Steve Aoki - Neon Future II

I’ll start this off by saying, I enjoyed this album more than I did the first Neon Future. Steve Aoki released the first half of the Neon Future experience last year, spawning singles such as “Free The Madness” with Machine Gun Kelly and “Delirious” featuring Kid Ink. This album doesn’t fall short in the guest department, either. Arguably, this album holds an array of even more notable guests: Linkin Park, Snoop Lion, and ever J. J. Abrams makes an appearance to close out the album.

With Neon Future II, it’s clear to see why Aoki is dominating the EDM scene at the moment. Even non-electronica fans can’t resist bobbing their heads to the heavy beats and awesome drops in his songs. Sometimes cliché, sure, but always infectious - a key in EDM music. Each song is varied in their own respect, and the fun stayed consistent throughout the album.

The storyline of the albums takes its next step (as expected). Neon Future I introduced the concepts of the neon future, and what it could hold. Neon Future II explores it, everything from traveling to the future with the intro to finding paradise in “Heaven On Earth”. And what better way of returning to the present than being narrated out by J. J. Abrams? Priorities.

Sonically, though, as much praise as I’ve given it, it is relatively average. Sure, each song is respectfully different, but it gets to a point where there’s no progression. Things begin to become a bit stale after the halfway point. Being the Linkin Park fan I am, I feel “Darker Than Blood” is the most sonically impressive song on the entire album, even though the entire song is based on a loop that should really only be used as a 30 second build up for another, grander song. Chester and Mike’s duet is simply beautiful, and Chester does some of his finest vocal work in quite some time during the chorus. In this regards, the album is still a good listen, but could be improved on a broader scale when it comes to instrumentals.

The Neon Future series allowed for Aoki’s popularity to massively grow, becoming some of mainstream EDM’s most vital hits. With tracks like “Free The Madness”, “Delirious”, and “Darker Than Blood” hailing from these albums, its easy to see why. Neon Future II explores the dark and light concepts of the proposed dystopian land, and even gives the listener a dance while having the adventure. That being said, these albums are definitely nothing groundbreaking. A lot of improvement is to be had, as these albums begin to drone on at points. Though when concluding with such a feat as to have J. J. Abrams accompany you back to the present, maybe it’s time to reconsider what’s “standard”.

Favorite Tracks: Darker Than Blood (ft. Linkin Park), Hysteria (ft. Matthew Koma)

Least Favorite Track: Holding Up The World (ft. Harrison)

Rating: 7/10

10 Years - From Birth To Burial

It’s hard to find a band these days that so definitely have their respected place in a genre, yet create music with their own sound making it hard to place a label on it. For alternative rock, one such example is 10 Years. Ever since 2002, Jesse Hasek and co. have been releasing powerful and heavy songs on each and every release. Perhaps one of their most commercially successful releases (at least based on its day-of-release), 10 Years delivered another album that’s definitely a force to be reckoned with in their discography.

Haven’t done one of these in awhile, so here’s a track-by-track review (for those tl;dr peeps, there’s a wrap-up paragraph at the end instead if you’d prefer):

1) From Birth To Burial - Starting off ominously with nothing but an effected guitar, piano, and Hasek’s vocals, you can tell from the get go that you’re in for something big. The song picks up with a punchy distorted guitar and drum with Hasek delivering a fast-paced verse reminiscent of Enter Shikari. Then, the huge riff kicks in. The massive chorus, “We’re dying in stereo! / From birth to burial!” demands your attention, and the massive instrumental keeps your heart racing and head bobbing. Not to mention, the songwriting is top notch, as to be expected with 10 Years. A triumphant and perfect way to start this album. 10/10

2) Selling Skeletons - Opening up atmospherically before exploding into an in-your-face riff, Selling Skeletons is very reminiscent of the band’s “Minus The Machine” era. The bridge of the song sees Hasek desperately growling some high notes, with his voice slightly breaking adding to the intensity of the track (similarly to Linkin Park’s Keys To The Kingdom). The short orchestral refrain before the final chorus provides an intimate moment with the listener before one last burst of energy from the song. 8/10

