I thought I would give this album and its remixed counterpart a try after hearing, and liking, OceanLab's "On A Good Day (Metropolis)." Here are the results, written in real time and later spruced up for better reading as a blog post: OceanLab - Sirens of the Sea
Label: Anjunabeats; Ultra Records Genre(s): Trance/Progressive House Release Year: 2009 Members: Justine Suissa, Jono Grant, Paavo Siljamäki, Tony McGuinness Listening time: 70 minutes.
TRACKLISTING
1. Just Listen 2. Sirens of the Sea 3. If I Could Fly 4. Breaking Ties 5. Miracle 6. Come Home 7. On A Good Day 8. Ashes 9. I Am What I Am 10. Lonely Girl 11. Secret 12. On The Beach 13. Breaking Ties (Flow Mix)
The CD packaging is of the paper variety with a construction that is made from 40% recycled material. Not to be outdone, the inner-disc tray is made from "100% recycled material with at least 35% post-consumer materials," as is proudly written on the clear plastic. The inside foldouts contain lyrics for all of the tracks as well as additional photos of OceanLab, including Justine Suissa, the lead vocalist, submerged in water and in thought. Because? Well, that's just what sirens do. Sirens gonna siren.
Note: When this type of packaging started to come en vogue, I remained partial to hard-CD cases, but over the years, I've come to like, and prefer, this type of packaging. If I had the resources to do so, I'd convert my entire collection to paper-printed albums like this.
1) "Just Listen": The song opens with a piano and what sounds like a synth. The pace is mid-tempo. Tension building now. Stutter-step piano keys that transition into full-on piano work. Vocals then come in and they are more humming/calm/enchanting in nature. The track finishes out with a slow piano as it transitions into track two. In classical mythology, a siren is a sea creature that lured sailors to destruction with her enchanting signing. As this is only an introductory track, it's not clear yet what this dame is up to. Be that as it may, it's time to alter our voyage's course and follow that distant sound.
2) "Sirens of the Sea": A mid-tempo/slightly up-tempo beat to start off this track. Suissa keeps her whisper tones, which is something I will expect throughout the rest of the album. “Follow me,” she says.
Leaving reason far behind Nothing here is cruel or kind Only your desire to set me free Let us lie here all alone Worn away like river stone Let us be the sirens of the sea
Is she leading the crew to safety, or is she making promises of some aquatic utopia as she steers the crew into the depths of the ocean?
The song: it’s boring. Even though I like Suissa's calmer approach at times, a more upbeat instrumental would work better for this track. I guess it’s just hit or miss. The chorus parts make the song what it is, however. A clearly-boomed voice lays out the line “Sirens of the Sea” as the song comes to an end.
3) "If I Could Fly": Also a mid-tempo song. This one’s catchier and Suissa's voice has gained a strength, power and confidence that wasn't present on the first two tracks. The album takes a detour from the sea theme as the lyrics recall a day, of no particular importance, where the protagonist is trying to make her way home (via train) from some sort of errand or event, all the while trying to acclimate to harsh, cold weather. At some point she takes a look at her surroundings, only to find desolate faces and empty souls.
A simple smile can change a day An understanding look can say I know exactly how you feel But we have learned to build our walls So very strong and very tall For fear of what the world might steal
If I close my eyes a minute See a world and then I'm in it Stand alone and grow my wings To take me high
If I could fly See the world beneath me Feel as though I'm set free Oh if I could fly
The way I read the lyrics: she wants to escape whatever sense of isolation that she is feeling, not only from herself, but from other people.
4) "Breaking Ties": Wistful sound. More of a talking track than singing so far. Now guitars come in for the first time and she starts singing the lullaby "da da da dum." The guitars were cool, but this is not a song I need to give another listen. A fade-out finishes the song, which is an indicator that OceanLab didn't have a good closer for the track. Lyrically, it's about coming to terms with a relationship that had both good and bad. Or is it about something else? The lyrics are ambiguous, but I wouldn't want it any other way -- I don't want the meaning spelled out for me. Given the track title, I'll go with it having something do with a breakup.
