Drive engagement: Album Review

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Album Review: Rihanna - ANTI

Rihanna's 8th studio album ANTI has been infamously plagued by a number of setbacks and delays: the relative underperformance of the albums first three singles that in a strange turn of events didn't make the album they were supposed to promote (the #4 "FourFiveSeconds," #13 "Bitch Better Have My Money," and #78 "American Oxygen"), the approximate release date being pushed back month after month starting in May, and the often complete silence from team Rihanna. Finally, a year after the release of its MIA lead single, ANTI has reached the hands of an unsuspecting public.

The album is a notable departure from Rihanna's previous stylings (hence the "anti"), with the production being notably restrained, Rihanna's Caribbean accent freely flowing, and explicit, unrestrained drug references (notably to crack and of course, marijuana). There's no buoyant synths like in "We Found Love," slamming piano chords like "Diamonds," or even infectious hooks ala "Umbrella." The album is strikingly minimalist, and rarely steps out of its relaxed flow.

Album Review: Rachel Platten - Wildfire

"I miss my home / But there's a fire burning in my bones," horrifically cliche'd and creatively drained lyrics like this are just one of the horcruxes for an album plagued by lifeless and unidentifiable singer-songwriter pop.

Platten's songwriting style can be broken down into two parts: forced rhymes and disconnected imagery; the latter mystically leading people to the belief that Platten is somehow an original and half-decent lyricist. She shamelessly indulges in overdone lines and ideas: "I'm a lion, I'm a tiger / I'm a caged-bird, I'm on fire." Make no mistake, just because this 34-year-old writes her own songs doesn't mean she has a sliver of the maturity, wisdom and sensibility as any 16-year-old slam poet in the country.

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Album Review: Troye Sivan - Blue Neighbourhood

The debut album from YouTube star Troye Sivan features collaborations with Betty Who and Broods, and was preceded by the single Wild and an eponymous EP.

WILD: The lyric "cause when you look like that / I never ever wanted to be so bad" is so understated. It's simple, and though Sivan's delivery is stone cold, the desire is cutting. It's bouncy, sleek and simply enjoyable.

FOOLS: Here Sivan sounds emotionally constipated here; he just lacks the natural skills of a singer, and has to rely on blatantly teenage lyrics and smooth synths to make his point. Fools is perfectly adequate, with no terribly egregious qualities, but nothing worth remembering.

EASE (f/Broods): The first verse is perfectly teenage. The lyrics are so sweet in the chorus, but Troye sounds so distant, and even pained as opposed to comforting. Again, the production is doing most of the work here.

Album Review: Adele - 25

After largely disappearing from the public eye from the past three years, the (arguably) biggest star of the millennium is back. Coming off the unfathomable success of Adele's sophomore album "21" - 30 million albums, 3 #1 hits, over half a dozen Grammy's - 25 is tearing records down on its own.

21 was largely pulled by four fantastic songs: The epic "Rolling in the Deep," the masterful "Someone Like You," the dramatic "Set Fire to the Rain" and the underrated magnum opus "Turning Tables." The rest of the album was largely uneventful, but the four aforementioned tracks were so damn good that it didn't matter. 25 doesn't have a blatant standout group of songs; while lead single "Hello" largely triumphs over its neighbors in a similar manner to Rolling in the Deep, no song is bold enough to warrant any comparisons to the Big Four of 21.

What is perhaps 25's biggest fault is that it feels ironically rushed. After four years, one would think that 25 would be fully developed in every foreseeable direction. Yet the tracklisting is on Beyoncé's "4" level of horrendous: "Hello" is the only understandable choice as it's a clear album opener, but the terrifyingly poppy "Send My Love (To Your New Lover)" as track number 2 while songs like "Love in the Dark" and "All I Ask" are stuffed in the albums latter half? A clear mistake on the part of team Adele.

