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

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.

Deftones - Gore (ALBUM REVIEW)

Deftones has been consistent in a strange way, in my opinion, as they always release different albums that feels unique but still has their distinct sound. I have been a fan since their Diamond Eyes release which is my personal favourite and it’s been 4 long years since their release of Koi No Yokan. I was glad and frustrated at the same time because for a fan it’s crucially painful to wait that long, but it was relieving to know that they are taking their time and effort to attempt to surpass their latest work. I spent those times in between to fully appreciate their full discography and it is hard to argue which their best album to date is. Gore made it impossible for me to decide.

When I first heard Prayers/Triangles, it felt like the definitive Deftones track; atmospheric guitars, rhythmic basslines and some dynamic drumming, something they have shown through Saturday Night Wrist and Koi No Yokan, blending the aggression and shoe-gazeness. There are tracks in the album that feels like a trip down to memory lane like Acid Hologram which felt like a sequel for the self-titled album with its slow rhythm guitars and that way it’s mixed. While Gore had that Adrenaline and Around The Fur vibe, it’s punchy and belligerently upbeat. Drummer Abe Cunnigham’s effortlessly shows his dynamics throughout, with Geometric Headdress being his most notable effort.

There are tracks that feel very sporadic on the other hand, like Pittura Infamante and Xenon which seems very out of place for the guitarist Stephen Carpenter. He stretches for this unusual classic metal-style riffs that feels lazy and clichéd. It sounds way too high for a guitarist that is known for his hard-hitting tuned down riffs. It felt that there were clashes through the writing process. But it is interesting to listen to its creative zenith and maybe it’ll feel more appreciative after a few listens.

What shines here however is vocalist Chino Moreno’s expanded range as reaches heights through his screams, which can be heard through Gore, Doomed User, Acid Hologram and Geometric Headdress. Doomed User is aggressive throughout, as the metal hooks from Carpenter complements his out-there high pitched screams. But it still doesn’t further away from the melodic choruses. Geometric Headdress shows this even with its unusual dynamic. You also notice those dream pop-rock styles like (L)Mirl, which felt like a Team Sleep (Moreno's side project) track; it’s dark, moody and hypnotically beautiful. The dream-like quality of Phantom Bride with Alice in Chains guitarist Jerry Cantrell’s entrancing guitar involvement and Moreno harmonizing the guitars made it the highlight of the entire album. Hearts/Wires, their longest track in the album, starts off with this atmospheric guitars that builds up to a melodic yet explosive chorus where Moreno’s vocal tantrums exudes potency. Listening to the last track Rubicon, you hear them going on a high note but reminding us what was great about them in the first place, they’re intense and blissful.

Few bands accomplish to expand their horizons creatively throughout a 21-year old career and the Sacramento quintet shows their evolution through this album. 7 albums later, they’re still releasing music that is intense and mesmerizing at the same time. They have reached that point of their career where they are not afraid to push their limits and expand their sound, even when it means some clashing ideas.

Overall: Their overdue effort from their creative songwriting and dynamics has paid off as this eight album has acuity and depth that we have not explored before in their past discography. 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.

Check Out: Hearts/Wires, Phantom Bride, (L)Mirl

9/10

Out April 8th

Bring Me The Horizon - That's The Spirit (ALBUM REVIEW)

The Sheffield 'metalcore' band have gained mainstream popularity after the success of their fourth effort Sempiternal, which was one of the standout albums of 2013 for its creative mix of complexity and atmospheric sounds, with their tongue in cheek style still intact. They've been dominating all over the world, from touring the US to completely destroying Reading and Leeds Festival. And after hearing this album, just like its album artwork, its bleak and empty, and they're not the cheeky lads I have admired from their past discography anymore.

What's still visible within this new record is Sykes' cliche lyrics or teenage poetry that this generation seem to loves, and the graphic gory one liners like 'What You Need's "You make me want to slit my wrists and play with my own blood". But now that Sykes uses less screams, we get to fully understand his cringey play-on lyrics like "True friends stab you in the front" in the Skillet-styled orchestral 'True Friends'. I will give credit to Sykes' vocals that broadly ranges between the tracks. The first track 'Doomed' really shows his graspy yells and catchy falsettos. But boy was it a mess putting The 1975 and The Neighbourhood-like sounds and the synths-produced that sounded like Nine Inch Nails together, it was too difficult to ignore. While his screams felt out of place in this dark and poppy track.

