Cymbals Eat Guitars - Pretty Years

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

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

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

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

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

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

Favorite Tracks: Dancing Days, Wish, Well

Least Favorite Track: Beam

Rating: 71

Angel Olsen - My Woman

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

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

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

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

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

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

Favorite Tracks: Sister, Pops, Never Be Mine

Least Favorite Track: Shut Up Kiss Me

Rating: 85 / 100

A Day To Remember - Bad Vibrations

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

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

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

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

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

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

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

Least Favorite Tracks: Naivety, We Got This

Rating: 79

Memphis May Fire - 'Carry On'

Memphis May Fire are pretty much the good-boys of post-hardcore. That's not a bad thing, though. Their music always has a touch of God in it, often meaning very personal and uplifting messages come with it. With a new album on the horizon (details here), it's time to tap into what kind of sound the band will venture into next.

The first single from the next record (entitled This Light I Hold) is 'Carry On'. It's nothing special instrumentally, but it's a pretty rocking MMF track. It almost sounds like a lite-version of their previous effort's - 2014's Unconditional - 'No Ordinary Love', with the cleaner verses traded out with more brutal screaming but the downtuned riffs and blasting kick drums staying present. The chorus highlights vocalist Matty Mullins' aggressively clean vocals. The bridge takes a short reprieve, the instrumental fading to something quieter and Mullins delivering another motivational message. The song explodes once again into the final chorus with a more positive composure to it.

While everything may seem pristine on the surface, that really isn't the case with this track. It's not another version of Challenger (the main concern with their last record) but if this track indicates what the next album will hold, it's going to be a bit underwhelming. This track doesn't really have any meat to it. It's heavy to start with but it loses all of that momentum as it progresses. The third verse is almost cringey. The second verse is screamed and the lyrics are... passable, but then a quieter clean verse comes in with Mullins preaching about selling your values for profit: "Sell your soul for platinum / Sell the truth for gold / You can be the next big thing / If you turn your back on what you know." 

The problem is that this song lacks any subtlety. It's very much to the point, without even trying to find a way around directly saying what the song means. The bridge blatantly says: "I will never be like you / I'm not a puppet on a string / I'm not one of your machines / I'm not doing this for you / I'm not doing this for me / It's bigger than what you choose to see." It literally sounds like he's in an exasperated argument with someone. Not in the way of an internal struggle or a falling out, but as in a petty couple of teenagers having an argument. The writing of this track really is almost laughable.

This Light I Hold isn't off to a hot start. 'Carry On' is a pretty underwhelming track written without any sense of metaphor or subtlety. If you're going to speak of religious teachings, you can't simply state what you want to get across. Memphis May Fire was good at this before, and even when things weren't subtle there were other elements of songs that would make it powerful. 'Cary On' is just so painfully standard - you can see the potential it could have and end up disappointed when it doesn't go anywhere. Let's hold the album holds out and is miles better than what the single reveals.

Rating: 59 / 100

Dreamers - This Album Does Not Exist

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

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

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

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

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

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

Favorite Tracks: Painkiller, Sweet Disaster, Shooting Shadows

Least Favorite Track: Lucky Dog

Rating: 73 / 100

Young Thug - JEFFERY

In hip-hop, your influences are almost like your gods. They are the foundations of what came before you, and the reason that you can flourish in the industry today. Young Thug pays homage to his idols in his new mixtape, JEFFERY. Most tracks are named after someone he has idolized, making the album feel like a dedication record.

JEFFERY sees Young Thug tackling some of his most diverse work. All tracks (barring the conclusion track) is named after someone he has idolized or worked with: the album begins on 'Wyclef Jean', dedicated to the Haitian rapper (who actually has a feature later on the record), and channels Wyclef's reggae roots. The track is fun and features a lot of Caribbean elements. Wyclef Jean features later on the record on the album in 'Kanye West' (previously titled 'Elton John', 'Wet Wet', and 'Pop Man'), which feels like more of a glorified Kanye track than anything else. 'Guwop' praises the roots of trap music - another track shouting out the originator of a genre - being a praise of fellow rapper Gucci Mane. The track is a pretty chill one, if not a bit silly.

