Quick Thoughts – Imagine Dragons, Calvin Harris and Young Thug

pjimage

 

#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.

 

 

Advertisements
Image

5 Artists Who Prove the Future is Genreless

With the way music is consumed continuously changing, the way it is created changes too – artists have found new and exciting ways to destroy the limitations of genre, meld an array of sounds together and shape it into music that pushes boundaries, while still retaining the core of musicality. This charge into a genreless future is being led by a few stellar artists, each in a class of their own while defying categories.

#1. Danny Brown

Danny has been a flag-bearer of irreverence since his breakout XXX mixtape, melding punk rock aggression and energy with hardcore punchline rap over harsh electronica. His drugged-up vocals had no real melody to them, but he flows over any instrumental through a form of controlled chaos, like a hulking rugby player bouncing off the punches of a musical pinball machine. His form of vocal delivery might be rapping, but his music has brought together aspects from an array of genres – from EDM to industrial to electropop – to form a genreless hybrid.

Also listen to: Dip25 Bucks 

#2. Bon Iver

Bon Iver began as Justin Vernon’s intimate acoustic project, expanding his sound on the next album with more layered production, alongside delicate, beautifully measured vocals. But the biggest left turn came with his decidedly weird 22, A Million. Legitimizing ‘folktronica’ with an unconventional blend of acoustic guitars and soft keys with ambient synths and electronicized percussion, the album is this generation’s Kid A. It’s quintessentially indie in its disdain for mainstream genre conventions, and Bon Iver has thus made music all the better for it. 

Also listen to: Skinny LoveHolocene

#3. Flying Lotus

FlyLo is the definition of a musical autuer – he can envision cohesive, stunning genre-melding like few other musicians can, and reject every notion of genre to create niche subgenres all his own.  From instrumental hip-hop, to IDM, to ambient electronica,  to contemporary jazz, he takes existing sounds and infuses them with his own contrarian tendencies, creating experimental music that is never comfortable sticking to established tropes. Flying Lotus represents the rebellious voice of this generation of music, thus laying the foundation for the future.

Also listen to: MmmHmmPutty Boy Strut

#4. Young Thug

Young Thug is a divisive figure, earning as much hate from hip-hop purists as love from the newer generation of the genre’s fans. But restricting him to the genre of hip-hop itself might be a mistake – his singsong voice is unlike any other, and he modulates it to be hilariously fun, a crooner or noticeably sneering. The production matches his tone – fromn trap bangers to smooth, glittering pop and RnB jams, Thugga’s repertoire of musical talent defies every box fans and critics alike have tried to put him in.

Also listen to: Best FriendDigits

#5. Kaytranada

Kaytranada, unlike FlyLo, has a definite sound – dominated by deep bass and hip-hop sensibilities, his base template acts as a blank slate into which Kay paints in strokes of a number of genres. He draws from soundscapes that date back decades, and brings them into contemporary music in a decidedly revisionist manner – he doesn’t assimilate funk, RnB and soul into his music as much as breathe new life into it while respecting its roots. Kaytranada makes music like a true fan – acknowledging the past while looking firmly towards a creative future.

Also listen to: Holy Hole Inna DonutDrive Me Crazy

5 Artists Who Prove the Future is Genreless

Favourite Albums of 2016 – #20 to #16

 

#20. American Band by Drive-By Truckers

drive-by-truckers-american-band-album-cover-art

The Drive-By Truckers sure sound like a true-blue American Band, with their country-inspired rock and southern twang. Given their roots then, this unabashedly political album is a bold statement to make. There are no convoluted metaphors or wary approximations here; the lyrics are a direct reflection of the America that primary songwriters Mike Cooley and Patterson Hood live in.

Ranging from racism, immigration and police shootings to personal struggles and economic hardships, the Drive-By Truckers are grave and contemplative throughout, and offer more nuance to the issues that country is grappling with than several political pundits, the largely frenetic guitars and percussion driving home the point. Uniquely positioned as they are in the South, making an album such as this one is risky, but there are messages here their audience would do well to listen to. And that makes this record an essential listen in 2016.

