Posted 1 month ago
ALBUM REVIEW: OneRepublic - Native

Aside from a few select tracks (If I Lose Myself, Feel Again), Native is drummed with a lot of mid-tempo unforgettables.
Counting Stars - Ryan Tedder is definitely solidified himself as a songwriter, producer and music maker in the industry. Counting Stars is a more toned down mid-tempo starter to the album. His distinct vocals are memorable for the track, almost going a southern twang for the bridge.
If I Lose Myself - This one has Apologize remnants hanging about. That’s not a bad thing, because its probably the best track on the album. The electronic synth experience between verses it takes you on is mildly breathtaking. My only gripe with this song is that it’s too formulaic. It recycles the chorus way too much. WARNING: This could be caused by me listening to it on repeat for 5 days straight. This is one of the OneRepublic tracks that will be remembered in their tenure.
Feel Again - an upbeat head banger and hand clapper, Feel Again pushes the range of Tedder. The melody and production really shines through on this track. I can’t help but think that’s its a prime candidate for an osteoporosis commercial (side effects include jamming out and “feeling again”). Ask your doctor if you feel faint of breath after listening to this song, or of pop euphoria lasts longer than 4 hours, which is about the shelf life of this song.
What You Wanted - “They say the best love is insane.” What You Wanted resembles a little Angels & Airwaves, but not as emo. I was wishing the song would be over with quicker. And yes, “that’s what I wanted.”
Light It Up - Falsetto and rock may work for The Black Keys, but it doesn’t work here. Too much mid-tempo rock, and too little stylized vocals. No substance!! Come on guys, you’re better than this.
Can’t Stop - Now this is more like it. Hard hitting drum patterns with gritty and contemptuous, yet facetious, lyrical delivery. Very theme-ridden, and very 90’s. Vocals hit it where it counts (resolving the chorus). “I cant stop thinkin’ ‘bout us anymore.”
Au Revoir - Bust out the tissues. It’s a goodbye ballad (could you tell?). “All these rooms don’t fit / All these stars can quit / What a peculiar state we’re in / What a peculiar state we’re in.” So much with so little. The melody could use a little work, but RTedd’s (can I make that a thing?) vocals more than make up for it.
Burning Bridges - Basically ripping off their own Good Life, they hastily “burn the bridges” of the beat down. It’s good if only for that.
Preacher - Slower, yet still poppy. Very grandiose; epic, even. Has a little Phil Collins influence in it. “He’d talk about God like he was something like a teacher. You can never spend his wealth.” Inspiring on faith and religion. Getting the choir in the background in the second verse supports the thematic delivery.
Something’s Gotta Give - Slowest. Build up. Ever. Right when you feel like it might be going somewhere, it ends. But I don’t really care to find out what it’s gotta give.
Life In Color - A little more upbeat track suitable for the radio or a gym cardio mix. Not a bad track to close out the average outing. The higher register in Tedder’s vocal prowess is a bit out of place, though.


Must Listen Tracks:

Counting Stars
I Lived
If I Lose Myself
Can’t Stop
Something I Need
Preacher

Song most likely to be on Grey’s Anatomy or some other crappy romantic comedy with old people: Something I Need - Instantly a radio track. “And if we only die once, I wanna die with you.”

Song most likely to be nominated for a high school or college graduation: I Lived - BOMB.com. A song about not living with regret, it goes through a journey of living life to the fullest. Strongly resembles Marching On, which is a VERY good thing.

VERDICT:

There are only a few songs I’ll really remember a year from now. And this offering provides evidence that the pop-rock genre is only getting more muddled and less intriguing. Which is very unfortunate.

Where’s the emotion from Goodbye, Apathy? What about the innovative spontaneity of Good Life? Where’s the commanding cadence of Marching On? Sub-par effort, but congrats Timbo for cashin out with two top 10 albums in two straight weeks.

Also, I’m pretty sure some poor soul has a wolf howling at the moon T-Shirt that closely resembles this album cover.

