So here is a song-by-song review of the albums highest point and missed marks.

#1 “Hey, Cruel World…” begins the album with the usual recipe. Begin blending harmony and distortion, add some blasphemy, and then apply ample terrifying amounts of anger. Exactly what you’d expect to hear from Manson even three years later. Hey, Cruel World… Tour is still on going.

#2 “No Reflection” is the comeback single released in March. A truly great tune with some death metal influence while retaining its classic Manson-ness. The lyrical play-on-words express how clever the band can be even through such depravity. “No Reflection” also has a music video complete with witchcraft, destruction, and creepy bleeding women.

#3 “Pistol Whipped” is probably one of the funnest songs on the album, as revolting as that may seem. The song’s violent and subliminally sexual themes are easy to beebop your headphones to.

#4 “Overneath the Path of Misery” opens with a strangely mesmerizing intro before crashing you out of the trance with unrelenting industrial riffs. The song has enough allusions to classical literature to cause the more heady listener to dive into the deeper meanings ad nauseum. With so much wicked emotion and rage packed vocals, there is more than enough hate to love here.

#5 “Slo-Mo-Tion” is exactly what it says it is; a slow motion song with emphasis on the lyrics. Very similar to Mechanical Animals. It also may be good for the casual listener who may not like the rash and brash screaming of Manson’s other music.

#6 “The Gardener” is an interesting song. It is mostly spoken word with exception of the chorus. The lyrics sound more like an angsty teen’s poetry: “I’m not man enough to be human, but I’m trying to fit in, and I’m learning to fake it.” The palpable Manson themes of empty social interaction and individuality pervade the poetry though. It is a caustic reflection about how faking it will stop personal growth. A very different style than the rest of the album, but good none the less.

#7 “The Flowers of Evil” has a catchy chorus and a speedy background guitar. A feel good goth song about zombies, or vampires, or whatever nightmare creature Manson’s mind conjured from the grave.

#8 “Children of Cain” has the best lyrics on the new album. Darkwave tones sinks deep into your eardrums while Manson chokes out blasphemous lyrics. “Watching monkey suicide, Sundays AIDS and church wine wash it away”. Here is the anger every Manson fan has been waiting for. This song is the villainous resurrection of Antichrist Superstar almost 15 years ago.

#9 “Disengaged” cranks up the distortion. Turn this song up and fill your anger while yelling “It was regret, not an apology”. Overall, a strong four out of five for this song.

#10 “Lay Down Your Goddamn Arms” is missing so much. Whether or not you agree with Manson’s views, he has always been a type of social reformer through his controversial music. This song is just too blatant on theme, not to mention far too close to generic rock. The raspy power cords and bland lyrics could be performed by any rock band on any popular alternative rock station. Definitely more should be expected from the industrial artist.

#11 “Murders Are Getting Prettier Every Day” Its time to beat the hell out of your ear drums. Screeching and squealing police sirens mix with the sound of tortured guitar riffs and powerful drumming. This song gives new meaning to the word cacophony. This track has all the energy Manson fans have kept pent up for the past three years. You can completely empty your lung crying out the lyrics. Three words, Manson is back.

#12 “Born Villain” is that beautiful feel-bad music which has made the artist so popular. Slow and almost acoustic notes open the track. This type of dark sound just sinks right into the listener. “I don’t ever want god to hear our screams, and mistake them for prayers.” There is a much cleaner method to this track than typical of Manson’s discography. “Born Villain” is an appropriate namesake to carry on Manson’s career.

#13 “Breaking the Same Old Ground” is one of the album’s best tracks. The mournful guitar playing background and the hypnotic whispering gives a very vintage Manson feel. The title itself “Breaking the Same Old Ground” almost gives a sense of Manson reflecting on his own work. This self-questioning through killer new tunes has always been a strong backbone for an artist who defies convention. Slightly reminiscent to “This Is The New S***” and the lyrics “Do we need it? No! Do we want it? Yeah!” This track is a reason to keep loving Manson.

#14 “You’re So Vain” features Johnny Depp believe it or not. Manson takes and twist the popular 1970’s pop song. Manson has long been known for his dark regurgitating of cover songs with a complete new emotion, for example “Halloween” from the Disney movie Nightmare Before Christmas or the ever popular “Sweet Dreams” by the Eurythmics. Manson’s “You’re So Vain” is regrettably missing the unmatched genre splicing of his past cover songs. Johnny Depp barely makes any difference in the track and the clear marketing technique for his new movie Dark Shadows, cannot be ignored.

