Our Team Reviews Their Favourite Albums Of 2019!

AUTHOURS: Lily Hinden, Declan Fiske, Ani Carlson, Elijah Serrato, Elias Ramcrom, Dustin Faye, Breanna Krosch, Chloe Ferrell.

Starting this list of albums will be Elijah, with his review of The Maine's album, "You Are Ok", released March of this year.

You Are Ok by The Maine was one of the most successful releases for the band to date. It came out in March of this year, but has quickly become a fan favourite. The Maine has been one of the most consistent rock groups of the past decade and this new album was no exception. From the empowering anthem, My Best Habit, to the tearful Flowers On The Grave, this album was a roller coaster of emotions.

Overview:

Overall, I really enjoyed the album, it was all I listened to for weeks on end. Not to mention, I saw them play a few live and was actually blown away. It's musically fun and has a lot of groove based songs. Yet, it's lyrically moving and relatable in a way that isn't cheesy or cliche. I had the opportunity to talk to John about how important the album was to me. Having him be so lovely and understanding about how much the music meant to me at the time of its release warmed my heart. It's a solid 10/10 and by far The Maine's best album.

Track by Track Review:

Slip The Noose: Album openers have a lot of pressure on them to introduce an era for a band. Thankfully, Slip The Noose delivered. The powerful vocals from John O'Callaghan give the listener a sense of hope and triumph. The band really had a certain vision for this song in particular that was really unique. This idea that you were lost and on the brink of letting go but someone helped you grasp at reality once more is so moving to hear. The song has been compared to Welcome To The Black Parade in the sense that they both give off the energy of an anthem. Though not too sonically different, they did add an orchestral feel to the song near the end. It had you thinking about how this was the beginning of a new era for the band and fans alike. It's a solid track that beautifully starts off the record. 9.5/10

My Best Habit: Arguably my favourite song, My Best Habit is a more groove based track. It features a bittersweet take on not being good enough for someone. The lyrics are bold and follow this idea that you shouldn't expect more from me because you're going to take me as I am or not at all. It's extremely powerful and makes the listener feel like a badass that doesn't need to prove themselves to anyone. This song will definitely be one of the highlights of the decade and has inspired many fans of the band to just live without fear of who you're letting down. 10/10

Numb Without You: The lead single gave us our first taste of what the band had in store for us in 2019. It was released with a lyric video that was true to the band's past projects but was still able to bring something new to the table. Numb Without You tells a story about dependence on a person. Surprisingly, it's not as cheesy as it sounds. When you've met someone that makes you feel all warm and fuzzy, the times spent without them tend to feel sad or numb as the band would say. It also showed that the band was versatile in their sound, as this song featured more electronic and orchestral elements than you'd expect. 8.5/10

I Feel It All Over: One of the most unique songs by The Maine is I Feel It All Over. The song itself is a vibe. It has a nostalgic feel to it that has made me fall in love with it so much more than I already have. The song is one of the more romantic ones on the album but it doesn't seem like it. The song makes someone feel nostalgic for love rather than in love. You already have that person but you're reminiscing on how much more you feel with them. This is just all in all really cute. 10/10

Heaven, We're Already Here: There are a lot of theatrical songs in this story but this one is probably the boldest one yet. The orchestral elements are the most prominent here and John O'Callaghan's vocal performance is beyond perfect. It's the type of song that was made to have an audience sing back twice as loud. You go out looking for heaven on Earth but its been there all along. It's a strong song that could have easily been a single. 8/10

Forevermore: AN ACOUSTIC BOP. Forevermore is the rawest song on the album in terms of sound. It features a John only vocal performance and a guitar. Although I was originally not a big fan, it grew to become one of my favourites. The track has always felt like a monologue. Our protagonist is in love and wants to remain in that moment for as long as he can. It's no doubt a cute song about love. 10/10

Tears Won’t Cry (Shinjū): Starting with the title, it features a word that means double suicide in japanese. A suicide where the lovers kill themselves with hope of reuniting in heaven. It's a slightly darker song than most by The Maine but it doesn't feel that way. With strong guitars and a catchy chorus, its upbeat. It's fun. We have Kennedy Brock doing the little "woo" part that brings it all together. The song is danceable but it doesn't break away from what The Maine are and the things they want to say. 9/10

