NOT SO WASTED YOUTH: "Short Term 12" review, one of the best dramas of the 2010s so far?...

"Short Term 12" is just one of those movies. From the first frame and the story told as an introduction to its characters, you can tell its gonna be something special. It shows a perspective not often seen in any form of media, nevertheless a film. A story based on the experiences that the director faced whilst working in a group home himself, revolving around a personal connection our lead creates with one of the new arrivals while facing her own personal crises.

It's a touching movie, subdued in nature, the spotlight entirely focused on Brie Larson who would later go on to win big with "Room" in 2015. Her performance is damn near flawless and solidifies her as a force to be reckoned with, as if "Room" didn't already do that to most eyes watching. Brie Larson is not the only with an established connection however, a whole wealth of characters with their own traits and quirks do give it a great sense of believability. In particular, the child actors. They all embody their roles and although most are first-time actors, they all spin it perfectly. It allows the plot line with Jayden to flourish as her situation clicks with our lead and takes her back to her own troubled childhood, desperately attempting to create a better future for her perhaps to the detriment of her own.

In that, its seamless how the leaders' private lives intertwine with their work life, their work life eventually becoming their life as the lead [Grace] damages her relationship with her long-time boyfriend who has also had a troubled past. They're both there because of their own childhoods suffering and want it so others don't have to go through the same tribulations. The focus starts on life at the detainment center before their personal issues begin to trickle in as they both impact upon one another. The authenticity in the performances and specifics really does hit this dramatic element home where it otherwise wouldn't have. An example of its specifics would be a situation in regards to 'escapees', they're not forced to be there. Once they leave the property, they can't be touched. But they can be followed and potentially convinced to come back. Mileage may vary.

It's great to look at as well, a tall order given the setting in place, but each shot is a pretty one to witness. Even more impressive also given that a majority of them are handheld in order ease the first-timers into the production, which may be a negative for some, but in this scenario it does showcase a fluidity. To the point of which I didn't actually notice it until the more intense scenes arrived. The ending slow-motion shot is a joy to watch, and it will leave you tearing up as it pans away and the days carry on. The consequences are in place and it's believed to be all back to normal.

It's not the first feature from director [Destin Daniel] Cretton, with his first "I Am Not A Hipster" being how this film reached its funding. You can tell this is truly based from his experiences and it is a passion project for him, the same story being shown once before a short that's now grown its legs. It's a subject that's never been tackled in this manner before and that's what intrigues, but it keeps you sticking around for its rock solid characters and a straight-up heartbreaking tale.

ALL SHE NEEDED WAS SOME: Childish Gambino's "because the internet", the internet-centric concept album...

[Childish] Gambino's sophomore effort past his 2011 is by no means perfect, but its production and all-round charm make it an easily likeable project that most should be able to sink their teeth into. It cements Gambino as a one to look out for due to his ambition alone, this album being a show of things to come with his release later this year, "PHAROS".

"because the internet" spares no time getting into the swing of things, beginning the first of a five act structure with "(I.) crawl". But before you can do that, the ambition needs to sink in: a 76-page screenplay accompanies this album and is expected to be read before you can truly understand the concept that this album has to offer. But before you can read the screenplay you need to experience the prelude to it with his short film "Clapping for the Wrong Reasons". A cumbersome process but one that is necessary as the album's message doesn't stand on its own. This is where the ambition either sinks or swims with you as a listener as the amount of attention required to fully understand what is going on will be off-putting to some.

By all means you can still listen without watching or reading, but don't be surprised if the meaning is a tad lost on you at first, the general jist can still be acquired however. That being an attempt to comment on the social awkwardness surrounding the modern age of the internet. That is where it sadly misses, but its not with highlights to back it up and keep it on both feet. Purely as a piece to enjoy and listen to for its catchy beats, hooks and overall pop sensibility, it's more than adequate. This is seen with the lead single "(V.) 3005" with its sugary hook right off the bat that is sure to stick in your ear for many days to come.

Falling back on the aforementioned "crawl" after much diversion, it shows that while tracks like "3005" are still strong, its when Gambino is at his most aggressive when the best comes out. The sting of the vocal sample throughout and the charged, abrasive delivery of his verses mix together to make a truly memorable track with a real punch. It's more of the same with "(II.) WORLDSTAR", its comments turned onto the (rather depraved) world of WorldStar HipHop, showing the nature of its users, laughing at others misfortune and pain with its interlude towards the end.

What brings the album together in its overall sound are the interlude tracks between each of its acts, particularly "dial up" before the second starts, creating this almost introspective feel as it ties into the main beat of "(I.) the worst guys". This falls back on the more relaxed tone and possibly has one of the most pointless yet great features of a song I've heard in awhile. The instant Chance [The Rapper]'s hook comes in, a smirk is painted onto my face for the rest of the track and it doesn't leave until it's over. "All she needed was some," never clarifying what she needs and that they never gave her what she needed, being the titular "worst guys". Or as some speculation implies, all she needed was some dick, being the worst guys through their arrogance. Both are equally plausible and both are equally ridiculous.

The album's humour shines through on "(IV.) sweatpants" with its main hook as equally hilarious as "the worst guys", a tongue-in-cheek tease to his peers, yeah they've got the pretty aesthetic but are they really delivering, "are you eating though?" It's delivery is played for great comedic effect whilst simultaneously getting shots off. It's an admirable display of confidence, which is what he is at his best as mentioned prior, but with some of the lesser choice cuts on this album, it backfires. In particular with either "flight of the navigator" or "zealots of stockholm", both meandering tracks that may serve purpose with its screenplay, but really ruin the pace built up by the tracks preceding like "3005" and "no exit". "no exit" opens with an urgent, punchy and ever-so-slightly stilted hook that immediately grabs your attention with its eye-opening question: "I'm a murderer, what can I say? ... What does that change?" An exaggerated statement in regards to those he pushes away, "would you still love me if I was a murderer?" He poses. It's a dirty track, showing Gambino's character desperate as there's no escape from his own mind.

It's curious as there is a strong album in here with some filler pulling it down here and there which could easily be pulled for the sake of listening. For the sake of the screenplay, they make sense, and returning to that elephant in the room, is it worth the 'investment' if it were to fully appreciate whats on offer? That's on you to decide. Even though it's tale somewhat falls flat, leaving you with a "so what?" mentality as a result of its inconsequential nature, its ambition has to be lauded as Gambino still attempts to find his niche and hone his craft in both writing and recording. It sets the scene for things to come and with great promise, perhaps some "PHAROS" is all she needed.

BACK TO BASICS: Metronomy's debut, "Pip Paine (Pay The £5,000 You Owe)", one of the most overlooked debut albums?...

This is a rather peculiar one, the first release of the electronic outfit Metronomy. Peculiar in the sense that much like their most recent release "Summer '08", the sole member on either is frontman Joseph Mount. The man himself describes this first project as "the sound of someone living in a musically redundant place trying to make exciting music." Vastly different from anything to come after it, the Metronomy name purely used as a moniker, this may stand as one of the best, if not the best album to date from said moniker.

To many a Metronomy fan, they'll be sure to disagree and that is perfectly understandable. I've enjoyed all of what they've had to offer past this, including the return back to solitude in "Summer '08". But what is so striking about "Pip Paine" in particular is that its influences shine through greatly, all of the tracks purely instrumental and experimental in nature, hitting many of the same notes as Aphex Twin or Kraftwerk.