5) "Miracle": Slow-tempo track with a slow build and some piano work. Vocals have gone soft and whisper-like again and later some bass comes in. There is a light and relaxing vibe with OceanLab succinctly incorporating sounds that seem to emanate from an icy environment. I can't tell if the message of the song is religious or anti-religious, or not about religion at all. Something about ice caps melting away and people hoping for a miracle. At the risk of sounding just a little too glib, this is a yuppieish track that, if I wasn't doing a review of the album, wouldn't get anywhere close to registering on my care-‘o-meter. Way too slow for me. That doesn't mean that the song and its message won’t resonate with a different target demographic.
6) "Come Home": It's full speed ahead now as this fast-tempo song revitalizes things. Unlike the previous two tracks, ambiguity is forgotten and this is the most honest and vulnerable the siren has been on the album. The subject matter is about regretting an argument and other relationship dilemmas.
Come home You know I didn't mean to say the things I said Come home Don't leave me here with all these thoughts inside my head
This is the kind of track that is a nice break from some of the more abrasive stuff I have in my collection. Usually what happens is I throw something like this in a mix in order to remind me that it’s there.
7) "On A Good Day": Although I know I'm probably going to like the Metropolis mix that I have already heard, I’m giving the track its original, full respect for the first time. It's the catchiest song with the catchiest chorus, so far, but I'm finding the instrumental parts to be boring. Again, the Metropolis version beats this.
8) "Ashes": Jungle-sounding beat with some background guitars. The song is mid-tempo.
Ashes take me back to earth Water quench my human thirst.
Not really sure the vocals work in the proper manner that the beat is supposed to convey. This wouldn't be too bad as an instrumental track. Now bongo drums (?) near the end give the song some drive and *oomph*. I think there’s a violin in here and maybe a harp or something.
9) "I Am What I Am": Slow tempo again. Vocals sound better here. The beat sounds basic ‘90s breakbeat to me, just slowed down and not as raspy. The catchy part here is “I am what I am.” Balance of talk-singing in the track.
10) "Lonely Girl": This is the stand-out track.
OceanLab - "Lonely Girl"
When I watch the music video, I'm all like, “Yes. Yes, I do want to date a girl who is way out of my league and take her out on the town, take photos with her, get in a fight with her, break up with her, and then show up out of nowhere to get back together and make out with her. That sounds like a blast.” Truthfully, if I'm supposed to relate this to myself, I think the message here is that life is too bloody short and there are more important things in life than whatever selfish endeavor I decide to give a rip about on any given day. Right?
11) “Secret”: Sounds similar-but-different to “I Am Who I Am.” Suissa tries a different vocal range here; they double-track her voice. She may have a secret, but she's not spilling the beans, so as a song, I don't really see the point of it. I'd say this was an addition to fit some kind of story arc, with this one relating back to the relationship theme.
12) "On The Beach": Hearing guitars. Clear vocals, although they are monotone in their application. In keeping with the title, this would be something to listen to while enjoying the freedom and freshness of the beach.
13) "Breaking Ties": An aquatic ending that gives the listener a true sense of the sea while bringing a sunset on the album. Vocals come in, almost like a siren. Spooky ambiance like you’re adrift over the sea. More of the truth and lies, fooling herself, conflicted-emotions dynamic. Slow build is worked up along with the vocals, and the effect is building tension while remaining bleak-sounding. At 2:50 in the song, the pace slows even more. Vocals come back in with “...a life I had not lived yet." I’d say that this is an outro, so it probably isn't supposed to be a song in that sense, although it might speak to those who are into more of a drone, atmospheric type of deal.
SUMMATION
It's not clear if OceanLab is trying to tell some sort of story arc or they were simply using sea concepts as inspiration for the album. I was all set to do a write-up tying everything together with all matters sea-related, but I had to scrap that halfway through because the album bounces back and forth between the sea theme and tracks with a relationship/inner-turmoil theme that have nothing to do with water, sand, sirens or shipwrecks. For Suissa, her vocal range goes from whisper tones to mid-range signing, but it doesn't venture beyond that. And, while her honesty at times is admirable and humbling, her conflicting emotions transfer as confusion and frustration for the listener because you wish she could be more confident, not only with herself, but with everything she's internalizing. If this is supposed to be a storytelling album, then I can see it working. If not, it’s no different than any other album with some filler material. I have to say, I can't shake the feeling of disappointment that, given the inference of the album's cover and the band's name, that this wasn't a completely-themed output. If you're looking for something to set voyage to, listen to the album as a whole. If it's bounty you're after, check out tracks 3, 6, 7 and 10.
