Pentatonix's New Effort Nothing Short of Dreamy

Few things go so well with the adjective "breezy" quite like music from Pentatonix. The Arlington five part a-capella act returns to the scene with a new self-titled album and single. Said single is called "Can't Sleep Love". Whimsy thy name is Pentatonix. You know they're playing their camp role to the hilt, smilingly at that. Kirstin Maldonado presents the cuteness quotient in spades. The rest of the gang drops in amusing lyrical styling. I am taken aback with how they can keep an audience in the palm of its collective grasp. That mission is accomplished by remembering not to take what it does too seriously. Check out the expressions on the faces of the crew in the video. Street corner romances are made of nectar like this. Imagine if you can a lamppost dimly lit, one of the four fly boys crooning in a fashion that makes the ladies go pitty pat. "Can't Sleep Love" moves at a gait made for you to slink into it like a comfortable shawl or a beguiling robe. Lots of musing going on in the romance game. "Am I going crazy" gets adorably answered in the affirmative. "Am I afraid of loving" is also answered in the affirmative. You see. The very act of being capable of love gets called into question. The routine of seeing movies grows ever tedious. In my world that sort of night would brings tingles up and down my spine but then again I don't possess Pentatonix's sense of adventure. Setting fire to the soul looms large in the Pentatonix landscape. This outfit certainly would be the one to ignite that spark. On what I hope is an amusing side note if you haven't checked out Pentatonix singing about numbers 1 through 4 as part of a Sesame Street YouTube upload I recommend it very much. It makes for a fun addition to the overall archives. But back to the single at hand. It functions as a silly living room ditty swirling, pulsing, getting to the core of what vitality is all about. This chorus makes even the most stress-addled days somehow manageable. Hearing each component bounce off others naughtily delights this blogger's eardrum. What's not to appreciate. This song's enthusiasm level doesn't flag one iota. The altos and bass harmonies flow like energizing beads in a mighty river. Don't you love a track you can play almost anywhere. It works next to the pool. You could brighten the dinnertime prep with it. Surely it has the elan to brighten up one of those oil changes either at the shop or at home on a Sunday afternoon. There are plenty of possibilities. Think how much fun it would be to get a singing telegram from this band. What cheerfulness of the ear to ear variety. Kevin Olusola's bass tones stem from a genuine place at the bottom of his heart. Scott Hoying, Mitch Grassi, and Avi Kaplan let the whip smart attitudes fly. "Can't Sleep Love" might be used in service of a easy pre snooze lullaby. Any way you cut it "Can't Sleep Love" represents Pentatonix at its dreamiest.

Say Hello To Adele's Next Smash

Give Adele a sweeping environment with which to work and she'll do your heart proud. Circle November 20th on your calendars because that's the day her new "25" album streets. Took her some time to add the finishing touches but, what a delectable confection she's brought to us. Drama comes naturally to her. What's more she has dished it out through various filters. "Skyfall" was one of the better James Bond soundtrack selections. "Rolling In The Deep" infused gospel to the drama. "Someone Like You" gave Adele room to put therapy on record. "Hello" gets about as spacious as that walk in closet you've always wanted but were turned off on due to the sticker shock. Let's get things straight from the jump. The royalties for her efforts better be top dollar because she is one of the few females worthy of her asking price. Cavernous also suits as a description of her work here. On video her hair blows around, her expressions are exquisitely in the now. You know how athletes get in the zone when they reach peak performance? Adele can bring that dimension to her game as well. The gist stems from Adele trying to reach out and touch a long ago paramour. The healing process has been turtle crawl slow for her which, apparently can't be said for him. He's moved on with his life with nary a backwards glance. She's called a thousand times but to no avail. She also utters hello from various conceivable angles (from the outside, from the other side). Adele strikes within me that kind of dog looking forward to a bone excitement that Pat Benatar did in the '80s whenever Billboard trumpeted one of her new releases. I tell you this is an event, not some mere cash grab. Her pipes are in superb fettle. The video whips up a bit of a backstory, namely our angst filled heroine having words with the gent who has her in knots. It's not long before the pathos meter goes off the charts. The beat descends into Adele's vat of torment. Very much an orchestral affair. Here the arrangement are as uncluttered as possible, unlike "Set Fire To The Rain" which had this hard driving quality that didn't leave survivors. Bonus points for not producing a "Someone Like You" clone. In fact all of her successes plumb dramatic soul using very different strategies. Point of fact...Adele hasn't gone on soulful expeditions with any copycat material. Other artists could take lessons. You'll be proud to say hello to Adele's glorious return. She's nothing short of the cornerstone the music world's based on.

