#rnp review

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RNP Review: Mike Shinoda - “Post Traumatic”

Artist: Mike Shinoda

Album: Post Traumatic

Release Date: June 15, 2018

Review By: Andrew Kjelson

The long-awaited “debut” solo album by Linkin Park’s Mike Shinoda has finally been released to the world. Fans around the world have been skeptical about how the album would compare to his other works. News flash; it is phenomenal.

For those who don’t know who Mike Shinoda is, he has always been the rapper, back-up singer, and song writer in the band Linkin Park. While he certainly can do all those things, this record reveals his true potential and truly lets it shine bright.

Post Traumatic is a shift for Shinoda’s career. While this isn’t technically his first solo record (he had released a few records under the moniker Fort Minor), it is the first record where he referred to by his legal name. To the long-time fans of Fort Minor and Linkin Park, rest assured, this record is unique, yet familiar at the same time.

This record was written almost immediately after the tragic passing of Linkin Park frontman Chester Bennington. Due to this, Shinoda began to mend the pain by creating these songs as a way of coping. The record’s second track “Over Again” describes the pain and suffering Shinoda must’ve felt throughout the process of creating this record and coping with the loss of his friend.

The emotions showcased in the 16 tracks on this record display feelings of guilt, loss, anger, happiness, self-consciousness, and more. There should be at least one track that can relate to the listener in one way or another.

While every album has their set of songs that stand out, each of the 16 tracks shines bright in their own way. Wanting a happier sounding song? “Crossing a Line” is the song for you. You want a hard-hitting rap track? “I.O.U.” is as hard as it gets. Post Traumatic has something for everyone and that is only part of what makes it such a intriguing record.

Mike Shinoda has been through a lot this past year. Losing something or someone you hold dear to you is always incredibly tough. Shinoda decided to turn that grief and anguish into a diary of his struggles molded into a full-fledged release. Post Traumatic is an ode to those who are feeling down on their luck, those who feel like they aren’t good enough, those who are in a sunken place, or those who just need something to cope with.

While the future of Linkin Park is uncertain for the time being, Shinoda gifted the world, once again, with his art and it is truly something to be grateful for. Not many records have something for everyone, meaning this record is definitely not one to skip over.

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RNP Review: Post Malone - “Beerbongs & Bentleys”

Artist: Post Malone

Album: Beerbongs & Bentleys

Release Date: April 27, 2018

Review By: Andrew Kjelson

Hip-hop superstar, Post Malone, has returned with his second studio album Beerbongs & Bentleys.

           For those unaware of who exactly Post Malone is, he is an American rapper (known as Austin Post) widely known for his collaborations with the likes of Justin Bieber, Quavo, and Kanye West. Though he is labeled as a rapper and hip-hop artist, Post Malone is notorious for blending genres such as rap, hip-hop, R&B, rock, folk, and trap into his work. Beerbongs & Bentleys shows no drastic changes to his artistic integrity, as it takes what made his previous album, Stoney, popular and improves on the musical structure that was put into place with that LP.

Beerbongs & Bentleys is packed with 18 new tracks that fans old, new, and even on the fence with the rap genre can enjoy. This is not only a fun album, it is full of heartbreak, anger, and recovery. The three previously released singles “Rockstar (featuring 21 Savage),” “Candy Paint,” and “Psycho (featuring Ty Dolla Sign)” show that this album, at times, is perfect to listen to with the bass up loud and driving with your windows down. Things begin to slow down and Post’s true emotions seep through toward the last half of the record with tracks such as “Otherside,” “Stay,” and “Blame it on Me.” The diversity seen on this record hasn’t been seen too often in the world of hip-hop but Post took his chances and succeeded in the end.

This album is truly something unique. Few artists have tried to bridge the gap between genres and Post Malone managed to merge not only one or two together, he managed to blend several together effortlessly. There is a song for those who are looking for partying music, those looking for something to help them cope with something, and those who are simply trying to have fun; there’s a song here for everyone.

