Ultra Records has been redeemed!

Remember waaaay back when I was complaining about how Ultra Records had sold out with abominable compilations like Ultra Dance 10? Well, I don't know if they're fans of my blog or if they finally woke up to all the controversy surrounding their recent turn, but they've turned back onto the path of righteousness!

Case in point: the new Ultra Trance 09! A new 2-disc techno extravaganza with literally some of the best hits of the '08 season and some new Summer '09 hits. The trance is back, with excellent artists like Armin Van Buuren, Oceanlab, and Kaskade headlining the project. Speaking of projects, this is the FIRST Ultra Trance compilation to top the itunes dance charts due to the strength of the new single "Infinity" by the Guru Josh Project and remixed by the very up-and-coming Klaas. Every song on the album is techno/trance brilliance, chosen carefully from the DANCE charts and not the pop charts. In fact, there's not a single pop remix to be found on the album. And Ultra has gone back to LEADING in the industry instead of following, including such breaking and more underground tracks like "The New World" by Markus Shulz.

The initial response from the techno community has been quite positive. "Infinity"'s succes has carried the compilation to the top of the itunes album and singles charts and is expected to fair quite well on Billboard's Top Dance/Electronic Albums chart this Thursday.

I personally am ecstatic that Ultra Records has returned back to their roots. I hope Ultra Trance 09 turns out well for them. For all technoheads out there, I would HIGHLY reccomending picking this album up.

Music Review: The Head On The Door - The Cure (1985)

The Cure really started to come into it's own on this album. Robert Smith exchanged moody experimental goth-rock on "Pornography" and "The Top" (the latter of which was an abomination to rock music), for the more radio friendly, synth-drum sound that made The Cure one of the defining rock acts in the 80's and the fathers of modern Goth music.

Next to "Disintegration," "The Head on the Door" is easily their best work. Every song adds something new with old classic The Cure shtick, including catchy beats and riffs, creepy/introspective lyrics and Smith's haunting vocals. Some may say that The Cure turned "pop" from this record, but it's simply not true. The dark subject matter is still there, obviously, with songs like "The Blood" and "Baby Screams." And Smith's command of experimentation isn't completely lost either, as a lot of the guitar effects at the time were quite revolutionary, using synthesizers and some distortion to achieve a rockin' effect (note "Screw"'s driving guitar hook).

Each song is practically a masterpiece. Even the so-called "filler." They all flow excellently in the makeup of the album, but stand out well as singles. And the hits "In Between Days" and "Close To Me" exhibit wonderfully catchy 80's synthpop sensibilities that make the band accessible to non tight-pants-chains-wearing folk. It's classic.

MY RATING: Highly recommended as a pioneering goth-rock album and one of the best 80's rock albums ever. Extremely replayable and catchy.

Music Review: Love Is Dead - Kerli (2008)

Kerli made her initial impact early in 2007 in her native Estonia. Since being signed to Island Records, she's been proclaimed Goth child extraordinaire and the next Björk by the critics. What's the lowdown on her debut "Love is Dead," though?

Perhaps characteristically, the album is decent, but mostly constructed to show Kerli's potential to put out good singles. It's surprisingly pop-tailored with the catchy title song and "Walking On Air" being the first singles, both deliciously creepy and fun and radio-friendly. Perhaps the greatest weakness of Kerli's album is that it is too radio-friendly and the potential for Björk-like experimentation and avant-garde electro/pop is neutralized. This isn't really Kerli's niche though. She seems to do quite well in her chosen formula with other album tracks like "The Creationist" and "Butterfly Boy." However, the majority of the non-singles are trying too hard to tread a very odd line between gothy and poppy that just doesn't exactly work. Kerli's too kid-friendly to be adult and far too adult to be kid-friendly. It's an awkward, yet fascinating combination. On the plus side, she's got a very unique and and great voice that carries her style well and most of the songs are at least catchy.

MY RATING: If anything, "Love Is Dead" shows that Kerli has excellent potential for growth. Wait until the next album to see if she matures any or falls flat.

Music Review: Ghetto Classics - Jaheim (2005)

I've decided to let iTunes shuffle guide my latest few album reviews, focusing more on quantity than quality of reviews (although, hey I'll admit it, the quality will still be baller).

