Jennifer Lopez-"A. K. A." Review

"A. K. A.", the opening track to JLo's eighth studio album, immediately states that "This is not the girl you know". "Same Girl", the closer to the deluxe edition of the album, proclaims that "I'm still the same Jenny from around the way". So, which is it? It seems that Ms. Lopez is at a loss for an answer with her new record, vaguely titled "A.K.A.", coincidentally released the same time as reports of her breakup with backup dancer Casper Smart surfaced. Then, of course, there was that split from Marc Anthony in 2012, following the release of JLo's comeback album "Love?". All three subjects are streamlined somewhat into another dance-pop record that's heavy on hip/hop influences mixed in with a couple of power ballads that detail that messy divorce. So that part is still Jenny from the Block, but there are new avenues that she also explores. There's the straight-forward pop of "First Love", helmed by Max Martin which features a more vocally confident Lopez. "Never Satisfied", a song co-written with Chris Brown, is what Lana Del Rey would sound like if she ever sang glossy pop productions. The closer to the standard edition of the album, "Booty" (her umpteenth collaboration with PitBull), boasts a middle-eastern flair, sure to ignite the clubs within the next few months. But the 'risks' that JLo takes with "A.K.A." are far and in between, since the songwriting is still too literal, too lackadaisical to grate, the productions good but not fantastic as they could be, and Lopez's vocals have definitely improved, but to hear her strain for glory notes she could never hit is still distressing now as it was fifteen years ago. Of course, the glitz and glamour have always defined Lopez's style, not the emphasis on lyrical grace or songs that rise above background club music. Still, in an era where every artist is vying to be the best, most progressive act in music, it would have been nice to see JLo step up her game a bit; not only in theory or in words, but in actual practice. That sentiment could wrap-up "A.K.A." as a whole, as there are definitely good ideas here, and some songs are truly captivating (the great ballad "Let It Be Me" and the Detail-produced "I Luh Ya PaPi", which single-handedly destroys the Enlgish language, and is all the better for it), but when the last beat clicks, there really just isn't alot of substance here. It's all gloss, sheen, and sex appeal, with a few great singles surrounded by some iffy filler. Or, in other words, it's a JLo album that's neither great nor poor, it's a middle-of the-road pop record. 

Recommended Tracks in Bold:
1. AKA                         2. First Love            3. Never Satisfied

4. I Luh Ya PaPi    5. Acting Like That    6. Emotions

7. So Good                  8. Let It Be Me        9. Worry No More

10. Booty

Lana Del Rey-"Ultraviolence" Review

Back in January 2012, when Lana Del Rey's debut LP "Born to Die" first made its way to listeners, it seemed that the considerable amount of hype she created prior to its release doomed it to be a record of all promise but no actual substance. At least that's what the critics said anyway; LDR's fans rewarded her hard work by keeping the record on the charts for over two consecutive years (and it's still lingering in the US Top 40, a feat unseen in the 2010s since Adele's "21"), and granted her a top-ten Billboard hit with the Cedric Gervais-remixed "Summertime Sadness". Obviously, listeners want this woman to succeed, and in the generation of nostalgia, why shouldn't she? Her 60s-influenced trip-hop/pop aimed to please audiences of both genres, as well as all generations. "Born to Die" and "Paradise" pretty much achieved this; hype or no hype, there was something about LDR that was special, and her star power has only since increased. The unfortunate side effect of this success is now there comes an even greater sense of suspense with her second album "Ultraviolence". Most artists would be terrified of trying to top an album as career defining as "Born to Die", but Lana Del Rey has already proven herself to be a unique talent. Upon hearing "Ultraviolence" for the first time, you already can tell that changing her approach to music is not a major priority. In fact, all she really did this time around was take every element of "Born to Die" to an extreme: the songs are much longer, the atmosphere much dreamier, her extremely smoky voice finds many a way to wring emotions out of the clumsiest of lyrics ("He calls me poison/Like poison Ivy", she coos in "Brooklyn Baby"). Most importantly, though, is that the subtlety quotient has increased astoundingly. Now the string arrangements only add a layer of pathos to the already poignant production, instead of being the only thing driving the album. The trip-hop beats are long gone, and in their place are gentle, sometimes raggedy drum-set loops inspired by the good ol' days of Frank Sinatra. Electronics are still present, but also take a backseat to the shining star here, LDR herself. "Born to Die" was a good record that showed enormous amounts of potential, but not once did it feel like LDR was settled in her role of wasted hippie vixen. "Ultraviolence" finds her in full control of her artistic abilities, and feels much more concept driven than its predecessors. Which is a very good thing, since 2014 was dying to have an album like this: a tortured, dark, anti-pop affair that prides itself on its musical coherence and consistency. Nothing here is as immediate as the singles on "Born to Die", simply because "Ultraviolence" is not a singles album. Sure you have the standout "West Coast", but even so, its dramatic tempo changes and trippy nuance don't quite mesh well with other singles on the radio. You'll have to be patient with this record, as it will take quite a few spins to fully appreciate the masterpiece LDR has constructed for herself. But that's okay, the difficulties that come with "Ultraviolence" are rewarded with marginally higher dividends. 

