Album Review: CRASH - Charli XCX

Charli XCX has long been referred to as “the pop star of the future,” with production that often sounds like it’s from the next century. From Pop 2 onward to Charli and how i’m feeling now, Charli XCX’s sound hasn’t changed as much as it has evolved and matured, exploring new sonic and lyrical ideas and concepts that only she can achieve every time. The overcrowded, radio-friendly pop genre makes it hard for many artists to stand out, but Charli XCX has once again resisted certain tropes to create yet another captivating record that will likely pull the industry forward with her latest album CRASH.

Many of the album’s themes that recur throughout such as power, self-destruction, and sex are addressed in the opening title track “Crash”. This song utilizes both hyper-pop sounds and traditional instrumental backing, as seen in the track’s closing guitar solo that sets the tone for what’s to come next. “New Shapes (feat. Christine and the Queens and Caroline Polachek)” follows, and as one of the most popular singles attached to this album, functions well when placed early on in the tracklisting. Both features meaningfully contribute to the aesthetic of the song, which is something that Charli has historically done well making sure of. “Good Ones” has a short runtime of just over two minutes, but the uptempo instrumental and synth-heavy chorus have kept it stuck in my head since its release. “Constant Repeat” has been well-known in Charli’s fandom for a while now as there have been multiple snippets released in the past, and this electro-pop moment helps Charli explore the emotional side of the project.

“Beg For You (feat. Rina Sawayama)” is next, and while I enjoy this track overall, I find that it could’ve benefitted from more compelling lyricism to leave a lasting impact. That being said, Sawayama’s feature is welcomed with open arms, as I see her becoming a big star in the near future. “Move Me” is a melancholic, moody, and reflective halfway point through the tracklisting that doesn’t do much to entice me. Relatively inoffensive, this song just doesn’t seem to earn its placement among its stronger peers. “Baby” is one of those stronger tracks found here, as Charli channels hyper-sexual and female empowerment energy to its benefit.

“Lightning” leaves me wanting just a little bit more complexity like “Move Me” did, but its vocoded chorus was a fantastic studio touch that proves Charli’s technical production is some of the best in the industry. “Every Rule” is a heartbroken ballad that was actually one of the earliest songs written for this project, even before how i’m feeling now’s release. Charli’s lyricism here is as strong as it has been over the course of her past few releases. This tone is immediately flipped on its head with “Yuck”, the charming, love-denying song that I can easily see becoming a radio hit this summer. Charli’s oldest fans will be extremely delighted to hear “Used To Know Me”, which has a club aesthetic that defined her early career but that is still very sonically appealing - this is the biggest bop on the album. “Twice” ends things off on another high note, as Charli reframes the tragedies in her life and decides to instead focus on what she has to appreciate, which is something we should all strive for in a world as crazy as ours.

Charli XCX’s final album on her label Atlantic Records has allowed her to fully embody her hyperpop aesthetic while, this time, catering more to a mainstream audience through the project’s cohesive and widespread rollout. CRASH proves that Charli’s two most recent projects weren’t anomalies, but that she really does have what it takes to live up to the “popstar of the future” reputation that she deservingly acquired early in her career. While not a perfect album, CRASH will still be on repeat for me for a while, and it has earned all of the praise it receives.

Favorite tracks: “Crash”, “New Shapes (feat. Christine and the Queens and Caroline Polachek)”, “Good Ones”, “Constant Repeat”, “Beg For You (feat. Rina Sawayama)”, “Baby”, “Every Rule”, “Yuck”, “Used To Know Me”

SCORE: 7/10

I Can't Stop Playing Elden Ring

Video games have played an important role in nearly every part of my life. Whether it was playing Ratchet and Clank with my friends growing up, rocking out to Guitar Hero and eating pizza every Friday night, or enjoying the cinematic quality of the Uncharted series with my parents as a teenager, I can correlate a game to any era or season. I know I’m not alone in relating so closely to the digital escapism that games provide, as video games have quickly become some of the most popular forms of media and entertainment on the planet. That is because these pieces of art aren’t simply escapism; instead, video games are able to teach us about our humanity, engage our mind’s eye, and take us on immersive emotional and spiritual journeys unlike any other medium.

