Bruno Mars - '24K Magic'

Four years is a long time to take a break. For Bruno Mars, though, it was just what he needed. His first single in four years '24K Magic' sees a fresh new start for the pop's funkiest singer.

Massive success brings massive wealth, and that shows in the song. It's half self-obsessed and half excited: the song's literally about his 24-karat gold chain and having an extravagant party, but on the other hand it also says that the party is here and he's excited to be back in the game. The chorus proudly chants "Players only, come on / Put your pinky rings up to the moon / Girls, what y'all trying to do? / 24 karat magic in the air / Head to toe soul player / Uh, look out," showing the celebration and grandiose of this party we're welcomed to.

The upfront nature and hype-up vibes of the lyrics is backed by the very 90s instrumental. The whole song's a party! Packed with fat basslines and bright synths, the instrumental makes the song feel bigger than the lyrics do. Slowly building bass synths give the song a taste of modernism while still fleshing out the 90s feel. It's a departure from Unorthodox Jukebox in the sense that its emphasis is geared on the vibe rather than the meaning. Mars was always a truly funky man, and '24K Magic' takes it even further.

The music video gives the song an appropriate visualization. The song's music video features Mars and his crew partying throughout Las Vegas, hitting up casinos and grand parties. The video's pretty straightforward, grandiose imagery of the Vegas party scene paired with dancing and butts capture the song's vibe perfectly.

Bruno Mars is back. It's real and its strong, and it's ready to tear up the music scene. 2017 is going to be a big year for Mars if '24K Magic' is any signal. It's the title track of his upcoming album 24K Magic, out on November 18. Don't miss it! We'll have our review out on it when it comes. Until then, we'll be partying to this track.

Rating: 82 / 100

Green Day - Revolution Radio

Many would've thought the bomb of the ¡Uno!, ¡Dos!, and ¡Tré! trilogy and Billie Joe Armstrong's rehab spelled the end of the punk rock legends Green Day. Those ideas have been vanquished, as the band's new album Revolution Radio sees them regain their footing.

As Armstrong claimed, the trilogy had "absolutely no direction to them" and were trying to "be prolific for the sake of it," and there's a lot of merit to that. The albums were just a collection of aimless tracks, with no rhyme or reason to them besides the statement and implication of an album trilogy. That disappointment is being them, Armstrong calling Revolution Radio "not so much a makeover as a make under."

Another true statement. The band's recent outputs since American Idiot have been slammed largely because of their failed attempts; 21st Century Breakdown was a second try at a rock opera, and I've said enough about the trilogy already. Revolution Radio returns to the roots of what made Green Day great: songwriting, energy, and character. Lead single 'Bang Bang' - read our in-depth track review of it here - ignited that flame again, rejoicing fans at its politically charged lyrics and high energy riffs. The instrumental's fantastic, a pure mix of alternative rock and punk coming into one energetic track. The song even experiments a little bit, with an eastern influenced bridge, providing a dramatic moment without sacrificing the momentum or message.

Momentum is carried forward with 'Revolution Radio', another single from the record. The fun guitar moments that imitate the melody of the vocals with other little tidbits in between to keep the song going and interesting. Like 'Bang Bang', it's another political statement on social media, but in a positive light rather than a reprimanding one. Other big moments on the record include the true punk riff of 'Bouncing Off The Wall' and the big rock vibes of 'Say Goodbye' that won't fail to pump you up. The great and big choruses of 'Troubled Times' also have strength in its groovy feel and huge output.

The softer moments on the record give some depth to the record. Single 'Still Breathing' is the prime example. It's this album's 'Boulevard Of Broken Dreams', but with the Revolution Radio twist. There's three distinct characters of the song: a child, a soldier, and a junkie at the end of his ropes, all connected by the familiarity with the world's chaos. They all understand that everything may seem horrible and at their end, but as stated in the chorus, which chants, "'Cause I'm still breathing / 'Cause I'm still breathing on my own / My head's above the rain and roses / Making my way away," life will go on and get better as long as they stay positive.

