MaestroBlog Update

So March 2014 may be known as the "Month of Many Album Reviews", because, well, that's really all I had time for this month. For a legitimate update on my life: this month has seen me working dutifully on a speech for speech class and a music history paper, at the same time...it honestly wasn't fun. And sorry to say, April won't be much better, as I know have to prepare another speech while still working on the same paper. My life, ladies and gents!

But anyway, for a by-the-numbers recap of March 2014: this month saw a healthy 558 view increase to 10,874 total views, which is actually pretty surprising since I only posted 7 times this month. Even more interesting: March 24 brought in 106 views...how that happened, I'll never know, but thank you for reading that much! My views-per-post average is 36.9, up 1.0 from last month (yay!!!). 

Looking forward to April: I'll be posting more album of reviews of old releases, since there are really no major album releases coming up this month. I will for sure get to that musical dissection I promised you (which will be my 300th post)...(...wait what, who said that??!!) ;)

And yeah, that's really all I have for you this month. I'm really busy, but I refuse to stop blogging about music! Especially as my sophomore year of college inches closer to conclusion, I'm realizing that this is my passion more and more, hopefully one day I will graduate from this simple blog to something greater.

But that's for the future, for now, thanks for keeping up with me, I hope I didn't bore you too much this month! hahaha

Karmin-"Pulses" Review

Like all YouTube sensations of the early 2010s, Karmin, the duo most known for their covers of Hip-Hop hits, had a bit of trouble getting a full-length record in stores. Their voices were a little too en pointe for today's pop charts, Amy Heidemann's ludicrous raps lacked the flow of Nicki Minaj or Lil' Kim, and while their early singles, "Brokenhearted" in particular, were just as shallow and as teeny-bopper as One Direction or Justin Bieber, they lacked the straight-up cuteness of either act; the easy-to-market image that the millennial generation eats right up. Not helping was the largely arrogant EP "Hello", which proves beyond a doubt that these two are talented --both vocally and musically-- but they simply didn't seem to be having any fun with the whole enterprise, as if it was all just going through the motions in order to secure their rightful place at the top of today's artists. That sense of entitlement is somewhat dissuaded with their official debut, "Pulses", and since they now have more tracks to utilize, they are able to cover more ground and liberally make homage to Shakira with their fusion of world-beats and modern club trends. All of this would seem to make Karmin's debut a step up from where they started, and that certainly is true, but it's also very misleading. Aside, from those few, minor changes, their music really hasn't improved that much at all. They still make cold, crass, clinical Hip-Hop/Pop, that's made by A-list producers, but is sung by two snobs whose attitude gets in the way of their impressive vocal chops. This, and the fact that neither Amy Heidemann or Nick Noonan have much on-record charisma, turns "Pulses" into a rather bland wash of sound. Since the beats are monotonous and the songs are forgettable, Karmin actually succeed in making the lowest kind of pop music, the kind that's all good in theory, but is grating in practice. And you don't have to look any further than lead single "Acapella" to prove this true, not because it exemplifies the worst song on the track-list: because it's actually the best. It's far catchier, insistent, and ingratiating than any other song here, even with Heidemann's feeble attempt at falsetto. It may raise an unwanted eyebrow, but that's why it pulls you in: crass or not, at least it grabs your attention with its content, not its ambition. That can't be said for the rest of "Pulses", because Karmin always assaults with raps and beats, trying desperately to prove that they're a serious, accomplished band, but their assertions go largely un-noticed with the lack of interesting material. You can't blame them for trying so awfully hard, but considering that their ultimate statement through "Pulses" is that this is an earth-shattering, top-notch pop record: in reality it all just sounds...meh.

