Linkin Park - One More Light (ALBUM REVIEW)

Linkin Park has gone through so much criticism for changing their sound through the course of their career and I personally had no problem with that. I have admired them since the start and as long as they produce good music I have no issue progressing and experimenting their sound into different directions. The only problem I had before was the release of The Hunting Party when they served the fans what they wanted by producing such a hard hitting rock album which appeared to be a setback for the band, but nonetheless they produced a well-made and quite intricate album. Anyway, I had conflicted emotions with this album because the ideas are worn out and there’s nothing new that has been covered here but the band seem to make it clear for us that the lyrics meant more important than the music itself throughout the album.

Nobody Can Save Me starts off as this bland opener, using the cliché pop tropes like The Chainsmokers-style pitchy vocoders and goes for Good Goodbye as well and its only redeeming factor is Stormy’s verse and that doesn’t help make the typical ‘Don’t Care Attitude’ hip-hop track. Talking to Myself is like a mixture of Living Things and one of the radio friendly tracks in The Hunting Party, and it’s one of the few tracks to clearly hear the guitars being the catchy hook and even that sounds very simplistic, but we hear a more vulnerable side to Chester as he sings about his struggle with drug and alcohol abuse through his wife's point of view. Throughout the next few tracks they almost sound so similar as the creativity with chord progression is completely limited. Invisible sounds like a OneRepublic track, and it’s bold for Shinoda to sing throughout but just ended up sounding very flat, but it seemed important to him as he expresses his thoughts about disciplining his children and how much he cares about them. In Battle Symphony they cover the vocoders once again because it seems like the hip cool style that will stick to everyone’s heads right? But Chester focuses on personal conflict here and the sensation of your own personal thoughts. While in the main single Heavy, Chester’s graspy hard rock vocals just don’t suit the genre as it just sounds like he’s struggling the high notes but Kiiara’s vocals complements the pop ballad track well. Sorry For Now is a very strange track, as The 1975 influences are very clear with its funky breakdowns, and Shinoda improves his lyrical abilities and vocals here exploring the sacrifices he has to make for his children as he goes off on tour, while Chester raps like in A Thousand Suns’ Waiting For The End, but it’s overall a confusing song mixing so many different sounds. Halfway Right uses the same chord progression as Invisible and seemed like another throwaway track considering there are only ten tracks in the album, but the lyrical content still makes quite an impact as Chester "writes" a letter to his fragile 7 year old self and the abuse issues he has gone through in his problematic adolescent years. One More Light stands out the most, which is very reminiscent to the Minutes to Midnight-era, it’s emotional and bittersweet as Shinoda writes about the traumatic experience of losing a friend and stresses out the importance of not taking personal fortunes for granted and letting your loved ones how much you care about them. But sadly finishes off with a predictable folk-type Sharp Edges which again sounds like a OneRepublic track where Chester reminisce his childhood years.

It's difficult to compare this album with their previous efforts because they all sound vastly different. They are more vulnerable and goes through personal issues and stranding away from political messages that made them an important band to begin with, they are fathers now and they are more mature and focused on their own personal matter which I admire them for. But the main problem I have with Linkin Park and this album is that they try to relate more to current radio pop music but they fail to do so because for an alternative band to attempt such style makes the overall sound more outdated, almost like someone’s dad trying to keep up with music today when the music they actually listen to already is good enough as it is. I’m sure these tracks will sound much better live but the mixing throughout this album undermines the guitars, bass and even the drums turned into this hip hop sound and it sounded like the creativity they had has been stripped back. It’s a different scenario if they surface and experiment around the idea of pop music like what they did with Living Things, but covering the whole territory was a big misstep for them. Yes I gave them so much negativity throughout this review but that's because I know they can do so much better, I just wished they were more unconventional like A Thousand Suns with this album because that was their true evolution ingenuity but I didn't get a single fresh and inspiring idea in this album.

