Imagine Dragons - Smoke + Mirrors

Few bands burst onto the scene like Imagine Dragons did. Back in 2013, "Radioactive” took the world by storm when it seemingly came out of nowhere and became one of the biggest rock songs of the decade. The band followed up 2013′s Night Visions with an album of new ideas yet seemingly familiar: Smoke & Mirrors. Imagine Dragons’ new album is very reminiscent of their first effort, yet still introducing some new ideas that they have yet to explore.

To be completely honest, I wasn’t too confident about the quality album when they released the first single from it - “I Bet My Life”. I was not much of a fan of the soulful ballad (and I’m still not - it’s one of my least favorite tracks on the album). The album kicked off with “Shots,” which in all honestly isn’t too bad. It didn’t raise my hopes for the album, as it was a pretty characteristic Imagine Dragons song in every regard (and, unfortunately, not in the areas in which they shine). When the second song, “Gold”, kicked in, that’s when I tightened my seatbelt. Similar to “Radioactive” in all the right places - it’s huge, it’s catchy, and it’s pretty anthemic. The electrifying falsettos in the choruses are incredible, as well as the swirling guitar solo that wraps up the song. Listening to the title track almost made me skip it. That song’s a train wreck, the in your face pre-chorus that kicks into the very underwhelming chorus completely throws off the intensity “Gold” set up. Thankfully, the next song on the album completely brought my hopes back up. “I’m So Sorry” is my favorite track on the album (I did a guitar cover of it, too, if you’re interested). This track brings some pure rock and roll onto the table, akin to the intensity of Jack White. Perhaps a bit cheesy and maybe even a rip-off, but electrifyingly incredible. The madness that is the outro solo just makes it all the better.

A lot of the album begins to lull at this point. You have some fairly subpar tracks following (including “I Bet My Life” and “Polaroid”) that fail to show much growth in their repertoire. We cannot forget some of better songs on the album, though: “Friction”, “Dream”, “Hopeless Opus”, and “The Fall” all caught my attention in the best way possible. “Friction” in particular grabbed my ear, likely due to my guilty pleasure of some nice tribal drumming. Awesome Middle-Eastern, African-tribal vibe from this song. Heavy as all hell, too. This one’s going to be a monster live (no pun intended).

All in all, Imagine Dragons’ sophomore album isn’t much of an evolution, but rather an extension influenced by experiences. Let’s be honest - there isn’t much evident growth in the songs here. Most of the tracks would probably fit fine on Night Visions (barring the heavier tracks like “I’m So Sorry” and “Friction”). When they do shine on this album, however, they really bring their all. A solid rock album, but nothing groundbreaking.

Favorite Tracks: I’m So Sorry, Friction, Gold, Hopeless Opus

Least Favorite Tracks: Smoke & Mirrors, I Bet My Life, Polaroid

Rating: 7/10

Zs - Xe

There are so many different combinations of sounds and tones, we can scientifically never run out of music. That doesn't stop people from doing crazy shit, though. Zs testifies anything you might call music and create distorted soundscapes full of sporadic jazz saxophones, static and distorted guitars, and some drilling drum beats. The new incarnation of Zs features a powerful trio of masterminds who can literally create music out of the sound very foundations of life and homeostasis.

Xe is all about making music unexpected and untraditional. While some of the longer tracks ('Corps' and 'Xe') don't sustain the climactic energy over an extended period of time (not saying that they don't have their moments), each track has a certain element of "weird" and originality that shines through as each track seamlessly segues into the next. 'Wolf Government' is literally composed of the sounds of cells splitting (meiosis, bitches!) and electrons orbiting nuclei. Science stuff out of the way - they make small things sound huge. 'Corps' exhibits the mastery of Sam Hillmer's jazz stylings on the tenor saxophone, bringing infrequent and panic-y saxophone lines throughout the track. 'Xe', while uneventful as a whole, builds up as over 18-minutes with occasional explosions of energy until one huge climax at the end to conclude a fascinating album. The drum lines are often very captivating and thought-provoking, being very complex in their execution. All in all, the instrumentals of this album shows a clear mastery of the instruments being performed.

