My Chemical Romance - The Black Parade

Ten years really isn't that long. Sure, a lot has changed in the last decade, but looking back upon it, ten years has come and gone, just like that. We're all here, all breathing, reading these words.

The Black Parade was released ten years ago, however, and it has made enough impact to last several lifetimes. It has since become a quintessential alternative rock album, as well as the crux of My Chemical Romance's discography. This rock opera defined a generation of individuals and inspired even more.

The Black Parade is much different than the band's two former records. We've reviewed I Brought You My Bullets, You Brought Me Your Love and Three Cheers For Sweet Revenge, both albums serving as important precursors to this one. Both shared a narrative, at least partially, about two lovers chased down, one killed and offering his soul up to the devil in the hopes of seeing his lover one more time. They established My Chemical Romance's obsession with death and its resulting intricacies and emotions, which carries forward into The Black Parade, but in a different way.

The Black Parade isn't about cheating death, but rather it's a celebration of it; an acceptance, even. The rock opera follows the final weeks of The Patient and his battles with the realization of his death. The music represents the chaos and the degradation of it all, vividly portrayed through both the lyrics and the instrumentals themselves.

From beginning to end, this record has endless personality. It comes in different tastes and forms throughout the record while staying cohesive. It begins with 'The End.', anthemically and theatrically introducing the record with a folky acoustic guitar as Gerard Way introduces the album on a light note before the big melodic guitars come in to give the record its anthemic edge. Not long after, 'Dead!' kicks in a more upbeat note, the impressive guitar work paired with a funky overtone. A brass section gives the bridge an extra punch as an anthemic guitar solo kicks into bring the song to its sing-a-long ending.

The record hasn't specifically treaded into death yet. The premise of 'The End.' is to live life to your own terms,  not for someone else or by effect. The Patient learns that he has two weeks left to live in the track, and in his denial he tries to combat it by stating that he will live life as he wants to. 'Dead!' follows through on a note with more finality - The Patient thinking of his insecurities he experienced throughout his life.

Things start becoming more real with 'This Is How I Disappear', where the song takes an emotional route and sees The Patient reaching out to his lover, claiming that without her, he is nothing. A sweet sentiment on the surface, but once you then remember he's dying, the tragedy of the situation teally strikes. The song is very emotionally charged, it's immense bridge standing out above the rest of its body. The other song that's utterly heartbreaking is 'Cancer' - everyone's heard this one, so, by effect, everyone's heart has been moved by it. It's impossible to not be affected by the pure agony in Way's voice, whether it be the creaky "Turn away / If you could, get me a drink / Cause my lips are chapped and faded" and or the emotional outburst of "I will not kiss you, because the hardest part of this is leaving you," this song is packed with emotion as The Patient crumbles after learning that it's cancer that's slowly killing him.

Heartbreak, surprisingly, isn't discussed as much as it could be in The Black Parade.  'I Don't Love You' is the other track that delves into that subject, the wholly sweet track seeing The Patient beg his lover to end their relationship before he dies. It's beautifully simple, as well as relatable in the sense that you never want to have to be the one who makes that move. 

The album tackles different aspects of dying, instead of keying in on the love side: there's self-destruction, wishing for a second chance, and reflection. There's only one song that doesn't fall under these categories: 'Mama', which steps away from the story of The Patient and instead follows a soldier at war who knows death is upon him, writing a letter to his mother in hopes of mending his relationship with his mother. The song's creepy, dark funkiness sets the soldier's ill fate, the sad crying of his mother indicating his death at the end of the track.

The want of escaping pain is a common element of death. That's discussed in 'The Sharpest Lives', the iconic guitar intro leading into a powerful song that climaxes at its bridge. The lyrics are just fantastic, describing a patient (not necessarily the story's protagonist) finding solace in self-destructive drinking and partying. The chorus is full of amazing metaphors and lyrics: "Give me a shot to remember / And you can take all the pain away from me / A kiss and I will surrender / The sharpest lives are the deadliest to lead / A light to burn all the empires / So bright the sun is ashamed to rise and be / In love with all of these vampires / So you can leave like the sane abandoned me" is voiced powerfully above the heavy guitars.