It’s very possible that you’ve recently heard of a new release called Elden Ring that has taken the gaming world by storm. Part of the Souls series, Elden Ring is the product of years of development, devotion, and dedication from its founding studio From Software, creator Hidetaka Miyazaki, and “A Song of Ice and Fire” author George R. R. Martin. This series has garnered a reputation for its sprawling landscapes, extensive lore, and addicting yet punishing gameplay, but Elden Ring takes all of those qualities to the next level.

Completely open world and exploratory in style, Elden Ring channels the medieval intrigue of “The Lord of the Rings,” the mystical and magical nature of “Game of Thrones,” and the horseback epic storytelling of Red Dead Redemption. It’s quickly apparent that this game will hold your hand just enough to get your bearings, but its guidance doesn’t overstay its welcome as you are quickly thrown into the deep end. With little direction, the player is allowed to simply take on this brand new world after creating their character, while appreciating the enriched lore and spectacular graphics and landscapes that so incredibly hold the game together.

Elden Ring makes you the chosen one, in a way, starting from humble beginnings as a “Tarnished” and making your way to eventually attempt to rule all of the lands and become the Elden Lord. Throughout this absolutely incredible journey, you are taken to different locations, forced to fight different creatures, and introduced to various NPCs who help push the story along. Each one of these battles and interactions is satisfying, and the game never feels like it has a good stopping point despite providing hundreds hours of fresh and explorable content.

Although I haven’t beaten the game yet, (hell, I just started playing a few days ago,) I can already tell that Elden Ring will be a video game that I look back on fondly. Its larger-than-life scope was overwhelming at first, but now exploring all that it has to offer is starting to feel more and more accomplishable after every gaming session. The satisfaction after finally defeating a difficult boss level is unrivaled (especially you, Margit and Renalla,) and the giddy, child-like feeling that this world has given me is unparalleled. After being skeptical at first, I now understand the resounding and deserved acclaim Elden Ring is receiving, and I can’t stop playing. I suggest you start.

Album Review: Dragon New Warm Mountain I Believe In You - Big Thief

On February 11th, 2022, Brooklyn-based indie rock outfit Big Thief released their fifth studio album Dragon New Warm Mountain I Believe In You. After the releases of multiple singles leading up to the album’s drop date, many fans wondered if there wasn’t enough unknown about the new project to live up to sky-high expectations. Luckily, to the relief of many Big Thief enthusiasts, Dragon… offered many new ideas, sounds, and themes across its 20-song, 80-minute runtime. I enjoy releasing my album reviews soon after their initial releases, but with this project, it has taken weeks to fully digest the epic new journey that Big Thief has brought to the table.

Albums with as long of a runtime as Dragon… are often overly-thematic, bloated, or stretched unnecessarily. That isn’t the case here, though, because while this project is consistent in sound and intention, it’s also fluid and non-chronological is a very accessible sense. Emotional weight varies from track to track, as “Change” reflects on the many seasons of life and death, while “Spud Infinity” playfully jests about self-acceptance and the folly of man just two tracks later behind a playful indie instrumentation. This yo-yo effect isn’t distracting; instead, it reinforces the natural bipolarity of a well-rounded life full of ebbs, flows, and everything in-between.

Dragon… is able to tackle an astounding amount of complicated, intricate topics and themes with ease, as lead singer Adrianne Lenker’s poetic lyrics facilitate easy-access introspection. This outreaching for substance isn’t just performative, either, as Lenker’s poeticism shines with lyrics like those from the album’s title-track: “When the topsoil is kicking up into the storm / And the dust goes dancing and a billion planets are born / I believe in you, even when you need to recoil.” Tangible expressions of compassion, love, and companionship are found throughout the often stripped-back, acoustic instrumental backings on every track.

There are really only positive things to say about this album aside from one or two tracks that could have been cut without dismantling the core of its quality and substance. “Sparrow” re-writes the biblical story of Adam and Eve, “No Reason” touches on the isolation from the earliest days of the COVID-19 pandemic, “12,000 Lines” is one of the greatest sonic tributes to Joni Mitchell in recent memory, and the addictive guitar riffs that close “Simulation Swarm” follow the meditation of the intensity of modern life and technological advancement. All of this is achieved without force, naturally assembling into a grand narrative made up of small stories larger than the sum of their parts.

