Swans - The Glowing Man

Post-rock has the potential to be so many different things. It can be wild and frantic, moving in ways and shapes that the mind can't predict. It can also move in slow and melancholy ways that build slowly over time, allowing for massive spaces of atmosphere to settle in. Post-rock legends Swans find a compromise right in between these two extremes in their new record, The Glowing Man.

Going into a Swans record means you have to be mentally prepared to handle an otherworldly experience. Each record is like something from another dimension. Over their multi-decade spanning career, they've carved a niche for themselves. This album borrows heavily from their latest efforts: 2012's dramatic The Seer and 2014's funkier To Be Kind. The Glowing Man is like a coagulation of the two albums, the influence of both being clear while still one substance as it stands.

Nearly half of the songs on the record have a runtime of over twenty minutes, and while those times may seem as off-putting, a lot goes on within each track over that long span of time. A mild sense of the giant build ups this album has can be taken from the first track, 'Cloud Of Forgetting', that begins quietly with distant guitar before big guitar and kick hits come in to end the track. The track builds slowly over its twelve and a half minute length, with creepy vocals from Michael Gira depressingly and revealingly occur throughout the track, ending with deep descending pianos. Following that track is the epic 'Cloud Of Unknowing', a track that truly exemplifies the sound of Swans. Beginning creepily with scratches and horrific and panicked sounds, accompanied by terrifying screams of the tortured, massive, dark walls of noise build into a petrifying heavy climax that lead the song into a gentle ending, with church bells that act as both a throwback to The Seer and the feeling that this song is inspired by the absolute depths of Hell itself.

Title track 'The Glowing Man' is much the same, while not being quite as utterly scary as the former track. It's more of an experimental song, glitchy guitars accompanied by atmospheric splashes of synths. It has a dramatic and heavy, thrashy middle section that sounds like a heavier, somehow darker version of Nine Inch Nails. Several songs feature the use of synths to help build the cavernous and endless atmosphere the album really banks on, including 'People Like Us' and 'Frankie M', the latter of which is another track that has a massive, heavy guitar part as its culmination.

The only real issue with the album is that some of the songs are really drawn out. While the tracks are brilliant in their own rights, a lot of them could be shorter. After twenty minutes of the same song, there's a lot of progression that could even serve as parts of a bigger whole, and perhaps better off as separate tracks. The album banks on long sections of repeating measures that slowly and slowly build up and slow down, sometimes really dragging down the mood. It does work in the favor of 'Cloud Of Unforgiving', since that track's devilish overtones really play to the slow and building intensity. It works in most tracks in the same way it doesn't.

Swans never go small. Each release is a work of art, in a different and strange way. The Glowing Man may be one of the band's darkest releases, long drawn out songs building with subtle intensities to brilliant and powerful climaxes that peak with such darkness and power that you cannot forget. Another brilliant piece of post-rock from a brilliant band. Some songs are dragged down by their length, but in the end this album wouldn't be quite the dark monster it would be without that factor. Give it a shot - it's an album that'll leave you thinking for a long time.

Favorite Tracks: Cloud Of Unknowing, The Glowing Man

Least Favorite Track: When Will I Return

Rating: 7.5/10

Jon Bellion - The Human Condition

If you've ever needed the feel good vibes of Disney music in your uncensored summer jams, Jon Bellion has you covered. His new album The Human Condition is full of hits and bangers ready for the thrill of summer, but lacks distinction as a full album.

This album has loads and loads of color to it. There are lots of different sounds on it and heaps of personality laced into each track. The unfortunately titled 'Maybe IDK' is the height of it, starting symphonically and kicking in to the feel good acoustic fingerpicking accompanied by strings in the verses. The choruses of this song are fantastic, big and powerful with pop strings subtly lying underneath the building beat and soaring harmonies. The song itself is very catchy and uplifting, and screams summer all over it. Lots of the vocal moments on this record are where it shines such as the song 'All Time Low', that has some cool sampled vocal parts throughout it, and the "Low, low, low" parts in the chorus are great. The hip-hop centric 'New York Soul (Pt. ii)' is an interesting one, as it begins just as you'd expect any standard pop-rap track to begin, but progresses into a darker track, becoming a more serious one than a fun-toned one. The last big banger on the record is 'Guillotine', which is just purely infectious with its gooey choruses and scatted backing harmonies.

