J. Cole - 4 Your Eyez Only

2016 isn't done giving just yet. Rap's signature sadboy J. Cole is back amidst rumors of retirement with his fourth record 4 Your Eyez Only, and it lives up to its expectations.

J. Cole isn't the average hip-hop artist you may be accustomed to. His style can be classified as "sleepy rap," sounding slightly distant in his delivery while still maintaining confidence and flow. There are moments on 4 Your Eyez Only that do wish they could go a little further, but J. Cole's flow is never one of them. He's always spot on with his delivery, nailing different rhythms and grooves across the record. This all becomes apparent right off the bat with 'For Whom The Bells Toll.' His vocals don't seem to be anything special, but delving into the song shows that under his smooth flow is a seething sense of anger. Elevated by the instrumental, 'For Whom The Bells Toll' rings with that subtle rage as J. Cole progresses it with great flow and fantastic melodies.

Lyricism is another one of J. Cole's strengths, and that doesn't really come as a surprise. 'Immortal' comes with a narrative of how volatile life can be. The first verse sets the song up with hope, the narrator reminiscing: "I was barely seventeen with a pocket full of hope," those dreams ultimately being crushed by the end of the track, hauntingly concluding with the lines "At the bottom and hanged / The strangest fruit that you ever seen / Ripe with pain." There are plenty of smaller moments, too, that just really mesh well with each other. The duo tracks 'She's Mine, Pt. 1' and 'She's Mine, Pt. 2' both have a dejected, depressed mood surrounding them, J. Cole's flow somber and distant, the piano instrumental making the mood even darker. While all of this sadness builds the track, J. Cole sings rather hopeful lyrics: "I've never felt so alive" resonates particularly powerfully, the stark contrast of the songs' hopeless optimism and its depressed vibe really accentuating its mood. J. Cole can also ace the lazy style flow - 'Neighbors' bashes the haters who limit his success, his laidback posture sending the message that they really don't phase him. The closing track '4 Your Eyez Only' runs for nearly nine minutes, J. Cole speaking to his newborn daughter about how life goes on. His chill flow paired with the very pure and reassuring lyrics really add some sincerity to the end of the record that otherwise felt very oppressed.

This record couldn't be complete without some fittingly great instrumentals. This record is full of them - all raw, no bullshit. There's no abuse of the Future formula - the same repetitive beat on top of the same bass synths. From beginning to end, this record is full of fantastic hip-hop instrumentals. There's lots of variation, as well, such as the 'Ville Mentality' with its sweet bluesy mood. The soundscape strongly supports the meaning for a lot of tracks, such is the case with this track. The bluesy vibe helps paint the picture of the sad childhood 'Ville' discusses. Groovy basslines and guitars are the foundations of 'Foldin Clothes,' showing that J. Cole isn't afraid to bring other elements into the record. He even furthers a rock influence, channeling his innre Radiohead in 'She's Mine, Pt. 2.' 'Change' is perhaps the ultimate example of form follows content, the driving beat and effected keyboard giving the song a sense of confidence, which is what J. Cole attempts to emulate in the track.

Maybe it isn't exactly the energetic hip-hop you're used to, but 4 Your Eyez Only is a beast of a record. It's another record without any features, as J. Cole has become known for, and it has all the tools it needs to surpass it's predecessor 2014 Forest Hills Drive. 4 Your Eyez Only is not only lyrically genius, but it has underlying groove that allows you to enjoy the messages as they come. This is hip-hop innovation. This is the stuff that can start a new era.

Favorite Tracks: She's Mine, Pt. 2; For Whom The Bells Toll, Change

Least Favorite Track: Deja Vu

Rating: 87 / 100

Buy or listen to 4 Your Eyez Only now:

Tech N9ne - The Storm

Tech N9ne may be a sort of meme in the hip-hop industry, but his new record The Storm may help him achieve more of a serious position as an artist, because, for the most part, it's a pretty solid record.

