Warpaint - Heads Up

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Los Angeles' most crucial female indie rock outfit Warpaint are back with their third effort Heads Up. With two cult classic albums behind them, there's a lot ridding on this record.

Heads Up may not be another immediate cult classic, but it definitely has its initial charm. Every listen gets better and better. Intro track 'Whiteout' opens the album with cool melodies and some sweet clean guitar vibes. First track and we're already getting in the mood of a groovy and catchy experience. It's followed by 'By Your Side', a creepier and more brooding song with more haunting harmonies and an epic build to its dramatic ending, exploding with booming bass synths and crashing drum beats.

There's a lot of groove on this record, particularly in the bass - Jenny Lee Lindberg outdid herself on this record. The basslines are the highlight of many of the tracks on the record, becoming evident first on the album's lead single 'New Song'. The swirling synths are just background to Emily Kokal and Theresa Wayman's harmonious vocals dancing with each other, Lindberg's bassline powerfully yet understatedly carrying the song through. The song ends with the bassline and synths, highlighting the life the bassline really gave it.

The bass becomes a very prevalent part of the music for the rest of the album. The deep bass carries 'Don't Wanna' through it psychedelic atmosphere, pairing with the synth. The funk of 'So Good' is carried and captured by its dinky bassline, and the minimalist picture of title track 'Head Up' features a higher energy bass track. It's not all about the bass, though: other songs have other highlights. The haunting melodies of "Don't let go, I need you now" build the jazzy, odd structure of 'Don't Let Go', the urgent acoustic guitar chords acting dynamically under the chill of the rest of the elements working in unison. Chilled guitar is what thrives in the electronically tinged 'Above Control', the beautiful harmonies accentuating it along with a driven beat. The acoustic guitar ending to the record 'Today Dear' is another strong moment, providing an atmospheric and retrospective moment on the heels of an otherwise exciting and challenging record.

If this album is missing anything, perhaps its variation. There's a lot of indie rock mixed with an electronic influence, but there is a little repetitiveness on the record. The lowest point on the record is 'Dre', which has little to offer except for an odd, experimental electronic vibe. There are cool concept on the song, but it could be a lot more fleshed out. It's an experiment that could've used more - that's the most negative comment on the album that I can give.

Warpaint does not disappoint on their third album. Each one of their records has something original and powerful to offer, and Heads Up is no exception. It may need more than one listen to truly appreciate, but its energy and strength is there. Another win for Warpaint, and another win for music.

Favorite Tracks: Above Control, Today Dear, By Your Side

Least Favorite Track: Dre

Rating: 84 / 100

Ryu - Tanks For The Memories

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The wait is over. After years of work and hype, Ryu has finally released his debut record (excluding the "secret" 1999 record) Tanks For The Memories. Was it worth the wait, though?

The album opens up with a big sample - Pink Floyd's 'Hey You' being the basis of the instrumental. The sample fits pretty well in an odd way. The pleads of Roger Waters sound nice in between Ryu, Gravity Christ, and Divine Styler's verses. The track 'The One' follows up, full of questionable references, including calls to Street Fighter and CARS. It doesn't really give a great comparison to him being "the one," nor does the counting up from one to eight at the end... would it not have been better to count down?

The album lacks a lot of seriousness, and that's a problem considering how hard it tries to be serious. The goofy instrumental of 'Been Doin This' is funky, but the lyrics are just as silly and have no clear direction. Instrumental moments aren't all bad, though: 'Bottom Of The Bottle' features sweet, Japanese-film strings that add a lot of atmosphere to the track, the hip-hop beat creating a pretty sweet track. Jams is pretty solid on the track too.

This album is plagued by out of place, out of date styles. Revivalism or nostalgia is never discouraged, but it doesn't really work when the music reflects the mentality that it's still in the era in which this music is popular. The fans will enjoy, but there isn't much else to it. Evidence of this is seen in closing track 'I Did It Myself', which references Fort Minor: "For delf, for dolo, the wealth, the fame, the shows, the planes, the photos, the fans that still with me see me on DeSoto / Never heard of Fort Minor but they love Marco Polo." Ironically, in what is essentially a weak version of 'Remember The Name', he raps above a more modern instrumental with piano and poppier beats, but that line itself shows that he still thinks in that era. It is an older song, to be fair, but the point stands.

There are attempts to change that - 'Lap Of The Gods' with Tak and Celph Titled seems to try and channel Kanye West to mixed effects; the beat is good, so it can be excused to some degree. Other tracks try too hard to sound relevant, especially 'The Bumrush' wish is just plain silly. 'Who's Next (Move)' is somehow goofy and oddly aggressive all at the same time, and it doesn't fit well. There's just a lot of attempts at something that even Ryu doesn't seem to quite understand, and it resulted in a very confused album.

Tanks For The Memories is that awkward debut where an artist wants to look past it and move forward to the future. Hopefully, this means Ryu will head in a smarter, more refined direction. This album was years in the making, so let's see what comes from the next one. Maybe we'll see the real Ryu shine through, instead of this confused double and his friends.

