Have a Nice Life - The Unnatural World (2014)

 

"It isn’t real, but it feels real."

 Since I already introduced Have a Nice Life many posts ago, I won't do it again. But as Dan (also of the great label Enemies List Home Recording, check their other stuff out!*) has stated in a place I don't remember... Have a Nice Life "is, was, and always will be Dan and Tim". Enough said I guess. These guys really lack any kind of biography, their Wikipedia article is quite sparse. Perhaps that is part of their charm, shrouded, letting the music speak for itself. Their most recent release however, The Unnatural World, gained some more press release. A song featured on NPR and the entire album streamed on Pitchfork. I think this is great news for the band, they are getting the exposure they deserve. Because this certainly isn't music I'd consider accessible. 

So after releasing an EP in 2010 (following Deathconsciousness in 2008), Time of Land, finally in 2014 the duo released The Unnatural World. I'm not going to lie, I had rather high expectations for this record, I loved Deathconsciousness, and still do. To my great pleasure, this was equally great - albeit in a different way. Still Have a Nice Life but it's the 2014 version. Not nearly as epic as their first full length: 1 disc, 8 tracks, none in the double digits. But this doesn't detract from anything. They are maybe more able to get their point across more concisely. 

All of the elements I loved about their previous album are here, totally depressing, doom, drone, distortion, lots of D words. There are a lot of things to discover about this album, each listen can bring something new. 

So far 'Burial Society' is my favourite track, the vocals are rather emotional. Though none of these tracks lack emotion. And this is also not to say that the previous tracks aren't strong, they definitely are. It's usually just the dreary kind. 'Music Will Untune the Sky' is a sort of dreamy track with some feedback and almost angelic singing stretched out in the background. 'Cropsey' is another interesting track, it begins with a dialogue between an adult and child. The male adult is asking the boy (Johnny) how he feels about Pennhurt. A quick Wikipedia search brings up some info about Pennhurst, and then the track makes a lot more sense. Spoiler alert: it was a school/hospital in Pennsylvania for the mentally and physically disabled. Listening to the track and reading the entry doesn't exactly make for a happy picture. I don't know where the sample came from, but it certainly is intriguing. The samples are played over some simple keyboard and drums before the real vocals and instruments break in. The song is actually quite powerful when it properly begins. 'Unholy Life' follows, and is actually the most upbeat, and shortest, track on the album.

In general, this album offers what you'd come to enjoy and expect from Have a Nice Life, while still managing to give the listener something totally unexpected. This is a difficult album for me to describe as well, it's another best if you listen to it sort of thing. It is a perfect follow-up to Deathconsciousness - while remaining wholly unrelated, there is no recycling of ideas here. The Unnatural World shows the band progressing, moving forward, and still making painfully oblique music that will make your soul filled with sorrow and hopelessness. In a good way of course, because isn't that the best kind of music?

*I recently partook in a campaign to fund Enemies List, you can feel good supporting them and get a ton of great music included. If you like anything from Enemies List I would seriously consider this. It's win-win for everyone! Go here for more info: http://support.enemieslist.net/

 

Oceansize - Everyone Into Position (2005)

"Say one thing for sorrow it never leaves me dry 

As I beg, steal and borrow 

There's no tears when I cry"

Though it's a sad thing that I'll never see these guys live, or hear another new song from them, at least (along with Cog), the world does have some music by them. I actually can't remember how I got into Oceansize. But they are considered 'brothers in amps' with Amplifier (thankfully still together). Named after a Jane's Addiction song, Oceansize is made up of 5 members from Manchester, England. Their line-up stayed relatively consistent throughout the years with only a change between bass players in 2006. Their line-up at the end was: Mike Vennart (guitar, lead vocals), Steve Durose (guitar, backing vocals), Richard "Gambler" Ingram (guitar, keyboards), Steven Hodson (bass, keyboards), and Mark Heron (drums). With 4 full lengths, 5 EPs and a handful of singles, Oceansize as we know it sadly ended in 2011. But because I frequently take their records out, and have recently been listening to Everyone Into Position, I thought I'd review it anyway. As with all their records, it easily holds up after these years.

