Bad Omens - Bad Omens

Post-hardcore lovers will be all over the new band on the street Bad Omens, but they've yet to find their own voice. Their eponymous debut is some standard post-hardcore work, and channels Bring Me The Horizon in more ways than it feasibly should.

There isn't too much to say about this record that you can't say about Bring Me The Horizon. Bad Omens is like a less fleshed out Sempiternal - the rock vibes are there; but the songwriting, not quite. Despite this, there is still a lot to enjoy on the record. It opens big with the epic 'Glass Houses', with its ethereal opening and huge anthemic choruses. 'The Worst In Me' follows in much the same suit, big riffs and choruses sounding something like twenty one pilots meets BMTH. The album's slow ballad 'Enough, Enough Now' has odd screaming on top of reverberating piano but builds to an epic, wallowing conclusion. 'Crawl' is another slow moving some, but less-so in a ballad manner. It's a piano track that showcases the impressive vocal register of Noah Sebastian that concludes with epic orchestras and gang vocals, the latter of which make 'Reprise (The Sound Of The End)', an atmospheric track with brilliant instrumentation a great song.  It's not without jams, either. 'F E R A L' has a big riff and a harsh vocal line that'll have you headbanging in no time.

Now, we have to get into how similar this album is to Bring Me The Horizon. It's been said at least three times in this review already, but it's truly disappointing how this band doesn't have its own established voice yet. The atmosphere, the vocals, the instrumentation is just what every other post-hardcore album sounds like that has followed in this vein. It's not even Sempiternal and beyond BMTH they channel; 'Malice' is the early stages of the band, and the vocals are just horrendous. The only thing keeping this album from being great is the lack of voice this band has. We've heard it all before, right down to the same pointless message of 'Broken Youth'. In case it wasn't clear, that's the typical edgy track on the record. Listening to it just leaves you wanting something different. Not something that Bring Me The Horizon can do infinitely better.

By no means is Bad Omens a bad debut to start this band's career, but it falls into the trap of having influences. Do you want to sound similar to a band you look up to, or do you want to sound exactly the same? If the answer's the second option, perhaps a cover band may be the better route to take. Bad Omens has a lot of untapped potential, and hopefully as their next effort comes around the find their own stake in the post-hardcore world.

Favorite Tracks: Glass Houses, The Worst In Me; Enough, Enough Now

Least Favorite Tracks: Malice, Broken Youth

Rating: 68 / 100

Frank Ocean - Blonde

It's been a big weekend for Frank Ocean. As the clock rolled around to Friday, he dropped Endless (review here), a visual album experience that didn't quite cut it for me. Then came word that the long awaited Boys Don't Cry was still being released this weekend, and there was rejoice. The legend we were all waiting for was coming. And now it's here. Boys Don't Cry is now Blonde, and it's everything you could've wanted from Ocean.

2012's channel ORANGE was a critically acclaimed album, but there were many who thought Ocean was yet to achieve his full potential. He seems to have reached that point in Blonde. What ORANGE lacked that really sets the bar with this new record is purity. This whole album feels so natural that it can't be contested. It's basic in all of the best ways. It's not trying to go out of its way to be flashy or upfront; Blonde is fine being subdued and quiet - and for good reason.

The album's lyrics makes it feel very personal. It's not a typical pop record; instead of singing of love and fun, it's about the lessons Ocean has learned. The most down-to-earth track on the record is 'Godspeed'. The subtle track is, as Frank put it in a message released with the record, "a reimagined part of my boyhood." The song is sweet, and really reflects the story of his childhood, or rather, perhaps, what he wishes it would be. You can watch the scenes play through your mind as the verse reassures, "Wishing you Godspeed, glory / There will be mountains you won't move / Still I'll always be there for you / How I do / I let go of my claim on you, it's a free world / You look down on where you came from sometimes / But you'll have this place to call home, always." In his message, he continued, "Boys do cry, but I don't think I shed a tear for a good chunk of my teenage years. It's surprisingly my favorite part of life so far. Surprising, to me, because the current phase is what I was asking the cosmos for when I was a kid. Maybe that part had its rough stretches too, but in my rearview mirror it's getting small enough to convince myself it was all good. And really though... It's still all good." This album is like a thank you note to his experiences. He's thanking the hardships he faced for where he is today, and the next lesson he's learned is that it's okay to let go.

