REVIEW: The 1975//I Like It When You Sleep, For You Are So Beautiful Yet So Unaware of It

4/5 Stars

Waves to Watch: The Sound, UGH!

Genre: Smart synthpop
Goes great with: The Japanese House, Sir Sly, M83


Somebody had to make pop music a little more sad again. And even if they had to swap their black and white schtick for a more pastel one, The 1975 have done it - triumphantly.

It's been two and a half years since the Manchester four-piece released their eponymous debut, a 16-song flurry of heady and philosophical quips by singer Matty Healy. With hazy white neon boxes swinging behind their live sets, the band seemed to have created an insuperable identity for their themselves.

But two and a half years is a long time, enough to plan and reimagine. I like it when you sleep, for you are so beautiful yet so unaware of it (Dirty Hit/Interscope) is a product of this painted renewal that sparks a new appreciation for the mouthy Healy and his clever counterparts, while still making the young girls scream.

Healy once expressed fear of his relationship with his fans, saying, "the terrifying thing is that I can't tell if I'm killing them or saving them." The girls line up, often overnight, to profess their love or take a quick photograph - or 20 - of the shirtless Healy. There's an earnest, almost cutthroat, power in a fangirl, like she knows the trend and sticks with it. And The 1975 are still the trend. Brighter, yes, but maybe bruised knees and empty stares are so 2013.

After a quick deletion of social media, which sent the alternative music world into a tailspin for a few days, the band popped back onto the scene, first with color, later with the first single of the new era: "Love Me". The song was a new carefree world, one where it was obvious that The 1975 had put the need to be cool on the back burner.

The video for "Love Me", is filled with celebrity cutouts, champagne, and cerulean eyeshadow. Guitarist Adam Hann's riff is an obvious, but intelligent, ripoff of the late Bowie's "Fame". The song is a humanist comment on fame itself and the self-indulgent, consumerist nature of today with lines like "caught up in fashion, Karcrashian panache".

Here, the band is like a swifter reincarnation of INXS with the best of new wave whines in tow. "UGH!" is again about self-indulgence ("But I'm goin' wait until you finish, so I can talk some more") with a dazzling taste of cocaine ("It's just a simple diuretic that prevents the empathetic from being just and giving it up"). With "UGH!", Healy departs his pouty, artist vision and learned to dance a little bit.

Slower songs like "Please Be Naked" and "Somebody Else" show the more physical - not just metaphysical - side of the band. The latter, which spans nearly six minutes, is still evocative of the ethereal noise on their self-titled. Yet the band isn't living just in its head anymore; it's learning to consume others. The song is selfish ("I don't want your body/But I hate to think about you with somebody else") with a projection of Healy's neuroses ("Got someone you love/Got someone you need/Fuck that, get money").

I like it when you sleep... is more of a reinvention than a linear shift in vision. The opening track, "The 1975" is the same song as the opening track of the same name on their debut, yet this time, it is more of a fanfare than a dour invitation.

Somehow, out of a pure desire to push pop music further than it can - or even should -go, The 1975 have fabricated an album that balances texture and anachronistic sentiments. ""Change of Heart" is like a softer personification of Pat Benatar, and "This Must Be My Dream" is a shadowy take on The Police.

Few albums extend over an hour in the era of singles and iTunes shuffle, but I like it when you sleep... clocks in over 75 minutes without being too mundanely narcissistic. But Healy maintains his ironic self-indulgent persona, flopping his hair and crying out, "Don't fall in love with the moment and think you're in love with the girl" in "She's American". In the same song, he foreshadows his own fears of a crumbling image ("Look!/He's having a breakdown") and the warnings that follow around a childish affair ("But be careful or you'll drown/You think you've got it figured out").

The band's stake in R&B influences remains steadfast, even though rooting back to smooth and hedoninc rhythms has become pop's latest fixation. "Loving Somone" and "If I Believe You" are the more earnest responses to manufactured morsels by Max Martin's formulas of music. The songs' lyrics, like "Keep hold of their necks and keep selling them sex/It's better if we keep them perplexed" are much less sensual and more about the lack of sincere revelations in society.

One of the albums strongest tracks, "The Sound" is a gospel-backed poke at themselves and their critics. The video flashes phrases like "ridiculous contrived knockoffs" and "vapid derivative pop". But there is soul in these jibes and soul in the band, a certain rejuvenation of an old soul in leather pants.

