A Return To Routine

It's been awhile.

I've been MIA for nearly six months - my last post was at the very beginning of March. I've taken breaks from this blog before, but this one was a bit more intentional - I got married! I proposed to my wife back in January, and as the wedding planning ramped up, I knew I had to prioritize and put this blog on the back-burner. We got married July 28th, and took sometime for our honeymoon in Europe, but now we're back and easing into the swing of things. For me, one of those things is getting back to posting my thoughts on music here. So I'll be back to posting reviews quite soon - be on the lookout for my thoughts on the latest single from The 1975...

For now though, I wanted to play a little bit of catch up and do brief reviews of the music that's come out since my last post - it's going to be difficult to not write a lot, but there's a lot to get through and I want people to actually read this post in its entirety.

• Hi This Is Flume (Mixtape) - Flume
• I've really enjoyed Flume's more recent work, and was quite surprised when he dropped this mixtape (which in hindsight is how it should work). The mix in sounds, the variety in featured guests (slowthai is becoming a new interest of mine), all made for a release that I've been coming back to again and again these past months. 
• Top Picks - "High Beams (feat. slowthai)", "Is it Cold in the Water?", "How to Build a Relationship"
• Strange Love (EP) & Special (Single) - Simple Creatures
• The brainchild of Alex Gaskarth (All Time Low) and Mark Hoppus (Blink-182) was a collabration that most definitely needed to happen. The term I've read online for their sound is (somewhat jokingly) "trashpop", but weirdly works in the best way possible. They bring their excellent writing skills together to craft songs that are catchy and fun while feeling like quality music. The first EP and the latest single show signs of a group on the beginning of their run - with lots of gas left in the tank.
• Top Picks - "How to Live", "Drugs", and "Special"
• You Are OK - The Maine
• One that I almost did a review for despite being so busy, this is an album I have been agonizing over since it released. I've talked with my wife a bit about it and what our seperate feelings are towards it, and the end result is....underwhelming, to be completely honest. I absolutely loved Lovely Little Lonely - an album that came to me at just the right time and resonated deeply with me. The expectations were thus a bit (unfairly) high, and I knew it was going to be hard for me to experience the next thing. Even this far removed from the release, I still find myself not coming back to the album too often. Don't get me wrong, it's a good album - it's exciting and vulnerable and The Maine to the core, but it doesn't resonate with me the same way LLL did. I know fans have really been enjoying the album, and I'm so happy that they are, truly. It's going to mean to people what LLL meant to me, and that's all that matters. 
• Top Picks - "Numb Without You", "Tears Won't Cry (ShinjU)", and "Broken Parts"
• Violet Street - Local Natives
• An album I sort of stumbled upon from a group I had listened to a bit more in college, Violet Street is one of those albums that is just good - it doesn't have to do anything fancy or flashy to stick. Great songwriting and tight, appropriately-moody instrumentals create an atmosphere that I love being in. It's not a groundbreaking album (which is not meant to be a negative comment), but a solid piece of high quality indie/alternative rock.
• Top Picks - "When Am I Gonna Lose You?", "Cafe Amarillo", "Shy"
• Native Tongue - Switchfoot
• This album actually came out while I was still working on the blog, but (unfortunately) slipped under my radar. I've noticed I seem to be in an every other album cycle with Switchfoot - I didn't get too much into their last album, but Fading West was a huge part of my summer of 2014, between sophomore and junior year of university. Native Tongue is a wonderful mix of the Switchfoot we know and love with new modern sounds and genres that mesh together really well. The band continues to innovate while retaining their core spirit and values, which is something I very much admire about them. 
• Top Picks - "Let It Happen", "Joy Invincible", "Prodigal Soul", "You're The One I Want"
• Mystic Truth - Bad Suns
• A band that I've enjoyed the past couple of years but not followed super closely, Bad Suns' latest release was another that I almost missed out on. When I did give it a listen though, I was pleased to find a truly fun record. Similar to Violet Street, this is not an album that is trying to break genres or defy expectations; it's simply a great collection of songs. It's especially wonderful when played during the summertime, in the car, with the windows down and a breeze blowing through. 
• Top Picks - "One Magic Moment", "A Miracle, a Mile Away", "Howling at the Sun"
• Mother Nature - The Dangerous Summer
• I knew of The Dangerous Summer, and had listened to some of their music back in high school, but I was surprised to hear their latest record and find that the band had aged just as well as I could have hoped. I was specifically drawn in by "Bring Me Back To Life", which feels a lot like if Angels & Airwaves decided to get gritty. The album has more lighthearted moments, but it's songs like "Bring Me Back To Life" where the band shines in their emotionally charged, raw-sounding songs. 
• Top Picks - "Bring Me Back To Life", "Way Down", "Starting Over/Slow Down"
• "Blame It On My Youth", "Generational Divide", "Happy Days" - Blink-182
• The singles leading up to Blink's ninth album (aptly called NINE), have been a bit hit or miss with me. "Blame It On My Youth" feels a bit uninspired and forgettable - it took quite a few listens before the melody began to stick with me. "Generational Divide" is more interesting, a 49 second, punk-inspired thrill ride of a track. Still not anything super exciting though. "Happy Days", however, feels much like the Blink that I feel in love with on their self-titled album. It's moody, it's got a catchy chorus while still feeling like a meaningful song. 
• "Death of Me" & "Hallucinations" - PVRIS
• PVRIS was once a band that I was very, very into, and following quite closely. While I'm still a big fan of their work, this new material indicates a new direction that, great for them, but not quite up my alley. It's much more electronically based, something I expected of them, but also much more pop/dance oriented (which is not inherently a bad thing). "Death of Me" feels a little similar to sounds that Nero, an electronic group I greatly enjoy, has utilized before, and the song has a gritty tone much like PVRIS' earlier work that drew me to the band. I may really enjoy the rest of the album, but for now I think it will be one that doesn't stick with me. 
• "No One Else" & "ULS" - From Indian Lakes
• One of my favorite groups of the past six years or so, I continue to be impressed with and inspired by the work From Indian Lakes does. These new singles are no exception - both are definitely on the chill side, and more electronic elements and influences. But that's been the natural progression of the group, and it works really well for them. The songs feel like moments, created to be enveloped by and lost in, and they do an excellent job of that. 
• Sudden Sky - Crown The Empire
• One of the few "heavier" bands that I still follow and listen to, I've been eagerly awaiting the next album from this group. Their last album, Retrograde, was one of my favorite albums of 2016, and still holds up well today. This new venture, Sudden Sky, didn't quite have the same impact as that album, but it's still a really well written, solid album. The band has continued to grow and expand their horizons, and the scope of this album reflects that. Lots of huge sounds and epic moments litter this record, and the intensity stayed cranked up throughout. I'd love to see them live again - they put on an absolutely killer show. 
• Top Picks - "what am i", "BLURRY (out of place)", "MZRY", "Sudden Sky"
• i,i - Bon Iver
• A group that I listened to a lot in college but didn't really follow intently, Bon Iver's new album really surprised me. My wife started playing it in the flat we were staying at in Paris on our honeymoon, and I remember being really impressed and enjoying it immensely. It's one of those front to back experiences - it's hard to listen in chunks or out of order/context. It's one long piece, from start to finish, composed of different movements and pieces but all a part of the same whole (despite saying that, I will still give my top picks). It's forever going to hold a special place in my mind because of where I first heard it, but beyond the emotional and sentimental aspects, it's a really fantastic record.
• Top Picks - "Holyfields,", "Hey, Ma", "Naeem"

It feels good to be back. Excited to review the new fun music I've been listening to this week. Thanks for coming back with me. 

a modern tragedy, vol. 2 - grandson

When grandson dropped the lead single, "Apologize" for this release, I was a bit unsure of how the EP was going to turn out. While "Apologize" isn't bad, it just didn't have the same fire that I had come to expect from grandson, the raw and visceral energy of songs like "Stick Up" and "6:00" from a modern tragedy, vol. 1 . But I tried to be patient and keep an open mind about what songs would sound like that were soon to come out.

I'm quite glad that I did.

From the first notes of "Stigmata", I knew that I was in for a wild ride. This EP takes the gritty, aggressive political and social fury that grandson reinvented and spits it back out with a new life. The drops are harder, the instrumentals rock more, and Jordan Edward Benjamin displays his lyrical prowess at full capacity throughout. But there's a broader spectrum explored here in the lyrical content, different subjects that mesh with the political anger and create even stronger moments. The struggle with addiction, depression, and apathy all interweave with the fight against abuse of power, against corruption, and against oppression that grandson wages so well. 

The strongest tracks, to me, are "Stigmata" and "Is This What You Wanted", both for different reasons. The former showcases the aggressive and energetic nature that grandson has perfected, while the later gives the most intense and impactful performance of the release. Not only that, but each contains the two coolest moments of the release - the drop/bridge of each song. The drops in each chorus of "Stigmata" are earth shattering, and you cannot help but move to the rhythm of the moment. The heaviness of the bridge for "Is This What You Wanted", specifically the guitars that roar, offer a different sort of contrast for grandson that has been explored more through hip-hop and dance/EDM sounds previously. I feel as though "Is This What You Wanted" has an ever so slight edge over "Stigmata", due mainly to the lyrical content. The chorus is such an agonizingly perfect depiction of the ways in which apathy has spread through and infects many:

"Is this what you wanted?

