The Last Shadow Puppets - The Dream Synopsis EP

The big return of The Last Shadow Puppets this year sent indie fans into spirals. They aren't quite done with 2016 just yet - the band has shared their new The Dream Synopsis EP, featuring pseudo-live performances of some covers and reworked versions of a few older tracks.

The band released their second album Everything You've Come To Expect back in April as a follow up to their 2008 self-titled debut. The record marked the end of the band's hiatus, and 2016 has been a largely successful year for them. Still, the band took time to get intimate. The Dream Synopsis EP has a fittingly dreamy atmosphere around it, the chamber acoustics adding some color to the previously heard tracks.

The EP features reworks of two tracks from Everything: 'Aviation' and 'The Dream Synopsis.' The only noticeable differences are the rawer performances and accentuated orchestras. 'Aviation' somehow sounds even more cinematic and dramatic than the studio version, which is quite the feat. The orchestras really soar to an epic level by the end of the track. The vibe in 'The Dream Synopsis' is largely the same, but its sweetness can always be appreciated. The symphony only helps accent the song's creamy textures.

The Dream Synopsis EP also features four covers that the band performed throughout their 2016 tour. The first is 'Les Cactus,' formerly by French singer Jacques Dutronc. The cover steps away from The Last Shadow Puppets' signature drama and instead features a cool rock n' roll side to the band that doesn't come out too often. The same vibe follows through with a cover of The Fall's 'Totally Wired,' though this uncharacteristic nature of the band doesn't work as well here. The band stay in that era of music with a cover of the Glaxo Babies' 'This Is Your Life,' a dark tone settling over this track. The final cover is a classic by the late Leonard Cohen, 'Is This What You Wanted,' a song which really captures the essence of this band perfectly, especially when its Alex Turner delivering the vocals.

The Dream Synopsis isn't the perfect EP, but it's a nice treat from a rather elusive and dramatic band. These reworks and covers are a nice, raw taste of this band's core, providing for a very revealing listen. The Last Shadow Puppets aren't quite like anyone else, and they truly own that.

Favorite Track: Aviation (The Dream Synopsis Version)

Least Favorite Track: Totally Wired

Rating: 74 / 100

The Chainsmokers - Collage

The newest threat on the block is without a doubt The Chainsmokers. With a few past hits in their repertoire, they showed up out of the blue this past summer and have taken the radio by storm, pumping out some of the decade's biggest hits in a matter of months. They've compiled some of these tracks into a new EP entitled Collage.

The electronic pop duo really have a knack for making some infectious tracks. Nearly every song on the five minute EP rings with lots of fun and appeal. Opener and new single 'Setting Fires' has bouncy, infectious synths that keep the song light as XYLØ adds some dimension and melody to the track above the instrumental, even though the synths do enough of all of that on their own already. Phoebe Ryan takes over the vocals in the more upbeat 'All We Know,' this time Andrew Taggart joining on on vocals, harmonizing with Ryan's somber vocals above the punchy instrumental.

'Closer' was one of the biggest songs of the summer, and its performance showed it. It was played ad nauseam on the radio and remained as Spotify's #1 most streamed track for weeks. Riding of the group's hype instrumentals and the other threat in pop, Halsey, 'Closer' was destined for greatness. The song starts gently and builds slowly as it progresses, ultimately becoming an awesomely energetic song with jumpy synths and a big beat. Halsey's sweet and punk flair adds a lot of color to the already fun and sweet track.

The other hit from the summer was 'Don't Let Me Down.' The guitar in the intro sings innocently as Daya sings sweetly before the chorus kicks in with the drama. Daya's lyrics start building up with the beat, as the breakdown comes in the form of saxophone synths and bassy accompaniment. The song feels like something Rihanna would sing and come up with. It's a fun, very poppy track that also has the party side too it - a clear banger.

The Chainsmokers are pop's most hopeful duo. Their electronic flair sees a mix of party and fun that lots of artists don't seem to understand well. Their debut LP will be absolutely massive - this group is here to stay for years to come. 

