c0nf1n3d's Ratings | Sputnikmusic

c0nf1n3d

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Reviews 2
Approval 33%

Soundoffs 222
News Articles 31
Band Edits + Tags 1
Album Edits 4

Album Ratings 248
Objectivity 78%

Last Active 01-01-70 12:00 am
Joined 01-01-70

Review Comments 435

Average Rating: 3.53
Rating Variance: 0.76
Objectivity Score: 78%
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5.0 classic
As I Lay Dying An Ocean Between Us
Between the Buried and Me Alaska
Though "Mordecai" is my favorite BTBAM song, and "Colors" has my favorite moments in it, this album overall, is hands down, my favorite BTBAM album. This album overall generates the most diverse styles, and keeps things interesting. The musicianship is good, the lyrics are good, everything is a solid force of greatness. I honestly have no complaints for this album, whatsoever.
Between the Buried and Me Colors
Daft Punk Discovery
A masterpiece that was (and still almost is) ahead of its time.
David Wise DK Jamz: Original Donkey Kong Country ST
A masterpiece. Every track on this fits the mood of the game PERFECTLY. This is a soundtrack that people still talk over to this day, whether it's the main theme, or the favorite "Aquatic Ambience." Simply great!
Haste the Day When Everything Falls
Haste the Day Pressure the Hinges
Inked in Blood Lay Waste the Poets
Jun Senoue Sonic Adventure Original Soundtrack
Perhaps one of my favorite gaming soundtracks of all time. This soundtrack truly began to shape how many game soundtracks are made today, with tons of themes for each character, emotional orchestration, and diversity in genre. A great soundtrack.
Justin Timberlake The 20/20 Experience
This was really tough. I was going to give it around a 4-4.5...but after listening to it enough...no other word comes to mind other than "classic." There's so much originality to be heard throughout this journey of an album. Whether it's the symphony-esque intro of "Pusher Love Girl", to the weird interlude in "Don't Hold the Wall", to the dance-groove in "Let the Groove In", to the utter-amazing ballad "Mirrors", finishing with the ambient "Blue Ocean Floor"; so many genres are covered throughout the album, whilst keeping in the R&B feel overall. Production is incredible, writing is incredible, vocals are incredible. Any complaints are nitpicks, and don't really detract from the experience. Most likely THE album of 2013; and we're not even at mid-year yet.
Protest the Hero Fortress
Soundtrack (Film) The Greatest Showman
The Greatest Showman might be a movie that's sort-of a mixed bag, with impressive set-pieces and performances nulled by a shallow story - but that doesn't stop the soundtrack from being one of the GREATEST musical soundtracks to possibly ever exist. There is not ONE 'average' song on this soundtrack. Every single song has either a rocking groove or beautiful pacing to deliver multiple genres across the board. It's something that could deliver 2-5 radio hits in different categories (and I believe, actually, it did). No need to see the movie to enjoy this one - very rare for musical soundtracks. Side note: I'm not really a 'musical' fan, and I enjoyed this a whole lot.
SR-71 Now You See Inside
I can't think of a single problem I have with this album. One of my all time favorites.
Sum 41 Chuck
I don't think it's even possible for Sum 41 to get any better than this. This album is an honest masterpiece. It really shows that they were trying to keep Dave (the lead guitarist) in the band by changing their sound, but surprisingly, their sound VASTLY improved! The guitar lines are great for radio rock, and the lyrics couldn't have been better written. Songs like, "We're All To Blame", with its bipolar mood really show that Sum 41 can still keep a 'softer' side but at the same time, trash when needed. There are tons of other great songs, such as "No Reason" "Pieces" "I'm Not the One" and especially the closer, "88." If anything, this album helped push Sum 41 into all eyes as both a mainstream band and a talented one.
Sum 41 Heaven :x: Hell
"Heaven :x: Hell" is Sum 41's best record. Are there some songs that are better than others? Of course. Are there some songs that might not be as refined as some of their previous songs? Naturally. What we have here are 20 songs that serve as a celebration of everything the band's accomplished. Looking for something from "All Killer No Filler"? Check out 'Not Quite Myself'. How about something from "Order in Decline"? 'This Means War' will do the trick. Hell...even something from "Underclass Hero" is in there with 'Johnny Libertine'. What once used to be a band whose material constantly felt like a tug-of-war genre struggle of what to decide to settle on has instead become embraced in this lengthy, impressive album. It's a rarity where you genuinely feel the effort that went behind its engineering, and a bittersweet feeling knowing that this is their last record.......at least for a while. I personally have a hunch that they'll announce some 'reunion tour' in about 10 or so years. Here's hoping.
The Word Alive Deceiver
There has not been one song that I haven't been satisfied with on this album. This album is insanely good...it's what this genre NEEDS.
Thirty Seconds to Mars A Beautiful Lie
It's a solid rock album. Every track has a decent length, and feels perfectly placed for the album. Tracks like "From Yesterday" and "Was It A Dream" and the title track all are fantastic highlights, but the whole album in general will sway the listener in different emotions. These are all great emotions though; as this album truly is a classic.
Underoath They're Only Chasing Safety
When 'Young and Inspiring' ignites, underOATH's "They're Only Chasing Safety" goes non-stop with unique songwriting, catchy melodies, sounds that would be difficult to replicate in any other recording scenario, and a focus that they themselves probably didn't even know they had at the time. For example, 'It's Dangerous Business...' opts to go into double-time in the 2nd chorus, usually being saved for a final chorus, and instead layers on its final chorus with a different melody (choir) set used in the bridge. 'The Blue Note' is a nothing track that follows one of the heaviest songs on the record, and naturally the huge hit 'Reinventing Your Exit' is the perfect song to this day to introduce anyone to the band.
Various Artists Sonic Adventure Original Sound Track
Given I'm a Sonic the Hedgehog fan, it's impossible not to give this album a '5', especially given it's the soundtrack to one of my favorite games from the series. Make no mistake though, the Sonic Adventure soundtrack is a palette full of varying genres and styles that ranges from ambience, rock, jazz, dance, and more. Character themes are accompanied by either rock guitars, saxophones, strong vocals, rapping, or a piano on reverb with a melancholy melody. You'll also get the stage music; from the depths of the Lost World orchestra to the blissful new tomorrow with "At Dawn" from Speed Highway, it's near impossible to find a poor track on here, and the Adventure soundtrack has at least one song that someone could get some enjoyment with.

4.5 superb
A Day To Remember Common Courtesy
A Day to Remember have produced their best album since "For Those Who Have Heart". With the occasional tracks featuring studio chatter, it gives off the vibe that the band was completely in control of how/what the album should sound like. While each song in the album is listenable in their own respect, the only unfortunate thing is the album loses steam around after the 7th track ("Violence"). Again, a minor complaint when the second half of the album is still good; it doesn't live up to the first half at all. Granted, the first half also contains songs like "Right Back at It Again", "Sometimes You're the Hammer...", and "I'm Already Gone" - which are some of the best tracks the band has written to date. I'm a huge fan of the album, and (finally) looking forward to the next album they put out.
And Then There Were None Who Speaks For Planet Earth?
This has to be one of the catchiest albums I've hard in the LONGEST time. Every track is crazy catchy, ESPECIALLY "Thank the Watchmaker." The cover of "Right Here Waiting" is pretty awesome too.
Autopilot Off Make A Sound
Bad Omens The Death of Peace of Mind
"The Death of Peace of Mind" manages to capture the essence of an experience; it's something that should be listened to beginning to finish, as individually some songs don't work as good as others. For example, "What It Cost" on its own feels nearly incomplete until the follow-up song, "Like a Villain" which cues the listener into the fact that the prior song was more or less an interlude. Adding to this, the following song "Bad Decisions" contrasts heavily to what came prior. 'TDoPoM' has brief moments of the heaviness the band is known for, all crescendoing to "Artificial Suicide", which by that point in the album feels like an earned piece. Perhaps the only downside is closer "Miracle", which feels like an unnecessary addition after every previous track. Recommended songs: "Just Pretend", "The Death of Peace of Mind", "What Do You Want from Me?", "Concrete Jungle".
blink-182 blink-182
It's late September in 2023, and Blink-182 just announced details of their new record. I've rated their recent stuff, but for some reason haven't rated my favorite record by them yet - the Untitled and/or Self-Titled one. All music in some shape or form has some form of creativity behind it; even material that's half-assed has to still be created. So, this album has an ongoing essence of creativity and new ideas throughout - whether it's in the songwriting, the mixing, or unique sounds to give the overall aura a unique vibe. While the album admittedly slows down towards the end, "Feeling This", "I Miss You", "Stockholm Syndrome", "Always", "Down", "Easy Target"...the list just goes on how every track feels like it has a purpose and place. "California Part 2", released in 2017, holds tons of tracks (combined with Part 1) and would be my other pick for the best Blink-182 album for sheer variety.
blink-182 California (Deluxe Edition)
How do you rate something like this? "California: Deluxe Edition", while containing every song from "California", is essentially a new album with an addition of 12 NEW SONGS. One might be an acoustic, and one might be a joke song; but that still leaves 10 songs. That's an LP, basically. So, as a whole, this is a 4.5 - with plenty of tracks, some good, some so-so, it's certainly worth your time/money. As for the Deluxe Edition itself? Well, it certainly expands on Blink-182's repertoire by shotgunning new sounds into their overall 'generic but safe' sound from California. "Bottom of the Ocean" especially is the standout in this regard. Though, "Good Old Days" might just be the best song the band has ever put out. It's simple, has a solid and true message, and has a kinetic upbeat nature that won't leave your head. The "Deluxe" edition ultimately feels strange to release seeing how it defies what 'deluxe' albums are, but I've got no complaints.
Cash Cash Love Or Lust
An enormous step up from their previous effort. The songs are catchier, they meld together well, and as a band, Cash Cash does exactly what is expected of a follow-up album: improving their sound. Their debut LP mixed a lot of instruments with synths, and while it worked, it didn't click as well as this. While more "electronica" driven, Love or Lust just pleases the ear more in terms of production and melody. "Victim of Love" is a tremendous opening track, immediately followed by a slew of great songs including the album's biggest single, "Sexin' on the Dance Floor." The biggest surprise is that the band wrote and produced the album themselves. Definitely a plus in my mind. Great album, check it out if you have an interest in the genre.
Cash Cash Overtime
There's a lot of diversity here in terms of instrumentation, even though it's all electronics anyhow. The composition elements are great, and the songs ooze catchiness and are wonderfully mastered. Cash Cash have really found their niche with this type of music, but the lack raw instrumentation does hurt the album slightly. It would've been nice to hear at least one track that utilized an actual piano, drum, guitar, or bass.
Daft Punk Random Access Memories
Daft Punk deliver another fantastic album, this time incorporating live-instruments melded with electronics to deliver a sound that's almost standard nowadays, yet feels completely fresh thanks to the groove-throwbacks scattered throughout "Random Access Memories". The evolution of the record track-by-track is what makes it worth the experience, but listeners may feel unimpressed due to the songs each staying in the same key until a change happens in "Within". My personal favorite tracks: "Contact", "Touch", and "Giorgio by Moroder".
David Wise Donkey Kong Country 2 Soundtrack
A great soundtrack; but hindered by some annoying and useless tracks. Regardless, "Forest Interlude" and ESPECIALLY "Stickerbush Symphony" make up for it by a mile. If anything, get this soundtrack somehow JUST for those two tracks.
Electric Callboy TEKKNO
I feel as if the rating for this one will either improve or regress over time. As of now, it's probably one of the best records to drop in 2022. It's frustrating to use the term "fun" to describe music due to the tendency of artists attempting to capture that element and failing. TEKKNO manages to utilize its high-energy to produce a crisp, clean record where nothing overstays its welcome. Storming the gates with "Pump It", the melding of digital and acoustic percussion gives the group's sound something familiar you'd hear out of the 2010's-era, yet stays fresh due to strong vocal performances mixed with odd lyrics. There's even something to be commended with the guitarists here as well, by using digital equipment to instantaneously drop the tuning during certain parts of the song - it's a feature that goes throughout TEKKNO, which might explain why the guitar parts here act as complementary to the rest of the ensemble. Standout track "Hurrikan" manages to encompass nearly everything the record stands for - from the upbeat nature to the heavy elements...it's a perfect track to present to newcomers. Yet, "Mindreader" can also serve as a possible concept for where the group can go from here; if it wasn't for "Hurrikan", this would be the best track here. Again, the rating could change on this one depending on how it ages...but as of now, this is a superb listen beginning to end.
ERRA ERRA
From the ignition of "Snowblood", ERRA's self-titled album features such tight musicianship and production that it almost feels like it's redefining the metalcore genre. It's an album that should serve as a template for other bands to build upon. Impressive leads, catchy hooks, surprises, and more. This is a weird comparison, but in 2010 when the band THE WORD ALIVE released "Deceiver", it also carried similar features to ERRA's self-titled album this year. Albums like these shouldn't go unnoticed, despite the self-titled album from ERRA's last few songs not being as strong as the beginning of the album.
Escape the Fate This War Is Ours
To anyone's notice, I like this album better than any previous Escape the Fate album. Don't get me wrong though, I enjoy the past albums as well, but Craig is able to deliver a solid performance, and makes a great new addition to the band. Every track on this album is good in its own way. The standout track though, "This War is Ours (The Guillotine Part II)" really sold this album for me. This song has to be, besides "The Guillotine" one of Escape the Fate's greatest songs ever written, if not, THE greatest. Good album. Catchy, awesome.
Famous Last Words Council Of The Dead
This is a band who know exactly who they are, and are writing material to please a certain type of listener - and sure enough, I'm in that selection. "Council of the Dead" only suffers from the cliched pointless intro track "Letter to the Council" and the midway instrumental "Entity". They're simply there to be there; nothing more. The rest of the album sends the ears into bliss with great songs such as the title track, "Fading Memories", and "One in the Chamber". Every track's chorus will stay in your head post-listen, and the hard-hitting breakdowns will keep you coming back for more.
fun. Some Nights
I've been listening to this for about half a year now, and forgot to rate this. It's definitely a really unique album. Each song (for the most part) contrasts from each other. The general sound though is very "love it, hate it, or shrug it off." If you love it, you'll love it. If you hate it, you obviously won't listen to it. If you 'shrug it off', you'll just kind of thing it's average music for todays apparent 'mainstream indie' scene. Composition wise: the guys know what they're doing. Instrumentally: interesting. Vocally: love it or hate it. Production wise: brilliant. What defines this album though are the unique ideas in the intro, the title track, "All Alright", "One Foot", "Why Am I The One", and "Stars."
Further Seems Forever Penny Black
Does anyone else find it ironic that Further Seems Forever signs to Rise Records, and there are auto-tuned parts in the album? Alright, now that I got that joke out of the way, let's continue. Honestly, this is the best thing to happen to music this year. 'With age comes maturity', and Penny Black definitely shows it for everyone in the band. Everyone brings their A game to the table, and each song contrasts from the other. Auto-tune is used for effect, but in some songs. Others, there is a strange flanged/layered vocal process going on. "So Cold", the opening track is a tremendous song, and other great ones are "King's Canyon", "Janie", "Way Down", and "System of Symmetry." I have a strange feeling that this album might go a bit unnoticed, but highly regarded years down the road. As of now, my choice for album of 2012.
Goldfinger The Knife
"The Knife" is a John Feldmann fever dream full of catchy hooks/choruses/riffs/etc. If you're into the style of all of his similarly produced-acts, this album is an amalgamation and pinnacle of such style (I'm a fan). The first 8 tracks follow an A/B/A/B format, where A represents mostly guitars and B represents horn sections. Track 9 "Say It Out Loud", acts as a method of combining both styles into the album's best track. Tracks that follow after "Say It Out Loud" aren't nearly as strong as everything else preceding it, which helps the album end on a "very good" note versus an "excellent".
Green Day Dookie
Definitely the best in terms of Green Day. The whole album is made up of catchy songs that are surprisingly well-written for a simple power-chord-driven band.
Harry Connick Jr. We Are in Love
Haste the Day Burning Bridges
Haste the Day Attack of the Wolf King
Hellions Opera Oblivia
Where "Opera Oblivia" succeeds is the versatility Hellions provides with such different, unique sounding songs that oddly feel they all do belong on the same record. Perhaps where this record slows down a bit is the song "Nuestra Culpa" (and the pointless track "He Without Sin - Heels of the Hands"[it should've just been tagged to the previous track]), but it's only for a brief moment. Opera Oblivia just oozes this unique, cool sound that will sound like probably 5-10 different bands you know already...but not EXACTLY like them. Highlights include "Thresher", "Quality of Life", "Lotus Eater", and "25".
It Lives, It Breathes We Come In Numbers
There's bound to be a hate-train towards this band/their style, and count me out of it. "We Come In Numbers" is a strong EP from It Lives, It Breathes - full of catchy songs melded with interesting instrumentation. Chord progressions in songs such as "With Or Without Wings, I Could Make Your Marty McFly" and "Live and Let Go" have been tried and true, yet they work well with this group thanks to the contrasting and strong dual-vocal performances. To me - if a song is sticking in your head after a first listen, that means it had to have some impact on you to listen again. That's what this EP did, and it did it well.
Jun Senoue Sonic Adventure 2: Multi-Dimensional Soundtrack
Very more 'rock-driven' than the previous soundtrack, but it still has its great moments (see Event: Final Scene). The Egyptian themes, the 'space themes', and more really help make this soundtrack just as diverse as Sonic Adventure's.
Linkin Park Hybrid Theory
The announcement of a new vocalist for Linkin Park made me realize I never gave a proper 'score' (or whatever) to the only album I've ever really liked from the band - and maybe that's why all of their material after Hybrid Theory hasn't gelled with me; "Hybrid Theory" is just that good. Whether it's the opener of 'Papercut' introducing the listener to the duality vocal complexities morphing into the next track 'One Step Closer' (arguably the best track from the record), it's a sound that was more unique at the time yet has aged very well. No, there's no real dud on this album, just like with any some songs being stronger than others. 'A Place for My Head' in the second half doesn't resonate as much as other songs, and not even as surprising and ear-enveloping as 'Cure for the Itch'. "Hybrid Theory" also admittedly carries a bulk of nostalgia, and maybe there's bias here for that reason, but it's a record that sticks with you all these years later.
Magna-FI Burn Out The Stars
Magna-Fi's "Burn Out the Stars" is an underrated album that, even on a first listen, is an obvious master of the 'alternative rock' genre. Every track on this record oozes the raw, uncompressed sound that fans of early-2000's alternative-rock fans crave. The mixing on this record is an accomplishment of itself: Excellent drum sounds, solid guitars, and audible bass. At the same time, I'm also aware that I can't give this album a 100% non-biased review. I'm friends with the lead guitarist on this record, and I know his/his brother (the vocalist)'s work quite well. As amazing as the record is (seriously, from start to finish it's a rollercoaster full of great songs), I'm also aware of each of the two brothers' singing voice. The lead guitarist, for me at least, has a voice that would truly suit these songs nowadays. I'd love to hear a version of this record where it's him singing versus his brother. That aside, I guess I'll give my recommended tracks: "Where Did We Go Wrong", "Down In It", "Beautiful", and the best track "Seconds, Minutes, Hours". Seriously though, EVERY song on this record is great.
One Morning Left Metalcore Superstars
This is a band that dabbles in the absurdity, providing an incredibly fun listen beginning to end. At its core, "Metalcore Superstars" isn't so much of a 'Metalcore' record, as the post-hardcore/electronic ("crabcore") style is clearly present throughout the album - yet its used tastefully and effectively in songs such as "Fast and Furious 666" and "Heavy Metal Finland". Adding to it, there's some REALLY catchy and well-written songs on here; "The Recipe", "Kings and Queens", and "Devil's Nest" won't leave your head after a listen. The most infamous track, "You're Dead! Let's Disco!" essentially is a pure representation of what this band is - complete with a recorder in the track's breakdown. Cheesy? Maybe. Original? Yes. Finally, it's hard NOT to mention the closing track "Sticks and Stones"...which at its core has a great message lyrically, and ends on such a bittersweet note. "Metalcore Superstars" might not gel with all audiences...heck, I'd be surprised if anyone heard of this one. But for me, it's a gem - and one of the best of 2016.
Porter Robinson Nurture
Porter Robinson's "Nurture" might just be a masterpiece that needs a few years to age to solidify such status. It's the first 'EDM' (can this even be called that?) record since perhaps Daft Punk's "Discovery" where it feels completely singularly-focused; no interference, no second guessing. Every song serves a greater purpose to the album's overall affection on a listener. The instrumentation on some songs feel like sounds ripped from a 90's Sega Saturn sound-cart, mixed in with new technology and inspired songwriting. "Nurture" is an album where any listener could find at least one song to enjoy, especially what feels like the unofficial follow-up to "Sea of Voices" - "Wind Tempos". As of writing this in August 2021, this is the best album of 2021 so far.
R5 Sometime Last Night
"Sometime Last Night" is a fantastic, pulse-pounding, crisp record that hits essentially all of the high notes perfectly. R5 stray away from their Disney days to produce numerous tracks lushly filled with unique instrumentation and (believe it or not) intriguing lyrics. Songs like "All Night", "Let's Not Be Alone Tonight", and "Smile" are sure to please the average pop radio listener; while "Dark Side", "Repeating Days", and "I Know You Got Away" gives a nice contrast to the pop side of this record. "Repeating Days" especially utilizes perfect dynamics to become perhaps the best song the band has written, while "I Know You Got Away" is a jamming song beginning to end. The only downside is the closer track, "Did You Have Your Fun?". After the previous song "Do It Again" essentially gives the album a solid ending-vibe, the band continues with "Did You Have Your Fun"...which is fine, but just isn't as good as everything else on "Sometime Last Night." This is an outstanding record though that anyone should at least listen to once.
Relient K Let It Snow, Baby... Let It Reindeer
For a solid Christmas album, this is phenomenal. Relient K is able to create diverse styles within the pieces they arrange. They are able to keep it interesting. Some standout tracks are "Have Yourself a Merry Little Christmas", "Sleigh Ride", "Angels We Have Heard on High", and of course, the best track, "We Wish You A Merry Christmas." This is an instant classic, except it gets a 4.5 for just using tracks from their previous Christmas album. If you're a holiday fanatic, I strongly suggest this one to add to your collection.
Silverstein Antibloom
Structurally, 'Stressed' on Silverstein's EP "Antibloom" (dig the name) borrows structurally and musically from Bad Omens' 'Artificial Suicide' - not an imitation by any means, but there's influence here; something that reverberates throughout the EP. Luckily, "Antibloom" is Silverstein's best outing in years, with catchy choruses that repeat hooks; drilling notes into your mind to echo on replay mentally for days in songs like 'Don't Let Me Get Too Low' and 'Confession'. It's a listen that never drags, even on something like 'A Little Fight', which feels less like 1-minute filler over a concrete idea that doesn't need expansion. As of writing, it's unknown if the follow-up "Pink Moon" will be as strong as this, but even if that one isn't as strong, the collection as a whole will still be a very strong 2025 for Silverstein.
Storm The Sky Permanence
I'm changing my rating on this one, big time. Perhaps an initial review is what works best for an album (originally I scored it a 3.5). My comments were what in a normal playthrough; a listener might gain from the journey. It's a 'so-so metalcore album'. Here's the thing, "Permanence" really isn't. The majority of the album actually contains SINGING, versus the generic metalcore riffs/screaming. Sure, there are tracks like "Some Graves", "Dead Giveaway", "Sheltered", "Oh, Sister", and "Tempest" that give off that vibe - but honestly everyone...that's it. The rest of the album is more experimental. There are songs such as "If I Go", which is a ballad/chordal experimentation that pays off tremendously. There's "Alive", the opening track, which gets the listener acquainted to what they're getting into, yet it still experiments with odd sounds that benefit the album's journey. "Permanence" is a FANTASTIC initial effort from Storm the Sky that unfortunately won't ever see a continuation. As of now, the 'harsh' vocalist left the band, and the group is taking a new direction. Here's to hoping something good comes out of it - for now, we're left with this.
Sum 41 Order In Decline
If you combine the highlights of Sum 41's previous record "13 Voices" [aka the first three songs and the title track...MAYBE "Twisted by Design" as a bonus song or something] and every track in "Order in Decline", their new record - you'll have yourself a 14-song album that is pretty much perfect. "Order in Decline" is the best record the band has put out since "Chuck". It'll need a few years to see how it ages compared to other efforts, and with that in mind, my score might change a bit later down the road (it's a 4.5 to me now, might drop to a 4). I guess it's just refreshing to hear an album self-produced by the band that hits as hard as this does. "Turning Away" is a solid opener...but it's when the tracks "A Death in the Family" and "45 (A Matter of Time)" chime that a sort-of awakening happens with this album's evolution. Lyrically, it's nothing special; perhaps a bit too heavy-handed in being obvious - but musically, you get a great sense of synergy among all the band members that really make this such a pleasurable listen. The closer "Catching Fire" is a solid conclusion to a real highlight in the rock scene of 2019.
The Lonely Island Incredibad
This is actually a really good album. REALLY good. Its almost sad, how an album set on mocking songs, and intending for comedy is this good. 'Dick in a Box,' 'Jizz in my Pants,' and 'I'm on a Boat' all sound like they could be huge hit songs, except of course, they have the awkward lyrics within them that make you laugh instead of trying to take the song seriously. There's a lot of lyrical talent within the songs though, and the arrangement is great.
Thirty Seconds to Mars This Is War
Truly a long awaited, but great follow up to "A Beautiful Lie." While fans of A Beautiful Lie might not dig this initially, after a few listens, the album really grows on you (myself being one of those individuals). Perhaps the only down sets are the time the album took to be released, and a few tracks are very boring (Escape and L940 [Though, props to Shannon Leto for composing L940 and giving the album a different twist]).
Yours Truly Afterglow
In 2019 Yours Truly burst onto the scene with "Afterglow", an album that magically captured the essence of the mid-2000's pop punk anthems featuring glorious choruses and octave-riffs coupled with syncopated drums and bass. 'Circles' is a good starting point, but it's 'High Hopes', to this day the best song the band's ever done, that really soars. Every element about that song won't leave your head for years.

