By: Tyler Barnes
Vylet Pony – Monarch of Monsters
(WARNING FROM VYLET PONY: “Monarch of Monsters” contains blood/gore, murder, self-harm, suicide, nudity, sexual content, sexual assault, sexual violence, cannibalism, f-slur, and existential/cosmic horror. This pertains to its lyrics, themes, story, and artwork, and may be especially triggering to survivors of grooming and sexual assault. Parental guidance is advised for those under the age of 18, as “Monarch of Monsters” is intended for a mature audience.)
For those unfamiliar, Vylet Pony is an indie artist known for her hyperpop hits such as ‘ANTONYMPH,’ ‘LESBIAN PONIES WITH WEAPONS,’ and for the EDM record she released earlier this year, Girls Who Are Wizards. Through the many projects she has put out since 2013, she has gained a cult following from her varied discography and her passionate love and inspiration for her artistry, My Little Pony: Friendship Is Magic. For some people, it’s easy to write off Vylet because of her influences, but her versatility and range as an artist are nothing to scoff at. From brostep, to hyperpop, to ambient, to indie rock, to electropop, to EDM, she has a lot to offer and plenty of music for people to enjoy. For Monarch of Monsters, Vylet Pony tries her hand at industrial rock, making what is easily her most shocking, abrasive, and heavy record to date. Her previous material has plenty of songs that come from real places and experiences in her life. Heartbreak, loneliness, parasocial relationships, her purpose, and much more are explored across her discography. Up until this point, we haven’t seen the dark side of Vylet, and that is what Monarch of Monsters explores. The entire album’s story lies within her alter ego and anti-hero of the story, Wolf. Originally a pony who went by the name Vylet Cypress, Wolf’s journey across the album is an allegory of the destruction that can come with someone’s selfish nature. Transforming herself from an ordinary person to a leader of a cult surrounded by people who do nothing but take advantage of and defile her. If there is any comparison point to where this story goes throughout the album, it is reminiscent of elements from the Ethel Cain record Preacher’s Daughter. Vylet’s intention with this album was to shed light on the things she has done in her life to negatively impact others and how it came back in the future, thus explaining the character of Wolf. The album is sonically influenced by many acts, and as such, goes in as many different directions as it pleases. From the six-minute noise rock intro ‘Pest’ to the unpredictable electronics and blaring guitars of ‘PLAY DEAD! PLAY DEAD!’ and onward, each track gives a new perspective and phase of the downward spiral that Wolf experiences. Up until the eighth track of the album, the climax and twenty-two-minute behemoth, ‘Sludge.’ From here, we see the death and reincarnation of our protagonist, as she becomes the wolf she was called by her cult, serving a lady who had been watching from afar, named Aria. The two of them grow a bond over the course of the last leg of the album, eventually becoming lovers and forming a genuine bond with Wolf, who hasn’t experienced affection or care in a very long time. As the album draws to a close, the lines begin to blur between Wolf and Vylet Pony, with the final song closing out the story for Wolf and Vylet coming to accept everything that she has done and knowing that there is much more to life than to dwell on the things that have consumed her life in negativity and dread. The record draws heavy inspiration from acts like Swans with its noise-rock and experimentation throughout the record. ‘Princess Cuckoo’ and ‘Sludge’ are the greatest examples of this, featuring suffocating passages of noisy guitars that incense anxiety and terror, similar to how The Seer or To Be Kind used the guitars. Alongside these moments of inspiration from noise rock groups, we see Vylet not abandoning her roots, still incorporating pop-leaning moments on this record through ‘Survivor’s Guilt’ and ‘Vitality Glitch.’ She has stated that some of her biggest influences were underscores and Porter Robinson, and from the sounds of the synths and hyperpop tinges heard across the album, the inspiration is undeniable. While Vylet Pony has attempted many genres and reapproached her albums from different angles, this record proves to be her most ambitious yet, and the results speak for themselves. There are absolutely terrifying moments mixed with emotional gut punches that undoubtedly make Monarch of Monsters one of the highlight records to come out this year, much less from an indie artist such as Vylet Pony.