Another ballad-esque song is 'Outlaws', which feels like it came straight from American Idiot in tone. It feels as though this album and American Idiot are joined at the hip, both having the same function but growing independently of each other. There's political confusion and anger present within both, yet they each have their own separate narrative beyond that. Acoustic number 'Ordinary World' ends Revolution Radio, made for Armstrong's movie of the same name rather than the album, speaking of his character's undying punk rock dreams staying true to this day. It almost stays in tune with 'Still Breathing' in a sentimental way. The album opens similarly with 'Somewhere Now', its acoustic folk intro calling back to his folk collaboration with Norah Jones before kicking into its message.

Green Day are back if Revolution Radio has anything to say about it. Gone are the days of gimmick and lackluster attempts at a part two. Politically charged and fired up as ever, the flame within the band has been reignited with a new passion and drive. The band's no longer on the road to demise; rather, they're heading down the road to revolution.

Favorite Tracks: Still Breathing, Bang Bang, Revolution Radio

Least Favorite Track: Youngblood

Rating: 84 / 100

My Chemical Romance - I Brought You My Bullets, You Brought Me Your Love

Roughly ten years ago, one of the biggest bands in the history of music released one of the most influential albums in the history of rock. But before that, they had to begin somewhere. It has been a decade since My Chemical Romance released The Black Parade, but besides a select few songs, the songs preceding that album aren't as well acclaimed.

That being said, it's not hard to see why that's the case for the band's 2002 debut, I Brought You My Bullets, You Brought Me Your Love. The album is a tragic cross between edginess and some good ideas, but neither points are actually achieved throughout the record, making the album almost widely forgettable until you look at its purpose.

Musically, there really isn't much going on that's special. There's a lot of uncertainty in the album, and its evident through the sound. The album's rawness plays into that. Unlike future MCR albums to come, I Brought You Bullets misses the grandiose of its successors and focuses more on the "emotion-through-tone" aspect. The instrumentals are often times brooding and fast-moving without much work done on them to clean up. The work isn't sloppy, but it's definitely not tight, either.

The first examples of rawness are in 'Vampires Will Never Hurt You', the big drive and solid guitar work feels wholly unpolished but still fits the context of the song with its edgy, throaty screaming from Gerard Way in front. 'Vampires' is almost like a precursor; it has traces of that signature creepiness that always gave MCR's music very Tim Burton-esque. The edgy textures follow through in 'Drowning Lessons', focussing more prominently on melodic guitars while still maintaining the off-kilter vibe.

The album isn't pigeonholed into one type of sound. That's a big thing for a debut, especially of its time. There's the lo-fi Spanish acoustic intro of 'Romance', which is almost misleading of the album but carries the sentiment expressed within it. 'Our Lady Of Sorrow' can be most easily described as a form of "dance metal," the guitars interesting and heavy with a driven beat that has a slight groove to it. If Gerard wasn't screaming like a dying frog, this song could've been something really interesting. The entire sound of the album is contrasted by 'Early Sunsets Over Monroeville', the bright, cheerful guitar shining above Way's flowing melody. The song is somber yet clean. The album's closure 'Demolition Lovers' - the subjects of the accepted headcanon of the story, discussed later on - is a longer song, starting quietly and with a defeated vibe before building into one final burst of energy and anger to close the album. There's different parts and levels to the song that give it some character, giving the album a fresh ending.

I Brought You My Bullets takes on a different dimension if you take the story into account. The story, while unofficial, turns the album into a concept album. A simple yet effective tale, the album tells the story of two lovers running from an enemy before ultimately being gunned down in the desert. The story is picked up in the band's sophomore album, but I Brought You My Bullets ends in defeat. His girlfriend dead, descending to Hell and he being trapped in purgatory, it's a tragic ending to a thrilling story put to bad screams and volatile instrumentals.