Overall: Worn-out pop sounds to make them seem more relevant failed to deliver an expressive and/or satisfying album and it's massive setback for the band when it comes to evolutionary experimenting. But their personal themes of  family, desolation, and Chester's struggle with drug abuse gives the album the redeeming factor. Nonetheless, it's Linkin Park's worst album to date.

Check Out: One More Light, Sorry For Now, Heavy

5/10

Paramore - After Laughter (ALBUM REVIEW)

Paramore have proven themselves to be a versatile band, considering the numerous lineup changes, they have inconsistently formed their sound into different directions. Back in 2005 with their debut album All We Know Is Falling, there were so much angst and despair through their music and Hayley Williams, being only 16, have already shown to be the ones to look out for. They have cemented themselves as icons in the emo/pop-punk scene two years later with Riot! and from this point on, they had the creative control in their hands and I wondered if we'd ever hear that angst and despair from them again. Ever since the departure of the Farro brothers in 2010 they continued to progress their sound by implementing indie pop style through their self-titled album where they have experimented through different genres, from country to ukulele interludes, they weren't the band we have listened to back then but they haven't stopped keeping me intrigued. Now after Zac Farro's return in 2017 after Jeremy Davis' departure two years before, it instantly sparked my excitement for the new album. Farro has proven himself as a creative artist with his project Halfnoise and it seems like he has shared his ideas through the band after hearing the first two singles from After Laughter.

Starting off with the single Hard Times, a depressing concept covered with tropical beats and 80s pop elements that makes it an instant summer hit. And that journey doesn't stop there with Rose-Colored Boy, which gives out a real Blondie-vibe with its cheerful chants sugar coating its pessimistic lyrics. I start to hear Williams' anxiety throughout Told You So, discussing about people watching your move and waiting for you to make a mistake. While Fake Happy complements the catchy PA-RA-PA-RA-PA-PA chant to its concept about people being... well "fake happy" and pretending to be all good to people when you're really not. Forgiveness and 26 cover the typical heartbreaks and trying to get through the pain in such a serenade manner. Then it takes a right turn with Pool, discussing about finding the One and never giving up on it which finally shows that glimmer of hope within her lyricism. Throughout these tracks it's reminiscent to 90s alternative rock especially with its harmonizing back ups but thanks to Farro's experience with Halfnoise, he implements new wave experimental sounds that make the tracks more intriguing, comparing to bands like Talking Heads. It's also a treat to hear him share his vocals in Grudges. At this point however, we hear Williams slowly becoming more distressed, asking herself difficult questions about life while in Caught in the Middle, she's forgetting about how easy it was in the good old days and trying to move on from it. Idle Worship discusses people depending on you and that line "Don't let me let you down" is what makes me admire Williams' lyricism, showcasing her own independence. No Friend has this gripping La Dispute-style vocals and everyone starts to chaos with improvisation that makes it so much more intense. It's such an unusual track for Paramore to make but it's an interesting interlude before the closer track Tell Me How, a gloomy ballad discussing the difficulty of getting over someone who is not even saying anything and Williams is almost begging here repeating the line "Tell me how to feel about you now" desperate for a response and answers.

It seems that Williams became more cynic compared to the self-titled throughout this album although she's trying to accept the struggles she is going through and putting a positive spin on it, almost as if York and Farro are helping her through it with its gleeful yet impressive funky guitars and intricate drums. It's less expansive and ambitious than their previous release but I am pleased to see them heading forward with this 80s revival sound. Yes they weren't the same rock band from 10 years ago now, but Hayley Williams stayed true to her songwriting, vulnerable and apprehensive.

Overall: There's a strong juxtaposition between Williams' despairing lyricism and the sparkling 80s new wave style synth pop, tribal beats and stiff guitar hooks from York and Farro. It's personally their darkest and most mature album lyrically but it's a near-perfect summer album.

