#1. Evolve by Imagine Dragons
Imagine Dragons are at the forefront of the wave of pop/electronic rock bands that can make some great anthems and fill up concerts with their sing-alongs, but cannot for the life of them, put together a great album. Every track on the mercifully short Evolve is driven by stadium-sized drums and vocals, and poppy synths that are earworms at best, and ear-gratingly bad at worst.
Dan Reynolds is a talented vocalist, and puts up an earnest performance throughout. He can lift songs to incredibly satisfying highs when done right, such as on the epic Believer, Whatever it Takes, (where Dan employs a hip-hop cadence on the verses) and Rise Up. Whether these songs are good is debatable, but they accomplish what they set out to do – fill your headphones with an overwhelming passion, that stirs something in you, like it or not.
Where Dan, and Imagine Dragons fails, however, are when they veer into electropop territory. Whatever It Takes sounds straight out of the OneRepublic discography, but worse. I’ll Make It Upto You and album closer Dancing In The Dark are atrocious pop songs that sound like Chainsmoker ripoffs (yes, that bad) and criminally misuses Dan’s vocals.
The most interesting track on Evolve is Yesterday. The way the percussion and keys are arranged is quite different from the other tracks, and the vocals sound much rawer and more emotive. And that monster of a chorus is unabashedly optimistic – it’s just so much fun; the sort of fun too much of the album is missing.
Evolve has some truly enjoyable songs that would make for great singles – some already have – but that’s the niche in which it seems Imagine Dragons will forever be stuck in. Quite simply, this album is not greater than the sum of its parts. It’s a shame, really. I thought I’d be true believer at the end of this LP.
#2. Funk Wav Bounces Vol.1 by Calvin Harris
Listening to Slide, the first single off Funk Wav Bounces Vol. 1, was quite the surprise – this was not the kind of massive EDM/pop club track that Calvin Harris typically churns out. It’s a warm, funky track, the Frank Ocean – Migos collaboration worked splendidly, and the result was the sort of summery vibe that his past superhit, Summer couldn’t (or wouldn’t) be. As the singles kept coming, it was clear that the superstar DJ had a sonic shift in mind. Thankfully, it’s a sound that he seems to know to do well.
Schoolboy Q’s opening line on Cash Out (“ party like it’s 1980″) reiterates the direction of the album, throwing back to the post-disco and funk elements of the late 70s and 80s. There’s some thick basslines inspired by the era of G-funk , such as on Holiday, with one of the OGs of the sound, Snoop Dogg. John Legend and Takeoff may not be the first collaborative choices for a song like this, but they sound perfectly at home.
This curation of the right features is Calvin Harris’ greatest asset on Funk Wav Bounces Vol. 1. Heatstroke has three vocalists with wildly different styles, from Young Thug’s sing-rapping, Ariana Grande’s pop stylings and Pharrell’s falsetto, but it all comes together surprisingly well. I’d never have expected Travis Scott to indulge the bounce of Prayers Up. There are missteps, such as the awful Skrt on Me with an autotuned-to-hell Nicki Minaj, and Pharrell’s vocals on Feels are a questionable inclusion.
What’s truly surprising about this album, is that despite its star power, there are no mechanically constructed surefire hits. It sounds fairly organic, and one of the best tracks on the album, Hard to Love, has the relatively-obscure Jessie Reyez delivering some memorable, earnest pop over subdued guitar licks. The song has the sort of lowkey appeal to it that is wholly unexpected of a song with Calvin Harris on the boards. With just 10 tracks on here, the album doesn’t run the danger of getting repetitive. It makes for a worthwhile album listen, but nearly every track on here would still work as a single.
Be prepared for Calvin Harris to once again dominate the airwaves for the next couple of months.
#3. Beautiful Thugger Girls (EBBTG) by Young Thug
Young Thug is a musical anomaly – boxing him into a sound or genre is quite simplistic, with his grasp on melody, incredibly versatile vocal ability and ear for production. But how much of an auteur can Thug truly be with his generic lyrical themes? It’s an odd dichotomy that shows once again on Beautiful Thugger Girls.
This is Thug’s “singing album,” and it shows. He might not be the most technically proficient vocalist, but whether it be his deep serenading or high-pitched falsetto/squeals, it all sounds so good. There’s some strangely tender acoustics throughout, picking up elements from pop, RnB and even some country (like when he yeehaw’s on album opener Family Don’t Matter or the acoustic-guitar-driven You Said).
Listening in a little deeper, however, takes away some of the sheen of the music. There are some hilarious punchlines, and some unusually emotional one-liners (“I’m so busy it’s making me feel like I’m in and out my kids’ lives“ off Daddy’s Birthday), and the featured artists are used sparingly, and perfectly. But there’s only so many interesting ways to describe one’s sexual exploits, and Thugga seems to be circling the same ideas.
Beautiful Thugger Girls isn’t the sonic leap forward for Young Thug that JEFFEREY was, but it’s a solid LP that gives us more of the eccentric, and immensely fun music that Thug is so good at making. It might come off as superficial in places, but it’s important to understand that listening to Thug is about enjoying the music without thinking about it too much. And as unexpected as it is for me to say it, I’m a fan.