Baroness: Purple ALBUM REVIEW

It happens every year; an album comes out just after I release my top 10 that actually ends up being so good, I wish I would have waited so I could give it a spot on the list. While this may be a fact year to year I am very happy to say that this year's just so happens to be the new Baroness record. Because while I like Yellow & Green a fair bit, I've been waiting for them to take the directness of their early work and fuse it with that albums ambition and melody, and as luck would have it, Purple does just that.

The album is essentially nine tracks, with the outro being only about seventeen seconds and a really nice A/B side divider instrumental called "Fugue" that is a really awesome change of pace for the record. The tracks up until that point however are no slouch; especially cuts like "Morningstar" and "Shock Me" which has one of the band's strongest hooks ever. Longer cuts like "Kerosene" and "Chlorine & Wine" show how the ambition of the last album can be put to good use in a non- double album format, with intricate song structures and great tempo shifts that keep these longer tracks feeling fresh and full of momentum.

That's another thing that this album really does possess as a whole, momentum. Though the LP is obviously shorter at around 43 minutes, it doesn't even feel that long; instead, we get an album that has a near flawless flow throughout. The only track that kind of stops things is "The Iron Bell" which isn't bad, but fells like a lesser form of the album's early moments. But even the lesser moments on Purple are still some of the best I've heard on a Metal album all year.

I almost wish the band had released this album earlier in the year just so the metal community could have more time to analyze and understand it, because while it is getting a lot of high praise (and rightfully so), I still wish I could have put it on my end of the year list.

So, I can with complete confidence say that this new Baroness record is one of the band's best, and a shining example of how melody can be incorporated into heavier styles of music without taking the edge off of the music.

9.0/10 

Top 10 Albums of 2015

Here it is! The list that everyone really wants; the one that points to the best collections of songs that the year had to offer, and also shows who the best artists of the year were as well. This list is always the hardest to put together, especially with a year as fruitful and exciting as 2015. But, I've narrowed down my choices, and as always, I'm confident in the decisions I've made. So, without wasting any more time, please enjoy my list!


#10. Ghost: Meliora

Ghost (also known as Ghost B.C) have been kicking around for the past few years, and while I thought their debut was awesome, the album they followed it up with was not nearly as impressive. Luckily, like a lot of artists this year, Ghost have ended up releasing their best work to date, despite a lackluster previous effort and despite any other mitigating circumstances. And that's great, because not only is Meliora the band's effort to date, but it is one of this year's best as well; a perfect mix of Gothic rock and old school metal, mixed with heavily satanic lyrics and imagery, Meliora is the perfect soundtrack to any future Halloween parties, or even a late night play through of Diablo II.


#9. The Decemberists: What A Terrible World, What A Beautiful World

Not an especially surprising pick if you've been following the blog this year, (I mean, I started the year by doing a full discog review of this band) but I couldn't help but include this album on the list, it is simply a relief to hear a new LP from this band that is actually, in my opinion, a great one. Not only that, but I also had the privilege to see them perform most of the album live and I've gotta say, that's what really pushed me over the edge in terms of putting this album among  my favorites of the year. Bias aside though, I think anyone who has at least heard a Decemberists track before can say that this album is the band at their best in a good long while, and again, I can't help but be happy about that.

#8. Deafheaven: New Bermuda

I wasn't surprised that I enjoyed this album; I wasn't even surprised to hear that most people were absolutely loathing this album either. What really caught me off guard was just how black and white this album is. New Bermuda finds the band blurring the lines between Black metal and Shoegaze even further, while even throwing in some Emo and Post-Hardcore in for good measure. But, whereas a lot of people look at that and say it's too chaotic and incohesive, I personally, aside from a rough transition here and there, found the duality of this record to be rather refreshing. The record constantly lulls you into a peaceful state and then comes crashing in with blast beats and that familiar Black metal screech which never fails to give me that 'almost fell down the stairs' feeling. It may not be everyone's cup of tea, but I really loved this record.

#7. Father John Misty: I Love You, Honeybear

Easily 2015's most romantic (and hilarious) record, I Love You, Honeybear also sees Father John Misty expanding his songwriting, pushing past simply sounding like a lighter version of Fleet Foxes and truly becoming his own entity. This album is highly personal, but never makes you feel like you're intruding on someone's privacy; instead it welcomes you in and tells you every little detail with a swagger and sense of humor that you won't find on any other record this year. It may have come out early in the year, but this album is still worth giving a spin well past years end.

#6. Death Grips: The Powers That B

I know, for a former album of the year winner, this album is a bit low on the list, and that's not because I didn't love this album any less than The Money Store, it's because this year was so exceptional. In truth, this record is one of Death Grips' finest moments, and encapsulates every facet of the band's sound while taking them simultaneously in a new direction. Earlier this year, I figured I'd be writing about how this was a fine send-off for one of this decade's most daring bands; however, in true Death Grips fashion, despite clearly stating that they were done making music together, have announced a new album and have even been touring... I have no clue what the future holds for this group, but I'd be lying if I said I wasn't excited to be along for the ride.


#5. Sufjan Stevens: Carrie & Lowell

Sufjan is one of my favorite artists, and he has consistently released some of the most heart-wrenching music I've ever heard, so it really says a lot when I consider this to be his saddest most heartfelt record to date. It's the mixture of somber instrumentation ( the instrumentation hasn't sounded this stripped back since the debut record) and deeply personal stories that really bring Carrie & Lowell together and make it so awe-inspiring. No other record this year made me feel the same mixture of sadness mixed with hope that this record did, and I can say with a fair amount of confidence that this is one of Sufjan's best records yet.

