Keywest-Joyland Album Review

Ireland’s own Alternative/Indie/Pop band, Keywest, are known for their indie pop sound that is reflected in their music. Their most recent record, Joyland, takes a turn towards indie more so than their previous, The Message. This is where the band finds their sound and it’s because of this sound that the instrumentals add so much more to this record than their debut. Joyland was released in 2015 and explores different themes but all centered around love in its many forms.

The record kicks off with “All My Mistakes,” which sounds like a happy-go-lucky song paired with soft vocals and an acoustic guitar. The lyrics suggest that the vocalist, Andrew Kavanagh, is talking about is someone who he considers a mistake. Despite the melancholy lyrics: “I saw it coming/Way down the line/I knew it the end you/Would never be mine/But of all my mistakes/You’ll be my favorite one” the upbeat instrumentals put the sound of the song in a new direction.

Another track that features a similar theme as “All My Mistakes” is “Carousel.” It is about someone the vocalist can’t be/isn’t with. The vocals sound more emotional, especially when paired with the guitar that gives it a somber feeling. There is yet again another contrast between the melancholy lyrics and an upbeat chorus. “I’ll only love you from afar/My love will last a lifetime/I love you with a heavy heart.” “Cold Comfort” and “Gypsy Rose” are two songs that sound more alternative and indie, compared to the pop sound that is on other tracks of Joyland. “Cold Comfort” has strong electric guitars, which adds diversity to the record since it doesn’t only rely on the acoustic guitar. When these instrumentals are paired with vocals that give off the rock vibe even more, it creates a new dimension to the band. All that is said about “Cold Comfort” can be said about “Gypsy Rose,” as well. In addition, Kavanagh’s vocal power is shown off the most in this track. He hits high notes that are not heard in any other song on the record, which show what he’s truly capable of. As for the themes in the record, love is highlighted on in most of the tracks. It’s one word that helps sum up the ideas that the lyrics were written about. “Apple Tree Hill” and “Always Been You” are two love songs that show off what romance is about.

“Apple Tree Hill” is about two lovers growing old together and about their relationship at its current time and how it will be in the future. The place mentioned, Apple Tree Hill, clearly has some significance to the couple, as it is their destination after the both pass away.

“Always Been You” is another romantic song talking about his love and despite everything that happens it always was her. The piano/drum combo creates a steady beat, which backs up Kavanagh’s soft and controlled voice. The simplicity of the instrumentals make way for the lyrics since they are a key part of the song and what should be focused on in this track. At one point the vocals are isolated, which give it more of an emotional feel.

“This Is Heartbreak” is a track that transitions the record to heartbreak, another subset in the theme of love that Joyland follows so well. The emotion in the vocals are so prominent and combined with the instrumentals to get across the tale of heartbreak that is expressed through the whole song.

Overall, this record is put together well and explores themes that can be related to at many ages and situations. Love is a universal feeling and one that can be understood the easiest when put in a song. Keywest showed off their skills in their sophomore release and refined their sound as they lean towards the indie/pop side of the genre. This suits them well and something they should continue with in the future.

Rating: 8/10

Mallory Knox-Wired Album Review

From hard-hitting rock instrumentals to soft rock ones, and everything in between, Wired has it all. This is the newest record from English rock-alternative band, Mallory Knox and was released on March 10. Although they have tracks with hard rock elements and sound very raw in that sense, this album contains a variety of tracks not limited to that style. They have their core rock foundation, but the diverse use of their instrumentals makes the songs sound more diverse.

“Giving It Up,” “Better Off Without You,” “Lucky Me,” and “Saviour” are all songs that are hard hitting with raw guitars and drums that overpower the vocals in a way that works for the style.

“Giving It Up” begins the album with hard rock instrumentals and vocals to match. Already, lead vocalist, Mikey Chapman, demonstrates his talent. He shows that has no trouble hitting the high notes that he does in the chorus of this track. This is high-energy that gives the album an energetic and exciting start-similarly to the other hard rock tracks that are scattered at various points of the record.

