Joe Budden - Rage & The Machine

Hip-hop is easily accessible, but not for the right reasons. The genre is often times victim of lack of variation, and that's evident in Joe Budden's new record Rage & The Machine.

The album has grit and dirt to it, and it deserves that; tonality is what can define hip-hop artists from one another. You get a sense of Budden's rich voice early on in 'Three,' the synth instrumental finding building with sections and layers of distortion, choirs, and brass punches all sounding under his thick delivery. The album's not all about his vocals though; female vocals provided by Jazzy spice up the record in 'By Law,' and again by Stacy Barthe towards the end of the record in 'I Wanna Know.'

The vocals are about as much credit as the album can get, though. Much of the rest of the record is bland and cliché: the story of an abusive drunk uncle in 'Uncle Joe,' for example. It's certainly nothing to joke about, but yet it's still a story we've heard of time and time again, and frankly there's nothing quite interesting about Budden's recollection of it. Many of the other songs fall in the "okay" category, with little, if anything, left to be said about them (see 'Serious' and 'Forget'), while other's just have you ask "why?" The very song that inhibits that is 'I Gotta Ask,' which builds itself up with cool lyrics before ruining it with its lyrics.

The album really has nothing to compliment. The first track is good, and the last song 'Idols' is about... well, his idols. It's a good sentiment, but like mentioned before, it's not something we haven't heard before. Rage & The Machine is another run-of-the-mill hip-hop attempt, not a complete failure but not giving anything of worth to the genre, further saturating an already saturated genre.

Favorite Track: Three 

Least Favorite Tracks: I Gotta Ask, Forget, Wrong One

Rating: 58 / 100

The Pretty Reckless - Who You Selling For

People have accepted that Taylor Momsen is no longer the sweet little girl actress she once was. She's the confident, crazy frontwoman of The Pretty Reckless who have finally solidified their threat. Their third record Who You Selling For makes that threat even more real.

There's a clear progression throughout the band's three records. It started with Light Me Up in 2010, a relatively easily absorbable record with an alternative rock focus to it. Their sophomore record Going To Hell was punk from the start, Momsen baring her bare body right on the cover. The album went more rock n' roll than the previous record, rawer and with more crunch. That leads us to Who You Selling For, which delves even deeper into the rock n' roll sound.

This band seems to work in reverse - their sound becomes more and more archaic and barebones as they release new material, and that's by no means a bad thing. That gives them a raw punch. This record is almost pure rock n' roll, banger 'Oh My God' being the first clear example. Opened by thick, lo-fi guitar riffs, the song's heavy drumming and guitars are backed by Momsen's raspy vocals to make the song sound even more badass. 'Wild City' is similar, the badass, big riffs sounding high when they kick in. The song's pretty stripped down until it climaxes, which provides for some sweet tension. The catchy, gospel harmonies give the track some extra dirt.

The melodies on this album find themselves being pretty barebones, too. There's a lot of southern influence on the record - from the gospel harmonies of 'Wild City' to the cowboy ballad 'Already Dead,' a lot of this record really envelops a desert mood. The slow brush of the acoustic guitar in 'Dead' flows like a desert breeze, walking through a ghost town as Momsen belts raspy with raw passion. There's a folk influence in 'Living In The Storm' despite its upfront and heavy instrumentation. It's a cool, groovy track with an epic bassline, an electrifying guitar solo at its end bringing it even higher. There's something about its melodies that really help it tell a story in the way of a folk track. The seven minute epic 'The Devil's Back' is another southern slow burner, though it takes a more reflective disposition in its vocals, ultimately ending up sounding like if Pink Floyd came from Mississippi.

There's not complete success in the record, though. The rock n' roll vibes get a little much in a few parts of the record. 'Take Me Down' is one example - it's good, old fashioned rock, and I'll give it that, but there's really nothing beyond that. It was a single, so it was good for setting the tone for the record before its release, but in context of the record it's just another track. 'Prisoner' focusses too much on its gimmick, using the slowly march of what I can only assume are prisoners as percussion throughout, making it seem like the entire song was focusses around that and only that. 'Back To The River' has the same issue as 'Take Me Down,' yet it's still passable and enjoyable. It's the title track 'Who You Selling For' that follows that crosses the line that makes it start getting old. Luckily, that's where the album turns to its southern half and things become interesting again.

