Daily Album Digest: October 4 - 17, 2015

Carrying on February's Music Writer's Exercise (#MWE), each day I listen to a new album and tweet a brief review of it. Then every two weeks compile those tweets here with some extra thoughts.

10/4: Baio's The Names: Might not be the most immediate album, but tracks like the breezy "Needs" make it worth a listen.

Why? Spotify recommended it.

Additional Thoughts: The Names is the debut solo project of Vampire Weekend bassist, Chris Baio and though I’ve had my issues with VW’s work, they don’t really come into play here. Baio’s synth/electro-pop is pretty far away his band’s reggae-infused indie rock (except, perhaps, “Sister of Pearl”) and while it can be… unassuming, it doesn’t feel as detached and overly mellow as some VW stuff. I say “unassuming” and bring up the album’s immediacy, because despite being very pop, none of the songs are what I’d call catchy, at least not overtly. The songs don’t hammer their way into your head, but they can slowly wind their way in if given the chance.

10/5: Green Day's Warning: Balanced and full of well-crafted, timeless songs like "Waiting" and "Macy's Day Parade."

Why? I have a list of discographies I want to get through. This time around I decided on Green Day.

Additional Thoughts: Warning has been ranked among Green Day’s best albums, which makes sense as it’s one of their most consistent. It also shows further cultivation of the musical experimentation and maturity found in Nimrod. Though it seems silly or contradictory to use “mature” to ever describe Green Day, it’s difficult to find a better word for songs like “Deadbeat Holiday” and “Hold On.” Plus, as my original tweet mentioned, “Waiting” and “Macy’s Day Parade” are just everything.

10/6: Twin Shadow's Eclipse: Enjoyable vocals, but doesn't feel as cathartic as its grand ambitions suggest.

Why? 2015 release that’s been sitting in my Spotify queue for a while.

Additional Thoughts: This strikes me as one of those albums I want to like far more than I actually do, which is always a shame. It’s just… okay, George Lewis Jr (the man behind Twin Shadow) has a great voice and could probably sing anything and sound wonderful and captivating. Hell, Twin Shadow’s Spotify biography calls him “a born crooner,” which is an apt description. Musically, Eclipse it often tries to sound grand with soaring choruses, but it doesn’t work either due to the production making everything (on the whole and in individual songs) blend together or the fact that there’s just no meat lyrically. Discussing universal topics is great, but these songs feel too impersonal and that makes it difficult for me to really connect to it.

10/7: Drgn King's Baltimore Crush: "Hazy Memories," a song that somehow reminds me of Nine Inch Nails and Vampire Weekend.

Why? Spotify recommended it.

Additional Thoughts: Overall I’d call it a solid rock/pop record. Their Spotify bio describes their work as “psychedelic and electronic-inflected pop.” I think psychedelic part comes through the most clearly at the end of “Alchemist’s Lament” and in the atmosphere of “Solo Harp.” That bio also references their varied influences, which definitely come through in the record. One big example of that being the aforementioned “Hazy Memories” that starts off sounding like NIN’s “Closer” then settles into an indie-reggae-pop bop. Reggae influence also shows prominently on “St. Toms,” but unlike Vampire Weekend, Drgn King never really fall into the trap of feeling laid back to the point of seeming lifeless.

10/8: Green Day's American Idiot: I know I'm a total sucker for stuff like this, but... this is a masterpiece.

Why? Currently working through their discography.

Additional Thoughts: My relationship with this album is a lot like mine with the Backstreet Boys’ self-titled.  Basically, I spent a lot of time watching Bullet in a Bible and Green Day’s comp’d special, but somehow forgot to ever listen to the album beginning to end. (Which really just means I missed out on three tracks.) I love a good concept album and rock opera; give me some recurring musical motifs and I will eat. it. up. But more importantly, American Idiot is the culmination of all these musical ideas and lyrical themes Green Day had been building toward for years and it’s so clever and biting and fucking moving. I don’t much like trying to make predictions, but I think this could be one of the most important albums of the 2000s.

10/9: Alex G's Beach Music: If this is beach music, it's a beach covered in sleet and snow; familiar, but slightly off.

Why? New release.

Additional Thoughts: I realize my tweet may sound odd, but the music really does evoke images of winter, intentionally or not. Either way it certainly doesn’t evoke what most (after decades of the Beach Boys and their influence) would imagine “beach music” to be. That’s not a bad thing, just noteworthy and subversive, in a way, I think. But I think the main reason I’d describe it as “familiar, but slightly off” is that it reminds me of an even quirkier version of thenewno2, which itself feels like an alternate universe project of George Harrison thanks to his son Dhani sounding remarkably like him. The vocal similarities between the Harrisons and Alex G are very apparent, but similarities are also there in the melody and music of a song like “Ready.”

