Song: Electric Callboy - Hypa Hypa (with We Butter The Bread With Butter) [MMXX - Hypa Hypa Edition, 2021]

One of the funniest highlights of my Nik-fueled modern metal beginnings was this ridiculous re-imagining of Electric Callboy's dancy hit Hypa Hypa. I remember the music video being amazing, Nik's reaction being so entertaining, and the song itself just comedic gold yet perfect in its own way. Electric Callboy is already a band that makes such fun music because they know how to not take themselves too seriously, and We Butter The Bread With Butter is basically them but more insane.

The intro makes it clear that you're in for some heavy shit, but then they add a funky synth, and before you can even process that, they hit you with them goblin vocals. And then blast beats??? And then chugs??? And then whatever the fuck they morphed the chorus into??? It's whiplash after whiplash of the most unexpected "what's next"s a modern metal song could pull off.

The second verse is more ridiculousness, but I'll take the time to mention the vocals. It's insane??? The lows and highs are all crazy, and I love how he uses his screams in such a carefree and fun manner (like that "ee ee"). Did I mention the all the layers going on? The party gang vocals, the funky synths, the disco samples, it's all so fun yet so surprisingly well put-together.

Ah, the bridge. Nik called it robotcore, I call it whiplash no. 23. Jokes aside, it's honestly amazing how they make all these transitions work. Vocoder is super disco, electronics going wild, and then they bring back the metal before the most disgusting breakdown they could've turned Hypa Hypa into. Devil chord, crazy highs and lows, and then the slower-and-lower trump card. No chances, everyone is either moshing or dead.

In true stupid heavy fashion, they immediately return to the chorus like nothing happened. And to close the song out, they bring in the funniest sample possible while the vocalist just starts making animal noises. Honestly, what a way to end a song that's this crazy, except they did the surprise ending, which is the only whiplash they have left in the book at this point.

Modern metal is a genre that is usually serious and emotional, but there are a special few bands who make it fun instead, and this collaboration of two of the best in the fun game is unbelievably enjoyable. This is an insanity no other band can achieve, and a fun that no one else is having in the genre.

Rating: 3.5/5

"MMXX - Hypa Hypa Edition" Album Cover

Album: Spite - Dedication To Flesh [2022]

I remember the hype for Spite's new album last year as one of the best bands doing pure deathcore out there, and although I slightly overlooked the singles, I remembered them enough that when the album dropped, I was like "isn't the song with the really groovy breakdown on this one?" and decided to check it out.

I've gotta admit that I'm not the biggest fan of classic deathcore, and the roots are evident, so I wasn't expecting to fall in love with it, but I was still quite pleasantly surprised by the quality of the better cuts on this record. Lord Of The Upside Down is a killer first track, especially with that double-kick breakdown, but the verses are super groovy as well. Caved In was the single that kept my attention long enough to decide to listen to the album, mostly because of that tasty groove right after the first verse, I just love how it makes me want to move. Made To Please didn't actually catch my eye that much, but it definitely has one of the more popular breakdowns of that year.

If it isn't obvious already, my favourite thing about Spite is their infectious grooves. In a genre with little melody, few bands can actually make their music interesting to those only adjacent to deathcore, but a good groove never fails, and they've got good grooves. I have to also mention Darius's vocals are great, there's this subtle but unique texture to his screams that makes him stand out as a vocalist. The instrumentation is great too, the guitarwork is full of well-used dissonance and chugs, and the drumming from Baby J is nothing but perfection.

Dedication To Flesh is not an album that I am head over heels for, but I love coming back to it for the grooves, and it makes for a great workout soundtrack. It's clear that they're one of the best modern pure deathcore bands for a reason, and even I can enjoy what is otherwise a pretty indecisive genre for me.