The Storm is a bumpy ride, but it has its promising moments. The record's start is fairly strong, 'Godspeed' opening up with some good ideas. The first verse is pretty funny, which doesn't really help solidify his position, but that's only a small fault. Much of the rest of the track actually goes pretty hard, filled with some drive and confidence. 'Need Jesus' featuring Stevie Stone and JL follows through, this one really bringing the best of Tech N9ne out. The flow has a Jamaican vibe to it, adding some color and taste to the track. The hook is dark both melodically and sonically. The song is overall just darker, and it pays off as Tech N9ne has a rock and metal past.

That past is referenced towards the end of the record in 'The Needle.' It's one of the two tracks that help bring the album back up from a low. There are plenty of name drops in this track, from Jimmy Kimmel to Slipknot and Deftones. This track is thankful, discussing the memorable moments of N9ne's career. It has a solid flow, too, really standing out from the rest of the record. The final track 'The Long Way' flows with some average pop hip-hop melodies, but the instrumental helps bring it all together, ringing sweetly and dramatically under the verses an chorus.

A lot of the record is unfortunately quite forgettable. There's not really a truly awful song on the record, but there's not much that stands out. Sandwiched between very solid tracks are many run-of-the-mill tracks that don't make any memorable mark while listening through it. There are tracks with promise, too, that don't quite live up to what they could. The most pristine example is 'Starting To Turn' featuring Jonathan Davis; Davis brings all the Korn vibes into play, creepy instrumental included. Tech N9ne sounds like he's back in his element to, being carried by the heavier instrumental. The song proceeds nicely, but after the first chorus, everything falls apart before coming to a very disappointing end. The brassy instrumental of 'I Get It Now' also feels like it could've been a lot more. There's nothing other than the brass elements making the song standout, which is really disappointing. There are songs that just feel uninspired, too. All that needs to be said for that is the lyric "I'm like the L in salmon / They can't hear me." It speaks for itself.

Tech N9ne has had a long career. It doesn't sound like he's quite ready to call it quits yet, though. The Storm has a lot going for it, and while it may be largely disappointing, there are promising moments. There's something. You can give it that much.

Favorite Tracks: The Needle, Need Jesus

Least Favorite Track: No Runnin To Ya Mama, Starting To Turn

Rating: 54 / 100

Stone Temple Pilots - Core

It's been just over a year since former Stone Temple Pilots frontman Scott Weiland died. It was a sad way to herald in the end of the year, but that loss spawned a newfound respect. 2015 was not a great year for Weiland, all things considered. Lots of bad publicity surrounded him throughout the year as Stone Temple Pilots toured with Linkin Park vocalist Chester Bennington and Weiland delivered some pretty nightmarish performances with his own band.

There are times where you need to look beyond someone's faults, though. Yes, Weiland was cursed with drug abuse amongst other things, but that did not lessen his artistry or his message. He was a key voice in the grunge generation, and continued to make something of his signature voice right until the very end. Taking a look at where it all began, Stone Temple Pilots' 1992 debut Core, is just what you need to remind you of what Weiland truly stood for.

The album kicks off with the lo-fi intro of Weiland's raspy voice in 'Dead & Bloated,' one of the band's signature tracks. The groovy, chunky riffs usher you into a true grunge experience, with Weiland's voice melodically yet angrily singing with true rock flair. This album came about at the peak of the grunge scene, and this record really puts the rawest elements of the genre forward. 'Naked Sunday' is much the same, its funky riff electrified by its rebellious nature, particularly a result of Weiland's great vocal performance on the track. Another track that's truly grunge to the core is 'Wicked Garden.'

The band's debut single 'Sex Type Thing' is what truly set their mark, though. The song's blistering riff and pure grunge antics really set a fire in the genre. There's something intrinsically badass about this song, and it comes in many different forms. It could be the thick guitars. It could also be Weiland's spectacular vocals, too. Whatever it is, this song really set the bar for grunge of this caliber. The song did spawn some controversy, though; the second verse chants "I am a man, a man / I'll give ya something that ya won't forget / I said ya shouldn't have worn that dress," which many took as an advocation of rape. The song is largely the opposite: it's an anti-rape track about a girl Weiland dated in high school who was raped by members of the football team. Weiland explained the song as being "about control, violence and abuse of power."

