Chaz Bundick, best known as Toro y Moi, quickly rose to prominence on online forums and blogs during Chillwave’s online emergence in the late 2000s. The often gimmicky and short-lived genre produced many burnout artists, but Toro y Moi’s staying power made him an outlier. He is among this era’s greatest artists thanks to his ability to not only adapt to changing technology but use it to advance the music industry at large. And his latest studio effort, 

 is yet another push forward. Blending his trademark synth sound with retro, club-inspired beats, 

 is among Toro y Moi’s greatest albums and is an absolute delight from start to finish.

The clear highlights of this album are the instantly enjoyable tracks “Ordinary Pleasure” and “Freelance.” On “Ordinary Pleasure,” the silky-smooth bassline and African drums flow effortlessly into a synth complimented chorus, and the track’s lyricism about maximizing pleasure while we get older and as the world gets more depressing is nothing if not poignant. “Freelance” sounds like Neon Indian and Daft Punk decided to collaborate in the best way possible. The lo-fi vocal manipulation breaking up infectious bass lines before each verse is irresistible and the playful chorus riffs are flawless.

But while these two standout tracks certainly impress, the album shines because each song draws you in and demands you to move. “Laws of the Universe” has the unenviable task of following up “Ordinary Pleasure” in the album’s track listing, but a cheeky reference to James Murphy; a catchy, warbling synth; and a perfectly placed off-beat piano during the bridge turns this track into another highlight. The tropical influenced percussion in “Baby Drive It Down” will bring you right back to moving after a change of pace halfway through the album. “Who Am I” is the most fun you will ever have listening to an artist have an identity crisis. “50-50 (feat. Instupendo)” is a swirling, ethereal closer and a fitting callback to Bundick’s musical start in the Chillwave genre.

If I had to pick something to critique on 

 the lyrics and slower tracks leave something to be desired. Bundick has never been a standout lyricist, and besides some notable lines, this trend continues on the new album. The change of pace in the middle of the album is understandable from a thematic perspective, but the tracks don’t grab your attention like the rest of the work. “Miss Me” features excellent vocals from ABRA, and “New House” would be a great track on any other album, but 

 in particular was dragged down by the lackluster beats in each. That said, the critiques don’t take away the fact that this is one of the best full-length efforts of Bandick’s career and an early end-of-the-year top album list contender.

Working a desk job or being a student means listening to a ton of music and figuring out what makes you as artificially productive as possible. That said, while I love 

I do not recommend listening while at work or in a campus library, because you absolutely will be dancing in your chair and you absolutely will attract weird glances due to aforementioned dancing. But if you find yourself looking for an album to enjoy from start to finish once you’re back home, I suggest you give 

a spin and enjoy an indie legend’s nearly-perfect 7th studio effort.

Toro y Moi releases nearly-perfect ‘Outer Peace’

A Boogie Wit da Hoodie became a rising star of rap when he debuted with ‘Drowning’ at #38 on the Billboard Top 100 and being named as part of the ten-member 2017 XXL “Freshman Class.” A Boogie’s meteoric rise continues with 

 and he’s certainly progressed significantly to get to this point. A melancholic, pensive theme is evident throughout, but doesn’t progress lyrically or stylistically, causing the album to lose momentum near the tail end. And while 

has its moments, the album was hampered by its long length and inconsistent production choices.

The themes of love and pain are wholly pervasive, but the album’s length and uncreative beats hurt the overall work. The 20-song tracklisting leads to an album that’s dominated by filler and forgettable tracks. ‘Swervin (feat. 6ix9ine)’ just isn’t good enough to justify the inclusion of controversial rapper and human clickbait, 6ix9ine, as a featured artist. While a discussion about the rap industry’s promotion of such a problematic figure as 6ix9ine deserves its own op-ed, all I’ll say about it in reference to 

is that this track is unnecessary and, without the controversial feature, it would barely justify a mention in this review. ‘Come Closer (feat. Queen Naija)’ is an attempt to change up the predominately bass driven beats from the first nine songs, but the guitar-led song falls flat on its own and in comparison to the rest of the piece. ‘The Reaper’ would’ve been better as a B-side and doesn’t deserve inclusion on this work. As a whole, 

would immediately improve if the production was consistently better than it was on the aforementioned tracks and, unfortunately, the uninspired, uninventive beats and controversial feature drag A Boogie down on this LP.