Rating: 7/10

Tracklist:

1. Lord Of The Upside Down

2. Caved In

3. Proper One

4. Made To Please

5. Some Things You Should Know...

6. Dedication To Flesh

7. The Most Ugly

8. Fear

9. The Son Of Dawn

10. Sounds For The Descent

11. Hangman

12. Crumble

Song: Currents - Living In Tragedy [The Death We Seek, 2023]

Living In Tragedy was undoubtedly one of the most exhilarating first-listen experiences of the entire year. When I listen to music for the first time, there are very few songs that hit so hard for every single minute of it that I'm left with my jaw on the floor and my butt off the chair. This is one of them. Living In Tragedy is probably their most relentlessly heavy track in a long while. The least intense section is the chorus, and even that packs a punch. Everything else in the song is borderline lethal, whether it's the verses or the breakdown.

It comes in with a fade-in, which usually isn't something worth commenting, but they way they used it so tactfully that when the full drums came in it sounded like war, that's worth commending. The synths are pretty fitting for the kind of soundscape they're going for, especially transitioning into the first verse. I love how the verse flows and how he sounds, especially with the highs halfway through, and the chugs-and-lows combo later on.

The chorus is catchy, not their finest but fine indeed. It's memorable enough on its own but probably made more memorable by the rest of the song, but it's a classic clean-singing Currents chorus with nothing to complain about.

The second verse to buildup to breakdown combo had me absolutely floored the first time I heard it. Something about the climbing piercing synths, the pacing of the vocals and the drums rapidly increasing, the screams gradually getting more high to the point where he's shrieking, it's such an intense moment and I love it. Then there's a little bit of calm and you already know they're about to hit you with the deadliest breakdown they have at their disposal. With a little distorted scream and a little bit of war drumming, we get their best breakdown ever. Feral low-tuned zeroes, insanely sharp lead lines, disgusting vocals, violent lyrics, brutal drumming, it's nigh perfect.

They close it out with an extended chorus, one that ends with another growl and a super groovy four-on-the-floor beat. Like I said before, the chorus is solid, but after that second verse and breakdown? Nothing compares.

This song is legitimately one of the best metalcore bangers of the year, and such a standout on an otherwise unmemorable album to me. There was literally no question as to whether it would be my favourite track off of The Death We Seek, I knew it the moment I heard it.

Rating: 4/5

Lyric Of The Week 82: So Much (For) Stardust

"The stars are the same as ever, but I don't have the guts to keep it together."

Fall Out Boy - So Much (For) Stardust, from the album So Much (For) Stardust

Album: Currents - The Death We Seek [2023]

I had a moment with Better Days last year and since then Currents has had been a band I was intrigued enough to keep up on, so when the album cycle rolled around for their newest record, I trailed it every step of the way. Other than a minor controversy surrounding the use of AI art over an artist's (who was paid for their work anyways), The Death We Seek seemed like it was on a roll for one of their most anticipated album rollouts ever.

I have a feeling my thoughts on the album isn't the same as the majority, but I felt this album was just good, but not great. I couldn't tell you if it was a consequence of their sound and my tastes or this album specifically, but I felt that it was lacking a bit in variation and wasn't as memorable as I hoped it would be. Now, don't get me wrong, I'm still comfortably putting songs like Living In Tragedy and Remember Me on my queue, but it felt like the rest of the songs that followed their formulaic death-infused metalcore sound all seemed to kind of blur together, as good as they were on their own.

It's clear they're killing in it every technical aspect. The riffwork is godly, the vocals are beastly, the drumwork is punchy, and the breakdowns are monstrous. Yet, I found it hard to remember any of the other songs or tell them apart when it came down to it. Maybe it doesn't resonate with me, it could very well be as simple as that, but I also have the feeling I'm not alone on this.

