Category Archives: Review

October 15, 2013 · 11:09 am

Album Reivew – The Avett Brothers’ “Magpie and the Dandelion”

Magpie_and_the_Dandelion_(The_Avett_Brothers)_cover_art

“F*&k yeah, my boys are back.”

~Anonymous longtime Avett fan

Sometimes you just have to be blunt about the bands you love. With The Avett Brothers’ eighth studio album out today, Magpie and the Dandelion, brothers Scott and Seth Avett kick the dirt off of their roots and plant a new crop of songs that are fixin’ to take full bloom.

Collectively, Magpie and the Dandelion is a polished throwback that is stripped of cumbersome instrumentation and soundboard tricks, while still maintaining the clean studio sound that comes with a Rick Rubin production–a winning combination. Perhaps Rubin finally decided to step back and let the boys do what they do best–make music.

While this may be the case, it was surprising to learn that Magpie and the Dandelion was recorded around the same time that The Avett Brothers recorded last year’s album, The Carpenter.  Side-by-side these albums feel very different. The Carpenter walks the line between grand themes of life and death, while Magpie and the Dandelion returns to the intimate storytelling that has served the brothers well from their humble beginnings.

“Pack the old love letters up. We will read them when we forget why we left here.“

The Avetts aren’t strangers to a brutally honest and moving love letter.  They’ve laid out their fears and feelings for listeners several times before in songs like “November Blue,” “If It’s The Beaches,” “My Last Song to Jenny,” and basically every song in the “Pretty Girl” series.

When these earlier songs were written the boys were bushwhacking their way through the early phases of love, often in an emotionally fervent state. Conversely, the songs on Magpie and the Dandelion reveal that the Avetts have moved on to a new, more complicated chapter of love–one that has been forced to withstand the hardships of life on the road, the struggles of caring for a sick child, and the possibility of growing old alone.

There is an authenticity that comes with bearing one’s soul for the world to see—laying out the mistakes, the doubts, the fears.  This album continues to propel the story of a band of brothers who have been in the game for over a decade.   Now they look back on where they have been, wonder what they may have done differently, and hope to find answers beyond the bright lights of fame.

“Put the sketches and the notes in the box labeled ‘Burn With Furniture’”

The album opens with “Open Ended Life,” a southern rock barn-burner packed with punchy banjo, electric guitar solos, a feverish fiddle, and the bluesy whine of G. Love’s harmonica.  As if denouncing “If It’s The Beaches,” the boys light fire to their past–love letters and all–watch in the rear-view mirror as it burns to the ground, and speed away in an old beat-up truck.  This track is pure bonfire, beer-drinking, hoot and holler fun, straight from the hills of North Carolina.

“It’s alright if you finally stop caring, just don’t go and tell someone that does.”

On “Morning Song” the mood becomes more introspective and the instrumentation simplified.  Piano and drums round out the sound as Scott and Seth sing of the reality that accompanies embarking on life’s journeys alone.  The harmonies alone will cut you to the core.  With the song’s closing chorus, the listener is flooded with overwhelming emotion, as the beautiful voices of Avett family members sing, “I have to find that melody alone.” “Morning Song” evokes feelings of hope despite despair, and will surely be added to the canon of outstanding folk-ballads that have come from the minds and hearts of these men.

“Whoa oh whoa.”

The Avetts are masters of bending and blending genres.  On “Never Been Alive,” Seth manages to layer Pink Floyd’s dreamy “Speak to Me/Breathe” with a Sam Cooke vocal cadence.  This combination yields a deliberately subdued ballad that feels trippy, but sluggish at times.  Though “Never Been Alive” has been road tested for several years, it remains an underdog, perhaps having not yet reached its full potential.

“Let me see your skeleton, well before your life is done.”

The album’s first single “Another is Waiting” is definitely the most radio friendly folk-pop track of the collection.  Full of rambling banjo runs and tight drum lines, “Another is Waiting” speaks to the dangers of any industry that chews up and spits out protégés with little regard.  This track’s positive message is sure to translate over radio airwaves to young, impressionable listeners worldwide.

“Bring your love to me. I will hold it like a dandelion.”

During a songwriter’s session at the Newport Folk Festival, Seth was asked how he decides what becomes an Avett Brother song versus a Darling song.  With a thoughtful pause, he replied, “I have to actively answer that question every time an idea comes up.  I can’t say that I always know, because a lot of times I am surprised at what makes sense for us to present together.  But, the Darling songs that end up just becoming Darling songs, they look to me the same way that Scott’s paintings do, as far as this is a singular vision.”

In listening to “Bring Your Love To Me,” it appears that perhaps a Darling song slipped into the pile of 30-plus songs that the band initially brought to Rubin.  Hearing fingertips sliding on tinny strings, Seth’s pleading promise to protect a fragile love, and the warm tones of intermittent hums offers fans a little glimpse into what can be expected on the fourth Darling installment.

“I want to be there for you, and when I come home will you still want me to?”

Did someone say “Norwegian Wood?” It’s not the first time that Beatles have found their way into an Avett Brothers’ song.  Musical influences unconsciously shape the sound of every band, but what makes “Good To You” unique is that it is a heart-wrenching, honest and emotionally transparent personal account that could have only come from this band.  On this piano lullaby, Scott and bassist Bob Crawford share intentions and fears with their families, in light of the fact that their time away from home may come with sobering consequences.

“Part from me, I would not dare take someone in love with me where I’m going.”

