Little Mix - Glory Days

When going into a Little Mix album as someone who isn't a fan already AND isn't in their demographic of fans seems to be a setup for disaster. Much to the surprise of an outsider, Glory Days, the group's fourth record, is a pretty solid effort.

Little Mix are perhaps the more focussed, girly counterpart of the United States' Fifth Harmony, but something about this record makes it seem like Little Mix take the cake. Glory Days is a very cohesive record, full of energy and relatable content. It's not bubblegum pop that you'd commonly relate to other artists of this caliber. It's a maturer sound for the group, as well, some different, more risqué themes sneaking their way into the mix.

Glory Days kicks off with 'Shout Out To My Ex,' a highly energetic track with a relatable theme. Much in the way of Justin Bieber's 'Love Yourself,' it's less of a "thanks for the memories" track and more of a lowkey "fuck you" to an ex. The bright acoustic guitar in the verses exude a certain positivity and energy that makes the track feel young and daring, ready for the future to come. The choruses ring high with powerful synths bouncing and pounding percussion.

Similarly poppy tracks include 'Your Love,' which is a bit repetitive but still provides a sweet listen, 'No More Sad Songs' which has some indie elements to it which help it stand out amongst the rest of the album, and 'Touch,' highlighting the chemistry between the group's members with great harmonies. Towards the center of the album lies some punchiness; 'Oops' begins almost goofily, with thick brass coming in that gives the song some extra oomph. It's very self aware of its own idea, and really executes it in the least gimmicky way possible. It's full of groove thanks too that simple brass and dedicated to the flow - Charlie Puth gives the song a nice male register that gives it some color. 'You Gotta Not' follows through with a same brass and punchiness, abandoning the sillier timbre and putting on a more progressive face.

The songs at the core of the album are the absolute peak of Glory Days, though. It begins with 'Down & Dirty,' moving away from the good girl attitude the group may be pigeonholed into. It's a genuinely badass track with elements of trap in it, complete with some sensual and almost aggressive vocals. It comes as a complete surprise, too; up until this point, the songs were pretty safe sounding. This one dares to express something through sensuality. The instrumental is phenomenal, with the harmonies sounding powerful.

The same is true for the follow up 'Power.' It almost sounds like a rock track. It's introduced by Perrie Edwards with a raspy timbre, Jesy Nelson joining her to add some edge to the track. Jade Thirlwall takes control of the chorus, belting out notes as if she were Demi Lovato. The post-chorus follows through with some huge synths and bouncy synths, similar to the bridge in which Leigh-Anne Pinnock comes in with some sweeter vocals. The final chorus sees all of the group coming together as one, the powerful synths supporting it behind them - this track is truly the pinnacle of the record.

Like any album, however, this doesn't come quite close enough to perfection. The large majority of Glory Days is solid. It's full of good pop tracks, but most of the songs are something you'd hear on the radio and not really put much thought into. They don't reach the same amount of energy that others do, making them less memorable. It really sells itself away by the end of the record - 'Nothing Else Matters' concludes the record, its vibe there but already present throughout the rest of the album, making it an end that falls short.

Little Mix certainly surprised on this record. Glory Days is a confident pop record, full of great moments. Not every song really reaches a memorable peak, but its a sweet and solid record to kick back and listen to if you need some energy or something to relate to. They start moving away from their good girl status and develop a riskier sound, too, showing that the group isn't afraid to change things up. Glory Days is a bright new frontier for Little Mix.

Favorite Tracks: Power, Down & Dirty, Shout Of To My Ex

Least Favorite Track: Nothing Else Matters

Rating: 80 / 100

Metallica - Hardwired... To Self-Destruct

Metallica is back and bigger than ever. It's been a long time coming since their last record, and some were losing hope. But here we are in 2016 with the band's new album, Hardwired... To Self-Destruct.

Metallica has in the game for over three decades now and they're not showing any signs of quitting. Perhaps previous efforts may have shown signs of the band fading, but Hardwired is a definite boost to the band's ego. The best of the band is back, full of energy that makes the record feel fresh. Hardwired is filled to the brim with big, demanding riffs that command your attention in every moment, bringing the true blistering nature of Metallica back to its top form.