The part of the album that leans more towards the side of softer rock includes tracks like “For You,” “Midnight,” and “Come Back Around.”

“For You” and “Midnight” have a similar groovy-like feel because of the way the guitars sound in these songs, especially. Both are still upbeat but have softer instrumentals to show off the vocals even more. The dual vocals between Chapman and back up vocalist, James Gillet are shown off in “Midnight” because of the way they blend with each other. “Midnight” even has some dreamy elements within the instrumentals which adds to the story being told and matches the title.

Some other stand out tracks that make this record what it is are “Falling In Love,” “Come Back Around” and “Mother.” “Falling In Love” sounds as if it will be the slow song on the record; once the second chorus hits, it’s back to an upbeat rock and roll track with powerful drums, guitars and angry vocals to match. It ends just as slow as it begins, which is a little twist to make it stand out even more.

“Come Back Around” is the song where Gillet’s back-up vocals shine the most. Chapman starts off the lyrics and Gillet finishes them, instead of repeating the lyrics, which occurs often with back-up vocalists. This is a simple change that goes a long way for the listener.

“Mother” sounds similar to other songs on this album, however; there is one part in the pre-chorus that is so different from all the other parts of the song and even the album. When Gillet sings, “Chin up kid, you’re counting down the minutes,” it gives such a pop punk vibe that is something not heard on this record. It’s yet another simple element that is so enjoyable to listen to and catch different styles in these songs. Since this is the closing track, there is a feeling of ending within to get across that it’s the final track.

Mallory Knox have created a diverse rock record and one that stands out among other releases. It’s full of different songs and styles, even if they are only in small parts of the songs. It’s almost like a reward for the listener to catch something as minute as it, but makes their listening experience so much more enjoyable.

Rating: 8/10

WSTR-Red, Green and In Between Album Review

Catchy guitar riffs, pop punk vocals, and tunes that make the listener want to bop to the beat constantly is what sums up WSTR’s debut record, Red, Green or In Between. Many of the tracks can be described as typical pop punk tracks, although WSTR pulls it off in a fun-loving manner, for the most part. There are parts on this record where certain instruments overpower other aspects on the track, which doesn’t completely destroy the song but makes it less enjoyable to listen to. One of the best aspects that this record has is the guitar; in every song they manage to make the guitar riffs, particularly the opening ones, extremely catchy.

This pop punk four piece formed in Liverpool, UK and consists of Sammy Clifford, vocals, Kieren Alder, guitar, Danny Swift, guitar, and Alex Tobijanski, bass. Their debut was released on Jan. 20 through No Sleep Records.

Red, Green or In Between kicks off with the high intensity track, “Featherweight.” It opens up with a catchy guitar riff, similarly to most of the songs on this record. One of the biggest things that WSTR did right was their guitarwork. This track did its job of introducing the album and the style that it will follow.

With most of the songs on this record, the ratio between the vocals and instrumentals are pretty good, especially because pop punk is known for a style where the instrumentals overpower occasionally. However, with some songs, the instrumentals overpower the vocals more so than they should. This happens with “Hightail” and especially “Footprints.” In “Footprints,” it’s the drums that don’t mix well because during the first verse the cymbals overpower the vocals way too much. Luckily, this doesn’t persist through the song and doesn’t take away completely from the track, but it is distracting. The acoustic version is much better.

“Lonely Smiles” is the song that shows of Clifford’s vocals the best. His voice especially during the bridge is enjoyable to listen to. The way he sounds at this point in the song isn’t going to be for everyone, but personally it sounds unique. His voice is dynamic and fluctuates in registers based on the part in the song, like the chorus and bridge.

The most stand out tracks include “Eastbound & Down,” “The Last Ride,” and “Punchline” because of how their instrumentals sound. “Eastbound & Down” sounds like it would be a slower song (at least compared to the majority of the album) then breaks out into a fast tempo track with unique guitar that sounds different from typical pop punk riffs.

