With "Corazones," ORL takes a complete different direction from anything he's ever recorded in his career. The music is straight ahead folk inspired pop. In this album ORL's vocals come to the forefront. On several tracks his voice is high pitched and airy with a dreamlike quality while on others he exhibits a punk rock mentality and yet on others he channels Johnny Cash with his own unique ORL twist.
Shortly after the passing of his mom, Omar was commissioned to record a few songs for a film project. Several of the songs on "Corazones" originated from those recording sessions for the film that never materialized. The producers asked for the music to be a straight forward as possible. ORL compares some of these songs to "child-like nursery rhymes." ORL commented, "When working with the director and producer, all the themes that were in the film itself were exactly what I was going through: loss, loss of identity because of such an extreme loss." All of ORL's past albums have been highly experimental some calling his music "metal thrash," electronic progressive," "jazz-fusion" and more. Never though has his music been categorized as "pop" or "ballads" until now. Some of the songs on the album make me think of Bauhaus meets early 70's Pink Floyd meets 70's Brian Eno.
"Corazones" is mournful, subdued and restrained; this gives it the distinction of being the most mellow and musically accessible album of ORL’s career. Gone are the blazing guitars and intricate time signatures, absent is the extreme experimentalism. What we’ve got is something mournful and introspective played largely on acoustic instruments.
Make no mistake, chaos still reigns and ORL is in no way playing it safe. While musically the album is mostly straightforward, "Corazones" is a roller coaster of emotions, with plenty of ups, downs, twists, and turns as ORL purges the grief of his mother’s death. There’s a sort of western feel about the music that recalls a lone, silent hero facing off against the unknown in a vast, unfathomable desert. Here, the lone gunman is ORL, and the desert is his Superego as he comes to grips with both his mother’s passing and her impact on his life.
With this album ORL's vocals are brought to the forefront whereas in the past his vocals were always a part of the background ambience of the song.
"We Feel The Silence" paints a picture of grief, a haunting Spanish guitar ballad with lyrics of loss and an eerie backwards guitar solo drifting in and out like a ghost. ORL's mysterious vocals lend a melancholy to the song that perfectly accents his beautiful swirls of electronic guitar throughout the song.
"Running Away" is a seemingly sunny and upbeat song yet behind the cheerful feel the lyric touches on the yearning to run away from the emotions of pain and anger over losing a loved one. ORL produced a music video for this song in which all the members of his band punch him in the face. I guess it's supposed to be their way of telling him to stop running away from his hurt and pain and face it head on.
"It Was Her" with it's atmospheric sounds reminds me so much of an 1970s Brian Eno composition meets Syd Barrett era Pink Floyd. The experimental guitar chords and ORL's minimal lyrics give the song an expression of emotion that reach right in the center of your heart.
The short 45 second interlude, "Dead Heart" bring us to a Lou Reed style speaking performance by ORL.
"Lola" is simplistic and direct with a 1950s country-pop lean. ORL almost sounds a bit reminiscent of Donovan.
"Sea Is Rising" opens with a Cuban influenced rhythm accented with Marco Giovino's Latin-rock influenced drum patterns. "Sea Is Rising" is ORL's cover of his earlier version of the song. "Sea Is Rising" was originally featured on 2013's "Unicorn Skeleton Mask." The 2013 recording was electronic rapture of dark vocals and bubbling synthesizers. For "Corazones" ORL's vocals are brought to the front as he reimagines the song as a straight ahead rocker with a dramatic blend of electric guitar and syncopated drum rhythms.
"Certainty" is another simple song in which ORL curiously sings in a deep voice.
"Arrest My Father" is the dark-themed song that captures my interest the most. His calling out to have his father arrested is obviously symbolic of pent up emotions. I'm not so sure that he is asking for his father to be arrested but maybe to have his own emotions arrested and contained. In the song he sings "I'm right at the door and I see what you did." He must be talking about the way he reacted to his mother's death when he saw her there lying in her coffin. Stylistically I am also very much attracted to this song which combines Americana guitar styles which reminds me quite a bit of something you'd hear from Johnny Cash along with ORL's mid ranged punk rock vocals.The song is peppered by a locomotive beat and sprightly harmonica.
"Some Sort Of Justice" continues ORLs more than able laid back acoustic guitar sound he has created for this album. Possibly the most personal song on the album ORL sings of loss and pain as he strums the chords of his guitar met by Luke Reynolds' nostalgic keyboards in the middle of the song. Even with a ballad ORL still remains on the edge with his straightforward honest lyrics of the emotions he's felt over the past few years. ORLs brand of ballad reaches beyond the surface of pop confectionary hooks and harmonies and digs deeper into the honesty of pain. ORL never does anything that's just on the surface.
