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29 August, 2012

Indighost - Torn

Indighost - Torn (song review) (self-released, single, 2012) 5/5

Indighost was formed at the Guitar Institute in West London, UK in 2006. They independently released The Yang Collection EP in 2009 with 5 songs on the tracklist, however the line-up of the band has changed over the course of the past few years. "Torn" is a more recently recorded track that is a strong candidate to be featured on their next album.

The song brings with it an emotional feel. According to Indighost, "Torn" was inspired by the romantic tension between the main characters on the television series Doctor Who. The video for this track is also comprised from a montage of several scenes from the series. One thing worth mentioning is that "Torn" emulates the Doctor's impending doom, hence the running feel of the rhythm that sounds as if it is catching up with Doctor Who as he tries to escape it. Rummy Keshet makes good use of his 5-string bass while drum tracks by Martin Griffith intertwine with various intriguing percussive elements.

Melodic lines are strong in this track and are present not only in the choruses, but in the verses as well. Matt Simon (vocals) is a classically trained musician who received his degree from the British music college mentioned above. He admits that he is inspired by the works of Sting as well as Megadeth, Dream Theater and Def Leppard. He also enjoys combining these inspirations with occasional funk music and jazz influences. While the entire song expresses key features of both the metal and rock genres, Matt's vocals touch upon the boundaries of progressive rock too. He utilizes his baritone voice with light constraint, which is quite typical for modern progressive bands.

The two guitar players (Matt Simon and James Hewitt) cooperate in harmony by using chords, scales and modes in a truly fantastic manner. An epic unison of each instrument takes place in the central point of the song which is then followed by smooth virtuoso guitar solos that seem to possibly be inspired by the styles of Steve Vai or Joe Satriani. These riffs continue spicing up the song all the way towards the end.

"Torn" is a great, ear-friendly song that is suitable for a commercial jingle, motion picture soundtrack or radio airplay. This is a solid composition that is enriched with vivid, almost visual arrangements that make the song memorable. It should also be noted that these musicians make and sell custom guitars that are decorated and painted by hand. Check out their official website for all accessible instrument models.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, August 28th, 2012)

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25 August, 2012

Yesterday's Saints - Gates Of Valhalla

Yesterday's Saints - Gates Of Valhalla (song review) |self-released, Yesterday's Saints EP, 2011| 5/5

If you're hungry for intense thrash metal music, here's an indie band with all the features necessary to become your next favorite rockstars. Yesterday's Saints gain their influences from a long list of amazing, yet highly ranked bands that include classics such as Iron Maiden, Judas Priest, Manowar, Metallica, Anthrax, Slayer and Testament as well as music by Vital Remains, Obituary, Pantera, Chiamara, Iced Earth, Arch Enemy and Lamb of God. This degree of heavy influences will undoubtedly draw the interest of many heavy metal listeners. But wait, there's more... the band has also been recently promoted through the live circuit, opening shows in support of Sepultura, Death Angel, Korpiklaani and Moonsorrow.

Yesterday's Saints are originally from Washington DC. Established in 2008, they released a two-track demo one year later. A heavy metal CD collection with tracks compiled by Jamey Jasta (Hatebreed, Kingdom of Sorrow) helped the band reach out towards a broader number of heavy music listeners throughout 2010. Their self-titled EP is their latest release which contains five songs on the tracklist.

"Gates Of Valhalla" is the first track on this EP and indeed, it's an in-your-face opening to the album! There are no mystical intro's or outro's. The song starts and ends with rhythmic riffs and concrete drum beats. This intense, raging and precise composition will make you headbang right away.
Professional vocals are at times shouted then growled within a range of over three octaves. The song contains lyrics that are masterfully mixed with spinning and chunky guitar riffs that stitch the song structures together like an overlock. Non-pushy percussive elements of the drums never predominate the other instruments, which may be a golden ratio for an intelligent form of metal music.
Finally, great bass lines stand strong to solidify the drums and accentuate the overall orchestration.

