Awesome Halloween Songs

I know we only have a few hours left of this wonderful day of candy consumption and scary costumes, but in celebration of Halloween, I've decided to share with you some awesome songs that are just right for this wonderful occasion! Some of them you know very well, and some of them you might not, but either way, they're sure to make your night!
Ok leggo:

Modest Mussorgsky: A Night on Bald Mountain
My all time favorite, this piece starts off with eerie violins and doesn't let up for a whole 11 minutes. To get a better visual, here's a link to the Fantasia 2000 production WARNING: It's abridged and taken at a very fast tempo, but it gets the point across :)

 http://www.youtube.com/watch?v=gMmfaaiWMEs


Camille Saint-Saens: Danse Macabre
My second all-time favorite, this piece pioneered the blatant use of an interval known as a tritone. It's supposed to represent the devil, and the whole dance is centered around his minions making mischief in the night. Here's a PBS adaptation of the piece:

http://www.youtube.com/watch?v=9CHqhsMP80E


Michael Jackson-Thriller
Ok, you know I had to throw this in here. Not only is the subject matter perfect to this day, but its musical video changed the game for all music videos. This was the song that truly propelled Jackson into a bonafied king of pop. Here's the whole video!

http://www.youtube.com/watch?v=sOnqjkJTMaA


Evanescence-Going Under
This is just one of the many apocalyptic and/or foreboding songs in this band's catalogue. But this song as a ghoul-dripping video to match, and Amy Lee's sinister delivery of the words makes it a Halloween staple. The music video, of course:

http://www.youtube.com/watch?v=CdhqVtpR2ts


AC/DC-Highway to Hell
Need I say more?

http://www.youtube.com/watch?v=l482T0yNkeo


Rockwell-Somebody's Watching Me
With Michael Jackson lending back-up vocals, it's no wonder this tale of constantly looking over your shoulder is perfect for the season.

http://www.youtube.com/watch?v=7YvAYIJSSZY


Ray Parker Jr: Ghostbusters
Who do ya call? Ray Parker Jr. of course! Unlike the rest of these songs, this one topped the Hot 100 in 1984.

http://www.youtube.com/watch?v=KvkKX035484


Enya-Cursum Perficio
What??? The queen of gentle new-age pop actually has a scary song in her catalogue? You better believe it, put this one on full blast, you're sure to have a fright!

http://www.youtube.com/watch?v=mdz-v0sOTiI

Enya-Boadicea
Oh wait, didn't I tell you she actually she actually has TWO scary songs up her sleeve?

http://www.youtube.com/watch?v=RB64c9Uxgz4


Igor Stravinsky-The Firebird Suite
To end this mini-playlist, I leave you with this, one of Stravinsky's most recognizable works (and one of his best if I might add). The Fantasia 2000 adaptation of this is much better and it illustrates the ideas of the piece extremely well.

http://www.youtube.com/watch?v=_HT6TMCe8gY


I realize there are many, many other great Halloween songs, but these are just a few of them. Have a scary good Halloween!! mwahahahahaha

Why "Wicked" is Awesome

"So Much Happened Before Dorothy Dropped In."

Indeed. By now, we all know the story of The Wizard of Oz, as well as the numerous adaptations to the tale. What we've also seen alot of, is the speculation of what necessarily happened before Dorothy got sucked into that nasty tornado and stumbled upon this magical world. There was "Oz The Great and Powerful" back in March 2013, but the only storyline that remains the most captivating, as well as the most enriching, is Stephen Schwartz's musical "Wicked".

It premiered on October 30, 2003 in the George Gershwin Theater to rave reviews and a massive fan following soon after. With the help of Kristen Chenoweth and Idina Menzel, "Wicked" transcended upon its release and now, exactly 10 years later, it's still a front-runner in the Broadway community. There's no question that "Wicked" is bad-ass, but the question here is, why? What elements about it drew in so many people? What exactly resonated with them?

Since this is MaestroBlog, of course I will be focusing mainly on the music, which is epic in about every sense of the word. From window-shattering power chords to poignant and subtle melodies, the score to "Wicked" is in prime form. Not only is the music at once pleasing to the ear and deep with lush sonic detail, but the text gives it en extra bite. That's one awesome part of any musical, being able to quote it endlessly without care or abandon. How many of you have been awfully inspired by "Defying Gravity", with its stance on individuality and Idina Menzel's loud and proud performance of it? Or how about "Popular", where Glinda sneers about appearances being more important than brains? Surely that must have resonated with you, either positively or negatively. Then there's the moments of deep introspection and philiosophical questions. For example, doesn't "I'm Not That Girl" get you every time? Its message of feeling not good enough for love is so simple yet understandably universal. And in "No Good Deed", Elphaba asks, "are good deeds just a plea for attention?" and then screams "no good deed shall go unpunished!". That's some deep stuff right there, because it not only forces you to examine Elphaba's character more carefully, but also the world around you. There's merit to her question, are all good deeds done for the greater good of society, or for the greater good of our egos? Now let's go back to the beginning, where Glinda asks us, "Are people born wicked? Or do they have wickedness thrust upon them?". That's also another excellent obversation of human nature, was Elphaba born to be bad? Or was the constant bullying she endured the catalyst for her wickedness? Both options are feasible, because as "Wicked" points out right away, the Wizard isn't the great guy we thought he was.

