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New Album Review

Album Review: The Pinheads – Is This Real

Album Review: The Pinheads – Is This Real

Best Tracks: Pure Hate, Feel It Now, On & On, Is This Real, Don’t Have A Home

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Forming on accident, as it has been described by the band, the Pinheads came together in 2013 after sharing music tastes during a few games of bowling. With a mix of punk, rock, and a dash of the British invasion of the 60’s, the band doesn’t sound like any band in particular in a given song. Rather, they unleash a sonically balanced blend of audio that grooves close to the curve that strays off into the creative stratosphere in some instances, but not beyond the realm of understanding.

The Wollong, Australia based band’s second full-length effort Is This Real, covers just about every feeling and emotion that can be simmered into existence. Ranging from upbeat, a bit heavy, and with a few slow to medium paced tracks, the album is enriched in texture that keeps the average rock listener engaged.

Like many of the albums I have reviewed thus far in the warm months, Is This Real contains some serious tones that come second to none. The cool thing about this band is that they seem to find convention in the unconventional. I’m reaching out in left field here but if you’ve ever been keen to Pearl Jam’s Ten, you’d notice a guitar playing a dirty riff and another playing something totally different in the clean, primarily a sequence of jazz chords. Well, that’s kind of what The Pinheads do as well, though in their own musical language. The textures are bountiful and you can trace all the instruments on their own path while maintaining a cohesive listening experience.

There are also some sweet filler guitar parts, especially in the verses. The use of bends, slides, dissonant chords, and the occasional blues rip makes a substantial number of songs stand out  noticeably. The self titled track “Is This Real,” is ironically the best example of this. It rushes the listener with lush sounds and marinades with satisfaction. Look no further as “Don’t Have a Home” comes in afterwards with a groovy rockabilly feel, riding the blues scale with refreshing pace and melody.

As a former closed-off rock and metal enthusiast, I thought it would prove uneventful to waste time searching for good music after 2000. With the opportunity of being handed music to review, I’ve found out how much of a disservice I was maintaining. It’s honestly quite shocking! I’ll definitely be adding this Indy gem to my library and I urge you to do the same! If you’re looking for a bit of rock n’ roll that calls on the forefathers then look no further.

-Justin Capoccia

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New Album Review

Album Review: Christelle Bofale – Swim Team

Album Review: Christelle Bofale – Swim Team

Best Songs: Moving On, Getting On, Origami Dreams, Where to Go

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Soulful jazz rock! At least that’s how I would describe Christelle Bofale’s EP Swim Team. This a first for me in regards to hearing this genre, which I’m sure there are a bountiful number of bands in it. “Well, who does she sound like?” I can hear you ask. To be completely honest with you, I have no idea but it’s pretty dope and the perfect backdrop to just about every activity.

The Congolese American songwriter’s roots in music started young as she was fully immersed in her family’s heritage. Bofale grew up listening to Soukos, a genre of dance music from the Congo, and started writing songs on her father’s guitar at the age of 13. Currently, at the age of 22, Bofale uses her instrument and voice to transcend space and sound to create a vivid dream-like state of euphoric sounds. Her guitar tones are massive – a difficult undertaking when you stay exclusively in the cleans and her voice lays over the music like a cushy blanket, occasionally hitting those sweet vibratos and high whisper tones.

At only five songs, Swim Team is a wonderful peek into this artist’s form of expression. Her first release is full of sounds of gloom and bleakness that somehow translate into happy ebbs and flows. Origami Dreams sticks out as one of those soul-touching tracks that comes from a place of genuineness and will find a way to soothe the consciousness of just about every lover of music. It is filled with everything from a chugging bass riff in the verse, to a half timed chorus with out of this world arpeggiated guitar bends, and a solo that rips while staying covert as not to overshadow the song.

Where to Go takes the listener on a journey of self-discovery. With lyrics like “Don’t know where to go/ So why don’t you show me” and “Swallow the pill and figure it out” has the possibility to touch the emotions of many, especially in the fast-paced environment we currently find ourselves in. This is probably the best analogy to describe this work, a much needed break from the outside world and an opportunity to self evaluate…not to get too sappy of course LOL.