Favorite Tracks: Don't Let Me Down, Closer, Setting Fires

Least Favorite Track: Inside Out

Rating: 89 / 100

Carly Rae Jepsen - E•MO•TION Side B

Carly Rae Jepsen is the queen of pop. Her ability to make pop jingles is nearly unmatched. Two huge hits in 'Call Me Maybe' and 'I Really Like You' later, she's really carved out her career. Her second album titled E•MO•TION is celebrating its one-year anniversary, and Jepsen has released a collection of B-Sides from the record in response.

E•MO•TION Side B consists of eight never-before heard tracks from the recording sessions of the album. These eight tracks are just as energetic as the album itself, serving well as its on standalone EP. Though these songs are full tracks, cleanly produced and ready for release, it's clear why these tracks didn't quite make the cut.

There are some great bangers on this short EP, and it's a shame some of them won't get the same recognition the songs on the album got. The first song 'First Time' is a very feel-good start to the record, having a very classic (albeit, safe) pop sound to it. All of the little instrumental ad libs add a lot of character to the track. 'Higher' is much the same, with a slightly moodier atmosphere to it. While 'First Time' is optimistic and looking to keep a relationship going, 'Higher' is more hopeful in that search of love. It resolves itself into a more cheerful conclusion.

The last track on the album is one of Carly's best, and I'm very confused on how exactly it didn't make the cut on the record. 'Roses' is a somber track in meaning, a very nice contrast to her normal songs. It's about someone who she loved who has left the relationship for reasons that she can't comprehend, and how much she wishes she comes back. The instrumental isn't overproduced, being more of an underlying force behind Jepsen's voice, which is the main focus of the track.

Another meaning to the track is that the person she loved has died. The chorus contains the lines, "And I can feel you reaching through the cracks / A simple change of seasons and you're back / All the roses in the garden fade to black." I can't help but feel that refers to someone who she lost rather than someone that's left her. The memories of that person haunt her, especially around the time of year when the person was lost ("a simple change of seasons and you're back"), and then everything around her - even the most lively and colorful of things - seems empty, painted in black and white. Whatever the meaning, it's a pretty hard track to forget and definitely a standout in her discography.

The question does arise, though; why are these track B-sides? The reality is that most of these songs don't really have a place on the album. E•MO•TION had a very distinct personality to it in which all the songs, good or bad, seemed to fit in with. These are more like outliers; in songs like 'Higher' you can almost see where it fit in to the theme of the record, but didn't quite reach there. The songs are either pre-cursors to the record, or songs she made that just didn't quite fit in.

Another issue is that some of these songs are just average. Not that I personally believe that every track on the album was full of fun and unique (looking at you, 'Boy Problems'). Take 'Store', for example. It's just not a great track - it's premise is way too silly for its own good (in terms of fighting for inclusion on the record; nothing wrong with a silly track) and its meaning doesn't quite substantiate to anything. It almost sounds unfinished the way the lyrics are all over the place, like its meant to say one thing but then goes into another. 'The One' is also quite repetitive and says all it needs to about its meaning by the time the first chorus concludes. This isn't to say that all of the tracks are just not fit to be great songs; 'Cry' is a very sweet song that has a lot of value in its performance. It's a great track, if not a bit underwhelming; the fact is, it just didn't belong on the record. 

Jepsen is definitely up there with some of Canada's greatest pop artists. Her music has a lot of personality to it that isn't quite matched by anything else. Hearing 'Call Me Maybe' may now become a tiring experience, but the reason it was so popular to begin with was because of how unique her music is. It has a touch of herself in it, and that's something pop artists seem to lack a lot of the time. The B-Sides of E•MO•TION show that the album itself had its own unique personality that songs that didn't make the cut were never going to. But that adds to the appeal of the record - she knew what she wanted, and she went for it. These new songs are a look into her mind and process, and it's a real refreshing set of music to hear.

Favorite Tracks: Roses, Higher, Cry

Least Favorite Tracks: Store, The One

Rating: 73 / 100

Prophets Of Rage - The Party's Over

Several live statements later, and Prophets Of Rage are delivering their first EP. The supergroup consisting of members of Rage Against The Machine, Cypress Hill, and Public Enemy are here with their debut EP, The Party's Over. If you already liked this project, you'll like this EP, but chances are you'll be wanting more either way.

