Top Songs of 2017

Top 10 Songs of 2017:

Below is my list of my favorite songs from 2017. It took quite some time for me to get the order just right - I moved things around quite a bit before finalizing. It was a great year for music - I don't know if it topped 2016, but it definitely produced some tracks that I'm going to be listening to long after the year is over.

1.  Black Butterflies & Deja Vu - The Maine
• The moment I heard this song for the first time, I knew it was going to be one of my favorites of the year. With each and every time I listened to it this year (107 times, to be exact), I fell more and more in love with the upbeat and soaring instrumental, the incredibly meaningful and relatable lyrics, and the way those elements came together to create a song for both the good and bad times. I know with confidence this is my favorite song of the year ( & possibly my favorite song by The Maine ever). 
2.  Young & Menace - Fall Out Boy
• I also vividly remember the moment that I heard this song for the first time, and I knew as well that this one was going to be a definite top 5 favorite for the year. With Mania, the album "Young & Menace" is the lead single for, being delayed till next month from it's original September release and the other singles released so far being a bit more lackluster, I have been giving this song even more attention and reveling in the way that it pushes the limits of where Fall Out Boy can go with their music. This song has divided the fans in terms of its reception, but I think it's absolutely stellar. The huge jumps between the lows and highs, building from brooding verses to the immense chorus that harnesses a gritty, blaring synth as Patrick Stump's voice is sampled dizzyingly high and crashing drums and roaring guitars create a wall of sound that I still find invigorating. 
3.  One More Light - Linkin Park
• I knew Linkin Park was going to be releasing a new album this year, so I knew something from the release would make it onto my end of the year list. After the album released, I was very fond of both "Invisible", "Nobody Can Save Me", and "Sorry For Now", thinking one of those would be in this spot. That changed with the passing of Chester Bennington, one of the band's frontmen and one of my heroes. This song was already an incredible and beautifully haunting song, but it took a completely new meaning after Chester's death. It will be one of the best songs that Linkin Park ever does; the gut-wrenching, vulnerability of the lyrics and instrumental create a truly touching song about loss and the impact one person's life can have. 
4.  Headphones - Walk the Moon
• Another release that I was anticipating greatly, Walk the Moon released "Headphones" as the second single from What If Nothing. I enjoyed "One Foot", but "Headphones" grabbed me and held tight throughout the 3 minute ride that is this song. Gritty guitars and bass, thundering drums, and the back and forth of Nicholas Petricca's speaking-then-yelling vocals create a track that doesn't let up for a moment and reveals a lot about the talents of the group. I pestered my girlfriend about listening to this song for a few days after it released before she had the chance. I told her it was really good, but when she listened to it, she was almost mad - she asked my why hadn't I said it was absolutely incredible and that she needed to listen to it right at this very moment? I highly recommend you listen right now.
5. Hook, Line & Sinker - Royal Blood
• A band that I had heard relatively little of before 2017, I happened across their second album by chance and knew there was something fantastic happening here. While almost all of the songs on the album are absolutely incredible, "Hook, Line & Sinker" was the hidden jem near the end that I couldn't get enough of. The mind-boggling talent of two musicians Mike Kerr & Ben Thatcher is displayed ferociously on this song as they jam out for 3 & 1/2 minutes of rock n' roll bliss. The synchronization of the bass guitar and vocals on the verses gets my head nodding every single time I listen, without fail. The simplicity yet speaker-filling quality of the instrumental is just wonderful. 
6. 24/7 - The Neighbourhood
• This band keeps me interested in how they're able to create an alternative reality within their music; an overcast, almost dreary, Southern California. At least that's the impression I get when I listen to their music, and as I live in SoCal, it's a really interesting concept of music that reminds me of a place that rarely exists. This song in particular uses lots of electronic elements mixed with guitars and drums to create a blurry, syrupy instrumental that's both urgent and relaxed. I love Jesse Rutherford's vocals on this song as well; the softness he utilizes for the verses in particular, as well as the way the melody climbs as he sings "Just give it some time" (there's also a very edited and muted scream he does right after this line during the second chorus that's really, really wonderful). Contradictions are the name of the game with this tune, and part of what keeps me coming back for more. 
7.  Passionfruit - Drake
• Drake seems to have a knack for crafting certain songs that just blow up and resonate with people (or he employs dad dance moves). I remember I was listening through his new "playlist" (it's an album, but he called it a playlist), and this song started and I was immediately captivated. The sensitive, soft-sounding synth and marimba melody that goes throughout the song got stuck in my head constantly, and Drake backed it with vocals that matched the smooth nature of the track. I've always liked Drake best when he goes for the vulnerable sound, and this song is his peak in terms of that. 
8.  Told You So - Paramore
• After Laughter had a lot of songs that really resonated with me; this struggle of keeping appearences of being happy and content while dealing with internal and external turmoil. While "Hard Times" & "Pool" were both other contenders, "Told You So" feels like it's going to stick with me the longest in terms of it's composition and lyrical content. The opening line, "For all I know, The best is over and the worst is yet to come" came to me in a time when I was dealing with a lot of struggling and resonated with me to the core. The juxtaposition of a poppy & bright instrumental with lyrics like this create a piece that is at odds with itself, much like it's composers seemed to be when it was created. 
9. Anyone Else - Pvris
• Pvris' latest album was another I was very much anticipating, and while the overall record didn't feel quite as strong as I'd hoped, many of the songs had individual strength that left me still pleased. "Anyone Else" was the top contender from the album, with strong lyrical content and a prominent etherial sense to the instrumental. "I could touch a hundred thousand souls, but none of them would feel like home" was the line in particular that caught my attention - Pvris has always delved into the subject of souls and I was glad to see them continuing it here. The instrumental does an excellent job of flowing from the soft to the gritty as well, giving me another reason to love the band.
10. Halfway Off The Balcony - Big Sean
• I've never really been an avid Big Sean listener, but found myself very much impressed with this year's I Decided. The concept, story driven backbone resulted in some very introspective songs from the man who was gaining a lot of fame for "I Don't F**k With You". "Halfway Off The Balcony" is a brooding, darker rap that relies more on singing than the spoken word, but manages to combine Big Sean's real life with this imagined reality he creates within the album in a way that's almost haunting. The chorus is one of the strongest, lyrically, that I've heard this year: 
• "I'm hangin' halfway off the balcony, overthinkin' 'cause my job is way more than a salary, everything around me gold like I just practiced alchemy, I realized when it comes to girls, that chemistry means way more than anatomy"

