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Childish Gambino - "Because the Internet"

12/10/2013

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2015 Grammy Nominations:
  • Best Rap Performance, "3005"
  • Best Rap Album

I remember being excited for Childish Gambino (Donald Glover) for releasing this last year. For some reason, I like that he's finding musical success. 

Interesting fact, well, to me, is that recording took place in basketball player Chris Bosh's mansion, which Glover rented out. Additionally, a 72-page screenplay and a short film called "Clapping for the Wrong Reasons" were released along with and to promote the album.

According to early interviews, we're in for honesty. I'm down for it, especially for someone who chose to cut down acting time in favor of music. There's got to be devotion behind these tracks.


There are… 19 tracks here. "The Library - Intro" is literally just that though - a clicking little intro.

"I.Crawl" comes in a little aggressively. The beat is heavy and we're thrown into this world with no warning. The vocals are right up against that microphone and completely clear - way to to recording team. It's actually a really simple mix when you think about it - nothing really clogging up the system while you're trying to understand what's happening there. 

The beat changes up a little bit with "II. WORLDSTAR." This guy has a great handle on words and an even better handle on the mix. There's elements here that are mixed in so perfectly that it's a little scary. Not my kind of music personally, but massive respect for the handle on detail there.

"Dial up" turns out to be a sort of gentle, I guess misty dial tone, leading into the next section.

Chance the Rapper is included on the next track, "I. The Worst Guys." Um, there was definitely just a "Sister, Sister" / "Smart Guy" reference. I guess you can really hear anything in rap. I like the flow of this and the easiness of the listening, but I can't get into much else. At least it's relaxing.

"II. shadows" maintains that kind fo flow sound, but it a bit more enjoyable. It's nice, yah know? Nothing's too insane, and even the breakups in the music are quite as throwing as they could be. Granted, they're weirdly placed, and I feel like my CD is skipping sometimes, despite streaming the music right now, but somehow this all becomes forgivable, even as the song takes darker twists down the line.

We're up to a quiet whispered track for "III. Telegraph Ave. ("Oakland" by Lloyd)." While I'm aware of how much the info on Wikipedia might help me on this album, I'm not opening it for more info for some reason. I'd rather just feel this one. What I feel here is a really obnoxious electronic blur underneath some of the song. If feels like you're hearing some kind of construction underneath your regular working sounds.

"IV. sweatpants" is sort of interesting. There's a judgement angle there, and I want this to have a point so badly that I'm going to believe it does regardless of intentions. The rap's freakin genius though, beat-wise. How anyone keeps up such a clean rhythm still blows my mind. The breakdown towards the end is a sudden drop, but we're moving out and on.

Spotify lies and doesn't put the roman numeral first for "V. 3005" until you see the track in the window. The sung portion of the song sounds just like the previous one, keeping a slightly more gentle part going in an otherwise sort of rough song.

"Playing Around Before The Party Starts" is just that - a jaunt on the piano before the next track launches.

Then, "I. The Party" amps everything up from deep down. And holy crap, the rapping is too fast to comprehend. He's on edge and cuts it off real fast.

You know, if you're really following the storyline here, the start of "II. No Exit" is a little scary. He's confessing to being a murderer after kicking people out of his house party. 

Okay, next up is… "Death By Numbers." Comforting. In actuality, it's an interlude that spiral this all a little farther downward.

"I. Flight Of The Navigator" has a nice lift back up, even with the distorted vocals that basically give it an underwater feel. The main voice comes back in soon though, with and easier way about it. I'd even venture to call this one comforting at this point. Of course, I'm saying that at about three minutes into an almost six minute song. But a few minutes later, yes, it maintains this really nice, calm level. This is a really nice breath of air in what's been a bit of an intense time in the life of this album.

That gets cut off quickly in we launch into "II. zealots of stockholm [free information]." I'm not saying it amps right back up; everything still remains calm. Actually, it's so calm that it's hard to hear what's just about being whispered in the background. Then, at about a minute and twenty in, we're completely disrupted. Like, flat line disrupted to change up the beat. That background voice is back in with an entirely different mood, and the rapping makes a comeback. There's a whole story to be heard here: it's terrifying and a little entrancing.