Young Thug sends some love to some of his peers, too. Despite his past beef with him, 'Future Swag' is dedicated to the man himself, Future. Despite how sick I am of Future being literally everywhere this year, this does sound like one of his better tracks. 'RiRi' is a nod to Rihanna, and is just about as annoying as 'Work' is - Thugga literally sounds like a seal throughout this track. A nod to producer Swizz Beats is found in the track named after him, but the track sees Young Thug singing and it just doesn't fit too well.

How could this album be complete without memes? There are a couple of songs dedicated to pop culture references, the first of which is 'Floyd Mayweather', the boxer who rose to fame in a major match earlier this year. It's hard to tell if this track is a slam at him or a celebration of him - the boxer is known to have been in cohorts with Young Thug in the past, almost signing to his record label. He didn't in the end, and the song is all about the living a life in luxury. Of course, the album has a shoutout to the current meme phenomenon 'Harambe', and while the title is relevant, the song doesn't really say much about the controversy of him in any form (gun control, animal rights, etc.) and is nearly downright annoying with all of the ad libs and raspy, yelled vocals. The instrumental is phenomenal, though.

There are some great instrumental moments on the record. 'Webbie' has a very dramatic and almost pretty soundscape, taking turns between pulsating synths and a ringing beat and a refined beat behind sweet piano. The final track 'Pick Up The Phone' with Quavo has the best relationship of instrumental and vocals on the record. The song is credited as being a collaboration between both Thugga and Travi$ Scott (he basically just does the ad libs - he has a verse on 'Floyd Mayweather' that will satisfy his fans more). The vocals and instrumental flow as a pair; the track has a punchy and almost aqueous synth that compliments the vocals almost perfectly. It becomes a grander, richer synth that follows a dark progression to end out the album on, almost abruptly. The ending could've been more fulfilling, but it's definitely suitable.

Young Thug may have his reputation in hip-hop, but he's well aware of what, and, more importantly, who brought him there. JEFFERY is a dedication album, a mixtape consisting of tracks named after his idols and peers. It also feels like it's his own personal statement, a mark that puts his name down in history. The mixtape's title was originally No, My Name Is Jeffery, as if to say that we should be looking at who he is, rather than his name. It's a humble album, perhaps not his best work, but certainly some of his most important.

Favorite Tracks: Pick Up The Phone, Wyclef Jean, Webbie

Least Favorite Track: RiRi

Rating: 72

Carly Rae Jepsen - E•MO•TION Side B

Carly Rae Jepsen is the queen of pop. Her ability to make pop jingles is nearly unmatched. Two huge hits in 'Call Me Maybe' and 'I Really Like You' later, she's really carved out her career. Her second album titled E•MO•TION is celebrating its one-year anniversary, and Jepsen has released a collection of B-Sides from the record in response.

E•MO•TION Side B consists of eight never-before heard tracks from the recording sessions of the album. These eight tracks are just as energetic as the album itself, serving well as its on standalone EP. Though these songs are full tracks, cleanly produced and ready for release, it's clear why these tracks didn't quite make the cut.

There are some great bangers on this short EP, and it's a shame some of them won't get the same recognition the songs on the album got. The first song 'First Time' is a very feel-good start to the record, having a very classic (albeit, safe) pop sound to it. All of the little instrumental ad libs add a lot of character to the track. 'Higher' is much the same, with a slightly moodier atmosphere to it. While 'First Time' is optimistic and looking to keep a relationship going, 'Higher' is more hopeful in that search of love. It resolves itself into a more cheerful conclusion.

The last track on the album is one of Carly's best, and I'm very confused on how exactly it didn't make the cut on the record. 'Roses' is a somber track in meaning, a very nice contrast to her normal songs. It's about someone who she loved who has left the relationship for reasons that she can't comprehend, and how much she wishes she comes back. The instrumental isn't overproduced, being more of an underlying force behind Jepsen's voice, which is the main focus of the track.