Honorable Mentions:

•  hell is where i dreamt of u and woke up alone - blackbear
• Another new artist for me this year, the opening track from blackbear's first release of 2017 (digital druglord) is a big contrast to the rest of the release. Employing just piano and vocals as opposed to the trap and rap influenced R&B, blackbear shows off some vulnerability in this stripped down track that caught my attention and showed some signs of potential from the still growing artist.
• Lit Me Up - Brand New
• The title track from the last album from emo veterans Brand New showed me that this release was going to be something special. The darkness is so strong in this song, from the creepy intro of a woman talking about dreams to the brooding sense of the instrumental and the vocals. It's a slow building song, never fully erupting in an aggressive or gritty sense, but gaining strength and momentum through the power of it's haunting nature.
• Sober - Lorde
• As someone who wasn't super impressed with Lorde's debut album, her follow up release surprised me greatly (see below for more on that). "Sober" mixes both sensuality and melancholy, an odd combo but one that works in the context of the song. She reveals the growth she's gone through since breaking into the music scene, and this song is one of the strongest examples of that.
• Dirty Laundry - All Time Low
• This song was a bit of a sleeper for me - I listened to it a few times when it first came out, left it alone, and then ended up really becoming entranced by the way it slowly shifts from a polished, pop-leaning track into a full-blown rock song at the end. Alex Gaskarth's vocals are the highlight for sure; he employs vulnerability throughout, both in a more subdued and soft sense and then with grit and volume by the end. 

Get Better - EP - Citysick

Citysick is an emo/indie band based out of Chico, California. David Hollenbeck, their lead guitarist, was good friends with some of my friends back in high school, and through our mutual acquaintances, I previously reviewed an album by his last band, Dear Misguided, back in 2013. He asked me to check out Citysick's new EP, Get Better, and see what I though of it. Below are my thoughts.

Like I mentioned about, Citysick describe themselves as emo and indie, which are very much evident in the sound they produce. All the songs have a melancholy vibe to them, whether they're slower or more upbeat. The latter makes for an interesting sensation, where the instrumental might be fast, but the vocals and lyrics mellow the overall experience out. "Joyride" is a good example of this notion; especially with lines like "you saw the worst in me, and I think you were right". "Leaning" manages to be more on the upbeat side than down, seeming to revolve around what is clearly an unhealthy relationship/friendship and taking the necessary steps to recognize that, even if the other person involved can't. This song also includes small acoustic guitar parts, which add to the overall warmth that helps the track stand out in it's more positive spin than negative. The bridge/outro is especially great, building from muted guitars and low vocals into both David and main vocalist Kaleb Sievers singing simultaneously in what feels like the most compelling part of the song. The line they continue to repeat the whole section is

"If I'm the worst part of your life, how come you call me every night, so you can say I'm on your mind, and say I'm keeping you alive"

which is probably my favorite lyric of the release in it's revealing nature. 

"Moving Season" is more of an example of a slower song, starting in a way that reminded me of "I've Given Up On You" by Real Friends. David's vocals feel quite vulnerable on this track, playing into the sad/emo vibe. "Cut Short" also ends the EP on a slower and somber tone. Lines like "I'm trying to be brave, but it's hard to be so strong when the ones you love are standing in their graves" give an indication as to the difficulties that have been experienced by those involved in this music. The song ends with a very beautiful sounding vocal harmony over the instrumental before it's all cut short by the guitar abruptly ending and silence finishing out the release.

