Lambchop - FLOTUS

Indie is fun and weird. It's rare to find an example of something that pushes the limits of the genre. We have an example of such with Lambchop's new album FLOTUS, but keep in mind that pushing the limits does not guarantee quality. 

FLOTUS has a very specific core to it that it doesn't like to tread away from. It lives off of minimalistic folky beats, which are sometimes backed by fairly groovy basslines. Core member Kurt Wagner handles vocals, using a vocoder for nearly all of the record. There's really only one song that doesn't have this formula: opener 'In Care Of 8675309,' which really rings with a more indie flair than an experimental one. Sweet, light guitar leads the track in as a light drum beat follows it with a bright bassline supporting it behind. The vocoder is only half of the vocal as opposed to all of it, which is nice, too. It's eleven minutes long, but it has a lot of groove to it that supports it throughout its play time.

Unlike much of the rest of the record, 'In Care Of' is actually an interesting song. The rest of the album feels like a cheap knockoff of Bon Iver's brilliant release 22, A Million. It lacks the brilliance of that records minimalism and tries to find integrity within the vocoders in the same fashion as Bon Iver, but fails to hit that point. Perhaps having not listened to 22 would have helped the quality of this record, but with that context, it feels weak.

Title track 'Flotus' is a prime example of the two's similarities. It's a sweeter track that has substance to it, but still feels like it came right out of the Bon Iver record. 'JFK' follows it through, really trying to sell the vocoder influence - listen to the lyrics, because there is not way this song had any other purpose than to make the vocoder prominent.

Another flaw with the record is its pacing. After the initial high of 'In Care Of,' you're left with a bunch of weird tracks with synthesized vocals and robotic beats that try to be profound. You find some negotiable parts to pique your interest - the bassline of 'Relatives #2' in the center of the record, for example. But you feel like you're waiting for something more for the entire record. Two singles are tacked onto the back of the record. The first is 'NIV,' a sweet song that falls victim to the fact the the album has the momentum of a snail. It functions a lot better as a standalone sog - the video for it is very profound. The lead single 'The Hustle' concludes the record, and there's a slew of problems with that. For one, why would you release an eighteen minute track as a single? Also, why would you release a track with virtually no substance as a single? There's the standard first half, then the electronic second half that concludes with a nice piano part. It's not awful, but eighteen minutes is certainly unwarranted.

Lambchop fell victim to trying to adjust to fit a new standard too hard. If you're looking for an album like this, stick with Bon Iver. FLOTUS is a largely boring and disappointing record that starts promising but just doesn't find momentum or a solid footing anywhere.

Favorite Track: In Care Of 8675309 (The music video for 'NIV' deserves a shoutout, too)

Least Favorite Tracks: JFK, The Hustle, Writer

Rating: 49 / 100

Bon Jovi - This House Is Not For Sale

No one can replicate the old, feel good vibes of rock nowadays like Bon Jovi can. The group has been pumping out tunes for over three decades now, and their thirteenth record This House Is Not For Sale doesn't change that.

The album's start is huge. Three massive tracks introduce the record with feel good, massive rock vibes. Immediately giving the album some punch is title track 'This House Is Not For Sale,' the bluesy, twangy guitar riffs leading the track with confidence while powerful drums lead the track with loads of drive. It's a feel good drive and makes you want to take a drive down a highway with the windows open - the sign of a good, classic rock track. The big gang vocals cry "I'm coming home" in the choruses, empowering the listener and emphasizing the importance of your roots. 'Living With The Ghosts' continues the momentum set by the first track, the same power present with a bit more restriction and sweeter instrumentation. Instead of pure powerchords, the guitar rings high and with hope in the choruses, piano chords giving atmosphere to track before they become the only instrument playing as the bridge provides a reprieve and builds back up to big heights.

'Knockout' brings out a more alternative and modern rock sound from the band. Jon Bon Jovi's vocals have a slight lo-fi effect to them as the first verse plays through, the percussion pounding powerfully, pairing with the bassline. The intro features some epic stadium vibes, the falsetto vocals and edgy guitar begging for a powerful followup. The first verse doesn't offer that, but the moment finally happens at the end of the track as the part takes the song out on a strong note. Much of the album doesn't have quite the same energy, but a quick burst of the power is brought back near the back of the record with 'We Don't Run.' The badass vibes of the vocals bring back the power and big vibes from the track, the expansive choruses sounding high and powerful.

