A Few Mini-Reviews (Albums I Missed the Past Month)

A lot of new albums were released since my last post that I haven't gotten around to reviewing (I was working on the Ed Banger 10th Anniversary Megamix. Also, I'm lazy). To make up for it, here's a bunch of bite-size reviews I wrote to offer my short opinions on the albums I missed. Hopefully after this, I'll write reviews more often.

Woodkid - The Golden Age

French singer-songwriter and music video director Yoann Lemoine first made an impact with his debut single "Iron", a ferocious track that immediately grabs your attention with its ambition. Those who enjoyed Woodkid's unique, symphonic style on "Iron", will find much to love in The Golden Age. Yoann's deep, unconventional voice will divide listeners - many will find it fascinating, many will find it annoying. I personally enjoy his voice, but there are a few moments when I can see where the complaints are coming from. A big selling point to Woodkid's music is its cinematic instrumentation. A full orchestra adorns every track, shifting from soft, piano-driven ballads, ("Boat Song", "Where I Live") to frantic horse chase themes ("Run Boy Run", "The Great Escape"). The theatrics are exciting, but a bit played out by the album's end. There are many standout tracks, such as the ones I just mentioned, and "I Love You", an emotional, grand-scale ballad with a catchy hook and a beautifully shot music video. Even considering its flaws, this album stands out from the rest of today's music. 7.5 out of 10.

Depeche Mode - Delta Machine

Depeche Mode, one of the most influential electro-pop groups of all time, have been around more than 30 years. It's remarkable, then, to think that they still sound new and refreshing after all those years. The sounds on Delta Machine aren't exactly new or revolutionary, but they sound undeniably modern, while still capturing the vibe from the height of their success. The production on this album is rough and dark. Album opener "Welcome To My World" makes use of dramatic strings underscored by ferocious, rumbling bass. Other similar tracks include the energized "Angel" and the striking "Secret To The End". There are, however, moments of classic synth-pop enthusiasm, such as the goofy "Soft Touch/Raw Nerve", and the head-banging "Soothe My Soul". The other part of the Depeche Mode equation is Dave Gahan's vocals. His voice has notably weakened over the years, but that's to be expected with a band around this long. The songwriting is stellar as always, even when it explores dark concepts like angels, death, and broken relationships; "Now it's too, too late for words, that should have been said long ago", Gahan proclaims in "Alone". If anything, this album, while certainly not the best in DM's discography, proves that the band still has confidence and ideas extending far beyond Violator. 7 out of 10.

James Blake - Overgrown

James Blake has always been playing the double role of singer and producer. On his 2011 self-titled debut, Blake's soulful falsettos fit neatly upon minimal electronic composition. His new album is just as delicate, but Overgrown's strengths are more subtle. There's plenty of rhythm here, like in lead single "Retrograde", a gentle track with Blake sits comfortably on the crossroad between R&B and minimal dubstep, but still knows to take risks. "Take A Fall For Me" features a verse from Wu-Tang member RZA, a bold move that plays off beautifully. One of the few other collaborators is Brian Eno, who co-produces "Digital Lion", a nocturnal, yet frenzied track. Aside from these featured musicians, this album is introspective when it comes to songwriting. The lyrics deal with relationships and emotions, subjects that he's already explored thoroughly. Even so, listening to James Blake on Overgrown feels fresh as ever. 8.5 out of 10.

The Knife - Shaking The Habitual

I really waned to devote a full-length review to this, but I'll try to keep this review short. Swedish siblings The Knife have been known as a 'synth-pop' band ever since their breakthrough "Heartbeats". The Knife effectively broke through this label with their 2006 masterpiece Silent Shout, and Shaking The Habitual steers even further away from the brighter, more accessible music of other Scandinavian electronic groups, like Röyksopp or Lindstrøm & Prins Thomas. This album is not something you can understand on your first listen. It must be allowed to grow on you, and when it does, it grows. Tracks like "Full Of Fire" and "Stay Out Here" grab attention immediately with strange, hypnotic rhythms. The African instrumentation of "A Tooth For An Eye" and "Without You My Life Would Be Boring" add extra danceability, without sacrificing the political message The Knife are hinting at in their lyrics, mainly dealing with ethics, gender roles, and poverty. Karin Dreijer Andersson's characteristically odd voice goes hand-in-hand with the appealingly strange music. Less appealingly strange are the disturbing ambient interludes that vary in length from 30 seconds to 19 minutes. These songs may seem pointless, but in the right mood, they're hauntingly beautiful. At almost 100 minutes, Shaking is an ambitious feat, something different and compelling enough to warrant nothing less than praise. 9 out of 10.

- Other albums I didn't review (with my cursory ratings) include Bonobo's The North Borders (7.5 out of 10), Orchestral Manoeuvres in the Dark's English Electric (7 out of 10) and College's Heritage (6 out of 10). Expect reviews for Major Lazer and Phoenix soon!