DJ Khaled - Major Key

Have you ever wanted to listen to a meme? DJ Khaled has you covered. His new album, coincidentally titled Major Key is exactly that: one giant meme. So unless you're going into this album wanting that, you won't be happy.

You can tell an album is destined for failure when Future is featured on three tracks. That's three tracks too many. Opinions aside, Future isn't the worst part about this record. He's pretty good on it, honestly - he's finally improving. His bars actually have some emotion in them. The intro is a banger - 'I Got The Keys' features him, and while his chorus is nothing more than saying the title of the song over and over again, his voice sounds more (unnecessarily?) urgent than usual, which is nice and refreshing. Jay-Z features on the track as well - as the instrumental suggests - and brings the song a step further.

Other features are hit or miss. Drake doesn't shine here; his usual subtlety is gone and instead, he delivers a very, very blatant verse about sex in 'For Free' that kills the entire track (though all of the Khaled interjections of "ANOTHER ONE" didn't leave for much to be appreciated). Nicki Minaj is as annoying as typical, but when she come in on 'Do You Mind', it gives the album a fresh voice. The song itself, however, outstays its welcome by being far too long than it needs to be. Meghan Trainor is the other prominent female voice on the album in 'Forgive Me Father', though this doesn't mean much since you can barely understand what she is saying half of the time as she slurs her way through the verse. This song ends DJ Khaled's portion of his own album (you read that right), since a track by Mavado (which is in Spanish?) concludes it. 'Nas Album Done' featuring - you guessed it - Nas continues a repetitive album with another repetitive instrumental (while the verses themselves aren't as dull).

While a lot of the features aren't top notch, there are some good ones. The aforementioned features on the first track with Jay-Z and Future are pretty good. Future shows up on two other tracks - 'Fuck Up The Club', where he's just plain annoying, and 'Ima Be Alright', which is sweet and melodic. 'Holy Key' is a big track, Big Sean going big on his verse, and Kendrick Lamar of course being nothing short of legendary. J. Cole also has a good verse on 'Jermaine's Interlude', but the song itself is fairly boring.

Instrumentally, there's nothing special to find either in many tracks. Some standouts include 'I Got The Keys', 'Holy Key', and 'Don't Ever Play Yourself' - the latter of which isn't as meme-worthy as you'd expect. It can't be praised lyrically (then again, neither can a lot of this record; "She so weird I made her pussy fart" in 'Pick These Hoes Apart' is by far the worst thing I've heard this entire year), but it has some good sounds in it, including the piano.

The self-proclaimed Snapchat king has taken his memes and put it to music. Major Key isn't much to tackle. It almost feels like one big joke. There's little interesting development within in and too few great moments for its execution. Perhaps DJ Khaled needs to have a reality check before his next release.

Favorite Tracks: Holy Key, I Got The Keys, Ima Be Alright

Least Favorite Tracks: Pick These Hoes Apart, Tourist, Fuck Up The Club

Rating: 58 / 100

Korn - 'Rotting In Vain'

Korn has been through both the highs and lows of their career. Fans will remember the golden early era Korn, back when nu-metal was all the hype. Others will remember their experimental phase with contempt, especially their brief excursion with dubstep with The Path Of Totality. Since then, the band has slowly been honing their sound once more, and with another new album on the horizon, things are looking good with the new single 'Rotting In Vain'.

Progression is most easily seen when a band takes the elements that were loved of previous sounds and crafting something new, those ideas in mind while still finding a new direction to take. 'Rotting In Vain' isn't exactly progressive. Nothing necessarily new is found within the track, but it does take previous elements of Korn's music and builds a well-constructed jam.

I'm a sucker for when electronic music comes together with heavy music (thanks, Linkin Park). This is no Hybrid Theory, though; no band does that blend of heavy and electronica better than Linkin Park. The electronics in 'Rotting In Vain' are much more upfront and act as a replacement for, say, another guitar line (not to mention the guitars are drop tuned lower than a typical Linkin Park song). That being said, the melodies the electronics serve really add a lot of dimension to the song. The guitars wouldn't sound quite as immense as they do without them. It may not be the primary part of the song, but they definitely serve an important purpose.

