Print Edition: October 16, 2013
Darkside
Psychic
Darkside’s Psychic is a seance of a rock album, even more than the duo’s three-track debut from two years ago, where the worlds of genres seem to not quite apply and Nicholas Jaar’s slowburn electronic style encounters Dave Harrington’s guitar and organ work, both hypnotic. Another point of comparison is Daft Punk’s Random Access Memories, which the duo reworked as a critical dissection, tossing out entire tracks and stretching out small parts of others, as Random Access Memories Memories earlier this year. Darkside uses the two sides of instrumental musicianship and digital remaking together in a way that doesn’t sound like presets working toward a model, but a free-form search for the mysteries in the gaps between traditions of music. Songs run as long as 11 minutes or as short as two, but more important than the structuring of words or a span of virtuosity is the mood of the piece: the disassembling of surf-rock drumbeats on “The Only Shrine I’ve Seen,” the four-minute pulseless build of “Golden Arrow,” or the radio-switch echoes of “Freak, Go Home,” moments that, regardless of track length, induce the effect of song-replays within songs ? not earworms, but their affective dreams.
Miley Cyrus
Bangerz
Anyone who doubted Miley Cyrus’ ability to put her Hannah Montana days behind her only needs to listen to this album to be convinced. After her shocking performance at the MTV VMAs, critics were provoked and popular culture was tempted. This good girl gone bad has certainly changed her image, and a lot of people seem to think it wasn’t for the best. But the American singer’s new album has “got two, ooh letters for you / one of them is F / and the other one’s U.” “Maybe You’re Right” has Cyrus co-writing with John Shanks, a collaborator on her previous hits “When I Look at You,” “Can’t Be Tamed,” “The Time of Our Lives,” and “The Climb.” The verdict is in – Shanks and Cyrus still make magic together. In this personal song, she beautifully belts out, “You might think I’m crazy, that I’m lost and foolish leaving you behind, maybe you’re right.” On album-closer “Someone Else,” a love song with deep bass beats, Cyrus opens singing, “If you’re looking for love know that love don’t live here anymore.” It is no surprise that Cyrus also co-wrote this song. Beyond any doubt, Bangerz shows that Miley Cyrus is growing up and exploring music. She has an incredible voice and is certainly on the verge of something different and amazing with her music career.
Justin Timberlake
The 20/20 Experience Part 2 of 2
After “experiencing” Justin Timberlake’s comeback record in March, it was hard not to hope for a quick follow-up. Although Timberlake has obliged, he misfires. Releasing The 20/20 Experience Part 2 of 2 only six months after 1 of 2, an album that was brimming with style and confidence, one would assume that the themes and production would be similar, however, this new record has more in common with his 2006 record FutureSex/LoveSounds. Both records have been produced by Timberland, but 2 of 2 is chock full of the self-indulgent sonic tics that inhibit Timberlake’s creative range. With someone as wildly talented as Timberlake, it’s difficult to listen to a record that falls back from the strides he made on 1 of 2, as the songs here are obviously scraps from the cutting room floor from the original recording sessions. The album treads water for a few tracks, but even Timberlake’s undeniable charms can’t save this hollowed-out record. It hits rock bottom on the twangy blues track “Drink You Away,” where Timberlake fumbles through the awkward chorus, “I can’t drink you away, I’ve tried Jack, I’ve tried Jim, I’ve tried all of their friends.” This track, sounding like a Kid-Rock parody, is better suited for an SNL skit, and doesn’t belong on the record of a genuinely savvy pop writer like Justin Timberlake.
Joshua Radin
Wax Wings
If you’re not the kind of person to get absorbed into deeply romantic piano and guitar folk styling, then it may be difficult to see the beauty in Joshua Radin’s music. I do, which has made Wax Wings a very personally invested album. Having said that, Radin’s first two albums were absolute killers and this release is only a slight step lower than those two. Interestingly, Wax Wings is being released only 10 months after his fourth album, Underwater, which I hate to call underwhelming. Since then, Radin’s left his record label and has turned to self-releasing, which is almost undoubtedly why Wax Wings is a return to form. What he’s returned with are 11 impeccable tracks. There are only a couple missteps, mostly on one of the upbeat songs, “When We’re Together,” which has strange boy-band backing vocals. Then there’s also “Like They Used To” which edges, musically, just a touch too close to being piped music – albeit with lyrics that are still touching. Other than that, the album’s immaculate. The best songs, as they always will be with Radin, are the ones with deep emotional attachments. This includes “Cross That Line,” a song about breaking through a relationship to take the next step and express one’s love. Then there’s also the closing track, “My My Love,” the story of pressing through life alone to finally meet your love and realize that this is what life is really about.