The Pretty Reckless are getting rawer every record. They have a very genuine sound, as if their souls themselves are messengers of a lost genre. It's not every day you can hear a refreshingly pure rock n' roll record like this one. It's perfect for a long country drive, or perhaps watching a sunset over the Louisiana bayous. Who You Selling For is a very grassroots record, and we'd have it no way less. If it capitalized on different sounds rather than the same one over and over, it'd have been a masterpiece, but it'll have to settle for a good record to just kick back and jam too at the end of a long country day.

Favorite Tracks: Living In The Storm, Wild City, Oh My God, Already Dead

Least Favorite Track: Who You Selling For

Rating: 76 / 100

Run The Jewels - 'Talk To Me'

The hip-hop world revving up, it seems. Yesterday offered up new Drake and new music from Run The Jewels, too!

The eclectic duo of El-P and Killer Mike are back with 'Talk To Me,' the first new song they've shared this year. It's part of Adult Swim's Singles Program running for the next month, and is to be featured on their upcoming effort Run The Jewels 3.

'Talk To Me' is everything you'd want and expect of Run The Jewels. It begins ominously with pounding, brassy synths and an urgent beat with a sort of cartoonish panic in them. The bassy synth carries the low end of the track as various synths and samples sound throughout the track to help carry its slamming nature. There's lots of interesting moments throughout it, including the awesome end where the instrumental distorts itself before it's taken over by powerful scratching.

Killer Mike has been heavily delving into politics this election cycle, and his frustrations of it become clear in 'Talk To Me.' Right from the get-go, he's slamming Donald Trump, the lines "Went to war with the devil and shaytan / He wore a bad toupee and a spray tan" featuring in the first verse. El-P's verses are just as politically charged, the second verse spitting "Brave men didn't die face down in the Vietnam mud so I could not style on you / I didn't walk uphill both ways to the booth and back to not wile on you / You think baby Jesus killed Hitler just so I'd whisper?" The song's badass nature sends one succinct message: don't mess with RTJ.

Run The Jewels have been hyping up their third album for awhile, and we've all been waiting at the edge of our seats. It's been a long wait, but's almost over. An interlude in the song says "I told y'all suckers, I told y'all suckers. I told y'all on RTJ1, then I told ya again on RTJ2, and you still ain't believe me. So here we go, RTJ3," foreshadowing that their third record isn't losing any momentum or character. If anything, it'll be bigger than the previous ones were. We're ready for it.

Rating: 87 / 100

Korn - The Serenity Of Suffering

I'm sure the last thing you expected to see in 2016 was a nu metal revival. After the advent of Of Mice & Men's abysmal Cold World (read our review here), you'd figure that bands would've taken the memo that it wasn't going to work out. Korn may have proved that wrong, though.

Their twelfth record The Serenity Of Suffering is a return to their nu metal roots, the album cover even containing elements of their fourth record Issues. The Serenity Of Suffering takes everything the band once was and combines those elements with what they are now, creating a familiar yet intense body that's new yet reminiscent of another time.

The trademarks of nu metal were the anger and riffs, and that's very much present on this record. Right from the start, you're faced with 'Insane,' destructively deep riffs with various levels of distortion hitting you hard along with Korn's signature creepiness and terrified vocals from Jonathan Davis. Davis' voice is as strong as ever, his ethereal, ominous timbre elevating songs like 'Everything Falls Apart' to unheard of levels of paranoia that other bands couldn't even hope of reaching. The verses are calm, but the choruses are frantic and panicked, begging the means of an end. The bridge is even more haunting, his spoken word sounding like chants as if become increasingly angered and possessed.

The band channels some other forms of nu metal here, too. Corey Taylor features on 'A Different World,' bringing the times back to early Slipknot. The tradeoffs between him and Davis are powerful and both vocals show off their prowess. Taylor's voice falls in the line between anger and calmness - both equally terrifying - as his poetic sense of melody and rage become one. His shouts above Davis' melodic singing in the final chorus give the song a big punch.