Recommended Tracks in Bold:
1. Geronimo                2. Pulses                                 3. Acapella

4. I Want it All           5. Night Like This                  6. Neon Love

7. Drifter                     8. Tidal Wave                         9. Gasoline

10. Puppet                 11. Hate to Love You         12. Try Me On

13. What’s in it for Me?

Shakira-"Shakira" Review

The last time Shakira released an English-studio album, it was her superb 2009 set "She Wolf", which dutifully blended world sensibility with a gleaming euro-disco, and was aimed straight at the club culture of America. It had all the makings of a hit, but it nevertheless flopped at the turn of the decade. She was lucky enough to regain prominence with "Waka Waka", the 2010 FIFA World Cup anthem that swept the globe, and she quickly released another Spanish-studio album "Sale El Sol" by the end of that year. It had slightly better sales and critical acclaim, but it also had the same problem as "She Wolf": it was only targeted at one audience. That time, it was dedicated to the world outside of America who appreciated trends outside of the new synthpop and electropop sound-scape. Shakira doesn't make that mistake again with her tenth album, "Shakira". 

An eponymous album released so late in her career would seem to signal some kind of rebirth, and in fact, that's exactly what this record is. Soon after the "She Wolf"/"Sale El Sol" clamor ended, she split from her long-time love Antonio de la Rua (though quickly rebounded with Gerard Pique), she signed onto the newest singing-contest craze The Voice, signed onto Jay-Z's Roc Nation label, and most importantly, she gave birth to her first child. All of these events have led to a re-surgence in Shakira's popularity, and so she doesn't miss a beat (literally) in crafting a pop record that will please virtually any audience. Blink or you might miss the Brazilian dance-pop "Dare (La La La)", because that's the only time this fusion of genres appears on "Shakira". The rest of the record deliberately bounces back between genres and moods, ranging from the sassy reggae/ska of the Rihanna-duet "Can't Remember to Forget You", to the country-fied pop of the Blake Shelton-assisted "Medicine", to the early-2000s pop/rock "Spotlight", which may be the most direct Shakira's ever been with the constant press pounding at her personal affairs. Indeed, it's easy to get caught up in the revolving door of sounds and nationalities, that it's easy to overlook the fact that "Shakira" is her most personal work. Besides the opening track, every song here alludes to her fame ("Spotlight"), split from Antonio de la Rua (the sparse, deliciously bitter "You Don't Care About Me"), or her new-found bliss with both Gerard Pique and son Milan (the singer-songwriter pop "23" and dance-infused rock of "The One Thing", respectively). It's all good, but head and shoulders above everything else is the power-ballad "Empire", which features Shakira's most magnetic vocals, and provides further proof that even a decade after she become a worldwide icon, she still makes the best pop music around. "Shakira" doesn't hit as hard as "She Wolf" or "Sale El Sol" did, but it's still breezy, comfortable music that against all odds, retains a certain depth both musically and lyrically. It covers far too much ground to be truly cohesive, and it does drag a little, but it's worth it, because Shakira's made for us another engaging, progressive pop record.

Recommended Tracks in Bold:
1. Dare (la la la)      2. Can’t Remember to Forget You        3. Empire

4. You Don’t Care About Me 5. Cut Me Deep                                    6. Spotlight

7. Broken Record                    8. Medicine                                            9. 23

10. The One Thing  11. Nunco Me Acuerdo de Olvidarte           12. Loca Por Ti

Why "Frozen" is Awesome *Contains Spoilers*

Idina Menzel. Nuff said.


.....Okay, okay, I'll give you a few MORE reasons why "Frozen" has transcended from being just another Disney movie, to become a worldwide phenomenon, grossing $1 billion worldwide, and the accompanying soundtrack is the first album to sell 1 million copies in 2014 (not even Beyonce's "Beyonce" has done that, or Katy Perry, Miley Cyrus, Lorde, or Lady Gaga). 

So, where do I start? There's alot to dig in to, so I might as well start with the casting choices! Like I said, Idina Menzel basically guarantees some kick ass singing, as well as some empowering songs in the vein of "Defying Gravity". Then we have other Broadway stars like Kristen Bell, playing the role of Anna (who she honestly seems to be a perfect fit for), and playing Kristoff we have Jonathan Groff. And come on, who doesn't love Josh Gad as Olaf, our adorable snowman (and main gimmick to pull in viewers for the film!). And one more time: Idina Menzel as Elsa...you honestly couldn't find a better match.

