Table Of Contents
- Bewitched Review
- Tim Ain’t Accidental Review
- Asteroid City Review
- Against “Art by Democracy”
- My 21st Century Blues Review
Bewitched Review
The second album from singer-songwriter Laufey fulfills its promise on delivering a dreamy and relaxing listening experience. The 14 tracks feature simplistic but elegant production with a lush soundscape full of ambient piano and beautiful guitar and string backing including a feature on “California and Me” from the Philharmonia Orchestra. This creates an atmosphere which evokes feelings of nostalgia and peacefulness through which Laufey spins her stories around love and romance. The songs themselves can be described as pop songs with a jazzy twist. Devoted fans of jazz however may be left disappointed by the lack of any experimentation or challenge Laufey offers listeners. As such, the music is very accessible to the wider public but those looking for a strictly jazz album should look elsewhere. Due to their pop nature, the hooks on many of the songs are catchy enough to stick in the listeners head but not annoying or overly simplistic as is the case in many mainstream pop tracks. Oftentimes, Laufey’s melodies and vocal delivery evoke the sort of 1950s soft jazz pop mood of someone like Peggy Lee. A downside of the album is that while it expertly establishes the dreamy tone at the start of the atmosphere, it does not go anywhere new with this with Laufey choosing to run through songs which, while quite nice and pleasant, sound too similar in style and production to their priors to warrant any new takeaway. Because of this, all the songs seem to blend together immediately after they are heard. This diminishes the listening experience because of the lack of variety on the track list. While the songs individually are high quality and entertaining, combining them in the form of an album does nothing to elevate the components and may in fact hinder them by relegating the individual melodies to mere background music.
Bewitched opens with “Dreamer”, a nice opening number about not letting romantic love get in the way of greater goals. This song sets the tone of the album nicely and is dynamic enough to not be a chore to get through. Next comes “Second Best”, which is meandering and slow featuring a catchy hook and verse. The strings in the backing instrumentation do a lot to complement the smooth vocals. The following track, “Haunted”, falls in a similar vein of slow and moody unrequited love song which does little to differentiate itself melodically from the previous track especially with its weaker chorus. “Must Be Love” comes next and although it once again does not stray from the lazy and hazy atmosphere already established in the previous two songs, this is somewhat forgiven due to the catchy melodies which fill the song. The album continues with “While You Were Sleeping” which sounds the closest to the alternative pop on the album this far. It presents needed dynamism and levity to the album which at this point has had mainly slow and laid-back songs. While the track is certainly not high energy, it at least prevents the listener from falling asleep. Next comes “Lovesick” which leaves behind the subtle and classical orchestration in favor of an almost soft-rock pop anthem. While the stylistic variety is appreciated, the melody still echoes strongly of all the songs that came before and does not stand out as anything greatly different. Bewitched returns to being moody and contemplative on “California and Me” which runs in the same vein as the songs on the opening of the album with little making it stand out and an orchestral feature which only marginally stands out. After a short piano interlude comes “Promise” which is yet another moody unrequited love song. “From the Start” picks up the pace again with a bossa nova inspired tune. Admittedly the melody of this track is catchy and the song is one of the jazzier ones. At the tail end of the album, “Misty”, “Serendipity”, and “Letter to My 13-Year-Old Self” all stick to the soft, moody tone which Laufey is so comfortable writing and singing in, though there is little to stand out. Finally, the album finishes with the titular track “Bewitched” which is remarkably similar in both melody and production to all the other slow tracks on the album, although the string orchestration does stand out a bit more this time around.
While Bewitched certainly is a well written and produced album, it falls short of leaving a long-lasting impact and lacks quintessential tracks that I would see myself going back to frequently. That being said, it offers nearly an hour-long experience of calming and relaxing nostalgia which made it worth the listen at the end of the day. In the future, I would love to see Laufey take creative risks by leaning more into the jazz side of her music and not being afraid to explore a more dynamic emotional and sonic range in her work. Regardless of her next release, I will definitely be sure to give it a listen.
Tim Ain’t Accidental Review
Time Ain’t Accidental is the fifth studio album from singer-songwriter Jess Williamson. The project’s 11 tracks are filled with simple and honest charm as Williamson effortlessly mixes a tinge of country spirit with meandering folk melodies. The songs are catchy but not in your face and carry a certain freshness and authenticity which makes them hold up on repeated listening. Williamsons vocal is always delivered clearly and deliberately with their own unique Texas twang.
