Marina and the Diamonds-"The Family Jewels" Review

As if we needed another UK indie-pop diva, Marina Diamandis, otherwise known as Marina and the Diamonds, joins the likes of Amy Winehouse and Florence Welch with her operatic and neo-Baroque debut "The Family Jewels". Though unlike most of her peers who do everything possible to aggrandize themselves as dramatic soul/torch singers, Marina comes across as something more attainable. While she's every bit as ornately artistic as Florence or Kate Nash, her sound is settled in the bouncy new-wave/pop that would've fit well on the radio circa 1982. Thankfully, Marina is sensible enough to update these  slightly cliched production techniques with layered string arrangements, deep synths, even some Worldbeat rhythms and harmonies, setting "The Family Jewels" somewhere on the spectrum between Lily Allen and Sara Bareilles. Marina's voice is versatile and powerful enough to carry dauntingly big hooks, while her words are delivered with the backhanded niceness that prevents this record from taking itself too seriously. This doesn't always work to her benefit, especially when the songs get too demure and don't elicit any strong response one way or the other. However, this sense of self-awareness is something that mainstream pop desperately needed in 2010. It's terribly refreshing to see Marina so earnest in her craft, even when she stumbles. There's certainly a lot that's interesting about "The Family Jewels", whether it be the squeaky synth in "Girls" or Arabian flourishes in "Hermit the Frog", but there are several moments where the album feels like it could have used more of this imagination in the melodic hooks, which are often too on the nose of irony. Other than that, there's really nothing here that feels contained to any certain style or genre, nor is there any pretense that the ambitious production is a result of anything more than the ambition of a classically trained and eager to experiment artist. As far as debut albums go, there are definitely worse ways "The Family Jewels" could have gone, so it's important to point out that this record succeeds more than it fails. Still, there's definite room for improvement once Marina and the Diamonds has had enough exposure and continues to expand and refine her music. All in all, this isn't a bad start, and is likely to only grow in stature come the next few years.

Recommended Tracks in Bold
1. Are You Satisfied?         2. Shampain                           3. I Am Not A Robot

4. Girls                                      5. Mowgli’s Road                   6. Obsessions

7. Hollywood                       8. The Outsider                      9. Guilty

10. Hermit The Frog              11. Oh No!                             12. Seventeen

13. Numb                               14. The Family Jewels

Kacey Musgraves-"Pageant Material" Review

Maybe on some other planet, Kacey Musgraves' 2013 debut "Same Trailer Different Park", a stellar synthesis of neo-traditional country and mid-tempo bluegrass, would've made her Country's breakout star. It didn't even come close--despite winning a Grammy and going Gold, the album surely didn't place her on equal footing with Luke Bryan, Blake Shelton, and Miranda Lambert. However, this lack of hits or less than enthusiastic response at Country radio was definitely not at the fault of Musgraves herself, since her music was humorous, confident, and gripping. Even if the Country marketplace didn't want to embrace a more progressive social view while trading in bro-country for neo-traditionalist styles, there's no merit in dismissing her great talents as a songwriter and artist. Proving her musical prowess is her equally entertaining sophomore record, "Pageant Material". It's not too far removed from Musgraves' debut, but it succeeds in ways that "Same Trailer" faltered. The tempo is still set for walking, but this time there are luscious strings and more vocal harmonies to accentuate the instantly memorable melodies. Themes stay grounded in acceptance, love, and small-town squabbles, but they're continually expounded on through anecdotes about Musgraves' own childhood experiences. There's a certain intimacy in "Pageant Material" that "Same Trailer" lacked, regardless of the fact that no character in these songs are mentioned by a specific name or trait. Additionally, the irony that serves as the heart of Musgraves' words is layered with shrewd metaphors and blunt honesty, making for a much more engaging listen. Best of all, the album winds its way through 46 minutes of music with an ease so effortless, it's hard not to give it a few more spins. Satisfaction is instantaneous, and there's never a point on this record where the notes get dull or the words become corny. Every song provides something for everyone, not because "Pageant Material" is Musgraves selling out to the conformities of Country radio, but because of her careful construction of these songs and diligence in crafting universal anthems that sound good no matter how they are packaged. She kicks the sophomore slump in the ass and instead improves on virtually every aspect of her debut. Even if she never gains the monetary success of her peers, there's no denying that her albums provide richer and more substantial rewards.