"Five Different Pieces" sports a great organ part lurking behind the drum rhythms with ORL showing off his very deep vocals again. This song deals with the sinister ways hurt and pain can creep up on us. Parts of the uric are playful but reach a point of darkness that bring to light the fact that grief resides right alongside happiness. There’s a superficial happiness to the music that melts away the closer you pay attention.
For anyone who has lost a parent, Corazones strikes a poignant chord. It’s easily the most straightforward and touching effort in his discography, and what he jettisons in musical complexity, he makes up for in emotion. It’s an album of love and shame, pain and joy, truth and lies.
I love this album. It speaks to me in so many different ways and this will be one that remains a favorite for several years to come. This is the album I have been hoping to hear from ORL for quite some time now. The photo of ORL's mother on the cover adds a special touch to the overall finished product.
"Corazones" is the second of twelve new albums ORL will be releasing in 2016. This is an unheard of astonishing feat. I am greatly looking forward to what he has in store for us. I am certain he will take us on an unpredictable ride in terms of volume and range of material.
Here it is again... the end of another excellent year in music. Most of my musical tastes come from sample discs online and watching youtube videos and more to get the idea of the sound. I definitely do not look at Billboard album charts or anything like that. I tend to stay away from commercial and go more for the artistry in music. I shy away from the music video and and submerge into the audio. It's all about the music for me. I could care less what the people making the music look like, although I do enjoy a good album cover.
My prime taste in music is alternative rock. I've been an alt-rock fan ever since the late 1970's (yeah, I've been around for a while now - I was nineteen in 1979). Gary Numan and The Cars were my earliest forays into alt-rock. Pink Floyd has played a big part in my appreciation for alternative sounds. I also love dance music with heavy guitars, industrial is a favorite.
My favorite non-rock genre is jazz. I mostly go for improvisational, fusion, abstract and hard-bop. Though I can enjoy some smooth jazz such as Diana Krall or Al Jarreau. Lately my jazz interests are Weather Report, Stefan Harris and Ornette Coleman. Anyhow, this year's list contains my 18 favorite albums of the year. This list was originally my 20 Favorite but due to a few limitations from bloggers (mainly to do with labels) I did a Top 18 list. Last year I made a list of Favorite Albums from 2011... here's the link if you want to see that list: "Favorite Albums of 2011".
Chart Positions: #4 Germany, #6 Norway and Belgium, #7 Canada and Sweden, #8 US, #11 Netherlands and Denmark, #12 Austria, #14 UK, #18 Finland, #20 New Zealand, #25 Spain and #28 Australia
Certifications: None yet
Metacritic Rating: 80 out of 100
Notes: Neil Young and Crazy Horse released two albums in 2012, the first was "Americana" an album in which he does his renditions of traditional early American folk tunes. With "Psychedelic Pill" Young and Crazy horse hit their stride. The music is fully thought out and performed. Young's voice is in good form as he fills his performance with his brand of soul. The guitar work is what makes the album outstanding with every ranging from electrifying to down home strumming.
Chart Positions: #46 Belgium, #65 Ireland, #67 UK, #98 US
Certifications: None yet
Metacritic Rating: 80 out of 100
Notes: Grimes is Canadian recording artist Claire Boucher. Grimes began her career music in 2009 (at the age of 21) and by 2010 released her first album. "Visions" is her third album and received great reviews from critics as well as generating enough sales to reach the charts in many countries throughout the world. Her music is an eclectic mix of electronica, vocal experimentation and psychedelia.
Notes: For those who love jazz and R&B Esperanza Spalding is a gift. Her music is expertly keyed and reaches into the heart and soul of matters. This album shows the versatility in her music from Gospel to soul to blues to Big Band Swing to smooth jazz and pop. Guest appearances are made by jazz legends Jack DeJohnette and Billy Hart, the each contribute their masterful percussion work (DeJohnette on "Let Her" and Hart on "Hold On Me". Spalding does an affecting cover of Michael Jackson's "I Can't Help It", written by Stevie Wonder.
Notes: I have always been a fan of Steely Dan. I first heard them in 1974 when I was 14 and have loved them ever since. It was the song "Rikki Don't Lose That Number" that got me hooked. Of course when I heard Fagen was releasing a new album I was excited about it. This went to the top of my "must buy" list. I bought it the week it was released. His first three solo albums are great, but"Sunken Condos" may be my favorite of his solo work. I very much like the undertones of smooth funk grooves coupled with a tease of jazz influence. It makes for very pleasant pop music. I am especially enamored with Fagen's remake of Isaac Hayes' 1977 classic "Out Of The Ghetto".This album is all familiar territory for Fagen and the minions of his fans. "Sunken Condos" is completed with precision and a freshness that keeps this listener interested from beginning to end.
