EP: Lorna Shore - ...And I Return To Nothingness EP [2021]

It's honestly a bit wild coming back to the EP that blew Lorna Shore up, almost two years after it came out. I remember how big of a wave To the Hellfire made, not just in the deathcore community, but in the modern metal scene and even the YouTube reactor space. A lot of the attention was thanks to social media influence like tiktoks and reaction videos, but there's no denying that Lorna Shore deserved every little bit of it.

They might not have been pioneers of their orchestral-influenced blackened deathcore (and sometimes melodeath) sound, but they definitely made it their own and made a name for themselves with this short EP. Even though To the Hellfire did the heavy lifting in getting people talking about them, I think the other two tracks rounded out their new sound very well.

To the Hellfire first, their top song to date and one of the biggest metal highlights of 2021. The acoustic intro is underrated but I feel like it was actually quite important in making the experience slightly more smooth for new listeners, especially non-metalheads. Quickly though, they get into the core part of their sound, with tremolo picking, fast double-kick drumming and Will's gnarly vocals. For the most part, this song is relentless in brutal delivery, with a handful of great moments to boot. The orchestral elements are quite subtle in this song compared to the other two but it still gets the job done. The breakdowns are super impactful, making great use of spacing and contrast to maximise heaviness. The solo is pretty impressive, not lacking in technicality and very interesting. And of course, the final breakdown that went crazy over the internet, was honestly a really well crafted moment. The breakdown leading into it is epic enough, switching up a few things to make it sound even heavier (and that "fucking" sounds pissed), before throwing in Will's signature snarls and then the lowest-and-slowest breakdown of them all.

Of the Abyss is a different change of pace, most notably with the choir elements. It manages to maintain most of the heaviness of To the Hellfire, but definitely presents itself as a much more melodic track. I think this track also showcases more of their capabilities in designing soundscapes, both in brutality and in beauty. The guitar parts take on a bit more riffiness in this song and don't make use of their tremolo style as much, which gives it a bit more weight here. Will's vocal range in this song is also much, much wider, and is one of the reasons I like this more than To the Hellfire. I like that he has more space to try out different vocal techniques here than in the other tracks. The solo is stellar as well, arguably better than the one in To the Hellfire, and the breakdown right after is simply nasty. I love how it loses all traces of melody to give the brutality the spotlight, and Will just lays down some absolutely monstrous vocals.

The title track is their (relatively) softest track, cranking the symphonic and melodic elements to maximum. They showcase their ability to make massive and epic soundscapes the best here, especially with the chorus, intro and outro. The choice to not have a breakdown is a commendable one, and I personally think it gives this song much more colour to not have a sudden jarring breakdown moment. It's great to see much more melody persisting throughout the track, and the drummer making use of a bit more dynamics than just the usual double kick blast beats. The spaciousness in the verses and bridges is also quite refreshing to hear.

This three-song EP quite concisely represented the range of their new sound, fronted by a new vocalist who would go on to bring the band to new heights. Despite its short runtime, it managed to showcase their revolutionising of the deathcore sound with their unique symphonic blackened version, leaving in it's wake one of 2021's biggest modern metal moments and the sharpest rise of any metal band in current day social media. Definitely one to go into the history books.

Rating: 8/10

Tracklist:

1. To the Hellfire
2. Of the Abyss
3. ...And I Return to Nothingness

Lyric Of The Week 61: ENLIGHTENMENT(?)

"Spill divine alibis as we drink them in."

While She Sleeps - ENLIGHTENMENT(?), from the album SLEEPS SOCIETY

Song: Trophy Eyes - Figure Eight [2020]

I remember finding this off of ARTV's top 50 songs of 2020, and at first it was just a song that sounded nice, quickly buried by other liked songs. Then, for whatever reason, I played it again a few weeks later and it suddenly clicked for me how good this song was.