Recommended Tracks in Bold:
1. High Time                           2. Dime Store Cowgirl           3. Late to the Party

4. Pageant Material          5. This Town                           6. Biscuits

7. Somebody to Love             8. Miserable                        9. Die Fun

10. Family is Family         11. Good Ol’ Boys Club        12. Cup of Tea

13. Fine

Owl City-"Mobile Orchestra" Review

Since Owl City had already sold his genuine authenticity down the river, it didn't seem that he could scrape the bottom of the pop barrel any further. If it didn't follow "The Midsummer Station", the embarrassing realization of this sentiment, then "Mobile Orchestra" would be Owl City's worst album. Adding insult to injury is the "Ultraviolet" EP in 2014, which brought a brief moment of relief and suggested that Adam Young was trying to reconnect with the spirit of his earlier, and best, work. But since that is not the case with OC's first full-length in three years, "Mobile Orchestra" plays out like a botched attempt at a career rebirth after a tragic failure at finding pop crossover success. What's worse is that Adam Young continues to offer the same excuse for his pop ventures, stating that he makes music he believes he should make, rather than what others tell him to make. Not only is this argument transparent--"Good Time" featured Carly Rae Jepsen because Republic Records told him that it should--but it also implies that Young realized that "The Midsummer Station" was not only contrived, but it also sanded down his core star-making audience. "Ultraviolet" has already made this apparent with its mix of "old meets new", and in light of "Mobile Orchestra", that 2014 EP now appears to have been lip service to OC's original fan base. Now in 2015, he's back to making shallow and paint-by-numbers mainstream pop, drafting "Wake Me Up!" singer Aloe Blacc for first song/lead single "Verge", which seems to be designed as "Shooting Star" meets Blacc's own solo hit "The Man", while resurrecting 90s one-hit wonder Hanson for "Unbelievable", a flat-out terrible song, the worst that Owl City has ever recorded, which streamlines BuzzFeed's nostalgia craze into three minutes of stomach-lurching cliches. So derivative are these two songs, that it's excruciatingly baffling why anyone in Owl City's camp would continue to think that these pop hand-me-downs would work in the hands of an artist that can't convincingly sell these gimmicks. 

But even when "Mobile Orchestra" revisits classic OC territory, mainly the Christian-pop cuts "My Everything" and "You're Not Alone", it still doesn't work because these songs are also recycled and bland. The momentary detour into country music, the Jake Owen-assisted "Back Home", doesn't fail as a song but is also not a persuasive testament to Owl City's ability to pull off the production and style. The only time that "Mobile Orchestra" succeeds in any collaboration or genre is when lower-profile artists reside in the passenger seat (see the lone highlight "Thunderstruck", featuring Trance singer Sarah Russell) or when subtlety is favored over the obvious (such as the song "Bird With A Broken Wing", perhaps a more fitting title for this record). Partnering with big-budget singers and songwriters is not, nor has it ever been, an appealing outfit on Owl City because when under the thumb and control of others, his imagination is stifled, which makes his on-record presence weak and hollow. And that's the most pertinent problem with "Mobile Orchestra", because if it had been presented with some sense of humor or frivolity, then it would've been easy to laugh at and with it. There are actually a lot fun songs here, but  because Adam Young's heart isn't in it, they become faceless and boring. His lack of soul and pizzazz turns these songs into the worst kind of pop music: the type that has great potential, but is predictable, unenjoyable, and could have been made by anyone. What would've been Owl City's worst album is then something that's interestingly tragic; a disappointment to long-time fans who've waited for a half-decade to return to his creative roots, but its shortcomings don't associate with the Owl City name when it doesn't remotely feel or sound like Owl City.

