Crippled Black Phoenix - Bronze

Keeping progressive rock relevant is seemingly only a goal being reached by the big names in the genre. Many people seem to forget about the smaller scene, but it's there and it's big. Crippled Black Phoenix is at the forefront of it all, their seventh album Bronze developing their force.

Bronze is a peculiar thing. It's nothing more than an alloy; a combination of non-metals and metals. But even so, since its discovery, it has been the pride of humanity as well as the cause of wars. Bronze has all of those principles channeled within it. It's an album that has pride and joy but also features violence and fear.

The Pink Floyd influence is strong on this record. 'Turn To Stone' has a psychedelic guitar running throughout it, ultimately turning into a spiraling ending you'd expect from the likes of Floyd. Intro track 'Dead Imperial Bastard' proceeds ominously, the dark synths providing atmosphere and space. It's enchanting and cinematic, though lacking a certain punch to it. 'Deviant Burials' follow through with lo-fi, busy recordings of a town square as the slow moving beast develops throughout its play time.

The signature track on the record is 'Scared and Alone,' creepy female vocals taking the lead backed by a sweet trumpet. This atmospheric intro eventually builds into a powerful rock n' roll track with a sweet guitar solo ringing with blues flair as the track evolves into its powerful but subtle ending. It leads into the haunting 'Winning A Losing Battle,' scratched with hints of violence and anger, the thick, expansive horns channeling abysmal vibes before growing back into a stronger track.

Final track 'We Are The Darkeners' isn't a perfect ending, nor does it really feel very conclusive, but it does take the album with a bit of crunch. Thick chords challenge the track's ominous vocals as they defeatedly chant. It's a resignation and a sigh of relief at the same time. The battle of the album comes to a close here, but it leaves you feeling like the end hasn't truly come just yet.

Bronze isn't very punchy and usually doesn't have much of a climax amongst its tracks. What it does have is a tale - one of anger, victory, and strife that doesn't really end. Bronze is an average album, yes, but it proves that Crippled Black Phoenix isn't letting go of their strength as a band, and that's what gives the project hope for the future.

Favorite Track: Scared and Alone

Least Favorite Tracks: Champions Of Disturbance (Parts 1 & 2), No Fun, Rotten Memories

Rating: 70 / 100

Hope Sandoval & The Warm Inventions - Until The Hunter

Folk is unique in its haunting way of telling a story. It's haunting, often times with enchanting lyrics and atmospheric groove backing in. Hope Sandoval & The Warm Inventions are back with their third record Until The Hunter with a very polished and raw sound.

The album is the first since 2010's Through The Devil Softly, and the band's third record overall, their 2001 debut Bavarian Fruit Bread being their original release. Three albums scattered across fifteen years means a lot of thought and growth in each album. There's definitely a lot of progression evident in Until The Hunter from the band's early shoegaze roots. The spiraling 'Into The Trees' introduces the record, the nine minute monster moving slowly like an oozing wave swallowing everything in its path. Soulless, angry vocals come from Hope Sandoval as she melancholically croons "I miss you" atop sweeping organs and a chugging drum beat carry on towards the final minutes of the track.

The isn't another synthetic track of that degree on the record - 'The Peasant' quickly follows up with a more recognizable folk charm. Light acoustic guitars are the main component of the track besides Sandoval's vocals, with reverberating guitars sounding high in various interludes throughout the track. Much is the same in 'Day Disguise,' a song with much the same composition. Acoustic guitar support is a recurring motif throughout the record, but 'I Took A Slip' puts it into a different perspective: the acoustic guitars have a sharper and more confident drive to them, Sandoval singing more sensually and provocatively above them. The timing isn't always on point in this track, but that adds a layer of rawness to it. It's not lazy - it's all calculated. A Middle Eastern guitar line sounds faraway towards the end of the song, providing for a desert road vibe and a longing taste of adventure.

