Album: Enter Shikari - Nothing is True & Everything is Possible [2020]

Enter Shikari had refined their unconventional sound to just about perfection by the time they got to their sixth studio album Nothing is True & Everything is Possible. The amalgamation of their styles and sounds over the past decade and more, with their signature edge of chaotic stylings, feels simultaneously more daring yet more mature than everything they've put out up to this point.

It's arguable that this could be presented as some sort of a magnum opus, given it's excellence in quality, diversity and overall identity, almost feeling like a pseudo-self-titled album. Their intentional direction towards unpredictable, atypical and unconventional sound design feels the most controlled and meaningful in this record, with an overall well structured tracklist, well made tracks and a lovely aesthetic to go along with everything.

The first thing that caught my eye about this record was the song titles. I think everyone enjoys entertaining the idea of weird and interesting ways to present song titles, and it is a common theme amongst alternative genres, but the randomness in this tracklist hits the spot. The contrast in the titles and their order hits the right spot in designing a visually appealing tracklist.

It's not just eye candy either, the song titles fit the songs themselves, and it gives this unique identity to every track and the record as a whole. I love how there's such a strong mood and vibe represented in each song that resonates so well together as a whole. The ominosity of THE GREAT UNKNOWN, the softness of the pressure's on., the spitefulness of thē kĭñg, it feels like a complete set of extremely human emotions that provides such a unique experience.

It's not a concept album per se, but the way the album tackles topics, concepts and emotions in such a fluid and orderly way, makes it feel like one. Some songs are very timely and relevant to 2020, others feel timeless and touch on the most human of things, yet it never ruins the cohesiveness of the entire package. The songs all sound like they belong together even when they're so vastly different style-wise, and the two Waltzing off the Face of the Earth tracks help to tie it all together so well.

They've never been strangers to electronic infusion, but I'd like to think they've gotten multitudes better with this record, particularly for their expansive use of it in a variety of flavours. The blaring synths in the more upbeat tracks channel the energy so effectively, while the more subtle electronic effects and sounds in the calmer tracks inject this definitive sense of surreality into them. It's a wonder to listen to their music, especially with the range that they achieved.

It's been one of the better surprise finds in my musical journey. I only caught onto this album the year after it was released (as I usually do) but I've found it to be a lot of fun to listen to, and even more fun as an album experience. There's some great moments in this record that can only allude to great musicianship and bold choices to innovate in unorthodox ways. What a wonder.

Rating: 9/10

Tracklist:

1. THE GREAT UNKNOWN

2. Crossing The Rubicon

3. { The Dreamer's Hotel }

4. Waltzing off the Face of the Earth (I. Crescendo)

5. modern living....

6. apøcaholics anonymøus (main theme in B minor)

7. the pressure's on.

8. Reprise 3

9. T.I.N.A.

10. Elegy For Extinction

11. Marionettes (I. The Discovery of Strings)

12. Marionettes (II. The Ascent)

13. satellites* *

14. thē kĭñg

15. Waltzing off the Face of the Earth (II. Piangevole)

Song: Chunk! No, Captain Chunk! - Fin. [Gone Are The Good Days, 2021]

This album and this song specifically arrived to my doorstep at the most relevant time it could've. A album about reminiscing the long gone good days and a song about saying goodbye to them, right as I was about to graduate high school? It couldn't have been timed better.

This song is no doubt a well made one, but I can't deny that a significant factor for why I love this song so much is its sentiment. It didn't hit me the first time I heard it but when it did, it hit me really hard. It wasn't the feeling of future nostalgia that emanated from Gone Are The Good Days, or the hopeful outlook of Bitter, themes that were relevant and popped up throughout the album, but it was this hard to explain sense of bittersweet acceptance. This song resonated with the feeling I had in my soul nearing the end of my high school journey that I was struggling to identify.

It was a goodbye, not happy, not sad, but somewhere in between. Lines like "This is my soundtrack to the end" and "I can finally say we're in the last act" embodied this personal concept of bidding farewell to the best part of my life, one that I loved with all my heart and soul but couldn't bear to live in any longer. All the highs and lows that defined me, all the pain and laughter that forever reverberates in my bones, this song managed to explain what it meant to look back at it all and smile knowing it's been done.

Maybe it's because of the experiences I've had in my high school life as a performer, as a dancer. The concept of life being "like a movie" and having a "soundtrack to the end" for this chapter of my life felt tremendously touching, at least to me. I'm sure Chunk! No, Captain Chunk! has had similar experiences to be writing this song, and this album as a whole, seeing that these themes have been so beautifully written and woven into the lyrics.

There's this undertone of a broken person finding themselves at the end of the story, after all they've been through, that runs through this song, and I'd like to think that's how it's meant to be interpreted. There's no vibrant and cheerful overtones, no happy ending vibes coming from this song, but it has this sense of being able to finally rest.