Post Malone is still a relatively young artist, only being in the music industry for a little over three years. This LP already shows an improvement over his previous work, with better song-writing, maturity, and unique conceptions. For those who aren’t completely set on Post’s previous works, give songs such as “Rockstar,” “Better Now,” “Psycho,” and “Otherside” a listen, as these songs help set the tone of the entirety of the album. Post Malone is a promising young artist and this album is definitely worth the time of day.

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RNP Review: State Champs - “Living Proof”

Artist: State Champs

Album: Living Proof

Release Date: June 15, 2018

Review By: Andrew Kjelson

Pure Noise Records’ “star-child” band and pop-punk superstars, State Champs, are back and bigger than ever with their third studio LP Living Proof.

State Champs has always been known as a band that produces fun, care-free pop-punk tunes. This formula stands its ground once more with this release, while shaking things up by adding catchier choruses and gritter, harder-hitting instrumentals.

Packing a whopping 13 new tracks, Living Proof is an album full of powerful summer-time anthems, uplifting ballads, and a few nods to the band’s older material.

The production on Living Proof is a mixed bag but not in the way you’re thinking. Three central producers worked on the mixing of the album, with the likes of John Feldmann (known for working with bands such as Good Charlotte, Goldfinger, and 5 Seconds of Summer), Kyle Black (who previously produced State Champs’ previous album Around the World and Back) and Mike Green (known for working with the likes of Paramore, Neck Deep, Pierce the Veil, among a long list of others). The need for the three different producers helps bring the variety in the record to life. The songs produced by John Feldmann such as “Dead and Gone” are catchy, summer-sounding tracks that can be compared to the work of bands like All Time Low and 5 Seconds of Summer. Mike Green and Kyle Black divided the production of a majority of the album together and produced tracks that sound reminiscent of older State Champs material.

Relationship issues, overcoming obstacles, and anger help fuel the flames of this record. Living Proof is an album one should crank up loud and be prepared to jam to. Tracks such as “Criminal,” “Frozen,” and “Safe Haven” are meant to be blared, with their intense choruses and blistering instrumentals that will stick in your mind. Things do take a breather and get slowed down for a couple tracks, such as “The Fix Up” and “Time Machine (featuring Blink-182’s Mark Hoppus).” These tracks are a breath of fresh air and prove that State Champs can pull off slower ballads along with their “heavier” hits.

While Living Proof plays it safe by keeping the band’s sound relatively the same as their previous work, that isn’t necessarily a bad thing whatsoever. This album shows that the band has truly found their sound and that they aren’t afraid to stick with it while also dabbing a bit of experimental tracks in the mix. Fans of the band, old and new, should all have something they can appreciate with this release. State Champs are just scratching the surface with this record and have proven time and time again that they can do anything if they put their mind to it. Don’t skip out on this record and certainly don’t miss out on the opportunity to see State Champs live on the final Vans Warped Tour this summer!

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RNP Review: Taylor Swift - Reputation Stadium Tour

Artist: Taylor Swift

Tour: Reputation Stadium Tour

Tour Date: 6/1/2018 at Soldier Field, Chicago, IL

Review By: Christina Lopez

Let’s sit back and talk about Taylor Swift’s reputation… No. Not her actual media reputation. That’s already been talked about enough. What I’m talking about is Taylor Swift’s Reputation Stadium Tour. 

Swift is ringleader once more, giving fans a high energy, high intensity performance for the ages. If the Reputation tour has not already set the standard for pop artists in the 21st century, it should be.

First, the staging of the show was innovative. Swift’s stage consisted of a LED video screen in an X shaped pattern that made the middle of the stadium floor feel like they were right in the middle of the action, but that’s not all. In addition to the giant X stage, two mini stages were erected in the back sections of the stadium floor, providing the crowd a glimpse of Taylor Swift up close and personal. These three stages were supplemented by a floating stage used for “Delicate” that brought Swift around a section of the 200 level. Swift has always cared for her fans and through this staging, she wanted to see as many of them as she could.