Perhaps not shockingly, the search of a thrill is what 'The Hiking Song' is about, but in a different way than 'I Took A Slip.' Instead of sharpness, 'Hiking' is gentler, the guitars sounding more akin to sweetly plucked harps. It's peaceful, blissful, and beautiful - a melancholy, lonely hike on a presumably cloudy day soundtracked by this track. Sandoval's vocals echo through the song's canyons with harmonies joining in from the opposite side of them. It's hopeful and objective, but in the end it feels like it hasn't quite found what it was searching for. Strings, harmonies, and various percussion sounds intermittently throughout the track, giving it both flavor and a sense of discovery. It ends with finality but still feels like it needs more - not in terms of substance, but in meaning.

There's little to say that's against this record. The only complaint that can be had is that it doesn't really tread away from certain core sounds much. It's a very folk album, that's for sure, and they really make sure you know that. Kurt Vile features on 'Let Me Get There,' but even with the addition of male vocals, the song doesn't sound much different than the rest of the record. Other tracks like 'Treasure' and 'Salt Of The Sea' fall in line of "not bad, but nothing special" as well. The moments that do tread from the norm are especially solid, like the opener. The closer 'Liquid Lady' is another strong track, the challenging drive of 'I Took A Slip' translated to electric. The song feels like a rock band on a small boat traveling of a Louisiana coast at twilight. The bluesy guitars give it a true folk vibe as the sunset sets behind the scene and the city lights of the bayou turn on. The vibe gives the album a haunting end, full of the struggle and sensuality the rest of the record had.

It's been a long career for Hope Sandoval & The Warm Inventions, but over their vast career they've crafted their music to the best of what they can do. Until The Hunter is not a perfect album, but it's by no means a bad one. It's a haunting folk record with a very firm grasp on its sound. Let's just hope the next record isn't another six years away.

Favorite Tracks: The Hiking Song, Liquid Lady, Into The Trees

Least Favorite Tracks: Let Me Get There, Isn't It True

Rating: 77 / 100

Birds Of Tokyo - BRACE

Australian alternative rock band Birds Of Tokyo hit it big on their new record BRACE. It's a massive collection of both electronica and rock brought in with a unique vibe.

BRACE is the band's fifth record, and it really shows a progression. The album brings a seamless blend of electronics and rock to the table while still maintaining a core integrity. The album begins with the spooky synths of 'Harlequins,' crunchy, synthy guitar coming in with a dramatic beat before a stronger, heavier part comes in. The vocals are creepy, the dripping synths in the back adding color to the evil sounding track. Title track 'Brace' follows through with much the same vibe, instead getting to the instruments a bit quicker. The synth-laced guitar riffs are met with haunting choirs and a giant chorus to electrify the song.

There's a poppier side to the record, too. 'Empire' is more uplifting and not as industrial sounding as previous tracks were. The synths are more jumpy and hopeful, the vocals and key reflecting that. The instrumental washes over you rather than attempting to threaten you. 'Above / Below' doesn't necessarily stay purely uplifting, but its energetic synth and guitar leads give it a generally more uplifting vibe than the rest of the record, though the end does ultimately resolve into a dark, haunting ending. The Jezebels vocalist Hayley Mary features on 'Discoloured,' a smoother track that has a brooding nature but a dreamy atmosphere - combined with the sweet female vocals, it makes for a chiller track with a sweet urgency and powerful sense of melody.

Most of the record revolves around the epic, cinematic vibes the intro tracks set up, though. See 'Crown,' the pounding drums blasting with adventure and confidence as Ian Kenny sings with the same timbre of his progressive project Karnivool. The two are definitely separate entities beyond the vocals, though. 'Crown' reigns powerfully with haunting harmonies, the thick rhythm guitar sweeping smoothly but powerfully on top of the same creepy choirs from 'Brace.' The album's end is the nearly seven minute epic 'Mercy Arms,' beginning like a modern Pink Floyd before Kenny's voice brings in a searching wonder. The song builds with drive, the drum beat beginning its build as more and more powerful leads progress in each chorus. It reaches its heavenly climax before washing away like a wave, the remnants of the track slowly dissipating to conclude the record.