“Apart From Me” stands alone as the album’s most jaw-dropping ballad.  The songwriting on this track matches that of “Murder in the City,” raw, powerful, and thought-provoking.  Scott’s voice tears through the listener’s soul, as his gritty exterior crumbles under the weight of past decisions.  Looking back on the pursuit of his dreams, Scott seems to question the path he led his family down over the course of his career.  Seth’s delicate finger-picking balances the harsh reality of Scott’s words and the listener is left peering into the wilted spirit of this woeful artist.

“How long can you live in shame and drop a lifelong curse on your own last name?”

Thematically in line with “Good To You” and “Apart From Me,” “Skin and Bones” picks up the pace as the Avetts weigh the pros and cons of the famed artist’s life on the road.  There is an irony that emerges as lyrics speak of the “beast” that drives the band down the road farther away from home.

This “beast” has reared its ugly head before, particularly when Scott has discussed how he struggles to find balance between his artistic passion and everyday obligations.  At his most recent art talk, Scott explained, “Artists are put on this planet to do…three things.  [Ruskin] says we are here to see, and to feel, and to document.  The artist can try to think, but he’s not here to do that.  He can try to explain and analyze, but he’s not here to do that.  He can go to parties but he’s not here to party.  He can’t.  He really can’t…As soon as he feels something he has to act on it and move on it.”  With lyrics like “It’s the tin and the board that keeps me going home, but it’s who I am that won’t let me alone,” it appears almost impossible to tame the artist’s inner beast, thus the push and pull carries on.

“Bring me light from where I thought it was dark. Be the spark that has a chance to light a candle.”

“Souls Like The Wheels” is a welcomed live addition to this studio album.  Originally released as a studio track on The Second Gleam in 2008, this live version of “Souls Like The Wheels” features Seth, his guitar, and an amazed audience at The Fabulous Fox Theater in St. Louis, MO last year.  Even with the occasional hoot and holler from those fans you’d like to punch for making noise during ballads (in particular the girls who scream “We love you Seth!”…seriously if you are one of those girls, please just stop), this version evokes images of Seth and his HD-35 at the front of the stage in the warm glowing embrace of the spotlight.  These are the moments when fans know they are witnessing greatness.

“I’ve got love pouring out of my veins, but it’s all vanity.”

No Avett ablum would be complete without one of Seth’s face-melting electric guitar solos.  On “Vanity,” Seth and Scott trade verses, and tackle the ugly truth that underpins our words and actions. Recently, Soundgarden frontman Chris Cornell joined the band on Late Night with Jimmy Fallon to put his own rock-god spin on the song, proving that he’s still got the chops that served him so well in the 90s.  “Vanity” stands alone in its rock-ballad style, while still contributing to the album as a whole.

“I will seek the approval of no one but you, in love for the changes I take.”

Magpie and the Dandelion closes with “The Clearness Is Gone,” a waltz-ballad previously released as a bonus track on The Carpenter.  The Avetts plug in and offer listeners a strong finish to an album that chronicles the band’s journey.  Though the band forges ahead into the bright lights, “The Clearness is Gone” contains muted hints of “Oh What a Nightmare.”  Perhaps this nod to their former-selves serves as a subtle message to their fans that have started to question the band’s direction.  Those fans should trust that deep down inside of these men, there is a screaming Avett just waiting to go berserk, melt into the stage and then dive into a sea of sweaty fans.

“We won’t waste a long goodbye on the smoke or foolish lies that finally passed us.“

Magpie and the Dandelion just feels like home.  It successfully bridges the gap between the fan who boasts about being among a handful of people at the 2007 Plan 9 Emotionalism record release show and the fan who first experienced the life-altering sound of Avett harmonies on Bonnaroo’s main stage in 2012.  The album features more banjo for the bluegrass-loving fans, top-notch songwriting for the lyric-hungry fans, electric guitar riffs for old Nemo fans, and a thoughtful musical progression and growth for the fans that actually appreciate watching these talented men mature and fight to feel comfortable in their own skin.  Today, a collective exhale and “thank you” can be heard across the spectrum of Avett fans as they sit down and take in the phenomenal work that is Magpie and the Dandelion.

**For fans that can’t get enough of The Avett Brothers, there is a deluxe Target-exclusive version of Magpie and the Dandelion that includes six unreleased demos off of the album**

5 Comments

Filed under Music, Review

Tagged as , , , , , , , , , , , , , , , , , , , , , ,

October 8, 2013 · 11:43 am

Album Review: Bombadil’s “Metrics of Affection”

100113mBeatsRev1RGB.jpg

If The Beatles and Weezer got together and had a baby, and that baby joined the drama club, that baby would grow up to be Bombadil.

Consisting of multi-instrumentalists Daniel Michalak, Bryan Rahija, Stuart Robinson and James Phillips, Bombadil borrows its name from J.R.R. Tolkein’s character, Tom Bombadil, who is equally as enchanting as the Durham-based quartet. Having just released their self-produced, fourth LP, “Metrics of Affection,” Bombadil proves that authenticity mixed with a dash of merriment and a handful of emotion equals the perfect musical recipe.

Last month, the touring members of Bombadil graced the Tipsy Teapot stage in their idiosyncratic band regalia — collared shirts, ties, and accessorized sports coats — and treated a modest but attentive audience to many of the tracks off of their new album. While the live versions of these songs offered a quirky visual to match the lyrics, the intricacies are best revealed and reveled on the studio version. Sitting down with the liner notes, reading the lyrics and allowing the songs to tell their stories truly takes the listener on a journey through the land of Bombadil.

