Joe Budden - Rage & The Machine

Hip-hop is easily accessible, but not for the right reasons. The genre is often times victim of lack of variation, and that's evident in Joe Budden's new record Rage & The Machine.

The album has grit and dirt to it, and it deserves that; tonality is what can define hip-hop artists from one another. You get a sense of Budden's rich voice early on in 'Three,' the synth instrumental finding building with sections and layers of distortion, choirs, and brass punches all sounding under his thick delivery. The album's not all about his vocals though; female vocals provided by Jazzy spice up the record in 'By Law,' and again by Stacy Barthe towards the end of the record in 'I Wanna Know.'

The vocals are about as much credit as the album can get, though. Much of the rest of the record is bland and cliché: the story of an abusive drunk uncle in 'Uncle Joe,' for example. It's certainly nothing to joke about, but yet it's still a story we've heard of time and time again, and frankly there's nothing quite interesting about Budden's recollection of it. Many of the other songs fall in the "okay" category, with little, if anything, left to be said about them (see 'Serious' and 'Forget'), while other's just have you ask "why?" The very song that inhibits that is 'I Gotta Ask,' which builds itself up with cool lyrics before ruining it with its lyrics.

The album really has nothing to compliment. The first track is good, and the last song 'Idols' is about... well, his idols. It's a good sentiment, but like mentioned before, it's not something we haven't heard before. Rage & The Machine is another run-of-the-mill hip-hop attempt, not a complete failure but not giving anything of worth to the genre, further saturating an already saturated genre.

Favorite Track: Three 

Least Favorite Tracks: I Gotta Ask, Forget, Wrong One

Rating: 58 / 100

The Pretty Reckless - Who You Selling For

People have accepted that Taylor Momsen is no longer the sweet little girl actress she once was. She's the confident, crazy frontwoman of The Pretty Reckless who have finally solidified their threat. Their third record Who You Selling For makes that threat even more real.

There's a clear progression throughout the band's three records. It started with Light Me Up in 2010, a relatively easily absorbable record with an alternative rock focus to it. Their sophomore record Going To Hell was punk from the start, Momsen baring her bare body right on the cover. The album went more rock n' roll than the previous record, rawer and with more crunch. That leads us to Who You Selling For, which delves even deeper into the rock n' roll sound.

This band seems to work in reverse - their sound becomes more and more archaic and barebones as they release new material, and that's by no means a bad thing. That gives them a raw punch. This record is almost pure rock n' roll, banger 'Oh My God' being the first clear example. Opened by thick, lo-fi guitar riffs, the song's heavy drumming and guitars are backed by Momsen's raspy vocals to make the song sound even more badass. 'Wild City' is similar, the badass, big riffs sounding high when they kick in. The song's pretty stripped down until it climaxes, which provides for some sweet tension. The catchy, gospel harmonies give the track some extra dirt.

The melodies on this album find themselves being pretty barebones, too. There's a lot of southern influence on the record - from the gospel harmonies of 'Wild City' to the cowboy ballad 'Already Dead,' a lot of this record really envelops a desert mood. The slow brush of the acoustic guitar in 'Dead' flows like a desert breeze, walking through a ghost town as Momsen belts raspy with raw passion. There's a folk influence in 'Living In The Storm' despite its upfront and heavy instrumentation. It's a cool, groovy track with an epic bassline, an electrifying guitar solo at its end bringing it even higher. There's something about its melodies that really help it tell a story in the way of a folk track. The seven minute epic 'The Devil's Back' is another southern slow burner, though it takes a more reflective disposition in its vocals, ultimately ending up sounding like if Pink Floyd came from Mississippi.

There's not complete success in the record, though. The rock n' roll vibes get a little much in a few parts of the record. 'Take Me Down' is one example - it's good, old fashioned rock, and I'll give it that, but there's really nothing beyond that. It was a single, so it was good for setting the tone for the record before its release, but in context of the record it's just another track. 'Prisoner' focusses too much on its gimmick, using the slowly march of what I can only assume are prisoners as percussion throughout, making it seem like the entire song was focusses around that and only that. 'Back To The River' has the same issue as 'Take Me Down,' yet it's still passable and enjoyable. It's the title track 'Who You Selling For' that follows that crosses the line that makes it start getting old. Luckily, that's where the album turns to its southern half and things become interesting again.

