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

Album: Invent Animate - Heavener [2023]

Invent Animate has been one of the most innovative modern metal bands in recent memory, and their fourth full-length album has been a highly anticipated release from not just their fans, but the metalcore scene as well. They've been consistently releasing great music and reaching new heights with their releases, especially with the amazing three-song EP The Sun Sleeps, As If It Never Was back in 2021. Heavener represents their most recent collection of bangers, and a coordinated effort of the most refined version of their sound.

Their flavour of metalcore is strongly defined by their unique blend of heavy and heavenly. Combining djent and thall influenced riffs with reverb-drenched and elegant guitar leads, beautiful clean vocals and raw screams, and oscillating between soft, sombre moments and relentless, intense ones. Their ability to weave emotion into their music is unparalleled, telling such powerful narratives through the melodies, composition and lyricism. They are far from generic in one of the best ways possible, and this record is only further proof of that.

The singles were extremely promising, including the initial Shade Astray which released outside of the album cycle. Between the relentless heaviness of Immolation of Night, and the emotional rawness of Elysium and Without a Whisper, they all happen to be some of the best tracks on the record. Despite that, the non-singles are also extremely formidable and pack a punch. I do have to admit though, they took a long time to stick, and it might be an inherent part of their genre and style, but the songs did blur together a bit, especially with those that lean closer to the traditional metalcore structure.

I superbly enjoy the riffwork on this album. It was one of the things that drew me to Invent Animate in the first place, with the riff on The Sun Sleeps being one of my favourite riffs of all time. There are definitely plenty of those super technical melodic riffs here, albeit none stand out as starkly as, for example, that one Cloud Cascade riff off of Greyview. I do kind of appreciate it though, toning down the technicality in favour of melodic and emotional capacity. I've also come to enjoy Marcus' vocals and his writing much more in this record. I've found myself hooked onto a lot more songs, whereas with Greyview I only really kept a good impression of Fireside's chorus.

I think they've managed to figure out the core of their sound with this record, and whether it's due to the aftermath of the pandemic is irrelevant. Heavener is their best work yet, and Invent Animate have proven themselves to be a remarkable force in modern metal like no other. My favourite thing about Heavener is how much of a vibe it is, I could simply get lost in the fourty-six minutes of pure heaven. It is a beautiful listening experience, and a potent degree of emotional, especially once you dig into the lyricism. One of the best releases of the year, for sure.

Rating: 9/10

Tracklist:

1. Absence Persistent

2. Shade Astray

3. Labyrinthine

4. Without a Whisper

5. False Meridian

6. Reverie

7. Immolation of Night

8. Purity Weeps

9. Void Surfacing

10. Emberglow

11. Elysium

Lyric Of The Week 65: Counterfeit Shrines

"In pursuit of god erase the image of his face."

Eidola - Counterfeit Shrines, from the album The Architect

Song: Secret Band - Moon [LP2, 2019]

Legendary post-hardcore outfit and swancore pioneers Dance Gavin Dance have a secret band, aptly named Secret Band. Comprising of all members but the clean vocalist, Secret Band takes on the heaviest and weirdest aspects of every member.

I love Dance Gavin Dance, I think it's pretty evident, and I was pretty excited when I first heard of their subgroup project. For some reason or other though, I never really got to listening to any of the records, but for some reason managed to catch a good listen of Moon.

Moon alone outdoes the entire Dance Gavin Dance discography in heaviness. With Jon as the sole vocalist, the entire project is dedicated to screaming and a brutal instrumentation to complement that. Without the need for pop sensibilities, every other member also gets the chance to dive deeper into their musical absurdity that defined most of their main project.

Moon starts off with an odd time signature and an oddly fun layered riff and some good chugs, before Jon comes in and starts his iconic screaming of weird lyrics. Throughout the first verse, we get everything from Jon straight up laughing, a little drum solo moment from Matt, and even some pick scraping which is not something I ever expected from Will. There's a good amount of dissonance thrown in as well, which is always fun and heavy.

