Rapid Fire Reviews (LSD, Cage The Elephant, Lizzo)

Image result for lsd cover artLSD – Labrinth, Sia & Diplo Present… LSD

While it seems like the oddest of pairings on paper, Diplo, Labrinth and Sia have teamed up for a brief project under the name LSD. Diplo is one of the most tried-and-true hitmakers in the business, and adding the nearly boundless voices of these British and Australian balladeers seems like a recipe for success … except that save for the standout tracks that they pushed as singles, most of this seems like Diplo reverting back to the most basic of pop formulas that he knows so well in order to stretch this musical partnership to a full-length project. While the vocal acrobatics are always engaging and there are a couple high-octane surprises in the tracklisting, most of this project is painfully safe.

The a cappella opening of the project previews just how good it could have been, Sia and Labrinth’s voices working surprisingly well together despite how distinctive and instantly recognizable they are. I would have loved to hear a lot more tracks that fit more into this slower tempo to really hear them thrive, but Sia’s attacked uptempo EDM tracks before and still brings the energy to a couple of these tracks. One of the best on the whole project might be the first full-length song, “Angel In Your Eyes.” It’s a seriously quirky electronic track that sees Diplo introduce us to a disorienting and woozy world that the cover art and the supergroup’s moniker suggests, though it’s really the only time this theme seems to fit here. The childlike backing vocals, hyperspeed tempo and chopped up melodies that bound madly around the soulful main hook and Diplo’s bleeps and bloops really demonstrate his strength as a pop producer. The last beat switch is a great shift in energy as well.

One of the greatest aspects that keeps up throughout this project is actually the way that Sia and Labrinth frequently trade off who sings every aspect of the verses and chorus, so you always get to hear both voices on every melody the song has to offer. It’s a nice twist that you weirdly don’t hear too often on pop duets. The triumphant “Genius” is another pretty great track before the project drops off in quality. Diplo makes his synths sound absolutely orchestral as the two make grandiose claims sounding like some mad scientists. The way Sia says “he’s a genius” is something that won’t leave my head in a while, and those belted harmonies at the end only reinforce the vocal talent on display here.

The other big single “Thunderclouds” doesn’t fare quite as well. There’s not much to say about quite a few of these tracks, they’re essentially made to not stand out. The melody doesn’t jump out at me like some of the others here, Diplo distilling the dying remainders of big, happy and upbeat pop music into one last swan song by amalgamating every trend there is.

So many of these other tracks fall so quickly into these pop tropes, with repetitive lyrics and dated dance breakdowns. It probably shouldn’t come as much of a surprise that it feels like this project was released so late, most of these tracks quite a few months old without many new ones coming on this release … anything new that we’re getting now really doesn’t measure up and seems like a lot less effort was put into these just to call it a full album. The track “Audio” seriously sounds like it comes from 2013, though it’s one that would have shut down the clubs back then. There must not be more than 50 words in the track, the rest taken up by one of those chill dance breakdowns that used to be in every pop song on the radio.

“Mountains” and “No New Friends” have some great elements mixed with a couple of melodic decisions which really don’t make sense, which is surprising considering the man behind the boards. The heavenly opening of “Mountains” sounds seriously promising, sounding like some kind of choral hymn as Labrinth reaches up into that famous falsetto, but then the track drops out into this tropical-house groove with some generic lyrics about moving mountains and a chaotic, badly mixed dance drop. When it tries to bring back the same choral sound for the second verse, it’s laughably out of place at that point. The carefree “la-la” chorus of “No New Friends” makes me want to get up and dance, but everything else about the track is pretty phoned in.

The project ends a little stronger with the tracks “Heaven Can Wait” and “It’s Time,” which are built to show off the strengths of the vocalists a little more. The former has a hook so perfectly tailored for Sia’s range, her playing off of Labrinth’s emotional vocals in the verses with some soaring notes that sell the chorus over some steel drums, while “It’s Time” takes a break from the frenetic pop jams for a minimal piano duet where the vocalists can really show off – it’s the kind of thing they should really be doing just about all the time.

Diplo is probably one of the greatest pop producers working right now, so it’s weird to hear what happens when his hitmaking instincts are still clearly there with a little less effort put into them. There’s a lot of great aspects to this project and I’d even love to hear the three work together in the future, but LSD is a seriously inconsistent exercise for now.

Favourite Tracks: Heaven Can Wait, Angel In Your Eyes, It’s Time, Genius

Least Favourite Track: Audio

Score: 5/10

Image result for cage the elephant new albumCage The Elephant – Social Cues

The alt-rock veterans are still going and making a huge impact in the music scene. With their fifth studio album, Social Cues, the band that’s always had the slightest bit of a hip-hop influence adapts their sound to a more modern context pretty perfectly, linking up with producer-of-the-moment John Hill, who has recently given hits to both established pop stars and indie bands looking to crossover – his biggest success being “Feel It Still.” This is a strong project from the group, combining their immediately memorable hooks and fuzzy guitar charm with some more modern percussion and compelling lyrics about mid-career contemplations in a struggling genre.

The opening 5 tracks of the project are a very impressive run, easily making a case for radio play with some seriously catchy hooks even when a lot of these tracks are driven by some almost garage-rock sensibilities instrumentally. They know it too – “People always say, ‘at least you’re on the radio’,” they sing on the title track “Social Cues” with a tinge of sadness as they sing of creative struggles and dealing with fame. The opening track might be the purest rock song of them all with some punchy guitar hooks, but tracks like “Social Cues” and “Black Madonna” remove the fuzzy filter on the vocals and make plays for arena-sized anthems. You’d think someone would have done it before, but it’s so interesting to hear a modern beat with prominent hi-hats played on a real drumset, or at least, one that can alter the sound and mute them like they do on the title track – although they go full computerized with the track “Night Running” later on to similarly great effect. “Black Madonna” is an absolute knockout of a song, continuing the themes of the previous track by sarcastically comparing the allure of fame to some kind of entrancing goddess as awe creeps into frontman Matt Shultz’s voice. It’s a pretty simple but effective instrumental, the bassline driving the track and building up to the intoxicating falsetto chorus.

“Night Running” features Beck and takes more of a dive into his darker, woozy sound with some reggae influence – quite a bit of this project actually reminds me of what made Twenty One Pilots’ recent project Trench so effective – their general sound is quite far removed from everything else on this level of popularity, but they’re not afraid to apply their trademark style to just about anything else and try out some new things. Some catchy synth piano leads us into the slow-burning “Skin and Bones,” which slowly builds up to a dramatic orchestral conclusion, but “House Of Glass” demonstrates exactly what I mean – it’s the shortest track here, but you wouldn’t realize that listening it since it goes to so many unexpected and experimental places and makes a lasting impression. Shultz’s vocals are rapped with a deadpan delivery before the chorus brings in some of the most distorted and chaotic guitars on the whole projects and some gang vocals shouting about an illusion. A virtuosic guitar solo caps the whole thing off.

Another great thing about this album is its structuring – even if there’s not a fully realized story from beginning to end, the band knows how to put tracks with similar themes together. After their discussions on fame in the first half, the way tracks like “Love’s The Only Way” and “The War Is Over” transition into each other and expand on some of the points brought up in the previous track keeps the listener engaged at all times, in this case Shultz finding a love that ends all of the negativity – or the “war” – that he sung about in the early goings of the album. The former especially is a pretty beautiful stripped-back and calming track with a great story behind it – the ode to love is intentionally written in a key higher than Shultz can sing comfortably, so that his brother who plays guitar in the band has to help him out on some of the higher notes – love’s literally the only way it can be performed. Ending the album on the absolutely heartbreaking “Goodbye” is quite the choice as well – Shultz could apparently only bring himself to sing a single take and you can seriously tell how much pain is behind his words as he sings of the end of his seven-year marriage, repeating “I won’t cry” and “it’s alright” unconvincingly.

The album is somewhat frontloaded, placing most of the best tracks in the first half as it loses a little steam towards the end, but most of these tracks have at least something to like about them. Tracks like “Dance Dance” and “Tokyo Smoke” have the same kind of enjoyable upbeat garage-rock strut that persists throughout the project, but they don’t distinguish themselves much from other tracks on the project, especially when most of them have some kind of instrumental surprise or genre-defying flourish that individualizes them.

This band has come a long way since “Ain’t No Rest for The Wicked.” Social Cues is a project that’s both surprisingly modern and true to their roots at the same time, with frequent surprises and no shortage of hooks that you’ll be absentmindedly singing along to in no time.

Favourite Tracks: Black Madonna, House Of Glass, Social Cues, Skin and Bones, Love’s The Only Way

Least Favourite Track: Dance Dance

Score: 8/10

Image result for cuz i love you album coverLizzo – Cuz I Love You

2019’s most explosive breakout star is finally ready to explode into the public eye with her third studio album, Cuz I Love You. Lizzo has already been somewhat of an icon in the LGBT community for years with her special brand of overwhelmingly self-affirming and confidence-boosting lyricism, but more and more people are realizing that the messages of inclusivity she preaches are so fun that just about anyone can get involved regardless of who they might be. Lizzo is a lot more than just a rapper, running through sparkly pop hooks, fully-belted R&B ballads and neo-soul, and even bringing her famous flute on board in a complete obliteration of genre conventions. Her off-the-cuff effortless charm is hilarious and she certainly has the talent to back it up.

Cuz I Love You is a project infused with Lizzo’s infectious personality, dropping quotable and fun rap lyrics while also translating her loud, unapologetic nature into passionate and impressively soulful R&B material. Thirty seconds into the opening title track, Lizzo has already sung a full-voiced a cappella soul belt, referenced a meme and giggled as she raps “what the f**k are f**kin’ feelings, yo.” “Cuz I Love You” is a doo-wop throwback with bouncy piano rap breaks and immediately introduces the listener to just how fun and dynamic Lizzo can be. Structured more like a series of fun dancefloor fillers than a cohesive album, the project still works because Lizzo’s all-out celebration of all aspects of her identity is genuinely inspiring – for example, she celebrates body positivity on “Tempo,” interracial love on “Better in Color” and enjoys the single life on “Soulmate.”

