Tyler, The Creator: Flower Boy ALBUM REVIEW

Flower Boy is the 5th album from infamous former Odd Future figurehead, Tyler, The Creator. However, unlike most other times I'd talk about Tyler, I'm pleased to say that I only have to address a small bit of internet drama before talking about the music... And honestly, it's probably the least significant piece of info that has ever preceded a Tyler LP, that being that Tyler has come out as a gay man. Now, to me, this got a two second response that went something like "Oh... cool, hope the album's good." But it seems like every single major music publication have been loosing their collective minds over this revelation, with most of them pointing back to the lyrical content of albums like Bastard and Goblin, which both feature plenty of utterances  of the word "faggot" and especially Bastard featured a lot of misogynistic and homophobic lyrics on top of that. However, aside from  the fact that the number of said offensive slurs has been drastically misreported, these publications seem to forget the original motivation behind using such offensive language... to offend as many people as possible.

In fact, that was one of the things that turned me off to Tyler and Odd Future in the first place, the fact that they did things just to be offensive and make people angry, but as I've gotten older, I realize the importance of such behavior. In the hands a smart individual, such tactics open up the door to more wild ideas and a more accepting attitude overall, since offensive words and concepts cease to be taboo or have any power; the same can be said for the use of the N-word in pretty much all of rap music these days. In short, these words, to Tyler, mean nothing and he only used them to get a rise out of people. So, when I read articles that claim Tyler is simply saying he's gay to troll and the main argument behind it is the fact that he's used homophobic slurs in the past, I have to question whether the writers of these articles were even familiar with Tyler's music and the ideology behind it, cause all it takes is a quick google or Youtube search to find videos of Tyler spelling out his reasoning pretty well. Now I'm not saying that people shouldn't be offended or not hold Tyler accountable for the things he says on a record, but maybe we should all take a little time to think before we accuse a gay man of queer baiting just because he has said things in the past, especially since it is really hard for a lot of people to come out in the first place.

With all that aside, I'm pleased to say that Tyler has delivered his best album yet, hands down. In fact, Scum Fuck Flower Boy (full title) is such an improvement over everything that Tyler has done, it sort of makes me wish that he had come out sooner, because all it took for his music to improve exponentially was his ability to rap about personal things that he's actually feeling, instead of putting on a show. But, while it is great to hear Tyler talking about being in love on tracks like "See You Again" with zero irony or some kind of creepy stalker concept, not all is hunky dory in Tyler's world, as Flower Boy also houses some of the most sincere and sad songs Tyler has ever penned.

For example, three years ago, I would have laughed in your face if you told me Tyler would write a song like "Garden Shed" a cathartic and beautiful coming out song, or an ode to loneliness as touching as "911/Lonely". It seems like after the limp noodle that was Cherry Bomb, Tyler was finally ready to sit down and do some serious writing and the results are one of 2017's best, through and through.

If I had to complain about anything I'd say that the official final instrumental is a little anticlimactic, and while the track "Glitter" is great, it's just not the lyrical climax that I felt the album needed; especially, after the series of emotionally potent tracks that preceded it. Also, it would have been nice to see a sort of bookend to compliment the fantastic opener, "Foreword". Still, I think this album is downright amazing and I think everyone, even the people who have never listened to a Tyler or Odd Future album should really give it a shot.

9.0/10

July 2017: HUGE CATCH-UP MEGAPOST...THING

I know I haven't posted anything in around 2 months (hey, I'm enjoying my Summer!), but I have been listening to new music and I do have thoughts on said music that I will share in brief in this post! I'll also be attaching a numeric score (just for shiggles). Enjoy!

1: BROCKHAMPTON: SATURATION

If I had to describe this project in one word it would be: exciting. This huge group of rappers, singers, and producers hailing from California all have pretty distinct styles and voices, and when it all comes together, it is truly impressive. This album not only has some of this year's finest singles ("HEAT", "GOLD","STAR"), but it actually shows that Odd Future, despite how defunct they eventually became, were able to leave behind an influence for a group of even more talented individuals to take their place. Also, despite featuring huge shifts in musical style from track to track, the album actually has a really cohesive theme, one of acceptance and self-worth, which I found to be really poignant at a lot of points. This project is easily one of my favorites of the year, and word on Twitter is that they are going to drop another one before the years over. I'll be waiting. 

9.5/10

2: Kirin J Callinan: Bravado

I really wanted to do a full review of this album, because it's one of the most interesting and experimentally fun pop albums to come out in a while. I'd say, not since the last Tune Yards LP have I had such a fun time gawking at, and eventually falling in absolute love with an album. Tracks like "S.A.D" and the pop perfection of the title track are counterbalanced with slower moments like "Family Home" or slightly moments like "Down 2 Hang", and it all comes together perfectly. If you're down to be a little weird and get into some more left-field pop music, you'll find no better album this year than Bravado. 

9.0/10

3: Jay Z: 4:44

Gotta say, I wasn't expecting to like this album much, but as a Tidal subscriber (don't judge, I like their app a lot), I had the privilege of listening to this album when it first dropped, and honestly, I was kind of blown away at what I was hearing. I was expecting a lot of huge instrumentals with Jay Z's usual braggadocios rhymes about money and possessions, with maybe a slight mention of his infidelity towards his wife Beyonce (because it will bring more attention to the album). But instead, what I ended up getting was easily Jay Z's most introspective album to date. On 4:44, Jay dissects nearly every facet of his life; from his upbringing, to being raised by a mother who had to hide her sexuality, to the aforementioned infidelity. But instead of a coy nod to it, Jay takes the entire length of the title track to essentially gut himself, and it's downright awe-inspiring. It's really refreshing to hear a guy as influential and wealthy as Jay Z bringing himself down to such a personal and human level. Also, No ID absolutely kills the production on nearly every track here, I especially loved the tracks "Smile" "The Story of OJ", and "Marcy Me". Probably this years biggest surprise thus far.

