Jam of the Day: Laurel - "All Star"

While her voice has echoes of Florence and the Machine, Laurel commands her own presence with "All Star" from her debut album Dogviolet. She definitely has Florence's range, but her voice has a lovely gravelly texture to it, that gives her songs a rawness that is refreshing in this day and age.

Video: Florence + The Machine - "What Kind of Man"

First song from Florence's upcoming third album How Big How Blue How Beautiful.

Florence + The Machine - "How Big How Blue How Beautiful"

Orchestral track from Florence + The Machine's upcoming new album. It is likely just a teaser of what is to come as it only features Florence's vocals in limited amount.

Album Review: Blood Orange - Cupid Deluxe

Blood Orange
Cupid Deluxe
Rating: Woof Daddy

I have been told on numerous occasions that I don't like pop music because I mainly review indie/alternative/electronic acts, and by others that I am not really an indie/alternative/electronic fan because I like pop music; Catch-22 if you will. Honestly, I don't think the two are mutually exclusive. I appreciate any music if it is done right; whether it be a sugary power pop single, an intense ambient drone, slow-burning R&B jam, icy post punk guitar workout, or a slinky techno cut. When I was growing up, I was weaned on Top 40 radio in the 70s, which gave way to alternative radio in the 80s. I never truly was able to completely let go of one over the other, and in the 90s there was a glorious time where there was a nice overlap between the two. Of course with the Internet, you can basically listen to a different genre every other song, and even search out what you want to hear without having a playlist dictated to you. So today's musicians' view of music is skewed only by how many keystrokes or link clinks they make and not by formerly rigid genre structures. Today, no one would say you can't mix world music, rap, and country music into one song. As long as the song is good, have at it. Dev Hynes, who was born roughly around the same time I was, has a musical interest that seems as restless as mine. Starting off with the bratty dance punk band Test Icicles, Dev quickly saw the limitations that were apparent, moving on to the countrified rock of Lightspeed Champion, then writing songs for Florence and the Machine, Solange, and Sky Ferreira, before settling into his current incarnation, Blood Orange, which straddles the line between 80s synth pop and pop music, Prince-esque R&B, hip-hop, and electronica. His first album Coastal Grooves leaned a little more towards 80s pop and New Wave, and while a really good listen, was overly stiff at times for my taste, coming across as more of a genre exercise than truly a melding of all of Hynes' interests.

With his sophomore record Cupid Deluxe, Hynes has really come into his own, crafting a gorgeous record that sounds light on its feet but serious at the same time, and meshes all of his musical interests into one satisfying whole. In an interview with NME, Hynes said that Cupid Deluxe was inspired by "New York City, the Big Apple. I lived in Brooklyn for some time and finally made the leap into Manhattan. So a lot of the record is about that, transitions, life transitions. Moving from a stable position to an unstable position. Something we have all been through." The album is full of songs that ache and strain, whether they are about relationships or career, and you feel Hynes stretching his musical voice to fit his aspirations. Where Coastal Grooves was essentially Hynes and his studio, Cupid Deluxe opens things up with a variety of collaborators that never outshine him or simply fade into the background. Working with Chairlift's Caroline Polachek, Kindness' Adam Bainbridge, Friends' Samantha Urbani, cloud rap producer Clams Casino, as well as rap cameos from Queens' Despot and London's Skepta, Hynes utilizes each perfectly to create his lush vision.

Starting out with the light Caribbean rhythms of the haunting track "Chamakay," Hynes pulls you in immediately with its gorgeous atmosphere and delicately hushed interplay between him and Chairlift vocalist Caroline Polachek. A song about a one sided relationship that is not going anywhere, Hynes' aching voice is the perfect foil for the lyrics, which have him stating "But now you're feeling empty/I tried my best last time/I'll leave you with your feelings/I'll leave you in your lies."



