Stormzy: Gang Signs & Prayer ALBUM REVIEW

Grime is a very new genre to me. In fact, it was just last year that I actually sat down and listened to a full Grime LP, Skepta's Konnichiwa, an album I actually like a lot. Since then, I've been keeping my ears to the Grime scene and while LP's from OG's like Wiley have been good this year, newcomer Stormzy really caught my attention with this new album, his full length debut, titled Gang Signs & Prayer. If I had to explain why this caught my attention, I'd have to say it's because Stormzy, unlike a lot of the Grime that I've been exposed to, is willing to slow things down and do and R&B song, something he does a fair bit on this album. Sure, that may come off as a sort of Drake thing to do, but in my opinion, Stormzy uses these slower moments to be more introspective about more than just relationships, and never comes off as whiny or pretentious.

In fact, Stormzy sounds very genuine on this album; aside from some tough guy posturing, something that is very common in Grime, Stormzy actually tells a lot of personal and compelling stories on this album. From the general struggle of trying to make it in a scene that can be very elitist, to dealing with depression, Stormzy manages to balance the hard-nosed attitudes and sounds of typical Grime with a more soulful, often beautiful R&B side.

The LP opens up with 3 back to back bangers, finest among them is "Bad Boys" which features a moody beat and plenty of fast flows from Stormzy, who may not have the most distinctive rapping voice, but still manages to imbue his tracks with enough personality to make him worthwhile. And his singing voice, something that a lot of rappers attempt to have, is actually really nice, it has a great, deep, husky quality to it, and he has really good control of pitch. For example, the simple but effective "Blinded By Your Grace, Pt 1" showcases his talent for singing perfectly, as well as cuts like "Velvet" and "Cigarettes and Cush".

If there's one major drawback to this album is that I feel like it is a bit on the long side. At 16 tracks, I feel like the album could of easily been 12, cutting out some of the more redundant moments like "100 Bags" or "Shut Up". Also, while I do appreciate the alternating between hard and soft styles, the structure does become unbalance in the middle with three straight soft tracks back to back which makes the album feel a little inconsistent.

However, despite these issues, Gang Signs & Prayer is a great debut from an artist that I can easily see becoming one of the top new faces in Grime. Definitely check it out.

8.2/10

Power Trip: Nightmare Logic ALBUM REVIEW

Power Trip are a crossover Thrash metal act hailing from Texas, and this is their second full length release, Nightmare Logic. Now in preparation for this review, I did go back and listen to their debut record, Manifest Decimation, and I've gotta say, I urge you to do so also, because these guys are one of the finest crossover/ throwback acts I've heard in recent memory, and the fact that I'm just now hearing about them is almost criminal. They bring classic, hard-edged riffs, quick and nimble fretwork, and vocals that scream out in anguish on almost every track. They manage to fuse the intensity of a hardcore punk band with the ferocity of Thrash, and also manage to bring elements of Death metal to the table as well.

And that hasn't changed on their latest offering, Nightmare Logic, in fact, I'd argue that they've only gotten better. With production that still pays homage to the classic 80's sound, but with a slightly more crisp and clear recording, and riffs that give me the same urge to head-bang as the first time I heard Metallica, I think Power Trip have hit a stride here, one that is truly awesome to behold. The album opens up with the dark and foreboding "Soul Sacrifice", and follows it up with the insanely catchy "Executioner's Tax (Swing of the Axe)" which is easily my favorite Metal track of the year thus far; with it's classic riff-age and killer hook that reminds me how it used to be okay to have a clear and distinct hook in a metal track.

The album continues to assault the listener with Thrash goodness, especially tracks like "Firing Squad" and  "Waiting Around To Die", and doesn't let up until the very end. Unfortunately, that end does come sooner than I'd like it to. Just like their debut, Power Trip take the "all killer, no filler" approach, but that means their are only 8 tracks here, clocking in at just over 30 minutes, which is great, but I have to admit I was willing to continue headbanging for at least another 10 minutes.

Regardless, you'd be hard-pressed to find a more satisfying metal release at this point in the year. Power Trip know what they're doing, and they do it with such ease, it makes you wonder why other bands have trouble doing it just as well.

9.0/10 

Dirty Projectors: Self-Titled ALBUM REVIEW

Dirty Projectors is a long-running experimental rock project, main-brained by multi-instrumentalist and all-around musical weirdo, David Longstreth. The project has been around since the early 2000's, and while it started as a solo project, it eventually came into being one of the more experimental and odd rock projects of the decade, the then band fused tight vocal harmonies with sporadic, often dizzying guitar leads and rhythms for a sound that was truly unique, especially for its time. And while I did review, and enjoy the band's previous LP, Swing Lo Magellan, I have to admit that some of the weirdness and oddity to the band's sound was drifting away. And that feeling was cemented when only a few months later, the band did a cover of an Usher song for what U.K. radio show. The song in question, "Climax" is perhaps my favorite Usher song, a song about a relationship reaching its "climax" and the feelings of being torn apart emotionally as well as physically. The band did a respectable job, but it would seem that it became a self fulfilling prophecy in a way, as not only the sound of the music on this new self-titled LP pulls from the same sound as Usher was, but the lyrical content and inspiration for the album mirror that of "Climax" rather eerily.

