Music Reviews

Paraglow is the second collaboration project between the band Parannoul and the singer/songwriter Asian Glow. My experience with these artists is very short but so far very positive – I loved Parannoul’s album that they released last year „To See the Next Part of the Dream“ which was if I recall correctly my second or third most favorite album of that year – the almost magical blend of shoegazy guitars and colorful synths and soundscapes made for what was probably the most beautiful-sounding album of that year, at least for me anyways – now for Asian Glow I first heard about her through her first collaboration album with the band (also with Sonhos Tomam Conta on board) on their album also released last year „Downfall of the Neon Youth“ which I did enjoy but thought that it lacked some of the more catchier moments that Parannoul provided on their solo album. But now they’re back with just the two of them this time around and I gotta say, this one kind of blew my expectations out of the water – it’s not perfect, there are still a few nitpicks I have with it, but I’ll get to all that in a bit.

The EP consists of only 4 tracks however they all pack such an incredible punch (especially one of them) that it more than makes up for it – the first of which being the opener „Hand“ and man does this song have hands. I absolutely love the accoustic guitar on this, it’s just mixed so well, it’s like heaven to my ears and the rest of the instrumentation kicks ass too – the drums are super sharp and over the top (as always) and create this super washed out crazy shoegazy vibe that is only amplified by the electric guitars which once again are just stellar on all of the songs here. What really sells this one though are the synths and especially how they play of the rest of the instrumentation, it just mixes together super effortlessly and the chords constantly keep switching between absolutely gorgeous and kind of spooky, it makes you feel all sorts of things. The singing is also very on point, these guys just have amazing chemistry with each other. Anyways next up we have the song „The Light Side of the Eyes“ that starts of with these mezmerizing keys with just simple drums and really burried strings that create an amazing haunting atmosphere that gets completely just thrown out the window once the rest of the instrumentation kicks in, it’s like a musical punch in the face. Honestly after that though the song starts to drag on a bit, there just aren’t enough intresting ideas in this one I feel like – it starts picking up again towards the end with some seriously impecable harmonizing that I just wish they stretched out a bit longer – I also like the random pauses on the guitar riffs on this one, it keeps the song feeling more fresh and also obviously the outro is just mad on this one, like when I say they go off I mean they go OFF. Well after that comes „Swamp“ that starts with these absolutely beautiful piano keys that once again get cut off by the walls of guitars and drums that come in, however this song does it much more seemlessly than the last one and it feels more natural rather than like an interuption – then once those fade out you’re left with just a few strings that slowly die down too. This one’s pretty short and to the point but it doesn’t leave much of an impact, however it’s runtime justifies that, it’s still a nice addition overall just not as impressive one as let’s say the opener. What is that and even more impressive than that is the fricking 15 AND A HALF MINUTES LONG closer „Wheel“, that is somehow even more epic than it sounds. The song starts off similarly to the first one with just a somber accoustic guitars, some gentle electric guiar licks and a few horns actually, it honestly gives off pretty strong Black Country, New Road vibes. After that the song undergoes many many different phases that all sound better than the previous one, it just constantly keeps throwing new ideas at you and somehow they all just work – they really saved the best for last with this one. The repeated chorus in like the first major section is just so goddamn infectious, the way it’s sung sounds like something Kurt Cobain would have done back in the day, it’s so raw and passionate. The second big section after the build up between the two features some god-like keys and burried melodies, this song really demands your close attention, but the details are so worth it, this song is just so layered and textured, it’s very impressive the ammount of attention to detail here. I also love the weird switch where at first you think the song ends but then comes back again in the most weird way possible with these keys, orchestral strings and weird effects that blend together surprisingly well – then it builds again into what is essentially the climax of the song and yeah this thing just sounds so larger than life it’s insane. This song is easily the best of the album and all the others honestly just feel like a build up to this one.

So there you go, that’s basically Paraglow for you, a beautiful, masterfully crafted project between two amazing artist that have insane chemistry with each other. This is honestly my front-runner for the EP of the year so far and I doubt something will manage to top it off.

Decent 8/10

So, the boys are back in town! Okay yeah, I’m kind of having a burn out with these intros, let’s just jump into it – Red Hot Chili Peppers, you know em, you love em, or not, that’s okay too – either they’ve been around for a while now and over the years have released many many albums, some better than others but overall stayed somewhat consistent until lately, where I’ll admit I have a sneaking suspicion that the band is now more of a quantity over quality type of deal – like this their SECOND album this year alone. „Unlimited Love“ was the first one and that was a real mixed bag if I’ve ever seen one – so can they manage to top themselves with this one? Well sort of.