We get drunk, we get high

We pop pills until the morning

We don't care, we don't mind

Pretend everything is awesome

While the world burns outside".

It's a spot on mark of the ways in which we can sink into distraction, let ourselves be pulled away from that which rages in the world outside and "forget" the horrors this world holds. 

"Fallin (Temptation)" feels like the most interesting of the songs, in the more abnormal structuring and composing qualities. The vocals are almost not even rapped as opposed to being spoken, a monotone quality that adds to the nature of the lyrical content, the slow loss of power and control that comes with an addiction. It definitely stands out from the rest of the songs, which is a pretty incredible feat considering how strong the entirety of the release is. There's a more personal tone to this song, a drawing from experiences that gives it more weight and punch. 

"Darkside" feels most similar to the sound of Vol. 1, but is significantly different in the story it tells and the darkness it holds - probably the darkest song of the release. Jordan displays his truly incredible storytelling skills by laying out the tale of a kid who, after being bullied, ignored, and abused, lets this all build within until he lashes out at those around him in the way of violence and murder. It taps into a narrative that we are quite familiar with at this point - school shootings - in a way that is terrifying and quite relevant for our day and age. This song especially reveals the ability of Jordan to create music and message that people, specifically younger people, can relate to, sympathize with, and feel empowered by to spark conversation and fight for change. 

I've said it before and I'll say it again: I believe grandson is on an ever climbing trajectory, and it's only going to keep getting more and more intense. What a powerful and extremely necessary voice in a time of tribulation and polarization. And what fantastic music. 

Rating: 4/5

My Best Habit (Single) - The Maine

As I anticipated, The Maine released another single in the lead up to their seventh album, You Are OK, coming March 29th. "My Best Habit" continues to reveal the new direction and sound of the forthcoming album, although it paints a different picture than "Numb Without You" did.

This single has a very catchy feel to it - as I discovered from Genius, the working name for this song throughout the recording process was "Bop", and the band members have been referring to the song (in a fairly joking manner) as such.  For those who aren't familiar, a bop is a term for a song that is fantastic, that's repeatable and that you can't get out of your head - a bit similar to banger, but slightly different context. When listening, you can hear how the band would think of it as such - it's got a brighter, more tapping-your-feet-along feel to it than "Numb Without You" did. There isn't this huge wall of sound that pushes it towards epic territory, but it's a more fun tune - at least, without taking the lyrics into account.

The lyrical content feels like what we've come to expect from The Maine - full of relatability, depth, and vulnerability. Some of the best lines are not limited to, but include:

"If you're not you, you're everyone else",

"And if you're searching for a sure thing, nice dream
Something like a machine
Then my best habit's letting you down",

and

"One part anxiety using two parts naivety
Just to keep sane".

The song talks of the struggle to meet the expectations of others, and how that's not something that should be wasted, especially when those expectations are unrealistic or unhealthy ("something like a machine"). It's empowering in the message it conveys, the pursuit of being oneself and not caving to the pressures of fitting in or appeasing someone's expectations ("if you're not you, you're everyone else").

Musically, this song is really cool - it highlights all the members of the bands at different points, showing off their strengths both apart and together. The gang vocal aspect is also really intriguing, as something that is not often explored in The Maine's previous work. It all has a rhythm, a groove to it that really does make it feel like a bop. It's a song you can cruise in your car with, jam out to through your headphones, and enjoy with others or by yourself.

Now, there is one thing I will highlight that I feel comes out more strongly in this song that any recorded music that The Maine has put out recently - John's voice. My fiance (I got engaged last month!!!) and I have had a few conversations over the years, especially after seeing The Maine in concert, about John's voice and the condition it's in. This song shows something that we've both hear in the live performances (and especially in the acoustic version of "Numb Without You" here) - the raspy quality that's become more and more prominent. It feels as if his voice is slowly going, which I sincerely hope is not the case, but I worry about nonetheless. I love this band, this group, and the songs that John has defined with his vocals. I want to be able to keep hearing them, and keep hearing that voice lead the charge. I mean this all with only love - no disrespect in the slightest.

Besides that last point, I really enjoy this song - while it didn't captivate me with the same intensity that "Numb Without You" did, it definitely continues to pump me up for what is going to be a truly incredible album.

Rating: 4/5

I Guess I Just Feel Like (Single) - John Mayer

I've felt myself slowly shift from a casual John Mayer fan to a more avid one.

My roommate from freshman year of college, Josh, was really into him, and shared almost all of his music with me. I really enjoyed it, especially "Slow Dancing In A Burning Room", but didn't follow his career very closely - only listening to new songs if I happened upon them.

It was when I started following him on social media that I really began to develop my interest in him - not only as a musician, but as a person. It's hard to gauge a person through social media, especially a celebrity figure, but throughout my time watching Mayer from afar, I feel a deep sense of honesty and vulnerability from his posts (along with a fantastic sense of humor). The point where it really hit me was when Mac Miller passed - even though Mayer didn't know him that well, he shared some of their time together and the sense of loss he felt within about his passing. This was something I very much related to - not that I knew Mac Miller, but that I felt like I was just starting to get to know him as a musician, as an artist, and then he was gone. 

Right before he released "I Guess I Just Feel Like", Mayer posted a picture of himself with a guitar/in the process of recording, and a bit of an explanation about the process behind the song. That was the moment where I knew this song was going to be something special. He talked about how he had been struggling with writing new songs in August & September of last year, and how after trying and failing to write songs in a specific way, he took it back to the basics in October and stopped trying to make something that wasn't going to happen - and "I Guess I Just Feels Like" was born.

The song itself is a very stripped down, almost country-sounding tune, primarily featuring vocals and acoustic guitar with later additions of drums and a fitting solo from Mayer himself. The vulnerability is heavy from the start, especially in the lyrics, and that's what has captured me with each and every listen. There's a definite sense of losing innocence, of this struggling between the desired, idealized world, and the one that we currently live in. Of having hope, yet struggling with loss and depression and negativity. It's hard to pinpoint these ideas to specific lines, so I copied all the lyrics below. I've said a little about them, but they truly speak for themselves:

(Verse 1)
"I guess I just feel like
I guess I just feel like
Nobody's honest, nobody's true
Everyone's lyin' to make it on through
I guess I just feel like I'm the same way too
(Verse 2)
I guess I just feel like good things are gone
And the weight of my worries is too much to take on
I think I remember the dream that I had
That love's gonna save us from a world that's gone mad
I guess I just feel like
What happened to that?
(Verse 3)
I guess I just feel like the joke's gettin' old
And the future is fading and the past is on hold
But I know that I'm open and I know that I'm free
And I'll always let hope in wherever I'll be
And if I go blind, I'd still find my way
I guess I just felt like givin' up today"

This doesn't feel like a song that's written to make money. It's purpose isn't to be this smash hit, to have a ton of airtime on the radio or be an internet sensation. It was made to convey the way that Mayer felt, which was not long after Mac Miller passed, and I'm sure was a reason/influence for this song coming to be. By being open and sharing his insides, sharing his feelings, Mayer has created a piece of art; one that is relatable, beautiful, and heart-wrenching to listen to. This is Mayer at his best - just him, his guitar, and his talent as a wordsmith and poet. Easily my favorite song by him in a long time. So much respect for him, as both a musician, and as a human being.

amo - Bring Me The Horizon

amo is the album that Bring Me The Horizon needed to make. It reflects who they currently are as a band, and the ways in which they want to expand their sound and scope.

For some fans of the band, this album will be the nail in the coffin - this is so far removed from their beginning days (first three albums or so). Those who were unhappy with That's The Spirit will most likely be displeased with amo, for similar and more amplified reasons. The pop leanings, the current trend dabbling, all will lead some fans to be disheartened and disappointed.

While I can understand them, I feel bad for them.

This is a common and reoccurring theme I've seen with some of the bands who are getting to be a bit farther along in their careers - an original, defining sound, and an eventual breaking with and evolving towards new directions. On Linkin Park's polarizing album A Thousand Suns, Mike Shinoda delivers a few very applicable lines in "When They Come For Me":

"'Cause even a blueprint is a gift and a curse
'Cause once you got a theory of how the thing works
Everybody wants the next thing to be just like the first"

The notion of bands being led by expectations of their sound and the kind of music they make is a difficult one to grapple with. The way in which Bring Me The Horizon has addressed this is fitting, and the resulting album should really be of no surprise to followers of the band. Those who cannot seem to grasp this and continue to rail against and whine and complain online will always exist. It's true for many bands who have gone down different paths and moved away from their roots, and while it is a difficult thing to do, I believe it is a sign that a band is doing something right. If they are pursuing the path they desire, making music and exploring sounds that they want to create, then they are doing what is right for them. While fans are the ones who make their careers and dreams possible, they are not required to put out things just for the sake of pleasing the fans. In fact, I believe they shouldn't. Making that which is true, that which is honest, is the most important to bands and artist as creators of music, of art.

Now, this album is a solid piece of work. It explores such a variety of sounds and influences - pop, trap, edm, hip-hop, and beatboxing all make their appearances and show their influence. These new spaces allow the band to express new sentiments and ideas, showing a vulnerability that they hadn't really been able to express before. They collaborated with different artists (Grimes, Dani Filth, and Rahzel), which also allows for outside influence and new ideas mixing in.