The theme of love and chasing it, or in some cases destroying it, is definitely present throughout the record. The story starts with the character acknowledging in a selfish manner that the relationship will only fail in 'Honey, This Mirror Isn't Big Enough For The Two Of Us', the chorus clearly stating "And you can cry all you want to / I don't care how much / You'll invest yourself in me / We're not working out." The Black Parade explored the acceptance of death, while the band's first two explore immortality. This becomes more evident in Three Cheers For Sweet Revenge, but the lead up is in I Brought You My Bullets. Undying creatures such as vampires and causes of death including drowning are evidence of the exploration of death, how to escape it, and what it means.

Some songs don't fully play to that concept, though. Particularly, there's 'Skylines and Turnstiles', the song that is set off My Chemical Romance. Inspired by Gerard's witnessing of the September 11, 2001 World Trade Center terrorist attacks. The lyrics discuss whether or not forgiveness can be sought out, and whether or not there is hope for justice. Way shows that there is unity amongst the people, that no one is alone, but can't beg but ask whether or not there is hope to be found, the chorus pleading "This broken city sky, like butane on my skin stolen from my eyes / Hello, Angel tell me, where are you? Tell me where we go from here."

My Chemical Romance's beginnings may not have been perfect, but they stood as precursors to what was ahead. I Brought You My Bullets, You Brought Me Your Love is a confused record, but its struggle with identity birthed something unique, unbeknownst, at the time, to both the band and listeners. It's a hit or miss record, unfortunately, but its importance cannot be ignored.

Favorite Tracks: Vampires Will Never Hurt You; Demolition Lovers; Honey, This Mirror Isn't Big Enough For The Two Of Us

Least Favorite Tracks: This Is The Best Day Ever, Cubicles

Rating: 68 / 100

We're reviewing My Chemical Romance's discography this month - check in next Thursday for our review on Three Cheers For Sweet Revenge!

Nicolas Jaar - Sirens

Brilliance can come in the most subtle of forms. Such is the case of Nicolas Jaar's highly anticipated second full length album, Sirens. The Chilean-American producer has long been an icon in the electronic an ambient scene, and the reasons why are evident in the album.

Growing up in New York with one of the world's most profound visual artists as your father is bound to serve as inspiration. Jaar grew up in dance music circles in the city, crafting a rough, hip-hop influenced array of tunes, originally as jokes just to make his mother laugh and dance. His message became clear when he released two songs featuring him singing in Spanish as a counter to the European DJs who were exposing Latin American and South American culture in exploitative fashions.

Sirens isn't an album that makes a highly political statement, but it does reveal what Jaar's culture and past mean to him. The dark and franticly dancing synths of 'Leaves' are supported by cute samples of what is presumably a young Nicolas Jaar having a family moment, as you can hear a little boy speaking Spanish to his parents. Its like a dark contrast: the darkness of life shrouded those purer, innocent memories. The ode to his heritage continues in 'No', a simpler song that builds up to a Latin beat backed by Spanish chants.

The brooding theme carries into the billowing 'Three Sides Of Nazareth', the driven synths, big beat, and interesting samples combined with the hook of "I found my broken bones on the side of the road" replaying throughout giving the song one of the strongest vibes on the record as far as energy goes. The album's closer 'History Lesson' is a dreamier song to follow 'Nazareth', building slowly into a confident ending, bubbly synths rising as a big beat and organs with guitar provide a big ending to the record, as a release to all the pressure.

Killing TimeThe darkness of the album cannot be ignored, though. The dramatic album opener is the epic, eleven minute track 'Killing Time' is full of dark, moody imagery complete with sparkling descending pianos and beautiful aesthetics. The song's even split up into three parts on certain versions of the record: 'Mirrors', 'Killing Time', and 'Sirens'. The eleven minute long journey seems to do it well, though, especially as it seamlessly segues into 'The Governor' with its groovy, surf rock samples that precede thick bassy beats and aesthetic pianos.

Nicolas Jaar's new album is prolific and keeps his heritage close without being overly political. It's beautiful aesthetics are only marred by the need to listen to the album several times to really get it - if you don't analyze it, it won't make much sense. It becomes background noise, in a sense. But it's a soundtrack of a life, and a soundtrack to a culture. Jaar's mission isn't over yet.

