You Will Never Be One Of Us by Nails

Grindcore/power-violence act Nails have established themselves as one of the premier groups in the genre with their first two releases, both of which have garnered a rather impressive amount of acclaim. They have a sound that is hard to explain to those who have yet to hear them, as their frantic, chaotic, straight to the point tracks normally fail to even exceed the one minute mark. Their punchy guitars, roaring drum beats, and nasty, guttural vocals all come in with such ferocity that they're over before you even have time to click play.

On You Will Never Be One Of Us, Nails do branch out in some ways, with Violence Is Forever coming in at a modest three and a half minutes, and the closer They Come Crawling Back taking up eight minutes of the 22 that the album runs for. Even on the longer cuts however, the band deliver the same kind of music you would find on their previous two efforts, and with Converge's Kurt Ballou behind the scenes producing yet again, you're all but guaranteed to find some of the ugliest sounding guitar riffs around. Frontman Todd Jones, who provides both the guitar work and the vocals for the band, doesn't shy away from experimenting with the same hardcore/metalcore territory that many of the bands Ballou has worked with in the past have, especially on tracks like the aforementioned They Come Crawling Back, which features some mathcore influenced, headbang worthy breakdowns and slow-paced drum beats that in turn build up into multiple chaotic interludes before the track comes chugging to a halt.

While the rest of the album isn't as patience testing as the 8 minute epic, it still delivers in plenty of other ways. The title track, which was released as the album's first single is another highlight, as the band kick off the album with monstrous blast beats that are delivered with such attitude and flair that you can't help but feel the music. They take a groovier approach on Made To Make You Fall, with an intro that in some ways is reminiscent of groove-metal pioneers Pantera, that is before the track descends into hell once again and the groovy instrumentation is swept away in favour of more bone-rattling guitar riffing and drumming.

When it comes to what sets this album apart and it makes such a great inclusion in their discography, I think it's simply just how well they manage the pacing of their songs. Not only does the band manage to make the most of even the shortest tracks, but they also seem to include everything imaginable within these tight timeframes. There are plenty of short, Converge-esque breakdowns and guitar passages, and just as many moments where the band create such an enveloping wall of sound that you truly become beat down by the brutality they are presenting you with.

In the time you've spent reading this review, you probably could have listened to this album in it's entirety, so that's where I'll leave this. Nails have yet to disappoint thus far into their career, and if you found yourself enjoying either of their last two full-lengths, this truly is a must hear. They aren't changing up their style, and they aren't looking to make any new fans, they're just taking the same style they've perfected with their last two efforts, and this time they're cranking it up even louder.

Rating: 4/5

Check out the title track You Will Never Be One Of Us below:

You can pre-order the album over on the band's merch site here.

iiiDrops by Joey Purp

Over the past few years, the SAVEMONEY collective has been one of, if not the, most exciting things to come out of the diverse, ever thriving Chicago hip-hop scene. Spearheaded by the rise of emcees Chance the Rapper and Vic Mensa, the lesser known members of the group have also quietly managed to put together a pretty solid body of work. Now, it's member Joey Purp's turn to step up to the plate, and on iiiDrops he proves that it is him who is next to step into the limelight.


From the bright organ keys and horns on the opening track Morning Sex, into the Pharell-esque dance beat of Girls, Joey Purp stretches his sound far beyond what's popular in Chicago right now. While you might go into this thing expecting the rattling hi-hats, blaring 808s, and bumping bass, you're instead presented with the same kind of varied, flamboyant production you might find on a project from the likes of Vic or Chance. Speaking of those two, they both pop up on the track listing, Chance on the aforementioned track Girls, and Vic on the album's victory lap Winners Circle, a track that's elevated by a wonderful piano melody and shining synthesizers. Fellow Chicagoans Mick Jenkins, Saba, and theMind also lend a helping hand on the project, with all three delivering solid contributions when given the chance.


It is, however, Joey Purp who truly shines on this 11 track collection, as the 20-something year old artist comes through sounding like a true veteran of his craft, swinging his pen like a dagger of sorts as he delivers lyrics that don't aim to impress, but instead aim to provoke feeling and resonate with the listener, something that is accomplished on nearly every track. His swaggering confidence is evident, while also digging into his tough upbringing with lines like "I sold crack/I'd be damned if I can't sell a rap" on the closing track Escape.

Cornerstore, the sixth track on the mixtape is the real showcase here though, as the jazzy, street rap instrumental features a prominent use of horns and is one of the finer beats that producer Thelonious Martin has given us up to this point in his young career. Purp is joined by Saba and theMind, and the three work together to paint a picture of their childhood in Chicago, a city which has constantly been identified as one of the most violent and dangerous places in the US. On this track however, Joey isn't looking to give a PSA on the dangers of his hometown, and instead is simply presenting you with an idea of where he came from, and how it's impacted him to this day. The song presents perhaps the strongest lyrical display on the album, and is highlighted with the lines like "and white kids deal with problems that we never knew to bother/arguing with they dads, we pray we ever knew our fathers" a line which allows Purp to again put an emphasis on his upbringing while also touching on rather personal and emotional topics without coming off as soft.

Going into iiiDrops, I was quite far from being a fan of Joey Purp, but I can't deny his abilities after giving this release multiple listens. From his brash delivery to his rugged voice, the young emcee exudes Chicago, while having the charisma and lyrical strength to separate himself from the rest of the crowded pack looking to find their sound in the streets of city. 

3.5/5

Check out the track Cornerstore below:

You can stream iiiDrops in full over on Joey Purp's soundcloud page here.

Imperial by Denzel Curry

Florida based hip-hop emcee Denzel Curry has been a breath of fresh air in the rap scene ever since the release of his debut studio project Nostalgic 64 in 2013. On that project, we saw the artist blend aggressive, in your face trap inspired verses over some very spacey, dark, and surprisingly intricate production. His blend of cloud raps and gang related bars contributed to what was one of my favourite hip-hop projects of that year, and put him on the map as one of the better up and coming talents on the scene.

He followed up his debut album with the double EP 32 Zel/Planet Shrooms just last year. While this project was still quite enjoyable and showed off Denzel's growth, it was perhaps a bit too ambitious, as he spent the first half crafting some of his best trap inspired songs yet, but on the more laid back and drugged out second half, he delivered some of his most lackluster material to this point. It was made clear on that record that he's at his best when he's bringing loads of energy and raw, violent lyricism into the recording. So, with that being said, going into his newest project Imperial, I was hoping to see Curry take an approach more similar to that of Nostalgic 64.

While there are traces of older material on this new release here, it more so stands on it's own. We see a return to the southern hip-hop we've come to enjoy from Denzel, and he's certainly relying more on the trap influence than he is on the cloud raps. Nevertheless, he also looks to find his own style in terms of production, as we get rather wonky, spacey, trap influenced beats that are unlike anything you would find on his other releases. We also see a much more ambitious approach in terms of the guest features, as rather than bringing along past collaborators such as JK. The Rapper, Mike Dece, or Lil Ugly Mane, the former Raider Klan member instead enlists the help of some of the more popular hip-hop artists around, in the form of Rick Ross and Joey Bada$$. Not only is that an ambitious choice that is sure to bring Curry a bit more exposure, but it is also a risk that pays off extensively as both rappers deliver very solid verses without stealing the show. Knotty Head, the track that features Rick Ross is one of the moments of production that caught me off guard initially, thanks to the unorthodox sound of the synths and the transition into an old school 90's hip-hop beat during the last 20 or so seconds.

