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myc0smosism1ne · 2 months

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"Some Great Reward": Depeche Mode's Synth-Pop Evolution

British band Depeche Mode’s fourth studio album Some Great Reward released in 1984 was a turning point in the band’s sound that resulted in their first US chart success, with their single “People are People” reaching no. 13 on the Billboard Hot 100 chart.

Some Great Reward was a transitional phase for Depeche Mode, where the aspects that would come to define Depeche Mode’s signature sound in the years to come were starting to develop. Songwriter Martin Gore was coming into his own, with his lyrics reflecting relationships and the human condition, grappling with skepticism of religion, sex, politics, and love, from the perspective of an intelligent and cynical soul. Gore’s lyrics exhibit a depth often overlooked in music; notably, as they avoid common love tropes and present a more honest and realistic portrayal of relationships

Often the band’s earlier lyrics were backed by a more pop-style arrangement, Some Great Reward still contains those pop hooks and arrangements, but they are created to be in a more foreboding style. The album’s instrumentation sounds like they clash at first listen, but with further listening, this combination of thought-provoking lyrics and the industrial, loud dynamic music, sometimes coupled with soft and sweet sounding instrumentation, are done masterfully, where these seemingly contrasting ideas come together seamlessly. Depeche Mode became more playful and musically innovative with Some Great Reward, testing the boundaries of sound and the machinery of electronic instrumentation, redefining the genre of synth-pop in the process, into something more industrialized and tinged with subtle elements of darkness in the album's atmosphere.

Some Great Reward, saw Depeche Mode stepping out of the youthful, more energetic, and brighter synth-pop sound of their first couple of albums, signaling the member's maturation into being young adults and grappling with different complexities. One of the most prominent examples of this is the song “Master and Servant,” taking the theme of capitalism in society and subtly revealing this from within the song's lyrical themes of sex and BDSM, bringing the first musical taste of the new turn Depeche Mode was taking, a turn to something more earnest, more sexual, and more darkly cynical.

The lyrics explore the interplay between control and submission, drawing parallels between intimate desires and the broader societal structures influenced by power imbalances. The provocative nature of "Master and Servant" extends beyond its lyrics, with the music itself contributing to the song's edginess. The juxtaposition of alluring melodies with darker, more industrial elements exemplifies Depeche Mode's willingness to challenge musical conventions, foreshadowing the innovative approach they would further develop in subsequent albums.

The synth-pop-filled, often naive lyricism that defined their earlier albums is still subtly present but now takes on a more nuanced and complex role, with it being a backdrop to the band's lyrical exploration of power dynamics and societal structures.

Gore’s lyrics explore complex and provocative themes, such as on some of the album's standout tracks, "Blasphemous Rumours," "Stories of Old," and "Lie to Me," that delve into poignant narratives that contribute significantly to the album's emotional impact. In "Blasphemous Rumours," the lyrics address the weighty subject of suicide, offering a stark commentary on the struggles of individuals and the moral implications surrounding life and death. The combination of dark lyrical content against the backdrop of an upbeat musical arrangement creates a haunting contrast, enhancing the emotional impact of the song, and aligns with the album's broader examination of societal and personal challenges.

"Stories of Old" introduces a different facet of Depeche Mode's lyrical prowess, with its delving into themes of desire, intimacy, and vulnerability. The lyrics paint a vivid picture of romantic entanglements, showcasing Martin Gore's ability to convey complex emotions through evocative storytelling. As the track unfolds, the listener is immersed in a narrative of passion and longing, adding a layer of intimacy to the album's overarching exploration of human relationships. Similarly, "Lie to Me" explores the dynamics of deceit and self-deception within relationships, the lyrics are filled with longing and vulnerability, and contribute to the emotional depth of the album, as the music skillfully weaves a narrative that complements the broader themes of love, power, and societal critiques found throughout Some Great Reward.

Instrumentation on the album also marks a notable departure from the band's earlier sound, with the incorporation of newer band member Alan Wilder into Depeche Mode’s lineup bringing a fresh perspective, that is evident in the meticulous layering of synthesizers, drum machines, and the albums innovative use of samplers. The sonic landscape becomes more textured and sophisticated, with Wilder's influence pushing the boundaries of the electronic sounds in the album. This departure is particularly noticeable in tracks like "Somebody," where the subtle interplay between instrumentation and emotive vocals reflects a newfound depth and complexity.

The album heavily relies on synthesizers and drum machines, complemented by inventive samplers that capture sounds from everyday life, such as pans falling down stairs and working it into the album's soundscape. Some Great Reward’s unconventional use of sampling provides an intriguing layer of complexity with the album’s attention to detail in the sampling process, adding depth with the transformation of seemingly mundane sounds into integral components of the album's sonic identity.

Each track on the album has a disjunct yet harmonious sonic landscape, where the separation of vocal and instrumental layers is remarkably clear, allowing listeners to distinguish each element while still experiencing the cohesive flow of the music, resulting in an exhilarating listening experience that showcases Wilder's mastery in blending technical precision with artistic creativity.

The album's contrast of dark lyrical content against upbeat musical arrangements, along with the evocative storytelling, enriches the album's overarching story of societal challenges, human relationships, and personal struggles. Some Great Reward not only solidified Depeche Mode's position as pioneers of synth-pop but also laid the groundwork for their continued exploration of mature, provocative, and innovative musical expressions in the years to come.

