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(hed) p.e. Back 2 Base X	3.0
Occasionally in life, when you have nowhere to go but a depraved battlefield, all you need is a practical warhammer and call it a night. On the album known as Back 2 Base X, (hed) Planet Earth - for short, (hed) p.e. - are pretty much heading into a fight with these basic weapons and seeing what works. To their credit, Jahred Gomes and his anarchy-driven cronies have a mostly fun record on their hands. The band's combined flavor of punk rock and hip hop meet up with influences of ska and the results could've been worse, though simultaneously speaking, (hed) p.e.'s efforts could've ended up in a better, more filler-less condition. It is with an open mind that I can say that, to be fair, Back 2 Base X is far from inconsistent and has a very nice amount of replay value. Recommended tracks: "Novus Ordos Clitorus," "White Collars," "Sophia," and "Let's Ride".
(hed) p.e. Blackout	3.5
It took me years to finally discover that "Get Away", which was a part of Nascar Thunder 2003, was performed by this band; I felt really indifferent towards the game aside from the customization feature and the licensed soundtrack. Anyway, Blackout is surprisingly cohesive for a record that demonstrates (hed) p.e.'s method of stringing hip hop, rock, and punk together. As dated as the album itself is, this rapcore outfit from Huntington Beach, California sure know how to make a repetitive formula work effectively as much as possible.
100DEADRABBITS Do Reploids Dream of Electric Sheep?	1.0
From the drum machine right down to the screams, this EP will one day be the death of anybody who supports Nintendo. 100DeadRabbits try too hard by focusing on cheap software programs, and fall victim to getting stomped on multiple times by a Goomba. If there weren't any vocals, then Do Reploids Dream of Electric Sheep? would probably become a little more decent.
100DEADRABBITS Guardians	1.0
1997 On The Run	3.5
With confident, though slightly restrained musicianship and one of the more interesting ways to utilize a harmonica for indie outfits, On the Run has an authentic bittersweet feeling which lasts for little more than a short period of time. 1997 had at least a few of their priorities straightened out for this release.
2Pac 2Pacalypse Now	4.0
3 Doors Down Time of My Life	1.0
3 Doors Down The Better Life	2.5
Like a group of servants who have nothing better to do than tackling mudane tasks, The Better Life has a dry, barren aftertaste which 3 Doors Down wouldn't even bother fixing up. Lead single "Kryptonite" and "Smack" serve as two of the better tracks off this radio-oriented rock band's debut album, while every other song is completely unmemorable and a bit too modest.
311 Universal Pulse	2.0
I'm not too sure on why Universal Pulse turned out the way it did. Maybe it just could've been Bob Rock's involvement with the record, but these eight songs feel like one disjointed, unclear, weightless time bomb. Really, had 311's official tenth studio album started out as a mere EP - which isn't left-field once the averange length of tracks are taken into consideration - I probably could've given this a slightly higher score, biased as it all may sound.
311 Don't Tread On Me	3.0
311 Unity	3.0
I don't blame even the majority of 311's most hardcore fanatics for being unaware of the band's independent releases, and Unity just so happens to be one of them. Whilst lacking in intriguing songwriting and some spotty vocal delivery by Nick Hexum, the outfit does a mostly alright job with the instrumentation, if a little bland in certain areas.
311 311	4.0
311 were highly relevant at the time of their self-titled album's launch, and this wasn't too challenging to see why. The fusion of punk, hip hop, and reggae would've been a slight disaster if these Nebraskans weren't so natural with the musical direction they had in mind. Looking at this release as a whole, a lot of the tracks are solid from top to bottom and the musicianship makes up for a giant lack of originality with the bandmates' frenzied spirits and amazing composition.
36 Crazyfists Suffer Tree	2.0
36 Crazyfists Collisions and Castaways	2.5
36 Crazyfists The Tide and Its Takers	3.0
I will say this right now: The Tide and Its Takers isn't so unyielding in comparison to its three predecessors. However, 36 Crazyfists do their hardest to maintain the band's quality with studio album numero quattro, in spite of a few casualties.
36 Crazyfists Bitterness the Star	3.5
Bitterness the Star mostly stays in nu metal territory, but every now and then it decides to jump into an abandoned pirate ship filled with metalcore sweets. This debut album by Anchorage, Alaska's 36 Crazyfists was still in need of polished edges, and there are certain tracks here that are better than others ("Bury Me Where I Fall" and "Circle the Drain"). In the end, these four men managed to give off a first impression which was a bit more than simply adequate.
36 Crazyfists Rest Inside the Flames	3.5
36 Crazyfists A Snow Capped Romance	4.0
36 Crazyfists Time and Trauma	4.0
Having welcomed back Mick Whitney on bass and finding a new drummer in Kyle Baltus, Alaskan metalcore act 36 Crazyfists have rectified the problems which loomed over the band's past two albums. The Tide and Its Takers as well as Collisions and Castaways were manageable for what they were trying to be, though 36CF's earlier recordings carried more weight and had quite a fair amount of replay value in comparison. Time and Trauma, the group's sixth full-length offering, is noticeably uniform, though definitely not desperate or careless. This album is proof that - whilst frontman Brock Lindow and pals have demons in the form of nostalgia and other fearful events - they're not gonna consider throwing in the towel just yet. To appease the masses, these men don't necessarily have to come up with another A Snow Capped Romance or even a rehashed Bitterness the Star; 36 Crazyfists should just deliver something that's worth enjoying.
38th Parallel Turn the Tides	1.5
3OH!3 Want	1.0
One of many crunkcore albums which shouldn't even be touched at least once. Want isn't necessarily a serious record in the first place, but by God, is the fun factor nowhere to be spotted on this 40-minute (approximately speaking) train wreck. Two white kids throwing on a pair of phat pants, Converse All-Stars, and clamoring about women sounds like such a *riveting* idea, wouldn't you agree?
40 Below Summer Invitation to the Dance	3.5
Despite boasting a few stereotypes many can find within the nu-metal sound in general, 40 Below Summer's major label debut doesn't enter the ring without its championship belt of hostility. Invitation to the Dance stays consistent throughout, never putting too much emphasis on either this band's savage or melodic tendencies. The album lacks in creativity, but makes up for this via satisfyingly meatheaded guitar work and a rather strong vocal performance courtesy of Max Illidge.
A City Serene The Art Of Deceiving Perception	2.0
How in any way is the average for an EP like this warranted? San Diego-based post-hardcore sextet A City Serene hardly do much to differentiate themselves from other bands within the genre, ergo being too commonplace and bland that it hurts. The Art of Deceiving Perception's one redeeming factor lies in the clean vocals, which I'll gladly admit sound nice; the singing is high-pitched and all, but at least it's a change of pace coming from a woman rather than some pretty boy who just moments ago met the Nutcracker. This is a group that can showcase potential (i.e. "I Guess It's Curtains for You"), albeit not a shitload of it by any stretch.
A Day To Remember What Separates Me from You	2.0
A Day To Remember For Those Who Have Heart	2.5
A Day To Remember And Their Name Was Treason	3.0
A Day to Remember have never been the most original band to utilize pop punk and metalcore sounds, though this quintet from Ocala have sought to make a passable debut in the form of And Their Name Was Treason. The generic instrumentation here is appropriate for the band's direction, while frontman Jeremy McKinnon's clean and harsh vocals work almost efficiently when used with caution. The record is arguably ADTR's heaviest so far, since the poppier sections would grow to become more prominent on later material.
A Day To Remember Homesick	3.0
With a consistent blend of trendy metalcore and infectious pop punk swagger a la Sum 41, Homesick is a harmlessly enjoyable (if derivative) album that's good enough for A Day to Remember fans. Though it's not too much of an accomplishment, frontman Jeremy McKinnon steals the show here, for he's neither too whiny, over the top, or simply that disappointing of a vocalist. If innovation or creative songwriting is what you're looking for, then ADTR's Homesick doesn't have those aspects. Fortunately, it serves as a salvageable listen, to say the least.
A Different Breed of Killer I, Colossus	3.0
A Hero a Fake The Future Again	2.0
A Hero A Fake's third studio album possesses a rather ironic title, considering the material here is nothing but wasted material that wouldn't ever warrant a bright future. The Future Again's production values are perhaps the only bearable aspect of this record, whilst the cover art is semi-decent (though still quite bland to look at).
A Perfect Circle Mer de Noms	4.5
Maynard James Keenan is about as prolific as a sea serpent's unwashed genitalia - he has so much time on his hands, but the ways he is able to utilize them plays out in his favor. Mer de Noms (meaning 'sea of names' in French) is the debut album by the supergroup A Perfect Circle, yet it is also a different beast in comparison to Tool. The material here is sheer, undeniable proof that Maynard doesn't have to be backed up by spellbinding themes of arrogance and unnecessarily complex riffs overlapping with wild time changes. Many of the songs are eerie in a weirdly comfortable manner, and Billy Howerdel shows throughout that his songwriting skills reek of brilliance. This isn't your poetically normal shape and form of an album, but rather an almost endless river of consciousness carried by the frontman's distinctively forceful voice.
A Perfect Murder War Of Aggression	3.0
Canadian groove metallers A Perfect Murder were told to dish out some uninteresting, yet satisfactory material. War of Aggression is exactly what it says on the tin: an album which stays heavy and punishing throughout, even if the instrumentation is no great shakes to many; Frank Pellerin's shouts are more or less in the same boat.
A Skylit Drive Adelphia	2.0
A Skylit Drive ASD	2.0
Michael Jagmin would be the type of person who would lose a dagger fight against Peter Pan in less than fifteen seconds. Speaking of Jag, A Skylit Drive's latest self-titled album (acronyms are so imaginative) has about as much color as a flower that's been recently maimed. The record is all talk and no action, really, and one wishes without procrastination that this post-hardcore band would just throw in the towel. A Skylit Drive are going to keep running in circles until they're forced to walk the plank, and if they were to transform into cannons, then they'd easily sink a ship.
A Skylit Drive Wires...and the Concept of Breathing	2.5
A Slow Descent On Ganymede	4.0
Mr. Nash J. - who many of you are more familiar with as 'Judio!' - has gone out of his way to create an album which is very much as dreamy as the concept itself, believe it or not. The ambience and post-rock sounds come together well in particular due to the keyboard effects that were used on these tracks. As one contributor has said before, On Ganymede's primary issue is how unpolished the quality seems to be at times; then again, the ethereal feel of this record as a whole doesn't always allow it to intercept. This all results in a release which seems capable of pulling quite a number of punches in a not-so-blatant manner.
A Slow Descent The Slowest Descendance	4.0
Nightfall arrives when we ready our descent into zombification. Let's just say that it is what it is and put The Slowest Descendance on for the remainder of the time. Here we have the sixth full-length album by A Slow Descent, and the generator's first recording released in 2016. Nash J, aka Judio!, listened to quite a lot of IDM and ambient-driven electronic music upon preparing his latest creation and the effort shows. He was quite passionate about bringing the finished product to existence, might I add. Anyway, with that said, it's another solid item from Nash, so there's really not much in the way of complaints from me personally. Cohesion alongside falling slowly with style are the names of the game in this context. NYP: http://aslowdescent.bandcamp.com/album/the-slowest-descendance
A Static Lullaby Faso Latido	2.5
Faso Latido comes crashing down on us with plenty of intentions, though the overall product seems to be nothing except a slacker's pot of greed. If A Static Lullaby didn't sound as exhausted as they did here, then I can tell these ideas would've been fleshed out better and a little less uncomforting. The craftmanship is passable at most, while the vocal interplay lacks in cohesion and (more importantly) spirit.
A Tribe Called Quest We got it from Here… Thank You 4 Your service	4.0
Obvious reference is obvious: like A Pimp Named Slickback, basically you gotta say this group's whole name... and the latter of course came first, by the by. Excluding Midnight Marauders and being aware of the act's reputation, I don't possess too much experience with Queens, New York-based hip hop titans A Tribe Called Quest. Upon finding out that their latest album would be their last record together, I was pretty curious to hear the thing - and it's a solid listen overall. Released months after Malik Taylor's (aka Phife Dawg) demise, We Got It From Here... Thank You 4 Your Service sounds all the more relevant taking into account certain artists recently brandishing a jazz-tinged approach to rap music. Though the mix isn't on par with the quality of most songs here, A Tribe Called Quest's finale is one that's bound to be remembered for years to come. It's meaningful, entertaining, and able to tug on enough heartstrings. Angel recommends: "The Space Program," "Enough!!," "Mobius," "Black Spasmodic," and "The Donald".
a-ha Hunting High and Low	4.0
You come for the instant (albeit overrated) classic that is "Take on Me," then stay for a nicely constructed new wave record in Hunting High and Low. I mean, Norwegian band a-ha's full-length debut is still kind of a product of its own time, but hot dog is this one a quality product nonetheless. Morten Harket's vocal performance throughout is super powerful despite Pal Waaktaar not giving the man the best lyricism to work with, and the audio mixing/mastering adds an electric bite to the instruments utilized over the course of these 37 minutes. Even if not every track hits the mark, Hunting High and Low has enough revisit value that the lesser songs (e.g. "The Blue Sky") aren't that big a detriment to this release in the grand scheme of things. It's a catchy and emotive outing that comes served with mettle. Decent 4. Angel recommends: "Train of Thought," "Hunting High and Low," "Living a Boy's Adventure Tale," "The Sun Always Shines on TV," and "Here I Stand and Face the Rain."
A18 Dear Furious	3.0
Nothing interesting really goes on for the duration of Dear Furious, the second full-length recording by the defunct punk group A18. These boys weren't concerned with quality in the least, but that doesn't necessarily mean the record is avoidable - especially if your mild or unhealthy adoration for a shitload of hardcore-oriented bands is in one piece.
Ab-Soul Do What Thou Wilt.	4.0
ABACABB Survivalist	1.5
Honestly, I couldn't recall one moment off this album that even remotely symbolized a good feeling. The riffs are utilized poorly and the frontman for ABACABB might as well be more than replaceable. In more ways than one, it's like this band was attempting to imitate all the other deathcore groups on the Sumerian label, yet slipped on a conveniently-placed banana peel, which then sucked out whatever potential these fools had. Also the record is hardly a fine enough reason to mindlessly mosh like a rabid madman, so you know full well that ABACABB's members lacked in personality, too.
Abandon All Ships Geeving	1.0
Geeving not only makes for a godawful first impression, but this band has not a single trait to make themselves stand out from amongst their contemporaries. Call me Ishmael because I'm abandoning ship, after hearing this absolute mess of an album which oh so diligently combines metalcore with electronica.
Abandon All Ships Infamous	1.0
Abominable Putridity In the End of Human Existence	3.0
If you plan to kill a buttload of time, In the End of Human Existence ends up being one of those unimportant albums you listen to just for the hell of it. With crunchy riffage, asininely comfortable gutturals, and drumming quick enough to impregnate the neighbor's dead cat, Abominable Putridity aren't relying on fancy tricks and techniques here.
Aborted The Purity of Perversion	2.5
Even for a debut recording, The Purity of Perversion isn't an excellent representation of Aborted's gore-ridden brutality. While the instrumentals are certainly passable and the horror samples - as plentiful as they are - suit the overall tone of the album, Sven de Caluwe's vocals lack in merciless power and the songs aren't all that different from one another.
Aborted Slaughter & Apparatus: A Methodical Overture	3.0
Aborted were essentially stuck in limbo when this album came out. Slaughter & Apparatus: A Methodical Overture is not the deathgrind act's worst recording, believe me, and yet there are certain parts of the release that come off as more repetitive than outright fascinating. I understand trying to top Goremageddon wouldn't be smooth sailing, but guys, the regression shouldn't be this blatant. On its own two hands and legs, on the plus side, Slaughter & Apparatus makes for a mildly solid listen all the way to the corpse-infested hospital. True, it may be disowned by many because of the supposed deathcore influence (Svencho doesn't like it himself, to put it nicely), though I find Strychnine.213 to be an improvement over this one. If you aren't willing to sit through the album - in spite of not really requiring a whole lot of patience - then check out the songs "The Chondrin Enigma," "The Spaying Seance," "Ingenuity in Genocide," and "Underneath Rorulent Soil"; they're axe smashers!
Aborted Strychnine.213	3.5
Strychnine.213 often finds itself swallowing carnage and dishing out as much pain as it can, given Aborted's 'limitations' on this album. If one were to compare the release to the rest of this deathgrind establishment's material, then Strychnine.213 doesn't serve a true purpose at all; on its own, however, this CD is damn gnarly!
Aborted Termination Redux	3.5
Belgian deathgrind band Aborted's latest release, which is an EP titled Termination Redux, essentially contains a majority of what you've come to expect from the act post-Strychnine.213. It's an in-your-face outing that shouldn't leave much to the imagination, and the EP holds the carnage factor rather close. Predictable as it sounds, Termination Redux still proves to be an enjoyable little monster that'll leave the most hardcore of Aborted supporters craving for more. Frontman Sven de Caluwe (aka Svencho) is the EP's star player IMO, and his contributions make me wonder why he hasn't done a collaboration with Travis Ryan yet. Angel recommends: "Vestal Disfigurement Upon the Sacred Chantry" and "Bound in Acrimony".
Aborted The Necrotic Manifesto	4.0
Aborted Goremageddon: The Saw and the Carnage...	4.5
Extremely relentless and brutal from beginning to end. Some might be thrown off by the horror-themed samples lurking about in many of the tracks, as well as the buzzing production quality, though these two characteristics are actually what make Goremageddon: The Saw and the Carnage Done such a repugnant, monstrous motherfucker!
Aborted Fetus Goresoaked Clinical Accidents	2.0
I can't even begin to imagine how unenthusiastic this group was when Goresoaked Clinical Accidents was still in the making. What an ultimately lackluster effort this is, not helped by those frontman's extremely low gutturals which wouldn't really sound out of place on a Cephalotripsy release; the vocals'd be a perfect fit for just about any goregrind or slam act.
Acid Bath When the Kite String Pops	4.5
While the crusaders for assisted suicide wait, the killer jesters waste no time at all in hunting their prey - and no, I ain't referring to the fools from outer space. As they carry out their tasks, they listen to When the Kite String Pops, which is the first of two full-length albums launched by sludge metal entourage Acid Bath. Their underground fanbase is so significant that it didn't take long for them to achieve cult status, and in spite of the band's short-lived career, they're deemed influential; particularly as far as this album's concerned. After having trekked through Acid Bath's debut in its 69-minute state, I can say whatever recognition these guys earned is justified... 'cuz it kicks serious ass! Commonly associated with the sludge tag, this outfit's sound can be hard to pigeonhole given the members' penchant for playing around with stylistic elements like folk, grind, blues, country, grunge, and that's just the tip of the iceberg. The material making up When the Kite String Pops is highly diverse, but the variety's rarely ever at the expense of consistent pacing or composition skill either. Dax Riggs' emotional range as a man on the mic coupled with his unapologetic, disgusting (if somewhat funny) approach to lyricism helps too, and the unclean production further fuels the chaos present. Basically there's a whole lot to enjoy about what the LP has on display, and if you're feeling filthy, you've come to the right place with this one.
Acranius The Echo Of Her Cracking Chest	1.0
The redeeming factors on this recording are just like ghosts trying to audition for the role of a sexually-confused robot on a killing spree; the pale bodies won't breathe new life into the machine the same way Acranius aren't bringing in fresh meat to slam death metal. Fuck this monotony and screw the opening track. At least I somewhat like the green used in the album cover.
Across Five Aprils Life Underwater	2.0
While the vocals provided by Brandon Mullins are mostly tolerable and the musicianship is alright in places, Life Underwater is an album that tries to sound deep, and yet it's rather shallow in the end. The Tennessee-based musical troupe Across Five Aprils don't do themselves any favors with this record. The full-length album is a big exercise in stagnation, offers nothing different to the Metalcore Round Table, and (most of all) it doesn't really give off a powerful essence.
Action Action An Army Of Shapes Between Wars	4.0
Whilst undisputably heavy on the synthesizers, Action Action's 2006 outing known as An Army of Shapes Between Wars is just as robust regarding the amount of time put into the songwriting, with various compliments to frontman Mark Thomas Kluepfel. The content would be a heard-it-all-before thing in regards to the many Depeche Mode supporters out there, but anyone else is able and willing to get a kick out of what these odd gentlemen have to offer.
Adam Sandler They're All Gonna Laugh At You	4.0
Adele 21	2.5
I've never seen the appeal of this woman, to be honest. As demonstrated on her 2011 studio album, 21, English singer-songwriter Adele manages to showcase a generally alluring, emotive vocal performance... and nothing else. The record's 11 tracks suffer mostly from overcooked production values and being lyrically repetitious. Also, whilst a lot of the songs aren't inherently terrible, some tunes on here prove to be more forgettable than others (*cough* "Turning Tables" *cough*). By and large, 21 just doesn't warrant all the hype it's been receiving. Angel recommends: "Rolling in the Deep," "Don't You Remember," "Set Fire to the Rain," and "One and Only". On a side note, Adele's version of "Lovesong" is inferior to The Cure's.
Adema Planets	2.0
From Bakersfield, American metal/rock outfit Adema end up biting off more than they can chew on their third full-length album. Carrying something of a post-grunge flavor with alternative elements, Planets' 72-minute runtime is far too unnecessary given the musical style these guys play, not to mention how stolid a majority of the songwriting is. Passable instrumentation alone ain't enough to save the record from uninspired composition choices, rather dry vocals delivered by Luke Caraccioli, and almost zero dedication to the structuring of this thing. Planets isn't irredeemable, but it's also laughably easy to forget.
Adema Adema	2.5
Aesop Rock None Shall Pass	4.0
Aesop Rock The Impossible Kid	4.0
Designed by freelance artist and writer Alex Pardee, there are quite a few words I can use to describe the cover for Aesop Rock's The Impossible Kid: dark, bizarre, personal, and also very nostalgic. Though it's easy to see why people might get turned off by Pardee's general style - especially if one doesn't hesitate to recall Hot Topic - the illustration fits super well with the material on display from both a musical and thematic perspective. New York-based rapper Aes' seventh full-length record is both entertaining and additionally intelligent enough to justify additional listens, and while some tracks on the album prove to be weaker than others, The Impossible Kid in its entirety is an experience that shan't be forgotten. My score might go up in the forseeable future for sure. Angel recommends: "Rings," "Dorks," "Blood Sandwich," "TUFF," and "Water Tower". The people over at Rhymesayers are funny dudes.
Aeterna Tristitia Apathy is Death	3.0
If you can get past the baritone vocals, Apathy is Death is quite an interesting EP crafted by a young man with some nice - if not a bit too bleak - ideas under his belt. You can make the argument that Lakes' voice really works with this style of music.
AFI A Fire Inside	3.0
Even for EP standards, nothing much is accomplished on A Fire Inside, a release by AFI which would be the first to add horror elements to the table. Despite that being the case, the four tracks are entertaining for what they are; it helps that Davey Havok knows how to carry a tune and be the mastermind of anthems for this band.
AFI Crash Love	3.0
AFI All Hallow's E.P.	3.5
This couldn't be anymore of a better time! All Hallow's stands nicely as a mini-album consisting of four uptempo punk anthems which represent just a small portion of AFI's more terrifying era back then. While in no way a gifted or complex effort, the EP isn't so much looking to cause harm as it is cause eerie mischief.
AFI Sing the Sorrow	4.0
A brief summary of AFI's sixth full-length album Sing the Sorrow: the amount of positive reception it got at the time of its release up to now is no joke. Personally, I wouldn't dare say it's the band's #1 recording. True, the group had issued a darker and arguably mature album which leaned more towards alternative rock and post-hardcore than it did AFI's punk roots, though what I definitely adored about Sing the Sorrow's predecessor The Art of Drowning is somewhat missing here. However, this is far from a bad offering and features very nostalgic songs in "Silver and Cold" as well as "Girl's Not Grey". The songwriting is mostly in tip-top shape, but there are those rare moments when this album's sophisticated feel (compared to earlier efforts, of course) feels kinda phoned in; "Dancing Through Sunday" - while on its own a great tune - is pretty forced because AFI are trying a bit too hard via recalling their earlier years, which showed us a different, inexperienced (disposition-wise) band. Let's just say that, at the very end of the day where paper airplanes suddenly took over our universe, Sing the Sorrow will make both teenage girls and boys and even a fine smorgasbord of purists jizz themselves.
AFI The Art of Drowning	5.0
The Art of Drowning to many people probably sounded like a badass album title when they were teenagers; that would be judging the tome by its print and such. This record will astonish a great number of folks just for how extremely well it aged, and the dramatic, but natural-sounding compositions only make its condition better. Think of this AFI release as a transitional one - and a grandiose collection of songs at that. It captures the essence of hardcore punk and throws in Goth influences here and there, with the two elements never out of synch. The band's fanbase might've split into three since The Art of Drowning's successor Sing the Sorrow, but it's most likely this offering which can appease every side.
After the Burial Rareform (Re-release)	4.0
Deathcore that possesses this much passion, replay value and care never ceases to bring a smile to my face. After the Burial do have an air of technicality about them to balance out their melodic and aggressive moments, and yet they aren't really technical for the sake of it. If that was the case, Rareform would be a contrived, brainless collection of songs, but the overall album isn't. Many of these tracks that make up this record are headbang-worthy and entertaining enough to grow on the listener as months and years go by, and the production values are never too distracting. Rareform is an instrumentally amusing demon who invites just about anyone in as long as they're able to withstand the junz - for lack of a better, less puerile word. This is a sound-off that was dedicated to rhythm guitarist Justin Lowe.
Against Me! Transgender Dysphoria Blues	4.5
Perhaps one of the most inspirational punk rock albums to have ever come out this entire year, at an unsurprisingly gracious 28 minutes at that. I can't really think of any flaws regarding Transgender Dysphoria Blues, though it isn't necessarily a perfect record. Laura Jane Grace gives it her all, while the rest of Against Me! bring forth infectious, old-school riffs and unforgettable choruses.
Agent Fresco Destrier	4.0
If there's one of various novel experiences I can think of, it is taking your stomach out and then putting it back in reverse. Does it look uncomfortable and painful when viewed via an x-ray machine? Yes. However, by going more in depth, you begin to realize that it's truly a beautiful sight to behold - and a rather intriguing one, too. Icelandic rock band Agent Fresco's Destrier is kind of similar in this regard; while the cover art can be perceived as lame on the surface, there's actually something endearing about it in the context of the studio album itself. As for the material this four-piece act has on display, it all sounds cohesive and pretty charming. The instrumental work at the band's arsenal suits the general mood this album's trying to go for, and almost the exact same applies to the vocals that are provided. I'm getting major Fair to Midland vibes from the LP, which is all fine and dandy.
Agnostic Front Warriors	3.0
Hardcore veterans Agnostic Front don't always stand tall, even with frontman Roger Miret's convincing shouts of anarchy. Their 2007 full-length album Warriors has the deliberate issue of housing short, but sweet tracks that are more or less the same after a while. If you're going to let this slide, however, then the record is overall fun if a little bit homogeneous.
Agoraphobic Nosebleed Honky Reduction	3.0
Agoraphobic Nosebleed Arc	4.0
Having been around for as long as 1994, grindcore quartet Agoraphobic Nosebleed are one of the most entertaining grind bands to ever grace my ears. Without hesitation, I can honestly say that the 2003 album Altered States of America is one of my favorite music releases in that it's ridiculously fun and manages to be a short, but ultimately sweet listen even with 100 tracks. Often ANb are looked down on considering that they normally utilize a drum machine with their material, which also gets them labelled as "gimmicky" by grind purists in particular; because throwing the g-word around is always right! Anyway, it's been years since this band put out their fourth studio record Agorapocalypse, and it all brings us to ANb's 2016 EP - which is the first extended play in the group's EP tetralogy. Boasting a total of 3 songs, Arc is commandeered by one Katherine Katz, formerly the vocalist for Salome. Taking into account Kat's musical background, this release has a sludge-oriented direction alongside some doom influences, and for what it's all worth, Arc ends up being really good in execution. It shows that Agoraphobic Nosebleed are unafraid to evolve as an ensemble.
Agoraphobic Nosebleed Altered States of America	4.5
Packing a lethal dosage of 100 tracks containing aggressive, chaotic musicianship sprinkled over with some of the most insightful lyrical content one may ever come across in grind music, Altered States of America is an album for any grindcore aficionado's nasty collection. When the peons and cows alike won't invest in whatever Agoraphobic Nosebleed's third full-length LP has to offer, keep calm and throw explosive panthers at them.
Ahumado Granujo Splatter Tekk	2.5
Aiden Disguises	1.0
Oh, WiL Francis thinks he's such a horror queen, doesn't he? If religion won't be the end of us all, then I guarantee you that Aiden will be. Upon forcing myself to hear Disguises, it left me in stitches... to say the least. These wiccan knock-offs were honestly better when they first started out; sure, Our Gangs Dark Oath, Nightmare Anatomy, and Rain in Hell were uninspired releases, but those barely hurt flies. That new sound album Conviction should've been the horror punk act's final record.
Aiden Conviction	1.5
While unashamedly monotonous and nothing special, Aiden's first two releases were at least bearable. Unfortunately the same can't be said for Conviction, where the band decided to adopt a newer sensible sound... at the expense of becoming more wearisome and downright corny. WiL Francis had dreams about donning a Robert Smith costume, and he sure as hell got his wish! When your band shoots a music video featuring Jeffree Star, you know it's ALL downhill from here...
Aiden Knives	1.5
If Conviction was the final nail in the coffin for these 'horrifying' rebels, then its successor is most likely the knife. I could tolerate Aiden's first two albums for having just a little entertainment, if on the bland and meddlesome side of Hell. Knives is a return-to-form on the band's part, though at the expense of various things; whether it be the irksome lyrics, the overall style of the material being outdated, or the atrocious cover art, much of it is open for interpretation.
Aiden Aiden	1.5
I find it fortunate that Seattle-based outfit Aiden's eponymous studio album just so happens to be the band's final record, although they should've thrown in the towel a long time ago. Aiden features very hollow production values that just can't give the instrumentation presented any punch, but even with a cleaner audio quality, does it truly matter? Lead vocalist WiL Francis and his cronies have basically dicked around in the same graveyard since the group's conception, ripping off a ton of horror punk acts while not possessing a relatively intriguing identity of their own; excluding 2007's Conviction, which was bad not because of the change in musical style - but because the execution of said different sound was lackluster and devoid of emotion. Even when going back to their pre-Conviction musical approach for Knives and beyond, Aiden didn't really redeem themselves following their third album. Please try to understand: I actually do enjoy Our Gangs Dark Oath as well as the Rain in Hell EP in small doses, but every other offering these guys have dished out isn't worth the trouble. This falls under that category, too.
Aiden Nightmare Anatomy	2.0
Aiden Some Kind of Hate	2.0
Aiden Our Gangs Dark Oath	2.5
Aiden Rain in Hell	2.5
This band's latest releases are automatically guaranteed to suck. Sometimes Aiden's earliest material doesn't fare any better in that regard, though they're relatively harmless stuff (if boring); this holds true for Rain in Hell, a fine EP which continues to wash itself in as much corpse paint as possible.
Aimer Sleepless Nights	4.0
One of these days, Kumamoto is bound to get populated by mushroom people and anthropomorphic pianos commandeered by Japanese pop artist Aimer, who manages to make a strong first impression with her 2012 full-length debut. Titled Sleepless Nights, this is a studio album that gives off an air of catchiness whilst not sacrificing any other characteristics just for the sake of sounding merely infectious, and then-21-year-old Aimer showcases a good amount of personality with her gentle, yet also sturdy vocals. Surprisingly neat songwriting and a great vocal performance from this Kumamoto native are brought together to comprise a record which features way more hits than misses. It's safe for me to consider Aimer one of those modern J-Pop singers that are worth checking out.
AJJ Knife Man	4.0
As time passes akin to a deathbed with rollerblades, Knife Man may grow to become one of my favorite albums so far. Practically everything about this record just sounds so likable and, lyrically speaking, quite easy to relate. Andrew Jackson Jihad seem to know folk punk like the back of their rotting hands, I'll definitely give them credit there.
Akon Konvicted	1.5
I'm actually torn between a 1.5 and a medium-level 2.0 in regards to Akon's Konvicted (Jesus, someone's been playing too much Mortal Kombat). On this album, the American artist has a ridiculously hard time balancing the R&B and hip hop elements he often plays around with. This results in an ugly amount of inconsistency and underdeveloped songwriting above other aspects. The record's got too many stinkers to be considered anything but redundant (e.g. "I Wanna Love You" and "Mama Africa"), though it also proves that Akon isn't entirely hopeless; "The Rain" and album closer "Don't Matter" are quite nice for what they are. Konvict is also home to one of the guy's most popular songs, "Smack That", which is so bad it's good.
Akua Naru The Miner's Canary	4.5
Alanis Morissette Jagged Little Pill	4.5
Jagged Little Pill reminds me quite a lot of what my mom enjoys listening to. She's a wild demon all right, but that's part of the reason I love her so much. Getting back to Alanis Morissette's international debut album, this is an incredible record on nearly every account. From the hyper-passionate vocal performance she delivers to this LP's lush production quality, Jagged Little Pill's 57-minute duration never feels long, quite frankly. A landmark in the alternative rock genre - and also one for post-grunge depending on who you ask - it may be overplayed to death, but this is yet another one of those releases in which I think the extreme hype is pretty damn warranted. The affair is living proof that women do have a voice of their own.
Alaskalana Costra/Cumbre	4.0
Somewhere in a pitch black room that has strayed from the lucid path for what seemed like decades, you're stark naked and find yourself coming into contact with Costra/Cumbre, the full-length debut record constructed by Puerto Rico-based noise rock unit Alaskalana. Released in February 2016 and containing a total of 4 tracks, ringmaster Jessica Jane (aka JigglyPDiddy) is not sweating any small details here, for her particular method of incorporating transfixing textures and other shades is most definitely potent. With the exception of "For Your Safety", the songs last a bit more than a measly 10 minutes, which thereby encourages the listener to sit in silence and ponder what's occurring. Costra/Cumbre as an album does a sweet job at showing and not telling via its generally ambivalent atmosphere; see, if that were the other way around, we'd have a Little Miss Shyamalan to handle.
Alesana Try This With Your Eyes Closed	1.5
Alesana On Frail Wings of Vanity and Wax	2.0
I admit to having "Ambrosia" on my MP3 player during a point in my life just for how addicting the chorus was. Looking back at On Frail Wings of Vanity and Wax's already made me realize just how much of a cliche storm the entire album truly is. North Carolina-based rock band Alesana incorporate classical elements into their emo-tinged post-hardcore style, which basically makes them out to be a carbon copy of Chiodos except remove the keyboard sections and add in the melancholic piano. None of the songs on this record do much of anything to grab one's attention barring the aforementioned second track and "The Third Temptation of Paris", and the vocal interplay between Dennis Lee and Shawn Milke could've been handled better by a dozen other tag teams.
Alesana Where Myth Fades to Legend	2.0
Alesana Confessions	3.0
It was a dark and stormy, but sort of comfortable night. Alesana, after realizing that they were falling further and further away from relevancy as they knew it, had no choice but to make a comeback with the newest addition to this dreary catalog of theirs. To give the band credit, Confessions is a mostly tolerable effort on Alesana's part. It might have what can easily equate to an overall dated sound and the vocal performances this time around are more boring than cringeworthy (hearing Craig Owens jam his voice up your ears and ass will eventually do that), but rest assured the musicianship is the most enjoyable characteristic. This post-hardcore act may become virtually respected after all if they take the latest offering's musical direction a step further on future releases, all while reducing cliches in the process; oh, we could just dream. Recommended songs: "Comedy of Errors," "The Puppeteer," "The Martyr," and "Catharsis".
Alexisonfire Crisis	4.0
Crisis is a record incapable of overstaying its welcome. The tracks on display have rousing choruses and - figuratively speaking - bitter songwriting choices. Dallas Green's singing and George Pettit's immovable shouts are fairly balanced, and the rest of the members of Alexisonfire hardly miss a beat. It all sounds messy production-wise, though said recording quality allows this album to shed any traces of being toothless.
Algiers Algiers	4.0
It would certainly be an honor to astral project while Algiers' self-titled debut recording plays from a short distance, no matter how intimidating the procedure will become later on. Even the people who bear the most unhappiest of thoughts aren't incapable of separating from their physical bodies as this album goes on and on. Basically, I'm saying that the entire record is very, very nice to hear.
Alice Through The Windshield Glass Brutalis Australis	2.5
I can't help but feel as if there's certain aspects on Brutalis Australis that are reminiscent of a less confident version of A Different Breed of Killer, relatively speaking. Overall the album is nothing out of the ordinary for a deathcore band such as these amigos, as it just so happens to be both vocally and instrumentally semi-sufficient - and that's basically all. The group's name isn't lacking in the ugh department, on the other end of the spectrum.
Alien Ant Farm Always and Forever	3.0
Serving as a fine comeback for Alien Ant Farm, while I may not feel as if their latest offering Always and Forever is anything godlike, the album is still rife with Dryden Mitchell's addicting vocal hooks and provides a nice balance of rock-driven instrumentation and modern production values that neither hurt or help the overall sound.
Alien Ant Farm TruANT	3.5
Alien Ant Farm soldier on throughout the catacombs of TruANT with the musical abilities they've grown so fond of utilizing, and do very well in crafting a number of admirable tracks partially because of Dryden Mitchell's zazzy vocal performance.
All Out War Assassins in the House of God	3.0
All Pigs Must Die God Is War	4.0
This entire album starts and ends like a stampede of fairies set ablaze. All Pigs Must Die show off their no-frills savagery on the album God is War, alongside the production quality which proceeds to slash wounds upon the body from the waist down; it helps that Kurt Ballou and Ben Koller from Converge lent a hand to the project.
All Shall Perish Hate. Malice. Revenge	3.0
All Shall Perish The Price of Existence	3.5
Based in Northern California, All Shall Perish are one of deathcore's ensemble darkhorses; in a subgenre that is mocked to no end (akin to nu-metal), they stand out amongst the crowd and are normally treated with extreme respect. The Price of Existence, released back in the year 2006, fares nicely even by today's standards, serving as a bit of a testament to what many of ASP's contemporaries should opt to do: focus less on your image and more on the actual material. Unappealing production values and an inconsistent strength in the songcraft notwithstanding, The Price of Existence is still an overall satisfying album which presents itself as furious, yet thankfully not stupid. Frontman Eddie Hermida's shrieks and growls are definitely what make the record for me - 'cause that bastard sure knows how to deliver on those. Angel recommends: "Eradication," "Better Living Through Catastrophe," "Prisoner of War," "We Hold These Truths...," and "The Last Relapse".
