There are certain artists that we would almost never if not ever play or feature on BangWave. We are not talking about those here. In 2014 there were several albums and singles released by artists that we would normally feature.
The problem we had was with quality, originality and listen-ability. We were looking forward to new music by these artists in 2014 but were left disappointed.
Below are the Royal Admonishments.
Lilly Allen – Shezus
Kanye West released an album called Yeezus back in 2013. Not only is her title derivative, the entire collection of songs is worse. Every vocal is sanctomoniously auto-tuned. What was a fun and cheeky voice has been thrown away in favor of a robotic elevator voice. This album is entirely regrettable and in a few years no one will want to torture their ears with it.
Sinead O’Connor – I’m not Bossy, I’m the Boss
When she got into a feud with Miley Cirus, we were glad to find out she was back to making trouble. It made us look forward to a new album. But it turns out it was nothing to look forward to at all. I’m the Boss is totally forgettable. It’s not even good enough to hate. The raw beauty of her signature sound has been sanded and mashed down to a bland bowl of potatoes.
Lindsey Sterling – Shatter Me
Skrillix meets Riverdance. That was exciting two years ago. Now it’s just trite. Celtic Culturama has become entirely passe and Dub-Step is now on it’s deathbed. On her first album, there was a spotlight on her violin talents. This follow-up pushes the talent to the background in favor of a more traditional pop sound. The violin is no longer the focus. Now you have to struggle to hear it. The dub-step stuff is more prominent and reductive.
Here are a few of the bad reviews we found on the interwebs.
The Flaming Lips – With a Little Help from My Fwends.
Wayne Coyne and his many fwends share in his band’s mission to desecrate the Beatles’ opus with ugly, druggy, mismatched exercises in shoving as many unnecessary synths, obnoxious vocal effects, and overbearing (and overcompressed) modern production techniques into the mix as possible. The Flaming Lips have always peppered their songs with weird noises, especially when Ronald Jones was in the band, but until recently, these affectations were never substitutes for melody. Indeed, while The Terror used alienating reverb and a forest of synths to disguise the fact that it barely had any good songs on it, With a Little Help from My Fwends applies comparable tricks to destroy some of the greatest pop songs of all time. (Jeremy Winograd)
deadmau5 – while (1 < 2).
You have to give him credit: When every other EDM superstar was churning out the audio equivalent of a coked-up drunk shouting in your ear at 128bpm, the dude in the rat mask chose the path less traveled. Unfortunately, that path led to 140 sleep-inducing minutes of the most grim-visaged dance music since, well, the last deadmau5 album. At 25 songs, at least 20 of which could’ve been cut in half or omitted altogether, the punishing length and listlessly moody vibe of While (1 < 2) suggests that the mau5 is in desperate need of a strong-willed producer to put the reins on what is starting to resemble a deadly sincere, career-length expedition into the farthest recesses of his own anal cavity. (Sullivan)