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(11/12/19 6:06pm)
by Brandon Carson
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.
(11/10/19 10:00pm)
Coming from the crumbled ashes of Creed, Alter Bridge took mainstream rock by storm in 2004 with songs like “Metalingus,” “Broken Wings,” and “Open Your Eyes.” Since then, they’ve put out one album every three years, keeping their releases pretty consistent, which is a good quality to have in a band. 2007’s Blackbird released to critical acclaim, taking the band further away from the stigma that they’re the same as Creed. Throughout their career, the band has come further into their own sound. AB III (2010) found the band experimenting with song structure, different musical styles, and having lead guitarist (Mark Tremonti) on vocals. Their magnum opus, Fortress (2013), featured the band’s strongest songs one right after the other, collecting every great aspect of the band into a single record. But, the band has not been without missteps; 2016’s The Last Hero was a record of clear intention that unfortunately fell flat with the songwriting. While it had some interesting and unique songs, a few others ended up sounding generic. On their latest album, Walk the Sky, the band continues to bore with bland songwriting and a safe, radio-friendly sound; however, there is still good to be found in this mixed bag of an album.
(11/09/19 9:17pm)
Kanye West needs no introduction. Coming out of one of his biggest and most controversial years in 2018, West announced the album Yandhi, similar to his 2013 record Yeezus. After delay upon delay, Yandhi never saw the light of day. Flash forward to 2019, and West has rebranded himself as a born-again Christian, leading many Sunday Services and eventually touring it. Throughout 2019, speculation started for when West would release his next record to follow 2018’s Ye. It was then announced on his website that Jesus Is King, an entirely new record, would release on Sept. 27, but it was also delayed. The album kept being delayed while West held listening parties in various cities, probably testing the audience reception of this new sound. The album ended up releasing Oct. 25 alongside a short film that shows his Sunday Service choir. At a short 27 minutes, Jesus Is King fills its role as a gospel album. Great production can be found throughout, but its length and missing potential makes some tracks feel unfinished, leaving holes throughout the record.
(11/02/19 9:43pm)
by Brandon Carson
Kanye West needs no introduction. Coming out of one of his biggest and most controversial years in 2018, West announced the album Yandhi, similar to his 2013 record Yeezus. After delay upon delay, Yandhi never saw the light of day. Flash forward to 2019, and West has rebranded himself as a born-again Christian, leading many Sunday Services and eventually touring it. Throughout 2019, speculation started for when West would release his next record to follow 2018’s Ye. It was then announced on his website that Jesus Is King, an entirely new record, would release on Sept. 27, but it was also delayed. The album kept being delayed while West held listening parties in various cities, probably testing the audience reception of this new sound. The album ended up releasing Oct. 25 alongside a short film that shows his Sunday Service choir. At a short 27 minutes, Jesus Is King fills its role as a gospel album. Great production can be found throughout, but its length and missing potential makes some tracks feel unfinished, leaving holes throughout the record.
(10/31/19 8:42pm)
by Brandon Carson
Coming from the crumbled ashes of Creed, Alter Bridge took mainstream rock by storm in 2004 with songs like “Metalingus,” “Broken Wings,” and “Open Your Eyes.” Since then, they’ve put out one album every three years, keeping their releases pretty consistent, which is a good quality to have in a band. 2007’s Blackbird released to critical acclaim, taking the band further away from the stigma that they’re the same as Creed. Throughout their career, the band has come further into their own sound. AB III (2010) found the band experimenting with song structure, different musical styles, and having lead guitarist (Mark Tremonti) on vocals. Their magnum opus, Fortress (2013), featured the band’s strongest songs one right after the other, collecting every great aspect of the band into a single record. But, the band has not been without missteps; 2016’s The Last Hero was a record of clear intention that unfortunately fell flat with the songwriting. While it had some interesting and unique songs, a few others ended up sounding generic. On their latest album, Walk the Sky, the band continues to bore with bland songwriting and a safe, radio-friendly sound; however, there is still good to be found in this mixed bag of an album.
