Injury Reserve: Floss ALBUM REVIEW

Injury Reserve were the lone group featured on my end of the year list last year that I can guarantee you had no idea who they were. That's because up until last year with their debut full length Live From The Dentist Office, Injury Reserve were simply a trio from Arizona grinding out videos and an EP. However, I and many others saw listened to that LP and came away feeling really excited about the future of Injury Reserve and luckily the group didn't wait too long to follow that project up. And once again, T, Steppa and Parker don't disappoint on this new project.

However, Floss is a different kind of album for Injury Reserve, whereas the previous album brought to mind groups like Tribe or De La Soul, Floss is way more hype and has a much more prominent hardcore rap influence, but it also showcases even more uniqueness, especially on tracks like "Bad Boys 3" or "Oh Shit!" which kicks the album off perfectly. We also get to see the groups newfound relevance take fruition with features such as Vic Mensa and Cakes Da Killa, both of which bring some incredibly strong verses. But just like the first project, the two core MC's Ritchie and Steppa really steal the show, and both of them bring some truly awesome bars to the table such as T referring the group as "the rap game Weezer" or referring to himself as the "black Ben Carson" a line that makes me laugh every time I hear it.

And the production of Floss is better too; Parker tries out some new styles, like an oddly industrial style on tracks like "Eeny Meeny Miny Moe" or just improving the Tribe esque production most prominently on the track "S On Ya Chest" which really gives me Midnight Marauders vibes. Also, tracks like "Girl With The Gold Wrist" are just so odd and off the wall in terms of their samples and rhythm.  And while not every track here is amazing ("Eeny Meeny" being a repetitive and sort of aimless cut), I can't help but appreciate the love and talent that was so obviously poured into this project. I can really tell that these guys want to be a prominent voice in modern hip-hop, and as long as people haven't completely lost their tastes, I don't see why these guys wouldn't be able to do just that, especially with projects as great as Floss.

8.7/10

Top 15 Albums of 2016

Well, it's about that time again. Time for me to catalog my favorite LP's of the year! Over the years, this segment has been a blessing and a curse. On one hand, I get to reflect on what I view to be the years best, but it also means I have to exclude a lot of great albums. So this year, I've expanded the list to 15, and I'll kick things off with a couple albums that I still think deserve a nod; just keep in mind, just because they're only getting an honorable mention, doesn't mean they should be ignored!
So, without further ado, let's get into it.

Honorable Mentions:

Ty Dollar $ign: Campaign
While I did (and do) love this album, it just missed the cut simply because the albums that made it, I loved even more. For a lot of people, this album wasn't anything special, simply just another batch of sex songs from Ty, and yeah, it is, but it is one of the most laid back and enjoyable albums that 2016 had to offer, and I plan on revisiting this album for years to come.

Beyonce: Lemonade
Yes. I did like this album quite a bit, but again, this LP just wasn't as enjoyable as the albums that made the top 15. Though in the case of Lemonade, it was a really close cut, because while my feelings on the album overall are still the same as when I reviewed it, I still think this is one of the years finest pop albums for sure.

YG: Still Brazy
I think this LP was just as strong as his debut, so while it isn't one of the years absolute best, it is still a great album. YG is really holding down that old-school west coast gangsta rap style made famous by guys like Dr. Dre, Snoop Dogg, and DJ Quik, and Still Brazy is another great example of that.

Anderson Paak.: Malibu
Ahhh, another really close cut. To be honest, this album was one of the few truly outstanding releases that 2016 had to offer early on, and if the year hadn't been as fantastic musically as it was, this LP would have been in the Top 15, no question. Paak. is truly a rising talent in the hip hop/ R&B scene, and I hope to see more from him next year.



Top 15 of 2016:

#15. Sturgil Simpson: A Sailor's Guide to Earth

My Expectations weren't exactly high going into this modern country album, but when I actually listened to it, I found an album with an old soul. This is the kind of album that truly shows reverence for the old without simply copy and pasting styles aimlessly, and is in fact a really heartfelt release in its own right. Simpson's stories about family and navigating life are all relate-able and accompanied by amazingly lush instrumentation. Glad to see this getting a Grammy nod, because it truly deserves it.

#14. Swans: The Glowing Man

Swans is a group that have been blowing me away consistently for the past 4 years or so, starting with The Seer, an album that still leaves me completely drained of hope and energy all these years later. I also gave their 2014 album To Be Kind a spot on my year end list for that year, and once again Swans rank among the most impressive bands of the year. This time, the band is playing a far less aggressive form of rock music, relying more on ambient builds and soundscapes to carry these monolithic tracks. However, don't let the volume fool you, this LP is just as oppressive and draining as any of the band's last couple of outings. I also got a chance to see them play in Charlotte this year, front row; never have I ever felt so consumed by sound in my life.

#13. David Bowie: Blackstar

This album almost didn't make the cut. Not because it isn't amazing (because it is), but because I honestly hadn't had a chance to give it a full listen until about 2 weeks ago. I chalk this up to a hectic life schedule and the fact that I'm not the world's biggest David Bowie fan, not because I don't like his music, but again, because his material has never compelled me to obsess over his back catalog. All that aside, Blackstar is a stunning record, one that sees Bowie facing death not defiant, but ready and it is also perhaps one of his most experimental in terms of sound. Chameleon til the end, David Bowie went out on perhaps his best record in years.

#12. Metallica: Hardwired... To Self-Destruct

I won't blame you if you scoff at this albums placement on this list: I'm a big Metallica fan. But, like I said in my full review, Metallica have been struggling to release a great record for decades, and in my opinion, they finally did it with this record. It may be a bit long, but I can't express how happy it makes me to have another Metallica album that I don't mind letting play all the way through. Call this my biased pick of the year; although I've seen a lot of positive reviews for this LP, so maybe I'm not alone after all.

#11. Touche Amore: Stage Four

All these months later, I'm still hard pressed to find the words to describe how harrowing a listen Stage Four is. And that fact has nothing to do with the sound of this album, because this is actually a very well produced and performed rock album, the band's best in fact. But the lyrics here will leave even the most hardened metal fans feeling a little exposed; the story on this album is deeply personal, but turns out to be relate-able on a very human level. Don't go into this album expecting a fun album, but do expect perhaps the best piece of Emo music to come around since Brand New stopped releasing albums.

#10. Bruno Mars: 24k Magic

For all the surprises (and upsets) that 2016 had to offer, none may be more so than the fact that Bruno "chillin' in my snuggy" Mars released the years best pop album, hands down. On 24k Magic, Bruno fully embraces his influence, but never (in my opinion) succumbs to simple parody; instead, Mars does these styles justice with track after track of pure audio sugar. This album is everything great about 80's and 90's R&B wrapped up in a neat 30 minute package that I just can't say no to. 

#9. Kanye West: The Life of Pablo

It's been a weird year for Kanye, and that's saying a lot. However, I chose to ignore the drama and focus on the music (as I so often do), and what I got from Kanye this year was an album that, while flawed, was superior in every way to his lackluster LP Yeezus. Plus, if you kept up with the album over the year, you'd know that this album got some pretty nice production lifts and a far superior closer as well. Sure, Kanye should of waited to "finish" the album, but I have to admire the experimental nature of this release in all of its various facets; as a product, but most importantly, as a piece of music, because this is Kanye's best work since MBDTF.