Every second of this record sounds like a reflection. Listen to the instrumental of 'Solo' - it feels so warm and genuine. The instrumentals on the record are an important part of what makes each track sound so welcoming. 'Good Guy' is a very barebones track; the one minute track is a sweet interlude featuring piano and Ocean singing about a relationship he wants back, but not in a selfish way. The way he delivers his vocals sounds very patient and understand, like he knows his time is yet to come. 'Self Control' is much the same, but instead of an interlude, it's a fully developed track. It's just as barebones at its core, with reverberating guitar supporting Ocean's vocals, at times pitched up to reflect a younger mindset. His voice sounds really smooth and pure on top of the underlying gospel and occasional orchestral swells that add character to the track. The end is a beautiful gospel of a thousand voices, Ocean's voice harmonizing with itself as the track fades out. 

The vocals are what really make this record, though. Take 'White Ferrari' - it's heartbreaking how real this sounds. It starts as a slow moving synth track before becoming a stunning acoustic track with dozens of harmonies, and each voice sounds almost tortured in understanding. You can't describe this track's beauty in words. It's sounds too pure to even try and substantiate to words. Guests help bring this record a step further. Beyoncé lends her voice on 'Pink + White', and above the lovely flow of the instrumental, creates beautiful harmonies, with a fresh female voice giving the track some uniqueness among the rest. Kendrick Lamar accentuates some of Ocean's thoughts throughout 'Skyline To', not delivering a blistering verse but instead acts as a second supporter of the lyrics. The subdued percussion in the first verse is a fantastic touch, too. A lot of artists influenced him on this record, too. You can hear the bewildering and panicked sounds of David Bowie's Blackstar album in 'Pretty Sweet' before its quick paced beat makes it one of the more exciting tracks on the record. And Kanye West wrote a poem about McDonalds just for this album too, so there's even more inspiration.

This album isn't perfect, though. There are some weaker moments on the record, some that even translate to WTF moments. 'Be Yourself' is a minute of being scolded by your mother and cautioned against drugs - fitting in the scheme of things, but more of a joke at the start considering the album's message isn't exactly clear at that point in the record. 'Facebook Story' is equally as strange, a German man telling a story of an awkward encounter involving Facebook. As genuine as the record is, it doesn't exactly have many areas where it'll grab you. Each song is pure in its own right, but aforementioned tracks have something more to them that separate them from the rest. Lots of average tracks make up the meat of the album - everything has something going for it, but nothing that makes them stand out.

Blonde is everything Frank Ocean fans could've wanted and more. It's not trying to be anything it isn't. It has moments of intensity and moments that are quiet and personal. It's the story of a lifetime, and the lessons that came with it. The long wait was well worth it. Frank Ocean has discovered himself, and he made the album he was destined to make. Blonde is a beautiful record.

Favorite Tracks: White Ferrari, Self Control, Pink + White

Least Favorite Tracks: Be Yourself, Facebook Story, Close To You

Rating: 78 / 100

Frank Ocean - Endless

Frank Ocean has had his fans on their heels for years now. Dropping hints for the rumored Boys Don't Cry (which is still coming out soon, it seems) had fans hounding the internet to discover every possible clue there is. The time is finally here. Ocean dropped a unique album in Endless, a visual album that is one of the first of its kind. But did this experiment turn out well?

Endless is something new and original, and for that alone it deserves recognition. We knew whatever Frank had up his sleeve, that it was going to be huge. And that it was. Ocean now has millions watching 45 minutes of three of himself building a wooden staircase to music. 

The most important element of the record is its format, and here's why it could have been a good idea in general: music is provocative of all senses, and it will always inspire a unique visualization. Watching music videos and a directors interpretation of the song provides one of millions of interpretations of it. Music videos are slowly becoming less and less relevant, but that doesn't stop them from being a big part of how music can develop.

Endless isn't like that. It's 45 minutes of black-and-white woodworking. Perhaps there is an overarching message, but the visual doesn't support the narrative of each track. It's like the three Franks put on the album in the background to work to. This idea could've been a lot better in execution, had the visual at least represented the album in some way. There just isn't any connection until you look at the big picture of it, and even then you're only looking at the overall idea of the video, not any specific moment within it. Let's not get started on how the format doesn't allow you to see which track you're listening to, or which track you're on; when it shows the album tracklist and credits at the end, you'll have to search around for it in case you missed something.

