Avenged Sevenfold - 'The Stage'

Avenged Sevenfold have a reputation of being the pop boys of metal. It's fair to say - they definitely have one of the more accessible sounds in the genre. While remaining easy to listen to in terms of the levels of metal, they often do it well. Their new song is not one of these cases.

'The Stage' is perhaps one of the most uncreative, gimmicky songs the band has ever put out. From the over-the-top angsty music video to the absolutely dreadful drum mix, this song really has hit all the checks for bad.

You'd think progressive A7X couldn't be that bad. You'd have thought wrong, though. 'The Stage' is melodramatic in the worst ways possible. The band is known for being bombastic and upfront, but this is just distasteful. It does have multiple distinct sections that work to a passable ending that takes the song out on its only positive note. The intro is brought straight from the title track 'Hail To The King' from their 2013 effort Hail To The King in a move which shows that the band is basically ripping themselves off (at least it's not Metallica this time). The song abruptly segues into a clean, almost bluesy bridge after an electrifying solo. The guitar in this part is really great, the instrumental as a whole sounding really genuinely pretty.

Then the heaviness comes back. It's not as bad as the verses had set up, but it's still not great. The song ends with dual guitar solos in that 'Nightmare'-esque fashion and pounding drums (the only part of the album where the drums are tolerable). A classical acoustic ending brings the song to an awkward end as the crash cymbal fails to fade out with the rest of the instrumental. Also, why did they end with an acoustic guitar? What is the relevance?

Not only is the performance out of place, but the instruments themselves just sound awful. The kick drum in the intro sounds like something a teen trying out a double-kick pedal or a sampling pad for the first time would sound like. The tone of it is so completely dead, too. The snare is okay, and the cymbals are fine, but as for the rest of the kit; it's like they forgot to mic them appropriately. Their new drummer Brooks Wackerman is really not doing them any favors - Bad Religion won't miss him if this is his work now... The guitar lacks bass or crunch, sounding floppy and weak. The lead parts are good, as is expected from Synyster Gates, but what happened to the rhythm guitar? Why does M. Shadows sound like a dying horse in the third verse? What's going on?

To make matters worse, the lyrics are absolutely laughable. By some tragic miracle, M. Shadows seems to have misplaced his own lyrics with an angry middle-schooler's diary. Who let "When did the walking apes decide that nuclear war / Was now the only solution for them keeping the score? / Just wake up / Can’t you wake up?" be words to a song? The key to being prolific and making a statement is ripping cliché metaphors straight out of angry YouTube comments? The second verse sings (in the song's awful, failing melody) "Jesus Christ, was born to die / Leave it to man to levitate his own to idolize / We’re simply sociopaths with no communication baby / I see your angle but we differ from our points of view," as if this isn't the cringiest line you've ever heard in a metal song (barring Limp Bizkit, of course, who made that their thing).

Just when you thought things couldn't get worse, the music video is atrocious. It's a giant metaphor on war and corruption, with handpuppets replaying scenes from the history of man, including the beheading of Louis XIV and World War I. An interesting concept, but done with the wrong song and the the wrong direction. Watching puppets in these scenes with crappy metal playing in the background doesn't do any justice. When Hillary Clinton and Vladmir Putin appear at the end as puppets controlling the other puppets, you can't help but say "Oh, come on." Then another set of strings control those puppets, the strings attached to a skeletal hand that presses a button the detonate a nuclear bomb, sending us back to the age of cavemen, because that's how evolution works. 

There's so much wrong with this song, and it makes me angry. I want this song to be good. Repeated listens lighten the initial "what and why is this" reaction, but fails to make the bad elements of the song any better. It's a badly produced song and a badly produced video to combine into one fail of a show. Hopefully the rest of Voltaic Oceans holds up, because if this song (and the edginess of the album title) are proof of what's to come, we're doomed.

Rating: 59

Rating w/ Video: 40

Kings Of Leon - Walls

Kings Of Leon have really fallen off of their throne. They always had that alternative rock meets country vibe that really had a sweet sound on the radio, but it seems that it's not working for them anymore. Their seventh album Walls is not a good sign.