OceanLab - Sirens of the Sea: Remixed (Disc One)
Listening time: 78 minutes
TRACKLISTING
1. If I Could Fly [Jaytech Remix] 2. Come Home [Michael Cassette Remix] 3. On The Beach [Andy Daguid Remix] 4. Lonely Girl [Gareth Emery Remix] 5. On A Good Day [Above & Beyond Club Mix] 6. I Am What I Am [Lange Remix] 7. Breaking Ties [Above & Beyond Analogue Haven Mix] 8. Miracle [Above & Beyond Club Mix] 9. Ashes [Oliver Smith Remix] 10. Sirens of the Sea [Above & Beyond Club Mix]
1) Thump, thump, thump beat with a wafting synth in the background. I call it a synth, but I really have no clue what the technical musical term is. It’s clear at this point that this is more of the sound I’m going for with my music. Now vocals enter the scene. Not sure yet if they fit the beat. Really wondering if this particular beat would be better with a different vocal track than this, or left alone as an instrumental. I’d probably go with the original for this song because it’s catchier, however, there’s some good promise in this track. Maybe just have better placement and/or more vocal-stutter edits that sync up better. Not too bad, but won’t return to it.
2) Slower pace here. Hmm. Beat and vocals match better on this one. Aquatic feel with summer vibes. The synths roll over themselves in an interesting pattern. Ambient yet driving. I’d recommend this one over the original. Surf ‘n sand, mates.
3) Can’t define this sound right off the bat. Repetitive bass beat with varying piano layering in the background that is slower in tempo. Secondary bass comes in now. Title is “On The Beach,” but I think you’d have to be hammered to think this song is beach-like. Vocals now and they sound crisp and clear. I said on the original that the vocals were distracting. Here they are not as the vocals are treated properly and are well-balanced. At the 4-minute mark now and the beat goes into a progressive-house drop that hasn't been heard so far on either disc. *Looks track up in real time, and yes, it’s progressive house.* I wouldn't say the song resonates in the way that I’d like it to, but it’s a solid song and leaves you to appreciate the dedication and production talent that the remixer brought to the song. Andy Duguid is underrated in general, IMO. Best track so far, would recommend it over the original.
4) If our Siren was lonely before, we have Gareth Emery to the rescue. Or is he? Vocals are about the same, not altered too much. Not feeling the beat as it is distracting when compared to the original. Instead of a “do do do," Emery uses a stutter-edit approach to that portion of the song, and this has the effect of removing the emotion that the original had. Midway through, the beat goes off on its own and we’re left wondering what happened to our lonely girl. Emery is doing his own thing. Vocals come back in at the 5:50 mark, repeating the song's chorus. I guess we know why she feels lonely -- the track comes across as being all about Gareth Emery.
5) Classic trance beat. This is what’s known as uplifting trance, a sub-genre of trance which is comprised of faster beats that run about 138 beats per minute (BPM). There is a weird “talking to myself forever” fade-out in addition to the main chorus that does the same. Not feeling that effect at all, but other than that, this beats the original. *Looking up the track listings in real time and I see that the other uplifting tracks are going to be #6, #7, #8, and #10*. Not everyone likes to break the genres down in this manner, and I can understand that. Unless you spend an enormous amount of time listening to this type of music, how would you really know what’s uplifting, what’s prog, what’s classic, etc.? Uplifting in general is supposed to have faster beats, but to me, since the beats are clumped together, for whatever reason, it sounds slower to me. I’m more of a progressive-trance guy myself, so that’s why out of all the versions of "On A Good Day," I prefer the Metropolis version.
6) This one is boring me. Not sure if this really adds anything above the original. Oh, what’s this? At the 5-minute mark the beat changes completely into a proper uplifting, fast-paced beat. Now it has added something to make it different, but I'd still pick the original over this remix.
7) This one balances the vocals and the beat to where they don’t feel out of sync. Better than the original, but still no dice on ever playing it again.
8) Catchier beat than some of the others, but then it seems to forget it wants to even be here and it slows down. Then it says, “Oh yeah, I have to do something," so the vocals come in now. What do you want me to say? I’m going to pass on this.