All Shall Perish Awaken the Dreamers	3.5
All Shall Perish work with a concise, yet undeniably deathcore sound invigorated by a wide range of melody and some rather potent songwriting throughout Awaken the Dreamers. If you're not enjoying this because of Eddie Hermida's vocal performance - which is otherwise on point - then listeners will apparently get genocidal erections just from Chris Storey's well-done guitar shredding.
All That Remains A War You Cannot Win	1.0
All That Remains The Order of Things	1.5
Due to the overwhelmingly negative reception All That Remains' latest recording had garnered on Sput, I decided to shoot myself in the foot to see what all the ruckus was about - and dear sweet Neptune, it was becoming as clear as a penguin with 20/20 vision. Originally my rating for The Order of Things was a mere big fat 1.0, though at the time I initially jammed it, the experience was through YouTube and the audio quality was overall pitched up. Almost two months have passed by now and I re-listened to ATR's recent concoction (if you can call it that) via Spotify. In a nutshell, The Order of Things, while only faring slightly better than A War You Cannot Win, is akin to a guidebook on how not to take a more mainstream approach with your music. Phil Labonte's vocal melodies are hackneyed and his once acceptable death growls/screaming are painfully embarrassing, while the songwriting is pretty darn pathetic throughout most of the album. Bassist Jeanne Sagan's singing is unnecessary as well, adding nothing to the so-called atmosphere and swagger. Admittedly, though, *some* of the guitar work here isn't entirely hopeless. At the very end of the day, All That Remains should've been wise enough to know that The Order of Things gives them barely any reason to fight. Recommended tracks: "Fiat Empire," "Criticism and Self Realization," and "Pernicious" to a bit of an extent. Boy, am I a masochist.
All That Remains Overcome	2.0
All That Remains Behind Silence and Solitude	3.0
Many naked apes are aware of All That Remains for (as far as whatever knowledge I possess) two things: the Killswitch Engage-inspired metalcore stylings that imprisoned The Fall of Ideals, and the recent "post-grunge-meets-heavy metal" direction this band feels comfortable with on their latest albums. That said, ATR's debut full-length outing Behind Silence and Solitude offers more of a melodeath vibe. Listening to this makes me want to compare the group to Dead to Fall; frontman Philip Labonte's growls recall Jonathan Hunt, while both outfits at the time were pretty much influenced by Gothenburg metal. Though the musicianship could leave room for adjustments, Behind Silence and Solitude doesn't really lack in the composition area. Guitar harmonies are tasteful and sync up just fine with the drum work, and the production quality is dirty enough to be compatible.
All That Remains ...For We Are Many	3.0
Alter Bridge Blackbird	4.5
Amaranthe Amaranthe	3.0
Amaranthe's self-entitled debut album is wholly predictable in execution, but the record is also no less fun and does indeed boast decent replay value. Parts of this Swedish pop metal outfit's general sound remind me of a watered down Deadlock, what with the utilization of harsh and female singing vocals, and there are moments on here where I'm able to recall a slightly more tolerable version of Sonic Syndicate. Safe and dorky as the finished product is, let me reiterate: Amaranthe is fun and contains an okay amount of replay value in the long run. This is worth coming back to for the vocal performances, particularly in Elize Ryd's case; what is it with sopranos being so gracious?
Amaranthe The Nexus	3.0
Going off of the band's previous studio album, Swedish metal troupe Amaranthe's sophomore record isn't much different in terms of both quality and overall composition. Released in 2013, The Nexus is every bit as corny, stereotypical, and unimportant as its predecessor - and yet the ensemble's second offering also more or less possesses a rather similar quota of amusement. The instrumentation continues to be consistently fine throughout the album's running time whilst the clean and screamed vocal performances are still bearable (if generic as balls). Beyond that, there isn't much else I can say regarding The Nexus. On the other hand, though, I'd like to point out that "Electroheart" may very well be one of the most danceable tracks Amaranthe have ever crafted - which is saying something.
American Authors Oh, What a Life	1.0
Amigo the Devil Manimals	4.0
Demon alcohol makes humans do morally corrupt things - and these so-called things can be rather difficult to describe. Orlando-based murder folk act Amigo the Devil's 2010 debut EP presents itself as an ode to lunacy as much as it strives to become a love letter written for serial killers. Whatever subtleties that lurk within Manimals grow more pronounced with additional listens, and Daniel K.'s wretched, yet also subdued vocal performance throughout the recording is nothing short of effective. They say that once you embrace the touch of madness, you'll be doing your perfect wife in no time at all. Angel recommends: "Dahmer Does Hollywood" and "Infamous Butcher".
Amy Can Flyy Dinosaurs Go Rawr	1.5
Amy Lee Aftermath	2.5
An Arrow to the Knee Getting Over Thunderdome	1.0
An Cafe Magnya Carta	1.5
Anaal Nathrakh Passion	2.5
Anaal Nathrakh Hell Is Empty and All the Devils Are Her	4.0
Basically this means Heaven was immediately deemed as a realm dominated by males? Anaal Nathrakh just told us all about the women being the superior forces of insanity, and as a guy, I'm more than alright with that.
Anal Blast Vaginal Vempire	2.5
Anal Cunt 5643 Song	2.5
Anal Cunt Morbid Florist	2.5
Morbid Florist is a stupid demo album, albeit one that never fully characterized what Anal Cunt were really all about. The grindcore act's 'true potential' would come to blossom on future releases including I Like It When You Die and even Fuckin' A, though as it stands, this early AxCx recording is entertaining for freaks who just got deported.
Anal Cunt Top 40 Hits	3.0
Anal Cunt Everyone Should Be Killed	3.0
You must be wicked underground if you own this. Packed with 51 'tracks', Everyone Should Be Killed's most noteworthy issue is that the collection of 'songs' are that dead faggot Seth and his bumbling allies of fistfuckery channeling every bit of their talentless energy into nonstop squawking and riff intercourse. But such a shitty nitpick came from a trendy fucking pussy, who I most certainly am... Loser.
Anal Cunt Fuckin' A	3.0
Instead of going back in time just to vote for Hitler, Anal Cunt decided that the only way they had to go out with a bang was to issue this 'cock rock' parody album Fuckin' A. Calling this shimmering brilliance is stretching things a bit like a halfway vagina, though AxCx did their part well and set ablaze the world's loudest stereo. Seth Putnam died of a heart attack because he was gay like the rest of us; what a trooper.
Anal Cunt 40 More Reasons To Hate Us	3.5
I'm not really allowed to like Anal Cunt anymore ever since they signed with Earache Records. Stupid fucking comment aside, 40 More Reasons to Hate Us was certainly where AxCx started taking off, throwing insults and other hilariously vulgar, crude, idiotic jokes into their song titles and began writing moronic, yet noteworthy lyrics. Most of these were of course belted out by Seth Putnam's indecipherable vocals, as he's heard over the frantic, faux-grind instrumentation; did I forget to mention the lovable prick got into a coma and eventually died? Take this seriously and your face will be punched in, but if you want sick laughs, the album won't not be a fun enough time - and if you possess both feelings like me, then let's just say the zebra-scented shit is really enjoyable (if lacking in variety).
Anal Cunt Picnic of Love	5.0
In all my days here on Sputnikmusic, never have I come across an album that is more sophisticated than Picnic of Love; I've never bothered to experience a record more affectionately ironic or legendary than this one, either. Forget the Anal Cunt you knew from I Like It When You Die or even 40 More Reasons to Hate Us, and dive right into the tapioca-flavored realm of a sensitive Seth Putnam, who doesn't need to kick pregnant women in their stomachs just to show us how talented he really is. His vocals ooze with so much emotion here that it must be natural, and the acoustics demonstrate capability which is the equivalent of our dear Earth shattering to pieces. You'll laugh, you'll cry, you'll occasionally become hoarse with rage... But the point is: listeners beware, you're in for a dynamic surprise.
Anderson .Paak Malibu	4.0
Native to Oxnard, California, Anderson .Paak's 2016 full-length album has a noticeably laidback feel to it. Clocking in at an hour long, Malibu is effective in balancing the hip hop, soul, and R&B influences that usually float in and out of the record, and Anderson's singing also helps in this regard. Though he doesn't quite strike me as a convincing storyteller yet nor is the album consistently powerful, there still is a lot to like about the young man's efforts here. He boasts serious potential and could release a true winner of an offering eventually once Anderson learns to lay off a little bit of the fat (*cough* "Silicon Valley" *cough*).
Andrew W. Gold Fool's Gold	4.0
This EP's known by the fanciful name Fool's Gold, and whilst it just barely hits the 20-30 minute mark, swimming from Point A to Point B - which is this release, of course - is certainly time well spent. Andrew Gold (AKA Insurrection)'s utilization of electronic music is bare bones, albeit the material is simple in a highly thoughtful, mostly stellar manner. I myself am looking forward to see what else Ins can bring to the round table with his slightly obelisk-sized abilities.
Andrew W.K. I Get Wet	4.0
Andy Black The Shadow Side	2.5
Under the moniker Andy Black, this Black Veil Brides vocalist provides our ever so inviting world an overall satisfactory solo debut in The Shadow Side. As far as anything Biersack-related is concerned, it's relatively refreshing at times and does boast a nice amount of catchiness, which is most prevalent in numbers such as "We Don't Have to Dance," "Put the Gun Down," and "The Void"; by the way, these are what I would call the best tracks off here. The positives stop there, however, seeing how Andy ends up leaving an unimaginative first impression in the long run. The archaic nature of this record coupled with its schlocky lyricism prove to be The Shadow Side's undoing - and that's a surefire sign that improvements have to be made come future releases. Mostly solid hooks can't quite make up for vapidity.
Aneka Aneka	3.0
Although she's technically not the first Japanophile, Scottish pop singer Mary Sandeman (aka Aneka) was essentially a weeaboo before those types of people were ever considered cool - and I use the term "cool" loosely. Released under the Aneka moniker, Sandeman's first and only studio album reeks of 80s from beginning to end. The record is cheesy, derivative by today's standards, and ultimately inoffensive, although it's still by no means terrible. It didn't take long for Sandeman to gain one-hit wonder status thanks to her major hit single "Japanese Boy", which is without exaggeration one of the most addictive and fun tracks that Aneka has on display. What also helped was that this particular song gave Sandeman a fairly modest revival around the 2000s, seeing how it was used for Grand Theft Auto: Vice City and all, but that's besides the primary point here. Bottom line: for those who prefer their music retro and as corny as possible, I would suggest you give Mary Sandeman's debut a chance.
Angelspit Hello My Name Is	3.5
Imagine Mindless Self Indulgence having a one-night stand with The B-52s and Retard-o-Bot in a forest of gyrating ponies, and the result is this album. It can be argued that while Hello My Name Is doesn't show much in terms of new blood, the album makes up for this bungle via enjoyability and loads of electronic beats which you'll commit to memory in no time.
Angelspit Hideous and Perfect	4.0
Alongside the bitter industrial sounds, Zoog Von Rock and Destroyx's savage efforts on Hideous and Perfect are as compelling as a bipedal raven stranded in the middle of a crapsaccharine world - though this is one universe worth living in. While the record itself bears a great deal of inaccessibility thanks to the amount of distortion utilized, this album's outsider-like quality at times can only make the heart grow fonder.
Animal Collective Strawberry Jam	4.5
Stranded in a desert, your only two companions for the time being are yourself and a giant hot fudge sundae, with blood seeping from the bottom of the cup for reasons that are best left undisclosed. It's not even four minutes in, and as the ice cream melts abruptly, you're screaming hoarse with sadness and bash your cranium against the sand almost endlessly. At the end of the day, fortunately, there arrives a hope spot: the sand is soft and comforting - and you can't help but want it to get everywhere on the person. This is where Baltimore-based experimental pop project Animal Collective comes into play, as their 2007 studio album Strawberry Jam represents both a bastard sun and lovable dunes. The record is as immediate as it is serpentine, what with a strong focus on vocals alongside enterprising sounds further enhanced by Scott Colburn's neat engineering skills. AnCo's seventh full-length effort clocks in at a modest 43 minutes, and there's rarely a moment on here that goes unchecked throughout Strawberry Jam's duration. I'd like to also point out that this makes the first Animal Collective recording I've heard in its entirety; time well fucking spent.
Animals As Leaders The Joy of Motion	4.5
It doesn't really matter whether you're a casual or diehard djentlemen, because as far as I'm concerned, The Joy of Motion is an ingenious, creative, and fun studio album altogether. Without missing much of a beat, progressive metal triad Animals As Leaders let both their technical and musical juices flow in a manner that is too satisfying to go unnoticed. Though the record is devoid of vocals, let it be known that a music release such as this that is purely instrumental can't be brushed off as boring IMO; I'll use Evan Brewer's Your Itinerary as an example, for while there are no voices to discern, it's still very enjoyable and adventurous without any kind of vocal performance to go off of. Back to the subject of Animal As Leaders' The Joy of Motion, it should be said once again: this is quite an entertaining LP - and one that possesses tireless replay value. Misha Mansoor and Adam "Nolly" Getgood's (of Periphery) contributions most certainly help.
Annotations Of An Autopsy Welcome To Sludge City	1.0
Annotations Of An Autopsy Dark Days	1.0
Annotations Of An Autopsy Before the Throne of Infection	2.0
Any Given Day My Longest Way Home	2.0
How many snoozefests does it take to generate a bare bones debut album? As far as My Longest Way Home is concerned, there are 10. It's not inherently terrible by all means, though German metalcore quintet Any Given Day definitely sound uninterested throughout the record's duration about as much as I am. The instrumentation lacks a lot of punch, the songwriting is very commonplace for the sake of it, and this album overall shows that AGD have yet to make an identity of their own whilst keeping some of the musical style's signature traits. I swear that the majority of My Longest Way Home is moldy bread if it was converted into heavy metal for bros with hoes.
Apator Masturbate in Praise of Black Satan	1.0
I like to think that this album was recorded during either a horrific drug trip influenced by Beelzebub, or maybe Robert van Arnhem was born with life-threatening diarrhea. But no matter how one wants to see it, Masturbate in Praise of Black Satan has flames which grow higher; everybody stop delivering those 5's.
Ape Cave Pillars Of Evolution	4.0
This might as well be a soundtrack to a setting where monkeys get the urge to combine with machines just so they can enslave mankind, and have them fulfill even the most mundane of chores. Ape Cave's full-length debut release is a tornado of sludge metal, psychedelia, and stoner sounds which resonate very well. There are times where Pillars of Evolution become a little tedious, but putting that issue aside, this still manages to make a big first impression. The forceful craftsmanship and the structure of a lot of the tracks here will warant multiple listens just so one can try to spot many minute details.
Aphex Twin Windowlicker	3.5
Aphex Twin Computer Controlled Acoustic Instruments Pt 2	4.0
Aphex Twin Richard D. James Album	4.5
An album I've really never checked out until just recently. Under the memorable alias Aphex Twin, Richard D. James himself showcases his stunning usage of synthesizers and some of the most strangest beats one will ever come across in an electronic release like this; for a clear-cut example, hear the bizarre illustriousness that is "Logan Rock Witch". The imagery that is conjured up alone is impressive, and that cover art depicting Richard's signature grin isn't even the tip of the iceberg. Calling Richard D. James Album a flawless masterpiece is going to be arguable for days and nights, but you're insane if you haven't experienced this technologic canvas.
Aqua Megalomania	1.0
Let's make two things abundantly clear: Danish eurodance outfit Aqua prior to their reformation haven't aged well and the music in itself is hardly anything great. However, the tongue-in-cheek nature of Aquarium and Aquarius alongside a few legitimately nice moments at least showed that the overall cheese wasn't too bad; "Turn Back Time" and "Roses Are Red" are honest to God jams for me. This act's comeback record released in 2011, titled Megalomania, is just garbage from beginning to end. Whilst darker and less squeaky clean than its antecedents, calling Aqua's third full-length effort comparatively mature would be a huge overstatement; the goofy, shamelessly corny four-piece have transformed into just about every typical electropop artist as well as troupe one can think of. Assuming people actually cared about these guys outside "Barbie Girl," consider your childhood maimed and spat upon. A lovable step in the right direction... Megalomania ain't.r
Aqua Aquarium	2.5
Wrapping plastic was so fantastic - back in the 1990s, that is. Nowadays, as you look back on the Eurodance hit that was "Barbie Girl", the listeners whom devote their lives to goodness gracious cynicism as well as the animals living in the nearest forest begin to realize that life was really never their creation. Aqua's debut studio record is about as cartoonish and vapid as your average high school girl who just recently experimented with ecstasy. The cheesiness throughout Aquarium barely lets up for even a second and there's a shit ton of recycled melodies which become rather apparent during the album's second half. However, be that as it may, this is still fairly memorable (not for all of the best reasons, though) while the female vocals from Lene Nystrom are actually solid so long as she doesn't force that whine of hers down our earholes. Her chemistry with Rene Dif is pretty darn questionable, by the way, and I can't in any way describe how awkward it is due to the amount of narm that's already swallowed my essence right about now.
Aqua Aquarius	2.5
Cheese can't be truly appreciated without a glass of wine and salty crackers. There are people out there in the world who claim that something considered "cheesy" to them must be avoidable at all costs, without even taking into account that there's both good and outright terrible food made from milk. Danish-Norwegian Eurodance project Aqua fall into the middle: sometimes their dairy works and sometimes it doesn't quite click. The band's sophomore full-length record Aquarius came during a time when the interest in Aqua's core genre had waned, thereby having shittier commercial success than Aquarium. Whereas the previous album housed many similar-sounding songs, studio offering #2 demonstrated the outfit's willingness to experiment via acoustic instruments and different sounds such as country and Latin while maintaining the trademark style. Aquarius is simply okay like its antecedent, but if there's any consolation, I'd rather take these over Megalomania in a heartbeat. Angel recommends: "Cartoon Heroes," "We Belong to the Sea," "Halloween," and "Aquarius".
Arc Iris Arc Iris	4.0
Till death do us part; till we cease the concept of likability; till someone figures out how to do the electric slide atop Xanadu 2.0. Yeah, what I'm saying really isn't leading up to anything super vital, so let me boil it all down by mentioning how classy Arc Iris sounds. Based in Providence, Rhode Island, Arc Iris are an American unit whom I'm certainly expecting greater things from come subsequent recordings. Packed with 11 songs, the band's self-titled debut release is sweet from a production standpoint, well-crafted in terms of both songwriting and instrumentation, and is generally enjoyable enough to sit through with nary a problem. Though mainly a folk record, this outfit's first album also boasts jazz and indie flavors without going too overboard or artificial with the stylistic influences it tends to carry. When I'm not liking this for how on point a lot of the tracks are in terms of composition, I'm hearing it for Jocie Adams' unwavering vocals alone. Whether you're just getting into folk music or otherwise, this ought to be your kind of thing. Thanks, Pleb!
Arca Mutant	3.5
Everywhere you look, there exist people who are just not right in the head. Whether these denizens are bashing their craniums against the wall silly or spouting nonsensical crap like how babies would be the most intelligent creatures if they possessed the ability to talk, the actions that the crazies commit range from amusing to plain ridiculous. If we as the mentally stable folk delve too far into madness like them, we might become hideous mutations considered both rare and commonplace. This is my interpretation of Alejandro Ghersi's (aka Arca) 2015 studio album, entitled Mutant. Lasting for an hour and 2 minutes, the record is an undeniably interesting release with a lot going on during its duration. Although it's a tad directionless from a composition perspective and contains a few throwaway songs, this album is still very commendable for what Arca was trying to do here. I feel that Mutant will reveal itself more to the listeners if they took the time to give it additional spins. I must say that sooner or later, the LP's contents will all come together.
Arch Enemy War Eternal	2.5
With former The Agonist frontwoman Alissa White-Gluz stepping up to the podium of black ashes, you would expect new things to be brought to this rusty table. Lo and behold, War Eternal sustains casualties due to how restrained most of the compositions on this album are, thanks to Michael Amott's method of hogging the songwriting spotlight and barely letting anyone else in Arch Enemy contribute to said process. Alissa doesn't sound nearly as interesting, presumably because she hardly utilizes her operatic clean vocals just to add on to the atmosphere, or make up for how dull the overall riffage is. If you're either a big fan of the melodic death metal genre or enjoy Arch Enemy's work in general, you could find something to like about War Eternal. As it stands, however, the album isn't so much bad as it is plain boring.
Arch Enemy Will to Power	2.5
Arcturus Arcturian	4.5
Anomalous and vaguely innovative, Norwegian avant-garde metal band Arcturus's 2015 record certainly tries as best as it can to convince listeners that utmost patience is a virtue in moments such as this. Arcturian, although not really a cakewalk to sit through, is like an ingenious marionette sitting on the lap of a fair maiden once people begin to let it grow on them. It's beauteous from an instrumentation perspective, and the album proper may very well stand the test of time. The fusion of black metal, folk, electronic music, and also symphonic elements here is cheesy, but keep in mind that bombast and goofiness do have what it takes to live long and prosper. Arcturian, clocking in at 47 minutes, is an undeniable attention grabber - and it's extremely fun from start to finish. ICS Vortex's vocals combined with the unpredictable, yet strong instrumental work are a delight and a half.
Area 11 All The Lights In The Sky	4.0
Having taken their namesake from what Japan is usually referred to as in the anime series Code Geass, Area 11 are a very interesting stable. This English band pretty much came up with their own sound dubbed 'gaijin rock'; the act's style borrows inspiration from Western rock and pop traditions - namely post-hardcore, alternative, and what might as well be synthrock - with lyrical themes heavily referencing East Asian culture. The musicianship on All the Lights In the Sky is normally concise and thorough, with the keyboards courtesy of frontman Sparkles* (yes, that's his name) standing out the most. While the songwriting in a sense feels tawdry and a little uncomfortable at parts, Area 11 revel in the cheesiness and merely go for broke, culminating in the listener ending up having a gay old time. Whether you're a manganime junkie or otherwise, this studio album has enough aspects to keep you from staying trapped down in the underground. Recommended picks: "Euphemia," "Shi No Barado," "The Strays," "Heaven-Piercing Giga Drill," and "Bousouzoku Symphonic"
Ariana Grande Yours Truly	3.0
Victorious co-star Ariana Grande offers very little on her debut album Yours Truly. It rarely changes in tempo or pitch - and it kinda doesn't help that most of the record is a throwback to 90s pop and R&B - but Ariana herself has a surprisingly nice voice and the production appropriately suits each track.
Arise And Ruin The Final Dawn	3.0
Canadian metalcore band Arise and Ruin aren't really showcasing anything worthwhile on their debut full-length release The Final Dawn. For what it is, the quality of the instrumentation is a bit up to scratch regarding the album's overall sound and there are a few people out there who might gain a stiff upper lip from hearing the vocalist alone. Proceed with a skinned lizard's trepidation would be my only advice.
Armored Saint Symbol of Salvation	4.0
Like a Molotov sitting by itself in the middle of a destructible wasteland, Symbol of Salvation is a heavy metal album just waiting to explode on its listeners upon impact. While not exactly original in hindsight, Armored Saint basically go on ahead and move at the speed of a bomb-carrying blimp.
Arnold Schwarzenegger Total Body Workout	2.0
Before he was the Terminator and the Governor of California, Ahhnold was an unintentionally hilarious bodybuilder who took steroids because Turbo Man told him to. Total Body Workout has 1980s songs playing in the background which are listenable, yet also soaked with the most blatant of cheese in existence. It would've been far more enjoyable if the likes of "Bohemian Rhapsody" or a prehistoric version of Austrian Death Machine were present, though what can you do? I'll tell you what your candy-coated ass can do now: GET TO THE CHOPPA!
Arsis We Are the Nightmare	4.0
The servants to the night have busted out an album soaked in shameless technicality and unabashed melodeath sounds. We Are the Nightmare does have a tendency to take a nosedive in recording quality due to how overpowering the instrumentation can be, though Arsis seem content enough to not allow it to interfere.
Arsonists Get All the Girls Hits From the Bow	3.0
This band's name and track titles tend to rub me the wrong way. Nevertheless, Hits From the Bow is an album which could take a few listens to really love, even if you hate Arsonists Get All the Girls' guts with an unyielding vigor. The general vocal performance shared between Remi Rodberg and Cameron Reed is fine enough as is (if a tad grating) , and it's clear that the other bandmates are skilled instrumentalists. However, I do wish there was more power and diversity within a couple of the compositions themselves otherwise.
Arsonists Get All the Girls Listen to the Color	3.5
Up until now, I never really bothered to hear any of this band's material. Let's just say I have my reasons which will go unanswered. The Santa Cruz, California act Arsonists Get All the Girls issued an album in 2013 entitled Listen to the Color... I don't get it either, but anyway! This record astonished me, in that it was actually not too shabby. The vocals certainly take some time to accept, though you'd only be saying such a thing if you weren't with these boys at the very beginning - and hey, Remi Rodberg compliments AGATG's sound. Essentially put, Listen to the Color is a feverish offering which contains lovable dorkiness and a few surprisingly tamer moments above all else.
As Blood Runs Black Instinct	2.0
As Blood Runs Black Ground Zero	2.0
There's very little musical progression throughout Ground Zero's 33-minute run, and the guitar riffage bears nothing but a bitter aftertaste. While the clean vocals that do show up are fairly decent, and the same can be said about the instrumental track "Rumple", virtually every other aspect of this record feels far too primitive and vanilla-like.
As I Lay Dying Frail Words Collapse	3.5
It may lack in cohesive songwriting and contains a weaker second half, but Frail Words Collapse is still a very sufficient metalcore album nonetheless. Its fierce passion delivered by the members of As I Lay Dying themselves works quite well, and only briefly does this tend to become aimless.
As the World Fades As the World Fades	1.5
On one hand, the fact that Canadian electro-metal act As the World Fades only ever put out one full-length in their career (so far) is kind of depressing in the sense that the band's debut does manage to have some genuinely fine moments; said instances of tolerance stem primarily from "Loss of Time Notion", by the by. But on the other side of the spectrum, you'll be even more saddened because of how overall unpleasant the self-titled record is. {sigh} Another day, another shitty Nintendocore unit that basically cashed in on a vogue that couldn't let go of the 8-bit past. Can you pigskins believe I used to admire "Canishoryuken"? I'd like some pound cake.
As They Burn Will, Love, Life	3.0
As They Burn have smatterings of competence to show throughout Will, Love, Life, a 36-minute studio album that's slightly more amiable than expected. Not even one of the tracks off the record, "F.R.E.A.K.S.", is all that bad considering the noteworthy guest appearances. They have a shitload to improve on, but I feel this French metalcore band can really get around if the members polished a couple jagged edges.
Ash Koosha GUUD	4.0
Despite the album's runtime, Guud is not that easy of a record to sit through. It can be argued that the full-length offering's very nature isn't for the faint of heart, and it also isn't recommended for people whose minds tend to wander endlessly. Iranian multi-instrumentalist and record producer Ashkan Kooshanejad's debut LP explores a variety of textures and sometimes even moods whilst being grounded in the electronic music genre, to the point of infrequently losing focus. Be that as it may, however, Guud is a pretty solid album that's certain to grow on whoever might be checking it out initially come later listens.
Asher Roth Asleep In The Bread Aisle	1.5
A white man that can't jump tries to make up for his lack of momentum through means of crafting Aslep in the Bread Aisle, Asher Roth's debut album that brings jazz and hip hop music together. As it turns out, he can't necessarily rap either, though you can tell he's trying his hardest. Asher makes partying seem like the most mundane activity in the entire world, and everything on this record seems too overproduced.
Ashlee Simpson Bittersweet World	2.5
She might've had creative control over Bittersweet World, but there's just something... off about Ashlee Simpson's latest album. Much of the material here is pop rock, albeit with less of a guitar-driven motif and more along the lines of a vintage, dancey formula; some of it works, though only with predictable results. Overall, the release could've turned out worse than I thought it did, but there also should've been more substance put into the effort.
Asian Kung-Fu Generation World World World	4.0
Exhibiting solid production values, immeasurable catchiness, and a less-is-more approach that can be mostly respected throughout World World World's 44-minute duration, Japanese rock band Asian Kung-Fu Generation may not be pushing boundaries with the fourth studio album in their catalog, but they're at the very least consistent and seem to know themselves inside and out. Few will argue that what transpires during the record is lazy songwriting, though I'm willing to counter with, "It's preferable to what a lot of modern visual kei groups are doing these days". AKFG are able to execute a rather generic sound better than even some of their Western and native contemporaries. On a side note, "After Dark" is such a memorable jam and a half.
Asking Alexandria From Death to Destiny	1.0
Horrifically asinine and far too uninspired, From Death to Destiny is the epitome of a fossil which should've been simply kept buried. Sure, there's not so much a sign of synth-like elements anywhere on this album, but at least that was somewhat tolerable; the keyword is 'somewhat', my friends.
Asking Alexandria Stand Up and Scream	1.5
Asking Alexandria The Black	3.0
Asking Alexandria are one of various modern mainstream bands that I can't for the life of me stand, putting it lightly. I'd be here all day and night talking about why I detest this ensemble so, but for the moment, this user can rest easy knowing that The Black is actually a Growing the Beard sign for these Englishmen. Studio album #4 is very enjoyable in short bursts, and the recording showcases musical growth in comparison to AA's previous releases; this isn't saying much, but I'd rather have fun than go through utmost lunacy with a style such as metalcore. Predictable and unoriginal as it is, The Black ends up functioning as a step in the right direction for the quintet. With that said, Asking Alexandria ought to stop recruiting members with ridiculous names.
Asobi Seksu Citrus	4.5
Asobi Seksu have outdone themselves on this spectacular release. On their full-length album Citrus, be prepared to sit down and enjoy the guitar melodies and beauteous synth utilization alongside Yuki Chikudate's gorgeous vocals. If you're into shoegazing music, then this one's for you; and if you've a taste for indie overtones, this record has quite a bit of that as well.
Assfort Five Knuckle Shuffle	3.0
The lo-fi quality of this album prevents Five Knuckle Shuffle from deserving a higher rating in my book Assfort do, however, utilize the piss-poor production to their advantage through dishing out as many mosh-worthy songs as they can afford (by 'many', I mean 10)
At the Gates At War with Reality	3.5
Once you get past the coarse production style, At War with Reality ends up being an overall consistent melodeath album. It's understandable how many At the Gates boy and girl scouts assume that this is by far the band's weakest effort; though you could get away with saying the same for Siren Charms, courtesy of another melodic death metal veteran In Flames. Beat down the nostalgia boner you've earned years after jamming the likes of Slaughter of the Soul and With Fear I Kiss the Burning Darkness, and AtG's fifth studio recording will be smooth sailing.
Atreyu Fractures in the Facade of your Porcelain Beauty	1.0
This is a band who has never stood the test of time as much as they should've. Why? To start off with, Southern California's Atreyu has always been one of the most clich? metalcore groups out there; every now and then, their releases have maybe four or five tracks which don't need the flak, but they're absolutely nothing to babble on about. Fractures in the Facade of Your Porcelain Beauty - Christ, what a stupid title - is the band's second EP and their worst offering ever. The sound quality and mixing done on these five songs are atrociously bad, and no problems are solved seeing as how uncomfortable the quintet are. Brandon Saller to me possesses tolerable pipes, though on this EP, he has a hard fucking time not being off-key since this is the first release to showcase him play both drums and sing. Alex Varkatza's growls are the equivalent of the Boogeyman unable to fight off his own shadow, so there's not much else I can say. The instrumentation is mostly lifeless and does nothing to make up for Alex and Brandon's cum-guzzling performances, but there *is* a rare (if tiny) spot of light within "A Letter to Someone Like You." By and large, Atreyu have shown marginal improvements here and there eventually, yet Fractures was still the lowest point.
Atreyu Lead Sails Paper Anchor	1.5
You know the musical progression this quintet had going for them on A Death-Grip on Yesterday? Atreyu's fourth studio album is merely them abandoning the modern metalcore ship, in favor of setting foot on more accessible hard rock territory. People will argue that Lead Sails Paper Anchor is actually their best work thus far, though I disagree with such a statement. Yes, the songs here *do* feature some infectious choruses ("Falling Down", for example), but for the most part, this is pretty godawful. There are those out there who will counter with Suicide Notes and Butterfly Kisses and The Curse, though at least those offerings were memorable; for both good and bad reasons, mind you. A few diehard Atreyu fanatics would probably be ashamed to sit through this and give up.
Atreyu Suicide Notes and Butterfly Kisses	2.0
Suicide Notes and Butt(erfly Kisses) just can't seem to decide whether the album itself wants to be a McIntosh, a Golden Delicious, or a decomposed tree stump. Atreyu shows incredibly brief, but thankful sightings of potential throughout their first album; notably on "At Least I Know I'm a Sinner" and "Lip Gloss and Black". Beyond those tracks, unfortunately, the rest of the CD's songs are nigh-barely even worth one listen, and they're plagued with lyrics which read akin to a manic-depressive kid's diary entries. If you're a metalcore nut, try listening to another band whose members bear more vigor and thought-out formulas.
Atreyu Congregation of the Damned	2.0
Considered the band's return to form, Congregation of the Damned attempted to right most of its antecedent's wrongs by further augmenting Atreyu's metalcore roots whilst still holding onto the mainstream appeal that the previous album swung around. The group unmistakably had intentions for both releases, yet didn't properly take anything into account; this may be slightly better than Lead Sails Paper Anchor, though it's not the definitive Atreyu album some were honestly hoping for. A Death-Grip on Yesterday was the closest these guys got to actually being entirely tolerable musicians, and that's all she wrote.
Atreyu The Curse	2.5
Just like the rest of you good ol' residents, I was 11 once and couldn't get enough of the metalcore quintet Atreyu. As years passed, the times had changed in either an awful or better way. The Curse is a bit less of a nervewrecker unlike its nigh-exclusively disastrous antecedent, though it just so happens to be plagued by said album's identical problems; the verse-chorus-verse-chorus-bridge-chorus ideas being done to death, alongside the awkward imagery and Alex Varkatza's unpolished screaming, deserve honorable mentions.
Atreyu Visions	2.5
Okay, we all get it... Alex Varkatzas just can't growl so well to save his own life. But to be fair, this doesn't make all of Atreyu's releases an instant bust; take Visions for example. It is perhaps the group's most underdeveloped effort, though there's something quite endearing about it. The songs have more of a punk influence, with this band occasionally sounding like a poor man's Death by Stereo. Instrumentally speaking, this release is pretty decent and it resonates just fine with Alex's screams, no matter how off-putting they may be. Had Atreyu continued with this style and fire their frontman, they wouldn't receive nearly as much snark and disdain as they do now.
Atreyu A Death-Grip on Yesterday	3.0
Oh, man, what is there to even say about Atreyu? One of the most trite-sounding metalcore groups? Another unimaginative band fueled only by King Kong's anorexic son's screams devoid of any real passion? Well... You could speak your mind with these and a little more. A Death-Grip on Yesterday tries its damnedest to cut through those words and succeeds in some cases, yet falls flat on its face whenever it comes to others. To give credit where it's due, Alex Varkatzas proves to be the slight opposite of an inept singer, and the musicianship has also matured a bit. Essentially, this record is nowhere near as embarrassing as Suicide Notes and Butt... erfly Kisses and the first two EPs.
Atreyu Long Live	3.0
Atreyu's story is a neverending one, that's for sure. The melodic metalcore act's newest album is a suitable comeback, even though Long Live is basically business as usual for the band. It's an improvement over their last two records, and I'd like to consider it a proper sequel to 2006's A Death-Grip On Yesterday; effort #6 is just as enjoyable (if not better than) as that release IMO. The material doesn't leave much to the imagination, so just anticipate a fun metalcore romp that demonstrates Atreyu's ability to get down to the nitty-gritty. Sometimes it's great to relive that period when you were a snot-nosed adolescent, believe it or not.
Atsushi Sakurai Ai no Wakusei	4.0
Oh, dearest blood that drips onto the final red candy ready to be swallowed, don't forget to merge with sweat - be sure to make room for a special guest. Now what's the name of the soul? Born in Fujioka, Atsushi "At-chan" Sakurai knows how to make a strong impression. Not somebody to be defeated by mere rain or wind, he is best known for his erotic lyricism and being the lead vocalist for Buck-Tick. I'm at a point in my life where I can easily say he's one of J-Rock's most dashing singers - and his first solo effort right here can support that claim alongside the many albums Sakurai's main band has delivered. Launched in 2004, Ai no Wakusei ('planet of love') is certainly an interesting beast of an album that hardly gets tiresome, especially taking into account the various musicians on board for this record who play a big part concerning its sonically diverse nature; the outing features collaborators like Robin Guthrie from Cocteau Twins fame, J.G. Thirlwell, Jake Cloudchair, and Yasuyuki Okamura among others. A lot of the instrumentation showcased does a nice job making one feel a wide range of emotions, whilst At-chan's performance is rich as anticipated. What Ai no Wakusei lacks in linkage, the 14-song creation makes up for regarding composition choices, vocals, and potent rotation value. Angel's track picks: "I Hate You All," "Smell," "Marchen," "Taiji," "Shingetsu," and "Neko".
Attack Attack! If Guns Are Outlawed, Can We Use Swords?	1.0
Attack Attack! Someday Came Suddenly	1.5
Ridiculous song titles which don't necessarily relate to the lyrics? Check. Clear usage of Autotune on Johnny Franck's clean singing? Scratched off the bucket list. Songcraft which only comes in handy the moment the interlude starts, and even then it's not utilized well enough? Double check. Combining metalcore with the likes of electronic bleeps, bloops, etcera can be done properly, I won't hesitate to admit; this was a terrible way to go about it, though.
Attack Attack! Attack Attack!	1.5
Attila Guilty Pleasure	1.0
"Run! It's Fronzilla!"; "It looks like Fronzilla, but due to international elitism laws... it's not. Still! We should run like it is Fronzilla!" Though it isn't.
