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MUNA – About U (Album Review)

MUNA – About U (Album Review)

About U was the debut release from MUNA; a band thoroughly engrossed in electronic pop. As far as debuts go, they’re normally not as polished as this release and while some may lament the use of AutoTune-styled vocal manipulation and presentation, it works exceptionally well for this style of music and other than a couple of times throughout the entire album, I don’t feel it is a technique that is overused. 

Released in 2017 on Vinyl, CD, and Compact Cassette, About U is a stunning introduction to MUNA and while I’ve yet to pick up a copy of the album on Vinyl, I look forward to adding it to my collection in the near future for it’s energetic and utterly addictive, meaning that it is very likely that I’d wear that record out. In the interim, however, the Apple Music stream, an Apple Digital Master, is simply magnificent. The album has most certainly been recorded, mixed, and mastered incredibly well and while it has a modern sound, that isn’t a detriment for the soundstage is immersive with great separation between each musical element. There is little doubt in my mind that you will adore the streaming version of About U if you don’t have access to a physical copy; I know I do.

So Special sets the tone of the album from the moment the song begins and the depth of the musicality with the vocal sitting right on top of the mix is utterly perfect. 

Loudspeaker will get you moving, either on the dance floor or via some toe-tapping and head-bopping. A great song!

I Know A Place has a killer rhythm and is a solid tune with a catchy lyrical aspect. 

Winterbreak is a little weak, but perhaps it is simply due to the tempo shift as the previous tracks were a lot more upbeat in comparison to Winterbreak. 

Around You picks up the tempo and this pace is where I feel MUNA shines.

After is EPIC; I love the moodiness. 

Promise isn’t a standout but works well within the album structure. 

If U Love Me Now is a lovely vocal-focused song with a solid beat that works well for this style of music. 

Crying On The Bathroom Floor is ready for the dance floor; exceptional!

End Of Desire is a B-side; not a bad one, but not a standout either. 

Everything is another spectacular vocal-focused song with a musical backing that is absolutely captivating; I love it! Everything is, without doubt, one of the best songs on About U. 

Outro closes the album perfectly, although this is one song where I feel the vocal manipulation was taken a little far and is subsequently distracting. Nevertheless, Outro encourages me to play the album again and remain within MUNA’s expanding catalogue of music. 

From start to finish, About U is absolutely incredible. There isn’t a bad song to be heard on the album and that is something that simply cannot be said for most debuts. A masterful release!

Madonna – MDNA Deluxe Edition (Album Review On Vinyl, CD, & Apple Music)

Madonna – MDNA Deluxe Edition (Album Review On Vinyl, CD, & Apple Music)

Released in 2012, Madonna’s 12th Studio album MDNA is one of the most cherished albums in my collection. It’s classic Madonna with an upbeat styling and a couple of simply gorgeous vocal-based songs. It’s also an album that compels me to keep coming back for more and is only second to her exceptional Ray Of Light release in 1998.

I’m fortunate enough to own both the Vinyl and CD Deluxe Edition, although when I found a copy of the Vinyl release, I subsequently passed the CD down to my daughter who has kindly allowed me to revisit it for this review. 

With an expanded booklet, the CD liner notes offer a value-added proposition for fans as photographs are included that are absent from the Vinyl release. It’s a shame when this happens because while the Vinyl edition is presented as a gatefold design, a placard could have been easily included; as has been the case in countless other releases, by other artists. Look, it isn’t a deal-breaker, but as a fan and a collector I notice these differences and feel that the Vinyl releases, due to their significantly higher cost should deliver additional value for the fans. That isn’t to say that the CD-based music-lover should miss out, but that greater parity should be adhered to. 

That said, it’s great to see that the entire Deluxe Edition track listing made it to the Vinyl counterpart as that doesn’t always occur. Of course, as with any Deluxe Edition, one will need to decide if the additional songs are worthwhile. At least, on both editions, they are separated from the album with a second CD housing the bonus tracks and Side D of the Vinyl release being dedicated to these songs. 

Sonically, the Vinyl record is darker and moodier than the CD. The CD, by comparison, is bright, and a little fatiguing, but similarly thumps in the low end as one would expect. The CD naturally has plenty of clarity, but if you’re after a sound that resembles being in a nightclub with a world-class DJ, then you really should track down a copy of the Vinyl release. As for streaming, the Apple Music edition, an Apple Digital Master, is perfectly positioned between the two physical formats as it is neither too clean, nor distorted, and is therefore thoroughly enjoyable to listen to. 

