Childish Gambino - Awaken, My Love!

There's no one quite as hot in the hip-hop world right now as Childish Gambino is. Mr. Donald Glover announced his third record Awaken, My Love! at the beginning of November, and now it's out and it is quite the surprise.

There's not much that could've pre-empted you for this record. It's not what you may have expected from Childish Gambino, but at the same time it still feels intrinsically like his own record. Awaken, My Love is more of a funk and soul record than it is hip-hop (Glover's host genre), so it is a departure. This was the direction that he looked to be traveling in, though. It's not Because The Internet, nor is it Camp. If anything, it's closer to his Kauai EP. What's best about the record, perhaps, is that it is its own entity and sound.

This record is a new chapter in the story of Donald Glover. This is true thematically and stylistically. Awaken, My Love! is an album about love, being served in many different forms. From an overarching view, this album is for Gambino's son. The title itself references a birth; that tense but joyous wait for your newborn child to open their eyes or to cry for the first time. Other song titles also reference "your mama" and 'Baby Boy,' further giving credence to this theme.

The theme of love and life occurs in each and every song separately, though. There's not really one specific topic that the album clings to, but each song has something to say. Lead single 'Me and Your Mama' opens the record, its spiraling Radiohead synths adding a modern touch to the old-fashioned, blues rock instrumental the song has. The lyrics tell the tale of how difficult love can be, and how those against it encumber those who have fallen victim to it. The first verse chants, "They wanna see us fallin' apart! / You know that I love you! / So let me into your heart," Glover begging his lover to stay with him and open up to him despite the world being against them.

The poppier, rawer 'California' follows up on love, Glover criticizing a girl who wants to life a free and fun life in California. She then gets in trouble and despite his initial distaste, the narrator too wants to go there to have a good time. The song has a distinct accent on it, the instrumental too sounding different from the rest. It's simply a fun song - it's not serious by any means, flowing with groove and oozing with sweetness. 'Terrified' follows up, immediately taking the tone back to a dark one as things start falling apart when the couple encounters several hardships.

Any fan of Childish Gambino will know that he is always making a statement. On Awaken, My Love!, when he's not singing about love, he's making a statement about life as a black man. Several songs on the record have this call-to-arms vibe, perhaps understated as a result of the infectious funk. 'Have Some Love' begins with a gospel choir soulfully chanting "Have a word for your brother / Have some time for one another / Really love one another / It's so hard to find," Glover's vocals coming in afterwards, sounding paranoid and distraught. The song's groovy bassline makes the song's vibe feel more significant than the words, shadowing the meaning in the best way possible. It takes two listens to absorb it. There are other songs that ring with more urgency. See 'Boogieman,' where the refrain barks "With a gun in your hand, I'm the boogieman / I'm gonna come and get you" as sung by a blues choir. The song's soulful guitar riffs ring with purpose, the vocals this time showing that they have significance amongst the layers of the song. 

It all ends with 'Stand Tall.' The sweet instrumental 'The Night Me and Your Mama Met' prefaced the track, sweet strummed guitar that ends each bar with a quick punch of sweet wah. 'Stand Tall' has two distinct parts to it. It begins quietly with bass and guitar, Childish Gambino coming in to sing about a lesson his father taught him when he was young. That lesson is told in the hook: "Keep all your dreams, keep standing tall / If you are strong you cannot fall / There is a voice inside us all / So smile when you can." The somber tone of the first half is then brought up to something more upbeat and celebratory, the same lyrics repeating but with more appreciation. It's a sweet sendoff to the record that brought love and hate together into one soulful experience.

Awaken, My Love! is a departure of sound, but a solidification of conviction. Childish Gambino is an artist in the truest form. This entire album is one big risk, but it pays off brilliantly in the end. It's not the hip-hop we're accustomed to from him, but its a dark, moody, and groovy soul and funk record that has emotional and political connotations. Just when you thought it may have been over for Donald Glover, he comes right back, and with flying colors.

Favorite Tracks: Me and Your Mama, The Night Me and Your Mama Met, California, Stand Tall

Least Favorite Track: Riot

Rating: 84 / 100

Imagine Dragons - Night Visions

Imagine Dragons are inching closer and closer to getting new material from their upcoming third record out, but it has quite the discography to live up to. The band's second record Smoke & Mirrors was largely a success, combining heavier elements - as well as poppier ones - to the band's foundations. You can't move forward without keeping what's behind you in mind, though. Imagine Dragons' 2012 studio debut Night Visions set the pace for this band.