The problem following that the rest of the album has beyond these tracks is that nothing really reaches the heights that these songs do. There are plenty of notable moments, but none of them having much of a lasting effect. The softer moments on the record, 'Labor Of Love' and 'Real Love,' are chill but definitely mess up the momentum. 'Labor' comes in right after 'Knockout,' eliminating the drive of the three tracks before it. 'Real Love' breaks off what little momentum the rest of the album has, and even while it's sweet, it's basically everything 'Labor Of Love' does better.

The rockier on the tracks on the album don't offer much up, either. Songs like 'God Bless The Mess' and 'Roller Coaster' give some country grit to the record, while others like 'The Devil's In The Temple' gives punchier tones. Both tracks are good, but they don't quite reach a satisfying high. There are some electrifying guitar solos throughout the album, namely in 'Born Again Tomorrow,' but the rest of the songs don't quite support the energy that the solos have. The album ends sweetly, but not well. As 'Goodnight New York' ends, it feels like something should come after it. It sounds like a U2 song, not a closing track.

Bon Jovi hasn't lost energy, but they don't have quite the impact they could have. They put all of their eggs into one basket - the eggs being the standout tracks and the basket being the first part of the record. Nothing really follows through in a satisfying way after the album gets going, but the good vibes carry on throughout. It's a great record for a summer drive, but not quite so for a satisfying listen. Roll the windows down and jam out to this one if you can, but otherwise, don't expect too much else besides some standard tunes.

Favorite Tracks: Knockout, This House Is Not For Sale, Living With The Ghost

Least Favorite Tracks: Goodnight New York, Real Love

Rating: 73 / 100

Lady Gaga - Joanne

It's been awhile, Lady Gaga. She stopped back from the limelight for a few years, taking some time off for herself and other projects. It's been three years since ARTPOP and two since her Tony Bennett collaboration album Cheek To Cheek. She's back with a different sound on Joanne.

Those who didn't appreciate the lack of perfection from ARTPOP may face the same issue on this record. The sad part is that this album tries to be perfect, but falls short in many aspects. The album also has a strong country influence on it, with an old-fashioned twang to them. It definitely takes inspiration from her collaboration album, but it also draws from her own personality.

The album's title is derived from her late aunt. When she passed away, Gaga's entire family was shaken by it. Gaga felt that she had to continue the work of her aunt, who was a painter and a poet, through her music. The title track 'Joanne' is, in Gaga's eyes, the core of the album. The track is built of acoustic guitar, vocals, and a sweet orchestra. It's one of the more stripped down tracks on the record, but a stronger one. It's about her aunt and how she inspired Gaga, her influence and presence in Gaga's heart mentioned in the bridge: "And I'll still love you even if I can't / See you anymore / Can't wait to see you soar."

The album doesn't have any songs that have a dark, badass pop feel like 'Bad Romance', but there are some fun ones. One such example is 'John Wayne', which has guitars supplied by Queens Of The Stone Age's Josh Homme, with some rocky, sensual vibes as Gaga sings about cowboys and dangerous desires. 'Dancin' In Circles' is another fun one, this one featuring Beck. While he seems to be about female masturbation, it has an eastern, mysterious vibe to it that will keep the innocent minds listening content. 'Diamond Heart' opens the record on a pop rock feel, and while the vocals are good, the instrumental feels like it lacks a certain punch. The lead single 'Perfect Illusion' - which we reviewed here - still sounds a bit lacking, but does have an improved mix that makes it somewhat more enjoyable.

Other songs have an old-fashioned vibe to them. The brass section is what really stands out in a few tracks, particularly 'Come To Mama'. The song's brass section is a real highlight, coming full circle with a great saxophone solo that's unfortunately a victim of this album's dodgy mixing. Single 'A-YO' has a country beat paired with some brassy punches, giving some dimension to the song that sounds like it's trying way to hard in the verses to have a certain vibe.

A good portion of this record has a strong country influence to it. 'Sinner's Prayer' has a very country-influenced sound, punchy guitar and piano coloring up the bassline. The country influence doesn't really add anything to the album, per se. It almost feels like it takes away from it, as if it's a gimmick to play towards the theme of her aunt. It's not horrible (despite my distaste with country), but it really feels like there's not much resulting out of the tracks with that influence.