4.0 excellent
A Day To Remember For Those Who Have Heart
This one's so tough for me, because A Day to Remember's "For Those Who Have Heart" was one of those albums that came along in my life at the right moment/helped me through a dark time. That alone gives it a '5'...but all of these years later, it's time to be a bit realistic. From the start, the album launches you into a foray of sound with "Fast Forward to 2012" bleeding right into the album's best track "Speak of the Devil". The chorus alone in "Speak..." will stay in your head for days, and is a perfect way to introduce a listener as to how A Day to Remember operates. The rest of the album stays the course until after middle track "The Price We Pay". The following 2 tracks (while good) feel almost indistinguishable from each other. It's when "A Shot in the Dark" emerges that the album picks up steam again until the end. It's a solid, fun listen beginning to end...and as a review in late 2019 for an album that came out in 2007, it's aged quite well.
AFI Sing the Sorrow
"Sing the Sorrow" thrives off of the singles, and (mostly) still manages to be good even in its other tracks. Lead single "Girls Not Grey", to this day (written in 2018), is a ridiculously catchy song with an exceptional bridge. "Leaving Song", parts 1 and 2, are both contrasting yet manage to be more winners in this album. "...but home is nowhere", while not a single, is a weird closing track that oddly is effective in how it spaces out the (essentially) 2 songs with unique/cool sound mixing in between. The real standout among all of these though is "Silver and Cold". It's the catchiest song the band has written to this day, and in some ways...almost 'chilling' too in its lyrical content and songwriting.
All That Remains AntiFragile
"Antifragile" is very much like Linkin Park's latest album "From Zero" where it aims to be a 'Star Wars: The Force Awakens' of albums. All That Remains, most notable for having their record "The Fall of Ideals" be so beloved yet they gradually downgraded themselves into radio-safe rock music to appeal to a larger fanbase. I get it; unless you're really excelling there's a point where you've got to cater to make some money. It's a strategy that worked very well for them, but with the band taking a (very understandable) hiatus and adding new members, they've decided to replicate what was revered the most and has aged well, and that's the core essence of "Antifragile". The musicianship here can't be denied; the guitar work is excellent beginning to end, the drums go monstro-insane at points, and the vocals are well-mixed within everything else. 'Divine', 'The Piper', the title track, and 'Let You Go' are the highlights here. It's a coin toss to see if what they'll do next will be something like 'No Tomorrow' on this one, where they go back to more of a radio-rock sound, but I'm quite content with having an overall excellent metalcore record
Attack Attack! Someday Came Suddenly
Wow. What a unique album, that's all I'll start with. This is one album that makes my list of 'albums I can listen to from beginning to end forever.' Every song has its own unique touch, and all the songs are catchy and pleasurable to listen to. Personal favorites are. "High Grillz/Stick Stickly", "What Happens...", and "Dr. Shavargo Pt. 3". There is definitely room for improvement, and the album sounds overproduced, but its a great listen, and definitely worth anyone's time. This is a unique, new music style, that is going to probably shape the new scene of music for years to come.
Attack Attack! Attack Attack! II
Supposedly Attack Attack! maxed-out 3 credit cards to up the ante on the production for the 'sequel album' to not their biggest record, but their most consistent. Enter "Attack Attack II", something that manages to actually surpass the previous album in due to monster choruses, heavy lows, and crisp mixing that never slows down its pace. Opener 'ONE HIT WONDER' feels more reminiscent of some of their recent EPs and is probably the worst song on the record, but even then it still checks out. No, it's when the listener is treated to songs like 'Chainless', 'Walk on Water', and 'Big Booty Britches' where the infectious melodies swarm your ears and most likely won't leave for days. Standing back-to-back, 'Live, Love, & Die' and 'i complain on r/metalcore' are the two best songs on the record; evoking genuine emotion on one song and goofily playing with style while maintaining a clear focus on the other. In many ways, it's surprising "Attack Attack II" is truly as good as it is, and is a real highlight of albums from 2025.
Backstreet Boys Millennium
Backstreet Boys Black and Blue
Let this album be noted for the first album where certain songs have all 5 members write, record, and produce certain tracks. It's just fascinating how these guys actually became involved in their own music, versus other 90's pop artists (minus Timberlake, etc). Impressive!
Backstreet Boys Backstreet Boys
Backstreet Boys A Very Backstreet Christmas
It's astounding to think that it took until 2022, almost 30 years later since they began, for Backstreet Boys to produce a Christmas record. Now there was 'It's Christmas Time Again' released in 2012, which is included on versions of "A Very Backstreet Christmas" - and still remains the best track on the record. Still, for the first (and possible only) offering regarding contribution to the endless holiday-themed catalog, decisions such as using the Drifters' arrangement of 'White Christmas' and covering the underrated 'Same Old Lang Syne' add a sense of flair to the record whereas otherwise the 'Winter Wonderland's and 'I'll Be Home for Christmas'es seemingly add nothing new. For a notable pop, holiday-themed album, this is one of the better ones in recent years; earning its way into all future holiday season rotations.
Between the Buried and Me Colors II
Between the Buried and Me could've easily wrote whatever they wanted, called it "Colors II", and called it a day. Of course, that's what they did ultimately, but there's genuine effort here to replicate the pacing that the first Colors album did - such as starting soft giving the listener a 'false sense of security' leading to the glistening crescendo to the hard-hitting scales the band has a mastery at by now. Unfortunately, this almost feels like a double-edged sword; as a listener, you may not be as surprised this time around. What also doesn't help, is the fact that there's hardly the insane 'genre experimentation' in this one that Colors actually featured. In many ways, this echoes what you might see in film sequels: Does a lot of the same stuff as the first one, yet not as good as the first one.
Bilmuri American Motor Sports
Bilmuri's "AMERICAN MOTOR SPORTS" will forever be cemented as the soundtrack of Summer 2024. It's got everything that a listener would want for those evening-drives into the sunset, with glorious saxophone leads coexisting with catchy guitar riffs, choruses, and complementary drums. Songs like 'TALKIN' 2 UR GHOST' evoke a Duncan Sheik-90's style alternative anthem, and 'STRAIGHT THROUGH YOU' is as exciting as it is mellow. Yet, there's fun to be had here with a clear metalcore influence such as in opener 'BETTER HELL' and 'SPINNIN' YOU AROUND'. It's an all-around recommended album to really anyone; it's an album that has at least one song that someone could gel to.
Crown the Empire Retrograde
Never was a fan of Crown the Empire until this record. Their music was fine, but nothing really clicked. "Retrograde" is not just their best album to date, but it's just a really solid record overall. Lead single "Zero" borrows the chorus hook from Taking Back Sunday's "Error Operator", yet it remains the catchiest and best song on the record. Other great songs like "Hologram", "Kaleidoscope", and "Are You Coming With Me?" evoke this hybrid alternative rock/metalcore...perhaps 'Alt-Metal'? There's no real dud on this one, save for maybe the instrumental "The Fear Is Real"...but the tempo shifts make it unique. No, the real dud is "Lucky Us", which is repetitive and boring. Personally, I was blown away at how GOOD this was coming from this band...then I learned that they didn't even write any of the music on this one. Now, I feel indifferent.
Dayshell Nexus
A monstrous step-up from the band's previous record, "Nexus" proves that Dayshell is a force to be reckoned with - as their sophomore album continues the ongoing progression of hard-hitting, grooving rock music. The only awkward thing about listening to this album is that the first 6(?) tracks all begin with a synthesized/crescendo intro, followed by the introductory verse. It's unfortunate, but a minor setback to an otherwise great catalog of tracks. "Car Sick" is a perfect intro to the album, followed by "A New Man" - delivering what would be weird lyrics ('I'm as cool as you') in a stylish fashion. Other strong tracks are "Low Light", "The Weapon", "Spit in the Face", and "Speaking in Tongues" - with all the other tracks being fantastic listens as well.
Don Broco Nightmare Tripping
This might be one that has to be revisited in later years to see what time has done to it. This is my first Don Broco album, and I was drawn in by the gimmick title track featuring Nickelback of all artists. A truly brilliant move on all fronts though; the oddity in the collab and the song actually being the best track on the record is an all around win in terms of promotion. The rest of the album ranges from goofy songs like the opener 'Cellophane', weirdly emotional songs like 'Somersaults' and 'Ghost in the Night', and catchy songs like 'Euphoria' and 'Hype Man'. There's an added heaviness in plenty of tracks, but as a whole it keeps to a uniform style during the LP's run. It's one of those where it might not click on a first listen, but when you find yourself humming some of the tracks randomly, you'll know you're a fan. Yet, again, really unsure how this will age in a few years; the sound and style might become tiring, but as of now it's one of the best of 2026.
Emery ...In Shallow Seas We Sail
This is a REALLY good album. I was never really a fan of the band until I heard this album. Every track is decently diverse...and very catchy, and the musicianship within the album is great.
Emery We Do What We Want
The first six tracks of this album are all killer in their respective ways. "The Cheval Glass" is their heaviest song to date, "Scissors" has the coolest structure, "The Anchors" has a nice chill section, "The Curse of Perfect Days" is the catchiest, "You Wanted It" is almost as catchy, and "I'm Not Here for Rage, I'm Here for Revenge" has a great surprising changeup. The rest of the album works, but for some reason it dies out a bit after the first 6 tracks (maybe because the screaming is mostly gone). Either way, songs like "I Never Got to See the West Coast" are still catchy, just not as memorable to me. Regardless, a great album.
Escape the Fate Escape the Fate
To this day, I'm still puzzled why this band gets so much hate. The musicianship in this band (especially from guitarist Monte) is great, and the songs are incredibly catchy. When first listening to this album, I honestly thought it was going to change for the worse due to the new label/production team...but I was wrong! All songs on this album each stand out, and provide a very comfortable and enjoyable listen. 'The Guillotine' series has always been good, and while "The Aftermath" doesn't quite have the epic factor that the first two had, it's still a great song and a proper conclusion to the song series. Definitely a good listen for fans of 'Dying is Your Latest Fashion' and 'This War is Ours.'
Falling in Reverse Popular Monster
Following a similar pattern that bands like Memphis May Fire and Crown the Empire, "Popular Monster" mostly features a collection of previously-released tracks, yet the intent this time around is mostly to etch a stepping stone in the band's catalog versus the others that felt more like contractual obligations. There's meticulous accuracy within the whole album's production, and that's probably thanks to a substantial budget used in its creation. For example, the opener 'Prequel' features a live choir instead of the safety-snyth route that lower productions would use. 'Watch the World Burn' is worth the listen alone, being an ingeniously crafted song that features a radical genre-shift halfway that feels organic. 'Trigger Warning' experiments with a ragtime-piano bridge, and 'Ronald' veers into heaviness as the track immediately after the country-rock 'All My Life'. Save for highlights from "Coming Home", this is the band's best record to date, recycled tracks and 'NO FEAR' (experimental but an oddity) aside.
Fleet Foxes Helplessness Blues
Four Year Strong Rise Or Die Trying
Goldfinger Never Look Back
Goldfinger's follow up to "The Knife" simultaneously keeps the upbeat/catchy vibes that "The Knife" had, while in many ways being a return to form with the expansion of horns/other instruments in many tracks. Written and recorded during the COVID-19 pandemic, only one of the songs on the record addresses the situation with opener "Infinite". "The City" follows the opener, being arguably the best song on the record...followed by "Wallflower", the first single and love-letter to the film 'The Perks of Being a Wallflower'. "California on My Mind" acts as a sequel-song to "Tijuana Sunrise" from "The Knife". Other notable songs are "Careful What You Wish For", "The Best Life", and "Standing on the Beach". It's all good stuff here, but it just doesn't hit as hard as 2017's "The Knife". Still, another great outing from Goldfinger.
Goldfinger Nine Lives
I guess in terms of comparing recent Goldfinger albums, "Nine Lives" isn't as strong as "The Knife" and does things both better and worse than "Never Look Back". For the record, all three of these are very much great albums and each carry their own special kind of flair. "The Knife" goes back and forth between upbeat rock to ska//slower tempo pieces, "Never Look Back" repeats this concept but contains some silly tracks that clash with the vibe of the album, and now "Nine Days" edges on more of the rock/pop-punk sound over ska//slower tempo, but has much more memorable pieces. In fact, the real only 'joke song' here is 'John Lennon', and somehow it's quite the catchy tune. 'Chasing Amy', 'Last One Standing', 'Lie in Bed', 'Killswitch', and 'The Punisher' all should make it into anyone's Goldfinger song rotation. If there's anything that would've made this album stronger, it would be to feature vocals more from the other members of the band, as well as having some slower-tempo pieces. Then it'd probably eclipse "Never Look Back", but alas it kind of again matches it overall.
Green Day American Idiot
Not as bad as people think. A defining album from the band that put them on the mainstream map. While singles like "Holiday", "Boulevard of Broken Dreams" and "Wake Me Up When September Ends" impress, it's songs like "Jesus of Surburbia" that really help the album. With a constant message and well-written tunes, it's an excellent album for the band.
Haste the Day Dreamer
This review might be a bit biased because Haste the Day IS my favorite band, but this album really proves how far ahead they've moved musically. With still traditional songs of theirs such as 'Haunting' and 'Sons of a Fallen Nation', as well as a heavier style in songs such as '68' and 'Invoke Reform', the band has really progressed forward as an ensemble. Their songs 'An Adult Tree' and 'Labyrinth' are a bit of a cool style change, and a re-do of 'Autumn' is a really nice touch. This album is a classic, as well as all of their other albums.
Haste the Day Coward
Need to let this one sink in a bit before writing a full review. So far, it's very impressive - and well worth the money I donated towards making the album. It's a true love-letter to the Haste the Day fans out there; tracks diversifying from experimental such as "Reconcile" to heavy such as "Take". There's the songs that any genre listener can enjoy such as "World" and "Fail", and then there's "Shadow"...a fantastic song that highlights the potential from all nine members. However the album contains a real gem - that being the ninth track. "Accept" is definitive proof that the classic Haste the Day sound is still definitely present; and one that after listening, is sorely missed. I probably speak for a select bunch that would've preferred perhaps one or two more songs in the same feel as "Accept", but as the song title states - I'll 'accept' it. Another great Haste the Day album for the books.
Hellions Rue
"X (Muah)" is such a ridiculously good song that it just might help save the album entirely. Thing is, there's TONS of great songs here...including "Get Up!" and "Smile". The brief tracks that are present to keep the album's 'concept' are pointless; but brush those aside and you're in for a good time.
I Prevail TRAUMA
Is it bad that I kind of find this album brilliant? TRAUMA offers the listener a unique experience where no two songs sound the same...a sort of hodgepodge of rock music that might throw fans of their older material off. Opener "Bow Down" is a deception; while a good track, it certainly doesn't paint the picture of what the rest of the album will offer. No, I Prevail decide to experiment frequently in TRAUMA. "Paranoid" utilizes more electronic sounds melded with some rapping, "Every Time You Leave" is that radio-rock song from 2007 that you have appreciation for to this day, and "Rise Above It" is a fun, hard-hitting song. "Breaking Down" REALLY tries to go for the 'trap' sound, and it kind of nails it. There's a lot of people who will probably be thrown off by this song's style...but I Prevail keep experimenting and trying new things each song, and it makes for a truly fun listen. The rest of album kind of plays out this way too, with the song "Hurricane" being a catchy/delightful piece, and "Deadweight" offering a dosage of metalcore for listeners that stuck around. "Low" is ironically the lowest point of the album being semi-boring...but overall TRAUMA succeeds in being different. It's not for everyone, but I enjoyed it very much.
Jet Lag Gemini Fire the Cannons
This album is surprisingly, amazing. The first 6 tracks are all incredible. The single, "Run This City," is actually a very minor track of musicianship within the album. Catchy titles, good lyrics, and good arrangement, this band is great. I'm excited to hear more of their stuff later.
Of Mice and Men The Flood
Definitely better than the first album, but there's still a lot missing. The musical progression is better, and their idea of their 'true sound' is coming to be. Making a sequel song "Still YDG'n" was a great idea, and other songs like "Purified", "O.G. Loko", "Let Live", "Ohioisonfire", and "Product of a Murderer" are all really catchy and have really good hard hitting parts. While some of the guitar parts have become better than the debut, a lot of high-string lead lines have been taken out completely to be replaced by chug-chug parts. It works, but I personally miss some of it. Regardless, the new songwriting is drastically improved, the lyrics are good, the production is solid, and the musicianship is great. "I'm a Monster" is a bit of a letdown, "Ben Threw" shows that Austin Carlile can sing well, and "When You Can't Sleep at Night" is a surprising nice acoustic track. Also, "My Understandings" is a huge change-up for the band, so check out that tune.
Polyphia Remember That You Will Die
The musicianship on display throughout "Remember That You Will Die" is nearly unparalleled; that alone easily makes this a commendable release from Polyphia. The bigger question asked here is how this will age over time - the album uses 2018-2022 sounds to capture a relevancy feel, highlighted in songs such as 'Memento Mori', 'Bloodbath', and 'The Audacity'. Yet, there's pure vigorous joy in highlights like 'ABC', 'Chimera', and 'Genesis'. Finally, there's the jaw-dropping musical showcases in 'Playing God', 'Reverie', and 'Ego Death'. In many ways "Remember That You Will Die" feels special in a sense; the rollout calendar preceding the album occurred from mid-Summer 2022 through its release in mid-Fall 2022. There's a vibe here that will always be paired with memory, and probably will be the same for any listener at any time they give this a shot.
R5 New Addictions
"New Addictions" accomplishes its goal by keeping fans of the band at bay until a new LP is released. Notable for R5 exclusively engineering/producing this themselves, the result is quite impressive. Quoted as being fans of/being inspired by INXS, doing a cover of "Need You Tonight" as the closing track doesn't feel quite fitting, but it's probably the only gray area on an otherwise colorful album. "If" is a radio-pop single that is infectious, "Red Velvet" might be the best song from the record thanks to its funk approach, "Lay Your Head Down" goes for the more mellow/bass-driven side, and "Trading Time" melds modern synth sounds with the band's normal songwriting. Again, "New Addictions" might not break any new ground, it's a good 'summer-esque' type of album that will keep listeners at bay until their next full-length drops.
Robin Beanland Jet Force Gemini
A great soundtrack to a highly underrated game. There are a few tracks on the actual soundtrack that feel very out of place, but the whole atmosphere for the game is out of this world great. Something to seriously be admired for generations to come.
Skrillex Scary Monsters and Nice Sprites
It's dub with a good sense of melody. A fun listen.
Slaughterhouse Slaughterhouse
Sleeping With Sirens An Ending in Itself
Thanks to collaborations, new member additions, and a humble amount of time away to dial-down on creating a solid record, "An Ending in Itself" manages to be Sleeping With Sirens best record to date. From the opener (title track), it's clear that there was a songwriting evolution within the ensemble, with little glistens like having a breather after the first chorus to accelerate to the second verse. It continues in the likes of 'Forever/Always', one of the ballads from the album that manages to evoke catchiness yet builds to a heavy bridge that doesn't feel out the blue. 'God in My Head' uses a 3/4 time signature and is one of the standout tracks, and 'Need You Here' has brilliant lead-guitar lines throughout. The whole album crescendos to 'Paralyzed', a straight-up metalcore piece that feels appropriate in terms of track placement and is easily the best song on the album. There's a notable quality dip after that one, until 'Looking Back at Me', which is a track no-doubt crafted by the new guitarist in the band (ex-The Word Alive), as it's a track that gradually evolves to a huge ending. No real notes on what could be done better here; Sleeping With Sirens should proceed normally now when working on their next album.
Spiritbox Eternal Blue
Eternal Blue is an album that you'll be impressed at immediately thanks to the dynamics within each song. The mix is layered enough and balanced enough where you'll feel both the big and lesser moments in the album. Yet, nothing really 'sticks'. There's no song here that could be classified as something you'll always go back to. This is a weird situation where the album itself is great to listen to beginning to end (in which I'll personally be returning to listen to this time and time again), but won't be picking out specific tracks to listen to...okay, except perhaps "Circle With Me" and/or "Secret Garden".
Still Remains Of Love and Lunacy
Still Remains The Serpent
Still Remains Spirit Breaker
"Spirit Breaker", as a pure concentration, might be the best work from Still Remains. There's no filler here - no instrumentals, just pure energy and ideas seeping out of every song. Take the title track for example using synthetized kicks to build to the first verse, to the again synthesized choir backing a very memorable breakdown. Lead single 'Erase You' was...well...a good choice for the lead single due to it being the catchiest song by far even though it uses the atypical 'Drop-C tuning chord chorus' that other songs use as well (in fact, 'The Worst is Yet to Come' from their debut album uses the same chord progression, just faster). Perhaps the only bummer is the lack of a 'radio song', aka the likes of material heard on "The Serpent" (alternative-rock song). Some fans of the group weren't crazy about that, but for pure variety's sake, it would've been nice to hear something along those lines because Still Remains are quite good at writing those types of songs as well. They're still a band as a whole that never miss, and "Spirit Breaker" proves that point tenfold.
Sum 41 Does This Look Infected?
A surprisingly great follow up album to "All Killer No Filler". In many ways, this album actually is better than 'All Killer No Filler.' The guitar lines are better, the lyrics are crafted better, and the musicianship has vastly improved. It's still Sum 41, but they've almost taken a darker edge with their sound, but kept the fun that is their music. Notable songs are "Still Waiting" and "The Hell Song". 2 great tracks that really help this album sustain over the years.
Sum 41 All Killer No Filler
Classic, but does it age well? Kinda. This album jumpstarted this band to the fame they have now with popular tracks such as "Fat Lip" and "In Too Deep", but the album actually has a ton of other songs that are great listens. It's always interesting to hear a alternative/punk band with great lead guitar lines. "Pain For Pleasure" seems to be a misfit on this album, but on the other side showcases what Sum 41 can REALLY do.
The Word Alive The Word Alive
What happened? This album truly is a work of art. It sounds incredible for a demo. "The Devil Inside" alone is a great track that could probably make it on to alternative radio, if anything, and "Casanova Rodeo" is excellent as well. The other three aren't as powerful, but are great songs to listen to. I don't know if Telle, the new vocalist, will contribute to the uniqueness that Craig Mabbit did, but surely there is tons of good work in store for these guys.
The Word Alive Real.
Strange how a John Feldmann-produced album lacks catchiness (minus perhaps in tracks such as "The Fortune Teller", "Your Mirage", and "The Runaway"), but this is without a doubt a major step up from Life Cycles. The album feels very much like a melding of the song-structure seen on Deceiver mixed with the sound/programming of Life Cycles. The beginning of the album certainly can throw a listener off, but it's roughly around the fifth track where things really begin to pick up. In the end - it's a solid installment from The Word Alive, but it does still leaves something to be desired. Recommended tracks: "The Fortune Teller", "Glass Castle", "94th Street", "The Runaway", "Collapsing".
Thirty Seconds to Mars America
I might be the only one in...AMERICA (wink wink?)...that doesn't hate this. On the contrary, it's pretty great. Listening to how Thirty Seconds to Mars progresses album to album, "America" feels like a fitting follow-up to "Love, Lust, Faith, and Dreams". While to this day "A Beautiful Lie" is their best album, the 'band' refuses to shift back to that style, and have instead progressively begun to use synth/crowd-inspired sounds to create songs that ultimately aim to be crowd-pleasers. "America" succeeds by dropping any sense of distortion found in 'A Beautiful Lie', and instead going with what worked in "This is War" - perhaps with a somewhat shallow attempt to cash-in on the 'trap' genre. "Dangerous Night", "Rescue Me", "Great Wide Open", "Remedy", "Live Like a Dream", and "Rider" are all outstanding songs - some of the best the group has ever done. However though, the record isn't without its duds. "Walk on Water" shamelessly uses the chord-progression/similar hook of Imagine Dragons' "Radioactive" (it's blatantly obvious), and "Dawn Will Rise" is horribly mixed, with the scathing auto-tuned vocals overpowering what little background instrumentation there is. In fact, "Dawn Will Rise" might be one of the group's worst songs they've ever made. While "America" in many ways DOES feel like a sellout/ego trip for Jared Leto, the good tracks are simply too solid to ignore. To me at least, the hate for this one feels really unjustified.
Turn The Tide Black & White
"Black and White" is a FANTASTIC debut EP from NY-based band Turn the Tide. With the opener "Blackjack", the band establishes this metalcore sound that doesn't necessarily need to rely on the chorus, but moreso the solid musicianship. There's guitar leads and solos throughout the EP that impress, and a few quiet moments that really work in context; "Hour 51" closes the EP in spectacular fashion. It might take a listen or two, but it'll grow on you.
Until I Wake Until I Wake
Until I Wake's EP might feel like a 'storming the gates' in terms of coming out of nowhere, when in reality they've been releasing singles since the beginning of 2020. It was no-doubt a 'win win' for Fearless Records and the band; Fearless has to pay next-to-nothing to fund the album/videos, and the band gets shrouded by a notable name. Luckily, their EP is an impressive debut - while songs are songs in the end, there's no doubt an energy that is felt throughout every track stemming from the band's huge fandom of the genre they're playing. "Sinking Under" is the standout here, but every song doesn't overstay its welcome, nor does this EP.
Various Artists Punk Goes Pop 3
A very good release in terms of "Punk Goes Pop." I wasn't a huge fan of the second compilation, but this one works better. The Word Alive's "Heartless" is a pretty interesting take on the Kanye West song. Of Mice & Men's "Blame It" works for the most part, and there are a bunch more. Some stand out, some can be shrugged off, but overall probably the best to come from the Punk Goes Pop bunch.
Various Artists True Colors: The Best of Sonic the Hedgehog Part 2
You're getting a lot of good tracks if you're a Sonic fan. There are a lot of shrug-worthy songs on there, but Lee Brotherton's "Dreams of an Absolution" is great, as well as a RARE track, "Look-A-Like" from Sonic the Hedgehog: The Movie.
We Came As Romans Cold Like War
This is, no question, We Came As Romans' best record; every song is fully-realized. Sometimes though, bands like using records to try new ideas...leaving the end product reeking of experimentation in a bad way. "Cold Like War" smells of experimentation in a GOOD way, as the opener "Vultures With Crooked Wings" and "Encoder" certainly do that...but they're both great. The record's best song is "Two Hands" - a fast-paced driving song with lyrics that would belong on a ballad. Perhaps the only song holding this one from honestly being up for debate for 'great metalcore records' is the song "If There's Nothing To See". It's the worst song on "Cold Like War"; essentially feeling like the older sound of WCAR rearing its head in when no-one really wants it. That aside though, the band's future is bright thanks to them signing with Sharptone Records.

