5 More Horror Movies You NEED To See! (#2)

By: James Southworth

Happy Halloween, everyone! One of my favorite things to do on the day of my favorite holiday is to watch great horror movies. There's no telling how many horror movies, both good and bad, I've seen. This is the second segment I've done of this, and I hope to make it a tradition for every Halloween. It can be hard to find 5 new great horror movies every year, but it's something I want to do. So here you go: five horror films that I think are deserving of multiple viewings! This list is in no particular order.

1. Lights Out

It seems like it would be a tough job to adapt a relatively simple idea meant for a short into a full-length movie. And yet, director David Sandberg was able to do this to mainly good results. When I found out that this guy was a prodigy to now beloved horror director James Wan, it didn't surprise me at all. You can see his inspiration from Wan's cinematography all throughout this movie. The off kilter usage of camera angles is awesome, and makes for a movie that feels unique in the horror landscape. Flickering or non working lights are an absolute cliche in any horror movie. But that's not the case with this one. In fact, the only way the creature in this movie can operate is when the lights are off. There is sufficient reason to be afraid of the dark. The scares in this movie are all pretty good. The beginning sequence is almost directly like the short, and it ends up being one of the best parts. You could feel the tension rising in what is a simple set up. The main story is really good too. There's a surprisingly emotional backbone to the family unit in this story, with the relationship between Rebecca and her kid brother Bret having a considerable amount of history between them. You understand the weight of their relationship and why both desperately need one another. You care for the characters, so they aren't just kill fodder for the demonic entity. "Lights Out" is more than deserving of your attention. While I wouldn't say it breaks new ground, it's still creative and populated with compelling themes.

2. The Invitation

If you like your horror movies very weird, then "The Invitation" is for you. As this movie unfolds, things become stranger and stranger. Will is invited to a dinner party by his ex-wife Eden and her new husband David. Of course, there will already be some awkwardness with this premise, but that is the least of David's problem. There's also some other people present that used to friends of Will's and one unknown person who simply goes by the name of Pruitt. It seems like everyone has secrets they're hiding, and Will doesn't know what any of them are. As this party goes on, a very odd cult element is introduced, and then things start to get quite unsettling. This movie is straight up suspenseful, and the pressure keeps on building up to a peak breaking point. When the movie finally does break all the pent up tension, the pay-off is something to behold. All the characters in this movie are very interesting. Logan Marshall-Green continues to prove he's an underrated actor, as his performance of Will is layered and mysterious. John Caroll Lynch is indescribably frightening and off-putting as Pruitt. He disappears into this role, and you believe as the viewer that he is this person. His performance can sometimes be blackly comedic, which works to this movie's advantage. Tammy Blanchard also gives a very unique performance as Eden. Weird, sometimes funny, and definitely scary, I think "The Invitation" is one of the most underrated and intriguing horror flicks out there.

3. It Comes At Night

I will never, ever understand why audiences were so negative to this movie. If you were going into this movie expecting what you got from the trailer, then I guess you might be disappointed. But, I was honestly sort of glad with what I got. It wasn't at all what I thought it was going to be, and I don't think that is a bad thing. You never once see the "it" that this movie refers to. The "it" could even be symbol for the paranoia of the individuals that are living in this clearly post-apocalyptic world. We know as much as the characters do: that there is a disease that is killing off loved ones, and no one knows who it could kill next. Also, there could be an entity out there that is killing everyone in incredibly gory ways. Or, there may not be. Two families come together to live under one house, trying to escape the evil of the world. However, Paul, the patriarch of protagonist Travis's family, begins to mistrust the other family's intentions. The same goes for Will, the patriarch of the other family. Both have similar motivations: they only want to protect their loved ones. But that puts them at each other's throats as their survival instincts kick in. And then, we as the viewer realize that maybe the evil is not outside, but within. It's a haunting commentary on the human condition, and what we will do to survive, and what we will use as justification for doing the most evil of deeds. Performances in this movie are SUPERB, with Joel Edgerton bringing his A-game as Paul. His transition from loving father to practically a psychopath is very engaging to watch, and makes for something frightening to behold. Carmen Ejogo and Riley Keough both bring compassionate performances as Kim and Sarah. It's intriguing to see things constantly through the eyes of Kelvin Harrison Jr.'s Travis, who may or may not be a reliable protagonist. Maybe this movie doesn't have an entirely reachable conclusion. But I think that's a good thing. Sometimes the unknown is far scarier than anything else, and that is definitely the case with this masterful horror movie.

4. Trick 'R Treat

This movie is the embodiment of the Halloween spirit, and has honestly made its way up into one of my top 10 horror movies of all time. I'm not joking, it's that good. It's certainly the best anthology movie out there. This film actually chronicles four different stories, and even makes them connected to one another in cool and surprising ways. There are so many anthology films out there, and unfortunately most of them just aren't that good. Sometimes only one of the stories stands out, and other times they all feel haphazardly put together. Not so with this movie. Director Michael Dougherty artfully makes each story play into the theme of the movie: Halloween is a time in which its rules should be taken seriously, or there will be consequences. I love the world this movie is placed in, where Halloween is more like a religion than a holiday, and if you don't adhere to the rules, then you aren't free from punishment no matter who you are. My favorite story probably has to with Mr. Kreeg, a curmudgeonly, cynical old man who encounters Sam. Sam is one of the most equally hilarious and unsettling horror villains out there. When you find out what this character is (you initially think he's just a murderous child), the reveal is funny buy at the same time uncanny. Mr. Kreeg tries his best to take out Sam, but finds it to be futile. I also love the story of the insane teacher Mr. Wilkins, expertly portrayed by Dylan Baker. Baker brings out the black comedy aspects of this film in ingenious ways, making this movie delightfully fun to watch. I dare you to find a shot where there isn't something connected to Halloween in it. Every visual in this movie is just brimming with the holiday, as you see everything from jack-o'-lanterns to ghosts to skeletons and more. There's not a shot without some sort of decoration or fall vibe attached to it. Also, the music is just excellent, and the comic book styled credits only make this movie that much more fascinating. Please, watch this movie. It's such a fun ride, where you'll be laughing at one moment and be terrified at another.