Big Thief replicates a nostalgic, fun, familiar indie aesthetic on Dragon New Warm Mountain I Believe In You while simultaneously claiming this sound as their own. Adrianne Lenker’s vocal delivery, lyricism, and vulnerability pair wonderfully with the rest of the band’s simple-going but incredibly-skillful instrumental skills. The self-awareness found throughout such a wide-ranging, all-encompassing project is refreshing, and is capped off fantastically by the playful “Okay, what should we do now?” from one of the band’s members. This is a must-listen, and while it doesn’t fully steal my attention with every listen, I find myself consistently returning to this project to unravel its many ideas and pursuits.

Favorite tracks: “Change”, “Time Escaping”, “Spud Infinity”, “Certainty”, “Dragon New Warm Mountain I Believe In You”, “Sparrow”, “Little Things”, “Heavy Bend”, “Red Moon”, “Dried Roses”, “No Reason”, “12,000 Lines”, “Simulation Swarm”, “Blue Lightning”

SCORE: 9/10

Album Review: Ants From Up There - Black Country, New Road

A year to the day after the release of their critically-acclaimed debut album For the first time, English rock band Black Country, New Road has returned with their highly-anticipated sophomore follow-up Ants From Up There. Despite their overnight success and seemingly limitless potential, the group recently announced that lead vocalist and lyricist Isaac Wood is leaving the group indefinitely, citing mental health reasons for his departure. Wood’s unique vocal delivery, revealing and introspective lyricism, and unbelievable chemistry with the rest of the band leave fans wondering how the group will move forward. For now, however, they are encouraging their fans to enjoy and appreciate Ants From Up There — a project that is self-evidently the product of musical genius and unique circumstance. Ants From Up There is a feat; simultaneously wider in scope and scale than most rock music in recent memory, while delivering intimate themes and vocals throughout all of its impeccable tracks. Regardless of what the future holds for BC,NR, we are lucky to have been graced by the release of this incredible record.

Instrumentation and raw musical ability have been a high point of all of the group’s releases up until this point, and that doesn’t change on their newest project. The opener “Intro” sets the sonic tone and mood for the rest of the project, which is upbeat but urgent all the same. The sense of a push and pull between the good and the bad, the fragile and cemented, is a theme often revisited throughout the album. “Chaos Space Marine” follows, a high-tempo track that utilizes Wood’s unique writing style. The group has described this track as “A voyage… a sea shanty… a space trip,” which astutely captures the essence of this comparatively welcoming and accessible track. This easygoing tone is countered by the following “Concorde" which introduces the airplane metaphor that graces the album’s fantastic cover art. Wood likens the group’s success to a Concorde jet, limitless and more powerful than he could’ve ever imagined. The recent discovery of his departure adds more emotional weight to many lines in this song, such as: “But for less for a moment / We’d share the same sky / And then Isaac will suffer / Concorde will fly” which is heartbreakingly poignant. The following instrumental riff is triumphant and prideful, a sign that Wood knows leaving is what is best for both him and the group.

“Bread Song” was one of the singles for this album, and it aptly uses outlandish metaphors to drive home specific and unique themes - something this group is now known for. While on its surface this song seems to discuss eating toast, its substance is navigating intimate relationships in the digital age. Its instrumentation swells to a cathartic second half, and like many tracks on this album, its payoff justifies its extended runtime. “Good Will Hunting” is another fun track, and one I’m surprised the band didn’t use as a lead single for the album. Its chorus, which assembles tidbits from others’ conversations, is more of a pop outfit than their typical tracks, with Wood adopting more of a sung delivery than his signature spoken-word style. “Haldern”, named after one of the group’s shows at the Haldern Pop Festival, recreates what was an entirely improvised track. The keys, saxophone, and Wood’s vocals blend wonderfully together, culminating in a powerful instrumental second half.