#4. Injury Reserve: Live From The Dentist's Office

Injury Reserve is the little group from Arizona that could. They started the year out pretty tamely, releasing singles and videos from this album, supported by their modest, but devoted fans: However, after a glowing review from "The internet's busiest music nerd" they've become a pretty popular underground group. Though they may not be pulling numbers comparable to the major leagues, I'd have to say they are making music that is definitely better than the vast majority of artists on the charts today. They show influences ranging from Tribe Called Quest to modern artists like Odd Future, but they sound completely like themselves. And it is awesome to see them come into their own so soon and with such a great tape to back them up. I have big hopes for these guys going into this next year, I have a feeling we may be seeing a lot more of them if they can keep this up.

#3. Travis Scott: Rodeo

Talk about improvement, two years ago, I couldn't care less about what Travis Scott was doing. To me, he made beats that just sounded bad, and not in an endearing or interesting way, and his bars weren't anything to get excited over either. However, with Rodeo I feel like we finally got the Travis Scott we were promised back in 2013 and let me tell you... it feels gooood. This album is pure vibes from start to finish, and the production on hear is fantastic. Just give a listen to the track "Oh My/ Dis Side" and you'll see how much Travis' production has improved; smooth transitions and catchy hooks are on this LP track after track. The only thing I'd say isn't a complete improvement over his past work is his lyrics, but he does make his bars at least fit the concept of the song, and doesn't waste any time with verses that could be used for the better elsewhere. Overall, I understand if you're one of the people who didn't like this album, but I just couldn't think of any other album this year I can just put on and zone out to in complete bliss.

#2. Mac Demarco: Another One

I know, Mac is always on these lists, but I can't help it if he consistently puts out the most chilled out and lovable music out there year after year! And while this is technically a "mini-LP" it was my second most payed album of the year; and with good reason, since Another One is Mac's best LP yet and is a perfectly balanced set of songs that flow together beautifully. These tracks explore relationships and love in a way that only Mac Demarco could, and it all sounds glorious. It will be a truly sad day when I don't see Mac's goofy face on my end of the year list, but until then, I'll keep enjoying Another One, 2015's best slacker love album.

#1. Kendrick Lamar: To Pimp A Butterfly

I almost feel like I don't need to tell you why this album is the best of the year. But because it would be rude to leave this space empty, and the fact that I could literally talk about this album for days on end, I'll simply say that no other album this year came close to being as conceptually complete and beautiful as To Pimp A Butterfly. It's message is an important one, but the songs never get lost in it, and the songs also just happen to be some of the best that hip-hop has seen in years. If Kendrick isn't on your radar after this album, I'm not sure what else he could possibly do to get your attention. To me, he's one of the most consistent hip-hop artists of the past decade and this album proves that he's not just a one trick pony. Good Kid M.A.A.D City was amazing, but To Pimp A Butterfly is truly a classic in the making, and should be identified as this years most important and well crafted album, regardless of genre.

Top 5 Singles of 2015

I can usually look back on a year and see if it was good for music by the amount of radio singles I enjoyed. I see radio singles as the overflow of the full albums that were released that year, and if their quality is up to snuff, that usually means that the core music was even better. Unlike last year, which had pretty much no notable singles, this year has been full of them; from up and comers, to old vets, 2015 was a great year for the charts, and here are my top 5!


Quick note: this list is comprised of tracks that I feel work as stand alone products and don't require any further exploration of the artist to enjoy. So, while I loved singles of Kendrick and Travi$ Scott, they won't be featured here.


#5. Justin Bieber: "What Do U Mean?"

Yeah, you read that correctly; Biebs is on a top 5 BEST list. The biggest compliment I can give this song is that it sounds nothing like a Justin Bieber song, or at least the kinds of songs we're used to hearing from him. Instead of the unbearably awful screech of his voice over a dime a dozen beat, we instead get a sort of tropical neon song with singing that, while not super distinct, does fit the mood of the song. And the lyrics aren't terrible either, it's a nice little song about confused motivations in a relationship. I like a Justin Bieber song, and there's nothing wrong with that.


#4. Selena Gomez: "Same Old Love"

This was another surprise for me, because a couple of years ago, Selena Gomez was putting out music that I considered to be incredibly dull and pointless... a bit harsh, I know. And  while I'm not in love with everything I've heard from her new album, I can honestly say I've fallen in love with this track. Which is sort of funny, considering that the song's subject matter is about how even love can become dull and pointless! Again, as with Biebs above, I'm glad I'm able to enjoy a track form someone who I previously had nothing but ill feelings towards; musically that is.

#3. The Weeknd: "The Hills"

It's no stretch to say that The Weeknd pretty much had 2015 on lock. Not only did he have multiple singles break the top 10, at the same time, but he also had a number 1 album. So, it's only natural that one of the singles would end up on this list, and I picked "The Hills" because I think it stays true to The Weeknd's old sound more so than "Tell Your Friends" or "Can't Feel My Face". Also, the video is simply fantastic, conveying all of the song's imagery perfectly.

#2. Disclosure: "Omen"

I feel like I'm one of the very few people who loved the new Disclosure album. I guess once you stop making every one of your songs sound like a 90's house throwback, you lose some respect. All jokes aside, I really loved the new album, and "Omen" is easily one of the album's highlights. Sam Smith sounds fantastic on this track, and the brothers come together with a sleek and seductive track that just makes Sam's voice ring so much brighter than their last collaboration "Latch".