5. Dead Silence

Before James Wan became renowned for his "Insidious" and "Conjuring" series, he was primarily known as the director of "Saw". That is not a bad thing to be known for, in my opinion, but of course Wan wanted to expand beyond the movie and the sequels that came after it. Wan actually only directed the first "Saw" movie, because he doesn't like to be a part of sequels from a directorial standpoint unless he feels very passionate about them. I've always respected this about Wan, as this has kept him as an engaging director who's always trying to expand his craft. "Dead Silence" has a ventriloquist dummy as its main scare factor, with an unsettling ghost story attached to it as its been passed down from person to person. This movie was not well loved by audiences or critics, and I don't quite understand why. It's not perfect, but I would be lying if I said I didn't have a fun time. You can see evidence of Wan's signature cinematography style, as he uses creative camera work and interesting lighting to create legitimately tense scares. And as per usual with his movies, all the jump scares in this film have actual pay offs. None of them are false, and there is something always scary on the other side. The twist in this movie is actually fairly effective, and I didn't see it coming. It was very interesting and played cleverly into the main themes of the movie. The performances in this film aren't what I'd call legendary or anything, but I still as though Ryan Kwanten and Amber Valletta were solid as the leads. Even Donnie Wahlberg is pretty good in this movie. If you want to watch a fairly simple horror movie with a good twist and great scares, then this one is definitely for you.

I hope everyone has a great Halloween!

"Halloween" Movie Reviews

By: James Southworth

Today in a special review, I am going to do full critical analyses of two different films: the original and 2018 versions of "Halloween"! It is fitting to do this because of course it is one day away from the titular holiday, and the 2018 version just out two weeks ago. So here are my reviews!

"Halloween" (1978)
Rating: 5/5 Stars

The late 1970s and 80s were key game changers for the horror scene, as what I would consider the "Big 3" of horror films came out during those years: "Nightmare On Elm Street", "Friday the 13th", and of course "Halloween". As of now, I've seen all of them, and you can see the mark that all of them left on modern-day horror films. It can be hard to truly appreciate any of them for what they are now because of how diluted and repetitive their tropes have become. That is especially the case for the first two films mentioned. But not for "Halloween". Even today, John Carpenter's classic film still holds up immensely well, and may possibly be one of the most enjoyable and legitimately scary horror movies I've seen.

Where this movie really succeeds is in its simplicity. At its core is a simple story about a babysitter named Laurie encountering the masked serial killer Michael Myers and never being the same again. There are a couple of subplots, such as Dr. Loomis trying to find Myers, and some of Laurie's friends have tiny story arcs. Still, it is really Laurie and Michael that are the focuses here. That is why this movie works. Some horror movies try to be convoluted with the explanation of their villains. They have to have some crazy backstory, or there needs to be a supernatural element, or there needs to be a plot twist. While I actually tend to like all of these elements, they are at risk of weakening a viewer's understanding of the plot. There isn't anything too complex to Michael. He is actually referred to as "The Shape" in the credits, which makes one thing abundantly clear: even though Michael looks human underneath his mask, there's nothing truly human about him. Dr. Loomis desires to understand him, but there is nothing about him to understand. Michael is just evil. There is nothing good in him; he is a cold-hearted, emotionless killer. Nothing more, nothing less. There is something profoundly frightening about that to me. What if a killer has no real motivations, no emotions driving them? What if they just kill because it's all they know? Director John Carpenter shows Michael through that lens repeatedly throughout the film, and it becomes more and more bone-chilling each time. The character also can't die; he's invincible and practically a demonic entity. The movie even calls him The Boogieman quite a few times. The Boogieman is real, and it comes in the form of Myers. It's interesting to see Laurie not wanting to acknowledge this throughout the film, but by the end she has to accept this reality, albeit in a very traumatized state.

Though this movie has a simple story, its cinematography is highly creative. I love the beginning of this film, which has a perspective shot of young Michael killing his own sister. We don't see his body, only what he sees. When he puts on a clown mask, we see his limited vision, which is a really cool and creative idea. You can see in this beginning shot the influences "Halloween" derived from "Psycho", as like Norman Bates, Michael Myers's signature weapon is a huge knife. This film is brimming with atmosphere throughout. The night shots are always done with a surrounding fog, and shots are illuminated by car lights or the moon. It creates a tense atmosphere where it feels like you literally have no where to hide. The movie makes a smart decision to not show Michael clearly until the end of the movie. For about half of it, we only see him from behind. Then we progress to seeing him from a distance, or in a window, or hidden slightly behind something. This makes his ultimate reveal that much more impactful, and the fright factor only increases when we see his mask taken off and that he is surprisingly human looking. The horror of the situation is that Michael is a human, and yet there's nothing human about him. Every shot in this movie feels like it's perfect for the fall season, as there's hardly ever a moment without a jack-o'-lantern present, or fall leaves all around. On top of the excellent cinematography is a pretty solid cast, as far as the leads go. Jamie Lee Curtis is impressive in her feature film debut, bringing a real likeability to her character. She makes her character realistically vulnerable in the face of pure evil, but she also brings a strength to Laurie that is not found in the other characters surrounding her. Donald Pleasance is the easy highlight here as the unsettling but interesting Dr. Loomis. He is not necessarily a crazy doctor, but there is something distinctly off in him, especially as he seems to have an infatuation with Michael. Pleasance gives his all to this role, and makes this character quite compelling to watch. Nick Castle as Michael doesn't have anything to say, and yet he still makes Myers very frightening just through his body movements. You can feel the menace and evil this character has, and that is all due to how interesting of a body actor Castle is.

There isn't a whole lot about this movie that's weak. I suppose the rest of the cast just isn't that compelling. You can predict easily that characters like Annie, Tommy, Bob, and the other teenage characters are just fodder for Michael Myers. They aren't very interesting, but I don't know if Carpenter wanted them to be. This movie is still excellent. It invented the tropes that so many other movies use now, and the tropes are used far more interestingly in this film. Plus, the music is SO good. Most of you have probably already seen "Halloween". If you haven't, do so now!