Regardless of how you look at it, Night Visions was, and still is a massive record. It's built upon very pure emotions and a pretty clear mission statement. It has a strong conviction and, on top of that, loads of pop appeal. The album is probably best known for some of its singles: the sweet, uplifting anthem 'It's Time' was played nearly nonstop in its prime, it's dinky intro leading into a powerful track with a strong drive. There's also the classic 'Demons,' perhaps one of the weaker of the singles. It's weird kick drum sound and less upfront sound doesn't live up to the hype of other singles on the record, but that didn't stop it from being a big single.

Of course, no one can forget 'Radioactive.' Even if you tried you couldn't forget it - chances are you heard it so many times in 2012 and 2013 that you got sick of it. The ad nauseam radioplay may have gotten to you, but while listening to it with purpose, you remember how massive of a song this is. 'Radioactive' earned its right as one of the biggest pop songs of the decade for good reason - the massive, glitching synths paired with the immense percussion really redefined and owned the anthemic vibe of music. What's even more massive than 'Radioactive' is the live version of the song - if you want a whole new beast to deal with, check that out.

Night Visions has a very strong grasp on how pop rock works. The rock n' roll vibes are part of the record - "cute" songs like 'On Top Of The World' are present, providing for a genuinely fun listen, while other songs like 'Tiptoe' have a darker sound to them but still maintain a big drive. Even the bonus track 'Rocks' has some fun vibes to it! There's a lot of great variation on this record, and it's all under the umbrella of rock and pop. Imagine Dragons weren't afraid to take a few risks, either - 'Bleeding Out' is a very different song on the record, featuring loops and a more retrospective melody. It's dark like 'Tiptoe' but also carries a different vibe to it that no other songs really have. The album's true closing track 'Nothing More To Say' is somewhat of a risk, too; the six-minute song builds it up to be a powerful and sweet ending - exactly what the record deserved.

As much praise as it deserves, Night Visions isn't perfect. Imagine Dragons created a bunch of very solid tracks, but they made one mistake: made some songs reach mental heights, while others just roll along without much flair to them. It's not like every song should be a new, towering epic, but track after track, you're waiting for that new high to be reached, and it's going to sometimes take awhile before that comes. There really aren't many bad tracks at all - 'Hear Me' is some solid pop rock, and ID channels Coldplay in 'Every Night' to give the middle of the record some nice ear candy. The only subpar song is 'Underdog,' it's over-the-top synths really dragging it down and making it stand out awkwardly.

Imagine Dragons have come a long way since Night Visions. Their third album is on the way, and when it drops, it'll really decide the fate of the band. We weren't too impressed with the new song 'Levitate,' and that's because it really just lacked what makes Imagine Dragons so great and memorable. They're defined by their anthemic vibe and their strong vibes. The best Imagine Dragons songs are the ones that truly mean something to the listener and the band. That's the core of Night Visions. They had everything they needed from the start - the question now is whether or not that is where they peaked.

Favorite Songs: Radioactive, It's Time, Bleeding Out

Least Favorite Song: Underdog

Rating: 84 / 100

Mica Levi & Oliver Coates - Remain Calm

It's been a week of electronic music of the experimental variety here on Immortal Reviews, and to send it off, we have a unique blend of two unlikely genres. Mica Levi hits heads with Oliver Coates to create Remain Calm, an odd album that is neither here or there.

Remain Calm combines classical music with electronic samples. It's an eclectic mix, but when balanced, they work well together. It's a short album, clocking in at under thirty minutes, but in that time there is definitely variety. The pair dabbles with different textures throughout the record, exploring minimalism amidst a seemingly shocking combination of genres. The dark sounds of 'Barok Main' contrast the upbeat, sampled vocals of 'Xhill Stepping,' really showing the divid of sound on the record.

