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

Savages - Adore Life

“Savage” is not an appropriate enough term to describe Savages’ new album. How can one put a single term on an album as brooding as this? Savages’ new record, Adore Life is a post-punk rage against love, filled to the brim with attacks on one of the finest human emotions. Every note is another punch to the face and another question to be asked about the heart. The band that brought the rebellious anthem “Strife” and the indie punk staple “Husbands” is now back with an industrial, hard hitting post-punk album that can’t be forgotten easily.

The album is headed with the gothic, Lightning Bolt-esque “The Answer” that immediately establishes that this record does not fool around. With guitars so distorted they merge the line between noisy guitars and a thick synth, almost a thrash rock song with how hard hitting it is. This extreme heaviness is found at other moments on the album, including the rocker that describes confusion, “Surrender” and the closing track that traps its listener in an industrial black hole, “Mechanics”. That’s not to say that the album has it’s moments of regression. The central track, “Adore”, is a slower paced ballad focused around a reverberating guitar and a light beat that ends abruptly before building up into a massive wall of noise. Vocalist Jehnny Beth has an urgency and demand in her voice throughout the album, especially in “The Answer” and “I Need Something New”. One of the most spine-tingling moments on the entire record is her tortured scream in the second half of “Slowing Down The World”. Songs such as “The Answer” and “Mechanics” have epic riffs delivered by Gemma Thompson, with equally as driven bass lines by Ayse Assan featured in “When In Love” and “Slowing Down The World”. Fay Milton delivers groovy and epic percussion throughout the album, especially on “The Answer” and “Evil”. This album does not have a single dull moment - every song shines with some form of excellence in one area or the other. The album ends on a very minimalist track, though for what it has, it makes due with. It’s still the most abyssal track on the album, dragging you into the deepest depths of space (or the supermassive black hole of your broken heart) and crushing you with industrial intensity.

“Adore”, had the album been more of a concept album that told a story, could’ve been the turning point of the album. Savages’ new record is a love story, almost a concept album, in a sense. But rather than being a tale of the enjoyment of love, it is, rather, quite the opposite: Adore Life is a tale told of the aftermath of love, in the most brutal form possible. This is most evidenced in hard hitter “T.I.W.Y.G.”, which laughs in the face of the cruel reality of love: “We gave you life to see if you'd disobey / Not interested in what we have to say,” or in “The Answer” in which Beth cries “If you don't love me / You don't love anybody / Ain't you glad it's you?” As fantastic of an arrangement this album is sonically, you’ll need two listens to fully appreciate it: once focussing in on the incredibly vast instrumentals, and another to fully take in the lyrics and interpret them.

Savages live up to their name with Adore Life, absolutely ravaging the principles of love. There’s no traces of positivity here, every word and note played with a vengeance. This all female-fronted post-punk revival group from London won’t be taking anyone’s shit - they’re coming with power and conviction to make their message known. Adore Life is an ode to happiness and not what makes you happy. And with that, in the most brutal way possible.

Favorite Tracks: The Answer, Mechanics, Adore, Slowing Down The World

Least Favorite Track: Sad Person

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. Savages - Adore Life

Daughter - Not To Disappear

I went into this album completely unaware of what to expect. I had heard “Doing The Right Thing” the day before picking it up, and I was simply entranced. Daughter’s sophomore album, Not To Disappear is nothing short of entrancing. The album is beautifully atmospheric with a hint of urgency, constantly grabbing your attention at every lovely moment.

As soon as the album begins with the song “New Ways”, the slow and heavy feeling of floating in a purple space invades you. The song builds up from a atmospheric pop song into a slow driven, enchanting ballad filled with layered synths and wailing background noise. “Numbers” follows up, with a minimalist beginning featuring nothing a single, reverberating beat and vocals, before building into an huge, stadium filling indie rock monster. This album is full of eccentric buildups from nothing into a massive wall of noise that garners every sense into one huge sonic experience. Vocalist Elena Tonra commands the attention of the listener, even in the disarray of the entrancing and complex masterpieces this album has to offer, showing off her vocal and songwriting abilities especially in “Alone / With You” and “Mother”. The album isn’t all slow-paced buildups, though. Tracks like “How” and “No Care” are exciting and energetic right from the get-go and carry on as such, giving the album a burst of energy when it begins to drag. “No Care” has a particularly fun section, with guitarist Igor Haefeli bringing out an infectious riff accompanying the driving kick drum, sounding like a Now, Now track. The song also features a great performance by drummer Remi Aguilella, who also shined on the taiko drumming on “Numbers”. Tonra take bass duty on the album, and takes control on “To Belong”, on top of her enchanting vocals. The nearly seven minute epic, “Fossa” begins enchantingly with a Purity Ring reminiscent introduction and evolves into a true indie folk jam, complete with a classic kick-snare pattern and short and sweet guitar licks. “Made Of Stone” closes the album, on a final atmospheric note that sucks you deep into the space you began sinking into at the beginning of the album, as if to provide one last moment of clarity before drifting infinitely into the great unknown.

