Mumford and Sons Branch Out With Fourth LP

Delta isn’t the best album of the year, it isn’t even the best album in the growing Mumford and Sons catalog, but it is a powerful and decisive step from a once niche band toward branching out and finding new footing. For that, it deserves respect.

     Mumford and Sons is a folk/indie rock act from London. They burst onto the underground scene in 2009, at the hight of the hipster movement, with their debut LP, Sigh No More. The record has since sold more than five million copies and is absolutely essential to understanding the musical landscape of this decade. Their follow up, 2012’s Babel charted at number one in the US and catapulted Mumford into super stardom, birthing the trend of Irish-Irish-inspired folk which would include the likes of Ed Sheeran and Phillip Phillips. 2015’s Wilder Mind was a bit of a misstep, though it still went platinum, seeing the group add a drummer and experiment with truer rock influences.

   Mumford and Sons’ sound has evolved over the years, but a few tendencies remain constant. There are thick, obvious ties to Irish folk music throughout, particularly in indulgent harmonies and driving time signatures. They also sport a unique instrumental pallet which includes a banjo, upright bass, and the occasional mandolin or pair of spoons. Their latest release flirted with blues and rock and roll, but with Delta, Mumford seems to have found a new home in the world of arena rock.

   Let it not go without mentioning, though, how sharp the band’s folk roots are in cutting through the spacious instrumentals. The opener, “42” features a gorgeous set of harmonies throughout, and “Beloved,” is driven by a heavily effected banjo. It’s here that longtime Mumford fans will find enjoyment. I myself could feel the high school freshmen in me soaking in every second, but this album doesn’t stop here.

   Tracks like the lead single, “Guiding Light” and “Woman,” dive headlong into the stadium rock aesthetic which is meant to characterize this project. The reverb-heavy mix, looping guitars, and catchy hooks make for a fun foray into this new territory, which will likely leave something to enjoy for fans and casual listeners alike.

   This album is most effective, however, in its final third as the group crafts a long string of intimate but singable tracks to close out the rather long runtime. “If I Say,” and “Wild Heart,” are genuinely quite moving, “Forever,” is a strong piano ballad, even the very experimental “Darkness Visible,” is unique and intriguing, and though the closing title track leaves a bit to be desired in the creativity department, Marcus Mumford’s lead vocals make it infinitely listenable.

   This brings us to Delta’s most noticeable quality, that being Marcus’ excellent effort on every second of the album. Both lyrically and vocally, the band’s frontman is perfectly on his game at all times. Tracks like “Slip Away,” and “Rose of Sharon,” which fall in the middle of the record and feature the weakest instrumentals of the bunch, are more than rescued Mumford’s total commitment and heartfelt delivery. On the other hand, an already well made track like “The Wild,” is made all the better by his touch as the centerpiece.

   The best song on the record, by a mile, is “October Skies,” which is able to sum up the best parts of Delta without falling victim to any of its shortcomings. The organic instrumentation and howling vocals are perfectly evocative of vintage Mumford, yet the drum kit adds an enjoyable groove. Beyond this, the track is beautifully produced, as is much of this album, building a cozy sonic space upon which to view closely the stark beauty of the louder, more powerful moments. The choir, as with the wide pallet on the project as a whole, is simply a brilliant touch.

   This album isn’t perfect. Several of the anthemic staples the band touches on feel somewhat stale and done to death, and you’ll find more than a fair share of cliched lyricism. However, it’s a step that is much appreciated. There is a clear and palpable passion that comes along with this album and it is hard to deny, especially when the wide pallet, good production, and talented performances gel smoothly.

   Delta isn’t the best album of the year, it isn’t even the best album in the growing Mumford and Sons catalog, but it is a powerful and decisive step from a once niche band toward branching out and finding new footing. For that, it deserves respect.