3) Vertigo - This song is perhaps the most “average” track on the album. There’s nothing really special about it; but don’t get me wrong, it’s a great song. The chorus has some great guitars and the lo-fi drum intro is a bit of a refresher, but it sounds like as typical of a 10 Years song as others. The lyrics are alright, relating to the confusion and spinning to the battle that is love. A bit of an average track, but a good track nonetheless. 7/10

4) Triggers and Tripwires - BRING ON THE HEAVY! 10 Years brings in some djent/post-hardcore vibes in this one. This song is essentially three minutes of brooding riffs, angry verses and screaming. The bridge/outro is one of the most badass riffs I’ve heard all year. There’s truly not much more to say about this track, it does everything it does heavy and amazingly. 10/10

5) Luna - From the way the track opens, you can tell it’ll be a bit different. 10 Years channels its inner Chino Moreno here. Bringing some melodically pleasing vocals here in both the verses and choruses, Hasek showcases his clean vocals on this one. Guitars are kept to a minimum here - it seems this was Hasek’s track to take full lead of with his voice. This song could easily be a Palms track with its lovely layering, the verses even have a Crosses vibe. Beautiful track. 9/10

6) Crimson Kiss - Aaaaannnnndddd straight back into the riffs! This song borders progressive metal at its core. Opening with some tortured screaming, you immediately know you’re back in the brute force of this album. The layered screams in the chorus reminds me of letlive. or Arcane Roots, in the best way possible. Something about those words, “Killer creator / Blow me away / I am the loaded gun” feels like something to scream to the sky when you’re mad (akin to “Is this who you are? / Some sweet violent urge / A weak fallen man / With the promise of an end!” from Thirty Seconds To Mars’ Fallen) The brutal screaming to end this track wraps up the whole headbanging extravaganza in this track. 10/10

7) The River - Nothing like a heavy, relentless track to tell you about religious and political injustices of our society. It follows the story of a citizen forced to do the work of those with power, and being confused on what path he can follow, whether it be religious, political, or monetary. The bridge of the track is perhaps the best wrap up of this idea: “Chaos comes from the cross / Monetary masquerade / Religious rat race / Do or die and down the drain / Fight or flight parade.” If the lyrics aren’t good enough for you, the chorus riff is essentially a continuation of the outro riff of Triggers and Tripwires - how could you not jam to it? 9/10

8) Ashes - Bringing back the piano! Admittedly, I find the first verse a little strange - not that it’s bad, but something just doesn’t sit well with me in regards to it. Perhaps the “embryo” and “down the rabbit hole” combo for some reason? Regardless, the bass and guitar do a lovely pairing of notes together (it’s also nice to hear the bass brought up). The guitar sound shares resemblance to a dulcimer in the section after the second verse (really, it could’ve been taken right out of Botanist’s “VI: Flora”!). Another pretty characteristic song for 10 Years - the chorus especially. 7/10

9) Survivors? - Channeling Chino Moreno again, are we? Perhaps taken a more focused rock influence on Crosses with this one. This track is very ocean-oriented thematically. The narrator searching for survivors on the vast ocean (a metaphor for the impossible game of love, likely). A very simple, yet captivating song. 7.5/10

10) Miscellanea - Ah, yes. The lead single of the album revitalizes the energy for the end of the album once more, immediately kicking off with that massive riff. Hasek sings really high in this one, his voice cracking as a result. In my opinion, much like in Selling Skeletons, this adds to the desperate, visceral nature of the song. The piano interlude just before the second chorus provides a short reprieve, right as the madness kicks back again. Then, back to piano after the bridge ends! And this time, it beautiful segues into the final track of the album. 10/10

11) Moisture Residue - When I first listened to this song, it gave me chills. The piano is beautiful if somewhat repetitive, and Hasek’s wonderful vocal performance here lends itself hand in hand for the track. The song builds up into spiraling symphonics and closes out the album in a haunting fashion, almost as if the whole story hasn’t come full circle left. As if something is left to be continued. 10/10

10 Years has had a history of releasing powerful and memorable albums with each effort. This hasn’t stopped here. “From Birth To Burial” stands as a powerful force in their discography, perhaps not at the top but definitely not near the bottom in terms of ranking. In it is everything you’d expect from 10 Years and more. They bring out their influences, try new methods of expressing themselves musically, and even exploring some uncharted territory in terms of sonic growth. One of the strongest releases this year, by far.