The Disturbed Lights Up The Rock Scene

Who knew The Disturbed had a spacious motivational crunching cut in them. I stand utterly impressed. Being an avid fan of "Liberate" I can tell you this band knows how to induce Halloween month terrors. One nifty trick the guys pull out of their hat with "The Light" revolves around their ability to inject motivational into their space without sacrificing masculinity. The first section makes good on rewarding hard core disciples of the group with blitzing guitar work and copious doses of David Draiman's glare heavy vocals mannerisms. He's the guy who looks you dead in the face and dares you to flinch. This chorus hits note after scintillating note. Again, what's most impressive is you're still hearing one of Chicago's most preeminent metal bands but they've grown approachable, not an act you've got to clear the velvet rope to get an audience with. Reaching for the sky, arms opened to the heavens strikes me as perfectly understandable. Each player steps on the gas but never fails to allow the octane to zip along at cruising speeds that any cop worth his salt would be quick to monitor. The Disturbed knows how to make the best of their sizable talents. Dan Donegan has his guitar in such a commanding stranglehold it's a wonder any air is punching through at all. Meanwhile Mike Wengren drums along at a steady reliable pace, much the way a Timex watch ticks reliably for impressive blocks of time. Bassist John Moyer plays an important part in seeing to it that the swagger doesn't fade into the background. From a tempo standpoint "The Light" doesn't move any faster than is absolutely necessary. Much like a sunbeam taking its sweet time to reach the apex height in the sky the core groove meanders along, drinking in the sights, waving to passersby, absorbing each blessed frame in the film. "The Light" benefits from the deliberate approach. That means you can truly appreciate how complex the fluid sounds are. I never pictured The Disturbed as an act that could tug at the heartstrings but, as they say, there's a first time for everything. "The Light" possesses a chorus heavy on reassurance. Picture a father nurturing his son after a tough go on the Little League diamond. The words he might use (insert right to incorporate artistic license here) are, "When you think all is forsaken. listen to me now. You need never feel broken again. Sometimes darkness can show you the light." Changing gears in the second act we unearth less beef and an uptick of raw focus on the notes as they're being played. David demonstrates that sharing attention makes for a heightened overall musical experience. John's bass rings true, long, and loud. Mike's drumming gets to be heard above the fray. I can't make out one facet of "The Light" that doesn't merit repeated listening. Throughout "Liberate" David was mad right up to and surpassing froth level. "Light" puts David in namaste terrain. He's opening up his arms for us to fall into. "The Light" has an inviting radiance that doubles as a neat break from the usual hyper aggressive riff festivals The Disturbed likes best. "The Light" succeeds in carrying us home to masterful rock glory.

Panic! At The Disco Emerges Victorious With Both Barrels Blazing

If you were to liken Panic! At The Disco to a family member my money would be on the daffy uncle who wouldn't know how to be restrained if you put an instruction manual in front of him. This would be the dude who swears liberally, gets unabashedly drunk at the worst moments, then does that infamous lampshade dance. This Las Vegas act's new single "Victorious" puts on display all facets that you've either come to love or hate. Horn fills pop up as does a winning chorus that's brimming with verve. They put pedal to metal and the results couldn't be any grander. The guys seldom shy away from complex arrangements that proudly leave you guessing which direction they're going to direct the convertible next. They can be keyboard happy in one juncture, deeply literary in another. Looking at the engine's working parts there are many reasons why "Victorious" weighs in as one of the sharpest bolts of 2 minutes, 59 seconds vigor you're likely to hear this year. Brendon Urie needs the opportunity to take much credit for the pulse pounding, loin throbbing festivities. He follows flourish after flourish, his octave range increasing in menace whenever the spotlight returns to him. He's Johnny on the spot with keyboards too. As for partner in crime Dallon Weekes if you remove his bass contribution you deny this song its fundamental backbone. His synths are integral to how "Victorious" manages to cross the rock finish line with tailwind to burn. Spencer Smith bangs away behind the kit, a fine icebreaker if ever you could obtain one. "Victorious" gives your brain a pronounced workout. You can't top the fast and furious language skills put to mind blowing use here. Anyone long for Steve McQueen? Panic! At The Disco knows how to dish out the cultural touchstone you crave most. The visuals are cutesy in the video, dazzling in the music lexicon. If you don't manage to squeeze out vast sums of ingratiating visuals as Brendon vocalizes for the cheap seat's benefit I give you ample sympathies. Champagne revelry shines light on verse one. From there the apt Halloween's witch's coven scene making springs to mind. We are introduced to the notion that, yes, a touch can be black and poisonous. Later in the song we learn that someone can taste like magic. That's rife with imaginative possibilities. Trouble is I haven't had it explained to me what magic's flavor really is. Not that you or I shouldn't feel free to put our thinking caps on to come up with a gratifying response. Time for the second consumer comparison of this blog. If you were to liken Panic! At The Disco to a form of snack treat I'd go with a variety sampler platter of crackers, cookies, pretzels, etc... You're not limited to one taste sensation...ever. Therefore Panic! At The Disco succeeds at satiating appetites and not electing to be stingy in the process. "Victorious" wins my support and I have a hunch you'll be won over in short order as well. Bravo to the boys on using less is more to its greatest advantage.