The Pretty Reckless are getting rawer every record. They have a very genuine sound, as if their souls themselves are messengers of a lost genre. It's not every day you can hear a refreshingly pure rock n' roll record like this one. It's perfect for a long country drive, or perhaps watching a sunset over the Louisiana bayous. Who You Selling For is a very grassroots record, and we'd have it no way less. If it capitalized on different sounds rather than the same one over and over, it'd have been a masterpiece, but it'll have to settle for a good record to just kick back and jam too at the end of a long country day.

Favorite Tracks: Living In The Storm, Wild City, Oh My God, Already Dead

Least Favorite Track: Who You Selling For

Rating: 76 / 100

Korn - The Serenity Of Suffering

I'm sure the last thing you expected to see in 2016 was a nu metal revival. After the advent of Of Mice & Men's abysmal Cold World (read our review here), you'd figure that bands would've taken the memo that it wasn't going to work out. Korn may have proved that wrong, though.

Their twelfth record The Serenity Of Suffering is a return to their nu metal roots, the album cover even containing elements of their fourth record Issues. The Serenity Of Suffering takes everything the band once was and combines those elements with what they are now, creating a familiar yet intense body that's new yet reminiscent of another time.

The trademarks of nu metal were the anger and riffs, and that's very much present on this record. Right from the start, you're faced with 'Insane,' destructively deep riffs with various levels of distortion hitting you hard along with Korn's signature creepiness and terrified vocals from Jonathan Davis. Davis' voice is as strong as ever, his ethereal, ominous timbre elevating songs like 'Everything Falls Apart' to unheard of levels of paranoia that other bands couldn't even hope of reaching. The verses are calm, but the choruses are frantic and panicked, begging the means of an end. The bridge is even more haunting, his spoken word sounding like chants as if become increasingly angered and possessed.

The band channels some other forms of nu metal here, too. Corey Taylor features on 'A Different World,' bringing the times back to early Slipknot. The tradeoffs between him and Davis are powerful and both vocals show off their prowess. Taylor's voice falls in the line between anger and calmness - both equally terrifying - as his poetic sense of melody and rage become one. His shouts above Davis' melodic singing in the final chorus give the song a big punch.

The crown jewel of this album is 'Rotting In Vain.' The electronic intro builds creepily but won't prepare you for what's to come. We reviewed the song upon its release, but in the context of Suffering, it becomes a whole new beast. The electronics show the progression from The Path Of Totality's dubstep influences, replacing what could've been another spidery guitar line. The balance is perfect, heavy metal and electronica coming together in a fantastic way. Nothing can prepare you for how massive the riffs are. This song would be huge if it was released back in the early 2000s or late 1990s, because this is truly a nu metal epic.

Unfortunately, not is all good with the record. As is the problem with nu metal, the album becomes repetitive. There's only so much you can do with the formula of big riff into slowly intensifying verses and confident chorus. The riffs all sound the same in the second half, too. 'Next In Line' is a lesser version of the song that precedes it ('When You're Not There'). Nu metal needs innovation to become a different monster altogether - thus is the success of Linkin Park. The end of the record is exactly the reason nu metal died out - it became repetitive and there were not enough ways to combat it.

Despite it being repetitive, Korn has given the genre a solid footing for a revival. The new decade has offered a lot of potential for the genre. It's offspring post-hardcore may overshadow it in many ways, but nothing really dies forever. Take the power of The Serenity Of Suffering and put it into one or two songs, then find a way to build upon that for different songs and nu metal is back in action. Let's see if the flag can continue flying.

Favorite Tracks: Rotting In Vain, Everything Falls Apart

Least Favorite Tracks: Next In Line, Please Come For Me

Rating: 68 / 100

The Radio Dept. - Running Out Of Love

Electronic and indie don't normally come together, but when they do, it makes something great. Such is the case of The Radio Dept.'s fourth record, Running Out Of Love.

