Warpaint - Heads Up

Los Angeles' most crucial female indie rock outfit Warpaint are back with their third effort Heads Up. With two cult classic albums behind them, there's a lot ridding on this record.

Heads Up may not be another immediate cult classic, but it definitely has its initial charm. Every listen gets better and better. Intro track 'Whiteout' opens the album with cool melodies and some sweet clean guitar vibes. First track and we're already getting in the mood of a groovy and catchy experience. It's followed by 'By Your Side', a creepier and more brooding song with more haunting harmonies and an epic build to its dramatic ending, exploding with booming bass synths and crashing drum beats.

There's a lot of groove on this record, particularly in the bass - Jenny Lee Lindberg outdid herself on this record. The basslines are the highlight of many of the tracks on the record, becoming evident first on the album's lead single 'New Song'. The swirling synths are just background to Emily Kokal and Theresa Wayman's harmonious vocals dancing with each other, Lindberg's bassline powerfully yet understatedly carrying the song through. The song ends with the bassline and synths, highlighting the life the bassline really gave it.

The bass becomes a very prevalent part of the music for the rest of the album. The deep bass carries 'Don't Wanna' through it psychedelic atmosphere, pairing with the synth. The funk of 'So Good' is carried and captured by its dinky bassline, and the minimalist picture of title track 'Head Up' features a higher energy bass track. It's not all about the bass, though: other songs have other highlights. The haunting melodies of "Don't let go, I need you now" build the jazzy, odd structure of 'Don't Let Go', the urgent acoustic guitar chords acting dynamically under the chill of the rest of the elements working in unison. Chilled guitar is what thrives in the electronically tinged 'Above Control', the beautiful harmonies accentuating it along with a driven beat. The acoustic guitar ending to the record 'Today Dear' is another strong moment, providing an atmospheric and retrospective moment on the heels of an otherwise exciting and challenging record.

If this album is missing anything, perhaps its variation. There's a lot of indie rock mixed with an electronic influence, but there is a little repetitiveness on the record. The lowest point on the record is 'Dre', which has little to offer except for an odd, experimental electronic vibe. There are cool concept on the song, but it could be a lot more fleshed out. It's an experiment that could've used more - that's the most negative comment on the album that I can give.

Warpaint does not disappoint on their third album. Each one of their records has something original and powerful to offer, and Heads Up is no exception. It may need more than one listen to truly appreciate, but its energy and strength is there. Another win for Warpaint, and another win for music.

Favorite Tracks: Above Control, Today Dear, By Your Side

Least Favorite Track: Dre

Rating: 84 / 100

Ryu - Tanks For The Memories

The wait is over. After years of work and hype, Ryu has finally released his debut record (excluding the "secret" 1999 record) Tanks For The Memories. Was it worth the wait, though?

The album opens up with a big sample - Pink Floyd's 'Hey You' being the basis of the instrumental. The sample fits pretty well in an odd way. The pleads of Roger Waters sound nice in between Ryu, Gravity Christ, and Divine Styler's verses. The track 'The One' follows up, full of questionable references, including calls to Street Fighter and CARS. It doesn't really give a great comparison to him being "the one," nor does the counting up from one to eight at the end... would it not have been better to count down?

The album lacks a lot of seriousness, and that's a problem considering how hard it tries to be serious. The goofy instrumental of 'Been Doin This' is funky, but the lyrics are just as silly and have no clear direction. Instrumental moments aren't all bad, though: 'Bottom Of The Bottle' features sweet, Japanese-film strings that add a lot of atmosphere to the track, the hip-hop beat creating a pretty sweet track. Jams is pretty solid on the track too.

This album is plagued by out of place, out of date styles. Revivalism or nostalgia is never discouraged, but it doesn't really work when the music reflects the mentality that it's still in the era in which this music is popular. The fans will enjoy, but there isn't much else to it. Evidence of this is seen in closing track 'I Did It Myself', which references Fort Minor: "For delf, for dolo, the wealth, the fame, the shows, the planes, the photos, the fans that still with me see me on DeSoto / Never heard of Fort Minor but they love Marco Polo." Ironically, in what is essentially a weak version of 'Remember The Name', he raps above a more modern instrumental with piano and poppier beats, but that line itself shows that he still thinks in that era. It is an older song, to be fair, but the point stands.