Check out: Hard Times, Fake Happy, No Friend

9/10

Top 20 Albums of 2016 (PART 2)

Before I list down my top 10 albums of 2016, I thought I would give my honorable mentions that didn't quite make my list:

Black Foxxes - I'm Not Well
Broods - Conscious
Deap Vally - Femijism
Highly Suspect - The Boy Who Died Wolf
Kings of Leon - WALLS
letlive. - If I'm The Devil
Moose Blood - Blush
PUP - The Dream Is Over
Shura - Nothing's Real
Weezer - The White Album

10. Bon Iver - 22, A Million

I wasn't sure whether Justin Vernon was just being kitschy with this album as he strands away from the folk-ish style from his previous albums, and experimenting with its production using samples, glitches and tricks almost like Radiohead's Kid A. Although it sounds abrasive, Vernon's lyrical ability flourishes and there is a lot of layered complexity within the tracks. This album will take time for the audience to get used to but will eventually admire what the purpose and intention was with this album.

Check Out: "45", "22 (Over Soon)", "33 "GOD""
For Fans Of: Radiohead, Jamie xx, James Blake





9. Kero Kero Bonito - Graduation

Stumbling upon their single "Flamingo" on YouTube got me intrigued because of its sugarcoated pop style and sound blended with so many influences like 90s trance, J-pop, and trip hop so I went to listen to this album, unexpected of what's to come. Its production is cheerful and filled with massive singles that are annoyingly catchy despite most tracks being understandable (mostly in Japanese) but discusses simple but honest topics complemented with vocalist Sarah Midori Perry's sweet lyricism. Be warned, it's an acquired taste but it'll surely brighten up your day.

Check Out: Lipslap, Trampoline, Break
For Fans Of: Grimes, The Naked and Famous



8. Crystal Castles - Amnesty (I)

Never thought I would hear a new Crystal Castles track since vocalist Alice Glass left and considering the line up change, the tracks they have recently produced are still just as good as their previous albums, they still have that familiar gothic tone within this album but thanks to new vocalist Edith Frances' lyricism focusing on themes of freedom and liberation from oppression injected within unrelenting dance tracks and some slow burners, this is a brilliant comeback album for the duo.

Check Out: Frail, Kept, Char
For Fans Of: Metric, The Knife, Sleigh Bells





7. Milk Teeth - Vile Child



This Bristolian band have built quite a reputation within the punk rock scene as their EPs Smiling Politely and Sad Sack were very promising, but this debut album is a nostalgic throwback to 90s grunge that is very sentimental to troubled teenagehood. It resonates through hard-hitting emotions thanks to its honesty within the song-writing and dexterity within its ever-changing stylings.

Check Out: Kabuki, Brain Food, Swear Jar (again)
For Fans Of: Nirvana, Smashing Pumpkins, Hole






6. Basement - Promise Everything



After a three year hiatus, they are back with the same cohesiveness and dynamic they had from their past albums which made them fresh within the emo scene in the first place. Constructed with lushing melodies and brooding angst in almost every track but refined with new found maturity and confidence with its crisp production, Basement is one of the few bands to produce such an angsty album with subtlety and optimism.

Check Out: Aquasun, Promise Everything
For Fans Of: Brand New, The Wonder Years






5. Issues - Headspace



By far an improvement to their self-titled debut album, they are taking so many risks, from vocalist Michael Bohn handling more clean vocal duties than screaming, Tyler Carter exploring his vocal range, and the band tampering with different mixes of genre from country, jazz, funk and hip hop within a post-hardcore album by utilizing jazz chords and choppy rhythm progression. They have developed in a mature level without ruining the fun, thanks to the two frontmen with strong personalities complementing each other. This album's replayability is endless.

