AeroLynx Music Blog

Finally, The Neighbourhood is going somewhere. I Love You. was okay, but it wasn't fully developed and left room for improvement. Wiped Out! was extremely boring, except for RIP 2 My Youth, which was probably one of The Neighbourhood's best songs. And those mixtapes- unnapealing, and getting them nowhere. This new release is a mixtape I guess, but is intentionally called an EP which might signal some difference in its purpose. Anyway, lets get to the tracks themselves. Roll Call effectively uses bass and drums to set a background for moody synthesizer-filtered vocals and building instrumentals(been a long time since when have we seen any in a The Neighbourhood son g)., and breaks back down to them at the end, tying the song together. You Get Me So High uses the rapid fire drumming that propelled Sweater Weather to fame, with vocals that alternate between a husky whisper and the pleading almost whine classic to The Neighbourhood, the instrumentals are atmospheric guitars and

Compared to the other singles for M A N  I     A(not sure what that A is doing so far away... had to be different I suppose), this song is pretty good. It does everything that works for fall Out Boy, as compared to Young And menace which I have no idea what that was, and Champion which seems good at first but then you realize a week later that you haven't listened to it again and don't remember any lyrics or rhythm. The Last Of The Real Ones manages to do both, and even has a video with psychotic llamas to boot. The instrumentals are a great pop rock background for an anthem, and that is what Patrick Stump delivers- they're meaningful, well sung, and use "celestial imagery"(thanks @5 Genius Contributors) to really drive his message home. I really don't know what they've been doing with this album, but whatever it is it hasn't worked. They don't like it, it's not popular, and up to now, not good. This song could be a hit if it takes off, but

I'm pretty hyped for The Killers' new album, and so is everyone else. Nosebleed tickets to their January show at Madison Square Garden are already in excess of $65, and The Man is playing on every radio station in the western hemisphere that plays "rock". The Man was an excellent disco scented masculine swagger of a song, Run For Cover fused multiple genres seamlessly, and Wonderful Wonderful hovered in the rafters even at low volume. So now this single: probably the last before Friday's scheduled album release, and possibly the most relaxed so far. Instead of trying to fill an arena, it does so effortlessly. It's beautiful instrumentals, steady beat, and gentle vocals and guitar really place this in a Strawberry Swing(Coldplay) type area, a great place to be. With its spot after the gigantic The Man, Run For Cover, and Wonderful Wonderful, it really helps to bring this album in to a more relaxed vein, and even the electronicized voice at the end makes this a

Cardiac Arrest by Bad Suns Heartbreaker by Bad Suns DARE By Gorillaz Feel Good Inc. by Gorillaz Last Living Souls by Gorillaz The Last Of The Real Ones by Fall Out Boy Whatever It Takes by Imagine Dragons I've been listening mainly to two albums this week: Disappear Here By Bad Suns and Demon Days By Gorillaz, on heavy rotation. Also that new fall Out Boy song(its captivating) and Whatever It Takes, because of the awesome new video.