Softlightes - "Say No! To Being Cool. Say Yes! To Being Happy." (2007)

73%

Say No! To Being Cool. Say Yes! To Being Happy. is the debut album of Southern California-based quartet Softlightes. Barely 34 minutes long, Say No!... is soft, cute, and doesn't seem to take itself too seriously, a nice counter to the seriousness of some indie musicians nowadays. The album primarily features a folky indie-pop sound woven with electronic elements and lovely, sweet vocals (Ron Fountenberry). The sound on the album remains fairly consistent throughout, which, depending on your tastes may or may not appeal to you. (Personally, I liked it). All in all, it's a pleasant listen, though the sugary sound might not be for everyone.

tl;dr: Solid indie folk-pop, with electronic influences.
Best tracks: Heart Made of Sound, Town Named Blue, The Robots In My Bedroom Were Playing Arena Rock, The Ballad Of Theo & June

#1. The Ballad of Theo & June
#2. Heart Made of Sound
#3. Girlkillsbear
#4. The Robots in My Bedroom were Playing Arena Rock
#5. A Town Named Blue
#6. Leanor & Me
#7. Untitled Duet #3
#8. The Microwave Song
#9. Heart Made of Sound (Reprise)
#10. If the World had Cookies
#11. Black Skinheads in White Pants
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Fair to Midland - "Fables from a Mayfly: What I Tell You Three Times Is True" (2007)

90%

Fair to Midland's major-label debut is a masterpiece. This epic progressive rock quintet from Texas utilize soaring vocals and clever lyrics to wonderful effect, as is evident in their third studio album, Fables from a Mayfly: What I Tell You Three Times Is True. The roaring opener "Dance of the Manatee" provides a strong canvas for the rest of the album to explore, and songs like "A Wolf Descends Upon the Spanish Sahara" and "Walls of Jericho" do so with screaming glee. These musicians have clearly been doing this for a while, and while their earlier albums seemed a bit stylistically uncertain, this album asserts itself very confidently as an epic. While the titles of the tracks and the artwork of this album may at first make it seem a bit hard to take in, its coldly organic soundscapes and catchy (but not corny) choruses soon and envelop you and convert you to the Cult of Midland.

This album is flawlessly produced and mixed, leaving plenty of room for the subtleties of the music and unique song structure to shine. The lyrics are also quite interesting, with the most striking of the bunch being the words to the chorus of the album's closing piece, "Say When," which defiantly proclaim, "The way they left us all in the dark: The buried the sun, so I carried the torch." This album is truly a "you'd have to listen to it to understand" sort of album, and I urge you to do so.

However, I did not give this album over a 90% for a reason, a reason that can only become apparent after three or four spins of the album. When someone asks me to name the track I'm humming or drumming, and it's a track off this album, I hesitate. And then I ponder. Looking back on this album in retrospect, the tracks blend together in a large lump of chunky, flowing guitars and cheesy keyboards and the names of the songs dissolve into murky cesspools of doubt in my mind. Why is this? In my opinion, it's similarity between tracks. The tendency of this band to repeat their formula just a smidge too much on a single album is apparent now, but personally, I don't think it damages the album to too great a degree.

tl;dr: A memorable (but singular-minded) progressive rock classic. Fair to Midland at their best.
NOTE: The tracks after the backslashes are interludes.

Best tracks: All of them. Like I said, very similar-sounding stuff.

-Zhaboka

01. Dance of the Manatee
02. Kyla Cries Cologne / Pre-Versa
03. Vice/Versa
04. The Wife, the Kids, and the White Picket Fence
05. April Fools and Eggmen / Ciperion
06. A Seafarer's Knot
07. A Wolf Descends Upon the Spanish Sahara
08. Walls of Jericho
09. Tall Tales Taste Like Sour Grapes
10. Upgrade^Brigade / When the Bough Breaks
11. Say When / Ozymandius
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Via Coma - "Bridges" EP (2009)

87%

The Bridges EP by Via Coma is a delightfully quick little foray into the field of experimental rock and the studio debut of Lafayette, California-based Via Coma (meaning “by way of sleep” or “to travel through sleep”). The group delivers a textural, sensual sonic experience while still managing to avoid sounding too soft or unaggressive over the course of the EP’S five tracks. The solid opener “Turn” offers the most textural sounds on the album, while “Aquanota” is a slower, more contemplative follower that provides a perfect canvas for the chilling strains of “I, The Sovereign”. “Charlotte Parker” goes through several strange rhythmic permutations that may seem a bit distracting to the song, but ends on a more tired note, allowing for the calm intro to the brilliant “Architects”, arguably the album’s strongest song. “Architects” makes good use of falsetto and repetition, features powerful lyrics, and truly makes the EP complete.