For now, Healy wants to keep things all about him yet never about him. And maybe this is the trend that will continue to make all of the girls scream. But for now, The 1975 are just looking to elbow pop in the direction they want it to go because if nobody else is doing it, they might as well.

I like it when you sleep, for you are so beautiful yet so unaware of it is available worldwide now on Dirty Hit/Interscope Records on iTunes/CD/Vinyl. The 1975 is heading out on a worldwide tour in support of the album, starting in March.

//Angelia//

Swim Deep Shimmer, Letting the Water Soak Up the Euphoria

Maybe the 90s really are coming back. Proof of this was documented in the Monday night set of Birmingham bums, Swim Deep. Opening for the fellow Brits and honorary American heartthrobs, The 1975, the five-piece channeled the paleness and opiate-driven dream pop of the days when the Gallagher brothers ruled the indie scene.

Lead singer and tambourine swinger, "Ozzy" Williams, might have been a less boorish Oasis frontman, outfitted in a gray, long sleeve tee crisply tucked into a pair of dad jeans. A hoop dangled from his left earlobe, which swayed to the raucous shoegazing of the set. To his left, was bassist Cavan McCarthy, who also took the form of another 90s great: Billy Corgan, if Corgan decided it was again okay to wear a red silk shirt with velvet pants.

Even without their keyboardist, Swim Deep was still confident, making Ohio's capital their own little British dive bar for the night. Each of their songs was simply a cheaper alternative to LSD, making the audience spin with wailing guitars and tempestuous shrieks from Williams' microphone. Their shadows danced on the walls of the venue, sending the room into a euphoric experience suitable enough for an Irvine Welsh novel.

Set standouts, "She Changes the Weather" (from 2013's Where the Heaven Are We) and "Forever Spaceman", attracted young girls in winged eyeliner and striped crop tops to squeal, some holding signs in adoration of the band's cheekiness. The latter, which Williams introduced as a song about "wanting to do something then actually doing it", was accompanied by an appearance from his Lake Placid Blue Fender. The band abandoned all virtuosity at this point, letting their instruments duel over the loudspeakers.

After they swept themselves off the stage, some fans shoved their way out of the crowd, obviously impressed enough to go home. Swim Deep held themselves with both a tripping and dripping confidence and an air of deserving to be there, and it's quite safe to say that they do.


//Angelia//

MIXTAPE MONDAY: Steampunk and Just Straight Punk

steampunk & just straight punk
for all your october fancies //

+listen

the haunting by set it off // honey, this mirror isn't big enough for the two of us by my chemical romance // lullaby by the cure // the ballad of mona lisa by panic! at the disco // control by halsey // sarcasm by get scared // mama by my chemical romance // ava adore by the smashing pumpkins // eyelids by pvris

//Angelia//

REVIEW: Captain Kidd//Good Life EP - The Kidds Are Alright

4/5 Stars

Wave to watch: Smoke & Mirrors

Genre: Indie Pop
Goes great with: Foster the People, Passion Pit, Phoenix

With not only a packed touring schedule, but also an ever-growing fanbase, Captain Kidd have managed to compose a quartet of psychedelic, yet danceable, jams on the independently-released EP, Good Life. After an appearance at this year's Firefly Music Festival, which draws the likes of indie heavyweights (Cage the Elephant, The Killers) and Sir Paul McCartney himself, the Columbus by way of Cleveland five-piece are kicking their 20-something gears into motion by hypnotizing the college town that has been so integral in paving their past - and more current - successes.

After 2014's eponymous EP made waves around the Midwest, the band teased at new material with "Good Life", a single released earlier this year. It's the summer song that somehow ends up getting played at all times of the year, even when the neon lights have all burnt out. Phoenix-esque offbeat synths hum under carefree lyrics ("It's the good life/And it doesn't mean anything") and tapping drums.

These new songs are a little less eclectic of a bunch, but are even more raw and refined. The entrancing, tripping "Summer Dress" is a touch more seductive while purring, "nice to meet you/what's your sign".

The band via Facebook

"Dreamachine" is the softest, floating in the gossamer spaces around it. The breeziness is reminiscent of MGMT's more tender side, providing a backdrop for every 2 a.m. fast drive past busy sidewalks.

With its New York funk rock feel, "Smoke & Mirrors" carries the EP upon its concise, but mighty, shoulders. Behind more buzzing synths, trendy guitars impel the party to go on and the floor to bounce under the weight of dripping college kids.