With this expansion, this delving down different paths, there does come a certain sense of inconsistency. The ebb and flow is not quite as smooth as that of Sempiternal or That's The Spirit; there isn't the same cohesiveness. However, the diversity of the sound is the strength of the album - showing the band in new and quite different lights than we've previously been allowed to see. "nihilist blues (feat. Grimes)", really takes the band into a space that is both similar and foreign to them - as vocalist Oli Sykes described it, there's something "primitive" about the sound of this song, this darker, dance track. This notion of a sound that taps into the primitive nature is especially evident in some of their older work, the raw screaming, thundering, roaring nature of heavy metal. The trap influence on "why you gotta kick me when I'm down?" allows for a bit of a swagger, a retaliatory nature against those who say one thing (that they care for you) and do another (talk down to you), which is fitting with the sort of bravado commonly found in rap but also very much fits with the gritty guitars and heavier influence.

Their last album, That's The Spirit, was a powerhouse in terms of lyrical strength. That album ended up being a very meaningful and relatable album for me a few years ago, so I realize that my view is somewhat skewed. I knew it was going to be a high standard I had for their next release, and that it probably wouldn't reach it. I was correct, but that doesn't mean that there aren't some very meaningful lyrical moments on this album. "medicine" is one of the more intriguing songs lyrically, going into depth about the ways in which people can be toxic and how those relationships are hard to leave -  my favorite line is the opening one:

"Some people are a lot like clouds, you know
'Cause life's so much brighter when they go".

"heavy metal (feat. Rahzel)" is also different in that it directly addresses the band's change in sound and the reactions of certain fans. This is always difficult territory to tread into, as it can be seen as very aggressive or immature, but I feel as though BMTH does a great job of sort of making light of the whole situation. The chorus says it all:

"And I keep picking petals
I'm afraid you don't love me anymore
'Cause a kid on the 'gram in a Black Dahlia tank
Says it ain't heavy metal
(And that's alright, that's alright)".

While speaking with Apple Music, Sykes said that while they are proud and confident in the music they are currently making, they still struggle with that desire to please people. This song is supposed to address that, both seriously and in jest.

Overall, I think this album was an excellent step for the band. They made intentional music that addresses their own lives and where they stand, as well as looking towards the future. It's a really vulnerable piece of art, a bearing of their hearts and minds, and I respect and appreciate that immensely. While I still personally have more attachment and favor for That's The Spirit, I know this is an album that will continue to provide moments of discover and excitement in the music.

Rating: 4/5

Recommended: "nihilist blues (feat. Grimes)", "medicine", "wonderful life (feat. Dani Filth)", & "i don't know what to say"

Numb Without You (Single) - The Maine

On the 8123 Podcast, run by Garrett and Pat of The Maine, they recently spent an episode talking about their new album. At one point, they mentioned that this new album is going to be a very bold one for the band - including ideas and elements outside their normal comfort zone. It made me excited when I heard that, but it's hard to anticipate what that'll look like in terms of an actual sound.

Good thing we didn't have to wait too long.

The Maine released the first single, "Numb Without You", from their forthcoming 7th studio album You Are OK. Luckily my girlfriend and I had the chance to listen to the song together for the first time, driving around in the rain late Tuesday night, which is usually my preferred way for listening to new music. What a pleasure it was to have and share that experience with someone I care for so dearly.

The song is a bold one; there's no doubt about that. Right from the start, the strings are a huge step into new territory for the group - and it's a step in the right direction. Even when the rest of the band comes in, there's a fiery energy to it all, while still having a sense of familiarity. This is The Maine, but perhaps not in the form you've known them these last 10 years. This is a band who is constantly looking forward, moving towards the next big step and what they can continue to accomplish. There has never been any sort of stagnation in this group - listen to their albums over the years, and you will see a band continuing to discover itself and what potential they hold.

I absolutely love this song. In the less than 48 hours it's been out, I've listened to it 20+ times. It's got this darker, grittier tone from the band that I have yet to see, but with such an expansive sound - there's an epic feeling to it, especially the drop in the chorus as the band comes crashing in. The bridge is some pure rock and roll bliss, feeling reminiscent of the band's energy on songs from Pioneer - an album, interestingly enough, where the band really pushed for their own sound and creative control over their music.

I'm very, very excited for You Are OK to arrive March 29th. I'm sure we will get more singles before then, so I know I won't be waiting too long before I get another taste of the new sound from The Maine. Until then, I'll be trying not to think about how I won't be in Phoenix this weekend at the second edition of the 8123 Fest, rocking out with the boys as they begin their new era. Congrats - this is going to be a wild ride.

Rating: 5/5

Anticipated Albums of 2019

I have thought about and talked about this subject before, but never before did it cross my mind to do it as a post on here. So here it goes - this is my list of anticipated albums for 2019, which will be categorized by those that are confirmed/highly likely and those that are rumored/unlikely/my wishlist. I've included the release dates for those that do have them & reasonable ranges for those without.

Confirmed & Highly Likely:

• Bring Me The Horizon - AMO (1/25/19)
• The one that has a set date and will be one of the first albums of the year that I have my eye on, AMO will be something many other fans of the band are paying close attention to as well. Though some were disappointed with their last release, That's The Spirit, but I found it to be one of their strongest and most diverse. It showed a desire to push in new directions, and had some truly raw and vulnerable moments, musically and lyrically. That album meant a lot to me, and I know that if the band continues on that route, then this release will be great. Since we've had some singles already, it seems as though the band will be a bit of a middle ground between the newer experimental elements and the gritty, hardcore sound of some of their older albums. 
• The Maine - Untitled (Spring/Summer 2019)
• Lovely Little Lonely was my favorite album of 2017 and one of my favorite albums ever, so naturally I'm going to include the follow up on this list. The album has been recorded and is in the mixing/post-production phase, so it's highly likely we'll see it drop in the first half of the year. On The 8123 Podcast, band members and hosts Pat Kirch and Garrett Nickelsen have discussed some of the process and their feelings regarding the album. From what they've said, this album will be a bold and exciting endeavor from the group. 
• The 1975 - Notes On A Conditional Form (May 2019)
• Yes, you're reading that correctly. The band's latest release, A Brief Inquiry into Online Relationships, came out not quite two months ago, and the band has been hard at work to put out another, separate album less than six months later. It's hard to speculate what the sound will be like - but knowing the band, it'll be worth listening to. 
• grandson - Untitled (Spring 2019)
• While this release will most likely be another EP in the Modern Tragedy series, it's still a release that should be given as much attention as possible. 2018 was a nonstop, action-packed year for grandson, and his fire is nowhere near being burned out. Given the continuing political climate, the relevancy of his music is only going to grow bigger and more powerfully speak as a voice for those who are dissatisfied with the status quo. 
• Walk The Moon - Untitled (Spring 2019)
• This was a surprise addition to this list - just barely 24 before I sat down to write this, the band dropped a surprise single, "Timebomb". It's surprising that the band would be amping up for a release so soon after their last (November 2017), but given the energy and direction of the new single, I'd say it's an album to be excited about (so hopefully this isn't a one-off single). 
• From Indian Lakes - Untitled (Spring/Summer 2019)
• A band that I have so much love and enthusiasm for, it's been a solid two years since their last release - and with a tour supporting Copeland coming up this spring (and the official confirmation via Twitter), the time seems ripe for a new album from the California group. 

Unconfirmed/RumoredWishlist:

• Mike Shinoda
• While his album just released last summer, I would be very surprised to see no new music from Mike Shinoda. The sprawling 16-track Post Traumatic covered a lot of ground, but I know the man has more in the works. If there isn't a full length album (since he's gonna be touring in Europe in March and most likely elsewhere in the summer), then perhaps at least an EP of fresh material will drop this year.
• Linkin Park
• This one is a delicate matter. It's not necessarily that I want to/expect to see an album this year, or even in the next few years, but I find it hard to imagine a world where the remaining members of Linkin Park don't come together for another album. I'm sure they're all still working through and will be forever healing from the loss they experienced with Chester's passing in 2017, but I think that once the band has had time to process and come together naturally, they will return to the world together. What that will look like or sound like, I won't speculate - it's not my place and it does no good. But I think this will happen
• Blink-182
• It's been about 2 &1/2 years since the return of Blink-182 in their current iteration, and the timing feels just right for a release from the pop-punk veterans. The carrying power of their last release was pretty incredible, and I know the chemistry with the three current members would carry on in their next release. 
• Paramore
• The band's transformation/refocusing with After Laughter showed a maturity and vulnerability that was related to and gobbled up by fans and critics alike. While that seems like a lot to follow up with, I know that the band felt very organic, fresh, and revitalized in their last album. I have no doubt that a follow up will continue that same energy. 

I'm going to revisit this post halfway through the year - see what ideas I had that were correct, which I was off on, and what surprise albums drop between now and then. 

Top Songs of 2018

There have been two reasons for the delay in this post.

One, the holiday season is always super busy for me, and then I went and left my laptop with my parents at Christmas - so I haven’t had as much time or proper resources as I would like.

Two, it’s been difficult to finalize my list and so I’ve been putting it off a bit. There were a lot of great, great songs this year. And picking one to reign supreme has been quite a back and forth process. But, I finally got my act together and decided, so here’s my list (I decided to do from #10 to #1 for the suspense factor).

