Album: Lewis Capaldi - Broken By Desire To Be Heavenly Sent [2023]

I loved Divinely Uninspired To A Hellish Extent, it is one of my top few pop albums of all time, so I think you can guess my excitement for a new Lewis Capaldi album after four years of waiting. I'll be honest, the singles were not promising, especially with Pointless, but after the album came out I've had the time to sit with it and listen to it a few dozen times, and I'm very happy to say that it was far from disappointing.

As the four singles released one by one, I got more worried about the general production value of the record. There was a noticeable tiktok-ification of the song's writing and structure, and the production was vastly different from his debut. Pointless was completely unlikeable, and the rest were bearable at best, but it felt like there was an element of authenticity missing from the few tracks. Between a seemingly overproduced vocal mix and a weird choice of instrumentation that felt too generic pop, it felt like the unique sound that blew him up in the first place was missing from this album cycle.

My hopes were slightly restored when the full album released. I found some of the songs quite enjoyable to listen to, and a majority of the record is listenable. I definitely have gripes, but it is an overall good-leaning mixed bag. His strongest suit still remains with choruses, and there are a handful of songs that are hard-carried solely by the chorus, while the verses on just about all the songs fail to impress me. There's a certain lack of confessionality and vulnerability in the writing that Divinely Uninspired To A Hellish Extent had, which I felt was a big part of the appeal, which leaves this record a bit bare and uninviting. It also suffers from sounding very generic and familiar to the trend of tiktok songs, being written with little to no thought on the bigger picture and instead going off of little moments that are engineered for virality and easy listening. There's a subtle lack of genuine emotiveness, and the vocals sound a bit hollow. The dynamics also seem a bit off, and the lack of any cut that feels Headspace-esque or even Fade-like is a bit sad. It lacked a lot of the essence that made Divinely Uninspired To A Hellish Extent such a good listening experience, one that you can sink into while feeling all the emotions, but Broken By Desire To Be Heavenly Sent just feels so, pop.

There are things to like about the record, despite all my gripes. The venture into stronger pop instrumentals has a few strong hits, like the slightly synth-pop upbeat Heavenly Kind Of State Of Mind, which is one of the most cohesive tracks on the record, or the keyboard heavy Leave Me Slowly which even features a guitar solo that left me pleasantly surprised. His choruses have gotten stronger, with the likes of Burning, How This Ends and Haven't You Ever Been In Love Before? being some of the strongest choruses around. I think it was commendable that he wanted to expand his sonic territory and experiment a bit, even if the results were not the most impressive.

Do I think it's a sophomore slump? No, not at all. Does it beat Divinely Uninspired To A Hellish Extent? Absolutely not. Despite it's slight messiness and different sound from its predecessor, I think it was a formidable output of music from Lewis Capaldi. I don't see myself loving it as much as I did the first record, but it has done nothing to dull my love for his music. I've chosen to view this record as a bit of a transitional, experimental or intermission-like record, one that has as much of talent as before, but simply run through a different machine and came out different. Whether this was exactly what he wanted to have made for his second record, I won't know, but like I mentioned before, it wasn't disappointing so I have not much to hate about it.

Rating: 8/10

Tracklist:

1. Forget Me

2. Wish You The Best

3. Pointless

4. Heavenly Kind Of State Of Mind

5. Haven't You Ever Been In Love Before?

6. Love The Hell Out Of You

7. Burning

8. Any Kind Of Life

9. The Pretender

10. Leave Me Slowly

11. How This Ends

12. How I'm Feeling Now

Song: Knocked Loose - Upon Loss Singles (Deep in the Willow, Everything is Quiet Now) [2023]

As far as hardcore goes, Knocked Loose is my personal favourite by a mile. Having blown me away while simultaneously breaking me with A Tear in the Fabric of Life, and impressing me still with A Different Shade of Blue, they were the only hardcore band that I would be excited for with new releases. Not going to lie, I was hoping for a new album cycle by now, and this release probably pushed back the likelihood of a new Knocked Loose album to earliest end-2023, but realistically sometime in 2024 (assuming that since they said they've been writing music, that it's not far from done).

