Uzumaki
User

Soundoffs 24
Album Ratings 5190
Objectivity 74%

Last Active 08-19-22 8:00 pm
Joined 11-13-18

Review Comments 4,472

 Lists
01.18.24 It Came From The Bowels of Bandcamp…08.30.22 Death's Final Revenge
02.14.22 -Core List 18: I'm Tired, Boss...02.05.22 2022 Death Metal Compendium
02.05.22 -Core List 17: This'll Be The Death Of 01.31.22 -Core List 16: Once More, With Feeling
01.20.22 A Coda (Postponed)01.19.22 Core Homework #14: I Think I May Have A
01.17.22 Insert Witty Title Here. Core Explorati01.15.22 The Number 12 Sounds Kinda Like This...
01.12.22 ... They Pull You Back Into Their Core.01.10.22 Eleventh We're Reaching Saturation...
01.02.22 2021 Mutant Ninja Turtles: Secret of th ♦12.28.21 Just When You Thought You Were Safe...
11.15.21 3 Years On Here…05.02.21 Son of Death: Back From the Dead and Hu
12.29.20 Uzu’s Tops of 2020 ♦12.25.20 Uzu’s Honorable Mentions of 2020
More »

Core Homework #8: Digging Deeper

This is a homework list INDEPENDENT of my other lists - this is for my own curiosity and satisfaction of that curiosity alone. Basically I was going through a thread in another music forum a friend of mine had curated and I caught the “new” core bug all over again. I’m gonna take my sweet time with this one though, and work through it at a later point in time. I’ll still follow my review format for these though.
1The Crinn
Dreaming Saturn

The Crinn is essentially budget BTBAM, c. Colors I or The Great Misdirect, and that’s OK with me. Heavy in technicality and oozing a style all its own without aping anyone else, The Crinn bring a sense of prog bravado to the proceedings and sprinkle in liberal elements of deathcore and metalcore to top everything off. Vocals were solid and fun, and this is where the deathcore influence is the most evident, while the metalcore aspects exclusively take up shop in the instrumentality, leading to a nice sense of stylistic push and pull within it all. Tone is fantastic and the flow just takes things to another level, and this was an absolute blast from start to finish.

4.2/5
2Thumbscrew
All is Quiet

Fuuuuuuuuck yeeeeeeeaaaaaaaah, when you run across a metalcore album that mixes in elements of grind and math into the mix and then completely blows your expectations out of the water when you listen to it, you know you’ve found something extremely rare and special. This was the feeling I got when I listened to Thumbscrew here. This album is a variance on the theme of metalcore perfection, and that realizing this is the only full length release from the band only adds to its luster. Vocals were ferally brutal and visceral, instrumentality was off the charts in terms of competency and off the walls in terms of style and technicality; tone was excellent and the flow was absolutely incredible. You’d be right to consider this album a crown jewel in the genre once you’ve completed listening to it. Fuckin’ wholeheartedly recommended!!!

5/5
3Lye By Mistake
Arrangements for Fulminating Vective

With this release, I can begin to understand the comparisons people had between this band and The Dillinger Escape Plan, as this relies heavily on the breakneck pacing and structure, the math-like hairpin tonal changes that were TDEP's calling card. While the vocals present kind of pulled me out of the moment from time to time, they weren't bad by any means and were actually quite inspired in certain moments. The instrumentality though was the high point for the entire album and something I really enjoyed. I loved how varied and accomplished the musicians all were; ranging from math-y jazz to metal to country to improvising Eastern influences, sometimes all in one song. The tones were handled well and were tasty, and the flow was solid. Definite enjoyment if you're a fan of this type of -core.

3.8/5
4Lye By Mistake
Fea Jur

I'm honestly such a sucker for instrumental albums. I love, with instrumental albums, that you can inject and project anything of yourself into the music and feel it that much more than you could or would normally. For this album in particular, it doesn't quite fall into the -core requirements for this list unlike their previous album "Arrangements...", but this is still a fantastically wonderful time spent amidst a heady mix of jazz and prog. The instrumentality is so high quality and top notch, the tones are wonderful to hear and the flow is positively delicious. An absolute delight and a delightfully chill time with this.

4.4/5
5Robinson
The Great City

I'm laughing as I type this, as we go from one end of the math/grind spectrum with The Sawtooth Grin, to the other end here with Robinson. Far and away much better at the style and intent than TSG were with theirs, Robinson bring a tangible competency to their brand of the specific sub-genre without sacrificing any of the technicals or intangibles in the process. Vocals were in that higher register like TSG, but here they were more controlled and restrained, making it a bit more tolerable to my (thankful) ears, the instrumentality showcased an immense technicality to their work without sounding like a disassembled heap, and the tone and flow worked together to keep everything coherent and orderly. Much, much better here. Much better.

3.5/5
6Me and Him Call It Us
Loss

Really intriguing metalcore with grind elements and light interludes sprinkled throughout; I really liked how the album was constructed so as to compliment these disparate elements. The vocals were solid throughout and the instrumentality was really well done and well constructed. The tone was for everything worked well, and I really liked the flow of the whole album, with an extra thumbs up thrown to the interludes, as they broke up the intensity of some of the tracks and really made you eager for the next outpouring.

3.8/5
7Ed Gein
It's A Shame That A Family Can Be Torn Apart By...

Another day, and another mathgrind band and album to listen to. With the band Ed Gein though, this was a fun jaunt, even though it fell on the short side of the spectrum; given the genre, the runtime is perfectly apt, and the band make the most out of the lesser time. I think it’s becoming solidified now that with mathgrind, while I appreciate chaos, I prefer it have a little control mixed in with it, and to their credit, Ed Gein delivers on that front, ensuring nothing got too crazy or out of hand and that everything worked with one another. Vocals are histrionic but fit everything well, instrumentation was absolutely batshit in places, which only raised my enjoyment, and the tone and flow worked really well with where the band was aiming at. Good shit here.

3.7/5
8Stand Before the Firing Squad
Noise Machine

Absolutely batshit insane tech-grind that surprisingly mixes in amounts of lounge and country (folk?), and all within 20 minutes or so, Stand Before the Firing Squad present an absolutely unique entry here; definitely not for newcomers to the -core umbrella, this is more in line with "secret boss, level 100" types of -core that one wouldn't exactly be missing out if they didn't listen to this, but worth a spin or two if you're up for the experience. Vocals and instrumentality are fairly par for the genre course, but the tone and flow is what sets this entry apart from other bands/albums of this particular ilk. I was not expecting that faux country-lounge 2 track interlude on this album's second half, and yet, it totally fits the atmosphere the album had built for itself. Crazy, unique - it's all that and more.

3.8/5
9Machinist
Machinist

At times heavy and hard-hitting, the Machinist's take on math-grind is still fucking better than whatever The Sawtooth Grin put out, lol. Vocals here are absolutely ferocious while sitting in that "classic" upper register and the instrumentality was quite invigorating, at times bringing the technicality and at others bringing the heaviness, which I appreciated. The tone worked quite well, and the flow was solid for this 15 minute trip. Solid.

3.7/5
10Hewhocorrupts
Ten Steps To Success

Chunky, lo-fi mathgrind for your aural pleasure. Delicious tone and flow ensure practically every minute here is a winner, and what I thought was a detriment earlier in the quality of the copy I listened to turned into a positive, as it helped to really sell the entire experience. Vocals were perfect for this and the instrumentation was on point, especially that bass tone(!!!), and yeah, this was fan-fucking-tastic.