Overall the album is a good addition to Manson’s 7 other studio albums. The band could have taken the musical composition further and some tracks were lacking in creativity. But Born Villain is a good album for any fans industrial collection.

Borgore brought his Flex Tour to Tempe, Arizona’s School of Rock on Mill Avenue with Document One, a dubstep duo growing in popularity from support by big time artist.

The Israeli 24-year-old pounded the eardrums of the full-house electro show Thursday. The audience was crammed full of “dude-bros” wearing skateboarding branded shirts and girls attempting to dance in wedges or heels.

Asaf Borger, better known by his stage name Borgore, is a former drummer for the death metal band Shibira. Although Borgore was drawn to the Israel’s club scene which is primarily house and trance, he still is influenced by his earlier genre.

Document One played a long set list. “Clap”, “Rising Higher”, and “Moving Together” built the crowd’s energy and got the room ready for the headliner.

The rowdy crowd sang along with popular songs such as “Nympho” and “Delicious” while sweating out ethanol. The venue’s security was quick to stop any moshing that are typical at Borgore shows.

Borgore’s lyrical prowess relies heavily on innuendo, so it wasn’t much of a surprise when dancers came on stage wearing only underwear and pasties of the artist’s face.

Instead of trying to stem the incessant tide of illicit music downloads, Borgore accepts it as internet fandom and owes his success to viral self-promotion. Buygore, Borgore’s website, even gives out free album downloads.

The electronic-dance artists Paper Diamond and Minnesota gave an enthusiastic show with glitch-style original beats and plenty of remixes. The audience, mostly a 21-and-up crowd, sang and danced to covers of Kanye West, The Weeknd, Bloc Party, Skrillex, and Zeds Dead.

Alex Botwin is from Colorado and has been part of the DJ scene for years, but only recently has reinvented himself as Paper Diamond. “This is my first show as Paper Diamond in town,” Botwin said.

Club Red, usually a club for rock music, is the only thing open near Price-101 highway and University Drive at midnight on a weekday. Inside the club, bright blue and yellow lights and advertising screens shined from the stage out into the dark room, entertaining the responsive audience.

Large words flashed on the screen “sorry kids no moshing. High fiving okay though”, sending out a vibe that the club can get hyped and rowdy.

Joselyn Briseno, 20-year-old business major at Pima Medical Institute, came to Club Red for the first time with her friends without even knowing Paper Diamond or the other artists. “I just heard of them tonight,” Briseno said. “I got into dubstep a year and a half ago.”

The concert as Club Red opened with resident DJ Pickster One who mostly played electro remixes of rap songs, but the crowd really got moving for Minnesota. Minnesota fittingly opened his set with an original take on “Dancing in the Dark” by Dev.

“I appreciate seeing these people move,” Willis Day, employee and bathroom attendant at the club, said. “I am an artists and I know, it’s all about them moving.”

The flashing ads turned off as Paper Diamond came to the stage. Botwin came on the stage looking confident and casual wearing grey-white cap and a button up shirt. The glare off his glasses made his eyes almost glow.

Virtually everyone from the bar area came to the dance floor as Paper Diamond’s most popular songs “Levitate” and “Snowfall” came blaring though the speakers. The choppy ambient sounds and heavy bass rattled people as they danced. Songs where the notes evolve and develop is one of Paper Diamond’s strong suits.

As the show was coming to an end, half the crowd was chanting “one more set” while the other side grew in volume calling out “ten more songs”. T-shirts were running out even before the final song ended.

“Glad you guys enjoyed the new music,” Botwin said as he waved both hands to the crowd signaling the end of the night.

WZRD album cover

It seems as though Kid Cudi, the “man on the moon,” truly
can work magic with music, as shown by the alternative rock duo self-titled
album WZRD, released today. Cudi collaborated with Dot Da Genius to
create an album with drums, guitars, keyboards, singing, and no rapping or
swear words.

After being announced over a year ago and having the release
date postponed by a month, the 11-track album debuted at number 1 on iTunes.
The album was recorded on a tour bus at Cudi’s home in Los Angeles.

Dubbing WZRD an alternative rock album surely made
fans expect something extremely different from Cudi’s previous albums and
mixtapes, but the album may have made many realize how prominent instruments
and singing are in all of his work. Although the lack of rapping and profanity
is noticeable, every song on the album is very identifiable as a Kid Cudi song.

The album begins with “The Arrival,” an instrumental song
that very appropriately introduces the music style that Cudi and Da Genius work
with throughout WZRD. Jimi Hendrix-inspired guitar is prominent in the
song, and in most of the other tracks.

