I’ve usually been on the outside looking in when a well-known musician dies, and fans are left grieving. A number of famous singers and songwriters, both of the critically-acclaimed and chart-busting varieties, have left us in recent years, and in a lot of cases it’s been someone who I respected, though not someone whose music I had a lot of personal history with. That all changed when I learned of Chester Bennington‘s suicide just a few days ago.
Artist: Sylvan Esso
Album: What Now
In Brief: The duo’s second album features some clever sonic experimentation and the occasional brave lyric. But it too often falls back on the old cliche of making music about making music. And the highlights generally aren’t as strong as they were on the first album.
Artist: Linkin Park
Album: One More Light
In Brief: The problem with Linkin Park’s seventh album isn’t that it’s mellow and poppy. The problem is that it’s stubbornly, maddeningly generic, which is not something I could say about even the absolute worst songs on their previous albums.
Artist: Flint Eastwood
Album: Broke Royalty EP
In Brief: While this EP features a bolder sound than 2015’s Small Victories, the production tends to de-emphasize the songwriting. It’s fun, but I don’t connect with it as deeply as I do with some of Flint’s earlier songs. Also, the re-inclusion of two of those songs is mildly distracting.
Artist: The Flaming Lips
Album: Oczy Mlody
In Brief: This album is to The Flaming Lips what Hail to the Thief was to Radiohead. It’s a summation of past sounds, perhaps a bit of a breather after two of their most experimental and alienating albums, but a record whose overall flow and concept suffers due to the attempt to paste together sounds and styles that have worked for them in the past.
In Brief: A remarkably solid electronica album with a bit of a trip-hop twist that strikes a deft balance between immediate pop hooks and sonic experimentation. If not for the embarrassing misstep at the end, this could easily be an A-grade record.
Album: American Prodigal
In Brief: The genre mash-up works a lot better here than it did on Neon Steeple, feeling more like a statement of identity than a mere gimmick. What Crowder may lack in lyrical specificity, he more than makes up for by bringing urban and rural sounds together in intriguing ways.