It can't be unsaid that the riffs on this song are massive. The first riff that kicks in right after the intro buildup is immense. You can feel the earth shaking as if at a live show and the crowd jumps as this mental riff kicks in. The instrumental really kicks you in the face. The finally riff before the last chorus that is riddled with a phaser and the deep synth imitating it is perfect, too. The instrumental is a classic, epic alternative metal jam, electronics helping that come a little further. The vocal melodies support this too, though they do feel a little overdramatic. The growled vocals in the bridge could've been replaced by something a lot better, but it's Korn we're talking about here.

Speaking over overdramatic, take a look at that music video. The more I watch it, the more lost I feel. It doesn't seem to contain much meaning - just the band playing in an old, creepy house with a well-dressed man (played by Sons Of Anarchy actor Tommy Flanagan) doing some creepy things. It's one of those videos that piles in a lot of edginess in order to seem like it has meaning, where in reality they stuck Jonathan Davis in a bathtub with leaves and told him "pretend these leaves are hurting you."

Musically, Korn seems to getting back to that hold they had on metal they had in their prime. 'Rotting In Vain' feels fresh and big, still undeniably a Korn song but also feels new. With the new album The Serenity Of Suffering dropping in October, hopefully the album lives up to the hype this song has raised. If it does, we're in for a big one.

Rating: 85 / 100

Harakiri For The Sky - III: Trauma

Most people will see black metal as something satanic or not of this world. This is only partially true of Harakiri From The Sky. They don't dabble with the sounds of Hell; rather, they choose to explore the mind and its emotions instead. III: Trauma is their newest release, and it goes further and bites harder than any of its predecessors.

Going into Trauma, you expect something dark and for something nasty to develop within your throat as it progresses. That's what black metal would typically do to you. But no, Harakiri For The Sky takes a different direction. There's something pure in their music; it's not the heaviness that speaks for it. Rather, the melodies seem to do that for them. III: Trauma is not an album meant to be jammed to (though, that is very much a thing you can do). It's an album that wants your understanding and focus - and trust me, you'll need it.

All expectations are lost straight from the start, replacing them with a morbid curiosity instead. The eleven-minute epic 'Calling The Rain' begins the sweltering album, piano chords and reverberating guitar being this albums entrance. Instead of dropping those elements in favor of a low-tuned chugging, powerchords kick in in order to expand upon the ideas developing from the start. The lead guitar soars above the thriving instrumental as if to search for something before tortured vocals enter the scene, the angered and lost disposition of the voice contrasting the hopeful instrumental. This song itself is a journey; by its end it feels like you've been hit by enough thought to have listened to an entire album already. It goes through cycles, heavy ones full of rage and others begging for hope. The vocals and instrumental are constantly fighting each other in some sort of dark, graceful dance that begs for an answer. It's gentle conclusion finds itself experiencing an aftermath, one final blast taking the song to its end.

After that's over, it's time for the second song. Every track on this record is a lengthy one, the shortest clocking in at eight and a half minutes ('The Traces We Leave'). Often times, bands who take these long roads lose themselves in complex turns and systems that ultimately makes the song lose its light. Everything on this record feels justified in its length, though. Each song is its own story, its own exploration of a concept that delves within your own psyche to bring out a very warming closeness. There are big riffs to give the listener moments to jam - see 'This Life As A Dagger' especially - but this album is much more than that.

This album feels almost like an alternative rock record in terms of its understanding of heaviness and structure. Take 'Funeral Dreams' as an example, though each song exhibits it. It isn't driven by a need for galloping riffs to make itself sound big; each song is cavernous with a clear respect to spaciousness. Every element of the song comes together to create massive atmosphere that builds and builds into one collective body. The riffs don't even feel as down-your-throat due to low tuning. The mixing compliments the high-end more so than the low-end (which also isn't tuned down to the depths of Hell). This album channels melody over thrill, and emotion over just rage. The instrumentals help inspire your mind as to what you should be feeling - 'Thanatos' begins with an ethereal intro that makes you feel like you're drowning, while the epic percussion and powerful feeling of 'Dry The River' gives you hope.

