Transgressive Records · January 29, 2021

 delivers a call to serenity as compelling as the late-night stoned urge to make a grilled cheese. In the two-part deluxe release, she melts an hour of poetry and song into an empathetic moment of clarity. Serving up a healthy dose of romantic perspective, Arlo Parks captures the attention of an isolated audience craving a peek into a stranger’s life.

“We’re all learning to trust our bodies,

You shouldn’t be afraid to cry in front of me.”

Hailing from West London, 20-year-old Arlo Parks is a Black poet and singer-songwriter who is warming the hearts of soft-pop fiends all over the world. After her early demos caught the attention of Transgressive Records, Parks signed with them in a move followed by the release of her first single “Cola” in late 2018. She followed up on her breakout success in 2019 with EPs 

, both warmly embraced throughout the UK.

2020 marked a turning point for Arlo Parks. She received the

 AIM One to Watch in Association with BBC Introducing Award

, affirming her rise to prominence after only two years in the industry. Virtual platforms like the Youtube channel 

 series offered Parks an expanded audience despite a dearth of live shows. She caught the attention of Glass Animals shortly after the release of 

 in July 2020. They moved quickly to help solidify her newfound fame byremastering one of the album’s hit singles, “Tangerine,” with a 

“It’s so cruel what your mind can do for no reason.”

In the first part of the deluxe release, Parks lets her voice ring through a celestial landscape, tying together six previously released singles with a poetic introduction and new tracks so textured they transform headphones into a warm pillow. What’s most astounding is the way each song nods to a slightly different genre of groove – ”Bluish” rests on a laid-back house beat reminiscent of Channel Tres, while “Black Dog” brings to mind lo-fi “beats to study to” playlists on YouTube. The murky loop under “For Violet” is almost threatening, but “Hope” feels like it’s holding a sunflower to your nose. 

is anything but monotonous – a subtle nod to her versatility.

“You promised you’d be there in the morning

Parks devotes eight songs of the Deluxe release to a “lo-fi lounge” set taken from the 

 she began while in lockdown. The first three tracks offer acoustic mixes of her most reliable hits so far – “Cola,” “Hurt,” and “Black Dog” – followed by the sobering “Black Dog Poem.” The poem uses crispimagery to display the agony of seeing a loved one suffer. It captures the pain, confusion and fear of not knowing when it could be a loved one’s time to leave Earth. She dares to relive her pain through an emotion-driven reading, giving the listener a reason to call their loved ones.

The “lo-fi lounge” set continues with four covers of songs written by Clairo, Phoebe Bridgers, King Krule, and Frank Ocean. The final song of the Deluxe album, Parks’ rendition of “Ivy” by Frank Ocean, stands out as a bold undertaking pulled off with grace and humility. Parks leaves the song undeniably Ocean’s, but adds a head-encircling expansiveness that leaves a sweet taste on the tongue long after it melts away.

Given well-deserved space to explore her soul-shaking poetry and indica-bathed sound, Arlo Parks’ 

 successfully ties a bow on the first phase of the young artist’s career and charts a sturdy, creativity-driven path forward.

Arlo Parks’ ‘Collapsed in Sunbeams (Deluxe)’ delivers a call to serenity

Universal Music Group Nashville · April 3, 2020

Much like attending class, Sam Hunt’s album is better in retrospect. Five years after his debut album 

captivated a bored country music fan base, Hunt delivers 

 with 12 country-fusion tracks fit for radio. Country fans will welcome Sam Hunt’s familiar sound and cordial lyrics, now more than ever.

Young couples are trying long-distance for the first time. Older couples are glued together in the same house for weeks at a time. We’re stepping on a couple dozen egg shells and the faults of our loved ones are shining brighter than before. Hunt’s message of love from the “old normal” offers up a bit of musical healing amidst the chaos.

Hunt’s country music falls into a category many are calling 

 because his music strums a broad chord with people who are in or looking for love. Many of his songs are inspired by the long and rocky history of his relationship with his now wife Hannah Lee Fowler. The couple separated shortly after the release of 

, and Hunt’s long road to regain her trust inspired the songs “Downtown’s Dead,” and “Drinkin’ Too Much.” Though his attempt to weave an emotional lowpoint into the album is sweet, the melodramatic lyrics of each song yield more laughs than tears.

“Everywhere I go looks like the place to be

And I feel like there’s no one here but me.”

Hunt faces criticism for his repetitive sound. Some of these remarks are fair; he uses a finite set of synthetic beats and lyrical progressions, and fancies placing sing-song verses in tight spaces with little regard for continuity. Over the past five years, those aspects of his music have not changed. What has changed is his perspective on a great love story—his own. Though we’ve heard many of the songs before, Hunt delivers a sincere apology in a time when we could all use a lesson in compassionate love.

“I’d put the whiskey back in the bottle,

Look up at the sky and say ‘Okay, okay, okay,’

The album opens with “2016,” a song most likely written about the year of boozing and disregard that led to separation from Fowler. The song softens us up with admirable levels of self-awareness as he begs us to hear out his argument for the long break between albums.

