Daughter - Not To Disappear

I went into this album completely unaware of what to expect. I had heard “Doing The Right Thing” the day before picking it up, and I was simply entranced. Daughter’s sophomore album, Not To Disappear is nothing short of entrancing. The album is beautifully atmospheric with a hint of urgency, constantly grabbing your attention at every lovely moment.

As soon as the album begins with the song “New Ways”, the slow and heavy feeling of floating in a purple space invades you. The song builds up from a atmospheric pop song into a slow driven, enchanting ballad filled with layered synths and wailing background noise. “Numbers” follows up, with a minimalist beginning featuring nothing a single, reverberating beat and vocals, before building into an huge, stadium filling indie rock monster. This album is full of eccentric buildups from nothing into a massive wall of noise that garners every sense into one huge sonic experience. Vocalist Elena Tonra commands the attention of the listener, even in the disarray of the entrancing and complex masterpieces this album has to offer, showing off her vocal and songwriting abilities especially in “Alone / With You” and “Mother”. The album isn’t all slow-paced buildups, though. Tracks like “How” and “No Care” are exciting and energetic right from the get-go and carry on as such, giving the album a burst of energy when it begins to drag. “No Care” has a particularly fun section, with guitarist Igor Haefeli bringing out an infectious riff accompanying the driving kick drum, sounding like a Now, Now track. The song also features a great performance by drummer Remi Aguilella, who also shined on the taiko drumming on “Numbers”. Tonra take bass duty on the album, and takes control on “To Belong”, on top of her enchanting vocals. The nearly seven minute epic, “Fossa” begins enchantingly with a Purity Ring reminiscent introduction and evolves into a true indie folk jam, complete with a classic kick-snare pattern and short and sweet guitar licks. “Made Of Stone” closes the album, on a final atmospheric note that sucks you deep into the space you began sinking into at the beginning of the album, as if to provide one last moment of clarity before drifting infinitely into the great unknown.

Daughter has provided an album that has set a precedent for all indie, folk, and pop artists to follow this year, barely two weeks into 2016. The album has a huge presence while maintaining a minimalist attitude in its approach. This group has a huge year ahead of them. This blend of Imagine Dragons’ apocalypse pop and Now, Now’s indie flair came together in the most brilliant of ways. Don’t miss out on this album!

Favorite Tracks: New Ways, Doing The Right Thing, Numbers, No Care

Least Favorite Tracks: How, Mothers

Rating: 9/10

Top Albums Of 2016 (so far):

1. Panic! At The Disco - Death Of A Bachelor
2. Daughter - Not To Disappear
3. David Bowie - ★

Panic! At The Disco - Death Of A Bachelor

Panic! At The Disco has had a long adventure. Now consisting solely of one main member (Brendon Urie), their musical direction is the product of a single individual’s intentions. Every album of theirs has had some sort of niche too it. Their debut, A Fever You Can’t Sweat Out, gave root to their classic emo/alternative rock fanbase. Pretty. Odd. brought in baroque elements with a pop and rock touch, while 2011′s Vices & Virtues came with a more polished, arena-rock alternative rock sound. 2013′s Too Weird To Live, To Rare To Die saw them edge closer into pop rock and electronic rock. Their latest effort, Death Of A Bachelor continues the pop rock evolution, edging even further away from the rock sound, Urie taking over this album and making it his own.

Admittedly, given the album’s singles, I wasn’t entirely sure to expect from the album. There was a good bit of variation. Brass-led anthem “Hallelujah” took some getting used to, and the Fall Out Boy-esque “Victorious” didn’t initially solidify with me (though, for some reason, the latter of the two sounds much grander and epic on the album - perhaps it’s just me, but it feels more in place in the context of the opening track of the album than a standalone single). The slow ballad “Death Of A Bachelor”, the title track, also took some getting used to - it feels like a rockier version of a Sam Smith song. “LA Devotee” - this album’s take on Thirty Seconds To Mars’ “City Of Angels” - is a tribute to the city of Los Angeles, a trend that has become ever more popular as of late. Another track that took some growing to appreciate. There’s nothing that dragged the track down, per se, just the number of city tributes in music as of late seems to be making the theme somewhat saturated. After a few listens, the song has definitely improved like the white wine Urie praises in the chorus. “Emperor’s New Clothes” was what I needed for the prospect of a new Panic! album built solely by the mind of Brendon Urie to catch my attention. The haunting track (complete with a very ominous music video) has the same spooky pop and rock appeal seen in Vices & Virtues track, “Let’s Kill Tonight”, but on a grander scale. The backing vocals, chanting “Finder’s keepers / loser’s weepers” is a bit cliché, to put it nicely, but the rest of the track makes up for it. The final pre-released track, “Don’t Threaten Me With A Good Time” was another solid track, though nothing about it stood out in particular. Just a standard, feel good, Panic! rock track.

