Song: Dance Gavin Dance - Die Another Day [Jackpot Juicer, 2022]

I've been very excited for the upcoming Dance Gavin Dance album, and the singles have been wildly exciting. Like most Dance Gavin Dance songs, there's always this small hurdle of getting used to the song and getting familiar with all the wonderful intricacies of each song, and the four singles leading up to the album were no different. But after putting all of them on repeat enough times, Die Another Day stood out as one of the most brilliantly written songs from them on this Jackpot Juicer and throughout their discography in general.

The intro guitar part is one of the most unique and beautiful sections that I've heard in any Dance Gavin Dance song. A serene clean tone for a blissful, sensual riff peppered with harmonics and slides, something we rarely see from Will Swan in this band. This section alone is part of the reason why this song is so memorable and great. One minor thing I love about this section is their choice to leave it guitar-only until the vocals come in, I'd like to think it symbolises how much their guitarwork defines their band's style that it can stand on it's own.

In classic Dance Gavin Dance fashion, things keep changing and it's wild but it's good. They take a hard left straight into blast beat territory mere moments after Tilian's angelic vocals come in, and the energy ramps up in time for the chorus. I always love the dynamics they can achieve with their voices, Tilian never has any problem singing in a soft section or an intense one, and his high cleans are divine yet again. It's also worth mentioning how they never miss with their choruses, they are forever and always the catchiest hooks on earth.

Second verse has some fun variations that I adore. The different drum pattern gives it an entirely different feel, the drop out is so pretty and the part after is so subversive. I love that Tilian's vocal melody sort of changes key going into the next part, complementing all the dissonance they bring upon in that section. I also found Jon's cadence and rhythm in his scream part very fun and different, with the way he cuts up his lines.

The breakdown-esque part after the second chorus is so tasteful and new for them. Chugs are not foreign to them but the whole weird tempo section is unexpected yet weirdly fitting. It's cool that after all these songs they've put out they still can surprise me with new gimmicks. They also managed to put dissonance to good use in this section, especially with that up-down slide which makes it feel even more like a trip.

The outro has one last trick up its sleeve, hearing Tilian this low was wild for me on the first listen, and after he goes back to his normal octave I love that he brought back some grit for the "kill the king" line.

I think my favourite thing about Die Another Day, if I had to settle on one, is how diverse and well-executed it is. This one song has it all (which I'm pretty sure is something Tilian also said), like a variety package of Dance Gavin Dance's best stylistic offerings. They still have the core essence of their band unwavering on display in this song, but they play around and fiddle with a few new switches to produce a song that feels so them yet so new at the same time. It feels like a title track, but instead of best representing the concept of the album, it best represents the musical identity of the album. Basically, if someone asked me to pick one song from the album to play for someone who's never heard of them, it would be this.

It's truly a close call, as the other singles all are exceptionally wonderful as well, and it seems to be that this new album might be their new peak. I'll find out soon enough, but I'll take what I can get regardless with this gem of a song. Finally being able to follow a Dance Gavin Dance album all the way up to the release for the first time is going to be exciting.

Rating: 4/5

Lyric Of The Week 22: Blood Sport

"I'm still your favourite regret, you're still my weapon of choosing."

Sleep Token - Blood Sport, from the album Sundowning

EP: The Devil Wears Prada - ZII [2021]

The Devil Wears Prada was a name I kept seeing time and time again in the metal scene, but never really got around to checking out, so when I came across the short ZII EP, I figured I might as well finally get a taste of this band. I was not prepared to dive into one of the best metalcore records of the year, and get absolutely punched in the face with one of The Devil Wears Prada's best efforts in their entire career.

Nightfall is immediate and then relentless brutality, with low growls that sound like they should be in deathcore territory. The riffs are also violently heavy, downtuned halfway to inaudible and chunky to match. The atmosphere of a zombie apocalypse breakout is just about perfectly written into the song, embodying unimaginable horrors and restless pacing. The terrifying question "Can you make it til dawn?" is brought upon with an inhuman scream, and the chugs are sludgy. Some of the screams in this song are the most ruthless I've ever heard. The tempo changes are perfect for the concept, the sonic dynamics are beautiful.

