Romans - Valere Aude

Droning electronica does not work well (under most circumstances) if they go on for too long. That's the trap New York duo Romans fall into, their new record Valere Aude sounding far too long and without enough content to really get the record going.

Valere Aude is a very chilled back record, and perhaps it's for the better reason of aesthetics that this record doesn't really climax; the duo never really sounded like they wanted to reach new levels of sonic epicness. It doesn't feel like the record even wants to have pronounced growth or mood. The glitchy, twitchy electronica of the record really fit it well, and it deserves that much praise.

While it fulfills its own reasons, from a listening standpoint, it's easy to get lost. Not in terms of being so entranced in the music that you lose sight of reality around you, but in that you lose focus on the record really quickly. The first track 'Cirta' washes over you progressively, but doesn't really offer much outside of a single changing movement and its bouncing synth loop. That is true for a lot of this record - it channels mysterious and weird vibes in songs like 'Legia' and 'Via Arpagga,' but songs don't really offer up much outside of what goes on within their first minute or so.

Valere Aude is not fully devoid of interesting times, though. 'Dura Agameia' spirals nicely throughout its six-minute play time, actually taking time to develop and build like a cool chillwave track. It's not centered around one idea; it has parts that move in and out, reprising themselves throughout the track before coming back into play. Different elements come into play, as well, making the track have more punch and contrast than others. It's not amazing, but it's great considering what the rest of the record has to offer.

Valere Aude is the record to go to if you need to take a late night drive through the city. Otherwise, it's probably better to skip out on this record in nearly every other case. Romans' new record is highly unsatisfying and doesn't really develop anywhere; it fulfills its purpose, but nothing else.

Favorite Track: Dura Agameia

Least Favorite Tracks: Aquilla, Zerai, Sabratha

Rating: 51 / 100

Arcane Roots - 'Curtains'

Arcane Roots are the most promising band that have yet to really hit it huge in the world of English music. Their sound is unmatchable by even the biggest bands, tapping into an undisputed energy and bombastic nature that just isn't found anywhere else. Their new song 'Curtains' treads into new territory for the band, but they still ace it all the way through.

The most striking part of the song is that it's not a quick-to-build-up song like tracks found on their last release, 2015's Heaven & Earth EP. Songs like 'Slow Dance' and 'If Nothing Breaks, Nothing Moves' featured short, energetic bursts before truly torpedoing into unrestricted energy. 'Curtains' is a different beast. It builds slowly, moodily, and darkly, primarily consisting of synths until it reaches its climax. Vocalist Andrew Groves shows a lot of restraint in his voice, his melodies swaying with defeat.

The synth composition is something new for the band. They haven't had a song yet where synths and electronics were the primary focus for over half of the record. Arcane Roots' recognizable wall of sound is still present, though; the song ends with a barrage of epic distorted guitars and Groves' signature belts, bringing a victorious and violent conclusion to the track. Synths ring high in the background behind Groves' angered screams and the thrilling, bursting guitars. This is where the band reaches those unfathomable heights - the song's build is the climb, and when the guitars come in, you jump from the peak.

Arcane Roots is a band that can change everything about themselves and still exceed with flying colors. 'Curtains' is a step in a new direction, and it's the most confident first step any band has ever taken. They take risks that few would dare to, and that danger invigorates them to create truly monstrous soundscapes that you've never even imagined could be possible. They've been plotting all this year - 2017 is on the horizon, and it's time they make their mark.

Rating: 96 / 100

The Rolling Stones - Blue & Lonesome

The legendary blues rock band The Rolling Stones is back for the first time in over a decade with new material. Well, almost. The band's Blue & Lonesome is a very revealing record for the future of this band.

First and foremost, this record is not new material. It consists entirely of covers of old blues and jazz tracks. The only sense of "new" this album has is the fact that some of these covers have a different vibe than the original. Other than that, Blue & Lonesome feels entirely lazy and like the band has run out of life.

If the covers at least showed a different array of sounds, this album would be at least a bit more inviting. But no, every track sounds virtually the same. That is by no means the fault of the original artists; if anything, it's the Stones' fault for making the same sounding cover again and again. From the first track 'Just Your Fool' by Buddy Johnson to the last track, 'I Can't Quit You Baby' by Willie Dixon, you are just tired of hearing the same track. It's the same harmonica solo, the same guitar sound, the same vocals, everything. There is nothing to gain from this record beyond the first track.

