EP: Spiritbox - Rotoscope [2022]

Having new Spiritbox so soon after their debut album has been such a nice surprise for this year's musical journey. Eternal Blue was such a monumental release for both the band and the genre, leaving many satisfied and wanting more. Other than the collaboration with ILLENIUM, Shivering, which by the way was a banger of a track, the Rotoscope EP is here to deliver on that desire.

Spiritbox has a strong sound and they do it well, but they have always humbly boasted their genre-fluidity, especially with Eternal Blue. On this EP, they decided to go wilder with it than ever before, blending in elements of other genres and styles. They've leaned onto different song structures and covered a lot of creative ground in under 11 minutes.

Rotoscope is the "title track" of sorts, accompanied with a visually gorgeous music video and a rhythmic sound to match. It's groovy and edgy, the guitars are as low as ever, and the vocals are a perfect fit for the vibe. The chorus gets you off your feet and moving, swaying to the synths and hooked on the echoey vocals. Distinctly reminiscent of industrial but with a modern metalcore touch, they're juxtaposing synths and ambiences alongside low guitars and breakdowns. They opted to scream less on this EP but I love how much it complements the heavy surreal sound.

Sew Me Up is a very easy song to get lost in, it has a very dreamy quality to it, which is hard to achieve in a genre like metal. To a small extent, I would even compare it to shoegaze and bands like Loathe when it comes to the dreaminess and the production choices that lead to it. What it lacks in a main moment (like a breakdown), it makes up for with a beautiful and slightly haunting overall experience.

Hysteria is the track everybody's loving for the ending breakdown, and yes, I love breakdowns too, but I want to appreciate the rest of the song too. It picks up where Sew Me Up left off with the sound and vibe, so well that I sometimes miss the transition point. Where it differs is the melody choices, vocal style and electronic soundscapes, things that are too subtle for me to lay out but collectively alter the vibe noticeably. Heavy breakdowns are great too, but I love how refreshing this one is in particular, as the guitar actually takes quite a backseat with barebone riffage and letting the vocals lead almost undisputedly, only supporting with some well timed dropouts on an otherwise basic rhythm.

It's awesome to see the band not afraid to try things, and even better to know that they're having fun with it. I always feel that a mark of great musicianship lies in how creatively competent they are across genres and styles, beyond subverting convention and breaking formulas. It's not about standing out, it's about doing it well, and they definitely did with this EP. Although I'd always love a full album over an EP, I liked this tasting platter of a different sound from them, and I'm excited to see how they go from here, whatever they decide to do.

Rating: 9/10

Tracklist:

1. Rotoscope

2. Sew Me Up

3. Hysteria

Lyric Of The Week 17: Bishops Knife Trick

"The glow of the cities below lead us back to the places that we never should have left."

Fall Out Boy - Bishops Knife Trick, from the album MANIA

Song: Dance Gavin Dance - Nothing Shameful (ft. Andrew Wells) [Afterburner, 2020]

Nothing Shameful is one of my all-time favourites of Dance Gavin Dance, and my top track of Afterburner. It's one of the most intense, euphoric tracks on the record with a blissful feature to boot. The song structure and melodic design is impeccable and the vocal dynamic is top tier. There is literally nothing not to love about this song and personally I think it's the peak of this new era of Dance Gavin Dance.

It throws you straight away into the chorus, which I have to say is unbelievably catchy. The pre-chorus features a satisfying instrument-vocal sync rhythm that is tastefully call-and-responded by ecstatic swancore licks. The chorus is one of the best lines Dance Gavin Dance has ever written, both in lyrical prowess and melodic design. I cannot begin to explain how much love I have for that one singular line.

Even for a song as sappy and emotional as this, Jon never fails to be himself, even if he does switch his tone a bit to match the seriousness. Whether his seemingly nonsensical lyrics have hidden layers in this song, I have yet to tell, but I can never discount the amount of joy his screams bring to the table.