While the songs of Bridges may seem to sound similar to each other at many points, each has its own enjoyable details and its own distinctive mood, separating this album from many of the single-dimensional albums that smother the industry at present day. One could also argue that the lyrical themes and the way in which they are presented are inexcusably pretentious, and I would have to agree, but to enjoy this album, you must embrace the pretension and simply listen.

tl;dr: A short but thoroughly passionate EP from a little-known experimental rock band that deserves to get signed.

Best Tracks: “Turn”, “I, The Sovereign”, and “Architects"

-Zhaboka

1. Turn

2. Aquanota

3. I, The Sovereign

4. Charlotte Parker

5. Architects

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Woodbums - "Keepin' it Street in the Woods" (2009)

91%

Keepin’ It Street in the Woods is the first album produced by the Woodbums, and what an album it is! It begins with what is easily the most ballad-like song in the United States-based rap collective’s catalog. “Song for the Ladies” is a tender ode to the opposite sex that never comes across as either demeaning or overly sappy. It gives then-rookie MC Ginga Snapz a chance to bust rhymes from the heart, and it constitutes a great opener for the album. The second track, “Check under the Hood,” cautions the listener to make sexual conquests with care, through a series of narratives relating to hook-ups gone awry. The attention to detail in the storytelling is vivid, but never slows down the development of the plot, if something developed in three minutes can be called that. “Ginga Bredd Juice” is a collection of old-school boasts that are just clever enough to make you smile; for example, Ju-C Juice uses the lines “[w]ack MC’s, I’d hate to be ya/ Cuz you bite people’s styles like a quesadilla/ I got street cred like Al Pacino/ And I drop twenty yards like Dan Marino.” The fourth track, “2 Young 2 Drink 2 Drunk 2 Fish,” is a solo track from Snapz, and it thoroughly merits its spot as the Woodbums’ most famous song. With lyrical content describing underage drinking on a raft, it is an original and catchy track. “G Funk (On the Strang)” is another track based on clever rhymes rather than narrative; both of these styles are strong points for the Woodbums, so this track is full of quotable gems like Bredd Loaf’s “I can rock well like my name was Norman/ With the funk on the Strang and I be global warmin’/ My thunder be stormin’, and my hordes be swarmin’/ And I got more wives than a polygamist Mormon.” The sixth track is called “Draggin’ Dragon” and consists of Loaf and Snapz trading couplets which “subtly” refer to their members. “Wave to the Weave” leaves the reader with a pensive outlook about women with hair extensions.

Every beat on the album has a slightly different feel, but all of them seem to mesh, and this is Bredd Loaf’s genius as a producer; he infuses every track he produces with his trademark sound. Loaf also manages to weave a hip-hop aesthetic into every one of his beats, whether it’s the Oriental pulse of “Draggin’ Dragon” or the blaring synths and bumping drum machines heard on “Check under the Hood” (I defy anyone not to start grinding with something upon hearing that beat). Another aspect that gives personality to the music is the blatant contrasts in the individual rappers’ styles: Loaf’s laid-back swagger, Ju-C’s often incendiary flow, and Snapz’s delivery, which perfectly personifies the album title. Snapz, this being his first album, did shake a few times, but his lyrics are so solid on this album (“The girlies are tryin’ to sit next to me/ Slippin’ some drink into my ecstasy”) that any faltering in terms of delivery is rendered a moot point. Keepin’ It Street... is a classic in Woodbums history and an excellent album by any standards. It is refreshing to hear a rap album more focused on cleverness and a release of energy than a message. Don’t get me wrong; having a message is important in the grand scheme of things, but it is also crucial to have a few albums from which the most important lesson the listener learns is to “check under the hood.”

The Woodbums deliver a fresh, fun album with Keepin' It Street in the Woods. One of my favorites.