There are attempts to change that - 'Lap Of The Gods' with Tak and Celph Titled seems to try and channel Kanye West to mixed effects; the beat is good, so it can be excused to some degree. Other tracks try too hard to sound relevant, especially 'The Bumrush' wish is just plain silly. 'Who's Next (Move)' is somehow goofy and oddly aggressive all at the same time, and it doesn't fit well. There's just a lot of attempts at something that even Ryu doesn't seem to quite understand, and it resulted in a very confused album.

Tanks For The Memories is that awkward debut where an artist wants to look past it and move forward to the future. Hopefully, this means Ryu will head in a smarter, more refined direction. This album was years in the making, so let's see what comes from the next one. Maybe we'll see the real Ryu shine through, instead of this confused double and his friends.

Favorite Tracks: Radio Pollution, Bottom Of The Bottle

Least Favorite Tracks: The Bumrush, Who's Next (Move), Mantis For Lotus

Rating: 52 / 100

Kidneythieves - The Mend

Industrial music is often times very unrelenting. Its mechanic body moves in a synchronized array of pounding synths without emotion. That's what Kidneythieves exhibits in their new album The Mend, though there is a quite a bit of emotion; particularly worry.

The album was delayed by about a month following guitarist and engineer Bruce Somers who experienced a family crisis and was unable to master the album until the end of August, but the band knew that they wanted a masterfully crafted album. So they pushed back to release to allow for the album to be properly mixed for the best experience. The Kickstarter campaign that funded the record also played a key in wanting this album to be better for the fans than it was at that time.

Did the patience pay off, though? The results of The Mend don't really justify the time and money put into the record. It's a solid record, but it's nothing special, nor particularly exciting. It may be the nature of the genre that is always trying to live up to Nine Inch Nails, and of which few bans or artists have truly excelled in, but The Mend is just underwhelming as a whole.

It kicks off with 'Fist Up', starting creepily and leading into a thick, pulsing guitar riff that punches in and out to add dynamic to the track. Free Dominguez's melody is a bit odd, panicky and hysterical in the choruses but in a high-school cheerleader kind of way. It's a solid track otherwise. 'Codependent Song' shows that NIN influence on the genre; the bouncing synths and dramatic vocals shining through.

This album is plagued by missing something on each song. There's not one song that feels complete - they all seem lacking in some fashion. Many songs seem to be missing a sufficient low-end to balance out the high register guitars and bouncing synths. In fact, there really isn't a song that has a strong low end that empowers it. 'Kushcloud' has traces of bass in the wobbling, distorted synth, but it just doesn't quite hit that deep, low-end feel. Some songs don't even have an almost: 'Who You Are' is heavily reminiscent of the industrial/electronic scene of the late 80s and 90s. With that high synth, there really isn't any thick bassline - or any bass whatsoever - to hold down its foundations.

A lot of the slower songs had potential, too. There's interesting points of the record, especially when some of the aggressive imagery and reprimanding nature of the industrial genre is dropped for something more provocative. 'Migration' is the start of this trend, a swampy synth playing above a funky beat as Dominguez's melodies take the limelight. 'Let Freedom Ring' even takes up a poppier composure - and actually has a bass guitar, however underwhelming! - that features a programmed beat and uplifting melodies, powerful guitars giving it the punch that so much of the rest of the album lacked.

If anything, The Mend is an example of how important bass can be to an album. Kidneythieves may have made an important album for them, but that doesn't make it a good one. It was a long time coming and it unfortunately didn't live up to what it could have been. It missed vital components that would've taken it a single step further and by far a better album. All the tools are there - they just have to know how to use them.

Favorite Track: Let Freedom Ring

Least Favorite Tracks: World For Us, Living Like You Did

Rating: 53 / 100

Idina Menzel - idina.

