Half Waif - "Lavender"

Half Waif, aka  Nandi Rose Plunkett I first caught on to about a year or two ago.  Around the time of her 2016 album "Probably Depths".  This at it's core was a Synth Pop album. But Half Wait really ended up making it stand out with some interesting production, some experimental passages, and a sense that anything can happen at any minute.  And while this album wasn't perfect, I thought Half Waif's vocals and breezy atmosphere were commendable.  Now, I wasn't CRAZY about Half Waif's debut, but I certainly enjoyed it.  But these new singles she's been dropping have actually been really beautiful and textured, and show her progressing in a really big way.  Let's chat about this!

    This album starts off with “Lavender Burning”, and right off the bat I love just how textured and rich this is.  One thing I’ve always appreciated about Half Waif is how she’s so great at keeping you on your toes.  I love the very cold, unforgiving and quite frankly hard to place atmosphere.  But Nandi just sounds so warm and brings this down so much.  This is a sweet, personal, endearing ballad from Nandi.  And I have to say, she does an incredible job of bringing in human feelings and emotion to her very abstract brand of Synth Pop.  I love also how as this track rolls on how the instrumental slowly makes its way in and gets more and more animated until it really pops in the last minute or so.  I actually really wish that this more direct instrumental was around for more of this tune.  I have to say though, “Lavender Burning” is a solid intro.  It’s nothing too shocking or wowing, but it’s solid.  Now, “Torches” is much more direct.  There’s a pulsating beat, and Nandi’s vocals while drenched in effects are seriously emotional.  Now, I really love this tune, everything about it.  The production is special and shows Half Waif fearlessly going out into the more experimental realm of Synth Pop.  Like, there are some pretty wild and out-there beats here, and it does get pretty intense.  But of course, the star remains Nandi and just how passionate she sounds.  “Torches” is one hell of a track and a pretty incredible single.  Then we have “Keep It Out”, and I can’t help but just eat up all of these textures and production.  Like, there is some seriously beautiful stuff going on here.  We’re back to a sort of slower, patience-testing feel.  But I feel like in moments like this Nandi really does an incredible job of keeping everyone's attention.  Her performance is tender and sweet and seems completely in control of this smooth, electronic beat.  Sure, this is absolutely a Synth Pop tune, but it’s a very low-key and moody one, perfect for late night driving. Now, “Lilac House” may be the most straightforward tune here  But it’s also the first tune that doesn’t completely blow me away.  It’s just sort of obnoxious compared to the very classy and interesting other tracks.  The beat here almost takes away from Nandi’s performance.  For me, “Lilac House” is a little unfocused.  I do, however, love the intensity of the beat here, and Nandi’s performance is commendable even with distractions.  But like, when the beat smooths out in the last 30 seconds or so, I feel like this is so much more interesting.

    On the other hand, “In The Evening” is just so haunting and genuinely eerie.  It’s dark and nocturnal, but Nandi’s performance is just so warm and welcoming which gives this track some wild dynamics.  The backing vocals are so angelic and beautiful, and that heavy production in the later moments is some of my favorite on the album.  For a more stripped down track here, “In The Evening” is nearly perfect.  It’s practically good enough to be a single.  Not only is it hip, it’s gorgeous.  Now, “Solid 2 Void” shows Half Waif dipping into almost a Dream Pop atmosphere.  It’s absolutely charming to be honest, even though there’s still a very left-field element to it.  It’s smooth, and it’s one of the more straightforward tunes, and by far the most straightforward tune here.  But it still shows Half Waif is really doing some stuff you have to listen to.  It’s eerie still, but it’s beautiful.  Then we have “Silt”, which is easily the most troubled and sinister track yet.  It almost sounds like it’s sampling one of those tracks from Twin Peaks.  But between that and Nandi’s most haunting performance yet, as well as the glitchy production, there is some seriously ear-grabbing stuff here.  It’s moments like this that really push Half Waif beyond just another SynthPop tune.  Because let’s be honest, at it’s core this is certainly IS a Pop tune.  But it’s one that’s eerie and beautiful, even dreamy.  But most of all, it’s infectious and sticks with you immediately.  But then I hear tracks like “Back In Brooklyn”, and all I have to say is are you serious?  This is the last thing I want to hear from Half Waif ever.  This track is nothing but bland, Singer-Songwriter Pop.  And oh boy does it ever stick out like a sore thumb.  Obviously, Nandi still sounds amazing and emotional, and as far as her performance goes I have nothing bad to say.  It’s actually one of her strongest performances here.  But as a whole, this track is a downer.

    Now, “Parts” is much spacier and contains some of the most prominent synths of the album.  The atmosphere however never gets too cold no matter how synthetic it all gets.  It’s actually quite warm and inviting, even when those heavier and more pulsating rhythms come thumping in.  This album was seriously well produced and thought out, and like I said before, underneath this all there is a tremendous Pop tune.  “Parts” is seriously cool, and continues to show just how unique Half Waif is.  But it continues to be these much quieter, stripped-down tracks like “Leveler” that lose me.  It’s not that Nandi can’t sing, obviously, she can.  But she just brings so little new material to this almost Alternative R&B sound.  It’s still endearing and beautiful, but it’s not the sound I want to hear from her.  Then we have “Salt Candy”, and sadly this really isn’t much in the direction I want to hear.  It’s a shame because Nandi sounds incredible in her performance.  But what is this track doing to prove to me that there’s anything different about Half Waif compare to other Singer-Songwriters?  Absolutely nothing.  Thankfully, this tracks a little before the halfway mark does get things rolling with some very wonky production and some heavy synths.  Not to mention, I do love just how hulking and strong this atmosphere is.  Now, I have to say, “Ocean Scope” as a finale is actually a chilling ballad.  And while things are much more stripped down still, I think this is one of the more hypnotic and chilling performances here.  It’s not just her and her piano, it’s Nandi making this big wonderful atmosphere that just keeps getting bigger and bolder by the second.  I love the pulsing beat and just how intense everything gets.  I love this sound for her.  But if she’s intent on continuing down this more ballad route, let’s keep it in this realm. 

Rating: 8.1/10

Give A Listen To: "Torches", "Keep It Out", "In The Evening", "Silt"

Genre: Synth Pop / Dream Pop 

Overall Thoughts: Nandi Rose Plunkett returns under the Half Waif name with an album far more lush and textured than her debut.  It was clear right off the bat that Half Waif was on to something with their very layered, atmospheric brand of Synth Pop.  But this time around, the vocal performances are more passionate, the production is stellar, and the songwriting is miles ahead of where we left off.  Now, some of the more stripped down tunes that make Nandi come off as more of a Singer-Songwriter than anything, and not in a good way.  But thankfully the majority of this album is packed with moody yet beautiful Synth Pop that's far from "by the books".  

Janelle Monáe - Dirty Computer

Janelle Monáe since her arrival on the R&B scene in the early 2010's, has taken it by storm.  And honestly, it's really not hard to see why at all.  Her 2010 album "The ArchAndroid" isn't just a Neo-Soul or Funk revival, it is an absolute triumph, as well as being a a testament to just how far these genres can be pushed.  Janelle here blended Alternative R&B, Funk, Soul, Psychedelic elements and plenty of more to make a truly wild sound.  But Janelle clearly had the songwriting chops to back it up, filling in an hour and 8 minutes of adventurous and catchy material.  And with guests spots from Big Boi to Of Montreal, Janelle kept you on your toes.  If you haven't listened to this album yet, hop to it.  Janelle returned in 2013 with "The Electric Lady", a slightly safer but just as exciting listen.  Here, we saw Janelle instead of jumping from genre to genre, honing in on Funk and Electro-Funk.  The result is absolutely still brilliant and well written, but a little more on the safe side.  However, Janelle still conceptually was so far past all of her contemporaries, and with guest slots from the likes of Miguel, Esperanza Spalding, Solange and more, this album still packs a huge wallop.   So Janelle is back with her first new album in 5 years.  And for the most part, these new singles have been interesting showing her honing in on a much funkier sound.  Let's chat about this new Janelle Monáe album.

    This album starts out with “Dirty Computer”, which is a really awesome intro actually.  Janelle’s performance is commendable as you would figure, as she brings in plenty of the many topics this album touches down on before it’s over.  It’s sleek, funky, but also has a wonderful atmosphere.  Which, you know, is only enhanced by this wonderful surprise guest spot by Brian Wilson.  It’s a short intro, but it really ushers in the sounds of this album nicely, and even though Janelle has really focused her sound towards Funk, she’s nailing it.  Now, “Crazy, Classic, Life” at the very least seems to be the wildly creative and experimental style we left Janelle with years ago.  I love how much this one soars and just how much of an anthem this is.  It’s an ode to living life to it’s fullest and loving every minute of it.  It’s got elements of Funk, but it also shows Janelle embracing some Pop elements as well.  Match all of that with the very triumphant and explosive instrumental that’s just as fun as some of these bars, and we have a pretty awesome track this early in the album.  Not to mention, Janelle has been really honing her rap skills.  She’s never really touched down on them very hard, but let’s be real, she’s got some serious swagger.  Then we have “Take a Byte”, and so far I’ve been digging the very u[lifting feel of these atmospheres, which is something Janelle has always done so well with.  I mean, even though “The ArchAndroid” was very dystopian, it was FUN.  Now, this track is a little more funk heavy, but also a little more subdued as far as Janelle’s performance goes.  It’s got some solid grooves and all, but I can’t help but feel just a little let down with this one.  Not to mention, almost every other tune here has Janelle sounding so much more focused than she does here.  It is a little cluttered, but Janelle, for the most part, keeps her cools with just how commanding of a performer she is.  “Take a Byte” is funky and sleek, I just wish there was a little more cohesive narrative.  Then we have “Jane’s Dream”, which is fine for a 19-second interlude.  But Janelle has done so much more than this with her interludes in the past.   On the other hand, “Screwed” featuring Zoë Kravitz is the explosive and funky track that I’ve been dying to hear Janelle break out into.  While Janelle’s world she portrays in her music is often futuristic and surreal, you have to take note of just how current these tracks are.  This one is easily one of the catchiest tracks here.  I’ve said it before, and I’ll say it again, there’s a LOT of this album that shows Janelle reaching towards a Pop sound that she’s never even come close to.  Not to mention, Zoë Kravitz’s performance is really commendable.  And while it has a really strong political edge to it that I would usually just be sick of hearing by now, it’s done very well.  “Screwed” is a blast.