There is clearly talent here; that is hard to miss. The instrumentals are great, the vocals are great, and the production is high for a band that's still in it's infancy.  However, I found myself struggling to connect to the music as easily as I do with other bands and songs. Some of this might stem from the bands that they like not being a part of the bands I listen to regularly. Bands like The Wonder Years, American Football, and Have Mercy are just a few that they listed as bands they like. While I've heard of those groups and a fair amount of the others on their list, they aren't ones I listen to often or even at all. But part of it is the heavy, sad-feeling that comes across for most of the songs. While I am all for music that conveys sadness and the ways in which humanity struggles with it, I also want to leave that behind at a point and find the redemption, find the hope. Some of these songs do that; after many listens through the EP, "Leaning" began standing out in it's upbeat nature and lyrics that promote self improvement through the discarding of toxic relationships (that's what I got out of it). "Hurricane" also showed a great sense of contrast in sounds and energy. The intro immediately caught my attention, being so strikingly different than the previous songs I had heard with just guitar lines and vocals; a sound that was haunting to be sure. It eventually explodes into an emotionally charged climax, alternating moments of gritty guitars and crashing drums with moments of letting the distortion hang in the air as Sievers almost yells his vocals. It changes yet again as things settle down a bit, and an acoustic guitar and the added vocals of Kelly Corfield create another completely different feel than before; an almost soothing, pretty part. Both of these songs do a great job of displaying what is clearly pain and difficulties while pushing towards the light at the end of the tunnel.

I did enjoy the music; it's just not something I'm going to listen to on repeat. If you like the bands I list below in the "Related" section, then this EP will definitely be for you. They emulate the bands they love very well.

Rating: 3/5

Recommended: "Hurricane (feat. Kelly Corfield)", "Leaning"

Related: American Football, The Wonder Years, Seahaven

cybersex - blackbear

blackbear is a rising R&B/Hip-Hop star that I discovered earlier this year thanks to Linkin Park. In one of their interviews, Mike Shinoda had mentioned how blackbear (whose real name is Matthew Tyler Musto) helped write one of the tracks, "Sorry For Now" from their latest album, One More Light. Since the track was one of my favorites, I decided to check his work out, as I do for most artists that Linkin Park work with or mention. What I found was different than what I was expecting, given the way that "Sorry For Now" sounds. blackbear had just released his latest album, digital druglord, which I found myself really enjoying the majority of the album. He combines mostly R&B style vocals with hip-hop influenced beats and pop sensibility. I later found out he's done other songwriting for major artists, notably on "Boyfriend" by Justin Bieber, among others.

When I heard he was doing a mixtape back in October, I was surprised and impressed; it had barely been half a year since Digital Druglord. I listened to the lead single, titled "playboy s**t (feat. lil aaron)", which also had a music video that premiered on a porn website, which was something that I had never heard of before (I won't be linking to the video, for obvious reasons). I wasn't super impressed with the song, and so didn't really pay attention to any of the other songs released. About a week before the mixtape, titled cybersex dropped, I saw more singles had been released. I listened to "gucci linen (feat. 2 Chains)", which I was already hesitant about due to 2 Chains being on the track, as I'm not really a fan. However, I found myself intrigued when I put the song on the first time and heard a much more blatantly hip-hop/trap influenced sound. Gone were the almost syrupy, layered and smooth instrumentals of digital druglord, and instead a more stripped, minimalistic high-hat and bass heavy beat that was as aggressive as the lyrics blackbear was putting out. 2 Chains' part even fits the mood of the song, and I knew that I was going to be playing this in my car, very loudly and frequently for the near future.

I then decided to give the rest of the mixtape a listen when it came out soon after, and found a very intriguing collection of songs had assembled. digital druglord was very fluid and cohesive in the sound that blackbear had put together and was minimal in the featured artists, whereas cybersex finds itself delving into multiple genres, still flowing but in larger jumps and with a whole crew of friends on the tracks. There are hip-hop, trap, pop, and R&B songs all together on the 14 song mixtape. "gucci linen (feat. 2 Chains)", "bright pink tims (feat. Cam'ron)", "glo_up (feat. Rick Ross)", and "candayapple (feat. Paul Wall & Riff Raff)" are all within the hip-hop and trap realm. "g2g ttyl (feat. THEY.)", "playboy s**t (feat lil aaron)", "thursday/froze over (interlude)", & "anxiety (feat. FRND)" definitely feel like pop songs. "down 4 u (feat. T-Pain)" "top priority" with Ne-Yo,  & "i hope your whole life sux" all show R&B influence.

All this is to say that there's definitely a variety on this mixtape, in sound and in guest artists. Some of the names seemed to make sense, like 2 Chains, lil aaron, and THEY. all fit the sound of their repective songs well. However, others felt more unlikely, such as T-Pain, Ne-Yo, and even Rick Ross; lots of big names from other areas of music that I wouldn't have necessarily associated blackbear with. In each case, though, the songs worked very well, with each artist bringing their sound and style to mix with blackbear and showing his ability to adapt and mesh with different artists without losing his own sound. I definitely have a better respect for him as a songwriter after all these collaborations. Not all of the features were memorable, however; the surprising appearance of Paul Wall, someone who I never thought I'd hear again in music, on "candayapple", is fairly forgettable set of bars. Cam'ron, who is featured on "bright pink tims", doesn't really come accross to me as someone who feels unique or particularly skilled. Obviously, someone thinks he has talent, as he is appearing on songs, but that's definitely not an indication of promise. The song, another trap-influenced song, would be better without his presence.