Birds Of Tokyo hit it huge on BRACE. It's powerful, covers a lot of ground, and develops its core principles cleanly throughout its run time, giving it both diversity and cohesion. Kelly has hit it big with his latest releases (can't wait for that fourth Karnivool record now!), and it's no surprise that BRACE is a giant record. Australia's finest is at work here.

Favorite Tracks: Crown, Discoloured, Brace, Above / Below

Least Favorite Track: Empire

Rating: 86 / 100

Lambchop - FLOTUS

Indie is fun and weird. It's rare to find an example of something that pushes the limits of the genre. We have an example of such with Lambchop's new album FLOTUS, but keep in mind that pushing the limits does not guarantee quality. 

FLOTUS has a very specific core to it that it doesn't like to tread away from. It lives off of minimalistic folky beats, which are sometimes backed by fairly groovy basslines. Core member Kurt Wagner handles vocals, using a vocoder for nearly all of the record. There's really only one song that doesn't have this formula: opener 'In Care Of 8675309,' which really rings with a more indie flair than an experimental one. Sweet, light guitar leads the track in as a light drum beat follows it with a bright bassline supporting it behind. The vocoder is only half of the vocal as opposed to all of it, which is nice, too. It's eleven minutes long, but it has a lot of groove to it that supports it throughout its play time.

Unlike much of the rest of the record, 'In Care Of' is actually an interesting song. The rest of the album feels like a cheap knockoff of Bon Iver's brilliant release 22, A Million. It lacks the brilliance of that records minimalism and tries to find integrity within the vocoders in the same fashion as Bon Iver, but fails to hit that point. Perhaps having not listened to 22 would have helped the quality of this record, but with that context, it feels weak.

Title track 'Flotus' is a prime example of the two's similarities. It's a sweeter track that has substance to it, but still feels like it came right out of the Bon Iver record. 'JFK' follows it through, really trying to sell the vocoder influence - listen to the lyrics, because there is not way this song had any other purpose than to make the vocoder prominent.

Another flaw with the record is its pacing. After the initial high of 'In Care Of,' you're left with a bunch of weird tracks with synthesized vocals and robotic beats that try to be profound. You find some negotiable parts to pique your interest - the bassline of 'Relatives #2' in the center of the record, for example. But you feel like you're waiting for something more for the entire record. Two singles are tacked onto the back of the record. The first is 'NIV,' a sweet song that falls victim to the fact the the album has the momentum of a snail. It functions a lot better as a standalone sog - the video for it is very profound. The lead single 'The Hustle' concludes the record, and there's a slew of problems with that. For one, why would you release an eighteen minute track as a single? Also, why would you release a track with virtually no substance as a single? There's the standard first half, then the electronic second half that concludes with a nice piano part. It's not awful, but eighteen minutes is certainly unwarranted.

Lambchop fell victim to trying to adjust to fit a new standard too hard. If you're looking for an album like this, stick with Bon Iver. FLOTUS is a largely boring and disappointing record that starts promising but just doesn't find momentum or a solid footing anywhere.

Favorite Track: In Care Of 8675309 (The music video for 'NIV' deserves a shoutout, too)

Least Favorite Tracks: JFK, The Hustle, Writer

Rating: 49 / 100

Bon Jovi - This House Is Not For Sale

No one can replicate the old, feel good vibes of rock nowadays like Bon Jovi can. The group has been pumping out tunes for over three decades now, and their thirteenth record This House Is Not For Sale doesn't change that.

The album's start is huge. Three massive tracks introduce the record with feel good, massive rock vibes. Immediately giving the album some punch is title track 'This House Is Not For Sale,' the bluesy, twangy guitar riffs leading the track with confidence while powerful drums lead the track with loads of drive. It's a feel good drive and makes you want to take a drive down a highway with the windows open - the sign of a good, classic rock track. The big gang vocals cry "I'm coming home" in the choruses, empowering the listener and emphasizing the importance of your roots. 'Living With The Ghosts' continues the momentum set by the first track, the same power present with a bit more restriction and sweeter instrumentation. Instead of pure powerchords, the guitar rings high and with hope in the choruses, piano chords giving atmosphere to track before they become the only instrument playing as the bridge provides a reprieve and builds back up to big heights.