The album’s largely successful singles, including “Kinfolks” and “Body Like a Backroad,” act as strong tethering points for the argument that he can pull off country fusion. Then, with “Nothing Lasts Forever,” Hunt uses a sad fiddle between verses to connect the song’s R&B beat to country roots. Acoustic guitar and banjo accompany the bass drop and dubbed background vocals on “Young Once” to create an impressive arrangement, which serves as his most dynamic fusion of hip-hop and country to date.

 dips in quality with the failed moral teaching of “That Ain’t Beautiful.” His attempt to reinforce individuality is dismembered by his condescending tone when telling a young, struggling woman that her life choices aren’t beautiful. His failure to read the room is short-lived as he moves forward with “Let it Down,” a southern mix of twang and pop that showcases his ability to add a taste of his home state, Georgia to a track worthy of airtime on any radio station.

 is saturated with hits. The album tells a story, albeit a choppy one, of an insecure man who worked hard to win a woman back. Sam Hunt & Hannah Lee Fowler’s love story comes with the fallout, triumph and reconciliation that would make for a great episode of

 gives Hunt’s fans a few tracks worth cherishing in his return to album production, as well as messages of love from the “old normal” we are all missing.

Sam Hunt pulls off apology album on ‘Southside’

The Highwomen have presented country music with a chance to change for the better instead of blend into oblivion.

What constitutes a good country song? The bar seems to be getting lower and lower. Earlier this year, Blake Shelton’s 

 dominated the charts upon its release. However, the song itself delivers no claims or analyses; it tells no stories or psalms – it is devoid of meaning and depth. Unfortunately, this level of quality has been declared good enough for radio.

This low standard may be the result of a severe lack of diversity in country music. In the process of ensuring the success of white males with soothing tenor voices, country has left behind women and people of color. Backed by both 

and personal accounts – the resulting damage is of great concern.

There is a heavy financial burden for radio stations to play and write about the most widely accepted music. It is also natural for artists to be influenced by the music that surrounds them before creating and releasing their understanding of the world for all to hear. With that in mind, it then becomes clear that the blending of pop and country was inevitable. On one hand, this could be a positive step in the direction of diversification for country music. But if country fully fades into pop, the genre will then be fully steered by the masses instead of the artists.

If exciting and innovative artistic growth – coming from the roots of country music – is to remain, the producers guiding it and the artists within it must make a change that lasts. In a 

, the three-time Grammy award winning artist Kelly Clarkson said:

“So why don’t we all just start putting our Eighties and Nineties records on and let’s figure out, what is country music? What is the sound we like again? Cuz it’s not what you’re playing on the radio.”

Country music is desperate for a chance to restart. Kelly Clarkson’s suggestion could be the key to opening up that possibility.

“Country music is three cords and the truth.” – Harlan Howard

The Highwomen – a country super group of badass women hoping to bring about great change in Nashville – is made up of Maren Morris, Brandi Carlile, Amanda Shires, and Natalie Hemby. These four singer-songwriters have contributed their minds to folk, Americana, country, and country-pop for years, and have intentionally come together at the peak of their careers so as to, as Natalie Hemby put it in her 

 with the Country Music Association, “…[make] women a part of the whole narrative.”

Explicitly deriving influence from country music legends including Sheryl Crow, Tanya Tucker, and Dolly Parton, this group did their research to ensure that the best of country is preserved in their work. The album’s 10th track, “Heaven is a Honky Tonk,” features Sheryl Crow, one of the few female country music stars who The Highwomen saw rise to fame throughout their lifetime. Crow released her 10th studio album two weeks ago and her feature on The Highwomen album stands to prove that there is both space and a need for women in country music.

The debut album’s opening track, “The Highwomen,” tells a sad story. With great help from Yola, a young black country soul artist, The Highwomen use three cords and elegantly sculpted lyrics to speak a truth long gone untold in country music: Innumerable women have gone without praise for the progress they helped achieve by making the world a safer place for their peers and children. The five singers take turns sharing the stories of women unknown, from freedom rider to immigrant. 

 are known for their ability to bring a tear to the listener’s eye—The Highwomen prove they can do the same right out the gate.

The Highwomen recognize the importance of delivering an inclusive message amidst this propulsion into a position of collective fame. Brandi Carlile delivers one of country’s first mainstream gay love songs “If She Ever Leaves Me,” with honesty and gusto. Carlile was one of the first country artists to publicly identify as a member of the LGBTQ community. Coming out is a big deal for a country artist, as the genre tends to align with Southern Christian folk. So the fact that Carlile is thriving on a platform constantly at odds with her identity should make this song go down as nothing less than a remarkable moment of progress in country music.

The Highwomen have delivered upon their promise to connect the roots of country music with today’s society. In doing so, they have forged a turning point in the genre which will ensure a more honest, sincere, and inclusive future. May they inspire the next generation of Highwomen.

Nashville make room – The Highwomen are coming through

NxNU, WRBB’s annual Spring concert, is this Friday, April 12! Take a minute to get introduced to Kweku Collins, and we’ll see you at the show.