And I wouldn't put it past Longstreth to be perfectly aware of this fact, since he seems like the kind of person who would be into this idea as some sort of tragic poetic statement. But, the back story has the larger impact of Dirty Projectors once again becoming a solo act, as the core members, Longstreth and former singer/ musician Amber Coffman are the subjects of the lyrical content on this album. And if the lyrics are to be taken at face value, the break-up between them was messy, emotional and worth writing an album about. But, is the album good? Well, yes, I'd say it is, but there are some caveats to this new direction.

For one, Longstreth's voice, in all of its strange, sporadic glory, is sometimes too odd to carry these tracks, most of which go for a sort of alternative R&B thing. The track "Keep Your Name" is a good example of this. However, a track like "Death Spiral" proves the opposite, as it is easily the most overtly bombastic and passionate R&B cut on the entire album. "Up In Hudson" is a long, winding track that details the beginning and end of the relationship, backed by beautiful horns and featuring an end that gets pretty hot and heavy instrumentally, culminating in a scattered mess (the perfect musical equivalent to the subject matter).

While there are great moments like the two I just mentioned; unfortunately, there are moments here that just slip into a space where the song itself isn't that interesting ("Little Bubble") or the instrumental is too off-kilter and strange to let the lyrics take center stage ("Work Together"). Still, I'd say the album does at least end strong with "I See You" and the Solange featured "Cool Your Heart" isn't bad either.

So, in the end, I'm feeling a little luke-warm of this record. It isn't bad, and I think this direction could work in the future, provided that Longstreth beef it up a little, but as an album, this new LP is just okay to me.

7.0/10

Sun Kil Moon: Common As Light and Love Are Valleys of Blood ALBUM REVIEW

Sun Kil Moon, much like the band Swans, has been going through the third faze of his career in an interesting way. Much like Swans, the latest Sun Kil Moon albums are long, repetitively hypnotic works that have the ability to lull one into a sense of calm despite the songs going through movements and dolling out lyrics that would usually make one cringe in disgust or discomfort. Back in 2014, Mark Kozelek, the  man behind Sun Kil Moon, released his most personal, wordy, and contemplative release at that point; that album was my personal album of that year, Benji. That album played like a heady, but still palatable singer-songwriter album, but its direct follow-up Universal Themes felt more rambly and cobbled together than I care to admit. While not a bad album, it just didn't have the cohesion as Benji, and was severely lacking in that hypnotic quality. And while this new album, of which I will be referring to as Common As Light... isn't a more concise album than its predecessor (because it is even more drawn out) I can easily say that it possesses that special quality that Benji did, and in my opinion, surpasses even that album in some areas.

Fair warning, this album isn't for the faint of heart, both the subject matter at times and more prominently, the running time, will test anyone but the most adamant and patient music listener. The album stretches out to over 2 hours with most tracks exceeding the seven-minute mark. However, that's not to say that their aren't moments of catchy-ness. In fact, the track "Vague Rock Song" for however meta it is to say, is actually a very catchy rock song that parodies the typical catchy rock song. A less Post-modern leaning example would be a track like "Philadelphia Cop".

But coming into this album wanting hooks and catchy refrains is to completely overlook what this album does so well; tell stories. While Benji can be seen as a near flawless blend of these two things, Common As Light does the latter so well and to such extremes that it actually slides and slips from one genre to another. And I don't just mean musical genre, as their are even other genre's of art incorporated here, most notably spoken-word which is something that Mark has been leaning towards heavily in the last few years, and on this album I'd say about a third of the lyrical content is purely spoken word, if not more.

And yeah, that may lead a lot of listeners to become sort of bored and uninterested, but again, the entertainment and artistry of this album comes through on the lyrics, and Mark's lyrics have never been so personal, poignant, funny and crude in his entire career. On track after track Mark describes his inner feelings of sadness, pride, and longing. But he also acts as a snide commentator on everything from snobby millennials to the election of Donald Trump. In my opinion, Mark's words on this album are some of the most moving I've ever heard on a record; he just puts everything out there so gingerly, it's hard not to listen in wonderment as he goes off on tirades about serial murders or how he may outlive his younger brother.