Have The Rolling Stones run their course? Not only is Blue & Lonesome devoid of original material, but it also has the same recurring sound over and over again. It feels like there's no inspiration left. There's no confidence like they had in their biggest hits, just comfort in the same sound, and that's about as low as you can get in terms of passion. Comfort is the enemy, you have to challenge yourself - that's how you grow. The Rolling Stones don't seem to want to do that anymore.

Favorite Tracks: none.

Least Favorite Tracks: all of them.

Rating: 19 / 100

You can listen to or buy Blue & Lonesome from the following:

deadmau5 - W:/2016ALBUM/

When the artist themselves disown their own record before it's release, you can't really have high expectations. This is what deadmau5 has done with his latest record W:/2016ALBUM/, which largely lives up to what he says about it.

Prior to its release, deadmau5 himself called the record "rushed" and "slapped together" on Twitter, downright claiming he released it just to pay the bills. That does feel like the case for a lot of this record. The first half of it is absolute monotonous droning; it's loops that show little change or progression that go on for far too long (the shortest track within the first third of the record is five minutes long). '4ware' is the starter of the album, and it's bouncy synths aren't enough to justify the same loop going on for eight and a half minutes. The run of '2448' through 'Deus Ex Machina' is the biggest waste of 18 minutes imaginable. There is absolutely no reason for these songs to be over five minutes of length - even if they were three minutes long they'd still be as boring as they are now.

The second half of the record isn't amazing but at least it's more interesting. 'Imaginary Friends' is the first song on the record with promise, the synth melody builds up in the intro in a very pleasing way - the rest of the song unfortunately returns to the same boring synth loops that really ruin the record. 'Let Go' features actual vocals on it: a very refreshing sound on this very mechanic record. The song features the same problem as 'Imaginary,' though, and becomes way too repetitive. The extended edit actually makes this worse, despite developing some of the more interesting parts of the song futher.

While still not great, the only song that really shows what this album could have been is the first single 'Snowcone.' It has the same formula as earlier songs, but it has loops that progress and change up give the song different levels of interest throughout it's play time. It's the same sound for five minutes, but on top of that sound comes different elements that will capture your ear. That's the way house music should be. Eight minutes of the same loop is just awful.

deadmau5 has had a rough year, battling depression before announcing his break from music, but this was not the way of getting back into it. W:/2016ALBUM/ is exactly as he described: a subpar collection of songs that were just slapped together. It's nothing you would expect from him - there's no excitement and it's impossible to vibe to many of its tracks for too long. He's already begun work on his next record, so let's hope he finds his inspiration to make something better.

Favorite Track: Let Go

Least Favorite Tracks: 2448, Cat Thruster, Deus Ex Machina, Glish

Rating: 38 / 100

John Legend - Darkness and Light

You can't match the smoothness of John Legend. He's a pop king, as it stands. His new album Darkness and Light is a furthering of his pop sensibility and his swagger.

John Legend has five albums under his belt now, and Darkness and Light is the pinnacle of his smoothness. It's full of sweet textures and driven instrumentals that really bring his character to life. It's kicked off by 'I Know Better,' introducing the record with Legend's rich timbre and a soulful instrumental. The piano bursts strongly above the organ keyboard, enriching the song's sonic nature. Other songs really capture the sweetness the record wants to exude: 'Overload' with Miguel is very sincere, background harmonies supporting the soothing story of the track, and 'Penthouse Floor' with Chance The Rapper bringing some funk and combining it with the sweetness of the other tracks.

There's some variation in the album, though. It's not all about being smooth. Pulsating bass kicks up the momentum with 'What You Do To Me,' Legend's swaying vocal line really complimenting the background orchestra. The record comes with bluesy tones, too, 'Right By You (For Luna)' calmly starting before its mysterious textures really come to the light. 'Same Old Story' has the composition of a Bon Iver track, glitching pianos resonating before a vocoder starts distorting the vocals in a blissful manner. The title track 'Darkness and Light' gives a darker aesthetic to the album's initial soundscape, too, Alabama Shakes' Brittany Howard bringing a southern, sensual rock twang to the track.

The album is rooting in sweet love. There are several songs that make the most out of their sweetness - 'Surefire' is the pinnacle of it all, combining the best of the record into one fantastically pure track. It's all in the smoothly progressing guitar and bass, carrying the song in a very sweet and peaceful way as John Legend sings introspectively and with want, strings providing a little extra punch to it.

John Legend is a popstar in the most lowkey of ways. His music is huge as a result of how raw his messages are. It's all about love when it's coming from him - Darkness and Light sees the highs and lows of it, relating to everyone in someway. It plays through with few moments of energy, but its emotion stays strong throughout.