It's chock full of wonderful tracks with introspective and catchy beats such as the self-assured "This Could Be Beautiful (It Is)", featuring a robotic tune that you can't help but bob your head to. It's peaceful in its own unique way, clearing your head of thoughts as you let it sweep you away. Tracks of this calibre are aplenty here, sure-fire given the place that Mount found himself over the spare years he put this together. Getting an old computer and experimenting with your own projects, taking what you've loved and listened to countless times and paying homage.

It works on multiple levels, either listening to it intently for the first time or as a background supplement whilst being productive (or trying to be). With it being given a few listens now, I can easily start this going in comfort and still find new and interesting aspects to each track that I never noticed prior. What Mount must consider is him just messing around on his dad's old hardware speaks high volumes, creating a set of often overlooked and wonderful electronic tracks that never fail to catch my ear.

There are some songs that stand out more than others such as the aforementioned "Beautiful" or the powerful riff-track "You Could Easily Have Me", but as a whole, it's an experience that's akin to that of an upbeat Boards of Canada. There's not much that can be said other than that this is criminally underrated, even amongst Metronomy fans. Now that Mr. Mount is all alone again on his most recent continuation of his musical baby, it's time to look back and see how it all started. Pay the respects you owe to one of the best debuts out there.

JUMPING ON THE BANDWAGON: "Suicide Squad", as bad as everyone says?...

(Because they lovingly don't allow you to embed the trailer on Blogspot.)

With "Suicide Squad", there's no denying it ain't good. But what the real question is: is it deserving of all of the negative attention that it is currently getting? Is it really on par with the equally infamous, albeit ridiculously titled "Fant4stic" reboot?

God no, as it stands it will never extend beyond mediocre, at least in its current theatrical cut. It's by-the-numbers, confused as to what it actually wants to be, mixing some bizarre and irrelevant sequences which serve the sole purpose of being 'edgy' with the Marvel-esque banter between characters. It's disjointed, but as its happens, there's still some entertaining aspects to enjoy. Will Smith as Deadshot was somewhat surprising, standing as one of the few likeable characters of the squad. The material he's handed isn't exactly gold, especially the obligatory eye-rolling line of reference to the film's title, but his own charm shines through what would have been utterly forgettable if it were handled by another actor, rather than just simply bland.

Referring back in the mean time to the awkward structure, the rumours of the theatrical cut being handled by the house responsible for the film's trailers is very much believable. At times it felt as if I paid to see a feature-length music video, the montages and use of licensed tracks got that out of hand. The whole film is stuffed with licensed tracks, ranging from The Animals' "House of the Rising Sun" to Kanye West's "Black Skinhead". Now, there's no issue with licensing tracks to create a specific tone or believability within a film, but this is ridiculous, perfectly showcasing how this film perceives its audience. Any moment of silence is sure to bore, there has to be music playing at a constant to keep their attention grasped! The use of silence or lack of sound can have a powerful effect, be it either a chance to grab a breather or ratchet up the tension, it would ultimately cause these outbursts of music to be much more impactful and not become just another montage. An exercise of restraint places faith into the audience to have even the slightest amount of intelligence, but instead it opts for stupidity and excess.

The holes to be found in the plot are certainly plentiful as the first act scrambles to get the characters formed before it throws them against the next giant blue beam in the sky. This time in the form of an enchantress attempting to take over the planet. I've never heard of that one before. It's wackiness in the beginning seems entertaining enough initially before it eventually just goes in one ear and out the other. By the time it changes gears, the damage has already been made. It falls into place with so many other superhero movies, the squad team up and face a climactic fight against the evil force responsible for the film's conflict. It gets the job done, but utterly forgettable. Passable, that is, if you play devil's advocate and choose not to pick it apart. (But why should you really?)

The cast is the main reason there was any semblance of fun to be had with this film, in addition to Will Smith's charm there is Margot Robbie as Harley Quinn. She does a pretty great job embodying the character, fitting the role pretty perfectly. (A reason to look forward to a Harley Quinn spin-off in the hopefully near future.) Joel Kinnaman is your generic army man and Jai Courtney, bless him, has been swept off to the side, simply there to provide some completely unnecessary and often ham-fisted comic relief. That's because an Australian handy with a boomerang is good enough to take down an ungodly supernatural force capable of destroying human-kind. Maybe one day he can finally happen. They really should have stopped after "Terminator: Genisys", to be perfectly honest.

Now, there are plenty of issues to be found in "Suicide Squad" to continue to babble on about and it is most certainly a product of excessive studio meddling, contrary to what director David Ayer has been saying. Pulling a Josh Trank can only cause your career to go downhill and frankly, who can blame him? All we can hope is for the inevitable 'extended cut' to come along and hopefully restore some clarity. Or to prove that this film may have and forever will be a bit of a turkey. It's mediocre. Yes. On par with "Pixels"? I'll let you be the judge.

ALL THE CLOCKS GIVE IN: Elbow's "Cast of Thousands", lost in the back catalogue...

Elbow has a pretty esteemed career spanning many albums and many years alike, granted mainstream success with their direction change in "The Seldom Seen Kid" on the back of their lead single "One Day Like This". With a band such as this, its worth to take a look back through their older releases as that is where their best material may lie, as proven by the wonderful compilation "dead in the boot", showing that even their b-sides have more than enough merit.

"Cast of Thousands" is one such album, building upon the promise of their debut, its a worthy successor with the benefit of hindsight and time to further refine their sound. This culminates in some of their most heartfelt tracks to date, such as the wonderfully sombre "Switching Off", discussing the idea of what your last memory would be on the brink of death. Comparatively to a device, being switched off. "I choose my final scene today," [Guy] Garvey poses as one of the tracks final lines. It's a premise that may have been approached in music preceding, but it has never seen such execution. Garvey's voice perfectly complements the angelic backing, standing as one of the album's peak moments.

Rewinding back a few tracks, the opener "Ribcage" has a similar tone but with a bit more of a bite to it. How it feels to finally let any shame built up to be finally exposed. It sets the stage for the kind of themes to expect, its climax purely epic as the choir pipes up on the central lyric: "Let the sun inside." This continues with the equally theatrical "Fallen Angel" and "Fugitive Motel", bringing sweeping instruments to the forefront as Garvey's unique presence takes hold.

It comes to a bizarre halt as "Snooks (Progress Report)" comes in with its thumping drumbeat looming ever over you throughout the tracks runtime and an urgent scream runs amuck. As the title suggests its a track of progress, catching up with friends and all is fine, but they've all moved on and the drunkard is alone under the "absurd" moon. It doesn't hurt. Merely an issue of stilted progress. It's message may be on the straight and narrow but it's unique instrumentation pulls it back, standing as one of the more memorable tracks alongside "Switching Off".

The delightfully titled "Crawling With Idiot", chronicles the everyday life of being surrounded by what the titular idiots, locking eyes with a complete stranger who seems just that little bit different. A murky track, matching its subject matter in its backing of a sleazy one night stand. It isn't serious, "I just need arms tonight." It slows further as it all blends together, almost mirroring what could be the narrator's drunken state.

This is before it builds into the glimmer of hope that is "Grace Under Pressure", a 5-minute crescendo that doesn't hold back. There's still an optimistic outlook: "We still believe in love, so fuck you." Nothing can bring you down when love is on your side. It's a delightful track, heavenly in nature as its lyrics are. It snaps your attention back into place before it even has a chance to even lose it.

"Cast of Thousands" stands as a unique flicker in Elbow's discography, lost in their back catalogue due to its fortuitous nature, but once it's cracked and you finally get into it, it becomes one of their most rewarding releases to date. Just stick with it, it may seem insignificant or directionless at first, but the rewards will be reaped. 

