Slowdive - Slowdive

07 Go Get It - This one takes its time getting going just a little bit more, but it certainly sounds like it’s just as pristine.  A lot of this production while it is flawless, has a very retro vibe to it, certain elements to this sound like it was taken right off of an old Slowdive album, like for instance the tinny drums and the very hazy guitar licks.  This one is a real slow burner for Slowdive, but it does come off nicely, I wish the vocals would pick up a little but instrumentally these are some of the most epic and grand instrumentals we’ve heard so far.   It’s just about as good as a slower song could get from these guys right about now.  There are plenty of great breaks to build a little tension, and the very nocturnal atmosphere continues to be seriously very appealing.  I wouldn’t say this is the best comeback album overall, but it’s easily better than about 95% of them.

Now, I always go into comeback albums a little hesitant.  But hearing this album’s intro, “Slomo”, I have to hand it so Slowdive.  This intro is seriously breathtaking, like what an incredible soundscape this is.  The production here is absolutely pristine, Slowdive clearly took their time with this and made this as spotless as possible.  The twinkling guitars and the very icy synth lines come off really nicely, and just add to the very starry eyed atmosphere to all of this.  Now heading in to this album, I felt myself asking “How does Shoegaze even SOUND in 2017?”.  But if tracks like “Slomo” are the answer, I wouldn’t mind hearing some more of this.  Vocally, it’s a little less flawless than they used to be from Vocalist/Guitarist Neil Halstead, but it’s still sweet and it adds very nicely to the spacey sound of everything.  It’s a little more in the pop direction than I’m used to hearing for Shoegaze artists, but this seriously sounds very nice.  “Slomo” is a very complete sounding intro, hitting every major cylinder needed to be hit by Slowdive, but it also leaves plenty for the rest of the album.  Up next is the one song that single handedly got me to review this album, “Star Roving”.  Here, Slowdive takes on their classic Shoegaze sound, that very hazy and blurry sound, while mixing it with the very upbeat and triumphant sound of modern indie.  It’s beautiful really, as Slowdive do what they do best, meaning taking the standard Shoegaze sound and gussying it up into something seriously beautiful.  On their last album, “Pygmalion”, Slowdive began to toy with ambient music a bit and it kind of underwhelmed me.  However, with moments on “Star Roving” they were clearly just as influenced by ambient music for this, but this time it’s actually coming off fantastic.  Not to mention, the guitars here just sound so stunning and clean, I can’t get enough of this one.  It’s also surprisingly upbeat for a Shoegaze track, but it gives Slowdive their own little distinct niche in the genre.  Up next is “Don’t Know Why”, and I can’t help but seriously loving the very twinkling guitars and the very soothing vocals.  Not only are they playing their classic Shoegaze sound, they’re completely engulfing themselves within this sound making for a very atmospheric and gorgeous sound.  This one is just as sweet as the last few tracks, but also comes off a little more up front and straightforward which is a nice change of pace.  Not to mention, even though it’s been about 22 years since we’ve heard from Slowdive, this still comes off very youthful and young sounding, as well as seriously beautiful.  Now, up next is “Sugar For The Pill”, and I’m just going to come out and say itL What the hell even happened here?  This doesn’t have a single one of the qualities I’ve talked about and enjoyed on this album so far.  To be perfectly honet, this doesn’t even sound the slightest bit like Slowdive.  In a really bizarre way, more than anything this sounds like what it would sound like if Explosions In The Sky started incorporating vocals into their music.  It’s all dreamy and dreary and all, but Neil’s vocals on this one are seriously putting me right to sleep.  The guitars on this one aren’t nearly as prominent or effective, and while there is a nice atmosphere, hearing this single at first almost made me not listen to this album at all.  

“Everyone Knows” at the very least instantly wakes me right up, with some of the most prominent drums and stunning synth melodies I’ve heard so far.  This wall of reverb and distortion that Slowdive are bringing to the table right here is seriously incredible.  This is prettier and coming off better than half of their old material. How many artists can you really say that for?  The very youthful and carefree vibe to this continues to be overwhelming, and the ambient sounds the band always sort of toyed with continue to be dominating.  The band playing is only really a small portion of what’s actually going on, this gigantic atmosphere is the real star, and it’s wonderful.  Up next is “No Longer Making Times”, and right off the bat I feel like this is what Slowdive were going for with “Sugar For The Pill”.  This is a slower jam for sure, but it’s filled with some of the most beautiful guitar licks we’ve heard so far.  Here Neil and Vocalist/Guitarist Rachel Goswell’s dual vocals come off highly effective.  We’re certainly dealing with some of the dreariest vocals of the entire album, thankfully though it’s not enough for them to come off as boring.  When this one picks up a little with some of the grander instrumentals and bigger walls of sound, things continue to get more and more beautiful.  For as much as there is going on for this album, it’s very delicate sounding, and one that certainly sound like it took a while to really get the sounding the way they wanted to.  But it works magnificently, and for a Shoegaze comeback album in 2017, this works wonderfully.  Next up is “Go Get It” which takes a little more time getting going, but it’s just as pristine.  A lot of this production while it is flawless, has a very retro vibe to it.  Hell, certain elements here sound like they were taken off one of the older Slowdive releases, like for instant the very tinny drums and the very hazy guitar licks.  “Go Get It” is a real slow burner for Slowdive, but it does come off nicely.  And while I wish the vocals would pick up a little, instrumentally these are some of the most epic and grand instrumentals we’ve heard so far.  It’s just about as good as a slower song could get from Slowdive.  There are plenty of great breaks here that build up just a little tension, and the very nocturnal atmosphere continues to be seriously VERY appealing.  I wouldn’t say this is the best comeback album I’ve ever heard, but I would certainly say it’s better than 90% of them.  Sadly though, the finale here really doesn’t come off nearly as good as I’d hoped.  “Falling Ashes” certainly starts off beautifully.  But to be honest, it’s just not what I was expect to hear.  It’s sweet and light, but it’s a little TOO sweet and light.  Not to mention, nothing seriously exciting happens in the entire 8 minutes it goes on.  Slowdive’s songs are ofter slow burners, but they always end up paying off, and I can’t say this one pays off. 

Rating: 7.7/10

Give a Listen To:  “Slomo”, “Star Roving”, “Everyone Knows”, “No Longer Making Time”

Overall Thoughts:  For someone who went into this album expecting absolutely nothing, this was actually a pretty great comeback record.  I don't think it's mindblowing or genre changing, but to come back after 22 year to hear this, it's impressive.  The ambient and Pop influence on this record is strong, and leads to the most stunning soundscapes you're going to hear this year.  However, there are a few moments here that are boring beyond description sadly.  Overall I really enjoy this.  I'm not sure if we're going to hear more from Slowdive but if it was as solid as this, I'd certainly listen.  

Full Of Hell - Trumpeting Ecstasy

If you're into Grindcore, Metalcore, or any other brand of THE heaviest sort of Metal. You know exactly who Full Of Hell are.  Known for the multiple collaborations and explosive Hellish sound, Full Of Hell started up back in 2011 with "Roots of Earth Are Consuming My Home".  This album had elements of experimental music and dark ambient, but at its core was all powerviolence and grindcore, and it was HUGE.  Up next though I feel like Full Of Hell took a little bit of a step back.  "Rudiments of Mutilation" was just alright for the most part.  Sure, some of the more straightforward tracks like "Coven of the Larynx" an "Throbbing Lung Fiber" were great.  But some of the more experimental moments here simply put, really didn't come off too well. By this point, Full Of Hell were ruling the grindcore and powerviolence world, mostly due to their NUMEROUS brilliant Split EP's with acts like Code Orange and an absolute jaw dropping EP with Nails.  But their collaboration with The Body, 2016's "One Day You Will Ache Like I Ache".  While at first it sounded like more of the same as far as Full of Hell standards, The Body's suffocating production and atmosphere's made this album their most massive yet.  Full of Hell keep themselves pretty busy, and let me tell you, these new singles have been absolutely gruesome and brilliant.  Let's check out the rest of this thing.