Best tracks: “Check under the Hood,” “2 Young 2 Drink 2 Drunk 2 Fish”

#1. Songs for the Ladies
#2. Check under the Hood
#3. Ginga Bredd Juice
#4. 2 Young 2 Drink 2 Drunk 2 Fish
#5. G Funk (On the Strang)
#6. Draggin' Dragon
#7. Wave 2 the Weave
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Mirrorthrone - "Carriers of Dust" (2006)

91%

Hailing from Switzerland, Mirrorthrone is a bedroom black metal project, regulated by its sole member, Vladimir Cochet. This alone may cause some to question Mirrorthrone’s relevance and quality, and rightly so; bedroom black metal is generally ill-conceived and hastily recorded music that is made by angsty teenagers who wish to replicate Burzum’s Filosofem as closely as possible, usually with embarrassingly poor results. Fortunately, Mirrorthrone’s Carriers of Dust is a complete departure from this norm.

The music contained on Carriers of Dust is well-produced and intricate; it is clear that Vladimir invested great amounts of time to see his vision carried out to a high standard. Whereas most bedroom black metal is characterized by its lo-fi production and minimalist songwriting, Carriers of Dust is pristinely produced, and the tracks (three-fourths of which are over nine minutes in length) feature incredibly diverse instrumentation and lengthy instrumental sections that feature flutes, strings, and organs, evidence of the classical influence on this album. Aside from these atypical elements, Vladimir incorporates traditional black metal instrumentation; chromatic riffs played on trebly tremolo-picked guitars and blastbeat inflicted drumming. Occasionally the riffing takes on a death metal sort of feel, but for the most part it remains within the realm of black metal.

Another aspect of this album that places Mirrorthrone head-and-shoulders above its peers are Vladimir’s vocals; he utilizes screaming, singing, and growling, all to wondrous effect, while his peers, who, for the most part, rely on Burzum-inspired shrieking.

Unfortunately, Carriers of Dust isn’t all perfect. Though it contains three absolutely mind-blowing songs, Carriers of Dust is let down by its closing track (it should be cut in half) and the fact that all of the instruments other than the guitar and the bass are programmed or synthesized; this gives the album a mechanical and inorganic feel, the opposite of what an atmospheric black metal artist should produce. Otherwise, it is essentially perfect.

tl;dr: Incredible symphonic black/death, marred by inorganic production and an overlong closer. Recommended to fans of Emperor.

Best Tracks: “A Scream to Express the Hate of a Race”, “De l’Échec et de son Essentialité”

~Turkeyballs

#1. A Scream to Express the Hate of a Race
#2. Mortphose
#3. De l'Échec et de son Essentiallité [Point I: Marginalité Démystifiée]
#4. Ils Brandiront Leurs Idoles
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Queensrÿche - "Queensrÿche" (1983)

85%

Boring. Inconsistent. Pretentious. All these negative adjectives and more have been used to describe Queensrÿche at some point in their long and prolific career. It is unfortunate for the listener that these adjectives are usually applied fittingly. However, none of the aforementioned adjectives can be applied to Queensrÿche’s self-titled debut. Instead, Queensrÿche is a down-to-earth, exciting, and fun ride through 80s heavy metal. The one negative aspect of the album is its unoriginality.

Queensrÿche's influence are easily recognized From Geoff Tate’s soaring vocals to Chris DeGarmo and Jack Wilton’s dual guitar solos, everything sounds like in imitation of The Number of the Beast/Piece of Mind-era Iron Maiden. Hell, even the lyrics are clearly influenced by the fantasy and science-fiction style of Bruce Dickinson. What elevates Queensrÿche above the herd, and, in this reviewer’s opinion, above Iron Maiden, is their incredible songwriting talent. To put it simply, Queensrÿche do Iron Maiden better than Iron Maiden does.

Every aspect of this album is dead on. The production is warm but a bit muddy, though this suits the album’s raw atmosphere. The vocals have a wonderful Dickinson-esque quality. The instrumentation, while not as intricate as it would be on later albums, is tight and well done, especially the guitars; some of the riffs on this album (especially on “Blinded”) are absolutely vicious, and the solos, while not incredibly technical, are incredibly catchy.

Though this is a great album, it is marred by its length and its lack of originality. One can imagine Queensrÿche getting together in a member’s basement and figuring out how they could rewrite The Number of the Beast. Oh well; that doesn’t stop Queensrÿche from being an absolutely essential EP.

tl;dr: Classic speedy heavy metal. Recommended to fans of Iron Maiden and people who can bear exceptionally cheesy lyrics.

