Madonna’s newest album “Rebel Heart” rightfully displays the her capability of expressing both an insurgent and sensitive side. Madonna illustrates her timeless talent by creating songs full of life and passion, but also attempts to modernize her sound through new techniques.

“Rebel Heart” illustrates a multifaceted approach to the struggle between staying true to self and changing with the times, a reoccuring theme with artists who last this long in the entertainment industry. Though some singles are too aggressive when it comes to youth appeal, Madonna’s style shines through with every song. The album showcases her strength through the decades, including both electrifying pop-hits and soul-searching singles.

The 56 year-old singer first began making music back in 1982, when she signed to her first record company. Madonna released her self-titled debut album the following year. Since then, she has released 12 more albums, her most famous ones being “Like a Virgin” and “Erotica.” She has also been recognized as the best-selling female recording artist of all time by Guinness World Records, selling more than 300 million records worldwide.

Madonna has always been known for pushing the boundaries of pop music, sometimes verging on controversial in both her lyrics and music videos. Her style incorporates sexual imagery, religious symbolism, and irreverent behavior. She has been viewed as an icon by many feminists and fellow female singers alike. All the famous artists that came after Madonna, such as Britney Spears, the Spice Girls, Destiny’s Child, Jennifer Lopez and Pink grew up listening and admiring Madonna.

“Rebel Heart” capitalizes on why Madonna is so well-respected in the music industry. She once again switches up her style a bit in some of the singles in an attempt to conform to the modern musical styles seen in a majority of pop hits today. Yet, although innovative, her old version of “pop” is much more appealing than any of today’s takes on the genre.

There are many unnecessary techno beats and electronic variances in some of the album’s singles, such as “Illuminati” and “Unapologetic Bitch.” Both seem to be playing catch-up by incorporating well-known guest singers, like Kanye and Rihanna, and industrial sound techniques that clash with Madonna’s voice.

However, the album makes up for these faults through its many highlights. “Living for Love,” arguably the best song on “Rebel Heart,” returns to the artist’s rousing gospel-soul rhythms of earlier work, focusing on a mix of pop and club music with an upbeat melody and impressive use of back-up vocals.Another hit, “Wash All Over Me,” slows down the tone of the album by expressing the singer’s reflections of self-doubt through a personal ballad. Each side, whether it be rebellious or heart-felt, feels true to Madonna.

Overall, “Rebel Heart” is a worthy listen, especially for those wanting to experience the strategies of how an old talent attempts to adapt to modern music. Though some of these attempts stray too far from her classic sound and might seem a bit like the artist is chasing her youth, Madonna carries on and embraces this experimental sound. Madonna is still her true-self, the most respectable aspect of “Rebel Heart” being the genuine emotion felt throughout the album.

“Rebel Heart” is available digitally and in retail starting at $14.99. 

Where I live has it all–sunshine, beach days, instagram-worthy sunsets–yet, sometimes bursting the bubble opens up opportunities with memories to last a lifetime. Living on the outskirts of Los Angeles, there are countless connections one can make and a plethora of occasions of which to take advantage.

A couple of weeks ago, a friend of mine attended a Hozier concert (the famous singer of overplayed-but-quality radio hit “Take Me To Church”). She stayed afterward like all fangirls do to get a picture with him. Little did she know, it would open up a chance of a lifetime–one she so kindly shared with me. Hozier’s manager was also with him and invited her, plus 1-2 friends, to a private shooting of his new music video. So here begins a perfect example of the opportunities living in Los Angeles can create.

Last Monday, we all attended, and participated in, the Hozier music video for “Work Song.” I can honestly say it was one of the most incredible experiences of my life. The whole concept of the video was a private concert in an abandoned library. The set was breathtaking and the lightning was very intimate. Spread throughout the audience were professional dancers acting as couples. The choreography they created to go with the who performance was absolutely beautiful. It was like a two-in-one show.

