The Killers - "Wonderful Wonderful"

Ever since their formation in the early 2000's I've always had a soft spot for The Killers.  And that ESPECIALLY goes for their 2004 debut "Hot Fuss".  The tracks on here were just so catchy and animated, not to mention fun.  The bands playing was solid, and front-man Brandon Flowers immediately had such a personality.  From the gigantic amount of singles on this album, I really wasn't too shocked to see The Killers weren't going anywhere anytime soon.  On their 2006 follow-up "Sam's Town", the band went for a much bigger sound, which ended up being a great quality but inevitably ended up making this album a little more forgettable.  Singles like "When You Were Young" and "Bones" remain gigantic, and "This River Is Wild" and "Bling (Confessions Of A King)" are incredible deep cuts.  But that same HUGE sound also lead to a lot of bizarre moments like "My List" and "Sam's Town" which were just so mediocre.  But I kept enjoying The Killers music, mostly because I've always just loved Brandon Flowers' songwriting.   The Killers returned in 2008 with "Day & Age".  By this point, their songs just kept getting bigger and more elaborate, this time with the inclusion of more synths.  This wasn't necessarily a bad thing, and it lead to huge tracks like "Joy Ride" and "This Is Your Life".  But the second half of this album was just so unmemorable and showed that The Killers were indeed running out of ideas.  But even with 2012's "Battle Born", The Killers still had a knack for writing seriously catchy tunes.  The first time I heard this album I hated everything about it, especially the band's entire dependence on Synthesizers.  But as time went on, I couldn't help but hum a good chunk of these tracks.  At the end of the day, one thing has always remained true; The Killers and Brandon Flowers write some DAMN good Pop tunes.  Now, to be honest, I wasn't expecting much from these new Killers singles.  But for the most part, they've been pretty damn BIG.  So let's talk about this new Killers album.

(I'm not even gonna lie, I was hooked from the first time I heard this)

This album starts off with this very serene track, heavy on the synths and even heavier on the atmosphere.  Which is honestly, something I really wasn’t expecting to hear.  But there’s some seriously intense stuff here, from those gigantic drums and Brandon’s very cinematic and epic vocals.  I do sort of wish this was more of an upbeat performance, or at least something a little more direct.  I’m just not really used to hearing The Killers in this very slow, sluggish environment dominated by atmosphere and buildup.  And they certainly do it just and all, because this intro does come off very big. But it’s far from what I’ve enjoyed from The Killers in the past.  I will give this credit though, this is all new water for The Killers, but it’s not nearly as enjoyable.  If you’re interested in hearing them branch out into some new territory, then you may just find this really interesting.  And there are some actually really cool elements, like the very cinematic synths as well as some of those bizarre auto-tune vocals.  Thankfully, up next is “The Man” which instantly is much more attention-grabbing.  And while yes, it’s glitzy and probably a little more Pop than Pop Rock, man is it ever catchy.  This one has a sort of sleazy vibe that I can’t remember ever really hearing from Brandon or The Killers in general, but it gives “The Man” a really nice edge.  The groove here is just killer, and while this is totally just so over the top in it’s Pop aspects, it’s exactly where I want to hear The Killers.  I continue to love some of those auto-tuned vocals that just pop in the background occasionally, which almost gives this track a bizarre sort of Daft Punk feel.  Overall, this track is killer.  It’s got some great tongue in cheek humor, and a hook that you’re going to be humming all day.  Now, say what you will about AutoTune.  But when it’s done right, it gives things a futuristic and HUGE sound to it.  “Rut” is much slower, but it certainly gives the spotlight back to Brandon’s very cinematic vocals.  This track overall is beautiful and heartfelt.  And while it isn’t as instantaneous as some of the other tunes here, I have to say, I’m impressed.  I feel like this is what they were going for with the album’s opener, but this is just so much better.  The piano’s are grand, the drums are patient, and the vast atmosphere all work so well for The Killers.  But it’s moments like this that Brandon Flowers comes off at his most dynamic, and he’s one hell of a frontman.  The Killers here are making anthems, and if that’s ok with you, you’re going to dig this.  But there certainly is a teary-eyed, arena ballad feel to this, and that’s just fine by me.  “Life To Come” is up next, and these very slow and powerful tunes continue to be a big success for The Killers.  But let’s be honest, this is the first time The Killers vast atmosphere and epic hooks have remained constant in an album for so long.  When those pounding drums come in and Brandon’s Voice get’s warmed up, this one turns into a ridiculously huge ballad.  But it’s more than just a big sound.  These songs, for the most part, are just so heartfelt, which is something that the Killers have always been iffy at pulling off.  It’s a very human sound, and I’m just so happy to hear it.  The choir that pops in as the heavier instrumentals are just as brilliant, making this one get bigger by the moment.  Plus, this is easily some of Brandon’s more well-crafted lyrics.  I continue to not have a lot of bad things to say about this album at all.

    Now, if you’re into The Killers much more straightforward and explosive, and most importantly catchy material, “Run For Cover” is a must listen.  This is the most upbeat and dare I say intense track on the album.  Even in this environment though, Brandon continues to sound so damn passionate and heartfelt, like every bar on this is one of the more personal of his career.  I just love the driving beat and explosive atmosphere on this one, as well as the wild guitars and icy synths.  What a damn single this is.  Then we get “Tyson Vs. Douglas”, which is honestly a really bizarre twist to this album.  Of all the song topics I thought I would hear, Mike Tyson was far from one of them.  But it’s really not that bad, to be honest.  The synths continue to rule over these tracks, but The Killers in the past few years have gotten continually so much more comfortable with them.  This one, while it starts off slow and weird, picks up quickly into another SynthPop anthem for the ages.  The Killers over the years have come so far from being Rock Stars who knew a thing or two about writing Pop tracks.  They’ve become Pop Rock icons who know what the hell they’re doing.  The intense instrumentals, Brandon’s flooring performance, this track has it all.  And while you would think with all of these overblown tracks this album would be a little more one-dimensional, I really don’t think that’s the case.  “Some Kind Of Love” is up next, which brings in another strong atmosphere and some very serene sounds as well.  This is by far the softest tune here, which I don’t necessarily have an issue with. But why the hell is this track so damn boring?  There isn’t a single moment here that saves me from wanting to take a nap.  Like, when more of the instrumentals pop in, this all of a sudden sounds like a Soft Rock tune ripped out of the 80’s.  Brandon doesn’t sound nearly as passionate or as into some of these lyrics.  I’m all for The Killers hitting us with a softer ballad, but “Some Kind of Love” is just painful.  Not to mention, there are so many elements that just come off so cheesy, which is something that I was so worried about hearing earlier.  On the other hand, “Out of My Mind” has a much more somber tone, but it at least has a little bit more substance to it.  Instantly, I feel like Brandon’s performance is just so much more compelling and heartfelt.  This is just another solidly produced Pop Rock tune.  There’s a big chorus, sweet verses, and tons of epic synths.  And while no, this isn’t as memorable or as bombastic as some of the early tunes here, The Killers are obviously on a BIG roll with this album.   

    But just when I thought I was going to end up loving this album start to finish, The Killers bring in “The Calling”, which is just so damn preachy.  I don’t know why they felt like this track was necessary, but here we are.  The beat here isn’t groovy, exciting, or anything.  It’s quite frankly seriously boring, and that bluesy guitar over it all isn’t doing anyone any favors.  Now, the chorus here at the very least is certainly snappy.  But everything else about “The Calling” is quite frankly boring.  I think there are some seriously interesting ideas here and there, and I think they were certainly onto something using that choir once again.  But overall, this track just doesn’t work for me.  This album ends off with “Have All The Songs Been Written”, which certainly has a very serene atmosphere.  From its intro, It’s not doing too much to keep me awake.  But I do have to say, it’s a very pleasant atmosphere, and Brandon’s performance is incredible.  So while I wish this track was maybe a little bigger and grander, it’s grown on me a lot.  I feel like it’s just an overall decent heartfelt ballad, and it’s rather lovely.  Plus, around the 2-minute mark, when those pouring drums come in, this track certainly does get more epic.  This may not be the perfect finale, but it’s big and beautiful.  

Rating: 7.7/10

Give A Listen To: "The Man", "Rut", "Life To Come", "Run For Cover"

Genre: Pop Rock / Alternative Rock / Pop

If You Dig This, Check Out: The Killers: "Sams Town", Queens Of The Stone Age - "...Like Clockwork", Arctic Monkeys - "AM", Future Islands - "The Far Field"

Overall Thoughts:  The Killers may have just dropped the best album they've made in years.  The tracks here are catchy, grand, and epic Pop Anthems that can fill any arena.  Now, I would still say there are some major flaws, like just how boring some of the later tunes are.  But as far as performances go, this is filled with plenty of memorable ones.