Favorite Tracks: From Birth To Burial, Triggers and Tripwires, Crimson Kiss, Miscellanea, Moisture Residue

Least Favorite Tracks: Vertigo, Ashes

Overall Rating: 9/10

My Current Top 10 Albums of 2014:

1. Fall Out Boy - American Beauty/American Psycho
2. 10 Years - From Birth To Burial
3. Halestorm - Into The Wild Life
4. Darlia - Petals
5. Zs - Xe
6. Joey Bada$$ - B4.DA.$$
7. Periphery - Juggernaut: Alpha
8. Liturgy - The Ark Work
9. Purity Ring - Another Eternity
10. Lightning Bolt - Fantasy Empire

Halestorm - Into The Wild Life

There aren’t many pure rock n’ roll bands out there any more. No more record-straight-to-analog or single take recordings. It’s all recorded, processed, and edited. Halestorm decided to take it oldschool with their newest record, creating a very organic album along the likes of AC/DC and Led Zeppelin. This album sounds like it could be taken straight from the 70s/80s rock scene.

Go into this album ready to jam. You might be sweating by the end. Each track is a punch in the face in one way or another. From the huge opening of Scream to the surfer-metal (?) vibes of What Sober Couldn’t Say, this album explores a lot of territory in the metal realm. Lzzy Hale delivers powerful vocals track after track (interesting to note, all of the vocals were done in one take - no cutting, auto-tune, etc. was done to them. Additional vocals were added in later). The guitars and drums are relentless - Halestorm builds off of the best of their past material here, especially in riff-heavy tracks like I Am The Fire and Mayhem. Not everything is a wall of guitars, though - there are some softer tracks, too, including the confessional story of Dear Daughter and the groovy New Modern Loves. Sonically, this album is incredibly simple, but packs quite a punch nonetheless.

There are few negatives with this album. It might get repetitively rock-y at some points, yet each song is original in its own way. Halestorm shows in each track that they are truly masters of their craft and, even at their third album, can continue to make some great Americana rock-and-roll.

Into The Wild Life is possibly the best follow-up to The Strange Case Of... Halestorm could have possibly created. It showcases their growth as a band and still stays true to who they are. It’s as if the band combined their intensity as a live act with their power as a studio artist. Since the beginning, Halestorm have been an unstoppable force that are the diamond in the rough of the modern hard rock scene. Who says rock is dead?

Favorite Tracks: I Am The Fire, Mayhem, The Reckoning

Least Favorite Tracks: None. If I had to pick one, I’d say What Sober Couldn’t Say

Rating: 8.5/10

1st Quarter Of 2015 in Music - Wrap Up

2015 is the first year I’m actually actively following new releases in music (in past years I’ve just checked things when I so happened to find them, not keeping track of when they get released, really). This is a list of albums I’ve listened to that’ve been released in the first three months of 2015, my current Top 10 of 2015, and albums I’m looking forward to in the second quarter.

Releases I’ve Listened To In The 1st Quarter

• An Autumn For Crippled Children - The Long Goodbye: 7/10
• Against The Current - Gravity: coming soon
• A Place To Bury Strangers - Transfixiation: 7/10
• Björk - Vulnicura: 7/10
• Darlia - Petals: 8.5/10
• The Decemberists - What A Terrible World, What A Beautiful World: 6/10
• EarlyRise - Colors: 5/10
• Enter Shikari - The Mindsweep: 5/10
• Fall Out Boy - American Beauty/American Psycho: 8.5/10
• Father John Misty - I Love You, Honeybear: 7.5/10
• Imagine Dragons - Smoke & Mirrors: 7/10
• Joey Bada$$ - B4.DA.$$: 9/10
• Julien-K - California Noir, Chapter I: Analog Beaches & Digital Cities: 3/10
• Kendrick Lamar - To Pimp A Butterfly: 7/10
• Lightning Bolt - Fantasy Empire: 8/10
• Liturgy - The Ark Work: 7.5/10
• Papa Roach - F.E.A.R.: 6/10
• Periphery - Juggernaut: Alpha: 8/10
• Periphery - Juggernaut: Omega: 6/10
• Purity Ring - Another Eternity: 8/10
• Rae Morris - Unguarded: 7/10
• Three Days Grace - Human: 3/10
• Years & Years - Y & Y EP: 9/10
• Zs - Xe: 9/10