Another meaning to the track is that the person she loved has died. The chorus contains the lines, "And I can feel you reaching through the cracks / A simple change of seasons and you're back / All the roses in the garden fade to black." I can't help but feel that refers to someone who she lost rather than someone that's left her. The memories of that person haunt her, especially around the time of year when the person was lost ("a simple change of seasons and you're back"), and then everything around her - even the most lively and colorful of things - seems empty, painted in black and white. Whatever the meaning, it's a pretty hard track to forget and definitely a standout in her discography.

The question does arise, though; why are these track B-sides? The reality is that most of these songs don't really have a place on the album. E•MO•TION had a very distinct personality to it in which all the songs, good or bad, seemed to fit in with. These are more like outliers; in songs like 'Higher' you can almost see where it fit in to the theme of the record, but didn't quite reach there. The songs are either pre-cursors to the record, or songs she made that just didn't quite fit in.

Another issue is that some of these songs are just average. Not that I personally believe that every track on the album was full of fun and unique (looking at you, 'Boy Problems'). Take 'Store', for example. It's just not a great track - it's premise is way too silly for its own good (in terms of fighting for inclusion on the record; nothing wrong with a silly track) and its meaning doesn't quite substantiate to anything. It almost sounds unfinished the way the lyrics are all over the place, like its meant to say one thing but then goes into another. 'The One' is also quite repetitive and says all it needs to about its meaning by the time the first chorus concludes. This isn't to say that all of the tracks are just not fit to be great songs; 'Cry' is a very sweet song that has a lot of value in its performance. It's a great track, if not a bit underwhelming; the fact is, it just didn't belong on the record. 

Jepsen is definitely up there with some of Canada's greatest pop artists. Her music has a lot of personality to it that isn't quite matched by anything else. Hearing 'Call Me Maybe' may now become a tiring experience, but the reason it was so popular to begin with was because of how unique her music is. It has a touch of herself in it, and that's something pop artists seem to lack a lot of the time. The B-Sides of E•MO•TION show that the album itself had its own unique personality that songs that didn't make the cut were never going to. But that adds to the appeal of the record - she knew what she wanted, and she went for it. These new songs are a look into her mind and process, and it's a real refreshing set of music to hear.

Favorite Tracks: Roses, Higher, Cry

Least Favorite Tracks: Store, The One

Rating: 73 / 100

New Arcades - Where We Were Before (ft. Sarah Bird)

Synthpop is a new wave of 80s revivalism. It's been on the rise ever since CHVRCHES brought it back in 2013. CHVRCHES, however, always had a taste of modern in their music. There are many other artists how harken back to the 80s album by the books. New Arcades sounds like this, but there's promise in their music.

Sparkling synths and electronic drums are the signature of the English duo's new song 'Where We Were Before' featuring Brighton singer Sarah Bird. The track is very classic feeling, the bright splashing synths sound like an old movie where a boy and girl in love run through puddles in a rain storm. It's nostalgic, for sure. It's instrumental is pretty standard beyond that, but does a good job of supporting Bird's longing vocals. It's a love song, and that's evident through both the instrumental's mood and the lyrics. The boys of New Arcades handle the vocals in the verses, speaking of the stories of a past love: the second verse chants, "I said I wanted to have something that would make us feel alive," before Bird and the band transition between the choruses and pre-chorus: "Now everything falls into place / Like where we were before / I tell myself that we won't break / The voice I'm hearing is yours."

Beyond the obvious components of the track, there really isn't much else to explore. There's a little guitar in the bridge, but it sounds more like a gimmick than an honest component. It gets buried in the mix for the outro before it can become something big and worthy of stirring up a new emotion, hidden beneath the standard synths that loop throughout the song. This band has such a solid grip on the elements of electronic music and the vibes of the 80s. They don't seem ready to tread away from the same synths and sounds and into something unique.