An editorial on Amazon.com describes the album as; Donald Fagen's fourth solo album for Warner Reprise, Sunken Condos, will be released on October 16. His first three solo albums, The Nightfly, Kamakiriad and Morph the Cat comprised the project known as "The Nightfly Trilogy." Sunken Condos begins a chapter in the creative evolution of this innovative artist, whose career is still going strong after forty years.
Notes: Ariel Pink first came to my attention in 2010 with the album "Before Today". For some reason the album just did not catch on with me. It just did not appeal to me. When "Mature Themes" was released right away I went out and bought it on faith and I don't really know why considering the previous album did nothing for me. "Mature Themes" ended up being a pleasant surprise. The songs are eclectic yet reveal quite a bit of growth in the groups overall sound. "Mature Themes" is the beginning of better things to come from this group.
Notes: The Megaphonic Thrift has quite a few traits that draw me to them. Upon reading their bio I was especially intrigued by the fact they're from Norway. I am always seeking bands from a country outside the US. Their music has an slight experimental edge to it as well as some killer guitar work. Amazon.com describes them as; "They make catchy melodies and then drench them in guitarnoise, best described as noisepop with shoegaze elements".
Chart Positions: #1 Austria,
Belgium, Germany and Switzerland, #2 Canada, Denmark, France and US, #3
Czechoslovakia, Italy and Norway, #4 Sweden and UK, #5 Australia, Japan and
Poland, #6 Scotland, #7 Finland and Hong Kong, #8 Hungary, #11 New Zealand and
Spain, #12 Ireland and Russia, #13 Greece, #15 Portugal, #53 Mexico
Certifications: Gold: Belgium and Canada
Metacritic Rating:69 out of 100
Notes: I remember watching Norah Jones perform live on the 45th Annual Grammy Awards (broadcast in February 2003). She just blew me away. It was just Norah with her voice and her piano. She was flawless. She sang every word perfect pitch and on-key. I hadn't heard a singer perform that well live (with no electronic enhancements) in a very long time. 2002's "Come Away With Me" became a big favorite for me. I went on to buy all her following releases, but until now with each album I became a bit less interested in her music. That's not to say her music isn't good. Every album she's released has been from outstanding to better than average, but still fall short of "Come Away With Me". "...Little Broken Hearts" does not reach the pantheons of "Come Away With Me", it does however infuse a breath fresh air into Norah's musical output. Norah has taken a welcome shift in direction with producer Danger Mouse (Broken Bells).Norah reaches a new level of emotional maturity in her vocal deliverance. This time around she injects an slight experimental edge to her songs. The Danger Mouse footprint is all over this album with hints of sounds he's created or used with other artists such as Broken Bells, The Black Keys and Electric Guest. I will go so far as to say that, with this album Norah's vocal abilities have evolved greatly from her last album 2009's "The Fall".
Chart Positions: #1 Belgium,
Canada, Switzerland, UK and US, #2 Australia, Ireland and New Zealand, #5
France, #7 Poland, #12 Netherlands, #13 Japan, #20 Sweden, #26 Greece
Certifications: Gold: UK
Metacritic Rating:84 out of 100
Notes: Jack
White (White Stripes) reached for the stars with this album and successfully hit the mark. On top of being a critical success the album is also a huge commercial success making it into the Top 2 in eight countries and more. Jack White's solo album is more successful than any of his albums with White Stripes. As usual this album features White's unique take on music. The highlight of the album (for me anyway) is the awesome guitar work. Jack White proves he belongs with the best in the field, he will go down in history as one of this era's most significant musicians.
Notes: If you crave different, unique and one of a kind in your music than Deerhoof is for you. From San Francisco, this fab four puts together some of most unusual Noise Pop ever recorded. "Breakup Song" brings Deerhoof back with more of their usual quirky sounds this time with a heavy emphasis on electronic grooves and funky beats. Like all their albums you've really got to put a pair of headphones on and listen real close, there are a good amount of twists and turns going on in the music... and of course the guitars rock...
Notes: Crisp and clean is how I describe this Minus The Bear album. Minus This album doesn't pull any surprises and is fairly predictable. That given, "Infinity Overhead" excelsas it isperformed by a band who is musically able amongst any of their contemporaries and classics such as Yes, Rush, Genesis and U2.
Chart Positions: #5 Belgium, #7 France, #9 Germany, Denmark and Switzerland, #10 US, #11 Portugal, #12 Canada, #15 Sweden, #18 Norway and Spain, #21 Austria, #23 New Zealand, #26 Australia, #29 Italy, #33 Scotland and UK, #34 Finland, #46 Ireland, #49 Netherlands, #194 Japan
Certifications: None
Metacritic Rating: 78 out of 100
Notes: After waiting six years for new material by Cat Power she is back with "Sun" and delivers a winner. "Sun" showcases Cat Power's understated emotion as well as treating us to her commercial side. After seventeen years and nine studio albums Cat Power (aka Chan Marshall) is now a international star "Sun" reaching the Top Fifteen in nine countries around the world.