Spend or Stream?? Definite stream

ALBUM REVIEW: OneRepublic - Native

Aside from a few select tracks (If I Lose Myself, Feel Again), Native is drummed with a lot of mid-tempo unforgettables.
  1. Counting Stars - Ryan Tedder is definitely solidified himself as a songwriter, producer and music maker in the industry. Counting Stars is a more toned down mid-tempo starter to the album. His distinct vocals are memorable for the track, almost going a southern twang for the bridge.
  2. If I Lose Myself - This one has Apologize remnants hanging about. That’s not a bad thing, because its probably the best track on the album. The electronic synth experience between verses it takes you on is mildly breathtaking. My only gripe with this song is that it’s too formulaic. It recycles the chorus way too much. WARNING: This could be caused by me listening to it on repeat for 5 days straight. This is one of the OneRepublic tracks that will be remembered in their tenure.
  3. Feel Again - an upbeat head banger and hand clapper, Feel Again pushes the range of Tedder. The melody and production really shines through on this track. I can’t help but think that’s its a prime candidate for an osteoporosis commercial (side effects include jamming out and “feeling again”). Ask your doctor if you feel faint of breath after listening to this song, or of pop euphoria lasts longer than 4 hours, which is about the shelf life of this song.
  4. What You Wanted - “They say the best love is insane.” What You Wanted resembles a little Angels & Airwaves, but not as emo. I was wishing the song would be over with quicker. And yes, “that’s what I wanted.”
  5. Light It Up - Falsetto and rock may work for The Black Keys, but it doesn’t work here. Too much mid-tempo rock, and too little stylized vocals. No substance!! Come on guys, you’re better than this.
  6. Can’t Stop - Now this is more like it. Hard hitting drum patterns with gritty and contemptuous, yet facetious, lyrical delivery. Very theme-ridden, and very 90’s. Vocals hit it where it counts (resolving the chorus). “I cant stop thinkin’ ‘bout us anymore.”
  7. Au Revoir - Bust out the tissues. It’s a goodbye ballad (could you tell?). “All these rooms don’t fit / All these stars can quit / What a peculiar state we’re in / What a peculiar state we’re in.” So much with so little. The melody could use a little work, but RTedd’s (can I make that a thing?) vocals more than make up for it.
  8. Burning Bridges - Basically ripping off their own Good Life, they hastily “burn the bridges” of the beat down. It’s good if only for that.
  9. Preacher - Slower, yet still poppy. Very grandiose; epic, even. Has a little Phil Collins influence in it. “He’d talk about God like he was something like a teacher. You can never spend his wealth.” Inspiring on faith and religion. Getting the choir in the background in the second verse supports the thematic delivery.
  10. Something’s Gotta Give - Slowest. Build up. Ever. Right when you feel like it might be going somewhere, it ends. But I don’t really care to find out what it’s gotta give.
  11. Life In Color - A little more upbeat track suitable for the radio or a gym cardio mix. Not a bad track to close out the average outing. The higher register in Tedder’s vocal prowess is a bit out of place, though.
Must Listen Tracks:
  • Counting Stars
  • I Lived
  • If I Lose Myself
  • Can’t Stop
  • Something I Need
  • Preacher
Song most likely to be on Grey’s Anatomy or some other crappy romantic comedy with old people: Something I Need - Instantly a radio track. “And if we only die once, I wanna die with you.”
Song most likely to be nominated for a high school or college graduation: I Lived - BOMB.com. A song about not living with regret, it goes through a journey of living life to the fullest. Strongly resembles Marching On, which is a VERY good thing.
VERDICT:
There are only a few songs I’ll really remember a year from now. And this offering provides evidence that the pop-rock genre is only getting more muddled and less intriguing. Which is very unfortunate.
Where’s the emotion from Goodbye, Apathy? What about the innovative spontaneity of Good Life? Where’s the commanding cadence of Marching On? Sub-par effort, but congrats Timbo for cashin out with two top 10 albums in two straight weeks.
Also, I’m pretty sure some poor soul has a wolf howling at the moon T-Shirt that closely resembles this album cover.
Spend or Stream?? Definite stream

(Source: Spotify)

Posted 1 month ago
Posted 2 months ago

purveyorofawesome:

Even Jeopardy is taking shots at Taylor Swift now…

Oh boy! #lovetheanimatedgif

Posted 2 months ago

upnorthtrips:

The Amazing Cross-Stitch Works of Davey Gravy

I would love to frame one of these on my wall.