These relationship issues keep popping up throughout the record, as anyone in their 20s and 30s in a large city may attest to. From the looking-over-my-shoulder-for-someone-better track "You're Not Good Enough," which sounds like an outtake from Prince's heyday;



to the playful "Always Let U Down" a crafty reworking of Mansun's single "I Can Only Disappoint U" which feeds off its laid-back charm; and the haunting closing track "Time Will Tell," with its deep piano chords and echoing drums, which tells you to rely on yourself as "no one's waiting on you/don't be stressed now."



Cupid Deluxe unfolds like a really good mixtape, taking you on an aural journey through ups and downs, highs and lows, seemingly hesitant and naive at times, then strong and forceful the next. Hynes knows the values of pacing, never letting the record drop too far or get too inescapably lofty. There is a wide breadth of musical choices at play as well, from the funk and disco leanings of "Uncle ACE," the sparkly 80s pop of "It Is What It Is," hip-hop inspired "Clipped On," to the gorgeous and sweeping downtempo electronica of "High Street." The record feels complete and fully realized, a set of tracks meant to be heard together, working off one another, unfolding its vast tapestry, but strong enough where each song stands on its own.

Cupid Deluxe feels like an old friend that you might have long periods of time where you might not speak, but when you pick back up, no matter at what point, it is like only seconds have gone by. It resonates and lingers deeply within you, sparking memories and creating new ones. It becomes a part of you, for better or worse, but is undeniably something that shapes you.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and piques one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Jam of the Day: London Grammar - "Wasting My Young Years"

Amazing track from an upcoming EP from this wise beyond their years London trio; think The xx fronted by Florence and the Machine. When the chorus kicks in on this song, prepare for an unexpected primal emotional kick to the guts.

Album Review: Ellie Goulding - Halcyon

Ellie Goulding
Halcyon
Rating: Meh

With her 2010 debut album Lights, English singer Ellie Goulding found herself winning a Brits Critic Choice award and topping a BBC new artist poll with a polite mix of Dido-esque electro-balladry. While it was a pleasant collection of pop tracks, overall it suffered from a lack of a distinct personality, though Goulding's raspy voice has enough pull to keep interest for awhile. The approach for Goulding's second album Halcyon seems to want to capitalize on her prior success without straying too far from the already established template. The most glaring problem with the album is still that Goulding doesn't know what she wants to be as a singer. Shuttling from Florence + The Machine ethereal goth-rock to blazing electro-dubstep bangers to more Dido-esque pop lite all the way to more soul baring singer-songwriter tracks, Halcyon is frustratingly schizophrenic to the point of irritation.

It is telling that the most distinctive track on the album is "I Need Your Love" featuring Calvin Harris, and is only distinctive owing to the fact it sounds like a Calvin Harris track.



Which is overreaching problem of the record that Goulding is mostly consigned to the background of her own tracks. She becomes just another diva vocalist on the dubstep-influenced track "Figure 8,"



opener "Don't Say A Word" clouds her behind over the top orchestrations,



and the otherwise interesting electro track "Anything Could Happen" buries Goulding's voice in too many effects.



Where her producers allow her to just be herself is where the record truly succeeds and which oddly are on the more minimal, singer-songwriter tracks. Stunning ballad "I Know You Care" forces Goulding's voice front and center in the mix and is a haunting song of love lost,



confessional "Dead In The Water" is a gorgeous showcase for her voice,



and her dubstep inflected cover of Active Child's "Hanging On" finally allows her voice to command over the dense electronics.