8.7/10

4: Vince Staples: Big Fish Theory

I've been trying for quite a while to be a fan of Vince Staples music, or at least as much of a fan as pretty much everyone on the internet seems to be. I mean, I like his personality, I like his voice, and when he puts effort into it, he has a mighty fine grasp on writing and flow in his rapping. Unfortunately, time and time again, his full length albums and mixtapes have just failed to hold my interest. And while I can easily say that Big Fish Theory is my favorite Vince project thus far, I still am not in love with it. There's just not enough consistency here, and there are a lot of kind of throwaway moments here, especially the interludes and the opening track, all of which feel loose and rather effortless, but not in a good way. However, this album does have my absolute favorite Vince Staples track to date, the utterly superb "Big Fish", and other cuts like "BagBak" and "Yeah Right" are just as good. Still, I ended feeling sort of indifferent towards this album, and while I do like it, it is far from love.

6.8/10

5: Denzel Curry: 13

This is actually an EP, but I like Denzel Curry quite a bit and just wanted to point anyone who hasn't listened to him to yet to this new EP and his last album Imperial. On the subject of 13, Denzel has shown that he might be going in an even more aggressive and experimental direction, and it's one that I'm excited to see come to fruition, because cuts like "Bloodshed" and "Hate Government" are fiery and intense, not to mention Denzel still spits the same fast-pace, fiery flow that made him popular to begin with. In short, this is a solid project that hopefully is a sign of things to come.

7.5/10

6: King Gizzard & The Lizard Wizard: Murder Of The Universe

After hearing such positive things about this Australian psyche band, I figured I'd check out the second of a proposed five full length albums planned for 2017 (crazy, right?), and while this album is probably the bands most spotty affair, with a few stale moments here and there, it is still a very listenable project from one of the more exciting acts in rock music to come around in a long time. Sure, I'd most likely recommend the previous two LP's before this one, I'd still say you should definitely give this one a shot too. Solid stuff from a really great band.

7.3/10

7: Lorde: Melodrama

And to finish things off, one of this years most anticipated albums, the latest offering from pop starlet, Lorde. The big question making it's way around the music press leading up to this albums release was will Lorde be able to top her debut album? That album obviously houses Lorde's breakout smash single "Royals" and a lot of people were wondering if she'd just release another album trying to ride that tracks coattails. However, that is not the case at all on Melodrama; in fact, this album sees Lorde taking on such contemporary influences as Taylor Swift, and more old school influences like Kate Bush. The former makes for easily the two worst tracks on the album, the two lead singles "Green Light" and "Perfect Places", while the latter leads to one of the album's best, "Writer In The Dark". And sadly, while I did end up liking this album a fair bit, I still found myself rather let down whenever Lorde decided to play more to her contemporaries, rather than try something new or look to the past. Luckily, her best work just happens to land on this project, tracks like "Homemade Dynamite", "Supercut", and "Liability" are all fantastic. While I didn't love it, it is good to see Lorde at least moving in a less gimmicky direction.

7.7/10

There were a few other projects I could of included here, but I either didn't have strong feelings one way or another, or I just didn't see the need to talk about them here. Still, it feels good to put my feelings on this stuff down for all to enjoy!

The Mountain Goats: Goths ALBUM REVIEW

The Mountain Goats have been going at it now for a long time, with 16 albums under their belt, the project has gone from DIY home recordings to big-budget folk opuses like Tallahassee or Life of the World to Come. But in my opinion, despite the big budget, the former solo project, turned full band has always retained a strong core of great songwriting and as of late, the concepts of their albums have been getting stronger and more pronounced. Whereas an album like All Hail West Texas had common themes throughout the LP, the two latest LP’s Beat the Champ and now Goths focus on a singular concept and work on exploring it from every angle.

Obviously, this time around, the concept is to analyze the lives of the Goth culture, one that has been long dead, a fact that this album tackles as well. In fact, this isn’t just an album about Goth culture (though it is certainly that), but it’s an interesting and emotional look at the death of a culture and how that passing effects the people who were part of it. The most prominent side of that is how it effects Goth bands, which is understandable since The Mountain Goats are themselves a band and on this album, while they don’t really take on the role of a Goth band, they do seem to be the band playing at the eulogy of Goth culture, highlighting the good times and the bad.

The album kicks off with the epic and totally Gothed out “Rain in Soho”, the lone “Goth” track on the entire album and one that really sets the tone of the album. Then there’s the track “Andrew Eldritch Is Moving Back to Leeds” which is one of the many nods to classic Goth bands all throughout this album, but instead of a dower, grey sound like the previous track, The Mountain Goats instead opt for a wonderfully baroque set of instrumentation, with the eloquent and poetic lyrics laying on top.

Other highlights include “We Do It Different On The West Coast”, “Wear Black” and my personal favorite “Paid In Cocaine” which paints the picture of a former goth looking back on their life in the culture and how it helped them to identify with something they felt was important, plus, like almost every track here, this track sports wonderfully lush instrumentation and a killer hook.

Honestly, as much as I enjoyed the bands last album, Beat the Champ, I’ve got to admit that I think this album does everything that album did, but even better, and it does it without the band’s signature acoustic guitars, or any guitars for that matter. Simply put, this is one of TMG’s strongest modern efforts and is easily one of my favorite music listening experiences of the year, I just find myself enjoying it more and more with each listen.