One Sunset: It wouldn't be an album by The Maine without mention of England. We had English Girls and whatnot but it is time to make room for One Sunset. It's similar to Tears Won't Cry in the sense that they have similar vibes. Otherwise, it's a good standalone. We have our singer awaiting his lover. We don't know when they'll arrive but they will. It's hopeful in the sense that you're scared you'll get stood up but excited to take that chance. He's sarcastic and cocky, as if to say "I'll see them once again because they're waiting for me too". We have absolute zingers such as, "So I'll have a smoke and I'll fix a drink

Then I'll blow a kiss to the bloody queen." John Cornelius O'Callaghan IV is essentially a genius. 10/10.

Broken Parts: In all honesty, this song was my least favourite single to date. It felt cheesy and the chorus felt saturated and way too electronic. It did a great job of incorporating the orchestra but it fell flat in originality. I do love the track now but it's not without criticism. It was the song that felt the most produced. Unfortunately, it just isn't the greatest thing lyrically or sonically. 7/10

Flowers On The Grave: As one of the band's longest songs to date, Track 10 sure doesn't feel like it. The Maine have expressed that this is collectively a band favourite. I can see why, it features the best of the album and the essence of what it stands for. The long instrumentals are powerful on their own. It kinda reminded me of Future by Paramore. The absolute highlight of the song is the tie in with Slip The Noose. "I was on the verge of breaking down

Then you came around" It's alluded to in the final moments of the album and mentioned in the verses for Slip The Noose. All in all, a solid song that has changed the lives of so many people. 9.5/10

Final Thoughts and Review:

The title You Are Ok means everything. If you're not okay right now, you will be. That's the message the record was trying to convey. It did well on that front and has drawn me back in for repeated listens. It's kept me grounded and excited in more ways than one. This is my pick for album of the year because it described a lot of events that have occurred in my own life and the lives of many others over the course of 2019. The record will always carry a special place in my heart as its changed my view on my own personal strength. We all have it in ourselves to be better and to grow as better people. The Maine are some of the most genuine people I've had the pleasure of meeting. Every song they write is written with heart. That's the most you can ask of someone.

This album is a 10/10 in my heart but because we're sticking to a general scale, an 8.5/10 which is still very good for a band with perfect albums.

Here's Lily's take on "i,i'' by Bon Iver.

Justin Vernon started the Bon Iver project in a place of isolation and despair; writing what would become the band’s debut album alone in a hunting cabin in northern Wisconsin. The setting of the album’s composition seeped into its production and lyricism - evoking dreary yet emotional sensations of winter. The second Bon Iver project was released four years after the 2007 release of For Emma, Forever Ago. This self titled odyssey built upon the bare, acoustic-driven performances of the first album, incorporating saxophones, synthesizers, and more complex string and percussion arrangements. The sonic, semantic, and stylistic blooming illustrated on this record make it a perfect representation of spring in the band’s seasonal motif. Five years later, the visionary and cryptic 22, A Million was brought into the world, pushing the limits of experimental sound design using lush layers of synthesized vocal harmonies and sporadic yet melodic chops and samples. The freedom and indescribable sublimity of summer are manifest in this inventive masterpiece.

i,i provides a new direction for Bon Iver, while simultaneously serving as a comprehensive culmination to the seasonal album cycle. The 13 track LP was released in the late summer of 2019, an all-too-thematic 22 days before the original release date of August 30. i,i brings color to the iconographic aesthetics of 22, A Million, and includes musical similarities to all three previous albums. The hopeful and triumphant themes of the album perfectly allude to the season of autumn - the bright finale to the cycle of a year.