Harakiri From The Sky seems to understand what metal should be about. III: Trauma is not your every day black metal album. It is post-metal at its finest. It explores surreal and deep parts of the human emotions, and seeks to find closure within them through the music. It's a long record but a revealing one. It's an essential for any metal fan, and one that cannot be skipped for any fan of music. It's a brilliant emotional journey that has you think and feel - there's nothing more important that music can do for you.

Favorite Tracks: Calling The Rain, Funeral Dreams, Dry The River

Least Favorite Track: The Traces We Leave

Rating: 88 / 100

Desiigner - 'Tiimmy Turner'

Desiigner didn't exactly come in guns blazing with his debut project New English, released late last month. There was lots of criticism for it - and apparently he didn't want anything less than perfect remarks on it (sorry, man). He's back with his response to the haters, though. 'Tiimmy Turner' is his first new track since the mixtape's release, and it's his best song yet.

My major gripe with New English was that it sounded exactly like Future, an artist who, at this point, I am just completely sick of. His unchanging, monotonous flow and his tendency to rip himself off with every song is getting old. 'Tiimmy' feels different than that. Desiigner finally has an original sound he's starting to wrap himself around with now.

Now, I can't pass it up without saying; yes, the Future sound isn't completely gone. The intro and the second verse especially have Future written all over it. But this track has something that makes it bearable - replayable, even - that Future lacks. This song has a mood. Desiigner sings on this track and the melody is just fantastic. It has the progression of a spiritual chant, and really sets a creepy and brooding mood for the song. The way the bass synth imitates that line is also fantastic. The chorus also has a sense of melody to it that Desiigner didn't explore much with in New English, and it really does work for him. It sounds great - the Future rap style is passable with this because the entire song isn't the same exact sound and flow. There are clear differences and it really gives the track some integrity.

Another part of the track I love is the instrumental. The entire song has a progressive instrumental, beginning dark and plays to the mood of the vocal melody he sets up. The entire intro section is a cappella and sounds you could make with the human body - a bare bones approach to a track that grows over time. Snaps make way to a ghastly choir, backed by synths and a piano. Synths build up over time, punching in and out, making way for different elements. The best part of the instrumental, however, is the ending. Halfway through the final chorus, the instrumental changes completely. It develops a more positive resolution, as if its brining Desiigner into a new light. The song feels like an awakening, the instrumental being the revelation. The synth solo at the end is also a brilliant touch.

'Tiimmy Turner' is without a doubt Desiigner's best song. It isn't obnoxious like 'Panda', it doesn't rip off Future, and it feels original. It sounds fresh and new, something hip-hop hasn't heard in a long time. The way he plays with melody really accentuates the choruses and allows for the classic Future style of the verses to exist as independent flows. If Desiigner follows this direction, he's bound for success. This is his niche. Let's hope he doesn't miss that.

Rating: 87 / 100 

Prophets Of Rage - 'Prophets Of Rage'

There are few things people want more than a Rage Against The Machine revival. What we got is what people didn't know they wanted: a supergroup consisting of members of RATM, Public Enemy, and Cypress Hill. That would be Prophets Of Rage, whose mission is clear: "We're an elite task force of revolutionary musicians determined to confront this mountain of election year bullshit, and confront it head-on with Marshall stacks blazing," as Tom Morello put it. With the turmoil of America's most tense election yet, the Prophets are ready to make their voices loud and clear, and hopefully do the same for their listeners.

There isn't too much too their debut single 'Prophets Of Rage'. The song was released It started with a siren before Tom Morello delivers a blistering punk rock riff he's known for (no weird effects in this one, though!). The song truly is a simple one, the verses hard and featuring a dinky bent guitar reprising itself over a distorted bass line while Chuck D, DJ Lord, and B-Real all deliver enraged verses before going into the call-to-arms chorus that chants, "Clear the way / Clear the way / I'm away from the prophets of rage!"

This recording lives up to its predecessor; the first verse stays true to Public Enemy's own 'Prophets Of Rage' from 1988's It Takes A Nation Of Millions To Hold Us Back. Both tracks, as well as sharing titles, also can claim they share the proud declaration of "The points made / You consider it done / By the prophets of rage!" Prophets Of Rage are taking the hip-hop flair of Public Enemy and adding the groove of Rage Against The Machine - a combination that was built to work from the start.