For what it's worth, the album does have the Kings Of Leon charm. There's a lot of twangy guitars that give their alternative rock label a country tinge, especially evident in 'Around The World'. The beginning half of the album is mostly tolerable and a generally enjoyable listen, with the indie rock track 'Waste A Moment' opening the record in a standard way - nothing special, but nothing to scoff at, really. The same sound is continued in 'Reverend', which really has nothing else to offer besides its upbeat vibe. 

That's about all the praise the album can get: an okay start. It all falls apart after 'Over', the six minute track with a cool bass tone that leads nowhere. The issue with this album is that it really has no meat to it. There's no punch and no grit that can make any song grab you in the core of it. All momentum is lost in 'Muchacho', a weird song that tries to be overly dramatic while having a weak instrumental and weak lyrics. This theme continues throughout the rest of the record, 'Conversation Piece' and 'Eyes On You' offering up nothing new or exciting as they follow. 'Wild' makes it even worse, in fact. The album's closer track is single 'WALLS', which we reviewed upon its release (check that out here). The song is still as aimless as it was as a standalone, not progressing in its five minutes and burning out at the end of an album that's already struggling to stay alight.

The only redeemable track on the entire record is 'Find Me'. It's the only song that has a real sense of conviction and direction. It's laced with sweet guitar lines and punctuated chords that build tremendously to a feel good ending. The guitar work is pretty solid on the track, especially evident in the choruses, the nice moments offered up amongst the great melodies and sweet atmosphere. Why the rest of the album couldn't sound like this is beyond me - this is the sound that works; not the half-assed minimal rock tracks that try to sound deep.

Kings Of Leon are losing their steam. Their past efforts were both with largely negative appraisal, and it seems that Walls will be no different. With very few redeemable moments, it's hard to give this album any credit. They tried, but their efforts don't seem to have been enough to satisfy what the band and their fans were needing.

Favorite Track: Find Me

Least Favorite Tracks: Muchacho, Conversation Piece, Walls

Rating: 54 / 100

My Chemical Romance - Three Cheers For Sweet Revenge

Last week, we reviewed My Chemical Romance's debut record, the punk precursor to their emo takeover I Brought You My Bullets, You Brought Me Your Love, which you can read here. The album follows the story of two "demolition lovers," who run from the authorities who are trying to capture them. In the end, he is killed and sent to hell while his lover continues to live.

Or so you thought. The narrative doesn't intentionally continue throughout the band's followup, but it certainly carries on the theme. Besides the story, Three Cheers For Sweet Revenge is a largely stronger album than its predecessor, freshening up the band's sound and moving them towards the sound they became known for.

The album generally drops the complex song structures and generally raw, abrasive nature of I Brought You My Bullets. Instead, MCR is met with an album in which Gerard Way described as "pseudo-conceptual horror story." It's largely a tale of personal disaster: the hardships of life, the struggle of love, and even the grief of losing a loved one. All of this is done with an innovative album caught in the crossfire between punk rock and the rising pop punk and emo movement.

The remnants of I Brought You My Bullets can still be found throughout the album. The most similar-sounding song is 'Its Not's A Fashion Statement, It's A Fucking Deathwish', which not-so-coincidentally was the first song written after the release of the former record. The song discusses a love that doesn't fade, whether or not it was a good or bad thing. Similar elements of the song to its precursors are its rawer guitar and forward propulsion set forward by the drumming. What makes it part of Three Cheers is its conscious sense of melody. The former had concentration on the workings of the song rather than its sound. 'Give 'Em Hell, Kid' is another track with a similar punk rock vibe, but in a much more refined way, the production of style of Three Cheers aiding it. The verses are crazy and full of surprises, the choruses strong and melodic, all leading to a giant ending. The album did earn the band a reputation, but it was this record that truly skyrocketed them. 