Common As Light is a stunning album. Yes, it can be rather obtuse and if you're looking for a nice singer-songwriter album to put on and listen to at the coffee shop, you're going to be disappointed. But, if you're patient, and listen carefully to what is being said here, I think you'll discover just how wonderfully deep and personal this LP is, and hey, there's even some fantastic MUSIC here too. Again, just like the way the lyrics are delivered, the music here is very loose when it comes to structure and genre; sometimes the album sounds like something you'd expect from Sun Kil Moon, other times it almost sounds like some kind of mutant version of hip-hop, with Mark doing a fine pseudo-rap on top of it.

This album is a class act all the way around, and while there is certainly more I could say, I'll leave it at this; Common As Light is one of the most ambitious and stunning albums I've ever listened to, and you should give it a listen.

10/10

Sampha: Process ALBUM REVIEW

Sampha is a U.K. singer/ songwriter whose music can be described as being both soulful and chilled all at the same time. Much like his most often compared contemporary James Blake, Sampha chooses to mix hot and cold in equal measure, but in my opinion, Sampha's vocals and choice of instrumentation set him apart. For one, while slightly similar to James Blake, Sampha's vocals come off as a lot more warm and inviting, which perfectly contrasts with the often cold and calculated nature of the instrumentals. In fact, the instrumentals here sort of remind me of a Radiohead album like The King of Limbs, but with 10 times the passion.

For example, while the opener "Plastic 100C" is very rigid and calculated almost to a fault, the following track "Blood On Me" has the same level of intricacy, but bursts into a fiery chorus that will send goosebumps down your neck. Other spots here hit similar highs, especially with the tracks "Under" and "Timmy's Prayer". However, Sampha does take a moment to revisit the instrument that made him love music on the track "No One Knows Me (Like the Piano)" which is very stripped back in comparison to the other tracks on Process and is a tearjerker to boot.

Aside from a slow start and a lukewarm ending, there's not much to point out flaw-wise on this album. This is the focused and passionate debut that I've been waiting for from Sampha ever since I heard him on Drake's album Nothing Was the Same. Simply put, Sampha has already carved out a spot on my end of the year list, and I hope that this year gives us more albums of this caliber sooner rather than later.

9.0/10

Iron Reagan: Crossover Ministry ALBUM REVIEW

Iron Reagan are a crossover Thrash metal band from Virginia. They've been releasing albums for the last 5 years or so, and their particular mix is the ferocity and brevity of Punk, with the political leanings and riffage of classic Thrash metal. They aren't the first two to mix the genres, but they do it very well, especially on their latest LP, Crossover Ministry. The title itself points to the nature of not only the band's sound, but also to the predominant lyrical content; that being the denial of large, corporate religious organizations that take money from their congregations to pay for mansions, while everyone else lives in poverty. The group also takes shots at war, senseless violence, and neighbors who complain about noise... that last one doesn't really count, but you see my point. In short, this album is in the true spirit of both of the genres it plays in, and while there are goofy moments, ("F*** the Neighbors" being public enemy No. 1) for the most part, this album plays it straight, fast, and aggressive.

And I gotta say, that is a bit of a godsend (pun intended), because I was starting to worry that 2017 would be another year completely devoid of solid metal/ punk LP's, especially after the recent albums I've been reviewing. Luckily, Crossover Ministry hits a lot of high points in my opinion, especially on tracks like "Dead with My Friends", "A Dying World" and "More War", all of which take on a more Thrash angle, whereas tracks like "No Sell" and "Power of the Skull" take on a more Punk style. The latter in fact, reminds me a lot of The Misfits.

Aside from me simply listing off tracks that I like, there's honesty nothing more I can say than that this album is pretty much everything I could want out of a Thrash crossover record. Sure, maybe it could have been a little longer, and a couple tracks here and there are a bit too brief to leave a long lasting impression, and yeah, "F*** the Neighbors" is really stupid, but come on, the rest of the album is balls to the walls Thrash. We don't get that a lot these days.

8.3/10

Big Sean: I Decided ALBUM REVIEW

Big Sean is a Detroit rapper who has enjoyed a pretty solid spot among the most successful rappers of the 2010's. This is his fourth studio album, which follows perhaps his most successful album to date Dark Sky Paradise. And that success was most notable because it also came in the way of critical success; whereas the previous two Big Sean releases were considered sort of luke-warm by most serious hip-hop and rap publications, DSP saw these same critics praising it for being more forward thinking and sincere. In my opinion? Sean has been mostly trash with a few notable exceptions, most of all did in fact come from DSP and this new LP.

And yeah, trash is a very strong word, but I just can't think of a better way to put it, because not only are his rhymes often underwhelming, cheap and laughable most of the time, but his voice can actually be pretty annoying too. All that aside, I did enjoy singles like "Blessings" "I Don't F*** With You", and even "Play No Games" though that was mostly for the beat. He even impressed me on the latest DJ Khaled release with two really great features. So, coming into this new album with even more good singles like "Bounce Back" being released prior, I had legitimate reason to be excited. So it is really a shame that I Decided just isn't that good of a record.