Andrew's inclusion is a blessing and a highlight of this song. He brings in such an emotional tone to the song that I honestly don't think Tilian or Jon could do, a bittersweet tone with a slight grit to paint the angst. I love that the instruments give way for his vocals to enter the scene, and subsequently amp up to strengthen his vocals when he amps up the intensity of his singing. I also adore the atmospheric vocals that Tilian does while Andrew sings, it's nothing new from him but it always does the job perfectly of adding so much character and sentiment to the music.

The outro is a perfect blend of the best of Dance Gavin Dance, with Tilian reprising the magnificent chorus, Jon chipping in with a great scream verse and then their final duo scream-sing outro of the main lyric. It feels grand, it oozes finality and it is just wonderful to the ears.

The whole damn thing feels thought out and well designed, like a confession in motion. Andrew's emotional tonality mixed with the perfect chaos of Dance Gavin Dance has always brought about wonderful music, and this is yet another masterpiece. It's also rare to see this band touch on more on the ground, human topics like love and loss, heartbreak and heartache like this, and especially in such a pensive, deliberate and earnest timbre. As much as I love their ability to be playful and lighthearted in many of their songs, I always do find myself falling hopelessly in love with the more sentimental and emotional ones, and this song has a place in my heart.

Rating: 5/5

Album: Destroy Rebuild Until God Shows - Destroy Rebuild [2022]

I stumbled upon Destroy Rebuild Until God Shows on YouTube, when their first single dropped. After a bit of digging, I found out that they were an old band making a comeback, and they seemed interesting enough to warrant my attention. In honesty, their name was the most interesting thing that made me decide to lookout for the album, and the lead single didn't catch my eye at first.

If it isn't apparent, I don't know any of their older stuff from back in 2010-2012, so don't expect a comparison, but as a standalone record, it is pretty well made and loveable experience. I didn't expect to fall in love so much with this record, but it grew on me really quickly.

Craig's vocals are really quite unique. The first vocalist it reminded me of was Tilian, with the high range that he goes to pretty frequently, but his comfortable middle range and soul-esque sound sets him apart very distinctly, and I've found myself enjoying his vocal style with little getting used to. It's also a strongly emotive and powerful voice at times, and I admire how he uses it effectively in some of the songs on this record.

The record doesn't have a strong concept, but the soundscape has a very strong identity to it. The instruments don't sound vastly different from song to song even as they explore different styles and moods. Their dark-toned post-hardcore flavour features a lot of anthemic elements and electronic influences, but raw-edged enough to feel violently bold. As a pseudo-self-titled record, I think this collection of tracks does embody "Destroy Rebuild" very well.

The vocal melodies in this album shines the most. I think Craig is a great lyricist and vocalist, able to design addicting hooks and euphoric melodies full of fervent emotion. Many of the tracks see him enter this extremely high, slightly gritty and slightly over-produced vocal territory that perfectly evokes this monumental tone of sentimentality, like the chorus of The Longest Road or the outro of The Arm.

The guitars and drums don't disappoint either, even if they don't take the spotlight much. The intro riff of The Arm is absolutely exhilarating and the breakdown on DESTINY is violent. Throughout the record, all the elements blend together seamlessly, fusing into an amalgam of youthful bliss and emotional turmoil. With a second rendition of the supergroup at play, I think D.R.U.G.S. did a wonderful job lending the best of each member into their sound. I also do love the journey the tracklist takes you through, with the songs in order feeling like the soundtrack to a heartbreak.

All in all, despite not knowing the history behind the name, Destroy Rebuild has been a surprisingly awesome musical find of 2022, and one that I'll enjoy for a while. Their sound manages to be unique even though they're treading common waters, and it definitely stands out to me as a well-crafted piece of musical art.

