Breaking Benjamin - Dark Before Dawn

Six years since its last release, Breaking Benjamin returns to the scene with a brand new album in 2015. After finally resolving all conflicts, Benjamin Burnley has brought the band back with a brand new set of members. Was that a good decision? Maybe not.

Being the sequel to 2009′s Dear Agony, Dark Before Dawn had some shoes to fill for Breaking Benjamin fans. Would they be able to keep that signature Breaking Benjamin sound? Could they change for the better? Could their music evolve into something new yet familiar all the same?

To answer each question: Yes, no, no (respectively). From the second you hear the first main song on this album, ‘Failure’, you can immediately tell that you’re listening to a Breaking Benjamin album. Their signature guitar sound and style is back, perhaps cleaner than ever. That’s unfortunately where the positives end. Dark Before Dawn feels like it lacks progress. In fact, it feels like a regression. Half way through the album, everything becomes so repetitive. Every song follows a familiar structure and lyrical quality becomes less and less powerful with each track.

One of my main qualms with this album is the mixing of it. Barring the choruses of ‘Failure’, everything feels too polished. From the intro of ‘Angels Fall’ you can tell the heaviness was drained in favor of a cleaner lead. You can tell the driving powerchords are still there, but they’re mixed to the same level as the acoustic guitars, and are lower than the reverb-packed lead guitar. This formula is followed in almost every other, and where it tries to remedy itself, the flow is broken. Listen from ‘Breaking The Shadows’ through ‘Never Again’. The tones of the songs in between almost seem as if they’re all trying to be something original, when it’s really all the same. Punchy and chunky, yet no substance.

Next, there is no clear progress made from Breaking Benjamin’s last effort. This band is not one known for its stylistic changes, but it’s as if they did not even try to add something new to the plate. Sure, there’s a bit of a heavier influence with electronica on a few songs, but it almost sounds wrong in their execution. The opening and closing tracks (’Dark’ and ‘Dawn’) serve almost no purpose. The album could have been perfectly fine (I can even see it benefiting without these tracks!) without the inclusion of these tracks, at least with their position in the tracklisting. They provide an electronic and symphonic taste to the album, but do not feel like they represent anything. It’s almost as if they included them to make the title of the album seem clever.

Breaking Benjamin, after six years of disputes between band members, followed up Dear Agony with an admittedly agonizing sequel. It is a step back from where they should take their sound. It lost the rawness of older BB tracks and feels overly dramatized and repetitive. Perhaps Breaking Benjamin should have called it quits when issues began to arise. While it isn’t the worst rock album this year (that honor goes to Three Days Grace’s Human), I won’t be going back to it any time soon.

Favorite Tracks: Failure

Least Favorite Tracks: Dark, Never Again, Ashes Of Eden, Dawn

Rating: 5/10

Faith No More - Sol Invictus

Sol Invictus: the “Unconquered Sun”. A Roman god who was brought up to a state of a cult by a Roman emperor. With every night, he was forced to submit to the chaos of darkness, yet emerged as victor every morning.

History lesson aside, Faith No More’s new album Sol Invictus has a close connection to the Roman concept. The band was always as the forefront of the rising metal scene of the late 80s to the late 90s. The band called it quits as shockingly as they had come out of the dark in 1998, reuniting in 2009 through 2012 for the “The Second Coming” Tour. It was not until this year the band finally released new material, for the first time in nearly two decades. In what has become one of the most anticipated metal records of the year, Sol Invictus delivered just what you’d expect from Faith No More.

The album is fairly diverse in sound where it wants to be. Faith No More makes strong use of pianos early on in the album, notably leading in tracks like ‘Sol Invictus’ and ‘Superhero,’ whereas it begins to take a more background approach in ‘Sunny Side Up’. ‘Separation Anxiety’ brings in the palm-muted, thick guitar tones in the verses, almost comparable to certain Tool tracks. This track in particular brings in some particularly heavier sounds to the table. Mike Patton delivers some brutal vocals on it to - understated yet forceful in the same manner. ‘Cone Of Shame’ brings some more creepy vocals to the table, with a more of a spoken-word approach to it. The riff then kicks in, resulting in a pure jam. ‘Rise Of The Fall’ brings some old-school vibes to it (closest comparison of a song I can think of is Avenged Sevenfold’s ‘A Little Piece Of Heaven’), bringing back the piano instrumentation to the front. Some alternate instruments in the string and brass sections make an appearance, too. ‘Black Friday’ is a bit weirder, harkening back to the feel of ‘Cone Of Shame’. Personally, the lyrics to ‘Motherfucker’ feel a little repetitive melodically at this point, but the lyrics (while a bit cliché) are pretty uplifting in a way. It almost feels like this song would work better towards the beginning of the album rather than near the end. ‘Matador’ repeats the formula of ‘Sunny Side Up’ before the album concludes on a high, triumphant note with ‘From The Dead’.