Halsey's New Americana Far From Novel

Talk about misleading advertising. New Jersey native Halsey has a new single out called "New Americana" that hardly can be described as delivering anything new. Truth be told the overall sensibility mishmashes any adventure film macho energy burst you could ever hope to stumble upon. I do give this 21 year-old starlet the nod for name dropping a few of her musical influences in the lyrics. She was raised on Biggie and Nirvana. We shall await the royalty checks bound to come into both posthumously centered acts. Not to digress any further "New Americana" strikes me as the type of track tailor made for a WTF sort of reply. If the tune doesn't leave you with too many questions with not enough answers to go around, the video barges into your sensibilities with a eerie aftertaste sort of out place for an artist I can bet most people are only recently discovering, if they manage to do so at all. Isn't this brand of female primal savagery better suited for an act of either sex equipped with the budget to make such bold pronouncements so early in the career? Way too major motion picture slanted for someone who isn't toting around a multi-album deal as yet. By the way...how many artists see fit to insert a Balenciaga into the lyric sheet? I can count that on one hand. Halsey's too young to have intimate knowledge of Rockefeller to venture into dropping that clan into her song. I admire how she wants to leave a biting first impression. Only one shot at pulling that off. Good for her for channeling dynasties of the past. That's fascinating reading. For added head scratching or chortling at the big girl demeanor she imposes on us I suggest you look no further than "They're Monaco and Hamptons bound, but we don't feel like outsiders at all." Lots of bling spreading around. I suppose she's claiming despite the affluence of her peers, she doesn't have her nose pressed against the glass, looking forlornly at how the other half is living, laughing and, by all accounts thriving. To put it another way what we have on our hands here is march music marching off to fight a war we've witnessed many times before and in better qualified hands. From what Wikipedia informs me Halsey's both been through a lot and has had music leanings coursing through her veins from the beginning. She originally played violin, viola, and cello. In her teens she was diagnosed with bipolar disorder, no easy thing for individual, friends or family to deal with. I'm happy she's turned to music as a way out of that mad tangle. That explains the military brusque attitude on display. Like I said, she's 21 which, ideally gives her career time to blossom into something exhibiting multi-dimensional hues. At present Halsey's prospects don't appear to have legs."New Americana" sounds old as the hills, not a good handle to carry around. Halsey's really a stage name derived from the anagram name Ashley, as in her birth name Ashley Nicolette Frangipane. If she can use her wits to craft a clever on stage persona you'd think that would translate into a similarly brainy on record sound. My fingers are crossed that in time she'll prove the power of her cranium can rise to full flower. "New Americana" isn't meant for long shelf life.

