Report to the Dance Floor : Carpenter Brut : "Blood Machines Soundtrack"

It is hard to review something like this is the normal way I approach albums as being very song based. I think this soundtrack was an essential part of the movie "Blood Machines" . The movie was like an acid trip in the sense you heard everything you saw, and saw everything you heard. I did a review of the movie on my horror blog, so I will give my short review of it which is "Give director Seth Ickerman all the money in Hollywood so he can make every cosmic Marvel movie that is going to come out along with any adaptations of Lovecraft. He needs to make "At the Mountains of Madness" as he shows that he undestands the scop of a cosmic creature like Cthulhu. The vintage snyth sounds made other worldly set the stage.

If you take away the movie and sit this music on it's own it is still enjoyable. Perhaps not as much so. Synth wave is not my thing. I no longer to the kind of drugs that make listening to Vangelis or Tangerine Dream my jam. On "Souls Wreck" things get into darker atmosphere than the kraut rock this comes from. Not industrial, but there are more metallic synth sounds, to convey the aggression. This was no a violent movie. Violent acts did occur, but tonally the femenine nergy to this film toned it down. 'Heart Ship" bubbles with atmosphere , but does not have the kind of moving groove found in the theme songs played earlier on. Distant choirs echo in the abyss.

The tense pulse that moved the film in the third chapter is more fun to listen to. The bigger melodies that worked off the dynamics of the story still connect. There is more brooding as the antagonist was not clear throughout the bulk of the movie. More grooving than Queen's "Flash Gordon" soundtrack, just without the anthemic vocals. Yes I could here some of these peices worked into a dj's set. I guess I will need to make a dj set to show you how it's done. Granted even the most moving peices here are working off the established theme.  French dream pop band Pencey Sloe collaborates on the theme song that is more of a song called "Gone Now". I will give this a 9 it is good for what it is and a must if you are already into synth wave.

Report to the Dance Floor- :Post Malone : "Hollywood's Bleeding"

If you are surprised I am covering this album then you must have missed out on my Taylor Swift review. It's ok it is only a few clicks back.  I see this guy as being about as Trap as Justin Bieber. Like Justin he makes some entertaining pop music. "Beerbones & Bentleys" was very hooky and well written. This is the bar this album is being held to. The opening title track is more atmospheric than his other stuff and not the most hooky The second song is better and plays more to his strengths. . He continues to sing more than he raps. Or another way to say this might be his supposed style of raps is sing song to the point of crossing over. By the time we get to "Enemies" he is locked back into his comfort zone.

The more new wave tone of "Allergic" is like the turn the Weeknd took on "False Alarm" . It's a cool song, but sets the record straight this is a pop album not a hip hop album. "A Thousand Bad Times" is another catchy song, though it justifies my Justin Bieber comparison. Lyrically this album falls along the same lines as the previous one. I might just need to grow on "Circles" is almost too happy for me. The bass contributes to this. The song is fairly guitar centered. Future joins him on "Die For Me" thus giving the song a stronger hip hop element. There is more auto tune on his voice on this one to conform more to the standard 2019 hip hop approach. Halsey also drops a pretty effective verse on this. He is doing what he does really well on "On the Road" which benefits from a solid groove.  Well... Ozzy is on "Take What You Want". It is a good song, but I am not sure how I feel for Ozzy's  sake.

"I'm Gonna Be" is an odd pop song. It might have to grow on me."Staring at the Sun" is another pop song, it has a lighter mood despite the lyrics though some what dialed in aside from the female vocal. There are however 17 songs so more margin of error. My guess is if this had been narrowed down to the 10 best songs it would have been am incredible album. The melody to "Sunflower" reminds me of M.I.A, what ever happened to her ?  It's beginning to add to the fact that this is a happier more upbeat album than the previous, perhaps he needs to do more drugs. At this point if you are not a fan of Malone you might wonder what   I consider a good song when it comes to Malone here,  this can best be explained by the song "Internet" . It is melodic pop with a drug glazed  attitude .  I am not looking for Morrissey quality lyrics. Sometimes he delivers this better than others "Goodbyes" just falls in the comfortable dialed in range of what he does.

"Myself" is well written for what it is and works for what he does. He needs to quit taking the meds the Doctors prescribe him and take the ones they are not.  "I Know" works , but is in the Bieberr zone. The last song "Wow" works for me after the second listen. The beat is pretty solid. I will give this album a 9, I could narrow this down to the ten songs that would make this a 10, but he would not stop while he was ahead so it is what is is and I am workign with what I am given. 

Report to the Dance Floor - Snoop Dogg : "I Wanna Thank Me"

Not all rappers hold up over time in fact once they get out of the game and begin appearing on TV shows and Movies, then you get to see who was really just an actor all along. Snoop has had his share of not so shining moments like his verse on Katy Perry's "California Girls" which was straight up terrible or his No Limit years, but he made "the Chronic" and his first album was super solid, so there is hope, after all murder was the case they gave him. The opening track is strong and it seems like he might be back on his game. However on an album with 20 songs there is more odds of error. I like the use of the Bob Marley song. It does not feel like Slick Rick adds much and lyrically it's feels like a public service announcement during Black History Month.  "Let Bygones Be Bygones"  has an old Death Row feel, since it is about Suge Knight.  Gang unity is a common theme that creeps up on songs through out the album , the topic first comes up on "One Blood , One Cuzz". This song also highlights the fact that Snoop came from a time where they cared about songs and the hooks were really strong.

The funky "Countdown" finds Snoop in his zone. The intro to "I C Your Bullshit" is silly, but it redeems itself wit ha cool old school 80s beat that sounds like it could have come from a Fat Boys song. Chris Brown lends his voice to "Turn Me On".  As modern pop cross over hip hop it works well. Snoops flow is great. Gangsta rap meets trap on "Blue Face Hunnids". This brings the past and present together well.  "New Booty"  touches on the homo erotic elements of prison I do not think I have ever heard anyone rap about it.  Like the smoke the song discusses " Take Me Away" breezes past with a lazy ambiance, I could have appreciated more when I was getting stoned.  There is a Caribbean flare  to  "Do It When I am In It". T o sound like it is from Miami it seems to be about   Magic City". There is a smooth Isaac Hayes feels to the laid back 70s groove of "First Place".  The keeps his momentum with "Focused". This album is really well produced and a song like this shows how he takes old school sounds and brings them into 2019.   