Album Review: Ellie Goulding - Delirium

When people listen to UK songstress Ellie Goulding, people are generally divided on what they hear: they either hear her folk and indie influences as her sonic center and others hear her Electronica roots, and push her into the larger category of Pop. With "Delirium," the difference is not apparent at all, Delirium is blatant Electro-Pop.

From the swirling guitars of On My Mind, to the Urban tinged Don't Need Nobody, Delirium delivers mid and up-tempos track after track, never stopping for a ballad like her previous albums have (the last half of "Halcyon" or The Writer on "Lights"). The result is an album that to its modern audience will scream Taylor Swift's "1989," while to it's broader and older audience, it will sound completely millennial.

The main difference between Delirium and previous pure-pop offerings this past year from Carly Rae Jepsen and Taylor Swift, is that there is there is no breathing room. From the moment Aftertaste hits its stride, the audience is locked in for a roller coaster ride of strict tempos. While most artists would struggle to keep up with this pace, Goulding does so with the expertise of a near-pro, only stumbling on the forgettable and rather lifeless We Can't Move to This and Holding on For Life. Midtempo power ballads like the mega-hit Love Me Like You Do and Army offer some release - and standout amongst an album of bangers - but don't offer enough to quench the hunger for ballads like Halcyon Days' I Know You Care and How Long Will I Love You. This is perhaps Delirium's biggest fault, that it lacks lyrical and sonic beauty that can be found on Goulding's prior works.
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Album Review: Demi Lovato - Confident

The past two years for Demi Lovato have been a rollercoaster ride. After the release of her fourth studio album Demi, Lovato preceded to fulfill another season on the short-lived X Factor USA, embarked on two world tours, endured the deaths of her father and dog Buddy, worked her body to a point where she finally felt 'confident' enough to show it off entirely, and worked her voice into the ground before she built it back up better than ever before. There's no doubt about it: vocally, Confident is Lovato's most demanding, spanning four octaves and distancing herself even more from her peers Miley Cyrus and Selena Gomez, and perhaps even Ariana Grande.

Running through (overdone) melismas in Mr. Hughes, stretching her voice up to a four second long G#5(!) in Stone Cold, and even experimenting in the whistle register in Wildfire, Lovato has continued to show herself as a talented vocalist. Her stamina in-studio is remarkable, and her phrasing on ballads like the choir-backed Father is light years beyond anyone in her demographic. That being said, her voice does pick up on an annoying nasally and awkwardly placed vocal quality in the middle register - in addition to an often unorthodox vibrato - and she seems even more driven to resolve to the tonic with each of her final-chorus-ad-libs than ever before, which can become polarizing. With Lovato, less is more at this point, as seen in the spectacular and sexy aforementioned "Wildfire."

Album Review: Selena Gomez - Revival

Selena Gomez's fifth studio album Revival functions as a line break between two phases of Gomez's career: no longer is she a Disney starlet, nor Justin Bieber's on again and off again, she is her own woman, as seen in her boldly stated cover art. However, perhaps she could've waited to make a better album for the occasion.

Revival finds itself up to bat where it is constantly batting either strikes or home runs with few in betweens. Flip flopping between the strikes: the forgettable "Camouflage" and misplaced "Body Heat;" and the home runs: the infectious and delectable "Hands to Myself" and effective "Sober." Unfortunately the home runs find themselves drowned out by a barrage of mid-tempo strikes, leaving Revival in need of resuscitation by track nine (the aforementioned Camouflage).

Album Review: Miley Cyrus - Miley Cyrus and Her Dead Petz

Miley Cyrus more or less surprised millions of international viewers last night at the VMAs, announcing that her new album was available for free on Soundcloud. This act of going against the norm, and allowing everyone with basic internet access to listen to her work speaks to Cyrus's public persona and the music herself: she truly doesn't give a f**k.