Many would skip over Idina Menzel on the assumption that she makes music for Disney. This isn't necessarily unfair. The 'Let It Go' singer's fifth album, her eponymous idina. sounds like a collection of rejected Disney songs put to more universally acceptable lyrics.

The first half of the album truly feels like the music are just scrapped film songs. 'Small World' kicks the album off, her powerful voice being apparent throughout, but severely outclassing the weak instrumental. This problem resolves itself in the following track 'Like Lightning', yet the Disney vibe doesn't yet die out. By the time you hit 'Queen Of Swords', you're already sick of the album.

It's not until 'Last Time' that the music starts sounding like actual songs. The gentle piano dynamically backs up Menzel's somber and apologetic vocal performance, becoming one of the first genuine songs on the album. The song builds slowly with various elements, Menzel's voice becoming more passionate every time she sings "Don't let the last time I saw you / Be the last time." 'I Do' falls into the same hole, dynamic piano acting with a drum beat to back Menzel's growingly confident vocals about love. The harmonies soar prettily while they intertwine with each other, with strings and funky guitar adding a little extra touch.

That's where the good times on the record end, from a quality standpoint - in fact, it sounds like she's way too happy on the next few songs. 'Cake' is one of the strangest songs I've heard in awhile, and I'm not quite sure if there's some sexual innuendo hidden in those "I'm another man's cake" lyrics. She sounds like she didn't even care about the lyrics of 'Perfect Story' - the first verse is literally her reciting Jack & Jill. The acoustic guitar is nice, but trying to use the word "textbook" in an emotionally charged song just doesn't mesh well.

idina. is a soundtrack album. That's it's fault. There's only a few tracks that really stand out as real songs you would find on the radio instead of in a movie scene (specifically). Idina Menzel must've been trying to appeal to her already existing fanbase, creating an album that parents and children alike could enjoy for different reasons. To the average person, though, it doesn't really have much impact at all. Maybe it'll be a good starting point for Frozen 2.

Favorite Track: I Do

Least Favorite Tracks: Perfect Story, Cake, Queen Of Swords

Rating: 52 / 100

Skylar Grey - Natural Causes

Skylar Grey isn't a household name, but she certainly deserves to be - she's the mastermind behind some of pop's biggest hits as well as having quite a notable repertoire behind her. Some may remember her from her collaboration with Fort Minor in her Holly Brook for 2005's 'Where'd You Go', while others may remember her sexually suggestive collaboration 'C'mon Let Me Ride' with Eminem who was anything but "suggestive". 

What most people won't remember her for was writing such pop hits like Diddy's 'Coming Home', in which she is featured on, or Eminem's 'Love The Way You Lie' featuring Rihanna. Grey has a lot of talent in writing big, catchy tracks. Her new album Natural Causes isn't necessarily a pop sensation, but it definitely shows off her song writing abilities.

It begins with the hauntingly beautiful, robotic harmonies of 'Wilderness', an a cappella track leading into the creepy 'Jump'. Spidery guitars backing background vocals screaming like riots as she sings oddly calmly above the chaos of the song: "All I want to do is jump... No fear I'm floating." In the same chaotic scenario is 'Straight Shooter', taking over a hip-hop influence with a badass posture. Skylar Grey sings above a demanding and cavernous beat in an aggressive fashion here, a barebones cowbell being backed by the thicker, fatter bass synth and kick drum, as the chorus threatens, "I don't spit before I fuck it / Got a hand on my pistol in my pocket / I don't play nice, I'm not a shit talker / I'm a straight shooter now just give me the money honey."

There are some calmer and more retrospective numbers on the record, too. Single 'Come Up For Air' is an example. We reviewed it a few weeks ago (read that here), but its charm hasn't changed. The powerful drums are just a backing element of the dark storytelling, as Grey sings that she'll wait for her lover to come back even if they never will: "And even if this really is the end / I'm sure I'll be alone until I'm dead / Cause no one else will ever quite compare / To them it wouldn't be fair... If you're my Jack then I'm your Rose / And I promise I'll never ever let go." 'Real World' is a big, synth lead song, the sweet melodies backed by cavernous drums and big, bassy synths. The harmonies add a lot of level to the track, too. The acoustic number 'Moving Mountains' has very sweet and bright chord progressions and slowly building layers of choir synths and pianos leading to a satisfying end. Closing track 'Closer' features beautiful piano layers and sweet vocals in a cavern of sound. 