3.5 great
A Day To Remember Homesick
Definitely not as remarkable as For Those Who Have Heart, but still, a very solid album from this band. They've grown as musicians, and they've been able to construct more meaningful songs, but it's nothing new, as the band uses the same style with 'From Those Who Have Heart.' They have more chanting, and more hardcore/punk elements. It's a good album, highlights include, "My Life for Hire," "Mr. Highway's Thinking About the End", "Welcome to the Family," and "I'm Made of Wax, Larry, What Are you Made Of?"
Abandon All Ships Geeving
It's a fun listen. The drummer, keyboardist and clean vocals are what really drives the band and carry rhythm/melody. Other than that, the guitar parts are very weak. There are a few tracks which showcase some guitar talent (such as Bro My God and Family Goretrait), but other than that the bass parts are melded in, and the guitar parts tend to not dominate. The keyboard parts though are cleverly written, the drumming is solid, and Martin, the clean vocalist, seems to know what he's doing despite autotune. The screamed vocals are incredibly weak, but surprisingly they work really well for this band's sound. His screams are perfect for the band's sound and I couldn't picture it any other way. Definitely a fun album has a lot of catchy tracks. Recommended: Bro My God, Megawacko 2.1, Family Goretrait, and Take One Last Breath.
All Shall Perish The Price of Existence
Amarna Reign Atonement
Amber Pacific All In
Amber Pacific returns from a monstrous hiatus to deliver "All In", an album that doesn't reinvent the wheel yet isn't insisting its doing so. Familiar listeners will anticipate bridges that will arrive on time, closings that stop on their mind's mark, and melodies paired with riffs borrowed from other acts. What makes it special is the combination with the positive lyrics which strangely feel refreshing in today's climate. 'Sink or Swim', 'Young & Reckless', 'Afloat', 'Meant to Be', and 'The Honest Truth' call listeners back to a time when they would rally to anthems like these, yet feels more like comfort food in the form of music. This is the stuff you drive down on warm nights with your windows down listening to, and if you get new listeners aboard who are tagging along, then the more the merrier.
As I Lay Dying Shaped by Fire
This is a very good album. Putting aside any controversy this band naturally has going into making a new record - "Shaped By Fire" is exactly the type of comeback record that's needed. This is an album that doesn't try anything new or risky, uses scales and tunings similar to what fans of the band/genre know, and yet still manages to make it work due to the experience and talent of the musicians/vocalists present. Think of this like a "Star Wars: The Force Awakens" for As I Lay Dying and/or metalcore. All of this stuff sounds familiar - whether it's opening track "Blinded" (using a rearranged melody of 'Confined' and 'Nothing Left'), or whether it's "Take What's Left" (using the same chord progression/riff of 'An Ocean Between Us'), the band clearly knew the type of record they wanted to make this go-around. I enjoyed it. It's overall a great listen for any metalcore fan, and hopefully next go-around they can go back to doing things outside of the box. Recommended tracks: "My Own Grave", "Torn Between" and "Redefined".
Asking Alexandria Reckless and Relentless
It's definitely not the 'epic album of proportions' that the media has been playing off this album to be for the past year or so, but it's definitely a great listen. Lots of good highlights, but the vocals sometimes aren't audible in the mix. Also, the 'synth cut' parts are sometimes almost too random and seem out of place. "Stand Up and Scream", while having a lot of them, seemed to work better for it. Highlight tracks include, "A Lesson Never Learned", "Dear Insanity", "Morte et Dabo", and "Someone, Somewhere" (kinda). The band has definitely improved vastly as musicians, but some tracks such as "Dedication" feel so out of place they throw off the rest of the album.
Asking Alexandria Asking Alexandria
I have NO idea what happened during the mixing and mastering of this record, but it sounds HORRENDOUS. I've purchased the physical CD (it was $2, well worth it), and listened to various streams online - so...it's not 'just my copy'. That's more of a personal note - as for the album itself, Asking Alexandria have certainly taken a giant shift since back in 2009 with "Stand Up and Scream". Gone is the 'predictable metalcore' style; now we have...a predictable alternative style? It's not necessarily a bad thing, as nearly every song on this record is catchy and completely memorable. Right away it opens with "Alone in a Room", showcasing the evolution of the band's sound and vocalist Danny Worsnop's impressive range. Following, it jumps straight into (ahem) the fire with the song "Into the Fire". It's a solid rock song with a beautifully punishing chorus. The rest of the album continues to deliver solid songs - with simple and safe songwriting that is best described as a prologue for the new direction this band is taking. "Where Did it Go?" might be the catchiest song on their self-titled record, whilst "Under Denver" actually BENEFITS from the cruddy mixing. Honestly, there's not a real poor song on this one. Even "Empire", featuring a pointless rapping guest vocal still manages to be a good song. No, where this record suffers is again, its mixing. It takes what could easily be a 4 - 4.5, and drags it down. I'd love to hear a version of this one remixed with a different producer in mind.
Attack Attack! Attack Attack!
Why do people hate this band so much? I really don't get it. They're all solid musicians, and they all do something completely unique to music...if anything, it makes them stand out. Granted, this album tends to fall on the more 'formulaic' side instead of "Someday Came Suddenly." Either way, the songwriting is good, the production is good, and the whole album in general is very well done. Sure, there are too many breakdowns, some tracks are a bit goofy, but it's still a great album. Recommended tracks: "Smokahontas", "Fumbles O'Brian", "Turbo Swag", and "Sexual Man Chocolate."
Bad Omens Concrete Jungle [The OST]
Instead of doing the usual "Deluxe Edition" of a popular album and including a few extra songs and maybe a live song or two, Bad Omens instead went the experimental route and created an album that's essentially a celebration of "The Death of Peace of Mind", an album that I thoroughly love beginning to end, and was no-doubt a huge success for the band and catapulted them to more of a limelight. So, with collaborations, a few new songs, some reworked songs, and live songs, "Concrete Jungle (The OST)" is an excellent B-Side to those salvating for more material from the band. Songs like 'V.A.N.', 'Anything > Human', 'The Drain', and 'Even' are highlights from this round.
Beartooth Below
Probably the best album to date from Beartooth, this album works collectively and features some real standout songs. "Devastation", "The Past is Dead", "Fed Up", and "Skin" are some excellent songs. Pair that with maybe one more song and you'd have yourself a near-perfect EP.
Biffy Clyro Only Revolutions
It's great to hear music like this...just straight rock. It's hard to hear music as solid as this these days, and I love that these guys do it. Great album...highlights are "Mountains" and "Bubbles."
Black Veil Brides We Stitch These Wounds
Why is there so much hate on this band? This album isn't that awful...I mean, as for their image...it's a bit out of the ordinary, but I guess they're just doing what they do. The musicians in the band are very talented, despite it being 'recycled' stuff (isn't that what a lot of music is these days anyhow?). The songs are catchy, "Andy Six" has a decent voice, and the musicianship is strong. I just think the production behind it doesn't sound as good. I dunno, maybe it's just me.
blink-182 California
Given the drama cloud surrounding the production of this latest record, Blink-182 ultimately succeed in producing a fine album. "California" injects the 'fun' side that was sorely missing on the previous record "Neighborhoods", as well as having a numerous amount of catchy songs. Unfortunately, it's the mixing/editing that hurts this one - as the vocals are clearly pitch-corrected to being 'flawless'. Some of the songs such as "She's Out of Her Mind", "No Future", "Los Angeles", "Left Alone" and especially "Rabbit Hole" are solid song compositions that won't leave a listener's head. On the contrary, hearing 40-somethings write about being a teenager comes across as too ridiculous, especially in the song "Teenage Satellites" - which is Blink-182 playing a Boys Like Girls song. Finally, the title track oozes cheesiness beginning to end, and being essentially the closer to the album - just doesn't cut it. Overall though, solid effort.
blink-182 Nine
I'm giving this the same rating I gave California (Part 1) - but I find this album to be better. Where Blink-182 tends to shine best is when they try new things in albums. 2016's "California" was moderately safe all-around, but was needed as a 'comeback' album of sorts. 2017's "California" (Deluxe Edition - AKA Part 2) felt like the experimentation that was needed on Part 1, but all put on another disc. Making it, to me, one of their best records (ONLY counting Part 2). Here we have "Nine" now in 2019, and, the group is back to trying some new things out - which is commendable, but not everything works. There's clearly a better synergy here among the bandmates, even so far as making an Alkaline Trio-sounding song with "Black Rain". "Ransom" is too short but also too good, "Darkside" grooves appropriately, "Happy Days" is (in a nutshell) their attempt at another iteration of 'Bored to Death', and 'Pin the Grenade' is quite catchy. There's a lot to like here, even if songs like "Blame it on My Youth" and "On Some Emo Shit" don't really work out so well. Based off of quite a few listens - I really wouldn't have any recommendations on where the band should go from here. They should kind of just do what they want, and hope things work.
Bring Me The Horizon Count Your Blessings \| Repented
When I reviewed "Post Human Next Gen" from Bring Me The Horizon, I noted that for some reason I just can never really gel with the band's songwriting despite it being right up my alley, and the fact that there were a handful of decent tunes on that record. The band then decides to 360 and re-record their first album next, and what's even more impressive is they've had the same lineup since back then. It's really something special and commendable when a group is so attuned with one another and they manage to evolve over time. I guess hearing this gave me a whole new level of respect for Bring Me the Horizon that I've never had before. The songwriting here uses the classic mid-2000's metal style of nearly every song radically shifting riffs with an open guitar chord with the drums queuing the next part, combined with lyrics that remain unchanged and almost ironically silly as ever now given the time that's passed. Yet, the band isn't without surprises, including a brand new song at the tail-end showing they haven't really lost their touch in terms of the style; they just want to try new things. So again, "Count Your Blessings \| Repented" is a successful experiment, but moreso was a brilliant move from the band to send a message about their roots and legacy.
Cash Cash Take It To The Floor
Picture the Backstreet Boys/N*Sync/your favorite 90's boyband melded with a 'rock' sense of feel to the music. It's a very programmed album, and to many, it may be a major turn off. Those who can appreciate it can get into a lot of the great tracks such as "Breakout," "Party in Your Bedroom" and "Electric Hearts." Some other tracks don't float as well as the others, but in the end it's still a solid debut.
Chumbawamba Tubthumper
Looking past the obvious elephant in the room regarding the first track on "Tubthumper" being synonymous with the band itself, Chumbawamba's LP falls into a similar trap that a good offering of other albums do, where the first half is significantly superior to the second half. Forget 'Tubthumping' (though still the best track), 'Drip Drip Drip', 'The Good Ship Lifestyle', 'Outsider', 'One By One', and more are infectious on how the draw the listener in with dynamics between the versus and the choruses. Adding to this are the odd skits that appear between every track that probably serve as some inside joke for the band, yet adds an authenticity to the listening experience otherwise. The second half of the album trails off and becomes uninteresting; 'Creepy Crawling' is borderline unlistenable, and 'I Want More' has a great intro and attempt at a chorus, but doesn't equate to anything more than that. As already stated - listen to the whole album up until 'Outsider' (or arguably even 'The Good Ship Lifestyle'), and call it quits. You'll find a very exciting EP.
Coldrain Vena
"Vena" is yet another style change from coldrain, and while overall not perfect; is still a decent change. The track opener "Vena" is very misleading for the rest of the album, as this is more of an alternative-rock album versus a post-hardcore album. The best description for the album I can give is: picture the We Came as Romans self-titled album, with better song composition, and choruses that are about as catchy as Hoobastank's. There's "Vena" in a nutshell. Also, the two best songs from the album are "Wrong", and "Gone".
Conquer Divide Conquer Divide
One time I was offered a 'new' type of beer from a friend. The beer at first glance seemed to be different due to it being made of something different that you don't normally see in beer. Curious, I tried the drink - and quite enjoyed it a lot. Sure, it tasted like every other beer that I've had relating to the style...but I guess I just appreciated it because of what went into it, and how good it still was. Perhaps a year or so down the road, when given the option to pick between this new beer I tried and another beer that practically tastes the same by a well-known/original brand, I might go for the latter...but that's not to say I wouldn't mind having this 'new' type of beer again if/whenever that time comes.
Conquer Divide Slow Burn
(Keeping with how I phrased/worded the previous album review) In 2015, I tried a new type of beer that was made of something different, yet tasted very similar to stuff I've had before. It was good, but there was certainly something unique to it. Strange how it's taken years for another variation or new product to arrive, but it finally did in 2023. This time around, clearly the stuff here was much more refined and better than the stuff that went into the one I tried in 2015. There was complexity, yet it still fit in line with the right style it was supposed to be. However, it still wasn't groundbreaking on any level - a shame too, because one would think after all of these years, and using better stuff, that it would be better.
Daft Punk Tron: Legacy
I'm not sure how to rate this one. Do I rate it as a Daft Punk album or a score to a film? In terms of a score to a film, it's phenomenal. All of these score cues work so well in the 2010 film "Tron Legacy", and it's arguably the best part about the film. However, as an album to listen to beginning-to-end, you're listening to a film score. Occasionally, you'll hear some Daft Punk-sounding tunes appear in there such as "End of Line", "Derezzed", and the title track. Other times, you'll hear score cues such as "Adagio for Tron" and "C.L.U.". They're good, but certainly feel off in a full-listen. Still, it's good music - and with Daft Punk being involved, certainly makes it stand out amongst many others.
David Guetta Nothing but the Beat
Dayshell PEGASUS
"Pegasus" features easily the catchiest tunes yet from what was once a 4-piece band and now just a solo project of Dayshell. From the get-go, 'You Wish', 'Not Welcome', and 'Give it to Me' all hit hard and will have hooks that are doubtful to leave your head after even just one listen. The production here is solid as well, save for the clearly programmed drums. There's evidential proof that actual drums probably could've been tracked for the record, but the cymbal hits lack an organic feel that most tracked drums have. It's something that once you hear, you can't un-hear, and drags down what would probably be the best record to date from this (now) solo act.
Destroy Rebuild Until God Shows D.R.U.G.S.
The album rocks. It's definitely a nice change for Craig Owens, and the musicianship in this album is great. Some of the tracks can kind of feel repetitive, but it's still a great listen. There are heavy tracks, and lighter tracks as well. It would've been nice to hear a ballad song on this, and maybe a more relaxing song for some contrast, but other than that, this is a solid debut album from this band...and I'm very excited to hear more from them in the future.
Disney A Whole New Sound
If anything, "A Whole New Sound" is a pure indicator that millennials (such as myself) have become more abundant within the Disney company. Those who grew up on the 'Punk Goes POP' albums clearly hatched this idea and somehow got it greenlit. The amount of licensing and clauses within contracts must've been a hassle alone just to get some of the tracks to appear on here, such as Simple Plan's cover of 'Can You Feel the Love Tonight'. Rumored in this is the band Yellowcard's championing of this project, with them being closely tied to the Disney company after a fluke encounter at a Comic Con a few years ago. If true, it checks out as Yellowcard's 'A Whole New World' is one of the stronger tracks on this record, along with the offerings from Magnolia Park, Tokio Hotel, Boys Like Girls, and the ol' reliable Mayday Parade. Not everything here works; New Found Glory's good intentions don't carry a good track, and Meet Me @ The Altar butcher 'You've Got a Friend in Me'. Finally, clearly there were multiple mixers on this project, given songs like LOLO's 'Let It Go' having a distortion//muted vocal mix in contrast to the others. If you're a Disney fan even slightly, this is absolutely worth the listen for pure fascination alone. If you're indifferent or not, pass on this one. I'd personally be interested to see this concept explored more in the future.