Best Songs: “Queen of the Reich”, “Blinded”. It’s short, though; just download the whole EP.

~Turkeyballs

1. Queen of the Reich
2. Nightrider
3. Blinded
4. The Lady Wore Black
5. Prophecy (1988 Bonus)
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Sage Francis - "Personal Journals" (2002)

98%

Personal Journals was Sage Francis’ debut proper. As he had released several mix-tapes and debuts earlier in the 21^st century, Personal Journals represented a maturation of sorts for him, as most of the tracks contained were written with the intention of being compiled together. This gives Personal Journals an immediate advantage over Sage’s earlier material; whereas mixes like Sick of Waging War were annoyingly jarring and disorderly, Personal Journals benefits from its great flow, and its greater feeling of concentration. But the most noticeable difference between Personal Journals and Sage’s earlier work is the lyrical content. Whereas previous releases featured more conventional hip hop lyrics, the lyrics on Personal Journals, as the title might suggest, are personal and weighted, giving this album a feeling of intimacy that, once more Sage’s earlier work lacks.

Over eighteen tracks Personal Journals features over ten different producers, leading to an extremely diverse collection of beats. Everything from sorrowful guitar chords (on “Specialist”) to sombre string arrangements (on “Personal Journalist”) to Captain Beefheart samples (on “Runaways”) is utilized, making Personal Journals a constantly interesting listen. These beats also help to capture the atmosphere of the album. “Eviction Notice” would be nothing without its plodding, ominous percussion, and "Simon Says"-esque horn section, just as “Smokes & Mirrors” would be nothing without its light synths. Personal Journals also makes great use of hand drums, adding to the uniqueness of this wonderfully eclectic mix.

However, the highlight of the album is Sage himself. He has incredible flow; able to adapt quickly to tempo changes, slowing down and speeding up with ease, but also delivering catchy rhymes while keeping perfect time. But it is what Sage delivers with such great flow that makes Personal Journals so wonderful. Most of the songs on Personal Journals tell stories, often about a significant event or person in Sage’s life. Whether it be about his father’s struggles with alcoholism, his sister’s self-harm, or a sweatshirt he once wore “like a second a layer of skin”, Sage delivers emotional, intelligible, and thought-provoking raps with clear meanings and interesting analyses.

Overall, Personal Journals is a great listen for people who like hip hop, but are often turned off by its normally hedonistic and self-promoting lyrics. Conversely, many will hate it; they will say that Sage has pussified since his earlier work, and might call it a sell-out. I myself love this album: it is my second favourite album of all time.

tl;dr: Eclectic beats, emotional lyrics, great flow. Recommended to all who don't mind hip hop that doesn't sound "tough", and to those who are looking for something different.

Best Songs: “Climb Trees”, “Smoke & Mirrors”, “Specialist”, “Runaways”

~Turkeyballs

1. Crack Pipes

2. Different

3. Personal Journalist

4. Inherited Scars

5. Climb Trees

6. Broken Wings

7. The Strange Famous Mullet Remover

8. Smoke And Mirrors

9. Message Sent

10. Eviction Notice

11. Pitchers of Silence

12. Specialist

13. Hopeless

14. Kill Ya' Momz

15. Black Sweatshirt

16. Cup Of Tea

17. My Name Is Strange

18. Runaways

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You Love Her Coz She's Dead - "Inner City Angst EP" (2008)

69%

Hyperactive is one of the words that come to mind when listening to Inner City Angst. That, and fun. That’s what this album really is: pure fun. It’s not very serious, and the pace doesn’t slow down at all in all of its fourteen minutes. And, like most bitpop, it’s not very complicated or musically intricate. To those who don’t like it, it’s annoying and obnoxious; personally, I enjoy it. I’ve always enjoyed old videogame music, and I wholeheartedly approve of the lyrical content. It has a very energetic feel to it (as mentioned before), which I always appreciate. It’s nice when it sounds like the band members are enjoying themselves. Still, it can cause headaches, and it’s only nice to listen to when I’m in the right mood. But if you like 8-bit and/or electropop it’s worth a listen.

tl;dr: Fun, bright, bubbly 8-bit/electropop. Not astounding, but enjoyable. Grows on you with each listen.
Best Songs: “Blood Lust” and “Dead End”

