This record has been a long time coming for Walk the Moon. After the Cincinnati pop-rock quartet hit it big in the summer of 2015 with the the classic summer anthem "Shut Up and Dance", the world patiently awaited their follow up. And finally, nearly three years after the release of their sophomore record Talking is Hard, it has arrived in the form of What Is Nothing. And as it turns out, even after taking the longest time to craft new music that they have so far in their young career, Walk the Moon are still in touch with everything that made their first two records great, and have added even more spice along the way.
While What Is Nothing is quite easily the band's poppiest album to date, it's also their most experimental, oddly enough. There's some great variation to be found in the thirteen tracks present here, from radio ready "One Foot" to the six-minute masterpiece "Sound of Awakening". The instrumentals, while not carrying the guitar-led indie flair of their previous sound, are tighter and crisper than ever. Old fans need not fear either, Walk the Moon's sound still carries with it a significant indie atmosphere. This record feels like four guys making music for the fun of making music. No gimmicks or acting. Just pure, unadulterated creativity and joy.
That's not to say there aren't a few missteps. Tracks like "Kamikaze", "All Night", and "Feels Good to Be High" all come and go without establishing much of an identity, leaving the listener to wonder if the album would be even stronger with these weaker spots eliminated. Despite these small flaws, What If Nothing is certainly an enjoyable listen for anyone looking for a pick-me-up, optimistic album to remind them that life isn't all that bad after all.
Rating: B-
Recommended Tracks: "One Foot", "Headphones", "Sound of Awakening"
It's not uncommon for bands to change their sound throughout their career, one only needs to look in the direction of juggernauts such as Linkin Park and Thirty Seconds to Mars for prime examples. Columbus rockers My Ticket Home are just the latest of a big crowd to undergo a drastic shift in style from their previous album to their latest. However, this one is unique. Instead of embracing the newer pop/electronic sounds that many bands tend to do, My Ticket Home have transitioned from heavy metalcore chock-full of harsh vocals to a grungy, nu-metal outfit reminiscent of 90s stalwarts such as Nirvana and Deftones. And, long story short, it's a success. The guitars are crunchy and pleasing, the vocals are suitably raspy, and there's a general laid back feel to the music while it still manages to retain it's edge.
We Came As Romans last album was a tedious, unsatisfying affair, as the band attempted to broaden their sound and reach a more mainstream audience, losing touch with what made them great in the first place. This time around, the band has realized their mistakes and then some, and on Cold Like War, one of the biggest bands in modern metalcore is firing on all cylinders once again. The vocals are better than ever, by a long long way. Singer (and now DJ/keyboardist) Kyle Pavone has shed all of the highly noticeable effects and correction that marred previous efforts, and his co-vocalist Dave Stephens is back to his heavy, breakneck singing/screaming combo (but mostly screaming). On the instrumental side, the band has reached the peak of their songwriting to date. Everything feels new and fresh, especially after the mishap that was Cold Like War's self-titled predecessor.
Rating: B
Recommended Tracks: "Cold Like War", "Lost in the Moment", "Vultures with Clipped Wings"
3. Thousand Below, The Love You Let Too Close
A band's debut album is often something that -- while an example of that band at their most raw and sincere -- is also wrought with immaturity and underdeveloped songwriting. So for a band to knock it out of the park on their debut effort is not only surprising, but also extremely satisfying. Thousand Below are one of the newest bands signed by Rise Records, home of greats such as Dance Gavin Dance and Memphis May Fire, and their debut album lives up to the lofty heights set by their label mates. While the album doesn't stray too far from what one would expect of a classic Rise metalcore band, the true strength lies in the lyrics and vocal performance from James DeBerg. The album details his struggles with anxiety and depression, and the weight of such topics comes through with a poignant, emotional performance.
Rating: B
Recommended Tracks: "Sleepless", "Vein", "The Love You Let Too Close"
2. August Burns Red, Phantom Anthem
Everyone knows what to expect from August Burns Red at this point. Smooth and sexy yet also heavy and blasting riffs from guitar genius JB Brubaker, wonderfully nasty vocals from Jake Luhrs, breakneck drumming from Matt Greiner, and maybe a breakdown or two for good measure. And that's not to discount the contributions of rhythm guitarist Brett Rambler and bassist Dustin Davidson, which are plenty. The metalcore veterans' seventh full-length album provides all of this in spades. While it may not be their best album as a whole (that title still belongs to their previous effort, Found in Far Away Places), Phantom Anthem certainly contains some of the group's best songs to date in "The Frost" and "Dangerous", the latter of which ending with what is probably their most brutal, menacing breakdown yet. Bottom line, it's an August Burns Red album, which can only mean good things for our ears.