It's hard to describe what exactly this album is. It's avant-garde, but it's also contemporary classical. Furthermore, it dabbles with experimental electronica and sampling. "Deep minimalism" is a term being thrown around to describe this record, and it works out well. Many songs find atmosphere amongst their simplicity: see 'Bless Our Toes,' creepy strings harmoniously sounding beneath weird samples without anything sounding too upfront. Oliver Coates is a behind-the-scenes collaborator with Radiohead, his strings being the contribution to their albums and this one. Mica Levi provides the odd samples and synths, creating the somewhat left-field sounds this record has to offer.

Our previous reviews have had much the same criticisms, but Remain Calm suffers from different problems. Ironically, one of the album's biggest problems is that it's just too weird. There are flashes of great ideas and dark textures that interlace themselves into each song, but the glitching sounds sometimes distort the atmosphere. The playtime is both a blessing and a curse; the song's are generally short and don't build to something that never comes, but it's laced with pointless, thirty second interludes that really don't add anything to the record.

Remain Calm has great ideas, but none are executed in the right ways. Mica Levi and Oliver Coates had the right mindset, but perhaps they can reconvene in the future to make something that's more substantial and has direction. Remain Calm just feels like a mess.

Favorite Track: Barok Main

Least Favorite Tracks: Interludes, County H

Rating: 43 / 100

Worriedaboutsatan - Blank Tape

Yesterday's review of Adam Betts's new album discussed the nature of experimental electronica. It's a very fine genre, but it is also the victim of wanted to attempt gimmick and thus lacks meaning in its content. Worriedaboutsatan's new album Blank Tape is a more cohesive record in the genre, providing atmosphere without much use of any flashy ideas.

Experimental music is often best executed through atmosphere. That's exactly what Blank Tape does. It's fifty minute runtime is full of mystery and cavernous soundscapes, resonating in and out of existence and into unknown places. The creaking beeps of 'The Violent Sequence' lead the album into its first full track, creepily but slowly chugging through its sound. The song slowly builds up with more and more drive while still maintaining a sense of mystery. It evolves into a spiraling, almost joyous synth track, enveloping the listener in sweet arpeggios.

Other tracks seek a more abrasive vibe. 'Lament,' featuring Face+Heel, brings vocals into the game, the instrumental laidback but a bit grittier. The song stands out in a dark way in the context of the record, providing some creepy textures and haunted female vocals to resonate in your mind. 'This Restless Wing' is another track that's not as calm and accepting as others, with vocals also playing a role. Vincent Cavanagh sings smoothly above the bouncy instrumental, sounding almost like a Radiohead track. 'The Tower and The Steward' and closing track 'From A Dead Man, Pt. 2' are some other songs that also have some darker, abrasive overtones.

Every experiment can be improved upon. Music is no different. Blank Tape may enjoy more of an intimate and evocative listen than Betts' latest record, but it still has some problems within it. The most major problem is its playtime. These slowly building songs often times that a lifetime to reach their full potential, and even at their height, many tracks do not breakeven. There's not much excitement going on, nor is there something to really hold onto in several tracks to keep you interested for what often times end up being a five-minute build.

Experimental music is really hard to get a solid grip on. It's out of the ordinary - something you can't expect. To its disadvantage, though, it's that very fact that keeps it from succeeding a lot of the time. Worriedaboutsatan's Blank Tape hits a very fine line between captivating and boring, never quite settling into one place. It's a nice album to listen to for some background atmosphere, but otherwise you might feel a bit tired listening to it.

Favorite Tracks: From A Dead Man, Pt. 2; The Tower and The Steward

Least Favorite Tracks: Ravel, Forward Into The Night

Rating: 71 / 100

Imagine Dragons - 'Levitate'

Imagine Dragons seem to be progressing with their third album, and a new song is here to give us a little look into the next record's sound. 'Levitate' is Imagine Dragons' new single.

'Levitate' is written for the upcoming film Passengers, starring Jennifer Lawrence and Chris Pratt. The movie is a sci-fi film: two humans cryogenically frozen for a century wake up and travel space together. 'Levitate' brings that spacial love come to life.

The song is a new direction for Imagine Dragons. 'Levitate' isn't the big rock tracks that 'Friction' and 'Battle Cry' are, nor is it a poppier track like 'I Bet My Life' or 'Demons.' It's not even the classic Imagine Dragons arena rock banger ('Radioactive' and 'Shots,' for example). It's a very poppy song, treading away from a focus on guitars and being built upon synths and electronics. It's led in by a sweet synth intro, twinkling synth arpeggios joining in as Dan Reynolds croons above the sparkling instrumental. The choruses are briefly immense, synths pounding and gang vocals chanting together. Guitar does make an appearance, though rather insignificant, at the end, where is dinky little lick repeats as the song comes to an end.

