Amber Run Album Review

Amber Run Album Review

Photo courtesy of Raquel Candeias

Amber Run’s debut album 5AM strikes up a memory of old love, hardship, and loss. When I listen to the group's melancholy, yet euphoric anthems, I feel like I am listening to pieces of myself. As if their words are digging up long forgotten thoughts and feelings that I did not have the nerve to face until now. Their lyrics are honest and relatable. Joe Keogh the lead singer, pulls you in with his hypnotic, ghostly vocals while the rest of the band mashes traditional instruments to create a haunting, yet soothing melody. 

Photo courtesy of DaysTune

The five piece British band hailing from Nottingham, England, broke their first deluxe album last year following the release of three EPs in 2014: Noah, Spark, and Pilot. Needless to say, 2014 was a busy year for these guys in terms of prepping and learning the ins and outs of the music world. Their latest release, however, was earlier this year with a brand new single Haze. 

Photo courtesy of Kluens

Laced in the midst of all their songs are hypnotic harmonies and captivating buildups. A gripping string of tell-all words form a story that listeners can relate to, drawing on the nostalgia hidden in all of us. Although lyrics about lost love and misfortune are not part of a groundbreaking musical revolution, they are, however, presented through harmonies that control the movement of the song, and set Amber Run apart from many of the desperate and determined artists striving to take a piece of the music industry. 

Their lyrics may not always be clever, but they are truthful narratives of experiences that we can all find relevance in. With phrases like, "We got work in the morning, but it's nearly 5 AM. Is this really what we envisioned? We won't be twenty-one again," I think of my current state of life and wonder if I'm really where I want to be, or if I'm idling for the time being. It reminds me that life is short and that time will go on, whether we are happy or not. 

We can find something familiar in Amber Run, and I think that something is the remainder of passion after defeat and the will to go on. 

Blond Review: First Listen

Blond Review: First Listen

Frank Ocean’s music is a dream.  It’s trancelike and foggy with only the occasional break of light. The artist’s sophomore album “Blond” has an overarching feeling of nostalgia and reflection.  Give the album a chance, and it will pull at the heartstrings in the least cheesy, most terrifying way possible.  Terrifying because the album is lyrically non-comforming while eliminating any possibility of viewing youth or love with any sort of façade. It’s real. 

As anyone and their mother knows, it’s been four years since Frank Ocean released his freshmen debut “channel ORANGE”.  Prior to releasing Blond on August 20^th, he had repeatedly pushed back the announced release date with little to no explanation.  Whatever the reasoning was, it only increased anticipation for the sophomore album.  By the time the album was finally released, it seemed as if though the announcement triggered a nationwide holiday. 

With millions tuning in at once, Frank did little to shock the audience on his first track Nikes.  The track’s critique of materialism is fueled by autotune and a repetitive trancelike beat.  While the track is nothing spectacular, it is good and it feels right.  When Ocean’s voice finally breaks through in clarity over halfway through the song, it is like a breath of fresh air.  Something suppressed over the last four years.  That relief is soon replaced by the realization during the bridge of what this album is going to do.  It’s going to hit hard.  Repetition of the line “I’m not him but I’ll mean something to you” makes it clear that success and worship by anticipating fans has done nothing to change the artist’s lyrics.  They are lonely, humble, insecure, realistic, twisted, and relatable. 

“I thought that I was dreaming when you said you loved me”.  The opening to the album’s second track “Ivy” produced by Jamie XX makes it clear that the dreamy production on the first track will continue during the duration of the album.  It also promises to make you cry for both your first love and your next.  The feelings of vulnerability that begin creeping in while listening are in no way stopped by the smooth and accepting way Ocean sings “we’ll never be those kids again”. 

Ocean gracefully takes his foot off the pedal of our heartstrings with the third track “Pink & White” which features Beyonce.  It is one of the few bright spots found on the album and seems to be a break in the clouds of Frank’s moody musings.  It is catchy and reminiscent of some of his older releases such as “Novocane” and “Super Rich Kids”. 