Now let's move on to another obvious aspect: the music. While the Robert/Kristen Lopez duo make charming, sublime, hilarious, and opera-like show-tunes (the best by far being the Oscar-winning "Let It Go"...man Idina Menzel can still wail her ass off!!), it's Christophe Beck that really steals the show. With his original score being the background music, he aptly captures the emotion and aesthetic of each scene in the movie with truly full-formed and hearty arrangements. They're grand enough to cause just enough shivers down your spine, but Beck's score never assaults or overstays its welcome. The same thing can be said for the Lopez's songs themselves, which can derive from ordinary conversation (the reprise of "For the First Time in Forever" and "Love is an Open Door"), or add further color to an already magical scene ("Do You Want to Build a Snowman?" and "For the First Time in Forever"). Then of course, who doesn't love those trolls singing "Fixer Upper"? Indeed, all parties involved with making the music for this film were en point and never failed to satisfy. True, none of their contributed material is earth-shattering, but considering how much animators have tried to be progressive or unique in the past few years, more times than not we just end up with a stale dish. "Frozen" is the proof that sometimes you just have to go with what you know.

The time for progression, then, comes with the story line. In fact, if I do say so myself, I would assert that it's because of the simple, yet effective plot, that "Frozen" has become such a worldwide phenomenon. When I first saw it, I commended that it contains the right amount of schmaltz, it's never too corny or too underdone; just like the middle bear's pot of pourage, it's juuuust right. There's an adequate amount of character development across the board, the pacing is perfect, the conflict and resolution are well-formed and executed. Sure, this isn't the first time we've seen parents die in a Disney movie ("The Lion King", anyone?), and magical powers? Been there, done that. But what's unique about "Frozen" is that Elsa's powers were not naturally evil, nor did she ever intend to be. She wasn't corrupted by greed, jealousy, or lust, it was her simple inability to be confident in herself that led her astray. And while the common theme of "love conquers all" rears its head once again in an animated film, the twist is that Elsa had to reconnect with her own sister, Anna, to lift the burden she had thrust upon Arendelle, and ultimately save her kingdom. It wasn't a true love's kiss that saved the day, it was the simple act of love (which, believe it or not, there is a BIG difference, and it was about time Disney pointed that out). But continuing on with the whole love issue: you know you were hootin and hollerin when Elsa rejected Anna's blessing for her marriage to Hans with the retort "You can't marry a man you just met". Snow White did it, Sleeping Beauty did it, Cinderella did it, but nope, this is where Disney finally calls bullshit and states that you actually need time to develop true feelings of love for your significant other, which Anna clearly did not form yet (and later we saw that Hans never loved her). 

But enough about love, we also see a certain amount of emphasis placed on the strong female in "Frozen". Elsa's a badass on her own, but Anna? She fearless! Yeah, she did need Kristoff's help to get her to the North Mountain, but not once was Kristoff placed above Anna in terms of strength or power. Same with Elsa: she could hold her ground in any situation she faced (except in the obvious spot where she lost control of her powers and froze her kindgom...). Sure, we've seen the strong female presence in "Brave", but it's nice to see this pattern being upheld over a year later! Then another thing I noticed was that "Frozen" is a perfect family film, and can certainly entertain all ages, but not in the classic way that animated films do so. There's pretty images and funny characters to entertain the little kids, but believe it or not, adults can find this film funny, too, with its social satire and quick wit, not crude, sexual humor or an abundance of violence. Plus, the movie revolves around themes that everyone can relate to, the biggest being confident with yourself, but also finding love in your own time, and not relying on others to bring you happiness. 

Now returning to the obvious: "Frozen" came out at a time where all around the world, we were experiencing record low temperatures and were feeling pretty frozen ourselves, so the timing for this movie just couldn't have been better. Once again, Olaf the snowman is the quintessential element that really ties everything together with his ironic humor and sheer innocence. 