Figure Eight has this carefree and exuberant youthfulness to it that is rare to find in this potent of a degree, despite it being a core theme of the pop punk genre. There's this level of half-cynical cheerfulness they manage to achieve with a creative selection of musical elements, alongside what can only be genuine and passionate singing that really sells the whole thing.

The moment the song starts, it's like a shot of endorphins. The spacious group vocal chanting "woah", the soft lead line, the ambient synth, the bouncy drumming, it just crafts this happy soundscape that sets the tone for the rest of the song, especially as reoccurring elements in the chorus.

There's just something about his vocal tone that fits perfectly with what they're going for, as well as his delivery. It has this youthful essence with a tinge of nostalgia, equally energetic and emotional. His vocal performance throughout really does paint the picture of long-time friends reminiscing about old times and sparks trying to fly, at least to me.

The chorus is nigh perfect. It's the best of this cheerful sound they're going for all in one place, with most of whatever was going on in the intro, but with a brilliant hook on top. I love how he lets his enunciation give way to his cadence and rhythm to let the emotion shine through as brightly as possible, because it is a pop punk song after all.

I love how they approach the second chorus, with that gang vocal acapella version in front. The sparkly sound effects and soft guitar lead at the back just sell the atmosphere. It feels like those nights when you're young and carefree and all life was about was having fun with your friends. It has all the makings of a nostalgia anthem, the kind people chant along to en masse.

The saxophone solo is simply gorgeous. It's not the kind of fancy show-off solo, but rather a much more tasteful and emotional one that does this song justice. It's not overtly technical, but it is impressive to hear the amount musicality in it, and how well it goes with the rest of the song.

Figure Eight is one of the happiest songs I've ever heard in my life. Not only that, it feels genuine and unforced, like how some songs get real dramatic about it and never acknowledge the sad stuff, this song doesn't do that. It manages to be so many things in just three minutes: nostalgic, youthful, happy, bittersweet, and anthemic. And most important of all, it's captured my heart.

Rating: 4.5/5

Album: Fall Out Boy - So Much (For) Stardust [2023]

After five years, in the aftermath of the global pandemic, and in the midst of the modern post-punk revival, Fall Out Boy is one of the most recent big names to rise from the ashes after a long hiatus. So Much (For) Stardust is their eighth studio album, and a decently long time coming, with the same period of a hiatus as the first time they did it between Folie à Deux and Save Rock And Roll.

The moment I knew they were starting another album cycle, I was more than excited. I caught Love From The Other Side the hour it dropped, and it only got me more excited. Fall Out Boy has been a strong contender in being the next rock-turned-pop sellout band, especially with the less than satisfactory work on MANIA, but Love From The Other Side saw a lot of their older sound, and more importantly, their stronger writing back in full force, albeit modernised. Heartbreak Feels So Good as the second single, even though not the most impressive, at least let me know that we weren't looking at a lone hit single record type of deal, so I eagerly awaited March 24th.

I wanted to listen to this record a considerable amount before I decided what to write on it, because I didn't want to jump to conclusions with a band that has consistently made me rethink their work time and time again, and also because a lot of music that has come out since the pandemic has seen a noticeable change in sound, for better or for worse, and holding onto expectations of their previous sound has always been a bit misguided. I am quite happy to say, though, that after drilling every song into my ears, I do love this record to death.

It's hard to say that this record is a return to form, because it's not really, and I don't think they ever intended it to be either. So Much (For) Stardust is a brillant and striking development in their creative evolution, and the only true return to form here is how they brought back the unbridled and unstifled creativity that made some of their best albums. Fall Out Boy has always been a band that dared to think outside the boxes and blur the lines, and there are always some successes and failures that come along with that kind of experimentation, but they've always been such a strong creative force that could almost guarantee some ingenuity in whatever they do.