#1. Drake: "Hotline Bling" 

I couldn't find a direct link to the video... but that's okay because you've probably heard this song a million times and have at least seen memes concerning its music video. In fact, this is one of the year's biggest songs and very few people would call this pick "daring", but I can't deny the fact that I loved this track from the moment it dropped sporting this rather simplistic cover art. The track is just so tight and well made and Drake's singing is perfectly fitted to the song itself. In short, the track sounds effortless, but not half-hearted and it is easily this year's best single.

Top 3 Most Disappointing Albums of 2015

Well, another year is coming to a close, which means it's list time! However, while 2015 has been a fantastic year for music, not all albums are created equal and sometimes, an artist can't help but put out an album that is not up to their usual quality... or just put out a straight up bad album. These are the albums that may not be the "worst" albums of the year, but they left me wanting so much more. Enjoy!

 #3. Tyler, the Creator: Cherry Bomb

While Tyler has never been the most reliable musician in terms of quality, he was at least on to something great with his last album, Wolf. But, just like how Goblin spoiled the good will of Bastard, so we get Cherry Bomb, an album that takes the good ideas of the previous album and replaces them with ones that just don't work. I wanted to love this album's over the top antics, but too often the music was left in shambles, which at the end of the day, is what Tyler is attempting to entertain us with.

#2. A$AP Rocky: AT. LONG. LAST. ASAP

Ugh, just like Cherry Bomb, this album takes the ideas of a truly memorable album and tarnishes them. Rocky went from MVP of his own crew to being an artist who is entirely passable. The biggest thing that this album suffers from is a lack of charisma, which leaves most of this album feeling boring and endless, which is the exact opposite feeling I got from Rocky's last LP. Like I said in my review, I just hope that the next album is better, or at least entertaining in its mediocrity.

#1. Grimes: Art Angels

And this my friends, is the definition of disappointment. I was so excited for this LP, and aside from the demo version of "Realiti" showing a lot of promise, all but maybe two tracks on this album fail to live up to it. I understand that people are totally in the right to be enjoying and praising this album, but I just can't get behind it. In short, Grimes embraces clean production and influences like Madonna, both things that on the surface seem  great, but she also handles both of these aspects with the subtlety of a sledgehammer and comes off extremely corny and cheap. I'm just crossing my fingers for the future, because I really need a new Grimes album to actually enjoy.

Epic Catch-Up Post: 11/11/15

So, it's been a little while since I've written anything for this blog... I blame that entirely on schoolwork and everything else in my life, but now it is time to make good on a month of silence with a post of short reviews of albums I've been listening to! Because I never really stop listening to new stuff. Anyway, lets kick this sucker off!

Deafheaven: New Burmuda

I know I'm most likely playing into the ultimate hipster stereotype by saying this, but I think this new LP from Black metal/ shoegaze/ anything they decide to do band, Deafheaven is actually pretty awesome. A lot of people want to immediately compare it to their last LP, and while that is fair, I think this album is going for something different, and simply saying it's not good because it's not like Sunbather is just kind of a crappy way to view things. However, this album isn't perfect; most of the transitions here are pretty clunky and don't always work out so well, but that stuff doesn't detract too much of the enjoyment for me. Simply put, this album has the hardest and softest songs Deafheaven have ever done, and that extreme contrast actually works pretty well for the most part, making it a really enjoyable listen overall.

8.5/10

Grimes: Art Angels

Ugh... okay, I have to get this off my chest. I've been looking forward to this album for a long time, especially since Grimes dropped the track "RealiTi" a few months back, saying it was a demo from an album she scrapped because she thought it was terrible... I'm convinced at this point that she threw out the wrong album, because not only is that track ON this album, (in a far inferior form) but the tracks on here are some of the most bland and sterilized songs Grimes has ever put together. Aside from the first single "Flesh Without Blood" growing on me, and the track "Kill V. Maim" being legitimately good, this album was a pretty big letdown. I can only hope I enjoy whatever she puts out next, because I really do like Grimes as an artist.

4/10

Destroyer: Poison Season

Going into this album I was a little worried that I would simply be getting Kaputt 2, and I say that as an avid fan of that album. But I wanted to hear Destroyer push that sound FORWARD, and not just revel in it. Luckily, that is exactly what happens on Poison Season. This album still features a lot of the 80's style synths and bass grooves, but it's a far more subdued album overall, and is, aside from the track "Dream Lover" a much quieter album as well. This leaves room for front-man Dave Bejar's abstract lyrics and voice to be front and center, which I quite enjoyed. The only major detractor is that the songs here aren't as instantaneous as they were on his last album, but that just means you'll have to do a bit of digging for your gold this time around. 

8.3/10

Drake & Future: What A Time To Be Alive

This album kind of dropped out of nowhere, and that's probably for the best, because if I had any time to anticipate it, it would have been a letdown. Don't get me wrong, there are good tracks here like "Big Rings","Diamonds Dancing" and "Jumpman", but Future just has the ability to completely suck the energy and momentum out of a track, and he does it on pretty much every track here. Not terrible, but definitely not as good as either artists recent solo efforts. 

5/10

Wavves: V

I guess I'm the only one who sort of liked how these guys were trying to be Nirvana on their last album? And I understand why people like Wavves' old sound, heck, I still enjoy me some King Of The Beach every now and again, but this album is that album with every ounce of joy and brashness sucked out of it. Overall, this album just didn't scratch my slacker-punk itch and kind of dragged on, despite only lasting like 30 minutes. 

