Album Review: I Was Going to be an Astronaut

It is very rare for an album these days to truly uncover what love means to us as humans, and how torn down we are when we lose it, and how we feel invincible when we find it again. Acoustic singer/songwriter Greg Laswell’s new album I Was Going to be an Astronaut has done just that, and with such simplicity that it’s a skill in itself. I don’t care how cliché it is, because finding and losing love is what brings out the best music in the entire world. The new album, released Tuesday Feb. 11, is actually old – in a certain sense, at least. It’s comprised of mostly redone versions of some of his older and best-known songs and some that he thinks are worth a second chance. But trust me, just because you may have heard them before doesn’t mean you’ve heard them like this.

The album’s rawness and emotion tells us that it’s OK to cry when we lose such a big piece of ourselves and gives us permission to laugh and be joyous when we discover that we can love again.

Laswell’s voice is both gentle and powerful. He articulates every word as if we wrote the songs ourselves and feel what he feels.

From the album’s first notes on “I Don’t Believe It’s Through,” we hear exactly where this album will take us. The song flutters with gentle keyboard, and the melancholy is heavy throughout.

The best is yet to come. His new versions of “Comes and Goes In Waves” and “What A Day” moved me to tears: “What a day to be alive / What a day to realize I’m not dead” are sung with passion and emotion that is so palpable you can reach out and touch it. The piano accompaniment that makes up the majority of these tracks is beautiful and simple, which is all one needs for a great love or loss song.

I have to choose highlights even though the whole album is damn near flawless, so I have to spotlight “High and Low.” This song is just a mirror to me.  I’d never heard it before, and I was stunned at what a beautiful song it is and how much of myself I see within the words.

Another great of “Take Everything,” is one of the less heartbreaking and more bitter lost-love songs on the album, but it still glows as the piano dances throughout the track.

The last track on the album “And Then You” is one of my favorites. When you find love in your life, you have to listen to this song. Then you’ll understand its true power. But you should listen to it anyway. It’s stunning how simple it is, and yet it’s powerful in its expression of when you find someone special and no other problems in life seem to matter at all anymore. I think we can all find some truth in that.

I can’t think of a recent album that has moved me so much in the process of listening. I don’t know many artists who can capture elation and pain and human love as well as Laswell can. The album is universal in scope; it’s a work of art.

Album Review: Cavalier Youth

English post-hardcore rock band You Me at Six has started to mellow out a bit on its newest record titled Cavalier Youth. But mellow does not necessarily mean great, or even very good for that matter. This record has a few bright points, but most of it loses its charm very quickly with mediocrity in vocals and instrument structure that blend together from song to song. Where the record shines, it shines. Where it does not, it falls flat on its face and tries really hard to get back up again, only to repeat the process until the album finishes.

I must have a thing for opening tracks, because the opening track on this record is probably one of the best. “Too Young To Feel This Old” is a hard hitting, standout performance with a soaring, catchy melody and shining guitar work. If any track is worth a download, it’s this one.

“Lived a Lie” is nothing really special, and it didn’t really jump out to me. The next track “Fresh Start Fever” sounds like a cut from Fall Out Boy’s Infinity on High. Loud thumping drums and a manic beat really add some liveliness to the record, and the song did stay with me after listening. These tracks are short-lived, however, as this is where the album begins to quickly fall into routine and languish.

The main problem with the rest of the tracks is the vocals. Front man Josh Franceschi’s vocal style lends itself to this type of issue, but it’s not solely his fault. Perhaps the band didn’t arrange the songs well enough on the album, or maybe they wrote too many that had similar notes, sounds and structure. Even if this was the case, they didn’t write them to the best of their ability. The songs sound very similar and the vocals all hover in one specific area and never quite leave it.

I can tell Franceschi is passionate about what he’s singing, but the writing fails him here. Out of the following few tracks, the one that stands out is “Hope For The Best.” The chorus is catchy enough to warrant a notice on my mental list, and the harmony is well done. The instruments here sound pretty strong as well, but there’s certainly room for improvement.

The last track “Wild Ones” is another track that really stands out for me. I guess the bookends of the album really are the best, as this track has a fantastic chorus and is slow and ballad-like in structure. It’s a very nice farewell and is the longest song on the record, to really let listeners savor one of the few good moments of the album.

You Me At Six is known for its post-hardcore sound, but after deciding to lighten up a bit on its newest release, the effort falls somewhat flat. If the band can take the pieces of the record that work and combine that with previous efforts that are much better – like 2008’s Take Off Your Colours – then we’ll have a great record on our hands. For now, though, the members of You Me At Six will have to lick their wounds and re-evaluate where to go from here.

Album Review: Mind Over Matter

Young the Giant has certainly picked up the pace on its new album Mind over Matter but seems to have lost a bit of its charm in the process. On the whole, it is a very well constructed and produced record. It sounds wonderful, thanks to producer Justin Meldal-Johnsen’s work and the band’s lovely new exploration in a multitude of new textures and experimental sounds. Very few songs stick out in particular, but the album is definitely worth a closer look.

