Adam Betts - Colossal Squid

Chaos and music go great together. Almost like wine and cheese, just with more craziness and less taste. Adam Betts' new record Colossal Squid brings chaos to a sonic level.

Colossal Squid is an experiment. It's electronica set on madness with live drums to go with it - it comes in all forms. There's the glitchy, rabid attack of opening track 'Drumbones,' pounding electronic drums barraging the track until synthesizers kick the track into a more approachable structure, and there's the more soothing ambience of 'Aneek,' distorted synths washing over the innocent keyboard synths as they bounce curiously. It's the punchier side of the record that tends to stick out more, however: 'Winbop' progresses powerful with quick drumming, and 'Hero Shit' maintains a rigid structure with the endless vocal loops.

The album is cool, but there are moments where its purpose becomes skewed. Unless going into an album like this expecting something that's nothing more than chaos, you might find yourself searching for purpose. There are many times where the album feels like drum practice for Adam Betts, his beats carrying the tracks through but ultimately summating to a jumble of snare hits. The album itself was recorded entirely from sampling using Ableton and a drum kit, so in a way, yes, it is a drumming experiment. But when does it become more than that? It's hard to find that area once you see that edge to the record.

Adam Betts is a great musician, but Colossal Squid may be a bit of a gimmick. The musicianship is there, but purpose other than showing off isn't very clear. The chaos is tangible, but where does it lose meaning? That's for you to decide.

Favorite Track: Drumbones

Least Favorite Tracks: Hero Shit, Tadala

Rating: 61 / 100

Dungen - Häxan

The world of psychedelic rock is an odd one. It does have its moments, though. Swedish psych band Dungen makes some of those magical moments come to life in their new album, Häxan.

Häxan isn't the traditional psychedelic record. It's an homage and a soundtrack of sorts; it's following a recent trend of artists going back and making their own soundtracks for past films. Häxan is an original score for The Adventures Of Prince Achmed, the world's oldest surviving animated piece. Thus, this record is full of different moods and different levels of excitement.

Being a score, this album has plenty of filler tracks. Certain movements are slow and dreamy, such as 'Aladdins Flykt Över Havet' and 'Achmed Och Peri Banu.' Some songs also prove to be groovier and jazzier, setting a more sensual tone: see 'Trollkarlen Och Fågeldräkten' and 'Achmed Flyger,' the latter of which sounds like it could be from a video game soundtrack with its adventurous vibe. 

This album is peaceful and not overly flashy, as is meant for a score. What's great about it is that you don't need the film playing next to it to understand the record, or the movements of the film. The emotions are set very clearly, the tone doing all the talking. You can tell when climax and events occur, tracks like 'Wak-Wak's Portar' and its distorted guitar and flutes ringing with urgency and without regard for time. The same is true for the closing track, 'Andarnas King,' a jam conclusion with a Lightning Bolt flair.

Häxan is an interesting record. It's a score, but it stands on its own as an interesting record full of events. It does what a score should do best - tell the story independently from the film through sonic interpretation. If anything, it makes you want to see the film in order to understand the tale of the record. Dungen's brilliance shines bright on this record. 

Favorite Track: Trollkarlen Och Fågeldräkten

Least Favorite Tracks: Grottan, Den Fattige Aladdin, Aladdin Och Lampan

Rating: 70 / 100

Natalie McCool - The Great Unknown

It's always nice to hear a refreshing new pop artist. Natalie McCool is the fresh new face on the block, and she brings something new to the table with her debut record The Great Unknown.

The Great Unknown isn't pop in the traditional sense. It's a mix of darkness and the modern, radio pop that most may be familiar with. Natalie McCool doesn't appear to be a sellout, though. The music is pure in every sense, clearly not some of the more fabricated stuff you'd here from time to time. There are plenty of moments when the album's purity comes into play, perhaps not becoming most clear until the final track 'When You Love Somebody.' This track is the most bubblegum pop you'll heard on the record, simple and easygoing as McCool dreamily sings "it's there when you love somebody."