Throughout the countless shots, I never tired of the song. Hozier even skipped the standard lip-syncing artists do in music videos for the first half of the shots–which is only one  examples of how much talent that man has. The entire filming portion of the night lasted about five hours. Just acting as an “audience member,” that was enough time on my feet to make me exhausted.

Yet, even after the extensive shooting, Hozier still stayed longer to give us an actual private concert. He played a couple recommendations from our small group of twenty. He played the songs as an open session, amplifying their usual purity. The whole atmosphere was very personal, just Hozier and his fans. Then he stayed even longer for pictures and autographs. By this point, my amount of respect for him could go no higher. He was a such a genuine guy and really showed devotion to both his music and his fans.

By the time we were back in our car at around 1:45am, I was past the point of exhaustion but still exhilarated by the whole experience. Never had I thought I’d ever get the chance to do something this amazing. There were other fans there that had flown across the nation, even down from British Columbia, to take part in the shooting–people who won contests that I had never even heard about that allowed them to come. And here I was, tagging along with someone who was personally invited by the artist’s manager. It blows my mind how lucky we are to be exposed to chances like this. Los Angeles is a mecca of opportunity, and we should learn to truly take advantage of all it has to offer.

This is the main piece of mind I took with me after the whole experience-besides the heightened obsession with Hozier. Sure, the beach is beautiful and everything we need is right at our fingertips in our wonderful bubble. Yet, there is so much more within our reach. Just drive about 30 miles outside your home and you’ll understand how many connections you can make and opportunities you can create.

Hozier’s music video for “Work Song” will be released March 23. 

The Decemberists form an ironic purgatory throughout their new album, “What A Terrible World, What A Beautiful World.” The band’s signature whimsical, folksy attitude is still apparent, yet it lacks a depth shown in their previous work. “What A Terrible World, What A Beautiful World” exhibits a safe middle ground for the Decemberists.

The group’s style in their new album is carefree and laid-back. While it does not meet the standards of the band’s past work, the Decemberists still manage to uphold a pleasant array of hits, ones with a more relaxed, light-hearted tone that any listener will find enjoyable.

The Decemberists began their journey as an indie folk rock band from Portland, Oregon. Members Colin Meloy, Chris Funk, Jenny Conlee, Nate Query, and John Moen self-released their debut EP, “5 songs,” in 2001. Their lyrics often focus on historical events and/or folklore while their live performances are known for their eclectic, entertaining style. The band has produced 7 albums since their first EP, including the favorite “Picaresque” and “Hazards of Love,” an hour and a half long album originally intended to be a staged musical.

“What a Terrible World, What A Beautiful World” includes many upbeat singles. “A Beginning Song” sets the albums tone with casual sincerity, and “Anti-Summersong” is another light-hearted tune, a response to their old hit “Summersong,” but with a revamped style. “The Wrong Year” is also a catchy single, in fact, it is one of the best on the album. It explains a classic tale of love’s difficulties through sincere lyrics and seamless instrumentals. The track is indicative of an overall theme of smooth simplicity throughout the album, being far less energetic than the band’s old work and more traditional indie folk bands.

Although still an enjoyable listen, “What a Terrible World, What A Beautiful World” strays quite far away from the band’s originality. Songs such as “The Singer Addresses His Audience” and “Till the Water’s All Long” lack the spunk and creativity seen throughout the Decemberists’ history. It feels as if the band is taking the notion of maturity to justify some of their blander songs on the album.

Despite this, The Decemberists are still able to create a handful of light, likeable songs. Though the group has unfortunately diverted a bit from their old originality, losing some personality in the process, “What a Terrible World, What A Beautiful World” is an album worth listening to.

“What A Terrible World, What a Beautiful World” is now available digitially and in retail for $9.99.

Wu-Tang Clan’s “A Better Tomorrow,” although a solid albumin today’s standards, will make any dedicated fan wish they were still in the past. A reunion is always exciting in the world of hip-hop, but the group’s new album isn’t as impressive as earlier work.

