Young Thug - JEFFERY

In hip-hop, your influences are almost like your gods. They are the foundations of what came before you, and the reason that you can flourish in the industry today. Young Thug pays homage to his idols in his new mixtape, JEFFERY. Most tracks are named after someone he has idolized, making the album feel like a dedication record.

JEFFERY sees Young Thug tackling some of his most diverse work. All tracks (barring the conclusion track) is named after someone he has idolized or worked with: the album begins on 'Wyclef Jean', dedicated to the Haitian rapper (who actually has a feature later on the record), and channels Wyclef's reggae roots. The track is fun and features a lot of Caribbean elements. Wyclef Jean features later on the record on the album in 'Kanye West' (previously titled 'Elton John', 'Wet Wet', and 'Pop Man'), which feels like more of a glorified Kanye track than anything else. 'Guwop' praises the roots of trap music - another track shouting out the originator of a genre - being a praise of fellow rapper Gucci Mane. The track is a pretty chill one, if not a bit silly.

Young Thug sends some love to some of his peers, too. Despite his past beef with him, 'Future Swag' is dedicated to the man himself, Future. Despite how sick I am of Future being literally everywhere this year, this does sound like one of his better tracks. 'RiRi' is a nod to Rihanna, and is just about as annoying as 'Work' is - Thugga literally sounds like a seal throughout this track. A nod to producer Swizz Beats is found in the track named after him, but the track sees Young Thug singing and it just doesn't fit too well.

How could this album be complete without memes? There are a couple of songs dedicated to pop culture references, the first of which is 'Floyd Mayweather', the boxer who rose to fame in a major match earlier this year. It's hard to tell if this track is a slam at him or a celebration of him - the boxer is known to have been in cohorts with Young Thug in the past, almost signing to his record label. He didn't in the end, and the song is all about the living a life in luxury. Of course, the album has a shoutout to the current meme phenomenon 'Harambe', and while the title is relevant, the song doesn't really say much about the controversy of him in any form (gun control, animal rights, etc.) and is nearly downright annoying with all of the ad libs and raspy, yelled vocals. The instrumental is phenomenal, though.

There are some great instrumental moments on the record. 'Webbie' has a very dramatic and almost pretty soundscape, taking turns between pulsating synths and a ringing beat and a refined beat behind sweet piano. The final track 'Pick Up The Phone' with Quavo has the best relationship of instrumental and vocals on the record. The song is credited as being a collaboration between both Thugga and Travi$ Scott (he basically just does the ad libs - he has a verse on 'Floyd Mayweather' that will satisfy his fans more). The vocals and instrumental flow as a pair; the track has a punchy and almost aqueous synth that compliments the vocals almost perfectly. It becomes a grander, richer synth that follows a dark progression to end out the album on, almost abruptly. The ending could've been more fulfilling, but it's definitely suitable.

Young Thug may have his reputation in hip-hop, but he's well aware of what, and, more importantly, who brought him there. JEFFERY is a dedication album, a mixtape consisting of tracks named after his idols and peers. It also feels like it's his own personal statement, a mark that puts his name down in history. The mixtape's title was originally No, My Name Is Jeffery, as if to say that we should be looking at who he is, rather than his name. It's a humble album, perhaps not his best work, but certainly some of his most important.

Favorite Tracks: Pick Up The Phone, Wyclef Jean, Webbie

Least Favorite Track: RiRi

Rating: 72

Carly Rae Jepsen - E•MO•TION Side B

Carly Rae Jepsen is the queen of pop. Her ability to make pop jingles is nearly unmatched. Two huge hits in 'Call Me Maybe' and 'I Really Like You' later, she's really carved out her career. Her second album titled E•MO•TION is celebrating its one-year anniversary, and Jepsen has released a collection of B-Sides from the record in response.

E•MO•TION Side B consists of eight never-before heard tracks from the recording sessions of the album. These eight tracks are just as energetic as the album itself, serving well as its on standalone EP. Though these songs are full tracks, cleanly produced and ready for release, it's clear why these tracks didn't quite make the cut.

