Friday, March 31, 2023

Album: Adjy - The Idyll Opus (I-VI) [2021]

The Idyll Opus (I-VI) is the first record I've experienced that has really made the album experience a work of art, alongside redefining what it means to make a conceptual album. It's the first time I've seen an album do so much in embodying a full-fledged narrative, complete with a powerful emotionality and captivating story arc, and I've never had my eyes opened like this before. It is really one of the most worthwhile experiences I've ever chose to dive into, and despite having a long runtime and admittedly not the easiest to get into, the payoff when the album finally clicks is more than worth it.

I think one of the most intriguing things about this record is how it is, in essence, meant to be a book. The aesthetics and stylistic choices throughout the entire spirit of the album is consistent in following this concept. Most of the song titles mimic book chapters, the lyrics are functional dialogues and narrative elements, the record in order outline an entirely fleshed out story, with characters, environments and plot. One of their merchandise items is literally the record in book form, lyrics formatted the way they envisioned it in the narrative viewpoint. It really shakes up your expectations of the record once you realise this, and it gives the record a whole new lease of life once you start hearing it as a story.

Before I gush about the artistic mastery and perfection this record beholds, I should first clarify my thoughts on the musicality and writing. It's brilliant. For an alternative/indie rock band that has very strong influences from folk music, they do a stellar job in translating so many emotions into their music, even the more esoteric ones that are present in the narrative. Making use of a large variety of instruments, they manage to make fifteen tracks that all have something distinct from each other in composition. Not to mention, the vocal work is simply exquisite, the singer has a great voice for what the band is doing, and he makes every line he sings that much more genuine to the story simply because he can express the emotions beneath the words.

The instrumentation in this record is so important to the foundation of the story as well, providing the emotional range and capacity that the words alone cannot fully capture. The melodic and percussion work throughout the record does an excellent job in setting up the soundscape, whether it's the more energetic parts boldy led forth by robust drumwork or the more serene and sombre parts softly led by calm yet slightly haunting guitarwork. There are so many sonic textures and creative choices that the average band will never even come close to making, that Adjy makes use of in such intentful and masterful ways, that really lets this record have such expressiveness.

I absolutely love the story in this record. It is such a wonderful exploration of so many facets of life, in a very thought-provoking and poetic way, at its core surrounding the two main characters June and July. Through fifteen tracks, Adjy explores a lot of topics through narrative and lyrical means: what it means to live, the truth of fate, what freedom truly means, where love and loss collide, how hope persists and what the tides of death brings. They use really unique analogies like wind, seeds and cicadas to describe otherwise abstract ideas of life and living, and it is such a wonder to unravel their meanings. Reoccurring melodic and lyrical motifs also add an additional layer of cohesiveness to the record, setting it even further apart from any other record I've listened to.

The reason it took so long for the record to click for me was because I simply didn't understand what I was listening to. The narrative behind the record is integral to the experience, and it was no wonder I wasn't super captivated the first few times I listened to it. For a record that was recommended to me by a friend almost two years ago, it was only recently that I finally dived into the inner workings of this record, and that was only because I finally started catching onto some of the more intriguing lyrics and it triggered my curiosity. What followed has been the most interesting and fulfilling deep dive into any collection of art I've ever experienced, and it has yet to stop amazing me everytime I spin the record in full.

Adjy's vast storytelling and poeticism is one of the most captivating and appealing things about this record. My favourite line out of the entire record has to be the full version of "Can you fence life in?", but is far from the only amazingly written line in this record. The way it mirrors how an author would write a work of fiction and readers would have their favourite lines from said book, makes this record experience that much more unique given it's book-esque presentation. In fact, I do consider the visually presented accompaniment of the record as a book quite essential to the true experience of this record. Even if you don't get the physical hardcopy book from their merch store, the freely accessible digital version of the chapters (songs) do enough justice in helping tell the story and filling in the little details that the song alone cannot portray. One main example is quite simply who speaks which line, and helps organize the narrative and make the characters distinct. In contrast to the reaction it usually evokes, the fact that the narrative for the record ends on a cliffhanger is actually exciting rather than frustrating, because it simply means the story hasn't ended, and there is more to come to complete this narrative musical world. Even the title of the record and the digital site hint at the incompleteness of the story, which definitely is an exciting prospect.

As an alternative/indie and folk rock band, they're definitely nowhere near the conventions of mainstream rock or pop, so it's no surprise to see their varied song lengths, all above four minutes, and a variety of intriguing creative choices, from splitting songs into two parts or having an entirely instrumental interlude, as well as the ultimate track that sonically feels like multiple songs, and actually is meant to be three sub-chapters put together based on the book representation of the record. All this structural diversity lent to my curiosity as it became more than just an exploration of melodies and soundscapes and transcended to a wondrous journey of artistic intention and thematic implications.