Yi

The intro to the album is a 32 second long crescendo of waves of percussive radio samples swelling and dying away entropically. Cutting through this sea of noise is a simple yet iconic question asked by Justin Vernon to collaborator Trever Hagen: “Are you recording Trever?” This question is simply met with a sharp “yes.”

iMi

The chaotic swells of Yi eventually culminate in the almost incomprehensible yet melodically perfect vocal sample at the beginning of iMi. Vernon’s voice is first introduced in this song, delivering familiar, yet thematically novel lyrics over a simple acoustic guitar pattern. The first verse of iMi features lyrics that set the tone for the whole album: “On a bright fall morning, I’m with it. I stood a little while within it.” These lyrics express the clarity and awareness seen throughout the album, and set iMi as a strong opening track for the record. iMi retains the wave-like rhythms of Yi, but saturates them with exciting and unexpected vocal performances from a multitude of artists. The track concludes with another chaotic crescendo - this time with horns, frantically building towards a satisfying and beautiful resolution.

We

The third track of the album features wordless chants behind a strong drum track, occasionally giving way to Vernon’s falsetto harmonies in perfect juxtaposition. The song only has one chorus, which features haunting repetition of the single line “I want it back.” The change from the dark, powerful percussion-driven verse to the delicate vocal-based chorus gives the listener an exciting and gratifying experience.

Holyfields,

The fourth cut of i,i opens with a chorus of white noise, modulating synth pads, and rhythmic percussion. This song features verses that are sung relatively low in Justin’s register, but with choruses that soar high into his familiar falsetto. The bridge after the second chorus offers a dramatic minor-key flair that gorgeously resolves into a blissful yet melancholy conclusion - “stay, go, better that you find a new way.”

Hey, Ma

The fifth track was released alongside U (Man Like) (track 6) several months prior to the album on June 3. The song’s instrumentation is very simple, with a warm bassline supporting the nostalgic lyrics, occasionally accented with subtle saxophone notes. The song’s choruses are triumphant and strong - sung with an unforgettable melody that will remain in one’s ear long after the song’s 3 and a half minute duration.

U (Man Like)

Another single released prior to the album, U (Man Like) is a beautiful, piano-driven piece that features Justin’s powerful chest voice, as well as vocal performances from the likes of Bruce Hornsby and Moses Sumney. The second verse slows down with the lyrics “How much caring is there of some American love, when there’s lovers sleeping in your streets?” These lyrics are an indirect commentary on homelessness in America, and the lack of empathy given to homeless Americans. Although there are no drums in the entire mix, the driving piano melodies will have listeners swinging along to its unignorable, gospel-like rhythms.

Naeem

The optimistic, hopeful natures of i,i’s fifth and sixths songs give way to the somber and melancholy tone of Naeem. Striking piano chords lay the foundation for this deeply emotional cut, while a powerful melody is propelled by some of Vernon’s most anguished vocals to date. Vernon practically screams “I'm telling you that I do feel you” over aggressive instrumentation in the haunting climax that follows the second verse.

Jelmore

Jelmore was released alongside Faith as a single on July 11. This eighth track off of i,i is subtle yet sublime, with Vernon delivering cryptic verses over a fluid succession of wavering synth chords. The track is made up of mysterious and enigmatic lyrics, made up of verses full of lyrics that make some sense, and some that are easily interpretable, such as “How long will you disregard the heat?” These are sung with a sort of desperation that relates to the apocalyptic language seen throughout the song, relating in this sense of global warming. The choppy production of this song beautifully harkens back to the experimentation of 22, A Million.

Faith

Another single, Faith represents a turn back to the optimistic after the more subdued tones of the previous two songs. Easily the happiest song on the album, Faith is a guitar and piano driven piece that features Vernon’s famous falsetto. The track is not without experimentation, however, as the choral harmonies at the end of the second verse erupt into a distorted, fluid melody that in turn resolves in a triumphant climax.

Marion

Arguably the most subtle track on the album, Marion’s beauty lies in its simplicity. With an AABA structure of repeating lyrics over an acoustic guitar part that sounds like it could have appeared on For Emma, Forever Ago, this track gorgeously counters the euphoric maximalism of Faith.