Daughter has provided an album that has set a precedent for all indie, folk, and pop artists to follow this year, barely two weeks into 2016. The album has a huge presence while maintaining a minimalist attitude in its approach. This group has a huge year ahead of them. This blend of Imagine Dragons’ apocalypse pop and Now, Now’s indie flair came together in the most brilliant of ways. Don’t miss out on this album!

Favorite Tracks: New Ways, Doing The Right Thing, Numbers, No Care

Least Favorite Tracks: How, Mothers

Rating: 9/10

Top Albums Of 2016 (so far):

1. Panic! At The Disco - Death Of A Bachelor
2. Daughter - Not To Disappear
3. David Bowie - ★

Panic! At The Disco - Death Of A Bachelor

Panic! At The Disco has had a long adventure. Now consisting solely of one main member (Brendon Urie), their musical direction is the product of a single individual’s intentions. Every album of theirs has had some sort of niche too it. Their debut, A Fever You Can’t Sweat Out, gave root to their classic emo/alternative rock fanbase. Pretty. Odd. brought in baroque elements with a pop and rock touch, while 2011′s Vices & Virtues came with a more polished, arena-rock alternative rock sound. 2013′s Too Weird To Live, To Rare To Die saw them edge closer into pop rock and electronic rock. Their latest effort, Death Of A Bachelor continues the pop rock evolution, edging even further away from the rock sound, Urie taking over this album and making it his own.

Admittedly, given the album’s singles, I wasn’t entirely sure to expect from the album. There was a good bit of variation. Brass-led anthem “Hallelujah” took some getting used to, and the Fall Out Boy-esque “Victorious” didn’t initially solidify with me (though, for some reason, the latter of the two sounds much grander and epic on the album - perhaps it’s just me, but it feels more in place in the context of the opening track of the album than a standalone single). The slow ballad “Death Of A Bachelor”, the title track, also took some getting used to - it feels like a rockier version of a Sam Smith song. “LA Devotee” - this album’s take on Thirty Seconds To Mars’ “City Of Angels” - is a tribute to the city of Los Angeles, a trend that has become ever more popular as of late. Another track that took some growing to appreciate. There’s nothing that dragged the track down, per se, just the number of city tributes in music as of late seems to be making the theme somewhat saturated. After a few listens, the song has definitely improved like the white wine Urie praises in the chorus. “Emperor’s New Clothes” was what I needed for the prospect of a new Panic! album built solely by the mind of Brendon Urie to catch my attention. The haunting track (complete with a very ominous music video) has the same spooky pop and rock appeal seen in Vices & Virtues track, “Let’s Kill Tonight”, but on a grander scale. The backing vocals, chanting “Finder’s keepers / loser’s weepers” is a bit cliché, to put it nicely, but the rest of the track makes up for it. The final pre-released track, “Don’t Threaten Me With A Good Time” was another solid track, though nothing about it stood out in particular. Just a standard, feel good, Panic! rock track.

Beyond the singles, the second half of the album is chock-packed with some surprises. “Crazy=Genius” brings a jungle beat into the mix, with the guitars finally being brought back up into the song. The use of brass sections in the background of the band’s music really shines in this track, bringing it back to the big band scene of the 30′s and 40′s. The percussion on this track is disjointed, yet not too the point where you have to stay confused about it for too long. “Golden Days” is the feel-good rock track this album needed in its second half. It almost sounds like Urie’s take on Muse’s “Revolt”, a song that served a similar function on their album, Drones. The song itself has a subtle lo-fi feeling to it, which keeps it from being just another rock song. The brass section adds a good bit of color to the song, too. “The Good, The Bad and The Dirty” begins with the vocal progression that almost sounds like Björk, but evolves into an arena-pop rock sound with a sweet atmosphere surrounding it, almost to a very refined U2 sound. “House Of Memories” has a sweet melody and great lyrics that evolve into a massive chorus with a arena-filling voice. The bridge to the end has Urie taking over the track, and, while not being as grand as some parts of the album, is perhaps one of his most defining moments on the album. The huge sing-a-long part will definitely be a huge live moment, too. The closing track is the Queen-esque “Impossible Year”, a soulful piano ballad that has Urie bring his takeover to an epic conclusion. The trumpets and accompanying brass add to the grandiose of the track. While still being gorgeously huge, the track is largely subtle, not going over the top and dramatic á la Muse’s The Resistance, but still captures the theatrical finality the album needed to close out.