The other aspect of this mixtape that really caught my attention was the lyrics and attitude blackbear carries on most of the songs. It's a quite different feel from digital druglord, with blackbear moving from more "romantic" and relationship based lyrics to the content typically found in a lot of hip-hop music currently. Bragging about money, clothes, cars, women; all the usual subjects you expect from the genre. What's weird to me about this is that it feels more forced and almost cringeworthy on this mixtape, specifically with the way blackbear talks about women in his life. They move from a more personal, relational level to being objectified, trophies in his rise to fame, riches, and the "good life". "top priority" is guilty of this, with the woman who is the subject at hand being told that she needs someone who can "wife her up" and things of that nature. That she is too wild and needs a man to tame her, which feels really odd from blackbear. "i hope your whole life sux" and "thursday/frozen over" come off as petty and pig-ish. He brags about being with other women, wishing someone else is hurting because he can't get over his pain, and all the "Instagram sluts" he can have whenever he wants. These songs in particular are hard for me to enjoy, because the lyrics are unbearable in their crass and objectifying nature.

There's really only two songs that I enjoyed, lyrically, because they felt like moments where the bravado and pride fall down and we see a real picture of who blackbear really is and his state of mind in this new found position of life. Those songs are "anxiety" and "santa monica & la brea", the later of which closes out the album. The former is interesting in how it plays on a lot of pop and even EDM sounds that are prevalent in songs currently, being very upbeat in terms of the instrumental while having lyrics about anxiety. Part of the chorus goes as follows:

"Yeah, I can't eat, I can't sleep, I get anxiety
When you're not here with me, I get anxiety"

and the second verse:

"Every time I smile what I'm doing fine, does it show?
'Cause I'm really freaking out, too scared of letting you go
Then my heart drowns out my thoughts, my head's about to explode"

These kinds of lines show a different side of blackbear, a softer, vulnerable side that he's hiding behind the hard exterior he displays on other songs.

"santa monica & la brea" is also an example of a more thoughtful, introspective side. The line that really made me notice this song is the beginning of the chorus:

"And maybe I could die treading water
Drowning under moonlight sonata"

which by itself is enough to be interesting and a bit heart-wrenching. However, the way blackbear sings this line makes it haunting; he sings high and soft, employing his falsetto to create a moment that is much more striking than anything else on the mixtape. It's fitting that he saved the song for the end, as I think it's the best song of the release overall and a great way to finish out the mixtape. It gets rid of all the lights, the flashy talk and money and women and focuses on one relationship (failed, from the sound of it). It helps the average listener connect better than at any other moment on the mixtape.

Overall, this release was impressive in terms of the production, length, and variety of sounds and artists, given the proximity to digital druglord. While it wasn't my favorite lyrically, it was cool to see blackbear step outside his norm and try a new set of sounds and ideas. I hope, however, that he moves back towards the sound he has built up in his previous releases. This release doesn't feel like it'll have a lot of sustainability, in terms of listening in the future.

Rating - 2.5/5

Recommended - "santa monica & la brea", "anxiety", "gucci linen"

Related - G-Eazy, Hoodie Allen, Post Malone

Kid Kruschev - EP - Sleigh Bells

I discovered Sleigh Bells over Christmas Break in 2012, my freshman year of college. I remember this vividly because their sound was unlike anything else I had heard; this fusion of pop synths, hip-hop oriented beats, and insanely overdriven guitars, with these beautiful vocals from Alexis Krauss on top.  I was super impressed when I found out it's just two people who do the music; an impressive feat for songs with such a large presence. Their first album, Treats, is full of these collision moments,  of unlikely sounds coming together and utilizing dissonance to their advantage. Songs like "Infinity Guitars", "Crown On The Ground", and "Kids" were my favorites and had me raving about the band to my friends. I then discovered they had a second album out, Reign Of Terror, which I enjoyed, but not as thoroughly as Treats. I followed them through the next year, when they released Bitter Rivals, but they fell off my radar, in spite of releasing another album last year, Jessica Rabbit.

Fast forward to now, when I discovered they had a new EP out, Kid Kruschev. I decided to listen to it, even though I hadn't been as impressed with Jessica Rabbit. But by the time I was done listening to the opening track, "Blue Trash Mattress Fire", I was prepared to eagerly give the rest of the EP a listen.

The song opens with a slow climbing instrumental of various synth lines, accompanied by distant vocals from Krauss. It continues in this fashion until the 1:36 minute mark, where the overdriven guitars and booming beats come crashing in on a huge wall of sound. Krauss's voice is powerful, yet pretty, next to the gritty instrumental, highlighting the contrast I had so very appreciated about their earlier work. This track is my favorite from the EP, with the intensity and rollercoaster of highs and lows that it takes you on.