With complete honestly, I can say I still regard this album quite highly. I found more to love about it than The Way It Ends, and like I said before, it has its moments. It's really only when you ask me to elaborate on the songs themselves where I'd find myself a bit lost for words, because I found the lack of diversity in their soundscapes a bit dulling. Looking for a good headbang or a mosh? This album is perfect. Looking for a captivating musical experience? Maybe not so much. But not all albums have to have such carefully crafted concepts to it, and for that I don't want to discount The Death We Seek's technical prowess as much as my album-loving heart wants to.

Rating: 7/10

Tracklist:

1. The Death We Seek

2. Living In Tragedy

3. Unfamiliar

4. So Alone

5. Over And Over

6. Beyond This Road

7. Vengeance

8. Gone Astray

9. Remember Me

10. Guide Us Home

Song: ERRA - Pale Iris [2023]

The ERRA boys are back with another djent banger, and I'm already excited. Ever since their deluxe self-titled additions and subsequent single Pull From The Ghost, none of which I found as memorable as their standard self-titled offerings, I've been waiting for their next album cycle to start and hopefully for new bangers, and a banger did we get.

Pale Iris starts of with this wonky riff tone and lead riff that's super fun, before JT comes in with his screams, robust as ever. The drums are going fast, the layers are thick and the lyricism is exactly what you'd expect from ERRA. We get a little tasty sing-screaming from JT before it switches over to Jesse on the chorus. It's a solid chorus, not their best but still catchy. That wonky riff from the start continues to perpetuate throughout most of the song and it does feel a little bit saturated, but not to the point where I hate it.

Things get a lot more fun when we get to the breakdown. Awesome callout, simple yet effective polymeter riffing, and ample time to mosh to it. I especially love the post-breakdown, there's something about the way Jesse sings "into nothing" that scratches a good itch for me.

Pale Iris is not a far throw away from their previous releases, but the subtle evolution is evident. Letting more pop sensibilities take hold without betraying their iconic djent sound, they remain as unique and poignant as they've ever been, and maybe more so soon enough.

Rating: 3/5

Lyric Of The Week 81: deepfake

"An endeavour to die or create."

brakence - deepfake, from the album hypochondriac

EP: Fire-Toolz - I will not use the body's eyes today. [2022]

Fire-Toolz is probably one of the first few artists reviewed on theneedledrop that I've decided to listen to because of the man himself. Sure, the titles and artwork intrigued me, but Fantano's review and rating of the album was what really pushed me over the fence of curiosity. I'm a fan of rock and electronic, but he praised it's experimentation and uniqueness for something more than just a blender brew of both.

It was definitely an interesting first listen, taking in the soundscapes as Fire-Toolz jumped from calming ambient soundscapes to colourful synths and a mix of processed cleans and distorted screams. You wouldn't be able to turn a corner on this tracklist without seeing some weird new sonic element pop up, whether it's saxophone passages, classic rock solos, glitchy sound effects or just the tasteful multitude of synths.

A record almost long enough to count as an album, they manage to squeeze in a good variety of offerings in just seven songs. Soda Lake With Game Genie, Vedic Software ~ Wet Interfacing and There Is Only One Suffering... The Suffering Of The Divine Circle Dance are more fully fleshed out experimental endeavours, while the rest are more focused on the ambient and atmospheric design. I'm not familiar with the ambient scene, so forgive me for what might be blasphemy, but it definitely reminds me of the kind of experimentation on Bring Me The Horizon's Music To Listen To and the ambient works on Loathe's The Things They Believe.

I can see how this EP and their music in general might come off as pretentious to some, with how chaotic and complicated it is without any real structure, but I think it's best enjoyed as a vibrant exploration of sound. There are some little moments that stand strong but the majority of the appeal of this record is how unique the soundscapes are, the kind of sounds being designed and how they play into each other at certain points. It's a fine album to sink into, but not the kind you'd listen to if you're gonna count the seconds.