Panic! At The Disco, (or at this point, should we just say Brendon Urie?) has not fallen any short of an epic new album to kick off the new year. With grand brass accompanying huge rock instrumentals with a pop twang, Panic! followed up their 2013 effort with flying colors. Soaring above what the expectations he faced, Urie showed that he can take over any project he so desires, and owned it to the extreme. 2016 might just be Panic! At The Disco’s year.

Favorite Tracks: Emperor’s New Clothes, Golden Days, House Of Memories, Victorious

Least Favorite Tracks: Crazy=Genius, Death Of A Bachelor

Rating: 9.5/10

David Bowie - ★

Heroes are always remembered, but legends never die. Right up until his end, David Bowie worked on his art and love. After decades of setting standards and defying boundaries, the world lost a true legend just days ago. His final legacy is written from his soul onto his twenty-sixth and final album, Blackstar. From beginning to end, Bowie punches out one massive tune after another, each of these final pieces making a memorable last impression.

The album begins with the 10-minute art rock, avant-garde title track, “Blackstar”, which sounds like Björk took a trip to the Eighties. The song begins the album with a haunting atmosphere, ominous harmonies building into a pop banger before returning to its haunting core. The beginning half of the song features saxophone dissonance and Björk-esque synths and strings, modulating into a more upbeat, funky track with syncopated guitar chords with brass and woodwinds brooding in the background. The song evolves back into its creepy krautrock rooting, ending with a harmonious conjoining of a scattering flute and synthesizer. Bowie doesn’t hold back on being subtle with this album - he chants, “I’m not a gangstar... I’m not a pornstar” in “Blackstar” and “Black struck the kiss, she kept my cock / Smote the mistress, drifting on / 'Tis a pity she was a whore” in the following track, “’Tis A Pity She Was A Whore”. “Lazarus” is a more Bowie-typical song, the big ballad of the album, featuring a soaring saxophone solo and arena-filling synthesizers, with some doodly guitars in the background doing their own thing, as well. “Sue (Or In A Season Of Crime)” begins to border a progressive rock sound, the krautrock influences heard prominently in “Blackstar” returning to the foreground. The song has the dark atmosphere of “Blackstar”, but with a more apparent urgency to it. “Girl Loves Me” is a throwback to earlier Bowie works, while incorporating the Björk influence once again. The song continues the darker components of the album, revolving around the idea of how one can get lost in their own emotions (”Where the fuck did Monday gooOO!?”). “Dollar Days” is another throwback to classic Bowie, and the closure track “I Can’t Give Everything Away” was fished straight out of Eighties synthpop.

After decades of work, inspiring countless artists to follow their musical dreams and breaking down countless walls, the great David Bowie has finally been laid to rest. He has left one final legacy with his last album, Blackstar, that has not fallen short of any expectations. We may have lost his future, but we will always have his influence with us. Thank you for the years of unfathomable inspiration and creation, David Bowie. Rest in peace.

Favorite Tracks:  Blackstar, Lazarus, Girl Loves Me

Least Favorite Track: Dollar Days

Rating: 8.5/10

Top 10 Songs of 2015

Last day of 2015, so let’s wrap it up with another Top 10 of the year: My top 10 songs of 2015. Another set of tough choices, but here they are. This is solely based off of my opinions - not looking at charts or popularity. Just the songs I enjoyed the most from the year! Be sure to check out my Top 10 Albums of 2015, too. Click on the song titles for my review of their respective albums!

10. Father John Misty - “Bored In The USA”

No one does satire better than Father John Misty. “Bored In The USA” off of this year’s I Love You, Honeybear offers the perspective of an ordinary citizen being bored with life. Throughout the piano ballad, Mr. Tillman offers many questions that get your head thinking. The song is clever enough to grab the laughs of any middle-aged individual (looking at you, Dad). Hell, the crowd laughing of a soap opera is even featured in the track! That’s gotta be indicative of something. There’s too much fantastic lyricism too comment on. “Bored In The USA” is the best satire of 2015.

