Totally Unauthorized 2013 Mid Year Recap: Top 10 First Half Albums

With a series of smashing releases that pull from a wide spectrum of styles and genres, 2013 is shaping up to be a banner musical year. As each year seems to be getting better than the year before it, this era of music is beginning to stake its claim that it may be one of the all time best. Here are but a few of the best sounds on display through the year's first half:

10. Atoms for Peace - Amok

Thom Yorke has a clear sense of purpose, and this time he has friends to help him execute it. Yorke and producer Nigel Godrich's joy of concocting sublimely hypnotizing dancefloor electro-pop is almost equal to the bliss that comes from consuming it, resulting in a much more friendly and inviting offering than The King of Limbs. Flea and Joey Waronker provide an added emphasis on percussion and rhythm, giving Amok a fiercer bite.

9. Wayne Shorter - Without a Net

If you can make an album like this at age 80, hats off to you. The former saxophonist from the groundbreaking jazz fusion outfit The Weather Report still packs a punch, supported by one of the best backing bands in the business. Without a Net sees Shorter presenting a mind warping but a set of original tune and reinterpretations of old classics, along with a jaw dropping 23 minute collaboration with the Imani Winds quintet.

8. Deerhunter - Monomania

Very few people who would have guessed Deerhunter would release a grimy dive bar rock and rock and roll record in the year 2013. Even fewer would have expected them to pull it off well, yet here we stand with one of the year's best records, albeit in a dramatically different tone from the band's past offerings. Bradford Cox has come into his own as a magnetizing frontman, and the sound is presented with such an honest clarity and sense of humanity that one can't help but be caught up in the undertow.

7. Daft Punk - Random Access Memories

Daft Punk's latest album feels like an event.  The French electronic duo have ditched house for a 1970s inspired funk/disco sound, and have brought along plenty of collaborators for the party. It's hard to decide which is more fulfilling: getting down with Pharrell and Panda Bear, or jamming out to stories of the olden days with famed producer Giovanni Giorgio. One thing is certain: Daft Punk's shindig doesn't sound like it's ending anytime soon.

6. Bad Religion - True North

When a song called "Fuck You" is one of the more mellow pieces on an album, you know you'd better hold on to your ass. They may be pushing 50, but Bad Religion's crackling intensity has lesser bands pushing up daisies. The lyrics are as socially conscious as ever, as Greg Graffin urges personal self development above all else. After a long wait, Bad Religion has finally made a record that can stand against their best work.

5. The Knife - Shaking the Habitual

It's hard to decide which is more en vogue in 2013 -  electronic duos releasing comeback albums, or electronic duos releasing albums somewhere around two hours in length. The Knife decided to do both. It's tough to say the entire opus is a gripping listen, it's a guarantee that The Knife's exotic vision never gets dull.  In an industry that thrives on the flow of new ideas, the importance of their work cannot be understated.

4. Savages - Silence Yourself

Before this album, I couldn't stand anything post-punk. This band forced my mind open. I'd have to dig deep to think of higher praise to give a band than that. This all-female outfit present their subject matter from a woman's vantage point, but do so with the straightforwardness of men. Jehnny Beth's impassioned shrieks combine with Gemma Thompson's razor edged guitar and Ayse Hassan's propulsive bass to forge one of the year's most explosive releases.

 3. Vampire Weekend - Modern Vampires of the City

Pop music is often considered disposable, but Vampire Weekend doesn't see why it has to be that way. Modern Vampires of the City contains slick enough hooks to land most of its tracks on the radio, but there are deeper forces at work here. Nods toward religion, history, and death couple with fresh approaches to the band's songwriting to present an convincing argument that pop music is not only a respectable institution, but also a vital one.

2. Queens of the Stone Age - ...Like Clockwork

It's said good things come to those who wait. Six years is no short interval, but Josh Homme and crew made it worthwhile by dropping this undeniable gem of an album. ...Like Clockwork widens the band's sonic footprint by masterfully presenting moody atmospheres, tripped out soundscapes, and smooth doses of Trent Reznor inspired sensuality. The fact that they manage to craft so many distinct styles so well makes this one of the can't miss albums of 2013.