Beyond the singles, the second half of the album is chock-packed with some surprises. “Crazy=Genius” brings a jungle beat into the mix, with the guitars finally being brought back up into the song. The use of brass sections in the background of the band’s music really shines in this track, bringing it back to the big band scene of the 30′s and 40′s. The percussion on this track is disjointed, yet not too the point where you have to stay confused about it for too long. “Golden Days” is the feel-good rock track this album needed in its second half. It almost sounds like Urie’s take on Muse’s “Revolt”, a song that served a similar function on their album, Drones. The song itself has a subtle lo-fi feeling to it, which keeps it from being just another rock song. The brass section adds a good bit of color to the song, too. “The Good, The Bad and The Dirty” begins with the vocal progression that almost sounds like Björk, but evolves into an arena-pop rock sound with a sweet atmosphere surrounding it, almost to a very refined U2 sound. “House Of Memories” has a sweet melody and great lyrics that evolve into a massive chorus with a arena-filling voice. The bridge to the end has Urie taking over the track, and, while not being as grand as some parts of the album, is perhaps one of his most defining moments on the album. The huge sing-a-long part will definitely be a huge live moment, too. The closing track is the Queen-esque “Impossible Year”, a soulful piano ballad that has Urie bring his takeover to an epic conclusion. The trumpets and accompanying brass add to the grandiose of the track. While still being gorgeously huge, the track is largely subtle, not going over the top and dramatic á la Muse’s The Resistance, but still captures the theatrical finality the album needed to close out.

Panic! At The Disco, (or at this point, should we just say Brendon Urie?) has not fallen any short of an epic new album to kick off the new year. With grand brass accompanying huge rock instrumentals with a pop twang, Panic! followed up their 2013 effort with flying colors. Soaring above what the expectations he faced, Urie showed that he can take over any project he so desires, and owned it to the extreme. 2016 might just be Panic! At The Disco’s year.

Favorite Tracks: Emperor’s New Clothes, Golden Days, House Of Memories, Victorious

Least Favorite Tracks: Crazy=Genius, Death Of A Bachelor

Rating: 9.5/10

David Bowie - ★

Heroes are always remembered, but legends never die. Right up until his end, David Bowie worked on his art and love. After decades of setting standards and defying boundaries, the world lost a true legend just days ago. His final legacy is written from his soul onto his twenty-sixth and final album, Blackstar. From beginning to end, Bowie punches out one massive tune after another, each of these final pieces making a memorable last impression.

The album begins with the 10-minute art rock, avant-garde title track, “Blackstar”, which sounds like Björk took a trip to the Eighties. The song begins the album with a haunting atmosphere, ominous harmonies building into a pop banger before returning to its haunting core. The beginning half of the song features saxophone dissonance and Björk-esque synths and strings, modulating into a more upbeat, funky track with syncopated guitar chords with brass and woodwinds brooding in the background. The song evolves back into its creepy krautrock rooting, ending with a harmonious conjoining of a scattering flute and synthesizer. Bowie doesn’t hold back on being subtle with this album - he chants, “I’m not a gangstar... I’m not a pornstar” in “Blackstar” and “Black struck the kiss, she kept my cock / Smote the mistress, drifting on / 'Tis a pity she was a whore” in the following track, “’Tis A Pity She Was A Whore”. “Lazarus” is a more Bowie-typical song, the big ballad of the album, featuring a soaring saxophone solo and arena-filling synthesizers, with some doodly guitars in the background doing their own thing, as well. “Sue (Or In A Season Of Crime)” begins to border a progressive rock sound, the krautrock influences heard prominently in “Blackstar” returning to the foreground. The song has the dark atmosphere of “Blackstar”, but with a more apparent urgency to it. “Girl Loves Me” is a throwback to earlier Bowie works, while incorporating the Björk influence once again. The song continues the darker components of the album, revolving around the idea of how one can get lost in their own emotions (”Where the fuck did Monday gooOO!?”). “Dollar Days” is another throwback to classic Bowie, and the closure track “I Can’t Give Everything Away” was fished straight out of Eighties synthpop.

After decades of work, inspiring countless artists to follow their musical dreams and breaking down countless walls, the great David Bowie has finally been laid to rest. He has left one final legacy with his last album, Blackstar, that has not fallen short of any expectations. We may have lost his future, but we will always have his influence with us. Thank you for the years of unfathomable inspiration and creation, David Bowie. Rest in peace.

