Fall Out Boy - 'Thnks Fr The Mmrs'

It's Thanksgiving, a holiday where we Americans sit around a table, feast on delicious food, and talk about what we're all thankful for. Thanksgiving doesn't have quite the musical mood surrounding it like other holidays, but there's still a lot of music out there that likes to give thanks.

Fall Out Boy's 2007 classic 'Thnks Fr Th Mmrs' really isn't one of those songs. If anything, it's pretty much the exact opposite of a thank you. Regardless, it's musical sweetness is something to remain thankful for even if the song's meaning itself is about a failing relationship.

'Thnks Fr Th Mmrs' helped Fall Out Boy launch further into their pop rock takeover after 'Dance, Dance' rocketed them into stardom. 'Thnks Fr Th Mmrs' showed the best of Fall Out Boy's alternative side. The song is brought in by dramatic orchestration with lots of dynamic and tension. Patrick Stump's soulful voice rings with a rockstar tinge, especially in the choruses, loads of harmonies piling on top of the thick rhythm guitar.

As mentioned before, there isn't much about being legitimately thankful in this song. The song's really about a relationship where no more love exists, but they continue to be together just for sex. The chorus chants: "One night and one more time / Thanks for the memories / Even though they weren't so great / He tastes like you only sweeter," referring to the lack of romance in these casual affairs. The line "He tastes like you, only sweeter" comes straight from the play Closer in a particularly funny scene; the song has a couple of cheeky references like that, including the bridge lyric "Collecting Page Six lovers," referring to bassist Pete Wentz' romantic links to Page Six model Lindsay Lohan. There's even reference to his signature eyeliner - "I'm a liner away / From getting you into the mood."

The lyrics are a pretty interesting internal battle. There's a plot and there's an overall meaning, both of which aren't necessarily related. The narrative follows the story of a crazy night. The character is amidst an argument with his partner, saying she better hope she's being watched over ("I'm going to make you bend and break (It sent you to me without wings) / Say a prayer, but let the good times roll / In case God doesn't show") before things go down. As things go on, he begins to lose sight of that relationship, the memories of the past remaining clear but the future for them looking uncertain: "I'm looking forward to the future / But my eyesight is going bad / And this crystal ball / It's always cloudy except for, except for when you look into the past." The bridge sees him losing his morals and getting with other girls (Pete Wentz lost Kim Kardashian to a monkey in the music video, so that's really as low as he can get). The song then bursts into one final chorus, a big festive hurrah (or a fuck you) to love and fun.

'Thnks Fr Th Mmrs' probably isn't the song you want to be citing this Thanksgiving weekend, but there song itself is something to be thankful for. It's one of prime examples of alternative rock and of the band, and really stood the test of time. It came out in the prime of scene in 2007, and ever since it's been a classic. If you're finding trouble being thankful this weekend, too, you can always come to this song for some sweet revenge.

Rating: 97 / 100

Happy Thanksgiving from Immortal Reviews!

Justice - Woman

There's a lot to be thankful for from the 70s, especially since many elements of disco and funk have been making a comeback over the last few years. French house duo Justice's third album Woman takes the disco influence to another level, but does it translate well in a modern setting?

What's most immediately noticeable about the record is its funkiness. 'Safe and Sound' rolls the album in, the dance vibes resonating with lots of character about the sweet bassline. You're going to want to get up and move around to this track. 'Pleasure' follows through with similar sweetness, though much more restrained and refined. There's less party in this disco and more thought into it. Another song that really brings the groove is 'Fire.'

The second of the album is much more different in terms of disco. There's some experimentation and risks taken on this half. It kicks off with the dinky, sweet synths of 'Stop,' innocently dancing above the the full bassline. The wallowing, seven-minute long epic 'Chorus' is the most invigorating track on the record, built with an urgency that none of the other songs quite reach. Perhaps its the space-opera vibe of the synths or the quickly changing parts of the song, but 'Chorus' really rings as something special in the tracklist.