The thing I immediately noticed, and was super grateful for, was seeing the guitars and drums play a major part in the record once again. It was a disappointment to see both elements so ruthlessly sidelined in MANIA, despite their roots as a rock band and all, and I felt that there could've been better ways to go about a pop-leaning record without losing touch with half their band's art. Seeing both Joe and Andy get to play their instruments again, and in such a strong degree of expression as well, was heartwarming. It felt like they found their soul and sound after having lost it in the rush to stardom.

It's obvious that the record is influenced by the pandemic, I think it'd be weird if it didn't. I enjoy the themes of retrospection and cynicism, byproducts of the paradigm shifts in society, recovery and growth, and iconic to their band, themes of love as well. Despite that, they make a record that is quite well-rounded, not at risk of becoming dated in years to come, which is quite a feat.

I hate to compare records to records like this, but it has to be said that this feels like a spiritual successor to Folie à Deux in a way, just because there are so many parallels to be drawn between the two. The hiatus preceding them to begin, but also how it stands out from the rest of the discography in it's sound. Both were very instrumentally and creatively diverse, with edges of experimentation, distinctly contrasting from the rest of their discography. Both were worked on at length and carefully by the band to make songs that made use of a lot of new and untouched instruments and techniques. Both were controversial to a big extent, seeing a divide in their fanbase as hate came from fans wanting their older sound back and love came from those who understood and appreciated their creative endeavours. They both share use of orchestration and compositional work, spoken word interludes, diverse genre influences and songwriting unconventional to their existing discography. It even saw the same return of previously neglected elements of guitar and drums in the songwriting process, which is admittedly an odd thing to have happen twice.

There are so many things to love about this record. I loved seeing Pete's lyrical ability in such a strong position once again, alongside Patrick's stellar vocal work that comprised many of the record's quality lines and hooks. Some of my favourites include "What would you trade the pain for?" on Love From The Other Side, "So make no plans and none can be broken" on Fake Out, the bridge on So Good Right Now, the chorus of I Am My Own Muse and the entirety of the title track. The instrumentation has reached a peak to rival their pre-hiatus work, whether it's the piano intro to the record, the guitarwork on Hold Me Like a Grudge's post-chorus, the short guitar solo-ing on the final chorus of Heaven, Iowa, the orchestration on I Am My Own Muse, and the absolute compositional masterpiece on the title track, which just happens to boast the most refreshing and dynamic drumwork from Fall Out Boy in a while.

It is so unreal, and awesome at the same time, to see a band older than me, and all along regarded as a legendary band of its time, still around and releasing music to this day. The modernisation of their sound may be a controversial and critical one, but it is simply astonishing to see that their creative energy and force has never faded with time, and adapting to the music as music evolved. Beyond the brilliant songwriting and music itself, they are such an inspiration for musicians with the way they push boundaries of both the scene and their own, challenging themselves to make meaning with everything they do.

I think they've outdone themselves with this record. Fall Out Boy has always been the kind of band to walk the fine line between pretentious and genuine creativity and consistently end up on the right side, something they've fine tuned since the days where they didn't have enough time to refine their songs and had to heavily lean on the "first-thought, best-thought" mentality. So Much (For) Stardust has serious potential to claim the title of being their best record, and I have to let recency bias and the contrast of MANIA die down before I can confidently decide, but in the meantime, it is more than safe to say that this is a brilliant record from the fall out boys.

Rating: 9/10

Tracklist:

1. Love From The Other Side

2. Heartbreak Feels So Good

3. Hold Me Like a Grudge

4. Fake Out

5. Heaven, Iowa

6. So Good Right Now

7. The Pink Seashell (feat. Ethan Hawke)

8. I Am My Own Muse

9. Flu Game

10. Baby Annihilation

11. The Kintsugi Kid (Ten Years)

12. What a Time To Be Alive

13. So Much (For) Stardust

Lyric Of The Week 60: cold weather

"I didn’t miss the cold weather, I just missed you."

glass beach - cold weather, from the album the first glass beach album

Song: blessthefall - Hollow Bodies [Hollow Bodies, 2013]

The title track of metalcore band blessthefall's fourth album is better known to me as one of the first few 2010s metalcore songs I fell in love with, largely due to having seen Nik Nocturnal's cover of it.

