MEET ME DOWN AT TOWER 28: Weezer's "White Album", the soundtrack of the summer?

Weezer. The power pop outfit that started at what may be their highest with the "Blue Album" and "Pinkerton", they then took a tumble throughout the 2000s with a string of frankly horrible releases culminating in the insultingly generic and overproduced "Raditude". But with their most recent albums they've mounted a comeback with a return to their '90s roots in "Everything Will Be Alright in the End" and now the "White Album", exploring themes common in society whilst also sticking to their strengths, loud guitars, pop culture references and memorable hooks. (i.e. what made their first two albums so great.)

The album begins with no time wasted, jumping straight into its summer aesthetic with "California Kids". The Beach Boys' influence is immediately felt even in its opening seconds, a sugary opening riff welcomes you in as waves roll onto the beach, seagulls chirping and all. The perfect way to start your ode to the sunny beaches of L.A., essentially. It glorifies the Californian way of living, there's no stress to be found here: "The California kids will throw you a lifeline," [Rivers] Cuomo gives as a word of advice. In terms of contextualising the album's overall feel, "California Kids" does it more than enough justice.

The care-free nature continues with "Wind In Our Sail", where a loose concept begins to emerge and is strung throughout the rest of the album. A simple tale of boy meets girl, they share their time together before it ends and the summertime blues kick in. This track, in addition to its concept, feels like a little self-aware prod at their past work and how they've been trying to make it back to their glory days. They're back in their prime, their sound reinvigorated: "We've got the wind in our sail!"

It takes a turn for the downright bizarre with the delightfully weird "Thank God for Girls", consisting of rap rock verses and religious metaphors with an explosive chorus. It cheerfully plays with gender stereotypes, putting it on its head from the perspective of Rivers, quite the opposite of your generic hunky guy as he looks upon a girl. She's so big, she's so strong. Past this the drums in particular are to be commended on this track, punchy and always at the forefront, specifically when they kick in halfway through the first verse. But, if you thought the song was weird as I did, wait until you see the music video. (Which I can't embed due to YouTube's lovely settings in regards.)

The weak link in the chain is "(Girl We Got A) Good Thing" which, alongside "Summer Elaine and Drunk Dori" are passable. Still enjoyable, but ultimately forgettable, opting for a sound that is too sweet even for its own concept, the former having an almost Christmasy jingle bell persist throughout the whole track. The latter has lyrics that are somewhat cringeworthy, including a shoehorned reference to Radiohead's "Paranoid Android", taking their own strength of referencing pop culture and turning it against themselves for this one and thankfully only instance. These two tracks let down what would have been the perfect summer album, but by no means does it ruin the overall picture. Merely a sum of its parts.

"Do You Wanna Get High?" is a nod to their abrasive tone adopted on "Pinkerton", kicking things of with a wailing guitar all too reminiscent of its opener: "Tired of Sex". It honestly does feel as if it was an unused recording from that era plucked and placed onto this new release, a time capsule back to 1996. Perhaps it contrasts with the 'beach album' vibe that it has crafted to this point, but a return to this sound is forever welcome. A worthy track that harkens back to the good ol' days.

"King Of The World" immediately follows, an ode to his wife who was previously mentioned on "Pinkerton"'s "Across the Sea". It's written specifically for her at the height of their relationship, starting with some dark lyrics pertaining to the crash of MH370, abuse and nuclear bombs. Certainly dark for Weezer's standards anyway, throwing back to the Beach Boys once more, throwing darker lyrics against a contrasting upbeat instrumentation. A wonderful contrast. The opening riff is to be lauded, drilled into my head for many days after first listen, keeping me coming back with its crunch. It's a hopeful track, simply a man wanting the best for his loved one.

Now, what is by far and away the best cut on this album is "L.A. Girlz". It's a call for maturity, a plea to take Rivers' feelings into account instead of just disregarding him. "Please act your age," he cries. The tone is reminiscent of the "Blue Album" b-side, "Susanne", a tribute to a fan of Weezer. It's gleeful guitar riffs and innocent lyrics bring it all together, perfectly encapsulating what is album is and what it is trying to be. It's one for the sunshine, a bittersweet summer album with immense replayability, enough for me with this track alone. "Sweeten up your lemonade and meet me down at tower 28," is contender for one of the best lyrics of the year, that line alone bringing butterflies up in my stomach every time I hear it. An intangible feeling.