The Patient takes time to reflect on his life in a couple songs, too. 'Sleep' sounds soft to start before building into a huge ending, with powerful screams throwing it back to the band's previous records. The Patient reflects on how death is stopping him from achieving the dreams he had. In another track, 'House Of Wolves', The Patient wonders about whether he will be sent to Heaven or to Hell above the groovy, brooding, and confident track, its huge choruses elevating the song to epic heights. On a less serious tone, while reflecting on his teenage years, The Patient feels that teens are mistreated and discriminated against, fitting the rebellious vibe of 'Teenager'. He also reaches the conclusion, amongst all these past realizations, that life really isn't all that much in 'Disenchanted'.

Everything comes together at the song that's the core of the album, and to a greater extent, the core of both the band and the genre. That song is the incredible 'Welcome To The Black Parade', a true masterpiece. There's not a single person who won't immediately recognize the song after the first note from its iconic piano intro begins. The Patient comes closer to death than he does at any other point on the album in this song, reliving his sweetest memory in his mind: him and his father watching a parade. There's just so much about this song that makes death seem like not such a bad thing (when it's inevitable). The intro confidently chants "When I was a young boy / My father took me into the city / To see a marching band..." as The Patient discusses the memory. It becomes an incredibly uplifting track as a result of both the instrumental and Way's vocal delivery. There's so much power and confidence in his voice, it's like he's right there next to you, telling you that "We'll carry on / And though you're dead and gone, believe me / Your memory will carry on." It's a celebration of life as much as it is a song about death. It's truly not easy to qualify or quantify just how powerful this song is. It'll always stick by you when you need it there for you, which is one of the best qualities a song can have.

The album comes to its thrilling conclusion in 'Famous Last Words', the album's most empowering track. It was originally written not for the record, but for Gerard's brother, bassist Mikey Way, who battled depression and anxiety and was about ready to quit everything. Upon hearing this track, he agreed to do what he set out to do: live his dream. That's exactly what The Patient does: persevere. This song is the will to live returning to him, as he will not let his life end in this way. He has dreams to live, people to love, things to experience. 'Famous Last Words' ends the record on an epic note, everything from the powerful, driven beat and the electrifying guitar solo to the immense vocals lifts you up and makes you feel like you can do something. The final chorus chants "I see you lying next to me / With words I thought I'd never speak / Awake and unafraid / Asleep or dead," the final, crushing words. Yes, The Patient does die. His lover is there next to him on his death bed as he says his final words to her, his emotions all coming out. The Patient may leave Earth, but he will always live on in the hearts of everyone he loved - that is the essence of death. You leave, but you will live on to others as long as you light that fire bright when you're alive.

The Black Parade is an album amongst albums. It has casual listening appeal and a heartbreaking story in it that provides a thought provoking experience. In the end of it all, however, it's an album full of songs that can truly mean something to someone. These songs have saved lives and given hope to them. They've inspired millions and will forever be buried within their hearts. That's why we're here, ten years later, after My Chemical Romance has been broken up for three years. They will never die because they lit a fire in fans' hearts that will never fade. Take it from MCR: live life to the fullest so that when you die, you'll always be there besides someone. Light your fire and let it burn.

Favorite Tracks: Welcome To The Black Parade, Famous Last Words, The Sharpest Lives, Cancer

Least Favorite Track: Sleep

Rating: 97 / 100

Wildlife - Age Of Everything

There's nothing like a good alternative rock record. Sometimes you don't need to look for something new, but you just need something with substance. That's exactly what Wildlife's third record Age Of Everything offers up.

The Canadian fivepiece have made a name for themselves in their strong indie sound. Their output has always had a pop rock vibe with lots of elements keeping the songs interesting, and that's no different on Age Of Everything. Opening aesthetically with 'A New Pain' segueing shortly into lead single 'Dead Century' gives the album a strong start, the anthemic instrumental keeping the song powerfully rolling under sweet melodies. The poppy vibes carry through to '2017', synths underplaying the anthemic vocals.