Favorite Tracks:  Blackstar, Lazarus, Girl Loves Me

Least Favorite Track: Dollar Days

Rating: 8.5/10

Loma Prieta - Self-Portrait

Have you ever been hit by a freight train? If you have, congratulations on surviving. If you haven’t, Loma Prieta can give you a taste of what exactly that feels like. This San Francisco band has returned, following up their massive 2012 album, I.V. with Self Portrait. Between the massive walls of noise, Loma Prieta is back with a more refined sound and a thicker soundscape to rock your mind.

Going into this album is like being thrown into a pit, full of angry, hungry wolves, ready to tear your flesh apart. Some freight train collision, huh? The opening track, “Love” begins this monster album on a mild note, beginning with arpeggiated (albeit, distorted) guitar before screaming vocals kick in, barreling drums soon following. This is about as soft as it gets on this album. “Black Square” follows up “Love”, beginning with thundering drums a feedback buildup to more angry screams. The chorus brings us to the point of no return on the album - the distorted powerchords under extreme vocals are upon us. The album continues to march forward, each track being another punch in the face. The album, in fact, gets even crazier as it continues. “Merciless” is probably one of the most mind-bogglingly epic tracks on the album, beginning with what could be passed as a punk version of the intro to Deftones’ “Change (In The House Of Flies)”, this song embodies what hardcore punk mixed with noise rock is: confusion and sonic brutality. “Rings” continues the insanity, with pounding kick drums and giant distorted guitars knocking you out with every hit.

The concluding track of the album, in contrast, ends it on a lighter note. “Satellite” begins as the cleanest track on the album. It does eventually kick into another heavy-hitting punk rock banger as the choruses pick up, but it still shows a progression in the band’s sound, exhibited elsewhere in the album, too: a “happier” vibe. The band attempts to stray away from a purely negative sound at several moments on the album. This includes “Never Remember” (which could be passed for a really heavy The World Is A Beautiful Place & I Am No Longer Afraid To Die song) and “More Perfect”, two tracks that are uncharacteristically happy for Loma Prieta.

And so, as lightly it began, a crescendo of noise lifts you out of the sonic experience of Self Portrait. Barreling towards a happier sound, Loma Prieta has developed a fuller sound, maintaining the heaviness of previous efforts all the while mixing in lighter moments to lead the listener to a false sense of security, before bombarded by a massive wall of noise. They have mastered the art of noise (that is, feedback) and built it into powerful, hard-hitting tracks, keeping every track fresh and new. Congratulations, you have survived a direct collision from a freight train.

Favorite Tracks: Merciless, Love, Satellite

Least Favorite Track: Never Remember

Rating: 8.5/10

Disclosure - Caracal

Being among the leaders of house and a new album packed with all star guests (The Weeknd, Lorde, Sam Smith, and more), it’s easy to see where electronic and pop music fans alike are being drawn in. Perhaps the only way to try and match the success of Disclosure’s previous effort Settle was to get this pop appeal. But can their new album match the quality fans so adored in its successor?

Caracal stays very true to itself. It embodies everything house is, and should be. While this has both its ups and downs, for the most part, it does everything it attempts to do in a complete fashion. The beginning of the album is an onslaught of soul - The Weeknd and Sam Smith’s guest spots appearing consecutively after one another. The album opens on a big note: the seven minute house monster that is “Nocturnal” featuring The Weeknd. The Weeknd’s R&B voice shines bright and provocatively on top of the typical deep bass notes and pretty little synths that compose the instrumental. The song centers around the atmospheric chorus (which is really just Weeknd singing, “Nocturnal, yeah!” over and over) and progressive build ups. On the surface the track seems a bit tacky and long, though the length is justified by the catchiness of the track. Even if you hate it, the track is extremely infectious. Unfortunately, the album peaks just as soon as it begins.

As I mentioned before, this album takes a firm hold of everything it attempts to do. The negative side of that is that it holds on to these principles throughout the entirety of the album, making it an enjoyable yet forgettable experience. The tracks following “Nocturnal”, “Omen” featuring Sam Smith and “Holding On” featuring Gregory Porter, while great as standalone songs, ruin the flow established with the debut track. Not only that, but they feel like secondhand knockoffs of it! “Hourglass” featuring LION BABE rebuilds the charm of “Nocturnal”, with LION delivering great harmonies, with a fun backing track. The album quickly shoots low again, nothing separating “Willing & Able” from being a KWABS feature and a KWABS track. “Magnets” with Lorde and the first track on the album without a feature, “Jaded” are the last high points on the album. Lorde delivers a great performance with her signature ominously charming harmonies, even while the instrumental may not fit the mood the vocals seem to want to set up. “Jaded” has a driving charm with a very catchy chorus yet again. Your suspicions are built up and broken down throughout the first half of the album, ultimately leveling off into a very average expectation for the second half. While there are memorable moments scattered few and far between the second half of the album (songs like “Moving Mountains” and “Molecules” are quite well written and groovy), nothing truly stands out like the better tracks of the beginning. Not to mention the absolute disasters that are “Bang That” and “Good Intentions” featuring Miguel.