Top 10 Albums of 2015:

1. Fall Out Boy - American Beauty/American Psycho
2. Zs - Xe
3. Joey Bada$$ - B4.DA.$$
4. Imagine Dragons - Smoke & Mirrors
5. Periphery - Juggernaut: Alpha
6. Lightning Bolt - Fantasy Empire
7. Purity Ring - Another Eternity
8. nothing else really
9. deserves a place
10. on my list yet :(

Upcoming Releases I’m Looking Forward To in the 2nd Quarter (in order of hype):

• Muse - Drones
• 10 Years - From Birth To Burial
• Incubus - Trust Fall (Side A)
• Halestorm - Into The Wild Life
• Portico - Living Fields
• Years & Years - Communion
• Breaking Benjamin - Dawn Before Dawn
• Stone Sour - Meanwhile In Burbank
• Zac Brown Band - Jekyll + Hyde

Three Days Grace - Human

After Adam Gontier left Three Days Grace in January 2013, a lot of fans feared for the future of the band. Their fear was warranted. Bassist Brad Walst’s brother, Matt Walst filled the shoes of Adam and this is their first release together. Maybe it would have been better for the band to call it quits...

I’ve spoken pretty negatively about it up until now. Let’s talk about the positives - the first half. Some of the band’s biggest jams are found here - ‘I Am Machine,’ ‘Painkiller,’ and ‘Human Race’ all show the band can still bring some great songs into the mix. The album opens up on a passive-aggressive note with ‘Human Race,’ a track that showcases Walst’s ability to live up to Gontier vocally. To be honest, the part about this song that made me love it so much was the verses, or, more specifically, the guitar in the verses. Great playing that keeps the song rolling. Sure, the rest of it is somewhat cliché, but it all builds up to one big jam. ‘Painkiller’ delivers the same energy, yet still a bit cliché in the grand scheme of things. It’s a jam, so it serves it’s purpose. The next two tracks, ‘Fallen Angel’ and ‘Landmine’ start to falter a little, as the album starts to drone on with these guitar-driven, basic songs. ‘Tell Me Why’ is the worst on the first half, not really expanding off of anything new. Painfully cliché at this point. ‘I Am Machine’ revitalizes the album, as it’s the first track since ‘Human Race’ to exhibit some emotion.

This is where everything falls apart - and by everything, I mean nothing is right about the second half of the album. The next six tracks are nothing but cliché, horribly written, sloppy songs that ruin not only the flow of the album but the entire thing. You can tell by it’s title, ‘So What’ is nothing but some angsty rock song that makes them seem like they’re trying to be Nirvana. ‘Car Crash’ earned the award for “second song I’ve given a rating of 1-star too.” The worst song on the album, it sounds like a middle schooler could have written it. ‘Nothing’s Fair In Love And War’ is a song that’s been written hundreds of times before by hundreds of other bands. ‘One Too Many’ is the another pathetically written track, sloppy and uninspired. ‘The End Is Not The Answer’ doesn’t even need an explanation to how bad it is, you can tell from the title. Even if it’s trying to convey a good message, it does it in as obvious of a way as possible. ‘The Real You’ is really bad, too.

If anything is to be taken from this album, it’s that Three Days Grace basically needed filler tracks to close out the album. I found a similar trend in their last album, 2012′s Transit Of Venus, where all the listenable tracks were placed in the first half, but then the album lost focus and became hilariously bad by the end. Perhaps releasing 6-song EPs would do this bad some favors, instead of littering their catalogue with horrendous tracks. Had the band not included the second half of songs into the album, I would have enjoyed it FAR more. If one thing can be said, don’t go into this album expecting good lyrics, let alone listenable tracks as you approach the middle.

