This was originally on my LiveJournal in 2005.
01. A Pain That I'm Used To: The introduction sounds like the introductions of "I Feel You" and "The Dead of Night" remixed together. This song has angst written all over it. It is interesting, though, how one of the last lines of the song is "with a prayer in the air I will leave it there, on a note full of hope, not despair." Kinda contradictory, huh? Great way to open up the record.
02. John The Revelator: I keep imagining that this song would fit into a "Jesus Christ Superstar"-esque movie. The music would totally fit in with that type of film. Without a doubt one of the catchiest songs on the album, especially with the call-and-response chorus ("Well, who's that shouting? John the Revelator!").
03. Suffer Well: One of the selected tracks on this album that, in my opinion, you can be able to dance to. This song also has one of the best guitar riffs Martin plays on the record. The chorus could be taken as sort of an inspiration to people listening to the song that are going through some tough times in life ("Just hang on, suffer well...An angel led me when I was blind, I said take me back I've changed my mind, now I believe..."). Thumbs up to David for writing a very good song.
04. The Sinner In Me: The synthesizers in this song make it reminiscent of Nine Inch Nail's song "Closer." This is the most industrial song they've recorded since "People Are People," but this is by far better than it. Just when you think it's over, Martin's kick ass guitar solo brings you right back into the song for one more chorus.
05. Precious: This is definitely the "sweetest" song on the album, and by "sweetest" I mean in sound and melody. Very upbeat compared to the rest of the album so far. The song is definitely moving (emotionally and physically). If you know the story behind the song, it can even be touching and heartbreaking at the same time. This is one of David's best vocals on the album.
06. Macro: There are some similarities between this and "Comatose," what with the various sounds made by the synthesizers in the background. The guitar solo at the end would remind you of "Breathe" if you listen closely. Martin's vocals are pretty good and they are enhanced with David singing the chorus in the background.
07. I Want It All: The beginning of this song may remind you of Paper Monsters, which is no surprise because this was written by David. This is one of the best ballads (if you can call them that when referring to this band) they've ever done. Traces of "Waiting For The Night" show up here in various places.
08. Nothing's Impossible: Another song that has a couple of uplifting lyrics in the mist of the pain, suffering and darkness ("Even the stars look brighter tonight...I still believe in love at first sight, nothing's impossible.") This also reminds me of Paper Monsters, but not as much as the previous track.
09. Introspectre: Not one of their best instrumentals. They have had better ones ("Headstar", "Uselink"), but this doesn't mean it's all bad. It does sort of tie in with the next track. It's not good, but it's not bad. It's just there, and there's nothing you can do about it, except skip to the next song.
10. Damaged People: The best vocal performance by Martin on the record. The high note he reaches at the end of each chorus can get you right down to your very soul. Ends way too soon. It could have gone on for at least another minute or so.
11. Lilian: Another dance track makes the cut. This song, in my opinion, has the album's mantra ("Pain and misery always hit the spot"). Reminiscent of songs from Violator and Music For The Masses. Another great guitar solo from Martin throughout the song after the first chorus. David's vocals are very good in this song, just like the rest of the songs on the album that he sings.
12. The Darkest Star: What a beautiful song to close the record out with. And, dare I say, it reminds me a little bit of "Goodnight Lovers", I guess because of the slow lullaby quality to it. Martin's harmony vocals are very haunting in this song. So are David's lead vocals, especially towards the end of the song. A very beautiful song indeed. As it fades, you just want more, but there is no more, for this is the end of the album; the journey you take with Depeche Mode for 52 minutes out of your life.
Overall Feelings: I've been listening to this album all the way through, no skipping tracks, in my CD player since I bought it yesterday (yes, all the way through, people. I can bring myself to listen to "Introspectre"). I'm not letting a mediocre instrumental throw me off when I say that this a great record. Everything is falling into place for the band again and they're better than ever.
Rating: 4 ½ out of 5 stars.
© Allyson Yates, 2005
The writings of an opinionated New Yorker in her mid-20's. Music, makeup, life in general.
Showing posts with label music. Show all posts
Showing posts with label music. Show all posts
Friday, March 21, 2014
Monday, January 27, 2014
From The Archives: "Bat For Lashes - Worth A Listen"
This was written for the arts section of the April 20, 2009 edition of the Brooklyn College Kingsman newspaper.