(09/30/19 8:03pm)
There is no denying that Korn changed metal music back in 1994 with their self-titled debut album. Their completely raw approach to sound and inventive, groovy riffs were groundbreaking for the genre. The tracks were full of hard-hitting riffs mixed with atmospheric guitars and instrumentals. Jonathan Davis’ demented voice and twisted lyrics shook the metal world. One could say that it was Korn that introduced the world to “nu-metal,” a late 90s and early 2000s fusion of groove metal and hip-hop. By the time their third record Follow the Leader came out, Korn was on top of the world. However, once the band started to pander to a more radio-friendly audience, their sound gave way to a clean, straight-edge production that made the band lose their edge.
(09/27/19 3:42pm)
by Brandon Carson
Blink-182 have always stuck out from the great 90s pop-punk bands. Their immature wit and knack for writing great hooks sets them apart from others like Green Day and The Offspring. The band became a sensation with 1999s Enema of the State, a fun, tongue-in-cheek, and insanely catchy album that cemented the band a one of the best pop-punk bands. Over the years, the band matured with each record, eventually coming to 2003s Untitled record, still catchy yet the songs were serious, and the songwriting was tight and unique. After 2011s flop Neighborhoods, singer and lead guitarist Tom DeLong left the band after some more years of touring. The band then recruited Alkaline Trio’s Matt Skiba for touring, and later made the 2016 disaster that was California, a record that was trying too hard to feel nostalgic that came off generic and bland. Nine finds the band improving greatly upon California, but still falling into the same songwriting traps of generic lyrics, generic structures, and an over-produced sound.
(09/25/19 5:57pm)
by Brandon Carson
There is no denying that Korn changed metal music back in 1994 with their self-titled debut album. Their completely raw approach to sound and inventive, groovy riffs were groundbreaking for the genre. The tracks were full of hard-hitting riffs mixed with atmospheric guitars and instrumentals. Jonathan Davis’ demented voice and twisted lyrics shook the metal world. One could say that it was Korn that introduced the world to “nu-metal,” a late 90s and early 2000s fusion of groove metal and hip-hop. By the time their third record Follow the Leader came out, Korn was on top of the world. However, once the band started to pander to a more radio-friendly audience, their sound gave way to a clean, straight-edge production that made the band lose their edge.
Now, 13 albums in, Korn has cemented itself as an essential metal band of the 90s and 2000s. Their early records have aged well and still sound great. But after their fifth record, Untouchables, in 2002, each album has been average, boring, and has added nothing new to their discography. Of course, there are some great ideas and songs on each of these records, but as whole albums, the pieces just don’t fit. The Nothing sees Korn back in a dark place, as Davis has gone through many traumatic experiences in his life, especially as of late. The record explores this trauma while still making average songs with no edge, forgettable riffs and hooks, and production that sounds like every other metal song on the radio.
(09/13/19 6:55pm)
Fear Inoculum just might be the most anticipated album release of all time. The alternative metal masters, Tool, have not only returned to the music scene but entered the streaming era for the first time. Fans of the band have been waiting 13 years for a new release (about the length of Taylor Swift’s entire career) and have finally been given a 90-minute epic consisting of seven tracks and three interludes. But the question remains: Is Fear Inoculum worth the 13-year wait? The answer is: It’s complicated.
(09/09/19 6:23pm)
King Gizzard & the Lizard Wizard have been one of the hardest working bands since their start in 2011. So far, they have released 15 records, with five records coming out in 2017 alone. On their new album, Infest the Rat’s Nest, Gizzard has made the exact opposite of their April album, Fishing for Fishies. Infest the Rat’s Nest finds the band at a whole new level. The songs are short, sweet, and to-the-point; the drums are using double bass, the guitars are chugging, and the vocals are menacing. Yes, Gizzard has made a metal album. The album tells stories of planet Earth burning to a crisp, superbugs being made out of bacteria and antibiotics, and humans colonizing space, all with ferocious riffs and a wide variety of metal subgenres. While not being their most eccentric album to date, there is still plenty to unpack in what’s certainly their heaviest album yet.
