|
User
Reviews 2
Approval 100%
Soundoffs 1
Album Ratings 102
Objectivity 76%
Last Active 07-18-19 10:36 pm
Joined 07-18-19
Review Comments 22
| JustPressPlay's 2020
This is pretty much just a running list, which I will regularly update, of albums that have dropped this year that I've happened to catch. I've also included a short little blurb for each release. | | 1 |  | Red (USA)
Declaration
Rating: 5.0
Alternative metal band RED has always seemed to have three... types of their brand of the genre. On the one hand, it can be anchored and based largely around soaring, lush and string-packed orchestral numbers. On the other, it often slithers into ear-pleasing, atmospheric and sometimes poppy industrial/electronic backgrounds. Their discography, which is incredibly strong, often can fall into one of those categories. However, there is a third; balance out the strings and electronics, move them closer to the background than the foreground, and let the guitars, drums, vocals, and lyrics take the stage. Declaration falls into this arena, and it's the band's first to do so since their third effort. RED proves themselves more than capable of a more meat-and-potatoes approach, combining their deep understanding of human nature with tightly crafted riffs, ferocious screams, soothing clean vocals, and even some experimentation (see "Float" and "Only Fight"). | | 2 |  | Tame Impala
The Slow Rush
Rating: 5.0
Fuck, what can I even say about this? Musically, it is psychedelic euphoria; rock tracks and pop tracks alike here embrace the listener and envelop them in the world of the Rush, utilizing both funky guitar lines, big percussion, gorgeous percussion, and deep, blooming synths to do so. Of course, Kevin Parker's soprano leads the charge, sultrily and energetically guiding the listener through his universe. The project is all about time; how fast it goes by, how slow it goes be, how easy it is to waste, how hard it is to capitalize on. I have an anxiety disorder and I worry about time and my schedule a lot; this whole album really does meet me where I'm at. "Breathe Deeper", for example, is a comfort for those of us that cannot help but worry about every little thing. I could gush forever about this, but I'm limited on space, so I'm just going to promise that this album is well worth the time you'll spend on it. | | 3 |  | Code Orange
Underneath
Rating: 4.5
Honestly, I was surprised that I enjoyed this as much as I did. I’m not normally into stuff that is this frenetic and in-your-face, but I haven’t been able to get enough of this since it came out. The song-writing keeps you guessing, the digital approach to organic instrumentation is fascinating and immersive, and the lyrics are sinister, dark, and confrontational. Reba’s clean vocals elevate her to one of the best clean vocalists in the genre and Jami Morgan can absolutely howl with the best of them. Fantastic blend of metal core, hardcore, industrial metal, grunge, and shoegaze. | | 4 |  | The Weeknd
After Hours (Deluxe)
Rating: 4.5
This is another one that took me by surprise, because I've not ever really enjoyed music from The Weeknd. This album, specifically the deluxe, changed my mind. This is seventeen tracks of 80s synth pop, modern trap/hip-hop, and a dash of electronica/ambience. It's a lyrically and tonally schizophrenic, dark project, relentlessly coming through the mind of a sociopathic addict that might want to do better, but largely is just determined to sink into his vices and take his loved ones down with him. I feel thoroughly disturbed whenever I listen to the back half of the record especially, while the front stays a bit more optimistic and light. If you're clamoring to hear peppy Depeche Mode beats with confessions of a narcissistic abuser lightly crooned overhead, you've come to the right place. | | 5 |  | Poppy
I Disagree
Rating: 4.0
Be it her first time or her fifth time, what Poppy is doing on this record is nothing new. Artists ranging from those of the American nu-metal scene to the German Neue Duestche Härte scene to the J-metal scene have melded heavy guitars and aggressive vocals with everything from hip-hop to pop to skate punk to industrial and everything in between. That said, while Poppy may not exactly reinvent the scene of industrial metal here, she does one hell of a job emulating it while putting her own spin on it. "Concrete", for example, is a balls-to-the wall romp that jumps between metal, pop/punk, pop rock... to fucking country. And it works. Really well. "I Disagree" is a catchy, riffy monster, "Fill The Crown" grooves and slithers, aided by deeper-than-the-deepest-ocean male guest vocals, and "Don't Go Outside" beautifully closes the album via progressive metal. Lyrically, the album does well to hit on frustrations of today, while occasionally stopping for comic relief. | | 6 |  | Pearl Jam
Gigaton
Rating: 4.0
