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pecksmetalpicks Andrew Pecoraro @pecksmetalpicks mentions
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You're going to hate the album art of my next couple reviews but if you don't listen to the bands you're ...
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You're going to hate the album art of my next couple reviews but if you don't listen to the bands you're going to miss out on so much. This is a split EP from Hollow Prophet and Scumfuck. Of all the ridiculous slam EPs I’ve reviewed recently, this might be my favorite. You may not have heard of either ... You're going to hate the album art of my next couple reviews but if you don't listen to the bands you're going to miss out on so much. This is a split EP from Hollow Prophet and Scumfuck. Of all the ridiculous slam EPs I’ve reviewed recently, this might be my favorite. You may not have heard of either of these two side projects before, but you’ve most likely heard of the bands the members are from.
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Hollow Prophet is the side project of Ben Duerr, the vocalist of Shadow of Intent (the band that had my second favorite album of 2017), and Scumfuck is the side project of Dickie Allen, the vocalist of Infant Annihilator (who some people might argue is the best heavy vocalist in the scene right now). Hollow Prophet does the first two songs, Scumfuck does the second two, and they both contribute to the last one, “Scumprophet”.
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This is exactly the type of cross-over I’ve been dreaming of. In my Shadow of Intent review I said Ben Duerr is approaching the level of Dickie Allen and now they’re both on this EP screaming right next to each other! It’s basically the equivalent of Suicide Silence and Whitechapel having a split EP, except ten times heavier.
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Having Ben and Dickie together on "Scumprophet" is one of the best duos I’ve ever heard. It's clear they’re at the top of the game and their brutalness, range, and variety of styles is unparalleled. The reason having two screamers is so great is because they sound different even when they’re screaming in the same range and that diversity is what keeps it interesting.
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Another great thing about the dual vocalist set up is that each vocalist can focus on exceling at different things. For instance, in “Scumprophet” Ben handles most of the lows and Dickie takes care of the highs. Yes, they’re both capable of doing all the screams, but Dickie’s highs have that evil feel that I don’t think anyone can replicate yet. By splitting up the responsibilities, each vocalist can focus on what they’re best at and it’s a win-win for the listener.
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Sleep Waker released their debut album ‘Don’t Look at the Moon’ a couple weeks ago and it has really ...
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Sleep Waker released their debut album ‘Don’t Look at the Moon’ a couple weeks ago and it has really taken hold of me. They had already established themselves with a solid EP last year, but this album should really put them on the map. I expect new listeners to be just as impressed as they were ... Sleep Waker released their debut album ‘Don’t Look at the Moon’ a couple weeks ago and it has really taken hold of me. They had already established themselves with a solid EP last year, but this album should really put them on the map. I expect new listeners to be just as impressed as they were with Currents’ album last year, which is saying a lot. At this point Sleep Waker is perhaps the strongest contender for breakout band of the year.
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Essentially they’re a mix of Wage War and old The Plot In You. Yes, that is completely accurate, and it is even better than you’re imagining. The Wage War similarities are in the screams, the breakdowns, and the instrumental styles. I might even start to prefer Sleep Waker after a while because they don’t have any cleans and find more original ways to switch things up. Their attitude is essentially Wage War’s in “The River”, except they sound like that all the time.
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The similarities to The Plot In You come in when the vocalist mixes screams with talking, just like Landon used to do when he was expressing pure hate. If you listen to the first AI640 EP (Landon’s side project) you’ll hear a lot of what I mean. It’s a powerful sound and the way Sleep Waker uses it to build up to the deeper screams is next level. Plus it’s always nice to have an emotional outlet other than deep screams.
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This album paces itself very well. The first four songs let you know they’re serious about being heavy, the next three dip down into slower sections with an atmosphere that reminds me of Loathe, and then they gradually rise back into the heaviness for the last three. It was a great decision to arrange the songs this way; breaking up the two halves with softer parts lets the listener know they have more to offer and prevents all the songs from blending together.
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“Turnaround”, “Eclipse”, and “Broken Teeth” are my favorite heavy songs and the title track, “Don’t Look At The Moon”, is my favorite of the ones that include slower sections.
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Kyle Pavone, the clean singer of We Came As Romans, has died at the age of 28. He was in the band since ...
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Kyle Pavone, the clean singer of We Came As Romans, has died at the age of 28. He was in the band since 2008 and his incredible clean singing was a big reason WCAR blew up into one of the biggest metalcore bands of all time. . . If you were lucky enough to listen to their 'Dreams' EP in 2008 you could ... Kyle Pavone, the clean singer of We Came As Romans, has died at the age of 28. He was in the band since 2008 and his incredible clean singing was a big reason WCAR blew up into one of the biggest metalcore bands of all time.
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If you were lucky enough to listen to their 'Dreams' EP in 2008 you could tell these guys had a bright future ahead of them. Although they've become more radio friendly over the years, they'll always have a special place in the hearts of their original fans. I'm confident WCAR was the reason a lot of people got into metalcore and the clean singing of Kyle Pavone was the bridge a lot of younger kids needed to connect to heavy music.
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I still remember listening to 'To Plant A Seed' when Modern Warfare 2 first came out in 2009. It's crazy how you associate bands with certain things and those old WCAR songs will always remind me of how carefree and easy life was back then.
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Erra just released their fourth album ‘Neon’. It’s the second album that has JT Cavey on vocals ...
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Erra just released their fourth album ‘Neon’. It’s the second album that has JT Cavey on vocals and it builds on the foundation they laid with ‘Drift’. Plain and simple, this album is great and it might even be considered the album of the year for some people, especially if it’s the first time ... Erra just released their fourth album ‘Neon’. It’s the second album that has JT Cavey on vocals and it builds on the foundation they laid with ‘Drift’. Plain and simple, this album is great and it might even be considered the album of the year for some people, especially if it’s the first time they’ve listened to Erra.
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That being said, I’m kind of torn about how I feel. On one hand, this is extremely enjoyable to listen to. It’s really pretty and even the heavy parts aren’t very harsh. “Hyperreality” is a perfect example of a song with a nice mix of down-tuned guitars and upbeat riffs/ drum patterns.
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You can tell this is a band that has matured and figured out how to connect everything they want to do in a song. Each one has a vision and they execute it perfectly, especially when it comes to the atmosphere. I’m also a fan of Jesse Cash’s slightly toned down vocals; having them not be as high pitched helps him blend together with JT’s vocals a lot better than the huge contrast he used to have with Garrison Lee.
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On the other hand, this new style doesn’t live up to some of the best elements of ‘Augment’ and doesn’t push any important boundaries. JT’s presence seems to have signaled a shift away from some of the band’s more progressive tendencies and refocused the emphasis on grooviness. The result is a band that is a bit more straight-forward with their approach and the loss of that nuance is disappointing.