Speaking of seeing the fans, we need to talk about the lighting, videos, and effects used on this tour. In one of her monologues interspersed throughout the performance, Swift stated that she wanted to see every one of her fans during the performance so she equipped them with flashing light bracelets. These bracelets served as a fantastic light show through the whole show, bouncing in time with the rhythm and beats of Swift’s music. In addition to these lights, Swift harnessed fire, shot out newspaper confetti, and was surrounded by snakes that appeared from the depths of the stage. Finally, the video screens and videos were one of the most notable parts of the show as views of the performance were married with snakes, flying text, and overlays that added a touch of star power to the night.

Now that the lights, effects, and staging have been discussed, let’s get into the actual performance that night. Taylor Swift’s performance was electric. As the song “Bad Reputation” by Joan Jett and the Blackhearts faded out and the whole stadium went black, the crowd screamed. It was the night everyone was waiting for, the night everyone there thought might not come. The video screens are now playing a concaphany of news reporters talking about Swift mixed with a slow pan up of Swift in a white room. The reporters fixate on Swift’s reputation, Swift turns and smirks, and the video cuts out and the chilling call of “Let the games begin” fills the stadium. Swift cockily asks “Are you ready for it?” and the crowd goes WILD and so does the stage, spitting out columns of smoke. Swift comes on stage, guns ablazing and utterly slays the performance from start to finish.

Taylor Swift is a master of her craft at the height of her career and it shows. She seemingly breezes through “..Ready for It?” and “I Did Something Bad” before taking a moment to talk to the crowd about how thrilled she is to be with us all. She thanks the crowd for showing up that night and being gorgeous by segueing into “Gorgeous”.  Next, she treats the crowd to a mashup of three of her older hits: “Style”, “Love Story” and “You Belong With Me”. In “Look What You Made Me Do”, we get our first celebrity cameo of the night: Tiffany Haddish, as she explains exactly why the Old Taylor can’t come to the phone right now. Spoiler alert. She’s dead. Our second celebrity cameo of the night came four songs later with “Shake It Off” as Taylor is joined on one of the side stages by Charli XCX and Camila Cabello, her opening acts. For her next song, “Dancing With Our Hands Tied”, Swift lets us into her songwriting process with a stripped down acoustic version.

As Taylor is halfway through the night, she treats the crowd to her roots and performs “Our Song”. After, she turns into the media’s version of herself to indulge us all in “Blank Space”, performing as the vapid, boy obsessed girl the media loves to paint her to be. When the song ends, Taylor takes a small break to add another layer to her costume, a gauzy black wrap dress as she floats into “Dress” on the other small stage on the stadium floor. As Swift struts back to the main stage, the video walls fracture outwards and the stadium lights up red. The staging mirrors the explosive mashup of “Bad Blood” and “Should Have Said No” as Swift sings about two differing relationships gone wrong. Almost as an apology to the audience for the explosive nature of the previous mashup, she pleads to the crowd in “Don’t Blame Me”. The next song slows down the show as Taylor sits on a piano and speaks on growing up with her fans before launching into an emotional mashup of “Long Live” and “New Year’s Day”. The emotions continue through the next two songs of “Getaway Car” and “Call It What You Want”. However, Taylor ends things with an extravagant party Gatsby would be jealous of with “This Is Why We Can’t Have Nice Things”.

For all the emotions Swift pours out throughout the show, she ends with a perfect encapsulation of what the Reputation Stadium Tour actually is: a party where you are accepted for being who you are, dressing who you are, and loving who you are and who you love. This tour is nothing less than fast paced, high energy magic. If you are even mildly interested in Taylor Swift, you should make plans to go to one of the dates of this tour. Taylor Swift is at the height of her career and it is only going up from here. The final statement on the screen at the end of the night reflects Taylor Swift exactly how she is right now. “And in the death of her reputation, she felt truly alive.” And Taylor, might I add, we do too.

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RNP Review: CHVRCHES - “Love Is Dead”

Artist: CHVRCHES

Album: “Love Is Dead”

Release Date: May 25th, 2018

Written By: Pete Wisher

How do you introduce a sophisticated pop album in the growing enigma that is 2018? According to CHVRCHES, the answer is to give it a startling title - Love is Dead.