"Rise to the Top" goes a minute and a half before Snnop comes in. It's ok, but not the album's strongest song. The more r&b feel Nate Dogg gives to "Wintertime in June" works.  "Main Phone" recalls his more classic era. The 80s pop feel to "Do You Like I Do" is cool as he takes on this old school Janet Jackson feel. This might be one of the album's best songs, even though it doesn't not sound like what you expect from Snoop. On the flip side he smooth 'I've Been Looking For You" is very typical of what you expect from him. "UBITCHU" feels more like a Nikki Minaj song.  "Ventalation" fis right in the current tone of hip hop, though once again sounding nothing like the Snoop you might have showed up for until his verse. It closes with the title track that falls along the line of business as usual for Snoop.  I will round this one up to a 10 as the songs that did strike me on the first few listens will probably grow on me and the album's biggest accomplishment is how well he blends rap past , present and future. 

Report to the Dance floor :Miley Cyrus' " She is Coming"

Miley's 2019 album is going to be comprised of 3 ep s being released at various time this year. The first one just dropped. It is a return to her more dance oriented groove heavy pop. When it comes to pop it doesn't doesn't get more well constructed than this. Sure there was a great deal of fuss about Miley covering Nine Inch Nails for the "Black Mirror" show , but this slays that. The first single to be released from this was "Mother's Daughter". This is darker and more seedy than more bubble gum styling of Katy Perry and more drug hazed than Taylor Swift.   "Unholy" finds her glorifying getting drunk and high as high hell, while she doubts the motives of some of the people around her this lifestyle brings with it. So lyrically it is more mature. Her voice is subtle . It is easy to under estimate her as a singer. There is a slight twang here and there, but she even raps on this album.

The drug stories continue on "D.R.E.A.M", which stands for drugs rule everyone around me. They beat is like an 808, very booming. Lyrically clever. There is a morose under tone, like what it feels like the next day after you are depleted from rolling on molly. Ghost Face Killah shows us to rap on this one, it is good for what it is but she really did not need to add anything to this song. It doesn't detract from it. RuPaul introduced "Cattitude" which is hip hop in the same way Fergie or even Nicki Minaj. She is not the most skilled , but it more like Peaches. She does what this songs need well. Not the strongest song on the album but it fun. RuPaul takes verse to make this the gayest song on the album. So expect this pumping in the gay bars this summer.

The Swae Lee & Mike Will Made it  collaboration is a little odd. It does have a gray drug hang over to , which runs through the whole album, but is shown in a different shade here.  I think Miley's vocals are strong on this song , there just needs to be more of her and less of the other girl. "The Most" is sort of a ballad, though there is movement to it and it happens to be more moody and introspective, though also more melodic and one of the album's strongest vocal performances. I can leave this album on and just let it play so I will round it up to a 10 , it's hard to mine there could be a pop album that is better than this one if the other eps measure up to this.

Report to the Dance Floor - The Faint's "Egowerk'

The bar is high for these guys  since they have made some of my favorite albums. ,the first thing that strikes me is how this sounds less like a rock band playing electronic instruments and more like an EDM records. A more aggressive beat drops midway into the song. It almost sounds more like something my girl friend would listen to rather than the band who made "Danse Macabre" and "Wet From Birth".  Once called electro punk, now the punk is out of the equation. The vocals are not a central part of the song either. When it comes to electronic music I like it better than most of the MGMTS out there , but I was beginning to think this drastic change was phasing out song structure altogether . This is cleared up on "Chameleon Nights". The vocals conform to the fact that these guys are making songs. There is a futuristic plastic to their sound that is more pronounced here.

The more biting social commentary that I have always liked about their lyrics surfaces on "Life's A Joke". "Alien Angel" is much more in line with what you expect when you think of this band. The beat is more of a robotic funk on the title track. It works and makes the song  coldly angular. The subtle chorus is a nice touch. "Own My Eyes" is one of the album's best songs as it is a little darker and more sardonic lyrically.  "Source of the Sun " is coolly detached, but all the moving pieces create a groove well. I like the effects on his vocals on "Another World" . "Quench the Flame" moves into a more upbeat direction. The vocals still keep things centered. The layered synths here don't have the same sense of ugency as when the album is firing on all cylinders. A case of where it is by no means a bad song it just doesn't have then same sense of urgency.

The title "Young & Realistic" makes me think the irony is coming on thick. It is more of a disco pulse moving the song. It's a well made mockery of that sound.  Though while smooth and efficient it doesn't have the bite they used to. Everything after "Wet From Birth" has owed a great deal more to Gary Numan. "Automaton" highlights like facts, in the synths even more than the vocals . I'll round this one up to a 9. Despite the stylistic shift into a more electronic direction , they key ingredients still make these guys more than worthwhile.

Report to the Dance Floor - Taylor Swift : "Reputation"

So rather than my normal review format I am going to rank these songs from most mediocre to the best none are terrible, but here is a look at why this may or may not live up to her previous work.


14-Dress 

The vocals are way up front with a beat that is not substantial enough to support. If this album had been produced as well as "1989" it might have stood up better.

13-End Game -

 I like when Ed Sheeran is rhythmic in his approach , but rapping is not he forte  nor is it Future's on this song that feels very dialed in from him.

12-Call it What You Want

So Taylor is taking on a more hip hop approach to the vocal and the song face the problem most of the album does...a track that offers no support to what she is doing, but doesn't have the clutter of "End Game"

11-Getaway Car- 

This song reminds me of "Out of the Woods", the problem is the more minimalist production style of this album does give the vocal an interesting enough backing track to propel it.

10- King of My Heart-

While the beats on this song are more interesting than "Getaway Car" the vocal drifts around the 808 beat rather than really engaging me.



9-I Did Something Bad -  

there is a melody coming out of the chorus that is pretty cool, but while this might be next level shit for Selena Gomez it's mediocre of Swift.

8- Don't Blame Me -


Is marginally more organic by virtue of the blues inflected nature of the chorus - 7

7-Dancing With Our Hands Tied

Not her best work, but more dynamic than half the songs on the album.

