Mac Miller-The Divine Feminine

Mac Miller
The Divine Feminine
Warner Bros. (2016)
By Joe Bofani

The Divine Feminine released September 16th, 2016. The album did not generate any huge media storms when officially announced over the past July. Mac did most of his work perfecting his album rather than promoting it. One could guess from the title of the album that he would be taking a more artistic approach to his album this time. We saw a preview of his new emerging style in his last album, GO:OD AM in 2015. It’s safe to say that The Divine Feminine by Mac Miller showcases the true new sound that Mac has transitioned into within the last few years. His new sound has more soul and feeling in it rather than his Blue Slide Park days, full of being upbeat and more energetic. It is expected from any young artist that they will eventually mature and shed off their old style. It’s not set in stone that Mac will never return to his old style, but he has definitely proven where he is as an artist currently. The Divine Feminine explores the theme of love through a Neo soul approach with classical instruments placed strategically in the background. Most of the songs on the album harbor feelings of the sadness and happiness of love. It’s the type of music someone would listen to on a rainy night’s drive back home. The first song on the album, Congratulations, underscores the tone of the rest of the album. It starts off with a piano playing and a women’s transcendental voice repeating the word love, and then a calm Mac sings about a relationship on its last thread. He then goes on to try and explain to his lover how much he loves her in order to get her back. As stated before, the rest of the album explores similar ideas to this. As a longtime fan of Mac Miller, I would say that I enjoyed The Divine Feminine. It was refreshing and interesting to finally get into Mac Miller’s head, so to speak. Who knows how long he has this type of music to share with us. It doesn’t really matter though, because we should be glad that it has been given to us. The greatest part of The Divine Feminine is that each listener can find their own meaning in each of Mac Miller’s new songs

“The Divine Feminine” is available on iTunes, Spotify and Amazon.

Hozier - Hozier

Hozier
Hozier
Columbia (2014)
By Ksenia Gorinshteyn

Although Hozier is not new to the music industry and writing his own lyrics, his new self-titled album changes the typical sound of blues, giving it an acoustic, lullabye tone. His careful choice of words and their blend with the music make listening to the album feel like an intimate trip into his mind. Hozier takes sensitive subjects, such as domestic abuse and homophobia, and crafts them into song, sort of masking the seriousness, yet still addressing it with powerful language.

With lyrics like “Never feel too good in crowds / With folks around, when they're playing / The anthems of rape culture loud / Crude and proud creatures baying,” Hozier tries to get his point across through situations that mirror societal attitudes on debatable topics. The simplicity of each track balances out the heaviness of the subject in the song. He also writes about being with a loved one and enjoying his/her company. In his song “Jackie and Wilson,” sung to a full band, he writes “She's gonna save me / Call me ‘baby’ / Run her hands through my hair / She'll know me crazy / Soothe me daily.”

Every song on the album features only his voice and his guitar work, with the occasional piano player or cymbal in the background. While some of the album has a somber sound, Hozier shows his happy-go-lucky side with songs like “From Eden” and “Someone New;” creating a livelier mood.

“Hozier” is available on iTunes, Spotify and Amazon.

St. Vincent - St. Vincent

St. Vincent
St. Vincent
Loma Vista (2014)
By Alli Smith

Singer-songwriter Annie Clark, otherwise known as St. Vincent, recently released her fourth solo album. Many have praised the self-titled record, yet some long time fans have been critical of it.

The kind of album that can draw such diverse and strong reactions from people is bound to be memorable. Every song on St. Vincent has its own unique sound, but at the same time has a consistent tone.

St. Vincent discusses the idea of living in the digital era on this record. The track “Digital Witness” brings up the fact that people in the new millennium feel the need to document everything happening in their lives, and that if they aren’t getting approval for every single thing they do, it’s not worth doing. This same idea is presented in the song “Huey Newton,” where St. Vincent sings, “I’m entombed in the shrine of zeroes and ones.” Annie Clark is acknowledging that our Internet presence will outlive our real lives, which is a disturbing reality.