We've already reviewed the band's debut single, the introduction song to the project titled 'Prophets Of Rage' - read our review for a more in-depth insight on it. The context on this EP makes it a little less substantial, though. It's a great intro track and definitely gets you pumped up, but it's followed by the new song 'The Party's Over,' which has a stronger drive to it. It sounds angrier and more upfront, almost aggressive. That's the true spirit of this band, and their projects in the past. It's lyrics are a bit more angsty and less substantial than 'Prophets' by just a bit, but the instrumental kicks its ass. It features a signature Tom Morello solo near the end and just has a bigger punch to it. 'The Party's Over' makes 'Prophets Of Rage' feel like less of a track.

The rest of the EP consists of three live tracks, and it's just nothing really special at all. Rage Against The Machine's 'Killing In The Name' is first on the list, and it's just a standard performance of the song. It has that good old raw feeling you'd hear from old RATM recordings, but there's probably better performances out there on the Internet you could listen to. 'Shut Em Down' by Public Enemy is next on the list, and this one is actually a bit different, featuring a cool guitar intro from Tom Morello. The rest of the song is pretty average, besides the killer solo Morello delivers in the bridge. It's interesting to note that all of the members of the group have played this song before: Public Enemy, obviously, being the recording artists, and Cypress Hill did a cover of it in 2010 featuring Tom Morello. It's familiar territory for all of them. The last song is a cover of the Beastie Boys' 'No Sleep Till Brooklyn' entitled 'No Sleep Till Cleveland' (in reference to the 2016 Republican National Convention). There's nothing real to comment on besides the fact they don't substitute "Cleveland" in place of "Brooklyn" until the end of the song. You'd figure they'd do it for the entire song. At least the solo is good. Tom Morello is this band's only savings grace.

At this point, I don't really know what to think of this group. When they first announced their mission, there was so much hope; the 80s and 90s revolutionary scene was coming back! Rage Against The Machine is basically back! But no, it's all becoming one big cluster of trying to be edgy. It's becoming less of a political statement and more like they're a group of angsty teenagers looking to make some cash and speak their minds on Trump all at the same time by playing covers of RATM. Perhaps everything will start to gel together as they play more; they're currently on tour across North America. For now, though, you can't really say much more than "well, okay" by the fact these guys exist.

Prophets Of Rage are slowly becoming more like the Profits Of Rage. Time will tell what these guys bring - maybe a full length LP not consisting mostly of live tracks will bring some worth to this project. It's a hit or miss right now, and currently they're only shooting misses. There's hope, but right now everything's looking pretty grim.

Favorite Track: The Party's Over

Least Favorite Track: Prophets Of Rage (and the live stuff, simply for lack of effort)

Rating: 50 / 100

Myrkur - Mausoleum

Acoustic reimaginations of black metal tracks most of the time probably won't go well. There are, however, exceptions to that. The black-metal female-fronted project of Myrkur is an example of that. Mausoleum is by far a better album than the heavy version of these songs were on her debut LP, and has you wondering why she didn't do acoustic folk instead.

To be honest, the sole LP release M was not very good. It had its defining moments, but for the most part was very bland. It's likely the lack of experience; it improved from the EP, but didn't quite get where it needed to be. The music just felt wrong and lacking emotion. The songs that were performed in Mausoleum have a new darkness too them, ultimately sounding much more evil and gory than M was. These acoustic songs are more metal than the actual black metal songs.

The darkness this album generates roots from the cavernous piano that leads most of the tracks. You simply feel oppressed and alone listening to 'Byssan Lull' with the way Myrkur's vocals sing high and innocently above the low bass notes the piano plays that echo through your body. The way the choir echoes throughout the song puts you in an empty room of darkness, a light flashing on you and nowhere to go.

