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Sam Smith - The Thrill of It All

It’s been 3 years since Sam Smith made his international solo debut with “In The Lonely Hour”.  Before that project he was just a British boy with a voice of gold singing over entrancing EDM productions as a guest vocal, relatively unknown.  Since then he’s become a mega star, trailing only Adele in terms of popularity.  However, being wildly popular hasn’t truly helped him in terms of critical success.   Sure his last album won best pop album at the 2015 Grammy’s but looking at the competition, you would be hard pressed to say the talent pool was anything more than shallow.  With “The Thrill of It All”, Smith hopes to switch gears into a more adult contemporary soul album to show his personal and musical growth.

Sadly, that is not the case.  This new album is far from an atrocity, but it’s just as far from greatness as well.  On “TTOIA” Smith tries to write some of his most heartbreaking ballads to date but none of the songs really hit.  Opening track and lead single “ Too Good at Goodbyes” is a perfect example.  The track is very okay with a decent melody and the use of choral backing vocals really helps the track feel dynamique.  All of that is ruined by the second verse with tacked on with single upstroke guitar chords making the song overtly nostalgic and cheesy.  

If one thing curses this album, it’s the need to be nostalgic and bursting with emotion over delivering on the former, and never truly establishing the latter.  Every song outside of “HIM” is about heartbreak in some form, almost always with Smith being the one broken.  It’s not that these songs are all lyrically dreadful, just monotonous and bleak.  I can understand having songs about heartbreak, but when 9/10 tracks deal with it you begin to lose your audience.  “HIM” is probably the best songwriting on the album from a lyrical viewpoint as Smith puts homophobia on the hotseat singing “I love him” in the face of hatred.  With the song exploding in this bombastic bridge filled with choral backing vocals, Smith soaring above the instrumentation, and a lively hand clap rhythm it’s one of the clear highlights on the record.  It is also a spotlight on the albums flaws.

This record is boring as hell.  Every song on the record has a bright moment or two, but those are hardly worth listening to the whole track.  Songs like “Burning”, “Midnight Train”, and “No Peace” all share these brilliant moments where the instrumentation fills out, and Smith finally lets his heart bleed out for the audience.  But when that’s just thirty seconds of a three minute song, it hardly feels worth the listen.  The instrumentation on all of the songs follows a minimalist soul idea with a lot of piano driven songs.  It seems as though producer Jimmy Napes was hoping that less going on in the background would give Smith more room to play vocally, yet he simultaneously killed any emotional depth by drowning the songs in reverb.  When all the empty space in a song is taken up with bland piano, it makes sad songs less melancholy and more drowsy.

All of this being said, the album isn’t terrible.  “Pray” is easily the best song on the album as it’s the only song that actually builds towards it’s climax and allows Smith the most freedom to play melodically.  Timbaland really helped bring this track to life.  Duet “No Peace” is also a standout but not really for Smith but his partner, YEBBA.  YEBBA really schooled Smith here on emotional intensity which is bad since it’s Smith’s album but it’s also the only thing that makes the song worth revisiting.  Overall, if you’re a Sam Smith fan you’ll like this record.  He obviously still sounds good, and none of the songs are offensively bad.  But if you were hoping for a genuine and emotional adult contemporary pop album, your search isn’t over yet.

Album Score:  🔥🔥 2 out of 5 fire emojis

Hits: “Pray, “No Peace”, “One Last Song”

Misses: “Burning”, “Palace”, “Say it First”

Link to Sam Smith’s MV for “Too Good at Goodbyes”

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REVIEW

Drake - More Life

4 months. That’s how long we’ve waited for Drake’s latest effort, the self proclaimed playlist, More Life. Originally slated for an early December release, Drizzy pushed the “playlist” back to an undisclosed date just to have a surprise drop on March 18th. With 4 months between the original and actual release dates you would think that gave the 6 God some time to fine tune this playlist/album into a well put together project, surpassing the lackluster Views, right?

Sadly, that’s wrong.

In his latest effort Drake picks up right where he left us with Views, with this playlist/album sounding like the really shitty leftovers of the really shitty Views. Going back and forth between generic grime rap and even worse R&B/painfully westernized Dancehall, the sounds of the songs vary drastically yet the tone of the playlist is consistent in their airy moodiness, which is probably what led Drake to call it a playlist. However, a consistent sound and feeling doesn’t make a good album.