Favorite Tracks: Surefire, Darkness and Light, What You Do To Me

Least Favorite Track: Marching Into The Dark

Rating: 72 / 100

Childish Gambino - Awaken, My Love!

There's no one quite as hot in the hip-hop world right now as Childish Gambino is. Mr. Donald Glover announced his third record Awaken, My Love! at the beginning of November, and now it's out and it is quite the surprise.

There's not much that could've pre-empted you for this record. It's not what you may have expected from Childish Gambino, but at the same time it still feels intrinsically like his own record. Awaken, My Love is more of a funk and soul record than it is hip-hop (Glover's host genre), so it is a departure. This was the direction that he looked to be traveling in, though. It's not Because The Internet, nor is it Camp. If anything, it's closer to his Kauai EP. What's best about the record, perhaps, is that it is its own entity and sound.

This record is a new chapter in the story of Donald Glover. This is true thematically and stylistically. Awaken, My Love! is an album about love, being served in many different forms. From an overarching view, this album is for Gambino's son. The title itself references a birth; that tense but joyous wait for your newborn child to open their eyes or to cry for the first time. Other song titles also reference "your mama" and 'Baby Boy,' further giving credence to this theme.

The theme of love and life occurs in each and every song separately, though. There's not really one specific topic that the album clings to, but each song has something to say. Lead single 'Me and Your Mama' opens the record, its spiraling Radiohead synths adding a modern touch to the old-fashioned, blues rock instrumental the song has. The lyrics tell the tale of how difficult love can be, and how those against it encumber those who have fallen victim to it. The first verse chants, "They wanna see us fallin' apart! / You know that I love you! / So let me into your heart," Glover begging his lover to stay with him and open up to him despite the world being against them.

The poppier, rawer 'California' follows up on love, Glover criticizing a girl who wants to life a free and fun life in California. She then gets in trouble and despite his initial distaste, the narrator too wants to go there to have a good time. The song has a distinct accent on it, the instrumental too sounding different from the rest. It's simply a fun song - it's not serious by any means, flowing with groove and oozing with sweetness. 'Terrified' follows up, immediately taking the tone back to a dark one as things start falling apart when the couple encounters several hardships.

Any fan of Childish Gambino will know that he is always making a statement. On Awaken, My Love!, when he's not singing about love, he's making a statement about life as a black man. Several songs on the record have this call-to-arms vibe, perhaps understated as a result of the infectious funk. 'Have Some Love' begins with a gospel choir soulfully chanting "Have a word for your brother / Have some time for one another / Really love one another / It's so hard to find," Glover's vocals coming in afterwards, sounding paranoid and distraught. The song's groovy bassline makes the song's vibe feel more significant than the words, shadowing the meaning in the best way possible. It takes two listens to absorb it. There are other songs that ring with more urgency. See 'Boogieman,' where the refrain barks "With a gun in your hand, I'm the boogieman / I'm gonna come and get you" as sung by a blues choir. The song's soulful guitar riffs ring with purpose, the vocals this time showing that they have significance amongst the layers of the song. 

It all ends with 'Stand Tall.' The sweet instrumental 'The Night Me and Your Mama Met' prefaced the track, sweet strummed guitar that ends each bar with a quick punch of sweet wah. 'Stand Tall' has two distinct parts to it. It begins quietly with bass and guitar, Childish Gambino coming in to sing about a lesson his father taught him when he was young. That lesson is told in the hook: "Keep all your dreams, keep standing tall / If you are strong you cannot fall / There is a voice inside us all / So smile when you can." The somber tone of the first half is then brought up to something more upbeat and celebratory, the same lyrics repeating but with more appreciation. It's a sweet sendoff to the record that brought love and hate together into one soulful experience.

Awaken, My Love! is a departure of sound, but a solidification of conviction. Childish Gambino is an artist in the truest form. This entire album is one big risk, but it pays off brilliantly in the end. It's not the hip-hop we're accustomed to from him, but its a dark, moody, and groovy soul and funk record that has emotional and political connotations. Just when you thought it may have been over for Donald Glover, he comes right back, and with flying colors.

Favorite Tracks: Me and Your Mama, The Night Me and Your Mama Met, California, Stand Tall

Least Favorite Track: Riot

Rating: 84 / 100

Imagine Dragons - Night Visions

Imagine Dragons are inching closer and closer to getting new material from their upcoming third record out, but it has quite the discography to live up to. The band's second record Smoke & Mirrors was largely a success, combining heavier elements - as well as poppier ones - to the band's foundations. You can't move forward without keeping what's behind you in mind, though. Imagine Dragons' 2012 studio debut Night Visions set the pace for this band.