Sentiment aside, it's a powerful song and a perfect fit for an album closer, especially one that's about better days. Despite the connotations of easycore, I admire how they manage to portray all these emotions in their music so innately. There's this overlaying aura of monumentalism that blankets this track so affectionately, as if this song knew it was meant to be sentimental. A strong yet weary voice, a reverb-laden guitar tone that perfectly encapsulates nostalgia in a soundscape, and a perfect balance of intensity throughout the song to parallel the emotional journey of this kind of goodbye.

I know it's not exactly a music critic, but I've never been one to enjoy the idea of criticising, and frankly, this blog has always been about my personal musical journey, so take it as it is. I'd be clueless as to if this song is honestly that good without the sentiment, but like rose-tinted glasses permanently welded to my face, I can't see it as anything else but perfect and one of the most tragically beautiful songs to grace my soul (Although if you ask me, I'd still tell you this song is really that good even without the sentiment). And to solidify how sentimental this song is, I used this song as the soundtrack to my own high school journey trip-down-memory-lane video, because nothing else captured the essence as well as this song did. So there.

Rating: 5/5

Lyric Of The Week 10: Bulls In The Bronx

"I've been having this dream that we can fly, so maybe if we never wake up we can see the sky."

Pierce The Veil - Bulls In The Bronx, from the album Collide With The Sky

Album: Bring Me The Horizon - POST HUMAN: SURVIVAL HORROR [2020]

 

The justifications needed to call a record perfect is hefty, but if I had to give any record in my listening history the glory of achieving perfection, POST HUMAN: SURVIVAL HORROR has my vote in a heartbeat. Bring Me The Horizon's extensive fifteen years of music has culminated in this masterpiece of a record (which although was initially said to be an EP, I will call an album because it honestly is), with elements and sounds from every era of their discography all sonically designed with the most utmost of excellence. (Yes, I'm being very dramatic because this is one of the best records ever.)

Bring Me The Horizon has always been ahead of the game, not always trendsetters but always able to set themselves apart from the rest. The heaviness from Suicide Season lives on in Dear Diary, the fierce and fast-paced cyber-metal sound of Itch From The Cure (When Will We Be Free?) and Kingslayer has their roots in the bands' explorations in electronics from amo and Music to listen to. Every song on this record has such a unique styling to it, and the humble nine-track album can manage to pack such a big punch in a small timeframe of half an hour.

There's so much innovation in this record that leaves little to be desired. Their musicianship has always been top tier, even as they traverse different genres, like the nu-metal banger Teardrops or the sombre and ominous ballad One Day The Only Butterflies Left Will Be In Your Chest As You March Towards Your Death. The record is full of amazing soundscapes, impressively intricate sound designs that are an absolute pleasure to listen to.

The guest features on this album are also just about perfect. Nearly half the songs on this record have guest features (exactly half if you count Itch For The Cure and Kingslayer as two parts of the same song), and they've all brought such unique and needed flavours to the tracks they star on. YUNGBLUD's new blood sound and impressively emotional vocals brings the much fitting cynicism to Obey, Mick Gordon helps amplify the cyber-sound of Kingslayer while BABYMETAL's ethereal vocals give a blissful contrast to Oli's absolutely demonic growls. The Nova Twins' powerful vocals adds that touch of despair to the despondent and personal 1x1, and Amy Lee's iconic voice is undoubtedly the perfect fit for the closing song, no questions asked.

I love how they've transcended past the boundaries of conventional rock and metal, comfortably blending electronic elements with the instruments they so masterfully play. Their sound continues to outshine the entire musical scene as they consistently outdo themselves with every release, while making it so purposeful and relevant to the state of the world that they live in. POST HUMAN: SURVIVAL HORROR really embodied the "survival horror" aspect of 2020 and the world we live in now, and was as cathartic as it was impressive.

There's really nothing not to love about this record. Artisans at the top of their game, making music because they love to make music, and not for any other reason, it's where you find the best music in the world. This record is my favourite in many ways, for many reasons, and it's not entirely accurate to give it 10/10 because it definitely would outclass many of the records with that rating, but for the sake of not being illogical and giving it 11/10, I'll have to stick with a 10/10 for this one (but know that in my heart it's an 11/10).

Rating: 10/10

Tracklist:

1. Dear Diary,

2. Parasite Eve

3. Teardrops

4. Obey (ft. YUNGBLUD)

5. Itch For The Cure (When Will We Be Free?)

6. Kingslayer (ft. BABYMETAL)

7. 1x1 (ft. Nova Twins)

8. Ludens

9. One Day The Only Butterflies Left Will Be In Your Chest As You March Towards Your Death (ft. Amy Lee of Evanescence)

Song: Code Orange - Swallowing The Rabbit Whole [Underneath, 2020]

One of the most unique sounds of heavy metal brutality to date, Swallowing The Rabbit Whole sees Code Orange dialing it up to twenty-two. Their electronic/industrial infusion into heavy metal and hardcore isn't one that I'm too familiar with, but this track is a standalone highlight of 2020.