'Knockout' brings out a more alternative and modern rock sound from the band. Jon Bon Jovi's vocals have a slight lo-fi effect to them as the first verse plays through, the percussion pounding powerfully, pairing with the bassline. The intro features some epic stadium vibes, the falsetto vocals and edgy guitar begging for a powerful followup. The first verse doesn't offer that, but the moment finally happens at the end of the track as the part takes the song out on a strong note. Much of the album doesn't have quite the same energy, but a quick burst of the power is brought back near the back of the record with 'We Don't Run.' The badass vibes of the vocals bring back the power and big vibes from the track, the expansive choruses sounding high and powerful.

The problem following that the rest of the album has beyond these tracks is that nothing really reaches the heights that these songs do. There are plenty of notable moments, but none of them having much of a lasting effect. The softer moments on the record, 'Labor Of Love' and 'Real Love,' are chill but definitely mess up the momentum. 'Labor' comes in right after 'Knockout,' eliminating the drive of the three tracks before it. 'Real Love' breaks off what little momentum the rest of the album has, and even while it's sweet, it's basically everything 'Labor Of Love' does better.

The rockier on the tracks on the album don't offer much up, either. Songs like 'God Bless The Mess' and 'Roller Coaster' give some country grit to the record, while others like 'The Devil's In The Temple' gives punchier tones. Both tracks are good, but they don't quite reach a satisfying high. There are some electrifying guitar solos throughout the album, namely in 'Born Again Tomorrow,' but the rest of the songs don't quite support the energy that the solos have. The album ends sweetly, but not well. As 'Goodnight New York' ends, it feels like something should come after it. It sounds like a U2 song, not a closing track.

Bon Jovi hasn't lost energy, but they don't have quite the impact they could have. They put all of their eggs into one basket - the eggs being the standout tracks and the basket being the first part of the record. Nothing really follows through in a satisfying way after the album gets going, but the good vibes carry on throughout. It's a great record for a summer drive, but not quite so for a satisfying listen. Roll the windows down and jam out to this one if you can, but otherwise, don't expect too much else besides some standard tunes.

Favorite Tracks: Knockout, This House Is Not For Sale, Living With The Ghost

Least Favorite Tracks: Goodnight New York, Real Love

Rating: 73 / 100

Future - Used To This (ft. Drake)

I've had a decent break from Future lately, which I really needed. I was getting really sick of him - he was on everything. You listen to any hip-hop record, Future's there. You go for a trip to mall, Future's playing. You look right - you guessed it. Future's probably standing right there.

Desiigner has been building off the sound and he's someone I can finally get behind since he's added some melody to his music. Taking a break from Future has allowed me to take a refreshing new look into his new single, 'Used To This.'

Too my surprise, it's actually a good song. There's a sort of love-or-hate relationship I have with his music, but this track was a clear winner. The song's instrumental isn't empty and solely consisting of the same spidery and bass synths, but instead features a pretty catchy and pretty piano line that isn't too simple such that it keeps your attention. The beat is standard and the bass accompaniment is still there, but it's behind the piano and it's a really refreshing palette to come into. Perhaps producer Zaytoven is to thank, but regardless, it's a new sound.

The verses themselves are expected, but they're not annoyingly spit and have flow. The song's about Future and Drake being at the top of their genre, the hook of the track revolving around partying and the products of their successes: "Get the llama, I party with the real Madonna (yeah)... Drop-top Porsches, I'm so used to this... Mansion in the hills, I got used to this." Future's verses are expected of him, all about the party life and riches. Drake's verse is also expected, but that means it's pretty humbling. Putting aside the Drake has a lot more variation in his flow (and a lot less noticeable, presumably "aesthetic" autotune), he also covers his family and friends and how he keeps them in his mind and will always be able to thank them for where he is.