PLEASE SET YOUR MONITOR TO 16x9: "The Grand Budapest Hotel" (thoughts & review blahblahblah), Wes Anderson's best?

Wes Anderson is a director that continues to perfect his unique style and approach to film with each succeeding release, "The Grand Budapest Hotel" being no different.

The first and most potent aspect of the film is its visual appeal. This is frankly a gorgeous movie with lots of meticulous care and attention poured into each shot, proven with precise camera movements and consistent adherence to the rule of thirds as symmetrical shots are plastered all throughout. The use of aspect ratio to give an instant recognition as to which time period is currently present is great, an eventually subtle tool once the initially jarring swaps between said ratios becomes the norm. It's not some gimmick or change in camera equipment, (such as the swap between IMAX and regular film stock in "The Dark Knight Rises") it is key to the film's flow and overall aesthetic, not having to reiterate which period is which on a constant basis. You can just tell by looking at the size of the frame. A meticulous director showing his creative prowess once more, with the OCD nature of each of the individual shots giving it an almost fantasy feel, a whimsical emotion only ever felt in a Wes Anderson movie. Huge credit must go to frequent Anderson collaborator Robert Yeoman, the cinematography on display here is damn near perfection, a shame given that it was up against "Birdman" in the same year of release.

The cast is an ensemble of well-known and respected faces in addition the familiar Anderson regulars who may also fall in the previous category. Ranging from Jude Law and F. Murray Abraham to Jeff Goldblum and Bill Murray, it definitely has the right to call itself an all-star billing. The most notable character of Monsieur Gustave H. is played by the esteemed Ralph Fiennes, perfect for the role, I couldn't imagine the character any other way. The same goes for any of the cast, they compliment their roles and the star power afforded by this movie is a major strength whilst also going to show how much respect Anderson has generated over the course of his filmography.

It's plot is seemingly convoluted, intentionally so, taking place as a story within a story within a story within a story. The rabbit hole keeps going deeper as a different perspective comes into play, an author recounting his visitation of the great Gustave H. which in turn includes his own account with several minor subplots that branch off from it. It adds to its whimsy due to it being passed through multiple narrators, creating doubt as it continues, there always being the possibility of the story being distorted by unreliable narrators and their memories falter. A 'Chinese whisper' effect of sorts. It takes a darker turn than what is initially expected as the framing of murder sets a backdrop for many more to come, tackling some pretty sensitive subjects throughout whilst still maintaining a lighter tone. It's unique in that it can still maintain this said whimsical style and tone whilst plunging into some thought-provoking subjects.

The soundtrack compliments the surrounding film in a way that feels organic to its technique, using some plucky strings and even a Russian balalaika in addition to other bizarre instruments to create its own original feel that only this film could achieve. Alexandre Desplat continues his already strong line of work, some previously with Anderson, proving that he is one of the most influential film composers currently working, his scores featured on countless films.

As it stands, Wes Anderson is a filmmaker with a very distinct vision, he knows what he wants with each of his projects as he continues to hone his craft. This film is the best he has to offer, until the next time he delivers, hopefully. This may not be your favourite in his esteemed library, (*cough* "Life Aquatic" *cough*) but regardless, I would classify this as a must-watch if you have even a passing interest in movies or are more interested to see a filmmaker at work.

THE NIGHT JOSH (NIXON) CAME TO OUR APT.: "I Love You, Honeybear" and his new single, "Real Love Baby"...

Upon first glance, "I Love You, Honeybear" seems nothing more than a fleeting folk rock act, to which is instantly relieved as the title track kicks in and sweeps you off your feet. Instead, it's a concept album. About who? Himself [Josh Tillman], dealing with his personal life and as he put it: "engaging in all manner of regrettable behaviour."

Contradictory is one of the words that springs to mind when I think of this album, a beautiful, almost whimsical backing with lyrics that showcase Tillman's cynical nature and dry humour, a notable exchange coming from my favourite cut of the album "The Night Josh Tillman Came To Our Apt." The track opens with a poke at those certain people who throws 'literally' into way more sentences it than it should, (certain people we all know) the only response being a sarcastic retort: "Well, it's literally not that." The same goes back at the beginning with the title track, ranging from part-autobiography about his wife or 'honeybear' to straight up satire, the use of 'honeybear' being a joke in and of itself. That is what is so wonderful about this album, the humour being there for only those who want it. "I Love You, Honeybear" could serve as yet another feel-bad tale of unrequited love if you want it to, but pay attention and a whole new layer opens up for repeat listens to take advantage of.

That aside for the time being, the sound that this album adopts is quite unlike any other folk rocker in recent memory. Strings, trumpets and all-kinds of arrangements are used throughout as Tillman's voice calls for your attention. This sprawling style takes an electronic turn on the early "True Affection", oddly one of the most straightforward tracks on the album, commenting on society's turn towards technology (matching the change in tone) and how it leads to emotional frustration. "When can we talk? With the face? Instead of using all these strange devices?", Tillman pleas.

Next in the track listing is the aforementioned 'notable exchange', opening with a sweet guitar riff, maintaining a similar tone throughout its run time as he, Josh Tillman, referring to himself in the third-person, tears a past lover, who is certainly not his 'honeybear' to shreds. "The malaprops make [him] wanna fucking scream," he says, and is frankly well-put. It could serve as a parody of himself as it further unravels, third-person and all, as almost all of his thoughts reflect back onto him, showing his true colours. He is only as bad as what he is saying. That or, it is really as bad as it seems. Begs for choking could only be obliged.

"When You're Smiling and Astride Me" is the closest you're ever gonna get to a sentimental narrative on not just only this album, but with Tillman's entire line of work, serving as another ode to his wife. The opening vocal gets you humming along, truly sugary in its nature and one of the truly touching moments of the album. This almost-sentimental theme is continued on the final track, "I Went To The Store One Day", also written about his wife and how they originally met in a store naturally.

One things for certain amongst all tracks: such a high standard is set amongst them that it is near impossible to fault for what they strive to achieve. Conceptually, it's pretty damn near flawless in critiquing his very own flaws. Be it harshly insulting a past lover to wildly praising his current, it is what it is. Josh Tillman, take it or leave it. "I can hardly believe I've found you and I'm terrified by that," as Tillman thinks about his 'honeybear'.

Alongside this comes "Real Love Baby", a wonderful little single that continues much of the same style that is found on "Honeybear", reverb fully intact. Satire takes a backseat however as an air of humbleness is found, as he's learned to surrender his love to his significant other. He's the flower and his wife is the bee. It's a matter of compromise and that's perfectly okay. It's honesty is bolstered by a soothing tune, especially in its outro as the chorus is burned into your ears, straightforward and heartfelt in a manner that you never thought he could show without cracking a joke.

MEET ME DOWN AT TOWER 28: Weezer's "White Album", the soundtrack of the summer?

Weezer. The power pop outfit that started at what may be their highest with the "Blue Album" and "Pinkerton", they then took a tumble throughout the 2000s with a string of frankly horrible releases culminating in the insultingly generic and overproduced "Raditude". But with their most recent albums they've mounted a comeback with a return to their '90s roots in "Everything Will Be Alright in the End" and now the "White Album", exploring themes common in society whilst also sticking to their strengths, loud guitars, pop culture references and memorable hooks. (i.e. what made their first two albums so great.)