6-New Years Day 

As far her ballads go it's a step down from "Haunted'

5-Gorgeous - 

This was the first song I heard from this album after "Look What You Made Me Do" so it was a little bit of a let down on first listen , but it makes more sense in the context of this album.It grew on me a little here.


4-So it Goes 

This colder calculated android love song theme was already established in "Delicate" so it feels like a continuation of that theme.

3-Delicate 

Has a more minimalist feel with her vocals coated in space age effects, but she vocals weaves around the song well.



2- Look What You Made Me Do 

This song has already spoken for it.

1-...Ready For It 

This song beats out "Look What You Made Me Do" as it is more in your face.



I'll round this up to an 8, which is a big step down for her as "Red" , "Speak Now" and "1989" are all 10s. Hopefully this did into the pop status quo which hear means dumbing things down to blend in with her vapid peers like ...well you know who.The best songs on this album are better than the best songs on Katy Perry's album, but Halsey beats her at the pop game here.

Report to the Dance Floor : Katy Perry's "Witness"

I don't think I have been closeted about my love of pop music. Ms. Perry is mainstream, but so is Depeche Mode. She fits in the electronic music I cover here. The album opens with a pop take on house music. I am sure a remix of this will be huge in the gay clubs, the song doesn't have the kick I want from her. Her voice sounds very mature and she has grown into an almost more r&b rooted pop sound holding her own against her peers here vocally. I am not going to claim she is the greatest singer.Nor am I going to say that I don't like looking at her more than Taylor Swift whose music I respect more. I am going to need to give this album another listen through head phones as there is not enough bass to "Hey Hey Hey" . The vocal melodies don't do wonders for me and I expect a lot from her when it comes to pop music because she has busted at songs like "Dark Horse".

In many ways it remind me of my initial listen to "Prism" that had at  the singles grow on me.
least. "Roulette" works more for me. There is almost a new wave like slickness to the synth lines and the vocal lines are stronger. 'Swish Swish" feels like typical gay house even with the rap interlude and doesn't wow me. "Deja Vu" feels like Euro house and the lyrics are a little awkward, but it's better than "Swish Swish" despite leaning more towards filler. "Power" is more soulful pop like something you would expect on a Beyonce album. I was hoping "Mind Maze" would make more sense on my second listen. The track is a little minimalist, though layers do get added. The ballad "Miss You More" is much more fully formed, hell, It's a good fucking song.

I think I was already sold on "Chained to the Rhythm" . The vocals on the verses pretty much seal the deal, I could do without the Marley spawn on the track. "Tsunami" is a pretty chill track, Which is also a nice way of saying there is not a helluva lot to it. "Bon Appetit" is one of the album's stronger songs, it reminds me a little of the second Dee-Lite album. The track even with head phones is dependent on the plastic beats , but her vocals do most of the heavy lifting with the phrasing. "Bigger Than Me" is produced like a Future track. I would not be surprised if I found Metro Boomin did the beats for this album. The chorus kicks in a little more than some of the other songs, but I am I not really blown away by it. She plays it safe not just with this song but most. The beginning of "Save as Draft" could be a Sigur Rios song. This song has the dynamics I have wanted out of most the songs that have kinds breezed by me. I can hear where Bjork was an influence on her.

Then "Pendulum"  reminds me a little of Peter Gabriel's poppier moments. The synths build like "Abacab" Genesis. The album closes with "Into Me You See" which is piano ballad that I should have seen coming. She floats up into her head register. I think "Miss You More" is a better ballad. It doesn't  build the way I want it to and flats a little flat.  I'll give this an 8 and see how it grows on me. I think "Teenage Dream" is looking like her high point as this one is decent , but we know she can write as good of a pop song as anyone when she really tries , but it feels like she might be into being a celebrity more than a singer, which is why I tend to not cover these sort of things, guess my lesson is learned til Tayor Swift puts out a new one, but I won't subject you to Chris Stapleton . This is better than what I have heard thus far from Miley Cyrus .

http://abysmalhymns.blogspot.com/2017/06/eighteen-visions-xviii.html

Report to the Dance Floor - Jane in Space : "s/t"

I found this album of dark pop while scouring the inner webs for new industrial music as I begin to compile the end of the year lists. On this projects debut the vocals are very moody, they remind me of a more low key version of Stabbing Westward. The vocals are the center piece with the beats wobbling and clicking around them, Sometimes they have more effects on them. Sometimes they are more up front than other times. By the second song Night Riots was coming to mind, though this project is much darker. This is much more ebm than industrial. It is a very hazy narcotic dance floor that these songs dance upon. I would have certainly found this album as a compelling soundtrack to some of my late night chemical binges. Most of your typical "non-goth night " dance music spun in the clubs was never dark enough for me. I like the instrumental sections of this album though for the purpose of this review I am considering them more as interludes.

There is a touch of future pop to "Dizzy Head". The vocals here remind me a little more Peter Gabriel. The bass line sounds like it is played by an actual bass rather than a pro-tools synth wave. The first song that touches on an almost industrial sound is "Weightlessness" and this is mainly due to once of the punches in the verse. The chorus floats around which is fitting given the subject matter. This one is like something from "Pretty Hate Machine".  They are back to a more dance friendly groove on "Mental Abrasions" , some of the backing tracks take on a more machine like sound, so they industrial elements begin to creep in mid way into the album, though I am still unsure if the warrants calling this industrial.

There is more kick to "Helsinki' as guitar comes closer to the forefront.  The vocal croon falls in a more interesting and Depeche Mode like place around the synths here. "Spider Webs" is a little more fragile of a song that leads into another one of their interludes. "Feel It Alive' ends the album on a more emotive tone, though this song still retains it's sense of movement and further from being a ballad than some of the earlier songs. I'll give this album an 8.5, I am not in a hurry to get it on my iPod at the moment , but I also forgot to take my meds to I am not in a hurry to do anything. If you like some of the electronic music that came out of the 90s this hits those spots without any over homage.

Report to the Dance Floor : Assemblage 23 - "Endure"

Here's the 8th album from ebm/ future pop project that formed in the late 90's . The vocals are a laid back baritone croon. This occupies a similar space as a "band" like Covenant, who this inspired me to look into their current whereabouts. This is pretty straight forward and the first real song "Afterglow" doesn't really blow me away. The vocals are marginally more interesting to "Bravery", but the synth lines are way too happy and make the song sound like it sound be the soundtrack to an anime movie.The lyrics are about addiction and the music feels too happy for the subject matter.