Godspeed You! Black Emperor - "Luciferian Towers"

Since the late 90's, Godspeed You! Black Emperor to me has come off as almost an anomaly in music.  They're a band that you can't really describe, and if you do end up describing them most likely you're going to not do them justice.  The first time I heard their 1997 debut "F♯ A♯ ∞", I was floored.  The Dystopian Western vibes that flowed freely over these tracks that added up to over an hour was just stunning.  I didn't even know what the hell I was listening to the first time I listened to it.  But it got under my skin, and it refused to leave.  Not to mention, it was immediately very apparent that Godspeed didn't need vocals.  The band's music had so much emotion in monolithic instrumentals, that it just wasn't necessary.  In 2000, the band released their finest work by far, the monumental "Lift Your Skinny Fists Like Antennas to Heaven".  This album is gigantic in every way, but every last instrumental has such a purpose.  From the unbelievable strings powering their way through the album to some of the mind numbing guitar solo's at the end of "Storm" are all completely indescribable.  At the same time, so many of the same elements floated over from their previous effort, like bizarre vocal samples and a true feeling of the world is ending or has ended.  "Lift Your Skinny Fists Like Antennas to Heaven" is simply put, an album you have to hear to truly appreciate.  In 2002, Godspeed came back with another monolith of Post Rock, "Yanqui U.X.O.".  Now, this album wasn't welcomed as warmly as their first few releases, and to an extent I certainly understand why.  This album wasn't nearly as tense, and the payoffs and crescendo's didn't seem to be as monstrous.  However, I don't completely hate this album.  It's still got a great atmosphere and wonderful moments.  But it does feel a little incomplete, and the production doesn't come off nearly as graceful. Godspeed around 2002 took some time off, 10 years to be exact.  They returned in 2012 in a big way however, with "Allelujah! Don't Bend! Ascend!".  This album was a return to form in the best way, as Godspeed painted unbelievable portraits of a desolate Earth, while incorporating unsettling samples and Crescendos and tension that nobody else could even touch.  A few years later Godspeed returned with "Asunder, Sweet and Other Distress", an album that many including myself really had mixed feelings on.  While the album's final two tracks were certainly fine and really well done tunes, the first half of the album seemed to be going nowhere.  Beyond that, it really felt like Godspeed didn't have too much of a purpose. Godspeed are back with their first album in a few years.  Now, I did listen to the teaser tracks.  But for the most part I want to go into this fresh, because Godspeed has really never been about one or two songs off an album.

This album starts off with "Undoing a Luciferian Towers", which is certainly a very grand sounding intro.  But it's not exactly the most well put together.  Godspeed to me have always sounded like such a unit, even when they were trying to make a messy political statement with some sloppy instrumentals.  But no, this is just plain ugly, like they were warming up and someone hit the record button by accident.  But, let's talk about the feeling I get from this because at the end of the day that's what Godspeed is all about.  Sadly, I'm not really feeling anything from this.  Just the opposite, as this track sort of blows right past me. The ugly strings, the patient drums, it's all stuff with hearing from them in the past.  But this is just going nowhere.  And that's coming from a band whose made 24-minute songs seem pleasurable in the past.  "Undoing A Luciferian Towers" just trudges along, trying to make some sort of statement that would have once been so easy for Godspeed.  There are a handful of cool moments, like some of the string releases that come off bigger, as well as some of the crescendos 6 and a half minutes in.  But most of this track simply makes me feel nothing. Thankfully, "Bosses Hand" Pt. I at the very least has some actual tension build up at the start. Like, I actually really enjoy that one violin being played ferociously, as well as the much more somber tone to this one overall that harkens me back to some of their early releases.  There's actually some serious heart in that very bluesy, electric riff.  But just the thought that Godspeed is splitting up their tracks this much and not making massive movements is certainly concerning.  But of all the tracks here, I'm actually moved a little by this one which is certainly a nice change of pace after that painful opener. There's genuine emotion in those strings and wailing guitars.  And while I would absolutely say this one is a little cheap, and this would have been so much more exciting with the proper buildup, this is one of the lesser evils of the album.  But I can't shake this feeling that this simply isn't a Godspeed album.  There are no decimated wastelands, and if there's a political statement here I must have missed it.  By the time "Bosses Hand Pt. II" rolls around, it's becoming obvious that this is far from the Godspeed we know.  I feel like with this one, they're majorly backtracking and unwinding the little they just wound up.  I'm not feeling these much sunnier and hopeful guitars compare to some of the deep and emotional guitars we got a few minutes ago.  Now, at first, I did sort of dig this track.  But upon a bunch more listens, this really is the farthest thing from a Godspeed track.  Elements of their past are certainly here, like those repetitive strings that are still unnerving and those intense drums in the distance.  But outside of that, what even is this?  There's this really strong Bass Groove going throughout, which I guess is certainly hypnotic.  But is that what Godspeed have come to?  There are parts of this album that could have been so good, but so far, this all seems rushed.  "Bosses Hang Pt. III" really isn't that much better.  This one easily could have been tied into that last part.  But it's just getting gruesome really fast.  Like this literally sounds like just about every other Post-Rock band ripping off Godspeed.  Not to mention, I'm just sick of this groove that hasn't gone anywhere and is soiling their name.  The guitars don't even sound good as they just keep getting bigger, and certainly not nearly as grand as they once were.  The only thing remotely redeeming about this one is the return of those big crescendos from the first part of this installment.

This album continues with "Fam/Famine", and I'll give Godspeed this, this is certainly much more elegant and ear-grabbing.  Once again, there's actually some really nice tension built up from these very rigid strings as well as some of that cymbal tapping.  But overall, I just feel like this track is really doing its part.  Every note Godspeed used to play had a purpose, and that's what I see here.  While this album overall is sadly sort of purposeless, this track at the very least is much more eye-opening and interesting.  Here, the band sounds so worn down and bruised, yet beautiful and full of life.  And while yes, this is far from the Dystopian wasteland I've been dying to hear, this is a gigantic step in the right direction.  It's sunny and all, like some of the other tracks, have been here.  But the sheer intensity and the ugly underbelly is fascinating.  The strings are breathtaking, the drones are intense, and everything just sort of works on this one.  And being one of the longer tracks here, which is still minuscule compared to their past work, is nice as well.  Not to mention, it really gives me time to take this one in and feel everything about this one.  Up next we have "Anthem For No State Pt. I".  I'll certainly give this one credit, this certainly has the very desolate feel of earlier Godspeed projects, the feeling that you're in a world that's been left to die.  While this track is short, I actually can't help but really get caught up in this.  The withered guitars sound so bruised, and those strings just come across as so beyond hurt.  There's a great deal of emotion here, especially more than what we've been hearing for the majority of this album.  And while I stand by my thoughts that these "parts" should be one track, this one certainly stuck with me.  Sadly though, "Anthem For No State Pt. II", just sort of lets it all go.  This doesn't even sound like the same band.  This just sort of sounds like some downtrodden and down on their luck blues band.  There's no tension, no real emotion, and I barely have anything at all to say about this.  The patient drums go nowhere, the guitars are lifeless, and this atmosphere seems totally phoned in.  This album ends off with "Anthem For No State" Pt. III".  On the other hand, this track sounds absolutely monstrous right off the bat.  Hearing this track leading up this album, I honestly thought we would be hearing more of these hulking tracks, which of course got me excited.  I love how calamitous this all sounds, and just how intense these instrumentals are.  It's not pretty, it's muddy and dark, but it's Godspeed playing as a unit which we haven't been able to say for most of this album.  The drums here are mindblowing and massive, but that leaves me with questions.  Where was this sound?  Why can't I hear this track spread out over 20 minutes or so?  It just seems unfair to even call this project an actual Godspeed project.  But this is the sort of intense, in your face, brooding sort of track I needed to hear.  It's got emotion, it's got power, it's got grace, and if there's anything close to a statement on this album, it's right here.

Rating: 6.5/10

Give A Listen To: “Bosses Hang Pt. 1”, “Fam/Famine”, “Anthem For No State, Pt. 1"

Genre: Post Rock / Experimental Rock / Drone / Progressive Rock /

If You Dig This, Check Out:  Godspeed You! Black Emperor - “Lift Your Skinny Fists Like Antennas to Heaven”, Thee Silver Mt. Zion Memorial Orchestra - “Fuck Off Get Free We Pour Light On Everything”,  Explosions In The Sky - “Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever”.

Overall Thoughts:  At the end of the day, I feel like it’s almost criminal to call this an actual Godspeed You! Black Emperor album.  They’ve obviously worked with long song structures in the past, and I didn’t think that splitting them up to numerous tracks would really do much damage.  But man, these tracks don’t even sound like they were done by the same band half of the time.  Just the opposite, I feel like so much of this album is far from cohesive.  Godspeed was once a band about revolution, epic soundscapes, and dystopian monolithic journeys. There isn’t any of that here.  And the few short moments of THAT we do get, are just sort of overshadowed by how this all just doesn’t add up.

Moses Sumney - "Aromanticism"

I actually caught on to Moses Sumney a while back when I caught him at a festival.  His performance actually stopped me in my tracks almost completely.  His voice is, for lack of a better term, absolutely flooring.  And his live show is actually really brilliant, and if you have a chance I would certainly take the chance to see him.  Anyways, his 2016 EP "Lamentations" was a really fascinating EP.  It showed off, of course, his incredible vocals and very passionate and engaging lyrics.  But as much as I did enjoy it, I really wanted to hear him in a more instrumental environment.  And for the most part, that is what I've gotten with these teaser tracks.  Let's talk about Moses Sumney's debut full-length album.

