September/October 2023 Monthly Album Reviews

I am thrilled to announce that I am returning to the world of music reviews for The Daltonian after a considerable hiatus. It’s been a while since I last had the opportunity to share my thoughts and insights on the latest albums, but I couldn’t be more excited to jump back into this creative and expressive realm. Music has always held a special place in my heart, and I’m eager to reconnect with our school’s vibrant musical community and offer my perspective. Stay tuned for upcoming reviews as I embark on this musical journey once again, bringing fresh opinions and enthusiasm to Daltonian readers. I know there were so many phenomenal projects that have been released in the last two months, but these are just a handful I thought people would be interested in, so I hope you enjoy them!

The Land Is Inhospitable and So Are We – Mitski

Album Rating: 8.4/10

Mitski has always had a knack for delving into the raw, uncharted depths of human emotions through her music, and The Land Is Inhospitable and So Are We is no exception. This record is a stunning exploration of the desolation that often accompanies love and life’s harsh realities.

The album opens with “Bug Like an Angel,” a track that immediately immerses the listener in a haunting soundscape. Mitski’s signature vulnerability shines through in her vocal performance, and her poetic lyricism cuts deep, touching on themes of longing and isolation. As the album progresses, songs like “I Don’t Like My Mind” continue to weave a melancholic tapestry, with evocative instrumentation that mirrors the emotional weight of the lyrics.

One of the standout tracks, “My Love Mine All Mine” showcases Mitski’s ability to convey the complexity of human relationships with grace and poignancy. The song’s evocative piano melody and Mitski’s hauntingly beautiful vocals combine to create an emotionally charged experience. I could not help but notice the striking vocal similarity to Lana Del Rey on the album, and I think this track exemplifies it best.

However, the album is not just a somber journey. Mitski manages to infuse moments of hope and resilience, as seen in the uplifting “When Memories Snow.” This track provides a refreshing contrast to the album’s overall gloomy atmosphere.

Sonically, the album continues Mitski’s evolution into more subdued baroque rock territory. Gone are the brash guitars prominent on earlier releases such as Bury Me at Makeout Creek. The production on this album is also impeccable, with lush orchestration and a cinematic quality that elevates Mitski’s skillful storytelling. Each song is a vivid, introspective journey that demands attention and emotional investment.

In conclusion, The Land Is Inhospitable and So Are We is another brilliant offering from Mitski. It’s an album that invites introspection and resonates with anyone who has ever grappled with the complexities of love, loss, and longing. Mitski’s ability to convey profound emotions through this album is nothing short of remarkable, and cements her status as a modern musical visionary.

Favorite Song: When Memories Snow

Least Favorite Song: The Deal

A Great Chaos – Ken Carson

Album Rating: 6.5/10

In 2019, acclaimed rapper Playboi Carti signed a young Ken Carson to his label, Opium. With this, Carti brought the young artist into the spotlight with his energetic, rageful production and focused flows, but does Ken Carson have what it takes to stay a star? A Great Chaos is the rapper’s most recent release, and I think it solidifies his place as one of the most intriguing new voices in hip-hop.

From start to finish, the album showcases Carson’s versatility and raw talent as an emcee. His delivery is dripping with charisma — he raps with a hypnotic flow that draws you in. He blends elements of trap, punk, pop and electronic music into a chaotic (pun-intended) yet cohesive sonic palette.

Lyrically, Carson represents the rebellious spirit of youth. He tackles topics like partying, relationships, and flexing his success with clever bars and infectious hooks. Some would argue that the lyrics are shallow, which automatically diminishes the album as a whole, but I would counter this by suggesting a change of approach while listening. Rather than prioritizing lyricism and wordplay, try to shift your listening to the overall sonics of the tracks and appreciate the unique sound Carson produces. Songs like “Jennifer’s Body” and “Paranoid” are destined to be hits in the underground scene while still garnering mainstream appeal. Other standouts include “Vampire Hour” which details a wild night out, and “Fighting My Demons,” where he gets introspective over a guitar-driven beat.