Lyrically we're seeing much of the same Curry we've come to know, as he discusses gang violence, drugs, racial issues, and things of the sort. It's not the meaning behind the emcee's lyrics that has made his music stand out however, and instead it's been the catchiness of his hooks and his always impressive flow. While his fantastic flow does carry over into this project, I feel personally that this record hosts some of his least flashy hooks that he's recorded. They aren't necessarily poorly written, but often times they feel a little too simplified and watered down when compared to past tracks like Parents, Threatz, or Zone 3, all of which were stand out takes on Nostalgic 64. There are quite a few decent hooks here nonetheless, Story No Title contains a fairly strong chorus, as does Pure Enough, a track that besides the hook, doesn't offer as much as most of the other tracks on the record.

This Life is a track worth noting as well, as it see's Denzel detailing a love interest as well as talking about his friends and the state of the world. He takes a much less aggressive approach for this track, but still manages to impress with lyricism that's a touch less over the top and anger driven. The real standout on this project though is easily ULT, the lead cut that opens the project with a bang and serves as a basis for Curry to showcase his vocal gift as quickly as possible. It's not the best production found on the album, but it's easily the most similar to his former body of work and definitely still stands out after multiple listens. That last track I want to point out is Zenith, which features Pro Era artist Joey Bada$$ and contains an instrumental that you'd be more apt to hear on a Joey project than one from Denzel Curry. Nonetheless, both rappers capitalize on the fantastic beat by delivering some great lyrics, which helps to bring some real life to the final few tracks of the project. While Knotty Head  with Rick Ross was a solid track, and the laid back old school vibe of the closing cut If Tomorrow's Not Here stands out as well, it's Zenith that gives us the best track with a feature on the record. The meshing of Curry's southern influenced style and the New York origins of Joey Bada$$ makes for a fantastic collaboration, and something I'm hoping to see the two rappers do more of in the future.

There's quite a bit to take away from this project, and any fan of hip-hop music should enjoy it quite a bit. It certainly has shades of the same rapper who gave us Nostalgic 64 and 32 Zel/Planet Shrooms, but it also see's new risks and a lot of aspects we've never seen from Denzel in the past. If anything, Imperial shows he's continuing to reinvent himself and mature as an artist, and no longer needs to rely on flashy, loud, bass driven production, and can instead carry a track on his own. It's not quite on par with his commercial debut, but it leaves a better impression than his last release for sure.

Rating: 3.5/5

Listen to the track ULT below:

You can download Imperial here for free.

Disguise the Limit by Nyck Caution

If you couldn't tell by the wordplay in his stage name, Nyck Caution (get it? NYC, like New York City) is a New York based emcee who has gained a fair bit of exposure in the past few years thanks to his work as part of the hip-hop ensemble Pro Era, a group that also houses the likes of Joey Bada$$, Kirk Knight, and CJ Fly among many others. Despite the plethora of gifted artists who belong to the collective, Nyck has always managed to stand out thanks to his slick flow and unique voice that always brought a nice change of pace whenever he would appear alongside his label mates on a track. With that being said however, much like many other of the emcees that occupy the Pro Era roster, he has been relatively quiet over the past few years, and it has really been Joey Bada$$ who has brought the group their popularity. That's not to say others haven't been releasing projects, as Kirk Knight's Late Knight Special was released just last October, and CJ Fly has a project of his own under his belt with Thee Way Eye See It. For Nyck however, he hasn't taken on a full project of his own since Pro Era's come up, and with his release Disguise the Limit, he's looking not only to make a statement, but also to remind those who had long forgotten about his impressive performances on other emcees projects' that he's still around.

If you're already tired of hearing me discuss Pro Era, then chances are this project won't be for you. Not only is it filled with guest verses and production credits from friends of Nyck's, but lyrically the record is cluttered with references to his peers as well. Most of these prove unnecessary and serve no purpose other than to remind those not familiar with Nyck that he is a member of the collective. While that's a rather minor issue, it unfortunately isn't the only problem I found with the lyrics on this thing.

One of Nyck's strongest suits when it came to his guest features in the past, were as I mentioned, his flow and his lyrics. However, when you get fourteen tracks that present almost the exact same formula of songwriting and subject matter, there isn't much room for surprises or anything impressive, as we've heard it all so many times before. Many tracks simply deal with his past or how skilled of a rapper he is, aside from the emotional Out of Reach that deals with the death of the late Capital Steez, who was also a member of Pro Era before his passing in 2012.

The beat selection throughout feels fairly mediocre in terms of what I've come to expect from a Pro Era project, which is rather surprising especially considering the production is handled by the likes of Kirk Knight and Chuck Strangers who both lend instrumentals to the record. For the most part, it feels as if there's an uncertainty of what style the project is going for, as we get the more traditional gritty New York street style beats at certain points, but also get a fair share of cloud rap instrumentals and at other times production that is rather alternative and unexpected. The Kirk Knight produced cut Wordsmith see's Nyck spitting over a dirty, distorted guitar instrumental, something that certainly stood out, but also could have been cleaned up a little bit as the guitar did sound rather rough around the edges and does distract from what's being said on the song. The track Church also see's a rather adventurous risk as the instrumental progresses from your traditional hip-hop beat into a electronic dubstep breakdown.

There's not much to discuss in terms of individual tracks or the lyricism, as everything on the project is competent, which may be the biggest problem I have with it. Everything feels the same, and while there were a few tracks that differ instrumentally, Nyck himself stays the same with his approach throughout. I still think he has a ton of skill, but his songwriting remains very raw and until he is able to prove he's more than just a rapper who can drop a nice feature on someone else's track, he will continue to fade to the back of Pro Era's line up.

Rating: 2.5/5

Check out Nyck Caution's track Church below:

Vroom Vroom EP by Charli XCX

Over the past few years, English born singer Charli XCX has become a household name within the world of pop music, thanks in part due to her collaborations with Iggy Azalea and Icona Pop and also with the release of her first two full-length albums. I was never blown away with the music Charli has released in the past, and for the most part all she offered was a fairly strong voice in terms of the pop realm, and lyrics that at times did stick in your head. With that being said, on her latest EP Vroom Vroom she looks to take a very different approach to her songwriting, and brings along talented producer SOPHIE to provide her with the suitable instrumentals.

SOPHIE, who just last year released his debut solo full-length Product has proven himself to be very gifted artist when it comes to creating wonky, unorthodox, catchy pop tracks and he furthers that with his work here. While the lyrics are rather catchy and are sure to please even those who are partial to traditional post-2010 radio pop, the real heart of the album is the club style production that is cranked full of loud bass, angry synths, and at certain moments some rather abrasive and in your face noises.