The album's singles are also to thank for the band's popularity being sent into momentum. Listening to this album today, it's hard to not sing along to the anthemic chorus of 'Helena' that chants "What's the worst thing I can say? Things are better if I stay / So long and goodnight." It's almost as iconic as the piano intro of 'Welcome To The Black Parade', but in a sing-a-long sort of way rather than being the defining song of emo rock. The beautiful lyrics and melodies are backed by a thrilling, alternative rock instrumental. The lyrics somewhat relate to the demolition lovers, as the character reminds herself that anger won't get her anywhere past the grief of losing her lover.

The other singles also make it clear how this album was important for the band. 'The Ghost Of You' features beautifully clean and haunting verses as Way dramatically sings before the big choruses that display the refined rage and sorrow the demolition lover feels not that he is lost without his other half. The way the guitar imitates the "Never coming home, never coming home" part that still rings as powerfully as it did over a decade ago. Lead single 'I'm Not Okay (I Promise)' is a more personal track that steps away from the demolition lovers' narrative, the pop rock song tackling a very "teenage" issue: a girl who is having troubles with her boyfriend asks the narrator who is dealing with his own problems in his life, puts them aside to help her just to be ignored. The girl loves all these "deep" songs but can't see the real problems of life, as the narrator tries to explain. The true alternative rock vibe of the song was enough to burst that era into a new frontier.

On a heavier ground, 'Thank You For The Venom' was the single that showed that My Chemical Romance still had the capability to produce great, heavy tracks with a rebellious statement. The thick guitar riffs (including the one in the intro) give the song an extra thickness that the rest of the album doesn't have. It discusses fear and helplessness, as well as sending a blasting messages to record labels who don't understand that the bands want to be part of their fans, too.

It's not all black and white on this record, though. There's some moments that stand out more than others. 'You Know What They Do To Guys Like Us In Prison' starts off groovy that ends wild and rambunctiously has interesting artistic choices (especially in the second verse) and features lots of cool little moments and elements that make it unique. There's a Western-vibe to 'Hang 'Em High', likely inspired by Way's enticement with Clint Eastwood (since this song shares a title with one of his movies). The western intro is followed by thrashing guitars and drums that ultimately come together throughout the rest of the song leading to a cluster of noise in the end. It preaches that you should never stop fighting.

Three Cheers doesn't shy away from more personal and intense topics, however. A "jetset" is a lifestyle that is defined by frequent traveling and drug use. This is exactly what Gerard Way struggled with whilst touring, almost dying in Japan in 2004. This experience and coming clean led to 'The Jetset Life Is Gonna Kill You', a song that really speaks for itself once you understand the story. The rock vibe of the instrumental that sounds similar to a Weezer track acts as a support for the message and the big vocals. On another note is 'Cemetery Drive', the light melody and vibe shadowing the meaning: coping with life after a loved one commits suicide. The instrumental is great and really supports the track's lost demeanor, the chorus beautifully yet simply doing the same with its chants of "I miss you, I miss you so far / And the collision of your kiss that made it so hard."

It all comes back to the narrative of I Brought You My Bullets. Lots of tracks have references to the story: the loss of a loved one in 'Helena', the convict that is coping with failing mental health in 'You Know What They Do To Guys Like Us In Prison', and the living lover being unaware of the deal the dead one made with the devil in 'Give 'Em Hell, Kid'. The only song that fully delves into the story is closing track 'I Never Told You What I Do For A Living'. The song combines the best of the elements of I Brought You My Bullets and Three Cheers: the complex structure and the convicted vocals of Bullets paired with the power of the vocals and production style of Three Cheers makes this song a true monster.

Filled to the brim with sweet melodies, big moments, and epic screams, the song exhibits the raw emotions of the demolition lovers as the main character fulfills his deal with the devil: killing a thousand evil souls so that he can once again see his lover. The lyrics deal with how the murders slowly become justified in the name of love, the narrator asking his lover to free him from the burden. The devil tricks him, in the end: the last soul he must kill is himself, expressed in the lyrics "Down / And down we go / And we all fall down" sung in a growing rage that builds to a vicious scream, ending in the heartbreaking yet simple screams of "I tried". The beautiful clean chorus defeatedly cries "And never again / And never again / They gave us two shots to the back of the head / And we're all dead now." The lines repeat with more energy until its last repetition, sounding more like dying words than a proclamation of victory. Whether or not he gets to see his lover again is up to interpretation, but the beautiful story comes to an end here.

