Search Results

‘Sweep It Into Space’ keeps Dinosaur Jr.’s streak of solid albums alive

By Brandon Carson Classic indie-rock band, Dinosaur Jr., has been on a roll since their reunion album, 2007’s Beyond. Before this incredible run of albums, their guitarist/bass player, Lou Barlow, had left the band in ‘89 after the release of their third album, Bug, and drummer, Patrick Murphy after  ‘93’s Where You Been. Guitarist and lead vocalist, J Mascis, kept going with the band for two more records. Beyond is a record that sets the tone for the next four to come. It’s a return to form, while still feeling fresh and unique to their discography. Farm continued this momentum and even pushed their own boundaries on melodies and production with songs like, “Plans” and “I Don’t Wanna Go There.” These two records helped move Dinosaur Jr. forward and show growth as a band. Later, the band saw the release of “I Bet On Sky,” which benefitted the punk side of their sound. It’s another solid addition to their discography, while not being the best. Give A Glimpse of What Yer Not, released in 2016, kept the streak of strong albums alive. It had plenty of catchy hooks in songs like “Tiny,” and even experimented their sound a bit with “Knocked Around.” Sweep It Into Space carries the same torch as all the post-reunion albums. Co-produced by Kurt Vile, each song has emotional, gripping instrumentals, and their sound has adapted all while staying true to them. A few forgettable tracks don’t spoil the bunch, but still affect the album’s quality overall. More great songs, same old Dinosaur Jr. “I Ain’t” starts the record off with a driving riff and drum beat and introspective lyrics from Mascis. It’s followed by “I Met The Stones,” a fairly straightforward track that constantly gets better as time goes by. The first stand-out on the album is “To Be Waiting.” The production feels like a mix between the 80s and modern Dinosaur Jr., as well as the structure, pushing together all the great Dinosaur Jr. clichés into one song: a moody chorus where Mascis sings one line, an emotional solo that helps the listener feel the mood of the song, and reverbed drums that fill the space perfectly. The solos on this track are transcendent and all over the album (and their discography), Mascis pushes and experiments with his guitar playing style. The solos seem to always come in at just the right time for each song. “I Ran Away,” sounds like a happy, carefree song, but the lyrics say otherwise. The multiple layers of guitars take the song to great heights, and once again, Mascis’ emotional guitar solos will always improve the quality of these songs. Barlow’s first song for the record is “Garden,” a slow, Pixies-eqsue jam with a big wall of sound for a chorus. It changes the pace of the album for the better. One of the constants for the reunion albums is Barlow singing and writing a couple of songs, and it always adds more dynamics to each one. “Hide Another Round,” threw me for a loop. The beginning seemed to foreshadow a forgettable track, with nothing interesting, maybe even filler. But after the first chorus, everything comes together, and deserves a spot on Sweep It Into Space. “And Me,” is another prominent track, that takes Dinosaur Jr.’s 90s era sound (Green Mind, Where You Been) and mixes it into a cleaner production, changing the album’s flow. Expanding their sound, while keeping it the same One thing that AC/DC seems to have lost, is the ability to keep their sound while trying new things with it. Dinosaur Jr. is a similar band, in that, if one heard a couple of their songs, they’d soon understand what the band sounds like. But what Dinosaur Jr. does that AC/DC doesn’t, can be found in the back half of the album, with songs like, “Take It Back,” and “You Wonder.”  “Take It Back” brings a piano into the mix and plays with song structure. The bridge for the track is surprising and grand, with big soundscapes. It really helps the back half of the album and makes the flow of the record more interesting as a whole. Another unique song comes from “You Wonder,” the closer of the record and another Barlow track. The melodies change constantly but still work together, Mascis plays one of his most different-sounding solos on the whole album, and the lyrics feel dense with multiple meanings to be deciphered. “Go, mystery, go/Let me shine a light/The dark corner of our yesterday/Let mе get it right/Before wе met I thought I'd lose my mind hiding/All the time you wonder how I feel” A few forgettable cuts The only problem that ensues across this record is a few bland songs. This isn’t to say that they don’t sound like Dinosaur Jr., or that they are terrible. But when a record is full of great songs that push their discography forward, it is easy to hear when a song doesn’t reach that level. “I Expect It Always” meanders about and feels boringly familiar. “N Say” has a good guitar solo, but the song itself is disinteresting and doesn’t go anywhere new. “Walking to You” has stand-out lyrics, but the mix overall is off-putting and too muddy, surprisingly. The album overall isn’t better than say, the all killer, no filler, You’re Living All Over Me, or even the catchy and instrumentally strong, Farm, not that it needs to be. But when compared to those classic Dinosaur Jr. albums where every song on it is great, “I Expect It Always,” and “N Say” drag down that chance of the record being on that level. Top tracks: And Me You Wonder Take It Back Recommended if you like:  Pixies Pavement Built to Spill Sources: The Toronto Star, All Music, Genius, Genius, Genius Featured Image: Genius

A Day To Remember’s ‘You’re Welcome’ is their blandest record to date

Metal-core/pop-punk band, A Day to Remember (ADTR) has been around the block before. They’ve written teenage pop-punk anthems like, “Have Faith in Me,” metal-core ragers like, “Sometimes You’re the Hammer, Sometimes You’re the Nail,” and of course emo ballads like “If I Leave.” They were on many Vans Warped Tours and helped put metal-core into the mainstream with records like Homesick and the almighty Common Courtesy. Unfortunately, ADTR flopped hard with 2016’s Bad Vibrations, full of filler and basic metal-core songs. However, throughout their career, the band established a sound and used it as much as possible. But You’re Welcome is a true anomaly. The record is an attempt to bring ADTR back into the mainstream. Every song feels like the band is trying to do an impression of popular, radio-friendly, rock bands. The songs feel too produced, repetitive, bland, and forgettable. But the biggest headache of You’re Welcome is that it has no idea what it is. 

A Day To Remember’s ‘You’re Welcome’ is their blandest record to date

By Brandon Carson Metal-core/pop-punk band, A Day to Remember (ADTR) has been around the block before. They’ve written teenage pop-punk anthems like, “Have Faith in Me,” metal-core ragers like, “Sometimes You’re the Hammer, Sometimes You’re the Nail,” and of course emo ballads like “If I Leave.” They were on many Vans Warped Tours and helped put metal-core into the mainstream with records like Homesick and the almighty Common Courtesy. Unfortunately, ADTR flopped hard with 2016’s Bad Vibrations, full of filler and basic metal-core songs. However, throughout their career, the band established a sound and used it as much as possible. But You’re Welcome is a true anomaly. The record is an attempt to bring ADTR back into the mainstream. Every song feels like the band is trying to do an impression of popular, radio-friendly, rock bands. The songs feel too produced, repetitive, bland, and forgettable. But the biggest headache of You’re Welcome is that it has no idea what it is.  Familiar faces ADTR has always held a recognizable sound and mainstream qualities. Homesick saw the band hone in on what makes ADTR great: the catchy hooks, hard-hitting riffs, brilliant pop-punk screams, and vocals from Jeremy McKinnon. What Separates Me From You pushed their boundaries further, bringing the band deeper into the mainstream and on the radio as well as Common Courtesy. But on You’re Welcome, they keep trying to sound like other popular mainstream rock bands, when they already are one. “Bloodsucker” takes a page from Imagine Dragons’ book with a big “Woahs” and “Ohs” chorus and heavy percussion. “Last Chance to Dance (Bad Friend)” starts quite promising with a heavy, Code Orange-esque riff. But then, out of nowhere, McKinnon does his best Ivan Moody, of Five Finger Death Punch, impression with the lyrics,  “Twist the blade/Leavin' a wound that never heals inside me/Twist the blade, let it die/Vengeance is hereby mine.”  “Resentment” is what probably happened when ADTR listened to Bring Me the Horizon’s newest record, POST HUMAN: SURVIVAL HORROR, and “High Diving” has Twenty One Pilots written all over it. The problem here isn’t that ADTR has modern influences, but they get so washed up in them that they barely try and stay original with their sound.  Generic madness ADTR has never shied away from their clichés. Their sound contains many metal-core and pop-punk clichés. But in their earlier records like Homesick, What Separates Me From You, and even Common Courtesy, they would balance that with excellent hooks and creative breakdowns. They would have plenty of generic, relatable qualities, but the way they crafted a song around it was interesting and unique. You’re Welcome is the complete generic package: with no unique qualities, filler tracks, repetitive structures, and an overproduced mix. The first offender is “Only Money,” which begins the song with the tried and true, “My momma called me…” The song is basically every radio ballad you hear on the radio. The lyrics are bland and repetitive, the definition of filler. “F.Y.M.” is equally as generic and bland, not even sounding like the same band. The third offender, “Mindreader,” is the band on autopilot, with the same structure that every song on the record contains. Among the fillers in the record are: “Resentment,” “Degenerates,” “Permanent,” and “Re-Entry.” But the biggest misstep on the record goes to the closer, “Everything We Need.” Not only is the instrumental a bland, overproduced mess, but the lyrics are painfully dull and clichéd. It sounds like the first chorus they came up with for the song and never wanted to make it any better.  “Cuz I know I got you/And you know you got me/We got everything we need/We got everything we need/I know I got you (I know I got you)/And you know you got me/We got everything we need/We got everything we need.”  To give credit where it’s due, “Last Chance to Dance (Bad Friend),” and “Resentment,” have some explosive, heavy moments that blend well with the new songwriting style. It should also be acknowledged that they are taking a big risk, changing their sound from something pop-punk/metal-core to radio-friendly hits.  No identity This record suffers the most from having no identity or vision with its bland lyrics and instrumentals, each track sounds completely different from the next, and not in a way that still connects it all as a whole. The result is that the record suffers an identity crisis. It’s constantly changing moods and styles, but still managing to contain the bland and annoying mainstream clichés. It jumps from the seemingly Imagine Dragons inspired, “Bloodsucker,” to “Last Chance to Dance (Bad Friend),” to “F.Y.M.,” in a row! Then the filler tracks arrive and throw off the pacing of the record near the end. Fortunately, “Last Chance to Dance (Bad Friend)” has a brutally heavy riff. Top tracks:   “Looks Like Hell” “Resentment” “Re-Entry” Recommended if you like: Pierce the Veil Bring Me the Horizon We Came As Romans Sources: Revolver Featured Image: Genius

