This album review is based on the deluxe edition of the album.
Track-by-track
1. 'The Message' - 2/5
2. 'Steppin' Up' - 2/5
3. 'XXXO' - 4/5
4. 'Teqkilla' - 1/5
5. 'Lovalot' - 3/5
6. 'Story to Be Told' - 3/5
7. 'It Takes a Muscle' - 2/5
8. 'It Iz What It Iz' - 2/5
9. 'Born Free' - 4/5
10. 'Meds and Feds' - 3/5
11. 'Tell Me Why' - 3/5
12. 'Space' - 3/5
[2.5/5 for rating average] - [2.66~ rounded to closest .5]
[2.5/5 for listening experience]
Deluxe Edition bonus tracks
13. 'Internet Connection' - 1/5
14. 'Illygirl' - 2/5
15. 'Believer' - 2/5
16. 'Caps Lock' - 1/5
[1.5/5 for rating average]
[1.5/5 for listening experience]
/\/\ /\ Y /\ by M.I.A.
Rating Given: 2.5/5 Stars - Rating Given for Bonus Tracks: 1.5/5
Mathangi 'Maya' Arulpragasam, better known as M.I.A., is constantly testing boundaries in music. Her acclaimed single 'Paper Planes' brought her from obscurity to fame, and many people may wonder what her most recent offering, /\/\ /\ Y /\, has to offer. This new album showcases even more of a genre-blending ability, but is hindered by some unnecessary repetition.
The album is fairly unorganized and jarringly divided between danceable electropop/rap and edgy, guitar-ladden rebellion anthems. While nothing is as engaging as 'XXXO' in the dance-vibes aspect, 'Story to Be Told' flirts with tones resembling a movement-begging English electronic genre called Garage. On the opposite side, 'Born Free' is a driving hate-anthem that could be drawn from for any circumstance one may experience contempt for. Impressive sampling of the song 'Ghost Rider' by Suicide transforms a protest into an invitation to war. 'Meds and Feds' has fairly basic lyrics and vocals, but again demonstrates an edgy style in its use of guitars.
There are some tracks, 'Teqkilla' and 'It Takes a Muscle' especially, that take a good concept and mutate it into monotony. The former track is well-overdrawn at 6 minutes and 20 seconds, and is too limited to be worth the wait. The latter song is a seemingly pleasant combination of funk and reggae, but annoying vocal effects and a dragging tempo led this idea down into a nightmare.
Even through the chaos that this album embodies, some passion is allowed to surface. 'XXXO' features the line "You want me be somebody who I'm really not (sic)," while 'Tell Me Why' desires to learn "If life is such a game, how come people all act the same? (sic)"
The deluxe edition of this album features four bonus tracks, but are not really deservedly enticing. These songs seem to take some of the less-effective pieces of the proper album, and make them even more unapproachable. 'Illygirl,' which is pronounced 'illegal' with the proper accent, falls short of being as clever as the song may sound... and really would be more creative if the phrase 'illy girl' weren't so nonsensical. The rest of the tracks were just overly processed and not really indicative of Maya's talent as a vocalist.
I would say that this album is definitely an interesting listen. It is recommended most for fans of electronic music, or just one who is interested in an unconventional release. /\/\ /\ Y /\ takes a versatile approach to what is sometimes seen as a highly repetitive genre, but unfortunately falls into the same habits. Tracks range from impressive to bothersome, and the album experiences peaks and troughs rather than feeling fluid. Also, the deluxe edition's bonus tracks would appeal mostly to completists; not even a partial fan of M.I.A.'s music. These factors add up to an album that is recommended, but is not crucial.
Saturday, July 17, 2010
Friday, July 16, 2010
'Let It Be' by The Beatles
This album review is based on the 2009 Stereo Remaster of Let It Be.
Track-by-track
1. 'Two of Us' - 2/5
2. 'Dig a Pony' - 3/5
3. 'Across the Universe' - 3/5
4. 'I Me Mine' - 4/5
5. 'Dig It' - 2/5
6. 'Let It Be' - 3/5
7. 'Maggie Mae' - 2/5
8. 'I've Got a Feeling' - 3/5
9. 'One After 909' - 4/5
10. 'The Long and Winding Road' - 5/5
11. 'For You Blue' - 4/5
12. 'Get Back' - 4/5
[3.25/5 for rating average]
[3/5 for listening experience]
Let It Be by The Beatles
Rating Given: 3/5 Stars
Initially conceived to be a return to the roots of The Beatles, the album Get Back eventually evolved into Let It Be, which would be the final album released by rock music's greatest-known band. Though most of the material for the album was recorded in January of 1969, which was before the recording and release of Abbey Road, the band was not satisfied with the result, and shelved the album to revisit at a later point.
Overall, Let It Be sees an experimental and original band performing a tightly-coordinated set of songs. Paul McCartney had noted that The Beatles seemed to be strained because they had been recording fragments of complicated songs separately and piecing them together at another time. He suggested that an album that was recorded and played together, and felt a bit more structured and natural, would awaken the camaraderie that the group had shared during its earlier years. While The Beatles would break up soon after the release of the album, the listener does feel a sense of connection from the band.