For this record, all of the good moments are sadly usually paired with bad ones. There really isn't any climax on this album besides the variety of 'Chorus,' which in itself isn't particularly exciting, just interesting. There's drawn out moments like that of the six-minute 'Randy.' It's like they tried emulating the formula of 'Chorus' but in the most standard way possible.

Then there are places where some ideas just don't develop enough. 'Heavy Metal' starts off dark and with a very interesting melody and vibe. It doesn't follow through for the rest of the track, going back to the upbeat disco vibe almost out of nowhere. 'Alakazam !' is a cool instrumental, but it doesn't really add anything of interest to the album.

Justice is a prolific band, but Woman doesn't seem to support that. It's full of tastes of goodness, but there's no serving. It's lacking where it can't afford to, and the jumbled mess that it is doesn't satisfy any listening wants. Woman isn't what it could have been.

Favorite Track: Chorus

Least Favorite Tracks: Alakazam !, Close Call

Rating: 70 / 100 

Highly Suspect - The Boy Who Died Wolf

Progressive rock finds a new home in the hands of Highly Suspect. The band bring progressive rock together with alternative flair in their sophomore effort The Boy Who Died Wolf.

The Boy Who Died Wolf isn't just another progressive rock album. Highly Suspect already established their unique sound in their debut Mister Asylum, snatching them a Grammy nomination this year. The band isn't ready to let go of that momentum just yet. They sound bigger than ever on this record, bursting confidently forward besides taking seemingly no time to get this next record out.

Highly Suspect bring a catchier aspect to the table in their unique progressive rock fusion. Songs like 'Viper Strike' ring proudly with rock n' roll riffs carrying them high and energetically. 'Postres' is much the same, rock vibes carrying it through the core of the record. 'Chicago' also brings a poppier side to the table in a progressive fashion, the piano ballad sweetly moving along as a tragic ballad.

The band's catchier approach doesn't stop them from reaching epic heights of prog rock. 'My Name Is Human' opens the record, blistering, heavy guitar bringing the album to a straddling start. It's thick instrumentation compliments its almost haunting melodies. 'Wolf,' the album's closure, takes up the genre in a different way, featuring an epic build up from a barebones track to an electrifying, thrilling conclusion - this is also exhibited in 'Little Ones' earlier on in the record. They channel pure Pink Floyd in 'Serotonia,' the unique beginning and end sandwiching a very Floyd reminiscent bridge, complete with an electrifying guitar solo.

There really isn't anything wrong with this record. It's an honest rock n' roll record at its core. It may not be intense or demanding throughout, but it's certainly invigorating. The electrifying guitar solos and sweet timbre from Johnny Stevens or the thrilling rhythm brought about by brotherly duo drummer Ryan Meyer and bassist Rich Meyer really sell the band's chemistry. They know their mission statement, and they're convicted to go out and settle the score.

The Boy Who Died Wolf is an honest album, yet it's also a sign of hope. It feels like a flagbearer - a young band on the scene like Highly Suspect can create such a powerful storm of a record and jut them out in such quick succession... it breeds an exciting sense of possibility. Highly Suspect is definitely the new threat on the block in the world of progressive rock. Watch out, because they're gonna make it huge.

Favorite Tracks: My Name Is Human, Send Me An Angel, Chicago, Serotonia

Least Favorite Track: F.W.Y.T.

Rating: 81 / 100

Kevin Abstract - American Boyfriend: A Suburban Love Story

A love story through hip-hop is often told through vulgar remarks or some pretty vague storytelling. Kevin Abstract changes it up, his unique blend of alternative hip-hop and indie pop resonating fantastically in his new album American Boyfriend: A Suburban Love Story.

