Jenny Hval- Apocalypse, Girl

Jenny Hval
Apocalypse, Girl
Sacred Bones Records

Jenny Hval is hardly what you would consider a conventional feminist. The Norwegian singer-songwriter whose dark ambient nature often draws comparisons to Chelsea Wolfe is back with her fifth record: Apocalypse, Now. On this record Hval looks to challenge culture, gender norms, genitalia, feminism, and what our role within all of these ideas is. Hval uses both spoken word and singing to communicate these ideas. 

The second track and single off the record, “Take Care of Yourself” has Hval posing the question, “What does it mean to take care of yourself?” She offers suggestions such as, “Getting laid? Getting paid? Getting Married? Getting pregnant?...Shaving in all the right places?” As Jenny Hval works though this question and these answers herself while scaling back and forth on her guitar a droning but enjoyable note slowly creeps up higher into the mixing. Hval also questions what human genitals are really for and how that plays into the overall necessity to take care of yourself. Jenny Hval tackles these large questions on human nature genuinely, creatively, and with the instrumentation rather beautifully. Although she intentionally attempts to make the listener uncomfortable, Hval seems to consider cunts and flaccid dicks so thought provokingly that the listener cannot help but admire this fresh take on the subject. The next track is the sarcastically titled, “The Battle is Over”, where Hval laughs at the notion that because women are now major consumers in the world that feminism is no longer necessary. Hval is sweet and endearing on the track and the song serves as a nice way to lighten the mood. 

“The Battle is Over” also serves as the first track to provide evidence of Jenny Hval being a more than capable singer to her new listeners. After a rather boring interlude of vocal samples, Hval moves into the most exciting and climactic track on the album “Heaven”. On this track Hval shows off a dynamic vocal range with lush instrumental composition. The song’s electronic drums carry a groovy beat as Hval considers being 33, the same age as Jesus Christ when he died, and what that means to her. Hval sounds angelic as an elegant string section supports here vocals that drive the track. At the song’s peak Hval’s voice is loud, thunder booms behind her vocals, and multiple harps are being plucked at finger breaking speed creating a gorgeous cathartic atmosphere. Tracks such as “Why This?”, “Angels and Anemia”, and “Sabbath” follow a similar formula. Hval uses these ethereal backgrounds to support her fragile vocals for a stunningly effective combination. The album closes with a ten minute drone piece which is surprisingly rich even with Hval’s haunting vocal performance. This finish, “Holy Land”, is a fitting conclusion because it allows Hval to create a track that matches her mission of making the singer-songwriter genre more dark, depressive, and uncomfortable.

For someone unfamiliar with Jenny Hval’s work this album may sound esoteric. Jenny Hval is as honest a songwriter as you will come by so that alone makes this project worth a listen. Hval’s views are blown up to kingsize proportions and the atmosphere’s she creates matches her message. Hval seems to be wading through her pool of thoughts with the listener. Hval is unsure of herself and unsure of what the correct answer is but that is ok. These instrumentals are pieces that are meant to be explored and slowly interpreted. The songs sound like a fragile universe slowly unfolding along Jenny Hval’s thoughts. All Hval asks is for you to dive in. 

7/10

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Tom K. 

6/8/2015

Stream this album by Jenny Hval here: Apocalypse, Girl. 

Jamie xx- In Colour Review #CantMissIt

Jamie xx
In Colour
Young Turks

Producer and artist Jamie xx is best known for his soft indie pop act The xx and their infamous debut album. All his work that has followed that debut in 2009 has been compared to this highly praised first record and nothing has been able to compare to the sincere and dark tracks that made the project so special. The xx are such a pleasurable listen because of the way Jamie’s production and the catchy bass lines of Oliver Sim created a perfectly slow atmosphere for Jamie and fellow singer Romy Madley Croft to duet on topics like intimate relationships and the pain that comes with loss. For his solo debut titled “In Colour”, Jamie xx borrows some of these traits and creates his first piece of work that can live up to the 2009 precedent. Although the two records sound nothing alike, the Jamie xx DNA is at many of these tracks’ core which leads to a group of catchy unique songs.

Although this is a solo project for Jamie xx the London producer hardly leaves his bandmates behind. Oliver Sim features on one of the track while Romy Madley Croft features on another two. These also end up being three of the stronger tracks and show off how great these artists collaborate together. Croft’s low almost whispering vocal style sounds perfect over the minimal Jamie xx production. Croft is given space to function and shine in between bombastic and lush layers of piano, drum machine, bass, and samples. Tracks like “Loud Places” and “Stranger in a Room” should sound familiar and comforting while at the same time feature unexpected twists.

The tracks that are only credited to Jamie xx are extremely well done as well. Many of them such as “Gosh”, “Obvs”, and “Just Saying” start with quirky instrumentals that stick to your brain. From there the tracks build and brood as more instrumentation is implemented or the songs start to shift and new piece of instrumentation or vocal sampling becomes the center of attention. Many of these pieces almost seem to have suites that they are transitioning through. A great example of this is the track “The Rest is Just Noise”. Starting with just a few synth notes, the track builds into a monolith. After about 20 seconds into the song, a simple clap beat is introduces that slowly gets quicker and implements even more beats and rhythms. Soon even more synths are slowly taking the place of the original one at the beginning of the track while ethereal noise lingers in the background creating a profoundly beautiful arrangement.