Recommended Tracks in Bold:
1. Cruel World                    2. Ultraviolence                  3. Shades of Cool

4. Brooklyn Baby                    5. West Coast                      6. Sad Girl

7. Pretty When You Cry         8. Power Money Glory        9. Fucked My Way Up to the Top

10. Old Money                      11. The Other Woman

Miranda Lambert-"Platinum" Review

Enough with the frat parties already! Between Blake Shelton, Luke Bryan, and Florida-Georgia Line's total domination of the country world in 2013, it had begun to seem that country music was shifting to a pop-happy, hip-hop influenced sound that had the feel of a non-stop celebration of testosterone in the summertime. Sure you had your Kacey Musgraves, The Band Perry, Ashley Monroe, and Pistol Annies-frontlined purists, but all of their truly amazing records got lost in the sea of guest rappers and assimilation into the mainstream world of country-fied party-pop. This was perhaps also due to the fact that Miranda Lambert waited three years to release the follow-up to her phenomenal marriage album "Four the Record", a country album that transcended beyond country and struck a chord with a broader audience (even scoring Lambert her first Top 20 US hit ever in "Mama's Broken Heart"). Its singles were so sporadic over those years, that Miranda Lambert, the singer, failed to project over Miranda Lambert, the wife of Blake Shelton and constant lightning rod for the press and media scrutiny. Obviously, being the insightful songwriter she is, Lambert attempts to rectify all this hooplah with a 16-track album complete with guest appearances from Little Big Town and The Time Jumpers, and covering every subgenre of country in vogue right now, from Americana to Bluegrass, from neo-Traditionalist to Shania-style country-pop. Naming this record "Platinum" might seem a bit precarious (especially when given the album's length and star-studded writers and producers list), but there's a perfect balance here between swagger and softness, which makes the whole enterprise all the more interesting--and accessible. "Platinum" continues the ideas presented by its predecessors, but now aims to please about every audience imaginable. Impressively, it all works. Even more impressively: it all works well. Miranda continues to experiment with electronics (the synth in "Automatic" is clearly audible, ironic though it may seem, and "Little Red Wagon" follows suit with some clear synth overlay), and she pushes country into the pop about as far as it can go with without losing its feel or form (her duet with Carrie Underwood "Somethin Bad" being a pretty good example). But not once, however, does "Platinum" feel like a desperate bid for higher sales or airplay. Even if it is pop-py in the sense that it can satisfy a large amount of people, Lambert is not about to give in and go against what made her a star in the first place. Her refusal to pander to modern trends is as strong as ever, and it shows that sometimes just going back to the basics can go a long way in making an impact. She heavily succeeds in that goal, and she created not only the best album of her career, but the best country album released thus far in the 2010s.

Recommended Tracks in Bold:
1. Girls                                   2. Platinum                 3. Little Red Wagon

4. Smokin’ and Drinkin’        5. Priscilla                   6. Automatic

7. Bathroom Sink                   8. Old Shit                9. All That’s Left

10. Gravity’s a Bitch           11. Babies Makin’ Babies       12. Somethin’ Bad

13. Holding onto You             14. Two Rings Shy     15. Hard Staying Sober

16. Another Sunday in the South