Young Thug - JEFFERY

In hip-hop, your influences are almost like your gods. They are the foundations of what came before you, and the reason that you can flourish in the industry today. Young Thug pays homage to his idols in his new mixtape, JEFFERY. Most tracks are named after someone he has idolized, making the album feel like a dedication record.

JEFFERY sees Young Thug tackling some of his most diverse work. All tracks (barring the conclusion track) is named after someone he has idolized or worked with: the album begins on 'Wyclef Jean', dedicated to the Haitian rapper (who actually has a feature later on the record), and channels Wyclef's reggae roots. The track is fun and features a lot of Caribbean elements. Wyclef Jean features later on the record on the album in 'Kanye West' (previously titled 'Elton John', 'Wet Wet', and 'Pop Man'), which feels like more of a glorified Kanye track than anything else. 'Guwop' praises the roots of trap music - another track shouting out the originator of a genre - being a praise of fellow rapper Gucci Mane. The track is a pretty chill one, if not a bit silly.

Young Thug sends some love to some of his peers, too. Despite his past beef with him, 'Future Swag' is dedicated to the man himself, Future. Despite how sick I am of Future being literally everywhere this year, this does sound like one of his better tracks. 'RiRi' is a nod to Rihanna, and is just about as annoying as 'Work' is - Thugga literally sounds like a seal throughout this track. A nod to producer Swizz Beats is found in the track named after him, but the track sees Young Thug singing and it just doesn't fit too well.

How could this album be complete without memes? There are a couple of songs dedicated to pop culture references, the first of which is 'Floyd Mayweather', the boxer who rose to fame in a major match earlier this year. It's hard to tell if this track is a slam at him or a celebration of him - the boxer is known to have been in cohorts with Young Thug in the past, almost signing to his record label. He didn't in the end, and the song is all about the living a life in luxury. Of course, the album has a shoutout to the current meme phenomenon 'Harambe', and while the title is relevant, the song doesn't really say much about the controversy of him in any form (gun control, animal rights, etc.) and is nearly downright annoying with all of the ad libs and raspy, yelled vocals. The instrumental is phenomenal, though.

There are some great instrumental moments on the record. 'Webbie' has a very dramatic and almost pretty soundscape, taking turns between pulsating synths and a ringing beat and a refined beat behind sweet piano. The final track 'Pick Up The Phone' with Quavo has the best relationship of instrumental and vocals on the record. The song is credited as being a collaboration between both Thugga and Travi$ Scott (he basically just does the ad libs - he has a verse on 'Floyd Mayweather' that will satisfy his fans more). The vocals and instrumental flow as a pair; the track has a punchy and almost aqueous synth that compliments the vocals almost perfectly. It becomes a grander, richer synth that follows a dark progression to end out the album on, almost abruptly. The ending could've been more fulfilling, but it's definitely suitable.

Young Thug may have his reputation in hip-hop, but he's well aware of what, and, more importantly, who brought him there. JEFFERY is a dedication album, a mixtape consisting of tracks named after his idols and peers. It also feels like it's his own personal statement, a mark that puts his name down in history. The mixtape's title was originally No, My Name Is Jeffery, as if to say that we should be looking at who he is, rather than his name. It's a humble album, perhaps not his best work, but certainly some of his most important.

Favorite Tracks: Pick Up The Phone, Wyclef Jean, Webbie

Least Favorite Track: RiRi

Rating: 72

Glass Animals - How To Be A Human Being

There's always room in everyone's palette for something exotic. Glass Animals is the that refreshing sound we all need and look for. Their blend of indie alternative goodness and exotic flavors is true ear candy.

There is something very knowing in the sound of the band's new record, How To Be A Human Being. It feels risky and put together by the wits of masters of music. Surprisingly, this album is the band's sophomore release! It follows 2014's eclectic Zaba, a critically acclaimed album that wasn't afraid to be imperfect. The prior effort was inspired by the likes of Kanye West and Nina Simone, and became an outlet for the band's members to do something wild and unpredictable. Vocalist Dave Bayley explained how it all came together: "I used to be really into super-clean, no flaws production," he claimed, "but now I like the context and soul that mistakes, chopped samples, and swirly white amp-noises give you.... We definitely were a bit self-conscious, we were once afraid to do something bold. Now when we re together in the studio we don t worry about those things. In fact, we don t worry about anything at all..."