“The Last Ride” has a similar intro to “Eastbound & Down” but still remains as unique. WSTR utilized overlaid vocals in the bridge, which makes it a more dynamic and stand out track.

“Punchline” starts out sounding like an acoustic song, but leads into powerful guitars and drums. The guitar at points overpowers the vocals but that is fixed as it hits the chorus, where the vocals shine. The fact that it has acoustic elements makes it the best track to complete the record.

Pop punk fans will enjoy this record because it’s a very pure pop punk album, with changes in certain songs to diversify it a bit. However, some of the songs can sound too similar and the mixing of the instrumentals and vocals can sometimes be distracting. WSTR did a good job with their debut for the genre, but should create songs more variety on their next record.

Rating: 6/10

As It Is-Okay Album Review

UK Pop-Rockers, As It Is released their sophomore album on Jan. 20 and it takes everything they created with their debut with the addition of deeper lyrics, catchier instrumentals and more. Their debut, Never Happy Ever After created a sound that was fresh to the genre but at the same time something fans of pop rock would find difficult not to enjoy. Their second record, Okay, takes all this and improves upon it. Just by one listen it can be heard that As It Is took their time to create the best lyrics and instrumentals possible.

The album follows a theme of catchy, upbeat songs with somber lyrics. Without paying attention to the lyrics, a listener could assume the album follows happy themes, but that isn’t the case. There are deep topics that vocalist, Patty Walters, clearly had personal inspirations for. These inspirations make this album sound rawer and with more emotion than the previous.

The band formed in 2012 in Brighton, England and is made up of lead vocalist, Patty Walters, Benjamin Langford-Biss, guitar and vocals, Patrick Foley, drums, Andy Westhead, guitar, and Ali Testo, bass.

Okay begins with “Pretty Little Distance,” which instrumentally sounds like the As It Is fans know and love but with lyrics that create a whole new listening experience. It’s an upbeat and catchy pop punk song, instrumentally, with lyrics that describe what the album as a whole is about. It’s about how life throws twists and turns all the time and that bad things are always bound to happen. The lyrics, “Ain’t life swell from a pretty little distance?” implies that the way we live our lives there will always be tragedy and heartbreak.

“Until I Return” is a track that follows a similar formula as “Pretty Little Distance” does, because of how the lyrics are written. “I promise I’ll fight but I can’t promise I’ll be fine;” they explain that it’s okay not to be okay, which is another huge theme found across this record. These lyrics also explain the theme behind all the personal stories Walters is telling through each song. The fact that this track is towards the end shows contrast between the beginning with “Pretty Little Distance” and this one.

All the tracks on this record have some sort of personal experience that is written about, but there are two that stand out the most in what they are about. “Hey Rachel” and “Austen” are those two songs. “Hey Rachel” is written about Walters’ sister and how he could have been a better brother during a difficult time in her life. Meanwhile, “Austen” is a song written about Biss’s grandfather being hospitalized and his experience seeing him in that state.

Walters experimented with more topics on Okay such as relationships and being trapped within his own mind. “Patchwork Love” and “Still Remembering” discuss the topic of love, more specifically the end aspects of a relationship. In “Patchwork Love” Walters writes about a past relationship and how even though they aren’t together anymore he won’t forget or regret it and he asks her to do the same. “I won’t forget you, I won’t regret…All I ask, my one request/Don’t forget me, don’t regret me.”

“Still Remembering” is a bit different because it isn’t as clearly defined as “Patchwork Love” but the lyrics discuss a lot about endings. “When you left, not without warnings or regrets/Nothing would fill this hole in my chest/Bid your farewell…So my love, goodbye.” These lyrics make it the perfect way to end the record combined with the fact that it’s the most acoustic song. Instrumentally and lyrically, the album is being wrapped up with this track.