There are some great bangers on this short EP, and it's a shame some of them won't get the same recognition the songs on the album got. The first song 'First Time' is a very feel-good start to the record, having a very classic (albeit, safe) pop sound to it. All of the little instrumental ad libs add a lot of character to the track. 'Higher' is much the same, with a slightly moodier atmosphere to it. While 'First Time' is optimistic and looking to keep a relationship going, 'Higher' is more hopeful in that search of love. It resolves itself into a more cheerful conclusion.

The last track on the album is one of Carly's best, and I'm very confused on how exactly it didn't make the cut on the record. 'Roses' is a somber track in meaning, a very nice contrast to her normal songs. It's about someone who she loved who has left the relationship for reasons that she can't comprehend, and how much she wishes she comes back. The instrumental isn't overproduced, being more of an underlying force behind Jepsen's voice, which is the main focus of the track.

Another meaning to the track is that the person she loved has died. The chorus contains the lines, "And I can feel you reaching through the cracks / A simple change of seasons and you're back / All the roses in the garden fade to black." I can't help but feel that refers to someone who she lost rather than someone that's left her. The memories of that person haunt her, especially around the time of year when the person was lost ("a simple change of seasons and you're back"), and then everything around her - even the most lively and colorful of things - seems empty, painted in black and white. Whatever the meaning, it's a pretty hard track to forget and definitely a standout in her discography.

The question does arise, though; why are these track B-sides? The reality is that most of these songs don't really have a place on the album. E•MO•TION had a very distinct personality to it in which all the songs, good or bad, seemed to fit in with. These are more like outliers; in songs like 'Higher' you can almost see where it fit in to the theme of the record, but didn't quite reach there. The songs are either pre-cursors to the record, or songs she made that just didn't quite fit in.

Another issue is that some of these songs are just average. Not that I personally believe that every track on the album was full of fun and unique (looking at you, 'Boy Problems'). Take 'Store', for example. It's just not a great track - it's premise is way too silly for its own good (in terms of fighting for inclusion on the record; nothing wrong with a silly track) and its meaning doesn't quite substantiate to anything. It almost sounds unfinished the way the lyrics are all over the place, like its meant to say one thing but then goes into another. 'The One' is also quite repetitive and says all it needs to about its meaning by the time the first chorus concludes. This isn't to say that all of the tracks are just not fit to be great songs; 'Cry' is a very sweet song that has a lot of value in its performance. It's a great track, if not a bit underwhelming; the fact is, it just didn't belong on the record. 

Jepsen is definitely up there with some of Canada's greatest pop artists. Her music has a lot of personality to it that isn't quite matched by anything else. Hearing 'Call Me Maybe' may now become a tiring experience, but the reason it was so popular to begin with was because of how unique her music is. It has a touch of herself in it, and that's something pop artists seem to lack a lot of the time. The B-Sides of E•MO•TION show that the album itself had its own unique personality that songs that didn't make the cut were never going to. But that adds to the appeal of the record - she knew what she wanted, and she went for it. These new songs are a look into her mind and process, and it's a real refreshing set of music to hear.

Favorite Tracks: Roses, Higher, Cry

Least Favorite Tracks: Store, The One

Rating: 73 / 100

New Arcades - Where We Were Before (ft. Sarah Bird)

Synthpop is a new wave of 80s revivalism. It's been on the rise ever since CHVRCHES brought it back in 2013. CHVRCHES, however, always had a taste of modern in their music. There are many other artists how harken back to the 80s album by the books. New Arcades sounds like this, but there's promise in their music.

Sparkling synths and electronic drums are the signature of the English duo's new song 'Where We Were Before' featuring Brighton singer Sarah Bird. The track is very classic feeling, the bright splashing synths sound like an old movie where a boy and girl in love run through puddles in a rain storm. It's nostalgic, for sure. It's instrumental is pretty standard beyond that, but does a good job of supporting Bird's longing vocals. It's a love song, and that's evident through both the instrumental's mood and the lyrics. The boys of New Arcades handle the vocals in the verses, speaking of the stories of a past love: the second verse chants, "I said I wanted to have something that would make us feel alive," before Bird and the band transition between the choruses and pre-chorus: "Now everything falls into place / Like where we were before / I tell myself that we won't break / The voice I'm hearing is yours."

