Jack Antonoff is best known as the guitarist for alt-pop band ‘fun’, a band who’s influence is especially apparent on lead single “I Wanna Get Better”, which contains the essence of catchiness that fun rode to stardom, but with introverted lyrics that stand in contrast to the explosive and late night aftermath imagery prevalent on breakthrough ‘Some Nights.’  In actuality, Bleachers veers closer to ‘The Format’, if anything. 

Strange Desire starts strong. ‘Wild Heart’ blasts in like a breaking news bulletin, increasing the tension, all-leading up to phenomenal ‘Rollercoaster’, which makes Antonoff sound like a worthy successor to The Cure. Another standout, “Wake Me” is a surprisingly breezy gem, more Venice beach then Brooklyn, but with some 80’s vibes that The Police and the aforementioned Cure fans would recognize.  

At times, the album can feel like a slog. Indie songstress Grimes provides a dreary and unnecessary guest spot on flimsy “Take Me Away”. Tracks like “Shadow” are preachy, and the lyrics don’t make much sense, i.e: “If you’re feeling small, I’ll be your shadow.”

Despite the flaws, there is still plenty to love here. Perhaps most shockingly, the album’s penultimate track is also a standout – a remix of ‘Wild Heart’ featuring Yoko Ono. Yes. That Yoko Ono. But surprisingly, she’s not screaming this time, she’s singing, and she’s convincing and there’s a stunning honesty behind her verse. Distorting the song was a bold move, bringing Yoko in, practically suicidal, but some how, it worked. 

Moments like that make “Strange Desire” fascinating. I can’t decide whether it’s a gimmicky, triangle shaped face paint charm, or a stroke of brilliance, but whatever the case, Jack Antonoff often leads me desiring more. 

On the way out, we’re gonna ride the buzz with a track from “Begin Again.” That movie, starring Keira Knightley, Mark Ruffalo, Hailee Steinfeld, and Adam Levine is on fire right now and has a pretty groovy soundtrack. The track, Lost Stars, is sang by Maroon 5’s Adam Levine. I’m Sean Eckhardt, today’s DropDate. 


Bleachers' Jack Antonoff's Deep 'Desire' | Adam Levine Sings With The 'Stars' In 'Begin Again'

It’s been a while since enigmatic La Roux, now consisting solely of British singer Elly Jackson, snuck up on us with the robotic explosiveness of songs like "In for the Kill" and surprise hit, "Bulletproof".

It shouldn't be a surprise that "Bulletproof" took off stateside. The self-titled debut was fun and club-worthy, but often came off as distant and artificial.

Not so on the follow up. "Trouble in Paradise" comes five years after the debut and La Roux has clearly warmed up, thawed, releasing an album that is French house mixed with west coast vibes. 

The album benefits from authentic writing. Jackson is a lyricist, and songs such as "Paradise is You" reveals a side of her that hasn't shined before, vivid emotion, warmed up by a lush arrangement, and careful production.

Songs like "Tropical Chancer" has some ska influence, and the album pays homage to that and other west coast staples. "Sexotheque" is very Best Coast. While the most buzz came from promo single "Let Me Down Gently", it is not indicative of the rest of the record. It's a little dreary and one note. The rest of the album, however, is a seamless sonic crossover between the clubs of West Hollywood, and the beaches of Santa Monica. 

On the way out, we rode Jason Mraz’s found-again buzz, listening to a song from the new record ‘Yes!’ called “Love Someone” with it’s intro track, ‘Rise.”

This review originally aired 22 July 2014 on DropDate Podcast. You can listen to the show on soundcloud.com/dropdatepodcast.


La Roux's Newfound 'Paradise' | Jason Mraz's 'Rise'

From Los Angeles this is DropDate, I’m Sean Eckhardt. You’re listening to Born With a Sound, one of the latest from The New Pornographers. Their album, Brill Bruisers, was released today on Matador Records. 

Coming up, we’re going to recap August, and hear this month’s new music, with some Spoon, Imogen Heap, and Wiz Khalifa. 

But first, The New Pornographers are back with Brill Bruisers, by far their most uplifting album, still with leader A.C. Newman and veterans Neko Case, Dan Bejar at their most deft. “Marching Orders” particularly is a party, albeit one somewhere in the Canadian woods. 


The brother in Orange is the New Black lives in the woods and I feel like they would like this album. It’s a nostalgic record, one that is a breath of fresh air in the sense that every song just sounds like a bunch of old friends jamming.

--

During the time we’ve been off the air, the support you guys have given this show is incredible. I wanted to give the opportunity for the first month of shows to find an audience, to gage interest, and you guys listened which is awesome. But anyways, we’ve got some catching up to do. 


First up is the latest from Spoon, “They Want My Soul”, which dropped August 5 on Loma Vista Records. Lead single, “Rent I Pay” is a garage band instant classic, reminiscent of classic spoon like “I Turn My Camera On” or “Don’t You Evah”. The albums best moment, fresh “Inside Out” is the band at their most subtle and groovy.