It starts off pretty strong with "Light" and the aforementioned "Bounce Back", but then the track "No Favors" comes on and I'm struck with a Drake rip-off hook and a sort of cringe-worthy Eminem verse ("I saw dem eyes like an ass-raper"... really?). And from that point on the album just never finds its footing; instead, it just alternates from slower, more nocturnal moments like "Jump Out the Window" and "Half-Way Off the Balcony" and attempts at swagger like "Moves" which is okay I guess. However, there are no other moments here, save for maybe "Sunday Jet-Pack" that even come close to "Bounce Back" in enjoy-ability. Plus, despite having little interludes and tracks that deal with subjects like suicide, this album doesn't even really have a cohesive concept, which leaves even less to attach my attention to.

This album isn't terrible, and it isn't good, and while I can't say that Sean says anything too memorable on this LP, I will admit that he was the least cringe-worthy part of it. Pass this one, unless you are a Sean fan.

5.0/10

Migos: Culture ALBUM REVIEW

Migos are an Georgia based rap trio who got big off the back of their hit single "Versace". And depending on your preferences, this track was either a super fun, infectious tune... or like, the worst track ever. In my opinion, it was a pretty harmless tune, and it was mostly important because it helped popularize trap-music in the mainstream and it allowed Migos to continue releasing mixtapes with fanfare. And while I'm not the biggest fan of Migos overall, I still appreciate what that single did for them and what they bring to the table, especially on their second official studio release, Culture.

Now when I go into a Migos project, I have a list of things I'm expecting: 1) that signature "Migos flow" 2) lyrics about strippers, selling drugs and counting money 3) excellent trap beats that are meant to bump in whips all over the world. Culture does in fact hit all of these bullet points, but in my opinion, for the most part, Migos back it all up with their most consistently enjoyable set of songs yet. Whereas a Migos mixtape may be 20 tracks long with half of them being worthwhile, Culture comes in at a cool 13 tracks, and while there are duds, especially towards the finish, the album has an incredibly strong streak of great tracks.

Despite an underwhelming start which insists that the Culture album is "coming soon" the first half of this record is one trap banger after another. Tracks like "Get Right Witcha" and "Big On Big" are the kinds of tracks that make Migos' music so enjoyable, even if lyrically, there's not much new here. To me, their music is enjoyable for the flows, excellent beats, and adlibs that actually add something to the track instead of simply fill space. And again, this trend of great tracks continues up until "What The Price" which actually sounds a lot like what I wished Travis $cott's last project did, with a ice-cold beat and autotuned crooning from Quavo.

But after that track, things dip hard. While "Deadz" is a solid tune, the tracks "All Ass" and "Kelly Price" are just boring to me. And while I appreciate the change of mood beat-wise, the track "Out Yo Way" tries to be a heartfelt love song, but just comes off as a bad excuse for a radio single. However, despite the obvious and unfortunate drop towards the end, I still found myself loving the vast majority of tracks here and can easily say this is Migos' finest project to date.

8.0/10

Cloud Nothings: Life Without Sound ALBUM REVIEW

Cloud Nothings are a indie-rock band and this is their fourth studio album, Life Without Sound. Now back in 2012 when they dropped their sophomore LP Attack on Memory, I was absolutely in love with this band. Thanks to some killer tracks and a sound that I'd thought long dead coming back in full force, I saw great potential in Cloud Nothings if they stayed on course and refined their sound a bit. However, the follow-up album was just okay and actually showed the band moving away from the sound I heard on AoM. And while this new LP doesn't bring back that sound either, I can at least appreciate this album for definitively stepping away from it, whereas I felt the last album was still trying to give off the same vibe as AoM.

Life Without Sound is an indie-rock record through and through, and I say that because it could have been released by just about any band in the late 90's to early 2000's under the indie umbrella. In fact, that proves to be the albums Achilles Heel. Because while I do love tracks like "Enter Entirely" and "Modern Act", I can't deny that they don't sound unique in the slightest. Whereas on AoM, I could acknowledge the influences, but still see where Cloud Nothings brought their side of things into the music. Track after track on this album I find myself nodding my head along, but by the time the album closes, I have a hard time remembering specific moments or tracks, aside from the two aforementioned cuts.

Also, while I do appreciate the cleaner production here, it also works as a two-edged sword. On one hand, it is easier to listen to than its predecessor, but on the other hand, any sort of grit or aggression has been mixed out entirely. Aside from some admittedly gruff vocal performances here and there. And while it may sound like I hate this record, the sad thing is that that would require me having some strong emotional reaction to it; when I really didn't. In the end, I find myself simply acknowledging this LP's existence and thinking to myself "Ehh, it's okay". I'm sad to say that yet another rock LP has me feeling luke-warm, but hopefully 2017 has more exciting rock LP's in its future.

5.5/10