Chuck Howard's Album Reviews
David Bowie has always been an artist that I could never really get into, but that I’ve always had deep respect for. Even when I heard Blackstar for the first time, I remember thinking it was good, but then quickly skipping to something else. Honestly? I don't think I would've ever listened to Blackstar if it weren’t for hearing about his death a couple days later.
I woke up at the same moment Carson Daly was talking about Bowie’s death. Being in a fog from waking up and half paying attention, I had no idea that that’s what was being reported. I leaned over to my wife and said, ‘They must be talking about his new album.' They then showed a recent picture of Bowie. I said, 'Crazy how he’s only just now starting to look old.’ I’ve always had the amusing thought that if we were to find out that any single human being were immortal, that it’d be David Bowie. There was something about the guy. Might have had something to do with his left eye.
My wife went to turn the channel when she stopped and said, “Did you hear that? They’re talking about him in the past tense.” Things got super surreal after that. I’ve spent everyday since listening to Blackstar. The opening track, the title track, is a 10-minute thing of haunting beauty. If you’re familiar with Catholic Mass, you’ll immediately recognize the droning melody of his verse, which I can’t but help find reminiscent of the melody heard doing the Eucharist prayer. His song Lazarus is less ominous as Blackstar, yet more bone-chilling. The opening lyric ‘Look up here. I’m in Heaven,' says it all. I can’t stop listening to 'Girl Loves Me’. A must for fans of A Clockwork Orange.
Despite the lyrical content and musical mastery of the album, there was an incredible backstory involving his hiring of a jazz band that he’d heard at a small dive bar in NY. Little did the group know that they were being asked to record on what I believe will one day be regarded as a masterpiece - David Bowie’s last album, David Bowie's Opus, David Bowie’s last word, His Goodbye. If you ask me, he couldn’t have found a better group of musicians. Though they’re a jazz group, there’s very little “jazz” going on in the recording, yet there’s an apparent “Kind of Blue” kind of chemistry that had taken place. There’s unfathomable depth to the recording. It’s about as entertaining and satisfying of a recording as I’ve heard in years. Above all, what fascinates me most about his recording is the fact that he wrote it and recorded it knowing that it was going to be his last. Think about that for a minute. He spent months writing and recording an album, while terminally Ill, and released it, three days before he died. David Bowie was the epitome of artistry. Watch the videos he produced of both Blackstar and Lazarus in that order. They’re extremely uncomfortable to watch, but also prove how innovate, creative, genius, and dedicated of an artist he was.
***Edit 10/31/18***
Still can't get enough of this album.
I woke up at the same moment Carson Daly was talking about Bowie’s death. Being in a fog from waking up and half paying attention, I had no idea that that’s what was being reported. I leaned over to my wife and said, ‘They must be talking about his new album.' They then showed a recent picture of Bowie. I said, 'Crazy how he’s only just now starting to look old.’ I’ve always had the amusing thought that if we were to find out that any single human being were immortal, that it’d be David Bowie. There was something about the guy. Might have had something to do with his left eye.
My wife went to turn the channel when she stopped and said, “Did you hear that? They’re talking about him in the past tense.” Things got super surreal after that. I’ve spent everyday since listening to Blackstar. The opening track, the title track, is a 10-minute thing of haunting beauty. If you’re familiar with Catholic Mass, you’ll immediately recognize the droning melody of his verse, which I can’t but help find reminiscent of the melody heard doing the Eucharist prayer. His song Lazarus is less ominous as Blackstar, yet more bone-chilling. The opening lyric ‘Look up here. I’m in Heaven,' says it all. I can’t stop listening to 'Girl Loves Me’. A must for fans of A Clockwork Orange.