On “Metrics of Affection,” Bombadil stands proudly at the helm of their ship and assumes complete creative control. With production in-house, the band was able to push the boundaries and experiment more than on any previous albums, resulting in a rich but not overproduced collection of songs. While vocals and traditional instrumentation — piano especially — remain at the forefront of each track, thoughtful use of samples, synths and drum machines advances the overall sound without stripping its playfulness and originality.

Throughout the album, vocals and keys emerge in the spotlight, as hints of acoustic guitar round out the sound. Melodic and often flirty piano accompaniments, paired with witty, relatable lyrics about love, loss, whales and cats certainly draw listeners in for a deeper auditory experience.

The album opener, “Angeline,” offers a catchy beat and lyrics of friendly advice to move on from the past, all made sweeter by the charming harmonies of Christy Jean Smith. “Learning to Let Go” is the album’s clap-stomp sing-a-long track, accompanied by faint horns that lend an imperial air.

The ever-popular banjo makes its first appearance on “Born at 5:00,” though it is not what makes this song one of the album standouts. Here, Bombadil succeeds in packing all of the milestones of one man’s life into a 3:11 minute song — a bold and touching reminder of the fleeting nature of of our time on Earth.

“Isn’t It Funny” features a militant drum line underlying Michalak’s first attempt at rapping. With an Eminem-esque cadence, Michalak’s passion surfaces while recounting an illness that almost ended his music career. The men of Bombadil lay their emotions out for the world to hear on heartfelt ballads like “Boring Country Song” and “Have Me,” and heart-breakers like “What Does It Mean” and “One More Ring.” This sentimental roller coaster ride of love and loss is capped off by “Patience is Expensive,” a hauntingly beautiful piano instrumental that oscillates somewhere between hope and despair.

Quirkiness sets in with “When We Are Both Cats,” which speaks of unrequited love and feline reincarnation — not the typical love song, folks. The animal theme continues on the old-timey, maritime track, “Whaling Vessel,” where Bombadil sings from the point of view of a hunted whale. While these song themes may seem off-putting to some, their unique nature translates magically, further lifting the album’s spirit.

Propelled by a rolling piano melody, the album closer, “Thank you,” is the perfect note on which to end this baker’s dozen of goodness. With lyrics like, “Keep your family close/Because when you get in trouble/They’ll be the last to lose their hope/And say your prayers every night/They don’t have to be to God/It just helps to sort your thoughts/And you never know they might be right,” listeners are called on to be grateful and gracious for all of the small, but meaningful moments in life.

Bombadil’s most recent installation combines all that is currently overdone in folk-pop — stomp, claps, banjo, cellos, unidentifiable accents — and somehow makes it feel renewed. Perhaps it is the persistent piano or the eccentric storytelling. Regardless, “Metrics of Affection” is a triumphant composition that covers the emotional spectrum of life and love, beginning with a journey and ending with gratitude.

Leave a comment

Filed under Music, Review

Tagged as , , , , , , , , , , , , , ,

September 29, 2013 · 7:05 pm

Laura Marling – Once I Was an Eagle

album

Approaching an album with a mind free of tabloid headlines and twitter feeds has its advantages.  The listener can conjure up vivid imagery from the melody and lyrics, rather than focusing on the musician’s after-hour escapades.  Much like reading a novel before seeing the movie and predicting who will be cast in the lead roles, this approach taps into the listener’s creative mind in which he/she can find a more personal link to songs.  It is with a clean slate that listeners should experience U.K. singer-songwriter Laura Marling’s fourth album Once I Was An Eagle.

This 16-song neo-folk album is busting at the seams with intimate details of Marling’s life–  love gained and lost, anger, strength, survival, defiance, honesty, weakness, and all that falls between the cracks.  Without seeing Marling’s face, one may overestimate her age based on the cumbersome weight that her songs carry.  The reality is that at 23-years of age, Marling is an old soul trapped in the delicate, sinewy, ivory vessel that graces the album cover.  She epitomizes the yin-yang—a soft exterior with a hardened heart—and balances the two extremes throughout the album with a veteran ease and poise.

Collectively, the tracks on Once I Was An Eagle can easily be the soundtrack for the next Wes Anderson film.  In line with an Anderson film, this album is quirky and uncomfortable at moments—forcing pause and deeper thought.  It is unapologetically uncluttered, which allows Marling’s soothing vocals to be the album’s epicenter.  Her voice soars through an expansive range, as arrangements drift from quiet sliding fingers on guitar strings to crashing drum circle crescendos.  Throughout the album, tones of folk masters Joni Mitchell and Bob Dylan reveal themselves, though Marling succeeds in adding her unique sound to the earthy, outspoken genre.

Upon listening, the album’s first four songs translate as one long track, as if Marling just sat in the recording studio and folk-freestyled.  In their continuity, these tracks set the stage for what is to come.  On “I Was An Eagle” Marling assumes her predatory role, singing, “I will not be a victim of romance/I will not be a victim of circumstance.” “Breathe” gives listeners a glimpse into one or many of Marling’s past broken relationships with relatable lyrics like, “When you wake you’ll know I’m gone/Where I’m going there’s no one/So don’t follow me/Whatever you might hear or see.”