4.1/5
11Oktober Skyline
That's How Tripods Work

Once more into the mathgrind breach, my dear friends, and this one was a bit more tolerable than, saaaaay.... The Sawtooth Grin. But then again, ALMOST anything is better than The Sawtooth Grin as long as we're on the topic of mathgrind. Vocals here are definitely something of an acquired taste, but thankfully that's not exactly a dealbreaker here. Instrumentality was actually quite good, showcasing some technicality underneath the spasmodic nature of the songs. Tone worked well enough and the flow felt somewhat original, which ended up being quite fun. Overall, not terrible, but I'm beginning to long for something more along the lines of Robinson.

3.2/5
12The Sawtooth Grin
Cuddlemonster

I -wha... huh? Now, I don't mind math-grind per se; I rather enjoy the hyper-technicality the artists can bring to the genre, but when you create a cacophonous mess that is The Sawtooth Grin's "Cuddlemonster" and release it upon the music consuming public at large, I just kinda have to scratch my head and wonder "why?" along with "how?". There really wasn't anything here to appeal to me. Nothing. Certainly not the vocals, not the instrumentality, even though there is technicality to be found in the performance despite being jumbled and buried, and definitely not the flow. Everything was a mess, and it didn't get better during subsequent listens. Now, never say never, but I hold almost no hope for it to get better over time. One massive misstep.

2.2/5
13An Isle Ate Her
Phrenia

Aaaaaaand we're back with mathgrind, and despite sounding frantic and spasmodic, it's not terrible. I know, color me surprised. Interesting. Vocals are interesting here because for the most part they fall in the normal upper register of many a screamo/grind outfit, but here there's an almost equal emphasis placed on some delicious lows throughout. Instrumentality was about average for mathgrind, with points going for an increase on tonal technicality, refraining from just going batshit insane on their instruments. Tone was solid, and the flow worked out decently in the end. Thankfully, not bad at all.

3.7/5
14Euclid C Finder
A Standard Basis for the Set of All Discontent

An absolutely biting release from this band, creating a solid body of screamo and then attaching trappings of grind and math to it. Being 9 minutes long though, there’s not a whole lot to say, although I mean everything very positively. Vocals were very solid and capable, instrumentation was fun and bouncy, caustic yet delicious. Tone was handled really well and enjoyable, and the flow felt assured and professional. Delicious.
Fun stuff, and since it’s sub-ten minutes in length, it definitely could be squeezed into one’s schedule and given a handful of spins. Check it.

3.8/5
15Coarse
I

Here we go, solid as fuck hardcore that has no frills and no fucks whatsoever; just get in, start up, fuck shit up, and walk the fuck out like a motherfucker. Fuck yes, I love this kind of hardcore. Vocals were absolutely tight, bridging that gap between desperation and ferocity, the instrumentality was fast, angry and purposeful, tone fit the intangibles like a glove, and the flow kept things at a tight clip with no wasted space. Fuck yes.

4.1/5
16Fero Lux
Some Divine Ashtray

A deliciously heady mix of post-hardcore and math, Fero Lux isn't afraid on here to mix ferocity with almost introspective interludes, making this experience their own and relying on no influences to aid their stylistic trajectory. I really like the vocals here and the mix between the cleans and uncleans; it's been a while since I last heard a -core album that had a nice mixture of both, and this fact was greatly personally appreciated; instrumentality was aces and also mixed differing elements well with the pxhc, math and interludes, tone felt understated and natural, which was a nice choice, and the flow worked wonders with what it had. Muy excelente.

3.8/5
17Dim Into Dross
Specters of Indifference

Another hardcore/math hybrid band, and I'm happy to say I'm here for all of it. Despite not reinventing their respective genre wheel with this release, Dim Into Dross certainly imbue it with enough energy and character that one can't help but enjoy it for the fun it is. Vocals were really good and the instrumentality was even more solid than your mom's insistence that you go outside and play instead of video games; tone was tasty as hell and the flow fit everything together like a 3D puzzle. A lot of good fun to be had, and was had by me, with this album. Check it.

3.6/5
18Swimmer’s Lungs
No Expectations

Mad props to Sput user Mappyfitforbattle, who either played in this band or worked with them in some capacity, as this is some solid shit. Throwing elements of scream and math onto the heavy/soft dynamics of melodic hardcore, Swimmer's Lungs' release here destroys expectations, and after reading along to some of the lyrics it destroys one's emotions... if Marskid were still actively around, this would be something completely up his alley. Vocals were tight and emotionally variable, instrumentality was fuckin' aces, and I loved how the tone and flow worked concurrently to create an atmosphere that felt simultaneously vitriolic and devastating. Fucking solid release, and if Mappy sees this, I'd like a vinyl pressing of this if it were ever issued. Thanks in advance.

4/5
19Wreck Of The Minotaur
A Little Roy One On One

Not bad per se, but really nothing there to grab one’s attention and maintain that hold, even if this is 15 minutes. There wasn’t any predominant factor that made it uninteresting - the vocals fit the tone and style, instrumentals were tightly spasmodic and well executed, and the flow was solid overall - but it just turned into one of those instances where you listen to/do something, finish, sit back and be like “... ok. Now what?”
If anybody thinks I’ve missed something here, please say so, but.... meh.

3.2/5
20Retox
YPLL

Solid but slightly unremarkable hardcore at play here; not exactly reinventing anything by their efforts, and yet the album isn't bad for what it is. Vocals and tone are all solid, as (thankfully) expected, and the instrumentality is kinda bouncy and fun in spots. Flow is decent, but again, the entire package here is average, but to me, average is great.

3.4/5
21The Divorcée
All My Heroes Are Dead And They’re Never Coming Ba

Kinda one-note Spazzy grindcore that doesn’t really do anything to excite or attract attention to merit successive listens. Vocals were decent for the genre but unmemorable, instrumentality was solid and spasmodic, which checked the basic boxes but offered little else in the way of interest, and the tone and flow were decent overall. Not much else to say, but this was a solid “meh” on the meh scale. Meh.

3.1/5
22Head Wound City
Head Wound City

Fuck, man… when the majority of the members in a band are from either The Blood Brothers or The Locust, you just know, deep down inside, that whatever you’re gonna listen to from these gentlemen is gonna be good. And so it is with the s/t from the band Head Wound City, bringing a very spasmodic sense and stylings to the proceedings, creating a beautiful maelstrom of music all within 10 minutes. Vocals were excellent all the way through, instrumentation was superb in being controlled and yet sounding unhinged at the same time, flow was perfect for the vision they were going for, and the tone was delicious. Excellent stuff all the way around the board, and definitely a release I’ll keep coming back to.

4/5
23FAKE ASIAN ROLEX
Three Naked Chicks Wearing Unicorn Masks Playing T

Wasn’t too sure what to make of this going into it, what with the dumb (re:silly) name and title of the album, but this actually surprised me a bit, being a fairly solid noisepunk album with dashes of skramz thrown in for good measure. Tongue definitely is firmly planted in cheek for the overall tone of the album, but there were moments where the vocalist was spewing vitriolic nihilism that hit mildly uncomfortably. Vocals overall were solid though, along with the instrumentation. The instrumental tone was hella tasty and the flow actually was smooth. Definitely a fun aside with this.