Favorite Track: Killing Time

Least Favorite Track: No

Rating: 77 / 100 

Yellowcard - Yellowcard

When the alternative rock legends Yellowcard announced that they were calling it quits, many were disappointed. Now, that final album is here. The band will tour for the album then hang up their coats for good. Their tenth and final studio album is the eponymous Yellowcard, and its a mixed bag.

The album is a sendoff, as it appropriately should be, and encompasses a lot of what Yellowcard have built themselves up to in their career. The band was always special because of violinist Sean Mackin providing that extra, unique touch to each song, and that's evident on this album. Proud violin brings in the opening track 'Rest In Peace', while also leading the emotional ending 'Fields & Fences'. The album's closer is a country-tinged one, being lead by reverberating electric guitar, a folky acoustic, and Ryan Key's somber vocals. The violin adds a lot to the song, making it sound like the appropriate farewell from the band. It sounds like something you'd hear at a funeral, the clouds grey and empty with a thankful but sad atmosphere. The melodies are sweet as the band builds up to one big, final climax before the song is taken out with a pretty violin. The band buried the hatchet appropriately with this one.

There are some rockier moments that won't tug on your heartstrings in that way, thankfully. 'A Place We Set A Fire' takes its riff straight out of the mid-2000s, the band's prime. The bass tone is absolutely awful, but the song makes up for it in its sweet, sweet nostalgic vibes. The choruses take you back to your high school days (or if you're in high school, reminds you of the present). The five-minute spanning 'Savior's Robes' brings some urgency to table and provides the album with some final heaviness. The choruses take you back similarly to 'Place', the harmonies and melodies sounding exactly like the niche of that era.

That's really all of the praise you can give the album, sadly. The rest of it is plagued by poor decision or simply boring songs. From the beginning with 'Rest In Peace', you know the album is destined for something that's not 100%. The song starts off promising but ends in a bland fashion, a very uninspired array of guitars, melody, and arpeggios. 'Got Yours' is also a song that just comes and goes due to its forgettable structure. Repetitiveness and just being plain boring is what stops the country vibes of 'I'm A Wrecking Ball' from being any good.

The rest of the errors are mainly decision based. No one can be quite sure as to why the band decided to brickwall and distort the drums of the intro of 'What Appears' to hell, and then do it again with everything at the end of the song. Nor will we be able to understand why they included the album's piano ballad in the front half of the record, right when momentum was starting to build. Why 'The Hurt Is Gone', an already boring song, goes on for over six minutes is also a good question to be asked.

Yellowcard's final album isn't perfect, but it ends just how it needed to. It's a summation of the band's decade-and-a-half career, and really shows why the band made it to where they are now. They were an important band to alternative rock and the whole emo subculture it carried, and it's sad to see them go. All good things must come to an end, and Yellowcard is no exception. The memories will carry on.

Favorite Tracks: Fields & Fences, A Place We Set A Fire, Savior's Robes

Least Favorite Tracks: What Appears, I'm A Wrecking Ball, The Hurt Is Gone

Rating: 68 / 100

Epica - The Holographic Principle

Metal and classical music share a lot of similarities, and when they come together it makes something amazing. Epica are the masters of it, the symphonic metal group proving so with their seventh album, The Holographic Principle.

The Holographic Principle is a concept album of sorts. Not in the storytelling way, necessarily, but thematically. The album is set in a universe created digital generated though a hologram. Guitarist Mark Jansen continued the explanation, saying that the theory is possible, even discussed by scientists.

The music certainly plays to the theme. Riddled with dramatic, cinematic orchestras and larger than life soundscapes, this album truly sounds like a space opera put to an album. The intro track puts it all into perspective. The blaring horns of ' ' and its pounding drums create an epic cinematic scene, as if you're watching an armada descend onto Earth as an interstellar war begins. The theme continues with single 'Edge Of The Blade', symphonic punctuations adding Simone Simons' huge vocals and the massive choruses. 

