Genre - Thrash Metal, Black Metal, Progressive Metal Legendary blackened thrash metal outfit Vektor crafted a unique sound and style on their debut. The guitars and drums both have a crunchy, thrashy tone, but the vocals are more black metal influenced. They may seem a bit high-pitched and off putting at first, but they pair well with the band's lyrical sci-fi themes and technical, tight performances. I especially love the band's variance in song structures, as the album shifts between straightforward metal bangers and longer, multi-phase epics. I do enjoy "Black Future" as the album opener, as it's an accessible metal song that manages to showcase Vektor's sound, but "Oblivion" is the show-stopper for me. The band's performance on this cut almost seems non-human, as the guitars flawlessly keep tempo through quickly shifting passages, and culminate in a bone-chilling thrash guitar solo. It's a bit dizzying almost, but these moments really compliment the narratives within the lyrics. Vektor keeps up this pace on "Destroying the Cosmos," but a huge turning point within the album occurs on "Forests of Legend." The band surprisingly comes forth with clean guitars on slower, melancholy passages, yet maintain their ferocity throughout the core of the song. "Hunger for Violence" and "Deoxyribonucleic Acid" return back to the simpler thrash blueprints, but the band finishes the album with a trio of blackened thrash epics. The song lengths may be long, but Vektor saves their best guitar-work for these last three, really bringing the album to a satisfying, memorable close. Overall, I'd probably listen to this album in two sittings. Listen up to "Forests of Legend," then finish the second half another time. I personally prefer Vektor's Terminal Redux - a sci-fi space opera detailing an evil protagonist who obtains power through controlling time. It's really a testament to metal music and Vektor's ambition as musicians. Black Future, however, is certainly the more accessible route into the band's catalogue. If anything, at least check out a song or two, they're really one of the most beloved thrash metal bands of our generation with their perfect trio of albums. If you like this I also recommend: Havok - Conformicide, Toxic Holocaust - Conjure and Command By Brody McElwain
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Agalloch - The Mantle
Genre - Black Metal, Folk, Post-Rock Black metal is widely considered to be one of the more challenging extreme metal sub genres to get into, but Agalloch provide their own unique niche within the style that is fairly accessible in my opinion. Blending elements of folk music with progressive song structures, Agalloch maintain their black metal status with their shrill, nearly indistinguishable blackened vocals. Although it may sound contrary, I find this music to be very relaxing, as their music involves a lot of orchestral strings and classical guitar. The Mantle features the band's folkiest songs, and is widely considered the band's best among fans. Listeners may be initially turned off by the song lengths, but Agalloch have a special talent of justifying eight-plus minute songs through use of dynamics, instrumental shifts, and breathtaking interludes. Take "In the Shadow of our Pale Companion" for example, with its soft, pulsating intro that is complimented by alternating classical and electric guitar leads. These guitars build in intensity as the vocals find space within the song, and the instrumentation soon comes to a stop with a very somber interlude. The third phase uses motifs from the first two phases, but with more fiery vocals and a reverb-soaked guitar solo. The first half of this album flows very well, as the longer compositions ("In the Shadow of our Pale Companion," "I Am the Wooden Doors," "You Were but a Ghost in my Arms") are broken up by folkier, shorter songs that are pleasant on the ears ("A Celebration for the Death of Man," "Odal," "The Lodge"). The longer tracks may seem monotonous on the surface, but each tune features very unique and enthralling moments, guitar grooves, and folk-inspired detours. It's a good record to have on in the background - I find that the more impactful moments catch my attention when it's not at the front of my mind. Although I personally prefer the slightly more abrasive, tremolo guitars and engaging songs on Marrow of the Spirit, The Mantle is a perfect gateway into the black metal sub genre. I would have never listened to bands like Mayhem, Emperor, Darkthrone without hearing Agalloch. It just so happens that their first three records were remastered last year, after the band's unfortunate break up (I cri erytim). If you like this I also recommend: Panopticon - Autumn Eternal, Ulver - Bergtatt. The long awaited debut from artist SZA is finally here! Recently SZA (pronounced “Sizza”) revealed that her album was supposed to be released in 2016, but instead decided to work on the album more before releasing it, and boy does it sound good. Honestly had no clue who she was until her name kept popping up on my Twitter feed, but she’s a huge sensation in the world of R&B as well as pop. Just to save you some research, SZA is a 23 year-old singer from New Jersey who has taken the world by surprise with her talented vocals. Another fun fact: SZA is the newest signee to Top Dawg Records, home