The album is a collection of psychedelic stoner anthems and dedications to her array of deceased pets. These two fields of experience in her life can be related to how Miley uses drugs - particularly pot, a drug she professes her love for in the opener Dooo It! - to cope with the pain of her deceased animals, like her dog Floyd and her pet blowfish Pablow, and her life as a superstar. Across the board are distant vocals, raw and forward lyrics, and generally minimal production.

Cyrus is notorious for being very open about everything: her sex life, her drug use and her personal experiences and relationships. Her act is the act of vulnerability, when she's 90% naked on shows like the VMAs and in daily life, she is exposing her vulnerabilities and allowing her audience to pick her apart. She subjects herself to body shaming, slut shaming, and just plain rudeness in her public appearances, but now she's allowing her music to be picked apart by anyone with this free album. She is putting her humanity out on the table, regardless of how people may respond to it. She is doing everything for herself, and for those who choose to enjoy and embrace it.

Track by Track Review: Tori Kelly - Unbreakable Smile

Singer-songwriter and Capitol Records recording artist Tori Kelly has finally released her long awaited debut LP. Gaining traction from Vine and YouTube clips - as well as collaborations with acapella group Pentatonix - have given her enough traction for a budding career after somehow missing the Top 24 of American Idol years ago in season nine.

Where I Belong: An awkward, uneventful way to launch the album. Moments where it begins to shine are awkwardly shifted and diverted. 4/10

Unbreakable Smile: The first full length track is an uplifting Natasha Bedingfield style mid-tempo. "God made me sexy / Who cares if only I know?" is the most clever lyric, but also one of the few decent ones. Tori definitely doesn't care, and neither will the listener. 5.5/10

Nobody Love: The Max-Martin produced, summery, moderate hit Nobody Love sets a much more suitable pace for the album, even if it is somewhat of a Problem-copy cat with its large verse-slim chorus format. 9/10

Expensive: Another up-tempo is very appreciated. Essentially a sassy Uptown Funk with gospel undertones, what more could Kelly need? 9.5/10

Should've Been Us: A fiery Kelly has emerged (another appreciated Kelly varient). The chorus is filled with high wails and head bobbing syncopations. The rasp on "both know?" To die for (even if it is strained a bit). 8.5/10

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Track by Track Review: Carly Rae Jepsen - Emotion

Carly Rae Jepsen (IE "that Call Me Maybe girl") has released her second mainstream Pop album: Emotion. After almost 3 years of working, "Emotion" enters the world with every track being written by Jepsen, as well writers like Sia making an appearance. Preceded by the lead single I Really Like You which has moved about 1,000,000 copies worldwide, "Emotion" is ready to capture the attention of pop-fanatics.

Run Away With Me: It's unlikely to turn into a hit, but it's still the best pop song of the year, as well as the song that puts I Really Like You to shame. If anyone could do it, it would be Carly. 10/10

Emotion: A groovy, guitar driven track that shows some production restraint, something unlike past Carly works. The biggest and most genius part of the song? The hook being taken not by Carly's vocal, but by a lone electric guitar. That being said, it's still pulled off remarkably well. 9.5/10

I Really Like You: Should've been the song of the summer. Light, fun, ridiculously catchy, Carly just waltzes over the drum beats and synths like a true pro. All of that makes the couplet "Who gave you eyes like that? Said you could keep them?" over-lookable. 10/10

Gimme Love: A stripped back, sultry ballad. A pleading Carly groans over a lone guitar riff before growing into a chorus of backing vocals. Simple, but effective. Likely a track most will pass over. 8/10

All That: And the lights in the club are dimmed for this (shockingly) slow song. "Show me if you want me, if I'm all that" sounds strangely seductive yet heartbreaking, an effective combination. It drags on a bit too long, but if you give this song a chance to hold your attention, it's worth it. 8/10

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Track by Track Review: Florence + The Machine - How Big, How Blue, How Beautiful

After an unfortunately long hiatus, Florence + The Machine returns with their third LP, How Big, How Blue, How Beautiful. What does the mainstream's most promising act give us this time? Take a look (and a listen).