Jaheim's 2005 entry into the contemporary R&B world "Ghetto Classics" made him a star. Singles like "The Chosen One" and "Everytime I Think About Her" blended equal parts classic soul with modern hip-hop/thug sensibilities, making Jaheim equal parts Sam Cooke and R. Kelly. In short, the formula works brilliantly.

Jaheim's got a great voice, and sings about relevant contemporary R&B topics with clever lyrics (notably "Daddy Thing," "Like A DJ," "Fiend"). Song-wise, 90% of the album is wonderful smooth modern R&B mixed with a couple club-bangers just to keep it relevant. Jaheim even dabbles in a bit of nu-soul on "Come Over" and "Like A DJ". Jaheim hasn't made a perfect album, and there's still some icky filler like "125th" and "Masterpiece," and he's yet to strech his vocal ability to R. Kelly levels or master the club-cut like Ushser, but overall the album showcases Jaheim's break from undergound ghetto singer to a modern master of R&B.

MY RATING: Must-listen for all fans of classic and modern R&B. Has some problems, but definitely redeemed by his unique voice and great "ghetto/classic" style

Music Review: LOtUSFLOW3R (3-Disc) - Prince (2009)

His Purple Badness is back with 3 discs of Minneapolis sound. Literally. I've got the lowdown on all three and then a cumulative total of the entire LOtUSFLOW3R package.

1. Elixer. As you open up the album package, the first thing you see is Bria Valente's new album "Elixer" which is essentially an attractive woman singing smooth R&B songs written by Prince. Bria has been mega hyped up in the internet world for being the next Sade, but I take a more realistic viewpoint of her: the only thing she's got going for her is a good voice and the fact that she's associated with Prince. And we all know how sucessful Prince's previous proteges are (*cough cough* Tamar=Failure). That being said, the fact that these are Prince songs with a pretty woman singing them IS a major strength of the album. Bria's got a pretty voice with a pretty unremarkable range and tone. The songs are mediocre, with the exception of "Another Boy" (which might have some star potential). It's not traditional Prince slow jams either. It's trying to be hip with modern structure and lyrics and instrumentation and just falls a little flat because it's not edgy or clever enough. It's not that "Elixer" is bad. It's just overpowered by the other 2 disks. Plus, we never really thought that Bria would make it in modern R&B next to Beyonce and Ciara, so she might as well play the Sade thing for as long as she can before people get tired of it.

2. LOtUSFLOW3R. Here's the gold of the album. Easily Prince's best recording since Emancipation (some might argue since Sign 'O' The Times). Prince channels a little bit of Jimmy Hendrix and goes back to his roots and the one thing that made him famous in 1984: his godlike guitar skills. The entire album is powerful, catchy, and ROCKIN'. Musically, it's similar to Sign 'O' The Times, but with slightly more of an "organic" feel. Plenty of synthesizers and funk/rock, but no drum machines here. Prince does everything from social criticism to gorgeous love ballads on this album, all with quality singles with rockin' guitar solos and riffs and clever synth hooks, hearkening back to the Prince we knew and loved in the 80's. In the light of Prince's epic failure with "Planet Earth" and his attempt to break into mainstream minimalistic R&B with "3121," it's nice to see Prince is still making complex arrangements and making "back to basics" cool again. Bets songs are "Crimson and Clover," "Colonized Mind," and "Dreamer". Listen to these and if you don't get hooked, you ain't got no soul.

3. MPL Sound. Here's where Prince starts to get a little...Creative. Whereas LOtUSFLOW3R sounds great in a modern context by drawing elements of Prince's classic rock material for the modern world, MPL Sound ties to do the same with Prince's classic R&B/Funk material and has mixed results. The album really does sound like you went back in time and made a sequel to Prince's "1999". The drum machines and old synthesizer patters just seem...out of place. And there's not much "new" here to make it modern. I mean, it's great to hear a sort of a vintage "lost" Prince album, but is it really relevant? Obviously not. That's not Prince's point, of course, but it is something that will prevent MPL Sound for being as accessible to the mainstream R&B community and Top 40 singles radio. Speaking of singles, there are sure some funky ones here. "Dance 4 Me" and "Valentina" are both get-on-the-floor funky. But where's the sexy? To some that say Prince has lost his sexy, I rather agree. Even "Chocolate Box" is more love-ly than sexy. Overall, the album is interesting and funky and great for fans of Prince's old Minneapolis Sound, but I can't imagine it'll crack into the Billboard Charts like LOtUSFLOW3R will.