Favorite Tracks: Human Race, Painkiller, I Am Machine

Least Favorite Tracks: Car Crash, One Too Many (+ the rest of the second half)

Rating: 3/10

Imagine Dragons - Smoke + Mirrors

Few bands burst onto the scene like Imagine Dragons did. Back in 2013, "Radioactive” took the world by storm when it seemingly came out of nowhere and became one of the biggest rock songs of the decade. The band followed up 2013′s Night Visions with an album of new ideas yet seemingly familiar: Smoke & Mirrors. Imagine Dragons’ new album is very reminiscent of their first effort, yet still introducing some new ideas that they have yet to explore.

To be completely honest, I wasn’t too confident about the quality album when they released the first single from it - “I Bet My Life”. I was not much of a fan of the soulful ballad (and I’m still not - it’s one of my least favorite tracks on the album). The album kicked off with “Shots,” which in all honestly isn’t too bad. It didn’t raise my hopes for the album, as it was a pretty characteristic Imagine Dragons song in every regard (and, unfortunately, not in the areas in which they shine). When the second song, “Gold”, kicked in, that’s when I tightened my seatbelt. Similar to “Radioactive” in all the right places - it’s huge, it’s catchy, and it’s pretty anthemic. The electrifying falsettos in the choruses are incredible, as well as the swirling guitar solo that wraps up the song. Listening to the title track almost made me skip it. That song’s a train wreck, the in your face pre-chorus that kicks into the very underwhelming chorus completely throws off the intensity “Gold” set up. Thankfully, the next song on the album completely brought my hopes back up. “I’m So Sorry” is my favorite track on the album (I did a guitar cover of it, too, if you’re interested). This track brings some pure rock and roll onto the table, akin to the intensity of Jack White. Perhaps a bit cheesy and maybe even a rip-off, but electrifyingly incredible. The madness that is the outro solo just makes it all the better.

A lot of the album begins to lull at this point. You have some fairly subpar tracks following (including “I Bet My Life” and “Polaroid”) that fail to show much growth in their repertoire. We cannot forget some of better songs on the album, though: “Friction”, “Dream”, “Hopeless Opus”, and “The Fall” all caught my attention in the best way possible. “Friction” in particular grabbed my ear, likely due to my guilty pleasure of some nice tribal drumming. Awesome Middle-Eastern, African-tribal vibe from this song. Heavy as all hell, too. This one’s going to be a monster live (no pun intended).

All in all, Imagine Dragons’ sophomore album isn’t much of an evolution, but rather an extension influenced by experiences. Let’s be honest - there isn’t much evident growth in the songs here. Most of the tracks would probably fit fine on Night Visions (barring the heavier tracks like “I’m So Sorry” and “Friction”). When they do shine on this album, however, they really bring their all. A solid rock album, but nothing groundbreaking.

Favorite Tracks: I’m So Sorry, Friction, Gold, Hopeless Opus

Least Favorite Tracks: Smoke & Mirrors, I Bet My Life, Polaroid

Rating: 7/10

Zs - Xe

There are so many different combinations of sounds and tones, we can scientifically never run out of music. That doesn't stop people from doing crazy shit, though. Zs testifies anything you might call music and create distorted soundscapes full of sporadic jazz saxophones, static and distorted guitars, and some drilling drum beats. The new incarnation of Zs features a powerful trio of masterminds who can literally create music out of the sound very foundations of life and homeostasis.

Xe is all about making music unexpected and untraditional. While some of the longer tracks ('Corps' and 'Xe') don't sustain the climactic energy over an extended period of time (not saying that they don't have their moments), each track has a certain element of "weird" and originality that shines through as each track seamlessly segues into the next. 'Wolf Government' is literally composed of the sounds of cells splitting (meiosis, bitches!) and electrons orbiting nuclei. Science stuff out of the way - they make small things sound huge. 'Corps' exhibits the mastery of Sam Hillmer's jazz stylings on the tenor saxophone, bringing infrequent and panic-y saxophone lines throughout the track. 'Xe', while uneventful as a whole, builds up as over 18-minutes with occasional explosions of energy until one huge climax at the end to conclude a fascinating album. The drum lines are often very captivating and thought-provoking, being very complex in their execution. All in all, the instrumentals of this album shows a clear mastery of the instruments being performed.