"Halloween" (2018)
Rating: 4/5 Stars

I had no real interest in seeing any of the other sequels to the original "Halloween" movie. However, I did some reading on them, and realized that I definitely didn't want to watch them. It seems as though the story became more and more convoluted, with some stories establishing Michael as being able to be killed, others setting him up as Laurie's sister, and others still giving him a tragic backstory. Basically, all these movies did exactly what Carpenter didn't want: they tried to humanize Michael. He's not a character that's meant to be humanized; he's a monster and a murderer. Director David Gordon Green's "Halloween" is meant to be a direct sequel to the original. It ignores all the other sequels, instead attempting to go back to the simplicity that worked so well in the first one, while still implementing new ideas. Laurie is now an old woman, traumatized by her experiences with Michael and locked up in a house gated off with electric fences. She has a family, but does not connect with them much. However, when Michael once again escapes a mental asylum, she knows that she has to face him once again in order to save her family.

While it obviously can't compare to the original, this movie is still quite good in its own right. You can see in every shot here the appreciation that Green has for the original film. In fact, in some ways I would compare this movie to "The Force Awakens", interestingly enough. Just like "Force Awakens" is meant to a homage to "A New Hope", in many ways this movie is a homage to the original "Halloween". Many parts of this film are shot for shot the same as the first one. There will of course be people who cry foul at this, and say how this proves there are so few original films out. I personally appreciated how many similar shots there were. This is partly because they do something new with them. Many of the shots are ones with Laurie in them, but the shots show how much she has changed. Some of the shots (such as a classroom scene) include a new character Allyson, the granddaughter of Laurie. This creates a clever sense of parallelism between the two films, as what once happened to Laurie and then happened to her daughter Karen is now happening to her granddaughter. Michael's terror is generational. This could also be considered a symbolic commentary on how many, many generations of people have enjoyed watching Michael Myers kill. This movie unfortunately does not have as many of the cool perspective shots as the original did, but it still does a good job at setting up its scares. There are very few false jump scares in the film, and there are many satisfying long takes where you are waiting for Michael to come out. You aren't even sure where he's going to show up, making the tension all the more palpable. There's also the surprisingly effective inclusion of comedy in this film. This movie is self-aware about horror tropes. There's this young kid in the movie that's particularly funny with pretty much every line he says, saying what pretty much everyone in the audience is thinking. The comedy in this movie doesn't feel awkward or misplaced, and it's not done in excess. The scary parts are still scary, and the funny parts are funny. It never feels like Green is making fun of the movie with comedy, as you can tell how much love he has for the original "Halloween" constantly.

The performances in this film are overall decent, though for the most part I wouldn't call them game changing. The only performance that I would say blew me away was Jamie Lee Curtis as Laurie. She hasn't played this character in quite a while, and yet the way she has changed makes sense. She still keeps some of the traits of her character in tact while adding some new ones. Laurie's cold hard survival instincts make sense, and her constant paranoia is earned given how traumatized she was in the original film. Like in the original, Curtis brings both vulnerability and strength to her character. Her progression between these two aspects of her is awesome to see. Curtis also has some excellent lines to sink her teeth into, particularly a delightful one liner that appears at the end of the movie. Andi Matichak as Allyson is great in her first feature film lead role. She is thankfully not an exact replica of young Laurie. Green lets her bring her own charm to the character, so she is able to become her own unique persona. I really liked any moment she was on screen, and I wouldn't complain if she became a more prominent role in sequel films. Nick Castle is better than ever as the slasher villain we all know and love to be scared of. Michael is scarier than ever in this film, killing people in the most brutal ways we've seen. We get a sense of Michael's raw strength throughout the film, and his labored breathing is somehow even more menacing. Will Patton returns to this film reprising his role as Officer Hawkins from the original. I actually like him better in this movie than the original, as he has more to do and is incredibly likeable. There are some performances that hinder this film slightly. Judy Greer and and Toby Huss as Allyson's parents feel a bit too over the top and parodist in their performances. It feels like their exaggerating their characters' personalities for no good reason. I also find Haluk Bilginer as Dr. Sartain a bit too cartoonish. Whereas Dr. Loomis was only crazy to a degree, it feels like Sartain's insanity is the only thing defining him, which was disappointing.

If you like the original "Halloween", there's a good chance that you'll enjoy this one. It pays tribute to the original while not copying it. It includes the classic music with some interesting modern updates (the electronic flourishes in the title track are a surprisingly nice touch). Michael Myers is as scary as ever, and Laurie is even more awesome of a heroine. There are some parts this movie has that are actually better than the original, which makes up for some of the weaker performances and slightly cliched moments. This is a great movie to watch if you're into horror, and it's of course just right for the Halloween season!

5 Albums You NEED to Hear for Halloween!

By: James Southworth

Some people may not know this, but Halloween is my favorite holiday. This may be because I'm particularly biased towards fall. I love the color that leaves change into, the weather becomes pleasantly chilling, and there's just a sort of atmosphere of the calm before the storm that is the bitter cold of winter. I also think fall is the perfect time to watch horror movies. Halloween in general is a holiday that is ripe with creativity if done right. It can be a time to really express a part of yourself that you don't the rest of the year: a part of you that maybe enjoys being scared and being in the dark. There's a lot of great music out there to get you in the mood for scares. Last year, I identified ten songs that should be part of your Halloween playlist. This year, I'm going to talk about five whole albums that have such clear horror/scary vibes to them. Enjoy the list, and be on the lookout for another special list coming out on the day of Halloween (keep in mind this list is in no particular order)!

1. "The Silver Scream" by Ice Nine Kills

Certainly the most recent on my list, Ice Nine Kills's new album "The Silver Scream" just came out at the beginning of October. Even though I was initially hesitant on this album due to some of the cheesy lyrics, it's grown on me a lot. I wouldn't say it's top album of the year status for me or anything. However, one thing can't be denied: this album is FUN. Sometimes albums don't have to be super deep; sometimes an album can just be a loving tribute to horror movies. That's exactly what this release is. You'll hear songs that are based around all sorts of classic horror flicks, such as "Saw", "A Nightmare on Elm Street", and even "The Crow". The songs also take different perspectives. Lead singer Spencer Charnas will sometimes sing in the perspective of the killer, and other times he will speak as the victim. It keeps the album varied and interesting. This album is a fun metalcore ride, and it can get pretty intense (there's even some deathcore influence in one of the tracks). I think if you opened your mind you could find something to enjoy in this album, even if you aren't a fan of the genre. The best song is definitely "The American Nightmare", which has one of the most powerful, anthemic, sing-along choruses I've heard all year. I'd also recommend "It Is the End" for it pure theatricality and "Rocking the Boat" for its clever utilization of the "Jaws" theme. If you're a horror buff or want an album that screams Halloween in every way, this is for you!