The Swedish trio dealt with a lot leading up to this record. It's their first since 2010's Clinging To A Scheme as a result of legal battles with their record label. The album was delayed by the battle, but it seems to have made the product all the more passionate. The album is about life in Sweden, and has a wide array of sounds to share.

The most notable part of the record is its electronic influence. The band has always had an alternative edge to them, but electronica definitely takes a more prominent stance on Running Out Of Love. 'Swedish Guns' is the first track to bare its sounds, beginning with urgent, bouncing synths as the track flows into its dark instrumental and melodies. The song's about the Swedish army's massive arms industry, despite it being one of the most peaceful countries. The song's summarized by the lines "If you want something done / Get Swedish guns," commenting on how the country's guns pose an ominous threat to its citizens and competitors, a statement on life in Sweden. The urgency of the synths that constantly punch in and out of the song are a testament to the mood.

There's a lot of cool instrumentation in 'Swedish Guns,' such as strings and woodwinds that appear in various parts of the song. There are a lot of little moments like that interspersed throughout the record that really give you something to look out for, keeping the album sounding fresh. The horn synth in the prechorus of 'We Got Game' is one example, the dark synths carrying on the chill vibe of 'Guns.' 

This album has two "states," as it were. There's happy and there's dark. Happier tracks include the sweet 'This Thing Was Bound To Happen,' its bassline carrying it above warm synths and a dance vibe. The melody is sweet and knowing, as if what he's singing about was inevitable. It's followed by 'Can't Be Guilty' with it's Radiohead synth beat and sweet acoustic guitar and bright, splashy synths. The music is peaceful and feels like a gentle mist settling on a garden in the early morning. There's 'Committed To The Cause' which sounds like it has more a conviction than darkness, the groovy bassline and bluesy guitar dancing in a threatening but intertwining dance. It has a lot of drive to it, with sweet synths and punchy pianos giving more punch.

Darker tracks include single 'Occupied,' its clapping percussion and synths providing both energy and an aesthetic to the track. It's dark, yet it is packed with energy that gives it a brighter overtone. It's more danceable than other tracks may be. It runs for seven minutes, building up with urgent synths and atmospheric bass synths. Much is the same for closing track 'Teach Me To Forget,' which takes the record out with gentle melodies and trap influences.

Running Out Of Love may have been long overdue, but the wait was worth it. The Radio Dept. has crafted a strong and eclectic record that seems to capture both the hard and the lovely times of living in Sweden. There's a lot of depth and a lot of atmosphere in the song, giving it a very wide texture that just doesn't get boring. It's a big record for The Radio Dept.

Favorite Tracks: Swedish Guns, Occupied, This Was Bound To Happen, Teach Me To Forget

Least Favorite Track: Running Out Of Love

Rating: 85 / 100 

Jimmy Eat World - Integrity Blues

Jimmy Eat World have been pumping out tunes for over two decades now. Nine albums later, Integrity Blues shows the band still has it.

The band has a very solid grip on their sound. It's very refined on Integrity Blues, but there are a few places that show some deviation. The first two tracks are pure alt. rock, 'You With Me' opening the record with feel-good, upbeat melodies with a slight somber recollection in them to truly achieve that sound. 'Sure and Certain' follows through with summer vibes, energetic, driven choruses and a sweet bridge with some tasty guitar licks.

The album has a generally positive sound overall, some tracks prioritizing emotion while others craft it into their groove. 'Pretty Grids' has emphasis on its emotion and melody, though it feels like, to me, the melody doesn't function in the way it should: it's too dreamy and feels a bit lazy. Emotional performance takes priority in 'The End Is Beautiful', the acoustic guitars and bittersweet lyrics culminating to sweet song that unfortunately is plagued by becoming too repetitive. The same is true for title track 'Integrity Blues', which features raw vocals and symphonic elements.