However, the album is not perfect. Some of the slower songs tend to drag on a bit, though for the most part this is not an issue as Williamson has a clear understanding of when she has a catchy melody that can keep coming back versus an emotionally poignant line that needs repeating only once. While it is on the shorter end of albums, this suits the themes perfectly and prevents the album from feeling stagnant and stuck on repeating and rehashing ideas and themes.
The album opens with the titular track “Time Ain’t Accidental” which sets the tone for what is to follow while standing alone as an outstanding piece that can play on repeat without getting old. Next comes “Hunter”, a song that has some pop appeal while maintaining the folksy feel of the album. It is certainly one of the stronger melodies on the album and gets stuck in the listeners head very easily (not a bad thing though). The album continues with “Chasing Spirits” which is my personal favorite track on the album. It is very catchy but still sounds authentic and unique. Somehow after many plays, the song is still sounds fresh and exciting. “Tobacco Two Step” is the first slow song on the album and while it won’t be everyone’s jam, Williamson’s vocals on the chorus sound full of longing and make the track immersive and contemplative. “Tobacco Two Step” is followed by “God in Everything”, an anthemic sort of song that boasts small town imagery and the simple life. It doesn’t overstay its welcome and is relaxing to hear. Next comes “A Few Seasons” which succeeds in establishing an unsettled atmosphere which fits the theme of the song. However, it lacks a strong melody and can be a chore to get through on repeated listens as it meanders along for a little while. “Topanga Two Step” brings back some much-needed energy back to the album. It is one of my personal favorites on the album with beautiful melodies and cool vocal inflections from Williamson. “Somethings in the Way” has a nice little instrumental motif but lacks the melodic variation or uniqueness to make a lasting impression in the vein of “Chasing Spirits” or “Hunter”. “Stampede” is the albums return to the slow meandering of some previous entries and while it has a more memorable chorus, this alone is not enough to make this track drag on during repeated listens. The next song, “I’d Come to Your Call” is perhaps the best slow song on the album. With an infectious hook, beautiful vocals, and a perfect opening, it doesn’t get old nearly as fast as some of the previous slow songs. Finally, Time Ain’t Accidental closes out on a high note with “Roads”, which doesn’t quite reach the level of the first three tracks but still does a perfectly good job of ending the project, both thematically and sonically. All in all, the album is an excellent way to lay back and experience a half hour of rolling plains, small towns, and romance.
Asteroid City Review
Wes Anderson’s latest film Asteroid City is a confusing heap of characters and ideas which never seem to develop and become fully fleshed out but which possess enough charm and depth to keep the viewers’ attention in hopes of some new revelation which will make everything clear and meaningful. It is rather difficult to ascertain what the film is even about but I will try my best. The main narrative is a television production about the creation and subsequent staging of a fictional play called “Asteroid City”.
For starters, the film, as is typical with Wes Anderson, has impeccable set design, colors, cinematography, and sound design, which makes it a joy to watch even if the viewer has no clue what is going on. Needless to say, those who are not a fan of Anderson’s aesthetic may want to skip this entry as his eccentric style is in full force. Additionally, the film has a lot of deadpan humor and characters which act in exaggerated (and often hilarious) ways. This pairs nicely with the almost surrealist atmosphere of the film and many will find the performances to be quite comedic. The dialogue, while oftentimes delivered in a deadpan almost emotionless way, is still engaging and beautifully written. Anderson is able to make characters at least seem like they have some deeper development regardless of if they actually do. Perhaps this is due to the supreme intentionality and confidence that Anderson’s films exude where, even when they are at their strangest (and this film has some strange things), you can be sure that what is on screen is the result of a strict artistic vision which has been largely undistilled (for better or for worse).
However, the film is far from perfect. In fact, it would probably not be a stretch to call it (if I dare) somewhat of a mess. The confusing framing structure oftentimes seems to have nothing to do with the plot of the play and there are so many characters and ideas being constantly introduced that it is hard to keep track of everything. While there is an all-star cast, many of them are barely present in the movie, and those that are given notable lines and screen time aren’t allowed to let their acting chops shine as they are forced into subtle and deadpan deliveries. On the whole, the film seems to lack focus as if unsure what story it wants to tell. To its credit, the film keeps the viewer engaged hoping to see some new perspective which explains the characters intricacies, however, this can almost be said to work against it as many will feel duped once the credits roll and nothing is explained. There is only one short scene near the end of the movie that comes close to a resolution or final message/meaning but it is very short and not given the gravity to suggest that this was what the film was about. At the end of the day, the film falls short of delivering any strong message at all, which some have boldly proclaimed is intentional and the whole point of the movie.
