Blue Pool EP | Vanessa Carlton

Much of the world has forgotten about singer-songwriter Vanessa Carlton, who momentarily took over the world with the singles "A Thousand Miles" and "Ordinary Day" from her debut Be Not Nobody. "A Thousand Miles" can still be heard on the radio regularly, but for whatever odd reason, not a lot of people decided to stick with her. However, I am proud to say that I have not stopped paying attention to her in the past thirteen years. I have always been in love with her sophomore effort, Harmonium, and enjoyed some songs from Heroes and Thieves and Rabbits on the Run. Recently she has released the Blue Pool EP, a precoursor to her full-length album Liberman, which is scheduled for release on October 23.

Between Carlton's initial sound on Be Not Nobody and the popularity of other female singer-songwriters in the early 2000s, she fit in the mainstream music scene pretty well. Now, she fits into the indie scene, and frankly, I love it. Her music has held onto its reliance on piano and its peacefulness, but it has certainly evolved over the past thirteen years, and in my opinion, she's shown improvement.

The Blue Pool EP starts off with "Take it Easy," which begins with subtle synths before acoustic guitars and Carlton's light voice start to take their soothing toll on listeners. It's lovely and peaceful, but overall leaves the least amount of an impression on me. "Blue Pool," on the other hand, is without a doubt one of the best singles released this year. It's a perfect combination of dark and light, of loneliness and adventure, of cold and warm, and of newness and nostalgia. I often sing along to the lyrics to the chorus since they're so pretty: "'Cause the garden walls grow quick / Before you know you're outside of it / And the ivy's coming in / It's so beautiful if you can find it." The outro will leave listeners in a daze, for that final piano section is so gorgeous and dreamy. Carlton achieved perfection with this song, and I don't think I've loved a song by her so much since Harmonium.

The last two tracks on the EP are live living room sessions of brand new songs, "Operator" and "Nothing Where Something Used to Be." "Operator" immediately became a favorite alongside "Blue Pool." All it consists of is Carlton and her piano (in the living room), and that's all it needs. She sounds exactly the same as she does in her studio recordings, and sometimes when I listen to these living room sessions I forget they're live. The piano part is wonderful from start to finish, and lyrically, Carlton considers running away with someone: "Leave your house for a home." "Nothing Where Something Used to Be" is also quite beautiful, and there's something cozy about it that makes me think of winter.

Carlton's Blue Pool EP is a very tantalizing teaser for what's to come - overall I enjoy this direction more so than her work on Heroes and Thieves and Rabbits on the Run, and I hope I can say this again in October when we get Liberman. She's an artist that stays true to herself as she naturally evolves, and this mini release has some of her best pieces yet.

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.

The Family Tree: The Branches | Radical Face

The one-man indie band Radical Face released The Family Tree: The Branches a short while ago, thus being the second installment in his Family Tree series of albums. I was quite excited for The Branches since I thought The Roots was really special, but honestly, I wasn't fond of The Branches on the first listen last year. For some reason, it seemed different than The Roots in a way I didn't like. But, my feelings have changed a bit since then.

"Gray Skies" kicks the album off as a melancholy intro before getting into the first proper track, "Holy Branches." Radical Face has still keep the raw, acoustic sound he's known for, but already, I can tell that we're in a different time period from the first installment, The Roots. Each installment gets closer to the present; The Roots starts in the 1800s. He really is accomplishing what he set himself out to do, and even though "Holy Branches" represents the new time period well by being a little more upbeat and having a jazzier vocal line, it still has a relaxing flow (as most of his music does). It's about a discontented existence... That's really the beauty of Radical Face's songs - they may not be happy, but they manage to represent the ever-human feeling of being unhappy but dealing with it because it's all we can do.

 

"The Mute" follows, and I must note that this is the reason why I decided to give The Branches another shot. I love this song. It's a recollection about how the speaker felt misunderstood by all when he was young and eventually ran away... While most of us don't run away, it's a topic that we can all easily relate to from one point of our lives or another. There are a couple Radical Face songs that deal with the idea of not belonging, and he does it so well. The piano dances over driving acoustic guitars, and there really isn't a proper chorus aside from Ben Cooper (the man behind the magic of Radical Face) vocalizing.

The volume goes down a bit for the fourth track, "Reminders." Something about the guitar in the chorus reminds me of the band Daughter as it's so subtle, comforting, and even somewhat haunting. There's a peculiar sound effect off and on throughout (it kind of scares me for whatever reason yet it isn't off-putting), even aside from the natural static heard throughout. It picks up as the song goes on, adding more instruments and intensity. Once again, Cooper sings of any oddities or seemingly undesirable personality traits, and its a lonesome-sounding track altogether: "So it's better if you were on your way / If you were somewhere far from me / So you could dream I turned out well / And I... I could just go to sleep."

