Album of the Week: Kendrick Lamar - "To Pimp a Butterfly"

Rating: 9.6/10

Thanks to a convenient Interscope snafu, Kendrick Lamar's hugely anticipated To Pimp a Butterfly has been released a week early. The hype surrounding this album has been massive, as Kendrick's 2012 debut good kid, m.A.A.d city was adored by everyone from casual hip-hop fans to hardcore indie purists, and all of those who fall somewhere in the middle. To Pimp a Butterfly is a colossal album, both literally and figuratively; it tackles issues of racial inequity bluntly and unapologetically over the course of the sixteen-track, seventy-nine-minute run time. If good kid showed that being a black youth in modern times is incredibly challenging, To Pimp a Butterfly proves that being a black adult, especially an ultra-famous one, isn't easy either.

Kendrick isn't holding back any of his thoughts, no matter how potentially revealing and/or controversial, on TPAB. He tackles everything from divisions within the black community ("Complexion") to classism ("Institutionalized") to his own insecurities about being a public figure ("Mortal Man") with energy and dexterity. The best moments on the record lyrically come on "u" and "The Blacker the Berry." On "u," which serves as a contrast to self-loving lead single "i," Kendrick runs through all of his self-doubts without a shred of guardedness or embarrassment, delivered through tears and the clinking of liquor bottles. "The Blacker the Berry" sees the L.A.-based rapper proudly proclaim himself as "the biggest hypocrite of 2015" for, among other things, "weep[ing] when Trayvon Martin was in the street" but not for the gang-related slayings that occur far too frequently.

In order to provide a background for him to elucidate the immense difficulties facing the black individual in today's society, Lamar fittingly looks to a period of music that provided black Americans one of tragically few opportunities to thrive in pre-civil rights America: jazz. Tracks like "For Free?" and "Institutionalized" use instrumentation that sounds ripped from a Miles Davis record, as opposed to your run-of-the-mill hip-hop digital sampling software. In order to pull off this unique approach, Kendrick employed a bevy of live musicals to perform on the album, achieving an organic and live feel not often found in hip-hop. Thundercat is the album's unsung hero, whose basslines dominate a number of tracks, opener "Wesley's Theory" not the least among them. A handful of guests step up to the microphone as well, most notably Snoop Dogg's verse on "Institutionalized" and Rapsody's spot on "Complexion (A Zulu Love)," and the influences of famed produced Flying Lotus is clear throughout the record.

After the September release of "i" as a single, I was frankly underwhelmed, and my expectations for Lamar's new project were tempered. But To Pimp a Butterfly delivers outstanding quality in just about every regard, from its lyrics to its music. Save one or two weak points ("Alright" is just barely that), Kendrick lived up to the unbelievable hype for this sophomore effort. In a year heavy with high-profile rap releases, including Drake's already-released If You're Reading This... and the (apparently) soon-to-come new Kanye West album, To Pimp a Butterfly will certainly be in the conversation for 2015's best albums.

Key tracks: "King Kunta," "u," "Complexion (A Zulu Love)," "The Blacker the Berry"

Album of the Week: Radiohead - "The Bends"

Rating: 9.6/10

In case it wasn't already clear,  Radiohead are my favorite band. From the overly-maligned Pablo Honey to the band's most recent output The King of Limbs, I love it all. Today marks twenty years since the 1995 release of The Bends, Radiohead's first truly Radiohead-y album, the record that began to display their brilliance and which proved that the band's legacy wouldn't be limited to "Creep." The Bends does this by abandoning the grunge approach of their debut for a more agitated and unusual brand of guitar rock. While I still consider OK Computer to be my favorite Radiohead album, I find myself listening to The Bends more often than any other selection from the group's discography. The more straightforward nature of the songs, which still maintain a pop quality to them despite their weirdness, combined with a generally happier tone ("Street Spirit" notwithstanding) make it the perfect combination of Radiohead's eccentricities and listen-ability. 

The two best examples of Radiohead's pop side on The Bends are, fittingly, the album's two biggest hits - "High and Dry" and "Fake Plastic Trees." Both lean on acoustic guitar riffs before exploding into something greater, and both show off Thom Yorke's impressive singing ability. "High and Dry," later revealed to be unliked by Radiohead themselves, centers around a simple two-phrase chorus that works its way into your brain immediately, and boasts a guitar solo that pops out of your speakers every time. "Fake Plastic Trees" focuses on Yorke's vocals and acoustic guitar and a lonely Hammond organ (played by guitarist Jonny Greenwood) for the first half of the track. Once Yorke snarls "it wears him," the song erupts for a few brief yet soaring moments, before dying back down, leaving Yorke to wish he "could be who you wanted."

But where The Bends thrives where Pablo Honey came up short is that this record is incredibly diverse, and not directly derivative of any one genre or band. It's hard to believe album opener "Planet Telex" and closer "Street Spirit (Fade Out)" were written by the same artist, let alone included on the same album. The former is a distorted mess of guitars and drums, in the best way possible. "Street Spirit" is a beautifully morose labyrinth of "cracked eggs, dead birds" and death's "beady eyes," telling a tale of absolute despair only Thom Yorke knows how to deliver. In between the album's bookends, "My Iron Lung" features two separate beserk guitar freak=outs, "Sulk" is a subtly harrowing song about the Hungerford massacre, and "Just" showcases Radiohead at their most strum-happy.



While not as paranoid as OK Computer or Hail to the Thief, jarring as Kid A or Amnesiac, or jaw-droppingly gorgeous as In Rainbows, The Bends remains probably the greatest guitar-rock record of the period between Kurt Cobain's death (and grunge's along with it) and OK Computer's tech-rock revolution. Each and every song is vintage Radiohead, and the album as a whole serves as the perfect bridge between the quintet's grunge phase and their highly-celebrated era of oddity. It may not be the most complex output of Radiohead's career, but it just may be the easiest to just pick up and listen to.

Key tracks: "The Bends," "Fake Plastic Trees," "Just," "Street Spirit (Fade Out)"

Album of the Week: Krill - "A Distant Fist Unclenching"

Rating: 8.7/10

2015 has already been front-loaded with early album of the year contenders: Father John Misty, Viet Cong, and Sleater-Kinney have all put out outstanding records in the year's first few weeks. Yet another album has been thrust into the conversation this week with the release of Krill's A Distant Fist Unclenching, the Boston-based group's third full-length output and by far the most well-worked of the bunch. The band has been compared in the past to the likes of Built to Spill, Modest Mouse, and Pavement, but in truth Krill are too unique to be pinned down to a like-for-like comparison. The trio's penchants for big guitars, quiet-loud dynamics, and candid lyrics aren't anything revolutionary, but there may not be anybody else in the underground scene making better music right now than Krill.

A Distant Fist Unclenching marks a clear turning point in Krill's discography, as the bite-sized songs of albums past have been replaced by sprawling, restless anthems - all but two of the record's nine tracks approach or surpass five minutes in length. The seven-minute "Tiger" serves as the album's centerpiece, building off of a chirpy guitar riff into the explosion of sound that closes out the track, demonstrating the band's ability to stretch out a song without droning on.

Singer/bassist Jonah Furman's lyrics have matured greatly as well with A Distant Fist Unclenching. The album as a whole serves as a strikingly identifiable depiction of anxiety and other mental health issues, making hard to believe this is the same band that wrote the cheekily hilarious "Turd" just a year ago. Furman's improvements are most noticeable on "Brain Problem," which arrives with what are bound to be some of the year's greatest lyrics. "God grant me the strength/To know what is a brain problem/And what is just me," Furman begs over an . He details his struggles in the song's verses, howling, "The problem comes and goes with the weather/And I know/Just 'cause it's not getting better now/Doesn't mean it won't ever." Furman's ability to explain something as complex as what appears to be depression in such a potent and comprehensible way is unbelievable, and shows his songwriting ability is not one to be underestimated.

Krill seem poised to use A Distant Fist Unclenching as a launching pad into a long, successful career of making remarkable guitar-rock records. The group stated in a recent Vice interview that touring is both "boring" and "terrible," but that doesn't stop them from making big plans for 2015 already: they've booked European tour dates as well as shows across the American east coast and midwest, all culminating in a slot at May's Boston Calling festival. For Krill, the music is worth the stresses of touring and finances, but if they continue writing songs like those found on this record, I suspect those will both become much smaller issues in the future.

Key tracks: "Phantom," "Torturer," "Tiger," "Brain Problem"

Album of the Week: Kanye West - "The College Dropout" (10th Anniversary)

Rating: 7.8/10

Kanye West. Just reading his name probably conjures up a strong image in your head. You may know him for his numerous critically-acclaimed albums, hit singles, and awards. Or, maybe you know him as an egotistical paparazzi favorite who stole Taylor Swift's thunder at the VMAs and claimed that "George Bush doesn't care about black people." Most likely, you know both sides of Kanye; his extreme self-confidence and inflated self-image are part of what drives his music, music that is highly regarded by hip-hop fans and critics alike. Ten years ago this past Monday, the world was first introduced to the crazy mind of Kanye when his debut album, The College Dropout, was released. Few could expect the various twists and turns that his career would take, whether it was the vocoder-laden 808s & Heartbreak or the harsh, audacious Yeezus, on which West could dub himself a deity in the not-so-subtly-titled "I Am a God." The College Dropout was our first taste of what West brought to the table, and it was clear from the start that he was destined for stardom.