“A Better Tomorrow” does have standout songs that reflect the group’s old school roots. However, as a whole, the album is a combination of producer/member RZA overpowering the group’s classic, beloved style with a new, overworked sound. Any loyal listener of Wu Tang will still enjoy the traces of traditional, raw talent found in the album, but ultimately be left with an aftertaste of disappointment.

The New-York-based crew first got together in 1993 as a collection of nine MCs. Their plan was to overtake the record industry by releasing a powerful debut album, followed by a myriad of solo side projects. Through this fashion, the nine members became individual stars as well. Wu Tang’s first album, “Enter the Wu Tang,” was produced in 1993, including one of the group’s most famous songs, “C.R.E.A.M.” Four more major albums followed over the course of fourteen years. Now, the crew has released “A Better Tomorrow,” a 20 year anniversary album from when they first started, proving they have the capability to last through the decades.

Wu Tang Clan is composed of East Coast rappers RZA, GZA, Method Man, Raekwon, Ghostface Killa, Inspectah Deck, U-God, Masta Killa, Cappadonna, and Ol’ Dirty Bastard. The group is best known for their hardcore beats, martial arts imagery, and warped humor.

One aspect of “A Better Tomorrow” that makes one miss the authentic style of the old Wu Tang Clan is the overproduction of many tracks. The saving grace in songs, such as “Miracle” and “Preacher’s Daughter,” is the talent heard during the individual verses of the members. However, it is still unfortunately drowned out by beatless choruses and melodramatic coda. This overproduced sound is dismally contrasting with the gritty, basement-style recordings of the group’s first releases.

Yet, one can still find redeeming remnants of Wu Tang’s New-York underground roots that remind them of the beloved old-school sounds from the group’s early years. Standouts on the album include the track, “Ruckus in B Minor” and “40th Street Black/We Will Fight,” which are songs that capture the group’s old rabid, renegade spirit. The lyrics found in many verses on the album, such as those in “Necklace,” also show signs of hope that Wu Tang has not completely lost its versatility in constructing heavy versus humorous tracks.

Overall, “A Better Tomorrow” remains a quality hip-hop album, despite its adverse differences from how Wu Tang sounded 20 years ago. However, this is only in terms of music today. When compared to the old Wu Tang from the early 90s, loyalists will find disappointment when listening to the album.  It’s hard for any group to replicate how they sounded at their peak, and sadly Wu Tang Clan is just another example.

“A Better Tomorrow” can be purchased on iTunes for $11.99 and at stores for $13.99.

An experience worth worship was fit to the Shrine Auditorium Wednesday night. Tame Impala satisfied an excited crowd with their psychedelic musical stylings and contagious energy.

The band opened up with they’re raspy whispering of “Be Above It”, and followed with many other hits such as, “Solitude is Bliss”, “Why Won’t They Talk to Me”, ‘Elephant”, “Mind Mischief”, and “Feels Like We Only Go Backwards” just to name a few. The group closed the night with “Apocalypse Dreams”, drawn out with intense instrumentals and physcadellic visuals.

One main highlight of the Tame Impala’s performance was how well the band worked off of each other. There was an admirable synergy within the group that made their performance extremely tight. The low-fi vocals of lead singer Kevin Parker, mixed with on-point instrumentals from the rest of the band melded into a perfect chemistry. Also, more than any other band, Tame Impala showcased what it truly means to jam out. Whether it was between songs or in the middle of one of their hits, the group expressed raw passion that is a rarity now a days.

One disappointment, which wasn’t even the band’s fault, was a technical difficulty occurring about half-way through the concert. At one point, the mic sound turned completely off, cutting away all vocals. This led to an impromptu intermission, upsetting some fans. However, before I was even out of the auditorium, Parker’s voice came on once again and the concert continued. Another downer was the lack of an encore. However, this might have been due to the “intermission” that took away some time. The band simply had no more rehearsed songs to play. Yet, hundreds of devoted fans still stayed seated, cheering and yelling in the hopes Tame Impala would grace them once more. It just shows how adored the band is, rightfully so of course.