Rating: 5/10

Tracklist:

1. Sophrosyne In The Mirror Of Simple Souls

2. Soda Lake With Game Genie

3. Vedic Software ~ Wet Interfacing

4. Air For Breakfast: She Is Safe & So Am I

5. A Moon In The Morning

6. Jhana + Bhakti Sphere

7. There Is Only One Suffering... The Suffering Of The Divine Circle Dance

Song: Vildhjarta - + den spanska känslan + [2023]

The pioneers of thall are back! Two years since the release of their mammoth album måsstaden under vatten, Vildhjarta has finally released a new song for the fans to get lost in and absolutely whomped by. + den spanska känslan + sees the band continue to refine their absolute chaos of a sound that feels like its years ahead of everyone else in the metal scene.

Their signature blend of haunting clean reverb-laden leads and unbelievably heavy everything-else continues to excel in this song. Laying out the carpet with a spooky delayed lead line before smacking the listener with heaviness that you literally cannot tell when will come in, it's one of the most impactful traits of their pioneering variant of thall. Blast beats and beastly screams alongside bendy riffs, it's instant thall.

The guitarwork in this one are strong. The riff that comes in right after the first verse ends is super tasteful, especially with the way they're using tremolo picking. There's also the super bendy riff in what I can only assume is the chorus, that is so expressive it almost feels like it's singing. There's also what Nik Nocturnal called the 'circus riff', which is apt I suppose, but I love how the bends move up and down, it feels hypnotic, almost as if it's some kind of forbidden magic they're using to concoct these kinds of melodies. There's also the clean guitar riff that leads up to the final section, there's something very pretty about the chords and I honestly love the way it sounds, especially with the djent layered over. But of course, there's also the känslan section, which apparently they teased over a year ago on their instagram. I love how the bends and the grooves are all so well thought out, and the blast beat at the end is a nice surprise.

Vildhjarta remains undefeated in the genre they created, but this track is a whole journey, man. Most songs off of måsstaden under vatten see them exploring just a small handful of ideas but + den spanska känslan + is a whole bag of them. Despite their affinity for chaos, this feels like their most refined track so far, one that really drives home just how strong they are as musicians. I can't even fathom how to go about making something as complex yet beautiful as this, but they've done it. Again.

Rating: 3.5/5

Lyric Of The Week 80: Nightmare

"I deserve this just like the rest of you."

Polaris - Nightmare, from the album Fatalism

Album: Polaris - Fatalism [2023]

Polaris has had such a tragic and troubled journey with this album cycle leading up to the release, with the unfortunate passing of their long-time bandmate and guitarist Ryan Siew. An album that was made with a lot of the rage and anger coming off of the past few tumultuous years, had suddenly become even more personal and emotional than it was ever meant to be. Polaris has always been a band unafraid to express the grittier emotions of life and write about the darker aspects of human condition, but this album ended up being a vessel for both their rage at the state of the world, as well as a lot of personal struggles and emotions.

Fatalism's album cycle started off strong with Inhumane, a very strong and heavy banger that holds true to their sound. After Ryan's passing, the band decided to continue with the album cycle as planned to honour his memory, and everything from then on felt so much more emotional. Nightmare and Overflow were both songs that, on their own, already were on the more emotional side, but now they felt so heartbreaking. Ryan's guitarwork has always been a pillar of Polaris but now, knowing these are likely his last songs, it has a heavy weight to it.

Fatalism as a whole sees Polaris possibly on par with their previous release, never losing their identity but definitely seeing some fresh additions to the sound. The most noticeable difference is the stronger influence of hardcore. They've never been strangers to the parent genre of metalcore, but Fatalism sees a lot more of these simpler and more guttural sections, like in Parasite or Dissipate. At the same time, we see a more melodic side of their vocals, a lot of tracks featuring clean vocals and pop sensibilities new to them. It does however also see a little dip in creativity, myself having found a lot of their songs a less memorable, whether it is the chorus that's less catchy or the guitar riffs being less interesting.