At some point, however, the album brings up a certain sense of déjà vu. Every track is individual in its own right, yet there is a point where things begin getting repetitive. For example, the reggae/baroque vibe of ‘Rise Of The Fall’ feels like a callback to the piano-led ‘Sol Invictus’. The whole “start small, bring in big instrumentation later’ is also evident on several tracks. ‘Black Friday’ and ‘Cone Of Shame’ follow essentially the same exact pattern of each other; I’d go as far as to say they could even be alternate versions of the same song. Really, that’s my only complaint. If the album was a bit more diverse and less crafted upon one repetitive formula each song, perhaps I could have enjoyed it a little more than I did.

Let’s take a step back - Sol Invictus, that Roman God we discussed earlier. He was forced to battle the powers of darkness every night, coming out victorious every morning. In essence, Faith No More’s Sol Invictus shares a similar overarching meaning. Battling the evil within something, someone, or even yourself to rise again with each new day. The band’s newest album is a solid effort and a strong comeback, but definitely has room for improvement.

Favorite Tracks: Sol Invictus, Superhero, Separation Anxiety

Least Favorite Tracks: Black Friday, Motherfucker

Overall Rating: 7.5/10

Muse - Drones

As civilization moves ever further into the era of technology, we begin to make everything mechanical. Including ourselves. The creation of drones allows for silent murder - the controller sitting behind a monitor, aiming their strike on their target. The controller of the drone is influenced by its handler, and so forth. Everything has become so monotonous, so controlled and contrived, as far as to say we have become so dead inside that killing is just another check off of the to-do list.

Muse explores this concept with their latest album, Drones, a concept album exploring the journey of a protagonist trapped in a world like this (that is, a more acute approach on the whole “mechanical killing” world than ours is at the moment). It follows a vivid story, from losing all emotion, to becoming a human drone, to fighting against the system, and ultimately finding love again despite being broken down so many times.

1) Dead Inside: I’m not afraid to admit that I was skeptical about this one at first. Muse had been promoting a “back to basics” and “heavy, guitar oriented” album and had released ‘Psycho’ only a short while before. Then they dropped ‘Dead Inside’, which is almost the opposite of what everyone expected. This song, has, however, REALLY grown on me. The funky sound is great and the U2-esque breakdown is just beautiful. You can really hear the emotion in Bellamy’s vocals in this one. The story is introduced in this song, giving an insight to how the protagonist has reached this point in his or her life: they lose hope and all concept of love. This makes them vulnerable, for what comes next... 9/10

2) [Drill Sergeant]: Nothing much to say about this one. It almost feels unnecessary, nothing much other than a drill sergeant yelling at the next “super drone”. It doesn’t deserve a 0, though. It builds up the hype for one of the biggest moments on the album... 5/10

3) Psycho: That goddamn riff. I still remember blowing up when the famous “0305030″ riff that has been a staple riff to jam to live after the likes of ‘Stockholm Syndrome’ and ‘Map Of The Problematique’ had finally become its own song. While the instrumentation really, really brings out the best in this song, it’s hard to say the lyrics are particularly good. You have to understand the perspective of it, first, before making a judgement on the lyrical content: the drill sergeant. In this song, the drill sergeant is drilling these thoughts that the protagonist is nothing more than a killing machine. “Your ass belongs to me now” does have its own charm, though. Can’t have a good album without the one meme-generating moment, can you? As a whole, the song grooves throughout, keeping the listener bobbing their head and ready for the riff to kick back in. The brass being brought to the front in the final chorus is a great moment, too. 8.5/10

4) Mercy: At this point in the story, the protagonist realizes that they’ve lost something. Theirself. They become aware of what has become of them after the brainwashing in ‘Psycho’, and beg for mercy (who’d have thought?) against what they’ve become. Sonically, this song is comparable to Black Holes & Revelations’ ‘Starlight’, albeit heavier in many ways. Muse’s synth arpeggios return in a big way on this track, a welcome element in any Muse song. Admittedly, like ‘Dead Inside’, this track took a bit of growing on me. Everything feels in place and adds to a very enjoyable listening experience before the truly heavier parts of the album kick in. 8.5/10

