The Redeemer

Artist: Dean Blunt

Release Date: May 1, 2013

Label: Boom Kat



The Redeemer by Dean Blunt is an album of contrasts. Coming from the experimental pop duo Hype Williams, Blunt's third solo album comes with little fan-fair or pretense, despite still being a "pop" album. Sweeping harps, strings and orchestrated melodies dance along side hip-hop beats, eccentric samples and droning, evocative vocals from both Blunt and contributor Inga Copeland. Its the kind of instrumentation one might see in a Kanye West album, even though Blunt has said his favorite record is still What's the Story Morning Glory and that he hates hip-hop (Source)

The whole album's production is in stark contrast to Blunt's previous work in Black is Beautiful where mid-range frequencies failed to exist and infra bass caved in speakers. The Redeemer is almost a boastful album in this respect. Genre boundaries are jumped over and over again. Walls of Jericho paddles off with wave samples and tension-filled violins, only to be succeeded with Make it Official, a sappy, guitar solo driven R&B track. Its clear Dean Blunt doesn't care if his music makes sense, often switching between synths and recordings of the same instruments between songs. Even with all the poppy experimentation, Blunt still finds room for sincerity and meaning. Raspy voicemails and crooning songs about lost love scatter a very intimidating, but not hostile, album. Despite its origins in detached, classical art made from trashy music, The Redeemer is an interesting experiment with the structure of music and of an album.

-Justin Healy

Now We Are All Sons of Bitches

Artist: Patron Saint of Bridge Burners
Release Date: March 23, 2013
Label: Independent


The newest release from Patron Saint of Bridge Burners is a heavy one. Not in terms of sonic power or distortion, but on an emotional level. The whole album is based around the detrimental effects of war and violence on not just the victims, but the civilians on the "winning" side. The album's title comes from a quote by Kenneth Bainbridge, the physicist that helped the atomic bomb come to fruition. Seconds after the first test Bainbridge turned to J Robert Oppenheimer and said, "Now we are all sons of bitches." Thematically, Now We Are All Sons of Bitches follows this quote in each song. The whole experience laments violence and war, but also considers the role we play in its encouragement and rejection. As the title track says, "We are as the soldier with their guns, we're to blame for the slaughter of our daughters and sons."

"Martyred" is about burning a photo of a deceased soldier. It brings up the point that not every warrior is a hero and that we should not celebrate someone just because they carried a gun. The song has accompanying strings and lush guitars that contrast the rest of the album where sparse guitar and syncopated drums take the forefront. "Untitled (The Sound + The Fury)" is less poignant lyrically but has several great metaphors based around waves and lightening eroding a landscape. The song burns out on slowing drums and then a violin and cello duet. "Need Somebody" oddly features a blast beat and overwhelming guitar clatter that nearly drowns out lyrics about stormy seas and submissive people. "Heaven's Gate Away Team (Do the Hale Bopp)" is about the ritual suicides encourage by Marshall Applewhite based on the belief that a space-ship was tailing the Hale-Bopp comet. The title comes from the patches the dead wore reading "Heaven's Gate Away Team." "Symphorophilia" is a contemplation on death and grieving. The author states he wants to die instantly after notice because he worries that he will die a mentally violent death. This track features a slide whistle wildly chirping along out of tune in the background. "Turbulence" begins with a light ambient drone which fades out to be replaced with a poorly lead drum and guitar combo that continues to play for a minute despite failing to line up in any logical way. "Knife Wound" is a song about the disappointment created by the end of a war in which a combatant feels he hasn't been fighting for a worthy cause because he feels more relief in coming home than making his country proud. It is a logical pairing with "God Damn Us, Every One" as it deals with similar themes and issues. "The Spirit of Oklahoma!" is a description of the destruction and loss created by the atomic bombs dropped in WWII. The singer describes the violence caused by the explosion. The song then shifts to "landmark" crimes that have been committed in America. It then compares the human race to an atomic bomb, as a machine created to "rip flesh and bone." "I'll Take You With Me" is a spoken word description of a un-manned drone attacking, described with the metaphor of a vulture to whining flutes and an angelic chorus. The narrator describes how the "bird" takes the kills back to its nest to feed its "young."

Now We are All Sons of Bitches is one of the most sobering listens of 2013 and is highly recommended. 

-Justin Healy

Red

Artist: Kixnare
Release Date: March 18th, 2013
Label: U Know Me


Red, released this week by Kixnare, is a subtle and slow moving album that takes inspiration from every corner of dance music. Elements of 2-step, Juke and UK garage are at the rhythmic forefront of this LP. Samples and beats are slowly laid on over the course of each of the ten songs to great effect. Every track has an incredibly satisfying conclusion that is built upon a short sample played dozens of times and beats that evoke a sense of rhythmic fun and dance. The classic 808 drum machine is used extensively throughout this album to its benefit. The familiar sounds allow the fantastic use of synthesizers to take the front of the sound. While not as complex as some of his peers, Kixnare uses tone and various effects to pull the best sounds out of a simple pattern.

"Gucci Dough" and "Automatik are the two standout tracks on this album. "Gucci Dough" for it's delicate sample work and wavering synths; "Automatic" for it's use of clean melody surrounded by erratic drums, cymbal hits, and fantastic sampling that bult toward a satisfying conclusion. While each track is equipped to use minimal sound for maximum effect, I do think Kixnare could have reached out to different sounds. The whole album relies on the same few drum fills and by the end of the album they get stale. As well a few tracks don’t seem to fit in with the rest of the package. "The Eraser" and "No More" could use a bit more variety or should have been shortened down. Despite these flaws, Red is a good listen that really evokes the more evolved side of dance music while still being able to keep you entertained.

-Justin Healy