The album ends on a somewhat subtle note. 'Hey Girl' is one of the album's odder songs, Florence Welch of Florence + The Machine and Gaga perfoming a duet above a pretty but edgy instrumental that bounces between pretty harps and choirs and bouncing synths. Both women deliver a powerful performance above the volatile instrumental, giving the song two distinct layers that doesn't necessarily work in its favor. Closing track 'Angel Down' is a beautiful track, Gaga's vocals resonating throughout the song's atmosphere as if she's singing at a funeral. It's a very sweet ending with a beautiful instrumental, the lyrics gently flowing with words about the modern world's problems - specifically the murder of Trayvon Martin - and Gaga's confusion. It's a very raw song, done more masterfully than the country tracks and really highlights Gaga's voice.

Joanne is neither an improvement or a downgrade of ARTPOP. Fans will likely feels just as alienated, or perhaps as disappointed as the former if they didn't appreciate it, but others may rejoice. Lady Gaga takes a rawer approach to this record. It's plagued with faulty mixing and a potential gimmick, but it's what Gaga wanted to make. Can't fault her there.

Favorite Tracks: Angel Down, Dancin' In Circles, John Wayne

Least Favorite Tracks: Sinner's Prayer, Million Reasons

Rating: 72 / 100

Kings Of Leon - Walls

Kings Of Leon have really fallen off of their throne. They always had that alternative rock meets country vibe that really had a sweet sound on the radio, but it seems that it's not working for them anymore. Their seventh album Walls is not a good sign.

For what it's worth, the album does have the Kings Of Leon charm. There's a lot of twangy guitars that give their alternative rock label a country tinge, especially evident in 'Around The World'. The beginning half of the album is mostly tolerable and a generally enjoyable listen, with the indie rock track 'Waste A Moment' opening the record in a standard way - nothing special, but nothing to scoff at, really. The same sound is continued in 'Reverend', which really has nothing else to offer besides its upbeat vibe. 

That's about all the praise the album can get: an okay start. It all falls apart after 'Over', the six minute track with a cool bass tone that leads nowhere. The issue with this album is that it really has no meat to it. There's no punch and no grit that can make any song grab you in the core of it. All momentum is lost in 'Muchacho', a weird song that tries to be overly dramatic while having a weak instrumental and weak lyrics. This theme continues throughout the rest of the record, 'Conversation Piece' and 'Eyes On You' offering up nothing new or exciting as they follow. 'Wild' makes it even worse, in fact. The album's closer track is single 'WALLS', which we reviewed upon its release (check that out here). The song is still as aimless as it was as a standalone, not progressing in its five minutes and burning out at the end of an album that's already struggling to stay alight.

The only redeemable track on the entire record is 'Find Me'. It's the only song that has a real sense of conviction and direction. It's laced with sweet guitar lines and punctuated chords that build tremendously to a feel good ending. The guitar work is pretty solid on the track, especially evident in the choruses, the nice moments offered up amongst the great melodies and sweet atmosphere. Why the rest of the album couldn't sound like this is beyond me - this is the sound that works; not the half-assed minimal rock tracks that try to sound deep.

Kings Of Leon are losing their steam. Their past efforts were both with largely negative appraisal, and it seems that Walls will be no different. With very few redeemable moments, it's hard to give this album any credit. They tried, but their efforts don't seem to have been enough to satisfy what the band and their fans were needing.

Favorite Track: Find Me

Least Favorite Tracks: Muchacho, Conversation Piece, Walls

Rating: 54 / 100

Kings Of Leon - 'WALLS'

Kings Of Leon made a reputation out of their country meets indie rock sound. Their seventh album WALLS is due out next month, and they've now shared the second single from the album, the title track 'WALLS'.

'WALLS' is less of a touching song and more of a formulated attempt at it. The song's pretty simple - acoustic guitar, reverberating piano, and heartbeat kick drum, a lowly mixed distorted bass, and the occasional synth. Caleb Fallowill sings with a bright, country timbre throughout, singing about breaking down barriers between people. A bass synth slowly pulses in and out, an sometimes guitar plays a note.

That's just about it with this song. Outside it's initial charm, it doesn't really go anywhere. It misses a climax or any memorable hook to bring it anywhere. The music video certainly doesn't help that either. It's a slow zoom into Fallowill playing guitar and singing, and then he just starts... moving. It's incredibly awkward and the way he stares into the camera without any life in his eyes makes you feel uncomfortable. The video his little to do with the premise of the song.

The problem with 'WALLS' is that it's very underwhelming. There isn't any punch to it, nor is there any point in it being an acoustic track, since there is no emotional attachment to any of the instrumentals to the vocals. They set a tone but not a message, which is where the song fails. There's none of the band's signature vibes to it - the electrifying guitar lines, the catchy melodies, nothing. This song would be miles better if it built up to something bigger. Being a purely acoustic track does not suit it.