The topic of being mentally stuck was another idea that Walters struggled with because it made its way into some songs as well. “No Way Out” and “Soap” are two tracks that exemplify it perfectly. The lyrics in “No Way Out” explain this topic clearer than “Soap’s” but both still get the idea across in their own unique ways. In “No Way Out,” Walters experiments with some screaming vocals that work well with the song because it makes the lyrics stand out as more meaningful to him. “I shut my eyes, but my world’s still burning/I can’t escape, I feel it killing me/No way out.”

“Soap” is a bit different, not only in the fact that the lyrics are more cryptic than straightforward but because instrumentally, it is the most unique. The verses have a unique style in the way the vocals interact with the instrumentals. The vocals are mixed with a slight screaming to pair with the raw emotion created through Walters’ lyrics. “This will only take a lifetime/To bury me as deep as troubled is your mind/I’m sinking deeper into your head/I’m the lie you live in, every thought you dread.”

Every track on this record is wonderful and Okay is an album that doesn’t disappoint in any way. The instrumentals follow a pop punk sound, but have twists that make certain songs stand out and lyrics that are meaningful and personal in all of the best ways. This record is more than just a listening experience; it is an experience that makes the listener really think while still enjoying the upbeat pop punk tunes.

Rating: 9.5/10

You can stream the record here: https://www.youtube.com/watch?v=HpZL8cbLq4o&list=PLsBWlr67U5NsBbWZyypkhNmXzuJycASJr

The xx-I See You Album Review

An album filled with a variety of tracks, while holding onto similarities to make the piece more cohesive is what best describes The xx’s newest and third release, I See You. It puts together tracks that go hand and hand with another, while each song still remains unique and its own. This prevents most of the tracks from being lost and forgotten in the whole feeling of the album. The xx are considered an indie/electronic pop group from London, England made up of three members: Oliver Sim, vocalist and bassist, Jamie Smith, drummer and producer and Romy Madley Croft, vocalist and guitarist.

I See You begins with the funky and upbeat first track, “Dangerous.” The band mixes a trumpet with the alternative instrumentals and even electronic effects to create a sound like no other. These effects last during the majority of the song and when combined with Sim’s and Croft’s vocals, sound wonderful. Their voices blend well during the whole track, but especially in the chorus. Both their vocals are mellow, which show off a contrast with the effects that turn the song upbeat.

There are other songs similar to “Dangerous” that take the upbeat effects and instrumentals to create a song with enough balance between the relaxing indie sound and a funky rock one. These songs are “A Violent Noise” and “On Hold.” Both contain similar elements, but each stand out with their own sound while blending with the overall feeling of the record. “A Violent Noise” has parts where there are softer vocals and effects, while in others faster and more intense ones. The instrumentals and vocals equally speed up and gain intensity to match some lyrics in the chorus: “Every beat is a violent noise.”

“On Hold” is the most upbeat and rock sounding song on the record. This makes it stand out but the way the instrumentals are used allows it to fit into the sound of the album as a whole. What makes it unique is the use of the electronic effects. All the other songs on the record utilize them, but this is the one where they are the most prominent. They also sound different compared to the relaxing effects that make this album overall sound calm. These effects sound like they belong in a pop-electronic track instead.

The remainder of the album follows a calm sound, especially in tracks: “Performance” and “Replica.” Each one has a similar feel to them because of features like they each doesn’t have many complex electronic effects like another track, “Lips.” “Replica” is instrumentally driven, as the effects and instrumentals overpower the vocals at times and tend to lead the song in the correct direction. However, overpower is not meant negatively in this case. Somehow, this element works in these parts of the song since its focused on the relationship between the instrumentals, effects, and vocals.