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reviewsbyliam · 8 months

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Nicki Minaj - Last Time I Saw You

(Single Review)

01/09/23

Friendly Reminder: make sure to listen to the song whilst reading!

Nicki Minaj for Last Time I Saw You

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Kicking off September with the supposed lead single from her highly anticipated 5th album 'Pink Friday 2' is none other than Nicki Minaj.

Last Time I Saw You is the 3rd single to be released from her upcoming album, with 1 & 2 being the #1 HIT Super Freaky Girl and Red Ruby Da Sleeze which introduced her new alter ego, Red Ruby Da Sleeze.

Earlier today, Nicki spoke with Zane Lowe on the New Music Daily series which is platformed by Apple Music Radio, touching on the subjects behind the song.

She indicated that it's partly about her late Father, Robert Maraj, who was killed in a hit-and-run in February of 2021, also adding; "The vibe of it was really talking about a loss, a real loss you know. But to not make the song feel only directed at one kind of loss. When I wrote the singing verse, I tried to expand it and think even about relationships. And then by the time I got to the rap, it was like I had included all relationships that I had lost before, because I mentioned even best friends and stuff like that."

Never forgetting to also pay homage to her own personal growth, Nicki stated; "I just wanted the next song that I put out to represent my growth, but not just as an artist, but as a human being. I’ve experienced so many things that I hadn’t experienced five years ago, and that’s just the truth."

Talking earlier today to Zane Lowe about the current rap climate, Nicki said: "I felt that if I don’t take the risk, that I’m just as bad as everyone else who I think should make a change. And not only artists, but people behind the scenes. Because the truth of the matter is people are experiencing real life every day. Believe it or not, people are going through real shit every day. So just because they don’t have that music out to express it, it doesn’t mean they’re not experiencing it."

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Taking risks from the music she has previously put out was the best choice for Nicki, as it proves that no matter how long she has been in the game for; she'll always find a way to create a new wave and ride it like no other whilst managing to stay relatable with her sound and writing.

Diversity in your lyricism and flow alongside experimenting with beats is something that many rappers lack so they choose to stick to their comfort zones, but for Nicki? That's not her story. Each album she has put out for public consumption has been consistently different. From flows, beats, lyrics, alter egos, stories - nothing is the same. Nicki being 15 years into her career and still finding ways to elevate her musical skill is truly inspirational.

After becoming a mother and surviving a very consistent hate train from the general public in 2018 that lasted for a couple years, it's more obvious now than ever that Nicki is ready to show the world what shes made of once again and gently but savagely remind people that whilst they might be able to play with others, they can't play with her. At all.

I'm personally extremely excited for her new album and eager to hear what sounds she has been experimenting with in her studio, alongside everything else that comes. Being a fan since Pink Friday was first released in 2010, it always is anxiety inducing when you don't exactly know where your favorite artists creative mind is directing itself, but then I also find that's what makes it so exciting about being a fan of that person, because when their past work is so consistent and still streamed to this day, you know you won't be let down no matter what, especially when its a mastermind like Nicki Minaj.

PINK FRIDAY 2 OUT NOVEMBER 17TH 2023

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CONCLUSION: A very emotionally layered track from Nicki that is upbeat and catchy whilst managing to stay unique, securing it's destiny for greatness. I (like many others) found myself able to relate on a personal level with past and current situations and even found myself getting a bit emotional at one point once I understood her own personal connections with the song. A very cohesive, well produced track with outstanding vocals and flow from Nicki.

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Last Time I Saw You is a certified 10/10 by Reviews By Liam

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Thank you for checking out my review of Nicki Minaj's new single Last Time I Saw You!

If you would like to listen to Last Time I Saw You, it is available to stream on Spotify and Apple Music, or purchase from iTunes.

Please support my blog by giving me a follow and sharing my reviews with your family and friends, whilst not forgetting to leave your own comments below!

X (Twitter): reviewsbyliam

Instagram: reviewsbyliam

#music #music review #blog #blogger #review #spotify #applemusic #barbz #musicreview #nicki minaj #lasttimeisawyou #last time i saw you #pink friday #pink friday 2 #nicki #rap

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hairklipz · 2 months

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Review 01: LTJ Bukem - Producer 01

Released: 0?/01/00AV

Genre: Electronic / Subgenre: Jungle DnB a/o Intelligent DnB & Downtempo

Watford native LTJ Bukem had heavy influence on what would become known as "Intelligent DnB". Intel. DnB is characterized by clear jazz influence alongside the break beats that make Jungle so addictive. Bukem navigates the sound with expertise, flaunting complex but catchy jazz loops into the mix from his classically trained background as well as hard hitting basslines that rock your ears. As the record runs, you lose track of time as the songs are paced very well despite being on the longer side by today's standards. If someone is looking for an introduction to the UK Jungle scene, Producer 01 is a gentle yet proper means to do so. It starts you off by getting you used to the sounds you will hear through the project and then eases you into the heavier aspects later on. Let's listen.