There are plenty of sweet moments on this record like this track. See 'Fortress,' bringing forward the sweet punchy synths of LIGHTS and sweet harmonies you might expect of St. Vincent. It's danceable but its understated, something you'd might slowly sway to on a cloudy day in town. It's definitely not a city song - it's a country song at heart; not stylistically, but intrinsically. It builds with power, elements piling together for one powerful yet fun end. Much is the same about 'Magnet,' the simple lyrics crooned sweetly and with lots of fun. It's more immediately upfront and has more urgency to it, but it's a solid pop song all around.

The Great Unknown has some darkness to it, too. 'Just Let Me Go' changes the scene of the record, dark and brooding with the poetry of Aurora and the spacious understanding of Chelsea Wolfe. It's a slow moving beast, the mystery building slowly, treading across the floor like the "demon [that] burns all our souls" that the song refers too. 'Feel Good' follows up, not as dark but with the same mood to it. It's not the dark, poetic monster that 'Just' was, but its darker vibe helps make it feel a bit more serious.

The are very few weak moments on the record. From the sweet beginning of 'Pins' right to the very end, it's a pretty great and chill record. The only moment that stands out as particularly bad is 'Cardiac Arrest,' where the lyrics don't quite get the message across like they should. Otherwise, the record is a very clear and solid pop record.

The Great Unknown is a great introduction into the music industry for Natalie McCool. There's a clear understanding of her sound and a great control of poetic emotion and pure emotion. This is the start of a strong career - this songwriter's pop rock flair is going to be a driving force for those to come.

Favorite Tracks: Just Let Me Go, Fortress, Magnet, Pins

Least Favorite Track: Cardiac Arrest

Rating: 78 / 100

The Weeknd - Starboy

The new king of sensual pop is back. The Weeknd's new album Starboy shows a growth of his character and sound.

Starboy is an album about fame and its intricacies. The album begins with the eponymous single 'Starboy,' which admittedly sounds a lot better on the album that it does as a standalone single. Perhaps its a new mix or just the context, but 'Starboy' sounds great, exceeding our original thoughts. The Weeknd and Daft Punk put together a very solid song. 'Starboy' is a good representation of the album to come, sensual and somewhat threatening at its core. The song itself is a realization of fame, but negatively and positively. It's about grandiose but also about an internal anger, the chorus lines "Look what you've done / I'm a motherfuckin' starboy" ringing both proudly and with contempt.

'Party Monster' follows through with a darker composition, sweet melodies ringing above dark synths. The song follows up with the story of 'Starboy,' The Weeknd singing about his need for a girl who already has another man. The song reaches an epic climax in its bridge, great melodies resonating hauntingly above The Weeknd's singing. The bridges on the album really take many songs to another level - later on the record comes the punchy 'A Lonely Night.' This one has a lot more of a poppy flair, sweet melodies keeping the upfront synths bouncing until the bridge, where synths explode with huge amounts of bass for a huge experience.

There are plenty of moments on the record where a poppier atmosphere takes over. Songs like 'Secrets' and 'True Colors' rings slowly and sweetly, while others like 'Love To Lay' go into fully infectious tones. 'Lay' is a fun song, upbeat percussion driving the song powerfully throughout its length. The album ends on a sweet note, as well: 'Die For You' returning the dreamy vibes and combining it with the infectious flairs of previous tracks before Daft Punk returns for the finale 'I Feel It Coming,' bursting with funk.

Starboy has a statement to deliver, however. It becomes most apparent firstly in 'Reminder,' which is really a big "fuck you" to those labelling him as a sell-out for abandoning his darker influences. Its chill composition allows for The Weeknd to gracefully diss his haters. Similarly, 'Sidewalks' is the story of The Weeknd's and Kendrick Lamar's upbringings, Lamar absolutely smashing his verse in the track, as he does. Anything he touches turns to gold. The album treads away from the negatives of fame, too, taking in the extravagance of it all, another "fuck you" to the haters: 'Rockin'' has a lot of groove and sweet melodies that make the message about a fun relationship sound great, and Lana del Ray helps 'Stargirl Interlude' sound weird and oddly sensual as the lyrics call for the starboy's lover.