The tone of St. Vincent is generally frantic and anxious. On the track “Bring Me Your Loves,” she chants “bring me your loves, all of your loves, I want to love them too you know” repeatedly and hurriedly. Other songs battle the idea of how to approach feelings of loneliness and growing older. On the song “Rattlesnake,” Clark asks herself if she is “the only one in the only world.” The closing track, “Severed Crossed Fingers,” has Clark revealing her conflicts between old age and youth, and once again how to live in a world overtaken by technology.

Musically, St. Vincenti> is Annie Clark’s catchiest record to date. The hooks and refrains are memorable thanks to her use of synths, layered vocals, and robotic sounding beats. The guitar and vocals sound distorted on most of the tracks, but this only benefits the record and adds to the technological dystopian theme lingering throughout.

Despite some fans’ disappointment with the fact that Annie Clark doesn’t want to make the same record over and over again, St. Vincent’s latest release is one of her strongest yet.

Death Cab for Cutie - Transatlanticism Demos

Death Cab for Cutie
Transatlanticism Demos
Barsuk (2013)
By Alli Smith

Back in 2003, the Seattle-based indie rock group Death Cab for Cutie released their fifth album Transatlanticism, a record that launched the band into the world of commercial success and transformed their expanding fan base.

This year, Death Cab fans were excited to celebrate the ten-year anniversary of the beloved record. As a gift to fans, the band decided to release the Transatlanticism demos, revealing the inner workings of their breakthrough album.

The Transatlanticism demos are the skeleton of what would become a full-bodied record. The demos showcase synthesized beats in songs such as the title track “Transatlanticism,” which later became a track flowing with lush guitar and piano sounds. Messy guitar strums take over other songs like “A Lack of Color” and “Expo ’86,” which would eventually evolve into more polished tracks that were produced in full. “The Sound of Settling” was released as an upbeat tune, but as a demo is revealed to have at one point been a calm acoustic ballad.

Lyrics to certain songs were altered as well, nearly changing their meaning. In the song “Title and Registration” front man Ben Gibbard originally sang “and you are left with disappointment and regrets that bind, and keep you up at night,” making the song about the pain an ex-lover is experiencing. In the finished record, he sings “and here I rest, where disappointment and regret collide, lying awake at night,” changing the perspective of the song into a breakup that he is experiencing.

Hearing raw outtakes of Transatlanticism gives listeners a glimpse of what Death Cab for Cutie were experimenting with and creating right before reaching their big break. New listeners may be curious as to what Death Cab have to offer after listening to these demos, and longtime fans are sure to enjoy being able to hear the sound of a classic record slowly settling.

Arctic Monkeys - AM

Arctic Monkeys
AM
Domino (2013)
By Kasey Wanek

Almost a decade ago, Arctic Monkeys popped onto the music scene with their first album, Whatever People Say I Am, That’s What I'm Not. Now, with the recent release of their fifth album, AM, the British rock band has made history as the first independent rock band with 5 studio albums debuting at #1 in the UK. With AM, the band had an opportunity to develop new sounds but somehow keep the familiarity of their previous albums. Like their third album, Humbug, the Monkeys were in collaboration with Queen of the Stone Age's Josh Homme, and it shows in songs like "Do I Wanna Know?" and "R U Mine", which both give off modern rock vibes.

The after-midnight sound of AM varies widely: there’s the captivating falsetto harmonies in "Do I Wanna Know?" and "Snap Out of It"; the R&B feel in songs like "Mad Sounds" and "No. 1 Party Anthem", in which lead singer Alex Turner displays more ambitious vocal stylings; the 'doo wops' in "Fireside"; and the beefy guitar riffs and Black Keys garage quiver in "I Want It All". This album shows not only their growth with new sounds, but also exhibits the new level of maturity with their lyrics. "Deep as the deep Atlantic Ocean, that’s how deep is my devotion," Turner croons in "I Wanna Be Yours", unveiling his affection for lyrics dealing with young love and broken hearts. He then displays more sarcastic and almost sassy lyrics in "Why Do You Only Call Me When You're High?" and "Snap Out of It”, both prime examples of how Arctic Monkeys don't take the stress and demand of the music industry too seriously.