This album's quite pretty. There are plenty of beautiful melodic moments, the acoustic track 'Skulls' being a good example. The sweet and gentle acoustic guitar leads the vocals in a pure dance between the two, pretty symphonies slowly building behind it all. Other tracks like 'Modern Freedom' simply have an infectious vibe, the sweetness of its delivery giving it a gushy yet cohesive posture.

There's some rock moments in between the poppy covering. 'Minotaur' starts off with bright piano chords before the beautiful chord progression is encompassed by subtle guitars, the drums sounding confident and driven. The choruses are pure alternative rock, a backing guitar riff supporting fantastic melodies. The chorus is the best part of the track, confident and swaying in a powerful way. The acoustic bridge provides reprieve before the song builds back up once more for a big conclusion. Speaking of big conclusions, closing track 'Turning To Stone' is a strong ending to the record, combining all elements of their indie, pop, and rock sound into one summative ending. Don't forget 'Sleeper Hit', the epic electronic rocker that builds with layers of epic guitars and powerful percussion before ending on a ending comparable to Pink Floyd. 

Wildlife have a good grasp on what they set out to accomplish. Age Of Everything is enjoyable throughout - some tracks could've done with just a little extra punch, but all in all, it's a a solid record. They have a great sense of melody and cohesion, and the next album is bound to be a killer.

Favorite Tracks: Minotaur, Sleeper Hit, Dead Century

Least Favorite Track: Over Now

Rating: 78 / 100

MONO - Requiem For Hell

Japan offers up some strange things. Often times, these things are mindbogglingly odd or strange, but in the case of experimental rock band MONO, its oddly understandable. Their ninth album Requiem For Hell is a thought provoking one, its dimension otherworldly.

The album only has five tracks, but don't let that deceive you - the shortest one clocks in at five minutes while the longest is seventeen and a half. Each of these songs tells a story, but the sonic atmosphere is summed up in the first track 'Death In Rebirth'. The eight minute epic is a long, epic buildup full of marching drums and evil guitar harmonies that feel threatening, ultimately degrading into white noise.

Not only does the song set the momentum forward and set the tone, but it also sets the scene: falling into the pits of hell. The songs walls of guitars, both heavy and light, send you spiraling into a bottomless pit, though that pit is full of light and specters. You fall down, watching your life play before your eyes before all becomes pitch black in the flash of an eye. And so, there you are: in hell.

'Stellar' follows suit, but instead of anger, you feel remorse: after watching your life play by, you see what you could have changed. The sweet strings and piano accompany you as you float aimlessly, unsure if you're falling down or moving at all. Starry lights float by you into the dark oblivion, your soul slowly degrading with the peace of the track. Once again, you fall into the crackle of distortion, but in a slow way. This song takes you through your slow put inevitable end. You remorse and you fade, like you were nothing to begin with.

A requiem can be described as an act of remembrance. The first half of this record is exactly that: remembering your life as if to prepare yourself for hell. The first half of the title track 'Requiem For Hell' continues the sentiment, but instead, your soul starts coming back together so you can be brought to hell. All of a sudden, it becomes your suffering had only just begin. Utter chaos breaks loose, drums crashing and guitars pounding heavily. You are in hell now, and at the mercy of it. Chaos reigns true, even in sentimental track 'Ely's Heartbeat', a tragic realization that there is no going back - this is what you get. It's an acceptance of sorts; hopeless yet understanding.

'The Last Scene' chimes beautifully with a conglomeration of strings and pianos, a light beat accompanying them along with reverberating guitar. It's mysterious, as if it's beckoning the devil: I'm here, now what? There's an emptiness at its core, and that's the acceptance. Now you have no hope, and thusly you act like so. You are now just another drone in the mass of hell, and there's no one to blame but yourself.

And thus is the story of Requiem For Hell. MONO can make beauty out of simple experimentation. There's nothing over done on this record, and still there's nothing underappreciated. Every part of the album is beautifully crafted, meticulously yet still instinctively put together for a raw, emotional story. Japan has done it again. Another amazing record from equally impressive band.