She puts some of her most pop-oriented tracks right up at the front and shows why she’s ready to break through to mainstream audiences. The second track “Like A Girl” sees her referencing some successful women in pop culture in her rap verses and a 90s-influened massive pop hook as she backs herself up with some shouted chants, cheering herself on in the way that only Lizzo can before a rhythmic switchup in the bridge where she takes full control, but “Juice” is the real shining centerpiece here. Lizzo’s music is essentially the perfect “getting ready to go out music”, strutting down the runway and proclaiming herself “goals” with a funky throwback instrumental and confident half-sung delivery. “Soulmate” continues the self-love theme with one of the most uplifting hooks on the whole project, a syncopated synthpop beat accentuating her flow as she sings “bad b*tch in the mirror like yeah I’m in love” with an audible smile on her face.

The most Lizzo song of all here might actually be “Jerome,” which blends together everything great about her into a song that’s simultaneously legitimately emotional and absolutely goofy, dropping into a waltz tempo as Lizzo introduces the track with a “Look, listen, shut up,” going for the Oscar and putting on her best melodramatic and theatrical voice as she instructs her man “take your ass home.” It’s so hard not to make this entire review quotes of Lizzo’s lyrics – everything she says is absolute gold, and her mixed vitriol and lingering affection for the song’s target generates some of her funniest and most relatable lines, all while demonstrating her ever-surprising talent with some seriously soulful falsetto notes at the track’s conclusion.

Lizzo’s got huge ambitions, and for someone who was dropping meme-raps like “Phone” back in the day, it’s always a shock to hear her legitimately pull them off. The next two tracks see her link up and hold her own with an idol of hers in Missy Elliot and go full Prince with the Minneapolis-funk inspired track “Crybaby,” where she completely abandons her rap persona and transitions fully into a soul diva.

The end of the project is just as strong, even if the lack of cohesion and Lizzo coasting through some of the less-organized off-the-cuff moments on sheer charm alone starts to become a little more evident as it hurtles towards its ending. “Tempo” is a great club track, but there’s not much about it that really comes together , while tracks like “Exactly How I Feel” and “Heaven Help Me” feel underwritten, just leaving a lot of space for Lizzo to show off her booming vocals without much attention paid to song structure – smooth Gucci Mane feature aside. Except for the fact that that sheer charm I mentioned is probably more powerful than just about anyone working in the game right now – you can’t possibly listen to Lizzo and not have a great time. It ends with the track “Lingerie,” a much quieter sensual track that moves through three different chord changes and leaves things off with the impression that Lizzo could seriously be a leading R&B artist if she wasn’t busy doing just about everything else as well.

Songs written for the primary purpose of being a feel-good anthem can often elicit eye-rolls, but Lizzo is both authentically herself and inclusive enough that it’ll make anyone want to join her party. She represents the perfect antithesis to the wave of sadness taking over popular music right now.

Favourite Tracks: Jerome, Juice, Soulmate, Better In Colour, Like A Girl

Least Favourite Track: Exactly How I Feel

Score: 8/10

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Rapid Fire Reviews (Offset, Lil Pump, Hozier)

Offset Father of 4.jpgOffset – FATHER OF 4

The third and final member of the ultra-popular rap trio Migos to release their own solo project as we wait for Culture III, Offset actually takes the opportunity to do something you don’t often see the group doing: opening up and getting emotional. The album delayed due to relationship drama with Cardi B, Offset has quite a few tracks here acknowledging his mistakes and reflecting on himself, as well as zooming the lens out a little further and giving some insight and storytelling tracks into his upbringing and his relationships with the rest of his family. FATHER OF 4 does suffer from filler and long album syndrome as well as the lack of the other Migos to play off of, but has its fair share of surprises as well. Offset exists in a kind of commercially viable middle ground between his groupmates, possessing parts of both Quavo’s charisma and Takeoff’s technical ability.

Of all the things you might have expected a Migos-affiliated album to open with, it might not have been a somber orchestral arrangement, contemplative piano and Offset’s heartfelt ruminations on the births of his 4 children, addressing each of them by name and apologizing for the times he wasn’t there. The track gives a pretty good indication of how the rest of the album is going to go – while Offset might have the least natural musical instinct of the three Migos, his Auto-Tuned flow here never quite finding that catchy pocket or fitting with the song, what he’s saying is genuinely captivating, and that’s the part that makes FATHER OF 4 really work. The next track, “How Did I Get Here”, features J. Cole and finds the two reminiscing on making it out of the cycle of crime to find success. It certainly doesn’t reach the same level of depth as the last one, falling back into some more Migos-esque bars, but at least it’s about something – again, something that’s pretty rare for the trio. Cole really elevates the track with a much more aggressive delivery.

Honestly, for all the oversaturation Migos have had recently, you still can’t deny the energy of their greatest bangers, and Offset certainly delivers a few of them here, even if I do miss some of the complementary voices as the tracks go on. “Lick” rides a nice flute sample and fuzzy bassline and sees Offset switch up the Migos flow for a catchy chorus. Offset’s speedier flow is infectious, and there’s something about that “woo! woo! Offset!” adlib that sets me off every time, and the busy trap beat of “Made Men” and driving, slightly eerie synth line of “Wild Wild West” certainly allow him to show off his greatest skills. But undeniably the best classic Migos trap banger on the project is a collaboration with none other than Offset’s wife on the track “Clout”, featuring a dramatic piano loop and an absolutely hilarious and personality-driven verse from Cardi as Offset reflects on the clout-chasing culture they are caught up in.

One of the most surprising tracks on the whole album is “North Star” with Cee-Lo Green, which begins like a pretty standard trap cut before some acoustic noodling creeps in and the track gets spacier and moves into some creeping, ethereal synths that reminds me of something like the awe-inspiring nature of an ODESZA track – the perfect arena for Green to enter with some absolutely incredible and theatrical vocals, building on Offset’s paranoid bars with some powerful lines about perseverance. Backed by a gospel choir, it gives me chills every time and the fact that it came from a Migo is amazing. “Don’t Lose Me” is another compelling look into Offset’s emotions, opening with a clip from his public apology to Cardi and proclaiming that he wants to be with her for life.

Of course, this wouldn’t be a Migos album without its fair share of tracks that serve only as uninspired filler and sound like they were made in a couple minutes – because they probably were, as the Migos will readily admit. Tracks like “Tats On My Face” and “Underrated” are some of the hardest on the project, but fall very flat since we’ve heard so much similar material from them already. There are a couple more tracks at the end that are loaded with features from all over the industry, but even they can’t quite liven it up after track after track of the same Migos flow – Travis Scott sounds especially lethargic on “Legacy”.

Ultimately, I’m glad that we did get these three projects from each of the Migos members, as it did allow them to display their greatest strengths. As always though, they’re better together. If we’re measuring them against each other, I’d say Takeoff’s project takes the crown, but this one’s right behind.

Favourite Tracks: North Star, Clout, Made Men, Wild Wild West

Least Favourite Track: Legacy

Score: 6/10

Lil Pump - Harverd Dropout.pngLil Pump – Harverd Dropout

What is there to say that hasn’t already been said about 18-year old viral sensation Lil Pump? Perhaps known even more so for his antics on social media than his music, even after racking up nearly a billion views on his single “Gucci Gang”, Pump fully embraced his status as a living meme as soon as he strut down that hallway next to Kanye West in a Roblox costume. Harverd Dropout is his second studio album, and it’s been pretty universally panned, but to be completely honest – I have a lot of fun with Lil Pump’s music. It might be some of the most mind-numbing material out there, but the sheer enthusiasm with which he embraces the persona he puts out – just the way he delivers the line “I’m a millionaire, but I don’t know how to read”, adding a cheery “nope!” as an ad-lib on the track “Be Like Me” as an example – makes it hard to hate the guy. Fine, fine – it’s objectively terrible music. But there’s a lot of terrible music that isn’t anywhere close to being this fun.

Lil Pump’s “ooh!” (and the usually accompanying “huh??”) is one of the most visceral, inexplicably energizing ad-libs I’ve ever heard. There’s something so gleefully ignorant and flippant about it, and it’s the perfect way to punctuate Pump’s ridiculous lines – my favourite of which might be Pump, with an audible giant grin, saying “I gave lean to a newborn baby” on the track “ION”. The first two brief tracks “Drop Out” and “Nu Uh” both see Pump flexing about dropping out of school (now he’s richer than your mom) over some garish 8-bit synths and a breakneck tempo that brings out the most hyperactive sides of his youthful vocals. And of course, this drops right into “I Love It”. The fact that this track hit top 10 is absolutely hilarious to me. Pump and Kanye both knew exactly what they were doing with this track, and everything they do on it falls right in the perfect uncanny valley between serious and jokey. It’s the same reason “Old Town Road” is so huge right now, and “I Love It” is so genuinely maddeningly catchy that it can’t be seen as just a joke in the same way.

Honestly, some of the most taxing moments on the project actually come when feature artists are invited into Lil Pump’s world, since nobody exists on the same level of absolute memery as him. The closest thing we get is goofball 2 Chainz on the track “Stripper Name”. Pump actually tries to be more serious to match their average contributions instead of the other way around, and his complete lack of ability as an actual musician gets exposed in the process. The two features from members of the Migos on the tracks “Fasho Fasho” and “Too Much Ice” are so phoned in, and the repetitive beats that Pump frequently raps over aren’t as fun when Pump doesn’t have any of those trademark outlandish quotables overtop. The latter just … really hurts my brain. It’s all a little too loud. Lil Wayne’s verse on “Be Like Me” really isn’t that bad, but it’s easily the longest track here and it’s clear they were trying to get a real single out of Pump. He just doesn’t work in a traditional song structure; Pump is fully a product of the short attention span generation.