10/11: Chris Walla's Tape Loops: Abstract, but not necessarily obtuse; capable of being enveloping and relaxing.

Why? Featured on NPR’s First Listen. 

Additional Thoughts: Instead of filling this section with observations about how “Kanta’s Theme” has echoes of Pink Floyd’s “Wish you were here” and the like, I want to share a quote from Chris Walla’s interview with Sara Quin (of Tegan & Sara): “Sometimes I really enjoy music that I'm very engaged with and dance to, but I feel like there's a dearth of good music that isn't directive or commanding. I don't think this record is passive, but it's also not commanding; it's not telling you what to think or how to feel. So I guess if there is anything I hope, it's that it can find people who maybe didn't realize they wanted it, or maybe didn't realize they needed it, or maybe didn't realize that what they've been listening to has been screaming at them.” As someone who lives for music with big arrangements and even bigger emotions by some massive personalities, this is the sort of album that I occasionally need as a reminder that there are other ways of going about things, ways that are more subtle and more quiet, and shows that one can have a large presence without being in your face. If nothing else Tape Loops can make one reconsidered how they define boring since this album of quiet, unassuming loops somehow feels less repetitive and less of a slog to listen to than albums with eighty times as much going on.

10/12: Green Day's 21^st Century Breakdown: Upon first listen the story isn't very clear, unlike John Lennon's influence.

Why? Currently working through their discography.

Additional Thoughts: Comparisons are a tricky thing. They aren’t inherently pejorative, but certainly folks interpret them that way and others often intend them to be insulting. I don’t, or at least I try not to. I try use comparisons as a way to describe or contextualize a work or understand possible influences and that’s definitely the case when it came to my tweet about 21^st Century Breakdown. Though John is well-known for getting political in his music, the influence here is more sonic in nature. It’s most apparent on tracks “Last Night On Earth” and “Restless Heart Syndrome,” the latter of which has a vocal melody that just screams John. And you know what? It makes total sense that his influence would be so prominent, especially given that before going in to record Breakdown Green Day recorded a cover of “Working Class Hero” (which is also referenced in Breakdown’s lyrics.) One other thing I found interesting about the album is how sweet and clear Billie Joe Armstrong’s voice often sounds, whereas during most of Green Day’s output he uses that snotty, punk brat voice. It’s a nice change of pace.

10/13: dumblonde's dumblonde: Not sure if their Danity Kane past will hurt or help, but this is an awesomely weird album.

Why? 2015 release.

Additional Thoughts: Duo dumblonde consists of former Danity Kane members Aubrey O’Day and Shannon Bex. I must admit that I don’t really know much about Danity Kane, musically or in terms of the public’s opinion of the group. The only DK song I know is “Damaged” and dumblonde’s debut sounds nothing like it. That’s not an insult, by the way, merely an observation I bring up should the DK connection make some apprehensive. (Plus, I have a stupid amount of love for “Damaged” anyway.) Also, it’s important to note that liking DK might not guarantee one will like it either, because while certainly not inaccessible, most of dumblonde isn’t as immediate as a song like “Damaged.” (The big exception to this idea being the poppy “dreamsicle.”) The Wikipedia page for the album lists one of its genres as “alternative dance” and I think that shows in the diverse blend of influences and creative production. A particular high point of the album is the pair of tracks “you got me” and “waiting on you,” which blend well into each other and have great disco and funk flare.

10/14: Emily King's The Switch: "Aya" is one repeated word with little accompaniment, yet it is so compelling and moving.

Why? Spotify recommended it based on Lianne La Havas.

Additional Thoughts: A solid, well-crafted R&B record. In fact, as a further testament to her craftsmanship, the Songwriters Hall of Fame awarded Emily King with the [Buddy] Holly Award a few years ago. Most of this album’s first half feels laidback. However, after the aforementioned “Aya,” it takes a lot of weird and cool musical terms. For instance, there’s “Out of the Clouds” which sounds like a mix of soul, carnival music, Christmas music, and surges from “I Want You (She’s So Heavy),” a mix that sounds like it shouldn’t work and yet it does. Other examples include “Off Center” which builds while maintaining its soft beauty and the snaps and rhythms of “Believer.” “Believer” also has a great chorus: “I’m not a believer, what I see’s usually what I get. I’m not a believer, but I haven’t seen it all yet.”

10/15: Green Day's ¡Uno!: With tracks like "Troublemaker" it proves they are still solid pop craftsmen.

Why? Working through their discography.

Additional Thoughts: Billie Joe compared it to early Beatles and I have to agree. It’s there in the vibes of tracks like “Carpe Diem” and “Fell For You” and lyrics of songs like “Sweet 16.” More than that, it’s in Green Day getting back (in a sense) to their pop craftsmen roots, which for the Beatles was most certainly at a height in their early days. In a way, ¡Uno! might be comparable to Let It Be, the Beatles’ attempt to get back to that more straightforward work before the bells and whistles of ambition took over. I don’t mean that as any kind of insult to the Beatles’ later work or to Green Day’s own American Idiot and 21^st Century Breakdown, to be clear. Ambition’s great, but going somewhat back to basics every so often is a good idea, I think.