Favorite Tracks: Stellar, Death In Rebirth, The Last Scene

Least Favorite Tracks: Ely's Heartbeat

Rating: 86 / 100

Trophy Eyes - Chemical Miracles

Australia's rock scene is a force to be reckoned with, but besides its progressive and classic output, nothing much else tends to see the light of day. There are some up and coming contenders who are in the game to steal the limelight - the ones that have gained the most momentum is Trophy Eyes.

The Newcastle outfit has offered up their second record Chemical Miracles, continuing to develop a cross between pop punk and post-hardcore. The sound of the record is a sort of blend between Take This To Your Grave-era Fall Out Boy and the modern indie cries of Modern Baseball. Songs cross between heavy, angry screaming packed with sweaty emotions (see 'Nose Bleed') and sweet and melodic ('Home Is'). Often times, the two sounds blend between verse and chorus, one of them dominating its own part of the track.

It's a pop punk record at its very core, and that alone sprouts several issues, more so by circumstance rather than by result. Pop punk is on an insurrection, the forerunners bearing the flag are Moose Blood (see our review of Blush here), with the bigger bands who carried the genre are releasing their own records. Even with the modern flair on the genre, the newcomers are having trouble keeping it original. Trophy Eyes has a good balance on Chemical Miracles. First track 'Chlorine' has that sweet blend of melodic choruses, screamed verses, and distorted guitars, complete with a stripped down and intimate end.

Balance is essential, and while Chemical Miracles as a whole has it, individual songs don't. There's an identity crisis occurring in nearly every other song. 'Chemical' starts understatedly but becomes bewilderingly angry, with the subtle instrumental carrying on when the screams are done. A more complete example is 'Rain On Me', its angry growls paired with its big guitars leads it to be a strong track, but it struggles with wanting to be angry or melodic - it can't decide. 

The gems on the record do shine out. Among them is 'Breathe You In', the wonderfully executed alternative rock anthem that bursts with sweet yet heavy guitars and nice melodies - a solid but effective alt. rock track. It's not lost or confused like other songs on the record are; it has it's purpose and sets out to fulfill it. Closer track 'Daydreamer' is similar, the quiet intro building up with more emotion as it progresses. Gang vocals, heavy guitars, and sweet belts are what build the song to its closure, taking the album out on a high and emotional ending.

Trophy Eyes have a long way to go before making it big, but Chemical Miracles is a good show that there is potential. The band has a solid grasp on what it tries to accomplish - they just have to solidify what exactly it is that they want to do. After that, they'll be busting out tunes out of thin air.

Favorite Tracks: Breather You In, Daydreamer, Chlorine

Least Favorite Track: Chemical

Rating: 70 / 100

Jeff Rosenstock - Worry.

After emo rock came the cries of indie punk, which brought "emo" into a new light. Defeated melodies and anguished screams replaced the zeitgeist. Jeff Rosenstock is a flagbearer of the genre, but is his new album Worry. a strong effort?

The album begins with 'We Begged 2 Explode', already edgy with the whole number scenario. It starts off deceivingly, Rosenstock singing over somber piano chords as a dinky guitar and beat kicks in, progressively building into something rawer and angrier, taking the song to a distorted ending. It's a typical song of its kind, but it's not bad. A similar track plays out with 'Rash Pash', the acoustic, lo-fi intro segueing into a punkier vibe.

Personally, this indie punk brand doesn't typically settle well with me. It feels lazy and edgy without purpose - I'm not here to listen to 30+ year olds whine like they're in high school. That being said, there are still songs that stand out to me. It's a short run starting with 'Staring Out The Window At Your Old Apartment', which blends melody with a sort of uneasy anger. That's what doesn't really settle with me - the melodies of this genre sound lazy to me, and in a bad way, like there's no care to make something as such. 'Staring' sounds like melody took a good influence in its writing, which makes the song standout. 'Wave Goodnight To Me' is another track, and while its melody isn't exactly the main point of the track, the guitar work is really fun and the song has great vibe to it.