Xe is a testament to the weird. Music can exist in all forms, whether or not it makes sense or not. Perhaps that's what makes this album so intriguing - it makes little sense, akin to the experimental and jazzy tones of Talk Talk's Laughing Stock or Bark Psychosis' Hex. Weird is a hard element to master, but Zs has had no problem doing so.

Favorite Tracks: The Future Of Royalty, Corps, Weakling

Least Favorite Tracks: Beginning of 'Xe'

Overall Rating: 9/10

Fall Out Boy - American Beauty / American Psycho

Staying relevant can be a challenge, especially when you're a rock band. Luckily, some bands have amassed such a loyal fan base that achieving the feat that is relevancy in pop culture is a walk in the park. Fall Out Boy is a testament to this. No matter where they decide to go next with their music, there will be supporters, regardless of how they approach a sound. Good thing American Beauty/American Psycho has plenty of promise.

Released almost two years before their previous effort Save Rock and Roll, AB/AP is definitely the most appropriate follow up the band could have mustered up. This album ties all loose ends of Fall Out Boy's career together, polishing up their pop rock/alternative rock sound as well as dwelling in their earliest sounds. It was clear this album would be a game-changer when the band released the first single, 'Centuries,' back late in 2014.

There are few places where AB/AP falls short of excellence. The LP opens up with the anthemic, brassy 'Irresistible' before segueing into the pop punk chants of the title track of the album. This is followed by some of the album's strongest tracks, such as the monster that is 'Centuries' and the teen anthem 'The Kids Aren't Alright.' Next comes to classy, funky vibes of 'Uma Thurman' and the wonderful story that is 'Jet Pack Blues.' 'Novocaine' opens with a distorted synth-esque vocal line reminiscent of Kanye West's 'Black Skinhead' and has an infectious chorus that's hard to forget. 'Fourth Of July' is a recollection of a love story as well as an apology, and 'Favorite Record' keeps the tales of love going. The iconic 'Immortals' from Big Hero 6 is up next - mixed much better, mind you - and brings back the jams Fall Out Boy is known for. The album concludes with the cinematic 'Twin Skeletons (Hotel In NYC)' that recalls an experience - perhaps a recollection of journeys that helped form the tracks that make up this album! This song could not be a more perfect closure for an already amazing album.

Despite telling a wonderful story, this album still does have a few faults to it. The title track, 'American Beauty/American Psycho' feels a tad cliché, and just included for the sake of satisfying those fans who complain about the band not sounding like they used to back in the day (the same people who are the crybabies whining over how Linkin Park isn't Hybrid Theory anymore...), resulting in an awkward blast of energy that doesn't offer much except a reason to title the album as such. The placement of the love songs 'Fourth Of July' and 'Favorite Record' is also a questionable choice - it's fine to have a few songs about the same topic, but making them back-to-back deters the interest. Not to mention 'July' is a far more energetic track (and more heartfelt) than the latter.

Fall Out Boy has never wandered too far from the path, but they confidently march down it making a hefty impact every step of the way. American Beauty/American Psycho is a testament to that notion, proving to be one of Fall Out Boy's strongest releases, detailing their progression as both a band and creators. Another strong release by a great band.

Favorite Tracks: Centuries, Twin Skeletons (Fourth Of July), Uma Thurman, Irresistible

Least Favorite Tracks: American Beauty/American Psycho, Favorite Record

Rating: 8.5/10

Sia - 1,000 Forms Of Fear

In today's average music atmosphere, most music follows a certain formula, especially in pop music. As time progresses, the pop stratosphere becomes ever more saturated with bland progressions and predictable hooks.

Then there's Sia. After having limited success in prior efforts, she decided to give up the limelight and take a backseat to focus on songwriting instead (hey, it's definitely more profitable). After 'Chandelier' got turned down by artists like Rihanna, Sia decided she had to take the lead. And thus, a star was born.