3.6/5
24Kissy Face Fashion Faux Pas
All This Danger Is Turning Me On

You know, if there's one thing I can be thankful for towards The Sawtooth Grin, it's that they essentially primed my tastes and expectations to be better attuned to this style of mathgrind, and with this release, I actually kinda liked it. If anything, I think it's more to do with how unlike TSG these forays into mathgrind have some semblance of structure to their sonic anarchy, like here. Vocals here worked really well for this style, and the instrumentality was well done, keeping things fresh and exciting. The tone was nice and full, and the flow worked. Not bad, this.

3.8/5
25Secretary
Thinking In Moderation

More of a solid continuation of their "So Diabolical" album than anything, all the positives apply from that album apply here as well. Tone and flow are still fun here, and light electronic elements added throughout gave the instrumentality a fresh spin. Vocals were still solid as ever, and this was as fun (though shorter) as "So Diabolical".

3.5/5
26Secretary
So Diabolical

Solid take on the math/grind spectrum of hardcore/metalcore here, with this particular album sounding dynamic and fresh; I definitely could get down with the style and tonal changes going on within, and the vocals definitely added an element of familiar reliability to the proceedings. Instrumentality was solid, and the tone and flow kept everything feeling fun and fresh. A fun time with this one.

3.4/5
27The Broderick
Free to Rot, Free of Sin

scuzzy, lo-fi delicious hardcore, and I'm here for all of it. The Broderick bring a crushing atmosphere to the proceedings, complementing the fuzzed out dynamics of the instrumentality and tone and adding positively to the whole experience. Vocals were excellent, instrumentality was solid as fuck, and the tone and flow were 'chef's kiss'. An absolute delight to the ears, and a fun time all around.

3.8/5
28Tinsel Teeth
Pink Eye

Sounding as if it was the unhinged lovechild between noise rock and post-punk, Tinsel Teeth doesn't exactly meet the criteria for appearing on a list such as this, but paying closer attention to this album, one can make out subtle hardcore punk influences on Tinsel Teeth's sleeves, most overtly with the vocals, which utilize a healthy employment of uncleans. The tone and flow were definitely interesting to experience and dissect, and the instrumentality was solid and assured. Those vocals though... they were something else, sounding akin to a female version of a feralized David Byrne. Definitely the most interesting aspect of the album and this band. This is almost like "anti" post-punk, if that makes any sense. I don't know if I'll come back to this album or band, but definitely an intriguing experience with this.

3.5/5
29Tinsel Teeth
Trash As The Trophy

Released several months after "Pink Eye" but sounding more aggressive and rawer, "Trash As the Trophy" doubles down on the more punkish aspects the band exhibited, while mixing math-like tendencies into the post-punk formula. Still a fucking intriguing experience to sonically behold, TAtT is leaner and meaner in all the right ways, sounding as if the band actively wants to separate your head from your body and for the half hour runtime actively dares you to step up and try. Tone and flow are rawer than before but don't detract from the final product, the instrumentality is more adventurous but still solid, and the vocals are absolutely filthy and ragged; now female David Byrne here is drunk and railing at anyone and anything. Definitely something to check out here.

3.6/5
30The Jonbenet
The Plot Thickens

Fun, frantic post-hardcore with The Jonbenet, and I totally get the the Blood Brothers relation. This is technical without sounding frantic, and well paced without overplaying their strengths. Vocals were solid and the instrumentality was excellent. Tone was nicely plotted and the flow worked well, and this was fun.

3.7/5
31Pretty Mouth
Fears

Very intriguing, angular and ANGRY hardcore here, angular not in the sense of tinges of math at all, but mainly in terms of tone and light technicality through the instrumentality. Vocals were well done and fit quite well, instrumentality was tight, controlled and wielded to great effect, tone was superb and the flow was rather unique. Definitely something to check out in one's free time and quite possibly a very low-key, underrated hardcore gem.

4.1/5
32Pretty Mouth
The Endless Mistake

Pretty Mouth pretty much double down on all the aspects that worked for them on their previous album, and in return we, the audience, gets a massively heavier, angular and darker record than before. This is almost the musical equivalent to despair, that's what this feels like. Vocals and instrumentality was excellent, but the real heroes was the tone and flow, creating something so crushing, so singular, so desperate that one cannot deny this album or band once you hit play. Check it.

4.2/5
33What We're Afraid Of
Long Walk Home

Yeah, OK, I can see (re:hear) the similarities between this band and say, The Chariot or Norma Jean, and I actually appreciated that. Full of fast paced time changes and a vocal exhibition that demonstrated a damn good range, WWAO came out of this EP with guns blazin’, and they hit the mark quite well. Vocals were solid, instrumentals were loose and fun, and the tone and flow fit this like a glove. Check this out!

3.7/5
34Duck Duck Goose
Noise, Noise and More Noise

Fuck yes. Chaotic hardcore that mixes in amounts of math and grind, Duck Duck Goose absolutely destroyed any and all of my expectations I had for this release; this is the kind of scenecore I can get down to. Vocals were ragged, crushing almost, and yet felt controlled and technical; the instrumentality present was solid as fuck and displayed refreshing sense of professionalism and maturity underneath the cacophony. Tone was solid and tasty and the flow was fucking aces, through and through. Definitely a good album to check.

3.8/5
35Telos
Telos

Ahhhh, good 'ol Sput has Telos listed as "blackened mathcore", and I couldn't agree more; hell, I can't enjoy it more. Feeling like the sonic equivalent to a 1-2 straight to the fucking jaw, Telos unleash chaos upon one's ears from the moment you click 'play'. Good gravy do I enjoy this shit. Vocals are absolutely solid and tasty, instrumentality is assured and visceral in all the best ways possible, and the tone and flow complement the technicals and intangibles quite well. Yet another underlooked and underappreciated gem that hopefully this list can rectify, run, don't walk, in trying to find and listen to this. Yesssssssssssssss.....

4.4/5
36Coma Lies NC
The Great Western Basin

This was actually interesting to hear; definitely a hardcore record first and foremost, Coma Lies actually spice things up by adding almost post-rock-ish instrumental interludes to several tracks to alter and almost dynamize the flow of the album, which definitely give the whole experience more layers and colors. Vocals were solid throughout, definitely feeling comfortable within the hardcore realm, and the instrumentals were delicious across the board, whether it be them playing -core or them playing the interludes. Tone was tasty and lent itself well, and the flow actually works with this stylistic decision and direction from the band. This was actually a nice surprise.

4/5
37Jack The Stripper
Black Annis

Hardcore with more than a healthy dose of noise on top, this album is straight fuckin' nasty from start to finish. Giving no fucks about you or your expectations, this band and album will straight up stomp your face from the moment you hit 'play' and expect you to thank them. Vocals and instrumentation is damn good all across the board, and the tone and flow not only work well but fuckin' kick ass, no matter what. Really damn good album and a pleasant surprise.

3.7/5
38Régresser
.1

Damn solid hardcore band and album here that relies more on flow and instrumentality than vocal histrionics to capture one’s attention and once they have one’s attention they don’t relinquish it for the rest of the album’s runtime. Vocals here were solid, very strong and insistent, almost like melodic hardcore vocals, instrumentality was absolutely top-notch, the tone was auditory deliciousness, and the flow complemented everything perfectly. A fun time with this record, and definitely recommended.