The British indie rock band has dominated the music scene with their five albums, in part due to Tuner's masterful control of language in executing his lyrics and the very diverse sound the Arctic Monkeys have developed in the past 7 years. Showcasing their experimentation with new melodies and lyrics, AM is their strongest album yet.

Birdy Nam Nam - Defiant Order EP

Birdy Nam Nam
Defiant Order EP
OWSLA (2013)
By Luke Nozicka

Since 2001, French DJ crew Birdy Nam Nam has been traveling, improvising, and reinventing the way the world views turntables. Birdy Nam Nam consists of four unique musicians who all have something different to bring to the table. Their debut album, Birdy Nam Nam, was released in 2006 under Uncivilized World Records, which featured 18 original tracks. iTunes places the album under the hip-hop genre, but with their diverse style, sampling, and unconventional techniques, it is much more than that. Recently, Birdy Nam Nam teamed up with DJ/Producer Skrillex, who now releases their music via his notorious record label, OWSLA. On January 22, 2013, OWSLA released the quartet’s newest single, Defiant Order EP. The original track is full of garage drum samples and a crunchy sliding melody that will guarantee to be stuck in a listener’s head for days. The synths used in this track come off sounding like real distorted instruments, like a phased out electric guitar. The samples are also something worth talking about in this tune, which sound as if they were taken from a trippy old movie. Birdy Nam Nam is famous for making tracks change frequently, with breaks and new sounds, so that a song can completely change within seconds. It also consists of four remixes, all by different experimental genres. The first remix, by Breakbot, adds a bit of a jazzy swing and old school vibe to the EP. The funk-filled remix has a beautiful piano melody and cool vocal samples throughout. The most popular song on the EP is the remix by the up-and-coming trap artist UZ. This bass-filled remix is definitely the crowd pleaser of the EP and makes up for the other two not so popular remixes on it.

Macklemore & Ryan Lewis - The Heist

Macklemore & Ryan Lewis
The Heist
Macklemore LLC (2012)
By Hannah Stahl

Macklemore is a young white rapper who calls Seattle, Washington his home town. The artist, known by family and friends as Ben Haggerty, is changing the rap game by introducing a more positive, upbeat tempo while shying away from derogatory topics and excessive profanity. Macklemore's newest album, The Heist, is his latest collaboration with close friend and producer, Ryan Lewis. The album is a tribute to the times, as it captures and comments on many present-day issues. Topics such as gay rights, consumerism, and drug abuse/addiction fill the album with real feelings that give the lyrics raw emotions that anyone can relate to. Even though the topics are broad, the opinions are very one-sided, coming from a liberal point of view in support of pro-gay rights. The two are masters of words, dropping lyrics that make you think of your life and your priorities. On tracks such as “Make the Money” and “Wings”, he is constantly reminding us that money can be an evil entity in our lives that changes a person as he or she acquires more and more.

A slower track, “Neon Cathedral,” creatively compares bars to churches, since the speaker confesses his emotions and sins in bars just as easily as in church. He become more and more honest the longer he sits at the bar. “Bombom” is an ingenious track with no lyrics, just simple beats artistically put together that flaunt the pair's ability to hypnotize the listener. The album hit #1 on the iTunes Rap Genre bestsellers list the night it was released, and it continues to ride in the top ten. The unique, fresh sounds of Macklemore and Ryan Lewis promise the both of them a long and successful career in the genre that seems to be lacking in true creativity and novel messages about deep subjects like love.

One Direction - Take Me Home

One Direction
Take Me Home
Columbia Records (2012)
By Abby Snowden

Two years since their debut on X Factor, One Direction has released their second album entitled Take Me Home. Best known for their song “What Makes You Beautiful,” One Direction does not allow this album to stray too far from what we’ve heard from them in the past. With a little help from their friends Ed Sheeran and McFly, these five teen boys have kept the same general party-hard, dance-forever sound.