Salem

The eleventh track off of i,i opens with a fast, playful synth progression that is soon met with Vernon’s buttery falsetto outlining a quick, yet catchy melody. The instrumentation of Salem’s chorus blooms into bold synth and drum arrangements, before shrinking back into the minimalist synth pattern of the second verse. The upbeat and high-tempo nature of this track gives it a uniqueness in the album, and in Bon Iver’s discography as a whole.

Sh’diah

The fast-paced, almost frantic tone of Salem quickly melts away as the album’s twelfth track begins. Sh’diah is driven by slow, tantalizing synth chords accented with vocal loops and saxophone flourishes. The song features some of Vernon’s highest falsetto in his entire discography as he slips in and out of language in blissful lamentation. Sh’diah stands for Shittiest Day in American History, referring to the day after Donald Trump was elected president. The song starts with his haunting, high vocals singing “Well you find the time, don’t you, for the lord? But can you find the time, oh can’t pass it around?” Vernon is asking why Americans can find time for god and faith in their lives, but can’t pass the kindness and love around to other people. He repeats the phrase “keep it rational”, reminding us that although faith is important in our lives, we cannot lose sense of rationality. Vernon’s voice is eventually replaced by a piercing, soulful saxophone solo that weaves through the dreamlike chords in a subtle yet heart-wrenching crescendo.

RABi

Like Re: Stacks, Beth/Rest, and 000000 Million did on their respective albums, RABi provides an honest, gentle conclusion to an intense emotional journey. Track thirteen once again features Justin’s confident chest voice over a minimalistic guitar progression. The lyrics are simple and straight to the point, with the choruses posing and immediately answering a thematic question - “so what of this release?” The entire album concludes on a painstakingly hopeful resolution, reminding the listener that “it's all fine and we're all fine anyway.”

i,i is a powerful addition to Vernon’s discography that builds beautifully on his previous albums while still adding experimentation to take his sound into a new direction, and dimension.

Now we have Elias' opinion on "PHASES" by Chase Atlantic!

Are Chase Atlantic even an Alternative band anymore? What does the term "Alternative" even mean in 2019? Those are the questions that loom over the Australian pop-rocker's sophomore album PHASES. Fortunately for us, the band don't feel the need to answer that question as they instead define their own sound through the 41-Minute retreat.

Chase Atlantic always had a weird spot in the scene. The group's vocalists, Christian Anthony & Mitchel Cave first gained a following through their involvement with What About Tonight, a pop boy band that competed on the X-Factor Australia. After they group lost, Cave and Anthony broke off to work on music alone. They enlisted Mitchel Cave's older brother Clinton Cave shortly after. They all learned how to write, produce, and record music themselves, which is something they continue to do to this day. Through their social media presence, they gained a massive online following on the "ClintonCaveMusic" Youtube Channel, which eventually evolved into Chase Atlantic.

Fast forward to 2018 and the group was signed to The Madden Brothers' (Founders of Pop-Punk legends, Good Charlotte) management company, MDDN. They toured with the post-hardcore outfit Sleeping With Sirens, and were about to play Warped Tour. Yet, their debut album didn't fit into that punk/hardcore box. It incorporated hip-hop beats, lyrics about drug addiction and sexuality, and a darker moodier tone. Yet it was still rooted in organic instrumentation, featuring The 1975-esque guitars and Saxophone, and vocals much more reminiscent of the nasal whine of the pop-punkers they shared the Warped Tour stage with, like Knuckle Puck, than the mumble rap flow of Future & Quavo.

By the end of 2018, the band was finishing up their EP 'DON'T TRY THIS' which they recorded out on the road, and tapped into the dark experiences they survives on tour. While songs like the social commentary on drug dependency "LIKE A ROCKSTAR" drew both praise and controversy for their lyrical content ("Take drugs, stay high / View the fucking earth from the outside / Pop pills through the daytime / And if I die tell my mumma that I died like a rockstar") the band, understandably, wanted to set their sights higher.

Enter PHASES-- Chase Atlantic's magnum opus. The album shows the band both musically and lyrically at the top of their game. While the DON'T TRY THIS EP focused on the dark and calloused, PHASES demonstrates a more emotionally vulnerable side of the band. This new vision of the band was apparent from the very first single, "HER", which coincidentally, is also my favorite song of the year.

