Sigh No More - Mumford and Sons

     Mumford and Sons are the guys that finally got me to get into the vinyl world. Their simple though nearly unparalleled layering of vocals and instruments, and thoughtful lyrics about life, love and faith are just too real to not want to hear straight from the needle. I have a deep affection for Mumford's debut album, and have been thrilled to own it on such a fitting medium.
     It should be noted, ironically enough, that most of my problems with vinyl playback stem from issues with my Mumford and Sons' albums, from having skips to misshapen disks. I guess it is fitting that such imperfections should arise in albums as earthy and real as Sigh No More and Babel. To invoke the hipster in me I like to imagine a 1930s farming couple huddled by an old radio set in their living room while listening to these tunes after a hard day's work, and so as inconvenient as the playback issues might be, it seems quite fitting, a humble reminder that nothing in this life is perfect, yet where joy can still be found daily.

1. The Presentation.

     Sigh No More is really nothing special in ways of appearance. It is a humble album sleeve, holding a simple and plain record sleeve with the lyrics of the album while protecting a basic 120 gram black vinyl disk. That is it, no digital download, no picture page, nothing. Again, I find this natural for this album, and the lower cost of the album ( Second Prints are being sold for about $13 on average) make this a fair deal, but a shame that you must also get a disk or mp3 if you want to listen to the album on the go.
     The disk is of the cheapest weight one can get vinyl in, and that is why there are so many with mistakes. That being said, on two different copies of these I had only a couple issues on one, while the other has thus far played without anything except a small skip on the second side. Overall disappointed in the presentation, but the album can be had for pretty cheaply so it kind of balances out.


2. The Tracks.


     If you like to listen to your music with a contemplative mind and a watchful ear, then this is a fantastic album to meditate on. If you enjoy American folk music with an ever so slight British twist, then this album should certainly be on your shortlist. Sigh No More is an album to interpret either by oneself or with friends.
     Though they hail from the United Kingdom, you wouldn't know it by their style, pure American Folk, mostly keeping things light and easy to listen to, all while coupled with such cosmopolitan lyrics that keep the music seemingly relevant for any occasion. Mumford commonly cites Shakespeare and the Bible in their lyrics, with a veiled sense of importance and thought. This makes them worth listening to more than just a few plays because different parts will seem to shine through brighter than others with each listen, almost always finding relevance to my personal life at the time.
     "Winter Winds" was their first song that I really got into. It has a familiar warmth about it, and all the while warning of love without the hearts consent. "The Cave" is usually what people first heard from them, that or "Little Lion Man," both of which have a memorable guitar play with their famous lyrical depth.
     The album flows well, each track giving another opportunity of reflection and enjoyment without overplaying a certain sound. The most distinct track in my opinion must be the driving and heavy "Dust Bowl Dance", while the previous song, "Awake My Soul" takes a very light and easy listening vibe. All in all, a fantastic selection of diverse, thoughtful and enjoyable tracks in a somewhat random, though not unenjoyed order.


3. Sound Quality.


     This is where all but one of my Mumford & Sons albums get low marks, though I can honestly say I do not mind as much as I would another genre or artist. These tracks are robust enough to endure through the small pops and static of what almost feels like a worn out record, when really it is just shoddy quality. It gives the album a different feel, distinct to the vinyl medium where it is warm and yet distant, evoking feelings of a simpler, harsher past with all of the same emotions and lessons learned and felt now.
     It is what most people with no vinyl experience think all turntables must sound like, and for many that is not a problem. The issue, however is when the poor vinyl quality that creates the nostalgic sounds also creates skips, and in some drastic cases even endless loops. This is where I have been plagued with my Mumford albums, with even purchasing a second Sigh No More after finding my first one had two endless loops, and both were in some of my favorite tracks. If this album had cost me what most other albums go for, it would be a complete ripoff.
     If you want to enjoy this album as sonically pure as possible, this is certainly not the medium I would recommend, despite my love for the music. If you want a subtly different listening experience that might take you back to an older time, then this is a perfect album to drop your needle to.


Final Impressions.


     Sigh No More is an album for the ages, a piece of art that I am positive will stand the test of time. The vinyl offering may well be a glimpse of how future generations might hear the album, with a yearning of simpler, and more robust times. That being said, I don't think the album offers any real value beyond the average $13 price. This is by no means an album any audiophile would like to listen to unless they were feeling nostalgic.
     That all said, this is one of my favorite albums to throw onto my turntable, and one that I would buy again if I had any further issues with playback, but those are just my personal feelings about it.

