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Tyler, The Creator “Goblin” 
Released by the XL label in a one-album deal, Goblin is the first widely accessible release from the Odd Future crew, an outlandish alternative hip-hop consortium that was the epitome of underground hip in 2011. With social networking, video sharing, and mixtapes as their tools, Odd Future‘s wild mix of skateboarding culture and scatological rhymes struck a chord with the right-click-and-save crowd, who will be relieved to know that the crew’s leader delivered his aboveground debut without any sign of outside influence. Parents and defenders of good taste should be just as horrified because “God damn I love bitches/Especially when they just suck dick and do dishes” (“Transylvania”) is the way Tyler, the Creator rolls, coming incorrectly in a ski mask, irresponsibly rapping about rape, and with suicidal tendencies: the mindset, not the band. It’s just as ugly as it sounds, and when Tyler tells listeners “this ain’t horrorcore,” it’s followed by an even more ridiculous claim that you can “dig deeper” for proof, but then comes a brilliant line like “She’s the one I’m thinking of when I am beating Richard up” (“Her”), or an incredibly infectious zombie anthem (“Sandwitches”), and suddenly, this Grand Guignol called Goblin lives up to the hype. Just like on his debut mixtape, Bastard, the rapper’s fictional therapist helps tie the tracks together for a decent overall flow, and Tyler’s production is as attractive as ever, contrasting his disgusting rhymes and gruff voice with subdued, sometimes serene beats that echo and creep. While the album is a revolutionary object in that such fantastic filth was born and flourished outside the corporate — and even indie — music industry, production is about the only thing to be objective about, as everything else is polarizing and preaching to the converted. Odd Future? Odd Freakshow is more like it, but if you’ve ever wondered what an inspired mash of Three 6 Mafia, Pharell Williams, and Kool Keith would sound like if they absolutely hated you, then Goblin is the sweet pain you crave.
Tyler, The Creator “Goblin” available at ATMV!
EAST OF THE WALL & RADARE TOUR – Episode 1 from x-ray charles on Vimeo.
Marina & The Diamonds “The Family Jewels”
Tom Petty & The Heartbreakers-”Mojo”
It was once said that “the longer you live, the better you get.” In recording Mojo, Tom Petty and the Heartbreakers took to the studio in a way they hadn’t done before (at least to such an extent); not only did the group go into recording the album with an entirely blank canvas—the decision was made to go into Mojo without any demos in hand—but much of the album was essentially recorded live: no headphones, each member facing each other while they played out their ideas. Speaking to Greg Kot of the Chicago Tribune, Petty shed some light on the process, “This is a record we couldn’t have made in the ’70s and ’80s because we weren’t really good enough as musicians.” He continued, “We’re using our age as a plus in this sense, in that we’ve become better musicians.” It would seem that Petty would agree with the statement of aging gracefully, if only in terms of he and his band’s musical evolution. And if Mojo is the evidence that we have to either confirm or deny whether Petty and the Heartbreakers have gotten better or worse with age, it would seem wholeheartedly irrational to argue the latter.
In 2006 Tom Petty released his third solo album, and first in over a decade, Highway Companion. That same year a number of other veteran acts (Young, Springsteen, the Who, Frampton, John, Meat Loaf, etc.) joined Petty in releasing new material, though the majority of the releases proved the initial quote to have plenty of exceptions. It’s fitting that those aforementioned words were muttered by Bob Dylan as he also released an album in 2006 (Modern Times); one that serves up even more evidence supporting the quote. While Highway Companion was expectedly strong, the album eventually claimed spots on a myriad of year end lists, it doesn’t resonate in the same way as Mojo; which might, once again, relate to Bob Dylan. Further along in his interview with Kot, Petty revealed the prime influence on Mojo, “For the last 10, 11 years, I’ve been immersed in blues. That’s what I listen to all the time and we got caught up in that vibe on this record.” It might be a bit of a stretch, but Dylan’s last two albums (or at least the last two albums that weren’t nut-bar crazy) also cracked at the seams with the blues. Putting the similarities to Dylan and the focus on the blues aside for a moment however, the album actually does have its fair share of tracks that sound like the Heartbreakers of old; even if Mojo‘s opening song is titled “Jefferson Jericho Blues.”