The band may be saying, "let's take it slow", but with Good Life, they're cruising coolly down the Ohio freeways once again.

Good Life is now available for listen on Spotify, YouTube & SoundCloud

//Angelia//

REVIEW: Halsey//Badlands - God Damn Right, You Should Be Scared of Her

3.5/5 Stars

Waves to Watch: Castle, New Americana

Genre: Dreamy pop

Goes great with: Lorde, The xx, Marina and the Diamonds 

Right now, the likes of Lorde, Lana Del Rey and Melanie Martinez are ushering in a new model for the female pop star. And although Ashley Frangipane, aka Halsey, is just weeks shy of her 21st birthday, she has catapulted herself - with lyrical and vocal prowess in tow - to head lioness on her LP debut, Badlands (Capitol Records). Through dreamy ambiances and heavy beats, Badlands is a movie, an event, a feeling.

Halsey has a soothing voice, possessed by an uneven vibrato, most times haunting, like on the Lana-like "Drive". However, Badlands is less of a fatalist anthem than any of Del Rey's past releases (Ultraviolence, Born To Die..."), even when she's likening her and her lover to immortals running through the streets ("Young God").

Songs like "Hold Me Down" - laden with raging drums and noisy pops - and standout "Castle" cut the reins on her sweeping sweetness. On the latter, Halsey rambunctiously declares "Sick of all these people talking / Sick of all this noise" over industrial tripping chimes, which can be seen as either a middle finger to the suits who run her major label or a standalone feminist anthem.

Frangipane is already outspoken, not requiring any time to wade into her commentary. The album's finale, a retake on one of her EP's (Room 93) tracks, "Ghost", is mirrored by a video painting a glowing affair between two girls. It's not a trendy, oversexualized lesbian shot of scenes, but an opportunity for deeper interpretation, the singer has stated. In "Ghost"'s verses, Halsey is rambling, her syncopated singing on the verge of rapping. "Coming Down" is another nod to Room 93, this time with a desolate, religious cadence reflective of her first single and deluxe edition feature, "Hurricane".

Halsey has put such a strong compilation of lyrics about lost loves and martyrdom that it is nearly impossible to fathom that she is only a few years removed from her teenage dream years. She's edgy and challenging of the purity pushed onto young girls in "Haunting" ('Cause I came here so that you'd come for me). She's sexy without being a hypersexual doll, spinning on stage with glittering lights washing her out.

Fans of Halsey have embraced the young candy-colored singer with a certain kind of familiarity and sisterhood. They have made their own art forms out of what is perhaps the most sorrowful but elegant line on the album: "You were red / You liked me because I was blue / You touched me and I suddenly was a lilac sky / And you decided that purple just wasn't for you".

Badlands is colorful, yes, but it is also black and white. "Roman Holiday" flows almost as if Gregory Peck and Audrey Hepburn had fallen in love to a soundtrack splashed with poppier, sunnier synths. "Control" is a steampunk, grittier gray, while being a firm example of her adoption of poetic iambic pentameter and impeccable phrasing. A grandfather clock chimes behind her suppleness as she laments "I couldn't stand the person inside me / I turned all the mirrors around".

"New Americana" is gold, a  glittering Roaring Twenties ambiance saturated with 2015 references ("High on legal marijuana / Raised on Biggie and Nirvana"). The song is for 20-somethings with no seeming places to go, but Halsey has some - if not every - place to go.

On Badlands, there's room for something bigger. Within a few months, Halsey has the capacity to be the new queen, the new challenger of old ideas. Halsey is about to explode, coloring the landscape as a lilac sky.

Badlands is available now on Capitol Records. A 16-song deluxe version is also available.

//Angelia//

MIXTAPE MONDAY: Coloring Books

coloring books
songs with colors in the title //

+listen

that green gentleman by panic! at the disco // back to black by amy winehouse // red light indicates doors are secure by arctic monkeys // pink moon by nick drake // my blue heaven by taking back sunday // nights in white satin by the moody blues // crimson and clover by joan jett & the blackhearts // the (shipped) gold standard by fall out boy // goodbye yellow brick road by elton john

//Angelia//

MIXTAPE MONDAY: The Best of Warped '15

the best of warped '15
because warped isn't just pop punk and circle pits any more