All of these elements are utilized in synchronicity to create a foundation for the song where the compositional aspect is complete and the arrangements don't miss a thing. These songwriting techniques are repetitive, thus you can spot some heavy metal melodies within, but they don't become at all boring. Additionally, these arrangements have been preventatively enriched with various matching and powerful segments which turn the listener's attention to the brute force of the music in an instant.

Gates of Valhalla” was performed by Matt Rice (vocals), Albert Born (drums), Witt Black (guitar) and Phil D’Arcangelis (bass) who was replaced by Nick Gosseaux in 2012. The band has been currently working on a full length release intent on bringing more of a dark melodic feel that is based on death, thrash and power metal sub-genres.
Since words are limited and they can't perfectly express every single tune, you just need to listen to the music of Yesterday's Saints on your own. The best time would be during one of their live shows.
These guys may be sharing stages with many of the best known metal acts very soon, so get ready.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, August 21st, 2012)

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23 August, 2012

WUNTS & THE MMMPS - Are You A Girl Or A Boy? & PS!

WUNTS & THE MMMPS - Are You A Girl Or A Boy? & PS! (song review) (self-released, single, 2011) 4/5

This band originates from the United Kingdom - the land of major labels, where new born trends as well as the biggest music revolutions in history have undoubtedly made a world-wide impact. This has held true for artist from Great Britain for decades, although the United States had stolen the spotlight through grunge and nu metal during the 1990's and early turn of the century. Still, the U.K. music scene seems to be an affectionately small sized community that is thriving with well known musicians. These artist often cross paths, play in several bands, perform different styles of music, interchange line-ups, produce albums for their peers and integrate guest appearances for live shows as well.

The name WUNTS & THE MMMPS stands for Jimmy Wunts and his collaborators: three musicians named Mark Fletcher - drums, Mark Ramsden - saxophone and Mark Evans – bass, as well as Paul Harvey on guitar and Steve French on piano. Jimmy Wunts also plays in a band called French & Regal under the moniker of Gray Regal. Paul Harvey is known for performing with Then Jericho, who knew fame in the 1980's. Paul was also featured on Gary Numan's Outland album while supporting New Model Army during the mixing and engineering process for three of their songs in the 1990s.

The track "Are You A Girl Or A Boy? & PS!" emulates the feel of 1960's blues influenced rock 'n' roll through a wall of non-pushy and well crafted drums that are combined with a Leslie organ. Mark Ramsden is a virtuoso on the saxophone as he overlays the rhythmic counterpoint with strong jazz influences. The saxophone provides an identifiable, yet distracting melody that stands out to consume the listener. Moreover, the saxophone has historically been a predominant element in music of this nature, which most of us have heard utilized on many albums and movie soundtracks. It seems that the motion picture industry has an adoration for the saxophone since it brings vigorous, contrasting and experimental moods with it into the music.
The guitar offers a few solos that are underlined in the ending of the track which give the song a 1970's rock genre touch that encompass the spirit of famous guitar players from that era.

A comedic feel that is deeply rooted in the track "Are You A Girl Or A Boy? & PS!" is expressed though lyrics that are rhythmically spoken with a male voice saying: "I'm feeling pretty horny, wouldn't it be corny to find her cheek is thorny not smooooth." In addition, the band claims this to be a true story.

This song may be a perfect match for avant-garde motion pictures, but this is an overall evaluation that is not only due to the saxophone parts. If WUNTS & THE MMMPS is looking for exposure, I recommend they target the film industry first. Although the song may sound old-school to some younger listeners, it may be greatly appreciated by lovers of jazz as well as 1960's/1970's blues influenced rock 'n' roll. This music is timeless, as can be heard through some of 'the best of' music charts spanning the past several decades.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, August 16th, 2012)
This review on Fabryka Magazine http://industrialrock.net/php-files_en/articles.php?article_id=444


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Rosenedge - Brickwall

Rosenedge - Brickwall (song review) (self-released, Ashes, 2012) 4/5

Rosenedge is a band that Hails from Ashland, Ohio. They released their latest album entitled Ashes just a year after releasing their debut called Unknown. Vaughn Pokrzywa composed and performed the music on both albums, however a full line-up crystallized for the band at the time Ashes was near completion.
A mysterious and vibrating intro opens the track "Brickwall" which is the first song on the album. The opening prelude is followed by guitars, bass and drums which are utilized to structure the song arrangements with sounds that are repetitive and in tune with traditional rock and metal approaches. A moderate tempo makes this composition heavy, apart from the stylistic riffs.