That's the next reason why "Wicked" is so amazing, it shows that not only was Elphaba a victim of evil herself, but the Wizard is indeed not the good guy after all! He had an affair with Elphaba's mother, and if he didn't feed her green elixir, Elphaba wouldn't have been born green, and maybe, just maybe, she wouldn't have turned into the wicked witch of the west. I mean once you think about it, the wizard is kind of a douche. And this just isn't proved in this particular musical, basically every backstory of the wizard told paints him as a manipulative man that lies to get what he wants. This means that the initial perception that "The Wizard of Oz" gave us was wrong, and the question of who's evil and who's not has become more complicated, because as "Wicked" so adeptly points out, there's never any surefire answer. We all go through hard times, and some people get hardened by those experiences, but that doesn't mean that they were destined to be a certain way. Fate certainly wasn't on Elphaba's side, and by the end of the musical, you find yourself rooting for her instead of the Wizard or Dorothy. And that's what makes the music stick, the extremely emotional plotline that grabs your heart and squeezes sadness, pity, joy, and sorrow throughout its two acts and 19 musical numbers. It really makes you think of the characters of "The Wizard of Oz" differently, that's true, but "Wicked" is so much more than that. Also to its genius, this musical is enjoyable on just the surface with its hooky songs and deft production set-up courtesy of Mr. Schwartz, that it's great to enjoy just at that level. But there's more for wider and older audiences too, like questioning human motive, bad versus good, popularity, love, self-importance, morals, and overall life in general. All characters are developed in some territory, and by the last time we hear "No one mourns the wicked", we now see them all in a different eye.

"Wicked" would've been one of the best broadway musicals ever if it just focused on creating great music or adding rich detail to the story, but since it does both, it's just stunning. Both musically and visually, this is a musical that sucks you in the moment the curtains rise, and once they fall, "Wicked" has accomplished its task of offering solid entertainment while changing your world view. Other musicals have approached this depth, but they haven't quite fulfilled it like this one has. All in all, it's simply full of life; raw, hard, beautiful life, life that has twists and turns, but no matter what the outcome, you have been changed. For good.

"Who can say if I've been changed for the better? But because I knew you, I have been changed for good"

Miranda Lambert-"Revolution" Review

After delivering the excellent "Crazy Ex-Girlfriend" in 2007, Miranda Lambert was on her way to becoming country's next big superstar. "Revolution", her third album, certainly doesn't shy away from this inevitability, starting with the album title itself going all the way down to its big choruses and pop melodies. With every record she makes, Lambert steps into the mainstream just a little bit more, but this is hardly in the vein of Taylor Swift. "Revolution" is loaded with banjos, twangy guitars, two-step rhythms and another great delivery of Lambert's smooth vocals in order to set it apart from country-pop, even if this record is the poppiest any country album has been in years. It's no small feat, and as "Revolution" proves, it couldn't have been made by any other artist in the 2000s. Lambert re-defined the country market with "Crazy Ex-Girlfriend", so she was free to keep following that path of rousing country-rock and great ballads. The only real difference between "Crazy Ex-Girlfriend" and this is mainly length--most country records clock in at 40 minutes and twelve tracks, this has fifteen tracks and runs a staggering 51 minutes. Obviously, Lambert isn't playing around, she intends to deliver what she promises, and she certainly has no problem in her execution. "White Liar", the purest piece of country-pop here, opens the album and is incidentally the longest song on this record. It successfully combines country and pop in equal measures, unlike "Love Story" or "You Belong With Me" from Swift. No other song on "Revolution" may be as delectable as its first track, but that's hardly an issue. "Only Prettier" follows it, and is sung with Lambert's signature back-handed sneer, while the ballads "The House That Built me" and "Dead Flowers" add a nice change of pace from what's otherwise an arsenal of the finest country-rock around. What makes all of these songs stick is Lambert, a restless artist who never ceases to amaze with lyrical depth or varying sonic layers in the music: "Maintain the Pain" could have been a Duran Duran record, and "Sin for a Sin" echoes fellow country star Blake Shelton (no surprise as he co-wrote the song). "Revolution" is far from revolutionary--all songs here are crafted exquisitely, but are not unfamiliar or experimental enough to completely change the game--and as previously mentioned, time does become an issue, as the album sags mid-way through and has trouble getting the party re-started. But these mistakes can be forgiven, after all, Miranda Lambert has already racked up an impressive record in fine music, and thankfully "Revolution" doesn't disappoint.