Integrity Blues isn't all about hitting somber memories, though. There are some jammier moments, albeit limited. 'Pass The Baby' starts of slow with a programmed beat and clean bass, slowly building up to the end with a big, jammy rock n' roll riff. 'Get Right' follows up and instead of building up to it, it starts rolling from the start. It's one of the most driven songs on the record, chunky guitars leading its verse under a badass melody. The choruses are groovy with subtle power to them. This one'll have you headbanging.

The album's end is the nearly seven minute epic 'Pol Roger'. It's a very summative track, seeming to take bits and pieces of every song and forming them into one big track. The slow build of 'Baby', the symphonies of 'Integrity Blues', and the melancholy melodies of 'You With Me' are just a few callbacks in this track. It's a strong end to the record, though it could've admittedly ended more powerfully. It's final minute is a fade out of ambience, which would be strong in different scenarios - this isn't one of them. It does feel, though, like a natural conclusion to the record.

Jimmy Eat World haven't lost their touch just yet. Integrity Blues is another solid effort from the band, and though it could've been better off with a bit more drive and power throughout it, it still holds up. The next record will be their tenth, and that's a big one: if it'll follow up the subtle emotion of Integrity Blues is yet to be seen, but there won't be many complaints if it does.

Favorite Tracks: Get Right, Sure and Certain, You With Me

Least Favorite Tracks: Pretty Grids, Through

Rating: 70 / 100

American Football - American Football (LP2)

Math rock legends American Football are somewhat of a myth. Their first, eponymous record drew immediate success before the band quickly pulled the plug on their act and called it quits after two quick years. Fifteen years later, the band have returned with their second record, also eponymously titled American Football.

What bothers me about modern punk and indie music that rooted from American Football is their lack of personality. A bunch of thirty year olds singing about teenagers' problems just doesn't seem genuine. American Football doesn't fall into that problem, luckily. The new songs feel very appropriate for them, not necessarily taking up a "sad boy" persona in the eyes of a young man, but through the eyes of a weathered soldier of life.

American Football's signature style was complex song structure and time signature changes. While song structure doesn't really stand out on American Football, there's still some complexity within it. The lead single 'I've Been So Lost For So Long' - which we reviewed here - carries some of those elements, time signature changes and polyrhythms building the song's body.

Beyond that, there's nothing much left but a pretty mellow record. The original American Football from 1999 felt like it had more grit to it, both vocally and instrumentally. The guitars are incredible polished and gentle on this record, while the original record had a bit of a reckless abandon to it. What's most striking is that this album sounds pretty. Listening to 'Where Are We Now?' is an odd experience, the album opener filled with reverberating, gentle guitar lines and splashy rhythm. Mike Kinsella has a much gentler tone on the entire record, especially evident in some of the more sincere songs, such as the brilliant 'Home Is Where The Haunt Is.' This song really makes you wish that the entire record had more acoustic elements - it would've translated much better than layers of guitar reverb. The sweet intro leads to a sweeter track, Kinsella singing of "The ghost in the corner of the room / Knows what you sleep in / When you’re dreaming, of who / Some things never change / Maybe that’s okay" in a tragic timbre. This plays back to the weathered nature of the record; it's writer has been hurt and experienced life's tragedy.

There's really not much else to comment on with the record. It picks up a bit in a few tracks, 'Desire Getting In The Way' being one such example. The guitar lick is a bit more perkier, and the beat having a bit more drive. The same is true for 'Give Me The Gun', which has a bit more fluidity in its drumming. The album ends on a sweet note, infectious guitar lines playing romantically above smooth basslines and deep brass instrumentation in 'Everyone Is Dressed Up'.

American Football has grown with the times, but perhaps are a bit too run down after being out of the band for fifteen years. Their new record is by no means bad, but does prove to be incredibly mellow throughout. It doesn't have much drive to it beyond the sweet wave it rides, and it really changes the dynamic of the band. It's a confusing record that'll take awhile to sink in, but it will definitely find its place.

