Noise 101: CD Reviews for Nov 20
Taylor Swift
1989
Big Machine Records
Score: B+
Taylor Swift had fans claiming she “broke the Internet” on the release of her new album, 1989. They’re not entirely wrong. An impeccably timed iTunes glitch made the second single, “Out of the Woods,” appear sold out. While Swift probably had nothing to do with that, I like to think the hype on Twitter helped her sell more records. (You go, iTunes.)
1989 shows a 180 degree spin from where Swift began in the early 2000s, as a sweet little country peach, to 2014 where she’s become some sort of unabashedly awkward pop princess. She still does what you love to hate, reminiscing on lost loves but in a less “bitter” fashion than on 2012 release, Red. On the new album, “I Wish You Would” and “All You Had to Do Was Stay” are good examples of Swift turning hate-fire into a simple hate-spark.
This album is catchy at the very least. I still can’t get “Shake it Off” out of my head. I knew T-Swift was trouble when she walked in.
— Michelle Vaniersel
Foo Fighters
Sonic Highways
Roswell/RCA
Score: A
After three years of waiting, and the band breaking up and then reuniting, the Foo Fighters pull it together and help make some of their best material to date. But, come on, what else would you expect from Dave Grohl?
The music in this album comes off more progressive than their early stuff, but is the most logical step since Wasting Light and songs like “Rope.” The same old punky riffs they used in the ‘90s are there. We start with the single “Something from Nothing,” which almost represents the spectrum of the album. Soft start, building middle mixed with funky keyboards, a guitar riff and a face-melting outro. The final third of the album slows it down and wraps things up nicely; ballad city.
— Jeff Kobar
Weezer
Everything Will Be Alright In The End
Republic
Score: A
Weezer is back for the ninth time with a strange and charming album that is already a hit. Though their maturity means that there’s less wit and youth, it’s a refreshing change from their last few considerable disappointments.
Some songs, “Lonely Girl” and “The British Are Coming,” even recall the sound of the sarcastic and witty material from Pinkerton and Blue. It may not be quite the same, but it’s time to forgive them for Hurley and Ratitude. Weezer is finally sounding like Weezer again.
— Stephanie Weber