It’s really a very strange balance with Lil Pump – much like making something catch virality on the internet – there’s a very fine line here between headache-inducingly terrible and absolutely hilarious. It really makes it hard to give the project a score, or even write up serious criticism on it. Take the track “Vroom Vroom Vroom”. It really is little more than Lil Pump making a series of car noises. And maybe it says something about me, but I can’t help but smile when I listen to it. Can I, a music reviewer, even call it music? Debatable. The man drops Fortnite bars on “Off White”. He knows what he’s doing, and it’s not making music.

Lil Pump isn’t real. He’s a character, and a pretty funny one at that. I equate his music, quality and enjoyment level wise, to something like what The Lonely Island was making back in the day. And while no one was arguing that was high art, and it certainly had its fair share of huge misses, it was still pretty enjoyable. I’m looking forward to what in the world this guy is going to do next. ESSKEETIT!!!!!!!!!!

Favourite Tracks: I Love It, Drop Out, Racks On Racks, Butterfly Doors

Least Favourite Track: Too Much Ice

Score: 🤑/10. Man, I don’t know. Let’s just say 6/10, I guess.

Hozier - Wasteland, Baby!.pngHozier – Wasteland, Baby!

It’s been about 5 years since a deep-voiced Irishman invaded pop radio with an unlikely hit single about the hypocrisy of the Catholic Church, and Hozier has finally returned with his second studio album, Wasteland, Baby! After an introductory EP that gave us the impactful and moving protest song “Nina Cried Power”, which landed on my top tracks of the year list, and the mellower track “Shrike”, the full album is a reminder of everything that we loved about the disruptive force in the mainstream music scene in the first place. Standing at 57 minutes in length, it’s hard not to see through Hozier’s formulas at times. A couple of these tracks sound a bit like a copy-and-pasted “Take Me To Church”, but there is still essentially no one else successfully occupying his lane. Most of the singer-songwriter types from 5 years ago failed to adapt, but Hozier still sounds fresh as ever.

After the fiery opener, the project drops into the track “Almost (Sweet Music)”, which, if we’re connecting these tracks to his older material, is this album’s “Jackie and Wilson”. I still think that’s Hozier’s greatest song, so I don’t much mind the adherence to formula here. Hozier’s voice is pretty unparalleled in its expressiveness. Set over some sunny acoustic chords, when those soulful backing vocals come in to support him in the second verse it’s hard not to get lost in this ode to music itself – Hozier is essentially running through a list of his favourite songs in the lyrics. Hozier has mastered this inexplicable thing in quite a few of his songs, this kind of eerie feeling as he sings some powerful, larger-than-life lyrics in a minor key. “Movement” displays this perfectly as he sings about the effect his partner’s love has on him, but even as he’s celebrating it he sounds almost a little scared of it, an all-encompassing thing about to take over his body and make him do involuntary things – that’s the vibe that almost all of Hozier’s big-concept songs give off. It’s a pretty good formula to follow. The longer track “No Plan” is another soulful jam session that keeps a strong start going. I love that fuzzy lead guitar, reminds of a Black Keys song.

As the project progresses and we hit the middle section, we get an opportunity to focus a lot more on that beautiful tone with a series of calmer songs beginning with the dramatic and minimal “As It Was”. This track sounds almost like something out of Lord of the Rings as Hozier seems to be singing about a love that persisted through some unknown dark and evil fog: “the otherness came”, he ominously sings. It’s an absolutely chilling song. “Talk” is another pretty strong track by the delivery of those background “hey-yeaaaaa”s alone.

There are certainly a couple tracks here that don’t quite hit the same level of gravitas that I come to expect from a Hozier song, or serve as a tonal counterpart to an earlier track that doesn’t hit quite as hard. The chorus of the track “To Noise Making (Sing)” is seriously awkward, replacing Hozier’s usual strong lyricism with the repetition of a single word, and the way the backing vocals in a nasal higher octave are mixed louder than Hozier’s own voice is a strange choice. By the time we get to tracks like “Be” and “Sunlight” at the end of the album’s runtime and we start to hear the same crunchy effects on the guitar and the same tactics of extending those higher, choral notes in the background that we’ve heard elsewhere in the album, I start to wonder if it needed to be this long. Nonetheless, Hozier’s voice is always a treat to listen to regardless. “Would That I” is a great, emotionally delivered track that breaks up the monotony at the end as well.

The opening run of 4 tracks on this thing alone is enough to make me wonder why I’ve seen some of the more mixed reviews on this project floating around on the internet. Hozier is a refreshing presence in the world of mainstream music and I sincerely hope he’s not gone for as long until the next one.

Favourite Tracks: Nina Cried Power, Movement, As It Was, Almost (Sweet Music), No Plan

Least Favourite Track: To Noise Making (Sing)

Score: 8/10

Rapid Fire Reviews (The 1975, Meek Mill, Rita Ora)

Image result for the 1975 a brief inquiry into online relationshipsThe 1975 – A Brief Inquiry Into Online Relationships

British pop-rock band The 1975’s third studio album is easily their most experimental and ambitious, diverting from the typical straightforward guitar-driven anthems to a diverse and discordant array of genres with central themes of attacking the political landscape and our dedication to social media and technology. I’ve often found that the band has tried way too hard to make a huge statement that isn’t really there in the past, but frontman Matty Healy gets his message across a lot better here for the most part. Despite a couple experiments that don’t quite work out the way the band wants them to and a fair share of fake-enlightened ridiculousness, A Brief Inquiry into Online Relationships is a respectable step forward. I certainly didn’t see anything like this coming from them.

After a brief intro, we’re dropped into the high-pitched guitar riff of “Give Yourself A Try”, perhaps the track which recalls their earlier material the most of any here. A driving rock song, Healy’s voice cuts through the distorted mix as he immediately dives into some pretty dark topics, addressing struggling with finding meaning as he transitions into his 30s, even comparing his life with a young fan who took her own. It’s hard to understand the lyrics at times here when the mixes are so loud. Healy’s voice gets a little buried at times, but most of what he says is very pressing and poetic. The track “Love It If We Made It” has found its way onto numerous year-end lists, Healy singing “modernity has failed us” among a series of blunt and disjointed statements including Trump quotes, depictions of extravagant riches and Internet lingo. Healy pushes his vocals to the brink here – he sounds overwhelmed, breaking down, the song’s title repeated in the chorus as a desperate plea of sorts. The accompanying music is pretty great too – I love the half-time switch-up introduced in the second chorus, adding a funk bassline and some pounding walls of shimmering synth chords.

Sprinkled throughout the tracklisting are these completely unexpected switches in sound. “How To Draw/Petrichor” is a sparse and cinematic track that spans nearly 6 minutes that consists of twinkling orchestral instrumentals and beautifully layered vocals from Healy, ultimately adding an almost drum n bass dance beat – it complements the technological theme well, the digital intruding. One of my favourite experiments the band makes here is the addition of choral, soulful backing vocals on the tracks “Sincerity Is Scary” and “I Couldn’t Be More in Love”. The former is framed by some warm synth-piano chords and that accommodate the harmonies well, Healy toning down his vocals to an intimate and sincere level as he asks “why can’t we be friends?”, while the latter uses them to their full emotional effect, suddenly roaring in after an emotional soul ballad that goes full 90s R&B on the instrumental (there’s even a key change!). The track “It’s Not Living (If It’s Not With You)” is another great experiment, essentially sounding like a classic 80s pop anthem – the chorus melody actually really reminds me of “Heaven Is A Place On Earth”, and it captures the same euphoric high, with some celebratory harmonized gang vocals on the hook.

There are certainly a few experiments in genre that don’t really work out as well, however. The acoustic, folksy ballad “Be My Mistake” is relatively simple and repetitive melodically, and Healy’s penchant for the overtly blunt drops a few ridiculous lyrics into the mix that are all the more evident due to the minimal instrumental. I really didn’t think I’d get a trap beat on an album like this, but there it is on “I Like America & America Likes Me”. Healy’s vocals on the track are processed through some kind of Bon Iver-esque machine, and the tonal contrast, especially as he keeps hitting the same wailing vocal melody in the chorus with an unpleasant amount of distortion on his voice, turns the track into a bit of a chaotic mess. “Inside Your Mind” is another slower track where Healy sounds like he’s putting on a different voice, over-enunciating his words, which just gives me the chills due to the creepy subject material of the track. Healy described it as “wanting to know what your partner is thinking so much that you want to smash their head open to look” – except he takes it to a disturbingly literal level.

As the band has always been, most of this album is pretty self-indulgent, and when they start exercising some of their worst tendencies the project can go off the rails a bit. However, it’s almost as if the world has gotten so much more confusing and ridiculous that some of their typical ways to address it almost fit too perfectly where they didn’t before. This album is certainly nothing if not ambitious, and its high points are pretty incredible.

Favourite Tracks: I Couldn’t Be More In Love, Love It If We Made It, It’s Not Living (If It’s Not With You), Sincerity Is Scary, How To Draw/Petrichor

Least Favourite Track: Inside Your Mind

Score: 7/10

Meek Mill – Championships.pngMeek Mill – Championships

Meek Mill’s Championships is his fourth studio album, and the rapper returns with as much unbridled energy as before. Never afraid to get deeply personal, the project contains quite a few detailed narratives of his experiences in jail, extending it to a criticism of the justice system at large after an FBI investigation into the inappropriate conduct of his judge. While his lyrics and storytelling are always a strength, the album is a bit of a mixed bag standing at 19 tracks and over an hour in length. Meek’s boastful tracks are always fun to listen to when he backs it up with the over-the-top, insatiable delivery that he possesses, but there are more than a few misses where things go on for too long, or a guest vocalist doesn’t quite deliver. Still, there are a fair share of tracks here that are enjoyable for vastly different reasons.