This rather short album starts off with “Deluminate”, and right from this intro I feel like I’m watching a seriously edgy x rather horror movie, right before Full of Hell come crashing in with their usual hellish blast of power.  Now, is it just me or do Full of Hell sound even more disturbed and brutal with their throttles full blast on their way to hell.  I’ve always loved the dual vocals from these guys, the way that there are these monstrous growls front and center with some high pitched tortured screams backing them up.  Plus, the little solos here and there are fantastic.  Welcome back Full of Hell.  Up next is the slightly confusing “Branches Of Yew”.  Between the unfocused riff and the chugging guitars I sort of really don’t know how to take this one.  I would have been a little more happy with their usual brand of just blasting head first full force into God only knows.  But that leads me to one of my only real issues with this album.  Full of Hell’s albums are always so short, that if they get a little uninteresting for lets say 40 seconds it actually takes a lot away.  “Bound Sphinx” however brings in the seriously hellish feel I was expecting to hear.  I love the grizzly and dirty sound to this one as well as the very muddy guitars.  Full of Hell’s music always sounds like it was recorded in some different time by some other worldly being.  It’s disgusting, it’s furious, it’s completely ridiculous, it’s over the top, and it’s absolutely awesome.  Plus, all of these very muscular breakdowns are brilliant.  “The Cosmic Vein” starts off sort of slow, but the sheer noisiness from this intro keeps my hopes up just enough for Full of Hell to really come through.  And it certainly pays off.  I’ve always loved Full of Hell because they’re constantly seriously laying everything on the line.  Here, this is some of the more technical stuff I’ve heard here with some more blistering riffs and refreshing solos.  So far, Full of Hell have been just as impressive as usual.  

https://www.youtube.com/watch?v=ga8tCHiqh9s

“Digital Prison” is up next, and when I hear tracks like this I can’t help but feel a little let down.  There’s no real buildup here I feel like, there’s just one huge 40 second release.  It’s explosive and angry and all, but as far as structure goes, I’ve heard just so much better from Full of Hell.  The band however do follow it up with one of this album’s finest moments, the intense and bone shattering “Crawling Back To God”.  Right off the bat, this track has the serious IT factor I know that Full of Hell have always had.  The opening short sample/monologue throws you right back into this very unpredictable atmosphere, and if anyone’s a PT fan here you’ll agree it totally sounds like the voiceover from that.  “Crawling Back To God” sums up everything I’ve always loved about Full of Hell.  These riffs are seriously ridiculous to even begin putting my finger on, and also inch slightly back in the direction of the more technical side of Full of Hell’s sound.  This track quite frankly is just intense and brilliant and explosive, right down to that very last growl by both vocalists.  Once again though I get a little thrown off by these very short tracks with “Fractured Quartz”.  This track certainly still has a ton of good going for it, and I seriously love some of the very twisted ascending guitars as well as the haunting sung vocals in the background.  But come on, this easily could have been so much more than just a 40 second track.  “Gnawed Flesh” on the other hand hooks me right off the bat.  I love the very doom bass and the overall balls out feel of this one.  The verses are hectic and disturbing, while he the breakdown creates some serious tension.  At the end of the day, that’s all were can really ask for from Full of Hell.  Usually their slower tracks do little to nothing for me, but this one sure does.  

https://www.youtube.com/watch?v=70wvCM-XpAU

Now while I’ve stated I usually don’t like Full of Hell’s shorter tracks, “Ashen Mesh” totally changes my mind.  This is really similar to some of the earlier shorter tracks here, being just one big gigantic release with zero buildup, but that being said, I’m still down with this.  This is just so extreme in every way, so ballsy, so absolutely face melting.  This is the reason that Full of Hell have the fan base that they do.  Hell, even the more streamlined and smooth passage for the second half of this song one comes out grand well thought out.  Which leads me to this album’s centerpiece, the incredible “Trumpeting Ecstasy”.  This one instantly brings out something that I feel like Full of Hell has gone slightly light on here with, and that’s a seriously heavy & hellish atmosphere.  The chugging sound effects as well as that child’s singing is easily some of the most twisted elements of a song I’ve heard all year. It’s not subtle at all, it’s completely over the top, but I love when Full of Hell gets in this mind set.  And when they come in with usual blaring, in your face attitude, that’s when things get really brutal.  This is easily some of the heaviest metal I’ve heard all year, and most likely some of the heaviest metal I’m going to hear for the rest of the year as well.  And hell yes, it’s fantastic.  This album finishes off with the 6 minute (!!!) track “At The Cauldron’s Bottom”.  I don’t know why you would think at this point that Full of Hell would possibly take it easy on you for this outro, but they certainly do not.  I feel like this one is just one massive release after everything built up for the last 10 tracks.  I actually really love the constantly repeated “TRUMPETING ECSTASY” line here.  Time after time, not only do I have the urge to get into the pits listening to Full of Hell, but I seriously have a blast listening to them as well.  This might be the most epic track Full of Hell have every touched.  I mean this is seriously progressive for them, and it’s a huge step in a new direction.  It excites me for their future, it makes me look at their longer tracks completely differently, it’s fantastic.

Rating:  8.1/10

Give A Listen To: “Deluminate", "Bound Sphinx", "Crawling Back To God", "Trumpeting Ecstasy" 

Overall Thoughts:  Leading up to this album, I had a feeling that Full of Hell was about to drop something really special.  And what do you know, they really did.  This is just more of the hellish, full throttle Grindcore and Powerviolence that Full of Hell have made for years, but with some great new production tricks that make their usual atmosphere even more entertaining.  Obviously, this is some heavy stuff, so it's not going to be for everyone.  But for me, my only serious issue were some of the short tracks, which I thought could have been fleshed out a little more.  Still, great metal album.  

Perfume Genius - No Shape

Perfume Genius, aka the amazing Mike Hadreas, has been at it for years making very somber and sort of low-fi indie Pop.  In his early days on his debut "Learning", Perfume Genius was more or less Mike at a piano banging out these unbelievably touching ballads with his often very shaky, harmed vocals.  You got the instance right away that you knew Mike, and you knew he'd been through a whole lot in his life.  The songs on "Learning" were so chocked with emotion and sorrow that it even got a little hard to listen to at points.  2012's "Put Your Back N 2 It" was even more stunning, scarred, and most importantly powerful.  Mike had the uncanny ability to tug at every last one of your heart strings with tracks like "Put Your Back N2 It" and "AWOL Marine".  But this album also showed Mike beginning to incorporate more than just his vocals and a piano, with tracks like the amazing "Dark Parts" and "Floating Spit".  And that more electronic and more expanded sound came to serious fruition with his followup album, the incredible "Too Bright", an album that's probably my favorite of Mike's work.  This album had tracks like "I Decline" and "Fool" which were a long the same lines as his older work, but also had stunning tracks like "Queen" and "Grid" that showed Mike incorporating heavy electronics for a HUGE sound.  It's been a while since we've heard from Mike, and to be honest these new singles have been some of his most experimental, gigantic tracks yet.  Le'ts talk to about the rest of this!