‘L.W.’ is a strong addition to the King Gizzard discography

By Brandon Carson King Gizzard and the Lizard Wizard are no strangers to making multiple albums within a year. In November 2020, the band released K.G., which served as volume 2 in their microtonal series. It offered new paths and directions for their sound and style with the Middle Eastern sounding “Ontology,” and the electro bop, “Intrasport,” but fell short in grabbing and keeping attention throughout the record. King Gizzard has always tried to push their boundaries: changing their sound on nearly every album and experimenting, making their 17th record L.W. look like a step backward. But over time, it proves to stand out on its own amongst the rest, while playing as the sequel to K.G. The band offers plenty of new routes to take their microtonal tuning and songwriting, and the lyrics are some of the best in their career. But some of the jams here can stale over time. New microtonal paths With Flying Microtonal Banana, King Gizzard introduced microtonal music to a more mainstream audience, colliding it with their psych-rock sound. K.G. returned to microtones over three years after Flying Microtonal Banana, and while some tracks felt completely original, others felt lackluster, beating around the bush until they ended. L.W., however, opens with something entirely original. “If Not Now, Then When?” picks up right where K.G. left off, flowing right into each other. But after the intro, the song completely changes to a jazzy, softer tone. It’s catchy, gripping, and entirely Gizzard. “Static Electricity” brings back the Middle Eastern influences and includes off-kilter, intricate verses that keep the listener's attention. There are standout moments in each song, like the cathartic instrumental break in “O.N.E.,” the psyched-out jam at the end of “Supreme Ascendancy,” and the seamless transition from “Static Electricity” to “East West Link.” But the mother of all songs on L.W. is the eight-minute, microtonal doom metal track, “K.G.L.W.” It’s a continuation of K.G.’s opening track of the same name, but a journey culminating the double-album experience of K.G. and L.W. Each riff in the song feels essential and is produced with a raw, uncut sound. If the band were to make another metal album, this would be the way to go. The production on the record feels just as good as K.G. with dense tones and incredibly tight drums. But there are also fun synth melodies that come up from time to time and vocal chants in “O.N.E.” that add more depth to the song. Eye-catching lyrics One aspect that stood out on K.G. was the introspective and timely lyrics of environmental issues and the pandemic. L.W. finds similar themes of pessimistic world views of where the human race is headed, as well as political affairs and the environmental challenges our society has dealt with and the doomed future ahead, a King Gizzard staple. But the way they write has a quality unique to them, it's simple, but can be looked into deeper. “Drink the blood of that you spill/underneath the whippoorwill/one more piece of Jenga to pull/then Necromancer will thank us all,” Political themes can be found in “Supreme Ascendancy,” an angry take on how people who obtain power abuse it, using the Catholic Church as an example. “Satan in a cassock casting black magic/Childhoods tragically ripped from their shaking feet/Conscious yet inadequate,” Retracing old steps Besides Flying Microtonal Banana, L.W. is their most consistent of the three microtonal volumes. Not jumping too far off the rails like K.G., but still managing to be adventurous in areas. However, a few tracks here do not hit the same highs as songs like “K.G.L.W.” and “Ataraxia,” while lyrically intricate, they fall short due to the quiet, confusing vocal performance from Joey Walker. Overall, the song has a Tool-inspired instrumental, but eventually meanders to nowhere during the end of the song, never finding a new direction. “See Me” introduces a hypnotic beat that resembles “Open Water” from Flying Microtonal Banana. But the longer the song goes, the more it drags on. The songs on L.W. could definitely be interchangeable with K.G., which is the point. However, when songs become forgettable, it begs the question, “Why wouldn’t they just put the best tracks from both records onto one album?” Top tracks: If Not Now, Then When? K.G.L.W. Static Electricity Recommended if you like: Thee Oh Sees Tame Impala Psychedelic Porn Crumpets Sources: Metacritic Featured Image: Genius                

“Choose your own” Discography Guide: King Gizzard & The Lizard Wizard

The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board. 

‘Medicine at Midnight’ is the definition of “middle of the road”

By Brandon Carson The Foo Fighters have been a leading force in the mainstream rock scene for 25 years. They constantly play sold-out stadium shows, playing their biggest songs, and show no signs of slowing down. “Times Like These,” “The Pretender,” and “Everlong” are just a few of their countless hits that have dominated the radio. There has never been a terrible Foo Fighters album, although, they’ve come close. One by One and Concrete and Gold never reached the same highs that The Colour and the Shape or Wasting Light have especially with painfully drab songs like “Halo,” and “Sunday Rain.” Lately, the band has been on a streak of bland albums with no reason to come back to them. Unfortunately, Medicine at Midnight follows the same footsteps. Produced again by the acclaimed Greg Kurstin, the record is boring and unmemorable, with very few moments to keep the listener interested. All the while, the same old Foo Fighters tropes keep coming back: featuring slow beginnings leading to fast endings, big, catchy, and repetitive choruses, with basic, tired lyrics. Foo Fighters by the numbers The band used to be exciting, and a leading force in post-grunge rock music. Their first album was made entirely by singer/frontman, Dave Grohl, with a raw unproduced sound and gritty riffs. They built upon and expanded this sound with their masterpiece, The Colour and the Shape, and even experimented on their third record, There is Nothing Left to Lose. But right around 2007s Echoes, Silence, Patience and Grace, they found a formula. Over time, the band’s sound has grown to be over-saturated and by the numbers, culminating with 2017s average Concrete and Gold.  Medicine at Midnight tries to fool the listener (not in a deceiving way, but a swing and a miss) to think that their sound has changed, adding in various dance grooves and a group of background singers. But overall, the record ends up being just the same as the others. “Waiting on a War,” while having an important message of how scared of war he was as a kid in the 80s and the parallels that can be drawn to modern-day, ends up sounding like it could be on Echoes, Silence, Patience and Grace or even their documentary Sonic Highways, lacking in the excitement and creativity that was glorified in those records. The second track, “Shame, Shame,” starts strong with a new drum beat and start/stop acoustic guitar, as well as a string section! But over time, it becomes clear that this is just another Foo Fighters song. The chorus sounds as if it’s been heard a million times through their discography with the forced “woahs”and “ohs.” “No Son of Mine” is the rocker that’s supposed to give a sense of familiarity for the Foo Fighters fans that want more rock. But even this song becomes uninteresting and reduced to a standard Foo Fighters song. And what a surprise, those three songs are the main singles. Stand out moments from a bland record Fortunately, the opener, “Making a Fire,” makes use of the change in sound: a dancey drum beat in ¾ time, a new fuzzy guitar tone, and fantastic background singers hook the listener immediately. Even the chorus on the track works and feels fresh. “Holding Poison,” while sounding like Foo Fighters trying to do Queens of the Stone Age, is another captivating track, especially during the bridge when the background singers belt their hearts out and the band jams like no tomorrow. The title track offers a new side of the band with its slick, revered groove, and haunting keys. The best sounding song on the record, however, is “Chasing Birds.” Even though the lyrics read like every Foo Fighters ballad, the instrumental is surprisingly compelling. There Is nothing left in the tank At this point, the Foo Fighters seem to be stuck in a creative rut. There are many fantastic aspects to this record, but it’s bogged down by the same old same old. The dance grooves, background singers, and new textures and tones can only elevate their sound so much. Every chorus and song structure represent what they’ve done before; it’s what they know works. While it’s a respectable quality of a band to get to a point where they can pump records out every couple of years, the Foo Fighters can’t seem to make it work anymore. The creativity feels absent, the flow of the album remains consistent, but there is never a song that blows the listener away. Instead, it feels like the band had ideas to change their sound and make something “new,” but ultimately rehashed the same structures, lyrics, and melodies with the façade of a new sound. Top tracks: Medicine at Midnight Holding Poison Making a Fire Recommended if you like: Queens of the Stone Age Wolfmother Velvet Revolver Sources: Billboard, Genius, Discogs Featured Image: Genius