1. Steven Wilson - The Raven That Refused to Sing (and Other Stories)

Eclectic 1970s style prog freakouts. Basslines that burrow into your brain. Spacey, chilled out astral washes, Pink Floyd style. Demented King Crimson scales and battering ram drum work. Jazz fusion freakouts. Haunting flute and acoustic guitar combos, along blazing solos from guitar prodigy Guthrie Govan. It's all capped off by one of the most touching piano ballads in recent memory, and structured around the theme of supernatural ghost stories. And that's without even mentioning the genius mind of Steven Wilson pulling the strings like a master puppeteer. Best wishes to anyone putting out an album the rest of the year. The Raven That Refused to Sing (and Other Stories) sets the bar for music releases in 2013.

Totally Unauthorized 2013 1st Quarter Playlist: January - March

The work of compiling a list of the year's best is never a simple feat, so it necessitates an early start. As we end March, the 2013 music year has come in like a lion, and has promised incredible potential as we look forward to the summer months. Here are 12 can't miss tracks so far:

A$AP ROCKY FEAT. SKRILLEX - WILD FOR THE NIGHT

When the tracklist for A$AP Rocky's debut album was announced, Skrillex's presence was a major eyebrow raising moment. Many questioned whether two artists from such divergent scenes could successfully come together. But the union worked like a charm, in part because neither artist takes themselves too seriously, though they are serious about making sure people have a good time. Skrillex's over the top synth blasts provide a perfect foil to Rocky's spitfire rhyming.

BAD RELIGION - MY HEAD IS FULL OF GHOSTS

Legendary punk rockers Bad Religion are 16 albums into their career, and their attack is still as blistering as ever. On "My Head is Full of Ghosts," they come across as eminently melodic and dignified as ever, while singer Greg Graffin provides some witty wordplay, and the exuberant harmony section is hitting on all cylinders.

TORO Y MOI - HARM IN CHANGE

Experimental electronic musician Chaz Bundick is quickly becoming one of the best at producing sleek, urban and sophisticated pop music. "Harm in Change" unfolds gradually like a warm summer night, with a slight sensuality present in Bundick's lyrics. But most impressive is his production work, as he mixes and weaves layers to create a sweet danceable mix.

MY BLOODY VALENTINE - IN ANOTHER WAY

Here, captured in a solitary five and a half minute track, is everything that makes My Bloody Valentine great. There's still the mind warping sense of fuzziness, drone, and distortion but they also pack a bit of pep in their step as well. Fast paced, energetic drums set the mood, while a lovely synthesizer line comes in over the top and carries the song to its conclusion.

WAYNE SHORTER - PLAZA REAL

Jazz saxophonist Wayne Shorter and his quartet express a vast variety of moods. This remake of a Weather Report song shows off his versatility in being able to sculpt old classics to fit with his current sound. He loves to experiment, even veering into modal territory when the situation calls for it, and "Plaza Real" is one of his greatest showoff pieces from the new album, Without a Net.

RIVERSIDE - CELEBRITY TOUCH

Riverside is a somewhat overlooked Polish band that does a great job of mixing prog with hard/heavy metal. There is a bit of Porcupine Tree influence,  but they also take cues from Rush and Pain of Salvation among others. Packed full of swaggering solos, headbanging riffs, and clean melodic sections, "Celebrity Touch" proves these boys know how to mix it up.

STEVEN WILSON - THE HOLY DRINKER

The final 1:30 of this song alone is awesome enough to put this song on the list. Those doomsday scales backed by Marco Minneman's manic drumming is one of the greatest musical passages ever blogged about on this site. But the rest of the song is no pushover either, as a healthy serving of flute, organ and guitar solos complement Wilson's story about a religious thinker gone astray.

DARKTHRONE - VALKYRIE

Longstanding prodigies Darkthrone may no longer practice black metal on a daily basis, but there's still plenty to love. This old school blast of metal is impressive instrumentally, but even more absorbing is the classic fists raised attitude that is mostly missing from modern metal. And it's also tough to argue with the haunting acoustic intro. 