(A Perfume Genius classic)

Perfume Genius starts us off with “Otherside”, and to be honest, right off the bat this sounds like a very classic, stripped down sound for Mike.  Some of his most powerful moments are where he’s in these very quiet atmospheres, like he’s recording music in secret and doesn’t want anyone to hear him.  “Otherside” is haunting, which is backed up massively by the chilling backing vocals.  And oh my goodness, when that huge glimmering synth line blasts it’s way in, I get chills every time.  This is seriously a pretty stunning and absolutely beautiful intro for Mike.  It doesn’t overstay its welcome either, and in Mike’s own special way it has a very epic feel, it’s a brilliant intro.  “Slip Away” is up next, and right off the bat it’s very clear that Mike is so much more comfortable with himself.  I feel like four or five years ago, Mike would have never made a song like this.  It seriously moves things along really nicely however.  There are some baroque pop influences all over this with some synth pop as well, and as far as lyrics go this is just wonderfully for Mike.  We’ve seen him grow over the years so much, but this is a new level of comfortability for Mike.  This is just a sweet, gigantic pop song.  The synth blasts that pop in are bombastic, and the upbeat booming choruses are memorable.  In every way, “Slip Away” may be the most epic Perfume Genius song ever.  Plus, Mike just sounds so aware and comfortable saying all these sweet sentiments which warms my heart.  Honestly, I didn’t know Mike had a track like “Slip Away” in him, but I’m glad he did.  Up next is the very light and fluffy “Just Like Love”.  This one has much more of a stripped back, chamber pop feel, and I’m totally digging that.  As far as Perfume Genius expanding his sound goes, Mike has seriously gone all out with this album.  It use to basically be him and his piano, but here we are getting all of these incredibly lush instrumentals and plenty of art rock/art pop influence as well.  I also love the very looming bass behind Mike’s sweet vocals, and I love the strings that pop in for the chorus.  “Just Like Love” is absolutely sweet and gentle, but it’s also elaborate and interesting enough instrumentally for this one not to get stale.  Mike Hadreas has outdone himself.  Now, so far this has been a very artsy and experimental album, and I do love that about the album.  But that being said, “Go Ahead” may just be my least favorite track here.  I do like a whole lot of elements on this one, for example “Go Ahead” actually has one of my favorite vocal performances of the entire album.  But as far as structure goes, I really wasn’t feeling this one at all.  All of the other instrumentals as elaborate as they are, all seem to have a purpose.  However “Go Ahead” seems seriously lost and I feel like is trying to desperately figure out it’s place on the album.  There are some other great elements, like I love the bluesy atmosphere and all.  But outside of this, this is just a little too experimental for my liking.  However I do also have to give credit to some of the instrumentals that pop in in that last minute or so.  Thankfully though, Mike doesn’t drop the ball for long. “Valley” instantly has plenty of structure that I can enjoy.   I love how no matter what happens and wherever Mike’s music takes him, he still returns to these very bare Chamber Pop ballads that make his music so intimate.  “Valley” is a nice step in the right direction.  In a way it really does’t fir the vibes of the album, but after some of the very overwhelming and epic tracks we’ve heard earlier this breaks things up nicely.  Some of the guitar licks and the strings are just so elegant sounding, and Mike’s very pure and sweet vocals over it all just makes for stunning portraits.  The only slight issue I have with “Valley” is that I feel like this one keeps building but there’s no epic release.  However, with all of the gorgeous elements here I can certainly give it a pass.  

“Wreath” shows Mike going right back in the Synth Pop direction and it’s most certainly welcomed.  I love the upbeat, pulsating beat and the very whimsical atmosphere.  To be perfectly honest, this is everything I’ve wanted to hear from Mike.  “Wreath” has a whole lot more of the very sweet sentiments we saw earlier, but Mike on these tracks just sounds so much more confident and unstoppable.  It’s light and airy, but Mike’s very passionate and strong vocals really make this absolutely gigantic in sound.  If you dug the very epic sound of earlier tracks on this album you’re going to love this one.  “Every Night” shows Mike once again returning to his roots in a big way, and the results are quite stunning to say the least.  These quiet, chamber pop ballads are what attracted me to Perfume Genius in the first place.  Mike over the years we know has been through a lot, and his vocals here sound so vulnerable and harmed among this almost painfully quiet backdrop.  Moments like this just work so well for Mike and his Perfume Genius moniker, and the addition of this really great production as well as the strings that pop in are seriously stunning.  I wouldn’t say this is THE track of the album, but it reminds us very boldly of who Mike Hadreas is and where he’s come from.  And then out of nowhere Mike wants to break out a track like “Choir”, seriously where the hell does this one even come from?  This one starts off and is built up upon these strings that sound so tightly wound and seriously intense.  It’s all so hectic sounding, it sounds like something Arca would have produced a while back.  Mike’s very twisted sounding monologue over it all comes off brilliant as well.  I feel like Mike has gone for a track or two like this in his day, but it’s never come off nearly as memorable as this, I mean this is some seriously experimental stuff here.  I feel like I should be watching some really disturbing Art School Student film while I’m listening to this.  Overall, this is seriously very memorable, it’s also the darkest thing Mike has done here by far, maybe even his entire career.    By the time “Die 4 You” comes along, it’s obvious that this album is just getting better by the minute.  Firstly, I love the very laid back, sort of dark Loungey vibe that Mike is going for here.  Second of all, his vocals here are seriously ridiculously soulful on this one.  As Mike moves further and further on with this album, it’s not so light and fluffy, no he’s certainly bringing us into some very dark territory.  But “Die 4 You” is done in such a seriously hip way that I can’t get enough of it.  And as things speed up just a little and those added instrumentals come in, “Die 4 You” instantly becomes a seriously steamy couple of minutes.  Between those dual vocals from Mike and the very thick atmosphere here, “Die 4 You” absolutely rules.  “Sides” featuring Weyes Blood is up next, as the production on this album continues to be so elegant and over the top.  Hell, this album is worth checking out just for the production in itself.  Mike continues to go really hard on bringing in these very lush string arrangements, but there’s also these very old school 80’s sounding soulful guitars over all of it. His collaboration with Weyes Blood here is honestly very tasteful, and their little duet comes off just beautiful.  This track is a track you need to sit through all the way and demands a little bit of patience.  But it’s the little details about “Sides” that make it come off so wonderful.  Even the verse that Weyes Blood does on her own is just so airy and beautiful, it ends up complimenting the very haunting vibe of Perfume Genius even further.  

Perfume Genius isn’t done with us just yet.  “Braid” once again takes us back to the very bare days of Mike’s early work.  It’s almost a little too bare though.  Like, I love hearing Mike on very quiet tracks like these, but I feel like the sound he was going for on “Braid” has been done so much better.  Hell, it’s been done better on tracks on this very album.  It’s alright and all, and Mike’s performance continues to be stunning, but instrumentals I could have done with maybe a little more piano on this one.   However, “Run Me Through” instantly drags me right back in to Perfume Genius’s thick atmosphere.  Remember when I said earlier that Mike was going for a sort of Dark, Lounge Singer kind of thing?  Well that’s back here in a gigantic way, and it’s bigger than ever.  I love the very hulking, almost suffocating atmosphere of this one, and Mike’s soulful and gigantic vocal in between it all.  The instrumentals are done so well here, this track is so far and heavy that whenever a new instrumental creep in, I never expect it.  “Run Me Through” comes out smoothly though, not to mention the instrumentals that pile in about halfway through are seriously chaotic and twisted.  But man, I love just how heavy the drums are and the pulsating synth blasts that accompany them.  “Run Me Through” is massive, and seriously impressive.  Mike ends this glorious album off with “Alan”, and right from the opening notes it’s clear that Mike isn’t going to let up until this album is over.  These strings here are absolutely stunning, and Mike’s performance is just as sentimental and human sounding.  At this point, I rally don't know what else I can say about this album, it’s fantastic, and I think that by far this IS Mike’s finest work.  “Alan” just comes off so beautiful almost to the point of a tears, and is a wonderful finale to a seriously finely tuned, lavish Indie Pop album.  

Rating: 9.0/10

Give A Listen To: “Slip Away”, “Wreath”, “Run Me Through”, “Die 4 U”

Overall Thoughts:  The one thing that I wasn't expecting Perfume Genius to do on this album, was completely blow away everything he's ever done.  But that's exactly what Mike Hadreas did here.  Mike has compiled an incredibly lush and gorgeous Indie Pop album, filled with stunning instrumentals and pristine production.  On top of that, Mike has come such a long way with showing us his personality, and lyrically Mike has become more open with us than ever.  Altogether, this is the most engaging and interesting set of Perfume Genius songs yet, and may be the most important album Mike Hadreas has made for himself.  