Track One is a seven minute interlude titled appropriately 'Cosmic Interlude'. As the song begins I can already feel myself enjoying it from the bass loop alone. This loop is reminiscent of the "Meep City Night Theme" from Roblox (obscure reference but that song is a 10/10 for me). The tone of this interlude is also set quickly with the accents heard echoing over the bass until the drums come knocking in. The structure of this song seems to focus it's attention on the tone switches. Moments of minor tension broken up with soft electric keys and more accenting. Just as the song is starting to become repetitive, Bukem (as if he is mixing this with you in mind) switches direction, giving us a break from the loop before heading into the final minute of the track. Although the loop has only been gone for less than a minute, when it makes it's return with new partners, you cease to remember the repetitive feeling from minutes before. An amazing start to the album.

Track Two instantly takes a dip in tone. Titled Constellation, this track is the sole song on the record that features vocals. The lyrics of this song seem to focus on music transporting you elsewhere. The style of the rap is consistent with the English Scene with flow influence from New York contemporaries of the same time and genre. I think this track is a great listen especially if you are listening intently. Noticing details like the whispers that DSR layers over his verse pulls the listener away from where they are grounded much like the song intended. As far as the production, a favorite for me is the strings within in the loops. I am an absolute sucker for strings especially the strings consistent with the late 90's and early 2000's. When the beat rides for the keys solo before the last verse, you get a chance to really hear those strings before the song fades off. I really enjoyed this song despite it being almost an outlier from the rest of the album.

Track Three is where we start to inch closer to the traditional jungle sound although I use 'inch' very literally. Unlike later tracks, this one remains subtle in its label. My first thought is downtempo but maybe not a specific sub-genre within it. The BPM sits at around 104 or 105 as opposed to the average BPM of 158 over the six songs that follow it. The chords feel very house-y which I love and I think suits the track immensely. While listening to the first two minutes of this song, the sub-bass will creep in for just moments at time preparing you for second-quarter of the track. The sub-bass hits hard and rounded, you can almost see the shape of it while listening. The echoing horns throughout the song are trance-like, it feels like I'm being hypnotized, snapped awake and instantly re-instated as the horns return. This cycle continues until you fully awaken only due to the volume lowering as the song fades out.

Track Four begins with what I can only describe as someone taking the term jungle literally. Partnered in the background with percussion are various chirps but closer to the foreground is what seems to be (in my opinion) a bit-crushed roar of some kind that starts anew every eight measures. I really love the idea of Bukem sitting down and deciding to center a jungle song around jungle sounds (even if I am not 100% on his intention or even that these sounds came from the jungle in the first place). The drums in this song are one of my favorite from the entire record despite this not being a favorite song as a whole. I think this song serves well as a transitionary track into the higher tempo theme of the rest of the album and prepares you for track five which I consider to be the second strongest, second most interesting and my overall second favorite on the album.

Track Five is titled 'Demon Theme'. As the track sets the tone for you, chirps are carried on from the previous track until the break begins. The drums are instantly weaker than the last song but this is not where 'Demon Theme' shines. Two minutes into the track, an echoing lead catches an unbelievable groove that immediately takes over. This section of the song is interrupted by a sampled singing voice that eases us into a new section of chaos. Many freshly introduced sounds start to swirl around your head at 145 BPM causing a hurricane circling your brain. Soon after, the 'calm' within this 'storm' appears in the form of flutes that end up blending the rest of the sounds into one. Once again, this off-key vocal sample serves as the start of the next section where we are met with warm synths and those familiar chirps from earlier. It feels like an off-color sun is breaking through the clouds of earlier. As the song enters it's final stretch, the chaos is gone and that catchy lead comes back to wrap everything up into a neat package. This new tone becomes the standard for the song, wiping your memory of the chaos the ensued minutes before. Switching between minute three and minute six feel like distant sonic cousins rather than two parts of the same track and I think this is absolutely a positive but also a theme of this album. It is dynamic and it shows track-to-track.

Track Six is our longest track on the records at just under nine minutes. The loop here has some sort of a filter which almost detunes it at times and I love that effect. The synths that work with this loop are slow and drone-like which leaves you wondering where this song will end up knowing that Bukem is both unpredictable and extremely talented at it too. 'Music' sits at the higher side with 155 BPM but somehow the song feels slow and paced. It is an amazing feeling. By minute four, I had found myself feeling like the song just began but we were already half way finished. The track is quick yet slow. It is heavy yet soft. It is both liquid and solid. Throughout this one, a sampled voice comes echoing both in and out like something out of Silent Hill until thick undistinguishable chords creep in to set the tone completely. 'Music' isn't one of my favorites as a song but the experience itself makes it. I think it is rare to find a track paced so perfectly.

Track Seven (my overall favorite) continues the long run time with the the last two songs totaling over seventeen minutes all by themselves. This song has a slow build but already starts to set the groove. The echo and melody used for this flute sample is one of the catchiest on the entire record. The bass on this track is definitely more subtle than the former songs but it is still rounded and impactful. As you hit the halfway point of 'Twilight Voyage' you get a closer listen to the sounds present in the song and this is one of my favorite sections. I don't have the proper words to describe the feeling they give me but it is like every sound is picked perfectly. Every soundwave is the exact one that I would specifically want. I find myself getting lost in this section just appreciating said sounds until the DnB returns for the final two minutes of the track. This song is one of the least dynamic of the record but somehow it doesn't feel repetitive, every second of those eight minutes is paced just as well as the previous track and that blows me away.