Beyond the obvious components of the track, there really isn't much else to explore. There's a little guitar in the bridge, but it sounds more like a gimmick than an honest component. It gets buried in the mix for the outro before it can become something big and worthy of stirring up a new emotion, hidden beneath the standard synths that loop throughout the song. This band has such a solid grip on the elements of electronic music and the vibes of the 80s. They don't seem ready to tread away from the same synths and sounds and into something unique.

New Arcades has a lot of potential, but their not quite there yet. Their music captures 80s soundscapes and nostalgia perfectly, but not in a unique way. It's a style we've heard before and all too many times. They bring in partners from their local music scene to spice things up, which is a good thing, but their core has not changed. By the time they hit their first LP, hopefully they'll find their niche. For now, their music will keep being the old nostalgic inducing electronic music that many cherished so well. I guess there's not so much wrong with that, after all.

Rating: 70 / 100

Prophets Of Rage - The Party's Over

Several live statements later, and Prophets Of Rage are delivering their first EP. The supergroup consisting of members of Rage Against The Machine, Cypress Hill, and Public Enemy are here with their debut EP, The Party's Over. If you already liked this project, you'll like this EP, but chances are you'll be wanting more either way.

We've already reviewed the band's debut single, the introduction song to the project titled 'Prophets Of Rage' - read our review for a more in-depth insight on it. The context on this EP makes it a little less substantial, though. It's a great intro track and definitely gets you pumped up, but it's followed by the new song 'The Party's Over,' which has a stronger drive to it. It sounds angrier and more upfront, almost aggressive. That's the true spirit of this band, and their projects in the past. It's lyrics are a bit more angsty and less substantial than 'Prophets' by just a bit, but the instrumental kicks its ass. It features a signature Tom Morello solo near the end and just has a bigger punch to it. 'The Party's Over' makes 'Prophets Of Rage' feel like less of a track.

The rest of the EP consists of three live tracks, and it's just nothing really special at all. Rage Against The Machine's 'Killing In The Name' is first on the list, and it's just a standard performance of the song. It has that good old raw feeling you'd hear from old RATM recordings, but there's probably better performances out there on the Internet you could listen to. 'Shut Em Down' by Public Enemy is next on the list, and this one is actually a bit different, featuring a cool guitar intro from Tom Morello. The rest of the song is pretty average, besides the killer solo Morello delivers in the bridge. It's interesting to note that all of the members of the group have played this song before: Public Enemy, obviously, being the recording artists, and Cypress Hill did a cover of it in 2010 featuring Tom Morello. It's familiar territory for all of them. The last song is a cover of the Beastie Boys' 'No Sleep Till Brooklyn' entitled 'No Sleep Till Cleveland' (in reference to the 2016 Republican National Convention). There's nothing real to comment on besides the fact they don't substitute "Cleveland" in place of "Brooklyn" until the end of the song. You'd figure they'd do it for the entire song. At least the solo is good. Tom Morello is this band's only savings grace.

At this point, I don't really know what to think of this group. When they first announced their mission, there was so much hope; the 80s and 90s revolutionary scene was coming back! Rage Against The Machine is basically back! But no, it's all becoming one big cluster of trying to be edgy. It's becoming less of a political statement and more like they're a group of angsty teenagers looking to make some cash and speak their minds on Trump all at the same time by playing covers of RATM. Perhaps everything will start to gel together as they play more; they're currently on tour across North America. For now, though, you can't really say much more than "well, okay" by the fact these guys exist.

Prophets Of Rage are slowly becoming more like the Profits Of Rage. Time will tell what these guys bring - maybe a full length LP not consisting mostly of live tracks will bring some worth to this project. It's a hit or miss right now, and currently they're only shooting misses. There's hope, but right now everything's looking pretty grim.

