clipping. - Splendor & Misery

Concept albums are great in theory, and often times prove to be phenomenal in execution. When an album has a narrative or an overarching story or meaning, it's so easy to get invested in them and engrossed in its message as if you were reading a novel. The best examples in recent times are Dream Theater's The Astonishing, a dystopian tale of love and war, and Muse's Drones, a commentary on the increasingly heartless ways of drone warfare. Sure, we don't have any legendary concept albums like Pink Floyd's The Wall knocking at our doorbells every year, but there are still definitely standouts that show up.

Of course, on the other side of things, there will be flops; and trust me, there are few things worse than a failed concept album. Unfortunately, that's what experimental hip-hop clipping. has achieved with their newest record, Splendor & Misery. 

It went for something interesting, and it deserves at least that much credit. It's story follows the sole survivor of a slave rebellion that's traveling through space on his Interstellar cargo ship. In his thoughts of loneliness (besides the ship's computer that has fallen in love with him), he discovers music in the ambience of the ship's creaks and shudders. Unlike the classic representations of anthropocentric insignificance in the face of an endless space, the main character finds comfort in knowing there's an infinite realm of possibility ahead of him, without the pressures of mankind bearing down on him.

While the story may seem fresh, the music that tells it really isn't. In an album of fifteen tracks, it's split almost half and half - eight "proper" tracks and seven interludes. The interludes add up to pretty much nothing more than unneeded ambience. The intro track 'Long Way Around (Intro)' hypes up the record nicely, segues into a confusingly fast verse (not in the line of Eminem, but more in the line of someone reading an instructions manual really fast) that is all of 'The Breach' before the first real track begins, and it's really underwhelming. 'All Black' sounds like somewhat of a mission objective being explained, and at six-minutes long, it just drones on and on. 

There are some good moments on the record, but most are ultimately ruined by something in the end. Take 'Break The Glass' for example, it's a pretty solid track with a haunting instrumental (sounds like that's the engine room of the ship) and distorted verses that build up into an almost industrial rap track. Of course, they had to end it with an ear piercing screeching that is pretty painful to listen to, but at least the meat of the song is good. There are some great gospel moments on the record too, but they're used as individual tracks, and I have absolutely no idea how they fit into the album. 'Long Way Away' and 'Story' are the tracks that consist of these. 'Long Way Away' eventually distorts into white noise while 'Story' follows the piercing noise at the end of 'Break The Glass'.

The only track on the album that really doesn't have a problem surrounding it is 'A Better Place'. It's the album's closure and it feels like an appropriate ending to the narrative and the record. It's upbeat with its proud organs and vocals, resonating hope and an challenging disposition to the frontier ahead of the escaped slave. It's a shortlived victory, though, since the album ends right as it gets off onto a good footing.

Perhaps a concept album just wasn't the right move for clipping. It's interesting to see that the group that usually raps about monotonous stories of living in the hood can branch out into this weird, afrofuturistic story about escaping the world. Granted, the music doesn't really support the effort put that narrative. No tracks really do well as a standalone item, and few of them actually do well in the context of things. But hey, they tried, right? Can't fault them there.

Favorite Tracks: A Better Place, Break The Glass, Long Way Home

Least Favorite Tracks: EVERY Interlude.

Rating: 30 / 100

Cymbals Eat Guitars - Pretty Years

Cymbals Eat Guitars are not ones to typically settle for the standard. They're often caught in a quest to become part of a dichotomy of originality amongst the indie rock scene. Their blend of showgaze with indie elements has always made them a strong force.

Their last record was 2014's LOSE, a critically acclaimed record for the band. Often hailed as one of their best, it came with hardships. Those challenges served as an inspiration for their new record, Pretty Years. Vocalist and guitarist Joseph D'Agostino explained: "In a dark moment on tour for LOSE, I said something to [bassist Matt Whipple] about losing my pretty years quickly because of touring, how the lifestyle ages you." He continued, "Months later when we were writing for the record, he came to me with the lyrics for that chorus and I wrote the song around them." These sentiments of a hard time on the road are what gave birth to the track '4th Of July, Philadelphia (Sandy)'.