Or get a crocheted doily for my couch…

Posted 2 months ago

Listen Now: Paramore - Still Into You

Even though Now didn’t make a big splash, Still Into You aims to make a bigger one. At the time of this writing, it’s got a little over 500k views on YouTube.

If this song is any indication, I cannot wait for the new self-titled album. Hayley goes crazy with the vocals, as expected.

As amazing as this song is, it will fight with Mirrors in my incessant rotation.

Posted 2 months ago

Drake - 5AM In Toronto (produced by Boi-1da)

What a track. I cannot wait for Nothing Was The Same.

http://soundcloud.com/octobersveryown/drake-5am-in-toronto

Posted 2 months ago

Sounds a bit like Chris Brown, but not a bad track…

http://soundcloud.com/djxclusif/frank-ocean-eyes-like-sky

Posted 3 months ago

rozoonthego:

NEW VIDEO: JUST GIVE ME A REASON - PINK FEAT. NATE RUESS

Check out the latest video from singer Pink. The track is featured on ‘The Truth About Love’ album. I like the record, a lot and Pink never disappoints with the visuals for her singles. xo @rozOonThego

‘You’re not broken, just bent and you’ll learn to love again.’

Creepy teddy bear, but I love this song. Best song on the album.

Posted 3 months ago

How I Met Your Mother: Florence + The Machine - Shake It Out
Season 7, Episode 17: No Pressure 

Probably the most epic of TV moments, this 2 minute clip captures SO much from the 7.5 seasons prior. When the chips are down, it’s clear that Ted needs closure from Robin. He says he’s ok, but Marshall insists that he’s not.

Telling Robin she needs to move out, Florence kicks in with the best musical crescendo to any HIMYM episode or season thus far, and verging on one of the top 5 TV moments of all time (“The Robin” is also high up there too). They haven’t had the best music selection to wrap up the show at times, so when this hit, the familiarity of the song mixed with the ridiculously relevant application to the plot just hit right at home.

Literally got chills. And I still do.

Posted 5 months ago
ALBUM REVIEW: Ke$ha - Warrior
Well, well, well. What do we have here? We certainly haven’t heard from Ke$ha in quite sometime (since 2010’s Cannibal EP). Personally, I am just *now* ready for more of her. She’s pretty disgusting, and ridiculously overplayed. I attribute that sentiment to her erratic and liberal behavior, and her overly talented executive producer, Dr. Luke, respectively.
This album is no different. Dr. Luke manages to have a hand in each track on the album (which is a very good thing), with additional assistance from the just-as-talented Benny Blanco (Katy Perry, Maroon 5, Britney Spears, Taio Cruz, etc.) and Max Martin (P!nk, Backstreet Boys, ‘NSYNC, etc.).
Unfortunately, the 8/10 production can save Ke$ha’s 1/10 vocals. It’s also unfortunate to know that only when she tries to imitate Katy Perry does she come out with a quality track. The rest of the sappy, frivolous rapping that she attempts leaves her coming up sounding annoying and whiny. That’s not to say I don’t enjoy the album, because I certainly do.
Favorite tracks:
Die Young - The first single off the album comes out guns blazing. Ke$ha’s always been know for her overly emphasized syllabic monotony. That’s ok, though, since the chorus thumps through you and leaves you hating that you love it.
Thinking Of You - Once you get to the chorus, you love it. But you love it for a reason other than Ke$ha. Clearly, this track would be ideal for Katy Perry, as the warrior sounds nearly identical. But she ruins it with the natural vulgarity that puts a bitter taste in your mouth (and sympathetic to Katy Perry for no logical reason).
Only Wanna Dance With You - Of course I spot the Max Martin track from a mile away. The Strokes influence in the track rounds off this easy going track and almost makes you forget that she talks with her mom about all of the nasty stuff she does with her boy toys.
Supernatural - If you like house music, this will be the one you want to listen to. The bridge just gets electronically unravelled into a pyrotechnic explosion of processed synths and vocals. It is almost reminiscent of a will.i.am/Black Eyed Peas track.
VERDICT: Hats off to the production quality. Really. Despite her obvious irreverence, Ke$ha manages to bring us more of what worked two years ago. This album with any other artist taking the vocal helm, male or female, would make this work of art exponentially better in sales and reception. It just goes to show that you can make any sorry, uninspiring anti-role model a superstar with a great beat.

