Myrkur - Mausoleum

Acoustic reimaginations of black metal tracks most of the time probably won't go well. There are, however, exceptions to that. The black-metal female-fronted project of Myrkur is an example of that. Mausoleum is by far a better album than the heavy version of these songs were on her debut LP, and has you wondering why she didn't do acoustic folk instead.

To be honest, the sole LP release M was not very good. It had its defining moments, but for the most part was very bland. It's likely the lack of experience; it improved from the EP, but didn't quite get where it needed to be. The music just felt wrong and lacking emotion. The songs that were performed in Mausoleum have a new darkness too them, ultimately sounding much more evil and gory than M was. These acoustic songs are more metal than the actual black metal songs.

The darkness this album generates roots from the cavernous piano that leads most of the tracks. You simply feel oppressed and alone listening to 'Byssan Lull' with the way Myrkur's vocals sing high and innocently above the low bass notes the piano plays that echo through your body. The way the choir echoes throughout the song puts you in an empty room of darkness, a light flashing on you and nowhere to go.

That's the aesthetic for a the first half of the album. 'Den Lille Piges Død' introduces acoustic guitar, which plays quickly and panicked with the piano, which sounds equally as frantic, especially at the high end. 'Frosne Vind' is the point of the album where you really start questioning why Myrkur didn't adopt an acoustic Scandinavian folk project. This song screams Scandinavia. 'Onde Børn' continues, introducing more riveting instrumental movements (the chord progressions are phenomenal). 

Did Myrkur make a wrong decision? Her music translates a lot better into an acoustic setting than in black metal. The only error on the record is the last song, where the clapping did not sound great with the acoustics of the hall she recorded in. I'd like to see Myrkur do a folk album somewhere down the road. Black metal doesn't seem to be amazing from her end yet, anyway. Her voice is much better executed in this setting. Let's see what happens.

Favorite Tracks: Frosne Vind, Onde Børn, Byssan Lull

Least Favorite Track: Dybt I Skoven

Rating: 79

Drapht - Seven Mirrors

All things considered, hip-hop is the last thing you'd expect out of Australia. The country's pop and progressive rock scenes boom, but you never really hear many rappers coming out of there. Drapht shows us Americans not only that hip-hop isn't something exclusive to us, but that others can thrive in it. 

Already on his third album, Drapht has slowly been carving his way into Australia's mainstream. His success is rightfully claimed; his new record is something you don't hear often in hip-hop. Seven Mirrors is an audacious record in all of the right ways. The lyricism of Kendrick Lamar meets the fun instrumentals of Macklemore & Ryan Lewis. How can you not dig this sound?

If you're skeptic, just listen to the first full track on the record, 'All Love': It has confidence, style, and lots of love. His vocal delivery doesn't try and be gimmicky or something he wishes it could be (in American terms, he's not trying to sing like a pop star). The instrumental is simply fun with blaring trumpets throughout and twinkling pianos in other parts. There's several tracks where you can tell the purpose of them is to have some fun. 'Bad' featuring Nat Dunn is an example of this; it's a fun track, and you can tell that's what he was going for. Dunn delivers some fiery vocals on this track, too.

This album isn't afraid to show some character. It's a very diverse record in terms of the different styles Drapht blends into his music. 'Another Juliet' sounds like he's channeling his inner Lin-Manuel Miranda. Hilltop Hoods help add some funk and personality to 'Don Quixote'. Earlier on the record is Katie Noonan adding crooning and smooth vocals to the dramatic and somber 'Raindrops', as well. 'Asylum' has some blues rock vibes going on it, sounding more like a subtle acoustic track by the time it ends. The last song on the record is the brilliant 'Odds' with Brendan Welch - a song about battling cancer. It's a truly heartwrenching track and perfectly executed in its performance.

There are some lesser moments on the record, sadly. All of the interludes are just unnecessary; the opening one just seems cocky, 'Scumday' just makes you feel bad, 'Again' is sweet but forgettable, and 'Midnight At The Hospice' seems too dark and odd considering how the next track goes, in a completely different mood. There are some tracks that are a little too left field, too. 'Oikophobia' is the fear of feeling at home; and titling it your song seems too extreme. You get the message, but it's almost overdoing it.