HOW TO DESTROY ANGELS - AND THE SKY BEGAN TO SCREAM

Dissonant and anguished soundscapes have never been new territory for Nine Inch Nails's Trent Reznor, but his new side project How to Destroy Angels does give him a chance to manifest his downbeat vision in new ways. Muted ambiance and creeping electronica replace the loud drums and guitars of NiN, while Marquieen Maandig steps into the spotlight with her smooth, sensual voice.

YOUTH LAGOON - PELICAN MAN

Trevor Powers draws influences from all over the map, and it's hard to think of music that's been this honest and down to earth in quite awhile. "Pelican Man" combines the humbleness of Animal Collective, the confessional nature of Tune Yards, and the playfulness of Sufjan Steven's The Age of Adz. All the while, the warped, wacky nature of the track suggests Powers might not quite be in the right frame of mind.

DAVID BOWIE - THE STARS (ARE OUT TONIGHT)

Bowie's re-entry into the field was sudden and dramatic, following the surprise announcement of the English rocker's excellent 24th album, The Next Day. The guitar crackles and the rhythm section is smooth, but if there was any question if Bowie is still capable of capturing your attention then it's time to put it to rest. He's still every bit as charismatic and enrapturing as ever, comfortably taking his place as one of rock's elder statesmen. 

KVELERTAK - BRUANE BREN

Norwegian hardcore/metal outfit Kvelertak sound like they would be a hell of a fun group to hang with. At least, their music does a great job of giving off that vibe. Lead vocalist Erlend Hjelvik's voice bears similarity to Anders Frieden and Speed from Soilwork, but his band knows how to let their hair down better than almost anyone else. With an abundance of bluesy solos and a shoutalong chorus,  Kvelertak have delivered your next soundtrack for getting shitfaced.

Punk icons Bad Religion prove it's never to late to play Music City

There's not much Bad Religion hasn't seen or done in the course of their 33 year career. Since forming in Southern California in 1980 they've been on countless tours and had numerous opportunities to challenge their fanbase to think for themselves. But there is one thing that's been missing from their agenda: a trip to play in one of music's most esteemed cities: Nashville, Tennessee.

It was a fact that frontman Greg Graffin didn't downplay, alluding to it several times during his interplay with the crowd. The band was top notch in every phase of the game, but Graffin especially shined with his ability to relate to his audience. He was wistful at times, reminiscing back to the slam dancers in San Fernando Valley in the 80s and reflecting on the fact that Bad Religion is perhaps the last surviving band from that scene.

Bad Religion frontman Greg Graffin gives Nashville a lesson in Punk 101.

He made some moves to get the crowd into it without being too obvious, like when he invited them into a sing along while they played fan favorite "Generator." And he wasn't shy about dropping hints that this might not be their lone Nashville performance  Whether that's merely stage rhetoric remains to be seen, but if it is they at least left a hell of an impression on Music City.

Concise, catchy punk anthems backed by energetic driving rhythms were the order of the night, and they had the crowd moshing, rollicking  and singing their hearts out. Waiting for a specific song in the setlist? Don't blink or you'll miss them. With many song lengths well under the three minute mark, the best parts of their set translated into short but sweet adrenaline bursts. Fortunately, there were plenty of highlights to go around.

They hit most of the high points from their latest full length, True North, without going overboard. The band emerged onto the stage in darkness to the opening strains of "Past is Dead," a blistering rocker taking the public to task for their failure to learn from the nation's mistakes. Graffin blasted the Supreme Court on "Robin Hood In Reverse," while examining the plight of the working class man on set closer "Dept. of False Hope." But with a 30 song setlist, there was plenty of time to showcase the band's extensive body of work.

