Concerts I've Attended (2015)

April: Nightwish
Support: Sabaton, Delain
Endless Forms Most Beautiful Tour

One does not simply miss a chance to see Nightwish after seeing the Showtime, Storytime DVD. Floor Jansen's voice is a force beyond human comprehension.

I had a lovely view of this show from start to finish, as I was at the very front of the little venue's second tier. Delain opened first, and I only knew two of their songs at the time, but I really enjoyed songs on their set like "Army of Dolls" and "Electricity" so I looked them up afterward, bought their album The Human Contradiction, and loved it. Sabaton performed next, and while I'm not exactly a fan of their music, they are fantastic performers. The energy level was borderline ridiculous, and they all seemed so nice! The Cleveland crowd certainly humbled them... It was the most energetic crowd I've been in so far. A couple of children were in the crowd and the Sabaton guys invited them on stage - it was really cute. The singer was so happy to see such a wide age range at the show: "Metal is for everyone!"

Then, the lovely headliner Nightwish took the stage. I was treated to a glorious setlist which consisted of many brand new tracks from their album Endless Forms Most Beautiful but also included a couple of their best pieces from Oceanborn, their 1998 sophomore album. Some of the highlights were expected, but even though it became one of my favorites from Endless Forms Most Beautiful quite quickly, I never anticipated "Weak Fantasy" to be as epic as it was in a live setting - what a rush! Between its general live sound and crazy lighting I was dizzy and happy. The crowd knew every word to "The Islander" and we seemed to truly impress Floor with how well we knew the words to their newer single "Élan." I was dancing along to the pipe-led folky tunes but by the time we made it to "Stargazers" I stood in awe - I feel so lucky to have seen that classic live.

The last song before the encore was "The Greatest Show on Earth" (parts two and three, "Life" and "The Toolmaker"), which became my favorite Nightwish song on the first listen... I may have gone a smidge crazy. Right as "The Toolmaker" begins when animal noises dominate the tracks I came to a startling realization: Most of the growling I was hearing (both at my show and performances I saw on YouTube just before my show) wasn't playback... It was Floor. I actually confused her for a lion - A LION, I TELL YOU. If that doesn't prove her power, nothing will. After the encore (consisting of the masterpiece "Ghost Love Score" and the perfect closer "Last Ride of the Day") the final instrumental sections of "The Greatest Show on Earth" played while the band took their bows. Nightwish's creator Tuomas Holopainen took the final bow before the rest of the group as "The Understanding" came to its final gorgeous chords. He looked so tired but passionate and proud of the band's performance, and I unabashedly screamed I loved him like a crazed fangirl.

Other associated memories: The person standing next to me was holding his signed VIP poster and tour book, so like an awe-struck fangirl I started asking him about how the meet and greet was and how Floor and the guys were. Well, he must have felt bad for me for not being able to get a VIP ticket because DUDE GAVE ME HIS SIGNED STUFF. His explanation: "I'm old. What am I going to do with this stuff?" But he wasn't even old. I was so gracious! 

May: Lana Del Rey
Support: Grimes
The Endless Summer Tour

As per usual when I go to non-rock/metal concerts, I saw Lana Del Rey with Nick at Aural Fixation Reviews. I was so excited to see her at the beginning of summer during her Endless Summer Tour since that's the season I have always associated her with, but she really could have changed it to the Endless Winter Tour for my show because it was forty eight degrees (Fahrenheit). I was freezing and couldn't feel my feet afterward, but it was worth it. Lana's live performances have improved significantly since her start in 2012, and honestly, she did a perfect job. I absolutely lost my shit during "Born to Die" and I love how she changed the chorus a bit. "Video Games" was the first song I discovered by her so of course hearing that beautiful track live was pretty wonderful too, and she played the lovely unreleased "Serial Killer." Being the hipster that I am, I was kind of expecting a lot of the people attending to be people who have only ever heard the "Summertime Sadness" remix on the radio, but all the fans at this show were diehards: This crowd collectively knew EVERY WORD of every song! Her live band was really energetic too and gave me a whole new appreciation for "Off to the Races," the last song of her set, and honestly the backdrops and props were some of the beautiful I've seen in a live artist's performance. We may have been freezing our asses off, but when I think of that show visions of summer still manage to fill my head. 

