"Cee-Lo's Magic Moment"

Every year the muses of the holiday season endow musicians with sugar plums and visions of what could be another classic holiday album. I am not a scrooge, for I love the genre, yet I am far from enthused to find that more of these attempts have been produced. I will iterate that I love Christmas music, but I prefer jingle bells from the left field than the downtrodden diamond with these artists attempting homeruns and 'classic' status. There are so many albums in this genre that it is becoming more cumbersome to decipher whether it was a labor of love to the season or if a paycheck was the reason. Considering that a lot of these albums cover the same classics, it is disenchanting.                                                                                                                                                                             I am still unsure where this record stands, but I can proclaim that this is "Cee-Lo's Magic Moment." At first listen, I thought "he has a superb singing voice, but there is not much he has to offer that has not been done prior to this" and yet it was appealing nonetheless. He was able to manipulate the arrangement of most of these songs  minimally and retain his cover's relevancy; the album is solid, but you will not find many experiments.                                                                                                                                               One of the standouts is his duet with Christina Aguielera for...you guessed it... "Baby, It's Cold Outside." When I first heard his collaboration with Rod Stewart and Trombone Shorty for "Merry Christmas, Baby" on the radio I think I rolled my eyes, but it is a better rendition after several listens. The addition of strings in Cee-Lo's version of "All I Want For Christmas is You" is a pleasant one.  He doesn't change much on the opener, but his voice is attuned to the soul of the song that it is worthy of note. You may even find his other renditions to be even better than what I've mentioned, or you might proclaim "You're a Mean One, Mr. Grinch" when in actuality I am subjective, or aim to be; the collaboration with Straight No Chaser is a recommended listen.                                                                                                                                                                          "All I Need Is Love" is the sole original song on the album and an earworm of a collaboration with the Muppets; who manage to integrate their choral mantra in this song, and bring even more jubilation for this celebration.                                                                                                                                  

Kanye West Saint Pablo Tour (August 27th, 2016)

Considering that my expectations were higher than the aerial stage, disappointment was imminent. It is natural for artists to progress, or change, and for their approach to the music or their shows to do the same. His stage theatrics were subtle and the presentation was devoid of any conceptual or visual accompaniment, aside from "All of the Lights," which was a stand out. His concert was a showcase of the music, as concerts should be, but after hearing of spacemen in a search for inspiration and set pieces that could rival Broadway, I was underwhelmed. It would not have bothered me as much, had he dove deeper into his discography and injected more of his hits into the set list, but this is Kanye: "Can't Tell Me Nothing." I understand that he wanted to introduce The Life of Pablo to his fans in a live setting, but there may have been a better way to do that. He did play songs such as "All Falls Down," "Ni**as in Paris" sans Hov, "Flashing Lights," and "Jesus Walks," which were great, but there were so many other options when it came to a set list; his new album was a healthy portion.                                                                                                                                      Yeezus has yet to be stripped of his "Power" to move a crowd, I will admit that. While to hear "Robocop," "Bad News" or "Street Lights" would have been "Amazing," the latter wasn't bad. I am certain that I am not the only person who would have preferred to hear more of his earlier material, and while "I Love Kanye," I believe that his Kancentraton is too diluted by multiple pursuits to create music that can captivate like his college-bound collective, or his ode to drum-machines and broken hearts, and I am aware that he did release several albums between 808s  and Pablo, but I did not hear them in full to appropriately equate their subjective value; maybe it would have helped if I had acquainted myself with the material prior, but it would still not be the same because the music was not.                                                                                                                                                After giving myself a few days to process the experience, I will agree that I am glad to have gone, because even if it was not what I expected, I would have been plagued by the incessant "if only" in the back of my mind, and the show was good. The interludes did compensate a tad for the muted stage presecence, as well as the videography that was displayed on screen. Kanye did utilize the moving stage appropriately, giving each end of the stadium a fair shake, even gracing the hands of, a good percentage, the general admission fans.                                                                                  What I suppose was a touching moment was when Mr. West relayed a request to the fans, to sit down whether in the stands or on the ground, legs crossed, yet the meaning was lost. The audio was muffled. Acoustics can play a major role in the enjoyment of a show, and the inconsistent clarity of what was said was a turn-off. We could factor in the one hundred and five minute wait, but that did not hinder my ability to appreciate. Mr. West, I confess that I may not be so quick to spend cash the next tour, however my curiosity incites the need for more.

