Review: ‘Colors’ by Beck

Much like the chocolate boxes of Forrest Gump, you never know what you’re going to get when it comes to Beck (unlike chocolate boxes in real life, which are clearly labeled). He’s a tough artist to pin down: a rapper, an Americana singer, a low-key alternative rocker. Beck doesn’t so much think outside the box as he just lives outside it, and it’s made his career an exciting one to follow. Beck’s previous album, Morning Phase, found harmony between understated acoustic guitar plucks and the uneasy ambiance of soaring strings. All in all, the 2014 album stood out as one of Beck’s finest achievements, which created an ineludible disadvantage for this year’s follow-up Colors.

In contrast to Morning Phase, Colors is exuberant and rejuvenative. Consider Beck’s career at the time—2008’s Modern Guilt officially fulfilled Beck’s record contract with Interscope Records, and he would remain without a record label for nearly seven years. Morning Phase, released under Capitol Records, was Beck’s triumphant return to the music scene, and the large-scale success of the album (including a Grammy win for Album of the Year) kickstarted a second phase of Beck’s career.

“There was a very strong positive feeling that was happening while we were making [Colors], this renewed appreciation and affection for playing music,” Beck told NME earlier this month. And renewed he sounds, with sprightly warmth and buoyant spirit nestled in his vocal chords, a far cry from the unflappable slacker messiah of the ‘90s. Colors is, first and foremost, a splashy dance rock record, something Beck has never really done before. But unlike most of his albums, what’s fresh for Beck isn’t necessarily fresh overall; Colors is catchy and glossy, but it gets by far more on Beck’s talents as a performer than a songwriter.

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Review: ‘The Clash’ by The Clash

Co-written by Rob Piersall.

For as influential to the genre as they were, The Clash didn’t spend much time as a pureblooded punk band. With the 1979 release of London Calling, the band began a transition away from the jagged purist punk aesthetic to a fuller, more polished sound with broader appeal; by the time Sandinista! and Combat Rock rolled around in 1980 and 1982, respectively, The Clash had gone fully “mainstream.” It was in this era that they released some of their most popular songs—including “Rock the Casbah” and “Should I Stay or Should I Go”—but despite their peak commerciality in the ‘80s, it was in the year 1977 that the band made its biggest impact of all with their self-titled debut album.

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Review: ‘Damn’ by Kendrick Lamar

“I got power, poison, pain and joy inside my DNA / I got hustle though, ambition, flow, inside my DNA.” In “DNA,” Compton rapper Kendrick Lamar establishes the central thematic through line of his new album, or, more accurately, confesses that no such single through line actually exists. Damn lacks the driving narrative force of Good Kid, M.A.A.D City and the political consequence of To Pimp a Butterfly, but that doesn’t mean it lacks purpose or emotional potency. Lamar has a lot to say, and unlike his past two studio albums, he doesn’t use a storytelling device to say it. After two critically-acclaimed concept albums, it may be tough to swallow Lamar’s return to a more standard album format (i.e. 2011’s Section.80), as it was initially for me. However, Lamar remains as deceptively dense as ever in how he balances vocal delivery and lyrical content, crafting songs that are as poetically meaningful as they are sonically enjoyable.

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Capsule Reviews: November 2016

Contrary to what some of my political opponents may tell you, I am but one man. And as one man, I have a hard time writing about every album that crosses my desk (I don’t actually have a desk at the moment but bear with me). Capsule reviews, named after their inventor Arthur J. Capsule (presumably), allow me an avenue around the boundaries of being a single human being. Here are five short reviews of noteworthy albums from November 2016 that I just wasn’t able to write about in length at the time.

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