“Choose your own” Discography Guide: King Gizzard & The Lizard Wizard

by Brandon Carson The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board.  Australia’s King Gizzard & the Lizard Wizard are the only known band with 16 albums, two official live albums, a wide variety of styles, and an entire universe linking them together. Formed in Melbourne, Victoria, Australia, each record they make is a new unique take on their sound, starting from surf/garage rock in 2012 and currently landing in the microtonal sounds they tried back in 2017.  King Gizzard is the hardest working band to date. Before 2020, the band was constantly touring, even during their five-record-run of 2017. Each record builds their discography a floor taller, allowing for variety in their already energetic live shows. But not only are they just making the music, they also constantly tie together storylines, create characters, and build worlds inside these amazing records.  Choose your own discography path! This guide will follow a “choose your own adventure” format. It will start with what is arguably the definitive Gizzard album, I’m in Your Mind Fuzz, and will then allow you to choose which record to go to next. This is mostly dictated by the different sounds of each album, and what can tie them together to create a path. When you’ve completed your path, go to the outro at the bottom! It is encouraged to listen to a couple of songs from each record as you explore your path, have fun! I’m in Your Mind Fuzz (2014) [caption id="" align="alignright" width="306"] Image from King Gizzard & The Lizard Wizard[/caption] Gizzard’s fifth record is where they started to come into their own, combining all their previous psychedelic sounds and mixing it with garage rock jams from their first record, 12 Bar Bruise. The production improved heavily and allowed for them to show what their definitive sound is: psych-rock with enough energy and jams to keep the listener interested and engaged. Each member plays off each other with ease, especially during the long jams of the Mind Fuzz Suite (the first four songs) and “Am I in Heaven?” The last track on the album, “Her & I (Slow Jam 2),” also contributes long jams and provides even more psych-rock texture throughout. Every song is a welcome addition to the record and flows together incredibly well, making it apparent that these songs exist in the same world. Mind Fuzz is what sets the tone for what is to come with the band. The driving riffs and groovy bass lines on the record pave the way for future instrumentals, and the lyrics expanded their ideas and themes. Mind Fuzz marked the time where the band would take off creatively, and dwell deep into other sounds and genres, even though they teased it before.  Key Songs: I’m in Your Mind, I’m Not in Your Mind, Her & I (Slow Jam 2), Am I in Heaven? Where to go next:  If you enjoyed the heavy side of the record, go to one of these: Go down for Infest the Rat’s Nest, if you want thrash metal. Go down for Nonagon Infinity, if you want a mix of psych rock and garage rock. Go one bellow for 12 Bar Bruise, if you want surf punk If you enjoyed the softer side of the record, go down to Quarters! If you enjoyed the jamming sounds of the record, go down to Flying Microtonal Banana 12 Bar Bruise (2012) [caption id="" align="alignright" width="319"] Image from King Gizzard & The Lizard Wizard[/caption] The first Gizzard record is a joy of a listen. It’s full of incredible raw energy that radiates with each track. The early foundations of King Gizzard are here: wailing guitars, fuzzy pedals, driving bass, and fast drums.  “Muckraker” is gritty and noisy, but infectious with its groove and hook. “Cut Throat Boogie,” the first of many Boogies, features keys/harmonica player Ambrose Kenny-Smith on vocals and the best lyrics on the record. “Sam Cherrie’s Last Shot” is the anomaly of the record, featuring a spoken word story from Kenny-Smith’s father, but with western sounding background music, foreshadowing what is to come with their second record “Eyes Like the Sky.”  The band is just having fun here, slapping together riffs and drum beats over minimal lyrics. The production is very raw and unpolished, but it works to the album’s advantage, advancing its dirty and energetic sound. “Bloody Ripper” remains one of their most underrated songs with a catchy chorus and the best production on the record. “Sea of Trees,” keeps the surf-rock fun, but also foreshadows the long jams that are to come in future releases. The only negative would be the lyrics. In the future, Gizzard will expand their themes and quality of the lyrics, but for their first record, it’s a bit sparse. The future is bright, but where will they go next?  Key Songs: Muckraker, Bloody Ripper, Sea of Trees Where to go next:  If you want a heavier, more psychedelic sound, go down to Nonagon Infinity. If you enjoyed “Sam Cherry’s Last Shot,” go down to Eyes Like the Sky Eyes Like the Sky (2013) [caption id="" align="alignright" width="327"] Image from King Gizzard & The Lizard Wizard[/caption] The second Gizzard record is the true oddity in their catalog: a spaghetti western. For a sophomore effort, this is an odd choice, but Gizzard made it work. The same garage rock production from 12 Bar Bruise makes a return. But this time, there is no singing, no melodies, just narration of a western tale from Kenny-Smith’s father, Broderick Smith. “Sam Cherry’s Last Shot” from the first record was a teaser for this unique take on a western. In the liner notes for the vinyl re-release album, Stu Mackenzie, the band’s lead singer/frontman said, “I love western films. I love bad guys and I love Red Dead Redemption. Oh, and I love evil guitars,” which basically sums up the album. The band doesn’t get lost in this style, however. The riffs and drumbeats are a departure from 12 Bar Bruise, but the overall sound is entirely Gizzard. In fact, in true Gizzard fashion, the songs are quite varied, from the exciting opener “Eyes Like the Sky,” the chase sounding banger “The Raid,” to the droning, atmospheric jam “the God Man’s Goat Lust.” The record is a gimmick in and of itself, but Gizzard pulls through and offers a unique listening experience, full of interesting stories and fun, distinctive instrumentals, with a few forgettable songs. Key Songs: Eyes Like the Sky, The Raid, The God Man’s Goat Lust Where to go next: Looks like you’ve found a dead end, go back up to I’m in Your Mind Fuzz or 12 Bar Bruise and pick a new direction! Float Along – Fill Your Lungs (2013) [caption id="" align="alignright" width="325"] Image from King Gizzard & The Lizard Wizard[/caption] The third Gizzard album opens with the 16-minute live staple, “Head On/Pill,” a psychedelic anthem full of sitars and long jams, with a dreamy production filled with reverb. The song sets the tone for the rest of the album. Float Along follows a psychedelic influence, similar to when the Beatles made Revolver. It offers a completely different side of the band yet keeps the raw production while focusing more on songwriting. The record came about at a time when the band was touring constantly, getting better at jamming and improvisation. Naturally, the instrumentals became more experimental. Float Along offers the best batch of songs from their early records. “God Is Calling Me Back Home,” is a catchy and fun guitar-based tune, and “30 Past 7” brings back the sitar for a trippy, slow jam. But the true highlight is “Let Me Mend the Past,” a poppy, short and sweet song that Kenny-Smith sings on.  Overall, Float Along highlights the constant improvements and strides that the band is applying to get better.  Key Songs: Head On/Pill, Let Me Mend the Past, Float Along – Fill Your Lungs Where to go next:  If you like the focus on songwriting and varied sounds, go down to Fishing for Fishies. If you want a more serious and technical work with psychedelic influences, go down to Polygondwanaland.  Oddments (2014) [caption id="" align="alignright" width="333"] Image from King Gizzard & The Lizard Wizard[/caption] Oddments is essentially a B-Sides record. It contains songs that didn’t make it onto the first three records. Mackenzie called it “spring cleaning for the mind” on the liner notes of the vinyl re-release. The songs make for an interesting listening experience. Opening keyboard jam, “Alluda Majaka” sets the tone while “Stressin’” and “Sleepwalker” could easily fit on Float Along. The most notable track here is “Work This Time,” a slow jam written by guitarist Joey Walker. The song brought out the soft and quieter side of the band. Which, oddly enough, is their top track on Spotify! “Homeless Man in Adidas” provides an excellent lo-fi acoustic track, kind of in the same vein as Paper Mache Dream Balloon. The album as a whole isn’t anything too special, but still worth listening to just to hear all sides of Gizzard.  Key Songs: Work This Time, Alluda Majaka, Homeless Man in Adidas Where to go next:  If you like “It’s Got Old,” and other acoustic songs here, go down to Paper Mâché Dream Balloon. If you want another album full of varied songs and styles, go down to Gumboot Soup.  If you have not yet listened to, I’m in Your Mind Fuzz, do so right away.  Quarters! (2015) [caption id="" align="alignright" width="339"] Image from King Gizzard & The Lizard Wizard[/caption] Quarters! consists of four songs that are of equal parts, each song is 10 minutes and 10 seconds long. The band changes their sound yet again, opting for a jazzy, laid back approach that they pull off instantly. But one aspect that still remains is the long jam sessions. Quarters! is one of the more consistent records in their discography, not changing its styles as much as other records. Also, the gimmick of each song being the same length doesn’t take away from any of the song’s impact, only enhancing it. “God is in the Rhythm” harkens back to “Let Me Mend the Past” in its simplicity and songwriting, but the lo-fi guitars and vocals elevate the song and jams to the next level. “The River,” one of their best songs and a fan favorite, it can even be seen as a precursor to their jazz record, Sketches of Brunswick East. The record is an easy listen, but also an essential point in the discography. It has a gimmick, fantastic instrumentals, and a fully realized idea and sound, leading the way for future Gizzard albums just like its predecessor: I’m in Your Mind Fuzz.  Key Songs: The River, God is in the Rhythm Where to go next: If you enjoy the lo-fi and jazz elements, go down to Sketches of Brunswick East.  If you want more of a variety and less format, go up to Oddments.  Paper Mâché Dream Balloon (2015)  [caption id="" align="alignright" width="338"] Image from King Gizzard & The Lizard Wizard[/caption] The acoustic album! With this record, Gizzard took a complete U-turn and created a softer, more woodwind approach recorded almost entirely with acoustic instruments. The songs here are also a lot shorter than previous Gizzard albums contain. This album was recorded in a variety of places: homes, sheds, garages, apartments, and hotels, which contributed to its rich texture. With Quarters!, lyrics were not in the forefront, but Paper Mâché offers a multitude of great lines like in the song “Sense,” “But in fact, it’s a pattern/Everything I hear will always make me ashen.” The record also shows how diverse the band can be. “The Bitter Boogie,” the second of many boogies, is bluesier with more piano, while “Sense” brings back jazz roots with acoustic guitar and woodwinds. Paper Mâché also contains a fun side. “Trapdoor” is silly in nature but irresistible, nonetheless. “N.G.R.I. (Bloodstain),” offers a catchy hook, and the title track’s tempo changes fuse well with its use of flutes and acoustic guitar melodies. “Time = $$$” has an interesting chord progression, and when done by the acoustic instruments, it feels a lot more intimate and engaging. Paper Mâché doesn’t get as much attention as their more popular albums, but it is definitely a diamond in the rough. In fact, the final song on the album is a culmination of most of the riffs from the record, which blew me away hearing that.  Key Songs: Sense, the Bitter Boogie, Time = $$$ Where to go next: If you enjoyed the acoustic style of the record, go up to Oddments to find more! If you have already heard Oddments, head back to your previous album and go in a different direction! Nonagon Infinity (2016)  [caption id="" align="alignright" width="329"] Image from King Gizzard & The Lizard Wizard[/caption] This is King Gizzard’s masterpiece, a perfect culmination of all their sounds and styles rolled into one endless trip of garage psych rock. Nonagon is an album that never ends. Each track flows flawlessly into the next, creating an infinite loop. The record is heavier and fuzzier with songs like “Road Train,” and “Evil Death Roll” rocking as if they were AC/DC mixed with Black Sabbath. In fact, these songs tease their thrash metal epic, Infest the Rat’s Nest. Nonagon is the record that set off the “Gizzverse,” a shared universe/storyline between most of the Gizzard albums. Fans started to notice similarities between Mind Fuzz, Quarters, and Nonagon, piecing together similar riffs and lyrical themes. The jamming present on every Gizzard album finds its way here as well, becoming infectious on songs like “Gamma Knife,” “Evil Death Roll,” and “Robot Stop.” Nonagon doesn’t shy away from experimenting either. “Invisible Face” is odd and prog-rock-esque, while “Mr. Beat” calls back to the keyboard sounds of Paper Mâché. The flow of the record is pristine and contains their strongest set of songs since Mind Fuzz. The chemistry coming from the band is strong enough to notice on every track. Every member is getting their moment and space to fill. This album is a masterpiece and a true testament to their ability as musicians and songwriters.  Key Songs: Gamma Knife, Evil Death Roll, Robot Stop Where to go next:  If you want simpler garage rock, go up to 12 Bar Bruise.  If you want a similar album with more story and fast songs, go down to Murder of the Universe. If you liked “Road Train,” and want something heavier, go down to Infest the Rat’s Nest.  