"Favorite Transgressions", "Panic Drills", and "Show Me The Door" are all tracks that also utilize elements of intensity that "Blue Trash Mattress Fire" opens the EP with. "Favorite Transgression" does so with the guitar and beats, but in a more upbeat and driving manner than the previous song. The momentum never lets up, wavering only slightly at moments where the beat drops out and specific synths or guitar lines are highlighted. At only 2:27 minutes long, it's a short but wild ride of a track. "Panic Drills" also utilizes the crunching guitar and thumping beats I love, but the song heavily relies on the contrast created by the moments that use those two elements and the moments that do not, simply relying on Krauss's vocals and synths. The contrast is so great that it's almost like the song has two different moods, something that is very rare to find. There's parts where the song has a poppy-rock sound that's upbeat and almost makes you want to smile, but there's parts where the synths and vocals create a melancholy vibe, giving different experiences within the same song. "Show Me The Door" uses thunder noises in the background of the beginning of the track, as well as a pulsing synth and steady beat that eventually slip into a moment of half time that's not unlike a breakdown in a rock/pop-punk song. It's an interesting sensation, listening to these deep, resounding beats and bright synths coming together in a way that makes you want to rock out and headbang. Near the two minute mark, a piano line comes in, providing contrast to all the synthetic noise happening around it.

The remaining songs branch out in different directions from the signature guitar and drum pairing, such as "Rainmaker", "Florida Thunderstorm", and "And Saints".
"Rainmaker" flows very well from the previous song before it ("Favorite Transgression"), with the band using a hi-hat/tambourine combo to actually create the sense of rain on certain parts. Contrast shows itself in the switch to big, booming synth bass lines accompanied by the beats, which seem to take the backseat on this track. Krauss's vocals feel like the highlight of the song, with the lyrics being especially relatable (about a break-up) as compared to some of the more abstract songs they've done previously. Lines like:

"I can hardly stand
I can hardly sleep
I can hardly speak
I can hardly breath

It was never really meant to be
You and me"

really paint a vivid picture while retaining a fair amount of simplicity, something all lyric writers should strive for. "Florida Thunderstorm" actually uses an acoustic guitar, something that I've hardly heard the band use on other tracks. The guitar and Krauss create a very stripped down, vulnerable-sounding song that in itself becomes contrast to the rest of the album. My favorite moment, however, is right at 1:07 minute mark, where a dissonant and distorted synth note rings out, and Krauss's vocals become distorted as well. The song then switches for about 30 seconds to just Krauss's voice and a pulse-like synth that is vulnerable in its own way before switching back to guitar and an added string line (cello, I think) that fades out. "And Saints" uses just synths and vocals, with the former being stylized in a way that also partially provides a beat, and the latter uses some great layering to create almost choral moments, echoing voices crying out to "Tear up, tear up, gear up, stand up". It's haunting in the way it's composed, also due to the other, more subtle synth line that's flowing in the background like a ghost. It's a really interesting note to end the EP on, because it isn't a "calm" song thanks to the haunting vibe, but it also feels intense without being high energy.

I didn't have that many expectations going into this EP, as I had not been following the band as closely as I once had. After a few listens to the album, I found myself much more impressed than I expected to be. It feels like a lot of the elements that I really enjoyed about the band were present again, but also with some experimentation that didn't feel forced or overdone as it had on previous releases. Kid Krushev definitely focuses the attention more on the gritty, almost out of balance sound than a polished, pop tone that I was alright with but never impressed by. The band definitely has my attention back, if this is the direction they're going to continue in. Dark, brooding music that pushes the listener as much as it pushes the musician. I'm all about supporting that.

Rating: 4/5

Recommended: "Blue Trash Mattress Fire", "Favorite Transgressions", "Show Me The Door"

Related: Phantogram, Cults, Best Coast

What If Nothing - Walk The Moon

Walk The Moon is a band I discovered back in college, with their first self-titled album quickly becoming a favorite and a regular recommendation to anyone willing to listen. Their sophomore album, Talking Is Hard, blew away my expectations as well as putting them on the map with the help of "Shut Up & Dance". I saw them live last summer (May 2016), one of the few dates they played before they had to cancel their tour due to lead singer Nicholas Petricca's father passing. They took time to regroup and reorient themselves, and a year and a half later, we have What If Nothing, the third studio album from the Cincinnati-based group.

The two lead singles, "One Foot" and "Headphones", were both solid introductions to the new era of Walk The Moon (click on the links above for my thoughts on each song). With the rest of the album out, it's easy to see that the band chose to explore even more ground in their latest release. Songs like "Press Restart", "Sound of Awakening", "Kamikaze", "All Night", and "Tiger Teeth" each explore different areas that the band had not previously delved into with their first two albums.

"Press Restart" builds from minimalistic vocals and subdued guitar into a electronic heavy, pulsing track. There are a lot of vocal effects introduced that end up making appearances throughout the album, and a lot of layering of multiple vocal lines that range from the low end to high end of Petricca's range. The song ebbs and flows, building and pulling back, with the peak happening right before the 3 minute mark as Petricca builds the intensity of his vocals and the instrumental follows until the song explodes into the final, multi-layered chorus that ends with a very cool choir vocal ending.