Lead vocalist, Mitchel Cave described the songs message in an interview with The Noise: "'HER’ speaks on falling in lust with somebody who cannot truly be loved. The song touches on deeply-rooted issues including drug abuse, all while being portrayed in a lovely, pretty manner" which sums up the song. The song drips with imagery as Cave reminisces over an encounter with someone who's self-destructive tendencies, while charming at the time, killed the relationship. But the song doesn't sound sad, it sounds massive, euphoric, and packed with nostalgia. The playful teasing in the beginning of the song ("She says 'We could do whatever you want / But boy, don't go falling in love / You can't stay with me / All you'll ever have is one day with me'") broke my heart as it faded to desperate longing by the end: "She's always been running from love / 'Cause daddy didn't give her enough / But I can make the pain better / All I need is one more day with her".

"HER" perfectly demonstrates the band's signature style, as they subvert all of the traditional hip-hop cliches, as they take lines about designer clothes, popping pills, and having sex, but instead view them from the perspective of how they affect mental health, society, and relationships. Meanwhile the instrumentals blend a mix of arpeggiated synth riffs, modulated samples, creative drums, and organic instrumentals, to blend the best of pop, rap, & rock soundscapes. The whole album is polished and every track gives off space-age vibes, which the band incorporated into the album's aesthetics, showing imagery of space robots on the album cover, and rockets launching on the tour promos. It's all cohesive and beyond impressive for a group who writes, produces, and designs all their work themselves.

Another album cut that shows the band's style is "ANGELS", the first song on the record (after the instrumental intro) which illustrates the band's experience with popularity, and how their lifestyle as a touring band affects their relationships: "Calling on my angels / It's getting darker and I'm starting to get anxious / Nobody told me I'd be lonely when I'm famous". But once again, the song doesn't feel dark, it has a glimpse of hope aa the chord progression keeps getting higher and funk guitars pluck away in the background with a smooth saxophone solo over the outro. It's genuinely the band at the top of their game.

The most glaring example of the band's evolution is the 80's-influenced club track "HEAVEN AND BACK". It takes a story about a women's struggle with drug abuse, and how it escalated until it crippled her. An earlier Chase Atlantic would make such a song all about themselves, indulging in the hedonism-disguised-as-satire storytelling that defines "LIKE A ROCKSTAR" from DON'T TRY THIS. And that was a great song too, but "HEAVEN AND BACK" shows how much the group as grown.

The slower songs on the album show the band at their most introspective, as the title track "PHASES" and mid-album heart-wrencher "NO RAINBOWS" paint the environment young people bordering on the edge of the 2020's face. They both utilize minimalistic beats, chorus-laiden guitars, and atmospheric pad synths to draw attention to the lyrics. As guitarist, Christian Anthony croons, "I'm falling apart / I'm starting to scar / I'm going through phases" in "PHASES" he expresses in so little words the lack of trust people put in relationships, as the state of the world affects our psyches. This is complemented by Cave verse on "NO RAINBOWS" about how people put their lives in the hands of drugs to fulfill the expectations put upon them: "We don't live the life that we say we do in our pictures / There's no rainbows, just white lines / Your friends don't stay close, just waste time"

The other singles on the record are great too: "LOVE IS (NOT) EASY" draws upon a retro energy, as a slightly off-key keyboard sound and mix of real and electronic drums set the stage for Cave's anecdotes regarding romance; "It's easier to say we're just friends / Our generation made us that way / The type of friends who fuck / But when they fall in love, they're too afraid to stay" which surely reasonates with a lot of the band's younger audience. In fact the song's music video features Mitchel Cave's real-life girlfriend, Jordan Knight. Meanwhile the mental health awareness anthem "STUCKINMYBRAIN" marries mellow, melodic verses, with a powerful emotional chorus. It's punctuated by digitally cut and pitched up vocals and big spacy percussion. However I'd be remiss to not mention the absolutely explosive bridge where Cave yells, "I would give my soul away not to feel this / Struggle with it every day, it's like an illness / I just sit and lie awake, I'm on some real shit / Looking for a great escape, I might jump off a building".