A twin single release format is not something I really expected from Knocked Loose, and it's not a common format to begin with, but I love that there were thematic reasons, and it really is more like a two-parter that's designed to be one cohesive listening experience anyways. I think it's great that despite the prevalent album standard, Knocked Loose is comfortable releasing songs in the formats that fit the music the best, never diluting the sentiment to hit a certain runtime.

Deep in the Willow is the more relentless of the two, hovering in deeply heavy territory for a good majority of the song. Bryan's iconic screams are laid upon a barrage of fast-paced drumming and their usual low and dissonant riff style, before switching over to slower and more dragged out guitarwork. Isaac gets to drop his lows on very strong impact moments on the track, which contrasts nicely with Bryan's vocals and makes it hit that much harder. The verse before the breakdown is absolutely unrelenting, and there is just a short calm before Bryan takes it home with the newest iconic callout of their discography: Knocked Loose, motherfucker (nice). It's followed up with one of the fastest and busiest breakdowns they've ever had, with double kicks and constant switch ups, even throwing in a pick scrape. The constant kick ending is ominous and I love the way it brings the listener to the next song, like a heartbeat too fast.

Everything is Quiet Now is my favourite of the two, simply because of how much more potent it is. It has slight Veil Of Maya vibes given the mild use of odd time signatures and switch ups mixed with dissonance and chugs, yet remains very hardcore. I love the call-and-return vocals between Bryan and Isaac, and hearing more of Isaac's lows is always a plus. The first breakdown uses a surprising amount of pick scrapes, but it feels fresh. The minimalist chugging of the section right after is super clean and hits so damn hard, and the 9/8 section is surprisingly groovy. The intermission before the breakdown is simultaneously calmer yet darker, with the war drums, bell spamming, layered vocals, background whispers and screams. With a callback to an older song, a mention of the collective title and the song title itself, they piece together a dismally poetic callout to lead into their most visceral and primal breakdown yet. A Simple chug pattern laid upon the gnarly guitar tone of their new sound, and a minimal yet brilliant four-on-the-floor drum pattern that absolutely accentuates the intensity of their rage tenfold. Especially with that sneaky cymbal hit right before the first snare, and the fact that the snare sound is so explosive already, it makes the final breakdown feel like a slow-mo warzone. It only gets darker when the starkly constrasting clean and echoey ambient lead steps in alongside the ongoing breakdown, bringing a haunting atmosphere to the end of the song, reminiscent of how thall mixes cleans and chugs.

The Upon Loss Singles are some of the best hardcore songs of the year so far, no doubt for its visceral and undeniable heaviness. Knocked Loose continues to evolve down the path started by A Different Shade of Blue and A Tear in the Fabric of Life, bringing a dark narrative and atmospherically heavy experience to the hardcore medium, one that they continue to expand on on different topics. Where A Different Shade of Blue touched upon very despondent themes of inner turmoil and A Tear in the Fabric of Life dealt with the unbearable experience of grief and loss, Upon Loss sees a cynical persona preach a defeatist hatred against their own personification of death, grief and loss. It feels like a natural progression of their somewhat anthologic narrative of heavy emotion and violent catharsis, but it cannot be overstated how poignant they are as musicians and writers despite the aggressive nature of their music. It's even more commendable how seriously they take their art, getting hands-on with a cinematic experience to go along with the auditory one.

With any luck, maybe we will see a full-length LP before the year ends, but if not, I'm happy to say that the Upon Loss Singles has done plenty to ease the long wait for more Knocked Loose music. Not that I had any doubts, but its great to know that A Tear in the Fabric of Life was not simply a one-time fluke, and the Oldham County boys absolutely know what they are doing. Knocked Loose, motherfucker.

Rating: 4/5

Lyric Of The Week 69: julia

"Where all the shooting stars eventually die."

Jeremy Zucker - julia, from the album love is not dying

Album: Veil Of Maya - [m]other [2023]

Veil Of Maya is one of those bands that I heard of, knew they were highly praised, yet never heard a single song from them. I caught wind of Synthwave Vegan back in 2021 when Nik Nocturnal was reacting to it, and it blew my mind, so I took the chance to follow the entire album cycle for [m]other, as well as catch up on the rest of their discography.

Their style of polyrhythmic and dissonant progressive metal/djent sound is one that is hardly replicated anywhere else, on account of its insane technicality and complexity. [m]other is their latest iteration of the band's musical insanity, and what I feel to be quite a strong step up from their previous releases. I think they've started to hone in on a balance of catchiness and absurd technicality that maximises replayability while keeping as much insanity as possible.