#8. Chance the Rapper: Coloring Book

Another year end list alumni, Chance the Rapper really hit it out of the park this year, giving us an album that is both colorful (no pun intended) and full of memorable moments, both energetic and soulful. In my opinion, Chance has already found a place in hip-hop history with this LP; the fact that he has become this successful without the aid of a label is impressive enough, but the amount of maturation that has occurred between this LP and Acid Rap is truly noteworthy. Here's to sending some praises up, hoping for more musical blessings from Chano.

#7. Conor Oberst: Ruminations

Every year, I seem to have an album of moody, introspective folk. Seeing as how folk is quite possibly my favorite genre, the fact that I do find folk albums that I love is sort of shocking, because my love has caused me to become quite picky and often cynical. That latter trait is why I think this album was a shoe-in for this list; Connor Oberst knows a thing or two about cynicism, and this album is no exception, but this album is also an undeniably beautiful one, crafted lovingly by one of modern folks most important figures, who has been sort of lost for the past few years in my opinion. All I can say is: glad to have you back Mr. Oberst.

#6. Radiohead: A Moon Shaped Pool

You may notice a trend on this years list: there are a lot of "comeback" albums. Or rather, albums from bands that have been away for a while. Radiohead are notorious these days for their extended periods between albums, but this wait was especially painful, because the groups last effort, King of Limbs was anything but satisfying. However, I think they've come back in a really big way with this album, one that I honestly hold up to such masterpieces like Kid A and In Rainbows as Radiohead's finest work. It is a slower LP and demands some patience to fully enjoy, but I believe that if there's one quality that Radiohead fans have, it's patience.

#5. Weezer: The White Album

Everything Will Be Alright in the End was a great album, one that grew on me quite a bit the year after it came out, but nothing could of prepared me for just how amazing this new Weezer is. This LP sounds like the Weezer we heard back in 1996 took a couple years off to record and picked up right where Pinkerton left off, instead now, they're pulling back the reigns on the overarching sadness of that record and replacing it with the more sunny outlook of their debut. The White Album is the Weezer album I've been waiting for since the band went off the rails back in 2005, and boy does it feel gooooood.

#4. Danny Brown: Atrocity Exhibition

I've always had a major appreciation for Danny Brown; he is a really great rapper sure, but what really draws me to his music and persona is his willingness to be outlandish and weird. I thought Old was great enough to be on my end of the year list that year, and while I still stand by that decision, it would be a lie if I said that that album was everything I'd hoped it would be. I really missed the darker, more overtly insane moments that were on XXX, which Old was clearly lacking. Luckily, the latest release from Danny Brown brings on the weirdness in droves, leading to one of the most whacked out rap albums I've ever heard (and you see Death Grips right below this). But Danny never loses track of making a great album here, and instead melds the weirdness with his most daring and rewarding tracks yet. 

#3. Death Grips: Bottomless Pit

I could of guessed after last years shenanigans that Death Grips weren't really breaking up, it was just another chapter in the never ending book of ways that this group can subvert expectations. And while Bottomless Pit is not really a huge push in a new direction for the group, the quality and immediacy of the music here is stunning. This is the groups most concentrated and depraved release to date. In a way this feels like a sort of sequel to the group's breakout project The Money Store, and that is a fitting comparison in every single way. The future is always muddy with these guys, but as long as they keep making music as amazing as this, I'll be there to see what other schemes they have "Up Their Sleeves".

#2. Carseat Headrest: Teens of Denial

Pretty much from the first time I listened to this LP, I considered it my album of the year, and if a certain other album hadn't been released this year, there's not a doubt in my mind that it would have been. Still, Teens of Denial is a superb album that perfectly encapsulates the feelings of apathy and longing that a person my age feels, and it also shows just how talented this once one-man project truly is. This album feels like a single-handed revival of great indie rock music and one that isn't steeped in affectation and pretense, just honest intentions. I could go on and on about how much I love this record, but suffice it to say, this is one of the records that got me through a year that was pretty rough in a lot of ways, and I highly recommend you give it a listen.

#1. A Tribe Called Quest: We Got It From Here... 

Tribe were my gateway into hip-hop. Their first three albums were such an eye-opening experience for me, I'll never forget the first time I heard the bass-line of "Excursions" coming through my headphones, and the feeling of my soul warming every fiber of my being. Hyperbolic, I know, but what I'm trying to say is Tribe is incredibly important to me, and while I'm too young to have been a fan from the start, I still felt the same disappointment that most people did when the group's fourth and fifth projects came out; those albums were just not up to snuff, and the news that the group was trying to get back together after a decade and a half of infighting did not bode well for this project. Add to that the death of Phife Dawg: the cards were stacked against this LP from the start. But. that old feeling that came over me the first time I heard "Excursions" came rushing back, and I can honestly say that Tribe have put out their best record since Midnight Marauders. Not only that, but they've also managed to put out the best album of 2016. They managed to be both timely and timeless all at the same time. I missed you Tribe, and I'm so happy I got to witness this last hurrah, with Phife in tow. 

J. Cole: 4 Your Eyez Only ALBUM REVIEW

J. Cole is truly an artist that in my opinion is just okay. I've heard his songs on the radio and even caught some music videos over the last few years, but honestly, he's never been a very compelling artist to me. Sure, the stuff I'd heard was solid, but I never got the impression that Cole had a sound or vision that was uniquely his. Some of that rubbed off with his last full length 2014 Forest Hills Drive, an album that is equal parts excellent and mediocre; amazing highs like "Fire Squad" are put up against filler like "St Tropez", leading to an album that is worthwhile, but not the classic that a lot of his fans claim it to be. But, going into this new album, I was honestly pretty excited; Cole has been holding down solid features over the last couple of years, and the two tracks he released ahead of the album release, "everyone dies" and "False Prophets" were both great. However, neither of these tracks appear on this new LP, 4 Your Eyez Only.

And honestly, I was a little bummed to find that out, but after giving this album a full listen, I do understand why they were excluded. And while I won't go in too much depth with the concept of this record, I will say that it reminds me especially of Kendrick's good kid, M.A.A.D City, not just for its lyrics about gang life mixed with the struggle of raising a family in it, but also for the way Cole manages to rap effectively from the viewpoint of someone else. It also helps this album avoid a lot of the trite, "started from nothing" tropes that always cloud up J. Cole records. I get it, you weren't always rich and successful, but I'd like to know more about you as a person! All that aside, lyrically, Cole holds things down for the most part (though don't ask him to rhyme anything with Almond Milk), and I'd say this is his finest work in terms of concept thus far.

Instrumentally, the album keeps things classy with a lot of strings ("She's Mine Pt. 1 & 2") with a few more energetic tracks peppered in here and there, most notably "Immortal" and my personal favorite "Change". But for the most part, this album is a somber one, filled with a lot of sad imagery, which is justified through the overall concept. This is especially true of the self-titled closer, the longest track on the album and the point where the album reveals its hand in terms of what Cole is trying to do with this entire LP. It is a very sobering tune which rose my estimation of the project a whole lot on my first listen.

Because honestly, without the context of the rest of the album and the concept surrounding it, I don't think these songs, save for "Change" and "Immortal", would stand on their own. But this isn't too surprising, Cole has expressed his desire to forgo the traditional album cycle, with this being his second album in a row with zero promotional singles. But for me, it means that in order to fully enjoy any of these tracks, one must listen to the entire LP, which does limit the replay-ability a bit. Not a deal-breaker, but when most of the album is stuck in such a somber mood, with lots of "okay" singing from Cole, I feel like I'd have to be in a very specific mood to throw this thing on.