+listen

white noise by pvris // sunday funday by new beat fund // the divine zero by pierce the veil // free love by mod sun // elliot by false puppet // pretense by knuckle puck // k.e.n.n.e.t.h.s by the kenneths // but you won't love a ghost by emarosa // gum by moose blood // track 5 by '68

//Angelia//

MIXTAPE MONDAY: 90's Kids Only

90's kids only
the decade's legendary alt hits


+listen


iris by the goo goo dolls //  sappy by nirvana // losing my religion by r.e.m. // girls & boys by blur // creep by radiohead // what's my age again? by blink-182 // 1979 by the smashing pumpkins // buddy holly by weezer // californication by red hot chili peppers // champagne supernova by oasis // when i come around by green day

//Angelia//

The Blues Were Nowhere to Be Found: Against Me! Deliver with a Message

Florida's punk rock outfit, Against Me!, has had anything but a regular story, particularly marked by singer guitarist Laura Jane Grace's transition to a female in 2012. With this came shifty eyes throughout the industry, along with doubts that the band could continue their ascent without faltering. Since then, the fourpiece has released Transgender Dysphoria Blues (Total Treble), a story of a transgender prostitute - obviously rooted in Grace's own emotions - and embarked on tours to support. On Sunday, Against Me!, with pals frnkiero andthe cellabration and Annie Girl and the Flight, rocked the always sweaty House of Blues in Cleveland to a crowd who were looking for maybe a little more than just a good show.

After about an hour long wait, San Francisco psychedelics Annie Girl and the Flight took the stage. Through a set of strongly placed weak moans by lead singer, "Annie Girl", and ethereal whines that entranced the audience as they zoomed around the room, the fourpiece seemed to be a band of misfits - with their guitarist being considerably older than the others - thrown into some sort of drug-induced dream (in nearly the best way possible of course). "Swans" and their finale, "Bodies", wreaked havoc on the sound system as the crowd swayed and bobbed, still probably anticipating the two following bands instead of paying complete attention to the current act. It seemed that Annie Girl and her rag tag flight might be more suitable for background noise than music that can command any room. 

As Annie Girl and the Flight left the stage, the room began to buzz and sweat for who came next, as it seemed that some fans were only there to see Frank Iero (ex-My Chemical Romance), a tattooed emo icon of course. The band's crew was quick with their set-up and the Cellabration took the stage to Iero's voice whining about evil and mundaneness (along with screams from isolated groups of adolescent girls). As the frontman walked onstage with his hood up and coffee in hand, the guitars wailed into their 2014 debut Stomachaches' (Staples Records) opener, "All I Want Nothing". It is evident that he spent most of his music career not as a flashy singer of a prolific, theatrical band like his ex-bandmate Gerard Way, but as the heart, as his passionate grit never faltered throughout his entire set. The front of house booth was constantly adjusting sound levels to produce the most flawless of the three bands' delivery. 

Fan favorites, "Weighted" and "Joyriding" - the latter lacking the blood that doused its accompanying video - led the crowd to rush to the stage and jump as if they were watching the headliner. Iero said few words, and let the sobs and roaring of his and guitarist Evan Nestor's instruments do the talking, namely in his ode and true story about his wife ("She's the Prettiest Girl at the Party, and She Can Prove It with a Solid Hook"). And thus, as the last of the drum hits of "Joyriding" rang out to the back of the club, the aforementioned groups of girls left the pit, as they nudged each other and grinned, briskly remembering that they had just seen THE Frank Iero.

Now, the crowd bustled as Against Me! prepared to take the stage. Some begged the question of which songs off of their six studio albums they would bring out tonight. Others discussed Grace's prized Rickenbacker six-string, which now sat pristine on its stand. But as soon as the four took the stage to "Unconditional Love", everyone now did the same: scream. Dressed in all black, Against Me! played as if nothing had ever changed the band, but at this point, it is fair to say that nothing ever did. Even the boys in the collared shirts danced next to the girls in spiked denim vests and pink mohawks as they yelled back "They just see a faggot" - a word that, if yelled in any other setting, would be spit upon - as Grace strummed through "Transgender Dysphoria Blues". 

The song has become an anthem for transgender youth, a handful of who stood in the crowd, and Laura Jane Grace a transgender icon. To be one of the only members of any rock band to confront gender dysphoria and transition, especially in a scene that was once homophobic, is still a difficult thing to do. Grace is a commanding beauty, even as her long, reddish hair covered her twinkling eyes for most of the set. During a break, she triumphantly reminded the crowd of the Supreme Court decision to allow same-sex marriages nationwide that had been announced just two days before. The crowd cheered, naturally. 