The best way to describe this album is through analogy. Think of it as Rosenstock taking a number two: the beginning of the album is the energy and satisfaction of getting it out of his system, while the rest of it is the afterthought of him sitting on the toilet for twenty minutes, sitting in silence as he thinks to himself "well, that happened." The initial blast of energy in the energy dies off before the core of the record even arrives, leaving a majority of the album sounding uninspired and just plain boring. There's very little to comment on with the rest of the record following 'To Be A Ghost...'; it's a conglomeration of sub-par, half-assed songs put to quick, easy guitar riffs and gimmicky ideas. The only upside is that the songs all have a smooth transition into each other, but even then some songs end for no other purpose than to transition, which detracts from their overall sound.

Jeff Rosenstock's charm isn't heading in the right direction. The initial energy of the album dies quickly, the rest of it playing through without any punch or replayability. Worry. isn't a good sign for things to come, but maybe this 34 year old will find more angst penned up within him for the next, and hopefully more inspired, album.

Favorite Tracks: Staring Out The Window At Your Old Apartment, Wave Goodnight To Me

Least Favorite Tracks: Pietro, 60 Years Old; Planet Luxury; Rainbow

Rating: 59 / 100

The Dillinger Escape Plan - Dissociation

Nothing is forever - not even chaos. The musical embodiment of such, The Dillinger Escape Plan, are calling it quits after the tour for their sixth and final record Dissociation runs its course.

There was never really a quantifiable way of describing The Dillinger Escape Plan. Their chaotic music gave them their niche and was always hard to understand. It's a hit or miss scenario for much of their discography - even their softer tracks. Dissociation wasn't much different, for me. As someone who's never actively listened to the band before, I was quite confused by the record for much of its runtime.

Then, everything started making sense when 'Nothing To Forget' played, particularly during the soft part in the bridge. The chaos and doom of the verses painted a tortured picture, but as the soft, symphonic bridge kicked in, it showed that it was all a controlled chaos. In the tortured mind, thoughts are often riddled with hopeless optimism. Amongst the anger and grit of everything else, there's still a sense of hope that is found at the core of it. It's the emotionally connotation of this soft bridge part that really tied the meaning of the record together. The bridge leads to an even heavier, angrier breakdown to end the song, in which Ben Weinman screams "Please let me be by myself / I don't need anyone else" over and over again, as if to try and escape his own mind from its full state.

The album is a representation of internal chaos. It's the interworking systems of a brain, at times schizophrenic and at others on the brink of self-destruction. Upon the second listen of the album, after the revelation of the album's theme, 'Symptom Of Terminal Illness' became more powerful. Originally, the intensity of the track stood out because it was less insane-sounding than 'Limerant Death', but its creepiness build a different complex. That creepiness builds unsettling pictures on top of restraint. It feels as if at any moment this song could abruptly explode into undying rage built up over years.

There's a general unsettling cloud that floats over a lot of the album. 'Fugue' is weird and unsettling, making the unease of the album greater as it gets into its core, with 'Low Feel Blvd' frantically and chaotically searches for a means of escape. It's the musical expression of tipping over the point of sanity and insanity. The song's majority is heavy and unrelenting, but a jazzy, bluesy bridge separates the beginning's anger from the end's. It's the constant change of sound and type of anger that makes the album constantly feel like its going through a mood change between songs.

It can't be forgotten that this is the band's final record, though. It all comes to an almost tragic end with title track 'Dissociation'. Brought up with a beautiful string intro, a droning bass kicks in, in time with a crazy drum beat. The song isn't angry, but it is neither satisfied. It's more like its come to terms with itself. The chaos is a part of it, and this song is about giving up and letting it take over, ironically making the chaos more refined and less apparent. The band's end comes at a tragic note, but a powerful one all the same. The band is concluded with the dying words "Finding a way to die alone" as the song fades out to its last breath.

Much of Dissociation feels like, to me, a mess of hitting drums and downtuned guitar tracks, and the album's meaning can't change that, but justify it. It doesn't make it good, it just makes it understandable. The album is Dillinger's final, and perhaps most powerful. It's internal, personal chaos and degradation rather than aiming to simply sound like it. There's meaning in there somewhere, but it's buried under layers of a dying mind. If Dillinger will be back one day is yet to be seen, but this album feels like the appropriate farewell.