This collection of songs by Jamie xx do an excellent job proving why “In Colour” was such an appropriate title. The bright and vibrant production creates a variety of emotions and feelings within the listener. The production is just so lively and beautiful. It seems like every different color on the albums’ cover is represented by an equally bright and unique soundscape that Jamie xx weaves seamlessly into this album’s topography. The only wrinkle within the album is created by “I Know there’s Gonna be Good Times” which features Young Thug. The song is an excellent and catchy summer jam, however, in the context of the album the rap verses are completely out of left field. While the song is enjoyable it just does not nest comfortably within the album. 

This album proved that Jamie xx can shine on his own without the rest of his former band, but that he has not forgotten what their talents bring to his own production. Other than the Young Thug track, the album works very cohesively and brings its listener through the downs of the sober keys on his piano to the ultimate heights of gorgeous production and sampling aided by a grand gospel choir. “In Colour” is an electronic album that should please just about any music fan. While Jamie xx does lean a bit on what he knows works on this release that hardly detracts from the record or makes any less danceable or enjoyable. 

8/10  

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Tom K. 

6/3/2015 

Check out a nice video of Jamie xx performing "Loud Places" below.  

A$AP Rocky- At.Long.Last.A$AP Review

A$AP Rocky

At.Long.Last.A$AP

RCA Records

 

Harlem rapper A$AP Rocky has never shied away from making bold projects. Rocky never elects to go with the safe option rather he thrives off being a trailblazer. It should not have came as a shock to anyone when the A$AP crew announced At.Long.Last.ASAP was going to be an 18 track album, which is incredibly ambitious even for the Harlem rapper who is now on his third major solo project. I truly believe that one of the hardest things to do in music is creating a fifteen or more track hip-hop album that stays cohesive and interesting through its run time. In order to prevent this from happening Rocky elected to use a long list of different producers including himself, Dangermouse, and Kanye West (not a single track featuring production from long-time partner Clams Casino). The feature list is also just as impressive featuring big names like Kanye West, Rod Stewart, Juicy J, and Mos Def. On At.Long.Last.ASAP, Rocky gives his best effort to create an expansive and unique record, but the album does suffer from lulls in creativity and inspiration.

The lyrical themes of the album were somewhat predictable. Rocky delivers arrogant insights into his lavish lifestyle and sexual prowess as well as drug use. This actually does not detract from the album for me because the production pairs with it so well. On tracks where he brags the production is booming and lush to match Rocky’s bursting personality. The first track “Holy Ghost” is a perfect example of this and a great way to set the tone for the album. The album’s production seems to switch between tracks like this and tracks such as “L$D” where the beat is much slower, minimal, and even psychedelic. Rocky typically is discussing drug use or his poor origins over these types of beats and really implementing the cloud rap style that he helped pioneer. What sets Rocky apart, especially on a track like “L$D” is the vividness that he can use to tell a story. The way Rocky honestly delivers his innermost feelings of lust with the lines, “I look for ways to say I love you, but I ain’t in to making love songs,” are as engaging as the rapper has ever been. This song also features one of the most ridiculous background stories from a hip-hop track in a while.

The track “Excuse Me” is another cloud rap highlight. The beat is ethereal and even majestic. Rocky sounds as confident as ever and really shines on this track which serves as an excellent gateway to the rapper’s unique personality. The album also introduces the listener to Joe Fox, a new member of the A$AP crew that Rocky met on the street in Harlem selling his mixtape. Fox, who used to be homeless, provides some excellent hooks on the tracks “Jukebox Joints” and “Pharcide” that serve as highlights for the album. “Wavybone” is another cool track that samples a classic Raekwon beat and Rocky proves he is more than worthy to spit over it.

One spot where this album lets me down is the features. Lil Wayne, Juicy J, and even Kanye West all seem to mail it in on their verses and flows. The production does not aid Wayne or Juicy J especially because the beats are just lifeless and minimal. Many of the beats such as “West Side Highway” or “M’$” just linger in the background and really forces the rapper to carry them. For a rapper as maximal and lavish as A$AP Rocky I was surprised some of these tracks were not cut and with 18 tracks there was certainly room for a bit of trimming. A lot of cloud rap tracks use the dreamy beat style, but some of the production on this album is just too dull. “Electric Body” featuring Schoolboy Q is by far the worst song I have heard these two collaborate on which was especially disappointing because when these two get together it is almost always magic. 

Thankfully the album redeems itself with the last two tracks. “Everyday” features that bigger production that I wish Rocky implemented more and really brings the mood of the album up. If this production was a movie, this is the track where Rocky rides off into the sunset. Rocky spits frantically on the last track “Back Home” and employs the help of Mos Def who matches Rocky with an equally frenetic pace. Mos Def undoubtedly had the best feature on this album and kills this piano based beat that would be right at home on either “Black on Both Sides” or “The Ecstatic”. The album closes with a narrative from Rocky’s now deceased best friend A$AP Yams who sums up just what the A$AP Mob has accomplished and what they are about.

On this 18 track album, Rocky actually managed to make the album sound cohesive which impressed me even for a rapper as excellent as he is. Unfortunately some of the let downs in features as well as production had me questioning why the album had to be this long. Rocky’s best material on here stacks up with his greater previous work but is dragged down by some of the filler in between. Rocky could have benefited from trimming the album a bit even if it meant cutting some of the bigger features here. Still yet Rocky creates an atmosphere on this record that is uniquely his own. He is uncompromising and this project has his unique touch dripping from it which should satisfy his fans.

6.5/10 

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Tom K. 

6/1/2015