BANKS - 'Mind Games'

BANKS, the queen of pulsing synth chords, is back. Her sophomore record The Altar is approaching, slated for release on September 30, and she has released the next single from the record. 'Mind Games', a big track with a demanding message.

Beginning with vocals processed through a vocoder, the track hauntingly builds into a quiet somber piano under BANKS' pleading vocals. The chorus is brought in with a more threatening synth beginning to swell as BANKS becomes more passionate in her words and delivery. The entire song swells and flows into one big climax before ending on a quiet note to end it out on. The quiet reprieve almost sounds like a defeat, and given the message, it's pretty heartbreaking.

In the track, BANKS signs of a relationship in which she was used. The song begins with her woefully recalling, "That you would love me better if I could unscrew all of your moods that make me wanna run away," the message already clear and understood as the track begins. It goes on to speak of the nature of an abusive relationship; she wants to leave, but in her eyes, her partner is perfect, and if she leaves, "I’m scared I won’t find other muses / Cause I know you like golden days." The choruses plead: "Do you, see me now?" It's the final straw - this song is the breaking point.

BANKS' new album is progressively becoming more and more developed. 'Mind Games' is a big track, and an important one, for sure. The Altar is building up to be a very personal record for her. BANKS isn't holding back.

Rating: 80 / 100

Frank Ocean - Endless

Frank Ocean has had his fans on their heels for years now. Dropping hints for the rumored Boys Don't Cry (which is still coming out soon, it seems) had fans hounding the internet to discover every possible clue there is. The time is finally here. Ocean dropped a unique album in Endless, a visual album that is one of the first of its kind. But did this experiment turn out well?

Endless is something new and original, and for that alone it deserves recognition. We knew whatever Frank had up his sleeve, that it was going to be huge. And that it was. Ocean now has millions watching 45 minutes of three of himself building a wooden staircase to music. 

The most important element of the record is its format, and here's why it could have been a good idea in general: music is provocative of all senses, and it will always inspire a unique visualization. Watching music videos and a directors interpretation of the song provides one of millions of interpretations of it. Music videos are slowly becoming less and less relevant, but that doesn't stop them from being a big part of how music can develop.

Endless isn't like that. It's 45 minutes of black-and-white woodworking. Perhaps there is an overarching message, but the visual doesn't support the narrative of each track. It's like the three Franks put on the album in the background to work to. This idea could've been a lot better in execution, had the visual at least represented the album in some way. There just isn't any connection until you look at the big picture of it, and even then you're only looking at the overall idea of the video, not any specific moment within it. Let's not get started on how the format doesn't allow you to see which track you're listening to, or which track you're on; when it shows the album tracklist and credits at the end, you'll have to search around for it in case you missed something.

The music itself has a much wide appeal than the video, and the songs have a clearer message than the video displays. As far as the music goes, Endless is a very pretty record. Frank Ocean delivers soulful and chilling vocals on a plethora of tracks, including 'Rushed'. There isn't one sound to the album, though. As pretty as it is, there are lots of flavors on it. There's the beautiful, symphonic led cover of the Isley Brothers' 'You Are Best (You Are Love)' featuring Jonny Greenwood of Radiohead, the London Contemporary Orchestra, and James Blake, with a sweet and longing vocal delivery. There's also the acoustic guitar driven sweet 'Slide On Me', topped with a great melody and great bassy beats. Then there's the hip-hop influenced 'U-N-I-T-Y', that, with its strong verses, slams the desires of an average individual in society.

This is where the message of the album ties in with the video. As heard with the robotic voice found in 'Device Control' and 'Higgs', technology has hypnotized us. We're so interested in streaming parts of our lives and others that we forget our own needs. It all becomes a game. That's what the video tries to emulate - a simpler activity in an isolated place. In that warehouse, there was no worry or need to stream anything. There, he can work on his staircase in peace and without worry. I can't quite put a finger on what the symbolism of the staircase is, but it's not clear based on the video and music.

Are visual albums the next big thing in music? Are we going to see the next Kanye West album released as a visual experience? Frank Ocean may have started a revolution, but he didn't start it well. Endless is a great album to listen to, but not to watch. Sadly, unless you're watching the video, you can't go back and replay your favorite songs (just yet - hopefully this'll change). Boys Don't Cry is coming soon, and hopefully it'll outdo this attempt.