Despite the lyrical content and musical mastery of the album, there was an incredible backstory involving his hiring of a jazz band that he’d heard at a small dive bar in NY. Little did the group know that they were being asked to record on what I believe will one day be regarded as a masterpiece - David Bowie’s last album, David Bowie's Opus, David Bowie’s last word, His Goodbye. If you ask me, he couldn’t have found a better group of musicians. Though they’re a jazz group, there’s very little “jazz” going on in the recording, yet there’s an apparent “Kind of Blue” kind of chemistry that had taken place. There’s unfathomable depth to the recording. It’s about as entertaining and satisfying of a recording as I’ve heard in years. Above all, what fascinates me most about his recording is the fact that he wrote it and recorded it knowing that it was going to be his last. Think about that for a minute. He spent months writing and recording an album, while terminally Ill, and released it, three days before he died. David Bowie was the epitome of artistry. Watch the videos he produced of both Blackstar and Lazarus in that order. They’re extremely uncomfortable to watch, but also prove how innovate, creative, genius, and dedicated of an artist he was.
***Edit 10/31/18***
Still can't get enough of this album.
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I didn't think it was possible for Adam and his crew to come anywhere close to achieving the mastery of Lost In the Dream. I was wrong. This album is a masterpiece in every way - songwriting, lyricism, production, mixing, orchestration, everything. I've probably listened to the recording from front to back 15 times since its release. I can't get enough of it.
Strangest Thing is the song I'm drawn to most. It gives me chills every time I hear it. I love the juxtaposition of the staccato electronic piano part and the breathy synth pad during the first verse. The introduction of the acoustic guitar strumming in the second verse is a great touch too.The short guitar solo leading into the second chorus and the solo coming out of the same chorus are gorgeous. It's just a beautiful song.
Every song has the same sort of intelligent instrumentation where each parts plays off of each other. There was a ton of thought put into the composition of each track and I look forward to continuing the journey of getting to know this recording.
Can't wait to see it performed live!
**UPDATE 12/6/2017 ***
This album has been out for a 1/4 of a year now and I'm still going back to it on a regular basis. Every listen unveils new beauty. At first, I was focused on the lyrics and overall composition, but now that the songs have permeated my temporal lobe, I've found myself paying closer attention to the depth of each track. There are so many little nuances, layers, and mastery going on in each track.
Strangest Thing is the song I'm drawn to most. It gives me chills every time I hear it. I love the juxtaposition of the staccato electronic piano part and the breathy synth pad during the first verse. The introduction of the acoustic guitar strumming in the second verse is a great touch too.The short guitar solo leading into the second chorus and the solo coming out of the same chorus are gorgeous. It's just a beautiful song.
Every song has the same sort of intelligent instrumentation where each parts plays off of each other. There was a ton of thought put into the composition of each track and I look forward to continuing the journey of getting to know this recording.
Can't wait to see it performed live!
**UPDATE 12/6/2017 ***
This album has been out for a 1/4 of a year now and I'm still going back to it on a regular basis. Every listen unveils new beauty. At first, I was focused on the lyrics and overall composition, but now that the songs have permeated my temporal lobe, I've found myself paying closer attention to the depth of each track. There are so many little nuances, layers, and mastery going on in each track.
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There was a lengthy period of time in my life when I was addicted to Massive Attack and it was this album that was the gateway to this addiction. Angel was the first track I'd heard and from that moment forward I was completely hooked. That was 15 years ago. I love everything this band has done, but Mezzanine, to me, is the group's masterpiece. It was unlike anything I had ever heard and still unlike anything I've ever heard. The depth, imagination, orchestration, and production is unmatched. Perfect album from front to back.
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I got about 1 minute into Breathe In The Air and was reminded how long it's been since I've listened to the original. I immediately stopped listening to this mess and went to the masterpiece.
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There is one style of music I simply cannot get into. Country. I love it all, but there's something about country that has never clicked for me no matter how hard I try. That's until I heard this album. Throughout my journey listening to music, I've stumbled upon several gateway artists - Phish, Rush, Metallica, Pretty Lights, The Doors, Iron Maiden, Radiohead, etc. Not sure if Chris Stapleton will open the same doors the other artists have, but regardless, I'm hooked on his stuff.