Xe is a testament to the weird. Music can exist in all forms, whether or not it makes sense or not. Perhaps that's what makes this album so intriguing - it makes little sense, akin to the experimental and jazzy tones of Talk Talk's Laughing Stock or Bark Psychosis' Hex. Weird is a hard element to master, but Zs has had no problem doing so.

Favorite Tracks: The Future Of Royalty, Corps, Weakling

Least Favorite Tracks: Beginning of 'Xe'

Overall Rating: 9/10

Fall Out Boy - American Beauty / American Psycho

Staying relevant can be a challenge, especially when you're a rock band. Luckily, some bands have amassed such a loyal fan base that achieving the feat that is relevancy in pop culture is a walk in the park. Fall Out Boy is a testament to this. No matter where they decide to go next with their music, there will be supporters, regardless of how they approach a sound. Good thing American Beauty/American Psycho has plenty of promise.

Released almost two years before their previous effort Save Rock and Roll, AB/AP is definitely the most appropriate follow up the band could have mustered up. This album ties all loose ends of Fall Out Boy's career together, polishing up their pop rock/alternative rock sound as well as dwelling in their earliest sounds. It was clear this album would be a game-changer when the band released the first single, 'Centuries,' back late in 2014.

There are few places where AB/AP falls short of excellence. The LP opens up with the anthemic, brassy 'Irresistible' before segueing into the pop punk chants of the title track of the album. This is followed by some of the album's strongest tracks, such as the monster that is 'Centuries' and the teen anthem 'The Kids Aren't Alright.' Next comes to classy, funky vibes of 'Uma Thurman' and the wonderful story that is 'Jet Pack Blues.' 'Novocaine' opens with a distorted synth-esque vocal line reminiscent of Kanye West's 'Black Skinhead' and has an infectious chorus that's hard to forget. 'Fourth Of July' is a recollection of a love story as well as an apology, and 'Favorite Record' keeps the tales of love going. The iconic 'Immortals' from Big Hero 6 is up next - mixed much better, mind you - and brings back the jams Fall Out Boy is known for. The album concludes with the cinematic 'Twin Skeletons (Hotel In NYC)' that recalls an experience - perhaps a recollection of journeys that helped form the tracks that make up this album! This song could not be a more perfect closure for an already amazing album.

Despite telling a wonderful story, this album still does have a few faults to it. The title track, 'American Beauty/American Psycho' feels a tad cliché, and just included for the sake of satisfying those fans who complain about the band not sounding like they used to back in the day (the same people who are the crybabies whining over how Linkin Park isn't Hybrid Theory anymore...), resulting in an awkward blast of energy that doesn't offer much except a reason to title the album as such. The placement of the love songs 'Fourth Of July' and 'Favorite Record' is also a questionable choice - it's fine to have a few songs about the same topic, but making them back-to-back deters the interest. Not to mention 'July' is a far more energetic track (and more heartfelt) than the latter.

Fall Out Boy has never wandered too far from the path, but they confidently march down it making a hefty impact every step of the way. American Beauty/American Psycho is a testament to that notion, proving to be one of Fall Out Boy's strongest releases, detailing their progression as both a band and creators. Another strong release by a great band.

Favorite Tracks: Centuries, Twin Skeletons (Fourth Of July), Uma Thurman, Irresistible

Least Favorite Tracks: American Beauty/American Psycho, Favorite Record

Rating: 8.5/10

Sia - 1,000 Forms Of Fear

In today's average music atmosphere, most music follows a certain formula, especially in pop music. As time progresses, the pop stratosphere becomes ever more saturated with bland progressions and predictable hooks.

Then there's Sia. After having limited success in prior efforts, she decided to give up the limelight and take a backseat to focus on songwriting instead (hey, it's definitely more profitable). After 'Chandelier' got turned down by artists like Rihanna, Sia decided she had to take the lead. And thus, a star was born.