Backstory aside, this album is definitely one of the more untraditional pop albums released in 2014 that received commercial success. Everyone has heard the anthemic and rebellious chorus of 'Chandelier' and the confidence in 'Elastic Heart' by now. The other tracks that have not seen the limelight do not fall short of the excellence that Sia has displayed with her popular tracks, however. Each song has a purpose that creates an almost storyboard-like collection of tracks. 'Big Girls Cry' is a confessional that immediately follows the rebellion of 'Chandelier,' revealing the softer, innocent side of a confident singer. 'Hostage' speaks of a love story, and 'Cellophane' of a time when Sia felt like she could end it all. Going into this album is like beginning a good book, beginning strong and ending one a relatable note.

Lyrically, this album is just short of a masterpiece. It does not fail structurally and instrumentally, either. Haunting synths and brooding melodies keep each track original and captivating. Most strikingly is the closure track of the album, 'Dressed In Black.' Not only is it daring in the regards that a pop song is almost seven minutes long, but the mood behind it is just so enchanting and dark that it begs for your attention.

All in all, this album is one of the best, if not THE best pop album of 2014. Gems such as this rarely find their way to the top, and Sia is a diamond in the rough. If you enjoy the anthem that is 'Chandelier' or the confident ballad of 'Elastic Heart,' definitely check this album out. A story is told that everyone can relate to in some regard.

Favorite Tracks: Chandelier, Hostage, Dressed In Black

Least Favorite Track: Free The Animal

Rating: 9/10

††† - †††

First review of the new year, let's do this shit.

I'm going to start off by saying thank you for reading this, and/or the others I have posted. I want to start doing these more often, so I'm going to be trying out a few new writing strategies. Instead of doing track-by-track reviews (which I do enjoy doing), I think I'll just type up a few paragraphs regarding what I feel about the album. That way, I can make these quicker, and have them feel more inviting to read. Of course, they'll be shorter, but I feel they'll be just as effective. Without further adieu, here's my review of †††'s self-titled release.

This album. This goddamn album, man. What a monster. ††† (pronounced "Crosses") is a Los Angeles band who formed in 2011, consisting of Chino Moreno (Deftones, Team Sleep), Shaun Lopez (Far), and Chuck Doom. What these guys are now is what Nine Inch Nails wish they could be. Combining industrial, electronic, and progressive rock into powerful, sexy, and hammering tracks, these guys are truly musicians.

Instrumentally, this album has a pretty powerful sound. From the haunting synths of "†his Is A †rick" to the stark beauty of "Nine†een Eigh†y Four", ††† have their work cutout from them. There's a lot of splashes of noises hidden within some tracks, sometimes adding to the experience, sometimes providing a snap back to reality as you get lost in the noise. The album is dominated by the synth leads from track to track, which, in their own regards, all have a very unique sound to them whilst keeping the integrity of the sound in mind.

Chino Moreno is known primarily as lyricist for creating many sexually charged, angry songs. This album is no exception. Each song can have two meanings to it, one open to interpretation and one regarding love (or the making of). You can hear in his voice, specifically in tracks like "Nine†een Nine†y Four" and "Bi†ches Brew," the sexuality and angst trapped within Moreno's voice. Not that you could expect anything much different from him, though. With lyrics like, "Very soon we'll be erased /Forget how to count tense we used / Then realize that, oh God / you were not aware that I was in love with you," (Nine†een Nine†y Four) however, it's impossible to complain.

Crosses' eponymous debut has few weak points, if any. Personally, I loved every track until the last three, which I would rate no lower than a 7/10 at the very least. Each song spotlights a different focus, with no consistent pattern to follow, with each proving the musicianship within the trio. No element is left out, while no element is pushed to the point of making a song seem purposed for it.

Overall, I'd say that Crosses' album is definitely one of the greatest albums released in 2014. The band has proven that their experiments with rock and electronica is not in vain, and that they can deliver a truly powerful and haunting sound without the need of over-glorifying any specific aspect.

Favorites: †his Is A †rick, Nine†een Nine†y Four, Bi†ches Brew

Least Favorites: †, Pruien†, Dea†h Bell

Rating: 9/10 

Top 10 Albums Of 2014

Dylan’s Top 10 Albums of 2014

Seems hard to believe such a life changing year is ending, for me, anyway. Friends were made, lives were changed, dreams fulfilled. Who could care less, though? This is about music, not dreams. Well, in reality, the two go hand in hand. Music is made of dreams. 2014 was a great year for music on all fronts. Pop saw new efforts from Katy Perry, Ariel Pink and iamamiwhoami. Rock obtained new titles including Foo Fighters’ Sonic Highways and Slipknot’s .5: The Gray Chapter. Metal saw new releases from Epica and Skyharbor. I can’t name a single genre that didn’t see an exceptional release this year.

