Clarification appended
Sky Ferreira- Night Time, My Time
After years of waiting, Sky Ferreira has finally released her highly anticipated debut album, “Night Time, My Time.” With a risque cover photo to match, the alternative pop singer’s debut is certainly making a statement. Know that this isn’t another typical expression of suppressed teen angst and the longing for the simpler days of childhood, Ferreira addresses personal struggles that anyone her age can relate to.
Sonically, the album samples a taste of everything, mixing traditional synth pop with elements from rock and electronic music amongst the 12 tracks. In this record, ‘90s grunge meets ‘80s pop, and they hit it off swimmingly. Originally, “You’re Not The One” was the leading single, but “I Blame Myself” is the catchiest track of them all with a bubblegum pop chorus about Ferreira’s misconstrued reputation. “Love In Stereo” is another mentionable gem on the album as well. (On the wake of the album’s release, “24 Hours” was featured as the free Single of the Week on iTunes.)
Something about the album lacks in flavor though. While the edgier songs leave a mark in the membrane, the rest fall flat and are undoubtedly skippable. Overall, “Night Time My Time” is more sweet than sour, but it doesn’t leave much of a lasting aftertaste. – Sydney Gore
Eliza Doolittle- In Your Hands
After Eliza Doolittle’s highly successful 2010 debut album, which reached No. 3 on the UK Albums Chart, the follow-up album “In Your Hands” from the British singer-songwriter has flown under the radar since its release. In an attempt to explore her musical boundaries, Doolittle experiments with a more soulful sound with great success on tracks such as “Waste of Time” and “Euston Road.”
However, her efforts at a mature sound fall flat on tracks like the heavy-handed “Let It Rain,” which sounds like a karaoke song that parents would pick, and “Walking On Water” where a try at an almost R&B sound are hampered by awkward lyrics. The album is a fair shot at something more creative, but inconsistent songwriting and half-hearted ventures into different genres keeps this album on the back-burner of this year’s releases. It’s not a bad listen – Doolittle’s voice is an absolute joy and if there’s one thing to take from this album, it’s that she can really sing – but amongst the great array of other albums released this year, even in the same month, “In Your Hands” may just slip through your fingers. – Teta Alim
Baio- Mira EP
“Get up, get up,” croons Baio on the opening and title track of his second EP “Mira.” Those first lines foreshadow a call to listeners that is present throughout the record. Under his DJ name Baio, bassist Chris Baio departs from the alternative rock sound of Vampire Weekend in favor of EDM on his latest release. With only four tracks, each song hits hard and is infectious in its own way. “Mira” plays with reverberating synths and varying volumes of bass to create the most danceable track of the release. “Welterweight” stands out among the tracks, featuring more of Baio’s vocals while mixing heavy and light synths throughout the record. Similarly, “Zona” begins in a low-key manner before picking up the energy with a lighter, more upbeat sound. “Banj” closes the record with a happy balance of percussion-heavy and smooth beats. “Mira” displays the breadth of Baio’s capabilities and a craftiness that will leave listeners tapping yearning for more. – Kara Avanceña
Arcade Fire- Reflektor
Although the two-disc “Reflektor” offers a huge departure from Arcade Fire’s previous sound, it still has plenty to offer for fans of the band’s older style. With the release of their much awaited fourth LP, Arcade Fire promised an album full of new sound and experimentation. Much of “Reflektor” seems darker, heavier-sounding and bass-oriented than their previous three LPs, thanks to producer James Murphy of LCD Soundsystem, well-known for the style of alternative dance that “Reflektor” has now inherited.
Though Arcade Fire largely pulls off the extended track design, many of the album’s most memorable moments occur in its shorter tracks, notably “Normal Person” and “You Already Know.” A select few of the album’s tracks, particularly “Awful Sound (Oh Eurydice!)” and the album’s 11-minute coda “Supersymmetry” (exactly half of which consists of a tape rewinding back through the album) suffer from being too long.
Arcade Fire has built an epic using apocalyptic disco. And at a lyrical level, the whole thing is arguably genius. “Odyssey” is full of references to ancient mythology and the human psyche which most listeners are likely to pass over at a first glance. – Alejandro Alvarez
thescene@theeagleonline.com
A former version of this story implied “Mira” was the artist, when in fact it is the EP produced by Baio.