One thing I've noticed is there's been a subtle shift in sound over the years that is most prominent in [m]other. Not to call it "becoming more pop", but ever since the inclusion of vocalist Lukas Magyar and his introduction of clean vocals to the band's sound, they've been slowly lending elements from metalcore and post-hardcore into their essence. [m]other stays in 4/4 noticeably more often than their old stuff, there's more clean choruses and a lot more melody involved, but still boasts the same ruthlessness when it comes to unorthodox open chug grooves and heavily syncopated riffs. I love this evolution of their sound, and I think it's essential that they slowly move away from their original sound, because there's only so much you can do with palm muted zero fret chug patterns.

[m]other by far has the most tracks I've enjoyed and come back to regularly. Other than the absolutely monstrous pre-album cycle single Synthwave Vegan, I enjoyed all the other singles quite a lot as well. When it comes to the non-singles, none of them standout too much, but I commend the melodics on [re]connect and Disco Kill Party, and the clean vocal melodies on choruses of songs like Artificial Dose and Disco Kill Party are solid. There are moments on the record that feel homely in metalcore, like most of Lost Creator and the more electronic parts of Mother Pt. 4, whether it's the guitarwork or the soundscape itself that feels rooted in modern metal tendencies. Lukas' screams have only gotten better with time, and is seriously underrated as a vocalist. Some of his lows and highs in this record get pretty ridiculous, and do the rest of the band's energy justice.

Veil Of Maya is one of those bands that were always in a league of their own, riding on the wave of a style they pioneered. They've been evolving alongside the modern metal scene, but never drawing heavy influence from it. With a refreshing palette of musical innovation, [m]other is going to be a new best for the insanely innovative quartet.

Rating: 8/10

Tracklist:

1. Tokyo Chainsaw

2. Artificial Dose

3. Godhead

4. [re]connect

5. Red Fur

6. Disco Kill Party

7. Mother Pt. 4

8. Synthwave Vegan

9. Lost Creator

10. Death Runner

Song: iRis.EXE - sanctuary [mercykiller EP, 2023]

iRis.EXE was a very out-of-nowhere find for me. I don't remember how or where I found her music, but the moment I did, she suddenly popped up in a lot more places than I thought. First, the fromjoy guest spot on their self-titled, and then being added as a feature a few days after The Acacia Strain's Failure Will Follow was released. Sampling a few of her existing tracks, it seemed really interesting and promising, but I've yet to spin her debut and only album. I did very much enjoy the 3-song mercykiller EP though, and sanctuary is by far my favourite. Even though the song is a cover of a Kingdom Hearts song, it's so different from the original track and I think the spin that she put on the track has allowed it to stand on its own.

I cannot pinpoint exactly what it is about the song, but it has an oddly nostalgic feel to it. I think it can be largely attributed to my early love for EDM and electronic music, but there's some aspect of it that seems reminiscent of late 2000s and early 2010s pop as well. I'm not sure either where she stands on the crossroads between electronic music and heavy music, but it cannot be denied that there is an alternative influence buzzing about her songs.

The main electronic synth melody is the main attraction of the song. It's encompasses a good chunk of the nostalgia, but it also a stellar melody being channeled into some very awesome sounding sonic textures. It also gets played on a piano at the very beginning on the fade in and later on, in the background of the bridge, and it sounds hauntingly beautiful.

I love the vocal work on this song. She has a great singing voice that fits the style she's going for, and I have to commend how great the vocal chopping is. All the intentional vocal distortion and sample chops remind me a bit of the EDM sound of the early 2010s and the dubstep era at that point. There's also a moment two minutes in which I absolutely love, it's just the way the instrumental drops out while the vocals keep going that scratches a very particular itch for me.

The soundscapes that iRis.EXE sculpts are super intricate and simply jawdropping to experience and take in. Electronic music and alternative music have a common desire for intensity, but iRis.EXE's experience and involvement in particularly heavy projects gives her an edge in designing sounds that excel at beautiful intensity and elegant complexity. In some ways, she reminds me a little bit of Skrillex, both in their influences and how their music sounds.