Recommended Tracks in Bold:

1. Verge                       2. I Found Love                     3. Thunderstruck

4. My Everything      5. Unbelievable                      6. Bird With A Broken Wing

7. Back Home            8. Can’t Live Without You   9. You’re Not Alone

10. This Isn’t The End

Hilary Duff-"Breathe In. Breathe Out." Review

Though she was considered the most green of all her teen-pop peers in the early 2000s, it's a sure testament to her tenacity that Hilary Duff was the first to make a return to music in the 2010s (especially considering it's been a full eight years since her last album "Dignity"). Whatever the reason for her comeback, it certainly can't be said that Duff was under contractual obligation or felt any financial need to do so. With a full roster of contemporary pop minds at the helm--Tove Lo, Toby Gad, Matthew Koma, and Ed Sheeran all make appearances--"Breathe In. Breathe Out." both benefits and suffers slightly from its careful construction. Of course, EDM serves as the basis for most of these songs, but there are also nods to acoustic-pop ("Tattoo" and "Night Like This"), indie-pop ("Rebel Hearts"), and pop/rock ("Picture This"). However, "Breathe In. Breathe Out." is by and large supported by a throbbing dance-pop pulse, not unlike those beats already fronted by Ellie Goulding or Taylor Swift. Indeed, several cuts, such as the airy title track, could've fit comfortably on Swift's "1989" album, while "One in a Million" isn't too far off the track from the club hits Goulding scored with "Halcyon Days" in 2014. Thankfully though, no matter how often the music here gets dangerously close to being behind the times or reductive of already worn practices, Hilary Duff has picked a production team that places emphasis on her sweet, girly voice and benevolent nature. This means the important part of the songs are the songs themselves, always favoring melodic hooks instead of rhythm-n-bass. It does get a little tiresome half-way in, where the songs start becoming more similar ("My Kind" and "Lies" could almost be exact duplicates of each other), but that doesn't mean the second half of the album was built any more lazily than the first. Sticking through to the end does offer decent rewards with the guitar-driven songs taking the fore and the four-on-the-floor subsides. So, whatever side of Hilary Duff you prefer, there's a satisfying helping of both parts of her personality here. Even if "Breathe In. Breathe Out." doesn't exactly separate her from the wide array of Taylor Swifts or Tove Los of the modern pop landscape, it does offer further proof that Duff's motivation for making music isn't to sell records, but to enjoy singing the songs she's given. That altogether is what makes this album a sturdy and successful comeback.

Recommended Tracks in Bold:

1. Sparks                               2. My Kind                              3. One in a Million

4. Confetti                            5. Breathe In. Breathe Out.  6. Lies

7. Arms Around a Memory   8. Stay in Love                      9. Brave Heart

10. Tattoo                                11. Picture This                     12. Night Like This

13. Belong                               14. Rebel Hearts

My Shout-Outs: Junior Year

OMG COLLEGE SLOW DOWN I'M NOT READY TO BE A SENIOR YET.

^Now that I got that out of the way, it's time for the annual listing of the coolest, dopest, most bestestest peeps this side of the Chippewa! My junior year at UWEC was definitely one of the hardest I've had so far, and so I have a LOT of people to thank. 

First, of course, is the mellophone section of the BMB! We had a smaller section this time around, but there sure wasn't a smaller number of crazzzyyyyy people!
And their names are:
Alex Herrera
Amy Greathead
Andrea Ranzau
Tony Peterson
Ashley Sukhu
Kyle Launderville
Robyn Gehri
Emily Watkins
Ben Mackie
Siri Stensberg
Sam Olson
Forrest Cleven-Peterson
Grant Sachs
Best of luck to Alex, who's graduating!! Have fun being an English teacher girl!
I also wish good fortune to Amy, who will be student teaching in the fall!