Favorite Track: The Party's Over

Least Favorite Track: Prophets Of Rage (and the live stuff, simply for lack of effort)

Rating: 50 / 100

Glass Animals - How To Be A Human Being

There's always room in everyone's palette for something exotic. Glass Animals is the that refreshing sound we all need and look for. Their blend of indie alternative goodness and exotic flavors is true ear candy.

There is something very knowing in the sound of the band's new record, How To Be A Human Being. It feels risky and put together by the wits of masters of music. Surprisingly, this album is the band's sophomore release! It follows 2014's eclectic Zaba, a critically acclaimed album that wasn't afraid to be imperfect. The prior effort was inspired by the likes of Kanye West and Nina Simone, and became an outlet for the band's members to do something wild and unpredictable. Vocalist Dave Bayley explained how it all came together: "I used to be really into super-clean, no flaws production," he claimed, "but now I like the context and soul that mistakes, chopped samples, and swirly white amp-noises give you.... We definitely were a bit self-conscious, we were once afraid to do something bold. Now when we re together in the studio we don t worry about those things. In fact, we don t worry about anything at all..."

The success of the prior album seemed to not hold back the development of How To Be A Human Being. What you must know, though, is that if you're looking for a follow up that embodies with Zaba had, you may not be happy when listening to this record in that aspect. It's going to impossible to come out of this album feeling unhappy, though. You may not get what you're looking for, but you'll find something even better than what you expect.

Glass Animals opt to express what they believe on the inside. Their process has never been to go in with an idea and to come out with that brainchild. Their process is wildly expressive and unique to their collective minds at that point in time. Human Being is almost like the child of Zaba, still. With the success of the former, they went around the world, touring in support of it. Along they way, they heard stories upon stories from the people they perform for. Those stories are the what built Human Being.

The backstory is made clear by the album's diversity. Right from the beginning you have a banger with 'Life Itself', featuring Indian percussion and fantastic melodies and vocals that build to a grand and explosive ending - a welcoming to the insane party of the record. 'Youth' follows up with dreamy vocals and a dinky instrumental, and singing about the joys of being young and in love. 

The best thing about this album is how much groove it has. 'Pork Soda' feels like hip-hop fell into a molten pot of indie flair. It has a lot of swagger and a certain confidence about it. I don't know. It's just pure fun. That's what's most of this album is like. It's just a feel good, relatable experience to listen to and connect with. 'Mama's Gun' is much the same as the former, but this one has some solid flute action going on that gives it that extra touch. 'Poplar St' also has a lot of swagger to it, but also a lot of mystery. It feels like a bluesier version of Radiohead's '2 + 2 = 5'. It's creepy but all-too knowing in its mystery. Don't even get me started about the brass sounding guitar at the end in 'Take A Slice'. I can't even tell if it's guitar or trumpet - but I don't really care. It sounds awesome and frantically insane. This album has it all.

The second half of the record has some songs that are very electronic-oriented. The low backing vocals from 'Mama's Gun' return in songs like 'The Other Side Of Paradise', which has an instrumental that builds with electronic layers. The lyrics are very reprimanding, might I add: "Bye bye baby blue / I wish you could see the wicked truth / Caught up in a rush it's killing you / Screaming at the sun you blow into." It's a pretty big track, both instrumental and as far as meaning is taken. 'Cane Shuga' is led by a stair-stepping synth and a groovy beat, the vocals effected and metallic. The song is a little odd, but still infectious. It contains an ending that is a bit strange, spoken word glitching out. A similar sketch scene happens at the beginning of 'Take A Slice' and that's also pretty awkward. But the album's awkward moments aren't enough to bring down it's magnificent whole. The album ends on 'Agnes' with its slow wave of noise slowly building up in a sort of bittersweet ending. It sounds upbeat and happy, but also definitively a farewell. It's a song you'd play as you drive out of your hometown for the last time when you're going to college or to start your own life. It has all the qualities of a send off, as well as a welcome. It's like a bright look into the future. A perfect send off for an album that sets the future for this band.

