An album review written by an electro-house blogger on experimental 8-bit electronic music, this is bound to stir up some problems despite how close the two genres are. Let’s just get this out of the way first, I never liked Alice Practice nor did I like any of the tracks that resembled it in Crystal Castles‘ debut album although there were many tracks I did like such as Air War, Vanished, Good Time, Magic Spells and the like. It was the overuse of glitchy 8-bit bleeps and scratchy over-bass beats that despite the fact was or is Crystal Castles’ staple sound just didn’t rub me the right way which to my surprise are the exact sounds Crystal Castles toned down in their once again self-titled sophomore album. They also broadened their music to touch on other genres such as synthpop which really worked in their favor rather than depending solely on their niche of 8-bit sounds like remixes off of an 80’s game soundtracks. The novelty wore off pretty quickly.
The album starts off with two quite opposite sounding songs; first track Fainting Spells seems to leave off from their first album and slowly sheds their old sounds. The vocals are so far in the background that I’d consider this an instrumental track of electric static followed by their first single Celestica, which to me feels like it quickly jumps away from their whole experimental edge into synthpop with Alice Glass in a sea of electronic ambiance sounds. The third track Doe Deer which everyone loves, just like they adore Alice Practice, I hated. At first I thought it was just a bad quality rip of the actual track, but I was mistaken. Fortunately, that is the last of that in this album, the rest is pure gold.
The club friendly tracks which includes Baptism is a great mix of everything Crystal Castles is, a little taste if everything from that 8-bit sound to the low bass beats which I actually really enjoyed. Year of Silence is a similar sounding track with an even deeper bass where Kath looped vocals sampled from Sigur Rós’ song Inní mér syngur vitleysingur which I would’ve never guessed the combination but it’s genius the way it is done. It has to be one of my favorite tracks in the album. In Empathy, they took the industrial route, it is all I heard throughout the track and is just another example of the diversity they put within this album. An almost peaceful track ironically labeled Suffocation is very soothing to the ears. Alice Glass’s voice is distorted to point where it sounds serene. Diving into an 80’s retro feel, the new wave synth sound is quite prominent in Violent Dreams and Vietnam with Kath once again distorting Alice Glass’s voice this time with quite the opposite effect using her voice simply as an instrument. Birds is a pretty raw sounding track sounding almost punk or electro punk if you will. I found Pap Smear interesting not only because of the title and lyrics, but because Alice Glass’s voice isn’t really even distorted in some way other than an echo. That’s strange coming from Crystal Castles, I kind of like it.
Hot and cold, both musically and lyrically Not In Love and Intimate one after the other is an interesting choice they took for track placement. Both reminded me yet again like those two previous tracks like something of a retro feel, it’s all I see. An 80’s romantic action movie with a synth soundtrack, I could not have asked for a better closing to the album. Intimate is quite the rush of electric sounds to the ears, I only have one word to describe this track; intense. I would like to consider I Am Made Of Chalk like the ending credits track of a movie or more appropriately from the sounds of it a game which is the only way I can justify the song to myself for being at the end of this album. The track sounds like it would be in to-be-continued credits too, a sad ending you kind of want to see how the main characters bring everything together in the sequel. That’s exactly the feeling I get from the end of the album.
I am quite happy about their second album, except for the fact that they self-titled it again. Kath once again blew me away with his ability to create unusual and sometimes refreshing erratic electric sounds. They’re exploring different sounds and successfully pulling it off unlike other bands who have failed terribly trying to walk the same path. Becoming less dependent on that lo-fi sound is probably the best thing they could have done, although they didn’t let it die because it is still noticeable in some tracks. This album will get a larger following simply because the tracks are less harsh on the ears. Can’t complain about that.