'Levitate' doesn't feel like an Imagine Dragons song, or a particularly great song either. It's good, but really lacking in energy and power. It doesn't feel very cohesive, either. I'm not looking for another 'Radioactive,' but Imagine Dragons' best songs are the songs they really bring a drive and chunk too. 'Levitate' has none of that. It's a synth rock song that doesn't go anywhere. It's not doing the movie justice, nor is it doing the band any.

Imagine Dragons took a swing and a miss with 'Levitate.' This sweet little song is largely forgettable and really doesn't feel like its and Imagine Dragons song. Change is necessary for any band, but showing your grasp on the elements that made you unique and memorable is also a key to success in that way. Let's hope 'Levitate' isn't indicative of what's to come, because if it is, album #3 isn't looking too hot.

Rating: 52 / 100

Adam Betts - Colossal Squid

Chaos and music go great together. Almost like wine and cheese, just with more craziness and less taste. Adam Betts' new record Colossal Squid brings chaos to a sonic level.

Colossal Squid is an experiment. It's electronica set on madness with live drums to go with it - it comes in all forms. There's the glitchy, rabid attack of opening track 'Drumbones,' pounding electronic drums barraging the track until synthesizers kick the track into a more approachable structure, and there's the more soothing ambience of 'Aneek,' distorted synths washing over the innocent keyboard synths as they bounce curiously. It's the punchier side of the record that tends to stick out more, however: 'Winbop' progresses powerful with quick drumming, and 'Hero Shit' maintains a rigid structure with the endless vocal loops.

The album is cool, but there are moments where its purpose becomes skewed. Unless going into an album like this expecting something that's nothing more than chaos, you might find yourself searching for purpose. There are many times where the album feels like drum practice for Adam Betts, his beats carrying the tracks through but ultimately summating to a jumble of snare hits. The album itself was recorded entirely from sampling using Ableton and a drum kit, so in a way, yes, it is a drumming experiment. But when does it become more than that? It's hard to find that area once you see that edge to the record.

Adam Betts is a great musician, but Colossal Squid may be a bit of a gimmick. The musicianship is there, but purpose other than showing off isn't very clear. The chaos is tangible, but where does it lose meaning? That's for you to decide.

Favorite Track: Drumbones

Least Favorite Tracks: Hero Shit, Tadala

Rating: 61 / 100

Dungen - Häxan

The world of psychedelic rock is an odd one. It does have its moments, though. Swedish psych band Dungen makes some of those magical moments come to life in their new album, Häxan.

Häxan isn't the traditional psychedelic record. It's an homage and a soundtrack of sorts; it's following a recent trend of artists going back and making their own soundtracks for past films. Häxan is an original score for The Adventures Of Prince Achmed, the world's oldest surviving animated piece. Thus, this record is full of different moods and different levels of excitement.

Being a score, this album has plenty of filler tracks. Certain movements are slow and dreamy, such as 'Aladdins Flykt Över Havet' and 'Achmed Och Peri Banu.' Some songs also prove to be groovier and jazzier, setting a more sensual tone: see 'Trollkarlen Och Fågeldräkten' and 'Achmed Flyger,' the latter of which sounds like it could be from a video game soundtrack with its adventurous vibe. 

This album is peaceful and not overly flashy, as is meant for a score. What's great about it is that you don't need the film playing next to it to understand the record, or the movements of the film. The emotions are set very clearly, the tone doing all the talking. You can tell when climax and events occur, tracks like 'Wak-Wak's Portar' and its distorted guitar and flutes ringing with urgency and without regard for time. The same is true for the closing track, 'Andarnas King,' a jam conclusion with a Lightning Bolt flair.

Häxan is an interesting record. It's a score, but it stands on its own as an interesting record full of events. It does what a score should do best - tell the story independently from the film through sonic interpretation. If anything, it makes you want to see the film in order to understand the tale of the record. Dungen's brilliance shines bright on this record. 