Rating: B+
Recommended Tracks: "The Frost", "Dangerous", "Lifeline"
1. I The Mighty, Where The Minds Wants to Go/Where You Let it Go
I've probably already gushed about this album enough on this blog (you can check out my full review of the record here) but I'm gonna do it just once more, at least until its Albums of the Year time. This is the best record that has come out in 2017. It's a beautiful portrayal of whatever shit is going on in the head of Brent Walsh, who it turns out is quite the relatable fellow. Sure, the band has abandoned some of the riff-centric, heavier sound of their previous albums, but when Walsh's vocals (and Dance Gavin Dance singer Tilian's, on lead single "Silver Tonges") are this good, the choruses this catchy, the guitar and bass this smooth and satisfying... who cares? There's really nothing else to say, except that you absolutely must listen to this album. And then listen to it again, and again... and again.
Rating: A+
Recommended Tracks: Every single one. ("Where The Mind Wants to Go", "Silver Tonges", "111 Winchester", "Symphony of Skin")
Any fan of metalcore or post-hardcore knows the names Bring Me the Horizon, Of Mice & Men, Killswitch Engage, Thrice, and Alexisonfire, among many others, but with these bands leaning more and more towards a radio rock sound, or just fading out altogether, where can people turn to get their metalcore/post-hardcore fix? Look no further than the following five young bands, who are all set to carry the torch in these two genres for many years to come.
Polaris
The first band of the five is also the only one from overseas, as Polaris hail from Sydney, Australia. The five-piece have two EP's under their belt so far, and display a sound of unrelenting heaviness paired with engaging riffs and violent breakdowns. Add the brutal screams from co-vocalist Jamie Hails, and Polaris certainly are a treat to listen to. Their debut album, titled The Mortal Coil, is set for release on November 3rd, and if lead single "The Remedy" is any indication of how the it'll turn out, these Aussies have a bright future ahead of them.
Thousand Below
Thousand Below, from San Diego, are Rise Records' newest young signing, and the record label responsible for bringing us The Devil Wears Prada and Dance Gavin Dance seems to have struck gold again. The debut album from Thousand Below, The Love You Let Too Close, released on October 6th to acclaim from those who took the time out of their lives to hear it. To those who haven't yet done so, it's well worth the 41 minutes its runtime demands of you. Vocalist James DeBerg tells a gripping story of depression and anger through his lyrics, which are as real and relatable as it gets.
Redeem/Revive
Redeem/Revive are a group that have been around for a while; their debut EP came out nearly a half-decade ago in 2013. However, several complications with the lineup and record labels caused their debut album to be delayed. Earlier this year, it finally came in the form of Free Minds. The album sounds as if the theatrics and heaviness of Crown the Empire's early works met the half-soulful, half-brutal vocal duo of Issues' Tyler Carter and Michael Bohn. Anyone looking for a dose of simultaneously heavy and catchy metalcore can stop right here, as vocalists Joshua Landon and Aldo carry each tune with the power and showmanship of a duo that's been at it for decades, just like the Carter/Bohn pair to whom they owe their influence.
The White Noise
There must be something in the water in Dallas, Texas. The city that brought us metalcore juggernauts Memphis May Fire and Crown the Empire is now the origin of yet another band poised to become a leading force in the genre. The White Noise are easily the most post-hardcore leaning band in this group of five, with some of their songs (see "The Best Songs Are Dead") being straight up hardcore punk. On the other hand, The White Noise are also the band with the most variety in this group, as their track "I Lost My Mind (in California)", taken from their debut record AM/PM, is straight up pop-punk.
Bad Omens
Bad Omens self-titled debut, released in August 2016, immediately caught fire in the underground of the metalcore scene, with comparisons being drawn to Bring Me the Horizon's 2013 game-changer Sempiternal. And while some of those comparisons certainly hold merit, there's no doubt that Bad Omens are a band of their own, and are reaping the rewards of their success. The group already had a massive social media following prior to the release of their album, evidenced by the immediate popularity of their music videos compared to their peers. With three videos having already passed 1 million views, and a sophomore album set to drop in 2018, Bad Omens are well on their way to becoming just as huge as the world famous Sheffield group that they are so often compared to.
Loneliness. Abandonment. Strife. And finally, acceptance. The themes of I The Mighty's third album are things that every person has to deal with at some point or another. And on Where the Mind Wants to Go/Where You Let It Go, Brent Walsh and co. deliver an emotionally poignant and beautiful ode to the feeling of being lost.
As the eleven tracks of the record unfold, Walsh's affecting vocal performance is laden with (for the most part) mellow, pulled back guitar strings. It's as if the abandonment felt by the band's frontman has led to their (once again, for the most part) abandonment of the riff-heavy post-hardcore sound on their previous records. But this is by no means a bad thing.