The album begins with no time wasted, jumping straight into its summer aesthetic with "California Kids". The Beach Boys' influence is immediately felt even in its opening seconds, a sugary opening riff welcomes you in as waves roll onto the beach, seagulls chirping and all. The perfect way to start your ode to the sunny beaches of L.A., essentially. It glorifies the Californian way of living, there's no stress to be found here: "The California kids will throw you a lifeline," [Rivers] Cuomo gives as a word of advice. In terms of contextualising the album's overall feel, "California Kids" does it more than enough justice.

The care-free nature continues with "Wind In Our Sail", where a loose concept begins to emerge and is strung throughout the rest of the album. A simple tale of boy meets girl, they share their time together before it ends and the summertime blues kick in. This track, in addition to its concept, feels like a little self-aware prod at their past work and how they've been trying to make it back to their glory days. They're back in their prime, their sound reinvigorated: "We've got the wind in our sail!"

It takes a turn for the downright bizarre with the delightfully weird "Thank God for Girls", consisting of rap rock verses and religious metaphors with an explosive chorus. It cheerfully plays with gender stereotypes, putting it on its head from the perspective of Rivers, quite the opposite of your generic hunky guy as he looks upon a girl. She's so big, she's so strong. Past this the drums in particular are to be commended on this track, punchy and always at the forefront, specifically when they kick in halfway through the first verse. But, if you thought the song was weird as I did, wait until you see the music video. (Which I can't embed due to YouTube's lovely settings in regards.)

The weak link in the chain is "(Girl We Got A) Good Thing" which, alongside "Summer Elaine and Drunk Dori" are passable. Still enjoyable, but ultimately forgettable, opting for a sound that is too sweet even for its own concept, the former having an almost Christmasy jingle bell persist throughout the whole track. The latter has lyrics that are somewhat cringeworthy, including a shoehorned reference to Radiohead's "Paranoid Android", taking their own strength of referencing pop culture and turning it against themselves for this one and thankfully only instance. These two tracks let down what would have been the perfect summer album, but by no means does it ruin the overall picture. Merely a sum of its parts.

"Do You Wanna Get High?" is a nod to their abrasive tone adopted on "Pinkerton", kicking things of with a wailing guitar all too reminiscent of its opener: "Tired of Sex". It honestly does feel as if it was an unused recording from that era plucked and placed onto this new release, a time capsule back to 1996. Perhaps it contrasts with the 'beach album' vibe that it has crafted to this point, but a return to this sound is forever welcome. A worthy track that harkens back to the good ol' days.

"King Of The World" immediately follows, an ode to his wife who was previously mentioned on "Pinkerton"'s "Across the Sea". It's written specifically for her at the height of their relationship, starting with some dark lyrics pertaining to the crash of MH370, abuse and nuclear bombs. Certainly dark for Weezer's standards anyway, throwing back to the Beach Boys once more, throwing darker lyrics against a contrasting upbeat instrumentation. A wonderful contrast. The opening riff is to be lauded, drilled into my head for many days after first listen, keeping me coming back with its crunch. It's a hopeful track, simply a man wanting the best for his loved one.

Now, what is by far and away the best cut on this album is "L.A. Girlz". It's a call for maturity, a plea to take Rivers' feelings into account instead of just disregarding him. "Please act your age," he cries. The tone is reminiscent of the "Blue Album" b-side, "Susanne", a tribute to a fan of Weezer. It's gleeful guitar riffs and innocent lyrics bring it all together, perfectly encapsulating what is album is and what it is trying to be. It's one for the sunshine, a bittersweet summer album with immense replayability, enough for me with this track alone. "Sweeten up your lemonade and meet me down at tower 28," is contender for one of the best lyrics of the year, that line alone bringing butterflies up in my stomach every time I hear it. An intangible feeling.

The two closing tracks, "Jacked Up" and "Endless Bummer" is where it all falls apart for our concept character, the hardships have come and on the latter track, the relationship is over. The finale to this album is down and out, pleading for the summer to finally end, to be over and done with. Forgotten. The Beach Boys influence once again arises, the track title itself being an allusion to their album, "Endless Summer".

Along with this and "Everything Will Be Alright in the End", Weezer have finally gotten their act together. There are some highlights on their weaker albums throughout the '00s, but on the whole they let themselves fall into generic pop complacency which is, you guessed it, completely and utterly forgettable. This however, is beyond worth it. Even on a rainy summer day, its sure to keep your spirits high and that's all it wants. It's a feel-good album, chock full of solid tracks, none of which stretch past three minutes. It's gone as quick as it starts, much like the season itself.

SEASON AFTER SEASON: Everything Everything's "Get To Heaven", bold, determined art rock at its finest...

"Get To Heaven" is a pretty radical statement in comparison to their previous albums which featured more sombre tones and sensitive lyrics. This is quite the opposite, firing on all cylinders, aggressive in every definition of the word. It's this buzz which gives "Get To Heaven" its edge, with banger after banger coming on out to pull your attention with its unique approach to pop music, whilst still maintaining its accessibility throughout.

"To the Blade", the opening track, is to the point, addressing you directly as the listener with its first line: "So you think there's no meaning in anything that we do?" It's sense of urgency is immediate and there is no second guessing as to what it is trying to achieve. The song is an open letter to a person of a questionable nature, proven by that very line, possibly relating to terrorism. A heavy message for any song, but this just goes head first into it, a radical action attacked head-on by a radical opener. The elephant in the room. The track bursts into life mid-verse, surprising further. This burst alone showcases Jonathan Higgs' vocal talent with his ability to snap between differing vocal styles and pitches at an instant. As an opener, it serves as a perfect introduction to the album, the aggressive and somewhat overbearing nature doesn't slow with later tracks. It keeps going.

So as the story goes with "Distant Past", continuing the thumping beats started in the previous tracks. It relates back also in terms of its theme, in that history repeats itself, with the distant past serving as a simpler time. As we "cross the Rubicon" or our evolutionary point of no return, the distant past is our ticket to change what is set in the present. Their unique flavour and approach to pop continues with this, an electronic presence is greatly felt in the chorus in particular with the synth strings which is not too dissimilar to house music. It's a blend that needs to be heard more often and experimented with, as the rest of the tracks on this album strive and achieve in doing so.

It keeps on coming with the title track "Get To Heaven", overcoming the horrors of everyday life and understanding them: "We can get to that heaven!" Served alongside this is the falsetto-defying vocals once more and a blissful chorus featuring its own quirky mix of instruments, uncanny in how it fits together. "Regret" contrasts this, opening with a banging percussion beat and the title of the song serving as its hook. A simple statement of wanting to change mistakes for the better, but powerful in its execution and again being direct in nature, asking you directly: "Did you imagine it in a different way?" Thinking about what went wrong and how your own imagination would make up for the scenario and serve as the way it actually happened.

Now, my favourite hook of the album "Spring / Sun / Winter / Dread" opens with Higgs' yelp in danger of time passing by as the clock hand looms heavy before throwing you into its chorus, questioning the inescapable nature of time. Season after season passes and you get older, "[no way!]" Higgs proclaims. It's another simple message in the nature of "Regret" but again it is one that affects us all. The song becomes impossible to resist as it hits its cut-throat bridge and you can just feel your head letting go, banging away with the track, building in intensity and speed until the song finally cuts out. When you can end your song with the bridge, AND make it incredibly satisfying, you've got a winning combo there and then.