DNCE DNCE
This album GROOVES. The first 5 tracks are pure electricity and a masterclass in sound mixing. If the first 5 tracks served as an EP, this would be a 5 hands down. However, the album then progresses...and tracks 6-8 are marginal. It feels as if DNCE recorded [hit] "Cake By the Ocean", and then had some great ideas for other tunes and recorded them, then was told by their manager(s) that they had to record an LP. Luckily, tracks 9-14 (the end) return to the bass-driven, catchy works that the first 5 tracks had. Are they as good as the first 5? That's subjective, but they at least fit the mold. My favorite track would be the opener "DNCE", but "Doctor You" is quite an exceptional track as well.
DragonForce Sonic Firestorm
Probably their only album I can stand listening to all the way...but I can't deny the talent within this album. I LOVE "Fury of the Storm"...it'll always be one of my favorite songs. Regardless, the style does seem to get boring after a while. Still fun stuff, and great musicianship.
Dua Lipa Future Nostalgia
FUTURE NOSTALGIA's last two songs are wretched in comparison to every other groove inducing, poppy, catchy, feel-good track preceding them. There's not a single dud in the album's progression until those last two songs ("Good in Bed" and "Boys Will be Boys"). Notable tracks include: probably everything you've heard one way or another. Preference wise: "Physical", "Levitating", "Cool".
ERRA Silence Outlives the Earth
"Silence Outlives the Earth" is a thankfully massive step-up from "Cure", but still doesn't match the near-epoch that was ERRA's self-titled album. Where ERRA excels is their use of low guitar riffs that suddenly contrast by using the upper register in strings to create a ping-pong kind of effect that serves as their signature in songwriting. The catalog in "Cure" lacked this, but "Silence Outlives the Earth" brings it back in combination with catchy choruses with the likes of 'Black Cloud', 'Gore of Being' and 'Further Eden'. The band tries to do a 3-part closer series as well in the final 3 tracks, and it mostly does work as the group dipping their toes into some progressive kind of feels that still features their signature style throughout. It might be tough for ERRA to ever get close to their self-titled ever again; the album was written when the band had (understandable) downtime in 2020 in which there was more time to gauge what was and wasn't working. As it is though, "Silence Outlives the Earth" does come pretty close.
Falling in Reverse Fashionably Late
Rating this one's a bit tough, because this is a very interesting album. There are some great ideas in here, but their execution can sometimes fall flat. A good example are the random 'breaks' to hip-hop scattered throughout "Champion", "Rolling Stone", and "Alone." The order of tracks aforementioned can also be noted as the order as to how well these 'breaks' work. Instrumentally and vocally Falling in Reverse delivers, and the album's production is MUCH better than their previous release (the drum samples were borderline aggravating). There are some really standout tracks that help the album, such as the title track and "Born to Lead." With a few surprises thrown in here and there, this is far from a poor album, but far from a classic album either.
For All Those Sleeping Cross Your Fingers
For Today Portraits
Four Year Strong Enemy Of The World
Glamour of the Kill Glamour of the Kill
Definitely drawing influences from Bullet for My Valentine, this band does impress, but doesn't succeed. Their single, 'A Hope in Hell' is a great listen, as well as the catchy melody and vocal line from 'Rise From Your Grave.' The album sounds a bit too British though, and I mean that respectively. You can clearly hear the accent within the singing of the music, and it isn't as pleasuring to the ears like Bullet for My Valentine. This band has tons in store for them.
Green Day Warning
An interesting album, mainly because there's a lot of interesting instrumentation here. Green Day dives into using acoustic guitars more, and the two singles from the album were driven using it. In terms of mixing, it's interesting enough to keep the listener hooked.
Haste the Day That They May Know You
Hoobastank The Reason
The singles from this album are great. The rest of the album is ehh. "Disappear" though is probably Hoobastank's greatest song ever written.
I See Stars Treehouse
There's no doubt that I See Stars' "Treehouse" is the group's best album to date. However, they fall into a familiar trap that many bands in the genre fall into when it comes to track separation. It's one of those albums where the first half is much stronger than the second half. So much so, that by the end it's almost exhausting. I swore "Portals" was the last song and was fine with it until "Yellow King" started. By then, I was over the album. Not to detract at all from the excellent pacing and style of the first half though; "Calm Snow" opens beautifully, "Break" is catchy, "Everyone's Safe in the Treehouse" utilizes crescendos well, and "Running With Scissors" remains the album's best song. Because of that, the album is worth the listen, but if you find yourself tuning out during the awkward-sounding "All In", no one would blame you.
Michelle Branch The Spirit Room
Until 2025, the only two songs I knew from "The Spirit Room" were 'Everywhere' and 'All You Wanted', which fortunately but unfortunately for Michelle Branch, they're the best 2 songs on this record. I gave the album a listen after hearing a song from it featured in a random movie, and the album as a whole is still quite good; again those 2 songs though really were the smart choices for singles. 'You Set Me Free' and 'Sweet Misery' come the closest to replicating the kinetic energy found within the 2 big songs, and perhaps it's a nostalgic feeling that might catapult those songs to such a high regard on my end. The album luckily also features softer songs to balance things out, but a strange choice in track order to place such a song like 'You Get Me' as Track 2. I'll give this album another listen in maybe a year from now and possibly my score here on how/if anything's changed. As of writing this, for some reason I don't feel confident in giving this a 3.5, and I'm not sure if it should be higher or lower.
Nickelback Silver Side Up
Let's get this straight: I don't like this band now. If I had to pick ANY material from these guys to like, it would be from this album. I listened to this in my younger years, and the track "How You Remind Me" is still a great tune to this day. "Too Bad" isn't...too bad...either (lame pun). The rest of the album is overall passable. It's what put these guys on the map, and also what probably stemmed a lot of hate. Maybe it's nostalgia sake, but I don't mind this album.
Of Mice and Men Of Mice and Men
One Morning Left Hyperactive
While Hyperactive is yet another energizing and fun album from One Morning Left, it lacks the experimentation that their previous album "Metalcore Superstars" had. However, tracks like "Ruthless Resistance", "Ruby Dragon", and the title track continue the sounds from the band you're familiar with if you're a fan.
Outline In Color Outline In Color
No doubt the best material Outline in Color have ever produced. Right away, from the opening track "Not Enough", the band completely sells you on their sporadic style; they draw the fine-line between 'metalcore' and 'post-hardcore'. "Vultures", the best song on the record, utilizes a really cool song structure with an infectious chorus. Other highlights like "Smother Me" deliver the hard-hitting breakdowns that genre fans will enjoy, coupled with songs like "Barely Human" which evoke the 'ballad' portion of a standard LP. The band even tries to be experimental with "The Stakes", which features ambitious/pointless rapping. Truthfully, the only thing that bothers me about this album is the closer track "Dissolve" - which besides being the weakest song from the album, doesn't feel like a 'closing song' that records like this should have. It almost feels as if they're saving a few tracks for the inevitable "Deluxe Edition", but those have kind of died out in recent years.
Outline In Color Coast is Clear
"Coast is Clear" is in many ways better than Outline in Color's previous self-titled album. The production is eons ahead; there aren't filler tracks to attempt to carry a thematic overcast that few bands manage to successfully pull off. From the get-go, 'Coast is Clear', and 'Super Ego' both manage to successfully give the listener what they're in for. Some cool audio mixing choices, metalcore song structures, and mostly catchy choruses. Hell, there's even a really 'wtf?' cover of The Vines' 'Get Free'...a tune that was from the early 2000's that, most likely, no one would really know - and their version works quite well within the other songs. Whereas their self-titled had some real standout songs among the rest being serviceable, "Coast is Clear" manages to kind of keep the same quality the entire listen. Meaning both are kind of equal ultimately, but consistency matters, and Outline in Color seem to be excelling in it.
Quietdrive Your Record / Our Spin
Quietdrive has never prided themselves on being master musicians by any extent, more they're very capable of building very effective songs that are executed well. Here's an album that's strictly cover songs that all in some way do justice to the original songs, yet as the title of the album suggests, it's their "spin". From the start, the best song is featured with the cover of Toto's "Africa", yet it also gives you a good idea of what you're in for. "Carry on Wayward Son" and "Uprising" don't have ripping solos, yet still capture the feel of the songs they're tributing. An ingenious play is covering "Say Say Say", which doesn't actually feature a chorus...so they instead decided to add one to keep the song fresh, and it oddly does pair with the rest of the material there. Take a note from the band's actual name and take a 'quiet drive' and listen to this album start to finish. There's enough here to warrant a listen.
Roosevelt Polydans
As a whole, "Polydans" manages to vacuum sounds from the 1960's through the 2010's into a modern/contemporary vibe. There's arpeggiated sounds such as in 'Forget' and 'Echoes', synth leads in 'Lovers' and 'Sign', driving bass lines in 'Easy Way Out' and 'Closer to My Heart', and Nile Rogers guitar sounds in 'Feels Right' and 'Strangers'. Here's the thing...while it's all good, there's a real standout track here in all of this, and that's 'Strangers'. This piece is almost too good and nearly steals the show from the rest of the very pleasant album. Maybe that's just it though - even in groups from all of the decades-spanning influences that this draws from, there were always those that had the star track on an album. It was the one played most, but it doesn't lessen the significance of the other songs. So, to be honest, the only real track recommended here is 'Strangers', but everything else on the album is good support.
Sum 41 13 Voices
With the return of guitarist/songwriter Dave Baksh, "13 Voices" gives the listener essentially exactly what was promised by such return: the 'poppy' Sum 41 album melded with interesting guitar riffs and solos. The initial 3 tracks are a tremendous start, followed by 2 mediocre tracks, followed by the best track on the album (the title track), and followed by more mediocrity. Just about half of this album is rewarding in the sense that it's a sound Sum 41 has been missing for a while, and half of the album feels like there's still some things the band has to figure out. Overall though, "13 Voices" is the best album the band has put out since "Chuck", and the anticipation for exciting future releases couldn't be higher.
Taylor Swift Fearless
The Word Alive Life Cycles
The Word Alive's sophomore LP does a few things right, and a few things wrong. In terms of what it did right, the vocals on this album are far superior than that of Deceiver. While some of the lyrics may almost feel repetitive, they're sung with passion and given incredible delivery. Many have noted that the superb guitar work is notably absent from this album, which I heavily disagree. The guitars sound brilliant, and the bass lines in the album are more diverse than Deceiver's. The issue with this album is the mixing. Much of the guitar work is drowned out by the rhythm guitar part, (either being power chords or chugging). Mixing aside, any problems musically would either be the drum parts or the stylistic change in songwriting. The drum parts are performed well and work, but they feel very uninspired due to the drummer learning the parts in a week's time. This album definitely feels a lot more "metalcore" than Deceiver, but that's not to say it's a bad thing. Tracks like "Dragon Spell" (which is a sequel to "The Hounds of Anubis"), "Wishmaster", "Evolution", "Room 126", and "Astral Plane" are fantastic songs that more than warrant a listen to this album. In the end, "Life Cycles" isn't a step in the right direction for The Word Alive, but it's definitely not a step in the wrong direction.
The Word Alive Dark Matter
The Word Alive squander a potential revival of their devoted fanbase with "Dark Matter". In the end, the group is a crowd-pleaser; writing songs that will keep a crowd moving (it's where the money's at) with singles such as "Trapped" and "Sellout". In a surprising twist - these said 'crowd pleasers' are actually a solid step in the right direction from the band. Other songs such as "Suffocating", "Piece of Me", "Face to Face", and "Grunge" are all standout tracks from "Dark Matter" - giving the band a new dimension amongst all of the 'genre-esque' presentations surfacing nowadays. We, as fans, will never get another "Deceiver". I've accepted that. I now look to see, in this mindset that this group will always strive to please the general audience live, what they can do. "Dark Matter" is practically close to that realization. The only way to reach conclusion is to truly acknowledge prior efforts.
Trivium Shogun
The singles on this album really make the album itself. While I do like this sound of Trivium far better off than their last album, it's still not as cool as Ascendancy.
Various Artists A Very Special Christmas
Wild to see this album on this website; it's an album I very much grew up with and was played frequently during the Christmas season. Not everything here knocks it out of the park, but Eurythmics' "Winter Wonderland" is iconic, and Whitney Houston's "Do You Hear What I Hear?" is one of the best renditions of the song out there.
Various Artists (Punk) Punk Goes Pop 3
Most of the songs on this album are all VERY well done. Though, some can lack on the 'making a clever cover.' The best track on the album goes to The Word Alive covering "Heartless."
We Came As Romans Understanding What We've Grown to Be
It's definitely a step-up from "To Plant a Seed." But, yet it still feels like it should be a B-Side for the aforementioned album. Just because you decide to drop the guitar tuning from typical drop-D to drop-B, doesn't mean your songwriting style changes...it just means you're playing it in a different string tuning. Some songs feel like they shouldn't belong on the album at all...bringing it back to the whole "To Plant a Seed" B-Side thing. On a supremely positive note, songs like "Mis-Understanding", "Everything as Planned", "What I Wished I Never Had", "Stay Inspired", "I Can't Make Your Decisions For You", and the title track all show musical progression. We Came as Romans are repeating more choruses (staying true to their metalcore genre), and they're showcasing how they can be as a band together instead of trying to showcase each of the instrumentalist/vocalist's talent in those songs. The other songs seem to feel a bit off. The concept of the album is supposed to be a lyrical change from the beginning to the end, which definitely works, but musically wise while they have definitely crafted some remarkable tracks, it seems they still haven't quite understood what they've grown to be.
Woe, Is Me Number[s]
This is one of those albums that you just simply listen to for a fun time. It might be "breakdowncore", but it's still solid, and has some really cool melodic parts, as well as interesting synth parts here and there. Just take it for what it is, and you'll definitely find yourself enjoying this album...a lot. I know I did, at least!
Yours Truly Toxic
Yours Truly makes an ultimately clever decision in their follow-up LP to their previous by changing up the songwriting and seemingly by contrast going a 'darker' route. The guitars are tuned down lower, the main riffs are either fast power chords ('Back 2 U') or straight-up go a more post-hardcore route ('Sinking'). For those expecting something more akin to their last album, songs like 'California Sober' and 'All That I'm Not' will fill the bill. Ending with the best track 'Call My Name', it'd be even more impressive if the band tries to go even heavier for their next release; hell, make it an EP or something to focus-test the listeners regarding how diverse the catalog should be. Plus, when the return to the sound featured in "Afterglow EP" eventually happens, it'll feel fresh versus rote.