Mac Demarco - This Old Dog

Mac Demarco is simply put, one of Indie's most lovable acts.  Since 2012, he's been making laid back slacker rock with a tinge of Surf rock thrown in, that combined with his goofy and quirky personality it's pretty hard to not love him.  In 2012, he released the "Rock and Roll Night Club" album, which still to this day perplexes me a bit.  It's not a bad album, tracks like "I'm a Man" and "She's Really All I Need" are stone cold Mac classics.  But this was a highly experimental album for Mac, half the time he was doing his best Elvis impersonation, the other half of the time he was using so many vocal effects he could have landed on a "Chopped and Screwed Mixtape".  With his next album though, Mac started getting the ball rolling on his laid back persona.  His "2" album was a collection of bluesy, surf rock inspired ballads from everything to his girlfriend to the cigarettes in his pocket.  Mac's sweet demeanor and goofy sense of humor instantly caught the hearts of Indie lovers everywhere.  His next album, 2014's "Salad Days" showed Mac writing the same sort of Jangly Indie Pop, but also showed Mac evolving as a songwriter.  Tracks like "Brother" and "Let Her Go" were the type of sweet ballad that would have landed nicely on "2", but tracks like "Chamber Of Reflection" and "Passing Out Pieces" really showed Mac growing up and writing much more introspective lyrics.  Then Mac strangely enough released 2015's "Another One" mini album.  I wouldn't say this was a bad project, it turned out honestly to be a pretty nice collection of songs.  But, it was just a little awkward.  It was released so shortly after "Salad Days", which was just so much more complete.  "Another One", standing at only about 24 minutes seemed severely incomplete.  These new singles however, have been really fantastic.  It shows Mac has done a whole lot of maturing the past few years, and still has so much more to offer us.  Let's check it out.

(Mac in his prime)

This album starts off with the very first track I heard from this album a few months back, “My Old Man”.  It’s a very synth heavy sounding intro, but to be honest I’m glad Mac kept the acoustic strumming over this.  Some might not dig the very synth heavy sound, but its something he’s been working with since the release of his “Another One” album.  It’s seriously very smooth though, and these may be Mac’s most introspective and seriously deep lyrics we’ve ever heard from him.  Here, Mac goes on about how as he grows older he realizes how he’s more and more like his father.  It’s a mature statement from Mac, who up until now has been this sort of goodwill who we’ve always felt like we’ve known our whole lives.  And just listening to this, I feel like Mac fans might feel for that.  We’re seeing our old buddy Max grow up just a little bit right in front of our eyes.  Instrumentally, it’s honestly what I wanted to hear from Mac at this point.  He may have ditched the sort of Jangle Pop and Surf Rock influence, but this is a wonderful and touching song.  “This Old Dog” is up next, and to be honest when I first heard this track a few months ago, I thought I was going to hate everything about this album.  There are really nice elements, like Mac’s vocals and the strings that pop in for the chorus.  Hell I even continue to seriously love Mac’s songwriting on this thing.  But something about this one just seriously rubs me the wrong way.  It doesn’t sound like a Mac Demarco tune.  Now, hold your horses, I know what you’re thinking.  You can argue that half of the tracks on here don’t sound like Mac Demarco tunes, in the long run those tracks come off just fine since they result in Mac maturing.  “This Old Dog” however is just kinda bland, and worst of all seriously lacks any sort of real personality.  And that’s really not good at all, plus by the time its over I really don’t feel like I took anything from it.  Thankfully Mac does get back on track with “Baby You’re Out”, which personally rubs me all sort of right ways.  While this is certainly a little more fleshed out and instrumentally broader than Mac’s older work, this also has the same laid back attitude that I fell in love with so many years ago.  Mac has always done so well with ballads, even then these ballads don’t necessarily end up happy.  Man just always comes off like he's at his best when writing about relationships.  “Baby You’re Out” has a sort of tropical feel which totally comes off great with Mac, who’s totally dabbled in stuff like Surf Rock for years.  But of course, at the end of the day the star of this continues to be 100% Mac, and just how much he’s growing with time and maturing.  Even in song structure, this is just so much more well thought out for Mac.  No, it’s not a show stopping single, but it’s a solid tune that makes me want to continue to enjoy Mac’s direction.  Now, as far as Mac Demarco goes with synthesizers, it’s always been very hit and miss for me.  I don’t think he’s ever done a seriously awful track with synths, but there have certainly been a few hiccups.  However, “For The First Time”  comes off flawlessly.  This one sort of reminds me of the very spacey yet introspective “Chamber of Reflection”.  I love just how sharp the instrumental is here, and Macs very laid back and seriously dreary performance here is to dire for.  Mac’s usually just so happy go luck in interviews and on stage, but then you hear this and it’s pretty stunning.  This is a serious heartbreaker for Mac, but because Mac has been such a personality over the years, hearing tracks like this make it hit home that much more.  But at the same time, I feel like this also adds to the very mature sound to this album.  It reminds us that even total sweethearts like Mac have their down moments and bad days.   “One Another” is up next, and in a lot of ways this seriously comes off like an old school Mac track being just so bluesy and sweet.  But to me, this really doesn’t seem to fit here.  There are some nice elements, like I certainly dig the very breezy atmosphere.  But lyrically this seems less mature, and even Mac’s performance doesn’t really add up to the tone of this track.  Plus I dunno, I feel like this is just a massive rehashing of a bunch of tracks Mac released years ago.  And that my friends is not good at al.  However, I do like some of the very bluesy solos and sleigh bells throughout, this track had some serious potential.  

“Still Beating” on the other hand is something that I can really get into.  Is has all of the seriously great old school atmosphere’s of Mac’s music, but here Mac is backing up all of these sounds with some seriously thoughtful lyrics and great vocals.  I mean, by this point in Mac’s career it’s clear that he’a at his best when he’s working with love songs and ballads, and that’s fine by me.   This isn’t exactly the most memorable track of the album, but it combines everything I once absolutely loved about Mac’s music, and that’s fine by me.  The shortest track here, “Sister” is a real shame to be honest.  I love the very low key sound to this one, and Mac’s performance is seriously heart wrenching.  To be honest, I don’t think I’ve ever really heard him this emotionally invested in any track ever, I’m almost in tears.  The only issue with this, is it’s barely over a minute long.  If this was like, 3 times as long, this would have been remarkable.  “Dreams From Yesterday” however, I really feel like Mac dropped the ball with.  I do see what Mac was going for with this one, I seriously do.  I like the very breezy atmosphere and all, but at the end of the day this one really comes off very synthetic to me.  If i heard this on some breezy, Low-Fi indie station, I would have thought this was the most fake sounding track in sight.  And that’s not good at ALL, because Mac literally MADE this sound cool again.  But with this more synth heavy and less live instrumentation oriented Mac, this falls flat.  However, I do continue to really dig the atmosphere.  Thankfully, Mac brushes himself off and picks himself up quickly with “A Wolf Who Wears Sheep’s Clothes”.  This track gives me all sorts of incredible vibes.  I wouldn’t say Mac is going old school here, because there certainly is a very synthetic vibe.  But between those very bluesy harmonica licks, the very upbeat vibe, and Mac’s very confident performance, this is absolutely wonderful.  Lyrically this shows that Mac can branch out into new territories comfortably and have it continue to come off really nicely.  Not to mention, as mature and very new for Mac this is, this is also very carefree in sound, and I can’t get enough of it.  Up next “One More Love Song”.  Not only has Mac really grown up these last few years, he seriously has began to understand his feelings so much more.  He's crafted so many of his truly deepest songs I’ve ever heard from him.  Even Mac’s more somber love tunes in the past have always seemed so positive looking towards the future.  “One More Love Song” however is just straight up somber and sad, Mac certainly has felt a little heartbreak recently.  Not to mention, his seriously soulful vocals on this one are sort of retro yet still right up his alley.  