Drummers play a very important role in rock and metal musical orchestration. The quality and frequency of the beat push the listener to decide if they find a song to be pleasant, invigorating or irritating since the pulse of the drumming influences one's heartbeat. "Brickwall" is based on simple, however non-intrusive beats that are laid out by Vaughn Pokrzywa. His playing is great since it allows the listener to focus on the guitar riffs as well as bass lines. Chunky riffs give the song a powerful rhythmic spin rather than soloing off into an oblivion of self-exposure.

Moreover, the synths are used very carefully. They don't predominate the other instruments, but rather help to build upon the atmosphere and contribute to the melodies laid behind this solid composition. Thus, listening to Vaughn's vocals are painless when heard over such a strong background of harmony. The vocalist doesn't scream or growl, but rather loudly utilizes intonation within the lyrical progression with a voice that sounds a bit harsh, although in melodic line with the music. The choruses are softer than the verses and very memorable thanks to repetitive and original songwriting techniques.

"Brickwall" has definite hit potential thanks to simple and heavy arrangements, but it should be promoted along with a matching video to achieve the best results. In addition, Rosenedge should not only play live as often as possible and send their music to DJ's, but they should also research and seek out compilation opportunities that are usually associated with periodical magazines or released in association with specific events.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, August 22nd, 2012)
This review on Fabryka Magazine http://industrialrock.net/php-files_en/articles.php?article_id=443


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20 August, 2012

Punch Drunk Monkey - Number 1 Killer

Punch Drunk Monkey - Number 1 Killer (song review) |self-released, Room 101, 2011| 4/5

Punch Drunk Monkey is a musical duo based in Brisbane, Australia. The band was established in 2001 by founding artist Candellan and Erszabetta. The song "Number 1 Killer" is the opening track to their new album Room 101 that was released in 2011.
An atmospheric intro based on an electronica stylized prelude may at first suggest it to be an ambient song, but make no mistake, this track soon evolves with a viral rhythm which continues throughout the end of this track. The mood of "Number 1 Killer" can be considered dark in some spots, however the entire track is rather easy listening and danceable due to its pulsating, syncopated vibes. A careful listener may catch the distorted guitar riffs that interlace the beats and make this composition sound a bit feisty as well. Stretched, modulated and repetitive synth parts diversify the solid, yet uncomplicated structures quite interestingly.

When it comes to the vocal tracks, the male segments are slightly digitized and repetitive. However, the song structures seem to fill in extremely well when combined with the radio-esque female reports. Also, this is a good technique to utilize so that the vocal tracks do not stand out in an overemphasized manner beyond the instrumental arrangements, but appear to be mixed somewhere in-between the predominant track levels, making this song less organic in contrast to i.e. traditional rock songs.

Candellan and Erszabetta admit that their artistic inspirations come from musical genres popularized in the 80's and 90's. Their influences include artists such as Nine Inch Nails, Rob Zombie, Depeche Mode, Fields of the Nephilim and Inkubus Sukkubus. In this track, a listener may find connections and similarities primarily to the music of Depeche Mode or Orgy, although Punch Drunk Monkey creates their own sound and individual identity.

"Number 1 Killer" becomes immediately memorable from the first listening due to its marching rhythm as well as contrasting, modulated synth effects. This track has possible hit potential for listeners and the dance floor if marketed through proper channels and targeted demographics.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, August 13th, 2012)
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14 August, 2012

Rusty Salvo - Rush Through Me

Rusty Salvo - Rush Through Me (song review) |self-released, single, 2012| 4/5

Rusty Salvo is a new American solo project. Founder Quinten Schmit played in a band 15 years ago in Seattle, but has spent almost 10 years on hiatus since that time. Quinten has now returned in 2012 with a brand new single called "Rush Through Me".

