Chords for KAREN O/DANGER MOUSE - LUX PRIMA album review
Tempo:
70.325 bpm
Chords used:
G
E
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G] Hey everyone, welcome to Continuous Thunder.
Today we're going to talk about Lux Prima,
the new collaborative album from Karen Oh and Danger Mouse, out now on BMG Records.
Karen Oh is the frontwoman of the alternative rock band the Yeah Yeah Yeahs, and she's branched
out to do some stuff on her own.
She worked on the soundtrack for Spike Jonze's adaptation
of Where the Wild Things Are, she's released a solo album, and she's even provided a song
to the game Rise of the Tomb Raider.
Danger Mouse, real name Brian Burton, is a musician
and producer who has become more and more prominent in the alternative music world over
the past 15 years.
He's collaborated with rapper MF Doom under the name Danger Doom,
he was half of Gnarls Barkley with Cee Lo Green, and he is still half of Broken Bells
with James Mercer.
He's produced tracks or entire albums for artists like Gorillaz, Beck,
Adele, U2, Portugal, The Man, Parque Quartz, and he's even produced the last four albums
from the Black Keys, two of those being some of their best releases.
Lux Prima was [N] first
teased last year with the release of the 9-minute title track and album opener, and now four
months later we have the whole album.
Influences on this album are pretty broad, with nods
to trip-hop, disco, and electronic music, but the most prominent one that shows up in
more tracks than any other are 60s and 70s R&B and soul, especially in the rhythm section.
Looking back on Danger Mouse's production credits, this isn't too surprising.
The album starts very ambitiously with the 9-minute title track that I mentioned earlier.
The track is split pretty evenly into three separate sections.
The first is a synth and
orchestra-led ambient section that sounds kinda Pink Floyd-ish whenever the drums and
bass come in.
Then there's a bit of a soul throwback section with strings and backup
singers with lyrics about being everywhere and nowhere all at once.
And finally, another
ambient section with synths and orchestra that starts with the same motif as the beginning
of the song, but then differentiates with a different bassline and rhythm until the
end of the track.
The next track, Ministry, is a down-tempo trip-hop love song that uses religious imagery
in its lyrics.
It starts with this little acoustic guitar riff thing that sounds kinda
weird at first, but it all makes sense whenever the bass and drums come in.
After that is Turn the Light, a fun track that is clearly inspired by disco greats like
Chic or Donna Summers, but with a pretty minimal arrangement.
Up next is Woman, an empowering song that Karen Oh says that she wrote for the little
girl that still lives inside her, as a reminder that she doesn't have to take any crap,
because she is a strong woman and she will make it through her trials.
This is another song with a soul throwback.
The drums and bass sound like they came right
out of the song Nowhere to Run by Martha and the Vandellas, and I almost wonder if that
was intentional with the contrasting messages of these two songs.
Next is Redeemer, a track that, if I'm reading the lyrics correctly, is about someone who
is bent on revenge, with lines like, you're not coming for me, I'm coming for you.
The verses have this sinister feel, thanks to a baritone guitar riffing over [E] top of them,
but I feel like the choruses in this song fail to carry on that mood.
The way the verse sets it up, you think you're going to go into this really intense chorus,
one fitting for the chase evoked in the lines, not coming for me, I'm coming for you.
Instead, the song seems to almost go lighter, with guitars replaced by organs and strings.
It just feels like a real missed opportunity for me.
After that is Drown, a song that likens either falling in or out of love to drowning, and
the lyrics are pretty cryptic and I can't really tell which one she's trying to describe.
Anyway, the arrangement gives the song a very watery feel that matches with the metaphor
and the title of the song.
However, I feel like this is a track where the more cinematic
elements hurt rather than help it.
Some of the orchestral stabs feel like a bit much,
and the lo-fi choir at the end of the track can be kind of grating.
Next we have Leopard's Tongue, another track with a vintage soul inspired rhythm section
that uses animal imagery to describe an exciting romance.
The combination of the lyrics and
the instrumentals on this one work together pretty well, and it's just a quick and fun little track.