Recommended Tracks in Bold:
1. White Liar                                    2. Only Prettier       3. Dead Flowers
4. Me and Your Cigarettes               5. Maintain the Pain          6. Airstream Song
7. Makin Plans                8. Time to Get a Gun         9. Somewhere Trouble Don’t Go
10. The House That Built Me                              11. Love Song
12. Heart Like Mine                                                13. Sin for a Sin         
14. That’s the Way the World Goes Round                     15. Virginia Bluebell  

Miranda Lambert-"Crazy Ex-Girlfriend" Review

She didn't win Nashville star in 2003, but Miranda Lambert is certainly the ultimate victor in this situation. Her not taking first prize freed her from expectation, no longer required to prove that the show is a vehicle for success. In the wake of her loss, she created "Kerosene", a sunny, polished country album that was unabashed in its portrayal of Lambert as a survivor, someone unaffected by rejection or abuse. She expands on this blueprint in her second album, "Crazy Ex-Girlfriend", and it certainly lives up to that title. When Lambert is not threatening to pull the trigger on her abusive boyfriend in "Gunpowder and Lead", she's stalking her no good ex and his girlfriend in the excellent title track. Both songs match their cynical lyricism with gritty, deep-throated guitars and drum sets, bridging the gap between country and mainstream rock better than anyone else in 2007. And those aren't the only highlights here: "Down" is a pessimistic mid-tempo about unable to control the urge to break a few hearts in the quest for love, and "Dry Town", as cliched as it might be for a country song, is a roots-rock adaptation of wanting alcohol in a town in the middle of nowhere. Oddly enough, this doesn't play as red-neck as it reads, and neither does this record. "Crazy Ex-Girlfriend" is a showcase of Lambert's deft songwriting skills as well as a eleven-track artifact that crystallizes her sound, which is unlike any other country artist in the 2000s. She makes drinking seem like a necessity, guns essential, attitude a requirement and all the while delivering these themes over anything but honky-tonk grooves. Check out "More Like Her", a straightforward ballad that wrings emotion from its simplicity and Miranda's unflinchingly real delivery, or "Guilty in Here", which is country in form but pop in feel. Every song here is a success in some territory, either in its classically strucutred hooks or the strong on-record persona of Lambert. If there's a ballad too many here, it's not entirely dissatisfying. If the tough-girl schtick seems genuine in the rock songs but a facade in the ballads, resistance to accept it is futile. You simply can't argue with music this good, especially when it reaches out to an audience beyond the strict country market without ever sounding like she's breaking convention. Her tight melodies and impeccable eye for lyrical and sonic detail weave mass emotion into these songs, resulting in an album that doesn't sound like country, pop, or rock, but rather, the signature of an artist already redefining what it means to be a country artist. "Crazy Ex-Girlfriend" is the perfect album to suit the bill.

Recommended Tracks in Bold:
1. Gunpowder and Lead   2. Dry Town           3. Famous in a Small Town
4. Crazy Ex-Girlfriend      5. Love Letters         6. Desperation
7. More like Her                     8. Down                     9. Guilty in Here
10. Getting Ready                  11. Easy from Now On

Katy Perry-"Prism" Review

 

Somewhere between the six number one singles, 3-D documentary, and complete domination of the radio in 2010-2012, Katy Perry became a certified superstar. She also went through two heavily publicized relationships with Russell Brand and John Mayer, both of which serve as the basis for Perry's fourth album "Prism". Originally intended to be 'darker' than her previous albums, it comes as no shock to see a change of heart within both the sound and intent of this record. It's not completely off-track from "Wide Awake", the final single from the "Teenage Dream" era, but it's also not as serious or heavy-footed as Perry initially let on. This is proven right out of the gate with the opening track and lead single "Roar", another song built for self-empowerment, all riding on a shouting chorus and marginal drum-beat. While it certainly isn't the best song on this album, it's an accurate portrayal of its feel and intent. Indeed, there are emotions here that have been previously avoided in Perry's albums, but she confronts them head on, giving a presence of warmth and a for once, a humane personality. That's not the only thing that Katy achieves, however. She gives "Prism" light and shade through its thirteen tracks, layers of varying sonic detail, and while there arises some repetition in production all helmed by Dr. Luke and Max Martin, no two songs sound exactly alike, which successfully paints this record in different colors and styles. This all makes "Prism" live up to its title, and even when it confronts the thorny issue of divorce, there's an assured sense of purpose that underpins both the track and Perry's delivery of the all-too-obvious lyrics. 