First off, this cover art is absolutely beautiful (eat your fucking heart out, Green Day) and that alone convinced me to check this out. Beyond that, I would say this record set out with two goals; reassure fans that they can still rock hard nearly thirty years after Ten, while avoiding stagnancy by experimenting and pushing themselves out of their comfort zones, but not too far. There are several atmospheric and electronic, spacey tinges throughout Gigaton that only make the experience all the more immersive and the more meat-and-potatoes rock tracks and acoustic numbers do more than hold their own. For me though, the strongest ingredient of this dish is its lyrical potency. It would be a mistake to label this a purely political record, though it is socially conscious. Gigaton has a few token "don't worry, we don't like Donald Trump" references, but largely, it tackles everything from the current virus to climate change to political discontent in an accessible manner. | | 7 |  | Heaven Shall Burn
Of Truth and Sacrifice
Rating: 4.0
It has been several years since I was even remotely familiar with the melodic death metal scene, and from what I remember of said said, Of Truth doesn't necessarily break the mold. With that said, it throws enough experimentation and aggression at the listener to keep them engaged, without boring them to death. HSB are aware that the same technical riffs, caustic screams and blast beats over and over get repetitive, so here, they sprinkle in elements of prog metal, electronica, and rock. Lyrically, this is another "the world is over, what the fuck are we going to do about it" type affair, which works for the times that we're in. Not every line hits ("Truther" is a bit hypocritical and "Critical Mass" is beyond preachy), but this is still one of 2020's better metal releases. | | 8 |  | Not My God
Not My God
Rating: 4.0
A bit of personal backstory here, so the rating makes more sense: At the time I listened to this, I had just gotten out of an abusive relationship, my study abroad program had been canceled and I was sent home, I'd been stuck in my house due to COVID for over a month and I was swimming in job searches and LSAT prep. First-world problems yes, but still combined together definitely took a mental toll. Solace in darkness is and has always been wonderful for me and NMG provide it in spades here. The instrumentals are strong; brooding industrial and drone blending largely with rock and metal, and occasionally pop and alternative, elements. For me though, the lyrics take it away. This album understands darkness, understands what it feels like to reach the precipice of the cliff in your mind where you're not sure if you care if you jump off or are pulled back. Maybe not the healthiest coping mechanism, but one that I definitely lean on. | | 9 |  | Grimes
Miss Anthropocene (Deluxe Edition)
Rating: 3.7
It should immediately be stated; Grimes has an amazing and unique voice. It is soothing, yet cutting. Powerful, yet reserved. Her voice is the strongest part of this project. Catchy choruses and creative lyrics abound as well, but the music itself (excepting bonus track "We Appreciate Power") fails to catch up to the vocal performance. The music fits the dark pop/alternative that Grimes peddles here, yes, but it could go beyond dark synths and occasional organic instrumentation. At the end of the day, "We Appreciate Power" is easily the best track, and it's a shame that it, and not something else, was relegated to the bonus track. | | 10 |  | Ozzy Osbourne
Ordinary Man
Rating: 3.5
While the vocal correction and plethora of guest contributors, from Tom Morello to Slash to Post Malone, are arguably intrusive, one should keep in mind that Ozzy is 70 years old and has lived a life that is far from ordinary. Musically, the album blends slow, crunchy blues-rock/stoner rock styled numbers, explosive power ballads, and speedy, seat-of-your pants metal. While it doesn’t push into any new ground, it is strong enough and fun enough to keep pretty much any metalhead interested. Lyrically, the album is reflective, tales of a man who has truly lived life and now must face death. It does have its tear-jerking and provocative moments, with some appreciated comic relief mixed in. The lyrics don’t always work and the aforementioned vocal correction gets annoying, but if this is how the Prince of Darkness is going to go out, it's a great way to head straight to Hell. | | 11 |  | Pet Shop Boys
Hotspot
Rating: 3.5
This record is split between "get-up-and-go" electronic pop bops, slower and more pensive numbers, the latter of which occasionally feature organic instrumentation such as acoustic guitars. Nothing here really... took my breath away; don't get me wrong, I danced around plenty to the likes of "Will-o-the-wisp" and "Happy People", and even enjoyed some of the slower moments in tracks like "Only the dark" and "You are the one", but I was definitely aware that I could've been listening to something better. Even so, I would recommend this to pretty much anyone, because it's fun as hell. The vocal performance reminds me a bit of Flight of the Conchords, which definitely made me laugh. | | 12 |  | Body Count