Still, a large part of the reason this concert will always be so damn special to me is that it led me to the spunky electronic artist Grimes, which is ironic considering I was initially annoyed that I wouldn't be able to see Courtney Love (she opened for the first half of the Endless Summer Tour). As I always say, I often end up liking supporting acts I didn't initially care for after seeing them live, but... Grimes is my spirit animal. I was intrigued after the very first song, "Circumambient," and then she grabbed my attention again with "Nightmusic" and "Go." My best friend Nick showed me some of her more 'normal' songs before the concert like "REALiTi" and "Oblivion," and even though I love those songs now, they just weren't the right entry point in her discography for me to take. I needed to hear the darker sounds first. Unfortunately, she didn't have a very energetic crowd (some girls in front of me were standing up so I couldn't see her and taking selfies... brats) but she was so incredibly nice and appreciative anyway.

I will most definitely see her again and I will unabashedly dance around no matter how dead the crowd is. And I will probably cry. (Sorry, Nick. Prepared to be even more embarrassed than you were when we saw the final Harry Potter movie.)

Other associated memories: Trying to find our ride home. Why is that always so hard for us? Also, me laughing at absolutely nothing on the way home because I was too tired to function like a sane human being.

Click here to see what shows I attended from 2012 to 2014.

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.

Paradise | Lana Del Rey

Indie-pop artist Lana Del Rey has recently released a new EP entitled Paradise, an addition to her album Born to Die (though it can also be purchased separately). Now, I can tell you that I thoroughly enjoyed Born to Die, but it took a long time to grow on me. When I wrote the review of that album, I wasn't the most fond of it, but I wrote an edit at the bottom explaining that every slight bit of positivity I found became magnified and granted it another star.

Paradise didn't take that extra time to grow, for Lana Del Rey has improved. The very first track (and single), "Ride" still has everything Lana did well on Born to Die. Her voice is relaxing, the music and lyrics are moving... but it's just... better. I didn't have to try and love it; I loved it immediately, especially the strings and how they become even more present towards the end. I totally didn't cry a little the first time I heard it, either. "Ride" is easily one of my favorites.

"American" is the next song, and the strings are still taking the stage, but it does have its poppier elements as well, which somehow reminds me of Bjork's "All is Full of Love" at times (but only on an instrumental level). It's a bit gloomy without being too much; it's nostalgic. Really, that's the best way to describe most of Lana Del Rey's Paradise. It feels incredibly nostalgic.

The next planned single is called "Cola", and oh my goodness, it's weird. Just go listen to those beginning lyrics and anyone will see what I'm saying. As a whole, the song is more fun-sounding than the previous tracks, particularly the chorus. The bridge takes an unusual turn since Lana decides to show off a bit vocally and hits notes that she doesn't normally attempt. "Cola" is definitely my least favorite song from Paradise; it simply doesn't do much for me.

Oppositely, "Body Electric" is one of my all-time favorite Lana Del Rey song. It's very eerie. Sure, Lana Del Rey has made darker music than most, but this song takes it to a whole new level. It was one of the two songs I was most excited to hear from this EP, the other being Lana's cover of "Blue Velvet." I loved hearing it on Lana's H&M commercial and wanted to hear more. She's great with this kind of music, and I hope she continuous to offer quality music such as this.

"Gods and Monsters" seems to be the most pop-friendly song on the album, and I simply cannot relate to it at all. Musically, it sounds catchy, but lyrically, I feel extremely detached. It seems to be about someone extremely reckless without a good sense of what's good for her. Though the general meaning isn't bad and something I'd actually like to hear about, I find myself wishing Lana Del Rey could be more feminist lyrically. I think I'll be able to appreciate this more with time if I can get past the certain irritation I feel.

"Yayo" (whatever that means) returns to the melancholy mood that was set towards the beginning of the album. I'm a little confused lyrically, but there's nothing wrong with the song. It's quite relaxing. If I were to compile a ranking list of the tracks of Paradise from best to worse, "Yayo" would be the middle ground.

The album ends quite peacefully with "Bel Air," as it is reminiscent of a lullaby. The whole feel of it is very different than the rest of the album. Even though it still has a darkness to it, it's so much lighter than the rest of Paradise as well as Born to Die. It's more pretty than it is anything else, like the single that introduced me to Lana Del Rey's music, "Video Games," but it's still very different than "Video Games." It has more of a film score-type of magic to it, too good for real life. That being said, "Bel Air" is another one of my favorite Lana Del Rey songs.

Paradise has a lot to offer. As good as Born to Die is, in the grand scheme of things, it has quite a few repetative sounds. Paradise breaks Born to Die's habits since this EP is different, offering a sound that's even more chilled-out and pretty. It's more soulful and jazzy than anything, breaking from traditional indie pop. The music this woman is making goes to show that some genres will never die, even if they are often hidden by the generic radio stations that will play the same five songs that sound the same until audiences are finally ready for another generic set. At the end of the decade, century, or any other length of time, quality music is still quality music.