The two closing tracks, "Jacked Up" and "Endless Bummer" is where it all falls apart for our concept character, the hardships have come and on the latter track, the relationship is over. The finale to this album is down and out, pleading for the summer to finally end, to be over and done with. Forgotten. The Beach Boys influence once again arises, the track title itself being an allusion to their album, "Endless Summer".

Along with this and "Everything Will Be Alright in the End", Weezer have finally gotten their act together. There are some highlights on their weaker albums throughout the '00s, but on the whole they let themselves fall into generic pop complacency which is, you guessed it, completely and utterly forgettable. This however, is beyond worth it. Even on a rainy summer day, its sure to keep your spirits high and that's all it wants. It's a feel-good album, chock full of solid tracks, none of which stretch past three minutes. It's gone as quick as it starts, much like the season itself.

SEASON AFTER SEASON: Everything Everything's "Get To Heaven", bold, determined art rock at its finest...

"Get To Heaven" is a pretty radical statement in comparison to their previous albums which featured more sombre tones and sensitive lyrics. This is quite the opposite, firing on all cylinders, aggressive in every definition of the word. It's this buzz which gives "Get To Heaven" its edge, with banger after banger coming on out to pull your attention with its unique approach to pop music, whilst still maintaining its accessibility throughout.

"To the Blade", the opening track, is to the point, addressing you directly as the listener with its first line: "So you think there's no meaning in anything that we do?" It's sense of urgency is immediate and there is no second guessing as to what it is trying to achieve. The song is an open letter to a person of a questionable nature, proven by that very line, possibly relating to terrorism. A heavy message for any song, but this just goes head first into it, a radical action attacked head-on by a radical opener. The elephant in the room. The track bursts into life mid-verse, surprising further. This burst alone showcases Jonathan Higgs' vocal talent with his ability to snap between differing vocal styles and pitches at an instant. As an opener, it serves as a perfect introduction to the album, the aggressive and somewhat overbearing nature doesn't slow with later tracks. It keeps going.

So as the story goes with "Distant Past", continuing the thumping beats started in the previous tracks. It relates back also in terms of its theme, in that history repeats itself, with the distant past serving as a simpler time. As we "cross the Rubicon" or our evolutionary point of no return, the distant past is our ticket to change what is set in the present. Their unique flavour and approach to pop continues with this, an electronic presence is greatly felt in the chorus in particular with the synth strings which is not too dissimilar to house music. It's a blend that needs to be heard more often and experimented with, as the rest of the tracks on this album strive and achieve in doing so.

It keeps on coming with the title track "Get To Heaven", overcoming the horrors of everyday life and understanding them: "We can get to that heaven!" Served alongside this is the falsetto-defying vocals once more and a blissful chorus featuring its own quirky mix of instruments, uncanny in how it fits together. "Regret" contrasts this, opening with a banging percussion beat and the title of the song serving as its hook. A simple statement of wanting to change mistakes for the better, but powerful in its execution and again being direct in nature, asking you directly: "Did you imagine it in a different way?" Thinking about what went wrong and how your own imagination would make up for the scenario and serve as the way it actually happened.

Now, my favourite hook of the album "Spring / Sun / Winter / Dread" opens with Higgs' yelp in danger of time passing by as the clock hand looms heavy before throwing you into its chorus, questioning the inescapable nature of time. Season after season passes and you get older, "[no way!]" Higgs proclaims. It's another simple message in the nature of "Regret" but again it is one that affects us all. The song becomes impossible to resist as it hits its cut-throat bridge and you can just feel your head letting go, banging away with the track, building in intensity and speed until the song finally cuts out. When you can end your song with the bridge, AND make it incredibly satisfying, you've got a winning combo there and then.