ALBUM REVIEW: Ke$ha - Warrior

Well, well, well. What do we have here? We certainly haven’t heard from Ke$ha in quite sometime (since 2010’s Cannibal EP). Personally, I am just *now* ready for more of her. She’s pretty disgusting, and ridiculously overplayed. I attribute that sentiment to her erratic and liberal behavior, and her overly talented executive producer, Dr. Luke, respectively.

This album is no different. Dr. Luke manages to have a hand in each track on the album (which is a very good thing), with additional assistance from the just-as-talented Benny Blanco (Katy Perry, Maroon 5, Britney Spears, Taio Cruz, etc.) and Max Martin (P!nk, Backstreet Boys, ‘NSYNC, etc.).

Unfortunately, the 8/10 production can save Ke$ha’s 1/10 vocals. It’s also unfortunate to know that only when she tries to imitate Katy Perry does she come out with a quality track. The rest of the sappy, frivolous rapping that she attempts leaves her coming up sounding annoying and whiny. That’s not to say I don’t enjoy the album, because I certainly do.

Favorite tracks:

  1. Die Young - The first single off the album comes out guns blazing. Ke$ha’s always been know for her overly emphasized syllabic monotony. That’s ok, though, since the chorus thumps through you and leaves you hating that you love it.
  2. Thinking Of You - Once you get to the chorus, you love it. But you love it for a reason other than Ke$ha. Clearly, this track would be ideal for Katy Perry, as the warrior sounds nearly identical. But she ruins it with the natural vulgarity that puts a bitter taste in your mouth (and sympathetic to Katy Perry for no logical reason).
  3. Only Wanna Dance With You - Of course I spot the Max Martin track from a mile away. The Strokes influence in the track rounds off this easy going track and almost makes you forget that she talks with her mom about all of the nasty stuff she does with her boy toys.
  4. Supernatural - If you like house music, this will be the one you want to listen to. The bridge just gets electronically unravelled into a pyrotechnic explosion of processed synths and vocals. It is almost reminiscent of a will.i.am/Black Eyed Peas track.

VERDICT: Hats off to the production quality. Really. Despite her obvious irreverence, Ke$ha manages to bring us more of what worked two years ago. This album with any other artist taking the vocal helm, male or female, would make this work of art exponentially better in sales and reception. It just goes to show that you can make any sorry, uninspiring anti-role model a superstar with a great beat.

Posted 5 months ago
Related Or Ripped Off: Kanye West vs. Alicia Keys
AKeys just dropped her new album, Girl On Fire. I came across Tears Always Win while listening through it, and a familiar melody came to me. It took me a few minutes, but I figured out that it sounds strikingly similar to the 2010 “mix tape” Yeezy hit, “G.O.O.D. Friday.”
If you slow down Kanye’s piano chords, it fits Alicia’s.
What do you think, related or ripped off?
VERDICT:  While it might not be a spitting image of each other, these two tracks do resemble each other. RELATED.

Related Or Ripped Off: Kanye West vs. Alicia Keys

AKeys just dropped her new album, Girl On Fire. I came across Tears Always Win while listening through it, and a familiar melody came to me. It took me a few minutes, but I figured out that it sounds strikingly similar to the 2010 “mix tape” Yeezy hit, “G.O.O.D. Friday.”

If you slow down Kanye’s piano chords, it fits Alicia’s.

What do you think, related or ripped off?

VERDICT:  While it might not be a spitting image of each other, these two tracks do resemble each other. RELATED.