So, aside from some samey-ness overall and a few questionable lines and singing, I still think this is a great LP, and recommend it to any fan of rap, even those who maybe had no interest in Cole at first. I feel like he's really moving towards something truly amazing.

8.0/10

Childish Gambino: Awaken, My Love ALBUM REVIEW

Childish Gambino is the moniker of successful actor, writer, comedian and musician Donald Glover. And while I think Glover is a funny guy and as an actor he has certainly proven himself to be above his multifaceted peers; his music has never appealed to me. On Camp, his major label debut, he was putting out by the numbers pop-rap that was completely self-obsessed without an ounce of self-reflection and the follow-up full length, Because the Internet was all ambition with no cohesion, though the style of the LP was way more enjoyable. However, these albums, despite what I may think, did have one commonality: they were both rap albums. Sure, Gambino would sing on occasion, but overall, Gambino has been a rapper first and foremost. All of that has changed on his latest LP,  Awaken, My Love.

Fans of funk music (or heck, even 90's west-coast hip-hop) will note the blatant Funkadelic nod via the album cover, and for the most part, it looks like a Funkadelic and quacks like a Funkadelic. Especially on tracks like "Me and Your Mama" and "Zombies". But I've got to reiterate; this album is completely devoid of rap songs entirely. In fact, I can see this as being the "haters favorite" and the "fans most hated" Gambino album. I mean, I wouldn't say I hated Gambino up until this point, but I can certainly say he wasn't making great music to me. And while my feelings aren't doing a complete 180, even on this record, I have to say it is easily his finest work to date, based solely on quality of craft.

Awaken, My Love has great structure, vibrant instrumentation, and is a big step up in the consistency department for Gambino. Sure, there are still some under-cooked  moments like "Riot", and there are still downright awful moments, like "California" which sounds like Young Thug meets that Pina Colada song. But when this album hits, it really hits; for example, we have the track "Redbone", a sexy and undeniably smooth track that brings to mind the best years of Prince and guys like D'Angelo.

So overall, I think this album is strong, but I can't deny that the sole thing that really drags it down from time to time is the vocal performance, which for the most part ranges from decent to great, but when it's neither of those things Gambino comes off as overly goofy ("Zombies") or downright unbearable ("California"). Which is a shame, because like I said, Gambino is actually a pretty talented singer.

Still, despite not loving it, I've gotta say I recommend this one, purely based on the number of great moments here that, while unable to completely outshine the low moments are more than worth a listen.

7.5/10

The Weeknd: Starboy ALBUM REVIEW

The Weeknd has been on an upward swing to stardom (pun not intended) ever since he dropped a reissue of his three mixtapes called Trilogy, which overshadowed (unsurprisingly) his major label debut, Kiss Land. Now, I'll be honest here, as I so often am, that I'm not that big of a Weeknd fan. In fact, Echoes Of Silence was the last full length project from him that I though was at least worth listening to in its entirety. Now that's not to say that singles from his last album, Beauty Behind The Madness weren't worthwhile, especially the likes of "Can't Feel My Face" and "Tell Your Friends". But that album as a whole was incredibly spotty and inconsistent, a trend that hasn't totally been squashed on his latest LP, Starboy, but one that has been alleviated a bit.

In fact, I'll go ahead and point out my main complaint with Starboy right off the bat; it has too much filler. Keep in mind, with 18 tracks here, there was bound to be some filler, but I think it is especially egregious here, because these filler tracks, such as "Party Monster", "Stargirl Interlude" and "All I Know" are roadblocks between what are in my opinion, some of The Weeknd's strongest material ever. If the tracklist had been trimmed down by around 5 or 6 songs, I honestly think this album would be a shoe-in for my top 10 albums.

But, lets not wallow in what could of been. Instead I will reinforce my point; tracks like "Starboy" and the Michael Jackson influenced "A Lonely Night" are excellent tracks that push The Weeknd's songs style in a new and exciting direction, while tracks like "Reminder" and "Sidewalks" play with instrumental styles that are familiar to The Weeknd, but he takes the opportunity to be a bit more personal, especially "Reminder", where for the first time, I feel like Abel is dealing with the subject of fame with some modicum of maturity.

Plus, I've gotta give it up to the likes of Daft Punk and Kendrick for elevating their respective tracks to excellence. This is the kind class in terms of features that previous Weeknd albums (and this one in some areas *cough* Future *cough*) have really lacked.

Would I recommend this LP, despite some serious filler and other issues? Why yes, I would. Like I said the tracks outside of the filler are excellent, and it is only because of those filler tracks that I'm not head over heels for Starboy. But all the same, this is an enjoyable LP for sure.

8.0/10

Metallica: Hardwired... To Self Destruct ALBUM REVIEW

It is no secrect on this blog that I have a lot of love for Metallica, though that love does wane the farther away from the 80's their discography gets. I think the self-titled LP is really good, but I think Load and Re-Load are only just okay. And yes, I don't like St. Anger; however, I did find a few cuts off Death Magnetic to be really great, and showed that the band was still able to channel their older, more thrash-based selves when they wanted to. So, expectations for what the band would do next were pretty high... fast forward 8 years and Metallica have FINALLY released their follow-up, Hardwired... To Self Destruct.

And if the title wasn't enough to tip the Metallica fans that the band would be hearkening back to the glory days with its overt reference to my personal favorite Metallica record ... And Justice For All.
And the teaser singles only confirmed fans suspicions, especially with cuts like "Atlas, Rise" which sounds like it could of been on Ride The Lightning, sans the screech that James Hetfield used to possess. But the real question remained, would this two disc, 80 minute album live up to the lofty expectation set by its title and singles? In my opinion, it does.

In fact, I can honestly say, with no exaggeration that this is the best album Metallica have put out since the self-titled album, maybe even ...And Justice For All. The first disc especially comes through with one heavy-hitter after another, "Hardwired" is a super fast thrash song that could have been on the band's debut, "Moth Into Flame" is a track that tips its hat to inspiration such as early Iron Maiden, and "Halo On Fire" synthesizes the sounds of Load/ Re-Load with that of the self-titled which leads to one of the most dynamic tracks that the band has released in decades.

And the second disc is no slouch either (despite what most other internet critics would have you believe) with tracks like "Here Comes Revenge", a dreary, sinister number and the tribute to metal legend Lemmy with "Murder One". And of course I can't forget the single greatest thing Metallica has done in the about 25 years, the track "Spit Out The Bone". This track is everything that makes Metallica great, the speed, the ferocity, and James' apocalyptic lyricism. "Spit Out The Bone" is easily one of the most enjoyable metal tracks I've listened to this year, and maybe even the last few years if I'm being completely honest.

Overall, Metallica just sounds so revitalized on this record, especially James, who sounds better than he has since the self-titled album. If I had to find things to complain about it would be Lars' tendency to stick to the same kinds of drum patters, a complaint that has been prevalent for the last few Metallica albums, and a couple of the tracks here pale in comparison to others, such as "Confusion" or "Now That We're Dead". Though I must reiterate, none of the tracks on Hardwired are bad, and most of them are stunningly awesome. My horns are raised in affirmation, Metallica is back.