Ship To Wreck - A fantastic start to the album, straight from Lungs. The pace and energy make for the realization that Florence + The Machine, one of the must talented and original groups of the century, is back. 9.5/10

What Kind of Man - The lead single and Ceremonials-esque track starts out with a haunting harmony before kicking into an electric guitar swing. Florence sounds as confident as ever, creating an unbelievably catchy chorus. 9/10

(The following video contains NSFW material)

How Big, How Blue, How Beautiful - It starts off tame, much like its preceding track, but it soon blossoms to fully represent the vast sky with soaring imperial trumpets. Another appreciated euphoric track. 9/10

Queen of Peace - Florence gains a full-hearted accusatory tone for the first time this album. However, it doesn't have the same gusto and the first three tracks, and feels strangely like filler. 7.5/10

Various Storms and Saints - Calm, haunting and carefully crafted. The back harmonies perfectly match storms and saints, however that may be possible. A fascinating combination of imagery that Florence manages to execute flawlessly. 9/10

Delilah - "I'm dancing with Delilah and the vision is mine," Florence croons over a fast 4/4 beat before a breakdown cuts in the energy into 2/4. This track is constantly breaking and accelerating, making it all the more exhilarating. 9.5/10

Long and Lost - This solemn funeral procession is well placed, though it does feel more like an interlude at points. This whole album so far has played like a movie, Beyoncé and Florence should get together to talk about a visual album for HBHBHB. 8/10

Caught - The middle of the album has slowed down, there's no trumpets, no massive drums, it's all very... Quaint. 7.5/10

Third Eye - Florence delivers sermon-like lyrics here, over hand claps, background doo-wops and pulsing drums, almost as a little brother to Ceremonials' "Heartlines." "I am the same / I'm trying to change," is the most potent refrain so far. 9/10

St. Jude - The flow of St. Jude with it's hollow production led by a lonely synth and oboe is the eye of the hurricane for this album. It's okay,good even, but it doesn't bring anything new to the table. At the same time however, "St. Jude" is subtly charming. 7/10

Mother - Florence abandons all of her signature instruments for a guitar and maraca driven rock track. She's begging for her mother at the end of an emotional night, but without its length, Mother would be another non-event for the album. 7/10

Hiding - Though an upbeat track, Hiding feels slightly creepy, an under appreciated version of Florence (see Seven Devils or Howl). This commanding track deserves the attention that it receives. 8/10

Make Up Your Mind - An interesting choice for an album closer. Most of her contemporaries would opt for a ballad or somber track to end on, but Florence fits this song neatly between the chaos and peace of the album. The end is somewhat abrupt, but the message is clear, make up your ****ing mind. 8.5/10

Where How Big, How Blue, How Beautiful should stumble, it merely wobbles. It's an album filled with rock solid production and lyrics, and safe vocal performances from Welch. A strong contender for album of the year halfway in.

Overall: 8.5/10

Track By Track Review: Madonna - Rebel Heart

Madonna's 13th studio album, Rebel Heart has arrived. How does it stack up compared to the rest of her discography? Let's take a look.

Living For Love - The opening number lays down the groundwork, but doesn't seem to life the album up very high. 6/10

Devil Pray - Typical Madge, pulling in some expected Christian references. The sleek chorus is an instant highlight, but the energy gets sucked out by a lonely acoustic guitar. 7.5/10

Ghosttown - "You're all that I can trust / Everyone ran away" Madonna croons on track No.3. Madonna sounds like she believes the song, to some extent. Like the first two songs, Ghosttown feels a bit factory pressed, with the stipulation that they're all missing something production-wise. 6/10

Unapologetic Bitch - Madonna tosses out the sleek and lackluster pop production for some reggae influence. This sounds far more genuine than the preceding tracks, which for Madonna might be a blessing or curse being the most genuine as a "bitch." Unfortunately, the song is still a bore. 5/10