It takes a transitional turn with "The Wheel (Is Turning Now)", a darker tone showing their "Kid A" influence rearing its head, still maintaining a beat but one that is more subdued, a stark contrast in comparison to the rest of the album so far. To which is the direction the album goes for the rest of its duration with tracks like "Fortune 500", an account of breaking into Buckingham Palace and murdering the Queen, reemerging with "No Reptiles" which again starts subdued but builds to an almost heavenly climax, dealing with rejection and pleading for a meaning in the world. "Just give me this one night, just one night to feel..."

This album is a bold new direction for Everything Everything and a direction that should be pushed even further with their next album, as while it can be overwhelming at times and for some it may have to be taken in parts, but it is truly enthralling as it never lets go of your attention and is always at the forefront.

LATEST TO THE PARTY: "Black Mirror"'s White Christmas special, thoughts & review...

"Black Mirror" is one of those shows that just needs to be cherished. A daring and intelligent commentary on technology and its impact on society, never using technology itself as the villain but how it directly affects those who use it. It wears its influences on its sleeve, (as the video mentions above) taking great precedence in taking shows like the legendary "Twilight Zone" and its misunderstood cousin "Night Gallery" and bringing them into the modern world.

This is no different in the again Charlie Brooker-penned special "White Christmas", which yes, it is good enough to warrant thoughts about in the August 2 years after its airing, the nihilism felt after watching was just too much. A feeling only rivalled by the closest David Fincher film, it beats you down with an all too frightening and all too potentially real triplet of tales. An overarching story serves the basis for three short stories which each tie into a final conclusion.

The frankly peerless writing by Charlie Brooker is backed up by strength after strength, Jon Hamm and Rafe Spall play off each other perfectly with the formers charm coming through from the first shot he appears in. Now, its not a matter of playful banter but cold-hearted deception as the story unravels (to which there will be no spoilers) and if one thing is to be remembered from this it is to be careful who and what you trust.

It's a great shame that saying practically anything about this episode correlates to a spoiler, minor or not, as it is ultimately best to go in blank as to what it actually is. That's coming from a sheltered spoiler-free person whose only just seen it years after its broadcast. Seriously, stop reading now and just go watch it. Don't put it off like I did and become frustrated as to why you did so. That way if you stop reading I can divulge some lovely spoilers for those who have. That's a final warning.

It starts simple with the two characters in a secluded outpost separate from their past events, as if they've been there for a whole 5 years. As the three tales (in the most discomforting way possible) gloss over you and become progressively sinister, the world around said characters begins to dissolve as the truth comes out: a mere trick, a mere trick that is so intricately tied with the short stories that it doesn't require its own set-up. They were the set-up. A fantastic stroke of writing as the characters get their (arguably) not so just deserves and you're completely in the loop, only leaving you with that feeling of dread dissipated and restored with new-found... hopelessness.

As Brooker himself said, you're only just left with a black screen of whatever device you're watching it on, gawping in shock at your own reflection as the credits roll. Every. Time. If a show can never cease to surprise and intrigue in new and darkly comic ways like "Black Mirror" can, you know its special. 

I TAKE A DRIVE IN MY CAR: Chromatics' neon-tinged "Night Drive", thoughts & review...

"Night Drive" is where Chromatics came into their own, crafting their own style heavy in synths and reminiscent of the Italo disco movement of the '80s. A drastic departure from their previous punk roots into a certainly bold new direction.

It starts as a loose concept album with an opening dialogue heard in "The Telephone Call", a simple intro which sets the album in motion, quite literally: a late night drive, going 'til the sun comes up. The soundtrack to its own imaginary noir flick. The segue track borrowed from the album's title sets the tone for the rest of it's runtime, a synth-led track with soothing vocals from the lead Ruth Radelet. It all comes together to create an almost dreamlike and surreal atmosphere that is a feast for the ears. It gives you a moment of levity, free from responsibility as you clear your thoughts and focus on the open road. Nothing else matters for that little while, driving away and around from your problems. The ambience it strives to achieve and ultimately succeeds is unlike any album before it.