10. ATM - J. Cole

• This song, on my initial listen, felt too similar to a lot of the current radio fare. The more I listened, however, the more I realized the depth the song contains, lyrically. I’ve enjoyed watching Cole’s star rise over these last few years, and this song is a testament to that.

9. Filthy - Justin Timberlake

• While the album that this single was supposed to build hype for didn’t sit as well with me, this song is still an absolute blast. The funk and the future came together to create one of JT’s best hits in years.

8. Small Worlds - Mac Miller

• It was hard to pick a favorite from this album, but Small Worlds was the track I kept coming back to most often. As my girlfriend pointed out, the end almost ends up being a spoken word piece, with Miller showing his most thoughtful album yet (and unfortunately his last).

7. If I Say - Mumford & Sons

• I knew from my first listen that this song was going to be in my top favorites for the year. The way it builds, slow and gentle at first, but sweeping you away in an experience that’s truly remarkable. A beautiful, wonderful piece.

6. Star Treatment - Arctic Monkeys

• The introduction to the masterpiece that is Tranquility Base Hotel & Casino really sets the mood and tone, so well that I keep coming back to this song more than the rest. It was very much an odd experience the first time round, but I’ve grown to really love and appreciate this song and the album it begins.

5. Levitate - twenty one pilots

• Short but sweet - that's a perfect summary of this song. The brevity is what makes it so great, always leaving me wanting more of the sick instrumental and Tyler Joseph's smooth and slick flow. Not to mention the lyrical depth of this song - lots of layers to unravel. 

4.Running From My Shadow (feat. grandson) - Mike Shinoda

• It was hard to pick which of Shinoda's songs were gonna end up on here; "Nothing Makes Sense Anymore" and "Promises I Can't Keep" were both heavy contenders, but this song consistently rose to the top in my mind. It showcases the incredible talent of Shinoda - the musicality, the lyrics, and the songwriting collaboration with grandson lead to an absolute blast of a song. 

3. Stay Frosty Royal Milk Tea - Fall Out Boy

• One of the few times I've called a song a "banger", I knew early on this was gonna be in my top. The intensity, the catchy-ness captures the spirit of Fall Out Boy and the direction they've gone as a band. This one felt like such a great blend of electronics and a throwback to their pop-punk roots, and one that was easy to play on repeat this year. 

2. Stoned, Alone - Teenage Wrist

• I absolutely love the whole album, but this song really felt like it showed off what Teenage Wrist is about. The gritty meets shoegaze sound was one I wasn’t expected to embrace so well, but this song is full of so much fun and energy, you can't help but bob along and rock out. 

1. Love It If We Made It - The 1975

• The surprise song of the year. My initial couple of listens to this song were not ones of pure enjoyment. This song took its time to grow on me, but boy did it. A song for the times, a song of raw emotions and thought provoking statements. Angsty and cool and sorrowful all at once, this was the song that encapsulated much of 2018. 

Top Albums of 2018

As this year is coming to a close, it's time for one of my favorite posts - my top albums of the year. I always find really entertaining to go through and rank the albums that were released throughout the year, and this year is no exception.

However, I've decided to approach it a bit differently, mostly due to the inspiration I got from all the Spotify posts I saw recently (I use Apple Music, so no year end totals for me). In past years, I've just ordered them based on how I liked them and their impact on me. While I will include those factors, I've decided to do a few different lists based on different factors - primarily play counts and averages. I'll show the lists, and then go into further detail after each one. 

I took all the numbers down on December 7th, and haven't counted plays or releases after that date.

For albums with the most total play counts (play count in parenthesis, for all songs combined):

1. Post Traumatic - Mike Shinoda (589)
2. Mania - Fall Out Boy (478)
3. Tranquility Base Hotel & Casino - Arctic Monkeys (475)
4. Chrome Neon Jesus - Teenage Wrist (464)
5. Nearsighted - Speak Low If You Speak Love (390)
6. Swimming - Mac Miller (362)
7. Trench - Twenty One Pilots (329)
8. Beerbongs & Bentleys - Post Malone (299)
9. A Brief Inquiry Into Online Relationships (ABIIOR) - The 1975 (293)
10. Delta - Mumford & Sons (218)

This, to me, feels like the popularity rankings. It's not based on merit, but instead just the numbers - how many times did I listen to the tracks for each album. The top four were unsurprising; those albums have been vying for best album all year. The biggest surprises were Beerbongs & Bentleys and ABIIOR - the former because it was NOT in my top album contention (unlike the Grammy's, apparently), and the later because of it's late release (only 8 days before I did my counts). Some of the numbers are a bit skewed, however, due to factors such as singles, release dates, and others (specifically for Mania, with it's postponed release date from last year and the length of time some of the singles had been out). 

So I also decided to also figure out the average play count, based on the totals I got above and the number of songs on each release. 

1. Mania - Fall Out Boy 
• (47.8 average, 10 tracks)
2. Tranquility Base Hotel & Casino - Arctic Monkeys 
• (43.2 average, 11 tracks)
3. Chrome Neon Jesus - Teenage Wrist 
• (42.2 average, 11 tracks)
4. To Imagine (EP) - The Neighbourhood 
• (39.6 average, 5 tracks)
5. Post Traumatic - Mike Shinoda 
• (36.8 average, 16 tracks)
6. Nearsighted - Speak Low If You Speak Love 
• (32.5 average, 12 tracks)
7. A Modern Tragedy, Vol. 1 (EP) - grandson 
• (31.2 average, 5 tracks)
8. This Place Is A Movie (EP) - First Ghost 
• (29.8 average, 6 tracks)
9. Swimming - Mac Miller 
• (27.8 average, 13 tracks)
10. Trench - Twenty One Pilots 
• (23.5 average, 14 tracks)

This one felt like it was a little more balanced, because it was less of a popularity based on individual track plays and boosted the albums that I listened to frequently from start to finish. However, it also was more partial to shorter releases, especially EP's that only contain five or six songs (like To Imagine, A Modern Tragedy, and This Place Is A Movie).

I found that going through and figuring out the numbers and averages was actually really fun. It gave me a different perspective on the releases, showing me how I favored some albums more than I originally thought, while reaffirming others as being my favorite and the numbers reflecting that. I decided to finish the post with my original list of how I rank the albums and a few sentences about why. I've also linked each title to it's original review for more in-depth info as well (if I reviewed it).

Top Albums of 2018:

1. Post Traumatic - Mike Shinoda
• I had a feeling this album would top the list, but regardless of my love and admiration for Linkin Park - what a release. Coming from such a loss and creating such a piece of art, Mike Shinoda shows his versatility, his songwriting skills, and, most importantly, his ability to be raw and vulnerable in his walk through life. 
2. Tranquility Base Hotel & Casino - Arctic Monkeys
• If Mike Shinoda hadn't put out such a stellar album, this would have taken the cake. An album that immerses you from beginning to end, that demands to be listened to as a whole, an entire unit - a bold, yet well played move. Definitely an album I will continue to revisit.
3. Chrome Neon Jesus - Teenage Wrist
• Teenage Wrist was band I did not know of before this year, but I've grown to love the gritty nature of the group that combines sound influences from my childhood (emo/mid 00's alternative) and just before my time (90's alternative). Another solid album of guitar-based music, a blaring middle finger to the critics and naysayers who claim that music with guitars is "dead".
4. Swimming - Mac Miller
• An incredible album that's tragically marred by the loss of a blossoming artist. Mac Miller's latest and final release reveals a man who was finally hitting his stride, who was breaking into a place of authentic and vulnerable creativity. The demons were lurking in the album, but the staying power and message was hope - striving towards the light and the dawning despite those dark places.
5. Delta - Mumford & Sons
• A late entry but an easily identifiable masterpiece. Mumford & Sons have broken their own molds in spectacular fashion, and this album sets new standards for the "banjo band". Sweeping epics, quiet crooning, and a sense of honesty and being true to oneself that's really inspiring.
6. A Modern Tragedy, Vol. 1 - grandson 
• A fiery debut from a fiery artist - one that I had the pleasure of seeing in concert this fall. What rage, what energy - this is the political rock of our day and age. Channeling Rage Against The Machine, grandson flies through this five song EP as he covers a span of topics; police brutality, political corruption, depression, and drug abuse and addiction. Not a name to be missed, and one whose star is most definitely on the rise.
7. Trench - Twenty One Pilots 
• With the way that anticipation was building for the follow up to Blurryface, I wasn't sure how Twenty One Pilots was going to approach their latest album. The result was more than I could have hoped for - possibly their darkest album yet, but filled with moments of glittering, gleaming hope - light and darkness ever warring.
8. Mania - Fall Out Boy
• This album was one I was expecting to be on last year's list, but due to some delays, we got the album just after the start of this year - and was it worth the wait. One of the strongest FOB albums to date, showcasing their ability to continually adapt and build their sound in new and intriguing directions. It wasn't the most consistent album, but still a thrill ride from start to finish.
9. Nearsighted - Speak Low If You Speak Love 
• An album that I wasn't expecting to enjoy as much as I did, Nearsighted really highlights the songwriting skills and thoughtful music of Ryan Scott Graham. It's a layered release, full of raw and tender moments throughout - all with easy, sweet melodies to accompany.
10. KOD - J. Cole
• While I didn't listen to this album as consistently as some of the others on this list, I was still very impressed with the latest effort from J. Cole. Covering a variety of topics over some slick beats and fantastic production, Cole opened up about many things while calling out and rejecting stereotypes in rap. 

