Brother Ali – All The Beauty in This Whole Life

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Some time ago, Brother Ali had vitality and passion. It was a time everyone hated Hip-Hop made for partying, so some did bland, unmusical Boom Bap and others decided Hip-Hop could be about things other than killing and fucking. Nowadays it’s not mind-blowing anymore and that’s okay, since that era gave us Atmosphere whose followers – like Grieves and Sadistik – are the future. Brother Ali had his sure of fantastic tracks.

When I say ‘vitality’, I don’t mean that Brother Ali gone soft or any of that crap. The best song here is “Out of Here”, and his best song overall is “Faheem”, a heartbreaking song for his son that’s arresting from the first note and the moment Ali opens his mouth. There is vulnerability in his voice, one of an everyman who struggles with everyman issues that despite being common they’re still so huge we need music to deal with them. For a long time, it was one of the first songs I offered any time someone went off on ‘Hip-Hop is not music’ rants.

This album continues with the more introspective, less political nature. Nothing here goes hard like “Whatcha Got”, and that’s okay. The problem is, Ali doesn’t sound like he’s really into making music. Many of these songs ramble and don’t go anywhere. When they do, these are messages we’re familiar with and their delivary isn’t interesting or adds something new.

I’m not even sure if Ali is capable anymore. Like any rapper in this style, he had a tendency to make songs that are too dense to be interesting, but “Out of Here” should’ve been more powerful, darker. It should’ve brought the same vulnerability that made “Faheem” so arresting, yet it just coasts along. If it never sends a comforting message like how life goes on, it also doesn’t provide much insight into the topic. Losing someone to suicide is confusing. It shifts paradigms. We don’t just realize someone is gone, but it was death by choice. Someone actively decided that this whole project called life isn’t worthwhile.

According to the story, Ali took a break from music and went on a trip around the world to learn a bit about the beauty and love and life. Just look at the title. This kind of optimism leads to two things. Either there is a madness, an untamed desire to live and experience and contain everything which often leads to gender-bending music or you get dull, non-confrontational Zen bullshit. As if being complacent, or passive or placid, or whatever bastardization of Buddhism we invent is somehow profound.

Ali’s new found optimism isn’t mad and engrossing. All it does is make him less confrontational, with less desire to jump fully into his ideas. “Before They Called You White” reeks of tokenism, not of anger or of intelligence. Ali wants to take on the invention of whiteness. That’s an interesting topic that people don’t say interesting thing about. I can’t even get angry at Ali missing the cases and histories of racism not done by whites. Nothing is more West-centric than pretending whiteness is the great evil, but at least the idiots who spew that are passionate about it. At his most passionate in his song Ali says ‘Post-Traumatic Slavemaster Syndrom”, which is kind of cool. As for the final hook, it’s ironic. If the eye can’t see itself and needs critique, can I do it to all cultures?

Don’t get the impression that this album provides insight into the racial struggles. Nothing here is like Macklemore’s “White Privilege”, an abomination that was at least interesting. The second time Ali talks about race with focus is on “Dear Black Son”, but since race is everywhere in contemporary discourse the song is not interesting. I don’t mind songs about the Black experience, but don’t expect a “The Blacker the Berry”, something that shows the pain of being marginalized, of being always afraid a random cop will shoot you or that everyone still gives you funny looks despite claiming constantly they’re not racist. There is genuine pain to explore here, but this song is nothing but ‘you’re beautiful and don’t let anybody tell you otherwise’. Considering Ali experienced losing someone to suicide, I think if anyone needs this message, they are people who don’t an identity to give their life meaning.

I digress. This review should talk about how dull Ali’s rapping is on this album. Whatever interesting thing he has to say on “Never Learn”, the best thing about is the bluesy beat. Mostly, it makes me wish I was listening to Grieves who is so talented even when the songs are about nothing he imbues them with emotion. “Never Learn” is just cookie cutter serious Hip-Hop, pleasant on the ear and nothing else. Most of the songs are like this. I don’t get it. Ali is a talented rapper and the first single, “Own Light”, has some life in it. In fact, it does hint that the album might be necessary, taking introspective Hip-Hop to a more optimistic direction and creating the antithesis of Sadistik.