The neon-soaked imagery continues onto the track "Running Up That Hill", a reinterpretation of the Kate Bush song from this album's thematic time period. The opening instrumental hook can't help but summon up an almost nostalgic feeling, a sense that something great has passed and there is a longing for it to again be the present. It retains its meaning of two different perspectives, this case gender, never properly aligning with one another and what would happen if an actual swap could possibly happen. This is inevitable of a cover, conflicting with the loose concept established earlier with the late night drive. Individually, however, it is a fantastic track, a perfect continuation of the dreamlike atmosphere mentioned prior.

The succeeding track, "The Killing Spree" is purely instrumental and is ripped from the pages of John Carpenter, its sound being so similar it could fit perfectly into any of his films within that time period. It's an eerie build with the synth gradually building until it drops and lingers before it ceases entirely, serving as an intermission to keep you on your toes which is later used in "Tomorrow Is So Far Away".

The album flows seamlessly from track to track until it comes to a sudden stop with the 15-minute brick wall that is "Tick Of The Clock". Whilst it is not a bad beat in and of itself, even being prominently featured in the wonderful Nicholas Winding Refn film "Drive", it stretches on far too long and ruins the sense of pace that the album had achieved thus far. A shortened version would be much recommended so as not to miss out on what it has to offer, but its length baffles, a mystery as to who thought it would be a good idea to drop what is effectively a 15-minute loop slap bang in the middle of their album.

It immediately course corrects from then on out, continuing the lush atmosphere that the preceding tracks had created earlier with particular highlights such as "The Gemini" in the form of an electronic lullaby or the finale "Accelerator", an epic pumping track to close it all off and consolidating the album's concept. An interpolation of the title track, it ties it all together and gets your head nodding to the thump that kicks in as soon as it starts. It gradually builds to a thrilling climax before the album has its goodbyes and lets you go, presumably as the sun rises.

There isn't much else out there quite like it, "Night Drive" is what it suggests and what its atmosphere is perfect for: a drive to take your mind off things as you go on into the night. Regardless of whether that is achievable or not, this album deserves your attention as it seemingly has gone under many a person's radar. This is the synth noir album you never knew you wanted but were always looking for.

 

BOYS DON'T CRY: Frank Ocean's "channel ORANGE" and his imminent new release...

A new outing by the famed Frank Ocean is nearly upon us so it is indeed as good a time as ever to look back on his album debut, "channel ORANGE". With an unconventional style seen rarely before, it is easy to understand why this released to such acclaim back in 2012 as there just isn't anything quite like it.

I knew I was in for a treat as soon as the opening track, aptly titled "Start" well, started. An ambient offering, it banks on your nostalgia, with a sound that is all too familiar to those who ever got their hands on an original PlayStation. This immediately being followed up by the downright soulful "Thinkin' Bout You" is bliss. An opening string sequence transitions into a soft electronic beat in a way you never thought could happen so smoothly. This backed up with Ocean's initially surprising snaps between baritone and falsetto vocal registers makes for a certainly memorable track, which some consider the best of the album. And when you open your album with what is debatably your best track, (here's looking at you, "The Life of Pablo") you better have a strong offering to follow.

But of course, it does. The obviously film-inspired segue tracks create a flow between tracks, most notably the follow-up track to "Thinkin' Bout You", "Fertilizer". It creates one seamless experience, something commonly heard on Boards of Canada's discography, an intermission before the next piece comes along to entertain. "Sierra Leone" is that next piece, rich in metaphors and allusions a layer deeper than the face value of the lyrics presented. The song title echoes into your ears as surreal imagery is posed by Ocean in the form of the Sierra Leone's pink skies, relating to a loved one. The tracks as it continues brings the same offering, which is no flaw, mind you, and then the album hits its centerpiece: "Pyramids".

"Pyramids" is by far and away my personal favourite, cramming in so many styles so flawlessly with an epic scope, edging into the 10-minute mark. The length is not an issue, those 10 minutes go by in half that time, a true joy to listen to. It has multiple movements; opening with Ocean's trademark R&B quirks before swapping that out for an electronic tinge and coming to a close with a slow jam. The mid-point is where it is at its most exciting with its electronic beat unlike anything I've heard before, alluding to prostitution: "She's working at the pyramid tonight." Oh, Cleopatra, how you are. 