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

“On the Level” is another example of just how well Mac’s synths come off sometimes when they’re done correctly.  Here, in a weird way they come off almost sinister or sort of dark, especially the synths that are floating through the background.  But in more heavy, somber toned tracks like this, if you dive into the lyrics you can seriously see a completely different side of Mac, one that’s beyond his very carefree days.  This however, does come off really REALLY good.  Mac’s become so much more aware of his life, he’s not the carefree slacker that we met years ago, he’s a serious artist and he’s really hunkering down.  “Moonlight On the River” up next, may be Mac’s most ambitious work yet standing at 7 minutes.  Atmospherically, it may be the coolest sounding track here between all of those seriously hazy guitars and Mac’s very dreamy performance.  I feel like I’m beating a dead horse by saying this, but I can’t help but be seriously impressed with how coherent Mac is sounding.  “I’m not sure if something major happened in his life this last year or so, but this is just so much above his usual lyrical output, especially when Mac starts going into death. The somber tone, the bluesy vocals and vibe, Mac this is seriously deep dude.  At first I didn’t really like how endless this track sounded, 7 minutes is a LOT for Mac.  But it’s certainly justified, and I love the very dreamy jam at the end of this one.  This album ends us off with “Watching Him Far Away”, which in a lot of ways is sort of a standard Mac outro.  In a way, I feel like “Moonlight on the River” would have been a better finale.  But “Watching Him Fade Away” lyrically wraps up this album by summarizing things nicely.  On the other hand however, instrumentally this is Mac’s most underwhelming track here.  Overall though, this album is gigantic for Mac.  

Rating : 7.8/10

Give A Listen To: “My Old Man”, “For The First Time”, “A Wolf Who Wears Sheeps Clothing”, “One More Love Song”

Overall Rating: By far, this is Mac's most mature release to date.  Over the years, Mac has always to me had such a massive personality that more times than not, I feel like I seriously know the guy.  But here, Mac does some serious growing up and maturing right in front of our eyes.  The result, is a series of his most well written songs to date.  But that of course, doesn't mean that there aren't some hiccups here.  Instrumentally, since Mac has grew further from his Bluesy, Indie roots I've felt like he's been more prone to a boring track here and there.  If instrumentally he can get a little more consistent, he can come out with something truly legendary.  But still, this is a really really solid Mac Demarco project, and shows he's still got more than a lot to still give us.  

Mew - Visuals

Mew are a Danish Rock band that have been at it since the late 90's.  With their 1997 debut "A Triumph For Man", they began showing off their very eclectic, very varied sound incorporating all sorts of different genres and sounds.  Shoegaze and Indie Pop seemed to be the big ones, but there were also elements of Post Grunge (I hear tons of Smashing Pumpkins Elements here), Post Rock, and even a little Post Hardcore in times.  All of it were strung together really nicely by pop hooks and glistening production, making for a really damn solid debut.  2000's "Half The World Is Watching Me" for the most part was just as exciting and triumphant, and added a certain elegance.  There were the same blends of Indie Pop and Shoegaze here, but Mew added in lavish string sections making for a slight progressive rock feel, and there was certainly a little power pop thrown in too.  The biggest addition however, was the much cleaner production.  While I didn't know how to take it at first, I realized over time just how much it added to the very sunny, positive feel to Mew's music.  However Mew's vocals remained very love or hate, and their music sometimes was just a little too cheery.  It'd be a few years until we heard a new album of completely new Mew material.  On 2005's "And The Glass Handed Kites", Mew went for a little less heavy sound and a much more indie pop sound.  Hell, half the time I felt like Mew were writing indie pop arena ballads.  This album overall, was pristine.  There were a few boring tracks and underwhelming thoughts, but outside of that we were dealing with wonderfully produced, exciting indie pop with bold ideas.  The progressive influence was still huge, and it made these tracks even more massive then they were.  With 2009's "No More Stories", I feel like Mew really missed a step.  There were still tons of very epic, huge Indie Pop ballads, but as a whole this album just wasn't nearly as exciting as it could have been. Plus, so many of the instrumentals by this point just seemed so recycled. Mew's 2015 album "+-" though was rough to listen to.  There were good tracks like the epic "Rows" and "Clinging To A Bad Dream".  But the rest of the album was just so bland and not exciting at all.  So moving into this album, my sights were already low.  And boy, these opening singles really haven't been too promising either, shall we discuss further!

This album starts off with "Nothingness and No Regrets", which is just about the sweetest intro I've heard all year.  And no, that's not a good this.  This is so sugary sweet to an almost disgusting level.  If you already didn't like Mew's vocals to begin with, this is going to be an absolutely nightmare for you.  Next up we have this songwriting, which is seriously atrocious.  Mew are practically at this point writing children's music in a weird way.  Back in the day, Mew was such an exciting and fresh band, but there isn't anything remotely interesting about this.  By the time the instrumentals pick up, I'm already long gone as far as my interest goes.  Yes, the drums are certainly epic and enjoyable, but everything else about this track is borderline laughable.  There's no edge to this whatsoever.  But it's ironic, Mew has done more pop oriented material in the past and it hasn't come off nearly as bad as this.  "Nothingness and No Regrets" is completely soulless, and not good at all.  "The Wake of Your Life" is up next, and thankfully at least this one has that very HUGE sound of a synth pop anthem that they've been going with for their last few albums.  This one at least also has a slight edge to it and a well thought out rhythm.  I actually seriously dig the bass riff here and the very confident sound of the band.  Even as far as vocals go, this isn't just a blast of sugary pop, there's actually a little oomph to these.  Honestly, if they mad an album that sounded like this from start to finish this really wouldn't be bad at all.  Granted it's not as exciting or massively blending all sorts of genres, but it's a solid Indie tune.  It's a little long winded and could have been maybe a minute shorter, but no real complaints outside of that.  But just as quickly as I'm impressed, my hopes get crushed by "Candy Pieces All Smeared Out".  This is, to every extent, exactly what I was afraid of.  Mew on this track are trying desperately to go back to their more heavy and exciting sound, but the result is one of the muddiest and ugliest tracks I've heard all year. Plus, it's just such a lopsided attempt to be heavy.  It starts off all aggressive but quickly just floats right back into the same sort of breezy Indie Pop.  So no, it's not really exciting at all, it's just ridiculous and out of place.  By this point in the album I really just kind of wish Mew went back to making Indie Pop stadium ballads.  Because tracks like this are seriously making me rethink everything about Mew as a band.  I'll give this track this however, it has one of the catchiest choruses here, but outside of that everything about this one is very wrong.  "In A Better Place" is up next, and I'll certainly say that the synths and the drums here are huge and a big step in the right direction.  But sadly, this just isn't nearly as memorable as some of their other ballads.  There isn't anything necessarily wrong with this, but it's just so beyond forgettable.  Plus, while these instrumentals continue to be huge, they go almost nowhere.  Plus, these vocals may be some of the most boring I've heard from Mew recently.  Their vocals are often hit and miss when they go for their more high pitched ones, but THIS, man this is just boring.  Plus, the entire last minute and a half switch up, as decent as it is, really shouldn't have been there at all.  So far, not so good.