Favorite Tracks: Radio Pollution, Bottom Of The Bottle

Least Favorite Tracks: The Bumrush, Who's Next (Move), Mantis For Lotus

Rating: 52 / 100

Kidneythieves - The Mend

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Industrial music is often times very unrelenting. Its mechanic body moves in a synchronized array of pounding synths without emotion. That's what Kidneythieves exhibits in their new album The Mend, though there is a quite a bit of emotion; particularly worry.

The album was delayed by about a month following guitarist and engineer Bruce Somers who experienced a family crisis and was unable to master the album until the end of August, but the band knew that they wanted a masterfully crafted album. So they pushed back to release to allow for the album to be properly mixed for the best experience. The Kickstarter campaign that funded the record also played a key in wanting this album to be better for the fans than it was at that time.

Did the patience pay off, though? The results of The Mend don't really justify the time and money put into the record. It's a solid record, but it's nothing special, nor particularly exciting. It may be the nature of the genre that is always trying to live up to Nine Inch Nails, and of which few bans or artists have truly excelled in, but The Mend is just underwhelming as a whole.

It kicks off with 'Fist Up', starting creepily and leading into a thick, pulsing guitar riff that punches in and out to add dynamic to the track. Free Dominguez's melody is a bit odd, panicky and hysterical in the choruses but in a high-school cheerleader kind of way. It's a solid track otherwise. 'Codependent Song' shows that NIN influence on the genre; the bouncing synths and dramatic vocals shining through.

This album is plagued by missing something on each song. There's not one song that feels complete - they all seem lacking in some fashion. Many songs seem to be missing a sufficient low-end to balance out the high register guitars and bouncing synths. In fact, there really isn't a song that has a strong low end that empowers it. 'Kushcloud' has traces of bass in the wobbling, distorted synth, but it just doesn't quite hit that deep, low-end feel. Some songs don't even have an almost: 'Who You Are' is heavily reminiscent of the industrial/electronic scene of the late 80s and 90s. With that high synth, there really isn't any thick bassline - or any bass whatsoever - to hold down its foundations.

A lot of the slower songs had potential, too. There's interesting points of the record, especially when some of the aggressive imagery and reprimanding nature of the industrial genre is dropped for something more provocative. 'Migration' is the start of this trend, a swampy synth playing above a funky beat as Dominguez's melodies take the limelight. 'Let Freedom Ring' even takes up a poppier composure - and actually has a bass guitar, however underwhelming! - that features a programmed beat and uplifting melodies, powerful guitars giving it the punch that so much of the rest of the album lacked.

If anything, The Mend is an example of how important bass can be to an album. Kidneythieves may have made an important album for them, but that doesn't make it a good one. It was a long time coming and it unfortunately didn't live up to what it could have been. It missed vital components that would've taken it a single step further and by far a better album. All the tools are there - they just have to know how to use them.

Favorite Track: Let Freedom Ring

Least Favorite Tracks: World For Us, Living Like You Did

Rating: 53 / 100

Idina Menzel - idina.

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Many would skip over Idina Menzel on the assumption that she makes music for Disney. This isn't necessarily unfair. The 'Let It Go' singer's fifth album, her eponymous idina. sounds like a collection of rejected Disney songs put to more universally acceptable lyrics.

The first half of the album truly feels like the music are just scrapped film songs. 'Small World' kicks the album off, her powerful voice being apparent throughout, but severely outclassing the weak instrumental. This problem resolves itself in the following track 'Like Lightning', yet the Disney vibe doesn't yet die out. By the time you hit 'Queen Of Swords', you're already sick of the album.

It's not until 'Last Time' that the music starts sounding like actual songs. The gentle piano dynamically backs up Menzel's somber and apologetic vocal performance, becoming one of the first genuine songs on the album. The song builds slowly with various elements, Menzel's voice becoming more passionate every time she sings "Don't let the last time I saw you / Be the last time." 'I Do' falls into the same hole, dynamic piano acting with a drum beat to back Menzel's growingly confident vocals about love. The harmonies soar prettily while they intertwine with each other, with strings and funky guitar adding a little extra touch.

That's where the good times on the record end, from a quality standpoint - in fact, it sounds like she's way too happy on the next few songs. 'Cake' is one of the strangest songs I've heard in awhile, and I'm not quite sure if there's some sexual innuendo hidden in those "I'm another man's cake" lyrics. She sounds like she didn't even care about the lyrics of 'Perfect Story' - the first verse is literally her reciting Jack & Jill. The acoustic guitar is nice, but trying to use the word "textbook" in an emotionally charged song just doesn't mesh well.

idina. is a soundtrack album. That's it's fault. There's only a few tracks that really stand out as real songs you would find on the radio instead of in a movie scene (specifically). Idina Menzel must've been trying to appeal to her already existing fanbase, creating an album that parents and children alike could enjoy for different reasons. To the average person, though, it doesn't really have much impact at all. Maybe it'll be a good starting point for Frozen 2.