My Chemical Romance's romanticization of death becomes clear in this album and continues under a different light in the one that follows. Three Cheers For Sweet Revenge ends the tragic tale of the demolition lovers in a burning and vivid conclusion. I personally like to believe they did see each other again, but the devil brought them both back to hell - the last words of the album ending with a bittersweet apology to her, but a gratefulness amongst them both that they are united once again. That's the beauty of this band - they can tell a vivid story with no clear ending but still have it be a masterpiece. Three Cheers was the start of their sound's evolution and a solidification of their songwriting ability, and all of that only improved as they progressed, and we all know where they went from there.

Favorite Tracks: I Never Told You What I Do For A Living, The Ghost Of You, Helena

Least Favorite Track: Interlude

Rating: 91 / 100

Kate Tempest - Let Them Eat Chaos

It's not a mystery that the world is often fueled by corruption. Whether it be the top percentage cheating the middle and lower classes or insane politicians taking control, the world is over run with chaos. That very principle has made Kate Tempest very angry.

The English poet has released her second record Let Them Eat Chaos, and it's full of anger. It's not a yelling record, though - she has taken an interesting direction, creating a blasting hip-hop record that begs and pleas for understanding. It's riddled from top to bottom with powerful lyrics without sounding immature or angry as an inferiority complex.

The album isn't an immediate click. It grows with you sort of like an underdog - it starts off jarring but you slowly start to root for it as it progresses. It kicks off with the spoken word 'Picture A Vacuum', it has you wondering if you stumbled into a The World Is A Beautiful Place And I Am No Longer Afraid To Die album. The purpose starts becoming clearer as 'Lionmouth Door Knocker' starts setting a scene above a groovy beat and pulsing instrumental. The lyrics are eyeopening and really sets the scene of the record: do you know what's going on around us?

The album is highly political but in a very understandable way, particularly in the middle-class Londoner perspective. 'Ketamine For Breakfast' sustains the image of bleak life in the boroughs of England's cities. That song's meaner, upfront tonality leads into 'Europe Is Lost', the first reality check on the record. The five and a half minute track is a stark slamming of the tendencies of life, the very grassroots beat providing a raw and dirty aspect to the song, riddled with brilliant thoughts and great melodies.

This album is upfront with a purpose - every moment is plotted out to say something. 'Grubby' is passionate, the delivery restricted but clearly full of anger, as if Tempest is on the border of blowing. There's introspection in tracks like 'Brews', speaking of selfish desires while the atmosphere backs 'Pictures On A Screen' as a one-way conversation with herself slowly devolves into a fear of the future. 'Perfect Coffee' has a industrial vibe to it, its big instrumental supporting its dramatic moments as the casual scene it exhibits is dissected by Tempest. The closing track, perhaps the most jarring of all, 'Tunnel Vision' ends the record on a note of oppression - a cry for justice and an admittance to her tire of the world. It sums up the album all in one simple phrase: "existence is futile."

The issue with this album lies in the fact that it doesn't seem to know if it wants to be a poetry reading or a blasting hip-hop record. It's a mix of the two, and a good one at that, but its identity crisis often times interrupts the album's flow. The odd spoken word parts may serve well as songs with a beat backing them rather trying to be dramatic. One example is penultimate track 'Breaks', a song with a minimal beat as Tempest tells a vivid story. It begs for a more riveting instrumental with a beat, the droning synth that punches in and slowly builds with sounds doesn't satisfy it; in fact, it distracts the listener from the song. Other songs seem to want to be poems more than songs - 'We Die' is all about giving love and and appreciating life, but its lyrics don't really constitute a song. The cool beat and instrumental of 'Don't Fall In' is cut way too short, as if it wanted to be a poem but was made into a song instead.