It takes a transitional turn with "The Wheel (Is Turning Now)", a darker tone showing their "Kid A" influence rearing its head, still maintaining a beat but one that is more subdued, a stark contrast in comparison to the rest of the album so far. To which is the direction the album goes for the rest of its duration with tracks like "Fortune 500", an account of breaking into Buckingham Palace and murdering the Queen, reemerging with "No Reptiles" which again starts subdued but builds to an almost heavenly climax, dealing with rejection and pleading for a meaning in the world. "Just give me this one night, just one night to feel..."

This album is a bold new direction for Everything Everything and a direction that should be pushed even further with their next album, as while it can be overwhelming at times and for some it may have to be taken in parts, but it is truly enthralling as it never lets go of your attention and is always at the forefront.

LATEST TO THE PARTY: "Black Mirror"'s White Christmas special, thoughts & review...

"Black Mirror" is one of those shows that just needs to be cherished. A daring and intelligent commentary on technology and its impact on society, never using technology itself as the villain but how it directly affects those who use it. It wears its influences on its sleeve, (as the video mentions above) taking great precedence in taking shows like the legendary "Twilight Zone" and its misunderstood cousin "Night Gallery" and bringing them into the modern world.

This is no different in the again Charlie Brooker-penned special "White Christmas", which yes, it is good enough to warrant thoughts about in the August 2 years after its airing, the nihilism felt after watching was just too much. A feeling only rivalled by the closest David Fincher film, it beats you down with an all too frightening and all too potentially real triplet of tales. An overarching story serves the basis for three short stories which each tie into a final conclusion.

The frankly peerless writing by Charlie Brooker is backed up by strength after strength, Jon Hamm and Rafe Spall play off each other perfectly with the formers charm coming through from the first shot he appears in. Now, its not a matter of playful banter but cold-hearted deception as the story unravels (to which there will be no spoilers) and if one thing is to be remembered from this it is to be careful who and what you trust.

It's a great shame that saying practically anything about this episode correlates to a spoiler, minor or not, as it is ultimately best to go in blank as to what it actually is. That's coming from a sheltered spoiler-free person whose only just seen it years after its broadcast. Seriously, stop reading now and just go watch it. Don't put it off like I did and become frustrated as to why you did so. That way if you stop reading I can divulge some lovely spoilers for those who have. That's a final warning.

It starts simple with the two characters in a secluded outpost separate from their past events, as if they've been there for a whole 5 years. As the three tales (in the most discomforting way possible) gloss over you and become progressively sinister, the world around said characters begins to dissolve as the truth comes out: a mere trick, a mere trick that is so intricately tied with the short stories that it doesn't require its own set-up. They were the set-up. A fantastic stroke of writing as the characters get their (arguably) not so just deserves and you're completely in the loop, only leaving you with that feeling of dread dissipated and restored with new-found... hopelessness.

As Brooker himself said, you're only just left with a black screen of whatever device you're watching it on, gawping in shock at your own reflection as the credits roll. Every. Time. If a show can never cease to surprise and intrigue in new and darkly comic ways like "Black Mirror" can, you know its special. 

I TAKE A DRIVE IN MY CAR: Chromatics' neon-tinged "Night Drive", thoughts & review...

"Night Drive" is where Chromatics came into their own, crafting their own style heavy in synths and reminiscent of the Italo disco movement of the '80s. A drastic departure from their previous punk roots into a certainly bold new direction.

It starts as a loose concept album with an opening dialogue heard in "The Telephone Call", a simple intro which sets the album in motion, quite literally: a late night drive, going 'til the sun comes up. The soundtrack to its own imaginary noir flick. The segue track borrowed from the album's title sets the tone for the rest of it's runtime, a synth-led track with soothing vocals from the lead Ruth Radelet. It all comes together to create an almost dreamlike and surreal atmosphere that is a feast for the ears. It gives you a moment of levity, free from responsibility as you clear your thoughts and focus on the open road. Nothing else matters for that little while, driving away and around from your problems. The ambience it strives to achieve and ultimately succeeds is unlike any album before it.

The neon-soaked imagery continues onto the track "Running Up That Hill", a reinterpretation of the Kate Bush song from this album's thematic time period. The opening instrumental hook can't help but summon up an almost nostalgic feeling, a sense that something great has passed and there is a longing for it to again be the present. It retains its meaning of two different perspectives, this case gender, never properly aligning with one another and what would happen if an actual swap could possibly happen. This is inevitable of a cover, conflicting with the loose concept established earlier with the late night drive. Individually, however, it is a fantastic track, a perfect continuation of the dreamlike atmosphere mentioned prior.

The succeeding track, "The Killing Spree" is purely instrumental and is ripped from the pages of John Carpenter, its sound being so similar it could fit perfectly into any of his films within that time period. It's an eerie build with the synth gradually building until it drops and lingers before it ceases entirely, serving as an intermission to keep you on your toes which is later used in "Tomorrow Is So Far Away".

The album flows seamlessly from track to track until it comes to a sudden stop with the 15-minute brick wall that is "Tick Of The Clock". Whilst it is not a bad beat in and of itself, even being prominently featured in the wonderful Nicholas Winding Refn film "Drive", it stretches on far too long and ruins the sense of pace that the album had achieved thus far. A shortened version would be much recommended so as not to miss out on what it has to offer, but its length baffles, a mystery as to who thought it would be a good idea to drop what is effectively a 15-minute loop slap bang in the middle of their album.

It immediately course corrects from then on out, continuing the lush atmosphere that the preceding tracks had created earlier with particular highlights such as "The Gemini" in the form of an electronic lullaby or the finale "Accelerator", an epic pumping track to close it all off and consolidating the album's concept. An interpolation of the title track, it ties it all together and gets your head nodding to the thump that kicks in as soon as it starts. It gradually builds to a thrilling climax before the album has its goodbyes and lets you go, presumably as the sun rises.

There isn't much else out there quite like it, "Night Drive" is what it suggests and what its atmosphere is perfect for: a drive to take your mind off things as you go on into the night. Regardless of whether that is achievable or not, this album deserves your attention as it seemingly has gone under many a person's radar. This is the synth noir album you never knew you wanted but were always looking for.

 

BOYS DON'T CRY: Frank Ocean's "channel ORANGE" and his imminent new release...

A new outing by the famed Frank Ocean is nearly upon us so it is indeed as good a time as ever to look back on his album debut, "channel ORANGE". With an unconventional style seen rarely before, it is easy to understand why this released to such acclaim back in 2012 as there just isn't anything quite like it.

I knew I was in for a treat as soon as the opening track, aptly titled "Start" well, started. An ambient offering, it banks on your nostalgia, with a sound that is all too familiar to those who ever got their hands on an original PlayStation. This immediately being followed up by the downright soulful "Thinkin' Bout You" is bliss. An opening string sequence transitions into a soft electronic beat in a way you never thought could happen so smoothly. This backed up with Ocean's initially surprising snaps between baritone and falsetto vocal registers makes for a certainly memorable track, which some consider the best of the album. And when you open your album with what is debatably your best track, (here's looking at you, "The Life of Pablo") you better have a strong offering to follow.

But of course, it does. The obviously film-inspired segue tracks create a flow between tracks, most notably the follow-up track to "Thinkin' Bout You", "Fertilizer". It creates one seamless experience, something commonly heard on Boards of Canada's discography, an intermission before the next piece comes along to entertain. "Sierra Leone" is that next piece, rich in metaphors and allusions a layer deeper than the face value of the lyrics presented. The song title echoes into your ears as surreal imagery is posed by Ocean in the form of the Sierra Leone's pink skies, relating to a loved one. The tracks as it continues brings the same offering, which is no flaw, mind you, and then the album hits its centerpiece: "Pyramids".