While much of the album showcases Grey's talent, there's still somethings that are left to be desired. One such example is the Eminem collaboration - 'Kill For You'. The instrumental is tinged with an old-school orchestra and a confident beat, but when Eminem comes in, it feels like a wasted opportunity. It's one of his only appearances this year - his song on the Suicide Squad soundtrack being the other time - and it's a pretty average one. It's standard Eminem, and the wording and delivery is great, it just feels odd above the instrumental and doesn't mesh well.

Many songs show potential but don't quite reach a high. Take 'We Used To Be Bad', which starts raw and folky and progressively builds up with walls of synths. It builds nicely and has sweet vocals, but after the big synth moment when it kicks in, it's pretty underwhelming. That initial rush quickly dies down. Other songs like 'Lemonade' are catchy, but get a bit overdone by the ending; I don't know how many times I can listen to someone say "lemonade" before the hype dies down, but this song definitely passed that limit. 'In My Garden' has odd, janky beats and a pretty strange vocal line that would work a lot nicer in a different scenario. The song begs for something darker, and Grey takes the odd-chord, dejected approach instead and it doesn't pay off. The same is true for 'Picture Perfect' - it's a lot of good ideas packed into one song but something about them doesn't quite fit together.

Skylar Grey continues to show her music making prowess in Natural Causes. It's not perfect - there are some places that there could be more, or have better cohesion, but overall its a solid record that showcases her talents. It outshines her debut by showing off a more experimental side, and hopefully the next album shows those elements all coming together to make something huge.

Favorite Tracks: Come Up For Air, Straight Shooter, Real World

Least Favorite Tracks: In My Garden, Picture Perfect

Rating: 75 / 100

Kings Of Leon - 'WALLS'

Kings Of Leon made a reputation out of their country meets indie rock sound. Their seventh album WALLS is due out next month, and they've now shared the second single from the album, the title track 'WALLS'.

'WALLS' is less of a touching song and more of a formulated attempt at it. The song's pretty simple - acoustic guitar, reverberating piano, and heartbeat kick drum, a lowly mixed distorted bass, and the occasional synth. Caleb Fallowill sings with a bright, country timbre throughout, singing about breaking down barriers between people. A bass synth slowly pulses in and out, an sometimes guitar plays a note.

That's just about it with this song. Outside it's initial charm, it doesn't really go anywhere. It misses a climax or any memorable hook to bring it anywhere. The music video certainly doesn't help that either. It's a slow zoom into Fallowill playing guitar and singing, and then he just starts... moving. It's incredibly awkward and the way he stares into the camera without any life in his eyes makes you feel uncomfortable. The video his little to do with the premise of the song.

The problem with 'WALLS' is that it's very underwhelming. There isn't any punch to it, nor is there any point in it being an acoustic track, since there is no emotional attachment to any of the instrumentals to the vocals. They set a tone but not a message, which is where the song fails. There's none of the band's signature vibes to it - the electrifying guitar lines, the catchy melodies, nothing. This song would be miles better if it built up to something bigger. Being a purely acoustic track does not suit it.

Kings Of Leon aren't heading in a hot direction if 'WALLS' is the title track of the album. The title track is usually the essence and heart of the album - 'WALLS' is more of a resting pulse than the core of something meaningful. With the album ahead in less than a month, all we can hope is that there's more to it than this track puts off.

Rating: 58 / 100

My Chemical Romance - Living With Ghosts

The legacy continues. My Chemical Romance's critically acclaimed The Black Parade celebrates its ten year anniversary next month, and ahead of it's release, the band has rereleased the album on vinyl, along with a second disk entitled Living With Ghosts, featuring a load of demos and rough mixes.