It’s still nothing ground-breaking but overall I feel like this is the more enjoyable rhcp experience. Let’s take it more track by track, the album starts off with „Tippa My Tongue“ like one of their most goofiest songs PERIOD. I’ll be the first to admit that on release I really couldn’t stand this one – the „YA YA YA YA“s all over the song and the goofy ah lyrics just rubbed me the wrong way but as the time went by I learned to appriciate this one a bit more even though it’s still far from great. However things fortunately do pickup quite significantly after that with „Peace and Love“ with a drum pattern and bassline that are as smooth as it gets – the chorus is also one of the more memorable ones, not much to complain about with this one, just a pretty smooth and solid rhcp song, nothing more nothing less. „Reach Out“ is another one of my favorites, when the electric guitars hit for the first time it transports me into another dimension, it really comes out of nowhere but in a good way. The chorus is pretty good aswell, it’s just another solid tune. Now after that comes „Eddie“ the other single besides „Tippa My Tongue“ released for this thing and innitially I wrote this song off as just a pretty boring and mediocre b-tier Red Hot Chili Peppers song, however as time goes by I’m seeing more and more that this is not only one of the best songs from this album but best rhcp songs period. Like genuinely, the bass and guitar licks are on another level on this song, it’s super nostalgic and ambitious and infectious, eveerything a good rhcp song should be. Now I just can’t get enough of it – and the guitar solo oh my GOD, that solo absolutely solos (get it). Yeah, this is a pretty good one, can’t believe I used to call this one boring. Next up is „Fake as Fu@k“ and MAN the streak of good songs just doesn’t stop here – this is the first song I confidently said I loved from this album, the guitar chords are supper nostlagic and pleasant and the vocal performance really matches the tone – and then whene the rest of the instrumentation hits I get some serious „By The Way“ vibes, it goes super hard. This song is like the musical embodiment of funky, it’s super groovy. And when the guitars come in like a wave crashing towards the end of the song it just makes it all that more complete, great song. After that we have „Bella“ and honestly this song is where I start loosing focus again – it’s not bad at all, but just nothing about it stands out that much, even though out of the less memorable ones I still think it’s one of the more memorable ones. I like some guitar licks in the second half and I like the chorus but I also kinda don’t, I’m not sure, I‘ really conflicted with this one, but I enjoy it in the right mood. After that comes „Roulette“ that I kinda dug in the first 30 seconds or so, but it really fastly overstays it’s welcome and becomes just super unintresting – the guitar ballad-esk chorus doesn’t really do it any justice either. Not great but certainly not the worst this album has to offer. I kinda like the bridge on this one though, it somewhat saves it. Anyways next up we have „My Cigarette“ and yeah… This one’s a bit goofy alright. Yeah it’s not that great – again, not terrible but this time around definetly not good. I get the vibe the song is going for but it just comes of really cheezy and I get sick of it real fast – and once again, the song doesn’t really evolve anywhere to justify it being so long. I usually just skip this one when giving this album a full listen, it’s not offensively bad but just really boring. „Afterlife“ picks up a bit, I really like the chorus on this one and the noisy outro aswell, however it doesn’t have all that much going for it besides that, but after the last song I’ll sure as hell take it. Next is „Shoot Me a Smile“ and I feel like this is perhaps the most underrated song on the album, the chords are just super nice and the chorus is just a total earworm, I really enjoyed this one. And it’s weird because I really don’t see anyone even mentioning this one, like not in a good or even bad sense, for most people this one apparently just sort of exists, but I can’t help but really like this one. Also it’s not five fricking minutes long like every other song on this thing, so it also has that going for it. Anyways next is the song „Handful“ and this one could have worked, I really like the inclussion of horns, they add a nice little charm to the song, but overall the song just basically crawls its way through the 4 minute doing basically nothing. There is this neat little switch up with a guitar solo and all that but it just has no balls, no punch to it. Really kind of a wasted potential of a song. What’s however like the opposite of that is the next song „The Drummer“ an absolute anomally in this subpar middle portion of this album – I’m just gonna go ahead and say it, this song kicks some serious ass. Like it’s just so different but in the best way possible. The horns or whatever it is throughout the whole song sound amazing and the energy of this song is really hard to ignore. Also the chorus?? That will go down as one of the best rhcp choruses ever – and when they start harmonizing the guitars with the singing I just explode with pure musical bliss, that short like 15 second passage is probably the best musical moment on this whole album. It’s short, it’s sweet, it absolutely rules, i love it. And what’s even better is the next song „Bag of Grins“ is another banger! Like I don’t know what happened for the last couple of songs but it feels like you put on this album, it’s really good for the first few songs, then it just switches to a completely different project and then remembers that it’s supposed to be good again. Anyways yes, this is like the upraded version of „Reach Out“, the electric guitars here sound even better than on that song and the electronics aren’t obnoxious at all. The chorus is actually really dark and I get some serious Queens Of the Stone Age vibes from it. The whole song feels like a slow descend to hell. Also the harmonizing around the 3:50 minute mark is super orgasmic, I really like what they did there and when the electronics come back in it all just comes full circle, really pleased with this one. Anyways next is the song „La La La La La La La La“ which is this piano interlude thing that honestly even though I’ve seen a lot of hate on it is just fine – it’s not mind-blowing or anything, but I feel like it’s a nice comedown after the last two songs. However I’ll say that one again it has no business being 4 minutes long, 2 minutes would cut it perfectly. Anyways next up we have „Copperbelly“ on which I really like the guitar plucking, it’s sort of mysterious, I like it. Other than that though the song is just copy and paste of what they’ve been doing this whole album, although I’ll point out that the switch up bridge part whatever you wanna call it is probably like the best of this entire album, I really wish they stretched that part a bit longer, it’s over like as soon as it starts. Good song. Now for the last 2 songs on this album we have the first one which is „Carry Me Home“ which I actually really like, it feels very appropriately placed and very climactic. The guitars are super sharp and elevate the song to new heights, this one’s a banger. However the last song „In the snow“ I’m kind of split on – I think all the attempts at incorporating electronics and effects on this song just fall flat on their face, it sounds super garage band demo-esk. However as a closer I don’t mind it all that much – sure it’s not great and it DEFINETLY shouldn’t be 6 minutes long but as a closer it works, even though that as a song not that much.