You can't have a rock record in general without a slower track or two. This record comes with two, both of which became singles. The first of them is 'Creep' - not a cover of the Radiohead track from the same era, but a different type of slow mover. 'Creep' is a song about being on the edge of suicide amidst drug abuse (ironically), the somber chords creating a moody background behind Weiland as her defeatedly sings about his own self-destruction. The lines "Take time with a wounded hand / Cause it likes to heal / Take time with a wounded hand / 'Cause I like to steal... I'm half the man I used to be (This I feel as the dawn / It fades to gray)" really sets the tone of the track and it's distant but hopeful nature.

The second slower track is the slightly more upbeat 'Plush.' The song is electric and has more drive, but at it's core it's still a pretty sad song. The song's loosely based around finding the body of a dead little girl, as proposed by the lines "When the dogs begin to smell her / Will she smell alone?" The song battles with internal conflict, Weiland singing about feelings of loneliness and a fear of no one caring about him if he were to die. The song resolves in a strange way, the haunting words gaining more strength and confidence, as if he becomes more accepting of the fact. "Life's a wasted go," as the first verse claims, and there's no point pondering over what'll happen after it ends.

Core has some weirder tracks that aren't all about the rock n' roll vibe, but each track still maintains those elements. 'Sin' has a big intro, the song resolving into a sweet bridge that builds up into an electrifying guitar solo to bring the song to its climax. 'Piece Of Pie' adds some groove to its huge grunge tonality, Weiland's soaring vocals full of delay in the backing vocals of the verses and in the choruses. There's a weird ending to 'Crackerman' that leads it into the rolling ending song 'Where The River Goes,' which builds up with drive to form a solid, grungy ending.

Core was Scott Weiland's first mark in the world, and it's a timeless effort. Stone Temple Pilots' debut was a key record in the world of grunge. To this day, the power of Scott Weiland's voice still resonates as something unique and powerful. His life was tumultuous, but his music helped craft the very direction of rock music and, furthermore, stood the test of time to be by each fan's side. No matter what he did in his life, he gave back to the world through the avenue he knew how to, and that's all you could ask of him.

Favorite Tracks: Sex Type Thing, Plush, Creep, Dead & Bloated

Least Favorite Tracks: Wet My Bed, No Memory

Rating: 82 / 100

Romans - Valere Aude

Droning electronica does not work well (under most circumstances) if they go on for too long. That's the trap New York duo Romans fall into, their new record Valere Aude sounding far too long and without enough content to really get the record going.

Valere Aude is a very chilled back record, and perhaps it's for the better reason of aesthetics that this record doesn't really climax; the duo never really sounded like they wanted to reach new levels of sonic epicness. It doesn't feel like the record even wants to have pronounced growth or mood. The glitchy, twitchy electronica of the record really fit it well, and it deserves that much praise.

While it fulfills its own reasons, from a listening standpoint, it's easy to get lost. Not in terms of being so entranced in the music that you lose sight of reality around you, but in that you lose focus on the record really quickly. The first track 'Cirta' washes over you progressively, but doesn't really offer much outside of a single changing movement and its bouncing synth loop. That is true for a lot of this record - it channels mysterious and weird vibes in songs like 'Legia' and 'Via Arpagga,' but songs don't really offer up much outside of what goes on within their first minute or so.

Valere Aude is not fully devoid of interesting times, though. 'Dura Agameia' spirals nicely throughout its six-minute play time, actually taking time to develop and build like a cool chillwave track. It's not centered around one idea; it has parts that move in and out, reprising themselves throughout the track before coming back into play. Different elements come into play, as well, making the track have more punch and contrast than others. It's not amazing, but it's great considering what the rest of the record has to offer.

Valere Aude is the record to go to if you need to take a late night drive through the city. Otherwise, it's probably better to skip out on this record in nearly every other case. Romans' new record is highly unsatisfying and doesn't really develop anywhere; it fulfills its purpose, but nothing else.

