EP REVIEW: "grow up. give up. let go." by Bukowski

This is a great little EP from Bukowski (fronted by the bass player of Between You & Me, I believe) which shows promise without reinventing the wheel. I love emo, and while there is the occasional complete slide into generic pop punk, there's a big enough splash of emo in Bukowski's pop-punk sound to keep me interested for the most part. They have a keen sense of melody that is this EP's biggest strength, and paired with a solid vocal performance the hooks land for the most part. An entire album would definitely get boring without any variation, but a tight 13 minute EP works really well in this case. It's a lot of fun and well put together but might well fade into the over-crowded scene over time.

Favourite Songs: Twothousandseven and Brood

Least Favourite Song: You're probably gonna hate this

Rating: B-

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A Response To 'Christian' Views On Secular Music

Is there such thing as music that Christians shouldn’t listen to? Should we be dismissive of music with either explicit language or sexual, violent or substance oriented themes? Should anyone even be telling anyone else what they can and can’t listen to? These are questions that are thrown around a lot in Christian circles, and given what I do here on this blog and how that overlaps with my job working for the church, I thought I would share my thoughts on this topic. I’ll say this at the outset so that we’re on the same page – I think any attempt to dictate what people should and shouldn’t listen to is stupid and disrespectful on a fundamental level. I’ll go into detail about why I think that later on, but for now here are some thoughts I have on some of the “Christian” opinions I come across pretty regularly. The first and most ludicrous thing that seems to follow me around is the idea that because I listen to underground genres, particularly on the heavy metal

ALBUM REVIEW: "Graveyard Shift" by Motionless In White

I've never really enjoyed what Motionless In White do, because they've been wedged between industrial beats, gothic murkiness and generic breakdown-laden metalcore for so long without really nailing any of those sides of their sound. Listening to their music was really jarring and I've never really cared all that much for any of their records. Graveyard Shift was a real surprise for me, then, being a perfect concoction of the two worlds they have been trying to bring together on their previous efforts. It's like Marilyn Manson, Nine Inch Nails and Korn had an illegitimate child, born with eyeliner and leather (the Jonathan Davis feature on Necessary Evil is a knowing nod to this influence). There is a surprising energy and cohesiveness to these songs, and it is by far the best album from them so far; so much so I had to double check I was indeed listening to Motionless In White on Spotify. Everything the band have offered to this point are here, but refined and tweak

1 YEAR LATER: "22, A Million" by Bon Iver

Bon Iver's third studio album turns 1 in about a week (where did that year go?), so I thought it would be interesting to talk a bit about how my impressions of the album have changed - or how they haven't - over the last 12 months. When this album was released I was more excited than I think I ever have been to hear a new album. For Emma, Forever Ago is one of my all time favourites, and I love his self-titled second album too, so I had huge expectations for this album, but was also wary that expectations might ruin my experience of the music. This was particularly the case for 22, A Million , because it is unlike anything else Justin Vernon has released. There have been hints at this more processed, electronic direction previously, like the song "Woods" on the Blood Bank EP and occasional flourishes on Bon Iver , but 22, A Million is a drastic departure from the Bon Iver sound we had grown accustomed to at this point in time. Or at least, that's what I thought

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