Username: patronsaintofaspies

Album: Love You to Death: I'm not a huge fan of Tegan and Sara's music in general, so when I gave this album a fair shot, I was pleasantly surprised by how much I ended up enjoying the sounds they utilised here. The entire record is full of neatly produced synthpop songs that range from a quality of decent to outstanding, and it's made me decide to give them a second chance.

That Girl: 9 Very good opener, and somewhat unique in the fact that it's about the singer herself, not a love interest or somebody else. And it actually talks about being unhappy with how you present yourself to everyone else, instead of being an empowerment anthem. So that's pretty neat.

Faint of Heart: 8.5 Not as good as the previous song, or some of the other songs on this record, for that matter, but it's serviceable enough as a follow-up to the opener. My main problem with it is that the vocals in the chorus aren't as good as the ones in the verses.

Boyfriend: 9 The best known song from this album gets that distinction for a reason-it's not just a really good song, it also somehow manages to deal with painful ideas like being in a closeted relationship by setting playful lyrics to an upbeat melody. It's a worthy addition to the sapphic music canon.

Dying to Know: 8 This is a huge bop, make no mistake about it. My only complaint about it is that the vocals during the chorus can get a little too abrasive for me, which is why I lowered the score. I do think it's the easiest song on this album to dance to, though.

Stop Desire: 9 Definitely the rockiest song we've heard so far. It's also a total banger and one of the strongest earworms on an album already full of catchy tracks. The 'fire' and 'desire' rhymes don't even matter that much to me, and that's saying something!

White Knuckles: 10 I always like it when a song synthpop goes for a gentler sort of melody, making it resemble a ballad in both form and spirit. The strongest example I can think of this archetype is Carly's All That, and I have to admit that this song is even better than it. The chorus is simply beautiful, and this song's prettiness makes it my favourite track on the album in general.

100x: 7 My least favourite track on Love You To Death, and, to be clear, that's not because it's bad. I do dislike how some parts of the chorus are segmented, but overall, after White Knuckles, this feels too lowkey of a ballad to me.

BWU: 10 After a mild disappointment, we get my only other 10 on the album, which, on this record full of glossy synthpop songs, stands out as having one of the slickest choruses as well as a pretty bold statement, lyrically speaking. I won't lie-the chorus actually reminds me of some other song, but I suppose this is a better version of whatever that song was anyway.

U-turn: 8 Wow, U-turn is my favourite Pokemon move! Okay, okay, jokes aside, I do like how focused on its rhythm this track is. It also has some of the catchiest rhymes on the record, so I really like it, even if it's not as full of substance as some of its fellow tracks.

Hang on to the Night: 7 This is a really pretty song, which shows in the synths present within the chorus. It's just one of the songs I remember the least, which is funny, seeing as it's supposed to be the closing one. It's still a good end to the album, though.

Album: Communion: Look, this album may be full of choruses that sound familiar to everybody who's lived through a few years ago, but the good thing about it is that it's a nice showcase of all the different songs you could expect to hear at a party in 2014, not a boring retread that has no songs worth listening to. Despite the relative typicality of the melodies, it's still full of bops, and it manages to be a decent album for casual listening. I was a little disappointed it wasn't as alternative or experimental as I hoped, but gays need to be in mainstream pop, too.

Foundation: 7 It's strange for an album to open with what's perhaps the most atypical song on it, and while this track misleadingly makes Communion seem darker than it actually is, it's still a fair enough intro that manages to get a first-time listener's attention with its vivid imagery.

Real: 7.5 The album places itself squarely in the mid 2010s scene by following up the intro with a minimalistic chorus that serves the listeners well, even if it isn't anything very special. This is a fun song that lets you get your hopes up for the rest of the album, even if it's not groundbreaking by any stretch of the word.

Shine: 10 The third song is one of the best places to place an immediate standout on, and this definitely gets you excited for the rest of the album; piggybacking off the success that was Real, Shine manages to grip you with its triumphant, energetic chorus. Honestly, this deserves to be their signature song over King.