The album’s strongest section is the beginning, and this is demonstrated by possibly the best song on the album, “Anagram.” It’s a jangly, fun track that really shows how far the band has come since its last release.

The next three tracks, which are the three singles that were released for the album, are also strong. Each explores a different musical facet, with “It’s About Time” focusing on heavy rock riffs and “Crystallized” being a vocal showcase for frontman Sameer Gadhia. “Mind over Matter” plays with new electronic sounds and creates a great atmosphere for the track, although vocally and instrumentally, it doesn’t really stand out.

The songs “Firelight” and “Camera” are very attention grabbing. They’re both haunting ballad-like songs that are completely driven by the force of Gadhia’s voice, which is in top form throughout this entire album. “Firelight” in particular is somewhat reminiscent of “Cough Syrup” from the band’s first album, as the guitar tone is almost exactly the same.

While listening to “Camera,” I was immediately drawn in by how powerful the vocals are. It also has quite an interesting sound to it, and the only way I can think to describe it is “electric tribal.” These songs are all must-listens of the album and make up its better first half.

The second half of the album leaves something to be desired. Songs like “Daydreamer,” “Teachers” and “In My Home” are fast and frenetic, but don’t catch me by any means. The last couple of songs in particular sort of meander, relying more on their new electric textures and soundscapes than on quality songwriting and instrumentation.

All in all, despite its flaws, this is a strong record. The vocals are a sure highlight, and the band still plays well together for most of the album. The album also shows the group not being afraid to branch out and experiment, which almost always signifies good things for an up-and-coming band. It shows they don’t want just to be known as the band that sang “Cough Syrup.”

Signing to Fueled by Ramen is probably one of the best choices the band made to foster its sound. Though I’m giving the album a modest review, I still think, for the most part, that it’s a very well constructed album. It might just take a different ear to fully appreciate it and really take in all it has to offer.

Album Review Face-Off: ARTPOP proves inconsistent, underdeveloped

Lady Gaga is a giant in the music industry, having taken the world by storm with her eccentricities and record-selling hits. It started with The Fame in 2008 and then The Fame Monster and Born This Way. Now, in the final months of 2013, we are graced with her rather lesser album ARTPOP. It’s a blend of ‘90s-esque tracks, more instant hits and other polarizing pieces that are some of the strangest Lady Gaga songs to date.

“Aura” kicks off the album with an extremely catchy and beautiful chorus. Unfortunately, that chorus is the only thing this feminist anthem has going for it. I found myself skipping past the jumbled and unintelligible, heavily synthesized verses that fill the gaps.

“Sexxx Dreams” comes along several tracks later with its nearly unbearable sound. It consists of static, overpowering synthesizer beats that make Gaga’s voice seem weak and, at times, artificial. It’s not a very enjoyable listen but rather a strain to get through.

Then there’s “Jewels n’ Drugs,” a Fame-esque, fun hip-hop track. It actually has some fantastic background tunes and some great old-school Gaga vocals, but the cheesy addition of rappers T.I., Too $hort and Twista is where the song falters. I understand the intention and the stylistic consistencies considered, but the song would be 10 times better without them.

“MANiCURE” is a fun play-on-title for a track that is probably the best on the album. It’s a hopping, energized ‘80s and ‘90s throwback with feminine power and angst. The entire song, verses and all, is catchy and dance-oriented. It’s definitely a high point of the album.

“Do What U Want” has two pros: an intro beat that bears striking similarity to the soundtrack of the film Drive, which is always a positive thing, and Gaga’s powerfully passionate vocals. Despite this, the chorus falls short because it’s not very impressive hook for listeners. Also, Gaga made another wrong decision in terms of collaboration, because R. Kelly’s contribution to this track doesn’t work. His parts are whiny and unnecessary and they take away from Mother Monster’s fabulous voice.

As with every Gaga album, there’s a wonderful ballad thrown in that really shows off her talent. Though “Dope” may not be her most impressive ballad, it’s definitely one of the best songs on ARTPOP and it may bring tears to your eyes.

ARTPOP is another good album from Lady Gaga, but it’s certainly her worst so far and her most inconsistent. Little Monsters like me are bound to have divided opinions over this one.

Album Review Face-Off: ARTPOP generates universal relevancy

Lady Gaga’s third studio album ARTPOP shows her forever-evolving approach to music, which continues to attract public attention whether you love or hate the new queen of pop. Like Born This Way, this album infuses sentimentality, sexuality and empowerment into a personal journey through Gaga’s life. Just as she sings, “My ARTPOP could mean anything,” Gaga notes the album’s more subjective focus. This album is much more sensual than her past work. Tracks like “Sexxx Dreams,” “G.U.Y.” and “Swine” are new explorations into Gaga’s sexuality.

Besides “Applause,” with its elevated self-awareness, “G.U.Y.” might be the best track on the album. Gaga channels the intense gorgeousness of her voice and invokes a sexy, honest and powerful feel.