Favorite Track: I Do

Least Favorite Tracks: Perfect Story, Cake, Queen Of Swords

Rating: 52 / 100

Skylar Grey - Natural Causes

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Skylar Grey isn't a household name, but she certainly deserves to be - she's the mastermind behind some of pop's biggest hits as well as having quite a notable repertoire behind her. Some may remember her from her collaboration with Fort Minor in her Holly Brook for 2005's 'Where'd You Go', while others may remember her sexually suggestive collaboration 'C'mon Let Me Ride' with Eminem who was anything but "suggestive". 

What most people won't remember her for was writing such pop hits like Diddy's 'Coming Home', in which she is featured on, or Eminem's 'Love The Way You Lie' featuring Rihanna. Grey has a lot of talent in writing big, catchy tracks. Her new album Natural Causes isn't necessarily a pop sensation, but it definitely shows off her song writing abilities.

It begins with the hauntingly beautiful, robotic harmonies of 'Wilderness', an a cappella track leading into the creepy 'Jump'. Spidery guitars backing background vocals screaming like riots as she sings oddly calmly above the chaos of the song: "All I want to do is jump... No fear I'm floating." In the same chaotic scenario is 'Straight Shooter', taking over a hip-hop influence with a badass posture. Skylar Grey sings above a demanding and cavernous beat in an aggressive fashion here, a barebones cowbell being backed by the thicker, fatter bass synth and kick drum, as the chorus threatens, "I don't spit before I fuck it / Got a hand on my pistol in my pocket / I don't play nice, I'm not a shit talker / I'm a straight shooter now just give me the money honey."

There are some calmer and more retrospective numbers on the record, too. Single 'Come Up For Air' is an example. We reviewed it a few weeks ago (read that here), but its charm hasn't changed. The powerful drums are just a backing element of the dark storytelling, as Grey sings that she'll wait for her lover to come back even if they never will: "And even if this really is the end / I'm sure I'll be alone until I'm dead / Cause no one else will ever quite compare / To them it wouldn't be fair... If you're my Jack then I'm your Rose / And I promise I'll never ever let go." 'Real World' is a big, synth lead song, the sweet melodies backed by cavernous drums and big, bassy synths. The harmonies add a lot of level to the track, too. The acoustic number 'Moving Mountains' has very sweet and bright chord progressions and slowly building layers of choir synths and pianos leading to a satisfying end. Closing track 'Closer' features beautiful piano layers and sweet vocals in a cavern of sound. 

While much of the album showcases Grey's talent, there's still somethings that are left to be desired. One such example is the Eminem collaboration - 'Kill For You'. The instrumental is tinged with an old-school orchestra and a confident beat, but when Eminem comes in, it feels like a wasted opportunity. It's one of his only appearances this year - his song on the Suicide Squad soundtrack being the other time - and it's a pretty average one. It's standard Eminem, and the wording and delivery is great, it just feels odd above the instrumental and doesn't mesh well.

Many songs show potential but don't quite reach a high. Take 'We Used To Be Bad', which starts raw and folky and progressively builds up with walls of synths. It builds nicely and has sweet vocals, but after the big synth moment when it kicks in, it's pretty underwhelming. That initial rush quickly dies down. Other songs like 'Lemonade' are catchy, but get a bit overdone by the ending; I don't know how many times I can listen to someone say "lemonade" before the hype dies down, but this song definitely passed that limit. 'In My Garden' has odd, janky beats and a pretty strange vocal line that would work a lot nicer in a different scenario. The song begs for something darker, and Grey takes the odd-chord, dejected approach instead and it doesn't pay off. The same is true for 'Picture Perfect' - it's a lot of good ideas packed into one song but something about them doesn't quite fit together.

Skylar Grey continues to show her music making prowess in Natural Causes. It's not perfect - there are some places that there could be more, or have better cohesion, but overall its a solid record that showcases her talents. It outshines her debut by showing off a more experimental side, and hopefully the next album shows those elements all coming together to make something huge.

Favorite Tracks: Come Up For Air, Straight Shooter, Real World

Least Favorite Tracks: In My Garden, Picture Perfect

Rating: 75 / 100

My Chemical Romance - Living With Ghosts

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The legacy continues. My Chemical Romance's critically acclaimed The Black Parade celebrates its ten year anniversary next month, and ahead of it's release, the band has rereleased the album on vinyl, along with a second disk entitled Living With Ghosts, featuring a load of demos and rough mixes.