Take Shelter: 7 I'm not a huge fan of songs where the choruses are really drawn out, especially if they're sung by men, and while this is an alright track, I can't see myself being very enthusiastic about it rolling around when I replay the entire album, even if I wouldn't skip it, either.

Worship: 8.5 Despite the criticisms levied at this album regarding it being too generic, Pitchfork's review of it makes a point in the fact that it exhibits the sounds of 2014 and 2015 quite well, rather than just creating half-assed versions of songs we've heard before. So even if Worship does vaguely sound like something you've listened to in the car with your white, Evangelical cousins, it keeps the album interesting, and it's fitting on a record called Communion.

Eyes Shut: 6 Our first ballad on this album. It's decent enough-I'd mark it slightly above average-but it exposes one of the record's main flaws; being a little too generic. The lack of experimentation is only easy to ignore if the band serves huge bops, and this is far from being a bop.

Ties: 7 This still isn't very adventurous territory, but the breathy chorus goes along surprisingly well with the synthpop-esque production, so it gets a good score from me. Even then, thinking about this song makes me go 'wow, it really is an album stuck in the middle of the decade.' I don't necessarily mean that in a bad way, though.

King: 8.5 The biggest hit from the album-I was surprised to see that it was a #1 on the UK charts! It's well deserved, because it was obviously meant to be the breakout single from this album. The verses and the chorus manage to be equally good, and this is great for both casual listening and for dancing to.

Desire: 6.5 Wow, two songs in this rate with desire in the title and in the chorus, and none of them have the word rhyme with fire! It's a pop miracle! Okay, this is a pretty boring dance pop song, and what makes it more unfortunate is that it comes after King. I don't like the vocals here, either.

Gold: 7.5 I'm having a hard time trying to find an adjective for this, but one thing I do like about this song is the 'rolling' chorus, even if the track itself is one of the more forgettable ones on Communion. It is better than the two songs it's sandwiched in between, so I wouldn't be so quick to classify it as filler.

Without: 7 It's an alright ballad. The song itself manages to be decent enough and I do find the lyrics to be genuinely touching. What prevents this from being a tearjerker is honestly the synths that come after the chorus. I dislike it when some disembodied voice repeats the singer's lines after they finish and this would have been a much better song if instrumentation came after it instead. Eh, maybe I'm being a little too nitpicky.

Border: 8.5 A more fitting end to this album than Memo, thanks to the unique production that sets itself apart from the rest of the album while still managing to fit in quite well with the other tracks. Yay, consistency! I love how joyous the chorus is, and I'd probably consider this one of the best songs on Communion.

Memo: 6 It's not as glaringly mundane as Eyes Shut, but unfortunately, it's not memorable; even if Years and Years can tend to deviate a tad too little from mainstream pop music, they typically make up for those flaws with catchy choruses, and I have a hard time remembering anything about Memo.

Album: Nothing's Real: Lesbians really are serving all the hard bops in this rate. While Nothing's Real is not without flaws, the album as a whole still presents itself as this really slick, consistent collection of bops you'd dance to at a really cool party. Everything about Shura's aesthetic on this record is intriguing, and, from the looks of it, her future career will follow suit.

Nothing's Real: 11 This is one of the quirkiest opening track I've ever heard and I *love* it! Shura's voice fits in perfectly with the unique production, which is a fantastic mix of alternative music and songs you'd expect to dance to at a party. It's hard to decide what's on a higher level-her vocal performance or the background music. And, speaking of which, an instrumental version of this would be brilliant!

What's It Gonna Be?: 9 After Nothing's Real, I was left wondering whether this record was going to be weird, or whether it was going to be full of dance-worthy bops. This falls a little more in the latter category, but being poppy doesn't necessarily mean being unoriginal! This is a vibrant, colourful song complete with fantastic, playful production. I couldn't ask for better. And upon relistening to the album, I can definitely be reassured that the stranger elements of Shura's music are going to eventually sneak back in the album.