5.5/10

Fetty Wap: Self-Titled

To be fair, I wasn't expecting greatness from this LP, but I was at least expecting to have fun. In short, I didn't. Aside from notable (and viral) singles like "Trap Queen", "679" and maybe "My Way", this album is boring, boring, boring. And honestly, I don't know where Fetty Wap is going from here, this album gives zero indication of who this guy is, aside from someone who likes to Trap and have sex... TEACH ME HOW TO JUUUUUUUUUUGGGGGGG.

3/10

And that's it for albums that I've actually taken the time to analyze in any meaningful way. There are of course LP's that I'm still listening to that would have made this list if I'd given them more time, but I'm hoping to start doing proper reviews again, so maybe I'll save them for that. 

I hope you enjoyed my abbreviated opinions! Peace.

The Front Bottoms: Back On Top ALBUM REVIEW

The Front Bottoms make the kind of music that teenage me would worship. They have great melodies, but their vocalist is so raw and the lyrics feature the kind of stream of conscious sadness that made all of those late nineties Emo bands like Sunny Day Real Estate so great.

Their latest album, Back On Top is a perfect example of this sound, and while this album signals a bit of a direction change for the band, I still found a lot to love. But what exactly has changed? Well, for starters, the band has moved to a major label, Fueled by Ramen, who usually is a huge red flag in my book at least (I find a lot of music that comes from that label to just be horrid) and the band is focusing less on acoustic instrumentation and more on power-pop guitars that kinda sound like Pinkerton-era Weezer.

The best examples of this new sound come in the form of the opener "Motorcycle" which kicks the album off in glorious fashion with not only a catchy refrain,"Sometimes you've gotta close your eyes to really see the light" but also has a fantastic lead guitar melody that harmonizes with the rhythm guitar beautifully. And the tracks "HELP" and "Laugh til' I Cry" both have fantastic hooks as well. This is the kind of stuff that gets the young, all black wearing me excited and ready for a bedroom headbanging session.

However, while most the the material here is top-notch, there are a few cuts that could have been better, or at least presented in a better way. For example, the track "Cough It Out" while good, is just a little to clean sounding; the same can be said of "The Plan (Fuck Jobs)" which seems like it will be a really energetic punk tune, but just ends up sounding like a commercial for laptops that can convert into tablets.

Still, even with this album's tendency to be a little too cleanly produced, the good songs here are truly awesome, and keep me coming back for repeat listens. So, If you are in the mood for some catchy, slightly emo rock music, this is highly recommended.

7.7/10

Disclosure: Caracal ALBUM REVIEW

Disclosure are two brothers who made a name for themselves a couple of years ago with their debut album Settle, and album that had some fantastic singles, launched not only their careers, but also the illustrious career of chart-topper Sam Smith with his feature on that album's biggest single "Latch". In short, it has been quite a wild ride for this duo.

And they have finally graced us with another LP, but unlike their last album which was entrenched in the sounds of late 90's drum and bass, with constant rhythms that forced one's booty to shake, the follow-up, Caracal, is a far more subdued release.  Don't get me wrong, there are still moments that force those familiar twitches in the hips, but they are a lot more subtle and require more attention than the vast majority of what was on Settle.

While this has certainly led to a lot of people not really caring for this album, I actually find it to be a refreshing change of pace. Because lets face it; if the brothers simply released another Settle, everyone would simply call them a one trick pony. And while I do understand the sentiment behind criticism  that label this album as not being "as fun" as the last LP, I have to point out the fact that while this album certainly isn't as bright and driving as Settle, it makes up for it with deeper, more involved beats and some really fantastic guest performances and the band's knack for sharp, concise production.

For example, the track "Omen" another Sam Smith feature, sees just how far both artists have come, with Disclosure dishing up a more seductive beat than "Latch" and Sam Smith's singing adding another intoxicating layer on top of it. Sure, the subject matter is nothing new, but I can't help but get caught up in just how immaculate it all sounds. The tack "Holding On" is another fantastic example of the duos production and penchant for using vocal guests to their full potential; also the contribution from singer Gregory Porter is probably the best on the entire album.

Other strong tracks include the Miguel featured "Good Intentions", which is far more impressive than anything from his latest album, and while the lyrics are sort of basic, I really liked the track "Jaded"; a track that is one of only two that don't feature an outside vocal contribution.

And therein lies my only complaint, Caracal doesn't have as many moments where it's just the duo, instead the album is absolutely overflowing with features, which isn't bad if the features are good, but some of my favorite moments from the last album were the ones where you got to see the brothers do what they do best.

However, I still found myself enjoying this LP a great deal. Is it better than Settle? Maybe. But honestly, if I want to listen to an album like Settle... I'll listen to Settle. Caracal is worth listening to, regardless of how you felt about the last album.

8.8/10

Travi$ Scott: Rodeo ALBUM REVIEW

Rapper/ Producer Travi$ Scott has been gaining a lot of hype in the past couple of years. It all started  with him  having a couple producer credits on Kanye West's last LP, Yeezus, an album I didn't love, but did enjoy the beats that Travi$ brought to the table. He then followed this up with a couple of mixtapes and guest appearances... all of which I was thoroughly unimpressed with. Still, I was eager to see what Travi$ would bring to the table on his major label debut, and I've gotta say, I'm really digging it.

This has a lot to do with how well this album flows, Travi$ has a really good handle on how to pace an album, going from more energetic tracks like "Piss On Your Grave" to "Antidote", for example. Also, his production, and just the production in general is fantastic on Rodeo. To the point that this is probably my second favorite production on any hip hop album this year, second only to Kendrick's latest album. It is also worth noting how some of these tracks have complete beat changes; such as the excellent one on "Oh My Dis Side" a track that I absolutely adored both sides of.