The project kicks off with the title track Vroom Vroom, a fast paced synth driven cut that houses some very loud drum work. The progression on the song is rather impressive as it switches back and forth from feeling like a club ready dance song during the verses, to highlighting Charli's vocal ability in a very radio friendly fashion on the chorus. Lyrically it introduces you to the same topics that are discussed throughout the other three tracks as well as they're simple, straightforward braggadocios lines that catch your attention during the hook and work together quite well with the production.

The second track Paradise carries an even quicker pace and contains some clear techno influence throughout. Bubblegum pop artist Hannah Diamond also makes an appearance on the track, and even with the inclusion of the sped up vocals that typically have me cringing over how similar they sound to Alvin and the Chipmunks fail to prevent me from enjoying this song. Up next is Trophy, a song that contains some more booming drums and an interesting vocal sample but plays to Charli's vocal ability quite well yet again. It's another moment where we find SOPHIE showcasing his ability to make a simple pop beat so much more, as we see many different passages and verses and the incorporation of a plethora of different sounds, something you wouldn't typically expect to find in your average pop tune. The closer Secret (Shh) is perhaps the most contradicting track on the album as it opens with rather ugly, noisy synth based production but transitions into a chorus that in many ways reminds me of a more well put together version of Iggy Azalea's Black Widow. 

The chemistry between the two artists who created this project is shown in abundance on each and every track, and while it may not appeal to those who haven't at least found some enjoyment in either artists previous work, it is sure to please those who are already fans, or those who are interested in a wonky, unique bubblegum bass pop project. While incredibly short and to the point, this definitely puts the duo on my radar, and I hope to see them teaming up many more times in the near future.

Rating: 3.5/5

Listen to the title track Vroom Vroom below:

Jerome Raheem Fortune by Rome Fortune

My first experience with Rome Fortune's music came with the release of his 2014 EP Small VVorld, a project that didn't blow me away, but did make a solid impression nonetheless. On the project, it was made immediately clear that the Atlanta, Georgia based emcee had an ear for intriguing instrumentals and was able to match them up with the perfect flow seemingly with ease. So, going into his debut full-length album, Jerome Raheem Fortune, I was hoping to see him capitalize on the same spacey, wavy, intricate production style that made his older material stand out. Fortunately, the album delivered, as this is perhaps the most diverse project I've heard from Rome thus far into his career, as he comes through with various flows, and couples them with some fantastic production.

When the opening track All The Way began, I was forced to check my iTunes library because I could have sworn I had accidentally put on a song by a synth-pop act like Carly Rae Jepsen or Chvrches. Not only does the beat feel far off from what you would expect on a hip-hop project, but Rome Fortune's singing voice comes through in a way that sounds like he could be making radio-ready pop music. It's not one of the best tracks on the project, but it certainly sets up the listener for what's to come up next, and overall is still an enjoyable cut.

That same pop oriented singing comes into play multiple times on the album, and it almost always works for the best. Some of the records finest moments, the song Love for example, see's Rome alternating between his deeply pitched natural singing voice and a much higher autotune approach delivered over top of a dance influenced club beat. Of course, the use of upbeat danceable tracks doesn't stop there, the appropriately titled Dance is another cut that see's Fortune handling a lot of singing duties, and while lyrically it might not be the most impressive, it's the production, catchiness, and his flow that help drive the track just like with the rest of the album. 

It's not all poppy dance rap on the record however, as many tracks exude a certain alternative trap flavor, a la Chicago rapper Lucki Eck$. The song Blicka Blicka features a sparse, spacey instrumental with Fortune spitting some trap inspired bars without digging so deep into the drill or trap scene that you feel like you're listening to a project of those genres. The following cut, Heavy as Fathers see's a similar approach, and opens with the line "sniffed a bunch of cocaine last night,"  which gives you an idea of the "turn-up anthem" that the track really is. There's no promise of broad, introspective lyrics that will make you think on this album, but Rome is still constantly is able to bring more to the table than your run of the mill turn-up party rapper on cuts like these. 

There are a few deeper moments lyrically throughout Jerome Raheem Fortune as well, like on the cut What Can You Do where Rome spends the track reflecting on his childhood, his relationship with his father, and his struggles with drug addiction. While it doesn't always feel as if he's reaching as far back as he can, the sung of chorus of "what can you do about it? not a god damn thing" shows his fairly lighthearted perspective on the matter, and before too long we're back to the more upbeat, fun, entertaining tracks.

Still I Fight On, one of the most ambitious tracks in the listing as far as length goes, clocks in at over six minutes, and while the instrumental begins sounding like perhaps the most traditional the production on this project gets, it quickly progresses into one of the finer alternative trap beats found in the listing. The tinny claps met with the shiny synths and dirty bass all slide into the background as Rome takes front and centre with his rhymes which while ultimately aren't anything spectacular, remain entertaining and prove once again that he's able to hold his own.

The album wraps up with a couple more interesting tracks, as both Paid Back Loans and the closing cut Find My Way are memorable moments from the project. The guitar based instrumental on Paid Back Loans is a small but solid change from the earlier instrumentals, and the warm, tropical production on Find My Way is a strong way to wrap the project up and leave on a high note.

The combination of perhaps the best production I've heard on a hip-hop project so far this year, a plethora of fantastic hooks, and a strong enough flow and lyricism to help Rome Fortune stand on his own makes Jerome Raheem Fortune a fantastic debut full-length for the Georgia native, and proves that he may just be a hip-hop star in the making.

Rating: 4/5

Listen to Rome Fortune's track Blicka Blicka below:

All is Dust and I Am Nothing by Slaves BC

Here we are in the 21st century, with a metal scene unlike we've ever seen before. No longer can a band succeed by striving to simply be the "heaviest" or "most metal," because it's been done countless times before. Now, it's about the style just as much as it is the substance, it's about broadening the horizons of the listener and incorporating more than just blast beats and ugly vocals, that is if you want to make a great record. For Slaves BC, they do exactly that with a blend of hardcore punk and blackened doom metal that has established themselves as one of the most exciting upcoming bands in the metal scene, in my personal opinion at least. They've released a handful of singles, 7' splits, and EPs over the last couple years, but All Is Dust And I Am Nothing is their first full-length album, and boy is it ever packed to the brim with the rawest of raw vocals and nasty, chugging, guitar riffs guaranteed to leave you begging for more (or maybe less?)

The album, loosely referred to as a concept album, sees the band explore the meaning of life. If you are unsure of what exactly it is that they discovered throughout this venture, maybe the song titles will help clarify. A quick peak at the track listing gives you titles such as God Has Turned His Back, All Find Their Way to Their Grave, and Everything Is Meaningless. The music however, doesn't deliver exactly in the same vein that the song names might lead you to expect, as the project feels quite a bit more like the narrative of a man's life than it does the emo record that the track listing might imply. As the LP progresses, the screeched vocals, which do at times feel as if they were inspired by early 90's screamo, feel as if they become lower and lower in the mixing. Progressively becoming drowned out in dirty, muddy, distortion. It's as if the man's thoughts are no longer clear, or at least are not distinguishable to those who hear them. The ferocity and raw nature of the vocals are perhaps best displayed when tracks come to a halt, on cuts such as Crawling Through Nothing and Why Are We Here? the band makes the decision to finish the tracks with blood curdling, animalistic shrieks rather than relying on the heaviness of their respective instruments. 