The synths get a little more aggressive and closer to what I'll accept as industrial on "Salt the Earth". There is a thicker coating of plastic on the grooves of "Static". "Call the Dawn" becomes back ground music with it's bouncier groove. The lyrics to "Butterfly Effect" come across as melodramatic non-sense. The groove to the song is stronger, but the vocals are a bit of a distraction. There is more depth to "Barren". It's not as dark as dark wave, but darker than the rather upbeat tone the album has taken up until this point. The album falls back into middle of the road dance music on "Grind". "December" is not much better.

Then comes a bunch of remixes that shall not count in regards to this review, even though some of these versions are better than the original mixes. This makes you beg the question, why didn't you just do that in the first place. 'Ignorance" is a decent song, it comes with all the strengths and weaknesses that have been displayed through the album and no new ground is broken. "Goliath" is more driving and dramatic in the synth line, vocally it still hovers in the same almost monotone place this album has been rooted. I'll give this one a 5.5, I got bored midway throught and began wishing I have invested this time in the Covenant album instead.

 


6.5

Report to the Dance Floor : Kendrick Lamar : "To Pimp a Butterfly"

If Chelsea Wolfe had not sad this was on of her favorite album's of the year then I would not have checked it out , but I figured I'd check out. While there is some trippy trappings to the opener and a synth line that recalls older West Coast rap, his voice doesn't have me convinced. George Clinton does guest on it , which is an impressive stamp of approval , but he is prolly guesting on everything so he doesn't feel like he is a dinosaur."King Kunta" has a more James Brown pump to it, but his voice still makes me think he needs to stop smoking as he could be gasping for breath at any moment. The groove to this song is stronger than the opener and the mix is interesting as this doesn't sound like everything else."Institutionalized" might have a more stoned brand of jazz like funk to it along with Bilal and Sneep, but it's not as compelling as "King Kunta" , maybe this is 2015's take on Tribe Called Quest, because I'm sure if I had never heard " the Low End Theory" this would seem like next level shit being dropped."These Walls" never reaches out to grab and hide behind a wall of bong smoke.

 Lamar tries to get more aggressive on "U" , but that fact he is always gasping for every verse takes the edge off this.He goes into some dramatic crying, that sounds kinda bitch to me.Things pick back up on "Alright". While upbeat "Momma" finds Lamar just rambling over Outkast like backing tracks .He pays more homage to Tribe Called Quest on "How Much a Dollar" cost which ponders the plight of the homeless and addicted with Ron Isley providing the vocal hooks. This album is inconsistent where where "the Blacker the Berry" excels the preceding "Complexion" begins to bore me. While this is West Coast rap they certainly touch on 90's Atl rapping with "You Ain't Gotta Lie". One of the album's best songs is the dancey "I", this is the first song that finds Lamar impressing me with his flow, up to this point the backing track were more impressive.

 "Mortal Man" finds himself pondering if his fans will still have his back when the media turns on him. At this point they obvious do, as too many people are hailing this as the best album of the year or at least the best hip-hop album of the year, which is pretty far fetched as both Dr. Dre and the Weeknd put out more innovative and impressive albums. This one is pretty good considering Tribe Called Quest isn't putting out anything new, so I'll give it a 7.

 

Report to the Dance Floor : The Weeknd's "Beauty Behind the Madness"

I think we know that pop music is my favorite palate cleanser to start the day off with before I spend the rest of the day listening to blacksludgepostdeathcrust metal. So my interest in Abel Makkonen Tesfaye should not be a great surprise as he is darker than your average r&b singer  and has been known to sample both Siouxsie and the Cocteau Twins, his drug use might explain for this taste in music, but whatever the case since it's time to look at the years best pop/electronic albums of the year, we need to give his 2015 album a glance under the sonic microscope. The album opens with a very passionate wink to another addict...Michael Jackson. The fuzz of the guitar being run through the intro sets things apart from the Great Gloved One, but the cadence of the melody would not sound out of place on the "Bad" album, carrying a similar steamy power as "Dirty Diana" but with less rock aspirations. British singer Labirinth joins up to take the second verse of "Losers" which doesn't get really dancey until after his verse. Which brings up one element of this album that bears mentioning, thanks to Swedish pop producer Max Martin, the arrangements on this album veer from the typical pop formula. The other part of the equation in as to what draws me in for repeat listens is the smart gangsta slant to the lyrics that works for me where his idol R. Kelly failed. "Tell Your Friends" leads the pack in this regard, where is "never rocking white he's like a racist" the idea of a party is "dropping dope dimes on some coke lines, getting head all night cumming four times" but being a gentle man he does ask his play mate if she would like to smoke a pound and do an ounce before getting dick and telling her friends about it. But delivering this in a very sensitive Michael Jackson really knocks this out of the park. Another more NSFW ode to what he does "Often" follows this one it has some drugged out witch house tones haunting it. "the Hills" is the song that got me onboard happens to be the same song he is getting sued for sampling from a horror, so that makes perfect sense as to why I would like it. Some of the more sappy elements of r&b even when filtered through his hyper sexual lense still can bog down songs like "Acquainted" which even after a few listens to see if it would grow me doesn't have the power found in some of the albums other hooks. The big radio hit "Can't Feel My Face" has it's merits even though being a little too happy for me with its funked up disco swagger. "Shameless" is one song I haven't really spent much time with, the vocal is strong, but like a few of the other songs it can be a little repitious and the track backing it doesn't have the same experimental darkness creeping into the corner of its eye. Lyrically its one of the album's bi-polar moments, either he's a pimped out playa or hopeless romantic, while I'm getting married in a few weeks going to show conversions can happen, in the tug of war his pimp side is lyrically more interesting.Like Ellie Goulding , whose album I have but don't feel it nesscessary to review, he also earned a place on the 50 Shades of Gray soundtrack, if you are familiar with my lifestyle work in Cvlt Nation, you can understand why I would think the movie is a joke, and yes I read the book before passing judgement. The string driven waltz is well done, I don't think's the album's strongest moment even though I like the falsetto passage. The very MJ influence "In the Night" still works on today's pop radio and I would like to hear a stronger dance remix, even though the chorus to this song gets the job done. "As You Are" is more of a ballad even with the beat behind it. Lyrically we are back to the bi-polar tug of war, he has handed in his pimp card for this one, in someways it reminds me of Twin Shadow. Things get real on the blues tinged "Dark Times" that Ed Sheeran" who looks too much like Bilbo Baggins for me to take seriously if I was going to watch play this song live, but I did not know what he looked until I heard the lyrics, it hits home for me as it reminds me of many a morning after during by drug days, so I applaud the writing. "Prisoner" might have Lana Del Rey on it , but is not any more compelling than a Dido b-side. The ballad"Angel" closes out the album and is another song I haven't give a ton of time, I do like the big 80s feel to it. Even if it's not the song that has the Cocteau Twins sample it does have a hint of their sound. Maty Noyes adds vocals to the song as well. Its easy for me to round this one up to a