The predator goes for the kill on drum-heavy “Master Hunter” where Marling channels Fiona Apple’s feminist grit and makes it her own.  The delicate, seductive Spanish guitar intro on “Little Love Caster” lulls listeners into a false sense of security as they are pulled into Marling’s praying mantis lair.  On “Undine” Marling tips her hat to Nashville with some good old country picking and a love story, while “Where Can I Go?” borrows melody from Starland Vocal Band’s 70’s hit “Afternoon Delight.”  “Once” unveils emotions that accompany the often grueling task of moving on from heartbreak, while “Little Bird” attempts to heal the broken spirit and soul.   Each track feels tightly woven to the next, further strengthening the fabric of the story Marling shares with her listeners.

Once I Was An Eagle is such a stunning lyrical journey, that it still seems an unlikely product of such a young musician.  Marling’s insight and openness fall in line with what folk music has portrayed for decades, yet she blurs the lines just enough for it to feel fresh and new.  With this album, Marling is blunt and makes no excuses, and in that honesty she soars above the rest to perch and take in the view—even if just for a fleeting moment.

Leave a comment

Filed under Review

Tagged as , , , , ,

June 6, 2013 · 1:13 pm

Album Review – Dawes’ Stories Don’t End

dawes-stories-dont-end-1364226581

Last month, folk-rock band Dawes opened for music legend Bob Dylan at Raleigh’s Red Hat Amphitheater.   For the L.A.-based quartet, this was an opportunity to expose NC to their music and hopefully gain new listeners.  Captivating Dylan fans is never a simple task, but after a strong set of old and new songs, front man Taylor Goldsmith and crew left the audience wanting more.

As with many bands today, Dawes continues to straddle the fence of stardom, getting just enough airplay to be recognized, but not completely breaking free of the “almost famous” label.  The band’s first two albums were moderately successful, and laid down the foundation for their overall sound–a throwback style reminiscent of Jackson Browne and 1970’s California folk-rock.  Everything sounded great, but the band members realized they needed something different for their next album–a change of scenery.

So, they embarked on a cross-country journey to discover a fresher sound.  The foursome packed up shop in L.A. and headed east to Asheville’s Echo Mountain Recording Studio to lay down their third studio album, “Stories Don’t End.”  Their time in the Blue Ridge Mountains resulted in a well-crafted album that maintains all of the good components of previous albums—Goldsmith’s storytelling and refined, melancholy voice backed by crisp, minimal instrumentation—while taking risks on some new material.  Throughout the 12-track album, there are obvious moments where Dawes’ sound meanders in a new direction—most succeed, while others fall short of the mark.

Taylor Goldsmith of Dawes

Taylor Goldsmith of Dawes

On the album, Goldsmith proves himself once again as an insightful and highly-detailed songwriter—tackling themes of doubt, reflection, love, death and failure.  Goldsmith’s lyrics tell stories of down-trodden, self-doubting characters with a hint of guarded optimism.  His raw and honest poetic offerings feel like snapshots of his own life experiences, making the album feel authentic and very personal.

Album opener, “Just Beneath the Surface,” sets a punchy cadence with a distant freight train drum beat and lyrics of skeletons in closets and hidden impressions.  Goldsmith’s verses are simple but sharp, coercing listeners to probe for deeper meaning in everyday routines.  The bass-heavy, “From a Window Seat,” gives a play-by-play of a day in the life of a traveling songwriter, filled with conjecture and imagination.

Griffin Goldsmith

Griffin Goldsmith

The album pumps the breaks on “Just My Luck” and “Something in Common,” both stories of characters attempting to cope with the intersection of expectation and reality.  “Someone Will” is the anthem for every guy who’s every fallen for his best girl friend, while “Most People” is the anthem for every girl who believes she’s alone in her depression.  Hence, there is something for everyone.

“Hey Lover,” which was written by Dawes’ pal Blake Mills, offers a playful break with slapstick lyrics, but feels out of place between more sobering tracks.  Goldsmith thankfully returns to his own songwriting with “Bear Witness,” a tale of an elderly man sharing insights with his child before passing on.  The title track, “Stories Don’t End” is a twist on a waltz with Goldsmith’s voice dancing over lounge-worthy piano runs.  The album ends with a beautiful, tender reprise of “Just Beneath the Surface”—a perfect chapter to close the collection—with Goldsmith’s vocals fresh and in focus, and the band backing him into the final measures.

Like a wound left open for the world to see, “Stories Don’t End” reveals emotions that are sure to make people stop and take notice.  It is another excellent installation in the band’s anthology that will be praised by the astute listener.  While it is clear that Dawes is evolving, this is a band that is not willing to sacrifice foundation for fame.  And, if Dylan sees something special in these guys, perhaps the world should, too.

Leave a comment

Filed under Music, Review

Tagged as , , , , , , , , ,

April 4, 2013 · 7:45 pm

Album Review – Amok by Atoms for Peace

atomsforamok

In 1953, President Dwight D. Eisenhower delivered a speech to the United Nations General Assembly titled “Atoms for Peace” — a well calculated attempt to ease a fearful nation and world in the wake of a hasty nuclear arms race between the United States and Soviet Union. It wasn’t until sixty years later, that the speech’s title would reemerge, this time as the band name for Radiohead lead singer Thom Yorke’s side project.  Yorke adopted Ike’s speech title just before dropping the band’s debut album, “Amok,” a nine-track electronic bomb of synthesized and acoustic rhythms enriched by Yorke’s signature voice.