Next, I shout-out to my homies in the UWEC Symphony Orchestra!
Eli Webb-violin
Grace Wilgus-violin
Crystine McGinley Adams-violin
Nathalie Burmeister-violin
Rose Mish-violin
Jake Brunquell-violin
Suzzana Kellett-violin
Rosie Moua-cello
Rachel Burtman-bass
Hunter Jeske-bass
Miranda Mullis-cello
Kate Hegna-violin
Allison Litke-violin
Sarah DiPiazza-clarinet
Laurie Craig-flute
Unfortunately, I have to say goodbye to some graduates here as well!! I hope for nothing but prosperity for Laurie, Eli and Grace! Additionally, Rosie will be student teaching in the fall, so good luck to her as well!

Horn studio peoples, ya'll are next! I learned alot from you guys, thanks for inviting me!
Rosie Evans
Andy Michor
Andrea Ranzau
Dominic Meincke
Kristina Mienke
Tommy Printon
Elizabeth Brunner
Hannah Steig
Ben Mackie
Amanda Halek
Katelyn Klevgard
Siri Stensberg 
People are graduating here too!! I wish for smooth sailing for Hannah, Dominic and Tommy, kick some ass boys (and girl)!

Creative Writing (ENGL 220) people: you are ALL the best. Literally. Like, the best ever. You showed me a world outside of the crazy music department, so I give you my deepest gratitude! ...But there were some people who stood out:
Summer Underwood (Amazon warrior princess pirate shaman!)
Anne Sandell (ENGL 310-Spring 2016-ROUND TWO!!)
Judi Johnson
Abby Schultz
Alyssa Sablan

Then I have these amazing professors who have helped me learn alot about...well, pretty much everything!!
Nobu Yasuda
Ryan Jones
Gretchen Peters
Randy Dickerson
Allyson Loomis (Best professor I think I've ever had. My creative writing buddies can attest to this!!)

Here comes the random list of people! I'll include everyone I can:
Lucas Brawdy
Britany Chartier
Autumn Schacherl
Garrett Aalfs
Jack Donovan
Miles Plant
Emilie Zamarripa (you're closer to the top this year!)
Haley Reichardt
Shelby Moore
Alex Exworthy
Trevor Kent
Jesse Kozak
Joe Poncelet
Andy Ludewig
Jamie Gronski
Angie Coyle
Carlee Schneider
Mariah Sands
Courtney Walin
Adam Wysocki
Aaron Grindemann
Paul Soulier
Madeline Reilly
Dani Schmalz
Matt Strom
Anika Reinighaus
Michael Dellutri
Amanda Koval
Karen McGregor
Sam Zimmerman
Brady Scafe
Christine Lasee
Shalaine Buehl
Andrew Nicholson
Bobbi Freagon
Grace Luebben
Julia Falbo
Since there's a lot of people in this list, of course there are some graduates!! Best wishes and all the luck to Miles and Jack!!

Now, before I head on to the Big Four, I must take this time to honor two graduates who I will miss more than anybody else. Knowing that they won't be here next year brings actual tears to my eyes!! 
Kelly Noltner-Girl, you know you were da best evah!!! And yeah, you can sing pretty well, too! I'll be seeing you at the Metropolitan Opera House! 

Shane O'Neil-My chauffeur. My rock. My music buddy. My only male best friend! I promise I won't start bawling into after I post this but...GOOD LUCK, MAN, DO THE BEST JOB YOU CAN OKAY?!!!! #tearsfoyears #pleasedontleave #illbeemissingyou

Alright, so I know it's my custom to do a Big Four every year, but here's the thing: this year was so exceptionally challenging for me, that I couldn't just turn to four people. There are indeed FIVE, FANTASTIC, FABULOUS women who have carried me through all the trials and tribulations this year.
Briana Buchholtz-Three years running girl! After she got back from Japan, it was a little rocky at first, but eventually she reminded me why we're such great friends. I can't believe we still have another year to tear shit up. Senior year, baby, LET'S DO IT!