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I love JT Cavey, but if I’m being honest, I think the change may have to do with the fact that he has absolutely no range. He sounds good here and this album is great for what it is, but 90% of his vocals are fillers while the rest of the band shreds until Jesse comes in to bless the listeners with his angelic cleans. His screams just don’t have the heaviness that Garrison Lee had and that drastically reduces the entire band’s range. ‘Neon’ and ‘Drift’ are both narrower in scope and can’t cover as much ground simply because the heavier range is now inaccessible.
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Continued in comments...
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Crown The Empire was one of my favorites of the day. I may not like the direction their new music is ...
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Crown The Empire was one of my favorites of the day. I may not like the direction their new music is heading in, but they played a lot of their heavier songs so I can't complain about that. . . They don't have the same punch without Dave, but Andy has always been a good screamer and their guitarist ... Crown The Empire was one of my favorites of the day. I may not like the direction their new music is heading in, but they played a lot of their heavier songs so I can't complain about that.
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They don't have the same punch without Dave, but Andy has always been a good screamer and their guitarist offers decent support.
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Every Time I Die tore it up as always. You just don't see very many bands with this kind of energy anymore ...
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Every Time I Die tore it up as always. You just don't see very many bands with this kind of energy anymore which is crazy considering they're only getting older. . . Caitlyn liked their hair a lot. Garrett from Silent Planet set the bar pretty high last year and she was sad so few bands this year ... Every Time I Die tore it up as always. You just don't see very many bands with this kind of energy anymore which is crazy considering they're only getting older.
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Caitlyn liked their hair a lot. Garrett from Silent Planet set the bar pretty high last year and she was sad so few bands this year could live up to it.
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Wage War was a lot of fun. I'm still haunted by the time I missed half their set a few years ago when they ...
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Wage War was a lot of fun. I'm still haunted by the time I missed half their set a few years ago when they were the first band of the day to play so it was great catching them in the middle of the day this time. . . The new songs sounded great. The old songs sounded great. I have no complaints about ... Wage War was a lot of fun. I'm still haunted by the time I missed half their set a few years ago when they were the first band of the day to play so it was great catching them in the middle of the day this time.
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The new songs sounded great. The old songs sounded great. I have no complaints about pure, straightforward metalcore that's easy to jump around to.
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Nekrogoblikon. They have a goblin run around on stage with the band pumping the crowd up. That should ...
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Nekrogoblikon. They have a goblin run around on stage with the band pumping the crowd up. That should give you a pretty good idea of what these guys are about. Looking past the fun gimmick though, they're surprisingly talented and I had way more fun watching them than I expected to. . . My ... Nekrogoblikon. They have a goblin run around on stage with the band pumping the crowd up. That should give you a pretty good idea of what these guys are about. Looking past the fun gimmick though, they're surprisingly talented and I had way more fun watching them than I expected to.
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My girlfriend was watching Good Charlotte before she found me halfway though Nekrogoblikon's set. I never thought I'd get to say "Did you see the goblin? Don't worry he'll back". That's the type of dream this band fulfils for you.
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August Burns Red // Warped Tour 2018. It shouldn't surprise anyone that August Burns Red was the ...
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August Burns Red // Warped Tour 2018. It shouldn't surprise anyone that August Burns Red was the best band of the day. I think this was the ninth or tenth time I've seen them and I'm always impressed by how amazing they sound. It's apparent as soon as they start playing that they're a level above ... August Burns Red // Warped Tour 2018. It shouldn't surprise anyone that August Burns Red was the best band of the day. I think this was the ninth or tenth time I've seen them and I'm always impressed by how amazing they sound. It's apparent as soon as they start playing that they're a level above the rest.
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I feel pretty lucky that ABR is the band I've seen the most over the years. These guys are the true kings of metalcore and are one of the few pillars of the genre that haven't disappointed me.
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Deafheaven recently put out their fourth album ‘Ordinary Corrupt Human Love’. I don’t think I ...
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Deafheaven recently put out their fourth album ‘Ordinary Corrupt Human Love’. I don’t think I ever reviewed their ‘Sunbather’ album even though that’s what put them on the map so I guess this is my first formal review of a black metal band. . . Before you freak out, this isn’t one of those ... Deafheaven recently put out their fourth album ‘Ordinary Corrupt Human Love’. I don’t think I ever reviewed their ‘Sunbather’ album even though that’s what put them on the map so I guess this is my first formal review of a black metal band.
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Before you freak out, this isn’t one of those Norwegian, anti-religion black metal bands. Their lyrics focus on powerful emotions and experiences that give life meaning. Love, sorrow, hope, things that define the human experience. If you didn’t know they were a black metal band you’d probably mistake their lyrics for poetry.
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I was a little unsure of what I was getting into at first because “You Without End” starts so slowly, but my patience was rewarded with a beautiful transition into a song that radiates happiness. It might be my favorite song on the album because the instruments stay on the lighter side and don’t yet start to incorporate the blast beats black metal is known for. The end result is a song that has a strong build up and continues growing until it ends.
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“Honeycomb” picks up where “You Without End” leaves off, but quickly introduces some of the more standard black metal elements with the drumming. The interesting thing is that the guitars rarely abandon the upbeat sound that makes this album feel warm and summery. That might be a weird way of describing the album, and it might be due to all the nature imagery the lyrics invoke, but this album has a much different feel than the dreary black metal you’re probably imagining.
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Four of the seven songs on this album are over 10 minutes long and the thing about Deafheaven that really brings it home for me is their shoegazy interludes. It’s in the interludes where the band ties everything together, often by transitioning the black metal in and out so the peaceful feeling you get during the soft parts stays with you. It works especially well when they layer the black metal on top of it and use it as a foundation to build upon. The start of “Canary Yellow” is a great example of a shoegaze section that sets the tone of the song for the next ten minutes.
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Review continued in the comments...
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Chelsea Grin recently put out their fifth album ‘Eternal Nightmare’. It’s the first album that ...
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Chelsea Grin recently put out their fifth album ‘Eternal Nightmare’. It’s the first album that features Tom Barber (ex-vocalist of Lorna Shore) on vocals instead of Alex Koehler. Although Alex’s departure means Chelsea Grin has zero original members, I’m glad they’re keeping the CG ... Chelsea Grin recently put out their fifth album ‘Eternal Nightmare’. It’s the first album that features Tom Barber (ex-vocalist of Lorna Shore) on vocals instead of Alex Koehler. Although Alex’s departure means Chelsea Grin has zero original members, I’m glad they’re keeping the CG name alive. However, the best part of all these deathcore vocalists playing musical chairs is that CJ McCreery, the vocalist of Signs Of The Swarm, is now the vocalist of Lorna Shore.