    Now, “Django Jane” is the closest thing to a Rap tune you’re going to hear from Janelle.  And for the most part, she really nails it.  It’s aggressive in all of the right ways.  Meaning, so much anger in current rap just sort of goes nowhere and isn’t always supported.  But Janelle’s fiery verses on “Django Jane” are current and certainly need to be heard.  Now, personally, I’m not really as into the beat here, and this could have been so much more interesting.  But the production is solid, and Janelle’s charismatic verses are so likable.  Now, as far as a single goes, I honestly think “PYNK” featuring Grimes may be the best here.  It’s hypnotic, it immediately sticks with you.  And while it’s so simple, it just fits with the themes of this album so much.  Not to mention, I love the more Electronic elements here, it actually ends up taking the Funk to the next level.  And that chorus is just so simple, but it sticks with you so much.  Now, I’m not entirely sure what Grimes did on this track, because I can’t pinpoint her feature.  But there are certainly elements to her music here, so I don’t doubt her presence one bit.  Then we have “Make Me Feel” which is some straight up Prince worship, which we all knew we were going to get at some point.  And that’s just fine, because if anyone can pull this off it’s Janelle.  She even has that sort of shy, yet sexual personality Prince nailed so well years ago.  While I still haven’t heard the massive clashing of genres that used to sort of drive Janelle’s albums, tracks like “Make Me Feel” are incredibly likable.  For a seriously sultry Funk jam, I can’t think of many ways this track could have gone better.  But then we have “I Got The Juice” featuring Pharrell Williams.  Now, I’m sorry, but this track to me sticks out like a sore thumb.  I like the booming beat here and there are certainly some elements that refuse to escape me. But I can’t shake but feel that Janelle is just taking a few steps back with this one.  It’s catchy and has plenty of grooves, and it is fun.  But it could have been done a different way.  Now, I do enjoy the very dreamy and hazy production of “I Like That”, as well as the sort of vintage tone we have all of a sudden.  Like, there is a TON of this album that’s got some steamy moments, but Janelle carries herself wonderfully through it all.  Now, like I said, there is a little old school flair to this.  But Janelle’s vocal performance here is easily one of her most mind-blowing and breathtaking here.  It’s just such a commanding performance.  And she really has this incredible element of “cool” to her style.  Not to mention, her more personal approach to this one works really nicely as well. 

    On the other hand, “Don’t Judge Me” is a bluesy and stripped down performance the likes of I’ve never really heard from Janelle.  There are elements to this the I really like, like just how genuinely sexy this comes off once again, and the very bluesy instrumental.  Not to mention, Janelle’s performance once again is outstanding.  But this track is by far the longest track here, and I’m not sure it’s entirely justified.  Not to mention, with this much slower tune from Janelle it is radically different to her usually much shorter, explosive moments.  There’s nothing wrong with “Don’t Judge Me”, but it’s not where I like to hear Janelle per say. Then we have “Stevie’s Dream”, which I honestly have nothing really bad to say about.  This is the sort of message that anyone can get to and appreciate, and it’s refreshing to hear.  But did it need its own track?  That’s debatable.  Now, I’m not really sure why, but I’m sort of sick of hearing Janelle with some of the more low-key performances that make up the last few tracks.  “So Afraid” is certainly explosive in a way, lyrically that is.  And instrumentally this has some awesome moments.  And obviously, this is a very personal track which is commendable.  And even if you don’t absolutely love this album you should absolutely give it a listen still because it is very current.  However, Janelle does win me over by the end of the track though with some pretty wild instrumentals and incredibly passionate vocals.  But at this point in the album, I just wish Janelle was more direct with us.  Just like she is with the very ear-grabbing “Americans” as a finale.  There’s some incredible vocals here and some heavy synths.  And when this picks up it becomes one of the funkiest and most Prince-Oriented tracks yet.  Honestly, this is a pretty amazing finale.  It’s the sort of clash of styles I’ve been dying to hear, I honestly wish we got more of THIS. 

Rating: 7.9/10

Give A Listen To: “Crazy, Classic, Life”, “Americans”, “PYNK”, “Make Me Feel”

Genre: Funk / Neo-Soul / Hip-Hop / Pop

Overall Thoughts:  Janelle Monáe has returned to her most instantly digestible and easy to comprehend album to date.  While she's spent years fusing Funk, Neo-Soul, R&B and dozens of more genres and blending them into wild and creative albums, this time around she's honed her style to one word.  And that word is Funk.  Sure, Janelle drops some surprisingly solid Rap bars and may be pushing further into the Pop world more than ever, but this album is a Funk album by the books at the end of the day.  Prince fans will instantly grab on to these sleek instrumentals, and I would swear that Janelle's vocals are better than ever.  The only real reason this album didn't resonate even more with me, is just how much I miss the more creative and wild days of Janelle's past.  Sure, the tracks here are current and discuss topics that need to be touched down, and Janelle brings them up in a respectful, not preachy way.  But this doesn't excite me nearly as much as albums like "The ArchAndroid".  Still, though, Janelle Monáe remains one of Neo-Soul's most electrifying performers.  

J. Cole - "KOD"

J. Cole for years has a highly polarizing figure in Modern Rap and Hip Hop.  Some people look at Cole as one of Hip Hop's most charismatic writers, penning deeply personal and realistic tunes that are often biographical.  And yes, there have been times that I feel like it's come off alright, like on "Wet Dreamz", or some of the classier moments on "4 Your Eyez Only".  But there are also plenty that find his music un-interesting, and that his brand of conscious Hip Hop is simply flabby.  And yes, you may know this but I certainly belong to the latter group.  While I've always enjoyed a few tracks here and there, J. Cole's music to me often comes off as not nearly as life-changing as he does.  Truth be told, I was not anticipating anything this album, but I'm always hoping that Cole can one day wow me.  So let's see what Cole has this time around.

(A personal favorite of mine)

This album starts out with “Intro”, and I have to say I’m actually really into the very classy instrumental here.  The voiceover is a little cheesy and all, and like many of J. Cole tunes, I’m never really sure how this ties into the big picture.  But, I do get the whole “Dealing with pain” aspect, especially after some of the later themes on this album. Overall this is certainly an alright intro.     But everything that was sort of classy and different about that intro is thrown out the window seconds into “KOD”.  We have a nice, dime-a-dozen beat that sounds like it could have been made by anyone.  And after all of these years, J. Cole ends up still coming off as such a baby.  He’s got all the technique in the world, but if he’s going to waster it on childish rhymes and calling out his “Haters”, then I’m just going to keep laughing.  But even his technique is sort of just alright here.  There are way too many lines here that blow right past, and absolutely nothing about this tells me to come back for a second listen.  And the finale is just so cheesy to no extent.  Is this album over yet?  Now, personally, I really dig hearing Cole on the more dreary and somber beats of this album, like on “Photograph”.  If he’s going to be going for this overly conscious style, I actually think these sort of beats just do him more justice.  But why the hell are these verses so boring?  They always just come off so dated on arrival.  While I really love the very haunting hook, and the theme of love in the internet age which goes great with Cole’s style, the actual content here gets old in the first few bars.  I think this is a solid tune for Cole with some great themes, but I’m still iffy on his bars.  So let’s address this “Kill Edward” fellow who just so happened to lend some vocals to this track.  Yes, in case you haven’t heard, that’s J. Cole, and yes it’s incredibly cheesy.  Not only that, but the thought that J. Cole is the only person he deems worthy of being on his own music is absolutely hilarious.  SO yea, “Kill Edward”’s verse does nothing but waste time, then we have Cole’s verse which has the intensity of a kitten jumping on a pillow.  There’s zero confidence here, which is something I’ve had issues with Cole for seemingly forever.   This track is just so obnoxious and annoying, and I just don’t get it.

https://www.youtube.com/watch?v=rft6uHy5r7g

    Then we have “ATM” which at this point literally sounds like a damn Kendrick ripoff.  But at this point, I’ll gladly welcome a Kendrick ripoff if it means getting a little energy out of Cole.  It’s times like this that I want to love J Cole, as far as his technique and presentation goes he’s on point as ever. But once again these bars are just so dated.  This isn’t a tasteful throwback or anything close, this is just out of style.  While tracks like this are OK, this album is such a mixed bag.  After all of these years, Cole still has the same problems.  Meaning, he brings up truly thought-provoking and interesting themes and does jack shit to back it up.  And newsflash, this album isn’t getting much better.  At least with “ATM”, there was endless technique.  But on “Motiv8”, J Cole trades that in for some uninspired bard and lyrics that are so one-dimensional that I’m left pining for Cole’s incredibly flawed “Conscious Hip Hop”.   Now, with “Kevin’s Heart”, at the very least we get an interesting story.  I still think this beat is dime-a-dozen, and Cole’s delivery isn’t even close to where I want to hear it.  But Cole at least tackles temptation in a big way.  It’s times like this that J Cole brings in these very relatable stories that he’s at his most compelling.  Then we have “Brackets”, which is easily one of the best tunes here.  Between the classy beat and throwback feel, I can actually really get behind this.  But while this track started off a little conceited, I think it leads to some of Cole’s most confident bars here.  Not to mention, a great majority of this track shows Cole singing more than rapping.  Now, I’m not saying he should give up one for another.  But it certainly does bring his material to a new level of emotion.  By the end of “Brackets” Cole does drop the ball completely with some of his goofiest bars yet.  But still, I think this is one of the better tunes here.