The breakdown is one of my favourite moments of this song. There's something visceral and raw about Jon's scream tone here, especially with how high it gets and how clear it is against the spaces of the breakdown. The little funky riff against the syncopated drum beat is groovy, and then they switch to constant double kicks and a full sonic assault for a hot second before finally going back to the verse.

The final minute and a half of the track has this ominous intensity to it, powered by the relentlessly building instrumentation and sinister-sounding lyrics, as well as the echoing evil laughter afterwards as the song fades out. The lyricism about the moon is both absurd and dramatic, with sentiments of the moon being some kind of god and to be worshipped, and all sounding like some sort of fever dream. It seems on brand for Jon Mess though, although it's the first time I've seen one connected lyrical concept be addressed for a whole song, when he usually just throws a lot of random absurd lines together for a Dance Gavin Dance song. It's surprisingly cohesive for the crazy man, and honestly refreshing to hear his ramblings this way.

Secret Band is definitely worth checking out for any fans of Dance Gavin Dance, especially if you enjoy weird and heavy. I have yet to get to the rest of their discography but I'm confident it's full of good stuff. For now, I'm happy to say that Moon is a banger.

Rating: 4/5

Album: Make Them Suffer - How To Survive A Funeral [2020]

After falling in love with Contraband, I wanted to get a proper taste of Make Them Suffer, and the highly praised album How To Survive A Funeral was the first one I went for. It was recent so I could expect it to be a similar standard to Contraband, and the artwork deeply intrigued me, and I was looking forward to seeing if Make Them Suffer lived up to their fame in the metalcore scene.

Spoiler alert: they did. These ten songs echoed a very similar quality of sound that was extremely well polished and equally brutal and emotional, with a range so wide that post-hardcore and deathcore ended up on the same tracklist. Their reputed heaviness was undeniably showcased, whilst expanding on their melodic capabilities.

Make Them Suffer is very well defined by two or three aspects: Sean's vocals, Nick's guitarwork and to a certain degree, the female vocalist/keyboardist. Throughout this record, these three facets consistently shape every detail of the songs. I've come to understand why Sean is considered one of the best vocalists in modern metal, as it is one of the most robust harsh vocals I've ever heard. Nick's riffs are super unique, and after consuming more of their discography I've picked up on this subtle quality about his guitarwork that, I can't quite explain, but can understand well enough that I can recognize his riffs from a mile away. There's something so unique about his riffwork that sets him far apart from any other in the metalcore scene. As for the last aspect, I think the contrast in elements make for a very distinct sound, especially with the choruses and calm sections where it's most prominent, but I wouldn't go as far as to say it's the most outstanding thing about this record.

Their brutality is pristine but I find myself amazed by how raw they get with some of these tracks, and how phenomenal the writing can get at times. Sure, a decent chunk of it is just unadulterated anger, but some of the moments in the title track and The Attendant get quite emotional and intense. It definitely caught me by surprise the first time I heard them, but I've grown to like them the most out of all the songs.

How To Survive A Funeral is definitely a solid piece of work, and possibly their best work at the time, but with retrospect on my side, it's clear they're only getting better, and this record is just another step up to the next one. Personally, I've been absolutely in love with every release after How To Survive A Funeral, so I've not adored this record as much as I could've, but I can confidently say that this record is still a banger and worth checking out for someone getting into modern metal.

Rating: 7/10

Tracklist:

1. Step One

2. Falling Ashes

3. Bones

4. Drown With Me

5. Erase Me

6. Soul Decay

7. Fake Your Own Death

8. How To Survive A Funeral

9. The Attendant

10. That's Just Life

Song: Bring Me The Horizon - Pray For Plagues [Count Your Blessings, 2006]

Bring Me The Horizon's deathcore era is such a unique thing to look back on, whether it's the complete surprise of how heavy they used to be or the long-time elitist hate of them no longer being "heavy" compared to this. A good chunk of the metal scene consider Count Your Blessings a deathcore classic, and for what it's worth, it's Pray For Plagues only deathcore classic so far that I've actually grown to like, which is a feat to be quite honest.