The album's pop sensibility falls in line with its lyrical prowess. This album isn't like other hip-hop releases you've heard this year. It's not centralized around the thick bass beats an fast, programmed beats. Genuinely interesting live instrumentation builds sonic soundscapes on this record, giving the album a leg above others. American Boyfriend kicks off with 'Empty,' an orchestral, cinematic intro leading into dinky piano chords that carry Abstract's vocals above fat brass in the verses. The choruses ring with harmonies and loving words from Abstract before going straight back into the stripped down verses. Abstract imitates girls he's dealt with in the past above synth arpeggios that carry it sweetly.

The best thing about this record is truly its instrumentals. Kevin Abstract is a genius in his own right. His voice is one thing, it's slightly raspy timbre sounding rich above the often sweet instrumentals, but his ability to create soundscapes is something else. 'Seventeen' features guitars as the prominent instrumental, ringing with loads of reverb to create the idea of a memory. Sweet Bon Iver harmonies build the song as it progresses, the instrumental constantly changing to accommodate the changing tenses. Towards the end of the record, 'American Boyfriend' keeps the album rolling, its soulful mood pairing amazingly with the electrifying guitar solo.

There's a lot of changing styles on the record. Things stay generally close to an indie vibe, especially in some of the singles. 'Yellow,' a song of wanderlust and love, rings brightly with fresh acoustic guitars and vocals harmonies as Abstract sings with a poppy vibe with a slight hip-hop edge to himself. The sweet drive of the beat pairs excellently with the other moving parts of the song, especially the keyboard solo at the end of the track. 'Tattoo' has a very barebones, American sounding instrumental, giving the whole "American love life" vibe some dimension in the middle of the record. He takes up a more hip-hop attitude on 'Blink,' edging away from the sweet indie vibes. Things take a soulful turn by the end of the record. with 'Miserable America' really selling that edge.

The only issue I really have with the record is that it feels a bit confused. The constantly changing tones sometimes don't transition too well, and some times when a good idea is presented it doesn't get fully developed. I'd love more songs like 'Seventeen' on the record, as well as 'American Boyfriend' styled tracks too. The interludes in between songs don't really add much to the album's narrative or mood, either, interrupting the momentum other tracks build up.

American Boyfriend: A Suburban Love Story is a great and refreshing hip-hop record, bringing alternative and indie pop vibes into one great, often overlooked narrative. It's a record about American love, not shadowed in extravagance but built from the purest emotions of the phenomenon. This is an album you can't miss out on.

Favorite Tracks: Seventeen, American Boyfriend, Empty

Least Favorite Tracks: Interludes, I Do

Rating: 79 / 100

DNCE - DNCE

If yesterday's review of Little Mix's new album didn't prove that musical preconceptions can be false, DNCE certainly will. The dance rock group, probably more known as Joe Jonas's new musical project, is here with one of 2016's grooviest records yet with their self-titled DNCE.

DNCE is no Jonas Brothers rip off. It's like the lovechild of The 1975 and Two Door Cinema Club. It's laced with sugary guitar chords and a R&B flair, creating a textbook definition of funk rock. The album kicks off with the eponymous track 'DNCE,' beginning with a sweet harmonies as the group spells out the band's name. It carries through with some bright, punchy synths and optimistic brass above the sweet instrumental. Jonas' vocals are full of groove in a very smooth way. 'Body Moves' follows up with a crunchy bassline and some sweet melodies backing it. The choruses burst with funky flair, the bridge bursting with a crunchy guitar riff that builds up with brass support to lead it into the sparkly break.

A lot of this album feels like a big party. 'Cake By The Ocean' is one song that really finds itself in that setting. The dancey bassline repeating throughout the record, the choruses exploding with sparkling synth chords and great melodies. The guitar work is fantastic, while understated, especially in the second verse. It rings so groovily and sugary, it feels likes its dancing completely separately from the track. 'Doctor You' follows up in much the same way, Jonas' vocals smoothly and sensually resonating above the crunchy riff. The melodies are the ear candy of the song, very bombastic and proud. The song 'Naked' later on in the record also features the bombastic vibe. some falsetto vocals from JinJoo Lee giving the song a fresh palette.