'Atlas, Rise!' will give you a real first taste of the power this band has found. It's a true metal song in true Metallica fashion. The intro features powerful guitar punches with drumming in between, building into some giant riffs and resolving into a great solo. James Hetfield sounds a bit too clean, but definitely has a lot of strength in his voice. 'Moth Into Flame' has a similar vibe and structure, combining melody, metal, and guitar solos into one thrashing, powerful experience.

The entire album is pure rock and metal, but that doesn't stop it from having some tasty moments in between. The gentle intro of 'ManUNkind' serves as a contrast for the rest of the song, which immediately comes in thrashing with an evil composure. Dark melodies make 'Here Comes Revenge' a standout track, Hetfield's voice dramatically rising above Lars Ulrich's brooding drums in the verses really separates the track others on the record. It feels like there's genuine hatred there, whereas other tracks just sound angry. The breakdown in 'Am I Savage?' is the heaviest thing on the record, with thick, explosive guitars raging into a spiraling solo. Final track 'Spit Out The Bone' isn't the heaviest, but it definitely has the most urgency, being the fastest song on the record and perhaps one of the fastest in Metallica's entire discography.

While the album as a whole deserves praise, there are some weaker moments. Opening track and lead single 'Hardwired' is a blistering song with some solid riffs, but just as our review of the track stated, the song lacks a certain grit. Perhaps its the production of Hetfield's voice that's to blame, or maybe the pretty awful lyrics, but this song stands out as a weak point on the record.

Metallica's return to the game is a big one. Hardwired... To Self-Destruct is a wildly powerful record and one of Metallica's strongest efforts in years. It's thrilling, angry, and heavy, as Metallica should be. Whether or not Metallica is here to stay and start putting out more records, Hardwired will be sticking around with its punches for a long time to come.

Favorite Tracks: Spit Out The Bone, Halo On Fire, Am I Savage?

Least Favorite Track: Hardwired

Rating: 87

Bruno Mars - 24K Magic

The king of funk is back, but perhaps not with flying colors. Bruno Mars is here with his long-awaited comeback to 2012's Unorthodox Jukebox with his third record 24K Magic.

Bruno Mars is known for his infectious groove and bombastic style, and 24K Magic is much the same. Lead single '24K Magic' opens the record up, and our opinions since our review of the track in October remain largely unchanged. The upfront vibes and 90s instrumental really sells his funky composure. It's a groovy song and has a very original sound to it, and all signs pointed to a successful record.

Sadly, 24K Magic is somewhat of a letdown. Bruno Mars' confidence is taken to an almost obnoxious level, exuding cockiness rather than groove. Many songs are ruined by this; 'Perm' has some great vocals but the lyrical content is a true facepalm moment. 'Chunky' is much the same -great sonically, but the lyrics are just a bit too left-field, while the sentiment may not be the worst. The album ends on a far too bombastic note, as well - 'Too Good To Say Goodbye' has an 80s formula, but Mars refuses to stop belting by the end of the song, where it could really use a nice mix of falsetto in there. The song builds nicely, and while a bit cliché, it misses that punch and dynamic that could've made it a strong ending.

The album does have quite a bit of soul to its credit, though. 'That's What I Like' brings in some sensual vibes paired with his soulful timbre. 'Versace On The Floor' follows through with some pure soul vibes, instrumental et al. It screams 80s, complete with a synth solo. It's a sweeter track, falling in line with 'Calling All My Lovelies,' but does everything better. 'Calling' is much too slow and the odd Halle Berry sample is a bit off-putting. The strongest track on the record is 'Straight Up and Down,' which combines Mars' swagger and soul flawlessly and with purpose. The vocals are great while still maintaining a sweet mood, not being overly confronting and upfront like other tracks. This is the middle-ground this album should've sought out.

Bruno Mars' return to music is a bit too much. Many tracks are solid, but very few are standout tracks. 24K Magic a jumbled blend of swagger and soul and never holds on to the compromise between the two. Bruno Mars is back, though, and hopefully that means it won't be too long a wait until he progresses onto the next one.