Favorite Tracks: Home Is Where The Haunt Is, I've Been So Lost For So Long, Everyone Is Dressed Up

Least Favorite Tracks: Give Up The Gun

Rating: 71 / 100

Lady Gaga - Joanne

It's been awhile, Lady Gaga. She stopped back from the limelight for a few years, taking some time off for herself and other projects. It's been three years since ARTPOP and two since her Tony Bennett collaboration album Cheek To Cheek. She's back with a different sound on Joanne.

Those who didn't appreciate the lack of perfection from ARTPOP may face the same issue on this record. The sad part is that this album tries to be perfect, but falls short in many aspects. The album also has a strong country influence on it, with an old-fashioned twang to them. It definitely takes inspiration from her collaboration album, but it also draws from her own personality.

The album's title is derived from her late aunt. When she passed away, Gaga's entire family was shaken by it. Gaga felt that she had to continue the work of her aunt, who was a painter and a poet, through her music. The title track 'Joanne' is, in Gaga's eyes, the core of the album. The track is built of acoustic guitar, vocals, and a sweet orchestra. It's one of the more stripped down tracks on the record, but a stronger one. It's about her aunt and how she inspired Gaga, her influence and presence in Gaga's heart mentioned in the bridge: "And I'll still love you even if I can't / See you anymore / Can't wait to see you soar."

The album doesn't have any songs that have a dark, badass pop feel like 'Bad Romance', but there are some fun ones. One such example is 'John Wayne', which has guitars supplied by Queens Of The Stone Age's Josh Homme, with some rocky, sensual vibes as Gaga sings about cowboys and dangerous desires. 'Dancin' In Circles' is another fun one, this one featuring Beck. While he seems to be about female masturbation, it has an eastern, mysterious vibe to it that will keep the innocent minds listening content. 'Diamond Heart' opens the record on a pop rock feel, and while the vocals are good, the instrumental feels like it lacks a certain punch. The lead single 'Perfect Illusion' - which we reviewed here - still sounds a bit lacking, but does have an improved mix that makes it somewhat more enjoyable.

Other songs have an old-fashioned vibe to them. The brass section is what really stands out in a few tracks, particularly 'Come To Mama'. The song's brass section is a real highlight, coming full circle with a great saxophone solo that's unfortunately a victim of this album's dodgy mixing. Single 'A-YO' has a country beat paired with some brassy punches, giving some dimension to the song that sounds like it's trying way to hard in the verses to have a certain vibe.

A good portion of this record has a strong country influence to it. 'Sinner's Prayer' has a very country-influenced sound, punchy guitar and piano coloring up the bassline. The country influence doesn't really add anything to the album, per se. It almost feels like it takes away from it, as if it's a gimmick to play towards the theme of her aunt. It's not horrible (despite my distaste with country), but it really feels like there's not much resulting out of the tracks with that influence.

The album ends on a somewhat subtle note. 'Hey Girl' is one of the album's odder songs, Florence Welch of Florence + The Machine and Gaga perfoming a duet above a pretty but edgy instrumental that bounces between pretty harps and choirs and bouncing synths. Both women deliver a powerful performance above the volatile instrumental, giving the song two distinct layers that doesn't necessarily work in its favor. Closing track 'Angel Down' is a beautiful track, Gaga's vocals resonating throughout the song's atmosphere as if she's singing at a funeral. It's a very sweet ending with a beautiful instrumental, the lyrics gently flowing with words about the modern world's problems - specifically the murder of Trayvon Martin - and Gaga's confusion. It's a very raw song, done more masterfully than the country tracks and really highlights Gaga's voice.

Joanne is neither an improvement or a downgrade of ARTPOP. Fans will likely feels just as alienated, or perhaps as disappointed as the former if they didn't appreciate it, but others may rejoice. Lady Gaga takes a rawer approach to this record. It's plagued with faulty mixing and a potential gimmick, but it's what Gaga wanted to make. Can't fault her there.

Favorite Tracks: Angel Down, Dancin' In Circles, John Wayne

Least Favorite Tracks: Sinner's Prayer, Million Reasons

Rating: 72 / 100

My Chemical Romance - The Black Parade

Ten years really isn't that long. Sure, a lot has changed in the last decade, but looking back upon it, ten years has come and gone, just like that. We're all here, all breathing, reading these words.