Even though I didn't know it was a cover when I first found this song (I don't play Kingdom Hearts, unfortunately), my impression of it has not much changed since. I'm very interested to listen to more of iRis.EXE's work, what she has in store for the future and who her collaborative nature will reach out to next. I'm honestly quite intrigued by her work so far, so I'm definitely keeping an eye on what she's going to release next.

Rating: 3.5/5

Lyric Of The Week 68: Closure

"The best of us break when we know we can't bend."

I Prevail - Closure, from the album TRUE POWER

Album: Skrillex - Quest For Fire [2023]

I loved Skrillex as a kid, and I know plenty of people in the world did too, but he has obviously come a long way since his brostep days. I can't even say I'm very familiar with his work, since I haven't even gotten around to listening to his output when he was part of From First To Last, but I remember enjoying Recess when it came out very vividly. Some of his biggest brostep hits like Bangarang and First of the Year (Equinox) remain close to my heart, but it's obvious he has evolved tremendously since then. His collaborative nature brought him around a serious chunk of the music industry, putting his creative mind alongside those from the electronic, pop and alternative scenes. I haven't been keeping track of his work since Recess, since I'm not the biggest fan of the singles format, so I was pleasantly surprised to hear him finally returning to the album format after nine whole years (eight if you count his project with Diplo, Jack Ü).

I didn't expect him to drop two albums in one go, but I think most of us now have realised that there's a clear difference in the material on each album. Whether your opinion involves calling one album good and one album bad or not, it's evident Skrillex wanted two different experiences for two different audiences, and Quest For Fire is the more explorative and alternative-influenced one. As fun as it is to see Fantano diss one and praise the other, I don't think it's fair to call Don't Get Too Close outright bad, more of just simpler and easier to experience. That said, I too don't have much to say about Don't Get Too Close, so I'll just dive into Quest For Fire.

Quest For Fire has a much more diverse and intriguing range of genres than Recess, and is a light year away from his early brostep days. I think this record is another strong testament to his creativity and perfectionism as an artist, able to make bangers in every genre and style he touches, as well as a great thoughtfulness for collaborative potential that results in some very distinct and tasteful soundscapes. He has refined his craft to the point where his music can be simple but always to the point, no longer relying on layered complexities or loud and bold energy to carry the music.

I think the best way to enjoy a record like this is to not expect it to fit into any one sub-genre of electronic music. The pool of collaborators alone pulls in so much influence from countless genres, but each track has something unique to offer and differ greatly from each other. RATATA flips the classic Missy Elliott track Work It in a modern and stylish way, XENA sees Palestinian artist Nai Barghouti lend her vocals in her language to a strong techno banger. Supersonic (my existence) takes on a sizzling bassline courtesy of the Dylan half of 100 gecs and Noisia, Butterflies has Skrillex going full house with Four Tet's help and Starrah's vocals. It's clear how much Skrillex has expanded his range of electronic production and tastes, and how much more refined and nuanced it has become.

There's plenty of moments to be had on the tracklist. Skrillex is still as skilled a master as he always has been when it comes to drops, even if it's not Scary Monsters and Nice Sprites anymore. The drop on Leave Me Like This is absolutely dumb hard, the slick traditional dubstep bass drop on Tears has some insanely clean wubs, the grimey electronics on Rumble and Hydrate are primal, and the sentimental rave beat of Still Here (with the ones that I came with) is an atmospheric experience. Skrillex has zoned in on the secret to making great dance tracks, and just about every song makes you want to move.

This record, more than just an astonishing return to the album format, is also kind of a tribute to his history. A few longtime collaborators and friends from the electronic and alternative scenes make an appearance in both Quest For Fire and Don't Get Too Close, and there are references sprinkled throughout both records about his early days. The interlude Warped Tour '05 with pete WENTZ is the most obvious example, but little details like having Porter Robinson on Still Here (with the ones that I came with), bringing Anthony Green on a track, and the younger-self concept on the title track of Don't Get Too Close, it feels like Skrillex has taken the time to reflect on his nearly two-decade long musical journey, raging through a myriad of genres and industries and making a name for himself along the way.

