Of rock’s power & melody’s magic

Saurabh & Gaurav

Fantastic work by a star forever
David Bowie — Blackstar (Columbia)

David Bowie’s final album, Blackstar, was released only days before his death. Two days after the album dropped, the world learned with shock that it would be Bowie’s final recording. The 69-year-old legendary artiste was suffering from cancer and passed away on January 10. Bowie and longtime producer Tony Visconti teamed-up with the saxophonist Donny McCaslin to create a seamless mixture of rock and jazz. This is Bowie’s most unconventional album since his dual 1970s masterpieces Low and Heroes, and is a breathtaking and fascinating piece of work. Blackstar, like all the best work of Bowie’s, is an album that takes inspiration from unexpected and unfamiliar areas. The ballad Dollar Days unfurls quite elegantly, featuring the kind of classic acoustic progression that has accompanied Bowie’s most classic works. ‘Seeing more and feeling less/saying no but meaning yes/ this is all I ever meant,’ Bowie hints out as if his superstar persona hangs on the fringe, on the beautiful and textural piece I Can’t Give Everything. Bowie positions all the tools in his vocal store, from his dark low register to a fanciful falsetto, setting a specific mood for each track. In Lazarus, Bowie sings ‘I’ve got drama, can’t be stolen/ Everybody knows me now.’ Bowie always had a surprise element on every album. Ironically he ended his career in the last place the world ever expected to find him, in front of a jazz quintet. Thanks for the magic, Bowie!
Best track: Lazarus
Worst track: ’Tis a Pity 
Rating *****

Digital sound that reaches another level 
Oneohtrix Point Never — Garden of Delete (Warp)

Since 2007, with eight albums, eight EPs, two film scores, three compilation albums and a whole lot of collaborative work up his sleeve, Lopatin has established himself among the most productive artists of the past decade. In the lead single I Bite Through It, a marching, chorus of distortion is sonically diffused with wispy guitar chord and sinister vocal samples. SDFK disrupts graceful bells and strings with a crushing rock-laden interlude that hastily falls silent. A couple of tracks later, Sticky Drama expands the vocals until they crumble, at which point distorted beats and human voices take over. Animals offers twisted take on current-day EDM balladry, with filtered diva vocals and rhythms. The unsuitably titled Child of Rage is a rather beautifully romantic piece of super-melodic composition based around piano, guitars and delicate percussion. The album could be more listener-friendly if it weren’t for the built-up rudiments trying to stifle the vocal samples. Mutant Standard starts up the second half with more movement and with new-age calmness. It revisits the technological pop with extra helpings of electronica. The more thoughtful and patient Freaky Eyes cuts through vocal samples and strange synthesiser outbursts, making for an interesting listen. Lift takes the collection to its eventual end, with No Good reserved to give the album a quiet end. Garden of Delete is probably OPN’s most audacious project yet and the one that will most likely solidify his place among the upper level of electronic music.
Best track: I Bite Through It
Worst track: ECCOJAMC1 
Rating ***

A tale of heartache, revival and renewal of Baroness
Baroness — Purple (Abraxan Hymns) 

Baroness continues to break away from their more mainstream metal roots with their fourth release, the Purple album. The collection is heavy with cautiously created layers, but Baroness knows when to lighten up for a chance to let the music breathe. The record takes the melodic vocals and hooks from Yellow & Green and mashes it with the power of Red Album and Blue Record. The addition of new members Nick Jost (bass/keyboards) and Sebastian Thomson (drums) to the lineup adds some new flair to Baroness and help to bring different influences to their unique brand of rock music. Opener Morningstar, demonstrates classic Baroness sound with gigantic choruses; a melodic, heavy anthem that starts off the record on a strong note. Most appealing is the use of psychedelic textures throughout this album, and here Baroness enlists the help of David Fridmann, whose history of working with the Flaming Lips and MGMT brings a rich and playful addition to the record. While frontman John Baizley sounded similar to David Gilmour on their previous double album, Yellow & Green, in Purple, Baizley’s vocals closely resemble Metallica’s James Hetfield. Chlorine & Wine, arguably the strongest track on the album, is a rousing rock track that creates a dreamy atmosphere and exudes lead singer John Baizley’s pain and anguish. Shock Me has an almost choral feel and continues the band’s orbital adventures with digital effects and a chilling chorus. Desperation Burns is a heavy, percussion extravaganza, while If I Have To Wake Up concludes the album with a slow-burning sentiment. Purple is a triumphant comeback. 
Best track: Chlorine & Wine
Worst track: Crossroads of Infinity   
Rating ***

An album with mixed results 
Pusha T — King Push — Darkest Before Dawn: The Prelude  (G.O.O.D.) 

Pusha T’s second studio project, King Push — Darkest Before Dawn: The Prelude comes two years after his debut, My Name Is My Name. The mood is set right from the beginning in introduction, which unwraps with an array of synth sounds reminiscent of the score to Stanley Kubrick’s A Clockwork Orange. Just like previous Pusha releases, there are plenty of high profile guests lending their vocal talents to the album. Timbaland immediately does the unexpected in Untouchable by burying his bouncy drum tempo to unearth a lamented instrumental and Pusha graciously takes his cue for a perfect ambience setting, as he declares, ‘Yeeugh, I drop every blue moon/To separate myself from you kings of YouTube’. Keep Dealing, the album’s highlight, features Pusha standing on the mountaintop, comparing himself to pop-artist Andy Warhol. The beats are modest, with each track seeking to do something unusual without disappearing beneath self-indulgent waters. Among the lyrical highlights on the album are Pusha’s analysis of the rap game in Crutches, Crosses, Caskets and his response to the high-profile controversies in Sunshine. It’s Pusha T’s lyrics that brought him to the forefront of rap, and he further cements his position with Darkest Before Dawn.
Best track: Keep Dealing
Worst track: F.I.F.A. 
Rating **

Top 10 Singles

Sorry.......................................................Justin Bieber  (CU)

Hello..................................................................Adele  (FD)

Love Yourself...........................................Justin Bieber  (NM)

Here.........................................................Alessia Cara  (CU)

Stressed Out......................................Twenty One Pilots  (CU)

Same Old Friend.....................................Selena Gomez  (FD)

Hotline Bling.......................................................Drake  (FD)

Like I’m Gonna Lose You.......................Meghan Trainor feat. John Legend  (CU)

Antidote.....................................................Travi$ Scott  (NE)

Me, Myself & I .................................Eazy X Bebe Rexha  (CU)   

Legend: 
(CU): Climbing Up    (FD): Falling own    
(NM): Non-mover    (NE): New Entry