13.7

Report to the Dance Floor : Tomas Doncker's "The Mess We Made"

Many of our long time readers will recognize  Tomas' name as he spearheaded the Global Soul movement in New York and strived over the years to find the place where heart and art meet. So what happens when that heart gets heavy? Tomas writes songs about it. "The Mess We Made" was a reaction to the shooting on June 17th in Charleston, SC, where 9 people were killed. Doncker believes soul knows no color might be angry, but he places his vitriol in it's proper channel to look at the problem rather than the symptom. He picks up where Gil Scott Heron left off when he announced  the revolution will not be televised. In fact he calls bull shit on the revolution, as it is seeking corporate sponsorship. At one point he even rallies a George Clinton like chant of "take off your hoodie and pull your pants up". Blues is still the back bone to his sound, though experimental elements find these songs at the  cross roads of  where hip-hop emerged from funk in the grooves. In these socially charged times of tension, it should be the job of the urban poets to stand up and have something to say, yet hip-hop keeps getting dumber and glorifying the stereotypes. There is almost a break beat to "Church is Burning Down".  The impassioned vocals reach up into a falsetto for certain accents, as the chorus is chanted over the driving beat.

He ponders what Hendrix's musing on if six was nine and how social media only gives us a happy post card to a false escape. While the message is at the forefront this doesn't impede  his acclaimed guitar playing to make an appearance. Eventually the album comes to a turning point and returns to his more organic roots. On "Don't Let Go" he looks at some of the economic struggles of the lowered middle class who feels the divide broadening as they slide downward to join the legions of Americans only avoiding homelessness by living pay check to paycheck. He gives a very soulful take on U2's "Still Haven't Found What I'm Looking Forward" with the solo section reminds me more of Frank Zappa, and many of the vocals on this album remind me of Ike Willis.

Things get funkier for "Blood and Concrete' , while soulful funk is a currency his music normally trades in their is a more serious and biting tone thanks to the sardonic lyrics. The album closes with the more hopefully upbeat "Time Will Tell". I think it is fitting that this album ends on a more positive note, as music is the connecting thread of the universe is what Doncker's vision has been about. While this album is full of real talk,  the music also speaks . It says "at the end of the day losing yourself in the groove and melody are what is the saving grace when the world seems to be closing in on you and hope is not in sight. It's the vibrational frequency, tune in and drop out of the bull shit being pushed on you by the media, presidential candidates, and terrorists both at home and abroad. This is funk for the thinking man, and soul for the urban shaman. Another triumph for Doncker.

Report to the Dance Floor - Chvrches : "Open Every Eye" & "Leave a Trace" Video

Funny enough I decided to break down and give Chvrches a shot a few weeks ago after hearing them brought up on the State Of the Goth Scene panel at this year's Dragon-con. While not what I consider goth they do have a more serious lyrical tone than most of today's pop music and much like Twin Shadow are an act that proves pop doesn't have to be a bad word. their last album some reviews compared it Taylor Swift's "1989". They took that as a compliment. And this might come as a surprise to readers here who normally click on for the goth/metal/ punk reviews, but I have gained an appreciation for Swifts last two albums. The hooks are addictive and the same can be said for Chvrches. Lauren Mayberry continues to ooze with the same youthful glee that Swift also possesses, the difference being more lyrical as Mayberry doesn't always have to be the protagonist in her songs. She has little regret for not always being nice claiming on "Leave a Trace" that she is as sane as she ever was. Mayberry might make you dance , but she didn't show up to the studio trying to start a party.

Often more metaphoric their lyrics are much like their music as it has more complex layers than Swift's. Compared to their previous album there are no drastic changes, a little more of an 80s slant to parts of "Make Them Gold" . "Clearest Blue" was one of the lead singles off this album that has been on the inner webs for some time. I don't listen to the radio, so I am unsure if Chvrches gets much air time in cities aside from New York and LA, but I can see this song being too angular in some places to neatly fit next to Katy Perry on the dial. Part of this is they don't follow the trends , but make their own and this doesn't have any hip-hop under tones, it's very white electronica.

The male vocals are more soulful and poppy than they were on the last album, but it's hard to argue against the fact that the are much improved from the previous album and have an almost Twin Shadow quality to them.Then they slap a new coat of sugar on the pop formula with "Empty Threat". The tempo picks up on the chorus and then its the expand and contract formula from there. Not the album's strongest song, but it's not bad and better than most of the stuff on the radio. The beat gets funky as in odd not James Brown on "Down Side of Me". The male vocals add texture in manner more reminiscent of the previous album. I would not say this is a ballad , but moving in that direction. The continue to color outside of the lines, taking on a more 80s pop sound on "Playing Dead".  Her voice fits well in the grooves making it one of the albums stronger songs. The samples wedged into the song give it more kick.

There is more of a quirky new wave feel...think Gary Numan, to "Bury It". The beats are more fuzzed out and while not comparable to Nine Inch Nails , they carry more punch that most pop. The album closes with "Afterglow" which does indulge itself in balladry. This song is pleasant but is not crucial to the album. They slightly face a refrain of sorts at the end. I'll around this one up to a 9.5 , It might have been a ten if I had written off the last song as an outro, but for the sake of this review it was intended to be a song that stands on its own two feet. Some of these songs might grow on me, most pop music creeps up on me over time. Fans will not be disappointed if they liked the last album.