A Brief Inquiry Into Online Relationships - The 1975

A Brief Inquiry Into Online Relationships is The 1975's boldest album yet. A sprawling, 15 track journey into a strange yet familiar place, ABIIOR covers an incredible amount of ground in just under an hour. The 1975 takes us on a tour of the modern era, the world of the internet and trap music, while incorporating more timeless and classic sounds, like jazz and ballads. You can hear the 80's, the 90's, the 00's, and today's sound all in the boundaries of the album. It's an ambitious and risky move, the entirety of the album. In an interview with Beats 1 on Apple Music, frontman Matt Healy explained that they don't want fans calling them a rock band anymore - they're a pop band, making pop records. While some people might have issues with this, it's a very honest statement from the group, and an accurate one. The indie-britrock band of the first The 1975 album is gone, and the emerging persona is one that has grown exponentially. Change for artists is always important, and while sometimes not well received initially, very necessary for a band to continue thriving in the world of popular music. This album shows the band's ability to embrace this new direction and focus for the band without compromising their integrity or the integrity of the music. That's a feat not easily achieved, and many bands have seen themselves fade from quality music into the blur of mainstream pop music (I'm looking at you, Maroon 5).

It's hard to pinpoint this album, genre-wise. And that's okay. Genre, in mine and other's opinions, is a dying breed. I think the blending and melding of genres is excellent and exciting and the way new musical ideas and boundaries are birthed and explored. Obviously, genres will exist for some time - but band's like The 1975 are doing good work in coloring outside the lines. Some of the music falls within the expected framework for the band. "Give Yourself A Try" and "It's Not Living (If It's Not With You)" feel the strongest of The 1975, the most reminiscent of their previous songs and soundspaces they've explored before. Not to say that they're unimaginative or boring - "Give Yourself A Try" is one of the best songs of the album, with the gritty guitar line, electronic/noisy drums, and Matty's autotuned vocals coming together to create a simultaneously relatable and exciting track.

The deeper you delve into the album, the more you find new ideas and places previously unexplored by the band. "Love It We Made It", the strongest song of the album, is this haunting and chaotic piece that showcases a very raw and intense side of Healy's vocals we haven't seen before, perhaps since their early days. "I Like America & America Likes Me", which started as a tribute/riffing off of "Soundcloud Rap", ends up being a very unexpected foray into trap that still somehow works for the band. "TOOTIMETOOTIMETOOTIME" gives off an ever so slight reggaeton vibe and sees the band at their poppy peak; the lyrical content does give the track much more depth, tackling the subject of cheating in a relationship.

The last four songs of the album feel complete as a section, a whole piece that flows together in a way that I find hard to listen to them separately. "Surrounded by Heads and Bodies" is simply stunning; this beautiful, eerie piece that's so stripped yet holds such a strength and lasting power. The fact that it was written for a women Healy met while he was in rehab makes it all the more bittersweet. "Mine" emerges from the sort of mysticism presented with the last track and slows things down with some really, really jazzy sounds. Yet it still works. "I Couldn't Be More in Love" has a gospel feel, especially on the latter choruses, and "I Always Wanna Die (Sometimes)" is reminiscent of late 90's/early 00's alternative, specifically in the intro with the acoustic guitar and in the chorus with the way the instrumental kicks it up and expands into this wall of noise.

I think the most remarkable thing about all these songs, all these examples, is that despite the number of directions the band goes, they still retain their identity and their sound. That's something that's really admirable. I think that this is the band's best album to date in terms of conceptual and lyrical content - time will tell whether this album can hold it's own against their sophomore release (one of my favorite albums of the last few years), i like it when you sleep for you are so beautiful yet so unaware of it. I don't know if the diversity of sound will create an album I'll continually come back to or just specific songs that I'll enjoy. But the most baffling thing of all is that the band is currently working on and planning to release another album in May of 2019: Notes on a Conditional Form. What that album will hold, we'll have to wait and see. But I am pleased and will be thoroughly enjoying this new work of art from one of the world's most promising acts.

Rating: 4/5

Recommended: "Love It If We Made It", "Surrounded by Heads and Bodies", "Mine", "Give Yourself A Try"

Delta - Mumford & Sons

Mumford & Sons finally did it. They shed the “banjo band” skin.  If their last album, Wilder Mind was their breaking from the stereotypes surrounding them, then their fourth album, Delta, is a declaration of limitless potential. Delta reveals a band unhindered by expectations, willing to try and explore previously untouched areas and sounds. This is a band that has decided to use all the tools in the toolbox, to mix and meld a variety of ideas as they forge towards a new direction. Delta feels like the band is breathing, truly breathing, and revealing their own potential. It’s an honest and vulnerable work from the band, both musically and lyrically. It feels very cohesive, with tracks flowing into each other and referencing cross-tracks.

These also a big sense of exploration in this album. Different genres and elements are introduced that feel quite different and out there for the group. Hip hop, pop, and R&B all find their place throughout tracks in various parts of the instrumental. "Woman" and "Rose of Sharon" both feature hip-hop influenced beats, with the chorus of the latter even having some pop tendencies; the choral vocals, the clap beat, and the synths all showing a modern influence in the organics of the band's usual sound. "Picture You" definitely showcases some pop influence even stronger, yet in a way that still feels very natural for the band. Not only is the album different in terms of genre exploration, but also in variation of sounds. While Wilder Mind was a step in the right direction for the band with the rock focus, Delta shows how big the band can go beyond that. The scope of the album was broader, with more variation, contrast and highs and lows. It creates a more engaging experience than before, drawing the listener along for a wild ride. The track that does this the best, to me, is “The Wild”, a track that starts of soft and slow and beautiful and finally erupts into this huge, epic sound that still retains the beauty from before. The orchestral elements add layers, showcasing the band’s ability to creat and orchestrate beyond their usual instruments and sound space.

There are stories to be heard in these tracks, songs that bleed into and reference each other. Sequences reveal shorter tales in the middle, series of tracks that rise and fall on their own within the larger scope of the album as a whole. My favorite sequence is “Picture You”, “Darkness Visible”, and “If I Say”.  Not only does it sonically ebb and flow, but lyrically and thematically as well. “Picture You” feels like a reminder, a calling out to the Lord in spite of the darkness visible, the darkness ever approaching or looming. “Darkness Visible” brings the storm to life, the eerie sounds blending with the instruments as an excerpt from John Milton’s Paradise Lost is recited - tying in even more to the religious and spiritual aspect of the sequence. It grows into this loud, booming section that’s heavy and intense, bringing to mind a battle - in this case, perhaps for the soul. “If I Say” brings the sequence to a close, starting off stripped and bare after the conflict, yet building back slowly with hope and love. The story conveyed is absolutely captivating; breathtaking music that builds its own world yet tells a story so relatable and timeless - the struggle between hope and despair, light and darkness, good and evil.

Delta is the band’s most ambitious outing to date. It reveals the butterfly bursting from the cocoon, the long gestating form of a band that has a long career ahead of them, full of new surprises along the way. This album is easily one of the best of this year, and I certainly think it’s the best work from this band so far.

Rating: 5/5

Recommended: "The Wild", "Picture You/Darkness Visible/If I Say" (all as a sequence), "Forever"

Honey - EP - Crooked Teeth

When I interviewed Tyson of Crooked Teeth for my review of their rerelease of Pastel, he mentioned the influence that Fall Out Boy has had on the band, in terms of way they approach all aspects of the music biz and taking the risks that they have over the years.

As I was listening to the new EP, Honey, I found myself very much agreeing with that influence and seeing the way that Crooked Teeth is ready to take risks and make bold moves. With just five songs, the band really flexes their songwriting skills and showcases their wide-ranging influences, with elemtnts of hip-hop and pop smoothly mixing in with pop-punk and emo sounds. It's an ambitions venture, not trying to fit a single mold or set of expectations as the band lays it all out on the line. The whole EP only lasts for about 17 minutes, but each listen reveals the variety of sound spaces that the band chose to explore through. At it's heart, the band's pop-punk and rock sound holds true throughout. Each song of the release manages to incorporate an element or two that is not an obvious connection - the hip-hop beats of the title track, "Honey", and "You and Me (Whatever)", the synth/percussion melody line utilized in the intro and choruses of "Broken Bones", and the pop-leaning beat, synths, and echoing/super high vocals of "Absent" all reveal a much wider range of musical inspiration far beyond those of any one genre.

One of the most impressive elements of this release is the songwriting. It's incredibly strong, with all of the hooks for each song being both memorable and creative; tunes that get stuck in your head but still retain substance and intentionality. I think the song that sticks out to me the most is "You and Me (Whatever)" - the vocals and melody feel the strongest of the whole EP, showing pop-sensibility over both the synthetic beats and bass or the gritty guitars and crashing drums. The fact that they hold up so well over both sections, both of completely different directions and vibes, really is a testament to the band's songwriting and Tyson's vocal abilities.