    This album starts off with “Man On The Moon (Reprise)”.  It’s a pretty stunning into, and Moses sounds pretty incredible.  I’ve always thought he has such a beautiful voice, nobodies gonna take that away from him.  I mean, these are some really incredible harmonies.  But I feel like this just could have been so much more of an intro.  Moses could have really laid down some more harmonies and done something with a little more substance.  Obviously, I can’t sit here all day critiquing a 30-second intro, but I wish Moses started this album off a little differently.  On the other hand “Don’t Bother Calling” is ear-grabbing right off the bat.  Moses’s vocals here sound almost otherworldly the way they’re just dripping in effects.  But it certainly sets him aside of what else going on in Alternative R&B right now.  His very sweet and raw vocals really bring this one right back down.  It’s a beautiful track, that’s made even bigger by some seriously wonderful strings and some guitar lines that don’t interrupt Moses’s stellar performance.  But this unbelievable sense of loneliness is quickly growing apparent.  It’s made even more apparent by just how alone Moses sounds occasionally between these big instrumentals.  “Don’t Bother Calling” is a near tear-jerking track that puts Moses on the map very quickly.  Plus, sonically this track was so well done.  In every way, this is what I wanted to hear after Moses’s debut EP.  The very sweet, swirling atmosphere continues with “Plastic”.   Now, I do understand that a lot of these tracks are very stripped down and often end up leaving Moses on his own with these very quiet atmospheres.  And I totally get why it’s done too.  But I really would love to hear more instrumentation, because that’s where Moses is really blowing me away.  It’s these very cosmic and foreign atmospheres, which thankfully there is enough of on here.  Moses just sounds so soulful, and his voice is seriously impeccable.  While I wouldn’t say this hits me as hard as the last track here, it’s still very pleasant.  Also, lyrically, Moses has a way of really making himself vulnerable and letting us into his thoughts and feelings which I do enjoy quite a bit.   On the other hand, “Quarrel’ grips me so much more right off the bat.  The very cosmic, futuristic environments continue to hit very hard, and I love the opening jazzy instrumentals.  All around, this track just works so well, from the incredibly lush instrumentals to Moses’s awe-inspiring vocal performance.  The harps here that are plucked through most of this track, along with some really solid backing horns as well, make for an instrumental palette that I want to hear Moses on more and more.  “Quarrel” is breathtaking, and lyrically this continues to be such an engaging and revealing album.  Not only that but a really heartbreaking one at that.  Moses almost constantly sounds so lost, and more importantly truly along.  And it really does shake you to your bones, but man is it effective.  This track is incredible.  And while I don’t think it needs to be 7 minutes long I really don’t mind it.  Plus, that last two minutes of instrumentals just gets cooler and cooler by the second. 

    Now usually, I’m not into short interludes.  But I feel like “Stoicism” actually ties this album together really nicely.  It’s a surreal image, no matter how sweet it is.  But I think it works really nicely in painting this picture of Moses’s life.  Then we have “Lonely World” which instantly hits us with a huge barrage of warm vocals, and so many of them.  Loneliness has been a major theme of this album, but it’s never been this up front.  It’s nice to hear, however.  This one is a whole lot more based on Moses’s vocals, but here, it works.  “Lonely World” contains some of his most outrageous falsettos of the entire album.  There are just enough instrumentals to keep this one afloat, and certainly enough to keep me awake.  And honestly, that's something I was certainly worried about going into this album.  As this one rolls on, it picks up really well.  When those handclaps come in as well as all of that vocal layering, this one becomes pretty stunning.  Those swirling, intensely beautiful atmospheres are all of a sudden back in a big way, to the point where they’re almost overwhelming.  Hell, they sound like they’re eating Moses alive.  But his ridiculous vocals come out on top, and it’s stunning.  “Make Out In My Car” is up next, and this very vibrant and colorful picture Moses has been painting is just getting more and more massive by the minute.  But I think what makes this one work is the sheer desperation to feel love from Moses. In this case, it’s not even love, just the want to be touched or have a fling, which is something we’ve certainly felt out of loneliness.  But outside of that, I just love how minuscule the environment is here. And some of those sweet flute melodies that pop in are seriously classy.  For a short, straightforward tune, this one packs a punch.  “The Cocoon-Eyed Baby” is up next in our supply of stripped down interludes.  But to be honest, this one really doesn’t hit me nearly as hard as Moses intended it too.  It’s a little head scratching, and not nearly as necessary as the earlier interlude.  However, I will give it this:  The short poem stated by Moses is VERY telling and hits home hard.  

https://www.youtube.com/watch?v=fS63c-C-Rc4

    Now, I may be the only one, but I’m not really that into “Doomed”.  This one is absolutely all about Moses, which in theory should be fine, even refreshing.  And let me tell you, his performance is seriously compelling.  But like, as far as the atmosphere, not his one goes, I’m practically begging Moses to bring in some sort of instrumentals, whatever they may be.  And it’s a shame because everything about this track is stunning.  Lyrically, this may be his most compelling and deep song yet.  And as far as vocals go, they might be some of his best yet.  But I just am really not into this very bare-bones feel.  It’s the reason that I didn’t go as wild over his EP, and it’s holding me back from obsessing over this one too.  Now, there really isn’t that much more outrageously different about “Indulge Me”.  But just that little-added strumming makes this so much more of a compelling listen to me.  This one is also one of the more straightforward tracks here.  Lyrically, there's only a handful of lyrics.  But it’s moments like this that hit me the hardest, Moses knows how to make a lot out of a little.  Moses sounds so soulful and hurt, and I know I’m beating a dead horse but the guy sounds lonely.  It’s simple, but it’s beautiful and it’s heart-wrenching.  This album ends with “Self-Help Tape” which brings back the sort of whimsical atmosphere that we haven’t heard on a few tracks.  It also brings in some really stunning vocal harmonies that in a weird way reminds me of something Fleet Foxes would do.  It’s very pretty, and easy on the ears.  But the only thing that’s sort of holding me back from absolutely going crazy over this, is how this one sort of sounds like way too many other Alternative R&B acts that are out there right now.  Moses this entire album has built up such a distinct sound, and he just sorts of throws it all away here to sound like a lot of other current acts.  Outside of that though, this is just as stunning, futuristic, and compelling as other tunes here.  

Rating: 7.6/10

Give A Listen To: "Don't Bother Calling", "Quarrel", "Lonely World", "Make Out In My Car"

Genre: Alternative R&B / R&B

If You Dig This, Check Out:  I mean, check out Moses's EP from last year.  Outside of that I'm stumped on this one.

Overall Thoughts: There's gonna be tons of people who enjoy this album much more than me, and that's fine.  Vocally this album is impeccable, and lyrically this album really backs up just how desperate and lonely this album's instrumentals and atmosphere come off as.  But I just expected a little more out of this album.  For an album with this much hype, it's a little short, with a few tracks that easily could have been stretch out, as well as a few tracks that went on maybe a little way too long.  Also, a lot of these tracks have a lot of the same elements, that occasionally blur together a bit.  Outside of that, this is a totally refreshing and easy listen for anyone who digs Alternative R&B. 

Wolves In The Throne Room - "Thrice Woven"

You know what I'm gonna say right about now, I love Black Metal.  Which is why when I first got introduced to Wolves In The Throne Room, I instantly was hooked.  However, I still have some slight reservations with their 2006 debut "Diadem of 12 Stars".  Most of my reservations come from the production.  I feel like in certain moments there are just too many moments that sound a little tinny, to be honest.  However, there were enough truly great moments to this album to justify its hour runtime, including both parts in the "Face in a Night Time Mirror" saga.  There were elements of doom metal, dark ambient as well as folk metal too, and I was interested to see where Wolves In The Throne Room would go next.  Thankfully, on their next album "Two Hunters", Wolves In The Throne Room brought their A game.  This album was absolutely incredible from start to finish.  The production just seemed too much richer and fuller, and the band began to bring in stunning elements of Dark Ambient to create some seriously beautiful passages as well.  But don't let the beautiful moments fool you, this album is absolutely brutal.  But I'm really kind of shocked when it came 2009's "Black Cascade".  For one, they were certainly going for more of a heavy, by the books Black Metal sound.  And that's all fine and dandy.  But they threw everything else out the window in a big way.  This album had zero atmospheres, and sounded like any old Black Metal band went Low-Fi on us.  I can't remember a single moment of this album that I was actually compelled.  Thankfully, Wolves in the Throne Room hit back hard with "Celestial Lineage".  This album was epic, beautiful at times, heavy enough for fans of the group, and more atmospheric than ever.  Now, let me just really emphasize that last point.  This album was by far the most atmospheric album yet.  Wolves in the Throne Room have always sort of dealt with Dark Ambient.  But my goodness this album was just so masterfully done.  So not only was this heavy enough to please fans of their early work, it gave us some really great new elements to appreciate too.   Now, in a lot of my reviews, I always find myself stopping and pointing out one element of a band's music, and pointing out how interesting it would be to hear them take on that element head on.  That's what Wolves in the Throne Room did in 2014 with "Celestite".  This album isn't a metal album, far from it actually.  This album from start to finish is a Dark Ambient album, a really good one too.  There are icy synths taken out of the playbook of John Carpenter, and really stunning and serene atmosphere's that you really have no choice but to get caught up in.  This was a really interesting experiment for the band and one that ended up working out great.  But I was ready for them to get right back to what they were born to do, make Black Metal.  Which they certainly did.  And these new singles have been absolutely soul crushing and epic in every way.  Let's talk about this explosive new Wolves in the Throne Room album.