Do yourself a favor and check out this EP by Bofale. Coming in at five songs and clocking in at just 26 minutes, it’s a quick listen. This is her first release and hopefully soon we will get a full-length album that will give us more from this amazing artist.

-Justin Capoccia

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New Album Review

Album Review: TSA

There is undoubtedly a new wave of female rappers coming out now. From Megan the Stallion to Rico Nasty, women are finally getting a platform in hip-hop. Rapper Kelow Latesha has sprung up amidst this wave. Flyer than ever, this dread-head is looking for something to prove to the industry, and the industry is definitely listening. Her new studio album, TSA, was recently released featuring Rico Nasty, Black Fortune, and LightskinKeisha. The album articulates her point of view as a gay female rapper and all of the clout and glory that comes with it. She features a lot of synthesized and electronic beats though, all the beats are bass driven making them car bangers. All the while, the beats remain classic with obvious Southern influence making them truly one of a kind. Kelow raps over these complex beats with a ratchet twang which adds a rawness and authenticity that the audience didn’t know they needed. The quality of her voice brings a classic feel to her music as it resembles that of someone like Mike Jones or Gucci Mane, making even that much harder. The album itself is very experimental in that some songs are pretty chill while other consists of a more rock dominated vibe. Needless to say, I recommend you go check out this album. It’s cool, it’s hard, and it’s different than a lot of stuff coming out of the industry right now. Kelow Latesha is obviously on the come up, and I can’t wait to see what else she has in store.

Lul Bulma

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New Album Review

Album Review: Nots – 3

Album Review: Nots – 3

Best Tracks: Woman Alone, In Glass, Built Environment

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Since 2011, this Memphis three-piece has been releasing gritty, noisy, yet somewhat experimental and trippy punk tunes while building a small following along the way. Some call them garage-punk, others say psychedelic-punk but for the sake of making things simple, Nots is a straight forward punk band at its core.

The album’s A-side kicks off with a nonchalant, laid-back ride along called ‘Low,’ fueled by a chugging bass line that serves as the song’s mover. It still gets the veins moving but does not reside in aggression and angst in the traditional sense of punk, though it still serves as a fantastic intro to the album.

‘Woman Alone’ is a song that swells with sound and emotion. The lyrics “What’s it like to be a subject analyzed” takes you into a world of unease that the singer feels comes with the territory of being female in American society. The trippy and experimental guitar tracks give this song its edge but flow inconceivably.

‘In Glass’ is another thrasher of dirty bass lines and hallucinatory noises that fit congruently with the direction of the song. Filled with chants and a stampede of a drum beat, it proves difficult to sit still, provoking the listener to move about in whatever rhythmic variation comes to mind.

3’s B-side starts off with ‘Half-Painted House,’ which comes off as a bit dry and repetitive but is still intriguing nonetheless. Maybe this was the intent with the lyrics “Take another pill to calm my mind” and “Make another drink to calm my mind,” in serving the purpose of showcasing the habitual actions one takes when relying on substances to function in an overstimulating world.

The second half of the album is not as intense as the first but still reigns in the grooves and punchy-ness while not overreaching. ‘Surveillance Veil’ still has the floor tom rumbles and dirty bass lines but with a bit more fluidity. The scorching guitar riffs that buzz and resonate with soaring bends chime with a dark resolution and carry the track on a life of its own. The album’s last track ‘Built Environment’ kind of ties things up as far as the structural theme of the record by providing a mix of everything from the release: clean pockets of organized noise, sporadic drum fills, echoing vocals, and galactic guitar effects.

3 is a great album by a phenomenal band that has just met my acquaintance. I will definitely be taking that adventurous stroll through their discography as they have made a lasting impression on me.