Meek sends a shot at “mumble rappers” on his Phil Collins-sampling “Intro” track, and if anyone is the exact opposite, it’s him. Meek’s voice is always at a full-voiced and expressive shout that’s assertive without veering into the abrasive 6ix9ine territory and assists in delivering both his earnest and emotional life stories and his braggadocio bars. Things pick up for the first time on “Uptown Vibes”, a track that Meek’s energy sends through the roof built on a melodic, Hispanic-sounding trumpet loop and a beat that switches back and forth from aggressive trap to reggaeton – Latin trap artist Anuel AA even shows up to add some Spanish flair to the track. This transitions into “On Me” with Cardi B, and I couldn’t think of a better combination – these two are equivalents in the vitriol with which they attack the mic, and the sinister instrumental allows them each to do what they do best, as unapologetic and unbothered as ever. As much as I can never stand Kodak Black’s voice, “Tic Tac Toe” is another adrenaline shot that introduces another great back-to-back with the track “24/7” with Ella Mai. There’s something about her silky-smooth classic R&B vocals on the chorus complementing Meek’s exuberance. Mai taps into her inner Beyonce, singing a bit of her song “Me Myself & I”, which the track samples.

“What’s Free” is a 6-minute track that represents storytelling Meek at his finest as he recruits label boss Rick Ross and Jay-Z for some extended verses on the meaning of freedom. Meek attacks the judicial system with some slavery comparisons, while Jay-Z shuts the track down with some elder statesman knowledge about keeping his wealth secure and avoiding the injustices. The title track, as well, is a pretty poignant reflection from Meek on the system that holds him down over an extravagant and jazzy classic sample, speaking about his father’s death in a robbery, gun control, and simply trying to stay alive in the violent community. “Oodles O’ Noodles Babies” hits a similar mark with a soulful sample and political talk, but Meek’s technical ability as he rides over a pretty complex instrumental seriously impresses here.

This album definitely would have benefited from some editing down – at a certain point, these three and four-minute tracks with Meek running through lengthy verses of political material with his voice at a constant shout starts to feel repetitive and tiresome to get through – it’s why I enjoy some of the more fun tracks at the end of the tracklisting more than most of them here, I needed a bit of a break (“Stuck In My Ways” has a quotable chorus that you can’t help but love). Meek doesn’t place a lot of emphasis on his diverse instrumentals, all of what he’s trying to convey is done through his words first and foremost – which works, in shorter doses. Some more minimal tracks with heavy subject matter like “Respect the Game” and “100 Summers” come to mind. There was bound to be a few filler tracks here, and they mostly come when Meek loses sight of his strengths. “Almost Slipped” is the first of a couple tracks where Meek tries his hand at singing and only succeeds at coming across as an off-brand Ty Dolla $ign – why remove that immediate, percussive impact of your words? Even “Going Bad”, the much-publicized reunion with Drake after a series of diss tracks, is a pretty lackluster effort from both of them, Drake dipping back into his disinterested flow and a few off-key melodic embellishments while Meek sounds like he’s holding back just a little bit to fit with the lower-key instrumental.

Meek is a serious mic presence and a compelling storyteller, but he’s not the most consistent rapper of all time. There’s a great album hiding somewhere in this tracklisting, but Championships diverts away from what he does best too often.

Favourite Tracks: Stuck In My Ways, 24/7, Uptown Vibes, Oodles O’ Noodles Babies

Least Favourite Track: 100 Summers

Score: 6/10

Rita Ora Phoenix cover.pngRita Ora – Phoenix

It’s surprising that Phoenix is only Rita Ora’s second studio album – after label disputes with Roc Nation and signing a new contract overseas, where she’s always been a lot more popular, her sophomore release comes 6 years after her first. Although its clear that this is more of a collection of songs than a fully defined album, pulling from collaborations, movie soundtracks, and songs that are over a year old at times, for the most part Ora recruits an impressive legion of some of the most tried-and-true hitmakers in the business and succeeds at creating some pretty smart and engaging, if not relatively safe, pop music.

All these tracks were new to me, despite some of them being released long ago – and some being huge international hits away from this continent. Opening track “Anywhere” is one of these, but it’s a great way to kick off this album regardless. Produced by Swedish DJ Alesso, the track evades some of the clichés of the pop song bridge building into the instrumental EDM drop with a nice acoustic transition and Ora’s sincere vocal delivery. The way Alesso chops up her vocals in his electronic chorus is ridiculously catchy. This transitions into latest single “Let You Love Me”, which despite that recent lip-syncing mess at the Thanksgiving Day parade is another well-structured pop track drawing from a more EDM style. The way the music cuts out when she hits the climactic highest note in the chorus before dropping into the heavy percussion of the dance break section is a pretty exhilarating moment, and I’m still not tired of the trend of using those vocoder/Prismizer computerized harmonies either – they sound great at the tail end of the track.

Even when the songwriting and production isn’t as strong, it’s hard not to at least nod your head throughout the duration of the album. These are all uptempo, high-octane pop tracks anchored around the strength of Ora’s voice – she has a surprising amount of power for someone who sticks to the dance-pop lane. The high-energy chorus for a track like “New Look” is puzzlingly short, but it’s great while it lasts. “Your Song”, a track written with Ed Sheeran and his production team, is pretty sanitized and inoffensive, but there’s nothing in it that’s overtly bad – as we progress through the album, the innovation goes down and most of these songs turn into background music, but there’s something in Ora’s delivery that keeps me engaged anyway even if there’s not going to be any awards for creativity here. By the time we get to mid-album tracks like “First Time High” though, the formulas are applied worse and worse and the transition to the electronic drop here is a bit of a mess.

There are a few songs throughout that take me out of the immersion of the album – as innovative as Avicii was, “Lonely Together” was one of his weakest recent tracks, and its placement in such a prominent area here despite already being released on his own album both decreases the quality of Ora’s project and unnerves me a bit for capitalizing on an unfortunate situation. “Summer Love”, a track with UK drum ‘n’ bass collective Rudimental, is another track that was released on another album first and doesn’t fit with the sound of the album at all, completely throwing the flow off. Rudimental themselves have a pretty solidified style that doesn’t switch up much from track to track, and hearing the same reiterated beat that I’ve heard before isn’t as exciting anymore. On the other hand, for a track from a movie soundtrack, the Fifty Shades Freed song “For You” with Liam Payne is actually pretty good. The syncopated and overpowering synth line in the chorus and Ora reaching up to some full-voiced high-notes, as well as the way Payne’s lower register complements and supports Ora so well, continues the franchise’s musical hot streak.

After getting through controversial and clunky mega-collaboration track “Girls”, the album ends pretty strong as well – Julia Michaels’ vocals are always appreciated on “Keep Talking”, a track that she wrote, but closer “Hell of a Life” is a true highlight – I love how the main vocal hook is teased earlier in the pre-chorus and cut off, and the off-kilter guitar pattern is a nice rhythmic switch-up.

Phoenix is a weird amalgamation of tracks from a star with a troubled career trajectory (in North America at least), but there’s enough pop starpower on board to make a few great songs – still, a lot of it is bogged down by filler material.

Favourite Tracks: Anywhere, For You (Fifty Shades Freed), Hell Of A Life, Let You Love Me

Least Favourite Track: First Time High

Score: 6/10

Rapid Fire Reviews (Takeoff, Imagine Dragons, Muse)

Image result for takeoff the last rocketTakeoff – The Last Rocket

The second of three solo albums from the members of ultra-popular rap trio Migos, Takeoff’s project is thankfully shorter than most of the rap odysseys his label drops all too often and is easily more enjoyable than the preceding album from Quavo. Takeoff is perhaps the Migo with the most technical ability, but the least personality. The latter certainly shows here with some repetitive and uncreative bars at times, but getting to hear just how well Takeoff can use that rapid-fire triplet flow that we usually get as a brief cap to a Migos track across a full album and some fun instrumentals is enough to establish himself as a threat on the level of his two more well-known counterparts.

The project kicks off with “Martian” after some recordings of a literal rocket ship takeoff, a more minimal track that introduces us well to Takeoff’s rhythmic ability well early on. A surprisingly hard-hitting beat despite not being much more than a creeping, menacing bassline and traditional trap hi-hats, Takeoff’s flow doesn’t stop, and it’s exciting each time the beat hits and kicks off another run of speedy triplets. Takeoff has a great rap voice, a huskier low tone that always serves as a great counterpart to the more hyperactive members of his group, and it both fits in well with some darker instrumentals than usual here and makes it endearing when we finally get to see him inject some personality and emotion of his own onto these tracks. A track like “Vacation” is a lot of fun for the first reason, featuring a slightly orchestral minor-key instrumental and chilling piano from Murda Beatz as Takeoff’s energy is at its peak for the emphatic hook, stretching out the song’s title for hilarious effect. “Casper”, on the other hand, sees him break from the Migos tough-guy persona for a second and actually sound like he’s having fun. Hearing him deliver a line like “Decided what I’m gonna do today!” with genuine mirth and inspiration and just as much technical skill as the other tracks makes me want to return to it more, just as a break from the endless barrage of Migos material we typically get.

The closing few tracks are some of the best, demonstrating Takeoff’s consistency delivering track after track of technical trap showcases. Buddah Bless is quickly becoming one of my favourite new producers with his trademark flute style, and his “Insomnia” stands out here. “Infatuation”, though, is something completely unexpected – an energetic, upbeat fully synthpop track mostly featuring unknown singer Dayytona Fox. These poppy, bouncy tracks always accommodate the Migos flow better than you’d expect, and everything about this track comes together into a dancefloor-ready standout.