5) Reapers: This is what Muse fans were waiting for. It’s like a wonderful mashup of the rocking of Absolution, the electronics and vocoders of The 2nd Law, and just pure rock ‘n’ roll. The song begins with an awesome tapping riff intro and progresses into an onslaught of pedals and modulation on the guitar end of things. Bellamy really shines with his falsettos during the choruses. The massive outro cannot be overlooked either - one of the most memorable (and jam-worthy) parts of the album. Muse meets Rage Against The Machine! Thematically, the protagonist realizes the truth behind the mindless killing and the danger and brutality behind it. 9/10

6) The Handler: Muse? Progressive rock? Well, hello there, Origin Of Symmetry. With an absolutely crushingly huge riff in to kick this song off (the Drop D is strong with this one), you know from the get-go that you’re in for a monster song. The chorus is everything Muse should be - heavy, falsettos, you name it. The bridge is reminiscent of another relatively-heavy Muse song, In Your World. No complaints there. The quantum entanglement with ‘Showbiz’ from the band’s debut album right after the bridge is an incredible moment, sends chills down my spine. Another “ah-ha!” moment: “behold my trance formation.” Oh Matt, how clever you are. Doesn’t make much sense, but points for trying and admittedly posing an interesting play on words. The protagonist no longer wants to be held down by the controlling, and seeks rebellion. Ultimately, this is my favorite song on the album, nearly beat out by ‘The Globalist’ because of that bridge, but we’ll get into that later. 10/10

7) [JFK]: Finally, treading into some unmarked territory. Unless you watched the leaked “Making Of:” featuring ‘Defector’ and ‘The Globalist’, for which I’d scold you for, but that’d make me a hypocrite. The song features a speech by President John F. Kennedy regarding the spread of communism, which carry a relevant meaning in today’s society, not necessarily to the intended message. According to Mr. Bellamy, the track, “...talks about the human spirit, freedom, and independence...” and “where everything transitions.” Accompanied by a lovely string version of the ‘Defector’ solo, this song is very beautiful. 8/10

8) Defector: Based on prior reviews of the song, no one expected this one to be as good as it is. Muse meets the grandiose of Queen meets the riffs of AC/DC. Bellamy preaches, “Free / Yeah I’m free / From SO-CIE-TEE!” in the most operatic way possible while still remaining subtle and massive at the same time. A chorus of a thousand voices, if you will. The solo utilizes some Whammy pedals, which is also welcome. The riff comes in pretty big, too! The protagonist begins to realize their freedom in this portion of the story. 9/10

9) Revolt: It’s hard to not associate this song’s melody to an 80s sitcom. It just fits so perfectly. This one also didn’t immediately bring me in, but I was hooked by the end. The song is built on charm and some heavy powerchords. Bellamy does great vocal work here. That falsetto coming out of the bridge is phenomenal. Nothing much more to say about the sonic elements of this song! Here, the protagonist encourages others around him to stand up against the system and find back. 8.5/10

10) Aftermath: You couldn’t have prepared me for how beautiful this song ended up being. An ambient journey where you can feel the dramatic atmosphere of the aftermath of war. Amidst the destruction and strife, the protagonist finds love again - the opposite of what ‘Dead Inside’ brought to the plot. This song is so serene, imagine Hendrix ft. an Italian Orchestra. In Muse-terminology, imagine ‘Blackout’ meets ‘Hoodoo’. Simply fantastic in every regard. 9.5/10

11) The Globalist: Ask any Muser what song they weren’t prepared for on Drones. It’s ‘The Globalist’. The claimed sequel to the beloved ‘Citizen Erased’ and a ten-minute odyssey of progressive rock. While a sequel to ‘Citizen Erased’ only in that it feels segmented into “parts” (it’s more of a heavier sequel to ‘Explorers’), it still a massive track. The symphonic intro akin to Ennio Morricone’s ‘L’arena’ builds a beautiful and haunting image building up to Matt kicking in with the vocals. The first part of the song (up until 4:28) is a beautiful dream, and suddenly, the ‘Helsinki Jam’ riff kicks in full force. It’s in your face and the operatic backing adds to the intensity. It all counts down into the heaviest territory Muse has ever delved into with a Spanish-esque guitar solo that breaks down into a piano ballad. Wild from start to finish! The story of this song is almost separate from that of the entirety of Drones - perhaps it acts as a backstory of sorts. It is its own narrative on the rise and fall of a dictator. ‘The Globalist’ ends with the thought-provoking lyrics, “I just wanted, / I just needed to be loved.” All a dictator ever wants is some attention. Before you can ask for more, the song ends just as subtly as it began, leaving you reconsidering what rollercoaster you just experienced. 10/10 (note: it COULD have been a smart move to split this song into two separate songs, but I’m not complaining.)