MY RATING: The sheer godlike brilliance of LOtUSFLOW3R redeems Bria Valente and MPL Sound can hold it's own as a good "classic" Prince album. It's one of Prince's best and easily the greatest material he's put out in the 21st century.

Ultra Records has sold out

Woe to the music world when a respected techno record company such as Ultra Records commits the greatest atrocity known to good music: selling out. Even if you're not familiar with Ultra Records, listen to my requiem for a label.

First, a brief history lesson: Ultra Records was founded in 1995 by former Virgin executives who were tired of the way mainstream techno was being handled and thought they could do it better. In short, they were right. Ultra Records became quite literally the biggest and most respected record label for all things techno, producing records by techno gods like Armin van Buuren, Kaskade, Tiesto, Benny Benassi, and even Paul Oakenfold. Ultra was responsible for the growth of techno in the late 90's as a "mainstream" genre and by 2005, in the age of Cascada, had managed to create a substantial audience for techno with their excellent marketing strategies and command of the market. PS. if you're in business school, by chance, this is the paradigm of capturing a niche market. See me for details.

Here's a sample that's relevant to my discussion. Ultra Records, much to the dismay of #2 rival Robbins Entertainment (responsible for the Cascada/D.H.T. advent of 2005) had ALWAYS been able to draw people in to techno with one excellent tool: Compilations. Ultra consistently put together the BEST compilations of techno singles yearly with such series like "Ultra Dance," (their most popular) "Ultra Trance," "Ultra 200_" (insert year here. My personal favorite series), and "Ultra presents Thrivemix". Samples of some of the best of these compilations are scattered throughout this review.

Now, the thing that was great about these compilations, especially Ultra Dance, was the ability to take killer pop remixes, put together with Billboard Dance Top 20 hits and market it as a hip, sexy way to listen to cool techno music. Note that almost ALL Ultra Records compilations feature nearly-nude models on the covers, some of their older records even including pull-out posters. It's brilliant, really. The customer gets the excellent music, and the satisfaction that they are somehow on the edge of things and being risque or avant-garde. Terrific stuff.

And this is where Ultra Records has failed. On their newest compilation, Ultra 10, Ultra Records has included pop music. Yes, pop music. Not pop remixes. Standard, straight-up pop/hip-hop. Not even remixed. Just pure pop. The techno element is still there, but it's marginalized, shoved towards the back of the album. Hoping that people will keep the CD on long enough to get to the actual dance music and maybe like it. Don't believe me? Well, let's look at the tracklisting, shall we? The first two songs: "Live Your Life" by T.I. and Rihanna and then "Bust It Baby Part 2" by Plies and Ne-Yo. Both Top 40 pop songs by mainstream pop artists, no remixing, no techno.

How much more sell out can you get?! This unprecedented atrocity that Ultra has committed has not gone unnoticed by techno fans, who are quickly abandoning the series. However, as to be expected, the series is now more popular than ever with the pop crowd.

I'm usually not opposed to letting the techno element slide a little bit in favor of drawing people into the genre, but this is TOO MUCH. Ultra compilations were always a little dicey for hardcore dance/electronica fans simply because the pop remix element was so strong. I personally liked it, listened to it, bought into it. Ultra Records now is betraying the very same thing that made them so respectable in the techno community: they NEVER pandered to popular pressure. Ultra always had great taste and went with it, being a LEADER in the industry, not a follower. And it's not like their old formula wasn't working. People respected Ultra. Perhaps with recent economic strings tightening, Ultra was forced to sell out to pay bills, but that's against the spirit of the industry. To be quite frank, what the FUCK is T.I. doing on a TECHNO music compilation?! It's disgusting. And the rest of the compilation is barely-remixed pop songs: no new or original techno tunes involved. It's a nightmare.

Ultra has a difficult choice to make now: continue on the road they're traveling, win more Top 40 pop fans, and lose ALL respect from the people who supported them in the first place, or admit their mistake, repent, say a few hail Mary's and hope that their next compilation album will be able to bridge both gaps.

I personally am quite disappointed. This kind of shit is NOT tolerated in the dance/electronica community. Note that I'm not blogging about this just to whine. I'm blogging about this in the hopes that other people will recognize that this change has occurred, note the consequences it has for all techno music fans, and stop buying Ultra until they change their attitude towards their original fans.

Otherwise, it's R.I.P. Ultra Records in my book.