Endless can be exclusively streamed on Apple Music.

Favorite Tracks: You Are Best (You Are Love), Slide On Me

Least Favorite Tracks: Higgs, Whitter 10 Hubolts, Device Control

Ratings:

• Music: 75 / 100
• Video: 45 / 100
• Average: 60 / 100

Metallica - 'Hardwired'

It's 2016, and we finally have a new Metallica album on the way! The double LP Hardwired... To Self-Destruct is due out in November (details here), and ahead of it's release we can expect some new music from the record to hit radio. The first new music shared from the record was the single 'Hardwired', a riff-filled track harkening back to Metallica's origins.

The first thing you hear from this track is the blistering palm-muted guitar and big snare hits. Right from the get go, this song's big and up in your grill, and that's before the really riffing even comes in! As the riff kicks in, we get the drums picking up the drive in thrash nature. James Hetfield barks angrily over the thick instrumental, as to be expected from a good 'Tallica track. The bridge features a short tremolo solo that wildly flails atop the big riff.

That's about as much praise as you can give the track, though. It's not terrible, but as a whole, just uneventful. After the hype of the intro comes a big riff... that repeats for the entire song. The solo doesn't help much, because its just flailing all over the frets. Hetfield sounds very underwhelming in the scheme of the track, too, no grit to support the angry message, which is send through the words, "We're so fucked, shit out of luck / Hardwired to self-destruct". There's angst there, definitely taking them back to their roots, but without the creativity of what made old Metallica so grand and powerful. It's like a light punch - its stunning at first but you won't have any trouble brushing it off after a few moments.

Metallica's new album has a lot of potential. If they riff as big as 'Hardwired', a true metal behemoth may be on the horizon. But, if 'Hardwired' is to say anything about how creative they were, there may be a flop. Let's see how this one plays out - and hope it's not as bad as the cover art for this single. We'll be waiting, Lars.

Rating: 55 / 100

Pascal Pinon - Sundur

Iceland is a place of many wonders. If you haven't learned of its magic from post-rock legends Sigur Rós, perhaps Pascal Pinon can provide a more accessible gateway into that. The Icelandic indie folk duo's third record Sundur is just that, caked with a pop sweetness shrouded with wonder.

The sounds of Iceland are unique. Pascal Pinon borrows harmonies from the likes of Björk to build haunting melodies that are hard to ignore; sweet harmonies make the opening track 'Jósa & Lotta' as they dance above sweet piano and ambience. Piano plays an important roll on the record - its atmosphere is a big part of what makes the songs sound mysterious. Key in to the piano on 'Spider Light', an instrumental focussing on the relationship of a metallic beat and somber piano. The sound of the piano itself throughout the record is longing and reminiscent, allowing for it to sound barren and cold, yet surrounded in mystery - the essence of Iceland.

Piano isn't the only thing that builds the character of Sundur, though. 'Skammdegi', a song sung in Icelandic, uses a clean guitar to add atmosphere instead, and a Sufjan Stevens synth to help it. Acoustic guitar does the same in '53', the piano taking a minor role in this one as acoustic guitar and vocals on top of distant electronics take you into a dreamy oblivion.

Through all the sadness this album may have, there are moments of happiness. 'Orange' may have that familiar sadness, but its recognizable, almost tangible. Its a sadness that's known to us all, but what it means will change. That's bittersweet, at least. 'Forest' has a poppier vibe than much of the rest of the album, dinky beats on top of a tangy synth lends itself to sound generally happy. The rest of the song doesn't sound like its jumping for joy, but it has a lot more hope than much of the rest of the record.

There are moments on the record that provide some freshness, too, albeit, most are minor. The dark sounds of 'Twax' seems like a sunset on a normal day in a small town of Iceland. The ambience of synths and xylophone that pair with a bunch of different sounds make this song sound uneasy - windchimes, bells, and more can be heard in this song, which transitions into a song with the same setting and windchimes, 'Babies', which ends up with sounds that seem to spiral out. 'Fuglar' is an odd track, and one of the album's most experimental. It's organ and brass intro starts nice but as electronics try to mesh with the harmonies, it's a bit off putting. It loops sweetly but lacks cohesion that brought together a lot of the record. 