Starboy isn't a perfect album, however. In trying to become something different, there's always moments of awkward transition. Such is the case of 'False Alarm,' a song we didn't originally enjoy. It's gotten a bit better since, but the great verses can't save the off putting choruses. The screaming really doesn't suit him. Most of the collaborations are good, but, as always, Future is hit or miss. He provides backup on 'Six Feet Under,' where he's tolerable, though his instrumental influence can be heart in the beat, and there's 'All I Know,' where he absolutely trashes the flow and great melodies. Other songs like 'Attention' and 'Nothing Without You' just don't have any memorable merit to them.

The Weeknd is the newest threat in the pop world, and he's here to stay for quite some time. Starboy is in a eclectic record, bringing his past sound to something new while still maintaining the dark sensuality that made him famous. It's not perfect, but it's a solid transition. What's great about The Weeknd is that he isn't afraid to take risks, and that's what Starboy is all about. There's no moving forward if you can't be ready to take a step back.

Favorite Tracks: Rockin', Starboy, Sidewalks, Love To Lay

Least Favorite Tracks: Stargirl Interlude, Attention

Rating: 79 / 100

Icon For Hire - You Can't Kill Us

You don't get quite as scene as Icon For Hire, but there's something special about this band. Their music is very personal for the scene crowd who often find themselves feeling alone and in need of something to give them purpose. Often times, that place of refuge is music, and the band's new album You Can't Kill Us is a testament to that.

The most noticeable element of this record is its electronics. The band has dabbled with these elements in previous records, but there's a lot more of a focus on it on You Can't Kill Us. 'Supposed To Be,' the album's intro, has big, dark, industrial synths that follow the thick rhythm guitar with powerful drive. 'Pulse' takes it a step further, trap-esque synths swimming above the uplifting lyrics and strong rhythm. The instrumental overall is pretty epic, lots of elements build up together.

As mentioned before, this album has a strong sense of closeness. The song 'Under The Knife' deals with self-harm directly, the bridge reaching an emotional climax. Before that comes in, the chorus emotionally chants, "You carved a special place for your pain / So it came back to hurt you every night / You closed your eyes and wished it all away / Until you disappeared under the knife," relating to the listeners who have felt that certain pain. Ariel Bloomer goes on a little tangent during the bridge, speaking to the listener: "It’s easy to forget where you’ve been, I guess that’s what the scars are for... I see you at my shows, scarred up from head to toe, like there’s no point even trying not to let it show... Too many feelings and not enough self control... But it bothers me, our scars are currency by which we’re measured," forgetting the song to deliver an emotional message.

The album may have a strong message, but some songs don't let it off that way. Some songs don't quite develop musically as they do emotionally. The slow ballads 'The Magic' and 'Happy Hurts' are back to back, dragging down the momentum following the powerful tracks before it. 'The Magic' has more electronic elements to it, transitioning from the energetic parts to the slower ones. 'Happy Hurts' is a piano track, stripping away some of the more upfront elements and giving it a rawer sound. Other tracks are just solid without much to show for it. There really isn't much to note about the rest of the album... The album ends on a sweet note, the pop rock epic 'Invincible' channeling more trap elements and closing track 'You Can't Kill Us' bringing the uplifting sound from the beginning of the record, but the momentum is already dead by then.

Icon For Hire continues to be a close band for some. Strong messages are told through You Can't Kill Us. The instrumentals and songs themselves may not give the messages in a strong way, but they're all there. Icon For Hire keep doing what they do best, and that's making their music personal.

Favorite Tracks: Pulse, Supposed To Be, You Can't Kill Us

Least Favorite Track: You Were Wrong

Rating: 77 / 100

Fall Out Boy - 'Thnks Fr The Mmrs'

It's Thanksgiving, a holiday where we Americans sit around a table, feast on delicious food, and talk about what we're all thankful for. Thanksgiving doesn't have quite the musical mood surrounding it like other holidays, but there's still a lot of music out there that likes to give thanks.

Fall Out Boy's 2007 classic 'Thnks Fr Th Mmrs' really isn't one of those songs. If anything, it's pretty much the exact opposite of a thank you. Regardless, it's musical sweetness is something to remain thankful for even if the song's meaning itself is about a failing relationship.