The Quavo-assisted “She Gon Wink” is one of the weaker tracks here, further demonstrating just how well Takeoff actually manages to excel on his own. Takeoff adapts more to Quavo’s slower, melodic style on the track and it just makes me wonder why it wasn’t on Quavo’s album. It’s not something I want to be hearing after waiting for Takeoff to get his opportunity to shine for a while, after being a highlight in so many Migos tracks. “None to Me” is another track where he puts a little more of a sing-song angle into his flows which doesn’t land particularly well, actually sending him off the beat a little in a few areas of the track. The purest rapper of the group, he doesn’t seem to realize that adherence to the Migos formula isn’t necessary at all times to make a good track – this should be an opportunity to exhibit his own style first and foremost, especially with the smaller number of tracks here. A track like “I Remember”, as well, is where we see him get laziest with the lyricism here, the hook, consisting only of those two words, taking up most of the space of the song.

With so much similar, uninspired content coming this year from the Quality Control label, I enjoyed The Last Rocket a lot more than I expected to, reminding me that half the reason we were all so drawn to Migos in the first place was that they can actually rap pretty well. I’m glad Takeoff finally got his time in the spotlight.

Favourite Tracks: Casper, Infatuation, Vacation, Insomnia, Lead The Wave

Least Favourite Track: I Remember

Score: 7/10

Origins cover.pngImagine Dragons – Origins

For the last little while now, pop-rock band Imagine Dragons have been some of the only people who manage to score high-charting hits with any semblance of a guitar in their music. With their fourth studio album, Origins, they continue to sell well after diluting the sound into something so easily consumable that they’ve become just about the only option in the eyes of most people who aren’t completely immersed in the genre. The band exploded back onto the scene last year with “Believer” after the sales dropped off for their 2nd album, and haven’t looked back since, adhering to the same painful formulas over and over. You know how it goes: some sweeping, contemplative and slightly soul-oriented chords as Reynolds begins quietly, then throws in a complete tonal shift and suddenly starts yelling. I can’t believe I’m saying it, but Origins might be even more obnoxious than their last project, Evolve.

Opening track and lead single “Natural” is honestly not too bad – much like their lead last year being one of the better songs on the album. It’s almost as if they structure an entire album around their lead single, creating 10 more imitations of it that never measure up. It’s one of the only tracks here that has a build-up to the loud part that genuinely works, Reynolds’ vocals gradually getting more intense before the chorus drops. I really do like the way they incorporate that rhythmic minor-key guitar riff that backs the quieter intro into the chorus as the song goes on as well. It’s all downhill from there.

I’m never quite sure what to make of Reynolds’ vocals – sometimes, it seems like he could be a genuine rock frontman with the rasp and passion he naturally possesses, but other times it just sounds awful and strained when he reaches up into his upper register. It might be the fact that he takes it too far for the calmer instrumentals that pop up more often than usual across this album, like on the chorus for “Boomerang”. Don’t get me started on that half-time trap hi-hat beat that shows up out of nowhere for the final chorus. Then again, from there we transition into “Machine”, a more industrial number where Reynolds uses almost exclusively his louder, angry tone that sounds like he’s painfully forcing the sounds out of him, distorting his vowels and really throwing off my enjoyment of the track. You’d think with all of the experienced pop producers they bring on board now that they would be able to find a way to hit on more catchy choruses than they actually do. Most of these sound like they’re making them up on the spot, the weird deviations in melody reminding me of something like Taylor Swift’s “Bad Blood”. “Bad Liar” is another track like this, the longest one on the album, so clearly, they thought they had something here. One of the calmest tracks the band’s ever made, it’s built on this delicate synth pattern and Reynolds’ falsetto before the energy shifts abruptly through two more phases in the chorus and pre-chorus, Reynolds drawing out his voice awkwardly on the “eye” sound of “Liar” on a strained higher note.

Imagine Dragons honestly stick a track from a movie soundtrack in the middle of their album here, not even tacked on at the end, which shows how much care went into the construction of the project as a deliberately sequenced album. Most movie soundtrack songs are clearly made with less effort into song structure with more of a general tone in mind, and this is no exception. “Zero”, from Wreck-It Ralph 2, might honestly be the worst song I’ve heard this year. An obnoxiously high-octane chorus is contrasted with a sluggish bridge where the track grinds to a halt on Reynolds’ contemplative falsetto, and immediately catapults back into the madness of the chorus. It’s pretty comical.

The rest of the back half of the album is full of ill-informed genre hopping and capitalization on long-dead trends. “West Coast” sounds like every 2011 indie-folk track, “Bullet In A Gun” a weirdly computerized EDM-esque track, “Only” oversaturated dance-pop, “Digital” is … my god … a drum ‘n’ bass pseudo-rap track … and all of them involve Reynolds yelling in my ear. There’s so much nonsense I could mention but this review is already getting way too long.

Origins is the sound of a band along for the ride, saying yes to whatever all the people who have come in to manage their immense popularity tell them to do and losing all semblance of artistic identity in the process. They’ve fully embraced their role as the new Nickelback.

Favourite Tracks: Natural, Cool Out

Least Favourite Track: Zero

Score: 2/10

A neon-coloured portrait of the members of the band in 80s-style dystopian-themed costumes, with themed electronic imagery surrounding them.Muse – Simulation Theory

Frequently evolving veteran rock band Muse undergoes yet another shift in sound from their previous harder-rock effort Drones to a more digitized electro-rock and synthpop direction. There’s always been a lot of influence from bands like Queen on frontman Matt Bellamy’s almost operatic vocal delivery, but the arena-sized ambitions of an album like Simulation Theory take it a little bit further. While Muse can often tend to go over the top into a territory of excessive cheese with their overwrought lyrical themes and melodramatics – this project being no exception – the majority of these tracks are smartly constructed pop melodies, and a more modernized sound that works a lot better for them than their last sonic experiment – all the sci-fi elements are a lot of fun too!

Opening track “Algorithm” is straight out of a Tron movie, opening with an extended instrumental featuring a driving beat that switches from a string orchestra to a fuzzy synth tone, cascading piano arpeggios and a straight-up synthesizer solo on top before Bellamy’s warm and capable vocals kick in, making everything sound immediately more intense and important in the way that only he can. This is all incredible guilty pleasure kind of stuff. “This means war – with your creator”, Bellamy emotes, because of course he does. The next track “The Dark Side” kicks the tempo up a notch, the guitar riff slightly reminiscent of their older material (think a digitized version of “Knights of Cydonia”). I really love the combinations of live drums and the more frivolous noises from a drum machine – it’s like Muse is finally learning to not take themselves so seriously. “Pressure” is a pretty incredible, dynamic track, Bellamy switching in an out of a panicked falsetto backed up by a syncopated guitar line modified to sound almost like a horn section before the track explodes into a rapid-fire melodic rock track with poppy backing vocals and a menacing, repeated whisper – “pressure building”. The band links up with Timbaland of all people for the weird and wonderful track “Propaganda”, a minimal track that sees Bellamy go full Prince with his vocal inflections over some sparse snaps, while a distorted vocal sample yelling the title fights to break into the mix. The harmonies here are fantastic.

There’s not much that measures up to the first 4 tracks in quality here, and it wouldn’t be a Muse album without a couple ambitious ideas that swing for the fence and completely fall flat. The band still insists on using the dubstep wubs they picked up when the genre exploded in popularity, and their combination with a guitar toned off-key for ominous effect on “Break It To Me” is pretty grating, especially as the track shifts through a few sections rapidly, Bellamy switching to his tender delivery for the chorus before the track turns into a Rage Against the Machine song at the end. The wubs show up to somewhat better effect on “Dig Down” later on. “Get Up and Fight” is Muse indulging their absolute worst tendencies, and while at times it’s easy to get caught up in their rousing calls to action and resistance set to a driving guitar melody, this one goes way too far into try-hard inspirational territory. This might be the most overly dramatic track they’ve ever written, and that’s saying a lot. “Something Human”, as well, is almost too poppy, with a campfire-side folksy quality to it that doesn’t fit Bellamy’s grandiose voice.

Single “Thought Contagion” pops up later in the tracklisting, and this is the closest thing we get to a classic, impossibly catchy Muse track. The main riff and stadium-sized singalong chorus are immediately memorable, juxtaposed with verses that have an almost hip-hop angle with some skittering hi-hats and a more rhythmic, syncopated flow from Bellamy. I can already tell it’ll be incredible live.

Simulation Theory is easily one of the band’s most enjoyable albums, now that they’re just essentially making fun music and not going overboard with some political theme. The 80s nostalgia is a great sound for them, even with a few missteps here and there.

Favourite Tracks: Pressure, Propaganda, Thought Contagion, Algorithm, The Dark Side

Least Favourite Track: Break It To Me

Score: 7/10

Twenty One Pilots – Trench

TOP Trench Album Cover.jpgUncategorizable alternative duo Twenty One Pilots release their fifth studio album, and first after becoming household names with 2015’s uneven but hugely successful Blurryface. While I’ve often struggled with the duo’s consistency in the past, as they seemingly mashed disparate styles together for no reason other than the fact that they could, Trench sees them take better control of their more outlandish artistic impulses, combining it with the catchy pop songwriting and heart-wrenchingly descriptive and personal lyrics that made them such a success previously. While their mid-song transitions could still use some work, Trench is the best kind of wildly versatile project that somehow works cohesively, and it’s likely their best work yet.

Kicking the project off with their heaviest song in years, we’re immediately dropped into the droning guitars of single “Jumpsuit”, which introduces just how great the production across the board is going to be on the project – there are so many little details that enhance the world of the song, especially as it ties into the conceptual landscape of the fictional city of Dema that each song is tied to. Something like cutting back to just the menacing bassline for a second in the paranoid second verse works wonders. One of the most consistently engaging things here is how well they’ve fit their more commercially oriented pop choruses so well onto the darker, heavier instrumentals of their past. Writing an inescapably catchy chorus is still one of frontman Tyler Joseph’s greatest strengths, a few of these tracks drawing on 80s synthpop in their most pop-oriented moments. Not many of them stay in that mode for the whole song, but “My Blood” does, and it’s a pretty euphoric experience.