Kweku Collins will bring a young perspective on life & love to Northeastern. A fresh 21 years old and already making a splash in the industry, Collins is sure to bring joy to the atmosphere on Friday night.

The songwriter/producer/rapper from Evanston, Illinois brings with him musical creativity cultivated within Chicago’s Indie Rap scene. The first testament to his broad musicality is his debut release 

, which he released in 2015 just before his high school graduation. This is where Northeastern students and Collins diverge–the past 3 years of his life have seen a steady rise in fame, 2 full-length album releases, & a spot on Pigeons & Planes 20 Rappers under 20 list.Anticipate uncertainty. To call Collins a rapper is to neglect his hip-hop and soul influences. To say he is from Chicago is to ignore the suburban undertones offered up by tales of late high school nights. But to say Kweku Collins is relatable, well that is simply an understatement.

WRBB is excited to welcome Kweku Collins to Northeastern for 2019 NxNU Friday, April 12th at 7:00pm in Afterhours. (NU only)

Meet the NxNU Lineup: Kweku Collins

The night was snowy, the college kids were drunk, and the music was truthful. Whether fans entered Boston’s House of Blues knowing one line or every word he has written, Quinn XCII’s performance left little room for disappointment.

Quinn XCII has enjoyed a rapid road to success since his debut EP 

 in 2015. He released his sophomore studio album, 

, in February of this year—just ahead of his tour that landed in Boston for back to back nights at the end of the month. But before the man known for the vocals behind the hit song “Kings of Summer” hit the stage, the anxious crowd was happy to hear from two openers, the second of which gave a memorable performance.

Christian French was in a rare position for the first opener at any show—most of the crowd knew his music. Despite this advantage, he made no effort to engage with the crowd for most of his set. Whether this was a result of ego or exhaustion, I do not know, but the performance was underwhelming nonetheless.

As the crowd started filling up the floor at the House of Blues, Ashe came to stage with only a drummer to aid her. Her tall, warm presence was brought to life as she walked on stage with tea in hand and declared, “I will be disappointed if we’re not all best friends by the end of tonight.” Sipping tea between songs, she casually mentioned “recently [getting] over pneumonia,” giving each high note a story of both pain and power. Known to most of the concert-goers only for her new song with Quinn XCII, “Right Where You Should Be,” Ashe left the crowd stunned by her “sick” voice.

Quinn XCII. Photo by Hulda Zheng for WRBB.

As Ashe’s warmth left the stage and the crowd’s anticipation for Quinn XCII grew, the smell of Cool Mint Juul rippled through the air, carrying just enough nicotine to keep the crowd on their feet. The stimulant came just in the nick of time as the alcohol from a Wednesday night pre-game was wearing off for the (mostly) underage crowd. A countdown lit up the stage at T-4:00 and the crowd squeezed in tighter with anticipation. When the clock struck 0:00, three men in white jump-suits made their way to the stage. The lights intensified switching red to green to black and illuminating Quinn XCII, front and center, as he sang: “We take this red pill, green pill, black pill / I know deep down we’re sad still.”

 covers a wide range of mental health topics, and the first half of the set was primarily devoted to those pieces. Stories about break-ups, childhood heroes and toxic masculinity created a vulnerability impossible to ignore.

Ashe came back for a well-deserved cameo performance of “Right Where You Should Be” and secured her place in the crowd’s heart. Everyone in this jam-packed venue knew at least one song by Quinn XCII, and he made sure they remembered his performance of the hit single “Straightjacket.” He slowly migrated off the stage after an acoustic performance of “Panama” and made his way to the center of the floor to shout, “She’s a psycho from a midwestern suburb,” and give the crowd something to scream about.

This was emblematic of a shift in theme, from songs to sing along with to sad songs to belt in the shower:

“You’re not so tough—I know that nightlight’s on when you sleep.” (“Tough”)

“Jumpin’ off the porch like mom’s not home.” (“Kings of Summer” by Ayokay feat. Quinn XCII)

As he walked out on stage for the encore, I wondered what songs could possibly be left after the young artist’s grueling set. He played two older songs he had released as singles, “Another Day in Paradise” and “Flare Guns,” but also surprised the crowd with a beautiful, subtle rendition of Maroon 5’s “Sunday Morning.” He finished off the concert with a stage dive, then left the crowd to file out of the venue into an evening more snowy and brisk than the one they departed earlier. This cold Boston weather was met by warm smiling faces of people rejuvenated in the middle of a week by sincere, fun music.

Quinn XCII plays back-to-back sets at House of Blues

(A lightbulb for each decade since they were last relevant)

In an attempt to reclaim some degree of relevance, the Backstreet Boys released 

, an album that is all too similar to their 1999 sensation 

. As the digital streaming age becomes more profitable for artists, many musicians are coming out of retirement. The successful returners are the ones who show personal and musical growth; however, the backstreet boys show neither.

