Katy Perry's Teenage Dream

Album: Teenage Dream
Artist: Katy Perry
Tracks: 12
Released: 2010

The album's title track packs a punch with a chorus that's almost impossible to get out of your head. Though it may start out a bit stale, Perry saves the track with her signature enthusiastic pop energy. "Last Friday Night" is a fast paced, cliched, twisted teenage humor track that could either encourage you to hit the boulevards along with it, or leave you in the dust with its hyper beats. "California Gurls" hit the top of the music charts with an undeniably catchy, well, everything, the perfect summer song. "Firework"'s theme centers on believing in yourself and letting your talent shine; once again Perry succeeded in letting her colors burst. "Circle the Drain" is the most bizzarre of Perry's releases, though its message rings through. "The One That Got Away" describes a lovesick girl that loses her first crush and regrets it for the rest of her life. The track isn't overly emotional, but the lyrics speak out loud and clear. "E.T." is purely a pop indulgent track with clever rhymes and a great beat. "Who Am I Living For?" paints the picture of someone that's lost, searching for their meaning, mixed with an almost hip-hop background, which oddly fits perfectly. "Pearl" is about a girl who's lost independence due to a bad relationship, and while the theme is strong, the instrumentals aren't nearly as striking. "Hummingbird Heartbeat" is a cute young love tune that rings out with an almost country like lightness. "Not Like the Movies" is a soft and sweet track that doesn't leave an incredibly lasting impression the first time you hear it, but is a good ending track nonetheless.
Though it can be classified as "another pop album", "Teenage Dream" experiments with morals and themes much deeper than expected. Perry's vocal ranges are tested nicely and different aspects of her voice are allowed to come to light. So if you ever have a little time, join Katy Perry in imagining your own teenage dream.

Seeing With New Eyes

Artist: Paramore

Album: Brand New Eyes

Release: 2009

Tracks: 11

The third full studio album from Paramore, Brand New Eyes had a bit of a reputation to live up to. After the explosive success of Paramore's first two albums, some were worried that the success of the band would die out over time. However, Brand New Eyes definitely proved those people wrong. Hayley Williams has vocals that are almost immediately recognizable anywhere, and the guitar riffs of Josh Farro and Taylor York hold a unique sound that can be identified with the band. Jeremy Davis and Zac Farro work extremely well together to set the beat of the song, working off of each other as they perform their seperate parts. Together, these people form Paramore and the sound that we can identify with them when we hear their music.

Brand New Eyes starts out with "Careful", a song that sets a mood suggesting "rock" when you hear the opening guitar riff. "Ignorance" also suggests a rock-type mood, with a mix of alternative sound. The guitar keeps an even timing for the verses, providing a new sound during the chorus and bridge, boosting the vocals of the song nicely to make it memorable. "Playing God" has a softer sound to it compared to the first two tracks, though it makes its own impression on you. The chorus and bridge are what hold the song together, especially after a few repetitions. "Brick By Boring Brick" has a steady bass beat that provides the backbone for the song, keeping time even when the guitar and drums take over during the chorus and bridge. "Turn It Off" heavily features the drums to keep timing, though the guitar has its own part in the song. The chorus of this song is one that will keep you coming back for more of this song once you've heard it a few times. "The Only Exception" has an acoustic sound to it for most of the song, telling the story of a girl who promises never to sing of love unless it really exists - except for this once. This song left a lasting impression on me, and the meaning of the words struck home, as I'm sure it was intended to. "Feeling Sorry" leaves the chorus and bridges to the guitar and drums, while the vocals in this song provide a nice flair that identify it as Paramore, rather than any other alternative-rock band out there. The bass has the true spotlight in "Looking Up", where it is featured even more heavily than the drums for most of the song, especially the verses. "Where the Lines Overlap" has amazing double vocals to kick off the song, returning throughout the song for various harmonies that provide a unique vocal part in this song. The guitar riff that persists throughout most of "Misguided Ghosts" catches your attention as soon as the song starts, providing the timing for the song. The song is a softer ending to the album, though it leaves its own mark on you in a different way than the louder songs on the album.

Brand New Eyes made its own mark in the music industry, standing apart from its predecessors. The slightly different sound to the album still pleases the most, if not all, of Paramore's old fans, and still manages to attract new listeners. The difference of this album compared to the first two albums reflects the changes withing the members of the band and the band itself. However, most would agree that the changes ended up being for the best, as we can see with the result: Brand New Eyes. Hopefully, you can view the album with new eyes as well.

Are You A Belieber?