Crystal Castles – Year of Silence
Crystal Castles – Suffocation
Blur singer Damon Albarn and co-creator of Tank Girl Jamie Hewlett are at it again the third installment of their virtual band Gorillaz; Plastic Beach. I remember the first time I listened to the Gorillaz it was 3am at night looking for tabs on the internet for songs and happened upon a video for Clint Eastwood and M1 A1. Slow paced, far from mainstream sounding, excuse mashing up these genres, hip hop and alternative rock. Gaining popularity, I definitely noticed their music moving more towards a mainstream sound in Demon Days or quite possibly the other way around, mainstream was moving towards them.
My first impression from listening to Plastic Beach was that it was a seamless movie. This wouldn’t come as much of a surprised as Jamie Hewlett’s influence must have a lot of weight. It’s not hard to notice Hewlett’s love affair with producing dreamlike noir animations and films. The album seems to take a lighter approach musically and lyrically than their previous albums, although by far much stranger, chronicling a journey through this Plastic Beach.
The album begins with a soft instrumental ballad suitably labeled Orchestral Intro followed by an old-school sounding hip hop track with Snoop Dogg basically welcoming you to something that feels like a plastic Alice in Wonderland. White Flag had a surprising introduction, real instruments? Not for long, although toned down from the heavy bass we’re used to from Gorillaz with lyrics bringing us deeper into the rabbit hole. With a rather dreamy yet eerie voice, Albarn manages to scare me but really pull me in with Rhinestone Eyes. One line struck me more than the others, “helicopters fly over the beach, same time everyday, same routine” mainly because the picture in my head was quite vivid.
Everyone’s favorite song from this album, Stylo simply because it just sounds so damn cool. I thought for the longest time they were describing about a robot in one word bursts from Bobby Womack, although quite the different image from the video, although this track seems to move way from the image of plastic. The one predominantly hip hop song that seems to be signature to any of the Gorillaz albums, Superfast Jellyfish featuring De La Soul and Gruff Rhys. The album, or shall I call it story changes pace with Empire Ants, having a relatively mellow tone throughout the song until the end where it introduces electro which is continued on into Glittery Freeze starting with “Where’s north from here?” followed by sounds of Morse code on a telegraph. It really reminded me of M1 A1 from their first track, I actually thought it was a fully instrumental track with sampling from a movie, but it’s Mark E. Smith from The Fall providing “background” vocals
Some Kind Of Nature taking a different approach in describing this world in confusion behind very basic music in the background, giving me the image of something almost like a scene from the Wild West. On Melancholy Hill touches 80’s synthpop, the first time in this album, I might be taking a leap and my memory may be lapsing, but it may be the first time Gorillaz really delved into this genre. This track really popped out lyrically from the rest of the album because it was actually about a “we”. Broken is the first time we’ve heard 2D’s, or more precisely Albarn’s voice without any distortions or aftereffects which is refreshing in an synth filled album. Mos Def raps on a completely different level and is exhibited very well in Sweepstakes, taking the front seat in this track.
Another addition to this ensemble cast, Mick Jones and Paul Simonon from The Clash get together for the first time since Combat Rock to add yet another dimension to the album. Although I was expecting something a little bit louder in Plastic Beach. It’s about time, it’s nice to hear a woman’s voice finally. Thankfully Yukimi from Little Dragon was here to save the day in The Binge where surf rock meets shoegaze and exchanging not so delightful thoughts with Albarn. Bobby Womack helps conclude the album with a rather orchestral piece in Cloud of Unknowing. I couldn’t help but notice the song having the same title as a piece of Christian mysticism and linking that thought that in the track, he’s somehow talking about God. Quite the opposite from the original The Cloud of Unknown, seeking knowledge will ultimately lead to the clouding of the image of God, “trying to find someone you’ll never know” is made to sound like a pointless quest. The album ends off with the sounds of seagulls and the sea, presumably them sailing away from the Plastic Beach. A story told through music, I wonder what we can expect from Phase Three.