I think it's admittedly a pertinent flaw of the record that it can't be fully enjoyed without the accompanying visual elements, but I think it has a silver lining, because it really speaks to the sheer volume of narrative and creative effort put into this record's making that the auditory element alone cannot encompass the entirety of it. Plus, I think it's a very beautiful and unique kind of record experience that just about no other record has managed to achieve, much less in this caliber, and it really doesn't end up as a gimmick.

My favourite thing about this record is that, even when I wasn't aware of the sprawling storyline beneath every single word of the record, it was still immensely enjoyable as a musical experience. Despite not even close to being pop-adjacent, there is a certain amount of pop sensibility in how they manage to consistently write impactful lyrics, catchy melodies and wonderful instrumentation that gives it such great replay value, whether to sing along to or to just soak in the soundscapes. It's such a vast array of soundscapes that you could get lost in, and many a times I envision myself as being someone in the story, following the storyline while taking in the world within the record that the music so beautifully constructs. I can so vividly imagine the grassy fields and lively town areas, the brilliant night sky that they look up at and the peaceful yet amazing views of nature that they see throughout the narrative.

After falling completely in love with this record, I was unsurprisingly a bit upset at how little attention this record has. It easily is the most underrated record I know of, especially considering how much of a literal masterpiece it is. Despite that, I think there is a humble and commendable bright side to this, because I can only imagine that the band set their sights on creating a piece of musical art as geniunely as they could, disregarding the usual dilemmas of artists trying to appeal to their career and livelihoods by making their songs more accessible and consumable, promoting their work and inadvertently diluting the effort that they can put into the actual creative value of the music. Adjy clearly has not done that, with a record that they began writing all the way back in 2016, with five years of careful and meticulous artistry to produce the final result that I have now come to love. I admire the faith the band had in releasing a record so dense in meaning and sentiment, a debut album that they could only hope will be loved by listeners who will take the time to dig into every crevice of their massive narrative and musical effort. Thankfully, their efforts definitely did not go unnoticed, and even if it's not the biggest thing going around, it had its wave on the indie scene, and for the lucky few thousands that caught the wave, found themselves with a treasure trove of a record.

I could probably continue to gush about this record in the detail, possibly song by song while dissecting the storyline, pointing out my favourite lines, the significance of the repeating motifs and all the symbolism throughout, or what I've come to learn and feel in genuine rawness from this record, but the long story short is that this has quickly become one of my favourite records of all time, and is a serious contender for being my favourite record of all time. I feel extremely lucky to know about this record, and really thankful to have not dismissed it despite it not striking a lasting impression right away, because I can only imagine that a timeline where I didn't know this record would be a much, much sadder one.

Rating: 10/10

Tracklist:
1. In Medias Res (Between Longing and Mystery)
2. A Boy Called June, Pt. I
3. A Boy Called June, Pt. II
4. Where June Meets July: I. Overture
5. Where June Meets July: II. On a Road Trip That Summer's Day
6. Where June Meets July: III. at a Dance Where the Stars Cross
7. Where June Meets July: IV. O Tonight
8. Where June Meets July: V. Maps (To the Tune of "The Great Midwestern Summer Jig")
9. Where June Meets July: VI. The Cicada's Song, Pt. I
10. Where June Meets July: VII. The Cicada's Song, Pt. II
11. Where June Meets July: VIII. Secretus Liber (Beneath the Fireworks That Fell in Mystique Participation)
12. Where June Meets July: IX. In the Space Between Pages...
13. The Farmland and the Forest's Edge
14. Lake Adeyoha
15. Eve Beneath the Maple Tree

Tuesday, March 28, 2023

Song: Spiritbox - Blessed Be [2020]

It's time to talk about the latter of the twin singles, Blessed Be. Dropping three months after Rule Of Nines, Spiritbox brought a more melodic and slightly brighter sound to their catalogue, with a sonic texture significantly different from its sister.

Blessed Be is very noticably more lead-focused, with Mike's signature style of fast looping arpeggio leads present in most of the song. The majority of the song also channels the same ethereal vibe as its sister, making generous use of reverb and delay effects, slightly choral vocal production and a very prominent spaciousness to the whole thing. Between that and Courtney's angelic clean vocals, the whole front half of the song is nothing short of heavenly.

I have to commend the riffage in this one. The guitarwork in Rule Of Nines might have been tastefully groovy, but the riffs underneath the lead lines in the verses and choruses are so subtly impressive. The way it guides the chord progressions, yet contributing so much to the rhythm and dynamic without overpowering any of the other elements, is so cool.