The moment it starts, you can already tell you're in for one hell of a time, and boy does it deliver. As soon as the first main riff comes in, generously peppered with harmonics, the intensity of the track increases tenfold. With this machine-heavy distorted sound, the energy gets unreal, and when the vocals come in, I was just about blown away.

I've always been on the fence when it came to intentionally altered vocals, it's really case by case for me, but I enjoyed their heavily distorted vocals in this song. A combination of doing it right and matching the vibe of the song, it just adds to the heaviness of the track overall. The call and response structures in the verse are great, I especially love the delivery of the line "can see it, couldn't touch it", it just hits the sweet spot for me. The little funky guitar riffs that spice up the background instrumentals adds so much to the eerie atmosphere of this verse.

The electronic experimentation in this song is loveable. Somewhere in the second verse contains a moment where the entire soundtrack choppily fades out and jerks back in, and not only is it such an impactful moment, it makes me feel like I'm in some sort of a Matrix movie. There's also this relatively calmer section in the song that feels like a narration, a leader delivering a message to the people. It adds so much to the fury and rebelliousness of the song, and I love the creative choices that let this exist and in a way that contributes so well to the undertones of this song.

The crown jewel of this song is definitely the breakdown, even with all the great moments in the rest of the track. The buildup is nigh-perfect, juxtaposing anticipation and ferocity right before they drop you off the cliff with a burning backpack full of fireworks. The riffage is so electronically amplified and jarring, the pacing is relentless, the sounds are contrasting from the lowest lows to the highest highs, the rhythm catches you off guard, the entire experience is heavy beyond belief. The first time I heard this breakdown, I was stank-faced the entire way through, headbanging in awe and disbelief.

The outro is perfect for the song, catching you right after the behemoth of the breakdown and leaving you with the titular line and a masterfully unsettling soundscape akin to standing in the dust and debris. The space it leaves in its auditory wake is ideal for letting the song sink into your bones and forever leave an impression.

If there's anything to be in awe about, it's how all the complexities in this song is perfectly fitted to a T, with its jaw-dropping metal elements, unconventional but effective song structure and blissfully creative and eargasmic use of electronics. The incorporation of electronics is done so skillfully, in a way that feels organic, as if it really could be done with a guitar, unlike the common downfall of electronics usage where it sounds like a separate instrument altogether and sidelining the actual instruments.

It's a memorable track, unforgiving in its rage and unbelievable in its technicality, and it is so fun to rock out to. When it comes to embracing the chaos, Code Orange has done a stellar job with this monstrosity of a centerpiece. 5/5s are usually reserved for songs that have significant sentiment, but if the baseline is thoroughly enjoying the song and never passing up the opportunity to spin it, Swallowing The Rabbit Whole more than deserves the rating.

Rating: 5/5

Lyric Of The Week 09: How To Survive A Funeral

 "And while the crowd remain composed, they put your crown upon your throne. I guess you found a place to rest those bones."

Make Them Suffer - How To Survive A Funeral, from the album How To Survive A Funeral

Album: Bad Omens - THE DEATH OF PEACE OF MIND [2022]

Bad Omens' third album was the first record of 2022 I managed to follow along, with the release of the first single back in 2021 up until the full album release. I didn't have a lot of expectations going in, thinking it would end up feeling too generic - and don't get me wrong, I have a few minor gripes with this album - but it pleasantly surprised me.

The title track didn't click for me at first, I wrote it off as some weird amo-esque interlude tune, but after absorbing it alongside the full tracklist, I've grown to enjoy it a lot more. There is truly something clever about how the record is put together, giving it a pure coherence that makes all the tracks better than on their own. The whole is more than the sum of its parts, they say, but it's very relevant for this record.

A lot of the tracks on THE DEATH OF PEACE OF MIND seem to lean towards the more generic metalcore structure, or whatever word you'd use to describe the metal equivalent of pop. Catchy lyrics, basic pop-esque song structures, you know the deal. These songs aren't uncommon, and it's easy to fall into the trap of sounding so generic that you don't stand out, but Bad Omens seems to manage well at staying above the rest. Just Pretend and Nowhere To Go are such earworms that I'm more than okay with them sounding like they could end up on the radio.