This album isn't absent from all flaws, however. A lot of tracks lack cohesion and feel slapped together out of necessity. 'Woke The Fuck Up' is a song brought down a peg by this factor - a catchy and funky track that is brought down by its weird samples and strange transitions. 'Morning In America' has a premise that feels a bit too real to compliment the album and the tonality of the song itself. A bunch of little parts have issues, too. In 'Weight Of The World', a really cool guitar part comes in, but as energetic as it comes in it falls flat as a big moment that should follow it never comes. It almost just sits there and waits for something that will never be there. '80's Film' is similarly themed, it's 8-bit synths not seeing much accompaniment besides vocals until halfway through second verse - way too long of a wait for the song to finally start building up (a problem that 'iRobot' almost faces, too). Not to mention, that build up is just the introduction of a beat. The song's shortness doesn't justify the lack of body, and it ends too abruptly before that can be addressed.

Jon Bellion made what he set out to do - make a great album for the summer. It's the perfect soundtrack for a road trip down the coast into the sunset, or for a trip down by the beach. Without the context of summer, though, some tracks miss out on the hype. The tracks in question lose some energy as a result of being incohesive and feel like fillers as a result of laziness. It's a great album to kick back and jam to, and with summer break just around the corner (or already here, for some), a new addition to your playlists has just arrived with the release of The Human Condition.

Favorite Tracks: Maybe IDK, Guillotine, All Time Low

Least Favorite Tracks: Morning In America, Overwhelming

Rating: 7/10

Nick Jonas - Last Year Was Complicated

Nick Jonas has hopped on the going-solo boat. His new record Last Year Was Complicated is interesting - it's not what you'd expect for him, but it doesn't fully shy away from being a standard pop record. Infectious grooves here and there carry the record to its end, but after the first few songs it mellows out.

This album has a good chunk of highlights in it that bring it success. The first track 'Voodoo' is my favorite song on the record - I'm a sucker for songs with Middle Eastern vibes. Jonas' melodies during the choruses are fantastic with fantastic harmonies backing it. The theatrics of the song beg for grand live production, the thrilling percussion and layers of vocals make this song so groovy and such a standout from the rest, it's hard to beat a song like this. Melody carries the song 'Under You', the vocals in the bridge being particularly fantastic. The effected vocals add a lot of flavor to an already colorful instrumental. Some songs like single 'Champagne Problems' just ooze pop appeal, infectious hooks on top of deep beats being on the dance vibe and make the song a big hit. Among the guest spots on the album is Tove Lo in 'Close', where her contribution makes the song a great experience - her duet with Nick in the bridge is brilliant. There are little elements in many songs that also give a fresh taste, such as the groovy guitar parts in 'Touch'.

This is about as much credit as this album can get, though. Outside of these few tracks, the album is a very standard listen. Some songs lack any niche, tracks like 'The Difference' sounding like any other pop song. Some guest spots are wasted, Big Sean being placed in the throwaway track 'Good Girls' and Ty Dolla $ign in the strange 'Bacon'. Other songs have elements to them that bring them down as a whole, while the rest of the song may be fine. A prime example of this is 'Don't Make Me Choose', a good song with a good hook but an utterly cringeworthy chorus, the line "Don't make me choose between my left hand and my right" ruining the whole sentiment of the song. There's no substance after the record's beginning. There a few flashes of creativity hidden few and far between the tracks, but the negatives unfortunately outweigh the majority of the album.