Glass Animals is something else. There's not really anyone else who sounds quite like them, or as diverse. They're unique musicians and even more unique as people. How To Be A Human Being is a brilliant album, from its backstory to its execution. You can never really predict this band; there's not one way you can describe them as. We don't know what their future holds, and neither do they. That's the beauty of their music; it's ever evolving. The mystery will reveal it's next clue in the future, but How To Be A Human Being is enough to last us a life time.

Favorite Tracks: Life Itself, Agnes, Mama's Gun

Least Favorite Tracks: Cane Shuga, Take A Slice

Rating: 87 / 100

Touché Amoré - 'Skyscraper'

At the forefront of melodic hardcore is Touché Amoré, and their fourth record is just on the horizon. Stage Four is the follow up to 2013's Is Survived By, and it's bound to be something special - it's a very personal record for vocalist Jeremy Bolm, who lost his mother to cancer in 2014. This album will be full of those emotions he experienced.

The band has shared the song 'Skyscrapers' from the record. The song is an ode to New York City, in all of the most heartbreaking of ways. It's not a very intense track as far as its sonic soundscape goes; it begins with rolling drums and reverberating clean guitars. Jeremy Bolm and guest vocalist Julien Baker sing somberly as moments of guitar punch through. Bolm is the real focus of the song, despite the female guest. While the harmony is interesting, it's more captivating to hear the longing in Bolm's voice as he signs "To live there, under the lights" is its own gift.

The song builds up to a big climax at the end, harmonies of vocals and screams ultimately taking it out with a bigger instrumental complete with crash cymbals and tremolo guitar sounding high in the background. Bolm's clean vocals make this track sound like a heavy Ariel Pink song. It's a bit odd, but it's not the vocals that make the track. The meaning sends it a lot further.

The music video makes the song even more real and somber. It pictures Bolm traveling through New York pushing around an empty wheelchair, seeing sights in black and white. As the song climaxes, all of the color starts to surround the scenes, as if it's an acceptance. I like to think the empty wheelchair is a symbol for his mother, and that makes this song being sung from her perspective - Julien Baker's female vocals are his mother singing the message too. Perhaps she always had dreams of living in the big city and living under all of the grand lights, but passed away before that came true. Bolm walking through the city with the empty wheelchair is his way of finally taking her there. The way the color changes from the beginning to the end shows how this sad activity of pretending his mother is there with him becomes more of a comforting thing, as if he could do one more thing for his mother to make her happy.

Touché Amoré knows how to play with your emotions. This song is one of the few cases where I can say that the music video makes the song even better. As for the track itself, I'm not the biggest fan but I like the message and the story is sweet. Stage Four seems to be building up to be a very emotional record; anger, sadness, regret... we can't say for certain, but the prospect of it is exciting. Nothing drives music better than emotion, and the loss of Jeremy Bolm's mother is bound to be channeled through his music. It's going to be a big record.

Rating: 78 / 100

Music Video Rating: 90 / 100

Fire From The Gods - Narrative

Nowadays, you really have to go into a metalcore album expecting the absolute standard. And maybe some days you're just in the mood for hours upon hours of the same downtuned riffs and screaming, and there's nothing wrong with that. We all have those times. Fire From The Gods is the next band that fits into that similar metalcore vibe, but their vocalist does provide a... sound for sore ears.

First and foremost though, most everything else about this band is that same old metalcore sound we're all used to. But that means we have driven riffs to jam out too. We have a big start with 'Public Enemy', riffs and rap metal vocals carrying it through to the end. The growled vocals throughout are also great if you're in a mad mood. A lot of other great instrumentals mark the album - 'In Spite Of Doubt' has a breakdown with some fantastic guitar. 'Composition' is also chock full of great instrumental elements that make it stand out. Closing track 'Into The Blue' starts uncharacteristically quiet, before becoming a confident song that takes the album to its end.