3.8/5
39Régresser
.2

very intimate and intense in presentation and vocality, Régresser present an incredible EP with ".2" here, toying around with post-rock structures while refusing to forget the more punk/hardcore trappings of their sound. Indeed, the vocals present married the ebb and flow of post-rock with the aching catharsis that can be brought forward within hardcore so beautifully, it was positively enthralling; the instrumentality fell more on the post-rock side of things, and the tone and flow was excellent. Loved this one.

4/5
40Totally Unicorn
Dream Life

The more I listened to this, the more this grew on me and I liked it. Definitely falling more on the "chaotic/noise" side of the hardcore spectrum, almost like a more unpolished version of The Refused, Totally Unicorn bring their version of blistering hardcore to life here. Vocals were unique and can be deemed raw at times, which may put some people off, but they're not a dealbreaker. Instrumentality was very technical at times and completely solid, and the tone and flow fit the technicals and intangibles like a glove. Don't go into this one seeking immediate gratification; instead, let it grow on you, and you may enjoy this as much as I did.

3.9/5
41Plebeian Grandstand
How Hate is Hard to Define

Frantic, frenetic and sometimes dissonant take on on blackened post-hardcore, if that makes any sense at all. Fuck me but this was fucking good. Vocals were very much on the black metal side of the equation, and they actually fit quite well. Instrumentality was very abrasive and atmospheric, and the tone and flow fit the mood and intention of the band and album really good. This is definitely one people should check out.

4.2/5
42VileDriver
Primary

Daaaaaamn, but this was tasty; mixing elements of grind and math to this -core formula made VileDriver’s effort here even more enjoyable than what I was expecting... this cleared the bar I had set for it and had plenty of space to spare. Damn. Vocals had a dynamic range to them, and neither side of the unclean range felt overused, just having a fantastic balance to them all; instrumentals were solid as fuck and technically adept, bringing the atmosphere to perfection and the tone and flow was excellent, sucking one into the band’s personal vortex of controlled chaos and never letting up until the end. Definitely recommend this one for the -core kids who are looking beyond the mainstream.

4.1/5
43Marta Prell
Orphan Songs

Russian disso-hardcore that actually isn't bad once you get down to brass tacks, but at times it kind of sounds a little tryhard. Vocals are solid overall, but there are moments when it sounds like the vocalist is trying to force an intonation and the end product sounds lesser than before. Instrumentality was actually quite delicious in technicality and proficiency, and the tone worked well for the overall atmosphere. Flow was solid, and this wasn't as bad as I was scared it might have been.

3.6/5
44Caust
Mass Graves (We Would Be Better Off)

Bringing back some of those classic screamo vibes to this list, Caust drop an absolutely caust-ic (see what I did there?) album full of bangers from start to finish. Evoking similarities from their forebears in their genre past, Caust delivers on all fronts and manage to push the buttons I've developed for screamo nostalgia. Vocals were technically tight and emotive and the instrumentality was perfect for this type of release. Tone was solid and the flow allowed for each song to individually breathe and ensure maximum effect upon the listener. Fuuuuuck this was good.

4.2/5
45iamerror
Trout Yogurt

Y'know, I guess I was kinda hoping for a bit more here. I got a little excited as I found out this was a Nintendocore band, and to the best of my knowledge I don't recall ever really hearing a Nintendocore band. As initial and subsequent listens went on though, this became hella one-note and honestly kind of stupid. I guess you get what you pay for when one of the tracks is entitled "Fellatio Forest". SMH. Vocals were average, instrumentality was decent until the electronics became a one-trick pony, tone didn't help anything over time and the flow was serviceable at best. A missed chance, to be sure.

2.2/5
46letters to catalonia
fragmentary

Fuuuuuuck yes, the screamo genre just keeps on giving on this list, with Letter to Catalonia providing an exciting outlook towards the future of the genre with this 2017 release. Yes, I know there are other bands who could probably provide a better example, but you only need a good example to calm and allay one's fears and expectations, and we've got one in this. The vocals and instrumentality were absolutely excellent here, and the tone and flow worked so smoothly to provide an exceptional experience here. My only quibble would be that I wished that this was longer than 3 tracks and 7-8 minutes. I'd love a "proper" full length release from the band, please.

3.9/5
47Louise Cyphre
Wenn Wir Menschen

Despite being only 8 minutes long, Louise Cyphre's contirbution to the screamo genre should not be overlooked at all. 8 minutes of strong emotion and peaceful calm, 8 minutes to make an impact, and the nice thing is, if you like this genre of music, they most definitely do make an impact. The vocals are fantastic, well placed and well structured; the instrumentality is tempered and controlled, unleashing always at the right moments, the tone for the vocals and instrumentality is excellent, and the flow works so very well despite the album length. A damn fun entry into screamo.

4/5
48Tristan Tzara
Omorina Nad Evropom

Yessssssss, some damn good screamo going on here, much in a similar vein stylistically to bands like La Quiete and Saetia. Absolute mastery over the tone and flow of the album, allowing songs to breathe and not feel rushed, and the vocals are well placed and extremely tasty, making for a very enjoyable auditory experience. Not to be forgotten though, but the instrumentality displayed throughout act as a perfect complement to the aforementioned intangibles, and I’ve no quibble with this at all. Nope, no siree.

4/5
49One Eyed God Prophecy
One Eyed God Prophecy

Dude, yes. A damn good example of EARLY screamo, and constructed with a crust backbone to boot, I fuckin’ warmed to this so fast, I surprised myself. Vocals are absolutely ugly, and I mean that as the highest compliment I can infer, they fit that lonely desperation that screamo sometimes has going for it. The instrumentality was excellent as well, mixing in that lo-fi crust tone and solid musicianship to great effect and even dipping a toe into punk and groove tones as well. Tone is, well, fuckin’ good, and the flow was superb, mixing moments of rage with moments of silent contemplation and self-loathing. Fuck yeah, I’d definitely recommend this, any time!

4.4/5
50Union Of Uranus
Backhand

Every time I hit play on this demo, I’m blown away at how unrelenting this sounds and feels; I mean, this is a demo, demos are essentially proof of concept and potential, and yet this in particular sounds this complete and precise? Damn. Definitely falling proudly into the hardcore category, Union of Uranus’ demo also sports shades of crust and black metal within its DNA, which helps elevate the material here into something else, something more. The vocals are the best example of that black metal influence, sounding similar to those upper register fry screams that one can find in so many bm projects, and the guitar tone and production show off the crust influences superbly. Flow is absolutely aces, and this overall is fucking impressive. Don’t sleep on this.

4.2/5
51Union Of Uranus
Disaster By Design

Being the band’s only “official” release, this entry carries over a lot of the positives from their “Backhand” demo while regressing slightly on the production front, resulting in an album that’s still fucking fun to throw on and jam out to but lacks a little bit of their demo’s bite. Vocal and tonal quality still apply here, and there is a little more variety in the song structure, and that helps spice things up; flow is rock solid, but again, my only wish would be that the production sounded better. As it is, the production here is more on the level of early hardcore/screamo material. Take that for whatever positive or negative you will. Once again, don’t sleep on these guys.

4/5
5212 Aullidos
Busca Y Captura

Very solid hunk of Spanish (not Mexican) screamo on display here, with a healthy serving of hardcore mixed in and topped off with some crust sprinkles. Definitely starts off a little on the slow side of things, but hits its stride fast and maintains it through to the end, making for a kickass fun time. Vocals are very solid and fit the genre stylings like a glove, and the instrumentality. Again, once it hit its stride, was fantastic and tasty. The crust elements in the tone were greatly appreciated and the flow was enjoyable. Definitely something to check out if you’re a fan of the genre.