We'll skip ahead to the demos - our thoughts on The Black Parade will be coming next month. There a number of songs on that album in which their demo form appear on Living With Ghosts. The most notable is the first demo on the record, 'The Five Of Us Are Dying'. At first unrecognizable, when the guitars and verse kick in, you realize you're listening to one of the first versions of 'Welcome To The Black Parade'. Starkly different from the original, the song's signatures and iconic parts are all missing. The only parts that are truly similar are the verses - even the guitars in the choruses are different! It shares a guitar solo, albeit a different take that's pretty cool to listen to. You can hear the uncertainty in the vocals, as if Gerard Way wasn't actually certain that the song was ready yet. The potential was soon to be discovered. While it's the demo of 'Welcome', the ending also bares some similarities to the intro of 'Cancer'.

Two versions of 'House Of Wolves' can be found on the record, too. Both live mixes, the first version that appears is extremely different from the album version. It begins dramatically with a guitar line and an urgent but subtle drum line before bursting into powerchords and crash cymbals. This version lacks cohesion, but it's interesting to hear what the song was originally. The second version is more akin to the version we're all familiar with, in a rawer and less-complete fashion. 'Disenchanted' appears near the end of the tracklist, beginning with an electric guitar and Way assuring his bandmates that he knows the lyrics, unlike the acoustic beginnings of the album track. There are some mistakes throughout, particularly in the second guitar, but, again, it's cool to listen to.

A live demo of 'Mama' has, in a way, more silliness to it than the album version with Gerard singing out of time without any regard for staying on beat, and some rocking pinch harmonics in the heavy choruses. Bonus tracks 'Kill All Your Friends' and 'My Way Home Is Through You' are also featured as live demos, the rawness contrasting the restrained sound on the album versions.  

There are a handful of never-before heard demos, too, and some of them are quite interesting. The first is 'Party At The End Of The World', a demanding track that makes you wonder what it would sound like if it was probably mixed and mastered. 'Not That Kind Of Girl' is another interesting one, with a confusing perspective. Way sings in the chorus, "So say goodbye to all my friends / I fell in love with her again / My baby / Cause I'm not that kind of girl," which begs to ask: is Gerard singing from the perspective of himself, or the girl? Is the narrator a girl? These are things we'd know better if the songs were properly mixed and, you know, finished.

The two most interesting songs on the record are ones we haven't heard before. The first is 'Emily'. The demo, branded a "Rough Mix," starts with a pretty complex drum beat before Gerard Way sings hauntingly above light guitars. The choruses are powerful, but there are some really well thought out instrumental melodies on this song. The fact that it was mixed means this song was pretty deep into the process of making it onto the record - it definitely feels like it fits right into the tracklist. It builds powerfully to the end, seeing a heavier and heavier progression as it concludes.

The closing track 'All The Angels' is another very interesting demo. The guitar arpeggios are creepy with a Western tinge as Way sings in a tortured fashion as the song slowly builds, a kick drum carrying the beat as the first chorus kicks in, as Gerard Way croons "And all the angels say / Ooh, ooh / You are all to blame" in a very reprimanding fashion. The Black Parade was an ode to death, but it never seemed to assign blame. Perhaps that's why 'All The Angels' didn't make it onto the record; it's message is that everyone around the protagonist is to blame for his death. It's tone would fit right in place at the end of the record, maybe as a retrospective ending. 'Famous Last Words' did a perfect job at closing the album out, though, so perhaps it's best to leave that alone. 'All The Angels' definitely would've found home on The Black Parade comfortably, its creepy, defeated vibe adding a lot to the message of death.

The Black Parade was an iconic album, yet even the most famous songs had to have started somewhere. Living With Ghosts shows off the humble beginnings of some of the album's dearest tracks, as well as introducing fans to some songs that never quite made the limelight. After ten years of growing with these songs, we can finally see how they started to grow. My Chemical Romance may not be together anymore, but their legacy won't die any time soon.

