistake, perhaps nearly as if the audience had been attending a rehearsal, or at least an imperfect and thus particularly human performance. Shultz himself jokingly said “I’m a real human being… surprise!” On both mistakes, the band restarted the song with an amused expression. There was a significant cohesion within the band members, from the traditional members to the string quartet. A notable revelation were the vocals of the keyboardist Matthan Minster on Instant Crush (cover of Daft Punk’s 2013 track), who seemed to painlessly reach high notes and harmoniously accompanied Shultz’ lines.

If there was this sense of harmony amongst the players, the public itself was extremely receptive, which created a real sense of union between the stage and the crowd. The audience fully chanted choruses on their most famous tracks such as ‘Cigarette Daydreams’ or the ending of ‘Shake Me Down’ but was also trusted to sing full verses on ‘Come a Little Closer’, reflecting the relationship of confidence between the audience and the band that seemed to emanate from the performance. In another way, the crowd also quieted considerably in more emotional and personal parts of the show, emphasizing this real emotional exchange that seems to have been silently established. While performing ‘Rubber Ball’, Shutlz tangled himself with the microphone in a very touching movement, and later asked members of the audience to help him “free” him at the end of the song, reflecting once more this sense of trust.

It wouldn’t be fair to mention this show without describing the particularly emotional encore. After a very long, rich and energetic concert, Shultz came back alone on stage with an acoustic guitar. Whilst thanking the audience, Shultz also asserted his identity as a human being: “while the performance is something that is real and is a reflection of who we are, there is a platform with some people on top of others, and it isn’t natural (…) we are all the same, we all do the same things in life”. With a paradoxically lighthearted solemnity, he read out a message from a fan before thanking the audience and proceeded to sing ‘Right Before My Eyes’ with outstanding sincerity and emotion. If Shultz uncovered some personal emotions through tracks like ‘Sweetie Little Jean’ or ‘Telescope’, he seems to have fully unveiled his vulnerability during this last part. The roughness of a sole acoustic guitar as opposed to the very rich instrumental part of the band’s tracks gave the encore an exceptional sense of self-exposure and sentiment. He also performed two new and seemingly personal songs in a perhaps even more genuine and candid way, during which the emotion enabled the audience to adopt a calm response in order to truly appreciate the moment.

This striking emotional component ended the show by filling the audience with a real sense of plenitude. If the concert strongly differed from the experience of an electric performance, it gained a particular strength and warmth through its uniqueness. The duality of the performance between touching parts and a dynamic presence allowed it to gain a complexity and an eclectic sound that few artists manage to pull off with such harmony and humanity, both concerning the physical performance itself and the band’s rich musical sound.

#cage the elephant #photos #live #sharonlopez #leilaricca

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“I Was a Fool” - Sunflower Bean’s new single

Leila Ricca

After their debut album Human Ceremony in 2016 and a year of touring, the Brooklyn trio is back with a melodic new single. While it stays true to their unique mix of 60s psychedelia, lo-fi influence, and angelic vocals, this new single gains a further strength with an assertion of the band’s musical identity. The cover picture echoes Syd Barrett’s kaleidoscopic and celestial look and is a perfect visual translation of the track’s puzzling sound. Spontaneous and poetic lyrics - such as the recurring “all I heard was silence”- harmoniously accompany the band’s defining musical dialogue between Kivlen’s lower, psych vocals and Cumming’s unique crystal-like voice. Her characterizing pure higher notes become particularly captivating towards the end of the song, supplemented by hypnotizing harmonies and catchy instrumentals. Both reminiscent of the band’s earlier tunes and opening a newer path in their musical evolution, the song perfectly captures everything that could have been expected from the trio.

#reviews #leilaricca

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Rock En Seine Festival: Day 3 (FR)

Leila Ricca

August 27, 2017

On the third day of its 15th edition, the Parisian festival welcomed a large range of artists and genres, combining electronic music, classic rock, pop, hip hop, and soul. From the eccentric Lemon Twigs to The XX, who headlined and sensationally closed the weekend, here are some of the most remarkable acts from this Sunday’s line up.

King Khan and the Shrines

Setting himself as a literal King surrounded by an army of musicians, the Berlin-based artist graced the main stage with a performance characterized by a rare vitality. The fully occupied stage entirely embraced the presence of every band member, from the dancers with tambourines to the golden capes of the brass players playing through the crowd. The trace of Khan’s punk debuts manifested itself in his surprising costume and the energy of his performance. Musically, the rawness of garage punk gained a further subtlety with the presence of brass instruments, as well as components of soul music. In this perfect mix of punk and soul, the band’s performance was marked by a few strong and positive political statements, engaging the crowd to show its support for black power by raising fists or referring to French punk band Berurier Noir’s famous “la jeunesse emmerde le front national”. Khan’s use of French didn’t limit itself to the denunciation of contemporary fascism: the lead singer regularly addressed the crowd in its language, for instance when presenting his daughter on stage or introducing songs. With a   grandiose closure after an original and empowering show, the band left a noticeable positivity throughout the crowd and gave a perfect opening of the festival’s main stage on this final day.

Car Seat Headrest

After working independently for five years, and recording vocals in his car’s backseat, thus giving its name to the band, Will Toledo and his co band members signed to Matador Records in 2015 and started touring in 2016. Perhaps because of their recent presence on the indie scene, Car Seat Headrest didn’t convey a particular live identity or stage presence. However, a melodic and strongly nostalgic sound arose from the dreamy lo-fi tracks they performed. From these slower tunes to louder, classic rock infused songs,   they managed to provide a diversified sound without losing any musical individuality. The imaginative, individual and original lyrics of the tracks from their last album “Teens of Denial” caused the audience to find itself in an intimate atmosphere of personal confusion, without nonetheless drowning in an overly sentimental and gloomy mood. Overall, the live performance managed to gain uniqueness through the musical ambitions of the young band and their meticulous but truthful execution.