1000 Forms of Fear (Special Barnes & Noble Gold Edition) - Sia

     Sia's 2013 hit album tackles some incredibly dark and introspective topics all wrapped up in a well produced and catchy tracklist. Having quite the history as an artist whose career has spanned multiple decades, Sia has made a focus to her music rather than herself, hence the platinum gold wig on both this LP as well as her recently recently released This is Acting. This record can be found fairly inexpensive most places, with Barnes & Noble having the rights to an exclusive gold vinyl edition that I purchased for a few dollars more, at a quite reasonable $21.

1. The Presentation.

     I was excited for this album for a while, as I have enjoyed Sia and wanted to hear and see what this exclusive edition offered me. An interesting thing to point out is that the protecting sleeve is black instead of white, something not important at all, but nonetheless I have never seen before. A fold-out lyrics page is included with interesting photographs and sometimes hard to read lyrics, but it was helpful to read while listening, as Sia can just blast through words faster than more than a few rappers I listen to.

     The "gold" vinyl is actually translucent yellow, giving off a cool vibe and contrasting perfectly with the rest of the album. Overall, the presentation is fairly basic but effective, establishing the LP as unique without being gaudy or appearing to try too hard. Nothing was damaged or deformed, other than a little warping on the vinyl itself (which I do not think affected sound quality) and then a few crinkled corners from store display.

2. The Tracks

     Sia is emotionally charging. Before I ever contemplated the chart-topping single "Chandelier" I was impressed with how she soared so powerfully and yet effortlessly. This is a pattern with Sia, throwing oftentimes quite deep and personal insights around so casually the listener might not catch them, though at the same time they still house all of their impact regardless. It is an odd combination, and one that is dressed up in a hilariously catchy tune to create a storm of feelings and beats. It is no wonder she shot back up to the charts so quickly, and how her next album will almost certainly do the same.
      That being said, some of my personal favorites on this album has naturally been the headliner "Chandelier," as well as the more recently successful "Elastic Heart," of which this special edition comes with the track featuring The Weekend. "Eye of the Needle," "Straight for the Knife," "Fair Game," and "Big Girls Cry" all use a slightly undertoned beat to create a driving ambivalence, something that Sia really nails. "Hostage," "Fire Meets Gasoline," "Dressed in Black," and "Burn the Pages" where my personal hidden favorites, all using such a strange and yet natural instrumentation and lyrics to create nothing short of an uncomfortable ease about them, which sounds like some kind of nonsensical art-snob description, but I cannot find a better phrase to tackle it adequately.
     The tracks are all meaningful to Sia, which makes it easier to connect with them yourself. This kind of passion makes even the haters at least appreciate the time and passion that this album took to create. Her vocals are to me what define her sound, though there are so many defining factors, simply because her voice creates the ironic disinterested urgency, or vise-versa, the urgent disinterest.

3. Sound Quality

     This album is the type that requires a solid sound quality, though in fairness every album I review and listen to should require a professional standard. 1000 Forms of Fear does not disappoint in this regard, giving a crisp and rich sound right off of the platter. "Fair Game" stands out immediately to me because of those strange bells thrown in the middle of the track, giving a very alive and defined sound stage. Even streaming through Spotify and playing through iTunes gave this clear impression.
     One of the issues with many beginner turntables is the boominess of the bass, which is not apparent on many bookshelf systems, but once a subwoofer is connected, or more well-rounded towers are added then usually it becomes quite obvious, but I never had to adjust my bass levels during any of the listening sessions, and found a couple tracks, like "Elastic Heart" to even be a little more restrained than I would have personally liked. This is likely a testament to my current set up and positioning more so than any sound engineering trickery, but it did seem more natural than other LPs I have been listening to recently.
     All in all, however, a very enjoyable album on either a huge PA system or a humble desktop setup as far as quality is concerned.


Conclusion

     1000 Forms of Fear is a fantastic album, and anyone wanting something familiarly different needs to check it out. I would recommend spending the extra $5 or so to track down the Barnes & Noble "gold" edition, if nothing else because usually special editions and colored vinyl costs more, but having the bonus edition of "Elastic Heart" featuring The Weekend.
      The album is a great compliment and addition to nearly anyone's record collection.

Sorry - Meg Myers

     Meg doesn't have a lot to be sorry for in her debut album. Sorry, released in September of 2015, premieres the Tennessee native Meg Myers and her beautiful, though not unheard voice. This review focuses on three different categories to help you understand what $19.99 to $29.99 will get you with her album.