Posted 5 months ago
Album Review: Rihanna - Unapologetic

It was a short year ago that Talk That Talk was released. Is Rihanna going with quantity over quality? It very well could be the case based on her first single. Has her next offering gotten any better??

Notable Tracks
Phresh Out the Runway - What a repetitive filler intro. Not too big a fan of the gritty, obligatory grungy track. And it’s a horrible way to intro a 7th album. This is your lead-in? Based on this, I almost just stopped listening.
Diamonds - I never really caught on to this for a first single. The popular lady of the day, Sia, makes her way on this hit, but it’s slower and more thoughtful than her other album intro tracks. Just because you have the techno go-to songwriter and performer of the year (Flo Rida’s Wild Ones, David Guetta’s Titanium, David Guetta’s She Wolf) doesn’t necessarily equate to record-breaking dance numbers. But apparently, it doesn’t matter what I think, since Rihanna just tied Madonna for most #1 singles.
Numb - Even Eminem makes his cameo by referencing the hit that made them so popular in his legitimate Recovery track (Love The Way You Lie Part I and Part II). But this one almost has a weird regression of “going numb.” “Let that champagne splash / let that man get past / let that man get cash / let that man get cash,” taking a page from label mate Kanye West’s Can’t Tell Me Nothin’. It’s definitely not the typical Em we’re used to, but it’s Recovery Em that just spits fire with every bar.
Jump - By far, the best song on the album, and produced by long-time norwegian production duo Stargate, they have another hit on their hands. No matter that they sample Ginuwine’s Pony from 1990, but it manages to borrow some rhyme scheme from Justin Timberlake’s Cry Me A River.
Right Now Ft. David Guetta - The obligatory radio club banger will propel this artist/song/album well into 2013, and they would be stupid not to promote this to move albums and sell tour tickets. Over a bed of layered tracks and classic David Guetta beats, the two work well together to create a top 10 jam that is sure to make its way into everyones playlists.
What Now - Starting slower, it crescendos into a cadence that is unmatched by other Rihanna songs. Once it builds to the chorus, all the stops are pulled and the scream “What…Now…!” will be ringing in your head for sometime.
Stay - Originally performed for the first time on Saturday Night Live:The song uses a simple piano arrangement. It almost had an “Unfaithful” vibe to it, lyrically, but a little more upbeat.
Nobody’s Business - It should be called, Ain’t Nobuddis Bidness, because the Chris Brown feature has such a great urban vibe to it. You even get a Michael Jackson feel when Breezy gets on the mic. These two can make excellent music together. The-Dream, who produced the track and has been a vocal proponent of the two putting aside their differences for the good of music, is all for the two collaborating again: ”For me, it’s just music — two talented people doing a record together, doing two records together, and that’s what it was,” The-Dream tells Billboard.com, and that’s exactly what they did.
VERDICT: So while she is churning out albums as frequently as annual Christmas albums, Rihanna’s still may be a reliable hitmaker, thanks in part to good songwriting, exceptional vocals and top-notch production. It may not be a huge commercial success like a Taylor Swift, but still manages to make musical waves, as she is expected to sell between 240-260k in her first week, her biggest debut ever. 




Favorite Tracks:

Jump
Nobody’s Business Ft. Chris Brown
What Now
Right Now
Lost In Paradise
Also, don’t forget to check out Kanye West’s Remix of Diamonds. If you want to hear Kanye throw a rhyme in that references The Fresh Prince of Bel-Air, click the play button immediately:



Second Opinions:
MTV News - http://rapfix.mtv.com/2012/11/21/rihanna-unapologetic-album-critics-reviews/
Rolling Stone - http://www.rollingstone.com/music/albumreviews/unapologetic-20121120