The music itself has a much wide appeal than the video, and the songs have a clearer message than the video displays. As far as the music goes, Endless is a very pretty record. Frank Ocean delivers soulful and chilling vocals on a plethora of tracks, including 'Rushed'. There isn't one sound to the album, though. As pretty as it is, there are lots of flavors on it. There's the beautiful, symphonic led cover of the Isley Brothers' 'You Are Best (You Are Love)' featuring Jonny Greenwood of Radiohead, the London Contemporary Orchestra, and James Blake, with a sweet and longing vocal delivery. There's also the acoustic guitar driven sweet 'Slide On Me', topped with a great melody and great bassy beats. Then there's the hip-hop influenced 'U-N-I-T-Y', that, with its strong verses, slams the desires of an average individual in society.

This is where the message of the album ties in with the video. As heard with the robotic voice found in 'Device Control' and 'Higgs', technology has hypnotized us. We're so interested in streaming parts of our lives and others that we forget our own needs. It all becomes a game. That's what the video tries to emulate - a simpler activity in an isolated place. In that warehouse, there was no worry or need to stream anything. There, he can work on his staircase in peace and without worry. I can't quite put a finger on what the symbolism of the staircase is, but it's not clear based on the video and music.

Are visual albums the next big thing in music? Are we going to see the next Kanye West album released as a visual experience? Frank Ocean may have started a revolution, but he didn't start it well. Endless is a great album to listen to, but not to watch. Sadly, unless you're watching the video, you can't go back and replay your favorite songs (just yet - hopefully this'll change). Boys Don't Cry is coming soon, and hopefully it'll outdo this attempt.

Endless can be exclusively streamed on Apple Music.

Favorite Tracks: You Are Best (You Are Love), Slide On Me

Least Favorite Tracks: Higgs, Whitter 10 Hubolts, Device Control

Ratings:

• Music: 75 / 100
• Video: 45 / 100
• Average: 60 / 100

Pascal Pinon - Sundur

Iceland is a place of many wonders. If you haven't learned of its magic from post-rock legends Sigur Rós, perhaps Pascal Pinon can provide a more accessible gateway into that. The Icelandic indie folk duo's third record Sundur is just that, caked with a pop sweetness shrouded with wonder.

The sounds of Iceland are unique. Pascal Pinon borrows harmonies from the likes of Björk to build haunting melodies that are hard to ignore; sweet harmonies make the opening track 'Jósa & Lotta' as they dance above sweet piano and ambience. Piano plays an important roll on the record - its atmosphere is a big part of what makes the songs sound mysterious. Key in to the piano on 'Spider Light', an instrumental focussing on the relationship of a metallic beat and somber piano. The sound of the piano itself throughout the record is longing and reminiscent, allowing for it to sound barren and cold, yet surrounded in mystery - the essence of Iceland.

Piano isn't the only thing that builds the character of Sundur, though. 'Skammdegi', a song sung in Icelandic, uses a clean guitar to add atmosphere instead, and a Sufjan Stevens synth to help it. Acoustic guitar does the same in '53', the piano taking a minor role in this one as acoustic guitar and vocals on top of distant electronics take you into a dreamy oblivion.

Through all the sadness this album may have, there are moments of happiness. 'Orange' may have that familiar sadness, but its recognizable, almost tangible. Its a sadness that's known to us all, but what it means will change. That's bittersweet, at least. 'Forest' has a poppier vibe than much of the rest of the album, dinky beats on top of a tangy synth lends itself to sound generally happy. The rest of the song doesn't sound like its jumping for joy, but it has a lot more hope than much of the rest of the record.

There are moments on the record that provide some freshness, too, albeit, most are minor. The dark sounds of 'Twax' seems like a sunset on a normal day in a small town of Iceland. The ambience of synths and xylophone that pair with a bunch of different sounds make this song sound uneasy - windchimes, bells, and more can be heard in this song, which transitions into a song with the same setting and windchimes, 'Babies', which ends up with sounds that seem to spiral out. 'Fuglar' is an odd track, and one of the album's most experimental. It's organ and brass intro starts nice but as electronics try to mesh with the harmonies, it's a bit off putting. It loops sweetly but lacks cohesion that brought together a lot of the record. 

Sundur is the sound of Iceland is a poppier light. Sigur Rós' barren soundscapes show the isolation of Iceland's creations, while Pascal Pinon show its welcoming emptiness. It's all a familiar adventure. Sundur isn't perfect, but it's understanding, and that's all you could want from Iceland.