https://www.youtube.com/watch?v=bQBqwAcrzE8

Next up is “Ay Ay Ay”, and strangely enough I really don’t mind this one at all.  This track honestly seriously caught me off guard.  There are a lot of elements here that made some of their early work so exciting.  Instrumentals this is easily the most diverse sound here, with the band seriously backing off of the synths and letting their bass and drums come to the front of their sound.  Then we have the lyrics which are totally left field and actually pretty engaging.  Mew on this one have thrown away all of their epic sound, there are no anthems here and that’s for sure.  And the resulting track, “Ay Ay Ay” is one of the the most seriously interesting tracks here.  It’s not the usual blend of post hardcore and indie pop and progressive rock, but if this was returned to in the future, hell yea I’d be into this. “Learn Our Crystals” is up next, which show Mew reverting right back to their sound of earlier on in this album.  But unlike earlier, this comes off rather nicely.  “Learn Our Crystals” actually has some serious harmonies here, and instrumentally this continues to come off seriously diverse.  At the very least, I can’t sit here and say Mew have completely lost their edge, because moments like this show that Mew can seriously put together a song still.  Overall, this is seriously a great Indie Pop tune with some tropical flare deep down and some really warm piano parts.  Not to mention, this one sort of has the Progressive Rock influence that used to work so well for Mew.  Hell, even though this is the longest track on the album, it certainly seems justified in that.  Not to mention that switch-up in the last minute comes off rather gracefully.  However this hot streak really doesn’t last too long for Mew, as “Twist Quest” brings us right back to the very Fake-Prog sound of earlier on.  And what I mean by that, is this seriously comes off as some ridiculous attempt to desperately sound artsy.  I felt like Mew were on the right path, but very quickly they sound more lost than ever.  The saxophone parts here are seriously obnoxious, and that’s a real shame because it seriously could have been some of the most epic material here.  I feel like lyrically this track is also so redundant, and that this is more of the same that’s been shoved down our throats for the entire album.  Thankfully that saxophone does get more epic and enjoyable to listen to.  But as a whole, this track is an absolute sloppy mess, with one too many fake attempts at being progressive and edgy.  By the time we get to “Shoulders” to be honest this seriously is getting worse by the moment.  Mew’s blend of Indie Pop and other genres used to be so exciting.  But here, oh my LORD here this is just Pop in the worst way.  There are a lot of really unlistenable trans here, but this one is the definition of lifeless.  Vocally it’s just so breathless and uninteresting, and the verses aren’t much better.  Atleast some of the earlier material on here had a soul to it, this is just plain bad.  At the end of the day, THIS right here is 100% the reason why people have issues with Mew these days.

https://www.youtube.com/watch?v=ILZ1C67LRGw

Then we have moments like “85 Videos”, which as cheesy and 80’s as it sounds, I can seriously get into this.  I love the riff on this one and just how confident Mew sound.  I have know idea where this sound has been for this album, but it’s really frustrating.  The verses here are a little bare bones and straightforward, but the chorus here is absolutely gigantic and the epitome of everything they've been going for with this Indie Pop Stadium Ballad sound.  This is easily the most epic thing I’ve heard on this entire album.  Plus, theres actually a genuinely interesting mix of genres here.  Mew can easily still make compelling material honestly, that was made obvious on this track.   But then I hear tracks like “Zanzibar” and I want to take it all back.  This track is the definition of bland.  I get that every track here seriously can’t be THAT epic, but come on, tracks like this tell me that Mew are barely even trying anymore.  The vocals here are putting me to sleep, and lyrically this is just redundant, and that’s really about it here.  These are two minutes I’m not getting back.  This has been pretty grueling, let’s finish this bad boy off.  “Carry Me To Safety” has at the very least a very pretty introduction.  But as far as vocals go, is it just me or do Mew really need a switch up and try a couple of new things?  Because I’m seriously feeling like in more ways than one this is more of the same.  It’s not the worst thing I’ve heard here, actually instrumentally this is pretty progressive and interesting.  Overall this track comes off pretty sweet, not sickeningly sweet either, just nice to hear.  I’m not saying it changes my thoughts on the album, it really doesn’t.  BUT, there are some epic chords here, and if they made a few more tracks like this here this would have been a whole lot easier on the ears.

https://www.youtube.com/watch?v=m6gFfsdIDU0

Rating: 6.1/10

Give A Listen To: “The Wake of Your Life”, “Ay Ay Ay”, “Learn Our Crystals”,  “85 Videos”

Overall Thoughts:  Mew have been going downhill for years now I feel like, and this may just be their lowest point yet by far.  There are certainly some high points that show that Mew can certainly still write seriously compelling and exciting material.  But the majority of this album shows Mew have moved on from blending all of these very exciting genres in exchange for some seriously underwhelming and soulless indie pop.  

Sylvan Esso - What Now

North Carolina's Sylvan Esso in the past few years have become one of the hippest Synth Pop/Electro Pop duo's in the world.  Now, when it comes to their first and only album, I'm really divided on it.  Some of the more straightforward tracks like "Play It Right" and H.S.K.T." instantly hooked me in with dreamy pop vocals and bass heavy synth blasts.  But a majority of the other tracks just came off a little too boring for my liking.  Most of them ended up being just fine 2 or 3 minutes into it, but they almost always took so long to get going.  However, I certainly saw the appeal.  These new singles from Sylvan Esso though quite frankly have been a serious improvement, and have been very straightforward and almost exciting.  Let's talk about this thing.

This album starts off with “Sound”, and to be honest it’s really not the intro that I was expecting at all.  On the first Sylvan Esso album I feel like there were so many sort of cheap attempts to come off as edgy.   But “Sound” is actually a little bizarre and strange.  yes, this was totally ripped kicking and screaming right from the mouth of James Blake, but I commend them for at the very least going for a little more of a left field approach with this intro.  Does it come off perfectly?  No, not at all, as a matter of fact it comes off a little underwhelming.  BUT, it certainly gives me hope for the rest of the album.  And instantly my hopes are brought up even higher with “The Glow”  The glitchy production on this one is certainly another good step in the right direction.  Here, we have Sylvan Esso going for a seriously sweet Indie Pop tune, and they succeed wonderfully.   This track overall is packed with adorable moments, but the very glitchy and hectic performance gives “The Glow” a slight edge to it  I feel like Sylvan Esso’s debut was often trying way too hard, but THIS is seriously commendable.  Yes, it’s super poppy, but little elements here and there like the very cosmic sounding synths and the acoustic guitar strumming through the background make this one SERIOUSLY likable pop tune.  The surprisingly heavy “Die Young” is up next, and this track packs one hell of a punch.  Right off the bat this one sort of reminds me of the same sort of “hip” electro pop that they were going for on their first album, but with much heavier synths and a seriously very cold groove.  The resulting track “Die Young” comes off majestically.   Moments like this make “What Now” so much less of an accessible album than their debut, but for me that’s what makes this album so interesting.  Plus, I’d much rather dance to this compared to any of their old material.  Also, the production on “Die Young” is surprisingly much thicker and not nearly as atmospheric, some of the very 80’s sounding drums in the back are a nice touch as well.  Sylvan Esso stay on a serious roll with “Radio”  This one is just as much of a curve ball for me, cause “Radio” has a totally different vibe to it.  The very whimsical synths are great, and the pulsing beat here I feel like if I heard from any other artist I would be so pissed off with actually comes off seriously nicely.   “Radio” as a whole seriously comes off really nicely, and contains some of the punchier lyrics on the album as well as a seriously moody atmosphere.  Now, while this album started off as a Pop album, as tracks roll on I feel like it’s becoming more and more what I feel like Sylvan Esso was going for with their debut, and it’s certainly more listenable.  So far “What Now” has been packed with constantly shifting synths and memorable lines, this album is taking off quickly.  
Now, right when I’m praising Sylvan Esso for making all of these huge leaps, they come out with “Kick Jump Twist”.  All I have to say is, haven’t we gotten past this sound?  This literally sounds like everything I absolutely hated about the band’s debut.  Sylvan Esso here for a few short minutes go right back to trying so desperately to come off as artsy, but fail miserably.  The beat here is actually totally fine and acceptable, and as it progresses it becomes a serious banger for the electro pop genre.   Honestly it really comes down to me seriously not digging Amelia Meath’s vocal performance here.  Here, she goes for this very hip, left field sound and to be honest it just comes off as indirect and seriously boring.  The instrumental itself however is interesting enough to make this one listenable, but outside of that this a is a big let down.  Thankfully, Sylvan Esso follow that up with one of the most straightforward Synth Pop tunes I’ve heard from the duo with “Song”.  Usually, I feel like this acoustic riff floating through the background would be seriously corny.  But honestly I’m totally down with this.  It’s very sweet sounding and once again Amelia’s performance here comes off very sincere.  Plus, I absolutely love the very driving beat here.  Tracks like this, straightforward pop tunes with none of this super artsy garbage is seriously a sound that I can really get into when it comes to Sylvan Esso.  It’s smooth, it’s got just enough energy, it’s sweet, hell yea this works.  Up next is “Just Dancing” and I seriously have to give it to this duo, they’re certainly taking a TON more risks.  The beats on tracks like this are so uninviting and really hard to grasp and are even hard for them to sing over.  However, this one seriously is a miss for Sylvan Esso.  The results of them branching out here is a track that I feel like doesn’t really get started.  The instrumentals certainly come off interesting and all here, but vocally I seriously can’t remember a single moment.  I feel like this is an old school Yeah yeah Yeahs’ cover or something.  But Sylvan Esso really pick themselves up quickly with one of the most engaging tracks here yet, “Signal”.  Right from these opening notes we’re dealing with a much dreamier and more sincere sound.  It’s smooth, but it also contains some of these much bigger beats that the duo has been working with.  Vocally, this continues down the path of some of the more straightforward tracks here.   I love the very hazy atmosphere backed by this booming bass, and Amelia’s blaring vocals pierce them come off amazingly.  This is clearly more than just some slightly edgy pop, this is Sylvan Esso really getting their sound under wraps and tackling the sounds they tries so desperately to achieve on their debut album.
While the majority of this album is pretty darn solid, “Slack Jaw” shows that Sylvan Esso isn’t ready to completely drop their past.  This one comes off just as sort of Synth Pop oriented and straightforward, the comparison of the material here to the material on the last album continues to be jaw dropping.  But on this one i’m not nearly as into the vocal performance.  Some of these more quiet tracks here come off seriously questionable.  So sadly, this track has plenty of potential but doesn’t come off nearly as well as it could.  Vocally it’s certainly still sweet and sincere and tender.  But instrumentally, I’d be lying if I said I wasn’t about two seconds away from falling asleep.  Thankfully though, Sylvan Esso go right back to the sound that’s been working for them here for the finale.  “Rewind” to every extent is exactly how Sylvan Esso should be approaching their slower tracks.  It’s just as sweet and tender, but it’s not sluggish at all, it just just enough going to for it that you’ll not only be fully awake but interest too.  Here, the more artsy and colorful vibe comes off so well. There’s also a serious almost tropical vibe to this one that comes off really well.  This isn’t exactly a perfect album, but it’s miles better than their debut.