The album concludes with “Test Me,” the most mellow song and one that does its job of wrapping I See You up completely. The vocals only last until about two minutes before the song ends and the rest is a combination of electronical effects and instrumentals. They sound dark and dramatic, which creates a somber feeling. Similarly, to when something good comes to an end. It closes out this record in a way that is truly unique. The length of pure instrumentals give the listener time to reflect and think about the album and the lyrics.

I See You is a great listen for anyone looking for a relaxing record to chill to and especially for fans of the indie genre. It does not contain as many rock elements as other bands considered part of the indie rock genre and the use of electronic effects makes them unique when compared to other artists. This record is one that is cohesive and at the same time blends different elements together that wouldn’t seem to make any sense. The xx makes them work in a way that wouldn’t be expected.

Rating: 8/10

Favorite Albums of 2016

Over the course of 2016, I discovered many new artists whose albums I fell in love with, fell back in love with old artists because of a new record and followed my favorite artist’s newest records. Each one of these showed of that new music flourished this year, many albums I listened to were a huge hit. Although others, were not. But this is my favorite records of 2016 so that is what I will be discussing. *Albums are in no particular order*

  1. Better Weather-With Confidence

tumblr_inline_o55zx3dyah1qfo293_500

Aussie pop rockers, With Confidence were never a band that was in my sights until I saw them on a recommended video while watching State Champ’s newest music video for
“Secrets.” I heard With Con’s two EPs, fell in love, and when Better Weather was released, fell even more in love with that album. It’s truly a wonderful album, there are simple lyrics surrounded by deeper ones on many of their songs. Each one is extremely catchy as well, with choruses that can be learned after only a couple listens. That may make the record sound more simplistic, and with some songs it is, but that’s not the whole thing. With Con explores themes of avoiding normality and prides themselves with being different while pursuing their musical dreams. This is a special record and extremely easy to get into.

Stand Out Tracks: “Long Night,” “Waterfall” and “Archers.”

Rating: 9/10

2. Death of a Bachelor-Panic! At The Disco

death-of-a-bachelor

Panic! At The Disco is a well-established group with four other albums under their belt. With each one and different line-up changes, the sound has been changed in each record to suit the band when creating their music. Now that Brendon Urie is the last original Panic! member standing, he mixed up this record from where they began with A Fever You Can’t Sweat Out. But this new sound is still as good as their original. The songwriting still shows of Urie’s talent and his vocals are fantastic, especially in the title track. It sounds more pop than the unique sound of their previous works but it works. Panic! are known for this sound changing act so don’t be disappointed yet. It really is an amazing work that deserves to be appreciated.

Stand Out Tracks: “House Of Memories,” “LA Devotee’ and “Crazy=Genius.”

Rating: 9/10

3. Double Dare-Waterparks

double-dare

Discovering Waterparks was one of the best musical things that has happened to me all year. I was familiar with them from their Cluster EP and when their debut released, I shrugged it aside. After listening to their lead single, “Stupid For You,” I finally listened to the whole thing. Thank goodness that I did, this is clearly one of my favorite records of the year and it may even be my favorite. Each song hooked me instantly; Waterparks’ pop punk sound combined with electronic elements created a unique sound and feeling that is rare to hear. I honestly have nothing bad to say about this record; you need to listen to it because it is phenomenal.

Stand Out Tracks: “21 Questions,” “Plum Island” and “Powerless.”

Rating: 9.5/10

4. Headspace-Issues

headspace

Electronic, rock, metal and rap wouldn’t seem like genres that would blend together, but Issues makes them all work in their newest release, Headspace. Around the time this record came out, there was nothing but buzz about how amazing it was. I strayed away from them because of their metalcore elements, but kept an open-mind about this release. And I’m glad I did. Each song is truly unique from each other but is still able to create a cohesive unit as the album wraps up nicely when listened to from start to finish. The metal elements are toned down to make more room for the blending of the electronic and rock ones with sprinkles of metal and even rap. It’s an album that won’t be easily forgotten and for good reason. Issues showed off how great of a band they can be with this record and I hope they continue is this direction.

