NF - Mansion [Album Review]

(For a TRACK-BY-TRACK review, scroll down) NF. It may be a name you've heard of, it may not be. But the Christian hip hop music artist is making quite the impression on industry. His first EP earned him a place on the Billboard charts, peaking at #15 on the US Top Rap Albums. Less than a year later and he is back with his début studio album, Mansion, an ambitious and emotional introspective journey. 

The album starts off with the aptly named ‘Intro’, which welcomes us into the world of NF. It starts off with choir-esque sounds and erupts into an orchestral explosion of quick fire rapping and intense beats. NF is sure to open us up to his history, from getting signed by Capitol and his struggle with his music and progress within his passion, this is a 'this is me' type of track. A collab between whimsical singer Fleurie and NF is up next in the form of title track 'Mansion', where Fleurie sweetly sings the hook of the track: “My mind is a home I’m trapped in/ and it’s lonely inside this mansion”. NF is quick on her heels following with deeply emotive and raw lyrics, which are particularly hard-hitting against the varying slow to mid-tempo beat.

‘All I Have’ is #3, and was actually the first track from NF’s EP, aptly titled the rapper’s name, so although fans may have already heard it, it is still a strong track on the record. It's one that focuses on past flaws and visions as well as the struggles people can face with ‘making it’. The song really culminates at the chorus with the repetition of ‘Don’t tell me that this isn’t real/ this is all that I have’. The impressionable ‘Wait’ is next and it’s a far stretch from the beginning of the record, but it really does work. This type of hip-hop ballad allows NF to stretch his vocal chords, showing he can both sing the hook of a track and rap the verses. It’s an interesting blend of musical stylings with an addictive, smooth bassline. On ‘Wake Up’ verses come crashing down in a suitably alarming manner, with the hip-hop ballad switching between more immediate verses to some more subtle singing. This one’s all about waking up – in case you hadn’t guessed – to the world around you and living your life as it is now, not necessarily what you’re waiting for it to be.

‘Face It’ is track listing number 6, and you can really feel the gritty energy of this song, and combined with a slick production makes for a pretty compelling listen. ‘Motivated’ – You’re in for a surprise with this one. Starting off quite tame with a dialogue from NF, it then descends into madness and chaotic rapping from the singer in unmerciful fashion. It’s got the element of gospel choirs, rock beats and some of the most adrenaline fuelled vocals you’ll hear. ‘Notepad’ is next and it's a mixture of separate dialogue from NF and quick-spit verses. As personal as always. The only disappointing addition so far is ‘Turn The Music Up’ as this one seems a little bit out of place amongst the rest of the truly emotional additions; more like a party filler track. If that’s the type of thing you’re looking for, then this is it, but it seems a little misguided.

‘Paralyzed’ is quick to save the day though. A haunting addition with a distinctly spiritual aura, this one combines NF’s talents at singing and rapping. It's got the whole swaying in the breeze, staring at the world from a tall building vibe (that's a thing, right?). On ‘I’ll Keep On’ Jeremiah Carlson joins NF to get some strong old soul vibes going. The instrumentals on this are a little reminiscent of Ed Sheeran. The album closes with the mesmerizing ‘Can You Hold Me’, which is another duet with Britt Nicole. This piano-heavy track has a slower tempo which gives NF a chance to display his more sentimental, vulnerable side. The result is charming and unforgettable.

Overall Verdict: 

NF’s Mansion is an eminently impressive record, with a fluid mix of hip-hop, rap and smooth ballads. In an industry which is littered with budding singers, NF has carved out a spot specifically tailored to himself, one that fuses different stylings together and showcases his full musical potential. Mansion does what most albums fail to do; provide something that is worth listening to until the end. You’ll be so enthralled by the lyrical tales of struggle and the passionate emotion coming through that it’ll be difficult to stop listening for even a second. This is a really a gem amongst the current album market, and for hip-hop fans who perhaps are looking for something a bit different, a bit more ominous and truly ‘raw’ in every sense of the word, then this will surely not disappoint. However, the truly assaultive style of the record on all the senses means that this may be overwhelming to some people, and it is perhaps this essence of the record that may not ‘do it’ for some. This is always a risk, but it’s one that perhaps has the potential to pay off greatly for the upcoming Christian hip hop musician. 

Great Highway - Industrial Love Scene [Review]

Electro pop may be all the rage right now, but no one's doing it quite like Great Highway. Combining rhythmic guitar & piano beats with power-house vocals, they're making their mark on the San Francisco music scene. Industrial Love Scene is the group's fourth album, which relies heavily on gorgeous vocal harmonies that string together each track and allow the moody undertones of the lyrics to shine through. 