A few years prior to the recording of “Amok,” Yorke called upon Red Hot Chili Peppers’ bassist Flea, longtime Radiohead producer Nigel Godrich, drummer Joey Waronker of Beck and R.E.M fame and Brazilian percussionist Mauro Refosco to help rework music from his solo album, “The Eraser,” for live performances. What started as a transient collaboration of powerhouse musicians for the stage, transitioned formally into Atoms for Peace and the idea for “Amok” was born. While “Amok” could very well be considered Yorke’s follow-up to “The Eraser,” its energy is built on a melding of live percussion elements with generated beats that Yorke admittedly could not have accomplished independently.

“Amok” is a fitting album title in that as a whole it possesses a constant state of musical frenzy, shifting back and forth between organic and electronic to the point of organized chaos. The intricate layering of beats comes off quite effortlessly when paired with Yorke’s etheric vocals. Each track provides listeners with a unique cochlear experience that should be fully appreciated through headphones, so as not to miss a beat or lyric. Every element deserves the listener’s attention.

Individually, each track offers a nuance of sound, while together tracks maintain a cohesive flow throughout the album. For this reason, it is difficult to pick out the obvious frontrunners. The album’s opener, “Before Your Very Eyes…,” feels like a journey of hasty locomotive beats fit for The Darjeeling Limited, complete with distant sounds from the bar car of ice cubes being dropped into empty glasses. “Default” and “Dropped” offer a synthesized video arcade vibe with different tempos. “Ingenue’s” unrelenting rhythmic raindrop beat balances the virginal fantasy world that Yorke’s lyrics create, while “Useless” enlists a hardened industrial approach with tight drumming, likely influenced by Afrobeat legend Fela Kuti.

“Stuck Together Pieces” is anchored by Flea’s bass lines, while “Judge, Jury And Executioner” is all about Yorke’s ghostly background vocals and claps. “Reverse Running” is the one track on the album that relies least on the laptop and more on the live performances by the band’s members, which is a nice departure for the ears. The album ends with the title track, “Amok,” which keeps the beats consistent and uncomplicated, while progressively layering vocals over each other.

Throughout “Amok,” lyrics billow weightlessly over explosive beats, often getting lost in translation — perhaps deliberately. However, with Yorke being one of the most over analyzed musicians of the past few decades, it seems unlikely that he would carelessly string lyrics together devoid of thought. Themes of love, despair, mortality and self-deprecation emerge at selective moments, but overall the lyrics are not the driving force of this album — the crown belongs to the beats. Whether a listener wants to analyze every intricacy or just let the music take over, this album provides an escape from reality — a place to get lost for 45 minutes — and for many music lovers that is all that is needed.

Leave a comment

Filed under Music, Review

Tagged as , , , , , , , , , , , , ,

March 1, 2013 · 8:03 pm

Album Review – Long.Live.A$AP by A$AP Rocky

ASAProcky1

In 1986, hip-hop legends Eric B & Rakim recorded their first track, and manifested into NYC’s most beloved DJ/MC duo overnight. Eric B supplied the beats, while Rakim displayed his metaphoric lyrical mastery with ease. Two years later, NYC welcomed a fresh set of lungs and wide eyes to its gritty streets — a baby boy aptly named after the city’s poetic genius himself, Rakim — destined to break free of the concrete jungle confines one day.

Rakim Mayers, aka A$AP Rocky, grew up wanting — dreaming — for more. As a teenager, he watched his drug-selling father get sent to jail, only to have his older brother murdered a year later. In 2007, he fell into a band of brothers known as the A$AP Mob, from which he was given his A$AP Rocky moniker. This crew became his support system — a rap project that allowed Rocky to perfect his craft with high hopes of returning hip-hop honors back to NYC.

aap-rocky-featuring-trey-songz-same-bh-0In 2011, Rocky quickly gained attention for his eclectic style — both in delivery and fashion. In the blink of an eye, he was signed to a multimillion-dollar deal and thrown into recording his debut album, “Long.Live.A$AP.” On this album, Rocky pulls inspiration from every corner of the hip-hop nation, and blends styles into a collection of tracks that places him above the competition.

Claps of thunder open the album and set the tone, as Rocky spits the perfect storm of lyrics drenched in sex, drugs and violence — made acceptable only by the promise of eternal life in the halls of hip-hop. This theme finds a home on most tracks, which are overloaded with imagery of a luxe life, with endless supplies of money, drugs and women. While Rocky’s spectrum of story seems limited, he raps effortlessly overtop a diverse stream of beats and samples laid by some of the industry’s best producers like Hit-Boy, Clams Casino, Drake and Dangermouse.

Rocky is at home on the microphone no matter the style, which lends to the album’s success. “Goldie,” “Pain” and “Wild for the Night,” pay tribute to pitch-down style of Houston’s late DJ Screw and Memphis natives Three 6 Mafia, leaving listeners feeling like they’ve been sippin’ on the sizzurp. “Hell” features M.I.A-esque vocals with new wave reggae undertones from Santigold, while “1 Train” is a freestyle throwback to days of Wu-Tang Clan, when rap crews reigned supreme. The continuum of sound is vast, but Rocky finds his sweet spot on each track.

On the platinum single, “F***kin’ Problems,” Rocky calls on Drake, 2 Chainz and Kendrick Lamar to up the ante over a tight drumASAProcky beat laced with bass drops. The ear-catching audio gains even more mass appeal with a sexed-up video reminiscent of Craig Mack’s “Flava in Ya Ear-Remix.”  Rocky ends the album with “Suddenly” — a slow-motion chronicle of everyday happenings on the block from childhood struggles to present-day fame. “Suddenly” rises to the top as the best track, because it highlights Rocky’s storytelling ability. Beneath explicit lyrics like “You my brother/You my kin/F**k the color of your skin” lies an important message — Rocky is making music to bring people together.