Forlorn is slightly calmer, like the day after the initial outbreak. The mass deaths have slowed and cities are already in ruins. The bigger presence of clean vocals, laced with a very emotional delivery and occasionally overlayed with pained screams, gives this song the special touch it needs. The lyrical cynicism of humanity parallels a certain pandemic, and it really does hit home for many of us. The bridge past the second verse switches up slightly, shifting view from global to personal loss. The double vocal dynamic in that section felt the most anguished out of the record, and it is heartbreaking.

Termination is just a traditional chunky banger, no complaints here. A lot of zeroes with kick drums, a lot of good old screams, just a classic metalcore formula at its best. The buildup to the breakdown is phenomenally exciting, and the payoff is headbang worthy. Despite that all, I do find it the least interesting song on the EP, and although essential to the EP experience, I wouldn’t listen to it on its own.

Nora is the weirdest song on the EP, in a good way. The song structure, musical choices and general atmosphere is intentionally dissonant, and the brutalist vibes embody the days of a hardened survivor well. The dreary chugs and echoic effects alongside the dissonant vocal dynamic, combined with a relentless drone with no climatic moment, sells the story.

Contagion is my favourite song off the EP, barely beating out Nightfall. It's tinged with a hint of hope beneath angry defiance and prolonged suffering, like the turning tides in a post-apocalyptic world. The soft piano-led intro with sombre vocals going into intense verses, the excellently done double-vocal chorus, the powerfully delivered breakdown callout "Upset the sickness", the monumental soundscape leading into the last section, and the most triumphant sounding breakdown to end it all.

I completely and utterly love the concept presented in this album, and how dutifully they laid it all out in the five songs. It tells a perfect story of a zombie apocalypse, drawing parallels to the COVID-19 pandemic, drawing brutally honest pictures of humanity's failures and evils, while injecting hope and counting on humanity's resilience and ability to survive against all odds. As an experience, both emotionally and musically, it is extremely immersive and concise, and there is basically nothing to complain about.

I'm extremely glad I got to hear this EP and have it be my first impression of The Devil Wears Prada, they are a veteran band still going strong and this EP is solid proof of that. Other than A Tear In The Fabric Of Life, I haven't seen any other metal EP that's really worth their weight in gold, and that's saying something. Truly unique and top notch.

Rating: 10/10

Tracklist:

1. Nightfall

2. Forlorn

3. Termination

4. Nora

5. Contagion

Song: ERRA - Snowblood [ERRA, 2021]

Snowblood is baseline ERRA at it's best. Everything you love about ERRA is here and as perfect as can be, and even though there's nothing particularly wild or out of the woods (like surprise breakdowns or weird mathcore riffs), this is just about the perfect song to represent what ERRA does. In fact, if I was ever to introduce ERRA to someone (which hasn't happened sadly), this song is definitely what'd I'd go with.

Electronic synths, screams over groovy djent riffs, soaring cleans on the chorus, great leads and awesome chunks, atmospheric ambience, solos and breakdowns. This song has it all, and every moment is so well-designed for both impact and awe. It's no wonder this was the first track, given how well it encapsulates their style.

The moment you enter the song, you can already tell you're in for a lot. The intro synth is quickly buried by an avalanche of guitar layers, and before you can get back on your feet, J.T. is screaming at you, accompanied by a sickening djent riff that is one of the best on the album.

Then just as quickly, the chorus comes in and Jesse takes over the vocals. His clean highs that have a bit of grit embodies the perfect intensity for this energetic track, accompanied by airy synths and dreamy guitar leads. Not to mention, one of the catchiest chorus hooks on the album, and boasting one of the coolest lines as well.

Straight back to J.T. screaming on the verse, I love the new riff with it's tremolo harmonic, it is quite a fun lick to hear, especially with the vocal cadence alongside it. I also love the sudden switch up into a chugfest, there is nothing quite as purely feral as good ol' zeroes.

Another chorus, and then out of nowhere comes a solo. Jesse's mastery over the guitar and unique style of playing gives us a very tasteful solo, that has a good blend of traditional solo-ing but with djent influences, especially with the tapping. The best part is how well it fits the song, with how all over the place it already is.

Doing what very little bands try to do and well, they have both a breakdown and a solo. After the solo ends, the way they transition into an interim ambient-focused section is seamless, they know how to design their soundscape. As they slowly amp up with added screams, and then a sudden chugfest, you can smell the breakdown coming, and boy is it good. It is such a classic 0-0-0 moment, but the headbanging is inescapable.