9. Radiohead - “Spectre”

This song was only released a week ago, but it’s had enough of an impact to earn it a spot on my Top 10. Had it been given more time to grow on me, it would’ve definitely scored a higher spot. Before Sam Smith made it to the cinematic opening of Spectre this year with “Writings On The Wall”, Radiohead were approached to create the theme instead, offering “Spectre” on Christmas Day. Best Christmas gift, period. The song has the ominous vibe Radiohead so perfectly radiates in all of their music, and features their signature syncopation and a beautiful symphony backing Thom Yorke’s haunting voice. There’s so much in this song that it’s hard to single out any specific element. The symphony sends chills down my spine. The song is everything any fan would want of Radiohead. Hopefully the hype of their forthcoming album lives up to this huge track.

8. Kendrick Lamar - “The Blacker The Berry”

2015 was a big year for hip-hop. A lot of ground was broken. Perhaps the biggest contender in the rap race this year was Kendrick Lamar’s To Pimp A Butterfly. “The Blacker The Berry” is a demanding track, Kendrick going off with dirty verses and a giant beat accompanying the ominous instrumental. The subject of the song is politically charged all the while sliding in the message of internal struggle. “The Blacker The Berry” is the best hip-hop song of the year, and it deserves all the praise it should get.

7. Fall Out Boy - “Twin Skeleton’s (Twins In NYC)”

Fall Out Boy came triumphantly into the new year with American Beauty/American Psycho, edging deeper into pop rock than they had before. “Twin Skeleton’s (Hotel In NYC)” is the most cinematic song on the album, featuring Patrick Stump crying out his vocals. This is the best song on the “rock” half of the album, featuring some great (while still admittedly subtle) guitar work throughout. The harmonies towards the end of the song are what make this track so big, ending the album on such a haunting note. Andy Hurley’s drumming can’t be ignored - it’s fantastic on this song! “Twin Skeleton’s” is a giant song to end a great album.

6. CHVRCHES - “Afterglow”

“Afterglow” is the most subtle track on CHVRCHES’ new album, Every Open Eye. In the same way, it is the most beautiful. The song features Lauren Mayberry singing over an atmospheric array of synths. There’s not much to the song, it’s very stripped down. The song is the biggest highlight on the album for it’s simplistic beauty - everything in it is perfect, for what it does have going on. Definitely a song that’s hard to grasp at first, but is an amazing one to experience all the same.

5. Bring Me The Horizon - “Avalanche”

Bring Me The Horizon continued their evolution that began with 2013′s Sempiternal with this year’s That’s The Spirit. While the new effort doesn’t match what Sempiternal began, the album is still undeniably great. With lots of fantastic songwriting, and the band distancing itself form it’s metalcore roots, the band is continuing to focus more on the words than the aggression. “Avalanche” is the peak of this album, where Oli Sykes opens up his heart to needing a cure for his pain. Perhaps a cliché subject (though important all the same), but the song gets across the emotions and message very well, and is definitely one of the best songs of the year.

4. 10 Years - “From Birth To Burial”

10 Years returned this year with a follow-up to 2012′s Minus The Machine, with this year’s From Birth To Burial. The self-titled track of the album is one of the best songs of the year, 10 Years bringing everything they’ve got into one track. The ominous piano buildup explodes into a bustling track with a huge riff and loud playing. Perhaps what really sells this song to me is Jesse Hasek’s rapping before the first pre-chorus, which reminds me a lot of Mike Shinoda of Linkin Park. Regardless, this song is huge in its own way, and all the ways 10 Years have built themselves up to be.

3. Muse - “The Globalist”

Muse promised a sequel to the fan-beloved track, “Citizen Erased” would make it onto Drones. That song ended up being the progressive rock anthem, “The Globalist”, the story of the rise and fall of a dictator. Beginning with whistling akin to Ennio Morricone’s “L’Arena” and a huge symphony, the drama of the tracks begins early. Matt Bellamy continues with his reverb-filled slide guitar as the verse kicks in with the rest of the band. Perhaps one of the moments in music from this entire year is the heavy part of this song, the giant riff (taken from a previous jam known as the “Helsinki Jam”) in the bridge of the song is as metal as Muse have ever gotten, with a countdown to the firing of a nuclear missile and the marching of an army helping make this part so loud. The bridge concludes with a Spanish-influenced solo before concluding with one final piano ballad - a send-off of sorts. Sure, the track has it’s faults - perhaps it would’ve been better as three separate songs instead of one, as to better the flow, but it is undeniably a huge track that deserves a place on this list.