Live "The Turn"

One of the most polarizing of lineup changes would have to be concerning a new vocalist, because not only do we have to adapt to the new "voice" of the band, but prepare for the opportunities it could provide; to revitalize a band by a change in sound, or simply re-energize the muse. What was jarring was the rooster crow in the form of "Siren's Call," aptly titled because this is what convinced me to give the record a try, and only so because "I count the ways you turn me on..." came from a band that released an album entitled "Birds of Pray" in 2003.                                                                               So is the absence of Kowalczyk the catalyst for this change? I could drop album titles or begin Throwing Copper, relay a Secret Sahmdi, both possessed that fire, and say no. Bands change their sound; progress and regress, plateau, plummet, or rise, or simply lose their passion.  Not that the previous aughties entries in their catalog was devoid of it,  and this is coming from an outsider, but it was lacking an ingredient those two aforementioned records possessed; is it angst, refurbished and repurposed? I would say that is a possibility, and while the nine remaining tracks do not seem as electrifying, they are all worthy of a listen: Be it the duet in "Natural Born Killers", or the flames that had  engulfed "6310 Rodgerton Dr."; the instrumentals that, "By Design," could score a Bond film; if to run away is what you "Need Tonight," make sure you run with a purpose, and use common sense; the soaring vocals in this next one may give you "Strength To Hold On." "We Open a Door" is another electrifying number, as well as the latter, and with "He Could Teach the Devil Tricks" I have little to say. There is a country twang in "Until You Came Around," in case you're wondering.               "Breaking it is easy, now we'll never know how well it was made" is the standout from "The Way Around is Through" which is taken into consideration when reviewing, even if some music might not be "well made," which is why I prefer to focus on the positive aspects, and constructively criticize because the music is often forged with heart, and it is not in my nature to trample or completely disregard someone's feelings.

Dev "Bittersweet July"

While this collective was not as eclectic as her debut, Dev returns with a more consistent offering; a pair of two EPs by the name of Bittersweet July. While each extended play has its own strengths, gestalt falters in this context, but that can also be due to one's opinion.                                                    While I found some of the beats in part two to be more intriguing, I felt the songs in the first half to be more substantial, and while people may laugh when the buzzword "purpose" comes into play concerning modern dance-pop, the first half did not seem as disposable.  Best tracks: Honey Dip, Feel It, Kids, Who Needs a Heart, You Want Me, Gimmie Some.

Zac Brown Band Black Out The Sun

Whatever was in that whiskey, was not only infectious, but transcendent of the fact that to feel its effects you must drink it; everybody was in fine spirits in spite of the fact that the "Whiskey's Gone." It was what the crowd needed to start their experience off right, with a more energetic rendition.                                                                                                                                                   I vaguely remember the comment, but Zac said something akin to "we have a couple of hours together, so lets make this our own paradise," which I believe they had achieved, before playing "Castaway." The latter of which was another crowd pleaser, but on the mellow end of the spectrum; which is what their repertoire is known for.                                                                                               With their abundance of hits there are bound to be some misses from the set list, yet you couldn't see any dejected concertgoers. In fact, the atmosphere that Zac and his phenomenal band had fostered was that of mutual respect and love; I will take into account there could have been a decent amount of happy drunks, and watching a favorite artist perform at this level would please most people .                                                                                                                                                      A query for the selective and frugal concertgoers:  If an artist's execution of their songs mirrors that of their recorded material, is there a difference in seeing them live? Yes, there were plenty of reasons to see them live.  One, to reconvene with old and current pals and cohorts while listening to some great music. Two, to be a part of something larger than oneself, you could participate in a huge singalong or support the aspirations of their camp, Southern Ground, whose aim in simplest terms is to provide a pleasant experience that will aid the attendees in finding the best within themselves and others to positively change the world, while attuning themselves with nature and all it has to offer.                                                                                                                                                  Their music reflects their positive aspirations and outlook on life, which is not without its "Colder Weather,"  not only one of my family's favorites, but one of the sadder singalongs, and realizations that none of us are without our worst days. I have been a fan for about a year, so I'm not a seasoned veteran like my brother, who has seen them three times, but I recognized most of the songs and enjoyed every one of them. "As She's Walking Away," "Free,"  and "Homegrown" remain three of my favorites. However, the crowd really enjoyed "Toes," and what would their set be without their "Chicken Fried" I must ask. I never tried it, but it sure sounds great. What made it even more special, was when they honored a woman in the service during the bridge full of thanksgiving and the verbal salute to all veterans. Which is a respectable gesture, and I would not be surprised if they choose someone to honor every show.                                                                                                           Who could forget the covers? Do they require the assistance of magic to rival the original's quality? "No Way No."
 When my brother and I heard the first few chords of "Teenage Wasteland" I could envision my father singing the chorus, and his ecstatic response; I don't want to assume anything, but I think that the original creators would be proud, not that you need me to tell you who.                                                      At first, I did not recognize this cover, because I have not heard the whole song, but they didn't let The Chainsmokers down with their cover of the band's plead for security or a backscratch; leaps ahead of their ode to the "Selfie," but that is open to discussion, at another time.                                                                                                                                                                        This concert was a surreal experience, just from the time that I had and this feeling of joy, acceptance, and love that appears to be a staple of their performances. Their cover of "Bohemian Rhapsody" was not a fantasy, they really brought that one home.                                                                                                                                                       Last but not least was their ode to Prince with "Let's Go Crazy," an appropriate choice, and a lively rendition; may the purple one rest in peace, and instead of turning in his grave, I hope he was cracking a smile. A shame he had to pass so soon, but another reason to applaud them. It has only been three days and I miss the time spent with them already; okay that feeling I shared with my loved ones also played a big part in that, for they are my beautiful drug.