https://www.youtube.com/watch?v=nGYQLxTMtf8

    Honestly, I really do wish Cole did reinforce more of the themes of this album.  Because when he does, like on the “Once an Addict” Interlude, he really hits home on his themes of addiction and pain.  The dreary tone adds a lot, mostly because it comes off almost as psychedelic.  But even Cole sounds dangerously focused and aggressive.  You see, here every bar he spits you can tell that this is a topic that’s very close to Cole.  It’s emotional, dreary, and painfully real.  Most of all though, it’s focused.  If we heard this sort of J. Cole more often, this album would be a classic.  But then we get moments like “Friends” where J. Cole just pisses all his credibility away.  The Kill Edward persona is an absolute joke, even though it’s not supposed to be taken as much more than a “feature” it just gets on my nerves.  J. Cole was so focused for a few minutes, but now he’s right back to sounding so wishy-washy.  The beat is OK, his technique is stunning as ever, and these topics of addiction are so incredibly relevant and should be discussed.  But man, it just sounds like Cole is taking on way too much than he can handle.  Now, you have to give J. Cole credit because he is trying so hard.  With “Window Pain (Outro)”, I do really like just how tragic and emotional this track comes off and just how dreary this atmosphere is.  But oh my God, as soon as the verse starts its nothing but one corny bar after another.  I want to take J. Cole seriously, but with some of these lines, I couldn’t if my life depended on it.  But man, he is trying and making some solid points.  But why are we 5 albums in and J. Cole still seems like he can’t handle all of these massive topics he takes on?  But on every album, J. Cole there’s that one track that’s so great and skillful that I really have to stop and think.  “1985 (Intro to the Fall Off” is that track.  Cole here comes off incredibly charismatic, the beat is grimy and interesting.  And not to mention, as childish as I sound, I’ll be damned if this diss track has me more interested.  I want to hear more of THIS J. Cole, if I did, I wouldn’t be laughing at half of his tracks. 

Rating: 6.4/10

Give A Listen To:  “Kevin’s Heart”, “Brackets”, "Once an Addict (Interlude)", " 1985 (Intro to the Fall Off)"

Genre: Hip Hop

Overall Thoughts:  Once again, J. Cole is all technique with no substance in sight.  Don't get me wrong, Cole on this album brings up some really great points, as well as brings up some topics that need to be talked about in modern Hip-Hop.  The problem is that J. Cole backs these topics up with corny lyrics, goofy flows, and borderline asinine gimmicks (I never want to hear Kill Edward ever again).  I think some of the dreary production and beats are really great and all, and tie in with a lot of the themes here.  But everything else about this album is just so incredibly average.  Also, 5 albums in and I still feel like J Cole can't back up anything he says to save his life. 

DRINKS - "Hippo Lite"

DRINKS is the collaborative duo of Welsh singer Cate Le Bon and Tim Presley (AKA White Fence).  Cate Le Bon has been releasing music for the better part of 10 years.  Her first release, 2009's "Me Oh My" was certainly a decent Indie Folk record.  But I was much more interested in Cate's sort of mysterious side, and the seriously freaky side to Cate which showed up in tracks like "Hollow Trees House Hounds".  Cate's next work, 2012's "Cyrk" was a truly bizarre one, which certainly did see her branching out and freaking out. There were haunting and drawn out ballads like "The Man I Wanted" as well as elaborate Indie Rockers like "Fold the Cloth".  Cate's music continued to be very hard to pinpoint, but certainly enjoyable.  Cate returned in 2013 with "Mug Museum", which to an extent just seemed a little too safe for my liking.  Sure, "Wild" was freakish and hypnotic, and "I Think I Knew" was an absolutely charming duet with Perfume Genius.  But most of the rest of this album just seemed to be Cate trying way too hard to pinpoint a sound that I was already pretty sure she found. But to me, Cate returned to that sound in a BIG way on 2016's "Crab Day".  This was easily Cate's most out there and bizarre work yet.  But her quirky personality shined brilliantly on tracks like "I Was Born on the Wrong Day" and "Wonderful", making for some of Cate's most playful and fun, and sometimes hilarious recordings yet.  Now, in 2015 Care teamed up with Tim Presley of White Fence fame to form the Garage Rock duo DRINKS, and released "Hermits on Holiday".  Now, this was a big change of pace for Cate, as up until now she'd been working with a mostly Pop sound.  But her works with Tim on "Hermits on Holiday, for the most part was pleasant.  They absolutely had some chemistry almost immediately, and while this wasn't the heaviest or dirtiest Garage album of the year, I had fun.  So DRINKS are back, and um, what the hell happened?  I mean yea, these tracks have tons of character. But the performances have been seriously awkward.  Let's chat about this, shall we?

    This album starts off with “Blue From The Dark”, and it’s a very whimsical, Low-Fi intro to say the least.  It’s got all sorts of quirks and is overall very strange even for these two.  Like, at first I thought they had some serious Chemistry.  But here, this is about as awkward as a middle school slow dance.  Now, there certainly is an amateurish charm to this in a weird way.  But what the hell actually happened?  I feel like I’m missing the central theme of this in such a big way.  The instrumental ends up being more annoying than anything, and this just comes off like a surreal joke that I don’t get.  Then we have “IF IT”, and the very whimsical fantastical themes of this album roar on.  Or should I say, tiptoe on?  This is an alright interlude, but it comes off so incredibly underwhelming.  It’s sweet and all, but it sounds unfinished, and it was meant to be so much more.  Things really don’t get much better with “Real Outside”.  I’m down with some of the stripped down instrumentals and some weird ideas.  But this is literally some of the most obnoxious music I’ve heard all year.  Cate’s vocals and entire performance are actually really enjoyable.  But everything else about this track is head scratching and headache inducing.  That amateurish charm has flown the coop in a big way. And honestly, I wouldn't have been able to tell you that Tim was even a pare of this track.   Then we have “When I Was Young” and so far, the most enjoyable tracks here have been two instrumentals that go less than a minute.  And that’s not a good sign.  This is actually a very classy instrumental and all, I just wish the rest of this album followed suit.
    Now, at the very least “In The Night Kitchen” has a sort of ominous underbelly that I think is interesting.  Mostly because there just seems to be so many unsettling sound effects deep down. I’ll give this track credit, it certainly gets you in the mindset to expect anything.  But even this, a track which I have genuinely good things to say about, DRINKS still don’t put in all their effort.  This is a rather surreal tune, and I can’t help but feel like this was meant to soundtrack some twisted and hard to watch student film.  Then we have “Greasing Up”, and once again the pacing is off-kilter and really hard to place.  At the very least, Tim and Cate whip out some nice harmonies.  But everything else here continues to be so freakish.  The instrumentals are hard to place and sound almost like demos or just snippets of ideas.  Sure, “Greasing Up” may be better than some earlier tunes, but I’ve yet to get a grip on this album.  By the time “Corner Shops” pops in, I feel like we’re going around in circles.  Every time I feel like DRINKS start to come out with some interesting material, they drop a track like this which is a laugh a minute.  The instrumental is flimsy and obnoxious, and if Cate didn’t have nearly a much personality as she does this would have been even worse.  Sadly enough, Cate’s personality just isn’t enough to truly save “Corner Shops” and make this interesting.  This project has a charm to it, but on tracks like this, everything just goes to shit. These instrumentals aren’t nearly as quirky as they’re meant to be.  I’m into some experimental music and all, but this is a joke.  Then we get a reprise of “IF IT”, and at the very least these interludes continue to have some actual mystery to them.  I seriously love how unsettling this track ends up coming off, to be honest.  You know, if only DRINKS could keep this up, and come together with an interesting track longer than 2 minutes. 

    But with “Ducks” I’m right back to be genuinely confused, and not in a good way at all.  Like, I feel like this is a bunch of kids trying so hard to be weird and experimental.  Obviously, it’s not working.  It’s not even close, because all this is doing now is getting on my nerves between directionless vocal passages and amateurish and goofy instrumentals.  These two artists are just so much better than any of this. I’ve said it before this year, I respect thinking outside of the box, but this just isn’t good.  Now, at the very least “Leave The Lights On” seems to have some basic songwriting fundamentals to it.  There seems to be a little structure, but very quickly it just becomes even more laughable and completely a waste of my time.  Here, there are some genuinely good ideas deep down.  But they’re just completely overshadowed by truly goofy performances and obnoxious songwriting.  What the hell happened to this project?  The only remotely good this about this is just how much of a spotlight this shines on bands that try so hard to sound genuinely experimental and flop.  Newsflash, it’s not nearly as easy as it looks.   By the time “Pink or Die” rolls around I feel like I’m trapped in a damn fun house.  Every time I feel like DRINKS may be on to something a little more focused, we just get more of the same.  It’s just another clumsily recorded instrumental, with another awkward vocal performance.  That’s right, “Pink Or Die” is just more Experimental Rock that sounds like a bunch of high schoolers made up as a joke.  I wasn’t totally into their last album, but at least on that album DRINKS made a good argument on why they should be releasing music.  Now, I’m I’m completely baffled when it comes to this finale.  “You Could Be Better” shows Cate and Tim bringing in some actually interesting instrumentals.  They’ve been going for an unnerving sound for this entire album practically.  But thanks to some winding synths and twisted violin notes, they finally have found the tension they were looking for.  I mean, the two of them still sound like they can give a shit less about this track of the album in general.  But hey, at least I can sit through this as a finale.  