Credit where it is due though, it has its fair share of good moments and fun songs. Inhumane is an energetic banger that gets me on my feet, Dissipate sounds like Polaris' take on the Currents sound (in a great way), Overflow and Nightmare have some great choruses, Parasite is a hardcore-adjacent ragefest, and there's still a lot of tasty breakdowns to enjoy, like Harbinger and Aftertouch.

I'm honestly conflicted about how to feel about this album, because it may very well be that Ryan's passing has affected how I think I should feel about it. Fatalism is far from a miss but I'm hesitant to call it their new best, and I just feel it wouldn't be right to pretend it was groundbreaking just to honour his memory. Fatalism was a grounded album, it saw the band continue to write in the way they knew how to, to confront new topics and situations they never did before. They still excelled in capturing that intensity that they were known for, and even if there wasn't an impressive amount of new and creative songwriting, it was undoubtedly them. And despite tragedy, they decided to celebrate his life instead of just mourning it, and let his music play the way he would've wanted it to play, let the people enjoy it the way he would've wanted them to enjoy it. And for him, we shall.

Rating: 8/10

Tracklist:

1. Harbinger

2. Nightmare

3. Parasites

4. Overflow

5. With Regards

6. Inhumane

7. The Crossfire

8. Dissipate

9. Aftertouch

10. Fault Line

11. All In Vain

Song: Silent Planet - Collider [2023]

Silent Planet is two for two on bangers for this album cycle, with Collider possibly outdoing Antimatter and being one of their best songs, not just for this album, but ever. Collider sees the band take on familiar territory with a new energy, reprising many of their signature styles in new perspectives and showcasing one of their most exciting evolutions in sound yet.

Collider starts of with an instantly energetic intro, constant eighths and a very loud atmosphere, one that quickly tones down as the verse starts. Going bold with the electronic influences, Garrett sings calmly for just a few poetic bars before they flip back into heaviness. Punching straight in with a gnarly riff and gnarlier screams, it's a short but strong section.

The chorus, oh my. Garrett has finally shown his vocal prowess at full potential, with some amazing full-blown singing. Stellar vocal melodies, perfect vocal tone with the subtle grit, and paired with profound lyrics consistent to their music. The layering and ambience is as robust as you'd expect it to be coming from them, but it's always a wonder to experience the soundscapes that they build.

The second verse returns to the electronics but with a bit more of a suspenseful energy to it, skipping the heavy riff and going straight back to the chorus. By the way, the drumming underneath the verses are groovy and I love the dynamics of it. Anyways, they swing by the chorus quickly and we get to the breakdown in no time.

The buildup is short but succinct, quickly hyping up what's about to come. The low-tuned guitars start to show, the growls take their place, and we get hit with the same riff from before but somehow nastier. I have to mention by the way, the slow bends in that riff are disgustingly good, and reminiscent of thall.

There's a little bridge that's half-electronic and does the job getting to the final chorus, and the last chorus is nothing much new but still as fun. They bring back the back half of the breakdown without the vocals to end the song, but that's about all there is to it.

Antimatter and Collider together make me very excited for what's about to come, because it seems like Superbloom is going to be a whole different sound from Iridescent, going in many different directions without betraying the Silent Planet identity. I'm absolutely looking forward for the upcoming singles and album release, and I'm confident it'll end up high on my year end list.

Rating: 4.5/5

Album: Melanie Martinez - PORTALS [2023]

Melanie Martinez's third album is bit of a long time coming, and a welcome evolution of her sound. Admittedly, I'm not too familiar with her existing discography, having only listened to the bigger hits of Cry Baby and missing K-12 almost entirely, but I caught PORTALS right as it dropped and let it run its time.

PORTALS continues to advocate her unorthodox art pop with a dark twinge, one that is far removed from the urban flares of previous albums, instead going for a more alien-like and future-gothic aesthetic. The soundscapes also steer away from the older sound a bit, exchanging some of the poppier textures for rock ones, albeit dulled down. Again, her vocals are a strong focal point for the album, both as a lyricist and vocalist. A lot of the highlights on this record boil down to great vocal performances, vocal melodies and tasteful cadences.