Report to the Dance Floor : Dr. Dre's "Compton"

Things have changed in the hood. While working on the film "Straight Outta Compton" Dre was inspired to make this album, only his third full length. This album does not feel like a  companion piece to the bi-opic about the rap crew that put Dre on the map, which he produced as well. This is not a retro homage to his days in NWA and perhaps to a fault finds it's place in the modern hip-hop market. While I wore out my copy of "the Chronic" in high school, when I quit smoking pot thirteen years ago rap listening took a decline. Post -Tupac rappers got krunk and began writing twerk anthems because truth be told they just didn't have anything to say as it became harder to distinguish hip-hop from pop-music. The lyric " we load up pro-tools" on Dre's first team up with Kendrick Lamar explains one of the things that has changed in how Dre assembles his beats.  You might find your self waiting for Dre's commanding voice to cut through the clutter, don't hold your breath too long those moments are few and far between.

The first glimpse of the old school funk that was the thumb print for West Coast hip-hop during Dre's rule in the 90s comes in on "It's All On Me".  This is one of the best case scenario when it come to marrying old school and new school as Dre narrates his days from NWA to Snoop. The smooth beat glides underneath the verses like"I'll Be Around". "All in a Days Work"  does find Dre's voice muscling its way into the midst of the funk .  There many more layers of r&b singers draping the songs than you would find on "the Chronic". Considering the song revolves around a sample of Wings' "Spirits of Anicent Eygpt" There is some grittier swagger to "Darkside/ Gone" despite the coat of auto-tune that slithers around some of the vocals at the time. It's odd they send up a shout out to Eazy- E considering how his beef with Easy-E was one of the dominate subjects to the lyrics of "Chronic"

Xzibit is a welcome addition to "Loose Cannons" he lives up to his mission statement of " stopping these bitch niggas from runnin' they mouth". Ice Cube stumbles out of Studio City and into the booth for "Issues". This song is better than expected, though Cube is a little rusty when it comes to his flow. Dre's production skills balance this out. Actors aside it's musically immaculate even with the new pro tool smoke and mirrors abounding. Kendrick Lamar brings more of his foolishness to " Deep Water" and leaving it up to Dre to make the track legit. Lamar should have followed the advice of the song's lyrics "you shouldn't have jumped in, if you can't swim".

Finally Snoop shows up for the almost rock groove of "One Shot One Kill" . The song has the kind of drive that while if you blink you might miss Snoops contribution, he does adapts to the change of pace rather than relying on his classic lazy flow. The beat to "Just Another Day"does take you back to the 90s West Coast, despite the almost Mystical like flow the verses take. Asia Bryant tries her best Rhianna impersonation for the hook. Jill Scott shows up for the soulful pulse of " For the Love of Money". Dre's verse is this high part of the song, though the track is pretty strong.

Some of the more modern studio tricks come in handy to create a trippy sci-fi groove for "Satisfaction" to ride on. Snoop returns half -way into the song to give a pretty accurate assessment of the situation when he says" cuz fuck wrong with these niggas, these labels always asking me to do a song with deez niggas, Doc I think its time for you to open the pharmacy nigga, and change this fuckin' music situation" and "these Grammy niggas fake as fuck and I'm still gettin noticed". Like the hook says he's "just stating the facts and it don't get much realer than that." They fall back into a more classic funk sound on "Animals". Lyrically it looks at why the cameras are always rollin when they are looting and fucking shit up.

"Medicine Man"  finds Eminem shows up to delivers one of the more convincing raps, though it has inspired some controversary on the inner webs , as he claims to even make the women he rapes cum, I think Cannibal Corpse has certainly muttered worse so he gets props for bringing the dangerous gangster element to this album that it needed, a shame it took a white boy from Detroit to do it with Xzibit at least coming in a close second and Snoop checking whack ass pop rappers. The albums closes with "Talking to My Diary". This song finds Dre doing what he does best without having other mcs crowding him. This album feels like it is serving two masters he is trying to make sure at 50 he can still sell albums to kids of today while doing what he does best. I'll give it an 8.5, "the Chronic" is a 10 so go put that in your pipe and smoke it. You can hear a few clips in NPR's feature on the album. 

Report to the Dance Floor : Karin Park's "Apocalypse Pop"

She already has two Grammy's in Norway and this is her fifth album, so if there is any doubt as if the six foot three fashion model knows what she is doing , this album is a resounding yes. The album opens with a driving pop song with rough and tumble beats pumping under the otherwise carefree vocal.My finance drew Lorde comparison in her fleeting listen to the first single off the album "Shine" which I can hear in her phrasing that sometimes rides the rhythmic line between singing and rapping on a you be be as broke as you want/ you can be as drunk as you like". The lyrics on this album are incredible and often explore her dysfunctional relationship. There is a smooth darkness that rides songs like "Life is Just a Dream".

The use of effects on this album is very tasteful and milk the most out of the sounds rather than try to create smoke and mirrors. Bjork is one of the biggest influences on this album a fact very apparent on "Stick to the Lie". Some songs will bring on the compulsion to dance like the thick groove in "Whipped Cream Sliver and Pearls". The bubbling gloom coating "Opium" doesn't elevate above what could be a Massive Attack b-side. Though it works on almost a power ballad formula Her songwriting chops show their maturity on  on "Human Beings" by taking the expand/ retract dynamic and fine tuning it.

"Deamons" is sublime on many levels , the honest lyrics, the dynamics. Park isn't Kate Bush, but she uses what she has impressively, on most songs each not it perfectly placed. The album sounds great from a production stand point, every thing is expansive when it needs to be. The sing songy "Hard Liquor Man" has almost a hip-hop quality to it, but most of this album is closer to trip-hop if we are going to really count genre straws. The surreal simmer to "Walls are Gonna Fall" has a stoned pulse to it. The harder shove of "Shake With the Devil" has an abundance of drive to it, I am not sure if it speaks to me as much as some of the other songs, which is surprising for any song with devil in the title to not do."Hurricane" teams Park with Pandora Drive. The layer vocals have a very Fever Ray feeling to them. The lyric are endearing, this sounds like something that needs to be played at high speeds on dark roads. Overall this is a great listen. Not the perfect album, but better than most so I'll give it a 9.5.