However, tracks like 'Throne' had that punching synths that 'Can You Feel My Heart?' had which makes a lasting impression. 'Avalanche' had that 'Crooked Young' vibe with its intro and it felt like the only true Bring Me The Horizon track with its own alternative rock spin to it. The album's main single 'Drown' is what shines here unfortunately, its layered vocals and choir like sounds is what stands out. The production in most tracks are even more polished than Sempiternal despite the 'heavy' singles 'Happy Song' and 'True Friends' have this distorted sound on the guitars that seemed lazy. Although the rawness of it had that early Deftones sound which I liked.

The main disappointing aspect of this album is the fact that it lacked its aggressiveness and angst that made them popular in the first place. The unusual 'Follow You' had RnB beats and it would've been difficult to admire if it weren't for its quite addictive chorus and Sykes' "I will follow you.." falsettos. 'What You Need' had upbeat drums and aggressive yells at its chorus but there was really nothing special about it. Even its guitar solo was bland which was a disappointing effort from guitarist Lee Malia. 'Run' sounded like a rip-off of early-Young Guns but more minimalistic. The punchy 'Blasphemy' had a familiar riff that is just overplayed, added with another bland guitar solo. The ending track 'Oh No' felt like a slow dance track that sounds like PVRIS, and had a weird saxophone thrown in there because, why not?

It seemed that Sykes' transition from the angry, addictive person that he was before to the happier, cleaner person which he is now married, have completely changed their sound. But now they're reeled into this phase where bands struggle to create something more innovative within their sound while they're at their peak, I'm looking at you Linkin Park. There was just no complexity within the songwriting process, so mainstream audience can feel comfortable listening to this album, I mean Sykes' vocals stands out more than Lee Malia's soulless guitar. Which is why I find the infectious radio-friendly choruses within every track felt like a betrayal for the metalcore fans for keeping them around. Now they're ended up chanting S-P-I-R-I-T like little children.

Overall: It's filled with catchy choruses and Sykes' singing vocals are better than ever but most tracks felt empty and eliminates its aggressive complexity. Its lazy and cringey lyrics are becoming more unbearable sometimes. There's nothing revolutionary here but maybe after a few listens, you won't stop listening to it.

Listen to: Drown, Throne, Avalanche

5/10

Album out September 11

Refused - Freedom (ALBUM REVIEW)

I stumbled across this Swedish punk rock band called Refused a few years ago online when I found a song called New Noise, and listened to their album called The Shape of Punk to Come, and I thought this album was revolutionary and was the inception to today's punk-rock sound. They had similar style with Rage Against The Machine, with their aggressive unpredictability and covering political issues with their lyrics. I researched for more of their music, only to realise that the band split up after the album in 1998, but when I heard that they reunited and began touring in 2012, I was hoping for another release that hopefully will have the same veins as their last effort. Unfortunately, we'd been given something different, showing how 17 years can change a band's perception within their sound.

When I first heard their first single release in over 15 years, Elektra, I was elevated because it showed their complexity, with some influences from bands like Turbowolf and Tool, with Dennis Lyxzén's vocals maturing into a Dave Grohl style kind of yelling and screaming. It certainly got me pumped. Then I heard the entire album, and I wasn't expecting a mix bag of songs, Refused fans will find some quite polarizing as it just didn't have that intensity. Old Friends/ New War had a weird, groovy atmosphere, with synths and unusual sound bites thrown in there. Then there's Françafrique, in which there's political chanting but overthrown by its funky riff. Thought is Blood is even more unusual with synths just all over the place, but is rescued with its second half where they show their funky creativity, the bass especially, and had an interesting chorus. War On The Palaces was a pure on Classic Rock kind of song, it was like listening to AC/DC or Kiss that it felt kind of lazy. Halfway through the album, Lyxzén's vocals becomes a little frustrating to listen to, because it sounds too much like Dave Grohl, like listening to the Foo Fighters song White Limo 10 times. Servants of Death felt like a QOTSA song with some funky 80s throwback vibe thrown in there. There's still other tracks in the album like Dawkins Christ that still has that punk-rock spark within them that I really enjoyed. The la-la-la build up to the fast paced drums. Destroy The Man shows some mysterious side of the album, with its minor tone and the weird oohs. 366 definitely had a complex riff that was indeed and headed to that Tool kind of sound throughout the end. The final track Useless Europeans had that Western vibe, sounding almost like Muse's Knights of Cydonia with its chants but the finish was just anti-climactic.