Listening to Drapht really gives you an idea of how different hip-hop can be construed across the globe. This is true for all genres, really. But Drapht is a shining example of how being yourself can lead you to real success. Seven Mirrors is a fun and diverse album full of life - hip-hop today is so sex and money oriented in America, and the aesthetic of it is slowly becoming overdone. It's refreshing to hear hip-hop in this form. It's not every day you hear something old sound so new.

Favorite Tracks: All Love, Odds, Another Juliet

Least Favorite Tracks: Scumday, Mexico, Again

Rating: 77 / 100

American Football - 'I've Been So Lost For So Long'

Who'd have thought American Football would be releasing music in 2016? Most people would've thought they were a done deal when they called it quits in 2000 after a mildly short but successful career with the eponymous debut in 1999. But, lo and behold, here it is. The band will be releasing a second, new eponymous debut (yes, another American Football) in October. You can read up on that here, but the first single from the album is worth words alone.

After being absent from the studio as a group for so long, it would be easy to expect that there would be a loss of quality, or even identity. The band has been reunited since 2014, playing shows here and there since then. Yet here we are with a new single, a song titled 'I've Been So Lost For So Long', and it sounds as fresh as the first record sounded. The formulas are all the same, but there's still something that's still familiar about it. Everything you loved about the first album is still here.

Sure, they haven't recorded together as a band, but they've mostly all been pursuing music still in the time since they became inactive and now. By no means are these musicians rusty; if anything, they've honed their skills and found their niches. 'I've Been So Lost' is a surprisingly intricate track, but the performance of it makes it sound almost easy. It takes musicianship to make a song like this not only stay true to the identity of the band, but also sound so blissfully basic.

That being said, this song is intricate in its performance, not in its production. It's barebones as it can get - there doesn't seem to be much layering going on at all. It's a cleanly tracked with two guitars, a bass track, drum track, and vocal track song. No tricks or background noises anywhere. It's honest-to-heart math rock. No strings attached.

The old habits of the band are still here - the reverberating guitars and ever-shifting time signatures are all still present, and its what makes this track so intricate. The strumming pattern is relatively simple, but there's two different strumming patterns that don't necessarily follow each other, but they work together almost seamlessly. The time signature change in the choruses are also pretty odd, and its impressive that it flows so fluidly when switching between the verse and chorus.

17 years has brought some changes, though. Better production will have some complain that the track may lose some rawness that the originals had. It seems doubtful that better production techniques will ultimately make the track less of an enjoyable experience, but it may miss that extra touch if you were a hardcore fan of the band's previous work. Age is also a factor with Mike Kinsella - his belting antics from the previous works may not be so crisp anymore; he's 39 now - at the time of the former record, he would've been 22. There's no belting or uber-emotional moments on this track, but its yet to be seen if it'll return on the album. This track isn't meant to be anything overly dramatic though; it's fine being subtle.

American Football is finally back, and their new single shows a lot of promise. American Football II (for lack of differentiation from the former) has a lot of potential if 'I've Been So Lost' is any indicator of the work to come. It's honest and intrinsically an American Football song, but also shows growth and maturity. They're not the same band as they were in your teenage years (unless you're a teenager, of course). But maybe it's better that way. Perhaps the band has grown with you.

Rating: 80 / 100

Bad Omens - Bad Omens

Post-hardcore lovers will be all over the new band on the street Bad Omens, but they've yet to find their own voice. Their eponymous debut is some standard post-hardcore work, and channels Bring Me The Horizon in more ways than it feasibly should.

There isn't too much to say about this record that you can't say about Bring Me The Horizon. Bad Omens is like a less fleshed out Sempiternal - the rock vibes are there; but the songwriting, not quite. Despite this, there is still a lot to enjoy on the record. It opens big with the epic 'Glass Houses', with its ethereal opening and huge anthemic choruses. 'The Worst In Me' follows in much the same suit, big riffs and choruses sounding something like twenty one pilots meets BMTH. The album's slow ballad 'Enough, Enough Now' has odd screaming on top of reverberating piano but builds to an epic, wallowing conclusion. 'Crawl' is another slow moving some, but less-so in a ballad manner. It's a piano track that showcases the impressive vocal register of Noah Sebastian that concludes with epic orchestras and gang vocals, the latter of which make 'Reprise (The Sound Of The End)', an atmospheric track with brilliant instrumentation a great song.  It's not without jams, either. 'F E R A L' has a big riff and a harsh vocal line that'll have you headbanging in no time.