'Used To This' tackles two sides to fame: what's on the surface and what one should keep in mind. Future and Drake both take their respective sides, which isn't something special, but the song itself is a nice mix. It's a step in the right direction for Future - interesting and edging away from the sound he's had for his last three releases. EVOL didn't hit hard, but maybe this next record will. Future's been taking his time with this one, so that means something's coming. Beast Mode 16 is coming soon, and this track can only mean good things are to come.

Rating: 81 / 100

The Chainsmokers - Collage

The newest threat on the block is without a doubt The Chainsmokers. With a few past hits in their repertoire, they showed up out of the blue this past summer and have taken the radio by storm, pumping out some of the decade's biggest hits in a matter of months. They've compiled some of these tracks into a new EP entitled Collage.

The electronic pop duo really have a knack for making some infectious tracks. Nearly every song on the five minute EP rings with lots of fun and appeal. Opener and new single 'Setting Fires' has bouncy, infectious synths that keep the song light as XYLØ adds some dimension and melody to the track above the instrumental, even though the synths do enough of all of that on their own already. Phoebe Ryan takes over the vocals in the more upbeat 'All We Know,' this time Andrew Taggart joining on on vocals, harmonizing with Ryan's somber vocals above the punchy instrumental.

'Closer' was one of the biggest songs of the summer, and its performance showed it. It was played ad nauseam on the radio and remained as Spotify's #1 most streamed track for weeks. Riding of the group's hype instrumentals and the other threat in pop, Halsey, 'Closer' was destined for greatness. The song starts gently and builds slowly as it progresses, ultimately becoming an awesomely energetic song with jumpy synths and a big beat. Halsey's sweet and punk flair adds a lot of color to the already fun and sweet track.

The other hit from the summer was 'Don't Let Me Down.' The guitar in the intro sings innocently as Daya sings sweetly before the chorus kicks in with the drama. Daya's lyrics start building up with the beat, as the breakdown comes in the form of saxophone synths and bassy accompaniment. The song feels like something Rihanna would sing and come up with. It's a fun, very poppy track that also has the party side too it - a clear banger.

The Chainsmokers are pop's most hopeful duo. Their electronic flair sees a mix of party and fun that lots of artists don't seem to understand well. Their debut LP will be absolutely massive - this group is here to stay for years to come. 

Favorite Tracks: Don't Let Me Down, Closer, Setting Fires

Least Favorite Track: Inside Out

Rating: 89 / 100

Alicia Keys - HERE

Alicia Keys has built a strong presence around herself throughout her career. With that power, her sixth album HERE has a strong message it tries to convey.

Alicia's the queen of R&B as it stands. Her voice has a perfect balance of smoothness and grit that she uses to cover a lot of ground vocally. The album begins in a way such that her diversity and message is made clear. She takes things back down to the south with 'This Gospel,' setting a regional tone for the record. The song starts softly before quickly building up confidently with the same flow you'd find from Hamilton. The gospel moments on the track don't feel like enough to suggest the title be dedicated to them, but they're there in the bridge. New Orleans jazz is channeled in 'Pawn It All,' the groovy instrumental carrying it through.

'Illusion Of Bliss' is the bridge between pop and culture on the record. Right at the core of the record, the song is sandwiched between the bayou-inspired section and the poppier side, and contains elements of both. The song features a bluesy vibe that you'd hear at a late night club somewhere in New Orleans. The organs funkily vibe underneath Keys' almost tortured vocals and the male background vocals. It's a slowburner, the slow and spacious drum beat carrying the song through its torture. The beat dies out by the end of the song as a clean and pretty bassline and pounding pianos carry the track under Keys' cries of "Don't say I'm gone / I don't want to be a fallen angel."

The acoustic moments provide some rawness on the record. One of these tracks is 'Kill Your Mama' which is solely acoustic. Keys sings powerfully atop a lo-fi acoustic guitar which rings out with raw, folky vibes. 'Blended Family (What You Do For Love)' beings acoustically, but eventually progresses into a poppier track, the likes of A$AP Rocky contributing a verse to the track. The acoustic guitar leads into Keys cleaner voice, bass and a pop beat kicking in to drive the track sweetly as she sings about love having no boundaries.