The crowning moment of the album, the track that got everybody's attention and started to define West's place in the rap game, was the ominous, marching "Jesus Walks." Excellent use of sampling and superb production only enhance Kanye's poignant lyrics, which were uniquely religious for the time. By boldly embracing Christianity on the song, West took hip-hop to a place where it hadn't been in quite some time, as explained by the second verse; "So here go my single dog radio needs this/They said you can rap about anything except for Jesus/That means guns, sex, lies, videotape/But if I talk about God my record won't get played." It's also a monster of a song, with a booming choir and tricky snare roll backing Kanye.

The album, while tackling major themes, also displayed West's tongue-in-cheek sense of humor for the first time. Pretty much the entirety of "The New Workout Plan" is satirical, mocking society's pressure on women to always look their best. The record is littered with small skits in the form of dialogues, all of which are intended to provide comic relief. Some unintentional humor can be found in the now-dated pop culture references, such as West name-dropping Kathie Lee Gifford and Regis Philbin on the aforementioned "Jesus Walks."

Besides fair amounts deep philosophical ideas and funny lyrics, The College Dropout is also chock-full of some great tunes. "Through the Wire" has a great sample, and Kanye impresses with his rapping skills despite having recorded the track with his jaw wired shut after a near-fatal car accident, which is detailed in the song. On "All Falls Down," Syleena Johnson provides a classic early '00's R&B vocal, and hip-hop mogul Jay-Z shows up on "Never Let Me Down" to help West close shop on the track. Other big names contributing solid verses to the record include Common,  Jamie Foxx, and Ludacris.

The College Dropout is undoubtedly one of the top hip-hop albums of the 2000's, and holds its own when held up to the great releases of past decades, too. It remains Kanye's best-selling effort, debuting at #2 in the US  and going double platinum. To some, it may pale in comparison to West's newer works, specifically My Beautiful Dark Twisted Fantasy and Yeezus, but that doesn't make it any less of a great album. Not much could have been known about what the future held for Kanye West after hearing The College Dropout, but one thing was obvious from the get-go: this man was wildly talented, and far from finished.

Album of the Week: Green Day - "Dookie" (20th Anniversary)

Rating: 7.7/10

On this day twenty years ago, the history of 'punk' music changed forever. That's because on that day Green Day's major-label debut, Dookie, was released, and would go on to become a massive commercial success. Riding on the strength of four hit singles and a famous, wild, widely-televised performance at Woodstock '94, it climbed up to #2 on the US charts and launching Green Day's lengthy career as rock radio mainstays. The public viewed it as the first mainstream breakthrough for a 'punk' artist, though members of the subculture swore that Green Day were anything but. While the group certainly had punk roots, as seen in their early outputs, Dookie was a polished and dare I say safe record. While this may sound a bit ridiculous considering the subject matters and crude lyrics featured on the album, the overall sound was not nearly as extreme as that of other DIY-rock. There's still a rebellious spirit to be observed here, pretty much a necessary characteristic of anything 'punk,' but the instrumentation is a little less unruly.

While some punk fans hate Dookie for perhaps being mislabeled and misrepresenting what punk culture is, others dislike the doors it opened for other pseudo-punk bands to hit the airwaves. Following the success of Dookie, bands like The Offspring, No Doubt, and Sublime all started having hit songs, all marketed as being some variation of punk. The blink-182 happened, emo happened, and the Vans Warped Tour happened, and people began declaring that 'punk is dead.' Despite a mid/late-2000's revival populated by groups like Rise Against and Against Me!, and an ongoing resurgence among indie crowds thanks to artists such as Ty Segall, Cloud Nothings, and F***ed Up, many feel that the punk scene will never return to what it once was. And some trace it all back to Dookie. So, needless to say, Green Day's breakout album was and still is a divisive one.

Of course, none of this makes Dookie a bad album by any measure. It certainly didn't sell 20 million copies without the help of some brilliant songwriting. Specifically, the four singles I mentioned earlier are golden, each one remaining in heavy rotation on alternative and rock radio throughout the country. "Longview" became famous for its sleazy bass riff, galloping drum beat, and Billie Joe Armstrong's disaffected vocal. "When I Come Around" contains an excellent guitar riff and is a great example of Green Day's songwriting abilities. "Well, I heard it all before/so don't knock down my door/I'm a loser and a user/so I don't need no accuser to try and slag me down/because I know you're right," Armstrong mumbles over Mike Dirnt's jumpy bass playing.

Green Day's energetic apathy is perhaps best represented by the other two smash hits off Dookie: the resourceful "Welcome to Paradise" and the committedly schizophrenic "Basket Case." The former takes a strong verse and molds it into a fantastic chorus, with Dirnt's backing vocals making the difference. The ambitious instrumental break works wonders, and gives a new appreciation for the band's musicianship. The latter is a three-minute burst of vitality and introspective self-loathing. "Am I just paranoid, or am I just stoned?" asks Armstrong, having already labeled himself "neurotic to the bone" and "one of those melodramatic fools," all within the first 45 seconds of the track. Along with the chorus-opening "sometimes I give myself the creeps," these lyrics are some of the most identifiable from not only Green Day's catalog but also all of mid-'90's rock. Tre Cool's spirited drums and Armstrong's Idol-like sneer make this song what it is, and what it is is a great piece of rock music.

The bulk of the album is made up of short, simpler tracks that tend to meld together, which is why Dookie falls short of being a 'classic' in my book. Probably the only truly great Green Day record besides American Idiot, Dookie was a rare case of a new band who already knew who they were, and where they were headed, and twenty years later, the hits still hold up.

Key Tracks: "Longview," "Welcome to Paradise," "Basket Case," "When I Come Around"

Albums of the Week: "Shelter" by Alcest and "Transgender Dysphoria Blues" by Against Me!

This week, two different albums caught my attention for two completely different reasons. One is a shimmering piece of shoegazing bliss, the other is a soul-bearing punk record that punches you in the teeth and pulls at your heartstrings. Shelter is French-bred Alcest's best work yet, as the band strays further and further away from its black metal roots. Transgender Dysphoria Blues' title states up front the issues discussed in the album's lyrics; the first Against Me! release since singer Laura Jane Grace began living as a woman. Obviously, there are some hugely emotional and personal topics for Grace to sing about, and she lets it fly on Transgender Dysphoria Blues. I've decided today to review both albums because I think each one is special for varied, but equally important reasons: Shelter sounds beautiful, while the content on Transgender Dysphoria Blues makes it one of the most unique, raw, and important albums in a long, long time.

Album of the Week: The White Stripes - "Elephant"

Rating: 8.6/10

From the arena-rocking riff that kicks off "Seven Nation Army" to the studio chatter that rounds up "Well It's True That We Love One Another," Elephant explores spheres of indie, folk, and blues rock in a way only The White Stripes can. The 2003 record combines influences from the aforementioned genres into 14 monsotrously powerful yet for the most part brief songs.

The rockier tunes, such as "Black Math" and the album-opening "Seven Nation Army," are riff-heavy romps with brilliant guitar work from singer/guitarist Jack White. The latter is famous for its so-called bass riff (which is actually played on guitar and utilizes a whammy pedal) that's been played time and time again at sporting events. Not to be overlooked is the march-style drum beat and eccentric guitar solo. The former is a shaky sludge of crash cymbals and another catchy guitar riff. "Black Math" then proceeds to suddenly switch tempo into a more deliberate snarl.

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Album of the Week: Cloud Nothings - "Attack on Memory"

Rating: 9.0/10

Packed with Nirvana-twinged indie-punk, Attack on Memory was (and still is) my #1 album of 2012. Band leader Dylan Baldi took the group in a heavier direction than before, as previous releases leaned more towards power-pop than post-hardcore.Songs like the slowly swelling "No Future/No Past" and "No Sentiment" showcase this newly found darkness in Baldi's screams and crunchy guitars.

One high point of this record is the drumming, with the instrumental piece "Separation" a standout. The drumming throughout is frantic, and at times the speed at which they're being  played seems impossible. Though not containing an insanely difficult beat, "Our Plans" utilizes a unique drum pattern to its advantage. The track also includes some of Baldi's most visceral vocals, and an intense instrumental bridge.

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Album of the Week: Belly - "Star"

Rating: 7.4/10

Recently, NME published a list of their top 500 albums of all time, which was met with heavy criticism from some and mixed reactions by many. One of the more scrutinized choices was ranking Belly's 1993 record Star at all, though to be fair it was #499. I, for one, have no problem with NME putting this solid effort from the Boston group on such an expansive countdown. It's a good snapshot of early '90's alternative, and one of the most underrated releases of the era.

Star is filled with fast-paced guitar rock gems, including "Angel" and "Dusted." Both have cynical, sinister undertones. Tanya Donelly's dreamy vocals calmly caress each track, in contrast to the apprehensive instrumentals. Her contributions to Belly may be the best work of her career, surpassing her music with Throwing Muses and The Breeders.

The album's two strongest tracks are the jumpy "Gepetto" and the chart-topping "Feed the Tree." I already spoke about the latter in an earlier review, so you can head here for more info on that track. "Gepetto" starts with a delightful guitar riff and rides an equally pleasant drum beat to the chorus. The interplay between the drums & guitars are the most striking component of the song.