Illuminati - "Everybody in this party's shining like illuminati," along with the very direct name addressing - Beyoncé, Steve Jobs, Obama and Gaga for starts - help construct the first truly effective Rebel Heart track. The production is dark, Madge's delivery is stone cold, and Illuminati ultimately steals the show. Madonna actually sounds engaged. 8.5/10

Bitch I'm Madonna (feat. Nicki Minaj) - The secondy 'bitchy' track shows off more of what Madonna does best - sound current. The trap sounds and the cries of "go hard or go home" paired up with Nicki Minaj's strong verse present Rebel Heart with a potential hit. 8/10

Hold Tight - The horns in the 2 previous tracks are scrapped for this pulsing drum track. It could be a bit bigger with the production, but Rebel Heart seems to feel more comfortable in minimalism. 7.5/10

Joan of Arc - Rebel Heart's trap onslaught is halted by the guitar strumming Joan of Arc. The verses seem laughable at first but once Madonna sings "I don't wanna talk about it right now," you're hit with a feeling of "oh shit, she's serious." The metaphor, production and feelings are strong, but the lyrics and delivery simply aren't. Joan of Arc finishes having accomplished most, but not all of its goals. 7/10

Iconic (feat. Chance the Rapper and Mike Tyson) - Rebel Heart has moved back to the party room. The gritty and pulsing synths of Iconic are addictive. 9/10

HeartBreak City - After going to the 3AM night club Iconic, HeartBreak City is the last place someone would want to go. But here we are. This is simply the wrong place to put a ballad. 4.5/10

Body Shop - .... What? Such a bizarre transition and sound compared to the rest of the album. 2/10

Holy Water - Its pulsing and demanding, sexual and holy: a zeitgeist for the album. That being said, the production just isn't strong enough to leave a lasting impression, besides the Vogue interjection. 4/10

Inside Out - The minimalist production actually works here, with the production and lyrics working together to create a dark and sleek deep cut. 8/10

Wash All Over Me - And the credits roll with Wash All Over Me. The chorus is at least nice, but the verses sound like a funeral procession, not a good way to close an album. 4/10

Rebel Heart is rebellious, it fights against ageism and the sexual boundaries of society, but this is something Madonna has been doing for years. 13 albums in, Heart fails to add something truly new to Madonna's discography in its message. Its production is more trap and somewhat more minimalist than Madge's previous works, but Rebel Heart can't stand up against Madonna's magnum opuses. That being said, Rebel Heart isn't bad, it just isn't great enough to compete against the precedent Madonna has set for herself, and the pop stars since her arrival. Rebel Heart has moments of strength but overall, it is just far too inconsistent to be any better than "good."

Overall: 6.5/10

Track by Track Review: Kelly Clarkson - Piece by Piece

Clarkson's 7th studio album has hit the web in all of its glory - or is it shame?

Heartbeat Song: Clarkson and her promotional team have both admitted that Heartbeat Song was birthed in order to re-introduce Clarkson to pop radio after Catch My Breath, but even then "Heartbeat" is a big disappointment. Solid verses, but the chorus and bridge are abysmal. This single had to be stuck on the album, but an opening position is deceitful as to what the rest of the album has to offer. 3/10

Invincible: A soaring power ballad, albeit, with bland lyrics. The album is quickly back on track. 8/10

Someone: A melody that sounds strikingly similar to this Kesha song. It's an uneventful song, but it still feels worthy enough to be on the album. It's somber enough to attract some fans. 6.5/10

Take You High: A sea of synths propel Clarkson to her most legitimate EDM sound yet. Crescendoing drums in the pre-chorus lead to disconnected syllables flying high above synths and accented down beats. Unfortunately though, it feels slightly unfinished. 7.5/10

Piece By Piece: Piece By Piece definitely deserves to name Clarkson's 7th studio album. Beautiful sentiment, harmonies and phrasing along with a strong drum line create a powerful Because of You sibling. Clarkson takes stabs at her father while praising her husband's love towards herself and her daughter. Clarkson sounds proud and restored and heartbroken all at once. It's a fascinating track that commands the attention of the listener. One of the highlights of Clarkson's songwriting career. 10/10
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Track By Track Review: Taylor Swift - 1989

Taylor Swift's fifth album and first fully pop record was co produced by hitmaker Max Martin and is gunning for a platinum debut week. But is it worth the hype?