I used to be very unimpressed by this song because I found the lyrical content super unappealing, but I've grown to accept that it's just a reflection of the kind of writing they made when they were quite literally teenagers. Add the fact that the band itself has more or less set this era of their musical career aside, repeatedly mentioned that the lyrics don't mean anything and that they don't like playing it, I think it's respectable that they know it didn't really age the best and it's not something to keep holding on to. Setting that aside, it's quite an impressive deathcore song. Of course, it took a long time to grow on me, especially with the production quality, but the roughness of it eventually became a part of the listening experience, much like grindcore and older death metal.

The thing I've come to enjoy the most about this song is the guitarwork. Call me biased, but I am a guitarist first (for now), and learning this song has made me appreciate the writing in this era of the band. Some of the riffs on this track are the best of their entire discography, and for the average modern metal guitarist, actually challenging and interesting. As much as I love Bring Me The Horizon's current day music, it's not as fun to play on guitar. The section after the first breakdown has a super fun riff that I absolutely love playing, the pinch harmonics are fun to pull off and the short sweep picking section felt super cool to learn.

Nevertheless, the rest of the song is great too. Hearing such a different texture of Oli's voice is so cool, even if I'm glad he doesn't do this anymore since it screwed up his vocal cords. The drumming hits all deathcore standards and impressive to some extent, even if that kick drum sound is kinda weird. It really goes to show how much they've evolved as a band, from a young group of boys making music as edgy as possible, to now when their music output is super refined and constantly pushing the boundaries. What's even cooler is that you can clearly see their talent, skill and effort has always been a core part of their band, no matter what they were writing. Count Your Blessings may not be a record that I put on often, if at all, but it is an important piece of their band's history, with Pray For Plagues as the best showcase of this era.

Rating: 3.5/5

Lyric Of The Week 64: Guiltless

"No use getting angry at the way that you're wired."

dodie - Guiltless, from the album Build A Problem

Album: 100 gecs - 10,000 gecs [2023]

Hyperpop stars of the 2019 and onwards hyperpop explosion, 100 gecs is finally back with their sophomore record, and it is absolutely not a slump. Two artist-producers who had the option of riding the same wave that they made with 1000 gecs instead chose to brew up 10 new songs that feature a lot more genre influences and sounds than their signature hyperpop flavour.

The change in sound between 1000 gecs and 10,000 gecs is one that I so greatly appreciate. Losing some of the heavily processed vocals, throwing in some distorted guitar riffs, embracing the meme culture and absurdity of their brand in full force, finding a wider range of dynamic electronic sounds, and treading in new sonic waters. Each song on this record more or less offers something unique for the listener, and the record as a whole has transcended past their hyperpop beginnings.

I think the persistent and most appealing characteristic about 100 gecs that makes this record as good or even better than their debut is their commitment to having fun. Everything that is dumb and stupid is intentional, absurdity is encouraged and fun is mandatory. In the aftermath of the hyperpop frenzy dying off, it's great that the duo weren't pressured into any expectations of their sound. Just about every track is stellar, and only because they had as much freedom to screw around with it as they did.

A lot more sonic ground gets covered in these ten tracks than last time. There's an obvious rock influence in tracks like Dumbest Girl Alive, Hollywood Baby and Billy Knows Jamie, especially with that last cut that goes from rap rock to full-blown death metal, without losing any of their sillyness. electronic explorations are super fun, now no longer conforming to their hyperpop sound. One Million Dollars has a seemingly experimental yet pretty fleshed out variety of electronic styles, 757 has some colourful synths lining the entire track, and the assortment of samples throughout the record is memefully tasteful. Of their breakout hyperpop sound, mememe is the closest to it, but even it manages to revise the sound with a rawer output.