12) Drones: Nothing more than a beautifully layered a cappella track featuring Bellamy sending off the album in a sort of prayer. It’s a statement on the casualties of this war of drones - the voices of those who perished and those who will be forgotten without justice. It’s pretty dramatic, really: they’ve been killed by this machine of a human, who had no empathy towards them as they pushed the shiny read button. A big statement on what war has become, and what it can and will evolve into, should we continue in this direction. The album concludes on one final “Amen” as the story comes to a close. The album could not have ended on a more perfect note. 9/10

Muse delivered one monster of an album, fulfilling their promises in more ways than one. They returned to the basics of who they were: guitar driven songs, synth arpeggios and pianos splashed here and there, and grandiose melodies driven by huge choruses. Sure, it may not be as fine tuned or revolutionary as Origin Of Symmetry was, but, then again, can it be? This album combined the best of what Muse had to offer throughout their career, and I couldn’t ask for anything more out of this album. It told a story and made its mark on society. Here come the drones!

Favorite Tracks: The Handler, The Globalist, Aftermath, Reapers, Dead Inside

Least Favorite Tracks: [Drill Sergeant]

Overall Rating: 9.5/10

My Top 10 Albums of 2015:

1. Muse - Drones
2. 10 Years - From Birth To Burial
3. Fall Out Boy - American Beauty / American Psycho
4. Halestorm - Into The Wild Life
5. Zs - Xe
6. Joey Bada$$ - B4.DA.$$
7. Purity Ring - Another Eternity
8. Liturgy - The Ark Work
9. Lightning Bolt - Fantasy Empire
10. Kamasi Washington - The Epic

Steve Aoki - Neon Future II

I’ll start this off by saying, I enjoyed this album more than I did the first Neon Future. Steve Aoki released the first half of the Neon Future experience last year, spawning singles such as “Free The Madness” with Machine Gun Kelly and “Delirious” featuring Kid Ink. This album doesn’t fall short in the guest department, either. Arguably, this album holds an array of even more notable guests: Linkin Park, Snoop Lion, and ever J. J. Abrams makes an appearance to close out the album.

With Neon Future II, it’s clear to see why Aoki is dominating the EDM scene at the moment. Even non-electronica fans can’t resist bobbing their heads to the heavy beats and awesome drops in his songs. Sometimes cliché, sure, but always infectious - a key in EDM music. Each song is varied in their own respect, and the fun stayed consistent throughout the album.

The storyline of the albums takes its next step (as expected). Neon Future I introduced the concepts of the neon future, and what it could hold. Neon Future II explores it, everything from traveling to the future with the intro to finding paradise in “Heaven On Earth”. And what better way of returning to the present than being narrated out by J. J. Abrams? Priorities.

Sonically, though, as much praise as I’ve given it, it is relatively average. Sure, each song is respectfully different, but it gets to a point where there’s no progression. Things begin to become a bit stale after the halfway point. Being the Linkin Park fan I am, I feel “Darker Than Blood” is the most sonically impressive song on the entire album, even though the entire song is based on a loop that should really only be used as a 30 second build up for another, grander song. Chester and Mike’s duet is simply beautiful, and Chester does some of his finest vocal work in quite some time during the chorus. In this regards, the album is still a good listen, but could be improved on a broader scale when it comes to instrumentals.

The Neon Future series allowed for Aoki’s popularity to massively grow, becoming some of mainstream EDM’s most vital hits. With tracks like “Free The Madness”, “Delirious”, and “Darker Than Blood” hailing from these albums, its easy to see why. Neon Future II explores the dark and light concepts of the proposed dystopian land, and even gives the listener a dance while having the adventure. That being said, these albums are definitely nothing groundbreaking. A lot of improvement is to be had, as these albums begin to drone on at points. Though when concluding with such a feat as to have J. J. Abrams accompany you back to the present, maybe it’s time to reconsider what’s “standard”.

Favorite Tracks: Darker Than Blood (ft. Linkin Park), Hysteria (ft. Matthew Koma)

Least Favorite Track: Holding Up The World (ft. Harrison)

Rating: 7/10

10 Years - From Birth To Burial

It’s hard to find a band these days that so definitely have their respected place in a genre, yet create music with their own sound making it hard to place a label on it. For alternative rock, one such example is 10 Years. Ever since 2002, Jesse Hasek and co. have been releasing powerful and heavy songs on each and every release. Perhaps one of their most commercially successful releases (at least based on its day-of-release), 10 Years delivered another album that’s definitely a force to be reckoned with in their discography.