Carnivore
Rating: 3.2
This project starts out extremely promising. "Carnivore", "Point The Finger", and "Bum-Rush" are all punky, riff-centric rap-metal numbers filled to the brim with powerful energy, chunky guitar-work, and sharp-as-a-razor social commentary. After an extremely out of place cover of Motorhead's "Ace of Spades", though, the middle section of the record just drags. It gets boring, the lyrics lose their edge and shift either into overly braggadocio, Emmure-styled "I will fuck you up" taunting. Carnivore picks up steam again though with the massive "When I'm Gone", which is elevated by Amy Lee's haunting, operatic touches and a crushing chorus. From there, there's solid breakdowns, an enjoyable remake of Ice-T's "6 in Tha Morning", and an interesting lyrical blend of social commentary and the differences between real hate and fake love. With a weak, fairly lengthy middle portion and more than a few weaker spots in the lyrics, I recommend only some of this ribeye. | | 13 |  | Hollywood Undead
New Empire Vol. 1
Rating: 3.0
When HU emphasize their rock side over their rap/hip-hop side, this album soars. "Time Bomb", "Already Dead", and "Empire" all pack huge riffs and grooves, for example. The lyrics on this record aren't incredible, and sometimes are horrific, but when the band actually seems to have tried to put pen to paper and really write, they blend with the music well enough and serve as a nice outlet for frustration. When the group decides to rap, the lyrics take a huge dive and the songs are boring at best and cringeworthy at worst. | | 14 |  | In This Moment
Mother
Rating: 3.0
This album does get it right a lot more than others seem to want to give it credit for, but when it does so, it honestly feels more like luck than a calculated effort. Mother is deeply schizophrenic and it jumps around from style to style a lot and tries several different things. It tries to be piano-driven and atmospheric, it tries to be electronic and melancholic, it tries to be heavy and rousing. Again, sometimes it succeeds; Maria Brink is a powerhouse of a metal vocalist, the electronics can actually be engaging, and the guitarists put forward some pretty meaty riffs and power chords. There's some legitimately off-setting moments and Brink's chemistry with Joe Cotela of DED is a real treat, and I'll also throw a nod to some thought-provoking and intriguing lyrics. However, when this project gets it wrong, it fucks up badly. There are THREE covers on this record and none of them land and the title track drags on for what feels like forever. | | 15 |  | Breaking Benjamin
Aurora
Rating: 3.0
Without the guest vocalists and "Far Away", this would be a fairly mediocre release. Don't misunderstand; the renditions covered exclusively by Breaking Benjamin have their powerful moments (hitting their peak with "Never Again"), but powerful moments do not a project make. Further, Ben Burnley's vocal performance differs very little from the heavier originals, damning the album even more and making it more of a collectable than an essential. That said, the guest vocals are all brilliant, "Far Away" gave me the chills and this album's version of "Dear Agony" with Lacey Sturm actually brought me to tears. For me, that's worth the price of less-than-excellent-but-still-decent BB-exclusive acoustics. As a side note, why the hell is Saturate and WANA so under-represented here? | | 16 |  | The Used
Heartwork
Rating: 3.0
This album is unevenly split between the terrible and the wonderful. Lucky for The Used, it's the wonderful that wins out, with experiments in funk, pop and dubstep usually melding well with the punk rockers' typical acidity. The textual fare here is also quite contemporary; frustrations over complacency, apathy, manipulation, self-destruction, mental health, and relationship drama all actually play quite well in our turbulent times. There's some powerful riffage and screams on hand as well, and for the most part, Bert's cleans are absolutely gorgeous. However, six tracks should've been shaved off this thing and it probably didn't actually need to run too much longer than twenty-five to thirty minutes. There's a fair deal of overproduction in terms of the vocals and this aids to ruin otherwise strong moments within the project. Additionally, "BIG, WANNA BE" is a HORRIBLE take on Origins-era Imagine Dragons. Still, there's some pop-punk/emo/alt-rock gems to be found here. | | 17 |  | Charli XCX
How I'm Feeling Now
Rating: 3.0