There are a lot of great songs on this record, but several of them are just that - good songs building off the same vibes. No track is a carbon copy of the other, but often times the songs cling to a specific vibe. 'Be Mean' has the same proud and bright vibes of 'Naked,' albeit a bit masochistic, but doesn't try to move on from that. Laidback tracks like 'Almost' ring sweetly in the otherwise upfront tracklist, but 'Truthfully' repeats this formula, with less build to a climax and with more of a pop vibe. The easygoing, lazy 'Good Day' has that laidback structure that really builds the entire album, except that it doesn't use other elements to make it seem otherwise.

DNCE is a surprising threat to pop and funk music. This unexpected group abandons preconceptions and has an infectious sound that ranks amongst the top contenders of the genre. DNCE is a great debut - a great album to jam out to in any scenario. There's promise in this band.

Favorite Tracks: Cake By The Ocean, Doctor You, Almost

Least Favorite Track: Zoom

Rating: 80 / 100

Little Mix - Glory Days

When going into a Little Mix album as someone who isn't a fan already AND isn't in their demographic of fans seems to be a setup for disaster. Much to the surprise of an outsider, Glory Days, the group's fourth record, is a pretty solid effort.

Little Mix are perhaps the more focussed, girly counterpart of the United States' Fifth Harmony, but something about this record makes it seem like Little Mix take the cake. Glory Days is a very cohesive record, full of energy and relatable content. It's not bubblegum pop that you'd commonly relate to other artists of this caliber. It's a maturer sound for the group, as well, some different, more risqué themes sneaking their way into the mix.

Glory Days kicks off with 'Shout Out To My Ex,' a highly energetic track with a relatable theme. Much in the way of Justin Bieber's 'Love Yourself,' it's less of a "thanks for the memories" track and more of a lowkey "fuck you" to an ex. The bright acoustic guitar in the verses exude a certain positivity and energy that makes the track feel young and daring, ready for the future to come. The choruses ring high with powerful synths bouncing and pounding percussion.

Similarly poppy tracks include 'Your Love,' which is a bit repetitive but still provides a sweet listen, 'No More Sad Songs' which has some indie elements to it which help it stand out amongst the rest of the album, and 'Touch,' highlighting the chemistry between the group's members with great harmonies. Towards the center of the album lies some punchiness; 'Oops' begins almost goofily, with thick brass coming in that gives the song some extra oomph. It's very self aware of its own idea, and really executes it in the least gimmicky way possible. It's full of groove thanks too that simple brass and dedicated to the flow - Charlie Puth gives the song a nice male register that gives it some color. 'You Gotta Not' follows through with a same brass and punchiness, abandoning the sillier timbre and putting on a more progressive face.

The songs at the core of the album are the absolute peak of Glory Days, though. It begins with 'Down & Dirty,' moving away from the good girl attitude the group may be pigeonholed into. It's a genuinely badass track with elements of trap in it, complete with some sensual and almost aggressive vocals. It comes as a complete surprise, too; up until this point, the songs were pretty safe sounding. This one dares to express something through sensuality. The instrumental is phenomenal, with the harmonies sounding powerful.

The same is true for the follow up 'Power.' It almost sounds like a rock track. It's introduced by Perrie Edwards with a raspy timbre, Jesy Nelson joining her to add some edge to the track. Jade Thirlwall takes control of the chorus, belting out notes as if she were Demi Lovato. The post-chorus follows through with some huge synths and bouncy synths, similar to the bridge in which Leigh-Anne Pinnock comes in with some sweeter vocals. The final chorus sees all of the group coming together as one, the powerful synths supporting it behind them - this track is truly the pinnacle of the record.

Like any album, however, this doesn't come quite close enough to perfection. The large majority of Glory Days is solid. It's full of good pop tracks, but most of the songs are something you'd hear on the radio and not really put much thought into. They don't reach the same amount of energy that others do, making them less memorable. It really sells itself away by the end of the record - 'Nothing Else Matters' concludes the record, its vibe there but already present throughout the rest of the album, making it an end that falls short.