~Probey

1. Blood Lust
2. Dead End
3. Superheroes
4. Wizards
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5ive Style - "5ive Style" (1995)

84%

5ive Style is an indie funk-rock band from Chicago. The songs on their self-titled debut are structured like mainstream rock songs in that they switch from verse to chorus repeatedly with few solos. It would seem that this would become horribly repetitive; it does not. The repetition allows the listener to sink even further into the cavernous grooves presented on each track. Moreover, the songs are of suitably short durations, so that each riff or rhythm stays fresh. The textures used are delicious: fat synthesizers, clean electric guitar, and basslines that emphasize the band’s deep-funk style.

The most important difference between 5ive Style and other “post-rock” groups is true musicianship. Guitarist Billy Dolan wields formidable technical power as leader of the band, interweaving melodic lines and triple-stops into extremely catchy riffs. Also, 5ive Style has a group dynamic in their music. The songs sound as if each musician is working toward a final product with the same conceptual goal. From the ambient (at least relatively) experimentation of “Sure Is Hot” and “I Told Ya” to the upbeat (again, relatively) rhythms which drive “Hard Afro Rubalon” and “Once Around the Park,” 5ive Style offers excellent funk-rock to any interested, with a grin on its little album face.

tl;dr: 5ive Style is a funk-rock album with a winning personality and some excellent music.
Best Songs: “Apple Pie", “Once Around the Park", “Hard Afro Rubalon" and “Deep Marsh”

~Nilla

1. Deep Marsh
2. Hard Afro Rubalon
3. Once Around The Park
4. Round Up
5. I Told Ya
6. Outta Space Canoe Race
7. Apple Pie
8. Waiting On The Eclipse
9. Freddy Flakeout
10. Sure Is Hot
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SUNBEARS! - "Dream Happy Dreams" (2009)

90%

Dream Happy Dreams by SUNBEARS! is easily one of the best albums of 2009, and yet, it doesn’t even get half the recognition it deserves. This skillful duo masterfully pulls off a combination of an experimental and psychedelic sound with bubbly, electric indie pop. The melding of these two sounds results in an album that is very accessible, and delightful to listen to. Throughout the album, there are moments reminiscent of Of Montreal, Beirut, Animal Collective, and other such bands (to name a few).

The album begins and ends with two pleasant instrumental tracks, “Le Penné Pageant” and “Sunshine At 9 P.M.”, and in between those two are five epic, happy yet melancholy, unique, beautiful songs. The lyrical content is cute and poetic, and invokes the urge to smile and cry—AT THE SAME TIME. There is not a single dead spot in all thirty-one minutes of this gem of an album. Their sound is unique and interesting, and yet, it’s not difficult to listen to, as some bands of this ilk can be. It’s an album to listen to when you’re happy or sad, alone or with friends, etc. I can’t say anything else except for: LISTEN TO IT!

tl;dr: An experimental psychedelic indie electro pop rock orgasm that’s easy to listen to and adore. Highly recommended.
Best Tracks: “All You Need Is Sleep”, “I’m Alive!”, “Dream Happy Dreams” and “Little Baby Pines” (The album is very short; it’s worth it to just get the whole thing.)

~Probey

1. La Penné Pageant
2. All You Need Is Sleep
3. I'm Alive!
4. Dream Happy Dreams
5. Little Baby Pines
6. A Lovely Tuesday Afternoon In June
7. Sunshine At 9 P.M.
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Rob Swift - "The Ablist" (1999)

81%

DJ Robert Aguilar, working under the pseudonym Rob Swift, teamed up with a number of rappers and a slew of live musicians to record The Ablist, a journey through stylistic variations on hip-hop that is truly focused on the music. This is rare on the rap scene, to see an artist bent on laying down the tastiest grooves or the cleverest rhymes rather than using the album as a vessel for their culture and political views. Swift and his crew succeed in making a thoroughly satisfying auditory experience. Swift himself specializes in the craft of turntablism, sampling voices and instruments in a smart way, not to mention performing on the “wheels of steel” with a style that augments the flow of the beats.

