Gemini - Macklemore

After taking 4 years in-between the 2012 breakout album The Heist and his less-commercially successful 2016 follow up This Unruly Mess I've Made (for reference, the former has sold over 1.5 million copies domestically, whereas the later has sold not quite 700k copies), Macklemore is back after only a year and a half with his first solo venture since him and Ryan Lewis teamed up in 2009. It is clear on Gemini that there is a different tone in play here, with Macklemore approaching the content and vibes of the songs in a generally more lighthearted manner as opposed to the previous two releases.

Gemini is a bit of a departure from the more indie-rap vibes that were signature for his last two albums with Lewis. There are a lot more tracks on this release that feel much more similar to the kinds of songs you hear on the radio currently. Songs like "Glorious (feat. Skylar Grey)", "Marmalade (feat Lil Yachty)", "Willy Wonka (feat. Offset)", and "How To Play The Flute (feat. King Draino)" all are very mainstream oriented, with trap and pop influences abounding.

"Glorious" feels the most like a Macklemore song you'd expect, beginning with piano chords and a clap track highlighting the beat that eventually includes a choir providing some layers to this stadium-ready anthem. The addition of Skylar Grey definitely helps the track stand out and provides some contrast to Macklemore's never-slowing flow.

"Marmalade" also begins with a piano line, but goes in a different direction as the booming kick and steady high-hat hits provide a backdrop for Macklemore's autotuned, laid back raps about having a good time. The feature of Lil Yachty fits the tone of the track, (I personally don't like Lil Yachty's music, but he was definitely the right choice for the song). It's almost too cheery for my taste, but that seems like it was the intention with the song (hence the name).

"Willy Wonka" feels like it falls in the same category of ridiculous songs as "Thrift Shop", "Castle" and "Downtown. What does make it different than the other songs I mentioned is the instrumental. Instead of the indie-rap vibe, Macklemore goes full trap, huge bass kicks and a simple synth hook. It takes some getting used to, but this is definitely a song that you'll want to play in the car, very loud and very obnoxiously. You can't help but laugh a bit while listening to the chorus as Macklemore shouts "Bitch I'm Willy Wonka" (which I have absolutely no idea what that's supposed to mean).

"How To Play The Flute" is similar to "Willy Wonka" in both the ridiculous factor and the heavy trap vibe. This one definitely has a more of a sexual vibe (the title itself is an innuendo), although that's ruined a bit by the section where recordings of people sneezing alternate with Macklemore blessing them during the chorus.

Not all the songs are just for the good vibes or laughs, however. Tracks like "Ten Million", "Over It (Donna Missal)", "Church (feat. Dave B & Travis Thompson)", and album finisher "Excavate (feat. Saint Clarie)" all display a sense of depth, lyrically, that set them apart from their counterparts I mentioned above.

"Ten Million" has trap influences as well, but with a darker and harder vibe. This is a form of Macklemore we don't see as often, a cocky, taking-shots-at-other-rappers, boastful artist, where he takes them on in their own comfort zone (trap). Despite being heavy with the trap influences, I really enjoy this track; the trash talking that takes place in rap is part of what draws some people to it, with the exaggerations that are almost addicting.

"Over It" chronicles a toxic, cycling relationship where Macklemore goes back and forth about the relationship and how it continues to damage both parties involved. This song utilizes the instrumental to highlight aspects of the lyrics, making them stronger and giving them a bigger impact. At about the 2:30 mark Macklemore launches into one of his most powerful, moving, and fastest raps of the album that's absolutely captivating, very much thanks to his delivery, but also to the growing and tension-building instrumental (especially the string parts).

"Church" slows things down, bringing out a jazzy instrumental as Macklemore raps about where he's at in his life and the path that brought him to that point. Some of my favorite lines on the album are from this song, such as "I learn more from loss than the gain" or "You see I was given a role, never played my part". Macklemore seems to be reflecting on his own spiritual journey as he's grown older, found success, and had a child of his own. Whether he believes in God or not isn't made entirely clear on this song, but it is clear that he has been wrestling with the ideas of religion and what it means to him and the way his life has played out. It feels very honest and raw, something I enjoy immensely in artists.

"Excavate" is the final song of the album, and Macklemore wraps up his latest release in a powerful way. Saint Claire does an incredible job making a beautiful chorus - easily one of the best parts of the song; the lyrics are as follows:

"Fill my lungs up, pour my heart out, peel my bones away
Crack my window, shed my shadow, excavate my pain
And I found peace
And I found peace
And I found peace"

Macklemore uses this song to examine his purpose and intentions for pursuing the success he's had. He wants there to be meaning left when people strip away all of the fame, the money and success, and he wants to make a lasting impact on this world. It's a worthy issue to wrestle with, and Macklemore does a great job of being honest and laying out his thoughts on the track.

There are a few tracks that fall somewhat in-between these two main categories I've discussed above. "Zara (feat. Abir)" is a feel-good track about a budding relationship, full of cute and flirty moments that fit the bright and light-hearted feelings that are associated with a new fling. It's got a bit of a R&B vibe that fits (especially with the reference to 90's R&B in the song), as the relationship slowly erupts into something deep and meaningful.