Rating: 5.9/10

Give A Listen To: "In The Night Kitchen", "Greasing Up",  IF IT… (Reprise)", "You Could Be Better" 

Genre: Psychedelic Rock / Experimental Rock

Overall Thoughts: Cate Le Bon and Tim Presley come together for their second album under the DRINKS name, and it might just be the most awkward collaboration you'll hear this entire year.  Cate is a truly accomplished Singer Songwriter, and I've loved Tim's production in the past, this should be a match made in heaven.  But there are only a very few moments on here that DRINKS sound like they're on the same page.  The performances are genuinely awkward, the instrumentals are amateurish, and if this album has a direction I don't know what it is.  What's sad is, some of the most memorable tracks here are brief, one minute interludes, it's that bad.  I still think they've had true chemistry in the past, and they can easily have it again.  But this is a shining example of just recording whatever the hell you want and putting it with some off-kilter production doesn't make for an Experimental Rock record. 

Kimbra - "Primal Heart"

Kimbra is a New Zealand Indie Pop artist who for YEARS I've been dying to enjoy the work of.  You may remember Kimbra from that Gotye song way back when you know the one.  I thought she had a cool voice and style, but when I heard her 2011 debut I was sort of underwhelmed.  This album was painfully average from start to finish.  Tracks like "Cameo Lover" showed infinite promise, but I just don't feel like Kimbra did anything to make herself really stand out.  Sure, there was some classy Art Pop instrumentation, and her often sultry and smoky vocals came off pretty stunning.  But these were sounds that literally countless artists were working with at the time.  And to be honest, I feel like Kimbra came off even more boring with her 2014 album "The Golden Echo".  She had a great voice, obviously.  But the song structures were putting me to sleep here, and the production was quite frankly way too safe.  Not to mention, I personally thought she could have brought in some seriously interesting World Music vibes and made her stand out even more.  But alas, I got none of that, and this album just whizzed by.  I've really wanted to like Kimbra for years, but something's always held me back.  But let me tell you, every single track that has dropped from this album has been an absolute banger in every way.  I can't wait to talk about this one folks.

 “The Good War” starts this album off, and instantly these banging beats and Kimbra’s haunting performance is everything about where I want to hear her.  It’s breezy and has plenty of space to it.  But there’s also some very modern and hip production.  Now, Kimbra has always been a fantastic singer.  But here, I feel like she’s coming into her own light so much.  While her work in the past has been average, it’s always been so desperate to be artsy.  But “The Good War” genuinely has some incredible Art Pop flair to it.  It’s a booming track that seriously makes you groove.  It’s heavy, it’s booming, but it’s also beautiful and genuinely experimental and wild in parts.  Hell yes, I’m into this.  Then we have “Top Of The World”, which is an absolute, all around banger.  I love the pounding drums, Kimbra’s incredibly steamy performance, as well as just how much incredible swagger she has here.  Like, she sounds like a bonafide Pop Star here, and it’s incredible.  The genuinely artsy vibe to this album continues strong with some left-field production from Skrillex of all people.  I’m absolutely into this, and as far as a single goes this is easily my favorite track here.  Also, you have to really appreciate just how passionate and intense the performances are here.  It’s even seriously wild and noisy at parts, as well as anthemic.  Kimbra is off to an incredible start.  Not to mention, there are some World Music influences here which I’ve been dying to hear from Kimbra for years.  “Everybody Knows” is up next, and I continue to really love the production on this album.  This may be a straightforward Pop release by the books most of the time, but the bass really hits hard.  This one is a little more subdued, but it still has a very icy, hip sound.  There are subtle nods to world music still, but that shows that Kimbra is much more than just a Pop Star.  It’s a very wonky track that more times than not is really hard to place.  But Kimbra continues to have so much swagger in her performance.  While in the past Kimbra seemed totally lost with trying to remain hip, here it comes off effortlessly, with some of the best Pop music I’ve heard all year.  Then we have “Like They Do on the TV”, which is a totally different animal, to say the least.  This one is much less commercial sounding, and on the other hand is just so chilling and haunting.  But this track is still a wildly groovy, current Pop tune that’s triumphant and empowering.  There are almost some Dream Pop influences thrown in, and I love that pulsating beat and just how eerie this one is.  It’s funny, so far this album has been so accessible and catchy.  But “Like They Do on the TV” just seems so synthetic and the antithesis of everything so far.  It’s cold, and while it’s still catchy is certainly much harder to take it.  However, it ingrains itself in your head and sticks with you.  And that saxophone solo is a very VERY nice touch. 

    On the other hand “Recovery” has so much more of a stripped down sound, almost venturing into Baroque Pop.  This one is very quaint and almost comes off like the work of Regina Spektor.  Right from the start, it’s incredibly bouncy and likable.  But of course, the very groovy production and slight World Music feel really remains a big factor.  Now, this one actually took me a while to really take in and appreciate, but it’s just so likable and sweet, not to mention catchy as hell.  Also, I may be the only one but I just love the little attitude she shows in later verses.  On the other hand, “Human” is the exact opposite, being one of the most straightforward Pop tunes here.  But I am really into some of the vocal effects and the booming production.  Thankfully, Kimbra really makes this one pop with a gigantic and anthemic chorus that leads to some of her bluesiest and most interesting vocals of the album.  She comes off so sultry here, she may be a Pop singer at heart, but she’s one that’s really pushing all sorts of boundaries.  “Lightyears” is even more of a straightforward Pop tune.  But this time, there’s no left-field production and no World influences in sight.  The result sadly is actually really strange.  Like, I’m totally into the driving beat and this instrumental.  Not to mention, I love just how triumphant this track is.  But if you told me this was a Kimbra song, I wouldn’t believe you one bit.  And sadly, that’s what it comes down to.  Honestly, there isn’t much here that doesn’t sound ripped off from what Carly Rae Jepsen is doing these days.  Now, “Black Sky” is a whole lot more low-key, with Kimbra really stepping back up to the limelight here quickly.  However, I still feel like some of the earlier tunes that blended more World Music elements came off so much bigger.  Not to mention, I'm not really into this sort of slower, dragging performance.  I think Kimbra sounds commendable and all, but structure-wise this album is slowly getting rocky. 

    On the other hand, “Past Love” is the genuinely cool throwback that I didn’t know I needed.  This track has a super vintage, old school Pop feel to it.  Kimbra has a real sense of innocence here that just comes off so well.  It’s snappy, catchy, cute, and seriously memorable.  Not to mention, there’s just a small World Music feel in the background, just enough to really remind you who you’re working with.  And for the more somber tunes here, the tunes with serious human emotion, this one hits home.  “Right Direction” is a somber tune in an entirely different direction.  This is easily Kimbra’s most personal and biographical track yet.  But to be honest, it’s endearing and totally respectable. There’s still a sort of throwback vibe to this, and I love that one lone woozy synth hanging out of reach.  This is a solid tune and all, but not nearly what I expected.  Now, the last thing I was really expecting to hear up next was a sort of light ballad.  But that’s what we get with “Version of Me”.  And I don’t know, this just really doesn’t do anything for me.  Like, I think Kimbra’s very bluesy and smokey performance is very real, and once again gives this album a very human feel.  But of all of the tracks here, I honestly think this is one of the blandest here, and sounds like a Lady Gaga “Joanne” ripoff.  This album ends off with “Real Life”, and right off the bat this one sounds seriously out there and experimental.  James Blake fans will be all over this.  While this track is on the quieter side, this actually comes off mouth watering and incredibly interesting.  Why is this so short though?  Why is this the finale?  This is the start of something even more interesting!  The production is totally out there, and I love hearing Kimbra go all out and go wild here.  All of this and more, please. 

Rating: 8.2/10




Give A Listen To: "Top of the World", "Like They Do On The TV", "Recovery", "Past Love"


Genre: Pop / Art Pop / Indie Pop 




Overall Thoughts:  Kimbra on "Primal Heart" has come through with her most genre-busting and interesting album to date.  Period.  The majority of this album is banger after banger, with Kimbra's already incredible vocals booming over it all.  The production is flashy, the beats are colorful, and Kimbra for the first time in her career sounds like a bonafide Pop Star.  Now, I have to say, I was expecting this album to be even better.  But some of her more personal ballads in the second half of this album just really give me the impression that they could have been done a little differently.  But, for a seriously left field Pop album with incredibly lush production and some serious swagger, this Kimbra album rules.

A Perfect Circle - "Eat The Elephant"

A Perfect Circle are an Alternative Metal supergroup who formed in the late 90's.  Now, I've been very vocal about this in the past, and today is no different.  I'm no fan of Tool, and I'm far from a fan of Maynard James Keenan as well.  Mostly because, I'm just really not that into Progressive Metal.  But when I got older and discovered some of A Perfect Circle's stuff, I was pleasantly surprised.  The band consists of members of Tool, The Smashing Pumpkins, and others as well.  Their 2000 debut was actually, a pretty solid start for this project.  Like a lot of people, I was into some of the more straightforward and accessible tracks  like "Judith" and "The Hollow", but tracks like "Thinking of You" and "Thomas" made for really fantastic deep cuts.  It was when the band got into more artsy territory like on crowd favorite "3 Libras" that the band started to lose me.  But still, this album overall surprised me with just how much I enjoyed it.  A Perfect Circle returned in 2003 with "Thirteenth Step", with a much more patient sound.  The majority of the tunes on here you really needed to sit with, which did have some mixed results.  There were some of the best tunes that Perfect Circle had written yet, like singles "The Outsider" and "Blue".  But there were also painfully long tunes like "The Package" that went almost nowhere.  While I wasn't crazy about these tunes, I totally get why most people went nuts for them.  I dug "Thirteenth Step" and all for the most part, but I wanted Perfect Circle to get a little back to basics.  2004 showed A Perfect Circle return with a covers album, "eMOTIVe".  Now, here they covered everyone from Marvin Gaye to Black Flag.  And these covers are RADICALLY different than their originals.  Like, there are a few decent tunes, but this is a MASSIVE mixed bag.  So it has been a whopping 14 years since we've heard from A Perfect Circle.  But nonetheless they're back, with a bunch of singles that are incredibly all over the place.  Let's chat.