Favorite Tracks: Spider Light, Skammdegi, Orange, 53

Least Favorite Track: Fuglar

Rating: 75 / 100

Crystal Castles - Amnesty (I)

The distorted synths of Crystal Castles are something you can't mess with. Amnesty (I) is the band's first album in four years, and the first to not feature ex-vocalist Alice Glass. It's an eclectic album, though distortion can't save everything.

It begins hauntingly with a haunting reversed choir sample (apparently singing a cover of 'Smells Like Teen Spirit') on top of a hip-hop beat and layered synths. This element of creepiness finds different motifs throughout the album. 'Fleece' displays it with distorted tortured vocals screaming above huge synth blasts, while 'Enth' ups the creepy factor in the same way with crunchy synths under urgent distorted vocals. The whole album has a similar vibe that repeats throughout, but there's a lot more to it.

Despite the unsettling sounds that find their way into the record in nearly every track, there's a wider array of emotion being displayed. See 'Char' - a much sweeter track, with bouncier synths and a more gentle vocal line. It's a chiller track than the preceding 'Fleece', which is a bombardment of distortion. This track, on the other hand, is smooth and rounded around the edges in comparison. Similarly smooth is the epic closer, 'Their Kindness Is Charade'. It's like a more epic version of CHVRCHES' 'Afterglow' - it has all the same elements (closing their albums, atmosphere), but this track builds with a lot more meaning. The synths constantly build into one last epic hurrah to end the record on a big note. It's an appropriate send off for an album so diverse, as it displays the best of the record within the span of three minutes.

Instrumentally, this album is a banger. To the pulsating synths of 'Sadist' to the soft buildup of 'Their Kindness Is Charade', there's a lot of ground covered on this record. You can find nearly anything you want on this album - 'Chloroform' even has the weird scratch synths that were iconic in the 2000's. 'Concrete' has bouncy and dark synths on top of a pounding beat (under vocals that sounds like a distorted cheerleading session), and you can find the extremes of distortion in 'Teach Her How To Hunt'.

Crystal Castles took their time crafting this album. It's creepy and often times off-putting, but it stands together well. Amnesty (I) is proof that Alice Glass wasn't the heart of the band - she was  an extension of it, but not the whole package. Ethan Kent and Edith Francis can hold it down just fine.

Favorite Tracks: Their Kindness Is Charade, Femen, Enth

Least Favorite Track: Ornament

Rating: 70 / 100

Ka - Honor Killed The Samurai

Hip-hop is usually defined with its swift hi-hat runs and speedy deliveries. Ka changes it up a bit. His new record Honor Killed The Samurai is a slow-moving, dramatic, and reprimanding record. It's not in your face but its message is all the same.

Ka's production style is what defines him as an artist. Percussion takes a backseat with his style, an instead the rest of the instrumental fills the space that begs for a drive to thrust the lyrics forward. There's a lot of great instrumental moments on the record that show that percussion doesn't necessarily need to be the backbone of hip-hop; the quiet yet strong 'Just' is led by a beautiful arpeggiated synth that accentuates the "politeness" of the track - the way Ka delivers his lines shows a respect for the listener (just like the ways of a samurai, eh?). The album also has a general moodiness that surrounds it in a mysterious shadow - listen to 'The Cold and Lonely', and the ad-lib tambourines and constantly in-and-out strings. It's like you're listening to this song in black and white. This dark theme repeats itself in 'Mourn At Night', but features a more tight instrumental with paired guitar and keyboard arpeggios.

The message of each track is as strong in the lyrics as the instrumentals. 'Mourn At Night' seems to be a comment on America's shooting crises over the last years: "he gone, we mourn at night" is what takes the song to a somber end. '$' comments on the nature of struggling in the ghetto on top of a dramatic piano and bass. 'Finer Things / Tamahagene' is the most polished track on the record, a beautiful pairing of acoustic guitar and piano with some electronics quietly play under the dramatic and tense lyrics, which sound like a life story, almost. 'Destined' is the oddest track on the record - it's a bit more out going than other tracks, and just feels out of place. The vocals are as moody as the song tries to be, and it just doesn't sound as cohesive as other tracks. Ka has a very moody delivery, and it definitely pairs well with the plethora of moody tracks on the album. 'Ours' is another song with definitive lyrics; "these seconds, these minutes are ours" is a nice play on words when you hear it upon the bellowing layers of vocals and synths that build into a haunting end.