“Mark’s Theme” pays tribute to the family member of one of the band’s members who died of COVID-19 in 2021, furthering the album’s sonic themes and adding gravity to an already heavy project. The final three songs on the album are what separate the great from the masterful, as the group flourishes more than ever before. “The Place Where He Inserted The Blade” discusses the intricate complexities of navigating a partner’s previous traumas. The pre-chorus of “ I know you’re scared / Well, I’m scared too / But every time I try to make lunch for anyone else, in my head / I end up dreaming of you” gets stuck in my head so easily that this is essentially all I’ve listened to since the album’s release. “Snow Globes” is another track that rewards patient listening and cathartic payoff, as the 9-minute long track slowly builds and crescendos with manic drums and vocals.

The album’s final track, “Basketball Shoes”, already has a bit of a reputation from fans who have listened to the group’s live performances of it. Nearly 13 minutes in length, this closing track is immediately in contention for 2022’s song of the year. All of the project’s previous themes appear again, acting as closure for this bittersweet project. Many lines from this song stick with me, but none more than: “We’re all working on ourselves / And we’re praying that the rest don’t mind how much we’ve changed / So if you see me looking strange with a fresh style / I’m still not feeling that great” which perfectly captures mental health struggles despite outward successes. Essentially a medley of the rest of the project, this is exactly what a closer is supposed to do - recap everything that has been said so far, while leaving the listener in awe and just wanting more. This journey of a track ends so strongly and triumphantly that despite Wood’s departure, I have no doubt that Black Country, New Road will continue to innovate, grow, and release more incredible music together in the future.

A famous phrase states that “All good things must come to an end.” While this isn’t necessarily “the end” for Black Country, New Road, it will forever be seen as an inflection point for the group with Isaac’s departure. Never before have I watched a band achieve and surpass its potential so quickly, as Black Country, New Road has seemingly released its magnum opus in just its second release. Sonically, this project is unmatched and unlike any music being released today. Lyrically, this project has mass appeal while being hyper-specific at times. I wish the best for Isaac Wood and the rest of the band moving forward, and I thank them for sharing such a perfect album with us all.

Favorite tracks: All

SCORE: 10/10

Album Review: Dawn FM - The Weeknd

Two years have passed since the release of The Weeknd’s critically-acclaimed album After Hours. One of my favorite projects to release in 2020, After Hours was packed full of smash hits and refined the many sounds and aesthetics that Abel had explored up until that point. Since its release, The Weeknd has garnered more fanfare and popularity than ever, including his spectacular Super Bowl halftime show last year. Abel has started 2022 off quickly and confidently with the release of his fifth studio album, Dawn FM, which continues to display growth and evolution, but at times suffers to identify itself as cohesively and tangibly as After Hours did. While this project is still good, has a lot to offer, and will likely perform impressively, it feels somewhat like a creative step backward for one of my favorite pop artists in the industry.

This record’s title, tracklisting, and well-thought-out transitions quickly establish that it is a concept album, and this cinematic presentation is one of its biggest highlights. Abel has proven his commitment to the artistry and symbolism behind his albums, and that doesn’t change for Dawn FM. The project’s rollout was enticing, relatively fast, and led directly to higher anticipation upon its release, which came with an excellent Amazon Music live stream. The mysterious use of old-age makeup, the inclusion of Jim Carrey as a radio broadcaster and narrator, and production from Thriller legend Quincy Jones all had me very intrigued going into this album. The first leg of the project, especially tracks 1-4, did not disappoint in the slightest.

“Dawn FM” functions well as an opening track that establishes the album’s ethereal tone and contemplative themes, while also introducing Carrey’s narration without overstaying its welcome. “Gasoline” utilizes strange vocal pitches in its verses over an upbeat instrumental, but Abel’s usual vocal performance comes through to deliver a surprisingly morbid and nihilistic chorus that stands in contrast to the song’s overall sonic tone. “How Do I Make You Love Me?” is next, and starts one of the greatest runs in all of Abel’s discography. Production from Calvin Harris and Swedish House Mafia are certainly influential on tracks like this, with more of an electronic sound than ever before for Abel. I can easily see this song being a huge radio hit, right along with the following lead single “Take My Breath”.