Deluxe

The French electronic-pop-funk band, born from live acts, has gained a remarkable place in the international music scene since their beginnings ten years ago, going from performing in the streets of Aix-en-Provence to worldwide concerts and playing the Zénith de Paris last year. With voluntarily kitsch aspects, from the glittery roman gladiators meet Napoleon outfits, to choosing a mustache as the band’s symbol, they offered a highly entertaining performance, fully involving the crowd and delivering their unusual sound in an inventive and natural way. Just like mixing electronic music and the saxophone might sound original, Deluxe presented an eclectic stage identity and a varied set list. Indeed, the band went from performing dance songs and throwing colored balloons to the crowd, to covering one of Amy Winehouse’s nostalgic early tracks and therefore engaging in a more melodic musical path. If the lead singer appeared to have a great presence on stage, her band members actively participated as well, managing to make the crowd chant an instrumental passage to one of their tracks, thus achieving a great effect and creating a bond with the responsive audience.  This clear harmony between the artists on stage and the public made the show into something more than pure entertainment, which could have been expected by the visual identity of the band.

Mac DeMarco

The Canadian indie soft rock artist delivered a performance perfectly reflecting his original, laid-back musical uniqueness. The artist’s stage personality mirrored just what can be expected from his singular style of “jizz jazz” indie and folk-rock. On the set, two coffee tables had been installed to create what   DeMarco calls “the Bistrot”: a few members of the public are brought up on stage, offered a cup of wine, and have the possibility to watch the whole concert from the stage. Far from excluding them as a selected elite, this original, intimate, nearly familial atmosphere reflects exactly what it felt to attend the concert: despite the distance of a large stage, the public can feel a real closeness and nearly a friendly relationship with the performer, thus echoing the personal lyrics in his recent third album, “This Old Dog”. When a member of the audience is brought on stage and finds himself sitting on DeMarco’s  shoulders, singing and dancing with him, the newcomer seems to be completely assimilated as a part of the act as if the live experience directly resulted from the union between the artist and the public. After having invited a part of the public to join him, DeMarco himself mingled with the crowd towards the end of his show by crowd surfing. Among this chill familial mood, the show was musically remarkable as well. The performance of “Chamber of Reflection” from the record “Salad Days” (2014) was particularly well executed; perfectly mixing the psychedelic resonances that can be felt from the studio version, and the relaxed atmosphere of the show. DeMarco’s musical uniqueness and down to earth personality, as well as his band’s notable performance and presence, contributed in making his concert one of the most memorable shows of the day.

The Lemon Twigs

By combining conventionally unrelated music genres and references, the   Addario brothers gave a performance with a paradoxical musical integrity and incredible stage energy. If their first album “Do Hollywood” released last year seemed thoroughly structured and musically precise, their live performance was surprisingly natural and nearly theatrical at the same time. Between vocals reminiscent of cabaret music, rock guitar solos, irrational dance moves, country-like accents and pop tones, the young brothers displayed a specific visual and musical identity that surprised and pleased the diversified crowd. With an extraordinary virtuosity, the multi-instrumentalist artists jumped from the guitar to the drums throughout the whole show. If the two of them displayed a very unified performance in many aspects, their separate identities appeared nonetheless. While one of them played the drums, the other one performed irrational dance moves and guitar playing on the front of the stage, swapping roles halfway through and therefore indicating who wrote what songs on the album. Amid high kicks, jumps, and movements, the Lemon Twigs strike as unique and extremely talented artists, whose live act dive the public into an exceptional experience. “It was like a trance”, exclaims someone on the first row when the loud sounds fade as the band leaves the stage.

The XX

The British trio headlining this weekend’s line-up and closing this year’s edition did not disappoint, offering their combination of indie melancholic rock, dream-pop and electronic beats with a striking sincerity.  Their much awaited performance started on the cusp of fashionably late, a bit longer than ten minutes after what was expected, only extending the suspense and impatience that started to arise from the public, which was nearly fully gathered around the main stage for this final show.  The perfect harmony between Romy Croft and Oliver Sim’s voices finally arose with “Crystallised” opening the concert right after “Intro”. Through the middle of the show, Croft delivered an extremely personal and touching version of “Performance”, a song that evokes the difficulty of uncovering one’s vulnerability, a concept also found in other tracks of their latest album “I See You” in songs such as “Brave for you”. Playing alone while her companions sat in the darkened part of the stage, under a unique ray of white light, Croft’s melodic and sincere voice absorbed the public in a personal and deeply melancholic atmosphere, emphasized by her solitude and the strength of the lyrics. During lighter parts of the performance, the use of stage lights appeared to be very effective as well and helped to physically reflect the mood of the many tracks performed throughout the show. For instance, during a cover of Jamie XX’s “Loud places”, a range of coloured shades created an underground atmosphere that rendered the performance even more efficient. With a humbleness that usually is difficult to find in concerts of this span, the artists regularly thanked the public for  “having   them”, expressed their love for the city they were performing in and insisted on saying how much “each and everyone” in the audience touched them with their presence. By closing the show with a truthful and touching version of “Angels”, The XX’s sincerity manifested itself a final time before they left the stage and ended this 15th edition with outstanding beauty.  

Photos: Oliver Hoffschir

#rock en seine #festivals #leilaricca