(A personal favorite of mine!  Yep, it's generic as hell, don't @ me)

    This album starts off with the title track, “Eat The Elephant”, which is no joke, some piano rock.  I mean, there certainly is a very creeping element to this that’s undeniable.  Not to mention, Maynard’s performance adds such a chilling aspect.  It’s alright, but for those of you that have been waiting for over 14 years for a return to the sounds of “Thirteenth Step”, you’re not going to be happy.  But for a stripped down intro, this is far from the worst sin committed here.  These are some of Maynard’s less conceited lyrics for the most part.  Not to mention, I actually really love the patience of this one.  While I do sort of wish this one picked up a little, or was, you know, an actual Metal tune.  “Eat the Elephant” is alright, plus, there’s more emotion on anything here than on “eMOTIVe”.  Now, while “Disillusioned” isn’t exactly heavy in the classic sense, the added extra oomph is a nice touch here.  But the fact that this is all still revolving around a Piano is certainly going to rustle some jimmies.  I still think Maynard’s performance is commendable and the pacing is solid though.  At least, at first, because while this track has a fantastic base to it, this gets preachy unbelievably quick.  Not only that but this instrumental just falls apart.  I don’t even mind that this becomes a straight up Piano ballad and barely comes back.  In general this ,track is just all over the place.  Certain elements are ok, but we’ve waited so long for this?  OK, so one thing I do have to commend Maynard and the gang on is this atmosphere, because “Contrarian” is thick with about 3 c’s.  This one just creeps along and is seriously unnerving.  And while this still isn’t exactly what I expected to hear, this is certainly likable.  I love the pounding drums, and for a few minutes, the band really step away from the piano for the most part.  But when it does come in, it’s even a little refreshing.  As far as a genuine Gothic-tinged tune, this is one of the best tracks of the litter.  Plus, I love just how muscular the instrumentals get in the second half.  I mean, if they’re going to strip down their sound, this would be the way to do it.  But at this point in the album, I needed a little oomph, which I actually get with “The Doomed”.  This is one of the most legitimately heavy tunes on this entire album, and easily one of the best sounding ones.  Sure, Maynard is at his cheesiest and most ridiculous, but I feel like even the most conceited of his fans may find something to dig here.  “The Doomed” is triumphant, explosive and the closest thing you’re going to hear on this album close to an actual Metal tune.  There are some super artsy moments on this as well which are a little more hit and miss.  But after 14 years, if this is the heaviest we can hear them, this really isn’t bad.  But man, it would be a shame if this album just spiraled out of control completely.

    So let’s be real, so far this album hasn’t been terrible.  But for everything I’ve been able to say about this album being sort of aright so far, “So Long, And Thanks For All The Fish” makes me want to take it all back.  Why am I listening to an honest to God cheery and positive track from A Perfect Circle?  This isn’t what I signed up for, and I’m sure it’s not what anyone wants to hear these days.  All of that pacing is out the window, the winding performances are no more, and in its place, we’re getting fucking Arena Rock.  Not even a slight Arena feel, this is a true blue lighter ballad.  A Perfect Circle wanted this to be a gigantic, epic recording so badly But with just how genuinely cheesy this is, the lackluster Goth Rock we’ve been getting so far seems like the greatest material they’ve ever recorded.  I am lost for words.  Now, of all the tracks here I do have to hand it to “TalkTalk”.  This may be the closest thing to an actual A Perfect Circle tune.  Sure, it’s still a little bit watered down, and it’s still dead set on a Piano driven sound.  But this track at the very least has enough good moments here, from the pounding drums to Maynard’s genuinely twisted performance that makes this track come off very solid.  That Arena-Rock vibe is FAR behind us, and we’re back in the dismal catacombs of the early days of this band.  The solo here is great, the pacing is phenomenal, and even Maynard himself just sounds at home and back to his old self.  I mean, this is still a far cry from where we expected to hear this band after all of these years.  But tracks like “TalkTalk” are a whole lot better than they should be honestly.  But with “By and Down The River”, it’s becoming very apparent very quickly that this album is just not good.  Some of Maynard’s vocal inflections here are some of the cheesiest vocals I’ve heard all year.  Like, did Chris Daughtry of all people take over lead vocal duties here?  The rest of this track is average at best, but mostly because this entire album is average at best.  I continue to be brought down by Maynard’s vocals because they’ve just gotten so far from where I want to hear him.  They don’t even come off as emotional anymore, they’re just goofy.  And it’s a shame, because there are some solid elements here, like that guitar solo which may actually be one of the best of the album.  But everything else about this track is the tamest we’ve ever heard this band at.  Then we get “Delicious”, and what even is this?  The fact that Maynard and crew just sound so positive and sweet and toothless is appalling.  Like, what happened to that atmosphere?  Look at the album cover, then listen to this arena-sized freaking Folk Rock tune.  Yea, there are moments that sound like there’s a little something going on deep down.  But at what cost?  As “Delicious” goes on, it just get’s even more cheesy.  The Strings aren’t emotional at all, and this instrumental is just so flimsy.  This album has gone from average at best to genuinely hard to listen to.

    Now, at the absolute very least “DLB” actually does have some serious emotion behind it.  Also, this Piano piece may be one of the tensest of the entire album.  It’s an alright interlude, one that I actually don’t mind at all.  But shouldn’t they be focusing so much more on the big picture?  Or writing more than 2 or 3 good songs.  Now, “Hourglass” is certainly the most abrasive tune here.  As far as the beat goes and the instrumental, there’s some interesting stuff going on.  But I’m sorry, is this the new A Perfect Circle album or the new AWOLNATION album?  So much of this is still so damn cheesy, with this one focusing way too hard on gimmicks.  Most of them work out horribly, with Maynard sounding like everything from a poor mans Marilyn Manson to the aforementioned AWOLNATION.  But some of the effects on the chorus are genuinely strange, and some of the most exciting moments here.  Simply put, this track at the very least had potential.  Now, I do applaud this track for being a little bit more intense and heavier.  I wanted to like “Hourglass” but so much of this is still laughable and a seriously poor choice.  This track just ends up confusing me more than anything, especially with that 2 minute instrumental outdo that was absolutely not worth it.  Up next we have “Feathers”.  And hey, while I’m at it, maybe I should point out the album is incredibly one dimensional.  This track here literally sounds like 5 other tracks here.  Sure, once again there’s a strong atmosphere and some excellent pacing.  But with that, comes more of the same Piano balladry as well as Maynard’s strangest vocals yet.  I don’t even know what to make of this album anymore.  I can barely even say parts of these tracks are sort of alright anymore because everything is quickly blending together.  14 years, 14 freaking years and this is all A Perfect Circle can give us?  Then we have “Get The Lead Out”, and at this point, it seems that even A Perfect Circle have given up.  This track is sluggish, emotionless, and I couldn’t tell you that this was A Perfect Circle if I had to.  This one, as it rolls on becomes more and more cringe-worthy by the moment.  From a cluttered instrumental to some vocals that sound more like Maynard trying out for Alt-J than anything, this is a mess.  “Get the Lead Out” doesn’t wrap up anything, this just shows how dangerously unfocused Maynard is at this time in his career.  So, uhh, hows that new Tool album coming?

Rating: 6.2/10

Give A Listen To: "Contrarian", "The Doomed", "TalkTalk", "Eat The Elephant" (I guess....)

Genre: Alternative Metal / Gothic Rock / Genuinely Bad Arena Rock

Overall Thoughts:  While this album starts out confident and reassuring that these Alternative Metal icons are back with a vengeance, it becomes quickly very apparent that that's far from the case.  There was a time where A Perfect Circle was a genuinely solid alternative to a lot of the Metal and Alternative wallowing around.  But this is, simply put, not that.  Not all of the material here is bad.  Hell, when Maynard gets his head out of his gigantic ass for a few short minutes he comes through with some genuinely heavy, well thought out material.  But the bulk of this album is completely toothless, faceless, and sadly boring.  The fact that in 2018 Maynard James Keenan has been reduced to preachy piano ballads and honest to God Arena Rock is absolutely headache-inducing.

King Tuff - "The Other"

King Tuff, aka  Kyle Thomas has been at it for years now bringing a certain Psychedelic edge to the modern Garage Rock sound.  The first time I heard King Tuff was on the 2008 "Was Dead" project.  While at first, I was a little iffy on some of these tunes, I couldn't help but return multiple times to it. Kyle brought in a very modern Garage sound comparable to the likes of Ty Segall or Black Lips.  But on this project, King Tuff, more importantly, had a major and I mean MAJOR Sunshine Pop feel.  Tracks like "Ruthie Ruthie", "Kind of Guy" and "So Desperate" weren't just wild and upbeat, but they were also endearing and had plenty of good vibes. And yes, I'm well aware that tracks like "Sun Medallion" and "Freak When I'm Dead" were practically caricatures of current Psychedelic Rock.   To be honest, though, I really couldn't resist.  Kyle returned in 2012 with "King Tuff", a much less Psychedelic album on all fronts.  No, Kyle, this time around was intent on blaring Garage Rock and anthemic Power Pop.  And for the most part, yea this worked for him.  Tracks like "Stranger" and "Bad Thing" were easily some of the best tracks King Tuff had ever come out with.  And while I did sort of miss the Sunshine feel of the previous album, and tracks like "Alone & Stoned" were a little much, I was still really loving what King Tuff was putting out.  But all bets were off with 2014's "Black Moon Spell".  This album was absolutely all over the place, from some of his best-written songs to date like "Headbanger" and "Rainbow's Run", to some of his absolutely worst to date like "I Love You Ugly".   Sadly, I feel like too much of this album was average at best.  But at the very least there were also some of King Tuff's most outlandish tracks yet, like "Demon From Hell" or the batshit insane "Black Holes In Stereo".  So I don't know about you, but I wasn't THAT hyped for this project.  Honestly, I thought this was going to be an average project at best.  But the truth is, the singles dropped from this have been some of the most incredible and mind-boggling King Tuff tracks yet.  He's always had Psych Rock roots and presented himself with a Hippie lifestyle.  But this is a totally different album, and I can't wait to chat about it.