After hearing Elektra, I was expecting an album that would actually be destructive and fun to listen to, but their maturity didn't show it and instead it felt like listening to a toned down The Hives. I'm not hating on The Hives, just saying it's not something I expected from them, after admiring The Shape of Punk to Come. If I were to recommend this band, listen to that instead of this disappointing comeback album.

Overall: Freedom is not the comeback album fans will expect, as they strand away from their punk-rock roots and their creativity felt like it was going to a different route, but their political integrity and complexity are still here, it's just polished into a classic-rock style kind of album.

Check Out: Elektra, Dawkins Christ

6/10

Album is Out Now

Wolf Alice - My Love Is Cool (ALBUM REVIEW)

Imagine the coolest band name playing the coolest music, the North London indie rock four-piece Wolf Alice would be the perfect match for it. They have an underrated reputation within the tired indie genre because they inject some vigorous yet dreamy grunge-punk sound into their songs, which can be heavily influenced by 90s grunge bands like The Pixies, The Smashing Pumpkins, Failure, Beck and Sonic Youth. We’ve seen the aggression within their back catalogue; Moaning Lisa Smile from the Creature Songs EP, She from the Blush EP. Frontwoman Ellie Roswell’s soothing vocals really add layers to its fast beating drums and crunchy rhythm guitars; it is unusual and exuberant at the same time. So they finally released their long-awaited debut album My Love Is Cool and it is a very impressive start to their future career.

They start off very calming with the breezy opener Turn to Dust, not really what I expect from them, which made expect the unexpected of what’s to come. Then the fan favourite Bros still brings that delicious alt-pop sound, nothing really added new. Your Loves Whore brings out The Smashing Pumpkins sound after a drum beat and calming riff that similarise some Beck tracks. Then we hear thrash guitar and Roswell’s unpredictable screechy outbursts within You’re A Germ, they change the pace constantly. Lisbon presents a Yeah Yeah Yeahs-vibe with its drums and guitar eruptions and calm vocals with some summer atmosphere. Silk acts as an interlude with its Metric-like synths, and Roswell giving out some Lana Del Rey and Karen O feeling. We then hear a mixture of sounds within the next few tracks; the Stone Roses-glossy and funky Freazy, the bursting grunge track Giant Peach, the Pixies-influenced mysterious Swallowtail, and the Primal Scream- inspired shoegazing comforter Soapy Water, it has so many influenced moments that are very diverse, yet not really imitated. The re-worked track Fluffy seems like the only original track that actually represents their innovative sound. It’s more upbeat than the old version and Roswell’s tantrum rollercoaster and aggressive guitar mix very well together. The closing track The Wonderwhy is very melancholic which really highlights Roswell’s lyrical sensibility, which was also shown within Bros, which talked about her deep childhood friendship, and You’re A Germ which tackled sexual exploitation from personal perspectives. It’s not an anthemic album, its jazzful pace of aggression and soothing atmosphere making it such a sophisticated and interesting album.

Overall: There’s no denying that this is a well-crafted first effort and Roswell’s lyrics does put some depth into its 90s grunge heavily-influenced tracks, today’s generation will find the album fresh and exuberant, while fans of 90s alternative music will find it nostalgic. My Love Is Cool’s imaginative spirit, sophistication and unpredictable sound really shows promise for Wolf Alice.