New Arcades has a lot of potential, but their not quite there yet. Their music captures 80s soundscapes and nostalgia perfectly, but not in a unique way. It's a style we've heard before and all too many times. They bring in partners from their local music scene to spice things up, which is a good thing, but their core has not changed. By the time they hit their first LP, hopefully they'll find their niche. For now, their music will keep being the old nostalgic inducing electronic music that many cherished so well. I guess there's not so much wrong with that, after all.

Rating: 70 / 100

Prophets Of Rage - The Party's Over

Several live statements later, and Prophets Of Rage are delivering their first EP. The supergroup consisting of members of Rage Against The Machine, Cypress Hill, and Public Enemy are here with their debut EP, The Party's Over. If you already liked this project, you'll like this EP, but chances are you'll be wanting more either way.

We've already reviewed the band's debut single, the introduction song to the project titled 'Prophets Of Rage' - read our review for a more in-depth insight on it. The context on this EP makes it a little less substantial, though. It's a great intro track and definitely gets you pumped up, but it's followed by the new song 'The Party's Over,' which has a stronger drive to it. It sounds angrier and more upfront, almost aggressive. That's the true spirit of this band, and their projects in the past. It's lyrics are a bit more angsty and less substantial than 'Prophets' by just a bit, but the instrumental kicks its ass. It features a signature Tom Morello solo near the end and just has a bigger punch to it. 'The Party's Over' makes 'Prophets Of Rage' feel like less of a track.

The rest of the EP consists of three live tracks, and it's just nothing really special at all. Rage Against The Machine's 'Killing In The Name' is first on the list, and it's just a standard performance of the song. It has that good old raw feeling you'd hear from old RATM recordings, but there's probably better performances out there on the Internet you could listen to. 'Shut Em Down' by Public Enemy is next on the list, and this one is actually a bit different, featuring a cool guitar intro from Tom Morello. The rest of the song is pretty average, besides the killer solo Morello delivers in the bridge. It's interesting to note that all of the members of the group have played this song before: Public Enemy, obviously, being the recording artists, and Cypress Hill did a cover of it in 2010 featuring Tom Morello. It's familiar territory for all of them. The last song is a cover of the Beastie Boys' 'No Sleep Till Brooklyn' entitled 'No Sleep Till Cleveland' (in reference to the 2016 Republican National Convention). There's nothing real to comment on besides the fact they don't substitute "Cleveland" in place of "Brooklyn" until the end of the song. You'd figure they'd do it for the entire song. At least the solo is good. Tom Morello is this band's only savings grace.

At this point, I don't really know what to think of this group. When they first announced their mission, there was so much hope; the 80s and 90s revolutionary scene was coming back! Rage Against The Machine is basically back! But no, it's all becoming one big cluster of trying to be edgy. It's becoming less of a political statement and more like they're a group of angsty teenagers looking to make some cash and speak their minds on Trump all at the same time by playing covers of RATM. Perhaps everything will start to gel together as they play more; they're currently on tour across North America. For now, though, you can't really say much more than "well, okay" by the fact these guys exist.

Prophets Of Rage are slowly becoming more like the Profits Of Rage. Time will tell what these guys bring - maybe a full length LP not consisting mostly of live tracks will bring some worth to this project. It's a hit or miss right now, and currently they're only shooting misses. There's hope, but right now everything's looking pretty grim.

Favorite Track: The Party's Over

Least Favorite Track: Prophets Of Rage (and the live stuff, simply for lack of effort)

Rating: 50 / 100

Glass Animals - How To Be A Human Being

There's always room in everyone's palette for something exotic. Glass Animals is the that refreshing sound we all need and look for. Their blend of indie alternative goodness and exotic flavors is true ear candy.