The Glaswegian electronic pop trio’s meteoric rise took a pause at the end of 2016 - upon concluding their campaign for acclaimed sophomore effort Every Open Eye - to take a breather, and  of course the time needed to craft their next slice of glossy synthpop.

Swapping their home studio in the depths of Glasgow’s West End for the glitz of Greg Kurstin’s LA studio and ‘Alucard 2.0’ in New York, CHVRCHES have thrown the DIY approach out of the window for this album, instead employing Kurstin to handle most of the production duties for Love is Dead. His influence can be heard from the intense opening seconds of ‘Graffiti’ to the distant, washed-out ending of ‘Wonderland’ - the rich, nostalgic sound of their debut album The Bones of What You Believe is more or less absent, in a favour of a more crystalline, super clean pop edge. It’s jarring and vulnerable at points, but no less explosive.

Given CHVRCHES’ more subtle sonic evolution between Bones and Every Open Eye, the more abrasive and far-reaching tone that Love is Dead takes is a more than welcome change of pace for the band. The typical CHVRCHES toolkit - analog keyboards, processed vocal samples and frontwoman Lauren Mayberry’s direct, encompassing vocals - has been expanded, to include much more ‘live’ instrumentation than on their previous releases. Whilst the thudding electronic drum machines and chiming synth riffs are still front and centre, the extra elements in play give rise to the theory of CHVRCHES being much more of a band than just a studio production exercise. Many of the tracks on Love is Dead benefit as a result - ‘Forever’ is an album cut that is brought to life by a joyous mid-song guitar solo, highlighting the multi-instrumentalist talents of band members Iain Cook and Martin Doherty.

In spite of CHVRCHES’ somewhat outspoken approach to the political and societal landscape around them - and the obviously seismic shift in this landscape since their last record - Love is Dead’s subtext is remarkably subtle. It’s only on ‘Graves’ that Mayberry truly lets rip, referencing the Grenfell Tower tragedy and the European migrant crisis - ‘They’re leaving bodies in stairwells, and washing up on the shore’ without hubris. Perhaps the indirectness of Mayberry’s lyrics throughout is much more of an effective thought provoker, as she addresses themes of vulnerability (Get Out), organised religion (Deliverance, God’s Plan) and personal experience of social media (Heaven/Hell).

Some long time CHVRCHES fans will undoubtedly enjoy these moments of insightfulness more than the basic pop repetition employed in many of the hooks, which on occasion do feel forced - the clinically simple chorus of ‘Get Out’ pales in comparison to the dreamy ‘You were a kaleidoscope’ refrain that follows, while the outstanding instrumental that backs ‘Never Say Die’ is partially let down by the overly monotonous lyrical content. The Steve Mac-produced ‘Miracle’ and ‘My Enemy’ do fare better (at least for the singles), even if the latter’s cameo from The National’s Matt Berninger comes across as rather bland. That being said, there is enough typically super-sized refrains in the mix to keep things interesting - as proven by ‘Clearest Blue’ from their previous record, this is where CHVRCHES are at their finest.

It’s a record that had the potential to be a huge swing into the echelons of the pop mainstream, but does fall slightly short. The upfront pop sheen will have its critics, but equally its fans too - and despite the nihilistic concept that Love Is Dead wants to portray, it is much more optimistic than you would think.

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RNP Review: Till I Fall - “Acoustic”

Artist: Till I Fall Album: Acoustic Release Date: May 25th, 2018 Reviewed By: Calista Fernandez

May 25th marked a big day for the local pop punk scene in the Bay Area. The San Jose based band Till I Fall released their first acoustic album, Acoustic. The album was written and recorded by Brandon Leland and Zax Avila (guitarists and vocalists), with the intention of slower paced new songs and stripped down older ones. This unsigned group tends to write about relationship issues in romantic fields and platonic as well.

The first song titled Poolside, brings about a feeling of nostalgia nearly about the past. One of the band’s strongest suites is their lyrical talent, and that shines through the whole album as listeners get a chance to hear and connect with this artist. Through the chorus, it’s repeated that there is a yearning to “let go of things that don’t hold meaning,” which itself strikes me as an inspirational line, leading me to ponder the past that I’m still holding closely.