Flying Microtonal Banana (2017) [caption id="" align="alignright" width="333"] Image from King Gizzard & The Lizard Wizard[/caption] In 2017, King Gizzard released five albums, all completely different from each other. The first was Flying Microtonal Banana, yet another change in sound for the band. On this record, the band plays with microtones, which are notes in between notes that are not found on traditional western scales. It sounds kind of middle eastern. In fact, microtones can even be heard on some Nonagon songs. But here, Gizzard uses it to their advantage, and crafts yet another classic. The record has a desert feel, each song flowing into the next with ease and keeping the same themes. The opener, “Rattlesnake,” is a long, drawn out song with long enough jams to remind one of “Head On/Pill.” But it also has this energy of a nonstop motorcycle ride through the desert. Similar tones can be heard in “Open Water,” with hypnotic drum beats and repetitious guitars. Banana is another fully realized Gizzard album. The themes are connected, and the musical tones are kept consistent throughout. While it relies on their jam side, a huge psychedelic influence can be heard on tracks like, “Sleep Drifter,” “Anoxia,” and “Nuclear Fusion.” Kenny-Smith gets a song on this record as well, “Billabong Valley.” The song deals with Mad-Dog Morgan and tells his tale through catchy hooks and a big psychedelic sound. This record set the tone that 2017 was going to be a great year for Gizzard and that it was.  Key Songs: Nuclear Fusion, Sleep Drifter, Billabong Valley Where to go next:  If you are loving the microtonal sound, go down to this record’s sequel, K.G. If you want more psych-rock songs like “Billabong Valley,” go up to Float Along- Fill Your Lungs. If you want more fun and straight-forward songs like “Doom City” and “Nuclear Fusion,” go down to Fishing for Fishies.  Murder of the Universe (2017) [caption id="" align="alignright" width="337"] Image from King Gizzard & The Lizard Wizard[/caption] After Banana, Gizzard brought back the narration of Eyes Like the Sky and fused it with the garage rock madness of Nonagon Infinity. Murder of the Universe is a concept album split into three chapters: The Tale of the Altered Beast, The Lord of Lightning v. Balrog, and Han-Tyumi and the Murder of the Universe. The record is very ambitious, 21 songs with many short-narrated pieces by Leah Senior throughout telling the story in each chapter. It isn’t all narration, however. Most of the full-length songs drawback on the fast-paced areas of Nonagon. In fact, the song “The Lord of Lightning,” retraces the same riffs as “People-Vultures” from Nonagon. Musically, Murder is very noisy, repetitive (in a good way), and catchy. The riffs are intricate and loud, the drumbeats are impressive, and when the harmonica comes in on any song, it is a welcome addition. This record holds a very big place in the “Gizzverse” with the introduction of an important character, Han-Tyumi, the Confused Cyborg. The story of the album is gripping and the music accompanying it drives it forward even more. This record contains some of the band’s best songs like, “Digital Black,” and “Murder of the Universe.” But the best song on the album is, “Altered Beast IV,” a culmination of all the songs before in one long, heavy  jam. However, if the narration becomes too much for you, then this record might be a bit challenging. But the music and instrumentation of Murder is worth the listen alone.  Key Songs: Altered Beast IV, Murder of the Universe, Digital Black Where to go next: If you liked the story and narration, go up to Eyes Like the Sky. If you detect a hint of metal influence, go down to Infest the Rat’s Nest. If this album wasn’t for you or if you’ve already heard Eyes Like the Sky, go back to your previous record, or I’m in Your Mind Fuzz.  Sketches of Brunswick East (2017) [caption id="" align="alignright" width="347"] Image from King Gizzard & The Lizard Wizard[/caption] Quarters! and Paper Mâché Dream Balloon proved that Gizzard was able to pursue jazz music and put their own spin on it. Sketches of Brunswick East is their third record of 2017 and a collaborative jazz fusion album with Los-Angeles based artist Mile High Club. The title is a reference to Miles Davis’s album Sketches of Spain. Some Fans would consider Sketches to be an underrated record, and they’re not wrong. Recorded in only three weeks, the record is a drastic change in sound for the band, especially after Murder of the Universe. The sound of the record is very laid back and smooth. The production is extraordinary, sounding very loose and dreamy. You can even hear the sounds of East Brunswick in the background, trains, cars, animals, and people talking. Bass player, Lucas Skinner, sticks out exponentially here and gets many moments to shine. Standout songs include, “Countdown,” which utilizes odd time signatures and a falsetto vocal, while “Tezeta '' swings and plays with robot voices (Han-Tyumi?). “The Spider in Me,” provides more funk while keeping its jazz vibe. The drums are consistent and there are a lot of interesting ad-lib moments as well. While it is a great record, it was really hard to get into at first due to how different it is from most Gizzard records. The songs are very different from their usual style, but it becomes appreciated with time. If anything, Sketches is the album that proves how diverse this band really is and is a truly underrated classic in their 16-album discography.  Key Songs: Tezeta, Countdown, the Spider in Me Where to go next: If you like the chill production and vibe of the album, go up to Paper Mâché Dream Balloon.  If you have already heard Paper Mâché Dream Balloon, head back to your previous record or I’m in Your Mind Fuzz.  Polygondwanaland (2017) [caption id="" align="alignright" width="356"] Image from King Gizzard & The Lizard Wizard[/caption] The fourth record of 2017 happens to be one of the greats. Polygondwanaland is their prog-rock record and also a key album for the “Gizzverse.” It’s another concept album and divided into four parts: Crumbling Castle (Track 1), Polygondwanaland (Tracks 2,3,4), Horology (Tracks 5,6,7), and Tetrachromacy (Tracks 8,9,10). Polygondwanaland features quieter vocals, more realized themes, and a larger emphasis on the music. Musically, this record is insanely dense and a true testament to how great of musicians they all are. It opens with a nearly 10-minute track, “Crumbling Castle.” The song experiments with polyrhythms, odd time signatures, and unusual song structures while also being insanely catchy. The synth work on “Inner Cell,” and “Loyalty” is gripping and contains some of the best builds they have ever done. It all leads to “Horology,” the final track in the Horology section of the album. It’s a trippy song, with complicated beats and guitar lines, but the story and vocals never get tiring. But the true heroes of the album are drummers, Eric Moore and Michael Cavanagh. Some of the craziest musically mind-wrapping beats can be found on almost every single track. The guitar work is also more intricate than it has ever been. There is barely any repetition, it almost constantly changes. Polygondwanaland is right up there with Nonagon in quality, but it is definitely a challenging album, for the band and for the listener.  Key Songs: Inner Cell, Loyalty, Horology Where to go next: If you liked the musicality of this record, go up to Murder of the Universe. If you have already heard Murder of the Universe, go back to I’m in Your Mind Fuzz.  If you enjoyed this record, then congratulations, you are now a prog-rock fan, check out other prog bands like Yes, Rush, and King Crimson! Gumboot Soup (2017) [caption id="" align="alignright" width="356"] Image from King Gizzard & The Lizard Wizard[/caption] The fifth record of 2017 almost didn’t come out that year, releasing on Dec. 31, 2017. But King Gizzard promised five records in 2017, and they delivered. Gumboot Soup is very similar to Oddments, in that it’s a compilation of songs that didn’t make it onto any of the other four 2017 records. However, the songs provide a wide variety of sounds and somehow manage to fit cohesively. Microtonal songs appear like “Greenhouse Heat Death,” and “All is Known.” But the record also contains songs that wouldn’t fit on any of the four. “Superposition,” one of their most underrated cuts, is a mostly electronic song with excellent production, and “I’m Sleepin’ In” sounds as if it could fit on Float Along – Fill Your Lungs. But the best song on the record, and foreshadow of what’s to come, “the Great Chain of Being,” is a heavy stoner-rock banger that came out of nowhere. Immediately after hearing it, fans knew that a heavy metal album was imminent. Overall, Gumboot Soup isn’t the best of 2017 nor of their discography. But it’s a strong collection of great Gizzard songs with no place to go, making for an enjoyable listen.  Key Songs: The Great Chain of Being, Superposition, I’m Sleepin’ In Where to go next:  If you enjoyed “The Great Chain of Being,” then, by all means, go down to Infest the Rat’s Nest.  If you like the idea of a varied album with songs thrown together, go up to Oddments.  Fishing for Fishies (2019) [caption id="" align="alignright" width="354"] Image from King Gizzard & The Lizard Wizard[/caption] Gizz took 2018 off from releasing more albums, which was much needed after putting out five albums in the last year. Releasing in April 2019, Fishies is their bluesy record, with a boogie-oogie kind of vibe. It’s very diverse musically with the acoustic title track, blues heavy “Boogieman Sam,” rocker “Plastic Boogie,” psych-rock jam “This Thing,” and electronic auto-tuned, “Cyboogie.” It’s one of their better-produced records like Sketches, very tight and grooving. It isn’t too out there either, opting for a more accessible sound with songs like “The Bird Song,” and “The Cruel Millennial.”  However, they still experiment with eccentric sounds like on “Real’s Not Real,” and “Acarine.” Fishies thematically has a strong environmentalist message, which was always present in their music but not to this extent. Mackenzie once said about the album to Rolling Stone, “This is a collection of songs that went on wild journeys of transformation.” This is how the album’s flow feels, starting from “Fishing for Fishies,” going to “Cyboogie” is a complete transformation in sound and style. It’s an interesting record in their discography, very fun yet reflective on our world and environmental practices with a strong emphasis on boogie instrumentally. Also, if you’re a fan of harmonica, this record is probably the best harmonica playing from Gizzard.  Key Songs: Plastic Boogie, This Thing, Real’s Not Real Where to go next: If you want a similar sound but more psych-rock, go up to Float Along - Fill Your Lungs.  If you’re looking for something more focused than this, but still intricate musically, go up to Polygondwanaland.  Infest the Rat’s Nest (2019) [caption id="" align="alignright" width="358"] Image from King Gizzard & The Lizard Wizard[/caption] “The Great Chain of Being” proved that Gizzard was capable of making a metal album. Infest the Rat’s Nest blew all expectations out of the water and delivered on fusing the Gizzard sound with thrash metal. While musically the opposite of the previous album Fishing for Fishies, the environmentalist themes are still present, but way more extreme. Rat’s Nest is a loose concept album, telling the tragedy of Earth being destroyed from global warming, and the rich and privileged moving to Mars while the poor and underprivileged perish on Earth. A very heavy metal concept. The themes and lyrics are spot on, and hearing Mackenzie scream his head off is an absolute joy. But the real stars here are the instrumentals. They explore all sides of metal from thrash (“Planet B”), to stoner metal (“Superbug”) and power metal (“Perihelion,” “Venusian 2”). You can hear Metallica, Slayer, and Sleep influences throughout, yet it sounds entirely Gizzard. Even the harmonica shows up in “Mars for the Rich,” providing plenty of texture. Although it was made by three members, they’re still playing off each other well and you can tell that they had a vision for what this album would be, and they achieved it. Not a bad song shows up here being enjoyable from start to finish, providing quality songs like, “Planet B,” “Perihelion,” and closing track, “Hell.” If you’re a metal fan, this is the album to listen to! Key Songs: Self-Immolate, Hell, Mars for the Rich Where to go next: If you’re looking for something that still rocks but with more psych, go up to Nonagon Infinity.  If you want a record with heavy metal influence, but with a story and spoken word, go up to Murder of the Universe.  K.G. (2020) [caption id="" align="alignright" width="360"] Image from King Gizzard & The Lizard Wizard[/caption] For their 16th album, Gizzard decided to take us back to the long-awaited microtones. Where Banana was consistent in tone and style, K.G. goes in plenty of different directions, dark themes, love songs, and an in depth look at the griefs of touring. “Automation,” fuses microtones with a Rat’s Nest style, while “Minimum Brain Size” plays with prog-rock instrumentals. But the diversity doesn’t stop there, “Instrasport” is a Turkish club rager, going in a direction they have never been before., taking the fans by storm. “Ontology” keeps the middle-eastern tones alive and flips them on their head with King Gizzard’s psych-rock sound. The record also has a soft side, however. “Honey” is a sweet microtonal love song and “Straws in the Wind,” brings back the sitar for a foreboding 2020 recap. Their lyrics improve heavily on K.G., becoming more descriptive and diverse. But while the diverse song collection and improved lyrics work, for the most part, it’s hard not to notice that some of the songs here are a bit forgettable. What’s not forgettable, however, is the Black Sabbath worshipping, “The Hungry Wolf of Fate.” They brought back the metal tones and mixed it with microtones! Key Songs: Intrasport, Ontology, the Hungry Wolf of Fate Where to go next:  If you enjoyed “Automation” and “the Hungry Wolf of Fate,” go up to Infest the Rat’s Nest. If you somehow haven’t seen Flying Microtonal Banana yet, go there.  If you liked how diverse this album was, go to up Gumboot Soup or Oddments.  If you’re done: King Gizzard & the Lizard Wizard is the hardest working band today. Their constant effort to put out music is appreciated by fans and musicians alike. Across their 16 records, they have something for everyone. They also have plenty of live albums on Bandcamp to listen to, but their official live album Chunky Shrapnel is by far the best. If you have yet to listen to King Gizzard, do that now.  Sources: AllMusic, Bandcamp,  Consequence of Sound, King Gizzard & The Lizard Wizard, Reddit, Rolling Stone, Spotify, YouTube, Images: King Gizzard & The Lizard Wizard Featured Image: Rolling Stone Australia