"III. Urn" maintains the pretty chill vibe. Gambino's vocals are taken up to a higher register, giving a really new feel to this shorter piece. It almost feels like slow jam improv until the backing vocals come in for support. 

We're into the final portion of the album and are joined by Jhene Aiko for "I. pink toes." Rainbows & sunshine… okay, that's unexpected. Things seem to have turned around to a happier picture in this section, with some sense of goodness. Maybe love's been found? Maybe it's just nice to not be alone.

"II. earth: the oldest computer (the last night)" brings the beat back up a bit. There was a chipmunks reference. Shaking that one off though, and listening to the rest of the words. Sounds like there's an attempt to maintain something and take advantage of this time. Then the rapping drives up the song's momentum very quickly. Yeah, if does seem like an end-of-the-world type of situation here, and the mix is really out there - never staying in one place too long for sure.

For the final song, we're into "III. Life: The Biggest Troll [Andrew Auernheimer]" and things are getting wrapped up nicely. I'm kind fo cracking up at the idea of the general troll - because who knows what of this or really anything on the web could be just that? This is probably the most real track I've come across here though, from words used about his own person, to very natural volume and tone in the rapping and speaking to the audience. He knows when the performer has to turn back on and appeal, and he brings it back down in more personal moments.


Added to My Playlist:
  • "I.Crawl"
  • "II. shadows"
  • "II. earth: the oldest computer (the last night)"



So, I get it, I think. The album's exactly what this guy wanted for himself, and it's unique and well composed. It's also really had today to make an album of this nature, where so much is replying on the mix itself, but this is done well. It's clean and produced impressively. All-in-all, good to see Childish Gambino back on the scene and doing exactly and only what he wants to be doing.


Don't forget to check out our ongoing Grammys 2015 playlist on Spotify as we continue to add albums to the list!

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Lady Gaga - "ARTPOP"

11/17/2013

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NEW MUSIC TUESDAY!!

I was incredibly excited about the fact that Lady Gaga was coming out with new music... right up until I heard "Applause." Now, let me be clear about this - I've never liked a single one of her songs right off the bat, but they've always grown on my eventually. I didn't even remotely like "Applause" until I heard they perform it on "Glee" (hint - it's better with male voices for some reason), and I still can't listen to it all that often. Catchy? Hell yes. Loving it? No.


That said, I want to know what she's bringing us this time around. Gaga is one of the most versatile artists I've ever heard, able to do every kind of genre of music on one album. Hold your breath though - the goal here was an album full of hit pop songs. Yikes.

And the Spanish guitar plays us in… unexpectedly. “Aura” gets going, and Gaga takes on her total creep voice. Just when you think there’s something entirely familiar going on, it’s really thrown for a loop as that same guitar bounces off the wall. What exactly did I get myself involved with here? Gaga has always had a flair for the odd, but this is a little out there even for me. And she makes it damn clear that this is the beginning of “Artpop” just but that last insert at the end of the song.
“Venus” is the second song, and third single if I’m not mistaken. I’ve heard it on the Billboard playlist on Fridays. Wiki says otherwise, but you never know there. Anywhos, it’s a weird mix of a lot of odd phrases thrown together. There’s a method to this madness, clearly, because that’s how she rolls. And I think this is a track that could very well grow on me over time. It’s at this point that I’m glad I found the description of this album of “a celebration and poetic musical journey” because I think the whole sound just became much easier to swallow. It’s not just a mish-mosh of various and tough songs to pump in the dance club. There’s almost sense here.

What’s a little weird in this experience is that the songs do sound remarkably similar. Maybe I’m just getting used to Gaga’s style, but“G.U.Y.” doesn’t seem to stray much from the sound of the previous two. I know what’s bugging me – there’s lots of weird little higher-pitched laser sounds and electronic noises that are searing through my head. It gets to hurt a little.

“Sexxx Dreams” is not one I could ever listen to with my mother, but it’s actually kind of a really cool song musically. There’s a nice melodic element, somehow. The music hits the beats hard, but is a little softer on the ears so you can loose yourself a little more without gaining an incredible headache.
T.I., Too Short, and Twista join in the games with “Jewels n’ Drugs.” Okay, now here’s a different sounding track. I don’t just mean on the album, though it is, but I mean it’s a different Gaga sound entirely. This is much more mainstream hip hop sounding, and while Gaga still takes on the majority of the verses, it feels like she’s the extra artist against the rappers. And the concept is even a little more sweet than expected. It’s really love-focused – yeah, you’re surprised too, aren’t you?

