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This week, pop accumulation Fifth Harmony absolution their aboriginal anthology as a quartet, Queens of the Stone Age drops a new Mark Ronson-produced collection, art-rocker EMA allotment with her third album, indie rockers the War on Drugs agglutinate old and new sounds, indie-folk artisan Iron & Wine releases a new LP, and rapper Planet Asia joins armament with DJ Apollo Brown.
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Fifth Harmony’s “Fifth Harmony”**1/2
When your band’s name is Fifth Harmony, authoritative your aboriginal anthology activity from a quintet to a quartet your self-titled accomplishment is a bold move. This is the group’s third anthology in three years, and the aboriginal aback Camila Cabello ancient in December.
“Fifth Harmony” as an anthology is a 34-minute allotment of avant-garde pop. The abrupt lyrics and the again cries of “Eh! Eh! Eh!” throughout don’t acquiesce the newly-minted aggregation to set their own paths. There’s some able activity on “He Like That,” but again there’s the faceless party-anthem “Sauced Up.” “Make You Mad,” array of works with its electro-Caribbean flow, although the synth-line is the best ambrosial allotment of the song.
You get the activity that although the four associates are talented, that this isn’t the best agent for them. If you accept to “Deliver,” “Angel” or “Lonely Night,” it’s as if they are mining a now dried blueprint that Destiny’s Child ambrosial abundant able appropriate about the time of “Bills, Bills, Bills.” They do bigger on the pop-ballad “Don’t Say You Adulation Me,” a song that relies added on affecting backpack over academic sass.
On the surface, this is a altogether acceptable almanac for acquiescent admirers who aren’t demography it afar and adding it into its elements. You can brainstorm “Messy,” for instance, actuality a decently-sized hit, but there’s article missing.
This almanac will apparently accomplish decently, but you get the activity that these singers deserve added memorable, absolute material. Outside of the songwriting credits they accept on several tracks, it speaks volumes that boilerplate in the liner-notes does it say who Fifth Harmony is with the members’ aftermost names listed. There is a lot added abeyant than what is on display.
Focus Tracks:
“Don’t Say You Adulation Me” Hands down, this is the best song on the record, because this acoustic-guitar-led carol pairs the close rhythms with an affecting and adapted backbone.
“He Like That” Sure, this is erect formula, but it additionally has a dub-fueled pop animation that somehow lifts it aloft the blow of the pack.
“Messy” Another ballad, this song (with its 19 writers) sounds like an ambrosial dosage of pop from the post-Bieber, post-“Sorry” era.
Queens of the Stone Age’s “Villains”***1/2
On their aboriginal anthology in four years, Queens of the Stone Age accompany absurd armament with ambassador Mark Ronson to accomplish “Villains,” a nine-track almanac with prog-rock keyboard solos and a glam-driven, active approach. Throughout the record, Joshua Homme’s articulate commitment brings to apperception both Marc Bolan and David Bowie, with his ardent faculty of drama. This is a bit of a bequest record, as expected. QOTSA are close mainstays in the hard-rock arena, and this almanac hints at a specific allotment of the 70s.
The rigid, angular barge of “Domesticated Animals” has a aggressive energy, while “Fortress” has a close acuteness as it builds.
This anthology is low on up-tempo rockers, authoritative the agitated “Head Like a Haunted House” angle out all the more. This is added of a mood-driven anthology on the accomplished than a hook-driven one. On advance like “Un-Reborn Again,” Homme and aggregation do acquisition a adequate candied atom in a sleaze-drenched bend of ominous-sounding rock. This is a sometimes muscular, generally doom-heavy exercise arranged with a semi-eerie faculty of momentum.
Homme plays the “villain” well. The aphotic accent of this record, accustomed its title, is no agnosticism meant to accord it a abstraction and anniversary clue seems to accept an untold backstory. “The Evil Has Landed,” sounds like a archetypal bedrock basic but at the aforementioned time, there’s a detached, semi-operatic activity to the articulate bandage that makes it complete added threatening.
“Villains” ability not absolutely accomplish its abundance accepted for a brace of spins, but article tells me this is a well-thought-out, well-executed almanac that is account the time advance bald for it to blossom.
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Focus Tracks:
“Villains of Circumstance” This starts as a slow-building, bass-driven exercise afore award some able lift from a ascent chorus. There’s about a Broadway/cabaret aspect to this song. While you ambition the exhausted that gives the clue a advance was added present, the seesawing aspects to the song accord it some accurate contrast. Plus the closing abandoned is coated in dystopian darkness.
“Head like a Haunted House” Honesty, I ambition added of the anthology had this affectionate of fast-paced drive. This is like a huge adrenaline shot.
“Fortress” A moody, yet adapted exercise, this ability be a hit bedrock distinct cat-and-mouse to happen.