I do want to take a moment to highlight J.T.'s vocal range, he employs a few different types of screams in this song, nothing too extreme but they are all so robust and strong. Jesse's clean vocals are great too but it's just absolutely ridiculous that he's playing the guitar while singing, nothing else to be said.

I have to say it again, this is about as ERRA as ERRA gets. It's definitely going down in history both as an ERRA essential track and a metalcore/djent classic.

Rating: 4/5

Lyric Of The Week 21: Grotesque

"You can't kill what's fucking dead on the inside."

Dealer - Grotesque (single)

Album: ERRA - ERRA [2021/2022 (Deluxe)]

ERRA is one of the most unique metalcore bands out there. Their style of progressive metalcore is at the forefront of musical innovation right now, and their self-titled album is only further proof of what they are doing. The record is full of fresh and exciting soundscapes and technical prowess that is downright amazing in every way.  

Their fusion of beautiful leads and intense chunkage channelled by brilliant guitarwork, strong complementary drumming and basswork, as well as their godly duo vocal dynamic, makes for a lot of range and many, many great moments. Throughout the main tracklist, there's a lot of different tastes and styles they venture into, many of which evade strict genre boundaries. With the way they smoothly transition from moment to moment, their musical identity stands unopposed and strong.  

Jesse Cash's guitarwork has always been top tier, but his tapping leads as well as his complex math-esque riffs have reached another level in this album. They feel even more refined and feel almost effortless in defining the mood and atmosphere for each song. His fluency in translating feelings and emotions into guitarwork is unmatched, both in angelic and demonic sounds. The breakdown chunkage in Snowblood, the mindblowingly intricate breakdown in Gungrave, the elegant tapping leads in Memory Fiction, and so much more. The record is so chock-full of interesting moments and musical design that it never gets stale. Whether it be intriguing polymeters, cheeky chugdowns or hypnotic leads, this treasure trove of guitarwork is unfathomable. Throughout the album, he rarely repeats riffs in other sections, and the sheer volume of riffage in this record is just astounding.

I also have to include this obligatory "how does he play all that and sing at the same time?" statement, because not only is it hard enough with any guitar playing, he's singing while playing some of the most intricate riffs to grace the earth.

The rest of the band do well to match his talent and musicianship. J.T.'s uncleans are some of the most refined vocals in the industry, and fit perfectly beside Jesse's cleans in their unique dynamic. The drums and bass know exactly how to play off of the guitars to make every song as perfect as can be, and overall their band identity is phenomenally solid.

The Deluxe version was a nice addition, giving us three new tracks that feel even more ERRA (band) than ERRA (album). Nigh To Silence is the pinnacle of their sound and I feel it cuts out Snowblood in being the most ERRA song (although not by much). The guested track of Vanish Canvas with Courtney LaPlante is one of the best guest choices possible for this record, adding such a beautiful voice to an already breathtakingly elegant song. I also love that they decided to do covers for their self-titled deluxe, not only do I love that they felt that the songs that inspired their love of music deserved to be on there, I adore that they chose to do their own take on them and inject their ERRA essence into the songs they love.

ERRA may not be the biggest band out there, but they are absolutely at the frontlines of metalcore and are truly exciting as a band. They've been around for a while and I've yet to listen to their older stuff, but I'm glad they are finally seeing so much love for their music, and I'm happy that they're making even better music as they go. This record is definitely leaving a mark on metalcore history.

Rating: 9/10

Tracklist:

1. Snowblood

2. Gungrave

3. Divisionary

4. House of Glass

5. Shadow Autonomous

6. Electric Twilight

7. Scorpion Hymn

8. Lunar Halo

9. Vanish Canvas

10. Eidolon

11. Remnant

12. Memory Fiction

Deluxe Edition (2022):

13. Sol Absentia

14. Psalm of Sedition

15. Nigh to Silence

16. Vanish Canvas (ft. Courtney LaPlante of Spiritbox)

17. Stockholm Syndrome (Muse cover)

18. Light My Way (Audioslave cover)

19. Heresy (Nine Inch Nails cover)

(Deluxe Edition Cover)

Song: Architects - Goliath (ft. Simon Neil) [For Those That Wish To Exist, 2021]

Goliath is one of the most surprising tracks on the For Those That Wish To Exist. It's not different in a wild way, but the way it subverts expectations and delivers a unique and wonderful sound is great. Sitting on the borderline of heavy, beautifully peppered with the new era of Architects synths and electronics, this song packs a new punch.