"Sound of Awakening" is probably the most unique song on the album. From the opening vocals, it is apparent that the band has been listening to a lot of Phil Collins. The first non vocal aspect of the song doesn't appear until just after a minute and a half into the song, which is just a quarter of it's six-plus minute length. The vocal effects show up again on this song, accompanied by heavy electronic elements that come together to create this sprawling, 80's-inspired epic piece. The song has a verse-chorus type format, but does not feel similar to the structure of other songs on the album or in general. It rises and falls spectacularly, with the highs and lows captivating the listener at each turn and leaves them wanting more.

"Kamikaze", one of the other songs released before the album release date (but not an official single), feels very similar to something Imagine Dragons would put out (which I discovered is a shared observation amongst other reviews). It's very alternative/pop oriented, with a little use of guitar and drums on the alternative end and synth and drum machines on the pop end coming together for a pulsating song that's very compelling. The vocals are my favorite aspect of the track, with Petricca swinging between soaring vocal lines and almost-rap lines that create great contrast (which I'm always a fan of). 

"All Night" is another song that utilizes a mixing of pop and alternative-rock elements to create a very upbeat and radio/arena ready song. The synth lines are more prominent in this song, but are themselves distorted in the way that a guitar would be, creating a really high-energy song that emulates rock without using it. Seeing as how I think the mainstream music industry is going to move further into the synthesized area, this makes sense and shows the band's ability to identify current trends and incorporate them without disregarding their own sense of self.  The verses on this song intrigue me more than the chorus, which is a reversal of how I find it tends to be. They bounce more, feeling more unique while the chorus is a bit too repetitive for my taste and lacking that special, compelling element that a lot of the other songs have.

"Tiger Teeth" begins with just synths for the first minute, finally incorporating vocal elements to emerge fully as a slower, 80's synths driven love song. It's one of the slowest songs on the album, if not the slowest, providing some contrast to the higher energy and faster-paced song and showing the ability to switch gears. The vocals are very pretty and soothing, as is the rest of the song, and the emotions conveyed there are reflected in the instrumental. It feels a lot like some of the material from Talking Is Hard, but even more 80's influence than a lot of the songs on that album.

Other songs show that the band wanted to take their signature sound and comfort zone and retain that while expanding. Songs like "Surrender", "Feels Good To Be High", "Can't Sleep (Wolves)",  and "Lost In The Wild" capture the sound that fans have grown to expect from the group while pushing the envelope. 

"Surrender" was the third single released from the album, and the U2 influence was very obvious from the beginning of the track. The piano line from this track is one of the more unique aspects, being minimally processed and natural unlike many other elements on the song and the rest of the album. That combined with Petricca's vocals would be enough (I'm really hoping for an acoustic/piano-vocal only version at some point), as he shows off his range while delivering what he has described as some of his most emotionally revealing lyrics. The song builds incredibly, soaring high above the earth with the driving beat, the echoing guitar lines, pulsating synths, and the piano and vocals creating one of their strongest songs to date. The mood sways between sorrowful and hopeful, keeping you on the edge of dispair but never taking you over. The song is beautiful, absolutely beautiful.

"Feels Good To Be High" brings in more of the alternative rock elements, stripping away the layers of synths to focus more on the drumset and bass that guide the verses. They're joined by a very 70's sounding guitar line on the chorus and a distorted synth line as Petricca shows off his falsetto over the energetic instrumental (another nice use of contrast). The bridge shifts gears, with the synth taking over until a voice over says "Doesn't matter if it doesn't make my heart go" and the synth immitates a heart beat slowly building in intensity; a very cool use of technology and sounds. 

"Can't Sleep (Wolves)" also has more of a grounding in live instruments, a echoing guitar line leading the song as the drums snap with precision. The vocals are the focal point, with the build of Petricca's vocals on the pre-chorus starting lower and slowly climbing in pitch and intensity to the peak line "Wolves are coming for me" shows an excellent use of the music to accentuate the lyrics. It's not super fast paced, but it grooves along nonetheless in what is sure to be a fantastic summer song.

"Lost In The Wild" closes out the album with a good mixing of the natural and synthetic elements found all throughout the album. The chorus uses some of Petricca's highest vocals as well as layering of multiple vocal lines, all accompanied by a bright and pulsating instrumental that feels a bit like a hidden gem at the end of the album (where some people never make it to). 

This album has a lot of strong elements; perhaps too much. The experimentation was very well executed in some cases, but not always, and that led to a bit of inconsistency in the flow of the album as a whole. Certain songs felt like they lost themselves in the new elements and were hard to find a focal point to grasp onto. However, Walk The Moon managed to show that struggles and hardships won't get them down; in fact, it fueled them to come back and create strong and powerful music out of those trials. I don't know if this'll be my favorite overall album from the band (Talking Is Hard holds that spot for now), but it definitely contains some of the best songs I've heard from the band, and makes me excited for the what the future holds for this group that is clearly not letting of the gas pedal anytime soon. 