So yeah, the songs are catchy, the score is beautiful, the characters are engaging, and the whole production team brought lush animation and a culturally enriching set-up to ensure that "Frozen" would be wholesome fun for everybody, whether they be part of a family or not. It's a near-perfect enterprise that rightfully has made its way into the hearts of billions. 
How Disney's going to top this...that I do not know.

Kylie Minogue-"Kiss Me Once" Review

Anybody with a passing knowledge of Kylie Minogue's career thus far will probably have realized that there's a pattern to her albums. First comes the unified piece, meant to churn out big hit singles, then comes the mixed bag, its purpose to give our Australian diva some crossover success, and to also explore other sub-genres of electronica. It's safe to say that even 26 years down the road, this formula of success remains in tact with her new album, "Kiss Me Once". Since this is her 12th album, an even number, it's time to dabble in a wider array of current trends, including dubstep, house, late 70s/early 80s disco, and of course, the recent emphasis on EDM. Since Kylie's always been a dance artist in the electronic vein, she has absolutely no problem in supplying her vocals over four-on-the-floor beats, synth-bleeps, and processed machinery. While other albums of the 2010s have attempted to come to grips with these changing soundscapes, the always competent Kylie has once again picked producers and songwriters (chief among them: hit-maker dujour, Sia) to make "Kiss Me Once" the first successful album to fully embrace the new millennium, without it ever sounding too-modern or too retro. Lead single "Into the Blue" exemplifies this well, as it pounds with conviction, but it doesn't get overbearing or corny. And just like that song, the super-glossy commercial sheen of the rest of the album doesn't peel away after repeated spins. On the contrary, "Kiss Me Once" seems to get better, catchier with each play. Which is a good thing, because due to the fact that it comes and goes in under 40 minutes, the first listen is quite bewildering. You'll need time to fully appreciate the lone Pharrell gem "I Was Gonna Cancel", and its fusion of house and funk, or the other 80s updates such as "Sexy Love", no doubt her recapitulation of the Stock, Aitken, Waterman era. But their ingratiating hooks and club-perfect production are what reward continued listens. The only time things drag below this excellence is in the smack-dab middle of the record, when we fumble into the Sia co-write "Sexercize" and then muddle our way through "Feels So Good" and "If Only", the two sort-of ballads of the album. They're not bad songs by any stretch, but they also can't seem to muster enough energy to be totally infectious or catchy, they seem, literally, stuck in the middle. Fortunately, there are enough superb moments in the back-half of the record to compensate, such as the absolutely gorgeous Enrique duet "Beautiful", with voices so processed it seems like two robots looking to regain human life. Then we have the closer "Fine", which is notable not only because it ends the record on a theme of self-empowerment, but because it seems to hint at "Kiss Me Once" as being the first Kylie album ever to be an album of purpose, a collection of songs dedicated to subjects other than love or the dancefloor. Needless to say, this only works on the few occasions it pops up, because otherwise, this is another great dance record from the woman who continues to stay relevant through hard-work in refining and expanding her music. This is the most impressive, because while other pop titans such as Katy Perry, Lady Gaga, and more recently Lea Michele, try to equate progression with shock and awe, Kylie has maintained her artistic integrity effortlessly.

Recommended Tracks in Bold:

1. Into the Blue       2. Million Miles          3. I Was Gonna Cancel

4. Sexy Love               5. Sexercize                6. Feels So Good

7. If Only                     8. Les Sex                 9. Kiss Me Once

10. Beautiful             11. Fine

The Postal Service-"Give Up" Review

There careers may have taken off at the turn of the century, but that doesn't mean that Ben Gibbard and Jimmy Tamborello can't collaborate once again, this time for their side project, the widely discussed Postal Service. The pairing of an alt-rock and electropop act might seem odd, but as already proven by "(This Is) The Dream of Evan and Chan", Tamborello's idiosyncratic production skills provide the perfect environment for Gibbard's lyrical style and quirky vocals. That can also describe the sound and aesthetic of "Give Up" as a whole, but it also overlooks some key elements. For one, the fuzzy synths and numerous female backdrop voices add layers to an otherwise minimal collection of synth-pop. Along those lines, a lot of "Give Up" doesn't even conform to the conventions of that genre, as these songs are far from anemic. Both Gibbard and Tamborello provide a hearty, full course meal over the duration of these ten tracks, and they provide a nice balance of tempos, vocal, electronics, and percussion. For every upbeat new-wave pop track ("Such Great Heights"), there's a dark, morose ballad ("This Place is a Prison"). Sometimes, these textures arise within the same song, such as the opener "The District Sleeps Alone Tonight", which also features an eclectic mix of off-beat electronica and trippy string arrangements. The rest of the record weaves through chill-out music ("Sleeping In"), ambient ("Recycled Air", "Natural Anthem"), and even the Death Cab indie sound starts to shine through in "We Will Become Silhouettes", only providing further proof of the diverse musicality within the electronic genre. Of course, with a sound as unique as this, it's clear that The Postal Service will not be everyone's cup of tea. However, there are high dividends that come with repeated plays, so there are more than enough reasons to give this band a chance. They haven't perfected their craft yet (one can only hope that Gibbard's slight vocal can flesh out a successive album, if one ever materializes), and that's actually quite alright, because "Give Up" has done the one thing that has seemed impossible for years: it breathes human life into electronic music.

Recommended Tracks in Bold:

1. The District Sleeps Alone Tonight 2. Such Great Heights      3. Sleeping In

4. Nothing Better                                 5. Recycled Air                    6. Clark Gable

7. We Will Become Silhouettes 8. This Place is a Prison         9. Brand New Colony

10. Natural Anthem

Lea Michele-"Louder" Review

Lea Michele is a gorgeous, likeable, classically trained singer who rose to fame through television, about a school that is oddly filled with students who can sing and dance on command. Come to think of it, that sounds alot like Ariana Grande, and indeed so do the backstories of the long-delayed "Yours Truly" and Michele's debut, "Louder". With such a broadway-ready set of chops, it's quite a mystery how this record didn't materialize sooner, especially when backed up with a show as popular as "Glee". Well, the answer may lie in what also held-up Ariana Grande's much-deserved solo career: the fact that both artists made their names with covers of other songs. Sure, they most often sang better than the original artist, but this also doesn't provide much of a catalyst for a record of their own. Sure, they look appealing and have nice personalities, but even then, this doesn't go hand in hand with being distinctive from the other faces in the crowd. The stories separate when Ariana Grande garnered more mass appeal because of her quirky characters, and ultimately out shined the rest of the her cast-mates. Lea Michele didn't have this luxury, as Rachel Berry is also engaging and outgoing, but was placed on the same plane as the rest of the talented "Glee" cast.