Sadly, the end result is introspective Hip-Hop without much going for it, either in subject matter, atmosphere, tone, wit or anything. The impression is that Ali found peace, and now he doesn’t have much he needs to let out in music besides some joy in “Own Light” and sorrow in “Out of Here”. In the title-track which closes the song, he praises God and overall existence. Forget, for a moment, Ligotti’s pessimism and how existence is always bad. Is that how the passion and love for life should sound like? Isn’t happiness and love wild, untamed emotions which we just can’t contain? Aren’t the best smiles those we can’t control? I’m happy for Ali that he’s at peace, really, but if his heart isn’t in music then he doesn’t have to make music.

Anyone remember “Fresh Air”? Now that’s a song that could cure depression.

2 out of 5 here

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All That Remains – Madness

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At the same time, this album both signifies All That Remains as a talented rock band who broke away from their genre and copycats who have no future besides spewing typical, Serious Rock cliches. Perhaps the album title is fitting, but that would mean the album is actually interesting. It isn’t.

Since I’m writing about it, let’s try to find something fun to say about this. All That Remains aren’t a bad band. Recently they abandoned Metalcore and just did whatever they wanted, so you got songs like “A War You Cannot Win”, “True-Kvlt-Metal” and “This Probably Won’t End Well”. None of these songs was particulalry original, but they were all fantastic. The band slammed. They sung their melodies with conviction, each part stood on its own while connected to everything else. Melodic parts didn’t exist to contrast the heavy parts, but to co-exist together. The band seemed quite content to be in their place. How else to explain the joy of “True-Kvlt Metal”, which had such victorious spite or “War” where they replace Lostprophets in making victorious rock? This new freedom allowed “End Well” to sound so vulnerable.

They still sound free. Across the first four tracks, there’s a roaring Metalcore track with no melodies and all breakdowns. Then they switch to an ordinary combination of their previous styles, while “If I’m Honest” – one of the few good things here – moves to a cocky Country rock thing. It’s impressive how each song sounds distinct, how the band throw themselves at the ideas and prevent the song from blurring into one another. Each has their obvious place and it’s exactly what I expect from a band this far into their career.

Focusing on song ideas never lets up. Even in their ballads, “Back To You” is intimate, quite and low-key whereas “Far From Home” is huge. Normally I’d say this is the ideal place for every old rock band to be. My description sure say the band is the opposite of washed up, and this is more varied than A War You Cannot Win. Yet it’s far worse, and if that one signaled the band finding their purpose, this sees them losing it.

It’s not the old Rockist case of being too varied. The best songs here – “If I’m Honest” and “The Thunder Rolls” stray the most from the genre. The problem is that the band has no good songs, only good ideas. I’m not sure whether it’s more funny or more sad how hard they try in “Safe House” yet completely miss the point. When the breakdown chorus arrives, it needs something more vulgar, more ridiculous than “Welcome to my safe/Do you feel safe now”. Where’s the swearing? Where’s the explicit bragging? Plus, the screaming is closer to low Death Metal growls than Hardcore Punk shouting. We all know that nothing makes the crowd want to shout along more than growls you can’t understand. Every metalcore band improves once they adopt intelligble screams. The song becomes an exercise in seriousness, a desperate attempt to prove these guys aren’t silly partygoers like Five Finger Death Punch.

It gets worse from there. The title-track is about how politics is pretty bad. You can tell by the music video. Although there’s a decent melody buried there, the chorus is a reptition of its title with zero melody or rhythm or swagger. Again, it’s very serious as if that makes for depth. More hilarious is their attempt at seriousness at all. No one takes this type of music seriously. Its essence is theatrics, being overblown and exaggerating emotions because we can. “Far From Home” misses that because it doesn’t go all the way with textures to capture the beauty of always being close to home. Singing with a serious tone is supposedly enough, but it isn’t.

Worse, there is no purpose in thos experiments. When they made “War” or “Kvlt”, the band sounded like they were really into being cocky and telling everyone to fuck off. Finally they sounded like they found something to be passionate over, something more than merely making music. The only song that captures this sense of purpose is “If I’m Honest” and that’s only because it’s the same “I’m a bad motherfucker” narrative, only with acoustic guitars. Although I appreciate the emotions behind “River City”, the good ideas are a sacrifice for a ‘deep and serious’ image.