U2 "Songs of Innocence."

While I did appreciate the experimental nature of "No Line on the Horizon," I can declare, with nary a doubt, that  this was a more consistent album. The opener "The Miracle (Of Joey Ramone)" is an absolute stand out, especially when compared to the first half of the record. The songs were not bad, per se, but deja vu is a relevant concept concerning the first six tracks.  Track seven provides no indication that any of the members have been "Raised by Wolves," but Bono's vocal performance is the equivalent of a wolf pup emulating its father; the yelp is accepted, and cooperates with the instrumentals. Tenacity instilled, we arrive at "Cedarwood Road," another notable track amidst the comfortable and partially acceptable. It possess a subtle musculature that echoes Pre-"Joshua Tree" U2, without ever attaining their exuberance of those days; if only they took it farther. "Sleep Like a Baby Tonight" seems like it could have fit on "No Line on the Horizon." The production of "This is Where You Can Reach Me Now" is aligned with its content, and the eerie instrumental utterance can simulate a tiny fraction of how soldiers may feel, while the steady, yet driven percussion can resemble the beating heart of one. While the collaboration with Lykke Li was not the complete antithesis of the opener, in terms of quality, it was nowhere near what one could expect from one.              Are the tracks that I mentioned elevated to "good" or "great" due to the company they commiserate, or because they are songs of  admirable quality amidst a majority of songs that are good or tolerable? The latter. I didn't mind listening to the album, but I would not recommend listening to the full album more than once, unless you have the time to spare, and/or don't mind if you have heard it before. Favorites: The Miracle ( of Joey Ramone), California (There is No End To Love), Raised by Wolves and Cedarwood Road. HM: Sleep Like A Baby Tonight, and This is Where You Can Reach Me Now.

CrazyTown "The Brimstone Sluggers"

Whether you require a "Backpack," or simply " The Keys" to drive to CrazyTown matters not, but neither does my opinion, yet I am relaying it anyway. When it comes to their most recent release, Brimstone Sluggers, it stays partially true to the title. With any baseball game there are bound to be homers, triples, pop flies, walks, etc. This is one of those games that you may want to hear for yourself, and as for the brimstone, preaching is not really present; it is more about the action (getting it or making it happen). I didn't hear many curveballs, but the they were able to make due with what they have.                                                                                                                                                You can be impartial to a team and still recognize when they play a good game. Like the sport itself, I am not really invested to where I have a specific team that I support. This group I haven't really connected with, yet they did have some good songs featured on the record.  Aside from the aforementioned, the "slower" songs may prevent you from eating their dust, but I recommend you catch some "Ashes. "  If I gave the album "A Little More Time," I might have had more to say, but I already made the pitch, the rest is up to you.

Worries Little, I Will Only Critique the Magic! (Although Briefly)

An exclamation point often denotes enthusiasm regarding concepts or ideas, or the more physically tangible such as people, objects, and places. For that reason, I will refer to the band as MAGIC, and I'm not trying to be "Rude," nor is any there ill intent when writing this; even though their first single did intrigue me, and the second track convinced me to give the rest of the album a try, but I have yet to believe they are to that point yet.     