So there you go, the new Red Hot Chili Peppers is… Surprisingly solid? Like there are some SERIOUS highlights on here and overall I had more fun with this album them with their last one even though just by a little bit. Kind of excited to see them come more into their own here, I feel like they are more confident here to experiment and to just be themselves, it’s clear that this is the album they wanted to make.

-favorite songs: Peace and Love, Reach Out, Eddie, Fake as Fu@k, Shoot Me a Smile, The Drummer, Bag of Grins, parts of Copperbelly, Carry Me Home

-least favorite songs: Bella, My Cigarette and probably Handul

Light 7/10

… more like MIDnights amirite? Alright now that we got that out of the way…

So yes, new Taylor is here – now to be fair this was always gonna flop a bit considering the insane ammount of hype build around this thing, like not even Taylor could live up to such high expectations. But honestly, after a few uninterupted listens… This things is just okay. Which after the amazing couple past couple of albums kinda hurts to say – it doesn’t mean the album is bad, it’s just that there isn’t honestly that much that stands out about it? Like okay now imagine this album wasn’t released by Taylor Swift and it was just some random girl singing – NOONE would care about this album. And you can’t really say that about the majority of her other releases because they are just that instantly good, but this album takes a bit of digesting and even after that you’re still kind of left hungry for something more fulfilling. Anyways let’s take this track by track like we do.