Many of the songs have quite a killer sound, but the problem is in the lyrics. A kind of a dissonance appears. You want to mosh and party, but all you can conjure in your hand is the band scowling on stage. Whoever thought of the lyrics for “Trust and Believe” should stop using the English language. The song has a great melody with screaming vocals, but the lyrics are too serious. If your idea of fun is shouting the words “trust and believe” – which are already quite trite in rock music – you need medication. The victorious swagger of past albums is gone.

Only two songs stick out and are worthwhile. “If I’m Honest” has been mentioned already. It’s a mid-tempo acoustic rocker that brings back the cockiness of old records. Another highlight is the closer “The Thunder Rolls”, which is a Garth Brooks cover. Yeah, I didn’t see that either but the band does throw themselves with conviction at their ideas, even if their pointless. So the cover ends up hinting that maybe the band should borrow more from Country. Everyone in the song pushes themselves further – you get atmospheric solos and Phil sounding like he’s drinking his last beer watching Megaton blowing up. Perhaps in a good day “Back To You” will also work, its low-key and warm sound is a refreshment after the over-seriousness of everything else.

The band still sounds capable and they play everything with passion, but there is no point to this music, nothing to unify it besides telling you these guys are serious. In an interview they said they’ll go in a more electronic direction but nothing like that is here. It’s an album of cowardice, of trying new ideas but never taking them to the extreme and keeping the serious facade. “Safe House” needed bass wobbles. “Madness” needed more melody, more texture. Oh well, better luck next time.

15. trust out of 5 believe

New Found Glory – Makes Me Sick

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New Found Glory exists currently for about 20 years. I know people who are younger than this band. This is so bizarre. Recently I sat with a friend and we reflected (or lamented, or celebrated) the fact we’re getting older. What makes this all the more bizarre is that New Found Glory works in the genre of youth. Even if you weren’t a teenager in the days of Punk Pop – I was, but was more of a Nu Metal kid – this still sounds like music for teenagers to get loud to. It was catchy, it was loud, it was angry and victorious at the same. For the 30-year-old man, a song like “My Friends Over You” means nothing. For a 16-year-old kid trying to convince himself that he’s not attached to a girl, this song means everything.

In a way, this album is an acknowledgement that these dudes are getting older. Whatever their previous albums sound like, “Party on Apocalypse” is the sound of an out-of-touch adult who remembers being young, yet realizes his youth has been replaced. In style it’s what you expect from a grown-up Punk-Pop band. The riffs are moved to mid-tempo and they discovered you can dance to something other than pounding drums, so you get a slightly funk rhythm. Musically it updates the genre for parties, and many bands went this way. Eventually we find our friends and want to chill with them.

The lyrics are different. Many heard about how the current generation is stupid. Just ask Socrates and how he hated writing. The lyrics are full of discorn, of venom towards the current generation. It doesn’t come from an adult perspective or reminisincing on better days. It’s just as suited for any 16-year-old today who’s confused about how to have fun.

The first verse immediately kicks off with how the ‘living for the weekend’ mentality is stupid. Coming from the band with that nasty tone, they sound like the ones who are actually having fun. All these people who pass out in parking lots and care so much about their image look ridiculous. The band doesn’t get angry over it, but confused and mocking. Later there’s even a slight at Social Justice. It’s the outsider perspective, how things look from the outside. All those people putting pictures on Facebook of them with beer bottles and all this identity politics thing, where people think their race or gender must be their whole meaning. Thankfully the chorus saves it from being just a song about being grumpy about waiting for all the trends to die. In the end it’s a party song about looking at the world from outside, thinkinkg it’s ridiculous and knowing you have more fun.

Two more other songs take this delusional approach – “Call Me Anti-Social” and “Your Jokes Aren’t Funny”. The latter is pretty obvious. Someone’s jokes lost their spark, like when you’re 22-years-old and memes about rape jokes just don’t do it for you and actually look offensive. “Call Me Anti-Social” continues from “Apocalypse” with being even more anti-social, but there’s something charming about it. Like the previous song it’s another response to a world where we’re surrounded by images of people being social (Which is not the same as actually being social). In this world, it’s far easier to feel isolated and alone. Unless you’re sticking your tongue out in Ibiza, you’re no fun. As an anthem of tiredness, it’s fantastic and exactly what I’d expect from a rock band who notices how different the rock landscape is now.

