Bundick recently released What For? in April, revealing a completely new layer to this already multifaceted discography. Although Bundick protested in a 2013 Rolling Stone interview that his first album, Causers of This, “was not supposed to be played live,” his past performances prove otherwise. Despite his recent dabbling in the electronic disco rock genre, we can only hope that Bundick will play what initially made him so compelling — that unforgettable synthetic dream: chillwave.

Opening for Bundick this evening will be arena pop act Astronauts, etc. Doors open at 7pm and tickets are still available for $22.

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Following 2013’s Kiss Land, which was, in my opinion, a considerably mundane album, Beauty Behind the Madness brings back an ineffable energy similarly found in his earlier EPs. Tesfaye collaborates with Lana Del Ray, Labrinth, and most surprisingly, Ed Sheeran on this album, and his songs seem more in conjunction than ever before. In fact, three of Beauty‘s singles – “Often,” “The Hills,” and “Can’t Feel My Face” – all seem to share a similar narrative. “Earned It,” yet another album single, has already reached acclaim as a featured song on the 50 Shades of Grey soundtrack (the movie’s only saving grace).

My favorite song on the album — though, not entirely my choice — is “Can’t Feel My Face.” The first time I heard it, I could not get it out of my head. I’ve probably listened to it a thousand times, and it’s still not old to me. I find that this is one of Tesfaye’s strengths: he makes radio-friendly songs that never tire. Still, the album features a few down-tempo, quieter songs (“Shameless,” “Acquainted”).

As is typical to any album by the Weeknd, his new record mixes perfectly with alcohol and wild hormones. Though not necessarily a particularly innovative album, Beauty Behind the Madness still finds a way to give you what you need.

Grade: B+

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Deputy will perform tonight at Buffalo Iron Works at 9pm. Tickets cost $15 at the door.

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As an early listener of Tyler’s music, I admittedly hated everything about him. I first heard of Tyler through my brother, and soon resented him for playing it on car rides. I especially hated that deep voice (later identified as “Dr. T.C.”), one of Tyler’s many alter-egos. Frankly, his music freaked me out. But in October 2013, I discovered his second studio album, Wolf, and something inside me switched. Was he just a violent jack ass, or was he making a not so subtle social commentary? In the process of figuring that out, I fell in love, obsessing over not only him, but everyone under the Odd Future label. Since then, I’ve deemed him a creative genius, and have not lost interest since.

Tonight, Tyler, The Creator will perform at the Town Ballroom with Odd Future’s Taco. And although I am excited, I have many questions. Not only did Tyler just drop his latest studio album, Cherry Bomb (oddly featuring both Kanye West and Lil Wayne), but it was recently announced that Odd Future was no longer. Amidst all this change, I can only wonder what the dynamic of the sold out show will be like. Regardless of his status as a jackass or a creative genius (maybe a mixture of both), I have no doubt he will tantalize the crowd. Certainly, this is a night I won’t forget, and it all begins at 7pm.

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If you’ve heard Causers of This (2010), then you know why Bundick has been credited with beginning the chillwave genre. An intensely dreamy experience, Causers of This is certainly an acquired taste. (I can remember my siblings complaining about how repetitive it was when I played it in the car.) Still, it was weird, and it was memorable – that’s what drew me in. Underneath the Pine (2011) is more relaxed and instrumental, loosening its ties with its initial dreamy shoegaze sound. Following that, Bundick released Anything In Return (2013); I consider this his most balanced and radio-friendly album. He even performed on Jimmy Kimmel,a big stride for someone who started out making music in his bedroom, with no intention of playing it live.

So, as you may guess, I had no idea what to expect from What For?. Though I had read in an interview that Bundick intended to create an album influenced by classic rock, I hoped otherwise – perhaps he would revert into his organic state, and make another album as experimental as Causers of This? But, that was wishful thinking. Despite my initial excitement, I was startled when I heard the single, “Buffalo,” on SoundCloud. I listened to it a few times, and had no idea how to correlate it with the other three albums I loved so much. Only now can I characterize it as psychedelic, with a sound that harks back vaguely to Underneath the Pine. It’s definitely the most innovative song on the album, but it in that same way, it’s misleading.

Having listened to the album three times through, I still feel no residual effect. Although I am fond “Lilly,” (somewhat of a ballad), it’s because, again, it reminds me of songs from Underneath the Pine. As much as it physically hurts me to write this, this album doesn’t have a real pull. What’s best about Bundick’s music is that it’s ineffable. It takes you somewhere. You don’t know where you’re going, and you don’t care. You start and finish transcending time and space. This album, not for lack of trying, does not have any mythical element to it. What For? sounds like Bundick was actively trying to make this album not sound like anything he previously made. The album is guitar heavy, and relies on Bundick’s vocals considerably. His voice, high pitched and airy, is not meant to carry an album. In his previous albums, it was soft, and amplified its abstract qualities. Now, it simply sounds contrived.

Perhaps I am nitpicking because I idealized Bundick; I was immediately ennamered with him, and it’s hard for me to forget that feeling. His creativity and will to alienate himself from other genres inspired me – I always viewed his music as art. Unfortunately, this album signifies a loss: it’s an attempt to recreate an era that’s already passed, rather than creating a new one. And while there is nothing inherently wrong with it, it doesn’t feel right, either.