What's special about this band is vocalist AJ Turner. He's the only thing diverse about the album. To begin with, he's African American. That's not something you see a lot in metalcore, let alone in the vocals. Props to him already. That takes confidence. His vocals are incredibly vast, too. From the Avenged Sevenfold meets Beastie Boys style rapping on 'Public Enemy' to the clean vocals on 'Into The Blue' to the brutal growls on 'Lifeline', this guy can really go a lot of places with his vocals. What's really special are those harmonies in the choruses of 'Excuse Me'. There's something mechanical about his voice, almost likes it's gone through a vocoder, and under that is the low clean vocals. In between lines comes harmonies of growls that are just phenomenal. There's an almost reggae style vocal in the bridge, too, harkening back to what I can assume would be Turner's roots. There's a lot of diversity on this album as far as the vocals go.

That is what Fire From The Gods needs to capitalize on. Those big choruses full of giant harmonies; that's a sound I haven't heard before, and if I have, not in a long time. Metalcore doesn't go very far instrumental. You either evolve out of the sound or stay with the big riffs. What can be changed is the vocals, and there's a lot of hope for this band.

Favorite Tracks: Excuse Me, Composition

Least Favorite Tracks: End Transmission, Diversion, Pretenders

Rating: 62 / 100

The Naked & Famous - 'Laid Low'

There's no one who blends indie rock and electronic pop quite like The Naked & Famous. Their style is unmatchable in its swagger and energy. Their third record Simple Forms is due in October, and serves as the follow up to 2013's In Rolling Waves. Simple Forms seems to be taking a more upbeat direction than the somber tones of its predecessor. The second single from the album 'Laid Low' promises a big album is on the way.

Right from the beginning you know something different is on the way. It has a huge drum beat that serves as a highlight in itself; it's big and upbeat, exactly what the track is going for. The synths build a chill atmosphere as the synth riff brings in the lyrics. The choruses are subdued with reverberating synths with vocalist Alisa Xayalith sounding powerful, begging for saving: "Know that you can take me home / I'm learning to live with ghosts / the limbs I miss the most." The song's climax comes with several vocal lines singing at the same time on top of an explosive instrumental, building up before it concludes.

The song itself is about becoming tired of life, and missing what you had in the past when life's bringing you down. The lines "Laid low by heart ache / I'm trying to stay afloat." The way the song explodes at the end feels compassionate and so final; like you finally got what you've wanted through the story of the song. The lyric video shows a variety of scenes, the main focus is a woman running from a car. Like a deer in headlights she runs from it - that feeling of standing out and being afraid capturing what the song wants to be saved from. A variety of other scenes, including a burning rose, also make up the video, providing metaphors for love and the monotony of life.

The Naked & Famous have a big album in store. The previous single 'Higher' also has a similarly upbeat sound to it - this album's going to be fun. Simple Forms is out in October, but 'Laid Low' will be on repeat for the month to come yet. The hype couldn't be bigger. New Zealand's finest electronic group is about to make 2016 their own.

Rating: 85 / 100

Britney Spears - Glory

Britney Spears has been tearing up the pop world for over two decades now. Her music was started some kind of revolution in the 90s, and her music was part of the soundtrack of the 2000s. Her ninth studio album Glory is a good representation of her career as its come to be, but hits both extremes of good and bad.

It gets off to a bumpy start. Bubblegum pop can describe the first opening sequence of the record. 'Invitation' kicks it off in a dinky way. It's an oddly dirty track in the most innocent way, the over-produced vocals adding to its innocence. 'Make Me...' improves a bit, though with a very weak verse from G-Eazy. I wish we could just not talk about 'Private Show' - it's one of the stupidest things I've heard in a long time. The chorus chants in some weird country/rap tonallity the god-awful lines "Work it, work it / Boy watch me work it / Slide down my pole / Watch me spin it and twerk it".