9) Has an *uncha, uncha* club vibe. Reminds me a bit of Andy Moor’s “In Your Arms.” The background...not sure what it is but my brain signals coco-cabana beats or something from the Super Nintendo game Donkey Kong Country. Trying to describe it but I don’t know what it is. A flute, a drum or bongo? Midway through hearing some wood-fire kindling sounds as is indicative of the track’s title. Seems decently produced, but I don’t end up caring about the track.
10) Better match of beat and vocals than the original, but otherwise I have no opinion. No OMG moments when listening to it.
OceanLab - Sirens of the Sea: Remixed (Disc Two)
Listening time: 78 minutes
TRACKLISTING
1. Secret [Andrew Bayer Remix] 2. Just Listen [Myon & Shane 54 Remix] 3. On A Good Day [16 Bit Lolitas Remix] 4. Miracle [Michael Cassette Remix] 5. Sirens of the Sea [Sonorous Remix] 6. Breaking Ties [Duderstadt Remix] 7. Satellite [Original Above & Beyond Mix] 8. Sky Falls Down [Armin van Buuren Remix] 9. Clear Blue Water [Ferry Corsten Remix] 10. Beautiful Together [Signum Remix]
All tracks on this disc are over seven minutes long.
1) Slow piano opening, aquatic feeling. Not all tracks give off an aquatic feeling, I’m just noting the ones that do. Where I said the original was “pointless,” Bayer’s remix gives it life.
2) Piano rift and a light thumpin' bass with vocals. This was the introduction track on the original album, so here, it remains a non-song, and I’m going to do what I haven’t done with any of the other songs so far -- I’m going to skip to the next song.
3) Another remix of “On A Good Day.” Can this beat the Metropilis version? Different vocal arrangement. The line “lost” is repeated to start off the track. Now the track is meandering about, like it doesn't know itself anymore. This would work better in a club atmosphere. I’m skipping to the next track.
4) Upbeat vibe. Piano and synths are fighting for prominence, then the synths explode and the vocals come in. This one over the original, but still no care from me. I'm going to skim over the second half of this disc as this review is getting too long-winded and I find myself looking for an excuse to get distracted.
5) Has a liquid (not aquatic) club vibe. Some different techniques and variations in sounds, which is my thing, so that gets a nod from me.
6) Nope.
7) “Satellite. If track six broke the ties from the original album, it did so to give us the final four tracks, all of which appear to be bonus tracks, and all of them are uplifting trance. Indeed, “Satellite” comes out of nowhere and steals the show. Solid uplifting-trance mix.
OceanLab - "Satellite"
8) Another uplifting-trance track. Enjoyable.
9) Mostly an instrumental. The vocals only hum and there are little to no lyrics. Meh.
10) On to the finale. *uncha uncha* beat. Rave-music vibe. Meh.
SUMMATION
Some okay tracks, but largely "Satellite" and the bonus tracks on the second disc would be the reason to pick up this album.
The following review was written in real time as I listened to the complete album for the first time.
Morgan Page - In The Air
Label: Nettwork Products Ltd. Genre(s): House/Progressive House Release Year: 2012
1) “In The Air”: The album opens with a bang. I don’t know musically what’s going on (I wish I did), but it already sounds different than most EDM I come across. The first time I heard of Morgan Page was his song "Video," and later on with the Mord Fustang remix of "In The Air," a faster-paced, more abrasive remix of this track. Anyway, I won’t double up too much here, other than to say that this time the “Hallelujah” is present in the track, which was a line that was removed on the Mord Fustang remix. A few tracks on the album are collaborations, and this is one of them, with BT and Ned + Shepard having a hand in the pot; BT's production influence is clearly heard here. "In The Air" is driving, upbeat, and powerful; you could hum this tune all day long. I vouch for this one -- original, remix or otherwise:
Morgan Page, Sultan + Ned Shepard, and BT (ft. Angela McCluskey) - "In the Air"
2) “Where Did You Go”: Vocal track. Pace is about a 7 on a /10 scale. Male vocals. The beat itself is good, it’s that when the vocals come in they're too typical dance-song-sounding for me, for lack of a better term. Perhaps a little too boy-band-esque. Really slow break in the middle of the song. It’s not going to get a return visit most likely, but if I’m comparing it to a lot of what I hear on Pandora on a daily basis, it would stand above more amateur fair. The song would be better with a remix.