“Manicure” might be the first one I kind of enjoy fully. Though, the concept feels a little strange. Yes, yes, there’s got to be some deeper meaning behind it all. But listen to the way she says it. I mean, It’s sort of weird, right? I’m not the only person who can be hearing it this way. I do appreciate the rock guitar riff over the electronic bass toward the end. And it’s done.

R. Kelly and Gaga teamed up for the second single, “Do What You Want.” This one has grown on me over the weeks on the chart. Still incredibly sexual, but we have to keep reminding ourselves that Gaga is all about the sexual freedom of, well, everyone. And R. Kelly, as insane as he may be, always has had a smooth voice and sounds fantastic. While I’m not sure I want to see a video with the two of them to this song, it sounds pretty good. I’m not sure though if I want to like this approach to lyrics. She’s giving over and he’s going to take it. It’s a little demeaning, but again, freedom and whatnot.

“ARTPOP” is the title track (duh). So I guess this is how we figure out what the heck that means. It’s the lightest song so far. And I love the juxtaposed harmony approach in the bridge – the low and the high all at once. It’s catchy too. But, I don’t know, there’s something lacking here. It’s not a touching song the way I want it to be. It’s just kind of a lull there in the middle of the album.
Whoa, okay, “Swine” might be the angry ex-girlfriend song. I mean, you’re calling the guy a pig. Or, yourself when you’re not with him. Wait, okay, now I’m just confused. Sigh. I’m confused once again. I thought I liked this for about a minute.

“Donatella” belongs on a runway, and I’m not just saying that because of the title. The beat would be such an incredibly great walking rhythm. The lyrics are all about fashion and getting ready for the new trends. Yeah, there’s an underlying message about a girl who’s so deeply invested, but you can’t tell me that this wouldn’t make a fantastic runway walk.

And then it moves on to “Fashion,” which brings back a more prominent piano. Thaannnkkk you for that. It’s almost a downright pretty song in a lot of ways. It’s also a song that I feel like oozes self-confidence both for the artist and the listener. This is the first one on the album that I’d want to blast while getting ready because it’s make me feel that good. Damn girl, it’s about time. Only took you about 11 tracks. Anyone else want to yell “WORK IT” to or after this? “Looking good and feeling fine.”

“Mary Jane Holland” is probably something really interesting, and will eventually make for an outstanding character piece a la “You and I.” I look forward to seeing who Mary Jane Holland winds up being. In the meantime though, this is just kind of a meh track for me. It’s not great, but it’s not bad. It hangs there as a filler track until I can see what she makes out of it all.

I had a feeling “Dope” was going to be the slow song. Gaga has a beautiful voice, though she goes into that lower register here that’s kind of hit or miss for her. Some moments are absolutely perfect and beautiful. More often though, they sound strained. Then the like, well, “I need you more than dope” might be an intense declaration of love for some, but for most I think it’s just maybe a little sad. If you look at it from the point of any addiction, okay, cool. Big sweeping love moment. It’s just that the song seems to be meant to sound lovely, and it’s just not really.

“Gypsy” might just hit it right. I really love the lyrics, music, and general letting go dance beat. It’s a song of living life in a crazy way, but knowing that as much as you can do alone, you don’t want to stay that way forever. I can dig that. I could sing this loud, and I bet you could too.

And for the final song we get the lead single, “Applause.” I have a love-hate relationship with this track. I loved the male voices on “Glee” performing it, and can’t stand Gaga singing it. I also am a little frightened of the video and subsequent performances. And I don’t entirely get the point. It’s loud and kind of fun, and that’s about all this particular song does for me.
Added to My Playlist:
  • “Fashion”
  • “Gypsy”

Eh. Ugh. That was not as enjoyable as I had hoped. I miss the Gaga of yester-year.
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Eminem - "The Marshall Mathers LP2"

11/5/2013

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NEW MUSIC TUESDAY!!!