I have actually considered reviewing an Oceansize album many times, but always fell short because I honestly was not sure what to write. To me, they are a difficult band to describe. All of their albums, except the most recent Self-Preserved While the Bodies Float Up (2010), have taken a while to grow on me. These guys make albums that I would in no way consider accessible. They also don't really go for the whole 'this can be easily described to someone else' thing. When asked what album I'd recommend as a starting point, I would honestly have no idea what to say. That's not to say that they are "weird" or overly experimental (using generic pop as a baseline here). Their albums aren't even that far from one another, really. Maybe the aforementioned Self-Preserved... In fact, they are probably most often described as progressive rock. Even through many listens you may not be sure exactly what to think. After I got to 2007's Frames, I knew I would like it, I just didn't know how long it would take. But anyway, Everyone Into Position was the album that I started with. I bought it from another iTunes recommendation (who knew) and when it arrived I played it, but only extremely occasionally. There wasn't anything bad about it, but it didn't really click at first. Good way to start a review eh? Then, and I don't remember when, it just did. The same thing happened for their debut album Effloresce (2003). Now I play both, well, a lot. Since as soon as it clicked, it really fucking clicked. Like playing over and over and over for days on end kind of obsessive clicking. So on with the review, if that's what we're calling it at this point...

The album begins with 'The Charm Offensive', and though there is no typical title track of the album, this is as close as Oceansize gets with such a thing. The opening track feels like a call to arms of some sort. It remains upbeat and a little bit winding, and in my opinion it somewhat eases you into the rest of the albums progression. Admittedly, this album doesn't go so much for ebb and flow as it does for grabbing your attention. The tracks flow into one another relatively seamlessly but there isn't necessarily an overall theme. Though I also feel that these songs would only be comfortable all together on the album itself. See hard to describe. As a side note you probably should not think too hard about what their songs are actually about, it may make your head hurt a little.

'A Homage to a Shame' has quite a bit more bombast than the previous 2 songs. Particularly the latter half where the vocalist is basically screaming at you. All in a good way of course, but it's somewhat unexpected at first. Then there's 'Meredith', a slower piece, which was also played in a scene on the American TV show The OC (yeah, you read that right). This is absolutely in stark contrast to the previous track. 'Music for a Nurse' follows, another slower track that lets you float along with it, giving you a perfect sense of an anesthetic, dream-like state. 'New Pin' is a standout track for me, and one of my favourites. Vennart delivers a great vocal performance, part patronizing, but also partly like a plea - a delicate balance that he manages perfectly. 'No Tomorrow' harkens back to 'Heaven Send', the second track, but still totally different entities of course. The last few tracks can sometimes get a little muddled as they follow some more "stand out" options that come before them. However, if you are willing to donate more time then you are infinitely rewarded for your efforts. Of all of them, I'd say, at least for me, they were the most difficult to get into, but still lovely! These are even more difficult to describe as you can tell from my rambling.

So in conclusion another thing about Oceansize that should be mentioned is that they really work and sound so much a cohesive unit, they feel like they fit together perfectly and easily. It makes for a great sounding record, like it was meant to be that way. I don't know what else to say. Listen for yourself!

Also if you like Oceansize, support their various new projects!

Best of 2013

I've decided to begin posting my best of the year lists, since I make them every year anyway. It was a great year for music for sure. I didn't write too many reviews this year however, partly because I did not have so much time and partly because I did not have that much time to really thoroughly listen to a lot of releases. I intend to rectify that this year! I will probably be spending a lot of it listening to 2013 releases..

So...

My 2013 List: (no order)

Albums

Loved/listened to a lot

Paramore - Paramore (review)

Palms - Palms

Coheed and Cambria - The Afterman: Descension

Karnivool - Asymmetry (review)

Nine Inch Nails - Hesitation Marks (review forthcoming)

Pelican - Forever Becoming (am doing so since release anyway)

Anathema - Universal (Live) (really captures the energy of their live sound, gives the songs a new depth)

Steven Wilson - The Raven that Refused to Sing (more so after seeing it live) 

 