Yet, songs like ‘Voices in My Head,’ ‘Startender (feat. Offset and Tyga),’ and ‘Look Back at It’ exemplify where the production and lyricism work together masterfully. Starting the album with “All she ever wanted was for my heart to hurt” immediately set the tone for the next 19 tracks. Starting the album with the bold, dark lyricism and beats that A Boogie Wit da Hoodie found success with on his first album was a recipe for success. The energetic beat and fitting flow on ‘Startender’ with features from Offset and Tyga make for a compelling and immediately memorable track. ‘Look Back At It’ is a high water mark for the album, as the Michael Jackson sampled beats and vivid imagery of a failed relationship could impress even the most casual listener. His distinct flow and vivid descriptions of pain in love elevated this album in a major way. While his lyricism gets repetitive by the last few tracks, hopefully, the young MC can channel these bright spots and excel in future projects.

While he sets a theme well and has some very impressive highlights on the album; the lyricism gets repetitive by track 20, the production is very inconsistent, and it puts forth nothing that progresses the genre. While I enjoyed the album, the lack of standout tracks and mediocre production dragged it down. A Boogie is still honing his craft with this sophomore effort, but if he wants to take a big step forward, he’ll need to make his next album more concise, improve the production, and select a better supporting cast.

A Boogie Wit da Hoodie overcompensates with ‘Hoodie SZN’

On a frozen, windy night in Allston, the warmth of Brighton Music Hall was a relief from the frigid weather. As Peter Bjorn and John rose to mainstream prominence in 2006, the late-millennial audience at the music hall started enjoying the band’s brand of indie rock. While the generational hit ‘Young Folks’ was dominating the airwaves, many attendees at the music hall were finishing up college or enjoying their first jobs. The past 12 years have been less than stellar for them, with a great recession and lack of recovery eliminating much of the perceived opportunity that existed for the college-educated in 2006. As the generation spent the last few years figuring out how to live in an often depressing and always exploitative world, the standard indie rock fare, like Peter Bjorn and John, provided, if nothing else, a welcome respite to a harsh reality. The night at Brighton Music Hall was a continuation of this escape as the band’s rollicking guitar riffs and emphatic performance provided an escape for an audience that needed it.

Georgi Kay. Photo by Chris Bach for WRBB.

You might not expect a Peter Bjorn and John set to open with an ethereal vocal and synth-driven act, but Georgi Kay’s impressive performance helped the crowd forget they were even at a Peter Bjorn and John concert. Her awkward ad-libbing between songs humanized the commanding electronic riffs she delivered via laptop. At one time, Kay even declared, “I promise I can play real instruments!” to the laughter of the crowd. Later, she explained and showed the audience the involved looping process she was using to make those beats. Ultimately, the memorable ad-libbing and high-quality deep house-inspired electronic refrains provided a surprising opening act.

After the superb opener, Peter Bjorn and John emerged to great fanfare. Peter, the energetic frontman; Bjorn, the understated bass player; and John, the subdued drummer, were a formidable group and had great chemistry on stage. They catered to the late-20’s audience by starting with ‘Call It Off’ from 

 and ‘Falling Out.’ The rest of the performance continued without a hitch as the trio generated the quintessential mid-2000s indie rock we’ve come to expect from the band.

Peter Bjorn and John. Photo by Chris Bach for WRBB.

Tracks like ‘Gut Feeling’ and ‘Wrapped Around the Axle’ from their new album 

 were performed as well and fit into their set seamlessly. Peter’s naturally performative style elevated the set and charmed the crowd. Between leaping into the spectators, lying on the ground, and more jumps than I could keep track of, he worked the stage like the 19-year veteran he is. An encore of old standbys like ‘Young Folks’ and ‘Second Chance’ were a perfect end to the incredible set, setting off rapturous applause from the audience.