-Justin Capoccia

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New Album Review

ALBUM REVIEW: INJURY RESERVE- Injury Reserve

ALBUM REVIEW: INJURY RESERVE- Injury Reserve

Best Tracks: Jailbreak the Tesla, Wax On, Three Man Weave

Injury Reserve is the self-titled debut by the rap group Injury Reserve. Injury Reserve hails from Arizona and includes members Stepa J. Groggs, Ritchie with a T and Parker Corey, their producer. The trio formed in 2013 and have since released three mixtapes and two EPs, the most popular of them being Floss and Live From the Dentist Office. Injury Reserve is a group that embraces a lot of different sounds and infuses them into their music, injecting their sound in the veins of post-industrial, 90s boom bap, rock and electronic. On their self-titled album, Stepa J. Groggs and Ritchie spit clever lyrics in their distinct flows with the album’s guest features doing the same. This albums guest highlights include Rico Nasty in Jawbreaker who delivers a down to earth verse, Amine in Jailbreak the Tesla who comes in at the end with relevant and funny bars and Cakes Da Killa who crashes in hard and fast on GTFU. Injury Reserve begins with Koruna & Lime, backed with a beat reminiscent of Odd Future, introducing the rappers and the group itself by describing brand deals and the group’s avoidance of a genre label. Throughout the album you can find a sampling of very different, crunchy and melodic sounds on timely topics like Instagram, Elon Musk, Hypebeasts and depression. The last track ends off with Three Man Weave wherein Groggs and Ritchie rap on the group’s connectedness and collaboration throughout the duration of their careers featuring a sample of Phoenix’s Embuscade orchestrated by Parker Corey.

Some of the album’s best tracks are Jailbreak the Tesla, Wax On and Three Man Weave. It is evident throughout this work that Parker Corey, who curates the unorthodox rap beats and the guest appearances were the ones who carried a lot of the weight of this album’s freshness and boundary pushing aesthetics. However, this is not to take away from Groggs and Ritchie’s lyricism that is mostly consistent throughout the album, they preserve the “Injury Reserve sound” with their rapped lyrics and in tandem, Corey pushes it past the borders of what rap music sounds like. This album strikes me as a continuation and expansion of Injury Reserve’s fragmented, but original sound which takes hold through Parker Corey’s production while also keeping it accessible through the rhymes of Stepa and Ritchie. Injury Reserve is one of 2019’s most experimental, energetic and fun rap albums and is most definitely worth a listen.

-Makayla Mack

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New Album Review

Album Review: Amon Amarth – Berserker, 2019 (Metal Blade)

The Swedish Kings of Melodic Death Metal, Amon Amarth, have delivered again! 2019 sees the arrival of Berserker, the band’s 11th studio album. There is no other metal band like these veterans – the near-perfect combination of (seemingly) opposing concepts of melody and crushing brutality, harmony and roaring gutturals – and this record exemplifies that fact, once again, while also showcasing some new aspects. Where 2016’s, Jomsviking, was a concept record that (lead vocalist) Johan Hegg had written the story and the other band members supplied music thereafter, Berserker saw all music finished before Hegg had penned a single lyric. This offering also introduces us to the band’s new drummer, Jocke Wallgren, who fits in nicely with the other members while adding some fresh blood (so to speak).

Tracks

Fafner’s Gold opens with acoustic guitar and keyboards before launching into the ever familiar gallops of Amon Amarth’s trademark storytelling. A dragon’s tale.

Crack the Sky is a bop about Thor (and his hammer) that sounds like a holdover from 2008’s Twilight of the Thunder God.

Mjolner, Hammer of Thor is pretty self-explanatory. It reminds me of something from Deceiver of the Gods (2013).

Shield Wall sounds like it came right off of Surtur Rising (2011), and is also self-explanatory; though I sense there is something personal, here, too. A real anthem!

Valkyria is a story about a female heavenly messenger in the old Norse mythology. The track also ends with some spooky keyboards (nice!).

Raven’s Flight – war, vengeance, conquest – any questions?! It features a wicked breakdown, and the overall feel of the song gives you a real sense of the battle.

Ironside features ‘the spoken word’ by Hegg, who not only has one of the best general vocal gutterals in metal, but also an awesome speaking voice. This one is adapted from the mythical Norse character by the same name, famously portrayed by the series Vikings.

The Berserker at Stamford Bridge is based on a historical account from English mythology about a battle against a single Viking. The music, here, is extremely dramatic and Hegg shouts a line at one point as if the Berserker himself is speaking. Awesome!

When Once Again We Can Set Our Sails If you liked 2008’s Embrace of the Endless Ocean (Twilight of the Thunder God), then you’ll like this bop. It also has the darker sound of 2006’s Under the Northern Star (With Oden on Our Side).

Skoll and Hati is a song about “one who mocks" and “one who hates.” The former races across the sky chasing the sun, while the latter chases the moon. Isn’t Norse mythology great?!