Obvious concert staples like "American Jesus" and "21st Century Digital Boy" take a look at America's role in the world and middle class society respectively, and are always good for getting a crowd amped. But the set was spiced up with the inclusion of slightly more obscure numbers like "Do What You Want," a deep album cut from their 1988 breakthrough Suffer, which sarcastically blasts mankind's oafishness and cynicism in a clever and revealing manner that can only be pulled off by a band with the insight and political acumen of Bad Religion.

And of course there were a couple of tunes dating back to the band's infancy, spawned during the hardcore punk era of the early 80s. They don't sound as raw or jagged as they once did then; in fact they fit in pretty well alongside the more melodic material of the band's later years, but their primal urgency and power ring through as clearly today as it must have done back then. Face it, what could be more gratifying than shouting "Fuck Armageddon this is hell!" at the top of your lungs alongside a legion of other rabid Bad Religion fans?
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See also: Bad Religion - True North review

Bad Religion still serving as model of consistency with True North

Over the last 30 years, Southern California punk rockers Bad Religion have become an institution. They have established themselves as one of the hardest working bands, never taking more than a few years off between records. Although they hit a period of decline starting in the mid 90s, most of their work since 2002's The Process of Belief has been as sure as a smoking solo sizzling off the strings of Brett Gurewitz's guitar. True North marks their 16th full length album, and once again they've opened a tantalizing bag of tricks for their fans.

True North avoids the pitfalls that some of their weaker albums have fallen into. When Bad Religion albums go awry, it's either because they're trying to churn out an overproduced  syrupy mess for the Warped Tour crowd, or else there isn't enough melody and it gets boring. The production on their latest album is more sugary than its predecessor, 2010's Dissent of Man, though True North holds the advantage of being more consistent.

Dissent of Man was a good record in its own right but it had a different tone from most of their recent works; it felt more like a melodic rock and roll record that just happened to politically conscious. True North gets back to the business of punk rock. The closest comparison within their discography would be Against the Grain. Pushing 50, Greg Graffin and crew don't possess the same level of anger they once did, but the sonic aggression and sense of urgency on True North bear strong parallels to the band's landmark 1990 release, Against the Grain.

As usual, Bad Religion exercise their penchant for well thought out, in your face political lyrics. "Robin Hood in Reverse" sees Graffin blasting the Supreme Court for their 2008 decision in Citizens United vs. Federal Election Commission, which asserted that corporations are people and gave them wide latitude to make campaign contributions to political candidates.

"Past is Dead," meanwhile, takes the general public to task for their slovenly approach to education.  It discusses how people don't pay attention to history, and therefore don't have the advantage of historical precedent upon which to base their decisions. Graffin unloads: "Who can say what constitutes the most important sector of society?/ The dominant portion seek an instant gratification/ And are proud of intellectual poverty."

Yet in the same breath, Bad Religion are a band also capable of taking a much more subtle approach by speaking in thought provoking metaphor. The album's title track talks about trying to find a location on a map and using it as a metaphor for finding your own moral code. The catchy, driving and forceful delivery fully drives the point home.

Also of note is lead single "Fuck You," which basically says you don't always need a well thought out argument; sometimes you just need to say fuck you! The tempo varies throughout the song, tossing in a tasty guitar solo following a slow paced bridge.

"Hello Cruel World" is the album's sole slow tempo song, and by far the album's longest cut at just under four minutes. The slower pace allows the band to focus on their harmony section, an often overlooked component of Bad Religion's sound. It leads into a flowing guitar solo before the song's final refrain, with powerful clashes coming from drummer Brooks Wackerman near the end.

"Head Full of Ghosts," "In Their Hearts is Right," and "Popular Consensus" sound the most like old school Against the Grain or No Control era Bad Religion with their punishing and frenetic fury. "Popular Consensus" in particular is very intriguing, as Graffin seems to be modifying an old position that once seemed ironclad for him. He approaches matters from the government's position, asserting that just because the public demands something doesn't mean they are necessarily right. His claim that "popular consensus doesn't mean much to me" is evidence of dramatic development of thought for a man who once argued so forcefully for the role of citizen in government on 1987's "You Are the Government."