of Kendrick Lamar (who features on the album) and Ab Soul. SZA’s debut, CTRL, is an album about love and romance, about being hurt and feeling lonely. However, the vocals do not come across as sad, in fact, none of the tracks are lovesick ballads. SZA’s lyrics resonate well beyond the confines of a diary or a recording booth to remind past lovers when the sorry’s are no longer enough, to say all of the things that end up left unsaid at the demise of relationships. SZA is honest, soooo brutally honest, and I think that’s part of the reason why her album’s really taken off. I could go track to track explaining the great and passionate aspects of this album, but instead I want you to listen to it and judge it for yourself. The only negative thing I have to say is Kendrick’s verse on “Doves in the Wind” is kinda weird. Like he sounds good, but the lyrics are a little strange. Rating - 9/10 Favorite Tracks - all Least Favorite - none Let me know your thoughts and opinions on this album! by Allie Holler
I thought I'd compile a list of some of my favorite records from this year. I've heard a ton of great records this year, but I managed to narrow everything down to only 10. These records have either been on repeat on my Spotify or left me with a memorable impression. My only hope is that you guys check these releases out if they catch your attention. In no particular order, here we go... Thundercat - Drunk Another great addition to Flying Lo's futuristic, boundary pushing Brainfeeder record label. Thundercat's hilarious personality, bass playing, and guest musicians/vocalists (Wiz Khalifa, Pharrell Williams, Kendrick) really kept me returning to this record. Please do yourself a favor and listen to this on good speakers. Foxygen - Hang This album really captivated me with its lavish, orchestral instrumentation and winding song structures. Sure, the Mick Jagger-isms may run a little dry as the album chugs along, but the tunes are just too infectious for me to say no to this project. Remo Drive - Greatest Hits It's always exciting to come across a relatively unknown band who've clearly spent time crafting their sound. Minnesota's up-and-coming Remo Drive have certainly proved themselves on their debut. It's a sweet set of Emo and Indie Rock tunes - they're angsty, witty, and heartbreaking. I've said it before and I'll say it again - this is the Pinkerton of our generation. Pile - A Hairshirt of Purpose Boston outfit Pile's Dripping and You're Better Than This both feature an intriguing approach to experimental rock music through the band's noisy, yet crafted, guitar work. Their latest pushes the band's sound into further experimental territory, with many of the songs winding and twisting through linear song progressions. I love the band's use of dynamics, especially present on cuts like "Leaning On A Wheel" and "Dogs." The band's noisiest and most challenging material ends up on this record, but I'm still really digging it. Mount Eerie - A Crow Looked at Me Singer-songwriter Phil Elverum delivers a record about losing his wife to cancer. With his daughter only one and a half years old, Phil details his personal thoughts in relation to these circumstances in a poetic manner. Themes of loneliness and regret are apparent in the lyrics, and the hollow production compliments his stories beautifully. The way Phil sing-talks over these soft acoustic cuts really beholds an experience quite unlike any other depressing album, ever. "But the truth is I don't think of that dust as you/ You are the sunset." White Reaper - The World's Best American Band The 2010s have been exceptionally horrible for alternative rock, but White Reaper really deliver a catchy, no bs set of songs on this record. "Judy French," "Eagle Beach," and the self-titled track are all really instantaneous, dance-able rock tunes that bands like Jet could have pulled off in the early 2000s. The guitar tone is really crunchy and defining too. This is what should be playing on 105.7, but I guess bands like Green Day will continue to plague the radio with bland, unmemorable material. Check this band out. Pond - The Weather With Tame Impala's own Kevin Parker behind the reigns of production this record, this is another dizzying, psychedelic release from Pond. The first half is homage to Currents-esque bangers like "Sweep Me Off My Feet" and "Paint Me Silver." The more instrumentally focused second half is when the MGMT inspired psychedelic interludes start popping up. Their influences are right on their sleeve, but I'm still loving this one. Kendrick Lamar - DAMN. I'm really liking the vibe of Kenny's new project. Kendrick has already proved himself with his previous two projects, and it's cool to hear a less conceptual, banger-heavy release. I think we've all been starved to hear the energy from Kendrick displays on "DNA" and "ELEMENT." A lot of these tracks are more personal too, and Kendrick's bars are especially dark on cuts like "FEEL" and "FEAR." Overall, a great addition to his uncompromisingly solid discography. Gorillaz - Humanz Humanz was definitely a grower for me. From "Ascension" to "Andromeda," this album does not let up. The feature list is really expansive on this project, but I'm really loving the performances from Vince, De La Soul, Anthony Hamilton, and Danny. It really feels more like a late night playlist, as each feature brings forth a different sound to Gorillaz hip-hop influenced electronica beats. There are a few duds in the tracklist, but it's an album I find myself returning to a lot. Mac Demarco - This Old Dog Mac doesn't disappoint on this project, as he delivers a slightly more stripped back and relaxing sound to his typical Jangle Pop style. My favorites of Mac's love songs end up on this album - "For The First Time," "Still Beating," and "One More Love Song." "Moonlight on the River" was another pleasant surprise, with it's hazy, experimental outro. This Old Dog reveals the maturer side of Mac's personality, and considering Mac's habitual goofy characterr, I'm happy to say it didn't fall flat for me. By Brody McElwain