Sundur is the sound of Iceland is a poppier light. Sigur Rós' barren soundscapes show the isolation of Iceland's creations, while Pascal Pinon show its welcoming emptiness. It's all a familiar adventure. Sundur isn't perfect, but it's understanding, and that's all you could want from Iceland.

Favorite Tracks: Spider Light, Skammdegi, Orange, 53

Least Favorite Track: Fuglar

Rating: 75 / 100

Crystal Castles - Amnesty (I)

The distorted synths of Crystal Castles are something you can't mess with. Amnesty (I) is the band's first album in four years, and the first to not feature ex-vocalist Alice Glass. It's an eclectic album, though distortion can't save everything.

It begins hauntingly with a haunting reversed choir sample (apparently singing a cover of 'Smells Like Teen Spirit') on top of a hip-hop beat and layered synths. This element of creepiness finds different motifs throughout the album. 'Fleece' displays it with distorted tortured vocals screaming above huge synth blasts, while 'Enth' ups the creepy factor in the same way with crunchy synths under urgent distorted vocals. The whole album has a similar vibe that repeats throughout, but there's a lot more to it.

Despite the unsettling sounds that find their way into the record in nearly every track, there's a wider array of emotion being displayed. See 'Char' - a much sweeter track, with bouncier synths and a more gentle vocal line. It's a chiller track than the preceding 'Fleece', which is a bombardment of distortion. This track, on the other hand, is smooth and rounded around the edges in comparison. Similarly smooth is the epic closer, 'Their Kindness Is Charade'. It's like a more epic version of CHVRCHES' 'Afterglow' - it has all the same elements (closing their albums, atmosphere), but this track builds with a lot more meaning. The synths constantly build into one last epic hurrah to end the record on a big note. It's an appropriate send off for an album so diverse, as it displays the best of the record within the span of three minutes.

Instrumentally, this album is a banger. To the pulsating synths of 'Sadist' to the soft buildup of 'Their Kindness Is Charade', there's a lot of ground covered on this record. You can find nearly anything you want on this album - 'Chloroform' even has the weird scratch synths that were iconic in the 2000's. 'Concrete' has bouncy and dark synths on top of a pounding beat (under vocals that sounds like a distorted cheerleading session), and you can find the extremes of distortion in 'Teach Her How To Hunt'.

Crystal Castles took their time crafting this album. It's creepy and often times off-putting, but it stands together well. Amnesty (I) is proof that Alice Glass wasn't the heart of the band - she was  an extension of it, but not the whole package. Ethan Kent and Edith Francis can hold it down just fine.

Favorite Tracks: Their Kindness Is Charade, Femen, Enth

Least Favorite Track: Ornament

Rating: 70 / 100

Ka - Honor Killed The Samurai

Hip-hop is usually defined with its swift hi-hat runs and speedy deliveries. Ka changes it up a bit. His new record Honor Killed The Samurai is a slow-moving, dramatic, and reprimanding record. It's not in your face but its message is all the same.

Ka's production style is what defines him as an artist. Percussion takes a backseat with his style, an instead the rest of the instrumental fills the space that begs for a drive to thrust the lyrics forward. There's a lot of great instrumental moments on the record that show that percussion doesn't necessarily need to be the backbone of hip-hop; the quiet yet strong 'Just' is led by a beautiful arpeggiated synth that accentuates the "politeness" of the track - the way Ka delivers his lines shows a respect for the listener (just like the ways of a samurai, eh?). The album also has a general moodiness that surrounds it in a mysterious shadow - listen to 'The Cold and Lonely', and the ad-lib tambourines and constantly in-and-out strings. It's like you're listening to this song in black and white. This dark theme repeats itself in 'Mourn At Night', but features a more tight instrumental with paired guitar and keyboard arpeggios.

The message of each track is as strong in the lyrics as the instrumentals. 'Mourn At Night' seems to be a comment on America's shooting crises over the last years: "he gone, we mourn at night" is what takes the song to a somber end. '$' comments on the nature of struggling in the ghetto on top of a dramatic piano and bass. 'Finer Things / Tamahagene' is the most polished track on the record, a beautiful pairing of acoustic guitar and piano with some electronics quietly play under the dramatic and tense lyrics, which sound like a life story, almost. 'Destined' is the oddest track on the record - it's a bit more out going than other tracks, and just feels out of place. The vocals are as moody as the song tries to be, and it just doesn't sound as cohesive as other tracks. Ka has a very moody delivery, and it definitely pairs well with the plethora of moody tracks on the album. 'Ours' is another song with definitive lyrics; "these seconds, these minutes are ours" is a nice play on words when you hear it upon the bellowing layers of vocals and synths that build into a haunting end.