3.7/5
53156/Silence
Undercover Scumbag

Very much a “fun” kind of hardcore/early metalcore at play here, with the album as a whole being fast, dirty and kind of nasty. Tone very much plays a positive part here, with the guitars and vocals really hitting hard and well; drums are nice and punchy and the flow is very solid for the most part, but the first half feels stronger than the second half. Overall, 156/Silence isn’t exactly re-inventing the -core wheel with this release, but this is more than good enough, and fun enough, for its half hour runtime.

3.7/5
54False Accusations
Broken Lives

Fairly solid metalcore/post-hardcore adjacent stuff here, with a nice sense of fun and bounce to it all; I even caught whiffs of southerncore in places and moments, which increased the fun factor. Vocals are that “classic” upper register cleans, but here they’re not nasally or whiny, which was good, and the uncleans were solid, the instrumentality was handled well and managed to sneak in light pop/jazz motifs to help keep the atmosphere fresh; tone was really tasty and the flow was good, and this was an example of a classic sound done right.

3.6/5
55DOOMEYE
2014-2017

An interesting release here, as the band mixes together hardcore with grind and deathcore and fleck it with math and metalcore touches, so that the album is emblematic of everything and nothing at the same time. Huh. No matter which way you slice this musical cake, it’s still interesting to spin, and you’ll definitely get some enjoyment out of it no matter what. Vocals are solid across the board, no matter which genre they’re inhabiting at any given moment and the instrumentality shows clear professionalism and talent, which is a warm “plus” from me; tone was good, and the flow was simultaneously disparate and yet cohesive. Terribly intriguing, and definitely something to check out if one’s interested.


3.6/5
56meth.
Mother of Red Light

Absolutely nasty in terms of atmosphere and heaviness, Meth.'s "Mother of Red Light" is a fun and frenetic ride from start to finish. Vocals were venomous as sin, instrumentality was just plain naaaaasty, going heavy and fast one minute and then breaking in to an uneasy calm the next, the tone was delicious, and the flow was fantastic. Damn, this was fun.

3.7/5
57Kenaima
Haste

Controlled venom. The one phrase that can probably best describe this band. Through the direct sonic assault of the instrumentality, the sneer and snarl of the vocalist and the unvarnished nihility of the lyrics, the sludgy tone and the breakneck flow, Kenaima lash out within the 20 minute runtime here and only want to hurt, not caring if it’s you or them, so long as this hurt takes away from the anger and pain within the band. If you go into this as angry as they are, you may feel a sense of catharsis as your anger is swept up in the maelstrom that is this EP, but if you’re not angry and just curious, hold on tightly, because you’re in for one hell of a ride.

3.9/5
58The Burning Wind
An Inheritance in A#

Yessssss... absolutely dirty, frantic hardcore that sounds wonderful and is a dope-ass blast to play and mosh out to from start to finish. Once again, releases like this that barely top out past 15 minutes makes me wish there was more, but I can also be satisfied with what we've got here. Vocals in this EP were savage, almost feral overall, and the instrumentality was excellent, restrained and yet unhinged at the same time. The tone of the vocals and instruments fit the atmosphere of the album very well, and the flow was unrelenting. Damn good stuff here.

3.9/5
59The Heads are Zeros
The Heads Are Zeros

Mathgrind! Mathgrind! Maaaaathgrind!!! Once again the specific sub-genre comes through in the musical clutch, providing a solid helping of enjoyment while supplying their songs with structure and bits of melody, unlike another entry on this list (*cough*thesawtoothgrin*cough*). It’s kind of fun for me to hear such chaotic technicality and variation in such an entry and then finding out this band is/was a trio, it literally mini-blows my mind. Vocals are aptly vicious and unrelenting, the musicianship is uncompromisingly solid and assured, and the tone and flow work so well hand in hand, so complimentary, that I can’t find fault with it at all. Fun times to be had in chaos like this.

3.7/5
60Cloud Rat
Moksha

Female fronted hardcore punk with veeeeery liberal doses of grindcore thrown into the mix, making for a tonally tolerable album but nothing to really single out and appreciate. Vocals weren't bad, and a plus for being so savage overall, but individual mileage may vary and I didn't care for them too highly as they began to get slightly one-note. Instrumentals though is where this album shines, marrying that ferocity of punk with the unrelenting technicality of grind, which was a nice touch. Tone plays into the enjoyment of the instrumentals, and I liked it, and the flow was average, par for the course. Nothing out of place but little to no variance make things slightly meh. Overall, not terrible.

2.7/5
61C0MPUTER
Consequences of Mass Production Under the Entertai

noise punk variant of hardcore that's got a fun and frenetic sound to it all, but the lyricism sounds more tryhard in its attempts to call out societal ills than being honest and earnest, which is like one of the calling cards of good hardcore/punk. the female vocals here were decent, definitely full of punk sass and vinegar, and the instrumentality was professional and fun, definitely lending a solid quality to the proceedings. Tone wasn't bad at all, actually being quite grimy and therefore aurally tasty, and the flow was interesting, always ready to veer between savage ferocity and introspective calm, giving the album an extra edge and bite to it. Not terribly essential to the -core canon but an interesting aside.

3.2/5
62Black Nail
Black Nail

Blink and you'll miss it type of release, roughly 10 minutes in length, that skirts the mathgrind fringes of hardcore. Not bad by any means though, just kind of wish there was a little more meat on these bones. Vocals were really good and dabbled in emoviolence, instrumentality was actually kind of fun and heavy, tone was solid and worked well with all the other intangibles, and the flow was effective, albeit short. Could use a little more, please!

3.6/5
63XBXRX
Sixth In Sixes

Veeeeeeery intriguing noise punk shenanigans going on in here, yet eminently listenable on the whole and able to appeal to the -core kids at the same time. The punk side of the album makes this effort catchy, where despite all these differing aspects being thrown at you there’s still that hook that gets you and leaves you waiting for the next hit, the noise side of the album just bombards you relentlessly, stirring up this strange brew that makes up the album and helps the punk side by keeping you on your toes for the entire time, and the vocals appeal to the -core side of things, sounding vigorously frenetic throughout yet clear in its manic delivery. The production sounds very much like what one can expect from this sort of album, which is a plus and minus depending on how picky one wants to be, and all in all this was quite a ride.

3.7/5
64Gas Up Yr Hearse!
A Banner Year For The Sum of Our Losses

Ah yes; just when you thought you were free and clear of scenegrind, it pulls you back like a desperate ex who wants to rekindle the now-dead relationship. It's dead. It's over. There were things here that could be appreciated, like the overall instrumentality, tone and the normal uncleans, but my fucking goodness GTFO with these high uncleans like your using a hamster as a stress ball. Fuuuuuuuuuck that's grating. Considering that none of the songs here top a minute in length, the flow worked as best it could, but that's not saying too much, and this was kinda "eeeerrrrrgh", instead of "hmmm, not bad...".

2.4/5
65Triumph Over Shipwreck
Forever, Ending.

There’s a track on here called “F.U.N. - Fast, Ugly and Nasty”, and that perfectly sums up this album; it’s both fun and F.U.N.. Messy, dirty hardcore that’s frantic and chaotic, Triumph Over Shipwreck launch themselves from caustic banger to caustic banger with joyful abandon, giving an experience that needs to be heard. Vocals were absolutely tasty and pissed, the instrumentality veered between destructive and technical, the tone was crunchy yet beefy in equal measure, and the flow kept things on a tight yet fun leash. Definitely a fun time with this one, check it if you can.

