iLoveMakonnen
Drink More Water 6
Drink More Water 6 sees Makonnen Sheran stray further from the druggy, hazy melodies he built his current fan base on (the most popular of which is “Tuesday”), and towards a more sporadically aggressive aesthetic. That said, album opener “Back Again” is strengthened by Makonnen’s ear for catchy hooks. One of the more apparent differences between this and the projects that Makonnen has released in the past is reflected in his choice of instrumentals, which instead of ethereal and hazy, are more to the point. There’s still fluidity in them, but generally, they’re punchier.
The same comment applies to Makonnen’s delivery as well; he’s much less melodic on DMW6 than he’s been in his previous releases. I Love Makonnen 2’s “Trust Me Danny,” for example, was infectious to a fault, whereas the most catchy track on DMW6 is arguably “Big Gucci,” and that’s only because of the repetitive nature of its verses.
Overall, Makonnen seems to be trading in an appealing, well-defined aesthetic for a more aggressive, yet less charismatic one.
I just want you to go back to what you’re good at and make another “Tuesday,” Makonnen, is that too much to ask?
Martin Castro
School of Seven Bells
SVIIB
The latest, and most likely last album by School of Seven Bells is a poignant farewell to founding member Benjamin Curtis. Alongside his bandmates, Claudia and Alejandra Deheza, School of Seven Bells had a short career spanning only nine years. Over those years and through the course of four albums they drew upon influences ranging from Kraftwerk all the way to Section 25.
Somehow, SVIIB, released after Claudia Deheza’s departure from the band in 2010 and Curtis’ death in 2013, is just as emblematic of the group’s sound, despite Alejandra being its last remaining member. Of course, much of this is due to the fact that the album was written prior to Curtis’ passing. His presence lingers across the glittering synths that mark SVIIB as a School of Seven Bells album. And Deheza’s performance is grief-laden; Curtis’ aura is a ghostly one, flitting across the album.
Fittingly, the album explores the themes of a failed relationship, discussed most openly in “On My Heart” but pervasive throughout the album. “On My Heart,” in addition to being most demonstrative of the album’s themes, also contains the most heart-wrenching line on the album: Deheza’s paradoxically optimistic delivery of the words “You’ll fall in love again.”
That optimism is key, as SVIIB wasn’t written as a funeral dirge for Curtis. In fact, it retains the same playful, upbeat synth work that has been the group’s hallmark. Unfortunately, it’s impossible to separate SVIIB from Curtis’ untimely death. SVIIB is touching, impressive, and a fine farewell for a creative, cutting edge musician.
Glen Ess
Elliphant
Living Life Golden
I was a little skeptical as to what I was in for while listening to “Step Down,” the first song on the new album by Swedish singer Elliphant’s (Ellinor Olovsdotter) new album, Living Life Golden.
While the majority of the album lands in the alternative pop and electronic genres, there are interesting influences throughout. “Step Down”’s lyrics belittle people for judging others, “Everybody” (which features Azaelia Banks) and “Player Run” have more of a rap influence, with strong electronic tones and back beats, and “Love Me Badder,” “Not Ready,” and “Where is Home” mix reggae and electronic. “One More” features MØ, who adds a more melancholic edge to the pop song, while Skrillex joins Elliphant on “Spoon Me” which is basically a good dance or clubbing song. In the end, Living Life Golden is a great reflection of Elliphant’s ability to almost transcend genre, finding influence in rap, pop, electronic, and reggae and fusing them together.
Julianne Huff
Damien Jurado
Visions of Us on the Land
Damien Jurado’s been around for over 20 years of recording, and has grown as both a musician and storyteller, as demonstrated in his latest LP, Visions of Us on the Land.
Visions is the latest chapter in a story Jurado started telling us in 2012’s Maraqopa, which introduced us to an unnamed protagonist who gives up on society and heads out to an idyllic, mysterious town. Following Maraqopa came 2014’s Brothers and Sisters of the Eternal Son, which added a theological twist to this protagonist’s search for greater meaning outside of consumerism.
Now, four years after his first appearance, this character has left the cultish commune he’d wandered into in favour of voyaging across a dreamscape version of the United States, bursting in all its glorious weirdness. Sonically, Jurado builds upon the idea of an America on acid through his inclusion of funk influences, particularly basslines.
While the album is entertaining and expands Jurado’s sonic palate, the past four years haven’t seen this tale come closer to a conclusion. It remains to be seen where Jurado will go, or where he’ll take his listeners: the small town dream of Maraqopa, or the commune of Brothers and Sisters. Perhaps he’ll continue to wander across the land of imagination described in Visions.
Glen Ess