Favorite Track: Straight Up and Down

Least Favorite Tracks: Calling All My Lovelies, Perm

Rating: 52 / 100

Leonard Cohen - Songs Of Love and Hate

The world lost another legend this year. The master of poetic folk Leonard Cohen has died, leaving behind an almost unfathomable legacy. A fourteen album career that lasted almost over five decades has left a powerful mark on music and the world as we know it. From his poetic beginnings to his final effort (2016's You Want It Darker), Leonard Cohen created a cult following rivaled by few and changed millions of lives through his art.

One of his most powerful works was his third record Songs Of Love and Hate. Released in 1971, it quickly became a cult classic. It's not too diverse of a record, especially when compared to his previous efforts, but it solidified his niche as the dark folk artist and the emotional focus on the record proved to make it powerful. Many critics claim it is one of the darkest records you may ever hear, and that may very well be true.

The emotion of the album isn't plainly obvious, but it's impossible to not feel it. The album gets off to a paranoid start with 'Avalanche,' frantic, plucked acoustic guitar opening the record with aesthetic strings following it closely behind. The song is based off of his previously released poem 'I Stepped Into An Avalanche,' drawing lyrics directly from the poem. The song is almost disturbing in a cinematic way, Cohen's defeated and cold voice calmly attacking the subject. It's a damning view on humanity, a verse angrily chanting "The cripple here that you clothe and feed / Is neither starved nor cold / He does not ask for your company / Not at the center of the world," bashing those who help the poor for the sake of attention. The song's chorus is perhaps even more haunting: "You who wish to conquer pain / You must learn what makes me kind / The crumbs of love that you offer me / They're the crumbs I've left behind / Your pain is no credential here / It's just the shadow of my wound," revealing the unwillingness he has to open his heart, which has experienced pain like no other before.

The darkness of this track isn't fully emulated in the same way throughout the record, but there are places where the violence of the words is just as great. 'Love Calls You By Your Name' channels the frantic acoustic, but it overall sounds more positive than 'Avalanche.' Looks, however, can be deceiving. 'Love Calls You By Your Name' is full of hatred in its lyrics, angry at love and what it has caused. The orchestras add the drama to the track just as they did 'Avalanche,' yet the optimism of them contrasts the track's meaning. The track is more like an unpleasant memory of a past love, the dreaminess of the memories tarnished by their negativity.

Some songs use his signature poetic diction to get the message across. 'Last Year's Man' is a song about an obsessive love that Cohen experienced from afar. It's gentle and retrospective, almost in a reprimanding way. The song feels longing, as if it still seeks this unrequited love it never received. There's a brilliant allusion to the Old Testament and New Testament in the track, amazing symbolism for a man's love affair. 'Sing Another Song, Boys' also uses poetry to amplify it's meaning, with Cohen sounding almost tortured above the powerful track with an uncharacteristic sing-a-long at the end.

There's a reason this album was dubbed the album to cut your wrists to. It becomes most evident in 'Dress Rehearsal Rag,' perhaps the most tortured song on the record. It's self-destructive, angry, and full of self-loathing. The song has a powerfully strummed acoustic guitar paired with cinematic orchestras, but those all take a supporting role to the meaning. The narrator seems to be battling with addiction and suicide, the first verse already full of hatred: "Now if you can manage to get / Your trembling fingers to behave / Why don't you try unwrapping / A stainless steel razor blade?" Full of powerful imagery and dark, raw emotion, this is a song that doesn't escape you.

There are sweeter songs, but none are devoid of some form of anger or deceit. The popular 'Famous Blue Raincoat' is a letter exchange between a love triangle - a tragically difficult situation. The song is pretty and retrospective, a woman's crooning in the background giving the love triangle scenario some imagery. It's a song of betrayal and tragedy, caught between the heartbreaking threads of "Your famous blue raincoat [that] was torn at the shoulder." The album ends on the quieter track 'Joan Of Arc,' a continuation of 'Last Year's Man' and 'Famous Blue Raincoat,' but more of an acceptance. The song gives up hope and recalls what he wanted so badly for all this time, but he realizes that this thrill could only have lasted so long. The love is still there, but the hope that she would share his feelings are gone. This album's tragedy comes to an end, but that doesn't stop it from haunting you whenever it strikes you.