Perhaps this album's greatest sin is also it's greatest weakness. Opener "pink diamond" is raucous, industrialized club fuel, the likes of which wouldn't be too far from older Combichrist. It is absolutely pulsating and while it is lyrically average, it is absolutely huge sonically. That said, it takes a good ten minutes afterwards for the record to get back on track, with three extremely predictable and monotonous alt-pop numbers following. Once the record gets back on track, it largely trafficks in gorgeous, shimmering (though sometimes dark) alt/synth-pop that is pure ear candy. Further, tracks like "detonate" and
"i finally understand" are a bit more involved lyrically, dealing with anxiety, vulnerability, and self-hatred. Overall, over-reliance on vocal correction, a weak ten minute span on a thirty-seven minute project, and some milquetoast writing hurts this project, but I'd be lying if I said I don't have some fun with it too. | | 18 |  | Five Finger Death Punch
F8
Rating: 2.5
This… goddamnit, this. I won’t lie; I thoroughly enjoy the majority of the first three album of Death Punch’s catalogue. Those records aren’t trail-blazing but they are slabs of powerful, fun, and competently made groove metal. Since then, I’ve enjoyed songs from albums that the band has released, and I’ve enjoyed more songs from certain albums than others, but I can’t deny a noticeable drop in overall quality in the band itself. F8 feels like the band’s strongest attempt at a cohesive album since American Capitalist… and it is painfully average. The record has its moments; the production is stellar, the guitar work is overall quite strong, and Ivan sounds the best he has in years. Its efforts at experimentation via a few hip-hop/R&B tropes and electronic tinges help, but the group’s “signature” copy-and-paste riffs and tough guy lyrics show up far too often and seriously hurt the album as a whole. | | 19 |  | Dua Lipa
Future Nostalgia
Rating: 2.5
I really wanted to get into this project. "Future Nostalgia" and "Don't Start Now" are 70s-tinged, powerful disco bops that boast catchy choruses and electric verses, and Dua has an absolute hell of a voice. In fact, to be fair, the album is packed with hooks. Once the listener realizes though that Dua is a one-trick pony, both musically and lyrically, the album begins to fall apart. For me, that was the halfway point, when I realized that the songcrafting model for the first two songs would be largely the same thing for the rest. It's enjoyable, don't get me wrong, but in my opinion, it's not enjoyable enough to carry the album beyond its average mark. However, what DEEPLY wounds this album is its lyrics. For a lyricist that brags about "changing the game", the majority of this project is sex-filled tripe. Dua conveniently forgets this when she sings the lyrics of her hypocritical "empowerment" track, which partially shames men for enjoying sexualized media. | | 20 |  | Echosmith
Lonely Generation
Rating: 2.5
At its best, this album is energetic, at times funky indie pop/rock with decent enough lyrics about connection and disconnection. At its worst, it makes several mistakes trying to blend into the modern music scene, when it would be best if the group just stuck to what they're great at. | | 21 |  | Sparta
Trust the River
Rating: 2.0
An alternative title for this album could be "Trust the Lazy River". For starters, much of this album is a ham-fisted attempt at replicating Foo Fighters-esque post-grunge. This doesn't necessarily result in travesty, but it does result in boredom ad nauseum. Track after track slogs by and puts the listener to sleep; there should be a drowsiness warning stickered to the front cover because I was driving and nearly fell asleep at the wheel listening to this. Further, vocalist Jim Ward largely insists on projecting in a monotonous, pseudo-country tone throughout the record, sounding largely like he himself is falling asleep along with the audience. On the plus side, "Spirit Away" is hauntingly gorgeous, successfully melding odd time signatures, female guest vocals and light orchestral strings. "Dead End Signs" is admittedly sleepy, but its piano melodies combined with one of the only powerful vocal performances all album is a treat. The closer also packs heavy power. | | 22 |  | Trivium
What The Dead Men Say
Rating: 2.0
Like Trust the River, this release's cardinal sin is that it is extremely boring. If you've heard thrash metal and/or metalcore before, congratulations, you've pretty much heard What The Dead Men Say. Several tracks drag on for much longer than they have any right to, and that's assuming they have any right to exist at all. These riffs are long past tried and true and I'm sorry Trivium, but jumping from one time signature to another in a song does not automatically equate to an interesting track. There are unnecessarily long musical interludes in these songs that do nothing but break their flow and Matt Heafy largely just sounds bored to tears when he's singing. "Catastrophist", "Scattering The Ashes", and "Bleed Into Me" manage to somehow be fine, perhaps because they attempt to actually FOCUS themselves and focus on being engaging before being technical. It may honestly be time for Trivium to hang it up, if this album is anything to go by. | | 23 |  | Niall Horan