  This album starts out with the very enchanting and whimsical “The Other”.  But of all the tracks here, I honestly feel like this is one of the biggest misses.  This track just drags along so long and doesn’t any positive vibes in sight.  The thing is, I get that the majority of this album is much darker and much more realistic than some of Kyle’s early recordings.  But some of the later tracks here are at least fun and well produced.  This is just a cosmic dumpster fire, one that goes on for over 6 minutes and doesn’t have anything remotely compelling going on.  It just comes off as some seriously underwhelming ramblings.  Even lyric-wise, what was Kyle thinking about this. However, the sunny and legitimately Psychedelic vibes on “Raindrop Blue” on the other hand are really likable.  Like, there is a STRONG groove here, and Kyler for the first time seems to be diving headfirst into the sort of Classic Rock sound.  Now, yes, this is radically different than the early, low-fi days of King Tuff.  But I personally LOVE hearing Kyle with a full band and this stunning production.  Not to mention, some of these lyrics are easily some Kyle’s most compelling and human. This track works great overall.  The very breezy, over-the-top feel to this album continues with “Thru the Cracks”.  And I mean, this is seriously over the top.  Like, Kyle has worked with a Psychedelic sound for years, but this was ripped kicking and screaming out of the sunny 70’s.  However, he continues to back that up with genuinely great songwriting and a real appreciation for this sound.  Not to mention, he just sounds so damn dynamic as a frontman and capable of a whole lot more than he has in the past.  Not to mention, the genuine cinematic feel to this is worth a listen as it is.  By now, if you’re not really into a lot of the throwback, 70’s Psychedelic Rock sounds of this album, you may just want to turn around.  It’s not going anywhere, and it’s just getting more and more soulful by the minute.  You have to give credit to Kyle too because this doesn’t really even come off as awkward.  Now, for some, this is just going to be a sickeningly sweet Rock jam.  And trust me, I get that.  But I sort of really dig just how sunny these tracks are on the surface, matched with just how depressing and dark Kyle’s lyrics are deep down.  Plus, these backing vocals are actually brilliant. 

    The very sunny, positive bars roll on with “Infinite Mile”, this time with a very bluesy and moody twist.  King Tuff remains the star here, in control of all of these very whimsical instrumentals.  This one is solid, it’s not nearly as catchy and as gigantic as some of the other tunes here,  However, the determination and Kyle’s dedication to the sound is commendable to no extent.  But I do have to say, it’s moments like this that I totally get why some people aren’t nearly as into Kyle’s songwriting on this album.  Now, I’m not nearly as head over heels for the bluesier and more twisted performance on “Birds of Paradise”.  Even if this track is loaded with horns and woozy synths, which I would usually go nuts for.  I just feel like King Tuff is playing it safe with this one.  The production is still crisp, and if you’re a nostalgia fanatic, get on this album immediately.  But the much more dreary and bluesy tone to this just isn’t nearly as interesting to me.  Once again, King Tuff goes for a much drearier tune with “Circuits in the Sand”.  But this time, I swear this one is just so freakin’ out there and bizarre that it works unbelievably well.  Sure, King Tuff once again comes off a little preachy, even rambling at times.  But still, this track turns out amazing.  So it’s not like King Tuff can’t write a slower tune, cause this is just as memorable.  Not to mention, the sort of storytelling lyrics are totally compelling here, even if King Tuff is going for seemingly cheap pops and nostalgia kicks.  And just when you think things can’t get even slower, groovier, and funkier, “Ultraviolet” snakes its way in.  I don’t know, I do enjoy this one for the most part.  Mostly because Kyle’s performance is so freakish and strange.  I do like the woozy guitars and the slick atmosphere.  But tracks like this are too safe for my liking.  They have the production and the sound down to a science, but is there anything genuinely wild with tracks like this?  Plus could you imagine if King Tuff actually tied these tracks together with a central theme?  It is still listenable though, cause thankfully Kyle can still write a catchy tune.

 

  Up next is “Neverending Sunshine”, and you have to give it to King Tuff for staying consistent.  This is just as funky and spacey but has some seriously fresh new elements as well.  Like, come on, those soulful synths are actually really awesome.  Not to mention, his very bluesy performance seems to fit it perfectly.  But the very sinister underbelly of this album continues to be very much a factor.  Even if it’s for a few short moments, there is certainly an element to this track that comes off as very dark.  I think that Kyle is certainly onto something with this album.  This may not be perfect, but he’s going down a very interesting path.  But Kyle can’t keep it up sadly with “No Man’s Land”, the finale.  Like, I see what he’s going for, it’s obvious.  But in times like this, it’s quite frankly a little too much.  Just like Kyle started off on this album, there is certainly a lot of the same elements.  And sadly, none of them are good.  Once again, we see King Tuff going for more of a storytelling vibe.  Which on paper, should work wonders for this sort of album.  But he ends up rambling about absolutely nothing, to the point where I almost have to fast forward a little.  Then we the instrumental, which is just so incredibly boring and hazy.  This isn’t riveting, this isn’t new and exciting, this is dated on arrival.  I get that Kyle wants so much to encompass the 70’s Psych Rock sound, but here, we see the dangers of that.  This track and just how safe it is, makes other modern Psych artists sound like the damn Beatles compared to this.  

Rating:  7.3/10

Give A Listen To: "Raindrop Blue", "Thru The Cracks", "Psycho Star",  “Neverending Sunshine”

Genre: Psychedelic Rock

Overall Thoughts:  King Tuff on "The Other" steps away from his Merry Prankster of Garage Rock persona, and for the first time really surrounds himself with a band that can keep up with his wild personality.  But this album is radically different than the cheery, sort of Pop-oriented Garage Rock that we first heard years ago.  No, here King Tuff dives headfirst into the sounds of 70's Psych Rock, which is both a fantastic thing and a questionable thing.  At times, he sounds right at home, like he's been doing this for years.  Not only that, but between the backing vocals and squeaky clean production, there's some seriously great stuff happening.  But at the same time, there are more than a few moments here where I quite frankly miss the King Tuff of old.  The lyrics here at times aren't up to snuff, and don't get me started on just how boring and rambling King Tuff comes off at times.  I think Kyle is on to to something with these  new sounds, and can really come off with something wild if he gets some of the kinks ironed out. 

New Waters - "Experience"

New Waters are an Experimental Hardcore band from Finland that emerged on to the scene in 2014 with their absolutely explosive debut "Venture".  While this was a Hardcore record at heart, there were so many interesting choices in song structure throughout that gave this album a serious edge.  There were technical blasts that pummeled you from all angles, as well as these almost Post-Rock sounding instrumental breaks that were almost soothing.  New Waters have such an interesting sound in the Hardcore world, one that brings in the breakneck intensity of bands like Dillinger Escape Plan with the fearless experimentation of Refused, and it sounds great.

    This album starts off with “Bet”, and seconds in and I am just so excited.  Some of the little details on this album are so fresh and interesting.  While this is just some whirring sound effects and an above average riff, this comes off as seriously brutal.  Plus, with this first track clocking in at 4 minutes, New Waters really give this one plenty of time to settle in, and if you’re new to these guys this is a fantastic track to start with.  The riff is determined and has shades of everything from Every Time I Die to Dillinger Escape Plan.  But that being said, there isn’t anything too abrasive here.  No, this isn’t just an all-out onslaught.  As intense and this track is, it’s also accessible and easy to digest.  Don’t you worry though, “Bet” will absolutely have your blood pumping.  Not to mention, there’s a certain gruffness to vocalist Pete’s voice that is just so likable.  Not to mention, this track rounds up with a 1-minute breakdown that would make any of Hardcore’s finest proud.  Now, there’s a TON of really interesting, forward-thinking production on this album.  On “Languish”, it takes this already blistering, intense Punk jam and takes it to the next level.  This track is explosive, with plenty of Crossover Thrash elements thrown in as well.  Take for example that guitar solo that comes out of freakin’ nowhere just in time to kick your ass once you think you have New Waters all figured out.  If you’re into the heavier side of Rock, no matter what your flavor is, you’ll find it here.  The onslaught rages on with “Raven”, and I actually really love the technical guitars that come off especially heavy during the verses.  So much so, that they practically throw in a little Grindcore or Thrash elements.  All of these different styles clashing so well makes this whole album so much more interesting.  This may be the explosive Hardcore album that I’ve been dying to hear for a while, but none of this is by the books.  Even that bluesy breakdown towards the end is just so brilliant.   “Sewed My Mouth Shut” however, is where I think New Waters come off most effective.  I absolutely love this prolonged intro, that shows almost a Post-Rock atmosphere take over for an entire minute before that great onslaught rolls back in.  But what’s brilliant is, that very shimmering atmosphere sticks around in the background during the verses.  And you know what that means, the ferocity of a Hardcore jam mixed with the strong base of a Post Rock tune.  The result is one of the most interesting, forward thinking and genuinely Experimental Hardcore tunes you’ll hear this year.  