“Dope” is the most poignant and emotionally powerful track with lyrics lamenting, “My heart would break without you, I’m not awake without you.” Gaga shows us her ability stripped down to basics in this piano ballad comparing love to addiction.

The following track adds to the introspection. “Gypsy” affirms that traveling around the world at the cost of a stable lover is a worthy trade.

Gaga’s music on ARTPOP is coupled with an intense feeling of empowerment. Marginalized people with strong self-identity will immediately recognize this. The LGBTQ community is known to hold some of her most fervent supporters, and for good reason.

Gaga sheds criticism, crosses genders and wears what she wants with ease. This explains why her fans that struggle with societal constraints find her music and spirit liberating.

For this, ARTPOP is valuable, yet critics frequently overlook this aspect of Gaga. She’s frequently written off for being too weird, and that’s why so many of these marginalized groups adore her. She provides a model to transcend the restrictions of society and preaches the value of being and loving all of yourself, and the album praises those lessons.

Love her or hate her, Gaga knows how to generate a unique kind of universal relevancy. Even if the album is not as strong as past endeavors, ARTPOP is well worth listening to, as Gaga isn’t going anywhere anytime soon.

Album Review: The Marshall Mathers LP 2

Eminem is one of the best-selling musical artists of all time and widely considered one of the best rappers alive. He is capable of both fun pop culture satire and beautifully depressing reflection on his past. Since his darker 2010 album Recovery, his collaboration with Dr. Dre on the single “I Need a Doctor” and his reunion with Bad Meets Evil partner Royce da 5’9” for their 2011 EP Hell: The Sequel, Eminem has crafted his newest masterpiece The Marshall Mathers LP 2, the “sequel” to his renowned 2000 album. “Bad Guy” gets the album off to a great start with an intoxicating chorus and some hardcore verses that promise Eminem is back and means business as usual. A few songs down the list is “Berzerk,” the album’s first single, which harks back to old school Slim Shady with a fun, adrenaline-fueled you-only-live-once attitude. It’s a very nostalgic ‘90s throwback track that was a genius choice of a song to introduce the LP to the public. Next comes an all-rap, all-Eminem opus. “Rap God” is the rapper’s show-off track, in which he flaunts his Busta Rhymes-style fast rapping and wordplay skills, and it’s a pleasure to listen to. It’s epic and egotistical but without being pretentious. “Rap God” is Eminem getting up in your face but in good taste. First it was the hit single “Love the Way You Lie” on Recovery, and now it’s “The Monster,” Eminem’s second powerhouse collaboration with Rihanna that has competed for the top spot on iTunes for quite some time now. “Love Game” is a bitterly hilarious romp on relationships and cheating. It’s Eminem going off on romance and backstabbing affairs, and it’s a very funny, fun track that is one of the best songs on the album. Kendrick Lamar only adds to its greatness by delivering some rapid-spitting verses and an awesome chorus that has a bluesy feel to it. Unfortunately, the slew of perfected hits comes to a slackening point with the track “Headlights,” featuring a rather lackluster chorus by fun. front man Nate Ruess. I’m a huge fan of Ruess and the band, but this collaboration does not work. One of the closing songs, included on the deluxe edition bonus disc of the LP, is “Beautiful Pain,” in which Eminem delivers decent verses but is overshadowed by the chorus of Australian pop singer Sia, who also steals the spotlight in David Guetta’s “Titanium” and Flo Rida’s “Wild Ones.” Sia has a beautiful voice and a knack for hard-hitting choruses; for her part alone, this is the best song on the album. The Marshall Mathers LP 2 is a very meticulously crafted album, the wordplay being outstanding and almost uncanny. Furthermore, its major collaborations are mint, hit singles; there’s no doubt about it. “The Monster” has already peaked at number one on the charts, and the others are bound to get there soon enough. Then there are the rap-heavy tracks like “Rap God” that emphasize Slim Shady’s talent more than anything. Despite this, I must cite the “hit singles” as a flaw, for they overshadow Eminem and seem to be carrying the bulk of the material. The focus seems centered on these catchy collaborations and not as much on the artist of the album, unfortunately. In addition, Eminem has stated that his frequent use of homophobic slurs is intentional and to prove a point, but they seem too subtle and misguided to get across such a message to everyone. Many will take offense to them. Overall, Eminem’s newest album is a near-masterpiece with throwbacks to his older work and a nice blend of emotional depth and fun energy. It’s definitely worth a listen or two or three.

Album Review: Business Casual

Alt-rockers We Are Scientists have slipped under the radar until recently. The Berkeley, Calif. duo is well known for its unique blend of great acoustic rock and frenetic guitar jams that channel bands like The Strokes. Remember the movie Nick and Norah’s Infinite Playlist? The We Are Scientists track “After Hours,” included on the soundtrack, propelled the group much further into the spotlight. Unfortunately, the band put out one more album afterward and then went on a temporary hiatus. The band’s recent release of two EPs, one being Business Casual, signals the underappreciated and very talented group’s return.