'Thnks Fr Th Mmrs' helped Fall Out Boy launch further into their pop rock takeover after 'Dance, Dance' rocketed them into stardom. 'Thnks Fr Th Mmrs' showed the best of Fall Out Boy's alternative side. The song is brought in by dramatic orchestration with lots of dynamic and tension. Patrick Stump's soulful voice rings with a rockstar tinge, especially in the choruses, loads of harmonies piling on top of the thick rhythm guitar.

As mentioned before, there isn't much about being legitimately thankful in this song. The song's really about a relationship where no more love exists, but they continue to be together just for sex. The chorus chants: "One night and one more time / Thanks for the memories / Even though they weren't so great / He tastes like you only sweeter," referring to the lack of romance in these casual affairs. The line "He tastes like you, only sweeter" comes straight from the play Closer in a particularly funny scene; the song has a couple of cheeky references like that, including the bridge lyric "Collecting Page Six lovers," referring to bassist Pete Wentz' romantic links to Page Six model Lindsay Lohan. There's even reference to his signature eyeliner - "I'm a liner away / From getting you into the mood."

The lyrics are a pretty interesting internal battle. There's a plot and there's an overall meaning, both of which aren't necessarily related. The narrative follows the story of a crazy night. The character is amidst an argument with his partner, saying she better hope she's being watched over ("I'm going to make you bend and break (It sent you to me without wings) / Say a prayer, but let the good times roll / In case God doesn't show") before things go down. As things go on, he begins to lose sight of that relationship, the memories of the past remaining clear but the future for them looking uncertain: "I'm looking forward to the future / But my eyesight is going bad / And this crystal ball / It's always cloudy except for, except for when you look into the past." The bridge sees him losing his morals and getting with other girls (Pete Wentz lost Kim Kardashian to a monkey in the music video, so that's really as low as he can get). The song then bursts into one final chorus, a big festive hurrah (or a fuck you) to love and fun.

'Thnks Fr Th Mmrs' probably isn't the song you want to be citing this Thanksgiving weekend, but there song itself is something to be thankful for. It's one of prime examples of alternative rock and of the band, and really stood the test of time. It came out in the prime of scene in 2007, and ever since it's been a classic. If you're finding trouble being thankful this weekend, too, you can always come to this song for some sweet revenge.

Rating: 97 / 100

Happy Thanksgiving from Immortal Reviews!

Justice - Woman

There's a lot to be thankful for from the 70s, especially since many elements of disco and funk have been making a comeback over the last few years. French house duo Justice's third album Woman takes the disco influence to another level, but does it translate well in a modern setting?

What's most immediately noticeable about the record is its funkiness. 'Safe and Sound' rolls the album in, the dance vibes resonating with lots of character about the sweet bassline. You're going to want to get up and move around to this track. 'Pleasure' follows through with similar sweetness, though much more restrained and refined. There's less party in this disco and more thought into it. Another song that really brings the groove is 'Fire.'

The second of the album is much more different in terms of disco. There's some experimentation and risks taken on this half. It kicks off with the dinky, sweet synths of 'Stop,' innocently dancing above the the full bassline. The wallowing, seven-minute long epic 'Chorus' is the most invigorating track on the record, built with an urgency that none of the other songs quite reach. Perhaps its the space-opera vibe of the synths or the quickly changing parts of the song, but 'Chorus' really rings as something special in the tracklist.

For this record, all of the good moments are sadly usually paired with bad ones. There really isn't any climax on this album besides the variety of 'Chorus,' which in itself isn't particularly exciting, just interesting. There's drawn out moments like that of the six-minute 'Randy.' It's like they tried emulating the formula of 'Chorus' but in the most standard way possible.

Then there are places where some ideas just don't develop enough. 'Heavy Metal' starts off dark and with a very interesting melody and vibe. It doesn't follow through for the rest of the track, going back to the upbeat disco vibe almost out of nowhere. 'Alakazam !' is a cool instrumental, but it doesn't really add anything of interest to the album.