The impressive nature of the songwriting goes far beyond the vocals; the instrumentals are all top notch as well. The flawless melding of the band's usual tools (guitar, bass, drums) with the synthetic and genre-crossing elements makes for an ever-deepening listening experience. Each time through leaves room for new discoveries, new a-ha moments. Not to mention there's just some kickass, jamming places that make your body want to move along. There's this place in "Absent" where the guitars hit these staccato, almost snarl-like notes, in sync with the drums that is just damn cool. The contrast of the verse in "Hate Me" between the muted guitar strums and drums and the full throttle wall of noise for Tyson to growl over. The drop into the first chorus of "Honey" where Tyson falls through a melody that conveys such anguish while Adam and Adam kick things into high gear to provide a ferocious wall of support. I could keep going, but the point is that the band knows what they're doing - these ain't no amateurs.

Lyrically, this release is a gold mine. Such well crafted songs about deep struggles and pain that life has brought and letting those responsible know what they've done. It's a very relationally-based set of songs, but one that feels very relatable and paints vivid pictures of the various situations. The chorus for "Honey is one such example:

"I think I might die
I feel the onset of this heart attack
While my hands are tied behind my back"

as well as part of the chorus of "Absent"

"It always happens, that I'm left hurting
Rather be absent, than feel like a burden
You draw me close, just enough to make me hang around"

The biggest stinger/call out, which I really appreciated the brutal honesty of the last few lines of the bridge for "Broken Bones":

"There's only so much you can buy
When there's just nothing left to hide behind
So smile big cause that's the only thing that's real".

Each song contains a number of lines that I imagine many people will grab onto and hold close to, capturing the different struggles of those with anxiety, depression, and heartbreak.

When I spoke with Tyson back in May,  he said this about the forthcoming EP (Honey): "I think people are going to be pleasantly surprised at the growth there." He got it right on the nose. I think this EP has a little bit of something for everyone. Not only does it have elements that drew fans to the band, but shows the scope of their vision for what the band can accomplish and their willingness to take risk along the way. The payoff was definitely worth it; this is 17 minutes of super solid music that you won't want to miss.

Rating: 5/5

Recommended:  "Honey", "You and Me (Whatever)", "Broken Bones"

Folds in Your Clothes - EP - Laureline

The more I listen to this EP, the more I find myself in wonder.

As a disclaimer to start, I went to college with Ciera (vocals/guitar) and Marian (bass) of LA-based band Laureline, so I'm somewhat biased towards the work that they do.

Now, does that mean that I am going to promote or encourage you to listen to their music just because I know & like them as people? No.

I'm going to tell you to listen to this EP because it's damn good.

The comparison to The 1975 feels too obvious (as well as something I mentioned in my review of their first single "I Love You"). It's an influence, no doubt, but isn't a defining aspect. Sonically, yes, it's similar. But the direction, the vibes? Much, much different. There's a clear intentionality about the music of this EP, a purpose and a passion with each track. It's all very atmospheric, layers of sounds building together to create an experience with each listen, not to mention the lyrics and the stories the band tells with each track.

I love the dual vocals - I have said it time and time again when reviewing other artists that utilize this, and I will always go on about it. It provides so many more opportunities for a band, places and sonic spaces that other groups can't explore. The way in which Laureline chose to have songs where the vocalist work together ("I Love You" & "Nothing") and also songs where each vocalist gets to lead ("Restless" for Ciera" and "Hum" for Chris). Each song reveals the vocalists' own strengths or allows one to shine while the other provides support.

"Restless" starts with this beautiful set of piano lines, echoing into each other as the rest of the song unfolds (which the beat, to me, reminds me of "100 Letters" by Halsey off her latest album).  Ciera's vocals are really the highlight of the release though, floating over the track like a spirit with some real soul. The song has a little bit of fight, especially in the chorus and the last line: "when you say you want it back, you can have it"; clearly a relationship or friendship gone south is the fuel to this fire. I especially enjoy the saxophone solo, adding to the hearty and soulful sound of the track, despite the more modern instrumentation.

To me though, the highlight of the release is "Hum" and "Just Go Slow On Me", the last two songs that meld together to create a nearly eight minute long experience. They're softer, quieter songs; yet build in momentum and emotional weight as they progress.

The strongest, most pulling moment of "Hum" is the bridge, where Chris repeats the line, "Do you wanna love me now?", over and over, rising with the music as the intensity builds. It feels so vulnerable and heart-wrenching, and showcases the band's ability to craft such powerful pieces.

The follow up to that intensity, however, almost ends up overshadowing it. "Just Go Slow On Me" is shorter, but the second stanza of lyrics carries such weight despite it's brevity:

"But I can't
Hear you but you're talking to me
And I'm forgetting how you look already
And I told you please just go slow on me
When you told me that you like loving me
But I can't".

The two songs are certainly interconnected, and almost required together to fully experience the depth to which this band wants to bring the listener; cocooned in soft synths and warm bass tones as the sorrow washes over. That makes it sound a bit more emo than it is - but I promise, it's an experience worth going through.

What a phenomenal start for a group with such potential. Most definitely looking forward to future releases from one of LA's most promising young bands.

Rating: 4/5

Related: The 1975, Lany, Halsey

Simulation Theory - Muse

If I'm being completely honest, I wasn't planning on listening to this album.

I've been listening to Muse for quite some time now; nearly a decade of following their work (and lucking out with seeing them in 2010 - if you get the chance, I absolutely recommend it). I entered into their realm during The Resistance era, exploring back through their discography and anticipating each new release with much enthusiasm.

That is, until their last album, Drones. While I wasn't as active with my blog between 2015-16, that was one of the few albums I did review, and it was not my taste. So I was skeptical of new music from the group when they started releasing singles nearly a year an a half ago. I definitely enjoyed "Dig Down", but found myself feeling less and less optimistic with "Thought Contagion", "The Void", and "Something Human" (the later two of which I listened to maybe twice). It felt, from initial impressions, that the band went from revisiting their edgier rock roots to falling in with the trends.

So, when I was the album released, I didn't even try listening to it. I was feeling fairly uninspired by the singles, and not wanting to invest my time into an album that I didn't think I was going to enjoy. I don't have as much time as I'd like to just listen to music and potentially review it, so I've been more selective and stingy about what I listen to. Which is not always fair to music and the artists, but I can't waste time on music that doesn't catch me and excite me.

Yesterday, however, I was driving to work and the opening track came up on my weekly suggested playlist from Apple Music. So I decided to give it a go and see how it sounded.

I'm quite glad that I did.

While I was right in my initial impression that this album plays more with current trends in music, I was wrong in the depth and musicality of it. Trap high-hats, dubstep wobbles, and pop-star falsettos all make their appearances, but alongside layering of electronic synths, live drums, gritty bass and guitar lines, and a smattering of orchestral instruments. The result is an album that feels like Muse at their peak - intentionality and experimentation coming together in a way that promotes exploration without compromising the band's integrity or character. Simulation Theory feels like the band took all the tools they've been playing with over the last decade and brought it all together - much like Linkin Park did with their Living Things album in 2012.

Some of the songs and moments feel very similar to Muse's past material. "Blockades" feels quite like it could be at home in a set list right between "Starlight" and "Knights of Cydonia", with the synth arpeggios, sweeping vocals, and guitar solo that reminds you of Matt Bellamy's shredding skills. The wobbles of "Dig Down" bring to mind "Madness" and the almost heartwarming, hopeful nature of the song feels like "Undisclosed Desires".  "The Void" could very easily fit in with the "Exogenesis Symphony" of The Resistance, with just a more modern/80's feel.

The band does make some moves in new and previously unexplored directions, however, and these ones pay off big time. "Propaganda" is probably the most obvious track in this case; produced by Timbaland, the song ends up feeling like a mash up between Muse and Justin Timberlake in the best way possible. While "Thought Contagion" felt like it was trying too hard, I think "Propaganda" manages to be this contemporary sounding song without feeling too weird or out of line. Timberland's touch was definitely helpful with this - but also was never a collaboration I would have dreamed of, which makes it all the better.

"Break it to Me" is similar in this sense, but with a much more gritty tone. This was the song that made me know I was going to review this album, that I was going to give it an honest chance. The bass and drum lines come together to give the song swagger, while the vocals give it a sensuality that I never, ever would have expected in a Muse song. It's been a long time since I heard a Muse song that got me excited, that got me dancing in my car. Not to mention the scratching (that I think is done on a guitar??) section in the bridge - I felt like I had been taken back to the Nu-metal days of the early 2000's. I want to write about every single moment of the track, but the bottom line is it's just a sick, cool-ass song.

"Get Up and Fight" is another one that caught my attention, drawing influence from alternative of the late 2000's and early 2010's. The chorus is the best part, shattering the minimalistic, calm verse with a wall of guitars, drums, and some of Bellamy's most earnest and honest sounding vocals in a while. I also discovered that the female vocals featured during the intro and transition from chorus to verse were recorded by To Love - someone I have listened to and appreciate, but an unexpected collaboration nonetheless.

All in all, this album is a job well done. Drawing from popular trends such as trap and 80's sounds, while working with new producers and pushing the boundaries for the band as a whole, has demonstrated that the band is working to create new areas to explore while still retaining their sense of self. Something this album does well that I noticed in the Apple Music description is the general sense of positivity in the songs. The band has delved into some darker and more cynical notions the last few albums, and hearing more hopeful and uplifting ideas from this album helps to make the album something I'm more likely to come back to for more. It's not perfect, but it's definitely a solid, exciting record. I'll gladly admit that I made a wrong assumption about this record, and I will be sure to keep that in mind as I listen to their music and that of others in the future.