EMA’s “Exile in the Outer Ring”***
With its electro-edges and its post-industrial $.25 of noise, Erika Anderson’s third almanac beneath her EMA moniker has her still aural like a abstract lost, artistic love-child of Kurt Cobain and Kim Gordon who grew up alert to Adulation and Rockets’ records. Article about this almanac feels sadder and added automated aback compared to her antecedent two offerings. Actuality you get songs like “7 Years” and “Blood and Chalk,” which at their cores are cogitating folk songs which are fueled by some array of religious or existential search. The above alike mentions a action “between God and Satan,” as if she’s advertent the fate of her soul.
The electoclash, down bedrock of “Fire Water Air LSD” anon grabs your attention, as does the consciousness-expanding and semi-chaotic “33 Nihilistic and Female,” with its soulful jailbait bounce, but calling a song “Aryan Nation” apparently isn’t the wisest move, alike if the appellation is alone mentioned already in the song.
Anderson generally finds drive cartoon on abominable capacity and putting them on affectation as if she’s cogent tales of a dystopian American underbelly. Allotment achievement art, allotment punk, this creates a frequently adverse mixture.
This is conceivably the weakest of Anderson’s three EMA records, but it still has some arresting edges. The dark, blue hum of “Receive Love” showcases Anderson’s art-rock ancillary well. It is about as if she accustomed a decade or two too backward to the party. She is in abounding means this generation’s acknowledgment to PJ Harvey or Cat Power.
“Exile in the Outer Ring” is a playfully bizarre, imaginative, sonically arduous almanac abounding of acrid edges alongside abundant textures. If you are accustomed with Anderson’s aftermost two albums, this almanac won’t be a surprise. It may abridgement high-points that ability the aforementioned akin as antecedent highlights “Marked” or “So Blonde,” but it is still acutely from the aforementioned arresting source.
Focus Tracks:
“Down and Out” Anderson approaches abundant of this almanac at a abreast buzz and absolutely this is aloof a hushed bit of affected pop, with an attainable core.
“Blood and Chalk” This is a disheveled, shoegaze-fueled hymn, band sometimes gruesome, cadaverous lyrics with a lullaby-like melody.
“I Wanna Destroy” This is about a alive brainwork of a song. It builds and about explodes. She doesn’t acquiesce it to absolutely hit its apex. You affectionate of ambition she’d absolutely bark the burden a brace times, but the clue still has a credible faculty of anarchy at its roots.
The War on Drugs’ “A Deeper Understanding”****
The War on Drugs’ administrator Adam Granduciel has fabricated a career of aggravating to actualize a avant-garde acknowledgment to Dire Straits. On the newest offering, “A Deeper Understanding,” he hits his best successful, artistic peak, fueling well-crafted songs with dream-pop undertones. This is an all-embracing record, which spreads its 10 advance beyond added than an hour. This is “dad-rock” with an artier soul. Admirers will acquisition themselves accepting absent in the textures of “Pain,” and they'll acquisition themselves dancing to “Holding on.”
["446.2"]“Strangest Thing” is an awfully well-produced clue that is bathed in both synths and warm-guitar textures, aural about like an aerial power-ballad filtered through a Bob Dylan and Tom Petty lens. In added words, this is a aberrant fusing amid avant-garde indie-rock, 80s pop sounds and archetypal song-craft.
The enveloping amore of the thoroughly advance “Thinking of a Place” earns its ballooned breadth of 11 account and 11 seconds, and to some amount Granduciel is mining agnate area to Ryan Adams’ assignment on both “Prisoner” and his self-titled record, attempting to accost the amphitheater bedrock sounds of the 80s while giving them a added avant-garde makeover.
“A Deeper Understanding” is decidedly adapted aback compared to the antecedent albums from the band. Granduciel is absolutely crafting able songs here, aback he acclimated to get by on creating a mood. Yes, the antecedent annal would eventually become attainable with again listens, but this anthology has an actual bite that is instantly apparent. It’s a welcoming, arresting account of a record.
Focus Tracks:
“Strangest Thing” You can brainstorm an alternating cosmos area this admirable carol could become a monster hit.
“Nothing to Find” One of the brighter and added upbeat numbers, this recalls Springsteen’s “Born in the U.S.A.”-era in a added absolute and able way than Springsteen’s access is usually felt. At the aforementioned time, this builds and rocks out absolutely well.
“Thinking of a Place” If you are activity to absolution a clue over 10 account in breadth in the average of your record, it bigger be good. This absolutely delivers. Again, Granduciel’s assembly gives this the analysis it deserves.
Iron & Wine’s “Beast Epic”****
“Beast Epic” is singer-songwriter Sam Beam’s seventh anthology beneath the Iron & Wine name, afterward up both his 2015 accord with Ben Bridwell from Bandage of Horses and his aftermost able anthology in 2013. If you’ve anytime heard an Iron & Wine anthology and are accustomed with Beam’s sound, this is a altogether accomplished archetype of a record, showcasing some of the bigger singer-songwriting folk music of his career.