Little Mix certainly surprised on this record. Glory Days is a confident pop record, full of great moments. Not every song really reaches a memorable peak, but its a sweet and solid record to kick back and listen to if you need some energy or something to relate to. They start moving away from their good girl status and develop a riskier sound, too, showing that the group isn't afraid to change things up. Glory Days is a bright new frontier for Little Mix.

Favorite Tracks: Power, Down & Dirty, Shout Of To My Ex

Least Favorite Track: Nothing Else Matters

Rating: 80 / 100

Metallica - Hardwired... To Self-Destruct

Metallica is back and bigger than ever. It's been a long time coming since their last record, and some were losing hope. But here we are in 2016 with the band's new album, Hardwired... To Self-Destruct.

Metallica has in the game for over three decades now and they're not showing any signs of quitting. Perhaps previous efforts may have shown signs of the band fading, but Hardwired is a definite boost to the band's ego. The best of the band is back, full of energy that makes the record feel fresh. Hardwired is filled to the brim with big, demanding riffs that command your attention in every moment, bringing the true blistering nature of Metallica back to its top form.

'Atlas, Rise!' will give you a real first taste of the power this band has found. It's a true metal song in true Metallica fashion. The intro features powerful guitar punches with drumming in between, building into some giant riffs and resolving into a great solo. James Hetfield sounds a bit too clean, but definitely has a lot of strength in his voice. 'Moth Into Flame' has a similar vibe and structure, combining melody, metal, and guitar solos into one thrashing, powerful experience.

The entire album is pure rock and metal, but that doesn't stop it from having some tasty moments in between. The gentle intro of 'ManUNkind' serves as a contrast for the rest of the song, which immediately comes in thrashing with an evil composure. Dark melodies make 'Here Comes Revenge' a standout track, Hetfield's voice dramatically rising above Lars Ulrich's brooding drums in the verses really separates the track others on the record. It feels like there's genuine hatred there, whereas other tracks just sound angry. The breakdown in 'Am I Savage?' is the heaviest thing on the record, with thick, explosive guitars raging into a spiraling solo. Final track 'Spit Out The Bone' isn't the heaviest, but it definitely has the most urgency, being the fastest song on the record and perhaps one of the fastest in Metallica's entire discography.

While the album as a whole deserves praise, there are some weaker moments. Opening track and lead single 'Hardwired' is a blistering song with some solid riffs, but just as our review of the track stated, the song lacks a certain grit. Perhaps its the production of Hetfield's voice that's to blame, or maybe the pretty awful lyrics, but this song stands out as a weak point on the record.

Metallica's return to the game is a big one. Hardwired... To Self-Destruct is a wildly powerful record and one of Metallica's strongest efforts in years. It's thrilling, angry, and heavy, as Metallica should be. Whether or not Metallica is here to stay and start putting out more records, Hardwired will be sticking around with its punches for a long time to come.

Favorite Tracks: Spit Out The Bone, Halo On Fire, Am I Savage?

Least Favorite Track: Hardwired

Rating: 87

Bruno Mars - 24K Magic

The king of funk is back, but perhaps not with flying colors. Bruno Mars is here with his long-awaited comeback to 2012's Unorthodox Jukebox with his third record 24K Magic.

Bruno Mars is known for his infectious groove and bombastic style, and 24K Magic is much the same. Lead single '24K Magic' opens the record up, and our opinions since our review of the track in October remain largely unchanged. The upfront vibes and 90s instrumental really sells his funky composure. It's a groovy song and has a very original sound to it, and all signs pointed to a successful record.