The Prophets Of Rage have a busy year ahead of them. The turmoil of this election season is nowhere near over, and November 8 likely won't be the end of it. This supergroup is carrying the flag on their backs, and they're not letting it fall any time soon. Make way for the Prophets Of Rage.

Rating: 70 / 100

Periphery - Periphery III: Select Difficulty

Periphery has slowly been becoming the boy band of the djent scene. Rising like a phoenix, Periphery brought the virtual reality of djent and brought it success in the realm of metal, giving it a true messenger. Their fifth record Periphery III: Select Difficulty, however, doesn't pigeonhole them into the small space that djent is commonly labeled with (those clichéd open and first fret notes, as part of the meme). It's one of the band's most diverse records, following the same elements they experimented with in the past, as well as adding new ones in.

My favorite part of this record is that it feels like the natural progression for the band. Their last releases were a double-album, Juggernaut: Alpha and Juggernaut: Omega. The albums' songs needed the context of the story of the concept of the record to really balance them out - I didn't fully enjoy Omega because of this. The songs didn't really work too great outside the context of the album. Alpha was a much more enjoyable listen, however, because while it did also have the context of a conceptualization backing it, the album made great use of melody. The melodies on that album soared and really made the songs feel a lot more powerful. Select Difficulty brought that a step further, which is exactly what I wanted.

Melody is huge on this record. Vocalist Spencer Soleto has some truly defining moments on this record. The note he hits at the end of 'Catch Fire' is one of the most epic moments on the album. The way he belts out certain notes adds a whole other level of energy to the track. His singing style also has a certain swagger to it - it almost feels like the same pop fusions style Issues is known for. The back-half is a lot more melody-centric, and just generally less heavy in the grand scheme of things. The songs all have a softer and more alternative rock/metal sound to them. This only stays true for about every other track after the halfway mark, though. The vocals don't start making a mark on the album until the second track 'Motormouth', but they're not the focus until about 'Flatline' - the first track that feels like melody has importance and is not a backing to the thrashing instrumentals. The latter of the two songs has a massive ending to go with it, too.

Misha Mansoor is essentially the being of Periphery. His guitar work is what brought them into the spotlight, after all. Every track feels like a guitar feat - there's not one that doesn't have guitar anything less than epic. Whether it's the trashing, low-tuned pounding notes of 'Motormouth' or the sweet licks in 'The Way The News Goes...', there's always something going on. The album is full of massive instrumental movements and moments. The epic screams in the bridge of 'Marigold' are backed by a masterful metal instrumental complete with an orchestral intro and complex guitar riffs. There are layers upon layers of guitar goodness in 'Prayer Position', all of which build to an absolutely mindbending ending.

The softer moments on the record cannot be ignored, too. Massive orchestras can be easily missed if you're not careful, and they add a lot of dimension to the music. Closing track 'Lune' is half orchestral, half jamming, with beautiful symphonic pieces found interspersed within the track making it a very climactic closure to the record. 'Marigold' ends on an ambient piece for two minutes that adds a sense of aftermath to the track. The piano outro following 'The Way The News Goes...' is also a great touch.

Sadly, an album given so much acclaim does have some negatives. There are songs on this record that feels unfinished. The chorus instrumentals of 'The Way The News Goes...' are a mess, though the rest of the song leaves little to complain about. 'Habitual Line-Stepper' is another song that has great parts but feels very incohesive. And paired with their boy band position in the metal world, their lyrics sometimes don't support them. There are a lot of very cringey lyrics on the record, but one that immediately stood out that had me check the lyrics to make sure I had heard correctly are in 'Marigold': "Suck on the mother's dead tit" is a true feat of a lyric. And let's not get started on the title of 'The Price Is Wrong'...