Liked

Nothing More - Nothing More

Austra - Olympia

Riverside - Shrine of New Generation Slaves

Puscifer - Donkey Punch the Night

Long Distance Calling - The Flood Inside

Birds of Tokyo - March Fires (some great highlights but maybe not as strong as their previous album)

Dead Letter Circus - The Catalyst Fire (ditto to Birds of Tokyo)

Amplifier - Echo Street

Wisdom of Crowds - Wisdom of Crowds

Mogwai - Les Revenants

 

Liked, but haven’t listened to that much (yet)

Mamiffer and Circle - Enharmonic Intervals (For Paschen Organ)

Altar of Plagues - Teethed Glory and Injury

Jesu - Everyday I Get Closer to the Light From Which I Came

Boards of Canada - Tomorrow’s Harvest (blasphemy that I haven’t listened to this much yet, I know!)

Sigur Rós - Kveikur

Jon Hopkins - Immunity

65daysofstatic - Wild Light

Russian Circles - Memorial

Cult of Luna - Vertikal

Fuck Buttons - Slow Focus

Chelsea Wolfe - Pain is Beauty

Man’s Gin - Rebellion Hymns

 

Not sure what to say about..

The Knife - Shaking the Habitual

 

Still need to listen

The Ocean - Pelagial

Tim Hecker - Virgins

Deafheaven  - Sunbather

Humanfly - Awesome Science

How to Destroy Angels - Welcome Oblivion

Intronaut - Habitual Levitations (Instilling Words with Tones)

Zozobra - Savage Masters

Locrian - Return to Annihilation

Red Fang - Whales and Leeches

Wolvserpent - Perigaea Antahkaran

Rosetta - The Anaesthete

Oneohtrix Point Never - R Plus Seven

Special Request - Soul Music

Forest Swords - Engraving

Holden - The Inheritors

Barn Owl - V

Fen - Dustwalker

God is an Astronaut - Origins

Krister Linder - The Great Surrender EP

Tegan and Sara - Heartthrob

Kylesa - Ultraviolet 

Tracks

Karnivool - We Are, Alpha Omega
Paramore - Fast in My Car, Ain't It Fun, Still Into You
Coheed and Cambria - Key Entity Extraction V: Sentry the Defiant, The Hard Sell
Nine Inch Nails - Various Methods of Escape, In Two
Steven Wilson - The Raven That Refused to Sing
Anathema - Thin Air (live), Untouchable Part 1 and 2 (live)
Nothing More - First Punch
Riverside - Celebrity Touch
Puscifer - Breathe
Birds of Tokyo - Lanterns, The Others
Dead Letter Circus - Alone Awake

Live
Cult of Luna
Ilosaarirock (particularly Nightwish, Pelican, Imagine Dragons, and Sigur Rós)
DJ Shadow (surprise to me too)
Steven Wilson
Karnivool 

Looking forward to in 2014
Mogwai
Have a Nice Life
Crosses
Sunn o))) and Ulver
Wolves in the Throne Room
Jakob
Amplifier
Mastodon
Old Man Gloom
Agalloch
Palms(?) 

Karnivool - Asymmetry (2013)

"Break the mold
Let's shake the ground
Wreak havoc"

I saw these guys live on their recent European tour and as the hours led up to it, I became more and more excited. Perhaps because I've liked Karnivool for a number of years, and since they are from Australia, thought it unlikely that I'd see them. I don't even remember how I got into them, possibly something to do with Cog (which I've reviewed previously). They also seemed to be in the exact opposite place that I was when they came to tour North America and Europe, but we finally ended up in the same city! They fucking killed it, tons of energy and the crowd (to my great surprise) was going crazy singing and dancing. I was pretty shocked to hear most of the club sing along to a song from their first full length album: 2005's Themata. Karnivool is five guys from Perth, Australia, which consists of Ian Kenny on vocals, Drew Goddard and Mark Hosking on guitar, Jon Stockman on bass guitar, and Steve Judd on drums. Though touring somewhat relentlessly in their home country, it took a few years for them to crack out of that and into the rest of the world. All of a sudden I was hearing about a US tour and a special release date for their 2009 album Sound Awake. This, of course was great news to me since I had liked them before that. It seems that Karnivool is making a name for themselves on the other side of the world. And with this year's Asymmetry out for the masses to consume, they continue their push forward.