Regardless of how you look at it, Night Visions was, and still is a massive record. It's built upon very pure emotions and a pretty clear mission statement. It has a strong conviction and, on top of that, loads of pop appeal. The album is probably best known for some of its singles: the sweet, uplifting anthem 'It's Time' was played nearly nonstop in its prime, it's dinky intro leading into a powerful track with a strong drive. There's also the classic 'Demons,' perhaps one of the weaker of the singles. It's weird kick drum sound and less upfront sound doesn't live up to the hype of other singles on the record, but that didn't stop it from being a big single.

Of course, no one can forget 'Radioactive.' Even if you tried you couldn't forget it - chances are you heard it so many times in 2012 and 2013 that you got sick of it. The ad nauseam radioplay may have gotten to you, but while listening to it with purpose, you remember how massive of a song this is. 'Radioactive' earned its right as one of the biggest pop songs of the decade for good reason - the massive, glitching synths paired with the immense percussion really redefined and owned the anthemic vibe of music. What's even more massive than 'Radioactive' is the live version of the song - if you want a whole new beast to deal with, check that out.

Night Visions has a very strong grasp on how pop rock works. The rock n' roll vibes are part of the record - "cute" songs like 'On Top Of The World' are present, providing for a genuinely fun listen, while other songs like 'Tiptoe' have a darker sound to them but still maintain a big drive. Even the bonus track 'Rocks' has some fun vibes to it! There's a lot of great variation on this record, and it's all under the umbrella of rock and pop. Imagine Dragons weren't afraid to take a few risks, either - 'Bleeding Out' is a very different song on the record, featuring loops and a more retrospective melody. It's dark like 'Tiptoe' but also carries a different vibe to it that no other songs really have. The album's true closing track 'Nothing More To Say' is somewhat of a risk, too; the six-minute song builds it up to be a powerful and sweet ending - exactly what the record deserved.

As much praise as it deserves, Night Visions isn't perfect. Imagine Dragons created a bunch of very solid tracks, but they made one mistake: made some songs reach mental heights, while others just roll along without much flair to them. It's not like every song should be a new, towering epic, but track after track, you're waiting for that new high to be reached, and it's going to sometimes take awhile before that comes. There really aren't many bad tracks at all - 'Hear Me' is some solid pop rock, and ID channels Coldplay in 'Every Night' to give the middle of the record some nice ear candy. The only subpar song is 'Underdog,' it's over-the-top synths really dragging it down and making it stand out awkwardly.

Imagine Dragons have come a long way since Night Visions. Their third album is on the way, and when it drops, it'll really decide the fate of the band. We weren't too impressed with the new song 'Levitate,' and that's because it really just lacked what makes Imagine Dragons so great and memorable. They're defined by their anthemic vibe and their strong vibes. The best Imagine Dragons songs are the ones that truly mean something to the listener and the band. That's the core of Night Visions. They had everything they needed from the start - the question now is whether or not that is where they peaked.

Favorite Songs: Radioactive, It's Time, Bleeding Out

Least Favorite Song: Underdog

Rating: 84 / 100

Mica Levi & Oliver Coates - Remain Calm

It's been a week of electronic music of the experimental variety here on Immortal Reviews, and to send it off, we have a unique blend of two unlikely genres. Mica Levi hits heads with Oliver Coates to create Remain Calm, an odd album that is neither here or there.

Remain Calm combines classical music with electronic samples. It's an eclectic mix, but when balanced, they work well together. It's a short album, clocking in at under thirty minutes, but in that time there is definitely variety. The pair dabbles with different textures throughout the record, exploring minimalism amidst a seemingly shocking combination of genres. The dark sounds of 'Barok Main' contrast the upbeat, sampled vocals of 'Xhill Stepping,' really showing the divid of sound on the record.

It's hard to describe what exactly this album is. It's avant-garde, but it's also contemporary classical. Furthermore, it dabbles with experimental electronica and sampling. "Deep minimalism" is a term being thrown around to describe this record, and it works out well. Many songs find atmosphere amongst their simplicity: see 'Bless Our Toes,' creepy strings harmoniously sounding beneath weird samples without anything sounding too upfront. Oliver Coates is a behind-the-scenes collaborator with Radiohead, his strings being the contribution to their albums and this one. Mica Levi provides the odd samples and synths, creating the somewhat left-field sounds this record has to offer.

