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"