Haven’t done one of these in awhile, so here’s a track-by-track review (for those tl;dr peeps, there’s a wrap-up paragraph at the end instead if you’d prefer):

1) From Birth To Burial - Starting off ominously with nothing but an effected guitar, piano, and Hasek’s vocals, you can tell from the get go that you’re in for something big. The song picks up with a punchy distorted guitar and drum with Hasek delivering a fast-paced verse reminiscent of Enter Shikari. Then, the huge riff kicks in. The massive chorus, “We’re dying in stereo! / From birth to burial!” demands your attention, and the massive instrumental keeps your heart racing and head bobbing. Not to mention, the songwriting is top notch, as to be expected with 10 Years. A triumphant and perfect way to start this album. 10/10

2) Selling Skeletons - Opening up atmospherically before exploding into an in-your-face riff, Selling Skeletons is very reminiscent of the band’s “Minus The Machine” era. The bridge of the song sees Hasek desperately growling some high notes, with his voice slightly breaking adding to the intensity of the track (similarly to Linkin Park’s Keys To The Kingdom). The short orchestral refrain before the final chorus provides an intimate moment with the listener before one last burst of energy from the song. 8/10

3) Vertigo - This song is perhaps the most “average” track on the album. There’s nothing really special about it; but don’t get me wrong, it’s a great song. The chorus has some great guitars and the lo-fi drum intro is a bit of a refresher, but it sounds like as typical of a 10 Years song as others. The lyrics are alright, relating to the confusion and spinning to the battle that is love. A bit of an average track, but a good track nonetheless. 7/10

4) Triggers and Tripwires - BRING ON THE HEAVY! 10 Years brings in some djent/post-hardcore vibes in this one. This song is essentially three minutes of brooding riffs, angry verses and screaming. The bridge/outro is one of the most badass riffs I’ve heard all year. There’s truly not much more to say about this track, it does everything it does heavy and amazingly. 10/10

5) Luna - From the way the track opens, you can tell it’ll be a bit different. 10 Years channels its inner Chino Moreno here. Bringing some melodically pleasing vocals here in both the verses and choruses, Hasek showcases his clean vocals on this one. Guitars are kept to a minimum here - it seems this was Hasek’s track to take full lead of with his voice. This song could easily be a Palms track with its lovely layering, the verses even have a Crosses vibe. Beautiful track. 9/10

6) Crimson Kiss - Aaaaannnnndddd straight back into the riffs! This song borders progressive metal at its core. Opening with some tortured screaming, you immediately know you’re back in the brute force of this album. The layered screams in the chorus reminds me of letlive. or Arcane Roots, in the best way possible. Something about those words, “Killer creator / Blow me away / I am the loaded gun” feels like something to scream to the sky when you’re mad (akin to “Is this who you are? / Some sweet violent urge / A weak fallen man / With the promise of an end!” from Thirty Seconds To Mars’ Fallen) The brutal screaming to end this track wraps up the whole headbanging extravaganza in this track. 10/10

7) The River - Nothing like a heavy, relentless track to tell you about religious and political injustices of our society. It follows the story of a citizen forced to do the work of those with power, and being confused on what path he can follow, whether it be religious, political, or monetary. The bridge of the track is perhaps the best wrap up of this idea: “Chaos comes from the cross / Monetary masquerade / Religious rat race / Do or die and down the drain / Fight or flight parade.” If the lyrics aren’t good enough for you, the chorus riff is essentially a continuation of the outro riff of Triggers and Tripwires - how could you not jam to it? 9/10

8) Ashes - Bringing back the piano! Admittedly, I find the first verse a little strange - not that it’s bad, but something just doesn’t sit well with me in regards to it. Perhaps the “embryo” and “down the rabbit hole” combo for some reason? Regardless, the bass and guitar do a lovely pairing of notes together (it’s also nice to hear the bass brought up). The guitar sound shares resemblance to a dulcimer in the section after the second verse (really, it could’ve been taken right out of Botanist’s “VI: Flora”!). Another pretty characteristic song for 10 Years - the chorus especially. 7/10

9) Survivors? - Channeling Chino Moreno again, are we? Perhaps taken a more focused rock influence on Crosses with this one. This track is very ocean-oriented thematically. The narrator searching for survivors on the vast ocean (a metaphor for the impossible game of love, likely). A very simple, yet captivating song. 7.5/10

10) Miscellanea - Ah, yes. The lead single of the album revitalizes the energy for the end of the album once more, immediately kicking off with that massive riff. Hasek sings really high in this one, his voice cracking as a result. In my opinion, much like in Selling Skeletons, this adds to the desperate, visceral nature of the song. The piano interlude just before the second chorus provides a short reprieve, right as the madness kicks back again. Then, back to piano after the bridge ends! And this time, it beautiful segues into the final track of the album. 10/10