10/15: Green Day's ¡Dos!: Among all the energy and volume, "Stray Heart" and "Amy" stand out most for their heart.

Why? Working through their discography.

Additional Thoughts: The second part of Green Day’s trilogy was meant to be more garage rock and a party, according to Billie Joe. With tracks like “Lady Cobra,” I think they do succeed on the later. That is, until “Nightlife” stops the party dead, which is odd considering the album ends with a tribute to Amy Winehouse that, at least conceptually and theoretically, one might think it would be the track to drag the party down. Not to disparage “Amy,” of course, which is one of the best songs on the album. I don’t have much else to say about this one, I’m afraid. It has some great tracks, but doesn’t really grab me overall. 

10/16: Green Day's ¡Tré!: With a few exceptions, I don't think they hit the epic vibe they reportedly aimed for here.

Why? Working through their discography.

Additional Thoughts: I think beyond “Dirty Rotten Bastards,” “The Forgotten,” and maybe “Brutal Love” the album doesn’t hit the epic  heights Billie Joe wanted, which is kind of funny since his summations of ¡Uno! and ¡Dos! were pretty on point. However, I will agree with him on the album’s reflective nature (“X-Kid” and again, “The Forgotten”) and more sonic variation. Either way, their melody work is, as always, on point, like on “Drama Queen.” It’s a good album on its own, but in the context of the trilogy might not be as appreciated.

10/16: Coheed & Cambria's The Color Before the Sun: The mask of fantasy is gone, but the stories and beauty still remain.

Why? New release.

Additional Thoughts: If it had fit my tweet for this album would’ve just been the Oscar Wilde quote, “Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth.” Though, obviously, I vaguely referenced it anyway. And while I do think the quote is fitting, I don’t agree with the simplified assertion that is their first “non-concept” album. It’s certainly their first non-Amory Wars work, but the album is very much about that fact and about Claudio Sanchez learning to write as himself directly, as opposed to writing his thoughts and feelings through the Amory characters. (Of course, it all depends on how one defines “concept album,” which I think is an interesting discussion, but not one for this moment.) A long time ago I saw an interview where Claudio said how much the Amory saga had been influenced by his parents, so again I find it a simplification to say Color Before the Sun is the first time he’s getting personal. He’s just more direct here, as I said. Either way, it’s a great record and a good move on their part. As cool as it sounds to be a band that exclusively does music about a comic saga, realistically they can only do that for so long. The transition to something else would need to happen eventually and if this album is any indication so far they seem to be doing well with it. 

All albums available to stream on Spotify. 

If you'd like to suggest an album, comment on this entry, tweet me, or ask on Tumblr.

Daily Album Digest: September 6 - October 3, 2015

Carrying on February's Music Writer's Exercise (#MWE), each day I listen to a new album and tweet a brief review of it. Then every two weeks compile those tweets here with some extra thoughts.

9/6: Ben Folds' So There: Ben Folds and chamber music/baroque pop? Oh, yes. Highlights: "F10-D-A" and "Phone in a Pool"

Why? Featured on NPR’s First Listen.

Additional Thoughts: Ben Folds is one of those artists so good that I wish I listened to them more often, but paradoxically can only apparently handle their genius in small doses. I just… ugh, the man is brilliant, truly. So much so that what can really be said about his work? But, of course, I’m here to at least try to say something. So. As the cover says, So There contains “8 chamber rock songs with yMusic” and the three movement “Concerto for Piano and Orchestra” performed by the Nashville Symphony. The melodies on “Phone in a Pool” and “Yes Man” are simply gorgeous. “Yes Man” also serves as a great example of Folds’ ability to balance humor and sincerity, both overall and sometimes even in the same song. It’s a tricky line to walk and a lesser artist would fall flat on their face, their credibility flung out of their hands along the way. This skill isn’t new to Folds, as evidenced by Way to Normal’s “Hirsoshima,” but I find it remarkable, nonetheless.

9/7: Janet Jackson's Janet Jackson: Very of 1982, for good and ill. Decent dance songs can't compensate for its weaknesses.

Why? I know was going through Green Day’s discography, but I suddenly remembered that while getting caught up on Janet earlier this year, I neglected her first two albums.

Additional Thoughts: I suppose I should expand on the “very of 1982” bit. Well, I say that because of the combination of disco touches in tracks like “You’ll Never Find (A Love Like Mine)” and the vaguely Gap Band-esque (but not nearly as funky) aspects of others, like “Young Love.” I don’t know, the album does a pretty good job of summing up my image of dance music in the early eighties. The album does have some duds, of course, most notably the saccharine ballad “Love And My Best Friend.” The problem with the record, even on the good tracks, is the fact that, at 16, Janet is noticeably shy and didn’t yet have her powerful stage presence and many tracks could’ve benefited from some extra confidence.