Late album cut "EVEN THOUGH I'M DEPRESSED" also touches on mental illness, although, yet again, in a bright, poppy package. It's EDM-influenced production feels incredibly open and airy, which reflects the attitude Cave takes on to deal with his depression in the narrative of the song. The track that immediately follows it up "TOO LATE" takes a hard left into dark, trap instrumentation, as Cave just yells the traditional rap line about "stealing your girlfriend" which, while seeming lyrically off-message compared to the rest of the song, may be a callback to an older Chase Atlantic song."Triggered" where Cave fantasizes about killing the person who his ex-girlfriend cheated with. But even if it's not, the beat's fire, melodies are chaotic, and a necessary break into fun before the final tracks.

The penultimate track "I NEVER EXISTED" leans more heavily into the chill, alternative pop stylings of bands like Twenty One Pilots. While it's not particularly engaging, it does continue the lyrical narrative of "TOO LATE" as Cave tells his partner to go back to her old lover and not indulge him in the details of their affair.

Chase Atlantic did a fantastic job at inviting the listener into their world over the first 11 tracks, and if they left it at that it would've been a solid listen. But the album's closer is truly the band's strongest work. "I DON'T LIKE DARKNESS" finishes the album on an emotional intense note. The mellow keys in the background create a soaring feeling, as Cave sings about his emotions in a stream-of-consciousness manner. He expresses sorrow, loneliness, nostalgia, and fear so concisely, it's almost hard to believe that he's the same person who screamed "DEVILISH" on the DTT EP. The song ends with a swell of reverb and orchestral solo as Mitchel sings about a past relationship, likely the female protagonist from "HER": "Darkness to the light, I'll be forever gracious / Grey in your eyes, your soul must be silver-plated / Though we don't talk, I'll miss our conversations / I fall apart, you fill up the empty spaces". As he screams for the listener to not leave, the album comes to fitting close, acknowledging all good things must end, and the message of the album comes full circle.

The Chase boys did such a good job on this record, it almost seemed like they'd pickup some steam in the mainstream music market when the album was released. 6 months later, and the album's singles still haven't picked up any radio airplay in the US. But that doesn't change the fact that the band has an undeniable star quality, and the talent to become the next big thing.

So are Chase Atlantic still "Alternative"? I think it's clear that the answer is yes. They're doing the most punk rock thing imaginable, and not fitting into a mold. I saw them headline on their "PHASES: World Tour" this past summer, and they played to an even mix of emo kids, VSCO girls, and hip-hop heads. They perform with live guitars and drums on stage and feel like a real rock band, yet still bring pop-level production with their lightshow and visuals. They're bolder and more genuine than the major figures in the alternative scene like Billie Eilish and Twenty One Pilots, and more thoughtful and emotional than the major figures in Hip-Hop like Migos and Lil Pump. But the fact that they're so obviously inspired by both of those genres, yet strive to be bigger than them is why they won't fit into those scenes. It feels everyday like the rock music establishment is trying to start a culture war with hip-hop, so rock radio stations playing a band like Chase Atlantic would be like treason, even though those stations play lighter and poppier artists all the time (see: Fall Out Boy). Meanwhile Chase are so much more emotionally grounded than the acts that get airplay on hip-hop stations, it remains to be seen how well they'd do there.

Chase Atlantic's sound may be too big to be accepted by the industry, but it's big enough to accept all music listeners. So much of my identity is based around emo & scene music, but I fell in love with Chase Atlantic because I felt like I had a place in their community. Their songs talked about issues I felt needed to be talked about, and they played the types of concerts I'd want to go to anyways. They felt like something that was truly my own, and that's what got me into Hip-Hop and Pop/R&B music. That's what makes Chase Atlantic a band for everyone, and what made PHASES my 2019 Album Of The Year.

Here's Chloe's review on "FANDOM" by Waterparks!