Check Out: Flojo, The Realest
For Fans Of: Bring Me The Horizon



4. Deftones - Gore

They have been a band for 20 years and I would have thought Deftones would start to lose their charm and unpredictability. But their creative songwriting and dynamic hits their peak as this eight album has acuity and depth that we have not explored before in their past discography. Experimenting with some tracks may have not worked, but the complete album is the quintessential melody-heavy Deftones sound with lots of very fresh, unique and interesting ideas without being too chaotic. The more you approach this album, the more your opinion will change on different aspects.

Check Out: Phantom Bride, Doomed User
For Fans Of: Alice In Chains. Tool



3. The 1975 - I like it when you sleep, for you are so beautiful yet so unaware of it

After the massive success of their self-titled debut album, they have done a complete slate with their image, completely eclipsed the acclaim and fame they have received and they strained that message within this album. It's filled with catchy radio friendly tracks and ambient experimental interludes, but it's the overall production that flourishes here. Vocalist Matt Healy's witty lyricism concerning religion, image and fame brings out different vibes within an expansive 17-track collection. This effervescent record has more iconoclastic character than its debut, and goes deeper than you'd imagine.

Check Out: If I Believe You, Love Me
For Fans Of: My Bloody Valentine, Sigur Rós


2. Childish Gambino - Awaken, My Love!

Donald Glover is one of the only few to pull off releasing an album that completely strands off the genre he is known for. Here out of the blue, he has unexpectedly presented us a retro-futuristic album, paying homage to 70s psychedelic rock, funk and soul and Glover goes beyond the limitations within his vocal range, utilising unbelievable falsettos and beautifully layered vocals blending with its groovy yet complex instrumentals. Few tracks seems out of place but I understand the satirical comment Glover gives, which he also offers commentary on black culture, parenthood and his anxieties as a new father throughout the album. Fans, expect to have plenty of listens to appreciate this album.

Check Out: Redbone, Stand Tall, Terrified
For Fans Of: Funkadelic, Tame Impala, Prince

1. Bruno Mars - 24K Magic

What else is there to say other than this album is near perfection. The production itself is flawless, and every track is a possible hit. Bruno Mars have crafted these exuberant 9 tracks that brings back the sounds of the 80s and 90s hip-hop and R&B in a fresh way that will get everyone on the dancefloor thanks to Bruno's mischievous tongue in cheek lyrics and vocal abilities that shine throughout these throwback influenced jams, giving an overall funky vibe. Bruno Mars might have just released an instant classic like Michael Jackson's Thriller, only time will tell.

Check Out: There are only 9 tracks, check the entire album out
For Fans Of: Michael Jackson, Prince, James Brown

Top 20 Albums of 2016 (PART 1)

2016 was a tragic year for everyone, countless celebrity deaths, a concerning shift with today's politics, but at least we can agree 2016 was a great year for music as I list down my favourite albums that was released.

20. Skepta - Konnichiwa


Even if you are not an admirer of this type of genre, this album is the definitive grime sound. Skepta experiments with some insane samples, unpredictable production and lyrical dexterity that makes him one of the best in the business right now.


Check Out: Man, Numbers

For Fans Of: Boy Better Know, Kano, Stormzy









19. Dance Gavin Dance - Mothership


Their past two albums have been mediocre as the current singer Tillian Pearson's vocal style have drastically changed the band's sound for a more poppy direction but in this album they have experimented different styles from electronic to 70s funk blended in their post-hardcore technical abilities and Pearson explores his vocal range that are far superior than his past work.


Check Out: Young Robot, Flossie Dickey Bounce, Inspire The Liars

For Fans Of: Circa Survive, The Fall Of Troy






18. Roosevelt - Roosevelt



Marius Lauber knows how to blend indie rock and electronic together in this album as it gives out some techno-infused pop ranging his music inspired from different decades, throwing some funky basslines some 80's Casio tones and tropical instruments. It's catchy and it gives an overall easygoing vibe that would make the perfect night out soundtrack.