The fourth track is a quick recording regarding the dangers of drugs because when “people become weed-heads they become slugglish, lazy, stupid, and unconcerned”.  Frank replies to this in his next track “Solo”  by mentioning dirty dancing and being “gone off tabs of that acid”.  In my opinion, one of the most memorable moments of the album occurs during the chorus when Ocean’s anguished, angelic voice sings the lines “It’s hell on Earth and the city’s on fire.  Inhale, in hell there’s heaven.”  Those two lines seem to perfectly capture the essence of the album.  The pain felt is undeniable, but the beauty created is unbelievable.

The dream that is the album continues relatively uninterrupted until the ninth track “Nights”.  It is clear from the beginning, that this track is a pause from the vulnerability of the rest of the production.  It is a sort of victory.  The easy beat and the smooth way in which Ocean hits every note seems to indicate that he has finally found a relief from his musings and a lack of any worries.  This quickly changes in the second part of the track when it turns into one of the most reflective moments of the album.  Ending with the line “shut the fuck up. I don’t want your conversation.”  Excluding the interlude of rhymes by Andre 3000 in the next track, that attitude seems to be the theme of the rest of the album.  The next track “Pretty Sweet” is chaotic and vulnerable.  After the clarity and joy found in the preceeding track, it is back to confusion and trust only in himself. 

One of my favorite parts of the album is found towards the end with the two tracks “Close to You” and “White Ferrari”.  The layered, etherealness of “Close to You” is reminiscent to the style of Bon Iver.  Funny, because both Bon Iver and James Blake make appearances on the next track “White Ferrari”.  My personal favorite.  The track is a journey.  Layered and broad.  It is both beautiful and hard to listen.  An incredible combination of the best each of the three artists have to offer.  The trapped desperation found in the line “I care for you still and I will forever.  That was my part of the deal, honest” is replaced by liberty during the final line in the track “We’re free to roam”.  It's that sort of lyrical tranquility that makes each of the three artists legendary in their own ways. 

“Futura Free” is the perfect outro song.  It is a rambling but also a victory.  The track opens with one of the few expressions of humor on the album with Ocean’s admission that “If I was being honest, I’d say long as I could fuck three times a day and not skip a meal, I’m good”.  It is a relief to see that after the torment expressed in the album, Frank is able to end by rejoicing in the fact that he hasn’t had a job since 2009.  No shit.  However, even in his gladness, Ocean never loses his humility.  He remains transparent in his statement that “I play these songs, it’s therapy momma, they paying me momma.  I should be paying them.  I should be paying y’all honest to God”

Ocean insists that he’s “just a guy, I’m not a god”.  After listening to the album, it’s debatable.  However, I’m sure he knows better than the rest of us.  Either way, for being just a guy, Frank Ocean was somehow able to exceed four years of monumental anticipation and do it in a way that lacked gimmicks, flashiness, trends, or the insincerity that is so often prevalent when artists attempt to remain relevant.  Rather, Frank Ocean exceeded our expectations on Blond by simply making great music. 

Matt & Nat: F/W 16 Accessory Review

Matt & Nat: F/W 16 Accessory Review

All photos courtesy of Matt & Nat's online lookbook

Finding chic, comfortable and fashion-foward accessories can be complicated if you are looking for a high quality, eco-friendly brand that boasts elegance. MAT(T)erial & NATure is a Canadian brand that prides itself with its trendy vegan products. “Live beautifully” is their mantra, as they believe that appreciating the humanity, creativity and positivity found in all of us is essential to moving forward in this world.

These accessories, such as hand bags, wallets, shoes, briefcases (and so many others) carry a sophisticated and impressive style, while still acting versatile and can be worn and used for any outing. The colors range in all shades of neutrals, nudes and tones you would find in nature. While the hand bags and backpacks are built to address the comfort of the wearer, they also come in various sizes to accommodate different needs for space and lifestyles. 