3.7/5
66The Arusha Accord
The Echo Verses

Despite the math tinged hairpin turns in the instrumentality of it all, I can definitely get behind the more melodic aspects of The Arusha Accord's efforts on display here, and in a way, this kind of reminded me of early Protest the Hero, with the aforementioned mathy aspects and also the interplay between the cleans and the uncleans. Vocals on the whole were handled very well, and the interplay was refreshing; the instrumentality was tight and technical, another plus, and the tone and flow was solid and delicious. Good stuff here.

4/5
67Straight Reads The Line
The Author

Math-inflected metalcore, replete with hairpin tone and style changes, making for a fun, mosh-worthy time. This would fit nicely right next to early BTBAM, if I'm to be honest. best aspect going through this was the instrumentality, consistently engaging and holding my attention throughout the entire runtime... no complaints there. Tone was good and flow was well-executed. My ONLY MINOR quibble would have to be with the cleans sprinkled throughout, in that I can understand the vocalist being younger and all, but when they were implemented upfront and not utilized as backing tracks, they kind of threw the immersion the album had going for it for a loop; as backing, they totally fit though and HELPED to enhance the immersionary aspect. Odd, I know. Damn good album overall, though.

3.8/5
68Poured Out
To the Point of Death

Initially somewhat normalized metalcore content enough to go dummy-hard for the duration of the album and drawing comparisons in my mind to Kublai Khan, over time Poured Out reveal enough originality in their work here that it warrants a solid handful of spins regardless of your predilections or biases. Vocals are actually quite solid and fit the driving nature of the album, the instrumentality is quite capable despite the apparent simplicity of the arrangements, and the tone and flow work quite well together, creating a fun, mosh-worthy and mosh-ready collection of songs to turn on, turn up and jam the fuck out to.

3.7/5
69Octaves
Which Way the Wind Blows

Not bad, not bad at all... I can definitely get/see the La Dispute vibes this band gives off, in that it's post-hardcore, sure, but Octaves is trying to be artistic about it and tell a story. Vocals are solid for what they're going for, but by the end of the album the emotive, sing-screaming gets a little bit worn. Instrumentality though is top-notch, providing varying shades and faces to the lyrics. Tone fits nicely and the flow works well. Not bad, not bad at all...

3.5/5
70Arms (FL)
Bunk Alchemy

Chaotic, fun mathcore goodness at play here. The tone and flow just don’t let up one bit, does it? From beginning to end, it’s just a nonstop feeling of heady bewilderment as one tries to soak in the entire release. Arms’ vocals for this style of -core is spot on, fierce and unrelenting, the instrumentality is the absolute strong suit on this album, full of technicality and strength, and the tone and flow work perfectly together. Fuck me, but this was some good shit.

3.8/5
71Priapus/Old Painless
Split

Fucking solid split between Priapus and Old Painless, both exhibiting fantastic control over the brand of math/tech/grindcore on display here. If I had to honestly pick, I'd say the Priapus portion of the split was the better of the two, but that is in no way a slight against Old Painless at all. Vocals for both were excellent, the instrumentality from both bands kept one on their auditory toes throughout, and the tone and flow was the best kind of simple, stupid fun. A great way to spend 15 minutes of one's time.

4.1/5
72Joy (NC)
No Light Below

Sweet, sweet delicious blackened hardcore. Ahhhhh, I'm so happy this came up, as I've missed this particular subgenre for a loooong time. Fuck yes, give me more Joy; perfect "get up and mosh the fuck out/punch someone in the mouth" soundtrack here. Vocals are straight venom, sometimes even reaching up into that BM range, and the instrumentality is fucking solid 4 on the floor hardcore, with little touches of crust and BM in the tones to sweeten the deal. Flow is unrelenting, and this was fucking fantastic. Yes, motherfuckers.

4.2/5
73Worry
Wisdom Through Shame

You know, there’s a part of me that wanted to like this more than I eventually did end up settling on, as this was an intriguing and capable sludge/doom hybrid album with more than a fleck and nod towards the hardcore genre, but the flow of the album kind of held this back from me really enjoying it, as everything kind of melds together a bit too well and makes the whole smack of sameness; tone, vocals and instrumentals were handled well though, and for what this album was worth I did end up liking it, but still...

3.4/5
74WRITHE
W R I T H E

Much in the vein of Mouthbreather, if only in the sense of providing a sense of cohesive wholeness, all under 10 minutes. With Mouthbreather, it was 7 minutes; with Writhe, it’s 6. 5 tracks, 6 minutes, but in those 6 minutes and 5 tracks Writhe manage to present what feels like one track, one cohesive whole, fully articulate and full of venom. Not gonna lie this was kinda fun to jam back to back to back. To back. To back... anyways, the vocals were quite solid, more than holding their own against the instrumentals, but that’s not to infer the instrumentals were slouching; no, far from it - the instrumentals were positively vicious and brought an excellent sense of tone to the proceedings. Flow was absolutely top notch, and this was fun. Got 6 minutes?

3.6/5
75Casino (MO)
Revealer

There's mathgrind meat on top of a metalcore skeleton here, but at practically double the time of normal mathgrind (~30 minutes) and with some songs reaching the 4-5 minute length, it feels like at times Casino overstay their aural welcome. The album isn't bad overall, per se, but it feels like there's so much being thrown at you that it gets hard to take it all in and contextualize it all; to balance that out, there are moments here that sound fun as fuck and definitely throw one for a loop, but if this were more focused overall and had about 10 minutes shaved off of it, then we're fucking talking. Vocals were solid overall, but the high uncleans got grating in points, almost like a cat getting slowly tortured. Instrumentality was the high point of the album, taking many turns and dares that made the experience on this front fun, and the tone and flow were complementary to the whole, with the end result being a net positive instead of a negative.

3.4/5
76Cloacal Kiss
Easter

I... it... wha.... technical mathgrind here that feels like the C-grade interpretation of the genre, like that local band that plays garage shows and breaks up after 6 months together. Totally forgettable and aurally grating. Yeesh. For the vocals, the lows were tasty enough, I'll give them that, but the highs were T E R R I B L E. They absolutely bring the entire album down and is my major hindrance towards this album. Thank God they only made this one. Instrumentals weren't bad, and they did have some nice variance sprinkled in, so there's that. Tone is decent, except for those vocals, and the flow was tolerable. There's mathgrind, good mathgrind, and there's mathgrind that should've stayed buried on Myspace. Cloacal Kiss falls into the latter category.

2.2/5
77Blank Look
Void

Dude, throw this on a plate and snap a pic for your Instagram, because this is tasty as H E L L. Hardcore that mixes in damn good doses of grind, crust and d-beat? Dellllllliiiiiiciiiiiioooouuuuussssssss. Fuck yes. Vocals are that variant of pissed and feral found in crust, instrumentality has that hardcore ferocity mixed with the speed and technicality of grind, tone has that beautiful d-beat sound going for it, and the flow is frenetic and fast as fuck. Fuck yes. Fuck. More of this, please! Fuuuuuuuuuuuucccccckkkkkkkkkk…..