Image result for twenty one pilots 2018

“Chlorine” might be the catchiest hook of all here, though. A more low-key track, the cascading piano embellishments and major-key fanfare of a bassline add to its memorability. The back-to-back tracks “Nico and the Niners” and “Cut My Lip” both dive back into the subtle reggae influence the band has borrowed from in the past and do it better than ever before. The way the vocal modulations on “Nico” frame the drop into the final, speedy rap verse on the track makes my heart skip a beat every single time, while “Cut My Lip” features a final, repeated refrain built for an arena to sing along to. It’s one of the most emotionally sung tracks here as well, Joseph reaching into his upper register. “Pet Cheetah” is just … absolute madness. The glitchy, lurching synth-bass collides with in-your-face hip-hop production for a track that quickly switches back and forth between the panic-inducing hellscape (in the absolute best way!) of the former and the softer, sung sections of chorus.

As usual, Joseph addresses some pretty heavy topics across the board here as well. On the track “Neon Gravestones”, he muses on the romanticizing of celebrity suicide over a somber piano loop and skittering drumbeat, acknowledging how much more famous he’d get if he killed himself. As he’s acknowledged having these thoughts in the past, he bluntly sings that if the worst does happen, he doesn’t want his fans to feed into the culture of celebrity and move on. At the end, he switches the narrative, saying to celebrate grandparents who have lived a full and accomplished life instead – the dedication is particularly poignant due to the death of Joseph’s own grandfather, who appears on the cover of the duo’s 2013 album Vessel. The track “Legend” here is a heartfelt dedication to him, featuring a final verse where Joseph outright states that he recorded it on the day of his passing.

Image result for twenty one pilots live

In an album that goes to so many interesting and diverse places so well, a track like “The Hype” feels far too one-note, essentially just structured like an everyday pop song. The falsetto delivery almost reminds me of an older song from a band like Foster the People. As well, Joseph’s rapping has always sounded a little off to me, and while he’s certainly improved here there are a still a few moments where it sounds like it’s just not something he should be doing at the time. On tracks like “Pet Cheetah” and “Levitate” something about the places he emphasizes his syllables throws the rhythm off slightly. “Levitate”, especially, has a pretty great throwback hip-hop percussion groove with the off-kilter Twenty One Pilots edge, but Joseph’s higher-pitched delivery doesn’t fit right with the tone of the track. Follow-up track “Morph”, on the other hand, sees him settle in perfectly. Another exquisitely produced track, the emotion creeps into his delivery over the chilling synth-piano eerie carnival ride of an instrumental. I love how many different places the track goes without losing its essence – through the almost future bass swells, the falsetto pop chorus, the tropical house synths at the end … it’s boundless creativity at work.

Tyler Joseph and Josh Dun have essentially done the best possible thing they could do here after skyrocketing to fame, taking some of the greatest elements of what the general public were drawn to and combining it with some of the greatest elements of what made them unique in the first place. I’m sure their diehard fans are getting even more enjoyment out of the complicated lore behind the project as well. Another contender for the Most Improved Award.

Favourite Tracks: Morph, Neon Gravestones, Nico And The Niners, Pet Cheetah, My Blood

Least Favourite Track: The Hype

Score: 8/10

Mitski – Be The Cowboy

Image result for be the cowboy mitskiOne of the most consistently critically acclaimed artists in the indie community, indie-pop and alt-rock singer-songwriter Mitski returns with her 5th studio album and first following her major-label breakthrough with Puberty 2. Be the Cowboy is a similarly eclectic and intentionally off-kilter collection of brief and often existential tracks. Blending her unassuming, indie-leaning vocal work and bleak and vulnerable lyricism with bombastic, distorted guitar instrumentals, there’s certainly nothing out there that comes even close to what Mitski is doing here. I’m all for experimentation, but it’s honestly hard to tell if I fully like the music here or I just respect it as a completely out-there idea. Although there are brief moments where things get a bit too chaotic here, for the most part the project is elevated by Mitski’s beautiful vocal moments and songwriting abilities.

Listeners are introduced to the kind of album it’s going to be pretty early on, some full, vibrant orchestral strings opening first track “Geyser” before the brief, horror-movie jumpscare type distorted noise honestly shocked me and the track eventually builds up to some underlying heavy distorted guitars as the rest of the pop elements of the track swell to their greatest cinematic peak. It’s all a little much, but it’s nothing if not ambitious. Mitksi’s use of distortion and chaos across the board is used to illustrate the mental state she describes in her lyrics, but it makes it hard to want to give a lot of these tracks repeated listens, especially when she intentionally doesn’t want to settle into a particular groove, switching things up immediately after they’ve begun.

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Mitski is at her best when she embraces the quirky indie-pop singer-songwriter angle: “Why Didn’t You Stop Me?” uses the guitars more sparingly, punctuating powerful moments instead of taking everything over. There are some serious 80s synthpop vibes on the song, driven by a pulsating bassline and catchy synth hook that frames the sweeter areas of her voice well. On the song, Mitski expresses disappointment that an ex doesn’t want her back, even though she’s the one that ended it in the first place, and her confused and chaotic mindstate regarding romance continues to show up as a theme here. Almost all of these songs don’t even break the 3-minute mark, making the project resemble a series of disjointed, impulsive thoughts – and her lyricism and even her melodies often reflect this. Mitski has expressed in interviews that she didn’t necessarily want everything to come together perfectly, the distress she expresses on these tracks evident through the music itself. She discusses conflicted feelings on returning to a toxic relationship out of fear of being alone on “A Pearl”, where her vocal lines fluctuate around and never really settle on a direction, and continues to return to the theme of a kind of existential loneliness that has her losing her mind on tracks like “Lonesome Love” and “Blue Light”.

At the same time as this disjointedness works well for what Mitski is trying to express here though, many of my favourite moments on the album are over before they have even begun. “Lonesome Love” is one of the more instrumentally simple tracks here, Mitski adopting an almost folk/Americana cadence over little more than acoustic strumming, and the increased focus on her voice is welcome – but we don’t even hit the 2-minute mark here. “Me And My Husband” is another great moment here, the instrumental reminding me of the kind of old-school piano rock that appears on a Father John Misty project. Hearing Mitski’s vocals on an instrumental capable of turning her emotional vocal delivery into an anthemic mantra as she desperately clings on to a fading partnership.

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In the middle of all of this genre-bending madness, there’s what is essentially a perfect pop song in the single “Nobody”. Mitski’s voice already has such a Lana Del Rey-like automatic flair for the vintage, and there’s something about the chorus melody that captures it perfectly here, underscored by those low piano chords and almost disco synths. So many worlds collide on the track in the best possible way – the live percussion on the track elevates it to another level as well, and we’re catapulted into an off-kilter ethereal section of the track as it comes off the rails, Mitski’s voice becoming filtered and robotic as the song ends abruptly after a key change, repeating the title over and over to further illustrate the loneliness she outlines elsewhere. “Washing Machine Heart” is another great track where the almost too-perfect, adorable tone of Mitski’s voice is made to sound detached and robotic with the kind of childish yet eerie melody you’d hear at a carnival, the song ending with a single, terrifying second of static as the speaker becomes unhinged.

Be the Cowboy is certainly one of the most unique listening experiences I’ve had all year, but from everything I’ve heard Mitski say about the album its clear that she has a clearly defined artistic vision and she’s executing it about as well as she possibly could. There are quite a few very powerful musical moments on this album, and despite the lack of replayability, it’s a lot better listened to as a full experience than returning to single songs.

Favourite Tracks: Nobody, Washing Machine Heart, Me And My Husband, Why Didn’t You Stop Me?, Lonesome Love

Least Favourite Track: A Horse Named Cold Air

Score: 7/10

Trippie Redd – Life’s A Trip

Image result for life's a tripSteadily becoming one of the leaders rising to the top of the new class of alternative rock and pop punk-influenced emo rap artists, Trippie Redd’s debut studio album is a melancholy, raw project framed by Redd’s unique, strained and distressed vocal delivery. He references Lil Wayne’s music on the project, and he comes across here as the most obvious offspring of Wayne’s ill-conceived but undoubtedly influential 2010 rock album, Rebirth. Ultimately, Redd’s vocal delivery verges on painful to listen to, and his ridiculous lyricism and meandering, directionless moody emo-trap song structures greatly let down the novelty of the act that he is.

Trippie Redd is often lauded for his lack of Auto-Tune usage, unlike his contemporaries in the genre, simply presenting his raw, unfiltered vocals that supposedly better express the darker thoughts that pop up in the new landscape of hip-hop. This would be a perfectly appropriate comment if Redd’s vocals weren’t so hard to listen to – Redd seems to take this too far, straining his vocals and every so often extending a note too far with a garbled scream. Young Thug’s worst tendencies are right at home on this album, appearing on the track “Forever Ever”. The two each throw their voice around with reckless abandon, forgetting that a concrete musical rhythm and structure exists for a reason. The songs on the project that extend past the usual 2 or so minutes that most Soundcloud rapper adhere to feel completely self-indulgent, Redd repeating the same refrains without a hint of a memorable, catchy melody as he runs up and down the scales completely off-key.