Our previous reviews have had much the same criticisms, but Remain Calm suffers from different problems. Ironically, one of the album's biggest problems is that it's just too weird. There are flashes of great ideas and dark textures that interlace themselves into each song, but the glitching sounds sometimes distort the atmosphere. The playtime is both a blessing and a curse; the song's are generally short and don't build to something that never comes, but it's laced with pointless, thirty second interludes that really don't add anything to the record.

Remain Calm has great ideas, but none are executed in the right ways. Mica Levi and Oliver Coates had the right mindset, but perhaps they can reconvene in the future to make something that's more substantial and has direction. Remain Calm just feels like a mess.

Favorite Track: Barok Main

Least Favorite Tracks: Interludes, County H

Rating: 43 / 100

Worriedaboutsatan - Blank Tape

Yesterday's review of Adam Betts's new album discussed the nature of experimental electronica. It's a very fine genre, but it is also the victim of wanted to attempt gimmick and thus lacks meaning in its content. Worriedaboutsatan's new album Blank Tape is a more cohesive record in the genre, providing atmosphere without much use of any flashy ideas.

Experimental music is often best executed through atmosphere. That's exactly what Blank Tape does. It's fifty minute runtime is full of mystery and cavernous soundscapes, resonating in and out of existence and into unknown places. The creaking beeps of 'The Violent Sequence' lead the album into its first full track, creepily but slowly chugging through its sound. The song slowly builds up with more and more drive while still maintaining a sense of mystery. It evolves into a spiraling, almost joyous synth track, enveloping the listener in sweet arpeggios.

Other tracks seek a more abrasive vibe. 'Lament,' featuring Face+Heel, brings vocals into the game, the instrumental laidback but a bit grittier. The song stands out in a dark way in the context of the record, providing some creepy textures and haunted female vocals to resonate in your mind. 'This Restless Wing' is another track that's not as calm and accepting as others, with vocals also playing a role. Vincent Cavanagh sings smoothly above the bouncy instrumental, sounding almost like a Radiohead track. 'The Tower and The Steward' and closing track 'From A Dead Man, Pt. 2' are some other songs that also have some darker, abrasive overtones.

Every experiment can be improved upon. Music is no different. Blank Tape may enjoy more of an intimate and evocative listen than Betts' latest record, but it still has some problems within it. The most major problem is its playtime. These slowly building songs often times that a lifetime to reach their full potential, and even at their height, many tracks do not breakeven. There's not much excitement going on, nor is there something to really hold onto in several tracks to keep you interested for what often times end up being a five-minute build.

Experimental music is really hard to get a solid grip on. It's out of the ordinary - something you can't expect. To its disadvantage, though, it's that very fact that keeps it from succeeding a lot of the time. Worriedaboutsatan's Blank Tape hits a very fine line between captivating and boring, never quite settling into one place. It's a nice album to listen to for some background atmosphere, but otherwise you might feel a bit tired listening to it.

Favorite Tracks: From A Dead Man, Pt. 2; The Tower and The Steward

Least Favorite Tracks: Ravel, Forward Into The Night

Rating: 71 / 100

Adam Betts - Colossal Squid

Chaos and music go great together. Almost like wine and cheese, just with more craziness and less taste. Adam Betts' new record Colossal Squid brings chaos to a sonic level.

Colossal Squid is an experiment. It's electronica set on madness with live drums to go with it - it comes in all forms. There's the glitchy, rabid attack of opening track 'Drumbones,' pounding electronic drums barraging the track until synthesizers kick the track into a more approachable structure, and there's the more soothing ambience of 'Aneek,' distorted synths washing over the innocent keyboard synths as they bounce curiously. It's the punchier side of the record that tends to stick out more, however: 'Winbop' progresses powerful with quick drumming, and 'Hero Shit' maintains a rigid structure with the endless vocal loops.

The album is cool, but there are moments where its purpose becomes skewed. Unless going into an album like this expecting something that's nothing more than chaos, you might find yourself searching for purpose. There are many times where the album feels like drum practice for Adam Betts, his beats carrying the tracks through but ultimately summating to a jumble of snare hits. The album itself was recorded entirely from sampling using Ableton and a drum kit, so in a way, yes, it is a drumming experiment. But when does it become more than that? It's hard to find that area once you see that edge to the record.

Adam Betts is a great musician, but Colossal Squid may be a bit of a gimmick. The musicianship is there, but purpose other than showing off isn't very clear. The chaos is tangible, but where does it lose meaning? That's for you to decide.

Favorite Track: Drumbones

Least Favorite Tracks: Hero Shit, Tadala

Rating: 61 / 100