Great Highway currently consists of members Jason Hunter (the founder), Sarah Morgan, Sean McAllister and Meredith Whelan. The fantastic element of the group is that it doesn't let the electronic and indie beats overpower them, mixing effortlessly with the strong acoustics. Memorable tracks on Industrial Love Scene is the undeniably catchy 'Smoke', which is rather ominous in tone and has a haunting vocal delivery. 'Smoke' also doubles up as the first single off the album. 'Little Black Book' benefits from a crisp production and resonating vocals, and the quirky nature of the track will stick with you. 'The Venom in Me' has a deeply eerie undertone combined with sweeping harmonies and sultry guitar instrumentals. 

Industrial Love Scene is out now. You can check out more information on Great Highway, here. 

Hannah Cohen - Pleasure Boy [Album Review]

(For a TRACK-BY-TRACK review, scroll down) Relatively unknown, Hannah Cohen is an American singer and model whose first album, Child Bride, was released in 2012. Pleasure Boy is an album with deep undertones of loss and pain, insulated with a mix of sweet melodies and looming darkness. But what does Pleasure Boy sound like and how do each tracks fare? The album starts off with ‘Keepsake’, an ominous and captivating opening to Cohen’s second album. First impressions would lead you to believe this is going to sound like a mix between Lana Del Rey (there are some similarities in vocals) and Florence and the Machine (in terms of instrumentals). There is a very ethereal feel with Cohen's sweeping vocals combining with solid beats, it's definitely one to get carried away with. It grabs your attention and it runs with it; you’ll be hard pressed to keep up.

#2 is ‘Lilacs’ which is a mixture of some sweet synths and jazz beats, with plenty of opportunity for Cohen to show off her varying vocal range; from her low and deep drawl on the opening verses to the higher, rich tones on the chorus, we get it all on this track. Piano-laden ballad ‘Watching You Fall’ is there to cradle us with its soothing sound and mellow, drawn back nature. This is something you could easily listen to on a lazy afternoon in the summertime or early spring. ‘I’ll Fake It’ is an interesting change in styles, with the solid bass-line not sounding out of place on an r&b or dubstep track. A little darker and sultry in tone, Cohen's vocal confidence shines through on this track and she's in her element in this intriguing mix of musical styles. 

Number 5's ‘Claremont Song’ is certainly a strange addition. The consistent underlying beat in this track always has the potential to accomplish more, but chooses not to – it’s a more understated song that feels like it is on its own never-ending journey to an uncertain future. You’ll be in a constant state of apprehension listening to this, we’re pinpointing this as our ‘marmite’ track; you’ll ever love it or hate it. ‘Queen of Ice’ follows this with some striking lyrics; ‘Trace your fingers down my spine/ watch me crumble before your eyes’. A dark beginning for a haunting song from Cohen. The vocals flit between the frenetic and the almost numbingly still, whilst Cohen experiments in a most alluring way with the pace and feel on ‘Queen of Ice’.

‘Take the Rest’ continues the dark theme in a more subtle and subdued way although it doesn’t pack the same kind of addictive punch as ‘Queen of Ice’ and it leaves you wanting a little bit more. ‘Baby’ rectifies this mixed feeling with a strong guitar opening, allowing for Cohen’s vocals to stand-out in the ending song. This one’s got an air of country charm to it. A suitable closing track, finishing the album on a high note.

Overall Verdict:

It’s a bit of a beguiling mix between old and new styles, with various musical influences trickling through, from country to dubstep to electro-synth sounds. For the most part, Pleasure Boy entices you in and successfully delivers, with only the casual misstep; which is understandable given its vastly experimental sound and feel. The production is crisp and coherent, each track flows with a haunting rhythm into the next and everything feels like it has been executed to a high standard. It’s bold, sultry and sweet and it’s likely to be your next favourite record.

Sia - Big Girls Cry (Official Video) [+ Review]

Sharp. Emotional. Intriguing. It can only be the music video for Sia's new track 'Big Girls Cry' (scroll for video), and if 'Chandelier' and 'Elastic Heart' have taught us anything it's that Maddie Ziegler is likely poised and prepared in the wings waiting for her third video performance. 'Big Girls Cry' is taken from Sia's recent album, 1000 Forms of Fear, which attracted mainstream attention due to the popularity of 'Chandelier'. Predictably, in this latest video, Maddie does make an appearance, in what is turning out to be a memorable series of conceptual pieces focusing around issues and emotional experiences in the singer's life - the most recent of which centres on mental illness. 