The song is catchy, memorable and short with hit potential. It may also be a great addition to targeted radio playlist as well. The track is characterized by a simple beat and traditional song structure where the arrangements are enriched with various effects. A programmed drumbeat provides the percussive spine of the composition since there is no live drummer currently in the band. If you listen to the song arrangements closely, you will hear some similarities to music by artists such as KMFDM, The Chemical Brothers as well as Peaches. You may also notice that this track carries many musical styles within - from soft digital hardcore through techno to pop and rock.

Guitar riffs appear within a few moments of the intro with pause for a breakbeat of audio effects similar to those commonly used in techno and rave. Since both techniques come from two different genres, they contrast with each other like two opposite moods. Such an unexpected link may turn out pretty confusing for music genre purist. On the other hand, this connection of musical structuring may sound very original for many listeners who dig more diversified sounds.

Quinten's vocals are very good and bring out his individual character. He uses little distortion and effects in this song. This makes his voice sound protagonistic and rebellious, similar to the styles of Atari Teenage Riot as well as Prodigy. Thus, already having this slightly British vibe, it may be a good idea to gain the interest of the UK music market first before reaching out to American listeners.

Rusty Salvo seems to be keen on electronic solutions - samplers, sequencers, effects and other devices. Quinten has high production skills that come with many years of experience. This should allow him for more musical experimentation. He also says he hopes to get his songs placed into commercials, video games or other performance media which actually may work out for him very well. I have no doubts that "Rush Through Me" will sound as good with proper visuals as it sounds alone with an active imagination.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, August 9th, 2012)
This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=440

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Thanks for this. You are very thorough. I really appreciate the critique, especially the part about pursing the UK market first. This looks great to me. I say we run with it.Quinten Schmit | 13.08.2012 |

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13 August, 2012

Dead Animal Assembly Plant - All My Heroes Are Dead

Dead Animal Assembly Plant - All My Heroes Are Dead (2012)

Genre: industrial, experimental
Rating: 3/4

01. Then There Was Silence [04:12]
02. Brumal [05:30]
03. In Furnace [01:41]
04. All My Heroes Are Dead [05:12]
05. Monster [05:00]
06. Fumes [04:15]
07. Tragedy For One [04:53]
08. Rust Jesus [04:31]
09. A Capella Medication [04:50]
10. Deeper [04:08]
11. Surrogate (bonus track) [05:32]

"In 1915 tragedy struck the small town he called home when all the livestock took some unexplained fatal disease. The ever resourceful Schröder turned to the only available meat. The townsfolk."

Portland, Oregon seems to be fertile ground for industrial, goth and electronic music to manifest. Several well known industrial bands originate throughout the pacific northwest of the United States and Canada. Dead Animal Assembly Plant (DAAP) is a collaboration of musicians from Bound In Oblivion (Johnathan Case, Zach Wager), NVEiN (Eric Bergen), Particle Son (Vex March) and Travis Geny.

Dead Animal Assembly Plant is inspired by a fictional horror story set up in the XIX century about a once successful German butcher who had gone bankrupt by the name of Wilhelm Schröder.

The musicians who comprise DAAP wear the ominous clothes of a butcher with bloody meat-esque painted faces and prosthetic torso coverings which make their live shows quite a disturbing experience. In fact, this kind of music demands visual aesthetics such as costumes or additional short films to enhance the live performance at their shows.

Two years after releasing their debut Niblets 'N' Giblets / Strip Off Your Skin EP, DAAP comes back with music and stories that the fans of ohGr or Skinny Puppy should dig right away. There's no doubt the band has earned their place to be labeled as 'industrial', where the link has been made not only by the use of synths, samplers and cold mechanical auras, but also by instruments such as the musical saw (idiophone). Moreover, Zach's vocals may recall a listener to the implicative articulation of the demonic Pinhead from Hellraiser. This horror movie character has been as attractive and inspiring for the electro/industrial music scene as radioactive contamination.