While I love the Vinyl reproduction of MDNA, and you really can’t go past the affordability aspect of the Apple Music edition, regardless of which edition you choose to pick up, you’ll thoroughly enjoy the release as the mastering, while a little hot, is perfectly suited to Madonna’s style. 

Girl Gone Wild is an incredible opener that somewhat reminds me of Hung Up opening Confessions On A Dance Floor. You’ll be toe-tapping and head-bopping, if not dancing, from the moment the beat kicks in. 

Gang Bang will test your systems bass response. Turn Gang Bang up to 11, especially if you have a subwoofer; you won’t regret it. The soundstage is immersive and expansive throughout the song and the siren, later in the song, is so well-positioned within the mix that the first time I heard the song, on a family drive, we swore the cops were about to pull us over. All of this makes for an incredible song and a personal favourite from MDNA.

I’m Addicted is a solid song, but I’d suggest the vocal processing is a little overdone in the chorus. 

Turn Up The Radio is a great song, but stay clear of the music video as it just isn’t good. Turn Up The Radio has a great tempo that will encourage you to move your body. Seriously, if you’re sitting still through this song, or most of this album, you’re listening wrong!

Give Me All Your Luvin’ (feat. Nicki Minaj & M.I.A.) Is campy and is far from the greatest song on the album. I’ve no doubt many fans adore it; it just isn’t the type of song I appreciate. That said, it doesn’t take me out of the album experience, but it’s one song that I could easily skip when playing the album via one of the digital formats.  

Some Girls picks things up again; I love it! 

Superstar is a great song, but is it just me or does Superstar remind you, too, of Katy Perry’s Firework? Either way, both are great but Superstar, while corny, is thoroughly enjoyable.

I Don’t Give A (feat. Nicki Minaj) has an incredible rhythm, plus it’s one of the wittiest songs I’ve heard in a long time. I Don’t Give A is one of the best songs on MDNA and it’s one of the greatest songs Madonna has ever recorded. Minaj’s inclusion here is nothing short of perfection. Magnificent!

I’m A Sinner is great and reminds me of the style applied on the Ray Of Light album. As with I Don’t Give A, I love the double entendre. 

Love Spent isn’t a standout and isn’t as memorable as other songs on the album, but every time it comes on I thoroughly enjoy it. 

Masterpiece is a masterpiece! Although, it can get a little muddy in the low end, so depending on how you’ve got your music playback system setup, you may find you’ll need to adjust the bass levels. 

Falling Free is sonically lovely and the focus on Madonna’s vocal is absolutely perfect for this song. It’s also another style that reminds me of Ray Of Light; perhaps that is why I adore MDNA so much as it offers such variety.  

Beautiful Killer isn’t a bad tune. The rhythm is addictive, the musicality is spot on, yet, I can’t put my finger on it but it sounds as if something is missing, such as a cohesive element. 

I F****d Up is pure gold!

B-Day Song (feat. M.I.A) is cringeworthy. That is all!

Best Friend is a panning nightmare, especially on headphones, yet it is a compelling effect and not a bad song.

Give Me All Your Luvin’ (feat. LMFAO & Nicki Minaj) [Party Rock Remix] isn’t a bad remix and it’s true to say that I prefer this rendition to the original. It still isn’t an amazing song, for me, but I already want to play the album again. 

MDNA is an incredible album from start to finish and while there are a couple of songs that I consider to be campy or not perfectly in sync with the rest of the music on MDNA, I’m sure you’ll enjoy it as much as I do as it is one of Madonna’s best albums. 

Agnetha Fältskog – A (Album Review On Vinyl & Apple Music)

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Agnetha Fältskog – A (Album Review On Vinyl & Apple Music)

Every now and then new music appears from the individual members of ABBA. Agnetha Fältskog is, of course, one-quarter of the enormously successful Swedish pop group. As a lifelong fan, of both ABBA and Fältskog’s solo efforts, I immediately ordered the vinyl release and while I love the album as a creative piece of work between Fältskog and her collaborators Jörgen Elofsson and Peter Nordahl, the vinyl release is a little disappointing.

From the get-go, I was surprised the cover art was so out of focus. Yes, it is captured softly to separate Fältskog from the album typography and while it may look glorious on streaming services and CD-sized canvases, the larger vinyl reproduction makes me wonder if I’m slowly going blind. One would have thought, or at least hoped, that this would have been taken into consideration, but sadly it wasn’t. 