Pretty Years is very much an of-this-moment record. It seems to capture the present in order to let go of the demons of the past. Closure track 'Shrine' is the climax to message, where D'Agostino chants of running away from the pressures of reality in order to come to terms with his past. The sentiment of this album being a very present-oriented one also became clear in the studio; discussing the recording of the album, D'Agostino claimed, "With this record... I think we nailed it this time. First or second takes of everything, real hunger in the performances. Just something to prove," the nature of the record becoming clear from the start, not just by meaning but spiritually for the band.

It's unique qualities become most clear in the track 'Wish', which is dominated by screeching saxophones, harmonizing in the most tortured of ways, seemingly not by intention. The powerful build leads to a squeaky ending but it's hard to escape the demanding brass that carries the track through. 'Dancing Days' also provides something new, and sitting at the center of the album, definitely becomes its core. It gets off with a slow start with splashy keys before exploding in the chorus with massive drum fills delivered by Andy Dole. The song is a cumulation of excellence from the band, as the song bursts into its emotional conclusion with D'Agostino yelling "Goodbye to my pretty years."

As personal as it sounds, it does leave something to desire after the end. Previous efforts from the band felt fulfilled. This album seems to go through moments of shine but at the end, it's only isolated moments you can remember that bring the album together. While explosive and definitely a jam, for example, the punk rock attitude of 'Beam' feels like less of a part of the record as it does a filler to provide some energy mid-way in. It's especially at the ending of the record before it's conclusion that the album seems to lose momentum, and that starts with 'Beam'. 'Mallwalking' is a slow mover, almost dramatic. It has a cool guitar going on in it but it's meaning seems lost in that disposition. It's a bit awkward coming out of 'Beam', but the lyrics seem to at least attempt to bring it back into the course of the record. 'Well' is also a good track, but feels simply out of place. Outside of the album's meaning, it's still one of the standout tracks with a poppy start that makes way for a big ending and fantastic buildup.

Cymbals Eat Guitars' approach to Pretty Years was spontaneous, and more of a release of emotions than a busywork record. It's personal for the band, for sure, and that comes off in a lot of tracks. It seems to lose sight of that at times, though, and becomes nothing more than a throwing out of emotions in an aimless fashion. It may not be as cohesive as other records, but it feels like the album the band needed.

Favorite Tracks: Dancing Days, Wish, Well

Least Favorite Track: Beam

Rating: 71

Angel Olsen - My Woman

There's somewhat of an "indie girl syndrome" going around music lately - all of these indie rock bands popping up led by a woman have the same exact voice. Angel Olsen gives us a refresher from that scratchy, tired vocal style. Her third record My Woman is both a solid indie record with originality and a compliment to her career.

Fans of Olsen may go into this record expecting someone along the lines of the crunchy production style of her sophomore effort, Burn Your Fire For No Witness. This album takes into account something that was brewing since the start of her career. Under the thick production of her last two records was a clean side of her grunge and pop rock flair. The grit of her music is mostly gone and replaced with a new sense of writing and artistry.

My Woman is a songwriter's album at its core, the vocals and messages being backed by other instruments not out of necessity, but rather for accentuation. The album is separated into two halves: a pop rock half with more radio-friendly numbers, and a back half with more personal and grabbing tracks. The first track is 'Intern', a sweet track backed by synths that's a lot shorter than you'd wish it'd be. It's followed by the lo-fi and nostalgic 'Never Be Mine'. The guitar progresses from being a light backing number to the driving backbone of the song in an awesome buildup from beginning to end. Another highlight of this half of the record is the Nirvana-esque 'Give It Up' - I can't help but feel like the song should start with "I'm so happy, because today I found my friends" rather than the message of hate sent to past loves.