Kate Tempest has a lot to say about our way of life and how it revolves everyday. Let Them Eat Chaos is about corruption and monotony, and how the two often play a closely intertwined dance. Her jarring imagery and provoking lyrics slam the world and its processes, begging for something different and for justice to be served. Those who want to revolt against the power can follow Tempest, but the others can continue living in their controlled chaos.

Favorite Tracks: Europe Is Lost Perfect Coffee, Pictures On A Screen

Least Favorite Tracks: Brews, Picture A Vacuum

Rating: 77 / 100

Phantogram - Three

The threat of Phantogram hasn't been quite so apparent until now. The duo's third record Three shows them at their highest, combining electronica, indie, and even hip-hop flair into one big mission statement.

The New York duo always had a certain swagger to them, and they make the best of it on their new record. There's the blues rock-meets-electronica jammer of 'Same Old Blues' that mixes sick guitar lines with deep psuedo-bass drops. There's also lead single 'You Don't Get Me High Anymore', a slam on a dying love that finds a brooding tone in its demanding bassline in the instrumental and the layers upon layers of harmonies that build the track. 'You're Mine' brings in a different kind of swagger, the heavy beat and challenging vocal delivery that functions as a tradeoff between Sarah Barthel and Josh Carter. It's more badass than the swag of the prior tracks, but still proves the point of the band's presence.

Hip-hop isn't something commonly channeled in indie projects, but Phantogram makes it a strong aspect of their record. Perhaps the most brooding and awesome track on the record is 'Run Run Blood', with Phantogram sounding like a rock version of Run The Jewels. The first verse begins with Barthel chanting "Hey wolf, there's lions in here / There's lions in here, there's lions in here / Hey wolf, just see there's no fear / Just see it's no fair, there are lions in here," as Carter follows through with his own interjection of "Extra, extra, read all about it / You think you slow me down? I highly doubt it / I own the paperboys, and you're the buyer / Your world is my world now to live and die in." The chorus backs away from the badass and instead takes a harmonious route with Barthel powerfully calling out that "It's bigger than life / It's bigger than love / It's bigger than us / Bigger than all."

The album closes on a similar hip-hop vibe, albeit resolving with a poppier flair by its conclusion, with 'Calling All'. When songs aren't badass or full of swagger, they're very introspective or uplifting. See the sweet guitar intro of 'Destroyer' that builds sweetly into an uplifting indie rock monster. 'Answer' is much the same, its weird glitchy piano providing as a back for sweet vocals, all leading to a big, uplifting, and confident ending. Other songs like 'Cruel World' delves into a matter of perspective, Barthel singing of her loss in faith in humanity. 

This album may be powerful in those senses, but it does have some weirdness to it. Its start is bumpy, the glitchy atmosphere of 'Funeral Pyre' sounding cluttered as it opens the album. Many songs have to be revisited on their own before they really click and become something special - it doesn't really flow all that well, each song surrounded by others with vague similarities but don't make quite enough of a connection to justify their vast differences. It's an eclectic experience, but one that's worth delving into. It won't click right away, but you have to give it a bit of time to grow.

Phantogram's third album is their most confident one yet. All the pressure is behind them and they're really settling into their place as musicians. Their force is yet to be recognized, but Three is on course to make some waves. Beware their swagger. 

Favorite Tracks: Run Run Blood, Destroyer, You Don't Get Me High Anymore

Least Favorite Track: Barking Dogs

Rating: 84 / 100

Carla dal Forno - You Know What It's Like

When you get experimental, you're expected to get weird, maybe even creepy. You're supposed to go out of the ordinary and make something distinctly different from what may be expected. That's what Carla dal Forno does in her new album, You Know What It's Like.

dal Forno has provided her talents for many acts in the past, but You Know What It's Like is her first solo effort. On her debut, you'd think she'd want to tackle a more accessible field. That's almost the opposite of what she does - her debut is largely an artful experiment, requiring an open mind to indulge fully in and to understand. It's chocked full of interesting moments, but they're all understated to the extreme (no song has a definitive climax; it's all one machine) and requires active listening. In that way, it makes it a brilliant thing. She found a way to get listeners to not lose any attention.