I can't lie that the intro chug riff is one of the best and most fun riffs on this album. It brings so much energy to the table and you can tell it is a fun one to play on the guitar. Led in with one angry scream from Sam Carter, it almost feels as if the chugs were screaming alongside him.

The verses have a tasteful pacing to it, especially with the minor dropout moment. The contrast they painted with intense and softer sections throughout the track is quite subtle but very impactful, giving hits extra impact. The chorus is angel clean, yet the cynicism is echoing off the soundscape, which only adds to the sinister undertones.

I adore how much more they experimented with coupling cleans and heavy riffs in this one. I feel it works really well, especially for a band that is used to putting screams on chugs. It doesn't feel forced, and it absolutely fits the vibe they're trying to set both in the song and on the album.

There are many things to love about the breakdown. The way they built up into it was refreshing and felt very unique to the album, with some chant-esque cleans and slowly building with the chugs and drums. It almost feels evil, and the payoff is well worth it. I've never been so shocked by any scream as feral and raw as Simon Neil on this track, which only shocks me double as I was only used to his cleans on Biffy Clyro. It sounds anguished or wildly wrathful, whichever you feel is more appropriate, as if he really was screaming his lungs out. I also love that they go back to the intro chug riff, just to add so much sonic dissonance to the messy and primal rage of the scream.

The way they chose to transition out of the breakdown, as well as the ending of the song, both felt very right and very cinematic. I cannot imagine what could be more characteristically fitting than a soft and symphonic touch. It resolves the song so well musically, and it adds to the sinister undertone of the sentiment.

I do wish they used Simon Neil more, but that is a gripe most people have with all of the guest vocals on the album. Despite that, I'm more than glad they let him loose with this one, I doubt we would've ever gotten to hear this gold mine of a scream sound on Biffy Clyro. Overall, it is a track full of pent up energy and I love how they let it soak in rage yet paint some of the parts in graceful symphonies. I know some people hate for them to lose their heavy, but I simply cannot help but love them fully exploring their musicianship with these new sounds they're adding, these new soundscapes they're creating. They can use contrast even better now that they've increased their range on the softer side, and I think this is one of the tracks where it shows the best.

For an album that was one of my favourites of the year, being the track that was, for me, most memorable, is definitely a feat. There sure are a lot of great moments on the album and many well composed pieces, but this just feels the most apt for the album, both in theme and direction. In a way, this feels like the most rare outcome of a song for the band, and it feels the most intentional in terms of pushing their own boundaries. I'll always applaud good music, and I'll always applaud trying new things, so this gets double applause.

Rating: 4.5/5

Lyric Of The Week 20: Snowblood

"You could lose yourself in the absence of loss."

ERRA - Snowblood, from the self-titled album ERRA

Album: Architects - For Those That Wish To Exist [2021]

Architects has covered a lot of heavy ground in the 15 years since their inception. Throughout their 8 previous albums, we saw them start from technical mathcore and traverse their way through a tiny bit of deathcore and hardcore punk before landing on the style of metalcore we are all well familiar with and love dearly. But in the aftermath of All Our Gods Have Abandoned Us and Holy Hell, their 9th record boasts a slightly new sound for them. I think it is the logical progression of musicality for them, coming off the more heartfelt and melodic stylings of Holy Hell, trading in some of the heaviness for more intricate and mature soundscapes.

They make it a point to expect something different with their prelude track, Do You Dream Of Armageddon?, a soft yet haunting electronic orchestra coupled with a poetic welcome. I'm glad to know they haven't lost any of their profoundness and love for lyrical complexity, even as they gear towards a more elegant heaviness.

There are definitely a few tracks on the record that maintain the heaviness of their previous albums, although it is true they've been mostly whittled down to moments and a significant portion of the album has stronger sentiments of rock. Regardless, I love it for the sound they intended to create and the messages they sent with it (and I'm not an elitist metalhead that thinks going softer is selling out). I think that any band that is this far into their career, and especially one this successful, is and should be no longer concerned about how much they can stand out in technicality or heaviness or anything of that sort, but rather how powerful a message they can bring across with their sound and how strongly they can evoke the feelings they're meant to evoke.