Favorite Track: Trollkarlen Och Fågeldräkten

Least Favorite Tracks: Grottan, Den Fattige Aladdin, Aladdin Och Lampan

Rating: 70 / 100

Natalie McCool - The Great Unknown

It's always nice to hear a refreshing new pop artist. Natalie McCool is the fresh new face on the block, and she brings something new to the table with her debut record The Great Unknown.

The Great Unknown isn't pop in the traditional sense. It's a mix of darkness and the modern, radio pop that most may be familiar with. Natalie McCool doesn't appear to be a sellout, though. The music is pure in every sense, clearly not some of the more fabricated stuff you'd here from time to time. There are plenty of moments when the album's purity comes into play, perhaps not becoming most clear until the final track 'When You Love Somebody.' This track is the most bubblegum pop you'll heard on the record, simple and easygoing as McCool dreamily sings "it's there when you love somebody."

There are plenty of sweet moments on this record like this track. See 'Fortress,' bringing forward the sweet punchy synths of LIGHTS and sweet harmonies you might expect of St. Vincent. It's danceable but its understated, something you'd might slowly sway to on a cloudy day in town. It's definitely not a city song - it's a country song at heart; not stylistically, but intrinsically. It builds with power, elements piling together for one powerful yet fun end. Much is the same about 'Magnet,' the simple lyrics crooned sweetly and with lots of fun. It's more immediately upfront and has more urgency to it, but it's a solid pop song all around.

The Great Unknown has some darkness to it, too. 'Just Let Me Go' changes the scene of the record, dark and brooding with the poetry of Aurora and the spacious understanding of Chelsea Wolfe. It's a slow moving beast, the mystery building slowly, treading across the floor like the "demon [that] burns all our souls" that the song refers too. 'Feel Good' follows up, not as dark but with the same mood to it. It's not the dark, poetic monster that 'Just' was, but its darker vibe helps make it feel a bit more serious.

The are very few weak moments on the record. From the sweet beginning of 'Pins' right to the very end, it's a pretty great and chill record. The only moment that stands out as particularly bad is 'Cardiac Arrest,' where the lyrics don't quite get the message across like they should. Otherwise, the record is a very clear and solid pop record.

The Great Unknown is a great introduction into the music industry for Natalie McCool. There's a clear understanding of her sound and a great control of poetic emotion and pure emotion. This is the start of a strong career - this songwriter's pop rock flair is going to be a driving force for those to come.

Favorite Tracks: Just Let Me Go, Fortress, Magnet, Pins

Least Favorite Track: Cardiac Arrest

Rating: 78 / 100

The Weeknd - Starboy

The new king of sensual pop is back. The Weeknd's new album Starboy shows a growth of his character and sound.

Starboy is an album about fame and its intricacies. The album begins with the eponymous single 'Starboy,' which admittedly sounds a lot better on the album that it does as a standalone single. Perhaps its a new mix or just the context, but 'Starboy' sounds great, exceeding our original thoughts. The Weeknd and Daft Punk put together a very solid song. 'Starboy' is a good representation of the album to come, sensual and somewhat threatening at its core. The song itself is a realization of fame, but negatively and positively. It's about grandiose but also about an internal anger, the chorus lines "Look what you've done / I'm a motherfuckin' starboy" ringing both proudly and with contempt.

'Party Monster' follows through with a darker composition, sweet melodies ringing above dark synths. The song follows up with the story of 'Starboy,' The Weeknd singing about his need for a girl who already has another man. The song reaches an epic climax in its bridge, great melodies resonating hauntingly above The Weeknd's singing. The bridges on the album really take many songs to another level - later on the record comes the punchy 'A Lonely Night.' This one has a lot more of a poppy flair, sweet melodies keeping the upfront synths bouncing until the bridge, where synths explode with huge amounts of bass for a huge experience.

There are plenty of moments on the record where a poppier atmosphere takes over. Songs like 'Secrets' and 'True Colors' rings slowly and sweetly, while others like 'Love To Lay' go into fully infectious tones. 'Lay' is a fun song, upbeat percussion driving the song powerfully throughout its length. The album ends on a sweet note, as well: 'Die For You' returning the dreamy vibes and combining it with the infectious flairs of previous tracks before Daft Punk returns for the finale 'I Feel It Coming,' bursting with funk.