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I’ve talked a lot about how Alex’s vocals have improved over the years, especially at live shows. However, I don’t think it’s controversial at all to say that Tom Barber is a significantly better vocalist. Tom’s lows and highs are better, and he projects more power throughout his entire range. Plus, now Tom can do songs from ‘My Damnation’ with the highs it’s supposed to have while bringing back some of CG's classic “dark” atmosphere.
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If you haven’t listened to Chelsea Grin in a while, or weren’t totally convinced by the singles, I’d still recommend listening to all the tracks. The singles had some great elements, but I actually think the band shines most when they aren’t trying so hard. I get that they had to convince people that Alex wasn’t the only thing keeping the band afloat, but I think the real gems on this album are the ones that weren't put in the spotlight like “Nobody Listened”.
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Releasing ‘Dead Rose’ as the first single was a great decision. Following it up on the album with “The Wolf” was even better. Both let Tom show off his vocal abilities while the band kept the instruments surprisingly interesting. A lot of my complaints about past CG records were that they were too chuggy, resulting in one dimensional songs. “Dead Rose” and “The Wolf” have some chuggy breakdowns, but are offset with some faster paced sections too.
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One of the interesting things I didn’t expect is that a couple parts, and especially the song “Hostage”, sound like they could be on Emmure’s newest album. It’s great because it sort of feels like a rolling breakdown and doesn’t rely on pure chugginess to feel heavy.
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Continued in comments
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@chelseagrinofficial
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Crystal Lake released their fourth album ‘True North’ back in 2016. These guys became my new favorite ...
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Crystal Lake released their fourth album ‘True North’ back in 2016. These guys became my new favorite Japanese band after I discovered them when they put out ‘The Sign’ and it’s crazy that only a year later they came back with another incredible record. . . They have a unique mix of melodic ... Crystal Lake released their fourth album ‘True North’ back in 2016. These guys became my new favorite Japanese band after I discovered them when they put out ‘The Sign’ and it’s crazy that only a year later they came back with another incredible record.
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They have a unique mix of melodic hardcore and metalcore that they add some deathcore sections to. There isn’t another band that has this sound or mix of styles. A lot of it comes back to how talented Ryo is as a vocalist. He can do so many types of vocals and the way he switches them up makes their songs a ton of fun to listen to. Think of how The Ghost Inside mixes melodic hardcore with metalcore, Crystal Lake does something similar by bringing those same melodic hardcore vibes together with other styles.
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My favorite song is “Omega”, especially with “Alpha” as the intro. “Black and Blue” is another great one that is a little on the softer side. The intro is groovy and the whole song gives me an In Hearts Wake vibe. The way they use the guest vocalist and incorporate him into the song is great too. .
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“Six Feet Under” is another stand out track; it’s only 2 minutes but it feels twice as long because they pack a ridiculous amount of material into such little time. The vocals literally never stop and the instruments are extremely fast paced. Plus the deathcore section that they put in the middle is beyond sick.
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"Waves” is another one of my favorites and is a great way to end the album. The electronic (no, not autotune) backing vocals are placed really well. They’re in other songs too but I bring them up here because they fit the feel of “Waves” so perfectly. It’s a great way to end the album because it combines the lighter side of the instruments with heavy vocals in a way that feels almost peaceful.
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My only criticism is it’s a relatively short album and has more soft songs than their previous stuff. Still, Crystal Lake is an incredible band and this album only adds to that.
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@crystallake777
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A couple weeks ago Convictions put out their third album ‘Hope For The Broken’ and it’s just as good ...
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A couple weeks ago Convictions put out their third album ‘Hope For The Broken’ and it’s just as good as their last one. In some ways they remind me a lot of Currents, one of my top ten bands from last year. They have the spark…they just need the attention to really blow up. . . Once you listen ... A couple weeks ago Convictions put out their third album ‘Hope For The Broken’ and it’s just as good as their last one. In some ways they remind me a lot of Currents, one of my top ten bands from last year. They have the spark…they just need the attention to really blow up.
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Once you listen to the intro track you know these guys are going to go hard on all 13 songs, and yeah, I’m giving bonus points for an intro track because they're great and nobody does them anymore.
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“Deceptive Heart” is one of my favorite tracks partly because of the slight nu metal influences, but mostly because the high screams sound a lot like Mike Hranica from The Devil Wears Prada’s early material. They’re done really well here and I wouldn’t mind if more of the songs turned out this way. Plus the breakdown at the end with the extra long scream sounds like it’s straight from a Fit For A King song which is always good.
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It took me a couple listens to realize that one of the reasons I like ‘Hope For The Broken’ is because each song is different enough that you don’t feel like you’re listening to the same thing over and over. The differences are subtle and they do a good job of tying everything together, but it really hit me when I started to think about what band each song reminds me of.
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I ran into this problem in my review of their last album too; it’s tough to review them and not name drop a bunch of big bands they have things in common with. If you look at the top comments on their songs you’ll see “Deceptive Heart” is The Devil Wears Prada, “Voices” is Underoath, “Divided” is My Ticket Home, and the list goes on. It’s a testament to how versatile the band members are.
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The low screams add a lot to the versatility; they give Convictions a level of heaviness that other bands don't have. I’m a big fan of how the lows contrast with the mid to high pitched yells and the breakdowns make them even heavier.
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The title track deserves some attention too. It’s the most emotional on the album and it still catches me off guard because they do the melancholy style really well. I have a lot of faith in these guys, they’ve explore new territory and keep pushing their boundaries.
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Last year Counterparts released their 5th album ‘You’re Not You Anymore’ and although it didn’t ...
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Last year Counterparts released their 5th album ‘You’re Not You Anymore’ and although it didn’t live up to ‘Tragedy Will Find Us’ it was still top 20 material. I’m splitting this review into positive and negative parts because this is a really great album and I don’t want to put too much emphasis ... Last year Counterparts released their 5th album ‘You’re Not You Anymore’ and although it didn’t live up to ‘Tragedy Will Find Us’ it was still top 20 material. I’m splitting this review into positive and negative parts because this is a really great album and I don’t want to put too much emphasis on my critiques because I know that I'm holding this album to a really high standard.
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The positives: Counterparts has been around for a while and it seems like their popularity doubles each time they release an album. I think it’s because they sound like they would be an underground band and people latch onto them as if they were the first to discover them. If you’re a new listener I highly recommend their previous material. They don’t sound radically different but they have evolved over time in a great way.
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People will probably argue over what genre they are but I consider them to be one of the best bands to mix melodic hardcore with metalcore. A simpler way of imagining their sound is thinking about what it would sound like if a pop punk band was heavy. They have one of the best heartfelt, emotional sounds I’ve heard and it really gets your feelings going. It's the type of stuff that makes you think about life as you’re driving home late at night.