Having listened to this album so many times, I've come to realise what I love the most about the record is the intricacies of the soundscapes, the use of electronics to enhance the atmosphere and the soundscape. Reinventing the timbre of their songs by incorporating musical textures they couldn't manage solely on their instruments, I feel is a commendable fine-tuning of musical direction rather than taking the easy way out. The ambience in just about every song gives it so much character and beauty, and for some, is a core element of the song which it cannot do without.

Tracks like Dead Butterflies, Flight Without Feathers and Dying is Absolutely Safe are wonderful, both to see happen and to experience. It's definitely a point of pride that the band, despite roots in technical metal, can compose such heavenly tracks with absolutely no screaming and little to no heavy elements. I don't want to say that it's out of their comfort zone, but the fact that they can produce such great quality music wildly different from their usual offerings is a sign of great musicianship, which they rightfully have.

There is obviously no disregarding or forgetting something as impactful as Tom Searle's death, but after anticipating it in Gone With The Wind and dealing with it in the entirety of Holy Hell, I feel that For Those That Wish To Exist is, to them, a form of tribute and moving on. Carrying with them the hopes and dreams of their brother, to make meaningful music and send a message, to sing and scream for those who can't and to remind people to be grateful about what they have and protect what they could lose. Yet in all the lyricism, it's hard to pretend there is no subtle undertone of cynicism, one they've always boasted but ever so different since his passing. Most prominently on Dying Is Absolutely Safe, confronting mortality with open arms, less like the optimistic nihilism of Impermanence and more like a carefree cynic.

If I had to have any gripes with this album, the only thing that even slightly bothers me are the features. They feel slightly underused, especially with the vast vocal dynamic choices that could've been achieved with the three guest vocalists they had on. Despite that, I don't hate having Winston McCall on a breakdown and Mike Kerr on a rock verse, and I was extremely pleasantly surprised by Simon Neil's feral screams on Goliath.

No doubt this album is strongly influenced by the burning global landscape in 2020 and onwards, allegories of political turmoil, revolution-esque stories and indifferent voices pepper this record. I felt it was a very timely and needed album, both as an escapism and to really feel the emotions we've grown numb to in these times. The band has achieved what they set out to do in having a strong theme and message with the album, and subsequently crafting a rich auditory experience.

They've been absolutely phenomenal when it came to realising the record. For Those That Wish To Exist has become one of my favourites from them, for every good reason possible. Past the insubstantial hurdle of no longer being as heavy, they've done more than well in compensating with powerful sentiment. With all my heart, I love this record, and if you know me, sentiment plays a strong part in how high I rate stuff. To each their own, and my own is an astounding yes.

Rating: 10/10

Tracklist:

1. Do You Dream Of Armageddon?

2. Black Lungs

3. Giving Blood

4. Discourse Is Dead

5. Dead Butterflies

6. An Ordinary Extinction

7. Impermanence (feat. Winston McCall of Parkway Drive)

8. Flight Without Feathers

9. Little Wonder (feat. Mike Kerr of Royal Blood)

10. Animals

11. Libertine

12. Goliath (feat. Simon Neil of Biffy Clyro)

13. Demi God

14. Meteor

15. Dying Is Absolutely Safe

Song: Spiritbox - Circle With Me [Eternal Blue, 2021]

Spiritbox was a highlight of 2021 metal music, but if I have to be honest I didn't really catch onto the hype until this song dropped. Before this, they just seemed like another innovative metalcore band, but this song cemented their status in my mind as one of the best. It's just perfect in so many ways, yet so undeniably them.

The signature elements of Spiritbox are everywhere in the song, Mike Stringer's iconic clean lead ambient riffs alongside low, bendy riffs, and Courtney LaPlante's unmistakable holy cleans and powerful screams. Granted, there's nothing too special about the song structure, it is the classic metalcore pop-structure-plus-breakdown deal, but I believe that this song is about as perfect as it can be. They have their unique flavour of metalcore dialed in so well and they've perfected the formula with this song.