The album opens with “Live While We’re Young,” which is a slightly suggestive introduction, with lyrics such as “I know we only met but let’s pretend it’s love… Tonight let’s get some and live while we’re young.” We can’t expect much else from 18-20 year old boys, but overall, this song just makes you want to grab a friend and dance. The songs “C’mon, C’mon” and “Kiss you” have the same general concept. They’re just about a bunch of teenage boys looking to have a good time with some good-looking ladies. (“Oh, I just wanna show you off to all of my friends / Makin' them drool down their chinny chin chins / Baby, be mine tonight, mine tonight.”) These suggestive undertones are easily masked by the songs’ catchy beats, allowing parents to let their 12 year-old daughters listen without thinking twice about it.

The most popular song on iTunes by an overwhelming amount is “Little Things,” which was written by close friend Ed Sheeran. Obviously so, this song takes on a very “Ed Sheeran sound,” for lack of a better phrase – not exactly something they should keep doing, but for this song it works (although it feels like every other song on their previous album, Up All Night.) “One Thing,” “What Makes You Beautiful,” and “Everything About You” all take on the standpoint of the boy who sees beyond a girl’s imperfections and loves who she really is. In “Little Things,” they repeat the same “You still have to squeeze into your jeans / But you’re perfect to me.” It’s a common theme for them to sing about being in love with girls despite those girls’ self-confidence issues, and it seems to be working pretty well for them. The other song written by Ed Sheeran is “Over Again.” This song was not a One Direction song, or should I say, it shouldn’t have been. Anyone who has ever listened to even one Ed Sheeran song can hear his musical stylings instantaneously. It strays just a little to far off of the One Direction path that it almost doesn’t fit on this album.

My personal favorite, “I Would,” was written by McFly, another pop band originating in England. There is no question that thousands of teenage girls are waiting in line to even meet a boy from One Direction, but in this song the male speaker has a hard time getting a girl to notice him. She is preoccupied with her boyfriend, who “doesn’t treat her like [the speaker] would.” For once, One Direction doesn’t get the girl, leaving them to think about all of the things that they would do if they had. When you listen to it, you can’t help but tap your finger along, or at least dance a little.

Overall, it’s just another pop album, made by a bunch of attractive British boys. It’s a shame it wasn’t released during the summer, because it is undoubtedly one of those albums you want to blare in the car while you’re driving with the windows down. Hopefully they’ll progress musically with their next release, but for now I think teenage girls everywhere are satisfied with the One Direction they’ve come to love.

Check out:
“She’s Not Afraid”
“I Would”
“Kiss You”

Tame Impala - Lonerism

Tame Impala
Lonerism
Modular Records (2012)
By Max Loebman

Hailing from Perth, Australia, psychedelic rockers Tame Impala recently released their sophomore album entitled Lonerism. Those who were fans of their debut will not be let down. Released on Australian label Modular Recordings, Lonerism takes Tame Impala's sound to a whole new level. Lead singer Kevin Parker went into the studio alone with the whole album already written and then executed the recordings on his own. However, this is not new. Leaving Parker to the production and performance is how Tame Impala has handled past recordings as well. The overall production on Lonerism shows a higher quality to Tame Impala's music. The recordings are tastefully layered with doubled vocals, Beatles-esque harmonies, driving synthesizers, and laser-beam guitars. One may say they evoke the sounds of the '60s or '70s and, while this may be true, they bring that psych-rock sound to a whole new level.

The album opens with the minimalistic "Be Above It." Layers of synthesizers enter over a pulsing drum beat along with Parker whispering, "Gotta be above it". This goes on for not too long before being interrupted by Parker singing, "And I know that I gotta be above it now / And I know that I can't let them bring me down." Under this, synthesizers slowly build and quick delays spontaneously mingle with the drum track. Further on through the album, we find the single "Apocalypse Dreams." This song is the first Tame Impala song not written by Parker alone, as he was joined by member Jay Watson. The song features a very punchy piano, bendy synthesizers, lush vocal tracks, and fuzzed out guitars. While this may sound like previous Tame Impala works—or even similar psychedelic rock bands—the sound is very unique in its own way.