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A signature element of Counterparts that I hope never disappears is the combo of fast vocals/fast instruments. One of my favorite things is how the yells during the fast parts build up the song and when the breakdowns hit he switches to the deeper screams (a great example of this is comparing the start of “Bouquet to the end of “Rope”).
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The negatives: This is a short album (under 28 minutes) and it didn’t suck me in the way other albums have. Keep in mind I’m being super critical here; it was a great album and I listened to it a bunch, it’s just that ‘Tragedy Will Find Us’ is one of my favorite albums in recent years so this one had a lot to live up to and that’s what I’m comparing it to.
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Continued in comments...
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Impending Doom just released their sixth album ‘The Sin and Doom; Vol. II’. It’s my favorite release ...
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Impending Doom just released their sixth album ‘The Sin and Doom; Vol. II’. It’s my favorite release from them since their 2009 album ‘The Serpent Servant’ and it’s a solid comeback considering it’s the first thing they’ve released in five years. . . There are a couple reasons I wanted ... Impending Doom just released their sixth album ‘The Sin and Doom; Vol. II’. It’s my favorite release from them since their 2009 album ‘The Serpent Servant’ and it’s a solid comeback considering it’s the first thing they’ve released in five years.
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There are a couple reasons I wanted to review this album. The first is that heavy Christian music is basically dead. Sure, there are plenty of small bands that still pop up and a couple of the big ones have vague references to their beliefs, but Impending Doom is one of the few that’s still straightforward about it. After For Today decided to call it quits there has been a massive gap in the Christian metal scene, especially compared to how strong it was in the late 2000’s, and I think Impending Doom should get some credit for partially filling that hole.
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Another reason I wanted to review this is because a lot of people loved Fit For A King’s recent single “Tower of Pain”, but may not have realized that a lot of it sounds exactly how Impending Doom has sounded since at least 2012. I just want to point out that Impending Doom is essentially the heavier version of FFAK.
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It’s interesting though because Impending Doom is still in the 2014 mode of deathcore which was getting closer and closer to metalcore (still has heavy breakdowns but the lyrics became a lot easier to understand). I almost don’t want to call them deathcore because in a lot of ways they’re essentially an extra heavy metalcore band and not very similar to 2018 deathcore bands like Angelmaker, Oceano, Shadow of Intent, etc in terms or heaviness and technicality. It’s not bad by any means, and I’m 95% sure this is the style Chelsea Grin’s new album will fall into, it’s just not really deathcore anymore.
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The plus side to this album being less technical is that it feels groovier. The monotone vocal style kind of reminds me of Meshuggah and they do a good job of pairing the vocals with the grooves to build up sections before the breakdowns.
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Overall this is a solid album by a band that I’m glad is still around. I remember the first time I heard ‘Nailed. Dead. Risen.’ and Impending Doom has had a place in my playlist ever since.
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Angelmaker and A Night In Texas released a split EP on Halloween of 2016 called ‘Unholy Alliance’ ...
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Angelmaker and A Night In Texas released a split EP on Halloween of 2016 called ‘Unholy Alliance’ and it was one of the strongest deathcore releases of the year. A Night In Texas does the first three songs and Angelmaker does the second three. . . A Night In Texas’ part is pretty good but unsurprisingly ... Angelmaker and A Night In Texas released a split EP on Halloween of 2016 called ‘Unholy Alliance’ and it was one of the strongest deathcore releases of the year. A Night In Texas does the first three songs and Angelmaker does the second three.
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A Night In Texas’ part is pretty good but unsurprisingly Angelmaker’s part is the real highlight. If you listened to this back in 2016 you probably aren't surprised by deathcore's current state and the direction it's headed in. We have evolved past the times of Chelsea Grin making ‘Desolation of Eden’. Having simple, chuggy breakdowns doesn’t cut it anymore. Both of these bands are capable of playing crazy fast while still having heavy breakdowns, and spanning the entire spectrum of high and low vocals.
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I’m a little disappointed in A Night In Texas because they had already released “Rotten King” as a single and then reused it for this. Also, the fact that they made “Fuck Your God” so edgy was lame; I’m sort of over the in-your-face anti religion lyrics and I think that phase is dying out so it just seemed like a weak attempt to grab some attention.
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Angelmaker on the other hand used this EP to add a few more classics to their discography. It’s interesting because A Night In Texas’ three songs last 11:45 and Angelmaker’s last 15:48 so their part is substantially longer and re-listening to it gets me even more excited for their new album. The dynamic they have between their two screamers is so sick; they have a ton of variety in how they can combine styles and switch off.
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Faster, more technical deathcore is the future of the genre, especially as bands continue to mix in slam and death metal. These two bands helped usher in the new era of deathcore, and I'll be surprised if Angelmaker doesn't become one of the biggest deathcore bands in the next few years.
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Last weekend Dance Gavin Dance released their 8th album titled ‘Artificial Selection’. They’ve ...
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Last weekend Dance Gavin Dance released their 8th album titled ‘Artificial Selection’. They’ve been on a crazy hot streak for the last couple years and I’m surprised by how great of a follow up this is to ‘Mothership’. . . ‘Artificial Selection’ definitely ranks towards the top of their ... Last weekend Dance Gavin Dance released their 8th album titled ‘Artificial Selection’. They’ve been on a crazy hot streak for the last couple years and I’m surprised by how great of a follow up this is to ‘Mothership’.
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‘Artificial Selection’ definitely ranks towards the top of their discography, but there’s so much going on here that it’ll take some time to see where it settles overall. One major plus is that it has 14 songs (53 minutes!).
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I’ll talk about the highlight songs and what makes them so great, but first I want to note the importance of listening to albums like this in two modes. One is for analytical purposes and the other is purely for enjoyment. You’ll certainly be impressed if you pay attention, but you can enjoy the hell out of this by passively listening to it too. I actually enjoy albums like this more when I have it on a loop in the background.
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This album cements Tilian as my favorite clean singer that DGD has ever had. His vocals bring so much to the table and a couple of my favorites on here are purely because of his chorus. At the same time, the more I listen to DGD the more I realize that Jon’s screams are actually meant to act more like an instrument. His lyrics are nonsense, and that’s the point. He’s there to build the intensity and contrast Tilian’s singing.
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I wouldn’t be surprised if everybody ends up having a different favorite song and that's a testament to how solid this release is. I love “Son of Robot” and “Midnight Crusade” because I think Tilian’s vocals, and the way Jon interrupts them, is DGD’s peak sound. And while “Count Bassy” is my least favorite, I’ve seen lots of people say it’s their favorite.