I love the vocal melodies and lyrics in this song. It's fresh and different from the rest of Spiritbox's offerings (although their music is definitely diverse to begin with), and it is so easy to sing along to. The chorus is catchy but in a cool way, and I think the small scream-to-sing ratio actually helps the song, as much as I love her uncleans.

The whole song has a very airy, ethereal feel to it, with a subtle monumental tone to it. The song has this passionate atmosphere to it that simultaneously feels complete on its own, and also as if it's building up to something. Especially with the very first callout "Cut down the altar", they set up the suspense for the rest of the track.

The breakdown and pre-breakdown callout has a bold impact like no other. Pure ambience leading up to Courtney's screams acccompanied by low chugs, could not be building suspense any quicker. The callout is one of the coolest lines I've ever heard in metalcore ever, and it has such a god complex to it that I can't help but love. The breakdown riff is amazing, it's one of those variety breakdowns that mix in a lot of fanciful sounds to spice up the headbanging, like Gojira scrapes, harmonics and scratching. I love how they slide into the breakdown with Courtney's screams overlapping into the start of the breakdown, it just makes the breakdown hit even harder.

I love what they did with the final chorus. I know it's not unusual for the final chorus to be modified, but I love how much extra flair they added to it. A more intense drum pattern, more grit in the clean singing, and throwing in the breakdown again at the end just to wrap it all up. The way she sings "watching me as" in the final lines gives me goosebumps, it's unreal.

I just love how cool this song is, it feels like it embodies what it means to have a god complex, both in lyrical sentiment and in sonic design. I don't think I can fully put into words what about this song I love so much, it's just that it seems to resonate with me intensely. It is my favourite song of 2021, and that's all I really need to say about it.

Rating: 5/5

"Eternal Blue" Album Cover

EP: Ichika Nito - Awakening [2022]

I've been mesmerized by Ichika Nito's guitar mastery for a long time now. The musical virtuoso has produced a lot of amazing short-form content on his YouTube channel and Instagram page, but has also released official music on streaming platforms. Every now and then he releases a single or an EP, usually polished renditions of popular content or occasionally, refined musical pieces meant to be full songs. His newest EP is a heavenly collection of six ethereal tracks.

Other than the obvious talent he has, both in technique and creativity, I've always found the most astounding thing about his writing is how complete his music feels despite having guitar as the sole instrument. Although he has released music with lo-fi or drum beats before, it's kind of become his signature style to write guitar pieces with no additional instruments, especially percussion. This six-piece record seems to boast either one or two guitar tracks at most, which is impressive for how expressive the music is.

His control over the emotive capacity of the melodies he plays is extreme. Expertly using high and low notes, harmonics and deadnotes to portray a wide range of human emotions, all with such technique and precision that absolutely captivates the listener. Awakening evokes a playful sense of cheerfulness, Nothing is lost has this nostalgic tone to it, and It's Over has this truly monumental sense of finality to it, impassioned and heartfelt.

His writing and playing in this EP is akin to those complex piano pieces, running through a multitude of notes to paint an emotional picture. It's astonishing how much detail and identity he can craft into his music with so little, his guitar seems to be literally fitted with just a simple reverb on a clean tone. Where in his video content, the writings seems to impress more on the technical playing side, this EP really shows his musicianship on the writing side.

I think this EP is just about perfect. Everything from the concise track lengths, spot-on song titles and diverse emotional range to the divine immersive soundscape of the record as a whole, there's really nothing I don't love about this record. Of all the instrumental guitar music out there, from the likes of Polyphia and Animals As Leaders to covet and Plini, I think Ichika Nito and this EP is particular is undoubtedly the most passionate and emotive out there. It comes to show how masterful he is, if he can rival emotional songs that have heartfelt vocals with just one instrument.

Rating: 9/10

Tracklist:

1. Awakening

2. Nothing is lost

3. Transformed

4. Drowsy

5. Insomnia

6. It's Over

Lyric Of The Week 19: People Verses

"With enough pressure and momentum we become perfect circles burning brighter than the sun."