Now, we have to get into how similar this album is to Bring Me The Horizon. It's been said at least three times in this review already, but it's truly disappointing how this band doesn't have its own established voice yet. The atmosphere, the vocals, the instrumentation is just what every other post-hardcore album sounds like that has followed in this vein. It's not even Sempiternal and beyond BMTH they channel; 'Malice' is the early stages of the band, and the vocals are just horrendous. The only thing keeping this album from being great is the lack of voice this band has. We've heard it all before, right down to the same pointless message of 'Broken Youth'. In case it wasn't clear, that's the typical edgy track on the record. Listening to it just leaves you wanting something different. Not something that Bring Me The Horizon can do infinitely better.

By no means is Bad Omens a bad debut to start this band's career, but it falls into the trap of having influences. Do you want to sound similar to a band you look up to, or do you want to sound exactly the same? If the answer's the second option, perhaps a cover band may be the better route to take. Bad Omens has a lot of untapped potential, and hopefully as their next effort comes around the find their own stake in the post-hardcore world.

Favorite Tracks: Glass Houses, The Worst In Me; Enough, Enough Now

Least Favorite Tracks: Malice, Broken Youth

Rating: 68 / 100

Frank Ocean - Blonde

It's been a big weekend for Frank Ocean. As the clock rolled around to Friday, he dropped Endless (review here), a visual album experience that didn't quite cut it for me. Then came word that the long awaited Boys Don't Cry was still being released this weekend, and there was rejoice. The legend we were all waiting for was coming. And now it's here. Boys Don't Cry is now Blonde, and it's everything you could've wanted from Ocean.

2012's channel ORANGE was a critically acclaimed album, but there were many who thought Ocean was yet to achieve his full potential. He seems to have reached that point in Blonde. What ORANGE lacked that really sets the bar with this new record is purity. This whole album feels so natural that it can't be contested. It's basic in all of the best ways. It's not trying to go out of its way to be flashy or upfront; Blonde is fine being subdued and quiet - and for good reason.

The album's lyrics makes it feel very personal. It's not a typical pop record; instead of singing of love and fun, it's about the lessons Ocean has learned. The most down-to-earth track on the record is 'Godspeed'. The subtle track is, as Frank put it in a message released with the record, "a reimagined part of my boyhood." The song is sweet, and really reflects the story of his childhood, or rather, perhaps, what he wishes it would be. You can watch the scenes play through your mind as the verse reassures, "Wishing you Godspeed, glory / There will be mountains you won't move / Still I'll always be there for you / How I do / I let go of my claim on you, it's a free world / You look down on where you came from sometimes / But you'll have this place to call home, always." In his message, he continued, "Boys do cry, but I don't think I shed a tear for a good chunk of my teenage years. It's surprisingly my favorite part of life so far. Surprising, to me, because the current phase is what I was asking the cosmos for when I was a kid. Maybe that part had its rough stretches too, but in my rearview mirror it's getting small enough to convince myself it was all good. And really though... It's still all good." This album is like a thank you note to his experiences. He's thanking the hardships he faced for where he is today, and the next lesson he's learned is that it's okay to let go.

Every second of this record sounds like a reflection. Listen to the instrumental of 'Solo' - it feels so warm and genuine. The instrumentals on the record are an important part of what makes each track sound so welcoming. 'Good Guy' is a very barebones track; the one minute track is a sweet interlude featuring piano and Ocean singing about a relationship he wants back, but not in a selfish way. The way he delivers his vocals sounds very patient and understand, like he knows his time is yet to come. 'Self Control' is much the same, but instead of an interlude, it's a fully developed track. It's just as barebones at its core, with reverberating guitar supporting Ocean's vocals, at times pitched up to reflect a younger mindset. His voice sounds really smooth and pure on top of the underlying gospel and occasional orchestral swells that add character to the track. The end is a beautiful gospel of a thousand voices, Ocean's voice harmonizing with itself as the track fades out. 