Attila About That Life	1.5
First and foremost, nobody bump this soundoff; it's just as cringe-worthy as About That Life. Secondly, Fronz can go suck my fuck. That is all.
Attila Fallacy	2.0
Attila Soundtrack to a Party	2.0
This is one of those deathcore bands that are either capable or incompetent of being taken seriously; Attila seem to like being taken lightly in their case. Soundtrack to a Party suffers mostly from Chris Fronzak's ineptitude as a vocalist and quite a number of tired moments. It isn't nearly as bad as About That Life, though the album's got little to offer and could benefit more from having some sort of enjoyable musicianship.
Attila Chaos	2.0
Attila Outlawed	2.5
Attila Rage	3.0
Partycore band Attila surprisingly opt to perform no wrong, for the most part anyway. Their third studio album Rage features tracks which aren't anything to ogle over, but the sound Fronzak and his juvenile boys have going here doesn't pale in comparison to About That Life or even their first two releases. This is one of those recordings which you're better off not reading into.
Audiotopsy Natural Causes	2.5
With a less spotty vocalist who doesn't ape Chad Gray a lot and more songwriting input from drummer Matthew McDonough, Audiotopsy's debut studio album could've made for a better first impression. However, as it stands, Natural Causes is only decent - and quite frankly, not all that interesting. Ex-Skrape vocalist Billy Keeton sort of brings the quality down a notch, and while the bass playing is audible for a great portion of this recording, it's also pretty disappointing.
August Burns Red Looks Fragile After All	2.5
August Burns Red Found in Far Away Places	4.0
While not one of the greatest metal releases to have been released this year as of this moment, Found in Far Away Places is certainly a powerhouse record crafted by arguably one of the highly respected modern metalcore acts known to many a preacher and lamb as August Burns Red. Stylistically, it's ferocious as balls, but also benefits from experimentalism here and there; the manner in which violins and subdued sections are incorporated are further proof that ABR are more skillful at coming up with beauteous compositions than one might assume. Jeremy McKinnon's clean vocals on the song "Ghost" astonishingly work wonders for the most part. There's clearly fun to be had with August Burns Red's sixth studio album and a couple curveballs do help in regards of maintaining that enjoyment factor.
Aural Vampire Kerguelen Vortex	4.0
Austrian Death Machine Total Brutal	3.0
The arrangements on Total Brutal may not be varied or anything too serious, but if you don't take anything from this album lightly, then it's clear that Austrian Death Machine have bored you to tears... and if you bleed, then we can kill you. Do not be the party pooper, you cybernetic organism, living tissue over metal endoskeleton.
Autechre Oversteps	4.0
Autechre L-event	4.0
Autograph Sign In Please	3.0
Autograph don't so much sound slipshod on their debut full-length recording as much as they feel a bit too saccharine. Fortunately, Sign In Please's cornballish nature is quite adequate given the effects that the glam metal style has on it. While the songs on display are a bit relishable, you'll probably get a kick out of simply listening to "Turn Up the Radio" and call it a night.
Avenged Sevenfold Hail to the King	1.5
Even if you're not a fan of the Deathbat-worshipping macho men, Hail to the King is still a bona fide disappointment. The band wanted to go in a more simplistic, groove-oriented direction with this record, though what we all got was a shameless lack of creative focus and tepid songwriting. Arin Ilejay had some pretty fucking big shoes to fill due to The Rev's passing some time ago, and the rest of Avenged Sevenfold themselves are merely playing it safe. It's one thing to form a group and become inspired by various classic rock and metal bands - and hey, you can honestly say the same about a buttload of other modern groups - though it's very sad when you release new material and it *literally* sounds like those acts who influenced A7X.
Avenged Sevenfold Sounding the Seventh Trumpet	3.0
Sounding the Seventh Trumpet is an album which can only be enjoyed if you get past the tracks which rely on a exhausting formula - or in some cases, none at all - and M. Shadows' singing; for someone who recorded this when he was practically a teen, he has an odd tendency to come across as an agonizing walrus, particularly on the piano infested "Warmness on the Soul". Beyond that, this is a relatively harmless debut offering which has some greatness in it.
Avenged Sevenfold Avenged Sevenfold	3.0
Through my eyes, ever since the release of metalcore-turned-heavy metal outfit Avenged Sevenfold's 2005 studio album, City of Evil, this Huntington Beach-based band has become one of the most divisive 21st Century metal projects. I don't intend on explaining myself any further concerning that, however. Two years after A7X's best-selling record came Avenged Sevenfold, a self-titled effort which encompasses much of what you've come to expect from the band post-Waking the Fallen. Despite being a step down from its predecessor, the self-entitled affair is still congenial for what it is. The experimentalism on here doesn't always yield satisfactory results (e.g. the Auto-Tune on "Lost" ruins what is ultimately an okay track and the country-styled "Dear God" sounds better on paper), and frontman M. Shadows should quit aping Axl Rose while he's ahead, but in all honesty, Avenged Sevenfold is a tad better than what hordes of folks give it credit for. Angel recommends: "Critical Acclaim," "Afterlife," "Unbound (The Wild Ride)," "Brompton Cocktail," and "A Little Piece of Heaven".
Avenged Sevenfold The Stage	3.0
Based in Huntington Beach, Californian heavy metal outfit Avenged Sevenfold were one of my gateway bands growing up. Much flopping was done during the point in my life where I was first introduced to them. In retrospect, they're not really a bad troupe by any stretch, just nothing special. The impression gotten from previous records was that A7X emphasized quantity and bombast over... well, pure quality from beginning to end. Outside of acquiring a new percussionist in former Bad Religion drummer Brooks Wackerman, the band's latest offering The Stage boasts a familiar stench. Featuring an amalgam of thrash sensibilities a la City of Evil and melodic undertones alongside uneven experimentalism via Avenged Sevenfold, this entourage's seventh album is certainly a fun outing; miles better than the predictable Hail to the King. The Stage from an instrumental standpoint is enjoyable, with Wackerman himself being the MVP here while Synyster Gates isn't far behind concerning the status. Despite neat composition ideas and decent production, however, what ruins the entertainment factor for me is vocalist M. Shadows - who far too often sings beyond what he's actually capable of. Combine his unbearable performance with the fact some tracks could benefit from serious trimming and we've got an overall salvageable (if flawed) affair on A7X's part. Angel recommends: "Paradigm," "Sunny Disposition," "Creating God," "Fermi Paradox," and not cheap wine.
Avenged Sevenfold City of Evil	3.5
Avicii True	1.5
If the annoying singles "Hey Brother" and "Wake Me Up" (the latter featuring a disastrous guest appearance by Mike Einziger) aren't convincing you that True is a bland, false album, then I want you as the listener to take a gander at this record's other tracks which are stereotypical EDM 'jams' messed up by a hodgepodge of styles such as bluegrass and country-pop; the results are grating at best. This is a good release for mostly the new generation to get down to, but Avicii doesn't even try to offer anything else.
Avril Lavigne Avril Lavigne	2.0
Avril Lavigne Let Go	3.0
Avril Lavigne The Best Damn Thing	3.0
Avril Lavigne Under My Skin	3.5
Avril Lavigne Goodbye Lullaby	3.5
As far as contemporary pop (I guess?) goes, Avril Lavigne got more than a bronze medal for Goodbye Lullaby. I'll admit her lyricism is shallow and cheap, and the same could be same of her image, but the girl's actually pretty good when she's able to write her own tracks. Her voice isn't nearly as obnoxious here as it is on The Best Damn Thing and this album's self-titled successor.
AxeWound Vultures	2.0
Ayumi Hamasaki Duty	4.0
Born and raised in Fukuoka, Ayumi Hamasaki is a name that I've started remembering as the years went by thanks to "Dearest", which most people know at this point for its association with the anime series entitled InuYasha - and to be specific, this song was used as the show's third ending theme. Simply put, Ayumi is to Japan as Madonna is to the United States: both women are very influential to the respective industries that they're a part of. Also, the two of them have largely maintained creative control over their music and imagery, and they're unfortunately a case of the Seinfeld Is Unfunny trope. I would elaborate more on what I'm trying to say here, but I'll abandon ship and save it for another time. Anyhoo, Ayumi Hamasaki's third full-length album Duty doesn't possess much in the way of variation, though it more than makes up for this regarding the overall cohesive structure of many of the record's tracks. In addition to the LP's coherence, a lot of what comprises Duty straight-up comes from the heart and is delivered with a healthy dose of personality to boot. Now this might not be a totally remarkable J-Pop release, although it clearly functions as one that manages to be relatable. Hamasaki's compelling vocal performance generally speaking helps.
Azam Ali Elysium for the Brave	4.0
Distant realms are closer than one would think. Sure, remote destinations are basically just that - remote - but that doesn't mean other people can't connect from the outside. If anything, by doing so, the chances of unification are increased and even courtesy is augmented. Form together to create a single entity able to follow limitless possibilities. Reminds me of what Iranian-American singer/songwriter Azam Ali attempts (and mostly succeeds) to do on her 2006 studio album in a way. Sporting 9 tracks in all, Elysium for the Brave is a diverse fox of a record, but it's also a pretty consistent one at that. Dense, magical, and gripping all above else, this album's stylistic choices alongside Ali's vocals alone are too zesty to pass up.
B.o.B The Adventures of Bobby Ray	3.0
Putting aside the whole "earth is flat" theory and his anti-establishment views, singer-songwriter, rapper, and producer Bobby Ray (aka B.o.B) is a man with potential for sure, although to call the capabilities he shows off unbridled would be quite the overstatement. I mean - look, I'm pulling a parksungjoon - Ray's full-length debut album has a myriad of neat ideas and some alright staying power, though the record suffers from identity crisis and is front-loaded in quality. The Adventures of Bobby Ray is 12 tracks of hip hop material infused with both pop and alternative nuances, but whilst the variation is certainly there, the consistency practically feels like an afterthought. It's tracks such as "Magic" and the underwhelming "5th Dimension" that screw up the flow for me, though Ray is able to make a fine (if unimpressive) first impression otherwise. Angel recommends: "Don't Let Me Fall," "Past My Shades," "Ghost in the Machine," "Fame," and "Airplanes, Part II".
Baby Gopal Baby Gopal	4.0
Predominately inspired by the Hare Krishna movement, Baby Gopal were a musical act with a short-lived history, which is pretty sad when you take into consideration the disgusting amount of potential this quartet had as songwriters. The band's debut full-length album was really their only official recording, and some of what is on Baby Gopal is a missed opportunity in the sense that frontwoman Sri Kesava and her bandmates never expanded upon this record's formula for what could've been future albums. However, for whatever is on here, the New York-based ensemble showcased many strengths and relatively fewer weaknesses; speaking of strengths, the mystic craftsmanship and Sri's vocal harmonies pretty much come to mind. Their musical style was influenced by pop, indie, psychedelia, and alternative rock, with the latter three genres being more prominent throughout than the poppier nature. Overall, it's quite a shame that Baby Gopal had to break up so soon. Angelboros recommends: "Shiva," "Boys Against Girls," "Govardhan," and "Springtime".
BABYMETAL Metal Resistance	3.0
Yeah, I'm not feeling Metal Resistance as much as I did idol metal group Babymetal's self-titled debut album. Their first record was rather generic in places, but it was a generally fun, unconventional outing which had more hits than it did misses; tracks such as "Megitsune," "Akatsuki," and "Gimme Chocolate!!" were what certainly made the self-entitled release and then some. Babymetal's sophomore album comes off as disappointing by comparison, and while it's streamlined for the sake of being arguably more consistent than its predecessor, the results are less weighty. However, in no way am I saying that Metal Resistance isn't enjoyable when judged on its own merits. The instrumentation remains potent as ever, particularly a lot of the guitar playing, while Suzuka Nakamoto (aka Su-metal) will make one ponder why she hasn't already embarked on a solo career yet. At the end of the day, this is certainly another release by an ensemble who have earned themselves many haters and many followers. Now what's left is one question: where do these three chicks go from here? Only the Fox God knows. Angel recommends: "Road of Resistance," "Meta Taro," "From Dusk Till Dawn," "No Rain, No Rainbow," and "Tales of the Destinies".
BABYMETAL BABYMETAL	3.5
BackWordz Veracity	2.5
Featuring a total of 18 tracks all while lasting 66 minutes in length, American nu-metalcore/hip hop project BackWordz' debut studio album really doesn't justify its runtime. Veracity packs more than enough fat that could've used trimming at the end of the day; not helping matters is the lack of variation throughout the bulk of the material songwriting-wise. Adding to those apparent flaws, the lyricism comes off as maladroit and about as subtle as an oak tree falling into your neighbor's moat. On the other hand, though, Eric July's performance is rather potent with the musicianship also doing a nice job befitting his utilization of rapped and screamed vocal deliveries. BackWordz manage to demonstrate promise here, but haven't quite unlocked their potential yet. Again, if they plan on adopting a more "quality>quantity" approach in the future and July tones it down regarding the on-the-nose lyrics, I feel like this band could go places.
Bad Brains Rise	2.0
I Against I was incredibly phenomenal, whilst Bad Brains was an essential hardcore punk album. What caused these Rastafarians to crash and burn all of a sudden the moment the 1990s came around? No matter what happened, though, Bad Brains' Rise is unapologetically dull and the energy of the bandmates seem almost non-existent.
Bad Brains Rock For Light	4.0
Bad Brains' unique (at the time) mixing of both hardcore punk and reggae exclusive sounds enters the fray a second time with Rock for Light, another exciting release which bears slightly less energy than its self-entitled elder sibling, though when your band's made up of four Rastafarians in synch, it's still more than simply good.
Bad Brains Bad Brains	4.5
You realize immediately that this album's tracks are instant earworms which never think twice about leaving the cranium. Bad Brains' one problem lies within the hardcore-esque songs: they're above-average, but suffer from being indistinct. Fortunately "Jah Calling," "Leaving Babylon," and "I Luv I Jah" have just enough reggae influences to balance out this release's unpredictable speed.
Bad Brains I Against I	4.5
Bad Departure Bad Departure	1.0
After listening to Bad Departure's music (if you would bother calling it that), I had a feeling that the struggle is real. Christ, these people make The Naked Brothers Band look like thousand-dollar pornographic movie stars.
Balloon Journey Balloon Journey	1.0
This is the story of how balloons mate. I'd like to call it Ballooninator Masturbation, directed by Pogo the Inebriated Clown.
Balloon Journey Balloon Journey 2	1.5
Oh, yes. They float, Sputnik. They float... And when you're down here with me, you'll float too!!
Band-Maid Brand New Maid	3.0
Formulaic and not really special by any stretch of the imagination, but there is a decent quantity of potential to be found on this recording - that, and Japanese rock quintet Band-Maid aren't manufactured, either. I imagine the majority in the world are bound to flock to these guys more for their gimmick than the music itself which, as Brand New Maid easily demonstrates, is enjoyable enough material in compact bursts. Saiki Atsumi's vocal performance is fine as is alongside the overall craftsmanship, although the outfit could benefit from less samey compositions. Angel recommends: "Order," "Brand-New Road," "Before Yesterday," and "Alone".
bansheebeat Spiral Power	4.0
Though the recording does manage to swallow up sentimentality and what lurks within futuristic settings more than someone's brother could with sand, Spiral Power (a Gurren Lagann reference, obviously) has the listeners carefully come to the realization that Dylan Browne can handle these aspects perfectly fine. The relaxed tone throughout this album coupled with the electronic-driven influences are practically enough to soothe an insomniac's soul.
bansheebeat Lumine	4.5
The optimism, beauty, peacefulness, and relatively subtle feelings overlap one another to form an album that's simply way too entertaining and glamorous to elude. From the opening track "Shinsekai" to album closer "Polestar", somebody like me can automatically tell a bunch of blood, sweat, tears, and hug pillows were put into such an enthralling monarch butterfly. Well done, bansheebeat, man, well done. Now it might be exaggeration courtesy of yours truly, but at the same time, I implore you to check this baby out. It's that good. There are moments of cheese here, no doubt, although I swear it's edible. "Rainy Love" is definitely a highlight!
Basically the Best Band Ever You Wish You Were as Cool as Us	1.0
Basically the Best Band Ever This Is Our Second Album and it Cost Us A Lot...	1.0
Bayside Bayside	4.0
They don't receive the same amount of overwhelming praise or recognition as Taking Back Sunday or Brand New, but as the group showcases on their self-titled album, Bayside can crack open a series of endless possibilities in such a regard. Anthony Raneri's quavering voice has that strong emotion connected to it, and rarely does he ever create a misstep. Bayside is an entirely amusing pop punk kraken with all the melodies and naturally-gifted musicianship that not even the most harsh of this genre's detractors would reject.
Bea5t Empathy Is a Gift	4.0
For years, I've been a sucker for Chiodos; though I find it difficult to stomach the disappointing Devil, I'm able to sit through that band's other albums just fine. That said, Bea5t's 2016 EP is undoubtedly an insanely good release. It's just four songs of furious, concentrated grindcore, and I wouldn't really have it any other way. Craig Owens' screaming vocals make the recording.
Beartooth Disgusting	3.0
One can be forgiven for assuming that Beartooth have formed for the sole purpose of pleasing 'mallcore' cannibals far and wide. However, in comparison to such acts like Attack Attack!, Issues, and I See Stars, these guys don't focus on inane electronics and decide to go along with natural emotion, as heard throughout their debut album Disgusting. The instrumentation hardly fares, but Caleb Shomo's vocal performance (especially on "Sick & Disgusting") saves this first release from drowning in absolute sorrow.
Beastie Boys Licensed to Ill	4.0
Is it all too cheesy? Yes, and you might want to remember that this was released in the 1980s. Is Licensed to Ill all the more better because of how cartoonishly simple the beats are, alongside how unyielding the samples are? Y-E-S. The Beastie Boys' debut album was certainly an entertaining release - one with charm and humor that both hardly wear thin.
Beastie Boys Paul's Boutique	5.0
Beck Mellow Gold	4.0
Even though he's mostly labelled as an alternative rock artist, Beck's made a career out of utilizing as many genres as possible, either to silence or make his critics become raspy with puzzling infuriation; should this fine, boundary-pushing loser - who's got two turntables and a microphone - cease to exist, then I guess the idiotic common man will stop pushing daisies and turn us into blowback derelicts. Anyway, while this album isn't as successful as Odelay, Mellow Gold had more than one way of showing the folks everything Beck could set his mind to.
Begging For Incest Orgasmic Selfmutilation	1.0
Behold... The Arctopus Horrorscension	2.0
Lacking in harmony is pretty much one thing, though when a trio get together and craft an album where technical guitar work is a prime necessity, you know full well that results won't turn out too positive. Chaos is fine in regards to mathcore or avant-garde metal as long as the songwriting makes for decent or merely above-average content, but Horrorscension seems to be floating above the waters of insane mediocrity. "Deluge of Sores" is certainly a passable track, if I'm being generous here.
Believer Gabriel	4.0
Released in the year 2009, Gabriel is a comeback record put out by Pennsylvania-based technical thrash tyrants Believer, and said album succeeds at landing more hits than it does misses throughout the 55-minute duration. Sporting an amalgam of late 80s/early 90s thrash sensibilities and current prog touches, the album is basically an enjoyable adventure and a half. Admittedly Gabriel isn't an easy pill to swallow at first and the production values showcase much in the way of blatant clipping, although thankfully the outing is equal parts competent and intriguing enough to justify additional listens. The rather experimental songwriting tactics, Kurt Bachman's venomous vocal delivery, and tasty guitar riff work on display make this a keeper.
Believer Transhuman	4.0
Look at Transhuman like you would a rabid wolverine: the uncouth animal is too much for someone such as yourself at first, but given a good couple days, you slowly, but surely begin a newfound friendship with the creature. While this album isn't precisely stuffed full of originality or might be slightly one-sided, Believer's audacity is immense enough to consider the record an adventurous, though bleak experience.
Beneath The Sky What Demons Do To Saints	2.5
What Demons Do to Saints was an album that must've loved the entire heard-it-all scenario, in the same fashion that I really enjoy long walks on the beach. Nothing stands out musically, and some of us might be wondering why a keytar player was even a necessary asset. "7861" and "How the Times Have Changed" were likeable back in 2007, but everything turns around once you get older and spot the issues.
Berry Roll Put Up Your Dukes!!	4.0
The defunct outfit Berry Roll were an enjoyable bunch; their energetic pop punk style was nothing new or revolutionary, but it certainly was enough to warrant this album. I swear that I received Cherryblossom vibes all over Put Up Your Dukes!!' eight vivid tracks.
Betraying the Martyrs Phantom	1.5
Between the Buried and Me The Anatomy Of	2.0
Between the Buried and Me Coma Ecliptic	2.5
(3/10/18): For their seventh studio record, Raleigh-based music unit Between the Buried and Me put much less emphasis on both the technical and metallic characteristics that helped get them to where they are. For the lion's share of the album's length, Coma Ecliptic has an AOR influence that is clear as day, not to mention taking heavy inspiration from 70s prog rock. The style of this BTBAM release is actually quite compact by their standards; almost as concise as the first two full-lengths. However, it'd be lying if I said I was satisfied by the results. Basically the album compositionally sounds better on paper than execution. There's a whole lot of bad cheese to be found within the way certain songs are structured (e.g. "The Ectopic Stroll"), rendered worse by Tommy Giles Rogers' awkward clean passages plus an unsteady production job. Coma Ecliptic isn't without moments of finesse (e.g. "The Coma Machine," "Turn On the Darkness") and BTBAM's efforts overall are well-intentioned, but it can be way too overblown and trite for me to look past the glaring flaws. Eeeeeeh, decent 2.5
Between the Buried and Me The Parallax II: Future Sequence	3.0
Between the Buried and Me The Parallax: Hypersleep Dialogues	3.5
Between the Buried and Me Automata I	3.5
Right now owls are drowning themselves in obsession, and people recall the lovely laughs from the loves of their lives. Meanwhile the BTBAM quintet on this day deliver to us Automata I. As the name suggests, it's a two-parter, with the other piece set to drop sometime during Summer. Whereas Future Sequence was too ambitious and Coma Ecliptic was - in a word - ultra cheesy, the band's newest offering is a tad grounded; that 35-minute runtime doesn't hurt as much as one would think. The familiar metallic sheen that went all but missing on this act's last record is dialed up here, although certain elements like the frequent singing are still present. The musicianship remains tight as ever and Jamie King's production style - whilst loud - allows for just about every instrument to be heard audibly. Yeah, the songwriting doesn't always give off much personality and Tommy Giles Rogers' cleans (not the harsh vocals) are becoming harder to stomach, but I still got mileage out of Automata I for what it's worth. Speaking generally, this one's a fairly cohesive listen and I'm real curious about the next chapter.
Between the Buried and Me Automata II	3.5
Unless the title didn't already give it away, Automata II is the second half of a greater whole that should've been released as such; meanwhile, spaghetti is a type of pasta and Billy Mays is still a ghost. In any case, this is about on par with the first batch of songs from a vocals, instrumental, and mixing/mastering perspective. Adding to that, however, II also has a bit more of an explorative edge to it: "Glide" for instance incorporates accordion playing and segues beautifully into the Diablo Swing Orchestra-sounding "Voice of Trespass," which is bound to go on to be one of my favorite BTBAM songs in recent memory. "The Grid" is a nice and effective closer in the context of the storyline that's being told. Really, there isn't a whole lot else I could say regarding the new record in general aside from... well, Sumerian are greedy tools. $$$
Between the Buried and Me Between the Buried and Me	4.0
(3/8/18): North Carolinian metal act Between the Buried and Me's eponymous debut release is worth more than this site's average suggests. Even when taking into consideration the fairly sloppy dynamic between Tommy Rogers and then-drummer Will Goodyear's cleans, the self-titled album has a fair amount going for it in terms of instrumentation, audio mixing, and overall enjoyment factor. The Silent Circus fixed whatever flaws could be found within this 8-track record - and then Alaska upgraded the quality of the music even further - but without comparing S/T to those two outings plus BTBAM's newer material, it stands incredibly well on its own (couple small warts and all). Decent 4.
Between the Buried and Me Colors	4.0
(3/9/18): Colors, Colors... Seen as the crowning jewel within Raleigh-based quintet BTBAM's catalog, this band's fourth full-length has gotten rave review after rave review; well into today, there are many people who can't bring themselves to talk shit about the record. Mike Portnoy even called it his favorite album of 2007 at one point or another. I myself was swept up by the hype tornado for a good while, but upon revisiting the whole affair now, I wouldn't say the LP is flawless from head to toe. Yes, there's moments of perfection (see "Ants of the Sky" and "White Walls"), though otherwise the material can range from sounding simply nice to leaving me with a hollow kinda feeling. Between the Buried and Me do deserve props for expanding upon their musical influences while wowing the consumer via instrumental prowess and Tommy Rogers' generally neat vocal performance. Despite a few odd songwriting choices (e.g. the polka bit in "Prequel to the Sequel") and production that's way too sterile for a forward-thinking group like these guys, Colors is recommended by me nonetheless. Around a light-to-decent 4.
Between the Buried and Me The Great Misdirect	4.0
(3/8/18): Retrospectively, The Great Misdirect proves far more coherent a record than I used to give it credit for. It's not always fun akin to The Silent Circus or the self-titled affair nor does it come off as rewarding as Alaska, and yet BTBAM's fifth studio album is easier to digest than the preceding release Colors. Hell, the fewer song style shifts present plus the minimal amount of tracks (despite the 59-minute duration) make Between the Buried and Me's 2009 release one of the band's most consistent efforts. And besides, it's still technically proficient going off the instrumentation alone plus Tommy Rogers' performance is really commendable. Personally The Great Misdirect can take itself a little too seriously for my liking, and going back to Rogers, his range (emotionally and vocally) has started to worsen here, though the LP's positives cancel out most of the negatives. ...Fuck it, strong 4! Ranking this just below The Silent Circus and *especially* Alaska.
Between the Buried and Me The Silent Circus	4.5
(3/12/18): Apparently the Parallax storyline dated as far back as this album. What a mind screw... In any case, The Silent Circus is a BTBAM record that I've got an incredibly soft spot for. Though it basically continued the standard 'math metalcore' sound which permeated the band's S/T, this offering also featured a small taste of what the band would become in the future - namely "Mordecai"). Tommy Giles Rogers was at his most visceral here as a vocalist, while both the overall songcraft and instrumentation bits were dynamic as all get out. Honestly The Silent Circus isn't the group's easiest record to get into (Alaska and The Great Misdirect are better starting points), but it is without hyperbole a noteworthy product that embodies controlled chaos. Light 4.5
Between the Buried and Me Alaska	5.0
(3/9/18): Of all the BTBAM recordings, their third studio album Alaska was always one that I had a real special connection with right next to Colors. But whereas the latter managed to grow off me in some fashion, the former has aged tremendously well after 12 years have went by. It doesn't hurt that this outing not only benefits from a noticeable lack of pacing issues, the fucker's packed full of punches and outright memorable tracks; even a lesser ditty like "Croakies and Boatshoes" remains a blast to jam. Alaska is home to many of Tommy Giles Rogers' most impactful vocal deliveries, and to say the other contributors are no slouches in the composition and instrumental standpoints would be an understatement. This wasn't just a shining example of a transitional release for the prog metal quintet, Alaska was and still is [b]Between the Buried and Me/b]'s apogee. Hyperbolic? Pffft! No way... I'll take my chances!
Beware The Neverending Living The Dead End Dream	1.5
Living the Dead End Dream is bland, unfocused, and pretty much leaves a bitter taste in your mouth to the nth degree. Bobby Stratton's vocal performance, although sort of passable, just isn't enough to rescue this EP from certain death. "Tasty" and "southern fried" are not what I'd use to comment on Beware the Neverending's sound; how fucking misleading.
Big Dumb Face Duke Lion Fights the Terror!!	2.0
Influenced by the likes of the dynamic duo that was Ween and Mr. Bungle - as in, the genre-defying act helmed by the devil on holiday commonly known by Mike Patton - Big Dumb Face's debut full-length album is the project's only release. Wes and Scott Borland alongside the rest of this abnormal entourage clearly revel in stupidity, although not much else on Duke Lion Fights the Terror!!. The songs aren't really terrible, yet they do sustain a major casualty of being unremarkably retarded just for absurdity's sake. Redeemable factors which made groups such as Crotchduster and the Butthole Surfers so endearing just don't seem to be present throughout this album, sadly enough.
Big Time Rush B.T.R.	1.0
Billy Ray Cyrus Some Gave All	2.0
Billy Ray's achy breaky heart was further torn to bits from the very moment his teen pop sensation-turned twerk princess of a daughter came into the man's life. Even if you've barely come across country music in general, the majority's probably already knew about Some Gave All's half-hearted existence. This album might just be a Nashville-esque level of harmlessness at its core, though it practically made Billy Ray Cyrus into an unintentional source for guffaws - yet he's nowhere near Chad Kroeger, Fred Durst, or Vanilla Ice territory.
Biohazard Mata Leao	3.5
Biohazard's Mata Leao isn't the perfect mixture of hardcore punk and rap metal, though it most certainly is a solid album packed with rebellion and ferocious craftsmanship. Evan Seinfeld's vocals and the aggressive vibes that this record can give off are quite the adequate match. I do wish some of the tracks here were a bit more recognizable, but for whatever's on this recording, many songs work well enough both in and outside the context of Mata Leao.
Bionic Ghost Kids Horrorshow	1.5
Bjork Medulla	4.0
Bjork Debut	4.0
Bjork Vulnicura	4.0
On her latest full-length album Vulnicura, Iceland's eclectic queen Bjork still hasn't hit the brakes just yet. The string arrangements are profound throughout much of the release and sound the album's emotionally raw nature incredibly well. This also goes double for the production style - which is neither complex nor too simple. Bjork's vocals are undoubtedly expressive enough to budge a couple mountains, though I feel as if her voice was more electrifying on earlier releases; Medulla sort of comes to mind. Speaking of Vulnicura, by the way, am I the only one who appreciates the secondary cover art? You can't get anymore illustrious than a vaginal torso, I suppose.
Bjork Homogenic	5.0
Bjork Vespertine	5.0
Honestly, I don't believe intercourse has ever sounded or felt this majestically tantalizing before. Vespertine depicts an introverted, yet no less tactful Bjork enjoying the trip hop-flavored wine with a harmonious side order of psychedelic, alluring pop and experimentalism for more than just good measure. If the absolutely stunning production values aren't one of the major selling points, then the Icelandic musician's unrestrained, but highly emotional vocal performance is the ultimate MVP.
Black Gene for the Next Scene Dance to Rave ~Nounai Shake na Song Tachi~	3.0
Black Gene for the Next Scene seem to be taking cues from quite a few of their peers, especially Japanese electronicore band Fear, and Loathing in Las Vegas; just take away Sou's airy clean singing and somehow make Minami's screams less salvageable. In spite of an obvious lack of imagination and the double-edqed quality of lead vocalist Ice's performance (his growls need work whilst that singing voice he's got is acceptable), BGftNS' debut full-length affair Dance to Rave ~Nounai Shake na Song Tachi~ is instrumentally diverting and displays promise every so often.
Black Light Burns Cruel Melody	4.5
For years and years, Limp Bizkit guitarist and asylum warden Wes Borland was perhaps considered the nu/rap metal act's saving grace; if anything, people never gave two shits and a frivolous fuck about the red cap known as Fred Durst's expanding ego - and concentrated on the talent bestowed upon Wes. Borland's side project Black Light Burns comes tumbling down on our argumentative bodies with a satisfyingly creative debut album in Cruel Melody. Combining sharp, industrial sounds with an outsider-esque rock tone, I believe the record can do more than enough numbers on the likes of those who underestimated what an LB member can and can't do. The instrumentation is pulsating and literally turns heads, and Wes' vocal performance bears an uncanny resemblance to that of Trent Reznor - all while the former hangs on to his own identity, however. The mystic properties of Cruel Melody are nearly a sight for sore eyes, and a requiem for bloody earholes.
Black Tide Chasing Shadows	1.5
Black Tide aren't even trying anymore on their newest full-length album Chasing Shadows. Both this and Post Mortem indicate that Light From Above, which was BT's freshman studio offering, was a colossal fluke. Recycled melodies, dull compositions, and a half-hearted vocal performance from Gabriel Garcia equal a generally unappealing, dumb mess of an LP. What were these Bullet for My Valentine knockoffs accomplishing here? Ignore this one as best as you can.
Black Tide Post Mortem	2.0
What. Went. Wrong!? Granted, Black Tide was a type of metal act I wasn't expecting to be revolutionary nor creative nor anything special really. It goes like this, boys and girls... Back in 2008, four boys released their debut full-length album Light From Above. Whilst lacking in ideas and some laughable lyricism which would suit any metalcore or screamo act, this was also a CD which showed a band with that fire in their honest eyes, thereby being mostly passable. Post Mortem, on the other end of the spectrum? {sigh} The bandmates did all they could to fight 'til the bitter end and make it into the sky. Alas, Black Tide wasn't successful. They decided to take it easy this time around, but ended up getting lost in the sound; the Miami-based heavy metal outfit transformed into quite a 'walking dead man' of their former selves, now in the shape of ashes begging and pleading, "Bury me!" In summary, Black Tide's sophomore release has the occasional good song (i.e. "Honest Eyes") - helped somewhat by Gabriel Garcia's refined vocals here - though nothing else will go noted for Post Mortem.
Black Tide Bite the Bullet	2.0
This mini-album really isn't what anybody would dare call an improvement over the more commercially-approachable Post Mortem; there are moments where Bite the Bullet - an incidentally accurate name, I'll add - is clearly a step backwards. Once again, the credit Black Tide received on their debut studio album is progressively becoming extinct.
Black Tide Light From Above	3.0
Black Tongue Born Hanged	1.0
Black Tongue Falsifier	2.0
Black Tongue The Unconquerable Dark	2.5
I'll take UK-based snailcore outfit Black Tongue's debut full-length record over their EPs in an instant. Even though it's by no means a major improvement, The Unconquerable Dark is a tad entertaining in places and showcases a band that wants to rectify the issues that plagued thir last two releases (Born Hanged, I'm talking to you in particular). The first half of this album's nice for what it is, but the latter section is kind of stationery. I'm also digging the cover illustration here, too.
Black Veil Brides We Stitch These Wounds	1.5
Honestly these boys have what it takes to generate a surprisingly good and concise album. Much of their material, however, is incredibly cheesy in the atrocious sense; this isn't helped by the bandmates' decision to adopt Motley Crue fashion statements, though I digress. We Stitch These Wounds is an instantly forgettable release meant for all the Hot Topic teenyboppers (Snide, no offense), and brings zero amount of creativity. The unremarkability is brought down further by Andy's vocals, who suffers an extreme case of a singing-screaming identity crisis. Black Veil Brides' debut record shows merit regarding the songs' production quality, but nothing else.
Black Veil Brides Set the World on Fire	2.0
Black Veil Brides Black Veil Brides	2.0
Every bit as corny as Black Veil Brides' previous releases, the band's latest self-titled album will only be appealing to a limited number of people; by 'people', I'm of course referring to the unattractively haunting presence of the BVB Army. The instrumentation here lacks quite a bit of punch and Andy Biersack's narmtastic vocal delivery (and eye-rolling lyricism to boot) usually tend to overshadow the talents of the other members, for what little credit they actually deserve.
Black Veil Brides Wretched and Divine	2.5
Wretched and Divine is, believe it or not, probably the closest this band can get to creating an album that's kinda on the worthwhile side of this domain. Andy Biersack's vocal performance is still quite unbearable at times and the 'Transmission' tracks are merely an excuse to drag out the material, but thanks to the production quality, the instrumental work isn't really as powerless as it's made out to be. Had Black Veil Brides continued experimenting a bit like they did on here, I would've mostly tolerated their latest release.
Bleed the Sky Murder The Dance	3.0
Passable and overall sturdy in the craftsmanship department, American metalcore ensemble Bleed the Sky's sophomore full-length album isn't nearly as bad as the people who enjoyed Paradigm in Entropy say it is. Murder the Dance definitely doesn't break any new ground regarding the modern metal scene, and the songwriting on this record can be pretty weak at times, but at the very least, I'm able to get a decent quantity of enjoyment out of it here and there. "Sullivan" seriously takes me back. By the by, as far as the aforementioned musicianship goes, drummer Austin D'Amond is the MVP, and I also appreciate some of the vocals.
Bleed the Sky Paradigm In Entropy	3.5
Bleed the Sky's first full-length record is an admirable effort which tries its hand at amalgamating metalcore with the sounds of groove and nu metal, for a greater portion of Paradigm in Entropy; it's not what I would call 'different' or 'sensational,' but it holds up very well for what BtS was trying to accomplish here.
Bleeding Through Bleeding Through	2.0
Bleeding Through The Great Fire	2.5
Bleeding Through The Truth	3.0
Bleeding Through don't seem to care one way or another about playing it safe. Although much of that is what goes on during the band's fourth studio album The Truth, I'm not trying to say that the results are terrible. This metalcore group hardly escape their comfort zone, but when they do, the members essentially prove to be fine songwriters; "Line in the Sand," "Return to Sender," "Dearly Demented," and the title track are better than the otherwise average quality of the rest of the songs here. Hell, on the former I just mentioned, vocalist Brandan Schieppati himself can deliver acceptable cleans throughout the entirety of said ballad.
Bleeding Through This Is Love, This Is Murderous	3.5
Bleeding Through Love Will Kill All	3.5
Six years after the band's fauxnale dropped, Bleeding Through from Orange County have blessed the masses with another album titled Love Will Kill All. Full-length #8 holds 12 tracks that mostly do a solid job recalling that late '90s/early '00s hxc style with the symphonic, melodeath, and bm influences still accounted for - so you bet your asshole it isn't a radical departure from the outfit's preceding efforts. Assuming one can get past the lack of originality and hideous cover art, these dudes' (and babe's) newest addition to the discography is the most fun I've had hearing a Bleeding Through LP from start to finish since Declaration back in 2008, albeit not quite on the same level as that. Light-to-decent 3.5. On a final note, this user is so down with Marta Peterson getting more of a presence here than ever before, particularly on "Remains" and "Life." Her voice compliments Brandan's performance this go around really well.
