Posted in Album Reviews

Review: ‘Sucker Punch’ Soundtrack

Sucker Punch Soundtrack

Released: March 22nd, 2011
Label: WaterTower Music
Purchase: iTunes | Amazon

The Sucker Punch soundtrack was released about a month ago and has generated a large amount of buzz — and has brought itself to last week’s #1 spot on Billboard’s Soundtracks chart. It doesn’t surprise me that it climbed its way there in such a short amount of time; it is genius in the fact that the soundtrack is comprised of uniquely revamped classic covers. It is true that any artist can cover a song and put some of their own flavor into it, but the cover soundtrack made for Sucker Punch is filled with amazing new renditions of songs like, “Sweet Dreams (Are Made Of This),” by Eurythmics and “Tomorrow Never Knows,” by The Beatles.

The soundtrack opens with film-star Emily Browning and her lullaby version of “Sweet Dreams (Are Made Of This)”. Right away, I was immediately impressed with her vocal talent. How many times do you find that you have the main character of a film featured in various songs on the film’s soundtrack that can actually sing them well?

Then comes, “Army of Me (Sucker Punch Remix),” with Björk featuring Skunk Anansie, remade from her 1995 hit single off the album Post that seems to be mellow throughout but ends in shrills, heavy guitar and drums.

“White Rabbit,” covered by Emiliana Torrini, seems to describe being in a surreal universe similar to the plot of Alice In Wonderland; it’s no coincidence that critics describe Sucker Punch as similar to “Alice In Wonderland, but with machine guns.”

The fourth track is one of my favorites — a high-intensity mash-up of “I Want It All”/”We Will Rock You”, featuring the rock music staple Queen with Armageddon Aka Geddy. It is a great balance of hip-hop and rock that anyone could enjoy dancing to.

“Search and Destroy” brings back Skunk Anansie in this solo track with sweet guitar riffs and more of a late ‘80s, early ‘90s punk rock feel.

One of the more noted tracks comes next — a cover of The Beatles’ “Tomorrow Never Knows,” by Alison Mosshard and Carla Azar, that sort of reminds me of “Army of Me”. This is because both tracks clock in at almost seven minutes long and have a more melodic, relaxing feel, but the tracks contrast because of the ending. Five minutes into “Tomorrow Never Knows”, the piano chimes in and then the break-down begins with heavy synths and drums.

Next, my personal favorite track of the album sweeps through. “Where Is My Mind?” by Yoav featuring Emily Browning begins the first verse and chorus with Yoav’s soft voice and then chimes with Browning for the second verse. For the second chorus, they harmonize together to produce a beautiful version of Eurythmics’ hit, and just when you think the track is over, everything speeds up to surprise the listener again; one thing this soundtrack does well.

Track eight, “Asleep,” is again performed by Browning; “Asleep” is another ‘lullaby,’ similar in style to her rendition of “Sweet Dreams (Are Made of This)”. Ballads are her strength because of her calming voice and she nails this track for sure.

The soundtrack closes with “Love Is the Drug” by Carla Gugino and Oscar Isaac, originally by Roxy Music, bringing a sexy vibe to Sucker Punch. Isaac throws soul into the track like it’s no task and Gugino reinforces that this is no ordinary cover.

8.0

Standout Tracks: “Sweet Dreams (Are Made of This)” by Emily Browning, “I Want It All”/”We Will Rock You” Mash-Up by Queen with Armageddon Aka Geddy and “Where Is My Mind?” by Yoav featuring Emily Browning

Review: The Mountain Goats – All Eternals Deck

The Mountain Goats – All Eternals Deck

Release Date: March 29, 2011
Label: Merge Records
Purchase: iTunes | Insound | Amazon

As any seasoned fan of The Mountain Goats (or “Old Goats” as they are so want to be called) will tell you, the group has always been little more than a creative vehicle for frontman John Darnielle. Diminutive and seemingly painfully suburban, he imbues his nuanced lyrics with such an unrefined emotional rawness that Mountain Goats classics like “No Children” and “Dance Music”– apotheoses on love, loss and dysfunctional relationships – manage to be in equal parts deeply personal and arrestingly touching.