Multiple songs on Lonerism feature hip-hop influenced drum beats, setting a great upbeat vibe while blending contrasting genres. The song "Mind Mischief" sounds almost like it could be a Beatles track with its fuzzy harmonizing guitars and two-part vocal harmonies. These are all layered over a very funky hip-hop style drum beat. As you start getting into the melody, the song breaks into an eerie bridge, which eventually leads to an instrumental ending. Many of Lonerism's tracks contain large instrumental portions, though each is executed perfectly.

I've found through my listens with this record that more than a few of the tracks reach me on a level higher than just musical pleasure. Memories, feelings, and emotions are evoked through Tame Impala's lyricism, instrumental portions, and “non-musical” sounds. Something unique that Lonerism brings to the plate (in contrast to previous releases) is the use of ambient field recordings and sampling. In an interview with MTV, Parker stated, "I obsessively record sounds wherever I am. Like, if I'm at a train station, I'll record the trains or a megaphone talking. I love ambient sounds. For me it's like taking photos. I love the idea of recording a collection or a library of weird sounds of stuff." These sounds can be found throughout Lonerism, but they are most prominent in the breakdown of the track "Keep On Lying." Multiple voices are heard conversing with delayed effect, all under the song’s instrumentation. A similar track, "Feels Like We Only Go Backwards," brings us a slow yet walk-able tempo layered with dreamy vocals, synthesizers, and a smooth drum beat. One of the more notable songs would be the driving blues jam "Elephant." The song is probably the most accessible on the album and delivers a sound that is slightly different than that of the rest of the album. Guitars vamping on a heavy blues riff serve as the center of the song, and the drums thump just as an elephant would, which makes the name somewhat fitting. As you listen, you can imagine an elephant cruising around some kind of rock 'n' roll paradise through Parker's seemingly effortless vocals, the simplicity of the drum track, the rewarding bass lines, and the swelling guitar soloing.

Lonerism shows Tame Impala's sound growing confident, mature, and in a way, more unique. While many influences can be drawn out of the songs, Tame Impala manages to hide these more than in previous efforts. All is tied together in their own unique way. If you're looking for a good neo psych-rock record, Lonerism is the way to go. Best listened to in isolation, it also makes for a great soundtrack for a drive around town or even sets the mood for a rainy day, though not in a negative way. Lonerism will evoke emotions of all sorts and does so in an extremely pleasing manner.

Muse - The 2nd Law

Muse
The 2nd Law
Warner Bros. (2012)
By Corinne Demyanovich

“Christian gangsta rap jazz odyssey, some ambient rebellious dubstep and face melting metal flamenco cowboy psychedelia” is how Matthew Bellamy, Muse frontman, described the band’s new album, The 2nd Law, on Twitter. Just as Bellamy’s tweet says, The 2nd Law is a very eclectic album. This is Muse’s sixth album, and like their previous album, The Resistance, it was produced by the band itself. After topping multiple charts in 2009 with The Resistance, Muse doesn’t seem to be too concerned with topping more; this album is about experimentation and fun. The 2nd Law, whose title is based on the second law of thermodynamics, tells a story of survival within a decaying world. If any group can tell that tale with so many diverse sounds, Muse is that group.