Hannah Zirbes-Definitely one of the nicest, chillest people I've ever had the fortune to know. I honestly don't know why I didn't befriend her earlier, cause she's really that amazing. 20th Century Music and World Music were awesome, now let's conquer Music History Seminar together! (Also, Briana and Hannah went bar-hopping with me on my 21st birthday, so they get an extra shout-out for that!)

Andrea Ranzau-It's definitely been a bumpy road for us. But I take great solace in knowing that I can turn to you whenever I need help. I know our lives are not going to get easier, but having you by my side makes the ride bearable. You deserve a great support system, and I am absolutely willing to be a part of it, just like you are in mine! 

Teresa Wolfe-Let's recount the number of classes we've had together: MUSI 227, MUSI 229, MUSI 303, MUSI 350, and MUSI 405. Next up: Renaissance Counterpoint!!! Doing the music history sequence with you was beneficial in WAY more ways than I can count. All those late nights at the library, all the studying for quizzes and midterms and finals and writing all dem papers!! You'll be gone in one more semester, so we're not going to waste any time come the fall!

So, who was the girl who just went, like, above and beyond, who showed me that I do have friends that are willing to make plans with me, whenever, wherever? That is none other than my bus buddy, my Disney Sorry enthusiast, my music critic/helper, my McDonald's partner, my Noodles+Company/Books-a-million bae: EMILY WATKINS!!
By and large, your support has given me hope that I might not be such a lost cause after all! Every Sunday we've hung out, we've talked, we've dueled it out in the manner of board games, we've laughed, we've cried (well, maybe not that part), we've done many great things together!! I'm glad you're only a freshman, because this is only going to get bigger and better, I assure you!

Year 3: DONE. So, what's next? I don't know yet; I can honestly say I don't know. The wind will take me where it wants me to go, so while I continue this journey, you'll be sure to keep getting postcards. 

Zedd-"True Colors" Review

It may have been a long time overdue, but German DJ/producer Zedd finally reached a commercial breakthrough with 2013's definitive dance hit, "Clarity". Its accompanying LP of the same title featured many tracks with the same dance-pop crossover appeal, no doubt aided by pop craftsmen like Ryan Tedder, Ellie Goulding, and Matthew Koma. For the next two years Zedd tirelessly promoted "Clarity" with concert tours and festivals, whilst helming hits for other pop divas such as Lady Gaga and Ariana Grande. Such a full schedule makes you wonder if Zedd had the energy to take on the draining task of another album, but none-the-less, he has returned for a sequel: 2015's "True Colors". Since the era of "Clarity" just recently ended, it's not surprising at all to hear that its follow-up pretty much offers more of the same. Like last time, the album begins with a stripped down, pop-leaning interlude, giving guest artist Bahari a chance to shine before the grainy synths and pounding drum machines crash in around the two minute mark. From there, Zedd trades off between assaulting the ears with as many electronic sounds as possible and relieving the senses with a couple acoustic-driven ballads. So, he doesn't necessarily make any big artistic strides here, even if a couple songs are a nice refreshment of the EDM-pop that once dominated the radio in the early 2010s. Lead single "I Want You to Know" is by far the best, using Selena Gomez's vacant vocals to provide the essential hook, with Zedd picking up any slack with his restless studio tricks and techniques. 