My biggest peeve (which isn't very big, mind you) is how a lot of the tracks sound very mediocre without the album experience. The tracklist feels slight over-saturated with songs that are either too electronic or sound too much like interludes, a label that I initially put on the title track as well. After a few good listens, it's clear which of them are actually meant to be interludes/preludes and which of them just blend in too well that I mistook them for it, but as much as it contributes to the atmosphere of the album, I find it a weird creative choice. Regardless, I admire the experimentation in the electronic sector for this record, and it shines a bit brighter on tracks like IDWT$.

They definitely don't lose any heavy, if you're wondering. Breakdowns are alive and well in this record, and the heavy banger ARTIFICIAL SUICIDE has my headbang of approval. Noah's vocals are amazingly versatile, and for a vocalist that I thought was female at first, his range in both cleans and uncleans is impressive. The instrumentals aren't the most complex in the metal world, but that's never been the main criteria, and the boys in this band get the job done extremely well with what they have. Sometimes, simplicity is better, and this album is admirably enjoyable for that.

Rating: 9/10

Tracklist:

1. CONCRETE JUNGLE

2. Nowhere To Go

3. Take Me First

4. THE DEATH OF PEACE OF MIND

5. What It Cost

6. Like A Villain

7. bad decisions

8. Just Pretend

9. The Grey

10. Who are you?

11. Somebody else.

12. IDWT$

13. What do you want from me?

14. ARTIFICIAL SUICIDE

15. Miracle

Song: Motionless In White - Timebomb [2021]

The powerhouse goth-themed metalcore band Motionless In White have been on a roll, especially with their 2019 album Disguise, but this entry into their discography seems to see them entering a new cyberpunk-esque era. Incorporating more electronic and synthetic elements into their musical recipe, Timebomb is an amazing entrée of 2021.

You can already taste the new style in the first few seconds with a snazzy electronic synth melody, before they quickly introduce all their familiar heavy sounds. Chris' raw and brutal screams turn this song up to eleven, accompanied by amazing riffage and energetic drumming. The rhythm and intensity throughout the song is great, and it's what I've come to expect and love from Motionless In White.

Seeing their guitarist Ricky Olson taking up clean vocals for a majority of the song is definitely a new, and his singing is unbelievably good. Infusing their inspiring and heartfelt verses and choruses with that hopeful sound, it makes me wonder why they haven't introduced his vocals earlier. I also enjoy how the style of this chorus is slightly different from their usual, partially due to the new vocal dynamic, having more lyrics and focusing more on melody and meaning than catchiness and rhyme.

There's no shortage of heaviness in this song, if you're wondering. It's full of heavy moments reminiscent of 2000s metalcore, and the breakdown moments are absolute headbangers. The chunkage right after the second chorus has to be one of the most visceral experiences in the metalcore scene right now, and the screams accompanying some of these parts are just downright guttural. Something about the grit in Chris' vocals feels so unreal and demonic, and it's one of the best uncleans out there. One moment to spotlight is right before the final chorus, where all the instruments drop out just for Chris to deliver the word "saved" with the lowest and strongest scream I've ever heard from him.

There's just so much to love about this song, it's definitely a highlight from their discography. It's a very well-rounded song that has a lot of the signature elements that makes Motionless In White, Motionless In White. It's heaviness is on par with some of the heaviest in their overall discography, yet its cleaner parts and uplifting message adds so much dynamic to this song. One of the best metalcore tracks of 2021 for sure.

Rating: 4.5/5

Lyric Of The Week 08: Nothing Shameful

 "A medical dependency to you, there's nothing shameful that I wouldn't do."

Dance Gavin Dance - Nothing Shameful (feat. Andrew Wells), from the album Afterburner

Album: Polaris - The Death of Me [2020]

Polaris made a name for themselves with the debut album The Mortal Coil, and proved that they were absolutely here to stay with their outstanding follow-up The Death of Me. Their unique sound that they put on the map with tracks like The Remedy and Lucid has evolved wonderfully on this record, as with their musicianship and songwriting.

The Death of Me boasts both an extremely heavy sound and an emotional one, with a fair amount of overlap here and there. Tracks like Landmine and Creatures of Habit have a neck-breaking guarantee, while tracks like Masochist and Martyr (Waves) will have you singing your heart out. Their versatility as a metalcore outfit is unmistakable, and their quality is unmatched.

The riffage throughout this entire tracklist is impeccable. Their guitarwork is very distinct from the rest of the modern metalcore scene and is pushing the sound in new directions, writing catchy riffs that defy convention and reinventing both breakdowns and chunkage in their music. Their vocalwork is splendid as well, with Jamie's brutal yet grounded uncleans laying out most of the record, and Jake's heartfelt and unbridled cleans delivering powerful choruses and somber verses. I love that they've taken the time and effort in this record to both develop and advance their techniques and styles. Some of the more memorable deliveries in this album sees Jamie focusing more on rhythm and flow, akin to rapping, in his screams, like in Pray for Rain, and some of the more emotional choruses in this album sees Jake delving into unclean territory, like in All of This Is Fleeting.