Everything else after that is just a retreat of Sticks & Stones. That’s okay, because New Found Glory have more charm than any band they influenced and overtake them. Anyone else would’ve ruined “Party On Apocalypse”, but it’s their everyman, ordinary people with loud guitars approach that makes it so charming. So when they talk about being used for sex (“The Cheapest Thrill”) or a weird unstoppable love (“Barbed Wire”) it’s cute.

It also lacks vigor. It lacks the authenticity of youth. I’m not saying they are pretending. I’m sure they really care about these songs and the only time a song is close to bad is because the melody is dull, like how uninspired “Blurred Vision” is with repeating a single phrase over and over. Yet what made their original material so powerful was how youthful it sounded, that it wasn’t a professional band knowing their genre but a bunch of dudes who had passion for romance and were really confused over being young. “Barbed Wire” is really cute and the lyrics are adorable, but I wonder what it would’ve been like if they played it 15 years ago. They do sound grown-up, which is excellent for some songs. When talking about broken hearts though, they’re just professionals going through the motions. It’s still good, but this isn’t the heart of Punk-Pop.

“Party On Apocalypse” is a fantastic and should be at the top of end-of-year lists talking about the best songs. It’s everything I want from New Found Glory now that they’re older. Someone should’ve expressed disillusionment and confusion over contemporary times and this nails it. Besides that, it’s just a rehash of old material without the same youthful energy. It’s fun, sure, but besides “Call Me Anti-Social” I can get everything here in better form in previous albums. Get these two tracks though.

I wish they would’ve used a better album title. What could be more generic?

2.5 apocalypses out of 5

(hed) pe – Blackout

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I was no naive at the time. I wanted desperately to like this. The album cover was beautiful. The word ‘blackout’ is pretty cool. The band’s name was badass and made no sense. Best of all, there were supposed to be one of the more Hip-Hop orientated Nu Metal. My previous experience with them was with Only in Amerika, which was good if you ignore how it treated women like the Japanese treated their specimen in Unit 731.

Something about this record felt off, though. Sure, the opening song was great and bizarre with its melodic-yet-aggressive vocals. Everything else lacked the punch, that Nu Metal chutzpah that (hed) pe did better than anyone else. After following them further into their career, the position of this album became clearer. It also explained why Only in Amerika was such a hateful record towards women.

This was their normal record. Apparently, the label pushed them to make this. Making a more radio-friendly record means less profanity, less lyrics about partying and more straight-up rock about the general gloom of life. The fact the record still sounds at home in the Nu Metal speaks volumes about the band’s talent. The label couldn’t crush the party. Even while playing straight, the band is weirder than their peers.

The key to this is the band’s natural talent. On previous albums, it could be said the genre pushed them to great moments. Here, they’re dealing with a duller sound that only talent can lift up. Check that ominous riff in “Dangerous”, that jerky guitar line in “Bury Me” or the frantic bassline in “Flesh and Bone”. Whenever a Nu Metal band normalized their sound, they had no such moments. They kicked ordinary riffs. (hed) pe can still finds unique sounds even when making generic gloom rock.

Jahred’s vocals are, of course, an integral part of the charm. His vocals are just as versatile as last time. He raps a little less, but he still jumps freely from style to style. It sometimes even sounds like there are two vocalists in the band. On “Suck It Up”, his singing voice goes ridiculously low. I talk a lot about the balance between melody and aggression which Nu Metal bands are great at capturing. That song is another perfect example of how it works.

He does sound defanged. The title-track should be an anthem against conformity, about trying to fit in. Jahred doesn’t have the same bravado and conviction that made “Crazy Legs” so thrilling. He just sings. His voice is pretty, but is that what people call ‘inauthentic’? In the previous records, his personality dominated. Here, he’s just an extremely talented vocalist. The only time he sounds like the old times is in “Crazy Life”. That’s no coincidence, since it’s the one song that relies more on rapping and some hedonistic lyrics.