1. Orchestral Intro2. Welcome To The World Of The Plastic Beach (4/5)3. White Flag (3/5)4. Rhinestone Eyes (4/5)5. Stylo (5/5)6. Superfast Jellyfish (5/5)7. Empire Ants (4/5)8. Glitter Freeze (4/5)9. Some Kind Of Nature (3/5)10. On Melancholy Hill (5/5)11. Broken (3/5)12. Sweepstakes (4/5)13. Plastic Beach (4/5)14. To Binge (5/5)15. Cloud Of Unknowing (4/5)16. Pirate Jet (4/5)
Gorillaz – Superfast Jellyfish
Gorillaz – To Binge
Date Released: November 24, 2008
Album Genre: Electro, House
Album Rating: 8/10
Sounds Like: Daft Punk, Soulwax, Busy P, MSTRKRFT
Semi-album review for you, not really. The show I mentioned before in Montreal, which technically was part of Justice‘s tour was kind of different. You can’t really consider this a “new album”, at least not completely, but more as a mixtape cause it’s obviously a recording from their live show. So don’t get overly excited for new material, but more refined material of their previous tracks. Kind of like Daft Punk’s Alive 2007. A documentary DVD is also out which I’ve mentioned before.
This album was phenomenal and is well worth it. A new take on their best tracks, kind of in order of their debut album. The show obviously starting with Genesis. Most epic entrance ever, I thought the same when I initially heard their studio album. Phantom Part 1.5 was amazing, I couldn’t ask for more. It’s a loop of a mid part of the Phantom beat, I guess both parts 1 and 2 have the same idea, but it had this freaky Dracula-esque beat half way through which caught me off guard in a good way. They really love the D.A.N.C.E rehearsal version which took up most of that track, in part 2 they got the beat from MSTRKRFT which continues on into DVNO. I could not believe One Minute To Midnight. It was such a little change too, the repetition beat, but it works so well. The end of the track sends shivers up my spine. The Party sounds completely different, I have no idea where they sampled that beat but I’d like to know. Stress sounded way better, I think they sampled a bit from the Auto remix of the song. I definitely heard parts of the Soulwax remix in the Phantom Part 2 track. I can’t even imagine being there when they pulled out with their encore with the piano track of We Are Your Friends followed by Soulwax and SoKo? I don’t even know, they must’ve went wild by then. No, I’m not providing download links at the moment to any of the tracks unless I get permission from Justice.
3. Phantom Part 1
4. Phantom Part 1.5
6. D.A.N.C.E. Part 2
8. Waters Of Nazareth
9. One Minute To Midnight
10. Tthhee Ppaarrttyy
11. Let There Be Lite
13. We Are Your Friends (Reprises)
14. Waters Of Nazareth
15. Phantom Part 2
17. NY Excuse (Soulwax/Justice Remix)
18. Justice X Metallica
Justice – Phantom Part 1.5
Justice – D.A.N.C.E. Part 2
Justice – One Minute To Midnight
Justice – We Are Your Friends (Reprise)
Album Genre: Electro, Pop, Indie
Hailing from Los Angeles, Uh Huh Her is an electro-pop duo made up of Camila Grey and Leisha Hailey of Murmur fame. Their 2nd release, Common Reaction, is out now and they’ll be supporting it with a North American Tour that kicks off on October 17th in California.
Laced with an eclectic mix of songs, Common Reaction is accessible by even the most difficult to please of music enthusiasts. The girls merge ambient synths with bass lines that snap and sultry vocals with heart pounding beats with ease. This is an album you can sing and dance to.
It’s so much fun to be able to start with a drum track and literally build something out of nothing. I’m really drawn to layering instruments and seeing how they all relate to one another. – Camila Grey
The girls play multiple instruments, which enables them to layer each song with distinct signature style. Though they didn’t set out to write pop songs, these tracks are undeniably catchy and one can’t help but to be reeled in by their melodic qualities. Grey, who is no stranger to the studio, lends her producing talent to the album as well. It is obvious that each track is carefully crafted and perfected and yet there is an organic feel and flow to the record that is both humble and inviting.
“Not A Love Song” is the first single off the record and can easily be spun in clubs, “Covered” is more of a layered rock song with Grey and Hailey’s super smooth vocals overlapping each other and “Explode” is melodic with a consistent twisting synth line.