2. Arcane Roots - “Slow Dance”

Arcane Roots returned to the scene this year in a big way. Coming off of their first full debut album, Blood & Chemistry, the trio had a big weight on their back to follow it up. With this year’s Heaven & Earth EP, the band smashed all expectations. Introducing it in July with “If Nothing Breaks, Nothing Moves”, fans knew to expect something absolutely huge. “Slow Dance” comes from this very EP, and is everything you’d want from the trio and more. From a buildup opening that blows into a massive breakdown and chorus, this song will have you on your feet in no time. Excellent guitar work and vocals by Andrew Groves add to the sheer massiveness of this track. If you haven’t heard it yet, check it out. 

1. Muse - “The Handler”

It’s probably unfair of me to include Muse on this list twice, but it’s warranted for me. But this year, Drones was huge. Muse at the top of their game (perhaps not lyrically, but definitely from a jam standpoint) with their back-to-basics approach. “The Handler” is a combination of everything Muse is made of. With the huge arena-filling opening riff to the wah-filled bridge harkening back to the band’s old b-side, “In Your World”. Bellamy’s fantastic vocals and lyrical play (”trance formation”? Hmm) contribute to making this song the most massive song of the year, if the demanding riff and incredible bass work didn’t already win you over. The song is an absolute beast live, too.

Honorable Mentions

• Justin Bieber - “Love Yourself”: a track that you couldn’t have expected from Bieber before this year, but is definitely a standout from 2015. 
• Halsey - “Castle”: the song that kicked off the rebellion that is BADLANDS, and the most demanding track on the album.
• Years & Years - “Foundation”: the darkest track the trio has to offer, and the one that’ll be trapped in your head for weeks.

Thanks everyone for a great year. It’s been an adventure for me, and I’m sure it has been for many others. If it wasn’t the greatest year, hold on. Everything will find it’s right place. Here’s to 2016, it’s gonna be a big one.

Top 10 Albums of 2015

2015 is coming to a close, and it’s time to whip out the top ranking albums (in my opinion) from the year. It’s been a long one... but there have been some absolute gems of albums released this year. Without further adieu, here’s my top 10 albums of 2015.

Click the links for my in-depth review of the album!

10. Aurora - Running With The Wolves

Kicking off the Top 10 of 2015 is an artist who is set of dominating the pop of 2015. Aurora hails from Norway, and has already been dominating B-lists for radio stations upon the release of her debut EP, Running With The Wolves. The short EP features four beautiful pop songs, which all will leave a lasting mark on the listener. Aurora can be noted for her enchanting instrumentals (see: “Runaway”) and pure voice. Every song is beautifully written, especially “Running With The Wolves” and “Little Boy In The Grass”. Aurora will march into 2016 and absolutely dominate it, if the quality of her music is any indication of her future success. Fingers crossed - who knows what the radio will be attracted to...

9. Loma Prieta - Self Portrait

This hardcore punk outfit from California made a huge mark on 2015. Loma Prieta took a “happier” approach on their relentless punk this year with Self Portrait, the powerful successor to 2012′s I.V. The album is punk at its core, but is different from the zeitgeist of punk in many ways. “Satellite”, the closing track, for example, is everything a punk rock song should be, but it is undeniably happy in tone. The band with this album almost becomes a heavy The World Is A Beautiful Place, most evidently with the song “Never Remember”, though “Merciless” can be passed as a punk version of Deftones’ “Change (In The House Of Flies)”. The album shows a clear progression of the band’s sound, but still stays true to who they are. It delivers some of the heaviest jams of the year, too. That’s always a plus!

8. Halsey - BADLANDS

Halsey had the most triumphant debut of the year. BADLANDS captures the rebellious of Nirvana, the pop appeal of Fall Out Boy and Justin Bieber, and the brooding instrumentals of Sia and Imagine Dragons. With all of these coming together, it’s hard to go wrong. Admittedly, since it’s initial release the album has lost some of its initial hype, but I’ll be damned if “Castle”  doesn’t give me chills. Halsey, rather than a follower of the past, seems to be a leader. A leader of the same rebellion Nirvana led back in the day - she’s the voice for the lost ones of this generation. “New Americana” is the modern day equivalent of “Smells Like Teen Spirit” (though the latter will always be the most relevant). Lyrically, there are much stronger songs than “New Americana” - “Castle”, “Colors”, and “Gasoline” are all fantastically written. “Castle” and “Control” have the biggest and best instrumentals on the entire album. Halsey’s crafted a new rebellious wave of pop that has set a precedent that is sure to set off a huge new generation of artists looking for a voice.