The crown jewel of this album is 'Rotting In Vain.' The electronic intro builds creepily but won't prepare you for what's to come. We reviewed the song upon its release, but in the context of Suffering, it becomes a whole new beast. The electronics show the progression from The Path Of Totality's dubstep influences, replacing what could've been another spidery guitar line. The balance is perfect, heavy metal and electronica coming together in a fantastic way. Nothing can prepare you for how massive the riffs are. This song would be huge if it was released back in the early 2000s or late 1990s, because this is truly a nu metal epic.

Unfortunately, not is all good with the record. As is the problem with nu metal, the album becomes repetitive. There's only so much you can do with the formula of big riff into slowly intensifying verses and confident chorus. The riffs all sound the same in the second half, too. 'Next In Line' is a lesser version of the song that precedes it ('When You're Not There'). Nu metal needs innovation to become a different monster altogether - thus is the success of Linkin Park. The end of the record is exactly the reason nu metal died out - it became repetitive and there were not enough ways to combat it.

Despite it being repetitive, Korn has given the genre a solid footing for a revival. The new decade has offered a lot of potential for the genre. It's offspring post-hardcore may overshadow it in many ways, but nothing really dies forever. Take the power of The Serenity Of Suffering and put it into one or two songs, then find a way to build upon that for different songs and nu metal is back in action. Let's see if the flag can continue flying.

Favorite Tracks: Rotting In Vain, Everything Falls Apart

Least Favorite Tracks: Next In Line, Please Come For Me

Rating: 68 / 100

Drake - 'Fake Love' / 'Sneakin'' (ft. 21 Savage)

It's always surprises from the 6 God. Drake's just wrapped up his 2016 tour for his latest album Views, released earlier this year (read our review of it here), and he's already on the heels of another release.

On Sunday night, Drake debuted three new tracks from an upcoming album (dubbed a "playlist") entitled More Life, due out on Apple Music in December. The artist debuted three new tracks on his appearance on Apple Music's Beats 1 Radio: 'Two Birds One Stone,' 'Fake Love,' and 'Sneakin'' featuring 21 Savage. Two of those were released as singles on the platform.

The three songs are all refreshingly different from each other. 'Sneakin'' is a darker hip-hop oriented track, complete with Drake's signature guitar synth intro thing. It continues through with an ominous synth and siren samples (as is characteristic of everyone these days) as 21 Savage and he trades off verses. The song's about being tired id beef in his industry - Drake's fame is the product of no one but God and himself, as 21 Savage discusses that its him and his crew who handle their beef on their own.

'Fake Love' is less threatening and is very similar to the sad boy Drake we've come to know and love. It's a poppier single with brighter, peppier synths, though it plays along with the theme of 'Sneakin'' and his fame. This track's about Drake being tired of his friends showing him fake love as a result of his success. The pre-hook croons "That's when they smile in my face / Whole time they wanna take my place / Yeah, I know they wanna take my place / I can tell that love is fake / I don't trust a word you say" as he blatantly calls the conspirators out, before the hook somberly addresses his own feelings toward the situation: "I've been down so long it look like up to me / They look up to me / I got fake people showin' fake love to me / Straight up to my face."

Views may have some competition ahead of it. The songs from More Life are already shaping up the playlist to be something special for Drake. What the rest will hold is yet to be seen, but surely it can't go much more wrong if the singles are to indicate.

Sneakin' Rating: 86 / 100

Fake Love Rating: 80 / 100

The Radio Dept. - Running Out Of Love

Electronic and indie don't normally come together, but when they do, it makes something great. Such is the case of The Radio Dept.'s fourth record, Running Out Of Love.

The Swedish trio dealt with a lot leading up to this record. It's their first since 2010's Clinging To A Scheme as a result of legal battles with their record label. The album was delayed by the battle, but it seems to have made the product all the more passionate. The album is about life in Sweden, and has a wide array of sounds to share.

The most notable part of the record is its electronic influence. The band has always had an alternative edge to them, but electronica definitely takes a more prominent stance on Running Out Of Love. 'Swedish Guns' is the first track to bare its sounds, beginning with urgent, bouncing synths as the track flows into its dark instrumental and melodies. The song's about the Swedish army's massive arms industry, despite it being one of the most peaceful countries. The song's summarized by the lines "If you want something done / Get Swedish guns," commenting on how the country's guns pose an ominous threat to its citizens and competitors, a statement on life in Sweden. The urgency of the synths that constantly punch in and out of the song are a testament to the mood.