Bleeding Through Declaration	4.0
This record is without exaggeration the strongest symphonic metalcore unit Bleeding Through have ever sounded. Declaration isn't too powerful from a songwriting standpoint, but somebody like me ought to be damned if the album isn't beefy as far as instrumentation and vocal performances go; regarding the latter, frontman Brandan Schieppati's cleans are more tolerable, and the same can be said for those nifty harsh vocals of his. I'd suggest you don't go into BT's fifth studio release expecting some masterpiece, but rather an unrestrained, fun modern metalcore LP which offers a few surprises once in a blue moon. Even if you're not one to talk fondly of Bleeding Through, Declaration's production values alone (handled by none other than Devin Townsend) could quite possibly lure you in. The last two affairs that followed this are so disappointing, and whenever you do decide to start looking into these guys, check either This Is Love, This Is Murderous or this recording. Angel recommends: "Orange County Blonde and Blue," "There Was a Flood," "French Inquisition," "Reborn From Isolation," and "Sister Charlatan".
Blessed by a Broken Heart Pedal to the Metal	2.5
Rebels who ride into the night on a weekly basis are normally doing fine for themselves, and the same statement doesn't necessarily ring hollow when applied to now-defunct Christian metalcore ensemble Blessed by a Broken Heart. The Montreal, Quebec-based band adopted a style typically found in the relatively melodic side of mxc while implementing elements of hard rock and glam; believe me, it's as corny as it sounds. The group's sophomore full-length recording Pedal to the Metal is a fucking goofy album, and Blessed happen to be familiar with the cheese and attempt to use it to their advantage. Let's just say the outcome could've been worse, although these results could've also fared better. Pedal to the Metal has pretty bad production values thanks to Garth Richardson's input and it's certainly repetitive to sit through, but it does boast occasionally fun musicianship alongside generally okay vocal performances from lead singer Tony Gambino. My feelings towards this are confusing, yet there are moments here when I'm convinced that this act had potential.
Blessthefall To Those Left Behind	2.5
Here's a question from me to Blessthefall concerning their newest offering: how much meh can a mehchuck chuck if a mehchuck could chuck meh? Though the instrumentation is brookable and Jared Warth's harsh vocal performance is fairly emotive, To Those Left Behind is lacking in the composition zone. To add to that, Beau Bokan's clean singing has barely any weight to it; a pebble with telekinesis is heavier than what Bokan tends to deliver. The album's last four tracks and maybe "Decayer" are basically all the drinks you need, so don't waste time plowing through the other songs; especially "Dead Air".
Blessthefall His Last Walk	3.0
Normally, this album would be one of those cases where somebody pulls a card that reads "It's generic, so it sucks" out from underneath the deck; in my honest opinion, just because something may strike you as bland, doesn't mean it's automatically terrible. While there isn't anything off Blessthefall's debut album that hasn't been done elsewhere, the record manages to be an enjoyable, modest lamb boasting surprisingly great craftsmanship. Former lead vocalist Craig Mabbitt sounds fairly decent here, too - and at the very least, his performance in general is better than his recent output with Escape the Fate.
Blinded Colony Bedtime Prayers	3.5
Although there's a shortage of risks in the songwriting department and not much innovation on display, Bedtime Prayers is a pleasant, fairly cohesive alternative death metal album. Blinded Colony remind me quite a lot of Mnemic, although I'm also getting Sonic Syndicate vibes; y'know, if the latter band was more competent and didn't fade into relative obscurity quickly. The harsh and sung vocals by Johan "Shellback" Schuster are on point for the most part, while this record's musicianship can become rather punishing at times (though not mindlessly so, it's safe to say). "Revelation, Now!" is an instant earworm, as are "Once Bitten, Twice Shy" and "21st Century Holocaust".
blink-182 Cheshire Cat	2.5
A highly underappreciated debut album, Cheshire Cat has a searing quantity of potential that is otherwise marred by its amount of filler. The record's anthemic style of pop punk with that evident skate attitude is certainly fun, but only while it lasts, and the vocals tend to be hit-and-miss: Tom DeLonge's whiny tone can win over any sexually-driven, teenaged girl, but he doesn't put nearly as much enthusiasm into his performance like Adam Hoppus does; this isn't saying a whole lot, but on this album, the latter's bearable. Blink-182 would eventually go on to channel their vigor and frivolity in order to hit the jackpot with the memorable releases Enema of the State, Take Off Your Pants and Jacket, and their self-titled effort. To summarize, Cheshire Cat is good if you adore wasting vital time loitering or doing any other activities which are sure to get you thrown in the slammer.
blink-182 Enema Of The State	3.0
blink-182 Buddha	3.0
An interesting release for the most devoted of Blink-182 fans to check out some time. Buddha is quite underdeveloped to a fault, though one can't deny the effort's sweet instrumentation. Some people who are into the pop punk act's more mainstream albums might not like the demo, while others could find themselves a little curious about this.
Bloc Party Silent Alarm	4.0
Blondie Blondie	4.5
With the ravenously attractive Debbie Harry at the forefront, Blondie have created a beauteous alongside sort of warped artillery of songs that comprise their debut full-length album. Though it does carry something resembling pop appeal, much of what makes the record tick is the youthful energy that the members exude, and it's never at all reckless. Debbie's memorable vocal performance getting put over the carefree, yet diverse songcraft on display is enough to listen to Blondie for days, even with a modest 33-minute runtime.
Blood on the Dance Floor It's Hard to Be a Diamond...	1.0
Blood on the Dance Floor Let's Start a Riot	1.0
Blood on the Dance Floor All the Rage	1.0
Blood on the Dance Floor Evolution	1.0
If I was Frankenstein and Blood on the Dance Floor were my brides, then I'd kindly ask the both of them to throw me into a volcano; preferably Mount Vesuvius, although Stromboli would do just fine.
Blood on the Dance Floor Blood Unplugged	1.5
Dahvie Vanity and Jayy Von Monroe deserve *some* props for trying their hand at an acoustic album, albeit one with tracks lifted from Bad Blood. Beyond that, unfortunately, whatever credibility Blood Unplugged has is usually torn apart by Dahvie's utter incompetence as a vocalist, and his lines here are so narmtastic they border on unintentional hilarity. Jayy would be better off going solo since he's actually got a semi-decent voice.
Blood on the Dance Floor Bitchcraft	1.5
I can't even begin to list the many flaws and annoyances that Blood on the Dance Floor's latest release Bitchcraft has; then again, about half of these scathing criticisms could be elaborated on in regards to these trick-o-treater's previous material. To cut some slack, the production values are at least tolerable enough for me to justify my lending this the extra .5 and the cover art isn't nearly as laughably bad as what was depicted on Evolution or Bad Blood (though the goatee on Dahvie Vanity's just outright retarded).
Blood Stain Child Tri Odyssey	2.0
Now look: it's easy to understand that Osaka-based metal ensemble Blood Stain Child didn't quite start off on the right foot, though it was Idolator where they finally managed to carve a name for themselves. Their ability to infuse trance sounds with a strong melodeath undercurrent was not only admirable, but also fun as all get out, so to hear the band water down their formula considerably after bass player/harsh vocalist Ryo and singer Kiki's departures is... disheartening. The BSC I'm listening to during Tri Odyssey are a shell of their former selves. At best this EP's a tired rehash of the Mozaiq record, though at its worst, the release (plus Nexus before it) proves that the brand is a little vehicle for Ryu Kuriyama's interests these days. When I'm not pulling a resting bitch face over the unremarkable dichotomy between Saika's clean and harsh vocal techniques, I break out in hives regarding Tri Odyssey's slapdash production quality plus the group's incompetence when it comes down to flexing dem songwriting muscles. If one ever wishes to know what the deal with these folks are, I'll either rec the "Last Stardust" single, Epsilon in a heartbeat, or that album's two predecessors over these 4 songs any day because BSC's most recent EP is not a good introduction to them in the slightest.
Blood Stain Child Silence Of Northern Hell	2.5
While not a definitive case, Osaka-based metal troupe Blood Stain Child have a disorder that I like referring to as Early Installment Weirdness; the Japanese band is usually known by most for their amalgamation of melodeath, trance, and industrial styles, but Silence of Northern Hell when it was first released boasted an overall different direction compared to what BSC have gone on to do since. Sporting clear orchestral elements, Blood Stain Child's full-length debut album showcased a group who were shamelessly aping Children of Bodom's early material, right down to the cover artwork as well. Not that I dislike CoB or anything because I don't, but it's honestly good that these guys eventually found the sound people recognize them for nowadays - especially seeing how uninspired Silence of Northern Hell is. Ryo's monotonous vocals coupled with the mostly lukewarm song arrangements clash against the relatively great instrumental work on board, which is a shame due to the flashes of promise that also exist. Not a bad first impression altogether, though not terribly interesting either.
Blood Stain Child Mozaiq	3.5
On Mozaiq, Japanese metal band Blood Stain Child's style of melodeath music amalgamating with the euro-trance sound is not only consistent for the most part, it's also a damn blast and a half. Yes, you may argue that the overall vibe that BSC give off isn't so unconventional; and yes, you can go ahead and make as many In Flames comparisons as you please - considering Sadew and Anders Friden have similar vocal timbres and appearances. Fortunately, seeing how I'm quite the sucker for IF's modern-day output (excluding "you know what"), this doesn't bother me too much. Blood Stain Child's fourth studio album might be gimmicky and a little carefree for some, though I definitely think the material this group works with is fairly solid. However, on the other hand, I'll say Mozaiq isn't better than Epsilon. Still a likeable release.
Blood Stain Child Epsilon	4.0
Originally, I had checked out Epsilon prior to any of Japanese metal act Blood Stain Child's previous recordings. I'll put this as short and sweet as I can: I practically fell in love with the combination of trance influences and what was undeniably melodic death metal. Sure, the overall album wasn't impervious to issues, but this was about as easy to digest as a bag of Doritos while sitting upon a throne. About - let's say, two or three months before I rewrote this sound-off o' mine - I gave the previous album Mozaiq a spin. When compared to that offering, this just feels and sounds more cohesive. BSC's fourth official entry in their discography was by no means bad, though its composition capabilities were underutilized and the track structures could get extremely carefree at times. Epsilon features German songwriter Sophia as the singer and bass player Ryo handling all the growling in Anders Friden impersonator Sadew's place. Essentially what this is is a very entertaining LP with charming musicianship, nicely-executed vocal performances, and Final Fantasy XIII-inspired cover art; it's supposed to represent Sophia herself, but that looks suspiciously like Lightning. The whole thing is pretty much fun and quite intriguing to witness, to be honest.
Bloodhound Gang Hefty Fine	1.5
Bloodhound Gang was in their prime back in the late 1990s; some may disagree, but their off-color humor mixed with Jimmy Pop's clever lyricism and the overall alternative-oriented direction the band took with their music was always a bit of fun. Until the announcement of another record seemingly promoted by "Chew Toy" and "American Bitches", BG was practically guaranteed all but dead when they put out Hefty Fine. The morbidly obese man on the cover is one thing, but many of the tracks here feel horrendously dated and harness ideas done about a kabillion times better; not even Jimmy's usual charm or the appearance of Ville Valo on "Something Diabolical" helped matters. And while the album isn't a complete bust - if "Ralph Wiggum" and the ridiculously catchy "Foxtrot Uniform Charlie Kilo" feel like striking a conversation - the bad tremendously outweighs the good during Hefty Fine, this band's fourth full-length offering.
Bloodhound Gang Just Another Demo	2.0
The bad recording quality of these songs (to be fair, Just Another Demo is like a rough draft, but still) combined with the incompetent delivery unleashed by Jimmy Pop and Daddy Long Legs is easily considered to be an unnecessary part of their catalog; they should've started with One Fierce Beer Coaster and go from there.
Bloodhound Gang Use Your Fingers	2.5
None of the musicianship on Use Your Fingers is anything remarkable, and the quality of the non-musical tracks (AKA skits) on here - with the exception of this album's final FINAL song - don't even come close to humorous or shocking. Jimmy Pop and Daddy Long Legs are another story throughout, as they certainly try to keep Use Your Fingers on its partially-damaged toes with an adequate quantity of energy and rapping. Highlights: "Mama Say," "No Rest for the Wicked," "You're Pretty When I'm Drunk," and "Coo Coo Ca Choo".
Bloodhound Gang Hard-Off	2.5
Look! It's a bird, it's a plane, it's... a comeback album hardly anybody was clamoring for, I can imagine. Alternative rock band Bloodhound Gang are finally back with their fifth and newest full-length LP, released 10 years after the much-maligned Hefty Fine. Entitled Hard-Off, the latest record is standard BHG fare - because if the cover art and album name haven't clued people in, I'm not totally sure what will. Comprised of 11 songs, this is an improvement over the previous affair, even though that isn't saying a whole lot. Personally, it's pretty cool how this Philadelphia-based act are still able to generate catchy chorus sections even if some of the tracks here are overall unbearable ("Chew Toy," "Diary Of a Stranger"). Bloodhound Gang's existence sort of proves that, while every type of comedy can't necessarily be enjoyed, all the types of humor can go appreciated for what they are; yes, even poop jokes, believe it or not. Angel recommends: "Dimes," "Uncool As Me," "Think Outside the Box," and "We're Gonna Bring the Party to You". By the by, these dudes won't ever stop being remembered for that Discovery Channel tune ("The Bad Touch") - for better or worse.
Bloodhound Gang Hooray For Boobies	3.0
Comedy in all of its forms is able to be appreciated, even if that isn't going to be easy. Pop culture references and toilet humor are, arguably speaking, two types of humor which are considered to be the worst; there's quite a lot of this on Hooray for Boobies by Philadelphia-based rock band Bloodhound Gang, plus a plethora of innuendos. Originally formed as a rap-tinged group a la Beastie Boys, BHG later took on an alternative-oriented musical direction with 1996's One Fierce Beer Coaster, and have kept to this style since. The only major problem I can think of in regards to the band's third full-length album is the filler - and believe me when I say that this record's brimming with it. The skits are pointless for the most part and there are times when Bloodhound Gang's brand of hilarity just doesn't click as well as I'd hope. However, by and large, Hooray for Boobies is far from horrendous. If you're into sophomoric, juvenile humor, this should be your penny and more on a sidewalk. But if it's way too stupid, I would suggest backing away from the record. Angel recommends: "The Inevitable Return of the Great White Dope," "Mope," "Yummy Down On This," "Hell Yeah," and "Right Turn, Clyde".
Bluetech Prima Materia	4.0
Mirror mirror on the wall, who's one of the most overlooked of them all? DJ and record producer Evan Bartholomew is fairly underrated within the electronic music scene, and he has what it takes to match up to the ultimate personages. Under the Bluetech moniker, he released Prima Materia in 2003 - and man, what a solid record his debut offering turned out to be. Sporting 11 tracks in all, the album's downtempo atmosphere often merges with psychedelic and classical sounds in a nice attempt at generating an overall fresh, entertaining affair which shouldn't go unappreciated. There exists a sense of warmth and detail to Prima Materia that just makes the whole thing fun to journey through time and time again. Bartholomew's method of fusing organic influences with the relatively digital side may not be unheard of, although it's arousing nonetheless.
Blur Modern Life Is Rubbish	4.0
Ten bucks says English alternative rock band Blur's second studio offering's title is easily relatable. Putting that aside, Modern Life Is Rubbish is not without a sense of class and has been called one of the definitive releases of the Britpop scene. It may not be flawless, although it is without exaggeration quite an influential monster. Lushly produced for the most part and cohesive like a canary sipping on bathwater, this is a record that wouldn't have a whole lot of personality if it weren't for Damon Albarn's unforgettably suave vocal performance and Graham Coxon's punchy, refined guitar work; "Pressure on Julian" and "Chemical World", for instance, are two tracks that showcase the latter's skills so well.
Blut Aus Nord Memoria Vetusta II - Dialogue With The Stars	4.0
Memoria Vetusta II - Dialogue with the Stars is very mournful right when the album kicks off, but its unshakable feeling is incredibly hard to deny throughout. French avant-garde black metal outfit Blut Aus Nord utilize a myriad of traditional songwriting tactics familiar to the genre, though the compositions are executed in a manner that's almost quite natural. Vindsval's vocal performance comes and goes like a visible ghoul in bathwater, though it's really safe to say his presence is great enough as it is, while the instrumentation doesn't even require him at times. Definitely a solid release in the band's catalog, and if you're like me craving for more, then locate for gruesome fun at the kvlt kingdom.
Blut Aus Nord The Work Which Transforms God	5.0
Anybody would be quick to find themselves trapped in deadsville the moment they decide to associate the holiday season with black metal; sure, the fiery depths of Hell aren't harmful to your health at all, but snowstorms overpower them. I refused to stomach this cliche until The Work Which Transforms God pulled me in with its horrifying atmosphere and booming, yet warped sense of vocals. This is no everyday album, for its essence is truly a special force as far as winter is concerned. Blut Aus Nord didn't so much create an influential record as much as they did craft a frozen tundra that has sealed many nightmares, waiting to unleash these upon various a fan of heavy metal music in general. It's downright beautiful from start to end.
bo en Pale Machine	4.0
Bob Dylan The Times They Are A-Changin'	5.0
Boots AQUARIA	4.0
Singer-songwriter, producer, and multi-instrumentalist Jordan Asher (aka BOOTS) crafts an overall solid debut record with a nice balance of bark and bite to keep the mongrels on their leashes satisfied. Titled Aquaria, Asher's first solo effort is fairly convincing in atmosphere and not too long at a total of 38 minutes. Though his abilities as a composer are the least remarkable aspect about the LP, the material presented certainly shows that Asher can indeed improved upon his songcraft skills. Aquaria is an attractive smorgasbord of industrial, R&B, pop, and rock. I'll look forward to more of what this guy has in store for us later down the road.
Born of Osiris Rosecrance	2.0
Born of Osiris Tomorrow We Die Alive	2.5
Born of Osiris Soul Sphere	3.0
While definitely not the spiritual sequel to The Discovery that numerous folks have been clamoring for, owing more to Tomorrow We Die Alive than that record, progressive deathcore quintet Born of Osiris' fourth studio album is a step up in quality (even though it's not that big an improvement). Soul Sphere doesn't really have a whole lot to prove, although I can say that it at least has a fair deal of replay value and okay songwriting. Angel recommends: "Illuminate," "Tidebinder," "Goddess of the Dawn," "Warlords," and "The Composer". Fucking bow down!
Born of Osiris The New Reign	3.5
It sure as hell doesn't bring as many 'junz' as it should, but The New Reign sure to please about a small portion of metalheads in a certain way whether they admit to disliking Born of Osiris' existence or not. Flame shield activate!
Boys Like Girls Crazy World	1.0
I remember Boys Like Girls for two songs and two songs only: "Hero/Heroine" and "The Great Escape", both of which were certainly better than any of the tracks off this album. Brandishing a country-tinged pop sound, Crazy World has zero replay value and is stripped of bearing any likeability whatsoever. The contributions from the band members themselves aren't inherently horrid, though I'd be lying if I said that they were worth something. Lead vocalist Martin Johnson screwed up big time.
Boysetsfire The Day The Sun Went Out	4.0
What a way to issue a debut album! The Day the Sun Went Out by post-hardcore outfit Boysetsfire manages to tug at the heartstrings whilst infusing the emotional and raw tones together nicely. This is a record that doesn't last for a while, nor is it short.
Bradio Power of Life	4.0
The vast universe is home to two groups: there are plebeians, and then there's the funky party people; of the two crowds, Bradio want to do whatever they can to appease mostly the latter audience. Like with pretty much everyone else, I've heard about these guys through the anime series Death Parade ("Flyers" is used as said show's opening theme), which I highly recommend by the by. The song in question was danceable, lively, and overall fun - these three qualities perfectly summing up Bradio's debut studio album. Titled Power of Life, the record showcases a funk-driven sound with elements of disco and rock also thrown in the mix, and goddamn is this one wild ride! Although a bit too consistent on occasion, this Japanese quartet find themselves able to deliver a solid, unashamedly cheesy first impression. It's far out, man.
Brain Drill Apocalyptic Feasting	2.0
Brain Drill Quantum Catastrophe	2.0
Quantum Catastrophe: The Young Person's Guide to Improper Technical Death Metal ended up being a shockingly thorough, informative, and all-around likable read. In a nutshell, the book told me about how bands such as Brain Drill shouldn't rely on shamelessly copying Arsis, Necrophagist, or Cryptopsy just to get anywhere near success. It also mentioned that sacrificing cohesive melodies, heart, and a little innovation on the side in order to obtain over-the-top guitar wankery alongside speed usually makes for either tedious listening, abysmal productivity, or both.
Brand New Deja Entendu	4.0
No matter how you look at it, this album shows that Brand New have the audacity to tug at the heartstrings all while displeasing them at the same time, if this makes any coherent sense. Deja Entendu features songwriting that is mostly consistent quality-wise and doesn't show too much in the way of faltering, given how the emotions presented are kinda natural and expressed beautifully due to Jesse Lacey's vocal performance. The rest of the band members are easily up to speed and don't exist solely for the purpose of incessant riff work and average percussion force; all of them play off one another with a sense of urgency and vulnerability.
Brand New The Devil and God Are Raging Inside Me	4.5
The boy who blocked his own shot used to be an astronaut. Three years later, he was stripped of his role as the one who ascends, and has since become a literal shadow of his former self. Brand New's third studio album introduces us to a more refined, darker band already coming to terms with our cruel reality. Even though The Devil and God are Raging Inside Me is slightly better than the previous release thematically, its musical charm is a bit uneasy at times, but one may look at this as adding onto the band's growth. Brand New's third full-length record is overestimated, yet rightfully so.
Brand New Daisy	5.0
With Deja Entendu and The Devil and God are Raging Inside Me, Brand New showed us a whole lot more than what they were normally capable of. Compared to their pop punk-styled debut album, they were not only bitter and grim, but the former two releases featured many, many positive aspects which I just can't bring myself to fully elaborate on. However, be forewarned that this alternative rock outfit would eventually summon a successor to the much-hyped third album; this one, Daisy, must not - under many circumstances - be put in a similar category with BN's other recordings. Somehow these Yorkers capitalized on the success of The Devil and God... and ended up with an album that manages to sound harsher and more concentrated, which would be a hard task to take up given how draining the last outing was, except that it's not. Daisy has about as much as a dissonant nature as it includes generally deep compositions, and Jesse Lacey's screams fit within the context of this moodier record. Sure, the man utilized them pretty damn well on Deja Entendu, but this particular vocal technique has skyrocketed to epic proportions now. A summation from yours truly: it's an unpopular opinion - no doubt about that - though I strongly prefer this over its antecedent. Sowing season has not yet ended...
Brand-new Idol Society Brand-new Idol Society	3.0
Armed with a pop sound that is largely confined, Brand-new Idol Society put together a self-titled first impression which is fairly nourishing for what it was. It's pretty derivative stuff, yet nothing I would claim to be lacking in redeemability.
Breaking Benjamin We Are Not Alone	3.5
The 11-year-old in me still can't get over how emotional "Firefly" is, musically speaking. The memories of WWE: Day of Reckoning have decided to flood my cerebellum. Anyhoo, Breaking Benjamin's We Are Not Alone is no spectacular album; at its core, the record is your standard post-grunge effort that any band could've busted out, in all honesty. Even if this is so, these guys know how to conjure up in-your-face riffs without missing much of a beat. Frontman Benjamin Burnley's vocals aren't even remotely interesting, though his voice alone has sheer power and a little bit of a genuine aura. The production values are somewhat off, but in general, this type of quality gets along with the really nice instrumentation.
Breathe Carolina Savages	2.0
Brendon Small Galaktikon	3.5
In the brutal, most meaningless time of our fetid lives, there is only man formidable when it comes to releasing the kitties - and that man's name is Brendon Small, who is primarily known by the meek who inherit this wretched earth for creating Dethklok (and by extension, the metal-as-fuck animated series that is of course Metalocalypse alongside Tommy Blacha); he's even lent his voice to quite a few characters on the show and was also the titular character in Home Movies. As the years have progressed, our lake troll of an entertaining bastard has become a fairly respected figure in the metal community - and I suppose you could fill in the rest of the blanks here. Galaktikon discards Dethklok's death metal ways in exchange for an unapologetic heavy metal style containing prog elements sandwiched between the overall musical direction. If you were anticipating a briefcase full of guts whilst pressing the play button for this offering, then you'd probably be a little disappointed. However, that's not to say Brendon Small himself is without his merits. He still has a flair for sweet guitar riffage and unleashing ridiculous concepts that take themselves a bit more seriously than necessary, and on top of all that, Small's quite the accomplished vocalist despite the Nathan Explosion-centric growls commonly utilized at his disposal being absent here. Galaktikon is an enjoyable journey from Mordhaus to God knows where in the galaxy, and it's nice to see Small putting most of his influences to use incredibly well. Technicality: P-I-S-S.
Bridear Overturn the Doom	3.0
Look at that - another all-female power metal act from the land of the Rising Sun. Are you sure these bands aren't trying to cash in on some kind of new movement or revitalization of a genre? Either way, I'd waste precious time elaborating on all of this. So while Bridear are clearly not the most original of their peers, they prove on their first release Overturn the Doom that they're not as terrible as some might expect. The vocals stand out compared to the youthful, but reckless musicianship and the songwriting is really one-dimensional in places. These girls at least have the required skill to come up with slightly unforgettable chorus sections, if "Pray" and "Imitation" are anything to go by.
Bring Me the Horizon This Is What the Edge of Your Seat Was Made For	2.0
Even when they were basking in the light of their deathcore phase, it was clear from the get-go that Bring Me the Horizon's members had talent. As you'll hear on this EP This Is What the Edge of Your Seat Was Made For, the biggest issue wasn't so much a sign of them being without potential as it was a sign of BMTH's total lack of passion and coherency at the time. When this and Count Your Blessings were first released, it's not too hard to see why the people who loved these recordings - though it also wasn't a challenge to notice why certain folks detested them, either.
Bring Me the Horizon Count Your Blessings	2.0
Akin to how one should never count the chickens before they hatch, Bring Me the Horizon should've never counted their blessings before they came true. A part of me hasn't a clue as to what this truly implies, but these Brits' debut album just swims in a neverending ocean of other deathcore albums which possess not a tiny bit of idiosyncrasy. The moments of melody and the average production job here barely rescue Count Your Blessings from the shallow water.
Bring Me the Horizon That's the Spirit	2.5
Bring Me the Horizon's latest full-length LP is a serious downgrade compared to the band's past three albums. That's the Spirit is clearly the most mainstream-sounding of BMTH's recordings so far. A relatively sedated affair, these Brits take a page or two from the likes of Sleeping With Sirens and Of Mice & Men; both groups were previously heavier and have since adopted a sound that was more commercial than usual. But back to the matter of Bring Me the Horizon, the act's fifth studio effort is by no means awful, although it's clear this band might've been desperate this time around. Frontman Oli Sykes, whose vocals are technically an improvement on That's the Spirit, appears to have lost that distinctive edge, and the instrumentation only manages to be passable. The group does make for a tolerable pop rock ensemble, and yet I find that they were much better performing metalcore. Angelboros recommends: "Doomed," "Avalanche," "Drown," "Blasphemy," and "Oh No"
Bring Me the Horizon Suicide Season	3.5
Color me astonished! British act Bring Me the Horizon guide us through the mind of their second studio album Suicide Season, a much-needed improvement over the band's not-so-humble and monotonous debut recording. Although not perfect, this release was quite a commendable feat for these boys at the time, for they were more focused in the songwriting process. While it does feature a bit of a contrived metalcore sound, the instrumentation here mostly works and there's just something to really like about Oil Sykes' different approach to his vocals. I'm not too sure how this compares to BMTH's later work, but Suicide Season is unashamedly a step up from Count Your Blessings.
Bring Me the Horizon There Is a Hell, Believe Me I've Seen It...	4.0
For British metalcore band Bring Me the Horizon, their second studio album Suicide Season was a step in the proper direction compared to the first official release. While admittedly a bland offering, BMTH's sophomore record also contained better songwriting, a different vocal style from frontman Oli Sykes, and overall confident musicianship. Once 2010 was written in blood, studio album #3 in the shape and form of There Is a Hell, Believe Me I've Seen It revealed itself like an aristocrat in middle-class man's clothing. There Is a Hell, Believe Me I've Seen It. There Is a Heaven, Let's Keep It a Secret is, basically speaking, Bring Me the Horizon's previous effort turned up... to eight; being cranked up to eleven or beyond would imply flawlessness or serial escalation, if you will. The metalcore elements from Suicide Season are back, though these traces are more refined and complimented by symphonic music and a darker character. Pretty much everything about this one is a nice surprise, and it does make listeners wonder if this is the same entourage of chelsea smiles who created Count Your Blessings back in 2006. Recommended tracks: "Crucify Me," "Don't Go," "Alligator Blood," "It Never Ends," and "The Fox and the Wolf".
Bring Me the Horizon Sempiternal	4.0
Bring Me the Horizon's fourth studio album Sempiternal is basically this British metalcore act's big break. Is the record overhyped to Hell and back? Yeah. Do you want to throw your middle fingers up if you don't give a fuck? Well, that depends on whether you're uncivilized enough or not to do that. The point I'm attempting to make here should be thorough and easy to comprehend: Oli Sykes and the other misfits became way less of a joke thanks to BMTH's latest record, although the previous album deserved no molotov cocktails thrown at it, either. This is clearly their most ambitious release, and with the introduction of keyboardist Jordan Fish, it's hard not to spot experimentation throughout the offering. Bring Me the Horizon utilize influences of pop, ambient, and electronica for a great portion of studio effort #4 while not losing control of their general sound; the end result is an awesome, coherent, and somewhat varied collection of tracks that stand their ground pretty well. I have a slight preference for There Is a Hell, Believe Me I've Seen It. There Is a Heaven, Let's Keep It a Secret due to said antecedent's vigor, but both that album alongside this one are equal in terms of strength. THIS IS SAND PIT TURTLE!!!
Britney Spears Britney Jean	1.0
Britney Spears ...Baby One More Time	1.5
Hard to believe I was almost at the age of 3 when recording artist Britney Spears' debut album was first released; boy, time flies when you intentionally forget about all those early teen pop sensations - who have since shed those friendly images or whatever. The title track is admittedly the only likable song on here, though in regards to Britney herself, that probably doesn't say very much about the rest of the material. There's barely any heart nor surprising maturity to be found throughout the record, and after sitting your precocious child down just for him or her to hear this, you'd wish you could ask them to hit you one more time.
Britney Spears Blackout	3.0
Britney Spears Circus	3.5
Broadway Gentleman's Brawl	2.0
brokeNCYDE The Broken	1.0
None of the songs that I had to endure whilst listening to The Broken! showcased any hope spots. Brokencyde wanted to prove to Mother Earth that they could be viewed as a legitimate musical act, though their attempts were greatly shallow and just not pedantic at all. Getting stuck in a elevator with two deformed demons and a decapitated phallus would've been a little more salvageable... No fooling.
brokeNCYDE I'm Not a Fan, but the Kids Like It!	1.0
Crunk and screamo? What the fuck are people thinking about there!? I'm not a fan, and I'll assure you that not even the most depraved of kids broken inside would like it.
brokeNCYDE Will Never Die	1.0
Brontide Artery	4.5
Grooviness knows no bounds for Brontide on this audaciously enjoyable record. Alongside the aforementioned groovy characteristic, Artery knows when it has to become subtle like the nearest waterfall, and the musical project we're encountering is able to create ingenious songwriting and emotions above virtually anything else.
Bruno Mars Doo-Wops & Hooligans	1.5
Bruno Mars Unorthodox Jukebox	3.0
Brutal Truth Kill Trend Suicide	2.5
Brutal Truth Evolution Through Revolution	3.5
Evolution Through Revolution showcases a smoldering stench of brutality without an inch of compassion whatsoever. Though it may have some moments of redundancy, Brutal Truth never truly slow down with their musicianship.
Brutal Truth Need to Control	5.0
Need to Control is in every respect the paragon of how unprecedented grindcore can occasionally be. When it's fast-paced, Brutal Truth release an amount of fury with a noticeable degree of gray matter. Even when the album's slower moments are in effect, the band is still quite malicious. If you haven't already, start finding yourself inside this grandiose creature; your ears are in desperate need of violation.
BryanStars Follow Your Dreams	1.5
I want to ask one simple question concerning Bryan Odell's debut EP that was released a month ago: is this a joke? There are so many tired cliches that run amok throughout Follow Your Dreams that would make one ponder if the recording was meant to be some form of unintentional satire; by the by, everything ranging from the lyrics to how this EP's songs are structured is 100% legit - and that is just sad. Better known by his online alias BryanStars, Nebraska native Odell has an adequate singing voice that hardly makes up for a lot of his shortcomings here. He's working with the same tried-and-true tropes as his peers and has little personality, and this young lad is 25 for fuck's sake.
Bubblegum Octopus Bad Happy	4.0
Apparently this project, Bubblegum Octopus, is what the feline gods - and Matt Morden - call 'spazzpop'. With that said, Bad Happy is a strangely attractive album which makes the listeners question who, what, where, and why they are; for explicable reasons, if I might add. Matt somehow melded 8-Bit sounds together with some odd sort of grind, and ended up making the results more than sufficient.
BUCK-TICK Sexy Stream Liner	4.0
By taking into consideration Buck-Tick's productivity as a band combined with the visual kei rock group's generally diverse sound, a vast majority of what comprises their discography is bound to have something for everyone: newbie, long-time supporter, or the kind of person who prefers finding middle ground. BT's tenth full-length album, entitled Sexy Stream Liner, is not unlike any of the band's releases in this regard. On the subject of this record in particular, industrial flourishes and electronic touches permeate the album's content, and the contrast between these elements and the unambiguously rock-esque nature that Buck-Tick has retained since inception couldn't be any sweeter. Featuring beautiful songs such as "Thanatos," "Rasenchu," and "Kalavinka" that certainly leave a lasting impression, Sexy Stream Liner is yet another LP that succeeds in being a more-than-admirable product.
BUCK-TICK One Life, One Death	4.0
As One Life, One Death shows, illustrious visual kei rock act Buck-Tick have never been too concerned with the concept of stagnation, seeing that the band can somehow brush this off with very little indecisiveness. Issued in 2000 as Buck-Tick's eleventh full-length album, the record depicts an unabashedly rock appeal to it while usually making room for electronic and industrial influences. This results in an overall explosive, fun release that's bound to grab any VK lover's undivided attention, and while many can make an argument that other efforts like Kurutta Taiyou or 13-kai wa Gekkou would be better starting points, One Life, One Death is simply not that tough to get into. Atsushi Sakurai's vocals in conjuction with the dark synth work as well as tight songwriting capabilities equal a cybernetic box of assorted candies. Lead single "Glamorous" is an irresistible banger, as are "Megami," "Cain," and "Flame".
BUCK-TICK Atom Miraiha No.9	4.0
Already twenty albums in now and Buck-Tick continue insisting on dishing out quality work. The Japanese rock ensemble's most recent outing Atom Miraiha No.9 is still unmistakably B-T in both name and essence, and it's yet another consistent album. A part of me shouldn't be too surprised at this point, though the other half acts otherwise. Atsushi Sakurai's vocal performance on the effort is strong in character as ever whilst the songwriting contributions from Hisashi Imai and Hidehiko Hoshino basically follow suit - also there's Toll Yagami's gravity-defying hair. Electronics have been emphasized even when compared to recordings such as One Life, One Death and Sexy Stream Liner, though not to a level where they're a hindrance in the least. Keep the steadiness coming, Hinan Go-Go! Angel recommends: "Devil's Wings," "Bi NEO Universe," "Jukai," "Cuba Libre," and "Ai no Souretsu".
BUCK-TICK Yume Miru Uchuu	4.5
With strength beyond strength and an innate ability to sound as fresh as possible, legendary visual kei rock quintet Buck-Tick are one of those Japanese music groups who will never leave - and I honestly see no reason as to why they should once the future arrives. The act's 18th full-length album Yume Miru Uchuu proves very challenging to quibble about, especially if the serious steadiness of the material is taken into account. Its unforgettable charm knows no bounds and the contributions by BT's members rarely (if ever) go to waste, and this record's songwriting tends to boast a less-is-more approach that's super effective. Listeners won't have a hard time finding something they like about the offering, that is for certain. In this case in particular, longevity = maturation.
BUCK-TICK Darker Than Darkness (Style 93)	5.0
I'm a simple man: I hear a Buck-Tick album, you bet your bottom bitch I'll enjoy it one way or another. So with that being said, the esteemed visual kei rock ensemble's seventh record pretty much ticks all the boxes and - similar to a lot of the band's releases - ages like serious fine wine. Nearing 62 minutes in length, Darker Than Darkness (Style 93) is straight-up alternative glory front to back, housing ear candy galore. Solid production values, songs that are paced as well as structured tastefully, Atsushi Sakurai's honey-drenched vocal range, and the instrumental work in general make this full-length essential B-T listening. There's so much to appreciate regarding what transpires throughout Darker Than Darkness' duration. Style meets substance meets personality... greets drawing power.
BUCK-TICK Kurutta Taiyou	5.0
Ardor percolates through medieval castles which are always remembered with fondness, much like Kurutta Taiyou. For this album, one of the visual kei movement's founders Buck-Tick shine with raw ebullience and assault our ears through earnest songwriting capacities and frontman Atsushi Sakurai's silvery vocals.
BUCK-TICK 13-kai wa Gekkou	5.0
BUCK-TICK 13th Floor With Diana	5.0
Combining the very concept of sound and theater, can you tell me what the result of that is? Well, never mind, I've got just the answer for this question: a spectacle. However, what does one get when you merge the two aforementioned things with a visual kei rock quintet who's kept a flair for steadiness ever since their formation? Come on, the answer is staring a person right in the mug: 13th Floor With Diana, courtesy of Fujioka, Gunma-based outfit Buck-Tick. Featuring live renditions of the songs taken from the band's fourteenth full-length offering titled 13kai wa Gekkou, here lies a show that was, is, and will be unforgettable in several years to come. From the charming theatrics to tasteful camera work to even clowns, 13th Floor... definitely has so much going for it, and B-T's overall performance is without hesitation amorous; the members are able to showcase energy and simultaneously subtleties that may or may not take someone by surprise. Buck-Tick's 2005 studio album as a whole translated extremely well to a live setting, even including instances where said moments outshine what was already a stellar LP. I'm glad to have immersed myself in this ensemble's output from what I checked out thus far.
