For almost two decades, Zebrahead have been the go-to and for party starter anthems characterized by their mindless fun, especially in live environments. The band have made it no secret that they are in it for having a blast, not for complex songwriting or for artistic integrity. This approach has, predictably, resulted in mixed results, with the band's early material classified as classic pop punk material and later output mostly coming across as superfluous filler albums with few catchy songs amidst mostly forgettable and bland metallic pop punk tracks. "The Early Years - Revisited" earlier this year, a re-recording of some of their biggest hits with the current lineup, was a painful reminder of how good Zebrahead were in the beginning and how today they're mostly fun for their engaging and hilarious live performances.
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"Walk The Plank", their eleventh studio album, follows that same pattern as their past four or five studio albums: designed to keep the party going and the booze flowing, so to say, with a few bright moments stashed in between. Take album opener "Who Brings A Knife To A Gun Fight?", for instance, a metallic pop punk piece that references Sum 41's "Screaming Bloody Murder" or "Chuck" era, and its "I wanna party party / we wanna party party / SHE wants to party party / WE WANNA PARTY PARTYYYY" segment that's designed outright to get bigger crowds going apeshit while Ali points at different sections of the crowd during each line. It's sure to be a blast live, but the song is a little dumbed down to work on an album. Mindless fun with a metal solo, but not much more than that.
Their spiky-haired frontman founded the band 21 years ago, and it only took them a few years until their debut album All Killer No Filler put them on the map, touring around the world and appearing on countless TV sets over MTV specials. In a different time when dance music was far away from the charts, Sum 41 were kings.
But with six albums under their name, and 16 years since their historic debut, Sum 41 are older, wiser, but not necessarily kinder to the past. Whibley runs us through the band's main discography, and while their first few albums were responsible for the band's rise to stardom, he has a different outlook towards those releases.
The band will be performing in Singapore on August 24th at Zepp@BigBox, in support of their latest album 13 Voices. Here's what he has to say about that album, along with All Killer No Filler, Does This Look Infected?, Chuck, Underclass Hero and Screaming Bloody Murder.
Duke Ellington discovered and recorded pianist-composer Dollar Brand aka Abdullah Ibrahim in 1963 playing in a more or less conventional jazz manner, but it took a long time for the South African township music he evolved in the 1970s to be accepted outside of Africa. This album was one of the very first to be made in America and its impact was immense, its melodicism, warmth and simplicity brought something new and refreshing to the often overheated, testosterone-filled gladiatorial pit of small group improvising to established harmonic patterns. As Jelly Roll Morton had shown 50 years earlier, sometimes the best comes from a truly group effort. (KS)
Ra had been making albums for his own label Saturn for a decade by the time this one slipped out via ESP-Disk, but this was the first to make a wide impact due not only to the unprecedented nature of the music (some tracks sound closer to Tibetan Buddhist music than anything being played in the America at the time) but also to the fact that ESP-Disk, a tiny label making a big noise at the time, actually got distributed outside of Chicago and New York and even made a splash internationally. Ra was on the vinyl map and never looked back. Next stop, Jupiter. (KS)
The Night the Sun Came Up is the debut studio album by American recording artist Dev, released on September 2, 2011 by Universal Republic Records. Dev worked exclusively with American Electropop production duo The Cataracs and Alan De la Rosa, who helmed the production of the entire album along with co-writing songs with Dev. Production on the album took place mainly in January 2011 and continued into 2012 as the North American release date for the album was delayed from September 20, 2011 to January 10, 2012 as per Dev's request to add more songs to the album, with Amazon.com announcing that the North American release would be pushed back further to March 26, 2012.
The album received mixed to positive reviews, with critics commending the production of many of the songs while comparing the album to the electropop stylings of Ke$ha and Robyn. The Night the Sun Came Up is mainly an electropop and dance-pop album, which incorporates elements of several musical genres such as dubstep and urban. The themes of the album range from sex and partying to introspection, love and life, with the songs being mostly inspired by Dev's life over the past few years. In the United States, the album reached a peak of number sixty-one, selling 7,560 copies in its first week of release. It also peaked at number 136 on the UK Albums Chart.