But overall, despite these glimpses of who Goulding really is, Halcyon just never seems to lift off the ground. Her backseat approach limits the album's appeal because she just becomes another vocalist at the whim of a producer. Only in those rare moments where her voice rises above all the swirling instrumentation does it show how good Goulding's voice can be, unencumbered by all the studio trickery. As it stands, however, Halcyon is just another in a series of disappointing record releases where the vocalist is made to be secondary to the production.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and piques one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Album Review: Jessie Ware - Devotion

Jessie Ware
Devotion
Rating: Woof Daddy

Jessie Ware's back story reads like a 50's musical, backup singer plucked out of obscurity on the strength of her voice and pushed into the spotlight. What's different about Ware is how she has taken all of this in stride, seeing it all as a lark, that she is somehow playing a role, and none of this should be taken all that seriously. While her self-deprecating view of being a pop star keeps her grounded, there is nothing in her music that shows her not taking her craft seriously. Devotion is one of the best debut releases in ages, and is quite simply the best pop album of the year so far.

Ware was noticed first singing on several EDM and UK bass singles from producers SBTRKT, Sampha, and Joker, her earthy voice the calm center around all the swirling electronics. It was fear at first that her solo material would stay too close to this type of track and that her voice would be lost within too much production overload. Instead, Ware chose to work with producers Dave Okumu (of UK art-rockers The Invisible), Julio Bashmore, and Kid Harpoon (who worked with Florence and the Machine on their sophomore album Ceremonials) and has put together a collection of tracks that put all the focus on Ware's amazingly supple voice, which can veer sharply from a Sade-like coo to a full on Whitney Houston rafter raiser in a split second. Main producer Okumu's touch is felt the most on the album, providing a subtle, and minimal backing but not providing merely aural wallpaper; the music works with Ware rather than overpowering.

Leading off with the title track, "Devotion" eases into the record, Ware's voice almost a hushed whisper as atmospheric guitars and keyboards guide and push her along, providing a modern update to Sade's elegant R&B sound.



Of course, Ware is not going to be satisfied just gliding along each song. New single and album standout "Wildest Moments" perfectly encapsulates her wonderful voice in all its facets. Under booming drums and stark piano chords, Ware bites her teeth into a meaty melody, singing about a doomed relationship where "maybe in our wildest moments/we could be the worst of all":



From there, Devotion provides a diverse and varied set of tracks that run from pop ballads, R&B funk workouts, and more atmospheric pop singles. In all, Ware's voice provides the guiding force. There is not one track on here that is a throwaway or inferior to the next; it all works seamlessly together. Highlights for me are the Soul II Soul referencing "No To Love," early single "110%" which puts Ware's voice against skittering beats and UK bass backing,



and gorgeous album closer "Something Inside," where Ware's voice, hushed and lovely at the beginning, drops out just before the chorus, rising into the heavens.

There is something for just about everyone on this record, from beautiful pop tracks like "Running" which picks up the beats a little more, and lets Ware explore her wide range,



to mid-section album duo "Night Light" and "Swan Song," two mid-tempo numbers that again showcase Ware's elastic voice,



to sweet pop numbers like the jazzy "Sweet Talk," finding Ware in a kittenish mood.



Devotion is a brilliant debut that really gives a true sense of who Ware is as an artist. She doesn't take herself seriously, but she takes her music very seriously. She could easily have let her producers take control of her sound and direction, and also could have just released 10 electronic tracks with her vocals on them, but instead, she worked closely with her producers to come up with something that was truer to herself. Devotion is a must have record.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and piques one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Jam of the Day: Florence + The Machine - "Never Let Me Go (Clams Casino Remix)"

While listening to the new Florence + The Machine album Ceremonials, I always thought it had the bones of a great record, but was overdone by ostentatious and overly fussy arrangements, but that it would benefit from some skilled remixing. Clams Casino adds his lush, cinematic approach to the track "Never Let Me Go" and elevates the track from its rather middling original mix.



Here is the original mix, for comparison purposes.

Jam of the Day: Niki & The Dove - "DJ Ease My Mind"

If Fever Ray/The Knife got mashed up with Florence and the Machine in some dark, gothy club world, then you would likely get this single.

