Dark New Day "New Tradition"

This is not going to be a New Tradition, writing a review seven years after its seven year delay, but it felt like a necessary one to write considering the supergroup's debut, the connection to their music, and the anticipation of an album that didn't appear possible twelve years ago. Nearly every track that they had premiered on myspace at the same time made the cut, as it should be.
The outset of the album is the continuum of the "calm before the storm." "Fist From The Sky" is not only a synergy of their talents, or an example of audio gestalt, but proof that a hook does not need to be sacrificed for a heavy riff.
The only other tune of the same name that stimulates a similar smile would be a song released five years before by the Foo Fighters, both of equitable intrigue.
"I Don't Need You" can serve as a necessary notification to someone in your life who may believe they are essential to it, heavy and direct enough to dilute their delusion, yet not too abrasive instrumentally to alienate someone that is not a fan of heavier music.  While eponymous tracks can occasionally serve as novelties, "New Tradition" is not one of those tunes; it has an infectious groove that stews until the solo, to where it sizzles.
I find it "Tremendous" that this Lazarus of an LP came to be released after differences between the band and their record label arose, replacing some of the staff in their corner, causing them to shelve the disc before revitalizing it on their new record label. The song itself is good enough, and has enough adhesive to latch on to your memory bank, but not as likable as "Sorry."
"Straightjacket" debates more than a Maserati or Mercedes Benz, but contemplates whether it is best to pursue that passion that may catapult one into a life of fame, or pursue that passion, yet do it on a subtler scale; fame can be a flow of electrons that may subtly magnetize the participant's life to bouts of insanity before they realize that it might not be what they expect.
The next few songs are not lackluster, and you can "Take It From Me," or find out for yourself, but while the aforementioned is not as spunky as the track preceding, it is not without its own brand of attitude, yet not as much attitude or exceeding angst that "Fiend" may possess
One latter can make all the difference and alter the meaning and interpretation of the word; it is clear that the song is directed towards a person that incites tension and frustration, and the tone and vocal inflections reflect that notion. While the lyrics reflect the presumption that the subject could not care less about anybody else, and that the writer is reading a page from that book to take them closer to who they are meant to be.
Unrequited love has been a subject for many a song, and this admiration for another finds us in the place of a gaze of a woman on a pedestal; to love someone you know, or feel, is better than you, and surmise that the union is not a possibility could cause a  "Breakdown." The riff that precedes the eponymous aspect of the song recalls a perfect circle, and the chorus hints at the desperation the perspective presents without portraying weakness.

Ke$ha "Spaceship"

Ke$ha has never been one to let the "Bastards" bring her down, which is corroborated by this acoustic guitar anthem inspiring this resilience in all of her fans. It probably did not hurt that it was triple platinum in the U.S. and double platinum in Australia and Canada respectively.
While it was a long time coming, and a raging storm that Ke$ha found herself in for an extended period of time, what came out of it was this Rainbow of an album. I have always been a fan of Ke$ha and her quirky style, and respected what she stands for, and while her music has never been a guilty pleasure, it never felt as accomplished or as consistent as her latest release. While this album may bestow more praise upon her, as it should, there will always be naysayers to counteract the positive, and for that, Ke$ha  says "Let Em' Talk," a rawkin' rejoinder and collaboration with the Eagles of Death Metal.
One of my favorite songs had to be this Dap-King horn infused anthem for the modern "Woman," showcasing her spirit, her vitality, and the power that women hold; some men may take for granted.
If I had to make a comparison with the track preceding, the former would be a blockbuster, and her laidback "Hymn" a sleeper hit, worth every listen you give it, and a nice transition to her hit single "Praying."
Life can throw curveballs of bitterness, and one can either catch them or batter up and aim for better, and the former sees Ke$ha taking the enlightened path and wishing the best for the hellmonger who left her life, and setting the goal to practice what she preaches in "Learn To Let Go."
 While the lyrics speak for themselves in the title track, it serves as cliffs notes to her journey to a brighter and more colorful future, while "Finding You" alludes to the gravity that soulmates forge, even after death that they will reunite, and the initiative to do so.
Have you ever had an article of clothing that expresses you are ready to do business? I cannot tell if her boots are a sign, but I believe her when she says she will "Hunt You Down" in this country-tinged song of devotion; even if the other half cannot commit she jokingly(?) proclaims "Baby, I love you so much. Don't make me kill you."
The latter and the next song are lighter-hearted fare to remind us of her quirky debut single, and in another collaboration with the Eagles of Death Metal, she commands the attentiveness of your "Boogie Feet," which sounds even better live.
"Boots" is another country infused tune that marks the change in her tune when it came to relationships, opening with "I have boys in every country code" before everything changed when she was introduced to the person that would reveal the benefits of true companionship. While the duet with Dolly Parton, "Old Flames (Cannot Hold A Candle To You)" reinforces that loyalty and notion that every relationship preceding only lead to the right person to connect with; a song written for Dolly, by Ke$ha's mother, Pebe, and covered by some good company (Johnny Cash, June Carter, and Merle Haggard).
The next song could serve as an interesting angle when it comes to one of the most famous gargantuan beasts of burden in film, with taglines
"A Love Story of Epic Proportions!"
"The Family has Just Grown Immensely!"
Now that I think about it, King Kong had already hinted at that dynamic, but it would still be cool to see a film that embraces that idea of attempting to have "Godzilla" adjust to living with humans and not destroying everything they may own or love.
Ke$ha was not the first to state that her orgins lie elsewhere, and there have been countless others decades, or simply a few years, prior that could relate; a contemporary that comes to mind due to his explicit statements in regards to that belief is B.O.B. who may not only bring you to the "5th Dimension,: but be from it? Nor has Ke$ha been the first to set up a "Spaceship" on stage, at this point a reference to George Clinton is inescapable. Now, with everything going on in the world there are probably even more people that feel like they don't belong here, for various reasons, because as she correctly states  "I knew from the start I don’t belong in these parts/There's too much hate,  there's too much hurt for this heart/Lord knows this planet feels like a hopeless place," but would it be better in outer space?