That's the aesthetic for a the first half of the album. 'Den Lille Piges Død' introduces acoustic guitar, which plays quickly and panicked with the piano, which sounds equally as frantic, especially at the high end. 'Frosne Vind' is the point of the album where you really start questioning why Myrkur didn't adopt an acoustic Scandinavian folk project. This song screams Scandinavia. 'Onde Børn' continues, introducing more riveting instrumental movements (the chord progressions are phenomenal). 

Did Myrkur make a wrong decision? Her music translates a lot better into an acoustic setting than in black metal. The only error on the record is the last song, where the clapping did not sound great with the acoustics of the hall she recorded in. I'd like to see Myrkur do a folk album somewhere down the road. Black metal doesn't seem to be amazing from her end yet, anyway. Her voice is much better executed in this setting. Let's see what happens.

Favorite Tracks: Frosne Vind, Onde Børn, Byssan Lull

Least Favorite Track: Dybt I Skoven

Rating: 79

Gone Is Gone - Gone Is Gone

Everyone loves a good stoner rock anthem. Supergroup Gone Is Gone just released their debut eponymous EP, and it's full of those. The band's giant lineup features Troy Sanders, vocalist and bassist of Mastodon, guitarist Troy Van Leeuwin of Queens Of The Stone Age, Tony Hajjar on drums from At The Drive-In, and multi-instrumentalist Mike Zarin. If that lineup alone isn't enough to pick this record up, you may be crazy.

As with any good stoner rock record, you have to have riffs, and this album is chocked full of them. Right from the get go with the giant riff of 'Violescent'. you know you're in for a mental listen. The instrumental crashes epically while Troy Sanders sings roughly above the thrashing riffs. Big instrumental moments are a key part of the record, the epic six minute anthem 'This Chapter' closing the record on many big moments. Other excellent moments include the incredible "All that bleeds is dying" part that concludes 'Stolen From Me' and the evil sounds of 'Praying From This Danger'.

The album does have a few faults in it, though. Two interludes can be found within the record, not really adding anything and interrupting the flow. 'Recede and Enter' does a better job at transitioning into the next track, but 'Character' is an aesthetic interlude with spoken word coming straight from Corey Taylor's playbook and feels like it just drags on for too long. There's also the case of 'Starlight', which is a good song overall, but the vocals and instrumental don't quite fit together. There's a lack of cohesion on the record that makes it hard to really take in at some points.

Gone Is Gone is the new force on the block. Their debut EP shows that they know how to bring the jams, though a little more work is needed, perhaps more chemistry within the group. That cohesion issue really broke apart the record in some places. Their album will be absolutely massive when it drops, though. There's plenty of jams on this record to keep us good until it comes, luckily.

Favorite Tracks: Violescent, Stolen From Me

Least Favorite Tracks: Character, Recede and Enter

Rating: 66 / 100

BANNERS - BANNERS

Combine the indie twang of X Ambassadors with the huge, arena filling sound of Imagine Dragons, and sprinkle some Coldplay in there, and you have the new BANNERS EP. Chocked full of feel good anthems and a few slower ballads, this EP will be blasting in everyone’s car stereo soon enough.

Every song on this EP has massive pop appeal. Every song has massive playability and huge live potential. You can just imagine every song, with their grandiose sound, getting crowds jumping and the lights going crazy. The Imagine Dragons influence is evident throughout most of the album, especially in “Shine A Light” and “Gold Dust”. “Shine A Light” could be dropped into Dragons’ Night Visions and there’d be little confusion. The syncopated beat accompanying the acoustic guitar and the reverberated guitar gives it that huge feeling, and the massive chorus will get you bobbing your head to it. “Gold Dust” does much the same, though this song features a giant bridge that reprises into one final quiet chorus that explodes into one riot of a conclusion. The last two tracks on the album, “Ghosts” and “Back When We Had Nothing” end the album on a somber note. The first of the two is the quietest track on the album, featuring primarily piano and Mike Nelson’s vocals, evolving into a piano ballad backed by a drum beat and a sweet string section. “Back When We Had Nothing” concludes the album on a happier note, reminiscing over a relationship, starting quietly but building up into a synth rock banger.