Sadly, 24K Magic is somewhat of a letdown. Bruno Mars' confidence is taken to an almost obnoxious level, exuding cockiness rather than groove. Many songs are ruined by this; 'Perm' has some great vocals but the lyrical content is a true facepalm moment. 'Chunky' is much the same -great sonically, but the lyrics are just a bit too left-field, while the sentiment may not be the worst. The album ends on a far too bombastic note, as well - 'Too Good To Say Goodbye' has an 80s formula, but Mars refuses to stop belting by the end of the song, where it could really use a nice mix of falsetto in there. The song builds nicely, and while a bit cliché, it misses that punch and dynamic that could've made it a strong ending.

The album does have quite a bit of soul to its credit, though. 'That's What I Like' brings in some sensual vibes paired with his soulful timbre. 'Versace On The Floor' follows through with some pure soul vibes, instrumental et al. It screams 80s, complete with a synth solo. It's a sweeter track, falling in line with 'Calling All My Lovelies,' but does everything better. 'Calling' is much too slow and the odd Halle Berry sample is a bit off-putting. The strongest track on the record is 'Straight Up and Down,' which combines Mars' swagger and soul flawlessly and with purpose. The vocals are great while still maintaining a sweet mood, not being overly confronting and upfront like other tracks. This is the middle-ground this album should've sought out.

Bruno Mars' return to music is a bit too much. Many tracks are solid, but very few are standout tracks. 24K Magic a jumbled blend of swagger and soul and never holds on to the compromise between the two. Bruno Mars is back, though, and hopefully that means it won't be too long a wait until he progresses onto the next one.

Favorite Track: Straight Up and Down

Least Favorite Tracks: Calling All My Lovelies, Perm

Rating: 52 / 100

Leonard Cohen - Songs Of Love and Hate

The world lost another legend this year. The master of poetic folk Leonard Cohen has died, leaving behind an almost unfathomable legacy. A fourteen album career that lasted almost over five decades has left a powerful mark on music and the world as we know it. From his poetic beginnings to his final effort (2016's You Want It Darker), Leonard Cohen created a cult following rivaled by few and changed millions of lives through his art.

One of his most powerful works was his third record Songs Of Love and Hate. Released in 1971, it quickly became a cult classic. It's not too diverse of a record, especially when compared to his previous efforts, but it solidified his niche as the dark folk artist and the emotional focus on the record proved to make it powerful. Many critics claim it is one of the darkest records you may ever hear, and that may very well be true.

The emotion of the album isn't plainly obvious, but it's impossible to not feel it. The album gets off to a paranoid start with 'Avalanche,' frantic, plucked acoustic guitar opening the record with aesthetic strings following it closely behind. The song is based off of his previously released poem 'I Stepped Into An Avalanche,' drawing lyrics directly from the poem. The song is almost disturbing in a cinematic way, Cohen's defeated and cold voice calmly attacking the subject. It's a damning view on humanity, a verse angrily chanting "The cripple here that you clothe and feed / Is neither starved nor cold / He does not ask for your company / Not at the center of the world," bashing those who help the poor for the sake of attention. The song's chorus is perhaps even more haunting: "You who wish to conquer pain / You must learn what makes me kind / The crumbs of love that you offer me / They're the crumbs I've left behind / Your pain is no credential here / It's just the shadow of my wound," revealing the unwillingness he has to open his heart, which has experienced pain like no other before.

The darkness of this track isn't fully emulated in the same way throughout the record, but there are places where the violence of the words is just as great. 'Love Calls You By Your Name' channels the frantic acoustic, but it overall sounds more positive than 'Avalanche.' Looks, however, can be deceiving. 'Love Calls You By Your Name' is full of hatred in its lyrics, angry at love and what it has caused. The orchestras add the drama to the track just as they did 'Avalanche,' yet the optimism of them contrasts the track's meaning. The track is more like an unpleasant memory of a past love, the dreaminess of the memories tarnished by their negativity.

Some songs use his signature poetic diction to get the message across. 'Last Year's Man' is a song about an obsessive love that Cohen experienced from afar. It's gentle and retrospective, almost in a reprimanding way. The song feels longing, as if it still seeks this unrequited love it never received. There's a brilliant allusion to the Old Testament and New Testament in the track, amazing symbolism for a man's love affair. 'Sing Another Song, Boys' also uses poetry to amplify it's meaning, with Cohen sounding almost tortured above the powerful track with an uncharacteristic sing-a-long at the end.