Next is Reveries, a lo-fi acoustic song that very sadly likens falling in and out of love
to floating in space.
It builds to an orchestral and buzzy crescendo before pulling it back
down for its final melancholy chorus.
Finally, we have Nox Lumina, a song that starts with building ambient synths that eventually
cut back to just bass and synth drums for the first verse.
Then over the course of four
verses it just keeps building and building, adding more layers every time.
Then after
fading it ends with the same orchestral motif that the album started with, bringing everything full circle.
Even with some of these tracks that have varied influences, like the trip-hop tracks and the
disco tracks and everything, and even Woman has a bit more of a raucous rock and roll
feel despite its Vandellas-inspired rhythm, the entire album does have this unified feel.
It's almost cinematic.
In fact, there's going to be an art installation to accompany this
album where it will be the music playing in the background as you go through the installation
and experience it with some visual media to add to the experience.
Karen Oh and Danger Mouse succeed in capturing a specific mood throughout pretty much this
entire album.
Apart from Woman, most of the tracks are pretty laid back with down-tempo
trip-hop.
Even the disco track is a bit more of a relaxed one.
Along with the criticisms, though, that I mentioned with the individual songs earlier,
another thing that kind of hurts this album is sometimes it can be a little boring.
And
while most of the tracks fit Karen Oh's voice and her vocal style, there are some times
where they're just not quite as compatible.
Overall, though, I give Lux Prima a 3.5. out of 5. Despite its flaws, the two artists brought their individual styles together to create a mostly enjoyable and almost cinematic album with some nice vintage throwbacks that are used very effectively. Well, that's going to do it for this round of Continuous Thunder. Now I'd like to know your thoughts. Did you listen to this album? Did you like it? Did I get it right? Did I get it wrong? Go ahead and leave your thoughts down in the comments. You can also leave suggestions for my next review. Don't forget that you can now follow this channel on Twitter at ctmusicreview. The handle's going to be on the screen and a link down in the description. Don't forget to like, comment, and subscribe, and hit the notification bell if you want to know whenever I have new content [D] out. Thanks again for watching, and I'll see you next time.
Today we're going to talk about Lux Prima,
the new collaborative album from Karen Oh and Danger Mouse, out now on BMG Records.
Karen Oh is the frontwoman of the alternative rock band the Yeah Yeah Yeahs, and she's branched
out to do some stuff on her own.
She worked on the soundtrack for Spike Jonze's adaptation
of Where the Wild Things Are, she's released a solo album, and she's even provided a song
to the game Rise of the Tomb Raider.
Danger Mouse, real name Brian Burton, is a musician
and producer who has become more and more prominent in the alternative music world over
the past 15 years.
He's collaborated with rapper MF Doom under the name Danger Doom,
he was half of Gnarls Barkley with Cee Lo Green, and he is still half of Broken Bells
with James Mercer.
He's produced tracks or entire albums for artists like Gorillaz, Beck,
Adele, U2, Portugal, The Man, Parque Quartz, and he's even produced the last four albums
from the Black Keys, two of those being some of their best releases.
Lux Prima was [N] first
teased last year with the release of the 9-minute title track and album opener, and now four
months later we have the whole album.
Influences on this album are pretty broad, with nods
to trip-hop, disco, and electronic music, but the most prominent one that shows up in
more tracks than any other are 60s and 70s R&B and soul, especially in the rhythm section.
Looking back on Danger Mouse's production credits, this isn't too surprising.
The album starts very ambitiously with the 9-minute title track that I mentioned earlier.
The track is split pretty evenly into three separate sections.
The first is a synth and
orchestra-led ambient section that sounds kinda Pink Floyd-ish whenever the drums and
bass come in.
Then there's a bit of a soul throwback section with strings and backup
singers with lyrics about being everywhere and nowhere all at once.
And finally, another
ambient section with synths and orchestra that starts with the same motif as the beginning
of the song, but then differentiates with a different bassline and rhythm until the
end of the track.