    This album starts off with “Born From the Serpent’s Eye”.  It’s a very folky sort of intro, but it does set the mood very nicely.  When things get rolling around the 30-second mark, Wolves In The Throne Room sound right back to where they left off to be honest.  The drums are just as intense, with the grand and over the top guitars that I’ve come to know and love.  But I do have to say that some of the atmospheres aren't as thick as they once were.  Which does eventually get cleared up when some of those synths and backing instrumentation come in.  As far as vocals go, Nathan Weaver sounds just as twisted and blackened as ever.  You gotta take into consideration however just how refreshing this all is after not hearing any of this on the last album.  While towards the intro I was worried that this one was going to fail, “Born From The Serpent’s Eye” turned out pretty solid.  I say that because, honestly, at first it did sound like Wolves were scrambling to get their shit together.  But of course, they DO get it together.  And the result is sort of where you feel like they should be.  The heavenly choir vocals that come in as well are really done well.  It’s details like that that make this atmosphere so hulking.  I love all of these twisted fantasy elements that as well.  I gotta say, overall this is a solid intro from one of Black Metals finest.  If I had to make one slight criticism, I feel like they went a little backward with the production.  But outside of that, this is a great, brooding, dark Black Metal tune.  Then we have “The Old Ones Are With Us”, and I honestly feel like a lot of people are going to hear this and instantly think this is so damn cheesy.  But to an extent, that's what I love about the Black Metal genre.  The ability to be so campy and ridiculous is there, and I love that.  This opening monologue literally sums up everything that Wolves In The Throne Room have ever done, and the folky guitar plucking away literally makes it feel like some story told around the campfire.  What follows is pretty damn smooth.  While the production isn’t quite as stunning as I remember it being, this track has enough epic and grand instrumentals to really make this one go over well.  There are almost some shoegaze elements at this sort of chorus shortly after 2 minutes.   But it all works really nicely together.  I love just how soaring the guitars here are above the intense drums.  And while yes, to an extent Wolves may be reaching for this atmosphere a little too much, I think it works really well for the band.  Also, some of the Dark Ambient vibes they worked with so interestingly on the band’s last album are back in full force if you listen closely enough.  A little over halfway through “The Old Ones Are With Us”, we get a rehashing of that opening monologue, and sadly it doesn’t come off nearly as well.  But when this track returns to its brutal main riff, things get even more stunning.  The band’s more direct mix of Dark Ambient music with their usual Black Metal riffs is simply jaw-dropping.  So yes, there may have been a few moments on here where I was worried.  But overall, this track works really well.  “Angrboda” is probably the most direct track on the album.  This one doesn’t waste any time in trying to set a mood.  No, this one blasts directly into this very intense riff.   This track has some of the beefiest, thickest instrumentals we’ve heard from Wolves In The Throne Room yet, and I’ll be damned if Nathan has ever sounded more monstrous.  This track is a damn monster.  And while I do sort of wish the band took maybe 30 seconds to build up some atmosphere, in the beginning,  I can’t really say no to this.  On the other hand, I do feel like the dark ambient influences and droning synths floating through the background add a TON to this one.  But there’s actually a whole lot more going on within “Angrboda”.  Wolves have always sort of gone with this sort of Fantasy atmosphere, I mean just look at that damn cover art.  But here, it’s the thickest it’s been all album.  Also, this Mid-Track breakdown comes off so well for them, with those somber sounding strings and hulking backing orchestrations.  It all just makes this track come off massively, which it is.  Not to mention, some of the more quiet passages in the later moments, around the 7-minute mark are so well done.  It shows that Wolves pay so much attention to their atmosphere, which is what I look for in Black Metal.  And it makes the payoff so much better when it does show up towards the end of this track.  More importantly, it makes these hulking, 11-minute tracks a whole lot easier to swallow.  

https://www.youtube.com/watch?v=J7tU3oKOqRc

    “Mother Owl, Father Ocean” is up next, and this one starts building an atmosphere as soon as this one gets going.  However, I’m warning you.  This one is very quiet, and if you don’t like what Wolves did with Ambient and Dark Ambient on their last album you may want to skip this one.   But if you think that work was as brilliant as I did, this is going to rub you all the right ways.  The atmosphere here is so thick, and this almost angelic singing in the background really sets the mood for whats to come.  The backing instrumentals are stunning as well.  Obviously, this is by far the shortest track here, and there isn’t that much to talk about.  But it’s still solid and really ties these tracks together well.  Moving on, for all of you who weren’t quite into that, will be instantly woken right up by “Fires Roar in the Palace of the Moon”.  This track right from the intro is the most brooding one here, with some of the biggest drums we’ve heard here so far, as well as one of the most determined riffs Wolves have to offer.  To go from making a completely Ambient album, and to come back to record this album here is seriously impressive.  And while no, I don’t think this stands completely toe to toe with some of the band’s early work, this is easily some of the better Black Metal I’ve heard this year.  The intensity of the playing, the brilliant atmospheres, the devilish screams, this is all that I tune in for and have tuned in for years for.  But like I said, the dark ambient material they’ve worked with in the past continues to have a really strong grip on their current material.  So if that’s not your style you may very well not be into this at all.  But for me, while this may not be their best produced or heaviest release, it’s still solid.  

Rating: 7.8/10

Give A Listen To: “Born From The Serpent’s Eye”, “The Old Ones Are With Us”, “Angrboda”

Genre: Black Metal / Progressive Metal / Dark Ambient 

If You Dig This, Check Out: Wolves In The Throne Room - “Celestial Lineage”, Panopticon - “Roads To The North”, Agalloch - “The Serpent And The Sphere”

Overall Thoughts:  For anyone that was iffy on Wolves In The Throne Room's last album, and trust me there are plenty of you, you'll be happy to know that this album is back to business as usual.  This album consists of 5 tracks, which incorporate Black Metal, Folk Metal, Progressive Metal, as well as the band's usual curiosity with Dark Ambient music.  And while it's not nearly as wonderfully produced as some of the band's earlier albums, it's surprisingly solid. The riffs are intense, the atmospheres are heavy, and the band sounds just as monstrous.  If they get that production back on track, they can easily make another classic.  

Metz - "Strange Peace"

When I was in college, I started getting into a lot of Garage Rock and Garage Punk.  Death From Above 1979, Ty Segall, Thee Oh Sees were all regulars on my playlists.  Then in 2012 I came across Canadian band METZ, and proceeded to blow out all my headphones.  This was the noisiest, most abrasive and most ridiculously explosive Garage album I had heard in years.  There were elements of Noise Rock and Hardcore Punk galore, and I literally probably listened to this album every day for about a year.  Tracks like "Headache" and "Wasted" still to this day are staples on any of my workout playlists, and overall this album is just ridiculously good.  Now, take all of that, and throw it out the window, and you have the band;s 2015 follow-up "II".  I have no idea what happened on this album.  But these songs were borderline terrible.  Sure, tracks like "Landfill" and "I.O.U. were great.  But the majority of the rest of the album was complete filler.  Ugh, now, to be honest, these new singles from METZ have certainly been an improvement.  But I still haven't heard anything from them that's completely stuck with me start to finish.  Let's talk about new METZ album.

https://www.youtube.com/watch?v=RQ3AMjoVIOY

(Let me tell you, the first time I heard this, it really changed the way I listen to music)

    This album starts off with “Mess of Wires” and it’s certainly a wake-up call.  I feel like in a way, METZ just keeps getting heavier with each release.  But not since their first album have I heard them incorporate the sort of melodic passages that I’m desperate to hear again.  Because this one is certainly heavy, nobodies going to take THAT away from them.  And they certainly are focused, because this may be the most driving riff that I’ve ever heard out of METZ.  But outside of that, there really isn’t that much to say about “Mess of Wires”.  Intensity only really goes so far, especially when you know a band has so much more to offer.  So no, I’m really not that into this as an intro.  Next up is “Drained Lake”, and this continues to be just a seriously noisy and grungy album.  But even at METZ’s heaviest, I don’t remember ever hearing them being this grimy.  However, I will say this.  This is a vast improvement from the album’s opener.  I love how explosive the riff on this one is, and just how driving the material continues to be.  Not to mention, Steve Albini’s legendary production actually makes this one sound really tinny, in a good way.  To be honest, I think that’s actually a really great sound for METZ and makes them sound more abrasive.  On the other hand, I’m really not that into the vocals of Alex Edkins, which is something that at a point in my life I was obsessed with.  Alex however here though sounds so shaky.  But I’ll give him this, he does sound seriously out of control.  Not to mention, I do like some of the backing vocals that give this one some depth.  So far, this album has been a seriously mixed bag.  “Cellophane” on the other hand, is all around a really decent sound for METZ.  It’s still just as intense and abrasive.  But at least this one sounds like it was actually thought out and not just a blast of aggression.  Even Alex sounds more comfortable in this sort of atmosphere.  This track actually has a ton going for it.  For example, I love how melodic the chorus is, and how this riff sort of sounds like an updated Classic Rock riff infected by fuzz and distortion.  It’s easily the most exciting and ear-grabbing thing I’ve heard so far, so shout outs to Steve Albini for this production.  The solo’s here also are incredibly exciting, and everything about “Cellophane” is just so explosive.  Let’s get some more of THIS ASAP.  METZ sadly don’t answer my prayer, as “Caterpillar” is easily the slowest and tamest track here.  The riff is almost hypnotic since it’s basically the bulk of what we have going on here.  But overall this track is awful.  I don’t know who METZ think they are, but they aren’t some Experimental band or a Drone act.  “Caterpillar’ has the grace of an elephant on a motorbike, and it’s not pretty.  Alex’s very hazy and almost Shoegaze influenced vocals don’t do a damn thing either.  Every time this album sort of gets me excited, something like THIS happened and it just makes me want to turn it off.