Track Eight begins unlike any of the other songs. 'Orchestral Jam' has an strong start as opposed to the soft build-ups we've been used to for the past seven tracks. The drums are glitchy and fast which the track gives us plenty of time in the first minute to appreciate until the melodies begin to slip in. Of course, this song is focused on strings but these strings aren't my favorite. I mentioned earlier in the review that the strings of this era are one of my biggest weaknesses but the ones present in this track just don't do it for me. Even when the bass is introduced about halfway through the song, I do not find myself getting the same feeling the record has produced so far. My favorite thing about this song are definitely the accenting done here and there. That being said, this song is on the weaker side for me and would be at best an 'okay' track. I do believe that this song is greater than 'okay' but might have the unfortunate task of following the almost perfect first seven tracks.

Track Nine is the where this amazing record comes to an end and from what I understand is Bukem's most popular track. Off-the-bat, this song has a chopped vocal sample (from which part of the title is taken) that is absolutely lovely. I think that the beginning of this song sets an amazing tone that gets me excited for the ending of this album. The keys, which are almost clav-like, are catchy and funky until they are cut-off. I think that I would've liked those keys to continue and carry the rest of the track with them in a different direction. They make their return alongside that vocal sample in the final minute of the record but without enough time to bring the song to a place I'd like to hear. I think this song reveals one of my worst habits which is gaining expectations in a track to only feel disappointed if it doesn't go where my head was thinking or somewhere better. This song set a tone that I got attached to and changed it. I believe that the song is still great but I am just a picky and pretentious brat who acts like he could've even made something this good.

Producer 01 is labeled by some as a compilation record rather than an actual album. I believe that without lyrics it can sometimes be difficult to keep an album coherent but Bukem did it masterfully. This project feel cohesive and paced beautifully. Sitting at 1hour and 13 minutes, each song works its runtime properly and keeps you engaged both mentally and physically. This record has plenty of moments where you cannot help but have a physical reaction to what is occurring even if you are not listening with full intent. This record is not abrasive but does have moments that wake you up and cause those reactions. With a slower, seemingly unsure start, the first three songs carry layers of influence that leave you guessing on the exact genre is would be considered. As you hit the middle four tracks, you feel entranced in the project unable to step out of it without effort. as you ease into the last two tracks which are the weakest in my opinion, you find yourself wondering what direction he will go and I love that feeling. Consistency is not bad but an artist who can leave you guessing is even better. As one of the first albums released in the new millennium I would say this record perfectly encapsulates the era and sets a great standard for the years to come.

8.3/10

-Hairklipz 28/02/24AV

#ltjbukem #jungle #dnb #downtempo #music #musichistory #musicreview #y2k #2000's #review #writing #blogging #blog #trance

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mist-spectra · 1 month

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great review to "Carrie White burns in hell" by concreteweb music web site.

Many thanks to this page for the kind words. :)

#musicreview #review #horror #experimental #carrie #carrie white #witch house music review #witch house music

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retropxssy · 2 months

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delightful review of Fading x

#alternative hiphop #freshmusic #musicreview #alternative rnb #jazz

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floppyfishe · 2 years

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Jai Paul - Bait Ones (Leak 04-13)

The mention of this album probably only raises the eyebrows of the mySpace blogosphere goblins of the early 2010s (guilty as charged), but the mark it left on the zeitgeist of the 2010s is pretty undeniable.

Everything about this album bleeds romance, from its clear and heart-aching tribute to neo-soul from the likes of d’Angelo and Lauryn Hill, its intentionally smoky, foggy mixing, to the whole narrative of its release (or lack thereof).

It’s really important to take its unfinished nature into account. The story from the artist himself is that it was leaked in its entirety pre-mastering and pre-even having finished the album by someone in whom he had placed his utmost trust, and the trauma of it draining any motivation from him to create at all.

And it’s so, so, infuriating. Because even in its unpolished state, this record genuinely changed how I look at music. Being so attuned to the sparkly finish of modern pop, the messy and overt sidechaining and the uncomfortable, intimate closeness of how it’s mastered blew my mind. A lot of this is thrown into the lead demo, BTSTU, at its very peak, and no wonder it blew so many people’s minds when it dropped out of nowhere in 2011 or so. It’s starkly minimalistic with not much but a kick, snare, and an incredibly jarring bassy sawtooth LFO as its lead synth to accompany his again very closely mixed whispered vocals. Possibly because of the sparseness of it all, it’s intoxicatingly romantic and nostalgic. The other demo, Jasmine, takes the close mixing and pumps it up to 11, and as a more traditional love song, it makes a lot of sense, and it oozes with yearning with his up-to-your-ears voice providing dissonance with its gated and distant synths and percussion. Both these songs have an incredible level of soul and polish to them.

And so it makes listening to the rest of the album fill me with that same level of yearning, an endless stream of what-ifs and what-could-have-beens, and ruminating about missed opportunities. Even the fragmented half-of-a-concept demos like Chix are drop dead gorgeous. The absolute standout is Str8 Outta Mumbai, which I still think should’ve been a lead single, with its exuberant Bollywood bombast, and the Vani Jairam sample from Meera that genuinely hit me in the face like a brick covered in jasmine garlands and caked in sandalwood. It really was the first time in years of having grown up as an outsider to two cultures that I really felt like I could embrace the over-the-top, maybe a little cheesy joy of the music of my roots, where before I tended to be quite pretentiously ashamed of the excess of Bollywood and filmi music. It’s honestly really liberating. I’ve gone back to listen to other filmi greats like Lata Mangeshkar ever since.