My main problem with the album is that many tracks feel like filler, lacking substance and overall sonic value. As much as I appreciate the sound that Carson has developed, I was hoping for a little more artistic diversity. I would still say the album as a whole is a confident artistic statement from one of rap’s most exciting new talents. Carson has delivered on the hype with A Great Chaos, cementing himself as not just another internet phenomenon but a star in the making. For fans of genre-bending, in-your-face hip-hop, this is a must-listen record with huge replay value.

Favorite Song: Paranoid

Least Favorite Song: It’s Over

Bewitched – Laufey

Album Rating: 8.7/10

Laufey’s debut studio album Bewitched is a mesmerizing and enchanting journey into the world of jazz-infused folk music. With her uniquely ethereal voice and exceptional musicality, Laufey has crafted a collection of songs that captivate the heart and soothe the soul.

The album opens with the track, “Dreamer,” a bewitching (pun also intended) introduction to Laufey’s unique sound. Her vocals are both haunting and warm, and the arrangements are beautifully sparse yet rich in texture. The fusion of jazz and folk elements here creates an atmosphere that transports the listener to a dreamy, otherworldly realm.

“From The Start” is likely one of my favorite contemporary jazz tracks of all time and demonstrates Laufey’s songwriting prowess. The lyrics are introspective and relatable, and her vocal delivery is tender and evocative. The subtle instrumental accompaniment, featuring soft acoustic guitar and gentle percussion, enhances the emotional depth of the song. The very clear Bossa Nova influence makes the track that much better. For those who have not heard the track, I highly recommend.

“Misty” brings a sense of nostalgia and wanderlust, with its lyrical storytelling and mellow instrumentation. Laufey’s voice takes center stage, and her ability to convey complex emotions through her singing is truly impressive. This is a cover song, originally composed by Erroll Garner, most famously performed by Sarah Vaughn, with other notable artists like Leslie Gore and Ella Fitzgerald recording their own covers as well.

“Serendipity” is a bittersweet ballad that tugs at the heartstrings. It’s a reflection on love and longing, and Laufey’s emotive performance adds numerous layers of depth to the song. The album concludes with the title track “Bewitched,” a delightful and jazzy ode to love’s unpredictability.

Laufey’s Bewitched is not just an album; it’s a magical experience. Her ability to fuse jazz and folk, coupled with her poetic lyricism and captivating vocals, creates a truly enchanting atmosphere. This collection of songs invites you to sit back, close your eyes, and let Laufey’s music transport you to a place of introspection and wonder. Bewitched is a captivating debut that establishes Laufey as a rising star in the world of indie folk music, and it’s a delightful promise of even more musical enchantment to come.

Favorite Song: From The Start

Least Favorite Song: Promise

GUTS – Olivia Rodrigo

Album Rating: 6.8/10

Olivia Rodrigo’s GUTS is an album that capitalizes on the emotions and turmoil of adolescence and femininity. While it has garnered significant attention and acclaim, there are aspects of the album that warrant a more critical examination.

First and foremost, the lyrical themes across the album are unapologetically centered on the highs and lows of teenage love and heartbreak. While this is undoubtedly relatable content for many listeners, it becomes somewhat one-dimensional over the course of the album’s tracks. It would have been interesting to see Rodrigo explore a broader range of subjects or showcase her growth as an artist, as the overwhelming focus on romantic entanglements can feel repetitive.

Furthermore, the pervasive influence of platforms like TikTok and other forms of media has perpetuated this style of music, making some tracks on the album, like “bad idea right?” feel somewhat formulaic, as if they were crafted to conform to a trend rather than to authentically showcase Rodrigo’s creativity. This can lead to moments where the music feels less authentic and more like a calculated attempt to tap into the mainstream success and fame that she has already achieved.