The vocals are what really make this record, though. Take 'White Ferrari' - it's heartbreaking how real this sounds. It starts as a slow moving synth track before becoming a stunning acoustic track with dozens of harmonies, and each voice sounds almost tortured in understanding. You can't describe this track's beauty in words. It's sounds too pure to even try and substantiate to words. Guests help bring this record a step further. Beyoncé lends her voice on 'Pink + White', and above the lovely flow of the instrumental, creates beautiful harmonies, with a fresh female voice giving the track some uniqueness among the rest. Kendrick Lamar accentuates some of Ocean's thoughts throughout 'Skyline To', not delivering a blistering verse but instead acts as a second supporter of the lyrics. The subdued percussion in the first verse is a fantastic touch, too. A lot of artists influenced him on this record, too. You can hear the bewildering and panicked sounds of David Bowie's Blackstar album in 'Pretty Sweet' before its quick paced beat makes it one of the more exciting tracks on the record. And Kanye West wrote a poem about McDonalds just for this album too, so there's even more inspiration.

This album isn't perfect, though. There are some weaker moments on the record, some that even translate to WTF moments. 'Be Yourself' is a minute of being scolded by your mother and cautioned against drugs - fitting in the scheme of things, but more of a joke at the start considering the album's message isn't exactly clear at that point in the record. 'Facebook Story' is equally as strange, a German man telling a story of an awkward encounter involving Facebook. As genuine as the record is, it doesn't exactly have many areas where it'll grab you. Each song is pure in its own right, but aforementioned tracks have something more to them that separate them from the rest. Lots of average tracks make up the meat of the album - everything has something going for it, but nothing that makes them stand out.

Blonde is everything Frank Ocean fans could've wanted and more. It's not trying to be anything it isn't. It has moments of intensity and moments that are quiet and personal. It's the story of a lifetime, and the lessons that came with it. The long wait was well worth it. Frank Ocean has discovered himself, and he made the album he was destined to make. Blonde is a beautiful record.

Favorite Tracks: White Ferrari, Self Control, Pink + White

Least Favorite Tracks: Be Yourself, Facebook Story, Close To You

Rating: 78 / 100

BANKS - 'Mind Games'

BANKS, the queen of pulsing synth chords, is back. Her sophomore record The Altar is approaching, slated for release on September 30, and she has released the next single from the record. 'Mind Games', a big track with a demanding message.

Beginning with vocals processed through a vocoder, the track hauntingly builds into a quiet somber piano under BANKS' pleading vocals. The chorus is brought in with a more threatening synth beginning to swell as BANKS becomes more passionate in her words and delivery. The entire song swells and flows into one big climax before ending on a quiet note to end it out on. The quiet reprieve almost sounds like a defeat, and given the message, it's pretty heartbreaking.

In the track, BANKS signs of a relationship in which she was used. The song begins with her woefully recalling, "That you would love me better if I could unscrew all of your moods that make me wanna run away," the message already clear and understood as the track begins. It goes on to speak of the nature of an abusive relationship; she wants to leave, but in her eyes, her partner is perfect, and if she leaves, "I’m scared I won’t find other muses / Cause I know you like golden days." The choruses plead: "Do you, see me now?" It's the final straw - this song is the breaking point.

BANKS' new album is progressively becoming more and more developed. 'Mind Games' is a big track, and an important one, for sure. The Altar is building up to be a very personal record for her. BANKS isn't holding back.

Rating: 80 / 100

Frank Ocean - Endless

Frank Ocean has had his fans on their heels for years now. Dropping hints for the rumored Boys Don't Cry (which is still coming out soon, it seems) had fans hounding the internet to discover every possible clue there is. The time is finally here. Ocean dropped a unique album in Endless, a visual album that is one of the first of its kind. But did this experiment turn out well?

Endless is something new and original, and for that alone it deserves recognition. We knew whatever Frank had up his sleeve, that it was going to be huge. And that it was. Ocean now has millions watching 45 minutes of three of himself building a wooden staircase to music. 

The most important element of the record is its format, and here's why it could have been a good idea in general: music is provocative of all senses, and it will always inspire a unique visualization. Watching music videos and a directors interpretation of the song provides one of millions of interpretations of it. Music videos are slowly becoming less and less relevant, but that doesn't stop them from being a big part of how music can develop.

Endless isn't like that. It's 45 minutes of black-and-white woodworking. Perhaps there is an overarching message, but the visual doesn't support the narrative of each track. It's like the three Franks put on the album in the background to work to. This idea could've been a lot better in execution, had the visual at least represented the album in some way. There just isn't any connection until you look at the big picture of it, and even then you're only looking at the overall idea of the video, not any specific moment within it. Let's not get started on how the format doesn't allow you to see which track you're listening to, or which track you're on; when it shows the album tracklist and credits at the end, you'll have to search around for it in case you missed something.

