Here’s a review post for you people out there because lately, I’ve been slumped into a depressive cycle of movie watching, TV show watching, music listening sloopery and it’s just been…hard…figuring things out…and trying to slap myself back into semi-consciousness from that self-dug hole of monotonous entertainment. Wait, actually the entertainment itself wasn’t monotonous but the very act of indulging in that entertainment was kinda monotonous.
So over this week, during which I conveniently DIDN’T post anything, I’ve been watching some movies, watching A TV Show and listening to NEW MUSIC as opposed to generally old ones that I prefer. Really, my music tastes are prehistoric to say the least. NO ONE, I MEAN NO ONE, listens to Kate Bush anymore. If they do, they tend not to be 19 year old, soon to be 20 year old boys from a tropical island in the Indian Ocean.
ONTO THE MUSIC:
Troye Sivan’s youtube channel was my first interest but then I found out that he was working on SONGS and when his EP came out I was pumped and then I waited a good year and half for the buzz to die down so I could formulate my own, unbiased opinions about it and then immediately started listening to it. And so far, it’s been amazing. Troye Sivan you genius.
His youtube videos are funny (most of them at least) and his songs are really really really cool, in that it makes you feel part of an exclusive club because it’s not computer generated pop-retch aimed to please brainless hordes. It’s a teenager actually making music he genuinely feels honest about.
Zedd broke into the scene of EDM and dance music with his mindblowingly well put together ‘Clarity’ featuring the vocals of Foxes and since then he’s been slowly working his way towards this album. Before this he released a few singles; ‘Stay the Night’ featuring Hayley Williams was a definite hit while that song with Ariana Grande was definitely not something we want to remember. But this album (NEW ALBUM) is a good record because
- He’s ditched piss-poor (talent wise) vocalists and collaborated with some really awesome vocalists to create a polished, overall cohesive album that’s very jangly, catchy and very character heavy.
- He’s also ditched the bass drop heavy dubstep (a la Alessio, Tiesto, Hardwell and other such well know DJs) to create something in between melodic trap and dance electronica featuring some bass beats but more creativity. Which is great little evolution me thinks.
Florence + The Machine’s first album was hectic, almost schizophrenic and incomparably frenetic in its efforts to establish itself onto the mainstream. It was a good record featuring such cheerful, optimistic sounding classics as ‘Dog Days are Over’ and ‘Cosmic Love’, and less popular, equally good and very much depressive records such as ‘Howl’ and ‘Blinding’. The cover features an elfin Florence being anything but personal and real. The second album is more brooding and heavy, with weighty tracks about grief, love and pain from ‘Never Let Me Go’ to ‘What the Water Gave Me’. It’s majestic, soaring and downright depressing. It feels a little more personal than the first album but there’s still a veneer of melodrama covering the artists from the audience.
So the third album is a nice progression. Dropping the fantastical, airy fairy bunting of the first album and the heavy doldrums of the second album, Florence has somehow managed to make this album both uplifting and melancholy. ‘Delilah’ is as happy as ‘Spectrum’ from her previous album was and ‘St. Jude’ is as softly depressive as ‘Never Let Me Go’ was. Are there parallels? Yes. But it’s a best of both worlds scenario here for the third album and it’s very thematically isolated from her two previous albums. Not to mention we can finally glimpse a bit of the real Florence as a person through the lyrics and the melodies, not to the mention the slightly intimidating, hyper real cover. Those eyes, man. Those eyes.