Every Time I Die - People Verses, from the album Radical

Song: Bring Me The Horizon - sTraNgeRs [2022]

After the release of POST HUMAN: SURVIVAL HORROR, I was extremely excited for the next installment in the POST HUMAN series. After a grueling wait, the only song to release in 2021 was DiE4u, which was not a bad track by any means, but didn't feel extremely polished. With that single, Bring Me The Horizon also laid out their plans for their next record to be along the lines of "future emo", which intrigued me. All the first half of 2022 had to offer from them however, were a lot of collaboration features, some of which were cool, but mostly seemed like a fun side quest of theirs. So, almost a year after the first single and almost two years after PH:SH, we have sTraNgeRs, adorned in their weird font format and boasting their "future emo" sound. 

It feels exactly like a Bring Me The Horizon song, it's reminiscent of That's The Spirit and amo, retrofitted to the emo sound of the 2000s and 2010s. The clean vocals have a rawer grit to it, the guitar riffs and chord progressions feel very homely to the genre, and the incorporation of modern electronic elements gives a new life and energy to this refurbished emo sound that they're going for. This, alongside their world-class musicianship and writing, has resulted in a very euphoric musical experience to enjoy.

I don't really have much to put in words, when it comes to the melodies and musical design of this song. It's just what I've grown to love about Bring Me The Horizon, that everything feels very well thought out and considered extensively. When they subvert musical expectations, it feels intentional, and more importantly, purposeful. The quirks of the song that felt weird on the first listen have quickly become integral to the identity and exceptionalism of the song.

I have to admit, I love the lyricism and sentiment behind the song, and when it comes to how much it affects my love for the track as a whole, it's about equal to the musical design itself. I remember how profound it felt when I learned that the line "we're just a room full of strangers" was not simply a pretentious jab at modern society, but rather a brilliant way of describing the inability to form a personal connection between artist and fan. It's amazing how it both laments on how the band will never be able to know their fans in a human way, yet they are so connected by the music they share, and the message it brings across. It's an even stronger message, knowing that the song is about mental health, and it's in a way an anthem for the broken. 

I love the positive undertones they've injected into this song. The melody choices and certain guitar licks in the song have a very optimistic tone to them, and I'm sure there's a way to describe this in music theory words, but you should be able to understand what I mean. I also love that the incorporation of electronic elements is very strongly to add to the hopefulness and cheerful sound that's juxtaposed against the context, especially the fun little outro section that I'd like to think is meant to represent a happy ending.

I do think that they've really hit the mark on calling this "future emo", the music really embodies what a futuristic version of emo would sound like. The release of this song, along with the already released DiE4u, gives us a very definitive sound to expect for the next record. Hopeful cynicism, anthemic sounds, heartfelt lyricism, and a tasteful reimagination of the emo soundscape we're all familiar with. What's not to like? (other than the gap between releases...)

Rating: 4/5

Album: MOTHICA - Nocturnal [2022]

My first encounter with MOTHICA was Shawn Wasabi's remix of the song Clear with Pusher. Besides the reimagination of Can You Feel My Heart from Bring Me The Horizon, I didn't really have her on my radar, and I like to think that this album was essentially a musical find. I believe the only reason I was aware of this record in the first place was because of Rise Records promoting its release.

I didn't know what to expect, especially after seeing the wild tracklist-runtime ratio. I went in hoping for alternative influences and expecting mostly pop, and although I wasn't entirely wrong, I was pleasantly surprised at the tasteful incorporation. Many tracks feature distorted guitars and rock drums alongside catchy melodies and pop-esque song structures. Yet, despite the overall poppy sound, the soundscape and creative design almost feels as if it stemmed from the alternative genres.

She definitely has a knack for choruses that stick around in the head. Between interlude I and III is home to some of the hookiest lines on the record. For an album with 13 actual songs, it's impressive how diverse they are, providing a musical experience that doesn't go stale partway through.

The record concept is wildly immersive, I enjoy the retro aesthetic in all the interludes and the dark overtone reverberating throughout the rest of the songs. It does really well to embody the album title, exploring different aspects of sleep and the night. It also satisfies me a lot that the sections divided by the interludes I to III have a theme, and feel like chapters of a story.

I usually find it hard to love pop records due to the common trap of ending up generic, but I feel that MOTHICA has a perfect mix of alternative influence and melodic ingenuity that sets her aside from the crowd. Her lyrical design, rhythmic choices and innovative melodies are distinctive and exquisite.