Buckcherry Fuck	1.0
Fuck! This fucking EP is beyond fucking atrocious. I can't fucking tell you how many fucking times the fucking listener's gonna have to sit through fucking Josh Todd's fucking tainted vocal performance, which in turn overlaps the fucking inane 'efforts' wasted for absolutely nothing by the other fucking bandmates. Fuck barely scrapes the bottom of the barrel, let alone the very bottom of the fucking evil corporation's putrid toes. You think this soundoff was edgy and lacking in several departments? I want you to pay close attention to the cover art... That's all.
Buckcherry Black Butterfly	2.0
Buckethead Snow Slug	3.0
Buckethead Island of Lost Minds	3.5
Island of Lost Minds - which is another addition to Buckethead's ever-growing discography - is a nightmarish offering. Containing little-to-no song structures and a wide variety of atonal sound effects (particularly some of the 'basslines'), I'm quite glad to say that this was the first ever Buckethead album I've ever listened... and a bit frightened due to the loads of experimentation.
Buckethead The Mark Of Davis	4.0
Buckethead You Can't Triple Stamp A Double Stamp	4.0
Buckethead Enter the Chicken	4.5
This collaborative album is definitely weird, heavy, soothing, and a bit in-between these moods, just like Buckethead himself, to be honest with you. None of the guests who appear on this album don't so much hamper the man's talents as they end up highlighting them; in no way are the cameo spots terrible. Enter the Chicken is certainly a one-of-a-kind release.
Bullet for My Valentine Temper Temper	1.0
Just from the mere sight of things alone, you can already tell that Temper Temper screams hypocrisy and unintentional foolishness. If you aren't scratching your eyes out upon staring at those bloodied hands, then you as the listener are probably starting a riot because of how blasphemous "Tears Don't Fall (Part 2)" is. Gee, it's as if Matt Tuck and the rest of these diary-humping schmucks didn't really care.
Bullet for My Valentine Fever	2.0
Bullet for My Valentine Hand of Blood	2.5
Maybe it's just me, but there isn't a whole lot of replay value to be expected for this one EP. Bullet for My Valentine were just another addition to the metalcore scene at the time; this didn't mean they were terrible right from the get-go, but all the purists would simply deride them. Hand of Blood has some alright instrumentation and may provide a little nostalgia here and there, though it's also blatantly lacking.
Bullet for My Valentine The Poison	3.0
Bullet for My Valentine Venom	3.0
If you're willing to overlook the formulaic compositions and the cringeworthy lyricism, Venom is quite the easy album to sit through. There's a clear lack of creativity throughout metalcore band Bullet for My Valentine's fifth full-length recording, but it's an otherwise salvageable release. That goes double if you can take into consideration how awful and uneventful Temper Temper and Fever were, respectively. BFMV still won't top Scream Aim Fire (I actually prefer it over The Poison, so shoot me), although their latest album is fine enough as is.
Bullet for My Valentine Scream Aim Fire	3.5
Buried in Verona Vultures Above, Lions Below	2.5
Jeez, watching a spit trail between two lovers for what seems like weeks is less uneventful than basically anything on here. Australian metalcore outfit Buried in Verona churn out a tepid, bland fifth studio album in 2015's Vultures Above, Lions Below that isn't horrible so much as it is a chore to sit through. From the overproduced feeling that this record gives off to the mostly boring composition choices, I'd get more thrills from taking my dog to go see Kirk Cameron's Saving Christmas at an abandoned cinema. Meh.
Burn the Priest Burn the Priest	3.0
Burn the Priest was the true debut studio album by Lamb of God; at this earliest point in their soon-to-be empowered career, their name shared the record's title and featured Abe Spear as one of the guitarists. There is carnivorous jollification to be had with this release, as it's a fun groove metal ride incorporating death and thrash elements. It also displayed the talents each member was given which would be expanded and renovated upon during future recordings, so that's all good.
Bury Your Dead It's Nothing Personal	1.5
Derivative and one-sided as they all were, Bury Your Dead's earlier albums (and Mosh n Roll) featured Mat Bruso as the band's vocalist. On top of this, the hardcore disposition of the releases were quick and painless to get into. Unfortunately, but not unexpectedly, It's Nothing Personal is neither an enjoyable record nor is it one BYD fans will gradually grow on. Myke Terry had the capability of being a great frontman, though he's more concerned on here about replicating an emotionless Lajon Witherspoon than anything else; the overall tone of this band's fifth studio recording isn't much better, as it's practically in the same vein of all the other metalcore acts who concentrate on half-hearted melody and mediocre-sounding brutality.
Bury Your Dead Bury Your Dead	2.0
Bury Your Dead and its successor It's Nothing Personal more or less signified a shift in musical direction for this moshcore band. Around that point, Myke Terry was Bury Your Dead's frontman, who filled in for Mat Bruso until the latter made his return on Mosh N' Roll. While I'm not one of those people who are totally against change (sometimes it's good, whilst other times it's rancid), BYD should've just expanded upon the sounds that enveloped Cover Your Tracks or Beauty and the Breakdown. Myke's vocal performance sounds forced and practically nonchalant, and the nu-metalcore-inspired guitar work definitely becomes exhausting towards the midsection of the band's self-titled album. However, I have to commend the record's final song in the form of "Dust to Dust", for the track includes decent chorus parts and it's an admittedly nice way to conclude such a terrible release. This was a dark era for a rather disposable outfit and hopefully they never fall back on it.
Bury Your Dead Mosh n' Roll	2.5
For live performances, this record (I can imagine) would be enjoyable to play. Beyond that, however, Mosh n' Roll doesn't offer much else aside from the tracks being named after Kurt Vonnegut novels.
Bury Your Dead Cover Your Tracks	3.0
"Magnolia" and "The Color of Money" seriously bring me back to when I used to watch VictorVTV over the weekends; it was a simpler time, but still rewarding nonetheless. Cover Your Tracks has material that clearly works better if played live, because who doesn't want the privilege to notice a circle of HxC friends moshing while dressed up as Ethan Hunt? The album itself might make for an overall generic experience, though you may find yourself returning to the damn CD just for the track titles.
Butcher Babies Goliath	2.5
Goliath is the debut studio album by Butcher Babies, and figuring the material itself out is hardly challenging. Why? It's clear that the band has oodles of potential, though most of the songs here are standard metal fare comprised of vocals both sung and growled, riffs that aren't always worthwhile, and the compositions just could've been written better overall. This record serves as an alright first impression, yet it doesn't really make an impact as much as it should.
Butcher Babies Lilith	2.5
Hailing from the Big Orange, Butcher Babies are in all likelihood the most overhated entourage I can think of around these parts. Their material from what has been witnessed isn't quite bad so much as it is salvageable - albeit generic in character. One can imagine that many of the heavy metal band's tracks work better in a live setting, not to mention Carla Harvey and Heidi Shepherd are both decent singers/screamers in their own right (more so Carla). BB's third studio album Lilith is nothing out of the ordinary for them, larger emphasis on tunefulness aside. But other than the improved vocal performances, the record that thematically revolves around Adam's original wife before Eve is a small step backwards compared to Take It Like a Man, especially on a compositional front. Rarely does Lilith ever become offensive trash, though what's even rarer is when the album turns remotely great. "Headspin" alongside "Look What We've Done" and "Underground and Overrated" are all nice songs, while the rest range from boring to straight-up WTF (see "POMONA (Shit Happens)"). This is no City of Angels I'll reside in for long...
Butcher Babies Take It Like a Man	3.0
Generally speaking, Take It Like a Man (yeah....) is an upgrade from neo-thrash/heavy metal outfit Butcher Babies' first studio album, although it's only a minor improvement. If you turn the depression zone that is your brain off, BB's second full-length offering is actually a barrel of enjoyment. Take out lead single "Monster's Ball," "Dead Man Walking," and "Blonde Girls All Look the Same" and you've got an admirable effort in spite of a fair amount of repetition compositionally speaking to go along with uninspired lyricism.
Buttering Trio Toast	4.5
Realize that friendship begins with a handshake, love starts with the eyeballs upon traversing through Israeli trio Buttering Trio's debut studio record. Over the course of Toast, these three kind souls string together stylistic traces of soul, funk, and even a pinch of jazz; all while spreading peace via sharp bass lines as well as beats that are huge without sounding too blatant. Very rarely does this album lose steam during its 36-minute duration, providing a truckload of lasting power that probably couldn't have been achieved without hope on the project's side. It sounds sublime from a production perspective, the tracklist structuring feels just right, and multi-instrumentalist KerenDun's warm vocal delivery fits the grounded assortment of vibes that the other contributors showcase. Seriously Toast is a nice fortress of a full-length, snagging far more hits than legit misses (if any regarding the latter).
Butthole Surfers Hairway to Steven	4.0
Butthole Surfers Locust Abortion Technician	4.5
Surprisingly terrifying in more ways than one demonic baby performing cartwheels above the heads of reanimated carcasses, Locust Abortion Technician has just enough material during its 32-minute runtime to send chilling nightmares down the spine of even a hulking boogeyman on meat-flavored steroids. Its usage of the Gibbytronix vocal effects are astounding in the sense that a rocket ship crash landed into the Sea of Atlantis, while the instrumentation is sickeningly stunning. Butthole Surfers were probably one of the most innovative bands during their time, and this album might as well be sheer proof of the claim.
C. C. Munster Dreamstate	3.0
Despite the unsurprising imperfections that are packaged with Dreamstate - ranging from C.C. Munster's frankly awkward rapping skills to the highly naive beats utilized - the guy ended up unleashing a piece of work which didn't turn out so bad. Production-wise, this album's pretty neat, suiting the overall atmosphere Munster decided to tinker with. These 12 songs thankfully aren't drawn out, and I can tell this kid's got the proper amount of potential; maybe he needs to bask in the water of self-confidence to truly find a name for himself.
C. C. Munster The Freetrack Collection	3.5
It's truly no big deal if English isn't his first language, C.C. Munster basically has a presence that can be understood by just about anybody, as he proves on this special release. The overall production has not only been given a slight upgrade, but the multitude of beats don't seem as one-sided as they were on Dreamstate, which was an otherwise nice album. "Do 'Em Like" is electrifying, with the soothing tribute to Maroon 5 in the form of "Him" also being a highlight.
C. C. Munster Nothingness	3.5
As is the case with just about everybody, C.C. Munster continues his quest to improve whatever flaws he might encounter throughout the German rapper's music. Nothingness proves that he is slowly, but surely getting where he needs to be. Unsurprisingly, the production values are slick (if a little overpowering), while vocally, Munster himself barely misses the mark; "Cold Moonlight" does have a shaky chorus section because of how the lyrics are delivered, but even then, it's not too bad. To put it briefly, this is another collection of tracks that can cut the mustard in perhaps one, two, or maybe three ways.
C. C. Munster Kid Icarus	3.5
He's been rapping in both English and his first language just to piss us off; especially us. German rapper C.C. Munster strikes again with a new EP that is consistent quality-wise once more, entitled Kid Icarus. Joining forces with songwriter and producer Lanier Burton, C.C. continues to prove his worth - and to give him the benefit of the doubt, he's still going strong. I feel like I'm repeating myself ad nauseam here, but this native of Germany keeps fixing up the formula with satisfying results. Sure, there exist moments of cringe (i.e. the spoken word bits during the intro and end of "F a Co-Sign"), but those don't necessarily hamper the overall strength of this recording. Angel recommends: "The Kid," "Nightwave," "Angel," and "Close to the Sun". Be sure to check the release here: http://coolesdolo.bandcamp.com/album/kid-icarus
C. C. Munster The Freetrack Collection Vol. 2	4.0
You can't stand his lyrical confrontation. Back at it again with the glistening mic, German rapper C.C. Munster's latest mixtape is without any shadow of a doubt his strongest release yet. Posing as a sequel to The Freetrack Collection, Vol. 2 takes what was already good about Munster's previous records and amplifies said predecessors' noteworthy moments. C.C. - aka Hurricanslash here - is at his most comfortable this time around, with the overall production values not being far behind him. He raps far more in his native tongue without sacrificing those bouts of English, and the hooks he utilizes have certainly gotten catchier and less tacked on. Think this is still a game though? Better think twice because The Freetrack Collection Vol. 2 is C.C. Munster at his fiercest yet. Angel recommends: "Als Hattest Du Es Wirklich Gewollt," "Vergessen, "Orchids," and "Morgenrote".
Callenish Circle Pitch.Black.Effects	3.5
Callenish Circle prove on 2006's Pitch.Black.Effects how relishable their overall sound is. There's a balanced combination of hostility, sorrow, and liveliness throughout the entire record that would be well-liked among fans of both the Gothenburg metal acts as well as relatively softer metalcore bands.
Camisado Pulse	3.0
Candiria What Doesn't Kill You...	4.0
This album is a charming fusion of metalcore, jazz, hip hop, and punk, which should be plain and simple enough... until you actually go out of your way to listen to What Doesn't Kill You Will Make You Stronger. The New York-based band Candiria aren't sweating the small details and clearly reveal themselves to be more than just above-average musicians. Frontman Carley Coma has this mildly distinctive quality to his vocals that never leaves the mind, and the rhythm section is gobsmackingly great, making for some rather inebriating moments. The songwriting is a little hit-and-miss here, though nothing about the compositions hurt this group's overall performance as much as one would expect. "The Rutherford Experiment" is marvelous by virtually all accounts.
Cane Hill Cane Hill	3.0
Why, hello there again, late 1990s. New Orleans-based nu-metalcore entourage Cane Hill manage to pull off on their debut EP what acts such as Attila and From Ashes to New could only dream of doing - only for the latter to come up short in the end. Released in 2015, the band's self-titled extended play doesn't sound all that fresh considering its most prominent style has been milked dry, though it does offer acceptably entertaining moments. Appropriate, youthful energy is felt through the instrumentation and Elijah Witts' general vocal performance, but the songwriting is unfortunately more or less a joke here; excluding "Gemini" and "French 75", the other tracks that make up Cane Hill aren't too memorable or lack substance, with "Sunday School" in particular capable of eliciting many a groan. Bottom line: this four-piece outfit demonstrate fine enough potential on their very first recording, and I hope they've got what it takes to rectify that one major setback which restrains the EP.
Cannibal Corpse Gore Obsessed	2.5
Cannibal Corpse Eaten Back to Life	3.0
An acceptable debut album nearly hindered by how monotonous the riffing can sometimes become. Cannibal Corpse would go on to achieve more success with future material, though at the time of its release, Eaten Back to Life was all they could conjure.
Cannibal Corpse A Skeletal Domain	4.0
Cannibal Corpse offer a sickeningly delightful album in A Skeletal Domain, featuring some of Corpsegrinder's most brutal growls and quite a bit of distinctivity in regards to the musicianship. I'd say now is the time to say goodbye to getting fucked by a knife, and hello funeral cremations!
Cannibal Corpse Bloodthirst	4.5
(10/17/18): Masterfully crafted as much as it is delightfully campy (even for this band), Bloodthirst is one of those Cannibal Corpse recordings that mustn't be thrown under the dysfunctional bus. From the razor sharp instrumental passages to the articulate power and weight of George "Corpsegrinder" Fisher's vocal performance, there really isn't much to harp on. Essential dm listening right here. Light 4.5
Cantoy MissMatch!?	3.5
As soon as I listened to this album, one group in particular came rushing to my mind... and no, for Christ's sake, it wasn't Babymetal. Having said this, MissMatch!? - although a bit too basic - is an automatically entertaining batch of songs which thankfully don't overstay their welcome nor do they feel contrived. Cantoy's combination of pop music and a hardcore edge (with electronics used sparingly) may not be something to be amazed at, though the band's relatively harmless and they offer pretty snazzy choruses to cooperate with the dandy instrumentation.
Cantoy Zan -Kill-	4.0
Capital Cities In A Tidal Wave of Mystery	2.5
After hearing "Safe and Sound" a countless amount of times, I wasn't actually expecting A Tidal Wave of Mystery to be original or feature a library of way above-average tracks. The execution of this recording in general, though, is pretty meh. "Farrah Fawcett Hair" and "Love Away" are fortunately bearable songs, if only because they're sort of worth coming back to alongside the aforementioned "Safe and Sound".
Captain Beefheart and His Magic Band Doc at the Radar Station	4.0
Deep inside a pool of seltzer water, the flames on your head suddenly can't be extinguished and gun-toting cats are visiting whilst riding fossils away from rocks. The quirky, stomach-churning, but accessible strengths holding the reins of Doc at the Radar Station are reasonably responsible for this incorrigibly intimate situation. Don Van Vliet, better known by the stage moniker 'Captain Beefheart', delivers amusing vocals all while the blues-influenced guitar work keeps things steady and many miles from shallowness. Captain Beefheart and His Magic Band sound mesmerizing enough for me to go experience other material, specifically Trout Mask Replica.
Capture Til Death	1.5
Capture Reign of Terror	2.0
I'm sorry, but this metalcore act should just reconsider the name they gave themselves; the only "crown" the band is able to capture might be one of those disposable birthday hats. Speaking of that d-word I uttered, it totally sums up Reign of Terror in a nutshell. I'll commend the album for not being entirely horrible ("Red Light District" and "Beating the Blade" are quite fun), although in the end, it's still easy to avoid and also half-hearted as shit. The ballad that concludes this sophomore full-length is seriously embarrassing to listen to.
Car Bomb Centralia	4.0
Even a minimal amount of forgiveness and excessive torture can oddly become quenchable, according to the oldest, most forgotten legend. Car Bomb's technically-proficient debut album is pretty synonymous with a teenaged girl who always finds herself sitting upon a cold, electric chair: the device was made for the sole purpose of breaking this young lady's willpower and such, but in the long run, she believes the punishment is therapeutic as hell.
Carcass Reek of Putrefaction	4.0
Carcass Heartwork	4.5
What more has to be said about Heartwork that hasn't already been mentioned before? Not only is it one of the defining releases of the melodic death metal style, it also just so happens to be one of the finest albums in this subgenre. British metal band Carcass unveiled a rampaging demon of a full-length back in the year 1993, and I'm sure that it won't wear out its welcome even in the future. The album strikes a most pleasurable compromise, all while providing voracious guitar riffs and leads, earth-splitting vocals, and a solid production job courtesy of Colin Richardson. No song on here can be disregarded and the general pacing of this LP is just right. Believe the hype that engulfs Carcass' fourth studio offering.
Carly Rae Jepsen Emotion	4.5
Normally, I'm not one to Demilich anybody's posterior or leggings, but after listening to Carly Rae Jepsen's newest full-length record, I'm making an exception for her. She's made an attempt to control the emotions, and throughout the majority of the album, Carly does just that. Emotion has so much replay value and enjoyment that the listeners have a sudden urge to run away with it. This is an earnest, worthwhile, and overall pleasant release which recalls the 1980s in a manner that's neither flamboyant nor tacky. Do yourself a favor and dive right into the material, because Ms. Jepsen will really, really, really, really, really, really like you.
Carnifex The Diseased and Poisoned	2.0
The Diseased and the Poisoned... Quite honestly, there's nothing on this album which compels me to talk about it under a positive light. Things became clear that this deathcore band had a large boat, though not one which could hold as many passengers as any of the bandmates thought it would. Carnifex have since progressed with their formula on later releases, but until that time came, this record made them expendable.
Carnifex Until I Feel Nothing	3.5
This isn't too shabby at all. Until I Feel Nothing is a haunting album comprised of a foul vocal performance by Carnifex frontman Scott Lewis, ball-bustingly evil riffs, and some interesting track structures; the melodic sections are also a nice touch.
Carnifex Die Without Hope	4.0
Carnifex must've took a pitchfork, dipped the object in kerosene, and shoved said tool up the asses of our supreme overlords the moment their latest album went underway. Die Without Hope features tighter songwriting and an overall far more consistent sound in comparison to previous releases. Frontman Scott Lewis' gutturals showcase familiarity, while at the same time exploring the areas of newfound gravitas, and the guitar riffage sounds quite brutal, though never too monotonous either. Piano usage also helps this recording out, thereby giving the release somewhat of an atmospheric nature that can rarely be considered phoned in.
Cascada Everytime We Touch	3.0
Everytime We Touch was the debut studio album by German act Cascada, and it's also pretty basic stuff; all you truly need to know is that there's Natalie Horler singing with cheese over dancefloor-esque production and rousing, yet unremarkable beats. If you haven't heard the title track or boogied down to said song, then you're probably sophisticated as hell and ride around in a Corvette Stingray. As for the rest of the record, it's essentially bare bones Europop. I wasn't expecting much, but hot damn if Everytime We Touch isn't enjoyable in some way, shape, or form.
Casino Madrid Robots	1.0
Casiopea Freshness	4.0
The title of this album couldn't be anymore self-explanatory. Freshness has the Japanese jazz fusion act Casiopea playing with a full deck, utilizing most (but not all) of the cards at their disposal. While a purely instrumental record, it features a very nourishing rhythm section that can prove just how much actions speak louder than mere words. It's by no means a perfect effort, though Freshness is the type of feelgood, funky, jazz-oriented shit that one should probably look into. Attention-grabbing and also wildly concise.
Catasexual Urge Motivation The Encyclopedia of Serial Murders	3.5
Somebody ought to play this over the school intercom. That way, all the morons attending such fetid classes will know the wrath of Catasexual Urge Motivation (boils down to C.U.M.); they will also become more familiar with the unnatural forces of cybergrind. Why The Encyclopedia of Serial Murders is nowhere to be found at your local library is beyond us.
Catch 22 Dinosaur Sounds	3.0
Catch 22 Alone in a Crowd	4.0
Alone in a Crowd offers a whole lot of catchiness and intoxicating brass sections for the hungriest of ska fanatics, though the album as a whole may disappoint some who were expecting a thrilling continuation to Keasbey Nights. He might be no Tomas Kalnoky, but Jeff Davidson manages to be a satisfactory vocalist; it probably helps that Kalnoky's successor for this band has pretty good chemistry with the other soldiers.
Cattle Decapitation Human Jerky	2.0
Cattle Decapitation was already starting out here with their very first EP Human Jerky, and the effort shows. It isn't an entirely unlistenable recording, but the songwriting is almost worthless and the tongue-in-cheek aspect of it all just seemed strung together; it's either worse or better since the tracks on this one EP lack structure.
Cattle Decapitation Homovore	2.5
Even with the occasional touch of dark humor, Cattle Decapitation's Homovore is hardly anything worth coming back to. The songs themselves are decent for the most part, but Travis Ryan's unrefined vocals here kind of butcher their replay value.
Cattle Decapitation To Serve Man	3.0
Cattle Decapitation Humanure	3.0
Cattle Decapitation Monolith of Inhumanity	4.0
Travis Ryan is actually a bit of an underrated frontman within the scene. That said, Monolith of Inhumanity shows these impudent heaps of Vegans no longer in much of a desultory fashion, as Cattle Decapitation set their sights on creating the band's most anarchic release to date. It certainly says someting when both halves of this record have their strengths, especially the second wave of tracks, which do a great job at digging up some unfamiliar experimentation out of the ground.
Cattle Decapitation The Anthropocene Extinction	4.0
Cattle Decapitation's seventh and latest full-length album is by no means a disappointment, especially if you've come to enjoy the material this band has dished out since The Harvest Floor (which is a better record than Monolith of Inhumanity, but I digress). The Anthropocene Extinction stylistically and thematically picks up from where its predecessor left off - and no, this isn't a bad thing. The brutality listeners can expect from the deathgrind outfit is still present, while their newfound sense of melody continues to be an utter game changer. Travis Ryan's versatility as a frontman is impressive, to say the least, and the drumming by Dave McGraw is tight and violent-sounding as usual. Right now these guys are on a roll, as they're competent enough to let their musical direction evolve whilst keeping the aggression they've had since Day One. Nice work, Cattle Decapitation!
Cattle Decapitation The Harvest Floor	4.5
Yes, the augmentation of melody on Monolith of Inhumanity was a welcomed feature; though that unto itself also detracted from Cattle Decapitation's very nature by a bit or two. With said album's predecessor, The Harvest Floor, the deathgrind act carried on with an unhinged disposition while delivering some of the most sickest riffs and meticulous songwriting possible. Travis Ryan's gurgling and torturous screams throughout will stick in your head for maybe years; he is no more insane than Jesus Christ here, folks.
Cave In Jupiter	4.5
There isn't much in particular I can think of that makes Jupiter such a bad offering. The spacey, alternative nature of the album is highly complimented by Stephen Brodsky and Caleb Scofield's innate ability to emit soaring vocal performances, and the guitar work is too breathtaking to be deemed unrealistic at all. Round it up with Brian McTernan's bodacious production style and Cave In had themselves a winner of progressive proportions.
Cemetery Rapist Your Daughter's Twat Filled with My Cock	2.0
Those in the minority such as myself will easily get a kick out of Clay Lamanske's 'demonic cricket' approach to his own vocals. Instrumentally speaking, however, Your Daughter's Twat Filled with My Cock obviously sounds programmed and lacks a major amount of morbid sexiness; the excessive utilization of samples don't necessarily help fix the pain, either. As far as pornogrind goes, the album isn't too awful per se, though it's records like these that are telling me Cemetery Rapist won't ever make it to the big leagues where Gut, Spermswamp, and even Libido Airbag are resting.
Cemetery Rapist Plundering into Vaginal Demolition	2.5
Cenotaph Reincarnation in Gorextasy	3.5
Appreciate some fresh wine in a glass, get pelted by a cavalcade of insides, and then proceed to smash said glass into pieces the moment Reincarnation in Gorextasy starts playing. Housing 8 tracks that altogether clock in at nearly 26 minutes, Turkey-based brutal death metal unit Cenotaph's fourth studio record is modest listening from start to finish, though by no means can it be deemed spineless or even unproductive. While typical for the subgenre, the band's founder/vocalist Batu Cetin utilizes screams and growls befitting the overall tone of the album nicely. Everybody else manages to add grotesque fuel to the fire also, with Semih Ornek on drums standing out in particular thanks to his ability to maintain pace and abuse the snare, though he doesn't overdo it. Reincarnation... is hardly unique by the standards of the musical style these guys play, but what Cenotaph can do, they handle it pretty goddamn well.
Cephalic Carnage Xenosapien	3.5
(10/21/17): Dubbed 'rocky mountain hydro grind' by Word of God themselves, Denver-based metal group Cephalic Carnage have always struck me as an interesting bunch. Other than a willingness to push beyond the limitations of traditional grindcore music, their material is just plain fuckin' fun to hear - and Xenosapien is no exception to that rule. On here, Cephalic are technically proficient as ever, plus they don't skimp on demonstrating their experimental tendencies; "G.Lobal O.Verhaul D.Evice" with the song's integration of saxophone is a clear-cut example. Much of the tracks comprising the 12-number demon are catchy, savage, and smart coming from an act with a stoner label attached to them. I'd argue Xenosapien is Cephalic at their most cohesive, but to refer to the record as their most entertaining is a stretch given the three albums it's stuck between. Leonard "Lenzig" Leal isn't always on vocally, not to mention the WoS production style grows tiresome after awhile. However, those few niggles aside, this outfit's 2007 outing is a solid experience... not to mention it's actually a good starting point for anybody unfamiliar with Cephalic. Angel recommends: "Endless Cycle of Violence," "Touched by an Angel," "G.lobal O.verhaul D.evice," and "Megacosm of the Aquaphobics."
Cephalic Carnage Conforming To Abnormality	3.5
So while it might be nowhere near the brilliance of Anomalies or the ferocity dwelling within Lucid Interval, this debut full-length is debatably strong in certain areas, if a little cruddy production-wise.
Cephalic Carnage Anomalies	4.5
Anomalies is a nearly invulnerable beast of an album unleashed by the 'rocky mountain hydro grind' fools from Cephalic Carnage. The record has a reasonable running time which sounds the quickness and tenacity of the band's style, but also goes hand-in-hand with their outlandish nature; this can easily be spotted on "Dying Will Be the Death of Me," a great parody of the metalcore subgenre. This is certainly one release I'll keep coming back to in the forseeable future... maybe even sooner.
Cephalotripsy Uterovaginal Insertion of Extirpated Anomalies	2.0
Although they're not incompetent musicians at all, Cephalotripsy decided to give birth to a mostly lifeless and dull album with tracks including tiresome formulas and not much variety in the instrumental department; then again, any of this shit is qualified to be enjoyable for slam death metal, so the bandmates got that down.
Cerebral Incubation Asphyxiating on Excrement	2.0
Cesspool Of Vermin Beastial Necrophilia	1.5
The gurgling may correlate fine to the disgusting sound that swallows Beastial Necrophilia, but in no way does this mean that the album is spared from monotony or unadulterated laziness.
Charli XCX Vroom Vroom	3.0
Now it appears that Charlotte Aitchison (aka Charli XCX) is in her mum's car, Vroom Vroom! Going off the review and the majority of the ratings for the release so far, I was anticipating to loathe the bejeezus out of this EP - or at best feel uber-indifferent towards it. But having heard the recording in its 12-minute entirety, I can say without hesitation that it's not really half-bad. Harmless and fun with a dash of wacky, Charli XCX and record producer SOPHIE have created a small library of tunes that are best enjoyed without relying on one's brain. Excluding "Trophy", the other three songs are by no means inherently atrocious, with my personal favorite number being "Paradise"; after a while, the chipmunk vocals start to grow on you.
Charlie Puth Nine Track Mind	1.0
You have to suck this hard in order to achieve a large, indefinite quantity of shallowness - and boy, is Rumson-based singer Charlie Puth one superficial motherfucker. The 24-year-old lad's first full-length album Nine Track Mind is a pile of overgrown malarkey, it's plain and simple as half-eaten pie. While the lead single off Puth's debut record is incessantly annoying and comes off as fake, that's not to say many of the other tracks here fare any better, as many of these songs highlight just how blatantly flawed this kid's material is. What doesn't help matters is that Charlie Puth somehow boasts less personality than Halsey or Jason Derulo combined; man, even if your music isn't perceived as good, at least try to act like you care about the output. I don't like being bored to death, just so you know.
Chase Long Beach Gravity is What You Make It	4.0
Most definitely an entertaining release with some rather passionate female vocals and assertive brass sections, Gravity is What You Make It has plenty for any third-wave ska fanatics out there to swallow. Chase Long Beach probably had what it took to issue another full-length album, but the band eventually called it quits.
Chelsea Grin Chelsea Grin	1.5
The inhales severely ruin whatever credit I was about to give Chelsea Grin's debut EP release. That, and what these guys are utilizing here have been executed about a trillion times in the past; it's virtually akin to the MySpace realm all over again.
Chelsea Grin Desolation Of Eden	2.0
Chelsea Grin My Damnation	2.0
Chelsea Grin don't ever seem to capitalize on anything they already have laid down, thereby leaving this record My Damnation with a boatload of missed opportunities. The added traces of doom metal are barely prevalent and do next to nothing in showcasing the bandmates' potential, while the production - which is never too bad - is incredibly basic. Alex Koehler's vocals are almost sick enough for me to give this a higher rating, though his laughably evil lyrics combined with the milquetoast musicianship interfere.
Chelsea Grin Self Inflicted	2.0
Sweet soul sucker, Chelsea Grin's fourth full-length album is evidence that the band's 2012 EP Evolve was a fluke on their end. Released in 2016, Self Inflicted is quite the downgrade from the Salt Lake City-based deathcore act's past two releases; compared to this record, both the aforementioned EP and Ashes to Ashes had much more going for them, even if that's not saying much overall. Mostly awful compositions, laughable lyricism, and Alex Koehler's deteriorating vocal performance screw over what could've at least been an otherwise okay offering. Self Inflicted's last two tracks and "Strung Out" are relatively stronger than the rest of the album, although they aren't exactly excellent tunes by themselves either. If personality had a mug, then it would have a Glasgow smile - and that's no pretty sight.
Chelsea Grin Ashes To Ashes	3.0
Chelsea Grin Evolve	3.5
Alongside Chelsea Grin's latest studio album Ashes to Ashes, the band's second EP was quite a welcome change of pace. Their earlier output displayed what was mostly a quantity-over-quality feature, in spite of the releases not lasting for very long; part of this had to do with how one-dimensional the songwriting formula was. Evolve, fortunately on the other end of the spectrum, is what it says on the tin. In spite of continuing to be lyrically flawed and containing a barely above-average performance from vocalist Alex Koehler, the guitar work is surprisingly impressive and the addition of melody didn't go wasted as well. By and large, "Lilith" and "Don't Ask, Don't Tell" are songs that I find to be noteworthy on just this one extended play.
Chelsea Wolfe Abyss	4.5
Los Angeles, California-based singer-songwriter Chelsea Wolfe is like a sparrow flying endlessly in purgatory: though the former is undeniably elegant and inviting, the latter presents itself as nothing except woebegone and lost in thought. You see, these two different things manage to play off each other to a T, which brings us to Chelsea's 2015 studio album Abyss. Packing 11 songs in all, this is a dark creature of a full-length record that is bound to get just about anyone's attention ASAP, and the haunting vocal deliveries from Chelsea herself alongside such vigilant ambition further enhances the notability of it. From beginning to end, Abyss proves to be an ultimately intriguing, smart affair that contains as many subtle qualities as it does relatively more blatant ones. I can say for sure that the album's content is almost flawless. So many bangers are to be found and so much amusement will definitely be had.
Cher Believe	3.0
You probably won't believe in life after love when you hear Cher's 1998 studio album, and you might think you're not strong enough to applaud her efforts here, but I know we'll get through this. I got you, babe. I felt something inside me say just that. Eurodance, as unapologetically corny and repetitive as it is, can be a rather pleasurable genre once you're in the mood.
Chester Watson Tin Wooki	4.5
Florida is home to Disneyland, and its people are essentially the subject of that one Animal Collective song with an additional "da" added into the title. However, the state also houses an extremely talented rapper/storyteller in Chester Watson, who was 17 years young at the time Tin Wooki dropped. Featuring a total of 28 tracks, this 2014 recording doesn't justify the relatively weak average it's got on this site, for the quality of the release is to die for. There are murky production values abound throughout this affair's length, and in conjunction with Chester's flavorful flow alongside his arcane wordplay, these specific traits come together to generate a beautiful mixtape in which various listens are inevitable. I know I don't shut the hell up about this phrase, but Tin Wooki has to be heard in order to be believed. Bewitching.
Chevelle Vena Sera	4.0
I really couldn't have asked for worse timing the moment I got into alternative metal band Chevelle; a fan of the act passed away three days before I'm coming up with this soundoff, and this is all I have to mention for that poor fanatic's sake. Anyway, Vena Sera is an instantly likeable, amusing ostrich of an album. Instrumentally crisp and lacking in restraints, this record (and Chevelle in general?) is what happens when you strip Tool of their flamboyance and Maynard's wine addiction, while occasionally throwing in nods to Helmet; speaking of comparisons to the former band, lead vocalist Pete Loeffler has a familiar, but no less enticing range. Years have passed and "Well Enough Alone" is still more than just a catchy song, and album closer "In Debt to Earth" is like a compelling eater of lands.
Chicosci Revenge of the Giant Robot	2.5
It's hard to tell where fiction ends and reality begins with this album. First of all, Revenge of the Giant Robot feels like the band wanted to cash in on nu metal's success, which isn't necessarily hard to do. You'll hear mediocre rapping and half-hearted screams, some unwelcomed turntablism, guitar work that often gets stale, and... not much else. The only reason I'm rating this as a '2.5' is because Chicosci deserves props for trying to maintain their energy, and you really couldn't release this in any other year after 2000.
Chicosci Method of Breathing	2.5
When one gets past the change in stylistic direction, Filipino rock troupe Chicosci's sophomore record isn't that big of an improvement from the band's 2000 debut Revenge of the Giant Robot; at the time of the latter's release, this outfit still went by the moniker Chico Science. They later "transformed" it in order to avoid any confusion with the Brazilian singer. Dissimilar to Chicosci's last offering, Method of Breathing features a sound that I can only describe as an unimpressive compromise between 36 Crazyfists and Ill Nino's material. It's not bad, per se, though Miggy Chavez's milquetoast vocal performance and the unapproachable production screw the overall quality of the album over. On the plus side, Method of Breathing has admittedly rad instrumentation, but this still isn't enough to overcome whatever problems exist throughout Chicosci's second LP.
Chief Keef Finally Rich	1.5
From what I can remember (which isn't really much, but hey), Native American chiefs finally stopped becoming poor due to the world definitely changing for better or worse and whatnot. This rambling jackass must've went from rags to riches because there's shit he don't like. I mean, the beats are halfway dope on this album, I won't be ashamed to admit, though Keef's rap game is totally off.
Children of Bodom Relentless Reckless Forever	2.0
Children of Bodom Blooddrunk	2.5
Although the Finnish melodeath metal band Children of Bodom certainly know how to bring the mindless riffage and shredding on Blooddrunk, they also fall quite short on delivering intriguing compositions above that. The keyboard melodies don't really mesh well with the thrash-oriented chaos and lead vocalist Alexi Laiho basically sounds exhausted, though on more of a positive note, he's at least a fine guitarist. I think this act encountered one too many lake trolls and lost their sense of direction by just a bit. If you're amused by cheesy Power Rangers soundtracks and gallons of wizardry without a lot of the sage-like wisdom, this could be your type of album to sit through. To be fair, there are a few good tracks on this, but they're more or less buried underneath repetition that couldn't touch the scythe of a grim reaper.
Chimaira Crown of Phantoms	3.0
It sure as heck doesn't feature omnipotent songwriting abilities and won't put listeners in a frenzied kind of cybersleep, but Crown of Phantoms is at times groovy as it is harsh. Chimaira didn't exactly go out with a bang, though they managed to offer a safe, yet aggressive release that at least grasps uniformity. The likes of "Plastic Wonderland," "I Despise," and "All That's Left Is Blood" work some wonders in stroking your jerry.