Asking Alexandria Gives Its All

Out of the gates York, England's Asking Alexandria unloads a psychotic barrage of heady metalcore hooks. Luckily we don't get to the Cookie Monster vocals in "I Won't Give In" until we've hit the 3 minute mark. Denis Stoff surprises with how melodic his pipes really are. Not only that he wrenches as much life out of the drama as he can possibly muster up. Sam Bettley cooks up bass to its finest froth. It's no small reason why the opening installment of the song brings inferno sized fire. What a knockout attention grabber. James Cassells lets his presence be known also. That's not faint of heart drumming he's hinting at. There's this true sense that, if ever there was a recording session where he'd be pre-programmed to sail right off the rocky ledge then here's that example. Ben's despair proves sinking Hindenburg weighty. How could it not with opening lyrics like "With every breath you take I watch you slip away. You're slowly killing yourself. Asking Alexandria demonstrates it's adept at not letting Cookie Monster overshadow the raw emotion that doesn't need hyperactivity to make its mark. Ben's got brass in spades. He asks those uncomfortable hard to reach questions. One fine Exhibit A would be "If my soul was torn, would you help? Would you try and fix me? Would you help un-break me?" You get room to breathe during much of the song. That's a nice plus. Allows the instrumentation to shine through on multiple levels. The keyboards glisten resoundingly, like pixies sprinkling just enough magic dust to illuminate the song's core messages. Cameron Liddell comes to the action armed for bear with a rhythm guitar that's locked in on the unrelenting setting. This track gives us a video demonstrating how much the gents love tattoos, not to mention the rapid-fire pace their lives run on. Somehow allowing the ton of bricks to fall on you delivers a sick satisfaction that tamer bands would not allow to come to fruition. How best to describe Ben's conflicted head. As he wails "You're slowly killing yourself, you gather that the hurt doesn't die off easily. You'd like to be at that same bedside as he is, keeping him from letting the darkness assume a permanent posture. James yields the floor to Ben after his eye-opening salvo. If intensity serves as the true measure of a band's worth, Asking Alexandria elevates itself to priceless scale. The band can surely milk definite market value out of the chorus. It's hinted at from square one. You see the unity in video form, the band getting ready for a show, then letting it rip after the boys hit the stage. Also, they can mix high power and dialed back equally well. From what the video demonstrates Asking Alexandria has a substantial following that voices its unanimous approval at song's closure. "I Won't Give In" gives metalcore fans everything they could possibly desire, then adds a dollop extra to ensure what you taste is every bit as delicious as it sounds.

Lzzy Hale Brings Spark To Halestorm's "I Am The Fire"

The metal anthem personifies defiance. No matter how many ways you package it the intent rings loud and clear. Lzzy Hale, high priestess of modern metal can add her name to the list of practitioners who've hit the nail on the head. Plucked from "Into The Wild Life" comes "I Am The Fire" This track symbolizes Lzzy's birth as a woman who can unleash relentless notes for her art's sake. If numbers like "I Miss The Misery" haven't already convinced you that she's got fire propelling from her belly then "I Am The Fire" should do the trick. You almost forget this is Halestorm, not the Lzzy Hale Review. I'm not attempting to dis the other members. You can make out their presence for sure, but it's Lzzy Hale, rough edged A-chord tonsil flashing and all that gets this song off the ground and soaring into the stratosphere. Her venom slices your spine with giddy naughtiness. Every time she screams "I AM THE FIRE!!" you ask yourself, "Do I want to be the one to tell her she's wrong?" Recently I caught a YouTube download of her performing the Cinderella classic "Nobody's Fool" alongside that band's vocalist Tom Keifer, no stranger to belting out verses that make you want to sympathize with the guy because he sounds like his throat's going through a shredder. She did the song justice and Tom looked genuinely honored to have her there. If that was torch passing in progress the future's in capable hands. Lzzy's drum banging brother Arejay knows how to step back so his sister can shine. Josh Smith works wonders on keyboards. They elevate the bite Lzzy is delivering rabid dog style. Joe Hottinger explodes into guitar mania at the right junctures. So how addictive is Lzzy during "I Am The Fire"? Imagine the roughest sex you've ever had and cottoned to liking then multiply the rush that got you. Each reenactment of the chorus punches through like little tiny nibbles on the back. I'm floored by how her self-worth stays at that likable, high quality level. Wouldn't you like her guarding your back in a dark alley. The A chord serves as a beefy pathos builder. That formula worked when Lita Ford and Ozzy Osbourne teamed up for "Close My Eyes Forever" and lent mystery to Def Leppard's "Tonight", a cut lifted from "Adrenalize". In "I Am The Fire" the A chord showcases what a determined woman Lzzy is. At the start we sort of get the calm before the storm. The unit hasn't elevated its game to full power as yet. That's quickly cured though. Lzzy seeks to get past the fear that has her stuck in mire. Potential's in her sights. She's not about to let go. Some might accuse the song of being too narcissistic. You want to tell Lzzy to cool it? Didn't think so. I see it as daily affirmation with the decibel level pushed full blast. Maybe rebirth has its part to play. "I Am The Fire" has enough oxygen to burn bright on rock radio for the foreseeable future and possibly beyond. Lzzy Hale wearing motivational speaker garb suits the rock climate just fine.