Beyond the beginning of the record there are some other subpar moments. 'Do You Wanna Come Over?' sounds like something that would've gone down well at the beginning of her career, but not so much anymore. The whole line of tracks from 'Hard To Forget Ya' through 'Change Your Mind (No Seas Cortes)' (two of these tracks are found on the deluxe edition) is wholly forgettable - 'Change' is oddly distorted at the beginning, too. 

Over her career, though, Britney has learned how to make plenty of great tracks. This album has a lot of soul and character to it. The first memorable track on the album is 'Clumsy' - a lot of groove and a fantastic instrumental and vocal performance gives this song a big pop appeal. The instrumental begins with an almost carnival vibe before an electronic, pulsing synth takes over the choruses. The verses are bluesy and Spears' vocals sound scratchy enough to pass it for some blues singing.

From a bigger perspective, it's all of the stripped-down and rawer tracks that sound a lot better than the rest of the songs. 'Just Like Me' starts off with an acoustic guitar and overall doesn't build much sonically, the choruses with a synth that begs to explode, though subduing it seems to have done the trick. The melody fits the bittersweet meaning of the song: a combination of jealously of a lover being with someone else, but the comfort knowing that their new partner is the spitting image of you. 'Love Me Down' is also not as in-your-face as many of the other songs, and has great melodies that build to epic choruses that have an awesome bassy pulsation going with them.

The album's deluxe version contains track called 'Liar', which sounds like classic Britney build in with her newer style. It has that mid-2000s flair to it with the choruses with plenty of harmonies and string punches. It's an epic song that definitely should've made it onto the regular version of the record. It has a dinky harmonica in it that adds a playful vibe to it, and the melodies of the song overall make it an all around great track and it sounds like her best hits from the peak of her career.

Glory is a natural progression for Britney Spears. Her innocent dirtiness comes through just as it would have 10 years ago, and her pop appeal is getting greater and greater while not losing sight of her previous sound. I only wish the album didn't have so much wrong with it otherwise that the great tracks wouldn't be standalones on an otherwise weak album. It's a Britney album, that's undeniable, but there's not enough personality in the lesser tracks to make it any more than average.

Favorite Tracks: Liar, Clumsy, Just Like Me, Love Me Down

Least Favorite Tracks: Private Show, Do You Wanna Come Over?, Hard To Forget Ya

Rating: 65 / 100

You Me At Six - 'Night People'

English alternative rockers You Me At Six have returned this year to follow up to 2014's upbeat Cavalier Youth. For 2017, they've promised Night People (tour details + more here) and have shared the first song from the record. The title track 'Night People' has a lot of swagger and promises some jamming.

The song is the opening track on the record, and, as any good opening track should, it brings the hype. It has this cool rock n' roll vibe to it. It kicks off with an effected vocal sample of the chorus, which confidently chants: "We are night people, roaming these streets / Night people, we get what we need." There's a big call-to-arms sound in the track too, the riff playing very upbeat and and the gang vocals in the background screaming their "woah"s. The drum beat carries pretty well too, though mildly understated among the rest of the song's elements.

While the song itself is good, it does raise the question of You Me At Six's future. Their sound has become the standard alternative rock/pop punk sound since Cavalier Youth, and 'Night People' doesn't sound much different. Lots of other bands in their same kind of "scene" area have shown evolution; the most prominent example is Bring Me The Horizon. Sempiternal brought about a compositional, unique, and mature change in the band. They veered away from the "scream and sound edgy" tone to something that had a lot of substance and meaning. You Me At Six is not at all the same band, but the key to any band is evolving. Their falling into this standard sound that will soon become bland. Their previous efforts show a lot of promise and talent; they have what they need, but they can't yet materialize their talent into something that has substance.

Night People won't be losing any of their big rock vibes, and may even be treading into some of their older sounds, too. But this band needs a change to vamp things back up. They can only get by with this upbeat rock sound for so long - they're going to start losing their purpose. They have the talent and the means of evolving, it's just getting to that point that they haven't quite gotten to yet. 'Night People' is a fun song, but fun music will only take you so far. Let's hope the album is a bit more unique.

Rating: 70 / 100