By this measure, All Eternals Deck is a starkly underwhelming album. Lyrically, the album seems strained – Darnielle’s once effortlessly sinuous song writing is mired in a slew of simplistic “night/light” ABCB couplets, an unfortunate album trait exemplified in the utterly forgettable “Prowl Great Cain”. This percussion-driven romp, with its clichéd biblical reference and contrived end rhymes, is an insipidly glib experience that is regrettably mirrored in many of All Eternals Deck‘s tracks. The album is thematically unfocused as well – the record opens with an angry meditation on the meaning of freedom (“Damn These Vampires”), diverts itself briefly into an ode to love lost (“Age of Kings”) and finally arrives at a self-depreciating criticism of big-city life (“Liza Forever Minelli”). The only connecting aspect throughout the album is a pervasive sense of dread – when he’s on form, even on musically upbeat tracks (“High Hawk Season”), Darnielle’s interminably candid vocals saturate the record with malaise and foreboding.

Where the album truly comes into its own is within the function it serves for the rest of the band’s catalogue:  All Eternals Deck marks the final stage of the Goats’ progression from Darnielle’s early hushed acoustic work to what is essentially an exercise in vaguely The Hold Steady-esque alt-rock. This is arguably the most obviously produced of the Mountain Goat’s albums, lending inarguably from the involvement of legendary death metal producer Erik Rutan, however the value of his influence on the record is debatable. Darnielle traditionalists will likely resent the unapologetically more accessible direction taken on the album whilst new fans will appreciate its cleanliness. Personal preference notwithstanding, the fact remains that on at least several of the tracks Darnielle’s vocals have had their sincerity buffed out by over-zealous production – gone are the idiosyncratic inflections and intimately delicate intakes of air at the end of lines that shone so clearly in past albums (Read: The Life of the World To Come). The vocal track that remains is often embarrassingly reedy and unimpressive, especially on the tracks in which Darnielle attempts to raise his voice above his typical reserved lilt and into a stirring bellow (“Birth of Serpents”). Significantly, there is an obvious decentralization of Darnielle as the creative driving force of the band – there is a much more diverse instrumental track in the album compared to some of its acoustic guitar-lead predecessors, telling of a more involved contribution from bassist Peter Hughes and drummer Jon Wurster.

All Eternals Deck is by no means a bad album. The lyrics may not be Darnielle’s finest, but at the same time he abstains from counting off the days of the week – he is as always at the head of his contemporaries in this regard. As a typical Mountain Goats record, it takes no excessive risks but is appropriately emotive and sublimely executed. Ultimately, listener enjoyment of this album is largely dependent on their opinion of the band’s back catalogue: an All Hail West Texas purist can be expected to disapprove of the relatively weak writing and intimacy of the record. All Eternals Deck has only promising things to say about the future of The Mountain Goats, and knowing John Darnielle – we won’t have to wait long till we find out just what it entails.

6.1

Standout Track: “Never Quite Free” – triumphantly defiant, a fitting emotional climax for the album.

Review: Toro Y Moi – Underneath the Pine

Toro Y Moi – Underneath the Pine

Released: February 22, 2011
Label: Carpark Records
Purchase: iTunes | Insound | Amazon

Lovely album art, isn’t it? They say that one should never judge a book by its cover, and while it wouldn’t be entirely correct to dismiss Toro Y Moi’s Underneath the Pine on its cover alone, it is actually nice visual representation for the music: dated, a failed attempt at artistry, and generally ugly.

Quickly opening the case and popping in the CD (or eschewing the visual assault altogether with a digital copy), the listener is greeted with the aptly titled intro, “Intro/Chi Chi”. The opening fuzzy synthesizers are nearly as hideous as the album art, but after a minute, drums and bass reminiscent of Twin Shadow kick in, providing some hope for what lies ahead. Unfortunately, despite a few bright spots, much of this hope is in vain.

Pine is very much an acquired taste, and unless one already has an affinity for the muddled, retro sound that Chazwick Bundick, the man behind it all, is trying to convey, there isn’t much to like. It isn’t that he can’t write music; his creative decisions are very intentional and have a particular audience, but the end result will likely sound off to the average listener.