2. "Demon Hunter" by Demon Hunter

I feel like I could've chosen pretty much any album by Demon Hunter to put into this slot, but their self-titled has always felt perfect to me for the fall season. The cover is colored red like fall leaves, and it is also depicted like a story book, with a DH's classic logo plastered on it. It feels like you're getting ready to venture into an older styled horror classic. And most of the songs on this album are a little bit darker than your typical DH fare. "Screams of the Undead" is a chilling song which starts with Ryan Clark giving some of his highest pitched screams, which combine with a static sounding guitar. This creates an effect that feels like it could be the buildup to a jump scare. Clark's uncleans throughout this album are monstrous, and I have an appreciation for his more raw clean vocals as well. "My Throat Is an Open Grave" is a gem in DH's discography, and expresses a sense of spiritual regret in a way that the band hasn't quite accomplished sense. It's their best ballad, easily, and the quiet acoustics give this song a perfect place in autumn. The album ends off with Ryan spitting out venom in "A Broken Upper Hand", and then going into a haunting epic with "The Gauntlet". "Turn Your Back and Run" gives me cold chills every time I listen to it, especially when this dissonant children's choir comes in unexpectedly. There's something so purposefully horrifying about it, and it works very well in context of this dark album. This release is nearly flawless from front to back; and ranks among the top 3 of the band's discography as a whole. It's perfect for a cold October night.

3. "Phobia" by Breaking Benjamin

This choice is almost too obvious in my opinion. What more can I say about "Phobia" that hasn't already been said by countless others? It's Breaking Benjamin at their finest, filled with songs that are now equated with who the band is at their essential core. I think what I appreciate the most about this album is its consistently unsettling, dark atmosphere. We get taken into that right from the familiar opening song "Diary of Jane". The vibe only gets more clear with "Breath", which has Ben speaking on a very toxic relationship in disheartening detail. "Dance With The Devil" probably screams Halloween more clearly than any song on here, as Ben's voice broods with menace when he sings out "Say goodbye/As we dance with the Devil tonight/Don't you dare look at him in the eye". What might be the best about this album is that the horrors talked about aren't supernatural; rather a lot of them reflect Ben's very real insecurities, especially his struggles with drug addiction. You can tell that he was in a pretty dark place with this album, and yet he was still able to make some of his most artistically potent work here. The whole band is succeeding in every aspect of this record, making this an album worth listening to at least a couple times through during this Halloween season.

4. "The Resistance: Rise of the Runaways" by Crown the Empire

If there was one word I could use to describe this album it would be "theatrical". This album showed that theatricality and over the top is what Crown the Empire does best. It's somewhat unfortunate that this album is sandwiched in between a generic metalcore album and a generic rock album. I don't know why this was the one album where CTE took risks, but I guess that's the way things go sometimes. Somewhat similarly to "The Silver Scream", there are some very cheesy moments here, but what is important is that the band doesn't take themselves too seriously. Just think that you're watching a crazy Halloween movie along the lines of "Scream" or "It", and you'll enjoy this album a lot more. The musicality is really where this album succeeds. The poignancy of "Machines" should never go unnoticed, and it's probably one of the only moments here where it succeeds lyrically and musically. "Maniacal Me" has a fittingly insane performance from lead singer Andy Valasquez. He really embraces a Joker-esque role here, and totally owns it because he goes all in.  The over the top aspects of this album appear in cuts like "Johnny's Rebellion", which feels like a 7-minute play, and especially "Phoenix Rising", which gets more and more epic as it goes on. "MNSTR" has a brutal sense of menace from unclean vocalist David Escamilla (who is unfortunately no longer in the band). The song feels like a bit of a tribute to "Jekyll and Hyde", and I like that aspect of it. This is one of those albums that is easy to listen to in the fall, and it gets more and more fun with every time you hear it.

5. "Nightmare" by Avenged Sevenfold

Avenged Sevenfold is another one of those bands where I feel like I could listen to any album by them during Halloween and it would work (except for perhaps "Hail to the King"). But "Nightmare" has always felt like a sort of seminal Halloween album. I mean, the artwork itself is pure horror fuel. The image of a Grim Reaper figure looming over the body of a child who is clearly terrified is as symbolic of Halloween as anything you'll find. The title track is freaking awesome; probably one of my favorite songs of all time if I'm being honest. In fact, as I'm writing this, I realize that I haven't listened to this album very much lately and should probably get on that. M. Shadows embraces this murderous character who delights in frightening and intimidating anyone who comes in his path. Uncensored anger appears in "God Hates Us" (with God most likely being symbolic of the government), and an epic desperation comes to fruition in "Buried Alive". This is one of those albums where I feel like my descriptions wouldn't give it justice. Instead, you should probably just go and experience the album for yourself. This release proves Avenged is a juggernaut in the rock/metal world, and will continue to be that always.

Halloween is such a fun time. The key is to let yourself have fun. Let yourself be scared; let the chills go up your spine, and let a unique sense of creativity flow through you. These albums all embody that spirit of this holiday. So please, listen to all of them!

TobyMac "The Elements" Album Review

By: James Southworth
Rating: 4/5 Stars

In the world of Contemporary Christian Music (CCM), it has become harder and harder as of late to pick out quality artists. It seems like every day there’s a new solo artist joining the fold, and each one feels even more indistinguishable than the last. The veterans of CCM are not as plentiful as they once were, but thankfully TobyMac is still around. He has been one of the most consistently talented artists in the Christian scene ever since his days back in DC Talk. He's also been immensely successful, having singles that are still household names in many Christian homes, and for good reason. TobyMac was one of the first artists that ignited my passion for music in a new way at a young age, so I will always be grateful to him for that. I will say that he had a slightly weak point in his career with "Tonight" and "Eye On It". Neither are awful albums, but they saw him beginning to lean into some Christian radio cliches. Thankfully, he went back on the right path in 2015 with "This Is Not a Test", an album that I like even more now. Toby has returned yet again with "The Elements". This album turns out to be his most surprising release yet, having some very personal songs and a deeper introspection on Toby's relationship with God.