The strongest of songs, which made the crowd continue their night-long moshing and the security to bob their heads, was "Thrash Unreal", the poppier song of 2006's New Wave. Even through her veil of hair, Grace smiled the whole time, exchanging silent banter with James Bowman, who has been the guitarist since 2001, and newcomer Inge Johansson. She is happy and shows it. 

"Thrash Unreal" was quickly followed with two more crowd favorites, "Black Me Out" and "True Trans Rebel Soul", before the fourpiece exits the stage to breathe in the moment as the crowd chanted "One more song! One more song!". Grace suits up with an acoustic to cover The Replacements' "Androgynous", which she had recently performed as part of Miley Cyrus's Hippie Foundation Backyard Sessions along with Joan Jett. And as Against Me! all hovered around Atom Willard's drum kit for the final few notes, gratitude for the music and the message rang even louder than any amp could ever supply. 

Laura Jane Grace and the rest of Against Me! are still one of punk's most punctuated statements, and as the sweaty pit thinned out and the last drinks were served, the inescapable feeling that comes with the most earnest music still was in everyone's bones.

//Angelia//

If you are struggling with your gender identity or aren't sure if you are transgender or not, feel free to reach out to the Transgender National Hotline: (877)-565-8860

MIXTAPE MONDAY: A Decade Old

a decade old 
songs from albums that turned 10 this year // 

+listen

lion's teeth by the mountain goats (the sunset tree) // cells by teenage fanclub (man-made) // perfect situation by weezer (make believe) // sadie by alkaline trio (crimson) // white shadows by coldplay (x&y) // dark blue by jack's mannequin (everything in transit) // instinct blues by the white stripes (get behind me satan) // better open the door by motion city soundtrack (commit this to memory) // joy by against me! (searching for a former clarity) // i never came by queens of the stone age (lullabies to paralyze) // xo by fall out boy (from under the cork tree)

(albums in parentheses) 

//Angelia//

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: 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//

MIXTAPE MONDAY: Old Man, Look at My Life

old man, look at my life

some of the songs my father gave to me//

+listen

sympathy for the devil by the rolling stones // the unknown soldier by the doors // a day in the life by the beatles // don't let the sun go down on me by elton john // old man by neil young // california dreamin' by the mamas & the papas // ohio by crosby, stills, nash & young // killer queen by queen // comfortably numb by pink floyd // silver, blue, and gold by bad company // won't get fooled again by the who 

//Angelia//

MIXTAPE MONDAY: Better Than the Original?

better than the original?
my personal favorite covers //

+listen

ain't it fun by tyler carter ft. luke holland // fourfiveseconds by james bay // iris by sleeping with sirens // are you strong enough to be my man? by haim & lorde // can't help falling in love by twenty one pilots // me and bobby mcgee by janis joplin // ain't no sunshine by coeur de pirate // jolene by miley cyrus // hallelujah by jeff buckley // song 2 by my chemical romance // good morning little school girl by jonny lang // don't fear the reaper by pierce the veil // the house of the rising sun by the animals // wicked game by phillip phillips // god only knows by jamie cullum 

//Angelia//

REVIEW: Future Hearts//All Time Low - Their Hearts Are On Their Sleeves

3.5/5 Stars

Waves to Watch: Don't You Go, Tidal Waves

Genre: Pop punk

Goes great with: Blink-182, Yellowcard, State Champs

Inevitably, any pop punk act will begin to deviate to pop and neglect punk, but All Time Low have taken a U-turn back into the punk side of town after their 2012 release, Don't Panic. These four boys from Baltimore had to grow up at some point, so why can't it be now? On their fifth - arguably sixth by some - LP, Future Hearts (Hopeless), All Time Low, comprised of vocalist/guitarist Alex Gaskarth, guitarist Jack Barakat, bassist Zack Merrick, and drummer Rian Dawson, are now the veterans, long past the time of being the newcomers around the likes of Blink and New Found Glory. 

With this new found dominion over their scene, the four-piece pay their respects to those who reigned before them with a hearty blend of eminent pop punk influences, ATL's own clever juvenility, and the recruitment of producer John Feldmann. The harsher-sounding "Kicking & Screaming" is laden with a Blink-ish character, coincidentally hinting that they're not forgetting what (or who) made them who they are. 