7. Years & Years - Communion

Debut albums were huge this year. Years & Years burst seemingly out of nowhere in 2014 with their huge dance tracks “Kings” and “Take Shelter”, both of which can be found on Communion. The album showcases more than just the dance jingles the band executes so well - a darker and more intimate sound to the band can be found in the breathtaking opening track “Foundation” (which sounds like Radiohead meets Diplo) and the acoustic version of “Ready For You”. The band’s trademark electronic dance bangers are still the vocal point of the album, with new tracks “Worship” and “Border” giving the perfect vibes for the club and for love. Olly Alexander’s vocals shine throughout the entire album, his melodies full of emotion, brought higher by the soaring electronics. Years & Years have one of the most memorable debuts of the year under the belts - may this carry them further in the future. It can only go up from here.

6. 10 Years - From Birth To Burial

If you wanted big rock jams this year, you needed to listen to 10 Years’ newest release. The album is the band taking the atmosphere of Minus The Machine and adding a heavier touch to it. The album opens up with the title track, which is one of the biggest songs of the year, where Jesse Hasek draws from Linkin Park’s Mike Shinoda for a quick rap verse. “Triggers & Tripwires” and “Crimson Kiss” showcase the band’s heavier side, while “Luna” and “The River” shine the spotlight on the band’s songwriting ability. The closing duo, “Miscellanea” and “Moisture Residue” are a fantastic way to end this massive album. The lead single of the album “Miscellanea” sees Hasek reaching really high for some notes and a piano bridge that is the vocal point of the heart-wrenching “Moisture Residue”. The song brought some of the band’s biggest jams, and definitely some of the biggest headbangers of 2015.

5. Bring Me The Horizon - That’s The Spirit

Being that Thirty Seconds To Mars is my all-time favorite band, I truly enjoyed a lot of this album. Bring Me The Horizon has continued their evolution of sound that began with Sempiternal with this year’s That’s The Spirit, which took the band even further from their post-hardcore roots. This album is more alternative rock than it is hardcore, though Oli Sykes’ vocals are just as powerful as ever. His screaming and singing are the best part of the album, and what carries it so far. “Doomed” and “Follow You” show his ability to write fantastic songs, while “Avalanche” and “Throne” (the latter of which truly play to the influence Linkin Park has had on them) are the big jams. “Drown” is as close to Thirty Seconds To Mars as the band has gotten, though “Happy Song” and “Oh No” use the crowd vocal elements as critically as Thirty Seconds uses them. This is a band who has evolved into something different and more powerful than ever before. This is the powerful evolution of Bring Me The Horizon, that will only continue to spiral upwards into something more incredible.

4. Fall Out Boy - American Beauty/American Psycho

2015 was a big year for Fall Out Boy. An album full of huge anthems that would stay popular throughout the entire year, very big performances at some of the biggest events in music, collaborations with Demi Lovato (for a version of “Irresistible”) and a variety of hip-hop artists (for the remix album, Make America Psycho Again)... you name it, Fall Out Boy probably did it. This album brought back some of the punk/alternative rock anthems Fall Out Boy are known for, while being tossed up with many pop and electronic elements. The band even brought out some tributes throughout the album, sampling Mötley Crüe in the title track, Suzanne Vega (who even sang her own melody for her song, “Tom’s Diner”, for their use!) in “Centuries”, and even The Munsters theme song in “Uma Thurman”. The singles of the album, while all memorable in their own right, the tracks on the second half of the album are were the band truly shines. “Novocaine” brings out some impressive vocals by Patrick Stump, and the driving beat of the song paired with the distorted vocal line and rolling guitars pair for an immense song. “Twin Skeleton’s (Hotel In NYC)” takes a cinematic approach, one of the only songs that shined both on the album and the remix album (that Joey Bada$$ verse!). The harmonies at the end of the song end the album on such a high note, leaving the fans wanting more. Fall Out Boy brought out all of the biggest anthems of the year in 2015.

3. CHVRCHES - Every Open Eye

CHVRCHES burst onto the synthpop scene back in 2013 with their groundbreaking The Bones Of What You Believe and have finally followed up this year with the anthemic Every Open Eye. The trio took everything that shined with their previous effort and combined it with a brighter sound to craft the best electronic and pop album of the year. Singles like “Never Ending Circles” and “Clearest Blue” established CHVRCHES ability to dominate the charts and brought the album the attention it deserves. The band, while admittedly not doing much to separate this album from their debut, did experiment a bit with some songs. “High Enough To Carry You Over” (and bonus track “Follow You”) features Martin Doherty on lead vocals for the first time, while “Bury It” shows a thicker side to CHVRCHES’ electronic ventures, with a thick bass guitar track in the background. Lauren Mayberry’s fantastic vocals and harmonies throughout the album are another shining example of what makes the album so beautiful; the incredible “Afterglow” that concluded the album might just be the most beautiful songs of the year. CHVRCHES took electronic and pop music to a whole new expectation, earning them the third spot in the Top 10 of the year.