Despite the critical points mentioned, the album undoubtedly has its merits. One of the album’s strengths lies in Rodrigo’s ability to connect with her audience on a deeply emotional level. Her frank and vulnerable lyrics resonate with many listeners, making them feel understood and heard in their own experiences of love and heartache. Additionally, her raw and passionate vocal delivery is consistently compelling and showcases her remarkable talent. The album’s standouts, such as “vampire” and “ballad of a homeschooled girl,” feature well-crafted melodies and relatable narratives that highlight Rodrigo’s songwriting prowess. These moments of authenticity and emotional connection ensure that the project remains a relatable and engaging piece of work for her dedicated fanbase.

In conclusion, GUTS delivers what her fans have come to expect: an emotionally charged, lyrically candid exploration of teenage heartbreak. However, it leaves room for improvement in terms of thematic diversity. While Rodrigo’s undeniable talent is on full display, it might be worth looking beyond the well-trodden path of adolescent angst and exploring new territories in future releases to maintain her trajectory of artistic growth and relevance in the music industry.

Favorite Song: vampire

Least Favorite Song: all-american bitch

For All The Dogs – Drake

Album Rating: 7.2/10

On For All the Dogs, Drake continues his exploration of various musical styles, combining elements of drill, underground R&B, and even energetic punk-rap. While Drake’s newest project has moments of brilliance, it doesn’t quite save the album from the feeling of self-indulgence. Standout tracks like “8am in Charlotte” and “Slime You Out (feat. SZA)” showcase his agility and songwriting skills, but the album’s extensive 23 tracks tend to focus heavily on Drake’s personal grievances without much thematic contrast. The concept of a fictional quiet storm radio station, BARK Radio, hosted by the likes of Snoop Dogg and George Clinton, feels underdeveloped and disjointed. As much we can appreciate all of these voices, BARK Radio lacks cohesion and feels out of place within the album.

One recurring theme is Drake’s island vacation escapade, which he portrays as a disastrous emotional journey. It surfaces in tracks like “Callin For You” and “Bahamas Promises,” the latter featuring Drake’s signature corny lines making it difficult to gauge whether the vacation drama is a reality or a tabloid storyline.

While there are moments of lyrical introspection, such as “Tried Our Best” featuring JeRonelle, where Drake drops his usual bravado, so many tracks feel repetitive and self-centered. The constant reiteration of past relationships and personal experiences grows tiresome. Despite a few high points, such as “IDGAF,” where Yeat and Drake go back to back on two of the best verses on the album, the album’s overall direction remains murky.

For All the Dogs portrays Drake as a brooding, somewhat unpleasant character. His attempt at a new persona, whether sincere or performative, mostly appears repetitive and off-putting. His musings on wealth, women, and cosmetic procedures dominate a significant portion of the album. At 36, Drake’s transition to this new persona feels somewhat joyless, dragging listeners into the depths of his self-inflicted misery. Ultimately, For All the Dogs highlights Drake’s ability to bring out the best in a wide variety of artists, but it leaves us questioning whether this evolution in his music is a successful move or a tiresome detour from the artist we’ve come to know and love.

Favorite Song: IDGAF

Least Favorite Song: Away From Home

I hope this month’s album reviews have offered a captivating glimpse into the diverse world of recent music. As we continue to explore the ever-evolving landscape of music, I hope these reviews serve as a reminder of the power of art to inspire, entertain, and connect us all through the universal language of sound. Stay tuned for more exciting musical journeys in the months to come!

Songs In Rotation: “Out On Bond” – Babytron, “Kills” – Chief Keef, “Influência Do Jazz” – Tamba Trio, “A Night To Remember” – Beabadoobee & Laufey, “Wtf Thëy On” – Yeat, “A Devil’s Touch in the Midwest” – Macabre Plaza, “Water” – Bladee, “Need 2” – Pinegrove, “don’t mind me” – Quadeca, “Nice & Good” – Knucks & SL