Kings Of Leon aren't heading in a hot direction if 'WALLS' is the title track of the album. The title track is usually the essence and heart of the album - 'WALLS' is more of a resting pulse than the core of something meaningful. With the album ahead in less than a month, all we can hope is that there's more to it than this track puts off.

Rating: 58 / 100

Passenger - Young As The Morning Old As The Sea

Folk music is characterized by its lyrics. There's always a lot of mystery and searching found within the words. Passenger has shown to have a mastery of the ability to tell stories with his words. Eight albums have taught him a lot; his eighth record Young As The Morning Old As The Sea is a testament to that.

Known for big hits like 'Let Her Go' and the country-tinged 'Shape Of Love', the singer has seen mild success throughout his career. That never seems to get to him, though. The English singer is forever humble, singing about fulfilling his own dreams and facing his memories throughout Young As The Morning.

The album begins in a less thought provoking manner, and more in a feel-good way. Intro track 'Everything' sees him singing the story of his own success: the first verse ends with "Then you get something / Something that you've always dreamed about / When you got something you've got something to lose," referencing 'Let Her Go' - the song he wished he could always write and have it resonate with so many people. The chorus goes on to condemn humanity, saying that people will take everything from you - but you should give them your best. A peppier number follows up with 'If You Go', a song about the mysteries of the simplistic things of life, the cheerful attitude accented by punchy trumpets, sweet guitar arpeggios and bright acoustics. 

The indie vibes are strong on this one. The riff for 'Anywhere' screams indie, and the gospel organ helps take that a step further. The great vocals from Passenger also resonate a nostalgic vibe above the sweet harmonics, creating a hopeful atmosphere. The third song 'When We Were Young' is a chilled back track with sweet strings backing the clean guitar. Beautiful melodies paired with a sweet sentiment about young love bring about a very peaceful track. The warm guitar solo provides more dreamy substance to the song's slow moving body.

The true folk element kicks in during the second half of the record. The title track 'Young As The Morning Old As The Sea' has a urgency in the sweet arpeggiating guitar and pounding drums. The great guitars follow wanderlust lyrics, as Passenger sings about exploring the world to discover his roots and everywhere he's dreamed of going - he wants to be free, as "I wanna be free as the winds that blow past me / Clear as the air that I breathe / Young as the morning / And old as the sea." Acoustic goodness continues in tracks like 'The Long Road', which has a sweet vibe and is punctuated by reverberating slide guitar. 'Fool's Gold' is much the same, orchestras and a more upbeat drum beat replacing other elements along with the acoustic guitar. Passenger's message of finding happiness in the little details of life are supported by subtle background vocals, making the track resonate that much more. The atmospheric guitar intro of 'Somebody's Love' lead into a similar structure as 'Fool's Gold', but the highlights of the song are its fantastic instrumental moments and sweet melodies.

The acoustic guitar dances with piano in 'Beautiful Birds' featuring Birdy (perfect). The harmonies between Passenger are Birdy are as intertwined as the grace of the acoustic guitar and piano - pure bliss put under a somber light. It's almost heartbreaking - the two moving lines trapped in a tragic but beautiful dance as the lyrics hauntingly chant "You said you loved all the songs that I'd sing / Nothing that you'd ever heard / And I said I loved you with all of my heart when / We were two beautiful birds" in a stunning duet. Piano makes a return in 'Home', the album's closing track, but in a more upbeat fashion. The piano leads the song as acoustic guitar strums brightly, being carried by a light drum beat. The song is a sweet and cute ending to an even more sweet record, the beautiful reverberations of piano and strings closing the album as they fade out blissfully, like the final flakes of snow on a winter morning falling from the sky as the sun begins to peak through.

Passenger is a master of storytelling. It's hard to believe he isn't more renowned - his abilities certainly deserve it. Young As The Morning Old As The Sea is like a life story: it's about the dreams and wishes of wanderlust and hope Passenger has experienced throughout his life. It leaves you wanting something; not necessarily more music, but just something you can feel and hold onto. This album taps into your own wishes and more peaceful times, providing for an emotional and peaceful journey. When you step out into the world to find those dreams you want to follow, take this album with you.

Favorite Tracks: Beautiful Birds, Young As The Morning Old As The Sea, When We Were Young, Home

Least Favorite Track: Anywhere

Rating: 88 / 100