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The individual song reviews are continued in the comments below.
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The Devil Wears Prada released ‘Plagues’ as their second album in 2007 and it has remained a favorite ...
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The Devil Wears Prada released ‘Plagues’ as their second album in 2007 and it has remained a favorite of mine after all these years. Almost every album and EP these guys release is hailed as “their best material ever” by some faction of their fan base, but I actually think I could make the argument ... The Devil Wears Prada released ‘Plagues’ as their second album in 2007 and it has remained a favorite of mine after all these years. Almost every album and EP these guys release is hailed as “their best material ever” by some faction of their fan base, but I actually think I could make the argument that ‘Plagues’ is truly the best.
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TDWP was one of the early pillars of metalcore and this album was what cemented them as one of the greats. Mike’s vocal range back then was outstanding and I credit him for my love of high screams in metalcore. .
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The way he flows from lows to highs is what makes the album a favorite of mine because it sounds like he is literally giving it his all in every single verse. Even the mid screams have purpose, especially compared to a lot of bands that use them as space fillers.
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One of the things I love about TDWP’s old material is that they gave the cleans their own space and then layered the screams directly on top of them. This allowed them to really highlight the contrast between the light and heavy parts which resulted in even heavier sounding breakdowns.
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For instance, in “HTML Rulez D00d” and “This Song Is Called” they slowed the songs down to let the cleans set the mood for thirty seconds, introduced the background screams, and then violently dropped all the instruments in to create a chaotic breakdown. It’s such a simple formula but it showcases a critical element of early metalcore that has been lost over the years. I’m not sure why but bands these days hardly ever let the cleans and screams directly interact.
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By giving the cleans thirty seconds to shine they let the listener relax before being plunged back into the heaviness. The way it transitions is awesome because the screams slowly get added back in while the instruments are still light and then suddenly everything hits. It’s especially cool when they have the piano as the primary contributor during the soft part because when all the heavy instruments come back in the piano sticks around in the background.
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Review continued in the comments...
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@theafterimageca just released their debut album ‘Eve’ on @tragicherorecords and it’s all I’ve ...
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@theafterimageca just released their debut album ‘Eve’ on @tragicherorecords and it’s all I’ve been listening to the last couple days. If you’re a fan of bands like Erra, Invent Animate, or A Skylit Drive you’ll find plenty to love here. . . I’ve been into these guys since ‘Formless’ ... @theafterimageca just released their debut album ‘Eve’ on @tragicherorecords and it’s all I’ve been listening to the last couple days. If you’re a fan of bands like Erra, Invent Animate, or A Skylit Drive you’ll find plenty to love here.
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I’ve been into these guys since ‘Formless’ and am enjoying how they’re evolving. Compared to their earlier material you can tell the band is no longer trying to squish a million different styles into every single song. ‘Eve’ is more about diving deeply into each sound and the album cannot be understood by listening to only a couple songs.
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The Afterimage is known for its incredible technicality, but I think the band has learned that technicality isn’t everything and that's why 'Eve' is so good. They’ve figured out when to scale it back to make the album more digestible. The sound they’ve achieved here will be appealing to a larger group of people while still showcasing their classic style. You don’t need to be a massive progressive fan to enjoy it and I think that’s the key to the band’s future. At the same time, it seems like they wrote “Wrath” (one of my favorites) for fans who miss their earlier EPs.
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The atmosphere on this album is great. It isn’t surprising that the band had to scale back some of its technicality and heaviness to create it. It’s interesting because that’s exactly what Reflections had to do when they made ‘The Color Clear’. It’s like the technicality can get in the way of the bigger picture, and I think The Afterimage did a great job of balancing the crazy music they’re able to write with the overall theme.
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Although the band’s heavier extremes are rarer on ‘Eve’, they have more than made up for it with catchy choruses. It’s unusual for clean singing to be my favorite part of a song but there are a couple instances of that happening here. That being said, Kyle’s screams are still killer, like at the end of “Floodgates” and I highly suggest you check out his side project called Brand of Sacrifice. I never expected him to be able to pull off deathcore/slam vocals but he sounds like a monster.
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This is a great job by The Afterimage and I'm excited for what they have in store.
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Parkway Drive released their sixth album ‘Reverence’ yesterday and this is probably the last one ...
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Parkway Drive released their sixth album ‘Reverence’ yesterday and this is probably the last one I’ll ever review from them. They’ve turned into a Five Finger Death Punch, stadium rock wanna-be band and it’s not just me saying that, the band literally said they “outgrew” metalcore. . . So ... Parkway Drive released their sixth album ‘Reverence’ yesterday and this is probably the last one I’ll ever review from them. They’ve turned into a Five Finger Death Punch, stadium rock wanna-be band and it’s not just me saying that, the band literally said they “outgrew” metalcore.
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So with that, I say goodbye to Parkway Drive. You were one of the metalcore gods, a true pillar of the genre, but you haven’t made good music since 2012, and have truly forsaken us with this release. I’m sure you’ll still headline tours and bring decently heavy bands with you, but you’ll still occupy that top spot that bands like Wage War and Ice Nine Kills can never take until you finally disband, and that is really the biggest tragedy of this whole thing.
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I still remember when “Dark Days”, the first single on ‘Atlas’ came out, and blew everyone’s minds. It hit a million views in a day and I can’t believe PWD didn’t realize they hit their peak with that sound; it was so mature, and while it was different than their earlier records, it still had all the elements that people always loved.
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On ‘Reverence’ you get “Wishing Wells” as the first single and it’s like Winston just heard King 810 for the first time and thought “yeah I should do that but worse”. I was still optimistic though because there are some solid 30 second sections that were decent. And then they crushed all that hope by releasing “The Void” which is the absolute definition of stadium rock.
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Look, it’s not just that the music sucks, it’s that this album is lazy. It’s only 10 songs and two of them are essentially interludes. Cemetary Bloom is a 3:30 lead up to The Void filled with talking as the band attempts to give the album some kind of atmosphere. The other one is the outro song, which also only has talking and is supposed to give the album some power, but is so bad that people are just going to skip it. I guess that means the album ends with “Chronos” which is the only positive thing this release has going for it.
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Review continued in the comments...
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May the 4th be with you 🤘 I'm loving this video that @kingdomofdana made for his band @kingdomofgiants. . . You guys already know how much I love KoG, and then you add Star Wars to that!? Absolutely killer! May the 4th be with you 🤘 I'm loving this video that @kingdomofdana made for his band @kingdomofgiants. .
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You guys already know how much I love KoG, and then you add Star Wars to that!? Absolutely killer!
Alex Koehler, the vocalist of Chelsea Grin, has left the band to focus on his health (although he ...