6/10

HEAR DELTA:  HTTPS://OPEN.SPOTIFY.COM/ALBUM/3THBKS5IJZ41MABAOAT7WC
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Bufihimat Drops Technically Excellent If Poorly Paced Debut

I is a brutal slog of an album with plenty for extreme metal fans to appreciate if they’re willing to overlook a few weaknesses.

     Bufihimat is a tech/death metal outfit from Voronezh, Russia. They arrived on the scene in 2015 with a single, “Last Journey Through Pain,” and then fell out of the public eye once again. While the track was fairly well received, whatever momentum they gained was all but lost over the three year hiatus which followed.

   Their sound is brutal, generally falling under the umbrella of “extreme metal,” but their main style is death metal, sporting a low, guttural vocal and heavy instruments. They are also, however, incredibly talented, frequently performing extremely difficult passages at a blistering speed. With the release of their first full length LP, I (One), they’ve officially thrown they’re hat in the mix of the extreme metal world, and they’ve done so quite skillfully.

   First and foremost, the drumming on this record is lightning fast. On tracks like “Thy Flesh Consumed,” or “Last Journey Through Pain,” the blistering speed sets quite a tempo with double kicks, which is then shown to be malleable with excellent fills in nearly every open space. The drums really take front and center on this project, and thanks to talented musicianship, they make good on this status.

   The guitars are also well utilized here. Tracks like “Human Hive” or the opener, “Splited” mix the hellish brutality of the distorted rhythm guitar quite well with the almost video game-esque lead guitar licks. The lead is one of the very few less extreme portions of the mix, and it shines well over the slugging rhythm riffs.

   The vocals, while a bit lacking in variety, are still quite impressive. A track like “Qualia,” just can’t come together without a vocalist like this. His screams are thick and gravelly, yet he has the ability to hold out notes far longer than one would expect. In “Decline of the Fading Suns, he lets out long, brutal screams which are accented by hectic instrumental passages, making this the best track on the album.

   My biggest complaint with the project, however, is the lack of variety. While the closer, “He Saw Himself,” provides something of a change by incorporating an organ and well-performed guitar arpeggios, it comes on the tail end of nearly a half our of ear-piercing distortion and near constant double kicks. While I appreciate the brutality of this record, it seems they may have traded in some of the creative possibilities in an effort to create the loudest, heaviest album possible.

   Even on a track like “Digging the Hole,” which begins with a thinner, higher scream and some heavy grunge influence, we find ourselves right back to the sludging tech death that characterizes the rest of the project. This may be the first time that a runtime under 30 minutes has felt like a slog, and it’s due entirely to poor pacing and strict adherence to form.

   That being said, I did enjoy I. There are certainly shortcomings, but for a debut LP, it’s quite an accomplishment. The instrumentation is extremely technical, the production is far better than one would expect from a lesser known group, and the songwriting shows a lot of promise. It is definitely enough to land Bufihimat on my radar for future releases.

   I is a brutal slog of an album with plenty for extreme metal fans to appreciate if they’re willing to overlook a few weaknesses.

5/10

HEAR I: https://open.spotify.com/album/4QSpHxTrr6Txzhp0LFyBMS

Cult Leader’s Second LP Has a Little Something For Everyone

A Patient Man is a perfectly paced mix of brutal energy and gothic cacophony which stands as a testament to the excellent state of metal music today.

     Cult Leader is a tech/sludge metal band from Salt Lake City, Utah. They formed in 2013 after the break up of the band Gaza, where three of Cult Leader’s four members got their start. They made waves in 2014 with their debut EP, Nothing For Us Here, before following up in 2015 with the Useless Animal EP, was well as their first LP, Lightless Walk. The releases have been fairly successful, building on the success previously achieved by Gaza as well as forging their own identity as a group.

   Cult Leader’s sound is a unique blend of several styles of modern metal music. There’s a heavy dose of sludge metal, particularly in the rattling bass guitar, but there are also hints of thrash, grindcore, and even grunge. Through all of this, the technical skill of the group shines brightly over frequent tempo and time changes. They stand as an excellent example of the many intersecting worlds of metal, a trend that doesn’t stop with their newest release, A Patient Man.