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It really does feel like all of these songs are freestyles at times, like he goes into the booth without an idea of what’s going to happen. The track “Bird Sh*t” sees him suddenly latching onto a single musical phrase in the middle of a verse and repeating it, seemingly just because it fit his liking in the moment regardless of how it worked with the rest of the song. Longer tracks “BANG!” and “How You Feel” are even more excruciating, Redd singing the entire chorus with his strained, yelling vocal on a song that extends to nearly 5 minutes on the former and sounding completely out of place on the guitar instrumental on the latter. It’s a few guitar chords that simply loop for 4 and a half minutes, accompanied by a higher-pitched wail in the background and Trippie repeating the title in his often pitchier higher register seemingly emulating a rock n roll frontman, occasionally breaking the cycle to offer a ridiculous lyrical simile or absurd melodramatic proclamation. Travis Scott-featuring single “Dark Knight Dummo” goes the other way, the beat a complete sensory overload that tries to do too much, and the only thing that could draw attention from the instrumental is of course the same strained vocal on top of all of the background mess.

Redd does attract some great collaborators to this project, and at times you can see some good songs hiding underneath all of the mess coming from Redd himself – the legendary Scott Storch lends a catchy, poppier instrumental to the track “Taking A Walk”, which is over too quickly and is let down by Redd’s vocals, for example. Sometimes, the good song is literally hiding underneath – Redd adds the Diplo collaboration “Wish” to the tracklist with a new “Trippie Mix”, after he expressed his disdain with the changes Diplo made to the song on his own project. Turns out, Diplo simply removed all of Redd’s terrible ideas and turned it into an enjoyable song. Redd reinserts a delayed echo affect that throws off the melody and some awful harmonized vocals completely out of sync with the rest of the song that left me shaking my head in disbelief at how passionately he felt about such incompetence.

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Redd’s rap tracks do fare slightly better, especially “Oomps Revenge”, where he clears up his voice and raps over a great chopped up soul sample – he kind of sounds like Chance the Rapper. “Missing My Idols” had potential, but his apparent thought process that an obnoxious vocal delivery means clearer expression of self reappears even here and he loses the rhythm a bit in the second half of the song extending his words too far and raising his voice.

After pioneer XXXTENTACION’s death, I can only see this style continuing to grow and prosper – there’s evidently something about it that does succeed at drawing people in. Whatever it is, I personally have no idea how to relate to or understand it.

Favourite Tracks: Oomps Revenge, Taking A Walk

Least Favourite Track: Gore

Score: 2/10

Meg Myers – Take Me To The Disco

Image result for meg myers take me to the discoPop-rock singer-songwriter Meg Myers’ sophomore album, Take Me To The Disco, sees the singer discover a middle ground between the upbeat, poppier melodic approach of her debut Sorry and the abrasive, almost grunge edge that coloured her earlier EPs. 4 years after her breakout single “Desire”, Myers still exists in her own lane as a completely unique artist and one of my personal favourite singers who is still moderately lesser-known, blending heavy guitar work and haunting, tortured rock vocal abilities with some aspects that could easily fit on pop radio. However, while still possessing the infectious qualities of songwriting and song structure that knows just how to highlight the greatest parts of her voice, Take Me To The Disco sounds more subdued than Myers ever should be. She never quite recaptures the snarl that accompanied her early delivery, or commits fully to the experimental, pop-oriented angle that appeared on Sorry. Still, Myers delivers another strong body of work.

The title track which opens the album essentially acts as an introductory preface to the explosive lead single “Numb”, one of the greatest tracks here. Myers’ voice on the opening track is featured more due to the more minimal instrumental constructed of orchestral strings and a light, poppier percussion section, but you can still hear the intensity and emotion in her every note, her voice catching and stopping up on certain notes, even if she takes her vocals to a more breathy place than usual. I always find myself wanting her to return to the full-voiced early-90s grunge scream and aggressive, disdainful tone that surprised me so much the first time I heard her – and she comes closest to it on the chorus of “Numb”. The deafening lead guitar roars in after a verse with a delightfully off-putting childlike nursery rhyme melody (“I don’t wanna grow up, la la la la la”, she sings), catching the listener off guard with some serious vocal ability with a huge slide up to an impressive note that she hits at full power, bringing back her catchy pop songwriting that she expresses in the most intense, contradictory way possible that works perfectly regardless.

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“Tear Me To Pieces” is another equally chilling track. I love how she over-enunciates each one of her words, making me feel the anger behind each. Her expletive-laden accusations of her partner’s lies remind me of her older songwriting, and the demonic, distorted lower supporting vocals and the way the song cuts out to highlight her most emotional vocal moments make it a standout. The juxtaposition of the quiet piano section before the final, screaming conclusion never fails to give me goosebumps. “The Death Of Me” reminds me of the pop half of Sorry more than anything here, a much brighter piano riff colouring the track that provides the perfect contrast to the pessimistic and anxious lyricism of the chorus that acts as the biggest artistic risk on the project. Main co-writer Leggy Langdon lends his vocals to the track as well, providing a distinctive, unique lower voice that provides great support for Myers. “Little Black Death” is another pretty flawless marriage of the two styles, the upbeat track taking on an almost disco flavour due to the syncopated rhythm of the chorus melody. It’s a lot of fun to hear a distorted guitar emulating this kind of upbeat instrumental, and Myers taking the final chorus an octave up is a pretty stunning vocal moment.

“Tourniquet”, on the other hand, feels emptier and more underwritten than anything here, the melody too quick and choppy for the quieter, acoustic guitar pattern that dominates the instrumental space, most of the chorus just involving an “ay-ay-ay” extension of the titular word – it’s missing the sharp, often terrifying songwriting that I’ve come to know Myers by over the years, and it feels like she’s trying to play into more of a marketable angle here for the first time. It’s one of her least shocking songs and easily has crossover potential.

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Looking at the larger picture, a few of these tracks do feel like older Myers tropes that just aren’t taken as far as they used to be, exhibiting a few similarities across the tracklist. “Some People” is a slower, orchestral, more introspective track that doesn’t really pick itself off the ground due to Myers relegating her vocal power until a final, explosive section that comes too late and feels repetitive after the similar structure of the preceding tracks. “I’m Not Sorry”, as well, features yet another juxtaposition of a quieter refrain, Myers repeating a strained, breathy “stay”, with a briefly abrasive section that isn’t executed as well as other tracks here.

All things considered, Myers at her least interesting is still pretty incredible and refreshing. There’s nobody else in the current musical conversation coming anywhere close to emulating the combination of sounds that she does, and her song structures are always electrifyingly clean and well thought out. Now moving forward as an independent artist, she should hopefully regain some creativity once again.

Favourite Tracks: Tear Me To Pieces, Numb, The Death Of Me, Little Black Death, Done

Least Favourite Track: I’m Not Sorry

Score: 7/10

Panic! at the Disco – Pray For The Wicked

Veteran pop-rock “band” Panic! at the Disco, down to its final member in multi-instrumentalist and vocalist Brendon Urie, releases its second studio album as a solo act which greatly improves on predecessor “Death of a Bachelor”. Fresh from a stint on Broadway, Urie elevates his usual flair for the dramatic here and delivers some impressively dynamic vocal lines. Most importantly though, Panic! pulls somewhat of a Paramore here and modernizes their sound, joining the current musical conversation without losing what made them unique in the first place. Their sixth studio album is potentially their poppiest, but roaring guitar underscores and Urie’s theatricality remains to ground these triumphant pop hooks in the darker, baroque atmosphere that’s always coloured their work. There are a few awkward moments of transition here and there, but Pray for the Wicked is one of their best.

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Urie immediately floors the gas pedal on his huge voice when the first anthemic chorus of opening track “(F**k A) Silver Lining” explodes in listeners’ earphones, and he doesn’t let go for the rest of the project. He’s a true rock-and-roll frontman delivering some of the most pop-oriented and melodic hooks of his career, and the result is unique and refreshing. The singles across the board are some of the strongest in their career, carried by a constant, driving energy and smartly written melodies. The fast-paced and frenetic “Silver Lining” sees Urie hitting some seriously impressive high notes over a blaring horn section and a sample from a 1950s R&B track before leading into “Say Amen (Saturday Night)”, which is quintessential Panic! material with a modern update. The guitars in the background are accompanied by a chopped-up vocal sample and clacking percussion verging on a hip-hop sound, providing the perfect backdrop of crackling energy for the chorus, delivered through layered vocals and a deafening guitar pattern that Urie somehow manages to overpower.

“High Hopes” is another great single choice – I love the melody in the pre-chorus that builds up to the marching-band percussion and yet another immediately catchy chorus from Urie, which shows just how effective it is near the end of the track when the instrumental starts to strategically drop out. Urie sells all of this perfectly – his voice is built for Broadway – it’s one of the most capable male vocals in mainstream music right now. The very strong first half continues with “Roaring 20s”, which belongs in a legitimate rock musical (that half-time breakdown!) and “Dancing’s Not A Crime”, which wraps the listener in a very full sound with some warm, old-school funk pop chords. Quite a few of these tracks are great for similar reasons: an energetic horn section, music that cuts out at just the right time, a shouted anthemic chorus, but Urie sounds like he’s having so much fun, and it’s such a welcome change from the band, that it really doesn’t matter. He nods to a personal shift in character on “Old Fashioned”, believing to have been stuck in the persona of the 17-year old who initially formed the band until this album.

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Panic!’s journey crossing over into the more culturally relevant styles of pop, hip-hop and EDM production doesn’t come without a few hitches, one of which is their team-up with electronic DJ Dillon Francis on “Hey Look Ma, I Made It”. Like most featured vocalists in modern EDM tracks, Francis buries Urie’s vocals in the mix a little bit more than usual, his chopped-up horn samples dominating the poppiest song on the whole project. Urie’s voice is not something that should ever be restrained. By the time a trap beat drops near the end of the project and the chanting group vocals are at their peak, it feels like we’re listening to an average Galantis track. The second half of the album is noticeably weaker than the frenetic opening 6-track run. On an album full of spectacular choruses, “One Of The Drunks” feels like it falls short, something about the sample in the back not quite clicking with the melody line. Urie’s lyrics can be periodically distracting as well, sometimes not maturing alongside the musical direction. “The Overpass” falls into clichés: we’ve heard about the “sketchy girls and lipstick boys, troubled love and high-speed noise” before. Panic! returns to familiar tropes that the audience who grew up on their pop-punk material will recognize a few times.

