The sixteen-song-long album starts with a song appropriately titled “First.” It’s only thirty-seven seconds long, but Gallant certainly uses every single second wisely. The song starts out with static, turns into one simple beat and slowly turns into organized chaos with harmonics from an orchestra. The song ends just as things seem to be getting to a crescendo. This drew me into the album because I wasn’t sure what would come next on the following track.

“Talking to Myself,” doesn’t have a clear storyline based on the lyrics, but is still clearly about some sort of internal struggle. I really like the music itself in this song, especially the brass instruments that are played at different parts throughout the song. Mixing them with the electronic elements in the chorus makes for a really interesting sound that I haven’t heard often. It certainly isn’t my favorite song from the album, but I would still listen to it.

The third song, “Shotgun,” is about trying as hard as possible to be amazing, but coming up short because there is always something/someone better. This is particularly evident in the lyric “What good is a sword next to a shotgun?” since Gallant already sang about “sharpening his blade.” The song is layered with Gallant’s amazing falsetto as we near the end.

“Bourbon” reminds me a lot of some of Gallant’s old songs (some of which are later on Ology). It’s a slower tempo than any of the songs we’ve heard so far, yet still sounds a lot like the last two. At this point in the album, I am waiting for something different, since all of the songs have the same structural pattern and the same type of beat in the background. I also like this song, but I don’t think it should come after two songs that sound extremely similar to it.

However, in “Bone + Tissue” I get exactly what I wanted. Gallant uses a lower voice and the production has way more depth. During the chorus he still uses his falsetto, but why not use talent when it’s there? The meaning of the song still lingers around the central theme of wanting to prove oneself, but I can get past it since the pattern of the album thus far is being broken.

The next song is only a minute and two seconds long, but “Oh, Universe” takes the album in a completely different direction. The beginning is light and celestial, but around three-quarters of the way through it transforms into jazzy R&B when Gallant’s voice filters in and sings what sounds like a poem. The end is abrupt but leads us into the next track.

“Weight in Gold,” a song that had previously been released in 2015 and is Gallant’s most popular song. There was a collection of “Weight in Gold” remixes that was also put out in 2015, and Gallant actually recorded a version of the song with Seal. I don’t know how I feel about it, but it’s still pretty cool to see that Gallant can actually sing the high notes that he does on the fully produced recording. I was definitely more into this song before I listened to in the context of this album, but I will still listen to it. Watch the music video for the song below.

For some reason, the intro to “Episode” instantly reminded me of the intro to Troye Sivan‘s “TALK ME DOWN,” which is interesting because the two artists are completely different. Suddenly the eighties side of Gallant comes out, and I’m really digging it. This song gives the album more depth and more variety, which I think was completely necessary. His voice seems calmer than most of the other songs (an oddly refreshing twist, especially when he is so talented).

“Miyazaki” has layers of guitar behind Gallant’s voice, something I haven’t been able to hear on the album up until now. I also like all of the nonsensical “da-da-di-dums” that come later, since most of the songs have some pretty heavy lyrics to them. To hear something that holds no meaning is very oddly refreshing.

The next song, “Counting,” also reminded me a lot of a Troye Sivan song called “Wild.” I like the way that the production in the song sounds, and I think that it does a very good job of complementing Gallant’s voice. The lyrics are pretty open for interpretation (in my opinion), but as I was listening to the song I picked up the vibe that it was a love song. The ending of this track melts perfectly into the next one.

“Percogesic” starts with a really good beat that somehow sounded like it could be a Mac Demarco song. The song is very easy to listen to and keeps you going along with it without even trying. In the middle, there is a brief difference in production that instantly made me feel like I was listening to “Not Gonna Get Us” by t.A.T.u., a Russian duo that my mom used to listen to in the car when I was a kid. I’m not sure that I like the very sudden, very drastic change, but it does add another layer to the song.

Next, “Jupiter” sounds ethereal in the very beginning. Birds are chirping, there’s a lot of light and airy sounds, and then Gallant’s voice oohs it’s way in. This song has guitar elements in it (acoustic in the verses, electric in the chorus). There is also whistling in the background, which makes the song seems a lot more casual and light. I like this song a lot more than most of the songs that I’ve heard thus far.

As “Open Up” starts, I feel as though I’ve been transported into a Hollister. It has that super pop-like electronic feel to it, and I don’t think that it belongs there. It made me want to skip the song a little bit. I’m glad that I didn’t, however; I feel like the rest of the song makes up for the beginning. Not my favorite song on the album at all.

I’ve been interested in hearing this next song since I read articles on Billboard about this album a few weeks ago. I was interested because “Skipping Stones” is a duet with Jhené Aiko, who’s voice I think is very unique and very different than Gallant’s. I think that their two voices together either go really well together or very awkwardly together, and throughout the song it filters between the two. The only word I can think of for this song is “awkward,” but I also don’t think it doesn’t belong.

The second to last song, “Chandra,” is by far my favorite on the entire album. I think that it sounds so beautiful with its orchestra and Gallant’s voice, and a piano and the echoey voices that show up in the background. It sounds like a song that belongs in a Disney movie (I keep picturing either Hercules or The Lion King). I think that if he put more elements in all songs that he did in this one, he could make the rest of his music a lot fuller in emotion and in sound.

Finally, we reach the song “Last.” There isn’t too much to say about it as it just takes the last note of “Chandra” and slowly turns it more and more into static. Its sole purpose is to transition the listener out of the album.

