Underworld : "Strawberry Hotel"

 

The 11th album from the British electronica icons feels like everything you expect from them once you get to the second song, there is more melody on the opening track, but the beats start doing their thing soon enough."Denver Luna" not only takes a familiar way they build their songs but then finds them incorporating new sounds and dynamics into that formula, which is really all you can ever ask for from an artist like this. "Techno Skinkansen" is pretty driving and as futuristic as you might hope for from this kind of music. While I prefer the songs with vocals the instrumental tracks do flow like songs, which is what sets this project apart as all too often electronic music is merely sounds to dance to. But they have collected a strong array of sounds, that break from the typical techno synths.

"Lewis in Pomona" is more experimental and leans a little more in the direction of sounds, though the dystopian house beats keep it flowing along. 'Hilo Sky' is a strong testament to what puts them at the top of this sort of thing. There are organic instruments in play while they keep the throbbing intensity. " Burst of Laughter" is more vocal-oriented, though the pulse is not as intense as the previous song. "Ottavia" is more of an interlude than a song. There is an acapella version of the second song as well which I am also not counting for the purpose of this review though it's an interesting touch. 

"Gene Pool' flows of a chilled-out pulse, that relies more on ambiance. "Oh Thorn" works off a similar ambiance, but the vocal line gives it more motion with its chant. Female vocals appear on the also mellower "Iron Bones". The bass line is minimal but bounces around, as the vocals solidify the song. It's the best use of ambiance on the album. The album closes with the acoustic "Stick Man Test'  I'll give this album a 9.5, and see how it grows, on me. I appreciate their willingness to try new things even this late in their career. 

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Kylie Minogue : "Tension"

First time I have sat down to consume one of her albums in a single sitting for review. This is Kylie's 16th album. 15 song writers and 9 Producers which is more than legit rock bands , but these days  pretty par for the course when it comes to pop music, and more respectable than artists like Doja Cat and Lizzo who have over 25 of each.  Minogue's brand of dance music is more complex than what either of those artists are doing. She also has more of a European fan base, with more progressive tastes. The most remarkable thing, might be also due in part to her producers, but Minogue, does not sound like she is 55. Her voice is light and high almost like her barely 20-something pop counterparts in the States. House is a strong element to her music that can be felt on the opening song. 

"Hold On to the Now" sounds like if the Spice Girls went into the future and given the secret to what would make pop music work in 2023. Does not sound like her vocal performance is as inspired as the first song. "Things We Do For Love" nods in the direction of Madonna's influence on the genre, though it has a very youthful hook to it. The title track has a synth line that sounds like it was pulled from a 90s gay club. Which I think finds her appealing to queens old and young. I wonder how many are going to speculate how she drank vocally from the fountain of youth. This album is like hearing the portrait of Dorian Gray tell you age is nothing but a number which seems to be proving true for her. The carefree "One More Time"  even with all the songwriters aboard feels like filler. 

"You Still Get Me High" sounds like her producers have been listening to Taylor Swift. It gets supper peppy for the kids on the chorus, which makes it harder to take the song as seriously. The same thing could be said for the rapping going into "Hands". Though in the moments on the verses she sings on a lower voice, the closer I think we are to hearing what she sounds like beyond the smoke and mirrors. "Green Light' comes the closest to bringing back more of a disco sound. This is aided by the sax solo that flirts with the song.  It also might be the albums best song.  She wants to pretend the more commercial Euro-House sound of the 90s is the way to go on  "Vegas High" and ends up sounding like Aqua. 

"10 Out of 10" is most likely playing on the Sirrus radio of most Hair Salons today. If this song is not playing at the next gay bar you go ask for your money back, since there has not been many gay anthems this year and this feels like the one you have been waiting on. "Story" closes the album and once again there is the sense the was written for a much younger artist, but Kylie proves she can still get her voice up there. It sounds like this is being doing without too much studio magic. The deluxe edition came with a second disc, but for the purpose of this review I am just reviewing this album presented on this disc.  I will give this album a 9, it's much better than the new Doja Cat if we are to compare pop music, though is still the part of the big entertainment industry and is rolled off the assembly line with a rainbow gloss is the gay album that surpasses Sam Smith's album in every way.