Dot Da Genius and Kid Cudi

An energetic song follows the instrumental, “High On Life,”
obviously inspired by Cudi’s decision to stop smoking marijuana last April. The
“lonely stoner” shocked many with his announcement, and said in an interview
with datnewcudi.com that he had writer’s block for five months after deciding
to stay sober. Listeners will be grateful that he broke through the block as
they listen to “High On Life,” a song heavy with guitar riffs and snare drum.
The chorus features Cudi crooning, “I never ever thought it could be/ Never
thought the day would come for me/ When I would be high on life.”

The song is upbeat and can serve as an inspiration for
anybody trying stay sober as well.

Perhaps the most alternative rock-like song on the album,
“Live and Learn,” begins with guitar chords followed by bass and cymbals. Cudi
sings about the lessons life has to offer, and poses the question, “Where did I
come from?/ Is it the moon or a planet I ain’t heard of?” This line suggests
that Cudi views WZRD as being very different from his Man on the Moon
albums.

A track that stands out amongst the upbeat and inspired
tracks on the album is “Efflictim,” which shows the insecure and humble side of
Cudi that his fans are so familiar with. Cudi hums and sings to someone about
the troubling idea of what they would do if he were to die. The chorus goes,
“I’m just trying to say is life is too short/ Though I make mistakes, baby, I’m
trying to make things right/ All I’m trying to say is that life is too short/
All we got is love, baby, and the time to make it right.”

Other notable songs are “Love Hard,” which features guitar
as well as some beats, “Teleport 2 Me, Jamie,” the lead single, and “Where Did
You Sleep Last Night?,” a cover of the blues song by Lead Belly, which is
inspired by Nirvana’s cover of the same song.

As a whole, the lyrics in WZRD express Cudi’s new
perspective on life. Inspired by both his sobriety and his daughter, Cudi seems
to be growing up, and this album shows that. While the music itself isn’t
anything special compared to other alternative rock albums, it’s a very unique
mix of hip-hop techniques and rock rhythms that music listeners have never
heard before.

WZRD certainly isn’t the type of album that most of
Cudi’s fans are used to listening to, but is still a great piece of work from
the talented artist. Fans can appreciate Cudi’s ability to be musically diverse
while awaiting the release of the third Man on the Moon album this fall.

Over the past ten years blues rock duo The Black Keys has
released seven studio albums, won three Grammy’s, and been featured in a wide
variety of movie and television soundtracks, commercials, and video games. The
duo, consisting of vocalist/guitarist Dan Auerbach and drummer Patrick Carney
released their seventh album, El Camino, today.

Although El Camino’s sound is very similar to that of
previous Black Keys albums, the album nonetheless shows off the duo’s musical
and lyrical talents.

The Black Keys performed the album’s single, “Lonely Boy,”
and another track, “Gold on the Ceiling,” this past weekend on Saturday Night
Live.

Their performance of “Lonely Boy” was energetic, as the song
is full of hip-swinging guitar riffs and bass- and cymbal-heavy drums. Like
most other Black Keys songs “Lonely Boy” rocks the whole way through, from the
beginning guitar chords to the last beat of the bass drum. The catchy chorus
has Auerbach and background singers chanting, “Oh-woah-oh-oh/I got a love that
keeps me waiting/I’m a lonely boy.”

The fourth track on the album, “Little Black Submarines,” is
reminiscent of 1970s rock such as Eagles’ “Hotel California” in the beginning
of the song. When the first soft notes are played on the guitar and then joined
by Auerbach’s soulful voice, one hears the song fitting well in the background
of a movie in which a beat up Cadillac sails down a desert highway into sunset.
The song is slow, with just the guitar, vocals, a tambourine, and very little
bass drum. Until two minutes in, when the guitar becomes more vibrant, a bass
guitar joins in, and Carney starts in on his usual rhythmic beating of his drum
kit. “Little Black Submarines” is touching and a bit angsty, with lyrics
expressing a feeling of desperation.

Another great song on the album is “Nova Baby,” with bitter,
“just you wait and see,” style lyrics. The message is paired with incredibly
catchy and upbeat guitar, drums, bass, keyboards, and a little tambourine.
“Nova Baby” is very typical of The Black Keys’ style of music: songs that will
get audiences happily singing along to unhappy lyrics.

Other noteworthy tracks are “Dead and Gone” (turn the bass
up on that one), “Sister,” and the somewhat Doors-y “Stop Stop.”

The Black Keys’ sound hasn’t varied much over their ten-year
career, and unlike most artists that isn’t a setback for them. Their music is
unique enough to keep audiences intrigued; it’s blues you can dance to, rock
that tugs at your emotions.