The biggest musical departure comes on "Dharma and the Bomb," a sun soaked retro tune which sees Gurewitz taking lead vocal, referencing I Dream of Genie and the Bhagavad Gita in his ominous lower register.

True North succeeds in all of the key areas a Bad Religion album needs to deliver, and should satisfy fans hungry for more. It presents a decided contrast to Dissent of Man, which was a much more thoughtful and mellowed out album. It would have been intriguing to see what the band could have accomplished had they pushed that sound further, though True North captures a well done take on the sound they've spent the better part of three decades championing.

Score: 82/100

Totally Unauthorized's Most Anticipated Albums of 2013

As satisfying as it is to close the page on another year, it's never too soon to start surveying what the new year will bring us. This year doesn't boast as impressive a list as the one we had at this time last year, but there are still more than a few heavy hitters primed to get music fans salivating. In no particular order:

Arcade Fire - TBA

Montreal indie rockers Arcade Fire can lay claim to having released one of the most revered albums of the previous decade with 2004's Funeral. But their contributions to the current decade are none too shabby either. 2010's The Suburbs was one of those rare albums that bridged the gap between the Pitchforky indie world and that of the mainstream, having snagged the coveted album of the year award at the Grammys in what was a colossal breakthrough for the entire independent universe. Few details have been unveiled about its encore, except that the band is aiming for a end of year release. It would be no surprise if it was an album that once again redefines the status quo.

Atoms for Peace - Amok
February 26

Radiohead's Thom Yorke has never been one to sit idly by. Following the mixed reception of 2011's King of Limbs, he's gotten back to work with a new side band, Atoms for Peace. But he's hardly the only heavy hitter involved in the project, which also includes Chili Peppers' bassist Flea and producer Nigel Goodrich. "Default," the album's lead single, indicates a very chill electronic vibe (not surprisingly), but its B-side, "Watch What the Eyeballs Did" exposes a bit more experimentation with a wall of brass horns providing a subtle mood and coloring, while an infectious bassline roars beneath. With this exotic lineup, Atoms for Peace seems primed to deliver one of the first big blows of 2013.

Nine Inch Nails  - TBA

Among the many accomplishments Nine Inch Nails's Trent Reznor can point to is that he popularized an entire genre of music and brought it to the mainstream with with a series of releases beginning in 1989 and culminating a decade later with The Fragile. He hasn't confined himself to Nine Inch Nails however. With his quality work with various side projects, as well as the praise he's garnered for his film score work, Reznor has established himself as a one of a kind mind in the music industry and cementing a place for himself within its annals. Now, it appears more NIN work is headed our way, possibly sometime around summer. It will be a point of great interest to see what direction Reznor's creative juices will flow following the band's hiatus that occurred after their supposed final tour in 2009.

My Bloody Valentine - TBA
Pretty much any day now

Remember Loveless by My Bloody Valentine? Remember how influential it was at the time, how dizzying it all was? How it summed up not just a genre, but an entire subset of a generation as a whole? Remember how they never followed it up? There's a good chance you don't. Many of today's hip youngsters weren't even born when that disc was released in 1991, but now the band is on the cusp of finally releasing new studio material. They've been deliberately opaque about an actual date or details, but perhaps that's fitting for a band that's been shrouded in the mist of history and expectations as My Bloody Valentine have been. The mastering stage is apparently complete, so it shouldn't be long before the band breaks its silence.

Steven Wilson - The Raven that Refused to Sing (and other Stories)
February 25

It takes no small level of trust to insert Mr. Wilson on this list, given that the last several releases he's been involved with are somewhat spotty, but he must be given his due. The announcement of the oddly titled "The Raven that Refused to Sing (and Other Stories)" came as a bit of a surprise given that his last solo album, Grace For Drowning hit shelves just over a year ago. "The Raven that Refused to Sing (and Other Stories)" will mark his third solo release in five years, and is said to focus on supernatural themes and lyrics. The 12 minute lead single "Luminol" is largely instrumental and is bolstered by a flowing infectious bassline, while offering a heavy helping of solos on almost every instrument imaginable. 