At least he has a beautiful singing voice. On the acoustic, Everlast-esque “Other Side” his voice is so pretty it doesn’t really matter that it must be insincere. If we learned anything from the Lostprophets fiasco is that music’s an act. Jahred’s act may not be the most convincing, but his natural charisma lifts up the already excellent melodies. No one else should perform “Revelations” or “Get Away”. Then again, who really cares about authenticity in Nu Metal? It’s a genre about partying and vague complains about life. Blackout may more serious than their previous album, but the title-track is still a banger.

There’s actually a good side to removing the band’s personality. In later records Jahred came off like a misogynistic rapist. How he didn’t get involved a sex scandal is a mystery to me. In fact, I’m sure he did his sure of sex crimes that just weren’t reported yet. Blackout is unique in the band’s discography. It has all the band’s main talents – the crushing riffs, odd sounds, genre-hopping, versatile vocals – without the obnoxious “Women are evil and I love sex” lyrics. It’s the one (hed) pe album I can listen to without squirming.

Despite defanging and normalizing the sound, the natural talent of this band lead to a strong set of songs. It may lack their unique personality, but then again their personality sometimes got in the way. Everything you need in a Nu Metal record – hooks, loudness, variety are here. Not every record can be as brilliant as (hed) pe’s self-titled, but each of these 13 songs should be on a playlist for a rock party.

3.5 crazy lives out of 5

The Crystal Method – Tweekend

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The Crystal Method has been written off as inferior carbon copies of Big Beat, and also that they did a ‘dumb, American version of it’. Snobbish people had to convince themselves that the Prodigy made profound music involving social commentary and existential questions when in reality they did nothing but really, really catchy noise. At first this label of the Crystal Method is a bit deserved. Their debut is a collection of cool Breaks with some funky Sci-Fi sounds. It had a cool sound, but few songs. Here, though, they truly come together and cement themselves as canonical in the electronic genre. Tweekend is one of the reasons why Big Beat remains EDM’s best genre.

Since by now every artist in the genre cemented their sound – Prodigy with their loud rocking, Fatboy Slim with his smoothness, Chemical Brothers with their genre-bending, Crystal Method had to find some kind of shtick that makes them unique. The whole ‘simple breaks and cool sounds’ was rendered irrelevant in ChemBros’ debut, where they converted it into some of music’s best 30 seconds. So they try to find a new, defining sound here – and they mostly succeed.

They still sound like newcomers, but not in the bad way. It’s obvious their sources of inspiration include the aforementioned artists, not just the genres influencing Big Beat. You get here a more clearer picture of what Big Beat is, and why every soda pop commercial wanted this kind of music. Whereas the Prodigy made Breakbeat fueled by guitar noise, Crystal Method seeked the specific kinetic energy that the genres happened to create. The originators were inspired by other genres. Here, Crystal Method are directly inspired by the originators.

That’s the main distinction between this album and their debut. Now they don’t just want to bang, but to make music that works like a martial arts scene or a car race. It’s music that was made for video games of that era, when violence was cartoonish, cars were fast (and possibly shot rockets) and everything was larger than life. It’s the end of the retro-future. Our image of the future and technological development wasn’t of peace but of combat and lasers, but boy do we like it. The album cover fits the atmosphere of it, watching a world becoming more technological and being okay with it.

At this point you can compare it to Electro-Industrial, and Big Beat always shared similar sounds and influence – and an ability to fit ideally most video games and movies. Oh, and yes, composers were stupid enough not to ask the dudes from Front Line Assembly to score The Matrix. Whereas the Industrial movement was scared of that future, this music jumps into it. It’s inevitable, so we might as well party.

That’s why it manages to have a fairly aggressive, macho sound without copying the Prodigy’s rebel punk antics. A funky bounce is underneath most of the songs, even the noise blast that is “Name of the Game”. There they let Ryu rap about how awesome he is over Morello’s riffing. Aside from being a fantastic idea for a song, the bass is deep and womping underneath all that noise. On some tracks the funk is more prominent – if you can sit still to “Roll It Up”, you may want to check things with your doctor.

It’s funny that they were branded as a dumber American dumbing down, since they actually play more with atmosphere than most Big Beat artists. In fact, they lead back to Progressive House than any other in the genre. “Roll It Up” and “Blowout” have a continous structure and a looping beat that threatens to last forver. There are few actual riffs here, sometimes appearing on songs like “Murder” and “PHD” but serving the beat rather than taking the center stage. Many of the sounds here surrounded and engulf the listener rather than pound into it.