 Upon first listen I definitely liked this album, but it actually took several for me to really fall in love with it, and when I did I fell hard. It is more challenging than the band's previous releases, but that only makes it more rewarding. Where Sound Awake had long songs, I felt a couple of them went on too long with not much gain, Asymmetry keeps them concise, even 7-8 minute tracks are fully worthwhile. Karnivool seems to have grown and come into their own with this album, at least it shows immensely on it.

The album begins with a somewhat ambient track 'Aum', which slowly brings your ears to the surface before beginning with the first proper track. As 'Nachash' opens, the music swells and crests, and though it doesn't tear into you, it easily sets the tone for the rest of the record. 'We Are', the album's single, is indeed a standout track. It has a chorus that sticks in your head and won't leave. But just because it's catchy doesn't mean it leaves behind its complexity. After 'We Are' comes to a quieter close, now is where Karnivool unexpectedly rip into you with 'The Refusal'. Here Kenny is practically screaming at you, we hear the almost fed up anger in his voice. Part like he's given up, and part like he is still hopeful for a future. The song changes between roaring vocals and softer, almost speak-singing lyrics. The album continues along the same lines we hear at the beginning, not to say it sounds the same, but the mood is relatively constant. I see this as an asset however, giving Asymmetry cohesion (perhaps an oxymoron here). Every song is quite strong in my opinion. Including the last full track 'Alpha Omega', though clocking in at almost 8 minutes there isn't a moment wasted to get the idea and message across. Though the mood is quieter, it makes the lyrics more powerful for the listener. When Kenny, with all his conviction, tells you repeatedly: "This ain't no ordinary life" - you believe him.And though his lyrics don't always shine with incredible beauty, they ring true, something that should also be praised.

Though classified as progressive metal, Karnivool has an extra kick in their step that you don't hear from some other bands in the genre. They form together well, and though Kenny's voice is the leader in the dance, the members ebb and flow perfectly with their instruments. Strong songs make for a great album, and that is what Asymmetry is. It shows no weakness at any point and takes the listener on a worthwhile journey.You can feel the singing and instruments playing around you as you listen, this album has depth to it. An excellent third full-length by this Australian band. I'm almost too engrossed in this to even wonder what's next for Karnivool.

Paramore - Paramore (2013)

 

"Lost the battle, win the war
I'm bringing my sinking ship back to the shore
We're starting over, we'll head back in
There's a time and a place to die but this ain't it"

Oh, Paramore. I can admit that I think you are awesome. Your songs are catchy, pop-rocky, a little bit angry sometimes, a little bit sad others, and just in general really fucking enjoyable. I first heard 'Misery Business' from 2007's Riot! on Guitar Hero. Yep. This song was my gateway drug in to your music. The addiction came to a new level when I heard 'crushcrushcrush' off the aforementioned album. From Riot! I explored All We Know Is Falling (2005). I fell hard for Hayley Williams' vocals and lyrics with guitar (formerly Josh Farro/now Taylor York), bass (Jeremy Davis) and drums (formerly Zac Farro) backing it up. Though maybe only minimal growth between these two albums, I still think these songs are great and listen to them occasionally. They were able to keep my attention, until, in 2009 Paramore released Brand New Eyes. This showed a real progression for the band in general, and particularly for Hayley as a vocalist/lyricist. There was no longer only one volume on the record, but a more vast dynamic range all around. This was actually no longer just a catchy band, but an interesting band that could hold their own. Clearly they were writing good music that served as radio hits but also had something more to it. I had Brand New Eyes on repeat and still take it out frequently. Cut to approximately a year later where the Farro brothers leave the band in a rather dramatic fashion - making a blog post about their struggles to have more say in the music and painting Williams as the sole controller and focus of the band. Whether there is truth to it or not is irrelevant to me. Now only 3: Williams, Davis and York, forged ahead anyway as the new incarnation of Paramore. I wasn't too worried since, as per usual, what I liked most about Paramore was the vocals of Hayley, but of course I was curious to where they were going to go next and how they were going to follow up Brand New Eyes. In summer 2011 they released a new single: 'Monster'. Practically a 'fuck you' to anyone who should question their commitment to the band and making music, and a promise to fans that they would continue to be Paramore. A phenomenal song (which I have probably overplayed but am not tired of somehow), with lyrics "I'll stop the whole world from turning in to a monster and eating us alive". They continued in the fall to release 3 additional songs for their 'Singles Club'. Another 3 amazing tracks that I also couldn't get enough of. Needless to say I was entirely psyched for the new album, expecting it to sound along these lines. A small step up from Brand New Eyes and with a new found defiance and energy to them, I was satisfied. It was not until April 2013 however, that the 3 members of Paramore (with additional drummer Ilan Rubin, also of Nine Inch Nails) released their self-titled album. I was looking forward to it of course, but it was nothing like I expected. In fact, it was infinitely better.