BANNERS’ debut EP is a huge one, featuring giant tracks with massive presence and Nelson’s stellar songwriting abilities. Bursting into the new year full of energy, this album will be on many listeners’ playlists for months to come. It’s the perfect collection of songs to get up and dance to, or take a drive with. The appeal of Imagine Dragons and Coldplay with his own folk twang builds into a familiar but lovable sound that will resonate with anyone. While it does, at times, feel too heavily influenced (to the point where songs could fit on another artist’s album and be indistinguishable), it still holds together on its own and stands as a bright step into the future for BANNERS.

Favorite Tracks: Shine A Light, Gold Dust, Back When We Had Nothing

Least Favorite Track: Ghosts

Rating: 8/10

Top Albums Of 2016 (so far):

1. Panic! At The Disco - Death Of A Bachelor
2. Daughter - Not To Disappear
3. David Bowie - ★
4. BANNERS - BANNERS EP
5. Savages - Adore Life

Arcane Roots - Heaven & Earth EP

Massive riffs. Soaring melodies. Giant breakdowns. Arcane Roots will give you all of that and more in their triumphant new EP, Heaven & Earth. The forerunners of the upcoming wave of powerful Brit Rock artists, Arcane Roots have finally delivered a follow-up to 2013′s Blood & Chemistry. One would’ve thought it impossible to match the sheer intensity of the band’s previous effort, but this EP, while only containing five songs (and a hidden sixth track), proves to have smashed expectations.

Go into this EP expecting to be completely satisfied for all of your rock needs but still demanding more. Right from the get-go, the lead single and opening track “If Nothing Moves, Nothing Breaks” proves to be a monster of a song. Opening atmospherically with piano and the cries of Andrew Groves’ pleas provide for a huge statement to open this EP. Nothing will stop you headbanging to this song - the heavy section in the first verse will make sure of that. Moving into a lighter, ballad-y territory is “When Did The Taste Leave Your Mouth”, showcasing Groves’ talent as a vocalist and his songwriting ability. This one’s bound to be a massive crowd pleaser (not to mention how incredible a live band these guys are). “Leaving” does not let up the promise this album has, marching forward with driving force, chanting of triumph: “They’ll be dying to prove you wrong,” warns the chorus. “Slow Dance,” while no “Triptych,” brings some of the technicality Arcane Roots fans have come to love from the trio and works off of the sudden explosions of energy that “If Nothing Moves, Nothing Breaks” also had. The EP concludes proud and unrelenting with “Vows & Ceremonies,” featuring a happier sound than much of the rest of the EP. Definitely the album’s most radio-friendly track! The upbeat sound doesn’t distract from the jams - while relatively simple compared to the rest of the album, the song channels the band’s inner Coheed & Cambria and brings the feel-good, foot stomping vibes to close the album out. A hidden track is found at the end of the song, if you sit through a minute or two of silence. I’m not sure if it has a title - but it speaks for itself, no title needed. It’s a short, albeit beautiful, ending to the album, beginning with Groves harmonizing with himself over a delay-heavy guitar and piano before the full band kicks in for one last hurrah.

Leave it to Arcane Roots to bring one of the year’s biggest releases, in an EP that bursts with energy and charisma only they are capable of creating. Each song is long, only “Vows & Ceremonies” clocking in under five minutes (just barely), but each is a journey to be experienced. Arcane Roots have brought to table a defining EP, showcasing their growth as a band and as artists since their debut LP. Evolution at its finest.

Favorite Tracks: Slow Dance; If Nothing Breaks, Nothing Moves; Leaving

Least Favorite Tracks: If I had to pick one... When Did The Taste Leave Your Mouth

Rating: 9/10

My Top Albums of 2015:

1. Muse - Drones
2. Arcane Roots - Heaven & Earth EP
3. Halsey - BADLANDS
4. 10 Years - From Birth To Burial
5. Fall Out Boy - American Beauty / American Psycho
6. CHVRCHES - Every Open Eye
7. Halestorm - Into The Wild Life
8. Years & Years - Communion
9. Bring Me The Horizon - That’s The Spirit
10. Purity Ring - Another Eternity