Check Out: Fluffy, You're A Germ, Giant Peach

8/10

My Love Is Cool will be out June 22nd

Young Guns - Ones and Zeros (ALBUM REVIEW)

These guys were the first band that I ever saw live back in 2010, promoting their first ever album, All Our Kings Are Dead, and they were becoming one of the most promising alternative rock bands in the UK rock scene. So they were a special band to me, but the more they progressed into a different band every album, the more I become open minded because their first effort had so much aggressive and emotional impact, like Stitches and After The War being the emotionally driven tracks complementing riff-blowing tracks like Elements and D.O.A. They still had that punch within their second album, Bones, with the title track being an anthemic track of theirs, and some of them were hidden gems but never really captured the same ambiance with their brilliant debut.

So now, after months, almost years of disappearance, they are back with a completely different sound, almost to attract the mainstream audience, but not strand away to their old, driven sound that it dissatisfies their fans because you still hear it in their latest album, Ones and Zeros. They're definitely heading towards the anthemic route so fans can shout and sing along at live gigs, and maybe perhaps the arenas in the future, because you can notice within the choruses in most of the tracks in the album. The first track, Rising Up, blows up into this aggressive riff but has this R&B type of beat that somehow works, there is an unusual mix of hip-hop and rock which creates unpredictability within the next few tracks in the album. The first single however, I Want Out, is a very radio-friendly song, and it has been compared to The Killer's When We Were Young, which received some mixed reviews. It doubted some fans before whether the album will be like the track, and unfortunately this is the case. But I do not necessarily find that as a bad thing, as most tracks can be a memorable single. They are very synth-driven throughout which is a fresh style for the band in my opinion. The Infinity and Daylight will be some of their songs where fans will be chanting within the chorus, and so are the dance-driven tracks Memento Mori and Colour Blind. They still have some hidden gems in the album that are emotionally driven that I admired in their debut album like Lullaby, Gravity and Die On Time in which vocalist Gustav Wood really explores his voice with his harmonies and hitting some interesting high and low notes. The title track ends on a high note, with flexibility in Wood's vocals and harmonies, and has a chorus that is unforgettable. I feel like the standout track in the album was the dance-driven Speaking in Tongues as Wood's vocals shines here and it's their catchiest song after Bones.

Their sound will never be similar to their old music like the hard-hitting EP Mirrors and All Our Kings Are Dead, but there is something about their latest effort that seems very fresh and colourful which I guess what the band is trying to achieve and I must say they did it successfully.



Overall: The album strands away from their ferocious and emotionally driven sound to produce a colourful, synth driven album that newcomers will enjoy. But they still have anthemic tracks that are worth repetitive listens and some hidden gems that showcases their talent. They are definitely heading to a different direction but this album puts them right back on the map.

Check Out: Speaking in Tongues, Colour Blind, Memento Mori

8/10

Ones and Zeros will be out 

June 8th.

Royal Blood - Royal Blood (ALBUM REVIEW)

These guys have been getting so much hype lately, playing from one festival to another this summer, and I managed to see the Brighton two piece live at Reading and it was a blast. The crowd were massive and the whole vibe and atmosphere were phenomenal. Started listening to their self titled debut and I'm amazed by what they achieved here, their previous singles have already impressed me of what direction they are going for with their sound but now, after listening this riff-tastic, fun and energetic album, I was left totally speechless. It's clear that there is a lot influences that inspired this album like the likes of Queens of the Stone Age, Led Zeppelin and The White Stripes and there is a sense of classic rock nostalgia that can be found in this album.

Opening with the muscular and well known Out of The Black, and Come On Over produces its finest with riffs and it's surprising that only bass with effects were used, and it can be heard within Figure It Out and both their energetic finish shows they're not afraid going for a more upbeat tempo and attack it. You Can Be So Cruel goes towards the funky side that familiarises the QOTSA elements and that goes the same with Ten Tonne Skeleton, Better Strangers and Blood Hands. There's something about Kerr's conplemented riffs and vocals that shows Led Zeppelin-esque edge that gets you grooving. There is so much fluidity within Loose Change its short time makes it so much more memorable. Careless steps towards the likes of Jack White with its riffs and vocals, almost sounding like a track from White Stripes' Icky Thump. And of course, Little Monster being the gem that shines throughout the whole album, filled with unforgettable riffs and anthemic chorus, the whole album brings back the classic rock genre that only few bands have accomplished, and with the amount of hype they are getting right now, it'd be a change to bring this back to mainstream music.

