Album- The Papercut
Chronicles II
Artist- Gym Class
Heroes
This is was the comeback record for the alternative hip hop
group after a hiatus to pursue solo projects. And it seems fitting that the
record is titled the way it is as although it was not their debut album, The
Papercut Chronicles album was the record that launched them into mainstream
attention. With this title comes the sense that we are listener to a bolder and
perhaps more refreshed Gym Class Heroes, which seems right after the diverging
into solo stuff. However does the album really live up to what the title
suggests, or is it actually a sign that they should just call it a day?
Track 1- Za Intro
The opening number is quite a warped affair that is intended
to act as a transition from their 2005 album The Papercut Chronicles, and gives
a cool sense of dramatization to the record, as if we are about to enter this
bold cinematic world. No vocal performance is given in the track, however the
words within the number are spoken in a Stephen Hawking sounding voice, which
is both utterly strange and intriguing at the same time. “Hawking” speaks of
how we were introduced to the original album in 2005 and how the group are back
to blow you away again, whilst then talking about what is the mind and then
just going into a kind of strange, questioning ramble. Backed by a distorted
electronic production with some clattering drum beats, the intro has a dark
sound, and as a whole this is just such a weird piece of musical work that is
intriguing and annoying at the same time.
3/5
Track 2- Martyrial
Girl$
After the weirdness of the intro the first proper track
ensures that the album opens with a strong sound in terms of the mixture of a
rock sound with rap sensibilities. The title of the track clues you into what
the lyrics of the track focus on as we find frontman Travie Mccoy rapping about
him and the other guys don’t fit in this world where everything is all about
wealth and the material qualities of life, but they just gonna find there own
way. The message is simple and is backed by the strong and catchy chorus which
is rough in tone and really brings out the rock vibe of the track. The songs
message is also powerfully backed by the aggressive production with its
dominating guitar riffs and clattering drum beats that make for a reckless up
tempo energy. The vocals are strong, with the raps being on point and catchy,
although McCoy’s tone is perhaps a little to light to suit theb grainy rock
production. And the only real issue with this track is that the chorus might
have been a bit catchier and powerful if a prominent rock artist was featured
who could produce a big vocal performance, which would take the song to the
next level.
3.5/5
Track 3- Life Goes On
(featuring Oh Land)
From the rock energy of the previous song we are transferred
into a more sedated state in which the group team up with Danish
singer-songwriter Oh Land for a subdued track that is lyrically all about how
we have to live life because life just goes on and one day it is just going to
end. The message isn’t something new and in terms of the rap sections McCoy
sounds a little clichéd, however the chorus compliments the raps nicely and has
a catchy quality, with Oh Land giving a soft and delicate vocal that is slow
and chilled but powerful enough to make you believe what she is saying. However
whilst the message is a bit too stereotypical
Track 4- Stereo
Hearts (featuring Adam Levine from Maroon 5)
From the chilled mid tempo state of the last track we are
transferred into a powerful pop driven state that features the group
collaborating with Maroon 5 frontman Adam Levine. Levine takes on the hook
duties of the number where he sings about how his heart is like a beautiful
musical stereo for this girl, whilst McCoy compliments this nicely in his rap
sections where he serenades his ideal girl and speaks of picking love over
animosity. The two artists work well together, with Levine’s light vocal tone
making the hook really catchy and not annoyingly contrast with the cool rap
sections, although the moments where McCoy kind of sings are a little annoying,
but they never last long. Both artists are also helped by producer Benny Blanco
in terms of melding their words with a cool pop back beat and light synths that
just sound really fresh, and if you’re not bouncing along happily by the end of
this track then there is definitely something wrong with you.
4/5
Track 5- Solo
Discotheque (Whiskey Bitness)
We find ourselves in another mode of transition in the
record as this track doesn’t keep with the well-rounded pop of the previous
number but is more alternative and rock based, and features a much more
melancholic tone. The lyrics of the track are all focused on McCoy as this guy
who feels strongly for this girl but, as the hook focuses on, he is all by
himself, and he is just “dancing all alone”. The rap sections are ok but are
not impressionable, however the simple hook is strong and the vocals of this
hook are powerful enough to make you want to listen. The song also really works
in terms of the production with it’s thumping drum beats intermixed with
twisted post chorus dj wobbles that are cool if a bit weird, and the guitar
riffs are really potent, with the rock solo at the end sounding really grand
and keeping your attention right till the end.
3.5/5
Track 6- Holy
Horseshit, Batman!!
