Edward Sharpe & The Magnetic Zeros' New Album Is 'Strangely Aimless'

— -- intro: This week alt-rock icon PJ Harvey returns with her first album in five years, “neo-soul” singer Musiq Soulchild releases a slick, new album, Sam Beam of Iron & Wine fame collaborates with fellow singer-songwriter Jesca Hoop, rapper Mr. Lif releases a new album, Edward Sharpe & The Magnetic Zeros release their fourth album, and we get another posthumous release from the late hip-hop producer and rapper J Dilla. There is plenty of new music to explore.

quicklist: 1title: PJ Harvey’s “The Hope Six Demolition Project” ***1/2text: PJ Harvey has never been one to shy away from controversy and her ninth album is perhaps her most controversial to date. Written after trips through Washington, D.C., Afghanistan and Kosovo, this is a journey through lands wrecked by destruction of some kind or another.

Local Washington, D.C., politicians have already taken argument with Harvey and one of the album’s singles, “The Community Of Hope,” which has a video which journeys through “Hope VI” which is a rebuilt area that used to be a project. The beginning of the video shows Harvey being given a tour by Paul Schwartzman of The Washington Post. The video ends with a gospel choir in a church singing Harvey’s repeated final line of the song, “They’re gonna put a Walmart here.” Whether Harvey is trying to equate big-box stores and consumption with religion isn’t clear. But what is clear is that throughout “The Hope Six Demolition Project,” Harvey is trying to get our attention. Perhaps singing about people and places that have been forgotten and/or exploited she is trying to point out some sort of hypocrisy. Singing about drugs and rundown schools in the U.S. capitol leaves a strong impression. The Walmart reference seems to point out a society that puts business over people.

She sings both “Medicinals” and “Near The Memorials To Vietnam And Lincoln” like strident marches. There’s a very deliberate and determined tone to this album in general.

Elsewhere, “The Ministry Of Social Affairs,” “River Anacostia” and “Chain Of Keys” all simmer with a dusty blues-driven energy. This album doesn’t have the mysteriously entrancing vibe of her album “Uh Huh Her” or the quiet, discomforting menace of “White Chalk,” but it does have its sound, rooted in a commanding tone. It’s also an album with a lot of saxophone work. So much so that I was listening to the end of “Dollar, Dollar” while on the elevator coming up to my office and one of my colleagues asked me, “Are you listening to Ornette Coleman?”

In the very least, “The Hope Six Demolition Project” is a record that will get people talking. Its aim is to jab. It’s not as indelible as Harvey’s 2000 album, “Stories From The City, Stories From The Sea,” but it comes from a much more unsettled place. That being said, it is an easier and more consistent listen than Harvey’s last album, “Let England Shake.” Nevertheless, PJ Harvey continues to be a thought-provoking ground-breaker with this biting sonic firecracker of a collection.

Focus Tracks:

“The Community Of Hope” This is a quick song, but as stated above, it definitely leaves a lasting impression. It plays a like an American counterpart to the main single from “Let England Shake,” “The Last Living Rose.”

“The Wheel” Ragged and ramshackle in sound, this rocker has a mess of guitars and saxophones. The dense sound mirrors the war-torn lyrics about missing children.

“A Line In The Sand” There’s something haunted about Harvey’s tone when she sings with the upper register of her voice and that suits the tone of “A Line In The Sand” perfectly.

quicklist: 2title: Musiq Soulchild’s “Life On Earth” ***1/2text: Starting as one of the main participants in the early 2000’s “neo-soul” movement, Musiq Soulchild has done a lot of shifting around, delivering organic grooves one moment and shiny, polished R&B the next. “Life On Earth” is his first record since his reggae-infused, collaborative album with Syleena Johnson, “9ine.”

The first thing you’ll probably notice about this record is that is brings a digitized update to the early nineties “New Jack Swing” sound. By “digitized,” I mean that there is something vaguely electronic going on here and sadly Musiq’s voice seems to be slightly Auto-Tuned for effect. He doesn’t need such a touch, so this is momentarily upsetting, but not enough so to ruin the record. In fact, one listen to “Heart Away,” should silence just about all other complaints.

Part of me really wants to hear what this album would sound like without the digitized vocal effects, but at the same time, the material here is decent and it shows that he remains a commanding force of modern R&B. Touches like the soulful electric piano on “I Do,” make this more than your standard fare.

“Walk Away” sounds strongly influenced by Stevie Wonder in ballad-mode, while the Rapsody-assisted “Far Gone” merges a slick modern hip-hop sound with a rich, sonic earthiness. The jazzy, minor chord-bends on “Part Of Me” add a sense of musical richness.

Really, “Life On Earth” is the work of an extremely gifted performer caving to modern conventions in order to try to fit in with modern sounds. It’s a very satisfying record on some level, but at the same time, the digital sheen comes off like an unneeded concession. On “Alive And Well," Musiq sings, “If you are a fat man, be a happy fat man/ If you are a poor man, be a happy poor man.” The message is to be yourself and enjoy being alive. There’s something to be said about this. This is a quality album, but Musiq is best when he’s allowed to be his most soulful. The drenched sound of this record means he might not be following his own advice.