9/8: Grace Potter's Midnight: Striking in its variety and Miss Potter's powerful voice, particularly on "Delirious."

Why? 2015 release.

Additional Thoughts: Midnight is the solo debut from Grace Potter frontwoman of the “rootsy” band Grace Potter and the Nocturnals. As said in the tweet, this album covers and mixes a wide variety of genres, such as pop, rock, gospel, country, soul, R&B, and even disco, like on the aforementioned “Delirious.” Another stand out is “Instigators,” which sounds like the rowdy child of “Layla” and the White Stripes. Add in her powerful, raspy voice and on paper it seems like it shouldn’t work, but it does; due in large part to Grace’s commanding voice and presence. Seriously, she can wail. It’s a strong, great record, but unfortunately it was met with blowback from male Nocturnals fans that called it a sell-out move and accused Grace of, how do I put this, turning herself into a “pop tart” via sexy photoshoots. Now, I have yet to listen to any of her previous band’s work and will concede this record is quite polished, but ehh… the comments I saw just felt like gatekeeping and typical latent misogyny that pervades dude-helmed music fandom. Maybe I’m wrong on that, but I can’t help but be suspicious when such criticism is thrown at smaller acts, particularly when they’re women.

9/10: Janet Jackson's Dream Street: If Control shows Janet in full bloom, Dream Street planted the seeds.

Why? Rounding out what’s left of her discography before Unbreakable.

Additional Thoughts: What a difference a couple years makes! While Janet is still a ways away from pulling off the likes of “Nasty” or “If,” she is most definitely on the road there. Dream Street is, by probably every metric, better than her debut. The album’s finally three songs (“Hold Back the Tears,” “All My Love To You,” and “If It Takes All Night”) are fantastic dance/R&B tracks and it’s a shame that this period gets ignored in Janet’s set lists.

9/11: The Libertines' Anthems for Doomed Youth: Ironic that its very existence is remarkable, yet it feels a bit safe.

Why? New release.

Additional Thoughts: The Libertines are a weird case for me. I enjoy their stuff well enough, but came to them after things had gone to hell for them and therefore don’t have the deep love and nostalgic affection many folks have. It’s that same love and affection that made this record something people hoped would exist one day and, after everything, it’s damn near miraculous that it does. And while I wouldn’t call this album bad (good bits, like “Heart of the Matter.” are about on par with good early Libertines tracks), I worry the pedestal the band’s been placed on might cause folks to be too harsh or too kind to it – myself included. I mean, on the one hand. I want growth, but on the other hand, I can see why they’d want to tread lightly and given how this project could’ve very well gone horribly wrong to the point of not coming to be at all, I almost feel bad saying anything negative about it. I don’t know. I guess we’ll have to see what, if anything, follows this and hopefully that will give better perspective on this record.

9/15: Beirut's No No No: Feels sparse at times, perhaps, but it has some shining moments, like "Gibraltar."

Why? 2015 release.

Additional Thoughts: Positives first: the album is loaded with very, very pretty melodies, such as “As Needed.” They have an almost McCartney feel to them. Unfortunately, Beirut tends to hammer on them too much, for too long, so they don’t go anywhere and the repetition quickly weakens them. Add to that, sparing instrumentation, half mumbled vocals, and repetitive lyrics and one can’t help but feel like one is caught in a loop. An often pretty loop, yes, but still one that gets old after a while. It can be very lovely; I just wish it was more… dynamic.

9/18: Darwin Deez's Double Down: Bright and catchy with tinges of nostalgia and familiarity, like on "The Mess She Made."

Why? New release and I must confess the cover made me curious.

Additional Thoughts: The aforementioned familiarity tends to manifest in melodies and such that feel like the Strokes, Weezer, and even grunge. A more specific example is “Lover” with guitars and vaguely Eastern touches that make it feel like it could’ve been on the Beatles’ Revolver. (Plus it has the ridiculous line, “No I don’t care to meet your parakeet,” which I can’t help but love.) I can see how this might work for and against the record. On the positive side, it does reveal a variety of influences, but on the negative, it’s not exactly reinventing the indie rock/pop wheel. The album does have a lot of charm, so which side you come down on, I guess, really depends on what you want out of it.

9/27: Ought's Sun Coming Down: "Beautiful Blue Sky" uses semantic satiation well and, in doing so, proves its own point.

Why? 2015 release and the review on the NeedleDrop made me curious.