2. Arcane Roots - Heaven & Earth EP

From the English underground rock scene burst Arcane Roots, who in 2013 released their massive debut album, Blood & Chemistry. After fairly extensive touring around their mother country, as well as some other European stints supporting the likes of Muse and Biffy Clyro, the band finally returned to the studio this year to record the follow up. Instead of offering a full record this time, new music came in the form of a new, intense EP that stands as a pristine example for future brit-rockers to follow. The album kicks off with the huge banger, “If Nothing Breaks, Nothing Moves” that features vocalist Andrew Grover singing, tortured on top of atmospheric piano chords. The song sums up the album fairly well - strong soft moments, an anthemic chorus, huge breakdowns, and a massive explosion of an ending with all of the songs elements conjoining into one cohesive wall of noise. Another single from the album, “Slow Dance” brings back some of the urgency of their previous efforts and the beginning track, where tracks like “When Did The Taste Leave Your Mouth” and “Leaving” bring that intense radio-rock that could dominate any airwaves and will get the crowds jumping to the beat. The closing track, “Vows & Ceremonies” is a call to love, running away to live your life. It brings back some of the lighter rock from tracks like “Hell & High Water” from their previous album. Arcane Roots have truly crafted a masterpiece of an EP with their signature sound that will continue to dominate Brit Rock for ages to come.

1. Muse - Drones

Muse have always found ways to keep their sound fresh and exciting, whether it be the indie/alternative sounds from their debut Showbiz to the heavy, fast-paced apocalypse rock of Absolution, to the electronic anthems found in The 2nd Law. Drones saw Muse exploring the concept of drone warfare, following a protagonist becoming a mindless killer and then escaping the clutches of their oppressors, all the while taking their sound back to the basics. The track is filled with huge rock tracks like “Reapers” and “The Handler”, big jams like “Psycho” and “Defector”, and even the good pop jingles Muse are well known for hitting out: “Dead Inside” and “Revolt”. “The Globalist” is a ten-minute, progressive epic about the fall of a dictator, the successor to an older Muse gem, “Citizen Erased”. The song modulates out of the beautiful end of the main narrative, “Aftermath”, and segues into the final a cappella track that the album draws its name from, a prayer to all of the nameless souls lost in war.

Drones is a challenge to modern warfare, and it should be approached. Can we really stand back and let attacks happen from behind a computer screen? Can we continue to mindlessly destroy entire cities with the click of a button? Muse brought upon this message with powerful music backing it, earning them, in my opinion, the best album of 2015. 

Honorable Mentions

• Adele - 25
• Bea Miller - Not An Apology
• Björk - Vulnicura
• Coldplay - A Head Full Of Dreams
• Father John Misty - I Love You, Honeybear
• Grimes - Art Angels
• Halestorm - Into The Wild Life
• Joey Bada$$ - B4.DA.$$
• milo - so the flies don’t come
• MUTEMATH - Vitals
• Purity Ring - Another Eternity

That’s a wrap for this year... another Top 10 list and a wrapup of the fourth quarter is still to come. Thanks for sticking with me throughout the year, and may 2016 be a great year for music.

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

Loma Prieta - Self-Portrait

Have you ever been hit by a freight train? If you have, congratulations on surviving. If you haven’t, Loma Prieta can give you a taste of what exactly that feels like. This San Francisco band has returned, following up their massive 2012 album, I.V. with Self Portrait. Between the massive walls of noise, Loma Prieta is back with a more refined sound and a thicker soundscape to rock your mind.

Going into this album is like being thrown into a pit, full of angry, hungry wolves, ready to tear your flesh apart. Some freight train collision, huh? The opening track, “Love” begins this monster album on a mild note, beginning with arpeggiated (albeit, distorted) guitar before screaming vocals kick in, barreling drums soon following. This is about as soft as it gets on this album. “Black Square” follows up “Love”, beginning with thundering drums a feedback buildup to more angry screams. The chorus brings us to the point of no return on the album - the distorted powerchords under extreme vocals are upon us. The album continues to march forward, each track being another punch in the face. The album, in fact, gets even crazier as it continues. “Merciless” is probably one of the most mind-bogglingly epic tracks on the album, beginning with what could be passed as a punk version of the intro to Deftones’ “Change (In The House Of Flies)”, this song embodies what hardcore punk mixed with noise rock is: confusion and sonic brutality. “Rings” continues the insanity, with pounding kick drums and giant distorted guitars knocking you out with every hit.