   The record really falls into three parts: a brutally heavy opening section, a tame second act, and an epic, gothic closing chapter. Through this, the LP is absolutely perfectly paced. Longer songs like the title track or “To: Achlys,” spend every second of their time very wisely, developing multiple musical ideas and fleshing out each riff and hook in a really satisfying way. On the other hand, a short track like “Craft of Mourning,” feels fully realized and seems to have been given a fair hearing, despite a runtime under three minutes. It’s just a masterclass in getting the most from your songs without overstaying the welcome.

   The opening portion of the record, comprised of “I Am Healed,” “Curse of Satisfaction,” and “Isolation in the Land of Milk and Honey,” is absolutely blistering. The tempos are fast, the drums are explosive, and the vocals are positively demonic. The guitar, while easily the least impressive component of the group, is used interestingly, mostly serving to build an atmosphere, while the melody and rhythm is pushed along by the drums and vocals. The bass, which is often lacking in tracks like this, is impressively present here as well, though it wouldn’t come to fruition until much later in the runtime. It’s a brutal opening, which sets an excellent tone, only to be broken in the second act.

   Covering only two songs, “To: Achlys,” and “A World of Joy,” the second, slower section of the record lasts about 12 minutes and totally flips the script on what we’ve just heard. The tempos are lower, the vocals and guitars are clean, and tone is far less brutal. Instead, we listen as two gothic slogs slowly unravel into epic finishes. The bass guitar is fantastic hear, rattling out the lower end and left just clean enough to hear every imperfection and slide. These are also the best lyrical moments of the project, especially on the first of the two, which may be my favorite song on the album, which reads like a dark hymn. As exciting as this section itself, however, is the epic return of the distortion and thickness of the opening section.

   Opening with “Craft Our Morning,” and “Share My Pain,” neither of which clear three minutes, Cult Leader wastes no time in ratcheting up the intensity, continuing with the brutal “Aurum Reclusa.” The final two tracks, however, bring the project full circle. The title track, and longest song on the record, is absolutely fantastic. From the howling shouts of “such sweet hell,” to the commanding drum work, to the strangely hopeful finish, this track really sums up the record, especially in it’s wide array of influence and musical idea. The closer, “The Broken Right Hand of God,” nears seven minutes as well, is equally powerful, and is one of the only well produces tracks on the album The guitars create something of a cloud of distortion, from which the drums and particularly guttural vocals burst defiantly, only to be quickly swallowed again. In the end, as the feedback and repetitive riffs trail off, this song feels like a meaningful conclusion to an excellent project.

   A Patient Man certainly isn’t perfect. The production is my biggest complaint, as nearly all of these mixes severely lack texture with every instrument seeming to come from everywhere at the same level. Additionally, a few of the builds on the latter half don’t seem to pay off as they should. These of course, are small issues in an otherwise excellent second outing for Cult Leader.

   A Patient Man is a perfectly paced mix of brutal energy and gothic cacophony which stands as a testament to the excellent state of metal music today.

7/10

HEAR A PATIENT MAN: https://open.spotify.com/album/1OPpVnWDfL3YKmIqxuVRdZ

Imagine Dragons Floods the Airwaves With Another Boring Album

Origins contains a precious few shining moments, which are buried in a slog of poorly written product which just isn’t worth sifting through.

     Imagine Dragons is an alternative rock/pop band from Las Vegas. They gained popularity in 2012 with their double platinum debut LP, Night Visions. The strong push from Interscope Records and the massive popularity of singles like “Radioactive,” and “On Top of the World,” were important in their success, but the most important factor was Imagine Dragons’ ability to tap into the growing EDM wave which was cresting at this time, and give it a more accessible slant. This ability netted them two more platinum releases in 2015’s Smoke + Mirrors and 2017’s Evolve.