On top of that, Travi$ has even given us a bit of a concept to untangle. Periodically, T.I. provides narration, which seems to paint the picture of a youth, who by some need to escape dives into a life of hedonism, which the songs do wonderful job of describing and bringing to life. A track like "Nightcrawler" for example, with it's refrain of "We want money, we want hoes, we want alcohol/ All these hundreds all these thousands Imma spend it all" shows how deep this character is in the midst of his mindless desire. Or, even the slightly goofy "Piss On Your Grave" shows how this lifestyle can make a person a lot more violent and irreverent.

I may be looking to far into this album, after all, a lot of people will look at this album an just see yet another trap/ southern flavored rap album with autotuned vocals and a rapper who sounds a lot like Kanye. But I couldn't help but get swept up in this album's intoxicating beats and well written hooks.

I know a lot of people won't (and aren't) enjoying this album, and that is understandable, it is a pretty big shift from the last two projects, and some of the songs run pretty long; however, I think the people saying this album lacks ambition are really not giving it the time it deserves. Because if this album is anything, it's ambitious, and to me at least, well worth listening to.

8.5/10

Beirut: No No No ALBUM REVIEW

Ahh, the heady days of 2012, back when I first started this very blog! And in fact, I started by writing a review for one of my favorite albums from the year prior to that one, Beirut's The Rip Tide. That album was a bit conflicting for Beirut fans, however, who thought that it strayed too far from the groups earlier, more heady work, in favor of a more direct pop sound; a move I though really complimented the songwriting.

Now it's been about four years and we're finally getting a new album from these guys! And from the very first moments that the track "Gibraltar" kicks in, it is evident that Beirut is playing with a very familiar deck of cards, and that anyone who did not enjoy The Rip Tide need not apply here.

But, the real question is, is this album even worth listening to for the simple fact that it sounds a lot like their last album? In my opinion, yes, this album is well worth a listen, and that's simply because the songs here are really good. Sure, there aren't any major shifts in direction here, but pretty much every track on here is enjoyable, and even lovable at times, a quality that I've found most Beirut songs to possess.

Again, I want to mention the track "Gibraltar" which opens up the album. This track is simply beautiful, and has a really nice bouncy sound to it, and the title track features the kind of woozy romanticism that these guys always do so well.

Other highlights are the contemplative "At Once" and the jangly "Perth". In fact, I found myself enjoying every single track here, though some more than others. For example, I wasn't 100% into the instrumental track here; not that the band can't pull an instrumental track off, but the one on display here isn't one of their most impressive, for sure.

Really, the only things I can really criticize this album for is that it doesn't do anything that sticks out in my mind. It is pleasant and dreamy, but also deals with things like heartbreak and the struggles therein. However, since it is all so light and laid back, I don't feel the need to dig very deep into the lyrics. I understand that this album is coming after some heavy life drama for lead-singer and band mastermind, Zach Condon, but he seems to be using this album as a way to put the past behind him, instead of putting it all on display.

Luckily, we the listeners got a pretty enjoyable album out of it.

7.8/10

Incubus Discography Review: Part 1: S.C.I.E.N.C.E

At one point, I mentioned some of the bands that influenced my interest in music; bands like Animal Collective, Neutral Milk Hotel, Grizzly Bear, and The Decemberists were chief among them. However, during my transition between strictly listening to metal and diversifying into a variety of other genres, I absolutely adored the music of Incubus. Seriously, I remember thinking this band was the pinnacle of modern rock music. They had everything, aggressive songs, soft ballads, and the lead singer Brandon Boyd was just, so cool. And I still to this day appreciate the talent this band showcased in their music. For example, the lead guitar player is very unique and has a lot of jazzy parts and compositions, and Brandon Boyd's singing ability is noteworthy, even if his lyrics are downright dreadful at some points.

So, why would I pick this band that I've obviously grown past for a full discography review? Well, there are two reasons; one, I just so happen to own all of their albums, and two, I wanted to see how well their music has held up in my eyes. So without further adieu, let's get started!

And yes, I am aware that S.C.I.E.N.C.E  is not the first album released by Incubus, but in my opinion, Fungus Amongus was a demo and Enjoy Incubus! was an EP that consisted of the best material from the previous album with some decent additions on top. So that is why I've decided to start here, with the band's major label debut.

Much like the debuts of bands such as Radiohead, this album is certainly the black sheep of the band's discography. It has a really heavy rap/funk metal vibe and has a lot of weird lyrical concepts that are just a bit off color in comparison to their later work.

However, I actually think, despite some outdated sounds, that this album is actually pretty great. The songs are both concise, but still take interesting detours that would be pretty much stripped completely on the album that followed it, Make Yourself. Also, tracks like "Redefine" and "Idiot Box" showcase subject matters about not letting TV or other people tell you what to be; concepts that would later be honed on albums like, A Crow Left Of The Murder.

So, in a lot of ways, this album is the perfect start to the band's career because it shows them at their purest form, before they produced things to death or just got better at writing conceptual songs. That makes this album both better and worse than the band's later material, which only lends to its black sheep status.

Personally, this album holds up because it is so fun and has some legitimately awesome, spaced out funky jams, like "Glass" or the legendary "Summer Romance (Anti-Gravity Love Song)" a track that actually made me grin with nostalgia upon revisiting, and I would be lying if I said it wasn't currently in heavy rotation. Overall, this album is good. There are certainly some cringe-worthy lyrics, and the rap-metal side can be a bit overbearing, but I'd say it's still worth a visit, or a revisit.