My favourite track off the record happens to be the pseudo-titular track Vagabond, whose lyrics are the only place where the album title is found. I personally like to think that Vagabond represents the album as a whole and thematically brings everything together. It's lyrical content about feeling alone in the world and the struggles that come with it almost perfectly encapsulates the sentiment of the album, and with it's unfortunately timely release in 2020, the situation of many in the world. I found the song itself to be a great catharsis, especially with the lyrics in the chorus, and I just can't help but appreciate good songwriting that can evoke such genuine, raw human emotion.

Polaris definitely has the talent and skill, but this record was a giant leap in their consistency in quality and I enjoyed spinning this entire album over and over again immensely. My obsession period with this album (like many others) is long gone now, but I have no hesitation letting it play when it comes up on the queue, and I sure as hell can guarantee I'll be headbanging, screaming along or both.

Rating: 9/10

Tracklist:

1. Pray for Rain

2. Hypermania

3. Masochist

4. Landmine

5. Vagabond

6. Creatures of Habit

7. Above My Head

8. Martyr (Waves)

9. All of This Is Fleeting

10. The Descent

Song: Porter Robinson - Something Comforting [Nurture (2021), 2020]

 

Porter Robinson's expertise in electronic music was clear from his debut release Worlds, and after a six-year wait, we finally get to see how his craft has evolved in his new album Nurture. Something Comforting came off as the second single for Nurture, releasing a whole year before the album itself, and has been my favourite track from him since then.

A lot of his signature sounds are featured in this track, including synths, artificially pitched up vocals, cheerful ambience and lovely piano melodies. We hear a lot more of his vocals in this track than usual, even with the altered voice excluded, and it's interesting how he can create such a unique dynamic between both vocals. The electronic elements and overall sound of this song is very euphoric, and I love the hopeful tone and message of the song.

It definitely fits the bill to be cathartic to some people, especially those dealing with perfectionism or depression. Knowing this song was written when he was dealing with it himself, makes this song feel so much more genuine and heartfelt, but there's no doubt you can feel the emotions he's injected into this track. His dual vocal dynamic with the higher-pitched version adds a lot to the song's essence as well, almost painting a picture of his internal dialogue, one voice being more cynical and one voice being more hopeful. When the voices match up singing the same line in the last few moments of the song, I always like to think that it's about getting through the depression and making it out, with both voices on the same page. The stripped piano segment at the end resolves the story in a positive tone, and it's just such an overall uplifting song to listen to.

Whether or not you relate to the message, this song definitely has that same monumental vibe that songs like Goodbye To A World have. I marvel at his ability to sculpt soundscapes so full of life and paint a picturesque visual specific to the story he's telling. Something Comforting, like a few other songs on Nurture, sound like lying down on a grassy hill staring up at the sky (which is a lot like the album cover, if he was facing up instead of down). The attention to detail in this song is unmatched and you can tell he's worked a lot on this song.

His iconic electronic sound is still very much alive and kicking, especially in this song, and this song is just a blessing to my ears. It's birthdate in 2020 definitely helped a lot of people through those tough times, me included, and it has a special place in my heart for what it meant to me then. A lovely tune overall, and I never hesitate to spin it when it comes up.

Rating: 5/5

"Nurture" Album Cover

Album: EDEN - vertigo [2018]

The debut studio album by the electro-pop maestro EDEN is a change in sound to his previous works, one seemingly more mature and toned down, more calm and collected. After his first two EPs, End Credits and i think you think too much of me, both of which were very electronically energetic and youthful, vertigo introduces a more refined sound, with thematic elements of self-discovery, retrospection, and emotional moments. It feels like a personal diary, looking through the pages of years-old entries and seeing the growth but at the same time remembering the highs and lows that have come to define him.

His prowess at electronic music and songwriting have clearly grown into full bloom, seeing his comfortability at both using it tastefully and completely avoiding it. His soundscapes are past the days of vibrant explosions and colourful moments, now featuring a more tranquil and thoughtful design. Although some points in the tracklist still have that momentary zestfulness reminiscent of tracks like Wake Up or Circles, the overall musical style has definitely become more serene.