   While the group hasn’t exactly been a critical darling over the years, their commercial success is hard to deny and the lead up to this album is no exception. With four singles released ahead of time, including one written for the upcoming Wreck It Ralph sequel, Imagine Dragons has once again overtaken the radio in preparation for this LP. Now that it’s finally here, I must say, it’s a pretty weak outing.

   The production, of course, is well done. Working with Interscope Records, it’s virtually impossible to put out a project which isn’t well polished and put together. Origins is no exception. This isn’t nearly enough to save the album, but for so-so tracks like “Cool Out,” or “Bad Liar,” it’s enough to push them over the hump into listenable territory.

   Dan Reynolds’ vocals also have a few shining moments. The opener, “Natural,” has a genuinely impressive bridge, and actually got my hopes up far higher than they should’ve been. Throughout the album, Reynold’s vocals, even when performing obnoxious melodies, are one of the only redeemable qualities of this album.

   When we come to lyrics, there are exactly two well written tracks which are, puzzlingly, stuck on the very tail end of the ridiculous 50 minute runtime. “Burn Out,” tells a fairly conventional story of battling stress and depression, and though the song is certainly hindered by an abrasive instrumental, the sentiment is expressed well. The best track on the record is the closer, “Real Life,” the only of the fifteen tracks to cover a remotely interesting topic. It follows a man as her attempts to hold his marriage together in spite of the horrors of the modern world. It’s an interesting look at how the terrors of the external world, namely 9/11 and the Boston Bombing, effect the personal lives of those who aren’t directly involved. It’s a unique topic, and it’s handled well, lyrically.

   Lyrics, however, are a great place to start on my criticisms of this record. Aside from the two I just mentioned, virtually every other track could’ve been written by a computer. Tracks like “Only,” or “Zero,” are just meaningless. Even a track like “West Coast,” which is genuinely singable, is poisoned by a constant flow of pseudo-meaningful lyricism.

   When the lyrics do try to mean something, however, I’m left missing the soullessness of the previous tracks. Perhaps the most egregious here is “Love,” in which Reynolds drones on about the evils of racism in a series of platitudes, ignoring the real issues of institutional and generational racism, to simply point out that we all have the same blood and that skin color doesn’t matter. It’s naiveté borders on disrespect and it’s easily the weakest track of the bunch.

   The only common theme that can be found throughout appears heavily in tracks like “Machine,” “Digital,” or “Bullet in a Gun.” That is this idea of being an “outsider,” and dealing with the pressures to conform and give up their artistic integrity. Now, ignoring the fact that this band’s debut album went double platinum by essentially commercializing a sound which was popular in the underground before them, even these tracks are purely top 40 style, pop hits. This, along with very poor writing, makes these songs feel particularly disingenuous. The bridge on “Bullet in a Gun,” in which Reynolds shouts “sell out,” at himself nearly made me turn the record off.

   Beyond these lyrical and thematic issues, the instrumentals and hooks are just dreadful. “Boomerang,” borders on unlistenable, “Birds,” is smothered with decade-old trap cymbals, and “Stuck” is driven by an annoying drum track and vocal line that ruins whatever there may have been to appreciate.

   When Imagine Dragons hit the scene, their sound was flawed and a bit watered-down, but their youthful energy and catchy delivery masked most of their short comings. Half a decade later, all of that has faded to leave a boring shell of a group.

   Origins contains a precious few shining moments, which are buried in a slog of poorly written product which just isn’t worth sifting through.

2/10

HEAR ORIGINS: https://open.spotify.com/album/3JfSxDfmwS5OeHPwLSkrfr

Sun Kil Moon Delivers on Aesthetic but Skimps on Substance in New Release

This Is My Dinner is a slog with very little reward for sticking it out till the end.