Drake decides on this effort, instead of just pretending to be Jamaican, to fake being British as well with his new founded grime efforts. Rapping with a fake British accent is extremely lame and Drake didn’t receive the memo. Songs like “No Long Talk” are a perfect example of Drake’s exploitation of other cultures and trying to ride the wave, as he has done with dancehall which he continues to do on this album speaking fake patois during half of the songs and in almost every outro. It’s okay Aubrey, you don’t have to try to speak like you’re from the Caribbean, you can just be you and that’s fine. Seriously every time he says “ting” on this album the hairs on my body stood at attention and I found myself become dizzy at how hard my eyes would roll.

Now that I’ve got my shit talking in, this album isn’t a total failure. While the grime tracks on the album are generic, the energy Drake brings to the track is fun and attention grabbing. Yes, he’s making these tracks because he suddenly became friends with grime stars like Giggs and Skepta, but it’s better than listening to his song “Passionfruit” or “Portland” which is a ripoff of “Get Right Witcha” from Migos latest album (check out Culture if you haven’t already) with an awkward Travis Scott interlude. Songs like “KMT”, “Free Smoke”, and “Gyalchester” are some of the hardest hitting songs since the acclaimed If You’re Reading This it’s Too Late and paired with the “Skepta Interlude” and gorgeously spacious Sampha track “4422”, they elevate this “playlist” beyond Views. But that also isn’t hard.

Lyrically nothing really stands out on the album. It’s not to say Drake is delivering trash bars throughout, but honestly the words just kind of flow over the beats, and don’t really grip. The only lyrics that ever caught my attention where the obvious bars about Nicki Minaj and Drakes obsession over her (see “Ice Melts”). It feels as though Drake didn’t want to truly finish writing out these tracks so he would just write a verse and hook, and repeat the hook for 2/3 of most of the songs. That works on some tracks, but overall you can’t make a relevant and engaging album when you seem half engaged yourself.

With songs that sound unfinished, rushed, and underwhelming making up a majority of the playlist, More Life is another step away from the Drake that gave us “Back to Back” and another step towards the “One Dance” sound. Honestly if you want a rap album that uses Caribbean influence in production, but is actually a fun listen throughout check out Young Thugs album Jeffrey. If you want grime rap that isn’t just a cute attempt at the genre, Wiley’s record Godfather is for you. But if you’re really craving that Canadian hip-hop goodness, at least this is better than Views, even if it is just the shitty b-sides collection.

Album Score: 🔥🔥 2/5 Fire Emojis

Hits: “4422”, “Gyalchester”, “Free Smoke”, “Can’t Have Everything” “Skepta Interlude”

Misses: “No Long Talk”, “Blem”, “Get it Together”, “Glow”, “Nothings Into Somethings”