"Summer Skeletons" is definitely the most 'innocent' song on the album, as it paints a vivid picture of how summertime is characterized by children with its swaying vocals and piano line. It has a distinct mood as it includes pretty violin sections (stuff like that always makes me swoon). "The Crooked Kind" also features violin, and while there isn't anything for me to complain about in this song, it just doesn't catch my ear. The lyrics are beautiful nonetheless.

"Chains" is by far one of the most 'modern-sounding' songs (even adding electronic elements) on The Branches, and with the sound of rattling chains and the daunting, repetitive backing vocals, it's unique. I absolutely hated it at first, and I'm still not crazy about the beginning, but over halfway through, the piano really becomes prominent and the song becomes very melodic, very nostalgic. It puts me in the mind of Blue October.

Next, we encounter "Letters Home," which is one of my least favorites as it doesn't leave much of an impression on a musical level. It begins in a very watered-down form before all the other guitars make their entrance. I feel similarly about the following songs, "From the Mouth of an Injured Head" and "Southern Snow" (although I am intrigued by the instrumental second half with its dreamy synth that overlaps the slow, full guitars and backing vocals).

Just when I'm feeling pessimistic about this album, "The Gilded Hand" comes along. This track is quite different than the norm for Radical Face; it's so much more serious and dark with its wistful, repetitive piano line that goes on for nearly the entire song, no matter if the moment is softer or louder, which seems to exemplify a life of working on an instrumental level as well as a lyrical level: "Time is lost, found cracks along my bones / This metal god is all I know." There's even a little bit of electric guitar starting in the second half of the song, giving it an especially full sound (Radical Face's music has oftentimes been rather stripped down instrumentally). Without a doubt, it's one of my favorites.

The last song, "We All Go the Same," begins with a choral blend of Ben Cooper's vocals along with breathy sounds, but that's not the only different thing it has going for it. I believe there's an accordion (I'm not an expert on what those sound like, so I'm sorry if it's actually something else), and eventually a slow, simple series of piano chords as Cooper sings about death. The ending verse actually puts a few tears in my eyes before it cuts off and the album's over... "We All Go the Same" ranks among the most beautiful of Radical Face's songs.

As I said in my review of The Roots from two years ago, The Branches is also a difficult album to describe. It's strange... The songs are different, but not too different altogether, just in some feelings they emanate. I've said it in my review of The Roots and I'll say it here: Radical Face has a talent for describing emotions in the most realistic way. It's what makes him stand out among other artists. In my world, this is the definition of indie in its purest form.

Not every song single song resonated with me, but I enjoyed most of the songs from this new installment of The Family Tree. There is some very sincere musical content on this album that's certainly worthy of any praise it receives.

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.

If You Leave | Daughter

Daughter is a trio that's relatively new to the indie scene, having only released a few EPs before their debut LP, If You Leave, an album that proves to be just as sullen as the title.

Daughter's music is led by Elena Tonra's relaxing vocals, a series of lazy guitar lines (I'm calling it lazy in a good, peaceful way), and peculiar lyrics. The lyrics on this album are quite different than any other, which is sometimes refreshing and interesting, but other times a flaw. It depends on the song. But one thing that a few songs on this album do well is ending with the most personal, sad-sounding lyric, which almost guarantees to leave some sort of impact.

The introductory track is called "Winter," and though the lyrics of this song are still quite different than one may be used to, it still sets itself apart from the other tracks on If You Leave because as "Winter" goes on, they're set up like the type of poetry with bits of one to three-word lines forming large stanzas, but it doesn't flow as nicely. Instead, it's a little more chaotic, sometimes rhyming but not always. In this song, I like that the lyrical meaning isn't so in your face but isn't too randomized. As a whole, "Winter" captures a lot of what I love about melancholy indie music. The music formulates some sort of real-life intensity. 

 

That feeling still takes precedence in the song "Youth," which is one of my favorites, along with "Winter." It drew me in right away, especially when the music picks up after the lyrics "the lovers that went wrong." I love that blend of light guitar and heavy piano, and the chord progression is perfect.

A couple of other tracks that stood out to me include "Lifeforms" and "Smother." While the guitars of "Lifeforms" sound very dreamy right away, it's not the whole song that I'm in love with. At first the lyrics are a little odd and don't seem to flow with each other or with the music, but it's much better in the chorus, which is the prettiest part of the track. Though the lyrics of "Smother" are still written in an unusual way, I find no flaw with the way they're assembled in this particular song. They even tugged at my heart strings a bit at the end.

Really, I can't help but appreciate the uniqueness of the lyrics of If You Leave when they don't have an awkward feel, but sometimes the flow just isn't right between the words and the vocal line itself. This is evident in the song "Tomorrow," though I did enjoy the instrumentation when it picks up towards the middle, leading into the end.