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Alex Koehler, the vocalist of Chelsea Grin, has left the band to focus on his health (although he has a new side project called Grudges). His replacement is the vocalist of Lorna Shore, Tom Barber, who you can hear in Chelsea Grin's new single "Dead Rose". . . Below is my ORIGINAL review from ... Alex Koehler, the vocalist of Chelsea Grin, has left the band to focus on his health (although he has a new side project called Grudges). His replacement is the vocalist of Lorna Shore, Tom Barber, who you can hear in Chelsea Grin's new single "Dead Rose".
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Below is my ORIGINAL review from 2016 that I never posted; I'm leaving it unchanged as a tribute to Alex. I'll save my thoughts about him leaving and being replaced by Tom for another time.
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Chelsea Grin’s 4th album titled ‘Self Inflicted’ was a much stronger release than ‘Ashes To Ashes’. On both albums Chelsea Grin has been moving towards easier to understand screams, but Self Inflicted comes across a bit heavier which is great. .
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I don't really think their last two albums are deathcore but ‘Self Inflicted’ is certainly a step up in terms of heaviness. Songs like Skin Deep, Four Horsemen, Broken Bonds, and Scratching and Screaming are definitely deathcore, but the others feel a tad too light (kind of like what Impending Doom has become, extra heavy metalcore).
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Alex’s vocals have improved immensely over the last 2 years and he’s sounding the best he ever has. Back in 2012 his vocals were actually pretty bad but I’ve seen Chelsea Grin 3 times in the last 2 years and it’s mind blowing how much better he’s gotten.
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I actually like that they’re returning to a more chuggy sound and with less technical guitars compared to when they had Jason Richardson in the band. Overall I think this is a super solid step for Chelsea Grin as they reclaim their deathcore roots but also experiment with songs like “Never Forever”, and “Say Goodbye”.
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The only complaint I have is that occasionally the vocals become too predictable (like when the rhyme scheme stays AABB for too long with each sentence only having 4 or 5 words). It’s a small complaint but it sounds kind of cheesy when there’s one word per beat for extended amounts of time. Between the weak rhymes and predictable verse structure some of the sections just sound a little too uniform.
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Other than that, I’m super into this album and it’s pretty cool how they've wandered back towards their traditional sound after releasing stuff like the Evolve EP.
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A year and a half ago Above This put out their 7th release titled ‘Chapter 7’ and I'm gonna go ahead ...
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A year and a half ago Above This put out their 7th release titled ‘Chapter 7’ and I'm gonna go ahead and say it's probably my favorite since their debut '7L7'. @originalshawndon has been killing it with his vocals and continues to find great instrumental creators who help bring his vision to ... A year and a half ago Above This put out their 7th release titled ‘Chapter 7’ and I'm gonna go ahead and say it's probably my favorite since their debut '7L7'. @originalshawndon has been killing it with his vocals and continues to find great instrumental creators who help bring his vision to life.
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Above This has been pumping out music like crazy (both Terrene and Alloquy came out the year prior) and they continue to improve. ‘Chapter 7’ features their classic, hard hitting breakdowns with crazy bass drops while also including a softer, more progressive side featuring some clean singing. Something new Shawn has incorporated are verses that flow together really well; it’s not quite rap but it almost has the same effect.
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One of my favorite things about Above This is that each album moves in a new direction. It still impresses me that ‘Terrene’ and ‘Alloquy’ were released at the same time but had two very different sounds. Even more impressive is that ‘Chapter 7’ was released only a year later, and on it, they found the sound they’ve been searching for by using the best parts of Alloquy and Terrene.
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A real highlight of Chapter 7 is the improvement of the cleans. They were a little shaky when they were first featured on ‘Titanium’ but Shawn has gotten better, not only vocally, but also at placing them in the correct spots.
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An interesting sidenote: Above This doesn't sound anything like Attila, but I’m convinced that fans of Attila would love the fast screaming, flowing verses, and lyrical style in Chapter 7.
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"Ascendants/Kingdom" is a great throwback combo to their old sound and I highly recommend going back and listening to their first album ‘7L7’ because that started it all and has some of the craziest bass drops ever. As always, I look forward to seeing where Above This goes next.
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The Browning put out their third album ‘Isolation’ back in 2016 and I'm really liking the electronic ...
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The Browning put out their third album ‘Isolation’ back in 2016 and I'm really liking the electronic styles they mixed into this one. They're probably the best known electronic metalcore band and their evolution from using trendy dubstep sections to truly integrating electronic music ... The Browning put out their third album ‘Isolation’ back in 2016 and I'm really liking the electronic styles they mixed into this one. They're probably the best known electronic metalcore band and their evolution from using trendy dubstep sections to truly integrating electronic music into their style has resulted in some of their best work yet. (Although I will say that back in 2011 I wrote ALL of my college applications while listening to their first album ‘Burn This World’).
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It’s so cool listening to how they integrate the electronic stuff with their metalcore roots because electronic music actually has a couple similarities with metalcore: the drops in dubstep are like breakdowns and the hardstep part at the start of “Pure Evil” kind of has a blast beat effect similar to what you hear in death metal. .
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These guys are awesome musicians and it’s clear they have a vision for how they want their music to sound because, depending on the sound they’re going for, they use different electronic styles (techno, dubstep, hardstep, etc).
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During some parts they let the electronic elements go off and do their own thing but they always bring them back during key moments and tie them in with a breakdown to make it hit even harder. I also noticed that if you’ve played Doom you'll hear similarities between its soundtrack and The Browning; “Dragon” could totally be a video game song.
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Their music has always had heavy electronic influences but this new album has some subtle changes that help it stand out and make it even better. On ‘Burn This World’ the electronic parts were mostly there to help build up the breakdowns or add in cool fillers, but on ‘Isolation’ it’s more like 40% electronic and 60% metal, which has the overall result of the songs being more solid all the way through and not feeling gimmicky.
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For The Fallen Dreams released their sixth album titled ‘Six’ this year. It’s their first album ...
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For The Fallen Dreams released their sixth album titled ‘Six’ this year. It’s their first album since 2014 and is the second one since their original vocalist Chad Ruhlig returned to the line up. FTFD has been around for a long time and consistently puts out solid music but they’ve never ... For The Fallen Dreams released their sixth album titled ‘Six’ this year. It’s their first album since 2014 and is the second one since their original vocalist Chad Ruhlig returned to the line up. FTFD has been around for a long time and consistently puts out solid music but they’ve never received much recognition outside of their core supporters. Surprisingly I’ve only seen FTFD once, back in like 2011, and I think it’s because they’ve been lying low and haven’t been on any major tours lately.