The Black Parade was released ten years ago, however, and it has made enough impact to last several lifetimes. It has since become a quintessential alternative rock album, as well as the crux of My Chemical Romance's discography. This rock opera defined a generation of individuals and inspired even more.

The Black Parade is much different than the band's two former records. We've reviewed I Brought You My Bullets, You Brought Me Your Love and Three Cheers For Sweet Revenge, both albums serving as important precursors to this one. Both shared a narrative, at least partially, about two lovers chased down, one killed and offering his soul up to the devil in the hopes of seeing his lover one more time. They established My Chemical Romance's obsession with death and its resulting intricacies and emotions, which carries forward into The Black Parade, but in a different way.

The Black Parade isn't about cheating death, but rather it's a celebration of it; an acceptance, even. The rock opera follows the final weeks of The Patient and his battles with the realization of his death. The music represents the chaos and the degradation of it all, vividly portrayed through both the lyrics and the instrumentals themselves.

From beginning to end, this record has endless personality. It comes in different tastes and forms throughout the record while staying cohesive. It begins with 'The End.', anthemically and theatrically introducing the record with a folky acoustic guitar as Gerard Way introduces the album on a light note before the big melodic guitars come in to give the record its anthemic edge. Not long after, 'Dead!' kicks in a more upbeat note, the impressive guitar work paired with a funky overtone. A brass section gives the bridge an extra punch as an anthemic guitar solo kicks into bring the song to its sing-a-long ending.

The record hasn't specifically treaded into death yet. The premise of 'The End.' is to live life to your own terms,  not for someone else or by effect. The Patient learns that he has two weeks left to live in the track, and in his denial he tries to combat it by stating that he will live life as he wants to. 'Dead!' follows through on a note with more finality - The Patient thinking of his insecurities he experienced throughout his life.

Things start becoming more real with 'This Is How I Disappear', where the song takes an emotional route and sees The Patient reaching out to his lover, claiming that without her, he is nothing. A sweet sentiment on the surface, but once you then remember he's dying, the tragedy of the situation teally strikes. The song is very emotionally charged, it's immense bridge standing out above the rest of its body. The other song that's utterly heartbreaking is 'Cancer' - everyone's heard this one, so, by effect, everyone's heart has been moved by it. It's impossible to not be affected by the pure agony in Way's voice, whether it be the creaky "Turn away / If you could, get me a drink / Cause my lips are chapped and faded" and or the emotional outburst of "I will not kiss you, because the hardest part of this is leaving you," this song is packed with emotion as The Patient crumbles after learning that it's cancer that's slowly killing him.

Heartbreak, surprisingly, isn't discussed as much as it could be in The Black Parade.  'I Don't Love You' is the other track that delves into that subject, the wholly sweet track seeing The Patient beg his lover to end their relationship before he dies. It's beautifully simple, as well as relatable in the sense that you never want to have to be the one who makes that move. 

The album tackles different aspects of dying, instead of keying in on the love side: there's self-destruction, wishing for a second chance, and reflection. There's only one song that doesn't fall under these categories: 'Mama', which steps away from the story of The Patient and instead follows a soldier at war who knows death is upon him, writing a letter to his mother in hopes of mending his relationship with his mother. The song's creepy, dark funkiness sets the soldier's ill fate, the sad crying of his mother indicating his death at the end of the track.

The want of escaping pain is a common element of death. That's discussed in 'The Sharpest Lives', the iconic guitar intro leading into a powerful song that climaxes at its bridge. The lyrics are just fantastic, describing a patient (not necessarily the story's protagonist) finding solace in self-destructive drinking and partying. The chorus is full of amazing metaphors and lyrics: "Give me a shot to remember / And you can take all the pain away from me / A kiss and I will surrender / The sharpest lives are the deadliest to lead / A light to burn all the empires / So bright the sun is ashamed to rise and be / In love with all of these vampires / So you can leave like the sane abandoned me" is voiced powerfully above the heavy guitars.