Among the hundreds of albums released this year, these are a few that stuck out to me. Keep in mind, it is nothing more than opinion. I couldn’t possibly name EVERY album I enjoyed (I’m too lazy AND I’d probably break multiple character limits), though there were a myriad of such. Without further adieu, here’s number 10:

10) The World Is A Beautiful Place & I Am No Longer Afraid To Die - Between Bodies

It’s hard to even generalize what these guys are all about. Combining a bit of punk, indie and emo rock into their songs, they bring a very notable sound to the table. This album is all about speaking their thoughts. It’s pretty evident that they couldn’t give less of a shit about what they’re doing; they’re doing it because they can. From the haunting recollections of ‘Lioness’ to the enraged chants of ‘Autotonsolarialist,’ this album covers a lot of ground. Upon the resonating drums and pulsating guitars, the vocals feel like just another instrument in this whole. The album feels perfect for both politically angry adults and middle-fingers-to-the-establishment teens, all the while making sure they don’t seem caught up in being overly dramatic. All in all, an incredible release from an exceptional band.

Favorite Tracks: Lioness, Autotonsolarialist

9) Slipknot - .5: The Gray Chapter

Truth be told, I wasn’t a fan of Slipknot until this year. I considered ‘Snuff’ one of the greatest works of art ever produced, and ‘Vermillion Part 2’ trailing in its footsteps, yet I never enjoyed their heavier material. That was, of course, until I heard this record. I remember hearing ‘The Negative One’ upon its release and being a bit uncertain of whether or not I would enjoy this album. It wasn’t until I heard ‘The Devil In I’ that I was sold on hearing this record. Despite not being a fan of Slipknot, I’m huge on Stone Sour, so this was a very inviting sound to me. The album is introduced with the eerie ‘XIX,’ in which Corey Taylor effectively claims that he has had enough. The album has its incredibly intense moments, namely ‘Custer’ and ‘AOV,’ but nevertheless delivers some truly meaningful moments that the band has proved they are capable of, namely in the chorus of ‘The One That Kills The Least’ and ‘If Rain Is What You Want.’ The satire of ‘Killpop’ and the brutality of ‘The Negative One’ keeps the album original every step of the way, as any good album should be. From barely being a fan to head banging along with the jams, this album has proven to me to be one of the best of 2014.

Favorite Tracks: The Devil In I, XIX, The One That Kills The Least

8) IAYD - I Am Your Destruction

Nowadays, it’s risky to venture into certain genres, especially one as presumed as chiptunes. 8-bit music has always been a minority in the overall gist of things in the music community, only shining within retro games such as Castlevania and most games in the early phases of the Mega Man series. The guy has changed the bar. I Am Your Destruction, abbreviated to IAYD, released his eponymous album this year, and made sure it packed a punch. Full of thick beats and huge drops, this album is Mega Man taken to the next level, no pun intended. The album opens up strong with ‘Intro AF’ and the monster that is ‘No Closure’, continues to bring the power with tracks like ‘Too Turnt’ and ‘Get Death,’ concluding it all with the journey that is ‘Dolores.’ In a questionable genre such as chiptunes, this album has proven to be one of the reasons why it should not be ignored.

Favorite Tracks: Dolores, Kurai Heya

7) Pianos Become The Teeth - Keep You

It’s always interesting when a heavier band takes it down a notch. Pianos Become The Teeth have toned down their post-hardcore sound to take up a more approachable, alternative rock sound comparable to a fusion of Incubus and Framing Hanley. While not being too big a fan of their earlier work, I can play this album on repeat for hours upon hours. Something about it is so infectious, I can’t exactly put my finger on it. Perhaps it’s the atmospheric, understated instrumentals that intertwine throughout the album, or the flowing melodies of Kyle Durfey. Alternative Rock being my favorite genre, it’s hard for me not to enjoy an album. It is similarly as hard for me to truly love an album like I do with this one. The album opens up with ‘Ripple Water Shine,’ one of my favorite tracks of the year. ‘April’ continues the minimalistic energy whilst all the while keeping my attention, which can sometimes be proven to be a hard thing (I tend to multitask whilst listening to music). Overall, an incredible release.