8.8/10

Bruno Mars: 24k Magic ALBUM REVIEW

Four years ago there were few pop artists less likely to draw my attention than Bruno Mars. At least in terms of the material he was putting on his own albums, the kind of music he was producing was the kind of overly slick, overly sappy nonsense that is guaranteed to make even the most rigid of attention spans go completely flaccid... mine included.

Of course, there was one notable exception in Bruno's repertoire, the infectious, Michael Jackson infused "Treasure" a track that had no business being on the same album as trite filler like "Gorilla" and "When I Was Your Man"; two songs that received far more radio play, unfortunately. "Treasure" pointed out a very important fact; Mars is at his best when he is trying to replicate older forms of pop, this fact was given even more evidence when the track "Uptown Funk" dominated the charts in 2015, and at that point, Bruno seemed to realize the power that he possessed. So, with a full band in tow, Bruno got to work; the result, 24k Magic, an album that I wholeheartedly love from top to bottom.

Simply put, everything that I liked about "Treasure" and "Uptown Funk" has been refined and amped up on this LP. The 9 tracks on offer here are tight, catchy, and pay homage to key artists in pop, R&B, and funk, but almost never come off as mere imitation, save for "Perm" where the James Brown influence takes over completely; still a good tune though. My favorite moments however come in the form of three key tracks, "24k Magic" is synth-funk perfection that is an absolute jam, I'd be surprised if doesn't get as much attention as "Uptown Funk" did. Then we have the slow jam masterwork "Versace on the Floor", a track I wasn't able to embrace fully, until I let my cynicism guard down and then there's "Finesse", an honest-to-God revival of new jack swing that is a distilled version of all the positive qualities of that entire genre.

Of course, there are other great tracks here, "Straight Up & Down" is a sexy little number and "Calling All My Lovlies" is a hilarious track about a girl who is ignoring Bruno, the track even ends by revealing the girl in question... a pretty great reveal in my opinion.

If there's one truly weak aspect of this album, it would have to be the lack of variety in song topic, but honestly, this is an album that is mostly paying homage to various R&B sounds from the past 30 years, so I can't really fault most of the tracks for being about love, being a ladies man and sex. However, another track or two would have been appreciated, because 33 minutes is a bit brief.

Regardless, this is hands down my pop album of the year, and I highly recommend that you give it a listen, even if (like me) most of Bruno's back catalog makes you wince.

9.0/10

A Tribe Called Quest: We Got It From Here... Thank You 4 Your Service ALBUM REVIEW

It's been 18 years since the release of the last Tribe LP, The Love Movement; an album that in my opinion, failed to live up to any of the groups previous material. So, when I heard that Tribe were back in the studio, working on another album, I got a cold chill down my spine (perhaps a residual one from my Indy Cindy review). Pile on top of the that the groups long and storied past of not getting along very well in the years between this album and The Love Movement, and the sad passing of founding member Phife Dawg, and you have an album that has a LOT to prove. Luckily, I think it proves itself admirably; in fact, I'm confident in saying that in my honest opinion, this is the best Tribe album since Midnight Marauders.

We Got It From Here... possesses that quality of the best of the groups discography, it has a smooth jazzy atmosphere, but doesn't skim over making an intellectual statement, or even a political one, such as "We The People...", a track that I feel is so in tune with the times, it shows just how honed in Tribe was during the recording of this LP. Actually, that was the first thing I noticed when first listening through this album; and that was just how in touch it is. Not just politically, but musically; Tribe doesn't rely on hollow nostalgia or self-reinvention to make the tracks, but instead, We Got It From Here... comes across as the next logical step for Tribe. Another album that found itself in a similar situation was the last D'Angelo album, Black Messiah, both LP's look back just enough for the listener to make connections with past material, but they both end up marching forward without caving into modern trends or fads. There are no trap high-hats or soulless drug raps here.

One trend that finds it's way on to this album (though Tribe have been doing this since Low End Theory) is heavy use of features on most of the tracks here. Guys like Busta Rhymes, Anderson Paak, and Kendrick Lamar all make appearances here. However, unlike so many feature-heavy rap albums released these days, the features actually elevate the tracks that they are on, and hey, they even stick to the actual topic of the song! But luckily, the features do not outshine the core members, especially Q-Tip and Phife, both of which drop some of their best bars ever on this record. Even early Tribe member Jarobi who hasn't been on a Tribe record since the debut comes through with some fantastic lines and flows. And I can't describe how great it felt to here Phife on the majority of this LP, he is my favorite member of Tribe, and the fact that he got to spit on another Tribe record before he passed, makes losing him a bit easier to deal with. R.I.P Phife.

In my opinion, this is not only a fantastic comeback/ swansong, but it is an album that I think rap music really needed this year. And I know I have given high praise to trap rap albums before, in fact I think that flavor of rap has its own important role to play, but the fact that We Got It From Here... speaks to the current climate of America so well, all while remaining hopeful, and even fun album is proof that we've been sorely in need of more groups like Tribe in modern rap.

9.6/10

Conor Oberst: Ruminations ALBUM REVIEW

I hold a special place in my heart for Conor Oberst's musical output under the Bright Eyes moniker. Time and time again, he and his band managed to capture the heart and soul of great folk music all while telling stories that are distinctly modern. Such as the opener to I'm Wide Awake, It's Morning which tells the story of a plane that crashes into the sea, but Conor paints the picture of its passengers so beautifully and drives the built-up emotions home with a song that is as powerful and profound as it is sad and contemplative. It is sad then that none of Mr. Oberst's solo material has roused anything greater than a mild shrug in me for the last few years. I've always felt that he simply buried himself in too much instrumentation, and his vocals just sounded to self-assured and clean, nothing like the cool quiver of his Bright Eyes work.

However, with Ruminations, Conor finally manages to bring back the brilliance of prime Bright Eyes with an album that I feel is simply the finest singer-songwriter of the year. Ruminations is just that, Conor visits moments from his own life and paints one beautiful lyrical portrait after another. I found tracks like "Gossamer Thin" especially moving with just how effortlessly Conor weaves such confident and fragile melodies over such sparse instrumentation.

That's another thing; this album's instrumentation has been reduced to essentially only the bear necessities. Basically, every instrument you see on the cover was used to record this LP, nothing more. And as I've always said, this is where Conor is at his finest, when he can just let his songwriting chops shine. And shine they do, with tracks that range from achingly beautiful to downright sinister ("Counting Sheep" is especially grim). But then we get some more political leaning tracks, not a unique song concept for Conor, but here, he seems more self-assured and confident about his beliefs, unlike some of his solo material where it almost felt like he had to prove himself. The track that best illustrates this is the track "A Little Uncanny" which reminds me of Blonde on Blonde/ Blood on the Tracks era Dylan, and takes pop culture figures from American history and shows how they effected various parts of culture.

It has  been a very long time since I've felt the need to talk about a Conor Oberst/ Bright Eyes project at such length, and I think that says more than any amount of laborious praise-filled text ever could. Simply put, listen to this album.