Even though I generally like Toby's newer material, something I've always missed from him is the intensity that he could bring in some songs. Songs like "Extreme Days" and "The Slam" seem like they couldn't possibly happen with his stylistic choices now. So, my surprise when I heard the opening song, the title track, was massive.  This song doesn't have blistering guitars or drumming like the two aforementioned songs, but it does boast some harsh electronics and Toby sounding absolutely passionate in his vocal performance. It didn't surprise me to see that producer Tommee Profitt worked on this track. He's also produced for NF, and the cinematic feel this track has is very much reminiscent of something you'd expect from NF. This style works very well for TobyMac. He sounds very at home against the thumping electronic soundscape. He even brings back his rapping style that he had on his debut album "Momentum", which brought a big smile on my face. The title track does a good job at summarizing the main theme for this album: that everyday we have to face the harsh elements of the world, but God is right there to help us, and we need to rely on Him. It's only fitting that a song about the toughness of life would be followed up by an honest and heartfelt prayer to God in the lead single "I Just Need U". When I first heard this track, I was very excited to see what the rest of the album would hold. I still actually think this is the best song on the album. It sees Toby embracing mainstream pop, but still innovating within that genre. Never once does this song feel boring. Toby marries the genres of electronic/pop with a classic gospel sound, especially present in the chorus. It interestingly gives the song a sense of timelessness, and the chorus is endlessly catchy. The simple honesty of the track is refreshing, and Toby lets his voice show some rawness. There's a certain sense of real desperation for God that permeates this whole track, especially as the song ends. Toby lets his voice go to some places I haven't heard it reach previously. So many singles by CCM artists on the radio right now feel very interchangeable. It's nice to see that while Toby accepts some of the conventions of CCM, he never does cliche things with those conventions. He instead chooses to upend them. This makes "I Just Need U" one of the best Christian contemporary songs I've heard in years- and quite possibly even one of the best songs of 2018.

There's still plenty of other great songs to talk about. I like how I was constantly in a state of awe and surprise with the first five tracks on this album. All of them coming one after the other makes the beginning half of this album feel like some of the best material Toby has put out in general. "Scars" is one of the most personal songs I've heard from Toby. Often he's talking about his relationship with God, but this song is a love letter to his son. I obviously can't ever know what their relationship is like completely. Still, Toby is vulnerable enough to let the listener know that he and his son Truett aren't on the best of terms currently: "Now you won't take my phone calls/You won't text me back at all/I just want to see you/I can't stand to see you gone/Yesterday I missed you". That part of the song actually made me tear up a little, as the lyrics are poignantly written and the way Toby sings them makes you feel for him. And yet, despite the fact that Toby feels disconnected from his son (seemingly because his son has fallen on hard times and can't connect with Toby because of that), he reminds Truett that everyone has had struggles in life, and that God can help you get through them. It's a message that a lot of people need, but I like that Toby targeted this song at his son. It makes the sentiments behind the song resonate more fully. After this cut, we get the incredibly fun second single "Everything". This song was released at the perfect time in the summer, as it's just a perfect anthem for that time. Toby expresses his joy in the fact that he sees God working in everything around him, in things both big and small. The playful beat, the lively brass instrumentation, and the occasional usage of backing vocals make this one of the most fun songs of the year. It is admittedly a bit jarring to go from this song to the deep cut "Starts With Me", but it's not too distracting. Anyone who's followed Toby from his beginning knows that his main message is that diverse people from all walks of life are accepted into God's grace (he even made a song called "Diverse City", so this message is clearly important to him). Toby has spoken on how we need to accept people of all skin colors, but I don't think he's ever done it quite in the way he does in "Starts With Me". This track has some brave commentary on racism, as Toby acknowledges his responsibility in fixing the racism that his ancestors started: "I was born with two dirty hands/Somethin' my daddy didn’t understand/Somethin' his daddy didn't understand/So it starts with me." Just consider this- Toby's audience is primarily evangelical and white. Some of his audience may really need to hear this uncomfortable but ever so present truth. Aaron Cole, a man of color, also sings in this song, offering his own perspective on how being a black in America has affected him. Toby and Aaron sing together in the chorus, saying how we need to come together to fix the divide. The two of them singing in unified harmony is nothing short of powerful. The sampling of Martin Luther King's "I Have a Dream" speech only serves the song's message that much more. Musically, the track is very simplistic, which works in giving both Toby and Aaron distinctive voices when telling their stories.

Though the album doesn't really have many other moments that are awe-inspiring like the opening five songs, there are still plenty of other tracks to commend here. "Edge of My Seat" fits in comfortably with the the type of music that Toby was doing on "This Is Not a Test". This is, of course, a good thing. The jaunty piano playing is a nice touch, and the chorus is one of the most irresistible on the album. "Hello Future" is a quirky, off-kilter track that feels unique in context of this album and Toby's discography as a whole. It combines brass and electronics together to a really cool effect, and the beat is easy to nod your head along to. The song exudes a natural sense of hope about the fact that we will be alright at the end of it all, despite the fact that things might seem hopeless right now. "Overflow" features a delightful reference to the Newsboys song "God is Not a Secret", which Toby was featured in. The song once again has some creative usage of electronics, and there's a bit of a reggae flow to the track as well. The subtle incorporation of acoustic guitar is a nice touch. Toby's talent is really on display in every department here, making this song the best bit of the second half of the album. The album ends off on "See The Light". While it's not a favorite of mine, this song is still solid and ends this release out on a positive enough note.