The success of the prior album seemed to not hold back the development of How To Be A Human Being. What you must know, though, is that if you're looking for a follow up that embodies with Zaba had, you may not be happy when listening to this record in that aspect. It's going to impossible to come out of this album feeling unhappy, though. You may not get what you're looking for, but you'll find something even better than what you expect.

Glass Animals opt to express what they believe on the inside. Their process has never been to go in with an idea and to come out with that brainchild. Their process is wildly expressive and unique to their collective minds at that point in time. Human Being is almost like the child of Zaba, still. With the success of the former, they went around the world, touring in support of it. Along they way, they heard stories upon stories from the people they perform for. Those stories are the what built Human Being.

The backstory is made clear by the album's diversity. Right from the beginning you have a banger with 'Life Itself', featuring Indian percussion and fantastic melodies and vocals that build to a grand and explosive ending - a welcoming to the insane party of the record. 'Youth' follows up with dreamy vocals and a dinky instrumental, and singing about the joys of being young and in love. 

The best thing about this album is how much groove it has. 'Pork Soda' feels like hip-hop fell into a molten pot of indie flair. It has a lot of swagger and a certain confidence about it. I don't know. It's just pure fun. That's what's most of this album is like. It's just a feel good, relatable experience to listen to and connect with. 'Mama's Gun' is much the same as the former, but this one has some solid flute action going on that gives it that extra touch. 'Poplar St' also has a lot of swagger to it, but also a lot of mystery. It feels like a bluesier version of Radiohead's '2 + 2 = 5'. It's creepy but all-too knowing in its mystery. Don't even get me started about the brass sounding guitar at the end in 'Take A Slice'. I can't even tell if it's guitar or trumpet - but I don't really care. It sounds awesome and frantically insane. This album has it all.

The second half of the record has some songs that are very electronic-oriented. The low backing vocals from 'Mama's Gun' return in songs like 'The Other Side Of Paradise', which has an instrumental that builds with electronic layers. The lyrics are very reprimanding, might I add: "Bye bye baby blue / I wish you could see the wicked truth / Caught up in a rush it's killing you / Screaming at the sun you blow into." It's a pretty big track, both instrumental and as far as meaning is taken. 'Cane Shuga' is led by a stair-stepping synth and a groovy beat, the vocals effected and metallic. The song is a little odd, but still infectious. It contains an ending that is a bit strange, spoken word glitching out. A similar sketch scene happens at the beginning of 'Take A Slice' and that's also pretty awkward. But the album's awkward moments aren't enough to bring down it's magnificent whole. The album ends on 'Agnes' with its slow wave of noise slowly building up in a sort of bittersweet ending. It sounds upbeat and happy, but also definitively a farewell. It's a song you'd play as you drive out of your hometown for the last time when you're going to college or to start your own life. It has all the qualities of a send off, as well as a welcome. It's like a bright look into the future. A perfect send off for an album that sets the future for this band.

Glass Animals is something else. There's not really anyone else who sounds quite like them, or as diverse. They're unique musicians and even more unique as people. How To Be A Human Being is a brilliant album, from its backstory to its execution. You can never really predict this band; there's not one way you can describe them as. We don't know what their future holds, and neither do they. That's the beauty of their music; it's ever evolving. The mystery will reveal it's next clue in the future, but How To Be A Human Being is enough to last us a life time.

Favorite Tracks: Life Itself, Agnes, Mama's Gun

Least Favorite Tracks: Cane Shuga, Take A Slice

Rating: 87 / 100

Fire From The Gods - Narrative

Nowadays, you really have to go into a metalcore album expecting the absolute standard. And maybe some days you're just in the mood for hours upon hours of the same downtuned riffs and screaming, and there's nothing wrong with that. We all have those times. Fire From The Gods is the next band that fits into that similar metalcore vibe, but their vocalist does provide a... sound for sore ears.