Soulful, honest, bitter sweet, tender, gritty, dynamic, mature, and entertaining. This album covers it all from front to back.
Soulful, honest, bitter sweet, tender, gritty, dynamic, mature, and entertaining. This album covers it all from front to back.
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I discovered this album and Sigur Ros while listening to new releases on listening stations at Tower Records back in '99. There has never been an album before or since that hooked me as quickly as this one did. I bought the CD immediately and couldn't stop listening to it.
This album is perfect from beginning to end. The complete work tells an intricate story even though most of the lyrics are gibberish. Jonsi, the lead vocalist, sings most songs in a language he invented called Hopelandic - derived from Icelandic. The combination of Jonsi's falsetto voice with the reverbed instrumentation, monstrous rhythm section, and thick string arrangements results in a landscape of melodic, harmonic, and rhythmic bliss.
There's an overwhelming haunting beauty here. The opening track sets the album up in the same way a sunrise sets up the morning. It wasn't until I heard the second track, Svefn-g-englar, when I realized I was listening to something special. I'd never heard anything like it. The sound of Jonsi's lush, distorted guitar sound against the droning, dragging rhythm section was all I needed to hear to be convinced I needed this album. The album becomes increasingly immersive as you continue through the tracks.
Staralfur, with its string arrangements, 808 sounding bass drum hits, and gorgeous melodies gives me chills every time.
Jonsi's reverbed guitar makes its return in a big way on Flugufrelsarinn, which is the album's most melancholy work. Jonsi's voice is more clear on this track than on any other track on the album by forgoing the higher register falsetto heard on most of the other tracks. There's a subtle anger to his delivery on this one.
Ny batteri is the loudest, fastest tempo track on the album with its erratic horn arrangement, driving rhythm section, and reverbed guitars.
Though the intro of Hjarao hamast deviates wildly from the album's style with the Wurlitzer part accompanied by a harmonica, the track quickly morphs into the same lush sound heard on the rest of the album. The anger heard in Jonsi's voice on Flugufrelsarinn returns here. The strings make their return as well. The soundscapes and synth work is otherworldly here as well.
The bass and piano interplay on Viorar vel til loftarasa is gorgeous. The way the song opens up at the 8 min mark is one of the greatest moments on the album. The destruction of the song during the outro reminds me of A Day In the Life by The Beatles.
Olsen Olsen was my favorite track on the album for the longest time. It's still one of my favorites. I imagine most that love this album agree.
Though the track where the album gets its name is the second to last track, it has the feel of an album's closing track. The instrumentation's dryness is a stark difference from the reverb heard throughout the rest of the album.
Avalon closes out the album with a pulsating, slightly out-of-tune synth and brass section.
10 out of 10
This album is perfect from beginning to end. The complete work tells an intricate story even though most of the lyrics are gibberish. Jonsi, the lead vocalist, sings most songs in a language he invented called Hopelandic - derived from Icelandic. The combination of Jonsi's falsetto voice with the reverbed instrumentation, monstrous rhythm section, and thick string arrangements results in a landscape of melodic, harmonic, and rhythmic bliss.
There's an overwhelming haunting beauty here. The opening track sets the album up in the same way a sunrise sets up the morning. It wasn't until I heard the second track, Svefn-g-englar, when I realized I was listening to something special. I'd never heard anything like it. The sound of Jonsi's lush, distorted guitar sound against the droning, dragging rhythm section was all I needed to hear to be convinced I needed this album. The album becomes increasingly immersive as you continue through the tracks.
Staralfur, with its string arrangements, 808 sounding bass drum hits, and gorgeous melodies gives me chills every time.
Jonsi's reverbed guitar makes its return in a big way on Flugufrelsarinn, which is the album's most melancholy work. Jonsi's voice is more clear on this track than on any other track on the album by forgoing the higher register falsetto heard on most of the other tracks. There's a subtle anger to his delivery on this one.