100 gecs and their unapologetical nature is so rare to see in this day and age of music. No other name in the industry is simultaneously so talented yet so blatantly silly and deranged with their art, and it results in this mad scientist-like creativity that echoes both pure chaos and undeniable dedication. I don't even know where the ska came from, but it is needless to say that the duo continue to uphold their commitment to making fun music. One last shoutout to Frog On The Floor for being a top-tier meme song, and 10,000 gecs is officially their best work yet.

Rating: 8/10

Tracklist:

1. Dumbest Girl Alive

2. 757

3. Hollywood Baby

4. Frog On The Floor

5. Doritos & Fritos

6. Billy Knows Jamie

7. One Million Dollars

8. The Most Wanted Person In The United States

9. I Got My Tooth Removed

10. mememe

Song: Bring Me The Horizon - Fuck (feat. Josh Franceschi) [There is a Hell, 2010]

Fuck is objectively one of the funniest song titles to ever exist, even more so in Bring Me The Horizon's discography, but that's not the (sole) reason I'm talking about it. Between Alligator Blood and Blacklist, they happen to be some of my overall favourites from the record, and a pretty deep cut all things considered. There is a Hell is arguably one of their least talked about records, but it was quite a pivotal record for them, it's just that they pivoted a lot.

Fuck strays a bit from the sombre electro-symphonic flavour of the whole record, and is one of the relatively heavier tracks on the tracklist. The whole first half is relentless in pacing and super energetic, before shifting to a more anthemic and open clean chorus-like refrain to end off the song. Singing about fucking is kinda funny, but they somehow manage to contextualize it well enough where it doesn't really come off as a funny song. Even though I stifle a laugh every time I read the words "let's fuck till the sun comes up", the rest of the song is surprisingly good teenage emo romance-esque stuff.

My favourite moment is the pseudo-breakdown of this song. The whole verse going into the "flatline" part is so strong, and forever burned into my memory. I just love how intense the buildup is, especially with the drumwork, and Oli's growls are just superb. The breakdown riff itself is simple but it feels so uniquely Bring Me The Horizon, and that pinch harmonic right before the drop is tasteful. The literal flatline sound sample at the end of the breakdown is cheeky, but I do love it.

A lot of the riffs in this song share a lot of similarities with the rest of the record that really defined this era of Bring Me The Horizon. Fast-paced riffing, a very unique tone combined with a distinct bend-heavy playing, scarce use of palm-muted notes and very symphonic-accommodating rhythm guitar parts. Oli's vocal tone was super gritty and unique to this record, especially in this song, and the cleans of Josh Franceschi of You Me At Six contrasted so beautifully with it in this song. The whole second half of this song switches up so nicely and surprisingly, and it closes out the whole track elegantly.

Fuck is great because the song title seems cheeky and fun but in actuality, the song itself is a brutal punch followed by an amazing embrace of sound. Everytime There is a Hell comes up, I will never fail to think of Fuck, because it really is just a great song under the guise of a funny title. Fuck fucks.

Rating: 3.5/5

Lyric Of The Week 63: Rot In Pieces

"Regret never sufficed like a bullet in between the eyes."

Alpha Wolf - Rot In Pieces, from the album A Quiet Place to Die

Album: brakence - hypochondriac [2022]

I caught wind of this brakence album scrolling through social media, and the only reason I knew brakence was from the one song I knew from him, sunder, which I randomly added to my library a long time ago. It piqued my interest because there were so many people saying how great the album was, and the little snippet I heard was unlike what I expected of him.

I was definitely surprised spinning hypochondriac for the first time, but whether it was a pleasant surprise was very up in the air for a long while. It's quite easy to categorise hypochondriac under glitch pop and hyperpop, and for what it's worth, that's definitely its home territory, but there's a wide array of subtle influences that sets this record apart in a way that intrigues me deeply. Through thirteen songs and almost an hour of runtime, he presents a robust selection of tracks with a diverse range of creative choices that are mostly hits and occasionally a miss.