The second half of the record isn't as upfront as the first half is. It takes a step back from the ballad tracks and instead focusses on songwriting and reflection. It's start is marked by 'Heart Shaped Face' which is almost like a twangy slow dance. This song really starts the point where we see Olsen broaden her vocal variety, of which there is a lot of on this record. Her approach is very folky on this track, while in 'Those Were The Days', for example, her vocals are very jazzy. The album ends with the somber 'Pops' - it's the most stripped down track on the record and is the appropriate amount of reflection to end the record with. It's sad about the loss of a relationship and it's one of the most relatable tracks on the record. It's hard to not feel a familiar sadness listening to this track.

The true gem of the record, though, is 'Sister'. It is one of two tracks (the other being 'Woman') that clocks in at over seven minutes, and it's really a journey. The song goes through what Angel Olsen would tell her sister (if she had one - Olsen was adopted at the age of three) as she grew up. Olsen describes how this image of a sister helped shape her own life and how there was always a light at the end of the tunnel when she wasn't sure there was. The track has the build of a Fleetwood Mac track, folky and bluesy guitar et al, as it builds up to a more driven track with punchy piano and a truly electrifying guitar solo with Olsen belting in the background to bring the song to an epic and emotional climax.

There's little to complain about with Olsen's new record. The only sad part is that the first half of the record seems weak compared to the emotions of the second half. My Woman is a musical accumulation of who Angel Olsen is. This album is her soul and her spirit. The album is almost like a life lesson, or, for Olsen, a reflection on who she's become and how she got here. It's beautiful and provides for a very revealing experience. My Woman isn't just one woman; it's the experiences that everyone goes through, and delivers one message: you are a product of yourself.

Favorite Tracks: Sister, Pops, Never Be Mine

Least Favorite Track: Shut Up Kiss Me

Rating: 85 / 100

A Day To Remember - Bad Vibrations

The pressure is on for A Day To Remember with the sixth album into their career. They've met a lot of positivity as well as some mixed-reviews throughout the years, and it seems like everything has led up to their newest record, Bad Vibrations. Good on them, though, as it does not disappoint.

First and foremost, this album has some banging riffs. The first track, the eponymous 'Bad Vibrations', starts off a bit too edgy with some pretty wretched screaming, but makes up for it later on with blistering guitars and a belligerent ending. The main problem in this track is the mastering; it feels like it could have just a little more punch to it. The problem resolves itself in the next track 'Paranoia', the verses of which harken to Nine Inch Nails' 'March Of The Pigs'. The lead into the chorus seems to explode quickly then immediately returning to the appropriate mixing - I'm not sure if this is a mixing problem or a artistic choice, but it doesn't resonate right. Luckily, the song has enough punch to it to carry it through. The ending of 'Exposed' is massive and unpredictable - it explodes out of nowhere and takes the track from being an okay one to a huge one. The same is true in the following track 'Bullfight' - cool verses followed by an explosive ending. 'Reassemble' is big in a different way, the atmospheric intro leading into evil sounding riffs that resolves into a sweet, retrospective acoustic ending.

The other half of the record is composed of ballads and songs not riff-oriented. The first of these tracks is 'Naivety', and it doesn't offer up anything too special. It sounds like a standard alternative rock ballad from the 2000s. The ending where Jeremy McKinnon sings, "What I hate about getting older / Where's my naivety," is a pretty weak and even annoying way of ending the song. 'Justified' suffers in almost the reverse way; instead of having one really bad part and the rest being standard song, it starts incredibly promising with a unique start not yet heard on the record and just becomes another standard song for the rest of its play time. If they had kept the mood of the beginning going throughout the song, it could've been a lot better. 'Same About You' is a rockier track without any big riffs, and instead highlights the melodies - the vocals on this track are phenomenal.

The last song on the record is the orchestral 'Forgive and Forget', the most sentimental and powerful track on the album. The first half of the track consists of McKinnon's clean and somber vocals, rolling drums, light guitar, and a beautiful orchestra. The song buildups, the second verse adding a more prominent guitar lead before the song bursts into a big dramatic ballad ending without sacrificing the momentum or the mood of the track. 