Foals Storm The Gates With Authority

Guitar and drum produce an enticing noise in the centerpiece to Foals' current single "Mountain At My Gates". Yannis Philippakis makes incredible sounds come out. The riff gets better as the song wears on. Not to be outdone drummer Jack Bevan has the back beat thing down to a blissful science. It's the same wonderful combination as, say, a hamburger and french fries. Vocally Yannis has a masterful presence which serves the material well. He excites audiences to join the fervor with him. The video finds him bouncing off many an available wall. I like how the chords selected adopt this descending the staircase mentality rather than bounce up and down the fret wildly, intimidating anyone and everyone within a five mile radius. I know I'm usually a huge proponent of mixing up the guitar parts but in this instance staying transfixed in one slot gives "Mountain At My Gates" the punch it needs to maintain attention spans. Imagery in the key of foreboding haunts the lyric sheet. This mountain looms larger by the day. Darkness holds the keys to Yanni's fate as he knows it. The mountain is visible more and more each day. I wouldn't advise acting on the lyric "I'll drive my car without the brakes." That's wrong on so many levels. It's not one suggestion veering towards self-preservation. His desire wears a dark dress. No big surprise there. There's a giant shadow effect to these lyrics. You can't make out a ray of sunshine anywhere. The crunch refuses to be denied. Edwin Congreave lends some keyboards to the proceedings. That only helps ratchet up the ante on the goose flesh idea. Initially the thud drumming comes across as militant. Then, the rest of the band's harmonies join in with a brashness not foreign to rock music. In the second stanza Walter Gervers drops down, to go retro with an '80s adjective, bodacious bass. Hooking the crowds early gets your foot in the door with concertgoers and in our digital age gets downloads going fast and furious. The Oxford gents slip into their hefty rhythms like hand in glove. The drumming variation between thump, bang, and hairpin turn mental makes this climb up the mountain a breathless undertaking, exhausting in a nice way. Even better there isn't an act out there I can draw comparisons to, although you're certainly welcome to try. Jimmy Smith chimes in with synths that bring depth to what Yannis and friends are trying to communicate. When I tuned in for the first time Foals grabbed my ears with how it instinctively knew how to zero in on the right harmonies. That made me hungry. Consider my appetite for quality British indie rock appeased. You'll be a better person for having scaled this mountain.

Vance Joy Floods Eardrums With Heartfelt Sincerity

In this world of ours, a little compassion and authenticity can go a long way. Aussie hunk and ACL Fest schedule occupant Vance Joy delivers on both counts. His vocals usher you into their collective grasp, soothing the broken places that a doctor's pills can't reach. He packs a guitar that's bound to keep the ladies enticed long after his set's over. "Fire and the Flood" strikes me as a surefire crowd pleaser. Scanning the male heartthrob list Vance, whose birth name is James Keogh, has a niche of his own well on its way to being carved out but can also be put in league with other prominent male singers characteristics. He's got the deep smoldering feminine wiles grip of a John Mayer, Maroon 5 leader Adam Levine's playfulness, and John Legend's soft touch. It's not accurate to label "Fire and the Flood" a ballad despite the fact that the romantic longing would make it easy to be mistaken for one. First of all the tempo has the friskiness of a colt bolting out of the gate. Vance uses his guitar to remind you that he's not about to obliterate your optimism and zest for life with needless navel gazing. His nicely fragrant words keep the mood in the room at their breezy best too. You don't get much more passionate than what he's packing in the chorus. How jovial is "You're the fire and the flood and I'll always feel you in my blood." That's Romeo and Juliet fireworks sans the tragic body count. But wait, it gets pin up poster better. Try out "Everything is fine when your hand is resting next to mine." I'm an unapologetic single guy and even I can't help but be turned on by those sentiments. Later on we hear a thoughtful gesture that any wife on the globe would consider herself lucky to receive. Feast your ears on "Late at night when you can't fall asleep I'll be lying right beside you counting sheep." All together now...Awwwwww! What winsome tenderness. Maybe that exists only in the movies but I bet many women would gladly snatch up that offer. Atlantic Records signed him to a five album deal so I know they've put down no small amount of lucre in the name of promoting Vance's clean shaven magnetism. For anyone going to ACL Fest, and what music lover in A-Town isn't at least considering it, am I right, he's got the 5:30-6:30 Sunday night slot right before Hozier. That should be a great pair of evening fresh faced talent. In conclusion "Fire and the Flood" burns straight from the heart, a heart dusted by gold and star crossed, moonlit, exuberant longing.