Caracal isn’t the follow up you’d expect from Disclosure, but it definitely holds its ground. It has its ups and downs (well, mainly downs), but it’s a solid house record. Great to put on in the background to get work done, or to put on at a chill party. Dropping big names definitely helped the album get some fresh ideas and pop exposure, so hopefully the trend continues in Disclosure’s future endeavors.

Favorite Tracks: Nocturnal (ft. The Weeknd), Magnets (ft. Lorde), Jaded

Least Favorite Tracks: Bang That, Good Intentions (ft. Miguel)

Overall Rating: 6.5/10

CHVRCHES - Every Open Eye

Music has always been and always will be progressive. Through every big movement there is some form of growth, and that growth sprouts from pushing boundaries beyond what one would think is possible. Yet growth and progression is not limited to change. It can be internal. Humans have a distinct desire to change the game and to create something new, if only to make our world greater. A message is all that it needs.

CHVRCHES' sophomore album is a good example of this internal change. Even before it was released, the album has sparked controversy already (see: Lauren Mayberry’s speaking out again misogyny). The trio of electronica masters have burst forward with a brand new album, showing their growth since their debut while still maintaining their core principles as artists.

Admittedly, after initially listening to the three singles the band released (’Never Ending Circles’, ‘Leaving A Trace’, and ‘Clearest Blue’), I was somewhat put off by what I was to expect from this album. They were undoubtedly CHVRCHES songs, but they seemed to missing something that was present in The Bones Of What You Believe. It did not become apparent just what was missing until the songs were put into the context of the album. They lacked a story telling element. While there was never a clear narrative in Bones, everything added up. It made a statement that, when isolated to a single piece of music, may be unclear, but there still exists a sense of what the end result may be. While that is somewhat absent from Every Open Eye, it does not necessarily detract from it. Rather, it gives CHVRCHES a chance to work on specific meanings rather than summing up ideas as a whole. Even then, that statement is not entirely true - Every Open Eye does have some core concepts.

One of the more cleverly disguised secrets mixed into this album is the change of sound. It is a secret in that the album is definitively a CHVRCHES album, yet it starkly contrasts its predecessor. Bones had a dark vibe to it, almost to an otherwordly level. Even the cheeriest songs on Bones had something dark hidden within it (’Gun’ and ‘The Mother We Share’ come to mind). Every Eye Open is somewhat more straightforward, in that sense. Not every track has something dark behind it.

Differences do not end at the feeling of the album. There is an austere progression in their sonic landscapes as well. While Bones felt reminiscent and new all at the same time, Every Open Eye feels very familiar... yet still new. Perhaps the most similar song to their debut record is ‘Keep You On My Side’ - it could have come straight from the demo sessions of the album, if not for its slightly stronger EDM influence! The influences are definitely stronger on this one, though. ‘Down Side Of Me’ is almost CHVRCHES’s take on a Naked & Famous song. ‘High Enough To Carry You’ sounds like it came straight out of the 80′s (or straight out of a YouTube troll video, à la Rick Astley). On the subject of this song, this is one of the most interesting tracks on the album. Martin Doherty takes the reigns for lead vocals on this track, and absolutely takes it over! Hopefully they emphasize his voice more on future records, as well. ‘Bury It’ is the poppiest song on the record, with a huge metallic background and an absolutely massive chorus. ‘Afterglow’, the final track on the album, is perhaps one of the band’s most beautiful tracks. It finds power in minimalism and simplicity, featuring nothing but a building, huge atmosphere and Lauren Mayberry’s enchanting vocals. It almost feels like it took inspiration from Muse, who’s latest album Drones ended with the track of the same name, which was nothing more than a layered a cappella (and a single synth note to conclude it), in a similar fashion to how Mayberry takes this track mostly solo. It was without a doubt the best way - and possibly the only way - to end this album with a substantial conclusion.

Every Open Eye is a testament to progression. It represents how CHVRCHES have mastered their craft and can still find ways to expand upon it. It also is a statement on how humans desire change, too. One individual can make a huge difference in the world, but not unless the world can watch. Change occurs when every eye is open, and appeals to every open eye. Progress makes us human. Evolution makes us living. And CHVRCHES make us feel alive.