8.7/10

Perfume Genius: No Shape ALBUM REVIEW

Perfume Genius has been one of my favorite singer/songwriter projects ever since I first heard the track "Mr. Peterson" from the Learning LP. Back then, the project was pretty much just frontman, Mike Hadreas and his piano, but since then, Mike has been slowly adding more and more layers to his music, also, instead of the pervasive sense of sorrow that permeated every inch of his first two LP's, it seemed like Mike was trying to put a more positive message out there as well. All of this was apparent on his last album, Too Bright, though the title, and some of the tracks therein seemed a bit tongue in cheek about it, it still featured songs about acceptance, rather than alienation, and songs about confidence not only as an artist, but as a human being.

The latest record from Perfume Genius takes that attitude of positivity and finally pairs it with a sonic pallet that not only helps reinforce the messages, but actually ends up making the entire album feel like the most urgent and important piece of music I've heard all year. And while there are certainly still slower, more down-tempo tracks on here, absolutely none of them come close to the sorrow of any track from an album like Put Your Back N 2 It, which may be a bummer for some fans, I know I definitely felt that way towards some moments on Too Bright, I think my feelings had more to do with the fact that those tracks were placed next to tracks that obviously wanted to make the listener feel uplifted or at least more positive. However, on this new album, the entire album feels like one big revival of the soul, like Mike is done exercising demons and just wants to live.

No better are these feeling captured than on tracks like "Slip Away", "Valley", and my personal favorite "Wreath", the latter of which points to perhaps to Perfume Genius' biggest influence on this album, Kate Bush. Not only is there a lyrical reference to her smash hit "Running Up That Hill", but the explosive production and artsy attitude couldn't be more Hounds Of Love if it tried to be. And like that album, this album just feels so refreshing and inspiring, this is easily Hadreas' most ambitious and full sounding album to date.

But the question is, at least in my opinion, is whether or not this is his "best" work. It is certainly his most accomplished, but is it as amazing as his sophomore album (which up until this point was my uncontested favorite of his)? Well, after giving it some serious time and consideration, I've come to the conclusion that the two albums simply tie for first place, not only because of their quality, but because they exist, in my mind, on two separate planes, one exists in the sorrowful, mourning side of my brain, and the other, in the uplifted and inspired part.

Regardless of how it ranks in my personal pantheon, however, I can say without question that I absolutely love this album, and think you should also give it a listen.

9.3/10

Mac Demarco: This Old Dog ALBUM REVIEW

Mac Demarco, over the past 5 years or so, has quickly become every music site/ blog's favorite fun loving, stoner type dude who simply writes songs to have a good time. However, to me, Mac has been on the brink of writing an album with some actual serious themes for a good while now; sure, 2 was just out to have a good time, but albums like Salad Days and especially 2015's Another One took a far more serious and sort of sad look at themes like love and growing older. However, I feel like Mac has finally taken the plunge on his latest LP, This Old Dog and has in turn penned his most lyrically complex and compelling LP to date.

A quick disclaimer though, this album is not a concept album; instead, it is a heavily themed album; that theme being the conflicting emotions that Mac feels concerning his estranged father, the state of the world and again, love. These emotions are presented right from the start with the beautifully quaint and rootsy "My Old Man", a track that sees Mac putting what comes off as one of his biggest fears into words, with the lyrics describing how he is becoming more cynical and cold, just like his dad. It's no secret that Mac's relationship with his biological father is pretty complicated, but this album is the first time I can recall him putting those feelings into song, multiple songs in fact, as the two closing tracks "Moonlight On The River" and "Watching Him Fade Away" present two of the most gut wrenching songs Mac has ever pinned. The former is in easily his most ambitious and long form composition to date, and it's a beautiful tune to boot.

In fact, aside from a heavier focus on more serious themes, Mac seems to be taking a more staid and mature approach to thing instrumentally as well. Seeing as a lot of the overly woozy guitars and left field effects trips are absent from this LP. Instead, Mac employs a lot of cool synths and acoustic guitars to construct these tracks, which leads to a much cleaner and again, mature sound, which lends more weight to the lyrics.

But not every track here deals with super heavy emotions; tracks like "Baby You're Out" and "For The First Time" feature the kind laid back and carefree attitude that typically shows up on a Mac Demarco album, but to me, the highlights are definitely the more town tempo or romantic cuts such as "One More Love Song" or the amazing "Still Beating".

To put it simply, This Old Dog is a great album, one that sees Mac growing both as an artist and a person, and in my opinion, it is his best effort yet; exactly the kind of album I wanted after the fantastic Another One.

9.0/10

Incubus: 8 ALBUM REVIEW

I started an Incubus discography series a few months ago and while I think it started out positively, upon revisiting the album Make Yourself specifically and finally listening to the groups 2011 effort If Not Now, When?, I realized that the series would need to be put on hold. This has  a lot to do with my personal history with the group; back in my teenage years, specifically the 14th through 16th years of my life, this band was one of if not my outright, favorite group. This was of course before my big musical awakening, but still, despite my tastes diversifying, I've always kept a place in my heart for this band, but upon cruising through their discography all these years later, I found myself not really enjoying it nearly as much as I used to. Sure, an album like Morning View is still pretty great to me, with all of the super slick production and great guitar work, not to mention this is perhaps the best aging Incubus album lyrically which is easily the biggest reason for my newfound dislike of a large chunk of the Incubus catalog. Brandon Boyd, for all his talent as a vocalist, is and has never been a great lyricist, even on this new album, 8, he employs a lot of cliche and corny metaphors and turns of phrase, plus I feel like on tracks like "State Of The Art" and "Undefeated" we are getting the same kinds of boring, zero impactful performances that made If Not Now, When? so unbearable.

However, despite the lyrics being mostly duds on this new LP, I feel like we at least get some actually pretty decent musical performances here; especially on tracks like "No Fun" which could of easily been a Morning View B-Side and "Glitterbomb" which has some nice contrasting sounds throughout. But still, a good chunk of this album falls into the "ehh, it's ok" category, leaving me with very little to praise or hate, honestly. However, I think the one moment that got my blood boiling was the obnoxious interlude "How I Became a Man"; truly one of the most cringeworthy moments I've heard on an album all year. And yeah, I can see that the band were maybe trying to get back in touch with their more goofy and off- the- wall attitude that made S.C.I.E.N.C.E a fun listen, but it just doesn't work here, not at all.