First impressions are some of the strongest, and when I was just starting to get into metal, there was this period of time where I wasn't even fully aware that I liked metal. So when I went from I Prevail's Hurricane and Bring Me The Horizon's Drown to songs like Beartooth's The Line and, more relevantly, blessthefall's Hollow Bodies, it clicked and my mind was blown.

I love the intro/main riff of this song, there's this sound of 2010s metalcore that this riff hones in on almost perfectly (well, if you think about it, it's more like it defined the sound). I love the glitchy beats at the start coupled with the riff starting off a bit softer and muffled, so that when the verse starts, there's this brutal punchiness to it that complements the screams. The guitar tone is spot on as well.

The screams are super strong, and I think it was my favourite thing about this song when I first started listening to it. There's this visceral quality to it, especially with the higher notes, that made it sound so monstrous and powerful. Not to mention, the lyrics were also evil-sounding, which just added to the atmosphere. The buildup and callout going into the final breakdown are one of the most effective moments I've seen, and it is absolutely brutal.

The clean vocals are robust, and although this song is one where the cleans take a bit more of a backseat, he still does a great job with the chorus and verse lines. If you're looking for songs where he gets to shine, Hey Baby, Here's That Song You Wanted is a better pick.

The guitarwork is brilliant throughout this song, and it's grown on me a lot as I've improved as a guitar player, now being my favourite thing about this song. The use of tremolo sections, tapping parts, pinch harmonics and chugs are all so iconic to that era of metalcore and also executed beautifully in this song. It's also been super fun to learn and play this song too, and as one of the first few songs I learned and sort-of mastered on guitar, it definitely has sentimental value to boot.

Hollow Bodies is more or less a metalcore classic, save for those who grew up with 2000s metalcore and prefer bands like Avenged Sevenfold and Killswitch Engage. As for me, a metaphorical baby when it comes to listening to metal, my classics have been more or less sporadic, and most are modern classics to begin with, so Hollow Bodies is a rare exception that I'm glad to highlight here.

Rating: 4/5

Album: Fall Out Boy - Folie à Deux [2008]

Folie à Deux is the first of Fall Out Boy's eventually many controversial records, and an underrated one at that. There are people out there who feel that this album was overhated, and I have to agree despite not being there when it was released. For a band so big and yet constantly challenging and reinventing their sound, Folie à Deux represents one of their most daring and creatively successful explorations of sound, only to meet disappoint from fans who wanted their old sound.

I didn't know about the controversy behind this record when I dug in. I was familiar with the top hit I Don't Care, but I was otherwise stranger to the record, and my first listen was very promising. I found many of the songs intriguing to listen to, and the deviations from their old sound were all full of potential. Like most albums, I let it grow on me a bit before deciding, and it turns out that I do in fact love what this record does and represents for the band.

For a band four records in on their wildly successful pop punk sound, I can imagine the pressure on wanting to expand their art creatively but also wanting to meet expectations on their sound. Folie à Deux was such a daring, and I can only assume intentional, change of sound that not only showed more of their true capabilities as artists, but also set the foundation for their music to branch out wider than ever in the following years.

They introduced a lot of elements that they never touched before throughout this record, allowing them way more degrees of expression than ever before. The significant incorporation of piano and orchestral elements, making use of more unorthodox lyrical and vocal work, taking influences from soul and R&B, letting musical inspirations like Queen, Bob Dylan and Metallica guide their sound. They cover a truly impressive amount of musical ground in thirteen songs, lending from the musical talent of many other names in the musical industry. Patrick Stump features an impressive array of vocal textures by himself, but the stacked list of guest vocalists do wonders in filling in that last bit of variety, whether it's Brendon Urie duo-ing with Patrick on 20 Dollar Nose Bleed, Lil Wayne adding some robot-like vocals to the bridge of Tiffany Blews, or the mass cameo section on What A Catch, Donnie, reprising many of Fall Out Boy's lines from their best work.