Peter Bjorn and John’s unique indie rock wasn’t only a respite from the low temperatures; it also served to distract a disaffected class of upward seeking professionals that have been wronged by society at nearly every turn. Hearing these old favorites makes you remember why you enjoy this genre of music in the first place. The instantly recognizable whistling motif of ‘Young Folks’ can help anyone forget they’re working longer hours for less pay and monetizing their hobbies to survive in 2018. As the lights rose around the hall and reality settled back in for the attendees, they could take solace in the fact that the generational hit they grew up with will always be a reminder of good times – and that maybe better times are still to come.

Peter Bjorn and John capture generational audience at Brighton Music Hall

Village’s soul-influenced and vocal-powered R&B impresses with distinct and beautifully orchestrated rhythms and skillful lyrical ability.

Everything Jacob Banks has touched thus far in his musical career has turned to gold. Working at open mics and releasing his own music has led to a series of successful self-released EPs and singles featured on pop culture staples like the FIFA 15 videogame, the show Suits, and the movie The Equalizer 2. This success even led to tours supporting artists such as Sam Smith and Alicia Keys. But he’s never released an album on a major label, until this November with Village. This debut album intends to be a narrative and personal journey based on Banks’ own experiences immigrating to England and falling in and out of love. Village’s soul-influenced and vocal-powered R&B impresses with distinct and beautifully orchestrated rhythms and skillful lyrical ability.

This album is filled with notable high points, speaking to the quality of this album. It starts with harmonic vocals and driving synthesizers on “Chainsmoking.” These passionate lyrics convey the suffocation of affection and compliment the pulsing beats. “Love Ain’t Enough” builds on this positive momentum, featuring powerful and concussive rhythms. The rest of the album ebbs and flows before its musical and thematic zenith, “Unknown (To You).” This single was featured on Banks’s previous self-released mixtape before the album was written in 2018, but its assimilation in the tracklisting is entirely complimentary to the rest of the piece. In particular, the chorus’s heart-wrenching delivery truly elevates the song and album as a whole.

While the highs of this album make it one to remember, Banks has room to improve on a follow up. One could certainly make the argument that the album lost steam in the middle when compared to the rest. This was true on tracks such as “Kumbaya” and “Caroline,” but the narrative theme was still maintained throughout. While some tracks were overshadowed by the bolder and more unique bookends, this remains a minor criticism and the deeply personal and distinct sound captured by Banks makes this a debut to remember.

Jacob Banks’ music, even before this first full-length album, made a significant impact on pop culture. After the very impressive debut, Banks’ future is unequivocally bright. Especially prevalent on “Chainsmoking” and “Unknown (To You),” the impressive R&B is augmented by Banks’ powerful storytelling. While inconsistent at times, the album maintains momentum throughout and remains very compelling. Jacob Banks composed an impressive debut album and it’ll be interesting to see where his career goes from here. If you liked this album too, Banks will be at the Royale February 23rd.

Jacob Banks releases soul-inspired R&B debut ‘Village’

 shows flashes of unique greatness while remaining utterly forgettable otherwise.

Most kids who grew up on alternative rock/indie YouTube recommendations and Pandora playlists know both Young the Giant and their hit “Cough Syrup.” Seven years after the release of “Cough Syrup,” the band is back with their fourth studio album, 

. Best known for their self-titled album released in 2011 with singles like “My Body” and the previously mentioned “Cough Syrup”, Young the Giant maintains a distinct 2010’s indie rock sound on 

 that is enticing for longtime fans, but potentially tiresome for casual listeners.

The centerpiece of this album is opening track “Superposition”. The lyrics are bland, but concise mandolins bring a unique and dynamic instrumental element to the track. “Heat of the Summer” is another highlight, as the distorted post-chorus guitars add a musically engaging side to their simple indie rock. This album benefits greatly from these impressive and compelling moments. The closer, “Mirror Master”, has a rollicking and exciting chorus that stands out against the rest of the LP. It is the most memorable track and acts as a metaphorical sprint to the finish line for this album.

 metaphorically sprint, the rest of the album metaphorically crawls. The empty lyrics and uninteresting riffs make 85 percent of this album entirely forgettable for all but the most earnest Young the Giant fans. Specific lowlights were the plodding and wholly irredeemable guitars on “Simplify” and the vulnerable, but unfortunately forgettable track “You + I”. Young the Giant’s discography up to and including 

 reveals a musical formula copied and pasted across their albums — lifeless, faux-intellectual lyrics combined with pedestrian, uninspired indie rock, punctuated by glimmers of musical mastery. And this musical mastery is why 

 is so conflicting. After listening to this album 15 to 20 times, it’s still a struggle to find meaning in the arbitrary lyricism and uninspired indie rock. But “Superposition,” “Heat of the Summer,” and “Mirror Master” are a stark contrast to this formula with fun riffs and unique musical elements.

