Music is a powerful force that we have harnessed.
It has the power to inspire, to empathize, and to understand in languages and words that cannot be spoken.
It is the language of the soul.
Today it has been monetized to a great extent, and though there is nothing wrong with being supported through art, it has come to a polarization where effort is no longer put into creating beautiful pieces so much as profitable ones. The music that the radio loves to blare constantly all day is all too often deep in appearance but shallow in reflection, much like a magic trick that is really just smoke, mirrors, and slight of hand. It is the feigning of emotion solely for a response, much like the up and coming artist Lorde points out in her song "Team", "I got sick of being told to throw my hands up in the air."
So that being said, I still enjoy thoroughly many modern songs and albums, and generally do not have a problem finding something that I connect with. What surprises me and has become a beautiful rarity is finding an entire album that has the same effect. Probably the first album to ever do that for me would be Linkin Park's 2007 album, Minutes to Midnight. Every single track had a rightful place for me, and I still enjoy putting the CD in my system and listening to the entire album as they mapped it out. Since then, only a few other albums have had such the pleasure of getting that same status, with many coming close. A great example of one that just so barely misses the mark in my opinion is Lorde's first album, Pure Heroine. Most of her ethereal and shadow-like mellow tracks are not only thoroughly enjoyable, but some of my go-to pieces when I want to experience my music rather than just listen to it, but there are a couple of them that I do not enjoy as well, and the distinction of the tracks is little, creating a well made album that just shies short of something legendary. Lana Del Rey's Born to Die album (and even the deluxe edition) is one that completely hits the nail on the head, providing a diverse, unique and a beautiful experience, and is near the very top of my list.
So what does Imagine Dragon's second studio album have to offer? In short, much more than I imagined (puns not intended.)
Smoke + Mirrors has taken Imagine Dragons to a new level. Previously they where an extremely talented group who had worked incredibly hard to hone their skills and become something worth paying attention to, but this album changes that. Now they are a must listen to, with a far deeper and matured sound that is not afraid to try new things and seems to do them incredibly well.
My first experience with Imagine Dragons was a commercial about three years ago (a month after Night Visions came out) that used the now hit "Radioactive." I immediately turned to iTunes and searched for it, finally finding out a small up and coming rock band from Nevada had created it. I listened to Radioactive for months as my pumping workout song, and was amazed by how inspired the combination of dubstep and driving rock. Not to sound too hipster, but this was over a year before their first single "It's Time" gained real success.
Since that memorable introduction, I have always had an affinity for them. Their debut album, Night Visions, was a fantastic mix of their Vegas stadium rock roots as well as a new new-dubstep/techno mix that redefined the Rock N Roll genre. I thoroughly enjoyed much of the album, though more specific tracks rather then the whole experience.
This is where Smoke + Mirrors shines though, taking individual songs that are both memorable and very thoroughly worked on and then putting them into an incredible album playlist that makes them shine even more. From the fist riffs of "Shots" to the last sweeping melodies of "The Fall" this album creates feelings and moods in such a quick and yet meaningful way that it still surprises me.
The entirety of Smoke + Mirrors is organized very well, bringing diverse emotions and styles in a thoughtful and deliberate way. Even my reference album, Lana Del Rey's "Born To Die" does not have the same organized flow that Imagine Dragons has mastered, creating one of the few albums that ought to be listened to in the order that the artists have intended.
For me the standout songs are immediately "Dreams," "I'm So Sorry," "Polaroid," and "Hopeless Opus." Dreams is an incredible one for me that touches on such a deep level it seems elementary. It is less ethereal as it is somber, and includes a satisfying yet purposeful beat that prevents the song from being melodramatic. The piano at the start sets up the mood for the powerful yet subtle lyrics. "I'm So Sorry" is the driving anthem for the album, and will likely become the next "Radioactive." Employing very driving guitar riffs and a deep, intense bass line this song is a fantastic test to see if your subwoofer is tuned well.
Testing the Target bonus tracks was fun and exciting. Generally there are two different types of bonus songs, hidden gems and tracks that were not good enough to cut it in the actual album. Imagine Dragons includes both, and even though the entire Smoke + Mirrors album was a pleasant surprise, nothing had prepared me for the first two bonus tracks "Thief," and "The Unknown." Both of these have Reynolds singing in a more traditional and vibrato way, and it is fantastic! The music is at times busy on both of these tracks, but just to hear the way that he belts out the lyrics is more than worth is to find and purchase the deluxe album. The other two tracks are well made, but not as well thought out of, though the very last track is an acoustic feature.
So how does this album sound, quality wise? In a sense, pretty darn well. I listened to it on three different pairs of varying headphones, two stereo systems, and finally a reference quality home theater, so I feel like I have a decent grip on the recordings. My sources where the "High Quality" streaming option on Spotify, and the Target exclusive edition on CD. With the headphones I first took a listen on a some well used Skullcandy Crushers, and was happily surprised to hear that the bass was not overpowering or unbearable for most of the tracks, though the can's ability to make some of the quick thumps on the tracks "Polaroid" and "Smoke and Mirrors" made it a bit messy at times. On the other sets this sound was good, but I felt something lacking, most of the tracks where not recorded for the casual iPod quality in ear cans and lower tier on ear headphones as well, leaving out many of the intricate and soft details that Imagine Dragons sprinkled into their work. The two stereo systems worked very well, though I noticed I had a far more enjoyable time with the subwoofer tuned higher than I usually have it, and the music never felt too harsh or boomy during my listens.