It’s easy to say that most bands would be fearful of acknowledging the things that makes their fan base easy to hate but not Waterparks. The three piece decided to be bold and take names as every call out that had to be said, was put on the album. Naming the album “Fandom” of course was no mistake, calling out toxic fan culture and fan expectations to their fans. Toxic culture is nothing new of course from “Woodstock” to the twitter age, it’s just now band members see it if they log on. Someone as active in their fandom would be bound to see gatekeeping or rumors, the unfortunate side of a flourishing fan base.

Singer and lyricist Awsten Knight described Fandom as a look into his life over the past year and a half, dealing with public heartbreak and dealing with new fame and toxic people. If I was famous I wouldn't be writing articles on albums so I clearly wouldn’t understand any of this, nor do most of the listeners. What is unique about Waterparks is that songs so painfully specific to Awsten hit home for many other listeners making fandom different in the sense that he’s literally calling out his supporters and his supporters (for the most part) understand and take on their own meaning to the lyrical content.

With songs like “Watch What Happens Next”, “Easy To Hate”, “Dream Boy”, “War Crimes” and “I Miss Having Sex But At Least I Don’t Want To Die”, he tells his listeners how it feels to be in his position and what fan culture feels from the outside looking in. The other songs such as ‘High Definition”, “Worst”, “Telephone” and “I Felt Younger When We Met”, talk about grieving love and wanting love again. Awsten described this as stages of grief and how there are ups and downs and sometimes you have to start over again, thus explaining how the album loops.

All things considered Waterparks took many risks as well as a bold stance that many bands have yet to do. This release was the first release I experienced as a fan of Waterparks, and I can say I wasn't disappointed in. The colorful yet deep cut lyrics, the instrumental aspects and the artistry behind every little thing including the album looping makes this album an amazing album and my favorite of 2019. This album deserves every bit of praise that MTV and Billboard has shown it. An album as bold and unapologetic yet does so well is a sign of Waterparks and just how remarkable this band truly is.

And Ani's review of "Sundowning" by Sleep Token!

May I start by acknowledging what an absolute masterpiece this release is? The anonymous member(s) of Sleep Token have really honed their craft with this album, incorporating everything from elements of modern pop melodies to heavy, earth-shattering, bone-cracking breakdowns. They've managed to strike a perfect balance between experimental, genre-bending vibrations and the niche sound they've already rooted themselves in over the past few years with their EPs One and Two. It's fascinating. I'm sure you've heard it all before, but this group is truly one of a kind. Whether the backstory behind the upbringing of the band is true or not, they're doing a damn good job at striking a very specific chord with their fanbase through their cult-like presence surrounding the deity of Sleep and devotion to masked anonymity. Lead vocalist Vessel uses their music as their outlet of communication when it comes to spreading the message of the one they follow, and that's specifically apparent on this record. I'd highly suggest looking into the only interview the band has ever done with Louder either before or after continuing here to better grasp Sundowning as well as the band's objectives.

Not one track on this album is identical to another. While Sundowning begins with "The Night Does Not Belong To God", an atmospheric, moving ballad of sorts, it briskly morphs into something heavier. As the second track "The Offering" fades out in angst, it's quickly replaced by notes played tenderly on a piano and a comfortingly somber voice in "Levitate". The fourth off of the album, "Dark Signs", blends contemporary 808 pop music into the mix while Vessel's vocals stay consistently longing, true, and passionate. Skip forward a track and you'll find yourself absorbed in the five and a half minutes that make up "Higher." It is here that Vessel truly begins to demonstrate the range of their voice, going from that same sense of harmony from earlier to vicious, throat-tearing aggression in an instant. "Gods", the eighth track, is pumped with a similar yet even greater amount of hostility for much of the song, following one of many heart wrenching soft spots off the album. If you're into heavier shit -I mean, I literally picked this release up in the heavy metal section of a local record store-, this is definitely the track for you. No doubt. If you prefer the higher range of Vessel, you'll adore what follows. "Sugar", my personal favorite, begins with a simplistic arpeggio courtesy of the harp and does a great job of introducing Vessel's isolated falsetto. Near the ¾ mark, we get the edgier side of them once again. The chorus is repeated throughout much of the song yet it somehow feels like an entirely divergent piece of music each time, fading in and out of the song's original fashion near the end. The final three tracks off of Sundowning really know how to rip your emotions directly out of your mind, spirit, body, and soul and break them down right in front of you (as if the first nine hadn't done enough if this already). What more can I say other than that this masterly crafted trio of serenades will guarantee the outcome Sleep Token has always been aiming for. "As followers we are bound by a duty to combine our crafts to create music that conveys some of our most primal, and powerful emotions.” -Vessel (Luke Morton, Louder)