“We used to be better… Is it just me?” – “Is It Just Me”

One of the biggest traps for returning artists is the tendency to rewrite old songs. The Backstreet Boys walk straight into that trap with a rotating combination of heavy-synth pop, middle school slow dance, and love songs that reeks of horoscope-level generality. Twenty years ago, when all the members were fresh out of their teens, their music was perfect for the boy-band pop music culture of the late-’90s/early ’00s. But now they fall between the ages of 39-47 and they should have never tried to put up a fight with Shawn Mendes and Sam Smith. The Backstreet Boys are trying to appeal to teenage girls of both the past & present, but neither is interested.

“People change and memories fade, but could you stay the same if nothing else.” – “Nobody Else”

The album itself struggles when walking the thin line between boy-band and a cappella. On the fourth song of the album, “New Love,” they fall victim to proximity. The song is 

, but it is one that I would expect to hear in Blackman Hall, not TD Garden. Every line in the chorus is repeated by dueling pitches, harmonizing with a little extra help from autotune. Acapella can be good if done right, but their use of autotune is accompanied by superficial lyrics that don’t leave the listener with anything to remember.

“Don’t say it’s the wrong thing (Don’t say it’s the wrong thing)/ ‘Cause it don’t feel like the wrong thing (Don’t feel like the wrong thing, oh yeah).” – “New Love”

They struggle with voice, message, and perspective. Yet, the Backstreet Boys still managed to get a song nominated for a Grammy: “Don’t Go Breaking My Heart” is up for Best Pop Duo/Group Performance at this year’s awards. The group is thriving on shock-factor right now — their last Grammy nomination was in 2003, and the lyrics in that song were godawful. But, the good news is that they will get squashed — if not by “The Middle,” then certainly by “Girls Like You.”

“I’m not that kind of person who can fall in and out of love with you/ That’s not what love is supposed to do.” – “Don’t Go Breakin My Heart”

isn’t a good album, but it does serve as an excellent conversation starter. Next time you don’t know what to say to someone, please do ask them: “Did you hear the Backstreet Boys dropped an album?” and watch shock smack them in the face. Over the past week, I’ve tested this out on my aunt, some friends, my boss, and strangers I met at the Boston Public Library with results consistent across the board. The music gives people a chance to think about what they were doing in 1999— I was one-year-old and could still touch my toes — but it is not capable of giving them a reason to stay there.

Backstreet Boys are back with ‘DNA,’ but this time, they’re old

Despite the antiquated production style, Ice Cube gets his point across through emotional, simple, easy-to-remember lyrics.

Fame is a high that few artists are equipped to leave behind. But some don’t have to. Whether or not it is better for the music world; Bruce Springsteen, Neil Diamond, and Paul Simon still have enough of a following to tour and produce new music. So they do!

It is no secret that Neil Diamond’s glory days have come and gone; but my mom is still going to see him in concert on her birthday, so there must be some value to be found in the music. Ice Cube’s December release 

 is the most recent example of artists past their prime trying their hand at the digital streaming age of music. Although the album isn’t Ice Cube’s best work, he is just as blatant and pot-stirring as he was while leading N.W.A.

“Fuck the police comin’ straight from the underground…

They have the authority to kill a minority” – ‘Fuck Tha Police’

I did not anticipate the value in this Ice Cube’s album would be easy to find. I presumed that surely the rapper-gone-movie star-gone-movie producer had lost some talent since his last significant release, 

in 1991. However, since 1991 Ice Cube has remained an active political figure in pop culture. He has played an important role in advocating for black rights, persistently spoken out against the ever-growing drug culture in hip hop, and remained a father-like role model for many black men and women growing up since the late 1980’s.

So it makes sense that as a father, he would have a hard time letting go of his child—Gangsta rap. Along with Eazy E and Dr. Dre, Ice Cube helped to create this transformative sub-genre of hip hop when N.W.A. released 

 in 1988. Gangsta rap took over the 90’s, but hip hop evolved with culture and a more modern style of rap grew out of artists like Eminem and Wiz Khalifa. And with this new style rap came a drug-addicted hip hop culture. Ice Cube directly attacks this drug-dependent group of modern rappers on the 5th and 6th tracks of the album, ‘Bad Dope’ and ‘On Them Pills’ respectively.

Meth heads are left dead” – ‘Bad Dope’

The first single for the album, ‘Everythang’s Corrupt,’ came out in October of 2012, just in time for the 2012 presidential election. He must have anticipated a worsening of the political climate as it took another 6 years for the second single, ‘Arrest the President’ to drop in November of 2018. This drawn out production schedule speaks to the gravity Ice Cube places on the unfortunate decisions made by the current president. But the president isn’t the only one at fault for ongoing racial tensions and rising drug abuse. On ‘Good Cop Bad Cop’ he reminds his fans that “Black lives matter, it’s not chit chatter.”

Each song on this 16 track studio album places emphasis on one of the social or political issues that Ice Cube has taken upon himself to speak up about. Thus, this album succeeds in making a statement. Despite the antiquated production style, Ice Cube gets his point across through emotional, simple, easy-to-remember lyrics: Trump needs to leave, and everyone needs to stop abusing drugs… except for weed.