What was seen as ‘dumb American’ is just the band getting the essence of Big Beat, if not exactly making the best album in the genre. Then again their competition includes ChemBros, so it’s by nature difficult. This album distills Big Beat from the outside influence, keeping what’s important – Hip-Hop breaks, a Funk bounce, Techno structures and the aggression of Rock. That still gives them a lot of room to move even if they never threaten to break away, but what great songs – “PHD” with its slower funk, “Roll It Up” in how spacey it sounds, “Murder” gives a badass melodic hook and “Over the Line” shows they can also be beautiful and more introspective. Being raised on albums like these made me wonder why EDM isn’t supposed to be an ‘album genre’. Even the weakest tracks like “The Winner” still bang. Perhaps you can cut a minute here and a minute there, but this is one of those “If you don’t like it, you’re no fun” albums.

3.5 murders out of 5

Carly Rae Jepsen – Kiss

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Sometimes I wonder if my dislike for a lot of Pop singers is because of misogyny. Nowadays female singers aren’t docile like they used be. They’re aggressive, can rap, can have a guitar here and there and not shamed of having a lot of sex or of telling someone to fuck off. My manhood is threatened, and thus I cannot enjoy when Lady GaGa tells me about how everything is beautiful and that we should all just be ourselves (That’s because we all have the privilege of being skinny, right?). I can’t stand Rihanna because a sexually assertive woman offends me. Submission is a turn-on, and without it I’m nothing.

Or maybe not. My favorite Pop singers include Lana Del Rey, Tove Lo and Melanie Martinez which are all concept-heavy. As for aggression, I also admire Emilie Autumn who directly attacked her sexual abusers. The problem with the singers in the first paragraph isn’t that they were ‘assertive’. In fact, no one should be scared of Rihanna. She’s so conformist that Chris Brown beating here wasn’t the big deal. The problem with these singers is that they didn’t sell you an image or a concept, but themselves.

Compare Taylor Swift’s “22” – which I actually like – to any song here. Taylor uses the song as a vehicle to inform the listener who utterly cool and fucking awesome she is. It’s about her, not about having fun. She has a lot of exes, she has breakfasts at midnight unlike these lame ‘cool kids’ and they dream instead of sleep. The songs’ music videos even confirm it. In “Good Time”, Carly and Adam Young are surrounded by people who actually look different and don’t seem to be doing anything but having fun. Everyone in Taylor’s video looks perfect and skinny. It’s a song about contrasts, not about partying.

When everyone got taken away by EMOTION – and by ‘everyone’ I mean ‘music nerds’ – the shock was hearing a Pop singer who really didn’t care about seeming cool. She did way before “I Really Like You”. From a distance, this and “Call Me Maybe” sound like an artist with one gimmick that milks it. Listen to a whole album, and it’s a modus operandi. If Carly can’t deviate, it’s because she’s having too much fun, doesn’t need and want to and invites you to join in.

Adam Young asides, who everyone seems to hate, “Good Time” is such an inviting song. “Call Me Maybe” may have generated the shitty parodies but that song tells you more about who Carly is. Most of the songs here work in the same sphere only with slightly weaker drums. All the songs are about the excitement of first love and first crush, about a possible future that may happen and if it does it’ll be awesome. It’s not exactly optimistic. Rather, Carly captures that tiny moment of happiness when you’re sure someone really likes you or may like you, and you’re kind of emberassed and unsure but enjoy it all the same. Song titles like “This Kiss”, “Curiosity”, “Tiny Little Bows” and “Call Me Maybe” all display this range of emotions. Merge these topics with dance tracks and you have great party music that’s happy, not tough. People who don’t jump to “Tiny Little Bows” look like they’re trying too hard to reach the Idea of Coolness.

Carly’s performance is also perfect. Another problem of contemporary Pop singers is how much they love show us their voice. Often, the songs aren’t meant to be enjoyed. Even the performance isn’t meant to be enjoyed. Rather, we’re supposed to be impressed, stand aside and admire all the vocal acrobatics. Adele epitomizes it and Sia is the biggest offender. Imagine if Sia sang these songs. Will “Turn Me Up” sound so cute and confused if Sia howled? Would it even be about confusion, instead of about how awesome Sia is? Carly sings so low and calm. She rarely stretches her voice, trusting instead her character shine through her voice. It also makes the song more listener-friendly, making it sound like anyone can sing them.