Nearing the three-quarter mark, the whole song takes a sudden dark turn, guided in by a glitchy and slightly dissonant vocal chant. The moment the breakdown starts, it hits hard and with no restraint. With a riff so low-tuned and nasty alongside Courtney's angry lows, the whole section is just a stankface generator. I'm very glad that the breakdown is slightly longer this time, with the second half going for a more dynamic and spaced out rhythm, giving the whole moment much more intensity. Not to mention, the lyrics are intense too, with the opening up of the sternum and all.

The final chorus is nothing too special, just bringing back the melodic side of their sound to end the song nicely. I do sometimes wish they modified it a bit, maybe in a way similar to how the final chorus of Circle With Me was slightly more intense, but I'll take what I got.

Blessed Be and Rule Of Nines together showcase the major parts of their new sound, and it's hard for me to think of one without thinking of the other. I'd like to think they're on par with each other, albeit showing different sides of their sound, but if it comes down to it, Blessed Be beats Rule Of Nines by a hair.

Rating: 4/5

Sunday, March 26, 2023

Lyric Of The Week 56: Brighter Side

"Wake up, I'm calling, don't tell me you're sorry."

Destroy Rebuild Until God Shows - Brighter Side, from the album Destroy Rebuild

Saturday, March 25, 2023

Album: Periphery - Periphery V: Djent Is Not A Genre [2023]

I will be honest, and this is probably a metalcore sin somewhere, I didn't hear a single song from Periphery before this, in the most extreme way. It's not even like I've heard it once before but didn't remember it, or maybe overheard it somewhere, I'm pretty sure my ears have never heard anything from Periphery ever, consciously or unconsciously.

Anyways, despite the dramatic declaration, I definitely knew the name of the band. I knew they were special because of how big and renowned they were, but that didn't nearly prepare me well enough to get absolutely blown away by this album. I followed the album cycle from the first single release to the album drop, and I was amazed every step of the way.

I get why they are such a huge monolith in progressive metalcore now. What they write is so unbelievably refined and pristine, and their unconventional approaches are so distinct to the usual straying of convention that other bands do. With just nine songs totalling 70 minutes, they boast an impressive runtime for such a short tracklist, and so little of that runtime is filler, which is unheard of.

Going track by track, Wildfire is definitely meant to be the introductory piece. It shows Periphery pushing their creative limits to the extreme, between dissonant clean vocals and jazz interludes. It has a healthy dose of everything progressive metalcore: heavy moments, clean singing, dissonance, a variety of solid screams and growls, crazy guitar moments, electronic sounds, odd time signatures and tempo changes, fun guitar solos, and of course, breakdowns (and surprise breakdowns). Forever a highlight of this track will be the chorus and the dissonant vocal choices that are outstandingly intriguing.

Atropos is arguably my favourite of the singles, but for the most part on par with Zagreus. The instrumentals and vocal melodies on this track is absolutely stellar, with a good blend of pop sensibilities in the mix. Between the seemingly simple chug rhythm, the sweep pick leads, the synth-like licks, the looping arpeggio leads in the chorus, the heavy riffs in the middle, and the intense lead going into the final section, the guitarwork is nothing short of brilliant. The vocals on the verses and chorus are super catchy, and when they switch to a heavy tone halfway through, the intensity that they reach is pristine, peaking with the blast beat section. Atropos takes the cake for most well-rounded song on the record, for sure.

Wax Wings is beautiful. It is one of the most emotional songs on the record, and has such a perfect blend of intensity and elegance. The first main riff is so pretty, the refrain two minutes in is absolutely gorgeous, the chord progressions are so youthful and energetic, the 8/8 and 9/8 switchups are super fun. The final three minutes of this song has such a powerful and raw emotional energy to it, one that will for sure give me goosebumps if it doesn't already make me tear up. He goes for a sustained high note so strong you'd think that's as good as it gets, then he goes even higher on the last line, with some grit in his vocals that really brings across the genuine emotion and intensity.

Everything is Fine! is like the antithesis of Wax Wings, bringing a borderline pure heaviness unmatched by any other track on the record. The Digitech Whammy Pedal comes in almost straight away for a real pissedcore-esque riff, and when Spencer's vocals start, the alien laser noises in the underlying riffing is super playful and awesome. Despite the screaming and heaviness, the clean chorus still manages to remain catchy, even on top of blast beats. The "guilty" section is super cool and an interesting rhythmic moment, the guitar solo is odd but in a good way, especially with the harmonics. The ending is just perfect heaviness, bringing back the whammy dissonance and then pulling the classic lower-and-slower card.

Silhouette and Dying Star are a pair in my eyes, like two acts of a sound distinct from the rest of the record. Silhouette has a more synthwave, pop-esque and calmer sound, focusing on electronics and vocals. Dying Star takes that pop-leaning direction through the hard rock and progressive metalcore sound, making for an anthemic chorus and heartfelt singing. They're both great songs even if they don't stand out against the rest of the tracklist.