Last Year Was Complicated isn't a failure, but it isn't quite a success either. The album begins triumphantly and perfectly, with a lot of original flair and color to it. The rest of the album unfortunately sinks into a hole of standard pop music that is easy to forget. There's nothing separating a good chunk of the album from any other pop song on the radio, and that really brings the album down after a fantastic beginning. Nick Jonas needs to build off the abilities he showcased at the start of the record when he goes about recording his next album - potential exists.

Favorite Tracks: Voodoo, Under You, Champagne Problems

Least Favorite Tracks: Bacon, Good Girls, The Difference

Rating: 6.5/10

Dark Suns - Everchild

Progressive rock isn't the first genre that comes to mind when trumpets are in question. This doesn't seem to phase German prog-rockers Dark Suns, though. Their new record Everchild is a brilliant fusion of jazz and blues with all the positive flavors of progressive rock in between.

There are some brilliant trumpet performances on this record, perhaps the albums best quality. They blare proudly on intro track 'The Only Young Ones Left', showing up as surprisingly as you may expect. The rest of the track is a strong driven buildup of riffs and 80s prog-rock vibes and their best. Following it up is another trumpet-baring track, 'Spiders', the track this time beginning on a moody jazz scene before powerchords kick in to accentuate the punchy brass. The height of jazz touches on the record is 'Monster', a very unique song on the record. Beginning with doom jazz aesthetic complete with cavernous pianos and sweet basslines, the song is the only one to feature female vocals on the record, another unexpected surprise leaving for brilliant flashes of creativity. To top it all off, the band boldly ends the album on a cover of Tori Amos' 'Yes, Anastasia', luckily doing the song some justice, moodily beginning and ending it epically, as it should.

On top of the unique qualities of this record are classic, powerful rocking moments. 'Escape With The Sun' is deceptively quiet in its atmospheric intro as gentle blues guitar chords carry a haunting melody throughout the track. This song builds up epically, harmonies increasing as intensity of the instrumental also curves upwards. By the end of the track you have angry guitars powerfully galloping to the climax and high orchestras sounding strongly above a chilling melody. Orchestras are the subtle highlight of 'The Fountain Garden' as well, beautifully shimmering with wonderful chords, inspiring amazing imagery. Perhaps the album's magnum opus is title track 'Everchild', which takes in every quality the band has exhibited in the album and crafts a whole new beast. Starting off with the signature moody piano before turning to dark guitars and brooding drums, the subtle waves of guitars and building noise brings this track to a huge state. The bridge of the song is perhaps the biggest moment on the album, extremes of high and low guitars slamming down with quartered crashes while orchestra back the beautifully haunting words, "I am the everchild" to conclude the song on an incredibly striking moment.

You can never go quite wrong with prog rock, especially when you take it to a grandiose level and add bits of originality to it. Dark Suns brought forth jazz and blues while still maintaining the integrity of progressive rock, all to amazing discord. Not many of the tracks standout as masterpieces, but gems are found throughout an album that doesn't have a dull moment. Being in this game for nearly two decades hasn't faltered Dark Suns - if this is any indication, their sound will only keep going up from here.

Favorite Tracks: Everchild, Escape With The Sun, The Only Young Ones Left

Least Favorite Track: Torn Wings

Rating: 7/10

Beartooth - Aggressive

Beartooth's sophomore record Aggressive suffers from follow-up syndrome. The band attempts to channel their raw energy into a collection of twelve monotonous tracks that kills the album at its core.

To its credit, the album does start off with power. The album is introduced on a huge note with title track 'Aggressive', beginning on a gory harmony of clean vocals and throaty screams that kick in full force with a series of jagged riffs. The song has grand choruses enlarged by the aggregation of screams and powerful vocals. The big chorus theme finds itself holding true throughout a good half of the record, 'Fair Weather Friend' following through with massive riffs backing it, as well. The brutal bridge of 'Loser' is groundbreaking, a cavernous riff backing deathly screams. 'Hated' channels Rise Against during the verses, as if the band taking punk and bringing it into the light of post-hardcore.