Favorite Tracks: Dissociation, Nothing To Forget, Symptom Of Terminal Illness

Least Favorite Tracks: Limerent Death, Fugue

Rating: 73 / 100

The Naked & Famous - Simple Forms

New Zealand's best electronic act is back in action. The Naked & Famous are sounding stronger and more confident than ever, their third album Simple Forms reigning as their best works yet.

The band has experimented with different styles of electronic in the past. 2013's In Rolling Waves explored a gentle, if not fragile side of it, building itself up with layers of slowly building, aesthetic field of synths. Their 2010 debut Passive Me, Aggressive You had a poppier, more energetic vibe to it than its successor. Simple Forms combines the best of both of those records into one awesome album.

As soon as it begins, you know The Naked & Famous have really set the bar high. Lead single 'Higher' leads off the record, introducing the record with vocalist Alisa Xayalith singing sweetly before the big instrumental kicks in. Brought in by an electrifying guitar and splashy drums, the track exudes energy and also shows the softer side of the band, the bridge replacing the thick synths with a light wave of synth and piano as Xayalith tones done her voice for a sweet moment. Thick, explosive synths are this album's life force, but sometimes it comes at a cost. 'The Water Beneath You' has even more energetic synths than the song preceding it, yet the chorus almost feels empty with the lack of anything besides the big synth. Where are the drums? The guitar? Anything? It's a solid track, but if it had more to it, it could've been that much better.

Single 'Laid Low' - which we reviewed upon its release - exemplifies the album's energetic side. The big drums give it an anthemic vibe, while the bittersweet cries of "Take me home / I'm learning to live with ghosts" make the chorus personal and giant at the same time. The song's words are enough to motivate you, despite their sadder meaning about needing to be saved. The final explosion of cries at the end of the song give it a sincere, passionate vibe.

On the opposite end, there's songs like 'Backslide', that give anthemic a different side. The immense bass synth bursts like cosmic warfare, the beautiful melodies and harmonies adding to the song's conviction. It's a darker song, exploding with thick bass guitars and synths like some epic symphonic rock song put to electronics. It's uplifting in an convicting way - it makes you feel like wanting to act.

The chemistry between Xayalith and Thom Powers is another critical point on the album. 'My Energy' shows Powers take the lead on a track, with Xayalith acting as support to him, resulting in some great harmonies with big guitars and a grand instrumental taking them even further. The ending is great - the slight increase in pitch resolves the song in a confident, energetic note that gives it an unexpected punch. There's more of a tradeoff in 'Losing Our Control', the slower atmosphere progressing with the gentle swelling of the synth as the duo switch off with each other, both vocals telling their own part in this tragic story. Power's backing vocals in 'Last Vocals' may not be in the foreground, but they still really tie the chorus together and make the song cohesive. The song ends sweetly, a raw recording of them singing in the studio with the song's acoustic guitar track playing along. Moments like this aren't usually done well on records, but this one was perfect.

Simple Forms is The Naked & Famous' best work yet. Combining emotion, energy, and pure musicianship into one cohesive record makes the album truly enjoyable and warming to listen to. It's a masterful blend of electronica, rock, and indie that solidifies this band's position as the top contenders in their genre.

Favorite Tracks: Backslide, Losing Our Control, Laid Low

Least Favorite Track: Rotting

Rating: 90 / 100

Pusha T - 'Circles' (ft. Ty Dolla $ign & Desiigner)

The president of G.O.O.D. Music himself Pusha T is back again to share his next single from his upcoming album, King Push. The new song 'Circles' takes about the after party life, Pusha recruiting Ty Dolla $ign and Desiigner for the track, too.

For a Pusha T song, there's an awful lack of Pusha in it. Ty Dolla $ign has more prevalence in the track than Pusha does, which should come as a bit of a concern. That's not to say that this song has much lyrical content - a solid fourth of the lines in the song are "Tell her throw that ass in a circle / Throw that ass in a circle," which serves as both the hook and go to phrases in the verses throughout the song.