Fuck Lady Gaga

It's time to unearth the ugly truth about America's new reigning "techno diva." The catchy single "Just Dance" and follow-up single "Poker Face" seem innocent and catchy enough, but after I'm done with you, you'll see that this whack chick is an abominable sell-out.

I'm approaching my argument as I would a history lesson. I didn't always hate Lady Gaga. I heard about her WAYYY back in early April 2007 when she was first making major waves in the internet techno community as the newest brainchild of producers RedOne, the geniuses behind Robyn's newest electro-hip-hop comeback. Lady Gaga was unique in that she had a definite techno sensibility paired with the flashy performance style of glam rock, ala "Black Cherry"-era Goldfrapp. Her original single "Boys Boys Boys" started getting a bit of club play and I started taking notice.

Gaga finally got signed to a major label and produced the ORIGINAL single "Just Dance". It is here that I must be clear. The ORIGINAL club mix of the single in August 2007 played on techno radio was a fun jammin' techno track, heavily sythesized, heavy drums, fun danceable shit. The closest thing you can find now that resembles this version is the album cut on her album "The Fame", but note that the original version had no Colby O' Donnis. I liked the single because it had major crossover appeal. Lady Gaga's crazy pop antics and her mastery of catchy, danceable hooks had all the hallmarks of doing what Cascada failed to do in 2005/2006: introduce the mainstream pop crowd into the joys of true dance music, put hooks in 'em, and real 'em in with continually powerful hits.

But here is where my hate train leaves the station. Gaga, the shallow performer that she is, got a break on "Dancing With The Stars" in August 2008, performing "Just Dance" in front of a major television audience. Characteristically, when the Top-40 people are forcefully introduced to techno, they wake up and realize that it's awesome. Lady Gaga suddenly had the power to make a difference in the techno world. Lady Gaga, however, did the EXACT OPPOSITE: she sold out.

As soon as she got her break, Lady Gaga teamed up with Akon's Konvict music and crossed the bridge into pop music, burning the bridge behind her. Akon put Colby O'Donnis on the track, and created the version of "Just Dance" that's on the album. Gone was the heavy synthesized pumping bass and in came Colby's whining verse and dumb lyrics. The song became Pop. "Just Dance" topped the Itunes Dance charts. Itunes, sensing the sellout...*cough cough* excuse me, "cross over" appeal of the song stopped classifying Lady Gaga as dance and moved her into Pop in August 2008. Lady Gaga had finally betrayed her roots and had become cliche, bubblegum, silly danceable pop music ala Pussycat Dolls and began being picked up by Top 40 radio stations.

But Lady Gaga's betrayl of anything called "dance" was not complete! NO! Far from it. Lady Gaga invigorated by her newfound success changed "Just Dance" EVEN MORE! There not just two versions of the single, but three! Chances are, if you turned on the radio right now, the version that you would hear features Akon and Kardinal Offishal. Let me repeat, Akon and Kardinal Offishal! The song was COMPLETELY rearranged to include the best elements of Akon and Offshal's failed single "Dangerous" and put the beat and piano hooks centered around Gaga's vocals. Almost ANY traces of the original club mix were essentially destroyed by this new version of "Just Dance", now penned the "RedOne Radio Edit".

And as to be expected, Lady Gaga finally got the break she "deserved". As soon as it became pop, "Just Dance" shot up into the Top 10 of the Hot 100. Accordingly, the techno community has completely abandoned her. Want proof? Look on her "Remixes" of "Just Dance" on Itunes. Recognize a single REPUTABLE techno remixer or DJ who has produced any of the remixes? Nope. All the remixes are produced by hack DJs or are cleverly disguised re-versions of alternate Konvict remixes. (Note that the appearance of Richard Vission, a once-respected DJ may seem slightly contradictory, but it's not. Vission hasn't had a hit in years, and is, quite honestly, desperate).

In short, Lady Gaga is a fucking sell-out. If I could have 5 minutes alone with her, this is what I would say. I'd say, Ms. Gaga, I know "The Fame" of Top 40 success is lucrative, but if you continue on this dark, dark road, 5 years from now no one will remember you. At least Cascada is still respected in the techno community for staying true to their roots. The only people who respect you are drag queens and people who don't know any better. You are quite simply now just one of the many "rising pop stars" who, without a serious course correction, will never have another hit.