We'll skip ahead to the demos - our thoughts on The Black Parade will be coming next month. There a number of songs on that album in which their demo form appear on Living With Ghosts. The most notable is the first demo on the record, 'The Five Of Us Are Dying'. At first unrecognizable, when the guitars and verse kick in, you realize you're listening to one of the first versions of 'Welcome To The Black Parade'. Starkly different from the original, the song's signatures and iconic parts are all missing. The only parts that are truly similar are the verses - even the guitars in the choruses are different! It shares a guitar solo, albeit a different take that's pretty cool to listen to. You can hear the uncertainty in the vocals, as if Gerard Way wasn't actually certain that the song was ready yet. The potential was soon to be discovered. While it's the demo of 'Welcome', the ending also bares some similarities to the intro of 'Cancer'.

Two versions of 'House Of Wolves' can be found on the record, too. Both live mixes, the first version that appears is extremely different from the album version. It begins dramatically with a guitar line and an urgent but subtle drum line before bursting into powerchords and crash cymbals. This version lacks cohesion, but it's interesting to hear what the song was originally. The second version is more akin to the version we're all familiar with, in a rawer and less-complete fashion. 'Disenchanted' appears near the end of the tracklist, beginning with an electric guitar and Way assuring his bandmates that he knows the lyrics, unlike the acoustic beginnings of the album track. There are some mistakes throughout, particularly in the second guitar, but, again, it's cool to listen to.

A live demo of 'Mama' has, in a way, more silliness to it than the album version with Gerard singing out of time without any regard for staying on beat, and some rocking pinch harmonics in the heavy choruses. Bonus tracks 'Kill All Your Friends' and 'My Way Home Is Through You' are also featured as live demos, the rawness contrasting the restrained sound on the album versions.  

There are a handful of never-before heard demos, too, and some of them are quite interesting. The first is 'Party At The End Of The World', a demanding track that makes you wonder what it would sound like if it was probably mixed and mastered. 'Not That Kind Of Girl' is another interesting one, with a confusing perspective. Way sings in the chorus, "So say goodbye to all my friends / I fell in love with her again / My baby / Cause I'm not that kind of girl," which begs to ask: is Gerard singing from the perspective of himself, or the girl? Is the narrator a girl? These are things we'd know better if the songs were properly mixed and, you know, finished.

The two most interesting songs on the record are ones we haven't heard before. The first is 'Emily'. The demo, branded a "Rough Mix," starts with a pretty complex drum beat before Gerard Way sings hauntingly above light guitars. The choruses are powerful, but there are some really well thought out instrumental melodies on this song. The fact that it was mixed means this song was pretty deep into the process of making it onto the record - it definitely feels like it fits right into the tracklist. It builds powerfully to the end, seeing a heavier and heavier progression as it concludes.

The closing track 'All The Angels' is another very interesting demo. The guitar arpeggios are creepy with a Western tinge as Way sings in a tortured fashion as the song slowly builds, a kick drum carrying the beat as the first chorus kicks in, as Gerard Way croons "And all the angels say / Ooh, ooh / You are all to blame" in a very reprimanding fashion. The Black Parade was an ode to death, but it never seemed to assign blame. Perhaps that's why 'All The Angels' didn't make it onto the record; it's message is that everyone around the protagonist is to blame for his death. It's tone would fit right in place at the end of the record, maybe as a retrospective ending. 'Famous Last Words' did a perfect job at closing the album out, though, so perhaps it's best to leave that alone. 'All The Angels' definitely would've found home on The Black Parade comfortably, its creepy, defeated vibe adding a lot to the message of death.

The Black Parade was an iconic album, yet even the most famous songs had to have started somewhere. Living With Ghosts shows off the humble beginnings of some of the album's dearest tracks, as well as introducing fans to some songs that never quite made the limelight. After ten years of growing with these songs, we can finally see how they started to grow. My Chemical Romance may not be together anymore, but their legacy won't die any time soon.

Favorite Tracks: All The Angels, Emily

Least Favorite Tracks: My Way Home Is Through You, The Five Of Us Are Dying

Rating: 70 / 100

Passenger - Young As The Morning Old As The Sea

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Folk music is characterized by its lyrics. There's always a lot of mystery and searching found within the words. Passenger has shown to have a mastery of the ability to tell stories with his words. Eight albums have taught him a lot; his eighth record Young As The Morning Old As The Sea is a testament to that.

Known for big hits like 'Let Her Go' and the country-tinged 'Shape Of Love', the singer has seen mild success throughout his career. That never seems to get to him, though. The English singer is forever humble, singing about fulfilling his own dreams and facing his memories throughout Young As The Morning.

The album begins in a less thought provoking manner, and more in a feel-good way. Intro track 'Everything' sees him singing the story of his own success: the first verse ends with "Then you get something / Something that you've always dreamed about / When you got something you've got something to lose," referencing 'Let Her Go' - the song he wished he could always write and have it resonate with so many people. The chorus goes on to condemn humanity, saying that people will take everything from you - but you should give them your best. A peppier number follows up with 'If You Go', a song about the mysteries of the simplistic things of life, the cheerful attitude accented by punchy trumpets, sweet guitar arpeggios and bright acoustics. 