The Patient takes time to reflect on his life in a couple songs, too. 'Sleep' sounds soft to start before building into a huge ending, with powerful screams throwing it back to the band's previous records. The Patient reflects on how death is stopping him from achieving the dreams he had. In another track, 'House Of Wolves', The Patient wonders about whether he will be sent to Heaven or to Hell above the groovy, brooding, and confident track, its huge choruses elevating the song to epic heights. On a less serious tone, while reflecting on his teenage years, The Patient feels that teens are mistreated and discriminated against, fitting the rebellious vibe of 'Teenager'. He also reaches the conclusion, amongst all these past realizations, that life really isn't all that much in 'Disenchanted'.

Everything comes together at the song that's the core of the album, and to a greater extent, the core of both the band and the genre. That song is the incredible 'Welcome To The Black Parade', a true masterpiece. There's not a single person who won't immediately recognize the song after the first note from its iconic piano intro begins. The Patient comes closer to death than he does at any other point on the album in this song, reliving his sweetest memory in his mind: him and his father watching a parade. There's just so much about this song that makes death seem like not such a bad thing (when it's inevitable). The intro confidently chants "When I was a young boy / My father took me into the city / To see a marching band..." as The Patient discusses the memory. It becomes an incredibly uplifting track as a result of both the instrumental and Way's vocal delivery. There's so much power and confidence in his voice, it's like he's right there next to you, telling you that "We'll carry on / And though you're dead and gone, believe me / Your memory will carry on." It's a celebration of life as much as it is a song about death. It's truly not easy to qualify or quantify just how powerful this song is. It'll always stick by you when you need it there for you, which is one of the best qualities a song can have.

The album comes to its thrilling conclusion in 'Famous Last Words', the album's most empowering track. It was originally written not for the record, but for Gerard's brother, bassist Mikey Way, who battled depression and anxiety and was about ready to quit everything. Upon hearing this track, he agreed to do what he set out to do: live his dream. That's exactly what The Patient does: persevere. This song is the will to live returning to him, as he will not let his life end in this way. He has dreams to live, people to love, things to experience. 'Famous Last Words' ends the record on an epic note, everything from the powerful, driven beat and the electrifying guitar solo to the immense vocals lifts you up and makes you feel like you can do something. The final chorus chants "I see you lying next to me / With words I thought I'd never speak / Awake and unafraid / Asleep or dead," the final, crushing words. Yes, The Patient does die. His lover is there next to him on his death bed as he says his final words to her, his emotions all coming out. The Patient may leave Earth, but he will always live on in the hearts of everyone he loved - that is the essence of death. You leave, but you will live on to others as long as you light that fire bright when you're alive.

The Black Parade is an album amongst albums. It has casual listening appeal and a heartbreaking story in it that provides a thought provoking experience. In the end of it all, however, it's an album full of songs that can truly mean something to someone. These songs have saved lives and given hope to them. They've inspired millions and will forever be buried within their hearts. That's why we're here, ten years later, after My Chemical Romance has been broken up for three years. They will never die because they lit a fire in fans' hearts that will never fade. Take it from MCR: live life to the fullest so that when you die, you'll always be there besides someone. Light your fire and let it burn.

Favorite Tracks: Welcome To The Black Parade, Famous Last Words, The Sharpest Lives, Cancer

Least Favorite Track: Sleep

Rating: 97 / 100

Wildlife - Age Of Everything

There's nothing like a good alternative rock record. Sometimes you don't need to look for something new, but you just need something with substance. That's exactly what Wildlife's third record Age Of Everything offers up.

The Canadian fivepiece have made a name for themselves in their strong indie sound. Their output has always had a pop rock vibe with lots of elements keeping the songs interesting, and that's no different on Age Of Everything. Opening aesthetically with 'A New Pain' segueing shortly into lead single 'Dead Century' gives the album a strong start, the anthemic instrumental keeping the song powerfully rolling under sweet melodies. The poppy vibes carry through to '2017', synths underplaying the anthemic vocals.