Leonard Cohen's folk beginnings were the roots of his career. His dark poetry came out in its purest form on these first folk records, and Songs Of Love and Hate truly channel some of the most tragic emotions. Cohen left behind a legacy for millions to appreciate and cling to for centuries to come, while the impact of his music affecting everyone who hears them in the same way as when they first heard them. Cohen is a timeless act, and while he may no longer be with us, he will continue to burn bright in our hearts.

Favorite Tracks: Avalanche, Dress Rehearsal Rag, Famous Blue Raincoat

Least Favorite Track: Diamonds In The Mine

Rating: 90 / 100

Rest in peace, Leonard Cohen.

Loscil - Monument Builders

Electronica goes a long way with minimalism. Loscil's eleventh record Monument Builders digs into more ambience from the project while still maintaining some urgency and darkness.

Loscil has crafted a lot of soundscapes over his decade-spanning career, and Monument Builders takes them even further. It begins with the barren 'Drained Lake,' the track's sound very much following the theme of the title. It's a empty, expansive track with gentle piano synths sounding above ambience. It's as empty as you'd imagine a drained lake to be - the song makes you feel like you're standing in the crater of a body that once existed. 

Atmosphere is the draw of 'Straw Dogs,' as well. Horns croon hauntingly above the urgent ambience, a beat rising as if a fiery star swallows the horizon slowly as it rises. This is perhaps one of the most eventful tracks on the record, attributable to its cinematic and tense vibe. 'Red Tide' is another more energetic track, the bassy synth swelling in contrast to the ethereal synths of the background.

'Anthropocene' combines the elements of both songs together into one brooding experience: the bass synths swell and pound as the ethereal synths create a very abyssal mood. It's creepy and spacial, but provides a lot of interesting imagery and mood to the record. That latter of which is the backbone of the record: title track 'Monument Builders' provides wobbly textures that give the album a bit of energy, while 'Deceiver' provides some gentle and more soothing soundscapes.

Loscil's new record may not be the most challenging nor invigorating, but it certainly does what Loscil does best: create some scenery. Monument Builders channels barren landscapes and full, brooding settings all the same. It's a solid record - nothing groundbreaking, but certainly nothing to scoff at.

Favorite Tracks: Straw Dogs, Anthropocene

Least Favorite Track: Monument Builders

Rating: 70 / 100

Emeli Sandé - Long Live The Angels

Emeli Sandé may not be a household name, but she certainly should be. Her sophomore album Long Live The Angels builds from her experiences over the last four years into one raw, powerful record.

Long Live The Angels is soulful and raw, but also contains aspects of pop that give it a memorable flair. It gets off to a soft start with 'Selah,' lacking lyrical content but bringing the album to a soothing start. The hardhitter 'Breathing Underwater' follows through, vast orchestras supporting the ballad. The choruses miraculously chant "Something like freedom, freedom / My God, I'm breathing underwater" in a very uplifting and liberating way. The album tells a powerful narrative that doesn't have a plotline, but tells the story of the last few years of her life since her 2012 debut Our Version Of Events.

The R&B ballads are accentuated by some rawer tracks. The most powerful tracks are the raw ones, not bound with pop elements but instead are not afraid to channel a darker, more personal side. There's 'Happen,' the powerful orchestral track that rings with beautiful strings and symphonies. 'Give Me Something' takes the acoustic route, equally as powerful but even more emotional and sweet. 'Shakes' is much the same but on the piano, where Sandé confesses how deep her love goes: "If you don't want a daughter, then I'll give you a son."

The poppier aspect of the album helps the album see the happier aspects of her life. 'Garden' flows nicely with sweet synths, though the weird rap verse doesn't suit it well. It's very paradisiacal and genuine, harkening back to a sweeter time rather than the very personal ones. The entire end of the record is very soulful and poppy, sounding close to heart but still maintaining some ear candy. Some tracks find the right balance between happy and exposed - 'Hurts' rings with urgency, but the powerful drive and energy demands attention. It's sensual, caught in the crossroads of want and lust.

Emeli Sandé is perhaps the most threatening force in R&B, and not in an aggressive way. Long Live The Angels shows that she is not afraid to dig into her own life for inspiration. It's a close to heart second record, and hopefully the third can take it places this one couldn't.

Favorite Tracks: Hurts, Happen, Give Me Something

Least Favorite Track: I'd Rather Not

Rating: 75 / 100

Katie Kim - Salt

Dream pop's ethereal nature gives each artist who dabbles in it a unique presence. Such is the case in Katie Kim's third record Salt.