The indie vibes are strong on this one. The riff for 'Anywhere' screams indie, and the gospel organ helps take that a step further. The great vocals from Passenger also resonate a nostalgic vibe above the sweet harmonics, creating a hopeful atmosphere. The third song 'When We Were Young' is a chilled back track with sweet strings backing the clean guitar. Beautiful melodies paired with a sweet sentiment about young love bring about a very peaceful track. The warm guitar solo provides more dreamy substance to the song's slow moving body.

The true folk element kicks in during the second half of the record. The title track 'Young As The Morning Old As The Sea' has a urgency in the sweet arpeggiating guitar and pounding drums. The great guitars follow wanderlust lyrics, as Passenger sings about exploring the world to discover his roots and everywhere he's dreamed of going - he wants to be free, as "I wanna be free as the winds that blow past me / Clear as the air that I breathe / Young as the morning / And old as the sea." Acoustic goodness continues in tracks like 'The Long Road', which has a sweet vibe and is punctuated by reverberating slide guitar. 'Fool's Gold' is much the same, orchestras and a more upbeat drum beat replacing other elements along with the acoustic guitar. Passenger's message of finding happiness in the little details of life are supported by subtle background vocals, making the track resonate that much more. The atmospheric guitar intro of 'Somebody's Love' lead into a similar structure as 'Fool's Gold', but the highlights of the song are its fantastic instrumental moments and sweet melodies.

The acoustic guitar dances with piano in 'Beautiful Birds' featuring Birdy (perfect). The harmonies between Passenger are Birdy are as intertwined as the grace of the acoustic guitar and piano - pure bliss put under a somber light. It's almost heartbreaking - the two moving lines trapped in a tragic but beautiful dance as the lyrics hauntingly chant "You said you loved all the songs that I'd sing / Nothing that you'd ever heard / And I said I loved you with all of my heart when / We were two beautiful birds" in a stunning duet. Piano makes a return in 'Home', the album's closing track, but in a more upbeat fashion. The piano leads the song as acoustic guitar strums brightly, being carried by a light drum beat. The song is a sweet and cute ending to an even more sweet record, the beautiful reverberations of piano and strings closing the album as they fade out blissfully, like the final flakes of snow on a winter morning falling from the sky as the sun begins to peak through.

Passenger is a master of storytelling. It's hard to believe he isn't more renowned - his abilities certainly deserve it. Young As The Morning Old As The Sea is like a life story: it's about the dreams and wishes of wanderlust and hope Passenger has experienced throughout his life. It leaves you wanting something; not necessarily more music, but just something you can feel and hold onto. This album taps into your own wishes and more peaceful times, providing for an emotional and peaceful journey. When you step out into the world to find those dreams you want to follow, take this album with you.

Favorite Tracks: Beautiful Birds, Young As The Morning Old As The Sea, When We Were Young, Home

Least Favorite Track: Anywhere

Rating: 88 / 100

Shawn Mendes - llluminate

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Every year comes another internet sensation that makes the girls croon and pisses off all of the guys. First it was Bieber, now it's Shawn Mendes. His debut album Illuminate isn't as bad as it may seem when it starts, but quickly becomes the boring, bland album you'd expect from him.

As I mentioned before, the start of the album is pretty good - and so is the end. The blues pop track 'Ruin' opens it up, a sweet guitar lick repeating throughout the song, reverberating around above a sweet bassline and simple drum beat as Mendes croons above as he tries to convince a girl that he's the one that's meant for her. Typical, but it's the first song of its kind on the record, plus it has a chill instrumental, so we'll let it pass.

Things pick up with appeal when 'Mercy' kicks in, the intro piano having the same drama of Adele's 'Hello' before a guitar line comes in to help build the song up to its big chorus, Mendes begging "Please have mercy on me / Take it easy on my heart / Even though you don't mean to hurt me / You keep tearing me apart" above cavernous drums. The drumming keeps the drama flowing, the backing vocals adding another layer of sweet melody to the song. The bridge takes a quick reprieve where Mendes sounds confident and hopeful before the song builds back up for one big final chorus. 'Treat You Better' has the same appeal with a different structure. The muted plucked guitars lead the first verse into its poppy chorus with its strong vocals and great melody. Mendes sounds pretty passionate in the choruses, which is refreshing - and almost misleading based on much of the rest of the record.

The ending of the record is also fairly good. There really isn't any meat to the album - the beginning is the first taste and the end is the bittersweet final bite, but the meal in between is largely unfulfilling. After a series of boring and downright bad songs, 'Hold On' brings back the sweet acoustic guitars found earlier on the album. The message of the album is pretty sad - the song is basically all choruses, but one of them begins with "And my dad says Shawn stay with me / Everything will be alright / And I know I haven't seen you lately / But you're always on my mind," which is pretty dark and depressing considering the rest of the album's cockiness about love. 'Roses' is the much the same, a sadder track that instead capitalizes on piano and sweet basslines. The song builds up with anthemic drumming, which fall out at the end to bring the album to a retrospective conclusion.