The album's highs are great, but unfortunately they are overshadowed by lows. The worst part of the record are that more than a quarter of its tracks are short, boring, and just plain cringey interludes. The first track, 'The Beginning,' sounds incredibly pretentious and when 'Elaine Brown,' the second interlude to appear, kicks in, you've already had enough. Much of the second half of the record is just plain boring and unmemorable. The first half feels much more inspired and like it has something to say. The other half is just regularly performed pop songs with no merit to them to maintain interest. There are some questionable moments on plenty of tracks, too: the xylophone solo in 'She Don't Really Care_1 Luv' is cool, but the male vocals are pretty weird, dragging the song down a bit.

Alicia Keys made a pretty big statement... for half of a record. HERE is grounded in her roots to start but eventually devolves into a mess of uninspired pop tracks that try to imitate what the start of the album had. It felt like a big risk but ultimately took the safe route. Keys is at the point of her career where she really can do whatever she wants - the pop side of the album was fully unnecessary and brought the quality far, far down. Without risk, there isn't any reward - HERE hit the sad 50/50.

Favorite Tracks: Illusion Of Bliss, Kill Your Mama, Blended Family (What You Do For Love)

Least Favorite Tracks: Interludes, Work On It, Girl Can't Be Herself

Rating: 50 / 100 

Gem Club - Breakers

It's sometimes the emptiest music that has the most heart. It's easiest to relate to emptiness - there's nothing really to interpret; it's just empty. It's up to you to add emotion into it.

The debut record from Gem Club, entitled Breakers, is the perfect example of that phenomenon. The 2011 record's sound consists of the dreamiest pianos and sweet strings that back Christopher Barnes' sweet indie voice. It's a very gentle record, introspective all the while laying down some heavy meanings.

The first impression you get of the record is the brilliant 'Twins,' a tragic admittance of Barnes' twin who died at childbirth. The lyrics wistfully croon "The wind shook the kiss from your mouth / Before I could learn whose twin I was" in a pretty and gentle voice. Beautiful piano chords simply but powerfully ring out as the gentle violin sings quietly above the track. This song, like many others, is written with brevity but with much thought. It's full of amazing metaphors for death that resonate with meaning beyond the purpose of the song itself.

The best part of the record is undoubtedly its lyrics. The track 'Lands' faces utter hopelessness, Barnes and Kristen Drymala singing together in a tragic duet as the slow drumbeat emulates a heartbeat. The pianos ring gently and darkly as pretty synths and atmosphere build up. The lyrics tell the haunting tale of someone who has lost the most important part of their life: their lover. The narrator faces severe depression, and the song seems to be about the choice to end it all. Barnes quietly cries "I feel you are the one whose moving beneath me  / Are there riders coming through the dark," as the everlasting presence of the narrator's lover continues to haunt them. After clinging to it for so long, the presence leaves, the lines "There is no more communication / I'm building lovers in our bed," revealing their reluctance to let go. The song ends quietly and as darkly as it persisted, the piano growing with the slightest intensity before fading out with the hauntingly memorialization of the narrator's final moments: "I feel no real danger / I'm filled with desire / The back of my head split wide open / And I saw the look of lands changing / Are there riders coming through the dark."

'Red Arrow' follows it through is just as powerfully, a slightly more convicted track detailing the release from life. Love was everything to the narrator of this track, and it was tragically taken away from them. The standout of this track is moreso the incredibly simple and powerful instrumental and the backing vocals that hauntingly resonate at the back of the track. The album slowly evolves into one that seeks hope to fill it's empty void. 'I Heard The Party' is the narrator's attempt at finding purpose, but the burden of his emptiness is too great; he cannot find happiness even when in the face of it. There's reminiscing in 'Tanagers' as Barnes sings in a very introspective manner. There's something about the symbolism of horses that Barnes can't seem to escape, yet it provides strong emotions to the tracks it is mentioned in. 'Lands' speaks of "riders" as they come to take him away to the next life, the metaphor providing a strong image of deliverance. In 'Tanagers,' the horses act as a message for hope; the memory of them gave the narrator something to want to return to. The horses gave them emotion.