First and foremost though, most everything else about this band is that same old metalcore sound we're all used to. But that means we have driven riffs to jam out too. We have a big start with 'Public Enemy', riffs and rap metal vocals carrying it through to the end. The growled vocals throughout are also great if you're in a mad mood. A lot of other great instrumentals mark the album - 'In Spite Of Doubt' has a breakdown with some fantastic guitar. 'Composition' is also chock full of great instrumental elements that make it stand out. Closing track 'Into The Blue' starts uncharacteristically quiet, before becoming a confident song that takes the album to its end.

What's special about this band is vocalist AJ Turner. He's the only thing diverse about the album. To begin with, he's African American. That's not something you see a lot in metalcore, let alone in the vocals. Props to him already. That takes confidence. His vocals are incredibly vast, too. From the Avenged Sevenfold meets Beastie Boys style rapping on 'Public Enemy' to the clean vocals on 'Into The Blue' to the brutal growls on 'Lifeline', this guy can really go a lot of places with his vocals. What's really special are those harmonies in the choruses of 'Excuse Me'. There's something mechanical about his voice, almost likes it's gone through a vocoder, and under that is the low clean vocals. In between lines comes harmonies of growls that are just phenomenal. There's an almost reggae style vocal in the bridge, too, harkening back to what I can assume would be Turner's roots. There's a lot of diversity on this album as far as the vocals go.

That is what Fire From The Gods needs to capitalize on. Those big choruses full of giant harmonies; that's a sound I haven't heard before, and if I have, not in a long time. Metalcore doesn't go very far instrumental. You either evolve out of the sound or stay with the big riffs. What can be changed is the vocals, and there's a lot of hope for this band.

Favorite Tracks: Excuse Me, Composition

Least Favorite Tracks: End Transmission, Diversion, Pretenders

Rating: 62 / 100

Britney Spears - Glory

Britney Spears has been tearing up the pop world for over two decades now. Her music was started some kind of revolution in the 90s, and her music was part of the soundtrack of the 2000s. Her ninth studio album Glory is a good representation of her career as its come to be, but hits both extremes of good and bad.

It gets off to a bumpy start. Bubblegum pop can describe the first opening sequence of the record. 'Invitation' kicks it off in a dinky way. It's an oddly dirty track in the most innocent way, the over-produced vocals adding to its innocence. 'Make Me...' improves a bit, though with a very weak verse from G-Eazy. I wish we could just not talk about 'Private Show' - it's one of the stupidest things I've heard in a long time. The chorus chants in some weird country/rap tonallity the god-awful lines "Work it, work it / Boy watch me work it / Slide down my pole / Watch me spin it and twerk it".

Beyond the beginning of the record there are some other subpar moments. 'Do You Wanna Come Over?' sounds like something that would've gone down well at the beginning of her career, but not so much anymore. The whole line of tracks from 'Hard To Forget Ya' through 'Change Your Mind (No Seas Cortes)' (two of these tracks are found on the deluxe edition) is wholly forgettable - 'Change' is oddly distorted at the beginning, too. 

Over her career, though, Britney has learned how to make plenty of great tracks. This album has a lot of soul and character to it. The first memorable track on the album is 'Clumsy' - a lot of groove and a fantastic instrumental and vocal performance gives this song a big pop appeal. The instrumental begins with an almost carnival vibe before an electronic, pulsing synth takes over the choruses. The verses are bluesy and Spears' vocals sound scratchy enough to pass it for some blues singing.

From a bigger perspective, it's all of the stripped-down and rawer tracks that sound a lot better than the rest of the songs. 'Just Like Me' starts off with an acoustic guitar and overall doesn't build much sonically, the choruses with a synth that begs to explode, though subduing it seems to have done the trick. The melody fits the bittersweet meaning of the song: a combination of jealously of a lover being with someone else, but the comfort knowing that their new partner is the spitting image of you. 'Love Me Down' is also not as in-your-face as many of the other songs, and has great melodies that build to epic choruses that have an awesome bassy pulsation going with them.