The problem with the album is with its core. It's beginning and end are good, but the album is build like a rotten sandwich. The promise of 'Three Empty Words', an acoustic song that is, albeit, a bit boring but has a nice sentiment is lost as the album goes forward. Mendes literally cannot write about anything but him being the best guy out there for a girl. 'Don't Be A Fool' has groove and dynamic guitars, but the love songs are getting old.

They don't end there. While 'Mercy' made have had tones of Adele, 'Like This' is literally a straight rip off. On top of that, there isn't a single pop artist that doesn't have a song like this. It's an old and overdone idea. So many tracks are just boring or lame concepts that have no ground and reprise the same goddamn message about wanting to have love. Nothing beats the stupidity of 'Understand' - an overdone song with a cringey spoken word section that's literally the most cliché stance he could've taken on the subject of change. It's unbelievable how blatantly unpoetic and uncreative it is.

Shawn Mendes should've stuck with YouTube. Songs of his style work better as standalone releases rather than the collection of subpar tracks Illuminate is. It starts promising, turns to utter crap, then ends sweetly. Sadly, there's not enough good on this album to justify the bad. Mendes, you tried. You didn't not succeed on this one.

Favorite Tracks: Mercy, Treat You Better

Least Favorite Tracks: Understand, Patience, Honest, Lights On, No Promises

Rating: 42 / 100

Linkin Park - Hybrid Theory

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The turn of the century marked big changes for the world, and for music. Evolution occurred right from the start, yet nu-metal was carrying over from the 90s to truly dominate the first few years of the 2000s. The most prolific band from that era was Linkin Park their brand of nu-metal fused with elements of electronica and hip-hop made Hybrid Theory one of the most important records of the 2000s, and, by extension, all time.

Hybrid Theory changed more than just music - it changed lives. From the angst ridden rebellion of the brutal bridge of 'One Step Closer' to the personal, scared feeling of 'Crawling', Linkin Park hit people in more ways than most were doing at the time. Most people will put it off as just another angsty album of that era, but they miss so much more. From start to finish, this album made its mark in history and in many people's hearts.

1) Papercut: Fans of the band will always cherish the opening drum beat and distorted synth in their hearts. Whether it be from the live scene or just a casual listen, the beginning of the song is perhaps as iconic as the album itself. Mike Shinoda's verses are riddled with paranoia as random harmonies and voices punch in and out in all directions, the thick, drop-tuned guitars providing dynamic throughout its play time. The band's elements all come together in the epic conclusion, Joe Hahn's scratches adding extra percussion on top of Chester Bennington's harmonious croons of "The sun goes down, I feel the light betray me" lines as he sings with the stronger chorus, concluding the song with one big "I can't stop what I'm feeling within / It's like the face inside is right / Beneath my skin!" 'Papercut' is a huge Linkin Park track and it's held in the hearts of the band's fans for a good reason - for many, it was the first track they would hear from the band as they edged into an album that would stay with them forever, unbeknownst to them. That's what makes "Papercut" the true introduction to Linkin Park. (96 / 100)

2) One Step Closer: The opening riff of the song is perhaps one of the most iconic riffs of the era, perhaps even as significant as Metallica's 'Enter Sandman' or Guns N' Roses' 'Sweet Child O' Mine'. Equally as iconic is the bridge of the song, the rebellious, yet all too relatable, unrelenting screams of Bennington's "Shut up when I'm talking to you!" This song is what really got into people's hearts - the early 2000s was a period of confusion for a lot of lost and angry teens. The song's anger gave them a funnel for their inner feelings, and as did much of the rest of the album. What makes this record all the more timeless is the fact that even today, the same anger is what countless people - including pubescent teens and adults alike - struggle with, and Linkin Park has always been able to provide a way to channel that. 'One Step Closer' was only one of the first examples of this. (92 / 100)

3) With You: "Ladies and gentlemen, Mr. Hahn!" The famous quote from live performances of this song made it one of the most memorable parts of the band's energy-filled live shows (shoutout LPLive!). While lacking the brutal "Come on!" scream from the intro of its Reanimation counterpart and live performances, 'With You' is still packed full of energy. It's this song that really brings out the elements of the band that weren't as obvious on previous tracks. The atmospheric, electronic verse flow sweetly under Shinoda's unstoppable flow and a hip-hop beat, transitioning perfectly into the heavy choruses with Bennington's raspy vocals. The song also highlights Mr. Hahn's contributions to the band (which have been sparse as of late) - his scratches may not be noticeable without focussing on them, but their purpose in carrying the percussion is perhaps just as important as the drums themselves. 'With You' is the perfect example of the band's electronica influences, as well as their talent in creating mind-boggingly amazing instrumentals. (98 / 100)