Honor Killed The Samurai is on big metaphor. It's about life in the ghetto; more specifically, the struggles of it. A samurai is cunning and passionate. They'll die for their honor. Ka comments on what "honor" has become, and how its definition can become blurred. It's unique in its sound, and definitely a memorable record. If it had a more engaging from an emotive stance, it could've been a real classic, but it's a good record nonetheless.

Favorite Tracks: Finer Things / Tamahagene, Just

Least Favorite Track: Destined

Rating: 67 / 100

Savoir Adore - The Love That Remains

Savoir Adore has carved out quite the niche for itself with its self-proclaimed "fantasy-rock". The Brooklyn duo is back with their third full-length album, The Love That Remains. The album shows the stretches of their own genre aren't quite that extensive, but does offer a fun listen full of sweet synths and bright chords.

The music scene of Brooklyn requires originality for a band to stick out. Savoir Adore definitely has their own flair; it's a blend of things you've heard before that accumulate into a new fresh sound. Listening to the dreamy synths in 'Savages' give you a sweet vibe while the bright acoustic guitar that hide behind the electronics in the verses of many tracks give this album a fresh, feel-good vibe. 'Giants' brings the anthemic side of the album in, with huge choruses with the sound of a thousand vocal lines and huge bass to bring the chorus that much more punch. The second verse brings some slap bass into the mix too, which is always a nice touch. 'Paradise Gold' is the heart of the album, with groovy verses with layers of sound leading into choruses of pure bliss, where guitar and electronics become one in arpeggiated greatness. It's like if Purity Ring had guitars.

Despite the great feel of the album, there isn't much that stands out. 'Paradise Gold' is such an amazing track, but there's nothing else quite like it on the album. Nothing feels quite as immense or, perhaps, as pure as that song. There are shining moments throughout the album - the guitar in the intro of 'Crowded Streets', for example - but nothing is as spot-on in its entirety as 'Paradise'. It's a very safe sounding record, as if the band didn't want to stray from the formula of their brand. There's a lot of sweet percussion that finds its way into certain tracks, but those don't save the songs as a whole. The last track feels downright uninspired, forget following the formula. 'Night Song' literally chants "This is our last song, this is the last one..." Where did it all go wrong? They played it too safe with this record.

Savoir Adore made an enjoyable record, but nothing provocative. It's disappointing, really - I wish there were more song with replay value than just one star track. It's by no means a bad record, but it's safe. Too safe. "Fantasy rock" is something not a lot of artists can claim they dabble in - Savoir Adore can take it anywhere they want. The question is, will they?

Favorite Track: Paradise Gold

Least Favorite Tracks: Night Song, Beautiful Worlds

Rating: 68 / 100

Racing Glaciers - Caught In The Strange

English rockers Racing Glaciers have burst powerfully into music with their debut LP, Caught In The Strange. It's a boggling record, beginning with subtly building tracks before massive rockers come into play later on.

Theirs two flavors on this record: the quiet, resonating guitar rock that start the record and the layered walls of sound that find their way into the end of some tracks. There's a quiet brilliance that can be found within tracks such as the eponymous 'Caught In The Strange' and its preceding instrumental interlude, the introspective 'Nag Champa'. A peaceful abode dominates much of the album - a flow of easygoing tracks build near the end of the record before it returns to its rockier side, beginning with 'Patient Man' and ending at the first chorus of 'Samadhi (So Far Away)', which bursts with energy.

The other half of the record is massive. It's less of a half and more isolated moments found in tracks, but they're much more memorable and really bring the album together. It begins with the first epic moment on the record, the huge jamming ending of 'Naked We Rise', building up brilliantly through its length. It starts with a chord that has just enough dissonance to sound correct, and you know something is coming. Even earlier in the record is 'Seems Like A Good Time', where the rhythm guitar's crunchiness gives the song a new level of drive. 'Carry It On' has a gentle guitar line that's fantastically simple, yet beautiful all the same before building into a giant jam at the end. 'Samadhi' is wholly a jam, the energy resonating right after the chorus begins. The final track 'Young and Unsure' is a lengthy acoustic build that introduces a brass section as it builds into an epic conclusion.

