Ultraviolence | Lana Del Rey

It's certainly no secret that Lana Del Rey's music sometimes needs time to grow on me... Remember that time I reviewed her debut Born to Die somewhat negatively and eventually wrote a note on it saying that I mostly changed my mind and ended up loving it? I like to avoid stuff like that and give albums their fair chance. That's why it took me so long before I listened to her latest release, Ultraviolence.

Even though this new album is a departure from the odd yet wonderful mesh of indie and R&B influences of Born to Die and the delicate, score-like sounds of Paradise, Lana has once again crafted an album that's solid, relaxing, and perfect for summer. Altogether, it's certainly very Lana despite any differences in sound. Ultraviolence took even longer than Born to Die to grow on me, but finally, the time is right for me to appreciate this new direction.

Ultraviolence is a strange combination of dark and beachy sounds, and it works... In a way, it has more of an alternative vibe as it's very guitar-led. However, the guitars are like a lazy, hot summer day - the parts make me think of Pink Floyd's riffs in songs like "Breathe" and "Us and Them." This is especially noticeable in the single "Shades of Cool." It's very slow and dreamy, and there's even a bit of a guitar solo in there. Oddly enough this song had no effect on me whatsoever the first few times listening to it, but now I can't get enough. Despite being less ballad-like and having more of a kick to it (for lack of a better term), "Cruel World" has a similar feel. And of course, Lana's mellow alto voice molds into this relaxing, dark, yet summery flow perfectly.

The 'beachiness' of Ultraviolence comes full force in the singles "Brooklyn Baby" and "West Coast." Actually, "Brooklyn Baby" is one of the few songs that I loved instantly with the semi-staccato guitar line and general melody. Percussion really helps the song pick up at the start of the second verse, and Lana's lyrics certainly have their appeal: "Well my boyfriend's in a band / He plays guitar while I sing Lou Reed / I've got feathers in my hair / I get down to beat poetry." At that point I was basically in love. On the other hand, "West Coast" took absolutely forever to grow on me, but once it did... Well, it's still hard for me to keep away from it. Lana half sings, half narrates the verses in a way that might sound musically appealing at first, but once you see how it fits in line with that fantastic chorus, it makes perfect sense. Still, the chorus is the best part of the song as it takes the pace back down a bit and Lana sings in the most soothing way.

"Old Money" is the most stripped down, with the instruments primarily being the piano and some strings. This song is by far the easiest to fall in love with. It's beautiful and soft, and the vocal line is similar to the classic "A Time for Us" from Romeo and Juliet. Fans of her album Paradise will eat this song up like candy. The lyrics are especially poetic: "My father's love was always strong / My mother's glamour lives on and on..." "Old Money" always makes me think of my favorite movie American Beauty for some reason... It feels somewhat similar to the softer moments of Thomas Newman's gorgeous score.

"Pretty When You Cry" and "Money Power Glory" are other slower-paced song that stand out for both their simplicity and melancholy feel. The guitar part of "Pretty When You Cry" reminds me of "Hotel California" by The Eagles, except this is much darker (despite still being an ideal summertime track), and while "Money Power Glory" certainly has some of the more 'classic' ingredients found on Ultraviolence (chilled guitars, simple piano chords, etc.) it's more atmospheric. In fact, at the very beginning of that one I was reminded a bit of the alt/synthpop band Of Verona.

The title track, "Sad Girl," and "Fucked My Way to the Top" are the only ones I don't care for, at least on the standard, and of the three deluxe bonus tracks, the ever-melancholy "Black Beauty" was the only one to resonate with me. Overall, Ultraviolence left me with very positive vibes. Even though it's lighter and easy to listen to, it's still relatively dark, like all of Lana's work. I'm really happy I gave it a chance to grow on me and I definitely encourage everyone to give it a try this summer. After all, that seems to be Lana's prime season, and Ultraviolence is no exception.

1000 Forms of Fear | Sia

Sia is one of the few pop artists that pleases me nowadays, and while some of her music (whether it was her solo work or songs she wrote for other artists) caught my attention before, I don't think anything ever shouted "BUY THE ALBUM I'M ON" more than her single "Chandelier." Alas, I came across her latest album, 1000 Forms of Fear. (Thanks, Nick!)

Of course, the first thing we all notice when we hear Sia's music is her voice. She has a rougher style compared to most pop stars, and with that massive range, she breaks the mold and is easily recognizable. In fact, she has one of the best voices for conveying emotions - she's right up there with Bjork and Amy Lee, who I've always considered the heads of that department. It's easy to marvel at some of the emotions she conveys on this album, and really, it's easy to appreciate the music in general. I may have discovered the wonder of 1000 Forms of Fear in the winter, but I imagine I'll be playing it frequently when summer rolls around.