Doin’ fine finds a different melody with a similar underlying theme. There is an acceptance in this song of the struggles that the artists have gone through in the past. It can be difficult moving on from hurtful situations, but in the end the song pushes listeners to be honest with themselves and find the courage to believe in themselves enough to continue the journey.

The next two songs in the album are acoustic versions of the band’s own singles, Cherry Bomb and Sunshine. Both songs follow relationships in differing ways. Cherry Bomb is about a relationship between the singer and themselves, more of an exploration of who he is. Another theme of acceptance of the “broken” part of a person.

Sunshine on the other hand follows a relationship that’s gone through a rocky start, but there is a need for redemption. Leland’s vocals create the honesty and humility that one would want to hear from a loved one. Not only this, but Avila’s backing vocals reinforce this determination throughout the album. Each note that is sung or played holds a strong and emotional sense behind it, knowing that the group doesn’t want to just talk about sex or drugs- there is a deeper substance here.

With powerful lyrics and strong vocals, Till I Fall is definitely a band to look out for and support. The group is currently unsigned, but they show major potential and determination to create a space where their fans can feel safe to let go. Check them out on social media to keep up to date with their tour dates and new music!

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RNP Review: Jon Hopkins - “Singularity”

Artist: Jon Hopkins

Album: Singularity

Release Date: May 4th, 2018

Review By: Pete Wisher

Despite his understated exterior, you’d struggle to find an electronic musician with more impressive credits than Jon Hopkins.

The Kingston-born producer started out his career as a touring keyboardist for Imogen Heap, going on to collaborate with Coldplay, King Creosote, Brian Eno and London Grammar amongst others whilst releasing a string of solo albums. Focusing on a unique fusion of ambient and club genres, his latest effort Singularity has been unveiled: building on from his 2013 Mercury Prize nominated album Immunity.

The nine compositions that form up Singularity are perhaps representative of Hopkins’ best work to date. Lead single “Emerald Rush” feels like a showcase of the genre-bending electronica that this album is capable of - the quiet introduction of flickering keyboards and free-flowing piano suddenly erupts out of nowhere; Hopkins’ utilising the irregular rhythms present to illustrate the aggressive, yet euphoric synth progression. The execution is somewhat masterful. “Everything Connected” carries a darker edge - a dark choir-like soundscape sustaining across the pulsing tech beats, pushing the track along. Hopkins’ plays with the listeners’ expectations and emotions throughout, fading elements of the instrumentation in and out to generate these nuanced climaxes and releases, that have a new twist and feel upon each repetition.

The second half of Singularity disperses almost entirely with the abrasive, in favour of the quiet and the reflective. The trio of “Feel First Life”, “COSM” and “Echo Dissolve” that follow complete the mood reset entirely - the heavy techno is completely absent, in favour of sparse atmospheres and immaculately constructed ambiences becoming the main focus, along with Hopkins’ premier instrument in the piano. Even though the sudden juxtaposition would not appeal to all, it’s impossible to find much criticism of this: considering how well Hopkins blurs his dynamics together, yet also finds moments to invoke almost startling contrast without it being out of place.

The closing piano piece “Recovery” doesn’t quite have the impact that Immunity’s self-titled closer did, but maybe that is the point - with the piano motif trailing off into the distance, the listener is almost left behind to pick up the pieces, and wallow in the void that Singularity has punched a hole in for the last hour.

As a whole, Singularity has the allure of a more-energised, yet simultaneously more relaxed setting. The extremes are just that much more extreme on this record than its predecessors - the ambient moments have never been more mellow on any Hopkins’ album, yet they are contrasted by an ever more ambitious and intelligent approach to processed, explosive techno. The individual thought and process that goes into each element is calculated and well-executed; each of the sounds interacting and flowing as if the album were a single organism, breathing and moving together. The result is a fluid and cohesive - albeit almost jarring - hour that explores all the realms that his immaculately produced brand of electronic music has to offer.