"Degenerates" kicks off the album, and long story short, it's one of the best songs of the year. Its dynamic crescendos and instrumental payoffs filled with life and color set the stage for the rest of the album to come. Highlights "Pet Names" and "111 Winchester" showcase the band's prevailing knack for a brilliant hook, while "Where The Mind Wants to Go" show that they still haven't lost their heavier edge just yet. Lyrics are unfortunately hit and miss throughout, but "Symphony of Skin" still showcases some of Walsh's best writing yet, and the worst passages aren't totally cringe-worthy. The album's only dud -- and it's still an enjoyable song, nonetheless -- is in "Chaos in Motion", which is a rather safe pop track. Finally, penultimate track "Silver Tongues", which includes a vocal feature from Dance Gavin Dance vocalist Tilian, perfectly ends the albums tale on a rather positive note. It's also possibly the best song of 2017. Fitting, because I The Mighty's latest is top of the pack for this year. As of now, it's our pick for 2017 Album of the Year.
Rating: A+ (first this year!)
Recommended Tracks: All of them, but mostly "Where the Mind Wants to Go", "Symphony of Skin" and "Silver Tongues"
In the world of rock music, female fronted bands are unfortunately few and far between. However, when one does manage to gain popularity, they are often a cut above many of their all-male counterparts, due to just how much harder it is to break through. This is evidenced by the success of bands such as Paramore, No Doubt, and Halestorm, all of whom have managed to stay relevant for many years on the international music stage. Another group that carries the banner for girls in rock music is Australian pop-rock group Tonight Alive.
Tonight Alive formed in Sydney, Australia when guitarist Jake Hardy and bassist Cam Adler started the project as a cover band. After recruiting Whakaio Taahi on guitar and then 15-year-old Jenna McDougall on vocals, the band came up with the name Tonight Alive. A year later, they added Matt Best on drums to complete their lineup. They started their musical journey with two EPs, All Shapes & Disguises and Consider This. These EPs included singles "Wasting Away" and "Closer", which caught the attention of large record labels. Eventually, they were picked up by Sony Music Australia, and recorded their debut album What Are You So Scared Of? with producer Mark Trombino. The debut album featured an energetic, catchy pop-punk sound with loud, crunching guitars and bright vocals from McDougall. The single "Listening" became a hit for the band, amassing over a million views on Youtube.
Following their debut was sophomore record The Other Side. The second record is much darker and more emotional than their first album, as the lyrics (written by McDougall) focus on her struggle with eczema as well as the pain of losing friends and broken relationships. The album ended up becoming their most successful yet, charting at #5 in Australia, and it remains their only album to reach the top 5. Lead single "Lonely Girl" is also the band's most popular song, and most viewed music video with over seven million views.
After the success of The Other Side, the band was under pressure to come back with an even bigger, better album. However, on their third album Limitless, they decided to take a completely different track than their previous efforts. Limitless drops most of the heavy guitars and loud drums and replaces them with light, airy pop-rock led by electronics and Jenna McDougall's powerful yet intelligently restrained vocals. While this change in sound disappointed many fans, the band didn't lose their penchant for catchy melodies and biting lyrics, as Limitless is a story of self-empowerment and becoming a better person. The single "Drive" is the best example of the overall sound and message of Limitless.
Since the release of Limitless, Tonight Alive have been touring relentlessly as well as working on their yet to be named fourth album. The band released the single "World Away" as a standalone song between albums, and is set to release the lead single from their fourth album in the coming days. If their past efforts are anything to go by, it'll be yet another enjoyable album from the Australian rockers.
Nothing But Thieves' self-titled debut gained them quite a following. Their first record combined driving alt-rock with smart pop sensibilities, enshrining the British natives as the "next big thing" on UK rock radio. Their follow up to that record comes in the form of Broken Machine, and sees the group continuing their "Jeff Buckley meets Muse" sound that was the centerpiece of their first record. This time, the band have tuned in even more on their pop influences, creating eleven alt-rock tracks that manage to be catchy and fun while still being interesting and original. They don't reinvent the wheel here, but what they do, they do well.
In the world of pop music, it can be hard to stand out as something different and unique. But Lights, with her sweet, sugary tone and personal lyrics, has always felt like an anomaly in the world of pop. Her brightly colored hair and tattooed skin certainly catches the eye, perfectly matching the addicting melodies and bright synths found in her music. Each Lights album has carried a certain tone: with the spacey sounds of debut The Listening, the deserted wasteland of Siberia, and the futuristic optimism of Little Machines, Lights has always strived to do something different. Her fourth record Skin & Earth is a post-apocalyptic story of adventure and romance, complete with an accompanying comic book written and drawn by the singer herself. The sweet, delicate synthpop is back in the form of "Kicks" and "Skydiving", while the guitar-driven grit of "Savage", which features twenty one pilots drummer Josh Dun, brings something new to the table.