"Chandelier" opens 1000 Forms of Fear in a very bombastic way. It's loud... Sia's voice soars in the chorus, hitting bold notes in a heartfelt way. There's a sense of restlessness and a tinge of hopeless throughout even as the instrumentation of the chorus invokes a sensation of climbing (that's the best way I can describe it; I realize that probably makes no sense), but here's also some urgency in the post-chorus: "'Cause I'm just holding on for tonight." The line repeats at the end as all the electronic elements fade away and leave Sia with just the piano and strings. It's definitely the album's most 'pop' sounding song overall with its heavier reliance on synths, and I even dare to declare it a masterpiece of pop music.

 

One of the other songs that many already know is "Elastic Heart," for it appeared on the Hunger Games: Catching Fire Original Motion Picture Soundtrack in a collaborative format. It's easy to see why this song would appeal a large amount of people with its mellow electronic feel and great lyrics: "I've got thick skin and an elastic heart / But your blade, it might be too sharp." But the characteristic of this song that caught my attention right away is the really weird synthesized/vocal thing happening in the background throughout. It's pretty awesome. Something similar happens at the end of the first chorus of "Free the Animal."

 

The lesser-known tracks are also special in their own ways. While Sia is most popular for her larger-scale electronic productions like "Titanium" (which was done with David Guetta) and "Chandelier," the woman writes some seriously solid ballads too that don't include many synths at all, and I found them to be some of the best parts of 1000 Forms of Fear. "Big Girls Cry" (the second single) has a strong chorus, it feels like a declaration, and the lyrics focus on the inevitability of emotions and vulnerability, something every human being can relate to. Still, one of her biggest accomplishments is "Cellophane," which quite dark and has fantastic lyrics: "Can't you see I'm wrapped in cellophane? / Watch the blood pump through my veins / Electricity floods my brain." A brooding guitar line reminds me of Pink Floyd and throughout the song there's this thumping pulse that Sia and all the other instruments fill in around. The middle eight is gorgeous, with Sia vocalizing and a series of simplistic piano chords.

 

"Eye of the Needle" has a few interesting things happening musically. There are lots of echoey effects and sustained piano chords, and something about the instrumentation in the chorus reminds me of Lana Del Rey, and I like that. "Straight for the Knife" also managed to remind me of Lana both musically and lyrically: "You went straight for the knife, and I prepared to die [...] You wonder why you make girls cry." It's a melancholy song, but the lazy piano melody recalls summertime. In fact, the instrumental of the chorus reminds me of Pink Floyd, and I listen to them every summer alongside Lana.

 

But there are also some fun moments, particularly in the form of "Hostage." It's another song that's perfect for summer, but in a different way than the other more brooding tracks. "Hostage" has a carefree feel that makes me smile every time I here; it's so chilled out and kind of quirky. The middle eight of "Fair Game" also has this quirky quality despite that the song otherwise feels rather serious to me, and this track is overall quite interesting to me. I just really understand it for some reason.

 

Altogether, 1000 Forms of Fear really impressed and surprised me with the exception of three songs ("Burn the Pages," "Feed the Animal," and "Dressed in Black"... they just didn't excite me). The majority of the songs resonated with me in some way or another. Sia definitely knows how to write AND sing, but that doesn't really surprise me... What surprises me is that when I finished listening, I didn't feel like I just heard a pop album. Some of it feels more like fluffier alternative or like the pop music of the early 2000s, with more focus on guitars and piano than what one may expect, especially if he or she has only heard songs like "Chandelier." I actually think a lot of people who don't generally like today's pop music very much will be able to appreciate this album. It has a little bit of crossover appeal, and at the end of the day, it's just a job well done.

Big TV | White Lies

Big TV is the latest release from indie band White Lies, who I discovered a couple years ago with their lovely album Ritual. While White Lies haven't changed their sound between albums, they aren't boring. They still strike me with their ability to continually make good music, for while not every song on Big TV is a perfect diamond, each song has its own sparkle.

I was immediately excited when I first listened to this album; the first two songs are a couple of my favorites. The album opens with the title track, which begins with a faint (though ascending) string line as Harry McVeigh's lush voice cascades above it. Guitars enter during the chorus and catchy synths are added in the second verse. Throughout its entirety, "Big TV" is filled with interesting lyrics and keeps my attention. A great song in all aspects.