It really does say a lot that even though in Paul’s eyes, this album is always going to be half baked, these fractions and halves and almost-theres of ideas still filled every corner of my brain, heart, and soul. It really is that important of an album to me. With this having from such a personal place for me, let alone it being unfinished, it really doesn’t feel right giving it a numerical rating, so I won’t.

#jai paul #musicreview #bait ones #if youre reading youre probably quite close to me #PLEASE listen to this record

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elocinting · 1 year

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REVIEW: "So Far" by Lillimure

Written by: Nicole Ting

Flooded with dreamy late-summer heat over pulses of rich R&B instrumental melodies, “So Far” is the sultry first single on Lillimure’s forthcoming album. Written by Lillimure and Sam Everett, every note and line are mesmerizing in intention and honesty, marked by stunning vocal and instrumental arrangements.

Based in New York, the artist and musician Lillimure delivers truth and direction through delicate, poignant riffs and earnest words. Softly cutting through the dynamic sound, the repetition of the juxtaposed lines “out of reach” and “wait for me” is painfully sincere in its yearning. When you’re young, finding and knowing yourself are equally terrifying yet illuminating — an unpredictable, hopeful magnetism. Leaning into inflection points along her striking yet soft lyricism the way one leans into tenderness, Lillimure shares the heart of the desire to start over and be known. You can now listen to “So Far” by Lillimure on Spotify and Soundcloud.

#music review #new music #music blog #lillimure #independent music #indie music #rnb #r&b #rnblovers #up and coming #music recommendation #music playlist #music post #music lyrics #good music #musicreview #soul pop #pop music #r&b music

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thepoeticmillennial · 11 months

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Summer just in time for Summer

"Pull up" giving a modern day Erykah Badu vibe... one of my favorites on this new EP... in my eyes, Summer Walker never dissapoints. This new EP is literally just in time for Summer... presenting songs you can both soak up the sun to, and relate to. As usual, Summer bares her soul in this one... and I enjoy the fact the fans got to hear Summer talk in Agayu's Revelation, which gave us a feel of her personality... making this EP more personable. All in all, this EP feels like a cool, melodic, poetic, picnic under the Summer sun. Childish Gambino delivered in "New Type" reminding his fans of his lyrical, chill abilities... Jcole's heart felt message to Summer was heartwarming and sincere. Simply put, This EP is full of vibes with a hint of poetry and a lot of melodies worth nodding your head to. I've always loved how honestly Summer pours her heart into her music... which will always make her a relatable artist, feeling like that friend you sit on the balcony with and have real conversations about life, and what we face as young women. This EP makes you want to throw on your most alluring robe with a cup of tea by noon. I'll always support Summer and her honesty, pen game, and raw talent. What's your favorite song on the new Clear 2, Soft Life EP?

#summerwalkerfans #musicblogger #musiclover #musicreviews #ilovemusic #musicvibes #musicislove #blogger #musicwriter #musicreview #summermusic #newmusicblogger #writer #creativewriter #poet #poetry #poetimusic #lyricalmusic

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thepsynok · 1 year

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Album: Lost & Found Artist: Jorja Smith Genre: #R&B #Soul #HipHop ℹ️About The Album : Lost & Found is the debut studio album by English singer Jorja Smith. It was released on 8 June 2018 by FAMM, with distribution from The Orchard.[3] Writing and recording for the album took place over five years in London and Los Angeles. 💭Thoughts : Smith has done such a heartfelt job of working through the highs and lows of the intricacies of being in love or rather the prelude of it all. 🍸Goes Best With : I had guests over last night and we all had tequila sunrise substitute the tequila with white rum with Watermelon juice for that red effect, cause it’s photogenic, also it’s so great. So why don’t we make ourselves a White Rum Sunrise. Favourite Tracks: 🔥The One, 🔥Blue Light, 🔥Lifeboats (Freestyle),🔥Tomorrow. Featured Tracks: ✨Where Did I Go? ✨ February 3rd, ✨Goodbyes. #JorjaSmith #LostAndFound #TequilaSunrise #WhiteRum #WhiteRunSunrise #Watermelon #Music #MusicReview #KANSASreviews #Musik_Co_ #TasteYourMusic #PsyNok #Psyn0k #FavouriteTracks https://www.instagram.com/p/CqbG3YaP3Gy/?igshid=NGJjMDIxMWI=

#r #soul #hiphop #jorjasmith #lostandfound #tequilasunrise #whiterum #whiterunsunrise #watermelon #music #musicreview #kansasreviews #musik_co_#tasteyourmusic #psynok #psyn0k #favouritetracks

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thegothicarchitecture · 1 year

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SCARING THE HOES - JPEGMAFIA, Danny Brown

Mom, come pick me up I’m scared :(

Danny Brown and JPEGMAFIA have been discussing a collaborative project in the works for a while now. Now that an album has finally been released and is available on streaming services, and I have listened to both the album and the rapturous praise it has garnered from some critics as of writing, I am left with very mixed feelings on the project we actually got.

I think I should start with the concept of a collaborative debut from these two particular rappers.