Other notable songs off Star include the opening "Someone to Die For," "Sad Dress," and "Slow Dog." "Someone to Die For" follows a curious guitar part as Donnelly asks, "don't you have someone you'd die for?" "Sad Dress" takes a more experimental route, using echoed vocals in the bridge. Lastly, "Slow Dog" leans heavily on its superb guitar riff.

Many consider Belly to be a one-hit wonder, since "Feed the Tree" was the group's only major radio hit. Despite this, Star proves the band had more to them than just one catchy tune. True, the record drags on a little too long at fifteen tracks, but that doesn't take away from the quality of much of the music Belly created for their debut album.

Key Tracks: "Dusted," "Gepetto," "Feed the Tree"

Album of the Week: Arcade Fire - "Reflektor"

Rating: 9.7/10

"Do you like rock and roll music?" asks Win Butler at the beginning of "Normal Person," before answering his own question with a half-hearted "'cause I don't know if I do." It's a fair question to ask, based on the way Reflektor sounds. For their fourth record, Arcade Fire have ditched their former anthemic indie style for a synthed-out, danceable, new-wave direction for the majority of the new tunes. Guitars do not play nearly as large a role on Reflektor as they did on any of the band's previous three releases; the same can be said about violins. Instead, the samba-influenced drum beats have moved to the forefront, giving several songs an upbeat, exhilarating pace. Butler told Rolling Stone last week that the band "just wanted to make a record Regine could dance to." The thirteen-track double album sounds like a party all the way through, though it's lyrics tell a different story.

Album of the Week: Brand New - "The Devil and God Are Raging Inside Me"

Rating: 9.7/10

Much has been made recently about the supposed revival of emo as a genre. Though Brand New's first few albums definitely fall under the often-maligned genre, The Devil and God Are Raging Inside Me saw the band veer in a more post-hardcore direction, and can hardly be labeled as emo. In fact, I think TDAGARIM is a criminally underrated album. The record draws much of its strength from its versatility, whether it's straightforward rock romps ("Millstone"), calm yet passionate ballads ("Jesus"), or a mix of the two ("Sowing Season"). The production is very dry, bleak, even, and suits the messages from Jesse Lacey's lyrics. Conflicting themes of hope and evil, hinted at by the album's title, run rampant. At times beautiful, at times unsettling, often somewhere in between, the ultra-powerful Raging Inside Me represents the band at the height of its creative peak.

Album opener and lead single "Sowing Season" paints a picturer for the rest of the record. The track, which references works by both Stephen King and Rudyard Kipling, is a poetic explanation of loneliness and self-loathing. Lacey starts simple, with nothing but a muted guitar riff and his nearly-whispered vocals kicking off the song. Eventually, the guitars creep into the mix before Lacey unleashes a ferocious "YEAH!" and the spiraling, mainly-instrumental chorus takes off. The song varies between quiet and desperate (the verse/bridge) and furious (the choruses). Lacey's toils are most chilling during the bridge, during which he cries "I'm not your friend, I'm just a man who knows how to feel. I'm not not your friend, I'm not your lover, I'm not your family." One last chorus erupts before the song fades into "Millstone."

The relatively plain "Millstone" (not "Milestone," though that's the word in the lyrics) remains consistent throughout, but still has a kick. The guitars blare, and the plucky bass line provides the track with a steady backbone. "I used to be such a burning example," Lacey sings, indicating his character's not exactly thrilled with the way his life has turned out. The song also contains the first reference to God and Christianity, a recurring theme of the album, especially on the upcoming "Jesus."

"Jesus" is Raging Inside Me's most tender moment, and also most likely it's best. The lyrics tel the story of man (most likely Lacey himself) who tries to remain in good faith, but feels he has let down those around him along with his God. Lacey's words here are more chilling than ever. "If they don't put me away, it'll be a miracle" appears to reference salvation, or lack thereof ("put me away" being a metaphor for going to Hell); "Well Jesus Christ, I'm not scared die" continues this theme. "We all got wood and nails" refers to Crucifixion."Well, Jesus Christ, I'm alone again, so what did you do those three days you were dead? 'Cause this problem's gonna last more than the weekend" shows how terrified and alone the narrator is. Honestly, I could go on and on in this fashion, since all of the lyrics are outstanding. But this song isn't just about the story; the instrumentals are almost as if not equally beautiful. All three guitar solos sound calming yet forlorn (and almost made it onto my recent Top 10 Guitar Solos post), and Lacey's actual vocal work is fantastic. After the 2nd solo, the music picks up slightly in intensity, and you hear Lacey screaming for help. The second repetition of "we're tortured and hanged in factories" (though the lyrics being sung are disputed) is simply stunning. Overall, "Jesus" is one of my all-time favorite songs, and I think it truly deserves it. It explores religious issues from a unique perspective, from someone who thinks they've failed God yet still cares enough to talk with him.

"Degausser" and "You Won't Know" are similar tracks in that they are about equally long, both open with bleak guitar riffs, and explode into a wall of sound and Lacey's screams. "Degausser" is the more chaotic of the two, with cymbals flying all over the play and overlapping vocal tracks pierce through. "You Won't Know" is still heavy, though, as a quiet intro morphs into a adrenaline rush of open hi-hats and guitars that blare like sirens.

Sandwiched between the two is "Limousine," the devastating track which did in fact make my guitar solos list. It tells the true story of Katie Flynn, a seven year old girl who was killed by a drunk driver coming home in a limousine from a wedding. The first verse is amazingly sad and compassionate, and is sung from Katie's mother's point of view. Lyrics like "I've one more night to be your mother" and "leave your shell to us" portray all of feelings of sorrow after a tragedy like this one about as accurately as you could expect from a piece of music. The acoustic guitar and Lacey's soft vocals give way to the explosive transition, which allegedly contains the sounds of bombs going off, for added effect. The tempered second verse speaks from the perspective of the man who crashed into the Flynn's limo. "Can I get myself out from underneath this guilt that will crush me?" Lacey sings, adding "I saw our sad Messiah. He was bored and tired of my laments, said 'I died for you one time, but never again.'" Toning it down again, the group repeat the refrain "Well I love you so much, do me a favor baby, don't reply, 'cause I can dish it out, but I can't take it" as the "well" evolves into "one," then "two," all the way up until Lacey hits "seven." Kate was seven years and old, and the lyric could also reference the seven deadly sins described in the Bible. The repeated verse gradually grows more desperate, more chaotic, and more sad, as horns throttle and Lacey sits on the verge of shouting. Finally, the verse climaxes and Vince Accardi unleashes a ferocious guitar solo. The sound fades out for over a minute, which the sound of feedback growing louder and louder, presumably to represent the sound of the two cars racing towards each other on the highway before their head-on collision. It's a moving piece of music, though extremely depressing, and is a standout on the album.

Off the latter half of the record, it's perhaps the instrumental tracks that are most interesting, other than "Luca." "Welcome to Bangkok" starts off pretty before suddenly taking a dark, scary path. The second half of the song is violent and somewhat terrifying, as distorted guitars drown out muffled screams of terror. The untitled track contrasts this by taking a relaxing, beautiful, yet still chilling angle.

"Luca" tells the story of The Godfather character Luca Brasi, and can be broken down into three parts. In the first, drummer Brian Lane pounds his toms and Lacey sings of someone joining a gang over a sinister acoustic riff. In the second part, everything drops out, leaving a whispering Lacey and a muffled acoustic guitar. The lyrics tell the story of how Luca dies; being weighed down with cement and drowned. "You never worked well (or possibly "you'll never quell") with our group, not with the faults we've found." and "We'll still find someone to be everything that you'll never be" and brutal and chilling. For the conclusion, the drums and electric guitars jump back in to the mix, riding out the last minute or so under Lacey's repeated "Where you've been" shouts.

The other three songs on TDAGARIM are disappointing compared to the rest of the album, but don't by any means spoil what is a fantastic record. "Not the Sun" is fast-paced but straightforward, other than the slowed-down bridge. "The Archers' Bows Have Broken" sounds the most like a track from Brand New's previous and decidedly more pop-influenced Deja Entendu. "Handcuffs" closes out the album and shows promise but doesn't really go anywhere.

Despite these three songs, none of which are bad, only lackluster, The Devil and God Are Raging Inside Me is still one of the most powerful and fascinating albums of the 00's. The record is extremely emotional, and in this sense the record deserves the label "emo," but should not bear any of the hate directed at the genre. It takes emo's good components, being introverted lyrics, loud instrumentals, and excellent vocal performances, and leaves behind all of the bad aspects like sappiness, whining, and repetitiveness. Often overlooked by critics thanks to it's labeled genre, The Devil and God Are Raging Inside Me sits comfortably between emo and post-hardcore. The record truly is outstanding, and should not be missed.

Key tracks: "Sowing Season," "Jesus," "Limousine," "Luca"

Album(s) of the Week: Lorde, HAIM, and Yuck New Albums

Thanks to it being the deadline for qualification for the upcoming Grammy awards, this was a big week for new releases and, frankly, it would've been unjust to only review one and ignore the other two. So, while the three records aren't necessarily equally good, they're all worth your while. Choosing just one would be unfair to the other two, which in slower weeks would absolutely grab the top slot. So, instead of one longer review, I'll be briefly discussing three new releases from this past Monday: Lorde's "Pure Heroine," "Days Are Gone" by HAIM, and Yuck's "Glow & Behold."