1

Report to the Dance Floor : Camouflage's "Greyscale"

In the same club as Twin Shadow , but coming from a much more Euro vibe. Think Depeche Mode. Well I don't have to tell you to think anything because if that doesn't come to mind when you hear this I'm not sure what blog you are normally reading. This is however better than anything Depeche Mode has done since "Ultra". They are not totally stuck in the 80s as a song like "Laughing Proves". No wonder the title is "Greyscale" as that is how dark this album is.  So not goth, but it will appeal to goth's who have "Violator" in heavy rotation, as this is which era of Depeche Mode this projects draws inspiration from. They do tend to ride some of the grooves into the ground, but it allows the songs more of a drone.

"In the Cloud" drops things down into more of a ballad. This guy has a great voice that really carries the songs. It's mostly a very smooth baritone with room up his upper register to almost create a tenor quality. These guys have their roots in darkwave enough to have "Peter Heppner" from Wolfsheim guest on the song"Count on Me". This is yet another slower song, though it builds into the lightest shade of darkwave, that is more ebm than not. The appearance of Heppner's vocals does give another color to the song that it needs since , it might be more uptempo beat wise than the previous song the  emotional context is very similar. The groove does darken slightly on the title track that still carries a tenderness rather than the stark coldness of darkwave. I do not however think that what's going on really carries the song as an instrumental track.

The album begins to lean toward being ballad heavy, unless this is chill wave, which I do not think is the intent. This does give his melodies more room on "Still". The pace finally picks up on "Misery". His vocals drop down into a more hushed urgency. More ballads follow.  Some are more effective than others. It really begins to boil down to if there is a sense of movement under the melody. It starts to stray into more Savage Garden territory. But it comes down to more than pacing at times, however when they work at a more danceable tempo every thing clicks into place. The stripped down sound of piano and the singers voice compliment each other. This album is impeccable in terms of production and performance.
"End of Words" finds the music getting into one of its darkest corners the album has shown us yet.The singer's almost too perfect phrasing takes away some of the edge. Though it simmers around in circles from there.

Report to the Dance Floor : Madonna's "Rebel Heart"

Me and the Fabulous Ms. M have been out of touch. After "Music" we parted ways, she went on to have a mid-life crisis and released four albums none of which had anything that entered into my consciousness, but then again when I quit doing drugs, I also quit frequenting gays bars. The first song on Madonna's new album "Rebel Heart" makes it apparent gays bars are where she has been hiding out making music. This is perfect for my climate so there is a bit of a nostalgic edge to this which gives me a appreciation for this album which in it's initial sales haven't impressed the rest of the world , but what do those sheep know about good music any way?

So this is a dance album, expecting anything more than smart pop is like critics who go into comic book movies thinking they are going wow the Sundance Festival. I was impressed by the first few listens , but putting it under the microscope might yield different results, the big hook to "Ghosttown" does sound like Lady Gaga, but Lady Gaga owes her whole career to Madonna so that argument is rendered null. "Unapologetic Bitch" has some dance hallish slink to Madonna's more rapped delivery, yeah , I guess she developed that skill on some of the albums I missed out on, I think she does it better than Gaga, who started off as more of a rapper. The production on this album is unearthly, I would listen to more pop music if it pumped like this. One of my instant favorites "Illuminati" feels like the middle section of "Vogue" parred up the funkier bridge in Katy Perry's "Dark Horse", but Katy please see the foot note we already made in regard to Lady Gaga's career and apply it to yourself.  The "every body in the party is shining like Illuminati " is well...dope.

Only she can get away with a song like "Bitch, I'm Madonna" there are elements that remind me of Aqua's "Barbie Girl" . Aqua refer to what we told Katy Perry. I can take or leave Nicki Minaj, which is pretty much the rule with all of the guest spots except for Chance the Rapper who is the only fool that really adds anything. Mike Tyson? give me a fucking break.  "Hold Tight" is the first song on here that doesn't wow me. Seven songs in well... suppose that's not too bad though we go for perfection around here. The acoustic guitar and balladry shows up on "Joan of Arc" and when it comes Madonna's ballad, I want to compare it "Live to Tell"...oh, yes I know her older catalogue like the back of my hand. "Iconic" even with the dumb Mike Tyson thing is better than all the other shit on the radio.

"Heart break City" sounds like something that could have been on the Twin Shadow album I just reviewed, but sung a tad less passionately . "Body Shop" is an odd song that I am not sure what to think of so it's probably good and it just is going to take some time for me to absorb it, as it doesn't really sound like anything I have heard her do before. It's about time to get this show back on the dance floor and with the battle cry of "Bitch get off my pole" Madonna brings it with 'Holy Water" though the lyrics seem to be implying her body fluids are what tastes like holy water, which at her age and life experiences I find that highly doubtful. "Inside Out" she continues down the path this album seems to work best upon. It's a little darker which is fine by me. I am not sure what they have done with her voice , but she sounds like a teenager here.

The album closes with a song I  do not think is the strongest, which makes me wonder why some of the other songs like "S.E.X" or the title track were not included, though the song "Rebel Heart" is only marginally better than "Wash Me All Over".  Oh, well it is what is, don't believe the hype saying this is a bomb, because it's not creatively , try to get the expanded edition there some songs that are actually better than some of these , but this still is getting a 9.5 as Madonna is back in biznasty.

Report to the Dance Floor: Twin Shadow's "Eclipse"

This album caught me by surprise I'll tell you right off the bat it's a strong contender for album of the year. From the first song he shows you how to make a chorus carry the most emotional impact possible.Who said pop music has to be a bad thing? More common with the 80s he sings in an urgent baritone, think Corey Hart but with a larger dose of soul injected in the phrashing. "When the Lights Turn Out" you can hear echoes of both Seal and Peter Gabriel. The 80s are back in a big  blatant way on "To the Top" which might find you checking the album jacket of your copy of "Dirty Dancing" or Top Gun" to see if this song is there. He doesn't coat the songs in same level of cheese , this feels really naturual, but I grew up in the 80s so some of this just takes me back there and maybe I am not as objective as I think I am being hear, but these songs are pristine from any angle you listen to them from. The harmonies are recorded as well as anything you could find on a Peter Gabriel album.