Was this a misguided attempt? JPEGMAFIA and Danny Brown have largely disparate styles, and while many of the beats on this tape are stellar the chemistry between the two rappers is so lackluster it pulls away from my enjoyment of the record significantly.

On the topic of the mix, rarely do I listen to an album where the leveling between tracks is so consistently inconsistent. Song for song the vocals are leveled somewhere from way too low to just barely audible, only on occasion being mixed high enough to make out what’s being said.

The times where the vocals are mixed better still frustrates me in the context of the record. Why couldn’t every song be mixed properly? The fact that I had to listen to the album multiple times and then read through genius to decipher 90% of the lyrics makes me wonder how anyone can argue this is a good mix for a collaborative rap album, how anyone who cares about rap can defend a mix where most of the vocals are mixed as loud as the quietest impulses in the percussion. Or lower!

I could keep harping on the horrible mix to no end, but I would have to stop myself for the sake of time. I’ll just conclude this point that the mix hides what should have been a string of bombastic and fun performances by Danny and JPEG alike.

The opener Lean Beef Patty needs seasoning. I was considering putting out a track review when this was released as the first single of the project, but I wanted to wait until I heard it in the full context of the album. Overall, JPEGMAFIA relies again on very “edgy” yet not the slightest bit controversial humor, lines like “fuck yall **** I feel like Papa John” should have been left on the cutting room floor even when they were still relevant. Danny’s verse, while better, seems like a nonsequitur about drug and alcohol abuse when compared to JPEGMAFIA’s more vaguely political verse before.

Steppa Pig picks up the pace with a beat that is more interesting and with better performances from both JPEG and Danny. The title track after may be the album’s opus, a song that is a funny commentary on making weird, commercially unappealing music with layered sax squeals and clapping before the percussion drops in. Stylistically I think the album shines when the weird elements in the production are more sparse and spread far in between so the vocals get some elbowroom, which happens to be exemplified well here.

Other songs like Garbage Pale Kids and Where Ya Get Ya Coke From? have phenomenal beats behind them but the clashing with the vocals in the mix cannot be overstated.

I usually don’t like to pull other critics into the conversation, but I’ve now watched Crash Thompson and Brad Taste in Music (reviewers who I like and respect) give this album very high scores while endlessly criticizing various aspects of the songs or the skill level between the two rappers. I wonder if this is a case of the Emperor’s new clothes, where no one wants to be the first to criticize one of music’s biggest tastemaker’s holy cows.

The best defense of the album I heard was Shawn Cee’s description of the beats as making you want to eat your vegetables, which describes the production well but not the final product. If the lyrics, vocal mixing or chemistry between JPEGMAFIA and Danny does not factor into the equation, this should’ve been released as a beat tape. I think then it would’ve turned out less artistically and conceptually scattered.

Highlights: SCARING THE HOES, Garbage Pale Kids, HOE (Heaven on Earth)

✮ ✮ (Okay)

#jpegmafia #danny brown #scaring the hoes #rap #hip hop #experimental #musicreview

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cavedwellermusic · 1 year

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SEEKING WRITERS!!!

We are once again putting out the call for new writers and guest contributors to join the CDM team!

Have you ever written for another site or publication or even just wanted to take a crack at covering/reviewing the music you love for the first time? Then contact us now!

We would love to hear from you and answer any questions you may have.

#music review #music writing #music reviewer #undergroundmusic #musicreview #cave dweller music #music journalism

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trevordavies · 1 year

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Thanks so much to @obscuresoundmusic and Mike Mineo for the review of “Pure Light!”✨ Link in my bio to the article, which in turn has a link to Obscure Sound’s “Best of February 2023” Spotify playlist. Get on that NEW MUSIC! 🎶 #review #blog #blogger #curator #musicreview #newmusic #indierock #alternative https://www.instagram.com/p/CpNaTvNrp0A/?igshid=NGJjMDIxMWI=

#review #blog #blogger #curator #musicreview #newmusic #indierock #alternative

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reviewsbyliam · 5 months

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“THE PRELUDE: ACT OF RECLAMATION” A LIVE SHOW BY OSÉ [SOLD OUT]

Headline Show Review - 09/12/2023

[Pictured below; Osé and band]

[Photographer: @bygideooon_ on Instagram]

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*DISCLAIMER* All photos and videos from this event are over on @reviewsbyliam on Instagram. Please head there after reading this article to witness the greatness that we did. Thank you and enjoy reading!

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I arrived in London on the 29th of November, suitcase in hand, 5 hour coach journey behind me and a now 45 minute Uber journey to Deptford. My boyfriend met me at the coach station, we spent the first evening just settling into the area, getting some food and having a few beverages (as you do), and then some well earned sleep after both travelling from separate parts of the UK.

Experiencing a day of being a tourist in London the next day was bewildering - I wanna live there now.. I'm definitely made for the big busy city life. We headed back to the hotel, and got ready to make our travels towards one of my long time internet friends first ever SOLD OUT DEBUT HEADLINE SHOW!!

The emotions were at an all time high, before we get into it though..

Here's a little backstory..

I've known Osé for 3/4 years now, first meeting on Twitter (now X) and forming a mutual connection through Ariana Grande and our overall love for music. I always knew that Osé loved to sing, I also knew that one day, he'd be on a stage somewhere giving it his all performing his music and not looking back - little did I know how real that thought would actually become.