Weezer’s ‘OK Human’ shatters expectations and delivers another classic

By Brandon Carson Unlike the title suggests, it has been five long years since Weezer has put out a solid record. 2016's Weezer (White Album) was the last album where the band seemed to find a spark of magic. It was chock-full of catchy hooks and riffs, quality lyrics, and consistency. “L.A. Girlz,” “King of the World,” and “Do You Wanna Get High?” are the key tracks of the album. Gone was the pop-music pandering of Make Believe and the all-over-the-place Weezer (Red Album). However, 2017's Pacific Daydream was the ultimate step back, with its predictable pop structures, corny lyrics, and overproduced sound. What followed Pacific Daydream was a streak of miss turns. In 2019, Weezer would release a cover album Weezer (Teal Album), and another self-titled release, Weezer (Black Album). The Teal Album was a gimmick that seemed to be built around their successful cover of “Africa” by Toto. But the Black Album was a bad sign. There was no direction, no vision, only catchy hooks, and unrealized ideas with a pop sound.  OK Human is the complete opposite.  OK Human proves to be an insane jump in quality. The flow is incredible, with the mood and tone staying clear and distinct. The production is vibrant and expansive. Most importantly, Weezer understands how to change their sound, while still staying true to it. A new (yet familiar) direction What Weezer has always done so well in their career, during both highs and lows, is have their own distinct style. It can be found on the Blue Album, where they broke into popularity, and even on the Black Album, where they sound like they’re trying to remain relevant. OK Human follows in the same footsteps; however, the instrumentation and production are completely different. In a 2019 interview with the Los Angeles Times, singer and front-man Rivers Cuomo stated that the strings were recorded at Abbey Road Studios. They brought back acclaimed producer of The White Album, Jake Sinclair, and stripped back their entire production, making no need for loops, click tracks, or even electric guitars. In an interview with iNews, Cuomo said, “We weren’t worrying about commercial potential, which gave me the opportunity to just sing about whatever I was feeling in the moment and explore my anxieties.” A near-flawless tracklist It’s hard to talk about OK Human without discussing each song. They all flow together so well that they become pieces of a whole, rather than a collection of songs like The Black Album and Pacific Daydream.  Album opener, “All My Favorite Songs,” introduces the listener to these changes immediately. It’s even a little off-putting upon first listen, with seemingly cringy lyrics like “All my favorite songs are slow and sad/ all my favorite people make me mad.” But right as the drums kick in and the orchestra swells, it makes for a nice, short, and sweet track. From there, “Aloo Gobi” acts as a classic Weezer track. When broken down, the orchestra is playing what would be an electric guitar riff, and the hook sounds like something straight out of 2014s Everything Will Be Alright in the End. But these aspects working together, along with the classical-sounding bridge, make for a completely new and improved Weezer experience.  “Grapes of Wrath,” a song about getting lost in audio-books, keeps the quality up, in what’s sure to be an instant Weezer hit. But the true magic of their instrumental approach comes with the song, “Numbers.” All the elements come together beautifully here: the orchestra is moving, almost cinematic, and the drums are tight. Cuomo sounds sincere and passionate, making for a beautiful chorus. It’s easy to tell how much care went into the creation of this song and the album even. This is one of Weezer’s best songs in a LONG time. But OK Human has even more surprises. “Playing My Piano” sounds like it’s straight out of a musical but “Weezer-fied,” with even more gorgeous orchestrations and piano riffs. It leads right into the short but powerful, “Mirror Image,” which may have one of the best Weezer moments in the very end with Cuomo singing as if he’s improvising the lyrics, trying to get them right: “Heaven can't save this man/Heaven can't help this man/Heaven, Heaven turned his back on this man/Heaven shuts the door on this man.” “Bird with a Broken Wing” is another huge highlight. It’s the next ballad and a testament to how emotional the band can get. The song is about Cuomo feeling irrelevant and sorry for himself, leading to this great line from the bridge, “Nothin’ matters in the world and everyone is free, but I’ll belong to you, if you believe in me.” “Dead Roses” continues to amaze with its baroque instrumentation and interesting lyrics. “Everything Happens For A Reason,” a short instrumental interlude, provides an excellent transition from melancholy to joy near the end of the record. “Here Comes The Rain,” is one of those songs that is so catchy and positive, you can’t help but enjoy it. Finally leading to a fantastic ending in this triumph of an album, “La Brea Tar Pits.” The organ works well here, and there’s a callback to “Undone – The Sweater Song” in the end, suggesting that if fans don’t like this new direction, there’s always the classics. Also, it’s just a neat easter egg! A few roadblocks Cuomo can write raw, emotional lyrics that can touch the heart, but he has written lyrics that feel underdeveloped and fail to make any sense. “All My Favorite Songs,” falls into the “Underdeveloped” category in terms of lyrics. They aren’t terrible, but we have definitely heard Cuomo write stronger lyrics, even on the same album. “Here Comes the Rain” also includes questionable lines like, “Splish, splish-splash/Woah-oh, woah-oh, taking a bath.” However, the instrumentals and production make up for these weird lyrical choices.  “Screens” is the only song that didn’t resonate well on OK Human. It’s the most forgettable track of the bunch, and the technophobic nature of the song feels dated. It’s not a bad song, but coming after “Mirror Image” and the whole first half of the album, it’s easy to tell when a song isn’t up to snuff. Top tracks: Numbers Bird with a Broken Wing Grapes of Wrath Recommended if you like: Cake Jimmy Eat World Green Day Sources: Los Angeles Times, iNews Featured Image: Genius

King Gizzard & the Lizard Wizard explore even more microtones on ‘K.G.’