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

    Now, “No Rest” is the only track so fat that some of the very forward thinking production and added synths come off a bit awkward.  I wouldn’t say it’s necessarily bad, just a little awkward.  When the rest of the track bursts in, things get punishing very fast.  There’s a lot of the same spiraling solos and vicious vocals.  But I think what really does help this track get over are some of the moments in the last half.  Some of these effects on Pete’s vocals make him sound like he’s suffocating, and while it doesn’t last too long, it’s effective.  Then we get tracks like “Tirade” which are absolutely crushing.  I wouldn’t say there’s anything about this one that’s nearly as fancy.  But for a Hardcore tune with some serious teeth, this works.  There are some serious MathCore influences as well.  Sadly though, there are some of Pete’s less flattering vocals.  I get that they’re muffled for effect, but it comes off a little more toothless.  For my liking, I would much rather hear New Waters tackle tracks like “Ruin”, with much more Progressive and genuinely experimental approaches to Hardcore and it’s accompanying genre.s.  Now, compared to the last track, Pete sounds like an absolute fucking monster here.  As a matter of fact, ALL of the vocals on this track are incredibly hulking and seemingly inhuman, and I can’t help but eat it all up.  “Ruin” is one of the most unapologetic tracks here, more of THIS, please.  This album continues down a very brave and interesting path with “Kinahmi”, bringing in another cinematic sort of instrumental break right off the bat.  Honestly, I think it’s moments like this that make this album a must listen.  Obviously, those instrumental breaks may not be New Waters’ style.  But with bands like Deafheaven out there bringing Metal together with more atmospheric genres, New Waters bringing in these instrumental passages is greatly welcomed.  What follows is an absolute trip, as the boys bring in Ruben Mustonen from Rats Will Feast for some vocals.  “Kinahmi” is a much more spacey and bizarre approach to Hardcore, to say the least.  But once again, these big risks pay off massively, as this is easily unlike a lot of Hardcore I’ve heard recently.  Plus, I love just how unapologetic this one is.  “Kinahmi” spits in your face and doesn’t give a damn.  New Waters have absolutely every tool to succeed in this genre. 

https://www.youtube.com/watch?v=sOi4SUybD5A

Now, “Addict” is a little more straightforward, but it’s certainly got me just as pumped up, and I continue to love how absolutely vicious these vocals come off.  They aren’t the prettiest I’ve heard, obviously, but they will knock you the fuck out and not think twice.  This track is just an onslaught of one instrumental piling up, one after another until there’s nothing left in sight.  It’s one of the more straightforward tunes, but New Waters still make it work and bring plenty of fantastic energy to this genre.  But man oh man, with the title track, “Experience”, I would swear that New Waters have saved the best for last.  This one starts off with an acoustic intro, and I would be lying if I said it didn’t have me on the edge of my seat.  Where this track lacks in brutal instrumentals, it succeeds massively with atmosphere.  There are some spacey synths, and some saxophones by Emmi Rajala which is surprisingly epic.  Even when the guitars come in, this track has such a swagger to it.  It’s like the bar from Twin Peaks, but so much more darker and evil.  Even the pacing on this one is brilliant, so when the vocals do pop in it’s one of the most euphoric and magnificent moments of this entire album. 

Rating: 8.5/10

Give A Listen To: "Bet", "Experience", "Sewed My Mouth Shut", "Ruin"

Genre: Experimental Hardcore / Hardcore / Crossover Thrash

Overall Thoughts:  New Waters came through with an absolutely explosive album here.  In an age where a lot of Hardcore Bands play it safe and blow through an album with crushing riffs and bloodthirsty vocals, New Waters have outdone themselves.  The crushing riffs and bloodthirsty vocals are here in spades and are enough to get any Hardcore veteran ready for the pits.  But where New Waves captures you the best, is in the risks they take.  The production is interesting, the ideas are forward thinking, and every time you feel like you have New Waters all figured out they send a massive curveball straight to you.  Elements of MathCore, Post-Rock instrumental breaks, genuinely interesting concepts, it’s all here in spades, making for one of the most gratifying Hardcore albums I’ve heard in months. 

A Place To Bury Strangers - "Pinned"

Since the mid-2000's, A Place To Bury Strangers have been blowing minds and blowing speakers out with their incredibly noisy approach to Post Punk.  They made their full-length debut in 2007 with "A Place To Bury Strangers", an album that I really wasn't ready for.  This album was drenched in reverb and noise, but at its core was some of the most expertly crafty and catchy Post Punk I'd heard in years.  Some tracks were upbeat and intense, with subtle nods to Darkwave as well as Noise Rock.  But there were just as many pulsing, chugging tunes with heavy Shoegaze influences.   Sounds like a lot to take in?  Well, it certainly is, but it's also strangely immediate and has become probably one of my favorite rock albums of the 2010's.  A Place To Bury Strangers returned in 2009 with "Exploding Head".  Now, a lot of people criticize this album for being MUCH less noisy and more polished.  And that's true, almost all of the Noise Rock elements are gone from this album entirely.  However, I think that APTBS still bring in a lot of really great Post Punk tunes like "Keep Slipping Away", and it's still a commendable album.  Now, 2012's "Worship" is where APTBS start to lose me.  When this album is on, it goes hard, with some of the band's noisiest tunes in years like "Revenge" and "Why I Can't Cry Anymore".  But the majority of this album is incredibly tame, with tracks like "Dissolved" and "Alone" being incredibly boring. And I honest to God don't have any idea what happened with 2015's "Transfixiation".  This album was certainly noisy, which is great.  But everything else about this album was a mess.  APTBS seemed dreadfully unfocused, and the production was a disaster. So A Place to Bury Strangers are back ,and I have to say they actually sound refreshed, darker and more focused.  Let's chat shall we!

    This album starts off with “Never Coming Back”, and I certainly do love just how intense, low-key and dark this track is.  It’s just so damn dreary and grim.  But am I the only one who wishes they took this just so much further than they did.  This could easily be so much noisier and truly chaotic.  Like, there’s certainly nothing wrong with this tune, it’s a determined and apocalyptic Post Punk tune.  Even Oliver Ackermann’s vocals just sound so dreary and burnt out, in the best way.  This one is well over 5-minutes long, but it really gives this track room to breath and gets into some pretty intense rhythms.  This absolutely works, and it gets pretty insane in the second half.  Now, if A Place To Bury Strangers can stay at this level and just get creative and more Noisy and wild THAN we can talk.  But “Execution” is up next, and excuse my French, but what the fuck is this?  Yea there may be some intense beats here and there.  But I can’t believe that A Place To Bury Strangers right now are actually sounding even more unfocused than usual.  The instrumentals here aren’t edgy or weird, they’re just unfocused and genuinely annoying.  “Execution” aims to be tense, and there certainly are some OK moments.  But none of this is anywhere near the explosive Post Punk sound they once mastered.  There’s a retro sheen to everything on this album, which I guess isn’t the worst thing going on here.  Now, I do like the very grim atmosphere on “There’s Only One Of Us”.  The manic performances are on the disturbing side, and while the riffs are simple, they certainly work.  But why the hell does Oliver sound like he would be doing anything else than this?  Needless to say, this track is actually really hypnotizing and actually has some really cool elements to it.  A Place to Bury Strangers continues to stay on my good side with “Situations Changes”, which has a really cool, mysterious and dirty sound to it.  Granted, this has all been done before by everyone else in Post Punk.  But A Place to Bury Strangers actually pulls this sound off quite well.  It’s not noisy, wild, or anything close to it.  But I'll be damned if this wasn’t some of the more intriguing material here.  “Situations Changes” sounds so dangerous and incredibly dark, even sexy to some extent.  And A Place to Bury Strangers does certainly play it with enough determination because some of these riffs are brilliant.  Now, like I said, literally everyone and their mothers have done this sound, and A Place To Bury Strangers are literally taking riffs that bands like Joy Division wrote years ago.  But if you can get around that, yea, this works.  

https://www.youtube.com/watch?v=rij8qYpT1S0

    “Too Tough To Kill” starts bringing in some legitimate funk and some wild instrumentals, and I really don’t know how to feel about it.  Now, while this track isn’t exactly the worst thing I’ve heard, it’s far from the best.  I do love just how hypnotic and intense this track is.  But I feel like A Place to Bury Strangers have written this track dozens of times.  But it also comes off like they’re totally just winging this.  I commend the intensity, but where is that focused sound?  “Frustrated Operator” is up next, and at this point, I’ll take a literal Joy Division ripoff.  I mean, it’s nothing wild and new, but at least A Place To Bury Strangers seem like they’re at their most comfortable.  In times like this, there are some slick grooves and very hypnotic vocals.  But it just seems like A Place To Bury Strangers at least planned it to be this way.  Unlike some of the other material here which just seems so rushed and unfocused.  I love some of the reverb and some of the guitar effects.  I’m going to give this one a pass and say that it works, but where the hell has the lyricism and writing gone here?  The fact that there are this many grating questions is not good folks.  Then we have “Look Me In The Eye”, which may be the best track here.  I love how genuinely out of control this track sounds.  Here, I feel like I’m right back in the hands of a band that will subject me to anything.  And with A Place To Bury Strangers actually writing an entire song and not just part of one, this comes off brilliant.  But for every track like that, we get “Was It Electric”, which is literally the opposite of where I want to hear A Place to Bury Strangers.  The last thing I want to hear this band do is slow things down.  Now, I get that here the band wants to focus on atmosphere.  But that’s nowhere to be found, and this track sounds like pulling teeth from them to get an interesting performance.  Oliver honestly sounds like he doesn’t give two shits about how he sounds, and it’s just so obvious that there’s a lot of truth to that.  “Was It Electric” isn’t determined or noisy, it’s just plain boring. 