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The greatest tropical artist of the past quarter-century, Juan Luis Guerra adds another dazzling album to his catalog with A Son de Guerra, a rhythmically wide-ranging effort that may not run long but is packed with highlights. Since the mid-’90s Guerra has released albums at a leisurely pace, taking four years to release Ni Es Lo Mismo Ni Es Igual (1998), six years for Para Ti (2004), three years for La Llave de Mi Corazón (2007), and another three years for A Son de Guerra. Though the wait between albums is often agonizing for fans, in particular the six-year wait for Para Ti, each album has proved excellent and different from its predecessor. A Son de Guerra is different from its predecessor in that it doesn’t aim for crossover success in the way that the Latin Grammy-sweeping La Llave de Mi Corazón did with its bilingual title track and its Black Eyed Peas remix. In some ways rather modest in its aims, this self-produced album is brief at 11 tracks in 37 minutes and flows with such ease from one song to the next that it feels almost effortless. While it’s true that there’s nothing extravagant here, not even the Juanes collaboration, “La Calle,” which is more of a musical showcase than a ready-made hit single, every song is interesting from one standpoint or another. The lead single, “Bachata en Fukuoka,” is a lovely bachata whose lyrics are set in Japan of all places and give the otherwise simple song an air of exoticism. A Son de Guerra also includes another similarly styled bachata, “Mi Bendición,” and a couple merengues typical of Guerra‘s past work, “No Aparecen” and “Apaga y Vámonos.” Guerra‘s bread and butter, these bachatas and merengues are spread out a bit on the first half of A Son de Guerra. The remainder of the album, the second half in particular, is remarkably eclectic. Highlights include “La Guagua,” a witty guaracha with a political message; “Son al Rey,” a Christian song with an infectious Cuban son rhythm; “Arregla los Papeles,” an intricate salsa; and “Caribbean Blues,” an English-language Latin-style blues sequenced last as a bonus track. Like the aforementioned Juanes collaboration, the remaining songs, “Cayo Arena” and “Lola’s Mambo,” the latter featuring trumpeter Chris Botti, are essentially musical showcases for Guerra and his red-hot 4.40 band.
Juan Luis Guerra’s new album “Asondeguerra” is now available at All That Music & Video
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Periphery-Self Titled debut album
One of the most anticipated releases in the progressive metal genre has finally been unleashed upon the world.
After much hype and online buzz , progressive-metal-djent masters, Periphery finally unveiled their crushing debut album via Sumerian Records earlier this year and have unveiled their new video for “Icarus Lives” .
As a genre, metal has always been firmly rooted in pushing music to new extremes, taking the sounds we’ve come to know and love from other styles and pushing them well past their limits until they become something new. Always looking to pushing things into increasingly lower directions is Periphery, the new project from expanded-range guitarist Misha “Bulb” Mansoor. Utilizing a combination of extreme tunings and studio magic on the eponymous album, Periphery presents us with a combination of blistering fretwork, extreme tunings, and studio magic to create a maelstrom of prog guitar worship reminiscent of Meshuggah and the Dillinger Escape Plan. While lightning-fast playing and odd chord structures and time signatures are certainly a part of Periphery’s charm, the production on the album helps to give it a razor-sharp edge over some of the competition. The band uses the studio here almost as an instrument in and of itself, controlling not just what you hear, but how you hear it. Guitars are gated and compressed into tones that are almost mechanical, replacing anything resembling bluesy warmth with a sound that is stark and metallic, at times sounding more like a piece of industrial equipment than a stringed instrument. What’s most impressive about the whole thing is that they manage to pull the whole thing off without sounding over-produced. By pushing the production to such limits, the album manages to blast through the typical production clichés to create a sonic assault that should quickly change your reaction from “Why did they do that?” to “How did they do that?,” making Periphery an album that’ll give lovers of prog metal something to sink their teeth into.
Periphery’s Self titled debut album is available at All That Music & Video for only $13.99!
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