The opening track entitled "Then There Was Silence" gives a pre-taste of what sort of atmospheres will surround the listener over the course of the following 50 minutes. Noisy electronic and somewhat echoing vocals supported by clear, phat, yet terrorizing beats may very well drill into one's skull.

On the other hand, "Brumal" sounds more organic thanks to the distorted guitars as well as repetitive and syncopated vocals. The third track on the album called "In Furnace" includes many more experimental tunes as well as effects and quite sado-masochistic moods. The song lasts no longer than two minutes, but it could have sounded even more disturbing if it were to continue further.

If you've ever listened to the music of Bound in Oblivion, you will find this connection in "All My Heroes Are Dead" as well. Shattering and repetitive rhythms are enriched by synths reminiscent of Pretty Hate Machine, NIN era song techniques that give the overall track quite a danceable spin.

"Monster" may either be called the best or the most confusing song on this album since it sounds as if there are three compositions in one. The arrangements are based on the rhythm, however they are spiced up with a dense layer of vocals as well as a variety of environmentally placed tunes.

The song "Fumes" may truly bring up mind-alarming pictures. This track would be a perfect fit to movies such as Saw, Silent Hill, The Human Centipede or Hostel, where the negative character in the minds of the killers were soaked with the sickest, most sadistic, yet extremely surreal ideas. Moreover, it's the perfect composition in which to use the musical saw I mentioned above, due to complex arrangements that puzzle the listener from the very beginning.

"Tragedy For One" sounds arrhythmic at first, then turns into a rhythmic drive still filled with crazy sounding samples and suggestive, Nivek Ogre-esque vocals. Normally it would be a danceable track, but due to a variation of sporadic noises and labyrinthian structures - it is not. Similarly, "Rust Jesus" recalls of early Skinny Puppy music with its scary vocals combined with electronic and rhythmical tunes. Surely, you will feel the power of 90's era industrial, however well modernized here.

The following track called "A Capella Medication" stands out as far too electro with its frequent oontz beats. It's a basic song that includes an electro/rave party setlist, but it becomes less valuable when held in comparison to songs such as "Monster" and "Rust Jesus". On the other hand, "Deeper" turns out to be non-standard. This is a song rich in experimental arrangements and distracting samples that make it feel cold and mechanical with the vocals additionally whispered in like a madman's poetry.

The last song on the tracklist entitled "Surrogate" sounds emotional. These noisy sounds will attack your ears with a variety of effects because there's a lot of things going on at the same time. They match the entire composition, although they stay far from harmony and balance even though the rhythm appears in following segments of the song. "Surrogate" is only available on the free version of this album (to download at DAAP official website at the moment), but not on the CD.

The music on All My Heroes Are Dead needs specifically crafted minds to dig it. These compositions are based on sonic contrasts as well as arrhythmic and disharmonious arrangements so they can turn out raw and difficult. The song titles definitely represent messaging, but the album should be listened to a few times to understand the entire picture properly. Musical inspirations seem to flow from experimental works by Foetus and Nivek Ogre, but also modern industrial, beat-driven arrangements. DAAP mentions Nine Inch Nails, Raymond Watts (Pig) and Tom Waits amongst their influences, but the new self-released album brings dark energy with strong references to to the sound of Skinny Puppy, Hilt and classic Front Line Assembly.

The bands stage image combined with their theatrical performances and high quality music production will draw the attention of a specific demographic of targeted listeners. DAAP was also recently invited to take part in an interview for a documentary about the horror subculture in 2012. This should explain their ideas and the overall interests drawn towards the band pretty well.