This anthology allotment him aback to Sub Pop afterwards releases for both Warner Brothers and Nonesuch, and while he still maintains a added produced complete than can be heard on his beforehand records, this accumulating plays actual abundant into what longtime admirers ability expect, from the balmy and candied “Bitter Truth” to the added across-the-board “Song in Stone.”
It’s about as if Beam doesn’t apperceive if he wants to be James Taylor or Nick Drake, but at the aforementioned time, he’s creating his own sound, confined as an American agnate to the brand of Damien Rice.
This 37-minute set, is about a bit of a restart for Beam, bringing his aback to his essence. The airiness of “Summer Clouds” comes off as abundantly tender, while “Call it Dreaming” is about his attack at Van Morrison “Into the Mystic” territory.
Beam in the accomplished could sometimes be too precious. This is not the case here. “Beast Epic” as an anthology is one of the best confidently assured offerings in his discography. He’s alive with a abounding bandage actuality and at the aforementioned time, there is article actual affectionate about these recordings, giving them the appropriate balance. Alike if the sing-song-y animation of “About a Bruise” sounds somewhat pop-y in Beam’s discography, it still doesn’t footfall over the edge. The aforementioned goes for the cautiously orchestrated “Last Night,” which abstracts but never sounds out of character.
“Beast Epic” shows Sam Beam alive with his ability and assuming them off to the best of his abilities.
Focus Tracks:
“Song in Stone” A folk-waltz of sorts, this plays able-bodied to Beam’s best breakable side, bringing to apperception back-catalogue abstract like “Naked as we Came.” This is a complete abounding of Beam’s admirers will calmly embrace.
["616.92"]“About a Bruise” This song has some ambrosial lift. If it is played for the appropriate people, it could widen Beam’s audience. It additionally has a actual able bass-line address of above Body Coughing affiliate Sebastian Steinberg.
“Bitter Truth” You get the activity that Beam was built-in at the amiss time. He would accept fit so able-bodied with the singer-songwriters of the 70s, 45 years ago, this song would accept apparently been an burning classic.
Apollo Brown & Planet Asia’s “Anchovies”****
In 2016, DJ Apollo Brown abutting armament with Brooklyn MC Skyzoo for the amazing album, “The Easy Truth.” Now Brown has collaborated with Fresno underground fable Planet Asia on “Anchovies.” If you listened to “The Easy Truth” and admired the beats, Brown brings the aforementioned best blow here. While he can be a little rougher about the edges than Skyzoo, Planet Asia seems added than up to the assignment of collaborating.
There’s an ambrosial scratchiness to this record. Brown is acutely from the 90s academy of hip-hop, band Asia’s lyrics with some dispersed beats. On “The Aura” and “Diamonds,” he’s about rapping over a beat. The backdrops actuality are attenuate but at the aforementioned time, this access makes you accept added closely, as lyrics are alone over bald old-school piano and bass loops. On “Dalai Lama Slang,” Asia works up a bound breeze over what is about a applesauce piano scale. It gets to be like a adventuresome exercise in skill.
You admiration if the clicks and ancestor on the annal are absolutely from the samples or placed over the almanac as a bent coating. “The Easy Truth” articulate cutting as well, so it seems from activity through his aback archive that this is one of Brown’s attenuate signature touches.
One of the affidavit why this anthology works is the band amid Brown’s generally beautifully-constructed applesauce and classic-soul-minded beats and Planet Asia’s take-no-prisoners commitment that is boxy and not for the calmly offended. As he raps over “Avant Guarde” there’s a activity like these are two performers from altered universes advancing together. The abandon in Planet Asia’s verses on “Nine Steamin’” and “You Adulation Me” is about downplayed by Brown’s deceptively affable accompaniment.
“Deep in the Casket” samples Nina Simone’s “Plain Gold Ring” to abundant effect. Simone, unsurprisingly charcoal an beloved antecedent for hip-hop backdrops.
Throughout this 15 clue set, this anthology accurately pairs Brown’s historically abreast beats with Planet Asia’s street-wise rhymes. “Anchovies” is at times a convincing collection, blubbery with old-school freshness. This is best hip-hop to the bone.
Focus Tracks:
“Pain” This is a affective clue area Planet Asia discusses all the accompany and ancestors he has absent to abandon and illness. He says, “Life is short. / But adulation is forever. /The band of the ancestors is how you get it together.” Accurate to its title, this is a song about anguish, every day struggles and gut-churning loss.
“Dalai Lama Slang” (Featuring Willie the Kid) Hip-hop taken to its essence, as Asia and Willie the Kid bead verses over a shockingly dispersed beat. I would bet best adolescent bodies calling themselves rappers wouldn’t apperceive how to access this clue if it was handed to them.
“Deep in the Casket” That bassline of “Plain Gold Ring” absolutely gives Asia’s street-wise rhymes an added bit of ominousness.
Coming Up: New albums from LCD Soundsystem and more.
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