Next time, I'll be looking at the band's big breakout LP, Make Yourself which was easily my least favorite back in the day, so stay tuned!

8.2/10

Mick Jenkins: Wave[s] ALBUM REVIEW

Last year was a pretty great year for Chicago rapper, Mick Jenkins. His tape The Water[s] got a lot of positive feedback, and he was quickly placed alongside contemporaries such as Chance the Rapper when it came to promising new talent in the rap game. As you may know, I was also a pretty big fan of that tape. In short, Mick really brought himself to the front, displaying a knack for great flows, beat choices, and messages.

Going into this new EP, I had heard that he changed his style up, which can either mean that a rapper has decided to try on some more mainstream clothes, or that they are going even farther into the left-field. However, it isn't that simple for Mick on Wave[s]. While there are certainly moments here that lean a bit more to the mainstream, "Piano", "Your Love", "Alchemy"; there are also plenty of moments that could only be identified as a Mick Jenkins track, such as the closer and the track "Get Up Get Down" which has such a great banger beat and some immaculate flows to boot.

Mick also tries his hand at singing on this album, though it's more like recent Drake in the way he presents it; just a way to spice up an otherwise flow heavy rap song. To me, Mick is sounding better than ever rap wise on this EP, but some of the choruses don't work out quite so well. The main culprits here are "The Giver" which is just kind of limp, and the track "Piano" is a bit to simple and short as well.

Honestly, I found a lot to like on this EP and it has me even more excited for whatever full length projects Mick has planned for the future. Some people may think he strayed to far from what his last tape did, with it's subterranean beats and flows, but I think this is a nice contrast to what  that tape had to offer, so now we'll just have to see how those two worlds mix.

8.0/10 

Royal Headache: High ALBUM REVIEW

If you look back at my Top Albums of 2012 post, you'll see that I thought very highly of this band's last LP. Their self-titled debut was rough around the edges, but featured the infectious energy of old school punk, and vocals that were so soulful, they simply couldn't be denied. 

It's been a couple years, and I was honestly starting to think that maybe Royal Headache were out of the game, because aside from a single released a few months after their debut broke through to an American audience, the band went almost completely silent. However, Royal Headache return with High, an album of similarly catchy and energetic songs that, while not anything new or revolutionary, still manage to be a lot of fun, and certainly worth checking out. 

The album kicks off with " My Own Fantasy" which shows off how much the production quality has improved since their last album, and reassures you that the band hasn't lost their knack for catchy melodies. The title track is also a standout track, with a super memorable melody and decent punk instrumentation backing it all up. 

There are also slower moments here, my personal favorite being the album centerpiece "Wouldn't You Know" which has a sweet sentiment and and even sweeter vocal performance. This track is also followed by probably my favorite track on the album, the track "Garbage". A track that is the antithesis of the preceding track; it's about a person that 'belongs in the trash', it's pretty hilarious and has a fantastic grooving bassline as well. 

Like I said before, High isn't reinventing the wheel, but it does still feature some of the finest vocals of any punk band out there right now, and the improved production does help these songs pop more than they did on the debut. Unfortunately, it also exposes just how bland the instrumentation can be, which didn't bother as much on the last album, but just seems like it should have improved over the last couple of years. 

Also, this album doesn't have any of the more vast instrumental tracks that were on the debut, and just overall feels like more of the same from a band that I wanted more of the same from about 2 years ago. All that aside, I did have a whole lot of fun with this LP, and will certainly be revisiting it throughout the year. 

7.0/10

Mac Demarco: Another One ALBUM REVIEW

I've said it before, but I'll say it again: Mac Demarco is a pretty cool guy. He comes off so carefree and lovable in his interviews, and so far, his music has been a mirror of that. However, on his last full length, Mac put some more serious topics on display, such as the thought of growing up and becoming older, maybe a sign that his music needed to grow too? At least that's what I took away from Salad Days, an album that I thought was an overall stronger album than 2.

Now we have this new mini album called Another One, and truth be told; it's his best collection of songs yet. From the noodly and infectious opening guitar licks of "The Way You'd Love Her" to the ambient invitation of "My House On The Water", a track that literally has Mac giving out his address and welcoming everyone to "have a cup of coffee" with him. In between these bookends, we get six tracks that alternate between fast, peppy numbers like "Just To Put Me Down" to slow crooners such as "A Heart Like Her's".

Regardless of the mood of the tracks here, they all share one thing in common, they are almost all uniformly excellent and show that Mac can put together a holistic project when he wants to, since this is easily his most cohesive effort yet, with subject matter mostly revolving around love of all shades. For instance, a track like the amazing "No Other Heart" is the perfect balance of unrequited love mixed in with the kind of humor and soul that Mac has put in his previous music, making a likeable underdog character that we can all relate to.

For an album that only lasts about 25 minutes, Another One is surprisingly fulfilling, and while I wouldn't have minded another track or two, since the closer is really more of an ambient piece, I was still plenty satisfied with what this album had to offer.

8.8/10

Injury Reserve: Live From The Dentist's Office ALBUM REVIEW

Injury Reserve are a rap group from Arizona. The group consists of two MC's and a producer, and honestly, they are one of the most refreshing rap groups I've heard in a long while. For starters, the production here is a wonderful mix of old-school boom-bap style production, reminiscent of Native Tongues stuff, and newer, more atmospheric beats that are more prominent in modern hip-hop production.

Then there are the two MC's, Stepa and  Ritchie With A T, who both lay some really clever and fun lines down. Stepa reminds me the most of guys like Phife Dog and De La Soul, while Ritchie has a more aggressive delivery that seems to be pulling more from Gangsta Rap of the 90's.