Rating: 9/10

Tracklist:

1. DESTINY

2. Satellites In Motion

3. GOLD

4. Brighter Side

5. Outcasts VS Everyone (ft. Brennan Savage)

6. Supercalifragilisticexistentialcrisis

7. The Longest Road

8. (Are we not drawn onward to) NEW ERA

9. What's the Code for Heaven's Gate?

10. Gravity (My Ever Ghost)

11. Waiting On You

12. The Arm

Song: Dance Gavin Dance - Man Of The Year [Mothership, 2016]

Man Of The Year is one of my top favourites of all time. Although I could never bring myself to ever make a ranking list of my favourites of all time (because it would be too heartbreaking to have to choose between songs), I can confidently say it would be top 5 in this hypothetical list. It's so chaotic in all the best ways and its emotion is unparalleled. It feels unreal, as if Dance Gavin Dance had to transcend this plane of existence to write this. I never know how to accurately write about the songs that makes me feel things but the best part about being a poet is that I don't have to make sense when I write about things, and this is one of those times.

If I had to pick one thing about the song that I love the most, it's how monumental it feels. The emotion evokes throughout its five and a half minute runtime is cinematic, as if it were a movie. A riveting storyline full of highs and lows, striking moments mixed with tasteful suspense, a bleeding ultimatum and a bittersweet tone. The way they wrote this song with such intentful sentiment can be felt through the performance. It's an amazing thing to experience, and it was one of the most blissful revelations when I first let this song sink into my bones.

The introduction rolls in like a soft fog, painting the picture of two people and a strained connection. The guitar riff trades complexity for atmosphere and the drums forgo intensity for pacing, as Tilian's angelic vocals set the scene. It's a beautifully simple soundscape to get familiar with, before they rain fire.

Like a switch flip, the entire dynamic changes, falling face first into furious screams and violent drumming, blast beats and swift riffage. Jon's usual pseudo-nonsensical lyricism seems to take on a new form, where serious sentiment seems to have replaced the lighthearted comedy, not losing any insanity. Tilian starts to near the border of screams as his vocals find grit in the fury, and the soundscape starts to rage.

The pre-chorus finds themselves in their best vocal dynamic, a back and forth sing-to-scream dance. They effortlessly overlap their lines without stepping on each others toes, and complement each other like poison and fire. The instruments bend to their will, to fit the needs of the sound as they go.

They bring the intro back for the chorus, but with such a vicious bite to it. Tilian's range starts to reach heaven with a little bit more screaming, before Jon takes over with the hellish screams he has. The dissonance starts to flow in as the instruments take center stage for a bit, boasting a jarring rhythm and an oddly stylish melody.

The song enters the calm before the storm, with Tilian laying out a confession and the instruments rearing up for the finale. The guitars start to drench themselves in a regretful reverie as we get ready to meet the end, and the drums take the more scenic route with the marching-esque beat.

The grand finale of the song, where the sky starts to fall and the last alive stands in the midst of the fire, transcends the soundscape in the most surreal way possible. The few final screams seal the fate before both Tilian and Jon blend into the instrumental and the guitar carries the final flag to the finish line. Only at the end does the line "fade into the grave" close the book with a certainty.

I can't very well put into words why this song evokes so much emotion. This is where music and sentiment collide and not much of language even comes near to describing it. There's plenty of excellent musicianship in this song, no doubt, but coupled with a more than equal amount of passion and feeling, it's as perfect as it gets.

I won't be surprised if not a lot of people share my opinion on this, and I don't mind. It's a niche heaven, this song that I love. In the year I found this gem, I played it 278 times (thanks spotify wrapped), if you need any more proof how much I love this song. The ultimate track of Mothership, in both meanings, is an absolute, undeniable yes from me.

Rating: 5/5

Lyric Of The Week 16: Man Of The Year

"Fade, Writhe, Crash, Peel."

Dance Gavin Dance - Man Of The Year, from the album Mothership

EP: EDEN - i think you think too much of me [2016]

Wake Up was the song that introduced me to the wonders of EDEN, and till this day it is one of my favourite songs from him, but i think you think too much of me felt like the record that defined what I love about him. This seven-track two-side EP covered all bases in perfect degree, soaked in musical mastery and drenched in heartfelt sentiment. I just about love every song on this record for all their own reasons, and when it comes to the math, five out of seven songs that get my I-love-this rank is one of the best percentages of any record.