Additional Thoughts: Semantic satiation comes into play in the chorus of “Beautiful Blue Sky,” which is multiple small talk questions repeated incessantly and insistently. It can be grating. It does prove the point that such small talk is done automatically and thoughtlessly to the point of losing all meaning, but it’s still grating. In a way, that’s indicative of the album as a whole for me, in that I mostly get what the album’s going for, but care for it. For instance, the vocals are often done in a spoken word way that sometimes sounds like Mick Jagger doing a silly voice. And the music, at times, I think, tries to be manic and chaotic, but it comes off incoherent and jumbled. Or I don’t know, maybe I’m wrong on all that. I just know that, aside from maybe “Passionate Turn,” it doesn’t work for me.

9/28: Green Day's Nimrod: A lot to digest at once; luckily most of it is quite good. Highlight: "Redundant"

Why? I’m currently working through their discography.

Additional Thoughts: This album is like when you eat a steak but realize too late that you cut off too big of a piece and you keep trying to chew because it’s really flavorful and yet you still can’t ignore the fat that comes with it. Also, I must be honest and say that I chose “Redundant” as a highlight largely due to it being my favorite Green Day song. Honestly this album has many highlights (“Last Ride In,” “Worry Rock,” “Hitchin’ A Ride,” just to name a few), but at eighteen tracks, it’s a lot. Granted, Billie Joe is so skilled in melody that even though it can feel like too much, it at least it always sounds good. Plus, the old “too much of a good thing” comes up again with Green Day only with much more mixed results in their 2012 triple album, so I can forgive Nimrod. Besides, “King for a Day” instantly makes up for any shortcomings.

10/1: The Rolling Stones' Between the Buttons: Though all originals, the most interesting songs seem to riff on others.

Why? I’m currently taking a course on the Stones and slowly working their catalog as a result.

Additional Thoughts: Okay, first off, the US version was included in the RS500, so I can’t get too deep into this one just yet. But I just wanted to say that I don’t necessarily mean that tweet in a negative way. Much of the critique around Between the Buttons I’ve read thus far describes this period as an identity crisis for the Stones. I don’t know that I agree with that. I feel like that’s perhaps the case if one thinks the band was only ever in one little, very blue box to begin with and that certainly wasn’t reality, even on their debut. Two of the stand out tracks here are “All Sold Out” and “Please Go Home,” which quite obviously owe much to the Beatles and Bo Diddley, respectively. Is that a bad thing? Not inherently. Do they stand out because of Diddley and Beatle overtones? Maybe? But I wouldn’t dismiss them as mere rank imitation either.

10/2: Janet Jackson's Unbreakable: As the title track fades Janet says, "I'm glad you're still here." Same here, J.

Why? New release and c’mon, it’s Janet! I’m not going to let myself fall behind on her again.

Additional Thoughts: Like Nimrod (and most of Janet’s albums), Unbreakable is a long affair. With seven years between it and Discipline, the length makes sense, as Janet says in the title track, “Lots to talk about” - and it’s true. Love, loss, looking forward, looking back (and more) are all topics and themes touched on and make this Janet’s most introspective album since probably The Velvet Rope. Like TVR, it also can be moody and dark, but it has plenty of light (and dancing), too. 

All albums available to stream on Spotify. 

If you'd like to suggest an album, comment on this entry, tweet me, or ask on Tumblr.

Daily Album Digest: August 23 - September 5, 2015

Carrying on February's Music Writer's Exercise (#MWE), each day I listen to a new album and tweet a brief review of it. Then every two weeks compile those tweets here with some extra thoughts.

8/25: Carly Rae Jepsen's Emotion: If Kiss is cotton candy Emotion refines that sweetness into something more subtle. 

Why? 2015 release.

Additional Thoughts: Kiss is a great pop record that I was probably too harsh on back when I discussed it here. Or, maybe it would be more accurate to say that the subject I chose to discuss regarding the album made me seem harsher on the record itself than I was in reality. Either way, it’s an undeniably fun record, regardless if major label interference played a part in it or not. Carly Rae’s trajectory has been such that it feels weird and incorrect (though not technically wrong) to call this record mature or something along those lines. I think Emotion provides a balanced mix of the pop on Kiss and the singer-songwriter tendencies and themes from Tug of War, such as on “LA Hallucinations.” And the songs are just great, especially “Gimmie Love” and “Making the Most of the Night.” Plus, it must be said, it’s a much better 80s throwback than 1989 (particularly “All That.”)

8/27: Green Day's Insomniac: If there's at least one difference between this and Dookie, it's aggression.

Why? I have a list of discographies I want to get through. This time around I decided on Green Day.

Additional Thoughts: Many critics got on this album’s case for not being much of an artistic leap. And while I do understand that to a point, I don’t think it’s fair to expect every album to be monumental leap forward for an artist or the medium as a whole. They don’t all need to be groundbreaking, watershed moments. Besides, Insomniac does feel very different from Dookie. It’s certainly louder and more aggressive musically than Dookie. Also, Dookie has an undercurrent of anger to it that is smoothed out by poop jokes and references to masturbation, but on Insomniac that juvenile humor is gone and you just get the straight anger, like on “86.” Plus, it has “Brain Stew,” man! Arguments, invalid, yadda yadda, you know the drill.