As you've probably noticed by now, I could rant on for days about this fascinating, occult-like group. To keep this short, sweet, and on a note of curiosity, I've left a few tracks relatively untouched or cut out entirely. The responsibility of research has fallen upon you. I'll wrap my review up by saying this: Give this album a listen. It's truly got a little something for everyone out there, for every mood, for every occasion. Possibly move on to the rest of their moving, thoughtfully curated discography. Read up. Discover. Gather. Take time to follow these followers of Him, they will captivate you. And most importantly, worship.

Breanna's review on Tessa Violet's "Bad Ideas"!

Tessa Violet’s “Bad Ideas” is by far my favorite album this year. Violet expertly captures the feelings of inadequacy and insecurity that can result from relationships. The album starts out with “I’m insecure/of that I’m sure” from the lo-fi “Prelude,” giving a quick preview into the content and overall mood of the album. From there it transitions into the upbeat single “Crush.” the beginning of this album is deceptively hopeful and fun. “Crush,” “Bad Ideas,” and “I Like (the idea of) You” are all very upbeat, jamming in your car with the windows down type of feeling. However, closer listening to the lyrics you can start to hear the more somber elements slipping through the playful moments, especially in “I Like (the idea of) You.” This album jumps from upbeat, dance worthy songs to more somber, toned down songs effortlessly. You can tell exactly what tone violet was going for in all of these songs. From the hopeful, love filled moments of first having a crush to the depression and feelings of inadequacy that come from an abusive relationship. Violet transitions through these moods and greatly expresses what it's like to put on a mask, as shown in “Bored,” a lyrically sad song with deceptive instrumentals. The final song on the album, “Interlude III,” mimics the opening “Prelude” with the stripped down feel consisting of Violet’s filtered voice and an acoustic guitar. This final song closes out the story Violet tells throughout the album as well, describing the aftermath of cutting out the cause of all your sorrow and loneliness that follows. The closing line “Don’t know what to say/all I know is that I’m lonely,” couples nicely with the opening line and really ties this entire album together.

And now Dustin's review on "Morbid Stuff" by PUP!

"Morbid Stuff" by PUP is truly an amazing album to listen to. I chose this album to review because the way it sounds together as well as individual listening truly blows me away. PUP is a newer band in my library, as I've only just discovered them this year, and I have to say they quickly became one of my favourite bands of all time. I believe a big part of music for me is how the songs translate live, and PUP just takes the cake. With the opening track being "Morbid Stuff", a title track starting the album off with enough grim mosh music to hype you up for the rest of the album. "See You At Your Funeral" is a fun, slightly more upbeat track with sadder themed lyrics and then "City", the final track helps the energy of the album die down with a slower track. All together it is an amazing well put together album and I adore listening to it.

Finally, we have Declan's review on Coyote Kid's "The Skeleton Man."

“The Skeleton Man” by Coyote Kid is an interesting album that grabbed my attention and became one of my favorites this year. This album was recommended to me by my friend Roshan and I definitely don’t regret checking it out. “The New Dark Age” sets you up for what you’re about to get into and gives off a creepy yet badass vibe. It keeps this theme as it changes tracks but speeds up to a more rock sound with both male and female vocals making an appearance. This album is definitely unique in its style and adds a new twist to the themes presented. I strongly recommend you check it out and support the band in their endeavors.

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We wanted to say one last, huge thank you of the year. Without you, this wonderful little mag wouldn't have been anything more than a dream for us. Because you continuously support us, we're able to do what we do. Even if there's hardly anyone reading our articles or watching our interviews, we're confident the small numbers will eventually grow, and we cannot wait for what's to come. Here's to another great year of rad times!