However, there's another edge to this sword. Musically, this is Katy Perry working at a peak of artistic ability, matching her ambition with some truly astounding songs. Problems arise when the lyrics come into play, as Perry is still prone to some bad habits. The most obvious setback is her obsession with pop culture: "Roar", while being an homage to Sara Bareilles in composition, also refers to Survivor with squeezing "eye of the tiger" in its melody. "Walking on Air" not only mentions Madonna's album "Erotica" in its opening verse, it sounds like her 1990 hit "Vogue" almost a little too well. Juicy J comes in to drop a Jeffrey Dauhmer reference in the trip-hoppy "Dark Horse", and "This is How We Do" name drops Chanel as well as fusing Mariah Carey with the word karaoke. These references also manifest in implicit ways as well: "International Smile" is essentially a minor-key version of "Digital Love" by Daft Punk, "Birthday" sounds like it was ripped from Madonna's early records, and occasionally a digital symphony works its way into a track a la Owl City. So on a deeper level, "Prism" does not successfully paint Katy Perry as a figurehead of her own pop enterprise. This in turn shifts focus to the surface, which is glossy enough to make this record thoroughly enjoyable just at that level. And that's not a bad thing, as Katy's career has always depended on her ability to deliver one gargantuan pop song after another. This pattern is kept in tact with "Prism", even if the first listen doesn't quite let all of its curves unfold. It'll take a few spins for each song to lay out, but it makes this record all the better for it. Katy is still in the process of finding a sound and style entirely her own, but in that quest, she's wound up with this: a big and polished set of songs that beg for you to play them over again. More than ever, Perry has found the balance between tasteful and tacky. "Prism" never offers a summer anthem like "California Gurls" or a monster-sized hook like "I Kissed a Girl", but that doesn't stop it from becoming Katy's best album.

Recommended Tracks in Bold:

1. Roar                                   2. Legendary Lovers              3. Birthday

4. Walking on Air               5. Unconditionally                  6. Dark Horse

7. This is How We Do       8. International Smile            9. Ghost

10. Love Me                            11. This Moment                    12. Double Rainbow

13. By The Grace of God

Tegan and Sara-"Heartthrob" Review

Already proven formidable rockers with "Sainthood" in 2009, sisters Tegan and Sara had nothing left to prove in 2013, so they were free to do whatever they wanted. They hinted at this shift before, but not even their most ardent fans could have predicted just how deep Tegan and Sara would dig into pop. "Heartthrob", their seventh album, was introduced by lead single "Closer", which rushes in with heavy synth chords and the most successful 80s update heard yet in the 21st century. It's the kind of song that not only highlights Tegan and Sara's skills, but it also points out just how mundane the rest of pop can be. That's not all they had to do, though, since the last time they made music, pop was still centered in rock, not EDM. The shift in the mainstream meant a major overhaul in the overall sound of the Quinn sisters, but they're nothing if not smart. They chose Greg Kurstin, the master of rock to dance crossovers, as their collaborator for "Heartthrob", and they created a 36-minute, 10-track monster that might as well be a musical thesis of a relationship. "Closer" pays homage to hooking-up, while the new-wave rocker "Drove Me Wild" feasts upon unapologetic sexual scenarios. Elsewhere, the long-acquainted subject of heartbreak rears its head in the album's best tracks: "I Was A Fool" is a piano-driven ballad that thrives on an epic drum-beat, "Now I'm All Messed Up", another ballad, experiments with more electronica elements like background vocoders and ostinato drum machines. The rest of the album restlessly shifts between sounds and moods, going from the new-wave kiss-off "Goodbye, Goodbye" to "I Was a Fool", and then back to electro-rock with the single ode to individuality "I'm Not Your Hero". The first half of "Heartthrob" packs a punch so great, the second half is where problems start occur. "How Come You Don't Want Me?", a plea to reconcile, falls short in its attempt to combine indie-rock with pop, and "I Couldn't Be Your Friend", yet another break-up song, is lyrically focused but musically lacks a strong hook to bring the emotions out of the surface. The album ends on the bleak "Shock To Your System", which isn't terrible by any stretch, but its stripped-down, straightforwardness pales in comparison to the colorful indie-tronica that was established in the first half of the record. Thankfully, though, the majority of "Heartthrob" compensates for its tediousness with words that are intricately woven into these songs, feeding off of each other like all good pop should. While some lyrics fall into cliché ("Love they say it heals all wounds/removes the hurt in you", in the excellent rock ballad "Love They Say"), most often they present a syntax not at all common in pop music ("You seem like you're so restless, young at heart/who gave you reason?"). While most artists of the 2010s work tirelessly to place equal emphasis on surface pleasure and lyrical depth, Tegan and Sara have been perfecting that art for years, so most long-time fans will embrace the unabashed glossy sheen of "Heartthrob" because their musical integrity remains untouchable. It may not win many converts, but it ultimately doesn't matter, this record is a great start to 2013, hopefully the rest of the mainstream will follow suit.

 

Recommended Tracks in Bold:

1. Closer                                2. Goodbye, Goodbye 3. I Was a Fool

4. I’m Not Your Hero       5. Drove Me Wild      6. How Come You Don’t Want Me

7. I Couldn’t Be Your Friend 8. Love They Say    9. Now I’m All Messed Up

10. Shock to Your System

Miley Cyrus-"Bangerz" Review

In hindsight, the only disturbing part of Miley Cyrus' VMA performance was how anti-climactic it was. For about five years now, she's done everything possible to distance herself from the clean-cut "Hannah Montana" image: posing half-naked in magazines, barely there clothing for live performances, drug use, a weirdly celebratory music video about dancing with Molly and getting lines in the bathroom, and throwing around a few profanities for good measure. Come time for her big, bold statement that she's now all grown up, it turned into something quite tragic, as there really was nothing entertaining nor progressive about fondling Robin Thicke with a foam finger. To most, that garish performance proved to be the end of Miley Cyrus as a notable artist, but in actuality, it may not have been that pivotal a moment. If anything, the VMAs was just one in a part of a long, ceaseless promotional parade for her fourth album "Bangerz". In many interviews prior to its release, she touted it as her debut album; a brassy, bullheaded record that was her first since the end of "Hannah" in 2011. She also stated that the albums title comes from having "nothing but bangerz", also implying that she would have it set on the clubs more than her previous outings. While "Bangerz" definitely presents us with a Miley ready for a long night out, her vision is certainly not suited for the dance floor. Besides "We Can't Stop", an excellent mid-tempo cut that just gets catchier with repeated listens, the rest of the album is loaded with slow hip-hop jams (check out "My Darlin", a duet with Future and one of the worst songs Cyrus has ever recorded), a couple power ballads ("Wrecking Ball" to name one, a full-blown outpour of emotion, which in contrast to "My Darlin" is one of Cyrus' most affecting and best songs), and finishing off the list are a few manic, messy hybrids of Ke$ha's electro-pop and grimy hip-hop (Cyrus' duet with Britney Spears, "SMS (Bangerz)", is the album's shortest song, as well as it's most disappointing moment).

While "Bangerz" certainly isn't the worst Miley could have done, there's also a feeling of anti-climax that comes along with the first listen. All of her flaunting and brashness of her VMA performance has been channeled through her ambition, but not her music. Mostly helmed by Mike Will Made It--his name is mentioned in virtually every song--he and Cyrus has crafted thirteen songs that certainly portrays a different Miley, one that's sexed up and dressed in hop-hop hand-me-downs, but also don't get the job done of portraying her as a mini-Madonna. She pays homage to the queen by using the line "love don't live here anymore" in the EDM closer "Someone Else", but it's not enough to fully form what Cyrus tries so desperately to be. While there's certainly nothing wrong with having grand ambition, "Bangerz" is one of those records that would have been much better off without the excessive effort. This is proven with the opener "Adore You", an easy listening ballad that might as well be a love letter to her new-found self. It, along with another notable break-up song "Maybe You're Right", are remains of that sweet, young girl that Cyrus tries to hide, but cannot subdue. She's only in her twenties, so she still has much to figure out, but still, with all the exertion elsewhere, she could've had something special here. What's missing, then, is something special here, a chorus, a production, a fiercely unapologetic personality that is on course with Cyrus' public persona. Without exceeding expectations in any of these areas, "Bangerz" winds up being just fine. It might capture Miley's rebellion more consistently than "Can't Be Tamed", but it has virtually none of the fresh, hooky productions that made it surprisingly irresistable. Ultimately, though, there are enough good moments (one more being the twangy Nelly duet "4x4") to make "Bangerz" neither the disaster, or unfortunately the triumph, it could've been.

Recommended Tracks:
1. Adore You           2. We Can’t Stop     3. SMS (Bangerz)
4. 4x4                         5. My Darlin’               6. Wrecking Ball
7. Love Money Party  8. #GetItRight          9. Drive
10. FU                         11. Do My Thang        12. Maybe You’re Right
13. Someone Else

Miley Cyrus-"Can't Be Tamed" Review

Who knew all Miley Cyrus wanted was to be a star in her own right? "Hannah Montana", her TV show that depicts her leading two lives willingly and joyously certainly didn't give that impression. But no, Cyrus' teenage rebellion is real, going as far as dressing in revealing clothing while singing the lines "I can't be tamed/I can't be blamed/I can't be changed". The lead single and title track may indicate Miley's intention for her second full-length, but in actuality, that song is easily the worst moment on what's otherwise a synth-driven, empowering set of songs. The album opens with "Liberty Walk", one in many songs to address freedom from naysayers and more importantly, the haters. Also included in this statement is the excellent "Robot", buried at the end of the record and is what the title track should have been. It goes head first into the trials of product placement and perfection that dominate Cryus' life ("Stand here, sell this, and hit your mark"). These words are placed over a stark, and intentionally, robotic assortment of vocals and abrasive synths. This is not a far cry from the recent club-trends headlined by Lady Gaga in 2010, but this too was also part of the plan, as Cyrus is still signed under Hollywood Records (Disney's 'adult' label). What she threatens to achieve has been turned into pure ambition by the caliber of songwriters and produces all determined to keep her on the fine line of kid-friendly and adult territories. Surprisingly, this actually helps "Can't Be Tamed" to become a sturdier, hookier album than Cyrus could have made, when left to her own devices. This ultimately undermines the intent and purpose of this record, but that's also partly due to Cyrus herself. No matter how much she tries to be sexy, daring, or suggestive, her still forming vocals and slight naïveté only prove that she can combat "Hannah Montana" all she wants, but deep down, she's just not that kind of girl. She's innocent enough to pull of the twangy ballad "Forgiveness and Love", passionate enough to give "Take Me Along" a genuine emotional pull, and the album's closer "My Heart Beats for Love", thrives on her warm and sweet intentions behind it's arena-rock set up. Also included in the mix are the club bangers "Who Owns My Heart" and "Permanent December", which owe serious debt to both Lady Gaga and Ke$ha, respectively. Besides that ridiculous title track and the drippy ballad "Stay", "Can't Be Tamed" is much fresher than Cyrus lead us to believe, and a lot catchier too. She may not be ready to fully tackle the sexual exploits that she wants to, but even so, there's something to be said of the fact that she continues to turn out albums with more than their fare share of unabashed, country-tinged pop. She even pulls off "Every Rose Has Its Thorn" with efficiency and grace, what other 17-year old Disney starlets can do that?