Phone messages from Swift’s friends and snippets of in-studio brainstorming constitute eight spoken-word interludes, which are included in the interstices between the songs. These add a feeling of the work and enthusiasm that went into the album’s creation, and they include. Every MC featured has both chops and lyricism, whether on the true posse cuts (“Modern Day Music,” “Turntablist Anthem,” and “Musica Negra [Black Music]”) or on the solo and duet tracks (“I’m Leaving,” “Night Time,” and “Gangis Khan”). On an interesting side note, Swift proves his authenticity with “Gangis Khan,” as it was recorded acapella, on speakerphone, and live from federal prison. Every other track on the album is an infectiously laid-back instrumental groove in which vocal samples play an important role. The Ablist is a compelling hip-hop album and has a profusion of genuine musical energy.

tl;dr: An excellent experiment in hip-hop. Recommended.
Best Songs: “Dope on Plastic”, “Modern Day Music" and “All That Scratching Is Making Me Rich”

~Nilla

1. Day One
2. Dope On Plastic
3. What Would You Do?
4. Night Time
5. Modern Day Music
6. Two Turntables And A Keyboard
7. Fusion Beats
8. Alma's Message
9. Turntablist Anthem
10. Let's Talk Relationships
11. I'm Leaving
12. Brainstorming
13. All That Scratching Is Making Me Rich!
14. Ben Fee The MC
15. Musica Negra/Black Music (Remix)
16. Gangis Khan
17. This Is Our Day
18. The Will To Do Something Different
19. Something Different
20. Gangis Khan Returns
21. The Ablist
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Burzum - "Filosofem" (1996)

99%

Released on New Year’s Day of 1996 but recorded in 1993, Burzum’s fourth and, as of yet, final metal album is generally recognized as a classic of the black metal genre, not just within metal circles, but also by the general music-listening population. Its popularity stems from the infamy of its sole member, Varg Vikernes, and its relative accessibility; many of the songs contained on Filosofem are inflicted with elements of shoegaze, industrial, dark ambient, and noise. While this wide array of influences might suggest that Filosofem is a convoluted and challenging listen, it certainly is not (or at least not to too great an extent), due to Varg’s minimalist genius. The songs, all over seven minutes in length, utilize heavy repetition to wondrous effect. From the crashing cymbals and creeping, frosty riffs of “Dunkelheit” to the droning guitars and keyboards of “Gebrechlichkeit II”, Filsofem is a repetitive but constantly changing masterpiece that never loses its focus, despite its focus constantly changing.

Filosofem is very different from Burzum’s earlier albums. Whereas abrupt tempo changes, tremolo-picked riffs, double-bass drum patterns, shrieked vocals, and ambient interludes typified Burzum and Aske, and a more experimental variation of that formula typified Det Som Engang Var and Hvis Lyset Tar Oss, Filosofem forgoes this formula almost entirely, with Varg exchanging his signature high-register shriek for a much lower industrial rasp, and slowing down the speed of the tracks significantly. The exception to this is “Jesus Tod”, the most aggressive track on the album, in which tremolo-riffing and double-bass beats rule the day, though Varg’s new vocal style is still present.

The final three tracks of the album are an even more pronounced departure from Burzum’s traditional sound. The “Gebrechlichkeit” series features Varg using his industrial rasp in a metreless manner over buzzing guitars and solemn keyboards. The penultimate track is an even greater departure; “Rundgang um die transzendentale Säule der Singularität” is completely absent of distortion and percussion. Here Varg opts for a lone keyboard melody backed alternately by a bass guitar and keyboard swells. The calm and contemplative atmosphere of the final three tracks is a sublime contrast to the aggressive and hateful atmosphere of the first three.

Though Varg’s songwriting on Filosofem is top-notch, the true genius of the albums lies in its production. The stereotypical trebly black metal guitar tone is utilized, but the album’s mixing layers the guitars, giving Filosofem a “full” sound complemented by crisp drums and clear keyboards. The production leaves its mark on each track, transforming Filosofem into a musical odyssey that transports us through hate-filled walls of noise and empty voids of space and back again, all in just over an hour.