The EP begins with “Dumb Luck,” a hectic track centered on some crazy guitar work. The song has great harmony and a wonderful old-fashioned rock ‘n’ roll sound. The melody is well crafted and the song sounds almost like Queens of the Stone Age. It’s a rip rolling song to start off the EP and contains all the parts necessary to make it an ideal new jam that stands alone.

“Return the Favor” is most definitely the most typical-sounding We Are Scientists track from the EP, but in no way does that make the track lacking. The song has a wonderfully pleasing chorus and great layering on all accounts. The instrumentation is lush and bombastic, and the singing is melodic and catchy. The guitar is down and dirty, but the song somehow sounds clean as a whistle. It’s a great song to chill to and is definitely another must-listen.

“Good Answer” keeps the ball rolling. It’s a solid track to be sure, and the opening riff immediately catches you. You can definitely see this one being in a movie soundtrack. The chorus itself doesn’t do much in the way of catchiness, but the song holds itself well in light of the clean guitars and the repeating riff. The piano adds a nice soft texture to the track as well.

“Courage” is definitely the most interesting track on the EP. It’s also the most simple, with just guitar and vocals. It seems really honest, though, which is something to be said in itself.

“Courage” has a folky feel to it – a very singer-songwriter vibe. It certainly seems like a way for the band to present itself in a more stripped-down manner, considering the production of the rest of the EP is quite nice and big sounding. In contrast to the lush textures of the other tracks, “Courage” is a nice respite and presents another side to this evolving group.

The EP closes with “Take My Breath Away,” a cover of a ballad by ‘80s group Berlin. The band’s rendition has a country kind of twang, which is certainly evident in the slide guitars that persist throughout, but overall, the band does a great job on adding its own spin to the song. It’s big, it’s powerful and it doesn’t feel out of place.

I like to think of this EP as a sampler platter of sorts: a taste of the many talents of We Are Scientists and what they have in store for the future. There’s a song on this EP for everyone, and its sound is just plain enjoyable. This is a band that is not unsure of where it’s going – musicians that know they can do whatever they set their minds to. This EP is just letting the rest of the world know.

Album Review: Too Weird to Live, Too Rare to Die!

Panic! at the Disco has gone through some really tough changes over the past few years. After splitting with original members Ryan Ross and Jon Walker, lead singer Brendon Urie and drummer Spencer Smith continued the band’s legacy. But as Smith recently began rehabilitation for alcohol addiction, he left the sole duties of the band to Urie. I was extremely hesitant coming into the listening of Too Weird to Live, Too Rare to Die!; Urie proves on this record, however, that not only is he still a beast on vocals. He knows how to write a song and a melody to boot.

Be warned, the Panic! at the Disco that you know and love is gone on this record. Well, not completely. But the whole album is drawn mainly from electronic influence, which completely changes the sound of the band.

The opening track “This Is Gospel” proves to be one of the best tracks on the album. Starting with an electronic pulse, the track explodes with energy and urgency and has one of best choruses on the album.

The album really hits its stride at “Nicotine,” another glittery track that pours on the funk, with a great bass line and an infectious chorus. Next is “Girls/Girls/Boys,” a quirky little track that really cleverly plays on modern sexuality and gender.

The next three songs of the album are certainly the best of all. “Casual Affair” is one of my new favorite Panic songs. Beginning with a driving beat and an awesome electronic background, the chorus in this song is absolutely explosive. Guitars crash in, and Urie delivers perhaps the hookiest and best chorus of the album. This track is a must-listen for the fans.

“Far Too Young to Die” begins with an almost metronomic sound, and then pushes its way into the synth pop goodness that pervades the album. The hook in this track is also strong, with deep, booming bass and wonderful vocals from Urie.

“Collar Full” is a track that fans of somewhat older Panic! at the Disco will want to check out. It has a fast-paced beat very reminiscent of the band’s previous albums. Urie is in top form here and pulls out all the stops. The whole song simply works and is definitely among the best of the album. The verses are great, the chorus is wonderful and the pace and instrumentation are just top notch. Another must-listen for sure.

I am overall impressed and surprised by this album. Although it’s heavily electronically based and very different from previous albums, it’s still catchy as all hell. It has great lyrics and instrumentation over the backing soundscapes.

It has its own personality, which I think was Urie’s intention. It may not sound like the old stuff, but if you’re willing to accept the change and roll with the punches, I think you’re going to find an album that you may enjoy or even love.

Lou Reed leaves lasting musical legacy

“Sunday morning is the dawning,” Lou Reed sings on the Velvet Underground’s debut, self-titled album. He was a musician, an artist and one of the greatest inspirations to the art world of all time. Reed’s life prematurely ended at the age of 71 on Sunday morning Oct. 27. Reed had been battling liver disease for quite a while, having received a transplant in the spring. Dr. Charles Miller, who performed the transplant, confirmed that disease was terminal a few days before his death. Reed left the hospital for his home in Southampton, N.Y. to die in peace.

Reed grew up in Freeport, Long Island during the 1950s in a Jewish family. Having learned how to play guitar from the radio, he became interested in rock ‘n’ roll and blues. Reed started a number of small bands during high school.