Anyone can pound on a drum set and scream into a microphone, and while at times it may seem as if that's all that the Pittsburgh based hardcore outfit are doing, it always leads to something bigger and badder. Whether they're looking to bring out the ugliest, meanest noise possible on the tracks God Has Turned His Back and Nothing Remains But Death, which feel at times as if they were influenced by mathcore acts such as Converge or Dillinger Escape Plan, or moments where they are looking to create some cleaner, more traditional metal instrumentation like on Everything Under the Sun, the band always seems to be looking to try something different than what you have heard on the previous track. Even if the progression is minuscule, it can still always be found.

Beauty in metal is more prominent than ever before. Subgenres such as post-metal and blackgaze, are seeing acts incorporate lush soundscapes and more atmospheric elements into their sound that previously wouldn't have been accepted as being heavy metal. For Slaves BC however, their sound is as far from being pretty as humanly possible. It's dirty, it's raw, and it's ugly as hell, yet the band refuse to let that be the ultimate selling point of their sound. Instead, they focus on building bone crushingly heavy and slow, methodically placed riffs that when met with the angry drum bashing and wretched vocals makes for arguably the nastiest metal album I've heard this year. 

Rating: 3.5/5

Listen to the the track Everything is Meaningless below:

You can download or stream the band's album at their bandcamp page here.

If you enjoy ugly, disgusting, rage inducing metal music I suggest also checking out my review for the latest Seven Sisters of Sleep album Ezekiel's Hags.

The Life of Pablo by Kanye West

It seems as if The Life of Pablo, Kanye West's 7th full length LP had a release that was based more so around the spectacle itself than it was actually around the music being created. From the way that the man known as Yeezy decided to handle the release, premiering it at Madison Square Garden alongside his latest fashion venture Yeezy Season 3 (which you watch in full over at TIDAL here) to the multiple name changes of an album that began as So Help Me God, which then became SWISH, and stopping at Waves before finally ending up with the title The Life of Pablo. It seemed to be a lot of ego stroking, and left expectations varied among those waiting for the album's release.

While West has had a history of successful releases, with his debut full-length effort The College Dropout winning him one of his many Grammy Awards and giving him his first hit single with Jesus Walks, it wasn't until 2010's My Beautiful Dark Twisted Fantasy that Kanye truly came into his own as an artist. The album was an introspective and dark look in at the life of a man who had transcended being a rap artist and had now become an infamous pop culture star thanks to his outspoken ways, and in particular his run in with Taylor Swift at the 2009 Video Music Awards. He continued to impress critics and fans alike after the release of MBDTF with his following album Yeezus, a record that saw the GOOD Music founder experiment with elements of abrasiveness and noise rap for the first time. It was yet another standout release, and managed to convert many former unimpressed listeners into bonafide fans. 

On his new release The Life of Pablo, we're getting what feels like a reflection on his career as well as a combination of all the sounds he's incorporated in the past. Tracks like Father Stretch my Hands and Highlights are both reminiscent of his early material, the Graduation record in particular, and the I Love Kanye interlude takes a similar formula to the skits found on his aforementioned full-length debut The College Dropout. That interlude is one of the most interesting moments on the album due to the way that Kanye embrace his reputation as a self-centred egotistical man much like he did on My Beautiful Dark Twisted Fantasy, while also poking fun of it in humorous fashion. Unfortunately, aside from that single track we don't hear much more of that same introspective side of the rapper throughout the LP. We do however get a few cuts similar to those found on the album Yeezus, as both Feedback and FML bring out that same abrasive and a touch more experimental side of Kanye we've seen before, making them enjoyable cuts worth hearing.

While there were many artists recruited to collaborate on the album,(Kid Cudi, Chris Brown, Rihanna, Post Malone, and The Weeknd to name a few) it's the guest verse of rap superstar Kendrick Lamar that really steals the show as far as the star studded features go. His appearance on No More Parties in L.A, which was released as a snippet earlier on, is one of the best moments you'll find on the album. K.Dot has constantly proven himself as one of if not the premier emcee in the game, and he does so here yet again on another artists record. 

That does however lead into the biggest problem with the project, as many of the best tracks found in the listing were already released as singles. Not only have you already heard the core of the album by listening to the tracks that have already been released, but you've also heard the best moments. When Kanye originally tweeted out the track listing, the album contained just a mere 9 tracks, and some of the singles which had already been released had been left off. No More Parties for example, was originally not going to be on the album, yet ended up being one of the best tracks, making it appear as if the singles were just thrown on either from fear or nervousness. The final single released from the album, 30 Hours, ended up being one of the least impressive moments found on The Life of Pablo, as the song clocks in at five and half minutes, yet feels as long as the name would imply it to be. Like quite a few other cuts scattered throughout, it doesn't bring anything new to the album, and the beat is nothing more than generic and boring filler. Kanye killed a lot of the momentum found on the original album by making the decision to add so many tracks at the last minute, as quite a few of them fail to stand out on their own, and hardly justify the delayed release. 

Most of what's found on the album feels very familiar, as if it's already been heard quite a bit before. Even the most controversial moment on the album, the line from the track Famous where Kanye states that not only might he still have sex with Taylor Swift, but that he in fact made her famous, it feels as if he's living in the past of something that was relevant over 7 years ago. All of the emcee/producer's former releases are enjoyable for their own reasons, but when placed into one single project, it feels more like a convoluted mess than anything new.

At the end of the day, The Life of Pablo is not Kanye's best release, and when compared to his last two albums, it seems like a step backwards. Is it a bad release? Not by any means. But when considering the roll that the Chicago native has been on over his last few albums, and the hype that was surrounding one of the biggest rap releases of the year, it can't help but leave a bit of a sour taste in your mouth.

Favorite Tracks: Feedback, I Love Kanye, Real Friends, No More Parties in L.A

Least Favorite Tracks: Highlights, 30 Hours

Rating: 3/5

If you've heard the album, what did you think of it? Go ahead and let me know your thoughts down below, if you disagree tell me why I'm wrong or just call me mean names.

Local Spotlight #1: Downer Punks of Fredricton by Beard Springsteen

It's hard to know exactly what to expect when listening to an album that has been tagged by the creators themselves as "worst band ever." While the production and track names found on the two piece downer punk band Beard Springsteen's debut LP Downer Punks of Fredricton (which is more like an EP with it's 19 minute runtime) might lead one to believe that the duo is really buying into the worst ever tag, there is clearly something bigger than that under the surface.

From start to finish the record is very hit or miss. Something should be said however for how many enjoyable tracks that the duo are able to pull off considering just how lo-fi their sound is. Not lo-fi in the same way that you would expect a garage punk act to sound, instead it's lo-fi in the way that the album sounds at times as if it were recorded through a desktop computer web cam. Just as frequently as that can be a detriment to the album, it can also be one of the best parts, with the raw vocals that are buried deeply under the murky distorted guitar and cymbals that find themselves constantly ringing in your ear. Cuts like I Hate This City, Frostbite, and Punk Rock 101 come to mind when mentioning that, as the catchy riffs and low vocal mixing fits just right allowing the band to prove exactly what they are capable of.

