As rumors have it (for now), this will be Miley Cyrus‘ last musical release so she can focus on being in feature films. Good thing, because compared to the EP she released last summer, this needs to be her last release. A stickler for bubblegum pop, I was excited for this album, only to be let down with overly-bad lyrics and auto-tune. The lead single and title track, ‘Can’t Be Tamed’ is what is supposed to be Miley’s answer to Britney’s “I’m a Slave 4 U” is not a good girl turned bad, but rather good girl turned trashy. The album continues from trashy to white-trashy with her cover of Poison’s “Every Rose Has its Thorn” which you could probably hear a rendition of in equal quality at your local karaoke bar. (Tatyahna Cameron)

Remix albums are usually not the best things around, but LA noise outfit’s HEALTH‘s ‘DISCO2′ changes that. Tracks from Get Color get refurbished sounds from some of the best. Crystal Castles and Tobacco are the big ticket names for the album, but the best track could easily be Little Loud’s remix of “Nice Girls” which takes the original hazy harsh track and turns it into a chilled out, compression heavy dancier track. The album in it’s entirety as a whole has to be dissected track by track, as even with repeat tracks of “Before Tigers” and “Die Slow” each song is completely different than the original and than each other. While most the remixes off this album have easy ear appeal – don’t let that fool you, HEALTH is still a noise band so take caution delving deeper into their catalogue.  (Tatyahna Cameron)
Free download of “Die Slow (Tobacco remix)” here

As it took a good fifteen listens to start getting into the single “Tenderoni,” when it first was released, I approached Bloc Party frontman Kele Okereke’s solo project album with some uncertainty. For good reason too, ‘The Boxer’ is a not-so-great-album with a few misplaced good tracks. It could be the dial tones, it could be the fact that Kele’s voice isn’t used to the best of it’s ability, or it could be that the transitions between songs and general flow of the album could be better done in a 16 year old’s mixtape, but this album does not do it. The second track “On the Lam” could have been a good dance track, if they didn’t mix Kele’s voice to sound so high and took out the annoying out of place dead line dial tones. Worth checking out for the few decent tracks, especially the very “Hunting For Witches”-esque “Unholy Thoughts” and the well written electro-ballad “All the Things I Could Never Say”. However all this album does for me is make me start wishing for a Bloc Party return. (Tatyahna Cameron)

I would love to think of Danzig as another band that bridges the ever-wide gap between punks and metalheads, much like Motorhead. In reality, however, Glenn Danzig’s punk rock roots are rarely detected in any Danzig album and ‘Red Deth Sabaoth’ certainly follows suit in that respect. Its chunky, almost vintage sound quality was no happy accident. Glenn actually went out and found 1970s bass amps for laying down the guitar tracks. As part of the Danzig discography, it’s a safe arrangement and not too trying on the band’s identity as a hard rock powerhouse. (Briana Hernandez)

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