Heartbreak Weather
Rating: 2.0
I am FAR beyond the target demographic for this album, and I recognize that. It was advertised absolutely everywhere while I was studying abroad in the UK though and since I couldn’t get away from it, I figured I might as well check it out. Most notably, this record is boring. It does have its moments: “Nice To Meet You” is an energetic pop and the strings and electronics in “Heartbreak Weather” are ear-worms. Some of the breakup lyrics are relatable enough to slightly elevate the weaker songs, but largely, this is discount Ed Sheeran that is just begging to be played for either a group of impressionable college girls or middle-aged soccer moms. | | 24 |  | Hayley Williams
Petals For Armor
Rating: 2.0
Jesus H. Christ, we get it Hayley. You're a woman. You're comfortable now with being a woman. I don't need or want to be reminded of it every two minutes. Also, for all that every damn track on this thing was hyped up, maybe you could try and actually sound slightly invested/excited in what you've made. Otherwise, with the exception of four songs on a FIFTEEN TRACK album, the listener will just get bored and begin to fall asleep at his laptop. How fucking far the mighty fall. This is a woman who led the charge with her powerful voice with Paramore, even on After Laughter. Here? She barely lifts her voice above a whisper and is way too busy utilizing "deep" lyrical metaphors to actually empower, encourage, inspire or reach anybody. There's some great lyrics and songs on hand, yes, but a fifteen track project that received this much hype should know to do better. | | 25 |  | Meghan Trainor
Treat Myself
Rating: 2.0
It's produced well, so I guess it has that going for it. Aside from that, this is lazy, generic pop/adult contemporary performed by an artist who is way more self-confident than she has any right to be. | | 26 |  | Theory of a Deadman
Say Nothing
Rating: 1.7
I would much prefer mediocre cock-rock from these guys than this… whatever the fuck this is. At least I can get a few decent guitar riffs out of the cock-rock. Aside from “History of Violence”, which is admittedly a thought-provoking, reggae-tinged number that does have a chill vibe going for it, this is a painful attempt at aping both 311 and Imagine Dragons that falls flat on its face in nearly every possible way. | | 27 |  | Green Day
Father of All Motherfuckers
Rating: 1.5
Some will probably be mad at me that I have Green Day lower than both Theory of a Deadman and Niall Horan, but I could honestly fucking care less. At least Say Nothing and Heartbreak Weather didn’t sound like it was produced in a fucking tin can, and at least those albums didn’t flounder everywhere in a desperate attempt to grab one sound that works. Bille sounds horrendous and strained, the guitars are thin and lifeless, lyrics are largely garbage, and the normally-strong rhythm section for the group comes to a screeching halt. The fucking album art isn’t even trying, for God’s sake. | | 28 |  | Eminem
Music to Be Murdered By
Rating: 1.0
I honestly wasn't sure how any album this year could be worse than Father of All Motherfuckers. I wasn't sure that anything could be lazier, or more lackluster, or more awkward. Eminem came along and said "why yes, it can, and I'm proud to show it to you". While Father of All Motherfuckers had the mercy to be short, this tripe goes on for a fucking HOUR. One hour of uninteresting music, guest vocalists that range from average to terrible, a completely schizophrenic and often hypocritical lyrical tone, and rapping that fails to do anything but bore. There was ONE lyric on a 20 song rap album that got a laugh out of me, and while I'm not the biggest rap guy, I've heard and enjoy enough of it to know full well the difference between good rap and bad rap. This is bad rap. It's honestly almost so bad its good, as listening to Em pathetically brag about how much pussy he (supposedly) gets and randomly describe gunning down his own fans lends gut-busting laughs for all. | |
theoleinnout
03.23.20 | 2020 sux, hopefully you can find more that suits you | Dewinged
03.23.20 | Somehow you managed to get the absolute bottom of the barrel of the year, hot damn. | Sinternet
03.23.20 | have you tried looking for good music rather than this shite | theoleinnout
03.23.20 | lmao | TabulaRasa6
03.23.20 | As much as I laughed at Sinternet's comment and agree that this list begs for something with more quality to it, I get this is your taste and don't disparage that. Also, you wrote about each of these records very well. Hopefully you can find something better that's suited to your style.
Unfortunately, I don't think any of my recs for this year suit them. =P | Dewinged
03.23.20 | With all the effort that goes into promoting good, more unknown music on this site, I kinda feel we have failed him. RIP. | Gnocchi
03.23.20 | dewi's first comment [2] |
|