Check Out: Belong, Night Moves

For Fans Of: Hot Chip, Glass Animals






17. Hands Like Houses - Dissonants

Not all tracks are necessarily a standout but the post-hardcore band are one of the few bands in the scene that goes more aggressive than their previous efforts as they throw in some djent riffs and metalcore breakdowns out of their comfort zone within their anthemic tracks, it's thoroughly catchy, the production is more refined and vocalist Trenton Woodley's lyrical content is more visceral and poetic than ever.

Check Out: New Romantics, I Am, Colourblind

For Fans Of: Our Last Night, Pierce The Veil, Memphis May Fire




16. HalfNoise - Sudden Feeling

It's definitely an improvement to his debut album Volcano Crowe, changing his style to a more danceable indie pop vibe as almost every track is high tempo and wavy with its mesmerizing riffs combining the vintage 80s synthesizers that's loud yet beautiful. It's short but packed with upbeat summer tracks that feels sensational considering it's mostly about the concept of breakups, just expect some of the tracks on the Spotify Chilled Indie playlists anytime soon.

Check Out: Sudden Feeling, Pictures Of You, Know The Feeling

For Fans Of: Tame Impala



15. Touché Amore - Stage Four



This concept album influenced by the death of vocalist Jeremy Bolm's mother from cancer, is heart-wrenchingly beautiful, expressing the story with such clarity and emotion without being too depressing. It's still fresh, aggressive and relentless which they are mainly known for.

Check Out: Palm Dreams, Skyscraper

For Fans Of: La Dispute, Being As An Ocean









14. Warpaint - Heads Up!

Maybe this album seemed more rushed rather than spontaneous, it's not in the same level as with their last effort self-titled album but because of the influences the members had with their side projects, like JennyLee's album Right On!, there's fresh sounds and style incorporated within this album. From undeniably danceable pop tracks and gorgeous yet intense sounds, they have taken their hypnotic sensuality to different directions.

Check Out: Heads Up, New Song, Dre

For Fans Of: The Kills, Yeah Yeah Yeahs, Bat For Lashes





13. Architects - All Gods Have Abandoned Us


Despite following the similar vein of style from their previous album Lost Forever // Lost Together, it still packs with aggressive tracks with important political messages and influences some electronic sounds. The recent death of guitarist and songwriter Tom Searle make its atmospheric production much more haunting, it's certainly their heaviest and darkest album to date.


Check Out: Memento Mori, A Match Made In Heaven, Nihilist

For Fans Of: Parkway Drive, While She Sleeps, Enter Shikari




12. Radiohead - A Moon Shaped Pool

Their latest effort is less experimental than their previous works but it's soothing and elegant with those little details of edgy and cynical sounds, putting you through different emotions. There's perfectionism and ambition within this record, and almost cinematic with its brooding and symphonic arrangements, which is a step up to The King of Limbs.

Check Out: The Numbers, Burn The Witch, True Love Waits

For Fans Of: Massive Attack, Bjork





11. Young Guns - Echoes

It almost seemed like their previous album Ones and Zeros was recently released so I had the lowest expectations with this album for its immediacy. However, it is their most honest and emotional album since their debut All Our Kings Are Dead, but also subtly throwing in electronic sounds within some anthemic tracks that are innately catchy, it's less visceral than their previous effort but it's more abstract thanks to its lyrical content. They're finally polishing their overall sound.

Check Out: Living In A Dream Is Easy, Echoes

For Fans Of: Mallory Knox, Lower Than Atlantis

Bruno Mars - 24K Magic (ALBUM REVIEW)

After 3 years of absence following his fairly successful second effort, Unorthodox Jukebox, I could tell Bruno Mars was cooking up something magical. Last year, he showed up out of nowhere with Uptown Funk with Mark Ronson which became the biggest hit of the year, and it seemed that he was definitely going to the right direction and I was curious what he is going to come up with next. It got me appetized with his first single of his latest album 24K Magic, starting off with this vocoder melody and exploding with this beat that reminds me of 90s hip-hop. His persona have suddenly changed talking about his comeback and “bad bitches and your ugly ass friends”, promising us a cheeky but fun album which definitely got me excited.