Favorite Tracks: Afterglow, High Enough To Carry You, Bury It

Least Favorite Tracks: Leave A Trace, Clearest Blue

Overall Rating: 8.5/10

My Top 10 of 2015:

1. Muse - Drones
2. Halsey - BADLANDS
3. 10 Years - From Birth To Burial
4. Fall Out Boy - American Beauty / American Psycho
5. Halestorm - Into The Wild Life
6. Purity Ring - Another Eternity
7. CHVRCHES - Every Open Eye
8. Zedd - True Colors
9. Years & Years - Communion
10. Bring Me The Horizon - That’s The Spirit

Bring Me The Horizon - That's The Spirit

It was a challenge to follow up their critically acclaimed Sempiternal, but Bring Me The Horizon has trudged forward and have released their new album, That’s The Spirit. The album drops some of the band’s metalcore and heavier qualities and presents a new, alternative rock / alternative metal sound that shines a new light on the band, taking the electronic influences of Sempiternal and taking them a step further while still maintaining their core sound.

Right from the get-go, on opening track ‘Doomed’, you can tell the album is something different for the band. Beginning with various moans and groans before clean vocals come in with an atmospheric, pop-production-esque background, the listener is already given a taste of the new sound. The album makes heavy use of gang vocals, in a similar fashion to Thirty Seconds To Mars - ‘Happy Song’, ‘True Friends’, ‘Drown’, and ‘Oh No’ all have a 30STM vibe to them. ‘Happy Song’ almost reminds me of ‘September’s Children’ by Rise Against, with how the gang vocals are sung, and ‘Drown’ has gang vocals that had me thinking of the sing-a-long of Thirty Seconds To Mars’ ‘City Of Angels’.

Another fair comparison to make it to Linkin Park - Oli Sykes being a big fan of the band definitely shines through on tracks like ‘Throne’ and ‘Doomed’. With melodic yet intense vocals while maintaining an intense array of layered guitars and various other electronics, the LP vibes are strong in many songs. ‘Throne’ could even be their take on ‘Lost In The Echo’! This track is probably the closest they get to Linkin Park on the record... though each track has a distinct flair to them. Much of the album could essentially be a Linkin Park vs. Thirty Seconds To Mars album. My two favorite bands - I have zero complaints about that.

While the influences may be stronger in some places than others, Bring Me The Horizon stay true to themselves on each track. Melodic when it wants to be and extreme when it needs to be - BMTH has their sound down pat. While it That’s The Spirit may not match the evolution that was Sempiternal, it does a good job at being the follow up that album deserved. Perhaps they won’t be able to match the quality that album was - after it all, it redefined them all as musicians. But they can continue to evolve and still make great music. Spirit is the proof.

Favorite Tracks: Throne, Doomed, Avalanche

Least Favorite Tracks: What You Need, Follow You

Rating: 8/10

My Top 10 of 2015:

1. Muse - Drones
2. Halsey - BADLANDS
3. 10 Years - From Birth To Burial
4. Fall Out Boy - American Beauty / American Psycho
5. Halestorm - Into The Wild Life
6. Purity Ring - Another Eternity
7. Zedd - True Colors
8. Joey Bada$$ - B4.DA.$$
9. Years & Years - Communion
10. Bring Me The Horizon - That’s The Spirit

Halsey - BADLANDS

It’s not very often a new voice appears on the scene that demands such attention it can create a cult. Here we have Halsey, who’s debut LP has done exactly that. She seemingly appeared out of thin air, with her powerful voice garnering enough attention to already be demanding playtime on radios everywhere. After a powerful EP entitled Room 93 (containing ‘Hurricane’ and ‘Ghost’, found on the deluxe edition of the album) released late last year, Halsey has brought out her best for an eccentric and challenging debut: BADLANDS.

According to Halsey, the name of the album is derived from the state of her mind as she wrote the album; fair enough, considering the themes presented in the album. Containing everything from rebellion to love, this album covers a lot of ground thematically. Lyrically, this album is nothing short of fantastic. The chorus of the opening track, ‘Castle’ embodies rising up against the machine: “I'm headed straight for the castle / They wanna make me their queen / And there's an old man sitting on the throne that's saying that I probably shouldn't be so mean”. Lyrics should arrest your interest, making you delve into them, extracting meaning from them, keen on absorbing the next word. Halsey does great at this, with almost every track being able to capture your interest and hold it captive while it puts you in a trance you can’t escape. Her lyrics are also clever and relatable, especially the bridge of ‘Colors’, where she speaks of a mistaken love: ‘You were red and you liked me 'cause I was blue / You touched me and suddenly I was a lilac sky / And you decided purple just wasn't for you.” The songs are written with a lot of emotion and thought, and it does not go unappreciated.