“Telecommunications” by Deadmau5 

I was really into this lady back in high school. After a long, confusing, and internet release filled hiatus, Imogen Heap is back with a surprisingly proper album, considering the songs have been strung together from years of random releases. Overall, it’s pretty hit and miss. A lot of it is just too much weird voice distortion. One exception is a collaboration with mega DJ Deadmau5, which is a stunning electronic landscape.


“We Dem Boyz” remix by Wiz Khalifa

I MISSPOKE. I KNOW THIS ISN'T WIZ'S DEBUT....kthxbye

Next up, Wiz Khalifa’s Blacc Hollywood, dropped August 19. The album is Wiz at by far his most introspective, but is still relatable to the core fan base. Carefully placed guest spot like this remix of radio hit “We Dem Boyz”  with Rick Ross, ScHoolboy Q and Nas, add legitimacy and perspective to material that could potentially be called repetitive, but that’s the point. Wiz Khalifa is repetitive, but there’s nothing broken, so why fix it. 

All right we’re done. We’re weekly again. You can follow the show on facebook and on twitter @dropdatepodcast. You can follow me @Sean_Eckhardt on twitter and instagram, and on seaneckhardt.com. Here’s some more new pornographers this songs called, Champions of Red Wine, from los angeles, this is drop date. 


The New Pornographer's 'Bruising' New Record | August Recap with Wiz Khalifa, Imogen Heap & Spoon

You’re listening to George Ezra’s Wanted on Voyage, which was released in the US today. From London, it’s DropDate.

Despite his deep and somewhat sultry vocal inflection, George Ezra is just 21…I mean really, does this voice sound 21?! Anyway, he’s taken Europe by storm the past year, and as usual, it’s taken the states a bit long to catch up. Budapest is his biggest hit so far, invocative of low-key jams by Ingrid Michaelson, and the tonality of the Matts, Kearny, Nathanson and Costa. Much of the record is recorded around the lightweight, breezy bits that define those male singer/songwriter’s early careers. If nothing else, Voyage is a solid debut that presents a carefree, coffee-shop vibe with often-bombastic choruses that are impossible to shake, clearly indicated on low-key anthem, Breakaway.  

Ezra fits the mold of those who came before him, falling into familiar pitfalls of pining that most reviewers are quick to dismiss. Ezra, however, is deftly in touch with a certain sense of imagery, instantly relatable to the listener in his early 20s   viewing every moment as something to be lived – to be remembered, like a trip to Barcelona.

Thank you guys so much for tuning back in. I’m recording this from a flat in London, hoping to put these out on a more consistent basis. I’ll be back in LA in April. Riding the buzz, I’ll finish with a release that is particularly exciting for me, the return of Death Cab for Cutie, with Black Sun. After 2011’s Codes and Keys, a dud of saccharin courtesy of lead singer Ben Gibbard’s infatuation a certain banged new girl, who I’d hazard a guess is the one that is “so fair, so cruel” Gibbard mentions in this new single. Unfortunately for Ben, Death Cab is best when the despair reaches It’s peak, and Black Sun which was debuted in Seattle a few weeks ago is definitely dark. But it marks a welcomed return to form abandoned four years after Death Cab hailed their failure as something that would be less “guitar centric.” He’s not over it, and the music succeeds because of it. I love this song. The new album, Kintsugi, will be out in March.

In the meantime, follow us on Facebook, and on Twitter AT DropDatePodcast, and listen to the show/follow on Soundcloud. 


George Ezra Crosses The Pond | Death Cab For Cutie's 'Black' Return

Shots is an example of the Dragons at their loudest that works on this record. Unfortunately, it’s the only example on Smoke and Mirrors, a devastating sophomore attempt by the Las Vegas band that successfully navigated pop radio.  The first third of the album is absolutely exhausting, seeing the band desperately grasping for those soaring choruses that made Night Visions, and its monster singles It’s Time, and Radioactive worldwide anthems. After the sonically confusing “I Bet My Life,” the album takes a bizarre, 5 bars of Xanex like boredom, with dreary “Polaroid” following up with a monster headache that is the auto-tuned mess, Friction. 

Imagine Dragons find themselves at their most convincing in their understated moments, like on ballad “It Comes Back To You,” which comes across as deeply genuine, and is a nice break from the unrelenting, forced anthems and the shrill moments. 

Others like the title song and beautiful closing track “The Fall” channel this sonically pleasing shift. The problem is that none of the album is anything original. The low key moments sound like cheap copies of Coldplay’s latest record, Ghost Stories, with lead singer Dan Reynolds shadowboxing Chris Martin. 