Favorite Track: Dura Agameia

Least Favorite Tracks: Aquilla, Zerai, Sabratha

Rating: 51 / 100

Grace VanderWaal - Perfectly Imperfect

Age is but a number. Grace VanderWaal hit it big on America's Got Talent, but she's ready to take on the world with her debut EP Perfectly Imperfect.

It's truly hard to believe that VanderWaal is only twelve. This record feels like there's been a lifetime of sweet joy and heartbreak ingrained in its writer's experience. Hopefully her life has been nothing but joy (though I hope she hasn't experienced any heartbreak yet), because her music truly reflects her personality, and if that's anything to say about her, she deserves all the best. The opening song is the viral hit 'I Don't Know My Name,' the original song she delivered a heartbreaking performance of on America's Got Talent that won her the golden buzzer. The song remains just as unique and raw as its debut performance, VanderWaal's raspy and gentle voice ringing beautifully above her twinkling ukulele, a bright orchestra joining her by the end of the track for a final moment of revelation.

The rest of the record isn't quite as bright - in fact, it's pretty bittersweet. That seems to be the trademark of her music. 'Clay' follows through, an uplifting track based around the piano. VanderWaal's voice is showcased a bit more in this track, her sweet timbre rising with power at just the right moments as she sings about being yourself.

The next two tracks come as much a surprise, not for any reason other than whether intentional or not, these are some of the best love songs written this year. 'Light The Sky' continues on from 'Clay,' celebrating individualism with someone else. Two people are the subject of the song, two friends having pure fun under the moonlight. 'Beautiful People' has a more direct love vibe, VanderWaal abandoning her sweeter tone and adopting a more bittersweet timbre. The song is about her sister, but it can easily be put in the context of someone you love; whoever the subject is, this song resonates love. The swelling piano rings sweetly under the heartbreaking chorus, as she chants "You're a beautiful thing / We're a beautiful thing together / Even when the weather is low... We can find the rainbow / Up in the sky / You'd say don't you cry, it's all gonna be alright / That's a beautiful thing." The song reaches an emotional climax by its end, the piano swelling with her emotions. This is the most emotional moment of the record, and perhaps one of the most emotional moments of music in 2016.

Grace VanderWaal is so young, and she has a great career ahead of her. Whether or not she pursues music, she deserves all the best. Her soul is pure and her purpose sweet, and that's all you can ask for in. Perfectly Imperfect is a beautiful EP - when her debut LP is released, it's bound to make it big.

Favorite Tracks: Beautiful Thing, I Don't Know My Name

Least Favorite Track: Gossip Girl

Rating: 88 / 100

The Last Shadow Puppets - The Dream Synopsis EP

The big return of The Last Shadow Puppets this year sent indie fans into spirals. They aren't quite done with 2016 just yet - the band has shared their new The Dream Synopsis EP, featuring pseudo-live performances of some covers and reworked versions of a few older tracks.

The band released their second album Everything You've Come To Expect back in April as a follow up to their 2008 self-titled debut. The record marked the end of the band's hiatus, and 2016 has been a largely successful year for them. Still, the band took time to get intimate. The Dream Synopsis EP has a fittingly dreamy atmosphere around it, the chamber acoustics adding some color to the previously heard tracks.

The EP features reworks of two tracks from Everything: 'Aviation' and 'The Dream Synopsis.' The only noticeable differences are the rawer performances and accentuated orchestras. 'Aviation' somehow sounds even more cinematic and dramatic than the studio version, which is quite the feat. The orchestras really soar to an epic level by the end of the track. The vibe in 'The Dream Synopsis' is largely the same, but its sweetness can always be appreciated. The symphony only helps accent the song's creamy textures.

The Dream Synopsis EP also features four covers that the band performed throughout their 2016 tour. The first is 'Les Cactus,' formerly by French singer Jacques Dutronc. The cover steps away from The Last Shadow Puppets' signature drama and instead features a cool rock n' roll side to the band that doesn't come out too often. The same vibe follows through with a cover of The Fall's 'Totally Wired,' though this uncharacteristic nature of the band doesn't work as well here. The band stay in that era of music with a cover of the Glaxo Babies' 'This Is Your Life,' a dark tone settling over this track. The final cover is a classic by the late Leonard Cohen, 'Is This What You Wanted,' a song which really captures the essence of this band perfectly, especially when its Alex Turner delivering the vocals.