     Sun Kil Moon is a folk rock artist from San Francisco, California. Originating as a continuation of the defunct indie rock band, Red House Painters and sporting a long list of past members, Sun Kil Moon is now the primary moniker of Mark Kozelek, the group’s original lead singer. He’s amassed quite a discography over the past fifteen years, never reaching meaningful commercial success, but becoming a certified critical darling thanks to multiple excellent reviews. His latest record, Common as Light and Love are Red Rivers of Blood, was widely regarded as one of the best albums of 2017.

   His sound is quite unique and far from accessible. Over slow, smooth instrumentals, Kozelek rambles on, writing in a sort of stream of consciousness, touching on personal, political, and mental issues. He blurs the lines between music and spoken word poetry, rarely, if ever, breaking into choruses or hooks, and often boring more casual music listeners. On the other hand, if you listen closely, you’ll hear one of the better lyricists in modern music, writing fearlessly. Now, just a year after one of his best projects to date, Sun Kil Moon has returned with This is My Dinner, which is, in a word, disappointing.

   To start with the good, these instrumentals are very enjoyable. While mostly unassuming and often repetitive, “Linda Blair,” benefits tremendously from hectic, jazz guitar while the title track features more active drum work and a smooth melody on keys. The closer and best track on the album, “Chapter 87 of He,” is highlighted by excellent jazz sensibilities from every member of the band and features a jarring, chaotic passage in the bridge that makes the song what it is. The entire album is full of extremely listenable instrumentals, which saves the record, in many ways.

   On the vocal side, I will say that the album feels very heartfelt, particularly on “David Cassidy,” the shortest and best written song on the album, and the quick cover of “Come On Get Happy,” which follows. Even “Rock n’ Roll Singer,” which is, ostensibly, a comedy, Mark gives a good performance and the exaggerated, long notes, are absolutely hilarious.

   Two of the ten tracks come in over 13 minutes, adding to the runtime of nearly an hour. The better of the two is “Soap for Joyful Hands,” which is a short peak at what this record could’ve been. The music is simple, the story is simple, and yet every second colored with dark humor, an extended soliloquy on the value of life, and sharp anger, which is accented well by the subtle dynamics of the band.

   The other and longest of the two, “Candles,” exemplifies everything wrong with this album. While the stream of consciousness is a unique writing technique, it falls down on tracks like these, when it just has nothing to say. The story is boring, holding no metaphorical or emotional weight, the comedy is missing all the sharpness that makes Sun Kil Moon who he is, and I’m left, almost 14 minutes later, having gained nothing.

   This issue persists throughout the project as well. Tracks like the opener, “This Is Not Possible,” or “Copenhagen,” say absolutely nothing, and badly overstay their welcome. Where his earlier records strung listeners along, investing them in his mental state, only to deliver biting satire and a unique outlook, this album fails miserably and commits the fatal sin of being just plain boring. While the album had a ton of potential, especially considering it’s talented cast, it simply doesn’t deliver.

   This Is My Dinner is a slog with very little reward for sticking it out till the end.

4/10

HEAR THIS IS MY DINNER: https://open.spotify.com/album/1OCE83C2l4g7kRxTrkSfND

Tenacious D Expands Their Mythos With New Album and Animated Series

Post-Apocalypto may not win over the uninitiated, but it’s certainly a welcome new chapter for fans of the greatest acoustic metal comedy duo of all time.

     The self-proclaimed greatest band in the world, Tenacious D is an acoustic, comedy metal duo from Los Angeles. The group is comprised of Kyle Gass and Jack Black, and often features guest appearances from the likes of Dave Grohl, Meatloaf, John Spiker, and a multitude of well known actors and actresses lending their star power to music videos and films.