Touch: 8.5 After the dynamic qualities of the past two songs, a ballad isn't what most listeners expect to hear next on Nothing's Real, and I have to admit that this was too subdued for me the first time I gave this album a shot. I've since changed my mind, though-it's a great, emotional song that I'd love to hear in a cafe.

Kidz 'n' Stuff: 7.5 Another slow song after Touch is a little painful, especially since this one isn't as good, but even if I grumble a little when it comes on, about a minute in I end up wanting to reach the end instead of choosing to skip. It's a bit of a contrast to Tegan and Sara's previous statements that they don't need a 'white wedding', but hearing Shura's sought after plans of wanting to start a family with another roman is sweet.

Indecision: 8.5 We're back to bops suited for clubs with Indecision, though the production is a little too soft to fully enjoy dancing to; perhaps a remix is in order. While I do love this song, I have to wonder why Shura directs it to a boy; as far as I know, she's not bisexual, so this bothers be a little.

What Happened to Us?: 8 The energetic, top-of-the-morning production returns with What Happened To Us, though perhaps it isn't as successful as it had been at the start of the album. This is the token rock song on the album, and while the position it fills can be ever so slightly irritating, any misgivings are forgotten when one reaches the part where Shura sings 'I was never ready for your love...'. It may be a bit of a cheap remake, but I'll take it.

Tongue Tied: 8 The second side of the album draws more on Shura's dance influences, which shows on the last three tracks with 'normal' lengths. It kicks off with Tongue Tied, and while it isn't as terribly original or innovative as some people might hope, it still manages to be a cute, lesbian bop.

Make It Up: 8 We're followed up by another very dance-esque track; it's admittedly a little sandwiched in the middle of the album, and it's not too different from Tongue Tied, which is a bit more superior. Still, it's a great song and it's not one you should choose to skip.

2Shy: 9 Alright, this sounds a little like a RnB track you hear at the end of a girl group album released in the mid 90s, but Shura mixing that with dance music, her wonderful voice, and queer vibes makes it all the more praiseworthy. I'm going to say it; this reminds me of some early Mariah songs, except a little more subdued!

White Light: 9.5 We exit the album's 'regular' territory with White Light, which is, while six minutes long and still relatively standard synthpop, one heck of an adventure. It has a great, intriguing melody that manages to lure you in without noting how long it is, and you're reassured by Shura's statement that she and her target are never going home. The listing at ten minutes worries the first-time listener, but those fears are soon quenched...or are they?

311215: 7 The most striking thing about this song is the sample at the start, and the very interesting lyrics Shura recites over what I guess is a piano or a similar instrument. I'm not sure where the samples come from-an old movie? Some family recordings?-but it tells a captivating story with just a few lines, and I'd be lying if I didn't admit to being curious about who Shura's reconciling with. It's too simple for the rest of the album, but maybe that's alright.

The Space Tapes: 5 Oh, yeah, a lot of people are going to give this their 0. I don't think I'll be joining them, but...I can see where they're coming from. I find the samples here to be actually quite interesting, and I'd love it if Shura ever turned them into actual interludes or tracks. But mashed together, they're a little...too much. The last part serves as a fitting reprise and closer to the album, so perhaps she should have closed out on that one instead. And since this track seperates into three parts, what's saying the other two couldn't replace the fairly dull interludes?

Album: About U: Okay, I'm going to be honest. I thought this was an album made by a dude. When it turned out to be a band of women, I...was surprised. That's what I find hardest to like about this album-the vocals. They're a little muffled along with the production, and I end up getting their appeal and resenting them at the same time. But even if I have misgivings about this record's flaws, I still enjoyed several key songs from it, like Around U and I Know A Place. It's the album I have the most mixed feelings about in this rate, but I think I ultimately lean on the positive side of things.