I remember really loving Eminem when I was younger and he was new. I think part of it came from my older cousin, Anthony, being so into his music. But another big part of it came from that inner desire to rebel and like something my mom would've been upset that I liked.


Yet I still figured out how to defend his art when she figured out I knew who he was. 

That said, here's his 7th studio album, making the big come back in a very different rap scene than the one he was last prominent in.

And off we go into Eminem’s newest album. Phew. “Bad Guy” is a lot quieter than I would have expected. It’s an intro track with Eminem going off about his life in the past few years and his recovery from suffering. We also start right off with a hook by a female singer (Sarah Jaffe, uncredited), which I feel like Eminem has figured out how to master in the past few years. While it’s not sticking too much in this instance, I still feel good hearing a familiar voice, both hers and his.

“Parking Lot (Skit)” is kind of just a lot of yelling and sirens. Clearly he’s running from something. And there’s a gunshot. Let’s move on.

In a cool sampling move, “Rhyme or Reason” starts with the questions from “Time of the Season” and Eminem answers them. THEN he samples the melody and gives his own spin to the words. Holy cow, this is creative and kind of amazing. You might not agree with the lyrics all the way, but this is a really cool spin and he makes it all his own. Not badly done at all.

“So Much Better” sounds like pretty damn classic Eminem. The chorus is bitter and loud and I could feel this blasting in my cousin’s SUV in my head. There’s an interesting bridge in there as far as timing and rhythm goes. Listen to it – you’ll hear what I’m talking about. While I’m listening to the anger, this feels like a good time to point out some cool promotional tactics for this album. Did you watch the VMAs this year? Because Dre gave the album title away in two Beats commercials (man, I can’t wait till Christmas). Also, Em went blonde again. Please tell me others out there are as happy as I am.

Well, now that those superficial comments are out of the way… heh, sorry. I like sharing oddball info about the albums I hear. Liz Rodrigues is the uncredited female vocalist on this chorus for “Survival.” It came out in April when it premiered in a trailer for “Call of Duty: Ghosts.” It was then later released in October as a single. If you’re curious, it’s #67 on the charts this week, and has only been there 3 weeks. Weird timing, but whatever. I love the fight feel of this. It’s strong and hard. If this doesn’t show up as an MMA fighter’s entrance theme in the next few months, I’ll be very disappointed.
“Legacy” would make a great WWE promo. See, this is why I need to work in Music Supervision. Sigh. Anywhos, this song features an uncredited Polina, and it’s a lot slower and more lovely. It’s a great anthem without being overpowering. It’s also incredibly well timed in the album, giving a little breath from the hard-hitting tracks surrounding it.

That said, “Asshole” comes fast and hurts like a punch. Skylar Grey is back in our world taking on the hook, which is amazingly light compared to the quick raps around it. I can’t say I love it as an overall song, but damn if this boy doesn’t rap faster and faster every time I hear him. But he’s so clear. I haven’t heard something like this outside of the realm of Jay-Z, and if you know the amount of respect I have for that guy, you know that’s really saying something from me. Whew.

“Berzerk” was the official first single back in August. You’ve heard it if you listen to radio. It’s charting right now at #25 and has been there for 9 weeks. It got as high as #3 – not bad for such an intense song. Ready for the list of sample credits in this? “The Stroke” – Billy Squier, “Fight For Your Right” – Beastie Boys (which I can’t pick out in the track, but okay), and “Feel me Flow” – Naughty By Nature. I think the sampling licenses probably cost what my apartment’s rent is… for half a year. Ouch. But it’s a good compilation all told, and something about it flows very well. I don’t know that I could ever make all of that work, plus add a rap on top, but hey, this is Eminem.
I’ve heard “Rap God” as well. There are ‘interpolations’ of “The Show” (by Douglas David and Richard Walters) and “Supersonic” (Dania Birks, Juana Burns, Jaunita Lee, Fatima Shaheed, and Kim Nazel) in there. The video premiered on Em’s YouTube channel and was released the next day, making it the third single. It’s his highest charted single this week, at #21, but peaked at 7 (I have the charts at my desk at work, if you’re wondering how I have all this info on hand and love reporting it so much). Eminem raps 97 words in 15 seconds, which he described as “supersonic speed” – 6.5 words per second on average. I’ve never seen a rapper break down their words into numbers, but I both appreciate that and am properly amazed.