The other standout that stems from this is "Forrest Gump", a seemingly straightforward tribute to the titular character, masquerading to be Ocean using the perspective of Gump's love interest as his own. Ocean's lingering feelings for his first love, a controversial point that floated around the album at its initial release to which there is one simple answer for: the album itself. This song does not outright prove his sexuality but is a heavy metaphor that essentially consolidates his feelings. It stands as a strong track with Frank again showcasing his soulful performance with a rock solid beat to back it up.

There are individual highlights but this album's greatest strength is that it culminates into an overall experience, a journey into Frank Ocean's idiosyncrasies and thoughts. That is what makes it special, its unconventional nature is unique to itself. If the rumours are true, "Boys Don't Cry" is due out this Friday, August 5th. I know what I will be listening to that day. Until then, its a perfect time to catch up with "channel ORANGE"... or listen to it again, and again, and again...

THIS COULD BE FOREVER, BABY: Vince Staple's "Summertime '06" album thoughts & review...

Last year, up and comer Vince Staples made a hit with his album debut "Summertime '06", and with good reasoning behind it. An admirably consistent effort with memorable moments scattered throughout its run time, it is simply put, a solid rap album. It doesn't reinvent the wheel in terms of its concept, a hustler growing up on the streets of Ramona Park, but maintains interest through Staples' hints to his past. In particular, the album's namesake: "Love tore us all apart. Summertime ’06, June 30th."

With this being what it is, a pretty sprawling 20-track double album, the overall themes and atmosphere that this record generates is perfect for its subject matter. Grimy and hard-hitting beats tie together with Staples' emergent tone and verses which is particularly put to the forefront with the track "Norf Norf", the opening line grabs your attention, addressing you directly, and if that doesn't do it, the hook is certain to do so. The production, one of the album's greatest strengths, takes a backseat on this track as Vince breaks through: "Norfside, Long Beach!". This trickles down to the following tracks where it never misses a beat and never stops to take a breath, with Vince's flow on "Loca" perfectly complimenting the intro and hook from guest who features later, Kilo Kish. It is forever emergent, production really coming through with beats that simply keep you glued. 

Producer No I.D. brings it all together, ensuring that every track has this quality in the case that Vince couldn't tie it in himself which happens on odd tracks such as "Dopeman". The beat overwhelms his verse on the track and as a result you struggle to hear him, allowing for the production and the feature from the aforementioned Kilo Kish overshadow his performance. However, this is immediately course corrected with the next. "Jump Off The Roof" is as simple as a hook goes on this album, but it is one of it's best and when it kicks in, even on the first listen, I couldn't help but tag along. Past this, the hook and later bridge alludes to this being the ending to an addiction, to what, I'm sure you can guess. The metaphor is hammered home by this hook, brought into the spotlight from the very first line: "What's your addiction baby?"

Where this album really came into its own and connected with me is with the closure of the first act, if you will, "Summertime". In particular the almost soulful hook, which may or may not already be apart of the title of this very article. It's a comedown, a break from the hectic lifestyle afforded by the previous tracks heard thus far. This brings Vince's insecurities to the front lines instead of focusing on his emergent vocals, showing him at his most introspective. The reflective and almost tender nature doesn't last long however, it being back to business with the second disc, continuing the Ramona Park Legend...

The second disc continues the trend established prior: solid beats and as direct of a performance as you can get out from a rapper. Vince sounds hungry in his verses, eager to throw his verses out there for all to hear with a near flawless flow. This is seen on tracks like "Get Paid" or "Street Punks" and it is just as strong as the previous disc with the same caveats in place also, with certain tracks such as "3230" whilst still a strong track in its self, Vince takes a backseat to the feature, making you momentarily lose track of whose album this actually is. It's bizarre, some cuts are undeniably unique to him and who he is whilst others just seem to fall between the cracks in terms of his own personal touches. This is at no point a criticism in regards to the individual tracks as they're all solid as aforementioned, but it does breakdown the concept put in place by Vince when he himself isn't as prominently featured to purvey said concept.