Ice Cube keeps things going with ‘Everythang’s Corrupt’

On a rainy night in Allston, Joey Dosik managed to fuse basketball, inside voices, and Marvin Gaye for one of this year’s highlight performances.

On a night littered with rainstorms, the constant malaise of a greyed out sky felt almost inescapable. The mood was low and even a hearty round of 

 with friends wasn’t enough to get me out of a rut. The soup had left me feeling full, but not entirely content. Luckily, the aperitif for the evening happened to be a show headed up by one of the foremost artists in soul to date.

Joey Dosik, LA-tried and true multi-instrumentalist, has a packed resume. As a formative member of funk group Vulfpeck, Dosik has been the jack of all trades — singing, writing, and even appearing in numerous videos for the group’s cult-adjacent following to endlessly digest. This nurturing atmosphere has boded well for Dosik, using the platform to test out new material and warm a potential audience to his music. Vulfpeck’s latest studio album, 

, featured arrangements from his own back catalog, including songs such as “Running Away” and “Grandma Song”. Now that Dosik has released his debut LP 

, via Secretly Canadian, the session musician makes a move to center stage…well, sort of.

I arrived at the Great Scott during opener Peter Wise’s set, the audience mulling about, passively listening as the Red Sox game glued eyes directly away from the stage. The songs were simple and sweet, but not for me. Wise was set up awkwardly, on a chair perched between a drum set and Dosik’s well-traveled Fender Rhodes. Before I knew it, Wise was up and out and the crowd had begun to funnel near the stage.

As the lights dimmed, Joey Dosik arrived on stage followed by his backing band, forming an ensemble-esque circle, complete with an auxiliary percussionist. With Dosik off to the side, the group descended into a free-form, saxophone-led motif, building up tension in a room too dark to photograph. The loose, improvised opener set a relaxed tone for the set, making sure to direct importance to musical substance above all else.

After a slowed rendition of “Inside Voice”, Dosik and co. blew through the debut, hammering out tight and funked up versions of “Past the Point” and “Get It Right”, featuring Dosik on lead guitar for “Competitive Streak”, with impressive ability (though I found the song itself a bit dead from the lack of electric piano to mix all textures well). An a cappella cover of Bill Withers’ “Stories” left the crowd in a deafening silence, barring his voice “without the microphone”, as he wryly acknowledged the cliched decision. Ramping the energy back up, the band hit the ground with his hits, including a five-minute “Game Winner” tag in which he sang the tale of the rich Celtics/Lakers rivalry to celebrate his first show in Boston.

After “Running Away”, Dosik proclaimed he was going to play a few more, trying out something “new”. Murmurs from those near the front were cut off suddenly, as signature conga beat from Marvin Gaye’s “What’s Going On” developed into a full arrangement. The band proceeded to masterfully execute a medley from Gaye’s 1970 classic, nailing an esoteric “Flyin’ High”, before pivoting into “Mercy Mercy Me” to finish off the night. In astounding fashion, Dosik managed to deliver not only his own release but one of an album I never imagined hearing live. Dosik and backing band did Gaye justice, holding down the fort for a night chock full of highlights. I walked away that night calculating the set among some of the better concerts I’ve had the privilege of attending, and I do believe it will stay that way.

Joey Dosik brings the funk in Boston debut

Many will appreciate Florence + The Machine’s newest album, 

, though very few of those people will be new fans. I say this, however, with a positive outlook – she certainly hasn’t lost any fans due to this release. In fact, the album offers an extra layer of depth to both her musical and lyrical sides, even though she does not bring anything remarkably new to the table.

“How deep are you sleeping / or are you still awake? / A good friend told me that you’ve been staying out so late / Be careful oh my darling / oh be careful what it takes / From what I’ve seen so far the good ones always seem to break.”

Florence + The Machine’s fan base is a diverse one. Some appreciate Flo for her integration of stringed and other classical instruments into her music. Others acknowledge her clever lyrics that seem to depict relationships and experiences better than they ever could. There are even a few fans that come for her occasionally religious perspective. 

brought all of these things to the table along with a unique musicality. Some of them called upon the full orchestra with a background choir just like in her hit song ‘Dog Days Are Over.’ Others brought forward a solo cello, a heavy jazz beat with a string bass as the focal point, or a fiddle with an electric keyboard to lighten the mood. She successfully put together instrumentals that highlighted the intense moments and under-toned the simply beautiful moments of the album.

“You make a fool of death with your beauty / and for a moment I forget to worry.” – ‘Hunger’

Reviewing this album was admittedly tricky — when it comes to Florence + The Machine, it is so tempting to listen only to the music and forget about the lyrics. One listen wasn’t enough to get the job done, but listening and looking to understand the complexities of her lyrics was a rewarding task. Symbolic language, which she makes use of to describe individuals who have left a mark on her life, successfully embeds itself into almost every line she sings. She also plays with a new lyrical theme that develops throughout the album: the seasons. This is a clever move, as she uses this theme to develop and better describe previous relationships: “We were reaching in the dark, that summer in New York. And it was all for fun, but it didn’t hurt at all” (‘The End of Love’).