While growing up, he realized that he was bisexual. Reed received electroshock therapy to correct his divergence from heterosexuality. He has often said that this experience was very influential to his music.

He became a songwriter when he moved to New York City after graduating from Syracuse University in 1964. He started the band The Velvet Underground and in 1967, The Velvet Underground released its first album The Velvet Underground & Nico, produced by Andy Warhol, a pioneer of both avant-garde art and music.

The album and Reed’s work cover many themes such as love, alienation, sex and addiction. The song “Heroin” only features guitar and drums, and gives a narrative of what it is like to take the drug.

“When I put a spike into my vein/And I’ll tell ya things aren’t quite the same/When I’m rushing on my run/And I feel just like Jesus’ son,” Reed sings.

“Reed started singing outside of the song’s melody, as if he were giving a speech with a fluctuating drone in a New York accent,” The New York Times music critic Ben Ratliff wrote.

The very experimental album only sold 30,000 copies in the first five years of its release. Rolling Stone magazine lists the album as number 13 on the Greatest Albums of All Time.

Bands like R.E.M., Nirvana, U2, The Talking Heads, Joy Division and The Strokes owe a lot of their success to Reed. The experimental nature of music has had a lasting influence on music in general.

Reed had been sober since the ‘80s; becoming obsessed with his own health, he started practicing the art of Tai Chi.

The music world has lost a great leader. Reed was a man who pushed the boundaries of music while inspiring many. He may be gone, but his music legacy will last for many years to come. Friend and fellow musician Iggy Pop tweeted only two words, “Devastating news.”

“The world has lost a fine songwriter and poet … I’ve lost my ‘schoolyard buddy,’” Reed’s Velvet Underground bandmate John Cale said.

Album review: Icon for Hire

Tooth & Nail Records, despite their Christian affiliation, is one record label that has provided a jumping-off point for some very talented rock artists, with Anberlin and P.O.D. immediately coming to mind. Female-fronted pop metal band Icon for Hire seeks to continue the legacy with its new self-titled album. The band certainly has a sound I really dig, seamlessly blending pop punk, nu-metal, electronic and hip-hop elements all in one big sound. The musicians have the chops, and lead vocalist Ariel definitely has the pipes to create an awesome record. Unfortunately a bland melody problem that I find permeating a lot of records these days drags the album down.

The record opens with a bang. “Cynics & Critics” is a hard-hitting, catchy track that immediately grabs attention. The band's distinct sound is clearly evident here, with electronic samples, Paramore-esque vocals and a driving hard rock riff, in that order. There's even a bit of “rapping” on this track, but it is punk-driven and sassy.

Unfortunately, the album begins to suffer from “sporadic good melodyitis.” There's really nothing inherently wrong with the next four tracks; in fact, the music is quite good. It has a great mix of sounds that really set this band apart, and Ariel's singing is strong throughout. It's just that none of the melody lines hook me.

To me, a song without a good hook is just incomplete. The notion of melody and what is pleasing changes from person to person, but I don't't feel it on a lot of these songs.

“Sorry About Your Parents” is the highlight of the album for me. This song finally delivers an example of what this album could have been. It has a huge chorus and a tone that I can't quite decipher as sarcastic or serious. It's a short and sweet track that is the must-listen for the album.

After another group of songs that, again, have great instrumentation but unmemorable melodies, come “Rock and Roll Thugs” and “Fix Me.”

The former is a great rocking track about the importance of music and has great lyrics - finally a great rock song that talks about the importance of lyrics. It's another standout, with a pulse-pounding chorus and a great breakdown bridge.

“Fix Me” is the ballad of the record, and it starts with a beautiful piano line that catches the ear immediately. Ariel shines on this track, really flexing her vocal muscles and showing her different musical dimensions.

Musically, “Fix Me” a bit one-dimensional, but I actually don't mind because the piano is a welcome change of pace. This track is also the one in which the band becomes most spiritual, with the ending lines of, “Every scar one day will heal/Every tear one day will dry.” It never seems preachy, however, and it's quite a beautiful sentiment on a record with a normal pace as fast as the Indy 500.

Icon for Hire is an album from a band with a great amount of potential - as long as the members touch up some of their songwriting. This album may not deliver as much as I wanted it to, but it certainly packs a hell of a musical punch, and where it shines, it shines bright. Watch out for this band in the future, listeners.

Album Review: Get Wet

If it has a nice beat, you can dance to it. That saying certainly applies to electronic dance music trio Krewella's first studio album, Get Wet, released Sept. 24. It's actually an appropriate title, considering that the group made quite a splash last year with its debut EP Play Hard. The group established a unique sound, bridging the gap between harder-edged dubstep and pop.

Krewella has two female lead singers − sisters Jahan and Yasmine Yousaf - along with accompanist and producer Kris “Rain Man” Trindl, who sets the group apart from other artists in the scene. Picture, if you will, Ke$ha with more of a bite.