It's a deceiving tracklist, one that at first feels like either a casual compilation of good songs or a gimmicky song title concept presentation, but after deeper insight reveals a well-threaded theme in between the lines. Regardless of intent, the amount of musical gold buried in this half-hour EP is bountiful.

Disc 1 presents four original songs that spell out the popular phrase, "sex, drugs and rock and roll". All four songs have very different styles and it's clear EDEN wanted to branch out his sound to reach the corners of the genre. sex leans towards generic pop whilst retaining the electronic tinge signature to him, drugs takes on a more synth-heavy tone paired with cynical undertones. and strips his emotions down to the simple core with a stripped down instrumental, and rock + roll sees him contemplating and reflecting his career and life on top of a more authentic guitar/drum sound.

Disc 1 feels very much like an in-the-moment look into his soul, a very present declaration of emotions. What becomes of him with the love and loss weaved throughout the 4 tracks is laid out simple and clear yet so cleverly and impactfully. It has that rare characteristic of music that seems to resonate past just the airwaves but into sentiments and feelings of listeners, reverberating through the bones and into the heart.

Disc 2 presents three old songs of his in a new, refreshing light. Now, I confess I've never heard the original, but at this point I don't really want to, seeing how gorgeous these renditions are. gnash's guest spot on Fumes really sealed the deal on the hopeless bliss of the song, XO presented in such a barebones style peppered with some electronics emphasises so much on the raw, ire indifference of the declaration, and Circles just has my whole entire heart.

Disc 2 feels very retrospective, both in the way he redefined and refined the musical sounds, and in the way the memory feels distant but the sentiment feels refreshed. It has the touch of a man who's thought a lot about the things he's gone through, and the decisions he makes about how he wants to view life and what he has and doesn't have. These three tracks have a lot of personal sentiment attached to it, with how strongly the music relates to me, but even without that, they're all very emotional experiences.

i think you think too much of me is a story of love, loss and hope, through the eyes of a soul with everything and nothing. This record gave me a lot of strength to tide through rough times and left a mark on my life, both in music and in sentiment. I regard this EP very highly, and I think I will for a very, very long time.

Rating: 10/10

Tracklist:

Disc 1:

1. sex

2. drugs

3. and

4. rock + roll

Disc 2:

5. Fumes (ft. gnash)

6. XO

7. Circles

Song: Motionless In White - Slaughterhouse (ft. Bryan Garris of Knocked Loose) [Scoring The End Of The World, 2022]

Making a song heavy isn't just about how low the notes are, how much distortion there is or how intense the barrage is. There's a different, more pristine kind of heavy that's much harder to achieve, distinct in how they invent creative moments, smart use of space and contrast, alongside powerful sound design and memorable writing. Slaughterhouse is the first song in a long while to be refreshingly heavy, and oh boy do I want to talk about it. 

After falling in love with Knocked Loose and their latest EP A Tear In The Fabric Of Life, and already being in love with Motionless In White since Disguise and Timebomb, this collaboration already had so much potential for being one of my favourites of all time. I couldn't help but get even more excited seeing the band tease Chris' breakdown callout on Instagram before the single release, and as much as I try not to, my hopes were way high. Spoiler alert, they absolutely delivered.

Literally the moment you enter the soundscape, you're greeted with Bryan's iconic screams aimed straight at your face, with the chunkage trailing right behind it. The guitarwork immediately reeks of hardcore and specifically the Knocked Loose brand of hardcore, with only bits of Motionless In White left in the riffage. The dissonance and anger I love from Knocked Loose sounds even better in this electronic variety.

The screams are raw as hell, possibly some of the most brutal in their entire discography. Not to mention, the vocal dynamic between Chris and Bryan is a breath of fresh air for heavy. The verses are ruthless and the pre-chorus feels truly vicious, especially the second time around. Bryan's verse going straight into a fiendish "Uegh" is a moment to remember.