Her sound in general is unique in its own right - think of it as The Naked & Famous meets Nirvana. Keeping the synths heavy and brooding while harkening back to rebellious styles like Nirvana is what Halsey does best. It’s undeniable that there’s just something about her voice that is so enchanting - is it the subtly raspiness to it? How introspective it is? Melody plays a big part in it too, each song having a memorable hook and backed up by having equally memorable lyrics. ‘Castle’ and ‘New Americana’ have particularly capturing lyrics and melodies that you just can’t get out of your mind. It isn’t all just power and catchy choruses, however. There’s a lot of little moments to be remembered, too. ‘Haunting’ begins with a little a cappella intro, almost in the style of CHVRCHES’ ‘The Mother We Share’. The instrumental of ‘Gasoline’ harkens back to ‘Hurricane’ when she sings the line, “Do you call yourself a fucking hurricane like me?” There, the little synth hook from ‘Hurricane’ plays - a small, but clever and cute moment. It’s these little inclusions that keep the album alive. No two songs sound the same, as well. You have a synth-rock track in ‘Roman Holiday’, but find yourself listening to the creepy, symphonic track ‘Control’ later on.

Halsey’s debut is one of the strongest first albums all year. It explores every nook and cranny it possibly could, while still holding together one progressive album that is relatable and fun all the same. I saw her live back in June when she opened for Metric and Imagine Dragons - even before she had a full length EP her shows were already massive. The attention she has garnered is very much deserved, and to be expected from such a massive debut.

Favorite Tracks: Castle, Colors, New Americana, Control

Least Favorite Tracks: Strange Love, Drive

Rating: 9/10

My Top 10 of 2015:

1. Muse - Drones
2. Halsey - BADLANDS
3. 10 Years - From Birth To Burial
4. Fall Out Boy - American Beauty / American Psycho
5. Halestorm - Into The Wild Life
6. Purity Ring - Another Eternity
7. Zedd - True Colors
8. Joey Bada$$ - B4.DA.$$
9. Years & Years - Communion
10. Kamasi Washington - The Epic

Years & Years - Communion

Fresh off of their Y & Y EP released earlier in the year, Years & Years have finally released their triumphant debut album, Communion. The band appeared on the electronic / dance scene back in 2012, when the group was then a five piece. Six singles later (four of which have made it onto Communion), the now-three piece have perfected and polished their sound for their first major album. After demanding attention with their catchy singles like ‘Take Shelter’ and ‘Desire’, this album truly shows how the trio have brought a sense of finesse to a broad genre.

The albums begins on an intimate number entitled ‘Foundation’, one of the group’s more modest cuts. While minimalistic in terms of the sonic landscape of the song, it’s still quite beautiful and emotional. It acts as a ‘Foundation’ for the emotional aspect of the album, which is conveyed heavily throughout the album, most notably through lead vocalist Olly Alexander’s pure vocals. A lot of the soul throughout the album comes from his voice. The actual instrumentation behind the vocals also add a certain level of fun to each track, definitely getting your foot tapping with each beat. A common formula in terms of the synths on the album is to build up over time. In more cases than not, you can find yourself listening to a track that has a moderate introduction that transitions to an explosive collection of synths and noise to conclude the song. The album also has a few tracks that dare to push the borders of electronica. ‘Border’ is almost a rock ballad, with a driving beat and a chorus melody that pleases your ears to hear - the only thing keeping it from filling that “rock ballad” label is the lack of any acoustic instrumentation, though that is more than forgivable. ‘Memo’ takes a brief step away from the electronic landscape and is lead by room-filling piano chords. The song still has traces of electronica riddled throughout and at the core, but the acoustic instrumentation is a welcome change of pace for the album. The closing track, ‘1977‘, has an enchanting bassline, subtle but demanding your attention. This album is all about the little things hidden in the mix, while the foreground of sounds is already pleasing to hear.

The album name definitely lives up to the general idea expressed throughout the album. Each track has an aspect of intimacy of it, despite being upfront and arresting your attention on the surface. Upon further inspection, a story is revealed. From beginning to end, the whole album is generally a love story, building from desiring love to holding on to memories of it. Each track can be perceived in a variety of ways unrelated to love, but that core idea is expressed through the general progression of the album. Communion is definitely one of the more relatable releases this year.

Communion is a challenge to the electronic and dance scene. Its catchy to simply listen to, and heavy to take in with an honest listen. The acoustic takes on the deluxe edition of the album are beautiful renditions, be sure to check those out if you haven’t heard them already - they add another level of emotion to the album. Years & Years’ debut album is a major success, not only on the charts, but in execution as well. With the music they’ve released up to this point, the trio has brought their sound to a polished and firm state that can only improve with time.

