Reviews 16
Approval 99%

Soundoffs 87
Album Ratings 455
Objectivity 68%

Last Active 01-29-15 4:26 pm
Joined 06-28-13

Forum Posts 13
Review Comments 414

musical taste

Currently Digging:
Trophy Scars

favorite bands
Swans Cop
No one's kidding when they say there isn't anything quite like early Swans records. What has been described as "the pinnacle of Swans' brutality", Cop is certainly a monolithic and destructive record. Surprisingly, though, it is fairly sparse in its instrumentation, mainly consisting of methodical drums, industrial guitars and other noises that sound like the inside of a factory. The middle of the album is very well done, with four straight punches to the face in the form of "Why Hide", "Clay Man", "Your Property", and the title-track. Michael Gira is once again the driving force, and is quite unnerving on the record as well as being lyricall
Washed Out Paracosm
Washed Out is one of the biggest faces in the chillwave genre, and for good reason. His 2009 EP Life of Leisure was an excellent showcase of his ethereal, almost lo-if production. Though his debut album, Within and Without, was inconsistent and in some places boring, he is back on his game with Paracosm. With a focus on simple, catchy melodies and beautifully flowing tracks, his sophomore record is a nice improvement. "It All Feels Right" has absolutely infectious synth work, "Weightless" and "All I Know" have soothing vocals ,with a nice acoustic guitar background on the latter, and the title track stands up as one of the best songs he's cre
Atlas Losing Grip Currents
I'd imagine it's a tough life for sailors, rarely being able to see your family and constantly being out on the ocean or lakes. Of course, Atlas Losing Grip uses this as a metaphor for losing your way in life (lost at sea) and righting yourself again (finding your way home). Musically they sound like a faster, punkier, and darker Anberlin, and though they're excellent at making fast-paced songs with catchy choruses, they are really on their game with slower, sadder songs as well. Take for instance "Closure" and "Kings And Fools", back-to-back songs that are easily relatable and make great use of atmospheric guitars. The back end of the album
La Dispute Vancouver
La Dispute's first record, a thirty minute EP, can be accurately described as Somewhere At The Bottom Of The River: The Prequel. Though their debut LP that would make them famous is somewhat more experimental and conceptually interesting, there is a lot to appreciate on this record. For one, the riffs here are pretty nice, and the bass has excellent moments all throughout here. The sound lays the blueprint for the post-hardcore songs on Somewhere At The Bottom, but it also has its own identity too, as this is probably the angriest we will ever hear La Dispute. Jordan Dreyer's vocals are still raw, but sound a bit more conventional than they d
The Number Twelve Looks Like You Nuclear, Sad, Nuclear
TNTLLY has always been one of the strangest mathcore bands out there. Their debut was an insane mix of mathcore, grind, and progressive metal that sounded like nothing else out there. With their sophomore release, the band opts to ditch a lot of their grind sound in favor of more subdued passages and songs, but still contains the mathcore edge they're known for. The album opens in the exact opposite way you'd expect it to by implementing an almost salsa-like riff before exploding into a rage. "The Proud Parent's Convention In The ER" ends with guitars that sound almost like train whistles, and "Remembrance Dialogue" has a very post-rock like
Cloakroom Further Out
Anberlin Cities
Anberlin has always had a great reputation for being one of the more consistent alt-rock/pop-punk acts of this day and age. Their music is simple, but insanely fun and undeniably catchy. Nowhere is this more apparent than on their third record, Cities. The band gets off to a roaring start with "Godspeed", an absolute romp of a song that sets the tone of the record perfectly. The band tries their hand at some synths on this record, and they actually work very well, like on "Reclusion" and "Hello Alone". The vocalist, Stephen Christian, is at the top of his game here, both in the performance aspect and the lyrics department. The album is absolu

shoutbox » all posts 
  • LordePots haha totally can relate to that as well actually. interesting, thank you for evoking this train of thought out of me, i never would have drawn any of these conclusions otherwise
    January 27 04:25 PM
  • LordePots much truth in that. oddly enough i havent really given it too much thought before, but its similar for my metal taste too i guess which probably explains my development in that department over the years. when i was a teen i liked metalcore and melodeth and all that more 'angsty' stuff when i was a confused middle schooler and took things a lot more seriously and now the only metal i really care for is sludge and doomy stuff
    January 27 03:59 PM
  • LordePots when it comes to honest self reflective hip-hop like that i prefer a clever and almost tongue in cheek self-depreciative approach matched with beats with a similar vibe (ala Why? and Milo) than stuff like sadistik. it just reflects my own personality a lot better and how i tend to make light of things often with humour and im not one to wax poetic with my emotions without it feeling contrived so i think it mostly stems from personal relateability!
    January 27 05:32 AM
  • LordePots i just find that kind of hip hop to be super cringe worthy lyrically, the beats arent always that bad but the fact that they are so melancholy really bolsters this whole embarrassingly emo approach that really irritates me. kinda make sense?
    January 26 06:28 PM
  • BMDrummer thanks for the soundoff on godspeed, lp is coming soon and it's gonna be quite superior
    January 9 11:03 PM

You have to be logged in to post a comment Login | Create a Profile


Bands: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Site Copyright 2005-2014
All Album Reviews Displayed With Permission of Authors | Privacy Policy