And if I'm being honest, all but maybe three tracks here are so inoffensive that they almost don't exist, sure, INNW? was bad, but I knew how I felt about it pretty quickly, whereas 8 just makes me shrug and move on to the next album. I am glad the band are back in touch with their alternative rock roots, but I think they are beyond the point of making an interesting album; unless they completely reinvent their sound. If I was still a big Incubus fan, I'd say this album is just okay, but as someone who is now able to look at this band and album more objectively, 8 just comes off as another failed comeback from a band that hasn't made exciting or relevant music in a very long time.

4.0/10

Father John Misty: Pure Comedy ALBUM REVIEW

Pure Comedy is the third release by musician Josh Tillman under the Father John Misty name, and it is easily his most daring and ambitious project yet. And I say that that just in the sense of the obvious political themes all over this album (we'll get to that soon), but I actually think this is his most ambitious album musically as well. This LP is loaded with additional instrumentation and the song structures themselves are often more sprawling and linear than anything off of FJM's previous efforts. This of course means that most of the immediacy of an album like I Love You, Honeybear is gone, but in my opinion, Pure Comedy would be a lot less enjoyable if it was trying to do the same thing. Instead, Tillman lets his folk side shine through on this album, which leads to such wonderful moments as "Leaving LA" and "Birdie". FJM also takes the opportunity to try some more experimental tricks on tracks like "The Memo" where some interesting vocal edits are utilized.

The one criticism about the music I have for this album is that I feel like, taken in one sitting, the album does feel a little do gauzy and syrupy to the ears; this thing takes it's time and doesn't really ever explode with energy. Of course, neither did the last album, but Pure Comedy is twice as long and towards the end, I always feel a little anxious for it to be over. Still, the music here on the whole is very high quality and easily on par with past FJM projects if not better.

Then there's the subject matter/ lyrics of this album which seems to be the point of contention for a lot of listeners. You either love the dry, sardonic lyrics about politics, social issues, and the human condition, or you don't. And as I've skimmed through many online publications giving this album some pretty low scores, that was the big point they seemed to be making; that this album is just too cynical and there's not enough positivity backing the political lyrics. But in my opinion, that's sort of the point. Tillman, who is usually pretty dry and sarcastic in his music to begin with, isn't trying to be the folk-rock mood savior of our current political nightmare; instead, he's a muckraker, sorting out what he feels is BS and giving to the listener straight up. And for people complaining that this album is too wordy, or "pretentious", look back at any of FJM's previous work and actually read the lyrics, because his style of writing has not changed, his subject matter has.

Again, this is just my opinion, but I think FJM has presented his political opinions and observations in a very well thought out a musically rich way that doesn't pound the listener over the head with weak attempts at virtue signalling or pulpit play like so many other artists are doing these days. In fact, Pure Comedy may be the finest LP about the human condition and just general condition of America that I've listened to in the last few years, let alone post election year. But hey, if you don't dig the album, I'm not gonna try and convince you. To me, Pure Comedy is a great LP, flawed, yes, but still great.

8.8/10

Kendrick Lamar: DAMN. ALBUM REVIEW

Kendrick Lamar is quite possibly the biggest name in  rap music today. Not only does he pull in the mainstream with hits like "Bitch, Don't Kill My Vibe" and "Alright", but he's the go to when it comes to proving that rap is just a lyrical and important as it was in the 90's. In my opinion, I think Kendrick is a genius, and that's not hyperbole. Since his project Section .80, every move made by Kendrick in terms of promotion and concept has been calculated and precise to the point when you hear that a new Kendrick album is coming, you just know that he's going to bring something new and exciting to the table, whether it was the deep dive into his past on good kid M.a.a.d city or his rejection of mainstream rap norms and reflection on the state of the black community in America on To Pimp A Butterfly; Kendrick has proven that he is a true artist who creates music to express himself, and that hasn't changed on his latest offering, DAMN.

However, I won't lie and say that I was able to glean the concept on my first listen of this project, as Kendrick seems, at first, to be simply be musing on various facets of life, such as love, lust, or pride. But, after the track "FEAR." I realized that DAMN. was trying to do something much, much deeper. In fact, I'd say that the track alone is the point where Kendrick shows his hand, seeming to unveil the fact that every track leading up to, and after it, are all things that he is afraid of losing, or embracing, such as losing his humbleness due to his pride, or forgetting how to love when lust takes over. In a way, this album is even more personal and telling than even good kid was because it dissects the Kendrick of the present. This is especially true on the lyrics of "FEEL." where Kendrick shows some resentment to being regarded as a "rap savior" or pillar of the black community, because it almost dehumanizes him, because he is seen as a man who has it all figured out, and as Kendrick illustrates on this album, he is just as flawed and in need of help as the next man.

Another aspect that jumped out to me on this album was the pairing of the tracks, this is a little obvious, especially with tracks like "LUST." and "LOVE." being paired together, but still, Kendrick really takes advantage of this by showing that sometimes the lines between the two are a lot more blurry than people choose to believe. This is even illustrated through the instrumentals on the album, whereas the instrumental of "PRIDE." is somber and reserved, the instrumental on the following track "HUMBLE." is boisterous and loud; however, lyrically, they fit their concepts perfectly.