Favorite Tracks: Border, Foundation, Take Shelter

Least Favorite Tracks: Ties, Real

Rating: 8.5/10

Linkin Park - The Hunting Party

Just over a year ago, Linkin Park released their sixth album, The Hunting Party. Coming fresh off of LIVING THINGS and collaborations with Steve Aoki, it was an expected move for the band to continue in their electronic rock-based direction. Then they dropped ‘Guilty All The Same’ in March, and everyone was shocked. Bordering thrash metal, the six minute long riot featured hip-hop legend Rakim and Linkin Park merging their electronica influences with their old, raw sound. And so, The Hunting Party was born and the band yet again changed their game.

For it’s one-year anniversary, here’s a track-by-track review of my opinions on the album. Spoiler: it’s my favorite album of 2014.

1) Keys To The Kingdom: Right from the get-go, you know what you’re in for. Chester screams madly with a distortion effect over another distorted sound. Then that disjointed riff kicks in, and the drums go wild. The verse is a throwback to their electronic influences... There’s just a lot going with this song sonically straight from the beginning. Shinoda’s rap in the second verse brings us back to the aggression of Meteora and Hybrid Theory. Perhaps the best moment of this song is the bridge, a huge buildup to a massive solo and final chorus. While the solo is somewhat wonky (a portion of it questions itself on whether or not it’s in key or not). Some people aren’t very fond of Chester’s voice breaking in the choruses, but I feel like it adds a sense of intensity and danger, as if he’s battling something. If anything, this song proves Linkin Park’s evolution. They’re not the same band writing ‘Burn It Down’ and ‘New Divide’. They’re out on a mission to be visceral and heavy, and they’ve proven themselves right off the bat. 9/10

2) All For Nothing (ft. Page Hamilton): Continuing on with the rebellious riffs is ‘All For Nothing’, featuring Page Hamilton from Helmet. Shinoda delivers some of his best verses since A Thousand Suns, bringing some heavy-hitting lines into the mix. The only real complaint I have with this song is that Hamilton’s voice feels very processed and refined, not akin to his Helmet work where his voice is raw and powerful. It still works in the song, but it could have been better. The solo in this song is one of the only solos on the album that isn’t just “RANDOM-TREMOLO-PICKING” but actually thought out. A great song, all-in-all, but there could have been improvements in the chours (the “You say!” parts do get a bit repetitive at some point). 8.5/10

3) Guilty All The Same (ft. Rakim): Oh boy, this song. From the instant I heard this one, I was in love. It’s almost as if this song is quintessential Linkin Park. It has everything the band embodies: emotionally-packed lyrics, heavy riffs, soaring electronics, a killer verse, and a huge jamming bridge. Rob Bourdon truly shines here, showing his improvements as a drummer since LIVING THINGS - in fact, this album contains his best drumming since ‘The Little Things Give You Away’ and ‘When They Come For Me’! Rakim delivers a massive verse, shredding the record-label industry. I love every part of this song, the long buildup intro, the electronics in the verses and behind the guitars, the HUGE riffs in the bridge. There’s nothing more I can say - Linkin Park truly shines at every element they’ve honed until this point in this song. 10/10

4) The Summoning: A filler track to relax the listener from the mindfuck of the first quarter of the album. Was that really Linkin Park? A disjointed, minute long track that prepares you for the rest of the onslaught that is The Hunting Party. 6/10

5) War: Did Linkin Park just go punk rock? Yes, yes they did. One of the simpler songs on the album in regards to vocals and guitar, but it’s a punk rock song. Can you really ask for anything more? Bennington belts out screams against war and its effects with his self-written lyrics on top of a fast-paced instrumental. The guitar solo in this one is one of those solos that sound impressive, but it’s really just tremolo picking and hoping for the best. It still sounds awesome, though. Another testament to Linkin Park being able to smash and genre they choose to. 8.5/10

6) Wastelands: Hello there, Meteora. While ‘Wastelands’ may be one of the more underwhelming songs on the album in terms of lyrics, what it does it does well. Shinoda delivers more brutal verses and Chester delivers another big chorus - the classic Linkin Park formula. One of my guilty pleasures in this song are the synths from the second verse onwards. I feel they add a lot of color, especially in the second verse and bridge. Other than that, Bourdon delivers another foot-stomping, awesome drum line as the rest of the band storms in with the big riffs. 8.5/10