The following song, "There Goes Our Love Again," is the album's first single, and a great single choice at that. It's just completely irresistible! I don't see how anyone can not love it! It's upbeat and danceable, but still meaningful. Even though the chorus is really repetitive, it's just so addictive.

Big TV includes two instrumental interludes, "Space I" and "Space II," of which I preferred "Space II." Both are lullaby-like, and I can definitely understand why they're called "Space." The dreamy, pretty mystique amid the ambience of notes captures the concept very well, and the same can be said about "Change," perhaps even more so (musically). It's the album's ballad, telling a tale of broken love very openly; the lyrics don't try to hide anything. The piano part is just gorgeous, and the added synths and strings help make it all the more beautiful.

"Getting Even" is another relatively fabulous track. (Did I just say "relatively fabulous"?) This one instantly reminded me of Depeche Mode, and this certainly isn't the first time I've compared White Lies to them. It has such a cool intro with chugging guitars and a memorable string line. But what captured me most was the vocal line and lyrics of the verses.

Even though White Lies isn't exactly the world's bubbliest band, there were some opportunities for this album to get corny, particularly with the chorus of "First Time Caller." Ultimately, I found it cute lyrically, but it does have a serious edge (for example: "I want you to love me more than I love you"). And let's face it, it takes a some talent to create such awesome lyrics to a song titled "Be Your Man." Both songs were enjoyable.

But some of the other tracks on Big TV were very likeable, though not necessarily enough for me to get into as much as I did with the tracks I previously mentioned. Don't think they're no good or too generic, because they're not. (That's the beauty of White Lies; one can never say anything completely negative about them.) "Heaven Wait" is a prime example. It's a dark song, and it's technically pretty and brings some nostalgia, but it doesn't have much of a wow factor.

"Tricky to Love," a suave mid-tempo track, and (for now) "Goldmine," the final song on Big TV, also fall into this mediocre category. Still, I must say that "Goldmine" does a sufficient job at wrapping up the album's theme, and I think it will grow on me with time. But overall, the only song I don't care for much at all is "Mother Tongue."

So, Big TV turned out to be a decent album. Once again, I can't find too much to complain about; White Lies is a special band that makes music that can be universally enjoyed. I must say that this album had a bit more of a mediocre feel than Ritual, but as I continue to stress, it's hard to find anything wrong with White Lies' music. Hence, Big TV is a pleasant album. It can be subtle, not filled with masterpieces, but never anything wretched or even dull. There are moments that seem out of this world, but there are also some so down to Earth. Sometimes, a listener will find his/herself in both places at the same time.

"Paramore" | Paramore

Female-fronted alternative rock band Paramore has recently released a self-titled album, giving listeners something a bit different than their past three albums.

Throughout their history, Paramore has been a bit on the fence for me. Most of my favorite bands are ever-changing, and Paramore hasn’t changed much at all since they first began - with the exception of this new album. Though I still cannot consider myself a fan, they’ve put out some interesting songs here and there that have made me happy, and unfortunately, their positives didn’t take precedence on this CD.

But what everyone really wants to know is how they’ve changed. A few new electronic elements can be found off and on within the general flow of the album, though it’s still undeniably alternative rock. It’s not so much that they’re converting to a different genre; the songs were just written and executed in more of a lighthearted way than their older music.

This new vibe can be found on the first track, “Fast in My Car,” which is one of the best songs from the album. It’s a very fun song, very laid back yet so upbeat. Overall, I prefer it over their lead single “Now,” (what kind of title is that anyway?) of which I loved the chorus despite its repetitiveness. The main issue I have with it is Hayley Williams’ technique of talk-singing in the verses. Other highlights include short indie interludes entitled “Moving On” and “I’m Not Angry Anymore,” and they sound as if they could’ve been on the Juno soundtrack.

These tracks were especially refreshing because I have issues with interludes. More often than not, interludes in modern music tend to be uninteresting and simply attempt to set the mood for the next full-length song. Once in a while, an outstanding one will come along (most notably Linkin Park’s “Wisdom, Justice, and Love” and Epica’s “Anima”), but I never expect much from interludes in general. Kudos to Paramore!

Other than those few songs, this new album did very little to entertain me with the exception of “Last Hope,” a slower-paced song that stood out among the other tracks. A secondary song I enjoyed is called “Part II,” which had a great chorus and middle eight.