8/28: Sea Lion's Desolate Stars: Quite beautiful, though her childlike vocals may be something of an acquired taste.

Why? New release.

Additional Thoughts: Stereogum describes (http://www.stereogum.com/1826141/stream-sea-lion-desolate-stars/mp3s/) this project as “whisper-folk,” which is quite fitting. The music of Sea Lion shifts between moody and mellow, almost brooding, so when Linn Osterberg’s voice comes in it creates a very interesting, captivating contrast. Childlike is the best way to describe the vocals in both sound and in that they have an unassuming, almost shy quality about them. I have difficulty thinking of anyone who sounds like Osterberg. The closest might possibly be Jewel when she sings in higher registers, but Linn has such a unique voice that comparison doesn’t feel satisfying. 

8/30: Dragonette's Galore: It'd be too easy to bog this down with reductive comparisons; this is some great synthpop.

Why? Spotify recommended it because of Marina & the Diamonds.  

Additional Thoughts: Alright, let’s get this out of the way: from the first seconds of opening track “I Get Around,” Dragonette sounds like The Fame-era Lady Gaga with sweeter singing. Of course, no one (least of all Gaga) has the market cornered on synthpop/new wave, but Galore’s physical US release came a few months after Gaga’s debut, which I bet invited the comparison a lot (along with comparisons to Gwen Stefani); understandably so, sure, but not really fairly. As I said, no one can claim any one genre and I think sometimes (while helpful) comparisons can be reductive and lack nuance if relied on too much. Anyhow, the attitude and brazenness in tracks like “Competition” and “Jesus Doesn’t Love Me” may stick more in some folks’ minds, but the album also has plenty of sweetness, such as “Another Day” and “Gold Rush.” Initially, I felt like the only real misstep on it was “The Boys,” a bonus track for the US edition written and cover of Calvin Harris. But now, while I can still see why it made me cringe, I find it kinda charming in its own weird way. It might be one of those tracks like “Hollaback Girl” or “Fergalicious,” which you reject at first listen, but eventually you can’t help but love. (And don’t bother lying, you know you do.)

8/31: Green Day's Kerplunk!: One can't deny the heart behind tracks like "Christie Road" and "Who Wrote Holden Caulfield?"

Why? I’m currently working through their discography.

Additional Thoughts: Kerplunk! serves as a good transition from the band’s debut to their big breakthrough Dookie. It even has an early version of “Welcome to Paradise,” which is awesome. More importantly, a lot of the heart that plays a huge part in their work also comes more to the forefront in tracks like the nostalgic “Christie Road” “No One Knows.” Plus, “Words I might Have Ate” is just a great title. And of course there’s the ridiculous “Dominated Love Slave,” which is certainly a thing, heh.

9/1: Dogs On Acid's Dogs On Acid: Weezer vibes and Lennon references make for a rough, but fun indie rock debut.

Why? 2015 release and I wanted to hear the music of a band with a name like that.

Additional Thoughts: Yeah, I admit, I’m a mark for any kind of Beatles-related reference, so their track “Flushed” made me smile. I especially like the line “Hey Jude, you’re messing up my mood.” But putting the Lennon references aside, it’s still a fun track, which I guess is to be expected of a band that clearly loves Weezer a whole lot. And though Weezer’s influence is very pronounced, I’m not willing to write Dogs On Acid off as a mere rip-off or some such since this is only their first album and I’d like to see where they go.

9/2: iamamiwhoami's kin: Atmospheric synthpop that ranges from beautiful to spooky with ease. Highlight: "drops"

Why? A review on the Needle Drop piqued my interest.

Additional Thoughts: One review I read described kin as “glacial,” which… well, that’s already way more perfect and succinct than anything I could add. But still, one thing I wanted to add to my tweet is some notes on the vocals and their variations. For example, the vocals on “kill” and “drops” remind me a great deal of Stevie Nicks, but other times the record recalls artists like Bjork and Portishead. As with Sea Lion, said vocals can be somewhat of an acquired taste for some, but if nothing else, they are interesting. I should also note that iamamiwhoami is actually an audiovisual project, wherein each song produced is accompanied by a video. (kin, by the way, predates BEYONCE by more than a year, so any stans who think their girl invented the concept of a visual album need to check themselves.) Anyway, I’ll confess I don’t really get the visuals, including a group of hair-people (?) following singer, Jonna Lee. Wikipedia claims kin continues a story started in bounty, so maybe it would make more sense with that context. I don’t know. Either way, the visuals may not be my thing, but that doesn’t hurt the music for me at all. 