Streisand "Partners"

I have never been a Streistan, and not for lack of talent, but due to disinterest; I haven't listened to much of her back catalog. My interest was piqued by reading her line up of "Partners," and what a  cast it is.  She is a fantastic host, and her versatility is affirmed by this collection of collaborations. From Stevie Wonder to Andrea Bocelli, I believe there is something for everyone. While I appreciate the vocal talents of Buble, it was to be expected, and a good way to start the record. "People" showcases the vocal talents of Mr. Wonder, but subdues his musical personality; they achieve equilibrium when it comes to the spotlight.                                                                                             An "Evergreen" will remain true to itself; it's a tree what is that supposed to mean? Either adaptation or a "New York State of Mind," which features an appropriate and adept performer, Mr. Joel, will not deter self-imposed sunshine. While valiant efforts were made by Babyface, Shelton, and Legend, I felt that they were overshadowed by that of Bocelli; they are all talented in their own rights, I just felt they were holding back, when Streisand doesn't require a handicap. Sometimes the connection with the original song debilitates objectivity, but that was not a factor in that comparison, it was something I noticed.                                                                                                                                                  While I appreciated Lionel Richie and Josh Groban's contributions, it was Streisand's first studio-recording with her son, Jason Gould, that was a standout, and who can forget the duet with the King? "How Deep is the Ocean?" Let's rate it Lake Moderate Appreciation.                                           Favorites: It Had to be You, People, Come Rain or Shine, New York State of Mind, The Way We Were, How Deep is the Ocean, and Love Me Tender.

Is It Worth It?

An album can serve as more than a testament to artistic, spiritual, and personal evolution of an artist, but can serve as a "tabula rasa," or even an affirmation as to why someone had connected with the band or artist in the first place.                                                                                                            With the overbearing presence of music to experience and enjoy, it has come to the point where the possibility of the latter diminishes with the multiplication of the latter; which arouses the query "Is it really worth it?" or "What did I just read?"                                                                                              This first segment will start with albums released in 2015 from four mainstream rock bands that have fluctuated from tolerable to moderately enjoyable. Not that I detest modern-mainstream, it is just that these four artists I have not consistently connected with. What I will start with is a terse impression of their ltest releases.                                                                                                                                      Hinder: Bon Jovi Country (A comma may apply, but is not required). Disturbed: another entry in their consistent catalog. Shinedown: they may no longer be modern-rock outcasts, but this album may be far enough to from Amaryllis to evade its scent. Breaking Benjamin: Old Ben has found some new friends to play with.                                                                                                                             The first full-length from Hinder I listened to was their belated foray into '"rap-rock," which I reviewed (quite sophomorically I might add). I listened to their singles and choice album cuts from their records previous, but this was my favorite. I avoided the freakshow, but decided to sample some cuts from their fifth and I stand by my first impression. If you enjoy Bon Jovi or modern "country" music, then you may enjoy this record, even When the Smoke Clears.                                                                                                                                                                         While I may not be a Disturbed fan, I respect their consistency even if I do not always enjoy their music; they also put on a good show. From their full-lengths Ten Thousand Fists and Indestructable, to a few escapees from the Asylum. Not that I disregarded their first two full-lengths, I just never listened to them prior; wouldn't that be the same thing as disregard? Regardless, "The Sound of Silence" may not be deafening, but is a worthy refute in regards to anyone's catechism of purpose.                                                                                                                                                  Shinedown is at the precipice of status "one of my favorite bands," without reaching it; they don't need my approval anyways. Nary a doubt, Sound of Madness was their most consistent and enticing record; not that I didn't appreciate their subsequent release, it just wasn't as persuasive. Still debating whether I should "Cut The Cord," or bite the bullet; they both sound painful.                      Breaking Benjamin are the most guilty of crafting albums that seem half-baked, and focusing solely on the singles. Not that the aforementioned bands were without hits, it just seems that this last band seems most reliant on them. They seem to focus their creative energy on a select few, which eventually become their singles, and while the singles aren't the only good songs on the album they are usually the best; not that the concept is new with any band, it just seems there is a disparity between quality, and that half of the songs seem derivative of their previous output or the record current.