Rating: 3.75/5

Recommended: "Break it to Me", "Get Up and Fight", "Pressure", "Blockade"

If I Say (Single) - Mumford & Sons

I wasn't specifically planning on reviewing the new music from Mumford & Sons. After I had heard "Guiding Light", I found myself a bit underwhelmed - lyrically I really enjoyed it, and felt there was a lot to be appreciated - but the instrumental feeling somewhat lackluster. It was very much in line with the progression of sound I could expect from M&S, and didn't feel quite like it took any chances or risks; a little too safe to be memorable.

However, when I listened to the latest single, "If I Say", in a very intentional manner, I found myself i immediately much more drawn in. The song starts off slow and low, with just synths and keyboards providing the background for Marcus Mumford's vocals that match the softness of the instrumental. Despite that quiet nature, it is clear that the song has urgency, that it is working towards somewhere further on; adding elements with each verse, each repeating chorus. Strings and electronic drum elements mix in, as well as a full drum rhythm and the rest of the band members until the song reaches it's peak, building an intensity that's evident in multiple dimensions of the song. The lyrics of the chorus are really what bring the song together; 

"And if I say I love you, well, then I love you".

It's so simple, yet carries so much meaning and power to it. Marcus Mumford continually repeating his love, the words that mean something, that aren't just sounds that make up a phrase but words that barely manage to encapsulate an immensity of feelings that he truly, deeply means. It's something I've grown to appreciate more as I've grown older, and this song captures that life lesson and realization so well. 

The subtleties of this song, the lyrics building upon themselves and the instrumental slowly fleshing itself from a soft, delicate piece into a sweeping, breathtaking avalanche of sounds, are what impressed me and made me be a bit more intrigued about the rest of the upcoming album. The previously more unexplored use of electronic elements, the orchestral sense to the song, working a bit outside the norm of the band's previously tested waters; all of that is growth that I am appreciative of. Mumford & Sons had a sound they captured and perfected by their second album, but it is clear after their last album, Wilder Mind and their forthcoming album, Delta, that the band has more territory to explore.

I wrote most of this review on Saturday, the 27th. Earlier on the evening of the 28th, I found out that one of my closest friends lost his father. I found myself listening to this song after I got off work, turning it up in my car as I was driving along and thinking about my friend, thinking about his loss and how even though I hardly knew his father, I felt such sorrow, such a strong sense of mourning. The song built and I starting singing along with the chorus each time, growing and singing louder, until I was yelling it in my car despite feeling my heart in my throat and my eyes wanting to release these tears. Thinking about what this line might mean to my friend, imagining his father relaying that message to him, imagining our Heavenly Father reminding us of that love He has for us.

I already was really enjoying this song. But these kinds of moments, these kinds of instances of music and reality crashing together to create such beautiful and sorrowful moments; this is why I love music so, so very much. This song will most definitely hold a special place in my heart in the years to come.

I was going to put a rating, as I usually do, but that felt too calculated. Too cold. This is a beautiful song, and I think that you are sincerely missing out if you don't listen to it.

Trench - twenty one pilots

Trench was an album that I've been anticipating for quite some time, long before it was announced this year. Watching twenty one pilot's assent into the limelight has been more surprising for me, just in the uniqueness of their sound and appeal. Perhaps that is the strength and driving force behind it - the versatility of their sound, the fluidity, genre-hopping nature of the duo behind one of the biggest names in alternative music right now. It is because of that ever morphing sound, that constant drive and push towards new ground and sonic territory, that I continue to want more (and clearly many other fans do as well). I was very curious to see the direction of this album - their last album was a knockout, but was also still built outside of the limelight and without huge, looming expectations. Whatever came next, after Blurryface, however, was going to be under such intense scrutiny from the world, and I was interested to see how the band would tackle such a daunting task.

Trench was just the right step for the band. 

It has elements of Blurryface - more so than any of the transitions I've witnessed between albums for the band - yet is also it's own beast. Sound-wise, it's one of the more consistent albums for the band, exploring still while utilizing the tools and tones that the band has become known for. Some of the most interesting songs, instrumentally, are "Morph", "Cut My Lip",  and "Pet Cheetah" ("Jumpsuit" and "Levitate" are as well, but I already reviewed them here and here). 

"Morph" has a bit of a swagger to it, mostly thanks to that bass-line that grooves throughout the song, all with Joseph rapping tongue-twistingly fast over the verses. The chorus is my favorite part, however, with Joseph switching to sing as he alternates between falsetto and lower registers to create this beautiful contrast. The way the melody runs, it captures such a sorrow and loneliness in it that's impossible to not be affected by. 

"Cut My Lip" reminds me a little of "Ride" from the last album, but slowed down and with more intensity. The contrast between the verses and the chorus creates such an impact; these low, brooding moments of the almost stripped down verses with the synth driven chorus. The chorus continues to build with each rendition, bringing the listener to the edge of their seat time after time until the moment of certain breakdown - that is, until the band switches gears and cuts the momentum. It's done so masterfully, it gets me every time. I think the song is about to explode into this crazy, intense moment, but it switches into a more dreamy state, showing the band's awareness of the listener's anticipation and predictability of song patterns and their desire to cut through that to create something new. 

"Pet Cheetah" is probably the weirdest track on the album, switching between these gritty, synth driven rap verses and a more soulful, mournful chorus. It's a drastic enough difference that the different parts could be on completely separate songs, but they're not - the band really makes the song work as a whole unit. The best part is probably the outro, which consists of Joseph and other voiceovers repeating "pet cheetah" over and over in a very ominous manner as the song does a very light/minor breakdown. It's almost silly, but still really engaging and strong writing from the band.

Trench also goes even deeper into the mind of Tyler Joseph, with his transparency and honesty at the forefront of the songs and lyrics. I'll be honest, some of it is still over my head - I've been using Genius to see what the popular interpretations of the lyrics are, but only a few are clear to me. And I'm okay with admitting that, and knowing that the more I listen, the more I'll understand and decipher the lyrics. There's also a bit of a story woven into the album - this concept of Nico and The Niners and all the lore the band has built up leading to the release of the album. I haven't delved into that, but it is definitely heard in certain songs as well as the visuals provided by the connected music videos for "Jumpsuit", "Nico & The Niners", and "Levitate". 

I do know that the parts of the music I have been able to understand deals heavily in mental health and dealing with depression and anxiety. There's also a large amount of faith in these lyrics, something that I wasn't aware of from the band until recently - Joseph is a practicing Christian. There are certain lines that the meaning now becomes much more apparent with that in mind. For example, much of the song "Morph" deals with the notion of the inevitability of death, especially from a faith perspective. The following lines illustrate some of this:

"We're surrounded and we're hounded

There's no above, or under, or around it

For "above" is blind belief and "under" is sword to sleeve

And "around" is scientific miracle, let's pick "above" and see

For if and when we go above, the question still remains

Are we still in love and is it possible we feel the same?"

this part of the verse talks about how death is going to happen; as humans, it is unavoidable and ever present as a thought ("we're surrounded and we're hounded"). Three options are presented; "above", "under", or "around"; going to heaven, going to hell, or attempting to avoid death altogether (respectively). Joseph picks above, but wonders what it'll be like when he arrives - will he still feel, will he still love? I think this refers to the people in his life, whereas the annotator on Genius believes it is whether Joseph and God will still love each other (I don't know if or where it discusses that in the Bible/in theology, so if you do, please let me know). 

The amount that I can unpack from just a part of a verse of one of the songs astounds me - there's such a depth and multi-dimensional aspect to these lyrics, and it's part of what has kept me coming back to this album this past week. 

The song I want to talk about the most, lyrically, has to be "Neon Gravestones". I could tell this song was different just from the sound, the instrumentation and more somber mood inspired. However, the more I listened to and processed the lyrics, the more I knew this song was going to be the standout. "Neon Gravestones" tackles the notion of suicide, especially amongst celebrities, and how the way in which society reacts to these events becomes very dangerous. Early on in the song, Joseph sets the tone:

"We glorify those even more when they...

My opinion, our culture can treat a loss like it's a win

And right before we turn on them

We give 'em the highest of praise

And hang their banner from the ceiling

Communicating, further engraving

An earlier grave is an optional way

No"

By talking about those whom we've lost in a way that highlights all their achievements, it can wrongly lead people, especially those who are emotionally vulnerable and possibly contemplating suicide themselves, to think that suicide can make them seem better to those around them - that their names might be glorified after death because of the tragedy. As Joseph points out later in the song:

"I could use the streams and extra conversations

I could give up, and boost up my reputation

I could go out with a bang

They would know my name

They would host and post a celebration"

Those lines further cement this idea further, the glorification of suicide.

Joseph makes sure to address the people who help enable this in the second half of the second verse:

"My opinion will not be lenient

My opinion, it's real convenient

Our words are loud, but now I'm talking action

We don't get enough love?

Well, they get a fraction

They say, "How could he go if he's got everything?"

"I'll mourn for a kid, but won't cry for a king.""

People can say that it's tragic, that the loss is terrible, but then refuse to adjust their mentality when thinking about the well-being and mental state of those in the spotlight. Just because they have material possessions and are considered to be well off, that's not enough on it's own. As we've seen many times, wealth and success and fame don't solve problems; often times, they make it more difficult to deal with and heal from. 

