Tag Archives: albert hammond jr

The Top Five Songs of 2018: Neeharika’s List

30 Dec

You might have heard a few of our top five songs on the radio; a couple are famous for their blockbuster music videos. All of them, though, have made our year that much better, and we’re excited to share them with you. Read on for our top picks!

5. “Nice for What” by Drake

The women in this Dreezy hit from 2018’s Scorpion work hard and party harder. They don’t get bogged down by bad partners; they put in their best from 8 to 5 and don’t feel guilty to hit the club later at night. With hypnotic beats, a sunny outlook and endearing lyrics, “Nice for What” is a feel-good female empowerment song from a totally unexpected source – a male rapper.

A special shout-out is warranted for the song’s excellent music video featuring some real women role models. Issa Rae, the black writer-actor behind HBO’s Insecure, leads suited-and-booted men in a neon-green jumpsuit. Zoe Saldana, who plays a superhuman fighter in the Marvel Universe, is a doting mom to her young children. Letitia Wright, the scientist-princess from Black Panther, dusts the dirt off her bright red jacket. Like the song itself, the music video captures the true happiness and optimism that comes from being an independent, hard-working woman. And we are here for it.

4. “QYURRYUS” by The Voidz

Tyranny, the debut album from The Voidz, was a genre-defying exploration of eclecticism, peaking with an eleven-minute amorphous beast called “Human Sadness”. On this year’s follow-up Virtue (full review here), The Voidz have sharply toned down the weirdness for a much more accessible album. “QYURRYUS” (pronounced “curious”), though, does not fit into that formula – or any formula, really.

There are no precise words to describe what this song is because there are no others like it. Familiar-sounding synth beats dissipate in the first five seconds into an imagining of what Rammstein, for example, might sound like if they were a belly-dancing nomadic tribe. Julian Casablancas’ strange, indecipherable vocals could be viewed as a musical instrument on their own. The chorus sounds like a robot attempting to create a Bollywood song. Somehow, miraculously, it’s a catchy song, too.

File this one under its own damn category because there isn’t going to be anything like this anyway.

3. “Set to Attack” by Albert Hammond Jr.

In our opinion, the best songs are the ones that can change your mood just by listening to them. “Set to Attack”, the highlight of Albert Hammond Jr.’s fantastic Francis Trouble (full review here), is just that kind of song.

With an achingly nostalgic mix of early Beatles and early Strokes, “Set to Attack” is a sweet, simple ditty about the trials of young love. “I was still hoping that you were the victory / To what had felt like love,” croons Hammond, taking us back to a time when you could know and feel all the words on a love song.

“Set to Attack” is a little happy, a little sad, but ultimately impossible to not love. An instant classic.

2. “SICKO MODE” by Travis Scott feat. Drake

Travis Scott’s new album, Astroworld, is a tribute to a now-closed, much-beloved amusement park in his hometown of Houston. “SICKO MODE”, the stand-out track from that album, is an inspired, three-part roller coaster of a ride that shows why Scott is a cut above the rest.

“SICKO MODE” is so packed with surprises that it might give you whiplash. Drake lays the intro in a verse that seems to build up to a beat drop – except it doesn’t. Travis takes over with two verses of hypnotic flow that lull you until he swerves again, with sludgy beats that lead into a dizzying new section. A few seconds before the end, the tempo abruptly slows down to a halt, and you know you just have to get back in line hit replay.

1. “This is America” by Childish Gambino

It’s been seven months since “This is America” broke the freaking Internet, and we still can’t get over it. The song starts off innocently enough, with gospel-style vocalizations and a gentle guitar. With a gunshot, it breaks into an on-point summary of black America in 2018: racism, shaming and unwarranted police violence.

Of course, no review of this song is complete without talking about its music video. There is no doubt that Donald Glover is the renaissance artist of our generation. He wrote for 30 Rock; he’s an established actor; he produces and often directs his own award-winning show; and he is an independently popular musician. On the music video for “This is America”, he puts it all together in a maddeningly talented way.

There are so many layers to the music video that this short review cannot do it justice, but consider the following images. He grooves along to an upbeat gospel choir but suddenly shoots them dead with a machine gun. He joins uniformed black kids in traditional African dances while chaos reigns in the background. And the camera pans to folks filming the whole thing on their phones.

There are musicians, and then there are artists. And then there are geniuses. No points for guessing which one is Childish Gambino.

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Albert Hammond Jr. – Francis Trouble

14 Dec

Albert Hammond Jr. is perhaps best known for being the Strokes’ lead guitarist, and later for three decently-received solo albums. On his fourth album, Francis Trouble, Hammond Jr. knocks it out of the park with a record that rivals the his best output with Julian and the boys.

The story behind Francis Trouble is fascinating, and perhaps hints why Hammond’s fourth outing is, so far, his best. According to Rolling Stone, Francis was Hammond’s twin, but died in utero while Albert survived. In a way, Francis Trouble is a posthumous rendition of this long-lost, never-found twin’s personality: boisterous, spirited, and not bogged down by the baggage (positive and negative) that might plague his more-famous sibling.

In between the frenetic drums on “Muted Beatings”, we hear Francis’ hesitant but passionate claims of not caring about his lover (“Like awaitress, too good to forget”), if he had the chance to be around for that sort of thing. “Screamer”, with boastful snarks and heady solo, is practically a rambunctious theme song for the hell-raising Francis “Trouble” Hammond.

However, the best songs on here are – no surprise – the ones where Hammond meshes this newfound inspiration with his Strokes-esque sensibility of structure and rhythm. On album opener “DVSL”, he affects a punk rock scowl that Julian Casablancas would envy, over an almost trademarked perfect-fit between drums and guitars. The intro on “Tea for Two” even fits the famous Strokes formula: one guitar hits downstrokes, another guitar explores a melody, and the vocals form a third, complementary layer. He mixes it up enough, though: the bittersweet chorus reminds the listener of the Police, and the jazzy interludes are a true touch of genius.

But none of these songs come close to “Set to Attack”, a gem that falls squarely between jangly early Beatles and Room on Fire-era Strokes. Hammond alternates between old-timey verses, sung through what seems to be a 1940s radio broadcaster’s microphone,and an impossibly catchy chorus, with a signature, neat solo at the end.

What makes the Strokes so enduring is their ability to structure tight, upbeat music as a foil to Casablancas’ tone – sometimes remorseful, sometimes angry, always passionate. On Francis Trouble, Albert Hammond Jr. takes all of that and makes it much more, in a dramatic re-discovery of his enormous talent. 

Best songs: “Set to Attack”, “Muted Beatings”, “Tea for Two”

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