9.2/10

The Zombies: Odessy and Oracle CLASSIC ALBUM REVIEW

British rock music in the mid to late 60's is a very well tread area of music. From the Kinks to the Beatles, this era of music has been documented and held up to lofty heights again and again, but unfortunately (at least until recently) one of this era's finest LP's was left unappreciated. This album of course, is the subject of this review, the sophomore LP from The Zombies, a group that wasn't a wholly unsuccessful group in their time, but they were unfairly stiffed when it came to their masterwork, the front-to-back masterpiece that is Odessy and Oracle.

This LP, in my honest opinion, deserves to be placed alongside its contemporaries as a pillar of British pop and psychedelic music. This album not only has the songwriting chops and even some suitably political subject matter, such as on the depressing "Butchers Tale", but this album also also possesses an attitude that was sorely missing from other huge groups at the time, that of the macabre.
Fitting, that the bands name now brings to mind the image of a shambling humanoid, because their music on a lot of key points on this LP, but notably the closer "Time Of The Season" is a fitting soundtrack to a late night excursion into the realm of the spooky.

Of course, none of the subject matter here has any actual basis in horror (aside from the images of war on the aforementioned "Butchers Tale") the sound of this album, from the organs to the whisper soft lead vocals, all lend this album an almost ghostly quality at some points. However, this album isn't all dreary, for instance, we get the fantastically hopeful and bright "This Will Be Our Year" which is one of my favorite songs of all time.

Other highlights include "I Want Her She Wants Me", "Friends Of Mine" and "Care For Cell 44" which kicks this whole album off perfectly, with it acting as almost a thesis statement for the entire album. In short, this is an album that deserves way more than it was given back in the day, and I'd argue it still hasn't quite gotten its due to this very day. Classic through and through.

10/10

Kings of Leon: WALLS ALBUM REVIEW

WALLS is the seventh album from rock megastars Kings of Leon, a group that I really love. I said about as much a couple years ago when the band put out their last LP Mechanical Bull, an album that I enjoyed quite a bit. That LP had come after the less than stellar Come Around Sundown, which wasn't terrible, but lacked guts. MB brought back some off the gusto that was missing on CAS, and while WALLS isn't nearly as energetic as MB, it doesn't completely bland out the band's sound either, instead, this album finds the band working with a sound that is definitely rock, but is very tempered and mature.

In a lot of ways, WALLS reminds me of Bruce Springsteen's output post- Born In The USA; there are a lot of big, anthemic tunes, but the band also takes the time to slow things down, especially on cuts like the title track, and the excellent "Over". But there are still a couple more typical rockers on here too, like the opener, and the track "Eyes On You". Of course, when I say rocker, I mean these tracks are a bit more uptempo than the rest of the tracks here; however, nothing on this LP comes close to being as raucous as say, a track from Aha Shake Heartbreak.

But at this point in the band's career, I don't expect that kind of song. What I do expect, and what I get for the most part on this album is a batch of very well written and performed rock tunes that provide a very pleasant and enjoyable vibe. Is this album a little bland? Yeah, it is, but I can't deny that I still found myself really enjoying a lot of material from it, and I think any KoL fan will dig it plenty, and anyone looking for a solid rock LP will at least find something to enjoy here. Plus, I'm a sucker for bands that can pull of the feeling of great Bruce Springsteen tune.

7.3/10

Travis $cott: Birds In The Trap Sing Mcknight ALBUM REVIEW

Last year, I went from kind being completely indifferent to Travis to actually loving his latest album at the time, Rodeo. That LP has only grown on me more over the last few months, even after putting high on my year end list. However, I'll come out of the gate and say that BITTSM is nowhere near as great as Rodeo, but unlike some people out there, I don't hate it with a passion.

I will admit though, this album sees Travis falling back into his habit of putting some terrible lines in his tracks, especially the lyrical fluff of "Coordinate", a track that I like for its nocturnal beat, but really have to zone out the lyrics to fully enjoy it. And the entirety of the tracks "Guidance", "First Take" and the year old "Wonderful" are all pretty unbearable, and have some of Travis' worst production in a while on them.

That being said, the bright spots here are pretty great. I absolutely love "Way Back" and "The Ends", these two tracks kick things off right, maybe not as well as the opening moments of Rodeo, but that's a high bar to pass. Elsewhere on the track-listing we get the excellent "Outside" and just in time for Halloween, the track "Goosebumps" comes in with an excellent beat and Travis is actually playing with the idea of *gasp* actually being attracted to a girl for more than her body! Also, that Kendrick verse is hilarious.

Then there are moments that just fall in the mid-ground, such as the Kid Cudi featured "Through The Late Night" and  the track "Lose" which could have been great, but it just lacks that special touch that tracks like "Goosebumps" and the "Pick Up The Phone", which I already talked about in my JEFFERY review. And I would have been upset to see it re-purposed here... if I didn't love the song so much.

Overall, this album comes off as the placeholder for something bigger and better. It isn't bad, but it's far from great, and while I do enjoy a few moments here, I'm looking forward to a more substantial release from Travis in the near future.

6.7/10

Danny Brown: Atrocity Exhibition ALBUM REVIEW

Danny Brown has been toying with the concept of an album that shows the highs and lows of drug life for the last five years or so, and until this point, he has come exceptionally close to encapsulating that concept in a single album. XXX was definitely more about the low, coupling drug addiction with gang life and the inevitable process of aging. Whereas Old was more manic, going from deepest low to highest high. Atrocity Exhibition is the tipping point, and the aftermath.  On this album, Danny spits over some of the most far out beats I've ever heard on a rap album, sometimes bordering on avant-garde in the way he seemingly takes a random rhythm to put his words to. This is exhibited on tracks like "Downward Spiral" and "When It Rain".

Other tracks like "Rolling Stone" and "Today" are a bit more readable, but there's still a thick, druggy atmosphere, this album doesn't escape that, not even once. Which is where Atrocity Exhibition defines itself, it feels like the death, and afterworld journey of a drug addict; there are crushing lows ("Tell Me What I Don't Know") and surreal passages, such as the B-Real featured "Get Hi".

But for all the praises I can throw at the production, Danny still steals the show here. His verses are consistently funny, harrowing, and masterfully written, to the point where I'd say he as lyrically potent on this LP as Kendrick was on TPAB. Of course, Danny goes for a different statement, in the end telling all the doubters and haters that he will give them hell for them putting him down. This LP is a trip, and unlike his last two albums, which had the tendency to include some filler here and there, Atrocity Exhibition hits the nail on the head with absolutely every track.

Along the way though, prepare to expand your mind, because an open mind is the key to seeing just how brilliant this album truly is. It's great without a deep listen, but it's a work of art with a little more effort.

10/10 

Bon Iver: 22, A Million ALBUM REVIEW

Bon Iver has been an indie darling ever since the release of his debut LP For Emma, Forever Ago, an LP I do think is quite great. I thought a little less of his sophomore self titled LP, but nonetheless, I thought of Bon Iver as an act that elevated itself above the typical indie-folk revivalist groups. They simply brought more polish and subtlety to the mix, and that was something that I appreciated.

However, on this new LP, Bon Iver sees fit to throw out their old sound, which was folk with the occasional synth or electronic element worked in, and have instead opted to do a 180 in their dynamic. 22, A Million is a glitchy, nervous sounding LP that only occasionally takes a break from being "experimental" to put together a cohesive tune. And that in a nutshell, is the LP's greatest flaw.

