Category: New Album Review

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

The Swedish Kings of Melodic Death Metal, Amon Amarth, have delivered again! 2019 sees the arrival of Berserker, the band’s 11^th 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 

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

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

Best Tracks: Kiss of Death, Rene

FCC: None

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

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

IC-01 Hanoi; Unknown Mortal Orchestra

I’ve been a big UMO fan for a while now, and their progression from album-to-album is always very interesting. They’ve gone from making simple, ultra lo-fi pop tunes on their first, self-titled album to rolling out wild, energetic, psychedelic concept albums like Multi-Love. Earlier this year they put out Sex & Food, and while it may not be my favorite from them, it features some of their best songs (the opening four-song stretch is incredible, especially “Hunnybee”).  I don’t know the creation story behind this record, but I did hear that a portion of Sex & Food was recorded in the Vietnamese city, hence the title.

Ruban Nielson and company have dabbled in instrumental work before (they put out an instrumental EP every year from 2013 to 2017), but nothing they’ve done in the past had prepared me for IC-01 Hanoi. This album listens like a neon-tinted, drugged out, synth splashed remix of an unreleased George Benson record. To kind of take it track-by-track:

Hanoi 1; The familiar lo-fi psychedelic style is present from the first track, but something’s off. UMO normally sounds sort of off in terms of production; however, this opener has a very loose, jazzy style to it, and sounds very experimental even compared to the band’s previous instrumental work. The five EPs mentioned earlier at times seemed a little too similar to those clunky 1-hour chillwave mixes on YouTube; this one has a lot more substance.

Hanoi 2; Immediately changing to a much slower pace, this track puts Nielson’s guitar noodling at the forefront, complimented with some pretty drums and a nice bass riff. It’s certainly a pleasant listen, but it goes on for a bit too long.

Hanoi 3; This is a simple, short interlude with a very exotic vibe to it. If Harmony Korine were to remake Crouching Tiger, Hidden Dragon, this would be on the soundtrack. (Sorry for the pretentious movie references)

Hanoi 4; Honestly a bit disappointed by this one. Started off with a lot of promise, but ultimately the track didn’t really go anywhere. Cool to skip.

Hanoi 5; Ok this is one is really weird, and the backing instrumental sounds absolutely nothing like UMO. The drum outro is amazing.

Hanoi 6; This is the big song that keeps showing up in my Release Radar on Spotify, and it is obviously the highlight of the album. A nearly 10-minute wonder with an intoxicating sax solo and great percussion. The song (and the album for that matter) explodes around the 7-minute mark into some loud, menacing avant-garde jazz that brings to mind the 1970s work of Miles Davis. Absolutely incredible track.

Hanoi 7; This one’s good too, but it’s nothing special. The placement here bugs me a bit; it would be a lot better for the album to end with Hanoi 6.

Sour conclusion aside, this is a challenging, fascinating record that I would definitely recommend for anyone into psychedelic rock. For any jazz fan who wants to get into psychedelic rock (or vice versa), this is your best option for a transition record.

– DJ HEAD HUNTER