"Good Old Days (feat. Kesha)" tackles nostalgia and the importance of enjoying where you are, as things change as time progresses. Macklemore specifically talks about the difference between when he started trying to become successful with music, and how he got to the place that he dreamed about but also still sometimes wishes he could go back to the times before the fame. Kesha's vocals are great on this track (I'm also just happy that she's been able to take back her image and create the persona she wants to be known, sans the auto tune, as her voice is actually very lovely without it).

"Corner Store (feat. Dave B & Travis Thompson)" and "Firebreather (feat. Reignwolf) both have a good times vibe to them, but differ in execution. The former has a mix of old-school and trap as Macklemore raps about being younger and the carefree nature before he was pursuing his dream The later takes a rap-rock approach, with a guitar line leading the song over drums from an actual drumset while Macklemore takes the opportunity to show off and brag a bit.

I personally think that Macklemore is at his best when he digs deep and talks about real, hard situations (especially his past and his struggles with drug addiction). Songs like "Otherside", "Starting Over", and "Kevin (feat. Leon Bridges)" are some of my favorites from him because they are raw and stripped down to the truth of the matter. Not to say that Macklemore's fun vibe is bad - "Thrift Shop" was one of the main reasons I started listening to him and I think he has a lot of quirky tunes that are a different kind of fun than you expect.

Back near the very beginnings of this blog, I wrote a little post (in January of 2013 - WOW) about my thoughts of him overall (see that post here). I went back and reread that, and noticed that the things I just addressed were the things that I talked about with him initially. I love his sense of purpose and pushing for the causes he believes in. That was the main aspect of this album that I felt was lacking, the depth and purpose that was so strong on his previous releases. And maybe this album was necessary for him, and I hope it's very successful because I still greatly enjoy his work and want to support him and see him succeed. My hope, however, is that his ability to highlight issues and causes that he is passionate about comes back even stronger on his next release, whether that's with Ryan Lewis again or not. He does get closer to this place near the end of the album, and that's the parts that I enjoyed the most.

In interviews that he has done regarding this album, he has mentioned that this album was made the way it was for a couple of reasons, two of which struck me. One, he wanted to make music that was the kind that he wants to listen to, and that a lot of the music is happy because he is in a good place. I can very much respect that, and if this music continues to be what he makes because he continues to be happy, then I'll continue to support him in that.

I have to add a note before I finish. After watching some live performances of the new songs, as well as listening to the album multiple times, I find it growing on me more and more. Despite the lack of a more serious tone, it is fun, it is catchy, and it's hard to resist that. Maybe, in spite of the state of the world and the tensions and problems, the timing of this album is perfect. We need something to remind us to have fun, not to take things so seriously, and to enjoy ourselves. The problems are still there, they're still being addressed, but if we let them bog us down constantly, then we lose the enjoyment that can come from life. And I think, perhaps, that was Macklemore's intention with this record. I was originally going to give the album 3/5 rating. But after some more thought, I'm going to bump it to a 3.5/5. I know that might not seem like much, but it's significant in my eyes.

Rating: 3.5/5

Recommended: "Glorious", "Ten Million", "Zara", "Over It", "Willy Wonka".

Melancholia Hymns - Arcane Roots

I discovered this album through a recommended playlist from Apple Music. They put the song "Matter" by Arcane Roots near the end, and I'm glad I was paying attention when I got to that track. I ended up checking out and downloading the entirety of their latest album, Melancholia Hymns. It's a perfect blend of so many genres -metal, indie, alternative, electronic, and pop. They have moments of raw aggression, ethereal bliss, and everything in-between. It never feels like it's reaching too far or mixing too much at the same time. It's a very natural fusion of different elements that creates an incredibly unique sound and experience.

The album opens with "Before Me", which feels a lot like something Sigur Ros would do. The slow build, the subtle addition of various instruments until the song finally erupts with drums crashing, synths blaring, and (what I soon discovered to be a staple) gang vocals all fading out to just a few synths and more subdued, electronic drums.

"Matter", the song that hooked me, comes in next with a very different, more minor feel to it (similar to Anberlin, but a bit heavier and less structured). The harmonies on the vocals in the beginning are captivating, hooking you right before the drums and guitars come in with a very urgent feel to them before exploding into a high velocity, raw section that's absolutely awe-inspiring. It shows off the metal side of the band, shifting into a bit of a breakdown at about the 3:15 minute mark where the band shows off their technical and speed skills as lead singer Andrew Groves screams over the thunderous drums and roaring guitars. The song ends with a very different outro, consisting of synths and an electric drum machine that still captures the aggressive feelings conveyed just moments before in a total different setting.

"Indigo" has more pop sensibilities to it, from the opening vocal lines; it's another sharp turn, but the kind that makes you scream with delight at the thrills you're experiencing of piercing, layered 80's synths and drums that back up the soaring vocals from Groves. Shifting later into a triangle (yes, a triangle part), lead guitar, and echoing toms build with a repeated vocal line of "Just say the word, I'll go, if that's what you're saying" that is eventually joined by more synths and a rhythm guitar that create an incredible moment. The song then shifts again, the driving force being piano and vocals until a distorted synth line gives the outro a soaring sensation.