9/3: Green Day's 39/Smooth: An okay debut with good energy, but not *quite* GD's signature energy as it lacks Tré Cool.

Why? I’m currently working through their discography.

Additional Thoughts: As this post (and past digests, I’m sure) shows, I do tend to be rather soft on debuts. I can’t help that. Artists need time to grow, find their footing and an artist having their entire identity and sound ready for their first record is rare, if not nonexistent. On Green Day’s case, a lot of what they would become is already present, such as in the melodies (see “16”). Though, as mentioned, the energy is ever so slightly different with “I Was There” probably being the closest to that same bouncy, manic-Cool energy. If anything, the record really goes to show how important each member has been to shaping Green Day’s sound.

9/4: Helena Hauff's Discreet Desires: The combination of chiptunes, hard beats, and horror movie vibes works so well.

Why? New release. (And I did not want to sit through the new Miley Cyrus just yet.)

Additional Thoughts: This is an instance where the tweet sums the record up pretty well without much need for much else. One thing I’d like to add, though, is that some tracks reach a point where they drag due to lack of variety. I suppose it can weigh down the record a bit, but Hauff’s sound is cool and interesting enough (see: “Piece of Pleasure”) for me to forgive its imperfections.

9/5: Hooton Tennis Club's Highest Point In Cliff Town: Bright, enjoyable melodies, though the lyrics feel.. unfinished.

Why? I don’t remember exactly, I think Spotify might’ve recommended it to me or I saw it in a list of recently released albums.

Additional Thoughts: Man, you gotta feel bad for bands from Liverpool, right? I mean, the Beatles’ shadow looms large and, rightly or not, the comparisons (and expectations) will be there. In Hooton Tennis Club’s case, one could make a Beatle comparison, especially in regard to opener “Up In The Air.” I wish I could remember what I meant when I described the lyrics as feeling “unfinished.” If I had to guess, I suppose I meant that they seem like they could be fleshed out more in spots. Regardless, as jangly indie rock goes, it’s an enjoyable debut. 

All albums available to stream on Spotify. 

If you'd like to suggest an album, comment on this entry, tweet me, or ask on Tumblr.

Daily Album Digest: August 9 - 22, 2015

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Carrying on February's Music Writer's Exercise (#MWE), each day I listen to a new album and tweet a brief review of it. Then every two weeks compile those tweets here with some extra thoughts.

8/11: The Mynabirds' Lovers Know: Tracks like "Omaha" have a sense of grandeur while retaining a genuine emotional core.

Why? 2015 release.

Additional Thoughts: Multiple reviews compared a couple of the tracks to the Killers and I can certainly get behind that idea with the stipulation that the Mynabirds do so with actual sincerity. I mentioned it in the tweet as well, of course, but “Omaha” got some real chills out of me. It’s one of the most beautiful tracks I’ve heard so far this year.

8/14: New Politics' Vikings: Energetic and fun, though full of clichés... until the baffling and terrible final track.

Why? New release. I saw them open for Paramore and Fall Out Boy last year, but I had yet to check out any of their work.

Additional Thoughts: I remember liking New Politics well enough when I saw them. Evidently not enough to check them out immediately and perhaps I should’ve taken that as a sign. The album is energetic and fun, but any enjoyment is impeded by just how Fueled By Ramen they are. Take opener “Everywhere I Go (Kings and Queens),” which tries so hard to be like fun.’s “Some Nights” and fails utterly because, try as he might, vocalist David Boyd being no Nate Ruess. There’s also “Loyalties Among Thieves” that some lyric sites have credited to Pete Wentz, Patrick Stump, and Joe Trohman of Fall Out Boy. The album’s Wikipedia page, meanwhile, claims every track has been written by New Politics, which frankly, you could be forgiven for not believing considering how much it sounds like Fall Out Boy. New Politics’ inability to set themselves apart isn’t a new criticism, either. I found reviews of their debut that pointed out how much they seem to want to be the Killers and Franz Ferdinand. And funnily enough, the final track “Strings Attached” nearly turned out my opinion on the album until it turned on me. The track starts off as a blistering ska, sort of hardcore number and then after about three minutes of silence there’s a rap verse about having a “gold dick” and what sounds like folks high on helium. Then after another three minutes there’s a dance synthpop interlude calling a girl an STD. Delightful. Yick. I’ll give their other records a shot just to be sure, but as of now I just don’t know who these guys are for. I mean, if you don’t dig any Fueled By Ramen related artists, it’s doubtful they’ll convert you and if you do like FBR (as I do) they’re redundant.

8/15: Backstreet Boys' This Is Us: A marked improvement on previous work in terms of vitality. Highlight: "Undone"

Why? I have a list of discographies I want to get through. This time I decided to a walk down memory lane with the Backstreet Boys.