Rating: B
Recommended Tracks: "Kicks", "Skydiving", "New Fears"
3. The National, Sleep Well Beast
When you've been around for nearly two decades, and your past five albums have all been met with critical fervor and acclaim, there comes a certain expectation with every new release. With Sleep Well Beast, indie rock veterans The National meet all expectations, and deliver the quality that's always expected of their work. The lyrics of Sleep Well Beast, as usual, revolve around a certain point in vocalist Matt Berninger's life. This time, the album revolves around his recent marriage, and the lyrics are just as potent as ever. However, unlike the dark and cryptic messages found in their past releases, this album carries a brightness to it that is new for the group. Overall, Sleep Well Beast is possibly The National's most experimental release yet, and a great experiment at that.
Rating: B+
Recommended Tracks: "Nobody Else Will Be There", "Day I Die", "Sleep Well Beast"
2. Enter Shikari, The Spark
Change is something that all artists must undergo if they want to remain interesting, especially several albums into their career. Enter Shikari are normally known as a electronic-influenced post-hardcore band, but for their fifth LP The Spark, the band have shed most of their heavy roots and opted for a poppier sound, bringing the electronics to the forefront. The distorted guitars of the past are replaced mostly with clean riffs and a focus on catchy hooks and melodies. The result is a dystopian-esque pop-rock album that sounds both retro and futuristic at once, a mishmash of styles from the house-tinged sound of "Rabble Rouser" to the tranquil Japanese influenced "Shinrin-Yoku". Make no mistake, The Spark is the best effort the Shikari boys have put out yet.
Rating: B+
Recommended Tracks: "Live Outside", "Rabble Rouser", "An Ode To Lost Jigsaw Pieces"
1. Sufferer, Sufferer
Supergroups are often a bad idea; a hamfisted attempt at combining the name recognition of several bands for a quick money grab. So when members of post-hardcore groups A Lot Like Birds, Hail the Sun, and I The Mighty got together to write a concept record about "a day in the life of someone who suffers from severe anxiety", you could color me intrigued. After two long years of buildup, the result of this project is finally here, and it's fantastic. The three vocalists: Cory Lockwood, Shane Gann, and Forrest Wright, all portray a different "voice" in the characters head. These are his depression, his anxiety, and the character himself, respectively. The music is chaotic and frantic with small moments of peace and solace sprinkled in as it goes through the roller coaster of emotions that depression and anxiety can bring. The lyrics are poignant and real, without being cheesy or over-the-top. The end product is an honest, eye-opening, artistically unique piece of music that deserves all the praise it gets and more. A fantastic effort.
Rating: A-
Recommended Tracks: All of them, this is an album that has to be listened to in full.
The vinyl record is a form of recorded music that has been around since 1877, when Thomas Edison invented the phonograph. Throughout its history, vinyl has undergone many periods of massive popularity, especially in the early-to-mid 20th century, until CD's and eventually digital files overtook it as the masses preferred avenue of music consumption. However, vinyl has been making a comeback in recent years, not only with older music listeners looking for the nostalgia of their younger days, but with millennials as well. Why is this? Well, here are just some of the reasons why vinyl is still the best way to listen to music today.
1. Better Sound Quality
One of the biggest advantages vinyl has over digital is sound quality. The way digital files are created, much of the audio is compressed and distorted -- or even lost completely -- in order to make space for more files on a listener's phone or mp3 player. However, in doing this digital files lose a lot of the depth and clarity of the music. Vinyl, on the other hand, doesn't run into any of these problems. The recordings found in the grooves of a vinyl record are perfect representations of how the artist intended their music to be heard, and not a single frequency goes unheard. Because of this, vinyl has a much fuller sound, making it a much more satisfying listening experience than digital.
2. Vinyl is more than just an auditory experience.
When we think of our music listening experience, we focus on the sounds that we're hearing and not much else, right? Now what if I told you that the experience of listening to music could be so much more than that. When you buy a vinyl record, it comes in a huge 12" sleeve, with album art big enough so you can actually see the detail. Many records come in what is called a "gatefold" sleeve, one that opens up like a book, revealing even more art on the inside. To add to this, some records come in beautiful colored vinyl patterns, such as the pressing of Mae's "The Everglow" pictured below.
3. You can make money from vinyl
When you buy a digital music file, there's nothing you can do to get your money back if you decide you don't like the music. However, when you buy vinyl, not only can you make your money back, but you can actually make more money than you originally spent. The vinyl community is very active on sites such as Discogs and eBay, where hundreds of records are sold every day. Since records are pressed in limited quantities, their value goes up as time passes, rather than down. This means that if you have records that you aren't interested in listening to anymore, you can just sell them to someone else, often times for more money than you originally bought them for.
These three tips are just some of the reasons why vinyl is still the best way to listen to music, even though digital has become more popular. Even with the convenience and portability of digital, nothing beats the experience of dropping the needle and hearing those first few notes in full clarity.