“Brainless” has me feeling how a lot of Eminem tracks have in my life – like I’m being yelled at during the verses and just trying to catch a breath during the choruses. I mean, he kind of growls in some of his rapping, doesn’t he? Don’t get me wrong – tone-wise, this guy has an amazing amount of control. He whispers and creates an intensity unparalleled, and he growls and shakes you up.

And now we get another moment to breath. “Stronger Than I Was” is almost border-line ballad. There’s no sampling, and very little rapping. It’s also all Eminem. No singers added. I never would have pinned this as one of his songs. Is this… a love song? Anyone else flabbergasted? I mean, okay, I guess it’s open to interpretation. As he builds up, you kind of realize it’s a self love song, in that it’s the one after the breakup. It’s the anthem about being okay after the fall. And there’s the rapping. Ha, we’ve come full circle on this track.

“The Monster” marks Rihanna & Eminem’s 4th collaboration. It’s super twisted, and not in that cool dark Tim Burton way. It’s sounds a lot like every other song until you hit the chorus. It’s a great duet, but I gotta say, these two have done much better together before.

Now this one’s different and interesting. There’s almost a Southern Rock feel to “So Far…” and I’m digging it. It contains samples of “Life’s Been Good” by Joe Walsh and “P.S.K. What Does It Mean?” by Schoolly D. Granted, it’s all about Detroit, which I wouldn’t have expected given the sound, but who cares? It’s well done, and ever city needs a bragging song, right?

“Love Game” totally almost passed me by. It flowed in so seamlessly from “So Far…” that I never heard the transition. I only noticed that the hook was a little different and looked over. Keira Marie is on here with vocals, Kendrick Lamar is featured in additional rapping, there are samples of “Game of Love” by Wayne Fontana & The Mindbenders, and there are interpolations of “The Object of My Affection” by Jimmie Grier, Coy Poe, and Pinky Tomlin. Whew, that was a lot of info to include. The song itself? Well, it kind of bops along. It’s fun, but not hilarious, and that’s just fine.

And we’re back to growling. I promise I’m not complaining. “Headlights” is tough, if for no other reason that is drags and is just tough on the heart. It’s a track that you feel somehow, just a little deeper than the others. I think that feeling has something to do with the backing music. And… it’s a tribute to hit mom? I was not expecting that one at all. OH! Also, Nate Ruess is featured in this, which you’ll recognize right from the start. Is fun. Recording more music, or is Nate just recording with every big artist on the planet? Nonetheless, his voice does add to the slightly haunting quality of this song, including the moments that he hits you with harmonies.

“Evil Twin” launches back out of that nice warm place that you thought you were in. Out comes Eminem’s anger towards, well, everyone. He definitely is taking this opportunity to get it all out. And it’s all against an electronic background – I know you hear that in the background, don’t deny it. The falling ‘notes’ in the back are just as hypnotizing as the rapping over top.

Did you know that was supposed to be the end of the album? We’re now into the Deluxe part. Thanks Wiki. And thanks Spotify – love that you always bring on more. “Baby” keeps things high-octane, not missing a single beat. And you’ve gotta love the “nobody buts Baby in a corner” line. It’s a warning to not ignore because that person you shove off will flip later on. I mean, that’s my little summary of the chorus. Someone correct me if I’m wrong, and then I’d be sorry. But for not, I won’t be. These are the things that Eminem teaches me.

“Desperation” came on completely unexpected. It may be my favorite song of the album Jamie N. Commons is featured, and the whole things is hard-hitting and amazing. It’s a rock song as much as it is a rap song. And that chorus is just incredible and impressive. You could lose yourself in this completely – and I promise I’m not trying to make a cute pun there. AND he calls out Carrie Underwood. Amazing.

Okay, for every good there’s bound to be one that’s less than good. That’s some sort of physics rule, right? “Groundhog Day” is just kind of meh. It is cool that he’s keeping his tone so high, considering you normally here Marshall Mathers reach down a little deeper. The beat is steady and there and just a little annoying, if I’m being entirely honest. It’s those little bells up top. Just, get them out of my head. It’s like a nail being shoved into your brain, at least in my care. I just cannot take it.