Overall, Filosofem is a near-perfect album, a masterpiece of black metal, a perfect example of a whole being greater than the sum of its parts. It is an essential listen for anyone who is remotely interested in black metal, and an excellent starting point for someone who is interested in atmospheric or depressive black metal.

tl;dr: Minimalist atmospheric black metal by the creator of the genre. Pacing is perfect. Listening in album format is necessary. Recommended to all who can bear harsh vocals.
Best Songs: "Dunkelheit" and "Erblicket die Töchter des Firmaments"

~Turkeyballs

1. Dunkelheit
2. Jesus Tod
3. Erblicket die Töchter des Firmaments
4. Gebrechlichkeit I
5. Rundgang um die transzendentale Säule der Singularität
6. Gebrechlichkeit I
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Metric - "Fantasies" (2009)

77%

One of the nice things about Metric is that each of their albums has a slightly different sound. Old World Underground, Where Are You Now? was a catchy dance-punk album; Live It Out was more experimental, and had a louder, more rock-like sound; Grow Up And Blow Away was a simpler, sultry, more mellow album.

Fantasies is no different, in that it is different. It is, for lack of a better word, their most “mainstream” sounding album yet. Not that that’s a bad thing; the album is incredibly accessible, and a very easy listen. While their past albums have mostly been centered around Emily Haines’ talented synth playing, this album has a more guitar centric sound, and they forgo the biting political lyrics seen on Old World… and Live It Out for more intimate, personal lyrics. But, like every one of their other albums, everything is executed with a very high level of skill.

Still, when I first listened to it, I was not impressed. I had downloaded “Help, I’m Alive”, the lead single from the album, the moment it came out (what devoted fangirl wouldn’t?) and I was blown away. It’s an unarguably beautiful song—the sort you only have to hear once to fall head over heels in love with. The lyrics and melody are simple and repetitive, and the song has the same powerful drive from beginning to end. It pretty much only served to make me even more impatient for the release of the new album, and raised my expectations to what, in retrospect, was probably an unattainable level.

I have to repeat: this is not a bad album. However, for Metric, it is a bit of a disappointment. It seems like they took their unique energy and drowned it in a shiny commercial gloss. Not that I have anything against that sort of sound, nor do I think that it’s a direction that Metric shouldn’t pursue, but with Fantasies, it’s almost like they let the gloss overwhelm some of the heart and soul of the album. This could be attributed to their choice in John O'Mahony for mixing (O’Mahony is most notable for mixing for Coldplay). Or perhaps it is simply where their evolution took them. Their previous albums do seem to get progressively more polished.

Many of the songs on the album are quite good, in and of themselves: “Help, I’m Alive”, as previously mentioned; “Sick Muse”, a catchy, solid pop-rock song (I was particularly taken by the opening lines: “Watch out Cupid / stuck me with a sickness / pull your little arrows out / let me live my life”); “Twilight Galaxy”, a more mellow, lush song of the Grow Up And Blow Away variety (again, Haines’ lyrics tug at the heart, with lines such as: “Did I ask you for attention, when affection is what I need?”); “Gold Guns Girls”, a another superb, dancey, pop-rock song; “Gimme Sympathy”, a song of the “Sick Muse” and “Gold Guns Girls” sort, though it’s beautiful, poetic lyrics, and the way it flows effortlessly from beginning to end make it possibly the best of the three; “Front Row”, a seductive and harder song than the others on the album, making it reminiscent of Live It Out, in a way, though it still has the same sheen as all of the others on the album.

I believe the error was in putting them all together on the album. It’s difficult for each of these songs to shine when placed side by side. It took me a few listens to truly appreciate this album. Though it may not have all of the personality of their former albums, it is still a worthy piece. However, I don’t think it is a good place for people to start listening to them; it doesn’t give a full view of everything the band is capable of, and by only listening to this, you couldn’t truly appreciate everything that makes Metric the amazing band it is.

(Note: Acoustic versions of the songs “Gimme Sympathy”, “Front Row” and “Twilight Galaxy” came with the limited edition bundle of Fantasies, and they are a very interesting listen if you can find them. They also do a nice cover of Pink Floyd’s “Nobody Home”, and the B-Side “Waves” is pretty good.)

tl;dr: A well done, solid album that makes for a good listen, with many very good songs on it. However, it is not the recommended starting point for those who are new to Metric. Go listen to some of their earlier stuff first.
Best Songs: "Help, I'm Alive", "Sick Muse", "Twilight Galaxy", "Gold Guns Girls", "Gimme Sympathy", and "Front Row"

