Lots of great new albums are dropping today to get us rockin’ through the weekend! All of these albums and more are now streaming on Apple Music and Spotify.
Hybrid Theory 20th Anniversary – Linkin Park
Listening to Hybrid Theory today is just as exhilarating as it was in 2000. From the opening pulses of Papercut, few records strike at the heart of what it means to be cutting edge, the sound of a band determined to shake things up, pulling from influences as diverse as Depeche Mode and DJ Shadow. And while it’s always great to hear the pained wails of Crawling, the simply timeless In The End, and nu-metal aggro of One Step Closer, there’s still so much below the surface. The criminally underrated With You (with Chester’s cathartic, guttural ‘With youuuuuuuuuuuuu’), the joyous ‘Hoo-hah!’ in Forgotten, the electro-wizardry of Cure For The Itch… this is more than an album of four mega-singles.
Away from the record proper, we find ourselves in the midst of its kind-of sister album, Reanimation. Released two years after Hybrid Theory, the band invited some of their DJ and rapper mates to reinvent the record, with varying degrees of success. “They were all people that we really looked up to and wanted to collaborate with,” Joe Hahn told Kerrang! in this week’s Cover Story. Sadly, it isn’t a 100 per cent hit rate: some remixes miss the magic of Linkin Park completely, hacking their way through a capella vocals and riffs until they’re a useless mess. That said, the dubby bass of Frgt/10 with Charli 2na and Pharoahe Monch’s showing on H! Vltg3 elevate the record, while Deftones’ Steph Carpenter’s interpretation of By Myself (titled By_Myslf, naturally) adds even more heaviness and a refreshing, almost-Infected Mushroom beat. None of the songs, however, are an improvement on the originals.
Atlas Vending – METZ
Per Under The Radar Magazine:
Canadian noise trio METZ emerged from Steve Albini’s pressure cooker approach on 2017’s Strange Peace with every bit of Sturm und Drang intact. Self-producing this time out with an assist from Ben Greenberg (Algiers), vocalist/guitarist Alex Edkins’s voice is higher up in the mix on Atlas Vending and the sound returns to more of the intra-song dynamism of 2015’s sophomore album, II. The opening track “Pulse” builds from a low drone and slathers on layers of aural assaults as it goes. Perhaps a subtle shift from the prior album, here the group is decidedly not hemmed in.
Lament – Torche Amore
Lament is billed as the light at the end of that tunnel, the sound of Touché Amoré finding some kind of hope in this world. That’s true to a point, but the album is not exactly a pivot to optimism. Bolm had to fight hard for whatever healing he’s experienced, and you can hear that struggle in every track. “I talk myself out of myself/ When I’m overwhelmed,” he confesses on “Reminders.” “Is there a way to feel free/ Without being someone else?” As “Feign” shifts into high gear, he howls, “I say the wrong thing at the perfect time!” On the blistering album opener “Come Heroine,” with Trapped Under Ice and Angel Du$t’s Justice Tripp in tow, Bolm expresses gratitude for a woman who helped show him the way forward, but not without self-deprecation: “And I’m just a risk/ A colossal near miss/ Prone to resist what is best for me.”
Skeletons – Brothers Osborne
Per Sounds Like Nashville:
On their third studio album Skeletons, the Brothers Osbornemake no bones about what it is they love to do the most, although it may not be what they do best. For a couple of fellas from the northernmost reaches of the United States, TJ and John Osborne certainly know how to rock with a truckload of southern swagger.
Produced by Jay Joyce, the album, taken as a whole, is a confident statement from the Brothers. And why shouldn’t they have all the confidence in the world at this point? In only seven years, they’ve already released a pair of critically acclaimed albums, landed a handful of Gold-selling singles and have nabbed plenty of CMA, ACM and CMT awards and nominations. The best examples of Brothers Osborne’s self-assured identity are the stomping, swerving southern rock-powered numbers.
Baby I’m Jealous (Single) Bebe Rexha Feat. Doja Cat
“‘Baby, I’m Jealous’ is a song I wrote about embracing my insecurities,” Rexha said of the record. “It’s about the way social media has heightened my jealousy which can affect how I feel about myself. We are constantly flooded with the highlights of other people’s lives, and at times I find myself comparing my worth and beauty to others. It’s part of the human process to experience jealousy—ultimately, this is an anthem to embrace those feelings as a form of empowerment.”
The Haunting of Bly Manor Soundtrack
Per The HipsterZOMBIEJoint Experience:
The composing team of The Newton Brothers strive more for a grandiose, longing score this time around for Netflix’s new Haunting tale by Mike Flanagan. Where Hill House was the soundtrack for a broken family, Bly Manor is more of a score for a missing love and the heartache that comes with it. It might sound like the same score to some but subtle notes here and then change the melody just enough to let you know this is very much a different score as it is a story.
Shot In The Dark (Single) AC/DC
The new single embodies the hard-driving anthemic sound AC/DC fans will find pleasingly familiar, with its shout-along lyrics and rocking strut. “A shot in the dark/Make it feel all right,” Johnson sings during the call-and-response chorus. “A shot in the dark/Through the whole night.”
“It’s got that great AC/DC vibe about it, great swagger, and a good AC/DC rock & roll chant,” Angus told Rolling Stone. “The title is a little bit cheeky because we all like a little nip [of alcohol] in the night or a few shots in the dark. I was very glad when the record company heard it [that] they felt it was a very strong song and should be the first one that people hear.”
Come back next week for a fresh batch of new music Friday picks only on the HipsterZOMBIEJoint Experience!