“Supremacy” kicks off the album with crazy seven-string guitar riffs and Bellamy’s classic falsetto vocals. The head-banging beats and orchestral sounds combine to make what could be a James Bond theme. Album single “Madness” begins softly with a pulsating beat, which then crescendos into a booming chorus, then back into a soft, electronic beat again. Its popularity has made it an instant hit next to their previous songs “Uprising” and “Starlight.” Reminiscent of early Red Hot Chili Peppers, “Panic Station” is a funk-heavy number and, quite simply, a fun listen. It’s catchy like “Supermassive Black Hole,” an older Muse hit, but it brings out the drums and the trumpets, which emphasize the groove. After the craziness of “Panic Station,” the official song of the 2012 London Olympic Games, “Survival” follows. Muse structured the song to reflect the way in which an athlete gets in the mindset of complete determination to win. The track starts with symphonic music, but later explodes into a Queen-esque, opera-singing, guitar-playing jumble of sound. The song has received mixed reviews, but drummer Dominic Howard remarked, "If [the fans] hate it, cool. At least it's provoking something. It's a pretty weird song for the Olympics to choose, but it's cool that they think the song can represent the enormity of the Olympics.” It may be an odd tune for the Olympics to choose, but it’s a song that only Muse could pull off. On a cuter note, “Follow Me” opens with Bellamy’s unborn son’s heartbeat. He says that this is his “becoming a dad track” to KROQ’s Ted Stryker. He used the heartbeat to build up the tempo and rhythm, over which he sings, “Follow me / You can trust in me / I will always protect you / my love.” The following track, “Animals,” is quite reminiscent of Muse’s 2001 album, Origin of Symmetry, in that it brings out Muse’s mellow side. It features outstanding guitar skills from Bellamy and an interesting 5/4 time signature that gives the track a unique sound. The song explores economies collapsing under stock market drama and the fight to save big industries, ending the track with Wall Street riot noises. But Muse abandons the political lyricism for another intimate song. Providing a lullaby to Bellamy’s new son, “Explorers” is a very soft and beautiful song. Similar to “Explorers,” “Big Freeze” is on the lighter side, but it also incorporates similar sounds to U2 and builds into an upbeat, alternative song. The album takes a huge twist when “Save Me” opens. Bassist Chris Wolstenholme provides the leading vocals, which has never been done in Muse’s history. He writes and sings about his battle with alcoholism in this song and in the next one, “Liquid State.” “Save Me” references his wife’s help throughout his battle, whereas “Liquid State” is more about the person Wolstenholme turned into when he drank. With “The 2nd Law - Unsustainable,” the album returns to its doom-filled, end-of-the-world moodiness with opera singing, a glitchy newsreel talking of the world’s collapse, and dubstep-like sounds, to form a unique mix of classical music and progressive rock. The next and final track, “The 2nd Law - Isolated System,” also features many voiced newsreels about the world’s end. The song contains no vocals, relying heavily on the soft piano and the voices, ending the album with a dreary good-bye to the world.

To me, this album is great because it is fun. Muse had time to make this album what they wanted it to be and it’s still a big success. Combined with Bellamy’s love for exploring any and all types of music and the band’s hard work producing the album themselves, The 2nd Law showcases the band’s love to rebel against the rules and push it as far as they can go when making music.

Fiona Apple - The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Chords Will Serve You More Than Ropes Will Ever Do

Fiona Apple
The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Chords Will Serve You More Than Ropes Will Ever Do
Epic (2012)
By Alli Smith

After seven long years of hearing no new material from the singer/songwriter Fiona Apple, she released an album in June with a title that may take a few breaths to read: The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Chords Will Serve You More Than Ropes Will Ever Do.

When it comes to witty, dark, and sometimes humorous lyricism, Fiona delivers strongly on this record just like she has in the past. Similar themes in the majority of her songs arise, such as rough break-ups or a desire for something that she cannot attain. Some lyrics come off as clever and very metaphorical like in the track "Valentine,” in which she exclaims, "I'm a tulip in a cup, I stand no chance of growing up." Others are very bold and straightforward such as the song "Left Alone,” where Fiona asks herself, "How can I ask anyone to love me, if all I do is beg to be left alone?"

What stands out in The Idler Wheel compared to Fiona's previous discography is the incredibly unique instrumentation. In the track "Jonathan," the piano seems off-kilter yet still manages to sound catchy, while other tracks contain sounds that do not even sound like instruments to begin with! "Periphery" is a song that opens up sounding like a person walking on gravel, somehow managing to maintain a beat. Other tunes come off as otherworldly, like "Hot Knife," which contains a simple drum heath and a loop of romantic vocals.

Speaking of vocals, Fiona's voice is as strong as it's ever been, and even more diverse. One particular lighthearted song that shines on the record, "Anything We Want,” holds her whimsical notes perfectly and gives off an almost giddy feeling. On the flip side, Fiona practically screeches on "Regret," making it a harsher listen. "Daredevil" is also full of wonderful screams, delivered in a beautiful fashion.