Select Difficulty was the natural progression for Periphery. Sometimes band go in a direction that didn't fit what they were ready for, or they moved on too quickly from something they were just beginning to get a grasp of. Periphery is taking their time, and is hitting all the right stops along the way. Select Difficulty isn't a perfect album, but it's definitely up there with some of the band's best works. Lots of big moments make this album the Alpha (my personal favorite record from the band) with more riffs. There's room to grow, but the storm that is Periphery isn't going to be slowing down any time soon.

Favorite Tracks: Marigold, Catch Fire, Lune, Flatline

Least Favorite Tracks: Motormouth, Habitual Line-Stepper

Rating: 78 / 100

Major Lazer - 'Cold Water' (ft. Justin Bieber & MØ)

2016 has lacked the true song of the summer. While we're well into it by now, there's still time. Major Lazer may have finally given us the answer to our problem. The new, highly-anticipated 'Cold Water' featuring Justin Bieber and MØ has finally dropped, and it's the chill track this summer was waiting for.

'Cold Water' is the perfect blend of chill and dance vibing. Bieber's vocal delivery on this track is spot on. From the second the song kicks in, his vocal adds flavor to the confession he sings: "Everybody gets high sometimes, you know / What else can we do when we're feeling low? / So take a deep breath and let it go / You shouldn't be drowning on your own". His melody flows with the sweet guitar licks and synth punches as the background harmonies create the perfect chords.

MØ's contribution may not be as significant as Bieber's, but it's still a great one. Her verse serves as a bridge, the instrumental sweetly building up behind her strong vocals. The final chorus kicks in with Bieber kicking back in for a sweet duet between the two, MØ's voice strongly harmonizing with Bieber's gentle "I'll be your lifeline tonight" lines. The song ends quietly, the arpeggiated guitar chords (the add so much color to the track, might I add) replacing MØ's harmony, a subtle but brilliant way of closing out the song.

Is 'Cold Water' the song of the summer? It has the potential to be. Chill and blue vibes and boasting some of pop's biggest names, it's definitely up there. It'll be getting major airplay soon, and it's bound to be on everyone's playlists. Turn the song on, lay back with someone close to you, and enjoy the fresh air. That's what this song's built for.

Rating: 85 / 100 

Clams Casino - 32 Levels

Producer Clams Casino, known for tackling music with a bunch of big names such as FKA twigs and A$AP Rocky, has released his debut LP 32 Levels. The record features a wide array of artists from several genres, and combines elements of both hip-hop and electronica into one collection of songs.

There's two clear halves to this record. The first half is a very hip-hop centric collection of songs, while the second half takes a poppier route. Clams Casino produces beats and instrumentals for the tracks - and those are always spot on. The problem, however, lies with the features.

The first half of the record is very much hit-or-miss. Instrumentals are never the problem. There are some okay tracks like 'Be Somebody' featuring A$AP Rocky and Lil B, with a great instrumental but lyrics that just feel like one big name drop (with no real point of doing so) and 'All Nite' with Vince Staples which has a strong message but a horrible delivery. Then there's songs that have absolutely nothing interesting going for them - 'Witness' is just plain trash, while the next two tracks are just completely forgettable. The hip-hop half falls into the trap of becoming way too self-obsessed and sits itself on a high horse, perhaps the fault of the features. The lack of variation and climax makes it come and go, as if it never happened.

The poppier half has a more agreeable composure. Lots of strong voices bring a more refreshing palette to the album, a good contrast from the monotonous hip-hop side. Mikky Ekko sounds huge on 'Into The Fire', finally giving the album some feeling of exposition nearly three-fourths of the way into it. The same goes for 'Back To You' with Kelly Zutrau, the only song on the record that has some excitement to it with the build in its second chorus. Kelela features on 'A Breath Away', the song featuring Indian percussion that really adds a nice color to the record. Sadly, the second half has more going against it than it does for it (though, it has more to brag about that the earlier part of the album). Same Dew's track 'Thanks To You' starts promising but gets really repetitive with its slowly punching in-and-out synth instrumental, the slow and glitchy track not going anywhere for its three minute run, making the entire track blur together. 'Ghost In A Kiss' is some odd ASMR fusion with hip-hop, and it just doesn't go down well under any circumstance. The last track lacks any finality to the album, leaving it on a down note, as is the case with much of this record. There's no climax found anywhere in any track. Light choruses and slow verses rule this record, and there's nothing within them to show for.