It's not a stellar release, yet it's quite far from being eligible of the "worst band ever" tag. There's raw talent in abundance on display from both members of Beard Springsteen throughout, but it's also clear that they're still in search of a distinct sound of their own. The album is a hodgepodge of punk influences, skate punk, emo, noise rock, among others are all prominently featured, and while downer punk may be the best classification at the moment, it still doesn't quite sum up what the band gives us. At it's core, this project isa collection of intriguing moments, some catchy tracks, and some cuts that end up falling short. More importantly however, it's the foundation for an act that has some serious potential. It isn't unreasonable to think that the duo have a chance to gain some serious momentum considering the current popularity of lo-fi punk acts. With their blend of subgenres and a sound that already radiates a certain "we don't give a fuck" mindset, they have taken a great first step towards that direction with this LP.

Check out the band's track Frostbite below:

You can download their debut for free over at their bandcamp page here.

Thought Rock Fish Scale by Nap Eyes

Nostalgia is in, and what's old is now hotter than what's new. What was once considered dated, or "so last year" is now coveted and celebrated. That can be applied to music, movies, and the majority of other art forms across nearly any platform. There is a certain demand for more acts like Zeppelin and Pink Floyd, but it's rather unfair to expect that same sound when we live in a time with a music scene filled to the brim with uniquely creative acts. However, for those into the revival of past trends and musical styles, the new Nap Eyes album Thought Rock Fish Scale is aimed specifically at you.

The sounds of Atlantic Canada flow through the folk act's sophomore release, while the band also looks to incorporate influences from the likes of iconic art-rock group The Velvet Underground. The laid back guitar play and somber tone of the album are propelled by frontman Nigel Chapman's vocal approach, which does at times feel monotonous, and yet at other times fits in just perfectly. While the album is just a mere 34 minutes in runtime, it sees plenty of repetition and longer than expected tracks. The longest cut on the album, Lion in Chains, is an example of the four-piece taking advantage of said repetitious approach and extra song length as Chapman's voice fills your ears by soaring high above the instrumentation with his story telling as he pulls you into his own little world until the next track hits. It isn't always a positive when the songs happen to drag on for so long though, as cuts like Click Clack and Alaskan Shake both feel as if they simply should have wrapped up sooner, despite both being quite a bit shorter than the aforementioned Lion in Chains. 

One of the most intriguing aspects of the project is just how prominent Josh Salter's bass is. It comes through both groovy and mellow, and on the opening cut Mixer, feels louder than any other instrument featured, which helps make it one of the best songs on the whole album. The project can only be explained by calling it the soundtrack to cracking open a cold beer on a sandy beach, thanks to the warm and welcoming guitar riffs and soothing, laid back drum patterns. 

As far as the local Nova Scotian music scene goes, I haven't heard many acts that are worthy of discussion. Nap Eyes however, have proven themselves deserving of anyone and everyone's time of day with their latest release. It isn't anything new, and in fact it feels quite old. The album gives you that same feeling as finding an old childhood toy, or flipping through a photo album filled with pictures of your favorite summer. It's that atmosphere and sensation that not only keeps the album from being just another indie folk record, but also allows it to be accessible to music fans both young and old.

Favorite Tracks: Mixer, Lion in Chains, Trust

Least Favorite Tracks: Click Clack, Alaskan Shake

Rating: 3.5/5

Listen to Nap Eyes track Mixer below:

You can download the band's album Thought Rock Fish Scale here.

Who the Fuck is Chris Spencer? by Vic Spencer & Chris Crack

Underground Chicago based rappers Chris Crack and Vic Spencer have both been putting together some very solid projects within the underground hip-hop scene for quite sometime now. They are frequent collaborators, and on Who the Fuck is Chris Spencer? they deliver their first full-length album has a collective. While Vic Spencer is perhaps best known as the guy who exchanged diss tracks with fellow up and coming Chicago emcee Mick Jenkins late last year, he, as well as Crack, are both also known as on the rise hip-hop artists who are looking to use this release as a stepping stone to the next level of popularity.

The album is presented as a concept project, an introduction to Chris Spencer, as the project's title implies, and while you do learn that he's a wise cracking, beyond confident man who has no problem speaking highly of himself, that's about as far as the duo manage to take it. Their lyricsm isn't bad, and there are a plethora of clever lines that still cause me to chuckle after multiple listens. The best example of the quick-witted song-writing comes on the cut Ice Cubes when Vic Spencer spits the line "y'all get an A+ for sucking balls." It's simple, straight forward lines like this that the two specialize with, and when it's combined with the 90's inspired production of the album, it works quite well.

The downside, however, is that the production isn't always all that impressive. Instrumentals like the vocal sample driven beat of Zebra Ave or the strange synth based production found on The New Information aren't able to be redeemed by the rapping, because the two rely on their ability to ride the beat so heavily that when using an unimpressive instrumental, they end up failing to deliver. With that being said, there are also tracks where the samples are extremely well done and the beats help propel Spencer and Crack to a much higher level then they'd otherwise be on. Spencer has proven himself as talented behind the boards, and assuming he handled those duties on this project as well, he certainly came through with some of the best production I've heard from him on the album's better cuts.

As I mentioned, the two were clearly influenced by 90's hip-hop as the jazz based sampling and laid back flows are the driving force throughout. No Biggie is an exception of that rule, as the trap flavoured song features some hard-hitting bass and an aggressive flow from the two Chicago natives. At no point do they look to bring anything new or unique to the table, and that is perhaps just a byproduct of drawing as much inspiration as they do from the past.

Any fan of either of the two gifted emcees' should take the time to check this one out, and those not acquainted will find this to be an easy way of being introduced. Who truly is Chris Spencer? He's not anyone exciting or innovative, but when he's firing on all cylinders, he makes some truly enjoyable hip-hop tracks.

Favorite Tracks: Cue Ball, No Biggie, Drunken Monkee

Least Favorite Tracks: Zebra Ave, The New Information

Rating: 3.5/5

Listen to the duo's track Cue Ball below:

Ezekiel's Hags by Seven Sisters of Sleep

Sludge metal has always been more of a style than a genre, with it's down-tuned, methodical, swampy guitar play featured prominently alongside booming drums and vocals that can range anywhere from wretched screams to warm and welcoming serenades. It's certain that you never know exactly what to expect going into an album with the label "sludge metal," aside from the fact that it will hit you hard and it won't quit until you're done listening.

Not only does the Californian based five-piece Seven Sisters of Sleep (SSOS) embrace the sludge metal mantra, but they also use it as a stepping stone, a method of inspiration only to explore even darker and heavier depths of the metal world. The music found on Ezekiel's Hags can't be lumped into any modern genre, and trying to define it simply isn't a possibility. The band isn't looking to show their musical influences, or give you an idea of what they're trying to make, instead they're looking to engage in a complete onslaught of gigantic proportions as they envelop the listener in a cloud of raw, dirty, unrelenting musical horror.