Ny batteri is the loudest, fastest tempo track on the album with its erratic horn arrangement, driving rhythm section, and reverbed guitars.
Though the intro of Hjarao hamast deviates wildly from the album's style with the Wurlitzer part accompanied by a harmonica, the track quickly morphs into the same lush sound heard on the rest of the album. The anger heard in Jonsi's voice on Flugufrelsarinn returns here. The strings make their return as well. The soundscapes and synth work is otherworldly here as well.
The bass and piano interplay on Viorar vel til loftarasa is gorgeous. The way the song opens up at the 8 min mark is one of the greatest moments on the album. The destruction of the song during the outro reminds me of A Day In the Life by The Beatles.
Olsen Olsen was my favorite track on the album for the longest time. It's still one of my favorites. I imagine most that love this album agree.
Though the track where the album gets its name is the second to last track, it has the feel of an album's closing track. The instrumentation's dryness is a stark difference from the reverb heard throughout the rest of the album.
Avalon closes out the album with a pulsating, slightly out-of-tune synth and brass section.
10 out of 10
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Chi, having been let in on the big secret so tragically, makes reviewing this album and rating it 5/5 feel slightly wrong, but plain and simple, it's one of the most sonic, deep, beautifully orchestrated, and perfectly produced albums in Deftones repertoire. Lyrically and melodically, Chino is at his best. Sergio Vega, Chi's replacement, locks in with Abe Cunningham in the same way Chi did while throwing down some ridiculously upfront bass playing in songs like Prince and Beauty School. And Abe is on his game on this recording. Some of my favorite moments are his ride work on Royal starting at 2:25,his control during Diamond Eyes during the last :30 seconds, the drum fill going into the chorus at 2:34 of You've Seen the Butcher, the drum fill leading into the chorus at 2:50 and his bass drum work through that entire chorus, and everything about the drums in Rocket Skates. Stephen Carpenter is more melodic and yet heavy in his playing than I've heard him in any other Deftones recording. To get an idea of what I'm talking about, listen to how beautiful the intros to You've Seen the Butcher and Sextape are and then listen to the last minute of Royal, Prince, and Diamond Eyes to hear how brutal his guitar playing can get. Can't get enough of this album.
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Countless Branches is about as heart-wrenching, yet beautiful as a recording gets. It's the first time I've heard of or have listened to Bill Fay, so I have absolutely no point of reference, but I can't wait to dig into the rest of his catalog. He's obviously a master at tying chords together and layering them with satisfying melodies while adornging the melodies with incredibly deep lyrics.
Love the melodies. Love the instrumentation. Love the production. Love the simplicity. Love his voice. Love the message. Love the cohesiveness of the entire album's sound while he maintains a unique approach to composing each track. Love that I've only just scratched the surface.
Love the melodies. Love the instrumentation. Love the production. Love the simplicity. Love his voice. Love the message. Love the cohesiveness of the entire album's sound while he maintains a unique approach to composing each track. Love that I've only just scratched the surface.
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Singularity is absolutely perfect from beginning to end. The auditory spectrum is wider than any recording I think I've ever head. I discover something different every time I listen to it and feel more and more connected to the recording every time I hear it. I'd love to review every song, but AllMusic.co
1. Singularity - The distorted synth melody during the intro sets the tone for the recording. The way it weaves in and out during the arpeggiated sequence sets the album's mood in motion. The transition to the more aggressive beat and bassline at 4:30 with the high pitched vocal weirdness is mesmerizing. The subtle build-ups utilizing overblown clipping was an unexpected, but mind-blowing approach at the end of the track
2. Emerald Rush - One of the more unique and beautiful tracks on the album. The way Jon varies the tempo of the arpeggio synth with the dynamic nature of the piano part is super tasty. That doesn't account for the subtle, but noticeable pads and synth idiosyncrasies sitting on top of these noticeable parts. This track is reminiscent of Open Eye Signal with the way his chording plays with leading tones. It has the same depth and ambiance without feeling redundant. There's an otherworldly beauty to the vocal-style track throughout. Listen for how he subtly begins swinging the beat at 4:20. I've never heard anything like it.