Some of Fall Out Boy's most creative endeavours reside in this tracklist, which is why I consider this their best record in both musical quality and creative direction. Moments like the repeating "I didn't" ending with "I don't", gang vocals on the bridge of Disloyal Order Of Water Buffalos, the lengthy call-and-response bridge of I Don't Care, swooning choirs on certain words of America's Suitehearts, the stripped down outro of w.a.m.s., and the spoken word ending of 20 Dollar Nose Bleed, they're what make this record so different from the rest. They're evolving into something more unique, becoming more than just a pop punk band.

If you have an open mind and just listen to this record a few times, you'll come to find so much ingenuity and passion within each nook and cranny of this record. No moment feels cheap, no song seems rushed, and every song has something special to it's name. Folie à Deux may not have been their breakout record, but it represents one of the biggest peaks of their creative energy and of their best collective efforts in a long time, maybe ever.

Rating: 10/10

Tracklist:

1. Disloyal Order Of Water Buffaloes

2. I Don't Care

3. She's My Winona

4. America's Suitehearts

5. Headfirst Slide Into Cooperstown On A Bad Bet

6. The (Shipped) Gold Standard

7. (Coffee's For Closers)

8. What A Catch, Donnie (feat. Brendon Urie of Panic! At The Disco, Bohnes of The Cab, William Beckett of The Academy Is..., Elvis Costello, Travis McCoy of Gym Class Heroes, Doug Neumann and Gabe Saporta of Cobra Starship)

9. 27

10. Tiffany Blews (feat. Lil Wayne and Bohnes of The Cab)

11. w.a.m.s.

12. 20 Dollar Nose Bleed (feat. Brendon Urie of Panic! At The Disco)

13. West Coast Smoker (feat. Debbie Harry of Blondie)

(Tags that I couldn't add due to a character limit: William Beckett, Elvis Costello, Travis McCoy, Doug Neumann, Gabe Saporta)

Lyric Of The Week 59: Where June Meets July: III. at a Dance Where the Stars Cross

"Can you fence life in, when life like wind, is the movement made, not the air moving?"

Adjy - Where June Meets July: III. at a Dance Where the Stars Cross, from the album The Idyll Opus (I-VI)

Song: Crystal Lake - Mephisto [2021]

I never really got into Crystal Lake, despite all the attention they've been getting from the modern metal scene. I liked Into The Great Beyond from their rerecorded album, but most of their recent work slipped past me. Mephisto caught my eye though, partially due to Nik Nocturnal reacting to it, but I found it a super fun track to listen to.

It's my first and so far only taste of the heavier side of Crystal Lake, and it sure is heavy. Named after one of the pseudonyms of the devil, it definitely has a hellish atmosphere to it, and thematically relevant as well. It immediately comes in with feedback and sharp harmonics to let you know it's angry, and Ryo's vocals are super beastly to match.

The song gets a bit experimental at times with speech bits and weird digital whisper parts, but overall it has a very bouncy modern metalcore sound, with low-tuned guitars and fast drumming. It's relentless in its energy and doesn't give a single break until the solo comes around. Having it on top of the same chuggy riff is a weird choice, but its pretty cool sounding.

The breakdown is the highlight for sure, a great buildup to a perfectly jawdropping moment. The callout with the instrumental dropout just accentuates the growl, and the double kicks are ridiculous. Them going for the lower-and-slower second round is just overkill, but it is so fun to have anyways.

Mephisto is a really fun high-energy track, and despite being mostly one moment, is still a song I enjoy revisiting every now and then. Whether Crystal Lake remains on my radar after Ryo's departure is yet to be seen, as his solo project Knosis has yet to intrigue me either, but I'll gladly keep listening to Mephisto.