A separate addendum to her typical lyrical genius is the wisdom she seems to bring to the plate this time around, which takes the shape of humility as she recognizes her shortcomings: “I was beginning to lose my wit, and I have always had it loosely. This time I admit, I really felt it slip” (‘June’). This is refreshing in a time when Kanye West can sell an album by impressing his ego into every line of every song.

“At 17, I started to starve myself / I thought that love was a kind of emptiness / And at least I understood then the hunger I felt / and I didn’t have to call it loneliness / We all have a Hunger.” – ‘Hunger’

Speaking of Kanye, let’s talk about mental health. It’s a touchy subject, but Flo handles it well. She speaks her truth without calling upon the flaws of others, she points out the difficulty of recovery, and she calls upon the innate beauty of the individual – all done with grace. Atypical for the music industry? Definitely.

Another atypical turn for modern music: religious influence. Although Florence + The Machine has written religion (specifically, Christianity) into music before, Florence does it in a much more fluid way on this album. The song ‘Big God’ was an opportunity for Florence to flex her vocal strength and flexibility more than it was for her to preach. Outside of this song, religion is brought up on three sparse occasions but never feels forced.

“There will be no grand choirs to sing / no chorus will come in / no ballad will be written / It will be entirely forgotten.” – ‘No Choir’

With all this praise must come the truth: this album isn’t perfect. She released 10 impressive songs, and she managed to add depth not previously seen, but she didn’t do anything remarkable. This is a low-risk release with great results for its risk level. However, it would’ve been nice to hear something new, anything different. There are no featured artists and no musical experiments. Throughout the entire album, it is made clear that no equity will be taken away from Florence Welch and put in the hands of the many impressive instrumental musicians she works with.

This is a great solo album, but it’s the last one I want to hear from Florence + The Machine. They have a well-established sound that will continue to impress her fans. But this act runs the risk of getting old for anyone who isn’t a die-hard fan.

Florence + The Machine releases full-length ‘High as Hope’

I think Logic did exactly what he was trying to do.

He pretty much lays it all out for us in the Album’s introduction, ‘Grandpa’s Space Ship,’ when he explains that 

is going to be like old-style mixtape Logic with some new beats and some new verses. I was excited to hear the album after the legendary introduction, but I was underwhelmed by the lack of substance.

This album is Bobby Tarantino style. It is ATL brand rap and much more aligned with the kind of “mixtape” that allows Bobby to show off his control of the verse at any speed with any beat. His tracks are showy: yes. His tracks are impressive: yes. His tracks lack substance: also, unfortunately, yes.

This is the kind of track list that allows Bobby to flaunt his fame without saying a word. With features from Wiz Khalifa, Big Sean, & 2 Chainz he pulls in listeners from a style of silly rap that he usually doesn’t tap into. Furthermore, these nonchalant features help 

feel more like a mixtape by disrupting Logic’s tendency to move smoothly from song to song. Yet a second look at the names on this feature list explains my disappointment. Wiz Khalifa doesn’t bring much besides his laugh and some weed, and 2 Chainz struggles to come up with topics unrelated to hookers. To follow up such a diverse and impressive list of features as one found on 

 with five totally average (albeit popular) male artists is disappointing to say the least.

Everything about this release is less serious than his 2017 album 

The random breaks from music that include dialogues from Logic, classic cartoon TV show characters Rick & Morty, and Wiz’s laugh help lighten the mood on this mixtape. So forgive me when I struggle to take seriously the remarks about his rough upbringing when they are placed alongside his rant about his favorite strain on ’Indica Badu.’

I think Logic did exactly what he was trying to do, and I think it came out alright. I’m not disappointed—Logic will likely remain one of my favorite artists. And I will hold on to the fun and unique parts about this album. But, in my humble opinion, this album will be quick to be forgotten when placed next to the excellent work he did on 

. Every artist has a worst album, and this might be tied with 

 (the original, released in 2016) for Logic.

This album, however, is much more than just the music that makes it. It is the sum of many hours of work that numerous people put into telling these stories in Bobby’s style. This includes the album cover art. On the front of the album sits Logic’s wife, Jessica Andrea. Oddly enough, it was just announced that these two are separating. This divorce will go one of two ways: it will be emblematic of Logic’s fade into irrelevance, or it will give him enough material to make something great. I truly hope that the latter will be true.

Logic releases ‘Bobby Tarantino II’ mixtape

The Barenaked Ladies strike back with some old and some new on Fake Nudes, their most recent album.

These old white dudes know exactly what they’re doing — I’m just not quite sure what it is. Maybe they’re out to prove that they can be relevant, even 25 years after their first studio release. Perhaps they’re determined to show that Canadians can write good music too. Or, maybe, they’re trying to outlast their former bandmates’ cocaine scandal. To be honest, I really don’t know what the band is on a mission to do. I cannot figure it out no matter how many times I listen to the album, but I love it anyways.

“I know what it’s like when the blind lead the blind into the night.” 