Overall, “Long.Live.A$AP” succeeds by introducing a new wrinkle in the current era of hip-hop — one that feeds off the strengths and intricacies of collaboration. The meat of the album is sandwiched between its two best tracks, where Rocky shines as a storyteller — much like his namesake. Whether he lives on in the hip-hop history books alongside his predecessor has yet to be determined.

To learn more about A$AP Rocky, visit his website.  “Long.Live.A$AP” is available in regular and deluxe versions on iTunes.

Leave a comment

Filed under Music, Review

Tagged as , , , , , , , , , , , ,

January 2, 2013 · 3:27 pm

Album Review – Nick and The Babes’ Blue

51Hi3FlvniL._SL500_AA280_

Listening to Raleigh-based Nick and the Babes’ sophomore album, Blue, is like taking a soul-searching drive along the back country roads between the Blue Ridge Mountains and the Outer Banks — windows down, music up and heart in shambles.

Blue offers listeners a more varied musical landscape than the band’s first album, including stripped-down acoustic ballads, face-melting electric guitar jams and even a twang-heavy country duet. With production completely in-house, NATB were able to showcase songs that reflect their diverse musical backgrounds, while staying true to their trademark sound.

Upon first full listen, Blue feels innocent and even playful, yet further lyrical investigation reveals a lurking darkness. Throughout the nine-track album, NATB downshift from reckless romantics to heartbroken dreamers, tackling themes of lost love, infidelity, one night stands, regret and loneliness.

“Moving From the Bedroom” opens the album as a light and airy acoustic lover’s plea with melancholy undertones. “Magnetic Heart,” a relatable story of a love so wrong you can’t run away, shifts into a full-band arrangement with electric guitar riff teasers — the album’s first of many.

“Squeeze,” which proves to be one of the album’s best songs, has an old crooning country feel sweetened by the honey harmonies of ECU grad Anna Vaughn Creech. Though lyrics like, “I wish that I could leave my hand for you to hold at night. When you feel the tears come on, squeeze real tight” initially lend themselves to a morbid visual, the song’s powerful sentiment is delivered beautifully by lead singer Nick Bailey and Creech.

“Stalker” is a fast-paced, upbeat song that will have listeners drumming along well before they realize they are jamming out to a song about a peeping Tom. “Stalker” succeeds in the same way their first album’s hit, “Punch You in the Face,” did, showing NATB have certainly perfected this tricky style of songwriting.

After “Runaround,” the album picks up speed and the electric guitar pulls back into the lead. “Girl I Know,” which was featured in Our State magazine’s Carolina Song Contest, delivers the funk with a down-and-dirty piano and guitar duel, making it the clear frontrunner on Blue. Here, NATB successfully translate their live show energy into a studio recording, a difficult feat for any band that draws fans from live shows.

“My Love” is a spacious and dreamy instrumental that transitions seamlessly into “Morning Light,” a beautiful deconstructed acoustic ballad that ironically evokes imagery of the dreaded walk of shame. On “Blue’s” longest and final track, “Red Carpet,” NATB turn on the turbo boost and drive it home with an epic electric guitar solo courtesy of Bailey.

As a whole, Blue is a solid album. The musical peaks and valleys that are sprinkled throughout the album offer an ear-pleasing variety of sound and approach that keep the listener engaged and invested. It is clear that NATB are evolving, moving forward and feeling more comfortable in their songwriting skin.

Support eastern North Carolina music and grab a copy of NATB’s “Blue” on iTunes or Amazon.

Leave a comment

Filed under Music, Review

Tagged as , , , , , , , , ,

January 2, 2013 · 3:18 pm

Album Review – Green Day’s Uno, Dos, Tré

press2

When Green Day erupted onto the music scene in 1994 with Dookie, a punk-pop revolution began that turned straight-laced suburban kids into pseudo-punk moshers with non-conformist agendas. Dookie quickly became the angst-laden, fast-paced, three-chord anthem for teenagers in the ’90s.

Since the success of Dookie, Green Day has been forced to reinvent its sound to stake claim to its longevity. The band’s most recent studio effort comes in the form of an album trilogy—Uno, Dos and Tré — released over the past few months.

The first installment, Uno, is riddled with ’90s throwback moments in songs like “Nuclear Family,” “Let Yourself Go” and “Angel Blue.” “Carpe Diem” and “Oh Love” stand out as the catchiest tracks that will likely become concert sing-alongs. Despite the band’s overuse of black eyeliner, “Kill the DJ” comes off as too glam-rock, making this track one to skip. On a high note, Uno makes a good run at reproducing some of that old Green Day sound that 30-somethings are longing to hear again.

Dos appears to be the experimental album of the collection, where the band slows the pace and mingles genres. Although the opening track, “See You Tonight,” is a sweet and quiet guitar-centric song with harmonies, it doesn’t set the album’s tone — listeners beware. The album is mainly weighed down by oversexed tracks like “F*** Time,” “Stop When the Red Light Flashes” and “Makeout Party.” Dos appears to be the weak link in the trilogy chain.