Zagreus was where I realised I'd been missing out on Periphery. Released alongside Wildfire as the second single, it felt like it was underappreciated, especially since I loved it so much more than Wildfire. I loved the super groovy and unconventional rhythms, the plethora of harsh and clean vocal sections that all had their own unique take, the unbelievably catchy chorus (how does he keep doing it?), the super tasteful guitar solo and the amazing ending that had great hooks and an atmospheric sound that I love. I could not stop listening to Zagreus when it came out, and I spent a long while wondering whether I liked Zagreus or Atropos more.

Dracul Gras sits at an impressive twelve minute runtime, and it is chock full of interesting moments. There's the solid metalcore-esque first segment, the more soft rock part four minutes in that has the solo, the third segment that brings back the metalcore sound in a heavier form, or the last two minutes of semi-ambient electronic interlude that's super atmospheric and relaxing to listen to. With it's long runtime, I honestly haven't been able to perceive the whole song as a whole yet, but it's definitely fun to get lost in each of the sections.

Thanks Nobuo runs into a similar problem of being really long, even if none of the eleven minutes feel dull, where I don't feel like I really know the whole song as one song. It definitely has its fair share of catchy lines and great instrumental work, especially with the chorus, but by this point in the record's runtime, it is hard to make an outstanding impression. The three-and-a-half minute ambient outro is a pretty cool inclusion though, I think despite possibly being a unnecessary inclusion for some listeners, it fits really well, both for the conceptual consistency (most of the songs have some sort of an electronic interlude ending) and to ease out the listening experience.

Periphery V: Djent Is Not A Genre is my favourite release of 2023 yet, having absolutely blown me away at the sheer amount of artistry present within these nine songs. It's more than clear that every part of this record was made with immense creativity and love, and refined to perfection by a band so far into their masterful career. Despite not having heard any of their earlier discography, I want to go out on a limb and say that this is probably their best record yet, because how could anyone beat this?

Rating: 10/10

Tracklist:
1. Wildfire
2. Atropos
3. Wax Wings
4. Everything is Fine!
5. Silhouette
6. Dying Star
7. Zagreus
8. Dracul Gras
9. Thanks Nobuo

Wednesday, March 22, 2023

Song: Spiritbox - Rule Of Nines [2019]

When it came to the massive and sudden rise in popularity for Spiritbox, I think there were two singles before Eternal Blue's album cycle that were integral to the band's success. Rule Of Nines is the first of the two singles that further solidified both their sound and their name as a forced to be reckoned with in the modern metalcore scene.

There's a subtle evolution in their sound compared to their self-titled EP that started to emerge, beginning with these two singles. Rule Of Nines is the darker yet slightly softer song of the two, even if it is still ruthlessly heavy at the end.

The song immediately kicks off with groovy drums and riffs, I love how bouncy the song feels from the get-go, and I also love the synthwork that gives the song this dark futuristic atmosphere, or dark magic-esque.

Courtney's clean vocal work on this song feels a bit more fancy than usual, especially on the verses. The slightly whispery vocals alongside the cadences and the slight dragging of words is slightly reminiscent of choir work, and whether intentional or not, definitely contributes to the ethereal feeling of it all.

The chorus is maybe not the most hooky but definitely sounds amazing. The riffwork underneath is a very familiar Mike Stringer sound, and the added leadwork halfway in is even more signature. With it altogether, it hones in just about perfectly on what we now know as the Spiritbox sound.

The post-chorus scream section comes at you out of nowhere, and makes for a really surprising but impactful moment. I love how the drumming underneath switches up to a much more dynamic groove during this, giving the moment so much more colour and ensuring no monotony.

There's nothing much different for the second verse and chorus until it hits the breakdown, and again there is just about no buildup for the optimal shock factor. I love the rhythm going on in this breakdown, with the start-and-stop cadence synced up with the lyrics. Courtney's lows, which I've now grown very familiar with, is an absolute beastly thing to hear, especially next to extremely low-tuned zeroes.

There's something about their lyricism in a lot of their songs that strikes me as intriguing, equally poetic and ritualistic. Lines about dreams, shrines and premonitions, use of esoteric words like detritus and schism, they all contribute to this aura of mystery and darkness that this song channels.

Rule Of Nines is no doubt a banger from Spiritbox, and despite being left as a non-album single, I think it is one of their more outstanding tracks in their discography. It did a great job of putting their newly refined sound out into the world, and to draw the attention of the modern metalcore scene to themselves.

