"Battle Studies"- John Mayer

8.3


I like to treat a John Mayer album like a good thesis paper. A strong, comprehensive thesis, a nice intro and contentions, which are the songs. In Mayer's case, most contentions are strong, a couple weak ones, and a foggy conclusion that usually leaves the reader (listener) asking for more or wondering why. Take this approach to Mayer's albums, and perhaps it'll make a little bit more sense. Now, I am no harsh critic of him, but I do like to overanalyze him because it seems like no one else does. For instance, "Continuum", his last effort, had a weak ending song; whereas "Heavier Things" had a couple weak contentions. Don't get me started on how impressive his first LP was. With this in mind, "Battle Studies" is another 2009 heartbreak album. At first describing breaking up as warfare, noting the second guessing (see "Break Up" by Pete Yorn), and the desire for moving on and closure.

"Heartbreak Warfare" is a U2-esque love-meets-anthem song. It seems to continue the same atmosphere as "Continuum" but with more narration like his first. At first, this album may be dull and unimpressive (save "Half of My Heart), but this album took a few listens to get into. The lead single, "Who Says" is a cheap knock off of himself on "Stop this Train", and is overall unimpressive. "Half of My Heart" is the diary of a conflicted lover. It has the maturity that this album is demonstrating, but with the naive attitude or delivery of "Room for Squares". Taylor Swift makes a publicity appearance singing back up. I can indentify with this song so well because it describes nearly word for word how I felt about my previous relationship. "Half of my heart's got a right mind to tell you that half of my heart won't due" shows that part of him has an idea of right and round. But "half of my heart is the part of a man who's never truly loved anything" suggests that despite love, success, and relationships, that Mayer has remained a self-sufficient, independent young man. This idea is continued on "Perfectly Lonely", perhaps in a more jovial way.

Those who are waiting for the "Your Body is a Wonderland" love songs of the past, will be disapointed to know that there is nothing even close. "Battle Studies" finds Mayer questioning love, enjoying the single life, overall longing for something more, but still a little resiliant and stubborn despite being wisened. The tone of "All We Ever Do is Say Goodbye" shows a small amount of remorse, but generally women and girlfriends in particular are not held in high regard. "Assassin" is a dark, well-produced song about malicious plans to break someone's heart. "Do You Know Me" is incredibly dark and melodic. The guitar work on that track is really impressive. It also highlights the other half of his heart that was sure that love couldn't work at all. "Friends, Lovers, or Nothing" is exactly the ending I was hoping he would grow out of. It leaves the listener with no closure, perhaps like Mayer in the relationships described herein.

"Crossroads" is barely forgivable. "Assassin" is interesting; par, I would say. It does point out something interesting though: falling for someone without completely giving yourself, only to fall and realize that the other person was doing the exact same thing. "War of my Life" is the perfectly reserved, quaint song that this album needed. It adds a little air to the heavy subject matter. "If fear hasn't killed me yet, than nothing will". Lyrically, this album may be his strongest, most comprehensive, and pathos jerking yet. He seems to know exactly what to say, and his narrations of the broken heart are strikingly spot on.

Mayer has always been growing. "Room for Squares" may have seemed impossible to grow from, but he did. He's constantly grown deeper and smart and wiser. His music gets more tricky and more hook-filled. And overall, he gets more and more impressive. Although this album takes awhile to love, you will love it. I don't mean to say that this album is flawless, but it is impressive. As good as he is at describing heart break, whether "Friends, Lovers, or Nothing" demonstrates any closure on John's part, with "there I just said it, I'm scared you'll forget about me", you be the judge.

Key tracks: "Half of My Heart", "Do You Know Me"

"Phrazes for the Young"- Julian Casablancas

9.3


The album cover catches an 19th century Julian relaxing in a nice arm chair in a nice studio. Pay attention to the colour in the background. However grimaced Julian may act, the colour in the background suggests the colourful, melodic core that is sometimes hiding in the Strokes' songs, but no longer does so on his first solo LP.

"Somewhere along the way that pleasure turned to madness/somewhere along the way that madness turned to pain". Although the drums on this record are synthetic, the soul comes off in his voice, and instrumentation. I feel like Julian, on this record, took off his leather jacket and traded it for a corderoy one. The choruses on this record are some of the best in years. It is virtually impossible to not sing along to the infectuous melodies in "Out of the Blue", "11th Dimension" and "Left and Right in the Dark". Because there are only 8 songs, Julian sort of gets in and gets out, which doesn't suggest that the record doesn't satisfy; because it certainly does. Definitely not the feeling you would expect from an 8 song LP.

When I first heard of this album, I was afraid it would be too similar to a Strokes record, but not good enough. It turns out, "Phrazes for the Young" is actually better than the last two albums from the Strokes, in my opinion. Casablancas has definitely taken time to grow up, sit back, and observe the world he's created for himself. "Watching the urban decay, all around us, oh boy", suggests that he's drawing from more mature, stable inspirations on "Phrazes". Most of the songs, like I said, boast racing choruses that force the listener to sing along. The verses, are a little bit more introverted, but the lyrics definitely show off some of his wisdom. "Left and Right in the Dark" has a sort of industrial slide to it; very airtight. "11th Dimension" takes the record to a little bit more fantasy-like place; "I live on the frozen surface of a fire ball". Interesting. The chorus, however, "forgive them/even if they are not sorry" continues the maturity of the record so far. But when I say maturity, I don't mean that Casablancas has lost his bad ass, and silly sides. Rather, I think he's found a happy medium between experience and naivity.

After the first three tracks, the record cools off a little bit. "4 Chords of the Apocalypse" is softer, and even gospel-esque (?!). The Rhodes organ gives it a nice stammer, and the chorus allows him to stretch his vocal chords once more. "Ludlow Street" proves that the world has changed, and Julian has grown up and even changed with it. The song, a description of one of his favourite streets in New York that has since gone through drastic changes. New York is definitely changing. This song allows Julian to really open up, and reveals insight to his past; "Everything seems to go wrong when I start drinking", alluding to his childhood drinking problem. "River of Brakelights" is the only dud on this album, surprisingly, but does not hinder the album altogether in any way. "Glass" starts with a ghostly whistling that sort of makes you feel like you're in a dark alley. I hate to dote on the same thing, but "Glass" has another incredible chorus. I really cannot believe how impressive the melodies are on this album. If the first three tracks are sing along-type choruses, then "Glass" is the epic, deep, anthemic chorus, that really represents the height of the album.

"Tourist" is a dark, world-esque closer of an album. And, for the last time, a great chorus hook. The beat in this song is very percussive and swaying, complimented by sentiments of a traveler. "Feel like a tourist in the big city", possibly suggesting that Julian has no real home. Who knows. Perhaps not everything on this album is meant to be analyzed like this, which is why I try not to over-analyze it. For me, this album could be the highlight of his career, both lyrically, and melodically. I feel like he has created something greater than just a solo record, and these songs deserve to be listened to in their own right, which I have done many many times, and I'd encourage you to do so as well. And after one chorus, I know you'll be hooked.

Key Tracks: "Glass", "Out of the Blue"