This album also fell victim to the 'Wall of Sound' process under the command of Phil Spector. This meant that orchestral and choral attachments were spliced with the original recordings the band made. The decision to do this was controversial, but showed that the group's talent was unhindered by anything that could be applied to it.
Songs such as 'I've Got a Feeling' show that The Beatles were just as focused and skilled as previously demonstrated, and 'One After 909' is the closest they get to replicating their early albums. However, most of the album feels safe and calculated. 'Two of Us' tells a story rather than showing the story, and 'Across the Universe' is an overly simplistic (though effect-enhanced) track. Another thing to note is that the short pieces 'Dig It' and 'Maggie Mae' were recorded during the Let It Be sessions, but were probably not intended for the album.
Only on the songs 'I Me Mine' and 'The Long and Winding Road' do The Beatles seem to venture into anything 'out of comfort.' The former song is an active and brilliantly tempo-changing piece dealing with the frustration one feels in the presence of a self-centered person, which may have been a reference to the dissolution of the group. The latter, a piano serenade that was the song most affected by Phil Spector's add-ons (a choir and strings), shows the devotion to love that made The Beatles a sensation at the height of Beatlemania.
Although music shows that the group has aged and matured, it also serves to prove that they had not abandoned that recognizably-Beatles sound. John Lennon and Paul McCartney still were proficient songwriters and vocalists, and George Harrison was still a contained virtuoso on his guitar. Unfortunately, Ringo Starr was not allowed to shine properly through his percussion contribution, which was efficient but basic, and was also not alloted any of the vocal roles.
The experience of listening to this album is pleasant, but unshaking. It's the type of music that could serve as the proper background for nearly any activity without being a distraction, but is also entertaining during a time when one is doing nothing but taking part in the music. Let It Be allowed the most impacting group in music history to pass into their new projects on an interesting, though predictable, level.
Track-by-track
1. 'Two of Us' - 2/5
2. 'Dig a Pony' - 3/5
3. 'Across the Universe' - 3/5
4. 'I Me Mine' - 4/5
5. 'Dig It' - 2/5
6. 'Let It Be' - 3/5
7. 'Maggie Mae' - 2/5
8. 'I've Got a Feeling' - 3/5
9. 'One After 909' - 4/5
10. 'The Long and Winding Road' - 5/5
11. 'For You Blue' - 4/5
12. 'Get Back' - 4/5
[3.25/5 for rating average]
[3/5 for listening experience]
Let It Be by The Beatles
Rating Given: 3/5 Stars
Initially conceived to be a return to the roots of The Beatles, the album Get Back eventually evolved into Let It Be, which would be the final album released by rock music's greatest-known band. Though most of the material for the album was recorded in January of 1969, which was before the recording and release of Abbey Road, the band was not satisfied with the result, and shelved the album to revisit at a later point.
Overall, Let It Be sees an experimental and original band performing a tightly-coordinated set of songs. Paul McCartney had noted that The Beatles seemed to be strained because they had been recording fragments of complicated songs separately and piecing them together at another time. He suggested that an album that was recorded and played together, and felt a bit more structured and natural, would awaken the camaraderie that the group had shared during its earlier years. While The Beatles would break up soon after the release of the album, the listener does feel a sense of connection from the band.
This album also fell victim to the 'Wall of Sound' process under the command of Phil Spector. This meant that orchestral and choral attachments were spliced with the original recordings the band made. The decision to do this was controversial, but showed that the group's talent was unhindered by anything that could be applied to it.
Songs such as 'I've Got a Feeling' show that The Beatles were just as focused and skilled as previously demonstrated, and 'One After 909' is the closest they get to replicating their early albums. However, most of the album feels safe and calculated. 'Two of Us' tells a story rather than showing the story, and 'Across the Universe' is an overly simplistic (though effect-enhanced) track. Another thing to note is that the short pieces 'Dig It' and 'Maggie Mae' were recorded during the Let It Be sessions, but were probably not intended for the album.
Only on the songs 'I Me Mine' and 'The Long and Winding Road' do The Beatles seem to venture into anything 'out of comfort.' The former song is an active and brilliantly tempo-changing piece dealing with the frustration one feels in the presence of a self-centered person, which may have been a reference to the dissolution of the group. The latter, a piano serenade that was the song most affected by Phil Spector's add-ons (a choir and strings), shows the devotion to love that made The Beatles a sensation at the height of Beatlemania.
Although music shows that the group has aged and matured, it also serves to prove that they had not abandoned that recognizably-Beatles sound. John Lennon and Paul McCartney still were proficient songwriters and vocalists, and George Harrison was still a contained virtuoso on his guitar. Unfortunately, Ringo Starr was not allowed to shine properly through his percussion contribution, which was efficient but basic, and was also not alloted any of the vocal roles.
The experience of listening to this album is pleasant, but unshaking. It's the type of music that could serve as the proper background for nearly any activity without being a distraction, but is also entertaining during a time when one is doing nothing but taking part in the music. Let It Be allowed the most impacting group in music history to pass into their new projects on an interesting, though predictable, level.
Subscribe to:
Posts (Atom)