The Dream Synopsis isn't the perfect EP, but it's a nice treat from a rather elusive and dramatic band. These reworks and covers are a nice, raw taste of this band's core, providing for a very revealing listen. The Last Shadow Puppets aren't quite like anyone else, and they truly own that.

Favorite Track: Aviation (The Dream Synopsis Version)

Least Favorite Track: Totally Wired

Rating: 74 / 100

Arcane Roots - 'Curtains'

Arcane Roots are the most promising band that have yet to really hit it huge in the world of English music. Their sound is unmatchable by even the biggest bands, tapping into an undisputed energy and bombastic nature that just isn't found anywhere else. Their new song 'Curtains' treads into new territory for the band, but they still ace it all the way through.

The most striking part of the song is that it's not a quick-to-build-up song like tracks found on their last release, 2015's Heaven & Earth EP. Songs like 'Slow Dance' and 'If Nothing Breaks, Nothing Moves' featured short, energetic bursts before truly torpedoing into unrestricted energy. 'Curtains' is a different beast. It builds slowly, moodily, and darkly, primarily consisting of synths until it reaches its climax. Vocalist Andrew Groves shows a lot of restraint in his voice, his melodies swaying with defeat.

The synth composition is something new for the band. They haven't had a song yet where synths and electronics were the primary focus for over half of the record. Arcane Roots' recognizable wall of sound is still present, though; the song ends with a barrage of epic distorted guitars and Groves' signature belts, bringing a victorious and violent conclusion to the track. Synths ring high in the background behind Groves' angered screams and the thrilling, bursting guitars. This is where the band reaches those unfathomable heights - the song's build is the climb, and when the guitars come in, you jump from the peak.

Arcane Roots is a band that can change everything about themselves and still exceed with flying colors. 'Curtains' is a step in a new direction, and it's the most confident first step any band has ever taken. They take risks that few would dare to, and that danger invigorates them to create truly monstrous soundscapes that you've never even imagined could be possible. They've been plotting all this year - 2017 is on the horizon, and it's time they make their mark.

Rating: 96 / 100

The Rolling Stones - Blue & Lonesome

The legendary blues rock band The Rolling Stones is back for the first time in over a decade with new material. Well, almost. The band's Blue & Lonesome is a very revealing record for the future of this band.

First and foremost, this record is not new material. It consists entirely of covers of old blues and jazz tracks. The only sense of "new" this album has is the fact that some of these covers have a different vibe than the original. Other than that, Blue & Lonesome feels entirely lazy and like the band has run out of life.

If the covers at least showed a different array of sounds, this album would be at least a bit more inviting. But no, every track sounds virtually the same. That is by no means the fault of the original artists; if anything, it's the Stones' fault for making the same sounding cover again and again. From the first track 'Just Your Fool' by Buddy Johnson to the last track, 'I Can't Quit You Baby' by Willie Dixon, you are just tired of hearing the same track. It's the same harmonica solo, the same guitar sound, the same vocals, everything. There is nothing to gain from this record beyond the first track.

Have The Rolling Stones run their course? Not only is Blue & Lonesome devoid of original material, but it also has the same recurring sound over and over again. It feels like there's no inspiration left. There's no confidence like they had in their biggest hits, just comfort in the same sound, and that's about as low as you can get in terms of passion. Comfort is the enemy, you have to challenge yourself - that's how you grow. The Rolling Stones don't seem to want to do that anymore.

Favorite Tracks: none.

Least Favorite Tracks: all of them.

Rating: 19 / 100

You can listen to or buy Blue & Lonesome from the following:

deadmau5 - W:/2016ALBUM/

When the artist themselves disown their own record before it's release, you can't really have high expectations. This is what deadmau5 has done with his latest record W:/2016ALBUM/, which largely lives up to what he says about it.