Unfortunately, after this short run of the first third of the record, things go downhill. The core of the record lacks any meat - the first third had massive riffs with big choruses and grand riffs that had a distinct punch to them. Perhaps the victim of production, the middle section of the record lacks punchiness. On top of the lack of discretion, the album becomes boring at this point. The problem many post-hardcore bands fall into is that after a triumphant intro, they continue to play off the formula of former tracks, leaving no originality outside the first few tracks. Beartooth falls into this trap - I couldn't even tell the song had changed between 'Censored' and 'Always Dead'. The first tastes of originality comes all too late and in the wrong positioning on the album - the closure track 'King Of Anything' is the only song that sounds remotely different from the rest, being only a distorted guitar on top of Caleb Shomo's raspy vocals. It leaves the album off on an unfulfilling conclusion and leaves it sounding empty, as if something big needs to follow up.

Focussing on the lyrics may ruin the album further for you. With such gems as the pre-chorus of 'Rock Is Dead', featuring the line "I'd rather be deaf, I'd rather be dead than bored out of my mind" and the entirety of 'Loser', you're better off focussing on the instrumental. 'Loser' is carried a lot further with the grandness of its riffs, and 'Rock Is Dead' is supported only by the energy of its ironic rock vibe. The latter brings back the loudness found at the beginning of the record, but with only one subpar track to follow, there wasn't much hope at that point anyway.

Beartooth did not find artistic success on this record, sadly. It feels like an album for those who want to believe they listen to big, heavy metal, but in actuality, are actually listening to the same trashy Pierce The Veil chauvinism put to bigger riffs. The album begins well, but just cannot carry itself through to the end. Their debut blows it out of the park, and hopefully their next record will see that light, too.

Favorite Tracks: Aggressive, Loser

Least Favorite Tracks: Censored, Always Dead, Find A Way

Rating: 5.5/10

Olaf Stuut - Run

Electronic music comes in many flavors, minimalistic often being one of the last subdivisions to come to mind. Minimalistic electronica, when taken under the hands of experimental masterminds, can be a beautiful thing. Olaf Stuut presents this notion with his new release, 'Run', which bends genre with a subtle flair of funk and hip-hop over dark and brooding synths.

While on the surface the music in the album may seem simplistic, there's a lot going on at the core of it. The album doesn't feature too many vocals, primarily focussing in on the glitchy and blocky electronics, but where vocals do exist, they're spine-tingling. Brilliant harmonies are found throughout the record, right off of the get go with 'Maze' featuring Marlon Penn with puzzling synths and crescendoing harmonies akin to those of Radiohead, straight through to the end with the eleven-minute experience of closing track 'Billow', a track that experiments with the use of acoustic instrumentation not found elsewhere on the record, building up to climaxes and trenches with every turn. Deep, robotic harmonies are one highlight of 'Lush', the other being the brilliantly groovy synth solo found within it. Not all of the harmonies play a positive role on the record though: the ones found on the title track 'Run' are weird and off putting, unless strange harmonies that don't quite fit are your thing.

Instrumentally, this album has a surprising bit of variation among it. Some tracks like 'Pareidolia' feature glitchy percussion (and percussion of many calibers, to go with that) as the main element of the track, electronics serving more of a supportive role. Other songs, namely 'Thank You', focus in on the punchiness of synths with interesting basslines to compliment them. There also some weirder ones, the blocky synths of 'A Scape Reality' and the deep bassy percussion play testament to the experimentation and genius of Olaf Stuut. The experience overtakes the means in 'Extended Travels', the title perfectly capturing all this song is: an exploration. Listening to this song takes you through an adventure, one with no particular beginning or ending, nor does it have many sights to see, but you float through an empty and soft place as this song ebbs and flows like a gentle river.