What makes Matt & Nat’s clever products even more irresistible is the process of their creation. Like mentioned earlier, the brand is gratifyingly considerate of the environment. All of Matt & Nat’s accessories are created without animal resources, and are constructed with sustainable materials like rubber, cork and nylons. Even the inside lining of the handbags is manufactured out of one hundred per cent recycled plastic bottles. Although the price can vary in expensive ranges, it is worth investing in Matt & Nat products because not only do they deliver a high quality product that will last you a long time, you are helping the environment and encouraging others to do so also (all while looking up-to-date with fashion). 

Just like it is important to treat the environment kindly, Matt & Nat says building relationships with workers within the company is something they focus diligently on. The factories host exceptional work conditions for all, and they say they intend to strengthen the conditions in the future. Matt & Nat encourages its employees and consumers to upcycle, volunteer for greater matters, and overall, “live beautifully”.

Years ago I bought a wallet from their Dwell collection, and I am still happily using it. More recently, I purchased a sandy colored handbag that can be worn crossbody or simply held by the handle. It adapts to all my work, school and social needs, while fitting my disaster of personal belongings. Personally, I do not think you can go wrong with choosing any of Matt & Nat’s endless products. However, if you are in need of more convincing, check out their sleek website and read a bit more of their story on http://mattandnat.com/. 

Coasts: An Album Review

Coasts: An Album Review

Photo courtesy of Bring the Noise UK

Rarely is it that I find an album that is consistent in sound and I find all songs likeable. So when a special album like Coasts’ 2016 self-titled collection is released, I cherish it and hold on to it because who knows when a favourable album like their’s will come along next.

I was first introduced to the five-piece English band when I heard their most popular song, Oceans. I’ve had it on my iTunes playlist for some time, but I picked up their full album only recently. I was hooked as the track list rolled through. I was, and still am, mesmerized by the summery, sun-kissed beats that make summer feel endless. 

There are sixteen songs on the deluxe album, including A Rush of Blood and Wallow. All of the tracks share a similar sound, something many artists struggle to establish. While driving with Coasts pumping out of the car speakers, windows rolled down, breeze pushing your hair back, you can mistake the album for a nostalgic time-piece, infusing freedom and adrenaline into your veins. Personally, I think Coasts’ album feeds any mood and setting, regardless of the circumstance. Whether you’re sitting around a fire with friends on the beach, kicking off your summer road trip, or walking home from a less than pleasing night; Coasts have a song for the context. 

For the most part the tracks are upbeat indie/rock/pop based, and supply the listener with an evocative wave of affection, leading you to miss the One That Got Away. “The whole album is inspired by so many different genres of music,” said the band in a Vevo interview. It is hard to define Coasts’ sound, as they draw influence from every corner of the music scene. Although they ooze originality, I would compare them to sounds like Wildcat! Wildcat!, Amber Run, Panama Wedding and Magic Man. 

Photo courtesy of Long Island Pulse

Because I enjoy the album so much, it’s hard to pinpoint any negatives. However, there is always room for improvement. In the future, I would love to see Coasts collaborate with a female voice; it would put a different spin on their already unique sound, and I think it would open up many opportunities to expand their career and exposure. 

Some of the less memorable songs like, Your Soul, Wash Away and Let Go, act as buffers to bring you from the beginning of the album to the end, without really noticing that you played the middle pieces already. The first half of the album is arguably stronger than the last half, with songs like Wolves, Lions and Modern Love pulling you into the calming blend of Stay, Tonight and As Long As I Need You. As a whole, however, the songs mesh together to create a familiar story of love and loss. 

Needless to say, if you are looking for a summer anthem that allows you to drift into September with memories of spontaneous nights by the water and running from the realities of life, check out Coasts and their self-titled debut album.

Giving It Another Go: Drowners Release On Desire

Giving It Another Go: Drowners Release On Desire

It’s hard to find a single inspiration for Drowners. The four piece band combines the sounds of The Smiths, The Cure, Ramones, and The Strokes. They manage to piece together the most appealing parts of all these bands into a blend that is entirely their own. The New York-based band recently released their sophomore album On Desire.A follow up to a convincing debut album, On Desire at first struggles to build on its predecessor. That being said, the album holds the promise of a new, richer sound for the band, one that makes On Desire worth listening to.