3)“Body Work”: This is a quirky one. "Body Work" would qualify as one of those songs that is more accessible to your average listener, as it’s catchy enough to get stuck in your head, even if you might not want it to. Out of all the songs on the album, it would be something I would expect to have been the type of EDM that was popular in the mainstream during that time period (ala Lady Gaga), particularly when compared to the other material that I have been posting in the journal. That said, it never loses its indie feels. Tegan and Sara, another set of twins, just like NERVO, are the featured vocalists. The music video has Tegan and Sara folding laundry at a gym while several of the members perform dance moves throughout the facility. Meanwhile, Morgan Page DJs in the background, and there are some glow sticks to make the video complete. I know it’s dance music, but just between you and me, I don’t even like characterizing it as dance music. But we've got to call it something. I'm particularly not a fan of those types of videos, although music videos that don't make a lick of sense are par for the course when it comes to electronic music.
4) “Carry Me”: The Dyro remix of this song is one of my favorite electronic-vocal tracks. Er, forget that for the moment, I'm supposed to discuss the original. I'd be remiss if I didn't mention the fact that the beat and the vocals don't quite fit together like they should on the original version; they sound somewhat out of sync. I think that's what I'm hearing, anyway. The beat: while being straight-line, thumping and repetitious, it sounds hollow at its core. It pains me to say that, because it's still a stellar tune. This is one of Nadia Ali's best vocal performances that I've heard to date. I can tell that the quality of the original composition + vocals is there, and it would take a really lousy remixer to come in and mess things up. Like much of the album, it’s dance-able, but not too mainstream where you'd have to break out the cheese.
5) “The Only One”: Vocally it sounds Latin-influenced, even though it’s got a dance beat. Not on par with the first four songs.
6) “S.O.S. (Message In A Bottle)”: Is this going to be a The Police cover or something? Let’s see. Yes, it looks that way.
Tangent: I know from some other selections I have come across that Sting has been receptive to having his material covered by individuals in the electronic community. Or at least whoever wrote the song. Typically, an approved adaptation (not a cover) will function as a separate, stand-alone song, and then it will be "remixed." It's called an adaptation because the original production wasn't used, therefore disqualifying it to be a proper remix. I'm sure there's some royalties minutia going on as to why they don't use the original production.
/tangent
Well, other than being another cover, it doesn't add anything new to the legacy of the song.
7) “The Actor”: Getting a pseudo-Radiohead, indie-rock vibe on this track. Standard tune. I do like some of the background sounds I’m hearing, but the song is nothing earth-shattering. Seems to me it’s a song about self-loathing and wearing a social mask:
Teeth white smile white, Distant look here in my eyes, I can fake it all the time, Teeth white smile white, Distant look here in my eyes, I can fake it all the time,
I’m the actor.
8) “Missing”: If all you want in your music is to hear the line “Missing your love, missing your love, I’ll be missing your love,” then this is certainly the song for you. Moving on…
9) “Light Years”: Richard Walters on vocals. Walters does just fine, but the production is not up to snuff with some of the better material here.
10) “Loves Mistaken”: Vocalist is Shelley Harland. I haven’t heard if her before, but she sounds good. It’s a progressive-house tune with dance-pop flavor. Possibly the most traditionally structured, commercial track on the album. Too standard dance-sounding for me, however. "Loves Mistaken" won’t make it to my rotation, but, like most of the songs on the album, it would stand out if you pitted it against a lot of the other stuff I come across on my Pandora station.
11) “Gimme Plenty”: Club tune with a lounge vibe that maintains an energetic pace throughout. Has a sultriness to it. I’d liken it to “Lovefool” by The Cardigans if I was describing this to an alternative-music listener who’s never heard a dance song in his/her life.
12) “Video”: Tegan and Sara again as the featured vocalists. This is catchy as hell. I’m looking at the lyrics, and I have no earthly idea what they’re on about, so I will be unable to provide any pithy comments on this one.
Hide inside like a middle school kid Flip the screen of the tube instead Horror films in black and white Pull the shades from day to night
I knew I was looking for thrills I lose myself looking for thrills I knew I was looking for thrills I lose myself looking for thrills
My mind is full of video tape Hit the streets so hard Take your body in the night
I would definitely recommend this one. Solid stuff.