The record starts out pretty standard in sound for a hyperpop record, but entering the middle few we see some math rock and screamo influences start to seep in. As it's a hyperpop record, it's production heavy by intrinsic nature, but even by hyperpop standards I feel this one goes a bit above and beyond. This record is super dense in production effort and electronic stylings, with a lot of complex and constantly changing soundscapes. It's not neat, but I do believe the intention is to be some degree of chaotic. Layers upon layers of electronics and synthwork, vocal processing and glitchy beats, coupled with surprisingly catchy lines and unorthodox dynamics, hypochondriac is full of interesting moments if you can get past the oddities.

There's a tasteful variety of textures throughout this record that makes it really enjoyable and fresh, and gives listeners much to dive into. I love how he constantly switches between digital electronics and instruments, trying to incorporate a blend of sounds to fit the genre influences. There are plenty of math rock-esque guitar riffs and melodies scattered throughout the record, occasionally the beats get replaced for acoustic drum parts, his clean and harsh vocals will sometimes come in instead of heavily processed vocals. All of this sell the idea of an alt-influenced hyperpop blend, which I feel brakence hit the mark on with this record.

For a self-described glitch pop artist, he's definitely pushing the glitch part to overdrive. Some of the glitch parts are reminiscent of edIT, and his natural voice reminds me of EDEN and Jeremy Zucker as well as some of his electronic production work. I am especially a sucker for how math rock-esque all the guitar parts are, whether it's the riffs under the verses of bugging! or 5g reminiscent of Ichika Nito, or sections like the ending of deepfake that lean closer to the styles of bands like covet and Chon.

After listening to this record for a while, I've grown to appreciate it and like it a bit. It's a very stimulating record, if you're one who likes full and loud soundscapes, complex layers and multitudes of textures, hypochondriac might be your cup of tea. It's definitely not a record for everyone, but anyone who enjoys hyperpop should definitely give this a listen, and if you enjoy math rock, hard rock or metal, chances are, this record might be to your liking as well.

Rating: 7/10

Tracklist:

1. bugging!

2. caffeine

3. venus fly trap

4. teeth

5. intellectual greed

6. 5g

7. preparation exercise no. 7 (trembling)

8. cbd

9. stung

10. argyle

11. deepfake

12. introvert

13. hypochondriac

Song: Bring Me The Horizon - LosT [2023]

More than two years after POST HUMAN: SURVIVAL HORROR, the wait is over. Bring Me The Horizon has finally announced the existence of PH2, and with it comes a new single that Oli Sykes himself says has realised his vision of what "future emo" sounds like. I gotta say, he might be absolutely right on this one.

DiE4u and sTraNgeRs both had a very fun modern emo sound still rooted in their diverse Bring Me The Horizon sound, but LosT absolutely blew me away with the unique production work and musical style that screams future emo like no other. Drawing influences from hyperpop, glitch music and emo, and leaving their own personal touch on it, LosT has become one of their most fun songs in their discography.

From the very start, the "future" in "future emo" is made very clear with a synth melody that also shows up a lot in the rest of the song. They combine that with strong emo rock elements to build the intro until the verse. The verses are highly electronic, but they do have their fun with it, throwing in subtle vocal effects and sound effects throughout. The soundscape and production of Bring Me The Horizon has always been astounding, but with the scope of a hyperpop-infused emo rock sound, they've really gone above and beyond with this one.

The chorus, like most of Bring Me The Horizon's discography, is undoubtedly catchy and strong. Coupled with the drums coming in, it just makes for an energetic and bouncy section that contrasts well with the verses. People have made comparisons to My Chemical Romance and I honestly don't see it, but I'm glad to know they got the "emo" part on lockdown too. It amazes me too, that with all the genre-blending they-ve been doing in the past few years, it seems that they've only managed to become even more accessible and pop-sensible amidst it all.

I have to be honest and say that I wouldn't mind a bit more screaming, but we still get a decent tasting with the end of the second chorus and some of the breakdown. I'm not sure what the prospects are for screaming on PH2, especially since the band is hoping to make the records more distinct by leaving the heavy stuff to one of the later records, but I do hope that they cross into some screamo territory on this upcoming future emo record.