Rating: 4/5

Sunday, March 19, 2023

Album: Within Destruction - Lotus [2022]

I don't really know what exactly it was that intrigued me about this record. It might've been the unusual visual aesthetic, the curious singular guest vocalist that I didn't expect, or maybe it was just a window shopping cherry pick that made it to the ears, having seen bogdanhxc listen and talk about it.

It sure as hell is a fun as FUCK album though, this shit slaps. It's such a fun heavy, like a more playful version of Brand Of Sacrifice. The band definitely has little bounds in technique, and their music has a lot of insanity and cool moments alongside great electronic and soundscape work.

Their guitarists love the pitch shifter pedal, that's for sure, but they make really fun and cool riffs and moments out of it, so I really can't complain. There's a sizeable number of moments in this record that revolve around a sudden super high note riff, but they sure are fun to listen to. Some of them even score a stankface from me, which is not the easiest thing to do. The one in Nightmare especially smacks the most, so quick and to the point.

Their drummer is a beast, by the way. He doesn't disappoint at all throughout the album, but goes especially crazy on P.O.P., and those final few seconds of that song. I didn't even know those speeds were possible on the double kick, and it definitely is a jawdropper if you are hearing it for the first time.

I can't attest to the catchiness of their choruses, because personally none of them stuck for me, but their songwriting is not subpar. It just happens that their song structuring is very unconventional, and I really don't always know where I'm at in the song. For what it's worth though, there is no song on this record, and no part in any song, that feels weird or off. Everything fits, everything makes sense, and for the most part, everything sounds really cool.

I didn't expect to see LiL Lotus here, that's for sure. I'm more familiar with his work in If I Die First, and while I know he is comfortable with heavy, I didn't expect him to bring his pop punk side to Within Destruction's electronic metalcore/deathcore sound, and although I am a tiny bit disappointed he didn't scream much, his incorporation throughout the song is commendable.

I can't say that the record is extremely memorable, but it definitely is fun to listen to. None of the songs are a miss, it just happens to be that not many of them are a hit either. Neo-Yakuza sure is funny but not a repeater, P.O.P. is heavy beyond belief but still doesn't stick around that much, and Ultima is a pretty cool instrumental track reminiscent of Polyphia yet still not something I'd go out of my way to play.

I think at the end of it, Lotus is the kind of record that I will never mind playing but doesn't really come to mind a lot either. It has a very fun and playful metalcore sound but just doesn't do too well in leaving a lasting impression on me. Regardless, still a cool record to have experienced and definitely worth listening.

Rating: 7/10

Tracklist:
1. Lotus
2. Toxic
3. Nightmare
4. Survival
5. Scars
6. Revenge
7. Dying World (feat. LiL Lotus of If I Die First)
8. Dehumanized
9. Illusions
10. Neo-Yakuza
11. P.O.P.
12. Ultima

Lyric Of The Week 55: The Kids Aren't Alright

"When it rains, it pours, stay thirsty like before."

Fall Out Boy - The Kids Aren't Alright, from the album American Beauty/American Psycho

Thursday, March 16, 2023

Song: Tallah - Overconfidence [Matriphagy, 2020]

Compared to The Generation Of Danger, it's pretty easy to pick one song to talk about here. Overconfidence is by far Tallah's most popular song, and for good reason. This song is on par with and even outweighs some songs from The Generation Of Danger, and is a delight to listen to.

The intro to this song is so succinct and impactful, leading the listener in with a groovy drum beat laced with a long horn sound before switching over to Justin's growls, a solid low to start off the song. The chord progression is solid, and the little riff work on top of it is tasteful.

The verses are so full of character and personality, with Justin's dramatic rapping full of breaths and raw energy taking the charge. The gritty bassline and drums underneath produces such a unique sonic texture to lay his vocals upon, and it is a treat for the ears. When the guitars come back in to raise the energy for the chorus, it does its job cleanly.

The chorus of Overconfidence is literally perfect. Tallah hit the jackpot when they were writing this one, because it is stunningly good. The chord progression underneath his pristine sing-scream vocal melody line, is without a doubt a great hook. I can never not sing along to it, it's just such a great chorus.

The second verse hits different, and in a very tactful way. The drum solo going into it is super fun, the added dissonant riffing to the verse is also super fun, and the increased intensity in his rapping is super cool, especially with that line about the bullets. You can really feel the energy amp up throughout as he starts to scream more and the instrumentals get more intense, as it transitions back to the chorus.

The bridge is so, so fun. The riff and drum pattern is unbelievably groovy, it makes me want to bounce around like a beach hall. Justin's vocal part for this section feels simultaneously impressive and playful, with how low he goes, and the subsequently after with the quick vocal technique changes. I thought it sounded funny at first, like as if it was a playful joke-like bit included in the song, but it also sounds really cool and definitely very hard to do.