Album Review: Rihanna - Unapologetic
It was a short year ago that Talk That Talk was released. Is Rihanna going with quantity over quality? It very well could be the case based on her first single. Has her next offering gotten any better??
Notable Tracks
  1. Phresh Out the Runway - What a repetitive filler intro. Not too big a fan of the gritty, obligatory grungy track. And it’s a horrible way to intro a 7th album. This is your lead-in? Based on this, I almost just stopped listening.
  2. Diamonds - I never really caught on to this for a first single. The popular lady of the day, Sia, makes her way on this hit, but it’s slower and more thoughtful than her other album intro tracks. Just because you have the techno go-to songwriter and performer of the year (Flo Rida’s Wild Ones, David Guetta’s Titanium, David Guetta’s She Wolf) doesn’t necessarily equate to record-breaking dance numbers. But apparently, it doesn’t matter what I think, since Rihanna just tied Madonna for most #1 singles.
  3. Numb - Even Eminem makes his cameo by referencing the hit that made them so popular in his legitimate Recovery track (Love The Way You Lie Part I and Part II). But this one almost has a weird regression of “going numb.” “Let that champagne splash / let that man get past / let that man get cash / let that man get cash,” taking a page from label mate Kanye West’s Can’t Tell Me Nothin’. It’s definitely not the typical Em we’re used to, but it’s Recovery Em that just spits fire with every bar.
  4. Jump - By far, the best song on the album, and produced by long-time norwegian production duo Stargate, they have another hit on their hands. No matter that they sample Ginuwine’s Pony from 1990, but it manages to borrow some rhyme scheme from Justin Timberlake’s Cry Me A River.
  5. Right Now Ft. David Guetta - The obligatory radio club banger will propel this artist/song/album well into 2013, and they would be stupid not to promote this to move albums and sell tour tickets. Over a bed of layered tracks and classic David Guetta beats, the two work well together to create a top 10 jam that is sure to make its way into everyones playlists.
  6. What Now - Starting slower, it crescendos into a cadence that is unmatched by other Rihanna songs. Once it builds to the chorus, all the stops are pulled and the scream “What…Now…!” will be ringing in your head for sometime.
  7. Stay - Originally performed for the first time on Saturday Night Live:
    The song uses a simple piano arrangement. It almost had an “Unfaithful” vibe to it, lyrically, but a little more upbeat.
  8. Nobody’s Business - It should be called, Ain’t Nobuddis Bidness, because the Chris Brown feature has such a great urban vibe to it. You even get a Michael Jackson feel when Breezy gets on the mic. These two can make excellent music together. The-Dream, who produced the track and has been a vocal proponent of the two putting aside their differences for the good of music, is all for the two collaborating again: ”For me, it’s just music — two talented people doing a record together, doing two records together, and that’s what it was,” The-Dream tells Billboard.com, and that’s exactly what they did.
VERDICT: So while she is churning out albums as frequently as annual Christmas albums, Rihanna’s still may be a reliable hitmaker, thanks in part to good songwriting, exceptional vocals and top-notch production. It may not be a huge commercial success like a Taylor Swift, but still manages to make musical waves, as she is expected to sell between 240-260k in her first week, her biggest debut ever


Favorite Tracks:
  • Jump
  • Nobody’s Business Ft. Chris Brown
  • What Now
  • Right Now
  • Lost In Paradise
Also, don’t forget to check out Kanye West’s Remix of Diamonds. If you want to hear Kanye throw a rhyme in that references The Fresh Prince of Bel-Air, click the play button immediately:


Second Opinions:

Posted 5 months ago

Music Video: Ke$ha - Die Young

As gross as she is, I’d much rather listen to her and her Dr. Luke-produced banger than the imitating travesty that is Karmin trying to fill the void while Ke$ha has been MIA. Kudos on another catchy tune.

coverthebeat:

New Video: Ke$ha - Die Young

Posted 5 months ago

Assassin’s Creed III TV Commercial

The game looked pretty cool already, but when you put in Diddy - Dirty Money’s Comin’ Home in there, it looks pretty epic.

Needless to say, I will have my hands busy with this and other great videogames this holiday season.

Posted 9 months ago

LISTEN: Muse - Madness

What a gem. Off of their new album, The 2nd Law (out October 2, 2012), this new single has a psychedelic feel to it. It sort of puts you in a trance, and before long, you’ll be singing, “Muh-muh-muh-muh-muh-muh-muh-muh-MAD, MAD, MAD!”

Props to Rolling Stone for the find.