Artist: Justin Bieber
Album: My World 2.0
Released: 2010
Tracks: 10

This album makes a sugary sweet (or terribly sour--it depends on who you ask) opening with one of Bieber's most successful tracks: "Baby". "Baby" takes something that every teenage boy and girl goes through and adds a catchy beat that will have you singing this Beliber anthem for the forseeable future. "Somebody to Love" also displays a solid dance beat, but not much in the way of lyrics. They accompany the song nicely, but don't stir an extremely amazed reaction as you listen. "Stuck in the Moment" is possibly the most honest of songs on Bieber's album. The overall theme of the album to document his lovelife, often times using shallow comparisons and an almost childlike repetition of lines through paraphrasing. "Stuck in the Moment", however, displays the most depth and is the least commercialized of Bieber's releases. "U Smile" is another notable song on this album, letting Bieber's charming vocals take the spotlight over the beats that constantly crowd his songs. "Runaway Love" carries the best beat of the album and compliments Bieber's vocals very well. "Never Let You Go" is a mild piece which doesn't quite catch your attention outright. "Overboard" contains a collaboration with Jessica Jarrell, who helps the song immensely and allows Bieber to make it a success. "Eenie Meenie" takes you on a spin of an old nursery saying, with Sean Kingston being the highlight of the track. Bieber tries to hold your interest, but the true attention grabber of this song is Kingston, who dominates most of the piece. "Up" demonstrates adorable rhyming lyrics that you can't help but memorize. "That Should Be Me" is a great acoustic closing track, one of the strongest of the album.
As an emerging artist, Bieber has nothing to complain about with millions of global fans that sit back and watch as he gains more everyday. However, he is an amateur in appealing to a wider audience than starstruck preteens. In order for him to find his way musically, he needs time, which some won't give him. He's not a predictable classic, but is a promising artist, if he plays his cards right. If Bieber was just looking for somebody to love him, he's definitely found them.

Black Is Always In - The Maine's New Album: Black & White

Artist: The Maine

Album: Black and White

Signed: Fearless Records

Genre: Pop/Rock

The Maine is:

John O'Callaghan - vocals

Kennedy Brock - guitar

Jared Monaco - guitar

Garret Nickelson - bass

Patrick Kirch - drums

The Maine was founded in Pheonix, Arizona in 2007. They started getting popular through websites such as MySpace and that led to their induction into modern music. The Maine's "modern rock" and fresh sound quickly caught the eye of Fearless Records, who eventually signed them. Some of their first hits were: "The Way We Talk", and "The Town's Been Talking." Their focus for this album was actually combining songs that created an 'album' instead of just throwing songs together. The new album "Black and White" has distinctive differences in its songs. It might have you moving with the pop, then transition in the next song to a softer, summertime melody. But, no matter what changes they might have imposed into some of their songs, their signature sound remains the same. The Mine changed a bit with this album, but in a positive way. They changed their sound to put a change in their music, so that it wasnt exactly the same as it was before, and that shows that the band is maturing. With "Black and White", The Maine transformed from a solid 'Punk/Rock' to a more serious 'Pop/Rock'. It was a quick transition, but the songs are catchy and they are still The Maine, no matter how you look at them. (or listen, for that matter.)

New Album: Linkin Park-A Thousand Suns

A THOUSAND SUNS: LINKIN PARK

By: Isabelle Auton and Aurelia Irvine

Track Listing:
The Requiem
The Radiance
Burning in the Skies
Empty Spaces
When They Come for Me
Robot Boy
Jornada del Muerto
Waiting For the End
Blackout
Wretches and Kings
Wisdom, Justice, and Love
Iridescent
Fallout
The Catalyst
The Messenger (Bonus Track)
Blackbirds (Bonus Track)

*Some tracks are explicit.

Linkin Park's new album is indeed a forray into the unknown. They somewhat enigmatically interweave snippets of Martin Luther King Jr.'s Wisdom, Justice, and Love speech, as well as experiment heavily with computer generated sounds that the band had always danced around. Many of the tracks are fillers, snippets of other songs, like "The Requiem", which alludes to the later single, "The Catalyst". "Empty Spaces" is simply that: white noise. "Burning in the Skies" however, reveals a raw, emotional side that is much softer than their past work, and it doesn't disappoint. It still brings the listener close to the heart of the song even though the characteristic hard rock feel is missing. "When They Come For Me" gives a taste of hip-hop flavor and original beats that impress. "Robot Boy" harnesses the lyric genius of Mike Shinoda with longtime collaborator, Chester Bennington's, expressive tones to create an electronica work of art. "Jornada del Muerto" or the slightly depressing translation"Path of the Dead Man", is another filler track with a snazzy title that only slightly lives up to its expectations, displaying an interesting beat progression that leaves you wanting the next song. "Waiting for the End" starts with a rhythm that immediately has you thinking reggae, but later shows its depth by incorporating rock, electronica, reggae, and hip-hop along with impressive raw vocals to create a musical masterpiece. "Blackout" initially comes across as another filler track, but then surprises with a dose of Bennington's signature screaming vocals reinforced by the most hardcore beat of the album, and is more reminiscent of Linkin Park's original style. "Wretches and Kings" begins with an excerpt from Mario Savio's Bodies upon the gears speech that transitions into almost a purely hip-hop track with only mild guitar and bass influence. "Wisdom, Justice, and Love" is an example of Shinoda experimenting with autotunes and putting pre-recorded speech to music. Unless you have patience, I would recommend you skip the track. "Iridescent" is a ballad that eventually strays into rock that is more "Train" than "Three Days Grace". "Fallout" doesn't make much of an impression apart from repeating lines from "Burning in the Skies", though it leaves you wondering exactly where it came from. It does, however, transition into "The Catalyst", the album's main promotional track, smoothly. "The Catalyst" is definitely one of the best tracks of the piece, immediately grabbing your attention with both beats and lyrics, and will hold it for some time to come. You'll be disappointed when 5:39 (the end of the track) comes around. "The Messenger", one of two bonus tracks, displays an emotional side of Linkin Park that usually doesn't show through in any of their past works. Love is the main influence in this song, and the first acoustic track that they've released, touches you with the honesty and sincerity of the lyrics and Bennington's interpretation of them. "Blackbirds" is a fitting conclusion to the album, though it is a bonus track, starting off with what sounds like a sampling of a drum track and vocal attempt from the studio, unfiltered and unmixed. It then jumps straight into the finished track, which is somber in general but lightened up a shade by the background beat from the drums.