Definitely a plethora of tracks that would make for awesome remixes. Have a listen . . .
- Not A Love Song
- Wait Another Day
- Common Reaction
- Say So
- Away From Here
- So Long
- Dance With Me
Uh Huh Her – Not A Love Song
Uh Huh Her – Explode
Uh Huh Her – Covered
So I’ve been hearing a lot about Beck lately with this album and wanted to see what the hype was about. I guess you strangely hear a lot about Beck regardless though. I actually wasn’t planning to write anything about this album but I couldn’t help myself. Seems he’s genre-hopped into almost shoegaze rock, which I actually really like. That’s the feeling I got from a couple of the tracks and ballads he had in this album. Mind you the last time I listened to Beck it was his album Guero where I was more confused with what genre he was going for because before I thought he was British and from the late 70’s from listening to Odelay overplaying The New Pollution. This was before I knew what music really was, so don’t hurt me. Overall the album was great chillout music, as for comparing it to the other Beck albums I feel I’m under qualified to give you that.
I was a bit disappointed that Chan was a bit drowned out in the tracks she was featured in. I guess she did some of the background vocals or “humming”, but I would’ve enjoyed hearing her sing a little more in Orphans or Walls. The “oohhh, aaAahhh” just wasn’t enough. Gamma Ray was a track that I would’ve considered Beck without having to listened to his other stuff. Chemtrails and Modern Guilt would have to be two of my favorite tracks in this album. Chemtrails sparked up images of something like The Flaming Lips, kind of a dazy soft rock. Modern Guilt reminds me of 70’s rock, another track that I’d like to put Beck more as. Almost like a gradual change, the album starts out kind of bass dominated shoegaze and becomes something more almost like The White Stripes towards the end. I couldn’t help but think this with Soul of a Man or Profanity Prayers.
Beck ft. Cat Power – Orphans
Beck – Chemtrails
Beck – Modern Guilt
Asobi Seksu has a different type of sound that really reminds me of Metric or The Pillows for some strange reason. The reason I felt it sounded like The Pillows was because both had a dreamlike sound to their songs. I’ve never really invested much time in the shoegazing genre, but it’s kind of interesting. Citrus was a bit depressing but at the same time in a very happy tone. I could see myself listening to Asobi Seksu on a long bus ride, just seems like that kind of music. It’s a great sound, almost ambiance which is basically what shoegazing is getting at. I can’t wait for their next album.
1. Everything Is On
2. Strawberries (5/5)
3. New Years (5/5)
4. Thursday (5/5)
5. Strings (2/5)
6. Pink Cloud Tracing Paper (4/5)
7. Red Sea (3/5)
8. Goodbye (4/5)
9. Lions and Tigers (4/5)
10. Nefi+Girly (4/5)
11. Exotic Animal Paradise (2/5)
12. Mizu Asobi (2/5)
Asobi Seksu – Thursday
Asobi Seksu – New Years
Album Genre: Indie Rock, Britpop, Alternative
Album Rating: 8/10
Sounds Like: The Strokes, Bloc Party
1. The World Was a Mess But His Hair Was Perfect
2. Little Superstitions
3. We Danced Together
5. Suspicious Eyes
6. On a Mission
7. Down with Moonlight
8. When Tom Cruise Cries
9. Time to Stop Talking
10. Leave the City and Come Home
I liked this album much more than the first one. The Rakes‘ first album had a less studio produced feeling, and normally for indie the less produced it sounds the better it is. What I mean is it almost feels like they tried harder with this album. They also moved further away from their post-punk style. I’m not sure if The Strokes was an influence for this band, but they definitely sound very much alike in the good way. It’s a great genre to take up, and I for one enjoy it. Great sound, this band is already pretty popular in the UK, I hope they come over here some time.
The Rakes – Little Superstitions
The Rakes – We Danced Together
Buy The Rakes’ Ten New Messages here!