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Despite FTFD not being a massive band, Chad Ruhlig commands a lot of respect as a vocalist. It’s almost like low screams are actually mids for him because he uses them a majority of the time. It was exactly the same when he made a side project band called LGND which also signed to Rise and released an album in 2015. I still don’t fully understand why he made a side project that was basically FTFD 2.0 but I won’t complain about him putting out more great music.
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‘Six’ is cool because after 12 years Chad finally decided to experiment with a little more range. I actually didn’t think it was him the first time I listened to “Unstoppable” because those yells are so uncharacteristic for him. I’m always a fan of vocal variation and he pulls it off pretty well, especially because he still has plenty of lows. I’ve heard people complain previous FTFD albums are too monotonous because the vocals are all in a similar range, but that certainly doesn’t happen here. It also helps that the choruses have energetic cleans to keep each song fresh.
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One reason I’m enjoying ‘Six’ is because it reminds me a bit of their first album ‘Changes’. It’s hard not to love the heavy hitting pattern of Chad’s lows mixed with the guitar tone. It’s great when bands revisit their old sound and update it with what they’ve grown into and “Two Graves” is one of the best examples of that here.
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Review continued in the comments
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Underoath just released their eighth album ‘Erase Me’. It’s their first release since 2010 and ...
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Underoath just released their eighth album ‘Erase Me’. It’s their first release since 2010 and I have mixed feelings about it. I normally assume everyone knows who Underoath is because they were one of the biggest bands in the early metalcore days, but then they went on hiatus and almost ... Underoath just released their eighth album ‘Erase Me’. It’s their first release since 2010 and I have mixed feelings about it. I normally assume everyone knows who Underoath is because they were one of the biggest bands in the early metalcore days, but then they went on hiatus and almost ten years later there’s a new generation of kids that have probably never listened to ‘Define the Great Line’ or ‘They’re Only Chasing Safety’. If you’re newer, trust me that this band got a ridiculous amount of people into heavy music.
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That being said, this album doesn’t quite live up to their old reputation. Too many songs have a new-age Bring Me The Horizon, radio rock type of vibe. “Wake Me, Bloodlust, ihateit, and I Gave Up” are the biggest offenders.
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I’m disappointed because when they released “On My Teeth” as the first single I really thought that they had preserved their 2010 metalcore sound and were going to bring back the greatest era of metalcore music. Based on that one song I was confident that they were going to pick up right where they left off eight years ago. It was as if an ancient beast had awoken from hibernation to reset metalcore on the right path. Although “On My Teeth” has high end production, the raw elements and frantically fast-paced instruments harken back to an older style.
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However, none of the other songs live up to that reputation and I wouldn’t even label half of them as metalcore. Way too often you end up with a weird mix of Spencer Chamberlain’s screams being layered on top of the more ambient, modern rock style that he had in his side project band called Sleepwave. I sort of get the ambient feel that Underoath tried to achieve here but the way it turned out just isn’t great.
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On top of that, this album has cringey lyrics mixed in with some of the darkest lines they’ve ever written which is a weird combo that throws the listener off. I couldn’t care less about the fact that they’re now using swear words, which was off limits for them before because they had a massive Christian reputation to uphold, but I think that also adds to the absurdity.
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Review continued in the comments...
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Traitors released their third EP ‘Anger Issues’ in February after taking one of the shortest hiatuses ...
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Traitors released their third EP ‘Anger Issues’ in February after taking one of the shortest hiatuses ever. They had been pumping out material like crazy (2 albums and 3 EPs since 2014) and hit their limit in 2017 when they disbanded, citing the fact that they were burnt out and needed to move ... Traitors released their third EP ‘Anger Issues’ in February after taking one of the shortest hiatuses ever. They had been pumping out material like crazy (2 albums and 3 EPs since 2014) and hit their limit in 2017 when they disbanded, citing the fact that they were burnt out and needed to move on. However, they clearly just needed to take a break because they came back a few months later with my new favorite release of theirs.
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Traitors has come incredibly far considering their downtempo deathcore beginnings. If you haven't listened to them since their 2014 self-titled EP you need to give them another shot. Sound-wise, this is an entirely different band than the one that put out "Dead Nerves".
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Over the last few releases Traitors has slowly been working towards the sound they’ve achieved on this EP and it’s been a great journey. They’ve progressed from being a deathcore band that was a dime a dozen to a band that is helping to pioneer a new style. I’m massively into the sound that The Last Ten Seconds of Life created in 2015 with ‘Soulless Hymns’ and Traitors is continuing that progression with their own tweaks. Other than TLTSOL and Traitors, I don’t think there’s another band that’s actively exploring this type of deathcore. .
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It’s tough to describe this style because it really is so new. In terms of genres, it's what I imagine nu deathcore would sound like and it’s primarily due to the instruments. They’re still very down-tuned and thick but they no longer over-emphasize heaviness like they did when they made downtempo. These tracks just seem like they were a lot more fun to make.
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Despite the nu deathcore elements, there’s still a lot of classic Traitors in this EP too. Every once in a while Tyler goes all out with his low screams just like he used to and it’s beautiful. The end of “Lashing Out” is a great example of how they merged the nu deathcore style with Tyler’s screams. He’s still completely capable of his crazy deep vocals and it's great he has the ability to sprinkle them in every once in a while.
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For All Those Sleeping broke up in 2014 but not before putting out three albums, the best of which ...
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For All Those Sleeping broke up in 2014 but not before putting out three albums, the best of which was ‘Outspoken’. It came out in 2012 and is a great representation of metalcore from that time period. I mean, it starts with an intro song that literally only exists to use the callout “step up ... For All Those Sleeping broke up in 2014 but not before putting out three albums, the best of which was ‘Outspoken’. It came out in 2012 and is a great representation of metalcore from that time period. I mean, it starts with an intro song that literally only exists to use the callout “step up or shut the fuck up” which is followed by a solid electronic section because why not. Look, I’m not gonna lie, this album is a bit of a guilty pleasure for me.
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Despite this band being the embodiment of all the trends that people came to hate after a couple years, For All Those Sleeping pulled it off a lot better than most bands. I think it’s mostly due to the fact that the vocals wander into surprisingly heavy territory and even explore quite a bit of high screams.
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When you get to a song like Mark My Words and it opens with “You’re fucked now” you know you’re listening to something from at least 5 years ago. The fact that they repeat it at the end of the song as the main breakdown hits is exactly the kind of formula bands were using back then. A lot of the breakdowns end up sounding similar but they still hit hard and got the crowd jumping at shows.
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The cleans on this album are a little high pitch, but the way they’re placed make the choruses ten times catchier. There’s something to be said about properly balancing your heavy screams with lighter sections to give each song a foundation to build around. The choruses were a home base that let them experiment with some cool heavy stuff while providing a safe place to retreat to before the next heavy section.