I regard Skrillex as an artist that truly understands the art of making music, and no matter what soundscape he is trying to build, I can respect that he is always trying to make something worth making. Even though his debut album Recess was not the most commercially successful record, I have a great impression of it and what Skrillex was able to pull off at the time. Quest For Fire just feels like Skrillex embracing his curious and explorative nature and letting all corners of his world influence the music he makes, and it is, to me at least, a new milestone in his career.

Rating: 8/10

Tracklist:

1. Leave Me Like This (feat. Bobby Raps)

2. RATATA (feat. Missy Elliott and Mr. Oizo)

3. Tears (feat. Joker and Sleepnet)

4. Rumble (feat. Fred again.. and Flowdan)

5. Butterflies (feat. Starrah and Four Tet)

6. Inhale Exhale (feat. Aluna and Kito)

7. A Street I Know (feat. Eli Keszler)

8. XENA (feat. Nai Barghouti)

9. TOO BIZARRE (juked) (feat. Swae Lee, Siiickbrain and Posij)

10. Hydrate (feat. Flowdan, BEAM and PEEKABOO)

11. Warped Tour '05 with pete WENTZ

12. Good Space (feat. Starrah)

13. Supersonic (my existence) (feat. Noisia, josh pan and Dylan Brady of 100 gecs)

14. Hazel Theme

15. Still Here (with the ones that I came with) (feat. Porter Robinson and Bibi Bourelly)

(Tags that I couldn't add due to the 20-label tag limit: Joker, Mr. Oizo, Sleepnet, Kito, Siiickbrain, Posij, PEEKABOO, BEAM, josh pan, Dance-Pop, House, Two-Step Garage, Dubstep, Trap, Breakbeat, Electronic Trap, Techno, Bass House, Deep House, Future Garage)

Song: Make Them Suffer - Ghost Of Me [2023]

The second single from the newest lineup of Make Them Suffer is here, and I am really gushing over this one. Ever since Doomswitch released, it became clear that Make Them Suffer were on track to becoming better than they've ever been before, and I've been hoping for an album announcement since. Sadly, there isn't one yet, but this single will tide me by for the time being.

Ghost Of Me offers a very different selection of flavours than Doomswitch, although they still have a bit of overlap. There's less of Nick's super technical riffs, but we see a very strong Neverbloom influence on the first verse, there's no traditional metalcore breakdown, but we get a sing-scream chorus and a great bridge instead. We still get the call-and-response type scream sections between Sean and Alex, Alex's cleans on the bridge and final chorus, and a healthy dose of electronic infusion into the reliably heavy and hard-hitting sound of Make Them Suffer. I can see this track appealing more to some and less to others, but as far as I'm concerned, I love it.

I think they did a great job in balancing out the dynamics in this track, especially since they opted for no breakdown here. I super love the Neverbloom-esque section in the first verse, and it's great to know that Sean's vocals are still as robust as ever and also that they are more than comfortable bringing back such heaviness into their current releases. The sing-scream chorus is such a surprising choice because they rarely go for it, and Alex is barely there either, it's mostly Sean. I love how he sounds in this vocal tone, and I really hope they use it more in the future.

I'll admit, the guitarist in me is a tiny bit sad that there's no fancy riffing from Nick, but it honestly doesn't take away much from the song. I think the wider range of vocal textures and surprisingly emotional aspect of this song deserves to stand on its own. I'm also a bit sad that Alex solo'ed the final chorus, I was really expecting an dual vocal overlapping kind of thing so it felt really empty-sounding at first to not hear Sean screaming at the back. I did get used to it though, and it doesn't sound bad, it's just a small nitpick on expectations.

It's a really exciting prospect, all things considered, the kind of musical direction they are heading towards, and as much as I hope they don't lose the parts of their sound that make them special, I am looking forward to how they evolve with Alex on board and with the new direction they're already heading towards. With their new signing with SharpTone Records, the label that's behind some of my current favourite bands, I can only be excited for what great music might lay ahead.

Rating: 4/5

Album: Enter Shikari - A Kiss for the Whole World [2023]

Enter Shikari was a band that was so interesting to dive into for the past few months. Having enjoyed Nothing is True & Everything is Possible, I wanted to hear more, and I was honestly surprised to find out how much more chaotic and not pop-leaning they were back then. The evolution of their sound as a band is something I'm not ready to talk about in length, or fully understand to be honest, but I can definitely talk about their latest iteration.