As soon as the lightning fast blast-beats and Converge-esque screeches of the opening track Jones explode onto the album, the pace of the record is set. At only two minutes in length, you'd believe SSOS would rely on short, frantic, organized chaos to carry the momentum on their first release in three years. Instead, however, we see the band tackle multiple cuts of over five minutes, even seeing the closing track Bastard Son come in at over ten minutes. Just as easily as the band can hit you over the head with a hammer and bring your misery to an end, they can also tie you up and drag you along, stretching the brutality to twice or even three times the expected lengths while still finding new ways to keep you invested.

Even deadlier than the group's incorporation of such a varied list of genres (death, doom, and black metal as well as hardcore and grindcore, to name a few) is their ability to do so at the drop of a dime. One minute you're getting lost in the chugging guitar riffs of Plateau or Third Season, and then next thing you know, the vigorous drumming on Brother's River or the ear-splitting vocals and grindcore outro of Sacred Prostitute shakes you from your core. The album is equally technical and beautifully composed as it is ruthless and sadistic, perhaps that's exactly what Seven Sister's are aiming to do.

Favorite Tracks: Jones, Denounce, Gutter, Sacred Prostitute, Ud-Nun, Bastard Son

Least Favorite Tracks: None

Rating: 3.5/5

EVOL by Future

If there's one thing that can be said about Future, it's that he's among the most frequent releasers in the hip-hop scene. Since 2012, he's released three full-length albums and eight mixtapes alongside a plethora of singles and guest features. With all these releases coming so frequent, the Atlanta born emcee has proven his consistency, but is also beginning to border on overstaying his welcome. Now, just over six months since releasing what is easily is best project thus far in his career, DS2, Future is releasing EVOL, his fourth LP.

Less than a month ago Future released his Purple Reign mixtape, and the general consensus on the release was that the trap artist needed to slow down on his musical output. Too much of a good thing can be a bad thing, and because of the lack of diversity in Future's sound, and for the most part, the trap genre itself, there's nothing new being brought to the table. On EVOL, it's much of the same we've already heard. Albeit there's much less filler and throwaway tracks than Purple Reign, but even the best tracks on EVOL fall short of what the rapper is truly capable of. 

The unfortunate byproduct of releasing an album the caliber of DS2, is the heightened expectations that come alongside the success. With so much music being released, he's smothering his listeners with subpar material instead of giving us the quality we know that he's capable of making. Some of the tracks on EVOL are catchy trap anthems that are worth a listen. Cuts like Maybach and Xanny Family are both incredibly catchy and certainly contain some replay value. The problem is that plenty of the other tracks fail to differentiate themselves from anything else found on his other material, and despite being an album, the project doesn't have the feeling of being any more than another mixtape. 

The track listing also gives us some completely obnoxious tracks, and Lie to Me is the first one that comes to mind. The spacey-synth based instrumental is way too busy and distracting thanks to the heavy bass line that feels as if it's been turned up way too high, making for what is overall some messy production. The lyrics aren't much better, although no one should go into a Future record looking for in-depth or impressive lyricism. Program is the only cut that rivals Lie to Me for the least enjoyable on this project, as the fact that every line ends with "program" drives me insane due to the lack creativity lyrically. 

Future turns it around with the following cut Low Life, that features The Weeknd, straight off of the success of his latest album Beauty Behind the Madness. It's by far the longest track found on EVOL, clocking in at over five minutes, but still managing to remain interesting. The album finishes with Fly Shit Only, a song that features one of the most impressive beats I've heard Future use since DS2, as there's some piano, some electric guitar, and even some distorted, glitchy noise to be found within the instrumental. 

Ultimately Future came up a little short on his latest effort, but EVOL is still nothing to scoff at. There's some entertaining tracks, and some not-so-enjoyable moments as well. If there's one thing to take away from the album however, it's that Future continues to prove that he needs to slow down on his releases. Quality over quantity is what his fans are looking for, and while his frequent output is very impressive, it's leading to more lacklustre songs than necessary. 

It's worth noting that fellow Atlanta, Georgia based rapper Young Thug also released a project this past Friday, and has been quite vocal about his issues with Future in the past. To find out my thoughts on Thug's latest, make sure to subscribe to the blog or follow me on Google+ as I will be reviewing I'm Up soon!

Favorite Tracks: Maybach, Xanny Family, Low Life

Least Favorite Tracks: Lie to Me, Program

Rating: 3/5

Khalifa by Wiz Khalifa

As hard as it might be to remember, there once was a time when Wiz Khalifa was an up and coming hip-hop artist putting out some very interesting stoner rap. His laid back flows, wavy beat selection, and clever yet simplistic wordplay helped allow him to put out some great mixtapes such as Prince of the City, Burn After Reading, and Kush & Orange Juice. As his popularity grew however, the apparent amount of thought and effort that went into his songwriting began to diminish, and after the release of his third full-length album Rolling Papers, it was clear he was heading in a new direction stylistically.  Now, with plenty more popularity and a couple big name awards under his belt, Wiz has delivered Khalifa, his sixth full-length release. Former fans of the Pittsburgh born emcee will probably go into this album hoping for a return to the rapper's former ways, unfortunately, they will end up sorrily disappointed.

Not only is Khalifa the worst album Wiz has put out this far in his career, it's also one of the worst rap album's I've heard in a very long time. The album, summed up as quickly as possible, is 13 tracks with absolutely zero effort, featuring generic production, an overuse of overdubbed vocals and echo effects, boring lyricism, and the Taylor Gang leader attempting to say "I smoke weed" as many times as he possibly can on an album before driving the listener insane. Lines like "my chain shit on your car, my rolex fucked your bitch" on Celebrate, or "gettin' all this paper, got me shittin' in public" two tracks later on City View are beyond cringe worthy. Not even the instrumentals, done mostly by fairly talented producers like frequent Khalifa collaborators Big Jerm, SAP, and Sledgren can help save any tracks on this LP, as most beats feel generic and boring, not even seeming good enough to be filler on an older project of his.

The album is 52 minutes yet feels like a lifetime, with guest features throughout adding nothing more than perhaps an appearance on the chorus or a lacklustre short verse. The only decent features comes on the one tolerable cut on the record, as No Permission features fellow Taylor Gang records label mate Chevy Woods. The instrumental, which is easily the most reminiscent of Wiz's past material on the album, is fairly average, and he appears to at least be attempting to put in an effort lyrically on this track. The biggest issue with the album for me, if it isn't clear yet, is that it's obvious Wiz isn't trying, coming through as a shell of himself even on his other commercial releases. While projects like Rolling Papers and O.N.I.F.C weren't great by any stretch, they at least felt like radio-bait, whereas Khalifa doesn't even seem to be enjoyable enough for the radio. It's not catchy, unique, creative, or anything else that could possibly be seen as a positive quality.

On Zoney, one of the later tracks in the listings, Wiz even brings his son Sebastian onto the album as perhaps some attempt to create a cute moment, but that's the last thing needed on a rap album. The only thing it serves to do is help the listener forget the lyrics earlier on the track, which are among the worst found in the listing. It did garner a smile from me though, because it became evident at this point how heavy Wiz was reaching, just looking to fill-up time and tracks as needed.