The breakdown slaps, period. The callout is even nastier than the warmup tease on Instagram, and the zero barrage is chunky as hell. The lyrics relentlessly serve pounds of anger and your neck is in danger from the headbanging.

I absolutely lost my mind at "eye for an eye". It's such a primal, guttural scream and it couldn't have been emphasised more by the instrumental dropout for that very moment. I couldn't believe anyone could make that kind of scream, and the truth is I still have no idea who screams that line. It sounded like Chris, but the lyric video says it's Bryan. Yet, the Genius annotation for this line references an Instagram comment from Chris saying that the producer screamed that line. Regardless, it's a highlight of the song, perfectly designed for maximum impact.

The final breakdown is complete Knocked Loose territory. Bryan leads us into the warzone with one of the most well executed buildups I've heard in a while, with dissonant feedback to boot. The breakdown riff feels like it came straight out of a Knocked Loose song, and the mosh pit in my mind is absolutely on fire. Then they had to go a step further and do the classic lower-and-slower second round. Chris drops more guttural screams to pair nicely with the absolute sludge of hellfire the final 22 seconds are (excluding the revolting sound effect at the end).

This song has so much intensity to it but the thing I love the most is how well it captures our attention and design moments to captivate the listener throughout the song. It's a heavy banger for sure, but the stank face doesn't come from pure shock value, rather from well-placed moments and intelligent creative choices. Not to mention, there couldn't have been a more perfect choice of guest vocalist than Bryan Garris, his signature vocal style not only stands out but has such a raw edge of harshness few can match. No doubt the most unique song off of Scoring The End Of The World.

This is the perfect outcome of world's colliding. One of the best of metalcore weaving minds with one of the forefront of hardcore, flipping all the switches correctly to produce one of the most earthshaking release of the year. While I don't promote violence, it does make you feel like breaking shit a little bit, and if you have any pent up anger from the state of the world, (and most of you should), this song definitely resonates with the listeners. That aside, this song is a giant win for the metalcore scene, the hardcore scene, and more importantly, me. This song will be on repeat for a while and I will be a happy man.

Rating: 5/5

Lyric Of The Week 15: The Sun Sleeps

"How do you sleep at night, with a war inside you? How does it feel to die, knowing I've forgotten you?"

Invent Animate - The Sun Sleeps, from the EP The Sun Sleeps, As If It Never Was

Album: Motionless In White - Scoring The End Of The World [2022]

Motionless In White only ever seems to get better with time, aging like fine wine. A beverage that packs a strong punch yet tastes graceful, this band is no average alcohol. Scoring The End Of The World is their latest furious record, three years after the wonderful violet violent Disguise, boasting an even bolder electronic metalcore sound, peppered with brilliant guest spots and a ruthless tracklist.

Their most modern iteration of electronic-industrial metalcore was served on a tasting platter with the three singles released. Cyberhex was the first and gave us a taste of their new cyberpunk-metal sound. Masterpiece and Slaughterhouse showed us the ends of their range, from heartwrenchingly emotional to brutally heavy. In fact, Slaughterhouse is so perfectly heavy, I'd love to talk about it but I'll opt for writing a dedicated post about it.

The full record release was a blissful experience, no doubt. Motionless In White absolutely amped up the quality of their sound design this record, thickening the electronic gravy and seasoning. The overall sound just feels even more refined than the last, even more unique to them than it already is.

I love that more of the band is contributing vocals now. Even though I worship every face of Chris' vocal prowess, the addition of the other members' vocals adds so much to the dynamic of the sound. A good example would be the outro section of the title track, with Ricky's more optimistic vocals really putting the finishing touches on that song as a whole. I also love that they're diving even deeper into electronics, such as the synth-heavy track Werewolf, the electro-infused bangers Meltdown and Cyberhex or just the general inclusion of electronic maestros as guest spots, Mick Gordon and Lindsay Schoolcraft.