                By Brandon Carson King Gizzard & the Lizard Wizard is an Australian band who seems to make whatever they put their minds to. Starting in the early 2010s, the band has come from a cult following to being known globally. In 2019, King Gizzard toured the world with their acclaimed 14th record Fishing for Fishies and 15th Infest the Rats Nest. Although two completely different albums in style, these records propelled the band forward. 2020 was going to be another big year for King Gizz with multiple three-hour shows planned in Los Angeles, and Red Rocks in Colorado. But then COVID-19 disrupted life on Earth. However, COVID-19 didn’t stop King Gizzard from being the hardest working band going into a new decade.  K.G. is their 16th studio album, and another exploration into microtonal music. Microtones are smaller than a semi-tone (notes between notes) and features notes outside of traditional Western scales. 2017s Flying Microtonal Banana was the first record they made featuring microtones. But K.G. is a whole other beast. K.G. is yet another experiment for the band, as they add in more synths and guitar layers since FMB. The lyrics are a great representation of the general feeling 2020 has brought. But unfortunately, some songs don’t pack the same punch as the rest, making for a few unmemorable cuts. Welcome back, microtones! FMB was a fantastic introduction of microtones into the Gizzverse. King Gizzard brought an explosive record of groovy desert jams like “Rattlesnake” and “Open Water” along with experimentation like “Anoxia” and “Sleep Drifter” not found anywhere else in their discography. In a way, K.G. pushes even more boundaries to their microtonal sound. “Automation” fuses the ferocious aggression of Rat’s Nest with their microtonal sound. The bass leads the entire track, making the song feel like the end times are near. “Intrasport” is the most controversial track on the album. Guitarist, Joey Walker, wrote the track, giving it a danceable, disco-tech feel. Unlike anything King Gizzard has done before, the song is easily the best on the album. “Ontology” is yet another danceable groove song, but not in the same way as “Intrasport.” The drums keep the energy up while everyone in the band plays off each other well. The microtones allow the band to have an almost middle eastern sound, but it fits incredibly well with their psych-rock style. “Honey” is the light in the dark on K.G., allowing for a change of pace with a sweet, acoustic ballad Gizzard style. Sometimes, however, the songs can get repetitive and sound as if one’s heard it before. This is mostly because they have another microtonal album, and they can both sound similar at times. Stand-out lyrics Across all 16 albums, it’s clear that King Gizzard’s strong suit is not lyrics, which is completely fine, due to their musicianship and ability to craft an amazing song without great lyrics. Since Fishies and Rat’s Nest, however, their lyrics have gotten increasingly better, and K.G. is yet another example. Most of them have similar themes: doomsday, end times, questioning life, and how we came to existence. These are familiar themes, but the music surrounding them elevates the lyrics to a whole new level for King Gizzard. “Rigor mortis, fossil tortoise/Remains dormant underneath everything/Ageless microbes reveal xenophobes/Endless plague thus infecting everything,” frontman Stu Mackenzie sings. On “Oddlife,” Mackenzie sings about the difficulties of the touring life as a musician, “Back to the bus for another round/Managing feats by managing feet/Head of the hydra tastes the breeze/Conduit sees from the living room suite/Boredom is what boredom breeds, you see.” K.G. is full of interesting, yet catchy lyrics on every song. Even “The Hungry Wolf of Fate” is elevated from the lyrics. The song is already one big Black Sabbath worship, but lyrics like, “Death looms like a leering figure/Bring our species into sight,” brings even more dark tones. K.G. itself is one of their darkest albums, and the lyrics put it into perspective. Forgettable songs There are a few tracks here that may get forgotten over time. “Straws in the Wind” has high potential with even more fantastic, foreboding lyrics. But the song itself takes way too long to end and drags on. “Some of Us” is also average, even for King Gizzard. In the beginning, the guitar is produced in an off-putting way that sounds a little harsh on the ears. But when the song gets going (3:23), it gets going! Even though it’s at the end of the song. Top tracks: Intrasport Ontology The Hungry Wolf of Fate Recommended if you like: The Murlocs Courtney Barnett Thee Oh Sees

AC/DC’s new record ‘POWER UP’ is exactly what they’ve done before

By Brandon Carson AC/DC is a rock and roll powerhouse band from Australia. They’ve seen more success than almost any band in the industry: Countless world tours and songs, as well as numerous records being set. 2020 not only saw the release of POWER UP, but also the 40th anniversary of the acclaimed 1980s album Back in Black, which has sold over 25,000,000 copies. AC/DC is notorious for never changing their sound. Ever since 1977s Let There Be Rock, the group has crafted a specific sound and formula that can only be known as AC/DC. They know their sound and how to make powerhouse, stadium-filling rock music. With this formula, the band became a hit-making machine. Of course, there are the oddities and the absolute classics (Powerage, Back in Black, Highway to Hell), but the problem comes when their records can become an over-produced slog of monotonous riffs and melodies that sound the same, one right after the other. And so far, the late 80s, 90s, and 2000s have been exactly that.  POWER UP, while also their 17th studio album, is a tribute to deceased founding member Malcolm Young, who died in 2017. The songs were all unreleased, but Young’s brother, guitarist and founding member Angus Young, polished them up for this release. Their prime lineup returns as well, featuring Brian Johnson, Phil Rudd, and Cliff Williams. But even though it seemed as if the stars aligned for a fun, rocking AC/DC record, POWER UP is another swing and a miss with a dull second half, tedious riffs, and overall weak and forgettable songs. However, it still contains a few hidden gems. A Mixed Bag AC/DC has never been a band about innovation or change. They have been about all rock and roll from the beginning of their career to now. No one should expect their sound to change. A powerful combination of catchy hooks, memorable riffs, and face-melting solos are the key features to every great AC/DC song.  POWER UP does not go without these. However, the vast majority of the record fills the space while bangers like “Realize,” “Through the Mists of Time,” and “Demon Fire” carry the entire album. “Realize” is the perfect opener. It showcases what you’re going to hear for the rest of the record. It features a ginormous, catchy hook, and a classic AC/DC riff. But what was interesting to hear is how great Johnson sounds: The man is 73 and can still provide his raspy blues growl to perfection after all he’s been through. “Rejection” and the first single, “Shot in the Dark,” keep the intensity and provide even more captivating hooks, but “Through the Mists of Time” is where the band shines. Phil Rudd starts the song with an offbeat drum rhythm that instantly draws you in, while Johnson grooves with Young and Williams. It’s almost a power ballad that draws a connection with Malcolm Young through the lyrics, "see dark shadows on the walls/see the pictures/some hang, some fall.” The track is a perfect change of pace on the album, and a welcome surprise in the AC/DC catalog.  Just when you think POWER UP may be a great modern AC/DC album, in comes the filler. “Kick You When You’re Down” and “Witch’s Spell,” while not bad songs, stop the flow of the album dead in its tracks. Boring riffs and decent hooks take forever to get through, and instantly remind me of the tedious songs from 1995s Ballbreaker and 2014s Rock or Bust. Unfortunately, “Demon Fire” is the only memorable song from the second half of the record. The riff is one of their best in years along with a fantastic hook. The song is classic AC/DC. “Wild Reputation” has nothing going for it, “No Man’s Land” is slow and tedious, and “Systems Down” unites these three for a trilogy of similar-sounding, boring rock tracks. Same old, same old AC/DC’s 70s output is easily their best span of records. They made exciting and rebellious rock music that never grew old. The Young brothers crafted countless unforgettable songs even going into the 80s with Back in Black and Flick of the Switch. But none of the same creativity is here. POWER UP is not an AC/DC record that can stand with the greats. It’s good to see that the band can still get together at their age and make an average album, but that’s all it is; however, it shouldn’t be discredited completely. There are tracks on here that could be played in the same vein as “Highway to Hell” and “You Shook Me All Night Long.” POWER UP sounds like it could have been released 30 years ago, and no one would have guessed it. AC/DC does their job the way they want to, and has done so for almost 50 years. Top tracks: Through the Mists of Time Realize Demon Fire Recommended if you like: Aerosmith Led Zeppelin Kiss Sources: NME

Bring Me the Horizon unleash ‘POST HUMAN: SURVIVAL HORROR’

By Brandon Carson Bring Me the Horizon (BMTH) return with POST HUMAN: SURVIVAL HORROR, an EP drenched with universal feelings of anxiety from all the wrong in the world. 2019s amo saw a new direction for the band. The hooks were catchier as the band was taking more inspiration from pop music. Along with more electronic elements being applied to their mainstream metal sound. A direction that took shape in 2015s That’s the Spirit. BMTH has been continuously changing and adapting their sound since their first record. They went from deathcore to mainstream metal in a gradual way, adapting their sound with each release. POST HUMAN, however, features a consistent sound and production overall, fusing every single BMTH era into one cohesive whole. The record is a breathtaking nu-metal revival that does justice to the genre and allows BMTH to give their unique spin. Welcoming back the heaviness It’s no surprise that BMTH was bringing back their metal roots. Not that it was gone in amo, but underdeveloped. But here, the band knows exactly how to fuse it with their mainstream melodies. “Dear Diary” opens the album with an incredible change of pace for BMTH. They take the listener way back to their Suicide Season sound with a heavy guitar riff and blasting drums that create an intense atmosphere delivered in the lyrics of the song. Almost every song feature breakdowns that never get old and showcases the musical ability they can bring to the table. The heaviness this album captures is callbacks to the nu-metal greats: Slipknot, Linkin Park, Deftones. But BMTH knows this and their sound well enough to create a fusion that can hold up in 2020.  Nu-metal isn’t the only edition to this heavier sound. The album’s themes reference survival horror games Resident Evil and Silent Hill, which bring a dreadful tone to the music. They worked with Mick Gordon, who made the DOOM Eternal soundtrack on the record’s production. Gordon adds an extra layer of fear and urgency to the mix that blends well with BMTH’s expected production. “Kingslayer” keeps the energy up with another blend of BMTH’s sounds. What sets this song apart is the edition of BABYMETAL. Hearing this extreme instrumental followed by BABYMETAL singing the hook creates a fascinating juxtaposition. A tight grip on their songwriting BMTH has had over a decade to find and hone in on their formula. A lot of songs in their discography follow it because it creates big hits and singles. But usually, each album has a few tracks that seem discombobulated. POST HUMAN surprisingly doesn’t contain this problem. The flow of the record is consistent and never getting off track. It’s apparent that these songs belong in the same universe, and it’s due to the strong songwriting. Each song features the same structure, but it never becomes a problem because they can all stand independently. Every song is not without a big hook or some sort of catchy moment. “Teardrops” is textbook nu-metal right down to screeching synths of this Linkin Park love letter. Singer Oli Sykes channels his inner Chester Bennington on the hook, that the song almost feels like a rap verse is missing. And yet this inspiration fits right into BMTH’s standard sound. The hooks on POST HUMAN are all catchy and hard-hitting, never getting annoying or anywhere close to filler like amo. Adventurous production and collaborations BMTH’s last couple of records have been a main point in their development as a band. Sempiternal took their deathcore roots and gave it more texture. That’s the Spirit gave them mainstream appeal and featured more electronics in the production, and amo made every song an experiment. POST HUMAN uses its production to create an apocalyptic atmosphere for the record. A whole heap of new sound appears, especially on “Obey.” The wall of sirens that ring in the background mixed with the guitar give it a grandiose quality. ‘Kingslayer” and “Ludens” also knock it out of the park, keeping me hooked at all times. BMTH took a lot of creative liberties with their production, and it works in their favor.  There are numerous collaborations on the record. The best is easily BABYMETAL, who bring heavy and melodic sides to “Kingslayer.” YUNGBLUD gets a verse on “Obey” and, to my surprise, nails his delivery. It’s the right amount of heavy you wouldn’t expect from him. Nova Twins show up on “1x1,” which is, unfortunately, the worst track on the record. While Nova Twins brings a new aspect to the missing song, it just doesn’t have the same power and impact of the previous tracks. Last but certainly not least, Amy Lee from Evanescence performs in the tremendous closing duet, “One Day the Only Butterflies Left Will Be in Your Chest as You March Towards Your Death.” Acting as a conversation between humanity and mother nature, this ballad brings the entire record together and ends the record on a high note. The song’s crescendo at the end is a great way to end this emotional roller coaster of an EP. Top tracks: Dear Diary Obey Kingslayer Recommended if you like: Linkin Park Of Mice and Men Slipknot  