Shortly after debuting this blog, Osé called me and told me the tear flowing news that was him booking his first ever headline show to debut his first new project. We screamed, laughed, I cried for him because I was so elated with pride, and then he asked me if I would join him in London, interview him as well as review his show, and help write the description for his event. I must've asked him several times if he was joking, following up with a loud !!YES!! and getting to planning..

Fast forward to the night of the show..

Entering the venue and the thought of not knowing what I was about to hear from Osé was anxiety inducing but extremely exciting nonetheless. I'd heard the music from his project prior to the show as he wanted me to be able to catch a feel of what was to come to help my own personal work, which was such a beautiful gesture. So I kind of knew the sounds of the night, but chose to not listen to them like they were the last songs on Earth so I could re-experience my first listen.

On stage before Osé was another uprising artist called Josh Pace, who was a very good musician to have before the main act as he drew the crowd in and the vocals were so raw. His bass tones were unreal.

After listening to Josh melt our ears, we mingled for a little while, grabbed a couple of drinks to calm the nerves, and then realised it was time..

I knew that when Osé took to the stage, it was going to become HIS world. We weren't here for us, we were here to witness a spectacle that can only be described as out of this universe.

Opening the show with an interlude describing who Osé is, some words being uplifting, some words describing Osé in a more vulnerable, judgmental light.. it was very honest and intriguing. The interlude interpreted that many people have things to say about Osé and his character, including himself, but nobody really knows the true him - hence the reclamation of his story.

Osé walks on stage, the room is flooded with screams, claps, hoots and hollers, he smiles and tries to take in the reception he has just received (which was extremely deserving) and starts to sing one of the most ICONIC songs of all time; Creep by Radiohead.

The raw power that exonerated from Osé’s vocal box was like watching a superhero find their power for the first time. The moment he opened his mouth, he was unstoppable, it was Osé’s time.

I just knew he was about to SMACK us in the jaw with this show after blowing us away with his rendition of Creep and my heart was racing, my knees were weak and I had a dry mouth. I was SO nervous for Osé, but one thing I noticed, Osé wasn’t nervous, because he was home.

Osé started singing his songs from his project, including one song that had a very personal meaning which Osé spoke to us about before he performed, allowing us to see that artists we listen to, admire and idolize are struggling with personal battles just like us. I wont be revealing the track names, because the project is still under review by Osé himself and this night was just about getting a feel for whats to come. But when the project is birthed, you'll see. The night was all about the people closest to Osé finding out why this project is in the works and how he is choosing to utilize it to expand his character and knowledge of the world, which in my eyes is a very safe choice to make as an upcoming artist because for you to do well, you have to make sure your work is cohesive and relatable, and that is what Osé's project embodies, truly.

The raw talent that exudes from Osé, whether its through speaking, writing, singing, anything - it is a talent to be acknowledged and afraid of. Osé's vocals were so strong, and the evidence of his ability to explore across genres is even stronger. We went from sad, to funk, to healing, to rocking out. Not to forget that the band which accompanied him on stage were well into their element also. The guy on the drums? I could've watched him go crazy for hours. And don't even get me started on the saxophone, we will be here for eternity.

Stage presence is a HUGE factor into an artists success, because nobody wants to see an artist just stand there on stage like a bowling pin and sing into a mic and then wave and walk off. Thank the Lord that wasn't the case for Osé. He walked onto that stage, announced himself, and just let his inhibitions go. When the crowd hyped him, it was like the funk spirit had taken over his soul and he just threw his hips like there was no tomorrow. He laughed, he jumped, he clapped, he cried but he also joked with the crowd and made it the most safest space I've ever had the pleasure of being in.

At the end of the night, Osé thanked everyone for attending his first sold out headline show, and had to halt a few tears (so did I, many times). I have never heard a room erupt into screams, whistles, chants, you name it, so loudly before. I was watching Osé on stage just taking in the love that he so righteously deserved, which made it a full circle moment for everyone involved. The gratitude displayed was immense and he truly and authentically cracked the egg of success and stepped into the rest of his life as a vocal powerhouse that night.

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Raw vocals, warming stage presence, immaculate band and organisation. Venue was cozy and made the vibe so much more intimate than it already was. Location was easy to find.

OVERALL REVIEW OF THE NIGHT: OUT OF THIS WORLD!!!!!!!

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If you're wondering whether to give Osé a chance when he next does a show, wonder no more because I'm here to tell you that it would be one of the biggest regrets of your life if you didn't attend a show of his or at least take a dive into his socials and hear the heaven that leaves his mouth when he sings. I have an upcoming interview to be released with Osé, and we discuss his early life, career, fears, and so SO much more. We dive into topics about the night too, and just have a good old catch up about how much Osé's life has changed since his sold out headline show. Keep an eye on my Instagram page for more details surrounding the release of that!

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A message to Osé: Thank you for coming into my life and showing me that being creative is okay, it's okay to be vulnerable and show it in your work, it's okay to struggle and share that with people because we are all human and deserve peace. I will be forever thankful for the opportunities you graced upon me surrounding this event and I will forever be in debt to you. You are one of the most intelligent humans I've come across, and watching you blossom as an artist and a friend is a blessing that I will never let go. Never give up on who you dream to be, because the ability that you hold within yourself to make that happen is a lot more stronger than you'll ever know. I love you and I'm forever proud of you! L x

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Thanks for reading! Photos and Videos from

“THE PRELUDE: ACT OF RECLAMATION” LIVE SHOW BY OSÈ

will be posted to my Instagram @reviewsbyliam !