Recommended Tracks in Bold:
1. Liberty Walk                   2. Who Owns My Heart    3. Can’t Be Tamed
4. Every Rose Has Its Thorn 5. Two More Lonely People 6. Forgiveness and Love
7. Permanent December 8. Stay                                     9. Scars
10. Take Me Along                 11. Robot                               12. My Heart Beats for Love

Lorde-"Pure Heroine" Review

Lorde, born Ella Yellich-O'Connor, is only a month away from turning 17, but you would never suspect as much since her debut single "Royals" was so subtle in both its production and lyrics, it couldn't help but to conquer the global market. A song like that doesn't come along that often, and neither does an artist like Lorde, as her debut full-length "Pure Heroine" proves all too well. Besides "Royals", there are many other cuts here that build off the same stripped down template, such as the opener "Tennis Court" or the magnificent ending triptych of "Still Sane", "White Teeth Teens", and "A World Alone". The latter song crystallizes Lorde's execution and approach; a mix of Ellie Goulding's indie-tronica and Lana Del Rey's cinematic hip-hop beats. For a 16-year old, Lorde doesn't seem all that eager to prove that she's a serious or complex artist, but rather, she lets her melodies be, accessorizing with a few drum machines and synths. This is in sharp contrast to the high-wire EDM acts that have dominated 2013, and it could not feel any more welcome. There may be a virtual absence of guitars or live instruments, but "Pure Heroine" is still wondrously humane, building percussive effects from hand claps, snaps, layers of vocal, anything except a standard drum set. The abstract productions flow from track to track, and the words keep everything moving at an appropriate pace. Most often, these ten tracks are centered around alienation, most obvious in "Royals", but is also presented in more not as subtle ways. The opening line of "Tennis Court" is a good example ("Don't you think it's boring how people talk?"), but what's more giving are the song titles themselves. "A World Alone" is a standout not only because it basically gives away the nature, sound, and attitude of the song, but it also captures Lorde's intentions impeccably. She may not be the social outcast that "Pure Heroine" paints her as, but it's particularly impressive how an adolescent girl can dig below the surface, exposing emotions that we all experience but never acknowledge. Besides her writing prowess and knack for sonic details, her voice is a thick, smoky thing that grounds these songs. An unfortunate side effect of this, however, is that it's the only thing about this record that reveals Lorde's age. She may have talents far beyond her years, but she simply sounds a bit too young for songs like these, especially when she purposely warps her diction to give off an illusion of age. This may wear on through repeated listens, but with the abundance of hooks and conviction here, you can easily overlook this minor flaw. Otherwise, "Pure Heroine" is a tightly sealed 37 minutes of knock-out punches; not one bad apple in the bunch. More, please.

Recommended Tracks in Bold:

1. Tennis Court       2. 400 Lux                  3. Royals

4. Ribs                       5. Buzzcut Season     6. Team

7. Glory and Gore      8. Still Sane                9. Whit Teeth Teens

10. A World Alone

Cher-"Closer to the Truth" Review

You don't have to listen to this album to know that Cher is just as campy and over-the-top as she's ever been. Just looking at the album cover should tell you plenty: sporting a blonde Cher, reclining on a bed in a satin dress, all the while exuding the sheer illusion that she can still be sexy at 67. That's not all she tries to prove, as "Woman's World" introduces this album in a rush of EDM napalm; Cher's urge to ignite the dancefloor is still present, even if she can't physically keep up with the clubs. Indeed, age can't stop her, so she injects the first half of "Closer to the Truth" (the title non-withstanding, of course), with several disco-ball shattering bangers that all hark back to her "Believe" days in the late-90s. Besides "Woman's World", "Take It Like a Man" reminds us who started the new age of electronic dance music, with it's unabashed auto-tune and ear-shattering chorus. And while "Red" is a redux of Lady Gaga's "Bad Romance", Cher's throaty contralto and superior set of lungs set it apart from her protege. Things change a little with "I Walk Alone", which was co-written by P!nk, and sounds like it. It features Cher's 70s-like gypsy sound with an unrelenting bass that makes Madonna's "Gang Bang" seem calm by comparison. After this, Cher seemingly admits that the party is over, and she finishes "Closer to the Truth" with four adult contemporary ballads: "Sirens", a dead giveaway of Cher's age in both voice and sound, "Favorite Scars", a lighter, more inviting song, "I Hope You Find It", a superb cover of "The Last Song" track by Miley Cyrus, and "Lie to Me", a rather weak end to an otherwise strong set of sounds and moods. Although the third song in, "My Love", is a flat-out dreadful song, "Closer to the Truth" can't help but feel affecting. Maybe it's because of it's sheer ernestness, but it's still amazing that fifty years into her career, Cher can still make records like this. It's true that she'll never again turn out another "Believe", but watching her try is just as entertaining. She's wound up with a hooky and stylish modern pop record, while retaining her roots in rock and folk; no small accomplishment for any artist, but it's not particularly impressive coming from Cher. She's been turning out these records for years, "Closer to the Truth" benefits from her team and her persona just as much as anything she's ever recorded.