At times she does stretch her voice for something more profound, but it’s so rare it leads to a weird effect. On “More Than a Memory”, she stretches her voice just a little to suit the song’s more somber mood, and it makes her seem vulnerable and worried. Since she doesn’t stretch it often, she shows us that this moment is more important than others – the relationship might die! She also loses the tune a bit on “Guitar String/Wedding Ring”, and the result is ridiculously cute. The song’s lyrics are a bit nonsense, but they, along with the sparkling, noisy production and Carly’s messy voice expresses the excitement and thrill of love all the more effectively. Music is, after all, acting. I’m sure many can sing that song better technically, but I doubt if anyone can convince me like Carly does.

Only one song does stick out where she sounds closer to her contemporaries. That’s “Tonight I’m Getting Over You” which includes an actual bass drop. The noises this time are aggressive instead of sparkling and Carly tries to reach to the top of her voice. It’s also a total success because it focuses on this idea, instead of using these tools as a modus operandi. It’s not another generic club banger but a singer who’s full of pain and needs to let it with singing and loud beats. What’s beautiful is that once the chorus hits, she still sounds vulnerable and hurt. The cries of “getting over you!” aren’t triumphant, but sound like she’s trying to convince herself by constantly repeating it. Many said that “Chandelier” by Sia mixed the whole party-and-depression thing well, but that song, like anything else by her, is about how Sia awesome is. Carly outdid everyone else.

It’s interesting how clean this album is. In a world where singers like Rihanna use misogyny and objectification of women to seem powerful – because being approved by wifebeaters like Chris Brown means you’re strong? – it’s refreshing to hear someone who doesn’t need to go on and on about it. Carly is sexy in her way. She’s not afraid of it, she’s just more concerned with love and having fun. “Good Time” works because, unlike other party songs it’s for everyone – not just people who happen to be sexy. Her excitement in “Tiny Little Bows” is way sexier than anything by Rihanna. Carly was actually older than most singers when she recorded this and many called this ‘immature for her age’, but is it really?

Today Kiss sounds more like a prelude to the brilliant EMOTION, and it’s not as all-encompassing as that albums. Still, what it does it does brilliantly. “Call Me Maybe” is actually buried in a sea of highlight, and there’s a consistent mood that shows Carly always believed that Pop is an album genre. Even the acoustic ballad “Beautiful” doesn’t let down the pace. 12 joyous Pop songs about excitement and love that invites everyone are too much to become viral in this age of irony, but really, if you dislike this you may be trying too hard to seem tough.

3.5 kisses out of 5

Slipknot – All Hope is Gone

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Normalization is the worst thing that could happen to a Nu Metal band. Back in the 00’s everyone whined about bands ‘selling out’, but they were concerned with the band’s image rather than quality. If a band decided to sing more and perhaps tone down the noise, it was wrong because it was accessible. Whether it lead to good music or not didn’t matter. So all the critics going hammer missed out about bands dropping elements, turning their vision more and more narrow.

The 00’s were surreal times, and pretty awesome. You could listen to Lostprophets without feeling guilt and overly serious EDM didn’t dominate the airwaves. A wave of loud rock bands rose, deciding that genres are silly. You can have funky rhythms, rapping, Dream Pop atmospherics and coherent screaming – sometimes all in the same songs. They weren’t afraid of being danceable or loud or poppy. “Eyeless”, a full-on rant with Jungle elements was considered unoriginal. It was unoriginal compared to, what, exactly? Long guitar solos and lyrics against Jesus Christ?

When Disturbed and Papa Roach dropped their quirks, it was a bummer but not too much. They weren’t too good at working with them anyway. Slipknot, however, are the band that suffered the most from the normalization. They didn’t distill their quircks into an accessible sound that still had shades of a unique personality. Korn still sounded out-of-place when they made “Make Me Bad”. Slipknot obviously read all the reviews that whined about how Machine Head does something other than an overly serious Pantera and decided, ‘hey, we’ll do it too!’