This album's quite pretty. There are plenty of beautiful melodic moments, the acoustic track 'Skulls' being a good example. The sweet and gentle acoustic guitar leads the vocals in a pure dance between the two, pretty symphonies slowly building behind it all. Other tracks like 'Modern Freedom' simply have an infectious vibe, the sweetness of its delivery giving it a gushy yet cohesive posture.

There's some rock moments in between the poppy covering. 'Minotaur' starts off with bright piano chords before the beautiful chord progression is encompassed by subtle guitars, the drums sounding confident and driven. The choruses are pure alternative rock, a backing guitar riff supporting fantastic melodies. The chorus is the best part of the track, confident and swaying in a powerful way. The acoustic bridge provides reprieve before the song builds back up once more for a big conclusion. Speaking of big conclusions, closing track 'Turning To Stone' is a strong ending to the record, combining all elements of their indie, pop, and rock sound into one summative ending. Don't forget 'Sleeper Hit', the epic electronic rocker that builds with layers of epic guitars and powerful percussion before ending on a ending comparable to Pink Floyd. 

Wildlife have a good grasp on what they set out to accomplish. Age Of Everything is enjoyable throughout - some tracks could've done with just a little extra punch, but all in all, it's a a solid record. They have a great sense of melody and cohesion, and the next album is bound to be a killer.

Favorite Tracks: Minotaur, Sleeper Hit, Dead Century

Least Favorite Track: Over Now

Rating: 78 / 100

MONO - Requiem For Hell

Japan offers up some strange things. Often times, these things are mindbogglingly odd or strange, but in the case of experimental rock band MONO, its oddly understandable. Their ninth album Requiem For Hell is a thought provoking one, its dimension otherworldly.

The album only has five tracks, but don't let that deceive you - the shortest one clocks in at five minutes while the longest is seventeen and a half. Each of these songs tells a story, but the sonic atmosphere is summed up in the first track 'Death In Rebirth'. The eight minute epic is a long, epic buildup full of marching drums and evil guitar harmonies that feel threatening, ultimately degrading into white noise.

Not only does the song set the momentum forward and set the tone, but it also sets the scene: falling into the pits of hell. The songs walls of guitars, both heavy and light, send you spiraling into a bottomless pit, though that pit is full of light and specters. You fall down, watching your life play before your eyes before all becomes pitch black in the flash of an eye. And so, there you are: in hell.

'Stellar' follows suit, but instead of anger, you feel remorse: after watching your life play by, you see what you could have changed. The sweet strings and piano accompany you as you float aimlessly, unsure if you're falling down or moving at all. Starry lights float by you into the dark oblivion, your soul slowly degrading with the peace of the track. Once again, you fall into the crackle of distortion, but in a slow way. This song takes you through your slow put inevitable end. You remorse and you fade, like you were nothing to begin with.

A requiem can be described as an act of remembrance. The first half of this record is exactly that: remembering your life as if to prepare yourself for hell. The first half of the title track 'Requiem For Hell' continues the sentiment, but instead, your soul starts coming back together so you can be brought to hell. All of a sudden, it becomes your suffering had only just begin. Utter chaos breaks loose, drums crashing and guitars pounding heavily. You are in hell now, and at the mercy of it. Chaos reigns true, even in sentimental track 'Ely's Heartbeat', a tragic realization that there is no going back - this is what you get. It's an acceptance of sorts; hopeless yet understanding.

'The Last Scene' chimes beautifully with a conglomeration of strings and pianos, a light beat accompanying them along with reverberating guitar. It's mysterious, as if it's beckoning the devil: I'm here, now what? There's an emptiness at its core, and that's the acceptance. Now you have no hope, and thusly you act like so. You are now just another drone in the mass of hell, and there's no one to blame but yourself.

And thus is the story of Requiem For Hell. MONO can make beauty out of simple experimentation. There's nothing over done on this record, and still there's nothing underappreciated. Every part of the album is beautifully crafted, meticulously yet still instinctively put together for a raw, emotional story. Japan has done it again. Another amazing record from equally impressive band.

Favorite Tracks: Stellar, Death In Rebirth, The Last Scene

Least Favorite Tracks: Ely's Heartbeat

Rating: 86 / 100