I'll be completely honest and admit that I'm not much of a fan of commercial radio rap. With that being said, the pop-rap elements aren't even what makes this album so unbearably bad. There's nothing appealing to be found anywhere near this album aside from maybe one or two tracks that are just a little bit above the horrendous standards the rest of the album sets. I'm not going to ramble on about just how poor this project is, or how far Wiz Khalifa, a once at least somewhat talented emcee has fallen off. Instead, I'll just leave by recommending you stay as far away from this album, or any song found on it for that matter, as possible.

Favorite Tracks: If I have to choose, No Permission is at least better than the other songs found on this trash heap.

I'm not even going to attach a video from the album below, instead listen to Never Been, a track from back when Wiz made enjoyable stoner rap.

Least Favorite Tracks: BTS, Celebrate, Elevated, City View, Call Waiting, Zoney

Rating: 1/5

Yes that's right, one, as in the same number of songs that I can actually ever potentially see myself considering coming back to on this album.

Have you listened to the album yet? If so, let me know your thoughts in the comments section down below!

Hotel Paranoia by Jazz Cartier

When Jazz Cartier claims "everybody in the States compares me to Drake, cause not many in the city can carry the weight" on the song Talk of the Town, he delivers an interesting perspective of what's to come on the follow-up to his debut album Marauding in Paradise that was released back in April of last year. Not only does Jazz share Drake's hometown of Toronto, Ontario, but he also shares a similar sound to that of the OVO member, as just like Drizzy is known for his ability to to craft fantastic party anthems over a plethora of beats, Jazz once again proves he's capable of the same on Hotel Paranoia. 

Coming in at 16 tracks, Hotel Paranoia is quite an ambitious effort from the Canadian emcee, but if one things for sure, Cartier never shies away from taking risks. Whether it be through his boastful lyrics or his seemingly ever-changing beat selection, which while often trap flavoured, seems to also incorporate influences from many other genres as well. Even with the diversity though, 16 trap songs is a lot to digest, but could the up and coming hip-hop artist step-up and deliver yet again?

The aforementioned opening track Talk of the Town is exactly the way a project should open, Jazz is bold, he's energetic, and ultimately he introduces his listeners of what's to come. That is, until the outro of the song begins, and a skit between himself and an apparent worker from the "hotel paranoia" plays out. I didn't go into this mixtape expecting a concept project, but when one presents a skit of the sorts, and even finishes it with Jazz asking the employee if she can inform him when his friend arrives, as well as asking where the elevator is. The concept seemingly disappears after that track however, and the only true reoccurrence is when the albums sole guest appearance, coming from River Tiber, appears later on in track listing. Once again though, the cut has no clear connection to anything else in the project, so the skit is a somewhat questionable inclusion on the album.

The album almost appears to be divided into halves, as the first ten or so tracks are the expected hard hitting trap beats with Jazz dropping one liners and braggadocios statements. It changes up with After The Club however, as the subject matter becomes the relationship between the Toronto native and a love interest. The change in pace is reversed however, as Tales, the fifteenth track in the listing brings back the style found in the first ten cuts. The track pacing is interesting, but in some ways makes the project feel convoluted.

The project's closer, Save Me From Myself, is one of the most eccentric cuts I've heard from Jazz, as he delivers his first verse in a raw, almost demented vocal style. It's easily one of the most intriguing cuts found on the album, alongside How We Do It, a track that samples the Montell Jordan song by the same name. Not only is the use of the sample fairly interesting in it's own right, the song is the trap anthem you can expect to hear when you tune in to a Jazz Cartier project.

The album definitely flips back and forth, with a share of generic trap cuts that don't add much to the overall experience, but also quite a few enjoyable cuts that display lyrical skill as well as a strong ability to craft catchy hooks. If the goal with this release was to separate himself from Drake, I do believe Jazz succeeded, with that being said, the comparison isn't a bad thing and the more distancing he does, the more he'll need to add diversity and individuality to his sound.

Favorite Tracks: Talk of the Town, Red Alert, How We Do It, Save Me From Myself

Least Favorite Tracks: Illuminati Love Song

Rating: 3.5/5

Is the Is Are by DIIV

It's been four years now since dream-pop outfit DIIV released their debut album Oshin back in 2012. It was an album that did find a very positive reception, but I personally found it to be repetitive, boring, and just like any other dream-pop album to come out before it. Essentially, the band were taking the most accessible albums of shoegaze, things like the reverb soaked vocals and instrumentation and the mixing of those previously mentioned instruments being much louder than the vocals, but leaving behind the atmosphere and "wall of sound" so to speak, that often accompanies shoegaze music.

While I certainly did have my flaws with the band's debut, I also saw that there may be some potential beneath the band's otherwise fairly generic exterior. If they could work out the kinks, embrace more of the shoegaze sound, and leave behind the indie-pop guitar riffs, perhaps, just perhaps they could escape being lumped together with nearly every other band in the same genre.

All that I hoped for, everything that I thought the band could do to right the wrongs they had previously committed, is no where to be found on their second full-length release Is The Is Are. The album is about as incomprehensible as the title, nothing more than a 60+ minute 17 track blur with every song sounding oh so similar to the one before it, and the one before that one, and of course the one before that one as well. Just like on their previous effort, the New York based five piece have compiled a grouping of tracks that easily could be found on any other dream-pop project. The vocals remain for the most part nonsensical, the reverb soaked guitar and vocals remain the same, and the band continues to choose to play almost identical guitar riffs on a regular basis. At times, it appears that the band is toying with post-punk inspired bass lines, but they don't fit the sound that the rest of the group are trying to emulate, and instead of being a nice change of pace it ends up making for a very odd choice. Even after listening to this album time and time again, it's still difficult to remember the tracks and what the band did on them, partially because it sounds that similar, and partially because it's just that forgettable.

There are however, three song's that to do manage to stick out on the album. All three of these songs share the similarity of containing a secondary title of (*name's* Song.) I'm not sure what the significance of the names' included are, aside from Bent (Sky's Song) which features frontman Zachary Cole Smith's girlfriend Sky Ferreira. These tracks are the only time throughout the album that the band truly takes any sort of risk, and actually embraces the shoegaze sound completely by playing with elements of feedback, very heavy noisy distortion, and the aforementioned "wall of sound." Not only do these make for good tracks by DIIV's standards, but they make for fairly enjoyable tracks by any standards. They distinguish themselves from the rest of the track-listing, and actually offer some enjoyable moments. Sky's Song, for example, reminds me quite a bit of iconic noise-rock outfit Sonic Youth, especially the spoken vocals that cause Ferreira to sound quite a bit like Kim Gordon. Bent (Roi's Song) is a track that features lots of distortion and feedback, making it one of the noisier cuts on the album, the only other truly noisy track is Mire (Grant's Song), as it also features a ton of feedback, but rather than fading, it stays in the background of the recording throughout. As the final few minutes of the song nears, we get a short little noisy interlude as well. While the guitar passage continues, there's also a ton of other noises going on, someone playing with their strings causing even more feedback as well as the drummer going completely off tempo, and it creates something that actually sounds worthy of the shoegaze tag.