    On the other hand “Lost In the Blank City” actually, has some really great tension building up in the intro.  And oh BOY, this one actually goes somewhere!  Who would have thought?  This one explodes with one of the noisiest and most ridiculous riffs I’ve heard from METZ in a very long time.  This track is just so dirty and ridiculously beefy, its times like this where Steve Albini’s production comes off at its finest.  And while it’s not as melodic as I would have liked it to be, this is sort of intense Noise Rock I want to hear from METZ.  The distorted guitars sound so foreign, and the explosive drums sound like guns going off half the time.  Hell YES, this is the kind of track I want to hear.  The absolute all-out assault of this album continues with “Mr. Plague”.  Now, instrumentally you gotta realize, a lot of these tracks are so simple for the most part, mostly just focusing on exploding riffs and brutal drums.  However, the melodies, however slight and easy going they are are really what drives tracks like “Mr. Plague” home.  This may not be fancy, but it’s some above average, Brick-In-Your-Face Noise Rock.  And I continue to have to stress, this is so much more memorable than anything from their last album.  And while yes, I do sort of wish conceptually maybe there was a little more substance, this is an awesome tune.  But then we have tracks like “Sink”, which are just sort of awkward and weird.  I mean, this is literally 90% feedback and 10% half-assed harmony.  It’s alright, and that’s about the most of it.  I do like some of the production here, as well as the very D.I.Y. atmosphere.  But the whole time I’m sort of sitting here just wishing this was more intense.  Every time I hear a slight riff, I get excited for this explosion that never seems to show up.  But like I said, I do enjoy some of the more melodic moments on “Sink”.  But at almost 4 minutes long, this one almost sounds like it goes on forever.  On the other hand, “Common Trash” is exactly what I want to hear.  Come on guys, just stick to THIS sound right here and give me a whole album of this.  It’s abrasive, it’s heavy, and it seems like it’s constantly shifting and turning.  But here, METZ are able to really hit home by incorporating some melodic passages as well.  So far, “Common Trash” may be the closest thing to where I truly want to hear them.  But come on guys.  This track is literally so simple, why can’t we get more of this?  I digress, this track is brilliant.

    You know, I was beginning to think METZ could end this album well.  But the truth is, the final moments of this album are really weird.  First, we have “Escalator Teeth” which continues to be everything I want to hear from METZ.  But while it’s literally perfect, WHY THE HELL IS THIS TRACK 40 SECONDS.  Don’t give me the “well it’s their Hardcore Punk Roots” answer, I’m not buying that.  They could have EASILY made this a 3-minute jam.  Then we have “Dig A Hole” which brings back a lot of that same intensity that I’ve been loving.  But by this point, METZ have thrown song structure out the window.  This one once again is so good but is barely over a minute.  With all of the longer tracks here, these last two tracks together could have been a minute or so longer and stolen the show.  Now I’m not going to sugarcoat, the finale “Raw Materials” is a damn mess.  I get that METZ wants to go for the most abrasive sound possible.  But some of the noisiest albums ever produced have continuity at least, and certainly a little more structure.  I hate to say it, but while “Raw Material” has a few exciting moments, remains a mess.  And as it moves on, I feel like it just gets worse and worse.  

Rating: 7.2/10

Give A Listen To:  "Cellophane", Lost In Blank City", Mr. Plague", "Common Trash"

Genre: Noise Rock / Garage Rock / Punk Rock 

If You Dig This, Check Out: METZ - "METZ", Death From Above 1979 - "You're A Woman, I'm A Machine", FIDLAR - "FIDLAR"

Overall Thoughts:  I expected so much more from this album, I really did.  I thought working with Steve Albini would be the one element that brought METZ back to where they could be.  And trust me, Steve does work his magic, because this is miles better than their last album.  There's some great riffs of course, and the sheer intensity of this is certainly very well done.  Not to mention, the more harmonious choruses are a really nice touch.  But I still feel like the band hasn't even gotten close to the greatness they started their career with. 

The Horrors - "V"

Ok, so hear me out on The Horrors.  Upon their arrival in the mid-2000's, I really didn't get what they were doing.  I saw a bunch of British dudes trying to make Horror Punk current and hip, and I really didn't see it working out for them.  Even tracks like "Jack The Ripper" which I heard early on didn't do anything for me.  Then I listened to the rest of 2007's "Strange House", and I was an instant fan.  I felt like their sheer devotion and appreciation to the Post Punk sounds of the early 80's was stunning.  Not to mention, the campy production and over the top lyrics ended up being just what I wanted to hear.  The Horrors' really caught me off guard however with 2009's "Primary Colours".  This album brought in heavy elements of Psychedelic Rock, and a sense of Shoegaze so ominous that it couldn't be ignored.  However, The Horrors kept a lot of their sort of campy and over the top performances, making for another really solid listen.  By the time 2011's "Skying" was released, The Horrors were a completely different band.  This album was a syrupy, reverb drenched and Gothic Tinged Shoegaze album through and through.  But to be honest, man did they ever pull it off.  Even more, this album was absolutely stunning at times on tracks like "Moving Further Away" and "Still Life".   2014's "Luminous" was even more in Shoegaze territory, but with so much more glitz and a whole lot more electronic influence.  Which wasn't necessarily bad, it lead to awesome tunes like "I See You" and "Chasing Shadows".  But tracks like "Jealous Sun" and "Falling Star" were straight up really not good at all.  The Horrors needed a little bit of a changeup. It's been quite a few years since we've heard from The Horrors.  And to be honest, at this rate I really wasn't expecting too much from this new album.  But man, The Horrors have certainly switched things up nicely with these new singles.  Let's talk about this album, shall we?

This album starts off with “Hologram”, and right off the bat this is certainly much more impactful and more punchy than anything The Horrors have done in a LONG time.  I mean, these synths are absolutely gigantic.  Not only that, the band is clearly embracing so much more of their electronic sound.   They’ve always had very breezy synths in their music.  But this is next level for The Horrors.  To be honest, it sounds wonderful, and it keeps that sort of darkness that the band has kept for years.  But for those of you that enjoy albums like “Skying”, this album still has so much to offer as far as big atmospheres and Shoegaze influences. There are also elements of New Wave and Post Punk sprinkles here and there.  Overall, “Hologram” is a really solid intro.  It shows just what I wanted to hear from The Horrors, and that is branching out into slightly more abrasive territory while keeping what’s made them famous, to begin with.  It’s breezy, it’s sleek, it’s groovy and totally hip.  Then we have “Press Enter to Exit”, and I love just how dark and patient this one is right from its intro.  But ma, this one opens up quickly into a VERY strong groove.  I’m honestly really shocked with how many dance music and electronic elements The Horrors are bringing in.  But honestly, it really seems right, like it’s something that they should have done years ago.  I absolutely love frontman Faris Badwan’s very shy and quite a performance on this one as the rest of the band lumbers on slowly  But I”m impressed with just how well the band is able to keep this groove and turn it into something hypnotic.  There are a TON of, little details here and there that make “Press Enter to Exit” so brilliant. Whether it be Faris’s sort of Gothic performance or that haunting chorus that really sticks with you, this track is a serious standout.  Then we have “Machine” which brings in some Industrial sized synths and some more abrasive production.  But I think it comes off really well, especially when you bring in these very depressive and Gothic lyrics.  Overall, it just makes The Horrors sound stand out so much.  There are still plenty of Shoegaze elements to go around which is nice to hear, and gives these tracks the vastness they deserve.  But to an extent, I really feel like The Horrors have outgrown that.  They’ve become so much more than hazy atmospheres and ghoulish vocals.  I love Faris’s very dry but hypnotic performance which seriously sticks with you.  Plus, this is just so beefy and strong sounding, I literally can’t get enough of tracks like this. Plus, the sheer chaotic aspect, as well as some of the noisier bits, are so well done.  Then we have “Ghost” which is much more atmospheric and somber in tone.  And to an extent, I really feel like this works really well with a lot of the more electronic sounds The Horrors are working with.  And as far as instrumentals go, I think they’re executed near perfectly.  But let’s be honest, this is easily Faris’s more lifeless performance.  And while I certainly get what he was going for with this very deadpan performance, I just don’t think it comes off very flattering.  As a matter of fact, I’m just so much more interested in these almost Psychedelic instrumentals that sound almost out of the book of Black Angels.  And when these instrumentals explode and get even bigger as this track goes on, what a moment that is.  I love the shimmering synths and murky production on “Ghost” as well.  So no, this track isn’t terrible, I just sort of wish Faris was a little bit more into his performance. 

    “Point Of No Reply” once again brings us to the drearier side of this album.  But this is instantly just so much more captivating.  Here, Faris is just as lifeless sounding but it’s executed so much better.  Between that and this stellar bass groove, this track is near perfection.  I love some of the vocal harmonies on the chorus, which we really don’t get to hear much from The Horrors.  Overall, “Point Of No Reply” is a theme for a Gothic Disco.  It’s heartbroken, but it’s also got a groove that will make you hit the floor.  But lyrically, it’s also so dark and very Gothic-tinged, almost to a point where this comes off a little too real.  It’s a stunning tune.   This album has gotten really somber really fast, and “Weighed Down” continues down that path.  But The Horrors refuse to leave the dance floor.  This one is so much slower, so much more forceful.  There’s still a groove here, but this is certainly one of the least inviting tracks here.  But Faris’s performance is easily one of his most captivating and fierce here.  On this one, he sounds like his old self, a dude fascinated by just about every classic Post Punk act.  Now, at first, I wasn’t digging a lot of this tune.  But I do think The Horrors continue to really be onto something.  So yes, “Weight Down” is a little repetitive and not nearly as sharp instrumentally.  But overall I still dig what The Horrors are doing so much.   “Gathering” however, throws a real curveball ay us.  Hearing a guitar this stripped down, this deep into the album is actually pretty damn exciting.  In every way, this is a sort of throwback number, with melodic strumming and all that sounds like a 90’s forgotten classic.  But that very vast atmosphere and Faris’s seriously twisted performance makes this a Horrors tune.  In a big way, this really doesn’t fit this album’s tones at all.  But I think it shifts things really nicely.  It’s moody and somber, but it never gets too far away from what The Horrors do best.  This actually reminds me a little of their early material, where they wanted just so much to be the next Bauhaus.  But “Gathering” is done so elegantly, by the time this grand and lush chorus pops in I’m beyond sold.  This track is wonderful, and while it doesn’t have the Shoegaze atmosphere or Icy synth grooves, it has plenty to love.   But just like that, “World Below” comes along and The Horrors are back to their heaviest sound yet.  This is instantly right back in that Industrial direction that I was loving so much earlier, but it’s easily the most intense track they’ve done here so far.  The Horrors really went all out with this one, with all sorts of bulky instrumentals and some of Faris’s catchiest vocal melodies that we’ve heard yet.  In a lot of ways, this is The Horrors at their most direct.  But if this is a sign of what’s to come from The Horrors in the future, sign me up.   These grooves are ridiculous, and the gigantic vast atmosphere is to die for.  Plus, the chaotic breakdown of a finale is absolutely brilliant.  What an awesome change of pace this album is overall for The Horrors. 