   1. The Presentation.

     First off, I ordered my album from Amazon at a fantastic price of $19.99. The album came on time in usual Amazon fashion, and was inclosed in the usual cardboard sleeve. Nothing was damaged, or crinkled. I was particularly excited about this LP because it came with a CD copy as well, instead of an MP3 download code. I prefer CDs because their sound quality is usually uncompressed, giving a more full listening experience on a wide range of platforms. The LP sleeve is just a single, no fold slot, and inside is a white sleeve protecting the vinyl disk, as well as a nice picture/lyrics page, and finally a paper CD sleeve. Pretty basic, but it fits and presents itself nicely. The vinyl disk is a decent 150 gram black vinyl, so not quite as heavy duty as the 180 gram but far superior to the cheapo 120 grams. No issues with the vinyl or CD were found as far as skipping, having trouble reading or that sort. I appreciate when an artist takes the time to present something nicely, and while it is no The Civil Wars, it holds it's own and is actually a bit nicer than some albums I have paid more for. Price point in mind, this album holds some pretty decent features, though I would hesitate to purchase it again at much more than the $19.99 I paid for it. 

2. The Tracks

     The Tennessee born singer has supposedly had a rough life, and while that shows immediately in her music, it seems as if this album is more of an acceptance and a will to move forward rather than a lament. The tone and voice ooze pain and regret, but can't hide her obvious passion for singing.

     Meg Myers sounds a lot like Florence Welch, but maybe a little less mature and developed. This is not a bad thing, it makes her music easy to connect to younger audiences, and her lyrics have that noir and angsty feeling that all the cool kids are into. What is really nice is that not all of her songs are angsty, which I think would have been far too melodramatic to get much more attention than a couple listens. Indeed, some of her songs flow like a Paradise era Lana Del Rey track, namely "The Morning After" where an ethereal blues is just permeated on everything. I love it.

     The combination of acoustic and electronic instruments is nothing new, and often is overused in today's industry, usually in a pretty mixed success rate. Instead of challenging the status quo, Meg Myers keeps to a fairly standard formula, though making sure to keep a depth to everything. Sorry is well rounded for a pop album in terms of variety, but her layering system seems to not be as robust as a mass appealing pop album should be, being more interesting to listen to, but easy to muddle up with less than ideal listening situations. I enjoyed both the precision and the variety in her work.
     As for the individual tracks themselves, I really did enjoy the opening track, "Motel," but some of the real standouts for me have been "A Bolt from the Blue," "Lemon Eyes," "Make A Shadow," and "The Morning After." Her diversity and willingness to try new things is apparent, and her use of the lower octaves of the guitar make it seem nearly like a spanish guitar. The only track that I consistently dreaded and disliked was "I Really Want You To Hate Me," which really felt like a one dimensional, stereotypical teenager hit, but besides that, everything has a pretty good feel, variety, and sound to it. I am really excited to see where she will go with her music for the next album. 

3. Sound Quality

     Starting off dropping the needle on a beginner Audio Technica AT-LP60 with my budget stereo system, I was honestly impressed. As far as I can tell, they used the original, uncompressed recordings for the LP, and boy does it show, mainly with far more precise highs, and real, powerful lows. Tracks like "Sorry," "Desire," and "Feather" all have the real bass that was missing in the streaming, which was reassuring and for me, and made her music pop all the more. Her voice seemed to come alive with this added definition and made me appreciate the work that was put into the recording. The clarity of her acoustic tracks is not reference quality, and to those with the discerning ear, it will show, but the added warmth commonly associated with vinyl has really helped her style to come alive without being too melodramatic or angsty. I do not have a real respectable headphones setup yet, so listening to it on a pair of Skull Candy Crushers I had lying around seemed to do well, though took away the very definition that I was so impressed with the vinyl format. If you really want to appreciate the actual recordings of this LP, best to get a decent headphone setup (a really high rated and inexpensive option is one of the many Audio Technica headphones floating around) or get a half decent stereo system.
     The MP3 was naturally muddied and distorted, though if you are used to streaming or iTunes, then this will be a perfectly natural and decent sound. The problem that I found with it is that it cuts off the needed lows and highs too much, resulting in a more flat noise, which does not do her electronic layers justice. I found it acceptable for walks or jogs with some ear buds, though I really did miss the precision that I feel her music needs that buds just cannot give.
    The CD was an important part of my personal purchasing decision, and for the most part, it did not disappoint. The lows seemed to have far more definition to them, and especially "Feather" really allowed my subwoofer to sing. The mids and highs where acceptable, especially with different instruments like bells and chimes, they even popped.

Conclusion

     All things considered, is this a good buy? While music is quite subjective and varies from person to person, someone who is in the mood for some well rounded pop music shouldn't be afraid to give Sorry a good chance. I was nervous at first with just how terrible the MP3 sounded, but my fears were pretty awesomely put to rest with both the CD, and more importantly, the vinyl.
     The tracks where catchy without being too simple, the lyrics, though at times pretty melodramatic, are meaningful and easy to connect to, and the entire presentation of the album is simple, though effective. All in all a fantastic buy for only $20, and someone relatively new who I think could use a little spotlight.