The highly-anticipated sophomore record from Bat For Lashes, Two Suns, is an acquired taste. At first listen, it may seem a bit quirky - not exactly what you would hear on today’s Top 40 radio, but after a few listens, it definitely grows on you. Natasha Khan’s gorgeous vocals and lyrical imagery keep you hooked on every track and wanting more. This album could be the soundtrack to a Francesca Lia Block novel. It sounds kind of like a passage from Weeztie Bat while listening, and it just fits, words and music; the same imagery is conjured up. Two Suns is a beautiful record from start to finish if you give it a chance.
The album’s opener, “Glass,” builds up from a cappella vocals and ambient sounds to a pulsating, tribal drumbeat; sings of “a thousand crystal towers,” “a hundred emerald cities,” and her “knight in crystal armor.” The drums will stick in your head for days. Khan’s falsetto throughout the chorus adds to the dreaminess of the track, definitely one of the highlights of this record.
“Daniel,” the album’s first single, and “Pearl’s Dream” use synthesizers and drum machines to create a 1980’s New Wave throwback. This is the closest thing to mainstream pop as it gets on this record. “Peace Of Mind” has a group of gospel singers assisting Khan in the lyrical mantra. “Two Planets” also has catchy percussion and handclaps that will get you moving. “Moon and Moon” is a minimalistic track, unlike the rest of the album, with just piano and vocals and the occasional snapping, but doesn’t stick out like a sore thumb.
Another highlight on this record is “Siren Song.” This piano-driven ballad showcases Khan’s beautiful voice singing about being in love and happy with someone until they take her away (“Promise I’ll never get sad/’Till the siren comes calling, calling”). This song also introduces Khan’s album alter ego, Pearl, which is present throughout the whole album (“My name is Pearl and I’ll love you/The best way I know how/My blonde curls slice through your heart”). From this track on forward, you can start to see these songs weaving together to create this concept. “Pearl’s Dream” mentions “a sign that says ‘Good Love Town’” and the subsequent track is named “Good Love” (“Passed it last night in a dream/Good Love/And my heart caught fire”).
“The Big Sleep,” the final track, has vocal arrangements that could make this get away with closing an opera. This is a very poignant ending to the record. The first line in “Glass” is “I will rise now” and the final line of “The Big Sleep” is “Goodbye my dears and into the big sleep I go.” The journey has ended, the album is done and you feel as if you just woke up from a dream that you didn’t want to get up from. One can’t help but think that this was Khan’s intention while writing and recording the album: to take us on a journey with her words and the music. Mission accomplished.
© Allyson Yates, 2009
The highly-anticipated sophomore record from Bat For Lashes, Two Suns, is an acquired taste. At first listen, it may seem a bit quirky - not exactly what you would hear on today’s Top 40 radio, but after a few listens, it definitely grows on you. Natasha Khan’s gorgeous vocals and lyrical imagery keep you hooked on every track and wanting more. This album could be the soundtrack to a Francesca Lia Block novel. It sounds kind of like a passage from Weeztie Bat while listening, and it just fits, words and music; the same imagery is conjured up. Two Suns is a beautiful record from start to finish if you give it a chance.
The album’s opener, “Glass,” builds up from a cappella vocals and ambient sounds to a pulsating, tribal drumbeat; sings of “a thousand crystal towers,” “a hundred emerald cities,” and her “knight in crystal armor.” The drums will stick in your head for days. Khan’s falsetto throughout the chorus adds to the dreaminess of the track, definitely one of the highlights of this record.
“Daniel,” the album’s first single, and “Pearl’s Dream” use synthesizers and drum machines to create a 1980’s New Wave throwback. This is the closest thing to mainstream pop as it gets on this record. “Peace Of Mind” has a group of gospel singers assisting Khan in the lyrical mantra. “Two Planets” also has catchy percussion and handclaps that will get you moving. “Moon and Moon” is a minimalistic track, unlike the rest of the album, with just piano and vocals and the occasional snapping, but doesn’t stick out like a sore thumb.
Another highlight on this record is “Siren Song.” This piano-driven ballad showcases Khan’s beautiful voice singing about being in love and happy with someone until they take her away (“Promise I’ll never get sad/’Till the siren comes calling, calling”). This song also introduces Khan’s album alter ego, Pearl, which is present throughout the whole album (“My name is Pearl and I’ll love you/The best way I know how/My blonde curls slice through your heart”). From this track on forward, you can start to see these songs weaving together to create this concept. “Pearl’s Dream” mentions “a sign that says ‘Good Love Town’” and the subsequent track is named “Good Love” (“Passed it last night in a dream/Good Love/And my heart caught fire”).