    Then we have “It's A Good Life”, which honest to God sounds like a straight-up SynthPop tune, certainly with some Darkwave vocals as well.  But for me, this one is a little too straightforward for my liking.  Faris once again just doesn't sound completely invested in this, even though is performance is certainly eerie and twisted.  This one just seems a little too much like a blatant rip-off of the music that inspired The Horrors so much, instead of just paying homage to it.  There are some really good elements within the production, and I do love the very thick atmosphere.  But of all the songs here, especially since so many are so good, this one just doesn’t hit me very hard.  I do enjoy the last two minutes or so however when some more of the instrumentals pop in and Faris starts singing with more emotion.  Still though, “It’s A Good Life” is a little bit of a down point for me.  But the glistening intro to the finale, “Something To Remember Me By” has me reeled right back in quickly.  The bass groove that follows may be the most infectious and most danceable of the entire album.  In a weird way, I feel like some Two Door Cinema Club fans would be into this.  But of course, Faris comes in with his very monotone and dry performance making this a Horrors track.  But it’s clear that The Horrors have truly saved the best for last.  This is a dance floor anthem for every Goth Kid, and it’s a damn good one.  It’s got a slick groove, a gigantic chorus, and a strangely timeless feel.  Not to mention, as truly deadpan as Faris sounds within this atmosphere, he sounds right at home between this very flashy and gigantic track.  

Rating: 8.2/10

Give A Listen To: “Press Enter To Exit”, “Machine”, “Point of No Reply”, "Something To Remember Me By"

Genre: Shoegaze / Post Punk / Industrial / Synth Pop / Darkwave

If You Dig This, Check Out: LCD Soundsystem - "This Is Happening", The Horrors - "Skying", basically any classic Post Punk / Darkwave album

Overall Thoughts:  This is by far the most refreshed and most comfortable The Horrors have sounded in ages. They've obviously always had Synths in their music, but this is the most Electronic album The Horrors have ever made, and it's GOOD.  The Horrors take their Gothic vibes and Shoegaze atmospheres right to the dance floor, and that probably shouldn't work, it does.  The hooks are catchy, the grooves are ridiculous, and the atmospheres are as starry eyed as ever.  But even withing all of this, The Horrors remain themselves writing Goth-tinged songs for a new generation.  

Mastodon - "Cold Dark Place" EP

If you would have asked me years ago what Metal band meant the most to me, it would have easily been Mastodon for me.   Albums like "Leviathan" and "Blood Mountain" defined Metal for years.  The four-piece band just seemed unstoppable, and easily ahead of the curve by a mile as far as instrumentals and concepts went.  But in the early 2010's, albums like "The Hunter" and "Once More Round The Sun" started to show some real weakness in the band.  No more were they creating these unbelievably visual Sludge Metal epics.  As a matter of fact, they were sounding more and more like every other Metal act.  Now, I wasn't really too crazy about "Emperor Of Sand" that they released this year.  So I really wasn't looking THAT forward to this EP.  But let me tell you, "Toe To Toes" changed my mind completely, and I'll get to that.  Let's talk about this new Mastodon EP.

https://www.youtube.com/watch?v=VQo9bwQ2rQc

(One of the first tracks I heard from Mastodon)

    This EP starts off with “North Side Star”, and to be honest this is not the opening I was expecting at all.  I’m used to hearing Mastodon dive right into these very sludgy Metal anthems.  But this is one is diving into almost Folk Metal territory that Mastodon have never even touched.  It’s actually done really classy though.  This track overall is completely stripped down almost, between the pianos and guitars.  But it actually comes off really refined and grand sounding.  As far as the vocals go, this is seriously new territory all around.  But call me nuts, I feel like I haven’t heard these four so emotionally intact in a VERY long time  All of this time, I’ve been scared of them going for a softer tune.  But “North Side Star”’s strong Fantasy theme is actually really refreshing.  Now of course, since we’re dealing with Mastodon, we’re getting a few different sort of movements and there are certainly progressive elements.  But it’s all done so well, and it’s really just refreshing to hear Mastodon take a step back and give us something much rawer.  As a matter of fact, it’s done so well that when he heavier instrumentals pop in for the second half, it’s welcomed greatly.  It’s still nothing nearly as heavy as the stuff they’ve been releasing in the past though.  Overall, I’m loving everything about “North Side Star”.  The maracas give it a really nice groove, and the solos are just enough to give this track a little bit of an edge.  I didn’t think Mastodon had this in them, but I’m really glad they did.  “Blue Walsh” from the start is much more upbeat.  But it never really enters the stage of heaviness we know from Mastodon.  Obviously, Mastodon has been going for more listener-friendly material like we saw on “Emperor Of Sand”.  But in every way, every track on this EP is done so much better.  Brann sounds so comfortable with his singing, and I honestly can’t remember the last time I heard him sound this clear.  And some of the vocal harmonies between all the members of Mastodon come off fantastic.  There are a lot of the same Progressive Elements that come off just as flawlessly as you would expect as well.  Overall, “Blue Walsh” is smooth.  I wouldn’t go as far as to say this is Mastodon’s take on Folk Metal, but there certainly is an element of it to this.  Also, I continue to love just how visual this is.  It’s amazing what little changes can do, like a more Fantasy themed atmosphere.  So far, I don’t have a single complaint about this EP.  Plus, when “Blue Walsh” does get heavy in its final moments, it’s totally refreshing and exciting.  

https://www.youtube.com/watch?v=u44bs_Cwoms

    This EP continues with “Toe To Toes”, it’s more and more apparent that this IS still the Mastodon that we’ve known for years.  But these are recordings that they did years ago strangely.  To be exact, the first three tracks here were recorded around the “Once More Round The Sun” era.  But my question is, where the hell were these tracks then?!  Because if Mastodon is going to continue trying to appeal to a wider audience, this is certainly miles better than what they’ve been putting out.  I love some of the little details here like the handclaps during the chorus.  Which, in theory, should be just about everything I hate about current Mastodon.  But Mastodon have actually made this sound very catchy and seriously memorable.  There’s a little something from all members here as far as vocals go, but they all sound pretty damn solid overall.  Also, not to mention, this has the sort of epic and grand sound that I’ve been dying to hear Mastodon return to.  Outside of that, it’s business as usual.  “Toe To Toes” has plenty of solid solos here and plenty of very visual and Progressive elements there.  Overall, this is a really amazing tune, and it’s something that I really wasn’t expecting to hear this from Mastodon.  And once again, when the heavier material does show up towards the end of the tune, it’s absolutely welcomed and damn near exotic.  “Cold Dark Place” finishes off this EP, and it’s the most recently recorded track.  Apparently, this was recorded during the “Emperor Of Sand” sessions.  And what do you know, it’s a whole lot more compelling than 90% of that album.  I actually seriously love the very somber, bluesy vibe to this.  Hell, there’s even a slight Southern flair to this, which I always love to hear from them.  It actually ends up making this track a whole lot more emotional. Now, I’ll be honest, of all the tracks here this is probably my least favorite.  But still, this track is really deep and interesting for Mastodon.  It’s also probably the easiest going of the bunch, as it doesn't really ever pick up much into something slightly heavier.  It’s just so weird to even think that this is the same band.  Not to mention, these vocals are just so emotional and raw.  I digress.  This whole side of Mastodon is something that we haven't seen in a really long time.  I don’t know where these tracks came from or why they decided to release them, but I’m so glad they did.  

Rating: 8.0/10

Genre: Progressive Metal, Sort of Folk metal (KINDA), Progressive Rock

If You Dig This, Check Out: Basically anything from Mastodon's discography.  Outside of that, this one sort of just stands on its own. 

Overall Thoughts:  Being as indifferent as I was about Mastodon's "Emperor Of Sand", I wasn't expecting anything from this at all.  Maybe a few outtakes and demos or something, but nothing much more than that.  But to be honest, this EP sort of blew me away.  I feel like this is a much more raw Mastodon than we've gotten from them in so long.  Most of the tracks here are more somber in tone and sound a whole lot more stripped down.  But all of that I mean in the best way.  This EP isn't the soul-crushing Sludginess that you would expect from Mastodon, but it may just be the best collection of tracks they've thrown together since "Blood Mountain".