The final chorus really hits different. The lyrics change a bit, and I especially love how he delivers the "never one and the same" line going into the "overconfidence" part. The little high-pitched scream is underrated, and the way he effortlessly switches from vocal technique to vocal technique is jaw dropping.

Overconfidence is a super rounded out piece of writing, starring all the strengths of what makes Tallah, Tallah, but without any of the over-exertions that could make it feel less impactful or slightly pretentious. It's a distinctive track with the right amount of catchiness to hook in new listeners without losing the essence of Tallah. And above all, it is such a banger track and I love listening to it, singing along to it, and screaming along to it.

Rating: 5/5

Monday, March 13, 2023

Album: Tallah - Matriphagy [2020]

I very quickly found myself wanting to hear more of Tallah after soaking in the magnificence of The Generation Of Danger, so it didn't take long before I listened to their debut album Matriphagy, the full-length expansion to their No One Should Read This EP.

Because of all the chronological reasons, both from me as a listener and them as a band, it really feels weird to think of this album as a predecessor. Having heard it after The Generation Of Danger, knowing the band wrote most of The Generation Of Danger before Matriphagy, and simply because both of them are so similarly top notch that there's no difference in quality to lend as reason to a time difference. In a very weird way, I think of Matriphagy and The Generation Of Danger as sister albums, not conceptually or anything, just two sides of the band.

Matriphagy boasts a much darker storyline compared to its concept album brother, and coincidentally happens to be a slightly less melodic album, which can be interpreted as "heavier" to a certain extent, even though both records are plenty heavy. Since the No One Should Read This EP existed as a complete story, expanding the tracklist is bound to have some filler storyline, but they did remarkably well in keeping the concept storyline engaging throughout a much longer runtime.

Matriphagy may not personally be as big of a goldmine of moments for me than The Generation Of Danger, but there is absolutely plenty of great ones throughout and is as much Tallah as The Generation Of Danger.

The theatrics are still alive in songs like Kungan and We, the Sad, the vocal range is still evident in many songs but especially Overconfidence, the rapping is still as fast in songs like Too Quick to Grieve and Red Light, and the instrumentals in every song is still as beastly.

The familiarity curve definitely kept its presence, but having heard Tallah a lot already made it a lot easier to sink into Matriphagy. I think that as much as there are things Matriphagy have in common with The Generation Of Danger, they are also vastly different in essence. There's a subtle but evident difference in the atmosphere they create in Matriphagy, the theatrics play differently because of the characters involved, the darker tone bleeds into the grooves, chord and melody choices, and the pacing feels different with their tracklist and interlude arrangements. In fact, I didn't expect them to have the borderline of pain be where it is, or exist at all, for a band of their calibre, and it did surprise me for them to have a traditional interlude anywhere to be honest.

I can definitely see why their fans love Matriphagy so much, and I absolutely do love it too, but I have to say that I personally love The Generation Of Danger more. They are both stellar albums, but The Generation Of Danger beats out Matriphagy by a hair, just for first impressions and an overall slightly better experience. Matriphagy fucks though, let's make it clear. Brilliant story, brilliant music, no misses anywhere.

Rating: 9/10

Tracklist:
1. [redacted]
2. No One Should Read This
3. Kungan
5. Placenta
6. L.E.D.
7. The Silo
8. We, the Sad
9. Too Quick to Grieve
10. Cottonmouth
11. Murder Seed
12. the borderline of pain
13. Red Light

Sunday, March 12, 2023

Lyric Of The Week 54: doomscrolling

"I wanna know, are we the bow or the arrow?"

Architects - doomscrolling, from the album the classic symptoms of a broken spirit

Friday, March 10, 2023

Song: Tallah - Vanilla Paste (feat. Chelsea Grin, Fire From The Gods, Guerilla Warfare) [2021]

My first taste of Tallah was with the mega-collab song Vanilla Paste, with an impressive roster of guest vocalists alongside Tallah's Justin Bonitz in a six-and-a-half minute song. I remember being super intrigued and hooked on to by this song because it was simply so different, unconventional in so many ways, and within all of that, was really fun to listen to.

It's actually a relatively calm song for Tallah, considering their usual level of energy is beyond intense. There's a lot more cleans and a lot less chaotic instrumentals used in this song, although that doesn't mean they got any softer. Justin definitely hasn't lost any of his charm with his theatrical vocals, only now it's expanded to a particularly hypnotizing clean vocal technique on the chorus.