Prior to its release, deadmau5 himself called the record "rushed" and "slapped together" on Twitter, downright claiming he released it just to pay the bills. That does feel like the case for a lot of this record. The first half of it is absolute monotonous droning; it's loops that show little change or progression that go on for far too long (the shortest track within the first third of the record is five minutes long). '4ware' is the starter of the album, and it's bouncy synths aren't enough to justify the same loop going on for eight and a half minutes. The run of '2448' through 'Deus Ex Machina' is the biggest waste of 18 minutes imaginable. There is absolutely no reason for these songs to be over five minutes of length - even if they were three minutes long they'd still be as boring as they are now.

The second half of the record isn't amazing but at least it's more interesting. 'Imaginary Friends' is the first song on the record with promise, the synth melody builds up in the intro in a very pleasing way - the rest of the song unfortunately returns to the same boring synth loops that really ruin the record. 'Let Go' features actual vocals on it: a very refreshing sound on this very mechanic record. The song features the same problem as 'Imaginary,' though, and becomes way too repetitive. The extended edit actually makes this worse, despite developing some of the more interesting parts of the song futher.

While still not great, the only song that really shows what this album could have been is the first single 'Snowcone.' It has the same formula as earlier songs, but it has loops that progress and change up give the song different levels of interest throughout it's play time. It's the same sound for five minutes, but on top of that sound comes different elements that will capture your ear. That's the way house music should be. Eight minutes of the same loop is just awful.

deadmau5 has had a rough year, battling depression before announcing his break from music, but this was not the way of getting back into it. W:/2016ALBUM/ is exactly as he described: a subpar collection of songs that were just slapped together. It's nothing you would expect from him - there's no excitement and it's impossible to vibe to many of its tracks for too long. He's already begun work on his next record, so let's hope he finds his inspiration to make something better.

Favorite Track: Let Go

Least Favorite Tracks: 2448, Cat Thruster, Deus Ex Machina, Glish

Rating: 38 / 100

John Legend - Darkness and Light

You can't match the smoothness of John Legend. He's a pop king, as it stands. His new album Darkness and Light is a furthering of his pop sensibility and his swagger.

John Legend has five albums under his belt now, and Darkness and Light is the pinnacle of his smoothness. It's full of sweet textures and driven instrumentals that really bring his character to life. It's kicked off by 'I Know Better,' introducing the record with Legend's rich timbre and a soulful instrumental. The piano bursts strongly above the organ keyboard, enriching the song's sonic nature. Other songs really capture the sweetness the record wants to exude: 'Overload' with Miguel is very sincere, background harmonies supporting the soothing story of the track, and 'Penthouse Floor' with Chance The Rapper bringing some funk and combining it with the sweetness of the other tracks.

There's some variation in the album, though. It's not all about being smooth. Pulsating bass kicks up the momentum with 'What You Do To Me,' Legend's swaying vocal line really complimenting the background orchestra. The record comes with bluesy tones, too, 'Right By You (For Luna)' calmly starting before its mysterious textures really come to the light. 'Same Old Story' has the composition of a Bon Iver track, glitching pianos resonating before a vocoder starts distorting the vocals in a blissful manner. The title track 'Darkness and Light' gives a darker aesthetic to the album's initial soundscape, too, Alabama Shakes' Brittany Howard bringing a southern, sensual rock twang to the track.

The album is rooting in sweet love. There are several songs that make the most out of their sweetness - 'Surefire' is the pinnacle of it all, combining the best of the record into one fantastically pure track. It's all in the smoothly progressing guitar and bass, carrying the song in a very sweet and peaceful way as John Legend sings introspectively and with want, strings providing a little extra punch to it.

John Legend is a popstar in the most lowkey of ways. His music is huge as a result of how raw his messages are. It's all about love when it's coming from him - Darkness and Light sees the highs and lows of it, relating to everyone in someway. It plays through with few moments of energy, but its emotion stays strong throughout.

Favorite Tracks: Surefire, Darkness and Light, What You Do To Me

Least Favorite Track: Marching Into The Dark

Rating: 72 / 100