All in all, this is simply put, a great debut and follow-up to his previous mixtape "Hell Can Wait" which in itself was a promising start giving a taste of things to come. This was it, and it was certainly worth the wait, as this album has stuck around in my thoughts a year over its release consistently. Great beats and production from No I.D. and an undeniable charm and urgency from the man himself, Vince Staples. If what is seen so far is to be judged, that seems to be a winning combo.

HELLO FRIEND: "Mr. Robot" Season 1 review and recap...

With season 2 very much underway and all of its twists and turns yet to be unravelled, a recap of the now hugely popular "Mr. Robot" or an introduction to those who haven't started the phenomenon would perhaps be appreciated. No need to worry as this is certainly spoiler-free! Just a plain and simple look at "Mr. Robot": what it is, its unique quirks and ultimately what has boosted it into success.

Welcome to New York City, the home of one Elliot Alderson and you, the viewer, are his new friend. That's not in a figurative sense either, you serve as a passive force in the story as it unfolds with Elliot giving a nod to your viewership every once in a while. The fourth wall isn't just broken; it was never there. A simple yet contradictory immersion into the story. As simply put, this direct point usually serves as a form of parody or a form of comedic effect and to take you out of the experience, but this does the opposite. It breaks the fourth wall but in a sense that makes sense within the character's frame of mind, and as you can imagine, a person with an imaginary friend is in this case not exactly the most stable as you will come to find.

It starts straightforward enough, but as the season takes its toll, you're gonna have to learn that at some points, what is on screen and what is actually happening with the characters are two different things. In a manner quite akin to "The X-Files": trust no one. As the subversion kicks in, good luck putting it down. If you're anything like me and this hooks you, this season will be done within a matter of a week or less depending on how avid you are in terms of binge watching. It culminates into a wonderfully self-aware commentary on society and how the team behind fSociety decide to try and take it on head first with their attempts to end one of the world's largest conglomerates, E Corp. (Or Evil Corp as Elliot loves to put it from his perspective, another slight detail that is only perceived in scenes with his presence.) 

When you hear the title and the premise of hackers attempting to break down society, it does sound awfully cliche. You see, that's where I and presumably you are wrong. It's not that, in fact its far from that. There are some issues present, albeit those are predominantly in regards to spoiler territory, but overall with its premise and most importantly execution there is very little to go wrong with "Mr. Robot". Perfectly cast and acted, most notably by the lead Rami Malek with his dry humour and incredibly expressive eyes, which in some scenarios, do all talking that needs to be done. Christian Slater also as the titular character is also to be commended, with his first notable role in years, proving he's still got some oomph left in him. The style involved is peerless for a TV show, with exceptional presentation, cinematography and use of licensed tracks to set the scene, my favourite track used being "Sound & Color" by the Alabama Shakes. Sam Esmail should be proud.

There's just so many areas that this show can be praised for and whilst certainly it is understandable for some to dislike it, there is at least some aspects on offer for anyone to enjoy or appreciate. While the show doesn't revolve around it so much as the character of Elliot, the hacking process involved in the show is unlike any other fictional programme or film I've seen with one exception. Instead of dumbed down processes seen in shows like "CSI", (you know exactly what I mean) it is as close to the real thing as you can get whilst still remaining accessible to viewers who are unwitting to such uses of technology. It isn't treated with utmost importance either and being toted as a major selling point in the exception of Michael Mann's "Blackhat" in which it decides to juggle realistic elements with almost ludicrous plot points and action sequences. It is just there and present as a tool for the characters to utilise. The show can come across as indulgent or potentially pretentious as some points, with itself being aware of that, but the use of hacking and technology certainly isn't.

And with that, what are you waiting for? There's plenty to catch up on and plenty more in store for "Mr. Robot", and if you don't at least give it a try, you're missing out on what could be your next favourite TV show.