While the mastering is solid, the pressing is questionable. Pressed by GZ vinyl, there are several scuffs from the manufacturing process that create a few additional pops and clicks. Yes, vinyl is fundamentally a fragile medium, but if records are cared for, as mine are, they can be appreciated without pops and clicks destroying or impacting the listening experience. Nevertheless, when the pops and clicks aren’t audible, the vinyl reproduction is sonically beautiful. 

The Apple Music stream, an Apple Digital Master, is exquisite and therefore if you prefer to stream your music, you can guarantee that nothing is lost. Perhaps a little warmth, as the vinyl seems fuller with a more enveloping soundstage, but the digital counterpart is far from cold and harsh and the difference is only noticeable when comparing the two formats.

SIDE A

The One Who Loves You Now is a lovely song to commence the album with, although I’d like to hear a version with a slightly slower tempo as I feel it would have further amplified an already exceptional song. 

When You Really Loved Someone comes into its own when the chorus begins. That said, this song borders on campy pop music and Fältskog’s vocal sounds a little overproduced and processed on this song. It isn't necessarily bad but it makes me think of numerous modern pop stars and therefore I question if the vocal presentation suits Fältskog’s capabilities. Regardless, When You Really Loved Someone is an exceptionally enjoyable song.

Perfume In The Breeze has a great tempo. You'll be toe-tapping and head-bopping in no time. Although, again, I feel it is overproduced, especially in the vocal region of the chorus. It just sounds as though it’s following a modern pop music formula. I do, however, thoroughly enjoy Perfume In The Breeze. 

I Was A Flower is absolutely stunning. It’s one of the greatest songs Fältskog has ever recorded, if not the greatest. You'll want to turn the volume up and become absorbed by the soundstage as it wraps around you as the speakers disappear, leaving you, Fältskog, and the instrumental orchestral movements to exist in that special place where music and ecstasy intersect.

I Should've Followed You Home is the perfect song to follow I Was A Flower. It’s a recording and mixing marvel as the vocals were recorded in two different studios. Yes, this has been done before, but each studio has a unique sound, yet the vocals are merged superbly. The decision to have Gary Barlow duet with Fältskog was superb as his vocal tonality compliments Fältskog’s perfectly. That all said, it would have been interesting to hear the difference had both artists been recording in the studio, at the same time, in a linear manner. I have a sneaking suspicion the song would have been even stronger, but I’m far from disappointed with the song we have.

SIDE B

Past Forever is beautiful. I love Fältskog’s vocal on this track as it sounds largely untouched and natural. Her soaring vocal is a pleasure to listen to and I could put this song on repeat for hours. I’d really like to see Past Forever re-recorded as a duet with Celine Dion as all the sonic cues are there to suggest such a collaboration would be nothing short of pure perfection.

Dance Your Pain Away is a disco-based track that is significantly different to the last few songs and while auto-tune is clearly used here, it's a great dance track that has a modern sound and one which DJs would have a field day incorporating into their live sets. If you want to hear additional remixes, check out the Remixes EP. 

Bubble is a lovely vocal-based track. I absolutely adore it!

Back On Your Radio is campy. Okay, it isn't that bad. No, wait, there's the chorus again. It just isn't good and should never have been recorded, let alone released. Harsh, yes, but this is a song for an artist aiming for a younger audience, arguably an audience that Fältskog wasn’t focusing on as it sounds out-of-place with the rest of the album.

I Keep Them On The Floor Beside My Bed is the only song on A to be penned by Fältskog and is simply beautiful. As the final song on the album, it closes it perfectly and encourages me to listen again and stay within Fältskog’s back catalogue.  

Overall, A is a thoroughly enjoyable album that should be in every fan’s collection. 

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Alter Bridge – III (Album Review)

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Alter Bridge – III (Album Review)

III is where I came in and thanks to Myles Kennedy’s collaboration with Slash on Back From Cali and Starlight, from Slash's eponymous solo debut, I became an immediate fan of Kennedy’s vocal style that would then lead me to become a fan of Alter Bridge. I’ve no doubt some fans may lament Kennedy’s extracurricular activities with Slash, but without it, I may not have found Alter Bridge.