Lorde - Pure Heroine

Rating: 7.7/10

By now, you've probably heard Lorde's story; 16-year-old New Zealand singer hits it big in the US with "Royals," making her one of 2013's breakthrough artists. It's astounding how such a young musician can make music as mature-sounding as the songs on Pure Heroine. This would be an impressive album from an already established artist, so the fact that it's a debut album from a teenage star is even more remarkable. The typical 16-year-old starlet is a Disney-manufactured singer whose music is aimed towards preteens and young children. Lorde's music, on the other hand, sounds experienced, cultured, and serious.

Pure Heroine is refreshing in that it incorporates some of pop's stronger elements in a minimalist way all the while mocking the lyrical content of mainstream music. On "Royals," her breakthrough hit, Lorde sings of being fed up with pop stars and hit rappers bragging about luxury and excess. After leading in with "but every song's like," she lists all of the things Top 40 lyrics mention that are unattainable by the fans listening to those lyrics. It's a very down to earth song, especially considering her age, and hopefully her fans pick up on the message and demand more realistic and relatable lyrics from their pop stars.

"Team" has a similar tone to it. For the main hook, Lorde croons "I'm kind of over getting told to throw my hands up in the air," pointing out the ridiculous number of songs that contain a similar lyric. ("Applause," "Boom Boom Pow," "Party in the USA," "Single Ladies," and "California Girls" just to name a few.) Her sultry voice is being put to good use, as it is rare a popular crossover artist so openly criticizes pop music. Ironically, now, "Royals" has gone platinum and is currently #1 on the Billboard charts, meaning now Lorde's music in the same place the songs she had been critiquing had inhabited.

Other highlights of the album include "Ribs," free on iTunes right now, which incorporates angelic harmonies splendidly, and "Tennis Court," a song that says money isn't everything. Lorde has a rare opportunity to really change the pop culture landscape for the better. Her minimalist sound is so far pretty universally liked, as it uses elements of pop, hip-hop, electronica, and indie to create an excellent crossover album. Her music is reaching millions of ears, and thus so is her message of stronger lyrical content. It's up to the world to decide whether to listen or not.

HAIM - Days Are Gone

Rating: 7.1/10

Fleetwood Mac comparisons aside, HAIM (pronounced so that it rhymes with 'time') are an excellent band in their own right. This trio of sisters know how to write a song, and are pretty apt instrumentalists as well. Days Are Gone is a jittery, upbeat record full of evidence of songwriting genius. The band is clearly influenced by '70's classic rock, but this album could just have easily been released in 1985 as 1977 or 2013. Essentially, there's no clear label for Days Are Gone. It sounds extremely modern yet still pays tribute to Americana, '80's keyboards, and all of the 1970's.

Simply put, the album is a collection of fasntastic tunes that are a lot of fun to listen to. "Falling" opens the album with nice guitar work and vocal gasps. "Forever" shuffles along for four minutes, characterized by jumpy drum beats and a fast-spoken vocal track. "The Wire" is the track that draws the most Fleetwood Mac comparisons, and understandably so.

The album's best song, in my opinion, is the '80's-tinged "Don't Save Me." The plucky guitar track creeps up and down the fretboard, and HAIM's vocals have never sounded as full. Handclaps, hi-hat hits, and cowbell fence in the chorus, while keyboard flourishes let it soar.

These girls mean business and, like Lorde, lived up to their hype and should hope to capitalize on their early success.

Yuck - "Glow & Behold"

Rating: 6.7/10

If HAIM were a 1970's throwback, Yuck is absolutely the '90's alt-rock sound transposed to 2013 production values. The sophomore album from this British band, Glow & Behold is Yuck's first without former lead singer Daniel Blumberg, who sang and wrote most of the songs on their self-titled debut. Other founding member/core songwriter Max Bloom now tales the reigns, filling in on lead vocals for the band's follow up. Whereas their debut was distorted and fuzzier, Yuck's newest record is cleaner, clearer, and more polished. Yuck had excellent energy and guitar work, but so does Glow & Behold. It's not quite up to par with their debut, but Glow & Behold turned out much better than expected, with many followers skeptical that band could live on without Blumberg.

"Middle Sea" is the album's standout single, and could've been plucked straight from the group's debut. The guitar riff is addictive, and the entire song charges ahead relentlessly. The song sounds like somethiing Dinosaur Jr. would have written, if they were English and in their 20's again. "Rebirth" is clearly shoegaze-influenced, and it's fair to say you could see My Bloody Valentine performing a track like this one. Echoing guitars add to the song immensely, as is common for a Yuck song.

The whole album is a pretty pleasant listen, at times possibly a little too pleasant. Some songs sound a little too corny and soft, like the slow-moving "How Does It Feel," or the needlessly lengthy "Somewhere." Still, it's good to see Yuck making solid music after the loss of such a key member.

This may have been a big week for music, but there's still a handful of exciting releases already announced for this fall. With Pearl Jam, Arcade Fire, and others on the way, it's going to be one great conclusion to an already fantastic year for music.

As always, check out key songs from the album(s) reviewed this week below.

Album of the Week: Tame Impala - "Lonerism"

Rating: 9.3/10

Released by Australian psychedelic group Tame Impala almost a year ago, Lonerism is an album that had such an immediate impact that releases from this year have been compared to and have drawn influence from it. The amazingly addictive dream-pop haze of Lonerism brought back late '60's psychedelia while still sounding modern and fresh. Vocalist/band leader Kevin Parker sounds scarily similar to John Lennon, and the production values sound crisp yet have a retro quality to them. The album is trippy, hypnotizing, and absolutely brilliantly crafted. New songs from Cults and Washed Out have followed a similar vein, but neither have reached the heights that Lonerism has. An excellent summer album released just weeks into fall, the record still found itself on many year-end best-of lists, grabbing the #1 spot from NME and Rolling Stone.

"Be Above It" chugs along to kick off Lonerism, featuring a whispered, repeated hook, an echoing drum beat, and wavy keyboard flourishes.The song is decidedly rockier and more hurried than other songs on the album, many of which contain dreamy, sweeping synth solos that will be discussed more in-depth in the coming paragraphs.

"Be Above It" is followed by "Endors Toi," a guitar driven track with a panicky drum pattern. The soaring guitar riff that kicks off the tune never quite gives way to the keyboard jabs up until most of the instruments drop out to give Parker a chance to speak. He stays for a bit, then bows out to let the bass and guitar play nearly identical solos. For the next four tracks, Tame Impala elect for a spacier sound and the result is even more psychedelic than the opening one-two slot.

This four-song stretch starts with "Apocalypse Dreams," the first song released from the record. "Everything is changing, and there's nothing I can do," cries Parker here. The snare drum pushes the track's verses forward while the keyboard desperately tries to slow the song down, as lush breakdowns bring "Apocalypse Dreams" to a new level of aural satisfaction. The riff-driven "Mind Mischief" comes next, as frantic drum fills occur practically every measure. Parker's vocals swirl around the song with the synthesizers, most noticeable when listening with headphones.

The last two songs of this foursome are the aptly-named "Music to Walk Home By" and the socially paranoid "Why Won't They Talk To Me?" Once again, both songs are vast synth-outs (a recurring theme on Lonerism) and sound just as sweet as previous duo.Parker's vocals stand out on each track, containing some of his most revealing lyrics which relate back to the record's name. "In so many ways I'm somebody else, I'm trying so hard to be myself," he sings repeatedly on "Music to Walk Home By." Don't let the happy tones and floaty keyboards fool you; though Lonerism is a very upbeat album sonically, its themes are that of social isolation and awkwardness.

The seven-eight-nine stretch on the record maybe the strongest of an already stellar group, containing the album's two most recognizable and memorable songs. The first of these is "Feels Like We Only Go Backwards," a groovy song in which Parker pleads with his partner to turn their relationship around. Showcasing both internal and external conflict by alternating between the use if "we" and "I," Tame Impala also provide one of the most far-out songs of 2012.

Though not the strongest track on Lonerism, "Keep on Lying" provides a nice buffer between the album's two best moments. A relatively simple yet lengthy piece, "Keep on Lying" features the sounds of conversation in the background during the keyboard and guitar solos. Parker has mentioned his love for ambient noise before, and including human voices in the track works well here.

The only way I can think of to describe "Elephant" is as a monster of a song. Riding on the backbone of a shuffle beat and bluesy guitar part, "Elephant" is by far the heaviest song on the album, and most likely the best as well. The first half is very up-front, driving on forcefully until relenting to the truly incredible second-half synth solo. Though starting with a not-so-magnificent riff, once the music drops out a second time, the song explodes into a triumphant clash of cymbals and overlaying keyboard tracks.Then, just like that, it all melts away and Parker's vocals kick in again with the original instrumentals helping him out. A ridiculously song from an excellent band's superb sophomore album, "Elephant" is certainly a song for the ages.