Chiodos Devil	1.5
(4/21/18): You know all that evolving and progressing Chiodos managed to do on their third album? Illuminaudio marked the point in the band's career where they finally discovered a style that felt and sounded most comfortable. Up until full-length #3, the Michigan-based entourage's material was fairly inconsistent at best and downright obnoxious to listen to at worst. Once Brandon Bolmer and Tanner Wayne had joined the group, things seemed more than promising for Chiodos' future... then Devil occurred. Instead of going out with a majestic bang, this entourage could only conclude with a ghastly whimper; letting Craig Owens return whilst wasting Thomas Erak's talents didn't help. The dumbest moments on Bone Palace Ballet gain IQ points compared to how embarrassing the final studio outing is. "Why the Munsters Matter," "Behvis Bullock," and "Expensive Conversations in Cheap Motels" are decent songs to take away from Devil, but not above-average enough to compete with some of Chiodos' best tracks in existence (e.g. "Those Who Slay Together, Stay Together"). Fuck off, Craigery.
Chiodos Bone Palace Ballet	2.5
(4/16/18): For an album with the word 'bone' in its title, Davison-based group Chiodos' sophomore release didn't have as much cartilage as Craigery and company thought it did. Despite an increase in classical elements and rock-isms, Bone Palace Ballet ain't some big improvement over the preceding LP; if anything, it's a bit more annoying to sit through. A lot of the tracks here would be nice to listen to if it weren't for some half-assed compositional choices and, uh... Craig. At least All's Well That Ends Well had Bradley Bell laying down fairly delicious synth work plus the interludes helped break up whatever monotony was there. If there's two songs I can recommend the most off this record, it would have to be "Intensity in Ten Cities" and "The Undertaker's Thirst for Revenge Is Unquenchable". Everything else ranges from okay to insufficient.
Chiodos All's Well That Ends Well	3.0
Chiodos Illuminaudio	4.0
(4/20/18): After revisiting Chiodos' third studio effort and putting the Davison-based outfit's other releases into consideration, I still firmly believe that Illuminaudio was like lightning in a bottle for them. It's the one album within their discography that feels as if it's got the most cohesion, and also the one record which is without hyperbole the least annoying. Having Brandon Bolmer on vocals instead of the usual Craig certainly helped in that regard. If only the band had opted to keep this lineup and not churn out the despicable mess that was Devil. Sigh... Decent 4.
Chris Cornell Scream	1.0
Black hole sun, won't you come and wash away this shitstain?
Christina Aguilera Christina Aguilera	3.0
Chuck Mosley and VUA Will Rap Over Hard Rock for Food	3.0
Say what you will about Chuck Mosley's tenure with alternative metal megaliths Faith No More, but there is no denying whatever promise Chuck had as a singer coupled with some snazzy material that comprised both We Care a Lot and Introduce Yourself; said records often get overlooked due to the vocals alone. Chuck Mosley wasn't always on-key - which, granted, is an understatement - but he sure as shit didn't come off as soulless. The man played a role in shaping the rap rock sound and even common detractors of FNM's first two studio offerings can find something to respect as well as like about the "We Care a Lot" song. Regarding Mosley's debut solo effort Will Rap Over Hard Rock for Food, there's a certain charm to this affair that just makes it tough to avoid from beginning to end. Admittedly the songwriting presented misses a bit more than it hits and the pacing of the album here is inconsistent, though by no means is Will Rap Over Hard Rock for Food a misfire. For the most part, it's instrumentally tight (if unsurprising) and Chuck himself technically sounds better compared to the fluff he ejected on Faith's pre-The Real Thing work. Honestly the album on the whole would've been fresh from a stylistic perspective 'round two decades ago, yet putting the dated music aside, Chuck Mosley's solo project's first official release is pretty nice for what he was going for. Angel recommends: "The Enabler," "Tractor," "Pile Driver," and "Bob Forest".
ChugChugWob Redemption	1.5
Ladies and gentlemen, this is one of those times where self-awareness can go wrong; Jarrod Alonge, the members of this band certainly aren't. ChugChugWob's debut full-length has barely anything going for it during all those 36 minutes, as the Christian metalcore unit can only seem to sit in a hot tub until they become terribly ill. Where's the humor in all this, you're probably pondering? There's very little comedic value that warrants seeking, subtle or not. But even though Redemption has a buttload of obvious issues, "Life Is an Ocean" and "Yodo" both show that these boys have the power to rectify whatever problems the other tracks (excluding "A Dying Prayer") have - because those two numbers I just mentioned aren't bad. Now if you'll excuse me, I have to go find my 'bow-nuh bow-duh-da-dow we-donna-wow-nee-nah elsewhere.
Chunk! No, Captain Chunk! Pardon My French	2.5
Jeremy McKinnon finds himself pregnant with Napoleon Bonaparte's baby. Eventually, the infant is welcomed both favorably and with contempt to our world as Chunk! No, Captain Chunk. Pardon My French is engulfed in the flames of presentable melodic hardcore with an apparent pop appeal. The songwriting here is nothing exceptional, yet not too bad, to be completely honest. Chances are that if you loved the likes of A Day to Remember, Four Year Strong, or perhaps Homeland Insecurity-era Endwell, you might dig these guys. What we're dealing with is a kind of relishable album, but this is another one of those releases which can't be enjoyed forever.
Cibo Matto Stereo Type A	4.0
Based in New York City, Cibo Matto are nothing if not equal parts aromatic and quirky. The shibuya-kei band's first official record Viva! La Woman was a colorful album as much as it was varied, though the offering managed to stay consistent throughout the duration taking into consideration the amount of diversity it displayed. In an attempt to showcase progression, Cibo decided to somehow offer even more sounds with their sophomore release titled Stereo Type A, while also expanding upon the lyrical themes in the process. There's a stronger focus on melody and atmosphere this time around, but a broad range of styles isn't disregarded; "Blue Train" and fan favorite "Sci-Fi Wasabi" reach heavy metal and hip hop domains respectively. CM's second effort is still unmistakably them and it's yet another damn blast and a half, although some tracks here are nowhere near as memorable as what was presented on Stereo Type A's predecessor. Even so, I definitely recommend checking out both albums all the same.
Cibo Matto Hotel Valentine	4.0
With this record being a concept album, Hotel Valentine isn't nearly as simple as one might expect. However, don't let the underlying theme mostly revolving around romance and ghosts sway your thoughts on the music, for Miho Hatori and Yuka Honda continue to produce dreamy, magnaminously solid hooks with quite an overall varied tone - one which has more hits than flops, I should say.
Cibo Matto Viva! La Woman	4.5
As it stays mystic and colorful throughout, Viva! La Woman highlights the sensibilities of indie pop whilst holding onto some incredibly catchy trip hop tendencies. Miho Hatori's voice is just one of the things which make Cibo Matto such a heartful, yet electrifyingly odd experience.
Circa Survive Juturna	4.0
Circa Survive Descensus	4.0
Anthony Green once had the audacity to challenge piss right in front of the general public alongside his bandmates, and then this all but culminated with the release of Descensus. On this album, post-hardcore outfit Circa Survive make good on their promise to deliver sweet harmonies as well as utilize incredibly potent songwriting tactics. The guitar work, that sufficient drumming, and the vocal performance from leading man Green are like a dandy guy... in space. Will Yip's production methods are more akin to a dolphin declaring war on the most harmless country known to humanity, though, so his recording style doesn't bode all that well with the sound. Descensus is still a fantastic record, when all is said and done.
Circle of Dead Children Human Harvest	4.0
Try to picture yourself in a cemetery without a sky; in its place are bifurcated pigs waging war against civilization. Human Harvest could very well be described akin to that, alongside relentless guitar riffs and hyperactive drumming. What really allows this Circle of Dead Children release to work is its occasional bouts of creativity.
Clap! Clap! A Thousand Skies	4.5
Clawfinger Life Will Kill You	2.0
Cloakroom Further Out	4.0
You find yourself sitting atop the fluffiest of clouds, and as you look up to the higher point of the sky, murky neon lights can go noticed. Further Out is as lax in quality as music releases come in the year 2015, although the album is no less appealing for its rather erudite, unflinchingly slow atmosphere. Cloakroom's taste for pop-like melodies nesting in a jar of this noticeably more rawer indie rock style isn't all that innovative, but hot damn if it's not an amazing effort on the band's part.
Cloud Nothings Here and Nowhere Else	4.0
Dylan Baldi has Here and Nowhere Else wrapped around his vile thorax, as do the rest of Cloud Nothings. The compositions are mostly brilliant, with John Congleton's simplistic, but no less gritty production style playing the part at an alarming rate. You'll need to have a mindset stuck in the noisy middle of nowhere and three neon bulldozers just so the record can be properly understood.
Clutch Impetus	3.5
Neil Fallon and the rest of Clutch, against their better judgement, craft an EP that is more in the vein of hardcore punk than their usual bluesy, stoner rock output. This thankfully does not a bad offering Impetus make, as the bandmates hold onto their attitude towards the songwriting well enough, if only for a short period of time.
Clutch Earth Rocker	4.0
Earth Rocker is a cold-as-ice album which showcases the stoner rock group Clutch suffering no evil. There isn't a song or two on here that can even warrant a groan, for this record's tracks are groove-laden, infectious, bluesy, and also all of the above.
Clutch Pure Rock Fury	4.5
Stylish like the man of stone and dirty akin to the wolf who shall never ever test patience, Pure Rock Fury does more than wonders at demonstrating Clutch's combination of abrasive, but marvelous stoner rock and a sempiternal blues-esque presence. It's instrumentally fantastic and frontman Neil Fallon's got a voice filled with gravel, strength, and overall clarity; on the black sheep hit that is "Careful With That Mic...", he displays his surprisingly top-notch rapping skills laid down upon memorable, catchy riffs. This is one of those albums you just have to witness for yourself.
Coal Chamber Coal Chamber	2.0
Nothing on Coal Chamber's self-titled debut album is diverse enough to be considered tolerable. The sound presented throughout could easily pass for a Korn release if you replaced Jonathan Davis with CC frontman Dez Fafara, and the derivative musicianship is not helping one iota. I could see Coal Chamber being memorable for some out there, but for those who *do* remember quite a few songs off this recording, do us all a favor and eat garlic bread instead of crying about how your nipples got too pointy during a punishing metal track.
Coal Chamber Rivals	2.5
Coal Chamber's comeback album Rivals is a zebra with more or less the same stripes. While there isn't anything wrong with homogeneity every once in awhile, one would automatically wish Dez Fafara didn't get this band back together, considering the lack of musical progression from their last official release Dark Days. Most of Coal Chamber's fiends may have quite the easy time flocking to their first record in 13 years, and to the nu metal band's credit, Rivals is still better than their debut, though this doesn't say much. I personally think CC would've gotten off through less difficult footing had they crafted Chamber Music all over again (albeit with tweaking), but the new effort right here isn't terrible.
Coal Chamber Chamber Music	3.0
Coal Chamber Dark Days	3.0
Coal Chamber went on a path which led them to become one of the darker nu metal groups at the time, at the expense of featuring little thought within the songwriting process and goofy lyricism. Their third studio album Dark Days is more or less no different compared to the band's two precursors, though every now and then, it *is* fun to jam. Much of the instrumentation is middling, but sets this record's tone well.
Coalesce 0:12 Revolution in Just Listening	4.5
This is pure, intelligent, and unapologetically aggressive badassery up the old wazoo. 0:12 Revolution in Just Listening has enough anger to traumatize a rhinoceros into submission, and the 1999 gunslinger of a revolutionary album is also chock full of enough replay value to shut up nearly all the TV marathons existing in such a cowardly domain. It's both safe and dangerous to say that Coalesce have unleashed a borderline perfect record here. Between Sean Ingram's callous vocal performance, James Dewees' consistently mighty drumming prowess, and the guitar work gradually becoming caressed by raging, amusing sociopaths as the band's third album nears its end, do you as the listener really know where to start with this?
Coaltar of the Deepers Come Over to the Deepend	4.5
Thanks to a certain human content machine as well as a friend that will go anonymous, I managed to sit my ass down and hear a Coaltar of the Deepers album in its entirety; in this case, the third full-length release Come Over to the Deepend, a play on the Tokyo-based group's abbreviated moniker. Consisting of 9 tracks, the album is the equivalent of a nocturnal person hopping on a broom, shouting 'Tia Freyre!', and soaring over to a world encased in fuzzy dreams. That said, there do exist sparse moments of metallic aggression (e.g. "Mars Attacks!") alongside rip-roaring rockers a la "Unlimber" and "C/O/T/D." Over the course of the record's runtime, there's certainly much in the way of personality demonstrated, particularly concerning production and even the vocals which are split decently between main composer Narasaki and guitar player Ichimaki. You'll also find that there are narrators scattered throughout ...Deepend's duration - usually following a song's coda - ergo I get the feeling this offering's meant to have a narrative holding the material together. Generally speaking, Coaltar's 2000-released affair is a meticulous creation that is far from dispassionate. Anybody into alt-rock, shoegazing, or both genres should give the outing a thorough listen.
Cobra Starship Hot Mess	1.0
Cobra Starship got far too clingy with their dance elements and practically made an entire album off said genre, while still brandishing the annoying pop flavor borrowed from the band's labelmates. Now just because Hot Mess features tracks that make any sinner want to clap their hands until they bleed, does not an actually fun or tolerable record make. This is coming from somebody who was neutral towards While the City Sleeps, We Rule the Streets, but it's as if Gabe Saporta and the other members received a year's worth of gratuitous, obnoxiously banal suckage.
Cobra Starship While the City Sleeps, We Rule the Stree	2.5
Cock and Ball Torture Cocktales	1.0
This was a hideous way for this German trio to commence their relatively unknown career. Cocktales will make any listener writhe in pain because of how emotionless and stupid everything sounds. The guitar riffs are practically the same and aren't enough to enhance this band's usual grooviness, and those pitch-shifted vocals... Well, let's just say that here, they were more outrageous in a terrible way.
Cock and Ball Torture Opus(sy) VI	3.0
Cock and Ball Torture Egoleech	4.0
Pornogrind act Cock and Ball Torture doesn't get a whole lot of admiration here, pretty much like their other genre-mates. Egoleech showcases a slight turnaround for this German band, as they flirt more with groove-esque death metal sounds. This actually results in something more tolerable than their previous works; not that Opus(sy) VI or Sadochismo were unacceptable.
Code Orange I Am King	3.0
(6/22/18): Code Orange on this record do a swell job at reinforcing how abrasive, foreboding, and above all else unrestrained their core sound is. The instrumentation is appropriately hard-hitting and the triple vocal dynamic is a nice plus, not to mention the nature of Kurt Ballou's production suits these former Kids like a glove. What I Am King has in style, though, it severely lacks in substance. Compositionally speaking, the LP proves that this band has a lot of maturing to do, not to mention that some of the individual tracks come off as if they simply just bleed into one another lickety-split. It's definitely a good outing to RKO peasants to, but not inspiring enough to question humankind or creative enough to write lengthy sound-offs about it. ...Practically like what I'm doing atm.
Coheed and Cambria The Color Before The Sun	3.5
New prog outfit Coheed and Cambria have opted to play it safe on their latest full-length album - and all things considered, the results are totally fine. By Coheed standards, The Color Before the Sun is on the simplistic side as well as being noticeably poppier than usual. However, the band manages to still sound enjoyable throughout much of the record, even with a couple duds ("Young Love" and "You've Got Spirit, Kid" aren't worth coming back to, to be frank). It's nothing unique or flawless, but I'll gladly take it for what Claudio Sanchez and company decided to tackle. Angel recommends: "Eraser," "Colors," "Atlas," "The Audience," and "Peace To the Mountain".
Coheed and Cambria From Fear Through the Eyes of Madness	4.0
Coheed and Cambria go to town on their ten-speed bicycle with this evenly-matched studio album. From Fear Through the Eyes of Madness is a thematic mindfuck for those who haven't heard of Claudio Sanchez's comic book franchise known as The Amory Wars, but what's more vital for the time being is the music itself. The band primarily have their roboticized feet dipped in the progressive rock genre, whilst taking a few cues from post-hardcore and pop as well. Composition-wise, the record is mostly on point and never gets too dull; this definitely goes double for the "Willing Well" tracks, which show just how ingenious and lyrically interesting Claudio and the boys can really get once push comes to an almighty shove. Get away with calling the record (and this group in general) flamboyant all you want, don't go and make such a recurring lie that From Fear Through the Eyes of Madness is a waste of valuable time. If anything, some songs like "The Suffering" may be to your liking after all due to the radio-friendly appeal.
Coldplay A Head Full of Dreams	2.0
While I'm not one to defend a band such as British rock quartet Coldplay, I can't really say that I despise their guts, either. To give credit where credit is due, they're a group who has managed to make me appreciate them judging by a lot of their singles and frontman Chris Martin's commendable vocals. This is also why I thought a couple of the criticisms fired at Coldplay (i.e. being labelled as things like "toothless Caucasian music") came across as silly - that is, until I decided to spin this particular album. A Head Full of Dreams isn't as offensively bad as a lot of people say it is, but let me say this in the most blunt way imaginable: the record is rather crappy. It's not so much the increasingly poppier musical direction that grinds my gears as it is the execution of said style, which is shallow and simultaneously yawn-inducing. Coldplay's seventh full-length album just doesn't hit the spot, and whilst the release does have a few gems (namely the title track and "Everglow"), its stupidity criminally outweighs whatever intelligence is to be found. Not even Martin himself can save a vast majority of what makes up this LP, to be frank.
Coldplay Viva la Vida or Death and All His Friends	4.0
You are the leader of a dishonest nation. For years, you would go and lie to your higher-ups about the condition of some ongoing war; basically, the superiors are aware that life on this battlefield is both cinematic and harsh, which is totally the opposite of what you as a soulless commander had mentioned. What does this have to do with Viva la Vida or Death and All His Friends? The alternative rock band Coldplay pretty much never truly convinced us that Chris Martin has a limited vocal range. On their fourth studio album, this group implements baroque pop and artsy tidbits into their style, whilst managing to throw a cohesive album onto our feet. The result is a beautiful recording which will presumably take ages to digest. Martin himself sounds compassionate, with the other members of the outfit complimenting his graceful voice via balanced string arrangements and overall tireless craftsmanship. Those who are dead to me are not dead at all; they're just living in my head, it seems.
Coldrain The Revelation	3.0
The album as a whole can rest easy within the genre Coldrain are most comfortable performing, but the tracks on The Revelation become instantly formulaic after a good amount of time flies by. Still, this *does* make for some rather sound background noise if you're bored out of your skull.
Colleen Green I Want to Grow Up	2.0
Colonel Claypool's Bucket Of Bernie Brains The Big Eyeball In The Sky	4.0
When you have Les Claypool and the enigmatic solo guitarist Buckethead together on an album like The Big Eyeball in the Sky, you shouldn't not be quick to assume the material is a melting pot of slight genius and the type of wackiness one would expect from Primus or any other projects associated with that band. It smells of pork soda, albino slugs, and the seas of cheese.
Comeback Kid Wake the Dead	4.0
Comeback Kid Turn It Around	4.5
Turn It Around is somehow allowed to burn with ferocious passion and undying flames for extended periods of time. This was a release crafted by an energetic band who got word-of-mouth, and it's quite difficult to see why Comeback Kid don't get much of the recognition they deserve as of late.
Conquer Divide Conquer Divide	3.0
Conquer Divide are six young women with a passion for music. Whilst it's kind of an exercise in stagnation, the self-titled freshman record shows that this all-female metalcore band certainly has what it takes to become a bigger name. Kiarely's clean vocals are very charming and the songwriting displayed is like an acrobatic pig trapped inside a slow wyvern's stomach. Janel's screams do require improvement and this album's heavier moments are only decent at best, but Conquer Divide's debut offering is hardly worthless. "Nightmares," "What's Left Inside" and "Heavy Lies the Crown" are all solid tunes IMO.
Converge Halo in a Haystack	3.5
Converge's debut studio album was merely a taste of what was to become, my friends. If you can stomach the lackluster recording quality, then there is as much to like on Halo in a Haystack as there is on all of the band's subsequent releases.
Converge No Heroes	4.0
Converge Axe to Fall	4.0
(5/28/18): Thou shalt need to learn to love thyself to get the gist of what Converge are conveying on their 2009 full-length. With 13 tracks in all, it's records such as Axe to Fall that do a great job at telling consumers why this ensemble is one of the more dominant metal/mathcore acts around. For every "Losing Battle" and "Slave Driver" that can tear open thoraxes, there are grand epics like "Wretched World" which justify feeling as much as thinking. Abrasive? Yes. Obscene? Fuck yeah. Mindless? No way. On top of that, the album makes for a theraupetic listening experience, and the numerous guests allow for a certain level of freshness. Decent-to-strong 4.
Converge Jane Doe	4.5
Converge All We Love We Leave Behind	4.5
Converge defecates a spectacular release in All We Love We Leave Behind, an album which finds the bandmates slowing down not one iota. It's nowhere near as memorable as You Fail Me or fantastic like Jane Doe, but the band's eighth full-length comes pretty damn close to topping those two offerings. With Jacob Bannon's vocals merely improving with age and Kurt Ballou shredding like there's no tomorrow, Converge has definitely made it this far!
Converge Petitioning the Empty Sky	5.0
Petitioning the Empty Sky doesn't really slap so much as it does kidnap the listeners and beat them down to uncanny submission. As Converge's second full-length album, the band settled on aiming for a cleaner production style while sticking to the uncomfortable savagery that Halo in a Haystack so earnestly harnessed. It is truly a callous offering that must be heard in order to be tremendously appreciated, much like the rest of Converge's discography; Jacob Bannon's bloodcurdling shouts were similar to a convulsing cocoon at this point, whilst Kurt Ballou, Damon Bellorado, and Aaron Dalbec provide a whole bunch of awfully tormented instrumental work.
Coprophagia Shitty Life	2.0
Shitty Life's major flaw isn't so much the vocals, or the instrumentation - which I honestly find to be okay - for that matter; the concept of basing an album off fecal matter is just stupid and lacks any real comedic value.
Couch Slut My Life as a Woman	4.5
Whips don't cause pain nearly as much as discordance and cum do. Couch Slut told me that much, and what a highly promising band they are.
Cradle of Filth Evermore Darkly	1.0
Cradle of Filth Total Fucking Darkness [Demo]	3.0
Cradle of Filth Godspeed on the Devil's Thunder	3.0
Extreme metal band Cradle of Filth have been a group that, in the past, I used to either avoid or feel completely neutral about them; their cover of Iron Maiden's "Hallowed Be Thy Name", though, is pretty good for what it was trying to do. Godspeed on the Devil's Thunder is not even close to being an indirect album on CoF's part, for it's quite prolonged and relies so much on symphonic arrangements that the results can be somewhat hilarious. Fortunately enough, the record at least contains overall acceptable songwriting which goes a little swimmingly with Dani Filth's distinctive vocal style always revolving him to supply overdramatic shrieks. If you're a diehard fan of this entourage - though I doubt there isn't a lot since Cradle's mocked to sickening death - this'll perhaps be slightly engaging.
Cradle of Filth Midian	4.0
I managed to somehow get my hands on a disc that contained the material off Cradle of Filth's fourth studio recording Midian a few years back - only to inevitably lose it due to reasons which will go undisclosed. In retrospect, this is a solid slab of extreme metal featuring haunting guitar melodies and keyboard parts (courtesy of Martin Powell) that are pretty much wealth-scented, if nothing out of the ordinary. Doug Bradley's narration on tracks like the remembered "Her Ghost in the Fog" sets the tone for this album properly, while vocalist Dani Filth shrieks with just enough passion and devilish intent. The songwriting formula CoF decided upon for Midian isn't anything worth babbling about, though I'd be lying if I said that the bandmates are simply average composers at best.
Cradle of Filth Hammer of the Witches	4.0
So potent was the star under which extreme metal troupe Cradle of Filth were born. Their latest album Hammer of the Witches will remind many of the band's earlier, less mainstream style, albeit with a noticeable modern touch this time around. Even if you find it hard to like Dani Filth, you'll eventually admit that his vocals are legitimately powerful. The departure of longtime member Paul Allender and the return of a six-person lineup makes CoF's newest library of souls sound fresh, aggressive, and plain fun above anything else. "Blackest Magick in Practice" will go down in history as one of my favorite songs that these guys have concocted.
Crazy Frog Crazy Frog Presents Crazy Hits	1.0
How this became a fad in 2005 may as well be something which will forever elude us sophisticated gentlemen and ladies. Then again, this was the year when CGI frogs could get away with exposing their dicks while repeatedly imitating the sounds of an engine, so... BING BING!
Crazy Town The Gift Of Game	1.5
Crazy Town may very well be the reason why the nu-metal subgenre was and still is mocked to death. As is the case with just about every style of music, humankind has the ability to find enjoyable solo artists and bands in regards to this particular sound; if The Gift of Game has anything to say about that, Crazy Town aren't one of those groups. I can forgive the lack of innovation on here, but the amount of stupidity and flanderization is a whole different story. This band took the worst parts of nu-metal and seemingly doubled them for the fun of it. If these guys, Limp Bizkit and (hed) p.e. put up their dukes in front of neanderthals, the latter two acts would actually stand a chance. "Black Cloud" and "Butterfly" are legitimately fine tracks buried beneath this forgettable, idiotic mess of a debut album, though. These two songs aside, fuck this noise.
Crazy Town Darkhorse	2.0
Nu-metal outfit Crazy Town's debut full-length record, The Gift of Game, showed that they were without any shadow of a doubt one of the worst bands in the subgenre; how much this is saying, though, will of course vary from person to person. Possibly in an attempt to gain a broader audience or mature as songwriters, Crazy Town would eventually release this album right here. Entitled Darkhorse, CT's sophomore album is more serious in tone and sounds quite similar to Linkin Park; in fact, they sound so much like the latter act that you swear they might've ripped them off out of desperation. After all, there's a bit of a difference between inspirations and cheap knockoffs IMO. Darkhorse, while not a good record when judged on its own merits, is nowhere near as painful to venture through as its predecessor was - although that's like saying letting Adam Sandler yell in one's ear is preferable to having Seth MacFarlane scream real loud in your ass. Stupid analogy aside, I wouldn't recommend this record or The Gift of Game.
Crazy Town The Brimstone Sluggers	2.0
Though not one of the worst music releases to drop this year thus far, The Brimstone Sluggers is definitely bound to become one of the most overlooked albums - and can you really blame anybody who decides to avoid it like the plague? Didn't think so. Crazy Town opted for a more alternative hip-hop direction with their comeback record, leaving behind the group's nu-metal days that have since faded into obscurity (bar "Butterfly"), and yet despite the change in musical style, they're still kind of disposable. "Ashes" and "Baby You Don't Know" are decent songs off Crazy Town's third full-length album, with the former featuring Tom Dumont of No Doubt fame; his contributions make the tune fairly salvageable. "West Coast" is incredibly dumb, but damn catchy as well. Other than those three songs I mentioned alongside "A Little More Time", I'd suggest you hustle away.
Creed Human Clay	2.0
This album may as well be the epitome of Scott Stapp ironically skipping out on church three days straight, thereby forgetting the following commandments: "1: Thou shalt not achieve an inflated ego," "2: Thou shalt not release a studio record which goes on longer than it should," and "3: Thou shalt not be compared to the lead singer from Nickelback". However, in all fairness and serious talk, Human Clay does feel bloated and ridiculously shallow even at the time it was first issued. Christian rock at its most simplest (if not easy-to-consume) form, ladies and gentlemen.
critical era species	2.0
critical era's musical style was a concept that sounded better in their heads than it did when brought to life. The pseudo-Cookie Monster roars mixed in with the more hardcore-tinged instrumentation is begging for major signs of improvement once future releases start rolling along.
Crossfaith Xeno	3.5
In a live setting, all of Xeno's tracks that aren't "Wildfire" (easily the worst song off this record) would probably sound incredible. As the listener hears them in studio format, however, they're only pretty good. Crossfaith's fourth full-length effort won't win any new fanatics and it isn't breaking any doors down, although the album certainly will appease people who have flocked to the group's output before. What Xeno lacks in consistency and the unexpected, it more than makes up for in entertainment value alongside overall strong instrumentation. I wish keyboardist Terufumi Tamano had a bit more input here, to be quite honest.
Crossovers Inside My Fingers The Triumph of Tyranny	2.5
Gee, it sure is boring around here. The Triumph of Tyranny makes me truly wonder what HORSE the Band's up to. This Russian Nintendocore band's freshman full-length album comes off as not so much terrible as it is unamusing. They have the talent, and yet they aren't utilizing it to the fullest extent. A majority of the record proper is but a huge blur. By the by, Marvel vs. Capcom called, that franchise wants the rights to the term "crossover" back.
Crotchduster Big Fat Box of Shit	5.0
Crown the Empire The Resistance: Rise of the Runaways	2.0
Holy armageddon, I hadn't the slightest clue that Mortal Kombat rejects could get on an album cover. This reminds me of how one-dimensional and irritating The Resistance: Rise of the Runaways was to sit through with a faltering smile, as I nodded my head like a jackass for every time the clean vocals kicked in. Therefore, Crown the Empire is yet another 'Risecore' outfit wasting valuable time and not taking names as they should.
Cry Excess Ambition Is The Shit	1.5
There's essentially nothing about this full-length album that screams ambitious, nor does the record scream enjoyable. Ambition Is the Shit is an incoherent, monotonous LP which features Cry Excess doing more harm than they are legitimately helping. I do fall under the category of people who believe that something generic isn't always terrible, although even I think releases like this go too far regarding it. Brickwalled production quality, a lacklustre songwriting job and bland, emotionless instrumentation all comes together to form a metalcore release devoid of cohesion and - most importantly - heart.
Cryptopsy The Unspoken King	2.0
This is coming from somebody who's only heard of Ungentle Exhumation and small bits of their latest self-titled album, but the members of Cryptopsy were not all right in the head when they issued The Unspoken King. If you look at it as a typical deathcore record released by some other band, then I suppose the results would turn out fine; because this came from a technical death metal band, though, Cryptopsy's sixth studio album was mostly uncalled for.
Cryptopsy And Then You'll Beg	3.0
Cryptopsy Ungentle Exhumation	3.5
Regarding its production values, Ungentle Exhumation boasted a surprisingly clear quality for its time. The demo was equipped with fierce guttural roars and Flo Mounier's frantic drumming, coupled with tasty guitar riffage which - while not necessarily varied nor iconic - is enough to give this release some staying power.
Cryptopsy Cryptopsy	3.5
If you can easily manage to get past the shoddy production quality and the song titles - which may or may not have any relevance to the lyrics - Cryptopsy's self-entitled album is technical, unbridled chaos from start to finish that is mostly enjoyable. Compared to The Unspoken King, this one's a necrotic improvement.
Cryptopsy None So Vile	5.0
cupcakKe Ephorize	3.5
My god... It's full of slurpers. Elizabeth Harris, far better known by the alias cupcakKe, proves to be an appealing personality on studio album #3. This is only the first ever release I've heard from her, though the material still floored me a little. With the bulk of Ephorize's production commandeered by Def Starz - Turreekk produced 3 out of the 15 songs here - the record boasts a chiefly hip hop sound whilst also bringing in musical styles like trap, pop, electro, Caribbean, and Latin (the latter influence is best showcased on "Fullest"). Harris herself ain't lazing on the mic either, her voice filled with vibrance and the flow she exhibits is slathered in... umm, jizz? Outside of the hypersexualized lyrics/imagery that gave the woman a strong (if notorious) online presence, she also dabbles in other subject themes such as self-esteem, problems found within the LGBTQ, and infidelity. Yeah, these aren't uncommon topics to tackle if this were anybody else, but Harris' one-liners and the overall brusque nature of Ephorize help enhance the power that these otherwise boilerplate themes have. If I have one major gripe with the album, the issue is that it's top-heavy as fuck: at 15 tracks totaling 46 minutes, the LP could've had trimming applied to it. Also the second act ("Fullest" aside) pales in comparison to the explosive first half. In general, though, Ephorize is a very fun effort on cupcakKe's part. Strong 3.5
Cute Is What We Aim For Same Old Blood Rush With A New Touch	2.0
Cutting Crew Broadcast	4.0
Hearing the hit single "(I Just) Died In Your Arms" off Grand Theft Auto: Vice City tempted me to jam this entire album. English rock band Cutting Crew have boasted a collection of unremarkably simple, but completely sentimental tracks for their debut full-length recording Broadcast. This was never a breakthrough for the outfit to start out with, though it's certainly a pleasant listen that demonstrates how this quartet can get emotional very well.
Cutting Pink With Knives Populuxxe	4.0
Populuxxe is what happens when you steal jawbreakers from an OCD patient, add more than enough sugar to them, and hand it over to the guys from Genghis Tron. There comes a time when business just has to move over in favor of optimistic entertainment and a bug-free cesspit of hyperactivity. Cutting Pink With Knives did no wrong here, and Chris Abitbol's vocal performance is appropriately grating while also being quite sentimental.
Cynic Kindly Bent to Free Us	2.5
(10/22/17): Oof! To think that I defended Kindly Bent to Free Us upon my first impressions of the album... When compared to legendary progressive death metal unit Cynic's first two studio recordings, this is a useless effort on the troupe's end. Paul Masvidal's singing takes much bigger priority than even the cleans on Traced in Air, and unfortunately his performance is on the mediocre side of things. More vocoder utilization plus smatterings of growls would've helped somewhat. The instrumentation for what it's worth is alright here, but 'alright' doesn't cut the mustard given how Kindly... ain't a swell representation of the wizardry Cynic could pull off in the past. If you'd like to get a taste of what the third full-length could've been, "True Hallucination Speak" and "The Lion's Roar" is a promising one-two punch. The other tracks range from w/e to pure wimpy quality-wise, therefore it's better not to waste any time digging in.
Cynic Carbon-Based Anatomy	4.0
Cynic Focus	5.0
Cynic Traced in Air	5.0
Before you even bother to read this soundoff and react with absolute shock, let me clarify one thing: don't expect Cynic's second offering to be Focus all over again; the latter album was a landmark within its genre undoubtedly, and greatly showcased many a department. It can be discussed about for hours and hours, week-after-week, month-after month... just for how spectacular and mind-numbingly grandiose this 1993 CD was. Fifteen years later comes Traced in Air (this record): a release just as thoughtful as - if not more than - its predecessor. Some more melodies, improved songwriting, and Paul Masvidal trying his hand at actual vocalizations other than the vocoder tool keeps Cynic's sophomore effort from transforming and being force-fed a simple rating of 4-4.5, among a few other elements which were brought to the table.
Cypress Hill Black Sunday	5.0
Face the music: we either become insane in the membrane or high, weed-supporting badasses after the powers that be Black Sunday hit us like a group of animate shields. This may as well live on to achieve the status of one of old-school rap's finest hours. Cypress Hill most absolutely know where it's at.
CZARFACE Every Hero Needs a Villain	4.0
D'erlanger La Vie en Rose	4.0
Soaked in the fine wine of urgency are D'erlanger on the album La Vie en Rose. Released in 1989, this visual kei rock band's cohesive blend of punk and alternative rock is by no means special, and yet it's absolutely charismatic. Consistency and raw sentiments are the name of the game here, and D'erlanger aim with flying colors in those regards. The instrumentation is tough as nails, upfront, and it's to the point as well, while this group's vocalist Hiroshi "Kyo" Isono's performance drips with enough passion to incarcerate conjoined twins whose minds were violated. As one of the earliest groundbreaking acts in the VK scene, to say that the band's creative juices started to flow back then would be sort of an understatement.
D'espairsRay Monsters	4.0
As much as this pains me to have to say it, many can start a long-winded debate about D'espairsRay's sound and image pretty much being a carbon copy of every single band that has once followed or currently stalks the visual kei movement; as an example, the guitar work on this group's album Monsters wouldn't seem out of place anywhere on material from Nightmare, Vulgar or Gauze-era Dir en Grey, and even your average Luna Sea record (apologies for incurring the wrath of diehard LS fans). The bodacious amount of genericism notwithstanding, D'espairsRay usually makes the formula riveting here on this release with oodles of consistency. Half-hearted songwriting is easily traded in exchange for a luxurious vocal performance by Hizumi, whilst the instrumentation isn't too far from hanging on assembled limbs.
Daft Punk Discovery	5.0
Dag Nasty Can I Say	4.0
Significant as all get out, Washington D.C.-based hardcore quartet Dag Nasty's full-length debut record is one of those releases that definitely sounded and appeared a whole lot more enriching in the past than it does these days. Nevertheless, Can I Say is still very delectable and boasts some awesome musicianship above anything else. Produced by an important figure in American punk Ian MacKaye, the LP is sharp, forthright, and kosher regarding its overall atmosphere. In several respects, Dag Nasty's first studio album marked a super swell beginning of this outfit's career.
Daisy Chainsaw Eleventeen	4.0
My first ever exposure to KatieJane Garside was on the Minus track "Last Leaf Upon the Tree": a great song especially regarding her vocals; seemingly childlike at points, yet oozing vulnerability alongside darkness. Way before this, she sung for London-based alt rock group Daisy Chainsaw, whose full-length debut recording was intense as it could get sensual and, uh... fucking warped. Nearing 41 minutes, Eleventeen was a borderline cohesive blend of noisiness, punk, and grunge sounds, not to mention the album possessed a very raw garage aesthetic going for it. This outing showed that Daisy Chainsaw weren't afraid to break away from their established style either, "Use Me Use You" being a good example of the outfit's experimental side. Basically Eleventeen's a screwed up release, though it was an enjoyable expedition nevertheless. Here's one extra tidbit: Ken Thomas, the producer for DC's first official LP, also produced for that Icelandic band I mentioned earlier in this lamebrain sound-off. Wowzers! Strong 4.
Dalek Absence	4.5
Density and the powers that lie within your atypical thinking men are what Absence is marked with the most. Throughout the album's 57-minute length, Newark, New Jersey-based alternative hip hop phalanx Dalek take the listener on a journey that is equal parts headlong, unwavering, and simply smart. With a production style that incorporates stylistic elements of noise, ambient, and one dose of the avant-garde, this trio's 2005 studio album can do many things right and then some. It justifies closer examination and syrupy toasts in order to soak in the material displayed on the record. Basically speaking, Absence is entertaining and simultaneously creative given the approach that Dalek took, thereby making for an ultimately captivating experience.