When it comes to the aesthetic, I think she nails it perfectly. The dark, serene atmosphere of the album manages to capture the essence of this alien nature that she's embodying. There's also many moments that help to sell the idea, whether it's the last moments of TUNNEL VISION, the creepy sound effects littered throughout SPIDER WEB, the ominous ambience at the end of BATTLE OF THE LARYNX or the bone crunches and distorted laughs on THE CONTORTIONIST. Not to mention, her vocal range lets her portray a very inhuman persona, one that borders uncanny with the help of some tight production.

As far as songs go, it might be hard to not be overshadowed by the critically acclaimed Cry Baby, but it's not impossible. And though some gimmicks from that era don't hit as well the second time round, like spelling words on NYMPHOLOGY, there are some solid cuts and great choruses on this tracklist. TUNNEL VISION has some fun verses, SPIDER WEB has a fun and bouncy chorus, BATTLE OF THE LARYNX has such a clean yet hypnotizing chorus, the creepy sound design on THE CONTORTIONIST coupled with eery vocal work makes for a wild experience, and EVIL and WOMB have some of the most solid choruses on the whole record.

PORTALS is definitely a fresh experience, especially in this current landscape of pop music, and the alternative influences are more than appreciated. Any pop record that catches my eye and can keep my attention in this day and age is already worth commending, but PORTALS is one that impressed me quite a bit. I'll say though, I've already found myself going back to it a lot less, and it does have its fair share of misses, including all the deluxe additions. Still better than most pop records, though. No complaints, and honestly, a pretty fun record to remember.

Rating: 7/10

Tracklist:

1. DEATH

2. VOID
3. TUNNEL VISION

4. FAERIE SOIRÉE

5. LIGHT SHOWER

6. SPIDER WEB

7. LEECHES

8. BATTLE OF THE LARYNX

9. THE CONTORTIONIST

10. MOON CYCLE

11. NYMPHOLOGY

12. EVIL

13. WOMB

Deluxe Edition:

14. POWDER

15. PLUTO

16. MILK OF THE SIREN

Lyric Of The Week 79: Atropos

"A lack of body, just caught in the middle."

Periphery - Atropos, from the album Periphery V: Djent Is Not A Genre

Song: Aggressive Raisin Cat - Cough Bin [2022]

For the longest time, the concept of metal bands and Singapore have never crossed paths in my consciousness, but after watching Alpha Wolf play live in Singapore, I was simultaneously introduced to three pretty solid local bands, one of which was Aggressive Raisin Cat. Biased for progressive metal or not, they were undeniably the best local act that night.

Cough Bin starts off with some stellar riffage that is definitely home to the progressive metalcore style, and the drumming to back it is pretty damn solid. The vocalist comes in and his screams are pretty solid, albeit his lows are a bit unenunciated. Despite that, his vocal range is definitely commendable, and his cleans are clean too. As the song goes on, the band goes through multiple passages, all in progressive nature, whether it's lovely chugs or colourful tapping leads, and the riff right after the chorus is tasty.

In true progressive metalcore style, there's a lot of complex drum parts and djent like riffs, electronic ambience and clean reverb lead lines, background oohs and synth melodies. They even throw a pretty fun solo at the end to top it all off, but not before finishing with the classic piano and strings outro. For a seven minute song, they might not score extremely high on originality or uniqueness but they definitely do very well in songwriting.

I remember them joking on stage between songs that they were basically "a knock-off Periphery", and although they do share the same genre space, I honestly think Aggressive Raisin Cat is on track to becoming a strong band of their own. Cough Bin is only their third song ever, and has surprised me with how solid it is. A band comprising members only slightly older than me, it's wild to me how well they've done in such a short time. I'm definitely looking forward to their debut record, and finally seeing what they're capable of by industry standards.