A highlight I will close off with is the moment in the concert where I realized how much I truly admire the members of Tame Impala and what they stand for. At one point, an excited fan jumped onto the stage mid-song. As a security guard quickly rushed over to get her back down, Parker simply waved him off, letting the fan have her moment of glory. This is what music is all about. There’s nothing wrong with becoming immersed in a performance, and I don’t see how anyone could resist with such an amazing group of musicians.

Ben Howard reminds people what raw musical talent sounds like through his new album, “I Forget Where We Were.”

Howard’s sophisticated instrumental skills, melodic voice, and poetic lyrics perfectly capture the true art of individual talent and showcase a darker contrast than his previous work. Although some outside listeners might find his music too slow, or maybe even boring, one cannot deny the genius it takes to produce tracks such as those found on Howard’s “I Forget Where We Were.”

Howard was raised in England by very musical parents. He was introduced to many of his influences today, such as Van Morrison and Simon & Garfunkel, from a young age. The indie-folk singer-songwriter self-released his debut EP “Games in the Dark” in 2008. Since then, he has released a total of 4 more EPs, his first major studio album, “Every Kingdom,” and now his sophomore studio album “I Forget Where We Were.”

Howard is known for his unique fingerpicking style, called “pick and go.” This intricate way of guitar playing, along with an extensive use of alternate tuning, sets him apart from many other musicians. Howard’s myriad of instrumental techniques play into his complex, yet soothing musical style. Ben Howard is known for being a laid-back musician, yet the tracks on “I Forget Where We Were” display a newer, darker side of the once happy-go-lucky musician.

The album has many highlights, including the way in which Howard is able to mature his style while keeping his reputable traits of instrumental skills and calming vocals. A main standout is the album’s title track, “I Forget Where We Were.” The full sound and emotion-packed lyrics showcase Howard’s newfound depth. The tracks “Time is Dancing” and “She Treats Me Well” are two more examples of Howard’s capacity to beautifully mix poetic lyrics with a relaxing melody.

The only drawback of the album, and Ben Howard as an artist, is the possible lack of interest from a modern audience. Many songs on the album, such as “Conrad” and “All is Now Harmed,” might be a bit too slow for the fast-paced listeners of today. Even though these tracks, like “End of the Affair,” hold a depth of emotion rarely found in any pop song on the radio, audiences could mistake their intimacy for being boring. However, one must look past any superficial requirements for what a “good” song entails and realize that slow music like Ben Howard’s still holds impressive, individualized genius.

“I Forget Where We Were” displays the perfect blend of Ben Howard’s musical maturity and instrumental skills. There is raw talent found in both Howard’s technical capabilities and lyrical depth of emotion. Although some tracks may be too passive for the average listener, audiences must look past pace to focus on the rarity of Howard’s gift.

       “I Forget Where We Were” can be downloaded from iTunes for  $14.60 or purchased in stores for $11.99.

The Orpheum Theater was the perfect venue to hear musicians James Mercer and Danger Mouse (Brian Burton) perform in their band, Broken Bells. Similar in many ways, both architecture and artist mirrored eachother in their aged yet highly respected qualities.

One of the most profound parts of the night was simply reveling the amount of time these two musicians have been around, and how admired they are in the music industry. But besides their notoriety, both executed their talents last night just as well.

Opening with a track on their new album, “Perfect World”, the stage was set for an ethereal experience. The lighting and animated backdrop exposed an intergalactic theme present throughout the band’s latest album release, “After the Disco”. The atmosphere created by the dreamy lights and moving background highlighted James Mercer’s heavenly voice. And what an experience that was on its own.

