Recap of September 18th Releases

This past Friday, September 18th, was like Christmas. Dozens of the most heavily anticipated early-fall releases were unleashed onto the world. Having a set of working ears on this day was like having a fucking golden ticket. So many exciting releases from so many different corners of the industry. While I am most certainly still sorting through the ashes and gathering my senses, I would like to share the seven releases that I’ve given the most attention these past four days.

Long Live – Atreyu

Returning from a four-year hiatus, metalcore veterans Atreyu exceed any and all expectations on this superb return-to-form, effortlessly revisiting some of the best moments from their catalogue, adding quite a bit of muscle to their sound in the process. Read my initial review of the title track here, and watch my full review of the album below:

GO:OD AM – Mac Miller

Already universally hailed as his best work to date, Mac Miller comes back from a messy battle with substances with more confidence and self-assurance than ever. GO:OD AM is fun and ambitious, yet never overindulgent. With minimal contributions from guests, the spotlight never leaves Miller, and he doesn’t waste a second. Tracks like “ROS” and “Jump” are some of the best hip hop songs of 2015. Read my full review of the album here.

Pagans in Vegans – Metric

More stadium-ready, energetic, absurdly catchy electro-pop from Metric, who – along with 2009’s Fantasies and 2012’s Synthetica – have now made a trio of top-notch albums. Though my ears may be clamoring for more of the guitar-driven sounds of the band’s earlier work, it is impossible to be mad at tracks like “Cascades”, “Fortunes” and “The Shade”. Slower moments like “The Governess” add a nice contrast.

Metal Allegiance – Metal Allegiance

Along with a murderer’s row of guest appearances, “Metal Allegiance” features the core lineup of Megadeth’s David Ellefson, Testament’s Alex Skolnick, and ex-Dream Theater/current Winery Dogs drummer Mike Portnoy. Given the involvement of thrash legends like Skolnick and Ellefson, it comes as no surprise that tracks like the crushing opener “Gift of Pain” – which features Lamb of God’s Randy Blythe – pay homage to the Bay Area. The unlikely duet of Dug Pinnick of King’s X and Hatebreed’s Jamey Jasta works tremendously on “Wait Until Tomorrow”. “Let Darkness Fall”, featuring Troy Sanders of Mastodon, is another highlight. The album also closes with a ripping cover of the classic Dio track “We Rock”. An incredibly fun, larger-than-life project that is loaded with first ballot heavy metal hall-of-famers. Let’s pray we get to see this live.

Abysmal – The Black Dahlia Murder

If there’s one feeling Black Dahlia fans aren’t quite familiar with, it’s disappointment. Seven albums in, and we’re still getting top shelf death metal. The dizzying technicality and manic riffage of “Re-Faced” are like an old friend stopping by and checking up on you, just making sure you’re still cool. “The Fog” contains the albums thrashiest moments, while the doomy “Stygiophobic” gives the album a welcome dose of breathing room. Ranking Abysmal in the band’s discography will take more than a few listens, but Black Dahlia continue to uphold the high death metal standards they’ve set for themselves.

Threat to Survival – Shinedown

Threat to Survival is certainly a good batch of catchy, radio-friendly rock songs, with soaring, defiant choruses and stomping grooves. What it is not, however, is the edgier, borderline-metal riff-fest that was 2012’s Amaryllis. Despite occasional misses like the sappy album closer “Misfits”, and the dull “It All Adds Up”, frontman Brent Smith’s ear for choruses remains undeniable, and Threat to Survival is highly recommended for fans of Papa Roach, Buckcherry, and Saving Abel.

I Hurt (single) – Children of Bodom

“I Hurt” is the opening track and now third single from Children of Bodom’s forthcoming I Worship Chaos album, due out October 2nd. I was not a fan of first single “Morrigan” initially (though I was probably just cranky), but the pummeling title track pulled the band back into my good graces. New single “I Hurt” features a heavy Pantera-style groove that is unorthodox for the band, yet adds a whole new layer of aggression. Elsewhere, the tune is classic Bodom, and my ears are definitely tingling in anticipation for the release of I Worship Chaos.