Regardless of the flavor though, this mixtape is fantastic through and through, with only a couple of minor setbacks along the way. I absolutely loved tracks like "Whatever Dude" which has such a laid back and enjoyable, with some really funny lines to boot, most notably the one about rapping to the "0 to 100" beat. Other great tracks include the infectious "Wow" and the hit waiting to happen "Everybody Knows" which I can see becoming a big thing if it gets enough exposure.

Deeper cuts take a more meditative approach, especially on tracks like "Washed Up" which is a critique of the attitude of the groups hometown and Stepa focuses his verse on the fickle nature of fans. Another moody moment that really stands out is "ttktv" which stands for "time to kill the vibe" which actually features Richie singing for the entire track, and while I wouldn't say the singing is technically amazing or anything, what is being said and the solemn beat behind it really help the track stand out among the rest.

So without going to long-winded  on this one, I'll just say that Live From The Dentist's Office is a mixtape that you should really be showing some love; there are a lot of fun tracks here and enough contemplative moments to satisfy any fan of 'conscious' hip-hop. It is simply one of the most solid rap projects that 2015 has to offer, and you would be doing yourself a disservice by passing it up.

8.5/10  

Post Of Random Chaos (including my top albums of the year so far).

So, the last couple of months have been sort of crazy, so my album review schedule has been all kinds of erratic. That doesn't mean I have stopped listening to new stuff, it just means I haven't had time to form full fledged opinions on a lot of it. However, I hope to get all of this off my chest as well as my overdue albums of the year so far in one big post. Enjoy!

Top Albums of the Year So Far (In no particular order).

1. Father John Misty: "I Love You, Honeybear".

The year started off really well, and this album is proof. FJM came together with a heartwarming and funny album here, full of songs about love and the road to it. In short, this album is everything you want in a singer-songwriter album that you can simply relax to.

2. Kendrick Lamar: "To Pimp A Butterfly".

Kendrick Lamar has been making waves for the past few years, but this album right here is clearly his masterpiece. An album that is so poignant, yet balances its message with an equally impressive and catchy set of instrumentals that are hard to forget. This is surely a contender for album of the year.

3. Alabama Shakes: "Sound & Color".

I was thoroughly surprised with the latest Alabama Shakes release, an  album full of tight and catchy rock tunes that even have a bit to them underneath the surface. Certainly songs like "Gimme All Your Love" will still be in rotation come 2016. Heck, this album may even win a Grammy or two, so that's cool!

4. The Decemberists: "What A Terrible World, What A Wonderful World".

 Sure, I may be a little biased, and seeing them in concert for the first time this year only enhances that fact, but I still think that The Decemberists came together and put out one of their most enjoyable albums in the last few years. Plus, you get a song about a pervy teenage boy, so this is like the most 'Decemberist' Decemberists album in years!

5. Drake: "If You're Reading This Its Too Late".

Drake has been on a streak lately. Though I thought his last album was just okay, I found myself really loving this new mixtape/album. Its been in rotation since the day it dropped, and tracks like "Know Yourself" and "10 Bands" are fantastic. I look forward to hearing his next project and just hope he can keep this up.

6. Sufjan Stevens: "Carrie & Lowell".

Sufjan has been a favorite of mine since the first time I heard Illinoise, and part of me figured the new album would never reach the same heights. While that is certainly true in terms of scale, I'd say this album is Sufjan's best in terms of just about everything else. Carrie & Lowell is a simply heartbreaking ode to Sufjan's life and relationship with his late mother, and it is a testament to just how great a songwriter Sufjan is.


Albums That I Didn't Get A Chance To Review, But I Still Wanted To Talk About.

1. Sun Kil Moon: "Universal Themes".

The new SKM album kind of came out of nowhere, and considering that Benji was my album of the year, I was really excited to listen to it. And while it definitely isn't as good as the last album, there are still some really wordy and enjoyable tracks on this album. The only problem is that some of the tracks get lost in the wordiness and rambling, leading to some of the longer tracks  feeling like a grind. This is a good album, but it isn't great.

2. Algiers: Self-Titled.

This album is fantastic and may end up on my end of the year list, but I just didn't have time to write a full review. and it's been out so long, I figured you didn't need another opinion telling you the same thing. In short, Goth meets Soul, and it's fantastic.

3. High On Fire: "Luminiferous".

Truthfully, I haven't given this album a full listen, but what I've heard has been excellent. Big, meaty riffs and fantastic melodies that are some of the bands tightest yet. I've loved almost everything that I've heard from this band and this new album is no different. Another album I really should have made an effort to review.

4.Tech N9ne: "Special Effects"

Sigh... I feel bad for ever enjoying All 6's And 7's. But at least that album had the decency to have some actually enjoyable tracks on it. Tech has been under utilizing his rapping ability and over utilizing his features lists for way too long at this point.

5. The Vaccines: English Graffiti 

It's not bad, but I just can't get over how odd the trajectory of this band has been. I like when they put out catchy brit-pop tunes, but I just don't find them to be interesting enough to do anything deeper than that.


Tracks That I've Really Enjoyed This Year.

Future Islands: The Chase

The Weeknd: I Can't Feel My Face

Hudson Mohawke: Scud Books

Rae Shremmurd: Throw Sum Mo

Kanye West: All Day

Muse: Drones ALBUM REVIEW

Muse are a band that I used to love. Though that is a bit dramatic for an opening sentence, it's true. When I was in my early teens I couldn't get enough of tracks like "Plug In Baby" and "Hysteria". These tracks and the albums they came from were a lot of fun, and I even to this day, still find a lot to enjoy about them; they're big, overly dramatic, and catchy as all get out.