The use of the extended version of “Take My Breath” was an incredible stroke of genius from The Weeknd. Having the listener already familiar with the track makes all anticipation grow so much more as the instrumental swells and as the synths cascade around Abel’s vocals. Sonically a direct successor to After Hours, “Take My Breath” is filthy in the best way and easily my favorite song on this project - maybe one of my favorites that The Weeknd has ever released. “Sacrifice” has already received strong positive feedback from fans, and was the first album track to release a music video. The song’s instrumental is memorable and addicting, and Abel delivers yet another strong vocal performance here.

“A Tale By Quincy” is a reflective refrain and interlude that lets Quincy Jones look back on his upbringing, which I believe ties into the aged makeup aesthetic on the project’s front cover. I’m still wrapping my mind around all of that, and certainly prefer the alternate art, but at least there is plenty to contemplate there. “Out of Time” slows things down for the first time on the project, and while it’s a nice listen, this track doesn’t try to reinvent the wheel. The following “Here We Go… Again (feat. Tyler, The Creator)” was one of my most anticipated collaborations on this album, but unfortunately, its execution comes off as underbaked and incomplete in many ways. Thematically, I’m not sure what this song is going for. Tyler’s sound has become more malleable over the years, but it feels quite out of place on this particular track, as his verse is too short and not substantive enough to justify that length. “Best Friends” finds Abel essentially singing out friend-zoning someone he has developed a physical relationship with, which comes off as a bit laughable. The lyricism is weak here, too, solidifying the middle of this project as forgettable at best.

“Is There Someone Else?” reminds me sonically of Beauty Behind The Madness, which is definitely to the song’s benefit. At the same time, however, the song’s overall purpose in the tracklisting is lost on me. It does transition fantastically into “Starry Eyes”, which solidifies one of the project’s most common themes of entering into a new relationship despite fully understanding that it could leave you hurt again but doing so anyway. This poignancy is another high point in the tracklisting, but its momentum is slowed down by the weird “Every Angel Is Terrifying”, which comes off as an “Adult Swimification” of a track from Abel. The end of the track would come off as funny in any other context, but it halting the project’s momentum is more distracting than humorous.

Some of that lost momentum is regained on “Don’t Break My Heart”, a lowkey electropop track that likens new love to drugs and a feeling of paralyzation. “I Heard You’re Married (feat. Lil Wayne)” follows, and quickly cements its place at the bottom of my list of songs on this project. Weezy is an all-timer and hip-hop legend, but his aesthetic and contributions to projects are highly dependent on their tone and subject matter. Dawn FM is just not the right album for Lil Wayne to shine on, and yet again, this project’s features feel tacked on and unnecessary.

“Less Than Zero” is effectively the project’s final full track, and leaves the project’s narrative off on a low note despite the song’s generally upbeat sound. Abel is admitting that he has a long way to go in love and life, even though he has been through so much as the cover art suggests. “Phanton Regret by Jim” is the true closer to the project, and utilizes Jim Carrey’s abilities as well as any other time on this project. His poetic delivery brings home many of the themes very well, suggesting to the listener that the purgatory state that this album portrays can only be escaped internally, with the closing lines “You have got to be heaven to see heaven, may peace be with you” which is a positive note to end things on, through a song with many lines to reflect upon.

Dawn FM isn’t my favorite album that The Weeknd has released so far, but it’s certainly compelling and interesting enough to keep me coming back to listen more. Complicated artistry and themes like those explored here are meant to be enjoyed, contemplated, and discussed in-depth. While I prefer the aesthetics and sounds of After Hours, I respect Dawn FM’s ability to spark conversation and admit that at its best, it offers some of The Weeknd’s best moments. I think music fans are in for a treat in 2022, and I thank The Weeknd for kicking things off this year.

Favorite tracks: “Gasoline”, “How Do I Make You Love Me?”, “Take My Breath”, “Sacrifice”, “Out Of Time”, “Starry Eyes”, “Don’t Break My Heart”, “Less Than Zero”, “Phantom Regrets by Jim”

SCORE: 8/10