Additional Thoughts: I hesitate to call it a return to form, but I suppose if any BSB record could be called such it would be this one as it has more in common with the upbeat dance music of their international debut than adult contemporary/ballad focus of much of their output since then. I should also mention that while I find it an improvement on Unbreakable that doesn’t mean I necessarily find it good on its own. The music has much more life to it, which is great, in a way, but it’s not enough for me to ignore a lot of the lyrical faux pas, like “PDA.” Though the worst offender is probably “She’s a Dream”; the full lyric being, “She’s a dream, cause she knows me.” And it gets worse. The basic point of the song is that this girl is such an awesome wonderful person for the narrator, because she doesn’t have a TV or radio and she’s completely ignorant of his celebrity status which everyone (including him) actively keeps from her. It’s. Just. Baffling. Plus, personal gripe, I guess, I know it was co-written by T-Pain, but I don’t need to hear the Backstreet say shorty. Maybe A.J. McLean could’ve carried that off in 2000, but the rest of the group in 2009? No. It’s like a dad desperately trying to sound with it. I really like “Undone,” though, so there’s that at least.

8/16: The Rolling Stones' The Rolling Stones, Now!: Maybe it's me, but the cover of "Down Home Girl" is... uncomfortable.

Why? I actually wasn’t going to include this album, but didn’t have enough time to listen to another instead. Whoops.

Additional Thoughts: I’ve probably touched on this before, but the early Stones records are difficult to talk about. The abundance of covers is one reason; another is differences and overlaps in the UK and U.S. versions. There’s often so much overlap that for the most part I’ve decided to forgo most of them altogether as daily albums. But, as I said, I run low on time on this particular day, so I decided to bend the rules. Plus, I’m not sure if “Down Home Girl” was on an album I’d already discussed, but it’s a song that I didn’t want to pass without any comment. The song basically sings the praises of a Southern country girl with all these stereotypical things like “turnip greens,” but then there’s a line about working in cotton fields and the line, “Every time you monkey child.” And I just… no. Again, maybe it’s me, maybe I’m being overly sensitive or something, but it doesn’t sit well with me.

8/17: Backstreet Boys' In A World Like This: If only their ostensible maturity yielded more like the sweet "Madeleine."

Why? Finishing up the Backstreet Boys’ discography.

Additional Thoughts: The title track says, “In time like this when nothing comes from the heart” and much of this album proves that. The big exception to that, of course, is “Madeleine” which is genuinely touching. It’s perhaps the most touching thing they’ve done since “Shape of My Heart.” It’s just a shame that their idea of maturity manifests as empty platitudes and attempts to sound like OneRepublic as shown in “Show ‘Em (What You’re Made Of)”. (Ironic, considering the only song I like off This Is Us was actually co-written by OR’s Ryan Tedder.) That or metaphors comparing love to prison or war, which sound way more melodramatic than they are in practice. In fact, they could probably stand to use more melodrama in such cases. I mean, if you’re going to compare a break up to prison you might as well go all out.

8/18: Thee Tsunamis' Saturday Night Sweetheart: Feels like it's from an alt-universe 1950s full of rough girl bands.

Why? 2015 release that Spotify recommended.

Additional Thoughts: The second I heard tracks like “I Know” I immediately regretted not saving the “punk rock Pipettes” descriptor. It does sound like it’s from an alternate timeline or that it’s a live recording recently unearthed from someone’s attic, which might be due in part to the fact that it was apparently recorded onto tape. It’s great fun. I don’t know what I did to have my Spotify recommendations filled with so many awesome chick bands recently, but I’m really glad it happened.

8/19: Cloud Nothings' Attack On Memory: Such blunt lyrics are admirable when others get so caught up in arch metaphors.

Why? A review on the Needle Drop made me curious.

Additional Thoughts: Granted I do have a not-so-secret affinity for metaphors, arch or not. Still, there is value in getting straight to the point and saying what you mean. If I had any issue with the album, it wouldn’t be the lyrics, but Dylan Baldi’s vocals. The gritty, growly thing he does (most prominently on songs like “No Future/No Past” and “Wasted Days”) seems a bit affected. I know other complimented such things, but it didn’t really work for me. Even so, I like the album and “Stay Useless” in particular.

8/22: Green Day's Dookie: A bit juvenile at times, sure, but damn, if it isn't cathartic and fun.

Why? Maintaining motivation has been difficult lately, which means a “Longview” loop can’t be too far behind.

Additional Thoughts: I nearly didn’t choose this album as I’ve probably heard it in full while driving around with friends, but I figured since I made an exception for Backstreet Boys’ first two records I could make another one here. And while I would love to crack into this album more, it’s part of the RS500, so that must wait. However, unlike the other daily albums that overlap with the RS500, I’ve decided to bump this up in the queue, so a full Dookie post might come sooner than you think.

All albums available to stream on Spotify. 

If you'd like to suggest an album, comment on this entry or tweet me.