Electronic music has seen a lot in its development, and within its evolution came a lot of experimentation. Some failed, but others excelled, such as Olaf Stuut. 'Run' is a solid sophomore release that isn't afraid of being different. It creates beauty out of simplicity and makes the most out of what little it does have to make up its minimalistic body. Not quite a masterpiece, but by no means a failed experiment. If anything, it has carved a new path for a masterpiece to finds its way through.

Favorite Tracks: Billow, Lush, Maze

Least Favorite Track: Run

Rating: 7/10

letlive. - If I'm The Devil...

Los Angeles post-hardcore outfit letlive. has evolved their sound in their new record, 'If I'm The Devil'. The new album abandons some of the harshness found in previous album and fills the gap with filling harmonies and arena--filling guitars.

Balancing energy and quieter moments can prove a challenge, but letlive. does well with this on the new record. Songs including the bombastic 'Good Mourning, America' and the Death From Above 1979-esque, positive sounding 'Nu Romantics' ooze loads of energy and big rock power. The songs on this record tend to have giant bridges and/or endings, definitely aimed for big live moments. The album doesn't miss out on softer moments, however. Closer track 'Copper Colored Quiet' is an anthemic and theatrical song backed by a substantial orchestra that slowly builds up over time, while starting quietly and reaches a climax, which is not as massive as other songs found on the record, but definitely brings the record to a suitable end. 'Foreign Cab Rides' also takes a more somber road, but builds up into a panicy ending with a massive presence,

'If I'm The Devil' may be a more approachable inlet in letlive.'s discography, but it doesn't let that stop some experimentation and risks. Introduction 'I've Learned To Love Myself' doesn't sound quiet like anything the band has done thus far, starting the album on a powerful and dark note. The song feels like it was taken straight out of Chelsea Wolfe's playbook with some guitars slapped on and lyrics taken from Trent Reznor's journal. The song is crushingly emotional, with a broken disposition in the brilliant vocal performance from vocalist Jason Butler. The melody itself tells a story, Butler showing off his signature theatrics with his voice. The disposition of the track is even haunting, Butler laughing at the situation the song describes: the rejection and acceptance of a broken soul. The guitars burst in with grand acclaim, complimenting the darkness of the record, and the crushing nature of the track gets no easier as it progresses. A bold move to start the album with one of the best songs the band has ever written, but it doesn't make the rest of the album any worse.

Other newly treaded areas of the record include the radio-pleaser 'Who You Are Not', seemingly intended to bring in fans from a poppier angle. The song itself is a banger; the fact that it has less of a letlive. vibe to it does not make it any less of a great jam. It's almost a central point of the record; the call to arms gang vocals a recurring theme across the record bringing the determination to an all time high in the song. Lead single 'Reluctantly Dead' is just as good, the determined and grand choruses spewing energy into the record at it's midpoint. 'A Weak Ago' shows signs of flamenco and western influences, the subtle rage in the vocals hidden under the almost ridiculous overtones show the brilliance of the band's creativity. Title track 'If I'm The Devil' begins creepily with a spidery muted guitar track and a choir singing staccatos until Butler's vocals kick in. It builds up in a huge way, the end of the song climaxing then ending quietly as if to provide a reprisal of the emotions experienced within the track. The only flop on the record is the upfront 'Another Offensive Song', which is titled as ridiculously as it sounds. The band seemed to take the "let's be as edgy and punk as we can sound" approach with this one, to negative results.

letlive. does not disappoint. Whether it be the revealing and tortured lyrics found on their debut 'Fake History' or the sharp and rugged riffs of 'The Blackest Beautiful', this band finds way to blend their grandiose with heaviness. While 'If I'm The Devil' may not be their heaviest, or even most true-to-self record, it's undoubtedly a signature album in the band's building discography. The music shows progression and a new mentality towards their sound, which is really all anyone can ask for of any band. They understood that while they had their niche, overdoing it would kill off others, as well as their own interest. Progression is key for musicians, and letlive. did not let that brooding task stop them.