“Beautiful Pain” is another one of those hauntingly beautiful songs. Sia comes in to share some vocals (also was a co-writer). Yeah, musically, it’s really pretty. The arrangement’s downright perfect. The words are a little lost on me mostly because I’m trying like hell to stay out of the realm of depression. But maybe it’s a saving song for some. I mean, I’ve always believed that if you can connect to music instead, that can be a saving grace.

All right y’all, last song. “Wicked Ways.” Anyone else less than surprised? This one features X Ambassadors. I’m trying real hard to be into the words, because this dude has some awesome things to say. It’s also been an exhausting experience trying to keep up with every moment throughout this album. This is a good general rap song to end on though, I think. The beat’s classic and the count’s easy to keep up with. The chorus vocals are Imagine-Dragons-esq and keep it moving. Overall, not a bad way to wrap things up.


Added to My Playlist:
  • “Rhyme or Reason”
  • “Survival”
  • “Legacy”
  • “Berzerk”
  • “Stronger Than I Was”
  • “So Far…”
  • “Desperation”
  • “Beautiful Pain”

I don't think I've sat through an entire Eminem album before, to be honest. Just batches of his songs in Ant's car, nice and loud, through the streets of Parsippany. I'm kind of half loving it, half meh about it. It's a good album as a whole, and the guy is talented as hell. Glad to have him back.
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Nico Osborne - "Growing Branches"

4/2/2013

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This is someone I've really been meaning to review for a while. My former roommate, Lucy, recommended her brother's music to me a few times, and I truly regret never seeing him in concert when he appeared in NYC.

Regardless, he's a new artist to us here at ELAH, and we're open for anything! Plus, I've met Nico - cool guy, deserving of a listen for sure.


"Rollin' and Tumblin'" kicks things off with a out land folk sound that takes you right down home. God, hear those strings. I haven't heard something like this since back in Tennessee. Vocals, as they come in, are distant and subtle, really telling the story on their own without shoving it down our throats via the mic. 

Things flow into "Last Fair Deal Gone Down" that I barely realized it was time to get typing again. There was applause in-between, prompting me to include the note from this page that this was recorded live in Fairchild Chapel in Oberline, Ohio, so this distant-er sound makes a lot more sense. This had to be a great experience live where you were more left to get lost in the musical sound as much as take in the lyrics.

"Let Your Light Shine on Me" is another ease-you-in time. While the sound is seamless, believe me when I say you'll stay interested in his finger work throughout. Now in this one, I'm not feeling the vocals quite as must. Something's off in the tone of them in comparison to the music backing him. The song struggles to find its place as a whole t my ears, but I hear the effort and appreciate that more than anything else.

The strings take complete control in "The Sailor's Grave on the Prairie." It's hard to hold attention or speak a truth today with simply and instrument and no words to draw in. And I'll admit - I'm totally a lyrics-first kind of girl. However, this song speaks for itself. It speaks like its title claims and it's absolutely beautiful. There's just no need for any more layers.

"Goin' Down South" brings vocals back in via a darker route. I feel like this voice was made for a higher register, but it holds its own as the hard sound pours on out. I love the sentiment in this as well. It's as escape of sorts and a relief in some way. I can't totally explain what this one means to me, but it can mean something to you if you let your mind get a little lost for three and a half minutes.

We're closing in on the end of this performance and recording. "Turning" gently comes in, layering sweet strings and just being generally relaxing. I mean, it's not as clean as those relaxation CDs you used to hear at Target (I know I'm not alone there), but the grit is what makes it a little more heartfelt and a little more personal. 

"Dabney" closes things out with a little more of a regular rhythm to follow and tap along to. In the middle, there's this story about Pecans and cracking them open; nice to have a little personal time with the audience amidst the playing. Lyrically, the song's a little sad, but at the least reflective and sweet. It's a nice ending, wrapping up the mood and talent we've been witness to throughout the album.


I dig all of this. It's sweet and gentle and just a nice experience. Nico builds an atmosphere that seems just lovely and good to be in, and the fact that this comes across recorded and I didn't have to totally miss out on the live show after all make it all worthwhile.