„Lavender Haze“ is the opener and honestly I was super scared when I saw that this song has the highest rating of all the songs on this album considering I wasn’t all that crazy about it. A lot of the elements that made Reputation such a mid album for Taylor are once again present here and that was like a major red flag for me right of the back. Fortunately the song did grew a bit even though I still don’t really see it – the thing about this album that sucks probably the most is just how overdone her narrative is at this point and she just doesn’t bring anything new to the table lyrically and also does it over some of the most dull instrumentation she’s been over in a while. So yeah, not of to a great start but as I said the song is a bit of a grow admittedly. Next up is „Maroon“ which sounds like 3 other different Taylor songs combined into one, it’s alright, continues the vibe pretty well, it’s just a bit empty you know. „Anti-Hero“ is a bit more like it – I really like the lyrics on this one and the instrumentation isn’t that bad either – it’s also one of the more memorable songs on here even though it’s still nothing mind-blowing. I really enjoy the next track „Snow On The Beach“ with Lana Del Rey even though I genuinely can’t tell when Lana comes in, they just sound so similar to each other on here and overall I did expect much more from a collab this huge, but as a song on its own it definetly is like a top 3 from this thing and it’s not even that crazy, but the imagery is just the most vivid here so far and I kinda like it. „You’re On Your Own, Kid“ is probably my favorite song on the album – it’s just the most memorable and sticks out the most, also the story is not that bad and the tune is just there. Kinda wish more of this album was like this, this is a really good one, but you can still hear that I’m kinda running out of things to say, because truth be told there just isn’t that much to talk about here. Next is „Midnight Rain“ and uhh… I mean, I’ll say one thing, I appriciate the experimentation on this track and overall it’s more memorable then some other tracks even though mostly for the wrong reasons. The production choices on this one are really bizarre and by this point in the album I started to notice that this whole album just sounds like it’s burried under a pile of snow and I’m not sure how I feel about that. Now with this song I still at least enjoy it to some extent but the next song „Question…?“ i just found to be super melodramatic and just boring to be honest, like the lyrics make me physically cringe and it’s probably the most shining example of this album just being so redundant lyrically. Now I’ve heard some big talk about „Vigilante Shit“ being like the worst thing that ever happened but honestly? I’m just so glad that she switched it up SOMEHOW so I don’t even care – the song is fine even though sure, it’s edgy and a Billie Eilish rip-off, who cares, at least it keeps it fresh. The next song „Bejeweled“ just sort of exists, the synths are kind of annoying, but I like the chorus well enough so it balances out i guess, NEEEXT. „Labyrinth“ is honestly pretty alright, it’s very lowkey like the rest of this album, but with this one I feel it more for some reason, it just feels much more genuine and heartfelt. Next up we have „Karma“ which I’m really split on – instrumentally it’s one of the most adventerous and intresting songs on the whole album, but the song doesn’t have that much going for it besides that. The chorus is just alright, it’s alright, everything is just alright. I’m getting bored just writing about this, let’s just wrap this up… „Sweet Nothing“ is like the perfect two-word description of not only the song but basically the entire album and that’s all I have to say about that. And finally the closer „Mastermind“ is… What’s the word again?… Oh right… ALRIGHT. IT JUST EXISTS. I FEEL NOTHING DURING THIS. IEOIAHJOJHOFJAEOIjf

… well that was weird ANYWAYS yeah the album itself is super fricking boring. Like after it stopped playing spotify automatically started playing „Style“ and I immidiately thought to myself „wow, not a single song on here is half as fun nor memorable nor impactful as this song is“ and I think I’m just gonna leave it with that. There are some small highlights but honestly through and through this is just kind of a disapointment if I’m being honest.

-favorite tracks: Snow On The Beach; You’re On Your Own, Kid; Labyrinth; Karma; Anti-Hero

-least favorite tracks: Question…?; Bejeweled

Light 6/10

The return of the queen.

Yes, the rumors are true, Björk is back with a brand new release out – following her pretty decent 2017 album „Utopia“ Björk took a much needed break from releasing albums back to back and finally after five whole years decided to come back with once again this brand new sound and aesthethic and boy is it a weird one for even Björk standarts.