My main gripe with the record is that a lot of it sounds the same, or works in the same manner. They go for big explosive endings in the heavier tracks while they rely on the mood of the tracks in the softer ones to carry them through. The heavier tracks are awesome and fun, but they really don't hit much ground until they hit it big with their endings. The softer tracks all have that same vibe, as well (barring 'Forgive and Forget' - that one's perfect, and it becomes stale and repetitive after awhile. I'm thankful that they're all separated at least a little bit - most albums would bunch all of these similar sounding tracks together and that would make it all the more boring. There's also an immature or sometimes non-existent regard the band gives in some tracks; 'We Got This' (though the buildup and piano are nice) and 'Turn Off The Radio' are examples. The latter of the two has a silly sentiment on top of things, but the actual music gives it some credibility.

A Day To Remember may not be a perfect album for the band, but it's a solid one all the same. It has a lot of powerful tracks with big riffs as well as soaring melodies. However, on the same side, many tracks leave a lot left to be desired. It has its highs and lows, but Bad Vibrations has good intentions at its core. It needs variation is all. Hopefully the next album takes that into account.

Favorite Tracks: Forgive and Forget, Exposed, Same About You

Least Favorite Tracks: Naivety, We Got This

Rating: 79

Dreamers - This Album Does Not Exist

Indie rock has seen massive growth the last few years, spawning some legendary bands. While this may only be their first record, indie rockers Dreamers have garnered a lot of attention lately. Their debut This Album Does Not Exist is out now and it's long overdue.

You won't be seeing a complete reinvention of the genre in this album, but you will find an album that solidifies itself as a statement in the genre. This Album Does Not Exist is a very fun-loving album, having a fresh continuity throughout it's playtime that doesn't falter at all. It starts with the banger 'DRUGS', the song that sets the momentum for the entire record. It's a fun rock track that shows the band's ability to vibe out and enjoy their music. It doesn't feel forced or tense, as if the expectations for the band are stacked against the them. It's free. While some bands may feel pressured on their first release, Dreamers bursts confidently into this new frontier.

This album is fun but also dark at times - 'DRUGS' has a fun composure but the lyrics are a bit dark; while it's mainly about having fun, it does have undertones of addiction in it. It's hard to pinpoint these moments, since the album is so upbeat. 'Painkiller' is the same in that way, the punchy track having undertones in its meaning. It's so fun sounding, though, that you won't really get that while jamming out to it.

The underlying messages mean almost nothing here, though; the positivity of the record makes it too enjoyable for you to have to concern yourself with them. 'Sweet Disaster' starts to move away from the pure rock sound and adds in some electronic elements - the great guitar line is and an underlying synth boosts the track a little further. The older track 'Wolves (You Got Me)', which could be found on the band's sole EP release, has sweet crooning vocals from vocalists Nick Wold and a high synth that soars above the guitar riffs.

It's only the start of the record that's truly special, sadly. The latter half of the record is just... average. By the time 'Cry Out For Me' comes around, it's at the point where you're telling yourself "well, okay. I've heard this already." It's not that any of the tracks are bad by any means, they're all still fun and enjoyable, it's just nothing new from what you've heard earlier on the record. You get the wildness of 'Shooting Shadows' and the Nirvana-esque intro of 'Come Down Slow' that support the record's fun until the end. The only low moment I'd say is 'Lucky Dog' - it still carries the vibe, but it sounds just a tad too pretentious.

Dreamers has a swagger to them you can't find anywhere else. This Album Does Not Exist may not break any barriers but it does solidify their career. It's a successful and fun album, their somber 80s rock vibes meeting a modern touch. Dreamers are off to a great start with their full length debut, and they'll have everyone excited for the next one.

Favorite Tracks: Painkiller, Sweet Disaster, Shooting Shadows

Least Favorite Track: Lucky Dog

Rating: 73 / 100

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