Music Review, Miley Cyrus, “Younger Now”

Music Review, Miley Cyrus, “Younger Now”

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Miley Cyrus is no stranger to playing a persona. She achieved stardom as a pre-teen playing a secret pop star on the widely successful Disney Channel show “Hannah Montana” and went from “Party in the U.S.A.” to appropriating hip-hop culture for profit in the blink of an eye. Now, Miley seriously wants you to forget the past few years of her career and the whole 2013 VMAs debacle because she is “so not that.” On her latest album, “Younger Now,” Miley Cyrus denounces her “Bangerz” era and finds peace with herself in the aftermath of a turbulent half decade. But what happens when the artist lifts the persona but is left with something so bland and uninspiring, you almost miss the cringe-worthy twerking? Do we then acknowledge that the drama of a public meltdown (and, again, appropriating another culture for years before chucking it like leftover sushi when it no longer generates media buzz or revenue) is the art that sells tickets to a world tour – not the music itself? Although Miley Cyrus claims to have found herself personally, musically, she’s got a long road ahead of her. Miley Cyrus has a powerful voice, both literally and figuratively (her philanthropic efforts are incredible for someone her age, and she’s even founded her own organization to fight injustice facing homeless youth and LGBTQ youth called The Happy Hippie Foundation), but that voice seems lost in her transition from persona. The opening title track begins with “Feels like I just woke up.” After listening to the album in it’s entirety, full of lazy lyrics and flat musical production, we are left wondering if she’s even bothered to get out of bed yet.

Music Review: Arcade Fire, “Everything Now”

Music Review: Arcade Fire, “Everything Now”

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Critically acclaimed, French-Canadian indie-rock band, Arcade Fire, has released their fifth studio album, “Everything Now.” Since their debut back in 2004 with “Funeral,” Arcade Fire has taken the industry by storm, winning basically every music award imaginable and catapulting indie sounds into the mainstream conscious. With each new album’s release, Arcade Fire’s popularity, influence, and talent grows. But with this latest venture, the band nose dives from the pedestal they were put on. “Everything Now” lacks the lyrical, emotional, and auditory depth Arcade Fire is known for – what made them lovable underdogs, misfits, and self-proclaimed “weirdos” in the first place. The band’s ability to create a remarkably stunning and cohesive album is practically thrown out here (or perhaps gets weighed down entirely by the pressure to produce another Arcade Fire masterpiece.) Either way, the album’s overall sound delivers as “The World’s Lamest Disco,” from the title track’s ABBA-inspired cords (sadly the best track on the album), to the disjointed, painfully clichéd “Peter Pan,” to the album’s lead single, “Creature Comfort” (which is essentially an anti-suicide message that somehow comes off as self-centered thanks to a line about their music preventing a fan’s suicide), Arcade Fire is in a state of artistic crisis. For a band that has always stood for something, “Everything Now,” tries to stand for too much – and winds up standing for nothing.

 

 

Music Review: Nick Murphy, “Missing Link EP”

Music Review: Nick Murphy, “Missing Link EP”

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Rebranding is always a risk, especially if your career is skyrocketing. But that’s exactly what Nick Murphy (formerly performing under the stage name, Chet Faker) did for his latest EP, “Missing Link.” The Australian singer/songwriter has garnered a great amount of success in the span of his short career: from a slow and steamy cover of Blackstreet’s “No Diggity” that went viral, to the critical acclaim of his first few albums, EPs and singles, branding experts across the board would strongly advise the budding artist to not ditch the stage name. And yet, pour one out for Chet Faker. The surprising turn for the artist was announced in a tweet late last year. Now, with “Missing Link,” Murphy’s first EP under his real name, Murphy prefaced its release to fans by calling it “a bridge between what’s out and what’s coming.” Opener “Your Time (feat. KAYRANADA)” will please any Faker fan looking for a fix, albeit it’s a bit heavier and more pulsating than a standard Faker track. The one and a half minute interlude that follows (“Bye”), is wholly unnecessary, while “I’m Ready,” which comes after, feels even more House than the opening track. Closing track, “Weak Education” is the most sonically interesting and experimental of the five track EP. Overall, “Missing Link” is a complete departure from Murphy’s former moniker, but that’s exactly what he wanted. Whether his fans will indulge the change is yet to be seen.

Music Review: Paramore, “After Laughter”

Music Review: Paramore, “After Laughter”

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If there’s any early 00’s pop punk band that has survived well into the next decade, it’s Paramore. While similar acts like Evanescence, Avril Lavigne, and Panic! at the Disco have largely faded into memory along with studded belts and skinny ties worn over graphic tees, Paramore has steadily built an empire of solid music and adoring fans. And that’s largely thanks to the lightning bolt of talent that is Paramore lead singer, Hayley Williams. (With her electrifying star quality, she could sing and dance her way through the dictionary and still sell out stadium tours.) Williams was just 14 when the band formed back in ‘04, and, for over a decade, she has grown-up alongside her fans – from a plucky, suburban emo kid to that cool, fun, mysterious girl you meet at a party who deleted her Facebook account, like, six years ago. Paramore was playing on the radio as their fans navigated through high school, went to college and eventually found jobs (or more likely, a slew of unpaid internships). Williams has also made herself more relevant since the pop punk craze died down by lending her vocal talent to numerous modern artists, such as when she teamed up with Chvrches (who [Fun Fact] I once ran into at an Urban Outfitters in Georgetown) on their track “Bury It.” Although Paramore’s style hasn’t changed as drastically over the years as, say, the cut and color of Williams’ hair, much less “early aughts angst” fills their albums these days. On “After Laughter,” the first album after the band’s three-year hiatus, the lyrics are still punk, but the pop is much poppier. On lead single “Hard Times,” try not to crack a smile at the playful 80’s vibe or Williams dancing, even though the lyrics she’s belting are about her own struggle with depression the previous year. The album isn’t perfect: it certainly has it’s highs (check out the video for “Told You So” with it’s serious Wes Anderson vibe) and lows (“26,” “No Friend,”) but that’s to be expected from a band of this generation, struggling to come to terms with adulthood and all it’s bumps along the way. Paramore proves that coming to terms with yourself during life’s first big challenges isn’t easy – especially if you’re the type who sits at work reminiscing about your teenage years when you’d ditch homeroom and chill with your clique at the skatepark – but we all make it through, somehow.

 

Music Review: Sylvan Esso, “What Now”

Music Review: Sylvan Esso, “What Now”

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North Carolina indie pop duo, Sylvan Esso, recently released their sophomore album, “What Now.” Their 2014 self titled debut LP, which featured the hit, “Hey Mami,” put them at the top of every indie music lover’s playlist. On “What Now,” singer Amelia Meath and producer Nick Sanborn have grown into their art, continuing with the snarks and style of their humor-heavy first album. Meath’s vocals, paired with Sanborn’s beats, are just as hypnotic this time around. The opening track, “Sound,” draws listeners in through it’s delicate layering, while the album’s centerpiece, “Die Young,” is the perfect mix of textured pop and bitterness.