To sum up, if you're into experimental industrial music with a horror feel to it, you'll love this release. However, if you prefer solid verse-chorus-verse structured songs, this release will make your mind totally exhausted. All My Heroes Are Dead is not what the industry would consider to be categorized as having the usual hit potential, but the scary audio-visual and art-related experiences this band defines are sure to find their mark.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, July 31th, 2012)

http://www.deadanimalassemblyplant.com
http://www.facebook.com/DeadAnimalAssemblyPlant
http://www.myspace.com/deadanimalassemblyplant
http://www.reverbnation.com/deadanimalassemblyplant
http://www.twitter.com/officialDAAP
http://www.discogs.com/artist/Dead+Animal+Assembly+Plant

Download for free from the band or buy a CD: see: official website.

This review on Fabryka Magazine http://industrialrock.net/php-files_en/articles.php?article_id=438

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We at D.A.A.P are thoroughly pleased with the professional and completely objective album review done by Fabryka Industrial Rock Magazine. The meticulously detailed review truly peeled apart the thematic layers of the album to reveal the meaty core. We can't wait to have future albums reviewed and would recommend it to musicians of all ilk.
Z.Wager | 10.08.2012 |

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BELT - Cause & Infect

BELT - Cause & Infect (song review) |self-released, Cause & Infect, 2011| 4/5 industrial

Industrial rock music has faded in and out since the late 80s. However, every decade has brought several famous names, first to the mainstream, then to the ever green underground. The 90s has seen dominant names like Nine Inch Nails, KMFDM, Marilyn Manson, Filter or Stabbing Westward supported by labels and MTV who have not only influenced listeners, but other musicians as well.

An American multi-instrumentalist performing under the BELT moniker is one musician who decided to make industrial music on his own terms. "Cause & Infect" has a song structure that is simple along with moods that are classically brooding. The verses are based on a repetitive beat and this technique may make the composition memorable. At the same time, theatrically articulated and screaming vocals bring to mind the picture of half-Joker/half-demon singer. BELT's voice matches all sorts of dark music very well, so it fits this song properly. There are samples and synths in use that help to create a specific atmosphere. When the choruses come in, the bass and guitar fuse together and tear the beat to shreds. Matching guitar riffs as well as bass lines make these segments of the song sound very aggressive.

When you listen to "Cause & Infect" you will be able to tell whom inspired BELT the most... Marilyn Manson, who scared and offended as many people as he mirrored in the world through the "Antichrist Superstar" track. This song was supported by a unique video that must have had an artistic impact on BELT's "Cause & Infect". It can also be proven by watching this video single (YouTube) where the vocalist with the painted zombie-like face wears a pope robe and acts like a psychotic preacher. Musically, BELT as well as Manson operate within the method of a strong beat where the vocals can be heard without any additional background present.

As for the less positive impressions, the intro of the song is quite long. Secondly, an automated and basic cymbal beat appears throughout the entire song with hardly any variation. The beat seems to be missing the greater vibrancy and depth that could really make the track much more powerful. This usually happens in black metal music too, where great riffs miss a bit a percussive excitement that could really make them stand out. Last, the mastering doesn't underline or emphasize any of the instruments or vocals during any moment. The combined tracks sound as if they were equalized at the same level.

It should be noted however that BELT did everything from A to Z on this track. He arranged, composed, recorded, mixed, mastered, produced then drafted a screenplay as well as performed in his video. As an indie artist he may be currently crafting his skill level on everything, but he's definitely driven by passion and this is something that you can't buy or learn without fighting for. Moreover, industrial musicians usually claim to release frustration and anger though their music or visuals. These negative, yet powerful emotions feel reliable to fans who seem to both savor as well as identify with the tunes that reflect their own opinions or problems. As does "Cause & Infect" by BELT.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, August 3rd, 2012)

http://www.beltsmusiccircus.com
http://www.youtube.com/user/belt2020/videos
http://www.facebook.com/pages/Belt/218893031480342
http://www.myspace.com/564632891
 
 

 
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Your the first professional to give me a review and I love it. Yes everything is correct. Reading it fills me with hope and is a real confidence booster. (...) You've been a big help (...) Thank you for what you said about my video, because I straight up did the filming and the editing by myself and it was the first time I had done anything like that.
Belt | 07.08.2012 |
This review on Fabryka Magazinehttp://industrialrock.net/php-files_en/articles.php?article_id=414


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