~Probey

1. Help, I'm Alive
2. Sick Muse
3. Satellite Mind
4. Twilight Galaxy
5. Gold Guns Girls
6. Gimme Sympathy
7. Collect Call
8. Front Row
9. Blindness
10. Stadium Love
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Hiromi's Sonicbloom - "Time Control" (2007)

96%

In the world of jazz fusion, many bandleaders get caught up in experimentation and forget the most important part of creating music: the composition. Japanese pianist extraordinaire Hiromi Uehara will have none of it. She works on writing songs every day, and the results are beautiful, complex jazz tunes that are cohesive, but also leave room for improvisation here and there. Her fourth album as a leader showcases this perfectly. She took on Dave Fiuczynski to join her band on guitar, and it was a welcome addition to the band; all of the performers have abundant personality, and this trait truly lets the listener feel the universal concept of time presented with the music.

Drummer Martin Valihora is a man of impressive chops, handling the odd meters used on several of the tracks without a problem, even creating rhythmically interesting, groove-oriented patterns to fit them. Bassist Tony Grey is a more laid-back member of the rhythm section, but still provides an energy off of which the leading players can spin angular melodies, striking harmonies, and dazzling solos. And indeed Uehara and Fiuczynski deliver in this department, whether causing the listener to weep with heartrendingly lyrical lines or just shredding (after all, there’s nothing wrong with a bit of showing off).

Don’t get me wrong; there is a reason that Hiromi’s style of music is often called avant-garde. Time Control is certainly a challenge to the ears, and probably not a good introduction to instrumental music. However, if your ears are up to the challenge, the album should prove to be quite a rewarding listen.

tl;dr: It can draw whatever it wants to out of the listener. Emotions, semen, you name it.
Best Songs: "Time Difference", "Time Out", "Deep Into The Night", and "Time Travel"

~Nilla

1. Time Difference
2. Time Out
3. Time Travel
4. Deep Into The Night
5. Real Clock Vs. Body Clock = Jet Lag
6. Time And Space
7. Time Control, Or Controlled By Time
8. Time Flies
9. Time's Up
10. Note From The Past (Bonus Track)
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Green Day - "21st Gentury Breakdown" (2009)

Keep It Real, Please - 55%

Pretension is not the bane of good music. In fact, many bands can use it to glorious effect; Dream Theater, for example, not only writes ridiculous songs about monsters and heroes, but also has the melodrama of James LaBrie on lead vocals. However, when found in a sub-par band and to such a low degree that some may find it convincing, insincerity can be the determining factor for the quality of an album. Green Day’s second foray into the realm of the rock opera is an example of this tragic situation. As soon as the album starts playing, you know that Green Day’s 21st Century Breakdown is not going to be worth your while. “Song of the Century” is an introductory track featuring radio-tuning effects and a sole singing voice which, while being a pleasant melody, is simply over-the-top in terms of album structure. The remainder of the album is told in not-so-cohesive units which Green Day has labeled “acts.”

Overly anthemic choruses permeate all of the album’s full-length songs, as do three-chord progressions (I never would have guessed). Very few exceptions to these compositional rules occur throughout the album, and they sound forced when they do. An odd time signature? It’s simply not right. In this respect, the boring songs on the album (such as “¡Viva la Gloria!” and “The Static Age”) are liable to be the most enjoyable. Even the politics on the album are fake, never expanding intellectually. Billie-Joe Armstrong just doesn’t know what he’s talking about. One track near the end (“21 Guns”), however, managed to pleasantly break the flow through avoiding Green Day’s form entirely and more closely following the power ballad style of the eighties; the song displays Armstrong’s vocal and stylistic range in a flattering instrumental context. But overall, there are far better uses for 69 of your minutes. Well, a mere look at the cover art should be deterrent enough for anyone.

tl;dr: Bright points do pop up in the album. For the most part, though, it is ostentatious and formulaic.
Best Songs: "21 Guns" and "Peacemaker"

~Nilla

1. Song Of The Century
2. 21st Century Breakdown
3. Know Your Enemy
4. ¡Viva La Gloria!
5. Before The Lobotomy
6. Christian's Inferno
7. Last Night On Earth
8. East Jesus Nowhere
9. Peacemaker
10. Last of the American Girls
11. Murder City
12. ¿Viva La Gloria?
13. Restless Heart Syndrome
14. Horseshoes and Handgrenades
15. The Static Age
16. 21 Guns
17. American Eulogy
18. See The Light
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