3.0 good
A Day To Remember What Separates Me From You
Sadly, a strong contender for "Biggest Disappointment of 2010." Don't get me wrong, the musicianship in this album, the production, and the songwriting is great, it's just it feels like it could be better. They've definitely begun moving away from their typical 'metalcore/pop-punk roots.' Isn't that what made the band fun to listen to in the beginning? I only liked about 4-5 tracks in this album. "Sticks & Bricks" and "You Be Tails, I'll Be Sonic" are 2 of their strongest tracks, as well as very reminiscent of their older material. "All I Want" is a great and catchy first single, "2nd Sucks" is just a constant breakdown, but in many ways, that's what makes it fun to listen to (the Mortal Combat sample in the beginning is great too). "All Signs Point to Lauderdale" is a catchy song just in itself. Other than that, the rest of the tracks almost don't feel fun to listen to. You just expect more, I guess, but it doesn't deliver. Regardless, I still love the band, and the tracks mentioned above make up for the others A LOT!
A Day To Remember Bad Vibrations
While not the total disaster that this album initially appeared to be (thanks to the misleading early track releases), "Bad Vibrations" is a step backwards for A Day to Remember in comparison to "Common Courtesy". There's no denial that the first half of the record is leagues better than the second half, thanks to good tracks such as "Paranoia", "Naivety", and "Bullfight" - and ESPECIALLY the album's stand-out winner "Reassemble". The second half of the album is ultimately enjoyable as well...save for the track "We Got This", which might be one of the worst songs put out in 2016. In conclusion, "Bad Vibrations" ultimately succeeds in giving off GOOD vibrations to the listener, but perhaps not as good as A Day to Remember is known to give.
Abandon All Ships Malocchio
Kudos to the band realizing what they were doing in "Infamous" wasn't really working, and therefore returning to their roots of catchy, synth-driven 'metalcore'. This is a very brief album that luckily doesn't overstay its welcome. "Reefer Madness" might be cringing on the ears thanks to dissonance chords, and "Alive" might be a shallow attempt at trying to mix things up; but there's plenty to love here such as "Trapped", "Miracle", "Paradise", "Bloor Street West", and "Cowboys". In fact, "Cowboys" might actually stand as the best song the band has written to date - with a positive message, and a somber outro.
Alive Like Me Only Forever
I think there's one song that doesn't have the same tempo as all of the others on this record. Most of the songs kind-of blend together, as the album never takes time to breathe and just constantly hits the listener with fast, pulsing, catchy songs. At 32 minutes, it's a really fun listen; just don't expect anything groundbreaking.
Blessthefall Gallows
Since blessthefall's return in 2023, "Gallows" was a highly anticipated album due to the group never putting out a poor record. Releases like 'Wake the Dead' and 'Drag Me Under' were signs that the right pieces were falling into place, and even further solidified by 'mallxcore' - the opener to "Gallows" and the best track on the album and one of the band's best songs they've ever put out. Alas, the rest of "Gallows" save for 'Venom' is average at best; blessthefall's signature guitar work and duality in vocal work still remains their saving grace, but some songs such as 'YSAB' and the title track needed a few more passes to really get right. "Gallows" is still a good metalcore record, but they've produced much better. If the purpose of this was meant to signal the band's return, it certainly works more as a wave versus bursting through the floodgates.
blink-182 One More Time...
Conceptually, "One More Time" feels like a stronger return to form for Blink-182 over both "Neighborhoods" and "California". In terms of pure sound, this is easily the closest Blink-182 has come to capturing the essence of their self-titled record (which to this day remains their best, save for the Deluxe Edition of "California" and/or "Enema of the State"). The problem that circles throughout "One More Time..." is the production feeling like it doesn't belong on a type of record like this. As a listener and musician, it's appreciated that the drummer also mixed and mastered the record - it's not an easy feat, but this is an instance where it might've been too 'over produced'. Usually, artists rely on a producer because there's a sense of objectivity to getting a record's sound right. Producing it yourselves allows you to control the narrative for better or for worse. 'Dance With Me', 'One More Time', 'You Don't Know...', 'Other Side', and especially 'Terrified' are all exciting, new songs from the band. Other songs like 'Edging', 'Bad News', and 'More Than You Know' range on the more acceptable side. Yet, it still feels hard to complain where there's 17 tracks here - and while 2 of them might be joke songs, it's still a good offering. If this record ends up representing the final record from the group going forward, it's a good one to end on. Yet, there really is something here, and if the now-reformed trio decide to make one more go at a record, it honestly could be their best yet.
Coldrain Nonnegative
NONNEGATIVE is the strongest record from coldrain since VENA, yet doesn't surpass it. Songs like "Help Me Help You", "Cut Me", "Before I Go", "PARADISE", and the No Doubt cover "Don't Speak" are standouts here, while everything else manages to be unmemorable. coldrain doesn't really have any poor songs in their catalog as a whole; more, some standout stronger than others.
Crown the Empire Sudden Sky
Crown the Empire were releasing singles only for just about a year, and I guess they decided to put most of them together and sell it as an EP. They're branding it as an 'LP', but the first track is just a narration, and "March of the Ignorant" carries a tune but feels phoned in (the voice FX on the song as well emulate someone on the other end of the phone). I'd say the first half of this EP is worth the listen. "20/20", "what i am", and "Red Pills" are excellent songs, and "BLURRY (out of place) fits in well too. After "Red Pills", the album takes a nosedive to below ground and barely gets saved by the title track which ends the album. Personally, the good songs are so good they make this overall positive, but compared to 'Retrograde', this is a step down no doubt.
Dayshell Dayshell
A slightly above average for the debut record from Dayshell, the somewhat passion-project of ex-Of Mice & Men guitarist/vocalist Shayley Bourget. There's a lot to like in the record - such as the varying tracks, as well as the multiple-genre songwriting influences. However, none of these songs really sick with the listener (at least, not with me), save for "Not Coming In", "Share With Me", and "Avatar". This ultimately feels like a blueprint for better things to come...and if that's the case, then great things are in store.
Destroy Rebuild Until God Shows Destroy Rebuild
Immediately not a fan of the album's name "Destroy Rebuild", because the band's name is "Destroy Rebuild Until God Shows", and the previous album was an acronym for the band's name...so it all just feels redundant. There's a track on this album called "The Longest Road", and that's truly what this album should've been called. It's been over 10 years since the act's last record, so the title would've perfectly fit (mind you, there's only been one consistent member between both records, but still). While not as strong as their prior entry, "Destroy Rebuild" is still quite a good record. Songs like "Satellites in Motion", "Gravity (My Ever Ghost)", and "Outcasts" will be euphonic to fans, and songs like "Destiny" and "The Arm" slightly bends what's expected whilst remaining safe. As almost a complete nod to the prior album, "What's the Code for Heaven's Gate" is no doubt a 'sequel-song' to "I'm Here to Take the Sky". Those who aren't keen on the idea of 'sequel songs' might not appreciate the effort, but I'm always a fan whenever bands attempt to try something like that. This feels like a record that should've arrived much, much sooner...yet luckily also doesn't overstay its welcome.
Electric Callboy Tanzneid
Like with 'Hurrikan' for "Tekkno", let's use 'The Way You Are' as an emblematic piece for the entirety of "Tanznied" from Electric Callboy. 'Hurrikan' had a poppy part combined with a deathcore switch halfway, and was the perfect piece to show to someone to illustrate the spectrum of Electric Callboy's style. 'The Way You Are' is an evolved version of 'Hurrikan', and even arguably a better song, yet despite the evolution there, the rest of "Tanznied" is not. The title track, 'Ratatata', and 'Hypercharged' all feel so safely generic that one of them probably should've been cut from the track selection. Normally, that would do it - but no, there's a cover of Sum 41's 'Still Waiting', which is a great cover but should've been a bonus track, not within the 10 songs on "Tanznied"; in other words, that should've been the cut song. The album isn't without its merits though, as the likes of 'Revery' sees the band opt for new sounds, and the best track 'Heartclub' having the same approach as 'Mindreader' from Tekkno, where its subject material is slightly more serious than everything else present. Ultimately, 2 tracks could've been cut here (I'd go for 'Ratatata' and 'Still Waiting') and replaced with 2 tracks along the same vein as 'Heartclub' and 'Revery', and this album might've been better than Tekkno. Alas, as I kind of thought back when Tekkno dropped, I'm truthfully unsure if the style the band's using right now will work at all come their next record.
Eminem The Death of Slim Shady (Coup De Grâce)
Eminem's lyrics and style are still as strong as ever on "The Death of Slim Shady", and the overall idea of the album seemingly acting as 'one song' divided up into parts works for this time around. Guests featured such as Skylar Grey and Jelly Roll do add some needed melodic moments within the album, and there's even amusement to be had in songs like 'Houdini' and 'Habits'. Admittedly, I don't listen to this genre enough to really give a fair take or ask for more or less from the material here, the best I can offer is purely how it works on a presentation level, and what we're given is 'good'. Not as strong as some of his prior albums, but certainly not weaker than others either.
Famous Last Words Two-Faced Charade
The downside to "Two Faced Charade" is that its quite hard to take the lyrics seriously, when they come off as utterly strange. To add to it, the music is very wishywashy in the sense that when certain tracks are good, they're REALLY good. "Welcome to the Show", "Victim of the Virtuoso", "Voices", and "The Show Must Go On" are the only consistently good songs throughout the album, while the other tracks sort-of meld together and don't really do much (ESPECIALLY "In Perfect Hindsight", which is a kick+clap filler track). I can't say that THIS is the definitive album to get a listener hooked on Famous Last Words (I believe that their following album "Council of the Dead" is), but the album in the end is harmless.
Green Day Nimrod
Not a bad album. I think everyone's favorite song on it though is most likely "Good Riddance", and I'd be lying to say it wasn't mine. Some of the other material is pretty good for their standards.
Haste the Day Dissenter
Disclaimer: Haste the Day is my favorite band of all time. Have to get that out of the way to also note that "Dissenter" is the band's worst record, yet it doesn't make it a bad record. The sound from "Burning Bridges", "When Everything Falls", and "Pressure the Hinges" (which is probably the band's best record of all time but not my personal favorite) has an aura to it that no other act could emulate until 2015's "Coward" - with the track 'Accept' uniting the musicians from the earlier albums, and it had that aforementioned aura. Musicians and bands are a curious thing; ideas, talent, combinations, and more all meld together and results can range from unique to generic. Sadly, a lot on "Dissenter" feels more generic than ever from Haste the Day with the riffs chosen and the song structures. Take 'Shallows' for example: when the chorus hits initially, it comes across more like a pre-chorus and leaves the listener waiting for a half-time type of chorus to hit later, but it doesn't happen. The following tracks 'Grave' and 'Burn' are the two best on the record; sounding closest to prior material from the band. 'Heretic', and 'Escape' are both almost indistinguishable from one another, and closer 'Oblivion' is an effective closer but doesn't come across as poignant as perhaps Haste the Day wanted it to be. New music from Haste the Day is always welcome, and they're too good of a band to really ever make a bad album, but "Dissenter" is sadly just a disappointment.
Hot Milk A Call to the Void
Awful band name aside, Hot Milk's "A Call to the Void" comes across as slightly jarring at first; nu-metal riffs akin to acts like Powerman 5000 are featured in early songs like 'Party on My Deathbed', yet opener 'Horror Show' uses the low E-string of the guitar as its main riff - something that many post-hardcore/metal bands utilize to this day. 'Bloodstream' has more of a dance feel and focuses on the synthesizer, and 'Migrane' has frantic verses that hardshift to a catchy chorus. Then you'll have songs like 'Breathing Underwater', a radio-rock anthem that arguably was the song that attracted many to this record. Truthfully most of the instrumentation and songwriting on "A Call to the Void" benefit from the duality between both the female and male vocalists, yet the entire album is marred by one track: 'Alice Cooper's Pool House'. Lyrically it doesn't make sense and is strange, there's a very unfunny outro, and the song itself is boring in comparison to the rest of the album. It's so cringe inducing that it nearly ruins the entire album; in other words, if you're listening to this, skip that one.
Hot Milk Corporation P.O.P
"Corporation P.O.P" scores the same as Hot Milk's previous album "A Call to the Void". Yet "A Call to the Void" is the better album, it contained one utterly dud of a track that it killed the vibe of the rest of the album. "Corporation P.O.P" has no dud tracks, but there's easily a bunch within the mix that are forgettable. Songs like the opener '(How Do I) Make the Devil Fall Asleep', 'Swallow This', and even the 30 Seconds to Mars-ripoff song 'Chase the Dragon' all feel like the band staying consistent to please their growing fanbase. Where the album starts to feel innovative is within songs like 'Sunburn From Your Bible' and 'Warehouse Salvation' that play more with genres and even introduce some notable heavier moments that the band should delve into further on a future record. There's 2 interludes on this thing as well, which theoretically should be annoying, yet given the 14 songs and the over 45-minute runtime, is more welcomed versus a hinderance.
I Prevail Violent Nature
It's kind of a bummer that my 'album of Fall 2025' is going to be this one, mostly because there's been some real standouts in nearly every prior year, and yet this year the music I'll be associating with the season is something as 'fine' as this. Credit where credit's due here, "Violent Nature" is a much better record than "TRUE POWER". The subtraction of one of the vocalists also subtracted I Prevail from doing bizarre rap-bits or mumble//trap bits that were great for variety on "TRAUMA", but weren't meant to be revisited yet the constant presence on "TRUE POWER" made for an awkward listen. "Violent Nature" feels more standard than ever, yet if you've got good songwriting and mixing, it shouldn't matter. 'Synthetic Soul', the opener to the record, is the best track here using a 4-3 suspension in the chorus whilst introducing sounds you'll hear throughout the record. Songs here range from all-singing to all-screaming, and the instrumental parts step up their game to balance the act. While all of this is complimentary, there's still no escaping that this is a standard-sounding metalcore record...making it very much "fine", but again, strangely a step in the right direction for I Prevail.
If I Were You Inner Signals
The downside to Inner Signals is that the opening track "Paralysis" is the best song on the record, and it doesn't get much better than that. However, the rest of the songs are still quite enjoyable, but the whole album is kind of "genre standard" at this point. If I Were You always gets proper credit for having their drummer also act as their singer, but sadly this is an album where the tracks kind of blend together. You'll hear a song and think that a certain chorus is coming up, when really it's a chorus to a different song on the album. It's good stuff all around, yet very safe as well. Writing this 'rating' is kind of a hard-sell no matter what. I'd say just listen to "Paralysis". If you like it, you'll enjoy the album.
Issues Black Diamonds
It's pretty good. The opening track (especially for an EP of all things) is a waste of time, production, and money. It doesn't do anything to hook you into the album. As for the album itself? Well, it has its moments. The guitar parts are sadly nothing to write home about, the bass doesn't deliver any decent line, and the drums are simply serviceable (though solid). Vocals are great though, with each vocalist trying new things (such as tonality screams on "Love Sex Riot" and the 'na na na' on "The Worst of Them"). What really helps this though is the synth. Very cleverly written lines help drive the other instrument parts. For an EP, this was delivered pretty fast for this band...especially because they formed what? July? Let's hope their first LP delivers what they're capable of, especially with apparent new members joining them that can deliver such.
Joe Budden Padded Room
Jonas Brothers Happiness Begins
"Happiness Begins", besides being the album title, might be a good statement towards any casual listener checking out this album. The Jonas Brothers clearly used to appeal to one demographic, but "Happiness Begins" succeeds just by being leaps & bounds better than anything they've attempted previously. In terms of Jonas Brothers music, 'happiness' will 'begin' for your ears when listening to this album? Sorry...tried to make that work. Anyhow, the consensus I've heard from many is the album might be better than anything they've done before - but now that we're taking this group seriously, 50% of this record is actually good. Which...I agree! Legitimately 7 of the 14 tracks on this record are good. The others aren't poor by any means, just uninspired. While the '50%' best will always vary among listeners, here are my picks: "Sucker", "Cool", "I Believe", "Don't Throw It Away", "Strangers", "Hesitate", and "Rollercoaster". In terms of a rating; while realistically it's a 2.5, I'll bump it to a 3 out of courtesy for this record beginning to end feeling like a genuine effort from the group and not forced.
Jonas Brothers The Album
I can't decide to this day if "The Album" is a clever title or not. When artists usually self-title a record, it's always referred to in conversation either as "the self titled one", or "(band's name) the album". So, is this meant to be a play on that? Or, is this suggesting that this is THE album of theirs? The magnum-opus of their career? Well, I'd disagree there, mostly because there's a lot more work to be done. Whereas anything prior to "Happiness Begins" reeks of aggravating song writing and production that caters to its intended crowd, "Happiness Begins" managed to have about half the offerings be at least a good step in the right direction. "The Album" manages to actually be a far more consistent album with the downside being the entire thing clocks in under 30 minutes. For an LP, that's unacceptable. It's as if each track was engineered to be under 3-minutes to allow it to go on TikTok. 'Wings', 'Sail Away', 'Celebrate', 'Waffle House', 'Vacation Eyes', and especially 'Montana Sky' are all jovial, catchy songs that eclipse anything from their previous album. The closer 'Walls' attempts to be an epoch, yet doesn't really earn its status; but the effort is noted. If the Jonas Brothers take the missteps from "Happiness Begins" and now "The Album", and learn from them for the eventual next one, it could be legitimately their best to date.
Linkin Park From Zero
"From Zero" is continuing a growing trend that artists are starting to weave within their albums nowadays, which I'll dub the 'Star Wars: The Force Awakens', of albums. There's a plethora of 'REMEMBER THIS?!' throughout the album, such as in tracks like 'Two Faced', 'Heavy is the Crown', and 'Casualty' - songs that can reacquaint the listener with familiarity and earn an easy trust with the audience. It's a very safe route, with the overall consensus being that this is good...for now. Their next LP will be the true testing point to see where their songwriting can go - if it's anything like evidenced 'Cut the Bridge' or 'Over Each Other', there's admittedly some hope
Of Mice and Men Defy
This is a step-up from "Restoring Force", and CERTAINLY from "Cold World". What's odd about this one though is that when the band tries to go 'heavy'...it actually doesn't really work out in their favor. Though, songs like "Forever YDG'n" and "Warzone" are really great - that's about it for the 'heavier' songs. When they decide to go the alt-rock route with "Vertigo", "Back to Me", "Sunflower", and "If We Were Ghosts"...it actually is some of their best sounding stuff - given current conditions (I still prefer the lineup/sound/writing style of The Flood over any of this). If you liked Jamie's Elsewhere mixed with the songwriting style of Of Mice & Men...maybe mixed in with some modern rock influence...you'll probably dig this album.
Roosevelt Embrace
"Embrace" is a worthy follow-up to "Polydans", however there's things about it that simply can't be overlooked. "Polydans" worked so well, and Roosevelt decided to essentially to more of the same and keep the same overall sound and vibe that the prior record had. Nothing's bland here; 'Luna', 'Realize', and 'Ordinary Love' feel right at home with the style and groovy sound. Still, the record is commendable in the combo-track 'Yucca Mesa/Paralyzed' - together clocking in around 8 minutes, it feels more progressive, and is probably a good template to go off of for the next record. It'd be cool to hear 7-8 minute songs done in the same style as "Polydans", but with evolving structures and key changes to keep things euphonic to the listener.
Sleep Token Take Me Back to Eden
The efforts that Sleep Token make in "Take Me Back to Eden", an album that is utilizing the trend of meshing multiple genres into one product, is commendable over past entries. However, this is an 'almost' album, where they almost hit the mark in this concept, but never are able to smoothly blend the styles together. A great example is arguably the most popular track, 'The Summoning', where the initial first couple of minutes sway between alternative and metal, yet does a hard cut into an ambient section, and then a few hi-hat hits signal a hard cut into a nu-wave ending. There's better ways to execute things like this, and it's featured throughout here like in 'Chokehold', 'Aqua Regia', and the title track. Keep in mind though that "Take Me Back to Eden" is still a very good record (I'd maybe go 3.2 or something here) but you've heard better, and like with any 'almost' type of record, you know they could do better
Storm The Sky Vigilance
Listening to this after the near-masterpiece of "Permanence" and the very successful/experimental "Sin Will Find You", Storm the Sky's EP certainly feels unpolished...but not bad in the slightest. It accomplishes what a normal metalcore EP would need to accomplish - giving the listener hard-hitting riffs melded with catchy enough choruses. The instrumentation is what helps the album though, utilizing higher registers on the guitars to meld with the grungy lows that somehow cancel the negatives out and create a fine sound. The songwriting is the weakest part of this though, as there's nothing special to note about surprises songs may throw at you. Looking at the time it came out, and what came out AFTER it though, "Vigilance" was overall a step in the right direction for Storm the Sky.
Storm The Sky Sin Will Find You
The unfortunate thing about Storm the Sky's second full-length isn't the genre change, but how the album relies on the mixing versus the musicianship. There's a slew of cool ideas here drowned in endless reverb/echoing that becomes tiresome halfway through. After the interesting approach the group took with "Permanence" (essentially taking a metalcore record and adding more experimentation/melody), the only tracks on "Sin Will Find You" that really continue that trend are the title track, "Medicine", "Carcinova", and "Disappointed". This in return still makes for a solid listen; but perhaps if Storm the Sky continue to evolve from this current 'genre', we might have something really special next time around.
That's Outrageous! Teenage Scream
Eh, it was fun. Not the worst songwriting I've ever heard; not the best songwriting I ever heard. Some of the 'rapping' parts (such as in the title track) are kinda awkward, but at the same time fit. Mixing wise, it's your basic type of sound for the genre. Instrumentally, there are a lot of generic riffs thrown in there, but at least some of the leads (in a few tracks) can be creative enough. The electronics are what help this album work overall though, as there are some pretty cool sounds in here.
The Amity Affliction Let the Ocean Take Me
It lacks innovation. There's not one riff/idea/rhythm/melodic line that hasn't been done before. It's certainly trying to strive for difference by treating the album's progression as a concept, but plays it safe within the genre. The singles picked such as "Pittsburgh" and "Don't Lean on Me" were great choices, as they're some of the best from the album. But, others like "Never Alone" and "Death's Hand" are good listens as well.
The Dead Rabbitts Shapeshifter
It's safe, and deserves at least one listen if you're a fan of the metalcore genre. "Shapeshifter" is a record that contains no surprises in terms of songwriting, and is poorly mixed with mudded guitars and overly compressed drums. Yet, the takeaway is still a positive experience because of how safe the songwriting is. It's a debut that won't win anyone over, but with songs like "My Only Regret", "Deer in the Headlights", "Shapeshifter", and "Black Cloud" - there's fleeting moments where you can hear the group's potential.
The Devil Wears Prada With Roots Above and Branches Below
I really like this album, I really do. But I don't think its fair that I give it a 4 or a 5, even an 3.5. I usually give albums really high reviews...more than what they deserve...but this album? It sounds exactly the same as every song from Plagues, and it has the same songwriting formulas and progressions within each song. If anything, "Ben Has a Kid", "Dez Moines," "Big Wiggly Style", or "Louder Than Thunder" have memorable moments on the album. There isn't a 'hook' in the album, there isn't a 'standout track', it all sounds the same, and you can easily forget parts of a song, you'll basically remember the beginning, end, and chorus, and mayyybe breakdown. Changing their tuning to drop B for a couple of songs was cool though. This is a great listen, and shows great musicianship, but not so much memorability.
The Format Interventions and Lullabies
A great album. The single, "The First Single" really helps this album stand out, along with supporting tracks "Tie The Rope" and "Sore Thumb." With simple chords, good drumming, this album is a great foundation for the future of the band.
The Word Alive Hard Reset
The Word Alive have felt like 'The Word Dead' since 2018's "Violent Noise". Minimalistic songwriting surrounded both that record and 2020's "Monomania" - a record that was a financial disaster for the group and record company thanks to the record dropping RIGHT before March of that year when COVID struck the world. This delayed the supporting tour, etc. "Hard Reset" is clearly the beginning of a course correction for the band, and it's desperately needed after 2 duds of records (that admittedly I rated between 2 and 2.5, something I'd probably go even lower on nowadays). The Word Alive work best when they utilize the pure talent of the musicians within the group to carry impressive moments coupled with the vocalist's dynamic range. Records like "Deceiver" and "Dark Matter" really had a good groove going with both, and "Life Cycles" and "Real" were more experimental and crowd-pleasing. So, "Hard Reset" kind of tries to combine the ideas of the better records - there's crowd pleasers such as songs featuring Bad Omens, Escape the Fate, and From First to Last. There's impressive musicianship such as in the title track, 'Strange Love', and 'Nocturnal Future' (which, side note: 'Nocturnal Future' has easily one of the most exciting intros to a song perhaps ever, and suddenly after 30 seconds it sizzles to adequate). I believe that this record is indeed a hard reset for The Word Alive; it's enough proof that there's still quite a lot of life left within the band.
Thirty Seconds to Mars Love Lust Faith + Dreams
The issue with the album is that for waiting 4 years for a new 30 Seconds to Mars album, this one feels really substantial. Including two instrumental tracks that lack inspiration, songs like "Birth"/"End of All Days"/"Debus de Debut" that feel strangely out of place, and lacking a decent length; much of this album gives off the 'phoned in' kind of vibe. However, there are tracks such as "Bright Lights" and "Do or Die" that feel like a step in a good direction for the band. As I still prefer the sound used on "A Beautiful Lie", I can't necessarily say I'd want them to take this direction - but it still enjoy the music.
Until I Wake Inside My Head
Until I Wake's self-titled EP was impressive given the band being relatively-new and essentially storming the gates with a consistent first entry. Their first LP on paper continues the same trend of being consistent, but the biggest weakness of "Inside My Head" is how things begin to feel redundant. There's at least 2-3 songs on here with choruses that sound near-identical, and the combination of song structure/scales being used begin to make things start to feel same-y. The title track of the album is a good one, "Still Sinking" is a nice follow-up song from their EP, "Forsaken" starts things off well, and "Octane" wins for best song on the record and probably the song that rings differently than the rest. Until I Wake doesn't need to change their overall sound going forward, but they might need some time improving instrumentally before the next record is cut - despite this again, still overall being a very good listen.
Vanity Strikes Dark World
"Dark World" impresses with its scope; from the beginning the band is clearly attempting to sell you on an experience by using instrumental songs for the top/bottom tracks. Truthfully, those tracks should've just been added to the following/prior tracks for lengthier, more realized compositions. It's a solid metalcore album that hits all the right song structure moments that fans of the genre will love, and even experiments with cool instrumentation ideas like a sanshin guitar in "The Politician". Where the album falters is in the songs "Rage!" and "Hypocrite" - both of these songs being the musical equivalent of bumping into an ex you haven't seen in ages; it's certainly awkward, but it won't ruin your day or anything. Truthfully, it's those two songs that drag down the ultimate experience of "Dark World". If you're looking for a more pleasant listen, skip those two and jump straight to the closer, "Believe".
Wage War Blueprints
"Blueprints" is ironic in the sense that it can essentially be a 'blueprint' for metalcore music. Not groundbreaking, not unique, just typical metalcore. In days where most artists in the genre want to try to do different things, it's refreshing to hear a band just sort of 'play it safe' with their style and album progression. The standout track, "Alive", actually utilizes the band's strongest talents and makes a legitimate stand-out song that's worth the album's admission alone. Unfortunately, that's about it - as the rest of the album sort-of blends together into listenable, (but again) basic metalcore.
We Came As Romans To Plant a Seed
I'm not quite sure how I feel about this album. One one side, the production is great, the songwriting is cool, the vocals work, and it all around produces a cool sounding album. On the other side, sometimes the album feels TOO overproduced, the songwriting feels bland at times, the vocals seem to get questionable. Singles like "To Plant a Seed" and "Broken Statues" are great, and "To Move on Is To Grow" is their greatest song written in my opinion (included on the re-release). It's a metalcore album, simply put. I just wish that it followed some metalcore rules of having extremely catchy choruses and rely more on a band blending rather than having each section of a song showcasing another member of the band's talent.
Yours Truly Self Care
A record should be judged on its own merit and not by any personal feelings or experiences, yet at the same time it's clearly unavoidable due to individuality and it all being opinions in the end. Yours Truly's "Self Care" arrived in the midst of the '2020 Haze' where things felt uncertain and many were medicating on things to keep spirits up. That's where "Self Care" kind of hit at least for me, but objectively and in retrospect this is a disappointing follow-up to their "Afterglow" EP. Not to mention, in live performances the band constantly drops the key of all their songs by 3 half-steps, which is evidential that there's a lot of post-production involvement to get the tracks to sound right. Still, the great songwriting and style is here with 'Composure', 'Funeral Home', and 'Undersize' - all standouts that work today and also capture that feeling of brief joy that was felt 4 years ago.