Overall: Despite being short, this album is packed with such energetic and groovy tracks that familiarises the classic rock genre and can be compared with other contemporary rock acts. Nonetheless, this is one rare album that will get a lot of repeated listens.

Check Out: Loose Change, Figure It Out, Little Monster

9/10

Linkin Park - The Hunting Party (ALBUM REVIEW)

Being a nostalgic fan of their work, I have this soft spot for Linkin Park despite being generic at times. Yes, Hybrid Theory was one of the best debut rock albums ever released, it was the first album i have ever bought and have been a massive fan since. But I haven't been this impressed since Meteora. Although A Thousand Suns was something else that fans did not appreciate but an impressive album for its experimentation. This time, they created something that has brought my childhood back to mind with this latest album. Their past albums have explored various genres and it's nice for them trying to find the right direction, but their heavy nu-metal vibes within Hybrid Theory and Meteora is what garnered their huge fan base in the first place and I'm relieved that they have shown it in this album The Hunting Party.

Starting off the album with a bang, "Keys To The Kingdom" reminded me of Hybrid's heavy opener "Papercut" but Chester's raw screams have shown how heavy this album will get. "All For Nothing" was probably a surprise, as it had a memorable catchy chorus, it was fist-pumping throughout, Paige Hamilton's involvement was spot on. Rob Bourdon's punkish drumming throughout the album have been extremely energetic, mostly shown in "Guilty All The Same" and "War". "War" almost felt like a Motörhead song, so full of energy, with Chester's raw vocals complementing to its punk beats and guitar riffs. It was interesting to hear "Wastelands" as it felt like a heavy version of another track from A Thousand Suns, "Wretches and Kings" with its hip hop beats and Mike's rhythmic raps. Brad Delson's guitar riffs and solos is what impressed me the most in "Mark The Graves" which I haven't heard since his efforts in Minutes to Midnight. The anthemic "The Final Masquerade" had a catchy beat and had a chorus that fans will be chanting live. The closing "A Line in the Sand" has so much improvisation it ends the record with a high note.

Some disappointments are shown in some of its production. There is still some familiarity within the radio-friendly "Until It's Gone", with its electronic elements that has similarities to Living Things which strands away from its heaviness of the album. Tom Morello's involvement was another disappointment as I did not really notice his familiar guitar skills within "Drawbar". Same goes with Daron Malakian's involvement. Yes, his guitar involvement within "Rebellion" was impressive, showing a bit of that SOAD aggressiveness, but a bit of his vocals would've been so much better, instead of Mike's cold, almost lifeless vocals.

Overall: This album had its hit and miss, but this hasn't made it any worse than some of their previous works, in fact it is their best effort since Hybrid Theory, and I am glad they're back to their heavy roots. Linkin Park is an odd band, not really knowing what genre they want to settle, they just seem to attack every one of them. They will never be the same as the first time I listened to them, but they're just at their peak of being one of the best rock bands of all time with this album.

Check out: All For Nothing, The Final Masquerade 

8/10

Out Now

ALBUM REVIEW: Issues - Issues

When I heard this American metalcore band's single ‘Hooligans’, at first I wasn’t too fond of the song because I thought the diversity between hardcore metal and hip-hop just doesn’t match. Then when I listened to it a couple more times, it grows on you and I began to notice the clever use of synths, riffs and anthemic chorus. That’s when I started listening to them regularly; their first EP Black Diamonds on repeat. Now, their first album release is coming up and it’s probably one of the most highly-anticipated albums this year after getting lots of recognition from supporting bands all over the world last year like Of Mice & Men, Bring Me The Horizon and Pierce The Veil. It’s a shame it was leaked a few weeks before the release, but when I got to listen to the whole album, I was amazed.