"Pyramids" is by far and away my personal favourite, cramming in so many styles so flawlessly with an epic scope, edging into the 10-minute mark. The length is not an issue, those 10 minutes go by in half that time, a true joy to listen to. It has multiple movements; opening with Ocean's trademark R&B quirks before swapping that out for an electronic tinge and coming to a close with a slow jam. The mid-point is where it is at its most exciting with its electronic beat unlike anything I've heard before, alluding to prostitution: "She's working at the pyramid tonight." Oh, Cleopatra, how you are. 

The other standout that stems from this is "Forrest Gump", a seemingly straightforward tribute to the titular character, masquerading to be Ocean using the perspective of Gump's love interest as his own. Ocean's lingering feelings for his first love, a controversial point that floated around the album at its initial release to which there is one simple answer for: the album itself. This song does not outright prove his sexuality but is a heavy metaphor that essentially consolidates his feelings. It stands as a strong track with Frank again showcasing his soulful performance with a rock solid beat to back it up.

There are individual highlights but this album's greatest strength is that it culminates into an overall experience, a journey into Frank Ocean's idiosyncrasies and thoughts. That is what makes it special, its unconventional nature is unique to itself. If the rumours are true, "Boys Don't Cry" is due out this Friday, August 5th. I know what I will be listening to that day. Until then, its a perfect time to catch up with "channel ORANGE"... or listen to it again, and again, and again...

THIS COULD BE FOREVER, BABY: Vince Staple's "Summertime '06" album thoughts & review...

Last year, up and comer Vince Staples made a hit with his album debut "Summertime '06", and with good reasoning behind it. An admirably consistent effort with memorable moments scattered throughout its run time, it is simply put, a solid rap album. It doesn't reinvent the wheel in terms of its concept, a hustler growing up on the streets of Ramona Park, but maintains interest through Staples' hints to his past. In particular, the album's namesake: "Love tore us all apart. Summertime ’06, June 30th."

With this being what it is, a pretty sprawling 20-track double album, the overall themes and atmosphere that this record generates is perfect for its subject matter. Grimy and hard-hitting beats tie together with Staples' emergent tone and verses which is particularly put to the forefront with the track "Norf Norf", the opening line grabs your attention, addressing you directly, and if that doesn't do it, the hook is certain to do so. The production, one of the album's greatest strengths, takes a backseat on this track as Vince breaks through: "Norfside, Long Beach!". This trickles down to the following tracks where it never misses a beat and never stops to take a breath, with Vince's flow on "Loca" perfectly complimenting the intro and hook from guest who features later, Kilo Kish. It is forever emergent, production really coming through with beats that simply keep you glued. 

Producer No I.D. brings it all together, ensuring that every track has this quality in the case that Vince couldn't tie it in himself which happens on odd tracks such as "Dopeman". The beat overwhelms his verse on the track and as a result you struggle to hear him, allowing for the production and the feature from the aforementioned Kilo Kish overshadow his performance. However, this is immediately course corrected with the next. "Jump Off The Roof" is as simple as a hook goes on this album, but it is one of it's best and when it kicks in, even on the first listen, I couldn't help but tag along. Past this, the hook and later bridge alludes to this being the ending to an addiction, to what, I'm sure you can guess. The metaphor is hammered home by this hook, brought into the spotlight from the very first line: "What's your addiction baby?"

Where this album really came into its own and connected with me is with the closure of the first act, if you will, "Summertime". In particular the almost soulful hook, which may or may not already be apart of the title of this very article. It's a comedown, a break from the hectic lifestyle afforded by the previous tracks heard thus far. This brings Vince's insecurities to the front lines instead of focusing on his emergent vocals, showing him at his most introspective. The reflective and almost tender nature doesn't last long however, it being back to business with the second disc, continuing the Ramona Park Legend...

The second disc continues the trend established prior: solid beats and as direct of a performance as you can get out from a rapper. Vince sounds hungry in his verses, eager to throw his verses out there for all to hear with a near flawless flow. This is seen on tracks like "Get Paid" or "Street Punks" and it is just as strong as the previous disc with the same caveats in place also, with certain tracks such as "3230" whilst still a strong track in its self, Vince takes a backseat to the feature, making you momentarily lose track of whose album this actually is. It's bizarre, some cuts are undeniably unique to him and who he is whilst others just seem to fall between the cracks in terms of his own personal touches. This is at no point a criticism in regards to the individual tracks as they're all solid as aforementioned, but it does breakdown the concept put in place by Vince when he himself isn't as prominently featured to purvey said concept.

All in all, this is simply put, a great debut and follow-up to his previous mixtape "Hell Can Wait" which in itself was a promising start giving a taste of things to come. This was it, and it was certainly worth the wait, as this album has stuck around in my thoughts a year over its release consistently. Great beats and production from No I.D. and an undeniable charm and urgency from the man himself, Vince Staples. If what is seen so far is to be judged, that seems to be a winning combo.

HELLO FRIEND: "Mr. Robot" Season 1 review and recap...

With season 2 very much underway and all of its twists and turns yet to be unravelled, a recap of the now hugely popular "Mr. Robot" or an introduction to those who haven't started the phenomenon would perhaps be appreciated. No need to worry as this is certainly spoiler-free! Just a plain and simple look at "Mr. Robot": what it is, its unique quirks and ultimately what has boosted it into success.

Welcome to New York City, the home of one Elliot Alderson and you, the viewer, are his new friend. That's not in a figurative sense either, you serve as a passive force in the story as it unfolds with Elliot giving a nod to your viewership every once in a while. The fourth wall isn't just broken; it was never there. A simple yet contradictory immersion into the story. As simply put, this direct point usually serves as a form of parody or a form of comedic effect and to take you out of the experience, but this does the opposite. It breaks the fourth wall but in a sense that makes sense within the character's frame of mind, and as you can imagine, a person with an imaginary friend is in this case not exactly the most stable as you will come to find.

It starts straightforward enough, but as the season takes its toll, you're gonna have to learn that at some points, what is on screen and what is actually happening with the characters are two different things. In a manner quite akin to "The X-Files": trust no one. As the subversion kicks in, good luck putting it down. If you're anything like me and this hooks you, this season will be done within a matter of a week or less depending on how avid you are in terms of binge watching. It culminates into a wonderfully self-aware commentary on society and how the team behind fSociety decide to try and take it on head first with their attempts to end one of the world's largest conglomerates, E Corp. (Or Evil Corp as Elliot loves to put it from his perspective, another slight detail that is only perceived in scenes with his presence.) 

When you hear the title and the premise of hackers attempting to break down society, it does sound awfully cliche. You see, that's where I and presumably you are wrong. It's not that, in fact its far from that. There are some issues present, albeit those are predominantly in regards to spoiler territory, but overall with its premise and most importantly execution there is very little to go wrong with "Mr. Robot". Perfectly cast and acted, most notably by the lead Rami Malek with his dry humour and incredibly expressive eyes, which in some scenarios, do all talking that needs to be done. Christian Slater also as the titular character is also to be commended, with his first notable role in years, proving he's still got some oomph left in him. The style involved is peerless for a TV show, with exceptional presentation, cinematography and use of licensed tracks to set the scene, my favourite track used being "Sound & Color" by the Alabama Shakes. Sam Esmail should be proud.