Much of the blame for this sound lies in two sources: the vocals and the synths. Bundick’s high pitched vocals, while unique, have an airiness that makes him sound in near-perpetual falsetto. Needless to say, this only has a limited amount of utility. Instead of clearly defined vocal lines, the singing occasionally comes off more as an off-putting, calculated series of moans (see “Before I’m Done” or “Good Hold”). As mentioned above, there is obviously a stylistic method to his madness, but that doesn’t make the result any less mad.

The biggest problem with the synths isn’t excess, but irresponsibility. Many songs contain background synths which don’t serve much purpose but to outline the current chord. However, in most cases in which they are used, the distortion gives them a very dreary sound, which, combined with the vocals, often drags the entire song down. While it is usually just a case of sounding generally muddy, the background instrument in “Good Hold,” actually a piano in this case, just plays terrible notes that don’t blend with the sound at all.

All of that being said, however, there are a few good songs on the album, and that’s not even a qualified statement of “good compared to the rest of the album.” It is no coincidence that these songs happen to be the singles, the songs that are naturally going to be most accessible. “New Beat” is fairly infectious, vocal weakness aside, with a synth line seemingly torn straight from a Sega Genesis. “Got Blinded” is a fun, vaguely 60s song with wonderfully layered synths, piano, and bass, and a rarity on the album, it even has a memorable chorus. “Still Sound” starts with a strong bass line and three well-blended synths, and the bouncing singing actually has personality. These are fun, memorable songs that are likely the only to warrant repeat listens.

The rest of the songs never seem to rise above the hindering synths and vocals. There are rarely moments that even stick out and make the song overcome the mire of mediocrity. In fact, individual moments in the song may even make things worse. “Good Hold” (notice how many times this song has been negatively mentioned?) may perhaps be most notable for its extreme shift of all sound to the left speaker, which I personally found physically uncomfortable in headphones.

Not even the lyrics can save the songs. Not only are they often drowned out by the music, they are difficult to understand, again due to the vocals. Those that I could make out, with the exception of “Still Sound,” rarely rose above the simple level of typical relationship songs.

I rarely say this when listening to music, but Pine is a largely unpleasant experience. It’s hard to define exactly, but it feels like in some sense, it just lacks “music.” While I normally write it off as not my taste, I can see few people actually getting into this music, with the exception of the singles. Too much of it sounds dreary without justification, and listening to it simply becomes a drag. Bundick clearly put effort into his music, but it nonetheless has very limited appeal.

5.5

Standout Tracks: “New Beat”, “Got Blinded”, and “Still Sound”

Review: Hailey, It Happens – Aurora

Hailey, It Happens – Aurora

Released: April 5, 2011
Label: Self-released
Purchase: iTunes | Amazon

Some of the best things in life just happen – you stumble upon them unknowingly, with absolutely no idea how important they will be to you in the future. But later, after the fact, everything sinks in and the waves of emotion hit. At this point in time, a personal importance is assigned and we’re left clutching at thin wisps of memories. These are the moments when we realize just how lucky we are and what we have run into. Things happen.

Life happens. The other day I stumbled upon electronic pop duo Hailey, It Happens and, for better or for worse, decided to give their debut album a listen. Now, after the fact, I’m certainly glad I did. Their debut albumAurora is pop in the vein of Owl City and Ben Gibbard’s The Postal Service fused with the songwriting talents of Andrew McMahon (Jack’s Mannequin and Something Corporate). Picture a less poppy, more capable Owl City and you have Hailey, It Happens.

“I Gave Her My Heart, She Gave Me a Pen” opens the album with a combination of drums, piano, and synth. Vocalist Chris Cleary’s superb range is highlighted through the chorus – the noticeably high quality mixing by Paul Levitt complements the band’s sound quite nicely, allowing Chris’s voice to really shine. His honest and endearing delivery takes center stage on Aurora. On “Invincible”, Cleary sings, “…and this is where I spent my nights with the king of pop and the piano man”, a warm memory that should be easy for many to relate to.

Holistically speaking, the overall sound of Aurora could be characterized by the natural phenomena itself. The album includes numerous breath-taking moments of sonic brilliance – the music is fun, catchy, and poppy enough to hook you in, but once you’ve been pulled in, the honest, passionate lyrics keep you around for more.