DAMN. from start to finish takes the public and personal versions of Kendrick Lamar and pulls them apart, to the point where the two become indistinguishable. So, you get to see the Kendrick who just wants what's best for his family and people, but you also get the Kendrick who would kill anyone who would seek to harm those he loves, this is illustrated in grim detail on the track "XXX.". We even get a TDE origin story which wraps the entire album up in the form of "DUCKWORTH."; this track then rewinds quite literally to the opening lines of the album where Kendrick is asking a frustrated blind woman if she needs help, only to be shot dead.

Honestly, the themes and overall concept of this record could be dissected in a 20 page essay and I still feel like it would feel like a rushed explanation. So, for those of you who just want to know if this is a good ALBUM, that is, good flows, lyrics and instrumentals, then my answer to you is, yes. In fact, while there are more mainstream sounding tracks than were featured on TPAB, this album still pulls off these sounds with the same finesse and craftsmanship as any track off that LP. In fact, during my two dozen or so listens of this album at this point, I always came away thinking, "It's over already?" despite it being an hour long, and that has a lot to do with just how good this album is musically.

But, I feel like I've said enough about this album at this point. So I will leave this review by simply stating: if you care about great, artistic music of any kind, than you should at least try DAMN., it, like it's predecessor shows just how talented an artist Kendrick Lamar is and that even after arguably three of raps best releases in the past two decades, still somehow manages to impress.

9.5/10

White Reaper: The World's Greatest American Rock Band ALBUM REVIEW

White Reaper are like the little garage rock band that could. They put out two solid projects in 2014 and 2015 respectively, and while they weren't reinventing the wheel, they put a lot of fun, balls out rock music that I feel the underground needs more of. However, the band have really outdone themselves on this new record, the boisterously titled, The World's Greatest American Rock Band, an album that improves everything about the band's sound and finds them exploring the sounds of the 70's and 80's all while pulling together 2017's catchiest rock music so far.

Right out of the gate this album puts forth three infectiously catchy tracks; the title track, which is the kind of song that I wish Japandroids was able to put together, with an arena sound that shows just how serious these guys are about living up to the title of this track/ album. Then we get "Judy French" which is a slick piece of 80's rock which sort of reminds me of Billy Idol, only way more upbeat, and the vocals almost give me an early Metallica feel with the way the lead singer goes into these high pitched screeches from time to time. Then there's "Eagle Beach" which is aptly titled, as I could easily see this track being the sound track to a nice beach side jam session.

These three tracks are some of the longest the band has ever produced, and they are also perhaps the most ambitious as well. That being said, the fourth track "Little Silver Cross" is sort of a drag relative to what preceded it and what follows right after; especially cuts like "The Stack" which sounds like a great Tim era Replacements B-Side, and "Daisies" which is just a sunny as the title makes it sound.

The only other moment that I wasn't too fond of was the finishing track "Another Day", which isn't bad, but it's almost like the band is reverting to their old sound, and in the context of all these bright, clear and loud rock songs, this track feels like a demo, and it leaves the album off on an odd note. But, aside from a couple of iffy tracks and a certain lack of absolute originality, because let's face it, this album is mostly a revival of rock sounds that haven't sounded this great in around four decades, I'd say that TWGRB is a fantastic rock album from top to bottom, and is well worth your time.

8.6/10

Joey Bada$$: ALL-AMERIKKKAN BADA$$ ALBUM REVIEW

ALL-AMERIKKKAN BADA$$ is the latest offering from east-coast rapper and Pro-Era member Joey Bada$$. Now, I've been listening to Joey's stuff since he dropped his 1999 mixtape a few years back, and his last commercial release B.4.DA.$$ narrowly missed my best albums list for that year. On that album, Joey was showing off, yet again, just how great of a rapper he is, letting his influences shine through, but not overshadow his own personality as an MC. Another thing about his last album is that it focused heavily on his past, how he was raised, where he's from and how he got started in the rap game, so going into this new album, Joey sees little need to retread old ground, instead, ALL-AMERIKKKAN BADA$$ focuses on the present, more specifically, the political and racial climate of the last couple of years.

Of course, it's no secret how tense things have been in terms of race and politics in America; people all over the country are reacting in different ways, some peaceful, some violent, but in the style of the greats, Joey uses his art to speak his mind and in his own words on the track "For My People", "teach you a lesson". And with a flow as seasoned and impassioned as Joey's it's hard not to take notice, especially on cuts like "Land of the Free" and "Babylon", the latter of which is easily Joey's most passionate and raw performance ever; he sounds like he's on the verge of tears do to how frustrated he is with the world around him and how it is effecting his people, and his words hit just as hard as his performance. Honestly, next to dudes like Kendrick Lamar, very few modern rappers have been able to pull off a consistent and thoughtful political statement in their albums without coming off as preachy.

However, while I will say that the second half of this album is very much one hard-nosed track after another, mostly dealing with, again, politics and social issues, the first half actually features some of Joey's most approachable and catchy material ever. Tracks like "Temptations" and "Devastated" are some of the few moments where Joey does some self reflection, from his daily struggles in faith ("Temptations") to his come-up ("Devastated"); both of these tracks feature slick flows and even slicker hooks, which are his best yet on this album.

Still, not every one of those hooks is a winner, and I honestly found the J.Cole featured "Legendary" to be a little on the boring side, mostly because of how sleepy J.Cole sounds, though the message is still strong in his verse, reflecting on how he is going to teach his children to be humble when they're surrounded by such great wealth. But for any number of nitpicks I could make, I just can't deny that this is Joey's most consistent effort yet, and I actually think I like it even more than his last project.