“The Big Sleep,” the final track, has vocal arrangements that could make this get away with closing an opera. This is a very poignant ending to the record. The first line in “Glass” is “I will rise now” and the final line of “The Big Sleep” is “Goodbye my dears and into the big sleep I go.” The journey has ended, the album is done and you feel as if you just woke up from a dream that you didn’t want to get up from. One can’t help but think that this was Khan’s intention while writing and recording the album: to take us on a journey with her words and the music. Mission accomplished.
© Allyson Yates, 2009
Wednesday, January 22, 2014
My Top 5 Albums of 2013
Is it too late to make a list of my top albums of 2013? Well I don't care because I'm gonna do it anyway! I listened to a LOT of music last year. Usually I go for just singles, but I listened to a lot of albums. A lot of good albums. Most of which were 2013 albums, not older albums that I hadn't had the chance to listen to. So that's why this list will consist of albums that were released in 2013; that I first listened to in 2013. So even though Arcade Fire's Reflektor was released last year, it won't be on this list because I just listened to it a couple of weeks ago (Oops!). Alright, here we go:
Friday, January 10, 2014
From The Archives: "Depeche Mode Keeps The Universe Talking"
This was written for the arts section of the April 27, 2009 edition of the Brooklyn College Kingsman newspaper.
After a four year hiatus, Depeche Mode make their return to the music scene this year with their 12th studio album, Sounds Of The Universe. The Mode Men are one of the few bands left out of the 80’s post-punk/New Romantic movement that still makes (relevant) music in the new millennium. In a Mute/EMI Records press release it was declared that this record was “a Violator for the 21st century.” A little too much hype, perhaps, but a great record nonetheless. It could be put on the list of their best work to date.
The first track on a Depeche Mode album makes a strong statement - that they have returned to embark on the next era of their almost 30 year career (i.e.: the siren intro on "A Pain That I'm Used To" from 2005's Playing The Angel) and “In Chains” is no exception to that tradition; starting off with a bombardment of analog synthesizers that could easily be a turn-off. But lead singer Dave Gahan’s rich baritone vocal will bring you right back.
The album’s first single, “Wrong,” is an anthem for the outsiders. With its lyrical chant of life gone wrong (“I was born with the wrong sign/In the wrong house/With the wrong ascendancy…There’s something wrong with me chemically/Something wrong with me inherently…”), primary songwriter/guitarist Martin Gore has succeeded yet again with writing lyrics that would make one reach for the black goth clothes from the closet; put on the heavy black eyeliner and sing right along, and have no remorse while doing so. Not since “Barrel Of A Gun” from 1997’s Ultra have they released a dark single to announce they’re back.
This album marks the second time that Gahan has contributed songs to a Depeche Mode record (the first time being Playing The Angel in 2005). The three songs that he contributed this time around -“Hole To Feed,” “Come Back,” and “Miles Away/The Truth Is” - show that his writing is getting stronger as time goes on. There is a significant evolution from his debut solo album, 2003’s Paper Monsters.
“In Sympathy,” “Fragile Tension” and “Little Soul” are the most classic Depeche Mode-sounding tracks on the album, with their heavy use of analog synths and familiar melodies to any fan’s ears; best fit for the dance floor or for sitting around in those black clothes and matching eyeliner. You can easily fit these tracks within past records, such as Violator and Music For The Masses.
“Corrupt” closes the record with raunchy lyrics and crunching guitars, proving once again that Gahan’s voice and Gore’s words are a match made in musical heaven. After the song ends, there are about three minutes of dead-air, until a music-box version of the melody of “Wrong” is reprised to officially close the album; leaving the album on a high, open-ended note.
Depeche Mode fans always speculate over if they will ever release another record, since they only have a new album roughly every four years. With this kind of close to Sounds Of The Universe, it’ll keep the fans talking and wanting more for after their massive world tour is completed.
© Allyson Yates, 2009
After a four year hiatus, Depeche Mode make their return to the music scene this year with their 12th studio album, Sounds Of The Universe. The Mode Men are one of the few bands left out of the 80’s post-punk/New Romantic movement that still makes (relevant) music in the new millennium. In a Mute/EMI Records press release it was declared that this record was “a Violator for the 21st century.” A little too much hype, perhaps, but a great record nonetheless. It could be put on the list of their best work to date.
