Western New York native Rob Bilson is no stranger to the music scene. The 36 year old has been playing music and writing songs since his early teenage years. A theater major in college with a band progressively growing in popularity, it is hard to deny the musical ability of Bilson. Back in the late 90's and early 2000's, Bilson fronted Seven Day Faith, a popular band in Buffalo that dominated the charts. With a #1 album on the Billboard charts, a #1 hit single with his song "Everything", and 3 top 10 singles on the Top 40 Charts at WKSE: Kiss 98.5, Western New York's number one hit music station, and Z101, Toronto, Canada's Top 40 station, the band had made a name for themselves. Bilson and his band were featured in the ever so popular J-14 magazine not once, but seven times, despite being unsigned. If that is not enough to put on a resume, the acts he has opened for over the years might do the trick. Bilson and his previous groups have earned the opening spot for acts like Pat Benatar, Bret Michaels, Michele Branch, Switchfoot, Gavin DeGraw, Vanessa Carlton, and Nickelback (we will all try to forgive you for this one). After a three year break from music, Bilson is back as a song-writer and performer.

The first single off of seasoned musician, and former frontman, Rob Bilson's newest solo album is titled "I'm In Love and I'm Not Letting Go". Bilson went back to his rock roots, a new direction from his previous album Beautiful Tonight and country side-project Ransomville. Bilson boasts, as he should, about playing every instrument on this single, as well as the whle album. How very Hunter Hayes of him. This song flashbacks to the tail end of Seven Day Faith, erasing any traces of country experimentation that took up his hiatus from rock and roll. I can't say that I'm not at least a tiny bit excited about this homecoming of sorts. It is a much more natural sound and environment for Bilson.

The song is definitely the kind of ballad that a highschooler would put on repeat after their significant other of a month dumped them tragically for someone that is no doubt more attractive, skinnier, funnier, and more intelligent. All jokes aside, the song is relatable at all ages. Even if you don't have a significant other, it could easily be sung along to about cupcakes, pizza, or Starbucks (AKA all you need in life). The song is sweet and catchy without relying too heavily on gross Nicholas Sparks-esque cliches or a horrendous dance track. The light rock backing music is refreshing and pure, lacking any artificial sounding synths or generic beats. The song would, without a doubt, translate flawlessly to a live performance, a true testament to a great artist.

No worries if you have not heard of this Western New Yorker yet. I am sure you will very soon! In the meantime, you can find his social media links below as well as the link to this song. Expect to hear more from Bilson soon.

I give this review 3.5 out of 5 stars and definitely recommend checking out his past work listed on his website.

*For fans of: Bon Jovi, OAR, and Train*

FACEBOOK // TWITTER // WEBSITE // ITUNES // YOUTUBE // TUMBLR

Seasoned musicians Zach Porter, Cameron Quiseng, Michael Martinez, and Brent Schnieders have come together, or rather stayed together, to ditch the pop-music scene and hop on over to the indie-rock realm. Their self-titled debut album was self-funded, recruiting producer Jason Lehning (see: musical genius). The combination of the talented quartet and Lehning created a refreshing album, the kind of debut that I, along with many others, I'm sure, like to see.

The lead single "Tears" was released before the rest of the album hit the internet. It is the kind of song that makes you want to drive with all of your windows down with nowhere to go. It is catchy on the surface, but when it comes down to the lyrics, I bow down to Porter. "We got scars reminding us that we got hearts that bleed" and "We got tears so we can weep" are two lines from the chorus that I can see hipsters tattooing all over themselves in the coming years. And that is a compliment.

"Crazy" is a song I constantly find myself singing. Perhaps it is the rawness in Porter's voice, or maybe it is because I enjoy singing "'Cause you're crazy, fucking crazy" to people while playing it off like it is a song. And if this album was not appealing to you already, the track "Fever" fulfills anyone's thirst for an acoustic (mostly) song that can make your heart swell to sizes you never thought possible.

The album is 10 tracks gets right to the point. There was no messing around with the song lengths and improvisational nonsense just because they were free of the "cookie cutter chains" and could, in theory, do whatever they pleased with their sound. The eponymous debut was a graceful and successful transition between projects for the quartet. "Main Girl" and "Alive" are great tracks for former fans of the group, but the album in its entirety is perfect for anyone looking for a new band to keep their eye on.

They prefer not to associate themselves with their previous band, and while I respect that, I have to bring it up in order to truly express how great this transition was. Allstar Weekend was a great band with catchy tunes. The further they progressed musically in that band, the closer to the end it seemed. They were not a band who sang fluff about dancing forever or getting bit by the lovebug. Once you listen to The Tragic Thrills, you realize who they were meant to be all along. It is easy to understand and accept this new project when you listen to this debut album and see how Porter seems to effortlessly weave stories together with his beautiful words.

I give this debut album 4 out of 5 stars and a Most Improved Player award to Zach Porter for being able to prove himself as a brilliant songwriter in this new environment.

*For fans of: Imagine Dragons, The Lumineers, Twin Forks, and Dashboard Confessional*

A social stigma surrounds boybands and I am here to both solidify it as well as try to smash it into pieces. That made no sense, but nothing has made sense since this album leaked last week. I mean...since my pre-ordered copy was available to download at midnight *wink*. Their third studio album, Midnight Memories, is nothing like its predecessors Up All Night and Take Me Home. In a text to my mother the morning after downloading said album I said that it "was a simultaneous combination of Mumford & Sons, 80's rock, and Jesus." Perhaps a little blasphemous, but that is how strongly I feel about this album. It only feels right to go through song by song and describe how I feel about each. Because that is what people really care about, how an 18 year old feels about One Direction.

"Best Song Ever" feels like it was an album late, yet the whole "Baba O'Riley" soundalike intro makes me think otherwise. I love this song more than I love my cats. No joke.