Although EDEN has never been subpar at crafting meaningful lyrical content, vertigo is massively focused on the sentiment in his words, and in the stories they tell. I adore the way he can write about subjects so personal to him, in a way that feels vulnerable and distinct, while allowing us to feel a connection to these songs. Some of these tracks have a very poetic sense to it, especially the three tracks that feature a double slash separating two opposites for a title.

vertigo feels complete, from start to finish, as a work of art representing the emotional journey of personal self-reflection. The intro track wrong is so musically raw as an acapella and lyrically sets the scene for the starting point of the journey. Throughout the tracklist are a lot of songs written in his perspective, as he contemplates his life and relives moments, and allows emotions of happiness, sadness, anger and guilt show in his music, all with a hint of hindsight. The penultimate track, love; not wrong (brave), is a passionate declaration of hope, with a contrastingly positive tone and an inspirational message both to him and his listeners. Yet, the record closes off with a more sombre track, one that remembers the struggles and chooses to be more realistic, one that's still hopeful but knows the pains of living. A gripe some may have with this album is that the tracks don't feel too distinct enough, and although I do agree it's frustrating looking at the tracklist and not being able to identify the individual songs, I think it's addition to the overall album experience compensates for it. The way the songs blur together and melds adds so much to the immersion of the record, allowing you to sink into the music. 

I just love the humanness reflected in this album, it's full of sentiment and emotion, and leaves a lasting impression as a record made for the heart, if you spin it enough times to fully absorb it the way EDEN intended it to be heard. Of course, it's definitely not the easiest to listen to, with it's gloomier feel and lack of pop-esque hooks and catchiness, an aspect which did deter me at first, but I've learned to love the sound of it and nowadays I find it simply underappreciated. What I loved most about EDEN with his EPs, his ability to evoke emotion so authentically and viscerally, has been polished and touched up in this album, but doing so in a mature and poised manner, and I love that about it.

Rating: 10/10

Tracklist:

1. wrong

2. take care

3. start//end

4. wings

5. icarus

6. lost//found

7. crash

8. gold

9. forever//over

10. float

11. wonder

12. love; not wrong (brave)

13. falling in reverse

Lyric Of The Week 07: Flight Without Feathers

 "Nothing's ever tasted half as good as grief."

Architects - Flight Without Feathers, from the album For Those That Wish To Exist

Song: While She Sleeps - ENLIGHTENMENT(?) [SLEEPS SOCIETY, 2021]

 

While She Sleeps has one of the most unique metalcore sounds out there, and they still manage to redefine it with every release. ENLIGHTENMENT(?) comes off their 5th full-length record, SLEEPS SOCIETY, and being the intro track, gives you a good taste of the new direction that this album takes.

I adore the monumental feeling that this track has, with it's inspirational sound, the call-to-action message at the beginning and energetic elements. This song takes the cynical and nihilistic approach of their previous album, SO WHAT?, and spins it around to give it a more hopeful and optimistic tone, while keeping the realism and uncomfortable truths that While She Sleeps dares to talk about.

The diversity and range in this song alone, as well as the rest of the album, is such a wonder to listen to. They keep to their punkier, hardcore roots in some moments but comfortably lean into more melodic and anthemic styles in others, and it all fits together so snugly. The vibrant guitar riffage, courtesy of their immensely creative lead guitarist Sean Long, provides so much of the dynamics and energy throughout the song. Their openness to using electronic elements to enhance their sound is also very present in this track, a distinct style that they've managed to create.

Loz's vocals continue to take the stage and blow me away. His vocal performance and delivery has never disappointed and is only ever getting better, especially with their foray into different musical styles and ideas in this album. A moment I always look forward to hearing in this song, albeit not the most outstanding technique-wise but just scratches an itch for me, is his delivery of the line "Tired of waking up and feeling numb" in the second verse, there's just something about the grit and the low note at the end that embodies so much anger and emotion.

While She Sleeps' has such a unique brand of creating moments, whether it be breakdowns, hooks or solos, all of which they rarely ever do the conventional way. The guitar solo in this track almost doesn't feel like one, and as cliché as it sounds, it feels like the guitar singing another inspirational tune, and it blends in so well to the theme and message of this song. The breakdown in this song isn't just pure heavy (although there's nothing wrong with that), but rather their iconic blend of melodic riffage and intense chunkage.

ENLIGHTENMENT(?) is definitely one of their more on-brand songs, that represents their signature sound more completely. It's one of the highlights on this album and an absolute pleasure to listen and headbang to. This track sits highly on my own personal list for favourites in their discography, and I recommend this being one of the first few songs to spin if you're new to them.

Rating: 3.5/5

Album: Lewis Capaldi - Divinely Uninspired To A Hellish Extent [2019]

Scottish musician Lewis Capaldi has been one of the most interesting artists to pop up in recent years, no doubt due to the massive explosion of success that he achieved in a such a short amount of time, and the unprecedented reach of his debut album. The best part is, every drop of it is well deserved and justified by great songwriting and undeniable talent and skill.

I remember watching a cover of Bruises at a small school concert, and to the credit of the singer it was well performed, but I found the song nice and went back home to find the original version of it, only to be absolutely astounded by the voice of this singer. It's unmistakable that part of what makes his songs so good is his utterly angelic vocals. Whether it's the emotion-laden grit, the Scottish tinge or the elegant control he has, his voice has been one of the more iconic and unique ones this decade.