The transitions are incredibly smooth, shifting from calm and sweeping sounds to more aggressive and defined moments without the slightest of hiccups. An excellent example of this is "Off The Floor", which starts as just vocals and a finger-picked acoustic guitar line for about the first minute. Within an instant, however, the drums kick in and the electric guitar joins the acoustic to alter the vibe of the song without making the listener uncomfortable. It soon becomes a more melodic metal song, with the vocals switching from soft and elongated to almost shouting over the double bass pedal hits and distorted guitar lines.

"Curtains" has a haunting sense to it, Groves feeling very melancholy with his vocals as he takes the main spotlight for the first two minutes with minimal instrumental interruptions. That is, until a distorted synth line takes over and twists the song from haunting to more celestial. The song eventual explodes into a full instrumental, the usual synths and drums joined by a string line that adds to the epic nature of the song. The metal comes out again, with Groves giving guttural screams over gritty guitars and absolutely tight, driving drums. The outro shifts back to electronic, but randomized in such a way that it makes the listener a bit uneasy. It's best to be careful listening to this song as it transitions into "Solemn", which begins with an extremely loud and distorted electric guitar chord that immediately sets the tone for the track. There's limited electronic elements present as the drums and guitars battle it out for the entirety of the song as Groves gives some of his more powerful clean vocals on the album. This song feels like rock through and through, one of the few tracks on the album to lack a series of drastic changes (there's one moment of screaming vocals, but it doesn't feel like a shift so much as an accent).

"Arp" begins with a light, bouncing sort of synth line, bringing to mind some sort of futuristic fantasy landscape. Groves' vocals are much more soft than in the previous track, giving the opening section a much more sensitive vibe to it. However, this shifts as the song opens up into something more inspiring as eventually the metal elements are introduced alongside (and somewhat overtaking) the electronic symphony occurring. At 4:23, it's one of the shorter songs on the album, and so fades into the next track, "Fireflies" after the momentary breakdown. "Fireflies" starts somewhat similarly to "Arp" in terms of the presence of electronic elements, although these are less delicate and more striking in their combinations with Groves more earnest vocals. The song continues in this same vein, not ever erupting into something bigger, but also refusing to die to a whisper. It feels somewhat like a transition track (which is not a diss, by any means), especially with the structure feeling a bit loose.

"Everything (All at Once)" is off with a bang from the start, the drums leading the charge this time and soon joined by a very low and brooding bass guitar line. Your head is bobbing along from start to end, between the incredibly fast and precise drumwork, the bass slapping its way along, the electric guitar shredding mightily and Groves' vocals pleading "Take Me" during the choruses. This song hardly lets up for a moment, the only lull coming right before the heaviest moment of the album that's an insane, thrashing, breakdown that leaves you breathless and wanting much, much more. It's the shortest track, but by far leaves one of the biggest impressions.

"Half The World" ends the album with the huge wall of sound you come to expect from Arcane Roots at this point. It's a culmination of all the elements; the synths, the electric guitars, the drums, and vocals all coming together for an arena ready powerhouse of a song that starts high and goes even higher and higher. There's an immense amount of hope in this song, the outro lyrics:

" Darling, I'm afraid
Be yourself when you're full of doubt
Hold on to the reins
Be yourself, and when it's falling down
Listen to the rain
Be yourself when you're calling out
Darling, we're the same
So keep your hands upon the wheel"

It's hard to listen to that part and not be left with a sense of encouragement, whether things are going smoothly or times are tough.

The fact that it's a three piece band that's making a huge wall of sound is even more remarkable. I wasn't planning on doing a detailed, song by song review, but I just couldn't help it as I listened through the album again. I was disappointed to see that there aren't any tour dates in California (let alone in the US), but I'll just have to be on the lookout for the next chance cause I most definitely plan on seeing these guys whenever they do make it over here. Their sound reminds me (as I mentioned earlier) of Sigur Ros and Anberlin; if those two bands had a musical baby and added some metal tendencies, then Arcane Roots would be the prodigy child.

Rating: 4.5/5

Recommended: "Matter", "Curtains", "Solemn", "Everything (All at Once)"

Related: Anberlin, Sigur Ros

One Foot (Single) - Walk The Moon

Walk The Moon is finally back after nearly 3 years without new music with their brand new single, "One Foot". Riding off the surprise insane success of "Shut Up and Dance", the band follows up 2014's Talking Is Hard with indications that they are fully embracing their pop appeal. "One Foot" is a huge pop anthem, full of 80's vibes and bright poppy synths that are instantaneously catchy and get your feet tapping along. It also features guitars and drums, as the band prominently used in their previous releases as well, but the band has always been good about mixing the synthetic and real instruments. Nicholas Petricca's vocals feel as fantastic as always; his voice has an incredible range, not only in terms of the variety of notes he can reach, but his ability to switch from soft and sweet to these huge moments on the chorus where he's almost shouting with strength and power. There's a specific moment during the second verse (at about the 1:40 mark) where Petricca switches to basically rapping for a couple seconds, which may sound weird in theory but works out perfectly in the moment of the song; he gives it just the intensity it needs for it to come off as genuine and not forced. It feels just as fun as "Shut Up and Dance" felt when it first came out, but the more you listen, the more you begin to realize this song goes a bit deeper than a dance-pop anthem.