If Brand New Eyes was a large step up from Riot!, this album is on another planet entirely. Still distinctly Paramore but with so much more. They tried out many different styles here, and it worked. In an interview Williams describes trying everything once and seeing how far they can take things on the album. This is certainly true. Each song is a gem in its own special way, and each song is very special. Consisting of 17 songs and running at about an hour, this is already a pretty intense album for Paramore. Though 3 of these songs are interludes, they can still stand on their own pretty well. Here we hear more dynamic range, more interesting music, and Williams maturing as a vocalist. You don't feel like she's screaming out any more. The lyrics even focus on this fact, song 'Grow Up' for example: "Some of us have to grow up sometimes And so, if I have to I'm gonna leave you behind". Interludes 'Moving On' and 'I'm Not Angry Anymore' say this in no uncertain terms as well, and 'Ain't It Fun' tells of living on your own and taking care of yourself. No more high school drama for Williams, she's living her adult life now. There is some focus on their new incarnation as a band, as is to be expected. But it's a nice thing to hear they are moving on with their passion for music.

Though the tracks may sound like they take on a more serious air, there is still plenty of fun mixed in. In fact 'Ain't It Fun' is a real foot tapper, with some Motown channeling at the end. The love song 'Still Into You' (and the album's second single after 'Now') has an upbeat vibe to it that makes you want to sing along and rock that air guitar, it's a fun, feel good song by the band. Opening track 'Fast In My Car' catches your attention with its quicker beat and 'Now' is another energetic track focused on looking ahead to the future.

Though all the tracks stand out for various reasons, one of the most interesting songs for me (though not necessarily favourite on the album) is the closer 'Future', clocking in at almost 8 minutes. Which is insanely long for a Paramore song, with most being around or under 4 minutes. The track ambles about a bit, hitting different styles and finishes the last two minutes in what I would describe as a post rock style. The first time I heard it I thought my music player had switched to a different band entirely (This Will Destroy You was my guess at the time), but nope it was still Paramore!

In general the band's new self-titled is polished, mature, interesting and actually continues to offer a lot with each listen. It is less one-dimensional than their previous efforts, while remaining true to the sound of Paramore. This time around they bring a lot more styles and sounds and it seems they've really grown as a band. Normally I wouldn't say that a Paramore album should be so respected but what they've done here is beyond what you would come to expect from these 3. Awesome album and kudos to them! Seems it's already getting a lot of praise, as it should. I have a feeling it's going to be the pop-rock album of the year for me (not that I listen to too much of that stuff but you know).

Deftones - Koi No Yokan (2012)

"We're alive somewhere else Still asleep someplace new"