9.0/10

Future Islands: The Far Field ALBUM REVIEW

It's no secret that I happen to love Future Islands, and it was so great to see the band getting a lot of attention from their last album Singles, an album I thought deserved every bit of praise it could get. However, my ultimate question concerning the band was 'okay, now what?' They had already shown that they could get noticed playing relatively the same kind of music they always have, but now that they'd achieved that recognition, would they follow it up with a more ambitious record? And after having given this LP a good dozen or so listens since it dropped on the 7th, I can safely say that while the band definitely isn't going in a new direction on The Far Field, they have in my opinion honed their sound to the point of mastery. And luckily, the production seems to have finally caught up with their talent, seeing as how this album sounds absolutely amazing from start to finish. Plus, the band have finally introduced live drums to their repertoire which really fills out the instrumentals in a big way.

Case and point, the track "Ran", an absolutely monstrous track rivaled only by their breakthrough single "Seasons (Waiting On You)" from their previous album. This track not only features a full, beautiful sounding instrumental that is sure to get the body moving, but the lyrics and vocal performance are as poetic and awe-inspiring as they've always been. Sam Herring is and probably always will be the single most important thing about the Future Islands, his vocals never fail to impress and on this album, he manages to expand his range in subtle ways, like how he has improved his lighter, more clean vocals and his lower, more gravelly vocals have been smoothed out. Also, their is actually a fair bit of double tracked vocals here, mostly done by Sam himself, and there's even a bonafide  duet with Debbie Harry of Blondie, who is sounding a lot better here than she has on recent Blondie singles, which is great to hear, because I happen to love Blondie quite a lot.

However, if I'm being totally honest, I can't help but feel a little disappointed with how safe this record feels, sure, the last album didn't break down any huge walls or anything, but up until that point, the band had never sounded so big and their pop influences had never shined so bright, and while The Far Field is in many ways a stronger all around record, and perhaps I even enjoy it more than Singles, I can't help but feel they would of had a record of the year contender if they'd ventured a bit farther outside their comfort zone with this record.

Still, I can't help but love tracks like "Cave", "Through The Roses", "Shadows" and the track "Northstar" which is easily the band's most peppy track, almost a spiritual successor to the track "Doves". And the lyrics on this album go in a lot of really poetic and contemplative places, where Sam really reflects on the nature of life, love, and the human condition, all the while being backed up by instrumentation that invites the listener to abandon all emotional pretense and just give in; and that's something very few bands do as well as Future Islands.

8.5/10

Mastodon: Emperor of Sand ALBUM REVIEW

Emperor of Sand is the latest LP from Mastodon, a band that I have a lot of love for. That love comes from the fact that they've put out some of my favorite records in modern progressive metal, such as the anthemic Crack the Skye or the brutal Blood Mountain. These guys know how to pen a compelling metal tune with plenty of nooks and crannies to dig into. However, the past couple of albums have been a little hit-or-miss. This is especially true of The Hunter, an album that I still hold no particular reverence for, and while I think the band's last full length Once More 'Round The Sun was much better, it still had its pitfalls. And upon listening to the initial singles from this new album, it seemed like those same problems would persist, and to some extent they do, though I will concede that Emperor of Sand is the most cohesive and conceptual record the band has released in some time.

To start, I'll go over all the things I think this album does right. The songwriting here is really strong, in fact, these may be the most consistently catchy and well penned songs the band has ever assembled, from the opener to the fantastic "Precious Stones" or "Ancient Kingdom" Mastodon is laying down one colossal tune after another, and the lyrics here deal a lot in mortality and leaving a legacy behind, which plays really well with how the music sounds on this record. Honestly, aside from a few production quirks here and there ("Steambreather" being the sorest spot here) there's not much musically that I don't like on Emperor of Sand; it is more consistent than the last album and the lyrics hit harder than the past couple of releases have.

However, vocally, this album is a but weak in spots. This is mostly because the drummer is doing most of the singer here, and while his voice isn't bad, his clean style sticks out against the harsher instrumentation. The biggest culprit here is easily the single "Show Yourself" which still sounds bad to me, even having sat with it for the past couple of months; it simply doesn't sound like a Mastodon song, and doesn't really make any more sense in the context of this record.

But the vocals are my only major complaint, and though they do bring the album down for me personally, I still found myself enjoying this album. The saving grace is definitely the songwriting and instrumentation, and when the vocals gel with the instrumentation, these songs really shine as some of the band's best melodic material ever.

7.5/10

Drake: More Life ALBUM REVIEW

At this point, everyone and their mother's dead mother knows who Drake is, and that same group of people know just how bad Drake's last LP Views was. I, like any logical human being, thought that Drake's last album was a huge bore almost completely bereft of anything notable or even slightly positive. But it's the current year, and Drake has released another new "playlist" called More Life. Was I hoping to see Drake pull together another good project? Yes. Was I expecting that to happen? No. And to be completely honest, More Life is so middle of the road in terms of how much I enjoyed it, it's almost like the album doesn't even exist, or it is simply made up of all the good and bad memories I have associated with Drake's music.

For example, the first half of this album is packed with one limp, fake patois laden "dancehall" tune after another; tracks like "No Long Talker" are some of Drake's worst ever, simply because there is nothing legitimate to be found in the song, everything feels like a put-on. Whereas tracks like "Do Not Disturb", "Free Smoke", and "Sacrifices" feature some pretty decent bars from Drake and all features involved, especially Young Thug, who I feel was the overall MVP on this album; both of his contributions were highly enjoyable for me.

And while I am happy to report that there are solid moments here, some (like "Do Not Disturb") even border on true greatness, for the most part, More Life is pretty much more Views. Especially, again, with all the freakin' dancehall tracks and... Drake saying "tings" on more than one occasion. Also, the production is kind of middling, which is odd, because this is pretty much the same crew that produced If You're Reading This It's Too Late. Tracks like "Passionfruit" and "Nothings Into Somethings" sound really rough. On top of that, there are just a lot of half-baked songs here, "Teenage Fever" being the prime example, as it relies mostly on the sample to carry the entire track.