Starboy has a statement to deliver, however. It becomes most apparent firstly in 'Reminder,' which is really a big "fuck you" to those labelling him as a sell-out for abandoning his darker influences. Its chill composition allows for The Weeknd to gracefully diss his haters. Similarly, 'Sidewalks' is the story of The Weeknd's and Kendrick Lamar's upbringings, Lamar absolutely smashing his verse in the track, as he does. Anything he touches turns to gold. The album treads away from the negatives of fame, too, taking in the extravagance of it all, another "fuck you" to the haters: 'Rockin'' has a lot of groove and sweet melodies that make the message about a fun relationship sound great, and Lana del Ray helps 'Stargirl Interlude' sound weird and oddly sensual as the lyrics call for the starboy's lover.

Starboy isn't a perfect album, however. In trying to become something different, there's always moments of awkward transition. Such is the case of 'False Alarm,' a song we didn't originally enjoy. It's gotten a bit better since, but the great verses can't save the off putting choruses. The screaming really doesn't suit him. Most of the collaborations are good, but, as always, Future is hit or miss. He provides backup on 'Six Feet Under,' where he's tolerable, though his instrumental influence can be heart in the beat, and there's 'All I Know,' where he absolutely trashes the flow and great melodies. Other songs like 'Attention' and 'Nothing Without You' just don't have any memorable merit to them.

The Weeknd is the newest threat in the pop world, and he's here to stay for quite some time. Starboy is in a eclectic record, bringing his past sound to something new while still maintaining the dark sensuality that made him famous. It's not perfect, but it's a solid transition. What's great about The Weeknd is that he isn't afraid to take risks, and that's what Starboy is all about. There's no moving forward if you can't be ready to take a step back.

Favorite Tracks: Rockin', Starboy, Sidewalks, Love To Lay

Least Favorite Tracks: Stargirl Interlude, Attention

Rating: 79 / 100

Icon For Hire - You Can't Kill Us

You don't get quite as scene as Icon For Hire, but there's something special about this band. Their music is very personal for the scene crowd who often find themselves feeling alone and in need of something to give them purpose. Often times, that place of refuge is music, and the band's new album You Can't Kill Us is a testament to that.

The most noticeable element of this record is its electronics. The band has dabbled with these elements in previous records, but there's a lot more of a focus on it on You Can't Kill Us. 'Supposed To Be,' the album's intro, has big, dark, industrial synths that follow the thick rhythm guitar with powerful drive. 'Pulse' takes it a step further, trap-esque synths swimming above the uplifting lyrics and strong rhythm. The instrumental overall is pretty epic, lots of elements build up together.

As mentioned before, this album has a strong sense of closeness. The song 'Under The Knife' deals with self-harm directly, the bridge reaching an emotional climax. Before that comes in, the chorus emotionally chants, "You carved a special place for your pain / So it came back to hurt you every night / You closed your eyes and wished it all away / Until you disappeared under the knife," relating to the listeners who have felt that certain pain. Ariel Bloomer goes on a little tangent during the bridge, speaking to the listener: "It’s easy to forget where you’ve been, I guess that’s what the scars are for... I see you at my shows, scarred up from head to toe, like there’s no point even trying not to let it show... Too many feelings and not enough self control... But it bothers me, our scars are currency by which we’re measured," forgetting the song to deliver an emotional message.

The album may have a strong message, but some songs don't let it off that way. Some songs don't quite develop musically as they do emotionally. The slow ballads 'The Magic' and 'Happy Hurts' are back to back, dragging down the momentum following the powerful tracks before it. 'The Magic' has more electronic elements to it, transitioning from the energetic parts to the slower ones. 'Happy Hurts' is a piano track, stripping away some of the more upfront elements and giving it a rawer sound. Other tracks are just solid without much to show for it. There really isn't much to note about the rest of the album... The album ends on a sweet note, the pop rock epic 'Invincible' channeling more trap elements and closing track 'You Can't Kill Us' bringing the uplifting sound from the beginning of the record, but the momentum is already dead by then.

Icon For Hire continues to be a close band for some. Strong messages are told through You Can't Kill Us. The instrumentals and songs themselves may not give the messages in a strong way, but they're all there. Icon For Hire keep doing what they do best, and that's making their music personal.

Favorite Tracks: Pulse, Supposed To Be, You Can't Kill Us

Least Favorite Track: You Were Wrong

Rating: 77 / 100