The Age of The Understatement was a well-received first album from The Last Shadow Puppets back in 2008. 8 years later, the band still sounds gorgeous (thanks to string arrangements from Owen Pallett), but the songs themselves are missing the charm of the freshman effort. Not a bad album, but certainly not a step forward either.
It doesn't feel that long, but Bloc Party has had an extensive career since their breakthrough debut album "Silent Alarm." Unfortunately, their career arc is that of a band that has been in steady creative decline since. Their first album was notable for a marvelous rhythm section; songs would have a vital, engaging drum pattern. The songs on this album have both an incredibly generic rhythm as well as a lack of engaging melodies. This album sounds like that of a band that has run its course.
Band member Benjamin Curtis tragically died of lymphoma shortly before this album was completed, and this album is a tribute to his life and memory. These circumstances untie this group of songs under a common theme of love, loss, and life. A touching tribute and possible final chapter for a wonderful band's body of work.
The Joy Formidable have previously recorded two solid albums of indie rock albums with a hint of Muse plus shoegaze thrown in. Hitch does not break new ground; anyone hoping for some dramatic reinvention will be disappointed. However, it does continues their strengths with driving, catchy melodies. The highlight is the closer, "Don't Let Me Know," which starts off quiet and slow then builds to an epic climax. It is one of the finest songs they have ever recorded.
Animal Collective have a formidable discography that has rightfully earned them both longevity and respect. Unfortunately, their last two albums (2012's Centipede Hz and now Painting With) see the band seeming to falter for new ideas aside from "throw everything at the wall and see what sticks." Recommended for hardcore Animal Collective fans; others will likely be disappointed.
This album marks a slight return to form after 2014's disappointing Ghost Stories. Emphasis on "slight"; the album is basically a less captivating Mylo Xyloto, which itself failed to reach the heights of Viva La Vida. At this point, Coldplay is essentially a brand; those who love them will buy this album regardless of the poor reviews, while those who hate them won't even consider it. Overall though, this album is really only a necessary purchase for Coldplay loyalists/completists.
Hardcore fans of The xx will automatically buy this album on principle. This review is for casual fans of Jamie xx's band who are trying to decide whether the producer of some of their favorite songs has made a worthy album. Overall, the answer is yes. This comes with a caveat: there are only about two songs here that sound like they could come from an xx album. The rest are distinctly more dancefloor-friendly than the dark, moody, introspective fare one would find on Jamie xx's day job. One of the songs, I Know There's Gonna Be (Good Times), featuring Young Thug, is quite frankly embarrassingly bad. That track aside, the rest of the album is satisfying and well-crafted.
By now, most will know what one gets from a Florence and the Machine's third album (not counting MTV Unplugged). One can expect grand emotion, sweeping vocals, and catchy melodies. If one is hoping for lots of musical subtlety or something musically groundbreaking, well, one probably needs to look for a different artist. That being said, this is a very solid album, and longtime Florence fans will not be disappointed at all.
This is the first Blur album with Graham Coxon since 13 in 1999. In the interim, the band members have kept busy with Blur albums not including the original lineup, as well as solo projects. The Magic Whip is a solid Blur album, but not great enough to likely blow away someone who isn't already a fan of the band.