Chart Positions: #24 US Hard Rock Albums, #16 US Top Hotseekers
Certifications: None
Metacritic Rating: 71 out of 100
Notes: Ceremony is a true punk band. Not pop-punk like Green Day or Blink 182, but ferocious hardcore, straight ahead, crunch driven, power chord classic punk. "Zoo" oftentimes sounds like it may have been inspiredby Joy Division, The Clash, Buzzcocks, Circle Jerks and others from the era. Ceremony is a Bay Area band from California leading the way with a new brand of garage-rock... hopefully we'll see more bands like Ceremony.
Chart Positions: #15 US, #18 Australia, #23 Finland, #25 New Zealand, #34 Norway, #47 Switzerland and Germany, #51 UK, #61 Netherlands, #66 Austria, #83 Spain, #90 Belgium, #130 France
Certifications: None
Metacritic Rating: 72 out of 100
Notes: Any release by The Mars Volta will always end up in my Top Albums Year-End List. Noctourniquet is one of The Mars Volta's strongest releases and could most possibly be their final release as the band is currently on hiatus - let's hear it for hoping it is a short hiatus. "Noctourniquet" moves into a psychedelic direction with hints of catchy hooks despite this the album is far from being predictable. There are interesting twists and turns throughout the entire album. One of my favorite tracks from the album is "Empty Vessels Make The Loudest Sound", the song ranges from Pink Floyd inspired guitar chords and a mellow thought provoking vocal working into a thrashing wall of noise and feedback. "Molochwalker" is another standout track with heavy drums and all consuming guitar chords that capture and keep you hooked.
Chart Positions: #21 Netherlands, #49 Germany, #70 Belgium, #93 US, #1 US Jazz
Certifications: None
Metacritic Rating: 59 out of 100
Notes: Several critics have panned this album saying Joe Jackson's renditions of Duke Ellington's classics strays too far from the originals. That precisely why I like this album. Joe Jackson combines modern day technology to these songs, which to my viewpoint make them quite intriguing. I really like his arrangement of "It Don't Mean A Thing If It Ain't Got That Swing", in which he infuses an electronic beat to this high-steppin' swing tune. Overall I really enjoy this album and I am most enamored with Jackson's treatment of "Mood Indigo" and "Caravan".
Joe Jackson - It Don't Mean A Thing If It Ain't got That Swing
Producer: Brandon Welchez, Charles Rowell, Duncan Mills
Chart Positions: #48 US Top Heatseekers
Certifications: None
Metacritic Rating: 66 out of 100
Notes: This album recalls the Cure, Joy Division, The Smiths and hints of Echo and the Bunnymen. "Endless Flowers is the San Diego, CA group's third studio album and was recorded in Berlin, Germany. The album is self produced with the two main band members (Brandon and Charles) putting most of the work in. The album is a great mix of power guitar chords, feedback, experimentation, rock and roll drum patterns and obscure sound effects. Crocodiles' music has been termed as Noise-pop, Lo-fi, Post Punk Revival and Psychedelic rock
Notes: As a fan of jazz (primarily fusion, hard-bop and Free Jazz) I was excited when I first came across this disc. Honestly I was not familiar with Floratone, but it was Bill Frisell's name that got me interested. Frisell is a great jazz guitarist who has done a ton of outstanding work. I samples a few of the songs and quickly purchased the disc. Of course Frisell's guitar work alone is worth the price of the disc. But there is much more to this album than just Frisell. Each song creates it's own atmosphere full of great beats, dreamy keyboards and more than it's share of experimentation. Oh and did I mention the guitar work is fantastic!
Notes: Upon my first listen of this album I wasn't sure if I cared for it or not. It border lined on being possibly boring. But having a history with Rodriguez-Lopez's music I knew I would have to listen to it a few more times to really form a viewpoint. I gave the album a few more listens and interestingly with each listen I heard something I missed before. There are layers upon layers of sounds in these haunting melodies. Omar Rodriguez-Lopez from The Mars Volta bends and twists instruments and sounds to create new ones. The dark spacey sunth sounds and metallic rhythms make this album an industrial sort of "machine at work" sound. This is an electronic music masterpiece.
Omar is really quite amazing. This is his 20th solo album (he's released 2 more since this one). Omar has to be the most prolific musician on the music scene these days. Since 2004 he has released 22 solo albums. He's also released live albums, collaboration albums. Since 1996 he has been on the music scene with his groups At The Drive-In, De Facto and The Mars Volta. "Un Corazón de Nadie" is a tribute to his mother, who died 2 months before the album was released. Omar plays every instrument heard on the album and recorded all the vocals. This is 100% Omar.
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