The Blue Stones should definitely be on your radar if they aren’t already. This review of their latest album, Metro, which dropped on March 28, might sway your opinion one way or the other.
I’m going to break down each track and give my score based on my own perspective. Just to be clear, I’m a big fan of The Blue Stones, but I’ve noticed they’ve taken a different path with this album compared to their earlier work. So, just as a note, some of my assessments might feel a bit harsher. Before diving into the tracks, I recommend checking out their previous albums, particularly Black Holes—my personal favorite—and Hidden Gems as a close second. If Metro doesn’t resonate with you, these are worth your time.
SIDE NOTE: I did not include: “Metro 47,” “You’re New,” “Mind The Gap,” “Transfer,” and “Sully Station,” as they are very short ad-libs that don’t stand alone as actual tracks, but serve as immersion when transitioning to the next track.
Track-by-Track Breakdown:
“Your Master”:
This track opens with raw drums and guitar, and I appreciate its stripped-down style. But the chorus—“I put the fear in your master” and “Taste the blood in your mouth when you mention my name”—feels a bit overkill. It sounds great in the moment, but if you focus on the lyrics, they don’t quite hit the mark. It’s like if Alex Turner from Arctic Monkeys tried to sing bad lyrics. Tarek Jafar (the lead singer) has a very strong vocal range, but the lyrics he sings are just not that great. The ending hook is solid, though, and those solos will definitely pop in a live setting. Instrumentally strong, but lyrically lacking.
Rating: 8/10
“Scared of the Dark”:
This track slows things down nicely after the opener. The sound reminds me of The Horrors’ “Sea Within a Sea” (particularly the drums), and the chorus maintains a beautiful melodic quality. The production blends vocals and guitar perfectly, capturing what The Blue Stones do best—merging soft and hard rock elements. However, the last minute feels like an abrupt shift into Metro’s newer vibe, which seems forced and disrupts the flow.
Rating: 8/10, mainly due to that ending.
“Come Apart”:
Another pre-released song. The chorus is infectious, and the vocals shine. But the lyrics start off with “I’m holding out for a day without a cringe attack,” which kind of falls flat for me. Using “cringe” just doesn’t sit right. Hot take, but “cringe” should never be used in a song. It could be a commentary on social media’s impact, but the phrasing makes it hard to take seriously. Still, the vocal range and instrumentals are impressive.
Rating: 6/10
“New Immigrant”:
This track doesn’t quite land. The background vocals are nice, and the guitar is decent, but the lyrics are again a letdown. The attempt at rap elements doesn’t really flow, and while there’s an okay guitar solo towards the end, it doesn’t redeem the song. The softer closing section ends up being the best part, because the lyrics aren’t as prominent.
Rating: 5/10
“Don’t Feel Right”:
Right from the start, this song has a punk rock vibe reminiscent of early 2000’s rock, almost like “Chop Suey!” by System of a Down. The guitar riff stands out, but I still struggle with the lyrics. The vocalist’s pauses between words create a unique sound, but it doesn’t always work. The last minute, where the chorus repeats, feels like the strongest moment.
Rating: 7/10
“Happy Cry”:
The intro hits with a guitar reminiscent of “Lazy Eye” by Silversun Pickups, but with a distinctly slower groove. The vocals here truly stand out, weaving a melodic thread through the otherwise gritty instrumental backdrop. I find it compelling how the vocals seem to hang over the guitar, creating a unique, almost intoxicating rhythm. Lyrically, this track is a standout—”Find out where I’ve been rooted and what I hope to change” strikes a chord. The latter half embraces their earlier sound more fully, reminiscent of “Grim,” as if they’re still using their usual elements while shifting to something new.
Rating: 8/10
“Jesse James”:
Now we’re talking—this track has quickly become my favorite on the album. The drums are nothing short of stellar, with a jazzy flair at times that pulls you in. The add in of trumpet and wind instruments in the background gives you an experimental vibe that feels fresh yet fitting. This is a notable departure from their usual sound, but it absolutely works. I have to say, the lyrics don’t irk me as much here; the instrumentals are just that captivating. If you’re looking for a track that embodies The Blue Stones’ evolution, look no further than this one.
Rating: 9/10
“Kill Box”:
This track serves as one of the pre-releases ahead of the album launch. It’s definitely stronger than some of the other pre-released tracks, though it still doesn’t quite reach the heights I’d hoped for. The incorporation of more rap elements within the structure gives it a unique spin. Interestingly, it evokes a resemblance to Royal Blood, another duo known for their dynamic blend of drums and bass/guitar. There’s a clear alt influence present too, particularly in the layered beats. Lyrically, it presents a thought-provoking commentary on societal pressures. Lines like “I’m dying on this hill” suggest a struggle with conforming to trends, especially with the mention of “they don’t care if you’re broken or different / They just got a quota to fill / They need some views on the toks and the reels.” It’s a critique of superficiality in modern culture. Still find the lyrics off though.
Rating: 7/10
“Lose My Name”:
This track flows seamlessly from the previous one, making for a cohesive listening experience. The chorus stands out with its darker alt vibe, highlighted by haunting vocals and impressive guitar work. There’s a noticeable infusion of electronic elements, which, surprisingly, complements the overall sound without overshadowing it. The lyrics—“It’d be amazing to live in my own head / So far from this place I’d escape the world behind me, never find me / Leave the city lights and just lose my own name”—carry a significant weight. I can’t help but wonder if this is a metaphor for the concept of Metro, symbolizing a mental landscape that one might need to navigate or even escape from to discover their true self… maybe.
Rating: 8/10
“Hazy”:
This one’s a love ballad, blending delicate piano with a hip-hop-inspired beat. “Just need a little more time with you” and “You got me feeling hazy” create an intimate vibe that’s hard to resist. I can see myself listening to this outside the context of the album—it has a quality that makes it stand alone beautifully.
Rating: 9/10
“Falling Leaves”:
What a stunning closer. The lyrics, “You’re a drop in the ocean / Don’t let it hold you down,” evolve into a collective perspective: “We’re a drop in the ocean / Don’t let it hold you down.” It’s a sentiment that brings out those happy tears in a musical form, beautifully wrapping up the album. This one might just be my top pick, alongside “Jesse James.”
Rating: 10/10
Final Thoughts:
Musically, Metro shines in many places, but the lyrics sometimes fall short. All in all, this album hints at exciting potential, though it feels like the band is still navigating this new territory. If you’re a fan of their earlier sound, prepare for a somewhat jarring shift in style. Nonetheless, I’m excited to see what they do next as they lead with this album release into their tour.
Overall Album Rating: 7.8/10