4.5/5 Stars



(If you read my review of The Family Tree: The Roots by Radical Face, you know that I was ready to give up star-ratings. As of now, I am unsure... I hope to post about this sometime soon.)

Born to Die | Lana Del Rey

Lana Del Rey is a fairly new indie pop artist, having only released one album thus far, Born to Die. Though her music would generally appeal to fans of Lykke Li, Born to Die is quite unique and includes jazz and R&B influences, making Lana Del Rey an artist that will surely be interesting to hear from over the years.

The first song is the title track, and it's one of my favorites. Right away, the strings are potent, dark and beautiful amid the dark, atmospheric electronic tone to the whole thing. Lana Del Rey's voice is on the deep end (though still very feminine), like velvet, but jazzier than one would initially expect. "Born to Die" has great lyric, and it's a love song in some sense, but about general life in other senses. I love it.

"Off to the Races" is the second track, and this is where I started to see that Lana Del Rey's music may take a little while to grow on some people. Her voice goes jazzy as well as experimental with her high and low notes though the music is still quite electronic. It almost sounds like R&B... but it's not. Indie R&B? Nope, this is indie pop despite it may have crossover appeal. Strings can be heard throughout the song, but the outro is where they are most potent.

We get to hear a little bit of Lana Del Rey's almost childlike high notes in "Off to the Races," but they are vastly important in the next song, "Blue Jeans." This, I'm sure, is just for effect, but it might irritate some. I don't really mind it, but I can tell it'll take a while for me to really get used to it. But, that vocal style completely disappears in the fourth track, "Video Games," where her lower register shines. Besides the title track, this is my favorite from the album. Simplistic piano chords are layered with strings, a noteable harp, and bells. Lana Del Rey is declaring her love in this sweet, almost nostalgic song, which eventually leads to its outro - the strings leaving the piano by itself to play the last few chords.

"Diet Mountain Dew" comes next, a more upbeat song. I really enjoyed this one, with its funky string line and catchy chorus. The whole vibe is best described as classy, and this is sort of continued in the intro of "National Anthem," as the strings remind me of The Verve's "Bittersweet Symphony." "National Anthem" is a pretty good track, and it is primarily about money. The chorus is definitely something everyone will want to sing along with as soon as its heard. Vocally the verses are annoying (though it'd be fantastic if they were instrumental), but the general song is so catchy that I can't help but like it.

Lana Del Rey vocalizes quite a bit in "Dark Paradise," which is probably the most fun song on Born to Die. Lyrically, it's not bad, nor is it musically, but I don't seem to like it as much, primarily because though the lyrics are darker and bleak, the music is much lighter. It's like they don't match. However, "Radio," the next song, is one of the more superior songs on the album. It displays a happy-medium of Lana Del Rey's vocal styles, and it's just a great song! It's not upbeat, but it's not too mellow... This song is really well-balanced. A secondary favorite of mine from Born to Die. Plus, I feel it actually has the potential to do well on the charts if it was released as a single.

"Carmen" is the ninth song, and it is another standout. Each verse has a mysterious-sounding melody, but the chorus is quite cheerful-sounding. At this point in listening to the album, I have to wonder if we've come to the end of the whiny, girlish sounding high notes of Lana Del Rey that display such an odd effect, for they have not been present in the past few songs. Of course, since I just noticed this, I expected them to ironically come back during "Million Dollor Man," and I was right. But, they only last for a little bit. Truthfully, "Million Dollar Man" may be the most bluesy song by Lana Del Rey, a song meant for listening in the middle of a rainy night.

Another of the better songs is "Summertime Sadness." Really, the only negative thing about this song is the repetative "I got that summertime sadness" that loops; the rest of it is actually quite enjoyable. Unfortunately, the same can't be said about the last song, "This is What Makes Us Girls." I like an effective album-closer, and this was a let-down. Nothing about it is bad necessarily, it's just not memorable.

All things considered, Born to Die is a unique album for a unique artist. Just about every song is a love song, often with similar themes, but I think this works for Lana Del Rey. Not everyone will like her, as she's a bit unusual vocally and musically, but in a world of dominating mainstream that bores the human ears to death, this is probably a compliment.

Not every song is a pleaser, but Born to Die has a few special moments. Give the album a try.


4.5/5 Stars

EDIT, AUGUST 1ST: This album is a grower. Seriously, I'm in love. I changed the rating from a 3.5/5 to 4.5/5. Every slightly positive thing I said about any one of these songs has been magnified beyond anything I expected. The only ones I'm not the fondest of at this point are "Blue Jeans" and "This is What Makes Us Girls," but neither drag the album down.

Originally, I said to give the album a try. If you still can't find anything magnificent, try again. It's so worth it.