Lyrically, the song deals with the notion of moving forward after some sort of hardship. The pre-chorus hints at this:

"Oh, through the wilderness
You and I will walk into the emptiness
Oh, and my heart is a mess
Is it the only defense against the wilderness?"

and leads into the chorus:

"Well, cross my heart and hope to die
Taking this one step at a time
I got your back if you got mine
Oh, one foot in front of the other"

All of this points towards a struggle that has happened/is still happening, but that the best way to move out of "the wilderness" is one step at a time, one small movement forward followed by another. The band gets specific in what the hardship might be with the outro lyrics:

"Oh, in the so-called 'Land of the Free'
One foot in front of the other
Don't you know that all we have is each other?
One foot in front of the other"

Which seems to take a stab at the US and the given political and social tensions regarding race, sexuality, and other subjects that have been hotly debated as of late.

All in all, I think this song is an excellent return for the band. They're embracing their pop appeal without losing the core of who they are, making a radio-ready anthem that has dance vibes but still delivers an encouraging and important message. I'm ready for this one to be all over the radio and the charts, and I can't wait for the rest of the album!

Rating: 4/5

Related: "Million Bucks" by Smallpools, "Molecules" by Atlas Genius, "Something to Believe In" by Young the Giant

All We Know of Heaven, All We Need of Hell - PVRIS

When I started listening to PVRIS a couple of years ago, I immediately became entranced by their dark and gritty sound. The further I delved into their music, however, the more intrigued I became by their lyrical content, which explores some very different subjects than a lot of the other bands out there. They have a very otherworldly sense to their music, speaking of ghosts and paranormal type things but in the context of lovers and loss. It made for a very interesting vibe on their 2014 debut album, White Noise, which I highly recommend checking out if you haven't yet.

But fast forward almost 3 years, and we come to their sophomore album, All We Know of Heaven, All We Need of Hell. I was very, very excited for new music when I heard the announcement, and gobbled up all the singles as they released. Heaven was our first taste of the new album, followed by What's Wrong, "Half", "Winter", and "Anyone Else"(see my review of the first two songs here). 

"Half" begins with a slow building guitar line, joined by a muted drum beat before opening into a full instrumental featuring a whimsical, floating vocal line from Lynn Gunn. This song really highlights Gunn's vocals throughout, letting her show off her softer side during the verses and the bridge, while also letting her build and grow into the roar and power that we first got used to in White Noise. She doesn't quite get gritty, but it's close enough to reveal the darker side that the band can delve into. The synth lines during this track really shine, between the subtle 80's sounding lines during the verses and the distorted electronic tones that come in later on that somehow manage to sound as if they're floating back and forth between high and low. 

"Winter" is a bit on the slower side, but certainly pulls its weight and punch through a lyrical stand taken towards a former lover. With lines like:

"You were just physical touch, not necessarily love

Just something to distract my aching brain for once

I feel too little and I think too much"

and the chorus

"Can you burn a fire in my flesh?

'Cause your love's so cold I see my breath

I can't take another night

Always frozen by your side"

it is clear that this was not a healthy relationship. This song is really intriguing through the instrumental, being much more electronically reliant than a lot of their previous work. The driving element of the song, apart from the vocals, is the prominent synth lines that pulse throughout. It's continuing the 80's vibe I mentioned for "Half", but provide an interesting contrast to the more raw, organic vocals Gunn provides; perhaps an intentional mix, to highlight the idea of the subject of the song and the singer being very different people, if not opposites. 

"Anyone Else" was the last of the singles released before the album dropped, and the one that really, really got my attention. First of all, the first half has an extremely poppy sound to it, much more so than anything PVRIS has done previously, utilizing an electronic drum beat to lay the groundwork for some of Gunn's prettiest vocals on the album, with some absolutely stunning harmonies as well. There's a shift after the first chorus, however, with more of their familiar elements entering the song like guitars and a drum set, as well as a harp line that has shown up in their work as well. During the bridge, there's this point where Gunn asks 

"Oh, my blood

What have you done

What have you done".

As she's singing that, there's this bass synth that rumbles, building until it roars in this dark and almost creepy manner before the song shifts into a bit of a breakdown for a few moments of just Gunn's somewhat distorted vocals over just a drum beat. It builds from her, with Gunn almost screaming "I don't belong to anyone else" until the song ends with a harp outro.The main thing that kept my attention focused on this song, however, were the lyrics. They start off seeming almost sweet, addressed to a lover. However, Gunn manages to shift from writing out of love to writing out of sorrow, utilizing similar lines with subtle changes that completely change the impact the words have. My favorite line from the song, and quite possibly from the album, is

"'Cause I could touch a hundred thousand souls

But none of them would ever feel like home

And no matter how far and wide I roam

You are the only one that I'll ever know"

The first time it comes off as sweet, as a reminder that there will be no one like the one Gunn loves and no one could have the impact that that person has had on her. However, when it becomes clearer that this is not a current love, but a former, those lines become bittersweet. A promise of never being able to quite escape, having your soul forever be attached, in a way big or small, to that of another. It's beautiful and tragic, blending these elements together in a way I couldn't get out of my head. 