Grade: B-

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Released back in November, the album’s downtempo first single, “Deliver,” resonates harshly. . Despite its catchy chorus, the song, which features Ty Dollar $ign (an artist previously unknown to me), is noticeably less creative than than the rest of Tetsuo‘s tracks, presumably because Fiasco wanted to emphasize its content.

It was “Adoration of the Magi” that sells the album, probably because it exemplifies both Fiasco’s individuality and intelligence. Upon hearing a downbeat electronic-jazz intro, the song was already a clear album front runner. Strangely enough, “Adoration of the Magi” alludes to the 1304 proto-renaissance painting by Giotto, which portrays the birth of Jesus Christ. Fiasco literally addresses the baby Jesus in the chorus, “Why are you ready to die? You just a baby.” Surprisingly, Fiasco does not use one curse word in the song (this isn’t true for other songs on the album). Allusions to classical art elevate Fiasco’s wit to Kanye West levels, however, Fiasco is infinitely more tasteful in his presentation.

“Madonna and Other Mothers in the Hood,” featuring Nikki Jean, is remarkably similar to songs on West’s, My Beautiful Dark Twisted Fantasy: a creative song, both sonically and lyrically. Given the themes in “Adoration of the Magi,” Fiasco seems to remark upon another piece by Giotto, Madonna, and Child Enthroned. Yet, this song clashes religious imagery with vulgarity and urban allusions.

The album’s remaining songs are all just as interesting, each with a different theme (although many incorporate religious imagery). Coming from a person who isn’t familiar with Lupe Fiasco beyond “Superstar,” “Touch the Sky,” and “Kick Push,” I can confidently say I wished I checked out his work sooner. Tetsuo & Youth is certainly worth a listen: it adds a much needed level of depth that contemporary hip hop often lacks.

Grade: A-

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After years of playing drums for legendary grunge band, Nirvana, David Grohl has long since moved up as front man and songwriter for the Foo Fighters. And although I would argue 90% of the time that the cut-off age for being in a rock band is 40 (take a hint, Billy Joel Armstrong), Grohl forcibly shatters this notion with the debut of the latest album.

Sonic Highways manages to accomplish quite a few impressive feats in a relatively compact amount of time. The album’s main allure is not necessarily in the songs themselves, but, rather how they came about. In order to ensure that their two decades strong of making music was not left unheard, the Foo Fighters recorded each one of the album’s songs in different cities: Austin, Chicago, Los Angeles, Nashville, New Orleans, New York, Seattle, and finally, Washington D.C. HBO accordingly released a documentary which premiered on October 17th (also titled Sonic Highways) to track the band’s musical journey across the country.

What I found most impressive, however, was that each track, along with being recorded in a different city each time, features a different artist from his corresponding city. Each artist, though varying widely from one another, has an impressive resume. Featured artists include Rami Jafee, Rick Nielsen, Bad Brains, Zac Brown, Gary Clark, Jr., Joe Walsh, Preservation Hall Jazz Band, Ben Gibbard, and Tony Visconti. Sonic Highways seamlessly merges the styles of these incredible musicians with the Foo Fighters’ hallmark rough sound, accomplishing something both unanticipated and familiar at the same time.

Rightfully so, my favorite songs on the album were the ones that the musical guests audibly stood out as the addition of these guests gave the band a much-needed refresher. “Congregation,” Sonic Highways‘ third track (accompanied by Zac Brown) is the catchiest song on the album. Brown’s harmonies with Grohl’s coarse voice made for an unexpected contrast. My favorite song, however, is “Subterranean” (featuring Ben Gibbard). I’ve been a die-hard Death Cab for Cutie fan for a while, and I was pleasantly surprised to hear Gibbard’s contribution to the song. Gibbard’s introspective nature seemed an obvious choice, backing the chorus “You might think you know me, I know damn well that you don’t.” The album’s closing song, something of a cross between a ballad and an anthem, “I Am a River,” (featuring Tony Visconti on guitar), appropriately ends the album.

Though I typically don’t enjoy the harder-rock genre, this album threw me for a loop. And for all the Foo Fighters fans out there, Sonic Highways is essentially an early Christmas present. So unwrap and enjoy.

Grade: B

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This concert will allow you to have the best of both worlds: an irresistibly Canadian indie-rock band showcased at one of Buffalo’s most adored concert venues. Perhaps best known for their single, “Your English is Good,” this almost decade-old band will start your November off on the right foot (and might be the perfect solution to shake off the night before, if you have to!).

Doors open at 7 pm, and if you need tickets, you can grab them for $24 upon arrival. Fellow Canadian act, the Arkells, will open.

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In tempo with their typical vibe, No One Is Lost features lots of keyboard, alternating vocals between Torquil Campbell and Amy Millan, and of course, some 80’s flare. While the latest Stars album does not necessarily present anything different from previous albums, it proves a valuable steal for both long-time fans and newly acquainted listeners. There is something to be said for their single, “From The Night,” which is inevitably an attention-grabber because of its uber-catchy chorus. “Look Away” and “The Stranger” are other tracks worthwhile to listen to.

Given the amount of time Stars have spent making music (roughly 14 years), it seems natural that they would burn out. However, No One Is Lost has only proved that Stars is more than capable of keeping up with the contemporary music scene, all the while pleasing their fans time and time again.

Grade: B

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