So Special: 8.5 Setting the dark tone of the album better than Years and Years did with their own opening song, So Special is a pretty good introduction to MUNA's discography as a whole. It's not without flaws-some people may be skeptical of the vocals, or the relatively muffled production-but it's a perfectly decent song with great, melancholy hooks. It's a fitting song to start the record.

Loudspeaker: 7 The production here is better compared to So Special, and, in accordance with the title, the song as a whole is overall much less subdued compare to the track before it. However, I feel as if one's ability to enjoy this song is bound by whether or whether not you enjoy the lead singer's voice, and I'll admit this made me...skeptical.

I Know A Place: 9 I may be a bit too critical of this record as a whole, but this is one song I can find very few flaws about in itself, though I was surprised about how optimistic it sounds for a dark pop album. The chorus here improves on the past songs, and what's especially glorious is the part where they sing 'lay down your weapon, lay down your weapon'. Despite the lackluster voices, this band does have good imagery to its lyrics.

Winterbreak: 7 This is a bit of a forgettable track, which I'm a little wary about, considering it's only the fourth one, but when I listen to it it's not so bad. Simulating a relationship even if you don't have high hopes for it is an interesting topic, and while the verses are a bit muddled this is still a pleasant enough song to build further upon the album's framework.

Around U: 8.5 Oh, wow, it's a ballad. Perfect place to put one in, too, especially since, bless MUNA's hearts, this is an actually good one. Subtle ballads are great if they're executed properly, and the best way I can describe how this song sounds is like it's a fading warmth. It's a bit cozy and a bit sad, all at the same time. Also, I like how the song is titled Around U instead of About U, LOL.

After: 7.5 This is definitely the most 'threatening' of this album's songs so far, sonically speaking. Not just lyrically-that's up to the listener's interpretation-but in the tone of both the chorus and how it's sung. When I heard the words 'are you alright?" here, I was pretty jittery. It's not a super solid song as a whole, but there's enough passion her that other songs on this album lack.

Promise: 7 Definitely the song that fits into the synthpop label the most so far on this album, though I have to confess that I don't find it very memorable outside of the hook, which is, to be fair, pretty good. And again, there are interesting themes here-not knowing whether to accept somebody's forgiveness. It's not that MUNA's lyrical game is super strong, although it's fine enough, but they do raise interesting thoughts.

If U Love Me Now: 6.5 Bit of a dull ballad compared to Around U, though it's nice to hear a more feminine voice. I have to admit, though, instead of finding the vocals here more pleasant compared to the androgynous, muffled voice of the lead singer, I find them a little boring. I guess it just proves that the former is both a boon and a bane to MUNA's music in terms of being unique.

Crying on the Bathroom Floor: 8.5 This is the most urgent-sounding of the songs on the album, which makes sense, since it was reportedly written right after election results came out. The token rocky song for each album in this rate has ranged from decent to good, but this possibly beats Stop Desire, though I'll give it a lower score for the vocals.

End of Desire: 8 A bit of a midtempo song, combining some of the slow burn-ish appeals of parts of this album and the pretty decent chorus parts on some of the mothers. It's a good enough follow-up to Crying on the Bathroom Floor, and I'd put it on the upper half of the record.

Everything: 6 Eh, from what I remember about this one-and that's surprisingly little-I'm not a huge fan. It's a slow song in the vein of Around U, but this sounds like a mid 00s pop rock ballad in a bad way, if I'm being honest. It sounded too cliche, as if I've heard it on radio a million times before. Huge meh.

Outro: 0 I'm having a hard time remembering anything about this track. This is actually the only one I don't remember the hooks for, now that I think about it. I just...really hate it when an album closes in a forgettable way. I want the music to go out with a bang. This is more of a snoozer.

In My Way: 8 This wasn't part of the original album, from what I see on Spotify, but I'm glad it ended up being included in this rate. It's a much better closer than Outro, ironically enough, and it serves as I Know A Place's younger sister. They're both quite upbeat for this album, and while In My Way isn't as glorious, it's still very good.

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