With some of the first few singles, I was still excited, but I knew it wasn't quite the same as White Noise and so I became less eager. However, with "Anyone Else", that excitement came back, and I was quite eager for the album to drop. 

"Walk Alone" comes after "What's Wrong" on the album, featuring more of the harp and pop elements like "Anyone Else", although with a bit of a lighter feel. The verses are definitely a bit more reserved, with less layering and a bit more of a stipped feeling. However, the song builds into the chorus, where we get some of the more intricate drumming of the album, as well as these swelling distorted synths and Gunn giving us that gritty side we love. Contrast is a strong element in this track, between the pretty moments and the darker, more intense ones. 

"Same Soul" has a dreamy sense to it in the beginning, the picked guitar line having a bouncing feel before giving way to sampled vocals from Gunn providing the riff of the chorus as she yells 

"I'm just a body that you used to know

I'm just somebody that you used to know".

The bridge is the dreamiest part of the song, with the echoing vocals and the slow-growing organ/synth line. It eventually shifts back into the outro chorus, with three different vocals lines from Gunn providing a cacophony of sounds that makes it a bit difficult to discern which line should take the main focus. It adds to the surreal aspect of the track. 

"No Mercy" opens with a pair of synth lines, but quickly reveals its true colors as Gunn shows off some of the grittiest vocals of the album and the rock side of PVRIS comes out full force. The chorus is fantastic, with Gunn screaming "Show me no mercy" over the crashing of the cymbals and the snare drum snapping as we hear some of the few distorted guitar lines on the album. It reminds me a lot of the energy from "Fire" off their debut album, that dark alt-rock with a healthy mix of electronic moments and low moments to provide sufficient contrast. The lyrical focus seems to be between Gunn and a former love, but not of a bittersweet or contemplative feeling; this one is full of anger and rage. 

"Separate" pulls back a bit, a much more somber mood by far, a low rumbling synth bass giving just the right atmosphere for Gunn's more vulnerable vocals and the driving drums that keep the song from falling too far behind. The shift in instrumentation is also matched by the lyrical shift, with Gunn begging for her lover to stay by her side, instead of leaving like many of the other songs on the record. As a song, it helps to give some contrast to some of the more pop-oriented songs on the album, and comes off even stronger as it follows "No Mercy", which is one of the highest energy tracks they've done.

The album finishes up with "Nola 1", another very different sounding song from the others. Lyrically, it feels a bit more like White Noise, with even a mention of ghosts: 

"Cause its midnight and the ghosts might be coming soon"

as well as the second half of the first verse:

"My body didn't like the way it felt last June

And it haunted me the whole year

Then turned into thinking I was dying

Wouldn't pull through to see 22".

The chorus feels really fitting given the points I've just made, as Gunn sings about 

"You keep on saying that I've changed

I know that I don't seem quite the same"

and considering that there were a lot of changes in sound and subject on this album, it makes sense that the band might be struggling with all the things they've experienced and how to process it all and continue on the path they want to.

Instrumentally, it has some of the coolest and more experimental moments for the band. There's a point right at the beginning where there's just an electronic bass kick and this echoing, clean electric guitar riff that only lasts for a moment, but is so enchanting. It comes back a few times throughout the song, but it's the first time that's the best. The band utilizes a more pop-sounding beat and a compressed guitar line to fuel the verses before the sound opens up more for the choruses as Gunn questions and reassures herself simultaneously. It's not the most explosive or intricate song they've done, but definitely feels appropriate to close the album out, as it encompases a lot of elements that were explored by the band. 

It's evident that there was a lot of shifting for this album. Shifts in sounds, in instrumentation, lyrical content and songwriting approaches. It shows the band wants to continue growing, to explore new areas of music and let their music take on new life. There were some points that I felt weren't quite as strong as others, some songs that didn't quite feel like they worked out exactly like the band might have hopped. But, I think that this album was necessary for the band to continue honing their sound, and allowed them to showcase what else they can do beyond White Noise without letting themselves become pigeonholed into a specific sound. Definitely worth giving some time to listen and unpack.

Rating: 3.5/5

Recommended: "Anyone Else", "No Mercy", "Winter", "Heaven"

Related: Lydia, Halsey, Lights

Science Fiction - Brand New

The long awaited release.

Science Fiction marks the first full-length release from Brand New since 2009's Daisy, and what is supposedly the last release from the band for their career. With that in mind, it feels a little more special, a little more sacred to listen to this album and know it's the last new Brand New music we're going to get. This release sees the band exploring a lot of ground, in terms of sounds and lyrical content, that is not quite what we're used to.

"Lit Me Up" opens the album with a dark, unsettling intro of recordings describing the dream of a patient in therapy. It eventually opens up into an actual song, which is brooding and creeping in the composition and vibe created. The bass line for the chorus is subtle and smooth, yet captivating; quite possibly my favorite aspect of the song.

"Can't Get It Out" feels a bit more like the Brand New of 2006, a mix of acoustic and electric angst that gets you nodding along but also deep in thought. This is something the band has done well in the past, and something they're still able to pull off well. It does feel different than before, given it's been 11 years since The Devil and God Are Raging Inside Me hit the scene. It feels not as full of rage, of pure youthful rage as they try to discover where they belong and who they truly are. The quest for self discovery, for the right words and right sounds that the band has struggled with before is still there, but it's less intense, a hint of resignation creeping into the tone of this and the other songs.