This group was on its way up but still had a lot to prove come the release of its first album. Unfortunately, most of the new material this album has to offer is repetitive and not very imaginative. It has a nice beat which, if played in a club, I would absolutely dance to, but it doesn't really do much in the listening department.

The album's first four songs are extremely catchy and hook listeners right away, but when given the opportunity to expand those hooks, the group simply falls flat and just repeats and repeats and repeats.

The highlight on the album would probably be “Come & Get It,” which uses a great fast-paced drum and bass beat as opposed to the standard house beat that most of the songs use. The vocals are top notch and the drops are fast and frenetic. One thing I have to applaud on this album is the texture of the synthesizers, as they are quite lush and appealing.

The award for biggest wasted opportunity on this album goes to “Dancing with the Devil.” This track features Patrick Stump and Travis Barker from Fall Out Boy and Blink-182, respectively.

With this amount of talent, this track should have absolutely been a standout, but Stump's vocals are so muddled in with the Yousaf sisters. Barker's drums blend in so well with the electronic beats that we hardly hear them at all. The melody is repetitive, and the song is not structured well overall. It is certainly the biggest disappointment on the record.

“Alive” and “Killin' It” are two tracks that were previously featured on the EP and remain highlights of this record. “Alive” glistens with wonderful piano backing and soaring vocals amidst the electronic elements, and “Killin' It” shows no mercy on the drops. It's a brutal, heavy dubstep track that will really get you going. Unfortunately these two tracks are all that stand out for me on the latter half of the album, except for one more.

If you can get your hands on the deluxe edition of the album, the very last track, “Lights & Thunder,” is a wonderful addition. It features trance DJ Gareth Emery, and the track itself certainly has a trance music edge, as it's more soft, lush and vibrant than the rest of the bunch. It has a great pulsing backbeat and a glitch texture that keeps it interesting. This is a must-listen, and it's unfortunate that it is only included on the deluxe edition.

I have a feeling that the group will continue to evolve and learn from its experiences, but this offering is a bit of a letdown. If Krewella can learn to drop the repetitive nature of the songs and play more with changing the hooks and melodies, then it will be successful. It has a good beat, and you can certainly dance to it, but it probably won't be on repeat anytime soon.

Album Review: States

After the release of two successful EPs, Woodland in 2011 and Young North in 2012, Australian indie-folk band The Paper Kites have finally released their first full-length album, States, on August 30. Having been an avid fan of the band since the release of Woodland, I had eagerly awaited and set high hopes for their first LP, and it's safe to say that they definitely did not disappoint. The band's dream-like vocals and layered instrumentals ventured into a realm of music that their previous EPs had only slightly dabbled with.

Similar to their other albums, States still retains the group's overall indie-folk feel, with soft vocals and instrumentals that make you feel as though you're strolling through an English countryside - or Australian, in this case. After listening to the first few songs off of the album, however, it is apparent that the band was trying to experiment more with its music by adding in new and eclectic instruments and sounds, as seen in “A Lesson From Mr. Gray,” “Cold Kind Hand,” and “In Reverie.”

The album opens up with the track “Malleable Beings,” one of the longer tracks on the album, clocking in at over five minutes. This track is a dangerous one; after nearly 30 seconds of listening, it completely swallows you whole with its perfectly smooth harmonies and dream-like instrumentals and puts you in a trance, leaving you wanting more.

“Young” was the next song on the album that caught my attention. It is a bit more upbeat than the previous four tracks, with soft acoustics and a catchy beat that weaves its way in and out throughout the song. It leaves you feeling as though you've just floated on a cloud of magical fairy wonder. Seriously.

The next track, “A Lesson From Mr. Gray” is definitely one of my favorites off of the album. It's exponentially different from any other track that they've ever done before, and it was definitely a bold and daring step, but they were able to come through and pull it off. It steps out of the realm of indie-folk and dives into a bluesy-rock field with a distinctive bassline and echoey vocals. And with a reference to Oscar Wilde in the title, how could the song not be anything less than extraordinary?

Both songs “Tin Lover” and “Tenenbaum” are two of the most pure, relaxing songs on the album and by far two of the most beautiful. They're both so simple and raw yet still so captivating. Definitely listen to these if you're in the mood to daydream and meander through an open field and ponder the questions of life.

With any album, there are some songs that just captivate you from the first few seconds; for States, it was undoubtedly the magnificently written and beautifully composed “Never Heard a Sound.” The track features a rad harmonica solo and painfully perfect harmonies. Unfortunately, it's a shame that this is the shortest track off of the album, only being about three minutes long. It is a bit reminiscent of the equally incredible track “Bloom” off of their Woodland EP with its fragile vocals and orchestrations.

States closes with its longest track, “I Done You So Wrong,” one in which almost brings us back to reality after being placed in a dream-like trance from the rest of the album. The song itself is like one, seven-minute-and-six-second musical journey, incorporating numerous instruments and of course, their ever-present harmonies.

The Paper Kites are definitely going places, or flying, rather. Catch them on tour in the United States starting Wednesday Oct. 2.