The opener is pretty strong, it is indeed jittery, but incorporates its many samples and electronic glitches into a cohesive whole. But even this strong moment (one of the albums finest) is dampened by its brevity, something that happens all to often on this album. The following few tracks feature good ideas, like the booming percussion of  "Deathbreast" (no, I'm not spelling the track names in their original format...) and the quiet build up to the climax in "33 God" are all pretty good, but the former meanders into nothingness, and the former dissolves into a cacophony of instrumentation that is earsplitting when listened to with anything louder than a laptop speaker.

However, I will give credit where it is due; the track "Strafford Apts" is one of the most beautiful tracks I've heard all year, and is easily the finest moment the album has to offer. After this track however, the album dives deep into the mundane, with one track after another of half finished ideas that go on for too long. Case and point, the track "21 Moon Water". I have a very hard time, even now, after having listened to the LP dozens of times, even remembering how this song goes. Then the album closes on another strong note with "00000 Million", a delicate and refined piano led ballad, something that Bon Iver has always been great at.

I'm not going to get into the track names or the imagery here, because not only do I not want this to be an essay, but the more I dig, the less impressed I am. All in all, this LP is a disappointment, and anyone throwing praise at it is either blinded by fandom, or is receiving a pretty nice looking paycheck for it. But that's just my opinion.... ugh.

4.5/10

Pixies: Head Carrier ALBUM REVIEW

The Pixies are a great band. I hand to remind myself of that fact after their last full length, 2014's abysmal Indy Cindy. A comeback album that made me kind of wish that the band had just stayed dead. However, the group (once again without Kim Deal) have given us another new LP to chew on, this album has a lot less expectation and a lot less tumultuous past, but the question is, is it any good?

Well, I'll start by saying; it is a WHOLE lot better than Indy Cindy, but that's no high bar. However, I do think this album is the comeback album I was expecting Cindy to be; an album that shows a band that has a very idiosyncratic sound re-familiarizing themselves with the dynamic that made them so amazing and influential all those years ago. In short, Head Carrier is the sound of Pixies centering themselves. Unfortunately, that also means it is an entirely forgettable album, and one that has absolutely no new ideas to bring forward. Actually, there are moments of blatant plagiarism on some tracks here, most notably on the track "All I Think About Now" which is one accidental string pluck away from being "Where Is My Mind?".

That doesn't mean that the album is 'bad', but just kind of mediocre in the scope of the Pixies career. I did like the first four tracks, especially "Classic Masher" and "Might As Well Be Gone", both of which are more upbeat and have pretty solid melodies which remind me of Bossanova era Pixies, even if they are a bit neutered in terms of production. In fact, that is one of this albums two major problems, the production here is too clean, and doesn't lend itself to the Pixies traditionally raw sound. Sure, there are fans who would argue that the same could be said about Bossanova and Trompe le Monde, but I dare anyone to say that those albums lacked guts. Speaking of which, aside from a fairly impressive vocal performance on "Baal's Back" the rest of this album sees the band playing with very little fervor, which makes the whole of the album just feel a bit boring from one end to the other.

In all honesty, I'm okay with this LP. Will I remember any of the tracks in the next three months? Probably not, but I also won't have to burn a portion of my memories in effort to erase it either. So yeah, the Pixies are a great band, and this album is just okay.

5.0/10

Ty Dolla $ign: Campaign ALBUM REVIEW

West Coast crooner Ty Dolla $ign is on a campaign. Now, considering the fact that here in America we are currently in the process of determining who are next president will be (for better or worse), one might get the idea that this new album titled Campaign, might be about politics. Which it is.... for a few moments here and there. In fact, aside from the intro track, the track "No Justice" and a couple of skits on a couple of other tracks, there's literally nothing else on this album lyrically that give the impression that Ty wants to say anything other than "I have a lot of money and I sleep with a lot of women". Don't get me wrong, I think he does the latter exceptionally well, especially on this album, but I feel like it was a slight misstep framing this album as some kind of political statement, because it takes peoples attention away from just enjoying the music here, because this is some of the finest modern R&B music I've heard come out in a while.

I also realize that that last statement might make some people mad. Ty incorporates a lot of rap and trap styles in his music, plus his lyrical content is a bit crass, which may cause people to label simply as a rapper who sings, or some kind of features artist. But I think Ty on this new album is embracing, at least sonically, some more oldschool influences, which leads to some really classy cuts like "Stealing" and "Juice", both of which are incredibly soulful and smooth. And then there's my two personal favorite tracks (I just couldn't pick one), the Travis Scott produced/ featured "3 Wayz"; this track has such great production, probably Travis Scott's best work since Rodeo, and the hook here is stellar as well. Then there is "Zaddy"... slow jam of the year, that's all I'm gonna say.

And for the most part that's how this album operates, gliding from one smooth R&B track to the next with the occasional rap track here and there, which aren't bad either, especially the grimy "???(Where it's at)", and to mention the track "No Justice" again, this track is not only the albums strongest political statement, but it is a fantastically produced track as well, really powerful stuff.

Alltogether I'd say that this album is great, aside from a few stumbles here and there, such as the obvious filler of "R&B" and the somewhat redundant "Clean". And hey, I think in such times of extreme political tension, maybe Ty's campaign is to give us an album to let us all relax and vibe out to?

9.0/10

Touche Amore: Stage Four ALBUM REVIEW

Death is a hard thing to deal with. It not only leaves a hole in the lives of the people who knew the deceased, but it also causes the people closest to the departed to not only realize their own mortality, but also brings the idea of an afterlife to the forefront of the mind. This is the conflicted and chaotic world that lead singer Jeremy Bolm found himself in after Halloween of 2014, the night he lost his mother Sandy to stage four cancer.

This is Touche Amore's fourth full length album, and it is their best for sure. Musically, it is their sharpest, with a lot of great guitar leads and big, gorgeous choruses such as on the opener "Flowers and You" and the fantastic "Water Damage". This is the same band that came together with the fantastic, Is Survived By in 2013, only now they are even more focused and are now operating in peak conditions. But I have to be honest and say that this album on a musical level is simply overshadowed by how intense and awe-inspiring the lyrics are.

I'm going to get my two main gripes out of the way now, so I can spend the rest of this review properly praising the finest vocal performance I've heard all year. One, the clean vocals on here are too low in the mix, and while I wasn't too hot on the almost spoken word vocals of the track "Benediction" they have grown on me. Two, some of the instrumentals run together, especially on the shorter tracks, although it's not too much of a problem, because that just means your full attention will be on the vocals.

Now for what is easily the best part of this LP, and what could possibly be my favorite vocal performance of the year, Jeremy Bolm. In short, this is the kind of album that is so good, but is also incredibly hard to listen to, because it just has such heavy subject matter, and Jeremy's lyrics are so incredibly sad. But at the same time, this album sees him going through his emotions in a cathartic way, by screaming at the top of his lungs, and putting his pain to song, something that he and the rest of Touche Amore have been doing for a while now, but Stage Four describes such a fresh pain, and you can feel it in every note and every heartbreaking lyric. I don't want to go into too much detail or quote any of the lines here (I would have to post them all to do this LP justice), because I don't want to rob anyone of the experience of listening to this album deeply, paying attention to every word closely; it is quite an emotional journey, one well worth taking.

This is some heavy stuff, but the arc that this album goes through is one of this years finest musical moments, and it has confirmed this album a spot on my end of the year list for sure.