Welcome to New York: A lovely album opener, built on a sea of flashing synths. Swift wasn't kidding when she said 1989 was straight pop, and by New York's path, it seems to be the right move. A-

Blank Space: Passive aggressive shots at her detractors - "they'll tell you I'm insane" - play over a Lorde's Tennis Court inspired beat. A qucik mood change from the predecessor, but a welcome one. Some single potential lies around here. A-
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Album Review: La Roux - Trouble In Paradise

If this is "trouble in paradise," then someone needs to make Elly Jackson's paradise even worse. If a little trouble gives us an album this great, then we should see how much more La Roux has to offer.

La Roux's breakup album - the breakup between lead singer Elly Jackson and producer Ben Langmaid - strolls through the avenues of troubled bliss. Jackson doesn't sound as convicted as Hayley Williams did on Paramore's parallel breakup album last year, but Jackson manages to twist her and Langmaid's relationship into several perspectives. Elly gets on her knees for the slow burner Let Me Down Gently, while taking jabs in the seven-minute epic Silent Partner.

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Track By Track Album Review: Lea Michele - Louder

Lea Michele's debut album already has far more battle wounds to it than almost any other album imaginable. Her boyfriend, Corey Monteith passed away this past July, and the album's tracks already bare the scars Lea had to endure.

Cannonball: The album's drum lead lead single plays it very safe, it's in the same ballpark as Roar in terms of empowerment and sound. Except Cannonball doesn't offer any powerful roaring notes, something one would expect from Glee's powerhouse vocalist. While Lea sounds liberated, the song doesn't do anything to further that emotion. B-

On My Way: The 2nd title track doesn't bare any real correlation to Monteith ("I should stay away from you tonight"), and doesn't sound like it either. The production packs a lot into the 3 and a half minute track, Wrecking Ball's scarce synth plucks, drums, acoustic and electric guitars, and loaded with synths in the chorus. It seems very Top 40 ready, and is a great listen, but it's hard to picture someone like Demi Lovato not singing this song and being much more effective with it. B+

Burn With You: I've been ignoring most of the lyrics for the previous tracks because I believed they would get better, but this song brings mixed results lyrically. Lea first states "Even angels have their demons," which is an over done lyrical line. But then she proclaims: "But I don't wanna go to heaven / If you're going to hell / I will burn with you," which is pretty daring lyrically (and thematically). Is this song about Monteith? Does she believe he's going to Hell? One has to appreciate the risk she took here, but also slightly confused or concerned with it as well. B
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Track By Track Album Review: Lady Gaga - ARTPOP

The day has arrived, ARTPOP has leaked in its entirety, slightly more than a week before its worldwide release. The expectations for Gaga are running high, all eyes will be on her first week sales (I.E. "WILL IT SELL AS MUCH AS BORN THIS WAY?") or "Will she get better reviews than Born This Way?" How does she fare? Lets take a look.

Aura: The initial demo seemed promising, especially considering it was a demo. But this was more of a backtrack from the demo unfortunately; she took out her vigorous growls and let a lethargic vocal replace it. Aura is a disaster, a calling it a hot mess would be putting it lightly. But at least Gaga's knowledge of how to make a fantastic hook is still there. ARTPOP has started out on the wrong foot. D+

Venus: Another mess. Choppy lyrics, jutting from side to side. What is the point you are trying to make here Gaga? "Aphrodite lady sea shell bikini / Garden panty / Venus." What? Again, the chorus saves it from being a true hot mess, but it is still concerning. C