11) Moisture Residue - When I first listened to this song, it gave me chills. The piano is beautiful if somewhat repetitive, and Hasek’s wonderful vocal performance here lends itself hand in hand for the track. The song builds up into spiraling symphonics and closes out the album in a haunting fashion, almost as if the whole story hasn’t come full circle left. As if something is left to be continued. 10/10

10 Years has had a history of releasing powerful and memorable albums with each effort. This hasn’t stopped here. “From Birth To Burial” stands as a powerful force in their discography, perhaps not at the top but definitely not near the bottom in terms of ranking. In it is everything you’d expect from 10 Years and more. They bring out their influences, try new methods of expressing themselves musically, and even exploring some uncharted territory in terms of sonic growth. One of the strongest releases this year, by far.

Favorite Tracks: From Birth To Burial, Triggers and Tripwires, Crimson Kiss, Miscellanea, Moisture Residue

Least Favorite Tracks: Vertigo, Ashes

Overall Rating: 9/10

My Current Top 10 Albums of 2014:

1. Fall Out Boy - American Beauty/American Psycho
2. 10 Years - From Birth To Burial
3. Halestorm - Into The Wild Life
4. Darlia - Petals
5. Zs - Xe
6. Joey Bada$$ - B4.DA.$$
7. Periphery - Juggernaut: Alpha
8. Liturgy - The Ark Work
9. Purity Ring - Another Eternity
10. Lightning Bolt - Fantasy Empire

Halestorm - Into The Wild Life

There aren’t many pure rock n’ roll bands out there any more. No more record-straight-to-analog or single take recordings. It’s all recorded, processed, and edited. Halestorm decided to take it oldschool with their newest record, creating a very organic album along the likes of AC/DC and Led Zeppelin. This album sounds like it could be taken straight from the 70s/80s rock scene.

Go into this album ready to jam. You might be sweating by the end. Each track is a punch in the face in one way or another. From the huge opening of Scream to the surfer-metal (?) vibes of What Sober Couldn’t Say, this album explores a lot of territory in the metal realm. Lzzy Hale delivers powerful vocals track after track (interesting to note, all of the vocals were done in one take - no cutting, auto-tune, etc. was done to them. Additional vocals were added in later). The guitars and drums are relentless - Halestorm builds off of the best of their past material here, especially in riff-heavy tracks like I Am The Fire and Mayhem. Not everything is a wall of guitars, though - there are some softer tracks, too, including the confessional story of Dear Daughter and the groovy New Modern Loves. Sonically, this album is incredibly simple, but packs quite a punch nonetheless.

There are few negatives with this album. It might get repetitively rock-y at some points, yet each song is original in its own way. Halestorm shows in each track that they are truly masters of their craft and, even at their third album, can continue to make some great Americana rock-and-roll.

Into The Wild Life is possibly the best follow-up to The Strange Case Of... Halestorm could have possibly created. It showcases their growth as a band and still stays true to who they are. It’s as if the band combined their intensity as a live act with their power as a studio artist. Since the beginning, Halestorm have been an unstoppable force that are the diamond in the rough of the modern hard rock scene. Who says rock is dead?

Favorite Tracks: I Am The Fire, Mayhem, The Reckoning

Least Favorite Tracks: None. If I had to pick one, I’d say What Sober Couldn’t Say

Rating: 8.5/10

Three Days Grace - Human

After Adam Gontier left Three Days Grace in January 2013, a lot of fans feared for the future of the band. Their fear was warranted. Bassist Brad Walst’s brother, Matt Walst filled the shoes of Adam and this is their first release together. Maybe it would have been better for the band to call it quits...

I’ve spoken pretty negatively about it up until now. Let’s talk about the positives - the first half. Some of the band’s biggest jams are found here - ‘I Am Machine,’ ‘Painkiller,’ and ‘Human Race’ all show the band can still bring some great songs into the mix. The album opens up on a passive-aggressive note with ‘Human Race,’ a track that showcases Walst’s ability to live up to Gontier vocally. To be honest, the part about this song that made me love it so much was the verses, or, more specifically, the guitar in the verses. Great playing that keeps the song rolling. Sure, the rest of it is somewhat cliché, but it all builds up to one big jam. ‘Painkiller’ delivers the same energy, yet still a bit cliché in the grand scheme of things. It’s a jam, so it serves it’s purpose. The next two tracks, ‘Fallen Angel’ and ‘Landmine’ start to falter a little, as the album starts to drone on with these guitar-driven, basic songs. ‘Tell Me Why’ is the worst on the first half, not really expanding off of anything new. Painfully cliché at this point. ‘I Am Machine’ revitalizes the album, as it’s the first track since ‘Human Race’ to exhibit some emotion.