Honor Killed The Samurai is on big metaphor. It's about life in the ghetto; more specifically, the struggles of it. A samurai is cunning and passionate. They'll die for their honor. Ka comments on what "honor" has become, and how its definition can become blurred. It's unique in its sound, and definitely a memorable record. If it had a more engaging from an emotive stance, it could've been a real classic, but it's a good record nonetheless.

Favorite Tracks: Finer Things / Tamahagene, Just

Least Favorite Track: Destined

Rating: 67 / 100

Savoir Adore - The Love That Remains

Savoir Adore has carved out quite the niche for itself with its self-proclaimed "fantasy-rock". The Brooklyn duo is back with their third full-length album, The Love That Remains. The album shows the stretches of their own genre aren't quite that extensive, but does offer a fun listen full of sweet synths and bright chords.

The music scene of Brooklyn requires originality for a band to stick out. Savoir Adore definitely has their own flair; it's a blend of things you've heard before that accumulate into a new fresh sound. Listening to the dreamy synths in 'Savages' give you a sweet vibe while the bright acoustic guitar that hide behind the electronics in the verses of many tracks give this album a fresh, feel-good vibe. 'Giants' brings the anthemic side of the album in, with huge choruses with the sound of a thousand vocal lines and huge bass to bring the chorus that much more punch. The second verse brings some slap bass into the mix too, which is always a nice touch. 'Paradise Gold' is the heart of the album, with groovy verses with layers of sound leading into choruses of pure bliss, where guitar and electronics become one in arpeggiated greatness. It's like if Purity Ring had guitars.

Despite the great feel of the album, there isn't much that stands out. 'Paradise Gold' is such an amazing track, but there's nothing else quite like it on the album. Nothing feels quite as immense or, perhaps, as pure as that song. There are shining moments throughout the album - the guitar in the intro of 'Crowded Streets', for example - but nothing is as spot-on in its entirety as 'Paradise'. It's a very safe sounding record, as if the band didn't want to stray from the formula of their brand. There's a lot of sweet percussion that finds its way into certain tracks, but those don't save the songs as a whole. The last track feels downright uninspired, forget following the formula. 'Night Song' literally chants "This is our last song, this is the last one..." Where did it all go wrong? They played it too safe with this record.

Savoir Adore made an enjoyable record, but nothing provocative. It's disappointing, really - I wish there were more song with replay value than just one star track. It's by no means a bad record, but it's safe. Too safe. "Fantasy rock" is something not a lot of artists can claim they dabble in - Savoir Adore can take it anywhere they want. The question is, will they?

Favorite Track: Paradise Gold

Least Favorite Tracks: Night Song, Beautiful Worlds

Rating: 68 / 100

Racing Glaciers - Caught In The Strange

English rockers Racing Glaciers have burst powerfully into music with their debut LP, Caught In The Strange. It's a boggling record, beginning with subtly building tracks before massive rockers come into play later on.

Theirs two flavors on this record: the quiet, resonating guitar rock that start the record and the layered walls of sound that find their way into the end of some tracks. There's a quiet brilliance that can be found within tracks such as the eponymous 'Caught In The Strange' and its preceding instrumental interlude, the introspective 'Nag Champa'. A peaceful abode dominates much of the album - a flow of easygoing tracks build near the end of the record before it returns to its rockier side, beginning with 'Patient Man' and ending at the first chorus of 'Samadhi (So Far Away)', which bursts with energy.

The other half of the record is massive. It's less of a half and more isolated moments found in tracks, but they're much more memorable and really bring the album together. It begins with the first epic moment on the record, the huge jamming ending of 'Naked We Rise', building up brilliantly through its length. It starts with a chord that has just enough dissonance to sound correct, and you know something is coming. Even earlier in the record is 'Seems Like A Good Time', where the rhythm guitar's crunchiness gives the song a new level of drive. 'Carry It On' has a gentle guitar line that's fantastically simple, yet beautiful all the same before building into a giant jam at the end. 'Samadhi' is wholly a jam, the energy resonating right after the chorus begins. The final track 'Young and Unsure' is a lengthy acoustic build that introduces a brass section as it builds into an epic conclusion.