Chelsea Wolfe - Hiss Spun

Chelsea Wolfe these last few years has honestly become sort of an obsession for me.  Her mix of Gothic Rock, Folk, and Doom Metal has is literally just what I wanted to hear from modern music.  To be honest though, I never really cared for her 2010 debut "The Grime and The Glow".  Tracks like "Fang" are great and all.  But for the most part, Chelsea was clearly still exploring her sound.  The folk elements were great, but the production on this album was messy as hell, and Chelsea was only beginning to explore atmospheres.  Chelsea dove deeper into her sound with her breakout album "Apokalypsis".  This album still wasn't perfect, but it showed that Chelsea was starting to really get comfortable with her sound.  Tracks like "Demons" and "Moses" were just so tightly wound and twisted that I couldn't say no.  But this album was far from truly perfect like I said, as Chelsea on tracks like "The Wasteland" and "Mer" still was having issues balancing the Folk portion of her sound.  However, Chelsea really honed her sound and knocked it out of the park with her absolutely incredible 2013 release "Pain is Beauty".  This album showed Chelsea truly diving headfirst into her Gothic sound.  The instrumentals here, as a result, were so much heavier, which is obvious almost instantly.  There's such a thick atmosphere almost constantly, but never does it get too heavy.  There are also plenty of more beautiful moments, like "The Waves Have Come".  Also, her Folk sound is never left too far behind either.  Whatever genre you want to call this album, however, it's absolutely stunning, to say the least, and was the start of my obsession with Chelsea.  Then, of course, came her 2015 monolith of an album, "Abyss".  This was Chelsea's most powerful and strongest album to date.  But by this point, there was little to no Folk influence outside of a track or two.  No, this was a straight up Doom Metal extravaganza.  But Chelsea took the reigns and did it so damn well.  It was packed with tight atmospheres and gloomy lyrics and was easily one of my favorite albums of the year.  So at this point, I really didn't know how Chelsea could get any bigger and more metal.  But then I heard these new singles, and all I can say is WOW.  These are obviously some of the heaviest things Chelsea has touched so far.  I don't want to waste another minute, let's talk about this new Chelsea Wolfe album.

(One of the first Chelsea Wolfe tracks I truly loved)

This album starts out with “Spun”, a very noisy and sludgy intro.  I didn’t expect to honestly hear anything this heavy right off the bat.  But this is more than just heavy, this is like disgustingly heavy even as far as the production goes.  Honestly, though, it’s exactly what I wanted to hear from Chelsea.  It’s brutal and all, but I love how Chelsea’s very haunting and luscious vocals come in and make this such an atmospheric track despite how gruesome it is.  Now, Chelsea’s songs are patience testers and often take an entire sit through to pay off.  But almost always, they pay off HUGE.  Chelsea always has had such a way in creating beautifully heavy songs, and this is a big standout right off the bat.  Not to mention, Chelsea has always been one for creating very hypnotic tracks, and this is certainly that.  So far, outside of being a little heavier, this isn’t anything too out of the box for Chelsea.  But it’s a damn good intro.  But one thing I do have to say about Chelsea’s performance is that she sounds darker than ever.  And that whispering towards the end is damn near Satanic.  “16 Psyche” is up next, and this one is just so cool right off the bat.  Some of these guitar tones are so pronounced, which is something that I feel like people would have been iffy about with her early material that was always so muddy.  But the instrumental on “16 Psyche” easily is one of her most pronounced, explosive, and well thought out.  I love the driving riff on the chorus that goes with her unbelievably soaring vocals, and that short but sweet release as well.  Now, while this may come off as more of the same from Chelsea, I really don't think that at all.  I mean, this is easily some of her heaviest material to date.  Gone of the days of a Gothic Folk Goddess, and in its place, the days of a Doom Metal Icon.  But she just seems so comfortable in that role, like it’s what she was born to do.  “16 Psyche” is incredible.  Then we have “Vex”, which quite frankly is next level for Chelsea.   If it wasn’t apparent that this is Chelsea’s heaviest release so far, this is the clearest indicator.   I love the murky, dark bass line that dominates this as well as the frantic and halfway atmosphere.  Also, those keyboard breaks really do one hell of a job of raising the tension on this one very quickly.  The sheer heaviness of “Vex” is the real star, however.  Not to mention, this just may be one of Chelsea’s most direct and instantaneous singles ever.  Then, of course, what everyone is talking about are these Black Metal vocals.  They almost seem to haunt Chelsea towards the end, and they’re brilliant  Hell yes Chelsea.  Then we have “Strain”, which is just a haunting interlude that’s just as muddy and heavy as you would think.  But as far as an interlude goes, it’s actually sort of disappointing.  Chelsea has always had such a knack for atmosphere, but “Strain” just seems a little cheap.  Not to mention, it’s severely uneventful.

    However, that short interlude was one of only very few real flaws with this album.  “The Culling” takes us quickly right back to where I want to hear Chelsea, taking her time and making slow burning Doom Metal epics.  I honestly feel like her vocals have just gotten bigger and better with time, and certainly more delicate.  But delicate to the point where they need to be to create this very haunting atmosphere.  Chelsea succeeds though magnificently.  “The Culling” is absolutely massive.  Now, this track did take a little while to grow on me, to be honest.  But it certainly has over time, especially around that halfway mark where all of those heavily distorted drums and gigantic drums pop in.  This may be a slow burner, but this one pays off gigantically.  As a matter of fact, the pay off is so huge that it becomes one of the most intense and gigantic passages of the entire album.  And while it’s debatable on if this one really needs to be 6 minutes long, it’s certainly worth it.  Up next “Particle Flux” instantly has me on the edge of my seat.  Chelsea has such a knack for bringing to the table these bizarre sounds that make you question what the hell you’re even listening to.  But this one quickly picks up into one of the more abrasive tunes here. This track is centered mostly on feedback, with the only thing piercing this intense fuzz is Chelsea’s vocals which seem almost too heavenly sometimes for this atmosphere.  But something about “Particle Flux” gets under my skin and refuses to leave.  And I mean that in the absolute best way.  The drums are just so intense, and the hectic and frantic atmosphere just makes me feel uneasy.  But I love how each instrumentals here slowly pops in one by one, making this one get bigger and grander with each passing second.  The guitars are epic, the drums are to die for, and Chelsea wishing all of this chaos sounds right at home.  And just when I think this tack has everything out in the open, the last minute gets even heavier.  “Particle Flux” is ridiculous.  “Twin Fawn” on the other hand is a completely different beast, and right off the bat just sounds so cool.  Clearly, Chelsea hasn’t given up on her Folk roots altogether, because this one is stripped the hell down.  But at this point, I needed a track like this.  The tiny guitar plucks are so delicate, and the bongos in the background are a really nice touch as well.  With all of the sheer chaos that has been this album, “Twin Fawn” in every way is the calm before AND after the storm.  But just when you think we’re out of the storm completely, it becomes clear that not all beautiful things last forever.  2 minutes in, and this track is exploding with every feedback driven guitar and pounding drum imaginable.  This track is, once again, a major slow burner that you can’t just pop on whenever you feel like it.  You have to sit with it, like a lot of this album, but it’s absolutely worth it.  Not to mention, the way Chelsea hops right back into her more Gothic Folk verse is so seamless and stunning.  Heavy and Soft, Beauty and Disgusting, Chelsea rules over it all with grace.  Not to mention, the last minute of instrumentals here is easily the heaviest of the entire album.  It’s easy to say that this album overall is by far Chelsea’s heaviest release yet, but it also may be her finest.  “Offering” is also really interesting, as Chelsea brings in some added industrial synths in the background.  To be honest, I would actually love to hear her go down a more Industrial route.  But interestingly enough, it really doesn’t come off too far from the sound we’ve known from Chelsea for years.  Hell, it sounds like something that could have easily been there the whole time.  Now, of all of the singles from the album this one sort of hits me the least.  But it’s still an enchanting, heavily Fantasy based Gothic Folk track.

    “Static Hum” quickly gets things in a heavier atmosphere with some drums that are absolutely to die for.  Chelsea has just such a way of building up tension super quickly and making it into a lasting impression.  This one is just intense, yet seemingly simple.  Maybe a little too simple to be honest.  There are a few elements to this track that don’t click with me.  I feel like Chelsea’s writing is a little off on here, and her performance isn’t as commanding as usual.  It’s an intense track and all, but it’s not nearly as captivating as other tunes here.  But even at Chelsea’s most bland, she’s still rewriting every rule in the metal playbook.  Up next we get another instrumental interlude with “Welt”.  But oh man does this one ever hit harder and more aggressive than Chelsea’s earlier attempt at one.  While there still really isn’t THAT much to this, it reminds us that even when Chelsea’s presence is limited, she’s still in complete control.  “Welt” is intense, heavy, and it’s still haunting and truly beautiful.  “Two Spirit” is a track that I really was hoping Chelsea would touch down upon.  This one shows us that she still is the Gothic Folk Goddess that we’ve come to know her as.  This one is just so ethereal, so delicate, and the atmosphere is to die for.  It’s soft, but it certainly still fits the very overbearing mood of this album.  The instrumentals are simple and straightforward, but they work wonderfully.  “Two Spirit” also shows Chelsea at her most tortured and haunted, and I can’t get enough.  Not to mention, some of these very quite breaks are seriously some of the most unnerving moments here.  It gets to the point where it’s simply too quiet, and it gets under your skin so well.  But man, does this track ever release wonderfully, because that last minute and a half of wailing vocals and grand instrumentation are absolutely stunning.  Now, I’m sitting here innocently thinking Chelsea is winding us down slowly.  But “Scrape” shows that Chelsea is far from letting us off the hook.  This finale is by FAR, the most hellish and tormented sounding track here.  It tracks like this that make “Hiss Spun” a straight up ruthless metal album.  Chelsea’s very panicked vocals are ridiculous, the pounding drums are incredible, and so much is going on that it’s really hard to keep track of it all.  But it’s just so damn intense and heavy, with Chelsea in the middle of this ridiculous whirlwind.  Could this album have ended any other way?


