Lupe Fiasco
Lasers
(Atlantic)
3/5
Lupe Fiasco’s third studio album has been long overdue. Lasers was stunted by Atlantic Records in 2009 for being unmarketable, but after fan protest and much compromise by Fiasco, the album has now been released. Happy ending for Lasers, then? Not quite.
The album is full of overly dramatic, sing-song choruses that can be hard to digest for a hip-hop head. With more electronic mainstream beats, it feels commercial, more like Atlantic’s record than Fiasco’s, unlike his previous album, The Cool, which featured more intellectual creativity in his songs.
It’s not all bad though; there are a few tracks that accentuate Lupe’s Common-esque Chicago roots and lyrical genius. “Till I Get There” and “Coming Up” are definite highlights of the album and sound the least compromised.
Lasers is sub-par Fiasco, but it’s still an above average pop-rap album with some good lyrics and a solid message.
-JASON SALIANI
The Albertans
New Age
(Ernest Jenning)
1.5/5
The Albertans’ second full-length album, New Age, is a safe release. The Vancouver-by-way-of- eastern-US band might have passed go and collected 200 bones, but they don’t own Park Place… yet.
New Age is a serious indie pop breakfast album, like waking up at a friend’s house at 10:30, making some toast, and going for a bike ride together. New Age has seriously limited play, though: it just lacks energy. Drummer Curtis Mclean and his kick drum literally save the album.
Strong tracks are “The Wake,” reminiscent of the mastery of Mono in VCF, “People Don’t Go,” harmoniously similar to BC Camplight, and “Furniture”: suave bass, very Rogue Wave.
The rest of the album can be composted; even though it’s mellow, it still needs a hook, and the lyrics don’t venture past love themes. New Age isn’t unique, especially in a heavily saturated genre.
-ADAM PRICE
Oh Land
Oh Land
(Epic/Fake Diamond)
4.5/5
From a childhood in Germany creating imaginary languages and characters to a life based in music, Nanna Øland Fabricus, the artist and musician behind Oh Land, has brought her creativity and aesthetic to her songs and performances. Her second, self-titled album is no exception to that.
Under the genre of alternative or pop, Oh Land uses her second album to continue defying the limits of these genres with her skewed soundscapes, diverse instruments, and futuristic feel, as well as her self-written lyrics that are very abstract, spiritual, and storybook-like.
A new artist to the music world, Oh Land holds her own with fresh sounds and an element of quirkiness. Filled with songs like “White Nights,” “Rainbow” and YouTube hit “Sun of a Gun,” Oh Land is an album that you will listen to over and over, and come to love more and more each time.
-CHESLEY RYDER
Teddy Thompson
Bella
(Decca/Verve Forecast)
4/5
Teddy Thompson’s fifth full-length album, Bella, is his catchiest yet, blending pop and country sensibilities to create a warm and complex 11 tracks.
Bella is less pop and more country than 2008’s A Piece of What You Need. Thompson knows how to write for his voice, which is strong, rich, and Roy Orbison-esque, and he again proves on Bella that he’s a master of the three-minute pop song.
But some of the string arrangements are distracting and tacky. Thompson should have played to his strengths and stuck to simpler arrangements, emphasizing his voice and guitar.
Highlights of the album are first single “Looking for a Girl,” country ballad “Take Care of Yourself,” and minor-key stand-out “Home.”
More adventurous melodies make Bella a step forward for Thompson, confirming his status as a master songwriter.
-ROSE JANG
Britney Spears
Femme Fatale
(Jive Records)
3.5/5
Britney Spears is back with her seventh studio album, Femme Fatale. Produced by the legendary Lukasz “Dr. Luke” Gottwald (think Ke$ha “Tik Tok” and Katy Perry “California Gurl”) as well as Max Martin, this album delivers electro-pop dance music at its finest.
That being said, the album is a lot grimier than her previous records, which isn’t surprising considering the early speculation that dubstep DJ Rusko had produced it. Remember when “Womanizer” and “I’ll Be Loving U Long Time” were getting so much remix love in ’08? Femme Fatale cuts out the middleperson and is an entire album that sounds like it’s already been remixed.
“How I Roll” is the most extreme example—Spears’ voice is manipulated beyond recognition, although that’s not necessarily a bad thing. Femme Fatale is definitely well-mixed and guaranteed to be full of hits, but you may feel like you’ve heard it all before.
-ALI HACKETT