I didn't catch the hype of Someone You Loved or Before You Go, but I eventually got around to listening to the album as a whole, the extended edition to be specific. I was (and still am) in awe of how impressive this debut album was, with a standard of quality rarely seen in first releases. His songs aren't production heavy, there's barely any fancy effects or sounds, it's just heartfelt singing over simple piano and guitar melodies, which only goes to show how talented he is at singing and songwriting, where even the most raw and unfiltered tracks sound amazing.

Every song, from the major smash hits to the deep cuts, are extremely polished and well made. Even for a pop song, which never needs as much complexity as genres like metal and EDM, you can tell there's a lot of thought put into his songs. Although it is true that his songs don't vary too much in style and musicality, they're all easy to listen to, emotionally moving and memorable. Headspace gets a shoutout for being one of favourites of the album, I absolutely adore how great of a song it is for having the barebones essentials, being one of the calmest songs on the album and being one of the least streamed songs (it deserves more but at the same time I enjoy the idea of it being a deep cut).

A good majority of the world can agree with me that this is a terrific album, and the critical reception for this album has been insane. His record-breaking career is barely a few years old, and this album is the testament to what can become of great potential and even greater talent. I love to spin this record when I need something soft or when my heart wants to feel, there's nothing quite like singing along to Lewis Capaldi when you're emotionally vulnerable, and there's definitely nothing quite like Divinely Uninspired To A Hellish Extent.

Rating: 9/10

Tracklist:

1. Grace

2. Bruises

3. Hold Me While You Wait

4. Someone You Loved

5. Maybe

6. Forever

7. One

8. Don't Get Me Wrong

9. Hollywood

10. Lost On You

11. Fade

12. Headspace

Extended Edition:

13. Before You Go

14. Leaving My Love Behind

15. Let It Roll

(Extended Edition Album Cover)

Lyric Of The Week 06: NERVOUS

 "It's not enough to live in the dirt, and not enough to feign your concern, so say something, do something."

While She Sleeps - NERVOUS (feat. Simon Neil), from the album SLEEPS SOCIETY

Song: If I Die First - My Nightmares Would Do Numbers As Horror Movies [A Sure Disaster Split EP, 2021]

If I Die First's brand of modern screamo is a rare gem hidden in the dirt, at least for me. Their ability to blend so many elements together with so much ease and to create quality listening experiences that pack so much in so little time is unparalleled. Coming off of the Split EP with SeeYouSpaceCowboy..., My Nightmares Would Do Numbers As Horror Movies stands out as the best track on their half and one of the better tracks in their entire discography.

I've always found their fusion of styles very enticing, coming from a supergroup of sorts. Musicians with various backgrounds in emo trap, post-hardcore and metal combining their expertises to create such a diverse sound oscillating through all the styles effortlessly. Throughout this song, they toggle between two distinct sounds, one softer and one heavier, independent of the vocals. Softer sections featuring acoustic fingerstyle-esque riffs and electronics-focused percussion, heavier sections featuring metal drumming techniques and modern metalcore riffing and tapping, with some occasional blend and overlap.

For a band with four vocalists, it's interesting how they manage to cohesively utilise everyone in their songs. Uncleans and cleans rapidly switch each other out and occasionally layer each other or go into a call-and-response type beat, but never in an awkward or jarring way. All of their vocals are unique enough to stand out from each other, whether it be Lil Lotus' unique emo-tinged cleans and uncleans, Lil Zubin's high cleans or Travis' guttural lows. The drumming and guitarwork feels like a modern take on screamo fused with modern metalcore and post-hardcore, and there's just so much to love about the dynamic and genre mix.

As per classic emo and screamo songs, lyrical themes of love and dramatic metaphors accompanied by long song titles that may or may not be related to the song itself run common in their discography, and this is no exception. Catchy lines and hooks make most of their songs memorable and this song has plenty throughout, and even a minor nod to their first EP My Poison Arms.

If I Die First's catalogue is impressive, no doubt, but I personally think this song is their peak as of right now. Every element of their band is so well written here and there's no feeling of untapped potential, the vocal dynamics are excellent and the instrumentals are so well designed. Where some of their other songs fall short in feeling incomplete, rushed or slightly chaotic, My Nightmares Would Do Numbers As Horror Movies stands mighty as nigh perfect.

Rating: 5/5

"A Sure Disaster" EP cover

Album: Darko US - Darko [2021]

 

Modern metalcore/deathcore duo Tom Barber of Chelsea Grin and Josh Miller of Spite have been absolutely blowing up in the advent of the pandemic. Barely a year into their inception, Darko US has dropped one of the best metal albums in 2021, delivering a uniquely heavy sound and a hell of a time.