9.2/10

DJ Khaled: Major Key ALBUM REVIEW

DJ Khaled is a meme. At least, nowadays he is, and he likes it that way. Back when he was first putting out tapes, he was simply a producer who would shout his name at the start of every track, and he just so happened to have some pretty big hits in him too. However, with the power of snapchat and Youtube, Khaled has found popularity on a whole other level, and on his last album I Changed A Lot, it seemed that was all he had to offer, because was an album that was pretty bare in terms of quality tracks, even for Khaled standards. But, now with his meme popularity in full swing, it seems as though Khaled found his inspiration, and it has resulted in his strongest LP yet. I would even go as far as to say it is one of the best "Summer Blockbuster" albums we've gotten in a few years.

Though I'd be remiss to neglect the fact that the middle of this album devolves into utter drivel, especially on the overly long, feature packed "Do You Mind" which sees Chris Brown being even more creepy than he usually is. And I don't honestly know who cleared the track "Pick These Hoes Apart", and not because of the subject matter. This track is just so bereft of anything appealing musically that it sounds like a B-side from a Khaled album from nearly a decade ago.

But luckily, about 70% of this LP is fantastic. I especially loved tracks like "Holy Key" and "Work For It" featuring verses from Big Sean that are... *gasp* actually good! Plus, the world is blessed with another awesome Kendrick verse, and I loved the passionate gospel vocals on the hook of "Holy Key". There are even great (and I mean great) tracks from Drake and J. Cole; not exactly something I was expecting from a DJ Khaled album, but I'll take them anyway.

Even NAS and Jay Z sound great on their tracks here, both bring clever rhymes and Jay even does something original with his off-time flow on "I Got The Keys", which is something I didn't think he had in him anymore.

Sure, there are a few duds here, and I think the LP could have ended a lot stronger, but  I can't deny that I had a ton of fun with Major Key. Summer rap at it's finest.

7.3/10

Crystal Castles: Amnesty(I) ALBUM REVIEW

Back in 2010, you couldn't be on an 'indie' music website without at least hearing mention of Crystal Castles. This was of course after the release of their incredibly popular and successful sophomore LP, one that I and many others enjoyed quite a bit; however, the band took their sweet time with the follow-up, and unfortunately the result was an album that had brief moments of good, overshadowed by a complete lack of ambition. The duo seemed to have lost the spark that got them going in the first place, so, as they should of, they decided to call it quits... than one half of the duo, Ethan Kath (producer) decided that he wasn't done with the project, and with the help of a new lead vocalist Edith Frances have put out a new full length titled Amnesty(I).

Long story short, this album is not good.

And I really could leave the review of their if I felt like it, because this LP gives fans nothing new whatsoever, and in fact, often gives the listener less than the previous album which was sorely lacking in great tunes to begin with.

The album kicks of with the Trap-influenced "Femen" which could have been pretty good if the beat wasn't just skittering around for the entire duration, or I don't know, skittered in an interesting way? Then we get a couple decent tracks with "Fleece" and easily the best track here, "Char". Though I'd me remiss to say that these tracks are anything other than passable, and don't feature some of the most 'edgy' goth synthesizers I've heard in a long time.

In fact, that was the impression I kept getting while listening to Amnesty(I); that I was simply listening to a band that formerly, was making eerie, yet catchy dance tunes that were legitimately skillful, instead opting for the laziest allusions to 'darkness' I've heard all year.

And the production on here is pretty laughable too, which surprised me, because even on the duo's last album, he still proved to be at least a decent enough producer, though his tendency to bury the vocals was present on that album as it is here in full force. In fact, I can't tell that there's a new vocalist here at all, and not because she is just as good as Alice Glass. No, it's because I can hardly make out anything she's doing buried under all the effects and wonky production moments that range from bare bones to an assault of my ear-drums... it's really quite shameful, honestly.

The album goes from passable to un-bearable on tracks like "Sadist" and "Teach Her How To Hunt", the former of which ambles about for nearly three minutes before apathetically fading out, and the latter presents a completely worthless bit of filler on an album that is only 33 minutes to begin with.

Again, this album is not good, and I really can't recommend it to anybody, not even long time fans, because you deserve a lot better than this. Sadly, another CC LP that I won't be returning to.

3.0/10

Young Thug: Jeffery ALBUM REVIEW

You may recall that I reviewed another Young Thug release earlier this year. That LP, Slime Season 3 was, in my opinion a fun little album that was good for kicking back and zoning out, but I'd the first to point out how that album was mostly Thugga just sticking to his guns and doing what he does best. But now we have Thugga's third release this year, the hilariously named Jeffery, and album that not only has a ridiculous title and album cover (though I low-key really dig it), but almost every track here is named after someone, for instance the opener "Wyclef Jean" is a reggae influenced cut that seems to take inspiration from the titular artist, despite not featuring him (he instead shows up on the closer, "Kanye West" oddly enough).

Does this tie into some kind of concept? No, not really, in fact really none of the tracks here save for the aforementioned track and the song "Future Swag" even have anything remotely in common with their namesake. Instead it simply seems that Thug chose this naming convention to simply get peoples interest, which it certainly did.

Luckily, aside from all the weirdness that surrounds the project, the actual music here proves to be possibly Young Thugs best work to date. Not only do we see Thugga trying out some new styles like the tracks "Wyclef Jean"and "Guwop", both of which are a lot more melodic than what was seen on Thugga's past work, and in my opinion, his singing voice has never sounded better; case and point, the incredibly seductive "RiRi" which an absolutely killer hook that just melts on your ears. But we also get to see what is possibly Thugga's most aggressive performance as well with the track "Harambe" where he sounds like he gargled mercury before stepping into the booth, but it still manages to work and be very enjoyable.

The only track I didn't especially was "Floyd Mayweather" which has a decent beat, but it just goes on to long and aside from Gucci Mane and Thugga himself, none of the verses here are all that great (sorry Travis). However, if you go ahead and buy the entire album, you do get the great single "Pick Up The Phone" which actually features a really enjoyable Travis $cott verse/ beat and features my favorite member of Migos, Quavo, who absolutely steals the show with his verse.

Overall, this is a very strong release from Young Thug, I can only hope that this translates into a full length that is as refreshing and satisfying.

8.3/10

Carly Rae Jepsen: Emotion Side B EP REVIEW

Canadian songstress Carly Rae Jepsen first made it big with her ubiquitous single "Call Me Maybe", a track has been grating ears for the better part of the decade. And while I mostly find the song to be a mostly harmless bit of pop fluff, it did make Miss Jepsen a sensation overnight; however, recently with the release of her criminally underappreciated 2015 album, Emotion, Carly Rae Jepsen has decided to pretty much leave modern pop conventions off the table, instead opting to embrace the finer parts of 80's synth pop scene. That album, and subsequently this new B-sides EP, both bring to mind the likes of Whitney Houston and provide the kind of music that pays homage to the ere, without stealing from it wholesale. And while I think that Emotion is a great album (a shame I didn't get a chance to dig into it until early this year), I have to acknowledge that there are some less than stellar moments throughout its track-listing, but I have to say, Side B manages to remedy that by being an even stronger release than its A-Side counterpart.