7) Until It’s Gone: This song means a lot to me. Around the time the album was released, my grandfather had just passed. It was the first major family loss for me. All his life (and throughout my life), my family saw him as evil and abusive. While it’s not truly a lie, we never saw him for who he was until he was gone. This song really clicked with me around that time. Personal connection aside, this song is beautiful. Melodically and instrumentally it’s one of the best songs on the album. The part that throws me off about it are the lyrics. There was so much opportunity for it to be amazing. With better lyrics, it might have been one of the best songs on the album. Beggars can’t be choosers, I suppose. It’s a beautiful song sonically, and a song I’ll hold close to me for a long time. 9/10

8) Rebellion (ft. Daron Malakian): Let’s get this straight: we went from thrash-esque riffs, to a Helmet song, to punk rock, took a trip to Meteora, and now we’re listening to System Of A Down?! This album really has it all! Another amazing song from this album, I have the same ideas about as I did with ‘Guilty All The Same’. It’s less quintessentially Linkin Park, though. Rather, it’s quintessentially The Hunting Party. It’s everything the album embodies: heavy, visceral, in-your-face, amazing drumming, electronically subtle, and so much more. Daron Malakian brings the SOAD influence in strong, his signature Drop C and hammering techniques shine bright on this track. Chester’s brutal screaming in the bridge shows that he still has it - he may even better than he ever was! Mike does a great song singing the song, and all in all ends up to an epic track. 10/10

9) Mark The Graves: Now, we delve into some progressive rock. What’s going on, Porcupine Tree? When listening to this song, you don’t know what to expect. It’s all over the place. The intro is just massive, huge and in your face. Shinoda’s countdown is an epic moment. The verses bring in atmospheric guitars that surround the listener, then the guitars kick back in for the huge choruses, which have Chester and Mike singing pretty high - Mike’s backing vocals are some of his best! The best part of this song may not even be the structure or the vocals, but the fact that you can actually hear the bass - something unheard of (pun intended) in a Linkin Park song! This song embodies Linkin Park’s evolution - to think how much an album difference can make. If this were their previous effort, you’d be listening to the synth-packed ‘Skin To Bone’. Instead, you’re listening to a progressive rock epic, intense and atmospheric. Quite a change, if you ask me. 9.5/10

10) Drawbar (ft. Tom Morello): When you think of a Tom Morello collaboration, this is probably the opposite of what you expect. It’s not a heavy, disjointed wall of guitars. Rather, it’s an atmospheric, almost creepy journey through a dream. Mike on piano, Tom doing his thing with a weird effected guitar, and Rob jamming away with a march-inspired drums. The outro of the song, the piano instrumental, might be the most beautiful moment on the album. The ‘Final Masquerade’ progression chokes me up sometimes. It’s a perfect way to start the final quarter of the album - perhaps the best run of consecutive Linkin Park songs in their entire discography. 9/10

11) Final Masquerade: I’d be lying if I said this song doesn’t make me emotional. It’s a beautiful, emotional journey through a love story. Is it a good bye? Is it a “see you soon?” It embodies so many perspectives and emotions - it’s more of a love song than Taylor Swift has ever mustered up. The solo is another BEAUTIFUL moment - another reprise of the song’s chorus. Nothing about this song is not perfect. Perhaps Linkin Park’s most emotional song in their discography. 10/10

12) A Line In The Sand: There’s nothing you can do to prepare yourself for this. This is Linkin Park’s The Odyssey (not only because the working title was ‘Odyssey’). It begins like we’re back on A Thousand Suns. Then the drums kick in, and instantly we’re back on The Hunting Party. Everything about this song is perfect, just like ‘Final Masquerade’. The pounding drums, the callback to ‘Guilty All The Same’ in the choruses, the atmosphere of the intro and outro, the energy of the guitars... I can go on and on. The breakdown - oh, the breakdown - has Linkin Park fully delve into Metallica and trash metal territory. The tapping solo in the outro is something else Linkin Park has never done, but execute perfectly. What you’ve done with this song is taken their two best albums, A Thousand Suns and The Hunting Party and created their love child. This is what the next album needs to be. A colossal, epic journey of visceral energy and atmospheres. If this isn’t one of Linkin Park’s best songs, I’ll be damned. You’ll need to sit down and reconsider what you just listened to after this one. It’s that huge. 10/10

The Hunting Party is more than just an album; it’s a statement. It is pure visceral energy and emotion packed into twelve songs. It is a long journey and an experience that you can’t get from anything else. It makes you feel alive and makes you question what you are. It’s really a cruel reality. While it’s not the best Linkin Park album (that honor still goes to A Thousand Suns), it’s a close second. Linkin Park does what they do best - change and evolve. There’s no predicting where they’ll go next - if it’s in this direction, only good things lie ahead.

Favorite Tracks: Guilty All The Same, A Line In The Sand, Final Masquerade, Rebellion

Least Favorite Tracks: The Summoning, War, Wastelands

Overall Rating: 9.5/10