The teaser tracks to this thing were all very… Abstract to say the least and you know that’s to be expected with Björk but there was just something… Off with these songs – take the opener „Atopos“ for example, it starts off with these sequenced drums that sound like a march coming towards you followed by just a plethora of sounds ranging from horns, strings and whatever else is in there I honestly still have a hard time pinning that down. It mashes together really awkwardly the first time you hear it but it becomes clear that it’s very intentionala and creates this reall uncomfortable feeling that doesn’t really let go throughout the entire album. Björk sings her absolute heart over this chaos only giving more fuel into the fire. Then if all that wasn’t enough these just alarming synths with huge bass appear in the second half making the track feel even more like some ancient evil is chasing you in a dark corridor. After repeated listens the song is honestly an absolute masterclass at setting the tone for the rest of this thing, it immidiately let’s you know that you’re in for one hell of a ride. This is followed by the next song and also a single „Ovule“, probably the most song-like sounding song on this album. The horns on this are really pleasant for a change and it serves as a nice breathing room between what just came and what’s about to come. The song features similar drums to the last one but in this context it’s much more catchy and just overall just less scary. „Mycelia“ is the next song and it’s right back to the weirdness – it’s all essentially an acapella consisting of just snipets of sounds that clash together in this really haunting experience. It’s more of an interlude than anything but I still commend Björk for experimenting. After that we have „Sorrowful Soil“ which much like the last song is mostly acapella but this time around with actual lyrics in which Björk talks about her complicated and painful roots and her ancestors , a theme that’s brought up many times throughout this album. Speaking of which the next song „Ancestress“ is a 7-minute beast of a track just about that – this song was also one of the singles for this album which is like the most Björk thing to do to have the longest and one of the most hard to swallow tracks as your single. Anyways the song is very long-winded with beautiful orchestral pieces scattered througout that slowly but surely all colide together around the halfway mark – then the song quiets down a bit and starts building up again for another crescendo that ends as fast as it comes – then silence again. The song play VERY WELL with this dynamic and makes for an amazing centrepiece in this album. Combine that with Björk’s heavenly singing and introspective lyrics and you have yourself one of the best Björk songs period which yes is saying a lot. After that comes another short interlude that I honestly won’t even mention and we’re thrown right into the secod longest track on the album „Victimhood“ which manages to be just a few seconds short of those seven minutes. This song build on the last song with much darker orchestration and more lowkey sound, it’s honestly one of the most haunting and sorrowful moments on this whole album. The electronic elements of course find themselves a way in aswell, at around the 4 minute mark there is this EDM-esk beat that just comes out of nowhere and once again only adds to the chaos, then just after like a minute just vanishes completely, it’s so random but it works very well and doesn’t break the immersion at all, only adds to it. Then at the last leg of the song it just goes almost full techno for a moment and then transitions into an acapella outro – I mean it’s just so unpredictable, you never know what’s around the corner and I love that about it. „Allow“ is next and honestly I don’t have much to say about this one besides the fact that it sounds very sweet and the flute-work on this song is on another level, like seriously LISTEN TO THEM GO. Maybe I wish the song was a bit more memorable (she just keeps repeating the word „allow“ over and over again for the majority of the song) but it continues the vibe very well and there are some genuinely angelic vocal passages towards the end so I can’t complain that much. The next song „Fungal City“ sounds EXACTLY like the title implies, everytime I listen to it I just imagine a magical forest full of mushroom trees with a full society living in them, it’s unreal the imagery this song paints. The orchestration sounds straight out of some old Disney film with just a tad of electronic madness sprinkled throughout. And Björk’s voice was like born for this aesthethic, she feels super comfortable over it all. Definetly one of the best tracks on the album for sure, the sheer ammount of musicianship is just one a whole nother level with this one. There is another interlude before the next song „Freefall“ but the interludes are honestly like the least intresting parts of the album, they don’t ruin it or anything but are just kind of meh, but just know that they are there. Anyways „Freefall“ – yeah this one’s pretty standart Björk. It’s really heartbreaking and full of genuine emotional ache and pain, it makes me just sad – this is like the sad part of the Disney movie. Her performance is super powerfull on this one aswell, like the pain in her voice with the ascending strings is like a top 3 moment from this album, super underrated song. The switch up is also pretty neat, one of the most seamless and effortless switches on this whole album, the faster strings make for some really pretty musical passages and this time repeating „illuminate“ all over again and again only adds to it in my opinion rather than take away from it. Yeah, this one’s a pretty good one. ANYWAYS the title track Fossora is on a whole nother level of good, dare I say even great. No seriously, this is my favorite song on this album for a reason – it just mixes all the great parts of this album into one spectacular experience that ends with the biggest and most powerful and earth-shattering musical crescendo of this whole album. The pummeling bass and drums with the super abrasive synths make for an absolute musical treat that I just wish lasted longer – it honestly feels like the whole album has been building up to this moment, it’s just so climactic and insane, words can’t do it justice, but when it comes you just absolutely ascend. So yeah, this one’s pretty alright if I do say so myself – anyways onto the next and final song of this album „Her Mother’s House“ which is like the perfect musical and lyrical ending for this album. It’s like the most beautiful calm after the storm you’ve ever heard and puts a nice little bow on this whole album making it feel like a full journey and experience.