Listen to: Ramon CasianoGuns of Umpquoa 

#19. Blank Face LP by ScHoolboy Q

blank-face-lp

Rap is currently experiencing a paradigm shift: shedding the sounds of the old school, and embracing a more fluid definition of hip-hop. ScHoolboy Q is one of those rappers straddling both eras in a way few others can, revitalizing  West Coast gangsta hip hop with a dose of hazy cloud rap. Q’s rhymes are among his sharpest here, delivering incisive, vivid observations of the street life he came from, and his transition to a life of fame, with clever bars delivering pithy commentary on the consequences of his lifestyle. But this isn’t a steady stream of hedonism either – Q recognizes that he often personifies what, to him at least, is necessary evil. There is a menace in the tone of the album, whether it be in Q’s snarling vocals – even the more laid back flows have a sneer to them – or the grimy production. Booming 808s, growling guitars and basslines, everything comes together in a form that goes from haunting to aggressive. Blank Face is a West Coast record through and through, in its imagery, sound and character, and ScHoolyboy Q has assured himself as one of the finest purveyors of that atmosphere.

Listen to: Groovy Tony/Eddie KaneTookie Knows II

#18. Jeffery by Young Thug

jeffery_young_thug

Is any character in hip-hop today as fascinating as Young Thug? From a ~gangsta~ rapper with a unique voice, Thugga has evolved into one of the most wonderfully weird rappers around. His subject matter may not exactly be unique, but his delivery is his USP. Thug modulates his raspy sing-song voice in ways few other musicians can, be it a high-pitched screech, an aggressive growl, or a smooth RnBesque flow, often switching styles multiple times in the same song. He flows effortlessly over bass-heavy trunk rattlers that stay faithful to his own off-kilter style, perfectly accommodating his unconventional melodies.  However, this isn’t to say his lyrics aren’t equally entertaining – whether he’s rapping about his seemingly endless sexual escapades or his high-end lifestyle, he elicits more than a few laugh-out-loud moments, in moments of hilarious brilliance reminiscent of golden-age Lil Wayne, one of Thugga’s idols. Alongside his own declarations that “there’s no such thing as gender,” supported by the androgynous album cover, it’s clear that Young Thug aka Jeffery has no fucks to give about convention. Hip-hop is better for it.

Listen to: Wycleaf Jean, Kanye West

#17. 99.9% by Kaytranada

photo

99.9% is abstract, bright music that demands the listener’s attention. With polyrythmic, massive-bass driven production, Kaytranada comes up with some truly unique sounds that skitter across a wide array of sounds, never getting into a rut. While it can be broadly classified as electronica, with distinct hip-hop influences, there is a significant amount of progressive genre-blending here, particularly with the percussion, such as on the stellar BBNG-assisted Weight Off, the unmatched Glow’d Up with Anderson.Paak’s inspired vocal performance, and Breakdance Lesson N.1 which sounds like straight 80s hip-hop interspersed with futuristic synths. The vocals, although limited, often complement the production extremely well, with some hip-hop, and a healthy dose of RnB-based vocals from decades post.However,  Kay’s work on the boards remains front and center for the most part, resulting in a hypnotic, layered record created by a man with a meticulous ear for sound. Music is all the better for it.

Listen to: Got It Good, Weight Off

#16. Malibu by Anderson .Paak

0e1836c9

It’s hard to describe Malibu in musical terms; it’s a record that feels both sprawling and intimate, offering up depictions of .Paak’s life through a bird’s eye view of his soul. We’re walked through the streets of his town, peeking into the churches he sang in, the rooms he fell in love in, the grimy dance floors he let loose on, and the homes where his heart was broken. In his inimitable raspy voice, he weaves tales of family, strife, love, and growth with incredible lyricism, the imagery evocative, and the settings distinct. Drawing on the sounds of various past decades, while still firmly grounded in contemporary hip-hop and RnB, the rich live instrumentation complements .Paak’s prowess as a singer, moving between forms with incredible ease. Malibu is .Paak’s heart worn on the album’s sleeve, and it is one that beats with a passion that few other musicians can conjure.

Listen to: Heart Don’t Stand a Chance, The Season|Carry Me

Favourite Albums of 2016 – #20 to #16