The band’s self-titled first record succeeded in making catchy pop/rock songs that excelled in engaging guitar rifts and ironic lyrics. Songs were short and sweet, using their powers to compel you but not leave you bored with endless repetition. I think that’s what deflates some songs on On Desire—it seems as though the band attempted to make longer, more complex songs than they did on their first album, but, in some cases, instead served up a number of repetitive, predictable tracks that make the listener think haven’t I heard this chorus about fifteen times now? The songs that flop don’t let the powerful and biting guitar riffs that define Drowners' sound take part. “Human Remains,” for example, floats about in soft chords and a painfully uninspiring chorus. The whole song leaves you feeling like you’ve heard the song a hundred times before. The guitar barely takes part, no riffs or edgy solos. This is not to say that the band cannot produce a song without their signature guitar parts-- evolution of sound is important and essential for musicians-- but on “Human Remains” the band does not find a way to replace the missing sound. “Trust the Tension” is engaging with its dark melody and captivating baseline, but wears out the sound with too much repetition. If the band took a cue from their first album and cut the song after the successful guitar solo, the song would succeed as a mysterious, slick ode to a tumultuous relationship. Instead the song goes on too long and drills in its riffs and chorus far too many times instead of leaving the listener wanting more.

Other songs are merely good. Nothing soars in “Conversations with Myself,” but the appealing drawl of the chorus and the rhythmic verses are worth a listen. Same goes for “Dreams Don’t Count,” whose building drum beat, well placed horns, and bittersweet lyrics make for an achingly beautiful lullaby, but do not inspire. “Troublemaker” is fun and danceable, bringing the classic, guitar heavy, short jam that Drowners do so well. It’s a catchy ode to their first album, but lacking in new material. “Another Go” has well written guitar lines, but the airy chorus is too deficient in spirit or density to make the song a standout.

And then there’s the winners, the bright lights that make the album so appealing and leave you excited to see what the band can do next. They outnumber the bad, and make On Desire a successful album. “Cruel Ways,” the first single from the album, is classic Drowners complicated. The dark sound of the verses draws you into the building chorus before hooking you with the sublime riff. It’s everything Drowners does right and then some, the next level up from the sound they perfected on their first album. The guitar solo strays from the usual jangly sounds and gives us something edgier and more old school. It’s so satisfying to get a taste of the new techniques the band is capable of combined with the charm of the original sound that made them so likeable.

 “Pick Up the Pace” manages to take the album a further step up, probably the highlight of the album. The synth riff (note synth, not guitar per usual) is something new for the band, yet they keep their Johnny Marr guitar sound in the background throughout the chorus. Intricate bass lines and percussion keep the melody engaging and filling. All in all, the song is catchy, complex, and surprising, a true testament to the evolution of the band’s sound, and their capability to invent new and multifaceted songs.

“Someone Else Is Getting In” is the rocker of the album, with a killer riff and verses to match. The drums are a highlight on this track, as well as the shredding guitar and sheer rock and roll spirit. The bridge seals the deal with its soft vulnerability before returning to the high energy ending. This one will be stuck in your head.

“Don’t Be Like That,” my favorite song from On Desire, is an aching closer to the album, embedded with longing, pain, and heartbreaking nostalgia. The opening bass line and the following guitar entrance are punctuated with the poignant first lyrics: “How can you say that with a straight face when it’s eight months down the line / Please don’t treat me like a stranger ‘cause I’ve put in so much time.” The synth strings complete the overwhelming sense of loss the song conveys. It’s songs like these, where the lyrics and each instrument work together to impart a specific, intense feeling, that make listening to music a religious experience. It’s songs like these that make music music. “Don’t Be Like That” is a song that emotes and enthralls, and this song alone redeems Drowners of all the faults of On Desire’s lesser songs.

In the end, while there are disappointing songs on the album, Drowners manage to transform the sound they crafted on their first album into a force more complex and moving than the catchy, simple songs they started out with. On Desire leaves you satisfied while hungry for what the band can do next. If Drowners can keep up the evolving sound they explore on this album while building on and learning from their past repertoire, they will music that will blow their first two albums out of the water.