Released in 2010, III remains my favourite Alter Bridge album to date and while I thoroughly enjoy their fourth album, Fortress, I find it isn’t nearly as tight as III as it feels as though it is a collection of songs rather than a uniformed album. Whereas III doesn’t suffer that same fate. It is surprising then to acknowledge that I have Fortress on vinyl but not III. Insane, I know, but what can you do. Well, I could always pick up the stunning 2019 Music On Vinyl reissue, couldn’t I?. 

In the meantime, however, Apple Music will have to suffice and while it isn’t delivered as an Apple Digital Master, and subsequently suffers from the same brickwalling as the CD release, III remains sonically beautiful with a soundstage that while shallow in places, is well defined and has an intimate feel. Given the chosen mastering, I find it is less fatiguing when listening on headphones rather than speakers and that is most probably the best reason to consider the vinyl reissue as the dynamic range on that particular release is reportedly almost twice that of the digital counterpart.

Slip To The Void sets the tone for the entire album and is, in my opinion, a stunning opening track that is atmospheric and involving for the listener, ensuring this is not a passive listening experience. 

Isolation takes the album up a notch but going from the more open sound of Slip To The Void, Isolation is, by comparison, the song which showcases the most brickwalling; listen to those cymbal crunches throughout. It’s a shame and does initially detract from the song and the overall album experience, but the mind settles down after a while and I hope this is one element that is fixed on the vinyl reissue because it’s about the only major complaint I have when listening to III.

Ghost Of Days Gone By is arguably softer, particularly in the beginning, in tone when compared to Alter Bridge’s usual styling, but it works so well and not only is the entire band capable of such an undertaking, but Kennedy’s vocal is perfectly suited to the Ghost Of Days Gone By and in one respect it could be suggested that this is one of the greatest songs ever sung by Kennedy.

All Hope Is Gone is spectacular!

Still Remains has a killer tribal beat and rhythm feel to it. It reminds me of Mike Wengren’s (Disturbed) drumming and Zakk Wylde’s (Black Label Society) guitar styling; both of whom I thoroughly enjoy so that comment is one of admiration and other than some cymbal crunching, Still Remains is exceptional.  

Make It Right is a solid tune, works well as part of the album, but it isn’t a song I would seek out on its own and I feel it is the weakest of the 14 songs included on III. I find Kennedy’s vocal here isn’t the greatest, it sounds a little whiny, and the overall musicality is, in my opinion, far below the skillset of Alter Bridge during the III era. 

Wonderful Life is beautiful!

I Know It Hurts is the toe-tapping, head-bopping, rock tune that is perfectly suited to follow Wonderful Life. It’s a great song, one of the best on the album, but that could be said of so many songs on III. Alter Bridge really set the bar high with III and while your opinion may differ, dear reader, I’m not sure they’ll ever beat it.

Show Me A Sign will encourage you to get your air guitar out, close your eyes, and strum along. Another great song in an album that simply doesn’t let up. 

Fallout is a mixing masterpiece, thank you Brian Sperber, and is one of my absolute favourite Alter Bridge songs.

Breathe Again really highlights Kennedy’s vocal pitch capabilities and that guitar track is simply gorgeous. If you haven’t already, I’d recommend turning the volume up on this track, especially in the second half of the song as it rocks.

Coeur D’Alene is a song I have mixed feelings about. I find my mind is distracted when I listen to it. When I think about it further, I think it is a disconnect between the verses and the chorus that throws me. It is as if the bridge isn’t allowing for a seamless transition.

Life Must Go On is incredible. I love it!

Words Darker Than Their Wings is a solid song to close the album on, but part of me wishes that Words Darker Than Their Wings could have been tracked before Life Must Go On as I feel the latter would have been a stronger song to close the album with. Regardless, I feel compelled to listen to III again and as I did while writing this review, I progressed through Alter Bridge’s catalogue of music. 

Overall, III is nothing short of extraordinary. It isn’t only my favourite Alter Bridge album, but I’d argue that it is one of the greatest rock and roll albums of the modern era and will, with time, become a classic record.

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A-F-R-O & Marco Polo – A-F-R-O Polo (Album Review)

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A-F-R-O & Marco Polo – A-F-R-O Polo (Album Review)

The world of Hip Hop is in a constant state of flux and there is little doubt that it is one genre of music that is constantly evolving, building upon itself, as up and coming artist push beyond the status quo. 

A-F-R-O is one such revolutionary artist, having paired with fellow Hip Hop producer, Marko Polo for this debut release A-F-R-O Polo. If you’ve ever enjoyed Hip Hop/Rap music, you’re going to love this release. 