Album Review: Loud Like Love

Alternative rock band Placebo has never achieved as much fame as many of its contemporaries in the art rock genre, but it has always stood above the rest.

Frontman and singer Brian Molko has one of the most emotive voices in modern rock, and his lyrics are often very poignant and captivating. The band itself is often extremely talented, and can craft masterful soundscapes in ways others may not expect.

Though having the reputation for being a darker toned band, Placebo's new album Loud Like Love is actually a bit of a change of pace. There's still darkness and heartache, but wrapped up in a different shell. It's an exploration of the concept of love from multiple angles, and some are quite dark.

The album starts with a bang. “Loud Like Love” is a track that's both well written melodically and lyrically. It's the kind of song that albums are meant to start with; a lush track that uplifts and inspires. It hits hard, and the band is in top form here on all counts. The track definitely gives a sense of the overall tone of the album.

“Too Many Friends” is the next track that jumped out to me. The lyrics are very well written and present an interesting thought: “I've got too many friends. Too many people I'll never meet and never be there for.” To me, this is a perceptive look at social networking and how it actually impacts how we can and cannot meet people we see online.

“A Million Little Pieces” is the next highlight, and perhaps this is the most Placebo-like of the whole album. It's a wonderful look at heartbreak, and there's a beautiful piano that drives the track and holds it together, despite the title. Molko is very good on this one. There's a sentimental sense about the whole song.

The final track of the album, “Bosco” is simply breathtaking. It's a triumph of not just the album, but the way songs can and should be written. The song takes a look at a relationship between a man who drinks and abuses his partner, and the thoughts that run through his head as he regrets every mistake he makes, and how feels about his love.

It's a simple song, with a simple piano melody, but it's all that's needed. If there was any more to this song, it would almost seem false. The honesty is held together by Molko's incredible inflection and lyrics, and the simplicity of the instrumentation. It's quite beautiful, and a must-listen.

All in all, the rest of the tracks of the album are worth a listen because the lyrics and musicianship are really something else, but the album suffers from one pervasive problem. The reason I don't rate it higher is because the majority of the tracks lack a melody that truly stands out. The melodies don't seem to go anywhere, which is what pulls this album down, despite the other facets that work in its favor.

This album is certainly a step up for Placebo, and if they can fix the melody problem, its future looks very bright.

Album Review: MGMT

MGMT’s newest self-titled album confuses more often than it illuminates. The duo lacks a clear artistic direction and style, as weirdness appears to be the only intended effect from the band’s album. The album lacks direction, unlike the previous two, which include thoughtful concepts like longing for simple childhood pleasures or introspective revelation.

The duo of Benjamin Goldwasser and Andrew VanWyngarden attempts to re-evaluate such insights on the overly blatant track “Introspection,” with VanWyngarden’s vocals chanting, “There’s a season when I will find out where I am/And there’s a reason, and I will someday find the plan.” These lyrics seem trite when compared to older mantras like “But there’s really nothing, nothing we can do/Love must be forgotten/Life can always start up anew,” from the earlier single “Time To Pretend.”

This album’s marketed single and ridiculous music video, “Your Life Is a Lie,” attempts to explain how our lives are in fact a lie. The only lie exposed is the promise that VanWyngarden makes, “I’ll tell you why.” He apparently forgot to disillusion the audience about existence beyond using buzzwords and clichéd phrases such as “everyone left” and “hollow inside” without ever really questioning reality with insight.

In an interview from the French magazine Brain, the two describe the sound on this album as a contrasting trio, “American psychedelic and Californian sunshine-y pop [and] English music from the ‘80s.” The three genres have yet to ever combine on an album and for good reasons. They don’t mesh together coherently. Rather, they often borrow or were formed from one another.

Equally vexing is the frequent underexposure of VanWyngarden’s − and occasionally Goldwasser’s − famously enchanting and mellow vocals. The producer elected to emphasize cluttered and inconsistent synthesized beats.

Layers upon layers of varied sounds from noisy drums to vibrations to out-of-tune flutes, the sounds never combine to create a tone or theme for the album. Inconsistency will drive most away from this album, as each track has nothing in common with the next, and transitions are almost always forgotten.

This is not a new problem for MGMT, as previous albums had canyons worth of dissonance between singles and other tracks. Only two tracks barely distinguish themselves from others: the vibrant and colorful-sounding intro to “Alien Days” and the whimsical imagery in the second half of “I Love You Too, Death.” The latter invokes a very mellow and calming atmosphere like a great Animal Collective album such as Feels or Sung Tongs. The rest of the album emotes only weirdness stacked upon more confusion.

As weirdness is not interesting on its own, especially for 10 or any number of tracks on any album, it’s no wonder most folks from Geneseo explained that they were not ecstatic post-concert last year. Most will have a similar response after hearing this album. Even the most devoted MGMT fans are likely to be left confused and disappointed by MGMT.