The talent and musicianship in this album is amazing. It has some of the most creative and catchy lyrical deliveries and drum grooves I've ever heard, and a generous amount of chugs to satisfy any metalhead out there. Their fusion of low-tuned chugs and blast beats, electronics, ambience and dissonant styles pay homage to both deathcore and modern metalcore while making it a sound unique to themselves.

Their call to heaviness isn't purely on how intense the music is, but rather with how expertly they play with balance, negative space and, in some cases, expectation subversion. Moments like the monotone "such" right before the first chorus of Pretenders or the build up to the breakdown of Pale Tongue, it's clear they know how to make their songs hit hard. Emotionally too, I might add, looking at the heart wrenching song Donna which is a tribute to Josh's late grandmother, or the soft piano instrumental If This Is Forever sitting in the middle of all the heaviness that's reminiscent of Bring Me The Horizon's Count Your Blessings or There is a Hell.

If I had anything to dislike about the album, it's that the title track seems to be somewhat underwhelming. Lacking any defining moments or catchy riffs and rhythms, the final track of the album somehow has less streams on Spotify than the instrumental interlude, which virtually never happens. But, to their credit, everything else on the tracklist are such straight up bangers that I'm more than willing to overlook this.

It's just hard not to be in awe of this band and it's capabilities knowing that, on one hand, Tom's vocal techniques are top of the game and his performances are incredible, and on the other, Josh's writing is phenomenally creative and the fact that he handles all the instrumentals is unbelievable, even if it's naturally percussion-oriented due to his drumming background. This album is just all sorts of great. It's fun, it's enjoyable, it's a great record to headbang to, it's so vibrant and full of energy, what's not to like?

Rating: 8/10

Tracklist:

1. Splinter Cell

2. Fiend Dream

3. Donna

4. Pretenders (feat. Ben Duerr of Shadow of Intent)

5. Praise The Sun

6. The Last Of Us

7. Daniel (feat. Courtney LaPlante of Spiritbox and Johnny Reeves of Kingdom of Giants)

8. Mars Attacks

9. Pale Tongue

10. Insects

11. If This Is Forever

12. Darko (feat. Nick Arthur of Molotov Solution)

Lyric Of The Week 05: Vagabond

 "You don't have to walk alone to know what it feels like when nowhere feels like home."

Polaris - Vagabond, from the album The Death of Me

Song: Loathe - Is It Really You? + Sleep Token Rendition [I Let It In And It Took Everything, 2020]

 

Loathe has an impressive repertoire just in this one album, but the one that takes the cake has to be Is It Really You?. Born from an anonymous story of two lovers meeting in a dream, it's evolved into a surreal experience driven by Loathe's ambient electronic metal formula. The clean singing from Kadeem in this track is a stellar performance and one of his bests in the discography, especially with the gentle gracefulness in the verses and the powerful control in the choruses.

The guitars, drums and electronics need an extreme amount of credit for setting the mood so well, painting a soundscape to the likes of floating through the night sky or the midnight seaside serenity. The calm euphoria that this song manages to invoke is one of a kind, leaving you wanting to have someone to search the sky with.

Loathe is such a diverse band with a range of sound from the softest of ballads to the heaviest of bangers, and I'm glad they let Is It Really You? develop in full form without any need to try and infuse other elements into it. It's definitely one of my favourites from I Let It In And It Took Everything, like a centerpiece in an art collection, and sits comfortably in my heart's hall of fame.

Rating: 5/5

BONUS

The arrival of 2022 marked the start of Loathe's line of collaborative projects, and renditions of Is It Really You? were made with Teenage Wrist and Sleep Token. Admittedly, I didn't feel that the Teenage Wrist rendition was too unique, it was definitely a nice touch and felt different but it didn't seem worth commenting about. Sleep Token's rendition, on the other hand, is such a complete rework that it almost feels like an entirely new song.

Vessel's vocals are undoubtedly the main attraction in this revamp. Accompanied by just a simple piano melody, barebones with effects and electronics, they completely switch up the vibe and energy of the song. I admire how Vessel, with his angelic vocals, can seemingly change the meaning and sentiment of the song so easily just by singing it. Where Kadeem seems to tell a story about new lovers shrouded in mystery and euphoria, Vessel tells one of old flames reliving better times under the stars. (Well, personal interpretation anyways).

I'm just in love with the fact that two of my new favourite modern bands, both so outstanding for their unique style and quality, would come together for a collaboration, on Loathe's best track no less. It's two worlds colliding in the best way possible, with the best of both worlds lining up to make a masterpiece of a track. It feels like a dream seeing this happen, ironic for a song that feels like a dream in itself. Worship as one, as they say.

Rating: 5/5 (but you already knew that)