While this album lacks the organic nature of earlier albums “Aijuswanaseing” and “Juslisen,” it is still effectively smooth.

Focus Tracks:

“Heart Away” Musically, this combines a nineties R&B aesthetic with jazzy instrumentation that sounds like it belongs on a latter-day cut from A Tribe Called Quest. This is a modern R&B gem and it should also be a strong party-starter.

“I Do” At its core, this is a collection of love songs and this slow jam is a clear show-stopper.

“Far Gone” (Featuring Rapsody) This song’s build is anything but typical. It seems weightless at first and then the beat and Musiq’s vocals come in and give it some amazing heft. This is a truly stunning track.

quicklist: 3title: Sam Beam & Jesca Hoop’s “Love Letter For Fire” ****text: Sam Beam is known for his Iron & Wine work and Jesca Hoop is a quirky singer-songwriter known for tremendous albums like 2012’s “The House That Jack Built” and 2010’s “Hunting My Dress.” While Beam is more in line with the traditional singer-songwriter folk fare, Hoop is more experimental. Keep in mind, she served as a nanny for Tom Waits’ kids and her career was championed and encouraged by Waits’ family. That artful alignment comes through in her work.

The union of Beam and Hoop on their new collaborative album, “Love Letter For Fire” is an interesting one because you can hear exactly where the two artists’ distinct styles collide.

The soft mannerisms of “One Way To Pray” is closer to Beam’s Iron & Wine sound, while the edgy, plucking on “The Lamb You Lost” is closer to what you’d find on one of Hoop’s records. “Midas Tongue” has Hoop’s stamp all over it while “Bright Lights And Goodbyes” is more Beam-esque. Together this is the kind of seamless union you didn’t expect you wanted. Their voices sound excellent together and the two performers really mesh and contrast with each other well. Fans in both the Iron & Wine and Hoop camps will find plenty to enjoy here. The lyrics are full of vaguely biblical imagery mixed with notions of emotional heft. Some of these songs have a surprising hint of classic country influence. This record covers quite a lot of territory in a short span of time.

“Love Letter For Fire” is a record that shows highlights the best qualities of the work of both Beam and Hoop. It is an arresting, extremely successful union. One hopes that this isn’t a mere one-off collaborative effort.

Focus Tracks:

“Soft Place To Land” In soft ballad mode, Hoop and Beam accompany each other with a comforting air. Their vocal harmonies serve as a highlight.

“We Two Are A Moon” This sounds like an even cross between the styles of both performers, bouncing from Hoop’s rigidly-plucked side of the equation to more sweeping fare more akin to Beam’s work.

“Chalk It Up To Chi” Hoop has an interestingly oddball sense of melody here and the two musicians really play effectively off of each other. At just two minutes and 21 seconds, this song makes economic use of its time.

quicklist: 4title: Mr. Lif’s “Don’t Look Down” ****text: The fact that Boston’s Mr. Lif is still surfing the underground and not considered one of hip-hop’s stars 14 years after dropping his debut full-length, “I Phantom,” shows that often lyrical skill and excellent beat-work can be often overshadowed by more vacuous, flashy fare. “Don’t Look Down,” Lif’s first solo album in seven years should (if there is any justice) give him a wider audience.

If you’ve heard Mr. Lif in the past, you’ll know that he is known for his studied, often deadpan delivery. This makes him an ideal MC for dropping gritty, narrative rhymes, as he does on the Wu-Tang-esque opener, “Pounds Of Pressure,” or more cerebral, thought-provoking material like the title track.

“The Abyss” is a jaw-dropping mix of dizzying beats, rhymes and scratches, while the Blacastan-assisted “Whizdom” finds both rappers effectively flowing over an ear-catching, authoritative beat that is unlike anything found on hip-hop radio these days. “World Renown,” finds Lif sharing the mic with another unappreciated legend, Del The Funky Homosapien, over an awesomely smooth groove, whereas “A Better Day,” effectively finds Lif exploring more optimistic R&B material with vocalist Erica Dee.

“Don’t Look Down” is shockingly short at only ten songs and 36 minutes, but that is all Mr. Lif needs to leave a lasting impression. Many fans of underground hip-hop have known that Lif has been a star for some time. His appearance on the title track to Thievery Corporation’s 2012 album, “Culture Of Fear,” no doubt raised his profile, but it is time for his audience to widen.

If you like fascinating, dense hip-hop with focus on rhymes, thought and skill, this album is in the kind of classic mold worth celebrating. It may not be for everyone, but this is bringing the genre back to a wonderfully raw essence. Mr. Lif should be on your radar.

Focus Tracks:

“The Abyss” This is the kind of jam that will stop you in your tracks with its rapid-fire energy. It is a swirling sonic stew that will grab you immediately.