There's just so many areas that this show can be praised for and whilst certainly it is understandable for some to dislike it, there is at least some aspects on offer for anyone to enjoy or appreciate. While the show doesn't revolve around it so much as the character of Elliot, the hacking process involved in the show is unlike any other fictional programme or film I've seen with one exception. Instead of dumbed down processes seen in shows like "CSI", (you know exactly what I mean) it is as close to the real thing as you can get whilst still remaining accessible to viewers who are unwitting to such uses of technology. It isn't treated with utmost importance either and being toted as a major selling point in the exception of Michael Mann's "Blackhat" in which it decides to juggle realistic elements with almost ludicrous plot points and action sequences. It is just there and present as a tool for the characters to utilise. The show can come across as indulgent or potentially pretentious as some points, with itself being aware of that, but the use of hacking and technology certainly isn't.

And with that, what are you waiting for? There's plenty to catch up on and plenty more in store for "Mr. Robot", and if you don't at least give it a try, you're missing out on what could be your next favourite TV show.

LIFE BEFORE THE ROAD: Ricky Gervais' "The Office" and the art of the mockumentary...

Hugely successful and brutally deadpan, "The Office" when it was first released made its mark, commenting on the often awkward nature of social interactions between employees in what can only be described as a dreary workplace, shifting paper to the highest bidder in Wernham Hogg.

Now before everyone's favourite David Brent moves onto life on the road, it's a good time to take a look back at the show that collectively launched the careers of both Ricky Gervais and Stephen Merchant as well as being regarded as one of the best British sitcoms of all time. The latter of which I'd be inclined to agree with. It begins as something unassuming but by the time I hit the third episode and Tim is given a certain inflatable birthday present I honestly couldn't stop laughing, bizarrely what could be considered the most immature joke of the series is what made it click.

You start by squirming in your seat as you're presented by these clumsy social scenarios but as you become accustomed to the humour on offer, it's the gift that keeps on giving, it's short length allowing it to maintain its freshness and never loses steam which is ultimately funny in itself given the situation that these characters find themselves placed in. A dead-end job in the paper industry with a desire for something more, ranging from psychology and illustration to the certainly more ambitious reunion of Foregone Conclusion. The mockumentary style that it is presented in works not only in the manner that it certainly saves a few quid but also in accentuating what it strives to be. The people who you see are their characters and this is just their way of life, showing further insight into what they're thinking with a straightforward interview format to justify their actions and make it so a certain Brent isn't completely detestable.

Whilst there's no question as to whether or not you should give this a watch, you'll certainly find out quickly if it is indeed your thing, "The Office" is not the first of its kind, at least in style. Ranging all the way back into the '60s with the Beatles' "A Hard Day's Night" to the modern vampire undertaking seen in "What We Do in the Shadows" the mockumentary has been staple in both film and television for decades with its often absurd nature, especially in the latter film. It's potential for parody is immense and can often be used to shine a light on certain issues or topics that it may feel relevant to discuss from the perspective of characters who may unwittingly be apart of the issue present. A prominent example of this would be in "The Office", whilst the show does not center around this, the character of Gareth is hardly a gentleman, let's say.

A short and unsuspecting series about office workers proves to be a hilarious romp with an interesting angle to back it up, leaving me waiting for the return of Brent, coming sooner rather than later thankfully. As the former Wernham Hogg boss rather optimistically posed: "Live fast, die old."

(JOSH LISTENS TO) CAR SEAT HEADREST (BUT SAYS THIS ISN'T A PROBLEM): "Teens of Denial" album review and sampling discussion...

The albums that you weren't anticipating are always what end up being your favourites. This is the case with the new album from Will Toledo's project Car Seat Headrest, as it caught me off-guard with its release back in May and I have been steadily listening to it ever since. It simply has me coming back with its lo-fi charm, incredibly catchy guitar hooks and meaningful lyrics.

Once you get the past the absurd name and get onto the first track, (eventually coming to understand that his vocals were recorded in Mr. Toledo's car with his earlier releases) it just reels you in. "Fill in the Blank" is a perfect starter, giving you a taste of what is to come with its quirky opening vocal snippet, punchy guitars and angsty-ridden vocals. This is beyond cemented with the line; "If I were split in two I would just take my fists, so I could beat up the rest of me." No further explanation needed. It's a quick and dirty opener featuring a riff so upbeat and attention-grabbing that it initially distracts you from the darker side the lyrics present. It brings up a comparison to the garage rock tinge of The Strokes, but given their material post-"Is This It" that would be more of an insult than anything anywhere near positive. Its ultimately irrelevant, but the music video has to get bonus points for its clever premise:

What follows next is the album's lead single "Vincent", throwing a curve ball with a slow and gradually building twang before delivering an almost funky flavour, utilising saxophones and trombones for certain sections, serving as a memorable counter to the more straightforward tone that just preceded it. The trend continues throughout the rest of the album, delivering familiar yet inventive lo-fi thrills that the project has become known for since their most notable release "Twin Fantasy" back in 2012. The delightfully titled "(Joes Gets Kicked Out of School for Using) Drugs With Friends (But Says This Isn't a Problem)" is a psychedelic comedown that climaxes with a meaningful and catchy refrain that nods to conformity and the repetitive alienation that drug use eventually entails, cycling between whether drugs or friends are better than one another. 

The discussion of sampling comes into play with the following track, formerly known as "Just What I Wanted/Not Just What I Needed" and now known as "Not What I Needed" after a sample failed to clear in the previous variant. As the title alludes, it utilised an unauthorised sample from one of The Cars' most famous hits "Just What I Needed", leading to a recall of all copies of the original as the sample was thought to have cleared but bounced due to their front man Ric Ocasek disagreeing with the usage of samples. Whilst it is certainly within his rights to do so, as it is his own original material, to not even consider the context of its use is certainly debatable as Toledo states: "I don’t think that Ric ever listened to the album or the song, which is the only part that really bothers me." The lack of an open mind in the homage that only ever had good intentions is boggling, with the entire conversation that this issue sparked revolved around the legalities and not the artistic merit that the sample entailed. Naivety aside, that is obviously not the case when it comes to an individual's copyright ownership. A great shame nonetheless, as having heard both versions, it continued the theme of familiarity but with a twist before the song subverts your expectation and does its own thing. A tribute put to bed by a last minute technicality. What we ended up with is of equal strength however, with Toledo's desperate squeal: "I know when I'm being catered to!" ingrained into my brain for many days even after hearing it initially.

Yet another notable moment on this album comes with the track "Drunk Drivers/Killer Whales", an anthem for all the drunk drivers out there. Don't. "It doesn't have to be like this," heard prominently on its way out, lending itself both to its obvious message against drunk driving but to life as a whole. Shed the self-loathing and get on with it, not in captivity, much a reference to its alternate title. As the line is proclaimed, it ties it all together, delivering a satisfying climax that is riveting.

What is ultimately my favourite track is the epic 11-minute behemoth that is "The Ballad of the Costa Concordia", posing life as if it were, as optimistically as ever, a sinking ship, it's disastrous namesake. A slow build that comes to an intense spoken-word breakdown that shows its just sometimes too much to handle. It in the case of its thematic and its real life basis, it certainly was an expensive mistake. How the hell was he supposed to steer his ship? The dour tone in his voice as the guitar heightens and the tempo builds accelerates the feeling of helplessness whilst still remaining accessible and simply a joy to listen to. That's all only by the time the track reaches its mid-point, the track that keeps on giving, throwing so many ideas at you with its lyrics it almost becomes overwhelming, much like the scenario that the song places itself in. This track alone feels like a long journey that's come to a bittersweet end, the pressure gradually builds, you breakdown, and then you give up.