Recommended Tracks in Bold:
1. Woman’s World           2. Take It Like a Man          3. My Love
4. Dressed to Kill                 5. Red                                    6. Lovers Forever
7. I Walk Alone                 8. Sirens                                9. Favorite Scars
10. I Hope You Find It        11. Lie to Me

Justin Timberlake-"The 20/20 Experience Part 2" Review



 

 

If anything, Justin Timberlake is highly ambitious. From the sprawling "FutureSex/LoveSounds" to the neo-soul opus "The 20/20 Experiennce" released in March 2013, he definitely knows where to move his music and how he wants to get there. The problem with an album like second half of "The 20/20 Experience", then, is that he just doesn't know where to go next. True, the first half of this enterprise was only ten tracks, but inflating it to twenty-one songs, all trying to paint Timberlake as a serious and accomplished artist, it appears that he may have used up all of his grand ideas. The lead single "Take Back the Night" proves this suspicion true, as it competently cuts a slice from the "Off the Wall" era, but it's rendered utterly joyless with Timbaland's robotic production. In fact, that could be said for "The 20/20 Experience Part 2" as a whole; it's still reductive of all retro-R&B and soul, only without the joy. The covers for both part one and two of this 'experience' are the same, only one is white and one is black. This means that both parts are pretty much the same, the only difference between them is that part one focused on 40s-60s soul and swing, part two goes further and reworks 70-80s funk and disco. Other than that, "The 20/20 Experience" is still in tact: everything, whether it be the production, melodies, or Timberlake himself, still moves at a glacial pace, Timbaland exhausting every trick in his arsenal, and all the motifs and phrases here are pulled far beyond their limit. However, eleven tracks in 74 minutes isn't the problem, what's irritating about "The 20/20 Experience Part 2" is that no song has an excuse to run at its projected length. "True Blood", while definitely entertaining and haunting, would be a trial to sit through for five minutes---it's nine plus. The closing track "Not a Bad Thing" would be a fantastic closer to an otherwise overwrought sweatshop, but for some reason, Timberlake felt the need to tag one more bonus track on to it, "Pair of Wings". It's not good in the slightest, and it only delays the inevitable end of this entire project. Longtime fans will be pleased to have 144 minutes of new material in one year, but for everyone else, "The 20/20 Experience Part 2" is a disappointment. It could have been more than just a bold statement of purpose, Timberlake could have changed the game and have taken far riskier chances than he does. If he would've stumbled, it would have been more interesting, for the paint-by-numbers production doesn't do Justin nor Timbaland any justice. And maybe that's the problem, because as ambitious and as excited JT is on paper and in person, on a record he simply cannot execute his ideas with grace, humility, or personality on a record. He desperately tries to prove that being a musician is where he excels, and while his efforts have proven fruitful in the past, in 2013 they've become antiquated, and quite frankly, boring. It's clear that his music is simply an artifice to conceal the fact that he isn't, and never really was, on the vanguard. "The 20/20 Experience" suffers the most from his overzealous ways, as it was meant to be a triumph and a grandiose synthesis of retro-futuristic sounds, but instead, Timberlake has created something forced and artificial.

 

Recommended Tracks in Bold:

1. Gimme What I Don’t Know (I Want)  2. True Blood         3. Cabaret

4. TKO                                                5. Take Back the Night   6. Murder

7. Drink You Away                          8. You Got It On                  9. Amnesia

10. Only When I Walk Away         11. Not a Bad Thing/Pair of Wings

Love Letters

Thought I'd lighten the mood today.

Now I know we all have our favorite artist, or artists. We also might have a slight obsession and attraction to these artists as well (okay, a HUGE obsession and attraction). Most people would write down love letters to their favorite singer in a diary of journal, but I'm not like most people. Nope, I'm one of those hipster bullshit freaks that bares their soul on the internet (but some of you do it too, don't deny it!). So, I thought it'd be cute to share with you the artists I would write love letters to, and proceed to write said love letter. Please enjoy my freakish ways and unhealthy obsessions :)
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Dear Alanis Morissette,
I really want to meet you. Your music is so amazing, it's like soup for my soul. Your words are blunt, introspective, thoughtful and nuturing. You're really the only one the planet that could possibly understand the convaluted conundrum that is my life. There need to be more people like you. For realz.