Most of the songs sound like the first song on the album, ‘Canada Dry.’ That’s not necessarily a bad thing, however, because ‘Canada Dry’ sounds just like the Barenaked Ladies that we’ve come to know and love. Almost every song on the album starts off with a fun and simple chord progression followed by great one-liners like, “You leave me high and Canada Dry,” or “Freaky like antiguey-d.” It’s fun, it’s good, it’s “barenaked.” But there’s some significantly less barenaked goodness on this album too. I don’t know where these new style experiments came from, but I like it.

“Everywhere I go is home / Every town and every road / Every song I’ve ever known / Carried in my bones / I feel like a lightning strike / Every time I rock the mic / You can join me if you’d like / Or I’ll go on my own.” 

The third song on the album, ‘Invisible Fence,’ takes a political stance that goes far beyond the typical barenaked repertoire. They take a fascinating stance to modern diplomacy issues at the executive level as they sing: “Some people want to build more walls, pretend there’s no shot at peace at all.” Perhaps this line is fueled by inspiration from significantly more youthful musical influences like Fifth Harmony taking a stance against Trump’s idea of international diplomacy. No matter where it came from, the point remains that it is different. And although I typically hate when albums break flow, Barenaked Ladies are so consistently prolific that I have trouble judging the quality of such a small aspect of the record as a whole.

“It’s difficult not to take offense / When you’re running into an invisible fence.” 

Two tracks later, the band comes back to the political realm, this time to the world of socioeconomic justice. The song ‘Sunshine’ is centered around the line,

 “I ran fast, but I came last / ‘Cause although I set the pace / It was rigged from the start that I’d lose this race.”

This is a clear reference to the notion of moral luck, which points out that it is not possible to say that all children are given an equal chance to succeed. With that having been said, this is an interesting thing for a group of successful old men to point out.

The final song on the album, ‘Township of King,’ is folksy, random, and sounds like something that Mumford and Sons would write, but it’s amazing. It talks about a queen who rules over “the fields and farms,” and although I have yet to figure out if it has anything to do with anything, I know that is an early favorite from 

“Then one day a yellow bird landed on her hand / devoted, it sang to her so that she could understand / it warned of the trucks coming up the road filled with concrete and steel / about to cut down all the trees and pave over the fields.” 

Don’t let the title fool you: This album is the Real Nudes of music. The Barenaked Ladies put out an album with good, fun jams for the long-time fans, and some cool experiments for the newbies. I love the band, I love their hits, I love their B-sides, but not everyone does. So, if for no other reason, I propose that everyone listen to this album at least once for the cutest love story reference that satiric alt-rock has ever heard: “I’ll be your Wesley, you be my Buttercup.”

“It’s you and me against the world / and it won’t stand a chance no matter what the circumstance” 

Barenaked Ladies release full-length ‘Fake Nudes’

Two tickets to see the Mountain Goats? I’m in. But who should I take?

“Do you want to go see The Mountain Goats with me?” “Who’s that?” …Every time.

The concert starts at 7pm, 7:15 rolls around, and I still don’t have anyone to go with. I walk into the study room and see Arielle: “Do you want to go see The Mountain Goats concert with me? I’m leaving in 20 minutes.”

 Who’s that?” A folkie, indie, musically intricate, satiric, but also tragically real, group of old dudes—should be a great concert.

A 20-minute walk to the House of Blues, a confusing will call experience, X’s on all 4 hands, and we were in. The music was pounding and uncomfortable, as the opening singer moaned into the microphone set to the simple beat of a drum kit and in complete discord with the electric guitar. It was painful, I’ll admit, but we had loge access and (more importantly) spinning chairs, so all was alright.

The stage is transformed, and 30 minutes later John Darnielle comes out. Wearing no shoes. Indie, satiric, and old dude are checked off immediately.

The rest of the band comes out to the stage, and one thing is obvious: they’re happy to be playing music tonight. Especially John Darnielle. He sings every word with passion, as he moves between the acoustic guitar and the piano. A truly impressive and creative musician.

Matt Douglas hits the crowd with sounds unheard since “Sexy Sax Man” went viral. His additions to each song, be it on the saxophone, flute, clarinet, or keyboard, were met with outrageous applause from the crowd.

John Darnielle’s ability to pick and choose from the nearly 300 songs that The Mountain Goats have written is impressive to say the least. But his clever introductions bring a fun external element to an otherwise purely musical and minimally visually enticing show. He leads into ‘Beautiful Gas Mask’: “I tried to write a song that everyone could relate to.” The song ‘Paid In Cocaine’ was prefaced with a long and complex story about a time the band actually did get paid in cocaine while playing in Sweden.

My favorite interjection, however, came prior to the song ‘Shelved’ which is on the newest Mountain Goats album, 

. John Darnielle explained that the song is about how hard it was to turn away from a label when the label tried to change their sound. The Mountain Goats chose to maintain their “indie” status, and I am so glad they did, because ‘Shelved’ is easily at par with the best music I’ve ever heard live. In fact, ‘Shelved’ has my vote for best indie song of the year.