Favorite Tracks: Ripple Water Shine, April, The Queen

6) Issues - Issues

The hype surrounding this album upon its release was definitely warranted. Issues took the post-hardcore world by storm, essentially creating a fusion of pop and scream in an elaborate way. The album features hits like ‘Late’ and ‘Stingray Affliction,’ which are definitely some monster tracks. The seamless mix between Oli Sykes-esque screams and Justin Timberlake-esque vocals leave you questioning what you really think about this. After all, it’s almost like Justin Bieber over metal (before you get offended in some way, just listen to ‘Late’ - there’s SOME truth to it). When your jamming to the likes of ‘Personality Cult’ and ‘Sad Ghost,’ however, those thoughts will make little influence on the overall quality. They don’t forget to mix it up, either - ‘Disappear (Remember When)’ features a choir to conclude the album on a high note. The power the band displayed in this album earned them a guest spot on Linkin Park’s Warped Tour performance earlier this year in Ventura, California during ‘Faint’ - you can’t get much better than that!

Favorite Tracks: Personality Cult, Disappear (Remember When), Late

5) You Me At Six - Cavalier Youth

Everybody loves a good anthem. Cavalier Youth is packed with these. You Me At Six is known for their relatable songs, packed with a punch and tons of emotion. This album is no exception. The idea of this album is that you should never let age stop you. Always let that childish desire burn within you and never let it die. A powerful thing to know. With songs like ‘Fresh Start Fever’ and ‘Wild Ones,’ that passion won’t be too hard to achieve. Truth be told, there’s not much left to say about this one. This album brings all the power, motivation and happiness that it does in such an unfathomable yet undeniable way, which is why it deserves the number five spot in this list.

Favorite Tracks: Fresh Start Fever, Wild Ones

4) Elk Road - Waiting For Your Waves To Pass

Understated and sophisticated, Elk Road’s Waiting For Your Waves To Pass is probably the best dubstep album to be released this year. While receiving relatively big attention amongst the Soundcloud and underground-dubstep community earlier this year, this album has only gotten some of the rightful exposure it deserves. Combining elements of jazz, blues, and funk into infectious beats and intense drops in a magical way. After shutting himself out from music for 3 months, he comes back and manufactures all of this from scratch. A truly incredible record, definitely worth a listen if you haven’t already heard it.

Favorite Tracks: Diamond, Pool On My Mind

3) Royal Blood - Royal Blood

Forget Ariana Grande and Iggy Azalea, Royal Blood is THE breakout artist of the year. They took the rock world by storm with their eponymous debut earlier this year, earning them rightfully deserved attention across the globe. The duo brings an interesting treat to the table - bass guitar as lead guitar. Questionable on paper but incredible in execution. Hailing jams like ‘Little Monster’ and ‘Ten Tonne Skeleton,’ this album ROLLS. One of the hugest rock sounds I’ve heard this entire year? ‘Better Strangers.’ In today’s day and age, in an industry dominated by pop, it’s very refreshing to see such a pure and experimental rock album such as Royal Blood reach the levels of fame that it has.

Favorite Tracks: Better Strangers, Ten Tonne Skeleton

2) Foo Fighters - Sonic Highways

Foo Fighters are probably one of the biggest, if not THE biggest rock bands to have ever existed. Well, maybe not as well known as the next, but I digress. They’re huge. This record is a testament to that. Recorded in eight different cities of musical historical importance, Sonic Highways explores the interconnectivity and stories behind certain themes and places. Each song packs its own punch - everything between ‘Something From Nothing’ and ‘I Am A River’ promises to be huge, and delivers in a perfect way. Truly bringing out the best of the Foo Fighters, this album will definitely be one for the records. It’s made a powerful mark in my books, and its sure to leave a lasting memory in yours.