Katie Kim's no stranger to creating folky, ominous atmosphere, and it shows throughout Salt. Kicking off the record is 'Ghosts,' a sparkly and expansive track with wallowing and sparkly synths fillings its cavernous composition. It's creepy as the title should suggest, the echoing drums moving drearily and slowly as if the song itself was a ghost taking one slow, gentle step at a time. This isn't a poltergeist; it's a lost soul looking for another chance. This same dreariness is a large part of the latter half of the record, with tracks like 'I Make Sparks' and 'Life Or Living' functioning off the slow moving swells.

What the album really does well, as is to be expected from Kim, is build up some emotion. The song 'Day Is Coming' is perhaps the least optimistic track on the record, the guitar somberly playing under Kim's sweet but defeated melodies. Defeated, hopeless vocals find a powerful home in dream pop,  and 'Day Is Coming' takes advantage of that. Pretty, haunting strings support Kim's poetic lyrics, that eerily chant: "I'm bleeding but I'm healthy, it's aesthetic... I am carrying a torch but with the right eye, I cannot see / Take me to the answers, I'm the one who's listening / I'm the only one that knows about your scars." The track finds astute beauty in a couple's emptiness, filling its melancholy space with dramatic, almost cinematic instruments.

If this album could capture that raw emptiness that 'Day Is Coming' had in more places, it would've been phenomenal. The sad part is that it falls short of reaching a particular height of emotion. Dream pop is not meant to be expansive and invigorating; it's a genre that thrives from emptiness. Katie Kim channels a lot of sound and vast atmosphere in this record. Sometimes it works, and other times it doesn't. There are songs like 'Beautiful Human' that channel emptiness and atmosphere wonderfully, whereas tracks like the ending song 'Wide Hand' feel empty without anything to show for it.

Katie Kim has the ability to make something of hopelessness, but at times it feels like it loses direction of that. Salt wallows in own pessimism, hopelessly trying to find something to cling on to. That's the essence of dream pop, but unfortunately there is a lack of balance in the instrumentals to really channel that. The keys are there; perhaps the next album will pick them up.

Favorite Tracks: Day Is Coming, Beautiful Human

Least Favorite Track: Wide Hand

Rating: 78 / 100

Sleigh Bells - Jessica Rabbit

Ever wonder what it would sound like if The Naked and Famous collaborated with Nine Inch Nails? Look no further. Sleigh Bells' eclectic fourth album Jessica Rabbit is just that.

Sleigh Bells is a band that doesn't really find itself bound to a genre, as it's caught in between so many. Their music is best described as a rogue noise pop, drawing from industrial and electronica, too. Jessica Rabbit is an album that they finished again and again, never quite being satisfied with the product. The dynamic record draws from trying to fill an empty space with fresh hope, drawing from each band members' different approach to writing.

Right from the start, you'll realize this album is something unique. Disjointed, noisy guitar punches lead 'It's Just Us Now' to its pounding start, massive drums filling the song with confidence as Alexis Krauss' vocals soar high above the instrumental. It's an empowering song to say the least - it'll get your blood flowing for sure. The album's lifeline is its high energy that resonates throughout the record's playtime. The groovy riffs of 'I Can't Stand You Anymore' bring the anthemic vibe to the song, with CHVRCHES-esque synth arpeggios and swells sound in the background. The energy doesn't fade whatsoever - near the end of the record, 'Baptism By Fire' is just as energetic as the beginning of the record was.

It's easy to see the album as an uplifting, optimistic one. That would take away from it's diversity, however; it is true that there is a lot of energy on the record, but there's some darkness sprinkled into its tracklist. The short track 'Loyal For' almost sounds like a Chelsea Wolfe track, the deep synths and dark strings creating an abysmal feeling as Krauss' vocals resonate high above them. It's tense drama makes it almost feel violent. 'Unlimited Dark Paths' also gets off to a dark start, but it's sparkling synths soften up the evilness the track has at its core.

