3rd Quarter Of 2016 In Music - Wrap-Up

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Perhaps a bit overdue, but better late than never. Here's a summary of what we listened to in the third quarter of 2016 (July - September) and links to albums we've reviewed.

5-Star Albums (85 - 100)

4-Star Albums (65 - 84)

3-Star Albums (45 - 64)

2-Star Albums (25 - 44)

1-Star Albums (0 - 24)

  • None!

Throwback Reviews

 

Top Albums Of 2016 (so far)

  1. Radiohead - A Moon Shaped Pool
  2. AURORA - All My Demons Greeting Me As A Friend
  3. Panic! At The Disco - Death Of A Bachelor
  4. Deftones - Gore
  5. Dream Theater - The Astonishing
  6. Foxes - All I Need
  7. Sin Fang - Spaceland
  8. Daughter - Not To Disappear
  9. Gojira - Magma
  10. Thrice - To Be Everywhere Is To Be Nowhere

Top Songs Of 2016 (so far)

  1. AURORA - 'Murder Song (5, 4, 3, 2, 1) (Acoustic)'
  2. Radiohead - 'True Love Waits'
  3. Deftones - 'Hearts/Wires'
  4. Radiohead - 'Daydreaming' *
  5. Panic! At The Disco - 'Emperor's New Clothes'
  6. Foxes - 'Better Love'
  7. Lacey Sturm - 'Rot'
  8. AURORA - 'Through The Eyes Of A Child'
  9. Deftones - 'Phantom Bride'
  10. Thrice - 'Black Honey'

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Francis and The Lights - Farewell, Starlite!

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A vulnerable pop album is a very revealing one. It takes a lot for someone to really let themselves go and express themselves, especially through the means of pop music. Francis and The Lights take that big step in their debut album, Farewell, Starlite!

This outfit isn't just entering the playing field; Francis and The Lights have been achieving slow success since 2007 with a handful of EPs and a collection of singles. They've landed big tours with the likes of Drake, La Roux, and Ke$ha and were even referenced in Drake's If You're Reading This It's Too Late. Stardom is no mystery to the group, and Francis Starlite knows it.

As mentioned before, there is a sense of vulnerability on the record. It's evident in tracks like opener 'See Her Out (That's Just Life)', its infectiously dinky synths that bounce throughout the song providing a light atmosphere for Starlite's hopeful vocals. The song's about heartbreak, but Starlite can't bring himself to stop caring about his partner, the chorus asking "If you see her out there / Behind the wheel / Driving getaway / Oh god, I hope she escapes / Whole damn world is a cage." The fact that the instrumental has little more beyond the quiet synths backs up the vocals adds to the very raw and pure disposition of the song. It's not trying to mask its meaning: it wants to be heard.

Other songs that invoke a similar sense include single 'Friends' and closure 'Thank You'. 'Friends' gained some momentum when Kanye West appeared in the music video, but the song's meaning also gives it what it needed to succeed. The song again discusses heartbreak, Francis wanting to rekindle a relationship. The chorus somberly cries, "We could be friends / Just put your head on my shoulders / I will straighten out, for you / Don't wanna know if you made mistakes / I'm still waiting on your sunshine" Kanye's only line in the song being one single iteration of "We could be friends," the distortion of his vocoder indicating him being in tears. Bon Iver - who's new album is also pretty good (see our review here) - contributes to the song, too, singing the first verse and arranging the beautiful schizophrenia of the song's conclusion. 'Thank You' follows it, the song's lo-fi phoIne recording making up most of the track, again pairing rawness with vulnerability.

The rest of the album isn't as vulnerable, but it's still quite catchy. The cheerful synths and nice melodies of songs like 'Comeback' (which come in later in the song) and 'Can't Stay Party' provide a ear-catching experience. Many of the songs revolve around the theme of heartbreak, including 'Comeback' and 'I Want You To Shake', toying with his feelings towards wanting to find love again. Some fun moments find their way onto the record too, including the reminiscent personality of 'May I Have This Dance' with its dinky synths and the fun fat bass pops in 'Running Man / Gospel OP1' after its dramatic intro. Bon Iver-esque vocoders also come into play on 'May I Have This Dance' and 'It's Alright To Cry'.

While the album does tackle a relatable subject, it's not exactly free from cliché. Heartbreak is something many have experienced, or at least heard about. It seems for every song about something different, there's two Taylor Swift songs about a broken relationship. Lots of this album becomes forgettable after its initial charm. The sentimental and vulnerable nature of the three tracks mentioned before that contain those elements aren't exhibited throughout the record, sadly. Had he kept that demeanor going, Farewell, Starlite! could've been a much greater album.

That being said, it's not a bad album by any means. Francis and The Lights' long-awaited debut is a success, but it could've been taken a step further. The album's relatable nature and somber overtones provide for a heartwarming, if not nostalgic listen. Let's just hope the next album doesn't take a decade to come out, and for the sake of Starlite, that he finds what he's looking for throughout the album: love.