A Kiss For The Whole World's album cycle actually didn't interest me that much up until the actual release. I didn't click with the singles but I have a feeling I just wasn't in the right listening taste to enjoy it at the time. After the album came out though, it did also take a while to grow on me, so on that account it might not be my favourite album from them ever. It also surprised me a bit that The Void Stares Back and Bull didn't end up here, the former of which I actually liked a lot.

This album is definitely a strong release though, as long as it did take to grow on me. They kept their pop-leaning sensibilities and sprinkled a bare minimum of heaviness, but still covers most of Enter Shikari's sonic ground. It definitely has the spirit of The Spark and Nothing is True & Everything is Possible, especially the newest evolution of electronic interludes, but otherwise it is just a platter of electronic rock. There are some small gripes I have, like the lesser amount of lyrical content and short runtime, but I think it does well to redeem itself in other aspects.

What it lacks in lyrical density, I think it makes up for in sentiment. There are numerous lyrical callbacks to older songs, as well apparently a number of references to Beethoven's Symphony No. 9, which is something I definitely wouldn't have caught if I didn't read about it. This album also does have a high density of catchy tracks and great production, although it could come off as overproduced to some. I really do enjoy all their experimentation with the soundscapes and instrumentations, both during the songs and in the postludes. I also personally adore that they're still going with the varied song title lengths and aesthetics that they did on Nothing is True & Everything is Possible, it's a small thing that I love about records when tracklists look unique, makes the record already interesting even before I hear it.

Although it still has space to grow even more on me, I doubt it will beat Nothing is True & Everything is Possible on my personal rankings. Probably a solid second place though, it is actually a great listening experience despite its short length making it feel a bit lacking or incomplete. The fade out of giant pacific octopus swirling off into infinity... almost always catches me by surprise when it becomes silence and I realise the record has already ended. Regardless, a solid output from the band.

Rating: 7/10

Tracklist:

1. A Kiss for the Whole World x

2. (pls) set me on fire

3. It Hurts

4. Leap into the Lightning

5. feed yøur søul

6. Dead Wood

7. Jailbreak

8. Bloodshot

9. Bloodshot (Coda)

10. goldfǐsh ~

11. Giant Pacific Octopus (i don't know you anymore)

12. giant pacific octopus swirling off into infinity...

Lyric Of The Week 67: Saltwound

"God is a lie and man is a failure."

Fit For An Autopsy - Saltwound, from the album Absolute Hope Absolute Hell

Song: PhaseOne, ERRA - World Unknown [PhaseOne x UNFD, 2022]

If you've read any of my previous blogs about EDM and rock/metal collaborations, you know it has a special place in my heart. A collision of two of my favourite genres, both notable for their intensity and capacity for emotion, will always get me stoked when done well. When it comes to PhaseOne, I'm aware of his work with bands of the like, and his presence in this niche genre fusion alongside artists like Sullivan King and Kayzo. Of his recent collaborative EP with UNFD artists, ERRA's hit the mark the most for me.

I love the space-like theme they have going on with the soundscapes. From the twinkly sound effects to the electronic sample in the chorus that feels like going into hyperdrive, it feels like the perfect aesthetic to match ERRA's sound. PhaseOne gives ERRA a lot of space to define the track as a band and true to their own style, so most of their dual-vocalist djent and prog sound remains prominent, but I love how PhaseOne perfectly comes in to complement them in some parts and change the soundscape completely in others.

ERRA has always been at the forefront of djent innovation, but I think that they've toned themselves down a bit for the sake of the space for collaboration. For a band that usually has no reservations playing around with intense dynamics and fun structural choices, for this they've written a song that is, for the lack of a better word, safer. I think it's a great play, because it gives PhaseOne a lot more to work with when transforming their soundscape, but it's interesting to note nonetheless.

The guitar tone in the verses is super unique, and whether it's PhaseOne or Jesse's idea, I think it gives the song a lot of character. The subtle synths and electronics in the back of the entire track also help to flesh out the idea of outer space and a world unknown, and it's Jesse's and JT's great vocals that tie it into the ERRA style of lyrics and sentiment. I do wish that there was some sort of a standout moment, like a breakdown of sorts, but that's a minor gripe. The song's main quality is its atmosphere and vibe, which is one of a kind.