There's a lot of cool instrumentation in 'Swedish Guns,' such as strings and woodwinds that appear in various parts of the song. There are a lot of little moments like that interspersed throughout the record that really give you something to look out for, keeping the album sounding fresh. The horn synth in the prechorus of 'We Got Game' is one example, the dark synths carrying on the chill vibe of 'Guns.' 

This album has two "states," as it were. There's happy and there's dark. Happier tracks include the sweet 'This Thing Was Bound To Happen,' its bassline carrying it above warm synths and a dance vibe. The melody is sweet and knowing, as if what he's singing about was inevitable. It's followed by 'Can't Be Guilty' with it's Radiohead synth beat and sweet acoustic guitar and bright, splashy synths. The music is peaceful and feels like a gentle mist settling on a garden in the early morning. There's 'Committed To The Cause' which sounds like it has more a conviction than darkness, the groovy bassline and bluesy guitar dancing in a threatening but intertwining dance. It has a lot of drive to it, with sweet synths and punchy pianos giving more punch.

Darker tracks include single 'Occupied,' its clapping percussion and synths providing both energy and an aesthetic to the track. It's dark, yet it is packed with energy that gives it a brighter overtone. It's more danceable than other tracks may be. It runs for seven minutes, building up with urgent synths and atmospheric bass synths. Much is the same for closing track 'Teach Me To Forget,' which takes the record out with gentle melodies and trap influences.

Running Out Of Love may have been long overdue, but the wait was worth it. The Radio Dept. has crafted a strong and eclectic record that seems to capture both the hard and the lovely times of living in Sweden. There's a lot of depth and a lot of atmosphere in the song, giving it a very wide texture that just doesn't get boring. It's a big record for The Radio Dept.

Favorite Tracks: Swedish Guns, Occupied, This Was Bound To Happen, Teach Me To Forget

Least Favorite Track: Running Out Of Love

Rating: 85 / 100 

Frank Iero and The Patience - 'Oceans'

"The world may fall apart" has taken a new meaning for Frank Iero and The Patience. The band was involved in a car crash while on tour in Australia, when a bus rammed the back of their vehicle. All of the members have survived, but some faced severe injuries. The band has cancelled the remainder of their tour dates in 2016, but their album Parachutes is still due out next week, and as a thank you for the fans' support, they've released 'Oceans' ahead of the record.

While it's the band's second record, it's the first under the moniker of Frank Iero and The Patience. Their name change did not change their sound, though. Frank Iero's defeated vocals are still present above the punk, distorted guitar riffs. The song builds up from just a beat, palm muted guitars, and Iero's single vocals into a blistering chorus with angrier vocals.

As the song progresses, Iero sounds more and more anguished. The second choruses' chunky basses follows his pain as he admits, "You’re still a part of me, the only part I enjoy, and I wish I still had a hold on you like you do, until you’re blue, around my throat." The song is about love in a last resort sort of way - Iero's lover is the only thing he loves about himself.

The song's grittiness and rawness gives its meaning a little edge. That's what Frank Iero has excelled at, whether it was with My Chemical Romance or solo. His songwriting was unique and had an edge to it that made the meaning stronger. We wish him and his bandmates a speedy recovery, and we're sure Parachutes will be a standout for his career if 'Oceans' is any indication.

Rating: 84 / 100

Jimmy Eat World - Integrity Blues

Jimmy Eat World have been pumping out tunes for over two decades now. Nine albums later, Integrity Blues shows the band still has it.

The band has a very solid grip on their sound. It's very refined on Integrity Blues, but there are a few places that show some deviation. The first two tracks are pure alt. rock, 'You With Me' opening the record with feel-good, upbeat melodies with a slight somber recollection in them to truly achieve that sound. 'Sure and Certain' follows through with summer vibes, energetic, driven choruses and a sweet bridge with some tasty guitar licks.