All in all, The Idler Wheel is a very memorable listen and is full of soundscapes and vocals that are uncommon in most records. It keeps you interested, despite the fact that it contains some disheartening themes. Fiona has progressed since the last time we've heard from her, and has proven with this album that she can still manage to appeal to longtime fans while luring new ones in.

Of Monsters and Men - My Head Is an Animal

Of Monsters and Men
My Head Is an Animal
Universal (2012)
By Marissa Payne

Of Monsters and Men, an indie folk/pop six-piece, recently sailed from Iceland into a sea of other up-and-coming musicians here in the States with their debut album My Head Is an Animal. After being drawn in by their single, "Little Talks," one can’t help but enjoy the energetic sound that is found throughout the album. While it is easy to get caught up in the album's delightful tones, lead singers Raggi Þórhallsson and Nanna Bryndís Hilmarsdóttir have multiple stories to tell that make this album worth a deeper listen.

As the title suggests, many of the lyrics use animals as characters in stories that convey human emotions. "Dirty Paws" is about an Icelandic fantasy where animals must protect their home and the song's enchanting, mellow sound puts the listener in that fantasy world. The second line contains the name of the album, making it the perfect opener. Other songs such as "King and Lionheart" and "From Finner" tell the tales of animals who carry the weight of others on their backs while trying to remain strong, and the upbeat tempo inspires feelings of hope, turning these struggles into a message about persevering through hard times.

Most of the album consists of cheerful songs, but a couple of them stand out a bit more than others. Previously mentioned single "Little Talks" captures this energy beautifully, starting off with the same sound that is found in the chorus before pausing to allow for a buildup of energy. Following "Little Talks" is "Six Weeks," which gives off a rock vibe with its quick guitar strumming and steady beat. The repetitive lyrics make the song memorable without getting dull.

Raggi Þórhallsson recently explained in an interview with The Observer that the band "found [they] could bond better by telling each other fairytales than writing about real life." It's interesting, then, that the monsters in their fairytales aren't so different from the struggles of men and animals in the real world. Either way, Of Monsters and Men created this album to be enjoyed, and the playful sounds make it difficult to not do just that.

Passion Pit - Gossamer

Passion Pit
Gossamer
Columbia (2012)
By Hannah Stahl

Passion Pit, the up-and-coming indie-pop band from Massachusetts, has really set up shop in the indie music scene these past couple of years, especially following the release of their first LP, Manners. The album put Passion Pit on the board for notable bands to keep an eye on, for their upbeat music would set them apart and send them to the forefront. Passion Pit’s second career LP, Gossamer, is an upbeat summer soundtrack, transporting us upon a push of the play button to the happiest corner of the earth, where misery and despair do not exist.

The playful tempo recalls vivid images of sunny days so full of fun and laughter that you can’t help but turn it up and enjoy life. One would never guess that the lead vocalist, Michael Angelakos, suffers from severe bipolar disorder that, at times, can be deliberating, leaving him hung up in bed for weeks at a time. He uses his music to express the distress he’s been through and when listening to the lyrics that becomes very evident. In the song “Constant Conversations,” Angelakos sings of being bedridden with heartbreak and dealing with not wanting to hurt the one he loves with his condition. This also happens to be one of the slower tracks on the album, with a groovy beat that temporarily lulls the album's momentum.

The album covers a variety of these serious topics that are often overlooked when just listening to the album as background music. For example, the first track on the album, “Take a Walk,” tells a story of bad investments and events that lead the singer into financial troubles. But Angelakos juxtaposes this story with the ultimate idea that if one hangs on and continues to roll with the punches, eventually good will come.

When asked in an interview what he hoped to get across in the album, Angelakos responded, “Don’t give up… if you hold on and don’t throw in the towel, you’ll find something that works for you.” The tunes deserve a listen from anyone who is looking for new, fresh, feel-good music to add to their playlist. Overall, the catchy, energized melodies make you want to smile and enjoy life with people that make you equally as happy.