Although there are only nine short tracks in the album, it is packed with so much exuberance that every track can be a single. Bruno shows his naughty side in the track Chunky, talking about stealing someone’s girlfriend, but it has a funky bassline that sticks in your head, while some 90s R&B influences are visible in the track, with female backup singers singing “I wanna get down” and synthesisers that is reminiscent to 90s pop. Perm brings out that James Brown vibe with Bruno’s vocal range and attitude throughout the track; it’s upbeat and quite sassy. That’s What I Like has so many things going for it as Bruno sings about treating a girl the way he likes it and has that vibe similar to Ginuwine’s Pony with its dirty bass synthesiser and beat. Finesse on the other hand is too analogous to Bell Biv Devoe’s Poison, with the snare beat at the start, the little rap “we got it goin’ on”, the sirens in the background and its overall upbeat sound; you can clearly tell Bruno has been listening to some 80s and 90s R&B a lot. Although, it has one of the best lines in the album “I am dripping in finesse”.

It does have some slow jams that bring out the best of his songwriting and vocal range. Although in Versace on the Floor, he sings about having sex with a girl with style, it sounds like 80s pop ballad with Whitney Houston-style synthesisers and muted guitar riffs. Straight Up and Down starts off with harmonizing melody that is a classic style of Bruno’s before going to a typical R&B slow beat. At this point through the album, it does seem repetitive with his song-writing, talking about what he does with different girls, but he brings out a fresh sound that still feels nostalgic. Calling All My Lovelies feels a little mischievous with his tongue in cheek lyrics about so many girls on her phone, and has a little interlude of Halle Berry’s voicemail which Bruno playfully tells us the sort of girls he has on her phone. But the last track Too Good to Say Goodbye is the definitive Bruno Mars track in the album. The nostalgic theme in this track seems more hidden and focuses more on the piano and his vocals, singing about winning a girl back and not wanting to lose her and we hear him more passionate than the rest of the tracks which is a great closer of the album.

It is interesting how Bruno approached this album, bringing back that funky sound that dates back in the 80s and 90s, the music he used to listen to as a kid. It’s lively and people have fun listening to this music which was the whole point of this album. Bruno is going to the same path as Michael Jackson with Bad; he’s becoming more playful and mischievous. Bruno stated himself that this is the best album he’s made, and I can certainly agree.

Overall: Bruno brings back the sounds of the 80s/90s hip-hop and R&B with his tongue in cheek lyrics and overall funky vibes. Expect to have a good time with this album.

Check out: The entire album

9/10

Crystal Castles - Amnesty (I) ALBUM REVIEW

After the dispute former vocalist Alice Glass had with the main member Ethan Kath then the expected leave, we thought we would never hear another Crystal Castles album again. Their debut effort was revolutionary in a sense of musical originality with their violent chiptune synths and quite odd vocal experimentations, then forming a quite dark tone throughout their two last albums (II) and (III) with a more relaxed yet unsettling harmonic melody within their tracks. Now that we are introduced with a mysterious vocalist Edith Frances, it first gave me curiosity to what they would sound like after Glass’ departure as her unpredictability is what defined my taste in their music and now with Frances’ unknown personality, I was expecting a new generation of sounds to suit it. However, not a lot has changed within their latest work, Amnesty (I), but more of an evolution of what they did in the past, which shows more of how much Ethan Kath’s creative authority is controlled within the project to begin with.