Album Review: Hesitation Marks

Trent Reznor, the brainchild behind Nine Inch Nails, always seems to know how to perfectly capture the zeitgeist of the times with each successive record he releases. After disbanding the project four years ago, Reznor took time to work on composing soundtrack scores, and won himself an Oscar for The Social Network in the process. After completing his first album with side project group How to Destroy Angels, Reznor announced the return of Nine Inch Nails with a new album: Hesitation Marks. It's been noted that Reznor drew influence from his 1994 album The Downward Spiral, and that's certainly evident in some parts of the record, but the majority of the instrumentation can actually be traced back to his soundtrack work.

The album relies heavily on electronic soundscapes and drum machines, but this makes the record more prevalent today in the world of technology, and it also enhances the songs in which guitar is used.

The theme throughout Hesitation Marks seems to be the search for personal identity and individuality in a world in which people are increasingly connected by technology. It's an extremely personal cry for help when the rest of the world seems to be conforming and apathetic.

This is most evident in the two most effective and powerful parts of the album: the beginning and the end. “Copy of A” hits that notion of personal identity head on, with Reznor declaring, “I am just a copy of a copy of a copy.” The pulsing electronics build up beautifully, and Reznor sings with a quiet intensity.

The next track “Came Back Haunted” is one of the tracks that harkens back to earlier Nails records, with a dark drone and blistering guitar solo.

“Find My Way” is also a bit of a throwback but for an entirely different reason. It's a beautiful track, with a gorgeous piano loop and Reznor's pleading, ghostlike vocals.

The next four or five songs are definitely worth a listen, but none really jump out. “Everything” is a neat little jaunt into pop territory and definitely an atypical outing. “Satellite” and “Various Methods of Escape” are two songs that relatively succeed at blending the old guitar crunch of earlier records with new electronic beats.

When you hit the last three songs, the lyrics and music hit a new high. “I Would for You” is an absolutely heartbreaking, poignant track about changing who you are for someone else in any circumstance. The chorus is incredible, and this is one of the tracks that really takes that old industrial influence and brings it into the modern day.

“In Two” is the highlight of the album, without a doubt. It's the hardest track on the record, and Reznor brings back his old snarl for one more ride. The guitar meshes with the electronics and creates this great texture of static that drives the song forward, along with the crushing drumbeats.

“While I'm Still Here” begins to close the record with a soft, contemplative look at love, life and death; soft droning synths paint a bleak picture, but one that must be shown.

How do you define yourself? Has your life been worth living, and do you feel at peace with person you were, are and will become? These are the questions Hesitation Marks asks us, and it does so with bite and emotion. Reznor may never bring Nine Inch Nails back to the angst-driven records of the 90s, but that's OK because he's created an album with a sound and message that perfectly fit the time we live in now. It certainly is not a perfect record, but it accomplishes its task and then some.

Govenors Ball Musical Festival proves muddy, yet satisfying

It was cloudy and I had a feeling it was going to pour. The clouds were congregating in the sky as the excitement in me was building. It was going to be three full days of music from the top acts of our time, and it was starting with rain. A friend and I hopped onto the train and off we were to Governors Ball Music Festival in New York, N.Y. The festival was schedule for three days, June 7-9.

It poured hard that first day with unforgiving rain. My boat shoes were to be my footwear for the entire 3 days and nights of this, and my raincoat was more of a fleece if anything. It was cold, and tiring. We watched the complete set of the Icelandic indie folk pop band Of Monsters and Men, a great live act that I would now recommend to anyone to see.

In the middle of indie rock band Young the Giant’s set we gave up and decided to go to some shelter. We walked over the Robert F. Kennedy Bridge, took the six train to my sister's apartment and appreciated dry clothing more than ever.

The next day came with beautiful skies and warm summer temperature. Mud made navigating through what I called “the great brown Sea” almost impossible, and my boat shoes didn't help. I lost my shoes countless times, having to stop and search for them. We would get to one stage and then realize that the band we wanted to see was at the complete opposite side of the festival.

At the end of the day watching Guns ‘N’ Roses my calves and back were exhausted, but I felt a nice sense of nostalgia listening to familiar songs. Axel Rose may look like an old tomato-colored catfish but he was still able to belt out the hits.

The third day came, with the same muddy troubles as the second day, but the music was still great. Highlights were brit rock band Bloc Party, indie rock band Portugal. The man and rock band Grizzly Bear.

Through all the festivities I seriously questioned whether the money I spent was worth the trouble of trudging through these three days. I enjoyed the music, but my morale was low.

I ended up waiting in a large crowd for Kanye West to come on the stage. Tired, I just wanted to go home and sleep in my bed. West came out and opened with his new industrial hit “Black Skinhead.” I was immediately entranced by the music accompanied by crazy videos of dogs barking. His performance was powerful and energetic. West stopped in the middle to rant about his record company, discussed his album and generally pulled off a great show.

Throughout the weekend I would laugh and say, “So this is what Woodstock was like.” I think it could be said that nothing will ever reach the likes of Woodstock, but I think that music festivals are a good way to experience something similar.

Thousands of people get together and just enjoy music together. They leave their everyday lives and only think about what is happening now. I will never experience Woodstock but maybe sometimes in the summers I can get close.