Dear Adam Young (Owl City),
I don't care what the haters say, I think you're amazing. Sure you're songs get to be pretty shitty (and I do mean shitty, have you listened to "Gold" recently?), but your songs can also be whimsical fun, stuff that doesn't have to be explained to be understood. You have such a way with expressing emotion, I honestly can't digest it sometimes. And you have to be one of the most down-to-earth people I know of, artist or not. It is my dying wish to meet you.

Dear Miley Cyrus,
Gurl, if you got it, flaunt it, don't listen to what anybody else says. Your life is none of our damn business and people have no right to judge you, because there are 14 year olds doing the exact same shit you're doing, just not on national TV (and they were doing it WAY before you started to). You don't take shit from no one, you're strong enough to hold your ground even when everyone else is against you. That is amazing, and your songs are pretty catchy too. You're not Hannah Montana, not now, and you never really were. You're embracing it now, so we should too!

Dear Lady Gaga,
It is also my dying wish to meet you. Never before have I experienced a woman so comfortable in her sexuality and identity, you do what you want and don't listen to the hate! I wish I could be like you, full of confidence and compassion (which you do have, anybody that sayd otherwise is lying). Your music is dope, and your voice is astounding. You continue to raise the bar, not just for you, but for the rest of Hollywood. Little Monster for life!

Dear Demi Lovato,
I find your story of overcoming bullying and depression to be a true inspiration. Maybe all of your songs don't have the same depth or sympathetic productions, but overall, you continue to channel your passion into your music. Out of all the 21-year olds I know, you're the most human of them all. You're very understanding and have never come across as fake or contrived. You found the light in the midst of darkness, please teach me!!

Dear Ellie Goulding,
OMG I love you so much! I mean, everybody loves British artists, but you're the best! Your music fuses electronic and folk, two genres that should NOT go good together, but you make them work. Your voice is ethereal, powerful, and emotive. You contain abilities far beyond anybody's comprehension, and you helped me see a whole new world of shiny, immaculate pop. You're just so amazing and also down-to-earth, EEEEKK!

Dear Kelly Clarkson,
It is not my dying wish to meet you...because if I did, I would indeed die in front of your eyes. You're amazing, perfect, humane, caring, funny, bad ass, and an all around great musician. That voice...DAYUM! You can wail and make it all sound even more epic than it already is! And your music: "Breakaway", "All I Ever Wanted", "Stronger", YOUR CATALOG IS JUST OVERFLOWING WITH AWESOMENESS I CAN'T TAKE IT *assumes fetal position*

Dear Liz Phair,
More people need to know who you are. "Exile in Guyville" is one of the best albums of all time. ALL TIME, okay? You've experienced much shit in your life, and you are not even close of being afraid to share it. Your music is just awesome, no matter what genre you try, you kick its ass from one end of the stage to another. I want to be a musician of your caliber one day.

Dear Enya,
Queen of new-age tinged pop that equally soothing as it is musically stunning? I think yes!! And you're so nice and coy about everything, I just want to give you a big hug! Your music has helped me through depression and anger, you'll never know how much you've impacted my life. THANK YOU!!

Dear Sarah McLachlan,
Dude, you're Sarah freaking McLachlan, need I say more? Your songs are literally the equivalent of a therapist. A good therapist, too, not one of those shitty ones that doesn't offer any advice.

Dear Katy Perry,
You're hot. Nuff said.

Dear Lily Allen,
I don't know how you do it: your music is light and happy, but your lyrics are bitchy and cynical. I like!! And once again, who doesn't love a British artist?

Dear Fiona Apple,
Your music describes me perfectly. You're all about that sick in the head shit, always beating yourself up and all you want is for someone to love you. WHY AREN'T WE FRIENDS YET?!

Dear Dido,
You don't have to try, great music just comes to you. Your voice is silky soft and velvety smooth. And you're just so darn British, like Ellie Goulding, you mix electronics with acoustics and make it work effortlessly!

Dear Britney Spears,
Princess of pop. You reign supreme!

Dear Christina Aguilera,
"Stripped" is also one of the best albums of all time. Critics don't know shit about your music, which is empowering and exactly what my hurting heart needs to function.

Dear P!nk,
You too have one of the best voices of our generation, as well as one of the greatest talents we have right now. All of your songs are anthems, and your life story is one that everyone should know. I know it's wrong, but I worship you in some ways. You're just so amazing!

Last, but certainly not least:
Dear Madonna,
You truly are the Queen of Pop. At any age, whether it be 20, 30, 40, 60, or 125, you make music that transcends beyond your era. Your debut album is a landmark in music, and "Ray of Light" is a landmark in pop culture. You were brave enough to find yourself and see what others ignore. That is such an inspiration to me, because I'm going through that process too. And everyone should listen to "American Life", especially with our fucked up politics now. You're a trendsetter, provocateur, self-styled business woman and one of the most honest human beings on the planet. Yeah I'm a guy, but I still consider you one of my greatest influences in life. Keep making music, woman! People can say what they want, age doesn't matter when your music is so fantastically good!
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You can also let me know which artist(s) you have a crush on :)