Starting off with Sad Ghosts, the intro builds up with snares, guitar and Michael’s screams and blasts us such an intricate riff and Tyler slows it down with his R&B voice. The pace goes up and down in this track like a rollercoaster and its overall pace it sort of similar to the other tracks. Second track, Mad at Myself, starts off with Tyler’s harmonic vocals singing the title track and the verses almost sounds like a breakdown and the chorus playfully uses synths and piano in the background, while the bridge is very muscular as all the instruments go nuts. Life of A Nine starts off with an 8-bit form of the riff, then Michael and Tyler take in turns screaming and rapping, and creates a familiar ‘Pierce The Veil’ influenced riff before the verse comes in, we also get to hear Tyler’s emotional vocals at the end, screaming out the last word. The Langdon House creates a muscular poppy intro while the verse is influenced by chilling horror with its use of synths. While the track Late, their most pop influenced track, infuses over-produced synths and clever riffs, and Tyler’s vocals are playfully mixed. The album’s first single, Stingray Affliction, blasts off with a strong riff and Michael’s unclean vocals are shown aggressively here, while the chorus almost has that ‘Enter Shikari’ feel bursting with adrenaline synths. Never Lose Your Flames focuses more on its lyrics, almost poetic, while the drums’ pace goes up and down with some punk beats. Personality Cult is probably their heaviest track, with Michael’s aggressive vocals builds up to a brawny breakdown and riff, and it is reckless throughout. Tears on the Runway, Pt. 2 contrasts the earlier track as it is their most emotional track on the album, with Tyler and Nylo’s duet sounds very passionate, despite the destructive guitar riffs and Michael’s screams. It just flows perfectly. The Settlement is another aggressive track, showing Michael’s talent while bursting with such an exuberant chorus. It’s short but sweet. Disappear (Remember When) ranges so many genres it’s hard to tell if it fits in the entire album. It starts off with a riff that sounds familiar to A Day To Remember’s works, while it ends with a gospel choir complementing Tyler’s vocals.

Overall: The whole album is filled with riffs that sound too familiar to the metalcore genre but it adds something new with its hip-hop influences and energetic synths. It’s boisterous and aggressive at the same time and it’s a brilliant first record for them.

8/10

Check out: Personality Cult, Tears on the Runway Pt. 2 (feat. Nylo), Life of a Nine

Their album is out on 17^th February

GIG REVIEW: MMX at The Bodega 21/01/14

MMX are an indie band after alternative rock band Francesqa disbanded and regrouped a few years ago. I followed them when they released their first ever singles, Cold World and Follow, and been a huge fan since. I listened to all their songs non-stop. I first saw these guys at Birmingham last June, to support their EPs 'Child' and 'Heir', with only a few people there (like four including me and my friend, these two groupies and the support acts), they were unknown then. But these guys had an overwhelming 2013; they played a few festivals like Reading Festival and T in the Park, and they supported The 1975 last September, and I must say, it's amazing where they are now. Now for their second headline tour, it is great start of the year for them. This is their second time here in Nottingham, and after a lot of build up, they finally have a decent amount of audience they deserve.

Firstly, Jamie Moon, the support act, created a peaceful ambiance with his acoustic set. It was clear he was very shy but great nonetheless. It was nothing special but made us feel hyped for the main act. As for MMX, their opening track 'Mercy' already gave me goosebumps with its blasting synthesizers and huge beat. While their stand out tracks, 'Tremor' and 'Ritual', ranges Ashley Wilkies' vocals in a tremendous way and produced an emotional and chilling atmosphere. As for the new tracks, 'Won't You' and 'Run', differs from their other tracks, going for an indie pop direction and has R&B influences. Nonetheless, it still sounds great and can't wait to hear the studio versions. My only small complain is the track 'Ten' being excluded, but it would've created a different atmosphere as it was chilled all the way through. The closing track 'Only' will always be my favourite song to listen to live; it has such addictive beat and some great improvisation from Wilkie. It was quite a short set but overwhelming overall.

Meeting MMX after their set

I managed to meet these guys after the set and they were awesome, and they definitely deserve more attention. I have a feeling 2014 will be their year, and just hope they will finally release a full-length album.

You can check out their EPs 'Child' and 'Heir' on their SoundCloud page and can buy them on iTunes.

http://www.soundcloud.com/mmxofficial