But more than anything, if there's anything I can say about If You Leave is that it's quite gloomy, which I don't mind, but I don't think I've ever found an album quite as openly bleak as this. The only remotely upbeat track on the entire album is "Human," which wasn't bad at all. "Still" is also a bit less bleak than the other songs, but the lyrics were so repetitive and I couldn't really see the point. Hence, anyone looking for something happy and bouncy shouldn't pick up this album.

Still, although Daughter displays an incredible potential to make quality music on this debut LP, they still have their work cut out for them. If You Leave has a fair share of moving moments, but there's a lack of experimentation; quite a few of the songs blend together in my mind. If they'd break out of their box a little and fixed the occasional vocal line and lyrical clashes, they could completely win me over. Until then, I can only recommend a few songs from them and not this entire album.

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.)

The Family Tree: The Roots | Radical Face

As I watched the wonderful movie trailer for Stephen Chbosky's The Perks of Being a Wallflower, I noticed the great indie music playing and had to find out what it was. From this search for a song, I ended up discovering Radical Face. Radical Face is a one-man-band consisting of a talented musician named Ben Cooper. This particular album, The Family Tree: The Roots, is the first of what is said to be a trilogy of albums, and it is currently the only album of that trilogy released.

The first song is more of an intro, and it is called "Names." It has a rainy background as Cooper comes in singing with his guitar ever so peacefully. Since it's so subtle, it doesn't really prepare one for the next song, "A Pound of Flesh," which is led by a pretty piano line throughout its entirety. Of course, other instruments and Cooper's voice comes in to begin the first verse, adding layers to the great song. Though one can imagine what a song called "A Pound of Flesh" would sound like, I can assure it's quality music. From Cooper's lyrics, to the music itself, to his vocals, the song is catchy and relaxing. It's the epitome of indie music, and that example doesn't just stop there, it continues in every track.

"Family Portrait" follows, beginning with a choral sound and then stopping for the piano, and eventually guitar, drums, and Cooper's voice. The melody is a bit odd-sounding, almost quirky. Lyrically, the same can nearly be said, though they're more unusual than quirky. More than anything, Cooper is telling a story, which is really what this trilogy of albums is all about anyway. Still, I can't get into this particular song.

The fourth track is called "Black Eyes," and unlike the other songs, it has an eerie melody to it. This seems to help demonstrate the angry lyrics in a crazier way than they might have been on any other album. Don't get the idea that the lyrics aren't well-constructed, though, for they are actually quite good. And though this song is full of rage, it isn't loud and obnoxious. Much like humans dealing with anger on a day-to-day basis.

In "Severus and Stone," the pretty element found earlier in The Family Tree: The Roots returns. But it's a bittersweet sort of pretty, because it's actually a very sad song about the death of a twin brother. Honestly, I cried. Ben Cooper's lyrics paint a picture that's almost too clear, making it more like poetry than typical song lyrics which are often too vague. This song is certainly a highlight from the album and one of my personal favorites.

Like a lullaby, "The Moon is Down" is a soothing, subtle (but not in a bad way) love song. Seriously, Ben Cooper might sing one to sleep while listening to this track. There's beauty in the simplicity, like with most of my favorite indie music. "Ghost Towns," the seventh track, brings a bit of a different feel than "The Moon is Down." It's more upbeat, more of a walking song than a sleeping song, but still touched by the melancholy reality of physical separation though love is still present. I enjoyed it.

A distant thunderstorm can be heard in the next song, "Kin," which sounds like a rainy-Sunday song even after the rain effects are gone. There's nothing bad about this song (other than the fact that it'll be annoying when stuck in one's head at night) but it just doesn't please me as the rest of the songs do.

But, a love theme returns with "The Dead Waltz." This time it's almost a dreamlike story, yet it's still so realistic. Untainted by negativity that can prevent love as described by "The Moon is Down" and "Ghost Towns." Though I like it better than the last song, it still doesn't seem to entice me as much despite the lovely lyrics.

"Always Gold" is the tenth track on The Family Tree: The Roots, and probably the most likely to do well as a single. The beat of this song is clapped out, giving it a more spunky feel in the verses, but the chorus removes that vibe in order to bring the listener chills. It frustrates me that I can't really explain why this song is as great as it is, so just go listen to it. Go listen to this entire album.

Cooper saved an amazing song for last on this album, and that song is called "Mountains." I am at a loss for words for this song. Truthfully, it's hard for me to describe any of these songs, and it's quite obvious since this review is so poorly written in its repetitiveness. All I can seem to say is this: It's amazing how well Radical Face describes life. I don't think I've ever heard it described so well until now, and this goes for both the music and lyrics. Life isn't a black-and-white subject, it is a grey area. Things aren't just sad or just happy, but often bittersweet, since life comes with a magical combination of positives and negatives that balance each other out. But then again, this doesn't go for just "Mountains," it goes for the whole album.