Backstory aside, this album is definitely one of the more untraditional pop albums released in 2014 that received commercial success. Everyone has heard the anthemic and rebellious chorus of 'Chandelier' and the confidence in 'Elastic Heart' by now. The other tracks that have not seen the limelight do not fall short of the excellence that Sia has displayed with her popular tracks, however. Each song has a purpose that creates an almost storyboard-like collection of tracks. 'Big Girls Cry' is a confessional that immediately follows the rebellion of 'Chandelier,' revealing the softer, innocent side of a confident singer. 'Hostage' speaks of a love story, and 'Cellophane' of a time when Sia felt like she could end it all. Going into this album is like beginning a good book, beginning strong and ending one a relatable note.

Lyrically, this album is just short of a masterpiece. It does not fail structurally and instrumentally, either. Haunting synths and brooding melodies keep each track original and captivating. Most strikingly is the closure track of the album, 'Dressed In Black.' Not only is it daring in the regards that a pop song is almost seven minutes long, but the mood behind it is just so enchanting and dark that it begs for your attention.

All in all, this album is one of the best, if not THE best pop album of 2014. Gems such as this rarely find their way to the top, and Sia is a diamond in the rough. If you enjoy the anthem that is 'Chandelier' or the confident ballad of 'Elastic Heart,' definitely check this album out. A story is told that everyone can relate to in some regard.

Favorite Tracks: Chandelier, Hostage, Dressed In Black

Least Favorite Track: Free The Animal

Rating: 9/10

††† - †††

First review of the new year, let's do this shit.

I'm going to start off by saying thank you for reading this, and/or the others I have posted. I want to start doing these more often, so I'm going to be trying out a few new writing strategies. Instead of doing track-by-track reviews (which I do enjoy doing), I think I'll just type up a few paragraphs regarding what I feel about the album. That way, I can make these quicker, and have them feel more inviting to read. Of course, they'll be shorter, but I feel they'll be just as effective. Without further adieu, here's my review of †††'s self-titled release.

This album. This goddamn album, man. What a monster. ††† (pronounced "Crosses") is a Los Angeles band who formed in 2011, consisting of Chino Moreno (Deftones, Team Sleep), Shaun Lopez (Far), and Chuck Doom. What these guys are now is what Nine Inch Nails wish they could be. Combining industrial, electronic, and progressive rock into powerful, sexy, and hammering tracks, these guys are truly musicians.

Instrumentally, this album has a pretty powerful sound. From the haunting synths of "†his Is A †rick" to the stark beauty of "Nine†een Eigh†y Four", ††† have their work cutout from them. There's a lot of splashes of noises hidden within some tracks, sometimes adding to the experience, sometimes providing a snap back to reality as you get lost in the noise. The album is dominated by the synth leads from track to track, which, in their own regards, all have a very unique sound to them whilst keeping the integrity of the sound in mind.

Chino Moreno is known primarily as lyricist for creating many sexually charged, angry songs. This album is no exception. Each song can have two meanings to it, one open to interpretation and one regarding love (or the making of). You can hear in his voice, specifically in tracks like "Nine†een Nine†y Four" and "Bi†ches Brew," the sexuality and angst trapped within Moreno's voice. Not that you could expect anything much different from him, though. With lyrics like, "Very soon we'll be erased /Forget how to count tense we used / Then realize that, oh God / you were not aware that I was in love with you," (Nine†een Nine†y Four) however, it's impossible to complain.

Crosses' eponymous debut has few weak points, if any. Personally, I loved every track until the last three, which I would rate no lower than a 7/10 at the very least. Each song spotlights a different focus, with no consistent pattern to follow, with each proving the musicianship within the trio. No element is left out, while no element is pushed to the point of making a song seem purposed for it.

Overall, I'd say that Crosses' album is definitely one of the greatest albums released in 2014. The band has proven that their experiments with rock and electronica is not in vain, and that they can deliver a truly powerful and haunting sound without the need of over-glorifying any specific aspect.

Favorites: †his Is A †rick, Nine†een Nine†y Four, Bi†ches Brew

Least Favorites: †, Pruien†, Dea†h Bell

Rating: 9/10