Featuring an unaccredited vocal from man of the moment Nate
Ruess in the form of the hook, the title of this track kind of made me believe
that it would be a warped, alternative based number. However the track is more
solidly pop rock driven, with a nice drum bass line and strong guitar riffs
that come to life prominently in the middle section. The tracks sound works
well in terms of the placement of the song after the previous number, as the
sound is similar but this is a little lighter and slightly more pop driven. The
track finds McCoy fitting more comfortably into his rap style as him and Ruess
talk of just living their lives and not caring about what may happen once their
die, with Ruess asking people to not pray for him. It’s a cool subject matter
that highlights how we should just live our life the way we wish, as we don’t
really know what will happen once we are gone. Ruess also gives a powerful
vocal in the chorus, and it’s a little bit strange that he isn’t credited, as
this could have been a good single for the group.
3.5/5
Track 7- Ass Back
Home (featuring Neon Hitch)
The pop sensibilities come back much more dominantly in this
sweet, mid tempo track that is identifiable as a love strong and which is led
by a percussive beat influenced by jazz and electro. The song simply centres
around the trouble a couple faces as one of them is away on business, with Neon
Hitch powerfully singing for her man too come home whilst McCoy praises his
girl for being so patient and awesome. The chorus is extremely catchy, and
McCoy and Hitch have a great chemistry that highlights how the couple are in a
state of union even though they are so apart. And although her vocal is Auto
Tuned, Hitch still sounds great and really brings out the sweetness of the
track. The production keeps things simple with shimmering guitar riffs and a
slight reggae vibe that makes for just an all-round great listen.
5/5
Track 8- Nil-Nil-Draw
If the last track was all about the power of love and very
sweet in nature, then this track is the antithesis of it as McCoy raps about
how him and his girl are just in this state of fighting, they just don’t
understand each other and it is seemingly never going to work. The raps could
be a bit more aggressive in tone but McCoy does bring a nice bit of attitude to
the number, and the raps have a cool storytelling feel to them, although the
chorus is not strong as McCoy is definitely a rapper not a singer, and there is
a lack of a good hook. The production brings back the rock edge of the group
with the forceful drum bass and steady electric guitar riffs. However at this
point the sound is too familiar and the group need to do something to really
command your attention.
3/5
Track 9- Lazarus, Ze
Gitan
This track has cool kind of bouncy tone that immediately
grabs you. However although the sound does grab you, it’s another familiar rock
tinged number that by this point is just tiring. And what is worse about this
track is that the hook isn’t strong, and the message of the lyrics which focus
on this search for love and looking in the wrong places also feels like
familiar territory and suggests that the group need to find some bigger subject
range. The production is cool in the bridge with the acoustic melody, but it’s
not enough to make this a strong listen.
3/5
Track 10- The Fighter
(featuring Ryan Tedder of One Republic)
Another pop driven tune, the inspiring tone of this track is
not surprising considering it’s collaboration with Ryan Tedder, someone known
for inspiring pop tunes. It’s another simple pop driven tune in terms of the
way that it melds McCoy light rap style with a punchy pop vocal, in this case
delivered by the equally light tones of Tedder. The songs lyrical message is
distilled in the title as both McCoy and Tedder focus upon just getting on with
life and being better for it, whilst not letting others get you down. The
message is nice if familiar, and the sound is lighter than the previous
offerings, although it is still too rock based and familiar.
3.5/5
Track 11- Kid Nothing
and the Never-Ending Naked Nightmare
The final track is another rock based sound that can start
of appealing in terms of its kind of darker tone, and the aggressive yelling in
the song is cool, but the raps and style is just very bland and it’s great that
the record ends at this point, with the group again trying to be inspiring. The
track actually ends at 3 minute 53 seconds, which is great, and then it’s just
nothing until 7 minute 17, when Steven Hawking comes back and speaks of his
favourite song and asks what you thought of the record, whilst then just going
off on random tangents. It’s cool and leaves a nice impression, and it perhaps
could have worked well as an interlude, with the fact that it’s arrived so late
being a real shame.
Final Review
With a rock and pop driven sound, the group have definitely
returned with a bolder and arguably more self-assured sound that feels more
commercial and catchy. However whilst this is a change for the band and is
appropriately title in terms of an evolution of the group, the severe problem
with this record is the lack of musical diversity. After song seven you have
definitely had enough of the record, and McCoy does rap ok but he will never be
the best and should stick to lighter tones. It’s a shame as there are some real
gems on the record, but as a whole it would be a big mistake to buy this
record.
4/10
Best Track- Ass Back
Home (featuring Neon Hitch)
Worst Track- Lazarus,
Ze Gitan
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