Rating: 7.4/10

Give A Listen To:  “The Glow”, “Die Young”, “Radio”, “Signal”

Overall Thoughts:  Ok hear me out, I could barely sit through Sylvan Esso's self titled debut, I really couldn't.  I felt like there were too many times that Sylvan Esso were trying way too hard to be super artsy and different when they seriously weren't.  But between some bigger beats and some more straightforward songwriting, this album is seriously miles beyond what they were doing a few years ago.  There are still some major hiccups, mostly in some of the album's softer moments.  But overall, yea this is pretty damn good as a Synth Pop/Electro Pop album, and I'm actually interested to see what Sylvan Esso do next.  

Gorillaz - Humanz

Since the early 2000's, Blur's Damon Albarn has composed music on the side as the lovable alternative hip hop collective known as Gorillaz.  In 2001, Gorillaz released their self titled debut and instantly caught on with the music world.  Between the fact that they were a "Virtual Band" and their laid back, fun loving tunes like "19-2000" and the iconic "Clint Eastwood" people just sort of connected with Gorillaz.  There was plenty of trip hop and alternative hip hop influence, with just enough alternative rock licks thrown in here and there, which honesty made this album pretty damn hip overall.  Their next album though, "Demon Days", put them seriously on the map.  This album was an instant classic with mainstream hits like "DARE" and "Feel Good Inc", as well as stunning deep cuts like "Kids With Guns" and "Dirty Harry".  While Gorillaz did still seem a little gimmicky to me, I thought this album overall was a genuinely important album as far as music culture goes.   There were so many genres clashing constantly, and creatively Gorillaz seemed to be at their peak.  2010's Plastic Beach was just as memorable, colorfully blending together fantastic Pop Tunes as well as Hip Alternative rap tracks in a very guest heavy effort.   I'm not even gonna get into these new singles here, because I have a lot to say about this album, let's get started.

(A classic for old times sake)

Ok so before we get things rolling, no I’m not talking about the interludes, I really feel like all 6 or so of them did a grand total of nothing.  And while we’re at it, no I’m not talking about the bonus tracks either.  Good? Good!  This album starts off with “Ascension” featuring the great Vince Staples.  After the kind of pointless opening skit this track certainly escalates quickly.  And I have to admit it’s pretty eye opening hearing this album go for nothing to hear Vince blast into a verse right off the bat.  As far as Vince’s performance goes, he’s just as hard hitting and brutally honest as he usually is, not to mention his energy is more on point than ever.  Lyrically, this is a little bizarre and almost a little TOO much of a banger for a Gorillaz track, but that doesn’t mean I’m not bumping to this.  However, this also leads me to my first real issue here, there’s almost no Gorillaz on this track at all except for Damon Albarn’s short few lines.  Outside of that, this sounds like a Vince Staples track with some more colorful production.  Overall, this is certainly a very exciting intro, but I wish there was a little more of a Gorillaz vibe here.  However, that hectic beat is exciting, and the gospel vocals on the chorus make everything pop so much nicer.  “Strobelite” is up next featuring Peven Everett.  Now this is a little more along the lines of what you would expect to hear on a Gorillaz album.  It’s the usual very colorful blend of pop and rap and alternative rock as well as dance, and it comes off alright.  Not great, but alright.  Now Peven Everett does fine in his performance, his vocals certainly come off very soulful and jazzy.  But to be honest, for me this comes off just a little weird.  Usually, Gorillaz albums as varied as they are usually have one constant feel or atmosphere.  And going into this, I knew that the thought behind this was that this was a “Playlist for the end of the world”.  But this certainly doesn’t even come off anywhere near that.  Plus, I just think as far as this sound goes for Gorillaz, I’ve heard countless more playful and funkier tracks from Gorillaz.  The grooves here are nice and it does stick with you.  But outside of that I’m not feeling this at all.  “Saturnz Barz” is up next, featuring Popcaan.  Now, let me just say right off the bat that I’m FAR from a Popcaan fan and I really haven’t heard too many tracks that I’ve enjoyed his presence on.  But that being said, I think this track is seriously very good.  “Saturnz Barz” sticks with the very melancholy, very gloomy Trip-Hop mood that Gorillaz have always worked so well with.  I love the very dark beat on this one and the almost cheesy synths, it all works so well together.  Popcaan’s performance here sounds actually refreshing against this beat that’s clearly a little left of what he’s usually on, I can certainly get into the dark reggae/dancehall vibe to this one.  While this track is obviously a whole lot slower and less explosive, the performances come off so well.  Even Damon Albarn’s chorus here comes out perfectly.  Some of the vocal effects on his later verse come off actually really twisted and brilliant.  But you see, what makes this track work is the formula.  This is JUST the right of balance between Gorillaz influence and their guests performance.  It shouldn’t be all about the features, it should be about the coming together of all of these genres and styles clashing in a beautiful way.  Which is eventually which leads to this album’s downfall, but we’ll get to that.  “Momentz” is up next, and this track I was seriously looking forward too since it’s featuring De La Soul.  Gorillaz and De La Soul have always had such wonderful chemistry and have always come together so seamlessly.  And to be honest, De La Soul aren’t even the problem here, they actually sound full of energy and exciting.  But oh my LORD, the production here is beyond muddy and horrible, and this beat is just seriously questionable.  I get that Gorillaz on this one were going for a more heavy hitting beat, but this is just about the furthest thing from the way to do it.  The high pitched vocals that eventually pop in just come off seriously obnoxious, and by the time the autotune comes in I’m ready to throw in the towel altogether.  “Momentz” is not a good collaboration at all, and once again there’s seriously not a Gorillaz influence in sight.  “Submission” however was a collaboration I knew from miles away would be a home run.  This track features Danny Brown and Kelela,  and these two have always had such amazing chemistry.  Kelela right off the bat really sounds right at home on this very gloomy alternative hip hop beat.  She’s always worked the best in these sort of atmosphere’s, and here is no different.  She sounds fantastiv, and the group choir vocals behind her once again come off fantastic.  It’s moments like this that I feel like their “Playlist for the end of the world” comes off brilliant.  But once again, I don’t know about you, but the lack of a serious Gorillaz feel is a little concerning for me.  Like, this could have easily been on the last Danny Brown album OR Kelela’s.  Anyways!  Danny’s verse here comes off just as blaring and animated and off the walls that you would expect from him by now, and it brings just enough life to this very gloomy atmosphere.  

