Tuesday, June 2, 2015

Track by Track Review: Florence + The Machine - How Big, How Blue, How Beautiful


After an unfortunately long hiatus, Florence + The Machine returns with their third LP, How Big, How Blue, How Beautiful. What does the mainstream's most promising act give us this time? Take a look (and a listen).


Ship To Wreck - A fantastic start to the album, straight from Lungs. The pace and energy make for the realization that Florence + The Machine, one of the must talented and original groups of the century, is back. 9.5/10


What Kind of Man - The lead single and Ceremonials-esque track starts out with a haunting harmony before kicking into an electric guitar swing. Florence sounds as confident as ever, creating an unbelievably catchy chorus. 9/10





How Big, How Blue, How Beautiful - It starts off tame, much like its preceding track, but it soon blossoms to fully represent the vast sky with soaring imperial trumpets. Another appreciated euphoric track. 9/10

Queen of Peace - Florence gains a full-hearted accusatory tone for the first time this album. However, it doesn't have the same gusto and the first three tracks, and feels strangely like filler. 7.5/10

Various Storms and Saints - Calm, haunting and carefully crafted. The back harmonies perfectly match storms and saints, however that may be possible. A fascinating combination of imagery that Florence manages to execute flawlessly. 9/10

Delilah - "I'm dancing with Delilah and the vision is mine," Florence croons over a fast 4/4 beat before a breakdown cuts in the energy into 2/4. This track is constantly breaking and accelerating, making it all the more exhilarating. 9.5/10

Long and Lost - This solemn funeral procession is well placed, though it does feel more like an interlude at points. This whole album so far has played like a movie, Beyoncé and Florence should get together to talk about a visual album for HBHBHB. 8/10

Caught - The middle of the album has slowed down, there's no trumpets, no massive drums, it's all very... Quaint. 7.5/10

Third Eye - Florence delivers sermon-like lyrics here, over hand claps, background doo-wops and pulsing drums, almost as a little brother to Ceremonials' "Heartlines." "I am the same / I'm trying to change," is the most potent refrain so far.  9/10

St. Jude - The flow of St. Jude with it's hollow production led by a lonely synth and oboe is the eye of the hurricane for this album. It's okay,good even, but it doesn't bring anything new to the table. At the same time however, "St. Jude" is subtly charming. 7/10




Mother - Florence abandons all of her signature instruments for a guitar and maraca driven rock track. She's begging for her mother at the end of an emotional night, but without its length, Mother would be another non-event for the album. 7/10

Hiding - Though an upbeat track, Hiding feels slightly creepy, an under appreciated version of Florence (see Seven Devils or Howl). This commanding track deserves the attention that it receives. 8/10

Make Up Your Mind - An interesting choice for an album closer. Most of her contemporaries would opt for a ballad or somber track to end on, but Florence fits this song neatly between the chaos and peace of the album. The end is somewhat abrupt, but the message is clear, make up your ****ing mind. 8.5/10

Where How Big, How Blue, How Beautiful should stumble, it merely wobbles. It's an album filled with rock solid production and lyrics, and safe vocal performances from Welch. A strong contender for album of the year halfway in.


Sunday, May 17, 2015

Live Review: Britney Spears and Iggy Azalea - Pretty Girls @ Billboard Music Awards


Britney Spears and Iggy Azalea, for better or worse, debuted a live performance of Pretty Girls this evening, and it was to say the least, an expectedly underwhelming performance.

It was predictable that Spears would lip-synch the incredibly simple and monotonous vocal to Pretty Girls, but most wouldn't expect Azalea to follow suit. She lipped her also incredibly simple rap part, but her lipping job was fairly subpar, especially next to the master of the art: Britney Spears. The dancers and neon lights added some eye candy and took away some focus from the poor cover-up, but overall, this performance will do nothing to help this dying single. The performance overall felt unimaginative and tired, which was somewhat expected from this non-dynamic duo.

Overall: 4/10

Watch the performance here.