The album ends on powerful notes. '252' is a song that has too strong interpretations: the narrator is in deep love, or the narrator's lover is diagnosed with cancer. In the cancer timeline, the two involved struggle with how the gravity of the situation effects their lives. The constant hospital visits paired with the heartbreaking thought that every meeting could be the last, Barnes blaming "the cells of this body [that] have all lost their memory... This terrible anatomy / Will surely get the best of me" for his sorrows. This meaning coincides with the story of love (how being deeply in love can effectively damage your own life through obsession), both meanings brought together by the lines "Confused by each other / To work out of order / And I hate that they require / The need to be together... Maybe they'd grow in someone else / Watch as they grow in someone else." The album ends beautifully and calmly in 'In Wavelengths' as if to submit to all of the pain and suffering that the narrator has been the victim of. It's one final defeat, and it feels like it. In the end, they come to terms with reality and let it take them, whether for better or for worse.

Breakers is like what Sufjan Stevens would sound like if his music was based solely around ethereal pianos and tragic orchestras. Every track on this record is it's own 'Fourth Of July,' the strength of each song expressed through its meaning. It's a depressive, challenging, and empty record, but in its emptiness it finds power. It draws emotion from the rawest places. Gem Club's debut is one of the strongest out there, but it's incredible how it makes so much out of nothing. Tragedy can be channeled into the most beautiful art.

Favorite Tracks: Lands, Red Arrow, Black Ships, 252

Least Favorite Tracks: Breakers, Tanagers

Rating: 94 / 100

Tkay Maidza - Tkay

Hip-hop loves to draw from its influences. Australian hip-hop artist Tkay Maidza draws from her African background in her debut record Tkay.

The Zimbabwean born Maidza has a lot of appeal in her debut. It's not dull hip-hop we've become used to. Instead, colorful instrumentals and melodies accompany her young and refreshing voice. The album begins with the high energy, intense 'Always Been,' a big of a misleading track to open the record yet does hype it up. It's dark and dramatic, the beat strong and the delivery packed with grime influence. The bars are pretty quick fire, but there's a recognizable reference to Kanye West's 'Black Skinhead' in there that'll pique you're ear in case you can't pick up on anything else.

There are several other songs that go hard. 'Carry On,' with Run The Jewels' Killer Mike on the track, throwing down above the synthy bass between the upbeat but still urgent chorus. A darker presence envelops 'State Of Mind,' bouncy synths radiating ominous vibes on top of Maidza's gun of a mouth paired paranoid harmonies.

The majority of the record finds itself being poppier. The instrumental of 'Simulation' channels Sia almost blatantly, yet the vocals' light melodies soar high above the 'Cheap Thrills' reminiscent synth. There are thicker, dancier songs like 'Monochrome' that robotically have some groove to them. The muddy instrumental helps elevate the poppier lyrics. 'Drumsticks No Guns' is a fun-loving track, infectiously cute synths bouncing happily throughout the track. 'Castle In The Sky' is the pinnacle of the album's pop tracks, the sweet melodies pairing with the strongest and punchiest instrumental on the record, dynamic brass synths pairing with various acoustic instrumentation and electronics.

Sometimes it goes a little too far. With the pop influence, there are a few annoying tracks, like 'Tennies.' The song starts okay, but there has to be a limit as to how many times you can sing "tennies" before it gets old. The beat features some cool instrumentation, some bongos sounding with a punchy string instrumental, but even those can't save the song from its muddy tendencies. The big vibes of 'Supasonic' are interrupted by pretty annoying lyrics.

Tkay has all of the the uncertainties of a debut record, but it definitely holds its ground. It's an indicator of a new threat on the block with Tkay Maidza - she's bound to be something big in the hip-hop and pop world. It's a refreshing new sound and certainly one that won't be getting old anytime soon. Now we sit back and watch a career unfold.

Favorite Tracks: Castle In The Sky, Always Been

Least Favorite Tracks: Tennies, Supasonic, House Of Cards

Rating: 73 / 100