2.5 average
A Day To Remember Big Ole Album Vol. 1
A Day to Remember's "Big Ol' Album Volume 1" is absolutely a step-up from "You're Welcome", something I scored a 2 but probably should've been a 1.5. On an initial listen, it sounds so refreshingly decent that it was maybe a 3.5 or 4 territory here, but I usually like to give albums a month or so's time to see how it ages. After a few listens, the cracks start to show and certain tracks start to become static noise while still containing a few gems. 'Flowers', 'Bad Blood', 'To The Death', and 'Same Team' are probably the only standouts here save for 'Miracle', but that was a song recorded years ago that they decided to fill time with on this one. Look, credit where credit's due here, this is absolutely the step in the right direction. "Big Ol' Album Vol 1" succeeds on that alone.
Annisokay Aurora
"Aurora", by ANNISOKAY, is a solid listen beginning to end. Fans of the genre will definitely not be turned off by much from what the album offers. Yet no song on the record has any lasting, sticking ability that will make you return for more. A perfect album that can be divvied up in a 'metalcore' and/or 'post-hardcore' playlist on a streaming music service.
Bad Omens Finding God Before God Finds Me (Deluxe)
'Dethrone' and 'Never Know' were the two tracks that initially got this listener curious about Bad Omens. They were also the only two tracks that were heard before the follow-up album to this one, "The Death of Peace of Mind" - which was (and as of now still is) a masterclass of song structure, track separation, and melodic writing. Naturally, the intrigue to check out the entirety of "Finding God Before God Finds Me" was drawn with high expectations due to the two aforementioned tracks already checking out. Unfortunately, "Finding God Before God Finds Me" is truly a mixed bag. While the energy is present, the selection here feels like a substandard appetizer for better things to come. 'Dethrone' and 'Never Know' were ironically the best tracks, with 'Running in Circles' and 'Careful What You Wish For' being close seconds. All is subjective ultimately; fans that swear by this record aren't crazy or anything, but said fans also better swear by "The Death of Peace of Mind".
Capture Til Death
Asking Alexandria, Part III. I'll give this album credit where it's due first. 1-The clean vocals are good. The vocalist's tone is pleasant, and some melodies are pretty catchy (after doing a bit of research, he can actually sing on pitch as well). 2-There is potential for the guitar parts. There are guitar solos, there are lead lines, but they just fall into this cliche. If the guitarists can write/play interesting stuff...why don't they just do it for the whole album and not just parts? 3-The whole album doesn't try (as hard as I thought it would) to copy other bands. It's tolerable. Some of my negatives have been already kind of stated...but otherwise, in terms of songwriting; boring. In terms of overall instrument parts; boring. In terms of lyrics; what? In terms of this being a fun listen/guilty pleasure; yep.
Chiodos Devil
It was truly exciting back in 2014 hearing a new Chiodos record with Craig Owens back as the frontman - coupled with the addition of lead-guitarist Thomas Erak from The Fall of Troy. The pure shock value of the record alone was getting praise at the time, but seeing as it's been 5 years since then...the record sadly hasn't aged well at all. Most of the songs come across as annoying, and the mixing on the record doesn't highlight any of the solid guitar work from Erak. No, this is just a more 'mainstream' Chiodos record...moreso than Illuminaudio back from 2010. There's some cool moments, there's some not-cool moments; all leading to truly an 'average' record. You'd think that this would be just the start for more great things to come, especially with Owens' line at the end of the album stating "I swear I'm different now"...but I guess that's just not how things went at all.
Daft Punk Human After All
I mean...it's not unbearable, but for Daft Punk; it's heavily disappointing. There are songs that'll make you feel right at home with the band with "Human After All", "Robot Rock", and "The Brainwasher". There's songs such as "Make Love" that feel experimental, and songs like "Technologic" which feel like they were made to be singles. Unfortunately, there's songs like "Steam Machine" and "Emotion" which become flat out aggravating after a while due to their unrelenting repetitiveness. Not a keeper like "Discovery", but an interesting listen - especially when taking into note that this album took only 6 weeks to fully complete. I also don't understand how the duo lists this as their favorite creation.
Dayshell Mr. Pain
For the first time, Shayley 'Dayshell' Bourget wrote/recorded/produced this record by himself (I believe it was partially crowdfunded as well). On a first listen, "Mr. Pain" (whacky album title aside) sounds like another groove-induced alternative record that 'Dayshell' is known for. However, I give an album 5 listens before giving a review. It was around listen four when I realized that while it all sounds good as a whole, there's nothing really special here that stands out. In fact, the album peaks on its first track "Superhuman". Songs like "Nostalgia" and "Skyline" are unique in their own sense but lack...something. Perhaps it's the lack of layering in the mix. The drums sound HEAVILY programmed, and I'm almost confident they actually are. "Mr. Pain" comes across as a VERY good sounding demo record that could've probably used a few more cooks in the kitchen. Shayley is a gifted musician and songwriter, but succumbs to the Beartooth problem when it comes to writing cohesive records individually.
ERRA Cure
It's commendable that ERRA made the decision to instead of doing more of what worked with their 2021 self-titled album, they instead went with a different songwriting approach and mixer/producer. "CURE" forgoes using octave-shift lead guitar lines and instead becomes more of a soundscape record creating unique swells and sounds from the instrumentation within each track mix. Choruses featured on songs like 'Idle Wild' and 'Pale Iris' still remain catchy as ever, something that the band nearly has down at this point, but perhaps it was the fact that their self-titled was so good that it's hard to live up to something like that. "CURE" shouldn't be dismissed at all for any fan of ERRA, and while my personal score might be lower than usual for this kind of thing, it's not meant to be discouraging for wanting to hear new ideas on future works.
Falling in Reverse Just Like You
I actually really liked "Fashionably Late". The rapping did make me cringe at first, but after enough listens - the album really began to grow on me. Now we're at "Just Like You", and this album attempts to differ in songwriting style, but comes across as more of the same. In fact, a lot of these songs are what you'd expect to come from Falling in Reverse. Sure, there are highlights like "Guillotine IV", "The Bitter End", and the surprisingly mellow "Brother"...but it's not enough to push it past average. Oh, and "Wait and See" and "Get Me Out" may be perhaps two of the worst songs the band has ever written.
Famous Last Words ARIZONA
There's a clear divide in the fanbase of Famous Last Words. Ultimately, this is a band who utilizes a gimmick in all of their records to tell a cohesive story. The divide is in the style. "Two-Faced Charade" comes across as more of a metalcore musical, while "Council of the Dead" is more of a thematic metalcore album. The band returned to the 'Two-Faced Charade' style with "The Incubus" - and it yielded so-so results. "Arizona" is an EP that while short, has songs that will please both sides of the coin in terms of their fans. "Scream" and "The Game" are more CotD, and "Broken Glass" and "Runaway" are more TFC. "No Walls" can be 'Incubus' if that matters. With that in mind, the two 'CotD' songs are a great step in the right direction, and everything else is just kind of...there. Not bad, just there. Weirdest opinion on a 5-song EP I think I've ever had.
Jonas Brothers Greetings from Your Hometown
Preface: over 20 producers on this thing?!? Rating: In terms of recency, "Happiness Begins" hasn't aged too well for the Jonas Brothers, yet "The Album" strangely has. What at the time felt like an excuse to make nearly every song under 3 minutes to land on TikTok ended up still holding up thanks to the strange production choices that give it more of an edge over "Happiness Begins" and now "Greetings From Your Hometown". When the best song on the record is the first song ('I Can't Lose'), there's a problem. The Springsteen-inspired 'Love Me To Heaven', and the unapologetically-ripoff of the Bee Gees 'No Time To Talk' are memorable for how contrasted they are to other songs, and 'Loved You Better' and the title track are fine as well. Strangely the rest of the album feels more like B-sides to a nonexistent album, and the closer 'Slow Motion' released a year or so ago and feels more complimentary on the group's end to give a genuine release to that one. In the past 2 releases, it was suggested that the group could put out a certified-incredible album if they learn from their stumbles; unfortunately it feels as if they're more content with getting music out quicker to feed the algorithm.
Justin Timberlake Man of the Woods
It's no 20/20 Experience...not even close. Justin Timberlake's latest effort "Man of the Woods" is at best, 'really good', and at worst, 'really boring'. Nothing on this has the highs that 20/20 Experience had...which is such a shame because there's still a lot to like here. "Midnight Summer Jam" is funky (and also contains a brilliant callback to 20/20 Experience's "Don't Hold the Wall"), "Sauce" has a great hook, "Higher Higher" is very catchy, "Say Something" is a perfect sing-along song, "Montana" is groovy, and "Breeze off the Pond" isn't too bad either. There's not much else here though. A valiant effort from Timberlake and Pharell Williams (/Neptunes - producers of the record) to mix-in modern sounds and splashing in cameo vocals from Jessica Biel and Timberlake's kids...but it's not adding much to the record. Personal preference wise - I've neglected until now to talk about the song "Supplies"; mainly because this song might be the most frustrating song I've ever heard in my life. What starts as a synthesized beat not-uncommon in popular songs today hits a bridge that is INCREDIBLE. However, the bridge cuts off just before it can even become anything, which is unbelievably frustrating when it really did feel like it could've been the album's best track. To conclude, "Man of the Woods" isn't a fall backwards for Justin Timberlake, but it's definitely a few steps backwards. The great songs on this one will age well, the poor ones won't at all.
Justin Timberlake Everything I Thought It Was
I'm realizing the same rating I'm giving this one is the same I gave 2018's "Man of the Woods". In retrospect, that should probably be a 2, though I stand by my rating of that one thanks to a few songs that have held up today (most haven't). Moving on, 2024's "Everything I Thought I Was" shifts to another producer to handle the instrumentation and mixing this time around with better results but still can't stick the landing. Perhaps "The 20/20 Experience" was too good; mainstreaming 'progressive pop' with nearly every track working is a tough act to follow up let alone striving for any form of reinvention. 'Drown' on "Everything I Thought I Was" feels like it wants to emulate 'Mirrors' - it gets close, but doesn't hit the mark. 'No Angels' sounds like something from "Future Sex", yet doesn't hit the mark. Even 'Paradise', which has a strange choice in featuring (?????) NSYNC, sounds like something the group would've had as a B-side or something, yet doesn't hit the mark. Speaking of 'Paradise', it's confusing that Timberlake would opt to make a solo record instead of riding the nostalgia train and just cranking out a new record with NSYNC - given 'Better Place' was a good start, there feels like there's more ripe opportunity there instead of this album - an ultimate harmless listen, better than "Man of the Woods", yet doesn't hit the mark.
Memphis May Fire Remade in Misery
Serving as more of a 'collection of their past singles over the past year', "Remade in Misery" loses the element of surprise by having a majority of the album be familiar to a fan of the band. To a blind listener, songs like "Bleed Me Dry" and "Blood & Water" should sound like excellent entries in the genre; on the flip-side songs like "Left For Dead" and "Somebody" might feel like lesser songs. Strange enough, the (partial) title track "Misery" evokes a cool sound reminiscent of early 2000's alternative with a splash of their own unique songwriting thrown in there. This wasn't released until the album itself dropped, but perhaps that was intentional. There isn't anything here that's so unremarkable that it warrants a 'highly recommend', yet there's nothing atrocious that would signal a 'stay away' - so, per this website's rating system...so, it gets a 2.5 "Average".
Of Mice and Men Tether
"Tether" is a step backwards from "Echo" and "EARTHANDSKY" - feeling somewhere along the lines that "Defy" did. Which, "Defy" was a solid record, but it also served as a reboot for Of Mice & Men; returning to such songwriting and stylistic choices almost feels like regression. Now, "Tether" has plenty of good tracks. 'Castaway', and 'Warpaint' are typical metalcore, and songs like 'Shiver' utilize lower vocal ranges combined with reverb highs from the guitars that do feel somewhat different for the band, yet still isn't enough. At this point, Of Mice & Men have proven theirselves enough where they could really write anything and it would still probably turn out adequate. Maybe that's what happened here, and what's here is still better than other acts out there. You're content as a listener, but not satisfied.
Silverstein Pink Moon
It seems as if Silverstein placed all of their best material on "Antibloom" earlier this year; a smart decision as it got listeners like myself excited about the band's music again. Maybe "Pink Moon" was doomed from the start in that case, serving as B-Sides to an...EP? Anyhow, if we're taking both albums together given both are released in 2025, you've got a really solid Silverstein album here with more than half of the songs being 'certified bangers'. On Pink Moon, 'Negative Space', 'Drain the Blood', and 'Autopilot' are all works that are in league with the stuff found on "Antibloom", yet songs like 'The Fatalist' should work better yet sounds uninspired and borrows vocal melodies and lead-lines from 'Wasted Age' by We Came as Romans. Mind you, there was a song on "Antibloom" that borrowed from Bad Omens, but the influence is much clearer here. A fun experiment to try is to group both albums, put it on shuffle, and see how the overall feel is going beginning to end...could be even more fascinating to get a listener who hasn't heard any of the material yet to listen and judge their potential favorites.
Sleep Token Even in Arcadia
Distinguishable moments within "Even in Arcadia" feel lesser than anything off of Sleep Token's previous album "Take Me Back to Eden". Take 'Caramel' for example, the song closest in terms of style and tone to 'The Summoning', which lyrically Caramel speaks volumes but can't seem to hit that same metric when it comes to the music; being one crescendo to a big finale that somehow still seems to feel lacking. 'Emergence', 'Past Self', 'Dangerous', and 'Damocles' all contain catchy hooks to certainly not make the album's journey completely forgettable, and even in the closer 'Infinite Baths' the band remembers to try some variety again (something they're praised for) and gives arguably the best track from the album. Personally, I wasn't expecting a "Take Me Back to Eden 2" or anything, but I was hoping for improvement versus staying the same and/or regression.
Static Dress Rouge Carpet Disaster
For anyone that plays video games out there, you know how there's those 'Spiritual Successor' games that are meant to serve as a quazi-sequel to another game? Examples here include Perfect Dark, Yooka-Laylee, Freedom Planet, Bomb Rush Cyberfunk, and more. Static Dress' "Rouge Carpet Disaster" is essentially the same concept, but for the older sound of underOATH. It feels unfair to coin it that way, but the influence is massively present. The bad news is, underOATH had genuinely catchy vocal hooks and melodies, whereas Static Dress gets close, but doesn't hit the finish line in terms of memorable hooks. The style's here, the musicianship is solid, the passion is felt in the creation of the record, but they needed a good producer to coach them in writing memorable hooks. That's the only piece missing in what otherwise could be the next generation's potential introduction to the style.
The Amity Affliction This Could Be Heartbreak
I can't decide if I enjoy "This Could Be Heartbreak" more or less than The Amity Affliction's previous album "Let the Ocean Take Me". This record seems to evoke the same gist that LtOTM had; even down to an outro of a track featuring a voicemail. Songs like "Blood in My Mouth" showcase that the band is trying new things such as a Phrygian synth-scale being used in the verses (note however that it also DOES come across as sort-of lazy, as it would've been much more impressive if the lick was played on a guitar). As enjoyable as the title track is from the record, there's no doubt the rhythmic portion is a clear carbon-copy of a band named Cartel's main riff on their single "Honestly".
The Word Alive Monomania
The good news is, The Word Alive's "MONOMANIA" is a step-up from their last album "Violent Noise". The bad news is, it's not much better. What we have here is a "Dave & Busters" album. To summarize: Every experience I've ver had at a Dave & Busters has been 'fine'. "How's the food?" It's fine. "How are the games?" They're fine. "How was the pricing?" It's fine. "How was the experience?" It was fine. That's how I feel about MONOMANIA as a whole. The songwriting, the production, the instrumentation; all of it is fine. If The Word Alive is satisfied with coasting on mediocrity, then they should keep doing what they're doing. Recommended tracks: "MONOMANIA", "ANOTHER YEAR IN THE SHADOWS", "K.F.", "NUMB LOVE (MISERY II)".
Trivium The Crusade
Boring; but still not a bad album. While Ascendancy held such promise, and hands down, was an amazing album, this album is not so good of a follow up. The first two tracks, "Ignition" and "Detonation" are the only two good ones, from then on, it gets boring. Even the instrumental song isn't that memorable, it's the same thing over and over again. It sounds like a commercial loop or something. It's still not badly written, and the musicianship shines through so many times, but it's not Trivium's best.
Underoath The Place After This One
There was something truly magical about early underOATH; while purists might cite "The Changing of Times" as the best of all time, most would lean towards "They're Only Chasing Safety" and/or "Define the Great Line". Personally, "TOCS" is a top-50 record of all time for me - it's hard to say if I'd gel with it on a first listen today, but there's an aura of nostalgia combined with genuine upbeat catchiness that benefits that one. underOATH began a steady decline (even with their return album "Erase Me") by trying to have weird guitar riff and melodic choices that never really stick, but also don't weather them as musicians. Point is, "The Place After This One" is fine, and could be something of a build back to where they used to be. Evidence here is the track 'Shame', which is crafted to be a catchy song, and it's the best on the record. 'Devil', 'All the Love is Gone', and 'Spinning in Place' all are other adequate tracks here. I guess I'd recommend this to underOATH fans only - we're not at the point yet where an album of theirs can be easily accessible again.
Various Artists Punk Goes Pop 4
I think there were about 2-3 decent songs to listen to...and even then, they were decent. Definitely not as good as the previous take of Punk Goes Pop.
Wage War Deadweight
Wage War continues crafting generic, safe 'metalcore' music in their second album "Deadweight". Here's the thing: there's nothing here that's notable. While their prior effort utilized the talents of the lead guitarist in songs such as "Alive" and "Youngblood", the talent is severely underutilized in this album; instead opting to go the route of a Tom Morello-esque style in working in bizarre guitar noises. It's an effort that is notable, but doesn't aid in the overall progression of "Deadweight". Among this average second effort, standout tracks include "Southbound", "Don't Let Me Fade Away", "Stitch", and "Never Enough".
We Came As Romans Darkbloom
Losing a pivotal member of your ensemble in tragedy, no matter what the part, will in a duo sense give a 'neon sign' to your group as well as the lost member casting perhaps too big of a shadow to overcome. "Darkbloom", the latest We Came as Romans record, had hurdles to jump over as their prior record "Cold Like War" was perhaps their best record to date. A majority of the runtime of "Darkbloom" is used to lyrically say farewell to their lost comrade in selections such as 'One More Day', 'Promise You', and arguably 'Golden' - though that one's more up to interpretation. A glaring issue throughout the album however is how the dynamics never really seem to shift; contrasted with the prior "Cold Like War" where the tempo would slow down, there would be experimentation with sounds and styles, and oddly an aura of mystique that would come and go until the end. "Darkbloom" isn't We Came as Romans' worst record (that's still their self-titled one), but it refuses to try and go bigger and instead regress to safer sounds to appease audiences' tastes to keep them around. A 'pass' will be given here as long as future releases begin improving. Recommended tracks: 'Plagued', 'Golden', 'Daggers'.