The album has a generally positive sound overall, some tracks prioritizing emotion while others craft it into their groove. 'Pretty Grids' has emphasis on its emotion and melody, though it feels like, to me, the melody doesn't function in the way it should: it's too dreamy and feels a bit lazy. Emotional performance takes priority in 'The End Is Beautiful', the acoustic guitars and bittersweet lyrics culminating to sweet song that unfortunately is plagued by becoming too repetitive. The same is true for title track 'Integrity Blues', which features raw vocals and symphonic elements.

Integrity Blues isn't all about hitting somber memories, though. There are some jammier moments, albeit limited. 'Pass The Baby' starts of slow with a programmed beat and clean bass, slowly building up to the end with a big, jammy rock n' roll riff. 'Get Right' follows up and instead of building up to it, it starts rolling from the start. It's one of the most driven songs on the record, chunky guitars leading its verse under a badass melody. The choruses are groovy with subtle power to them. This one'll have you headbanging.

The album's end is the nearly seven minute epic 'Pol Roger'. It's a very summative track, seeming to take bits and pieces of every song and forming them into one big track. The slow build of 'Baby', the symphonies of 'Integrity Blues', and the melancholy melodies of 'You With Me' are just a few callbacks in this track. It's a strong end to the record, though it could've admittedly ended more powerfully. It's final minute is a fade out of ambience, which would be strong in different scenarios - this isn't one of them. It does feel, though, like a natural conclusion to the record.

Jimmy Eat World haven't lost their touch just yet. Integrity Blues is another solid effort from the band, and though it could've been better off with a bit more drive and power throughout it, it still holds up. The next record will be their tenth, and that's a big one: if it'll follow up the subtle emotion of Integrity Blues is yet to be seen, but there won't be many complaints if it does.

Favorite Tracks: Get Right, Sure and Certain, You With Me

Least Favorite Tracks: Pretty Grids, Through

Rating: 70 / 100

American Football - American Football (LP2)

Math rock legends American Football are somewhat of a myth. Their first, eponymous record drew immediate success before the band quickly pulled the plug on their act and called it quits after two quick years. Fifteen years later, the band have returned with their second record, also eponymously titled American Football.

What bothers me about modern punk and indie music that rooted from American Football is their lack of personality. A bunch of thirty year olds singing about teenagers' problems just doesn't seem genuine. American Football doesn't fall into that problem, luckily. The new songs feel very appropriate for them, not necessarily taking up a "sad boy" persona in the eyes of a young man, but through the eyes of a weathered soldier of life.

American Football's signature style was complex song structure and time signature changes. While song structure doesn't really stand out on American Football, there's still some complexity within it. The lead single 'I've Been So Lost For So Long' - which we reviewed here - carries some of those elements, time signature changes and polyrhythms building the song's body.

Beyond that, there's nothing much left but a pretty mellow record. The original American Football from 1999 felt like it had more grit to it, both vocally and instrumentally. The guitars are incredible polished and gentle on this record, while the original record had a bit of a reckless abandon to it. What's most striking is that this album sounds pretty. Listening to 'Where Are We Now?' is an odd experience, the album opener filled with reverberating, gentle guitar lines and splashy rhythm. Mike Kinsella has a much gentler tone on the entire record, especially evident in some of the more sincere songs, such as the brilliant 'Home Is Where The Haunt Is.' This song really makes you wish that the entire record had more acoustic elements - it would've translated much better than layers of guitar reverb. The sweet intro leads to a sweeter track, Kinsella singing of "The ghost in the corner of the room / Knows what you sleep in / When you’re dreaming, of who / Some things never change / Maybe that’s okay" in a tragic timbre. This plays back to the weathered nature of the record; it's writer has been hurt and experienced life's tragedy.

There's really not much else to comment on with the record. It picks up a bit in a few tracks, 'Desire Getting In The Way' being one such example. The guitar lick is a bit more perkier, and the beat having a bit more drive. The same is true for 'Give Me The Gun', which has a bit more fluidity in its drumming. The album ends on a sweet note, infectious guitar lines playing romantically above smooth basslines and deep brass instrumentation in 'Everyone Is Dressed Up'.

American Football has grown with the times, but perhaps are a bit too run down after being out of the band for fifteen years. Their new record is by no means bad, but does prove to be incredibly mellow throughout. It doesn't have much drive to it beyond the sweet wave it rides, and it really changes the dynamic of the band. It's a confusing record that'll take awhile to sink in, but it will definitely find its place.