Mac Miller – GO:OD AM Review

Quick context: the following review was written for a publication that required a 600-700 word count range. The edited version can be read here

“Ain’t saying that I’m sober, I’m just in a better place”, croons Mac Miller over the Tyler the Creator-produced intro to his new album GO:OD AM. The Pittsburgh native’s third full-length LP follows a ten million dollar deal with Warner Bros. Records, a very public battle with substances, and a tireless creative process that resulted in Miller making over nine albums of material before arriving at his third album. No longer an independent artist, his drug use under control, and now approaching his mid-twenties, the word “reinvention” isn’t too farfetched in the Mac Miller conversation.

Perhaps most significantly, in 2015 Miller finds himself free of the “frat-rap” tag that once tortured him early in his career, framing him as a contemporary of the likes of Asher Roth, Sammy Adams, and Chris Webby, rather than the ten other emcees that Kendrick Lamar named in addition to Mac in his scathing 2013 verse on Big Sean’s “Control”. In the four years since Blue Slide Park, his critically-lampooned yet wildly successful debut album, the rapper who was once “Easy Mac with the cheesy raps” – as spit by battle rap extraordinaire Loaded Lux on Miller’s last album – has seemingly been on a never-ending campaign to shake his stigma and prove his worth to hip hop, with three projects that increasingly emphasized lyrical dexterity and artistic ambition, gaining more positive responses every step of the way. With GO:OD AM, Miller finally appears positioned for the true takeover that he has often alluded to.

GO:OD AM finds Mac Miller at his most confident and unapologetic, an aesthetic often absent from his previous work despite his undeniable talent. Lyrically, he continues to be wildly creative, dropping wordplay like “what’s a God without a little OD? /Just a G” on first single and album standout “100 Grandkids”. This time around, though, he raps like he has less to prove. On Miller’s last album Watching Movies with the Sound Off, his bars exuded an almost manic obsession with proving his technical ability, whereas on GO:OD AM he just appears to be having fun, though dense lyrical content certainly takes center stage at many points, such as in the first verse of album closer “The Festival”.

Longtime Mac Miller collaborators ID Labs handle the bulk of the production on GO:OD AM, alongside heavyweights like Flying Lotus, Sounwave, and even Sha Money XL on the first half of “100 Grandkids”. Sonically, the album maintains cohesion despite its diversity, from the trap-influenced, 808-ridden “When In Rome” to the piano and saxophone that close out “Brand Name”.

Though he has always had a flirtatious relationship with melody, Mac Miller’s most noticeable growth on GO:OD AM manifests itself in the songs’ melodic content. On tracks like “Break the Law” and the Miguel-assisted “Weekend” – not to mention the tender career highlight “ROS” – he effortlessly injects small doses of melody into what is still an undeniable hip-hop album. Brilliant future single “Jump”, which reunites Miller with “Donald Trump” hit-maker Sap, contains a hugely effective call-and-response section in the pre-chorus, a back-and-forth between swaggering bars and their melodic counterparts.

GO:OD AM does get occasionally bogged down by an oversaturation of misogyny and sexual innuendos. At times, allusions to sexual exploits become a crutch for Miller, in which he seemingly cannot finish a verse without wordplay about prostitutes, tongues, and vaginas – punchlines that fluctuate between entertaining and distracting. It is especially frustrating considering one the album’s shining moments: the aforementioned “ROS”, a touching, lovesick song that finds Miller as thoughtful and vulnerable as he has ever sounded on record. The introspective “God Speed” is another instance in which the rapper thrives in the absence of goofiness and braggadocio.

Likability has never been an issue for Mac Miller. In fact, it’s been his musical anchor at times, especially while weathering the “frat-rap” storm. On GO:OD AM, Miller loses none of the charisma or likability of his previous work, yet gains an abundance of vision and focus. Considering his second album, Watching Movies with The Sound Off, and last year’s Faces mixtape, GO:OD AM is by no means Mac Miller’s first great project. It is, however, his first work worthy of the tag “essential hip hop listening”.