Rating: 3/5

Album: Manchester Orchestra - A Black Mile To The Surface [2017]

After falling in love with The Valley Of Vision, I figured the next stop on the Manchester Orchestra train would be their critically acclaimed A Black Mile To The Surface. I've seen this album on critics' year end lists and even decade top 100 lists, and I was immensely curious to find out what was in store.

A Black Mile To The Surface immediately made it clear that it was much more diverse and powerful than The Valley Of Vision, presenting itself as a concept album, complete with thematic imagery and consistent titling. It also feels much more like a rock band, instruments taking their place at the forefront of the soundscapes. This was closer to what I expected them to sound like when I first heard of them, and now having found out that The Valley Of Vision was essentially a B-side of songs recorded in the same sessions as The Million Masks Of God, things start to make more sense.

This album has a much more cohesive and expansive sound design which I love. Layers upon layers of intricate intimacy woven into each and every section, so full of life and yet sounding unreal. I love the energy they decided to go with for this record, it has this subtle, uneasy darkness to it that contrasts the overall sentimental and profound ramblings. Their climactic moments can get pretty powerful, reminiscent of how they ended Rear View but way stronger.

The vocals play a huge part in how the overall album feels. Andy's command of melodic intricacies is not to be reckoned with, but it really is their work with vocal layering, harmonies and background details that really makes the soundscape. A lot of what contributes to the atmosphere and vibe of this record is how present the vocals are in the front and the back, whether it's the main melody or the oohs and aahs in the background.

The instrumentation is surprisingly vibrant, I'm amazed at how expressive it is. Their production work is on point, making just the right additions to each track to make them come to life. Whether it's the calm and relaxing pace of The Alien, the bold and bothered energy of Lead, SD, the rough and confessional fire of The Wolf or the poetic and powerful journey of a song that is The Silence, they're all crafted with so much love and patience, perfecting every detail within.

A Black Mile To The Surface has become akin to a spiritual musical experience, regardless of the listener's affinity to spirituality. Amidst the vast intricacies and countless details of the album, it has become an experience well worth diving into, again and again. There's something truly remarkable about the way they piece together such profound material into a cohesive package that has completely stunned me.

It has to be commended how deep the story is, there is so much dark and human weight to the lyrics and meaning of the album as a whole. Few albums reach such a state of narrative potence but A Black Mile To The Surface has such an intricate and substantial story woven throughout each and every line, one that touches me deeply and shocks me in such a revelatory way that I cannot help but be impressed.

I now understand why Manchester Orchestra has such a reputation, and honestly, I'm now disappointed that they aren't more well known. Not just as a matter of quality, their music is at most pop-adjacent but a majority of it could fit snugly into the pop genre, and it's slightly saddening to see a pop artist's rendition of their work get more plays than the band itself. That aside, I'm ecstatic to have finally found out what Manchester Orchestra is really made of, and I have absolutely no regrets. As I look forward to diving into their older catalogue, I also hope that I'll be able to see new material drop in the near future.

Rating: 10/10

Tracklist:

1. The Maze

2. The Gold

3. The Moth

4. Lead, SD

5. The Alien

6. The Sunshine

7. The Grocery

8. The Wolf

9. The Mistake

10. The Parts

11. The Silence

Lyric Of The Week 78: Civilian

"Yeah, it's cause we're all so comfortable with the ways we bleed."

Structures - Civilian, from the EP None of the Above

Song: Paleface Swiss - Please End Me [2023]

This song is so blunt and unbelievably brutal. I haven't heard of them before, but the song was making its rounds within the YouTube metal reaction community, and I eventually saw one of them. It's rarer these days to find amazing songs from reactors because of how saturated the scene is, but every now and then there's a banger.

Please End Me leaves the listener with no time to process what's happening, coming in with extremely short intro sections and a relentless pacing. The first breakdown comes in at just sixteen seconds, calling out the song title and going for nasty triplets. His growls are solid, for sure, and his scream-rap vocals are surprising to say the least.