Damnation A.D. In This Life or the Next	3.5
Hopeless and moderate on the onslaught, In This Life or the Next basically presents itself as a focused hodgepodge of dark metal riffs and hardcore-oriented shouting from lead vocalist Mike McTernan, the brother of record producer Brian McTernan. The biggest gripe I've got with the band's 2007 full-length record lies within Damnation A.D.'s attempts at staying relevant; the track which suffers most from this would have to be "If You Could Remember", featuring guest appearances by Pete Wentz and Patrick Stump. Keep in mind that these two have had a foray in punk music at some point in their lives. Putting this aside, however, the album in general manages to come off as quite satisfying and the bandmates here didn't so much as mellow out. Intriguing enough for both long-time fans and a couple newcomers, even if the replay value won't last for very long.
Dance Club Massacre Feast Of The Blood Monsters	2.0
Feast of the Blood Monsters admittedly serves its purpose as a record that never takes itself seriously. Beyond this, unfortunately, Dance Club Massacre do nothing else to capitalize. The production is quite muddy and - coupled with how monotonous the vocalist's shrieks are - tends to worsen song after song. There isn't much to talk about the guitars or the drumming, since it's all pretty darn inept.
Dance Gavin Dance Acceptance Speech	3.0
Dance Gavin Dance Whatever I Say Is Royal Ocean	3.5
Dance Gavin Dance Downtown Battle Mountain II	3.5
In a nutshell, Downtown Battle Mountain II is one big reunion that was all too inevitable. Some people in the world don't think Dance Gavin Dance is powerful enough without the overshadowing Jonny Craig, so for this record, he was brought back alongside the other members whom have contributed to DGD's debut album. Even for a sequel to the first Downtown Battle Mountain, it tries a little too hard to rely on what these boys accomplished during the previous chapter, while Jon Mess around this time both failed and succeeded in regards to improving his screams. I would've preferred a stylistic follow-up to Happiness, really, but on its own, Downtain Battle Mountain II is quite a fun present to have and to hold. This is a slightly better offering than Acceptance Speech, to be honest.
Dance Gavin Dance Instant Gratification	3.5
The one biggest problem I had with Acceptance Speech was how inconsistent Tilian Pearson's clean vocals were; he had this odd tendency to either undersing or opt to only chew the scenery just a smidge, and in some people's cases, it wasn't helped due to the falsetto. In the end, the good on that album and the bad were 50/50. Modern post-hardcore unit Dance Gavin Dance stepped their game up a little with their newest album Instant Gratification, and the bandmates still know amusement when they see it. Tilian's singing is not as spotty this time around and his chemistry with harsh screamer Jon Mess has mostly improved, while the tight and ever so fun craftsmanship is pretty much a pleasure for sore ears. Now you'd think that DGD would be sent to Tree Village by many a robot with human hair after all this brouhaha hasn't subsided, but as luck would have it, the group's still down with Brown Town. Yeah, I should quit while I'm ahead.
Dance Gavin Dance Happiness	4.0
It appears as if Dance Gavin Dance have generated buzz around the community like no tomorrow. Out of wild curiosity, I witnessed the band for myself via entering the arena of their EP Whatever I Say Is Royal Ocean - and in spite of enjoying the extended play for what it represented, my senses realized this clearly wasn't enough. For whatever reason, Downtown Battle Mountain got the short end of the stick and in its place was DGD's third studio album Happiness (I'll tackle the former recording ASAP, no need to worry). After jamming the LP, I'm know aware that this group lives up to the hype more or less. Happiness, whilst basically getting dipped in the post-hardcore sauce, is not one in a traditional sense, seeing how Dance Gavin Dance dabble with quite the healthy dosage of experimentalism; the band likes toying with math rock and jazz styles, just to name a few genres. To give the boys credit, nothing sounds out of place and almost flows seamlessly. I suppose what helps to an extent is the overall length, which barely hits the 40-minute mark, yet I digress. This is instrumentally concise, fun, and the songwriting prowess shouldn't be taken so lightly if "Carl Barker" and "Powder to the People" are of any fluffy indication. The main vocalist Kurt Travis has an exceptional singing voice that contrasts with guitarist Will Swan's relentless, although sort of bland screams, and these two members have nice chemistry together. Anyway, there's a lotta DGD ground I must cover, so I'm interested in getting around to hearing the other albums as well.
Dance Gavin Dance Downtown Battle Mountain	4.5
After weeks of dilly-dallying and shilly-shallying, I can finally share my thoughts on Dance Gavin Dance's first studio offering Downtown Battle Mountain. Released in the year 2007, this album is without a doubt one of the more overrated post-hardcore recordings in recent memory; could it be Jonny Craig's presence alone that's worth calling DBM I the antithesis of being underestimated, or are the song titles just that recognizable enough? Speaking of Jonny, who was the primary frontman during this era, his soulful clean vocals are very charming and simply plain awesome - and that's it, really. Maybe I'm not seeing the appeal of this young man. Putting all that aside, on the other hand, DGD's debut is still a nigh-perfect album containing lots of catchiness, a remarkable contrast between Jonny Craig's singing and Jon Mess' growling, more forceful voice, and consistently powerful songwriting abilities. It's Thrice with emo kid-appealing vocal performances, but there's quite a bunch of us who wouldn't want to have it any other way. Downtown Battle Mountain's incredibly entertaining to hear if you've got a cold beverage on standby, such as sweet tea or Rolling Rock; don't assume I skim through the threads, bitches.
DangerDoom The Mouse And The Mask	4.5
Danity Kane Welcome to the Dollhouse	2.5
Danny Tanner The Finest Grind	1.5
Darke Complex Widow	2.0
Much like their comrades, Darke Complex are hell-bent on bringing out the worst characteristics in both modern metalcore and nu metal. Say what you want about the two styles, but in spite of the reputation they've earned, I think both subgenres have their share of good bands. Speaking of "good", I don't hear much of anything even remotely similar to this adjective on Widow. That average makes me nauseous, man. If these chuckleheads were to ditch the grating clean vocals, rapping, and improve on their songwriting (like that's gonna happen), then maybe they could receive another chance. Love child of Converge and Around the Fur-era Deftones, this totally isn't.
Darkest Hour Darkest Hour	2.5
Darkest Hour Godless Prophets and the Migrant Flora	4.0
Front to back, Washington, D.C.-based extreme metal outfit Darkest Hour's most recent record is a fucking savage creature. Entitled Godless Prophets and The Migrant Flora, the band's ninth studio album is comprised of 12 tracks which hearken back to DH's roots, but not to a point where the group comes off as dwelling too much on their past. Vocally John Henry is at his fiercest in quite some time, but the musicianship is also equal parts energetic, crushing, and precise; perhaps too precise, yet still. While the offering does sound a bit samey on occasion - with Kurt Ballou's production style pretty much zeroing in on the infrequent monotony - Godless Prophets and The Migrant Flora manages to be otherwise likable as well as a significant upgrade compared to its predecessor. Also, boy are there riffs aplenty on this thing. Angel recommends: "This Is the Truth," "The Flesh & the Flowers of Death," "Another Headless Ruler of the Used," "The Last of the Monuments," and "Beneath It Sleeps".
Darkest Hour Undoing Ruin	4.5
Darkest Hour Deliver Us	5.0
Feel free to disagree with what I have to say, but Deliver Us could quite possibly be Washington, D.C.-based melodeath ensemble Darkest Hour's best record in general. If I'm not jamming its predecessor in the form of Undoing Ruin, then you'd bet your bootyhole that I'm listening to the songs off this album more times than one can even count. Not only did the songwriting get kicked up a few notches, but everyone who contributed to the material on display was at the top of their game. Deliver Us is filled with various gems, such as "Tunguska," "A Paradox of Flies," "Full Imperial Collapse," and especially "Demon(s)". These tracks, as well as the rest of the CD's material, make up an overall indestructible melodeath experience.
Darkthrone Transilvanian Hunger	4.5
Over a thousand men who dare to overlook the importance ov Transilvanian Hunger or criticize it in any manner conceivable will be thoroughly patronized. In the name ov the supreme ruler, let the churches burn; by the unholy power vested in Darkthrone, their enemies must bathe via the blood ov the innocent. No mortal being is worthy enough to face what Transilvanian Hunger and its memorable cover art have in store for them. Now that I have spoken, I implore you to sit through what is undoubtedly true Norwegian black metal. Nocturno Culto and Fenriz concocted a LP that's highly recommended.
Darth Vegas Darth Vegas	4.0
This Australian avant-garde band's self-titled album is a valid, almost unsullied treat which hardly deviates its quirky sound from groups such as Secret Chiefs 3 and Mr. Bungle. The horn sections are not without color, while the rest of the instruments utilized do fine enough, but hardly expand upon the weirdness of Darth Vegas as a whole.
Darude Before the Storm	2.5
What's the name of the first track on here again? Moreover, what is the title of all the songs on this record? As of late, Finnish DJ and electronic music producer Ville Virtanen's 1999 single "Sandstorm" has become a meme of sorts, though I wouldn't call it a dank one by any stretch personally; if anything, it's quite tiresome. The tune in and of itself isn't too bad, just "Sandstorm"'s place in Internet culture makes me want to take an arrow to the knee. Under the alias Darude, Virtanen's 2001 debut studio offering Before the Storm is a fine slab of EDM-inspired material, though the content doesn't hesitate to wear thin on the listener after a while. Entertaining in relatively short bursts and that's about it, really - oh, and lest we forget dun dun dun dun dun dun dun dun dun dun dun dundun dun dundundun dun dun dun dun dun dun dundun dundun!
Dashboard Confessional Dusk and Summer	3.0
At 10 years young, I used to think "Stolen," "Don't Wait," and even "Vindicated" were amazing tunes. Nine years later, they still manage to be listenable, albeit no longer in an extremely charming way. I can pretty much say the same for Dusk and Summer, released in 2006 by Boca Raton-based rock band Dashboard Confessional. The overall quality of the album is certainly bearable and frontman Chris Carrabba's vocal performance can really put the listeners in a daze at times, though beyond that, Dusk and Summer is sort of lacking in other various departments. A couple tracks bleed into one another here without hesitation and the rest of this band is admittedly expendable more than they are incompetent as far as instrumental work goes. Once again, I must stress that Dashboard's fourth studio album is fine for what it is, but it definitely could've had more weight added to the content and a little less repetition.
Datsik Let It Burn	3.5
With slick production values and addictive beats overlapping a ferocious atmosphere, Let It Burn is a downright fun dubstep release from Troy Beetles, better known by the alias Datsik. What might help is the overall length of the album, as no two elements barely wear our their welcome even after more than a while.
Daughters Hell Songs	4.0
What kind of people would we be if mathcore never assaulted our ears and bodies? That's a rhetorical question, so don't answer it. Let's move on to something more interesting to say, albeit this is one of those queries in admittedly awful taste: can you imagine Elvis Presley drowning his sorrows one afternoon, and then in the middle of the night - rather than collapsing on the bathroom floor - he jumps off a very, very tall building? You could argue Daughters' Hell Songs is that scenario in music form. For the most part, it's glorious, effective, and at times will render the hellhounds speechless.
Daughtry Daughtry	2.5
David Bowie "Heroes"	4.5
Covered in ashen confetti are two figures known simply as the Beauty and the Beast, and you can't say no to either of them. The man who sold the world looks at them from the skies above; this being was English singer-songwriter and actor David Bowie, who passed away a blackstar (he wasn't a gangstar). A little over two months have went by since his unfortunate death, and here I am pondering the contents of Bowie's twelfth studio album. Titled "Heroes", the record was the second chapter of Jareth's Berlin Trilogy with Brian Eno on board. An extremely passionate and interesting effort, both halves of this 1977 lion have many strengths and very, very little in the way of issues. The wide range of instruments utilized gives "Heroes" well-earned color, while Bowie's vocals are pristine and unmistakably ooze with personality. Beyond that, I honestly don't have much else to say about how good the general quality of the recording is. So many classy bangers are to be experienced here, especially the title track and instrumental songs such as "Sense of Doubt," and "Moss Garden". There exists old wave, new wave, and then there lied David Bowie. 1947-2016
David Bowie Blackstar	4.5
'Tis a pity you were all whores. It's time to dance, put on your red shoes, and dance the blues in celebration of English musician David Bowie's most recent studio album. Entitled Blackstar, the record is cinematic in scope and outstanding in execution almost from beginning to end, sporting a beautiful, glossy production quality and some awesome songwriting choices. I should mention that this recording was released on Bowie's 69th birthday, and if one takes into consideration the man's old (if not advanced) age, he sounds great here from a vocals perspective. Blackstar makes for a totally fine starting point, and given time, I'm certain you'll learn to embrace the abnormalities that made a lad insane with grace and music above anything else. Now here's one question: who the fuck's gonna mess with David? By the by, the final two tracks here are just heavenly.
David Hasselhoff Night Rocker	1.0
David Sylvian Dead Bees on a Cake	4.5
Vaporous weeds worn by a widow go to show that there shall be weeping and gnashing of teeth in just a moment's time. The clothing reminds the victims out there about what it can feel like to lose willpower, stray from the path of acceptance, have loved ones taken away from you, etcera etcera. Fortunately speaking, events similar to this one are where albums such as Dead Bees on a Cake enter the picture - and the 1999 full-length effort is more than capable of counteracting these calamities. English singer-songwriter, musician, and ex-Japan lead vocalist David Sylvian's fifth studio album is 14 tracks of carnal sweetness that are easy and concurrently take a while to properly enjoy. Ranging from the myriad of instruments utilized to its unapologetic art-esque flavor, Dead Bees on a Cake is a three-dimensional experience which can reveal new things to the consumer the longer he/she is partnered up with it, and the recording also puts a disgusting bulk of staying power on display. There are no real awful tracks that make up this album; the overall release is quite close to optimum and justifies multiple listening sessions. Angel recommends: "I Surrender," "Thalheim," "God Man," "Krishna Blue," "Cafe Europa," and "Wanderlust"
Dayshell Dayshell	2.5
Nothing remarkable nor is this worth coming back to as a whole aside from a couple songs. All I'm hearing throughout Dayshell's self-entitled debut offering are characteristics I've listened to via other contemporaries both past and present, and though the album isn't terrible by any stretch, the record is too vanilla for me to consider it a big first impression - and between the three basic ice cream flavors, that's the one this user cares for the least. The melodies are fortunately pretty cool occasionally and Shayley Bourget's vocal performance is at best likable (if not glorious), but the songcraft could be far better and the production quality is rather pedestrian for the main type of genre these boys perform. Enjoyable only in short bursts.
Dazzle Vision Final Attack	2.5
Dead by April Incomparable	1.0
The best way to describe Incomparable, the sophomore studio album by Swedish metal act Dead by April, would be handled in three consecutive words: God. Kill. Me. Now the idea to throw metalcore and boy band-styled pop in a blender doesn't sound so atrocious, right? Well, the concept here is executed so poorly that I would have to come around with a resounding, flat yes. The screams are misplaced, this album seems to get a massive hard-on for excessive utilization of electronics, and the songwriting is just plain godawful. Essentially these boys decided to rip a page from one of Sonic Syndicate's CD booklets with the intellect having been stolen (and tampered with) from the Backstreet Boys, and make of that what you want.
Dead by April Let the World Know	2.5
We're nearing that time of the year, folks. Focusing on the real subject here, Swedish metalcore outfit Dead by April happen to be one of those bands in which the mind apparently isn't a terrible thing to waste; the quality of their music doesn't leave much to the imagination, so turning your brain off does have merit after all. Released in 2014, DbA's third full-length offering is an improvement over their last two studio albums, though it's definitely not what I'd call a giant leap by any stretch. Unclean vocalist Christoffer Andersson proves to be a more valuable screamer than Jimmie Strimmell, who some might remember for his tenure with Nightrage, while singer Zandro Santiago also has his moments of sounding pleasurable. Let the World Know is both vocally and musically decent (if unremarkable), but the songwriting abilities of guitarist and keyboard player Pontus Hjelm leave a lot to be desired, and the same goes for the cliche-ridden lyrical content. This record isn't offensively bad or anything, though it's also not that great. Angel recommends: "Empathy," "As a Butterfly," "Same Star," and "Let the World Know". Oh, don't forget to bring May flowers!
Dead By Sunrise Out of Ashes	2.0
Down by a rickety schoolyard, a copy of Dead by Sunrise's 2009 debut album is often seen tied to the flagpole. The first thing students usually do before entering the facility is split into groups of two: one team can throw pistols at Out of Ashes, and the other group's more likely to chicken out. I fall into the latter category, as I don't feel content on wasting my breath with the record. At the end of this droll day, it merely exists for Linkin Park vocalist Chester Bennington to prove to the world that he can become a successful dad rocker whilst tea bagging Mike Shinoda. You're able to do a lot worse than this side project, and yet you can sure as Hell muster up so much better.
Dead Cross Dead Cross	3.0
Dead or Alive Youthquake	3.0
Don't get me wrong here: Youthquake is as tacky as it is par for the course of the primary musical direction Dead or Alive found themselves in, but the album's also no less enjoyable in places. Pete Burns' flamboyant vocal performance throughout the LP go hand-in-hand with the equally loud synth work on display, whilst the melodies are punchy and undeniably infectious. Cheese with wine does sound fine enough right now.
Dead To Fall The Phoenix Throne	2.5
Mutually inconsistent, my feelings are - and now pretend you didn't read that in my shoddy Yoda impersonation. Anyhoo, The Phoenix Throne has officially become one of the most conflicting albums for me. For every enjoyable track ("Chum Fiesta," "Guillotine Dream," and "Death and Rebirth") lies a total stinker ("Corpse Collector" and "Servant of Sorrow"). The material's a bit uneasy in an overall sense, especially when you compare these songs to the mostly uniform recording that was Villainy & Virtue. Dead to Fall seemed to have been in an awkward position here.
Dead To Fall Villainy & Virtue	3.0
(5/14/18): The title for Chicago metalcore outfit Dead to Fall's sophomore studio album is an apt one. Displaying a blatant Gothenburg influence, Villainy & Virtue throughout its 31-minute runtime is half nefarious in overall sound, yet also honest concerning the band's approach. There's decent enough mileage to get out of what this record offers, but the release's sterilized production values combined with some less-than-striking compositional abilities on the members' parts keep DtF's second outing from being truly remarkable. Light 3.
Deadlock The Arsonist	2.0
Deadlock Bizarro World	3.0
Inside the European land of Germany, Bavaria-based melodeath act Deadlock happens to be one of those acts that I hold a soft spot for; they don't bring anything new to the scene with that signature style of theirs and the lyrics are at best cheesy, but goddamn can the group create fun material! Released in 2011, the band's fifth studio album titled Bizarro World is perhaps Deadlock's most mainstream record yet, featuring a notable emphasis on hooks alongside electronic sounds which were introduced as early as Wolves. There are no awkwardly-placed rap sections here as was the case with this affair's predecessor (see "Deathrace"), although the techno influences can become stale after awhile. Adding to that, the entourage's songwriting prowess got appropriately dumbed down to accommodate the mild change in musical direction, and some of the overall compositions that make up this recording are pretty much underwhelming. Its problems notwithstanding, however, Bizarro World is still a generally likable release packed with nice craftsmanship and fine chemistry between Johannes Prem and Sabine Scherer. Angel recommends: "Falling Skywards," "You Left Me Dead," "Brutal Romance," "Htrae," and "Paranoia Extravaganza".
Deadlock Hybris	3.0
Dropping the djent flavor that was ever so present on The Arsonist or simply toning it down was a smart move on Bavaria-based metal outfit Deadlock's part. The German melodeath band's seventh full-length album Hybris is a bit of a pleasant surprise after the ultimate disappointment that was its predecessor; I was honestly expecting this one to royally suck, but lo and behold, it's a pretty fun waste of time. Listeners won't find any rapping about animal rights here or much in the way of jarring techno moments. However, these consumers won't find anything different either bar clean vocalist Margie Gerlitz - who has big shoes to fill since Sabine Scherer kept getting progressively better as a singer over the years. Putting aside the poorly-designed album cover and a noticeable lack of alien ideas, Hybris boasts enjoyable musicianship alongside passable songwriting chops and even John Gahlert himself isn't too dreadful this time around. Angel recommends: "Berserk," "Blood Ghost," "Hybris," and "Welcome Deathrow".
Deadlock Wolves	3.5
Paradise is falling down even when Joe Sixpack least expects it to. He's in way over his head about as much as a part of me is, so to speak. Anyway, German melodic death metal entourage Deadlock have been an entertaining batch of people since they formed in 1997. Whilst nothing too distinctive in hindsight alongside the lyrics which are a bad sort of cheese, I can always count on this band to grab my attention in one manner or another. Launched in 2007, Wolves is the third studio record the act dished out and oft-seen by most folks as their finest hour, and it also marked a watershed in DL's career. Electronic sounds were integrated into the troupe's core melodeath style, thereby allowing for a bit more risk taking in the process. That said, however, this is by no means a consistent offering from start to finish; with strong hitters like "Code of Honor," "Crown of Creation," and the lovely "To Where the Skies Are Blue" come weak tunes such as "We Shall All Bleed" and the meandering "Losers' Ballet". Its unsteady nature and the occasionally spotty vocals from both Johannes Prem and (to a degree) Sabine Scherer aside, Wolves is still worthwhile enough in my book.
Deadlock Manifesto	4.0
Upon listening to Wolves not too long ago alongside revisiting the album succeeding Deadlock's official third offering, I've come to the conclusion that Manifesto is an overall improvement over what the German melodeath band had done previously. Yeah, the cheesy lyricism has somehow gotten cornier and (by extension) worse, though the more focused composition job in general coupled with less awkward vocal performances split between Sabine Scherer and Johannes Prem practically make up for the problematic wordcraft. Manifesto's certainly a catchier effort than Wolves which in and of itself had a fair share of infectious moments, though substance hasn't been forgotten at all either. A solid example of infusing abrasive sounds with a melodic bent and even some experimentalism thrown in. Angel recommends: "Martyr to Science," "Slaughter's Palace," "The Brave/Agony Applause," "Fire at Will," and "Dying Breed".
Deafheaven New Bermuda	3.5
(7/30/17): San Francisco's own Deafheaven are an intriguing act - and their third full-length outing New Bermuda is equally fascinating; at the expense of consistency as well as awkward composition choices (e.g. the way fade-in/fade-outs are executed during "Brought to the Water" and "Gifts for the Earth"). Also, whilst the mixing on here is far from overproduced, Jack Shirley's production ends up sounding a bit rough around the edges overall. I'd elaborate more regarding that, but at the risk of coming off as a bigger tool than I already am, let's stop there. Still, Deafheaven at least succeeded on not boring me to tears with this album. The instrumentals do rather well conveying a generally pessimistic aura with fleeting moments of mirth while George Clarke's shrieks can be effective and are placed only in appropriate spots, too. These Californians have a nice formula going, though come subsequent records, hopefully they manage to iron out New Bermuda's songwriting kinks alongside pacing.
Death Human	4.5
Hailed as one of the greatest death metal records in history and often looked at as an extremely influential album, it's not difficult at all to see why Human earned the ultimately positive responses that it did; heck, to this day, overlooking such a celestial sapphire is a thought considered to be far from the minions' minds. With Paul Masdival and Sean Reinert courtesy of Cynic on board for the release alongside Steve DiGiorgio, frontman Chuck Schuldiner possessed the kind of growls and mentality aspiring dm vocalists wished they could have. Throw in tasty prog influences which would later be elaborated on, a crisp and violent-sounding production job thanks to one Scott Burns, and here you have a nigh-masterwork.
Death Symbolic	5.0
Death By Stereo Death Is My Only Friend	2.0
It's not totally unlistenable, although at the same time, Death Is My Only Friend really makes one ponder if they're hearing a different band; the only part of Death By Stereo that hasn't changed is Efrem Schulz, who delivers what is his laziest performance here - and that's saying quite a bit, but YMMV on whether you tolerate the guy or not. Sometimes, this album makes Rise Against's latest efforts sound less cringeworthy and less of a pain to sit through by comparison. DBS just didn't care on their fifth full-length recording, but fortunately, the hardcore act reclaimed bits and pieces of their former glory once Black Sheep of the American Dream came into play.
Death By Stereo Death for Life	2.5
What makes Death for Life such a tedious listen compared to previous Death by Stereo offerings is its lack of charisma. DTS were never one of the most distinctive punk bands, and frontman Efrem Schulz technically can't sing to save his life (I like his vocals in general, though), but energy wasn't a characteristic they didn't have prior to this record here. Combine that with a ton of staying power and you had a troupe who knew how to go for broke; for a good chunk of DTS' fourth studio album, however, that's unfortunately not the case. I like to think this fivesome wanted to hop on the 2000s metalcore bandwagon and shamelessly copy said subgenre's more popular groups. It's not an ultimately horrible effort, but man were these guys going through the motions at the time Death for Life was released.
Death By Stereo Black Sheep Of The American Dream	3.5
Black Sheep of the American Dream is a healthy metalcore release which isn't just direct, but quite beastly at times. To say that it's Death by Stereo's best album to date would be little more than an overstatement, though the group's latest recording is thankfully far from their worst.
Death By Stereo Day of the Death	4.0
Admittedly, I knew about Death by Stereo thanks to Buckethead and Atreyu, so go right ahead and shoot. That said, this is one invigorating album filled with riffs a plenty, cool drum fills every once in a while, and Efrem Schulz' amusing vocal performance. Day of the Death suffers from some repetition and awkward song titles, though to the record's credit, these come off as simply nitpicks.
Death Cab for Cutie Plans	4.0
Death From Above 1979 You're a Woman, I'm a Machine	4.5
With enough discordance, groove, and accessibility to hold a chariot of deadbeats whom are always pursuing the underground, Death from Above 1979's debut studio album You're a Woman, I'm a Machine keeps things at a consistent rate despite its quick, yet deliciously intense length. There's way too much to like about this one recording, but almost very little time... It's safe to say this duo produced sexy results.
Death Grips No Love Deep Web	4.0
MC Ride's blistering style of rapping interspersed with danceable, sometimes industrial-like beats makes for an exhilarating album. No Love Deep Web is a downright insane hip hop fest of tracks which either focus on driving away the listeners pulling more of the terrible suckers in due to the dildo on the cover; I hope the marker was non-toxic.
Death Grips The Money Store	4.5
Death Grips Bottomless Pit	4.5
Ah, that must be Richard D. James attempting to peer through somebody's asshole. The two cheeks represent Zach Hill and Andy Morin, so the only logical explanation is that MC Ride is that "person" who will soon fuck you in half; he had to lose his form at one point. EH!
Death Grips The Powers That B	5.0
If Niggas on the Moon is the crucial first half of this massively enjoyable double album, then Jenny Death has the improbable, but absolute power to save the universe from a meteor shower caused by reality-warping, cynical aliens eventually aroused and terrified due to witnessing the maniacally sensational quality of MC Ride's vocals. The Powers that B has not one specific aspect you'll despise, and the experimental hip hop style beaten and massaged within what may very well be a punk surrounding invaded by industrial townsfolk is simply to die for. Zach Hill and Stefan Burnett have outdone themselves for better or worse, and the replay value on this one compilation (or full-length) is off the charts.
Death of a Salesman Vultures	1.0
Every last vulture will become endangered once the poachers send a copy of this EP to them. There's laziness, but then there exists bands who just don't care at all; Death of a Salesman may be one of those acts.
Deathspell Omega Drought	4.0
The cloud of Beelzebub has once again sent us a small package of relentlessly depressing material. Drought, for being an EP with merely 6 songs, has about twelve times the fury and callous bitterness of a snowman's tainted heart.
Deathstars Synthetic Generation	3.0
Although the influence Rammstein - and to some out there, KMFDM - has on this band's first full-length album Synthetic Generation is quite obvious, Swedish industrial metal group Deathstars have quite the likeable musical style to share with the robotic masses and their half-breed servants. This is instrumentally vicious, but not too angry enough to alienate those who have just recently found peace in attending rave parties, and the vocals courtesy of Andreas Bergh are silky smooth. The Gothic-oriented character of the keyboard sections occasionally gives the record that darkly playful flavor. Synthetic Generation is somewhat tepid at times, but the offering is mostly well-done and values fun over contrived melodrama.
Ded Mis-An-Thrope	2.0
Sure, Mis-An-Thrope is frighteningly passable nu-metalcore when it comes down to the vocal stylings and a few instrumental passages, but Ded's first studio affair altogether flat-out screams wasted promise. The many compositions by themselves are written in a foreseeable, bland fashion whilst the lyricism is substandard and banal even for the subgenre; "Dead to Me" and "FMFY" alone really hammer home that good ol' angst. You know what? This is yet another band that enjoys flogging a ded horse. Badum-CHING!! ...I'll see myself out.
Deep Sands Catalyst for Change	4.0
British rock triad Deep Sands are definitely onto something. Catalyst for Change, the Lake District-based outfit's very first release, is an effervescent omen of things to come. The four tracks accounting for this here EP are nourishing in one way or another; for example, both "Remember (The Best of You)" and "ALTERNATE - REPLICATE", the final two songs that comprise Catalyst for Change, are striking in that bassist Simon Killip's contributions make those cuts downright effective. In general, though, the instrumentation's solid all around and the vocal performance provided by guitar player Lewy sounds the bluesy, yet mystical nature of the material nicely. Good stuff indeed.
Deez Nuts This One's For You	2.0
Deftones Adrenaline	3.5
This is pretty much the rawest Deftones album in the alternative metal outfit's catalog, though that's not to say future releases are ultimately toothless. Adrenaline (fitting title) makes up for Chino Moreno's average vocal performance and the absence of variety within the musicianship via intensity and some chilling effects, noticeably on "Fireal" which transitions into the hidden track.
Deftones Diamond Eyes	3.5
Okay, what exactly is it that I'm missing here? With Californian alternative metal ensemble Deftones, records that make up their discography such as White Pony, Saturday Night Wrist, and even Koi No Yokan are certainly deserving of all the hype they've received over time - but this? The quintet's sixth full-length offering is cohesive, enjoyable, and it's not so tough to digest, and yet the material which comprises Diamond Eyes just doesn't wow me as much as what I've heard from this act so far. From both an instrumental and vocals viewpoint, the studio album is neat. In regards to the general songcraft ability, that's also totally salvageable. Deftones' sixth LP comes off as a little too instantaneous to warrant a higher rating from me; it's admittedly a dumb criticism, albeit one this user will stick with in the end regardless. Angel recommends: "You've Seen the Butcher," "Beauty School," "Prince," "Sextape," and "976-EVIL".
Deftones Gore	3.5
Though this may sound like I'm beating a dead horse over and over again, Sacramento-based alternative metal band Deftones have yet to create a truly bad or average record throughout their years together as an ensemble. The group's latest studio album Gore proves to be another solid addition to their catalog, and one that definitely takes quite a while to sink in; then again, people could say the same for the majority of Deftones' material post-Around the Fur. Tight musicianship, somewhat mindful composition choices, and Chino Moreno's charismatic vocal performance keep the band's eighth full-length effort from becoming a grand trip to Snoozeville. A man once mentioned that when you're hype, you'll bleed out of control. Angel recommends: "Acid Hologram," "Hearts/Wires," "Pittura Infamante," "(L)MIRL," and "Phantom Bride".
Deftones White Pony	4.5
White Pony, the third studio album by alternative metal outfit Deftones, marked a turning point in their career. Around this time, the band had officially transcended the nu metal movement, through means of sonic experimentation and adopting an overall darker, yet also emotionally ambiguous presence; this album ain't home to Deftones at their moodiest, but that's kind of besides the point I'm making. Despite becoming a victim of ridiculous hype over the years, White Pony is more than worthy of deserving the rave responses from top to bottom. Nearly everything about the record is perfect, whether it be frontman Chino Moreno's downright passionate skills as both a singer and a chaotic shrieker, Frank Delgado's contributions fitting the general persona of this LP, or Terry Date's impressive production job. Sooner or later, you have to submerge your body in this water of shimmering, speechless world that Deftones are capable of both repairing and destroying in a matter of minutes.
Deftones Deftones	4.5
Deftones' self-titled album is every bit as erotic as it is callous, whilst also being grim and uncaring as it is sympathetic. Even with some of the record's so-called imperfections, Deftones can still turn these into epic proportions which shall forever go unanswered. From the moody "Deathblow" to the enticing trip hop sounds of "Lucky You," this is an album needing every lost soul's instant love.
Deftones Koi No Yokan	4.5
A space between a blink and a tear means nothing if you've spent hours upon hours absorbing the material that is Koi No Yokan, which is alternative metal outfit Deftones' seventh full-length recording; by spectacular chance, the gap that exists to separate emotion from incisiveness will be held in a higher regard. On studio album #7, the Sacramento-based band find a neat way to strike a compromise between the two aforementioned characteristics, which results in yet another glorious LP that is easy to swallow, yet also tough to fall in love with on the first go. Featuring tremendously competent songwriting choices, sweet production values from one Nick Raskulinecz, and an unyielding vocal performance courtesy of the ever-evolving frontman Chino Moreno, Koi No Yokan serves as a testament to the claim that Deftones still haven't dished out a bad offering in their career.
Deftones Saturday Night Wrist	5.0
Needless to say, I'm part of the huge vocal minority who thinks that alternative metal quintet Deftones' self-titled album surpasses its massively popular predecessor in the form of White Pony. A major reason I call it better than the latter is because Deftones takes the variety of its antecedent and expands upon what was already on there, while bringing back the angry sound of the band's first two releases; still, I love the third full-length LP, don't get me wrong. It wasn't a regression in quality so much as it was an evolution, honestly, and the material requires patience. Speaking of the p-word, Saturday Night Wrist is another record in which I feel playing the waiting game is mandatory in order to truly comprehend its beauty. This is an offering that's spectacular in regards to its overall mystical atmosphere, and when you combine Saturday Night Wrist's character with its slick production values and the emotive musicianship, it all results in a fantastic recording. I heavily suggest that the folks who haven't checked this one out before should do themselves a favor and get on it ASAP. Angel recommends: "Hole in the Earth," "Beware," "Xerces," "Rats!Rats!Rats!," "Combat," and "Kimdracula".
Dehumanizing Itatrain Worship μ'sick	3.5
Coming at you from The Red Dragon with waifus and gore galore, slamming death metal band Dehumanizing Itatrain Worship make a surprising first impression with a 6-track EP that's actually a ton of fun once one allows the material present to sink in. Sure, ?'sick's arguably more enjoyable if you're extremely familiar regarding the multimedia franchise Love Live School Project though, which sorta explains why I'm not giving it a higher rating... but holy shit, this thing's still a blast and a half. I bet my imaginary goat Japan's Go-Zen wished they were about as good as these guys are; plus unlike Spetnaz, Kiryu and Itsuca have some honest-to-goodness edge in their vocal performances. Quick side note: SiIva's creaming his (their?) pants over "Outro", which is essentially a more melancholic rendition of the meme-tastic "Snow Halation" tune.
Dehumanizing Itatrain Worship/Cheerleader Concubine The Divine Union of Serrated Flesh	2.5
Demi Lovato Don't Forget	3.5
Demi Lovato could wear Converse sneakers with dresses and still manage to be quite the pop rock lady - with a surprising affinity for heavy metal. While Don't Forget throws a total of zero curveballs and occasionally forces this girl to give in to awkwardness, the record demonstrated how Demi wasn't just a pretty face; she was basically a cut above the rest of Disney and - to an extent - Hollywood Records at the time her debut was released.
Demolition Hammer Epidemic of Violence	5.0
On the darker side of reality is a world where morgues exist to replace ordinary homes and every other pitiful destination. As one note as it may sound, you just can't deny an essential album like Epidemic of Violence, hailed as a classic within both the thrash and death metal genres. With its monstrous production values and fast-paced riffs all bunched together alongside Steve Reynolds' intimidating shrieks, the record dances and pisses noxious fumes for absolutely nobody. Demolition Hammer from New York forged a terrifyingly fantastic release here, and if you've gone missing from the carnivorous assaults, then this is perhaps the one thing which will make a peasant such as yourself reconsider.
Demon Hunter Demon Hunter	3.0
Demon Hunter Outlive	3.0
Christian melodic metalcore band Demon Hunter's latest addition to their discography is neither terrible nor anything to write home about in all honesty. Featuring 12 songs, the outfit's eighth studio outing Outlive has a nasty tendency to find itself trampled by lifeless production values next to lead vocalist Ryan Clark's very drab performance; seriously, get this man a sports drink - he's sleepwalking throughout a majority of the album! Audio mixing and vocals aside, at least the instrumentation is palpable enough to keep the record from falling into obscurity, given the musicians are adept at providing sick moments every once in a blue moon within the release's duration. Generally speaking Outlive could be worse, although the ensemble could've afforded to put more effort into the material at hand. Angel recommends: the cheesiness that is "One Step Behind," "Patience," and "Slight the Odds".
Depeche Mode Some Great Reward	4.0
With a clear sense of darkness and undeniable irony, Depeche Mode have shown us just how orgasmic their industrial sound can be. Though it's not without some immaturity, Some Great Reward never really grows stale and finds Dave Gahan and his unforgettable team producing wondrous songs.
Descendents Milo Goes to College	5.0
Milo Goes to College is twenty minutes long, though I'm willing to bet a large number of hardcore fans wouldn't want it any other way. This fast-paced album is short, never hesitates to be as direct as possible, and features incredibly passionate vocals by Milo Aukerman. For every tight rhythm section on here, lyrics come undone which must be read and heard with the tongue planted firmly on that anarchistic cheek of yours. Descendents became highly influential to pop and skate punk, and they were most certainly one of the earliest groups to lay down the foundation.
Design the Skyline Galactical Celebration	1.0
I'm not sure as to whether Galactical Celebration had a mathcore or deathcore-tinged sound (who cares?), but this was a demo unworthy of being welcomed on the planet Earth. Design the Skyline's debut album is like The Police compared to this, yet that's akin to saying that the golden shit I took the other night was better than the fudge-coated one.
Design the Skyline Nevaeh	1.5
Nevaeh, which is ironically the word 'heaven' spelled backwards, is the debut album by Corpus Christi deathcore act Design the Skyline. The record's material is akin to a Westboro Baptist Church member settling a petty argument with a disconfigured keyboard and two cadavers; yeah, make of this what you will. That's all I honestly have to say in this worthless soundoff which apparently showed more potential than this seven-piece band.
