Gorillaz - Humanz ALBUM REVIEW

          


















Seven years is quite some time to take between albums, especially if you're everyone's favorite virtual band and Damon Albarn's collaboration machine. Gorillaz are back are back with their first record since 2010's The Fall (or Plastic Beach if you consider that their last "true" album"), and it's a diverse smorgasbord of styles and guest features that really do nail the sense of partying at world's end.
           Initially teasing the listener with a quick introduction to get you hyped, Humanz comes sprinting out the gate with "Ascension," a manic Vince Staples assisted track that MAKES you get down with your self ("the sky's falling baby drop that ass 'fore it crash"), yet also dabbles in politics, most notably in singer 2D's verse and Staples closing bars with some intense imagery. Even if you don't pay attention, Humanz clearly has something to say about the world we live in. One of the more obvious cuts is "Let Me Out" with Mavis Staples and Pusha T, where the emcee discusses race relations, police brutality, and a need for change that can't be ignored. The rest of the album sees Albarn's role generally pushed into the background to allow for the guest features to shine through, and even though I love the character of 2D, I have no problem with it. Danny Brown and Kelela compliment each other incredibly on "Submission," as they did on Danny's most recent album, and even though Grace Jones' role in "Charger" isn't huge, her appearance still had me hyped. The album closes with the upbeat and encouraging "We Got the Power" featuring Savages' Jehnny Beth and Noel Gallagher from Oasis, which took me a while to absolutely love, but I have no problem saying it now.
          Experimenting with alternative hip-hop, electronic, dancehall, R&B and so many other genres, Humanz really is as varied as its guest list. Having seen the list of collaborations over a month before the album's release, it was already one of my most anticipated records of the year, and I can't say it disappoints. Those fans who are looking to hear more of 2D, Brock, Noodle, and Russel's personality will likely be let down, however, if you're ready to party like it really is the end of the world (Trump?), I have the album for you.

D Train - You're the One For Me ALBUM RETROSPECTIVE

             Alright, lets casually fly back in time to 1982 for a hot minute. After disco was knocked onto its last legs with the 1979 Disco Demolition night in Chicago, the genre was forced to evolve and experiment just to survive into the 80's. Out of the woods comes "post-disco," which brought a more synthetic, and sometimes urban, sound to the mix. D Train was one of the most prominent examples of this style. With James Williams' smooth vocals laid over Hubert Eaves III's catchy and danceable production, you had a duo that brought the soul to disco music. Hitting it off among listeners, especially in the New York City area, the group would go on to release three albums during the early to mid 1980's, however, I'm of the opinion that their debut, You're the One For Me, remains their finest effort.
             Opening the LP with the title track, Williams briefly sings over a soft, piano laden introduction before the song immediately jumps into the most dance-worthy territory possible. Synths swirl around a four on the floor beat, and trust me, if you play this song in my vicinity, you'll see the best, or worst moves you've ever seen. The song is their highest charting success, and it recently experienced a resurgence with its appearance in Grand Theft Auto V (thanks, Rockstar!).
              Outside of this introduction, the album maintains this sound throughout its runtime, and while I'm a fan of variation, none of the tracks come off as stale to me. Of course there are highlights, like "Walk On By," probably the best cover of the Dionne Warwick tune in existence, and "Love Vibrations," an upbeat dancefloor destined piece of music that will get you moving whether or not you're in the mood. While mixing up the formula isn't exactly the album's strongest pillar, that isn't to say it doesn't try. "Lucky Day" slows things down for a few minutes so Williams can profess his gratefulness to a special someone, and "'D' Train Theme" is just damn funky. There is actual rapping on this song, and I absolutely love it. Outside of this, any of the songs here could have been radio staples, meaning that boredom never comes into the picture.
             You're the One For Me very firmly exists in early-80's New York, and it ultimately serves as one of the greatest examples of this post-disco sound. Unfortunately, with the group's demise in 1985, neither of the members would find enough success to eclipse what they were able to pull of as a duo. As a result, I am afraid this album, let alone this band, has yet to experience the legacy it deserves. Here's to hopes that new vinyl enthusiasts dig this one out of one of their parent's record crates. Until then, I can safely say that if you love R&B, or just like to shake what you have on the dancefloor, now is the greatest time as ever to hop on board the D Train.

Code Orange - Forever ALBUM REVIEW

            Pittsburgh metalcore outfit Code Orange return for the their third record, which is ultimately their heaviest yet. Originally formed under the name Code Orange Kids, they released their debut LP, titled Love is Love/Return to Lust in 2012, followed two years later by I Am King under their new name. This time around in January of 2016, now under a major label, the band immediately quiets skeptics who predicted they would sell out by releasing an album that is the aural equivalent of a swift punch to the jaw.

            While their previous outings leaned more towards the hardcore punk side of metalcore, Forever finds the band embracing extreme metal more than ever before. Opening with a mysterious and distorted speech snippet on the title track, the album roars out the gate with low tuned heavy guitar riffs, a driving tempo, and harsh vocals by the band's lead vocalist and drummer, Jami Morgan, which sets the scene for most of the songs on the album (the opening minute of "Real" is absolutely exhilarating). 

             While the band stays consistent for the entire record, they do experiment with other genres. Take for example "Kill the Creator" and "The Mud," where the group brings in electronic influences, both harsh and otherwise, or "Ugly" where an early 80's post-punk/gothic rock twist can be heard. Furthermore, Forever does incorporate clean vocals, notably on "Bleeding in the Blur," an accessible highlight of the album, on which guitarist and vocalist Reba Meyers paints a bleak and sinister picture in an almost grunge soundscape.

             Forever is only 34 minutes long, however it is complimented by its visceral immediacy and a willingness to experiment and progress the Code Orange's sound forward. This ensures the album never outstays its welcome or leaves the listener disappointed that there isn't more of it. I myself have only began exploring the band's discography within the last two months, however I'd be lying if I said I wasn't excited for their next project. Don't let the major label push you away, this is the real deal.

FLANCH (SELF TITLED) - Album Review

             FLANCH is a blossoming experimental hip-hop/electronic act based in Los Angeles. While the overall nature of the group itself is still relatively unknown (the members seem to enjoy covering their faces), it dropped it's debut self-titled project a little over a year ago today. I stumbled across this release when casually browsing Bandcamp, and I was immediately drawn in by the album's artwork. Offering a glimpse of what's to come, the project has the essence of experimental and hip-hop music, yet it sounds as if it was created by some non-Earthly entity.
             The production is particularly reminiscent of Arca (which they credit for inspiration) or the type of sounds you would hear in FKA twig's music. Constantly evolving sound patterns and pitch shifting vocals keep the record perplexing, but strangely accessible. Speaking of vocals, FLANCH features both rapping and singing, The former showcases up and comer Devin Dabney's skills behind the microphone (see "graace" and "ble$$ings"), and the latter projects R&B influences with an otherworldly twist ("pretty girl" and "hal0"). The lyrics on this project are arguably what defines the album, however. Rooted in religion and spirituality, FLANCH aimed to target those who "grew up Christian then turned "non-believer." While it is not a "Christian" album, the lyrics showcase a perspective on religion that I can't say I've heard before, and the only way to do it justice is by listening to the project. I will say this: listen to "hal0" and tell me how immediately comfortable you are with the phrasing.
             Ultimately, I am of the highest of hopes that this group releases another project this year, as I can only imagine how they will progress. Few debuts in recent memory carry an identity as solidified as this, and my ears will be front and center as soon as FLANCH decides to take the next step.