The final installment, Tré, may appeal to fans that coveted Green Day’s rock opera American Idiot (2004). Like Dos, the pace is slower, but this time it feels like singer Billie Joe Armstrong is projecting to an audience of lost teenage souls. What it lacks in story line, it makes up in message with songs like “Brutal Love,” “X-kid” and “The Forgotten,” which collectively feel like the soundtrack to youth. “Dirty Rotten Bastards” is more energized and serves as the album’s revolutionary “fist-in-the-air” tune. This album may be the best of the three, despite the overall lack of punk.

With this trilogy, Green Day departs from the political defiance that marked its music over the past decade, and returns to its roots — singing about sex, drugs and slacker love. While most tracks are fun and upbeat, the band never quite seems to catch up to the urgency of its early albums, leaving listeners feeling a bit sluggish. There are too few Tré Cool drum rolls and Armstrong’s lyrics are way too coherent. What happened to the Green Day of yesterday, where mumbled lyrics were a mystery and excessive air drumming on the dashboard at stoplights was the norm?

Overall, this trilogy seems a bit gimmicky. Listening to all three albums is like going to a seafood joint, ordering crab cakes and getting a few lumps of crab with a lot of filler. Without all of the filler, Green Day could have released one album with a dozen quality songs.

A bit of advice: Listen to the songs, pick your favorites, buy them separately and create your own playlist.

Leave a comment

Filed under Review

Tagged as , , , , , , , , , ,

November 21, 2012 · 11:50 am

Avetts and Cheerwine pair up for The Legendary Giveback

Over the last decade, The Avett Brothers have gained attention for their seamless harmonies, heart-wrenching lyrics and frenetic banjo-driven live shows. From humble beginnings busking on street corners in downtown Greenville to sharing the stage with folk legend Bob Dylan at the Grammy Awards, brothers Scott and Seth Avett and bassist Bob Crawford have certainly come a long way on their journey to the top.

Despite the bright lights of success, The Avett Brothers have remained dedicated to giving back to their community. Their most recent charitable venture involved partnering with Cheerwine for the “Legendary Giveback Concert” last month at nTelos Wireless Pavilion in Charlottesville, Va. The concert benefited Operation Homefront, Big Brothers Big Sisters and University of Virginia Children’s Hospital. Additionally, fans who pledged to volunteer in their communities received access to an online live stream of the concert.

The evening in Charlottesville was met with much excitement from fans across the Southeast. Concertgoers began lining up for the sold-out general-admission show as early as 8 a.m. for an 8 p.m. show.

When The Avett Brothers finally took the stage, the packed amphitheater erupted. The Avetts and Crawford were joined on stage by touring band members, cellist Joe Kwon, drummer Jacob Edwards and Paul Defiglia on the keys. They opened with a high-energy version of “Slight Figure of Speech,” and it was clear that these Concord boys came to blow the roof off of the venue.

They delighted the audience with a handful of old favorites, like “Salvation Song,” “Old Joe Clark” and “Gimmeakiss,” as well as new songs from their most recent album, “The Carpenter,” like “Live and Die,” “I Never Knew You” and a crowd-hushing, stripped-down version of “Through My Prayers.”

The entire set was elevated by playful brotherly antics, Seth’s face-melting electric guitar solos and Scott’s kick-drum acrobatics and stage sprints. The evening closed with an old-timey cover of “Alabama Gals,” but could be summed up best by the lyrics of “Salvation Song”: “And they may pay us off in fame but that is not why we came and if it compromises truth then we will go.”

The group’s air of goodwill has become the norm among their most loyal fans, who have organized fundraisers as far west as Portland, Ore. The Avett Brothers have proven themselves to not only be extremely talented musicians, but also a band of brothers working toward the greater good.

Leave a comment

Filed under Live Shows, Music, Review

Tagged as , , , , , ,

September 11, 2012 · 12:14 am

Album Review: The Carpenter

We’ve changed a lot, and no one here can stop that train before it gets to where it’s going

These lyrics resonate with me each time I listen to The Avett Brothers’ new album, The Carpenter. While there are certainly collections of lyrical lessons nestled in all twelve of the album’s new songs, these particular lyrics from I Never Knew You serve as a shot of reality to fans, both old and new. The band, made up of brothers Scott and Seth Avett, bassist Bob Crawford, and touring members cellist Joseph Kwon and drummer Jacob Edwards, is sending a pretty clear message that they are a forward-moving, well-oiled, meticulously crafted machine that shows no sign of pumping the breaks anytime soon–not even for their fans who are waiting at the “I Want More Banjo Station” screaming, “Hey, what about us!?” Didn’t Ill With Want teach you all anything?

Sure, The Carpenter has a more produced sound (um, it’s a studio album), and yes it may teeter on the cusp of mainstream pop music with an Americana twist, but so what!? Music is made to move the listener, to evoke emotion and thought, and that is what The Avett Brothers do best–banjo or no banjo. If the album moves you to tears, laughter, love, goosebumps, or overwhelming joy, well then stay on board and enjoy the ride. If you start to experience motion sickness, please feel free to get off at the next stop and find a different destination, because this Avett train is movin’ on.

For me, listening to The Carpenter is kind of like taking that train ride through the countryside–a thought-provoking experience of varying landscapes for the senses and soul. The brothers Avett, a charming pair of musical vagabonds who never seem quite comfortable sitting still, take listeners on a journey down the path of self-discovery. While they have left deep, muddy bootprints in all corners of the US, their mode of exploration goes well beyond planes, trains, and automobiles, so much so that they spent nearly three years in the trenches mucking through their own very private experiences–both joyous and sobering–in order to put this album together.