That is, until the death of Cory Monteith, one of the show's biggest stars and also Michele's fiance. As tragic as it was, it inevitably did help propel her solo career, as she finally had a bigger profile than the show. Quite literally, Michele and company took advantage of this open window with lead single "Cannonball", a loud and proud empowerment anthem supposedly made in the wake of Monteith's death. As you might've guessed, this isn't the only instance throughout this record that his presence is felt. Actually, by and large, this album is based on Michele's relationship with our fallen "Glee" hero. Whether she's willing to burn with her man, complaining of a drunken heart, tired of being left empty handed, or even walking on eggshells in a battlefield, every track on the record alludes to Monteith in some context. Even the thumping title track, another song meant for self-empowerment, comes off as a plea to hear her lover's voice one more time. Not that there's anything wrong with that, but as moving as it all sounds on paper, in practice "Louder" is under-done, due to its full-on frontal assault of power chords, Broadway-styled EDM pop, and Michele's slight on-record personality. The latter is the most problematic, because no matter how hard it tries, no matter how actually loud the record gets, it just doesn't have much bite, not much connection at all to the phoenix-rising-from-the-ashes persona Michele has taken over the past few months. Everything is flattened out, non-surprisingly to fit modern pop standards, but "Louder" was meant to be a record of promise, a certain triumph that proves Michele can stand on her own, not as a member of an ensemble. It'll definitely please those who have loyally followed her this far, and while radio didn't treat "Cannonball" well, there's  still plenty of big pop hooks that can work their way into your head (after you can discern what Michele is belting out). The only huge disappointment is the closer "If You Say So", the one song that addresses the Monteith death straight-on. With Michele singing to the bleachers, she ultimately over-sells the song and reduces it to a vocal showcase rather than a lovelorn ode to lost love. However, the thing to remember through "Louder", is that it is a debut, so Michele can't quite escape the pitfalls of over excitement or naivete. But, she does manage to best Ariana Grande's "Yours Truly" in one key way: if Grande was channeling Mariah Carey in her album, than this is Michele's "Katy Perry" record. Since this sticks with trends that are current, "Louder" is fresh, not outdated, the songs are indeed original (almost sample-free), and although Michele doesn't scale the dizzying range of Grande, she can sure fill the stadium quicker than her peers. "Louder" isn't an indicator of whether or not "Glee" is a successful launch pad for solo-stardom, but it does show promise.

Recommended Tracks in Bold:
1. Cannonball          2. On My Way         3. Burn With You

4. Battlefield           5. You’re Mine         6. Thousand Needles

7. Louder                  8. Cue the Rain         9. Don’t Let Go

10. Empty Handed 11. If You Say So

Kylie Minogue-"Body Language" Review

If you would've said five years ago that we'd still be talking about Kylie Minogue, chances are you would've been laughed out of the conversation. It's easy to forget that indeed, her career seemed to be over at the end of the 90s. Perhaps it would have been, if "Can't Get You Out of My Head" didn't became the biggest hit of her career, and one of the defining songs of the new millennium. "Fever", the accompanying album that confirmed her new status as an electro-disco queen, did its job as well, becoming her first record to crack the US top ten. Now with this re-opened window, Kylie takes no risks with the follow-up, 2003's "Body Language". Nearly every aspect of this record was meant to ride her early decade success, from once again working with new collaborators, as well as a definite genre shift. While Kylie doesn't stray from electronica, she does step away from the retro-disco that made her comeback, and instead chooses a sound that's straight 2003. This means more elements of Urban, Contemporary R&B, and even some lite hip/hop throughout songs like "Chocolate" and "Secret (Take You Home)". This ultimately makes "Body Language" more musically diverse than "Fever", and Kylie pulls it all off. She starts things off with the truly fantastic electro-jam "Slow", which no doubt sets the pace for the rest of the album. Gone are the brisk BPMs and runway show aesthetics, and in their place is a strong equality of substance and style. This would, in theory, make this a superior record to "Fever", although there is once again a critical factor that thwarts perfection. This time around, "Body Language" works well as a piece, it's surprisingly hip and can appeal to many audiences, but not in the way it's supposed to. This is a pop record, that features its fair share of dance-able tracks, but as a pure dance-pop product, it doesn't suit the bill. Most of the songs are too progressive, too placid to truly get people moving. Rather, it's for the chill-out period at a club, and by all means could work as great radio-fare as well. It's too bad that "Body Language" doesn't ever fully realize this, because if it had, it would've been perfect pop product, that's not only smart, but sexy. But, for all intents and purposes, Kylie does get the job done of expanding and refining her music, keeping her at the top of the electronic pack.

Recommended Tracks in Bold:
1. Slow                       2. Still Standing      3. Secret (Take You Home)

4. Promises             5. Sweet Music           6. Red Blooded Woman

7. Chocolate             8. Obsession               9. I Feel 4 U

10. Someday               11. Loving Days          12. After Dark