4.3/5
78THECHEESEBURGERPICNIC
IODINE

Absolutely batshit fucking insane grindcore here. Being as such, the album totals up to just around 7 minutes, but in those 7 minutes more musical ideas, tempo and style changes are thrown at you than you can possibly anticipate. Production and tone are fucking killer here tho, bringing a muffled, sludgy feeling to the proceedings, vocals are absolutely crazy but by adding variety and range to them the final product elevates itself into something terribly intriguing as it hooks you in, and the instrumentation is excellent, being able to add plethora upon plethora of styles and innovation into the mix while still keeping a solid framework around everything AND not making that framework sound rote and tired... good shit.
Absolutely fucking mental trip of a time with this.

3.5/5
79Seeker
Loss

Not bad technical metalcore on display here, and definitely an upgrade over their "Antagonist" EP (which you can find on my 5th list), but not much else to write home about here. Vocals are definitely better here than on the EP, and there's even some light variance in the uncleans; instrumentality is solid and create a really nice atmosphere, but the tone and flow are decent overall and don't do a whole lot to set this apart and make it particularly memorable. A solid spin but really nothing more than that.

3.4/5
80SUNDRAINER
.​.​.​I Hope This Breaks Your Spirit

Vicious little 3 song EP of math inflected hardcore bangers here, taking delight in the technical proficiency that math can bring as well as the biting venom of hardcore. Vocals are handled and issued quite well, sounding suitably rage filled throughout the EP’s runtime, and the instrumentality is absolutely a high point here, never forsaking that bite and crunch that can become eponymous in the genre while marrying it with the aforementioned technicality. Tone is tasty as fuck, and the flow works really smooth and well. A fine little aside with this.


3.6/5
81Tweak
I Am Overcome With Hate

Terribly interesting cacophony we got going here; mixing elements of sludge in the tone and production with the disjointed angularity of noise and punk and then throwing a dash or two of math-like technicality in the mix, Tweak present a wholly unique take on the punk/hardcore genre here. By throwing together dual vocals into the mix Tweak add a sense of discordant dynamics to the whole affair, almost as if this was the punk version of good cop/bad cop. Instrumentality was fucking solid, and the tone and flow all add positively to the mix. Not necessarily required listening, but definitely one to check if you’re interested.

3.3/5
82Beneath The Sky
What Demons Do To Saints

Solid meat-and-potatoes metalcore that definitely fit the stylistic bent of its time, and if you’re looking for metalcore that goes dummy hard (emphasis on dummy) while you’re breaking out a two step in your living room one man mosh pit, you needn’t look much further than this. Everything present is serviceable - vocals, instrumentality, tone and flow - and that’s simultaneously this band’s calling card and fatal flaw. Being serviceable, there’s nothing present to separate the band from the billions of other cookie-cutter metalcore bands dotting the landscape around the time of this album’s release, c. 2007. I understand it may mean more to people if they have a direct connection to the album or band if they were in a particular place or time when they found it, but judging it today there’s really no need to develop nostalgia or sentimentality.

3.1/5
83Damad
Burning Cold

Crusty sludge? Sludgy crust? Fuck me if I know, but I do know this fuckin' slapped. For context's sake though, this can be seen as crust with healthy amounts of sludge in the guitar tone, and fuckin' A do I love this shit when done right. Top to bottom this was a slow burnin' banger of an album, utilizing buildups and releases to elevate the atmosphere and complement the flow and tone. Vocals were incredible, using that fry tone that is usually found in crust but then diversifying that with some death metal growls thrown into the mix; that this all came from a female is absolutely mind-blowing. Fuuuuuck they're so good... Instrumentality had that lo-fi approach and quality that make these types of albums so good, and the tone and flow was fantastic. Excellent, underrated shit right here. Definitely for those looking for underground gems.

4.2/5
84Instinct Of Survival
Call of the Blue Distance

Ahhhh, German crust punk. Injecting a "classic" melodic quality to their tone and sound that would sound right at home in like early 80's London, Instinct of Survival launch themselves with abandon into the -core fray, causing those of us in the audience to start swinging haymakers and legs in our own mental moshpits. Vocals actually fit quite nicely in here and brought a quality and grit to the proceedings, instrumentality was appropriately rough and chunky in places, adding to the overall effect. Tone was absolutely superb, and this is the greatest example of what I said earlier about sounding like the 80's, and the flow was efficient. A banger, this.

3.9/5
85Pariso
Consanguinity

Fairly standard "chaotic" hardcore here with Pariso, and if you're in the mood for such a thing, then this isn't a bad thing at all. Definitely good enough to show the genre is still alive and well in today's day and age. Vocals are solid all around, instrumentality is fun and tightly controlled, and the tone and flow are serviceable enough to ensure that this album isn't a waste of anyone's time at all. Not exactly re-inventing the -core wheel with this release, but it's good enough for a fun spin or three.

3.4/5
86Consume
Consume

Crust with minute touches of grind flecked in, Consume bring the heavy and pissed off on this album, and overall it was fun. Now, I’ve come to find through these 8 lists that I’m growing a fondness for the rawer subniches of -core, like crust and d-beat et al, and whenever I’ve run across an album of such, almost always they’ve delivered. With Consume, I think I might’ve hit saturation point. Don’t get me wrong, everything is good - the vocals, instrumentality, tone and flow - but nothing quite jumped out and grabbed me, forcing me to pay attention and focus, with everything here sounding like a variation on a single theme. No complaints in the end, but hopefully future entries will be different.

3.3/5
87Gasp
Drome Triler of Puzzle Zoo People

Another day, another intriguing amalgamation of sounds and style on display, mixing together elements of post-hardcore, grind, experimental and ambient into certainly a witches brew that while not intoxicating for everyone, certainly is filling to say the least. Vocals were good, veering between crazed screams and quiet interludes and the instrumentality was exceptional, considering the flighty directions they took. Tone was solid and the flow worked in spite of everything involved, and this was quite good. Odd, weird in spots, but quite good.

3.6/5
88Misery (USA-MN)
From Where The Sun Never Shines

Unspectacular, completely average hardcore with crust influences here. Not gonna lie, I actually got somewhat bored with this album as there really wasn’t anything here that aurally grabbed my attention, and then factor in that this album is AN HOUR LONG. Sigh. Vocals are decent for what’s being presented, the instrumentality was solid and I liked the crust tones over everything, and the flow was serviceable. This earned a solid “meh” on the -core scale from me. Meh.

2.7/5
89Hierophant (IT)
Great Mother: Holy Monster

Delightfully delicious darkened d-beat on display here, mixed a little with some crust and hardcore influences. This is a straight rager from beginning to end, engulfing the listener whole and unrelentingly pounding them aurally. It’s marvelous. Vocals are skillfully executed and sounding underproduced to align them to the classic examples of the d-beat genre, which I appreciate, instrumentation was note perfect with no quibble from me, and the tone and flow worked really well in concert with the other intangibles and atmosphere to provide a compelling experience. Love this kind of stuff. Check it.


3.9/5
90Old Man Gloom
Meditations in B

Before they leaned into the blend of post-metal that they're best known for, Old Man Gloom used to be a hardcore band with heavy sludge influences, and that's what's on display here, with light asides in post metal to help build the atmospherics the album has going for it; a fantastic album by any measure, Old Man Gloom released more of a statement than an album with this. Vocals are slightly sparse, but when they appear they are wielded to great effect, and this is where the hardcore influences shine the brightest. The instrumentality is well handled and the tone compliments the instrumentality very well. The flow is the biggest star though, weaving in moments of vitriol with more languid moments, not necessarily to keep the listener off guard as to what comes next, but more in terms of ebb and flow, pulling the listener in and inviting them into this world that Old Man Gloom built. Absolute fun with this one.