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Turn of The Century is a great summary of their sound. It starts with talking to build up the breakdown, transitions into mid screams, goes into highs, and then resets as the breakdown hits so the vocalist can get into his lows. All the while you have an electronic backtrack playing to give the breakdown a little of that 2012 flare.
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Obviously all my throwback reviews are biased by some degree of nostalgia, but this style of straightforward breakdowns, callouts, and edgy lyrics has been out of the spotlight for a while and could make a comeback. It reminds me a lot of why I got into this music.
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Gravemind released their second EP in 2017 and it ended up as one of my top 5 EPs of the year. These ...
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Gravemind released their second EP in 2017 and it ended up as one of my top 5 EPs of the year. These Australians have quickly risen up in the deathcore scene by combining influences from bands like Thy Art Is Murder and Boris The Blade with their own style to make a crushing yet technical EP. . . I ... Gravemind released their second EP in 2017 and it ended up as one of my top 5 EPs of the year. These Australians have quickly risen up in the deathcore scene by combining influences from bands like Thy Art Is Murder and Boris The Blade with their own style to make a crushing yet technical EP.
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I specifically point out the crushing and technical aspects individually because they do a great job of spanning the entire range and being willing to separate the technicality from the heaviness. This opens up endless possibilities as they keep the listener on the edge of their seat since they’re never sure what the next section has in store.
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In addition to the great instrumental backing, the vocal variation is another highlight. There’s a little bit of everything and I especially enjoy the black metal influences. It’s nothing too major but the build ups to a couple breakdowns with the black metal speaking-type vocals adds a little extra kick that sets them apart from other bands. It’s also notable that they have plenty of high screams but not the kind that are so piercing that they become annoying after a while (looking at you Lorna Shore and A Night In Texas).
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Like I mentioned, Gravemind does a great job of including plenty of technical sections. At the same time, they know when to cut back and let the heaviness take over. It’s bands like this that aren’t in a constant fight to be either the heaviest or the most technical that end up being the most fun to listen to. I really appreciate breakdowns that find a happy medium between chugginess and technicality, those are the ones that make me want to get up and move.
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I didn’t talk about the songs in very much detail but “Echo” stands out because it’s way different than all the others. It sounds like they changed the tuning of all their instruments and decided to play a completely different style. It’s not until the breakdown that it sounds like Gravemind. It’s cool because the featured vocalist is from a band called Alpha Wolf and this song actually sounds a lot more similar to something Alpha Wolf would make. It’s like Gravemind adapted the sound that he would be a perfect guest vocalist for.
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The Plot In You recently released their fourth album ‘Dispose’. It’s their first release on Fearless ...
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The Plot In You recently released their fourth album ‘Dispose’. It’s their first release on Fearless Records. I was hesitant to review it because it’s not very heavy but I love TPIY and respect Landon Tewers too much to ignore it. . . TPIY has been around since 2010 and they’ve been in a weird ... The Plot In You recently released their fourth album ‘Dispose’. It’s their first release on Fearless Records. I was hesitant to review it because it’s not very heavy but I love TPIY and respect Landon Tewers too much to ignore it.
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TPIY has been around since 2010 and they’ve been in a weird space for their entire career. Despite having diehard fans, they never quite made it to the top tier of metalcore. I also can’t remember them ever opening for any of the other major bands like Of Mice & Men (probably because Landon and Austin hate each other), Memphis May Fire, The Devil Wears Prada, or any of the others back when it mattered either. It’s like TPIY was shunned by everyone and always had to go it alone. You can kind of see it in how often they’ve switched record labels too.
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It’s unfortunate because I feel like these guys had an Ice Nine Kills level comeback in store. (Ice Nine Kills had been around forever and was a background band exactly like TPIY and then finally blew up on their 4th album). I’m not saying TPIY sold out because their transition to this softer style has been perfect, I’m just saying they had so much potential to rise to the top of heavy music now that a lot of the huge metalcore bands are vacating their thrones. ‘Happiness In Self Destruction’ perfectly navigated the border between soft and heavy styles but ‘Dispose’ has switched purely into the soft side and even borders radio music at times (specifically in “The One You Loved”).
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Nevertheless, on ‘Dispose’ we see Landon finally reach the sound he’s been working towards for years. He’s a great vocalist and songs like “I Always Wanted To Leave” showcase how talented he truly is. While the instruments aren’t nearly as heavy as they used to be, compared to the simple breakdowns they had in the past, they're actually a lot more involved now.
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When I interviewed Landon a few years ago he told me he’s embarrassed of TPIY’s early music because it was so simple. Although this new stuff gets most of its layers from pop elements and effects you’d hear in a song on the radio, it does have more going on which is what I guess he was going for.
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Continued in comments...
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Last year Oceano released their 5th album titled ‘Revelation’. It’s up there among my favorite ...
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Last year Oceano released their 5th album titled ‘Revelation’. It’s up there among my favorite deathcore releases of the year and is a great follow up to ‘Ascendants’. It’s crazy because their first album came out 9 years ago and although they’ve had some ups and downs I really think they’re ... Last year Oceano released their 5th album titled ‘Revelation’. It’s up there among my favorite deathcore releases of the year and is a great follow up to ‘Ascendants’. It’s crazy because their first album came out 9 years ago and although they’ve had some ups and downs I really think they’re at their peak right now.
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The reason Oceano is so great is because ‘Depths’ had the perfect sound in 2009, and, although deathcore has drastically changed, the band has adapted and continues to deliver crushing material. I said this in my review of their last album too but I’m even more impressed with them because after their third album people literally thought Oceano was a dead band. Each time I listen to their new music it’s like “holy shit where'd this come from" and it's even crazier that they're keeping up with the current deathcore scene that is heavier, more technical, and much faster than it was when bands like Suicide Silence and Whitechapel were at the top (and look how weak they have gotten 10 years later...meanwhile Oceano has become heavier than ever).
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It’s tough to describe why a certain heavy band is better than other heavy bands; for me, a lot of it comes down to how it feels. I can tell you that this album has insane lows with some highs sprinkled in but that’s what almost every deathcore band has these days. So a lot of what I’m basing my decision on here is that Oceano has a powerful feel to their music that few other bands can match (the only other one that’s coming to mind right now is a band called King Conquer). This album makes you feel like you can take on the world.
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I really like that despite being crazy heavy, Oceano has managed to inject a substantial amount of atmospheric presence into this album which I’m attributing to the fact that it's about an alien invasion that ends with the world getting swallowed by a black hole. As the main character is sucked into the black hole, the changes in gravity mess up the timeline, which results in the main character being sent back in time to warn humankind of the things that are to come. The album gets its name from the last line “Here I am now to forewarn your world of revelations viewed”.
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