The duality of this record impresses me the most. Heavy gets heavier with this album, with tracks like Slaughterhouse, B.F.B.T.G.: Corpse Nation and Red, White & Boom, with a barrage of screamage guaranteed to satisfy any metalhead. Yet, cleans and anthemic elements shine even brighter, taking the spotlight on majority of the tracklist. It's an awesome sign when bands can achieve a diversity like this, as it means they do what they want, what they love doing. Knowing that Motionless In White won't ever give in to the people who only want heavy breakdowns, or to the people who only want pop-like catchy choruses, I can rest easy and listen blissfully.

It's definitely a record worth putting on repeat, and for me, one that trumps Disguise (although Disguise is still a really good album). Everything about this record is so well done, it's hard not to love. A 2022 favourite for sure.

Rating: 9/10

Tracklist:

1. Meltdown

2. Sign Of Life

3. Werewolf

4. Porcelain

5. Slaughterhouse (feat. Bryan Garris of Knocked Loose)

6. Masterpiece

7. Cause Of Death

8. Burned At Both Ends II

9. B.F.B.T.G.: Corpse Nation

10. Cyberhex (feat. Lindsay Schoolcraft)

11. Red, White & Boom (feat. Caleb Shomo of Beartooth)

12. Scoring The End Of The World (feat. Mick Gordon)

Song: EDEN - love; not wrong (brave) [vertigo, 2018]

This was my second most listened song of 2020, only losing the musical crown to another EDEN song, Circles. It was, and still is, one of the most uplifting and hopeful songs I've ever heard, one that isn't just blind positivity and that helped me through some of the worst times in my life. It has that edge of blissful cynicism I've come to love from EDEN, but in a style largely distinct from most of his other songs on vertigo.

I love the crowd cheer samples in the song, I adore the idea of having your fans shout something at a concert and to use it in a song, and he incorporated it really well in the chorus of this song. There's nothing quite as intimately human as a chorus of raw vocals.

The way he structures the song is so emotionally charged, it feels like a genuine piece of art. A soft introduction, a heartfelt chorus, a passionately powerful verse, a calm bridge, and a beautifully sharp ending, as if it were the whole journey of revelation squeezed into three minutes and thirty-seven seconds.

The lyrical content and message of the track speaks out to me the most, it was what gave me the hope and strength to get through life after all. Lines like "becoming more than I think of me", "silver linings are all I need" and the signature lyric "all we ever are is brave", they all touch a corner of my soul I never really knew how to explain before. Lending from the concept of nihilism but painting it with the essence of hope, the kind you find at the bottom of the well.

A lot that I love about this song, I can't put into words. It's strongly emotive, it's very personal and intimate. It's a soft anthem, it's rugged comfort in a bottle. It was there at the crossroads to clear the fog and now it sits in my heart like treasure from another lifetime. The best songs get painted in a poetic light.

Rating: 5/5

Lyric Of The Week 14: Choker

 "Choking on the circumstance, only smoking secondhand."

Twenty One Pilots - Choker, from the album Scaled And Icy

Album: Bring Me The Horizon - Sempiternal [2013]

Ah, the beautiful record that is Sempiternal. Many consider it their best album in their career, some think of it as the last good album, but regardless what you think, it is a masterpiece as it stands. As an ever evolving band reputed for being so ahead of the curve people hated them for it, Sempiternal saw Bring Me The Horizon finally bringing the "we'll do whatever we want" throttle to full.

We definitely have to talk about Can You Feel My Heart. It opens up the record and in a violently daring way, choosing to have the most pop-esque track to be the first impression. Now their most popular song, it took people by surprise at the time for how electronic oriented it was, but it's become one of their most iconic tracks and has more or less defined part of their sound.

Not to say they don't have any heavy bangers, The House of Wolves, Empire (Let Them Sing) and Antivist retains that barrage of rageful temper that has become more refined since the Suicide Season days. Even then, I admire how they can weave melodic vocal elements into some of these tracks to add some much needed texture, without compromising on the heaviness.