It's just too bad that he didn't expand on this blueprint further, because he instead decided to overwhelm the mind with too many  contrasting ideas. He tries really hard to mix EDM, folk, pop, hip-hop, house, and rock, but this mix of genres is not presented with subtlety or cleverness; it's a blunt, full-frontal assault of naked ambition. It's so obvious that cuts like the guitar-lead title track or string-driven "Daisy" are meant to play to Zedd's musicality, that they lose some of their intrinsic charm. Attempts at self-empowerment like "Straight into the Fire" are admirable, but woefully fall aside when they run out of steam mid-way through the track. Ditto for "Beautiful Now", a would-be party jam for the couples on the dance floor, if it wasn't so stark in its minimalist approach. Indeed, "True Colors" suffers a great deal because of Zedd's self-indulgence, that even the best songs like the Echosmith-assisted "Illusion" are stretched beyond their limits and ultimately fatigue the listener. Now, this may have been easier to forgive had Zedd moved beyond his trademark synths and abstract, metaphorically saturated lyrics or put a new, different spin on the material. However, since much of "True Colors" welcomes "Clarity" comparisons because the same production stylings and influences (Daft Punk seems to appear in almost every song in some fashion), it doesn't offer either the artistic innovation or musical prowess it promises. Of course, Zedd puts enough vibrance in the sounds to prevent the trend of all the songs sounding like carbon copies of one another, and for what it's worth, he doesn't mask or obscure the strengths of his collaborators either. For all his commentary on the state of EDM in the mid-2010s, however, it's a slight disappointment  to know that "True Colors" works best when enjoyable, upbeat dance pop that is at the fore. The slower, more contemplative songs become a jarring buzz-kill, making what should have been a successful sophomore sequel an overwrought and taxing one.

Recommended Tracks in Bold: 
1. Addicted to a Memory       2. I Want You to Know     3. Beautiful Now

4. Transmission                     5. Done With Love             6. True Colors

7. Straight Into the Fire        8. Papercut                             9. Bumble Bee

10. Daisy                                11. Illusion

Marina and the Diamonds-"Froot" Review

It was maybe a bit too shocking when quirky songstress Marina Diamandis traded the indie-rock and new-wave textures of her 2010 debut "The Family Jewels" for the big pop choruses and gleaming electronic beats in her 2012 sequel "Electra Heart". Though the quality of her music didn't exactly suffer from this genre shift, her core artistic persona was a bit smothered by the crowded roster of mainstream producers who tended to favor the pop sounds and frivolity over satirizing the idea of popular music itself. Now with the affair well behind her, Diamandis perhaps realized that "Electra Heart" was too jarring a step into the masses, so she doesn't make the same mistakes again on her third album, "Froot". Only two cooks are in the kitchen this time: Diamandis, who provides all lyrical content, and producer David Kosten. Together, these two pull off a neat trick with "Froot", pulling in the introspective and humanistic elements from Marina's debut and synthesizing them through the sounds of singer-songwriter, new-wave, and pop. Essentially, they just split the difference between her first two records and handpicked the best traits from both of them, but that alone doesn't accurately reflect the true artistic progression from "Electra Heart" to this. It's quite uncanny how Diamandis can begin "Froot" with "Happy", a song that lays her rawest emotions bare, supported only by twinkling synths and acoustic guitar, and then jump into the light-weight pop of the title track just seconds later. She repeats this pattern several times, bouncing back and forth between upbeat dance songs ("Blue", "Savages") and intimate, alternative ballads ("I'm A Ruin", "Immortal"). It's an effortless task for Marina, who not once feels like she's forcing the material or reaching for emotional depth that isn't there. If that wasn't impressive enough, then also take into account that there are almost no tracks that suck the momentum; each song works in tandem with the others to operate as a whole piece of work, never scattershot or unfocused. Then there's also the fact that Diamandis has never been more affective as a vocalist, delivering lines about fruit and roses with equal power as those tales of human savagery and betrayal. It's readily apparent that she heavily examined the flaws in her first two albums and consolidated the strongest parts, leaving the filler behind. She nearly exceeds in constructing a masterpiece, with just a couple of plaintive detours halting perfection ("Gold" and "Forget", both placed early enough in the album that they don't detract from an otherwise astounding set of songs). After taking the always messy steps into super-stardom, Marina and the Diamonds has wound up with her best album so far, mixing all of the unique aspects of her music together in an exuberant fashion.

Recommended Tracks in Bold:
1. Happy                                2. Froot                     3. I’m A Ruin

4. Blue                                   5. Forget                     6. Gold

7. Can’t Pin Me Down          8. Solitaire                  9. Better Than That

10. Weeds                               11. Savages               12. Immortal