Why would anyone want to listen to “Gemataria” over “Eyeless”? What is it about the former that makes it more fun, more aggressive, catchier, more creative, more anything positive? Slipknot was so bizarre in their noisy rants that were somehow friendly to Rock radio. You would expect that the music would still have a shed of personality. If Slipknot makes ordinary music, it should at least sound like they’re playing the genre on their own terms.

Instead, it sounds like a creative band trying desperately not to come off weird, like a dude trying to hide his Slipknot shirt underneath a suit & tie. “All Hope is Gone”‘s chorus breaks into a Hip-Hop beat, and the chorus can be adapted into a Hip-Hop song. Since Corey displayed good rapping skills, nothing prevents him from breaking into a full Rap verse. It would be bolder to end the album with pure Breaks and rapping. The groove that drives it comes less from Pantera, and sounds more like the Funk-influenced ending of Prong’s “Cut-Rate”.

Elsewhere, “This Cold Black” and “Wherein Lies Continue” are more embarrassing examples of how hard Slipknot are trying to fit in. The latter has a slow groove that’s not danceable. It’s only ‘heavy’ in the sense that it’s not pleasant to the ear if your musical vocabulary consists of Backstreet Boys and the one Michael Jackson everyone knows. Imagine a Groove Metal track you’re supposed to brood too, rather than dance to. If you can imagine that, you need not ever listen to the song – or the whole album, actually. You’ll also desperately need something to make you forget this image. The former of these two track is the banding slamming their instruments seriously. There are no fun, catchy lyrics like ‘fuck you all, fuck this world’.

Really, people, why must anger be serious and dramatic? Vulgarity is informal. It mixed so well with Nu Metal because it gave it a lightness, a bouncy fun aspect to the music. Vulgarity makes the anger less serious, and the tracks more akin to venting than making grand philosophical statements involving fear and trembling. “Gematria” is limp and anemic, the band slams but can’t come up with anything truly hard-hitting. Spitting poetry about America being a killing name is so hilarious over these theatrical, brooding metal riffs. “We’ll burn your cities down” is the one highlight of the track, because Slipknot used to sound like they want to burn cities down for the fuck of it. Corey sounds more serious than angry, and you’re only allowed to be serious with Nu Metal if you’re weird enough.

Slipknot could’ve have justified their new, ‘no fun allowed’ approach since they were one of the few Nu Metal bands with an artistic bent. Vol. 3 didn’t suffer from it. In fact, it justified it by having fragile atmospheric ballads like “Danger – Keep Away” and weird noises during party tracks like “Pulse of the Maggots”. Nothing here is as brave and progressive like “Three Nil”, a track that was as angry as it was experimental as in was contemplative. It sees Slipknot utterly unrestrained by either Pop or Metal structures. Corey never once touches the conversational tone of that song, and no song has its unique, ever-changing structure except “Gehenna”. It’s an interesting song, at least, which counts for something in an album so lacking in spark or imagination.

The highlights are only “Psychosocial”, “Vendetta” and “Butcher’s Hook”. They don’t reach the heights of Slipknot’s older material except for “Psychosocial” – a fist-pumping stomper that tries to put a serious face, but still cares more about the party than grand statements. The other songs see Slipknot letting loose for a while. “Vendetta” may seem normal, but not because Slipknot are trying to be normal, but because they felt like kicking a straight-forward rocker. “Butcher’s Hook” sounds more like something out of Vol. 3 and has some fantastic atmospherics. DJ Starscream has always an important rib of Slipknot. His odd sounds made them sound more dangerous than any metal riff can, and the intro to the song is more intense than any Thrash Metal record.

Slipknot deserve so much more. While at first they seemed like they were Nu Metal’s most brutal band, they were also one of its weirdest. Even at their worst they sounded off-kilter and actually dangerous, like a band who can’t contain themselves. On this album Slipknot restrain themselves, and if this doesn’t sound awful to you consider this. “Danger – Keep Away” is an extremely soft ballad where the band jumps into its idea with full conviction. It has no build-up, just pure ambiance and creepy lyrics. Slipknot are unrestrained even in their soft songs. Nothing here sounds as dangerous or intense or authentic as that one. Here, they try to please those morons who whine about Machine Head being unoriginal since they expanded their sound. Such people you don’t want at your party, and you don’t want this album either (except “Psychosocial”, that’s Prong-level of party starting).

2 butchers out of 5