Those are the two spectrums, and of course the two also meet at a middle ground. The single 'I Can Only Stare' may seem positive from an outside view, but looking into its blaring synths and spidery synths, it feels more like a search for hope rather than dwelling in a place where positivity already exists. Krauss' vocals are upbeat, but the instrumental remains dark. 'Throw Me Down The Stairs' also sees more darkness, but also has a more upfront rock vibe to it. It's thick and almost threatening.

If this album is lacking anything, it's more upfrontness. I can't help feel that by the end of the record, it could be using a bit more punchiness to it. It's atmospheric and sweet, but it's not as powerful as the beginning of the record. There was conviction and a strive, but at the end of the record it doesn't quite feel the same. It's not bad, and the energy is still there, but it could just use a bit more to really elevate it.

Sleigh Bells are continuing their crazy journey into left-field power pop with flying colors. Jessica Rabbit is energetic and shows that the band really put their soul into this record before being ready to release it. It's not perfect and may lose some of its conviction by the end, but its energy remains constant and allows the album to feel fresh from start to end, and you can't go wrong with that.

Favorite Tracks: It's Just Us Now, Lighting Turns Sawdust Gold, I Can Only Stare

Least Favorite Track: As If

Rating: 80 / 100

Dangerkids - 'Things Could Be Different'

It's been a long time coming for Dangerkids, but a new chapter has arrived. After their success in their 2013 debut Collapse, they're ready to take the post-hardcore world by storm again.

The first single from their new record 'Things Could Be Different' shows an evolution for the band, still clinging to its roots but adding a new vibe to their existing sound. The song begins dramatically, electronics pounding under the lo-fi vocals before powerful guitar punches bring the song to its powerful first verse. The song rings with a certain urgency, ringing all the way to the end, where it all combines into one conglomerate of apocalyptic elements.

What 'Things Could Be Different' shows is that Dangerkids has gone a long way from their original sound. What was once an homage to Linkin Park paired with a wandering sense of loneliness has become something more serious; Dangerkids' sound is its own monster, full of power and a mature purpose. This track isn't about loneliness; if anything, it's a testament to loneliness. It bashes those with massive egos and encourages originality, evident in the chorus which angrily chants "If you’re sick of all the lies, let me tell you the truth: / Nobody wants to be you."

Dangerkids continues to be the fresh sound in the post-hardcore scene. 'Things Could Be Different' is a massive departure from the safe, inviting sounds of Collapse and treads into something more daring and purposeful. It's been a long three years since their debut, and it seems their sophomore album is ready to take the world by storm once again.

Rating: 90 / 100

Taylor Hawkins - Kota

Aside from Dave Grohl, the other true rockstar in the Foo Fighters has always been Taylor Hawkins. He brings his all to the Foo's live shows and can pull off the impressive feat of singing and playing drums at the same time. He's released his solo album Kota, and the mini-LP unfortunately leaves a lot to be desired.

The album begins promising, but slowly just loses sight in being a fun rock n' roll album. The Pink Floyd atmosphere from the intro of 'Range Rover Bitch' leads into groovy riffs, punctuated throughout by cool guitar lines and some powerful vocals - classic rock n' roll. That momentum attempts to carry on in 'Bob Quit His Job,' but if you couldn't tell from the title, this song really isn't great. It starts off okay, but the chorus is literally just "Bob quit his job, Bob quit his job / Did you know that Bob quit his job today," in a bombastic Queen feel, making it feel really tacky. The ending is just cluttered mess.

The truly sad part of this record is that it has such a misguided idea of what it is. It was supposed to be an epic, fun rock n' roll record that brought Queen and punk together. It certainly does, but in the tackiest and uninspired way possible. 'Rudy' is straight Queen vibes, bassline and piano included. It's down to the harmonies. But it's nothing more than that. It's a good track but doesn't quite feel like an original song. Like the songs that Foo often cover live, it feels like a Queen B-side, but a bad one. It also feels like he didn't really know how to do this project by himself. Closing track 'I've Got Some Not Being Around You Today' is as cluttered as the title is. Truly, this album is just a mess.

Taylor Hawkins is a rockstar, but his solo material does feel ready to show that yet. Kota is misguided and lost in an idea that it never executes quite well. It's truly unfortunate, given that you can understand the promise it has. It just doesn't make the cut, in the end.

Favorite Track: Range Rover Bitch

Least Favorite Track: Bob Quit His Job

Rating: 49 / 100