When it comes to the highlights, Shadow Moses and Sleepwalking have to be my picks. I personally love these two songs to death, even if Can You Feel My Heart shadows them both by popularity. Sleepwalking has to be one of the most evocative metalcore songs, for how genuinely it presents itself as the creative representation of depression, alongside so many other mental illnesses. It feels real, it feels authentic, it feels personal, it's relatable. Shadow Moses is the other side of the coin, embodying the outward anger, the rage at the world, a sentiment that only becomes more relevant with time.

As an overall record, their bold infusion of orchestral elements, electronic elements as well as a softer sound in general is one of my favourite things about this record. Choosing to make a meaningful record that delivers a message rather than please a certain demographic's desire for heaviness, never riding the tides but making their own, that has become one of their mantras. Even in this record's expanded edition alone, we already get a taste of how willing they are to diversify, with Deathbeds being a haunting love ballad and Join The Club being a more punk-ish anthem.

Albeit softer (as if that would be a bad thing), Bring Me The Horizon chose to trade in the heaviness of their earlier albums in exchange for a colossal influx of uniqueness and dynamicism that gives the entire tracklist so much diversity and flavour. Being arguably the most pivotal record in their career, they've only skyrocketed even higher ever since, but this piece of their history is no doubt one to admire and appreciate.

Rating: 9/10

Tracklist:

1. Can You Feel My Heart

2. The House of Wolves

3. Empire (Let Them Sing)

4. Sleepwalking

5. Go to Hell, for Heaven's Sake

6. Shadow Moses

7. And the Snakes Start to Sing

8. Seen It All Before

9. Antivist

10. Crooked Young

11. Hospital for Souls

Expanded Edition:

12. Join the Club

13. Deathbeds

Song: Falling In Reverse - Popular Monster [2019]

Falling In Reverse has long been an iconic band in the scene, especially with their frontman Ronnie Radke being a generally badass human with an intriguing background. The other iconic thing about them that's more relevant is how they've always been one to genre-blend and do it well, regardless of what the critics want. Their style of electronic rap metal has been slowly taking shape over the years, and for me, Popular Monster is where they first struck gold with the recipe.

The track immediately gives off a dark and sinister tone from the get-go, with the aid of sharp synths and a menacing melody. In the short amount of time the first verse, they quickly and efficiently ramp up the intensity to smoothly get to the energetic and powerful metalcore chorus. The rap flow is unique, not quite the rap you hear from the pop side but not quite metal either, and the lyricism isn't insane but it is absolutely fitting.

The chorus is one of the hookiest lines on planet earth. There is not a lot of songs out there that can match the contagiousness of this earworm of a chorus, especially not with those vocals. Like Lucifer himself, an angel turned devil, his voice is so heavenly yet so demonic. Blessed with real instruments for this section, distortion guitar and metal drums always makes any section so much more lively.

The second verse switch up, gosh. It's arguably the one section that makes this whole thing work, that it's not just a weirdly structured metal song trying to mix two genres together. Fusing the rage and angst of metal with the stylings of rap, staying true to both, giving a bold taste of their ingenuity. Not to mention, I always love a good raw scream.

The breakdown has to be one of the most insane moments of 2019. The pre-breakdown feels like someone dumping a whole bucket of fire on you, wasting no time in entering the heavy zone. Blast beats, high-distortion screams, angry lyrics, low ass notes, all to culminate in one of the rawest breakdown callouts of the year and one of the tastiest eight-string breakdown riffs ever. Even without the intense music video, this breakdown would still be making you headbang.

It's a wonder how they blend so many styles together with no conflict. It's not anywhere that you can find a band that can have so much electronics-only sections in their music and still be considered heavy. I have a feeling they know the key to balancing both sides, but I also have a feeling they wouldn't care about going heavy for the sake of metalheads. They do what they want, and they always deliver on good music.

Rating: 4/5