Favorite Tracks: See Her Out (That's Just Life), Friends, It's Alright To Cry

Least Favorite Track: My City's Gone

Rating: 76 / 100

Bon Iver - 22, A Million

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Justin Vernon is a mastermind of folk. His work is critically acclaimed and is always a refreshing listen. Bon Iver, featuring Vernon and his band, is one of Vernon's most acclaimed projects, and their third album 22, A Million has been a long time coming for many fans.

Through three albums, Bon Iver has evolved quite a bit from their acoustic folk debut recorded in an isolated Wisconsin cabin. 22, A Million is a soulful, experimental record that treads away from the indie folk nature of his music and adds a more artistic, if not a bit polarizing. The droning synths of intro track '22 (OVER S∞∞N)' - yes, the track titles are batshit crazy on this album - mesh in a sweet and oddly strange way with the brass and bright strings in the guitar. While it misses the beautiful string outro found on the single release (see our review for that here), it still has that soulful flair.

Also released on the double single was '10 d E A T h b R E a s T ⚄ ⚄', featuring more distorted electronica and creating a feeling for subtle chaos rather than a restrained beauty like the former track. In the same fashion as '22', the track is also missing an extended outro that brought back a sense of clarity on the single version. Right out of the chaotic demeanor of '10' comes the beautiful harmonies of a cappella track '715 - CR∑∑KS'. Vernon's pure vocals dance a captivating dance with the thousands of vocoded vocal lines that make up the track. This album generates its momentum from the soft moments, making something out of nothing in a beautifully simple manner.

This album isn't a full experiment; there are still traces of his folk roots throughout the album. '29 #Strafford APTS' has a true folky sound, piano and acoustic guitar swimming together in sweet melodies. The song does eventually build up quietly with the album's various methods of experimentation, ending with glitched out vocals as pure sing above bright guitars. '33 "GOD"' also has traces of his beginnings, focussing primarily on the piano track than the various elements going on around it. The album ends as softly as it began, but in a different fashion. '00000 Million' is a pure track with no gimmick. It's just Vernon singing over a reverberating piano track in a very soulful way, as if to send the album off on a spiritual note. 

The main portion of the record is, however, quite experimental and odd. Listen to the pulsing, robotic synth of '666 ʇ' as it counts down continuously over the song's play time. The glitchy guitars act as a compliment to the gentle electronics, Vernon's vocals singing falsetto as brass and string punches support his voice. The lyrics are pretty submissive to the tire of life. It's very accepting of an empty feeling, this meaning acting as a dark disposition to the seemingly warm song. '8 (circle)' features smooth choirs and flowing brass sections to make it a beautiful, soulful experience.

Bon Iver's new album may not be a departure from their sophomore record's sound, but it's certainly a retrospective effort all the same. 22, A Million offers a soulful, provocative experimental indie folk experience that no one else can really do like them. It's unique in its emptiness, as if James Black picked up a guitar and moved out to the midwest. The album's mystery is just as beautiful as its sound, and for that it should hold its ground confidently, regardless of progression. Bon Iver can do anything they want and still make something amazing out of nothing.

Favorite Tracks: 715 - CR∑∑KS, 22 (OVER S∞∞N), 00000 Million, 29 #Strafford APTS

Least Favorite Track: 21 M◊◊N WATER

Rating: 84 / 100

Bon Iver - "22/10"

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Indie folk legends Bon Iver have returned with flying colors with the release of a dual single, coinciding with the announcement of their new album 22, A Million (details and the tracklist can be found here). The two tracks released on the single, '22 (OVER S∞∞N)' and '10 d E A T h b R E a s T ⚄ ⚄' may have off-putting titles, but their unique blending of style says otherwise.

"22" is the folkier of the two tracks. Beginning with a continuous synth and a pitched-up vocal, the mastermind behind the band Justin Vernon sings clearly with a longing in his voice as reverberating and twangy guitars kick in. The track is a brilliant buildup of vocal and electronic layering, with tastes of sweet guitar interspersed throughout. The way Vernon longingly sings, "Where you gonna look for confirmation, and if it's ever gonna happen? So as I'm standing at the station, it might be over soon," sounds so heartbreakingly familiar. The song's a love song - it's about how love can get you through moments of uncertainty. The chords of the song progress in such a satisfying way that make the message all the more sweeter, and the symphonic bit at the end is just a beautiful ending.

"10" is a complete different story. Its distorted beat accompanies effected vocals that come in with wonderful harmonies. The vocals of the verse follow the same melodic formula as "22," but sound much more distorted. This track has a bigger electronic and eclectic influence in it than the last track; it's a different vibe. It has a lot of great moments in it, such as the string punches as the chorus takes out the song and the brass section at the end, acting much in the same way as the string section did in the previous song, but with a more bombastic flair, adding a different mood and color to the song.

Both songs appear as extended versions, but according to the track times, are only about 30 seconds longer than the versions found on the album. If these tracks are any indicators of what's to come on 22, A Million, an amazing album is on the way. Let's watch Bon Iver deliver, which won't be a problem for them.

22 Rating:  80 / 100

10 Rating: 78 / 100