I still very much love and hope for more EDM x rock/metal collaborations, and it's exciting to see more of them appearing already. There are so many bands that I'm curious to see collaborating with an electronic artist, but I also just want to see more things happen in this barely explored niche genreblend.

Rating: 3/5

"PhaseOne x UNFD" EP Cover

Album: Sleep Token - Take Me Back To Eden [2023]

Ever since the first single of this album released, it's had a complete chokehold on me as one of my most anticipated albums in forever. I've never been so excited about and left waiting so long for an album release, and when the day came I had to resist the urge to play it immediately, and wait for a moment in the day where I could listen to the full record uninterrupted.

Sleep Token quickly became one of my favourite bands last year after I fell in absolute love with their entire discography (except for Two, I haven't really gotten around to that one). When they dropped a double whammy on the literal first week of the year, the latter of which absolutely blew it out of the water and made huge waves in the heavy world, I knew this was going to be one of the biggest things to happen this year. Over the next few months, they released a total of half the record as singles, showcasing everything from a solid pop ballad to a blackgaze-infused hard rock blend. By the time May rolled around, I was both ecstatic in anticipation to find out what the other six tracks held, and if they could live up to the hype.

On album release day, I did kind of gloss over the singles. I already played them so much by that point, and I was way too curious to sit through the first five consecutive tracks that I already knew. I dived straight into the non-singles, and I was very happily greeted by a blissful serving of new flavours.

Ascensionism is a fan favourite for some reason which I don't really get, but it is a great song and I do love it a lot. The mix of piano-heavy melodies, RnB-esque rap flows over dark instrumentals slipping into Vessel's signature singing style, then switching up to a more djent-influenced open metalcore sound and a thall breakdown, before finally ending with an intense anthemic section. For a seven-minute song, it sure goes by quick, and it's easy to soak into the soundscapes. Sleep Token has been able to pull off these kinds of long runtime songs since their first EP, One, with When the Bough Breaks doing that similar kind of slow buildup and development.

Are You Really Okay? is such a touching cut on this record. The atmosphere that they choose to go with for the first half of the song is so calming and peaceful, and that beautiful riff is tastefully reverb-laced and simply radiates happiness. I enjoy the way the intensity slowly ramps up over the course of five minutes, and the lyrical contents of this song is equally hopeful and heartbreaking. For a band who's focus is usually on a romantic aspect, it feels genuine and raw to see a kind of philia and caring side from them in the lyrics.

The Apparition is the one song I haven't completely resonated with but know I will in time. It's that kind of cut on a record which isn't special because of some distinct unorthodoxness or standout quality, but just existing as a pristine and refined presentation of their core sound. The instrumentation and vocal melodies are extremely well-done, and it's just a matter of playing it enough until it clicks and becomes an earworm I can't help but sing along to.

Rain is what The Apparition would be if it clicked immediately. Basically, Rain clicked immediately. The main chorus melody, the verse and the pre-chorus is so addicting to my ears, there's just something about the rhythm and cadence that scratches an itch so badly, and even more so when the band comes in and ramps up the grooviness. This song may not be too wild in any direction but it's its atmosphere and catchiness that pushes it so high up on my list.

The title track is a fun one. I hate that it got so much attention just because of the breakdown, when there's so much more to it that makes it special. An eight-minute opus that shifts through multiple sections, it's home to some of the best vocal melodies on the record. I love the way the intensity and dynamic weaves itself as the song goes on, pulling together a lot of the elements that define this record. The way it builds, how it shifts from flowy rap sections to anthemic rock sections and calmer piano sections, even making a callback to the first track, it feels like a strong wrap up of the record, leaving Euclid to wrap up the trilogy.

Euclid is a tearjerker, especially for devoted fans of the band. As album closers goes, it's definitely on par for emotional. Sleep Token and Vessel have been slowly building a three-part narrative of two lovers through Sundowning, This Place Will Become Your Tomb, and Euclid is the final piece of the puzzle that ties it all together and closes the book. It has the essence and energy of Blood Sport but in a happier tone, and sees presumably Vessel finally moving on and starting a new chapter. I love the references and beautiful composition, going back to One and Sundowning, and a lot more looser lines that could be drawn if you're willing to stretch it a bit. It was also really emotional to hear The Night Does Not Belong To God at the end of the song, tying the trilogy together in such a powerful way.