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Top 10 Albums of 2016 Worry - Jeff Rosenstock Jeff Rosenstock returns just one year after dropping one of the best pop punk albums of 2015 to do it again in 2016. This time though, he seems to have matured a little bit with song topics dealing with gentrification, corporate corruption, the absence of true perfection, and more shows real growth. The overall theme of the album though, is love. It's about how anxiety, nervousness and worrying for someone is a way to show love. "It's not like the love that they showed us on T.V It's a home that can burn, it's a limb to freeze, its worry. Love is worry." Blackstar - David Bowie 2016 has sucked. It felt like we never got a break from tragedy, from heartache. David Bowie was one of the first of a long line of music icons to pass in 2016. But that doesn't mean he left us empty handed. His 25th album, Blackstar is the farthest David Bowie has strayed from rock, meshing it with elements of jazz, hip-hop, and baroque music. Sonically, it's like nothing you've ever heard. Lyrically, Bowie takes us on a journey where he dissects human mortality but also his own status as a legend. In his final hour David Bowie didn't just release a classic record. He might have released the record of his life. Bottomless Pitt - Death Grips Death Grips returned earlier in the year with their latest project, Bottomless Pitt. Death Grips have always been a band that strives for abrasiveness, and on this record they don't stray from their path. From the moment opening track, "Giving Bad People Good Ideas" kicks in with Zach Hill's drums crashing in, you start a roller coaster of pure aggression and killer jams. While MC Ride sounds as aggressive and pissed off as ever, this album also has a melodic feel that adds a sweetness to the harsh soundscapes. Atrocity Exhibition - Danny Brown Danny Brown has seen some shit. At the age of 35, he has seen the highest of highs, and lowest of lows. In its 47 minute runtime, Atrocity Exhibition drags you relentlessly through all of these highs and lows, Danny Brown cast as the captain from hell on the journey. Sonically this record is the craziest record you will hear this year. Tracks like "Ain't It Funny", "White Lines" and "Today" make you question what Brown was thinking when he decided to rap over these instrumentals, but it all works. Atrocity Exhibition is the work of a tortured artist at his most demented, and it's all the better for it. We Got it From Here... Thank You 4 Your Service - A Tribe Called Quest It's been nearly 20 years since we last heard from Tribe, and that's far too long. Q-Tip, Phife Dawg and Jarobi have been needed in this world and they picked the perfect time. This record lyrically covers numerous social issues only the way the wisdom of the Tribe could do. But this album is more than that. It's a tribute to Phife who passed away this past March. The song "Lost Somebody" is one of the most touching songs to be released this year, and the Jack White solo at the end echoes throughout the album, almost as a tribute to the late Phife. Thankful for Your Service is not only a great record, but a beautiful tribute. Camp Cope - Camp Cope No disrespect to Camp Cope, but instead of giving you a summary, here's a link to my full review. It's goooooood. http://the-down-beat.tumblr.com/post/150682768128/camp-copes-self-titled-debut-was-released-on Teens of Denial - Car Seat Headrest Will Toledo has done more with his life by the age of 24 than you will do by 76, 3 months, and 14 days. But that's okay, because Teens of Denial is a modern rock masterpiece and that's really hard to live up to, so don't feel too bad. Ditching the lo-fi sound that got him famous, Toledo delivers some of not only his best guitar licks, but also his best lyrics. Lyrics like "Last Friday I took acid and mushrooms. I did not transcend, I felt like a walking piece of shit in a stupid looking jacket" are a perfect example of the witty, dry, and self aware humor that lies within its 95 minute runtime. Psychopomp - Japanese Breakfast Don't let the bands name fool you, Michelle Zauner is not Japanese. She's Korean and she will make sure to let you know. This characteristic of being upfront and confrontational comes through in her music as well. With songs dealing from her mothers death to songs about sleeping with a married man, Zauner finds a way to be upfront, abrasive and witty. Paired with the indie shoe gaze production, this record gave Zauner the room to breathe that she needed. Floss - Injury Reserve Dropping late in 2016 (December 15th to be specific) Floss is not only the last great project of 2016, but one of its best as well. Stockpiled with bangers, songs like "Oh Shit!!!", "What's Goodie", "All this Money", and "Back Then" could easily be staples at any college party. Paired with a handful of more laid back, introspective tracks, this album shows of the versatility of Injury Reserve. With their cool, jazzy flows mixed with the progressive production Ritchie with a T, Groggs, and Parker Corey put together one of the greatest underground hip-hop records of the year. MY WOMAN - Angel Olsen On her 3rd record, Angel Olsen takes a bit of a new route, leaving the lo-if genre, and heading for a 70's style indie/garage rock. Lyrically she's as sharp as ever, bringing a good mix of some of her most aggressive, but also melancholy work to the table. Songs like "Shut Up Kiss Me" will have you ready to take on the world, while songs like "Pops" will leave you crying in bed for a week. Angel Olsen, while jumping on the current 70's trend, she's doing it better than almost anyone **cough cough** Foxygen **cough cough** Honorable Mention Puberty 2 - Mitski Malibu - Anderson Paak. Talking Quietly of Anything With You - Free Cake for Every Creature The Long Dark Blue - Swain Splendor and Misery - Clipping