Favorite Tracks: Something From Nothing, In The Clear

Before I get into my favorite album of the entire year, here are some albums that I adored that were released this year but didn’t quite make the cut, in no particular order. Definitely worth checking out.

HONORABLE MENTIONS: 

iamamiwhoami - Blue

Anberlin - Lowborn

Banks - Goddess

Memphis May Fire - Unconditional

Of Mice & Men - Restoring Force

Hanz Zimmer - Interstellar: OST

Against The Current- Infinity EP

Within Temptation - Hydra

Panopticon - Roads To The North

1) Linkin Park - The Hunting Party

Ah, Linkin Park. The biggest rock band the world knows today. Whether or not you like them is out of the question - they are undeniably the biggest band on the planet. Everyone knows them, whether it be for ‘In The End’ or ‘Numb’, or ‘Burn It Down’ or ‘One Step Closer.’ The fact is - they still exist, and they still kick ass. The Hunting Party is a testament to the current ideology that “rock is dead.” If this year has proved anything, it’s that rock is certainly not dead. Rock is bigger and stronger than ever - The Hunting Party, Sonic Highways, Royal Blood and more all prove that. From beginning to end, Linkin Park lays down relentless walls of noise that melt your face off while leaving you with a pleasant aftermath of wanting more. Opening heavily with the distorted screams of ‘Keys To The Kingdom’ to the heavy chorus of ‘All For Nothing’ featuring Page Hamilton from Helmet, this album opens up huge. Heading into the monstrous six minute ‘Guilty All The Same’ featuring hip-hop legend Rakim, the energy does not let up until the short reprieve that is ‘The Summoning,’ which immediately bursts into the punk rock, Bad Religion-influenced ‘War.’ The energy gets you jumping with the powerful verses of ‘Wastelands’ which transitions into the giant ballad that is ‘Until It’s Gone’ (which has one of the best instrumentals the band has ever performed). After that, the band jumps straight in to the heavy demon that is ‘Rebellion’ featuring Daron Malakian from System Of A Down (characeristically the only Linkin Park song in Drop C tuning) and into ‘Mark The Graves,’ which will throw curveballs at you left and right. The last moment to recover from what bombs just went off on you from the massive noises you just heard: ‘Drawbar’ featuring Tom Morello of Rage Against the Machine, a beautiful piano-driven track which transitions into ‘Final Masquerade,’ arguable one of the best songs the band has ever written. The album concludes with the odyssey called ‘A Line In The Sand,’ exploding with riffs and powerful screams.

This album topped off the list because it exhibits the raw, distinct need that music needs today. Too many bands have begun to abandon their rock sounds in order to cater to the more accessible crowds of the pop world. While many of these bands do manage to pull it off, rock is undeniably the most influential genre out there, and Linkin Park will continue to be at its head for years to come.

Favorite Tracks: Final Masquerade, A Line In The Sand, Guilty All The Same, Rebellion

And so, my list has come to an end. Sorry for wasting your time, and I do hope you enjoyed reading my silly opinions. What did you think of 2014 album-wise? Next on my Top 10s list will be my top 10 songs of 2014, which will be followed by my top 10 songs overall. Until next time.

Foo Fighters - Sonic Highways

"Rock is dead," they said. Oh, were they wrong. This year alone has been filled with some huge rock releases, being topped off by none other than the Foo Fighters. Foo's eight album (in case you didn't pick up on the 8's scattered around the cover), Sonic Highways is a strong one, an appropriate follow up to 2011's award winning Wasting Light. Recorded in eight different cities, it holds true to Foo's sound while inhabiting every location at which it was recorded in. Full of huge, arena-filling moments, as well as having the down-to-earth, mellow moments, this album is nothing short of amazing.