As far as debuts go, this one is huge. Racing Glaciers have carved a solid career out for themselves with this first record. Their sounds pillar up into harrowing jams and each track is definitively their own. It sparks originality and a bright future for this band. Caught In The Strange is a flying success.

Favorite Tracks: Naked We Rise, Samadhi, Young & Unsure

Least Favorite Track: Patient Man

Rating: 75 / 100

Moose Blood - Blush

High school is or was the time of our lives. The music of the mid-2000s really defined the teenage scene - no one can forget the infectious pop punk / alternative rock anthems from that era; Fall Out Boy's 'Dance, Dance' and 'Sugar, We're Going Down', We The Kings' 'Check Yes Juliet', and Paramore's 'Misery Business' were only some of the big gems from that time, and even today they define us in that time of our lives.

Some may say pop punk is dead. Moose Blood challenges that statement. Their sound is a combination of today's punk scene and that mid-2000s rock. They're a fresh new blend of two beloved genres, but at the same time, it's just what you expect - and want.

As refreshing a return to this style may be, it's not exactly groundbreaking. It's certainly nostalgic, but by no means anything new. 'Pastel' starts the album and brings the memories flooding back, but once you get past that it's really just an average track. 'Honey' is slightly better, being that relatable love song about a match made in heaven. Much of the album, specifically 'Knuckles' has the sound of Biffy Clyro if they played pop punk. The middle section in a bit boring with how familiar everything sounds...

The problem with this album is that it's something we've heard before. It's nothing new, just a nostalgia trip. It's not a bad album, per se, but once you get past the fact it's a throwback to an important part of your life, it loses its flair. And that's if that era of music was important to you. If you're just listening to a pop punk record, it does get boring towards the center. The last taste or interest is in 'Shimmer', which is a very personal track with a fantastic ending. But other than that, it's a pretty dull, "heard it all before" album.

Moose Blood brings a new hope to this style of pop punk, though. Their sound may not be anything new, but its a gateway for others to follow suit. The doors of pop punk are opening again, and Moose Blood were the ones who dared to push through them. Is a new wave of pop punk coming? The dead has just been brought back alive.

Favorite Tracks: Shimmer, Honey

Least Favorite Track: Cheek

Rating: 70 / 100

Bon Iver - "22/10"

Indie folk legends Bon Iver have returned with flying colors with the release of a dual single, coinciding with the announcement of their new album 22, A Million (details and the tracklist can be found here). The two tracks released on the single, '22 (OVER S∞∞N)' and '10 d E A T h b R E a s T ⚄ ⚄' may have off-putting titles, but their unique blending of style says otherwise.

"22" is the folkier of the two tracks. Beginning with a continuous synth and a pitched-up vocal, the mastermind behind the band Justin Vernon sings clearly with a longing in his voice as reverberating and twangy guitars kick in. The track is a brilliant buildup of vocal and electronic layering, with tastes of sweet guitar interspersed throughout. The way Vernon longingly sings, "Where you gonna look for confirmation, and if it's ever gonna happen? So as I'm standing at the station, it might be over soon," sounds so heartbreakingly familiar. The song's a love song - it's about how love can get you through moments of uncertainty. The chords of the song progress in such a satisfying way that make the message all the more sweeter, and the symphonic bit at the end is just a beautiful ending.

"10" is a complete different story. Its distorted beat accompanies effected vocals that come in with wonderful harmonies. The vocals of the verse follow the same melodic formula as "22," but sound much more distorted. This track has a bigger electronic and eclectic influence in it than the last track; it's a different vibe. It has a lot of great moments in it, such as the string punches as the chorus takes out the song and the brass section at the end, acting much in the same way as the string section did in the previous song, but with a more bombastic flair, adding a different mood and color to the song.

Both songs appear as extended versions, but according to the track times, are only about 30 seconds longer than the versions found on the album. If these tracks are any indicators of what's to come on 22, A Million, an amazing album is on the way. Let's watch Bon Iver deliver, which won't be a problem for them.

22 Rating:  80 / 100

10 Rating: 78 / 100