This brings up an interesting question around what a movie needs to do to be successful. For example, there are those that would say the goal of a story is to communicate a moral or emotional statement that the audience can takeaway with them when they leave the theater. Others might counterargue that a film need only serve to “entertain” or pleasantly occupy a space in our mind throughout its runtime. I’m not sure where I fall in this argument but I would describe Asteroid City as a film that offers simply a two-hour long experience versus trying to convey a message or meaning; in other words, it could be described colloquially as a “vibes” movie. Stuff certainly happens during the movie but what sticks more in the viewers head than any of the plot points or actual story beats is the overall atmosphere and tone of the movie. This is not necessarily a bad thing, but it certainly is not everyone’s cup of tea and makes the film difficult to compare to other works. In that respect, I would give it high marks for uniqueness and originality but rate it poorly in regards to its story and emotional depth. At the end of the day, however, I am glad I watched the film (multiple times in fact).
Against “Art by Democracy”
The internet and the increasingly greater access to advanced technology can perhaps be deemed the most revolutionizing cultural force of the last fifty years. In that time, we have gone from computers being mechanical machines used only by advanced specialist to having mobile phones that are many thousands of times more powerful than the most advanced computers used to send people to the moon. The camera that, fifty years ago would have been coveted by professional photographer the world round is now common place and taken for-granted on the ubiquitous iPhone. With this greater access to tools that are frankly, incredibly sophisticated, has come a revolution in the amount of content that has been created. Take any category of entertainment for example, whether it be books, movies, music, or even mediums that had not yet been invented such as the short-form content of social media. The sheer amount of content that is being created today is on a scale never before seen. For example, on YouTube, one of many content sites, approximately 270,000 hours of videos are uploaded every day. (For context, that would take one viewer 30 years of constant watching to finish viewing all of it). Given that there are still many people who are just beginning to gain access to high level technology and the internet in developing countries, the amount of content produced is all but guaranteed to continue on an upward trend. But let’s consider how exactly these two forces, the internet and access to advanced tools for content creation have changed the motive and accessibility of creating entertainment.
Consider the music industry. Before internet and access to advanced open-source technology, creating music at all was an extremely challenging affair. Aside from the relatively easy task of obtaining the instrument to directly create the music (which depending on the genre could involve vocals and expensive synthesizers), finding a way to record the music was sure to be a very expensive and demanding endeavor that was near impossible to accomplish without the help of a record label. Even after an artist managed to get their music finished, it is nearly as difficult to get it heard by the public without deep connections to the established marketing lanes which allow one to become mainstream. In other words, it was nearly impossible for a solo artist to independently grow create a successful career in the music industry. On first glance, the internet and greater access to technology have seemed to create a newfound sense of democracy within the music creation landscape. Today it is extremely easy to download a free music production software, produce some music, and upload it to Spotify where it can organically be discovered millions of listeners. Self-promotion is also much more accessible through the many and various social media platforms. It seems then that this change initiated by technology has lifted the music industry from the oppressive regime of record labels and towards a more populist environment where the people decide who gets heard. The reality of the situation is not so black and white. While it is true that creating music has become easier and more accessible to a wide swath of people, this has ironically made it even harder for the talented person to stand out.
Our society is in a sense, drowning in content. A quick visit to a local bookstore will find the reader inundated in mediocre novels by unheard of authors while the same is true for the listeners experience on Spotify where thousands of upcoming artists produce mediocre music that takes hours to sift through making one want to turn back the industry established artists where at least a modicum of quality is still upheld. The increase of content creators has not increased the quality of content being created. Rather it has buried the best and brightest artists under an enormous pile of low-quality content. This change has an even more insidious future however, as art has been replaced by content, the potential artists of the future are not exposed to the great works of past artists. Instead of listening to the timeless music of the bygone past and the movies of classic Hollywood, they are consuming anti-intellectual content from the myriad soul sucking social media outlets. Obviously, it is nearly impossible to create inspiring and beautiful works of media without experiencing the great Western artistic tradition oneself. It is increasingly common for the youth of today to read nothing, listen to nothing, and watch nothing except for fruitless short-form content. How then can we not expect to go on a downward content spiral with music, movies, and books becoming of worse and worse quality.