While clocking in at just below half an hour, the album does make use of its short run time. The creepy wobbles of 'Italian Cinema' open the record, its dinky, curious synths providing the accurate summation of the album's sound to come. You Know What It's Like is full of strange, often times scary sounds that provoke that unsettling feeling in its listener. 'DB Rip' builds slowly with dreamy ambience and choirs, the synths washing over dull shores with ominous choirs backing them as the song slowly builds its atmosphere. 'Dragon Breath' is scary from the start, the low drone of the bass followed by the distorted hum of some machine emulating the quiet horrors of a sleeping dragon. It's all subtlety that makes this album so vivid.

The other side of this album is how it builds. When its not creating disturbing atmosphere, it's creating a thoughtful experience. dal Forno sings in a few tracks, her voice singing almost emptily above slowly chugging instrumentals akin to Chelsea Wolfe. The most clear example is closing track 'The Same Reply', slowly churning with pretty piano and industrial drums. There's also 'What You Gonna Do Now', which is really the most accessible song on the record, and that's saying something because it's still an acquired taste. The song features a simple yet effective bassline that repeats under her deathly vocals, an urgent beat building behind her, the song slowly growing with a sort of restless contempt. It's like a look into a foggy iteration of hell. The slow tortured cries of demons form themselves into swelling synths and UFO noises.

Carla dal Forno doesn't mess around. Her debut is serious and sounds like she's lived a lifetime of torture. It's a horror record, but at the same time finds beauty in its simplicity and pain. It's an odd debut, but it solidifies her position in music. Her solid footing just took a strong step forward - this woman is not afraid.

Favorite Tracks: What You Gonna Do Now, The Same Reply, DB Rip

Least Favorite Track: Italian Cinema

Rating: 80 / 100

Alter Bridge - The Last Hero

Alternative metal's most mainstream heroes are back with another record. Alter Bridge's fifth record The Last Hero attempts to make their sound even bigger and evil while still delivering its relevant political agenda.

The first thing about this record is its message. With the 2016 election dividing Americans so vastly and many caught in between the two candidates, there's a lack of trust in both of the candidates. The album's title is derived from that similar concept: "the last hero" being a hero in society amongst feelings of disillusionment amongst the world's current powers. So, Bernie?

Jokes aside, the album does definitely make a strong stance on the matter. It's heavy riffs and soaring vocals really provide an urgent view on the scenario. The first song on the record 'Show Me A Leader' is a good example, a creepy, semi-clean guitar intro leading into big riffs from Mark Tremonti and giant vocals from Myles Kennedy. The album's strength lies in these two things. There's really nothing beyond the big riffs and big vocals - 'The Writings On The Wall' follows up with much the same vibe as the song that preceded it, while 'The Other Side' sounds distinctly more evil and brooding, complete with a weird siren-sounding guitar effect.

Things start getting old by the time 'Poison In Your Veins' comes around, but the big riffs keep them from being fully boring. The album isn't completely riddled with these thick riffs, luckily. Some distinctly non-evil sounding songs add to the album's palette, like the uplifting 'My Champion' and the interesting guitars of 'Cradle To The Grave'.

The album does, admittedly, get interesting in its second half. It begins with the ballad 'You Will Be Remembered', starting acoustic then building up into a sweet, uplifting rock track. 'Crows On A Wire' follows up with crazy, thick riffs that take the track to nearly off-kilter thrash levels. The band then sounds like a metal version of U2 in 'Twilight', bright guitars above heavier rhythm. Then comes the epic 'Island Of Fools', starting with a dramatic guitar intro that leads into an awesome and confident track with immense vocals. The title track is one of the only tracks where the drumming from Scott Phillips can be appreciated for being interesting. The big riffs and nice bridge allow for another big moment before 'Last Of Our Kind' ends the album on a similarly big note.

The biggest disconnect, for me, at least, is the vocals. Kennedy definitely has a lot of strength and power as a vocalist, but there's something in how operatic and dramatic his voice is that makes it sound like he's a hair metal wannabe. There are moments on the record where it works well, but it just doesn't work for me as a whole. More specifically on the music itself, it just downright sounds like the band tried way too hard to sound bombastic and relevant. The formula of "we'll grab your attention with these big riffs in between vocals" is prevalent throughout the album. They took relevance over quality.