This album has been out for a few months now, and I finally feel that I have something to say about it. I don't quite remember how I got in to the Deftones... Possibly it started with White Pony's (2000) song 'Passenger', which features Maynard James Keenan on vocals with lead vocalist Chino Moreno. This is still one of my favourite Deftones songs, possibly one of my favourite songs ever actually. I think these guys are one of the bands that I listen to that have shown a very clear progression. Not just changing it up between albums but progressing to a new space while building on the previous sound. They also do not need too much of an introduction in my opinion. Formed in the late 80s and with 7 albums currently out, Deftones consists of the aforementioned Chino Moreno, Stephen Carpenter on lead guitar, Abe Cunningham on drums, Frank Delgado on keyboards, Chi Cheng on bass (though sadly, he remains in a coma and is currently not with the band - good vibes to him and hope that he recovers!!), therefore Sergio Vega is the current bassist. This is a band that is still made up of its original members, quite impressive and rather rare I'd say. Perhaps this solidarity is what contributes to their perseverance, dedication and well, being awesome at music. Though typically the genre thrown around with the Deftones is some form of 'metal', for example 'alternative metal', it's still hard to pigeon hole them in to a singular spot. And with influences/favourite artists that range from Duran Duran to Lynyrd Skynyrd to Helmet and all that is in between, it's easy to see why they may not fit in to a particular sound. From crushing metal to soft rock, their sound can vary between moments in the songs themselves. This makes them an exciting band to listen to, you are often never sure what to expect on the first listen. Of course, their back catalogue is worth listening to, each is a strong album in my opinion. Though I prefer their recent stuff, it seems a bit more polished while still maintaining the raw intensity that the band is great at translating to an album. White Pony (maybe not so recent since it is now 12+ years old..) is frankly an incredible piece of work, pretty much the quintessential Deftones album.

Koi No Yokan translates to 'Love's Premonition', hardly a title you'd expect from an arguably "dark" band. But perhaps if you take it in context of the fact that it is the follow-up to 2010's Diamond Eyes, you can see why. After Cheng's accident in late 2008, fans maybe expected an angry, rough album from the Deftones as they continued on in the meantime. However, what came out was a powerful, almost triumphant full length. It was as if they were saying, "yes we're still here and life isn't over yet, so we'll pull through for our brother", they showed their true colours through their music and they didn't give up because they knew that's what their bandmate would want. (This is of course just the feeling that I get from listening to the album, to each their own, and Diamond Eyes isn't an ode to Chi, at least not overtly, it's still just a killer album). This was all after temporarily (hopefully) putting away the recorded album Eros, and recording a whole new album instead. But more than 2 years later the band continues on with Vega on bass while Cheng recovers, and releases Koi No Yokan. I read a few reviews of this album just before the release date and saw that it was being compared to White Pony, thus getting my excitement up even more. With this album, it's almost as if they continued on the powerful path of Diamond Eyes but had the cohesiveness and focus of White Pony.

Like Diamond Eyes, Moreno's voice ranges from confident and loud to soft and reflecting. To me the lyrics aren't so important from this band, and Moreno has stated that he makes them deliberately ambiguous. He has a special talent for conveying emotion without the weight of important words behind them. You probably don't know what he's feeling but you can take a lot out of it nonetheless. What he's saying isn't so important but how he says it gives meaning to how it makes you feel. With Chino at the microphone an innocuous phrase can become a powerful statement. And though I don't necessarily get the feeling of joy on this album, it carries with it a certain feeling of strong will.

A Deftones album is hard to describe, because it's just the Deftones doing what they do best. And this is no exception. Of course any fan will be pleased with Koi No Yokan. For me this is a continuation on the Deftones progression, the next step after Diamond Eyes. They perform with vigour, integrity, emotion, and power. It's the Deftones of 2012, and it's pretty fucking great.

Flyleaf - New Horizons (2012)

"You said I only have to wait until I die And that's in no time"

 Warning! Possible (strong) personal opinions ahead! 

Of course when a band is religious (and talks about it, either in interviews, their songs, or both) that's the main thing that comes up when reading or writing about them. It is often used as a pro or a con: a way to elevate them if you agree with their religious affiliation or a way to throw them in the gutter if you disagree. This is generally the case for people hearing the band for the first time, and of course I'm generalizing here. Though I will even admit to having a small tense up at the idea of listening to a band labeled as a "Christian metal" band. But I knew I would be being just as closed minded if I chose not to listen to them due to their religion. So when I heard their self-titled debut (released in 2005) back in summer of 2007, it became a non-issue almost instantly, and I was hearing them for what they are: a band. One with members that happened to be proclaimed Christians, but a band nonetheless. And then that's all the Christian metal label was, a label.