Wings of Eagles is a narrative about fleeing from Norway to Greenland and westward discovering new and distant lands. In Amon Amarth fashion, the listener feels an emotional bond to the story because of the melodies, harmonies, and double kicks.

Into the Dark is an interesting ballad-like song, like Back on Northern Shores (Yomsviking, 2016). It’s heavy, but very dramatic. Hegg’s vocals hit a new low guttural, here. A perfect ending to this saga.

Rating: 8.5

Favorite Songs: Raven’s Flight; The Berserker at Stamford Bridge; When Once Again We Can Set Our Sails

Stay Metal, 

THE SAW 

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New Album Review

IGOR Album Review

Any longtime Tyler, the Creator fan understands the implications of him shying away from his old impulsive, unapologetic, musical expression, which might discourage them from listening to his new music. In this day and age however, you cannot chant, “Kill people, burn s*** f*** school.” and be successful in any sense. One thing that Tyler will alway maintains however, is the exposure of his various alter egos which take us into the creative, dreamy, and unstable world that lies within his head. On May 17, Tyler, the Creator released his sixth studio album, IGOR. This is a detailed excursion introduction to his softer alter ego and in all, is far from disappointing. The album tells a story of a drifting love affair and features albums including Playboi Carti, Charlie Wilson, and Kanye West. In this album, Tyler directly channels N.E.R.D. through his fabricated instrumentation and raw, storytelling style of rapping. This album clearly conveys his sense as he maintains his same daunting use of repetition to personify melody. Along with this is the use of his same metaphoric language to tell a story that we are not directly told, but can directly understand. One of the best elements about the album is the distinct melodies that positively allow the song to take you on a musical rollercoaster. Though the tempos are rather upbeat and more pop-like compared to previous albums, I believe this is simply a tool. Through this, Tyler wants us to understand the distinct differences of his IGOR in his purest and most expressive form as compared to other characters like Flower Boy or Wolf. Furthermore, all the songs within the album though they tell a single story, stand on their own as mini masterpieces from the production to the instrumentation, to the intricate execution. Overall, this album gives me hope for the future of hip hop. Through Tyler returning back to his old authentic self and expressing himself in a way that does not appear to stereotypical commercials values, I believe originality might once again return to the top charts. So go give it a listen!

-DJ Bulma

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New Album Review

REVIEW: AA BONDY- Enderness

Best Tracks: Diamond Skull, In the Wonder, Images of Love  

FCC Violations: Diamond Skull

Okay…A.A. Bondy…what can I say? His new record Enderness was my first experience with the artist. After doing some mindless “computer research,” it turns out this is his first record in eight years but I have to say it’s excellent though its musical foundations are usually not my cup of tea, coming from a heavy all-around rock and metal background.

Initially, I felt a cerebral vibe from the record and come to find out, that’s Bondy’s niche. Though the Alabama folk singer/songwriter has turned to more electronic devices, leaving guitars few and far between for this outing, the record still boasts his in-depth analysis of the social times we are currently surrounded with, tackling big pharma, the internet, and the environment.

With the subject matter and ensuring implementation, the record could easily come off as gimmicky but it doesn’t. Instead, it takes the listener on a euphoric ride of fluidity and melancholy – you know, the kind that makes you sad but good at the same time.

As a lover of guitar instrumentation, I’d have to say the first song ‘Diamond Skull’ was my favorite. Somewhere between a blend of blues, the old west, and a splash of Frusciante, this song is a heavy-hitter. The chorus takes you on an ascending, slow ride from the initial “Oh la la,” and the singing out of text and internet acronyms O.M.G. and L.M.A.O.

“In the Wonder” was another cool song. The vocal tracks had a tremolo effect through its entirety, giving them that bouncy and wavy feel that normally go to an instrument in the rhythm section via stompbox.

Even though I’m in unfamiliar territory, I feel that naming my least favorite song is splitting hairs at this point. The record really is fantastic but if I had to name one it would be “I’ll Never Know.” I felt the synthesizer, even though it was the prominent sound of this album, was used as a quick escape in notching on another track.

Overall, Enderness was excellent and I’m glad this record made its way into my realm. I like that feeling of finding an artist I’ve never heard before so I can take a light jog down their discography.