Coachella 2012 Countdown: 38 Days! Florence + The Machine - "You've Got The Love"

Although Florence's second album left me a little cold, I still love her debut, especially this cover song. I also love the remix from The xx which is down below:

Videos of the Week

Friday again! Yay! Here are the videos that smacked my bitch up:



The Twilight Sad were getting in a rut after two albums of brilliant shoegaze. I wasn't sure I could stick with them with a third album of the same old same old. Witness this brilliant transformation, moving away from a guitar focus to icy synth squalls, they reinvent themselves admirably. This video is the perfect accompaniment to the track, a bizarre video clerk hosts parties with dead people, tying their arms and legs with string, manipulating them like marionettes. Very disturbing.



The first official single/video from the upcoming sophomore album from Sleigh Bells. The video is a fun lark, but the song smacks a little too much of been there done that. I haven't been blown away by the new songs I have heard so far. I am hoping that the album as a whole wins me over.



Florence still has one of the most powerful voices I have ever heard, however, her latest album just left me underwhelmed. This is a typically classy live performance of her new single.



Porcelain Raft (aka Mauro Remiddi) has perfected his perfect blend of dream pop/chillwave. This is one of the highlights from his debut album Strange Weekend. Remiddi sort of reminds me of a bearish Bryan Ferry/Martin Fry.



Beautiful animated video from Kate Bush.



NSFW clip from Harlem rapper A$AP Rocky, which subverts all the usual rap video cliches. Love the production on this track from Clams Casino.



Oskar the blind cat, is so damn cute. I am so glad he has some amazing owners who have taken really good care of him.

Florence + The Machine: Ceremonials - Album Review

Florence + The Machine
Ceremonials
Rating: Meh

I remember coming across Florence + The Machine in a back-handed way. The xx had not so much remixed her cover of "You've Got The Love" as had re imagined it, retaining only her wail from the chorus. Based on the short snippet that The xx used, I bought the album Lungs, and was drawn into the Gothic textures and drama of her voice and songs. It was a slow-burn of an album, full of constant surprises. I couldn't wait to tell more people about this talented woman, and was pleased to see her popularity rise. Soon, Florence was a ubiquitous fixture at awards shows, red carpets, tv shows, and commercials. You couldn't avoid hearing her even if you tried. Florence and co. didn't wait long to return with the follow up to Lungs; striking while the iron is hot. The resulting album, Ceremonials, is an epic blast of typical Florence tracks, each slowly building into a dramatic swirl of strings, harps, tribal drums, and Florence's distinctive vocals. Unlike Lungs, Ceremonials suffers from a more structured feel. Most of the songs flow into each other, with little to distinguish them, lacking the surprise of a single like "Kiss With A Fist." And at 15 tracks, it can feel bloated, and could have easily have been trimmed considerably. What struck me most about the album is how overly structured it is; to the point where almost all the songs follow the same blueprint. After listening to it several times, most of the songs flow right through one ear and out the other. What surprises me is how distinctive her songs can be when she goes outside her comfort zone. Unfortunately, on Ceremonials, she only rarely does so. But they are by far the best songs she has done.

"Seven Devils" is one of the best songs she has written. Full of measured drama, focusing more on piano and Florence's tremulous voice. It recalls the brilliance of Kate Bush, and the focus on the voice and not just swirling instrumentation is the key element.



"Remain Nameless" ditches the organic instrumentation for a throbbing electronic pulse, that really works well against Florence's earthy voice.



"What the Water Gave Me," a haunting, bluesy take on the death of Virginia Woolf, doesn't allow the music to take over the voice, which seems to be what happens on the majority of tracks on the album. And sadly, if you have the deluxe edition of the album with the demo of the song, you can see how much better she is with her voice as the sole focus.



And "Never Let Me Go," while a typical ballad for her, has a quality about it that transcends what could have been mawkish.