Fortunately for Paramore, there were only three songs I completely disliked: The ever-corny “Grow Up,” the ever-bubbly “Still into You,” and the vocally-obnoxious “Anklebiters.” As far as the rest… Well, they weren’t necessarily bad songs, but the problem is that they weren’t exactly good either. They were boring and disappointing, especially “Future,” a nearly eight minute monster of a track. I was hoping for a long masterpiece, but I really just didn’t understand the musical purpose of this song; it dragged on repetitively without doing much for the ears other than one change midway, and I wasn’t a fan of either half.

So, will Paramore fans like this self-titled album’s new adjustment? Much like with any other band that’s undergone change, it all depends on what a specific fan liked about the band and the other music they listen to. But, the change still isn’t all that big. Just because it's different than their other albums doesn't mean it's innovative, for the seventeen tracks of this albums sound a bit too similar.

All things considered, this CD has a few songs that shine, but it isn’t impressive overall. There simply aren’t enough standout tracks. Some diehard Paramore fans that really connect with their music may like it, some may not, but I would only recommend a few of its songs to music lovers in general. Listen with caution.

Ritual | White Lies

Last summer I discovered the indie band White Lies after hearing one of their songs on a television show. After looking it up online, I decided I wanted their 2011 album, Ritual, figuring that I'd probably like the album after hearing a couple of cool songs.

Before I begin my review, I'd like to bring your attention to the album cover. It's like those creepy little girls from The Shining grew up.
(If you're not a Stephen King fan, you probably have no idea what I just said.)

"Is Love" is the first track, opening the album with a soft rumbling sound, eventually making way for drums and their relaxing singer, whose voice will appeal to fans of Dave Gahan (the lead singer of Depeche Mode) or at least remind people of electronic '80s music. As the song progresses, more of the band comes in but it's still relatively mellow up until the end, with smile-triggering lyrics.

"Strangers" has a similar feel, though the '80s vibe isn't as potent. I really enjoyed the lyrics, but it's not one of the best tracks. However, "Bigger Than Us" is the standout track from the album in my opinion. It has a pulsating, electronic flow in the verses but the chorus explodes in sound, Harry McVeigh's voice nearly blending with the instrumentation. It's not necessarily upbeat, but it's not necessarily mellow. Either way, "Bigger Than Us" is a rather relaxing song that I became addicted to as soon as I first head it.

"Peace and Quiet" comes next, and the opening organ makes me think of Napoleon Dynamite. The '80s vibe is definitely back, and slowly but surely, strings and synths overlap before the singing starts. This track's chorus gets a little too repetative, but not annoying or bad in any way, and the instrumentation after than is quite cool sounding and goes on until the end.

Next, "Streetlights" brings a somewhat different feel with its string line. Harry McVeigh, their lead singer, tends to sound a bit bored in the verses, primarily because the lyrics talk about boredom, and that makes the whole thing feel sort of different. It's very catchy though not one of my favorites.

Finally, another standout track! "Holy Ghost" is likely the most likely song on the album to spark widespread appeal since it's relatively upbeat and makes me feel like dancing - especially that explosive ending! But since it's a White Lies song, it's relaxing somehow, too. I will admit, the lyrics are a bit odd and confuse me... I don't like being confused by poetry since I usually understand it... Anyway, the bottom line is that this song is pretty awesome.

The rock/electronic intro of the seventh song, "Turn the Bells" is very intriguing, slow, and dreamy. Kind of like Harry McVeigh's voice. And it remains that way throughout. Its simplistic yet moving lyrics contain more imagery than most lyrics today, and altogether, this song is kind of beautiful in some way; I love it.

"The Power and the Glory" follows, but doens't really do much for me at all. It's not bad, but not what I'd call good either. It's the most bland song on Ritual. But, the '80s feel is back full force in "Bad Love," another of my favorites. I can't tell you how many times I've sang this one in the shower; it's so catchy and beguiling. Though the lyrics are specific (just in the verses), I think they're something everyone can relate to. Really, that's the beauty in the lyrics of indie music: You can relate despite it isn't specifically directed at you.

The last song is called "Come Down," opening with a haunting feel and giving me chills in a timely manner. Again, the lyrics are relatable on just about every level. Vocal layers build to become choral at the song's climax, and the sound is great. "Come Down" was clearly the best choice for the closing song.

Ritual is a great album and is just a few songs short of being called a masterpiece. I consider six of its ten tracks to be awesome standouts, but not one of its ten songs were bad in any sense. It will have an appeal to a large audience since it will attract mainstream lovers despite it's quite independent. Such independence will not disappoint those with high standards for a more unique sound. Plus, the lyrics on this album were commendable.

I truly enjoyed Ritual and I reccommend it to just about anyone who appreciates quality music.

4/5 Stars