The first track on a Depeche Mode album makes a strong statement - that they have returned to embark on the next era of their almost 30 year career (i.e.: the siren intro on "A Pain That I'm Used To" from 2005's Playing The Angel) and “In Chains” is no exception to that tradition; starting off with a bombardment of analog synthesizers that could easily be a turn-off. But lead singer Dave Gahan’s rich baritone vocal will bring you right back.
The album’s first single, “Wrong,” is an anthem for the outsiders. With its lyrical chant of life gone wrong (“I was born with the wrong sign/In the wrong house/With the wrong ascendancy…There’s something wrong with me chemically/Something wrong with me inherently…”), primary songwriter/guitarist Martin Gore has succeeded yet again with writing lyrics that would make one reach for the black goth clothes from the closet; put on the heavy black eyeliner and sing right along, and have no remorse while doing so. Not since “Barrel Of A Gun” from 1997’s Ultra have they released a dark single to announce they’re back.
This album marks the second time that Gahan has contributed songs to a Depeche Mode record (the first time being Playing The Angel in 2005). The three songs that he contributed this time around -“Hole To Feed,” “Come Back,” and “Miles Away/The Truth Is” - show that his writing is getting stronger as time goes on. There is a significant evolution from his debut solo album, 2003’s Paper Monsters.
“In Sympathy,” “Fragile Tension” and “Little Soul” are the most classic Depeche Mode-sounding tracks on the album, with their heavy use of analog synths and familiar melodies to any fan’s ears; best fit for the dance floor or for sitting around in those black clothes and matching eyeliner. You can easily fit these tracks within past records, such as Violator and Music For The Masses.
“Corrupt” closes the record with raunchy lyrics and crunching guitars, proving once again that Gahan’s voice and Gore’s words are a match made in musical heaven. After the song ends, there are about three minutes of dead-air, until a music-box version of the melody of “Wrong” is reprised to officially close the album; leaving the album on a high, open-ended note.
Depeche Mode fans always speculate over if they will ever release another record, since they only have a new album roughly every four years. With this kind of close to Sounds Of The Universe, it’ll keep the fans talking and wanting more for after their massive world tour is completed.
© Allyson Yates, 2009
Friday, December 27, 2013
Flashback Track of the Week: "When I Get You Alone"
Straight from my iPod, here comes the Flashback Track of the Week!
My iTunes library usually reflects my current taste in music with just a hint of 90's and early 00's nostalgia. And once in a while when it's on shuffle, one of these tracks pops up and I just hit repeat and enjoy.
Remember when Robin Thicke first came out on the music scene in 2002? I do. He only went by his last name then, kids. I remember when the music video was on MTV, when they actually played music (god do I sound like an old fuck. In the grand scheme of things it wasn't exactly that long ago but it sure feels like it). The first thing I noticed was that he sampled Walter Murphy's "A Fifth Of Beethoven" from the Saturday Night Fever soundtrack (yep, I knew that even when I was 15. I knew my shit even back then!) and it sounded really good. I also liked that he was biking around NYC in the video, too. I remember trying to get this on my MP3 player (no iPod back then for me, it was this clunky old thing, but it did the job) for the longest time, then I grew out of the song. Then Robin Thicke came out with "Blurred Lines" this year, which I'm not the biggest fan of, and my mind went back to this song, which is now on my iPod for the time being (my music always rotates). It really is a good jam, even though he took an entire song and wrote lyrics over it and added a drum beat. But at least he gave credit to the original artist, so it's all good.
My iTunes library usually reflects my current taste in music with just a hint of 90's and early 00's nostalgia. And once in a while when it's on shuffle, one of these tracks pops up and I just hit repeat and enjoy.
Remember when Robin Thicke first came out on the music scene in 2002? I do. He only went by his last name then, kids. I remember when the music video was on MTV, when they actually played music (god do I sound like an old fuck. In the grand scheme of things it wasn't exactly that long ago but it sure feels like it). The first thing I noticed was that he sampled Walter Murphy's "A Fifth Of Beethoven" from the Saturday Night Fever soundtrack (yep, I knew that even when I was 15. I knew my shit even back then!) and it sounded really good. I also liked that he was biking around NYC in the video, too. I remember trying to get this on my MP3 player (no iPod back then for me, it was this clunky old thing, but it did the job) for the longest time, then I grew out of the song. Then Robin Thicke came out with "Blurred Lines" this year, which I'm not the biggest fan of, and my mind went back to this song, which is now on my iPod for the time being (my music always rotates). It really is a good jam, even though he took an entire song and wrote lyrics over it and added a drum beat. But at least he gave credit to the original artist, so it's all good.
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