I have not been a huge fan of Philly’s very own Alex Giannascoli, I have given his music several listens, but it has never clicked. Trick is probably his most popular album, but I just never enjoyed it. His last album, Beach Music really left fans wanting more; it was severally lacking in numerous areas and felt rushed because he was really trying to reach a larger audience. I feel like it is a little too poppy on some cuts as well. However, for some reason, I decided to listen to this album. I love that Emily Yacina features on this album! Finally some spotlight on her; she is an amazing female artist. Anyway, the album opens with the track “Poison Root,” and it gives a little taste of what can be found in this album-- a folksy sound infused with Alex G’s own personal style. As the album progresses, we have tracks like “Brick” with screaming and a harder guitar sound which doesn’t flow with the overarching folk sound, and “Sportstar” which sounds like it belongs on his previous album, Beach Music. It was a bold move to mix several sounds together, but overall it came together and sounds pretty cohesive. A lot of the tracks can stand alone, but altogether they create an in depth look into what Alex G is capable of producing. Alex G dips his toes in a little bit of rock, indie, folk, and noise pop in this album, making it very enjoyable to listen to. It has some really good cuts, and even though it has its flaws, it is still a solid album. I’m glad to say I finally enjoyed one of his records. This will probably be a career defining record; it has been getting a lot of positive feedback from fans and critics. (Sandy) Alex G is pioneering the anti-folk genre on this album, and overall it worked out to be a solid album. Rating - 7/10 Favorite tracks - “Proud,” “Horse,” “Brick,” “Sportstar,” “Powerful Man” Least favorite tracks - “County,” “Guilty” written by Allie Holler
Phoenix has been a band that's stuck with me for many years. The French band broke through the mainstream with their indie pop opus Wolfgang Amadeus Phoenix in 2009. It's a great listen, and songs such as "1901," "Lisztomania," and "Armistice" still get stuck in my head every now and then. Their follow up, Bankrupt, was more instrumentally focused in the deep cuts, but still featured fantastic singles such as "Entertainment" and "Trying to be Cool." With Phoenix releasing two of the greatest albums in their lengthy discography so late into their career, I was very excited to hear Ti Amo. For the most part, the singles leading up to the album were just 'okay.' The colorfully produced lead single "J-Boy" features a head-banging chorus with an intriguing narrative about a torn relationship. The verses kinda fall flat for me though - this is definitely no "1901." I really enjoy "Goodbye Soleil," but I notice that it literally shares the same synth melody from "J-Boy," it's just pitched up an octave according to my ears. Perhaps this repeated instrumental decision has something to do with the love narrative within the lyrics, but it really dampens the flow of the album for me. "Ti Amo" tries its best to be a sensual dance track, but it doesn't do much for me either. If you haven't caught on, Ti Amo's focus is love songs. Mars sings many of the lyrics in French/Italian, and this makes the songs more personal and likable. The ballad "Fior Di Latte," for example, has softer, lighter synths that compliment Mars lyrics very well. On "Telefono," a very uplifting and danceable instrumental is juxtaposed to a story of distance tearing apart a relationship. The mix also appears to include Mars leaving messages on his telephone to try to save the relationship. It's definitely a fantastic close to the album that uses a lot of interesting ideas. "Tuttifrutti" has an irresistible bass groove that keeps me coming back, accompanied by a beautifully catchy synth lead that I'm bound to be whistling for the next month or so. As far as instrumental highlights go in the latter half of the album, I can't say I care for much else. I do at least enjoy the ascending synths on "Lovelife," as well as the reverb strummed guitars on "Goodbye Soleil." If you're looking for some synth pop, I'd at least give this thing a try. Phoenix at least experiment a little with their sound on this album, and they write some great songs in the process. If you haven't listened to Phoenix before, give their past two albums a shot - they're sure to be on your summer playlist. Recommended tracks - "Tuttifrutti," "Goodbye Soleil," "Telefono" written by Brody McElwain
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