3. Everything Connected - Love the transition of Neon Pattern Drum to this song. Hearing this for the first time made me realize this has got to be a concept album. Once I realized this, I began hearing the entire recording differently. Jon's use of reverb, delay, and distortion at the 1:50 point gave me chills. The beat and triplet bassline from 4:00 on is rude and with the ambient pad/melody sitting on top of it. Gorgeous. The transition that takes place at 5:30 with the weird bass modulation effect before the high hats come in to add that extra layer of funkiness is…smh. This album is amazing. Just when you don't think the song could get any more unpredictable, he destroys you with the beat from 7:00 to the end of the track with one of the most beautiful, most dynamic outros I've ever heard.
6. COSM - This is without a doubt my favorite track on the recording. It has the most depth and mind-bending properties. It takes a bit to establish itself, but when taken into context with the entirety of the album, it makes perfect sense. Especially when you listen to the reverbed pads that mimic each note. That's what's mind-blowing about this album is that each listen reveals a layer you didn't hear the first time you listened to it. At 1:40 the melody established a rhythm and the bass drum comes in to satisfy
7. Echo Dissolve -Very painful and sad piece. Definitely deviates from the rest of the recoding, but may grow on me and make more sense within context of the entire album as I continue listening to it. For now, it's skippable and definitely my least favorite track
So far, best album of 2018.
1. Singularity - The distorted synth melody during the intro sets the tone for the recording. The way it weaves in and out during the arpeggiated sequence sets the album's mood in motion. The transition to the more aggressive beat and bassline at 4:30 with the high pitched vocal weirdness is mesmerizing. The subtle build-ups utilizing overblown clipping was an unexpected, but mind-blowing approach at the end of the track
2. Emerald Rush - One of the more unique and beautiful tracks on the album. The way Jon varies the tempo of the arpeggio synth with the dynamic nature of the piano part is super tasty. That doesn't account for the subtle, but noticeable pads and synth idiosyncrasies sitting on top of these noticeable parts. This track is reminiscent of Open Eye Signal with the way his chording plays with leading tones. It has the same depth and ambiance without feeling redundant. There's an otherworldly beauty to the vocal-style track throughout. Listen for how he subtly begins swinging the beat at 4:20. I've never heard anything like it.
3. Everything Connected - Love the transition of Neon Pattern Drum to this song. Hearing this for the first time made me realize this has got to be a concept album. Once I realized this, I began hearing the entire recording differently. Jon's use of reverb, delay, and distortion at the 1:50 point gave me chills. The beat and triplet bassline from 4:00 on is rude and with the ambient pad/melody sitting on top of it. Gorgeous. The transition that takes place at 5:30 with the weird bass modulation effect before the high hats come in to add that extra layer of funkiness is…smh. This album is amazing. Just when you don't think the song could get any more unpredictable, he destroys you with the beat from 7:00 to the end of the track with one of the most beautiful, most dynamic outros I've ever heard.
6. COSM - This is without a doubt my favorite track on the recording. It has the most depth and mind-bending properties. It takes a bit to establish itself, but when taken into context with the entirety of the album, it makes perfect sense. Especially when you listen to the reverbed pads that mimic each note. That's what's mind-blowing about this album is that each listen reveals a layer you didn't hear the first time you listened to it. At 1:40 the melody established a rhythm and the bass drum comes in to satisfy
7. Echo Dissolve -Very painful and sad piece. Definitely deviates from the rest of the recoding, but may grow on me and make more sense within context of the entire album as I continue listening to it. For now, it's skippable and definitely my least favorite track
So far, best album of 2018.