What had me anxious was the studio theater system, which was always quick to point out any flaws in the recording that could literally destroy the album. A perfect example would be Woodkid's debut album Iron, which has a fantastic quality of musical writing, but poor recording has left it hardly ever touched in the collection. Right off the bat the bass was solid and the mids where astounding, but I immediately noticed a distinct harshness with the mid highs and highs. It was disappointing at some points and nearly completely distracting at others. A few songs seemed to be recorded far superior to others though, and upon learning this we backed off of the volume a bit and then everything became crystal clear and truly something worth listening to in the "full experience." What was stunning was the incredible bass that was mastered into these, it was so incredible it was literally dimming the lights during "Gold" and "I'm So Sorry," but also really went beautifully with "Dreams," "It Comes Back To You," and "Trouble."
All in all, this album deserves not only a listen, but a dedicated listen on some good speakers. I personally have connected with the lyrics and music more than any other previous Imagine Dragons songs, and look forward to their future.
Since that memorable introduction, I have always had an affinity for them. Their debut album, Night Visions, was a fantastic mix of their Vegas stadium rock roots as well as a new new-dubstep/techno mix that redefined the Rock N Roll genre. I thoroughly enjoyed much of the album, though more specific tracks rather then the whole experience.
This is where Smoke + Mirrors shines though, taking individual songs that are both memorable and very thoroughly worked on and then putting them into an incredible album playlist that makes them shine even more. From the fist riffs of "Shots" to the last sweeping melodies of "The Fall" this album creates feelings and moods in such a quick and yet meaningful way that it still surprises me.
Album Tracks
The entirety of Smoke + Mirrors is organized very well, bringing diverse emotions and styles in a thoughtful and deliberate way. Even my reference album, Lana Del Rey's "Born To Die" does not have the same organized flow that Imagine Dragons has mastered, creating one of the few albums that ought to be listened to in the order that the artists have intended.
For me the standout songs are immediately "Dreams," "I'm So Sorry," "Polaroid," and "Hopeless Opus." Dreams is an incredible one for me that touches on such a deep level it seems elementary. It is less ethereal as it is somber, and includes a satisfying yet purposeful beat that prevents the song from being melodramatic. The piano at the start sets up the mood for the powerful yet subtle lyrics. "I'm So Sorry" is the driving anthem for the album, and will likely become the next "Radioactive." Employing very driving guitar riffs and a deep, intense bass line this song is a fantastic test to see if your subwoofer is tuned well.
Testing the Target bonus tracks was fun and exciting. Generally there are two different types of bonus songs, hidden gems and tracks that were not good enough to cut it in the actual album. Imagine Dragons includes both, and even though the entire Smoke + Mirrors album was a pleasant surprise, nothing had prepared me for the first two bonus tracks "Thief," and "The Unknown." Both of these have Reynolds singing in a more traditional and vibrato way, and it is fantastic! The music is at times busy on both of these tracks, but just to hear the way that he belts out the lyrics is more than worth is to find and purchase the deluxe album. The other two tracks are well made, but not as well thought out of, though the very last track is an acoustic feature.
Sound Quality Tests
So how does this album sound, quality wise? In a sense, pretty darn well. I listened to it on three different pairs of varying headphones, two stereo systems, and finally a reference quality home theater, so I feel like I have a decent grip on the recordings. My sources where the "High Quality" streaming option on Spotify, and the Target exclusive edition on CD. With the headphones I first took a listen on a some well used Skullcandy Crushers, and was happily surprised to hear that the bass was not overpowering or unbearable for most of the tracks, though the can's ability to make some of the quick thumps on the tracks "Polaroid" and "Smoke and Mirrors" made it a bit messy at times. On the other sets this sound was good, but I felt something lacking, most of the tracks where not recorded for the casual iPod quality in ear cans and lower tier on ear headphones as well, leaving out many of the intricate and soft details that Imagine Dragons sprinkled into their work. The two stereo systems worked very well, though I noticed I had a far more enjoyable time with the subwoofer tuned higher than I usually have it, and the music never felt too harsh or boomy during my listens.
What had me anxious was the studio theater system, which was always quick to point out any flaws in the recording that could literally destroy the album. A perfect example would be Woodkid's debut album Iron, which has a fantastic quality of musical writing, but poor recording has left it hardly ever touched in the collection. Right off the bat the bass was solid and the mids where astounding, but I immediately noticed a distinct harshness with the mid highs and highs. It was disappointing at some points and nearly completely distracting at others. A few songs seemed to be recorded far superior to others though, and upon learning this we backed off of the volume a bit and then everything became crystal clear and truly something worth listening to in the "full experience." What was stunning was the incredible bass that was mastered into these, it was so incredible it was literally dimming the lights during "Gold" and "I'm So Sorry," but also really went beautifully with "Dreams," "It Comes Back To You," and "Trouble."
All in all, this album deserves not only a listen, but a dedicated listen on some good speakers. I personally have connected with the lyrics and music more than any other previous Imagine Dragons songs, and look forward to their future.
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