AeroLynx Music Blog

Thirty Seconds To Mars has certainly been changing. They started off as a very heavy band, full of guitar riffs and muscle, and know they make songs that sometimes have almost no instruments in them, purely synths and loops and drums. They started off this album quite awhile ago, with the singles Walk On Water and Dangerous Night, which both became medium sized hits but didn't go a tremendous distance. Like always, this album is characterized by grandiose hard hitting tracks of a medium speed with all the trappings of 2010s arena rock, but this time without as much pure heavy guitar and more modern electronic drums and keyboards. It's interesting to see a classic 30 STM chorus break down to the frantic off kilter sampling of modern dance pop, and the stripping down of their sound works well sometimes. keyword sometimes- in some cases they just turn it back to their old style, putting so many tracks in your head hurts and you feel like the song's closing in on you, and somet...

King Charles- YUNGBLUD Shotgun- George Ezra Get Away- George Ezra Buster Cannon- AJ Tracey Champions League- AJ Tracey Caveman- The Burgeoning Rain- The Burgeoning

George Ezra exploded into the world's musical consciousness in 2014 with an international platinum hit in Budapest, a second top ten hit in the UK and a number one album across the world. He came back sometime last year with Don't Matter Now, a flop compared to the number two UK hit in the second single, Paradise, and the the number one UK album that I'm about to review. The album starts with a duo of familiar singles, showcasing the gently catchy style George Ezra is famous for. Pretty Shining People is a bit of a standout, talking about George Ezra's anxiety about the future, and being stuck in the past, which is mirrored in his music. It seems that throughout the album his lyrics could be from any time since 1930, with very little hint of the 21st century. The instrumentals also all seem like pop instrumentals from the postwar era, but with the occasional electronic beat and frill added in by the producer to try to turn George Ezra into more of a modern Chainsmokers ...

About a week ago I was walking home from my car and lamenting the loss of the old Arctic Monkeys and the failure of a fast and fun band rising to popularity to replace it. I slept on it, and the next morning I was making breakfast and listening to the radio and I heard what I'd been waiting for: YUNGBLUD. I immediately figured out the artist, and I've been listening to this EP on repeat ever since. The self-titled EP starts with King Charles, a bass and drum driven track with multiple tooting, stuttering, and eddying vox samples that carry the song along and give it a very hard to place character. The first verse is a bit claustrophobic in it's proto-rap, but the chorus is a lot better, with some guitar getting in under the vocals that are rhythmically well done and memorable, with some slightly confusing lyrics about capitalism and such. I Love You, Will You Marry Me is a certifiable BANGER about controversial graffiti with the same title from YUNGBLUD's native...

This is pretty late, guess I was busy... I Love You Will You Marry Me- YUNGBLUD You Get Me So High- The Neighbourhood Flowers- The Neighbourhood Reflections- The Neighbourhood Saviour- George Ezra Tin Pan Boy- YUNGBLUD Out Getting Ribs- King Krule Deadline- Young Fathers Rumbling- Young Fathers SAD!- XXXTENTACION

The Neighbourhood have made their comeback. It really started last year, and hasn't quite ended, but this is the real meat of it- the album. The first one in three years, with almost nothing in between, after the okay but not very successful Wiped Out! and the successful but improveable I Love You. They started their comeback last year with the surprise Hard EP, the more eclectic indie half of Hard To Imagine, which was completed with the very electronic To Imagine EP this year. This album takes the best tracks from both, including the alternative radio hit Scary Love, originally from the To Imagine EP. The album starts with the shimmering synchronized synthes of Flowers, and the insecure but still major chord singing of Jesse Rutherford. It's pretty similar to his solo song Barbie and ken, about how he's such a fake, a basic Ken doll, etc. This time it trades Take a Daytrip's slick trap beats for the keyboard and some basic drumming, backing some really cool singin...

As you probably know, a lot is resting on this new album. The first album he put out was a true breakout, with two UK top ten hits and a hit in pretty much everywhere with a chart to track it. The mediocre Don't Matter Know kicked off the single parade for this album last year, but didn't really make a dent anywhere. Paradise, an excellent pop anthem, George Ezra style, looked like it would do the same, but suddenly picked up steam and jumped to the top 20 in the UK in the past couple weeks. And now we have these three songs, all coming within two weeks of each other, so I decided to review them together. Pretty Shining People is the kind of narrative song that has fallen out of fashion. It starts off slowly and still pretty catchy. The chorus is much faster and more anthemic, and brings in some drums. I think the basic acoustic guitar that ties it together is pretty good, and the extra little drum and keyboard bits work well with some electric guitar to strengthen the song ...