Charli XCX : "Number 1 Angel"

So this British chick is hot as hell, and makes music that is better than just decent. Her last ep was really fucking good.This album is a mix-tape, which means nothing, other than it's a collaboration, so I am not sure what separates that from this being one of her albums, so for all partial purposes at this blog this goes down as being an album.The first song features Starrah and RAVE. It's a shade darker in terms of the beat than most of her other work. There is a slightly off of center from mainstream pop feel to "3am" . This has MO on it. As far as pop goes its smarter than what we found on Katy Perry's last album, though more up-beat and radio minded than the first song. "Blame It On" has almost a dub beat to it and her vocals have a similar off beat accent. The very rhythmic accents than give it a more hip-hop feel are pretty cool. I am not so sure about the 90s techno feel of some of the backing tracks that feel like watered down house. When the square synth line bounces in it does give the song more heft.

"Roll With Me"  has us back on the more house like beats, it's very Euro sounding. Lyrically it's beginning to get a little redundant. It is an interesting cultural side note than pop songs are going from love songs to be obsessive day dreams about what amounts to little more than a superficial crush, since thanks to Tinder culture that about the depth most pop listeners have. This is neither negative or positive to me as the traditional relationship model is outdated and needed to die. "Emotional" feels like there is less of an emotional connection and more business as usual until we get to the chorus and then it's merits are the interaction of the vocals against the beat. The almost new wave sheen of "ILY2" works much better than what was going on with the previous song. There is actually guitar on it. While that is not something I expect from pop music when it occurs it is appreciated.

"White Roses" has a more somber pulse, though she sings it more like a ballad. She has more of the auto-tuned styled effects on this album. It's more minimal in the arrangement not unlike the new Taylor Swift in this regard. Uffie joins in on "Baby Girl. The beat sounds like it's 80s New Edition. The lyrics are stale bubble gum, with the underlying sexuality the only thing that makes it worthwhile. I can see where this might bring comparisons to Madonna's "Lucky Star". With a song called "Drugs" I can only hope for something more interesting than the previous song. The vocals are hooky yet understated. The backing track to "Cupcake" sounds like it should be on an anime soundtrack. With rapper CupcaKKe busting out a verse that sounds like it's from a 90s No Limit album, in other words Mia X. I'll round this up to an 8.5 , it might grow on me. Far from reinventing the pop wheel, but good for what it is.

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

the Weeknd : "Star Boy"

I have been waiting for this one ever since I heard the title track which I have been wearing out, though I have avoided other spoilers so "Party Monster " was a happy surprise. I had seen the video for "False Alarm" and was still as unsure about that song as I was the first time I heard it. In some ways it reminds me of Bloc Party. This is not the only hint of new wave as "Secrets" would not be out of place on a Pet Shop Boys album.   The tone of this album is much different and embracing more of a dance vibe with strong ties to house music. With the amount of drugs is supposedly does this is no surprise. The Micheal Jackson influence can be still felt on songs like "Rockin" though musically it is much more like Euro dance.

This is dramatically less of an r&b album, so when the ballads do come with songs like "True Colors' it has more of a pop feel.Lyrically there is also a little more hope and much less self deprecation as he beings to see how functional of a drug addict he may or may not be. I'm really sure about the interlude Lana Del Ray gets on this album, but it's pretty unoffensive and finds her in more of Siouxsie like place. I am not much of a Kendrick Lamar fan so I was braced when it came to " Sidewalks". It is not the album's strongest song , but the competition is pretty fierce. "Six Feet Under" which reminds me more of his "House of Balloons" period falls out of the previous song and is more than solid. It sound like like Future is on this song as well as "All I Know " which he is credited with. This songs feels more like something that Future would be on more so than the more foreign depths of " All I Know"

The lighter tones of this album are once again demonstrated on " Love to Lay", which could be a Phil Collins song. It's a lot happier than I think I am ready for considering where I am in life, but well written and I commend the use of colors that are very different than what we heard from the last album. "A Lonely Night" grooves in a much more light hearted funk infused way than the title might suggest. When it comes to break up, he is not taking them as hard here. "Attention" does sound like more familiar territory, though it is not ground that is being re-tread. Lyrically this song rings true for me in regard to relationships past and present. Production wise things are pristine and one of factors that prevents this album being as dark as some of his other work. "Ordinary Life' winks that " No Ordinary Love" in the way it kicks in. A little of the shadows creep in on "Nothing Without You". It's ballad but with enough electronic elements to keep it from wallowing in the emotions.  This is another song whose lyrics hit me as being  pretty timely." Die For You" is another powerful break up song that creates a weird blend of pop, electronic and soul.

When Daft Punk re-joins him it is for a very late 80's Michel Jackson styled piece "I Feel It Coming" which I do not hear fitting on the radio as well as "Starboy".  Well crafted and true to what Daft Punk would bring to the table I think there are much stronger songs on this album. Overall lighter in tone , but still a well crafted and written album I'll round it up to a 10.

 

 

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.