Justice is a prolific band, but Woman doesn't seem to support that. It's full of tastes of goodness, but there's no serving. It's lacking where it can't afford to, and the jumbled mess that it is doesn't satisfy any listening wants. Woman isn't what it could have been.

Favorite Track: Chorus

Least Favorite Tracks: Alakazam !, Close Call

Rating: 70 / 100 

Highly Suspect - The Boy Who Died Wolf

Progressive rock finds a new home in the hands of Highly Suspect. The band bring progressive rock together with alternative flair in their sophomore effort The Boy Who Died Wolf.

The Boy Who Died Wolf isn't just another progressive rock album. Highly Suspect already established their unique sound in their debut Mister Asylum, snatching them a Grammy nomination this year. The band isn't ready to let go of that momentum just yet. They sound bigger than ever on this record, bursting confidently forward besides taking seemingly no time to get this next record out.

Highly Suspect bring a catchier aspect to the table in their unique progressive rock fusion. Songs like 'Viper Strike' ring proudly with rock n' roll riffs carrying them high and energetically. 'Postres' is much the same, rock vibes carrying it through the core of the record. 'Chicago' also brings a poppier side to the table in a progressive fashion, the piano ballad sweetly moving along as a tragic ballad.

The band's catchier approach doesn't stop them from reaching epic heights of prog rock. 'My Name Is Human' opens the record, blistering, heavy guitar bringing the album to a straddling start. It's thick instrumentation compliments its almost haunting melodies. 'Wolf,' the album's closure, takes up the genre in a different way, featuring an epic build up from a barebones track to an electrifying, thrilling conclusion - this is also exhibited in 'Little Ones' earlier on in the record. They channel pure Pink Floyd in 'Serotonia,' the unique beginning and end sandwiching a very Floyd reminiscent bridge, complete with an electrifying guitar solo.

There really isn't anything wrong with this record. It's an honest rock n' roll record at its core. It may not be intense or demanding throughout, but it's certainly invigorating. The electrifying guitar solos and sweet timbre from Johnny Stevens or the thrilling rhythm brought about by brotherly duo drummer Ryan Meyer and bassist Rich Meyer really sell the band's chemistry. They know their mission statement, and they're convicted to go out and settle the score.

The Boy Who Died Wolf is an honest album, yet it's also a sign of hope. It feels like a flagbearer - a young band on the scene like Highly Suspect can create such a powerful storm of a record and jut them out in such quick succession... it breeds an exciting sense of possibility. Highly Suspect is definitely the new threat on the block in the world of progressive rock. Watch out, because they're gonna make it huge.

Favorite Tracks: My Name Is Human, Send Me An Angel, Chicago, Serotonia

Least Favorite Track: F.W.Y.T.

Rating: 81 / 100

Kevin Abstract - American Boyfriend: A Suburban Love Story

A love story through hip-hop is often told through vulgar remarks or some pretty vague storytelling. Kevin Abstract changes it up, his unique blend of alternative hip-hop and indie pop resonating fantastically in his new album American Boyfriend: A Suburban Love Story.

The album's pop sensibility falls in line with its lyrical prowess. This album isn't like other hip-hop releases you've heard this year. It's not centralized around the thick bass beats an fast, programmed beats. Genuinely interesting live instrumentation builds sonic soundscapes on this record, giving the album a leg above others. American Boyfriend kicks off with 'Empty,' an orchestral, cinematic intro leading into dinky piano chords that carry Abstract's vocals above fat brass in the verses. The choruses ring with harmonies and loving words from Abstract before going straight back into the stripped down verses. Abstract imitates girls he's dealt with in the past above synth arpeggios that carry it sweetly.

The best thing about this record is truly its instrumentals. Kevin Abstract is a genius in his own right. His voice is one thing, it's slightly raspy timbre sounding rich above the often sweet instrumentals, but his ability to create soundscapes is something else. 'Seventeen' features guitars as the prominent instrumental, ringing with loads of reverb to create the idea of a memory. Sweet Bon Iver harmonies build the song as it progresses, the instrumental constantly changing to accommodate the changing tenses. Towards the end of the record, 'American Boyfriend' keeps the album rolling, its soulful mood pairing amazingly with the electrifying guitar solo.