The quartet of singles, led by the zombied-out "Something's Gotta Give", were intimations into a new sound, with their mature boyishness still intact. The anthemic "Kids in the Dark" is, in fact, an anthem for their fans, who are such rabid a fanbase that their dedication deserved an equally neon song. "Runaways" is an odd blend of sounds, from claps to swinging bells, capturing the idea of being stuck and taking the chance to leave it all. 

The final of the singles, "Tidal Waves", features an appearance from mentor and Blink co-founder Mark Hoppus (FINALLY), ebbing and flowing like a slowed-down ocean. Joel Madden (ex-Good Charlotte, Madden Brothers) adds a dash of his current project's sound to ATL's pop punk charisma on "Bail Me Out". 

"Don't You Go" is the most pumped-up out of the thirteen, reminding listeners of the dawn of pop punk in the early 2000's. Paired against the folky, acoustic "Missing You", Future Hearts becomes a fusion of sounds, sometimes colorful, sometimes a little bit dowdy. The best indicator of this falls upon "Cinderblock Garden", another mismatched love story that sounds like a handful of the other twelve songs thrown together. Gaskarth's voice, however, shines brightest, saving the track from the grave. Sadly, the bulk of the album does not flex his lyrical prowess as past releases have done. "Satellite" is an understated first song, meant as a short introduction, as well as a look into their past as "just kids". What it does best, perhaps not the intention, is show off Dawson's prowess behind the drum kit on any song he kicks into. 

Oddly enough, "Dancing with a Wolf" and "Odd Scars/Future Hearts" are both evocative of Fall Out Boy's - arguably the biggest band to come out of the scene in the past fifteen years - sound circa 2007. Along with the majority of the songs on Future Hearts, particularly "The Edge of Tonight", these two tracks sound as if they could fit along with Top 40 radio just fine. Perhaps it is time, after all these years, for All Time Low to relish some time in pop radio's limelight.

On a highly anticipated U.S. tour nearly underway, All Time Low will be bringing out old international friends, Tonight Alive, along with promising rookies ISSUES and State Champs. For old fans, there will not be a shortage of classics, and for new fans, there will not be a shortage of bras thrown onstage at Barakat, as he jumps around like sugared-up toddler. Future Hearts is steady at best, but once the songs come to life on bigger stages, anything goes for All Time Low. And that means anything.

Future Hearts will be released worldwide on Hopeless Records on April 7th

//Angelia//

REVIEW: American Candy//The Maine - Miles Away From Where They Began

4/5 Stars

Waves to Watch: Diet Soda Society, Miles Away

Genre: Alternative rock

Goes great with: The Technicolors, The Eeries, Young Rising Sons

Nothing has ever tasted sweeter for The Maine, perhaps because they have given their fifth full-length the title of American Candy (Universal). The band has proved themselves to be one of the most consistent in the scene over their eight year lifetime, while still managing to grow from pop punk undergrounders to desert-dwelling alt-rockers. So there is no surprise that the five piece, consisting of vocalist John O'Callaghan, guitarists Kennedy Brock and Jared Monaco, bassist Garrett Nickelsen, and drummer Pat Kirch, secluded themselves in the SoCal desert to contrive this release.

American Candy could have easily sounded ragged around the edges, instead, capturing the sharp desert ruggedness that O'Callaghan's dusty voice lends so well to. Already, with their lead single "English Girls" - an oddly poignant look back at dirty youth - at hand, it became obvious that we were all in a new era of The Maine. Even with the second single and album's opener, "Miles Away", a new summer soundtrack was underway, as O'Callaghan proclaims, "I felt so alive".

The guys turn to new influences with old sounds, such as the gazing, 90's alt-rock ballad "24 Floors" and "Another Night on Mars", which coincidentally enough is bouncily theatrical akin to Bowie's Ziggy Stardust. "Am I Pretty?" borrows the spirited strumming of now British favorites, The 1975, while the more whimsical "Diet Soda Society" feels faintly reminiscent of a witty comeback delivered by Weezer. The latter's "My mind is on the brink of going supernova" is perhaps the strongest line burrowing in the strongest of the ten tracks.

"(Un)lost" is dreamier and sure to be a crowd anthem on the upcoming American Candy Tour, kicking off Friday in their hometown of Tempe. The title track is much darker than the sweet moniker implies; it is a tune of American indulgence, driven by Kirch's, a humanoid version of The Muppets' Animal, pumping drums.