As far as debuts go, this one is huge. Racing Glaciers have carved a solid career out for themselves with this first record. Their sounds pillar up into harrowing jams and each track is definitively their own. It sparks originality and a bright future for this band. Caught In The Strange is a flying success.

Favorite Tracks: Naked We Rise, Samadhi, Young & Unsure

Least Favorite Track: Patient Man

Rating: 75 / 100

Moose Blood - Blush

High school is or was the time of our lives. The music of the mid-2000s really defined the teenage scene - no one can forget the infectious pop punk / alternative rock anthems from that era; Fall Out Boy's 'Dance, Dance' and 'Sugar, We're Going Down', We The Kings' 'Check Yes Juliet', and Paramore's 'Misery Business' were only some of the big gems from that time, and even today they define us in that time of our lives.

Some may say pop punk is dead. Moose Blood challenges that statement. Their sound is a combination of today's punk scene and that mid-2000s rock. They're a fresh new blend of two beloved genres, but at the same time, it's just what you expect - and want.

As refreshing a return to this style may be, it's not exactly groundbreaking. It's certainly nostalgic, but by no means anything new. 'Pastel' starts the album and brings the memories flooding back, but once you get past that it's really just an average track. 'Honey' is slightly better, being that relatable love song about a match made in heaven. Much of the album, specifically 'Knuckles' has the sound of Biffy Clyro if they played pop punk. The middle section in a bit boring with how familiar everything sounds...

The problem with this album is that it's something we've heard before. It's nothing new, just a nostalgia trip. It's not a bad album, per se, but once you get past the fact it's a throwback to an important part of your life, it loses its flair. And that's if that era of music was important to you. If you're just listening to a pop punk record, it does get boring towards the center. The last taste or interest is in 'Shimmer', which is a very personal track with a fantastic ending. But other than that, it's a pretty dull, "heard it all before" album.

Moose Blood brings a new hope to this style of pop punk, though. Their sound may not be anything new, but its a gateway for others to follow suit. The doors of pop punk are opening again, and Moose Blood were the ones who dared to push through them. Is a new wave of pop punk coming? The dead has just been brought back alive.

Favorite Tracks: Shimmer, Honey

Least Favorite Track: Cheek

Rating: 70 / 100

Young The Giant - Home Of The Strange

If you're looking for a classic indie experience, Young The Giant has you covered. Their newest record Home Of The Strange is the band's third full-length effort, and sees them continuing to polish their sound into a more refined, indie rock specialty.

The good thing about this album is that there isn't a low point of it. There are periods where things mellow out and aren't as interesting, but there's no definitively bad part of the record. It has lots of groove within, found within signature tracks like 'Something To Believe In' - which has something untangibly funky going on with the chorus (which may either be the guitar or the backing vocals; I can't tell) on top of an almost hip-hop beat - and the energetic 'Silvertongue'. If nothing else, this album is definitely fun. Lots of songs will just get you vibing and moving about, dancing around to them; see the fun guitar licks in 'Mr. Know-It-All' and the grooviness of 'Jungle Youth'. 'Jungle' is a big track, distorted guitars and effected vocals adding color to it before it explodes in a big indie rock flavor during its jam ending. The eponymous 'Home Of The Strange' takes the album out on a feel-good, energetic note. A big note to end on.

There's another, calmer side to this record. It starts off this way, the tragically relatable love song 'Amerika' calmly beginning the record as it builds to a sweet ending. 'Elsewhere' is a quieter yet still funky song, sounding like something like Arctic Monkeys meets David Bowie (who is coincidentally namedropped in the following track). It's a nostalgic song, and the ending is almost chilling with how reflective the vocals are delivered by Sameer Gadhia. It's written in a very introspective way that feels very familiar. The lyrics on this album are often times simple in the best of ways: see the narrative in 'Amerika', the Greek references of 'Titus Was Born', and the silliness of 'Mr. Know-It-All'. 'Repeat' builds really nicely from its acoustic beginning to its creamy ending. Young The Giant channels their Sufjan Stevens influences in 'Art Exhibit', albeit with a more rock demeanor by the end of the track.

Indie rock never sounded so groovy. Young The Giant honed their indie sound and injected funk and soul into it, providing for a fun listen. Home Of The Strange is a great listen; by no means a masterpiece, but a great record all the same.

Favorite Tracks: Jungle Youth, Something To Believe In, Home Of The Strange

Least Favorite Tracks: Repeat, Nothing's Over

Rating: 70 / 100