   Tenacious D rose to prominence in the late 1990’s with a short lived, three episode series on HBO, but they became household, or more accurately, dorm room names in 2001 with the release of their self-titled debut LP. The record was a unique mix of stoner humor and absurdism tied together by the pair’s obvious love of the metal genre and production and instrumentation which was far better than it had any business being. Five years later, they released Pick of Destiny as a film and album, which bombed in the box office, but has since developed a massive cult following. In 2012, we were given Rize Of the Fenix, another large success that launched a massive world tour. Six years later, we finally have our forth installment in the Tenacious D catalog, this time in the form of a soundtrack accompaniment to a six episode animated series on YouTube in which Gass plays himself, and Black voices all other characters as well as himself. The project is equal parts absurd and fantastic, resulting in a worthwhile return for the D.

   Firstly, we’ll need to discuss this story, in all of it’s insanity, beat by beat. JB and KG, as they are called throughout the record, begin by witnessing a nuclear holocaust and meeting a two headed dog, which they name Hope. They start traveling across the country and meet a clan of cave women who sleep with them before trying to feed them to the horrifying cave monster, Crackalackadingdong. Hope kills the monster and the three escape, running into a German scientist who lets the band audition for a trip to space station full of famous musicians and beautiful women. The scientist only takes JB, who excepts his offer, but returns to Earth after a heartfelt duet with KG because he misses his bandmate.

   After Jack returns, they are attacked by the father of Crackalackadingdong, Daddy Ding Dong, but they’re saved by a Terminator-esque robot, sent from the future by JB Jr, Jack Black’s son with one of the cave women. JB Jr. instructs his father and KG to retrieve the “Orb of Gilgamesh” from the White House, which is now under the control of a tyrannical Donald Trump Jr. and guarded by large numbers of KKK and Nazi soldiers. Along with the robot, Tenacious D battle their way through the armies and teach Trump Jr. the value of diversity before taking the orb to Egypt on Air Force One to meet JB Jr. in the pyramids.

   When they arrive, they find out that JB Jr. is evil and only wanted to orb to take over the universe. He’s about to kill the D when the tribe of cave women arrive on the Crackalacka Dragon and defeat JB Jr. The album ends with a quick interlude celebrating the fact that the band just saved the world and a reprise of the original title track and opener. A fair amount of story is cut in the transition from web series to album, but the bones remain, and they’re quite well executed.

   The story is told through two means. The first of these are spoken skits, which are definitely the album’s highlight. Bits like “scientists,” and “cave women,” show of Jack Black’s voice acting quite well, sold by his willingness to give his all to virtually any joke. On the other hand, “i’ve got to go,” and “desolation,” play on the stoner dynamic which has always been a staple of the duo’s comedy.

   These are balanced by musical passages which are a bit softer than what we’ve come to expect from Tenacious D, but nonetheless, very enjoyable. Most of these tracks wear their influences on their sleeve. “MAKING LOVE” is an obvious call back to the indulgent, orchestral style of acts like Styx, while “F*CK YO-YO MA” is almost a parody of the classic, musical theatre duet. The “JB JR RAP” near the end is, perhaps, the most impressive moment in the 30-minute runtime, though not the true best song on the album, because Tenacious D shows the ability to dabble in the rap genre without coming across as dated or out of touch.

   The album isn’t perfect. Few of the songs have the sing-along or replay value of some of their early hits, and some of the skits overstay their welcome, but overall, it’s a very listenable record.

   Post-Apocalypto may not win over the uninitiated, but it’s certainly a welcome new chapter for fans of the greatest acoustic metal comedy duo of all time.

6/10

HEAR POST-APOCALYPTO: https://open.spotify.com/album/4O83oaztVuBlPDrp50Q3mh

Daughters is Back After Eight Years With the Best Metal Album of the Year

 You Won’t Get What You Want is an advanced piece of noise metal that is quite nearly perfect, and easily the best metal album of the year, if you’re up for the challenge.