There's a lot of changing styles on the record. Things stay generally close to an indie vibe, especially in some of the singles. 'Yellow,' a song of wanderlust and love, rings brightly with fresh acoustic guitars and vocals harmonies as Abstract sings with a poppy vibe with a slight hip-hop edge to himself. The sweet drive of the beat pairs excellently with the other moving parts of the song, especially the keyboard solo at the end of the track. 'Tattoo' has a very barebones, American sounding instrumental, giving the whole "American love life" vibe some dimension in the middle of the record. He takes up a more hip-hop attitude on 'Blink,' edging away from the sweet indie vibes. Things take a soulful turn by the end of the record. with 'Miserable America' really selling that edge.

The only issue I really have with the record is that it feels a bit confused. The constantly changing tones sometimes don't transition too well, and some times when a good idea is presented it doesn't get fully developed. I'd love more songs like 'Seventeen' on the record, as well as 'American Boyfriend' styled tracks too. The interludes in between songs don't really add much to the album's narrative or mood, either, interrupting the momentum other tracks build up.

American Boyfriend: A Suburban Love Story is a great and refreshing hip-hop record, bringing alternative and indie pop vibes into one great, often overlooked narrative. It's a record about American love, not shadowed in extravagance but built from the purest emotions of the phenomenon. This is an album you can't miss out on.

Favorite Tracks: Seventeen, American Boyfriend, Empty

Least Favorite Tracks: Interludes, I Do

Rating: 79 / 100

DNCE - DNCE

If yesterday's review of Little Mix's new album didn't prove that musical preconceptions can be false, DNCE certainly will. The dance rock group, probably more known as Joe Jonas's new musical project, is here with one of 2016's grooviest records yet with their self-titled DNCE.

DNCE is no Jonas Brothers rip off. It's like the lovechild of The 1975 and Two Door Cinema Club. It's laced with sugary guitar chords and a R&B flair, creating a textbook definition of funk rock. The album kicks off with the eponymous track 'DNCE,' beginning with a sweet harmonies as the group spells out the band's name. It carries through with some bright, punchy synths and optimistic brass above the sweet instrumental. Jonas' vocals are full of groove in a very smooth way. 'Body Moves' follows up with a crunchy bassline and some sweet melodies backing it. The choruses burst with funky flair, the bridge bursting with a crunchy guitar riff that builds up with brass support to lead it into the sparkly break.

A lot of this album feels like a big party. 'Cake By The Ocean' is one song that really finds itself in that setting. The dancey bassline repeating throughout the record, the choruses exploding with sparkling synth chords and great melodies. The guitar work is fantastic, while understated, especially in the second verse. It rings so groovily and sugary, it feels likes its dancing completely separately from the track. 'Doctor You' follows up in much the same way, Jonas' vocals smoothly and sensually resonating above the crunchy riff. The melodies are the ear candy of the song, very bombastic and proud. The song 'Naked' later on in the record also features the bombastic vibe. some falsetto vocals from JinJoo Lee giving the song a fresh palette.

There are a lot of great songs on this record, but several of them are just that - good songs building off the same vibes. No track is a carbon copy of the other, but often times the songs cling to a specific vibe. 'Be Mean' has the same proud and bright vibes of 'Naked,' albeit a bit masochistic, but doesn't try to move on from that. Laidback tracks like 'Almost' ring sweetly in the otherwise upfront tracklist, but 'Truthfully' repeats this formula, with less build to a climax and with more of a pop vibe. The easygoing, lazy 'Good Day' has that laidback structure that really builds the entire album, except that it doesn't use other elements to make it seem otherwise.

DNCE is a surprising threat to pop and funk music. This unexpected group abandons preconceptions and has an infectious sound that ranks amongst the top contenders of the genre. DNCE is a great debut - a great album to jam out to in any scenario. There's promise in this band.

Favorite Tracks: Cake By The Ocean, Doctor You, Almost

Least Favorite Track: Zoom

Rating: 80 / 100