    “I Know I’ve Done Bad Things” is up next, and is it just me or does the more Electronic sound here just come off really depressing.  This track isn’t noisy in a good way, it’s just obnoxious.  And let me tell you if it wasn’t already obvious that Oliver had given up on A Place to Bury Strangers, just listen to his performance here.   Yes, Post Punk is a genre fueled by robotic performances and tension.  But this isn’t robotic.  This isn’t tense.  This is hilariously bad.  This just sounds like a demo, with some really great elements hiding deep down.  From that pulsating beat that’s trying desperately to break out, to those bluesy guitar licks, this one could have been great.  But it’s borderline unlistenable at the end of the day.  Thankfully, some tracks here do give me hope for the future.  “Act Your Age” sounds great for a Post Punk tune.  It’s a little frustrating however with it barely being 2-minutes.  I want to hear more of this, as I really don’t have anything else bad to say about this.  Even “Attitude” is legitimately great.  This one still isn’t as long as I would like, but the attitude and the intensity are here full blast.  Tracks like this make me want to love this album.  It’s hypnotic, dirty, chaotic, and all around really great.  But like, why can’t we get a whole album of THIS.  I get that every album is going to have its ups and downs, but so many of this album is underwhelming.  You know, like the finale, “Keep Moving On”.  I mean, this isn’t the worst track here, but come on guys.  You’re literally moving away from ripping off Joy Division and now you’re just ripping off New Order.  Sure, this is an alright sound for A Place to Bury Strangers, but absolutely nothing about this is new or exciting.  It’s OK at best, which I can literally say about every track here practically. 

Rating: 6.9/10

Give A Listen To: “Attitude”, “Situations Changes”, “Frustrated Operator”, “Look Me In The Eye”

Genre: Post Punk / Noise Rock / Joy Division ripoffs

Overall Thoughts:  I mean, this is certainly more tolerable than the last two A Place To Bury Strangers projects.  There's a little bit more heavier material here, and by this point in their career they obviously know what they're doing when it comes to making gloomy Post-Punk.  But ahem, why do like 9 of these 12 tracks sound like honest to God Joy Division or New Order ripoffs?  And when they aren't blatantly ripping off classic acts, why does this band sound like they couldn't care less about this album?  And most of all, where's that great excitement we once got with A Place To Bury Strangers?

TInashe - Joyride

Tinashe for the last few years has joined the long list of Alternative R&B singers trying to break out of the classic R&B mold.  But for me, she's always seemed a little too safe.  On her 2014 debut "Aquarius", I think she put together some great singles, like "All Hands on Deck" and "2 On".  These were just seriously great modern R&B tunes with very flashy production and solid features.  But way too much of this album was unbelievably cheesy, from "How Many Times" to "Pretend".  To me, it seemed like Tinashe had loads of potential.  But to me, she seemed way too interested in making a slightly weird Pop album than something truly experimental.  Now, on the other hand, 2016's "Nightride" actually had some genuinely experimental qualities to it.  Tracks like "Sacrifices" and "Soul Glitch" were catchy and intriguing moments that showed Tinashe really pushing her boundaries.  But then I hear tracks like "Company" which was the lead single, and I just sort of get the same vibes about Tinashe's debut.  I feel like she would sit around and say, "Ok ok, we have to make this a really weird album......but not weird enough that it's not a radio smash".  So at the end of the day, I was just sort of neutral with "Nightride".  So Tinashe is back after a few years, and has seemingly thrown out everything that was sort of Alternative and genuinely experimental about her.  In some cases, it's actually sounding solid, in other cases not so much.  Let's chat about this new album!

    This album starts out with “Keep Your Eyes On The Road”, and I honestly have no idea what Tinashe is going for.  Is this supposed to excite me?  Pump me up?  Because it’s not doing either, it’s just wasting a lot of time.  Next up is “Joyride”, and I actually like some of her vocals here quite a bit.  I do think she comes off very steamy most of the time, which is most certainly where I want to hear my R&B.  But I can’t get fully behind this one.  This beat is sadly absolute trash.  For years, she’s been coming out with seemingly an endless list of average “Alternative R&B” beats.  This one wants to be so edgy so badly, but it’s nothing really special sadly.  Even her vocals start to get grating after a while, at least the ones soaked in effects.  Now, as far as Tinashe goes, she sounds fine, and her performance does have plenty of great things about it.  But sadly, I still think Tinashe has little to no idea of what she wants to do and what direction she wants to go in.  Now, at the very least, I think “No Drama” featuring Offset is a sort of decent modern Trap banger.  I like the very grim, cold beat, and as far as the Rap goes, Tinashe actually sounds just fine.  Now, if you’re familiar with Migos or Offset at all than you know what to expect from him.  And honestly, it’s all pretty good.  However, we do have to discuss something, don’t we?  This isn’t an Alternative R&B tune, hell this is barely an R&B tune.  This is the furthest thing from anything artsy, left-field or experimental.  This is a damn Pop tune, a decent one and all, but there’s no getting around that.  At this point, I just really wish Tinashe would sort of decide what she wants to be and stick to it.  Then we have “He Don’t Want It”, and I’m going to be perfectly honest, I do really love the production on this track.  Like, come on, this track is absolutely monstrous as well as suffocating.  In moments like this, Tinashe actually sounds like she’s pushing some boundaries.  But I can’t shake the feeling that too much of her material here is still dead focused on her wanting to be a Popstar.  While the beats and production here are cool, her vocal performance is so safe.  For years, I haven’t thought that Tinashe had taken her sound far enough, and from the sound of this, she is still suffering massively.  Now, “Ooh La La” on the other hand has the exact opposite problems.  I honest to freakin’ God cannot stand the production on this track at all, and the beat is one of the blandest I’ve heard all year.  Thankfully, Tinashe can really hold her own here as far as her performance goes.  Lyrically, yes this isn’t exactly the most exciting thing I’ve heard all year, or even interesting.  But her performance is steamy and charismatic, and vocally she sounds unbelievable.  I just wish she could even these sounds out a bit. 

    Up next is “Me So Bad”, and what does it say about the current state of R&B when the best track here has a French Montana feature.  This is, once again, FAR from the sort of Artsy R&B tunes she was going for years ago.  But for a mainstream, sort of tropical R&B tune that fans of Drake’s faux-dancehall will LOVE.  Ty Dolla $ign to be perfectly honest doesn’t sound too bad here, and French’s verse is easily one of his more tolerable. Overall, this one works for me.  But, um, what in God’s name is going on with “Ain’t Good For Ya”.  This isn’t an interlude, not even close.  This is literally just an unfinished thought, and let me tell you, that thought wasn’t exactly good.   Now, I was actually looking forward to hearing “Stuck With Me” featuring Little Dragon.  I didn’t think it would be too bad, and I mean, it’s far from the worst tune here.  But there is literally so little content here.  This track gets only 40 seconds in before it’s getting severely repetitive.  Thankfully, TInashe DOES sound good.  But Little Dragon’s contributions could have been so much more.  Plus, I actually really don’t mind some of the World music influences.  But outside of that, where is the content?  This album’s been in production a while, so where is all the damn content?  Then we get “Go Easy On Me”, which is actually one of the cooler moments here.  But I just wish, oh ya know, this was an actual fleshed out song and not 30 seconds.  Now, “Salt” may be the absolute coolest and most interesting sound here.  While this isn’t exactly the left field and artsy R&B that I’ve wanted to hear, this is the steamiest and most mysterious track I’ve ever heard out of Tinashe.  I love the snarky, attitude-filled lyrics, and just how passionate and bluesy she sounds.  Overall, hell yes I’m into this.  If Tinashe is going to go for a more mainstream sound, this is certainly the way to go.  There’s also a very retro vibe, and that guitar solo is a mighty nice touch.

    But for every track like “Salt”, there's a track like “Faded Love” which sounds like it could have been made by any faceless Pop Star.  The beat is trash, the production is way too glossy, and nothing about this track stands out at all.  And no, those backing vocals add nothing to this and don’t make this any less made for the radio.  I mean, for Christ’s sake, Future is on this track.  And no, he doesn’t do this track any justice.  Then we have the very sluggish, lumbering “No Contest”, which may just be the most un-interesting track here.  Like, I feel like this is something that Banks would come out with.  But at the very least, Banks is moody and interesting.  This is just severely underwritten and incredibly boring.  Sure, the hook is good, but that’s only because Tinashe at the end of the day can absolutely sing her ass off.  But as far as a track that I personally want to hear from her, this is not it.  Now, when this beat picks up a little, I actually think it gets a whole lot more interesting and fast.  But what even is the purpose of this album?  We’re 12 tracks in, just about done, and I feel like Tinashe still doesn’t know what she wants to do.  This album ends off with “Fires and Flames”.  This one is very classy sounding actually, and for the most part is just Tinashe and her piano.  And honestly, it’s not that bad at all.  Tinashe’s singing here is some of her most powerful on the album, and that’s saying something.  After all of her failed attempts on here to try to be desperately “Alternative” and a “Pop” star, this straightforward ballad is incredibly refreshing. 

Rating: 6.4/10

Give A Listen To: "No Drama", "Ooh La La", "Me So Bad", "Salt"

Genre: R&B / Alternative R&B

Overall Thoughts:  Tinashe is back with her third studio album, facing the same issues that she's faced for years.  Time after time, Tinashe puts out incredibly half-hearted attempts at Alternative R&B.  Whether it be with wonky production or some off-kilter beats, Tinashe tries it all.  But Tinashe, while she's interested in being an Alternative R&B icon, refuses to push her ideas to the limit.  The results may sound a little left-field sometimes, but at the end of the day just come off like mainstream R&B tunes.  And if that's what she's dealt with for years, you can only imagine how pathetic it is this time around when she's inviting guys like Future and Offset on.  This isn't an Alternative R&B album, this is a very half-hearted attempt to do something different with the modern R&B formula, with Tinashe missing sadly more than she hits home.