Pray for the Wicked is still a great return to form for a Brendon Urie who seems to be sitting comfortably on top of the world at the moment. His many successes continue with his most cohesive project yet, delivering 11 slick choruses that will be sung in arenas for years to come.

Favourite Tracks: Dancing’s Not A Crime, Say Amen (Saturday Night), Roaring 20s, (F**k A) Silver Lining, High Hopes

Least Favourite Track: The Overpass

Score: 8/10

Rapid Fire Reviews (Tinashe, J. Cole, Bishop Briggs)

Tinashe - Joyride (Official Album Cover).pngTinashe – Joyride

Joyride is a project that frequently underrated R&B artist Tinashe has been promoting since 2015, delayed multiple times as it was apparently held back by label deman 2016’s Nightride album was a catchy, ethereal teaser, but it may have ended up being better than the final product. The label intervention is evident across this project, Tinashe’s quieter style frequently offset by obvious attempts to land her another radio hit with awkward rap features (one fittingly being Offset himself) and production from pop hitmakers like Stargate. The album is a directionless mixed bag, but she still manages to shine in the few occasions where she’s allowed to do what she wants here.

Tinashe has always been at her best on more throwback production styles, rather than the more marketable and upbeat party tracks that take up most of the space on this album. Sometimes the two styles are mixed together and the juxtaposition is too much, like on title track “Joyride”, which places a loud “la-la-la” melody and huge beat overtop of the orchestral and spacey synths and strings that she is more known for, which fail to accommodate the constant high energy of the rest of the track. The pure pop tracks fare a little bit better – I’m not going to lie and say “No Drama” doesn’t get stuck in my head for days at a time – but it’s far from the artist I know she can be, she’s a better singer than this basic melody over a trap beat. “Me So Bad” is the most blatant attempt at a trend-riding track that never would have made it onto a Tinashe project with creative freedom, the lyrics doing little more than pointing to her looks with a pretty inexcusable French Montana feature and a beat that manages to take the worst elements of both the tropical and dancehall trends at the same time. The last few tracks on the album never quite come together, the scores of writers in the credits becoming evident as the commercial aspect overrides artistry, the hint of a trap hi-hat echoing on even the slowest tracks. What in the world is that disjointed Future verse??

It would be a much different story if the whole album was filled with tracks like “He Don’t Want It”, the closest thing we get to the highlights of Nightride like “C’est La Vie” and “Ghetto Boy”. Tinashe uses both ends of her vocal register, the breathy falsetto verse introducing the more powerful chorus. I love when most of the elements of the track are made of Tinashe’s dynamic vocal abilities, and the ethereal backing harmonies complete the picture here. It’s great to hear elements of a trap beat without the same rhythms we’re all familiar with from all-star hip-hop producer T-Minus as well. Follow-up “Ooh La La” is an homage to the early-2000s R&B that Tinashe would have thrived in, with a pretty fun flip of a sample from Nelly’s “Dilemma” and calmly picked guitar melody reminiscent of “Suga Suga”, while an unexpected collaboration with Little Dragon on “Stuck With Me” is a fantastic surprise, Tinashe and Yukimi Nagano’s voices occupying that perfect space of having a similar tone that’s just distinct enough to distinguish the individuals.

The way Tinashe’s career has been handled is one of the most consistently depressing things about the music in Here’s hoping she goes independent and drops some old-school R&B gems on us.

Favourite Tracks: He Don’t Want It, Stuck With Me, Ooh La La, No Drama

Least Favourite Track: Joyride

Score: 5/10

JColeKOD.jpgJ. Cole – KOD

North Carolina rapper J. Cole bounces back in a huge way after 2016’s disappointing 4 Your Eyez Only with his 5th studio album KOD, a concept album of sorts that sees him discouraging forms of substance abuse that have affected him and those he observed in the past by through some Kendrick Lamar-esque play with the embodiment of opposing characters and points of view. While Cole doesn’t really do anything groundbreaking here musically, he escapes criticism by tying it perfectly into the theme of the album, stating that the addictive, repetitive hooks and trap beats resemble the drugs he speaks of. Plus, what I was really missing from Cole was the fire in his delivery, and that’s fully returned with this more modern, upbeat style.

“There are many ways to deal with pain … Choose wisely”, echoes a voice throughout the album. The tracklist is divided about half and half, sometimes on the same song, as Cole portrays either himself making the wise choices in the present or a character addicted to or dependent on one of the many “drugs” he describes, both literal and more abstract, like money, power or love. Opening track “KOD” lets listeners know early that Cole has snapped out of the trance that dominated his previous album, offering a rapid-fire triplet flow and booming bassline. The popularized Migos flow shows up quite a bit across this project, but it’s still great to hear Cole’s take on it since his voice and delivery can be one of the most engaging in the industry when he wants it to, always with a sarcastic wink and a jovial bounce. Cole produced nearly all of the beats on this project without any assistance, raising the impressiveness again. My favourite beat of all though is attributed to T-Minus, on standout track “Kevin’s Heart”. Cole makes his dexterous flow sound easy mainly due to the chilled out, 8-bit video game-style instrumental that makes everything sound more impressive on an intoxicating half-time tempo.

Perhaps the fact that I’m so drawn to Cole’s repetitive tracks like “Motiv8” and “ATM”, where he portrays a character dependent on an unstable source of income, proves his point. These cheap thrills really are easy to turn to, rather than paying attention to what he’s saying on the more lyrical tracks. While they do veer a bit into the same sluggish tempos he employed earlier, tracks like “Brackets” and “Once an Addict” revive Cole’s elite storytelling ability to tell some tales of how his community and his own life are affected by what he describes. Cole’s advice across the board is never preachy because he is quick to acknowledge that he himself had fallen prey to it as well – he tells a heartbreaking tale of both he and his mother turning to drugs and alcohol to deal with the abusive stepfather that has turned up in many tracks across his career, offering genuine advice to personal friends and younger rappers on “Friends” and “1985” about falling prey to all the various drugs of life, admitting his message isn’t “the coolest” in an endearing way.

One of the main themes that frequently seem to hold a Cole album back is his singing, which he almost always relies on more than he should. It makes a few hooks here more awkward than they should be, such as on “Photograph” where he never quite clicks into the beat perfectly. His Kill Edward character’s pitch shifted delivery also muddles his words and throws the pitch off on tracks like “The Cut Off”, but it still adds to the message of the song, the addicted Edward sounding lost and troubled, out of step with the rest of reality.

KOD delivers an important message in a very smart way, Cole bringing back his relatable character and storytelling ability to spread awaren Luckily, by exploring characters Cole can do this and deliver some upbeat, fun tracks at the same time. He boasts about his versatility contributing to his longevity over trend-hoppers on closer “1985”, and KOD backs up his point.

Favourite Tracks: Kevin’s Heart, ATM, FRIENDS, KOD, BRACKETS

Least Favourite Track: The Cut Off

Score: 8/10

Image result for church of scars bishopBishop Briggs – Church of Scars

British alt-pop musician Bishop Briggs’ debut studio album Church of Scars comes in the wake of the success of her 2016 single “River” on alternative and rock radio due to her trademark growl and heavier approach to poppier melodies. Her songs have been used in commercials, also contributing to her steady rise, and this album makes it easy to see why. Her formula across these brief 10 tracks becomes incredibly evident and safe, reminding me of Imagine Dragons’ latest project Evolve in terms of the build-up to an explosive chorus over some soul chords that she employs in every song. While her vocal power is undeniable, Church of Scars loses its element of surprise immediately.

Briggs blends elements of the past and present across the whole album to varying degrees of success, mixing rock and blues instrumentation with modern trends of pop music such as electronic synthlines and hip-hop influenced percussion, a computerized water-droplet beat quickly snapping the old-soul sound of Briggs’ vocal delivery into the more modern era in opening track “Tempt My Trouble”. While this track serves as one of the most immediately catchy offerings, even it falls into the repetitive techniques that plague most of the tracklisting. Briggs’ voice really does have a lot of potential, and I could see her imbuing it with the genuine emotion that the power behind it deserves to make some powerful content, but she settles for Chainsmokers-style thematic lyricism around a seemingly randomly generated noun and melodies that stay in a safe position in order to build up to the reveal of the only trick she has – the overriding of a vaguely electronic blues-rock template with her growling, explosive vocal wails.

Her blends of styles often come across as trying too hard. I feel like I write the word “trap” in every review I write nowadays, but the plaintive acoustic background of a song like “Lyin’” sounds ridiculous with those persistent hi-hats at a time when we hear them everywhere, and whoever did the backing vocals doesn’t help the track much either, sounding too anthemic and angry for the instrumental since an explosive rendition of the chorus is apparently a necessity for each and every track regardless. “White Flag” shows that the vitriol she spits into every syllable doesn’t work as well with rapidly delivered vocals, the rhythm of the chorus lagging behind. As the album goes on, we lose any hope of being moved by Briggs’ power, since we expect her to be yelling at us by the end of every song, knowing not to trust the quieter acoustic introduction.

There really are quite a few promising elements here, such as the industrial and menacing horn section on “Wild Horses”, but an attempt at an EDM-style chorus breakdown changes the tempo in such a miniscule way that it becomes irritating, throwing off my rhythm. It all comes together best on “Hallowed Ground”, which incorporates a gospel organ and horn section breakdown that switches things up instrumentally for a break in the monotony.

Briggs has a lot of raw talent, but she relies much too heavily on a formula attempting to place her in the modern musical context that she doesn’t really need. With a better team around her, I hope she can convert the energy she possesses into more creative, well-structured song material.

Favourite Tracks: Hallowed Ground, River, Tempt My Trouble

Least Favourite Track: The Fire

Score: 4/10