Diplo - Express Yourself EP

Diplo
Express Yourself EP
Mad Decent (2012)
By Luke Nozicka

Philadelphia-native DJ and producer Thomas Wesley Pentz released his latest EP under his stage name Diplo this past June, on his very own record label, Mad Decent. During the time it was released, Diplo was also producing Usher’s radio hit “Climax,” working on a new Major Lazer collaboration, and publishing his book 128 Beats Per Minute. Express Yourself is a culture-clashing, energetic, six-track EP featuring some of the most interesting and upcoming musicians from all parts of the world.

The title track, which kicks off the album, features New Orleans MC Nicky Da B, and is full of rugged bass synths lapped with a catchy drum line beat. Second on the EP is a song called “Barely Standing,” which features British Columbian dubstep superstar Datsik. It’s a bass-filled, fast-paced club banger that is complimented nicely by the vocals of California pop star Sabi. “No Problem,” which starts with a summer vacation feel and high-pitched vocal samples, is the only track on the EP that is explicit. Orange County producer Flinch and Canadian singer My Name Is Kay are both featured on the song; the former is responsible for the indescribable, room-filling bass and the Star Trek laser noises. The fourth song is called “Move Around” and features GTA and Elephant Man. It's full of aggressive vocals and Jamaican samples layered over a hypnotizing bass that will leave listeners mesmerized. The fifth track, “Butters Theme,” featuring DC and Richmond producers Gent and Lawns, is full of funky beats that escalate as the song progresses into a high-energy dance anthem. The song has a unique drum sequence and a Middle Eastern feel to it during these high intensity vibes.

Last but not least is the EP’s most popular song on iTunes, “Set It Off.” Featuring Lazerdisk Party Sex, it’s a fun-to-dance-to, high-pitched track with a steady, marching band drum roll. The EP has been a huge success for Diplo, and remains popular even four months later. Overall, Express Yourself can appeal to people of all styles and cultures, and will get anyone dancing in no time.

Jens Lekman - I Know What Love Isn't

Jens Lekman
I Know What Love Isn't
Secretly Canadian (2012)
By Jacob Worthing

Swedish artist Jens Lekman has always been known for his unique style that makes him recognizable as soon as his songs are played. His free sound is centered on him and his acoustic guitar, but the feeling he creates varies consistently. Lekman has the ability to create wonderful works of music, as he has proven before with such songs as “Black Cab” or “Your Arms Around Me,” and his new album doesn’t fall short of his reputation for colorful songs with enlightening lyrics that take the listener for a ride.

I Know What Love Isn’t is a perfect show of Lekman’s strengths as an artist. The album showcases how his smooth and fluent style turns songs from music into stories. Many of the songs on the album take the listener through many different emotions, ultimately turning the whole album into a single experience around the theme of love and hardships. No one song overpowers or overshadows the others, and each song keeps the flow of the album steady.

As the album progresses, the sound of the songs almost symbolically takes you through the feelings of a love gone sour. The journey starts off with the playful tones of “I Know What Love Isn’t” and continues with the hints of longing in “Every Little Hair Knows Your Name” before moving on to a phase of recognition in the songs “The World Moves On” and “The End of the World Is Bigger Than Love.” The album ends with another song titled “Every Little Hair Knows Your Name,” which emphasizes the journey of a bad relationship. The song is a piano version of the earlier song and it has a weird vibe to it; for some, it may be the sweet ending to a beautiful album, while others may see it as something more real, like the permanent end to a relationship.

Overall, the album is beautifully organized and every song seems like a part of the story. Personally, I find each song satisfying by itself but even better as a whole album. I feel that the songs “I Know What Love Isn’t” and “The World Moves On” will be well-received because of how well Lekman conveys his message through his playful style. I love this album and would highly recommend it to anyone who is a fan of meaningful music due to how effectively it expresses, advertently or inadvertently, the feelings of love. The album is a great experience for any listener, because it is more than just an album -- it is an aid for understanding an important aspect of life.