Wednesday, April 29, 2015

Vocal Range and Profile: Harry Styles (One Direction)


Vocal Range: A2 - A4 - Eb5 
Vocal Type: Baritone (2 octaves, 4 notes)
Vocal Rating: B-List

Positives: A darker voice than most of his band mates. A moderately heavy voice coupled with distinctive vocal styling which comes with vocal drives and a slight edge. Usually opts for a soft head voice as opposed to a lighter falsetto. In contrast, Styles has a dark and husky lower register down to B2. Good rolling vibrato.

Negatives: Most belts are tense and pushed. Signs of damage and subpar technique show in belts starting at F#4. The lower register loses considerable resonance below D3.

B2 - A4 - Eb5 (An A2 is found in "Over Again")


If you have any questions or additions comment below!

Tuesday, April 7, 2015

Single and Music Video Review: Rihanna - American Oxygen


Rihanna has long been accused by YouTube commenters as being one of the leading figures in the stereotype that pop stars are generic label-directed puppets. With the American Oxygen, Rihanna has finally spoken up, and seamlessly and effortlessly delivered the most artistically genuine piece of work she has ever made. Not only does she look beautiful, but she made a beautiful statement and body of work.

The Stay hitmaker takes shots at American society and how it proclaims greatness atop a history of destruction and oppression. With scenes from the death of Martin Luther King Jr., to 9/11, the Occupy Wall Street protests and Hurricane Katrina, Rihanna shows the despair and cruelties that are swept under the rug for the advancements of patriotism. As a non-American herself, her view as an outsider that has become a staple of American pop culture makes her points seem even more valid.


With all the brutal imagery that she lays out in the first few minutes, she does seem to point towards hope at the end. With images of what appears to be the next generation or the "new America," Rihanna seems to be asking the next generation of American's to do great things, and live up to the patriotic notion that 'America is the greatest nation on earth.' The United States talks that the talk, but it needs to walk the walk.

The song itself is fairly simple melodically and production-wise, which seems to be a characteristic of the "new Rihanna." With 4 5 Seconds and Bitch Better Have My Money straying far from the radio-friendly-electro-pop formula she has been using since her debut, Rihanna is really tapping into her potential. That being said, while she is using more of her potential, it's clear from the video that this was not the end of her prowess. The statements made in American Oxygen feel like they could say more and use more development, she can still more brash and thoughtful with the next album, or the newest material we see from her.

Music Video: 9.5/10
Song: 8.5/10

Watch the video here.

Monday, April 6, 2015

Vocal Range and Profile: Zayn Malik (Formerly of One Direction)


Vocal Range: G2 - Eb5 - A5
Vocal Type: Lyric Tenor (3 octaves)
Vocal Rating: A-List

Positives: A voice that has distinctive tone and texture that can separate him from his (former) band members. A smokey texture is present throughout the voice, especially in the middle register. Good phrasing shows greater knowledge of musical ideas and phrase's context within songs. Able to execute melisma quickly, demonstrating control of his passagio. Good dynamic diversity as well.

His lower register though easily the weakest part of his range, is well supported, sounding dark and healthy down to Bb2. His mid-register gains a smokier texture as he ascends, brightening significantly, and showing off his vocal colors more so than other areas. His upper chest voice has been developing a more even mix, showing openness up to B4. Malik can stay in the Tenor tessitura consistently, showing off his incredible ease (Pillowtalk).

A beautiful falsetto with the ability to seamlessly transition from chest to head voice (see You and I). A light vibrato can be heard in this register as well. Malik can project in this register excellently without strain (BeFour and She). 

Negatives: Upper chest notes can sound tense as his mixed voice hasn't fully developed yet, struggling more with closed syllables. His throat and jaw have shown extreme tension while singing. Most notes lack vibrato, or the vibrato is very subtle. His diction has also been unpolished and awkward. Melismas may not be clear.

A2-Eb5-A5



G2 - C5 - G#5






Do you have anything you would like to add? Anything you disagree with? Add a comment below!