(09/09/19 4:00pm)
by Brandon Carson
Fear Inoculum just might be the most anticipated album release of all time. The alternative metal masters, Tool, have not only returned to the music scene but entered the streaming era for the first time. Fans of the band have been waiting 13 years for a new release (about the length of Taylor Swift’s entire career) and have finally been given a 90-minute epic consisting of seven tracks and three interludes. But the question remains: Is Fear Inoculum worth the 13-year wait? The answer is: It’s complicated.
Tool’s discography is massive and very complex. In their early days, the band took progressive metal and redefined it. Tool took psychedelic components and mixed them with heavy, progressive riffs and catchy, unorthodox hooks. Songs like, “Schism,” “Sober,” and “Forty Six & 2” took the metal scene by storm and even had an influence on non-metal listeners.
The problem is that, with albums like theirs, it takes time to fully grasp the ideas that are present. Their entire catalog has aged to perfection, Ænima (1996) and Lateralus (2001) being the most significant of the original four releases. Fear Inoculum should receive the same treatment and reviewing it feels like a monstrous task. So, to answer my question from before: yes, Fear Inoculum is very much worth the 13-year wait. However, it is not the best Tool album by any means. Some of the passages within the seven tracks are engaging and the best in their discography, but the album as a whole fails to capture the same quality of the Tool of old.
(08/27/19 7:52pm)
by Brandon Carson
King Gizzard & the Lizard Wizard have been one of the hardest working bands since their start in 2011. So far, they have released 15 records, with five records coming out in 2017 alone. On their new album, Infest the Rat’s Nest, Gizzard has made the exact opposite of their April album, Fishing for Fishies. Infest the Rat’s Nest finds the band at a whole new level. The songs are short, sweet, and to-the-point; the drums are using double bass, the guitars are chugging, and the vocals are menacing. Yes, Gizzard has made a metal album. The album tells stories of planet Earth burning to a crisp, superbugs being made out of bacteria and antibiotics, and humans colonizing space, all with ferocious riffs and a wide variety of metal subgenres. While not being their most eccentric album to date, there is still plenty to unpack in what’s certainly their heaviest album yet.
(08/16/19 1:00pm)
Twenty years have passed since Slipknot’s debut album, Slipknot. Since then, the band has released five successful records and played hundreds of huge bombastic live shows. Slipknot became one of the biggest names in metal throughout the past 20 years with their nine members, unique sound, and pure rage and aggression. Five years have passed since their last album, .5 the Gray Chapter, and during that time, longtime percussionist Chris Fehn left the group due to a legal dispute earlier this year. All of the troubles the band have been through resonate perfectly through the record. The aggression and brutality returned along with the band’s experimental side working together perfectly. Slipknot used the same producer from the last record, Greg Fidelman. However, We Are Not Your Kind (WANYK) has a rougher edge to the production that .5 the Gray Chapter was missing. The songwriting is as strong as ever, the songs are heavy, and the album actually feels as if it were made by the entire band.
(08/15/19 3:10pm)
by Brandon Carson
Twenty years have passed since Slipknot’s debut album, Slipknot. Since then, the band has released five successful records and played hundreds of huge bombastic live shows. Slipknot became one of the biggest names in metal throughout the past 20 years with their nine members, unique sound, and pure rage and aggression. Five years have passed since their last album, .5 the Gray Chapter, and during that time, longtime percussionist Chris Fehn left the group due to a legal dispute earlier this year. All of the troubles the band have been through resonate perfectly through the record. The aggression and brutality returned along with the band’s experimental side working together perfectly. Slipknot used the same producer from the last record, Greg Fidelman. However, We Are Not Your Kind (WANYK) has a rougher edge to the production that .5 the Gray Chapter was missing. The songwriting is as strong as ever, the songs are heavy, and the album actually feels as if it were made by the entire band.