For such a thoroughly enjoyable record, Lonerism finishes somewhat disappointingly. Of the three remaining tracks, only "Nothing That Has Happened So Far Has Been Anything We Could Control" really constitutes as a song. "She Just Won't Believe Me" is merely an interlude, though not a bad one, and "Sun's Coming Up" is a minimalist outro containing just Parker's singing and a piano riff. Though sinsister sounding, it doesn't add much to the album, nor does the three or so minutes of ambient keys at the conclusion of the record. Still, "Nothing That Has Happened..." fits well with other Lonerism companions, what with its wild instrumental psych-outs.

Lonerism is a great album for both sides of the emotional spectrum; its cheery sounds and introspective lyrics represent opposite feelings. But most of all, it's simply a great album to listen to. It's been a while since someone used keyboards as effectively as Tame Impala do here, and the psychedelic rock group may have been crowned king of the genre's revival thanks to the strength of Lonerism. Check out some key songs & their trippy accompanying videos below.

Key Tracks: "Elephant," "Feels Like We Only Go Backwards," "Apocalypse Dreams," "Endors Toi"

Album of the Week: Nirvana - "In Utero"

Rating: 9.0/10

September 13th, 1993, was a momentous day in alternative rock's history. Exactly twenty years ago from today, grunge gods and cultural icons Nirvana released their third and final studio album, In Utero. The album was one of the most highly-anticipated releases of all time, following the staggering success of 1991's Nevermind. The impact of songs like "Smells Like Teen Spirit," "Lithium," and "Come As You Are" is legendary and well-documented; Nevermind turned radio and MTV on their heels and set the stage for alternative rock's takeover of the mainstream for the first half of the 1990's. Kurt Cobain's apathy and disaffection with the celebrity lifestyle connected with such a large portion of the American youth at the time that he became known as the John Lennon of Generation X.

So, needless to say, there was a lot of hype surrounding the follow-up album to Nevermind, to say the least. What In Utero turned out to be was something only a handful of bands have ever been able to do: a somewhat substantial change in musical direction while maintaining the artist's trademark sound. Angrier, heavier, and more raw than its predecessor, In Utero ended up just as good (if not better) a record as Nevermind. Few bands before or since have been able to make such a drastic change musically following an immensely popular album, as Nevermind was, without the end result being a major disappointment. Nevermind's rough yet clear production was tossed away in favor of a muddier sound, with Cobain electing for a more distorted guitar sound while drummer Dave Grohl made his drum beats trashier and more aggressive. So abrasive and unsettling was the album's sound that Nirvana's record label tried to force Cobain into re-writing the album, but (thankfully) he refused, and released the record as he intended to. Nirvana was giving a huge middle finger to the music industry, but instead of shying away, as so often is the case, the group's fans embraced their new sound. During the two years between Nevermind and In Utero, the 20-somethings of the country had, like Cobain, grown more and more exhausted of American pop culture and the way we treat celebrities. Cobain was the antithesis of everything a rock star was perceived to be; he was sloppy, brutally honest, outspoken, and most of all, himself. Throughout the '80's the rock scene was dominated by hair metal bands. Sick of long hair, flashy costumes, and fake public images that seemed to have more effort put into them than the actual music, Generation X gravitated towards a man who came along at the perfect moment. Finally, someone had come into the public eye with whom they could really connect. Thus, when In Utero showcased Kurt's strong disdain for the fame he'd found post-Nevermind, critics and fans alike passionately sang their praises of the record.

Never before had Cobain's resentment of pop culture been more apparent than on In Utero. Three tracks standout as the most violent and thus most indicative on the record; "Very Ape," "Milk It," and "Tourette's" were all straight-up punk-onslaughts as Kurt's growl morphed into a visceral scream over some of the heaviest instrumental work Nirvana ever did. While the entire album follows this sentiment, these particular songs are the most extreme of the bunch. Still, hidden somewhere under the muck and mire is Kurt's ear for delectable melodies, although it may be hard to hear behind all of his anger. This trio of tracks emphasizes the difference between Cobain's personality and his music is striking. For someone who was typically very calm and low-key in interviews and at public events, Cobain sure knew how to be loud on a cassette tape.

"Scentless Apprentice" is another of In Utero's more difficult tracks, though more structured than the aforementioned ones. Sure, the chorus (if you can call it that) of "go away, get away" is utter chaos, but somehow the song feels more structured than some of the other "heavy" songs. The same goes for "Radio Friendly Unit Shifter," which cheekily mocks mainstream radio for hardly ever taking risks and instead playing what some would consider "safe" music.

While all five of the songs discussed above certainly hold significance, In Utero's strongest tracks are slightly more subdued and more of a cross between Nevermind's pop sensibilities and In Utero's abrasiveness. One of these songs is the album's opener, "Serve the Servants." After a noisy opening verse, Cobain pulls back and delivers a hook more gloom than doom. The reverse occurs on "Frances Farmer Will Have Her Revenge on Seattle," as the verse's slithering bass line gives way to harsh guitar feedback and a raucous chorus. What follows it is without a doubt the lightest song on the record, and possibly also the most emotionally honest one. "Dumb," with its downtrodden lyrics and subtle string section, is a truly astoundingly composed piece. Cobain has always been a highly revered songwriter, but "Dumb" was the first time he didn't mask his emotion behind a wall of noise. Sure, "Polly" (from Nevermind) was acoustic enough, but that song didn't feel nearly as personally as "Dumb" does. "Dumb" also presented listeners with a hint of what Kurt could do without an amplifier or distortion effect, something the world would see during Nirvana's legendary MTV Unplugged show two months after In Utero's release.

Another highlight from the record is the lead single "Heart-Shaped Box," allegedly about Cobain's relationship with his soon-to-be-widowed wife and Hole lead singer, Courtney Love. A quiet-quieter form to the verse draws you in with its plucked guitar riff and soft drum pattern before the chorus takes a 180. Grohl pounds on his kit, delivering his best performance on the record, and Kurt's howled "Hey! Wait!" refrain never gets old.

The fourth and also probably the darkest song on the record is "Rape Me." The ambitious, defiant, and risky tune is a great example stellar quiet-loud sound Nirvana adopted from the Pixies. The guitar riff is one of Kurt's best, and that chorus is pure power. Though Kurt's intended meaning for the song is the most obvious one of speaking out against sexual assaults, but many have also viewed the track as describing Kurt's being uncomfortable with the constant invasion of his privacy by the press.

"Pennyroyal Tea" is a song that showcases Kurt at his lowest and is the most glaringly obvious hint of Cobain's depression and impending suicide. Lyrics such as "Distill the life that's inside of me" display Kurt at his lowest point. Coincidentally, the release of the song as a single was cancelled as Cobain's suicide took place just before the intended release in April, 1994. Nirvana songs like this one take on a much sadder meaning knowing what would become of Kurt Cobain, and resonate more with listeners.

The album closer, "All Apologies," rounds up In Utero in an odd way. For such a loud album, In Utero closes not with a bang but a simmer. One of the softer tracks on the record, "All Apologies" rings true to Kurt's emotions in a similar way to "Dumb," by putting away the screams for a bit and focusing on the orchestration. Since Kurt was not a violent individual, it makes sense he would say goodbye with a subdued, cynical track. It would turn out to be the last song on Nirvana's final studio release, and what a way to bow out. The rush of emotion after the second chorus of "married, buried" never fails to amaze, and the repetition of the final line is just perfect.

Who knows what would've become of Nirvana had Kurt Cobain lived past the age of 27? Maybe they would've burned out as the new era of pop-punk groups took over in the late '90's. More likely is the possibility that Nirvana would have continued to make fine record after fine record, possibly even shifting the future of the music industry for the better. "Alternative" would fail to live up to its name as the loosely-named genre would be the more common form of music. However, what really happened to Nirvana was probably and unfortunately how it was destined to be. The group relied so much on youth angst that it's hard to imagine a 35+ year old Cobain singing in the same way he did on these iconic records. Eventually, the band would've been a parody of itself as a new generation of young people took over, the group losing touch with the same target audience it once so sincerely connected with. The surviving members of the band, probably realizing the angst-y path was no longer the best option, steered clear of apathy in their later endeavors; Dave Grohl's post-Nirvana band Foo Fighters sing triumphantly and proudly, and Novoselic became a state senator in Washington, joining the authority his group so eagerly rebelled against some twenty years ago. They say an untimely death makes any kind of artist more appreciated, but in Cobain's case, Nirvana were icons as soon as "Smells Like Teen Spirit"  was put on tape. So, on this day, twenty years after the release of one of the most iconic and well-crafted pieces of music ever recorded, I'll leave you with the last words off the last Nirvana album. Make sure to check out In Utero if you somehow haven't already, and never forget, "all in all is all we are."

Key tracks: "Heart-Shaped Box," "Rape Me," "Dumb," "Pennyroyal Tea," "All Apologies"

Album of the Week: Nine Inch Nails - "Hesitation Marks"

Rating: 7.8/10

Trent Reznor's one-man industrial machine Nine Inch Nails has done it again. Coming off a hiatus in which he scored The Social Network, The Girl With the Dragon Tattoo, earning an Oscar in the process for the former, he's left no doubt that he's still got the amazing musical talent that was so evident on 1994's extremely dark The Downward Spiral. During this time he also wrote the theme for the immensely popular first-person shooter Call Of Duty's latest installment, Call of Duty: Black Ops II, as well as his first release as How to Destroy Angels. Now, he's gone back to what made him famous in the first: making great Nine Inch Nails record.