Favorite Tracks: I've Learned To Love Myself, If I'm The Devil, Copper Colored Quiet

Least Favorite Track: Another Offensive Song

Rating: 8.5/10

PUP - The Dream Is Over

Punk rock outfit PUP is back with their follow up to 2013's eponymous debut, The Dream Is Over. The band abandons some of their gritty pure punk rage from their prior release and come to a new, more accessible sound while still maintaining their core punk rooting.

Reckless abandon is a signature in our current definition of a punk band. PUP seems to sacrifice some of this in order to blend angry rock with structures that have some sense of order. Some songs don't stay entirely true to this; songs like 'Sleep In The Heat' has a loose sense to it. This doesn't really play to it's favor, though. The song is one of the weakest on the record, given that the rest of it has steadier structures that make up the tracklist. It stands out in the way a punk song should, but in this album it's a bit of a black sheep. 'My Life Is Over & I Couldn't Be Happier' feels similarly unpolished, but tighter than the former track does, giving it that extra edge.

Something this album does stay true with its genre is the riffage. Especially towards the middle section of the record, giant riffs explode with inner angst and rage. 'The Coast' has perhaps the most confident riff: it's huge and in your face as it kicks in without warning. The juxtaposition of the wailing tremolos over the thick distorted powerchords create a distinct urgency that really carries the riff to a different level. The strength of the chorus takes the riff a step further, Stefan Babcock's angry voice complimenting the enraged riff. Another giant track, 'Old Wounds', follows suit, this song immediately starting off with energy and channelling it throughout the entire song. Disjointed guitar lines and harsh screams fill the choruses while Nestor Chumak's chunky basslines provide a strong low-end to the trashing track. While not full on angry like the prior tracks, 'Familiar Patterns' has a driven beat and strong riffs. This song is more relatable than jam-worthy, but it certainly falls in both categories.

There isn't too much memorable emotion besides rage on the record, but it does exist. Right off the get go, 'If This Tour Doesn't Kill You, I Will' starts with a signature of punk rock: a melody that doesn't seem to care. While it usually throws me off, this specific melody seems to have a sense of conviction to it, and while it throws off the call-to-arms vibe the rest of this track his, it certainly isn't as much of a detraction as it would be coming from any other band. The track segues without pause into 'DVP' that, unless you were watching the track change, you might not even notice. The song just... happens. It doesn't leave much of a mark, perhaps as a result of its immediate and unaccented transition. The album closes on the considerate 'Pine Point', a recollection of past experiences. It builds up from a somber ballad to a powerful rock 'n' roll anthem. Big powerchords and electrifying guitar back the chorus before the final reprisal kicks in in a big group sing-a-long that brings the album to a satisfying and full circle conclusion.

PUP may be Canada's current punk sensation, and they've certainly lived up to their hype from their debut, but there's still a lot of room to grow. They polished up their sound with The Dream Is Over, allowing for a more accessible sound but abandoning some of the pure punk feel. This album isn't free of bumps and bruises, but it certainly makes up for its flaws with its best moments. Don't miss out on this one.

Favorite Tracks: The Coast, Old Wounds, Pine Point

Least Favorite Track: Sleep In The Heat

Rating: 7/10

Architects - All Our Gods Have Abandoned Us

There are two ways good metal can go: with heaviness comes brutality and jams, or with heaviness comes beauty and connectivity. In their seventh record, All Our Gods Have Abandoned Us, post-hardcore/metal outfit Architects seamlessly find the compromise of those two types of metal.

After a decade of evolution, Architects have settled on a sound that's hard to wrap your head around. It's definitely metal, but somewhere along the lines, they formed something new. The music on All Our Gods is giant, atmospheric, and crushing while still being melodic and technical. It's as hard as it is to explain as it is to comprehend. All that's clear is that it's brilliant.