The album's production process began in January 2011 in Costa Rica. The Cataracs, who helmed the entire album's production, worked with Dev on the songwriting for the album, helping her with the themes to help diversify the content.[5] She said that they were perfect producers for her, noting that "they made really fun songs for kids on the radio and at the same time they were normal boys, eating burritos, chilling in Berkeley", which is what she felt connected her with them.[6] She hinted early on in the interview that she had an interest in working with other people for the album, noting that other producers and writers have contacted her. She later came back stating "I think me and The Cataracs are on a really good streak right now and it's not intentional."[5]
According to Dev, the album is an attempt to escape the comparisons to other artists in the electropop genre, including American recording artist Kesha and singer-songwriter Uffie. She noted that the comparisons helped motivate her to take the music to a new level and sing on the majority of the album.[6] She further explains that the material on the album has more diversity, bringing together different sounds and conveying more depth in the songwriting.[5] She described that the songs are influenced by hip hop and electro music. The album, according to Dev, will bring together "my [Dev] intricate influences and The Cataracs simple influences."[5] While on interview with KiSS 92.5, she commented that the music on the set will contain music stylized toward club and dance music and hip-hop influenced tracks where she will rap the entire song.[8]
"This is my chance to let everybody know who I was because the public only knows me from "Bass Down Low" and "G6" and I wanted to express everything that I had to say and everything that I have been through and my stories for these last few years. It was important for me to be honest and be vulnerable. I think you can hear that on the album. Songs like "Perfect Match", "Getaway", "Dancing Shoes" and "Shadows" that are all really pretty. That is what I want to do. I want the next album to have more of those and be more mature. And be able to perform beautiful songs with instrumentation. I think that I am getting there. It meant a lot to me for this album to not only be sassy, but to be really pretty as well."
The Night the Sun Came Up is primary an electropop and dance album, which incorporates elements of several different genres such as dubstep,[10] hip hop,[10] Eurodance, urban, rock and club influenced-pop music[10] Dev said that her mission with the album was to make it diversified, incorporating different elements of music to make an eclectic set. She also said that the album has two sides to it, sassy and pretty. The sassy songs are based on the themes of sex, partying and different forms of debauchery while the pretty songs are contemplative ballads that are based more on introspection and love. Much of the album's lyrics are influenced by her life and her experiences. The album opens with "Getaway", a hip hop track with influences of soul music.[10] The song starts out with the use of a piano,[11] transitions into hip-hop styled music[12] and features a breakdown in which she raps and rhymes.[13] The next song "In My Trunk" runs through an electronic tinged hip hop beat and features vehicle metaphors in its lyrics.[11] The third track of the album, "Me", contains influences of adult contemporary music.[14]
The fourth song "Breathe" is an electronic dance song that contains influences of Middle Eastern and club music.[10] It is written about sex and the effects of love on Dev and features the use of an accordion throughout.[11] The album's fifth track, "Take Her From You", differs completely from the electronic soundscape of the album, as it is inspired by rock and roll music. When Dev heard the song, she responded "'Oh, I really like that. It could almost be a flip of me singing about myself.' ... [We considered] maybe we should change around the perspective, but I was like, 'No. Let's keep it like that.'"[7] The sixth track, "Lightspeed", is an electronic pop song that in its production draws inspiration from house and club music.[10] It makes use of kickdrums, synth arrangements, Auto-Tune[11] and numerous noises like a cough.[13] Its synth riff and beat structure resembles those in the music made by Dutch disc jockey Afrojack.[14] The seventh track, "Dancing Shoes" is built upon synthesizers and drums while making use of pianos and guitars to produce an uptempo electronic rock ballad about performing onstage. The song's "pretty" sound is inspired by teen pop music[14]
After "Dancing Shoes" is the eighth track, "Perfect Match", a guitar driven ballad that features a string section reminiscent of that featured in "Clocks" by British alternative rock group Coldplay.[11] In "Bass Down Low", the ninth song and first single, Dev speaks of taking shots and various forms of debauchery.[15] It is an electro song with skittering synths and a pulsating electropop groove[16][17] in which Dev utilizes her sing-talk vocal style throughout the song, but also uses her singing voice near the end.[16][18] The Night the Sun Came Up's tenth track "Kiss My Lips", the third single from the album in the United States, contains a guitar that blends synthesizers prominent in dance music with a hip hop styled drum beat. In the song, she sings to a lover "Get you hand off my hip/And kiss my lips, kiss my lips, kiss me all over/ Are you gonna take that risk, take that risk, 'cause only getting older." "In the Dark" has a house rhythm and a prominent saxophone riff that serves as the song's instrumentation.[18][19] while featuring Eurodance beats and synths, mixed with influences of Latin music.[18][20] The twelfth track is "Shadows", a song that draws from influences of folk music[10] 2ff7e9595c
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