There's a reason this album was dubbed the album to cut your wrists to. It becomes most evident in 'Dress Rehearsal Rag,' perhaps the most tortured song on the record. It's self-destructive, angry, and full of self-loathing. The song has a powerfully strummed acoustic guitar paired with cinematic orchestras, but those all take a supporting role to the meaning. The narrator seems to be battling with addiction and suicide, the first verse already full of hatred: "Now if you can manage to get / Your trembling fingers to behave / Why don't you try unwrapping / A stainless steel razor blade?" Full of powerful imagery and dark, raw emotion, this is a song that doesn't escape you.

There are sweeter songs, but none are devoid of some form of anger or deceit. The popular 'Famous Blue Raincoat' is a letter exchange between a love triangle - a tragically difficult situation. The song is pretty and retrospective, a woman's crooning in the background giving the love triangle scenario some imagery. It's a song of betrayal and tragedy, caught between the heartbreaking threads of "Your famous blue raincoat [that] was torn at the shoulder." The album ends on the quieter track 'Joan Of Arc,' a continuation of 'Last Year's Man' and 'Famous Blue Raincoat,' but more of an acceptance. The song gives up hope and recalls what he wanted so badly for all this time, but he realizes that this thrill could only have lasted so long. The love is still there, but the hope that she would share his feelings are gone. This album's tragedy comes to an end, but that doesn't stop it from haunting you whenever it strikes you.

Leonard Cohen's folk beginnings were the roots of his career. His dark poetry came out in its purest form on these first folk records, and Songs Of Love and Hate truly channel some of the most tragic emotions. Cohen left behind a legacy for millions to appreciate and cling to for centuries to come, while the impact of his music affecting everyone who hears them in the same way as when they first heard them. Cohen is a timeless act, and while he may no longer be with us, he will continue to burn bright in our hearts.

Favorite Tracks: Avalanche, Dress Rehearsal Rag, Famous Blue Raincoat

Least Favorite Track: Diamonds In The Mine

Rating: 90 / 100

Rest in peace, Leonard Cohen.

Loscil - Monument Builders

Electronica goes a long way with minimalism. Loscil's eleventh record Monument Builders digs into more ambience from the project while still maintaining some urgency and darkness.

Loscil has crafted a lot of soundscapes over his decade-spanning career, and Monument Builders takes them even further. It begins with the barren 'Drained Lake,' the track's sound very much following the theme of the title. It's a empty, expansive track with gentle piano synths sounding above ambience. It's as empty as you'd imagine a drained lake to be - the song makes you feel like you're standing in the crater of a body that once existed. 

Atmosphere is the draw of 'Straw Dogs,' as well. Horns croon hauntingly above the urgent ambience, a beat rising as if a fiery star swallows the horizon slowly as it rises. This is perhaps one of the most eventful tracks on the record, attributable to its cinematic and tense vibe. 'Red Tide' is another more energetic track, the bassy synth swelling in contrast to the ethereal synths of the background.

'Anthropocene' combines the elements of both songs together into one brooding experience: the bass synths swell and pound as the ethereal synths create a very abyssal mood. It's creepy and spacial, but provides a lot of interesting imagery and mood to the record. That latter of which is the backbone of the record: title track 'Monument Builders' provides wobbly textures that give the album a bit of energy, while 'Deceiver' provides some gentle and more soothing soundscapes.

Loscil's new record may not be the most challenging nor invigorating, but it certainly does what Loscil does best: create some scenery. Monument Builders channels barren landscapes and full, brooding settings all the same. It's a solid record - nothing groundbreaking, but certainly nothing to scoff at.

Favorite Tracks: Straw Dogs, Anthropocene

Least Favorite Track: Monument Builders

Rating: 70 / 100