Cinematics continue in 'Universal Death Squad', the pretty intro leading to thumping drums and an electric guitar solo. The album's ending 'The Holographic Principle - A Profound Understanding Of Reality' summarizes the album sonically, big orchestras and epic guitars building up its huge eleven minute run time. While massive, it does feel... inconclusive in the end.

What the issues sees in its latter half is a continuously underwhelming experience. Not necessarily in the way of saying the songs aren't big, but in the way that the beginning of the album was so huge that it set a big precedent that the album just didn't live up to. 'The Cosmic Algorithm', for example, as a standalone is a big song, but feels underwhelming when listening through the album. The song's slightly more uplifting, if not just generally more positive than other tracks.

There's some experimentation on the record, too, giving it some flavor. 'Dancing In A Hurricane' has eastern vibes, adding some adventurous and mysterious scenes to the already action packed album. Quieter, sweet moments can be found in the bridge of 'Beyond The Matrix', serving as a reprieve from the chaos of this spacial war, while the acoustic track 'Once Upon A Nightmare' starts off dark and acoustically before eventually building into another monstrous track.

Epica has shown time and time again that they can bring symphony and metal to the same plate in flying colors, and the epic space opera of The Holographic Principle shows it. While the album's beginning outshines its end in grandness, the entire stands alone as an epic movie soundtrack that plays through your mind while you listen through. Another big album that shows Epica's threat is here.

Favorite Tracks: Edge Of The Blade, Eidola, Divide and Conquer

Least Favorite Tracks: Ascension - Dream State Armageddon, The Holographic Principle - A Profound Understanding Of Reality

Rating: 75 / 100

Francis and The Lights - Farewell, Starlite!

A vulnerable pop album is a very revealing one. It takes a lot for someone to really let themselves go and express themselves, especially through the means of pop music. Francis and The Lights take that big step in their debut album, Farewell, Starlite!

This outfit isn't just entering the playing field; Francis and The Lights have been achieving slow success since 2007 with a handful of EPs and a collection of singles. They've landed big tours with the likes of Drake, La Roux, and Ke$ha and were even referenced in Drake's If You're Reading This It's Too Late. Stardom is no mystery to the group, and Francis Starlite knows it.

As mentioned before, there is a sense of vulnerability on the record. It's evident in tracks like opener 'See Her Out (That's Just Life)', its infectiously dinky synths that bounce throughout the song providing a light atmosphere for Starlite's hopeful vocals. The song's about heartbreak, but Starlite can't bring himself to stop caring about his partner, the chorus asking "If you see her out there / Behind the wheel / Driving getaway / Oh god, I hope she escapes / Whole damn world is a cage." The fact that the instrumental has little more beyond the quiet synths backs up the vocals adds to the very raw and pure disposition of the song. It's not trying to mask its meaning: it wants to be heard.

Other songs that invoke a similar sense include single 'Friends' and closure 'Thank You'. 'Friends' gained some momentum when Kanye West appeared in the music video, but the song's meaning also gives it what it needed to succeed. The song again discusses heartbreak, Francis wanting to rekindle a relationship. The chorus somberly cries, "We could be friends / Just put your head on my shoulders / I will straighten out, for you / Don't wanna know if you made mistakes / I'm still waiting on your sunshine" Kanye's only line in the song being one single iteration of "We could be friends," the distortion of his vocoder indicating him being in tears. Bon Iver - who's new album is also pretty good (see our review here) - contributes to the song, too, singing the first verse and arranging the beautiful schizophrenia of the song's conclusion. 'Thank You' follows it, the song's lo-fi phoIne recording making up most of the track, again pairing rawness with vulnerability.