The Carpenter certainly maintains a common theme we have seen from the Avetts over the past decade–man searching for meaning through the passing seasons. The opening track, Once and Future Carpenter, stays true to this theme as it portrays the travels of “a poet young and hungry” on the eternal path for purpose. Imagery of spinning slot machines accompanied by lyrics like “sometimes I hit/sometimes it robs me blind” remind listeners that while life’s just one big crap shoot, we have to take risks and make the best of the hand we are dealt.

Although Live and Die is the only banjo-heavy song on the album, I predict some disappointment from fans who covet that gritty punk-bluegrass Avett sound of past albums and live shows. Instead, Live and Die delivers a much more radio-friendly pop sound, and showcases a delicate and happy side of the banjo. This catchy tune is like a big ol’ mason jar full of NC honey, dripping with the sweetness that is Mr. Seth Avett. It doesn’t get any sweeter than this folks. It is a fun and joyful song that I will undoubtedly be singing in and around the house for weeks to come.

Winter in my Heart takes a somber turn as the band openly shares their woes with depression. A poignant admission of falling victim to the black veil of depression, this song will hit home for fans who have experienced their own feelings of hopelessness and despair. The brightest light in this dark song is Kwon’s hauntingly beautiful performance on the cello, which is further elevated by the eery cries of the musical saw (side note: whoever came up with the idea to use the musical saw on an album titled The Carpenter deserves his own Grammy. Seriously, that is genius!). Overall, Kwon adds breathtaking dimension to this already multifaceted cast of characters, and continues to solidify the authenticity and uniqueness of The Avett Brothers.

On a rejuvenated February Seven Avett country charm resurfaces with crisp guitar picking and clean vocals. This song feels like throwback Avett–a simple song with strong and honest lyrics, much like the songs of the musical legends that paved the way for them. Through My Prayers speaks to the heavy regret and sorrow that comes with missing the chance to tell someone you care. Here, Seth shares the story of a painful lesson learned and implores others to show the love in their hearts before it’s too late–no message could be more chilling and appropriate as this on the 11th anniversary of 9-11.

The Avetts take a brief departure from their traditional acoustic sound, and give a slight nod to their Nemo and Oh What a Nightmare roots by bringing out the electric guitar for a few face-melting riffs on songs like Geraldine and Paul Newman vs. The Demons. Paul Newman vs. The Demons offers a new twist on an old theme–not learning from past mistakes (think Distraction #74)–but this time with a very different sound that tends to distract from the album’s cadence. On a positive note, the song does evoke quite vivid Labyrinth-esque images of Seth falling down a dark rabbit hole while being grabbed at by his demons on the way down, only to find Paul Newman there to save him in the end. Seriously, in my mind this has already translated into the most amazing Crackerfarm video. Nevertheless, it will be interesting and exciting to see how this song matures and holds up on stage. Additionally, Pretty Girl from Michigan gets plugged in and ends up as one of the best songs on the album. This song has been a longstanding fan-favorite, so it is nice to see such a smooth transition from the road to the studio.

The infamous banjo returns on Down With The Shine, alongside a horns section that brings in some dirty Bourbon Street undertones. Although this song has been floating around for a few years, it made its first “national” debut on NPR’s Tiny Desk Concerts and has been evolving ever since. More recently the live version has turned into something of a big top waltz with Scott acting as the dramatic ring leader. While this album version is masterfully layered with rich instrumentation, it unfortunately feels bogged down and sluggish in comparison to the live version. Herein lies the magic that is the ever-changing nature of Avett Brothers songs, and also why I don’t put too much stock into the initial “feel” of the album versions of their songs. Inevitably, the live variations of these songs will continue to move audiences and strengthen their already loyal fan base. Fear not weary, doubtful fans, it will be alright.

Deep beneath the mountains of depression, loss, and turbulence that drives the album, emerges a true gem that immediately beams with light. A Father’s First Spring shines brightly in all its glory as Scott shares the overwhelming feelings that accompanied the birth of his first child, Eleanor. To say that this song will move you to tears is an understatement (think Murder in the City, Part 2). Though simple, the lyrics “I was a child before/the day that I met Eleanor” reveal a complex evolution of character. Scott’s mastery of song and story allows him to speak on life’s purest love–that of a parent for his child–and evoke the deepest of emotions, even in listeners who have yet to experience parenthood. This track is a pure nugget of gold–a special gift from a proud daddy to his daughter, all in the name of posterity (of course).

The album closes with Life, which highlights the fragility of our time here on Earth. Themes of faith and love are intricately woven through the song in true Avett fashion. The beauty of this song lies in its simple message to live with intention and keep those you love close, for “we’re not of this world for long”. As the end of the musical journey approaches, Life leaves me with a feeling of hope, promise, and empowerment.

Overall, The Carpenter proves to be a cohesive collection of songs that gives fans a glimpse into the maturing hearts and minds of men who strive to find deeper meaning and purpose in life. The album succeeds in balancing themes of life and death–good and evil–and opens the door to further discovery and evolution. What it may lack in raw energy, it certainly makes up for with raw emotion, like a wound left open for all the world to see. This album bears the souls of a band of brothers who have been up against some very serious life changing events, yet in their transparency fans are afforded the opportunity to listen, relate, heal, and push on to a new day.

The Carpenter, which was officially released today, is available on iTunes and exclusively at Target with bonus tracks* (*Standing With You and Die Then Grow are wonderful additions to the album, and will ease some of the longing for that old Avett sound).

8 Comments

Filed under Music, Review

Tagged as , , , , , , , , , , ,