It’s also nice to see that The Black Keys have held their
ground after the massive popularity of 2010’s Brothers. The familiarity
of El Camino is welcome in a world where artists get mainstream notice
and then their music begins to lose integrity. This album is piece of quality
music, and a testament to Auerbach’s and Carney’s immense talent.

Three and a half years after releasing his first album, Sick
Boi, Childish Gambino has released his first official album, Camp.
The alter ego of actor/writer/comedian Donald Glover, Gambino has been making
mixtapes, EPs, and full-length albums on his own and posting them for free on
the Internet since 2008.

Now, despite lyrics in several songs about “keeping [his]
shit free ‘til the last possible second,” Gambino has signed with indie label
Glassnote Records. Camp will be his first album available on iTunes, or
for legal purchase at all. And this album is definitely one worth buying.

Full to the brim with his signature clever rhymes that a
person of below-average intelligence wouldn’t understand, Camp is
expected to launch Gambino into hip-hop stardom.

The single, “Bonfire,” is perhaps a bit more energetic than
the rest of the album, punching you right in the ears in the beginning with
alarms and tribal-like chanting. Gambino’s raps are boastful and almost angry;
it’s as if he’s announcing himself to the world of hip-hop and insulting
anybody who didn’t already know of his presence. It’s certainly the best song
to introduce Gambino into mainstream music as it encompasses both his ability
to make beats that could blow speakers out and rap circles around anybody
currently on the radio.

“Outside,” the first track on the album, is one of the
slower and deeper songs. It starts off upbeat but slows down dramatically just
before the first chorus, in which an actual chorus sings. The song is a lot
like many of Gambino’s more recent songs where he raps/sings about personal
issues. “Outside” is about his experiences growing up and his older cousin, who
has been mentioned in other songs. He raps, “It feels weird that you’re the
person I took sink baths with/Street took you over/I want my cousin back.”
Tracks like this one show Gambino’s serious side, and make it apparent that he
really does use music as an outlet for emotions that he can’t express in his
comedy.

Most of the tracks on Camp are slow and emotional,
including “Letter Home,” “All the Shine,” and “Kids (Keep Up).” Faster, harder
songs are “Backpackers,” “You See Me,” and “Sunrise.”

Another thing that makes this album more personal is the
lack of featured artists. None of the tracks have any other artists listed, which
is very different from Gambino’s past albums. Although there are various female
singers in various songs, the lack of identification shows that Gambino intends
for this album to serve as an introduction.

As a whole Camp is a great lyrical introduction for
Gambino, but for one to know exactly what he’s capable of musically they would
have to listen to his underground work. Lyric-wise, he’s certainly come a long
way since Sick Boi, which he’s described as gimmicky. Camp
contrasts with his I Am Just a Rapper mixtapes musically; most of the
tracks on those are much more hard-hitting than any on this album.

While Camp is certainly a quality album, it rides the
middle ground of Gambino’s musical talents. Perhaps this is so that it’s more
acceptable into the mainstream, and if so then it worked; the album debuted at
#2 on iTunes. This may just be exactly what Gambino needed to get his foot in
the door before he unleashes the beats and use of indie songs in his tracks
that he’s become known for. If that’s the case, then Camp is the perfect
album to do just that.

Good evening and welcome inside Sun Devil Stadium as ASU takes on USC in its Pac-12 opener. ASU has not beat USC since 1999.

The student section is out in full force, but the rest of the stadium is somewhat empty.

USC wins the toss and elects to defer.

First Quarter

13:29- Cameron Marshall runs 70 yards for the touchdown and ASU takes an early 7-0 lead. Crowd going nuts. Marshall didn’t even start the game.

USC now with the football, which means all eyes will be on star receiver Robert Woods.

10:59- USC picks up one first down but nothing more. Trojans forced to punt it back to the Sun Devils. ASU will start from its own 2-yard line.

9:09- ASU is unable to do anything and is forced to punt. USC will take over from its own 47-yard line.

5:42- Interesting playcalling from USC. They had a 3rd and long from ASU’s 29-yard line but decide to run the ball. Trojans settle for a field goal and it’s now 7-3.

2:54- ASU will go for it on 4th-and-5 from the USC 37-yard line.

After the timeout, ASU decides to punt. USC will take over from its own 20-yard line.

0:08- Trojans go three-and-out, ASU takes over at midfield. Serious dust storm going on at Sun Devil Stadium. Debris flying everywhere.

0:00- End of the first quarter, ASU leads USC 7-3.

Second Quarter

13:49- ASU had the ball inside USC’s 5-yard line, but red-zone woes continue. Cameron Marshall fumbles and USC recovers. Looks like the play will be reviewed.