The rest of the album isn't as vulnerable, but it's still quite catchy. The cheerful synths and nice melodies of songs like 'Comeback' (which come in later in the song) and 'Can't Stay Party' provide a ear-catching experience. Many of the songs revolve around the theme of heartbreak, including 'Comeback' and 'I Want You To Shake', toying with his feelings towards wanting to find love again. Some fun moments find their way onto the record too, including the reminiscent personality of 'May I Have This Dance' with its dinky synths and the fun fat bass pops in 'Running Man / Gospel OP1' after its dramatic intro. Bon Iver-esque vocoders also come into play on 'May I Have This Dance' and 'It's Alright To Cry'.

While the album does tackle a relatable subject, it's not exactly free from cliché. Heartbreak is something many have experienced, or at least heard about. It seems for every song about something different, there's two Taylor Swift songs about a broken relationship. Lots of this album becomes forgettable after its initial charm. The sentimental and vulnerable nature of the three tracks mentioned before that contain those elements aren't exhibited throughout the record, sadly. Had he kept that demeanor going, Farewell, Starlite! could've been a much greater album.

That being said, it's not a bad album by any means. Francis and The Lights' long-awaited debut is a success, but it could've been taken a step further. The album's relatable nature and somber overtones provide for a heartwarming, if not nostalgic listen. Let's just hope the next album doesn't take a decade to come out, and for the sake of Starlite, that he finds what he's looking for throughout the album: love.

Favorite Tracks: See Her Out (That's Just Life), Friends, It's Alright To Cry

Least Favorite Track: My City's Gone

Rating: 76 / 100

Radiohead - 'Ill Wind' / 'Spectre'

The deluxe edition of Radiohead's A Moon Shaped Pool - our favorite album of the year (review here) - has shipped out to fans, and it's provided some goods: namely, the brand new b-side 'Ill Wind' and their rejected James Bond theme, 'Spectre'.

While 'Spectre' isn't necessarily a new track, it's nice to see it become part of a record. It's received two formal releases prior to this: as a standalone single on Christmas day of 2015 when it was first revealed, and on a double single with 'Burn The Witch' for Record Store Day earlier this year. That's a lot of time for the song to settle in and develop in our minds. The song's haunting piano intro and dark string soundscapes still resonate in the same way as they did when the song was first released. Each chord feels like a movie scene itself, leaving you to wonder how they ended up going with Sam Smith's admittedly cliché song... 'Spectre' has so much more depth and mystery to it. The flow and progression of Jonny Greenwood's string composition along with the way Thom Yorke brokenheartedly croons "Fear puts a spell on us / Always second-guessing love / My hunger burns a bullet hole / A spectre of my mortal soul" fits the dark romantic themes of James Bond perfectly.

'Ill Wind', on the other hand, is a brand new experience. It's a chill track in line with some of A Moon Shaped Pool's groovier songs, such as 'Ful Stop' or 'Decks Dark'. Clean guitar, a light bass, and a sparkling beat bring to song to its mysterious start before Yorke's haunting vocals come in, reverberating like he was singing in a cavernous environment. The song slowly builds, synths appearing out of the song's massive background, popping like bubbles full of spacial material. The song feels like you're being swallowed into an abyss, watching the origin slowly grow smaller and smaller as you fall deeper into the darkness. In that abyss are odd objects, both otherworldly and familiar. It falls right in line with some of the band's most captivating songs, the aesthetic and all.

Even Radiohead's b-sides are masterpieces. You can't really go wrong with this band. Age makes them more and more unique and full of expression. The deluxe edition of A Moon Shaped Pool has made the album of the year even more enjoyable, if not only just a little bit. With a tinge of Bond and the classic "falling into a spiraling hole" Radiohead vibe, the songs have solidified the album as one of Radiohead's best works.

'Ill Wind' Rating: 90 / 100

'Spectre' Rating: 95 / 100

BANKS - The Altar

BANKS made ripples in pop when her debut Goddess in 2014. After wallowing in the success, landing big tours with the likes of The Weeknd, she's taken it back a step with her followup The Altar, a very emotional and personal album.