They don't ever take a break at any point, going into section after section. Between groovy rhythms and tasteful vocal cadences, they leave their extremely heavy sound surprisingly accessible. The vocalist gets to spitting quite fast at some point, and although some of the phrasings get a bit funny ("tell me why I shouldn't kill my life"), it's nonetheless enunciated quite well and solidly distorted. The riffing is mostly simple with the chugs but the subtle licks are appreciated. The drumming is super tight and plays well to every section, with a great understanding of dynamics.

And because it is a heavy hardcore song, we obviously have to talk about the breakdowns. The four-on-the-floor breakdown eighty seconds in is feral, with a vocal cadence that is a divine fit for the groove. The slowdown after that is ruthless sludge, but the real deal is the final breakdown that they spend a good while building up to. Mosh pits are going to spill blood with this one, going even slower and throwing out an even bloodier callout, only to slow down again and throw some absolutely demented screams into the mix.

Paleface Swiss is a band I quickly learned after that has a reputation for stupid heavy songs, and Please End Me was a surprising but very welcome find of 2023. Despite its dark lyrics and imagery, I cannot deny how fun the heaviness is. Maybe I no longer relate to the words, but I can always relate to the desire to headbang.

Rating: 4/5

Album: Johnny Booth - Moments Elsewhere [2023]

Johnny Booth very quickly shaped up to be one of the most interesting heavy releases of the year after I caught the singles, and I was pretty excited to get into it when it finally released. Despite being a chaotic blend of hardcore and metalcore, there was something surprisingly enticing and catchy about their music, one that I was hoping to get more of.

Moments Elsewhere turns out to be as surprising as the singles. The blend of melodic metalcore elements and heavy hardcore elements continue to intrigue me, and the directions some of the songs go were really unexpected.

When it comes to heavy, they absolutely delivered. 2040 is a punch that never stops punching, short but relentless, Ring Light Altar is a rager that never stops with its flaming sardonicism, No Comply has some seriously sinister breakdowns and an unforgiving fury to it, and Modern Dialogue is a perfect sludgefest to close out the album. Their dynamicism in heavy territory is unmatched, able to build effective moments and remain interesting in a realm many others fail to.

What I didn't expect was such a strong presence of melodic elements in the album. Why Becomes How is a full song of cleans and a shoegaze-like soundscape reminiscent of Loathe, a standout in a very unexpected way. Beyond that, many other moments in the record boast a melodic flavour, like the intermission of Only By Name, the surreal chorus of The Ladder, the tastefully dissonant sing-scream chorus of Gatekeeper, and the unbelievably catchy chorus of Bright Future. For every memorable heavy moment, there's a melodic one to match.

Given where they stand of the heavy music spectrum, it's easy for bands where they are to get lost in the masses of other bands looking to sound the same, but Moments Elsewhere manages to stand out, no doubt due to a perfect combination of stellar writing, quality production work and unrivalled performance. I found myself coming back to it way more than I thought I would, putting the record on even when I couldn't put a finger on what exactly I wanted to hear.

Johnny Booth has definitely hit it out of the ballpark with this one. Despite not having heard them before, they sold it for me in a matter of months, earning my earnest interest in just one album cycle. Moments Elsewhere is definitely making it onto the year end lists, and one that will stay on rotation for time to come.

Rating: 10/10

Tracklist:

1. 2040

2. Collapse in the Key of Fireworks

3. Full Tilt

4. The Ladder

5. The Mirror

6. Only by Name

7. Why Becomes How

8. Ring Light Altar

9. Gatekeeper

10. No Comply

11. Bright Future

12. Modern Dialogue

Lyric Of The Week 77: Would've, Could've, Should've

"You’re a crisis of my faith."

Taylor Swift - Would've, Could've, Should've, from the album Midnights