Corey Taylor throws together his first solo album with 'CMFT'

by Brandon Carson Corey Taylor is without a doubt one of mainstream rock’s biggest stars. He screams his head off as Slipknot’s front man, who are still releasing engaging and hard-hitting metal music with 2019’s We Are Not Your Kind. He fronts the rock band Stone Sour, which was actually his first band but has always been seen as a soft, more mainstream Slipknot. He has a multitude of nicknames, a wide choice of words, and has written four books. But one thing “The Great Big Mouth” hasn’t done is release a solo record. I gave We Are Not Your Kind an 8.8/10 and still believe it is one of Slipknot’s best albums. Some of the lyrics on that emotional roller coaster of an album are the best that Taylor has ever written. So naturally, when CMFT was announced, I was beyond excited. While I was skeptical in the back of my mind, I figured Taylor would give his all with this release. But instead, we get a slew of tired Stone Sour B-sides that have barely any impact and never try anything new. CMFT is a long, bland, and boring album with standard, by-the-numbers rock production, cheesy lyrics, and the first time Taylor is not doing anything exciting. "I know that there is nothing more that I can say" Taylor is no stranger to cheesy lyrics and conventional rock tropes. In fact, it seemed to be the direction Stone Sour was going with 2010’s Audio Secrecy. CMFT however, is a new low. The record feels as if there is nothing left in the tank for Taylor. Every song contains a similar, predictable structure like it’s a Five Finger Death Punch project. But one of the biggest disappointments is the lyrics and songwriting. The opener, “HWY 666,” was initially written in high school according to Taylor, and then stretched out while writing the record. It’s obvious through lyrics like, “When the Devil ran me down/He said, ‘Son, your soul's as good as mine/Just give me more and you'll be fine’/I turned and waved goodbye/When the Devil ran me down.../That's right!” It’s clear to see that this is supposed to give off the vibe of “The Devil Went Down to Georgia,” but when Taylor starts singing, it just comes off as a corny mess. “Culture Head” tries to be woke and play both sides to an argument, but with the lines, “Your generation loves to b*tch, b*tch, b*tch/Just stay offended in your niche, niche, niche/Nobody's perfect, but you're bringin' everyone down,” Taylor just sounds like an out of touch Gen X-er complaining about the "snowflakes." Just for comparison’s sake, here is a verse from Slipknot’s song “Orphan:” “I wept when I realized/There were no more demons left to conquer/An opportunity to show my feelings/With skin so thick you swear it was armor/A penitentiary that only lets the oxygen out/I wasn't ready for a version of the truth to get out/I’m getting desperate, I wouldn't wanna fester in another bad dream.” Gripping, real, and raw. Taylor’s writing for each band is definitely different, but even Stone Sour has interesting lyrics that one can ponder over. CMFT doesn’t come close to the level of authenticity in “Orphan” or in Stone Sour’s popular hit, “Bother.” "Life, it's all really the same to me" While Taylor was asleep at the wheel on the songwriting, surely the music is somewhat decent, right? On the contrary, it’s the weakest part of the record. CMFT plays with genres on most of the songs, hopping from Stone Sour hard rock to blues rock and even a punk song. But even though it seems these songs are different from one another, they all end up sounding the same. None of these songs are interesting or dare to try anything new. Each song is a sound that Taylor has tried before with Stone Sour, or it’s milking out all the boring post-grunge rock sounds that have remained in the rock mainstream for nearly 20 years. “Black Eyes Blue” and “Everybody Dies on my Birthday” are basically Stone Sour B-sides form their last album Hydrograd, and rockers like “Meine Lux” and “Culture Head” end up sounding like rip offs from the bands that influenced them (Guns ‘n’ Roses and Alice In Chains respectively). Besides two songs, the entire record features similar structure, and even those tracks contain uninspired solos from Stone Sour guitarist Christian Martucci. While Martucci’s soloing is fun the first time around on “HWY 666,” it grows old and tired. There’s one on every song with no breaks until “Home,” the eleventh song on the record. Jay Ruston produced the record, and he also produced Stone Sour’s Hydrograd in 2017. The production and mix between the two are virtually the same. But where risks were taken on Hydrograd with “Whiplash Pants” and “Somebody Stole My Eyes,” CMFT’s risks fall flat with bland production and stale instrumentals. But there is one track here that falls so flat, it’s amazing that it was even recorded. “CMFT Must Be Stopped” is the hip-hop/rock fusion that comes out of nowhere on the album. Taylor can rap; he has on many Slipknot songs from their first album. But here, it sounds incredibly out of place. Kid Bookie and Tech N9ne do their best with what is given; however, the fusion that is trying to happen never materializes and ends up sounding like a mess. But it’s hard not to give Taylor credit for trying. "I'm just looking for ways to enjoy the view" With all the criticisms being said, there are a few noteworthy achievements on CMFT. “Home” is a welcome change of pace for the album and a compelling ballad. So compelling that I’m willing to forgive how much it sounds like Stone Sour’s “Zzyzx Rd.” Taylor’s experimentation, while falling flat, needs appreciation as well. He seems like he’s having a blast writing and playing the music here and it’s hard not to fall into that excitement. Especially on the last—and best—track on the album, “European Tour Bus Bathroom Song.”

Deftones proves there is still more left in the tank with 'Ohms'

By Brandon Carson

Glass Animals continue to milk their past sound with 'Dreamland'

Debuting in 2013 with a self-titled EP, Glass Animals stormed onto the scene with the song “Black Mambo,” a quirky indie-pop song about being outmatched by someone. Hailing from Oxford, England, the band grew quite an audience with their hip-hop inspired beats and fun, sexy melodies. The band released their first full-length album ZABA in 2014, which featured more or less the same sounds from their EP with more realized songwriting. Their creativity continued to shine with the release of How to Be a Human Being in 2016. The album is a light concept of stories that people had told front man Dave Bayley on tour. Overall, it wasn’t too different from ZABA, but with songs like “Youth,” “Season 2 Episode 3,” and the beautiful closer, “Agnes,” the vocals became just another instrument and made the songs even more powerful. Their new album, Dreamland, unfortunately falls flat and continues to milk the same sounds that gave them success. Don’t get me wrong, as with their two past records, there are quite a few good songs. However, the concept is inconsistent musically and some songs are so by-the-numbers for Glass Animals that they come off as filler. That being said, there are a number of notable tracks that stand out and save the album.

Glass Animals continue to milk their past sound with 'Dreamland'

by Brandon Carson Debuting in 2013 with a self-titled EP, Glass Animals stormed onto the scene with the song “Black Mambo,” a quirky indie-pop song about being outmatched by someone. Hailing from Oxford, England, the band grew quite an audience with their hip-hop inspired beats and fun, sexy melodies. The band released their first full-length album ZABA in 2014, which featured more or less the same sounds from their EP with more realized songwriting. Their creativity continued to shine with the release of How to Be a Human Being in 2016. The album is a light concept of stories that people had told front man Dave Bayley on tour. Overall, it wasn’t too different from ZABA, but with songs like “Youth,” “Season 2 Episode 3,” and the beautiful closer, “Agnes,” the vocals became just another instrument and made the songs even more powerful. Their new album, Dreamland, unfortunately falls flat and continues to milk the same sounds that gave them success. Don’t get me wrong, as with their two past records, there are quite a few good songs. However, the concept is inconsistent musically and some songs are so by-the-numbers for Glass Animals that they come off as filler. That being said, there are a number of notable tracks that stand out and save the album. The Glass Animals standard With Dreamland, Glass Animals have fully realized their sound and what works for their audience. While that’s great for the band, it takes a toll on the music and flow of the album. The fantastic opener, “Dreamland,” sets the tone for the concept of 90s and youth nostalgia with its wavy use of synths and chill atmosphere. While the vocals are basic for Glass Animals, the production is dreamier and more lo-fi than it has been previously. But as soon as “Tangerine” starts, it’s clear that that change was a façade. The hip-hop inspired beat and catchy vocal melodies make it feel like the band doesn’t want to create something out-of-the-box and would rather stick to what they know. “Hot Sugar” continues this trend with yet another hip-hop inspired beat featuring repetitive vocals and a catchy melody. “Space Ghost Coast to Coast” feels like it could have been the change of pace the album needed with its more fun but chill sound. However, it is too short and repetitive to go anywhere new, making it feel like a standard song for them. Fortunately, their 2019 single “Tokyo Drifting” saves the flow of the album, creating a nice change of pace musically and featuring a great verse from Denzel Curry. Even the lyrical content is different on this song, providing a very braggadocious attitude in contrast to the usual sad boy attitude. The album picks up from here and gets a whole lot better. However, Dreamland is 16 songs long, and it is still peppered with average songs that fill up the space (I’m looking at you “Heat Waves”). None of the songs are bad per se, but nothing about them stands out much, making them a little forgettable. When it’s good, it’s amazing Even though Dreamland feels like an average Glass Animals album at times, when there are good songs, there are quality songs. “Melon and the Coconut” finally brings back the dreamy vibe of the opener and tells the humorous story of a melon and coconut breaking up. The instrumentals are new to the ears, bringing a much-needed change for the album. “Your Love (Déjà Vu)” keeps the fire lit with an exciting and suave song that has the best production on the album. It offers the catchy vocal melodies of old while also taking more chances musically that really pay off. “It’s All So Incredibly Loud” pushes the envelope and delivers both musically and lyrically. Even the subject matter for the song is interesting; it’s about the three seconds after someone tells another person something that they didn’t want to hear, and how the silence after is “incredibly loud.” The closer, “Helium,” is a fantastic closer with interesting production choices, a variety of musical shifts, and the dreamy vibe from the opener that rounds out the album well. While the album is plagued by mediocre tracks, these songs provide just enough quality and change to keep the mediocrity from completely infecting the album. Interludes that lead to nowhere One particularly confusing choice in the album comes in the form of its various interludes. There are interludes scattered across the record with similar titles called, “((home movies: <insert individual title here>)).” With four in total, two are very short one liners from Bayley’s home movies as a child. While the concept, reinforced by the childhood quality of the interludes makes sense, it doesn’t really go anywhere, as the songs themselves don’t do much to make the album’s concept known. The other two, however, are longer and create more of a connection with the songs, while keeping the choice to use audio from home movies. Overall, the interludes seem disconnected from the album and easily skippable. Top Tracks: It’s All So Incredibly Loud Melon and the Coconut Your Love (Déjà Vu) Recommended if you like: Local Natives Portugal, the Man Hippo Campus Featured Image: U Discover Music