Favorite Tracks: All The Angels, Emily

Least Favorite Tracks: My Way Home Is Through You, The Five Of Us Are Dying

Rating: 70 / 100

Ariana Grande - 'They Don't Know'

Ariana Grande has been in absolute control of the pop world over the last year. Her album Dangerous Woman - see our review here - smashed all expectations and was a confident, fun, and all-around enjoyable pop experience. Her new song 'They Don't Know' is on the Trolls OST, and it's a really sweet track.

A lot of Dangerous Woman had a more serious vibe to it, or at least not deliberately silly. 'They Don't Know' is the perfect amount of sweetness and fun for a children's movie and a successful pop hit. The song is brought in my beatboxing provided by Justin Timberlake, who's track 'Can't Stop The Feeling!' from the soundtrack made big splashes upon its release. The instrumental is pretty understated, the bassline being the most prominent element of it. Snaps and a programmed beat make up the beat, while a few dinky synths come in for the pre-chorus, funky guitars brightening and fattening up the chorus. The production feels really tight here, too - it's perfectly mixed to be a pop sensation.

The song exudes love. Grande is singing about everything great about being in love. Her sweet, flowing melodies dance through a sunny sky and across rainbows while she sings "They don't know, they don't know, they don't know about us... They don't know about what we do, and it's true..." in such happy way. This song, as MTV put it, is what "putting rainbows, fireworks, and candy into a blender and pouring it into your headphones" sounds like. She becomes a little more serious and powerful in the bridge, which exudes a hip-hop flair, but it immediately kicks back in to the cheerful ode to love. 

Ariana Grande knows how to make a good pop song. All of her singles are popular for a reason - not because she has a giant fanbase following her (well, that's part of it), but because she can make poppy, fun, and catchy tracks like it's no one's business. This song really shows that. If it was still summer, 'They Don't Know' would be blasting on everyone's car stereos. I guess we'll have to start taking autumn beach visits just so we can jam out to this track on the ride there.

Rating: 87 / 100

Passenger - Young As The Morning Old As The Sea

Folk music is characterized by its lyrics. There's always a lot of mystery and searching found within the words. Passenger has shown to have a mastery of the ability to tell stories with his words. Eight albums have taught him a lot; his eighth record Young As The Morning Old As The Sea is a testament to that.

Known for big hits like 'Let Her Go' and the country-tinged 'Shape Of Love', the singer has seen mild success throughout his career. That never seems to get to him, though. The English singer is forever humble, singing about fulfilling his own dreams and facing his memories throughout Young As The Morning.

The album begins in a less thought provoking manner, and more in a feel-good way. Intro track 'Everything' sees him singing the story of his own success: the first verse ends with "Then you get something / Something that you've always dreamed about / When you got something you've got something to lose," referencing 'Let Her Go' - the song he wished he could always write and have it resonate with so many people. The chorus goes on to condemn humanity, saying that people will take everything from you - but you should give them your best. A peppier number follows up with 'If You Go', a song about the mysteries of the simplistic things of life, the cheerful attitude accented by punchy trumpets, sweet guitar arpeggios and bright acoustics. 

The indie vibes are strong on this one. The riff for 'Anywhere' screams indie, and the gospel organ helps take that a step further. The great vocals from Passenger also resonate a nostalgic vibe above the sweet harmonics, creating a hopeful atmosphere. The third song 'When We Were Young' is a chilled back track with sweet strings backing the clean guitar. Beautiful melodies paired with a sweet sentiment about young love bring about a very peaceful track. The warm guitar solo provides more dreamy substance to the song's slow moving body.

The true folk element kicks in during the second half of the record. The title track 'Young As The Morning Old As The Sea' has a urgency in the sweet arpeggiating guitar and pounding drums. The great guitars follow wanderlust lyrics, as Passenger sings about exploring the world to discover his roots and everywhere he's dreamed of going - he wants to be free, as "I wanna be free as the winds that blow past me / Clear as the air that I breathe / Young as the morning / And old as the sea." Acoustic goodness continues in tracks like 'The Long Road', which has a sweet vibe and is punctuated by reverberating slide guitar. 'Fool's Gold' is much the same, orchestras and a more upbeat drum beat replacing other elements along with the acoustic guitar. Passenger's message of finding happiness in the little details of life are supported by subtle background vocals, making the track resonate that much more. The atmospheric guitar intro of 'Somebody's Love' lead into a similar structure as 'Fool's Gold', but the highlights of the song are its fantastic instrumental moments and sweet melodies.