“Whizdom” (Featuring Blacastan) This beat and the interplay between these two MCs both make this a highlight on the set.

“Pounds Of Pressure” Part of me thinks this sounds like something Raekwon and Ghostface would have put on “Only Built For Cuban Lynx.” It is less cryptic than Wu output, but it still tells a story with an intriguing sense of menace.

quicklist: 5title: Edward Sharpe & The Magnetic Zeros’ “PersonA” **text: The fourth album from Edward Sharpe & The Magnetic Zeros is also the large Ensemble’s first since parting ways with former co-vocalist Jade Castrinos. This means that leader Alex Ebert (AKA Edward Sharpe) is left alone to lead the show and the contrast and interplay between the two is lost as Ebert’s oddest impulses are left to make themselves visible. His opening falsetto-vocal workout, “Hot Coals,” comes off as more grating than fascinating as he seems to veer off-key. The aptly-titled “Uncomfortable” ends with a horrible and pointless scream, while “Somewhere” sounds like an inferior knock-off rewrite of The Beatles’ “Here Comes The Sun.”

This is also the band’s first album where the whole band gathered in a room to work out and develop the songs. Strangely, that shows. As a band, they are tighter than ever, but the material lets them down. There’s nothing here with the power of “Home,” “Janglin” or even “Man On Fire.” This is an album that comes off as strangely aimless. The magic moments from before are nowhere to be found. There are ten people in this band and yet, there is something quite stark and uneasy about these songs, even when they swell to orchestral levels, like on the standout, “Let It Down.”

Ebert is going for an orchestral, dramatic sound, but his vocal limitations let him down. He’s still a singer better suited for more punk-driven fare. Go back and listen to the first album by his former band, Ima Robot and see if you don’t agree. When he puts on a crooning pose on this set’s “Perfect Time,” it comes off as awkward. The song’s rambling lyrics don’t help it to be taken seriously, either.

“PersonA” is an often painful set given to us by a still promising band whose members have lost their way. Like Ebert’s difficult 2011 solo album (as “Alexander”) this album does not show his best side. For Edward Sharpe & The Magnetic Zeros, “PersonA” is obviously a tense, transitional offering.

Focus Tracks:

“Let It Down” This is one of the few songs on here that goes somewhere. It has a spaghetti-western sense of drama as it sweeps and sways. It isn’t as powerful as it could be, but it shows promise.

“Lullaby” This album almost sounds like a work of a band in mourning. Yet, this a gentle lullaby with a vintage quality. Although, Ebert’s vocal tone undercuts this song’s sense of depth.

quicklist: 6title: J Dilla’s “The Diary” ***text: J Dilla died in 2006, three days after his 32nd birthday. His estate, however, has continued to release album after album of previously unreleased material. Given the fact that Dilla was a celebrated hip-hop producer and beat-maker known for epic work with acts like Slum Village, A Tribe Called Quest, The Roots and others, most of these releases have been instrumental in nature, following the blueprint set by his classic “Donuts,” an album that saw release during the final week of his life.

“The Diary,” unlike other posthumous Dilla releases was always intended to be an album within itself. It is not a culled-together compilation. It also finds Dilla flexing his muscles as a rapper. Now, if you dig Dilla’s beat-work, you won’t necessarily like his work behind the mic. He’s a grittier and more confrontational lyricist than those familiar with his past associations would assume. “The Shining Pt. 2 (Ice)” and the Gary Numan-sampling “Trucks” imply that he’s on more of the boast-heavy, materialistic side than on the consciousness end. Still when he echoes Q-Tip’s Tribe “Excursions” verse on the album’s “Introduction,” you know that his influences are quite varied.

The beat on the Dave West-assisted “So Far” is beautiful, while Snoop Dogg makes an attention-grabbing appearance on “Gangsta Boogie.” Dilla drops his own jam “F--- The Police,” no doubt paying tribute to the N.W.A. classic. His version, though begins with a disclaimer that “in no way to we encourage or condone violence against law officials,” instead focusing his rhymes on crooked cops and their treatment of the community. In this post “Black Lives Matter” world, this resonates quite strongly.

“The Diary” will probably be a polarizing release. It is not on par with most of Dilla’s instrumental records. Anyone familiar with his previous work on the mic should not be surprised. Like Kanye and Diddy, Dilla shows himself to be a celebrated producer whose mic-skills didn’t quite match up to his ability to effectively craft a groove. Still, this shows another side of a hip-hop legend cut down before his time.

Focus Tracks:

“Gangsta Boogie” (Featuring Snoop Dogg) Snoop’s verse was probably added more recently when you consider he mentions Obama, but these two sound surprisingly good together on the funk-driven track.

“So Far” This is the best beat on the set with a surprisingly melodic tone. It is like a little beam of sunshine compared with much of the rest of the set.

“Trucks” Dilla was always known for his wide range of influences. I would have still never expected him to be rebuilding a track around Gary Numan’s classic, “Cars.”

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