1) Something From Nothing - The track begins as a light guitar track, a contrasting gentleness to what becomes a track that would probably punch you in the face if it had a physical form. The track gradually builds up in an epic fashion, beginning quietly and becoming a huge jam only halfway through. What makes this track is Mr. Grohl's huge "ALL RISE!" to conclude the bridge, reasserting himself as one of rock's strongest vocalists. A very powerful track on the album, one of the best on the album. 9/10

2) The Feast and The Famine - Immediately out of the eargasm that is Something, comes this upbeat, relatively standard rock track. While one of the more safer tracks on the record, it provides a huge sound all the same. The drum track does an excellent job of driving this track, understated yet powerful at the same time. Also, it's necessary to yet again point out how great Mr. Grohl's vocals are, specifically during the chorus. The song concludes with a powerful, almost thrash-esque breakdown of sorts, letting out on a strong note. 8/10

3) Congregation - This song is very reminiscent of the Foo Fighter's older sound, among the rest. The lyrics even hint at the classic rock-sounding track, with, "A jukebox generation..." The chorus is complimented with a great, happy riff that just screams "Victory!". The song has an overall upbeat tone to it, speaking to the spirit of the song. The bridge does a great job of showing off both Foo's ability to buildup a track flawlessly and the great guitar work that went into the album. Definitely a great jam, I can see it being a very "American" anthem to be blasted throughout households everywhere on Independence Day (coincidentally, they'll be performing at the 4th of July. Hard to get much more American than that). 8/10

4) What Did I Do?/God as My Witness - The track starts off with a burst of energy, probably as a filler in order to dispel the excitement from the album for a brief moment. This is one of the first moments on the album where the piano is brought to the front of the mixing, allowing for an intimate moment in an album constantly exploding with energy. Complimented by guitar chords, the track builds up to another very Foo Fighter-esque track. Once the "God as My Witness" portion of the song kicks in, it becomes an anthem for the lost. "God is my witness / Yeah, it's going to heal my soul tonight." A lot of emotion is clearly put into this portion of the track, and it pays off as the track doesn't lose any power while it fades out. 8/10

5) Outside - This track begins by introducing what is personally my favorite baseline on the record, very groovy. This song is mixed in favor of the instrumental taking power, but the vocals follow a great melody and have some wonderful meaning behind them. The first guitar solo on the song is an unforgettable moment on the album, the two guitar tracks harmonizing with each other fantastically before subsiding into the groovy baseline again, this time complimented by some bluesy guitar. The guitars yet again build up for a second, epic reprise of the guitar solos. Honestly, one of the most epic moments on the entire album. 9/10

6) In the Clear - One of the most uplifting riffs on the album right here. The big rock sound complimented by the addition of a brass section reminds me of myself, walking down the streets of a big city, about to fulfill my dreams. Gotta let each note inhabit you, man. Dave Grohl reminds you in the chorus that now that he's found success doesn't mean that the struggling is over. There's a constant battle between yourself and society that will never end. In the end, once you've fulfilled your dreams, it's all worth it. 9/10

7) Subterranean - Opening with a string section and acoustic guitar, you can tell this one will be the ballad of the album. The term "subterranean", in the context of the album, refers to digging down deep inside within yourself to find who you really are. The track seamlessly transitions from the sad, reminiscing first verse and chorus to a guitar-heavy track. The ascending baseline in this portion of the song is another great lower-register moment to pay attention to. The song soars throughout, concluding with a synth that transitions wonderfully into the next track. This track seems to lack something that the others do: a powerful vocal line. While they are more centered around the lyrics, there's no real power to them making it one of the weaker tracks on the record. 7/10

8) I Am a River - My personal favorite on the entire record, the song transitions from the synth ending of Subterranean and adding a wonderful delayed guitar into the mix. The formula of adding the drums and more consecutive layers after the first chorus, in this case the pre-chorus, of the track continues to prove effective. One of my favorite moments of this track is, in fact, the pre-chorus, in the sense that it reminds me of My Hero, in that uplifting (and even in a somewhat melodic) sort of way. The chorus could definitely be better, but Dave Grohl crying out, "I! I am a river!" in such a heartfelt way makes up for it. Everything after the first chorus of the track is full of emotion, every note, every beat. The strings coming in at the last part adds to the beauty and power of this track. I wouldn't have chosen a better way to end this incredible album. 10/10

The Foo Fighters are often acclaimed by many as the leaders of today's rock circuit, and for very good reason. With each effort, they continue to grow and expand their huge sound, all the while staying true to their roots. Each album proves that they can create some of the greatest moments in music history, as well as bringing true emotion to the plate. This album is nothing short of incredible.