This is where everything falls apart - and by everything, I mean nothing is right about the second half of the album. The next six tracks are nothing but cliché, horribly written, sloppy songs that ruin not only the flow of the album but the entire thing. You can tell by it’s title, ‘So What’ is nothing but some angsty rock song that makes them seem like they’re trying to be Nirvana. ‘Car Crash’ earned the award for “second song I’ve given a rating of 1-star too.” The worst song on the album, it sounds like a middle schooler could have written it. ‘Nothing’s Fair In Love And War’ is a song that’s been written hundreds of times before by hundreds of other bands. ‘One Too Many’ is the another pathetically written track, sloppy and uninspired. ‘The End Is Not The Answer’ doesn’t even need an explanation to how bad it is, you can tell from the title. Even if it’s trying to convey a good message, it does it in as obvious of a way as possible. ‘The Real You’ is really bad, too.

If anything is to be taken from this album, it’s that Three Days Grace basically needed filler tracks to close out the album. I found a similar trend in their last album, 2012′s Transit Of Venus, where all the listenable tracks were placed in the first half, but then the album lost focus and became hilariously bad by the end. Perhaps releasing 6-song EPs would do this bad some favors, instead of littering their catalogue with horrendous tracks. Had the band not included the second half of songs into the album, I would have enjoyed it FAR more. If one thing can be said, don’t go into this album expecting good lyrics, let alone listenable tracks as you approach the middle.

Favorite Tracks: Human Race, Painkiller, I Am Machine

Least Favorite Tracks: Car Crash, One Too Many (+ the rest of the second half)

Rating: 3/10

Imagine Dragons - Smoke + Mirrors

Few bands burst onto the scene like Imagine Dragons did. Back in 2013, "Radioactive” took the world by storm when it seemingly came out of nowhere and became one of the biggest rock songs of the decade. The band followed up 2013′s Night Visions with an album of new ideas yet seemingly familiar: Smoke & Mirrors. Imagine Dragons’ new album is very reminiscent of their first effort, yet still introducing some new ideas that they have yet to explore.

To be completely honest, I wasn’t too confident about the quality album when they released the first single from it - “I Bet My Life”. I was not much of a fan of the soulful ballad (and I’m still not - it’s one of my least favorite tracks on the album). The album kicked off with “Shots,” which in all honestly isn’t too bad. It didn’t raise my hopes for the album, as it was a pretty characteristic Imagine Dragons song in every regard (and, unfortunately, not in the areas in which they shine). When the second song, “Gold”, kicked in, that’s when I tightened my seatbelt. Similar to “Radioactive” in all the right places - it’s huge, it’s catchy, and it’s pretty anthemic. The electrifying falsettos in the choruses are incredible, as well as the swirling guitar solo that wraps up the song. Listening to the title track almost made me skip it. That song’s a train wreck, the in your face pre-chorus that kicks into the very underwhelming chorus completely throws off the intensity “Gold” set up. Thankfully, the next song on the album completely brought my hopes back up. “I’m So Sorry” is my favorite track on the album (I did a guitar cover of it, too, if you’re interested). This track brings some pure rock and roll onto the table, akin to the intensity of Jack White. Perhaps a bit cheesy and maybe even a rip-off, but electrifyingly incredible. The madness that is the outro solo just makes it all the better.

A lot of the album begins to lull at this point. You have some fairly subpar tracks following (including “I Bet My Life” and “Polaroid”) that fail to show much growth in their repertoire. We cannot forget some of better songs on the album, though: “Friction”, “Dream”, “Hopeless Opus”, and “The Fall” all caught my attention in the best way possible. “Friction” in particular grabbed my ear, likely due to my guilty pleasure of some nice tribal drumming. Awesome Middle-Eastern, African-tribal vibe from this song. Heavy as all hell, too. This one’s going to be a monster live (no pun intended).

All in all, Imagine Dragons’ sophomore album isn’t much of an evolution, but rather an extension influenced by experiences. Let’s be honest - there isn’t much evident growth in the songs here. Most of the tracks would probably fit fine on Night Visions (barring the heavier tracks like “I’m So Sorry” and “Friction”). When they do shine on this album, however, they really bring their all. A solid rock album, but nothing groundbreaking.