It's really cool that the guest features got to mix up the style so much on each of their parts. I wasn't familiar with Fire From The Gods or Guerilla Warfare before this (and still am not), but it's evident that they got to put their own touch on their guest sections. Garrett Hood's rap was underlaid with fittingly fast double-kicks and sparse guitarwork to let his flow shine, and AJ Channer threw in a choir-like ballad moment in the midst of his section with Justin doing backing clean vocals to accentuate it. And well, Tom Barber is just being Tom Barber, Tallah happily giving him the heaviest, filthiest breakdown to match his monstrous growls. Those glitches and high-pitched noises, the low-tuned chugs, the slow-down outro, simply brutal.

I'm not going to lie, it feels like a masterpiece of some sort. A moderately long, multi-sectional modern alternative metal track that blends in many different styles of genres, a collaboration of both old and new blood powerhouses, it's honestly amazing that it even happened, much less with such spectacular results. Tallah is definitely in the top few of my current personal favourite bands, and this is one of the many reasons why.

Rating: 4/5

Tuesday, March 7, 2023

Album: Tallah - The Generation Of Danger [2022]

Tallah's sophomore album The Generation Of Danger honestly caught me by surprise near the end of last year. My only experience with them was Vanilla Paste, which I love a lot, but otherwise didn't know much at all about the band. I knew they were up and coming, and highly praised by their fans, which usually is a good sign, but I definitely wasn't ready for what this record had to offer.

Tallah's self-coined "nu-core" sound is unbelievably innovative and unique, evident throughout this entire mind-blowing record. The sheer density of skill and talent in writing and performing is unmatched, and they honestly do stand out so much in the vast seas of the modern metal scene. It's been a very long while since I've been this pleasantly surprised by a record from a band I don't know much of.

The sound diversity that Tallah achieves is amazing, especially with a near-live soundscape design. With a turntable/keyboardist alongside the generic band setup, their members collaboratively manage to produce a variety of intense emotions, projected into a wild storyline thought up by their vocalist, Justin Bonitz.

Justin Bonitz and Max Portnoy contribute a lot to the core of Tallah's sound. Both of them are very talented and experienced musicians, especially in the genre of chaos. The rest of the members also play a big part in forming the essence of Tallah, whether it's the scratching work or the riffage, but it is undeniable that the bulk of Tallah's specialty is perpetuated by Justin's incredible vocal work and Max's drumming and creative vision with every element.

I admire Justin's completely unhinged and theatrical performance and style in all his work, but this record especially. He's pushing the limits both personally and in the entire harsh vocals scene, whether it's lows, highs, or indescribable monster sounds. It just wows me how vast his vocal range is, hitting the lowest of lows and the highest of highs with complex techniques, whilst fusing classical clean singing and rapping into the mix, to produce such an adaptable and versatile voice so full of character and personality. It is immediate and evident that in his vocal performance, he is completely in the headspace of the characters in the storyline and portrays it very well, whether it's insanity, rage or hope.

Their instrumental work is beastly, both in technical execution and songwriting. I honestly can't imagine being able to write or play something with these many layers of complexity, something so intentionally chaotic yet organised, something that aims to be relentlessly intense but never pretentiously brutal. The drumming is truly stellar and is unmistakably the backbone of the entire record's energy, and the texturing by the guitarists and the keyboardist is so on point. There was never a moment in this record that felt out of place, everything fit in and made sense, they had a consolidated and concise sound and everyone was on the same page.

This record has so much intricacy to it that I simultaneously cannot do justice in deconstructing it but also could never stop talking about it. Putting this record on again and again the past few months, I never stopped finding new things to admire and adore about this record, and fell in love with just about every song, one after another. It's honestly quite a feat, I've never felt this conflicted about picking a favourite song from a record before. I thought my favourite song was Telescope, but then it became Wendrid, then it became Dicker's Done, then it became Shaken (not stirred), then it became Headfirst, then it became Thistle, and for some unsubstantial amount of intermittent time I really liked Stomping Grounds and Of Nothing too. It's actually unprecedented for me to have so many songs on one record be on such a high bar that I can't pick a favourite.

This record has captured my heart in a way that no other record has. It really was more than just heavy, it was an eye-opening flavour of expressiveness, raw unbridled skill and unbelievable quality. I've always loved controlled chaos, but this is a new level of chaotic and I am only more in love than ever with music, modern metal and Tallah.

Rating: 10/10

Tracklist:
1. mud_castle
2. The Hard Reset
3. Stomping Grounds
4. The Impressionist
6. For The Recognition
7. Of Nothing
8. Dicker's Done
9. Telescope
10. Wendrid
11. Headfirst
12. Thistle
13. How Long?

Sunday, March 5, 2023

Lyric Of The Week 53: Caraphernelia

"I'll burn your name into my throat, I'll be the fire that'll catch you."