Overall Rating: 9/10

Thom Yorke - Tomorrow's Modern Boxes

In today's day and age, music is flourishing like it never has before, despite record sales and all the other physical charges being utter crap (thanks, record labels!). Music discovery is booming, with avenues such as Soundcloud and Bandcamp giving new artists the chances they need. However, who ever said you can't teach an old dog a new trick? Recently, major artists have started taking music distribution to the next level, introducing new methods that many artists have not dared try. Most notably, U2 distributing "Songs of Innocence" via iTunes, to which the Internet responded "Who the hell is U3 and why are they on my iTunes?" While they essentially "forced" their music upon every Apple user, they did achieve quite a feat - over 81 million people have experienced the album. Maybe giving music away for free is the REAL way of making some cash? Probably not. But that didn't stop Thom Yorke for going to the next step: releasing an album through piracy. Tomorrow's Modern Boxes, the first album to be released via pay-gate, was released on BitTorrent to millions of listeners. Though, while it may have reached these unimaginable amount of people (aren't there only 6 million people anyway? I call hacks), were these people satisfied? Hell if I know. Here's how I felt:

1) A Brain in a Bottle: This song starts off the album strong. Musically, it's relatively simple:  a soundscape of synths and vocals. Something that this song does very well is layers. Each sound is layered very nicely, making it almost impossible to distinguish different channels, though it all adds up into a fantastic experience sonically. All in all, my favorite on the album. 10/10

2) Guess Again!: This one has a nice funky beat. Grooves for days. Lyrically, this isn't too impressive but the subtle vocal approach makes up for it. The atmospheric background is also great, very haunting. The piano is also creepily awesome (i made pun), love that. Solid track, overall. 8/10

3) Interference: My other favorite on the album, though there's not too much to say about it. The very light vocal approach adds a very innocent tone to the piece. Very atmospheric track. 9/10

4) The Mother Lode: mr. yorke cant speel At this point, I can say things I've already said before: nice soundscape, atmospheric, etc. What's unique about this track (at this point in the album) is that the piano is especially weird in this one. I like. The vocals are equally haunting. There's also a particularly interesting synth line in this one. Weird track overall, though it definitely says what it needs to say. 8/10

5) Truth Ray: Not much to say here - the soundscape has a more "brassy" sound than the previous songs (and most of the following ones, as well), making it a bit more open sounding and entrancing. Abandoned subway/factory vibe. If there was like a robot rave there. Yeah. 7/10

6) There Is No Ice (For My Water): Well that's just too bad, Thom. My least favorite track on the album, a 7 minute track that just drones on. It's charmingly weird but it starts becoming uninteresting after awhile. Its one saving grace is that it has a nice piano outro. 5/10

7) Pink Section: I liked this one because it continued the lovely piano that TINI concluded with. The entrancing piano starts becoming glitchy, with random bursts of sound interspersed in there. Adds an interesting element that keeps your ears intent. 7/10

8) Nose Grows Some: To conclude the three-song medley and the entire album, and it builds off of the glitchyness and noise that Pink Section had created. The song has a nice message: I'll stay with you no matter what, through thick and through thin ("But you're just another drop / It is metal and it's cold / We'll wait upon the rocks, I am waiting on the tide / Through my back doors / If I'm blowing myself away under half fluorescent lights / Two birds on a wire / Your nose just grows / And grows / Did I grow up tall / I will be with you") Yay for Pinnocchio and his allusion to lying. 7/10

This album is centered around its soundscapes over it's lyrical or vocal material, which is very weak as compared to what Yorke can do as displayed by his other projects. more falsetto pls. For the Radiohead fans, consider this a continuation of The King Of Limbs in a more experimental direction. This is electronica level Yorke. In the end, I was pleased with the album as a whole, only partially disliking one of the tracks. My only wish is that his next effort steers away from the soundscape-dependant tracks and opens up to more open-sounding and even rock influenced tracks.

Favorite(s): A Brain in a Bottle, Interference

Least Favorite(s): There Is No Ice (For My Water)

Overall Rating: 8/10