Released this past Tuesday, Hesitation Marks can be seen mainly as a toned-down version of The Downward Spiral. Dark themes are still present, but the instrumentation and production are less harsh, the lyrics less vulgar and more nuanced. This is not to say the album is weak in any way; comparing an album's intensity to The Downward Spiral is like comparing an album's angst to Nevermind; it just can't be beat. Instead, Hesitation Marks wallows in a more subtle kind of despair, one that's less direct and more hushed. Whereas The Downward Spiral showcased youthful fury and turmoil, Hesitation Marks manifests a more mature anger, with somewhat hopeful moments shining through every now and again. Still, it's a considerably grim album, categorized by repeating keyboard blips and Reznor's signature growl. It's one of those records that gets better with each listen - streaming it as I write, I'm noticing things I hadn't picked up on before and I don't think I've yet enjoyed it more than I am right now.

Instrumental opener "The Eater of Dreams" sets an eerie tone straight from the get go just by its title alone. The fifty-three second track creaks along before distorted yells make their way into the mix, preparing the listener for the next thirteen tracks aptly. Up next is the bleak "Copy of A," which opens with an unembellished keyboard riff and gradually evolves into a full-on synth wash in a similar manner to the second half of Reznor's controversial and explicit hit "Closer." Violent lyrics are still present here ("I am just the finger on a trigger"), but so are more introspective ones ("I am just a shadow of a shadow of a shadow, always trying to catch up with myself"). It's one of the stronger songs here, and deserved its single status.

Lead single "Came Back Haunted" slots in at third, and contains some of the best lyrics and melodies on the record. Reznor's vocals really stand out here, as he sings with a sense of renewal after an apparent near-death experience ("Saw some things on the other side"). The synth work here is magnificent here as well, and I consider it the best song on the record.

 "Find My Way"  is definitely one the quieter, slower, simpler songs on the album, but it also one of the most desperate ones. A disjointed drum pattern and poignant lyrics such as "Lord my path has gone astray, I'm just trying to find my way" depict an older Reznor possibly regretting some of his actions. The first four tracks of the album are all fantastic in their own unique way, which speaks volumes to how great of a musical mind Trent Reznor is.

Nine Inch Nails' aggressive, intimidating side only appears in small glimpses on Hesitation Marks, but more cynical moments can be found on tracks five and six, "All Time Low" and "Disappointed." "All Time Low" is certainly the more violent of the two, with lyrics like "get down on the floor" speaking for themselves. The second of the two is more of a warning than anything else, as a muffled Reznor cautions the listener, "If i were you, I wouldn't trust a single word I say." Reznor has always been an extremely intelligent guy, and his albums tend to follow one of two paths; either he tries to make a political statement, as he did with "The Hand That Feeds" and the entire Year Zero record, or he writes an album exploring the depths of human psyche, usually the negative parts. The latter of the two is definitely what he's going for here, and I think it's both more unique and effective. While many other bands have used music to speak their minds, Reznor's personal struggles give him a rare combination of insight into feelings of depression and the musical genius to portray those emotions accurately. Reznor's music has always been pretty emotionally transparent, and the schizophrenic seventh song "Everything" embodies this excellently.

"Everything" starts of as a jovial, head-bopping pop-punk riff & vocal line one might find on a Jimmy Eat World album. But, if one listens closely, there is a hint of cynicism in his voice as he sings "I've survived everything," but not without a dash of pride. Soon, however, the apparent happiness of the verse transforms into a panicked, quickly derailing chorus that calls the speaker's sanity into question. "All the walls begin dissolve away," Reznor states without bothering to add the particle 'to' to the infinitive, adding, "Do your hands begin to shake, shake, shake, shake, shake?" Then the verse returns, more content than ever before. This wild swing of emotions will absolutely catch you off guard, another thing Reznor does so well. The song may be talking about someone who is saying goodbye and has conflicting emotions of peace and terror.

Though still strong, the second half of the album drags on a little too long, and some of the songs begin to blend together. Standout tracks here the slow-burning "Various Methods of Escape," the pleading "I Would For You," and the looming instrumental finisher "Black Noise."

All in all, Hesitation Marks covers all of the expected bases from a Nine Inch Nails record and then some. Songs like "Came Back Haunted" and "Everything" are immediate classics, fitting in seamlessly with other legendary NIN tracks. "Copy Of A," "Find My Way," and hold their ground as well and should by no means be overlooked. While there's nothing that compares to the gloomy masterpiece "Hurt" here, and nothing is quite as abrasive as past songs like "Heresy" or "Big Man With a Big Gun," Reznor's latest output is still something to take notice off. The man's a legend, and shows that nearly twenty years after his most insurmountable achievement and almost 25 years into a career that he still has what it takes to mark a beautifully dark album. Listen to key tracks below, and check out some of Nine Inch Nail's other works on iTunes/YouTube/Spotify, etc. while you're at it.

Key tracks: "Copy of A," "Came Back Haunted," "Find My Way," "Everything"

Album Review of the Week: Pavement - "Crooked Rain, Crooked Rain"

Rating: 9.4/10

Pavement's first and last foray into the world of alternative radio, 1994's stellar Crooked Rain, Crooked Rain, is one of those records that has stood the test of time thanks to impeccable songwriting and magnificent production. In a year when Soundgarden, Weezer, Oasis, Pearl Jam, Nine Inch Nails, and Nirvana all released legendary albums, Pavement's sophomore effort may standalone as the best of the bunch. While decidedly more accessible than their critically-acclaimed debut Slanted & Enchanted, the 1994 release sticks to the band's signature sound, including overlaying guitars and Stephen Malkmus' half-spoken vocals. Crooked Rain also shows off the band's laid-back, carefree attitude, without becoming sloppy or unfocused in a manner similar to the great Pixies album Surfer Rosa. In fact, Crooked Rain is more similar to Surfer Rosa than one would notice at first glance; seemingly simple tracks that are more complicated than they sound, strong songwriting, complementary production, and unique vocal styles mark just a few.

The songs of Crooked Rain, Crooked Rain are open to a wide range of interpretations, due to puzzling, somewhat abstract lyrics. What someone may think is a happy song, another may find it sad, while a third still might think the lyrics mean nothing at all. Admittedly, it is very valid to interpret Malkmus' word as random, as is a common criticism of him. But while I disagree with this view, it's not crucial to the enjoyment of this masterpiece. The strength of this record doesn't lie in its lyrics, but in the emotions it exuberates, mainly happiness. Joyful guitars and jumpy drum patterns go perfectly with Malkmus' vocal stylings. You won't see him winning American Idol anytime soon, but that's not due to a lack of talent. No, instead Malkmus elects for a more minimalist approach; instead of belting out high notes, he breezily sings in a fashion that can simultaneously sound gleeful and hopeless. It's one of the most unique and recognizable voices in all of indie rock, and can only really be understood by hearing it, rather than reading a description of it.

Perhaps no song better summarizes Pavement's sound in three minutes than album opener "Silence Kit." The short piece (which incidentally is actually called "Silence Kid," as the song title was easily misread on the album artwork) fits multiple parts into 181 seconds, and yet does not feel too brief. Beginning with twenty seconds of instrumental warm-ups and jamming, two more instrumental sections are introduced before the vocals begin. Two verses and a chorus later, the tempo slows down into a blues-y outro. "Elevate Me Later" immediately kicks in with some surprising power chords in the chorus and a superb four-bar riff. Said riffs are prevalent on Crooked Rain, Crooked Rain, and many of the album's hooks are actually guitar melodies rather than the usual vocal attention-grabber.

"Stop Breathin'" starts as a typical Pavement slow jam, but eventually the vocals and bass drop out, leaving the guitars to creep up on you while the drums maintain a steady, simple beat. By the time the bass hops back in, the anticipation has already built up, and before you know the instrumentals have picked up again. They fade away just as quickly as they arrived, before popping back in for one last measure.

The fourth track, "Cut Your Hair," is arguably Pavement's best, and certainly their most recognizable. Reaching #10 on the Billboard Modern Rock Charts, the song has remained one of indie's greatest anthems, and it's easy to see why. One of many earworm-inducing tracks on the album, "Cut Your Hair" benefits from the addictive hooks and memorable guitar parts that Pavement are so well known for. The guitar solo is not one to be overlooked, and Malkmus' performance here is one his most impressive. It's a song that slowly but surely builds up to subtly yet cathartic release, making it on the most beloved songs of the 1990's.

The following duo of songs, "Newark Wilder" and "Unfair," show off opposite sides of Pavement. The former is a slow-paced, melancholy tune, whereas the latter is a frantic rush of snares and electrifying guitar riffs, with Malkmus screaming some of the lyrics. Unfortunately, these two songs are often overlooked, due to being bookended by two of the great tracks of the 1990's.

The second of said bookends (the first being "Cut Your Hair') is the wonderfully blissful "Gold Soundz." A song as amazing as this one is virtually impossible to describe, so I'll let its legacy do the talking. Pitchfork named it their #1 song of the 1990's, a decade that many consider the golden age of Pitchfork-type of music, and mentions of the song in public forums are universally in praise it. The song even earned a twitter shout out from Real Madrid star midfielder Xabi Alonso, prompting many of his fans to discover a newfound love for the band. Those who love it zero in on the gorgeous melody and the outstanding multi-layered guitar solo in which three different guitar parts share the limelight, with the one in focus making way for another repeatedly. It really is best just to listen to the song, let it seep into you, get stuck in your head, and make you smile.