Rating: 3/5

Album: Taylor Swift - Midnights [2022]

I never really followed Taylor Swift that closely in the past two decades of her extremely well-deserved stardom, but like the average human, I was aware of the top hits. Unblissfully unaware of the album format and not spending as much time listening to music at the time, I somehow managed to miss the release of the recent few albums as well. Since the pandemic and my sudden increase in interest for music, I was aware of a Taylor Swift album cycle for the first time in my life, and figured that I might as well go for it.

Midnights came not long after Taylor Swift's two sister albums folklore and evermore, and sees a bit of a stylistic shift, although it can be argued that folklore and evermore were the outliers. With a decently sized tracklist that very quickly got buffed up by the 3am edition, I usually consider Midnights as the whole twenty song set.

A lot of Taylor Swift's pop sensibilities and songwriting traits persist in this album, much like most of her releases. Although there are a few moments here and there that feel a bit rough on the edge, the record overall is pretty polished and on brand.

Her lyrics and melodies continue to be pretty creative and poetic as she has proved herself to be countless times, and especially since folklore, the subtle shift from more pop-centric catchy hooks to more intricate and beautiful lines is admirable. Of course there are exceptions, like Anti-Hero, which for the most part seems to be marketed as a very pop-friendly song anyways, so the lyrics being a bit simple is excusable ("Sometimes I feel like everybody is a sexy baby"? I still don't know what it's supposed to mean), but most of the record is interesting enough.

The instrumentals are mostly pretty simple, which is not unexpected for a Taylor Swift record, but I do enjoy some of the stray ones that have a more colourful soundscape. The brutally empty 808s and beats of Vigilante Shit is made up for with the more full-bodied layers on tracks like Labyrinth and Would've, Could've, Should've. Not every track on this record is to my liking soundwise, but most of them are listenable.

The 3am edition additions are comparatively so much more robust than the standard edition, which is partly why I consider the record as the whole twenty songs (the other reason is the short timespan between the release of both). Compared to the standard tracklist, the seven additional songs have a much higher percentage of songs I enjoy, including my favourite song of the entire twenty. The Great War has a great cadence and atmosphere to it, Paris is a great pop hook with some stellar deliveries, High Infidelity is a intriguingly conflicting confessional track, Would've, Could've, Should've is a surprisingly emotional and gut-wrenching track, and Dear Reader is an unexpectedly introspective piece.

Midnights is a logical evolution of her experienced and varied sound, and it might not be the new best album of her discography, but it is a solid album nonetheless. As her tenth album (twelfth if you count the re-recordings), I think it's quite a commendable display of her refined songwriting ability and another powerful showcase of her chokehold on the pop world. Whether you like it or not, Taylor Swift continues to dominate the music industry, and Midnights is no exception.

Rating: 7/10

Tracklist:

1. Lavender Haze

2. Maroon

3. Anti-Hero

4. Snow On The Beach (feat. Lana Del Rey)

5. You're On Your Own, Kid

6. Midnight Rain

7. Question...?

8. Vigilante Shit

9. Bejeweled

10. Labyrinth

11. Karma

12. Sweet Nothing

13. Mastermind

3am Edition:

14. The Great War

15. Bigger Than The Whole Sky

16. Paris

17. High Infidelity

18. Glitch

19. Would've, Could've, Should've

20. Dear Reader
The Til Dawn Edition:

21. Hits Different

22. Snow On The Beach (feat. More Lana Del Rey)

23. Karma (feat. Ice Spice)

(3am Edition Cover)

Song: New Politics - Stardust [Vikings, 2015]

In the midst of the pandemic, I was left with not a lot to do and a lot of silence to fill, so it was a natural catalyst for a lot of musical discovery. Back before I was aware of the album experience, I mostly dabbled in singles and the occasional deep cut find, and I made heavy use of Spotify's daily mixes and recommendations. I don't remember what context I found Stardust in, but I remember falling in love with the song instantly.