Overall, I would listen to some of the songs on this album on their own, but I don’t think I would listen to the album from beginning to end. I feel as though the order of the songs should for sure be shuffled around. There are four songs at the beginning that sounds exactly the same, and as we reach the end there’s so much variety that it can get difficult to remember that it’s all the same album. That isn’t always a bad thing. If an artist can have a bunch of different sounds, it means that their music can apply to many more situations and feelings that if they were only really good in one genre.

Listen to “Ology” by Gallant:

The post Album Review: “Ology” by Gallant appeared first on KRUI Radio.

Givers is best described as modern indie island or Afro-pop. The band formed in 2008 in response to displacement from Hurricane Katrina. Members Tiffany Lamson and Taylor Guarisco were forced to leave their freshmen year at the University of New Orleans and return to their hometown of Lafayette, Louisiana. The duo began to jam together and encouraged high school friends Kirby Campbell, Josh LeBlanc, and Will Henderson to join in. When they signed their record deal with Glassnote Records, Henderson was replaced by Nick Stephan. Alas, Givers is born.

The band gelled from the start and found success from their 2010 album In Light. The group has performed at Coachella, Lollapalooza, New Orleans Jazz Fest, and will be at Bonnaroo this year. Their album New Kingdom was released November 13th of this year. Several upcoming shows are listed on their website.

I was initially drawn to the album because of the sweet cover art. The visual art is very compatible with the idea of a “new kingdom” created by the record. If you buy the physical album, the lyric insert includes several more fascinating photos of the band wearing outfits and accessories made of aluminum tarps. Check it out if you can!

1. Intro
The intro is just a quick 60-second instrumental that sets the tone for the record. I could take it or leave it.

2. Bermuda
The complex rhythms, overlapping percussion, and electronic keyboards right at the beginning are a common attribute of Givers’ sound. I really can’t make out the lyrics at all, but it’s a catchy tune nonetheless. This song is far from boring with its many musically interesting components.

3. Remember
So much of this album is just fun to listen to. The album keeps me entertained on long, boring bus rides across campus. The vocals are slightly better enunciated for “Remember,” but the rhythm and overall “feel” is obviously the focus for all of their music.

4. Sure Thang
It’s a “Sure Thang” that this song makes me want to take a vacation to this New Kingdom they speak of. The experimental static noises and rudimentary snare drum contrast nicely with island vibes created by the keyboard and vocal harmonies.

5. Mother Of Love
“Who will guide you baby? You’ll find it’s the Mother of Love.” I’m still trying to figure out what this song means. It sounds so cool that I get distracted from the lyrics to enjoy the overall experience. She repeats many things about reaching out to grasp it, keep asking questions, and other motivational cues. So many of us are searching for love; not just romantic, but through our family, friends, and passions as well. Givers encourages you to keep searching.

6. Growls
“Growls” does not stick out for me on this album. None of the elements are noteworthy in comparison to the rest of the tracks. The best parts are the many transitions from melody to electronic dance grooves, but it gets repetitive.

7. Blinking
Lamson and Guarisco’s vocals are so clear in this track; it’s a noticeable distinction from the mumbles in “Growls” and “Bermuda.” Even though parts of the song are slow and dreamlike, there is an ever-present pulsing in the background to keep the groove going. It’s fun to pay attention to the rise and fall of the backbeat to anticipate the “drop.”

8. Record High, Record Low
This is the first single from the album, and also my favorite track. We previewed “Record High, Record Low” during a Writers’ Room show (every Sunday 12pm-1pm on 89.7FM!) and everyone seemed to enjoy its laid-back, merry quality. Someone mentioned that this song sets the scene for a leisurely bike ride along a California boardwalk. You get extra points if you can make it through the entire audio music video watching the ground shift back and forth.

9. Sleeper Hold
I don’t know what it is about this song, but it just fades into the background for me. The simpler parts are more interesting because it’s uncommon in other tracks, but the songs all kind of start to sound the same to me at this point of the album.

10. Shaky But True
When I first had to clear this album for air using FCC rules, I really thought the f-word was used multiple times. Once I checked the lyric sheet, I realized she’s just singing “If I could look through it” artistically. Could be on purpose, but probably isn’t. Either way, it’s the only thing I can focus on while the song plays.

11. Wishing Well
Bad song to listen to if you have a headache, but great for roller-blading or other 90’s themed cardio activities. All members of the band play percussion at some point, which makes sense because it NEVER ENDS. New Kingdom definitely encourages dancing.

12. Layback
This follows Givers’ template of alternating male/female vocals, rhythmic groove, and electronic keyboards. Just adding whispers and syncopation really helps Layback stand out as a unique component of the album. However, I do find myself adjusting the volume up and down quite a bit; they often start wailing after softer moments and vice versa. Also: WHAT ARE THEY SAYING? I’d be lost without a lyric sheet. It’s so weird how some songs have clear vocals while others are completely muddled. 

13. Lightning
Ooh, something different! This song is vastly distinct from the rest of the album. It is much more mellow; almost dark. I’m surprised that the band chose to end on a slow note, but it does act as a cool down from the dance party. If you set a workout to this album, now would be the time to stretch. Overall the band is talented, groovy, and I will probably listen to this album many times.

Grade: B

Listen to the full album here:

The post Album Review: “New Kingdom” by Givers appeared first on KRUI Radio.