Mercer’s vocals were one of the most impressive aspects of the show. The fact that a man of his age at this moment, where he’s probably performed at over hundreds of shows, is still capable of belting out lyrics and reaching the notes that he did, is astonishing. James Mercer is truly an ageless talent. His partner-in-crime, Danger Mouse, showed skill no less commendable. Switching between keyboard, guitar, and drums, Danger Mouse fully exposed his multidimensional musical genius. The band as a whole was very well-rehearsed. Maybe it’s because they’ve been in the business for so long, but even besides experience the Broken Bells was very well put-together.

Other highlights of the show included a brass section of trumpets and trombones that added to the rich sound the group exhibited with every song. Another addition was a line of choir singers to the side that served for a soulful backup. These women particularly enhanced an smooth a Capella intro the “Leave it Alone.”

The only fault I found in the concert was the little time Mercer or Danger Mouse spent talking or interacting with the audience. They simply flew through songs on-by-one. It made the show go by faster than I would have liked, but the pace was understandable given the amount of times these two have performed. This was just another venue to them and they probably preferred perfection in performance over stalling superficial conversation with the crowd. On that note, the crowd itself was another disappointment. Maybe it was the older age of many audience members, but nobody really seemed into the performance. The energy of the crowd is usually something that enhances a concert, and that was definitely lacking at the Orpheum.

More standouts from the performance were witnessing James Mercer jam out on an acoustic to “Float”, the intergalactic intro to “Meyrin Fields”, a stellar showcase of “Sailing to Nowhere”, and an impressive execution of “Medicine”, fit to hypnotic X-Ray images of the human brain. The Broken Bells “closed” with “The High Road”, but came back out to play an encore ultimately ending with the group’s most popular single off “Perfect World”, “Holding on for Life”.

And that’s exactly how I felt during while James Mercer sang those last melodic lyrics. I never wanted the night to end.

Other than a few salvaging songs, Alt-J’s new album “This is All Yours” runs more along the lines of “You Can Have it Back.”

While there are a notable tracks, “This is All Yours,” as a whole, is a disappointment. Alt-J is fully embracing their electronic-synth heavy sound, yet it fails to be as catchy as their previous work. The few songs, which bring back the band’s old, more popular, rhythm, are not enough to save the sad, new sound Alt-J attempts to create.

The indie-rock band formed in 2007. It currently consists of lead vocalist Joe Newman, keyboardist Gus Unger-Hamilton and drummer Thom Green. They began as college students recording on Garageband, their unusual sound stemming from the fact that student hall noise had to be kept to a minimum, cutting out all use of bass or drums.

Alt-J released their first album, “An Awesome Wave,” in 2012. Its rave reviews and different sound brought the band to the forefront of music. The group is largely known for their hypnotic synth and Newman’s otherworldly vocals, a combination that is rarely seen in the music industry these days.

There are a few highlights from “This is All Yours.” The single “Left Hand Free,” for example, is a catchy and upbeat, holding onto the style that made Alt-J so prominent in the first place. The track “Bloodflood part II” also carries over from the band’s famous debut album with its slow groove and hypnotic rhythm. Another standout, if not for the sound but the background, is “Hunger of the Pine,” as it successfully weaves in complex lyrics, intricate beats, and even a sample from Miley Cyrus’s hit “4×4”.

Despite these hits, the majority of “This is All Yours” feels as if the band is unable to find its own style. One song, “Garden of England,” sounds like a classical, Renaissance-esque melody that feels entirely out of place compared to the modern-day style the band usually creates. Even worse is “Pusher,” in which the overlly sparse instrumentals make the track come off flat and lacking.

This seems to be a theme throughout the whole album; certain songs feel uninspired while others contain trace reminders of the talent Alt-J still possesses. Overall, “This is All Yours” leaves a desire for the band to stop treading new ground and replicate its tried and true rhythm and vocals. While some tracks stand strong on their own, the album’s general mediocrity mares its few charms.

Alt-J’s new album, “This is All Yours” was released Sept. 22 and is now available for $8.99 digitally and in retail.

I’ll keep this one short and sweet because I already I’ve already written about the band’s new album. I recently saw The Kooks perform at the Observatory in Santa Ana, CA.