The unfortunate thing is that for the last 10 years or so, the band hasn't really done anything that has moved me to do much more than shrug, or even cringe. The latter being my primary reaction to the band's last LP, The 2nd Law, an album so woefully mangled and bogged down in bad ideas, I'm surprised the band didn't implode while making it.

However, we now have this new album, Drones, which sees the group pulling back the reins of experimentation, and instead going back to a more familiar style, with a slightly more hard rock edge to it than usual. Overall, I am a fan of this change, but the album still doesn't leave that huge of an impression on me.

For instance, I like the tracks "The Handler" and "Reapers" and even find myself enjoying darn near every minute of "Defector", mostly because these tracks have great melodies, and rely on the symphonic rock styling that made albums like Absolution so memorable. But as soon as I find myself liking this album, a track like "Psycho" pops up, and I'm back to cringing.

"Psycho" features what is easily the cheesiest sample that you'll hear all year, with this drill sergeant screaming at a solider all 'Full Metal Jacket' style, but instead of being intimidating, it's just hilarious. Also, tracks like "Mercy" and "Revolt" are just too sappy and overly produced to evoke any kind of response from me.

This album is trying to urge the listener to fight against an oppressive military and government, but all I hear is the sound of a band conforming to a sound that they used to do a lot better. I'd say you're safe to pass on this LP if you haven't found any of Muse's last few albums enjoyable; it isn't terrible, but it ain't good either.

5.2/10

A$AP Rocky: AT.LONG.LAST.A$AP ALBUM REVIEW

A$AP Rocky started his career in 2011 with a really solid mixtape, which not only got him mainstream attention, but also made him a figurehead for the burgeoning 'cloud-rap' scene, a style that has since become a pretty prominent production choice in mainstream hip-hop, next to Trap. He even followed this mixtape up with a pretty solid debut album, which not only proved he could still produce worthwhile music, but even play in styles more akin to what was popular on the charts without losing his legitimacy.

However, it's been a while since we've heard a full length project from Rocky. This has a lot to do with the fact that he's been doing a lot of features, helping fellow A$AP Mob cohorts start their careers, and the untimely death of friend and mentor A$AP Yams, who he seems to be paying tribute to him with the album cover of his latest album, AT.LONG.LAST.A$AP.

The title seems to promise two things, one, that Rocky has finally become the MC that everyone knew he could be, and he even indulges in some straight narcissism, asserting that he has become a kind of rap god, kind of like Kanye. Unfortunately, he and Kanye not only share a knack for being pretty into themselves, but also releasing sub-par albums that show just how delusional these proclamations of godhood are.

The album starts off pretty well, I really like the track "Holy Ghost" and how it addresses the hypocrisy of certain religious figures who preach living within one's means, but wear expensive clothes and jewels. And the beat on this track and the following "Canal St." are pretty classy as well. But the album really gets stuck in a rut after this point, with the track "Fine Whine" sounding so muddy and unappealing, and don't get me started on the horrendous MIA verse on this track. After that we get the single "L$D" which is just an excuse for Rocky to sing over a vaguely psychedelic beat, which all sounds pretty bad when all is said and done.

While I enjoy tracks like "Excuse Me" and even kind of dig "Lord Pretty Flacko Joyde 2", tracks like "Electric Body" come in, and I'm back to shaking my head in disgust. The only other tracks that give me any kind of enjoyment are the tracks "Wavybone" for being the most consistent verse wise, "Jukebox Joints" for a pretty funny Kanye verse, and the closer, "Back Home" which has a pretty decent beat.

Overall, this album is too inconsistent for me to really be down with it. I find some tracks to be pretty good, while others are easily some of Rocky's worst yet. I'll look for more features, and especially other projects from guys like Ferg, but for now, I'll just have to chalk this album up as a disappointment that I hope Rocky can rebound from.

6.3/10

Torres: Sprinter ALBUM REVIEW

Sprinter is the sophomore album of guitarist and singer Mackenzie Scott, who performs under the moniker of Torres. Her first full length album, a self-titled album, was okay, but felt a but too stripped down and quiet for the emotions she was tackling on it. However, on this new album, we get to hear Mackenzie belt out some cathartic rockers in addition to her usual toned down, moodier tracks. Overall, Sprinter is a much more rounded and full sounding album, though a couple of the tracks here still fall victim to being a little to simple.

The opener "Strange Hellos" is a heavy rocker that could have easily been on an early PJ Harvey album, and the way Mackenzie lets her voice loose on this track is just fantastic. On the following track "New Skin" Scott tones things down, but still manages to create a memorable track, discussing the feeling of coming to a life-changing realization and thus having to try on a 'new skin'.

Aside from the opener, and maybe "Cowboy Guilt" this album is a series of atmospheric and gentle tracks that can seem a bit plain, especially on a track like "Ferris Wheel" where the track just goes on a little too long for the amount of instrumental changes it presents. That's not to say I dislike all of the slower tracks here, I actually love tracks like "Son, You Are No Island" and the closer "The Exchange" which is just so raw and personal, which is saying something since every track here is very much a personal emotional exorcism for Torres.

I'd say if you're a fan of artists like PJ Harvey, Hole, or even more folk-inspired acts like Sharron Van Etton, you're bound to at least find this album likable. I personally though it could have had a couple more "Strange Hellos" on it to break up the pacing a bit, but that's more of a personal preference since I imagine a lot of people really loving the calm tone and pace of this album.

8.4/10