4) Point Of Authority: Anyone who has heard this song can never forget Shinoda's opening verse. It's one of the songs on the album that features the last rapping, though ironically enough it contains one of the most recognizable verses on the record. There's something threatening in Shinoda's "Forfeit the game" delivery, and it's a threat that sticks with you. Bennington also delivers a memorable appearance - really listening to the choruses, you can hear a lot of depth in his half-screamed vocal. The texture and melody of his voice atop the thick beat truly create a certain power that can't be easily recreated. (96 / 100)

5) Crawling: "Crawling" is the song that won the band a GRAMMY award, and for good reason. It's composition in dark but melodic, beautiful yet full of alertness. It's the first in the band's line of singles that features an iconic synth-key intro ('Numb', 'Burn It Down', 'Until It's Gone' are also examples) as other synths start kicking in and the higher register powerchords that provide a reprieve from the thick lower-register guitars that dominated the album until this point. Chester's delivery of the chorus really made it clear that his voice was something different. The perfect amount of rasp combines with the perfect amount of melody and power to create something unique and epic. The song's premise resonated with thousands, if not millions, again playing to the fact that Linkin Park are able to relate to you no matter what the case. As easy as it is to make "Crawling in my skin, these wounds they will not heal" the subject of a meme, its those simple lines that could really make a difference for some, and that it did. (94 / 100)

6) Runaway: The song leads in with a watery synth and lo-fi guitar before bursting into a heavy bombardment. The song is admittedly one of the weaker songs on the record, but it still serves its purpose. The verses feature Chester singing melodically over the keyboard synths before his raspiness is channeled for the choruses. The bridge explodes with thick guitars and Chester's strong voice screams high above them. The song doesn't have much more to it, but many could identify with its title alone. The frustration of the recording of this track led to the creation of 'One Step Closer', so we have that to thank it for, if for nothing else, at least. (83 / 100)

7) By Myself: Perhaps more iconic than the grumbling intro riff itself is the staple 2003 live intro the band used during the touring for Meteora. 'By Myself' is characterized by its ominous synth verse instrumentals with Shinoda's rapping sounding paranoid and anger and Bennington's screams acting as precursors to the melodic "I can't hold on, it's all too much to take in... with thoughts of failure sinking in" lyrics of the choruses. The bridge creates a quiet tension with Shinoda's threatening whispers before the song kicks back in full force for one final hurrah. 'By Myself' showcases both the melodic and heavy aspects of the band in a similar yet familiar fashion as 'With You' - these elements coming to into fruition together are a signature part of what makes Linkin Park's sound so great. (95 / 1000)

8) In The End: This song needs to introduction or explanation. Everyone has heard 'In The End'. Whether they have learned the simple yet effective key intro to the song or use the chorus as a joke, 'In The End' is a universally known track. It's the song that put the band on the map, and for good reason. It opened up the band's sound to a poppier audience that wouldn't agree with the anger of 'One Step Closer', 'In The End' instead telling the tale of tragic love or struggle. The seamless flow of Shinoda in the verses as he and Bennington trade off to the chorus made this song an iconic track, and a prime example or rap rock. The song's beauty is magnified by the guitar harmonics used in the choruses thanks to Brad Delson; the blend of pretty and heavy really play to the tragedy of Chester's lyrics and voice. 'In The End', as many times as you've heard it before, is ultimately a big classic tune. (95 / 100)

9) A Place For My Head: If you're a fan of Linkin Park, you're a fan of 'A Place For My Head'. The song reigns as a massive fan-favorite in the live scene and is one of the band's signature jams. The Middle-Eastern tinged guitar riff that backs Shinoda's blasting lyrics in the verses ("I watch how the moon sits in the sky in the dark night / Shining with the light from the sun / The sun doesn't give light to the moon assuming / The moon's going to owe it one / It makes me think of how you act to me / You do favors and then rapidly / You just turn around and start asking me about things that you want back from me"). The chorus reigns huge with crushing guitars that support Chester's powerful voice above it, singing melodically. The bridge is where things get intense: Chester painfully whispers "You try to take the best of me, go away" as his anger builds before he explodes into a massive outburst of rage. The chorus reprises itself once more before the giant outro begins, featuring the band giving their all to end the song on an unforgettably massive ending. 'A Place For My Head' to this day remains one of the band's biggest tracks (even with the heavy tunes introduced in the band's latest The Hunting Party), and it has not lost its luster at all in the last sixteen years. (99 / 100)

10) Forgotten: There's no build up to this one - the threat of Linkin Park's dynamic duo of Bennington and Shinoda open to the track in a trade off before the verse kicks in. Shinoda tells a story of loneliness in his rapping, perhaps one of the earliest indications of Fort Minor without an exaggeration of hip-hop elements. The song's guitars are really interesting, changing throughout the entire track. There's the main opening riff that's reprised throughout the song, the peaceful, flowing guitar lines of the verses, and the melodic, almost groovy powerchords of the chorus. 'Forgotten' is an acquired taste on the album, but once you invite its charm to your mind you come to truly appreciate it. (92 / 100)