The concluding track of the album, in contrast, ends it on a lighter note. “Satellite” begins as the cleanest track on the album. It does eventually kick into another heavy-hitting punk rock banger as the choruses pick up, but it still shows a progression in the band’s sound, exhibited elsewhere in the album, too: a “happier” vibe. The band attempts to stray away from a purely negative sound at several moments on the album. This includes “Never Remember” (which could be passed for a really heavy The World Is A Beautiful Place & I Am No Longer Afraid To Die song) and “More Perfect”, two tracks that are uncharacteristically happy for Loma Prieta.

And so, as lightly it began, a crescendo of noise lifts you out of the sonic experience of Self Portrait. Barreling towards a happier sound, Loma Prieta has developed a fuller sound, maintaining the heaviness of previous efforts all the while mixing in lighter moments to lead the listener to a false sense of security, before bombarded by a massive wall of noise. They have mastered the art of noise (that is, feedback) and built it into powerful, hard-hitting tracks, keeping every track fresh and new. Congratulations, you have survived a direct collision from a freight train.

Favorite Tracks: Merciless, Love, Satellite

Least Favorite Track: Never Remember

Rating: 8.5/10

Disclosure - Caracal

Being among the leaders of house and a new album packed with all star guests (The Weeknd, Lorde, Sam Smith, and more), it’s easy to see where electronic and pop music fans alike are being drawn in. Perhaps the only way to try and match the success of Disclosure’s previous effort Settle was to get this pop appeal. But can their new album match the quality fans so adored in its successor?

Caracal stays very true to itself. It embodies everything house is, and should be. While this has both its ups and downs, for the most part, it does everything it attempts to do in a complete fashion. The beginning of the album is an onslaught of soul - The Weeknd and Sam Smith’s guest spots appearing consecutively after one another. The album opens on a big note: the seven minute house monster that is “Nocturnal” featuring The Weeknd. The Weeknd’s R&B voice shines bright and provocatively on top of the typical deep bass notes and pretty little synths that compose the instrumental. The song centers around the atmospheric chorus (which is really just Weeknd singing, “Nocturnal, yeah!” over and over) and progressive build ups. On the surface the track seems a bit tacky and long, though the length is justified by the catchiness of the track. Even if you hate it, the track is extremely infectious. Unfortunately, the album peaks just as soon as it begins.

As I mentioned before, this album takes a firm hold of everything it attempts to do. The negative side of that is that it holds on to these principles throughout the entirety of the album, making it an enjoyable yet forgettable experience. The tracks following “Nocturnal”, “Omen” featuring Sam Smith and “Holding On” featuring Gregory Porter, while great as standalone songs, ruin the flow established with the debut track. Not only that, but they feel like secondhand knockoffs of it! “Hourglass” featuring LION BABE rebuilds the charm of “Nocturnal”, with LION delivering great harmonies, with a fun backing track. The album quickly shoots low again, nothing separating “Willing & Able” from being a KWABS feature and a KWABS track. “Magnets” with Lorde and the first track on the album without a feature, “Jaded” are the last high points on the album. Lorde delivers a great performance with her signature ominously charming harmonies, even while the instrumental may not fit the mood the vocals seem to want to set up. “Jaded” has a driving charm with a very catchy chorus yet again. Your suspicions are built up and broken down throughout the first half of the album, ultimately leveling off into a very average expectation for the second half. While there are memorable moments scattered few and far between the second half of the album (songs like “Moving Mountains” and “Molecules” are quite well written and groovy), nothing truly stands out like the better tracks of the beginning. Not to mention the absolute disasters that are “Bang That” and “Good Intentions” featuring Miguel.

Caracal isn’t the follow up you’d expect from Disclosure, but it definitely holds its ground. It has its ups and downs (well, mainly downs), but it’s a solid house record. Great to put on in the background to get work done, or to put on at a chill party. Dropping big names definitely helped the album get some fresh ideas and pop exposure, so hopefully the trend continues in Disclosure’s future endeavors.

Favorite Tracks: Nocturnal (ft. The Weeknd), Magnets (ft. Lorde), Jaded

Least Favorite Tracks: Bang That, Good Intentions (ft. Miguel)

Overall Rating: 6.5/10