The Zombie Dinosaur Spring US Tour Concert Review (Featuring MC Lars and Mega Ran)

   Normally, I refrain from this type of criticism, merely because I don't go to many concerts, and while the last few concerts that I attended were joyous, this was the first in recent memory that incited the need for one, out of reverence for the artists involved.                                                                              I apologize for the fact that I cannot recollect the nomen of the opener's opener, and that I missed the majority of the set, but what I could say will be an epithet of his first full song that I heard "Gosh Darn! Gosh Darn Gosh Darn!" because of the fact that I never felt okay with diverging from the commandments, but let's leave it at that, because we are here to read about rap; as well as Hip-Hop, or to be more specific Chip-Hop, and Lit-Hop, respectively.                                                                                                                                           The next artist offered a steady set of songs that I could vibe with, yet I am Conscious of the fact that rap is not equitable with hip-hop, and that there is some "fine print" that differentiates between the two, barring some rappers from entry into that classification; of which he would fall into the former. Whether you proclaim that I contradict myself with this next statement matters not, for I never believed in labels, and that is how I feel. I was a fan of the laid back beats that balanced the high energy of the hype man and the eponymous. I only caught the name of "Voices," and I appreciated the shout out to the 716, the whole set practically. The only song I was not a fan of was an unreleased by the name of "Hard Body," because it bordered on the proclamation of debasement. I'm just not a fan of songs that alienate and objectify women. However, creative liberty, and the first amendment warrants the ability to communicate how you feel, and there are plenty of artists that write songs that do just that. I really don't want to end on a negative note because they did have a nice set.                                                                                                                                                                     As I write this I can only imagine what Random would think if he read this, and what his response would be in regards to this essay, if he deemed it worthy, considering he was a teacher. What would the critique of my critique ( in terms of grammar, punctuation, sentence structure, word choice, etc.) be like and would he appreciate this allusion? I still question what purpose critics have in the grand scheme of things, besides voicing their opinions, despite the fact that I do believe they may incite the will of the artist, regardless of media, to hone their craft. I always aimed to be constructive in my reviews, yet still felt that it wasn't really necessary.                                                                                  I will admit that I had only heard several songs and freestyles before I decided that I needed to see him live, if he ever came to Buffalo. He would reference his former career, and after relaying that one of the few ways his students would listen was through raps, he quipped "twelve year olds and drunk adults are kind of the same" to a chortle and agreement; of course, it was not "word-for word." Introducing himself in a positive manner and his own backstory, "Same as it Ever Was," off his most recent full-length, RNDM, I was equipped for an enthralling set.                                                                                                                                                        Random, compartmentalized his set in different categories, so I contemplate whether that is how I shall approach this critique. A brief monologue, yet it should be known that the set was copious in praiseworthy expressions of the soul that I will limit spoilers to a minimum and report what resonated with me most.                                                                                                                          His set was a smorgasbord of music inspired by his interests: video games (of course), wrestling, literature, roleplaying games forged in the nineties by a company by the name square soft; yet was peppered with songs that gave insight into the man we know as Random, MegaRan (which is also his twitter handle, as he referenced the fact that it reads like Meg Ryan, but is not the same) or the esoteric identification and real name, which eludes me.                                                                            "Your Favorite Song" is not exactly a misnomer, yet is relative to one's preference, and I did enjoy it; especially the commentary that served as a prefix to the performance, while the participation was the apostrophe (as the audience was possessed by the intrigue the song afforded, or maybe it was the beat).  Another favorite was Ran's foray into auto tune entrenched pop-rap with a song inspired by Michael Jackson, T-Pain, and Mega Man; that was bookended by his impression of Future. I cannot forget to mention the cut from his Language Arts Trilogy or his tracks inspired by Final Fantasy  and his ode to the Macho Man, who also voiced the intergalactic wrestler in the "Justice Friends" from Dexter's Laboratory.                                                                                                                                What also resonated with me was his humility and how he was surprised to find out his standing on the billboard charts, and the company it kept, but I digress. He mentioned how his career was at a simmer until he rescinded the will to please others and make music for himself, on his own terms, with music that spoke to his heart that would, in turn, resonate with others. That is how I approach music and anything that I create, so that is why I can appreciate that sentiment. "I am who I am, and I be what I be!" The ruler is back, indeed!                                                                                                  Echoes of his past career resounded with a request of the audience to sit on the floor for "story time," and while I do not recall the title, it was another good one.                                                                                                                                                                       As for the headliner, I had heard more of his material prior to the show; such as Lars Attacks and 21 Concepts (But a Hit Ain't One). Yet was still prone to surprises. Hearing that it was nearly five years since he played a show in Buffalo, only made the performance of the first song off of The Zombie Dinosaur LP more appropriate. The ode to the album's cover star was still jarring with the effects, yet was still good none the less.                                                                                                                                                                To hear Lars go hard on the tetrameter and then eponymous offering of his last LP, was good, but could feel my BPM rise after hearing the "Tell Tale <3," his collaboration with Mega Ran. Astounding that Lars was able to compress 635 (U.S. First edition) pages of Melville's classic into three minutes of "Ahab," which was another standout.                                                                                                                                                                      Lars is adept as a performer, but the synergy and creative energy that flourishes with Mega Ran  rivals the chemistry of Chris Tucker and Jackie Chan; I know, it is not a science fiction or literature reference, but it is relevant. We delved more into their library, as we heard the aforementioned standout, as well as "Me and My Mouse." I think I might read Flowers for Algernon, for there are so many options and not enough time, but it certainly enticed me with their coolaboration in rhyme.  During "Hot Topic is Not Punk Rock" they were cognizant of the brewing mosh pit evident in the rupture of the close knit atmosphere, so offered all of those willing to run around the venue; leaving the few bystanders to react as deer in headlights.                                                                    Who can forget the staple of their show, that fully embraced participation as they constructed instinctive floetry in syncopation. It was a night to remember and a memory that will endure. My only regret is not taking a picture with Ran or Lars, but I felt like I was holding everyone up. I will recall that night instead of seeking solace from a cup. Ok, that's enough.                                                                                                                                                     It was a shame that "The Force Pull" didn't come to mind when Ran was seeking requests, for I would have liked to hear it live, maybe it was due to the force of the Jedi. I only question why, because it was a much better association with the franchise than Jar Jar ever was.                                                                                                                                                                     I see two types of performers: those that seek to replay their songs live with occasional acknowledgement and good tidings, and those who embrace interaction to achieve a synergy of mutual appreciation and affirmation, to which Random and Lars were the latter. They both are "down-to-earth" guys, that really enjoy what they do, which enhances their performance. I had high expectations and they really delivered. While I may not "Download This Song," I can guarantee that both artists will find a new subscriber in me, on any of their accounts, or at the least may be shipping some LPs because I am now  a member of the fandom. Best of luck to both of these artists, as well as the opening acts and every endeavor they pursue, whether in their career or life in general.

