REVIEW: twenty one pilots//Blurryface - Only Two Faces are Shown, Many are Delivered

3.5/5 Stars

Waves to Watch: Stressed Out, The Judge

Genre: Schizoid Pop
Goes Great With: Echosmith, Smallpools, Vinyl Theatre


The most fascinating of albums are the ones with a concept, a story to tell in the static cracks between songs. Often a character is introduced and given a narrrative to deliver from track to track, as if the album is simply a novel meant to be made of paper. Oddly enough, twenty one pilots have created a concept within their second major label release, Blurryface (Fueled By Ramen), but there is no evident story to be found. Singer and multi-instrumentalist Tyler Joseph thinks his, and drummer Josh Dun's, latest creation not to be a complete story, but a trip to another dimension. With the introduction of "Blurryface", he is everything Joseph is insecure about.

Columbus, Ohio's own hometown heroes are back again with their odd, nearly genre-less tunes at the helm. After 2013's hit, Vessel, and a few stints of worldwide touring, the duo found themselves contriving something within a farther, darker reach. With the rookie single, "Fairly Local", lacking any visible trace of piano, many were hesitant to accept the new direction. To much relief, the warped track was just a dark introduction of Blurryface, and the sole, bouncy love song, "Tear in My Heart" soon followed to ease the worries.

Joseph's other best friend, the ukulele, still finds it niche on the sing-a-long "The Judge", where dark lyrics like "I know my soul's freezing/Hell's high for good reason" hide behind the buoyant strumming. "We Don't Believe What's On TV" and "Message Man" are both reminiscent of Vessel, as Joseph delivers another on the former, "I don't care what's in your hair/ I just wanna know what's on your mind".

Yet, twenty one pilots are not in a stagnant tug of war with their past sounds. Joseph has found a new sense of captivation in reggae, where "Lane Boy" and Ride" seem to live. The latter is in distress ("I've been thinking too much"), with an all too familiar theme of "help me" as seen on the already forgotten "Polarize". Along with "Doubt", both talk of fear, the former striving for being a "better brother, better son."

Still, Joseph and Dun know how to recall past themes and lines from their roots, bringing back the famed "Street Poetry's" "Death inspires me like a dog inspires a rabbit" on the haywire intro, "Heavydirtysoul". And out of pure respect for the fans' fascination, 2012's "Goner" has been given a new, pounding face, all the while reassuring that Joseph has beat - not eliminated -  the insecurities at last ("I've got two faces, Blurry's the one I'm not").

"Hometown", an apparent ode to the clique in the Ohio capital, begins to wind the album down, with "Not Today" sadly in its shadow, desolately wasting its potential of being a standout.

"Stressed Out" is the album's breadwinner, a relatable tune ("I was told when I was older all my fears would shrink/But now I'm insecure and I care what people think") and a realization that making music is the duo's career now. Here, Blurryface is almost human, embodied by the black paint on Joseph's hands and neck, droning, "My name's Blurryface, and I care what you think."

twenty one pilots do care what you think, which is something to keep in mind as they embark on a U.S. fall tour, including an arena gig in their beloved hometown. With exposed theatrics and backflips to spare, the duo is sure to pull out even more stunts as the crowds only get bigger. Blurryface, adds to the already impressive discography, meaning that twenty one pilots is only ready for more disjointed, twitching, and kinetic fun.

Blurryface is available everywhere now on Fueled By Ramen

//Angelia//

MIXTAPE MONDAY: Summer is the Blood

summer is the blood
songs for a long drive down a hazy highway //

+listen

my hair by the maine // good life by captain kidd // pretty green by white denim // mr. blue sky by electric light orchestra // next girl by the black keys // happy people by peace // ride by twenty one pilots // go your own way by fleetwood mac // wait, wait, wait by northern faces // neon tiger by the killers // we move like the ocean by bad suns

//Angelia//

REVIEW: Brandon Flowers//The Desired Effect - Can't Deny This Sound

4/5 Stars

Waves to Watch: Can't Deny My Love

Genre: Synthpop

Goes great with: Depeche Mode, Future Islands, Pet Shop Boys

With his signature megawatt smile in tow, Brandon Flowers conjures up tantalizing sounds complete with huge 80's drums and pulsing synth wails on his sophomore solo effort, The Desired Effect (Island Records). For now, he's leaving his brainchild, The Killers, behind in the near dustiness of the Las Vegas desert to create an anthemic collection of odes to the most recent decade of decadence. Yet, Flowers doesn't cloak his voice - or the themes - he frequently tampers with while writing for the Grammy-nominated group. The Desired Effect is a keen confabulation of morality and loyalty, shining even in a time when 80's sounds have become a trend.

Flowers has a knack for finding words within the music, offering even more sentiments within the catchy hooks and humming female backing vocals. The unembellished lyrics and black and white video of "Still Want You", complete with talk of catastrophe and a deteriorating world, still pack a punch with Flowers in a white suit and fluffed up hair.

Perhaps the most in touch with the synthpop blues is the lead single, "Can't Deny My Love", with its dancey chorus that is still suitable for a 3 AM walk down a neon-lit street after a night spent drinking. Somehow, it sounds like it could be straight off either a Depeche Mode release or a stripped down version of Heart's Dreamboat Annie. Establishing credibility as a modern rejuvenation of the Pet Shop Boys is the group's own Neil Tennant, who is featured on the desperate "I Can Change".