Lady Gaga = FAIL. If you're at all into techno, stay away from this sell-out shit. Pick up the newest Kylie album or Amin Van Buuren's GODLIKE "Imagine" and groove on.

Music Review: Johnny Cash Remixed (2009)

The release of this album pissed me off so much I couldn't even stand it. I had to write a review to explain how truly disgusting this is to techno music critics like myself.

First of all, let's give this bold idea the benefit of the doubt. What exactly is it trying to accomplish? Well, according to Amazon.com's review, "The goal was to bring the sensibility and technology of 2009 to recordings universally accepted as timeless with the endorsement and cooperation of the custodians of Johnny Cash's legacy."

Woops.

In today's music industry, remixing is one of two things: an art form, or commercial milking. This album is an unequivocal example of the latter. Who exactly thought it would be a good idea to take songs like "I Walk The Line" and "Folsom Prison Blues" and turn them into techno/electronic/rap songs? Dumb producers who are hoping that fans of Johnny Cash will forget their good sense and respect for the Man in Black and buy this compilation, that's who.

But enough about that. Let's examine the music directly. First track is the main single "I Walk The Line" (QDT Remix featuring Snoop Dogg). Yes, you heard right, the D-O-double-G. It's a rap song structured around Johnny Cash's original chorus. Seriously?! Yep, seriously. Besides the fact that the song is SO ICONIC in American country music and can't really ever be topped as an original, so-called "remix" is an absolute piece of trash. It blows my mind (another Snoop reference) that tha Doggfather would EVER EVER EVER have the audacity to lend his rapping and filthy lyrics to a remake of Johnny Cash. The beat is idiotic, the rhymes are lame, and the production quality is worse than amatueur! You can almost hear the vinyl scratching as the play the Cash vocal sample next to the bleeping electronic hook. It's not a pretty sound to hear poor Johhny 's soulful lyrics mismatched with hip-hop beats, obnoxious violins, and synthesized "ooh-ooh"ing. Oh, and hear that sound? Really faint in the background. Yep, the moaning. That's Johnny rolling over in his grave.

But wait...there's MORE. The rest of the album either continually dabbles in awkward hip-hop with shitty production quality, or commits cardinal sin #2 by venturing into techno. Techno?! Indeed techno. The rest of the album tries to pull a Fatboy slim and make the album funky, underground, and upbeat to disastrous effects... Take the pitiful "Big River" (Count de Money Remix) for example. It's got the same grainy production quality and dumb instrumentation. The worst of these has got to be "Folsom Prison Blues". THERE IS NO BLUES in this remix! The heart and soul of the song has been erased by a repeating drumbeat and synth-piano hook. ARGH! No longer is Johnny's call of "Now I can't be free" relevant. No longer are we able to take the song and the message seriously.

The only somewhat decent remix is the "Get Rhythm" (Phillip Steir Remix), which like Elvis's "A Little Less Conversation" (JXL Remix) manages to correctly match the flavor of the original with some new funky electro. Here's the difference: they re-master his voice with synthesizers and eliminate the background static! GENIUS! Why didn't they do that in the first place?! I will never know, but it makes the album at least not abominable. Plus the original song was never THAT iconic or interesting in the first place, so you're allowed some leverage. But how in the world are you expected to remake "I Walk The Line" successfully? The answer is...you can't.

For me, albums like these are a symptom of a almost-fatal disease that is pervading today's music world. Producers decide that if they can't make new music, it's best to rehash old music. There's nothing wrong with that, per say, but the problem is that shoddy producership and the lust for quick profits ruins the project. I've seen too many albums like "Billie Holiday Remixed", "Donna Summer Remixed", "KC & The Sunshine Band Remixed" absolutely FAIL not because it was such a bad idea in the first place, but because the record label won't let good DJ's and remixers in on the project. And then there are some albums, like Johnny Cash Remixed, that should never have been made in the first place. It's an embarrassment to good dance/electronica music and an embarrasment to the memory of Johnny Cash.

MY RATING: Terrible. Truly terrible and miserably bad. But don't take my word for it. See it yourself at http://www.spinner.com/new-releases#/3 you can listen to it free for a limited time and let your ears bleed. Once you realize the health dangers of listening to it, follow the advice of Johnny Cash and "Leave That Junk Alone."