Head over there and check them out!

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Written by Liam Wibberley

09/12/2023

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evareviews · 1 year

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‘Truth Decay’

February 10th was a good day for me – travelling to London for a You Me At Six (YMAS) concert, I had three new albums to explore on that long, incredibly boring journey. Of course, Paramore’s This is Why album was the highlight of the day, alongside YMAS’s Truth Decay and Pierce the Veil’s Jaws of Life. Today’s focus will be on YMAS’s Truth Decay – was it worth the delay, and all their hype?

I was introduced to YMAS from a very young age by my cousin, but never got into them too much. This was until Bite my Tongue came on the radio, early 2012 – where my love really stemmed from, and started to grow. By the end of the year, I had been to my first ‘proper’ concert (i.e., one I actually wanted to go to), with their Final Night of Sin live at Wembley arena – and what a night that was. Sinners Never Sleep holds a special place in my heart, but the true shining album for me is their 2010 Hold me Down album – with Stay with Me, Contagious Chemistry, Trophy Eyes and of course, Underdog, taking the lead for possibly their best songs. Their fourth album following Sinners Never Sleep, Cavalier Youth, held a different tone and mood, but the spring vibe to the album is one that I embraced and enjoy – an album to enjoy for blue skies and drinks. It has some songs the follow the same ideas of their first three, such as Fresh Start Feverand Room to Breathe, but the others breathed a new gush of air into the band, and again, I enjoyed the spring vibes that came with it.

But from Cavalier Youth onwards, I started to enjoy their music just that little bit less. Night People, VI and SUCKAPUNCH I enjoyed, but to a much lesser extent. It didn’t stop me from going to their shows of course, but there was the feeling that a lot of their songs were produced solely for the matter of playing them live, as opposed to home listening. Don’t get me wrong, I love seeing these performances – due to the pandemic, their performance at Alexandra Palace this year was my first show of theirs since 2019 and experiencing SUCKAPUNCH live was honestly an amazing experience. But the three albums since Cavalier Youth, just don’t share those same components that their first four albums did – it seemed a pretty big leap away from their old tones, and honestly, VI was not an album I was expecting at all. I still enjoy them but have far more songs I don’t choose listen to, than those I’ll actively want to listen to.

Which leads me, of course, to Truth Decay. Having brought the tickets to the album tour, back in July of last year, I was incredibly excited – mostly for the fact that it would be my 9th YMAS show to date (so close to double digits!), but also for the new music that would be released. Deep Cuts and No Future? Yeah Right, were in my favourite of the singles, and though the others later released I wouldn’t enjoy as much, these two gave me hope for the new album – a good mix of their original vibes, a bit of angst and anger, alongside some newer vibes that I was hoping would grow on me. I know heartLESS certainly did, and I’ve had it on my mind on a loop for a while recently, so naturally I was excited for Truth Decay’s eventual release. Having it pushed back, so that we couldn’t experience much of it live was a slight disappointment, however the setlist that they did perform, more than made up for that – and maybe it was for the better.

The album isn’t a complete let down – with the three singles I really enjoy, alongside After Love in the After Hours, Breakdown and A Love Letter to Those Who Feel Lost, the album holds up. A Love Letter to Those Who Feel Lost, is absolutely beautiful – Cody Frost’s vocals pair so wonderfully with Josh Franceschi’s, creating an incredibly emotive and stunning performance. But the album certainly doesn’t take a top spot in their works, in my opinion. For the most part, the only way I can describe it is ‘meh’ – it’s slightly underwhelming. Perhaps this is in part to its release date? The original release date was scheduled for the 27th of January, but due to vinyl production issues, this was pushed back to February 10th – as we know, the date of Paramore’s This is Why release, alongside Pierce the Veil’s Jaws of Life. Perhaps a reason to my feelings of slight disappointment, was my excitement for Paramore’s release? I made the conscious effort to listen to YMAS’s album first – both in preparation for the concert, and to try and not let Paramore’s album overshadow their work, and yet it just failed to live up to any expectations. The album’s okay. It just isn’t excellent, and to be fair, I suppose my love for Hold me Down, makes any that follow a little hard to live up to. I have grown to like the direction YMAS are choosing to follow with their form of maturity and their explorations of genres outside of teen angst, but the few songs that stand out, don’t overtake my love for their old music. I can still recognise a bit of their old genre, especially in God Bless the 90s Kids, and even in A Smile to Make You Weak(er) at the Knees, but for me, it just isn’t enough.

That being said, this will never stop me from listening to whatever they produce next or seeing them live – even for those who don’t love YMAS, their live performances are truly an experience. They never fail to put on a good, lively, welcoming, and wonderful show, and the band truly know how to create an excellent atmosphere.

Maybe the album will grow on me. I really hope so.

#youmeatsix #ymas #truthdecay #newmusic #newalbum #tours #ymastour #ymastruthdecay #review #newmusicreview #ymasreview #truthdecayreview #musicreview #truthdecayalbum #2023 #2023music #newymas #newyoumeatsix

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