Right from the start this EP is on a high note, from the Whitney infused "First Time", the bombastic and absolutely anthemic "Higher" and perhaps my favorite moment, the anti-commitment anthem called "The One" which coyly rejects the advances of someone by basically saying that they can do all the things that lovers do, but she simply will not commit, because it is "Too much pressure", which is sort of refreshing considering that most songs that we here with this sort of theme see the singer reassuring the listener that they will someday find the ability to settle down, but  Carly Rae simply states it how it is, and does it with a splendidly funky bass synth grooving behind her.

Of course, there are some more typical lyrics her, such as on "Fever", which is probably my least favorite cut here; not bad, but it is really the only track on this EP that really does feel like a 'B-side' whereas the rest of the tracks here simply feel like tracks that just weren't ready for Emotion.

The album then winds things down with some slower moments, such as "Cry" and "Roses" which is a surprisingly dark track, considering the rest of the material here, but she still manages to fit one more bright, upbeat moment with the quirky "Store", which helps round out the end of the EP.

Gotta say, I wasn't expecting this EP to wow me as much as it did, but there is the strong possibility that this will end up on my end of the year list; it is really that great, and proved to be the best way to end the summer.

9.0/10

Schoolboy Q: Blank Face LP ALBUM REVIEW

It's been nearly three full years since I reviews Schoolboy Q's last full length LP, Oxymoron: an album that I have grown to love even more since its release. That album was just so grimy and hard edged; basically the opposite of what mainstream rap is in this day and age that I couldn't help but admire it. And upon hearing the first single from this new LP, "Groovy Tony" I was ready for another album full of tracks about the gangsta lifestyle, but maybe with a concept wrapping it all together. And for the most part, that's exactly what Blank Face LP delivers; though the album does also dabble in the kind of jazzed out productions that made Kendrick's last project so refreshing, and to be fair, Q doesn't do a half bad job at getting the same results, though here, it seems like more of a play at bringing in the 'conscious rap' fans that usually scoff at Q's straight up, no frills gangster posturing and subject matter.

However, without a doubt, this album is a truly great followup to Oxymoron, and easily features some of Q's best tracks to date. To mention "Groovy Tony" again, in the context of the album, it has been expanded and paired with another track "Eddie Kane", and seems to describe a character that is a stone cold killer; there's even one line here about this character hugging someones mother, looking over her shoulder with the titular 'blank face', that is truly chilling. Then there's the track "John Muir" which could possibly be a bit more autobiographical, but still hits just as hard. Then there are the more, I don't know, laid back thug songs? You know the kind of stuff that made an album like Doggystyle equally appealing as a journal of the Crip lifestyle, and a great album to put on at parties. Tracks like "Big Body" which actually features members from Tha Dogg House, and "WHateva U Want" which has another bumping beat similar to "Big Body".

And the albums diversity doesn't stop there, because the aforementioned Jazz heavy tracks find there way here, such as the short "Lord Have Mercy" or the Anderson Paak. slathered "Blank Face" which barely even has Q on it, making it maybe my second least favorite track on the entire album, next to the sort of sleazy "Overtime" which does have Miguel... but also has some of the worst lyrics on the entire album. But luckily the album ends on an extremely high note with "Tookie Knows II" which seems to state that all of the character portrayed on the album, despite some of them finding solace in lifestyles outside of gangs, are destined to return to it, because of peer or even societal pressure.

Unlike say an album like To Pimp A Butterfly, there really isn't a light at the end of the tunnel for this album, but I think that's what makes it so important; I think listeners need to see that not all rags to riches stories are glamorous, and the person underneath all the success is the same person who was selling dope before they got rich. Whereas Kedrick's album found self-love to be the key to escaping ones demons, Blank Face seems to be about embracing ones demons, and making the best of life, despite how messed up it is.

In the end though, this is another great LP from Q, and may in fact be his best work yet.

8.5/10

Neil Young Double Feature: Harvest / Harvest Moon CLASSIC REVIEW

For the last few months, having already gone through a couple of discography review series; I thought that I might do a series for my favorite folk artist, Mr. Neil Young, but the more and more I looked over how much work it would take to produce a comprehensive and well-researched discography review, the more I realized that maybe a full time worker/college student, didn't have the time to review almost 40 albums in a reasonable amount of time... plus, I try and review new stuff as much as possible! So, I have instead decided to compare and contrast two LP's from Young's discography that are essentially sister albums. His big commercial breakthrough, Harvest, and its 1993 'sequel' Harvest Moon. 

Harvest, released in 1972, was a really big moment for Neil Young; having already released three prior solo albums, the third of which is regarded by many Young fans as his best work, even trumping Harvest itself, and Young had been a big part of the creative output of the folk group Crosby, Stills, Nash and Young, who, even without Young, are an essential part of 60's/ 70's folk music. In my opinion, while Harvest isn't my favorite early Neil Young album (On The Beach takes that honor), it is hard to deny just how excellent the majority of this album is.

And yes, I mean majority, because not every moment on this album is fantastic; and this fact is made evident my what are perhaps the only two weak tracks on  the entire LP, "A Man Needs A Maid" and "There's A World". These two tracks add a lot of additional instrumentation, but instead of enhancing the tracks, this new instrumentation simply drowns what could have been two solid, if slightly less stellar tracks. These two songs sound incredibly dated, and present a roadblock in what is otherwise a amazingly rootsy and ofttimes beautiful record about coming to terms with mortality, loosing friends to drugs, and even confronting racism. Tracks like the opener, title track and ever endearing "Heart Of Gold" are the kind of music that Neil is best known for, and the kind of music that people who want to sound like him, imitate, but never replicate.

Released 20 years after Harvest, and after a less than stellar run of albums in the 80's, Harvest Moon saw Neil trying to regain a little bit of the magic that he had on Harvest, going back to the stripped-down and soulful sound of that album, but making sure to not repeat himself. I'll admit, if I had gone through with the discography series, it would be right about now that I'd tell you that I can finally breathe easy, because I personally feel that Harvest Moon is not only a fine follow-up to its 1972 counterpart, but in  some key ways, it even surpasses it.

For example, this album has far less moments where the instrumentation clouds things up, save for regrettably boring "Such A Woman". And Neil sounds better than ever on cuts such as "From Hank To Hendricks" and the effervescent title track which upon first hearing a few years ago when I was first getting into Young's music, made tears swell up in my eyes from just how nostalgic the track feels. This is Neil Young at his finest, and it is no wonder that he named the album Harvest Moon, because a lot of the themes and even some of the chord progressions, such as the one towards the end of "You And Me" are direct callbacks to Harvest. This album surpasses Harvest because it features all the things that made that album shine, but it adds to it making for an even more holistic listening experience.

The only other complaint I can muster about this album is the somewhat overlong closing track; though I really have to dig deep inside to complain about it, because it is still a very beautiful track and its length really only becomes apparent if you aren't devoting your full attention to the music and lyrics. Speaking of which, this album also features some of Young's most poignant statements on the environment (the aforementioned closer, "Natural Beauty") and on other living creatures on the earth ("War Of Man"); Young manages to express his opinion on these issues (something he does a bit more blatantly these days) in a poetic and effective way; through the power of great music.

So, in the end, you really can't go wrong with either of these albums; they both have their flaws, but are great nonetheless and are essential listening if you're looking to get into Neil Young. I'd also recommend, On The Beach, After The Gold Rush, Rust Never Sleeps, and Zuma, for some more great Young albums.

Harvest: 9.3/10
Harvest Moon: 9.6/10