So, yeah, this album was a pretty frustrating listen for me. Because while I didn't like Views, it at least had the decency to be all bad, whereas More Life is really good at some points. Honestly, if Drake continues to release one mild-to-bad album after another, I'll go ahead and skip on the next album.

5.5/10

Remo Drive: Greatest Hits ALBUM REVIEW

Remo Drive is a three-piece from Minnesota and this is their debut full length, Greatest Hits. Now, obviously, calling your debut LP Greatest Hits is either a sign of an unchecked ego, or its polar opposite, the kind of self-deprecating sense of humor that made most great indie/ emo bands of the late 90's and early 00's memorable and worthwhile; luckily, Remo Drive fall firmly in the latter. In fact, they even pull sonically from emo greats like Sunny Day Real Estate and early Brand New, all while injecting their music with peppier, more pop-punk affectations, so the listener never feels too down in the dumps.  A more apt comparison, I feel, would be that of early Weezer, who had the tendency to wrap conflicted feelings of early adulthood angst with songs that had the ability to pull even the most edgy emo out of the depths of depression.

And I've gotta say, listening to tracks like "Art School" and "Summertime" (which is superior in every respect to the similarly titled recent Weezer track) gives me the same feeling that I got when I first put on an album like Blue or even Pinkerton, though the album never finds itself in as dark a place as the latter LP. Instead, Remo Drive present one loud, energetic and tuneful after another on this LP, which lends the title even more credibility, as this album sort of feels like a mixtape that your friend might put together to show you this really awesome local band that you've never heard of. This feeling is amplified through the lyrics and overall demeanor of the album as a whole, which come off as relatable and fun, I mean, just get a load of one of the music videos released prior to the album and you'll understand perfectly, these guys are just looking to have fun and write some killer tunes to enjoy life to, and I'd say they truly succeed in that endeavor on this LP.

If I had to identify the albums biggest flaw, I'd have to say that the production is not always the clearest, with a lot of distortion and vocals that always seem to ride the midsection of the mix, tracks like "Hunting For Sport" and "Trying 2 Fool U" take a couple of listens to pick apart. But the quality of the songs here is still undeniable, as not a single one of them could be considered as a "bad" track, maybe a little on the rough side, sure, but I'd rather they be rough then boring. And with all the instrumental change-ups and smooth transitions between tracks all throughout this album, boredom is just a non-existent problem on Greatest Hits.

Overall, this is an exceedingly solid debut album in pretty much every way. These dudes are definitely the band to cheer on in the emo/ indie scene going into 2017.

8.5/10

Havok: Conformicide ALBUM REVIEW

Conformicide is the latest release from Thrash revivalists, Havok, who I recently reviewed for METAL MARCH. Which is fitting, because I feel like this album is the natural progression of an album like Time Is Up, whereas the actual follow-up felt a little less intense and interesting to listen to (think Youththanasia from Megadeth after Countdown). In fact, Conformicide is quite possibly the finest Thrash album of the past few years and while I do have a few nitpicks here and there, I think this is easily the most thoroughly excellent and enjoyable metal album of the year thus far, and also one of this year's best albums so far.

However, I have to start with my issues with the LP because they hit almost immediately, namely, the lyrics. That's not to say that I disagree with the overtly political messages on this album (for the most part, I understand where they're coming from) but the fact that the album is SO overtly political 100% of the runtime, leads to some less than stellar lyrics, because the words don't always flow out smoothly with the lyrics, such as the kind of clunky chorus on "Dogmaniacal". Also, while I appreciate the ballsy-ness of the opening track "F.P.C." I can see why a lot of people would immediately be turned off by this track, seeing as it is the one track on here that I can see those certain spheres of the internet lashing out against, other than that, this album shoots for targets that have been Thrash staples since the beginning; including, religion, government, war, and society at large. For example, the single "Ingsoc" is basically the book 1984 condensed into a seven-minute metal track and the track "Hang Em' High" sees Havok wishing for the government to "get what they deserve.

But, putting the lyrics aside (though they do add to the overall experience) this album is through and through a Thrash metal beast. From fast, in your face riffing, to nimble and audible bass-lines to machine-gun drumming, this is the genre at it's modern day finest, with pretty much each track bringing its own unique element, leading to a very enjoyable and fresh sounding LP, despite it obviously being steeped in Thrash tradition. Some of my favorite moments include the aforementioned "Hang Em' High"(this track has the ability to shred all the skin off your face if you're not careful), the equally vicious "Claiming Certainty" and the apocalyptic closer "Circling The Drain". But honestly, there really isn't a weak moment here, aside from some slightly goofy lyrics and some odd production moments here and there that make a few tracks sound a little over compressed, I can't honestly fault this album; it takes no prisoners and I like that a lot.

9.2/10

Havok: Time Is Up METAL MARCH REVIEW

Reviving an older sound that has long been past its prime can be a daunting task, especially in metal, where sounds that die out, usually did so because the best ideas from that genre were eventually driven into the ground. Thrash is a genre that I can honestly say experienced just that, although I'd say that Thrash was also outdone in every way by the likes of Speed metal and Death metal, so in a way Thrash faded because there were faster, meaner, more boundary pushing genres that took its place; however, in the last decade or so, Thrash has been slowly creeping back into the fold, and Havok, especially on their 2011 LP Time Is Up, are a prime example of why that is the case.

In fact, I'd go as far as to say that Time Is Up is a bonafide modern Thrash classic. It not only pays homage to genre pioneers like Slayer and, especially Megadeth, but it has a furiosity and sound that is distinctly modern. Havok is what happens when a group of musicians grow up on the Big Four, but say to themselves, "hey, lets do this, but with even more guts". Because from start to finish, this LP goes for the jugular, almost to an obnoxious degree, with the overall energy of this album being incredibly high and angry from beginning to end. But honestly, that is the LP's single flaw, and for someone who doesn't mind a constant barrage of angry screaming, killer guitar riffs and face melting drum playing, this flaw will simply cease to exist.