After the cleverly-titled jazzy instrumental "5 - 4 = Unity,"  "Range Life" tells the tale of an aging hippie with no sense of direction in 1990's America. You feel sympathetic for the protagonist, who clearly is lost in life and struggles to fill his simplest desires. It's the most folky track on the album, as well as the most controversial. The lyrics to the third verse, which appear to mock fellow 90's alt-rockers Smashing Pumpkins and Stone Temple Pilots, caused band rivalries and resulted in Pavement's being dropped from Lollapalooza's 1994 lineup after Pumpkins singer Billy Corgan threatened to leave the bill if Pavement weren't removed from the tour. Why this irked Corgan so much, probably, is that Malkmus is spot on. Smashing Pumpkins, while a great band in their own right, take themselves too seriously, Corgan especially. They're this extremely technical, egotistical group, and here's this lazy-sounding, simplistic newcomer mocking them.

The final quarter of the twelve tracks round out Crooked Rain well. "Heaven's a Truck" recalls the same sounds "Newark Wilder" employed earlier on the album, but in a more subdued and cynical manner. "Hit the Plane Down" is the oddest song on the record (aside from the instrumental track) and doesn't it with the rest of the album's vibe. Distorted vocals and abrasive guitars, along with a heavy tom-tom beat and dark lyrics ("there's no survivors"), drive the song forward. It's a more aggressive version of Pavement's "lazy" sound, and is the least enjoyable on the album. Still, it serves a purpose in the flow of the album, in that it mixes it up and displays a new side of Pavement. "Fillmore Jive," the album closer, is over six minutes of jamming, and truly feels like a goodbye, as all album closers should. There's a feeling of resolution here, but not necessarily a happy one; lyrics such as "goodnight to the rock and roll era" suggest the speaker is not satisfied with the way life has turned out, and it's not until now you realize the grander concept of Crooked Rain, Crooked Rain. What at first felt like a vibe album with the tracks being somewhat unrelated to each other now becomes a story of mid-life crisis, of realizing you've done nothing and have nowhere to go. We see glimpses of it throughout the record, most notably on "Range Life," but it's "Fillmore Jive" that really hits it home. The abstract instrumentals play in with this theme of insubstantiality, of a lack of importance to one's life. Now you can understand why the lyrics were somewhat random, because the protagonist's life has been aimless up to this point. Now lyrics such as "go back to those gold sounds" help you realize that the singer is reflecting on the "good old days" of music, music being a metaphor for life. The era the singer talks about is most likely the late '60's & early 70's, as the carefree attitude and down-to-earth values of the singer are typical of the Woodstock crowd. Also worth noting is that Malkmus was a Hendrix fan, and even taught himself to play guitar by listening to his music, further confirming that he most likely thinks of this time period as the pinnacle of "the rock and roll era."

The lyric I mentioned earlier, "goodnight to the rock and roll era"" is particularly fitting to the time period of the album's release; in just over two months, Kurt Cobain would be dead, and the grunge movement would die down. The mid-to-late 90's would be litter by bottom-feeding post-grunge & nu-metal groups like Candlebox, Creed, Limp Bizkit, and others, leading to the downfall of rock as king of the radio.

Crooked Rain, Crooked Rain is a timeless piece of music, encapsulating everything great about '90's indie rock. Pavement would never again be able to recreate the magic found on their 1994 sophomore effort, leaving this as a very unique Pavement record. Never since have we seen a band with a minimalist approach and an attitude like Pavement's release anything as amazing, with the Strokes' Is This It the only do-it-yourself, who-cares type of album that even comes close. So sit back, enjoy, and be thankful that the '90's were what they were.Find the album on Spotify, and/or watch the whimsical videos for some key songs below.

Key tracks: "Silence Kit," "Cut Your Hair," "Gold Soundz," "Range Life"

Album of the Week: Washed Out - "Paracosm"

Rating: 8.2/10

Washed Out is one of those groups have a clear intention, a definite purpose and specific emotion they want to convey in their music, and rarely stray from those ideals. In Washed Out's case, they're aiming for laid-back, summery synth music, and they execute it oh so well on their sophomore album, Paracosm. The sole member of the group, Ernest Greene, has managed to create an excellent follow-up to well-received debut record Within and Without. Paracosm, while only lasting a brief nine tracks, includes a variety of lush soundscapes and irresistible grooves, and by the end of the album you'll be wishing for those warm summer nights that Greene so eagerly tries to recreate in Washed Out's music. Despite having released just two albums, Washed Out's status as frontrunners of the so-called "chillwave" genre is undeniable after hearing this well-crafted piece of lo-fi dream pop.

The album opens with the calming instrumental piece "Entrance," which sounds like something that might soundtrack a peaceful resolution in a movie or video game, and sets the tone for the rest of the CD. I'm not usually a fan of minute-long instrumentals, but this one serves its purpose effectively and interestingly. The track doesn't really conclude and instead transitions via a flurry of harps into the next track, the beautifully composed "It All Feels Right." Opening with a beat that subtly draws from African music, the song soon turns into a wash (pun intended) of synthesized keyboards and orchestral strings. The verses are relatively straightforward, with Greene's clear and sincere vocals taking center stage before the chorus, including a slowed-down tempo and distorted vocals, comes along and steals the show. In the traditional chillwave fashion, the track jumps right back into the verses seamlessly. "It All Feels Right" could easily be considered as the strongest song on the album, and it's easy to see why.

One of the things that makes Paracosm such an enjoyable listen is the way it finds a certain groove and stays with it throughout. The flow of the album is astounding, as track after track slowly morphs into the next. Rather than fading out or simply ending each song before starting a new one, Greene has clearly put much effort into making Paracosm feel like a true album, rather than simply a collection of songs. It's one of those records you need to listen to all the way through before you fully experience it, before you can really understand it and enjoy it in the way the artist intended.

This last statement aside, Paracosm still contains songs that sound great as stand-alone singles, and can be thoroughly enjoyed on their own accord without relying on the rest of the CD. "Weightless" stays true to its title as the music floats among clouds of echoing snare hits and swirling keyboards. "All I Know" is another standout track, and had it been released in 1983 you can imagine it fitting perfectly in a John Hughes film. In fact, the entire record has a certain '80's vibe to it. It's able to achieve reach heights that made so much music from the decade so endearing and memorable without sounding cheesy or entering the gimmicky territory that other era-revival acts so often do.

Both "Falling Back" and the title track exemplify everything that makes chillwave enjoyable; warm synthesizers powering a forceful rhythm, combined with calm vocals to make just plain happy-sounding music, something indie culture sometimes lacks.

All in all, this album achieves what it set out to do, which is what Washed Out did with their first output; to create the perfect summer album. This August release will have you wishing it was the beginning of June, and serves well as a wrap-up to the season as August inevitably turns into September. Yet this doesn't limit Paracosm's capabilities, either. The album will sound great if you listen to it in mid-January, and will have you longing for summer to come. It just will have you missing the warm late nights of July rather than enhancing them. As always, make sure to listen to a few of the album's best songs below to catch a glimpse at what it all means, for while I can do my best to put it into words, nothing speaks for music like music itself.

Key tracks: "Entrance," "It All Feels Right," "All I Know," "Falling Back"

Album Review of the Week: Yeahs Yeah Yeahs - "Mosquito"

(Editor's note: Away from home at the moment so writing this on iPad - please excuse formatting errors and other inconsistencies)

Welcome back to the second edition of my weekly album reviews. None of this week's releases intrigued me enough to spur an article about it, so instead I take a look back at one of 2013's earlier releases, "Mosquito" by Yeah Yeah Yeahs. This past April the popular New York-based trio added their latest output to an already bountiful list of significant album releases in 2013, joining the likes of The National, Queens of the Stone Age, Vampire Weekend, and more. Among the many highly-anticipated new records of 2013 so far, I found "Mosquito" to be the most disappointing of the bunch. Don't get me wrong, I still enjoy the album, and I recognize that it had many strong points. The highest point of the record is opening track and lead single "Sacrilege," a feisty piece complete with an evangelical choir and tricky drum pattern. Songs like "Buried Alive," featuring a verse from versatile rapper Dr. Octagon, and the title track also ride excellent grooves throughout, and "Despair" is downright uplifting despite its title.

But what this album has in craft it loses in attitude. This record substantially lacks the punk attitudes that made their celebrated debut "Fever to Tell" so beloved. While there is certainly experimentation within the album, the record as a whole feels very tame and safe. Although "Subway" takes unique approach to sampling by using a recording if a subway car as the constant beat, the song lacks any kind of punch, something you can't really say about many other Yeah Yeah Yeahs tunes from past releases. Nothing on the record sounds nearly as rebellious as "Art Star" or "Date with the Night," the kind of music that made them stars. In addition, the slower tracks don't even hold a candle to other ballads like the famously sincere "Maps," and instead seem to fall flat. Songs like "Under the Earth," "Slave," and "These Paths" feel like they go on forever without getting anywhere interesting. Having those three in a row right in the middle of the track list mucks up the flow of the album entirely. Other tracks, like "Area 52" and "Always," are repetitive and outright annoying. The album closer, "Wedding Song," seems sincere enough, and remains more interesting throughout than any if the other "ballads" can claim to. Still, a few tracks are noteworthy, and the album has already spawned two of the best music videos in recent memory in "Sacrilege" and "Despair." 