Alter Bridge is the bridge between modern metal and 80's hair metal. Sometimes that doesn't always work in their favor, though. The Last Hero is plagued by the divide between grandiose and relevancy in a way that would make Muse's The Resistance jealous. There's too much punch, not enough value. They're doing what they do best, but perhaps not to the best of their ability.

Favorite Tracks: Island Of Fools, The Side Of Fate, The Last Hero

Least Favorite Tracks: Poison In Your Veins, Cradle To The Grave

Rating: 68 / 100

OneRepublic - Oh My My

The pop rock style of OneRepublic is hard to contend with. 2013's Native set them on the course of success, and now they're back with the well polished follow up, Oh My My. 

Oh My My isn't a vastly different record from Native, but it stands its own as a solid record. That's clear right as it begins with opening track 'Let's Hurt Tonight'. The song isn't flashy and doesn't try to bee. The modest instrumental doesn't stop it from being big with grand vocals. Ryan Tedder doesn't hold back on vocals on this record at all. He hits some big notes on other songs including 'NbHD' and incorporates some great melodies into tracks like 'Dream' and above the groovy basslines of 'Oh My My'.

The album is a pop rock goldmine - 'Future Looks Good' brings back the band's signature pop vibe with a bright instrumental. The guitars in the some are fresh and ring sweetly, even including some nice work in the bridge. 'Better' shows a different side of their prowess, its badass vibes paired with a beat that pumps up its listener and empowering gang vocals.

OneRepublic doesn't stick solely to their known strengths, though. There are plenty of cool and experimental moments on the album as far as instrumentals go. Progressive rock and pop master Peter Gabriel joins the band for 'A.I.', cool electronics driving the song as it reaches its epic climax with a big guitar solo in its bridge. The solo ends and leads into a reprieve that brings the song to a sweet reprieve after the energetic nature of the rest of the song. 'Wherever I Go' channels The Weeknd, with Tedder crooning with loads of swagger above a sensual instrumental and a falsetto chorus.

The album doesn't excel at everything, though. It's particularly during the second half of the album where it starts to lose momentum and become a bit boring. Everything after 'Born' really has a standard vibe, with the exception of the grandiose of 'NbHD' featuring Santigold. There's really little to talk about with the later half of this record - it's just plain boring. It's definitely very safe, but with that they made it underwhelming. The last two tracks are sweet, but leave the album off on a very unfulfilling note. Perhaps they wanted a gap to be left for the next album to fill.

Oh My My may not end strong, but it serves as a good reminder that OneRepublic can manipulate pop rock however they want and have it still be good. It's latter half may be boring from an outside perspective, but the pop appeal of each track is unarguable. Another success for the band, but let's hope there's a little more to offer in the next record.

Favorite Tracks: Oh My My, A.I., Let's Hurt Tonight

Least Favorite Track: Human

Rating: 76 / 100

Trent Reznor & Atticus Ross - 'A Minute To Breathe'

Climate change is a long discussed issue, and there are still those with power who don't believe it or see its impact. Leonardo DiCaprio and Fisher Stevens are joining forces to help shed light on the issue in their new documentary Before The Flood, challenging the question of just how much the climate has been affected by human interference and how authorities around the world are tackling the problem.

A powerful documentary can't be as effective without a supporting soundtrack to go with it, though. This film won't have to worry much about that, though; they've got the likes of Trent Reznor and Atticus Ross tackling it, with Mogwai and Gustavo Santaolalla in the mix, too. Basically, they have the pinnacles of vivd music working together to create the documentary's soundtrack.

The team has released a song from the soundtrack, entitled 'A Minute To Breathe'. It's a very barebones track. The majority of it it Reznor singing in his signature hopeful yet defeated timbre, the song slowly but surely resonating with the deep, cavernous piano chords somberly backing his vocals. A few spiraling synths make an appearance later in the song to add some dimension to the track, setting the scene in an icy Antarctic field - fitting for the film's and the song's message.