(06/21/19 8:20pm)
by Brandon Carson
Gold & Grey marks the end of the colored albums from the band’s discography; a perfect streak of albums that fused sludge, noise, and progressive metal. The band’s last record, Purple, introduced a more accessible sound, featuring big, catchy hooks fused with their signature sludge sound. Singles like “Shock Me” and “Chlorine and Wine” took the band to new heights with a Grammy nomination and placed their advanced musicality in the forefront. But Purple was four years ago. Since then, guitarist Pete Adams left, and Gina Gleason joined to become a huge part of the record. On Gold & Grey, Baroness finds ways to surprise the listener with a more progressive edge and a vast soundscape. The amount of heart put into the records could always be heard, but on here, there is no match. The instrumentals are incredible and the songwriting is pure and unpredictable, even if the production might be a small problem at times.
(05/10/19 10:00pm)
With their last full-length album, The Dream Is Over, PUP (Pathetic Use of Potential) provided excellent punk tunes with catchy choruses and strong guitar riffs. Now they have done the exact same thing three years later. The songs on Morbid Stuff are engaging, exciting, and well worth the wait. Listeners will find diversity throughout the music, along with fun choruses and great punk riffs. If Morbid Stuff says anything about PUP, it’s that they show no signs of slowing down.
(05/10/19 7:00pm)
Back in 2018, Alaria Spurling, lead guitarist and vocalist of Four Fates, needed three people to back her up for a tiny music festival in Bloomington, Indiana. This led to the formation of a band. Some of the songs they performed at this festival would end up being on their EP. After playing a show at the Hoosier Dome in Indianapolis, the band began working on Realms, which released April 6. On this EP, a completely unique sound emerges as Spurling sings about sadness and trouble. Ian Chambers brings his own flair to the songs with his excellent drumming, Evan Tusing adds an Alter Bridge style to the guitars, and Adam Schaefer completely nails his bass lines. However, Realms’ faults lie in the production and a tiny bit in the structure.
(05/02/19 1:00pm)
Australian band King Gizzard and the Wizard Lizard made 2017 their year. The band put out five records throughout the year, with only a couple months in between each: Flying Microtonal Banana, Murder of the Universe, Sketches of Brunswick East, Polygondwanaland and Gumboot Soup. The five records added up to a total of 13 albums in their entire discography since 2012, making for an incredible work ethic. In 2018, however, the band took a much-needed break, letting the five records sink in with the fans to decipher where they fit in the “Gizzverse”.
(05/01/19 8:23pm)
by Brandon Carson
Australian band King Gizzard and the Wizard Lizard made 2017 their year. The band put out five records throughout the year, with only a couple months in between each: Flying Microtonal Banana, Murder of the Universe, Sketches of Brunswick East, Polygondwanaland and Gumboot Soup. The five records added up to a total of 13 albums in their entire discography since 2012, making for an incredible work ethic. In 2018, however, the band took a much-needed break, letting the five records sink in with the fans to decipher where they fit in the “Gizzverse”.
Gizzard returned with “Cyboogie” in January of 2019, surprising fans with its electronic influence and sound. Later, the band announced Fishies, a nine-track record with a heavy blues sound. Fishies finds Gizzard at their most accessible and most different. Once again, the band has made an original album with a sound they haven’t touched upon too much.
(04/19/19 5:47pm)
by Brandon Carson
With their last full-length album, The Dream Is Over, PUP (Pathetic Use of Potential) provided excellent punk tunes with catchy choruses and strong guitar riffs. Now they have done the exact same thing three years later. The songs on Morbid Stuff are engaging, exciting, and well worth the wait. Listeners will find diversity throughout the music, along with fun choruses and great punk riffs. If Morbid Stuff says anything about PUP, it’s that they show no signs of slowing down.