     Daughters is an experimental, industrial metal act from Rhode Island. They’re well known for an absolutely hellish style, disjointed rhythms, wide array of influences, and, until recently, jarringly short tracks. Their 2003 debut LP, Canada Songs, had a runtime of just 11 minutes, with very few songs clearing a minute, which was complimented by the thrashing instrumentals of their early work. This continued on the slightly longer, Hell Songs, in 2007 which also hits hard and fast with a bit more character.

   This all changed, however, with what was meant to be their farewell project, which was self-titled and released in 2010. The record mixed elements of thrash, noise, and experimental metal with a heavy dose of post-punk to create a gothic cacophony of a farewell with a runtime that neared 30 minutes. Having bid the band farewell, their cult following was quite excited to hear news of an upcoming fourth album, and though listeners were quite surprised, they certainly weren’t let down.

   From the opening track, “City Song,” it’s very clear that we are in for something very different. The track feels like being lost in a dark ocean, with a driving bass, jarring snare-shots, and a panicked but hopeless vocal performance by Alexis Marshall. It’s sets a bleak tone, which the rest of the near 50 minute is all too happy to follow relentlessly.

   Energy is high on tracks like “The Reason They Hate Me,” or my personal favorite, “Long Road, No Turns.” Here, the drum work is explosive and the grating electronic leads make a listeners heart race. Daughters is able to use this manic noise rock to build tension in a unique way, not unlike a horror movie. It’s a style that, I would imagine, the vast majority of music listeners simply haven’t heard anywhere else.

   Tracks like “The Flammable Man,” and “The Lords Song,” call back to the earlier days of the group as the only songs to come in under three minutes. Here, we’re treated to a much heavier bleed in from the group’s more traditional punk influences along with the thrash style of released like Canada Songs. The bass guitar is especially brutal here, well mixed, and following a blistering tempo.

   On the other hand, “Satan in the Wait,” and “Ocean Song,” each top seven minutes, and make the most of every second. The former carries a horrific narrative over rhythmic drum and a howling guitar which almost mimics a siren, ending with a hellish chaos of shouting, squealing, and crashing cymbals. The latter is a true post-punk tune, telling what is essentially a horror story  over of the best instrumentals I’ve ever heard. These tracks are so fantastic and the slow burning style of Marshall’s story telling is so listenable that even longtime fans will find themselves wishing that Daughters had always been in the business of long-form, post-punk epics.

   The real shining point of the album, however, is the extremely unique instrumentation. The closer, “Guest House,” features a screeching synth that over scores the howling vocals well. “Less Sex,” is highlighted by a melodic choir part in the chorus, giving the track a distinct blues sound, and “Daughter,” opens with a gloomy piano riff which, though a bit gimmicky, is an interesting hook around which the rest of the tune is built.

   My complaints are slight, leading me to seriously contemplate my second ever perfect score, but, unfortunately, my complaints are present nonetheless. “Daughter,” is easily the weakest piece of the tracklist, held down by an odd organ section in the bridge. In addition, a few of the rhythm changes can be a bit underdeveloped, and the electric guitar, while used well for effect, could do with even a short turn in the spotlight. Aside from this, I must admit that the album lacks severely in replay value, with a tone so bleak and overbearing that, if you don’t find yourself in the mood, the project can simply come off as irritating, although, in fairness, it doesn’t seem that replay value and accessibility were ever goals held by Daughters.

   You Won’t Get What You Want is exactly the kind of album that music critics love. It tests the bounds of what music is and, in doing so, challenges even the most experienced music listener to make heads or tails of such a difficult piece of art. This album uses it’s smothering, gothic tone to tell interesting stories and create something that just doesn’t exist elsewhere in the music world, carrying all the lushness of a big budget rock album, but trading in the sweetness for horrific electronic tones and constant dissonance.

   You Won’t Get What You Want is an advanced piece of noise metal that is quite nearly perfect, and easily the best metal album of the year, if you’re up for the challenge.

9/10

HEAR YOU WON’T GET WHAT YOU WANThttps://open.spotify.com/album/7w7ZTlk8YLc0OxviTp97qA