The premise of the song is to describe the events that took place after the release of 'H.G.T.V.', released a day before 'Circles'. The three rappers discuss the after-party and flaunting their wealth, glorifying their statuses as successful artists. While the after-party may be all good thoughts and vibes, there are some interesting lines in the song that discuss different topics. It's a success story for Pusha T, or Blowbama P, as he puts it in his third verse - a nickname for him given his starting point as a drug dealer to the president of G.O.O.D. Music. Indirectly, as a response to Pusha's past, Desiigner sings in his hook that "If we get high, you could be my supplier."

Despite the seemingly bland outlook on the song, it's a pretty fun one to listen to. Whether it be Desiigner's 'Tiimmy Turner' crooning that adds melody throughout the track or simply the flow of the words, I cannot say for sure, but I definitely like them both and how they work together to build the flow of the track. Songs like this usually aren't my cup of tea, but this one has groove and flow in a conscious way, which earns it a win for me.

Pusha T's on the heels of his new album, as seen by the two singles. 'Circles' is about the glamour of living as a successful rapper, but in a respectable way, conscious of the past. Pusha T, Ty Dolla $ign, and Desiigner came together in a way that really worked well for the track, and it's going to be interesting to see if the narrative of singles continues forward. Let's just hope the quality doesn't stray as a result of it.

Rating: 83 / 100

Two Door Cinema Club - Gameshow

Some bands love to bring the groove forward. One of the most effective bands who strive for that is Two Door Cinema Club, here in 2016 with their followup to 2012's sophomore Beacons, entitled Gameshow.

The band hit it big right from the start, the single 'What You Know' from their debut record Tourist History becoming a pop hit. The Irish trio have since then stripped back some of their energetic drive, ushering them into a more refined, groovy sound that forms the foundations of Gameshow.

The groove kicks off immediately with 'Are We Ready? (Wreck)' with the infectious guitars and bass getting you moving right on the first track. Even the vocals have a certain swagger to them that makes you want to get up and move around. Big drama fills the chorus to give it some tension, too. Similar vibes carry to title track 'Gameshow', its reckless abode pairing with a big, crazy attack gives it a sweet drive. 'Lavender' follows up with a similar thickness. The lovely melodies are paired with a subtle vocoder that whispers behind Alex Trimble's infectious voice. The guitar and synth punches in the chorus really give it an extra sense of optimism and energy.

Electronics play an important role on this record. Synths make their way into nearly every song, whether its background or lead. Often times, they contain some strong nostalgia with them, such as in 'Fever', as the dreamy synths wash over bluesy guitar before taking on an 80s soundscape, complete with strings et al. Closure track 'Je Viens De Là' also has a nostalgic atmosphere, a mix of disco and 80s flair blending to one funky conclusion. The choruses are generally simplistic before elements build into dancey synths and guitar chords. The aesthetic of the album is accurately portrayed through the synths of 'Ordinary', paired with a glitchy aspect that makes it fresh. The fat bass synth punches in 'Bad Decisions' and 'Surgery' also add to that vibe, the drive of 'Good Morning' and its great lyrics doing much the same.

An issue that seems to repeat throughout the record is that the band doesn't really know what to prioritize and what to put in the background. There are tracks like 'Surgery' that blend indie rock and 80s nostalgia seamlessly, complete down to the brim with a chill solo that satisfies both genres. They seem to want to be The 1975 too much on this record, but they haven't gotten that balance of funk and indie appeal. An example is 'Invincible' - the pizzaz is all in the background, leaving the more underwhelming portions starkly in the front of all the action. The guitar is good but it's almost lost amongst the synths.

Two Door Cinema Club are still on the road of solidifying this sound of theirs. It's getting there, but Gameshow is that final crossroad. You can hear the gradual understanding of their own sound and ideas in the record, and it's bound to show off in the next record. Gameshow stands on its own as a good album, nonetheless - it just lacks that cohesion that could've bumped it up one step further. We'll be drowning in funk for days with this one, though, so there's no need to rush.

Favorite Tracks: Lavender, Gameshow, Surgery

Least Favorite Track: Invincible

Rating: 78 / 100