The song's message is what really builds the song. The lyrics are, appropriately, a summation of the climate change crisis around the world. The first verse ends with the lines "We try / Deny / To believe to believe / We can't believe / In anything" to express the lack of acceptance of the issue, the first half of the verse claiming we will only see our faults when it is too late: "We wait / We pray for the rain / For the rain / For a rain / To wash away." The song's chorus hauntingly pleas "I don't want to say goodbye / Stars falling from the sky / We will all be judged / By what we leave behind," hoping that the curse of our own legacies will serve as justification to finally provide a reason to help combat climate change. The song ends in a beautiful building of sound, the world ending in a hurricane of noise (or, if climate change continues, a literal hurricane) as Reznor cries "I just need a minute to breath."

We are destroying our own world, and many refuse to believe so. The new documentary Before The Flood hopes to squash any lasting doubts of climate change, and aims to show how some of the world's leaders are attempting to put an end to it. The film is out worldwide in theaters on October 21. The soundtrack sends much the same message, and four of the greatest artists in film scores and music have come together to create it. We can determine what the fate of the world is - but what will that legacy be?

Rating: 87 / 100

Sum 41 - 13 Voices

Sum 41 were a major part of the pop punk movement of the 2000s. Their edge was boosted by high energy riffs and thoughtful - or sometimes rebellious - lyrics. The band's fate was uncertain following 2013, but their comeback album is here in 2016: 13 Voices.

Perhaps taking time off was a good move, because Sum 41 sounds at the top of their game on the new record. The record feels fresh and new, not quite a reinvention but rather a personal rediscovery. Their purpose is clearer on 13 Voices. Their previous five albums made their statement, but not quite as concisely or effectively as this sixth effort.

You know things aren't quite the same right from the intro. Half of the first track 'A Murder Of Crows' is an epic buildup of electronics and strings, and epic orchestra soon backed by thick, brooding guitars before the meat of the song comes in with the same awesome demeanor, gritty vocals paired with sweet melodies to create an electric atmosphere. Just the mere inclusion of strings is enough to give the band some creative credit here. They return in the intro of 'Breaking The Chain', as well, but don't swell in a cinematic way like the former track. Instead, it's a calmer, more progressive build up from the pretty strings to big guitars.

Their pop punk revolution isn't to be ignored. With acts like Moose Blood on the rise (see our review of their album here), pop punk just may be on the brink of revival. Lead single 'Fake My Own Death' saw the band not being afraid to veer away from the signature sound of the genre. It's a standard song, granted, but its guitar work solidifies it as a solid song for pop punk. 'Goddamn I'm Dead Again' does it better, the clapping leading into thick riffs and pounding drums. The song borders punk and alternative metal in a sort of odd dance, the beat and drive obviously punk with a Green Day influence, but there are some killer, dark guitar solos on it that deviate from the standard.

13 Voices has some evil in it, too. Sometimes it works, and sometimes... well, it kind of sounds like My Chemical Romance. The title track '13 Voices' is essentially an MCR ripoff, right down to the vocal delivery. It's a bit sad considering the song had lots of potential, but just feels ripped out of The Black Parade's playbook. Closing track 'Twisted By Design' also has a My Chem vibe, but in a much more natural way that works in the world of Sum 41. The piano intro is followed by dramatic, empowering vocals as the song slowly builds into a driven, thoughtful ending to the record with fantastic melodies. A perfect ending to the record. 'There Will Be Blood' is another song with a brooding, industrial vibe to it, particularly in the slamming delivery of "We'll take the souls of the little ones / And that might be you" in the choruses.

Through the uncertainty, Sum 41 made it through with flying colors. 13 Voices is the start of something big: a new future for the band. A fresh and imaginative sound is here for the Canadian outfit, and they couldn't get off on a better footing with this comeback album. Here's to a new future.

Favorite Tracks: Twisted By Design, A Murder Of Crows, There Will Be Blood

Least Favorite Track: 13 Voices

Rating: 82 / 100