Favorite Tracks: Home Is Where The Haunt Is, I've Been So Lost For So Long, Everyone Is Dressed Up

Least Favorite Tracks: Give Up The Gun

Rating: 71 / 100

Lady Gaga - Joanne

It's been awhile, Lady Gaga. She stopped back from the limelight for a few years, taking some time off for herself and other projects. It's been three years since ARTPOP and two since her Tony Bennett collaboration album Cheek To Cheek. She's back with a different sound on Joanne.

Those who didn't appreciate the lack of perfection from ARTPOP may face the same issue on this record. The sad part is that this album tries to be perfect, but falls short in many aspects. The album also has a strong country influence on it, with an old-fashioned twang to them. It definitely takes inspiration from her collaboration album, but it also draws from her own personality.

The album's title is derived from her late aunt. When she passed away, Gaga's entire family was shaken by it. Gaga felt that she had to continue the work of her aunt, who was a painter and a poet, through her music. The title track 'Joanne' is, in Gaga's eyes, the core of the album. The track is built of acoustic guitar, vocals, and a sweet orchestra. It's one of the more stripped down tracks on the record, but a stronger one. It's about her aunt and how she inspired Gaga, her influence and presence in Gaga's heart mentioned in the bridge: "And I'll still love you even if I can't / See you anymore / Can't wait to see you soar."

The album doesn't have any songs that have a dark, badass pop feel like 'Bad Romance', but there are some fun ones. One such example is 'John Wayne', which has guitars supplied by Queens Of The Stone Age's Josh Homme, with some rocky, sensual vibes as Gaga sings about cowboys and dangerous desires. 'Dancin' In Circles' is another fun one, this one featuring Beck. While he seems to be about female masturbation, it has an eastern, mysterious vibe to it that will keep the innocent minds listening content. 'Diamond Heart' opens the record on a pop rock feel, and while the vocals are good, the instrumental feels like it lacks a certain punch. The lead single 'Perfect Illusion' - which we reviewed here - still sounds a bit lacking, but does have an improved mix that makes it somewhat more enjoyable.

Other songs have an old-fashioned vibe to them. The brass section is what really stands out in a few tracks, particularly 'Come To Mama'. The song's brass section is a real highlight, coming full circle with a great saxophone solo that's unfortunately a victim of this album's dodgy mixing. Single 'A-YO' has a country beat paired with some brassy punches, giving some dimension to the song that sounds like it's trying way to hard in the verses to have a certain vibe.

A good portion of this record has a strong country influence to it. 'Sinner's Prayer' has a very country-influenced sound, punchy guitar and piano coloring up the bassline. The country influence doesn't really add anything to the album, per se. It almost feels like it takes away from it, as if it's a gimmick to play towards the theme of her aunt. It's not horrible (despite my distaste with country), but it really feels like there's not much resulting out of the tracks with that influence.

The album ends on a somewhat subtle note. 'Hey Girl' is one of the album's odder songs, Florence Welch of Florence + The Machine and Gaga perfoming a duet above a pretty but edgy instrumental that bounces between pretty harps and choirs and bouncing synths. Both women deliver a powerful performance above the volatile instrumental, giving the song two distinct layers that doesn't necessarily work in its favor. Closing track 'Angel Down' is a beautiful track, Gaga's vocals resonating throughout the song's atmosphere as if she's singing at a funeral. It's a very sweet ending with a beautiful instrumental, the lyrics gently flowing with words about the modern world's problems - specifically the murder of Trayvon Martin - and Gaga's confusion. It's a very raw song, done more masterfully than the country tracks and really highlights Gaga's voice.

Joanne is neither an improvement or a downgrade of ARTPOP. Fans will likely feels just as alienated, or perhaps as disappointed as the former if they didn't appreciate it, but others may rejoice. Lady Gaga takes a rawer approach to this record. It's plagued with faulty mixing and a potential gimmick, but it's what Gaga wanted to make. Can't fault her there.

Favorite Tracks: Angel Down, Dancin' In Circles, John Wayne

Least Favorite Tracks: Sinner's Prayer, Million Reasons

Rating: 72 / 100