13) “Addicted”: I have heard this one before. The vocalist, Greg Laswell, keeps a calm and soothing tone throughout. It’s a good closer to the album.
SUMMATION
Best Track: "In The Air" Worst Track: "Missing"
I would have no problem with this CD being in my collection. Clearly, it already is. While at times in this review I might seem overly critical of those songs I didn't like, they're not too bad, even if they're a bit samey in some respects. This would be a good album to put on at a cocktail party of like-minded music listeners while people mingle about the house.
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STATISTICS FOR THIS REVIEW
Time listening to CD: 56 minutes, 20 seconds Total time spent on review*: 240 minutes
*from the moment I opened the cellophane on the CD, to the exact moment when I hit the submit reply button. This includes prep time, sourcing YouTube links, scanning album art, editing and proofreading the journal entry, etc.
I use Pandora as my streaming-music service, and it has been a boon when it comes to finding new electronic music. However, I can't, or at least haven't been able to, say the same thing when it comes to rock music; it's much harder for me to find stuff I like. Because it takes forever to find something new and interesting, I often feel like giving up looking for any of it. But every once in awhile, I am reminded of why I shouldn't.
The White Jacket - 5000 Miles from High St.
Genre: Hard Rock
Release Date: September 22, 2012
TRACKLISTING
1. Battle
2. Confessions
3. Rise of the Phoenix
4. Hold Your Ground
5. The Escape
6. Set If Off
7. New Beginnings
8. Sound
9. Let You Know
10. Evil Angel
On the front cover of the album, The White Jacket is pictured knee-deep in water, which might not make sense at first, unless you were to find out where they're from. As stated on their YouTube, they play mainly in the Honolulu/Hawaii live music scene. I had never heard of this band in my life until their song "Battle" came across my Pandora rock station and jolted me out of the tediousness and boredom of what I normally hear on there. Not knowing what to expect from the rest of the album, I ordered it on a whim, thinking that even if I didn't like anything else on the album, "Battle" would be worth the admission price alone.
The hard copy of the album is manufactured by demand only (I got mine on Amazon), which is an indicator that the band doesn't have a lot of promotion, not even from themselves: a) the link to their Web site no longer works and b) their Twitter link no longer works. I'm left wondering, are they still playing together? Are they working on any new material? Be that as it may, it's on to the review:
1)“Battle”: The White Jacket wastes no time as they open up the album with “Battle,” and for a very, very good reason: this song has the best guitar riff and drum pattern that I have heard in modern-rock music in long time. The song is a perfect blend and proper balance of aggression, singing, rockin’, and just when you expect a verse-chorus-verse pattern, the middle of the song breaks off into a melodic humming tune. "Battle" is of-the-charts, holy-smokes awesome.
The White Jacket - "Battle"
*video content is NSFW*
At the time of this writing, it’s the only video on YouTube (and the official one) and it has barely over 6500 views??? A hidden treasure, indeed.
2)“Confessions”: Bass guitar starts off this song, then an electric guitar and vocals come in. This track’s not bad and has some great harmonies. Yeah, I can rock to this, and it is the second-best song on the disc.
3)“Rise of the Phoenix”: Slower ballad that reaches Chris Daughtry territory. Here the band's Honolulu/Hawaii presence comes into play, as the song gives off a vibe similar to Sublime.
4)“Hold Your Ground”: Have to say that this track leans toward being generic and boring midtempo rock.
5)“The Escape”: Similar Honolulu/Hawaii vibe. Filler song.
6)“Set It Off”: Sounds like a bar band, but it's an effort from a group of guys that make no apologies for enjoying playing in bars, which is refreshing.
7)“New Beginnings”: Slow, symphonic, acoustic song with a few parts that rock harder.
8)“Sound”: More of an ‘80s guitar riff. It’s too bad the song isn't more aggressive in the vocals and overall feel. But not bad.
9)“Let You Know”: Already sounds slow. Skipping.
10)“Evil Angel”: Solid hard rock. Similar to tracks 2 and 8, this is a balanced hard-rock song with vocal harmonies and varying guitar riffs.
SUMMATION
Best tracks: 1, 2, 6, 8 and 10.