2.0 poor
A Day To Remember You're Welcome
This may or may not be true, but perhaps there was mounting pressure from the dwindling fanbase of A Day to Remember and/or new record label to produce a record after almost 5 years since their last one. Hence, "You're Welcome" - the band's shrugged effort of an album that does actually contain some strong songs such as "Mindreader" and "Permanent", yet contains some shockingly questionable choices in "Bloodsucker" and "F.Y.M." Devout fans of the band will support the album, but being realistic for this album...'No, Thank You'.
Bring Me The Horizon POST HUMAN: NeX GEn
I don't know why, but I just can't ever seem to get into Bring Me The Horizon. There's never been one song of theirs, in their entire career spanning back to almost 20 years ago, where I've heard a piece and went 'this is it'. Given the illuminating praise that "POST HUMAN: NeX GEn" has been getting, maybe the praise here is because this is absolutely the best record the band has put out to date, but sadly it still really isn't even saying much. After doing the classic pointless intro track, 'YOUtopia' is a serviceable starter that goes into 'Kool Aid' and 'Top 10 Statues that Cried Blood', the two best songs on the record and they're back-to-back. There's highlights later on such as an underOATH feature, and the oddly-paired 'AmEN!' with Glassjaw and Lil Uzi Vert. It's hard to hate on the musicianship here, as there are lead lines and solos in the guitars, and the drums are consistent with audible bass lines. There's a bunch of credited songwriters as well, so I guess chalk this one up to a preference thing; BMtH has a huge fanbase for a reason, and I guess I'll never really be one of them
Escape the Fate Hate Me
Escape the Fate were contractually obligated to produce a new album. ...it shows.
Escape the Fate I Am Human
This is better than their previous effort. But...I'll rehash what I wrote for "Hate Me": "Escape the Fate were contractually-obligated to produce a new album. It shows."
Escape the Fate Chemical Warfare
I can't believe it, but here we go. Same deal as the prior 2 albums, "Escape the Fate were contractually obligated to produce a new record. It shows."rAdmittedly on this one though, (given it was released in 2021) "Not My Problem" is one of their better songs in those reflected past 6 years.
Famous Last Words The Incubus
Famous Last Words backtrack in their latest release, "The Incubus". From the get-go, this feels like a tonally/musically sequel to "Two-Faced Charade", however, the material here just isn't as interesting. Perhaps that's due to the strange song composition, where the vocals take up arguably 90% of the record - where the rest of the band hardly gets to shine in any instrumental parts. Compare that to their previous record, "Council of the Dead", that had a real blend of instrumentation, vocals, and contrasting styles. Highlights from this one include "Trophy Wife", "Pretty in Porcelain", and "The Judged" (though the latter sounds eerily similar to songs on 'Two-Faced Charade'). Hopefully, Famous Last Words next time around decide to further their progression seen on 'Council...' versus attempting a repeat of 'Two-Faced Charade'.
Fit for a King The Hell We Create
My method of listening to albums is for the most part seasonal. I have album rotations for Winter, Spring, Summer, and Fall. I'll usually post sound-offs/reviews on here a few months after I haven't listened to something to really give it a fair shot/impression. Sometimes, even if an album isn't working for me, I'll give it a few listens to see if anything changes. The point here is, I gave "The Hell We Create" about 8-10 listens from January-February this year (2023). There was no glaring issues here; musicianship and mixing all checked out per course of the genre. But, you know what? Now (May 2023), I couldn't hum or suggest to you how any track would go. This is one of the few times this has ever really happened to me, which is unfortunate that this is so unmemorable, because I don't want to discredit the group and those that worked on it.
I Prevail TRUE POWER
Chalk this one up to "most disappointing record of the year" for me. While opening track (excluding the pointless/joke? "0:00") "There's Fear in Letting Go" and follow-up "Body Bag" manage to be on-par yet not exceeding any tracks from the previous TRAUMA, it's the next track "Self-Destruction" where things begin to take a questionable turn. I Prevail does have a good track record with their experimentation, but unfortunately this song and a few others towards the end of the record don't really pay off this time. It isn't to say there aren't a few decent songs here..."Bad Things", "Fake", and "Judgment Day" all ultimately work; also unfortunately managing to be standouts when they're coasting on mediocrity. This is a record that feels like it 'needed more time in the oven'. It doesn't feel like an imitation of previous efforts, yet it also doesn't feel like advancing forward in any way possible.
It Lives, It Breathes Silver/Knights
It Lives, It Breathes managed to release 2 impressive EPs that delivered catchy, hard hitting tracks that felt satisfying. Their debut record "Silver/Knights" is perhaps the biggest downer of an album I've listened to so far this year. Where their EPs felt complete, this album doesn't. The group has quite a few dedicated 'synth-only' tracks such as "Prizefighter" and "Miley Virus" that don't compare to some of the other tracks like "Devils" and "World War Me". The opening track "Testify", is about as best as the album gets, with the songs "Love on Repeat" and "Afterlight" being average for the group in comparison to everything else in their prior efforts. I'm still a fan of It Lives, It Breathes' overall sound, but the direction they decided to take for their debut LP reeks of disappointment.
Phinehas Till the End
The draw to the metalcore genre usually tends to be favoring guitar work that utilizes the minor scale mixed with a catchy chorus. "Till the End" has plenty of strength in its verses and a solid album progression. However, next-to-none of the choruses work save for "Truth Be Told" and (kind-of) "Dead Choir'. The band's sound is reminiscent of groups like "Destroy the Runner" and "Gwen Stacy", yet sadly "Till The End" feels like a step down from any album from those bands. Finally, while preferences vary between the listener, "Seven" as a song just doesn't feel right.
Tear Out The Heart Dead, Everywhere
The first two tracks (excluding the almost 'so bad it's good' intro track) are the only positives to this album, as they both carry ridiculously catchy choruses. Afterwards, the album is a downward struggle of below mediocrity.
The Dead Rabbitts The Emptiness
"This Emptiness" is more than just a title of the latest Dead Rabbitts record; it's almost a warning for listeners. The whole album lacks any inspiration to change, most notably in songs such as "Burn It Down", "Fighting For My Life", and "The Freak, The Creep, The Clown". If you liked "Shapeshifter", you'll like this one. Ironic though for myself, as I did enjoy "Shapeshifter"...but I guess I was just expecting more from this 'spinoff project' or whatever they're coining themselves as. Three tracks I would recommend would be "Dead Again", "Man at War", and ironically the title track. Those are perhaps the biggest movements for a change of pace, but ultimately this one isn't able to catch up.
The Word Alive Violent Noise
Nope. "Dark Matter" seemed to be a solid direction choice for The Word Alive, utilizing the band's complex songwriting capabilities to deliver a rock album that managed to be safe yet still very well-written. Here we have "Violent Noise", an album that isn't a failure, but is a disappointing follow-up to "Dark Matter". Every song on the album almost makes it to the 'good' level of listening, but that's the thing. ALMOST. Every track has potential to be more, yet the group goes the safe route with generic song structures, riffs, and melodies. If The Word Alive wanted to evolve from "Dark Matter", they would've taken the aspects on how the album mixed things up in terms of genre and expand on that. From a personal taste, I was just fine with "Dark Matter"...I actually loved it. But "Violent Noise" is just too stale to even be worth mentioning. Sure, songs like "Stare at the Sun"/"Run Away"/"Why Am I Like This?" are alright...but as mentioned, they never reach that "good" level. Is it too late to ask for another take at the "Deceiver" style?
Underoath Erase Me
The hype of "Erase Me", at least for this Underoath fan, was nearly through the roof. With the return of the lineup from 'They're Only Chasing Safety' and 'Define the Great Line', there was little doubt that with time would come musical maturity and progress. "Erase Me" truthfully does present a more refined Underoath, but perhaps not in the best possible ways. It feels selfish to ask for a record that evokes the catchiness of this lineup's past efforts; alas, "Erase Me" fails on that end. There's some impressive musicianship in the mix, as well as interesting sound choices and ideas. This all doesn't lead to much though, as this record feels very much like a deflated effort. The first three tracks will mislead the listener, as they're arguably the best tracks on the record (especially "On My Teeth"). Everything else is kind of 'there'.
We Came As Romans We Came As Romans
It's strange how the guitar parts sound like they're written by amateur players; yet no lineup changes have happened, and there's clear evidence in previous albums that both guitar players are more than decent at their instruments. The self-titled effort from We Came as Romans sounds very uninspired all-around, with a few catchy songs here and there to save it from being a total disgrace...but still leaving the listener with a lot more to be desired. I mean, it's a 30 minute album with about 8 minutes of it being nice. Great to hear how Dave (the screamer) is now ping-ponging clean [really good, actually] vocals with Kyle (the original clean singer). The drums feel restrained, and the bass is serviceable for the previously mentioned below adequate guitar parts. "The World I Used to Know" is probably the best song from the album, and the whole album is mixed very well. Let's hope for a stepped up sound next time around.