I have no doubt that the Yeah Yeah Yeahs are still capable of great things, but this record definitely feels off the mark. While it is exciting at times, it is just as often boring and includes two tracks that are hardly listenable at all. I'd consider it the weakest contribution yet, but the rest of their discography is still fantastic. Hopefully next record the YYY's can turn it around and put out a more complete record, rather than a couple of stellar singles with lots of filler in-between.

Key tracks: "Sacrilege," "Mosquito," "Buried Alive," "Despair," "Wedding Song"

Rating: 5.5/10

http://youtu.be/jmRI3Ew4BvA

http://youtu.be/3dx8aLDJrAY

http://youtu.be/Cvrjn_pF9tY

Album Review of the Week: Radiohead - "OK Computer"

Welcome to the first of many "Album Review of the Week" features on this blog, and man is it a big one. If you've somehow managed to never experience this masterpiece of a record, close this window, go purchase it, listen to it non-stop for a week, then come back and read this review. (Not-so-subtle attempt at increased page views notwithstanding.) For the vast majority of you, you will have listened to and read about this record dozens of times before, so little introduction is needed. Nevertheless, here's a bit of background on the album for those unfamiliar with Radiohead and/or the circumstances surrounding what many consider their finest output to date, 1997's OK Computer.

Radiohead's 1993 debut, Pablo Honey, contained the band's breakthrough hit, "Creep," and remains as one of their most polarizing releases among fans and critics alike due to it's relative musical and lyrical simplicity in comparison to their later works and other relevant albums released in the same year. The group's next album, The Bends, was decidedly weirder and at the same time better, and stands as one of the most original records of the '90's. OK Computer continued down Radiohead's experimental path, and combined unique instrumentation and composition with unforgettable hooks, beautiful melodies, and profound lyrics dealing with the ever-growing presence of technology in our society. This is extremely prescient for 16 years ago in the same way Huxley's Brave New World and Orwell's 1984 were in their time period.

OK Computer was the second real indie album I ever owned, after Arcade Fire's The Suburbs, and remains my favorite. Not only that, it marks a turning point in my musical interests. Up until that time, my most-beloved bands were Red Hot Chili Peppers, Foo Fighters, Incubus, and the like, with Arcade Fire being the only 'indie' band I listened to. But at 14 years of age I purchased this fine album for a measly $5 on sale from Amazon (which feels like a crime to me - today I can't even place a value on it), and my life was never the same. I quickly purchased the rest of their catalogue, began reading indie blogs online, and delved into historic records like Is This It, Turn on the Bright Lights, and Crooked Rain, Crooked Rain. This album did for me what getting Guitar Hero for christmas had done for me three years earlier; it revolutionized the way I viewed music, how I listened to it, how I analyzed it, and, most importantly, how I enjoyed it. I suppose the story is similar for those of my age group just as bands like The Cure and The Smiths introduced teens of the '90's to the genre.Nevertheless, this album not only holds great nostalgic value to me, but also contains some of the most celebrated music ever put onto disc.

The album opens with the jittery but steadily driving (no pun intended) "Airbag." The track is notable for its constant start-stop bass line, the fidgety and repetitive-yet-not-tiresome drum beat, and guitar soundscapes. After Hail to the Thief's "2+2=5," "Airbag" is my favorite album-opener in Radiohead's catalogue, and it's not hard to see why. At the end of the song, four short electronic beeps set the tempo for the next track, and perhaps the most well-known and beloved from the album, the colossal "Paranoid Android." Accompanied by its equally bizarre music video, "Paranoid Android" showcases Thom Yorke and the gang at their most schizophrenic. Many bands had made attempts at "their own 'Bohemian Rhapsody,'" and still more have tried since. But no song has ever utilized drastic mid-song changes in tempo, tone, and/or emotion like this one does. The first two minutes or so are comparatively tame; a sugary acoustic guitar riff drives the first two verses as Yorke calmly asks "What's that?" Then, the lyrics and guitars take a more sinister turn, as Yorke scowls, "Ambition makes you look pretty ugly." He then turns violent and calls for a metaphorical beheading before Jonny Greenwood unleashes one of the finest guitar solos known to man, which collapses in a wash of feedback and crash cymbals into the song's morose third section. After some moping on Yorke's part, Greenwood comes back for more with one more freakout before the song gives way. The song reached #3 on the charts in the United Kingdom after being released as the album's lead single, an amazing feat for such a bizarre and seemingly commercially-unfriendly song. "Paranoid Android" is an essential track to own for any fan of 90's alternative rock, and its legacy lives on.

"Subterranean Homesick Alien," a floaty, delicate piece of work, comes next. The atmospheric, space-like guitars during the verses really convey the common literal interpretation of "alien," where the lyrics reflect a more figurative take on the title by describing feelings of loneliness and feeling out-of-place. At first, Yorke describes the people around him as "uptight" and wishes to be swept away to a world as he'd "love to see it." "Exit Music" is one my personal favorites from this album, partially because I love songs that build up towards the end, and partially because it perfectly depicts the thoughts and emotions of famous lovebirds Romeo and Juliet in a way even Shakespeare couldn't do. From the start of an innocent teenage romance to the tragic deaths of two lovers, "Exit Music" does just about as good a job at representing an already legendary story as any piece of media can do."Let Down" remains a fan favorite to this day due to its beautifully contrasted guitar work between Greenwood and O'Brien, and is probably to "poppiest" song Radiohead's ever done. And yet, it achieves this commercial appeal with no observable sacrifice of complexity or beauty; the two aforementioned guitar parts mesh well and at the same time don't mesh at all, and Thom's lyrics retain their deep and dispirited themes. And, my God, that high note.The first time I heard Yorke's wail of "you know where you are" coming out of the instrumental break was also the first time a song gave me chills, and very have since. "Let Down" was the track that made me a Radiohead fan for life. It was the moment I knew this band was special, that there was something different and amazing and beautiful that these five English musicians could achieve something that no one else can or will ever be able to.

"Karma Police" is another example of Radiohead's innate ability to balance weirdness with beauty. The track exemplifies everything critics adore about the quintet, what with its creeping rhythm section, haunting vocals, and emotional transparency. Everytime Yorke croons "This is what you'll get," the lyric sounds more and more like an inescapable punishment than a threat. The piano here is gorgeous and propels the song into another realm.All the way down to the feedback-freakout outro, "Karma Police" is more proof the Radiohead does not just write songs, but meticulously and furiously works to get even the smallest of details perfect.

The album's least musical track is in some ways also its most important."Fitter Happier" is a track containing nothing but an eerie piano piece performed under a robotic computer voice calmly yet ominously delivers disturbing phrases much like those used by George Orwell in 1984. While this "song" barely qualifies as a piece of music, it serves several purposes and its presence is essential to the OK Computer experience. First of all, it is the most direct example lyrically of the album's theme; the fear of modern society's dependence on technology and how it dominates our world.The track also plainly splits the album into two halves; the first half representing paranoia towards technology and its growth in society, and the second half showcasing the results of its presence.(That's just my interpretation, though; this record is open to many different translations.)

The moment "Electioneering" kicks off with tambourine clatters and a chaotic riff, you know you're in for a wild ride. Track number eight off OK Computer is arguably its most energetic. The fast paced drum beat, along with Yorke's rugged singing and a unrelenting and surprisingly effective use of cowbell all race ahead to about two-thirds through, where Jonny Greenwood steps in with another blazing guitar solo. The song is also the most unabashedly political track on the album, calling out the way political campaigns are run in a similar way that Rage Against the Machine's music video for "Testify" would two years later. One of the strangest and most frightening songs Radiohead's ever done, "Climbing Up the Walls," provides an uneasy and startlingly accurate view into the mind of an insane person. While the keyboards loom in the dark background and Yorke's internal monologue set the stage, it's Greenwood's implementation of an orchestra that really drives the creepy factor through the roof.Throw in the desperate screams at the song's apex of intensity, and you get one terrifying, brilliant song.

"No Surprises" is similar to "Let Down" in several ways: happy-sounding music with deceptively dark lyrics ("a handshake of carbon monoxide"); similar guitar tones and arrangements; and the sheer beauty shared by both. The final two tracks, "Lucky" and "The Tourist," are equally as beautiful. "Lucky" relates back to the theme of "Airbag" with its hook, "pull me out of the aircrash," and claims one of Greenwood's most impressive guitar riffs.To finish of the record, "The Tourist" elects to utilize space as an element of song. The slow-jazz feel presented by the drums and lack of intensity are a welcome change and well-suited cooldown after the other 48 minutes of the album. Eventually, though, Yorke and company get back to what they do best with a magnificently-built-up-to outro to the record, before closing with something as simple as one hit of a triangle. This simple end to such a complex record is both out of place and fitting; out of the ordinary, yet perfectly executed.

OK Computer is the album that made Radiohead who they are. They're this generation's Pink Floyd as Nirvana was our Beatles. Their music can be and should always be classified as pre-OK Computer and post-OK Computer. Even when you step back and forget about all of the cultural significance of this record, and view merely musically, there is still no denying how incredible this album truly is.