But that isn’t where Aurora shines brightest – the intricacies of the album are what really make it great. It might be a backing synth line from Bobby DiBari on one track or an echoed “woah” on another, but on each song, there’s something unique and inherently beautiful hidden underneath the basic makeup of their music. This is what makes Aurora so good.

Aurora isn’t without its flaws, though, as the duo provide very little variety throughout the course of the eight-track album. For the most part, the songs are all pretty similar sounding with similar song structure and composition. Closing track “Hurricane” is a bit more toned down and is certainly more reserved than the rest of the album, ending the album on a different (and welcomed!) note.

Great things may in fact be better when they are least expected. Things happen. Life happens. I may not know who Hailey is, but Hailey, it happens. Life happens. We’re all just here for the ride.

8.4

Standout Tracks: “Brighter”, “Aurora”, and “Hurricane”

Review: The Streets – Computers and Blues

The Streets – Computers and Blues

Released: February 22 (Europe), March 29 (U.S.)
Label: Warner Bros. UK
Purchase: iTunes | Insound | Amazon

Mike Skinner, rap name The Streets, faced a musical dilemma, but eventually came out on top. His first two albums were quite successful and nearly universally acclaimed. Unfortunately, both of them were about the common experiences in the life of a regular person. With such popularity, one can hardly harvest lyrical material from the same source for later albums.

As such, the two albums that followed didn’t have nearly the impact or the reception that his previous work did. His latest and final album, Computers and Blues, seeks to buck the trend and strike a balance between the two sides of Mike Skinner. All in all, it boils down to his best album in years.

The signature elements of The Streets make a return: the intentionally unpolished laptop-produced music, the unhurried, off-beat rapping, and of course Mike Skinner’s Mockney accent. This time around, he takes his computer beats to a whole new level, incorporating many sounds from the 8-bit era.

This is demonstrated by the opening to “Outside Inside”. The Nintendo-era sounds promptly give way to a Spanish guitar backing the first verse, which sounds odd and hollow until a techno bass fades in beneath it, rendering a sense of completion to the beat. Lyrically, it doesn’t have the deepest content, but a song about getting high does hearken back to the themes that made him popular to begin with, so it does provide a hopeful start.

Unfortunately, the next song is the biggest letdown on the album. “Going through Hell”, has music that just never works for the song, and the lyrics, while meant to be inspiring, come off more as the faux philosophy of his previous album, Everything is Borrowed.

This is deftly overcome by the wondrous “Puzzled by People”. In addition to boasting great beats and some entertaining and clever crossword-based lyrics (“I’m 2 down and you’re 1 across the room/Beginning with I and ending in U/Beginning in my I and ending as an X”), the song hits deep. One can empathize with the feeling of not understanding others, and the simple way he finds meaning in this puzzle is touching.

Skinner implements similar wordplay later on the album in the song “ABC”, in which he attempts to use every letter in sequence as a word, though in that case, it is more of a fun diversion than a serious song.

Compared to his past two albums, Computers and Blues is more personal on the whole.  “Blip on a Screen” strays into new territory for Skinner, with him singing to his unborn child.  “We Can Never Be Friends” is a break up song that stands up well next to his past hit “Dry Your Eyes”. “Trust Me” is a short and sweet song with nice beats and a simple message of unity. The last track, “Lock the Locks”, an ambient song about leaving his life behind, is a perfectly fitting final bow to his career.

Skinner isn’t completely free from his Everything is Borrowed philosophical musings, however. There are a few forgettable songs such as “Those That Don’t Know”, the hiccupping “Soldier”, and “Trying to Kill Me”, one of the only songs that breaks his usually effortless and impressive flow.

Given the turn of his career, some breathed a sigh of relief when Skinner announced that Computer and Blueswould be the last album by The Streets.  Many would rather that he end with mediocrity than continue on a downward path for years. Computers and Blues defies expectations, however, and proves to be a competent end to his career. It doesn’t quite reclaim his former glory, but it’s a good note to leave on.

7.7

Standout Tracks: “Puzzled by People”, “Blip on a Screen”, and “We Can Never Be Friends”