The next track, Ministry, is a down-tempo trip-hop love song that uses religious imagery
in its lyrics.
It starts with this little acoustic guitar riff thing that sounds kinda
weird at first, but it all makes sense whenever the bass and drums come in.
After that is Turn the Light, a fun track that is clearly inspired by disco greats like
Chic or Donna Summers, but with a pretty minimal arrangement.
Up next is Woman, an empowering song that Karen Oh says that she wrote for the little
girl that still lives inside her, as a reminder that she doesn't have to take any crap,
because she is a strong woman and she will make it through her trials.
This is another song with a soul throwback.
The drums and bass sound like they came right
out of the song Nowhere to Run by Martha and the Vandellas, and I almost wonder if that
was intentional with the contrasting messages of these two songs.
Next is Redeemer, a track that, if I'm reading the lyrics correctly, is about someone who
is bent on revenge, with lines like, you're not coming for me, I'm coming for you.
The verses have this sinister feel, thanks to a baritone guitar riffing over [E] top of them,
but I feel like the choruses in this song fail to carry on that mood.
The way the verse sets it up, you think you're going to go into this really intense chorus,
one fitting for the chase evoked in the lines, not coming for me, I'm coming for you.
Instead, the song seems to almost go lighter, with guitars replaced by organs and strings.
It just feels like a real missed opportunity for me.
After that is Drown, a song that likens either falling in or out of love to drowning, and
the lyrics are pretty cryptic and I can't really tell which one she's trying to describe.
Anyway, the arrangement gives the song a very watery feel that matches with the metaphor
and the title of the song.
However, I feel like this is a track where the more cinematic
elements hurt rather than help it.
Some of the orchestral stabs feel like a bit much,
and the lo-fi choir at the end of the track can be kind of grating.
Next we have Leopard's Tongue, another track with a vintage soul inspired rhythm section
that uses animal imagery to describe an exciting romance.
The combination of the lyrics and
the instrumentals on this one work together pretty well, and it's just a quick and fun little track.
Next is Reveries, a lo-fi acoustic song that very sadly likens falling in and out of love
to floating in space.
It builds to an orchestral and buzzy crescendo before pulling it back
down for its final melancholy chorus.
Finally, we have Nox Lumina, a song that starts with building ambient synths that eventually
cut back to just bass and synth drums for the first verse.
Then over the course of four
verses it just keeps building and building, adding more layers every time.
Then after
fading it ends with the same orchestral motif that the album started with, bringing everything full circle.
Even with some of these tracks that have varied influences, like the trip-hop tracks and the
disco tracks and everything, and even Woman has a bit more of a raucous rock and roll
feel despite its Vandellas-inspired rhythm, the entire album does have this unified feel.
It's almost cinematic.
In fact, there's going to be an art installation to accompany this
album where it will be the music playing in the background as you go through the installation
and experience it with some visual media to add to the experience.
Karen Oh and Danger Mouse succeed in capturing a specific mood throughout pretty much this
entire album.
Apart from Woman, most of the tracks are pretty laid back with down-tempo
trip-hop.
Even the disco track is a bit more of a relaxed one.
Along with the criticisms, though, that I mentioned with the individual songs earlier,
another thing that kind of hurts this album is sometimes it can be a little boring.
And
while most of the tracks fit Karen Oh's voice and her vocal style, there are some times
where they're just not quite as compatible.
Overall, though, I give Lux Prima a 3.5. out of 5. Despite its flaws, the two artists brought their individual styles together to create a mostly enjoyable and almost cinematic album with some nice vintage throwbacks that are used very effectively. Well, that's going to do it for this round of Continuous Thunder. Now I'd like to know your thoughts. Did you listen to this album? Did you like it? Did I get it right? Did I get it wrong? Go ahead and leave your thoughts down in the comments. You can also leave suggestions for my next review. Don't forget that you can now follow this channel on Twitter at ctmusicreview. The handle's going to be on the screen and a link down in the description. Don't forget to like, comment, and subscribe, and hit the notification bell if you want to know whenever I have new content [D] out. Thanks again for watching, and I'll see you next time.