1.5 very poor
As I Lay Dying Through Storms Ahead
It's hard to not address the elephant in the room; the album art on "Through Storms Ahead" is confusing. Is the flame supposed to be there to signal that they're starting anew? What are those rock things in the sky?rTruth be told, the flame might be emblematic of what's really left of this band. They've got new members (mostly) this time around, writing music that does fit the pattern of how an As I Lay Dying song would go - yet lacking any soul. This all feels like stock music that's supposed to sound akin to AILD, that despite the talented musicians within the mix, no doubt most of this could've been written in a day or two within studio time. Catchiness in music is a tough thing to nail, and sadly no song in "Through Storms Ahead", perhaps save for 'The Cave We Fear to Enter', really has the needed catchiness to warrant repeat track listens.
Crown the Empire DOGMA
Crown the Empire are most likely contractually-obligated to produce a new record every 2-3 years. They got away with an 'acoustic/live' album to probably fill the void between 2019 and now, but things have caught up it seems. Just like "Sudden Sky", "DOGMA" borrows a few singles they've released between then as part of the track listing (easy cheat option), and even ushers in the return of some songs feeling like they're fodder to fill a 10-track count (looking at you 'DOGMA', 'Superstar', and 'Paranoid'). 'In Another Life' works as a whole, but that was a previously released tune. Perhaps of the new additions, 'Black Sheep, and 'Somebody Else' function the best, but they're still so far below what this group even remotely used to be. Admittedly, "Retrograde" is still their best album to date, but the secret of the group not even writing that one remains slightly disappointing to this day. Still, at least "Retrograde" was infectiously enjoyable; did they not write "DOGMA" as well? Maybe it's time to shift gears with songwriters, or maybe it's time to write your own music. At this point, trying anything would be a good first step.
Thirty Seconds to Mars It's the End of the World But It's a Beautiful Day
I still stand by my (4) rating I gave to 30 Seconds to Mars' 2018 album, "America". The 2013 album "Love, Lust, Faith, & Dreams" had an identity crisis going throughout, and "America" seemed to capitalize on what the Letos wanted to do back in 2013. There's such thing though as going too far off the rails, and that's where we're at with 2023's "It's the End of the World But It's a Beautiful Day". From the get-go, the album reeks of laziness from the band losing relevancy and needing to get a promotional push going, to the uninspired cover that was legitimately taken on an iPhone on an uneventful day. Hooks, chord progressions, and more all are taken from better songs heard elsewhere - save for 'Midnight Prayer' and 'Avalanche', which are the only two passable songs on an otherwise crushingly disappointing record.

1.0 awful
Etienne Sin The Art of Stealing Hearts
Cringe. That's really it, I have nothing else to add.
Etienne Sin Sinna: Volume 1
Are this guy's "albums" listed on this website just so we can bash them?
Woe, Is Me Genesi[s]
Pure geniu[s]! It's so impre[s][s]ive to [s]ee that thi[s] band ha[s] not faltered with their [s]ophomore relea[s]e. When pre[s]ented with dilemma[s] like, "what do we do with lead guitar part[s]?", and from there have repetitive breakdown[s] is purely magical. Lyrically, it'[s] the be[s]t thing in the entire univer[s]e. Line[s] such a[s] "It mu[s]t be hard to talk [] with a ** in your throat" are purely original and i[s] [s]omething that can be viewed in competition with [S]hake[s]peare. Don't forget the random orche[s]tral parts! While their previou[s] album didn't make u[s]e of the potential of tho[s]e part[s], thi[s] album definitely doe[s]. The random cut[s] to the orche[s]tral part[s] can be viewed a[s] a genre [s]tandard. Great album!

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