Five 2010 Albums That Should Be Recalled
Like many other foods you thought you knew, eggs will now kill you. A salmonella contamination has caused a massive egg recall across the country, and it just seems to be getting worse.
Congratulations, MGMT. Now go make a better album.
But, you know something, it's for our own good. If only other industries were as considerate about protecting us from disease and discomfort as the food industry. Here's five albums from this year we'd like to see taken off the shelves by responsible record companies in order to better serve the public good.
1. MGMT, Congratulations
Congratulations ranks right up there as one of the biggest disappointments of 2010, if not the biggest. And it's not even terrible. The problem is, MGMT raised our expectations with their 2007 album Oracular Spectacular, which was filled with interesting, catchy dance-pop that was as fun as it was smart. Congratulations, on the other hand, is weird, spacey surf-rock/jam band-type stuff.
Rocks Off has listened to the album about five times, and we can't recall a single note. It's completely unengaging, inoffensive background music, as forgettable as they come. Considering MGMT's previous offering, "forgettable" is a bit of a crime. we understand that every artist needs to experiment, but isn't experimentation supposed to be fun? How did it wind up this damn boring? Next time, MGMT, less ambience, more involvement, please.
There may be no bigger club hit this year than "Tik Tok." Admittedly, it's pretty catchy when it's playing in a darkened venue, with strobes, lasers, dry ice and ass-shaking providing atmosphere while the $100,000 sound system pumps every throbbing bass note with crystal clarity. But absolutely anywhere else you try to listen to it, it's out of place and empty.
And "Tik Tok" is one of the better songs on this album, which must have been produced by Dr. Luke in about a day, with all the work it seems like he (didn't) put into it. Every up-tempo number sounds exactly the same: electronic bass drum goes THUD THUD THUD, electronic synth bass goes VWOMP VWOMP VWOMP, and Kesha groans over it like she's not sure if she's experiencing orgasmic ecstasy or a migraine.
The ballads are even worse; slow, plodding numbers filled with sparkly Owl City-style effects (yeah, it rips off a rip-off, it's that bad) accompanied by Kesha's paper-thin vocals. Girl is not a belter. When any song aspires to any kind of intensity, the Auto-Tune swoops in to save her like Superman catching Lois Lane after she's yet again clumsily stumbled off a bridge. All the talkof partying and drugs on this album sounds like someone trying too hard, but that's the only part of the album that sounds that way. The effort certainly didn't carry over into the singing, lyrics or production.