There is no break on this record. It's 46 minutes of unadulterated intensity and raw emotion. This album begs for multiple listens; once through for the epic instrumentals, and a second to appreciate the lyrical work on it. Vocally, this may be Architects' best material yet. Sam Carter brings out amazing melodies in his violent screams (giving the music tastes of melodic death metal) while still finding moments in between to bring in softer moments. 'Deathwish' is perhaps the most impressive vocal and lyrical moment on the album, the chorus admitting "I know you know we’ve been living a lie… We’ve passed the point of no return… We just want to watch the world burn." Looking beyond the lyrics, you can find huge melodic screams and a sung bridge, a moment of reprieve from the blistering intensity of this unforgiving album. 'Gone With The Wind' brings in more killer vocals - the chorus melodies soar to different heights and the bridge provides a moment of consideration of the lyrics, before the powerful instrumental and giant vocals return.

More noticeably epic and groundbreaking than the vocals are the incredible instrumentals found on each song. There is not a dull moment on any track whatsoever - every note is another punch to the face and every word is taken to heart. Straight from the beginning, this becomes apparent, with opener 'Nihilist' begrudgingly opening with some of the most intense screaming found on the record, with a reprimanding and brutal instrumental to back it. Epic guitars found on 'Phantom Fear' back up the absolutely crushing outro to the song - a start-stop djent breakdown that'll send you into an abyss. The eight-minute epic conclusion to the record, 'Memento Mori' is as dark as the title and length may suggest. There's something brilliantly dark found within the guitar synth that begins the song, a seemingly unimportant moment, yet so unforgettable and demanding at the same time. What separates this song from the rest (besides the qualities that can be gathered before the song even begins) is that it highlights the electronic aspect of the album. The album's electronic backgrounds are arguably just as important as the massive guitars and double bass kicks that make up the foreground - it's like the Hybrid Theory of 2016; the album loses an entire level of power without the electronics. The entire song builds up and progresses until it reaches its gentle climax, but each section of the song has a new offering that needs careful listening for a full appreciation. It's a perfect ending to an album of this caliber.

I found the center of the album to be a level down from the beginning and end, there's a song at the core of the album that really ties it all together: 'A Match Made In Heaven'. The album seems to refuse the idea of hooks and memorable choruses in order to give it its appeal, but this song seems to tread towards the playability aspect a little more closely. The chorus is anthemic and just powerful enough to not be forgotten. The song itself sums up the album, and what makes Architects so great, in a perfect way. Raw intensity of the vocals paired with a slew of technical riffs make the song a whole different force. In an album full of unforgiving and unorthodox songs, this song ties in a more modern structure with the different elements found dispersed in songs that accompany it.

Architects set a new precedent for modern metal bands with All Our Gods. It sounds familiar, yet it's not quite like anything you've ever heard before. For those who don't like the reprimanding lyrics or technicality of the instrumentals, this may not be the album for you. But even if that's not something you can get down with, this is an album that cannot be skipped - it's an instant classic for metal. In the beauty of its crushing atmosphere and rampant riffage, part of you that begs for rebellion and desire comes out. This album, while brutal, is capturing and comes from a disposition we've all shared. Architects is like fine wine - they get better with age. They've changed the game with this record, we may not be ready for what's to come next.

Favorite Tracks: Memento Mori, A Match Made In Heaven, Deathwish, Phantom Fear

Least Favorite Track: The Empty Hourglass

Rating: 8.5/10

Top 10 Albums Of 2016 (so far):

1. Radiohead - A Moon Shaped Pool
2. AURORA - All My Demons Greeting Me As A Friend
3. Panic! At The Disco - Death Of A Bachelor
4. Deftones - Gore
5. Dream Theater - The Astonishing
6. Foxes - All I Need
7. Daughter - Not To Disappear
8. Thrice - To Be Everywhere Is To Be Nowhere
9. Architects - All Our Gods Have Abandoned Us
10. Lacey Sturm - Life Screams

Thrice - To Be Everywhere Is To Be Nowhere

Just when you thought they were done, they come right back, bigger than ever. Alternative rock giants Thrice is back from their hiatus with their ninth record, To Be Everywhere Is To Be Nowhere. The album doesn’t see them going back to their heavy, complex roots, but eases into a comfortable alternative rock/heavy rock compromise that compliments every aspect of their sound.