Bad Religion - True North
January 22

As a band that's been around since the Reagan era, Bad Religion have long ago cemented their principles. They helped reign in the era of pop punk that dominated the 90s and have stuck around long enough that most people aren't sure what constitutes punk today, or if it even still exists. What is certain is that the band's 2010 album, The Dissent of Man, was a tasty concoction consisting of driving melodic rock and roll complemented by politically conscious lyrics. The title song of True North has been issued as its lead single and promises more of the same.

Earl Sweatshirt - Doris
TBA

When they aren't grabbing critical acclaim they're at least grabbing headlines, and Odd Future isn't looking to let up in 2013. Since there's no telling when Tyler will deliver Wolf, or if it will be worth the wait, Earl Sweatshirt has positioned himself as Odd Future's best hope going forward. The 18-year-old rapper certainly has a lot on his mind, as evidenced by the introspective lead single "Chum." Earl's emergence has signified an infusion of new blood into hip hop, and his ideas are already shaking up the scene.

Autechre - Exai
March 4

Out of all their IDM contemporaries, Autechre have always been the most experimental, dissonant, and challenging. Often described as being heavily influenced by computers and technology, Autechre's output has often sounded like something you would physically have to be a computer to enjoy. However, the British duo have typically found a way to extract method from the madness, and the crackling cacophony tends to morph itself into something beautiful. There is no other artist on earth who does anything quite like Autechre and they'll be doing plenty of it in 2013, given the announcement that Exai will clock in at an astounding 2 hours.

Yeah Yeah Yeahs - TBA
Spring 2013

Yeah Yeah Yeahs have been through quite an evolution. They started off with a very grimy, low key indie rock sound with an obvious Brooklyn flair, before morphing into the shimmering electro-pop found on 2009's It's Blitz! Not may details are known about their upcoming fourth full length album, but if Karen O is successfully able to work her magic once again it will be an extravaganza you won't be able to take your eyes off of.

A$AP Rocky - Long Live A$AP
January 15

The hype for A$AP Rocky has been building since his high profile signing with RCA in 2011, and has been riding the mixtape circuit while his fame and fanbase increases every day. He possesses a veteran presence and savvy on the mic that belies his youth, and his debut LP features plenty of today's best and brightest stars. Kendrick Lamar, Drake, Skrillex, and Big K.R.I.T. are but a few guest stars he's brought along. Add to that the hype Long Live A$AP has already garnered, including a best new music tag from Pitchfork, and it appears certain that this will be the first key release of 2013.

Orphaned Land - TBA
TBA

For Orphaned Land, it's been a long journey from their dusty black metal roots to progressive metal. For their fans, it's usually a long journey from one record to the next, as the acclaimed Israeli metal outfit usually takes about five or six years between albums. This time around, though, they appear to be bucking the trend, as recording has already commenced on the followup to 2010's The Never Ending Way of ORwarriOR. That album snagged this site's album of the year award that year. The new album will be the first since the departure of guitarist Matti Svatizky, who left last year for what he termed as personal and professional reasons. Orphaned Land is aiming for a midyear release.

Frank Ocean's penmanship will keep you glued to channel ORANGE

Who would have thought that Frank Ocean would emerge at the top of the Odd Future heap? We'd heard little of the Odd Future hookmaster aside from last year's Nostalgia Ultra mixtape, which was overshadowed by Tyler, the Creator's painfully inferior Goblin. If nothing else, Ocean shows he's certainly the best writer of the bunch.

channel ORANGE showcases everything from the young hip lifestyle to modern urban decadence while featuring lyrics rife with references to Egyptian mythology, Dragonball Z, and Forrest Gump. When the album opens with the sound of a Windows computer starting up, followed by video game plinking and plunking, you know this is an album Frank is going to be taking on his own terms.

channel ORANGE's most compelling songs occur when Ocean combines his breathtaking lyricism with his ability to set a mood. Opener "Thinkin' Bout You" starts off inauspiciously, as Ocean sounds rather flat in his lower register. As the track progresses, it evolves into a smooth, hip urban love song showcasing a young man's infatuation with a sweet young lady.