Clams Casino produced some fantastic instrumentals, but failed to bring those anywhere of worth. This album fails to have a big defining moment and feels like background noise for much of it. A single track on this record has any sense of excitement in it. If you're looking for something to put on the background as to not pay attention to it, this is the one, because nothing will go on during it. Perhaps he should stick to getting his production credits.

Favorite Track: Back To You

Least Favorite Tracks: Blast, Witness, Ghost In A Kiss

Rating: 56 / 100

Bright Light Bright Light - Choreography

The 80s was an... interesting time. Lots of those who lived through it will remember it for its energetic music. Bright Light Bright Light channels that 80s flair in his new record, Choreography. His third LP shows him mastering his synthpop sound, embodying everything people loved from the 80s.

Choreography will get you dancing. It's a very big record in terms of vibes. Right at the start with 'All In The Name' we have big celebration vibes complete with a soulful choir. The album's grooviness doesn't falter at all throughout it's length. Some songs like the massive 'Kiss For Kiss' featuring Jake Shears of Scissor Sisters has a very lovey flow to it, the infectious track feeling modern all the while combining elements of its time period. The song builds over time, elements appearing and going throughout, keeping the song fresh. The chorus has a very distorted synth that almost feels like metal rhythm guitar that builds up so much great tension, making the song sound huge.

If anything, this album feels a little too 80s. It all gets repetitive - the first song itself struggles with feeling overdone. Tracks like 'I Only Want To Please You' with Ana Matronic (also of Scissor Sisters) feels like it came straight from an 80s track, no sense of innovation or anything besides production feels fresh about this track. The album becomes very standard to listen to in the second half - it becomes forgettable. That's where it's fault lies, it doesn't try to be anything interesting for most of its playtime and tries to appeal to a single type of listener. Elton John features on three tracks, but his contributions, shockingly, don't really add anything to the music.

Choreography will give an 80s child a taste of what they grew up listening to, but to an outsider it won't be much of an enjoyable listen. It's a big dancey record and a lot of the tracks do well as standalone songs, but as a consecutive listening experience, just doesn't amount to a thoroughly enjoyable listen. Bright Light Bright Light is on the verge of something, but he's not quite there yet.

Favorite Track: Kiss For Kiss

Least Favorite Track: I Only Want To Please You

Rating: 67 / 100

Katy Perry - 'Rise'

No one does pop like Katy Perry does. Her signature voice and fun sound often gives way to the summer's biggest jams and sweet tracks to accompany the realities of every day life. After nearly two years of general studio silence since her last record PRISM, Katy Perry has returned out of the blue with the massive new single 'Rise', an uplifting anthem that will be part of the soundtrack to your success story.

'Rise' is huge track. It has a very anthemic and call-to-arms vibe to it, its electronics and immense synths building giant walls of noise, the pulsating sound moving like your heartbeat as you race to the finish line. Perry confidently chants, "When the fire's at my feet again / And the vultures all start circling / They're whispering, 'you're out of time' / But still, I rise" in the chorus, painting the picture of being at the end of hope, but fighting back against that. This song screams hope and energy - that final push to keep going.

Sonically, this song feels really pleasing to listen to. The intro features Katy Perry singing reverberates almost defeatedly as a brooding beat kicks into the atmospheric synth. The pre-chorus builds up epically with powerful splashes of percussion bring the song to its massive chorus, the beat pounding as Katy's voice soars above a cavernous instrumental. The song continues in much the same way throughout, without much change. It doesn't really feel like it needs much changing - the song flows incredibly well and doesn't lose pace or conviction as it progresses. The vocalizations towards the end are a great touch, providing for one final epic touch before the song concludes.

'Rise' is a motivational song in the simplest sense. It's about rising up against the rest when everything is against you. That seems to be the recurring theme for the songs chosen to be the song of the Olympics. Katy Perry really channeled that awesome feeling of beating all expectations and coming out on top. This could also mean her next album is just on the horizon, and that'll be a welcome surprise, too.

'Rise' is available for purchase via Apple Music.

Rating: 85 / 100