The idea of trying to write a song like this seems so incredibly impossible. The topic of suicide is difficult on its own, but to try and call out the way we've begun to shift our thoughts about the subject as a culture in a dangerous direction; I can't think of many bands that would be able to approach the subject in a way that honors those we've lost while pleading with and calling out the people and habits that enable more loss and tragedy to occur. I have such an immense respect for the band for taking this subject head on, as it's something I've thought about and talked about with friends, family, and through previous posts through the last year or so. It's absolutely important to talk about this, but also to act on it and work towards preventing more people thinking that suicide can be an answer. This song is by far one of the most important songs I've heard this year, if not the most. 

Not all the songs dwell in such heavy and dark places, however. Songs like "Legend" and "Smithereens" both have a much more lighthearted and positive light to them, especially the later. "Smithereens" is a love song at it's core, as the chorus states:

"For you, I'd go

Step to a dude much bigger than me

For you, I know

I would get messed up, weigh 153

For you

I would get beat to smithereens"

The song was written by Joseph for his wife, and is one of the more authentic and sweetest love songs I've heard in years. It's really important and well placed on the album, providing a respite for the listener and a song that brings a smile to one's face. 

While I think that people will always fawn over Blurryface as it was the album that broke the band into the spotlight, Trench is going to be one that really defines and cements the status of the band as being quality songwriters and incredible musicians. I think this is their best work yet - it feels confident while not being prideful, shows growth and awareness of the duo's fame and position without abusing it. This is masterfully made art; this is how music can transcend being simply notes and words and create an experience, a lasting impression. 

Rating: 5/5

Recommended: "Jumpsuit", "Levitate", "Morph", "Neon Gravestones", "Smithereens"

Ever Changing - EP - The Neighbourhood

This EP marks the end of the last year of music from The Neighbourhood, starting last September with the Hard, followed by To Imagine, and most recently with their self titled album (click on any of the names to read my reviews for each release). When you put the names of the releases together, the titles come together to say "Hard To Imagine The Neighbourhood Ever Changing". In an interview with The Los Angeles Times, the band talked about how they wanted the releases to create a sentence that made a statement & how they staggered their new music over three EPs and a LP to keep momentum going. I have to say, it's been effective - I've been listening to the band a lot over the last year, both their newer and older material. 

With the entire set of music out now, I've been taking time to look at it as a whole unit, a complete piece, instead of each individual release. This latest chapter for the band has definitely seen them flexing their range of sounds and vibes, and what defines them as a group. I think that a lot of casual listeners who mostly know of The Neighbourhood from their breakout single, "Sweater Weather" would find themselves very surprised to come back to this release and see what the band is doing now. This comes back to my post about Mac Miller, and the idea of putting artists in these boxes and being surprised when they don't conform to it. For example; in 2014, the band put out a mixtape, titled #000000 & #FFFFFF (which are the HEX codes for black and white), which featured many rappers and hip-hop sounds - much like Ever Changing. It's a very natural progression, listening to the mixtape and then hearing their latest EP - but if you were outside of that knowledge, it might seem like a weird leap. But it most definitely makes sense for the band, being comfortable territory for them. I definitely have a lot of respect for the band in terms of the scope and vision that went into this series of releases - they decided to try something different

Now, the features on this release are a bit different than the band's last foray into rap. I knew who most of the guest artists were (G-Eazy, YG, Dej Loaf, French Montana), whereas with Ever Changing, I only knew of Ghostface Killah (thanks to Fort Minor). To be honest, I think the features were some of the weaker aspects of the songs - IDK and Nipsey Hussle specifically. Their verses felt flat and unimaginative and both sounded (in their own ways) like Eminem copycats, with IDK being the biggest offender.

On the other hand, Denzel Curry did very well on the first song of the release, "Kill Us All"; the song has a mix of 90's rap vibes and modern alternative, and Curry's West Coast style fits in perfectly. Ghostface brings a similar strength to "Beat Take 1", which is on the opposite spectrum from "Kill Us All", with a slower pace, more chilled-out vibe, that has a hint something more serious. The only song on the release without a feature, "Paradise" is a stand out track - both for the change in tone and the quality. It's a glimpse of the band that most people are used to, which while I understand their desire to push their boundaries, I find myself most drawn to this track out of them all.

This EP, to me, felt like the most scattered of the releases for this era of The Neighbourhood. That's not saying that it's bad - I think that it's a really different move for the band, and I very much respect that. The overall release is definitely enjoyable, even if I'm not a fan of all the individual songs. It's a fitting end for this series from the band - it shows their courage to be themselves as artists and not to worry about the notions and ideas that people have of them. Definitely worth checking out.

Rating: 3/5

Recommended: "Paradise", "Kill Us All (feat. Denzel Curry)", "Beat Take 1(feat. Ghostface Killah)"

A Music Lover's Brief Update

Lately, when I’ve been listening to music or browsing what’s new, I have often ended up listening to older music - either from earlier this year or in the last few years. I’m just finding that a fair amount of the new songs and albums don’t have the same repeatable factor that I’ve been hearing in other songs. That, and lately my mood has not always been reflected by or compatible with the music coming out.

So I’ve been going back to what’s comfortable, what’s familiar. The songs I know that will fulfill that need, the emotional craving inside. I love exploring sounds, finding new artists, but sometimes it doesn’t work for me. I don’t like trying to review or make judgments on music when I’m like that, as I feel it doesn’t give the songs or artists the chance they deserve. Sometimes, I end up feeling guilty if I don’t review something for a long period of time, at least in the last two years or so since I’ve been posting regularly again.

I know I’ve done some reviews for the sake of it, to be consistent and keep up the image of being a good blogger (whatever that means). I also know that part of it lies in my need to feel productive, to feel like I’m doing something and see results and have other people see that as well. The search for validation and results, two things that I’m constantly searching for.

The last month or so, I really haven’t attempted any reviews. Part of it has been due to a busy time, and letting that be an excuse. But a big part was the lack of inspiration and desire to review music, and wanting to share thoughts that I felt were authentic. Not for the sake of putting something out there. Learning to let myself take the time I need for the real world, and not letting guilt or internal pressure push me towards mediocre or subpar.

More reviews will be forthcoming. There’s been some stuff coming out that I’ve got my eye on to write about, but I felt like I needed to put this out as well and be authentic in this process. Thanks as always for reading and indulging my thoughts.

Pre-Conceived Notions - Some Thoughts On Mac Miller

I’ve spent a lot of time this week thinking about Mac Miller.

It’s so interesting how events can have such an unexpected importance. How they can come crashing in before your defenses are up and all of a sudden you're reeling and gasping for air. Your hand shakes and you feel your heart try to catch up to the emotions flooding through you.

I hardly listened to Mac Miller before 2016. I knew of him, but just didn’t check him out. I pride myself with knowing a lot about music, but I am constantly missing out on artists. I have to play catch up sometimes, and end up discovering artists later on into their careers.

I had a very limited impression of Mac Miller – knowledge of maybe two songs – before The Divine Feminine came out. I remember listening and being very surprised. This was not what I was expecting from him, all because I let my perception guide how he was categorized in my head. I put him in a box, and came back and found he had completely dismantled that box and my notions along with it, and spun me on my head.

Something that I’ve found in recent years is how often I let those pre-conceived ideas dictate the ways in which I think about people, especially the artists that I adore and look up to. I had no idea that Mac Miller was only a year older than me. I had no idea that he struggled with drugs and alcohol. I let his success and elevated place in life influence how I thought of him, and that steered me away from thinking that he might not actually be doing alright.

But it’s not just him. It’s a far reaching and deep-rooted problem that hasn’t been addressed enough. I’ve seen it take the lives of people who have influenced my life in many ways. And it continues to be a shock, it continues to make my heart sink, all because I continue to let myself think in specific ways, even when they are clearly wrong.

Clearly a change is necessary. An adjustment; taking a step back and looking at ourselves and the judgments and assumptions we make and questioning their validity. It’s never easy, to make that kind of change. But it has to start somewhere. After these kinds of tragedies, I keep seeing tweets and posts about how we have to “check on each other”. While I appreciate that sentiment, it involves a lot more than saying it online. Actions speak a lot louder than words, and I can’t let my thoughts and words be it. Start anywhere. Reach out, ask your friends how they really are. I know this is exactly what I said above, but I want people to really grasp it and live it. Be conscious about your words and attitudes. Be intentional with your choices. And show love. Show compassion. People are in desperate need of it, in spite of and especially without always deserving it. The tremors that you can cause in other peoples’ paths are both a blessing and a curse. Think beyond today, think into tomorrow and next week and next year. Don’t let your assumptions stop you from asking that one friend if they’re good.

It makes my heart ache, thinking about these people we’ve lost. About the people that loved them, that adored them; the ones they left behind. About the lost potential, the good they could have continued to bring into the world, despite their demons. The way they helped people realized they aren’t alone in their struggles.

Rest in peace, Mac Miller, Malcolm James McCormick. I wish I could have been your friend, so I could have known you better, and could have been privy to the joy and wonder that your friends and colleague have been speaking of this last week. As John Mayer said, “I’m so sad you couldn’t stay, Mac.”