Take Me Back To Eden is arguably their best record, although I expect some of their hardcore fans to stand by Sundowning. I found their foray into new soundscapes and expansion of genre influences so pivotal and vital to their success and quality here, and although I didn't talk about the singles, I think they are the best examples of the band pulling in unexpected influences and making it work. Outside of that though, I wholeheartedly believe that there was such a much needed step up in vocal melody work and lyrical prowess that they managed to achieve on this record, and that's what really makes this record their best for me. I've found most of this record so fulfilling to dig into lyrically, which the first two records didn't do so, and much more of this record is truly memorable than the first two. They are all albums I could get lost in, but Take Me Back To Eden is the only record that, as a whole conceptual piece, hits the mark on sentiment.

Although it feels like two odd halves in some ways, especially with my familiarity to the singles that contrasts the non-singles, or how there's a slightly jarring separation with the "sexier", more romantic songs and the darker, more emotional ones, this album as a whole exceeded my expectations on what Sleep Token could do. The kind of soundscapes and emotions they've achieved in this record is of such a wide range, simply outdoing Sundowning and This Place Will Become Your Tomb. Of course, it exists as a trilogy and they are all still very highly praised by me, so there's no need to compare so harshly, but Sleep Token is a band that constantly evolves and becomes better with every release, so their third album has obviously left me extremely impressed, both sonically and narratively.

I expect to only fall in love even more as I play this album over and over again until the cells in my bones get familiar with the vibrations, but I think it's safe to say this is one of my favourite albums of all time. I have to be aware of recency bias, but I've come to notice that Sleep Token only ever grows on me, especially since that's how it went with the singles. Once I've known the entire trilogy, front to back, by heart, I'll be ready to see what comes next for the band. Nobody knows what the next chapter will be, but I'm excited to see how Sleep Token will evolve in time. Meanwhile, there is plenty to worship.

Rating: 10/10

Tracklist:

1. Chokehold

2. The Summoning

3. Granite

4. Aqua Regia

5. Vore

6. Ascensionism

7. Are You Really Okay?

8. The Apparition

9. DYWTYLM

10. Rain

11. Take Me Back To Eden

12. Euclid

Lyric Of The Week 66: Map Change

"I’ve weighed down the earth, through the stars to the pavement."

Every Time I Die - Map Change, from the album Low Teens

Song: Better Lovers - 30 Under 13 [God Made Me An Animal, 2023]

Finding Every Time I Die after they broke up was slightly saddening, especially with how phenomenal of a record Radical is. Coupled with recently listening to Ire Works and decently enjoying it, Better Lovers came out of nowhere like a miracle. A supergroup of ex-Every Time I Die members alongside vocalist of The Dillinger Escape Plan and legendary metal producer and guitarist Will Putney, they released a whopper of a debut single with 30 Under 13.

30 Under 13 wastes no time making an entrance, much like both former bands, and encompasses an intense and dissonant sound familiar of both bands. Lending the intensity of Greg's angriest vocals to date, and guitarwork extremely reminiscent of Every Time I Die, any fan of both bands are bound to be shocked to their core the moment this song starts.

A lot of what defined Every Time I Die's sound makes an appearance here. Odd time signatures and spontaneous switch ups, a heavy dose of dissonance alongside groovy riffing, unorthodox rhythm patterns and song structures, all the things I've come to love about Every Time I Die. The only thing I sorely miss is Keith's lyricism, a bold display of poetic and sardonic writing that sealed the deal on my love for Every Time I Die, and one which Greg currently has yet to match to any degree. Despite that, I think Greg is a great fit vocally, and his harsh vocals presented in this song are top tier. I'm definitely curious to see how his cleans fit in this soundscape, and hopefully there's a full-length to come to answer that question and much more.

This song is a packed punch of relentless fun. The pure, unadulterated rage of the entire track, the sudden thrash section, the trash talking, the funky ass guitar solo, that vocal squeak, and enough dissonance to wake god up. It is such a promising first release for a supergroup of two now-defunct legendary mathcore-esque bands, and I honestly don't think they could've scored any better right out of the park. Anyone who was a fan of either band has something to look forward to now, and I, for one, can't wait to see what becomes of this band.

Rating: 4/5

"God Made Me An Animal" EP Cover