Play is reviewed and overturned. ASU ball at the USC 5-yard line.

12:43- Sun Devils capitalize on the second chance as Brock Osweiler connects with Gerell Robinson for a touchdown. ASU up 14-3 with 12:43 left in the half.

9:55- USC going for it on 4th-and-2 and Matt Barkley finds Robert Woods to convert. Trojan ball at the Sun Devil 41-yard line

7:09- Matt Barkley had Robert Woods wide open for a touchdown, but Deveron Carr deflects the ball at the last minute and the Trojans will be forced to settle for a field goal. ASU leads 14-6.

5:42- ASU goes three-and-out and USC gets a great return and has the ball at the ASU 13-yard line.

Vontaze Burfict intercepts a Matt Barkley pass and ASU is back in business at midfield.

2:07- Osweiler finds Jamal Miles on a swing pass for a touchdown ans ASU now leads 21-6. USC takes over at its own 25-yard line. Big series right here, as USC will have the ball to start the 2nd half.

1:28- Matt Barkley finds Robert Woods for a 57-yard completion, and USC has the ball inside ASU territory at the 14-yard line.

0:51-USC isn’t able to take advantage of the big play and settles for yet another field goal. ASU leads 21-9.

0:00- End of the first half, ASU leads USC 21-9.

Third Quarter

13:50- USC opens up the half with three straight passes and is now in Sun Devil territory, at the 39-yard line.

12:16- Barkley finds Marquise Lee for a 24-yard touchdown, and the Trojans are right back in the game. ASU leads 21-16. USC made that drive look very easy.

10:43- ASU is unable to do anything on offense and is forced to punt. Nervous time at Sun Devil Stadium.

7:28- USC is simply doing anything it pleases on offense so far. Trojans at the ASU 13-yard line looking to take the lead for the first time in the game.

6:41- Marc Tyler gives USC its first lead of the game as he runs it in for a 10-yard touchdown. Trojans making it look very easy so far in the half. USC does fail the 2-point conversion though, so it leads 22-21.

4:11- Brock Osweiler leads ASU back on a much needed scoring drive, as the Sun Devils now have a 28-22 lead. Big big score. ASU’s defense needs to prove it can stop USC.

3:17- ASU gets a huge break as Colin Parker forces a Marc Tyler fumble. USC was driving but now the Sun Devils have the ball at their own 25-yard line. Huge swing of momentum.

1:23- ASU can’t capitalize on the turnover and is forced to punt. USC takes over at its own 9-yard line.

0:00- After three quarters of play, ASU leads USC 28-22. Should be a fun finish.

Fourth Quarter

12:18- USC again moving the ball at will, now at the ASU 19-yard line.

10:21- USC fumbles again in the red-zone, and again ASU recovers. Sun Devil football at their own 18-yard line. Absolutely huge.

6:52- ASU with the ball at the USC 5-yard line. First and goal after the timeout.

6:48- Cameron Marshall runs it in from 5-yards out, and ASU has a 36-22 lead after the two-point conversion.

6:48 – Kickoff goes out of bounds; USC starts from their own 40.

6:37 – Shelly Lyons picks off Matt Barkley, returns the interception for a touchdown. Holding penalty on USC is declined. ASU now leads the game 43-22. That’s now 14 points in 11 seconds.

5:18 – USC has 4th and inches, gets a false start penalty. Now a 4th and 6.

4:58 – Barkley throws an incomplete pass, turns the ball over on downs. That’s now five turnovers for USC.

3:17 – ASU first down to the USC 17, clock continues to move.

0:29 – ASU milking the clock, but turns the ball over on downs at the USC 7. Will still come out victorious.

0:00 – ASU wins!! The Sun Devils come out on top, 43-22. Their first win over USC since 1999.

Key stats – Brock Osweiler: 25-32, 223 yards, 2 TDs, NO interceptions; Cameron Marshall: 25 carries, 141 yards; ASU had 6 penalties for 78 yards

ASU plays Oregon State next week at home as well. That game will be aired live on the Blaze 1330 AM and blazeradioonline.com. Time TBD.

Until then, have a great evening! ASU wins, 43-22!

The tournament will run from 11:30 AM- 1:30 PM on the stage in front of ASU’s Memorial Union!  We will be giving out merchandise and screening passes!

So if you want to assert your fighting robot dominance, get free stuff, and see the movie “Real Steal,” stay tuned for more information as the date gets closer!

“Real Steal” stars Hugh Jackman, Dakota Goyo, Evangeline Lilly, Anthony Mackie, Kevin Durand.