How do you follow up the biggest alt-rock album in 2012? By trying to make the biggest alt-rock album of 2015. Unfortunately for Imagine Dragons, the results often feel like failed attempt at raising something from the dead – a crude zombie that goes perfectly with the London Olympics, Mitt Romney, and Phillip Phillips. 

But, I like focusing on the positives. I do admit that I have a guilty pleasure on this record and its called Hopeless Opus. It’s the most humble and carefree song on the record and its impossible not to like, but honestly Dan, I get it, your hopeless. 


Imagine Dragons' New Batch of 'Smoke & Mirrors'  | Florence + The Machine Returns, with Questions

Noel Gallagher’s second solo record sees the former Oasis front man in the producer’s chair, with ten tracks that deftly balance a sense of indeed, chasing yesterday with the sound that Noel developed for his first record that set this new project apart from his quintessential ‘90s success. Many critics are hung up on the fact that opening track “Riverman” sounds remotely like ‘Wonderwall.” But it’s a good song, and I feel like people are reaching, aiming to draw punny headlines from the album title. No, I think the song on the record that captures that stadium filled nostalgia the most is the ironically titled “You Know We Can’t Go Back,” which sees often uptight Noel let loose, with the high flying bird’s catchiest song yet.

The album is definitely more reminiscent of the past than the high flying birds debut, which fit nicely into the indie-rock, KROQ Weenie Roast world that exists in 2010s. That being said, it’s not as if Noel is pining for that rock star success again. He knows he doesn’t have to prove himself anymore, and just made a record that is a fucking good record, without gimmicks, embracing the spirit of Oasis, the spirit of Noel past and present while also looking to the future, and embracing that earned status, especially on epic closing track “The Ballad of Mighty I.” 


Noel Gallagher's Isn't 'Chasing' Oasis Anymore  | Best Coast Leaves Me Longing For 'California'

At first glance, To Pimp A Butterfly trades in the sly, stoned chillness from MAAD city and by and large replaces it with soooo much funk. It’s sonically energetic, and is just an interesting enough departure to keep what makes Kendrick Kendrick and not be repetitive. The single I, is the album at its most self-aggrandizing, but it’s done in a very tongue-in-cheek way, almost parodying itself, which is pretty refreshing in today’s rap landscape, because it makes sense within the context of an incredible album that is an astounding achievement in lyrics, in sound, and in message. 

To Pimp A Butterfly shows Kendrick Lamar taking his autobiographical style so expertly refined on 2012’s ‘Good Kid…M.A.A.D City” and broadening the coverage – tackling issues of race, poverty, and gang mentality, in no uncertain terms.  In second single ‘The Blacker the Berry,’ Kendrick is intense and focused, with killer self-awareness, especially with lyrics like ‘So why did I weep when Trayvon Martin was in the street? When gang banging make me kill blacker than me’ before shouting HYPOCRITE

Where good kid maad city was about Kendrick knowing himself, a movie of sorts into the psyche of the new king of west coast hip hop, sometimes angry, sometimes soulful, always on point,  Butterfly is an ultimatum, a statement that comes at a time of intense racial polarization in the US, in the midst of an epidemic of shootings of unarmed black men and teenagers at the hands of police officers. The album is not an easy listening, but an incredibly rewarding and important one. 

On Mortal Man, Kendrick reiterates a recurring line from throughout the album ‘I remember you was conflicted, misusing your influence, sometimes I did the same,” alluding to the darkest parts that surrounded the MAAD city. He evokes the ghost of the late Nelson Mandela, ‘The ghost of Mandela, hope my flows they propel it’ and that line pretty much says it all. The reception from Kendrick’s fellow rappers has been universal – Kendrick topped up his magnum opus with another one – this time, not just for Los Angeles, this time, for all of America to hear.


Kendrick Lamar Broadens His Message | M83 & HAIM Kill It For 'Insurgent'

James Bay has steadily crept his way to the public psyche through a series of EPs, one of which included first hit, ‘Hold Back the River.’ With the help of legendary rock producer Jaquire King, who has worked with everyone from Tom Waits, to singer/songwriter Norah Jones to heartland rock band Kings of Leon. Bay recorded the album with King in Nashville, and the urgency, with the distinct build ups that exist in Nashville rock, with a little bit of Springsteen flare work dynamically with Bay’s natural indie-rock sound and powerhouse voice. 

On other songs, like ‘Let It Go,’ Bay’s sentimental guitar riffs are on point, smoky, intimate, hearing a glimpse of sentimentality that is paralleled so beautifully with the rockers. 

Bay provides an impressively polished, deft debut, proving that Brit singer/songwriters can still be soulful, especially when adding a little Nashville flair to the mix. Between Bay, George Ezra, and the return of Noel Gallagher, Britain has launched three fantastic rock/indie, whatever you want to call them, albums this year. Here’s Bay with ‘Scars’, reminiscent of late ‘90s rock, a little bit of Dave Matthews and third-eye blind, but with all the honesty of Sam Smith.