"Waste" and "Could Never Be Heaven" leans away from the rage and more into the sorrowful, thought-provoking territory. The former has a bit of a sweeping sense to it, building up a bit more with the help of the entire band. The combination of the sharp drums with the almost lazy, lethargic-sounding acoustic guitar gives a subtly contrasting instrumental for lyrics that are a contrasting in of themselves, a conversation of sorts between lead singer Jesse Lacey and his past self. It reflects on who he used to be, who he has become, and the imminent end of Brand New that the band has referenced multiple times in the build up to this album. The later takes a quieter approach, simply comprising of finger-picked acoustic guitar and vocals that sing of heaven, love, and what those things mean together for Lacey. It's got some very pretty moments, with the vocals and harmonies, acoustic guitar, and very faint electric guitar all working together to enchant the listener in this dark, fairy tale sound.

"Same Logic/Teeth" begins with these push and pull phrases, going from vocals and guitar to drums and a guitar riff, back and forth, all the while building the sounds up as they begin coming together till the chorus brings some of Lacey's screamiest vocals on the album. Contrast is a very well used tool on this song in particular, with the pre-chorus having an almost dreamy quality to it, whereas the the chorus features Lacey's angst and this picked acoustic guitar line that somehow stands out amongst the distortion. The highlight is the bridge, which grows into this roaring moment where the whole band is going at it with a fury, yet throws it in reverse moments later for the outro that ends the song like it began; vocals and acoustic guitar.

"137" broods in its beginning, simply a guitar line and low vocals. It's a fitting setting for lyrics that discuss the notion of nuclear warfare and the consequences that path holds. The real highlight of the song is the shift at about 3:40 into the song, from acoustic guitar soloing to the gritty electric guitar and crashing drums. It's an incredibly intense moment, giving the song a whole new depth and epic feeling to it, and especially feeding into the lyrical content.

"Out of Mana" continues to revive the angsty tone, especially in the guitar lines, both lead and rhythm. It mixes this interesting lyrical content of subtle fantasy and video game themes with issues in real life, giving reference perhaps to the title of the album, Science Fiction. The most memorable part of the song is the guitar line that pops up throughout the track. The outro of the song is somewhat odd, with random ringing chimes that lead into a simple and short song comprised of acoustic guitar and vocals that's slightly compressed in terms of the sound.

"In The Water" has this slow and somber sense to it, with a hint of southern twang in the guitar parts throughout. It feels very different from a lot of Brand New's material that we've seen previously, with a desperate sense filling the listener up as the song goes on, especially during the vulnerability of the chorus as the band cries out, through voice and through instrument, with lines like "Drowning in the grace".  The harmonica near the end of the song really finalizes the southern vibe of the track. The song also ends with an outro like "Out of Mana", this time with someone saying

"And we sing this morning that wonderful and grand ol' message
And I don't know about you, I never get tired of it"

and then a voice saying "Seven years" exactly seven times over very dissonant sounds. A chilling way to end the song.

"Desert" continues the southern feeling, with a bit of a gospel vibe as well during the chorus.  Lyrically, it is very critical of hypocritical Christians who practice hatred towards those of the LGBT community and towards immigrants. Whether the combination of the southern and gospel tone with the lyrical content was intention of the band or not, it seems pretty purposeful. The ending line of the song really brings together the contradictory nature of the Christians the song addresses; "God is love", really evoking strong imagery with the listener. It's a powerful, not-so-subtle song.

"No Control" has a bit of a '90's, somewhat more acoustic Weezer feel to it. It comes off as a bit carefree, not being quite as heavy as some of the previous tracks in terms of instrumentation of lyrics. The actual song ends a bit before the 3 minute mark and is followed by yet another outro, this one consisting of a heavier, punk-ish instrumental and a distorted recording of someone singing. It's quite creepy, as the person in the recordings begins speaking nonsensically and just laughing insanely.

"451" picks up the pace a bit and brings back the southern feel, this time mostly from the twang in the guitars and the driving beat that brings galloping horses to mind. It builds well, growing from a more subdued intro and verse into an almost thunderous chorus, lead by the drum beat in particular and the southern rock influenced guitar riffs. The bridge showcases some really great simultaneous guitar solos that eventually lead into the key change and the final chorus.

The album ends on the final, eight and a half minute long song, "Batter Up". A simple picked guitar line sets the stage for the vocals, layered with echos and harmonies that give it a surreal quality. It stretches on, the type of song you listen to as you lay in bed and stare at the ceiling, lost deep in thought. Lacey seems to be reflecting on the life of Brand New with this song, especially the chorus:

It's never going to stop
Batter up
Give me your best shot
Batter up
Never gets forgot
Batter up"

which could reference the notion that despite the band dismantling next year, their music will still exist and will still live on without them. It's a bittersweet ending, especially knowing it's the last song, of the last album from the band. The song ends with some very sci-fi sounding noises, almost bringing some sort of alien encounter to mind, which feels a fitting way to end an album named Science Fiction.

