B- Joywave
How Do You Feel Now?
Hollywood Records
Joywave's eclectic mix of indie rock, indie pop and electronic dance music (or EDM) comes together in the band's first studio album. How Do You Feel Now? has a sound that's fresh and familiar. The Rochester, N.Y.-based band's debut album sounds like a grungier version of The Shins smashed with a poppier version of Muse with a dash of club beats. The final product is some songs easy to love, a few easy to tap your foot to and one or two easy to dance to.
The album starts off strong with "Somebody New," easily the best song on the album, which pushes aside the electro-pop sound and goes right for indie rock. The album takes a turn for a more dance music style in the middle with "Tongues." Electronic dance music rock seems to be Joywave's bread and butter, as the next few songs stay on the same track. It gets a little old.
The album doesn't really pick back up again until near the end with "Traveling at the Speed of Light," which is less dance heavy and back to what they are best at: indie rock. Joywave's sound is ambitious, but the majority of the album struggles to break out of the ordinary and truly show how unique they could be.
Hot tracks: "Somebody New," "Nice House," "Traveling at the Speed of Light"
B+ Janet Jackson
"No Sleeep"
Rhythm Nation
Six years after her last single, Janet Jackson comes storming back with a dreamy, alluring jam titled "No Sleeep." Can she recapture her place in the pop pantheon after so long a time?
No reason she can't, based on this sultry number. She reteams with Jimmy Jam and Terry Lewis, the producers and songwriters who collaborated with Jackson on her most potent hits. Jackson's latest is evocative of "That's the Way Love Goes" in its vibe, a style that The Weeknd has embraced on his recent hits.
Will the public embrace it? If they hear it, it's likely they will.
A- Miguel
Wildheart
RCA
R&B is in the midst of a creative renaissance, as D'Angelo, Frank Ocean, The Weeknd and others pull the genre in all sorts of directions.
Miguel makes a strong argument for becoming the leader of that pack. He follows the tradition of soulful experimentation built by Prince and Sly Stone, but puts his own twist on it, dropping in hip-hop, EDM and rock.
Miguel's ambitious experiments easily transform into earworms. "A Beautiful Exit" is a churning mix of grunge guitar, news clips and spacey synths; the melody is so strong it sticks with you. "Coffee" traces the trajectory of a romantic encounter. It's a gorgeous love song that shows how Miguel's mind works -- making one bold leap after another, eventually jumping into religious imagery and astrology.
On "What's Normal Anyway?" Miguel rides a funky beat and a minimalist synth riff. "Too proper for the black kids/too black for the Mexicans," the biracial singer croons to open the meditation about identity.
Miguel also has been inspired by his move to Los Angeles. He captures the vibe of his new home in the Prince-ly rock collapse of "Hollywood Dreams" and in "NWA," the straight-outta-Compton gangsta-rap tale told in falsetto tones that features Kurupt.
In an era where production can obscure artistic sins, Miguel strips away as much as he can. But, as he shows on the uplifting "Face the Sun," that doesn't make him or Wildheart any less potent.
Hot tracks:"A Beautiful Exit," "Coffee," "Face the Sun."
-- GLENN GAMBOA, Newsday (TNS)
B+ Melody Gardot
Currency of Man
Decca
Melody Gardot's music is informed by a wide range of sounds, namely softer worldly flavors, jazz and hushed storytelling. Often likened to Norah Jones, her jazzy, gorgeous voice is on full display on Currency of Man, her boldest and biggest accomplishment to date.
On 2009's My One and Only Thrill, she gave the world "Who Will Comfort Me" and "Baby I'm a Fool," and a star was born. Here, she's welcomed in more than jazz tones. She and producer Larry Klein brought in horns, R&B production, woodwinds, dramatic strings and early folk-inspired consciousness.
It's a departure, as her previous records have been dubbed easy listening. But "It Gonna Come" and "Preacherman" are outstanding songs that address racism and homelessness. She spreads out with ballads, torch songs and brooding blues.
"Don't Talk" ushers in funk organs and space guitars, "Don't Misunderstand" harks back to '70s slow-burn funk and "She Don't Know" beautifully employs soulful backup vocals and smoky percussion. It's a great and varied listen.
Hot tracks: "It Gonna Come," "Don't Talk," "She Don't Know."
-- BILL CHENEVERT, The Philadelphia Inquirer
Style on 07/07/2015