11) Cure For The Itch: The album's instrumental that gives Mr. Hahn a chance to shine. It showcases his scratching and sampling techniques, but there's really not much else to it. It's nice to see the album's most understated element get a chance to shine all on its own, but it just doesn't do it for me. The song builds with strings and the occasional Eastern-tinged piano line as drum samples and scratches see it through. Never underestimate Mr. Hahn. (60 / 100)

12) Pushing Me Away: 'Pushing Me Away' is a ballad more in the vein of 'Crawling' than any other track, just in a prettier fashion. The guitar harmonics in the intro and verses are beautiful atop the electronic synth, and eventually the driven beat, give the song its character. It's not as heavy and unrelenting as many of the other tracks - like 'In The End', it sees peace in the verses then becomes bigger in the choruses. Chester's vocals sound pained and abused as he sings about being sacrificing everything for someone for it all to be taken for granted. The powerchords go higher up the guitar neck than much of the rest of the album, contrasting the thick rhythm guitar, ending the album on a different note than it began with 'Papercut'. 'Pushing Me Away' isn't about the heaviness; it highlights the band's songwriting abilities that may have been overlooked in other tracks. The album couldn't have ended in a more appropriate way (unless 'High Voltage' was kept on the backend - though 'Pushing' may still be the best way spiritually to end the record). (96 / 100)

Hybrid Theory was the album of a generation. Nothing quite like it had ever been done before - it seamlessly blended nu-metal, alternative rock, and electronic music all into one succinct sound. To this day, there are still bands who try to emulate the mastery of noise Linkin Park created on Hybrid Theory and still can't quite get there. This is an album that shaped music forever, setting it on a different courses and really brought metal to a more accessible scene. Its anger, pain, and fear gave countless people something to hold onto in times of confusion, and it has the same impact today that it did when it was released nearly sixteen years ago. Hybrid Theory is perhaps to most influential debut album to ever be released, and its importance will never be forgotten, because it will forever have a place in our hearts.

Favorite Tracks: A Place For My Head, With You, Papercut, Points Of Authority

Least Favorite Tracks: Cure For The Itch, Runaway

Rating: 95 / 100

Sin Fang - Spaceland

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I've said it before, and I'll say it again: anything that comes out of Iceland is always magical. Whether it be the barren soundscapes of Sigur Rós or the haunting synths of Björk, there is something special that Icelandic artists find in the isolation of their country.

Sin Fang is the new contender on the block. His sound is something we don't normally see come out of Iceland - a fuller, pop sound. His fourth record Spaceland has him explore the beautiful pop soundscapes that still feel frosty just as the isolated pictures of Iceland paint.

Listening to the first song 'Candyland', it sounds like something you'd expect out of some underground electropop from New York. The dinky vocal synth intro paired with the scratchier synths lead into reverberating vocals that harmonize in a glitchy excellence, before the chorus brings in a splash of cool sound. It's a super chill and an all-around great pop track, but it doesn't quite scream "Iceland!" It progresses into a more hopeful composure, though, having that signature Icelandic power of being full of emotion but still having a certain emptiness at its core. That is what makes this album so great - it channels that perfectly.

This becomes clearer on the next track 'Not Ready For Your Love', which sees Sin Fang's melancholy lyrics beautiful sing above a deep synth with a strong beat. The whirling vocal synths in the bridge support Sin Fang's vocals in an enchanting way, like the souls of Iceland's stark nature are supporting the essence of the song. 'Lost Girls' shared the same melodic prowess, the song building less of the supporting details and more from its smooth vocals.

Most of the album succeeds from simply having raw beauty. The dark and brooding instrumental of 'Never Let Me Go' with Sóley's female voice harmonizing with Sin Fang's atop a dramatic and mystical composition. The choruses build stronger and stronger as a more driven beat continues to progress further, giving the song a stronger presence. There's something very mechanic in his voice, and that serves as a strong disposition to Iceland's essence. That very mechanic, almost empty-but-not-quite approach makes it feel that much closer to the isolation of his country.

The instrumentals do a lot of the talking on the album, as well. The huge waves of synths in 'I Want You To Know' that create the beautiful choruses lead into choir-esque synths in the verses, before whirring back into full force in a matter of seconds - blissful seconds. The best instrumental content has to be 'Snowblind', which has elements of dubstep beats interlocked within the beats, the huge bass hits sounding like black holes absorbing you into the somber messages, the lyrics appropriately chanting "the darkness became stars." The album concludes on an admittedly underwhelming note with 'Down', but it takes the album on a peaceful and somber note - respectfully quiet and not flashy, as if to give the album an respectable ending, not overrun by flashy production.

Sin Fang shows the essence of Iceland in a more approachable light, without sacrificing any of its beauty. There's something about Iceland that has a profound affect on the art that comes out of it - it's completely unique and beautiful, and it's incredible. Spaceland is as barren as Iceland is, but brings to life the exciting moments of its isolation in vivid scenery. Iceland, you're amazing. You are too, Sin Fang.