Overall, this album is intense. It's not an easy album to listen to, it carries such weight to it. The entirety of the band's career has been squeezed into the album, all the regrets and disappointments and anger and bitter feelings that have been evident within the band's music throughout their time together. It is most definitely a work of art; something that takes time to pick apart and appreciate, and something that isn't going to settle quite right with everyone. It's honest and vulnerable, as music should be, and something that Brand New has done an excellent job of over the years.

Rating: 4/5

Recommended: "Lit Me Up", "Same Logic/Teeth", "137", "451"

Related: Taking Back Sunday, Balance and Composure, Manchester Orchestra

The Peace and the Panic - Neck Deep

I've always thought of Neck Deep, State Champs, and Knuckle Puck as the golden trio of pop-punk, each band showcasing their own take on what is "pop-punk". Neck Deep has been on the heavier, punk spectrum for me, with their first few EP's being very raw and full of angst. However, especially with their latest release, The Peace and the Panic, they're revealing the ways in which the band has grown up over the years since they began, both personally and musically. Since the release of their last album, Life's Not Out to Get You, two of the band members lost their fathers, and this and other factors like the current political climate influenced the direction of the new record.

There's a big variety in terms of the tones expressed throughout the songs of this album. You have heavier, more politically based songs like "Don't Wait" and "Happy Judgement Day", while the band explores a softer, more vulnerable  side that hasn't come out as much in previous records with songs like "In Bloom" and "Wish You Were Here". There are plenty of great pop-punk moments as well too, like opening track "Motion Sickness", where the opening riff brings to mind The Story So Far's earlier days. "The Grand Delusion"and "Parachute" both remind me of Simple Plan, back in their heyday. The former is high energy and fun, while the later is a little more of a love song and has a tenderness to it while still being full of distorted guitars and driving drums.

One of the things that stuck out to me throughout this album is the obvious growth in Ben Barlow's vocals. In some of their first releases, his voice felt more strained, showing more influences from the hardcore/punk scenes than from pop sources. The shift towards a focus on melody and clarity really shows, with Barlow's vocals being a real highlight on every song. "Parachute" and "In Bloom" are two of the best songs for his voice, really showing off the lows and highs of his range and allowing him to express vulnerability in a softer way than the raging vocals of past.

Lyrically, the album straddles the line between honesty and obviousness. For other genres or bands, that approach wouldn't work as well; however, pop-punk has never been a place where complexity and subtleness have really thrived. "Don't Wait" really feeds off political angst and frustration, with lines like

"The government is lying,
I'm not going to be a Pharisee of this society,
turn off your TV station,
that's not real information"

and the opening line of the chorus

"Don't wait for anyone
Say it for you
Say it for yourself".

The inclusion of Sam Carter, vocalist for Architects, really adds to the raging aspect of the song, the apprehensive feeling that the future is unsure and the present is unstable. "Happy Judgement Day" also plays on the feelings of helplessness that are prevalent, with the first verse feeling very, very accurate, playing on the common phrase "Oh what a time to be alive", but not in a positive manner:

"Oh what a time to be alive
Wake up and smell the dynamite
And keep your eyes locked tight to that screen
And don't believe everything that you see
You will find modern life's a catastrophe".

Other songs touch on the loss the band has experienced, with songs like "Wish You Were Here" and "19 Seventy Sumthin'". The former deals with it in a more broad sense, encompassing the loss of fathers and friends that is easily relatable to, while the later goes into the story of how Barlows' parents met and fell in love. "Wish You Were Here" goes with the acoustic approach, while "19 Seventy Sumthin'" has a more laid-back vibe up until the end, where the tone shifts as Barlow sings about his father passing and the band comes in full force to create a really moving moment. One of the lines that really stuck out to me was in that emotional moment near the end:

"And though he's gone, I know he's gone
He lives on in all of us
And I will hold you when you cry
'Cause that's what he would have done"

It reveals a lot of the personal experience Barlow had with his father's passing, and allows the listener to grieve with him through the climax of the song.

There's also plenty of songs about relationships and girls throughout the album. "Heavy Lies", "Critical Mistakes", "In Bloom", and "Parachute" all deal with these subjects in different ways. "Parachute" shows the struggle to deal with the struggles of life while maintaining a relationship and being there for the other person. "Critical Mistake" goes through the process of someone trying to move past a mistake, with their partner having difficulty forgiving them. "Heavy Lies" has Barlow begging for the subject of the song to be honest and real with him, not to hide behind lies as many people have done in his life before. "In Bloom" reveals a person who wants to get better, but can't partially due to the efforts of someone constantly trying to fix a relationship.

The shift from the punk to the pop side of the spectrum is not truly surprising; considering it's the third release from the band, it makes sense for them to have become a bit more influenced by poppier sounds as they continue to move further into the spotlight. This is not to say, however, that they have sold out in any way, shape, or form. The band retains the same spirit they've displayed through their music, both recorded and live, while giving it a new spin. Definitely an album you won't want to miss this year.