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1. thousand eyes - angelic. haunting. extreme depth, Bjork. cerebral. dynamic. sad. chaotic. psychedelic. beautiful. classical. NIN
2. home with you - Tricky, Martina Topley-Bird, beautiful piano part, spine-chilling crescendo, lovely vocal melody during the chorus. tortured vocal melody during the verse, incredible production, gorgeous outro
3. sad day - Incredibly loud, but insanely controlled vocals, chills when the sub-bass came in, killer beat, so far this is my favorite song, beautiful harmonies, unlike anything I've ever heard, "Sad Day For Sure"
4. holy terrain - sick beat, sick bassline, gorgeous, bone-chilling melody, dry/upfront mix on the vocals show how incredibly beautiful and controlled her vocals are, ominous harmonies, deep, solid flow, fantastic outro beat
5. mary magdalene - serene, strange, love that vocal effect, captivating vocal melody and lyrics, killer beat, I got lost in this song, reminds me of Bjork circa Vespertine during the instrumental section and outro
6. fallen alien - unexpected build into that deep bassline, LOVE IT, Beth Gibbons style vocal line, dynamics are on point, the last minute of this song is composed beautifully with some of the most unique mixing, production, and soundscapes I've ever heard. Favorite song so far.
7. mirrored heart - has an 80's synth-pop feel to it, twin peaks, sad, honest, great progression, fantastic message, unpredictable outro beat.
8. daybed - atmospheric, love the rimshot at 0:28, the vocals are about as upfront n the mix as you're going to hear in a song, gorgeous approach to melody, whispery, sexy, quiet, Bjork, careful on my footsteps, without a doubt my favorite song on the recording,
9. cellophane - the most conventional track so far, but beautiful. Incredibly sad vocal melody, In your face mix. Can't wait to dive into the lyrics. Painful, beautiful, soul-crushing vocal melody to ride the album out.
I listened to this album from front to back without having ever listened to FKA Twigs. Not sure how her work escaped me, but it did until now. I haven't been this hooked on an album in a long time. I can tell I'm going to be busy immersing myself in this album's brilliance for a looooooooong time.
2. home with you - Tricky, Martina Topley-Bird, beautiful piano part, spine-chilling crescendo, lovely vocal melody during the chorus. tortured vocal melody during the verse, incredible production, gorgeous outro
3. sad day - Incredibly loud, but insanely controlled vocals, chills when the sub-bass came in, killer beat, so far this is my favorite song, beautiful harmonies, unlike anything I've ever heard, "Sad Day For Sure"
4. holy terrain - sick beat, sick bassline, gorgeous, bone-chilling melody, dry/upfront mix on the vocals show how incredibly beautiful and controlled her vocals are, ominous harmonies, deep, solid flow, fantastic outro beat
5. mary magdalene - serene, strange, love that vocal effect, captivating vocal melody and lyrics, killer beat, I got lost in this song, reminds me of Bjork circa Vespertine during the instrumental section and outro
6. fallen alien - unexpected build into that deep bassline, LOVE IT, Beth Gibbons style vocal line, dynamics are on point, the last minute of this song is composed beautifully with some of the most unique mixing, production, and soundscapes I've ever heard. Favorite song so far.
7. mirrored heart - has an 80's synth-pop feel to it, twin peaks, sad, honest, great progression, fantastic message, unpredictable outro beat.
8. daybed - atmospheric, love the rimshot at 0:28, the vocals are about as upfront n the mix as you're going to hear in a song, gorgeous approach to melody, whispery, sexy, quiet, Bjork, careful on my footsteps, without a doubt my favorite song on the recording,
9. cellophane - the most conventional track so far, but beautiful. Incredibly sad vocal melody, In your face mix. Can't wait to dive into the lyrics. Painful, beautiful, soul-crushing vocal melody to ride the album out.
I listened to this album from front to back without having ever listened to FKA Twigs. Not sure how her work escaped me, but it did until now. I haven't been this hooked on an album in a long time. I can tell I'm going to be busy immersing myself in this album's brilliance for a looooooooong time.
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