I don't have a whole lot of significant complaints about this release. I suppose that I wish I'd seen some more of the type of stuff that appeared within the beginning five tracks of the album. The pure excellence that comes from those songs makes everything else feel a little bit pale in comparison, but not in a bad way. The rest of the songs here are good, they just don't match up to those other tracks. There are a few specific weak points I can touch upon. "Horizon (A New Day)" does feel like a song that's meant just to have radio success. It has disappointingly generic lyrics, and the sentiments it expresses are pretty cliched. "Hello Future" expresses the themes this track has in a much better way. The worst song is "It's You", which in its nearly five minute run time just doesn't do much to justify its length. The song feels incredibly repetitive, with the chorus simply repeating the song's title to the point where it can get a little annoying. I feel like the song doesn't have a lot of depth spiritually compared to many other tracks on this album. This one honestly feels like an outlier when you compare it to the overall quality of the rest of the album. Thankfully it's the only track on the album that I'd call "bad".

Even with some of the slight problems this album has, I am glad to see that Toby is continuing his streak of returning to the energy of his earlier releases. The rocking energy that was in "Momentum" and "Diverse City" is present in a totally unique way in both "This Is Not a Test" and now "The Elements". I think I still like "Test" a little more than "The Elements", but it's not by a large margin. There are so many things to love about this album. It reminds you exactly why Toby has had so much deserved success in the Christian music industry, and the fact that others need to look to him as an example of what makes quality CCM. I don't know if this album quite reaches top albums of the year status for me, but it is at least deserving of an honorable mention. TobyMac continues to impress and innovate. I can't wait to see what he does next!

Favorite Songs: "I Just Need U", "The Elements", "Starts With Me", "Everything", "Scars"
Least Favorite Songs: "It's You", "Horizon (A New Day)"

twenty one pilots "Trench" Album Review

By: James Southworth
Rating: 4.5/5 Stars

I think that the sentiments behind the word "hiatus" have been severely changed. At least, that is the case with twenty one pilots. Yes, it has been about three years since the release of their album "Blurryface", but they have been far from quiet. The band went on a long tour which only just ended in August of 2017. Then they went back into the studio to work on new release "Trench". No matter whether you love or hate this duo, you can't deny that Tyler Joseph and Josh Dun are dedicated to their craft and their passionate Clique fanbase. Like many people, I did not hear of TOP until their monstrous single "Stressed Out" had success. I'm glad they blew up, as they deserve it. Their unique blend of pop, electronic, rap, rock, and so much more makes them unmistakable and refreshing in the mainstream landscape. Tyler Joseph is a talented rapper (though his rapping could be considered an acquired taste) and singer. Josh Dun is equally creative in the drumming department. I wouldn't say I dislike any TOP album, and I'm always interested to see what they'll do next. With the immense success of "Blurryface", there was a lot of pressure for the band to do just as well with "Trench". I would have totally understood if the band stayed in the same direction as their most successful album, as that was what made them so successful. But they don't. Instead, they do a complete 180. While "Trench" still is clearly twenty one pilots, it's impressive how different it sounds. With an interesting conceptual story and some of the band's most down-to-earth, as well as most epic moments, this is yet another excellent release from a duo that has yet to disappoint me.

This album gets off to a deceptively upbeat start with its two opening tracks. I say this because, as a whole, this album is generally a bit more slow paced than the schizophrenic feel that "Blurryface" had. As you'll soon see, this is not a bad thing. Lead single "Jumpsuit" is actually the most intense song on the album. When I first heard it, I immediately thought it was one TOP's best singles, and perhaps even best songs in general. I still stand by that statement, perhaps even more enthusiastically now. I love the sort of menacing guitar riff that plays before Josh Dun's intense drum work kicks in. This is the band's most rocking song to date, and I love every second of it. This song introduces the character of Clancy (who is a pretty clear reflection of Tyler) as well as the apocalyptic world of Dema, which is run by corrupt bishops. I would call this concept a bit loose, and thankfully it's easy to see where the symbolism lies. I like how this song has Tyler expressing his discomfort of being in the mainstream music industry, which he describes as "pressures of a new place". The intense feel of the song reflects Tyler's intense uneasiness. His repeated pleas of "Jumpsuit, jumpsuit cover me" are, I think a clear cry out to God to put on Tyler and Josh an armor of faith to protect them from the corruption within the mainstream. Tyler might be more explicit than ever about his faith on this album, and I love that. I also love the screaming in this track. Sure, we've heard Joseph scream before, but there's a certain rawness to it in this song. After this track we get the short but still straight up banger track "Levitate". The more I've listened to this track, the more I like it. This is the only song on the album where Tyler raps for the whole time, and he really shows in this song how good of an emcee he is. He drops some sick bars, and his flow is off kilter and intriguing. The drumming by Josh will make your nod your head, as it's just catchy and intense. I like how this song gives both members of the duo a chance to show off in unique ways.

"My Blood" is one of a couple of songs on this album that I could see having immense radio success. It has this nice indie pop feel to it that so many radio stations are latching on to right now. But, as always, TOP makes the sound interesting. It's hard not to feel the charm in this song as Tyler expresses his genuine love for both his family and his friends. He assures both that he will always be there for him. Though I suppose one could complain about the repetition of this track (and it is admittedly a little excessive at the end), Tyler's unique falsetto along with the booming synths make this track easy to sing along to. After the beginning four songs, I'd debate that the album only gets better. "Chlorine" is my favorite on the album, as it interestingly combines the sounds of "Vessel", "Blurryface", and even the band's self-titled debut. This song's hook is criminally catchy. But don't be deceived: for all the upbeat parts of this track, it's still incredibly dark. TOP is known for making songs that sound upbeat and cheerful but have a rather dark veneer under them. That is the case with this song, as Tyler discusses his struggles with suicide. I like the honesty of the song, and even though the track is catchy, there is a permeating dark atmosphere that gets more and more noticeable as the song goes on. It's really the ending that sold this one for me. The song suddenly changes pace and becomes softer, and with swelling electronics. Then Tyler's voice comes in, sounding very different from how he usually does. He then sends up this haunting and tear jerking plea to God: "I'm so sorry, I forgot you/Let me catch you up to speed/I've been tested like the end of/A weathered flag that's by the sea/Can you build my house with pieces?/I'm just a chemical". This song really did bring me to tears in that moment, as the emotions are just so tangible. They feel like a powerful answer to Tyler's struggles with suicide: in those moments he turns to God to ask him to rebuild him. After such a dark, epic moment, it's fitting that we get a reprieve with the simple, delightful song "Smithereens". This is a charming love song in the vein of "Tear in My Heart". I couldn't help but laugh out loud as Tyler described how he would fight for his wife, even though he incredibly small. It's a really sweet expression of his affection for her, and I can't see why people would see it any other way.