Ultimately, this album sounds exactly like what one would expect from a Young the Giant album. Occasionally, it yields flashes of impressive and genuinely unique moments, but overwhelmingly, it disappoints the casual listener and devolves into a very skippable album. That said, if Young the Giant put those unique moments together, their fifth studio album will be one to remember.

Young the Giant disappoints with ‘Mirror Master’

Mac Miller’s life and career, while tragically short, were positive influences throughout the music industry and culture at large. He will be sorely missed.

Death is our most poignant reminder of human fragility. Our time here is short, and nothing reminds us more of this than losing it. When a great artist dies, the mourning process involves an appreciation of what they’ve done and how we’ll remember them. After his untimely death at 26 on September 7, Mac Miller’s death has been an opportunity for us all to take another look at his breadth of work and his impact on the people around him during his short life. It’s clear that he was a growing influence in the music industry, and his positive impact on the people around him make saying goodbye even harder.

Mac Miller was an icon to anyone who grew up in Pennsylvania from 2007 to present, impacting a decade of young fans. Pennsylvania has some sport and music stars, but his was one that an especially disaffected, suburban youth could latch onto. After a group of mixtapes, his first album, 

, was released in November 2011, being the first independently distributed album to debut at number 1 since 1995. Garnering mixed critical reviews, 

 was criticized for its lack of depth, but heralded for how positive and carefree it was. Some critical publications wrote him off as a frat rapper, but his early impact was significant both locally and globally.

, were praised for improved lyrics and psychedelic influence, as well as the laundry list of great features from artists like Earl Sweatshirt, Miguel, Schoolboy Q, and Tyler, the Creator, to name a few. These were vitally important works, as they forced critical publications to take him seriously beyond his initial reputation. This era saw him grow from being classified as a frat rapper, to being highly regarded as a multi-instrumentalist with an impact on the music industry beyond the local scope of his first work.

, was a huge step forward artistically, switching gears by incorporating a neo-soul influence on tracks. He even started producing his own songs under the pseudonym Larry Fisherman. 

 displayed a new mastery and maturity in his music; delicate pianos, string pieces, and jazz inspiration transformed this era. His single ‘Dang!’ was a showcase of this progression, with a funky bass line, a great Anderson .Paak feature, and brilliant horn sections.

A breakup with Ariana Grande due to his deteriorating sobriety, a car crash, then a self-imposed exile set the stage for 

, Mac Miller’s sixth and final studio album released this August. Like 

, a downtempo, stripped back RnB-influenced formula was used again to much success. This album is a result of a difficult two years, but more than ever Mac Miller sounded like he was moving forward, exemplified through lyrics like “I was drowning but now I’m swimming” on the opener ‘Come Back to Earth’. Again, calling on high-level talent like Thundercat, Dev Hynes, and Snoop Dogg, 

 was one of Miller’s most impressive works, especially when comparing it to 

. His passion for improving artistry through instrumentation, production, and collaboration is one of the biggest reasons his life and art will be severely missed.

Mac Miller performs on NPR’s Tiny Desk on August 6, 2018.

One of the biggest reasons Mac Miller’s death has resonated with music fans at large is that it’s our harshest reminder that no matter how old you are, you don’t have a lot of time here. Mac Miller was only 26 when he died, and he lived a big, joy-giving life, improving the lives of those around him. 

While fan toxicity clouded his remembrance

, the outpouring of support from fans and the music community to his family and loved ones is just one way to see how large he impacted modern culture. Whether or not you believe in an afterlife, we can all agree Mac Miller deserves all the best in whatever lies beyond. May he rest in peace.