Pitbull "GLobalization"

I have yet to understand that in spite of being aware of what I may hear when listening to each album that I still listen to it anyways. The album is conveniently front loaded with his hits, and the opener could have been another, given the chance. Most of the songs are "Fun," and the song is in alignment with its name; a much better collaboration between Breezy and 'Bull compared to "International Love." While the songs may not always give us something to "Celebrate" they are perfectly tailored for a celebration; "We Are One (Ola Ola)" is a perfect example of his proficiency, and a way to close the album. While "Day Drinking" does not have the appeal that his collaboration with Ke$ha has, it was a stumble in the right direction; especially if you're a fan of crossing the Florida Georgia Line.  Favorites: Ah Leke, Fun, Time of My Life, Sexy Beaches, Day Drinking, and We Are One (Ola Ola).

I'm Late, What's Left of the Medieval Revolution?

Most may not remember, or care, but at one time when I was reviewing the Kaiser Chief's hybrid title, an example of exportation altering the aurual genome (or title), I made a promise that I would review the songs not on Start The Revolution Without Me (US). Here I am, several year later, but I must warn you that this is a review, so bated breath for a congenial criticism is unnecessary, and I tried as best I could to fulfill my obligation.                                                                                        The opener is the instrumental worth its praise and "Howlaround," as well as this reference to refined scores of 8-bits. "Coming Up For Air," with its earnest delivery and opening accordion, sounds like a nature excursion someone has, while wearing their morning jacket, after a technology binge on the long trip there. As they enjoy the sights, they accidentally hit the play button and their connection is out of commission. The next track starts off as a love song "Out of Focus," a shimmering ebb of sound that lures you into the epicenter, guarded by a mechanical spider more eloquent than that found in Wild Wild West, where you're either "Dead or in Serious Trouble," which happens to be one the standouts.                                                                                                                                              While the next track reminds me of a song I listened to during the grey daze of my middle school years, as Linkin Park had blown up and the torrents were in their prime, I desperately searched for B-sides and found Bennington's first band. While the droning depression continues during a contemplative and eerie walk, in the wee hours of the morning, around the secluded "City," I reverted to a state of emotional confusion "Back in December" at an earlier year.                                                "I Dare You" to correlate imagery parallel to the Schroder we know and love found in a Peanuts' strip amidst the insistent and consistent percussion,  and scrutiny of self-worth. "My Place is Here" affirms that while their sound is malleable, the disco-rock aesthetic is one that suits them well. The last song, that I had almost missed, lived up to its title, as the climax was the best part of the tune, but on the other hand, it is not an entirely "Long Way From Celebrating" starting at 0:00.