The impression I get from their material is that they are a group of guys that actually enjoy the music they're playing, which isn't always the case with a lot of other bands. My bro called the singer a third-rate singer, but I disagree. He’s at least B level, and I’m happy to hear a different vocalist in rock that doesn't sound like every…single…other modern metal/hard rock/indie rock singer that I have ever heard. "Battle" is top-shelf material, and I'd go so far as to say it is a must-listen for any hard-rock fan thirsty for something relatively new. Unfortunately, the rest of the album doesn't quite muster up enough wow factor to make this a go-to album, and while I am all for variety, it is a pet peeve of mine when [hard rock] bands make a few great rockin’ tracks, and 90% of the rest of the album is slow, draggy, normal radio-friendly unit shifters. That's not to say that the songs are bad, because they're not, it's just that I selfishly wanted the entire album to bring the same intensity as the opening track.
Overall, while nothing else on the album matched the intensity of “Battle," I wasn't really expecting it to, and I'm still happy that I bought the CD; it's always enjoyable to support a relatively unknown band, particularly when their music brings a new appreciation to your collection. With that said, TWJ doesn't try to be something they're not, and for that I can tip my cap.
BT, or Brian Transeau, has been in the electronic music game a long time, specifically being one of the pioneers of the trance genre. The following is a review of his ninth album. I wrote it in real time as I listened to the album in its entirety for the first time, making edits and revisions after the fact to make it readable as a blog post.
BT - A Song Across Wires
Label: Armada Music Genre(s): Multiple/various Release Year: 2013
I will start with the media packaging. The layout is very simple. Nothing fancy on the front cover, other than whatever type of haircut BT is sporting and the fact that he’s split himself into three. The title A Song Across Wires has the A letters missing the cross-lines and the E is backwards, so it's possible to assume that some futuristic material is headed the listener's way. At least that's the kind of typeface I see reserved for all things having to do with sci-fi. In this instance, it's more likely to do with BT trying to convey and connect his thoughts and emotions via technological outputs, which would fit the theme of some of his past album titles, such as Movement In Still Life and Emotional Technology. The inside foldout has some additional pictures of BT, with the album credits in the middle that are laid out in a way that mimic the wires supporting an old-school telephone system. The back of the CD has BT in some sort of The Matrix-like setting, but instead of a bunch of elusive figures, it's just a dude, BT, chillin' in a black t-shirt.
1) “Skylarking” leads things off. This track I had heard before, and it's one of those songs you have to hear a number of times to appreciate.
BT - "Skylarking"
“Skylarking” takes the listener through states of calm all the way through rolling, thunderous synths. Even though it’s clear there’s a lot going on, and on some level it gives off a sense of warmth, life, birth and rebirth, there are other times where it feels cold to the touch, which is an oft-mentioned complaint that a lot of people have about electronic music. It wouldn't be until several x amount of time later (I don't remember the time frame) that I watched the music video, and it did help to bring a different dynamic to the song. The video itself is brilliantly shot with multiple scenes of nature set to time-lapse photography, something that is often a staple of many a trance video. Here, again, is another bridge between real nature and computer-based music.
2) “Letting Go”: Alright, hearing this for the first time. I recognize the vocals as JES (Jes Brieden). Wow, I think this is dubstep. Didn’t expect that from BT. It starts off with a full chorus but it also has the line “letting go” spliced and repeated throughout -- consistently -- but not in too cheap a way as BT’s complexity is still evident. For me, it just depends on how this technique is implemented before I can decide if it ruins the song. This effect is similar to how the line “electric gloooow” is used in Tritonal's aptly titled, you guessed it, "Electric Glow," a song that appears as a remix on the Tritonia: Chapter 002 album, I find this particular type of repetition annoying. Now we’re on to the midway point, but it's not really adding too much to the song.
3) “Tomahawk”: BT brings things back to trance, albeit with an ever-so-slight dub influence. My initial reaction is that it sounds kind of empty. According to Wikipedia, this song would reach #1 on Beatport's trance charts at some point during its life cycle. Just because it doesn't work from the comfort of my computer, that doesn't mean it wouldn't work in the clubs.