This is not to say that the newfound artistic freedom wherein anyone can express their creativity needs to be stifled. It is merely meant to bring awareness to the downsides of such a development and to encourage the consumers and enjoyers of artistic mediums to be increasingly selective in what they choose to support. Additionally, it is a reminder and plea for people to give older works which might seem outdated by today’s standards a chance. There is a reason for these works have stood the test of time.
Perhaps, I am being dramatic and the positives that come from relative democratization of content creation outweigh the negatives. Perhaps there was always been a wide portion of the human population that has never appreciated fine art in any capacity. However, I think two takeaways can be of value from the present state of cultural output we find ourselves in. Firstly, that cultural curators of art are desperately needed in the free for-all that is online content creation. We should not be so naïve to assume that we can individually discover for ourselves the diamond in the rough of entertainment content. There is always room for an expert curator, who in limiting the field of young artists, preserves and ensures that the best musicians, writers, and creators, float to the top of society collective attention. This, however, goes hand in hand with a change that can take place in the attitudes of the consumer. We must together, demand better. Better music, better movies, better books. In every facet of art we need to reject the superficial, whether it is the frivolous and sultry rap or repetitive and cliché superhero flicks. As long as there is a market for high quality entertainment, it will continue to be created so it is of high importance that we show our support.
My 21st Century Blues Review
My 21st Century Blues, the debut album by singer-songwriter Raye who has previously worked with some of the biggest names in music, does not disappoint in delivering a loud, bold, and dynamic experience to the listener. The album is a blend of many styles and genres including house, pop, dance, jazz, gospel, r&b, and blues so there is something for everybody. Across the board, the 15 tracks are catchy and sonically interesting with production being unique and noticeable but not in your face. Thematically, the album also maintains its variety discussing a wide range of topics and issues with precision and intensity. The vocals are kept interesting through the use of effects and backing vocals. The production on the whole is quintessentially pop bordering on hyper-pop in some cases which might alienate some. Additionally, Raye sometimes doesn’t seem to have a clear vision for the entire album skipping from genre to genre to write the song she wants, so while individually the songs hold up, the cohesion of the album suffers.
My 21st Century Blues, opens with “Oscar Winning Tears.”, which does its best to set the tone for the album, attempting to balance the fusion of electronic/dance songs and jazz/acoustic songs to mixed success. The tune, however, like every song on the album, is very catchy. The album continues with “Hard Out Here.” and “Black Mascara.”, both of which sound very electronic but are very catchy with interesting and varied production. No complaints here. These are followed by “Escapism.”, the biggest hit of the whole album and for good reason. “Escapism.” is simply superb as a result of incredible production, lyrics, and songwriting which succeed in conveying the feelings of addiction and hopelessness. The song is also a blast to listen to with the standout for me being the simple but effective drums and the recognizable and constant high, blaring, synth. This song will definitely be on my playlists for years to come. Next comes “Mary Jane.” which slows the album down while still managing to be interesting with the textured backing vocals. “The Thrill is Gone.” follows serves as foreshadowing for what’s as the electronic dance production of earlier gives way to a more natural and jazzy acoustic sound. Fortunately, the quality and catchiness of the production and melodies stays constant. The album continues with “Ice Cream Man.” which has a beautiful melody and message over a serious issue. Following this is “Flip a Switch.” which is one of the weaker songs on the album with a weaker melody and production compared to the rest of the hits making it so I can’t see myself wanting to listen again. “Environmental Anxiety.” brings up a theme that comes out of the blue and disappears again immediately afterward. However, the song is a fun if somewhat messy categorization of the many problems facing the modern world. A rare turn outward in this personal debut album. After “Environmental Anxiety.” comes “Five Star Hotels.” which is another weaker entry on the album with an unusually forgettable chorus. The final two songs fit together in that they are both on the acoustic jazz end of Raye’s musical scale. However, “Worth It.” is on of the best songs on the record due to its infectious positive movement and catchy chorus and verse. “Buss It Down.” closes out the album on a high note although, once again, its gospel sound is a far cry from the electronic soundscape the album began with.
To conclude, it is evident that Raye is a top tier songwriter with the ability to come up with an endless number of catchy hooks and choruses that, when paired with the proper production, can become certified hits. My 21st Century Blues is at its best when it has a clear vision and style which makes the album cohesive and contained. Unfortunately, it does not always maintain one sole artistic vision through the LP. No matter where she goes from here, it is hard to imagine her next project is not equally as entertaining. Personally, I would love to see Raye explore a more jazzy and non-electronic sound for her next project, perhaps incorporating a big band and especially some brass.