Ambition- Wale

Wale has already established himself as a premier rapper, working with Kid Cudi on multiple occasions and releasing his hit album Attention Deficit in 2009. He recently signed with Maybach, and quite honestly, it’s probably the best album to come off the label. The beats are phenomenal, and Wale’s flow is as fresh as ever, reminding me of a younger Mos Def. The album opens with a bang in Don’t Hold Your Applause, and the swag continues throughout the album with the help of big names of Kid Cudi, Big Sean, and of course the boss Rick Ross himself. The album is fairly balanced, with a slow jam found in Lotus Flower Bomb, a lively spit session in Chain Music, an upbeat journey with singer Lloyd in Sabotage, and a stripped track with Big Sean on an obviously Big Sean beat in Slight Work. Despite a few personal fallbacks (Cudi doesn’t get an actual verse on his track) and the fact that the album is a little lengthy for my taste, Wale’s Ambition is an well executed sophomore effort.    

My personal favorites: Don’t Hold Your Applause, Miami Nights, Sabotage, Illest Bitch, Ambition      

Nightlife- Phantogram

   New York duo Josh Carter and Sarah Barthel showed their stuff with Eyelid Movies in 2009 by creating an electro-pop sound, without the pop. Their trippy beats and electro stylings mixed with haunting vocal harmonies and drifting synths was a breath of fresh air, and their new EP Nightlife simply builds on their already innovative sound. Carter’s floating guitars return to dance around Barthel’s smooth and sensual vocals, both of which backed with enough drum and bass to put any trip hop band to shame. The album opens with a barrage of sound in 16 Years; harmonized distance vocals, full low ends, and the driving drum machine beats the group is known for. The true gem of the EP, however, is Don’t Move, the second track. The heavily layered beat, along with brass counterpoint and dancing synths makes it impossible not to move, whether it be bobbing your head or interpretive dance going to embarrassing extents. Better yet, the multiple voice tracks don’t distract from the floating lull of Barthel’s croon; they add a whole other piece to an entertaining puzzle of a song. This EP is truly a treasure, and gives a taste of what will hopefully be another full length album from this unique act.       

Ceremonials- Florence and the Machine

Florence and The Machine return from their 2009 debut album Lungs with an even more dynamic harp-inlaced assault in Ceremonial. Welch returns with her echoing wails  as the rest of the Machine does what they do best--create a spacey yet bombastic atmosphere that fits the voice.With  reverberating piano and silence-mutilating drum breaks galore, Florence’s vocals soar to the limit. Ceremonials is more lively and anthemic than Lungs, from the gospel-step clap in Spectrum to the slow-but-loud first track Only For A Night. The group seems to have abandoned the bluesy style that surface on a few tracks in Lungs in favor of the sound that won them radio plays in Dog Days Are Over; however, Florence also experiments with the increasingly popular electronic sound. Remain Nameless brings in a grooving 808 drum to work alongside a dark choir backing the  iconic howl, and Welch's use of a clearly-synth bass in Strangeness and Charm is extremely refreshing. The electro tinged version of another track on the album What The Water Gave Me is a perfect ending, displaying further a flexibility in Florence’s style and perhaps a foreshadowing of future stylistic changes.  Overall, the album truly embodies a sound that Florence found in her Machine the first time around and gives us more of what we wanted; a rock/orchestral/ soul instrumental collaboration working with one of the best voices in the music business today.