Check him out and show support at: http://hearnico.bandcamp.com/


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Davenport Cabinet - "Our Machine"

1/15/2013

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Spotify Listen Link: Davenport Cabinet – Our Machine


I wrote this, originally, for culturebrats.com as a review of the album as it was juuussstttt coming out. It was an awesome experience, but I'll be honest, I just remember it was good - not the details. So, Hawke readers, hope it still holds up now!

PS - this is an off shoot of Coheed and Cambria, in case you were wondering. Very exciting stuff!


"Night Climb" starts out this album just gently enough to build anticipation. It's just barely there, standing at under a minute, but I love it as an intro piece.





Think older school rock as we get into "Deterioration Road." The song is far from overwhelming, thankfully, and the harmonies that come in on the chorus are actually fantastic. The vocals build upward in pitch, which I can't say is amazing, but I think I can get over that. If this is going to be the slightly dark, great rock tone for the entire album, I think we're in for something pretty damn cool.
"Simple Worlds" is only track three, and I'm already pretty convinced I'll be listening to music from this album a few more times over. It's so well crafted in ever way music should be, complete with a female addition in lead vocals, and very simple, yet telling guitar strumming through. More, please?



And as for a good driving song, "Sister Servant" brings that on. There's a slight reggae beat hidden in there, but not a single steal drum - the guitars support is most. Everything feels just far off enough to create a nice vibe for listening. So far, so good for a late Sunday night listening session.
"These Bodies" might be my least favorite so far, though I can't put my finger on what it is. Maybe it's the spiraling dark feeling taking total control. Maybe it's that I'm just trying to find something not to love to give some sort of critical opinion. Maybe it's just the lull in the middle, yet still complete with a crazy great guitar part.



I finally started listening in to lyrics a little more closely (I know, I'm disappointed in myself too!) and am falling for "Our Machine." There is something really deep and right going on here, painted with a stroke of hope of sorts. The music itself? So interesting and unexpected and simple, and yes - all at once. There's a banjo in there people, and I don't think any of us saw that one coming.
"Black Dirt Burden" takes back on the old school rock sound, almost reminiscent of the 80's, but with a definite Coheed influence throughout. It's tougher and, well, blacker. I really can't think of much else to say on this one, other than it's cool to see them play throughout the spectrum and somehow still maintain a cohesive album.



SEE? "Drown It All" completely proves my point. What is this, a Barenaked Ladies tribute song? It's so close to country and so very 90's I'm in shock and slight awe. The talent of this group is continuing to amaze me because of where they take these sounds. Things are so simple and unexpected that it's incredible. And the subject of moving on is taken in such a light way you can't help but tilt your head back and feel it all melt.

"New Savior" doesn't do much for me, but did bring to light the methodology of naming songs on this album. Many of them are very simple phrases that, while included in the song, are probably not the ones that stand out enough to be titles of songs. They're intriguing on their own though, so if you're randomly picking songs to hear, they'd certainly know how to drag you in to this.



Alright, this is weird to me. I love the dark slow nature of "Dancing On Remains," but for some reason I find it boring at this particular moment. Again, very good chill music, but nothing truly special to my ears, and I'm not catching any important lyrics throughout either. I'm probably missing something, but this is another lull point for me on the album.
I'll admit, my attention was split during "At Sea" with editing a review for "The Dark Knight Returns: Part 2" for my friend, Jason. While I didn't catch a lot of the music itself, let alone the lyrics, it did make the perfect music for typing out a review about a badass superhero with an even more badass villain to face in the final showdown - Joker. And yes, that is a compliment.



"Father" is the final and somewhat short (sitting at about two and a half minutes) track to the album. Lots of lead-in guitar layering in a very pretty but sad way. At the minute mark - right on the dot - is when the drums come in to join, kicking up the beat a bit. And I do believe we are not getting vocals on this track. Wow, a bookended album? Very, very nice final touch.
Added to My Playlist:
  • "Deterioration Road"
  • "Simple Worlds"
  • "Sister Servant"
  • "Our Machine"
  • "Drown It All"
  • "Father"

Must've liked it - look at that list. =)

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