All the familiar tropes Crystal Castles throw at us are still evident in Amnesty (I) with those punchy blasts of synths and hip hop beats. Right from the thumping second track Fleece, it feels like they haven’t touched anything new or ground-breaking, as if people would still think that Alice Glass is still involved in the project; it is very reminiscent to their 2012’s (III), and this is visible within tracks like Chloroform and Sadist with its RnB-like sounds but more unfinished; it feels very rushed. What I can say without a doubt is that Frances’ vocal range is more dominant to Glass’ but the problem is that they still use the experimental vocal tunes and has such a high reverb within most tracks, it is very difficult to recognise the lyrics. However, Frances shines most at Char within the verses where it has a 80s feel which feels very fresh for the band, and it goes the same with the track Ornament. Tracks like Concrete and Enth really showcases its broody dance beats, while the slow burner interludes like Femen, Teach Her How to Hunt expresses some very intriguing sounds. Kept felt like an old Crystal Castles, with its looped clipped vocals and unrelenting thumps, while the album closer Their Kindness Is Charade shows nothing new and pretty much mirrors every closer they did the past albums. The track Frail (which was the first track they did together after the Glass’ departure) really shines as the emotionally driven dance track talking about empowerment and rising above whether you are veiled or not (referring to woman in burqas, according to Frances). Its theme of human rights being central in this album is what makes it more praiseworthy, and more respect for them for donating all their proceeds from the album to Amnesty International, which tackles major issues like human rights, discrimination and civilian injustice.

Overall: The familiar gothic tone that they had within their past albums is still recognisable here, not really offering anything ground-breaking, but its themes of freedom and liberation from oppression and a set of intriguing slow burners and unrelenting dance tracks that branded them as innovative in the first place makes this a great comeback album.

Film Review: Popstar Never Stop Never Stopping

Directors: Akiva Schaffer, Jorma Taccone

Cast: Andy Samberg, Sarah Silverman, Tim Meadows

Saturday Night Live’s The Lonely Island have always been ridiculously hilarious to me with their over the top, unnecessary humour. The group’s first film effort Hot Rod back in 2007 was one of the best slapstick comedies I have seen the past decade, it is filled with one-liners and random gigs that you just did not see coming but will be a repeated viral video on YouTube. At this point, you would be very intrigued of what they will come up next. Then Popstar came along.

Although trailers have led us to believe that it’s about the life and success of the character conner4real, who is a former boy band member going solo, it is a very endearing story about the fallout between the former band The Style Boyz (which was basically a Beastie Boys carbon copy) as conner4real slowly crumbles as he is trying to maintain his image. The narrative itself is very familiar but we see that they are aware of it and mock it anyway. Hilariously enough, we see Conner’s ridiculous songs within his solo career, like Equal rights while constantly singing that he’s not gay, and his ex-girlfriend telling him to screw her like Bin Laden, showing the creativity wasn’t the same without the band. While Lawrence, who left the band because Conner took credit for a “song catchphrase” he wrote, becomes a terrible farmer, and Owen, the musically creative member of the group is stuck with Conner as a DJ, basically plays his music on an iPod at concerts and tries to form back The Style Boyz.

What I love the most about the film is the several, or plenty of jabs on the music industry itself. Most of the time, I kept thinking that conner4real was loosely based off of Justin Bieber, from playing the drums as an infant, to having an exotic pet, the actual title of the movie even parodies Bieber’s documentary. There are so many accurate parodies between one gag to another. From the exaggerated TMZ, celebrity relationships, reality TV, to the unwanted music endorsement within our products (which was a jab at U2 for putting their album into our iTunes). They almost seemed too easy to the point that it becomes unnecessary but the fact there are so many cameos from musicians and actors shows they embrace this mockery. Although sometimes directors Schaffer and Taccone doesn’t follow the mockumentary rules, it’s so lightning fast with its spit-out one liners and satiric references that it masks those errors.

Overall: It’s a lot to take in with so many unexpected cameos and WTF moments but it’s a breath of fresh air within the mockumentary genre despite the familiar narrative. There are exuberant “The Lonely Island” style music videos to enjoy in between; it’s a modern parody of the musical landscape with multiple stabs on the industry today.

9/10