Be prepared to go back into starkly dark territory yet again with "Neon Gravestones". This might be the most brutally honest twenty one pilots has ever gotten in their discussion of suicide. This song is particularly relevant in a day and age where it seems like suicide rates are increasing. Tyler Joseph calls out our culture in its glorification of suicide. I could honestly see this song being a bit controversial because of how much Tyler calls out everyone's culpability in "making a loss a win". He even asks his own fanbase to not glorify his death, and instead to move on to other things if he were to kill himself. TOP's teenage fanbase probably needs to hear this more than anyone, as younger people are more likely to romanticize something like suicide, even if they do it unintentionally. This is a brave track. Tyler acknowledges the fact that it's good we are fighting against the stigmas behind suicide. But, that does not mean that we should be idealizing it to the point where others might think they can use it for revenge or as a "gotcha" against society (this was clearly a pointed criticism against "13 Reasons Why"). Musically, this track is pretty low key and minimalist, focusing more on Tyler's vocals. That is necessary for such a thematically heavy song. The second half of this album is interesting in its own way, having more great songs to recognize. "Nico and the Niners" was the second single for the album, and probably the one that will remind people most of "Blurryface" (especially with its usage of distorted vocal effects). This song has grown on me the more I've listened to it; I really enjoy the quirky chorus and the ending where Tyler goes in on the microphone with some killer bars. "Cut My Lip" brings back the indie pop feel of "My Blood", just in an entirely different way. Even though this isn't a favorite of mine, I still enjoy it. And then we get "Bandito", an epic song in which Tyler utilizes his falsetto to excellent effect. I love how this track builds and builds, and the payoff is just excellent. I don't really want to get into the song too much more, as it's something you need to experience for yourself. The album ends off with three more great songs: the purposefully odd "Pet Cheetah", Tyler's touching ode to his passed away grandfather "Legend", and "Leave This City", a song which proves that twenty one pilots are pure masters at making closing tracks that leave a powerful mark.

There aren't really too many songs I have huge issues or qualms with. I suppose that "Morph" isn't quite as interesting as some of the other moments on here. It's just sort of there. Even though it's not bad and has some interesting ideas lyrically, musically it doesn't captivate me as much. If I had to choose a least favorite track, it would probably be "The Hype". The main reason for this is it just sounds to me like Tyler is complaining about a life of being well-known/famous. I think his feelings about this are sincere, but I still find songs with this type of subject matter a little overdone at this point. Like I said earlier in this review, I do not mind at all that this album is more low-key and soft in many places. However, I would've loved to have heard a few more intense cuts in the vein of "Jumpsuit". Nevertheless, this is not a point that affects my enjoyment of the album in any significant way.

If you are a fan of TOP, then I think there's a very high chance that you'll love this album. It may not be what you are expecting, but then again that is the case with every album from this duo. In a mainstream scene where artists are conforming to trends, I can definitely appreciate the fact that twenty one pilots are going the other way. They could've easily gone with what they did in "Blurryface" or even made more Billboard-ready tracks. Instead, they made a loose yet interesting conceptual album with some deep thematic arcs and very challenging topics. This album has already made its way into my top 15 albums of the year, and it may even go into my top 10. Check "Trench" out for yourself. You won't be disappointed!

Favorite Songs: "Chlorine", "Bandito", "Jumpsuit", "Neon Gravestones", "Levitate"
Least Favorite Songs: "The Hype", "Morph"

Beartooth "Disease" Album Review

By: James Southworth
Rating: 4/5 Stars

Caleb Shomo is one of the most talented individuals within the metalcore scene right now. I would never have known it if he'd remained in the much made fun of band Attack Attack. Thankfully for him, the band broke up because everyone wanted to put this heavily hated band to rest. It's interesting to see that the band has produced several talented musicians outside of it, and Caleb is certainly one of them. He started the band Beartooth all on his own. He wrote the lyrics, sang, and played guitar, bass, and drums for the first two albums. There aren't too many musicians out there who can say that they can do all the parts of what makes a full fledged band. Caleb's talent bled through in both Beartooth's EP and their stellar debut album "Disgusting". That album is still one of the best modern metalcore releases out there, showcasing a raw, real energy that you don't see in that many albums these days. I can't truly describe how visceral of an album experience it is, but you know what I'm talking about if you've listened to it. Unfortunately, Caleb basically made a carbon copy of the album with "Aggressive", which is the very definition of a sophomore slump. I generally liked the album a couple years back, but now I definitely dislike more of it than I like. I think Shomo realized his mistakes with the album. He's been claiming with the band's new release "Disease" that he's changed things up, and the album is the most proud he's ever been of anything he's done. Does the release live up to this statement? Thankfully it does! "Disease" sees Beartooth back in fine form, making their sound slightly more radio friendly and accessible while still containing the natural energy that was so present in their debut album.

This release gets off to a deceptively subtle start in the first few seconds of "Greatness Or Death". A simple acoustic guitar plays, and Caleb softly croons over the guitar. I was a little shocked to hear the album starting off this way, but you're immediately thrown for a loop. Caleb suddenly screams out "Am I destined for greatness or death?", and a throttling guitar riff plays. If you turned your headphones up to hear the soft beginning, then your ears will be blown out in the best way possible. I love this track; it's an easy highlight. It has all the elements that I would want from Beartooth. It's reminiscent of the raw energy of the song "The Lines", but in a totally unique way. The breakdown in this track will have you headbanging in no time, and the chorus should hook you in immediately. All of these elements were things I desperately wanted from "Aggressive", but they were rarely delivered. This opening track is, thankfully, an early indicator of the passion that's present throughout the rest of the album. Following this is one of the more accessible cuts from the album as well as the second single: the title track. I actually think it's fitting that this song fits a bit more of a straight forward rock mold. It has Caleb being pretty vulnerable about his experiences with depression and how it affects his mental state: "It's like holding on/When my grip is lost/I still feed my insecurity when I know the cost/Is it taking over?/Will it bury me?". The chorus is one of the most catchy on the album, and the fact that it's well written only serves to make it more memorable. This song is actually pretty unique within Beartooth's discography as a whole. I know a lot of fans haven't liked this song as much, but I've definitely gravitated towards it. It even has a solid and unexpected breakdown in it that helps provide some variety in the track. After this comes the track "Fire". Although this song is not the most interesting thing in the world subject-wise, I still would be lying if I said I didn't have fun with it. The pre-chorus has this quality to it where you will quickly begin to chant along with it, and the chorus itself is something that I could see audiences screaming out passionately along with Caleb. This song is fun, pure and simple. Not every song has to be this deep thing, and I'm glad that Beartooth found a place where they could cut loose. That's actually something that occurs frequently on this album, and I like that aspect of it.