Music Essay: An ode to Nu Metal. It’s significance, rise and fall, and hopes for revival

I was walking through Target today (go figure) and saw a copy of Disturbed’s album “The Sickness.” Remember that? Catchy, frantic, angsty, METAL! Great music to rock out to. Disturbed, and all the other bands that were pegged in the late 90’s-early 2000’s as “Nu Metal,” essentially dominated the popular metal scene, establishing some of the biggest names in modern rock (Linkin Park, Korn, Slipknot, etc.) and producing some classic albums.

But almost as quickly as it caught on, the very same angsty, chains-wearing teenage boys listening to the stuff suddenly decided that Nu Metal wasn’t cool and started ditching Nu Metal bands like the plague (or the Sickness, if you will). Bands like Linkin Park, Staind, Papa Roach, and P.O.D. were forced to adapt or die. And in many instances, some bands didn’t get off the Titanic quickly enough and are now swimming in the oceans of obscurity. The question that I want to explore today is “why?” Why was Nu Metal so popular, important, and (in my opinion) awesome in the late 90’s-early 2000’s and suddenly completely culturally IRRelevant today?

To find the answer, it’s necessary to briefly examine the history of Nu Metal. Anthrax is widely accepted for creating the genre with their song “Bring the Noise,” both a remake and collaboration with Public Enemy in 1991. The distorted, syncopated guitar riffs combined with the rapping created a decidedly noisy rap-metal combination that worked brilliantly (check out the original song). Out of the spark of Anthrax came the fire of Korn. Korn’s 1994 eponymous debut album ranks as one of the most influential metal albums of all time, matching hip-hop drumming, funk baselines, and rapped/sung lyrics with moody, dark guitar riff and a LOT of screaming. This would become the hallmark Nu Metal sound. Korn’s success with “Korn” and “Follow The Leader” inspired other bands to do the same, notably Limp Bizkit, who became the posterchild for the genre as time went on with albums “Three Dolla Bill, Yall$” and “Significant Other”. In 1999, something extraordinary happened. “Significant Other” exploded and gave Nu Metal Top 40 mainstream success with songs like “Nookie” and “Break Stuff” (metal, catchy, and awesome). Along with this came a horde of Nu Metal bands within the next three years. Notably, Papa Roach (“Last Resort”), Slipknot (“Wait and Bleed”), Staind (“It’s Been A While”), P.O.D. (“Boom”, “Youth of a Nation”), and the most popular Nu Metal band of all time, Linkin Park.

Linkin Park is worth mentioning separately for a minute. At the time of Linkin Park’s wildly popular debut “Hyrbrid Theory” in 2000 (which later went diamond), Nu Metal was at its apex. Mike Shinoda’s rap-metal fusion had worked well, creating a classic album that really can’t be paralleled or exceeded. It was at this time that Nu Metal was doomed.

Nu metal’s ultimate demise comes from the fact that the genre is surprisingly inflexible. Nu metal is by definition unable to do much that isn’t metal or rap. The metal-inspired guitar riffs are generally too simple to yield experimentation and most band DJs were unable or unwilling to draw more samples from hip-hop or electronica to explore more of Nu Metal’s potential. Faced with these limitations, Nu Metal MCs/lead singers were unable to crank out catchy new songs that could beat Linkin Park’s grip on the genre, Nu Metal gradually became hackneyed and boring.

By 2002 Bands were forced with the not-too-difficult choice. Ditch Nu Metal or die. Bands who continued to try failed, such as Crazy Town’s pitiful second album “Dark Horse,” Korn’s “Untouchables,” and Papa Roach’s “Lovehatetragedy.” Limp Bizkit’s 2003 effort “Results May Vary” is considered by many to be one of the worst albums of all time. By Linkin Park’s less-successful “Meteora” in 2003, it was clear that Linkin Park was no longer able to carry the genre on it’s own. Nu metal was dead.

Established bands like Staind and Korn began to drift into the broader world of Alternative Rock, wielding more organic sounding guitar riffs, while some like Slipknot and Disturbed, abandoned the hip-hop element almost entirely and dove headfirst into Alternative Metal. Even Linkin Park changed its tune on “Minutes to Midnight” in 2006 to a much lighter, much less electronic rock.

Today, no successful Nu Metal band exists. The genre has become extinct. Is there hope for a revival? Chances are, not for a few years at least. The genre is still far too fresh in the minds of Top 40 kids and too painful for metalheads to remember (who now consider Nu Metal a blemish on the face of rock, due to their painful failures towards the end of the period). Rumor has it that Linkin Park will be returning to Nu Metal on their 2009 album, and thus, have a hope of reigniting the genre.