I think the most captivating thing about this song is how positive it sounds. It's almost unreal how happy-sounding this song is, with pretty piano melodies alongside a great voice, and for the chorus, high-energy percussion and synths that amp it up so quickly and beautifully. Despite being very pop-like, New Politics managed to capture a pop-rock sound reminiscent of OneRepublic and Imagine Dragons with the orchestral instrumentation and vocal focus throughout the whole track. Of course, there are great lyrics and melodies, especially with the chorus, and despite it's rather simplistic sentiment, it is a well-done one.

My love for this song is one of many remnants of a time where how I experienced music was much, much simpler. It was a time where I didn't think about instrumentation or melodies, about soundscapes and songwriting, I just liked songs if I enjoyed listening to them. It was a time where I didn't need or have much reason to prefer songs over others, and I couldn't be too sure that if I were to discover this song now, if I'd be loving it to the same degree. Yet, that's the amazing thing about nostalgia, isn't it? Music as an experience and how it tied itself to the feelings I had back then is forever a memory I can uncover, buried in those melodies.

The previous paragraph might be an overdramatic way of saying there's not too much to talk about. It is quite a simple song at the core of it's writing, it's appeal mostly brought forth by catchy melodies and an aptitude in evoking feelings. The happiness contained within this track is undeniable, and its a track that I am more than happy to rediscover sitting in my thousands of liked songs on Spotify. Props to sentiment, I suppose.

Rating: 4/5

Lyric Of The Week 58: The Beach II

"The tide comes in, as it must go out, consistent like the laughter."

Wolf Alice - The Beach II, from the album Blue Weekend

Album: AURORA - All My Demons Greeting Me As A Friend [2016]

AURORA is quite a big name in alt-pop, one known for her ethereal vocals and otherworldly soundscapes. I definitely saw her name pop up a lot with her viral tracks Runaway and Cure For Me, but I hate to form an impression of an artist solely by their biggest hits, so I let the impression stay undecided until I could spin a full record of hers.

All My Demons Greeting Me As A Friend is her debut album, and a superb one at that. With just twelve songs, she set up a very unique and distinct sound to associate her name to, and make a place for herself in the alt-pop scene. Granted, the most outstanding trait of her music is definitely her voice, but I hope that the instrumentation never gets overshadowed by it.

Her voice has this sharpness to it, yet rests within this vocal realm characterized by a sense of innocence and wonder, and the expressiveness of her voice is by far the most impressive feat of hers. There is this pristine kind of cleanliness and clarity in her voice that few can achieve, much less in her range, and this in part contributes to the ethereal-ness to her singing, simply because it doesn't sound real. Moments like the vocal riffing at the end of Runaway and the chorus of I Went Too Far have this angelic feeling to it.

Writing wise, there are some pretty good moments and melodies throughout the record. Most of the tracks feature catchy hooks and great melodies that more than suffice for the pop side of her music, and though some of the tracks are less pop-leaning, they more or less all seem well written and genuine. In fact, some of her songs are great standouts for the less conventional creative choices and particularly alternative-sounding moments. I have to applaud her for her ability to make songwriting choices that usually end up sounding pretentious pretty enjoyable, like focusing on the song title in the chorus of Warrior or using lyrical gimmicks like counting in Murder Song (5, 4, 3, 2, 1).

The layering and instrumentation in this record is what I think really sells the experience. There is a solid balance of simple and complex composition that lends a lot of dynamicism to this record, especially with the synthwork and vocal harmonies repeatedly used throughout the record to add to the otherworldliness of the record. At the end of the day, I won't remember most of the lyrics and melodies, but the atmosphere and soundscape of this record will remain clear as day in my mind. It really is an out-of-body experience soaking in the carefully crafted sonic textures of this record.