This concert was definitely a memorable one. The set list was a perfect blend of old classics and hit new songs. The opener “Around Town” successfully started out the night with an excited crowd and energetic vibes. The famous “Naive” was played shortly after with the whole audience singing along. Some more favorites were weaved in, such as “She Moves in Her Own Way”, “Seaside”, and “Always Where I Need to Be”, before lead singer Luke Pritchard took to the stage alone. He announced that the band had not yet rehearsed the next song together so he figured he would simply perform alone. It was then that Pritchard infused a bit more emotion into the venue with his ballad, “See Me Now”, addressed to his father who passed away while Pritchard was still young.

Nevertheless, the energy was back once the rest of the band rejoined Pritchard and played “Forgive and Forget”.  Pritchard belted out his lyrics and danced around the stage in a whirlwind of liveliness. “Junk of the Heart” was played next, another classic that had the audience begging for more. But sadly, the show had come to an end, at least for me, who began to worry about making it home on time for curfew. I heard an encore as I was leaving the venue, but my main concerns at that point were the number “12:00” on my phone and how far away I was from home.

Overall, the Kooks sure know how to perform. The energy was radiant and every body in the venue was on their feet, whether they were lifelong fans or first-time listeners.

Anyone who doesn’t at least give this album a listen is a complete kook. A surprising sound but still memorable, the Kooks new album, “Listen” explores a unique dimension of British pop-rock. It’s always risky to try something new in the world of music, but the Kooks make it work.

At first, I wasn’t too impressed by the new edge the band was attempting to execute. However, after examining the album as a whole, one can be assured that the Kooks are still their classic, upbeat selves. “Listen” is an album one should hear completely before making any judgment. The band has simply taken on a new sonic challenge, but manages to preserve their old-school style that people love.

The Kooks first met as students at the Brighton Institute of Modern Music in 2002. The young Brits produced their debut album, “Inside In/Inside Out” by 2005. Ever since then, lead singer Luke Pritchard, along with guitarist Hugh Harris, bassist Peter Denton, and drummer Alex Nunez, have created 3 more albums, including their newest hit which came out September 2^nd.

The band is known for their British indie-pop sound. Among their influences are The Rolling Stones, The Beatles, and Bob Dylan, although their tone leans more towards a Fratellis’/Artic Monkeys feel. The Kooks have polished their style throughout the years, but remain a go-to for anybody needing an energetic mood-booster to pump them up.

One aspect that makes “Listen” different is its wide use of percussion and cross rhythms the Kook’s previous material never fully utilized. It’s just one way the band is attempting to adapt to modern music and the new layering that many artists today are incorporating into their style. One song that especially displays the band’s use of layering and technicalities is rightfully named, “Are We Electric”. The sounds are distracting at first and take a bit away from the Kooks’ old manner, but once all the other songs play through the band’s classic sound emerges once again.

Another characteristic that is surprising at first is the extent Pritchard exaggerates his voice. He understands the unique vocals he possesses, but takes them a bit too far in some of the songs, including “Down” and “Murderer”. However, one can easily look past this small complication and appreciate that Pritchard’s vocals are a main reason the Kook’s were noticed in the first place.

A main highlight of “Listen” is the apparent maturity of the band. The album explores numerous different tastes in music instead of sticking to the same jangly guitars the Kooks use to repeat throughout a whole track. “Listen” weaves in British rock punk in the song, “Around Town,” and a bit of R&B inside “Down”. The piano ballad, “See Me Now,” addressed to Pritchard’s late father, even explores a sentimental side of the singer that was not fully exposed in previous work.

Overall, “Listen” is the perfect example of how a group can develop without losing their fans. The Kooks are able to exhibit a whole new side of their band, a mix of keeping with modern sound but still sticking to what made them famous in the first place. This sonic risk is one that paid off, a very rare sight in music nowadays. The Kooks’ new album “Listen” is begging for attention; it is available on iTunes for $11.99 or can be bought at any Best Buy for $17.99.