There are a few other tracks that are slightly more distinctive ("Strangeness and Charm," "Bedroom Hymns,: and "Shake It Out"), but for the most part, there are long stretches of time where the songs all bleed into one another, each starting with the same pounding drum track, building slowly, and then erupting into a mess of overwrought strings and harps, as if some deranged gangs of angels were having a battle royale. Opening track "Only If For The Night" provides the template: twinkling harps and and piano chords over a tribal drum pattern, and Florence's booming voice trying to keep things in check. And from there, the other tracks fall in line like sheep, and the middle of the album is a long slog through a swamp of similarity. The juke hall pianos of "Breaking Down," bland R&B of "Lover To Lover," the repetitively pounding "No Light. No Light,"



and a four song run of middling returns ("Heartlines," "Spectrum," "All This And Heaven Too," and "Leave My Body") that tests one's patience to a huge degree.



I can understand the need to capitalize on what made you popular in the first place, but to basically attempt to make Lungs Part II, with each song following the same pattern strikes me as a bit lazy. There is a distinct lack of danger or surprise on this album. It becomes wholly predictable and quite frankly boring. Few, if any, tracks stick with you after you listen to it. I am sure this album will be a huge hit, and she will be headlining festivals and stadiums soon. I just wish she had broken out of what seems to be a rut with her style. I can easily see this becoming almost a parody.

Rating Guide:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Videos of the Week

Looking forward to a fun weekend. Here are the latest videos that bitch slapped me this week:



My favorite song from Friendly Fires. I am thrilled to get to see them tonight at The Loft.



Really dramatic song from Zola Jesus gets a very gothy, dramatic video.



While I am not a huge fan of the new song from Florence + The Machine (way too similar to the first album), I do like the well-shot video.



Video for Junior Boys' single "Banana Ripple."



Not a video, but a track from the debut album from Joker. Very odd song, but I love it.



New video from The Drums. Low key song gets a low key video.

Videos of the Week

Thankfully another Friday is upon us, and here are the videos this week that gave me the sweet sweet lovin:



First single from the new album from DJ Shadow. Love the squeltchy beats. This video is completely bizarre.



New song and video from St. Vincent. She is such a wonderful songwriter, and each album finds her getting better and better.



I will admit that New Zealand outfit Cut Off Your Hands is not going to win any awards for originality, however, their mixture of 80s alternative rock guitar riffs a la The Smiths, R.E.M., and Echo and the Bunnymen actually seems quite refreshing these days. Sometimes you need something simple and beautiful.



New video from Charlotte Gainsbourg from her upcoming Beck-produced EP. Interesting sound, and I love the look of the video.



First single from the upcoming second album from Florence + The Machine. It is a typical Florence sounding track, which is a little disappointing to me, as I wanted her to expand her sound a little bit more. I will have to wait to hear the album before making a true opinion of this.

Videos of Last Week

Ok ok, I got lazy last week with the holiday, so sue me. Here is a delayed posting of the videos from last week that made my turkey moist.



Live video from a past Combichrist show. I saw them with Kurt, Dan, Janis and Ian last week. Was a good show. Nice energy and fantastic light show.



Gorgeous song and video from singer Jamie Woon. He used to be a standard singer/songwriter until he fell in love with dubstep (of the Burial mold, not the wonky, wobbly sort that Kurt loves). Somehow he actually convinced Burial to work with him on his debut album that comes out in the Spring.



New single from Brit post punk band White Lies. The song really sounds like it could be straight off their first cd, but it is pleasant enough. Looks like they spent a fortune on this video though. ET as a candy bar.



Charming cover of the xx's "Crystalized," from Damon Albarn's Gorillaz.



Beautiful song and video from Iceland's Olof Arnalds, featuring Bjork on backing vocals.



So glad that Florence and the Machine are getting the recognition they deserve. Amazing performance from Saturday Night Live.



I got a new tattoo a couple of weeks ago and got incessant questions as to what it was. It is the Aphex Twin logo which is featuring throughout the video for his song "Windowlicker." The video is NSFW.