Key:
G
E
D
G
E
D
G
E
[G] Hey everyone, welcome to Continuous Thunder.
Today we're going to talk about Lux Prima,
the new collaborative album from Karen Oh and Danger Mouse, out now on BMG Records.
Karen Oh is the frontwoman of the alternative rock band the Yeah Yeah Yeahs, and she's branched
out to do some stuff on her own.
She worked on the soundtrack for Spike Jonze's adaptation
of Where the Wild Things Are, she's released a solo album, and she's even provided a song
to the game Rise of the Tomb Raider.
Danger Mouse, real name Brian Burton, is a musician
and producer who has become more and more prominent in the alternative music world over
the past 15 years.
He's collaborated with rapper MF Doom under the name Danger Doom,
he was half of Gnarls Barkley with Cee Lo Green, and he is still half of Broken Bells
with James Mercer.
He's produced tracks or entire albums for artists like Gorillaz, Beck,
Adele, U2, Portugal, The Man, Parque Quartz, and he's even produced the last four albums
from the Black Keys, two of those being some of their best releases.
Lux Prima was [N] first
teased last year with the release of the 9-minute title track and album opener, and now four
months later we have the whole album.
Influences on this album are pretty broad, with nods
to trip-hop, disco, and electronic music, but the most prominent one that shows up in
more tracks than any other are 60s and 70s R&B and soul, especially in the rhythm section.
Looking back on Danger Mouse's production credits, this isn't too surprising.
The album starts very ambitiously with the 9-minute title track that I mentioned earlier.
The track is split pretty evenly into three separate sections.
The first is a synth and
orchestra-led ambient section that sounds kinda Pink Floyd-ish whenever the drums and
bass come in.
Then there's a bit of a soul throwback section with strings and backup
singers with lyrics about being everywhere and nowhere all at once.
And finally, another
ambient section with synths and orchestra that starts with the same motif as the beginning
of the song, but then differentiates with a different bassline and rhythm until the
end of the track.
The next track, Ministry, is a down-tempo trip-hop love song that uses religious imagery
in its lyrics.
It starts with this little acoustic guitar riff thing that sounds kinda
weird at first, but it all makes sense whenever the bass and drums come in.
After that is Turn the Light, a fun track that is clearly inspired by disco greats like
Chic or Donna Summers, but with a pretty minimal arrangement.
Up next is Woman, an empowering song that Karen Oh says that she wrote for the little
girl that still lives inside her, as a reminder that she doesn't have to take any crap,
because she is a strong woman and she will make it through her trials.
This is another song with a soul throwback.
The drums and bass sound like they came right
out of the song Nowhere to Run by Martha and the Vandellas, and I almost wonder if that
was intentional with the contrasting messages of these two songs.
Next is Redeemer, a track that, if I'm reading the lyrics correctly, is about someone who
is bent on revenge, with lines like, you're not coming for me, I'm coming for you.
The verses have this sinister feel, thanks to a baritone guitar riffing over [E] top of them,
but I feel like the choruses in this song fail to carry on that mood.
The way the verse sets it up, you think you're going to go into this really intense chorus,
one fitting for the chase evoked in the lines, not coming for me, I'm coming for you.
Instead, the song seems to almost go lighter, with guitars replaced by organs and strings.
It just feels like a real missed opportunity for me.
After that is Drown, a song that likens either falling in or out of love to drowning, and
the lyrics are pretty cryptic and I can't really tell which one she's trying to describe.
Anyway, the arrangement gives the song a very watery feel that matches with the metaphor
and the title of the song.
However, I feel like this is a track where the more cinematic
elements hurt rather than help it.
Some of the orchestral stabs feel like a bit much,
and the lo-fi choir at the end of the track can be kind of grating.
Next we have Leopard's Tongue, another track with a vintage soul inspired rhythm section
that uses animal imagery to describe an exciting romance.
The combination of the lyrics and
the instrumentals on this one work together pretty well, and it's just a quick and fun little track.