                                                (gif: SiaFurlerSource; tumblr)
With no big gimmicks or fancy sets it can be difficult to understand the stripped back, in-your-face style of video the singer and her team produce, which may make it difficult or uncomfortable to watch at first. But this is exactly what the essence of the song is all about, and the video makes a lasting impression on the multitude of emotions and actions a person can face and make, and what kind of effect this can leave on someone. Sia has never been an ordinary pop artist (in recent years she has made the decision not to face the camera during live performances and often opts for a paper bag or some other cover-up) and this video shows the type of aesthetic the singer prefers - one that is gritty, unusual and in some cases, unsettling. It's designed to provoke questions and stimulate answers. 

                                                 (gif: SiaFurlerSource; tumblr)
On the track itself, Furler teams up with Chris Braide, whose lyrics are as memorable and poignant as ever; 'And I don't care if I don't look pretty/ Big Girls Cry when their hearts are breaking'. The result of the pairing is a more vulnerable and introverted song, with Furler's rawness coming through in bounds, hitting the notes with utter simplicity and passion. 

If you want to be taken on a ride with Sia and Ziegler then check out the gritty video below: 

Purity Ring - Another Eternity [Album Review]

(For a TRACK-BY-TRACK review, scroll down.) The second studio album from Canadian duo Purity Ring was always going to be notable, whether it followed the same musical route as Shrines (2012) or tried something new. In the case of Another Eternity, it isn't held down by musical classifications, but it certainly has taken a turn for the more pop-centric and has attracted attention from the mainstream music scene. But is it a step in the right direction for the duo or a unfortunate manoeuvre? The answer isn't that clear. Whilst Another Eternity is a mix of intriguing sounds and blissful vocals, some tracks fall short of the duo's potential, and may leave listeners disappointed or simply wanting more. 

‘Heartsigh’ opens the new album, possessing a sweet melody that bewitches upon first listen and develops into a culmination of airy vocals and mid-tempo beats. ‘Bodyache’ follows this with a more mainstream sound, which could get a bit dull after repeated listens, but has an initial charm that may not wear off as quickly for some listeners. The dazzling ‘Push Pull’ succeeds this, which is overall a strong tune that has garnered a decent amount of mainstream popularity upon its release, and it’s not hard to see why. The solid production, the combination of dynamic duo James and Roddick, and the witch house feel leave an everlasting impression. 

Unfortunately, the strong start doesn't last and the aptly titled 'Repetition' is awfully repetitive and a little boring. 'Stranger Than Earth' is up next and is an unusual addition. You might expect to hear something similar on an R&B or rap album, and is a strange choice for a middle-track. The mixed frenetic beats pair with dramatic drops and changes in vocal pitch and intensity and a grimy sound that sounds misplaced. Re-assuringly, the memorable 'Begin Again' is here to satisfy those who are perhaps a little confused at this point. Shrines era fans will either love this or hate it, but it has the fusion of music genres that make it stand out from your regular EDM or electro-pop tracks, and James' vocals draw you in with great ease and aren't drowned out by beats unlike other tracks on the album. 

‘Dust Hymn’ is track #7, and it comes out fighting, blending hypnotic beats and strong visual lyrics from James', making for an enthralling listen. ‘Flood on the Floor’ is a mix of EDM and strong electro with a strong instrumental accompaniment from Roddick and lyrics that sometimes don’t make sense but for some reason strangely work. This one's hard to easily forget. The unforgettable ‘Sea Castle’ is next and it's a slightly eerier track with all the atmospheric beats that Purity Ring are known for. James’ vocals are still the most captivating part of the track and the sweet contrasting beat mesmerise in all the right ways. The last song on the album is ‘Stillness in Woe’ which has a strong instrumental opening that compliments James’ soaring voice and has a sound similar to a CHVRCHES track, but we would say this is a good thing. Dreamy and ethereal, ‘Stillness in Woe’ is a worthy listen and allows the album to end on a high note. 

Another Eternity is certainly a move to the more mainstream pop industry and it's unclear if this is a calculated risk or just mere experimentation. No doubt what some may have liked about their debut album Shrines will have been the edginess and indie-esque nature, and this album certainly is not that – however, it is a clear new direction where the duo have tried out different styles and it does work in some areas. The album is an unusual turn for the electronic pop that is perfected on such tracks like ‘Push Pull’ and ‘Begin Again’, whilst there are still the strong visual lyrics and similar atmospheric audio to the previous Shrines. James’ vocals are best heard on tracks which truly allow them to shine, without being overpowered by dulcet, repetitive tones on aptly named ‘Repetition’ and ‘Bodyache’, which may not be to everyone’s tastes. Roddick and James succeed best when they are seemingly not trying to be more pop-central and stick to their roots, as ‘Sea Castle’ and ‘Dust Hymn’ prove. Overall, Another Eternity is a riveting mix of a multitude of musical genres which are not so easily sub-divided and classified, and perhaps this is best for the group, who seem to work best when they have no limitations, even if this is a risk that sometimes doesn’t pay off.