The album as a whole is what it is: it's guitar-driven indie rock with an incredibly sharp wit and ambition that backs it up, it's personal in nature, proving to you and me that this could only have come from Will Toledo, it's unique to him. It just so happens that what he has to say is enthralling. It's lengthy and is borderline indulgent, but stick with it. Humour it. It pulls you in with catchy hooks and keeps you coming back with its vulnerable insight into the man himself, with so many memorable lyrics and quirks to pick from. How was I supposed to know how great this album truly is?

THANK GOD FOR FREE TRIALS: Kanye West's "The Life of Pablo" and the TIDAL paywall...

The self-proclaimed "god" of rap Kanye West is back with his seventh studio album which finally dropped on Valentine's Day, strings attached, those strings firmly tied to the premium streaming service TIDAL...

Leading up to the eventually titled "The Life of Pablo"'s release, one thing was certainly well-established: Kanye knows exactly how to build up overwhelming amounts of hype and saturated expectations with the several name changes and constant track list restructures that were scattered across social media. From "So Help Me God", to "Swish", to "Waves" before finally settling with what we have now, it gave numerous outlets and subsequently people reason to keep talking about this new release; word-of-mouth being one of the most powerful tools to generate interest.

Then the bombshell drops, Mr. West, supposedly in a whole $53 million in "debt" decides to make Pablo exclusive to TIDAL, the aforementioned premium music streaming service that promises to provide high-fidelity music in an age where most listen to their music for free on YouTube before taking your money without actually providing the album in return. But even past the technical issues that can come from any service such as TIDAL, it only just narrows down the audience that could potentially purchase and listen to Pablo, with two options being present to those who aren't: abuse the option for a free trial by signing up, listening to the album and cancelling said trial, or if you don't have or don't want to use your credit card, resort to piracy. In that case, it's a lose/lose scenario as either way, no one gets paid. It's baffling to me personally as to why you would deliberately restrict the target audience of a product that was clearly intended for the masses to something that is nothing more than an a niche, unless you're the Wu-Tang Clan of course.

Bizarre release and marketing choices aside, is the album worth it? Yes and no. It's honestly a mixed bag - with more meaningful or at least intriguing tracks such as "Ultralight Beams", "30 Hours" or my own favourite, "Real Friends", as well as a couple other exceptions, everything else in between feels out-of-place or simply just filler. While its all well-produced as you'd come to expect from Kanye (well, for the most part, here's looking at you, "Father Stretch My Hands"), the lyrics are just weak - providing no insight or themes, it's literally just Kanye talking about getting bleach from a bleached asshole on his t-shirt (no joke) or him spinning yet another verse about how Nike should feel sorry that they didn't make a deal to sell some ridiculously overpriced trainers.

It really makes you think, this album could benefit so greatly by simply just focusing the track list instead of just throwing it around incoherently just so it can be posted on Twitter every other week. The one track that stands out sorely amongst its following tracks is the opener, the previously mentioned "Ultralight Beam", which would have worked perfectly as an outro to reflect on the song's major theme of religion and eventual closure. But as it stands, the song that comes straight after is just about how Kanye wants to fuck a model, the consequence seen in the previous paragraph. Just to clarify - I have no qualms about the content, I honestly don't care about being "offended" by explicit lyrics, but when you have such a mindless song stand straight after what is one of the highlights of the album, it just diminishes the effect that the first track had.

That is just one example of how the track list just feels like a tug-of-war between two differing themes of vanity and introspection, it doesn't transition from one to the other, it just juxtaposes between the two from track to track and it is honestly frustrating. There is a good album in here, it just desperately needs to be rearranged in a manner that actually makes sense instead of the mess that its currently sold as.

The connection is clearly there; tracks like "30 Hours" make direct references in title to "Ultralight Beam" but they're both split by what is a full album's length apart. What happened? Instead of doing a logical transition from basking in the self-indulgent fame-driven lifestyle heard in tracks like "Famous" or "Father Stretch My Hands", then tiring of said lifestyle referenced in the notable "No More Parties in L.A." before reflecting on his own thoughts and feelings in "Real Friends", "30 Hours" and "Ultralight Beam", they're just scatter shot - it's almost as if this was how they were arranged but at the last minute Kanye just decided to pick the order out of a hat. But who knows, it's honest speculation, but speculation that needs to be made when its the difference between what makes a missed opportunity what could have been one of the best releases in 2016 so far.

I'M THE MAN WHO LOVES YOU: Wilco's "Yankee Hotel Foxtrot" and it's troubled release...

There's no question that "Yankee Hotel Foxtrot" is a god's honest classic, remaining the stand out album from Wilco's long and established discography. What is often not known however to most passive listeners is the trouble behind this album in its production and delayed release and how the military-lingo filled title came to be.

The advent of Yankee comes shortly after the second Billy Bragg collaboration "Mermaid Avenue Vol. II", which was not to be the last of their collaborations. While touring to promote the album, Wilco's main man - the wry humoured Jeff Tweedy was offered the opportunity of a further collaboration with other musicians which eventually stemmed into the relatively short-lived side project Loose Fur. It was because of this association that drummer Glenn Kotche became what is still a key piece of Wilco, after his predecessor was dismissed due to significant differences in what the next step should be, a recurring theme in this album's production, with a similar fate happening to former guitarist the late Jay Bennett. However, this still wasn't the end their troubles.

After recording finished in what was early 2001, the deal was struck for a September 11, 2001 release. This was until the major merger between AOL and Time Warner was made, causing the loss of several hundred jobs, such as those of the Time Warner-owned Reprise Records - including the band's main seconder, the president of the company. His replacement tasked with the choice as whether or not to release the completed project, which was stemming to one option as a result of merged business' subsequent financial woes: unlikely. A buyout was made shortly after by the band, which ended up being a penniless departure with Reprise being admirably accommodating. That is, before a certain article came along and stirred up some unnecessary controversy, with the new-found president of Reprise alleged to have stated that "the record was so bad it would kill Wilco's career," oh, the irony. Even if the album was to go ahead with its intended release, the significance of their chosen date wouldn't exactly have been too kind to the album in more ways than one.

To spite what would be a heavy delay to its physical release, the band decided to stream the full album only a week after its intended release, opting to tour afterwards which was successful and even regardless of its limited release, fans still knew the words to their what were officially unreleased tracks.

In the mean time, the big release was still almost a whole year away, with Wilco opening bids for rights to distribute their album, two of which were the now-defunct Artemis Records and the long-standing Nonesuch Records. There were numerous other record labels teething for the album, their bids all dismissed by the spearhead: if the label did not have a roster of artists that matched his taste, they were put by the way side. Pushing November 2001, Wilco collectively signed with Nonesuch Records. Funny thing about that, scratching past the surface reveals that Nonesuch is owned by AOL Time Warner. The irony continues. Thus, in a twist of fate that not even a Wikipedia article could present without cracking a cynical grin, Wilco recorded and produced an album with a company that thought of their work as a career-killer, before reverting their rights and continuing to sell said rights to the same affiliate.

But, it finally came out, and to great fanfare: widespread commercial and critical success.

And all it took was 2 band members, 2 record labels and a self-titled documentary for it to reach that point. A small price to pay for what is, in my opinion, one of the greatest albums of all time. From the moment you hear those introductory piercing notes that will indeed break your heart to the reflective ambience in reservations, it will keep you in it's lo-fi, almost psychedelic trance. There aren't really any words to describe it further than that, it can be a slow grower, but once it's there it never lets go. Something you do truly have to experience for yourself.