The album's deluxe version contains track called 'Liar', which sounds like classic Britney build in with her newer style. It has that mid-2000s flair to it with the choruses with plenty of harmonies and string punches. It's an epic song that definitely should've made it onto the regular version of the record. It has a dinky harmonica in it that adds a playful vibe to it, and the melodies of the song overall make it an all around great track and it sounds like her best hits from the peak of her career.

Glory is a natural progression for Britney Spears. Her innocent dirtiness comes through just as it would have 10 years ago, and her pop appeal is getting greater and greater while not losing sight of her previous sound. I only wish the album didn't have so much wrong with it otherwise that the great tracks wouldn't be standalones on an otherwise weak album. It's a Britney album, that's undeniable, but there's not enough personality in the lesser tracks to make it any more than average.

Favorite Tracks: Liar, Clumsy, Just Like Me, Love Me Down

Least Favorite Tracks: Private Show, Do You Wanna Come Over?, Hard To Forget Ya

Rating: 65 / 100

Drapht - Seven Mirrors

All things considered, hip-hop is the last thing you'd expect out of Australia. The country's pop and progressive rock scenes boom, but you never really hear many rappers coming out of there. Drapht shows us Americans not only that hip-hop isn't something exclusive to us, but that others can thrive in it. 

Already on his third album, Drapht has slowly been carving his way into Australia's mainstream. His success is rightfully claimed; his new record is something you don't hear often in hip-hop. Seven Mirrors is an audacious record in all of the right ways. The lyricism of Kendrick Lamar meets the fun instrumentals of Macklemore & Ryan Lewis. How can you not dig this sound?

If you're skeptic, just listen to the first full track on the record, 'All Love': It has confidence, style, and lots of love. His vocal delivery doesn't try and be gimmicky or something he wishes it could be (in American terms, he's not trying to sing like a pop star). The instrumental is simply fun with blaring trumpets throughout and twinkling pianos in other parts. There's several tracks where you can tell the purpose of them is to have some fun. 'Bad' featuring Nat Dunn is an example of this; it's a fun track, and you can tell that's what he was going for. Dunn delivers some fiery vocals on this track, too.

This album isn't afraid to show some character. It's a very diverse record in terms of the different styles Drapht blends into his music. 'Another Juliet' sounds like he's channeling his inner Lin-Manuel Miranda. Hilltop Hoods help add some funk and personality to 'Don Quixote'. Earlier on the record is Katie Noonan adding crooning and smooth vocals to the dramatic and somber 'Raindrops', as well. 'Asylum' has some blues rock vibes going on it, sounding more like a subtle acoustic track by the time it ends. The last song on the record is the brilliant 'Odds' with Brendan Welch - a song about battling cancer. It's a truly heartwrenching track and perfectly executed in its performance.

There are some lesser moments on the record, sadly. All of the interludes are just unnecessary; the opening one just seems cocky, 'Scumday' just makes you feel bad, 'Again' is sweet but forgettable, and 'Midnight At The Hospice' seems too dark and odd considering how the next track goes, in a completely different mood. There are some tracks that are a little too left field, too. 'Oikophobia' is the fear of feeling at home; and titling it your song seems too extreme. You get the message, but it's almost overdoing it.

Listening to Drapht really gives you an idea of how different hip-hop can be construed across the globe. This is true for all genres, really. But Drapht is a shining example of how being yourself can lead you to real success. Seven Mirrors is a fun and diverse album full of life - hip-hop today is so sex and money oriented in America, and the aesthetic of it is slowly becoming overdone. It's refreshing to hear hip-hop in this form. It's not every day you hear something old sound so new.

Favorite Tracks: All Love, Odds, Another Juliet

Least Favorite Tracks: Scumday, Mexico, Again

Rating: 77 / 100

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