So yes, if you couldn’t tell, this is in my opinion of Björk’s best bodys of work to date. Super pleased with how it turned out and even though I could probably do without some of the interludes and some tracks do drag on a bit too long this is honestly through and through spectacular. Can’t wait to see where Björk comes next.

-favorite tracks: Atopos, Ovula, Ancestress, Victimhood, Fungal City, Trölla-Gabba, Freefall, Fossora, Her Mother’s House

-least favorite tracks: like two of the interludes and maybe Sorrowful Soil??

Strong 8/10

I swear to god more album released in the last two months than the entire year before that. I’m obviously exaggerating a bit but still, there were quite a handful of releases that dropped in the last two months or so, so let’s go through some of them here shall we?

Slipknot – The End, So Far

Nah man, I’m sorry but this ain’t it chief. I actually enjoyed quite a good ammount of what was supposed to be Slipknot’s last album „We Are Not Your Kind“ which was an album that in my opinion was like the perfect send-off for the band, I mean in of itself it definetly had some flaws but overall it was a pretty satisfying listen but this? I mean I seriously don’t remember how a single song on here sounds with the exception of like „The Dying Song (Time To Sing)“ but that’s like the big hit from this album but even that song isn’t all that memorable. Honestly their weakest release in a while, I expected better.

Light 5/10

Architects – the classic symptomps of a broken spirit

The classic symptomps of a middle age crisis.

Light 4/10

Liturgy – As The Blood of God Bursts the Veins of Time (EP)

FINALLY some good-ass metal music. I mean it’s Liturgy, of course it’s gonna kick ass. This EP in particular consists of only 4 songs which all (with the exception of maybe the last one which you’re crazy if you think I’m gonna even try to type) absolutely rule, especially „696“ in my opinion, that one something about the melody just… Yeah it’s good. Go listen to it if you haven’t for some reason, it’ll only take you like 17 minutes but it will stick with you for waaay longer than that.

Light 8/10

The 1975 – Being Funny In A Foregin Language

I have a really on again off again relationship with this band… On one hand I think they’re super pretentious and at the end of the day just super mid, but on the other hand something just keeps me constantly coming back to their stuff, to the point where their album „A Brief Inquiry Into Online Relationships“ (yeah the titles are basically all like that) is like one of my all time favorites now. So yeah, this one naturally is like a 4/10 on the worst days and genuinely like a 8/10 on the best of them – so overall I’ll just put it somewhere in the middle. One thing I’ll say it’s definetly an improvement over their last album, it’s way less messy and all over the place and just more likeable I feel like.

Strong 6/10

bbno$ – bag or die

Wow, this really surprised me. bbno$ is super charismatic and confident here and the album is actually super well put together and produced, the songs for the majority of the album sound amazing. It’s clear that bbno$ is having just so much fun with this and I commend him for that. Best bbno$ release period and I will die on that hill.

Decent 7/10

Kid Cudi – Entergalactic

I was originally gonna write a full review for this one but it surprised me just how little I actually had to say about this. I mean this album’s sound pallete is just… Cardboard. It’s super bland and drab, I haven’t felt much of anything throughout the entire thing. Doesn’t mean it’s bad, just really boring. I’ll point out „Maybe So“ as the only song that really sticks out here though, that one is honestly gorgeous.

Decent 5/10

Behemoth – Opvs Contra Natvram

Wow a lot of metal dropped this past few months… It’s uhm okay?? I mean it’s a serious step-down from their previous efforts, but it’s passable – I’ll take it anyday over the Architects album, that’s for sure. It’s just crazy that these guys made fricking „The Satanist“ like one of the best metal records of the past decade and are now putting out just mediocre black metal.

Strong 5/10

Carly Rae Jepsen – The Loneliest Time

Wow really didn’t expect Carly to do a blackened death metal album and be more succesfull with it then Behemoth but I’ll take it!

Decent 7/10

Arctic Monkeys – The Car

Yeah so about this new Arctic Monkeys… I… Actually kinda like it! It wasn’t mindblowing or anything (I really wish all the songs didn’t sound the complete fricking same for example) but for the most part I think it evolved their sound and expanded on their last album pretty well! They just need to fire whoever named this thing, like seriously „The Car“? That’s the best you can come up with it? Anyways it’s solid.

Strong 6/10

Alright so that about wraps it up! Expect a full review for the new Taylor, Björk and Red Hot Chili Peppers soon and maybe a little something extra, who knows ;).