When it comes to the "future emo" sound, the breakdown sealed the deal for me. I truthfully was not expecting glitchy easycore, and I was so ecstatic hearing it for the first time that I could barely stay in my chair. They've managed to find such a refreshing way to execute breakdowns with electronic elements, even electronicore of the 2010s didn't come close to this. I have to give props to the producers that worked alongside them to spice up simple chugs to this hyperpop insanity breakdown, including the build up to it. The sonic textures scratch all the itches in my brain, especially as someone who grew up with EDM and fell in love with metal after. The processed vocal callout, overlaying chopped vocals on the chugs, the gang vocal "woah"s in the post-breakdown, that one downbend note in the riff, everything about this breakdown makes me so happy.

The song ends in a very reasonable way and there's nothing else amazing to mention, but it wraps up the whole track nicely. I really do think they hit the mark with this track, because the previous two singles, albeit pretty good tracks, didn't make future emo click for me as much as this did. The moment I heard this song, it all made sense, what their vision for future emo really was and what it sounded like. It's neverendingly awesome to continue to see this band push boundaries and fearlessly redefine their music, constantly excelling no matter what territory they're in. I was excited enough on the wait for PH1, but PH2 may just take the title of my most anticipated record of this year, which will be a feat against the likes of Sleep Token's Take Me Back To Eden and Fall Out Boy's So Much (For) Stardust. LosT might just usher in their newest collection of best songs to date, we shall wait and see.

Rating: 4/5

Lyric Of The Week 62: my tears ricochet

"And I can go anywhere I want, anywhere I want, just not home."

Taylor Swift - my tears ricochet, from the album folklore

Album: ILLENIUM - ILLENIUM [2023]

I have always enjoyed ILLENIUM's work, especially some of his biggest hits in the pop industry like Feel Good and Good Things Fall Apart, so I was more than happy to await his self-titled and spin it on arrival. I was not ready to be so blown away by this selection of works, and be so absolutely captivated by this new rendition of sounds from the electronic artist.

ILLENIUM started out as a very pop-adjacent artist boasting a very distinct future bass sound that outlined his rise in popularity, but as early as 2020, we saw him dip his toes in more alternative and intense genre fusions, first notably with his collaborative single Feel Something, working with Excision and I Prevail of dubstep/bass music and metalcore fame respectively. Let me just say, my jaw dropped a bit when I saw the guest list for the self-titled. It is such a diverse range of artists, covering the entire spectrum from pop to metalcore: established popstars like MAX and Skylar Grey, new era pop phenomenons like JVKE and Teddy Swims, modern punk rock-influenced pop names like jxdn and American Teeth (who's 2020 single Gemini I quite enjoyed), famous pop punkers Avril Lavigne, Travis Barker and All Time Low, or beastly metalcore bands Spiritbox and Motionless In White, as well as long-time collaborator Said The Sky.

I was more than excited to get through the record. I have always enjoyed his euphoric and massive future bass sound design, and EDM was my first love, but seeing the possibilities in front of me with all the genre blending, I could not be more excited. Seeing Shivering on the tracklist meant that anything that heavy was fair game, and everything in between was expected.

Sixteen tracks is a lot, but I think it quite expressively covers his entire bandwidth as a producer. The pop-leaning tracks are some of his best works yet, lending a hand of some of the biggest rising names in the industry to create ecstatic tunes with great moments and catchy lyrics, with a consistency that is practically unheard of. The more alternative tracks are super fun, blending the collaborator's sound very intensely into the soundscape and leaning into their expertise. Eyes Wide Shut very strongly features Travis Barker's iconic drumming style and Avril's pop punk vocals, Shivering and Nothing Ever After sees Courtney and Chris getting to throw full-blown screams on an otherwise pop-centric mainstream record, which is a great step for metalcore. Including Back To You, it's great to see that ILLENIUM's collaborations with bands actually involve the whole band, rather than just lending the vocalist. His solo tracks also astound me sonically, whether it be the vibrant and enthralling soundscapes of Starfall or the wonderful tribute remixes of Bring Me The Horizon's Drown and Rihanna's Stay, the former of which gave me goosebumps the moment I heard the familiar melody on my first listen.