Stand Out Tracks: “Coma,” “Slow Me Down” and “Lost and Found.”

Rating: 8/10

5. The Human Condition-Jon Bellion

the-human-condition

Every record on this list, except this one, falls in the rock genre. And I don’t call myself a fan of rap, but The Human Condition is a pop record with electronic and rap elements on it that I instantly fell in love with. It’s fantastic and each song has a different feel to it. “80’s Films” has a nostalgic vibe to it while “Morning In America” takes a point on social issues and the world we know today. Every element Bellion experimented with works and nothing is forced. Everything is cohesive and creates a three dimensional record that can be enjoyed for years to come.

Stand Out Tracks: “Morning In America,” “Hand of God” and “Maybe IDK.”

Rating: 9/10

6. Low Tides-This Wild Life

low-tides

Acoustic duo, This Wild Life’s sophomore album, Low Tides, takes what they have created with their debut, Clouded, and  expands upon it. From the songwriting to instrumentals, each have improved and shows off what they are capable of. Many songs on this record expose true emotional reactions from the listener. This shows how powerful the songwriting is that it evokes those emotions from someone who may not even be going through the situation being sung about. Kevin Jordan’s vocals are soft and can serenade any listener. They pair perfectly with the seriousness of the topics and his emotion is reflected in the same way. This record is an easy one to listen to and a hard one not to enjoy.

Stand Out Tracks: “Hit The Reset,” “Red Room” and “Let Go.”

Rating: 8/10

7. Misadventures-Pierce The Veil

misadventures.jpg

After waiting four years for a new Pierce the Veil release, this record doesn’t disappoint in the slightest. Being such a huge fan of Selfish Machines and Collide With The Sky, I was nervous that this record wouldn’t be able to compare to either of those. But that is not the case at all, fortunately. These songs are crafted beautifully and intensely; from the personal lyrics to all the band’s talents on their respective instruments. This is another band that have established themselves as a powerhouse in their genre and they still have a lot of musical fight left in them. “Song For Isabelle” is one where vocalist Victor Fuentes  shows off his personal lyricism and lets his emotions through. Meanwhile, “Texas Is Forever” shows off wonderful instrumental work. Although those respective elements shine in those two songs, they are shown in every song. This record is Pierce The Veil that we all know and love with extras that show that they are developing with every release.

Stand Out Tracks: “Floral and Fading,” “Bedless” and “Texas Is Forever.”

Rating: 8.5/10

8. In Our Bones-Against The Current

in-our-bones

Pop rockers, Against The Current have finally released their debut record. After listening to their two EPs front to back, multiple times, a new record was long due. And In Our Bones doesn’t disappoint one bit. The songs are catchy and evolve into a more pop rock sound that takes one step further than their previous EPs. All the songs are unique and have something about them that make them special, but the band truly shines with “Blood Like Gasoline” and “Wasteland.”

Stand Out Tracks: “Blood Like Gasoline,” “Wasteland” and “One More Weekend.”

 

 

Waterparks-Double Dare Album Review

Three-piece pop rock band, Waterparks, formed in Houston, Texas in 2011. The young group are signed to Equal Vision Records and released their debut album, Double Dare on November 4 and another EP earlier in 2016. Additionally, they also have two EPs, which were released in 2012 and 2014. The signing to Equal Vision has helped them find and develop their sound and is greatly improved upon on Double Dare.

This record showed the band discovered the delicate balance between pop rock and a more pop sound created by the use of a variety of electronic effects. Some songs lean towards either side of this spectrum, but the record as a whole is balanced. It shows that Waterparks experimented with different elements and carefully crafted a product that shows them all off in their own unique ways. Nothing is overpowering or overwhelming, it’s a blend that the listener won’t be able to get enough of.