The music itself has a much wide appeal than the video, and the songs have a clearer message than the video displays. As far as the music goes, Endless is a very pretty record. Frank Ocean delivers soulful and chilling vocals on a plethora of tracks, including 'Rushed'. There isn't one sound to the album, though. As pretty as it is, there are lots of flavors on it. There's the beautiful, symphonic led cover of the Isley Brothers' 'You Are Best (You Are Love)' featuring Jonny Greenwood of Radiohead, the London Contemporary Orchestra, and James Blake, with a sweet and longing vocal delivery. There's also the acoustic guitar driven sweet 'Slide On Me', topped with a great melody and great bassy beats. Then there's the hip-hop influenced 'U-N-I-T-Y', that, with its strong verses, slams the desires of an average individual in society.

This is where the message of the album ties in with the video. As heard with the robotic voice found in 'Device Control' and 'Higgs', technology has hypnotized us. We're so interested in streaming parts of our lives and others that we forget our own needs. It all becomes a game. That's what the video tries to emulate - a simpler activity in an isolated place. In that warehouse, there was no worry or need to stream anything. There, he can work on his staircase in peace and without worry. I can't quite put a finger on what the symbolism of the staircase is, but it's not clear based on the video and music.

Are visual albums the next big thing in music? Are we going to see the next Kanye West album released as a visual experience? Frank Ocean may have started a revolution, but he didn't start it well. Endless is a great album to listen to, but not to watch. Sadly, unless you're watching the video, you can't go back and replay your favorite songs (just yet - hopefully this'll change). Boys Don't Cry is coming soon, and hopefully it'll outdo this attempt.

Endless can be exclusively streamed on Apple Music.

Favorite Tracks: You Are Best (You Are Love), Slide On Me

Least Favorite Tracks: Higgs, Whitter 10 Hubolts, Device Control

Ratings:

• Music: 75 / 100
• Video: 45 / 100
• Average: 60 / 100

Metallica - 'Hardwired'

It's 2016, and we finally have a new Metallica album on the way! The double LP Hardwired... To Self-Destruct is due out in November (details here), and ahead of it's release we can expect some new music from the record to hit radio. The first new music shared from the record was the single 'Hardwired', a riff-filled track harkening back to Metallica's origins.

The first thing you hear from this track is the blistering palm-muted guitar and big snare hits. Right from the get go, this song's big and up in your grill, and that's before the really riffing even comes in! As the riff kicks in, we get the drums picking up the drive in thrash nature. James Hetfield barks angrily over the thick instrumental, as to be expected from a good 'Tallica track. The bridge features a short tremolo solo that wildly flails atop the big riff.

That's about as much praise as you can give the track, though. It's not terrible, but as a whole, just uneventful. After the hype of the intro comes a big riff... that repeats for the entire song. The solo doesn't help much, because its just flailing all over the frets. Hetfield sounds very underwhelming in the scheme of the track, too, no grit to support the angry message, which is send through the words, "We're so fucked, shit out of luck / Hardwired to self-destruct". There's angst there, definitely taking them back to their roots, but without the creativity of what made old Metallica so grand and powerful. It's like a light punch - its stunning at first but you won't have any trouble brushing it off after a few moments.

Metallica's new album has a lot of potential. If they riff as big as 'Hardwired', a true metal behemoth may be on the horizon. But, if 'Hardwired' is to say anything about how creative they were, there may be a flop. Let's see how this one plays out - and hope it's not as bad as the cover art for this single. We'll be waiting, Lars.

Rating: 55 / 100

Pascal Pinon - Sundur

Iceland is a place of many wonders. If you haven't learned of its magic from post-rock legends Sigur Rós, perhaps Pascal Pinon can provide a more accessible gateway into that. The Icelandic indie folk duo's third record Sundur is just that, caked with a pop sweetness shrouded with wonder.

The sounds of Iceland are unique. Pascal Pinon borrows harmonies from the likes of Björk to build haunting melodies that are hard to ignore; sweet harmonies make the opening track 'Jósa & Lotta' as they dance above sweet piano and ambience. Piano plays an important roll on the record - its atmosphere is a big part of what makes the songs sound mysterious. Key in to the piano on 'Spider Light', an instrumental focussing on the relationship of a metallic beat and somber piano. The sound of the piano itself throughout the record is longing and reminiscent, allowing for it to sound barren and cold, yet surrounded in mystery - the essence of Iceland.