Rating: 3.5/5

Recommended: "Headphones", "Surrender", "Kamikaze", "Lost In The Wild"

Related: Smallpools, Young The Giant, The Mowgil's

Pacific Daydream - Weezer

Pacific Daydream marks Weezer's 11th studio release since their beginnings in 1992, and shows a change in direction from the alternative rock roots the band has hailed from. Led by "Feels Like Summer", it was clear that there would be more pop tendencies showcased on this album, as opposed to last year's "White Album". "Feels Like Summer" is a deceiving song, in terms of the sound and vibe versus the lyrical content. While you listen along to the bright EDM synths and falsetto vocals on the chorus, you might not notice the wistful twist provided by the last line of the song:

"When she was a lover to me"

This is part of a long trend of upbeat, catchy songs that are lyrically darker than one might expect (look at Foster The People's "Pumped Up Kicks" for reference), which I've always found to be an interesting use of contrast and juxtaposition. "Happy Hour", the second single released, expands on this concept. The song leans again towards more pop tendencies, but this time with more jazzy vibes and a bit less energy than "Feels Like Summer". Lyrically, the chorus itself is implying that lead singer Rivers Cuomo needs to drink to forget the sad days, which is pretty bleak. But, I would imagine that the song will leave the listener in a better mood than before they listen to the song because of the way it is constructed.

Nothing else on the album is quite as EDM influenced as "Feels Like Summer", but that also doesn't mean that they swing right back to the alternative-rock sound that Weezer is known for. Songs like "Mexican Fender", "Weekend Woman", and "Get Right" all lean more towards the pop side of things. "Get Right"uses a pulsating kick drum and a groovy bass to keep the song moving along, as well as a cool (if momentary) sampling line right after each chorus. The guitar doesn't lead the song, as it has on many of their past songs, but instead a blending of all the instruments and vocals to focus on the overall sound and not an individual instrument or aspect, as many pop songs do. "Mexican Fender" utilizes more guitar during the verses, but still has a mostly pop feel as Cuomo gives a great example of storytelling through lyrics. He creates very vivid and specific references that help the listener visualize the events in their minds. "Weekend Woman" features dueling bass and guitar lines that help give the song a strong feeling of being inspired by "Friday I'm In Love" by The Cure. Lyrically, especially on the chorus, you can hear how Cuomo might have been trying to emulate The Cure with the references to specific days of the week. It's definitely a warm song and has hopeful romantic written all over it.

Not all of the songs lean towards the upbeat, warm and fuzzy side, however. Songs like "QB Blitz", "Sweet Mary",  and "Beach Boys" all lean more towards the subdued, slower side. "Beach Boys", funnily enough, sounds very little like The Beach Boys; the funky bass line in the beginning brings to mind Joywave and it's a bit grittier and darker than one would expect, given the title. It is probably the most upbeat of the three, but still doesn't feel like the kind of song you'd play at the beach on a bright, summer day. "QB Blitz" has fairly somber lyrical content, which makes it hard to lose oneself in the instrumental, which also leans more towards sorrow than sweetness. Cuomo talks about wanting friends and finding someone who really loves him, leaving the listener a little bit down (at least, that's how I felt). "Sweet Mary" has a bit of an 80's sound in the beginning, with Cuomo yearning for a lost lover throughout. The song is on the slower side as well, adding to the mood established in the lyrics. I found this to be the weakest song of the album, feeling quite forgetful (despite having written notes for it, I had to listen to it again as I wrote this).

The singles leading up to this album had me fairly excited, although not on the edge of my seat. When the rest of the album released, however, I was not as impressed as I hoped I would be. While I think Weezer is an excellent band and I'll continue to support their music, this album wasn't the strongest piece of work from the group. The pop ideas were executed well in certain places ("Feels Like Summer", "Mexican Fender", "Get Right"), but felt a bit flat and uninspired in other places ("QB Blitz", "Happy Hour", "Sweet Mary"). I am all for bands expanding their sound and trying new things, but I think Weezer should let this album be a stand alone venture into the pop territory.

Rating: 2.5/5

Recommended: "Feels Like Summer", "Mexican Fender", "Get Right"

Related: The Pixies, The Cure, Cake

Shapeshifter - Knuckle Puck

Knuckle Puck was one of the bands that I discovered during my pop-punk phase that have managed to stay on my radar despite that phase being over. Their earlier releases were more marked with aggressive instrumentals and raw, angsty vocals that were more yelling than singing, which was appealing to someone who was dealing with a lot of emotions. With their first album, Copacetic, and their sophomore release, Shapeshifter, the band has focused more on a structured, melodic sound that is still full of the angst and aggression of their beginning days.

What's great to hear about this band is that they've found the vibe that they like, and they've continued with each release to tighten and hone their skills and chops to make even better music in that same vein. Shapeshifter continues to showcase their pop-punk core with a fantastic balance of vulnerability with pent-up anger through the instrumentals and the vocals.

Joe Taylor is part of what sets the band apart in terms of a unique sound. He can balance the almost screaming/yelling with softer melodic moments, on different tracks and even on the same song, utilizing contrast (which, if you've read any of my other reviews, you'll know I am a big fan of).