4) “City Life”: From the nature setting that “Skylarking” gave us, we now transition into “City Life.” This is a vocal track, and the language used is clearly foreign. Perhaps Japanese?* BT keeps things light at the beginning as the track isn't too busy. Then, we hit the two-minute mark and things pick up and some bass is added. Not sure what this genre this is. I’m guessing progressive house. I know I have said in the past that I don't always like getting bogged down in genres, but sometimes I can’t help myself. *Goes to look up the genre in real time*… Ah, I see now that it’s electro house. By the end of the song it slows down again and some sort of flute finishes out the track. Overall, the song isn't resonating with me. *Note: The vocalist is K-Pop singer Bada (Choi Sung-hee).
5) “Stem The Tides”: Expecting a water-like vibe here. It is a vocal track BT goes back to using an English . Hearing some chimes mixed in. The lyrics are nothing to write home about, with BT highlighting the vocals “Oh oooh oh oooh” as the main draw. The track is midtempo. Neither the beat nor the vocals really grab me.
6) “Tonight”: JES back on vocals. These are the lyrics…the only lyrics:
7) “Live Divine”: Sounds like an updated Depeche Mode song, although it has a pop structure with the way the vocals are laid out. There is some sort of echo effect on the vocals that makes them seem more distant than they need to be. In looking at the credits, I see that Christian Burns is on vocals. He’d have a good cross-over rock voice, which you can hear in this collaboration with Maison & Dragen.
8) “Surrounded”: A slower track. Male vocals that sound high-pitched in their application. The structure of the beat maintains a flat pace, although it carries a lot of BT’s signature variations.
9) “Vervoeren”: Hmm. This sounds ominous. It’s an instrumental. I would need to spend more time with this one. No opinion.
10) “Calling Your Name”: A vocal track. A lead-up then a break with the line “Calling Your Name” repeated, similar to the other tracks. Picks up again midway. Is that a dubstep drop? *Heads to Web site to make sure. Clicks on title.* Nope, it’s a trance tune with a BPM of 132. What kind of sorcery is this? Decent drive to the song. Might need to give it a few more listens to fully appreciate it. Note: This album has a ton of collaborations. All tracks were mixed by BT, except this one. It was mixed by Tritonal.
11) “Must Be The Love”: In addition to "Skylarking," this is the second track that I knew about previous to spinning the album. And with two tracks to go, I already know this is going to be the best track on the disc. This is, however, my first time hearing the full version instead of the radio edit. Nadia Ali on vocals, and they’re top notch as always. This is trance. The first 1:45 or so starts off slower than the radio edit, which I have to say is quite an adjustment. As I’m hearing it now, that portion of the song sound out of place...but not after that. Now we’re talkin’. The first drop (trance isn't really known for drops, it's not really a drop in that sense) is different than the second, with the second one being more complex, thus making the instrumental part of the song unique in its design when put up against a lot of its counterparts. I can see why the decision was made to go with the radio edit. While purists might deride something like this as too poppy for an output by BT, I don't think it does enough to cross over into straight-pop territory. I know pop when I hear it.
Arty, Nadia Ali & BT - "Must Be The Love"
12) “Lifeline”: Our final track. Not feeling it.
SUMMATION
Overall, I think it's a fairly balanced album. I wouldn't say that the style of the album is necessarily for me, but it could be one of those deals where you've got to give the entire album several spins, or hear it in a type of setting for which it was designed. Me being a bit of a good 'ol boy mixed with a highly creative side, I can't assess it insofar as its club potential. As it were, musical taste is in the ear of the beholder.
SUPPLEMENTAL
BT is known for his complexity and his ability to interlace an extreme amount of edits into his music. Indeed, a song from one of BT's earlier releases has a record to its name...
BT is now quoted as having set a new record, unofficially at present, with a track that has 10,000 edits. Read more: BT article. Is it good music at that point, or intellectual youknowwhat?
- Also listed on his Wikipedia are some interesting facts about his musical background. This includes some of his background in jazz and classical music.
- BT composed the music for the 2001 film The Fast and the Furious. I saw that film in the theaters upon its release. I wouldn't get heavily into this type of electronic music until about 2011. Small world.
- BT is working on a project to translate his electronic compositions to a real symphony--with instruments!
Quote:
The album is produced by Grammy nominated BT and award-winning composer Tommy Tallarico. “This collaboration is an acoustical merging of tradition and technology, not simply symphonic versions of popular EDM songs,” NTallarico said.