“Hawaii (Stay Awake):” This song serves as a nice introduction to the sound Waterparks is established with this record. It’s a good introduction to Awsten Knight’s vocals and the mix of pop rock with electronic effects they utilize in their songs on this album. The effects like the ones used in the background of the chorus. Knight’s voice is so easy to listen to and seems to put you in the trance that is Waterparks through the blended elements the boys incorporated.

“Gloom Boys:” This song, along with the whole album is fun to listen to, and the pre-chorus shows that off. Knight sings this part of the song quickly and creates a special effect that can’t be achieved with simply the electronic sounds. A glow/starry effect with the slight twinkle sound is created in the chorus and between that and the hard rock/Knight’s vocals, new layers are added. Like many other songs on Double Dare, the catchiness of the instrumentals does not cause the lyrics to suffer. Knight creates creative but fun lyrics, which isn’t easy to achieve, especially for their first album. An example of the lyrics is, “I brought a knife to a gun fight, I brought my words to a fist fight…”

Stupid for you: In the beginning, they mention colors like “natural blue,” which comes from one of their older songs, “I’m a Natural Blue.” The high pitched “hey” in the chorus is a wonderful addition that improves upon the chorus. Knight’s vocal talent is unique and the way he goes from soft vocals before he explodes into harder vocals at points of the chorus creates depth. Like all the rest of the songs on this record, this is a fun song that makes the listener want to get up and dance. Like “Gloom Boys,” there is still no lack of creative lyrics, especially the use of this metaphor: “You’re a symphony and I’m just a sour note.”

“Take her to the moon:” This track is the most pop song on the record, but is one of the best Parts of the chorus seem like they could be featured in an Owl City song, with the use of the starry electronic effects. These types of effects are used the most in this song but they are scattered throughout. A technique like this allows for more emphasis on them when paired with the instrumentals.  And Waterparks makes it work so perfectly. The verse and the pre-chorus are so different, with what seems like alternating vocals, but it’s still one vocalist. He sings back and forth with himself, as if he were singing a duet with someone else.

“Made in America:” Putting the most pop song next to a hard rock one in the track list creates such a great contrast. This is a fast-paced pop rock song that has more emphasis on the instrumentals, but still has those slight electronic effects. Like in the verse, they use an effect that is similar to a synth sound. The topic of this song reminds me of Green Day’s work, as Waterparks uses certain diction when describing American culture. “We’re made in America/We’re classic hysteria/We’re culture cashing, hazard smashing.”

“Powerless” and “21 Questions:” These are the two slow songs on this record and both feature acoustic sounds. “Powerless” has a more explosive chorus, with the introduction of drums and guitars, meanwhile “21 Questions” keeps the acoustic track for the majority of the time. “Powerless” has a story element to it, which Knight auditorily paints for the listener. “21 Questions” is a rawer sound, since it sounds like just the acoustic guitar and Knight’s voice. Those vocals sound the most different out of the whole album, not as magical like on the other tracks. Both songs show off his vocal talent in a different but special way.

“Little Violence:” This song sounds like the hardest hitting, because of Knight’s aggressive vocals. Although it has these hard-hitting guitars, drums, and even vocals, the band still makes the electronic effects work. Knight can transition from the vocals listeners are familiar with featured on the rest of the record to the aggressive ones in little time.

“Plum Island:” The intro doesn’t even sound like a Waterparks song, but it’s easy recognizable once the chorus hits. The way the guitar erupts after the chorus and leads back into the drums shines with the electronic effects that are added. They can be heard after the second chorus very clearly, it’s a dreamy synth sound. There’s different aspects of this song, that are separate but when put together they fit, even though it doesn’t seem like they would when they are apart. From the hard guitar/drum combo at parts, to pure electronics, to the mix of instrumentals and electronics, all work wonderfully.

Double Dare is a work of art that hooks the listener from start to finish, and achieving an experience that cannot compare to many other releases. It creates another realm of starry and unique effects that listeners get to wander around in for 44 minutes. This album is an experience no one will want to miss out on.

Rating: 9.5/10