To Be Everywhere is a sort of slow burning wildfire. It has brilliant sparks of energy and blazing infernos at its core, but also has plenty of moments which are just flying ashes in the aftermath. The album is caked in a sort of mysterious darkness that envelops every track, morphing it into a silent watcher. It’s relatable at the same time it’s crushingly true. That very darkness is captured in the central instrumental divider track, ‘Seneca’, that provides that dark spaciousness that a lot of the album features. Slow burners in this wildfire include songs like ‘The Long Defeat’ (which sounds like it was taken straight from the Pianos Become The Teeth play book) and a lot of the verse melodies found on the album. Other songs, however, are less slow and more massive.

Intro track ‘Hurricane’ begins on a folky acoustic guitar note, an interesting juxtaposition to the massive rock track that immediately follows the light beginning. The ending of this song is so crushingly powerful, you can feel the enormity of it grabbing hold of you. There’s plenty of huge moments on the album like this, many of the choruses being big and loud. Lead single ‘Blood In The Sand’ pairs its massive choruses with verses filled with chunky basses and loud background chants. ‘Whistleblower’ also bears a giant outro paired with a solid body showing that Thrice is at the top of their game. Lead singer Dustin Kensrue channels his inner Halestorm in ‘Wake Up’, the hard rock influences of the album coming out loud and clear.

Paired with the darkness of the album is it’s rawness. This album is chocked to the brim with pure and unbridled emotion, and that’s evident within every aspect. Urgency and panic is channeled through the instrumental and melody of ‘The Window’, while pure anger comes through in ‘Death From Above’, which honestly feels like it’s more of a rant by the end of it. At the center of the album, following the instrumental interlude, is the duo of single ‘Black Honey’ and ‘Stay With Me’. While the two tracks are not necessarily a pair, they share a similar progression as far as lyrics go. ‘Honey’ is dark and demanding, but in the same respect feels like a surrender. It resolves itself by the end, which has a touch of hope to it, as if another chance is available, the bridge somberly promising, “this time, I’ll get it right.” ‘Stay’ feels like a continuation of the promise made at the end of the former track, or, in better terms, an elaboration. The promise made at the end of ‘Honey’ becomes a plead in ‘Stay’, as if the final chance has come, and the narrator must beg for it to thrive. It’s an interesting combination - it feels intentional, but there’s no way to tell for sure. The progression in itself is sweet enough as it is. The album as a whole concludes on the slow burner, ‘Salt and Shadow’. It’s the longest song on the record and definitely not the most exciting, but it does have a sense of finality that ends the record on a fulfilling note.

Thrice never fails to impress with their releases. They’ve been in the game for a little under two decades now, and every release is stronger and stronger. They’ve carved their niche out in the alternative rock sphere and continue to make it their own. To Be Everywhere Is To Be Nowhere is a confident and powerful return to music for the band, and shows that the band isn’t ready to hand up the towel just yet. There’s a lot more ground to cover yet.

Favorite Tracks: Black Honey, Hurricane, Blood On The Sand, The Window

Least Favorite Tracks: Death From Above

Rating: 8.5/10

Top 10 Albums Of 2016 (so far):

1. Radiohead - A Moon Shaped Pool
2. AURORA - All My Demons Greeting Me As A Friend
3. Panic! At The Disco - Death Of A Bachelor
4. Deftones - Gore
5. Dream Theater - The Astonishing
6. Foxes - All I Need
7. Daughter - Not To Disappear
8. Thrice - To Be Everywhere Is To Be Nowhere
9. Lacey Sturm - Life Screams
10. HÆLOS - Full Circle