The album begins to hit its stride with the Pharrell Williams produced "Sweet Life," which showcases Ocean's ability to elaborately construct a picture in your mind's eye. In this case, he's painting a portrait of someone born into a life of wealth and opulence. This is someone who's had every need provided for them and has no idea what it's like to suffer or struggle.

You can easily envision the environs of the rich summer beach house with a gentle breeze blowing over you. Waves crash in the background while you sink your teeth into an extravagant mango, peach and lime concoction. A jazzy Neptunes influenced keyboard piece serves as the base beat, while the brassy horns and uplifting vocals in the chorus creates a sense of grandeur. If for some reason the music business doesn't work out, Ocean could have a budding career as a novelist.

Ocean also takes time out to address the concerns of urban sprawl and decay. "Super Rich Kids" takes a look at the fast paced, destructive, and ultimately empty lives of super privileged high school kids. The main hook tells of escapades with weed, top shelf wine, joy riding in jaguars, and ultimately, the superficiality of such a lifestyle, describing them as "Super rich kids with nothing but loose ends/ Super rich kids with nothing but fake friends."

Ocean's verses contrast this by focusing on enjoying the simple fleeting pleasures of life. The message turns out to be a poignant one, as he plummets off a roof 60 stories to his death at the song's conclusion. Along the way, Odd Future cohort Earl Sweatshirt drops a hazy, laid back verse to inject a bit of variety.

These songs help set the stage for the album's centerpiece and by far its most complex and stunning song, "Pyramids." Ocean's opening strains easily recall the greatness of 60s era Motown soul. It's packed full of ancient Egyptian, African and biblical imagery, bolstered by shimmering rave and electro-trance beats that sound fit for the club but never cheap or cheesy. There are a shifting myriad of beats and electronic work over the course of the song's nearly 10 minute length, as Ocean seeks his Cleopatra.

The second half shifts into more of a traditional sounding R&B song, but Ocean never loses his sense of magnetism. He ties his narrative into what was going on in the first half by focusing on a modern day girl named Cleopatra who works at a club named The Pyramid. Frank's voice is both lustful and mournful as he focuses on their current situation. A bluesy guitar solo is played over the last few minutes, giving the listener a chance to absorb everything in.

Of course, it wouldn't be right to finish this without a look at "Bad Religion," the song that spurred Frank Ocean to out himself. It expresses a touching, sweeping portrait of Ocean's sexuality and the passion of his love for another man, and his own inner struggle. It takes place as a backseat taxi cab confessional as Frank unloads his doubts and fears with his cab driver. As he's spilling his insecurities, the driver offers his words of comfort in Arabic - "Allahu Akbar," roughly meaning God is great. Fittingly enough, the track begins with a church cathedral organ.

A few other songs that caught my ear included "Crack Rock," which examines drug use and inequalities between the police and street dwellers. On "Pink Matter," he manages to touch on lust, views on women, Chinese culture, and the Dragon Ball Z villain Majin Bu all in the course of two short verses. Andre 3000's verse sounds a bit strange here, given the fact that we're used to hearing him over a weird, funky, out there Outkast beat. His laid back Southern drawl, along with the mellow beat might make you wonder if this is even Andre at all.

At 55+ minutes, channel ORANGE's only downfall is that it's a bit unwieldy. Certain songs here, like "Monks" and "Lost" are not necessarily bad songs but they are obviously much less fleshed out than some other cuts here. This is the main downside about Frank composing several deep, fleshed out songs is that it makes it really obvious when he's not trying as hard. Also, John Mayer probably could have been put to better use than being relegated to playing a simple 60 second guitar solo on "White."

It's not a big deal, though, because Frank Ocean has succeeded in crafting a magnum opus that towers over similar albums that lack the subtle nuances, the intricate details, or the ability to set a mood that is seen on channel ORANGE. This may be the album to open up Odd Future to an expanded audience. If nothing else, it's a hell of a how-to book on songwriting in the modern age.

Score: 87.5/100