Favorite Tracks: I’m So Sorry, Friction, Gold, Hopeless Opus

Least Favorite Tracks: Smoke & Mirrors, I Bet My Life, Polaroid

Rating: 7/10

Zs - Xe

There are so many different combinations of sounds and tones, we can scientifically never run out of music. That doesn't stop people from doing crazy shit, though. Zs testifies anything you might call music and create distorted soundscapes full of sporadic jazz saxophones, static and distorted guitars, and some drilling drum beats. The new incarnation of Zs features a powerful trio of masterminds who can literally create music out of the sound very foundations of life and homeostasis.

Xe is all about making music unexpected and untraditional. While some of the longer tracks ('Corps' and 'Xe') don't sustain the climactic energy over an extended period of time (not saying that they don't have their moments), each track has a certain element of "weird" and originality that shines through as each track seamlessly segues into the next. 'Wolf Government' is literally composed of the sounds of cells splitting (meiosis, bitches!) and electrons orbiting nuclei. Science stuff out of the way - they make small things sound huge. 'Corps' exhibits the mastery of Sam Hillmer's jazz stylings on the tenor saxophone, bringing infrequent and panic-y saxophone lines throughout the track. 'Xe', while uneventful as a whole, builds up as over 18-minutes with occasional explosions of energy until one huge climax at the end to conclude a fascinating album. The drum lines are often very captivating and thought-provoking, being very complex in their execution. All in all, the instrumentals of this album shows a clear mastery of the instruments being performed.

Xe is a testament to the weird. Music can exist in all forms, whether or not it makes sense or not. Perhaps that's what makes this album so intriguing - it makes little sense, akin to the experimental and jazzy tones of Talk Talk's Laughing Stock or Bark Psychosis' Hex. Weird is a hard element to master, but Zs has had no problem doing so.

Favorite Tracks: The Future Of Royalty, Corps, Weakling

Least Favorite Tracks: Beginning of 'Xe'

Overall Rating: 9/10

Fall Out Boy - American Beauty / American Psycho

Staying relevant can be a challenge, especially when you're a rock band. Luckily, some bands have amassed such a loyal fan base that achieving the feat that is relevancy in pop culture is a walk in the park. Fall Out Boy is a testament to this. No matter where they decide to go next with their music, there will be supporters, regardless of how they approach a sound. Good thing American Beauty/American Psycho has plenty of promise.

Released almost two years before their previous effort Save Rock and Roll, AB/AP is definitely the most appropriate follow up the band could have mustered up. This album ties all loose ends of Fall Out Boy's career together, polishing up their pop rock/alternative rock sound as well as dwelling in their earliest sounds. It was clear this album would be a game-changer when the band released the first single, 'Centuries,' back late in 2014.

There are few places where AB/AP falls short of excellence. The LP opens up with the anthemic, brassy 'Irresistible' before segueing into the pop punk chants of the title track of the album. This is followed by some of the album's strongest tracks, such as the monster that is 'Centuries' and the teen anthem 'The Kids Aren't Alright.' Next comes to classy, funky vibes of 'Uma Thurman' and the wonderful story that is 'Jet Pack Blues.' 'Novocaine' opens with a distorted synth-esque vocal line reminiscent of Kanye West's 'Black Skinhead' and has an infectious chorus that's hard to forget. 'Fourth Of July' is a recollection of a love story as well as an apology, and 'Favorite Record' keeps the tales of love going. The iconic 'Immortals' from Big Hero 6 is up next - mixed much better, mind you - and brings back the jams Fall Out Boy is known for. The album concludes with the cinematic 'Twin Skeletons (Hotel In NYC)' that recalls an experience - perhaps a recollection of journeys that helped form the tracks that make up this album! This song could not be a more perfect closure for an already amazing album.

Despite telling a wonderful story, this album still does have a few faults to it. The title track, 'American Beauty/American Psycho' feels a tad cliché, and just included for the sake of satisfying those fans who complain about the band not sounding like they used to back in the day (the same people who are the crybabies whining over how Linkin Park isn't Hybrid Theory anymore...), resulting in an awkward blast of energy that doesn't offer much except a reason to title the album as such. The placement of the love songs 'Fourth Of July' and 'Favorite Record' is also a questionable choice - it's fine to have a few songs about the same topic, but making them back-to-back deters the interest. Not to mention 'July' is a far more energetic track (and more heartfelt) than the latter.

Fall Out Boy has never wandered too far from the path, but they confidently march down it making a hefty impact every step of the way. American Beauty/American Psycho is a testament to that notion, proving to be one of Fall Out Boy's strongest releases, detailing their progression as both a band and creators. Another strong release by a great band.

Favorite Tracks: Centuries, Twin Skeletons (Fourth Of July), Uma Thurman, Irresistible

Least Favorite Tracks: American Beauty/American Psycho, Favorite Record

Rating: 8.5/10