The acoustic guitar dances with piano in 'Beautiful Birds' featuring Birdy (perfect). The harmonies between Passenger are Birdy are as intertwined as the grace of the acoustic guitar and piano - pure bliss put under a somber light. It's almost heartbreaking - the two moving lines trapped in a tragic but beautiful dance as the lyrics hauntingly chant "You said you loved all the songs that I'd sing / Nothing that you'd ever heard / And I said I loved you with all of my heart when / We were two beautiful birds" in a stunning duet. Piano makes a return in 'Home', the album's closing track, but in a more upbeat fashion. The piano leads the song as acoustic guitar strums brightly, being carried by a light drum beat. The song is a sweet and cute ending to an even more sweet record, the beautiful reverberations of piano and strings closing the album as they fade out blissfully, like the final flakes of snow on a winter morning falling from the sky as the sun begins to peak through.

Passenger is a master of storytelling. It's hard to believe he isn't more renowned - his abilities certainly deserve it. Young As The Morning Old As The Sea is like a life story: it's about the dreams and wishes of wanderlust and hope Passenger has experienced throughout his life. It leaves you wanting something; not necessarily more music, but just something you can feel and hold onto. This album taps into your own wishes and more peaceful times, providing for an emotional and peaceful journey. When you step out into the world to find those dreams you want to follow, take this album with you.

Favorite Tracks: Beautiful Birds, Young As The Morning Old As The Sea, When We Were Young, Home

Least Favorite Track: Anywhere

Rating: 88 / 100

The Weeknd - 'Starboy' ft. Daft Punk

After setting the bar huge with Beauty Behind The Madness in 2015, people have come to expect a lot from The Weeknd, and for good reason - his voice is the epitome of R&B and sensuality. Paired with Daft Punk, surely nothing can go wrong!

Despite two of the biggest names working together on it, The Weeknd's new single 'Starboy' is pretty underwhelming from what you would expect from him. It's not an awful song by any means - it's a pretty solid track, but it feels extremely generic. There's a lot more it could've done, and it's left without a lasting taste.

What it does have is great production. Daft Punk's contribution to the song was the production, and they nailed it. The beat is pretty heavy, a deep synth covering the bass of it with the high end of it will atmospheric piano dramatically creates a tense feeling. The song doesn't have much to it instrumentally outside of this, but there are synths that build up during the choruses that you just wish carried out throughout the song. If every chorus built up a little more with a new synth line or something akin to that, it would've been a much more memorable track.

'Starboy' is about The Weeknd's newfound extravagance after his success in the latest years. The lyrics talk about fame and the luxuries of a rich life. The chorus chants "Look what you've done / I’m a motherfuckin' starboy," The Weeknd sending shots at his haters; their messages made him want to succeed even more - and look where he is now. Many of the lyrics aren't as typically sensual or poetic as his works in the past of been, but instead are more hip-hop influenced. The bridge line "Let a nigga Brad Pitt / Legend of the fall took the year like a bandit" couldn't have been better timed.

The only real problem with the song is that it is quite generic. It sounds like any other deep house track out there. There's nothing really about it that would demand a second listen - every listen after the first really has the same impact. There's no intricacies or little details to discover that would make it worth revisiting, nor is there any real climax to the track. It's cleanly produced and very safe, and that's more or less all that it has going for it.

'Starboy' is an underwhelming lead single. It's good, but generic, and may sadly act as a sign that his follow up record to Beauty Behind The Madness may not be as fruitful as we could have hoped. His success is letting him revel in extravagance, to the level that his lyrics are almost cocky. Let's hope there are better things ahead for his upcoming record, Starboy, ironically, has more to offer.

Rating: 70 / 100