"Story Of My Life" made a mess of my life. Be still my beating heart. Can we talk about the music video for a second? If you did not shed a tear, you are a robot, no doubt.

"Diana" makes you want to change your name. I have been getting ready to this song in the morning and I burn my hand on my curling iron every day because I cannot keep myself from moving.

"Midnight Memories" is like Def Leppard ("Pour Some Sugar On Me") meets The Troggs ("Wild Thing"). The title of this song (and album) sounds like something I should be having in college but am too lazy to put effort into. Meh, whatever. I would much rather sit in my room on a Friday night listening to this album.

All I can say about "You and I" is that Zayn's high note took me to a whole new level.

I immediately cried and called my mom upon listening to "Don't Forget Where You Belong". Bless you, McFly, for writing this wonderful nugget, and Niall for helping.

"Strong" is ALWAYS stuck in my head. The chorus is infectious, INFECTIOUS I tell you!

"Happily" is like holy Mumford & Sons. This is definitely a new sound for the One Direction boys, but it is definitely something I would not mind seeing more of in the future.

"Right Now" is a track they worked on with Ryan Tedder, which I did not have to read about to know because he has a signature (kind of boring, sorry) melancholic tone to his songs. Not my favorite on the album, but it is a nice break from the upbeat songs.

"Little Black Dress"? More like HELLO 1980's. This song makes me want to put on red lipstick, an all black ensemble, and go out and do some naughty things (preferably with the single boys of 1D). I want you to see the way I would move for you, Harry Styles.

I can imagine the recording process of "Through the Dark". Harry Styles leaning back in his ripped jeans with his brown boots thinking that he finally was in an indie band like he had always wanted to be.

"Something Great" more like Something-mycreyz-Great. Is it too much to ask for something great? is a question I ask myself daily. Thank you for giving me a song to sing along to.

"Little White Lies" made my ovaries explode. This song has the most plays (excluding SOML and BSE) from the album on my iTunes right now and for a good reason. This song is definitely the most pop-driven, perhaps even more than "Best Song Ever", but I could definitely see someone (not myself, because I do not go out ever) getting down to this in a club. The song is sexy and catchy. It is the "Rock Me" of Midnight Memories.

Everything was Niall's solo about a girl's hips not lying and nothing hurt. Thank you, "Better Than Words" for making that adorable Irish lad ten times more attractive.

"Why Don't We Go There"...I don't know, why don't we? I call shotgun.

"Does He Know?" is the 2013 version of Rick Springfield's iconic "Jessie's Girl". This further supports my description of the album and for that, I salute this song.

"Alive" is how I feel about college except not really. I would really love for Niall to take me up to the balcony though. And to his bedroom. And to the altar. I do not know if it was intentional or not, but they seem to take a stab at calling out slut-shaming by saying that if it makes you feel alive, it should not matter what people will think. I can respect that.

"Half a Heart" is neither a hit nor a miss for me. At this point in the album, I am usually just waiting for it to repeat again so I can listen to "Little White Lies".

I feel like a lot of growing up occurred between Take Me Home and Midnight Memories, which helped produce this interesting record. You could make the argument that it makes no sense and that there is no clear sound. I would not disagree with you, but to me that is what makes this album so great. You get to see who these boys really are. They are young men who come from from different places and have different sounds. They are pop, 80's rock, folk, indie, whatever they want to be. They were not confined to a cookie cutter sound with sweet harmonies and solos done solely by Harry, Liam and Zayn. I am going to give Louis Tomlinson the spotlight he deserves right here. On the deluxe of Midnight Memories, Louis has an impressive 12 songwriting credits. TWELVE. Liam closely follows with 9, but Louis remains victorious. Not enough has been said about Louis' involvement with the album, so I figured I would put that little tidbit of information out there.

This album gets 4 out of 5 stars from me. If you are not a One Direction fan, give "Strong" or "Little Black Dress" a listen.

*For fans of: The Vamps, One Republic, Parachute, and Phillip Phillips*

Cheshire alternative rockers The 1975 released their debut album, conveniently titled The 1975, back in early September. The edgy quartet has supported Muse, The Rolling Stones, and Bastille, as well as touring the states with The Neighbourhood, the audibly darker equivalent to The 1975. Their extensive touring to build hype around themselves sure paid off. The electronic indie/pop-rock combination impressively charted number 1 on the UK album charts and made it to the 28th spot in the US (but number 1 in my heart).

On the surface, the album sounds like an upbeat electronic piece that makes it impossible not to bob your head or tap your foot along with the beat. The songs are melodic and mildly hypnotic in the best sense. Until you delve into the lyrics, you do not notice to dark tone that the album takes. It is quite sneaky, a great way to trick listeners into dancing around to songs about sex, drugs, and everything that makes up rock and roll.

The lead single, "Sex", tells the tale of a sexual relationship between a boy and a girl who is using him for her own, ahem, pleasure. The next single released was the infectious "Chocolate", a song that sadly has almost nothing to do with the delectable sweet, but instead a crime committing couple who may or may not be doing drugs. I do not know the details, therefore I will take it as is and dance around my room like the teenage girl I haven't been for years. Other standouts on the eponymous album, besides ALL OF THEM, include "Girls", "Robbers", and "Heart Out".

Matt Healy's vernacular is one of a kind, a love it or hate it situation. I think it it makes the songs that much more interesting. His voice is fresh, especially accompanied by the electronic pop twist on the indie and alternative scene. Overall, I have no issues with giving this album 4.5 stars out of 5. If this was only their debut, I cannot wait to see what they do in the future with their sound.

*For fans of Bastille, The Big Pink, Walk the Moon, The Little Comets, and Smallpools*