Although I consider the album to be one consistent, 42 minute highlight, individual moments of note are "Prepare For Attack", "Fatal Intervention", the title track, and "Covering Fire". And while all of these tracks possess the aforementioned Thrash virtues such, each one takes on a slightly different lyrical approach, from people throwing away their lives ("D.O.A.") to the horrors of war ("Covering Fire"), Havok really lets their Megadeth influence show, especially the track "No Amnesty" which could of easily been on Peace Sells, or Rust In Peace.

Time Is Up is a fantastic LP, but more importantly, it is a great Thrash LP, and I think it is the ideal proof that even a genre like Thrash that has long since been abandoned by its creators, can continue to strive and push forward. Absolutely killer.

9.5/10

Kanye West: 808s & Heartbreak CLASSIC REVIEW

At this point, I've reviewed enough of Kanye's music to skip any kind of introduction, I'll even skip past all the usual feelings of "He used to be so good" and instead, I'll now focus your attention to the album that split the fanbase. In fact, this album is the catalyst (more than just musically) to the Kanye that we see today. This album is simultaneously a break up album and an album mourning the death of Kanye's mother, both of which left Kanye an emotional wreck, which he puts on full display on perhaps his most polarizing album, 808s & Heartbreak.

Keep in mind, that last statement is made knowing full well that most of Kanye's material post Graduation has also been said to have the same effect; people either love it to death, or hate it with a passion. But this album was the originator; with a completely different sound, a severe lack of hip-hop tracks and even a lack of the signature sampling that Kanye built his reputation on, 808s was a huge slap in the face back when it came out, and even though it is far more easy to digest nowadays, due in large part to it being a huge inspiration to some of raps biggest names currently (Travis $cott, Chance the Rapper etc.) it is still a pretty jarring listen if listened in sequence with his first three LP's.

And while a lot of fans and critics have noted this album's many flaws, I've always found this LP to be perhaps Kanye's most interesting. It is, in my opinion, the kind of flawed masterpiece that many people claim that Yeezus or Life of Pablo is. And while it is evident that those two albums are definitely adventurous in terms of pushing Kanye's sound in new directions, they both, especially Yeezus, don't have as much purpose in their execution. 808s is a true moment of vulnerability for Kanye, and luckily, lacks a lot of the egotistical posturing that mires most of his more recent releases. On this album, he does indulge in some moments of TMI, but he never follows it up with some show of wealth or machismo, instead, Kanye bares it all, and doesn't try and compensate for any of it.

All that aside, there is actually a pretty great album here too. With tracks like "Heartless" and "Love Lockdown" being shining examples of this new sound working wonderfully, and even deep cuts like "Paranoid" and "Robocop" shine through. For a lot of people, this album was nearly unlistenable due to the use (or overuse) of autotune, something that the last half-decade has certainly made less of an issue. And while to some degree it is true that Kanye relies on the effect a bit too much, it is important to put it all in the correct context; Kanye is emotionally devastated on the majority of this LP, and the cold, calculated nature of the beats and his vocals, show just alienated and lost he felt at the time, just like the track "FML" off of Pablo.

And while I'm on the subject, 808s is one of the most emaculately produced LP's I've ever heard. If I had to point to the zenith of Kanye's work as a producer, this would be it. Every inch of this thing is creative and gorgeously arranged. From the tribal robotics of "Love Lockdown" to the absolutely heart wrenching loneliness evoked by the instrumental on "Coldest Winter", Kanye crafted this album, and the result is nearly flawless.

Still, there are flaws, most of which can be blamed on the trendy nature of the features (Jeezy and Wayne aren't awful, but feel out of place) and the closing freestyle is simply unnecessary, and is the lone miss on the entire album production-wise; though it was recorded live, so that's not much of a surprise. But, again, this album is simply amazing and is, in my opinion, one of Kanye's finest, easily.

9.2/10

Jonwayne: Rap Album 2 ALBUM REVIEW

Jon Wayne, known professionally as jonwayne, is a rapper from California, signed to the very well respected Stones Throw Records. Now of course, Jon doesn't look like a 'rapper', something that he brings up not only on this album with the hilarious opening skit to "LIVE From The Fuck You", but also on his 2013 record, Rap Album 1 where he made the album cover a literal saltine cracker. And while Jon is self aware about this aspect of his persona, he doesn't make it the main focus of his music, and instead focuses this album on his battles with addiction and from what I gather, just moving through life in general.

For as funny and witty as this album is at times, it also has a lot of emotional impact, with tracks like "Human Condition", "Out of Sight", and the fantastic closer "These Words Are Everything", Jon takes a really introspective route with this album that is incredibly endearing. For instance, the track "These Words are Everything" sees Jon reflecting on how in the end, the only thing people will remember about him are the words he speaks, so in his eyes, it's important to always be up front with how you feel and never hold back. Another memorable, and simultaneously funny and infuriating is the track "The Single" which starts up with what could of been the single most aggressive and downright catchy track on the entire album, only to have Jon flub his verse a few times, getting really angry in the process. Again, moments like this show just how open Jon is willing to be on this album, and how his wry sense of humor permeates every inch of this record.

However, not everything on this album reaches such heights as I found tracks like "Rainbow", "Blue Green", and "Hills" to be a little underwhelming, mostly because they don't involve a lot, or any, rapping from Jon. Also, I would have loved to have heard a couple of energetic cuts on this album, while the softer more controlled tracks can be quite amazing, I still would have loved to hear tracks that took the same angle that "The Single" or "LIVE From the Fuck You did".

Still, this is a really solid album from a guy I knew nothing about until now. If you like your hip-hop to be personal, introspective and a little grimy, check this thing out.

8.4/10

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