The first half of the album keeps the energy and intensity high. The album opens with "Nervous Passenger", a shorter track that builds into a bit of a wall of sound near the end. The tempo is a bit slower than what they normally, which is cool in the way that it sets the tone for the album. It catches your attention before things kick into higher gear and fueling that teenage angst we all hold deep inside.

"Twist" comes next, more familiar ground for Knuckle Puck as they pick up the speed and intensity. The drums are really sharp on this track, with John Siorek providing a consistent foundation for the rest of the band to show off their pop-punk sound. The band has always leaned more toward the punk than the pop (see State Champs as an example of the opposite sound), and this song shows that tendency. 

"Double Helix" was one of the singles leading into the album, and was one that caught my attention very quickly. While "Twist" felt a bit lighter, more like a song you'd jump along to and rock out with, "Double Helix" is feels a bit more serious, a bit more angsty. Look at the chorus; it's almost all more screaming/yelling than singing, as Taylor and rhythm guitarist/back-up vocalist Nick Casasanto go back and forth with:

"Take take oh please just take it back
I don't want your double helix"

I confess that I had to look up what a double helix is, and when I did the song seemed to make a bit more sense. A double helix is related to DNA, with Dictionary.com saying it is "the spiral arrangement of the two complementary strands of DNA". So perhaps Taylor is singing to someone who he once was one with and no longer is, but is trying to move past the memories and frozen moments of the past that linger. Lines like this make that idea more clear:

"Cause the viewpoint never changes
When they're stuck inside a memory"

or

"Swallowed up in hatred while the surgery replaces who you areAnother time, another face to let go"

It was not an easy relationship to let go, or even still is difficult to move past. And using that concept, which is common in biochemistry, to relate to a relationship, shows some intricate and well researched songwriting, which I very much appreciate. (Upon further research, it seems that Taylor was actually talking about his dad and wishing he wasn't related to him. Hence the DNA references.)

Next is "Gone", which was another single leading up to the album. Musically it has a similar vibe to "Double Helix", leaning a bit more towards melodic on the chorus but close in terms of energy and intensity. The bridge takes the song down a notch before slowly building into the final chorus that ends in an almost breakdown that holds the intensity high. It's

"Everyone Lies To Me" plays a lot with contrast, using moments of high energy and intensity with more melodic and strung out musical elements all together. The first verse features some of the roughest vocals on the album, while the second features some of the most melodic vocals on the album. It's a cool use of opposites and opposing elements to create dissonance within a song that deals with people being dishonest, which is itself a dissonance in real life. The bridge features some cool instrumental moments, letting different instruments have the spotlight for a few moments and passing the baton to the next one.

"Stuck In Our Ways" leans more melodically than the last song, still having that edgy sense to it but lighter than some of the other songs on the album so far. It's got less yelling, with Taylor giving some great melodies over a instrumental that drives forward. It's a solid song that will get stuck in your head and provide great material to rock out to.

From this point, the album shifts into a more slowed down, mellow gear; but don't think it'll be music you fall asleep to.  "Want Me Around" was the last of the singles before the album, and stood out for a couple of reasons. It slows down quite a bit, leaning almost entirely on the pop side of pop-punk. The rhythm guitar, which is usually leading the instrumentals, is hardly distorted and in the background, giving the spotlight to the lead guitar. The drums are also fairly subdued, pulling back from the usual intensity found throughout the rest of the album. The focus is on the vocals, with Taylor giving some grit to his voice but keeping it mostly melodic throughout.

"Conduit" continues the more melodic, toned down vibe of "Want Me Around" even more, starting off very stripped down and quiet. Taylor sings over the lead guitar and a little keyboard line that are somewhat hollow, leaving room for the vocals to resonate and stand out. The song continues in this manner, slowly building into a climax where the intensity increases without compromising the vulnerable sense of the song. "Wait" begins on the softer side as well on the first verse, but shifts to a bit of a gritter tone on the chorus. It's not aggressive, however; instead, the grit comes in play through a wistful, almost regretful tone that is evident through the lyrics and vocals. The line at the end of the chorus,

"You always did feel just like home"

really stuck out to me, as I think it's something most people can relate to at one point or another when thinking of a past relationship. The follow up line in the bridge,

"You were always so unreachable"

takes any sort of pleasantry out of the nostalgia in the first line, bringing reality crashing down.

The album finishes with "Plastic Brains", which starts off slower and gradually builds into a wall of sound that ends the album on a high and intense note. There's some subtle female vocals on this song, which offer a bit of contrast as the female vocalist has a soft, gentle voice compared to Taylor's usual yelling and strained singing. The line "is there any trace left of me" echoes throughout the ending, as the song is fading away, giving one last thought for the listener before the end.

Overall, I very much enjoyed the album. In comparison to their debut, Copacetic, this album felt like the band took their talents and sounds and fine tuned them even more. There was a sense of precision evident throughout, as well as stronger songwriting and contrasting instrumental elements. The talent that this band has is clear, and I look forward to watching it continue to grow with future releases.

Rating: 3.5/5

Recommended: "Double Helix", "Gone", "Stuck In Our Ways", "Wait"

Related: State Champs, Neck Deep, Real Friends