Next is Reveries, a lo-fi acoustic song that very sadly likens falling in and out of love
to floating in space.
It builds to an orchestral and buzzy crescendo before pulling it back
down for its final melancholy chorus.
Finally, we have Nox Lumina, a song that starts with building ambient synths that eventually
cut back to just bass and synth drums for the first verse.
Then over the course of four
verses it just keeps building and building, adding more layers every time.
Then after
fading it ends with the same orchestral motif that the album started with, bringing everything full circle.
Even with some of these tracks that have varied influences, like the trip-hop tracks and the
disco tracks and everything, and even Woman has a bit more of a raucous rock and roll
feel despite its Vandellas-inspired rhythm, the entire album does have this unified feel.
It's almost cinematic.
In fact, there's going to be an art installation to accompany this
album where it will be the music playing in the background as you go through the installation
and experience it with some visual media to add to the experience.
Karen Oh and Danger Mouse succeed in capturing a specific mood throughout pretty much this
entire album.
Apart from Woman, most of the tracks are pretty laid back with down-tempo
trip-hop.
Even the disco track is a bit more of a relaxed one.
Along with the criticisms, though, that I mentioned with the individual songs earlier,
another thing that kind of hurts this album is sometimes it can be a little boring.
And
while most of the tracks fit Karen Oh's voice and her vocal style, there are some times
where they're just not quite as compatible.
Overall, though, I give Lux Prima a 3.5. out of 5. Despite its flaws, the two artists brought their individual styles together to create a mostly enjoyable and almost cinematic album with some nice vintage throwbacks that are used very effectively. Well, that's going to do it for this round of Continuous Thunder. Now I'd like to know your thoughts. Did you listen to this album? Did you like it? Did I get it right? Did I get it wrong? Go ahead and leave your thoughts down in the comments. You can also leave suggestions for my next review. Don't forget that you can now follow this channel on Twitter at ctmusicreview. The handle's going to be on the screen and a link down in the description. Don't forget to like, comment, and subscribe, and hit the notification bell if you want to know whenever I have new content [D] out. Thanks again for watching, and I'll see you next time. _
Today we're going to talk about Lux Prima,
the new collaborative album from Karen Oh and Danger Mouse, out now on BMG Records.
Karen Oh is the frontwoman of the alternative rock band the Yeah Yeah Yeahs, and she's branched
out to do some stuff on her own.
She worked on the soundtrack for Spike Jonze's adaptation
of Where the Wild Things Are, she's released a solo album, and she's even provided a song
to the game Rise of the Tomb Raider.
Danger Mouse, real name Brian Burton, is a musician
and producer who has become more and more prominent in the alternative music world over
the past 15 years.
He's collaborated with rapper MF Doom under the name Danger Doom,
he was half of Gnarls Barkley with Cee Lo Green, and he is still half of Broken Bells
with James Mercer.
He's produced tracks or entire albums for artists like Gorillaz, Beck,
Adele, U2, Portugal, The Man, Parque Quartz, and he's even produced the last four albums
from the Black Keys, two of those being some of their best releases.
Lux Prima was [N] first
teased last year with the release of the 9-minute title track and album opener, and now four
months later we have the whole album.
Influences on this album are pretty broad, with nods
to trip-hop, disco, and electronic music, but the most prominent one that shows up in
more tracks than any other are 60s and 70s R&B and soul, especially in the rhythm section.
Looking back on Danger Mouse's production credits, this isn't too surprising.
The album starts very ambitiously with the 9-minute title track that I mentioned earlier.
The track is split pretty evenly into three separate sections.
The first is a synth and
orchestra-led ambient section that sounds kinda Pink Floyd-ish whenever the drums and
bass come in.
Then there's a bit of a soul throwback section with strings and backup
singers with lyrics about being everywhere and nowhere all at once.
And finally, another
ambient section with synths and orchestra that starts with the same motif as the beginning
of the song, but then differentiates with a different bassline and rhythm until the
end of the track.
The next track, Ministry, is a down-tempo trip-hop love song that uses religious imagery
in its lyrics.
