While the replacement of solo instrumentation for ‘Bass Drops’ and Synthesizers is admittedly horrific, it does say something about the modern-day music industry and the way people listen to music. Where once, technical skill and creativity was something that people praised, now it’s left in the shadow of studio-manufactured sound that’s not created by a band with guitars and drums, but by a well-paid executive using algorithms and documented studies. This sound, created through equations and sung by people who are little more than familiar faces, dominates Pop radio. It’s something I affectionately call ‘Formula Pop’, a style of music that is neither an artistic expression nor necessity
In my article on Iron Maiden, which I wrote about two weeks ago, I mentioned just how anticipated their new album The Book of Souls is.
The first four tracks are delivered with such massive force that could fairly nearly skyrocket Strange Desire to the ranks of a truly great album. One song after another is delivered with perfect accuracy, yet momentum is rapidly lost with tracks like “I’m Ready to Move On”, which is bizarre and unfitting. Still, Antonoff delivers a magnificent album that touches on real-life issues like relationships and depression. This album can’t be recommended enough, as its faults are more than made up for with qualities.
As of writing, last week, a music announcement was made that caused a stir in not just the Heavy Metal community, but also the music general as a whole: Iron Maiden announced that their 16th studio album, The Book of…
Rated 7/10—highly recommended. Beneath the Skin has impressive lyric quality that is matched only by the tense instrumentation. A darker, moodier turn for the band that represents what could be a shift away from the Pop-Folk debut album My Head is an Animal, however Crystals is a step back in the original direction, and stands as more of a Pop sounding then the rest of Beneath the Skin appears to want to do.
Even Muse’s most dedicated fanbase aren’t going to argue with the fact that the majority of Muse’s musical output is largely bombastic.