3.9/5
91Celeste
Morte(s) Nee(s)

MmmmmmmmmM, sludgy hardcore with liberal doses of screamo and black metal to enhance the final product? Yes please! Celeste put on one hell of a performance here, combining their influences in such an aurally pleasing fashion that I was hooked almost immediately from the start; of course, it doesn’t hurt that two members of Celeste used to be in the screamo outfit Mihai Edrisch, who I also enjoyed. Everything was an amalgamation: the vocals were a good mix between screamo and bm, the instrumentality mixing the hardcore, sludge and bm sections to excellent results, the tone mixing the nastiness of hardcore with the Lo-fi upper tuning of bm, and the flow complementing everything perfectly; the usage of strings in the closing track, “De sorte que plus jamais un instant ne soit magique” was absolutely brilliant. Another winner here, and I’m eager to dive into this band’s back catalog now.

3.9/5
92Muga
Muga

Fucking solid crust-laden hardcore here; no frills, no filler - just fucking killer banger after banger. Some may deem the intangibles simplistic - the vocals, the instrumentality, the tone - but that's actually the massive charm the album has going for it. All three of those intangibles work hand in hand in hand and provide a fucking mosh-worthy experience, preferably in a small room with the band playing, the crowd elbow to elbow and just going ham. To cap it all off, the flow of the album just flies, providing no opportunity for the listener to catch their breath until the end. Fuck yeah. Mosh on.

3.9/5
93Cows
Sorry in Pig Minor

Wasn’t really sure what to expect with this album, and it didn’t really let me down in that regard; I still don’t know just what I listened to there, but it wasn’t post hardcore like Sput has it genre tagged. More noise punk than anything, with more emphasis on the disjointed “noise” than “punk”, Cows release…. something with this, their final album. Wasn’t bad though, just wasn’t ready for something like this. Vocals and instrumentality was intriguing and at times felt randomized, but the tone and flow were decent at least. Hmmm… live and learn, I guess?

3.2/5
94Off Minor
The Heat Death of the Universe

Man, this was good... I made the (fortunate) mistake of reading the artist blurb that Sput has for Off Minor, and once I found out that the band was comprised of members of Saetia, my bar of expectations went higher than initially placed, only because I really liked Saetia when I listened to it back on my 5th list. I'm happy to report now that this album cleared that bar I set with room to spare. The vocals on here were absolutely perfect, fitting the album so effortlessly, and the instrumentality complimented those vocals so excellently. Tone and flow were excellent as well, and this is an absolute essential of an album. Holy fuck this was good.

5/5
95The Dismemberment Plan
The Dismemberment Plan Is Terrified

Well, this was a fun little ditty bop. Operating on a similar wavelength to (early) Weezer and sounding at times like Primus gone indie, The Dismemberment Plan exhibit some post hardcore-lite and punk tendencies on this album, which helped elevate my overall enjoyment of the album more than I was expecting. Vocals were that 90% spoken, 10% sung style, and the instrumentality and tone had that chunky Primus bounce and vibe, and this is where the greatest example of the punk and pxhc influences can be found. Flow was fresh and tasty as feck, and this was actually quite fun.

4.1/5
96Ambulance
The End Of Our TIme

Very raw, very fucking visceral hardcore at play here, and an absolute monster of an album. Fuuuuuuck me but this went hard! Vocals and tone were very raw, mainly due to production, and this lent the album almost a crust kind of edge to it, which, as soon as you hit play, just ups and punches you in the face with such aggression and vitriol that it's all you can do just to hang on. Vocals were totally solid across the runtime, and the instrumentality was absolute aces. Being so raw, I'll always have an affection for this kind of tone, and the flow was well plotted. Fucking aces across the board, and an absolutely hidden gem of an album that you'd do well to unearth and experience for yourself.

4.2/5
97THE AVENGING DISCO GODFATHERS OF SOUL
The Ultimate in Authenticity & Musical Usefulness

Oddly original, weirdly compelling mashup of genres caught huddling under the "screamo" umbrella here, on display for the world to see. On paper, none of this should (logically) work, and yet, here we are. Starting on a base of screamo and hardcore, generous dollops of Latin, jazz, lounge and synth all pile on, sometimes even during the same song. What emerges may not be everyone's cup of sonic tea, but you can't fault TADGOS for trying; interesting... fucking interesting.... Anyways, the vocals were solid and the instrumentality showcased an effective competence and tendency towards experimentation and technicality, so points for that. The tone was solid, and the flow was decent; given the album's multi-genre proclivities, those tendencies occasionally hamstring the overall experience, even if one is prepared for it. Not bad, not bad at all...

3.7/5
98Decrepit
Tired Of Licking Blood From A Spoon

Fuuuuuuuuuck yes, I love crust like this. Raw, serrated and dirty in tone, this is crust of the highest quality, cutting through anything and everything seemed extraneous and lunging straight for your musical jugular. Vocals are pissed and downright feral in places, maintaining a higher pitch for the most part but mixing in some beautiful gutturals to help punctuate songs for excellent effect, instrumentality is a definite plus in accordance to the genre, sounding basic in technicality but compensating massively with atmosphere, tone is delicious and flow is unrelenting. An excellent representation for the genre, and a definite recommendation for those looking beyond the basics of -core.


3.9/5
99Seizures
The Sanity Universal

Yowza. In a way, it feels like Seizures is moving metalcore into post-metalcore realms with the atmospheric bits and interludes that pepper this album, and if I’m right about that assumption, then I absolutely support that decision. Inflecting the metalcore formula with math tendencies and twisting dynamics, Seizures pull off an exceptional debut with this album. Not gonna lie, there were moments here that smacked of prime-era TDEP, what with the hairpin tonal changes and the chaotic instrumentation, and that just made me enjoy this album more. Vocals were solid, instrumentation was a delight, and the tone and flow were perfect. An excellent album, and a gem of modern metalcore.

4.4/5
100As the Sun Sets
Each Individual Voice Is Dead in the Silence

Delicious… delicious mathy grind on display here, just a bop from start to finish. Fitting in well with my sonic predilections towards -core, AtSS unleash creative chaos upon the listener’s ears from start to finish, leaving one breathless. Vocals are raw and unhinged, dwelling largely in the upper register except for occasional gutturals to punctuate the moment, instrumentality is top notch, with an excellent blend of technicality and atmosphere, and the tone and flow complement that atmosphere so fucking well. Really, this was a fun time all around, and one would do well to give this a spin. Fun fact, I’ve never listened to Sputcore darlings Daughters, and apparently this was Alexis Marshall’s band before that, so this has a little pedigree.


3.9/5
101Birds in Row
We Already Lost The World

At moments similar in style to Envy's brand of frantic, emotive buildups and soul-rending catharsis, Birds In Row can be looked favorably upon as the Japanese band's French cousin, sharing styles but much more visceral in their counterpoints. But then again, that's France; unafraid to wear and bare their emotions on their sleeves, no matter the art form. Birds In Row unleash their brand of cathartic devastation on the listener, and the results are perfection. Vocals have that perfect blend of emotive yearning and desperation and the instrumentality veer between anger and melancholy, painting the album experience in such layers, colors and emotions. Tone for all the intangibles is perfectly mixed and placed, and the flow is faultless. A perfect album from one of the best and brightest in modern -core today.

5/5
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