And of course, Flowers can. His 2010 solo release, Flamingo, was a closer stroke to The Killers, relying on friendly and sauntering guitars. On The Desired Effect, the guitars have been left on the outskirts of Vegas, while Flowers enters and spins around in the Sin City to a grand horn section in the opener, "Dreams Come True", while reminding the gamblers, "Spend your life, bracing for the crash land/You forget, baby it's a dreamland".

But the album is not lacking in any slower and sweeter songs, championed by the closer, "The Way It's Always Been". Often a closing song, no matter how sentimental, can come across as flashy or gimmicky, but Flowers is sincere. "Never Get You Right" is an oddly sweet song, in which "Everybody talks from the wrong side of the mask" - the sharpest line on the album - is offered. "Between You and Me" is a slower admittance, where Flowers ensures that "there's a power in letting go".

Without many 80's cameos, Tennant and pianist Bruce Hornsby aside, Flowers still pays tribute to a host of the decade's greats. On "Diggin' Up the Heart", a synthed-up Born To Run Springsteen track with the tale of Tony, is all too characteristic of the decade's great storytellers. "Untangled Love" is strangely reminiscent of Pat Benatar's reign, and "Lonely Town" is a dewy dancefloor-ready jam with eerie lyrics and a vibe to rival The Police's "Every Breath You Take".

Right now, Brandon Flowers is on the edge of everything. He's slickly toeing the line between solo artist and frontman, while warping himself through eras of desire and charm.This album is not just another leisurely adventure into uncharted territory; this is a stake of claim as an established - and thriving - performer. Flowers, yes, is ambitious and groovy, and in this day and age, both are still a great thing to be.

The Desired Effect will be released worldwide on May 19th through Island Records

//Angelia//

MIXTAPE MONDAY: 80's ladies (and dudes)

80's ladies (and dudes)

the best of the 1980's

+listen

i wanna dance with somebody by whitney houston // come on eileen by dexy's midnight runners // don't you (forget about me) by simple minds // girls just want to have fun by cyndi lauper // heaven is a place on earth by belinda carlisle // africa by toto // 9 to 5 by dolly parton //  like a prayer by madonna // physical by olivia newton john // walk like an egyptian by the bangles //  don't you want me by the human league 

xx. Sheridan

We Moved Like The Ocean

May 5, 2015 // A&R Music Bar in Columbus, Ohio

In the cramped pit of the LC Pavilion in the heart of the Arena District as I anxiously awaited The 1975 was the first time I experienced Bad Suns. And to be completely honest, I was underwhelmed. Their set was subpar compared to the first opener and they seemed rushed and showy. Later that summer, the band released their debut album Language & Perspective (Vagrant Records) which impressed far beyond my initial impressions. Exactly one year later, the Southern California quartet returned to the Arch City to headline their own show and I'm honored to say they killed it.

The night began with local group Indigo Wild, who charmed the crowd with their indie rock sound and meaningful lyrics that made me feel nostalgic about things I have never experienced. The real gem of their set was the power anthem "Rowboats" which highlights this group's strengths, their dynamic harmonies, smooth rhythm, and strong percussion. Indigo Wild is genuine through and through with songs that are full of spirit and unique to the core. Their energy was infectious and a solid way to begin the evening.

Second to perform were Californian alternative rockers Kiev. Gracing the stage with a set from their latest Falling Bough Wisdom Teeth, their music was hypnotizing and intricate with an obvious attention to detail. Kiev also performed their song "Be Gone Dull Cage", written for the fifth season premiere of The Walking Dead, a song of grit and nostalgia. This five piece, led by singer and guitarist Robert Brinkerhoff, organically combines psychedelic funk, indie, and jazz styles with effortless ease.

As the main attraction, Bad Suns, finally rolled out to the stage, the crowd was ready for them. These Los Angles indie rockers took the stage with power, eager to perform. Lead singer Christo Bowman, along with bandmates Miles Morris on drums, Ray Libby on lead guitar, and Gavin Bennet on bass, took the audience on a whirlwind trip through their debut album. Language & Perspective is the epitome of an indie rock love child, with clear inspiration from the hits of the 80's and the early 00's alternative scene, a hint of dance-punk, and hits it's highs in it's catchy lyrics and funky smooth melodies. 

Opening with the ever angsty and upbeat "Transpose", Bad Suns transitioned swiftly through their set to the rhythmic and "Dancing on Quicksand" and the anthemic and groovy "Pretend". Bad Suns are performers at heart and truly know how to entertain. Bowman, an alternative age heartthrob, indulging the crowd with enviable falsettos and roaring guitar solos. 

This show's high points were in their last three songs, their first single "Cardiac Arrest", "We Move Like The Ocean", and "Salt". With their set drawing to a close, Bad Suns let out all of the stops. Bad Sun's fanbase is small but mighty, their voices near drowning out the sounds of Bowman and his crew. In those last few songs, those in the crowd truly did move like the ocean, jumping and swaying to the sounds of the Los Angeles natives. Their west coast roots ran deep from beginning to end, the guys exuding that endless summer vibe all night long. With such a 360 improvement from our last encounter, I expect nothing but great things in Bad Suns' future. 

xx. Sheridan

MIXTAPE MONDAY: On My Way

on my way
because i only have a few days left of  freshman year and these songs will always remind me of it //

+listen

brother by gerard way // girl almighty by one direction // hurricane by misterwives // if you ever want to be in love by james bay // wildest dreams by taylor swift // run-around by blues traveler // africa by toto // tear in my heart by twenty one pilots // galapagos by the smashing pumpkins // what's up by 4 non blondes // another night on mars by the maine

//Angelia//