There is something very knowing in the sound of the band's new record, How To Be A Human Being. It feels risky and put together by the wits of masters of music. Surprisingly, this album is the band's sophomore release! It follows 2014's eclectic Zaba, a critically acclaimed album that wasn't afraid to be imperfect. The prior effort was inspired by the likes of Kanye West and Nina Simone, and became an outlet for the band's members to do something wild and unpredictable. Vocalist Dave Bayley explained how it all came together: "I used to be really into super-clean, no flaws production," he claimed, "but now I like the context and soul that mistakes, chopped samples, and swirly white amp-noises give you.... We definitely were a bit self-conscious, we were once afraid to do something bold. Now when we re together in the studio we don t worry about those things. In fact, we don t worry about anything at all..."

The success of the prior album seemed to not hold back the development of How To Be A Human Being. What you must know, though, is that if you're looking for a follow up that embodies with Zaba had, you may not be happy when listening to this record in that aspect. It's going to impossible to come out of this album feeling unhappy, though. You may not get what you're looking for, but you'll find something even better than what you expect.

Glass Animals opt to express what they believe on the inside. Their process has never been to go in with an idea and to come out with that brainchild. Their process is wildly expressive and unique to their collective minds at that point in time. Human Being is almost like the child of Zaba, still. With the success of the former, they went around the world, touring in support of it. Along they way, they heard stories upon stories from the people they perform for. Those stories are the what built Human Being.

The backstory is made clear by the album's diversity. Right from the beginning you have a banger with 'Life Itself', featuring Indian percussion and fantastic melodies and vocals that build to a grand and explosive ending - a welcoming to the insane party of the record. 'Youth' follows up with dreamy vocals and a dinky instrumental, and singing about the joys of being young and in love. 

The best thing about this album is how much groove it has. 'Pork Soda' feels like hip-hop fell into a molten pot of indie flair. It has a lot of swagger and a certain confidence about it. I don't know. It's just pure fun. That's what's most of this album is like. It's just a feel good, relatable experience to listen to and connect with. 'Mama's Gun' is much the same as the former, but this one has some solid flute action going on that gives it that extra touch. 'Poplar St' also has a lot of swagger to it, but also a lot of mystery. It feels like a bluesier version of Radiohead's '2 + 2 = 5'. It's creepy but all-too knowing in its mystery. Don't even get me started about the brass sounding guitar at the end in 'Take A Slice'. I can't even tell if it's guitar or trumpet - but I don't really care. It sounds awesome and frantically insane. This album has it all.

The second half of the record has some songs that are very electronic-oriented. The low backing vocals from 'Mama's Gun' return in songs like 'The Other Side Of Paradise', which has an instrumental that builds with electronic layers. The lyrics are very reprimanding, might I add: "Bye bye baby blue / I wish you could see the wicked truth / Caught up in a rush it's killing you / Screaming at the sun you blow into." It's a pretty big track, both instrumental and as far as meaning is taken. 'Cane Shuga' is led by a stair-stepping synth and a groovy beat, the vocals effected and metallic. The song is a little odd, but still infectious. It contains an ending that is a bit strange, spoken word glitching out. A similar sketch scene happens at the beginning of 'Take A Slice' and that's also pretty awkward. But the album's awkward moments aren't enough to bring down it's magnificent whole. The album ends on 'Agnes' with its slow wave of noise slowly building up in a sort of bittersweet ending. It sounds upbeat and happy, but also definitively a farewell. It's a song you'd play as you drive out of your hometown for the last time when you're going to college or to start your own life. It has all the qualities of a send off, as well as a welcome. It's like a bright look into the future. A perfect send off for an album that sets the future for this band.

Glass Animals is something else. There's not really anyone else who sounds quite like them, or as diverse. They're unique musicians and even more unique as people. How To Be A Human Being is a brilliant album, from its backstory to its execution. You can never really predict this band; there's not one way you can describe them as. We don't know what their future holds, and neither do they. That's the beauty of their music; it's ever evolving. The mystery will reveal it's next clue in the future, but How To Be A Human Being is enough to last us a life time.

Favorite Tracks: Life Itself, Agnes, Mama's Gun

Least Favorite Tracks: Cane Shuga, Take A Slice

Rating: 87 / 100