If you're looking for your more intense version of Beartooth, look no further than the lead single "Bad Listener". I like how this song has Caleb saying that he doesn't care what others think about his career as a musician. It's what he loves to do, and any criticism he receives he probably won't hear because he's just "a real bad listener". This one definitely will appeal to Beartooth's more teenage fanbase within the lyrical department, but musically it should appeal to even the most strict of metalcore fans. It has some of the hardest hitting guitar and drum work I've heard from Caleb, and his screams go from these deep growls to high shrieks. It's such a shameless, pure metalcore song. I think most people would be hard pressed to find anything to dislike in this song. After this track we get another more accessible song in "Afterall". I like the variety this album has, and its frequent switching between more intense songs and more radio ready material works fairly well. This song leans more on Beartooth's punk/rock roots, especially in the chorus. I do like how the song finds profundity in simplicity. Caleb questions why he struggles so much with issues like depression and anxiety: "I must be doing this all wrong/Should be happy but I'm searching for the reasons why/Puts my head in overdrive/I thought I had this figured out". But the answer is far more clear than it is complicated: "I guess I'm just human after all". I guess one could say this is a cliched sentiment, but I appreciated its simplicity. I think this song will appeal to those going through similar things as Caleb. "Enemy" is another straight up fun track, with an interesting breakdown. It has a bit more of a classic metal influence, which I thought was cool. The listener gets to hear Caleb's guitar talents in a very different and interesting way.

The album's ending three tracks are some of its best moments. Although I do find the comparison of being so obsessed with something it's like a drug, "Infection" is still a straight up banger. The guitar riffs will get your head banging, and Caleb uses his voice in a pretty cool way in certain parts of the song. Out of all the tracks on the album, this is definitely the one that has grown on me the most. The best song comes in "Used And Abused". This song is classic Beartooth in ever sense of the word: hard cutting guitar work, pounding drums, Caleb's raw and passionate screams/cleans, a chorus that just won't get out your head, and a breakdown that will blow you away. I adore this track for so many reasons. It has Caleb expressing some real anger about a person who has just been using him, and he's not going to take it anymore. It's a powerful cry of rebellion, and it doesn't feel cliched or cheesy. Instead, there's some real passion behind it; you can tell that Caleb really cares what he's singing about. Some parts of this song almost feel like a tribute to classic punk/rock like Green Day, while other parts feel like they're paying homage to classic metalcore bands. And still, in the midst of all of that, this is a seminal Beartooth song. It feels like it could fit right on "Disgusting", and it's all the better for that reason. As is typical of Beartooth albums, this one ends on a heart wrenching and honest note. While I probably like both "Sick and Disgusting" and "King of Anything" better than "Clever", that still doesn't mean "Clever" is a weak ending track. In fact, that is so far from the truth. This song has Caleb singing in entirely clean vocals, something that he doesn't do too often. It works for a song in which he is being vulnerable about how he tries to cover up his depression by being smart in his song writing. This song is a bit meta-textual in that sense, as Caleb says: "I'm out of ways to answer/I'm out of metaphors/I finally got so sick, there is no cure". Caleb is clearly referring to metaphors in his own songs, and this song is him revealing that he's tired about talking about his depression in what he views as vague sentiments. Even though I've always felt that Shomo's writing is powerful and honest, this is still a compelling point he makes.

There are just a couple of weak points in this album. One of the more general weak points is most of the lyrical content on the album. Even in songs I like, such as "Fire" or "Infection", the lyrics aren't anything very innovative. They get the job done, but it is sort of disappointing that this album contains one of the band's best written songs ("Clever") right alongside other tracks that are not as well written. As far as specifics go, I'm really not a fan of "You Never Know". I don't mind most of the more radio ready songs on this album, but this one feels like it's giving in to every trope that is present in the mainstream right now. It has a weirdly subdued/compressed vocal performance from Caleb, which I think is due to the production. The chorus is a little lackluster, especially the repetition of the word "know". I don't even find the guitar work all that interesting, which is far from typical for Beartooth. The song just rubs me the wrong way for the simple reason that it's transparent about the fact that it's meant solely for the radio. "Believe" is by far the worst song on the album, and probably my least favorite Beartooth song in general. Please, Caleb, don't try to do pop/punk again. This song just did not fit within this album, and it isn't a sound that works with Caleb's gruff voice. The usage of filler "oh"s is also a cheap move for someone as talented as Shomo. He hasn't needed filler lyrics too much on previous albums, so why start using them now? I also am not too huge on "Manipulation". It's no a terrible song, but it feels like it follows a less energetic form of the Beartooth formula.

I am so happy to see Beartooth back in fine form. There are some tracks that I won't be returning to, and there are some lyrical moments that are admittedly not entirely interesting. But still, I had fun with this album. If you want to listen to a release which will have you constantly head banging and singing along to super catchy choruses, then this is the album for you. I've had this album on repeat ever since it came out last Friday, and I still haven't grown tired of it. I'm not sure if it'll end up in my favorite albums list, but there is something to be said about its high replayability factor. Caleb has crafted an album that brings back the raw power of "Disgusting" in a way that not many other bands can achieve. It's good to have you back, Beartooth!

Favorite Songs: "Used And Abused", "Clever", "Greatness Or Death", "Afterall", "Infection"
Least Favorite Songs: "Believe", "You Never Know"