To sum up DIIV's recent effort, it's 85% what every other dream-pop is doing, 15% quality. The three songs where the band step out of their apparent comfort zone and really strive for something different, they succeed, but on almost every other track the group seems comfortable with these interchangeable elements that make the album as boring and uninspired as it ends up being.

Favorite Tracks: Bent (Roi's Song), Blue Boredom (Sky's Song), Mire (Grant's Song)

Least Favorite Tracks: If I could remember any other songs, I'd tell you, but I already forget them.

Rating: 2/5

Anti by Rihanna

R&B/pop artist Rihanna has been a part of the mainstream pop scene for what feels like forever now. As hard as it is to believe, it's been over 10 years since here early hits Pon de Replay and SOS hit the airwaves for the first time. During her career, Rihanna has at the very least, attempted to change her musical style multiple times, to varying degrees of success. On her last release back in 2012 Unapologetic, she attempted to incorporate elements of EDM in her music, a change that while an interesting idea, didn't add very much to the music she was creating.

Now, 4 years have passed since the release of Rihanna's last full-length album. Not only did she decide to drop an album without much notice or singles to hype the release beforehand, but she also looked to go against the "grain of pop music" so to speak, even naming her album Anti, because as she stated "the album will be the very antithesis of what the public expects." With that being said, Rihanna isn't the first pop star to try and reinvent the formula, and if the risk doesn't pay off, she won't be the first to fail either.

First, let's look at the bad. The lyrical content on this album is arguably the most dumbed down you will find on a pop record. It goes without saying at this point that Rihanna doesn't write her own music, but typically, hearing that an artist does not write their own songs leads one to expect fairly catchy and simplistic songs. However, that isn't always the case on Anti. Instead, we get horribly written lines like James Joint's "I'd rather be, smoking weed, whenever we breathe" and whatever you want classify the mumble filled moments of the album's only single so far Work, which happens to be easily the least enjoyable track on the album as Rihanna comes through as both obnoxious and non-sensical at times, and even a feature from one of the biggest acts in hip-hop Drake can't seem to save face. As the album nears the finish, we also get a trio of slow, uninspired, all together boring ballads. The first of which, Love on the Brain is a clear ode to early mainstream soul artists, but falls completely flat and is nothing new to see from a pop singer as just last year Meghan Trainor's album Title was an equally uninspired throwback doo-wop album. The second to last track Higher sees a very quiet piano based instrumental hide in the background as an attempt to showcase Rihanna's vocal talents. While Rihanna has, without a doubt, a fantastic voice, there's nothing aside from her voice to take away from the track, as it simply offers nothing else. Finally, the closing track Close to You is another piano ballad, this time a break-up song. It's a very forgettable track, and could be interchanged with any other ballad on any other of her earlier albums (so much for the antithesis right?)

Now, onto the areas were the album truly impressed me. The opening track, Consideration, features a glitchy drum pattern focused instrumental, and is one of my favorite cuts on the whole album due to the dub/reggae elements incorporated. We also get a guest appearance from TDE signee SZA, and the two come together for a short yet very enjoyable opener. Desperado is also a very enjoyable track, thanks to the explosive piano/synth based instrumental which also features some of the better lyrics on the record. The Hit-Boy/Travis Scott produced Woo sounds like it would have belonged perfectly on Scott's last full-length Rodeo, and for that reason alone is very easily one of the best songs I've ever heard from Rihanna. Of all these moments, perhaps the album's peak moment comes on Same Ol' Mistakes, a cover of Australian psychedelic-rock act Tame Impala's song by the same name. Not only does Rihanna handle the track incredibly well, but it was recently reported Tame Impala's Kevin Parker is "very happy with how the song turned out" which should definitely say something of her performance.

Anti is easily one of the more interesting pop records I've heard in the past few years, and Rihanna manages to take influence from many artists and genres as a whole throughout the project. Not only is this, in my opinion at least, a new career high for the Barbadian singer, but it's also perhaps her most divided album as far tracks go. The songs range from boring and disappointing, to unique and innovative, and the transitions between are often so quick that sometimes you might forget you're listening to an album from a Top-40 Billboard artist, and I mean that in the best way possible. Unfortunately, the base formula that often times comes with being such a successful mainstream act appears quite a bit throughout Anti, and while it doesn't ruin the album, it does take away from what could have easily been a milestone release.

Favorite Tracks: Consideration, Desperado, Woo, Needed Me, Same Ol' Mistake,

Least Favorite Tracks: Kiss It Better, Work, Higher,

Rating: 3.5/5

ATGCLVLSSCAP by Ulver

It's hard to classify Norwegian 4-piece band Ulver in any traditional genre. They dabbled in black metal, and their debut Et eeventyr i 5 capitler has become an essential album in the history of the genre. The band has garnered critical acclaim from many a critic while blending genres such as experimental rock, electronica, and many more. The group has even went on to create a collaboration album with drone metal outfit Sunn O))). After a career spanning over two decades, and having already done so much experimentation, where would their latest release take them?

Had I not read up on the album before listening, I never would have guessed that all 12 album tracks were performed live, as free improvisation during the bands 2014 european tour. Not only does the album not sound as if it were recorded live, but it also sounds as it was so well wrote and assembled that I was really truly shocked to find it the origins of the recording.

 From the moment the album kicks off with the very drone inspired piece England's Hidden to some of the nosier more psychedelic cuts like Cromagnosis, the album carries a very similar sound. At times the progression is methodical and slow, at times there's barely any, and yet throughout the 80 minute runtime of the album, you become completely enthralled by the sound that Ulver have managed to create.

The album is principally instrumental, and in fact the only time you hear lead vocalist Kristoffer Rygg lend his voice are on the tracks Om Hanumate Namah, Nowhere (Sweet Sixteen) and Ecclesiastes. On the first of those three tracks, the contribution is very minor, as it's just a simple chanting, sparsely heard during the beginning of the track that ends up echoing for the full 7 minutes of the song, creating a very trance like feel. While the vocal work was a welcomed contribution, it also made for one of the less interesting tracks on the LP in my opinion. Nowhere is easily the most conventional track in the listing, and Rygg's vocals just fail to add much to a cut that would be much more enjoyable without them.

While I do enjoy some of the more drone-y moments of the album, it's really the more instrumentally driven and noisy tracks that keep me coming back to this album. Tracks like the aforementioned Cromagnosis as well as Desert/Dawn are very good examples of that, and because they are set in between some fantastic drone pieces, it really helps showcase the layers and depth on display in these tracks. Ulver makes a great effort on a regular basis to create beautiful lush soundscapes, which is the exact thing that has helped the group reach this level of success across the world.

The album can be summed up with the word experience, because that's exactly what it is. ATGCLVLSSCAP sucks you in, and doesn't let you leave it's confines until it's done with you. Ulver had nothing to prove with the release of this album as they've already done so much in their illustrious career, and yet still, they managed to show us all once again just how creative they are.

Favorite Tracks: Cromagnosis, Om Hanumate Namah, Desert/Dawn

Least Favorite Tracks: Nowhere (Sweet Sixteen)

Rating: 4/5