https://www.youtube.com/watch?v=5qJp6xlKEug

The next leg of our Gorillaz journey is “Charger” featuring Grace Jones.  All I can say is, FINALLY we’re getting just a touch of rock influence in that beat.  And while Grace Jones’ part isn’t gigantic, she fits the part masterfully here.  This is another really great example of a real true collaboration here.  Grace here simply compliments Gorillaz, as Damon Albarn is finally the star for a few minutes.  But that fact alone is so weird, because at this point we’re 6 tracks in.  I like the very harsh beat here as well.  While I do usually like the very gloomy atmosphere, this is a fine addition to the album that breathes just enough of life into the instrumentals.  This one has a seriously sinister feel to it which I can’t get enough of, so hell yea this one works nicely.  Now, up next we have a HUGE let down for me.  “Andromeda” was a track that I couldn’t wait to hear, mostly because I was interested to see how they would collaborate with D.R.A.M.  Now, D.R.A.M. I’ve always been very iffy on, but one thing that I’ve always been sold on is his personality and just how animated her is (No pun intended).  Leading up to this album, I felt like his bounciness and personality would have done so well on this album.  And I do certainly like the very colorful, bouncy beat here, it’s certainly a nice change of pace.  Also, I do like how very up front Damon is on this track.  But everything else here falls apart really quickly.  While I do like the bouncy synths and the pop appeal here, there aren’t any really memorable lines or a catchy chorus in sight.   THEN, we have D.R.A.M.’s performance, and lets be honest you can BARELY even tell that it’s him.  Listening to this you literally would have thought Gorillaz just got some session musician in to sing a hook.  So no, “Andromeda” isn’t very good at all.  Damon Albarn can certainly write great pop tunes, but this isn’t one of them.  “Busted and Blue” is up next, and get this, there isn’t a feature in sight.  We’re right back to a very gloomy sound, and I honestly got so excited listening to this to hear Gorillaz on their own within this atmosphere.  Now, to be honest, as far as that “Playlist for the end of the world” sound goes, this is actually the closest thing to that that I’ve heard so far.  No, this isn’t an exciting pop tune by any means.  But come on, Damon’s performance here sounds so hurt and broken sown and exhausted.  The group vocals that come in to back him up give this track a seriously haunting vibe and the atmosphere on this one just engulfs me.  This isn’t nearly as flashy as the rest of the album, but this is certainly a great example of how sometimes less is more.  “Carnival” up next features Anthony Hamilton, and we’re right back to the sound that’s dominated most of this album.  That sound is more of the same moody alternative rap which Gorillaz have mastered by this point.  And while I really don’t MIND Anthony Hamilton’s performance, I think he honestly nails it, I feel like the rest of this track is quite frankly boring.  It’s not even that, I just feel like I’ve heard this same song three other times on here.  At the end of the day, “Carnival” just comes off as more of the same with the same sort of gloomy atmosphere.  But once again there’s almost no Gorillaz influence in sight.  Thankfully though, Gorillaz come through with the track that I’ve been desperate to hear for a very long time, “Let Me Out”.  This one features the great Mavis Staples and the always exciting Pusha T.  Pusha always has so much energy to him, such an urgency in his delivery that he can light up any track the moment he arrives, and that’s what he does here.  “Let Me Out” has the same sort of moody beat to it, but Pusha and Mavis Staples’ incredibly soulful performance lighten this one up and make it really different.  As far as I’m concerned, this is THE track of the album in so many ways.  Not only does this contain a handful of the most charismatic performances on the entire album, but it also sums up every feeling and theme on the album in a seriously interesting way.  If this album was THIS exciting for it’s entirety, this album would have been an instant classic.  

Let me just say that the last few tracks here for the most part seriously disappointed me.  As if this album already didn't feel like a Gorillaz album, we get "Sex Murder Party" featuring Jamie Principle and Zebra Katz.  At this point, all I really even have to say is "oh how the mighty have fallen".  I don't really know if this was supposed to be a tongue in cheek attempt at a club banger, but it's neither funny or a banger. It's honestly one of the most boring tracks I've heard here.  Let's talk about this beat first of all.  I know beats like this are a little repetitive, but come on this seriously get's boring withing 20 seconds, EASILY.  Then we have these features, and boy oh boy I can't remember a single interesting moment from either one of them.  Damon sounds OK and all, but that's about it.  This track is the epitome of everything that's bad about this album.  Once again, there's only slight Gorillaz influence in Damon's verse, but outside of that let's be honest this sounds like a joke track that really isn't that funny.  "She's My Collar" is up next featuring Kali Uchis, and at the very least this one has a little punch to it.  Compared to the last track or so, it's refreshing to hear a track like "She's My Collar" with a little structure to it, and I'm glad to hear Damon back at the forefront.  But while this track has an atmosphere and a nice groove, I feel like this is just too little too late.  It's alright and all, but honestly this album up until now has been so all over the place, that at this point one alright sounding track is going to do so little for me.  However, I do have to give kudos to Kali's performance which is seriously really solid.  Up next is, oh boy, "Hallelujah Money" featuring Benjamin Clementine.  Altogether this track was just a gigantic let down.  I like the very gloomy and slow atmosphere, but I feel like Clementine's performance is seriously beyond underwhelming.  I get what Gorillaz were going for, and I like little details here like the choir vocals.  But outside of this, of all of the singles released from this album, this is by far the most underwhelming.  So much so, that I my sheer dislike of "Hallelujah Money" made me appreciate this album's finale even more.  Now, when it comes to the finale, "We Got The Power", I'm not saying I actually dig this track.  BUT, compared to the boring previous track "We Got The Power" has some nice energy at least.  But this track's biggest flaw is that it features the amazing Jehnny Beth of Savages in a sunshine positive pop environment, and the results are BIZARRE.  Yes, it's a catchy track, but that's about all I have to say about this one.  

Rating: 6.7/10

Give A Listen To: “Ascension”, “Saturnz Barz”, “Submission”, “Let Me Out”

Overall Thoughts: Um, what even happened here?  Gorillaz haven't been seen from or heard from in years, and this is what we get for waiting patiently?  Don't get me wrong, tracks like "Let Me Out" and "Saturnz Barz" are brilliant.  But most of this album doesn't even come off like a Gorillaz album.  Gorillaz album's used to be about the coming together or collaborators with the music of Gorillaz for this very colorful and lovable combination.  THIS comes off like a whose who of alternative rap and other genres coming together for a mixtape or a compilation with Damon Albarn popping in occasionally.  Disappointment my friends.