Linkin Park – From Zero
Legendary nu-metal band Linkin Park makes a surprise return this year, re-debuting with a new lead singer, Emily Armstrong, and announcing a brand new album, From Zero. Linkin Park needs no introduction, their legacy in music has been firmly etched in along with many icons. Their first two records are easily their most popular and for very good reason. Every track from Hybrid Theory and Meteora has an unforgettable hook, incredible vocals from Chester Bennington, and verses often handled by the other lead vocalist, Mike Shinoda. The two were an unstoppable force during their first two records, and even as they branched into different genres with their third album and onwards, Linkin Park’s presence was prevalent for nearly two decades. The band’s last effort was 2017’s One More Light, which would go down to be their most polarizing release. Despite initial fan and critical reception, the band would tour this album like any other, but the band’s momentum came to a halt with the unexpected and tragic passing of lead singer, Chester Bennington. From this moment, the band would cease operation, putting out the One More Light live album and celebrating the anniversaries of their beloved first two records. The passing of Chester Bennington cannot be understated, as his voice and stories impacted millions. Devastation was felt worldwide and marked the end of Linkin Park as a band. Getting someone to replace Chester would be a monumental task to fulfill, so the band decided not to. Linkin Park’s members have made it clear that Emily’s arrival is not an attempt to replace Chester, but simply the start of a new beginning. From Zero is a very fitting title for where the band is coming from, starting back at square one, and the project makes that known with the intro stating just that before kicking off into the lead single and opening track, ‘The Emptiness Machine.’ The song expresses the devastation and emptiness that comes from trying to fit into something or with someone and the attempt to leave a feeling of hollowness. The first chorus provides great energy and an entrance for Emily Armstrong to deliver her first verse as the new vocalist for Linkin Park, and she kills it. She sounds different from Chester, but in a good way, providing a new voice while retaining that passion you would hear from Bennington’s past performances. After kicking the album off with a bang, the record is off to the races, with ‘Cut The Bridge’ being a simple, albeit catchy song about severing ties because the circumstances between two people are becoming too much for either to handle. The simple mixing and instrumental give plenty of room for Emily’s performance on the hook and for Mike’s verses. Things truly begin to evolve from here, with the second single and fan-favorite, ‘Heavy is the Crown.’ It feels like a Linkin Park song in the best way possible, with Mike rapping his verse discussing cowardice before Armstrong comes in and hammers home the song with its chorus. The true standout of the song comes from its bridge, delivering a scream that would catch many first-listeners off guard and surely make Chester proud. From here, we see the record’s style evolve and attempt different sounds. Cuts across this project are very reminiscent of some of the band’s older work, like the cut ‘Overflow’ giving off A Thousand Suns vibes, and the hardcore rock track ‘Casualty’ has a familiar heaviness to songs off of The Hunting Party. To longtime fans, this album feels like a return in the greatest way imaginable, a band reignited through passion and connection coming together to make a brand new album to carry on the legacy of the band while providing something brand new that is distinctly Linkin Park. No song is more evident of this than the Hybrid Theory-inspired cut, ‘Two Faced.’ The lyrics are exactly what you would expect from the title, but the sound of the track is what sells it. A modern nu-metal track complete with screamed vocals from Emily and record scratches from Joe Hahn. While the album only comes in at thirty-one minutes in length, it is an engaging and refreshing listen considering the state of music. If there was any time for Linkin Park to come back, the time was now, and From Zero is a great way to announce their return from the ashes.
Poppy – Negative Spaces
Internet sensation turned musician, Poppy, returns after last year’s industrial pop record, Zig, with a spiritual successor to 2020’s I Disagree. Produced by ex-Bring Me The Horizon member, Jordan Fish, Poppy returns to metalcore on Negative Spaces. Poppy gained a great following because of her bubblegum pop albums, Poppy.Computer and Am I A Girl? Following the release of these two records, she deviated from the robotic persona, embracing her actual personality and changing her style of music from electropop to metalcore. While Poppy had a great following already because of her pop hits, it was her transition into metal that put her on the map. From there, she would go on to collaborate with bands like Bad Omens and Knocked Loose on their latest projects, while continuously changing sound on her solo work. Though her sound has definitely evolved over the years since her debut, it seems that she’s found her niche and has been accepted by the general metalcore audience. Negative Spaces is likely the start of a new beginning for Poppy, but will that be the best choice for her going forward? Poppy has made it clear since the end of I Disagree that she aimed to continue evolving herself, and no two projects of hers were identical. While one can say that Negative Spaces isn’t similar to I Disagree, the similarities in sound and performance given by Poppy on both records aren’t to be ignored. Her lyrics are still as great as always and as she has shown across her guest features, tends to steal the show no matter where she goes. The main problem some listeners will face from this album is the surprising lack of variety across its fifteen-song tracklist. Six songs aren’t entirely metalcore, but two of them are interludes, and one of them is less than two minutes long. That leaves the listener with nine songs of pure metalcore cuts, which for people who listen to Poppy, may come as a disappointment considering how varied her material has been, even when confined to their own albums. No two songs on I Disagree sounded alike, despite most of the album showing a metalcore influence, and Flux’s hard rock genre switch had plenty of interesting moments blending synths and punk instrumentals to form Poppy’s most mature work to date. On Negative Spaces, you get the predictable metalcore sound you hear from a number of talented producers in the industry, even for someone as talented as Jordan Fish. Despite the criticisms, the LP’s sound overall is great and has a lot of memorable riffs and bridges, plenty for listeners to chew on. The biggest highlights in that department are definitely the opener ‘have you had enough?’, the hardest of them all, ‘the center’s falling out,’ and the second single, ‘they’re all around us.’ The most unique cuts come from ‘crystallized,’ a callback to her times with electropop and synthpop, the catchy punk rocker title track, and the poetic finale ‘halo.’ The main issue with this record is its repetitive soundscape, despite Poppy’s clear goals as an artist to always develop and keep herself changing. It seems this time around after being signed with Sumerian Records, her main option was to go back to metalcore, and it felt like it.
LISTEN TO THESE RECORDS!!!
Spotify: Monarch of Monsters, From Zero, Negative Spaces
YouTube: Monarch of Monsters, From Zero, Negative Spaces
Apple Music: Monarch of Monsters, From Zero, Negative SpacesBandcamp:Monarch of Monsters