The duet "Alone"  touches on some common r&b element, it's darker from a more emotionally desperate place. The title track has a Police like tension to the guitar. His vocal is impeccable on this song.This song makes the hair stand up on my arms it's so good, and you know how tough I am on artists around here. "Turn Me Up" is making it on the mix I'm doing for my wedding on Halloween for the line "you got me needing you/ like it's some religion", if for nothing else. Maybe I'll try to Twin Shadow to play my wedding if I can sell my fiance on him.

The breathy narrative to "I'm Ready" offsets the slightly more upbeat background. By the time you get to the chorus it's pretty celebratory. A little happier of song than I normally listen to but the execution is dead on. If "Old Love / New Love" isn't playing at your cities' gay pride parade this year there is a problem. It has all the element of gay house you could want. It's also the first song where I can hear some Prince influence. If you don't find yourself dancing at any point in this album you a boring old white guy with no soul, go back to listening to AC/DC.

He even finds some Brit Pop New Wave in him on "Half Life" which is one of the tracks fighting for my affection enough to be called my favorite song on this album. Every song is good, "I'm Ready" is the only song that has to still grow on me. He is not afraid to experiment with odd sounds and effects on his voice" Watch Me go" being one of these places.  Of this album gets a 10, it's a crime if you don't check it out.


 

Report to the Dance Floor - the Rap-Ture of 832

The phrase Oklahoma sytled rap, might be a premature introduction since it is not a prolific enough demographic to have it's own hip-hop underground style. If there is a Oklahoma style then it involves things like using the lyrics from seventies disco songs to create gospel tinged dramatics. The Rap-ture is a concept album exploring the  debate  between the album's anti-hero and the angel which sits on one shoulder and the devil on it's other. It would also range from having a Jurassic Five feel in the precise yet angular manner the lyrics are spit at you to some of the dirty south bravado, amid the soul searching  going on here.

The devil shoulder obviously is not only the most interesting element lyrically, but lends itself to having a darker backdrop musically. It is not like Bone Thugs when they got high and played with their ouija board  but a much more internal element. They should get credit where it's due int their innovative arrangements that challenge how hip is supposed to go. They shift the beats around mid song, giving an almost bi-polar element, sometimes this takes an Outkast like alien slant. These guys care about the music as much as they do being on point at the microphone when it comes to laying down the freestyle verses.

Singer Juju helps the boys out with the vocal hooks  adding a slick Bruno Mars pop cadence to his hooks. These more melodic and thoughtful moments that proliferate on the first half of the album are the groups strong suit.The sample in "Psycho Woman" reminds me of witch house , which works set against  the dirty south a ghetto mash- up say the Nappy Root and the Three Six Mafia.The gangsta lean returns for songs like "Sic the Dogs on 'em" Juju helps smooth out the hard hitting "War" , which helps out as gong hard doesn't seem to be 832's calling card."The Showdown" employs some interesting edm influenced synths despite the regression back into hood mentality of the rap schemes, the chorus is despite this still catchy. The electronic elements flourish like the Tron soundtrack on "Victory" though in final act of the album they are playing it safer and blending in with the current crop of rap, despite their ear for innovative new beats.

Wilson the V shows up for "the Crown" taking it back to 90's Dungeon family styled Atl rap. If you want to hear  it then some of the raps s construction might feel like  Kayne .This is one of the best produced underground rap albums I have heard in a while. The tug of war between the devil and the angel can also be seen as metaphor for the thematic  tug of war  of  enlightenment  vs going with the same old krunk gangsta lyrics that is lowest common denominator mix tape fodder. They do pull from the last great days of rap in terms of their influence and in doing so make something that is head and shoulders over what is being passed off as hip-hop today. 

Report to the Dance Floor- Gazelle Twin : "Unflesh"

Elizabeth Burnholz has gone off the deep end into full blown electronica on her sophomore release. The Brighton goth siren already had one foot in the door ,so this is neither as shocking or as awkward of a transition as it was for Liars. The title track opens with some dark wobbling and harmonized vocals, before almost industrial beats start rocking it. The cadence to her vocals , reminds me of Peaches, perhaps if she was having a lesbian love in with Imogen Heap. The vocals are heavily alter and overdubbed, this is the sort of weirdness Mike Patton would be proud to call his own. The ghost of witch-house haunts this one .

Things take deeper and darker turns into insanity "Guts" is almost like a cross between Death Grips and Die Antwoord. The effects some of the synths have slathered on them will dizzy you. If Fever Ray took more drugs it might come out like this."Exorcise"  takes a page from Pink Floyd's book in it takes it time to  to bubble up from "Guts". This finds the albums first real hook sinking. Where was this album when I was doing drugs?  The fragile vocal of "Good Death" shows  Bunholz's desire to to find a balance between capturing cool sounds and actually writing songs. Not that she has to shy away from being abrasive in doing so or follow any conventions. The synth has an almost industrial hammer on the syncopated "Anti Body". This album wants to lure you out onto the dance floor floor and into a k-hole.

There's the all to brief vocal mesmerism to the  dream like interlude of "Child"'s that is basically the  intro another display of her delicate vocal centric "Premonition". Hard pressed to find an album more atmosphere than this one, it's almost like building castles in the clouds as there is little to support her vocals, aside the pitter of electric rain in fairy land. This album works best under the bizarre throb of songs like "Belly of the Beast. Bunzholz's phrasing sometimes fools you into thinking she is not speaking English.The narcotic of pulse of "Human Touch" shows roots in 90's trip hop. She is both darker and more surreal than  the icons of that genre such as  Tricky or Massive Attack.She throws dashes of world music into her cauldron.

"I Feel Blood" has no shortage emotion to make up for moments when Elizabeth might have been more invested in the sonic phantasmagoria than putting her soul into torturing her effects unit. She returns to more industrial leanings on "Still Life". Her layers of spectral vocals continues to prove just as effective on the last song of the album as it was on the first. This album also continues to keep a good thing going, it's no sophomore slump, in fact it is one of the more spell binding experimental albums you will hear as it carries a very tangent melancholy. I'll give it a 9.5, some of her side trips into the noise spawned at the edges of the songs takes her focus off the song at hand, but overall the album balances itself out in a way that makes this forgivable.