I didn't care much for the additions in the deluxe, I was hoping for more original songs but I guess it doesn't matter too much because I wasn't there for it's release anyways. I guess it is a slight bad habit of mine to downplay any non-original and derivative songs, but I don't find it getting in my way too much. It's probably cool to hear her covers or remixes if you enjoy the songs being covered or just want more of her voice, but the main twelve tracks are plenty beautiful enough.

All My Demons Greeting Me As A Friend exceeded my expectations and legitimately did surprise me for an alt-pop record. I haven't found a good pop record that was more than just the hit songs in a long while, and also had some semblance of identity, so I had good reasons to enjoy it thoroughly. It is rare for me to like a pop record as a whole, so this definitely deserves talking about.

Rating: 8/10

Tracklist:

1. Runaway

2. Conqueror

3. Running With The Wolves

4. Lucky

5. Winter Bird

6. I Went Too Far

7. Through The Eyes Of A Child

8. Warrior

9. Murder Song (5, 4, 3, 2, 1)

10. Home

11. Under The Water

12. Black Water Lillies

Deluxe Edition:

13. Half The World Away (Oasis cover)

14. Murder Song (5, 4, 3, 2, 1) - Acoustic

15. Nature Boy - Acoustic

16. Wisdom Cries

17. Running With The Wolves - Pablo Nouvelle Remix

18. I Went Too Far - PWNDTIAC Remix

19. Under Stars - Loon Remix

20. Mr Tambourine Man (Bob Dylan cover)

Song: Sylosis - Deadwood [2023]

I've been aware about Sylosis for a while now, mainly because of their vocalist and lead guitarist Josh Middleton who's also a member of the metalcore band Architects. Sylosis has a very distinctly different style to Architects, which makes it a pretty interesting band to follow and listen to. My first and only experience from them was with Worship Decay, but they recently dropped the single Deadwood which has pleasantly taken me by surprise.

Deadwood features their modernised version of classic heavy metal in full force, with energetic riffs and fast-paced drumming throughout. The intensity in this song is dynamic yet relentless, which is a hard balance to find. I love the use of tremolo picking, super fun lead work, tasteful chug patterns and classic metalcore riffage that makes the entire verse super punchy and vibrant. I also love the super sharp bell-like sound that I can only assume is someone hammering metal or something equally ridiculous. It's a super fun sonic texture to replace what usually would be a cymbal in its place.

Can I just say, what a great chorus. The hook is so effective and catchy, and more so with the quality sing-scream delivered by Josh himself. The guitars and drums underneath provide such a groovy rhythm to the chorus that makes me want to headbang in such an unhinged way, and for a chorus this seemingly simple, it is unbelievably effective and impactful as a moment.

When it comes to the breakdown, it definitely has the more traditional metal vibes to it, especially since it's followed up by a very classic type of guitar solo. It definitely has a robustness to it, the fast sweep picking underlaid with spacious chugs, and a bit of wah near the end to add some style.

The clean vocals in the bridge is quite an underrated part of this song, I didn't even notice it the first few times, but he has quite an amazing voice, I love the subtle grit in his cleans and the kind of soulfulness that's generally not found in metal music. There's nothing too special with the end of the song but I love the little unhinged scream at the end after the instrumental is done, a little fun tidbit similar to the endings of songs like Every Time I Die's All This And War and Parkway Drive's Bottom Feeder.

Even with Sylosis' reputation as a beastly modern metal machine, I haven't had reason to be curious about their music, not until now. Deadwood is a really well made song in a flavour of modern metal that I don't usually enjoy this much, and it very well might be a highlight of 2023.

Rating: 3.5/5

Lyric Of The Week 57: Curse Me With Your Kiss

"I dream of you in colours that don't exist."

Holding Absence - Curse Me With Your Kiss, from the album The Greatest Mistake of My Life