As is probably obvious, I became a fan. Besides the fact that they were making music I enjoyed generally, I'm always a sucker for female vocals and metal music! Which to me, is the defining quality of Flyleaf. The band is made up of Lacey Sturm (née Mosley) as lead vocalist, Sameer Bhattacharya on lead guitar and backing vocals, Pat Seals on bass and backing vocals, James Culpepper as drummer and percussion, and Jared Hartmann rounding out the sound on rhythm guitar. Though sadly, just as New Horizons was releaed, Lacey Sturm left the band to spend time with her family. While of course understandable, I can't say I'm not disappointed. But with three albums with her on vocals (the second being 2009's Memento Mori), at least I will have them. Both of Flyleaf's previous albums have stayed with me fairly constantly, and I expect that New Horizons will join them in the years to come.

Sturm's voice is a unique one to say the least. The emotion and conviction it carries is always present. Whether it's anger, melancholia, love, or hope, it's always there and it's always honest. I feel what she is singing about every step of the way. To hear a vocalist who has so consistently strong emotions in every song is a rarity. Though the lyrics may be more akin to a pop song in their simplicity, it doesn't stop me from truly enjoying each line. However, this isn't to say that her lyrics are vapid or meaningless, they are in fact just the opposite. Nor are they ever happy-go-lucky, there is realism and the feeling of searching for the light in the darkness here. New Horizons is no exception in this regard either. While Sturm may have been a little angry on their debut and a little morbid on Memento Mori (Memento mori generally meaning 'Remember you will die' in Latin), her lyrics still have a hopefulness and resilience in them. Here, New Horizons takes all of it to a whole new level. (As well I should also mention that backing male vocals are a bit more present here, a nice addition to change things up in a few places). Full of a desire to move forward and the human condition of mortality (the title track), but also an anger with our current consumer society ('Bury Your Heart') and music as a business ('Cage on the Ground'). Sturm shows true emotion but also her ability to look outside herself and see what's around her, not just what is going on inside her. Though she sings of love, and living life to the fullest, she also sings of loss and pain. It is a perfect dichotomy on each of Flyleaf's albums. We all know that life isn't life without pain (yeah, clichés!), and Lacey Sturm continues to put this in to honest words that everyone can relate to on some level. Are there allusions to God on occasion? Of course. But even if you aren't a believer, you can't say that she isn't a killer vocalist and poignant lyricist. 

Flyleaf tend to write shorter songs, usually between 3 and 4 minutes, making their albums around the 30 to 40 minute mark in length. Some may be discouraged by this but others may find this refreshing. While I don't feel discouraged, I do find myself wishing they were a bit longer, as I want more Flyleaf! But in all honesty, they are a great length. Short and sweet to my ears. Some of their songs can be quite catchy as well, as I mentioned the lyrical structure is more of a verse-chorus-verse akin to pop songs (I feel like I'm not going to be getting Flyleaf any new fans from this review but oh well!). But to me, this is what makes Flyleaf appealing as well. This isn't a band that spend their time getting to the point, they just get to it. It can be satisfying to digest a 3 minute song, especially ones so full of strong emotion, any longer and you might be too drained to continue. Hearing New Horizons the first time, a couple of times I almost teared up at Sturm's vocals and lyrics. I'm over it now of course, but the strength in her voice is astonishing. It floors me every time I listen to a Flyleaf song. So while the songs and lyrics may not be overly complex, this isn't necessarily a con. A short song isn't worse than a long song. For me, Flyleaf's songs are just as powerful as a 12 minute opus from a different band.

I know I didn't say too many things specifically about New Horizons, but I believe you get the idea of what this will sound like by me describing Flyleaf and their general sound. This isn't a copy of either of their albums, and in fact shows an evolution as a band from debut to Mementor Mori to here. They sound tighter here than their debut for sure. But from this review I think you get the idea that Flyleaf is Flyleaf. 

So in general, New Horizons is a great Flyleaf album. I've devoured it over and over again in the week since its release. Naturally, Sturm is just as memorable as ever. Though I have yet to decide how I feel about a new Flyleaf without her. But the songs here are superb overall. Flyleaf maybe isn't my usual fare, but I still think they are an awesome band who make very listenable and honest music. And while you may not discover something new with each listen, you are guaranteed to feel something*.  

*(unless you're a robot)