“You can’t pay me to make that kind of music

These fun interjections provided an excellent introduction to the last two songs of the set, which were far and away the most satirical of the show. Arielle was especially surprised by the number of people in the crowd who wanted to stab someone in the eye with a ‘Foreign Object.’ But by the end of the song she was singing “BOP-BA-DA-DA-DA FOREIGN OOOBJECT” just as loud as everyone else in the crowd. And when the time came for the last song of the set, she was ready to sing out rage she didn’t even know she had.

Fortunately, John Darnielle and The Mountain Goats had 4 more songs prepared for their encore. The penultimate, and also their most popular, song, ‘This Year’ had the entire House of Blues dancing just as joyously as the barefoot Darnielle had been all night. And after hearing it live, it has traveled up many spots on my list of all-time favorites. The Mountain Goats and I are here to remind you: you’ve made it through 89.5% of the year, and there are only 38 days left to go. You’ve got this.

“I am gonna make it through this year, if it kills me

I am gonna make it through this year, if it kills me.”

The Mountain Goats @ House of Blues

Walk The Moon: The only thing from Ohio to become a global sensation since the Wright Brothers took flight in 1903.

If your ears are still bleeding from the band’s 2014 hit ‘Shut Up and Dance,’ you’re not alone. The hit reached 25 countries spanning 5 continents, all of which are still recovering. But everybody deserves a second chance, right? Let’s give Walk the Moon one more shot on their first album release in 3 years: 

The album starts off with a heavy dose of the melodic synthetic beats that we grew used to on the band’s first two albums. The first two songs, ‘Press Restart’ and ‘Headphones’ are reminiscent of those albums. But, just like 

 falls apart during the third song. ‘One Foot’ sucks, but everyone loves it. I have a headache, because the déjà vu is too real.

Maybe Walk the Moon didn’t deserve a second chance after all, because almost every song after ‘One Foot’ hurts too. The choruses blend together, the melodies are independently repetitive and underwhelming, the ’80s synth beats should have stayed in the ’80s, and the auto-tuned singing wasn’t good when Jason Derulo did it, so there is no reason to think that it would work for Walk the Moon. Of the 13 songs on the album, the first two are decent, the third makes my head hurt, eight of the songs are 

 bad, and two are good. But I’m a generally positive guy, so let’s talk about those two good songs.

First: ‘Sound of Awakening.’ It’s good — not great. The lyrics have depth, but are hard to listen to when Nicholas Petricca’s voice is so synthetically modified. This is particularly strange when the fact that the song is primarily acoustic is taken into account. The instrumental version of the song would sound more like John Mayer than Walk the Moon. Yet, it’s obvious that the song isn’t by John Mayer, because then it would showcase some talent. So I tried to be positive, and it didn’t really work out, but the song had potential to be really good! It just… isn’t.

Second: The last song on the album, ‘Lost in The Wild.’ It’s pretty good. Unlike the last episode of 

, I walked away without a bitter taste in my mouth. From what I can put together, the song is about learning to love someone when both of you are vulnerable. This is an important thing to write about, and has a surprising depth compared to lines like “I can take a beating from a good pair of headphones,” from the beginning of the album. I really did like this song, but unfortunately, that’s what made it unique from the rest of the record.

The newest Walk the Moon album offers very little in the way of quality music. However, it does provide everyday radio stations with 13 new songs to trick the youth into thinking that good music is all about the quality of the soundboard that the producer was working with. Walk the Moon didn’t deserve that second chance, and they won’t be getting a third from me.

Walk the Moon release full-length ‘What If Nothing’

Wu-Tang drops a revival album to remind everyone that their simple, funky beats, smooth verse transitions, and stream of consciousness-style rap are still capable of addressing deeply rooted social and political divides.

“2017… Another Wu-Saga” – ‘Wu-Tang: The Saga Continues Intro’

Wu-Tang never died. In fact, they’ve never been better. The proof lies in their newest album: 

This release comes 24 years after the conglomerate of Staten Island’s best rappers released 

. That album (and the group itself) has since been known as a foundation from which all rap since has been built upon. Wu-Tang is proud of their accomplishments and their novelty, but they have some qualms with modern rap.

“I’m pushing lyrics while rappers are pushing gimmicks.” – ‘Frozen’

The Clan’s biggest complaint? “They spread the propaganda so we cannot prosper.” The Wu-Tang Clan comes back to this issue multiple times throughout the album, pointing out that many artists are writing politically so that more people will listen. They feel that modern artists lack sincerity and the ability to write passionately.

Instead of sitting back and watching the genre they built fall down, The Wu-Tang Clan wrote an album just as good as all of their first — it does not belong in this decade, it’s too good.

The album is 18 tracks long with an introduction, 4 “skits,” and an outro, many of which contain audio clips incorporated sometimes loosely but always coherently. The Wu-Tang’s typical use of audio clips add to the retrospective nature of the album by reinforcing the ideals of older generations through clips of old speeches and shows.

“They didn’t tell us that if you give up the man, you’re gonna take one of these things, it gets worse and would destroy your nation” – ‘Family (Skit)’

Andrew Szendrey