It starts with this little acoustic guitar riff thing that sounds kinda
weird at first, but it all makes sense whenever the bass and drums come in.
After that is Turn the Light, a fun track that is clearly inspired by disco greats like
Chic or Donna Summers, but with a pretty minimal arrangement.
Up next is Woman, an empowering song that Karen Oh says that she wrote for the little
girl that still lives inside her, as a reminder that she doesn't have to take any crap,
because she is a strong woman and she will make it through her trials.
This is another song with a soul throwback.
The drums and bass sound like they came right
out of the song Nowhere to Run by Martha and the Vandellas, and I almost wonder if that
was intentional with the contrasting messages of these two songs.
Next is Redeemer, a track that, if I'm reading the lyrics correctly, is about someone who
is bent on revenge, with lines like, you're not coming for me, I'm coming for you.
The verses have this sinister feel, thanks to a baritone guitar riffing over [E] top of them,
but I feel like the choruses in this song fail to carry on that mood.
The way the verse sets it up, you think you're going to go into this really intense chorus,
one fitting for the chase evoked in the lines, not coming for me, I'm coming for you.
Instead, the song seems to almost go lighter, with guitars replaced by organs and strings.
It just feels like a real missed opportunity for me.
After that is Drown, a song that likens either falling in or out of love to drowning, and
the lyrics are pretty cryptic and I can't really tell which one she's trying to describe.
Anyway, the arrangement gives the song a very watery feel that matches with the metaphor
and the title of the song.
However, I feel like this is a track where the more cinematic
elements hurt rather than help it.
Some of the orchestral stabs feel like a bit much,
and the lo-fi choir at the end of the track can be kind of grating.
Next we have Leopard's Tongue, another track with a vintage soul inspired rhythm section
that uses animal imagery to describe an exciting romance.
The combination of the lyrics and
the instrumentals on this one work together pretty well, and it's just a quick and fun little track.
Next is Reveries, a lo-fi acoustic song that very sadly likens falling in and out of love
to floating in space.
It builds to an orchestral and buzzy crescendo before pulling it back
down for its final melancholy chorus.
Finally, we have Nox Lumina, a song that starts with building ambient synths that eventually
cut back to just bass and synth drums for the first verse.
Then over the course of four
verses it just keeps building and building, adding more layers every time.
Then after
fading it ends with the same orchestral motif that the album started with, bringing everything full circle.
Even with some of these tracks that have varied influences, like the trip-hop tracks and the
disco tracks and everything, and even Woman has a bit more of a raucous rock and roll
feel despite its Vandellas-inspired rhythm, the entire album does have this unified feel.
It's almost cinematic.
In fact, there's going to be an art installation to accompany this
album where it will be the music playing in the background as you go through the installation
and experience it with some visual media to add to the experience.
Karen Oh and Danger Mouse succeed in capturing a specific mood throughout pretty much this
entire album.
Apart from Woman, most of the tracks are pretty laid back with down-tempo
trip-hop.
Even the disco track is a bit more of a relaxed one.
Along with the criticisms, though, that I mentioned with the individual songs earlier,
another thing that kind of hurts this album is sometimes it can be a little boring.
And
while most of the tracks fit Karen Oh's voice and her vocal style, there are some times
where they're just not quite as compatible.
Overall, though, I give Lux Prima a 3.5. out of 5. Despite its flaws, the two artists brought their individual styles together to create a mostly enjoyable and almost cinematic album with some nice vintage throwbacks that are used very effectively. Well, that's going to do it for this round of Continuous Thunder. Now I'd like to know your thoughts. Did you listen to this album? Did you like it? Did I get it right? Did I get it wrong? Go ahead and leave your thoughts down in the comments. You can also leave suggestions for my next review. Don't forget that you can now follow this channel on Twitter at ctmusicreview. The handle's going to be on the screen and a link down in the description. Don't forget to like, comment, and subscribe, and hit the notification bell if you want to know whenever I have new content [D] out. Thanks again for watching, and I'll see you next time. _