I do however wish to advise that the Explicit tag is here for a reason, especially when it comes to the song Sunshine And Flowers. For those of you that would prefer a ‘clean’ edition of the album, there, unfortunately, isn’t one available. However, and in a stroke of genius, there’s an Instrumentals album that gets you 95% of the way there without the editing blips or spaces that generally ruin the songs. When my kids are around, I can listen to the Instrumentals release and thoroughly enjoy and then when listening privately, I can appreciate the lyrical component even though I generally don’t look for literal lyrical interpretation, instead preferring to consider vocals to be akin to another instrument.  

It is important to note that while I have referenced the Instrumentals release, if you’re interested in picking up A-F-R-O Polo physically, the Instrumentals release is digital only, being available on iTunes and Apple Music. 

While available on both Vinyl and CD, it is a little disappointing that the vinyl cover art is different from the cat-head cover of the CD/Digital releases. It’s a shame as it would have looked incredible on the larger canvas and I can only hope that one day a future pressing of the vinyl release will be done with the core album cover.

Some of you may be wondering if A-F-R-O Polo can really be classed as an album, rather than an EP. Well, it is right on the edge with a runtime of 25 minutes, but it does have eight tracks so I consider it to be an album. To be completely honest, I love shorter albums. Long gone are the double albums from the 90s; thank god! Seriously, how many were truly great? 

From a sonic perspective, A-F-R-O Polo is magnificent with a soundstage that grows as you increase the volume and doesn’t distort. The separation between elements is also superb and the complete opposite to the disposable pop music in the modern era where there is little to no separation and depth in the soundstage, instead aiming for a wall of sound. A-F-R-O Polo is incredibly dynamic and while I love the music, I’d listen to this album just merely for the mix which I consider is beyond reproach on all but one song. 

Long Time Coming (feat. Shylow) is brilliant! What an incredible opening for a Hip Hop/Rap album. The lyrical delivery shoots fast and hard, while simultaneously ensuring the sampling and mix is the definition of pure perfection. I don’t know about you, dear reader, but I can’t stop moving to this song. I love it!

Nightmare On Fro Street flows on beautifully and while rhythmically different, doesn’t sound out-of-place with the overall musical style of A-F-R-O Polo. I would, however, and this is a very personal perspective, prefer a more rhythmic approach to the vocal delivery as the spoken word, while a trademark of this style of music, feels a little too separated from the sampling and overall musical mix. That said, I’m sure there are many of you who would love it and consider it to be perfect. I certainly don’t dislike it, I’d just like a slightly different vocal presentation. 

Swarm (feat. Pharoahe Monch) has a great beat and overall rhythm. Sometimes that is all you need! 

Sunshine And Flowers is one of the best songs on the album, if not the best. That rhythm, beat, and lyrical delivery is off-the-charts good; a perfect mix! Yes, the lyrics are controversial and will absolutely offend some people but, while I can’t confirm this, I don’t believe the lyrics are meant to be taken seriously. Sunshine And Flowers very much reminds me of the exaggerated style of the comedic glam metal band, Steel Panther. Nevertheless, if the lyrics bother you, remember there is always the Instrumentals edition to enjoy.  

Fro Armstrong continues perfectly from Sunshine And Flowers and has some great sampling and an incredible mix. A great tune!

Use These Blues (feat. Eamon) slows things down a little but is utterly brilliant. Although, is it just me or has the faux record surface noise been overdone at this stage? Either way, it’s a beautiful song with a soundstage that is full but not compressed thereby allowing every element the space it needs to breathe. 

Lair Of The Black Worm is in similar styling to Nightmare On Fro Street, but I find the vocal presentation on Lair Of The Black Worm is much better suited and positioned to the overall musicality. It may not be the strongest song on this release, but I thoroughly enjoy it when listening to the album.

Joe Jackson has a perfect mid-tempo rhythm that will hypnotise you and Joe Jackson is one song that I wish would never end for I’d love the musicality to be repeated indefinitely. What I find is when I decide not to listen to the album again, that Joe Jackson continues on as a welcome earworm that thereby encourages me to return to A-F-R-O Polo and listen once again to what can only be considered a brilliant addition to my continuously growing library of Hip Hop/Rap music. 

Overall, A-F-R-O Polo was one of the greatest Hip Hop/Rap releases of 2016, and in recent history is only bested by Kanye West’s incredible ye. Yes, it is that good, and I can’t wait for more new albums to emerge. 

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