American Candy is oddly self-obsessed, as it becomes evident, especially on "My Hair", that the five are realizing their aging as both individuals and as a group. Yet, it is hard to worry about them, as they fight for the youth that is still burning inside of them and their instruments. "Same Suit, Different Tie" is simply for themselves, noticing "I feel so fresh, I feel so new". The band has never been completely polished, especially with O'Callaghan's sometimes abtruse words and strange stunts, but The Maine still remains a shiny gem with a dusty undercoat.

Kirch has mentioned that "...for our band, getting away is the best way to make a record". Something clicked for The Maine in Joshua Tree; something kicked into gear that had not before. As the band sets out on a new stretch of their aging career, they will still remain young, dusty, weird, and unlost.

//Angelia//

REVIEW: Chaos and the Calm//James Bay - This Could Be the One

4.5/5 Stars

Waves to Watch: If You Ever Want To Be In Love, When We Were On Fire

Genre: Indie rock, folk

Goes great with: George Ezra, Ella Henderson, Jake Bugg

In an era where any artist can slap the singer-songwriter label on their chest, James Bay has managed to escape the snare that holds the hoards of "starving" musicians. A slick portrait straight off a 70's folk-rock vinyl release, Bay scrapes at the sound of the aforementioned decade with his 21st century claws. His Chaos and the Calm (Republic) tells his story up until now - as any debut will do - with an honest, yet sentimental smile on its face.

Each of the twelve songs - a blend of new and EP's past - sounds as if it should be predictable, but none are in the slightest. Sure, it is obvious what aim Bay has image-wise, but he plays it all out more shrewdly than his fellow British counterparts. Bay has a knack for one-liners that you can't believe no one has pulled out of their six string before, as he nearly speaks in the minimalistic "Scars", "I need an hour just to say hello."

The most empathetic of these thoughts, "So alone I can taste it", falls within "When We Were On Fire", the moody track tinged with Carly Simon-esque crooning. It's almost impossible to believe that this is Bay's full-length debut, as a budding artist is almost never this in touch with himself.

Bay gave a taste of the promise land he had in store for both listeners and himself on four EPs, released throughout 2013 and 2014, particularly with November's "Hold Back the River". The track sounds like a river in itself, a more gospel brushstroke on a Jeff Buckley release. He asks for the chance to wander, while "Move Together" is an empty bed's cry for a lover while looking at the black night sky.

"Best Fake Smile" and "Craving" are the upbeat movers of the album, the former showcasing Bay's raspy vocal control, along with his dichotomy of bouncy sentimentality. "Get Out While You Can" sets him apart from his fellow up-and-coming peers, brandishing his ability to formulate a Brit-rock  - or even Springsteen - anthem in an unformulated way.

The album's strongest, "If You Ever Want To Be In Love", is perhaps the biggest ode to the 70's. It captures the thought everyone has, but no one ever says out loud, except for Bay in his raw whine, of course. The bridge, in all of its howling earnestness, is the best moment on the entire album.

It is nearly unfeasible to pinpoint the worst song out of the twelve, but "Collide" is the weakest. It's good, with all of it's edgy electric guitar flicks, but not good by this album's standards.

Bay still can do what indie singer-songwriters can do best: throw in a few dreamy ballads. "Need the Sun To Break" is simply one of the album's highest highs, as well as a beginning of an end realization. He speaks much of "you" on Chaos, but in "Let It Go", he promises that "I'll be me", on top of a sweet guitar drowning in a few minor chords. The closer, "Incomplete", is a final imperfectly perfect need for a connection. But, for Bay, there's still time.

Chaos is never hectic or thrown together; it is contrived with such a keen eye that Bay cannot be ignored. If he can continue to string eras along in his sound, he is a slick force that will keep answering his own questions on each release. In the chaotically calm Bay, the night may have finally found the voice it has been looking for.

//Angelia//

MIXTAPE MONDAY: I'd Fight this Weird World

i'd fight this weird world
for the degenerates who aren't even the ones degenerating // 

+listen

buzzcut season by lorde // overrated by the eeries // america's suitehearts by fall out boy // loser by beck // heirplanes by japanese cartoon // no shows by gerard way // lights out by mindless self indulgence // heroes by all time low // fake tales of san francisco by arctic monkeys // kill all your friends by my chemical romance

//Angelia//