Rating: 9.0/10

Give A Listen To: “16 Psyche”, “Vex”, “Particle Flux”, "Two Spirit"

Genre: Doom Metal / Black Metal / Gothic Folk / Sludge Metal

If You Dig This, Check Out: Chelsea Wolfe - “Abyss”, Myrkur - “M", Zola Jesus - "Okovi", Marissa Nadler - "Strangers"

Overall Thoughts: Chelsea Wolfe over the years has teased more and more metal influence with each release.  This time around, she's gone ahead and made a straightforward, no bull shit and certainly no gimmicks Metal album.  There are elements of grimy Sludge Metal, dreamy Gothic Folk, patience-testing Doom Metal and of course some of the most soul-crushing Black Metal you'll hear this year.  However, none of it ever seems truly outside of Chelsea's comfort zone.  Each track has its own distinct personality, and even when things are at their most brutal, Chelsea has a way of making it strangely beautiful as well.  Chelsea Wolfe with "Hiss-Spun", has made her finest album yet, and it's easily one of the most "Must Listen" albums of the year.

Prophets of Rage - "Prophets of Rage"

Oh boy.  Here we go boys and girls.  Let me just say, I've been dreading talking about this.  Prophets of Rage, on paper, should be fantastic.  Consisting of legendary artists like Chuck D, Tom Morello and B Real, there's not a reason why Prophets of Rage shouldn't work. But up until this point, Prophets of Rage has been a chore to listen to.  Their 2016 EP "The Party's Over" is a strange one, to say the least.  "Prophets of Rage" is an alright single, but everything else here went south real quick.  "The Party's Over" is just so bland, and I don't even want to think about just how awkward the live performances were on here.  But I continued to try my hardest to stay optimistic on the future of Prophets of Rage.  However, when they release awkward singles almost constantly, it's really hard to take them seriously.  Prophets of Rage here have finally released their debut, and we're gonna have to talk about this thing.

This album starts out with “Radical Eyes”, and we begin with some pretty decent Tom Morello driven funk which isn’t the worst thing int he world.  But then we’re treated to an exhausted and winded sounding Chuck D., which may be the most depressing thing I’ve heard this year (And I sat through the new Mount Eerie album).  Ironically, B. Real really doesn’t sound too bad here, and I’ve always been incredibly critical of his very nasally voice.  Here, he actually sounds a little more aggressive which certainly makes me a little happier.  On the other hand, overall, I can’t forgive this track.  There are moments that sort of sound like coherent thoughts, but at the end of the day, this is just a big ego trip.  Tom’s guitar solo doesn’t come off cool or interesting, and to be honest I would just sort of rather hear him in funk mode than test out new tricks.  And the chemistry between B. Real and Chuck D. is just laughable at points.  Not a good intro boys.  Then we have “Unfuck the World”, which may be the dumbest song title I’ve heard all year. Now, I will give this track some credit, it certainly is heavier which is a plus.  But that really doesn’t make it any better.  This album has teeth, as a matter of fact, it’s just about all teeth.  But it’s becoming apparent very quickly that there is no purpose here but to rile people up a bit.  Rage Against the Machine always had a purpose.  And you better believe Public Enemy always had a purpose.  On the other hand, this just seems heartless.  And while the chorus on this one certainly does make me move a little, these verses have me ticked off for all the wrong reasons.  As a track, “Unfuck The World” is topsy-turvy.  Chuck D here is practically playing Hype Man for B. Real, which is a damn near sin.  This track is nothing but anger, which 15 years ago would have been cool.  But without purpose or chemistry, this comes off very messy.   Now, to be perfectly honest, there are moments of “Legalize Me” that I do enjoy a little.  I enjoy Tom’s stripped down intro and more straightforward playing on these verses.  Instrumentally, all around this is exactly where I want to hear Prophets of Rage.  But at its core, I had a feeling that I would expect a track like this.  In an album filled with vicious political statements, B. Real just HAD to slip in a track about legalizing Marijuana.  Now, it actually might just be the catchiest tune here.  But as far as statements go, I feel lied to by Prophets of Rage.  Not to mention, Chuck sounds absolutely awful on this track.  Of the 12 tracks here, for me, this is a SLIGHT stand out.  But does that really mean much?  There are some moments on “Living On The 110” that I enjoy for the most part too.  Tom’s more bluesy riff on this one is certainly an improvement, it’s moments like this that show the real greatness here.  Not to mention, the toned down the anger of this one is greatly welcomed.  Chuck doesn’t sound too hot still but at least B. Real sounds coherent for the most part.  Now, people are going to say this track is the least fierce of the album.  But honestly, that’s what I don’t mind about it.  This one easily contains some of the more justifiably angry statements of the entire album.  It’s presented pretty well too.  But even at their “best”, Prophets of Rage still lack the real chemistry I wanted to hear.

    This thing just keeps getting worse as this album rolls on.  I don’t even want to talk about “The Counteroffensive”, so I’ll keep it brief.  This is literally 40 seconds of my life I’m never going to get back.  Tom’s playing is obnoxious, and B. Real And Chuck D’s Ad-Libs are just annoying.  By the time we get to “Hail To The Chief”, you have to give Prophets of Rage SOME credit, because they certainly have the intensity down.  And hell, if that does something for you, you’ll love this.  But for me, it’s going to take a whole lot more than muscular riffs and big choruses in 2017 to impress me.  Chuck does sound a little more energetic on his verse, as does B. Real.  But in a weird way, something just keeps bugging me.  Is it just me, or does every one of these tracks sound like the guys in the band are just being featured on one another songs?  Meaning, not once do Prophets of Rage here sound like a complete unit.  They sound like 4 or 5 guys who got pissed off and wrote things because they felt like it.  By the end of “Hail To The Chief”, it’s literally falling apart.  The instrumentals are messy, the verses are just alright, and nothing sticks.   And just from the intro to “Take Me Higher” I can tell this one is going to very tough to listen to.  The riff on this one is completely meatless.  As a matter of fact, this whole instrumental has almost nothing to it.  The paranoia on this one seems to be a little overwhelming Chuck and B. Real.  On “Take Me Higher” they barely even sound angry, they just sound paranoid.  Then we have the chorus which I’m still trying to forget.  They literally just soil the chorus of LL Cool J’s “Mama Said Knock You Out” and Sly & The Family Stone’s “I Want To Take You Higher”.  One every level, this track is unforgivable.  Then we have “Strength In Numbers”, which I do have to say I enjoy the instrumental a little bit more.  But the verses on this one make me instantly fall right back to sleep.  Tom’s riff here may be his most obnoxious that I’ve ever heard from him.  B. Real’s verse is far from as aggressive as some of his earlier ones.  Literally, there is not a single truly original moment here.  This is literally just a rehashing of every other overly agitated statement we’ve heard here, and I’m not impressed.
    We’re far from out of the woods yet people.  On “Fired A Shot”, it’s become apparent to me that Tom’s guitar playing keeps going back and forth between “Overly Muscular” and “Completely Toothless”.  On this one, it’s completely toothless.  To be honest, I actually welcome Tim Cummerford’s very funky bass playing taking more of a front seat here.  But between these verses and the chorus which I could have written in my sleep, this one proves that Prophets of Rage have given up.  You can’t argue that this track sounds like it was thrown together in about 10 minutes, and not a single second of it is redeeming.  Then we have “Who Owns Who”, and oh boy, the Prophets have officially tried their hand at a punk jam.  I’ll give it this though, it certainly does add a little fire to Chuck and B. Real’s verses, which I can’t tell you how much was needed.  Even as far as a statement goes, this is easily one of the more thought out ones in probably 6 tracks.  Hell, this almost sounds like an actual Rage Against the Machine tune.  So yea, “Who Owns Who” really isn't bad at all, who would have thought.  Prophets of Rage though can’t hold on to this sound to save their lives though, as they prove with “Hands Up”.  This one certainly has a nice groove and all. But we’re right back to Chuck D. and B. Real trying desperately to have some sort of chemistry.  I don’t ever want to hear Chuck D. as a hype man ever, and that’s really all he is on this track.  And not shockingly, it’s not pretty.  So I’m gonna just shut up about “Hands Up” because at this rate I’m just listing all of the same damn problems over and over.  This album is fucking terrible.  But Prophets Of Rage aren’t done yet.  This album ends off with “Smashit”, and oh BOY, this just sounds like the most blatant Rage Against the Machine ripoff yet.  But it’s all done with so little heart that it doesn't end up phasing me at all or even riling me up.  This album is filled with just about all the anger in the world, but it all just ends up being passionless and directionless.


Rating: 4.4/10

Give A Listen To: “Legalize Me” (Sort of……), “Living On The 110” ( KINDA? I GUESS), “Who Owns Who”

Genre: Rap Metal / Alternative Metal /  A desperate attempt at bringing back what was so great about Rage Against the Machine and Public Enemy

If You Dig This, Check Out:  Rage Against The Machine - “Evil Empire”, Public Enemy - “It Takes a Nation of Millions To Hold Us Back”, Run The Jewels - “Run The Jewels 2” (Some really well thought out rebellious Rap music).

Overall Thoughts:  This album is by far the worst album I've heard all year.  Prophets of Rage have all the anger in the world compiled into about 40 minutes.  But there's no direction, no coherent thoughts, and worst of all no chemistry.