I have to give a special spotlight to The Reckoning, the Polyphia feature was a complete surprise to me. I didn't glimpse the tracklist before diving into my first listen, and I was so completely soaked into the music that I didn't look at the titles ta all. When the extravagant riffage came in, I snapped out of the trance and realised it was Polyphia just in time for the riff to drop a full octave lower. It was like a smack in the face and I loved it. Not only is it a wildly different sound for MOTHICA, with it's darker, edgier sound and vocal sideline, it's also a different sound for Polyphia. Already in the aftermath of Playing God, hearing such an electronic sound from them was gorgeous. It felt like they were having fun doing something different from their usual without worrying about high notes-per-minute counts, which I love for them.

Nocturnal is really a pleasant surprise of a record for me. I don't want to discredit MOTHICA for her creativity and hard work, I just haven't had much favourites from the pop side of the music world in so long I've started to lose hope. Fret not, I'll readily accept this as alternative music, as much as I call it pop. I think most of you won't argue with the clear pop elements present in this record, and I just hope most of you can also appreciate the alternative elements that make this record so great. I adore the soundscape and I get so captivated every time I spin this record.

Rating: 8/10

Tracklist:

1. SLEEPWALK

2. NOCTURNAL

3. SENSITIVE

4. HIGHLIGHTS

5. I

6. CASUALTY

7. LAST CIGARETTE (feat. Au/Ra)

8. BACK OF MY MIND

9. II

10. R.E.M.

11. BEDTIME STORIES

12. LULLABY

13. III

14. ABSINTHE

15. THE RECKONING (feat. Polyphia)

16. BLOOD

17. TEARS

Deluxe Edition:

18. LULLABY (feat. AViVA)

19. S.T.A.R.

20. nothing good happens after 2am

21. NIGHTSHIFT

(Deluxe Edition Album Cover)

Lyric Of The Week 18: Million Dollar Houses (The Painter)

"Maybe we're meant to lose the ones we love, but I'll fight for you till then."

Pierce The Veil - Million Dollar Houses (The Painter), from the album Selfish Machines

Song: Unprocessed - Deadrose [2020]

I found out about Manuel Gardner Fernandes through the fourth edition of "the biggest shred collab song in the world", with his solo blowing me away when I watched it. Wanting more, I found his band and briefly scanned through the recent discography and found this gem of a song.

I was immediately hooked by the gorgeous tapping harmonics, which gave a hauntingly beautiful overtone to the track as a whole. When the main riff came in, I was truthfully quite shocked. It was a tasteful arrangement of notes reminiscent of math rock and musicians like Tim Henson and Ichika Nito. The speed and grace of the riffage was what awed me the most, especially after I tried to learn it.

The vocal rhythm and cadences in the verses are well-designed, short and repeated to drill in the melodic motif. The strong bass and subsequent return of the tapping harmonics juxtapose the vocals eloquently, both as a melodic and temporal complement.

Past the first chorus, which by the way is awesome that they chose to have it be entirely instrumental, the energy amps up as they introduce more elements into the soundscape. As the guitar starts to adopt a grittier tone and the drums become more prominent and vigorous, so does the vocals. I love the climax moment when the bolder vocals trails off into the chorus, now gilded with subtle distortion. It's such a wonder of their musicianship that they could transition from a verse with passionate singing and heavy low notes, into one with a distorted version of the beautiful main riff, and not lose any intensity in the process.

The bass-heavy intermission section after the second chorus is such a clever way to bring the intensity back down after the peak, and transition smoothly into the calm outro section. The tapping harmonics that led us into the song leads us out, leaving us with a beautiful sense of satisfaction and completeness.

I truly do adore how well put together this song is. It doesn't boast a multitude of riffs, and at its very core only has three pieces of riffage. Yet, clever song structure and tone usage let them build the whole song out of these three components. It provides a strong sonic narrative that makes the listening experience more immersive. Not to mention, the guitar mastery needed to even compose such riffs and technicality to play them.

I hate to think of a band as just one of the members, but it's no doubt that Manuel is a core part of the band, and many a times the main man. His side projects and Instagram/Youtube content is a testament to how established he is as a guitar virtuoso, and the name he has made for himself. I'm glad he has a band, to be able to see his creativity bloom in a more musically robust outlet, rather than just guitar instrumentals over backing tracks. This song, for both its guitars and vocals, has become a favourite beyond just the genre.

Rating: 4/5