I think the most amazing thing about ILLENIUM's self-titled record is how consistently pristine it is, despite how diverse the sounds are. Every song has been refined to near perfection, conscious of blend of genres and appealing to many expectations whilst remaining unique and fun. And at its core, it's undeniably ILLENIUM. His touch is evident in every song, even when the focus is on the collaborator. It's great that he's transcended past the skill ceiling of his earlier works by going above and beyond in collaboration choices and exploring new electronic territory, it ultimately makes this new record such a refreshing experience compared to his previous records that would get a bit repetitive partway through. Definitely his best record yet, and dare I say that if he keeps going in the right direction with the alternative influences, he will only reach new heights.

Rating: 9/10

Tracklist:

1. Starfall

2. All That Really Matters (feat. Teddy Swims)

3. Worst Day (feat. MAX)

4. From The Ashes (feat. Skylar Grey)

5. Lifeline (feat. jxdn)

6. Eyes Wide Shut (feat. Avril Lavigne and Travis Barker of blink-182)

7. Shivering (feat. Spiritbox)

8. You Were Right (with Wooli and feat. Grabbitz)
9. Insanity (feat. American Teeth)

10. Drwn

11. Other Side (with Said The Sky and feat. Vera Blue)

12. I Want You 2 (Stay)

13. With All My Heart (feat. JVKE)

14. Back To You (feat. All Time Low)

15. Nothing Ever After (feat. Motionless In White)

16. Luv Me A Little (feat. Nina Nesbitt)

(Tags that I couldn't add due to an apparent tag limit I've never reached before: Nina Nesbitt, EDM,Future Bass,Trance,Dubstep,Melodic Dubstep,Pop Punk,Electronic Rock,Pop,Pop-Rock,Hard Rock,Metalcore,Alternative Rock,Psy-Trance)

Song: My Chemical Romance - The Foundations of Decay [2022]

The return of legendary emo rock band My Chemical Romance was not something I expected or was prepared for in 2022, but they returned with a surprising six-minute epic, reminiscent of their old sound but with a few new touches.

Compared to some of their best hits, this song is arguably calmer, mostly in the verses. They take on a softer soundscape familiar to Disenchanted and I Don't Love You, whereas the chorus has their usual anthemic energy. The use of synths and warbly effects at the start is definitely something new to them, but I appreciate how they're building an atmosphere distinct from their previous works. The vocals being slightly drenched in reverb is a cool texture to have, and I just have to say that Gerard's vocals are still as perfect as ever.

The chorus has their usual open, powerful sound, although it is quite a different sound from their usual choruses. It strays from their more energetic pop punk-esque choruses of Welcome to the Black Parade and I'm Not Okay (I Promise), and takes on a more dramatic texture with constant bass drums and echoey vocals. The second verse and chorus don't feature too much variation, but I do enjoy the lyrical heaviness throughout.

What I didn't expect to see in a My Chemical Romance song is a breakdown. Sure, it's not that heavy compared to just about all of modern metal, but it's still a breakdown nonetheless. It's definitely unique whether you like it or not, and I personally like it so that's a bonus for me. Gerard is doing screams too, which is something that's been largely missing from their discography since their first two albums (save for his one insane vocal feature on an Ibaraki track).

It may not be the strongest cut from them compared to the rest of their critically acclaimed discography, but it is a super strong return to mainstream attention, with a refurbished sound that fits adjacent to the post-punk revival movement. Like many other notable bands in this scene, it's wild for me to see them release music in current day, so I could not be more happy about this. Whether they're back in full force and planning to release a new record is still completely up in the air, but one good song is better than nothing.

Rating: 3.5/5