Piano isn't the only thing that builds the character of Sundur, though. 'Skammdegi', a song sung in Icelandic, uses a clean guitar to add atmosphere instead, and a Sufjan Stevens synth to help it. Acoustic guitar does the same in '53', the piano taking a minor role in this one as acoustic guitar and vocals on top of distant electronics take you into a dreamy oblivion.

Through all the sadness this album may have, there are moments of happiness. 'Orange' may have that familiar sadness, but its recognizable, almost tangible. Its a sadness that's known to us all, but what it means will change. That's bittersweet, at least. 'Forest' has a poppier vibe than much of the rest of the album, dinky beats on top of a tangy synth lends itself to sound generally happy. The rest of the song doesn't sound like its jumping for joy, but it has a lot more hope than much of the rest of the record.

There are moments on the record that provide some freshness, too, albeit, most are minor. The dark sounds of 'Twax' seems like a sunset on a normal day in a small town of Iceland. The ambience of synths and xylophone that pair with a bunch of different sounds make this song sound uneasy - windchimes, bells, and more can be heard in this song, which transitions into a song with the same setting and windchimes, 'Babies', which ends up with sounds that seem to spiral out. 'Fuglar' is an odd track, and one of the album's most experimental. It's organ and brass intro starts nice but as electronics try to mesh with the harmonies, it's a bit off putting. It loops sweetly but lacks cohesion that brought together a lot of the record. 

Sundur is the sound of Iceland is a poppier light. Sigur Rós' barren soundscapes show the isolation of Iceland's creations, while Pascal Pinon show its welcoming emptiness. It's all a familiar adventure. Sundur isn't perfect, but it's understanding, and that's all you could want from Iceland.

Favorite Tracks: Spider Light, Skammdegi, Orange, 53

Least Favorite Track: Fuglar

Rating: 75 / 100

Crystal Castles - Amnesty (I)

The distorted synths of Crystal Castles are something you can't mess with. Amnesty (I) is the band's first album in four years, and the first to not feature ex-vocalist Alice Glass. It's an eclectic album, though distortion can't save everything.

It begins hauntingly with a haunting reversed choir sample (apparently singing a cover of 'Smells Like Teen Spirit') on top of a hip-hop beat and layered synths. This element of creepiness finds different motifs throughout the album. 'Fleece' displays it with distorted tortured vocals screaming above huge synth blasts, while 'Enth' ups the creepy factor in the same way with crunchy synths under urgent distorted vocals. The whole album has a similar vibe that repeats throughout, but there's a lot more to it.

Despite the unsettling sounds that find their way into the record in nearly every track, there's a wider array of emotion being displayed. See 'Char' - a much sweeter track, with bouncier synths and a more gentle vocal line. It's a chiller track than the preceding 'Fleece', which is a bombardment of distortion. This track, on the other hand, is smooth and rounded around the edges in comparison. Similarly smooth is the epic closer, 'Their Kindness Is Charade'. It's like a more epic version of CHVRCHES' 'Afterglow' - it has all the same elements (closing their albums, atmosphere), but this track builds with a lot more meaning. The synths constantly build into one last epic hurrah to end the record on a big note. It's an appropriate send off for an album so diverse, as it displays the best of the record within the span of three minutes.

Instrumentally, this album is a banger. To the pulsating synths of 'Sadist' to the soft buildup of 'Their Kindness Is Charade', there's a lot of ground covered on this record. You can find nearly anything you want on this album - 'Chloroform' even has the weird scratch synths that were iconic in the 2000's. 'Concrete' has bouncy and dark synths on top of a pounding beat (under vocals that sounds like a distorted cheerleading session), and you can find the extremes of distortion in 'Teach Her How To Hunt'.

Crystal Castles took their time crafting this album. It's creepy and often times off-putting, but it stands together well. Amnesty (I) is proof that Alice Glass wasn't the heart of the band - she was  an extension of it, but not the whole package. Ethan Kent and Edith Francis can hold it down just fine.

Favorite Tracks: Their Kindness Is Charade, Femen, Enth

Least Favorite Track: Ornament

Rating: 70 / 100