Rating: 3.5/5

Recommended: Parachute, In Bloom, Judgement Day

Related: State Champs, Neck Deep, Real Friends

Punk Goes Pop, Vol. 7

Over 4 & 1/2 years ago, I was talking about my thoughts on Punk Goes Pop Vol 5 with my girlfriend at the time. I kept going on about the different songs and she mentioned that I should start a blog with these ideas. Fast forward to now, and I am 158 reviews and posts in, in part to due to the Punk Goes Pop series. So, even though I've moved a bit away from this scene and a lot of the bands that used to be present on the previous entries, I thought it would be fitting to take some time to review the latest volume.

There's definitely some hits on this album, starting with the opening track, "Stitches" by State Champs. Taking the original and giving it just the right amount of angst and punk flair, State Champs continues to show that they can take something that isn't theirs and make it their own. Their version of "Stitches" feels so natural for them; if I didn't know the original song and heard the cover, I would've assumed it was their own song and not a cover. They have become a very solid band in the pop-punk scene, one that I have really enjoyed watching grow and tighten up their sound over the years. 

"That's What I Like", originally by Bruno Mars but this time performed by Dance Gavin Dance, is another great song that the band was able to retain the original essence of the song while still giving it their own flair. The song still has the swagger of the original, with a balance of clean and screaming vocals that doesn't cause you to grind your teeth. There's some great guitar work on the song as well, with the lead guitarist really showing off his chops. This type of cover reminds me of why I really enjoyed the PGP series in the beginning; it combines a heavier band with a poppier radio hit and the result is both hilarious and enjoyable. 

One of my favorites (possibly my favorite of the album) is "Gangsta" by New Years Day, originally by Kehlani. This is an example of why I do really enjoy this series of releases, despite the inconsistent nature of the material. The band took a song that you wouldn't have thought to hear them perform, and they completely owned it and took it to a new level. The dark nature the band brings really fits the vibe of the song, and replacing the hip hop beats and Kelahni's sensual nature with roaring guitars and Ashley Costello's haunting vocals really emphasize the twisted nature of the song, in a way that the original just couldn't. 

"Let It Go" by The Plot In You is a rare example of a band not straying far from the sound of the original but still managing to create a captivating performance. The vulnerable, stripped down nature of this song ended up really working for the band, despite my initial feelings that they should have tried to push the sound and build into a huge climatic ending. The lead singer, Landon Tewers, is the real star of the song, showing off his range and vocal sensibility as he switches from soft and gentle to a strain that's almost heartbreaking in it's emotional depth. 

"When We Were Young" by Andy Black & Juliet Simms was one that I initially skipped, partially because I had heard the original and didn't have too much interest in a cover. However, I'm glad I ended up listening, because this one is an easy contender for the best song on the album. The vocal performances from both singers are impressive, to say the least. Andy Black has the makings of a great solo career ahead of him with a voice like that; almost country sounding, but full and powerful. Juliet Simms has a couple of moments where she soars so high that you find yourself distracted from whatever it is you were doing because it's just an enthralling voice. It's not a super "punk" song overall, but that's something that's been present in PGP throughout all their volumes.

"In The Name of Love" as performed by Too Close To Touch is the last song, and crept its way into the hits section of this review. I initially didn't give it much thought (not knowing the band or the song they were covering), but I listened to the original and then came back. And boy, that made quite the difference. Keaton Pierce's soaring vocals, that switch from having almost a pretty quality to having a hint of a scream, combined with the very well layered instrumental give the song a definite epic sense. PGP did not want this volume to go out without a bang, and Too Close To Touch certainly provides that.

Despite a number of hits, there were some misses on the album as well. Seaway's rendition of "Closer" wasn't necessarily bad, but the band turns the dials back a bit too much to the point where the song feels almost like it should be a slow song for a high school dance instead of an overplayed radio hit. It just didn't quite click for me. The same could be said of "Love Yourself" by Grayscale and "Can't Feel My Face" by The Amity Affliction. Both songs aren't bad, but they're also not the best. "Love Yourself" has this weird tempo thing at the very beginning, where the vocals and guitar are off just enough at points for it to be too distracting. "Can't Feel My Face" really turned me off with the abrupt jump from clean vocals and synths to the addition of screams; I actually skipped the song the first time I heard it because it killed the momentum the song had, for me. The chorus is probably the best part of the song, and comes out pretty well, but there's a dark aspect of the original song that the band didn't quite tap into, and it comes off as wasted potential. "I Don't Wanna Live Forever" by Ice Nine Kills starts off really well, with a well done intro and beginning verse, but the screaming that comes in for the pre-chorus derailed the sensitive emotional vibe they had begun with. 

Some of the songs were in-between great and bad; Capsize takes Drake's "Fake Love" and makes it brooding and angsty, with the chorus being the high and the verses being just okay. Boston Manor gives Twenty One Pilots' "Heathens" a bit of a grittier twist, but with a little less of the swagger that TOP brought to the original. Eat Your Heart Out gives a nice rock makeover to Ed Sheeran's "Shape Of You", although it feels a bit like the lyrics come out more hollow in this rendition.

Overall, this release grew on me a lot more than I expected. Despite not knowing a lot of the bands or being as current on the scene, the latest addition of Punk Goes Pop shows no signs of slowing down or becoming stale.

Rating: 6/10

Recommended: "Stitches", "In The Name Of Love", "Gangsta".