On a more specific note, "Mountains" is about a boy who lost his mother and is assured that she's still there watching over him. Each night he has a hope of seeing her once more, and it almost feels like everything is okay. The piano is beautiful, as usual, and Cooper's voice is calming, as usual. But there's something about the semblance of it all, the way in which the message is carried out, the way in which it was written.

For whatever reason, Radical Face's The Family Tree: The Roots is difficult to explain and describe. The lyrics are moving. The music is calming. Sure, similar instrumentation is used over and over again in each track, but the tracks don't blurr together either. It doesn't make it boring in any way. The reality of real life is demonstrated in such a beautiful, poetic way...

This is one of those albums I can't help but reccommend to anyone and everyone.



(As of now, there will be no more star-ratings.)

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.

Synthetica | Metric

Metric's new album, Synthetica, was released June 12th of this year! Having enjoyed their previous album, Fantasies, I was definitely interested in hearing what else this band had in store.

The opening track is called "Artificial Nocturne," which begins with synths and Emily Haines' ever-soothing vocals. As the song slowly builds, it just gets more and more intriguing. After the synth-intro is over with, guitars pop in, bringing a new feel to the track. The repetative melodies are almost hypnotic throughout the crescendos and decrescendos of the song, making me feel positive about the album already.

"Youth Without Youth" follows, and it is the first single from Synthetica. The synths from the previous song lead into this track for a moment, but the electric guitars quickly break through this leftover sound. Metric may be indie/alternative/new wave, but they sure sound like rock stars in this song. "Youth Without Youth" is the perfect chilled-out summer song, but that is not to say that it isn't upbeat. I just feel so cool when I listen to it!

What was an immediate favorite song of mine from the album comes next, and it's called "Speed the Collapse." Again, the previous song sort of leads into this one, and the tone seems completely changed. Lyrically, this song is a bit strange and clever. Of course, I love this element, almost as much as I love Emily's vocalizing at the end of the chorus, which are bound to stay in the listener's head long after the first listen. It's not a slow song, but it's so relaxing... But then again, isn't that a good definition for all of Metric's music?

Next comes "Breathing Underwater," where Emily's vocals seem to be a bit more calming than usual, even in the heavier-than-typical chorus. Again, "Breathing Underwater" seems to be a song so perfect for summer, one that I'll surely be listening to frequently.

"Dreams so Real" is highly powered by the electronic elements of Metric, and even Emily's voice is a bit auto-tuned. I can already tell that I don't want this song in my head at three o'clock in the morning when I'm trying to sleep, for it's almost too repetative and catchy! However, I won't deny that it's a good song. Rather short, but still good.

The sixth song of Synthetica, "Lost Kitten," is probably my least favorite despite it's rather... cute sounding. For whatever reason, it seems to be a bit bland for my taste. But right when "The Void" begins, I feel assured that I won't experience any particularly dull moments on this record... and I'm wrong. "The Void" gave me that bland taste again. Though neither of them are bad songs or lack quality, there's nothing in the music that really catches me like the other songs. However, I feel like these two tracks would be nice to listen to when I'm doing something that requires work and need some good background music.

This phase of the album officially ends with the title track. "Synthetica" gets me grooving again with its awesome instrumentation and a chorus that I want to sing along with right away. Like "Youth Without Youth," this song has more potent guitars than some of the other tracks, but it still keeps that signature dreamy Metric feel to it.

"Clone" follows, a more mellow and electronic side of Synthetica. The guitars in the chorus and the bridge ignite something nostalgic in me, and the lyrics seem to speak to me in some way, especially these: "Can you clone me? I look like everyone you know now." I really enjoyed this change of pace; I really enjoyed the song. "Clone" has a unique beauty to it.

"The Wanderlust" is a bit different as it includes male vocals in the chorus. It's not the most memorable song on the album, but it ends abruptly, leaving me with the last song: "Nothing But Time." Unlike the other songs (excpet for the first one), "Nothing But Time" includes a soothing, catchy piano bit. Emily's vocals blend into the sound quite well, almost too well, as this atmospheric track builds, gaining more and more audible effects. I'm quite sure this is the most atmospheric song of Synthetica, and some of this maintains its place in the song in the chorus, when the guitars and drums come in. Instantly, this track is one of my favorites. The song ends on a very positive note lyrically, as well as a great end musically, for the sound draws itself out a bit before its final cut-off.

Synthetica is a wonderful album! Metric should be proud of this unique piece of work, for just about every song seemed to sit more than well with me. Not only did it sound great, but it drew some emotion from me. I found myself smiling a lot when listening to this album; Metric's sound always makes me happy.

Place Metric's Synthetica to the top of your list of CDs to buy, for it's perfect, relaxing summer music.

4.5/5 Stars

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