In my opinion, if any band wishes to learn from the rise and fall of Nu Metal, it’s that you can’t be inflexible. There’s constantly more room for experimentation. Not EVERYTHING has to be hyper-heavy, driven by hip-hop beats, and feature a catchy syncopated guitar riff/electronic hook. Let’s take Linkin Park’s “Given Up” off of “Minutes to Midnight,” which is brief restyling of their older work. It starts off with completely different instrumentation: organic clapping, and live-recorded drum beats. Still the syncopated guitar riffs, still the scratching and the dark baseline with screaming. But new song structure: a bridge with a build up to screaming and an synthesized guitar riff, then back to the main chorus. Inventive, no?

I’d like to see more of Nu Metal in the future. But until then, I’ve still got some “Issues” with Korn, and some “Chocolate Starfish” with Limp Bizkit to tide me over. If Nu Metal can “Break The Cycle” (Staind reference, for all you fans), maybe we’ll see a resurgence.

Music Review: Thr33 Ringz - T-Pain (2008)

I'll always remember when I discovered T-Pain (and as my close friends know, I'm very proud of my discovery of T-Pain). I heard "I'm Sprung" on internet radio, a interesting little ditty about T-Pain's obnoxious woman-on-the-side. I instantly fell in love with the song and with T-Pain's sexy synthesized sanging. Using a vococorder in R&B? Back in 2004, that was unheard of! Synthesized singing was relegated to techno and late-90's Cher-esque pop. Certainly not R&B material. From his breakout in 2005 with "I'm N' Luv (Wit a Stripper)" he has singlehandedly changed the game and restructured the components of what makes a sucessful R&B single.

It's not hard to hear T-Pain's effects on the music world. Synthesized main vocals in pop/R&B is now commonplace. And, let's face it, T-Pain has been so damn successful, he's featured on just about every Top 40 song known to man. Since "Epiphany" in 2006, some might think that T-Pain has lost the ability to become original. Far from it. Thr33 Ringz could be his strongest album ever.

Thr33 Ringz has all the classic elements of his previous albums. Catchy club jams, and witty jams featuring guest performers like Ciara and all that. "Freeze" and "Can't Believe It" are fun and catchy, and so is "Blowin' Up" and "It Ain't Me". But in Thr33 Ringz, T-Pain gets experimental like never before. "Chopped N' Screwed" is hilariously chopped and screwed, leading to a perfect beat and clever arranging. And "Reality Show" exhibits what T-Pain does best. Take a melodramatic/raunchy subject and make it somewhat plausible as song material in a semi-comedic way. Like "Yo Stomach" and "I'm 'N Luv (Wit a Stripper)", Reality show made me laugh out loud for a few minutes and then think "You know, that's actually not a terrible idea...". I'm embarrassed to say I didn't think of it myself.

And I must quickly mention that his vocals have gotten even better. Since "Fly Away" on his first album "Rappa Ternt Sanga", there's been quite a lot of debate in the music industry over whether or not he can ACTUALLY sing or if he's covering his poor voice with electronics. On Thr33 Ringz, he sufficiently bashes all haters and proves that he can sing, with a synthesizer-free ballad about his family. I'm hearing some Donny Hathaway influences on here, plus some good ole Marvin Gaye. T-Pain has yet to show that he's got the vocal range, though he certainly has soul.

Thr33 Ringz is not without its misses, however. "Change" is VERY disappointing, especially given the caliber or it's guest performers. And DJ Khaled ruins everything (DJ Khaled's only skill set) on "Karaoke". It's nice to see that there's only about 4 songs that really suck from the 15 we are given (a higher ratio for a T-Pain album). Thematically, the other thing that Thr33 Ringz lacks is the serious sort of adult introspection that we heard during his early dayz on Rappa Ternt Sanga with songs like "Fly Away" and "Going Through a Lot". Even Epiphany had some serious content with "Suicide"'s exploration into drugs and AIDS. Songs like that made T-Pain unique in this word of pimpin', club-hoppin', and pimp-slappin' R&B. I'm sort of sad to see T-Pain's serious side disappear, though his fun side is equally as witty. But Thr33 Ringz is essentially a jam album, not a sob fest.
MY RATING: Hard to be dissapointed by the major singles and the clever b-sides, especially if you liked Rappa Ternt Sanga.