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HOT SHIT ALERT

Recently, Anderson .Paak (2016 XXL Freshman) and rising producer Knxwledge announced that on October 21, 2016 they would release their debut album "Yes Lawd" as collaborative project, NxWorries. This will be their first project since 2015's acclaimed "Link Up" EP featuring stellar single, "Suede". To pair with the announcement, the duo also released the albums first single, "Lyk Dis" and it only builds up the anticipation. Over a subdued, fuzzy, sensual beat .Paak leads us through how to properly make love in the morning. I'm sorry, did I say make love? My mistake, I meant passionately fuck your partners brains out. From the start he tells you he isn't here for love but pure pleasure and ecstasy, soulfully rhyming "Don't want your heart, don't want your love. I want the head, I want the tongue". What starts as a braggadocios ode to how great Anderson is in the sack, the song unfolds and is discovered to be more of an ode to the woman he's with. At the end of the hook, after he's lead you through the instructions to "good loving", he croons his last instruction "everything you do, when you do it" telling us while he is the best, and knows what makes sex better, just his partner doing her thing and being herself makes this good love. Anderson .Paak might be full of himself, but he knows a good woman is the key to good love, always. His sensual voice, reminiscent of a mix of the sultry Marvin Gaye and the eccentricity and energy of James Brown, rhyming about the perfect fuck, over a jazzy laid back beat is a perfect tune for making love and ushers in fall quite nicely. Knxwledge did an exquisite job on the production here, keeping the beat simple as to let Anderson take the lead but also adding his own touches such as the echoing harmonies on he hook and a bass groove that kills. This single has only upped the expectations for "Yes Lawd" and hopefully the duo won't disappoint. Keep your eyes peeled for "Yes Lawd" out on October 21st via Stones Throw Records. Check out "Lyk Dis" below: https://youtu.be/2hEm94gx1y8

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Camp Cope’s self titled debut was released on April 22, 2016 in Australia, getting an international release in early July. The band could best be described as an indie punk-rock trio, fronted by electric singer/songwriter Georgia McDonald. On this debut, the group showcases McDonald’s song writing and impassioned vocal performance over quality, yet generic indie punk production. However, don’t let that deter you from this record as this indie punk makes the perfect canvas for McDonald to paint her stories of shame, heartbreak, anger and more.

From the start of the album, McDonald lets you in to her psyche, giving an insight to her own thoughts in an honest, and emotional manner. “But just like everybody, I just kept walking on” she croons on album opener, “Done” where she tells us about a time she was walking past a seemingly intoxicated individual who is passed out in the park, not sure what to do. For many artists, this kind of confessional could never work because it’s awkwardly honest, and for some, embarrassing. Yet paired with the emotionally packed delivery, McDonald makes it sincere, and relatable. In the lead single “Lost (Season One)” McDonald finds a perfect balance of emotional delivery and lyricism. Discussing her feelings of being “lost” and feeling directionless, she uses her voice to guide you through her constant anxiety until it comes to a head, and erupts. This takes place during the bridge as McDoanld begins by softly singing the phrase “Maybe I don’t get it, maybe I’ll never get it” and builds upon that until it becomes an angry shriek at the universe, settling for being lost. This is a trait that can be found in all of the songs on this record with each one giving you an honest, sincere, and personal insight into McDonald’s mind.

Now, while I did mention that the production is generic, that doesn’t mean it’s bad by any stretch of the imagination. There are times on the album when the band really helps to drive McDonald, as her melancholy auto-setting can sometimes be caught up in the slower tunes. Songs like “Trepidation”, and “Jet Fuel Can’t Melt Steel Beams” really bring the tempo of the album up with punchy, lively drums and percussive guitar strums. These help to make the song themes of anxiety and the social inequality of women upbeat anthems, instead of somber, moody ballads. The most exciting musical moment on the album happens in “West Side Story”. Here they switch up from this slow, down tempo instrumentation to an aggressive, heavier sound, building up for Georgia McDonald to erupt emotionally, draining herself by the last lyric “But yours is a funeral I’d fly to from anywhere”. Throughout the album the production does a good job of not taking over McDonald’s performance, but also not taking away from it which is really all you need.

Camp Cope have set the bar pretty high with this record, showcasing some of the strongest songwriting from an indie-punk group this year. Hopefully on their next project they can build from this record and experiment a bit more sonically, even add some new instruments possibly. But as long as Georgia McDonald can keep her songwriting as sharp as this, it won’t even matter.

Album Score: 🔥🔥🔥🔥 4/5 fire emojis

Hits: “Lost (Season One)”, “Done”, “Jet Fuel Can’t Melt Steel Beams”, “West Side Story”, “Trepidation”

Misses: “Song for Charlie” if I have to pick