There were a good few singles released following up to the record, much like Goddess. Of course there's the issue of hearing half of the album before it's released, but the songs seem to have a better context when on the record. The opener track is 'Gemini Feed', the raw piano and vocal intro providing a very revealing intro to the album. The single's mysterious synth and beat come into the song being backed by a brooding synth and BANKS' signature vocals with an underlying, deep vocoder singing below her. The song bares the line "And to think you would get me to the altar," from which the album gets its title from, as well as revealing the theme of the album: a direct message to her ex-lover of how she thought that he would bring her true love, only to be betrayed in the end.

Other singles include 'Fuck With Myself' with its weird vocals and the heartbreaking 'Mind Games', which we reviewed upon its release - check that out here. The album's closing track, 'To The Hilt', is also a single. The song brings the album full circle, its heartwrenching vocals atop the somber piano, singing about missing an ex, who she cannot function creatively without. The gentle vocals are raw and dramatic, taking the album on a beautifully emotional ending.

The core of the album has some meat to it. The song 'Trainwreck' in particular has a particularly badass sound to it. BANKS sings confidently above the thick bass beats with an urgent descending melody backing them. The song builds to massive proportions, the ending exploding with power. 'This Is Not About Us' also has some good vibes with it, having a cool vocal synth backing it. Some songs are great in a different way: the pretty builds of 'Mother Earth' allow for a pleasant listen, the symphonic outro singing out in a beautiful way, much like the ending of 'Weaker Girl'. Nice melodies and background vocals are the claim of 'Haunt', its weird guitar and Indian beat making for an interesting listen. The haunted them continues with 'Poltergeist', its haunting, creepy nature of the song accentuated by a creepy distorted vocal line and melodic choruses.

Not all tracks bask in excellence, though. There are some weaker moments on the record that stop it from being the best it could be. 'Lovesick' is one such example, its cliché lyrics and boring instrumental amounting to a forgettable listen. The premise of the album really isn't anything new, but the writing and instrumentals provide a unique experience on the subject that a lot of other albums of the kind miss out on. 'Judas' also falls into that boring, cliché line, while 'Weaker Girl' is just an overall underwhelming song saved by its string ending.

BANKS escaped sophomore syndrome with The Altar. The album surpasses its predecessor with a emotionally challenging and atmospheric listen, providing unique tracks that are defined apart from each other but all cater to the same idea. Her beautiful vocals and songwriting created a collectively amazing album, not free from error but full of passion.

Favorite Tracks: Trainwreck, Gemini Feed, Poltergeist, To The Hilt

Least Favorite Tracks: Judas, Lovesick

Rating: 81 / 100

Animals As Leaders - 'The Brain Dance'

Animals As Leaders are famous for good reason. There are few people in the world who can exhibit such a mastery of their craft as Tosin Abasi, a modern guitar legend. Their new album The Madness Of Many is out November 11, and the first single from it is 'The Brain Dance'.

Their unique blend of incredible playing and djent comes to an interesting crossroads in 'The Brin Dance'. The song actually begins with an acoustic nylon guitar, plucked with mind boggling brilliance as drums and bass slowly start joining the mix. The nylon guitar eventually becomes the band's signature electric guitar, performed with a mix of slap and plucks. The song then concludes as it began, peacefully with one final chord on the acoustic and bass.

The beauty of the song is that it truly emits fascinating imagery with only instruments, and guitar and drums at that. It doesn't need heavy, djent riffs downtuned to Drop A to be impactful; in fact, it's not wrong to say the acoustic guitar performance has more of an impact than the detuned guitars would. 'The Brain Dance' invigorates the mind as it tries to follow the sweet guitars and the jazzy vibes. The aesthetic and atmosphere of the song are pure and show the band's talent isn't limited to trudging, sludgy riffs with spidery guitar above. The talent lies in the playing itself - every element of the song soars in their own delicate dance.

Animals As Leaders are a different force on the block. There's nothing quite as evocative as they are in the format in which they perform in. The beautiful playing is sometimes heavy, but when it's softer and jazzier there is not complaint. This band is full of legendary players with underappreciated talent, and their next album is bound to be a testament to that.

Rating: 85 / 100