All in all, "A THOUSAND SUNS" opens up a whole new era for Linkin Park, one that gives Mike Shinoda the raw vocal and rap spotlight (which had been absent since Meteora), and still dishes out enough of lead vocalist Chester Bennington to satisfy you. Other members, such as Rob Bourdon, Joe Hahn, Dave Farrell, and Brad Delson may not appear enough for your taste, but either way, the old Linkin Park is gone. Whether or not they'll leave you behind on their journey? Your choice.

Vampire Weekend

Album: Contra
Release: January 11th 2010 - UK

January 12th 2010 - US

Genre: Indie Rock

Vampire Weekend is:

Ezra Koenig- guitar, vocals

Rostam Batmanglij- keyboard, guitar, vocals

Chris Tomson-drums

Chris Baio-bass, vocals

For those of you who don't know, Vampire Weekend is an Indie band from none other than New York City. They debuted their first album, Vampire Weekend, in January 2008. Their fame was made through their hits, "A-Punk", "Oxford Comma", and "Cape Cod Kwassa Kwassa" from that album.

The band took their music to a slightly stranger, but all-out new level with Contra. You could say that their imagination really took off with this album, but then again, they are ignoring the fascade of normality while turning toward a new and somehow undiscovered leaf of this genre with each song. Contra, an album of Indie rock is truely something that you will find singular and out of the ordinary.

Futura │ Old School Remixed

La Roux

Album: La Roux

Tracks: 12

Released: 2009

Eleanor Jackson is one of the closest things you're going to find to a British Lady Gaga. She's created a nice little niche for herself in the electropop genre, her distinct voice an easy advantage. It's definitely an attention grabber. One of her most popular songs, "Bulletproof" is a song that you won't be able to get out of your head, which makes up for it's insane repetition of the chorus, and "In For the Kill" will be stuck on your iPod's pop playlist for ages. "Colourless Colour"'s highlight is its chorus, but it still carries plenty of catchy beats. "I'm Not Your Toy" is a hidden jewel of the album, a song that stands up for independence and quite unique subject material considering her genre. "Quicksand" seems to have a heartfelt message, but comes out as another club song about love. "Tigerlily" is a very strong song, balanced out by "Cover My Eyes", where Jackson displays her versatility, singing in a softer tone, less crowded by pop's signature autotunes. In "Reflections Are Protection," Jackson creates a softer atmosphere, akin to pop of the 80s. This album is an interesting addition to the pop genre, and I'm looking foward to any future projects of the enigma that is La Roux.

Train

Album: Save Me San Francisco

Tracks: 11

Released: 2009

Train displays an early success with their title track, "Save Me San Fracisco", giving a modern day interpretation of classic rock and a hint of jazz, something that has been absent in mainstream music. "Hey Soul Sister" has shot them to the top of the music charts, and it is a catchy, feel good song, but not anymore so than many on this album, though "Hey Soul Sister" isn't the highlight song of the album. "Parachute" provides an enjoyable experience, much like "If It's Love". "This Ain't Goodbye" is an acoustic, heartfelt ballad that adds the perfect touch to the piece. "I Got You" is a funky, fun track that wouldn't be out of place in a country dance club. "Breakfast in Bed" is a more indie track, that doesn't exactly seem to match with the album. "Marry Me" is a sweet track about love, the theme of many other songs on "Save Me San Francisco", but it doesn't contain the same strength in the vocals as any of the other songs, though the guitar's prominent presence is a nice touch. Considering Train's success with "Drops of Jupiter" (on an earlier album) and their present hit "Hey, Soul Sister", these two tracks aren't the only one worthwhile to listen to. Train is a budding artist that deserves a spot in the sun.