Justin Capoccia

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New Album Review

REVIEW: MORABEZA TOBACCO- Morabeza Tobacco

Best Tracks: Kiss of Death, Rene

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Morabeza Tobacco’s self-titled debut album is what you would expect from a dream pop release. With its overall ambiance, elegant synths, and groovy bass lines underneath male/female duo-lead vocals, the album provides a laid back and ethereal experience for the listener.

The introduction track ‘Almost Home’ made me feel a bit discouraged in listening to the album in its entirety. The song felt bland, resonating forgetful contemporary pop songs from the 80s with no real direction, making this my least favorite track. Surprisingly, it took a quick turn for the better, leading me on a curious journey as each track transitioned, but with a few hiccups along the way.

When the first song ends, ‘Kiss of Death’ comes in with an intriguing three-chord synth progression, giving way to a tight bass line, and entwined with a 4/4 drum beat which would carry the song on a journey reminiscent of Genesis. The lyrics come in with Gustave, the male vocalist, singing with what sounds like a vintage microphone or effect that emulates a similar sound. Vanilla, the female vocalist, sings the chorus with whispery tones that still manage to cut through the mix in a satisfying way. This was my favorite track on the album and served somewhat as a competent display of what the album offers.

‘Orinoco’ is another gem with funky guitars, an excellent chorus, and heavy bass fills that seem to come out of nowhere but blend well with the song. ‘Rene’ is solid as well, an instrumental that doesn’t showcase, but rather serves in maintaining the feel of the record.

With the exception of the first song, the album carries on in a productive way. The majority of it flows fluidly with a few lackluster tracks between the good ones but the good definitely outweighs the bad.

Here are a few takeaways: good overall bass and drum rhythms, complementary vocals, funky and interesting guitar parts, but lacks some consistency in regards to keeping the listener fully invested. Bypassing that minor lack of consistency, Morabeza Tobacco is a decent record that would be a good addition to the library of those familiar with the genre.

Justin Capoccia

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New Album Review

Album Review: Whitechapel – The Valley

What’s that sound? Oh, that’s the sound of me fangirling because Whitechapel dropped another banger of an album. This is Whitechapel’s eighth studio album and it is the perfect combination of chunky, dark riffs, and melodic melodies. The Valleyis much different than previous records. The sound of Whitechapel is continuing to evolve and their newest album shows that change.

Now, I’m not gonna lie, I am a BIG fan. But putting my personal opinions aside, this album is an absolute masterpiece. The Valleyhas the heaviness, gutturals, and intensity of earlier records (Somatic Defilement, 2007), but the album incorporates melodic death metal riffs. Along with Phil Bozeman’s powerful voice, the blend of these three elements makes an album that is a force to be reckoned with.

There is something for everyone to like, here. If you like the “old school” sound of Whitechapel with dark riffs and deep vocals (with some badass gutturals), then Brimstone is the song for you. It has this groove that you can’t help but bang your head to. Forgiveness is Weakness and We Are One are also songs that stick to Whitechapel’s original sound, but add a few components to make them new and exciting. There are also some songs that are heavy as hell, but still have those grooves and melodies. Black Bear is an example of this particular sound that Whitechapel used on this record. When a Demon Defiles a Witch also shows this sound, yet another element is added: clean vocals. I know some people don’t like clean vocals in metal, but Bozeman’s voice is just as good regardless of if he is growling, screaming, or “clean” singing. You can hear more of his Cory Taylor singing ass on Hickory Creek (which is all clean vocals, but still heavy), and Third Depth.

Another thing that makes this album great are the lyrics. Bozeman said in an interview that this album is based on his childhood and what he has experienced. The lyrics are dark and Bozeman recounts his tales with moving, often grim persistence. You can hear and feel the emotions within the music itself. If you get the chance, listen toThe Valleyand read the lyrics, and become immersed in the experience that is Whitechapel.

I believe that this is Whitechapel’s best record they have created. It’s an album that I can listen to when I am in any mood. I can also listen to this record when I’m getting ready, walking around campus, doing schoolwork, driving, or when I’m just hanging out.

Favorite song(s): Forgiveness is Weakness, Brimstone, and Black Bear 

Stay Metal, 

THE SAW