‘F8’ is yet another mundane Five Finger Death Punch record

by Brandon Carson Every time I see Five Finger Death Punch (FFDP) release something new, I remember a time when I enjoyed their music: I was a middle school teenager with pent-up rage and had three FFDP albums that channeled it. The first two of these were pretty good. The Way of the Fist is their first record that brought them some fame. Songs like “The Bleeding,” “Ashes,” “Salvation,” and “Can’t Heal You” feature brutal screams, killer riffs, and fast tempos that still manage to fit in melodic choruses. Their next album, War is the Answer took those features to new heights. With the help of “Hard to See,” “Walk Away,” and their cover of “Bad Company,” the band was on every metal and hard rock radio station. Unfortunately, with their third release American Capitalist, they start pandering to a specific audience, and started to fall into a repetition that continues with their eighth record F8. From American Capitalist to now, all their albums have followed the same flow, featured the same cringy lyrics, had the same guitar solos, and contained an overproduced metal sound with questionable musical choices. After American Capitalist, their two-part Wrong Side of Heaven albums were an embarrassment and did nothing to differentiate from other artists and themselves. Got Your Six buried them deeper in the hole of not trying anything new, and And Justice for None further cemented them as one of the most boring bands in modern metal. They found a formula, a never-changing recipe I like to call the Five Finger Formula. Before I get into the album, allow me to explain the Five Finger Formula. Every FFDP album: Sounds like the last album Has a big ballad or two (including at least one crowd-pleasing, patriotic ballad) Has atrocious, cringy lyrics that feature the same topics as the last album Has boring filler tracks Has a bridge with quiet vocals reciting the chorus you have heard three times already Has the same guitar solo at least six times Has a heavy song that tries to fool longtime fans by saying, “See? We are still heavy!” Has verses with the same melody Every FFDP album since American Capitalist has followed this formula. Now don’t get me wrong; every album has had a song or two that I find pretty good. Also, good on them for getting so big that they can write the same album every two years and still remain relevant. Unfortunately, on F8, they don’t do anything to change this formula. Instead, they made the same album for the eighth time. Same songs, different titles There isn’t much to talk about on this album because there is nothing new, fresh, or interesting that it does. There are a few songs that are heavier than the others, but they still don’ t stray away from the Five Finger Formula. “Inside Out” contains the same angry, loner-y lyrics that singer Ivan Moody writes all the time, with screamed verses and a big hook like all their big singles. “Living the Dream” just gives the album another song to fill time; nothing is memorable about it. “To Be Alone” features a chorus that is too similar to their hit “Coming Down” from American Capitalist. There also these weird moments where they seem to be ripping off Slipknot’s live breakdowns, especially at the end of “Bottom of the Top.” Then the mandatory ballads come into play as they do on every album. “Darkness Settles In” just follows the same footsteps as the ballads on their other albums. It’s incredibly boring and at this point carries no emotional weight whatsoever. “Bright Side of Grey” is the foretold ballad with patriotic tones at the end of the album that feels formulaic (no surprise there) and cheesy with more bottom of the barrel lyrics. Cringy, cheesy, and bland I understand that the lyrics for FFDP songs have never been the best, even on the first two records, but if they are going to keep making songs with these big hooks and a lack of instrumental variety, then the listener is going to pay attention to the lyrics. “Full Circle” begins with whiny lyrics and bland rhymes, “That's it, I f*ckin' had it, I can't take it anymore/Yeah, I know now why I'm losing, well, just look who's keeping score” Moody screams. “This Is War” might have the award for Worst Chorus on the Album with, “You want it?/You got it/Take it/This is war.” The vocal melody for “A Little Bit Off” gets old really fast with cheesy “Hey Yeahs.” I was fully taken out of the song by the second verse when Moody solemnly sings, “I'm a little pissed off today and there ain't nothing you can do about it/I'm a little bit put off today and I could not tell you why/Got a really short fuse today and everyone around me's f*cking crazy/I'm a little ticked off today, a little pissed off today.” For this album, I think the lyrics are easily the worst aspect. They take me right out of a song with their bottom of the barrel rhymes and word choice. The instrumentals don’t add anything new or interesting to the tracks, so naturally I will gravitate toward the lyrics more, but unfortunately, they are just as boring. Who are they trying to fool? F8 is full of filler and unmemorable tracks like “Living the Dream,” “Mother May I (Tic Toc),” and “Scar Tissue” (which is thankfully not a Red Hot Chili Peppers cover). These tracks all cover the same ground as the one before with boring riffs and vocals followed by a bland guitar solo. They’ll sometimes throw in a heavy riff to try and prove that they can still write a good riff (which they can; listen to the beginning of “This Is War”). But this appears as a mere illusion because once the vocals come in, it’s all downhill from there. There are also these really weird production choices in a lot of the songs that just feel jarring, like a static voice filter. F8 is just another FFDP album to get them touring again. It has a big ballad and two driving singles they can play, along with their back catalog of the same sound. The only thing they did differently on this album was not including an emotional cover, which I am perfectly fine with. I’m sure if they did a ballad it wouldn’t differentiate form anything on the record. Best Tracks: None Recommended if you like: Breaking Benjamin (speaking of bands who make the same album every time) Disturbed Mudvayne Featured Image: Loudwire

“Father of All…” is Green Day’s biggest disappointment

by Brandon Carson The 2010s was a rough time for Green Day. 21st Century Breakdown released before the 2000s ended, starting the decade off on a high note with its great concept, moving melodies, and fantastic instrumentals. But soon after, they decided to release three albums in 2012, Uno, Dos, and Tré. Three long, drawn out records full of filler, with one or two great tracks thrown in. These albums caused a decline in Green Day, not just in relevance, but in quality. Four years later, Revolution Radio hits the shelves. While the album was still plagued with bland tracks, most of their fans ate it up, and Green Day found themselves back on the map. So, is Green Day going to kick the new decade off with a solid album? Well, Father of All… is yet another bland rock record with barely any worthwhile songs and redeeming qualities. Not even Green Day’s pop punk fun can bring this back. Falling off the rails Father of All… starts off in a somewhat strong fashion. The title track/opener sets the tone for what we will hear: a very care-free, "I can do what I want" attitude. The song is pretty fun and features front man Billie Joe Armstrong singing in a falsetto, something he rarely does. “Fire, Ready, Aim” follows the title track with uninteresting rock music. Nothing sticks out in this song at all to make it memorable, just average fast Green Day. “Oh Yeah!” keeps the same attitudes as the song before, but again adds nothing interesting to the listening experience. The lyrics and message in the song touches on school shooters/shootings, but that’s about as deep as it gets. This is the moment where the album loses focus. “Meet Me on the Roof” is a ‘50s bop that doesn’t go anywhere.  “I Was a Teenage Teenager” feels like Armstrong trying to rekindle his youth at age 47. The song features his songwriting at an all-time low with lines like, “My life is just a mess and school is just for suckers.” The instrumental comes off as an anthem, but a boring one at that. With boring lyrics and a bland instrumental topped off with cringeworthy lyrics, it feels like Green Day have learned nothing from their last four albums. The rest of the songs here have no qualities that make me want to come back to them. Each song is random and feels inconsistent with each other. “Stab You In the Heart” is another 50s inspired tune that doesn’t add anything interesting to the album as a whole, along with the rest of the tracks here. The problem isn’t that all the songs sound the same, the problem lies with the songwriting and the notion that Green Day has done way better and could have tried a lot harder. They even mention their 2004 magnum opus American Idiot in the song “Sugar Youth.” In the chorus they say the line, “and she’s dangerous” and even use the same melody from “She’s a Rebel.” Ironic. A complete slog The album is only 26 minutes and yet it takes ages to end. There are songs that start off promising but overstay their welcome, along with songs that start off boring and remain to be a snoozer all the way through. “Junkies on a High” sounds like a bland radio rock single that has nothing going for it throughout the entire runtime. “Oh Yeah!” starts off interesting, but never goes anywhere. Green Day never takes any song into any interesting directions or push their limits other than Armstrong’s falsetto. The lyrics are also lazy and uninspired, “I wanna stab you in the heart, right in the bloody bloody heart,” “I wanna choke like a dog in a collar,” “like a high school loser that will never f*** the prom queen.” I couldn’t help but think of how much better this could actually be. This is from the band that recorded American Idiot and made an entire Broadway musical for crying out loud. To top it all off, one of the promotional billboards for the record stated it had, “No features. No Swedish songwriters. No trap beats. 100% pure, uncut rock.” Even if the record lacks everything the billboard said, the album is still way too produced to be “100% pure uncut rock.” In fact, this album sounds like a band 13 records in still trying to remain relevant, which makes me think it probably would’ve been better if they added everything they’re making fun of. Best songs: Father of All… Recommended if you like: Blink-182 Weezer The Offspring Featured Image: Rolling Stone

Remixed S5E3- "In Rainbows" by Radiohead

Algiers change their sound and slow things down with 'There Is No Year'

by Brandon Carson

Bob Dylan and his Band at Emens Auditorium, Ball State University (11/2/2019)

 The thought of Bob Dylan, who has proved to be a masterful lyricist/musician/poet/artist for over 50 years, playing in Muncie, Indiana, is a thought I’m sure surprised everyone in the city. Emens Auditorium at Ball State University was packed with people on the night of Nov. 2. There was one merch booth and one bar with a mile-long line. The band started playing promptly at 8 p.m., without an announcement or introduction. At 78 years old, Bob Dylan and his Band managed to play an incredible 19 song set, with a surprisingly good stage presence and performances.