Pierce The Veil - Caraphernelia, from the album Selfish Machines

Saturday, March 4, 2023

Song: Tallah - Shaken (not stirred) [The Generation Of Danger, 2022]

Picking one song that I wanted to talk about the most from The Generation Of Danger was hard, because I love so many of the songs on the record for so many different reasons, but I eventually settled on Shaken (not stirred) because it had the most variety of moments to dive into.

Tallah is insanely talented in everything they do, and it's really hard to accurately describe the skill level they're at. Justin Bonitz's vocals is definitely a core part of Tallah and it's appeal, but I will never let it overshadow the fact that the rest of the band is also immensely critical to the sound of the band. Whether it's the violently dynamic drumming, the insolent guitarwork or the tasteful turntabling, they all contribute very significantly to the overall nu-core sound that they boast.

Shaken (not stirred) sees Justin at his most diverse vocally, utilising some of the very extreme techniques in his arsenal. With his iconic sing-scream as a baseline, he goes for some brutally low growls and ear-piercing highs in this track, peaking with a mind-blowing whistle scream in the bridge. As usual for him, he embraces his own theatrical nature when performing, and it's evident in how much more animated and lively his vocals are, without a single hint of monotony.

The instrumentals don't shine too brightly in this song but they do such an important job of providing the foundation for Justin to do vocals over, and the foundation is rock solid. The tones are so distinct and unique but work perfectly for their sound (especially Max's snare tone, brilliant), and the electronic and turntable work really sells the chaotic nature of their sound alongside relentless riffing and complex drumming. The guitarists also incorporate some effects to spice up their riffwork, like pitch shifters and wahs, which just adds to the beautiful chaos.

The soundscapes are surprisingly orderly for how much is going on at any time. The drumming has so much personality and rhythm, the scratching is always where it needs to be, the riffs are never too complex but always just the right amount of chaotic. And despite how extreme Justin's vocals gets, he always enunciates properly except for when he intentionally doesn't want it to, and it's wild how clear his words are even when he's trying to sound like a demon.

I have a soft spot for the clean singing part in this track. Not only for the fact that it is clean vocals and feels very theatrical, but the production surrounding it feels so fresh and exciting for them. The choir going on in the background, the backup vocals, it's something that feels new for Tallah.

Justin has always had a knack for writing both memorable melodies and really, really cool lyrics. The chorus on Shaken (not stirred) is one of the better ones on the record, and there are also some great lines to boot. The whole "misfortune rang" section is brilliant, "I dared to walk the blurring line" is so cool and the secondary chorus melody is amazing.

I could go on and on about this song, there's so many subtle details that I've noticed from playing this over and over again that make the song even better than it is already. I haven't been this excited about a band, record or song in a long while, and it's such an amazing feeling to find amazing music again.

Rating: 4.5/5

Wednesday, March 1, 2023

Album: Alpha Wolf - A Quiet Place to Die [2020]

Alpha Wolf is one of the most notable names in pissedcore right now, and I love them for it. With their sophomore full-length, they've put themselves firmly on the modern metalcore map, boasting an unmatched aggression and raw emotional capacity.

A Quiet Place to Die sees them refining their metalcore-hardcore sound to near perfection, with an undeniable essence of rage and a subtle edge of tastefulness. For a sound centred on intensity and impact, they've found many places to accentuate and enhance the ambience and build the soundscape outside of the moments.

They obviously have a knack for great moments, whether it's vocal deliveries, guitar riffs or drumming patterns. A lot of the record is infused with both groovy rhythms and sharp chugs, keeping you constantly switching between headbanging and bouncing.

They also know what they're doing with pissedcore for sure. Their use of dissonance is unforgiving, the vocals are downright pissed and the influences from beatdown and metalcore are evident. Effective tempo changes, chug patterns, drum pattern choices, vocal callouts and production work make for an extreme and relentless experience.

The topics they touch on are definitely quite personal and sensitive, primarily on mental illness, anger and hatred. Some of the more rage-centric songs definitely suit pissedcore with insinuations of murder or suicide, complemented with a plethora of edgy lyrics, but the more vulnerable and sorrowful picks on this record definitely have an emotional light to it. It's subtle but clear that the topic of love and loss is woven throughout the album as well, and with a genuine human-ness to it.

Alpha Wolf's second album is definitely quite a remarkable piece of modern metalcore, and is a lot more than just what's on the surface. I think it's definitely worth listening to to get a better sense of the modern metalcore landscape, but it's not something I come back to very often.

Rating: 7/10

Tracklist:
1. a quiet place to die
2. Creep
3. Golden Fate; Isolate
5. Acid Romance
6. Rot In Pieces
7. bleed 4 you
8. Ultra-Violet Violence
9. The Mind Bends To A Will Of Its Own
10. Restricted (R18+)
11. don't ask...