Destroy Rebuild Until God Shows D.R.U.G.S.	2.5
Inconsistent and hellaciously bland as fuck, D.R.U.G.S.' self-titled debut album seems trapped within an ocean that merely supports catchiness and only this particular characteristic. Around this time, Craig Owens' vocals have improved ever so slightly, but combining his laughable lyricism with the hit-and-miss instrumentation off this release just doesn't work as a proper fusion.
Destroy the Runner I, Lucifer	3.0
Deuce Nine Lives	1.0
Device Device	2.5
One can only go so far as to label this record 'Disturbed with electronics'; when your name is David Draiman and you have founded such a side project, these comparisons don't go over anybody's heads. Draiman's vocals here are as good as ever and Device includes an acceptable cover of Nine Inch Nails "Wish". Beyond that is a typhoon of blatant genericism which hardly lets up, so there isn't much else to talk about.
DevilDriver Trust No One	2.5
Friendships and alliance are similar to candy, while treachery can be likened to the venom of a snake. One must keep his/her friends away and get farther away from the enemies. It's business as usual for Santa Barbara-based groove metal outfit DevilDriver on their seventh studio album, and while not inherently bad, the band's 2016 release is a sign that they're uninspired at this point. Graced with a cover planted firmly in the So Bad It's Good domain, Trust No One is all too familiar in direction and fairly predictable in execution. Some pretty cool instrumentation and Dez Fafara's decent vocals aside, DevilDriver are on autopilot here; even recent members Austin D'Amond and Neal Tiemann couldn't inject newfound life into the outfit's general sound. What bites about this is that the band's contributors could showcase that they were competent songwriters and extremely fun instrumentalists on recordings such as The Last Kind Words - and they didn't have to feel restricted by Mark Lewis, who's sitting in the producer's chair for this one as he did for DD's last two albums. Time you start working with another in the future, guys.
DevilDriver DevilDriver	3.0
Never ceasing to swim in the dark, blue waters of simplicity, DevilDriver's debut album is a fun listen every now and then. Treat it as if it were a fast food restaurant: everything about the place has been done to murderous death, but the concoctions - while obviously not much aside from junk - is remotely tasty.
DevilDriver The Last Kind Words	4.0
From beginning to end, The Last Kind Words is a cerebral mammoth unwilling to make any halts or abrupt transitions. Dez Fafara's vocals have sure come a bit of a way after his tenure with the mediocre Coal Chamber, and the instrumentation couldn't be anymore fitting for this Devildriver release.
Devin Townsend Ziltoid the Omniscient	4.0
Despite possessing a bit too much accessibility for even the most fetid humans, Ziltoid the Omniscient is certainly a diverting album. Omnidimensional creator Devin Townsend seems formidable when it comes to throwing a little jocularity here and there into the galactic universe of metal. A vocal minority might be put off by the dialogue portions of this recording, though said aspect's campiness works wonders when in conjunction with Devin's knack for shamelessly-inspired songwriting.
Devin Townsend Project Addicted	4.5
To think that Dark Horse was the record that directly inspired this particular album on a production front... Huh. Well, in any case, Addicted is the overall twelfth studio LP by multi-talented Canadian screwball Devin Townsend, not to mention the second official release within the Devin Townsend Project series. I'm gonna come right out and say it: the record's a fuckin' entertaining 46 minutes, with Devy and crew rarely letting up over the course of Addicted's length. Harmonious; aggressive; danceable; and the antithesis of the word 'fetid'. Strong vocal performances from Anneke van Giersbergen alongside Townsend himself coupled with infectious instrumental chops and fun songwriting concepts make Addicted more than just a worthwhile use of the consumer's time. Find cheeseburgers that aren't cheap and get a cuppa joe that tastes and smells right because this affair is pretty much a thing beyond things. Angel recommends: "Bend It Like Bender!," "Supercrush!," "Hyperdrive!," "Ih-Ah!," and "The Way Home!".
Devin Townsend Project Ghost	4.5
Canadian singer-songwriter, producer, and multitasker Devin Townsend is like that unhinged relative of yours who spends his waking hours demonstrating his mad artist qualities and running on the Rule of Funny. To the common man, he's basically a modern version of Frank Zappa, but to everybody else... Devin is this spiritual fountain of awesome music. He's also a very prolific figure, for he works an extensive solo career and functioned as the frontman for extreme metal outfit Strapping Young Lad. I could say more about him, but then I'd be rambling even further until I'm a black hole. Anyhoo, under the moniker Devin Townsend Project, Townsend's fourteenth studio album Ghost is a record that definitely justifies more listens than what ought to be necessary. It's mellow, it's as pretty as a picture, and yet that's not quite all to the album's contents. With seamless flow and great songwriting chops among other crap, this is an offering that proves daunting at first due to its length, but later grows on whomever approaches Ghost. Ingenious.
Dharmata Dharmata	3.0
Not a terrible first impression, but not really a great one either. Dharmata's self-titled debut record might as well represent your next-door neighbor's colossal refrigerator: it manages to look big on the surface, and yet you're left feeling disappointed after checking its interior design. While the vocals and craftsmanship of this album are acceptable, Dharmata's songcraft skills leave a whole lot to be desired. Dharmata is a pretty fine release, albeit one that's marred by pathetic songwriting abilities and a lack of purpose.
Diablo Swing Orchestra Pacifisticuffs	2.5
Coming after the meticulous, yet fun monster masher that was Pandora's Pinata, Swedish avant-garde/experimental metal project Diablo Swing Orchestra's latest addition to their discography is a humongous step backwards; Pacifisticuffs is inferior to the band's first two studio recordings, too. {sigh} It breaks my heart to hear a solid outfit finally drop the ball considering DSO were building up such steady momentum until this period. Throughout the new album's 44-minute duration, I found no track that mesmerized me in the same manner that the likes of "Guerilla Laments," "A Tap Dancer's Dilemma," "Balrog Boogie," or "Justice for Saint Mary" did. There wasn't even a cut here that came off as 'good strange' like "Bedlam Sticks". Credit where credit is due, Kristin Evegard is a very suitable vocalist (she's no AnnLouice) and there are at least 2-3 songs worth jamming on the regular, but oh man is Pacifisticuffs still a disappointing LP when the previous releases are factored in. These Swedes can do and have done much better.
Diablo Swing Orchestra Sing-Along Songs for the Damned & Delirious	4.0
Diablo Swing Orchestra The Butcher's Ballroom	4.5
(2/8/18): Compared to the outfit's next three full-length offerings, The Butcher's Ballroom sounded a great deal more foreboding than the material that came after it - although one can tell Swedish metal project Diablo Swing Orchestra weren't taking themselves too seriously back then, either. Quality-wise, the band's debut and Pandora's Pinata are so neck and neck for me at this point. Even in 2006, DSO didn't show any disregard for attention-grabbing hooks and sweet production values, all the while coming up with a melting pot of different musical styles. Plus you can never have too much AnnLouice Logdlund!
Diablo Swing Orchestra Pandora's Pinata	4.5
Diabolical Masquerade Nightwork	4.0
Diamanda Galas The Litanies of Satan	4.5
There is nothing in the world that's more horrifying than fear itself, which is an emotion capable of taking various forms. Avant-garde musician Diamanda Galas' 1982 debut album, The Litanies of Satan, happens to be one of said states. At a runtime of nearly 30 minutes, this two-piece LP is potent enough to bring out the insanity and terror living within our bodies. The scare factor of the record doesn't decrease as time passes, and what helps is the length; if The Litanies of Satan were any longer or shorter than it already is, then I doubt that the offering's chilling, remorseless atmosphere would be satisfying. Get a steel desk and a paper bag handy, because you'll need it to endure the awesome nightmare that is this album. Oh, and Diamanda has one of the most versatile vocal ranges ever.
DIAURA DICTATOR	2.5
Dimmu Borgir Abrahadabra	2.0
Dinotrax Interconnected	3.0
Dinotrax rely on cheap Nintendo-inspired gimmicks and traces of a post-hardcore sound, while not entirely sacrificing composition merit. Despite its commonplace style and unrefined tone, Interconnected is an unimpressively likeable album through and through. Releases like this would've gone over well with the Nintendocore community back in the mid-2000s.
Dio - Distraught Overlord Dictator	3.5
Dir En Grey Macabre	3.0
Dir En Grey six Ugly	3.0
Dir En Grey Vulgar	3.5
(8/27/18): At the time of its release, Vulgar had to have come as a shock to the system - a bigger surprise compared to MACABRE, even. Dir En Grey's fourth studio outing exuded less Eastern vibes, thereby showing off a more prominent Americanized sheen, though it was still unmistakably metal. Diru were also easing up on lengthy compositions and just generally streamlining things, thankfully not at the expense of any redeeming qualities. Indeed, Vulgar is by far the bestest 'gym album' this quintet has delivered next to the other two succeeding LPs. Despite the rocky, underwhelming mix and predictable songwriting in places, the album really didn't do much else wrong as far as other aspects go. People could easily make the argument that it was one of Diru's most consistent affairs from front to back.
Dir En Grey MISSA	3.5
(9/16/18): Before the band's explosive debut album GAUZE, Dir En Grey would deliver their very first EP recording - a release by them that screams Early Installment Weirdness in retrospect. Titled MISSA, the mini-album was put out at a time when this act didn't quite have an established identity or niche to call their own yet. I wouldn't recommend it as a starter to anybody that wants to dive deep into Diru's catalog. For all its kinks, there was a lot to enjoy about MISSA whether it be the nice marriage of poppiness, artsy shmartsy rock and furious metal or the variety that's packed within nearly every composition. Also it was responsible for introducing me to "Garden," which remains one of my favorite Dir En Grey tracks prior to at least the Vulgar era.
Dir En Grey The Insulated World	3.5
Much to my disappointment, Dir En Grey couldn't summon forth cotton candy. Looking at it on the bright side, however, I got something almost as delicious if not more so: another sweet addition to this act's diverse-sounding catalog. The Insulated World, the band's tenth studio release, is a rip roarer in both style and *especially* instrumental talents. While admittedly it's quite a few steps below the 'Dynamically Divine Diru Trilogy', this quintet still knows how to get dem creative juices flowing and help expand the customers' brains. Some compositions feel more underdeveloped than others (e.g. "Downfall") and the pacing isn't as watertight as this angel would've preferred, not to mention that the production values are quite horrid. Those criticisms aside, album #10 could stand a chance against the past three monoliths or at the very least GAUZE had said flaws been intercepted. But as is, I think I'm still gonna be jiving to The Insulated World for a while. Strong 3.5. Angel recommends: "Keibetsu to Hajimari," "Aka," "Followers," and "Keigaku no Yoku".
Dir En Grey Withering to Death	4.0
(8/28/18): A few roadblocks aside, Vulgar was a neat step in a different direction. Around that point, Dir En Grey were standardizing their core sound via gaining noticeable North American influences, and did a pretty damn good job at that. The following full-length, called Withering to death., was a natural progression - one which hinted at the ensemble getting even heavier and less willing to compromise, too. From a production standpoint, the fifth record sounded sleeker; in terms of musicianship, instrumental passages remained tight whilst also achieving some new level of meticulous planning; and as far as the vocals went, Kyo was at his most professional state. Withering to death. overall was an upgrade over its antecedent, however small the upgrades might've been.
Dir En Grey Kisou	4.0
(8/27/18): Kisou would be considered the final album to be released during Dir En Grey's classic era. For quite some time, it'd also be the last record by them to incorporate any progressive influences. Though a little too filler-happy and plagued by more or less the same production hiccups that MACABRE contained, Diru's third studio album bore much tighter instrumentation, more interesting songwriting ideas, and in general a stronger-sounding Kyo compared to his performance on the precursor. Not on the level of Gauze, yet Kisou definitely made for a satisfying conclusion to this phase in the band's career.
Dir En Grey The Marrow of a Bone	4.0
(8/28/18): If Withering to death. was a seminal moment in the Dir En Grey history books, then the next record would be an even bigger turning point for them. Studio album #6, aka The Marrow of a Bone, took the heaviest moments of the preceding release and intensified them. Almost from start to finish, this LP was Diru at their most ferocious; and furthermore, this was the quintet mid-period at their least overtly nu-metal yet. Often I hesitated to deem this one of the best things the band did, but I never once stopped myself from calling it one of my favorite DEG offerings. Revisiting tracks such as "The Pledge," "Repetition of Hatred," and the ever quotable "Agitated Screams of Maggots" today still satisfy the taint. Also, ONE DAY KYO WILL FUCK YOUR PARENTS!! ...That's that.
Dir En Grey Gauze	4.5
(9/11/18): Discounting the band's MISSA EP, GAUZE was officially the start of Dir En Grey's boundary-pushing career, released far back in the year 1999. For a debut album, the freshman record made a captivating impression. Aside from that, not many releases by other peers that came out around the same time period sounded quite like this. With 10 largely memorable cuts bookended by intro/outro snippets, Diru's first LP charmingly paired up polished, professional pop rock elements with unrefined - if not animalistic - metal traces and even a somewhat electronic bent (best found in "Raison d'etre"). To this day, GAUZE stands as not only a robust beginning, it also stands as one of the outfit's zeniths; just shy behind Dum Spiro Spero, Arche and the Remastered & Expanded Edition of Uroboros. Decent 4.5.
Dir En Grey Uroboros	4.5
(8/29/18): Can one remember the progressive/avant-garde leanings of the two records which came after Gauze? Well, with Dir En Grey's seventh studio outing Uroboros, that sort of sound was given a modern revival - albeit in a distinctly different, way more refined fashion than ever before. Combine this with the raw ferocity of the past album alongside a plethora of other new tricks and you've got what plenty a folk have considered (*and* still call) the band's crowning jewel. A sound-off like the one I've written does no justice to the level of songwriting, musicianship, and track ordering present. Mainly because of the flat-meets-super muddy mix thanks to the polarizing Ted Jensen, the original version proved inferior to the Remastered & Expanded Edition, yet Uroboros was fantastic nevertheless. Not only does this still remain as my #1 favorite Diru release, it even functions as one of my all-time personal favorite albums that emerged from the industry period.
Dir En Grey The Unraveling	4.5
Japanese experimental metal act Dir en Grey really can't do any wrong for me, and that's to make a long story short. The band's 2013 EP, The Unraveling, features rearranged and newly-recorded versions of past songs created prior to The Marrow of a Bone, such as "The Final" from Withering to Death. as well as "Karasu" and "Bottom of the Death Valley" off Kisou. Think of this mini-album as a modern mind operating an old body. From a production viewpoint, it all sounds sharp and glorious, and the recording style definitely suits Diru's convention-breaking music like a mitten; props to Tue Madsen on that one. Bar The Unraveling's title track, calling the rest of what comprises this release rehashed numbers would be nothing but a disservice, as Dir en Grey managed to put their blood, sweat, and tears into them with little a drawback. It's nice to see them give their back catalog some recognition, too.
Dir En Grey Tour08 The Rose Trims Again	4.5
"Clever Sleazoid" has a certain lyric used that I feel sums up this particular live DVD very well: "Welcome to the garden of destruction". Released in the year 2009 and consisting of a feature show recorded at Shinkiba Studio Coast plus bonus footage via Osakajo Hall, Tour 08 The Rose Trims Again demonstrates Japanese experimental metal crew Dir En Grey in one of their most passionate forms yet. Concerning the songs that represent the band's sixth full-length outing, some of these tracks were already solid enough in studio format. With that said, however, the live environment coupled with the synergy between Diru's members and the audience somehow manages to make the numbers feel far more alive by comparison; "Disabled Complexes," "Namamekashiki Ansoku, Tamerai ni Hohoemi," and "Repetition of Hatred" are especially telling examples of this. The lighting is also done remarkably and the setlist even does nice work in showcasing the band's growth as performers, musicians, and most importantly composers. Whatever one does, don't sleep on what The Rose Trims Again has to offer - get on that shit.
Dir En Grey Dum Spiro Spero	5.0
(8/30/18): When a record like Uroboros was *and* still is oft-seen by many to be Dir En Grey's finest moment, the prospect of expectations being so high for the next official release would be inevitable. Enter the Japanese extreme/experimental metal band's eighth studio album, titled Dum Spiro Spero, which is a Latin phrase meaning 'While I breathe, I hope.' With an even larger emphasis on aggression, technical proficiency, and also orchestral elements thought to have been improbable when merged with the former two, Diru's eighth LP was another splendid success within their interesting discography. No tracks were ever really skippable thanks to the cool compositional twists taken throughout Dum Spiro Spero's 67 minutes, the production once again was crisp and filled to the brim with punch (plus the mixing of the instruments was *just* right), and the guys who make up the outfit performed marvelously as far as musicianship was concerned. Another mastahpiece, baybeeeeeee!!!!! Oh, and on a side note, this was the closest DEG ever came to putting out a full-fledged deathcore affair.
Dir En Grey Uroboros (Remastered & Expanded)	5.0
Dir En Grey Arche	5.0
(8/31/18): Every once in a jade moon, it's no problem reminiscing about the past. That said, dwelling on that point in one's life is not recommended. Just keep moving forward, which is something Dir En Grey have done for a while now - and that especially came into play with the band's ninth studio offering. Greek for the word 'origin,' it's appropriate that Arche was given the title that it got since the record pretty much existed to celebrate Diru's humble beginnings alongside what they're about in the now. The album encompassed many sounds that this group explored during their classic, mid-era, and more recent phases, all while incorporating new elements into their style and adding onto what was already established. I should note that, within the holy trinity, Arche was easily the most harmonious of the bunch; the dreamlike, reverb-heavy choice of production accentuated those melodic moments. And wouldn't you know it? This was another spotless LP on DEG's end that's a thoughtful blast and a half. No serious complaints with it tbh.
Dir En Grey Tour13 Ghoul	5.0
Released in the year 2014, Tour13 Ghoul taught me one thing that can't go unnoticed: Americans are louder than the Japanese. On the other side of the spectrum, however, the crowd was generally electrifying and the same can be said for the setlist Dir En Grey decided to work with. This Japanese experimental metal outfit needs no introduction, and their live presence is hypnotic in the best way possible. Whilst I admittedly didn't care for "Hageshisa to Kono Mune no Naka..." in the context of Dum Spiro Spero, the track fares much better in a concert setting. Ghoul was an all-around fun, powerful show which is sure to tempt others into seeing what Diru are really about in the flesh. Quick side note: "Bottom of the Death Valley" had me floored.
Dir En Grey TOUR14 PSYCHONNECT -mode of GAUZE-	5.0
Dir En Grey's full-length debut recording Gauze already made for a fantastic listen. With its pop appeal and an ability to strike a totally fine balance between melodic, downright abrasive, and even unsettling moments, the record is an almost timeless one, and boasts extreme replay value. That said, the Japanese experimental metal group's 2015 live album is something that I implore you to really sink your teeth into. Tour14 Psychonnect -mode of GAUZE- - largely featuring tracks from Diru's first album as well as "Rasetsukoku" off Macabre, "Aoi Tsuki" via Missa, and "Rinkaku" and "Sustain the Untruth" off Arche - proves that the band's material translates extremely well in regards to live performances. The emotion from the studio versions of these tunes is still present, and sometimes even amplified. Hearing latter-day Dir En Grey perform earlier songs undeniably showcases how much the band has grown over the years; they've not only improved as songwriters, but they also became superior musicians in the process. Bravo, boys!
Dir En Grey Arche at Nippon Budokan	5.0
Decapitation of the head from a torso, a pregnant belly belonging to that of an ever curious hustler, and roots visible underneath altogether represent Arche. Greek for "origin", Japanese experimental metal act Dir En Grey's ninth full-length offering is a stellar record topped with mindful compositions, driving force Kyo's unbridled vocal performance in general, and a dim production style that more often than not complimented the overall atmosphere Diru were going for. This brings us to Arche at Nippon Budokan, which is basically what it says on the tin: two days worth of material via studio album #9 performed at NB alongside a couple other tracks taken from other affairs. Given the lighting, chemistry between the bandmates themselves alongside the crowd, and Kyo's choice of attire, Diru's live presence once again is not to be trifled with. Led by a demon during Day 1 and spearheaded by an M. Bison cosplayer that would make Raul Julia proud on Day 2, this is a highly recommended event. Personally I found it nice witnessing the likes of "Child Prey" and "[KR] Cube" make it into the setlist, though special attention ought to be reserved for "Tousei"; the live rendition is far more soul-shattering than its original studio counterpart. An all-around majestic demonstration of what these guys are adept at and then some.
Discordance Axis Jouhou	4.5
Discordance Axis The Inalienable Dreamless	5.0
Jouhou was a schizophrenic mother and goddess of the cosmos. The amount of insanity and well-constructed anger that has been building up inside eventually caused her to start an endless war - where at one point, she met the thirst watcher responsible for murdering her two sons, Jon and Chang. After said figure began tormenting this goddess both physically and mentally, he revealed his true colors as The Inalienable Dreamless.
Disfear Live the Storm	4.5
Live the Storm really... well, it lives up to the name said album was given; terrible joke, I know. The Swedish d-beat band Disfear bring forth the nastiest riffs and some of frontman Tomas Lindberg's most gnarliest screams, resulting in a cacophony of asphalt-scented ruthlessness that's barely without the enjoyability factor. At 35 minutes, there's nothing on this record which really weighs down the compositions, and Kurt Ballou's top-notch production skills shine in a few areas.
Disturbed The Sickness	2.0
Disturbed is another one of those heavy metal (or hard rock, depending on your view) bands which became easily marketable for a variety of reasons, some good and bad; one of these causes have to do with the infamous single "Down with the Sickness", while another has to do with their debut album The Sickness eventually marching on to become their most successful release. But this is where it ends here... By simply reading it into and taking what it is at face value, this record had Disturbed performing with their tried-and-true nu metal style which is good for everyone else, but mostly lacking in maturity and purpose when it comes down to a vocal minority. The electronics are arguably the only thing worthwhile to come from The Sickness, seeing as how pretty much all of the album is merely simplistic anger weighed down by even more basic instrumentation.
Disturbed Believe	2.5
Disturbed's debut studio album was of laughably piss-poor quality (at times) and became rather dated over the years. In order to rectify The Sickness' many problems, the band would eventually dish out a sophomore full-length record in Believe, which sported a different sound compared to the first offering's apparent nu metal vibe. It was a smart move for David Draiman and his plate droppers to move away from this style, because although their newfound hard rock direction wasn't any less generic or dull, you really won't find any unintentionally hilarious moments on this one. Draiman's vocal performance and a slew of somewhat intriguing ideas make up for the otherwise underwhelming as balls musicianship, but not by all that much.
Disturbed Immortalized	3.0
Having gotten down with the sickness in the past, Disturbed stick to their strengths for a major portion of album #6, Immortalized, whilst not disregarding some of those all too familiar weaknesses in the process. David Draiman and his three thousand fists in the air have crafted a comeback album of sorts that'll certainly humor the more hardcore supporters, though it might aggravate just about everyone else who expected the guys to mature as songsmiths and musicians. IMO, it's an effort that is neither stunning nor worthless. Angelboros recommends: "Open Your Eyes," "The Light," "You're Mine," and "The Sound of Silence"; the latter was originally a Simon and Garfunkel song, in case if you were pondering. Tonight we dine in Hell-wa ah ah ah!
Divine Heresy Bleed the Fifth	3.0
Robots walking amongst humankind are still stricken with the revelation that they're unable to procreate, but on the plus side, their evolution privileges were never nullified. These machines adapt to change and get used to unfamiliar surroundings more or less like we mere mortals do - although it would appear that one of the automatons in the form of Dino Cazares didn't get the memo. Divine Heresy is an industrial groove metal project conceived by the Fear Factory guitarist alongside John Sankey, the latter of whom didn't contribute to the band's debut album. Entitled Bleed the Fifth, this Los Angeles-based outfit isn't doing anything the listeners haven't heard before, and DH wear their influences akin to a space bear fitting snugly into the nearest meteor. The three-piece ensemble's first full-length falls prey to threadbare composition ideas as well as an uneven vocal performance via Tommy "Vext" Cummings. While it does have its fair share of issues, Bleed the Fifth is an otherwise fun record providing enjoyable musicianship thanks to drummer Tim Yeung and Cazares' contributions. Divine Heresy's freshman affair serves as gym music, basically speaking. Angel recommends: "This Threat Is Real," "Rise of the Scorned," "False Gospel," and "Closure".
Dog Fashion Disco The Embryo's In Bloom	3.0
Aside from the much cleaner production, Dog Fashion Disco still insists on re-releasing older tracks for The Embryo's In Bloom; a trait of theirs which would never wane until Adultery. Todd Smith's voice is fortunate enough for the listener to continue reliving said songs.
Dog Fashion Disco Day of the Dead	3.0
Issued somewhere between the trippy Committed to a Bright Future and the glorious Adultery, this EP is a little more 'conventional' if you compare its four-song material to the standard Dog Fashion Disco; for starters, Matt Rippetoe's contributions aren't as big here. The best part about Day of the Dead has to be Todd Smith's vocals, as they occasionally remind me of a tortured Brent Hinds. While nothing too satisfactory or quenchable, it is still an acceptable release.
Dog Fashion Disco Experiments in Alchemy	3.5
Dog Fashion Disco Sweet Nothings	4.0
Dog Fashion Disco Ad Nauseam	4.0
Though phenomenally nothing new, Ad Nauseam does indeed prove that avant-garde metal band Dog Fashion Disco owe it all to us. The successor to a worthy comeback album in Sweet Nothings, DFD's newest addition to their discography is undeniably the most streamlined record they've ever put out, but it's no less enjoyable in the process. With better production values and no relatively terrible songs, Ad Nauseam manages to surpass its predecessor at times. The album is good for listening if you feel like levitating in the bed with the devil himself. Angel recommends: "Ad Nauseam," "Last Night Never Happened," "Covered in Blood," "Watching You," and "Starving Artist".
Doldrums (CAN) The Air Conditioned Nightmare	3.5
The creepiest submarine ever imagined meets a walking corpse who's coincidentally an indie fan, and the two confront each other underneath an insanely colorful moonlight. The Air Conditioned Nightmare is 41 minutes of woozy headphone music packed with charismatic, androgynous vocals and noticeable levelheadedness regarding the album's general sound. If you want to know what a world of dreams looks and sounds like, then give this recording a spin.
Doll$Boxx Dolls Apartment	2.5
I really only found myself enjoying the first three tracks off Dolls Apartment, with pretty much every other song bleeding into one another. Made up of members from Gacharic Spin and Light Bringer, the all-female Japanese rock band Doll$Boxx don't offer much of anything here that can be considered engrossing in the slightest. There's nothing inherently wrong with the instrumentation nor is there a problem with the quality of the vocals, but good God almighty does the group's debut album falter greatly in regards to songwriting and replay value. Polarizing as the triad may be, at least Babymetal knows how to employ moderately intriguing composers even if their music is at times bland. Just have fun with the first three tunes off Dolls Apartment and don't waste time on the rest of what this LP's got in store.
DoomThrone Skeleton Veiled in Flesh	1.0
These two songs are *begging* to be played at my funeral. Just... Wow. I don't even think Nergal Filth Sixx Simmons is powerful and majestic enough to top this.
Dot Dot Curve Til the Wheels Fall Off	1.0
Dot Dot Curve I'm Still Here	1.0
Dot Dot Curve Your Ears Will Bleeping Bleed	1.5
Down I Go Tyrant	4.5
Befouled supremacy of power over others held in a weaker position is one of the worst kinds of hegemony out there. It's existed for eons and the concept in and of itself still lingers. Experimental hardcore unit Down I Go are from London, England, and they're a band one ought to make a conscious effort to keep tabs on if their third full-length offering is any evidence. Tyrant, as its album title and track names both imply, is an album written around a theme based on historical slave drivers; the folks who regret not a bit abusing the control they have and working the inferiors hard basically. There's so much to like about Down I Go's 2008 record from a songwriting point of view as well as instrumentally: the chaos emanating from the musicianship and screamed vocals doesn't sound contrived and neither are the album's more melodic moments. With 12 songs in all and being able to move at a smooth pace, Tyrant is a release I heavily recommend checking out.
Down With Webster Time To Win Vol. I	1.5
Dr. Acula S.L.O.B.	1.0
Dr. Acula Below Me	1.5
In terms of the vocals, Below Me fares slightly better in this regard compared to the previous Dr. Acula offering, though this partycore band still insist on using tired Goosebumps references for song titles and the instrumentals smell of so much repetition that the album makes for a vastly boring listen; "Calling All Creeps" is admittedly decent, if only for the introduction of said track.
Dr. Acula Nation	1.5
This 'party metal' band basically went from humorous, spastic grind-esque crap... to mostly forgettable, hard-to-take-seriously deathcore shit? It might've been fun while it lasted for Dr. Acula, though it was Nation that caused the boys to suddenly run in place until they exhausted themselves.
Dr. Acula The Social Event of the Century	3.0
The Social Event of the Century is not only quick and painless, but the third Dr. Acula album also shows improvement over their last two embarrassments. For one, there's slightly better utilization of samples this time around; nothing screams 'remotely amusing' like the episode of South Park where the Guitar Hero series is tackled. Most important, however, are the songs themselves being nowhere near as grating in comparison to anything off Below Me or S.L.O.B.. Although the production quality could've been handled in a different manner, this release is fairly admirable.
Drag The Lake I Am Violence	3.0
Despite its less-than-favorable demonstration of songwriting on all but two of the songs and a sheer lack of creativity, Ontario-based deathcore band Drag the Lake's first EP and debut release is at least a somewhat entertaining recording. I Am Violence contains both acceptable craftsmanship and vocals, and the EP presents itself as a clear indication that this group possesses a healthy amount of potential that they have yet to elaborate on; the final two tracks, "Claymore" and "To the Crows", are satisfying enough to be legit jams that hint at relatively better things to come in the future.
DragonForce Ultra Beatdown	2.0
Lethargy must've catched up with this power metal band hailing from England, seeing as how Ultra Beatdown does much of absolutely nothing to differentiate from the album's predecessor Inhuman Rampage. You would think DragonForce's songwriting abilities would increase tenfold, yet sadly speaking, that simply isn't the case. It's as if ZP Theart and the fantasy-driven, Drunken kung fu-slandering heroes of our time were too busy attempting to come up with retro video game sound effects and frantic guitar solos, and they couldn't put more effort into the finished product due to constraints or whatever. The success of "Through the Fire and the Flames" (and to an extent, DF's previous record itself) probably forced them to shove a dozen burning shards into their craniums while Ultra Beatdown was still in the making.
DragonForce Inhuman Rampage	2.5
DragonForce relish in crafting a power metal sound as over the top and cornballish as possible. It would be entirely fun and adventurous if it weren't for the ridiculously generic arrangements enclosing Inhuman Rampage, and its bland nature comes across as a bit shocking for me considering the bandmates *do* possess a boatload of talent. The retro video game-inspired elements and the fantasy themes would only help this band's case according to the mightiest of nerds - and just because "Through the Fire and Flames" played a part in the Guitar Hero series and got DragonForce popular, doesn't mean that it's a fantastically difficult track. Kiddies, there exist memes which can and will go out of style; this is one of them.
DragonForce The Power Within	3.0
Oh, my Gandalf blow-up doll, DragonForce are aiming to be legitimate musicians! With a more competent frontman in Marc Hudson (not to say that ZP Theart was ever a bad vocalist) and overall shorter track lengths, The Power Within is a surprisingly pleasant listen for the most part. True, this band has their obsession over fire, places so far away, and Magic: The Gathering intact, but this recording essentially revels in digestible cheese, so it kinda works out well unlike the album's two predecessors, which pretty much puked a one-trick pony bile all over DragonForce.
Drake So Far Gone EP	2.5
Aubrey Graham was a snot-nosed teenager in a wheelchair on Degrassi - and then he grew a pair of balls and became Drake, Young Money Entertainment's new key. So Far Gone's a fine little EP containing seven tracks, with all of them depicting Drake's decent flow and some other crap. Lil Wayne shows up on at least three songs, almost ruining whatever chances of toleration said numbers had flying into the bong.
Drake Nothing Was the Same	4.0
DRAM Big Baby D.R.A.M.	3.5
Dream Theater The Astonishing	2.5
Regarding the general instrumentation of the record, progressive metal ensemble Dream Theater's second rock opera in the form of The Astonishing (keep the album title jokes coming) is definitely passable, and I also appreciate the choir and orchestral arrangements on here. Ambitious as the album may be, however, its concept doesn't really justify a running time of 2 hours; the monotony that surrounds many of the songs also makes the record feel way longer than it truly is. Believe me when I say that DT's thirteenth studio LP is flawed: while not exactly terrible, The Astonishing has quite a lot of problems which could've been simply rectified, but nope. This is one music release that's such a chore to get through, it isn't funny.
Dream Theater Train of Thought	3.0
Long Island-based progressive metal troupe Dream Theater's 2003 full-length offering goes on for longer than it ought to be. The band's seventh record under the title Train of Thought sometimes invokes that feeling when there are too many cooks in the kitchen; in hindsight, let's just say it didn't take a lot to make a stew for me and you. The songwriting is extremely hit-and-miss throughout much of this album and the guitar wankery can border on ridiculousness, but when all is said and done, DT's seventh LP is by no means a bad release. It certainly proves to have moments of excellence and the overall instrumentation is acceptable, especially on ex-drummer Mike Portnoy's end. Angel recommends: "Endless Sacrifice," "Stream of Consciousness," and "In the Name of God". On a side note, "Honor Thy Father" is perhaps one of the narmiest tracks ever conceived via Dream Theater.
Dream Theater Images and Words	4.5
Abandoned in the middle of a lifeless, wintery forest, you awake from your painful slumber to find an escalator that leads to a certain music release capable of drowning your sorrows; alcohol isn't always best for obscuring your grimdark troubles. Stopping yourself from questioning the logic behind said escalator, you then get on it - and as you finally arrive to the top, Images and Words is later transmuted into your long-lost sister. At that moment when the two of you reunited, there was much embracing. Putting this rather cheesy story aside, the Long Island-based progressive metal band Dream Theater's major label debut is very nearly a tour de force overflowing with technical proficiency and ultimate magnetism. It's powerful from an instrumentation standpoint, intelligent in terms of overall composition, and the album also boasts a really cool cover illustration. Images and Words is one prog party that's worth attending - and whilst there are few people who might be put off by the silliness of it all, others like myself think DT know what's up regarding that. Damn electrifying.
dredg Chuckles and Mr. Squeezy	1.0
dredg El Cielo	5.0
I ask myself every once in a blue moon as to how and why Sputnik gushes over anything progressive, artsy, or post-esque, for lack of better phrasing. El Cielo's tranquil beauty and mystifying atmosphere makes the album one of many answers to such a question possibly open to interpretation. dredg worked on and released this captivating effort filled to the brim with invulnerable craftsmanship, Gavin Hayes' lethargic, but no less poignant and winsome vocals, and believable diversity made possible thanks to the band including three record producers; I dare mention that Ron Saint Germain, Tim Palmer, and Michael Rosen's respective styles don't really clash with each other, thereby resonating the way they should and never interrupting the cohesive flow of this masterpiece. Not even the "Brushstroke" portions heard on El Cielo do anything to slow down what dredg have attempted to achieve. As a whole, the album is immaculately precious and instantly reminds me of a narcoleptic child broadening his horizons through the process of submerging himself via waterfall.
Driver Side Impact The Very Air We Breathe	2.5
Sometimes it appears tough to keep an open mind revolving this album when The Very Air We Breathe is hardly an enjoyable offering. Driver Side Impact was another one of those 2000s post-hardcore acts Victory Records couldn't help but sign when this first released, and it's quite easy to spot much of the monotony. For what it ends up being, though, the record isn't something I would go out of my way to find a physical copy and smash the damn product; "The Heist" and "The Artist" are noteworthy tracks which demonstrate the brief potential these guys can momentarily possess.
Drop Dead, Gorgeous In Vogue	2.0
Sometimes when an apple falls and attacks the tree, you have to wonder if the latter was actually this album. In Vogue is an indistinguishable mess of a debut record, suffering from quite a number of trends that became popular around this time; you like bizarre song titles which don't allude to the poorly-written lyrics? Drop Dead, Gorgeous have that covered. How about the lack of variation within the otherwise decent instrumentation? But oh wait, I almost forgot... Does the combination of whiny clean vocals and aggravating screams tickle your fancy? {sigh} As muddy as the production is on the release, I think it manages to help many of the problems (though not by much).
Dropkick Murphys The Warrior's Code	4.0
Drowning Pool Desensitized	1.0
From an unjustified stance, Desensitized looks, sounds, and feels far more hollow than its predecessor - which was, for Drowning Pool back then, some sort of ironic accomplishment especially in regards to what happened to Dave Williams. However, is this album absolutely horrendous because I'm saying it is, or is it terrible because perhaps the record itself was needlessly rushed? The bottom line is that this wasn't a proper stylistic change for this quartet at the time.
Drowning Pool Hellelujah	1.5
Karma can be quite a bitch if one is not cautious enough, but you know what else can easily shape up to become a royal thorn in the side? Going through the motions, which is basically what Drowning Pool are doing on their latest full-length album Hellelujah. Lackluster compositions and not even a pinch of personality, when amalgamated, equal a barrel of monotony that showcases many of the same issues which have plagued a lot (but not necessarily all) of post-grunge acts. Would it seriously kill DP to break free from their comfort zone?
Drowning Pool Sinner	2.0
Angst can never be delivered without an inch of rhyme or reason, which is precisely where Sinner comes in. Once again, this is another one of those albums that shouldn't be admired so much because of the nostalgia values clouding one's hazy judgement.
Dry Kill Logic The Dead and Dreaming	3.5
Dungeon Elite [**] No Kings or Gods Only Man	1.5
Dungeon Elite's attempts at passing themselves off as what seems to be a dubstep act are hellaciously uninspired. No Kings or Gods Only Man, an album based around the gaming franchise BioShock, clearly lacks style and substance at once. Its two saving graces are the offering's short length (30-minute mark) and Maia's vocal performance - at least when you compare her to Becko and Fada.
Dying Fetus Purification Through Violence	4.0
Back in my middle school days, I had a burnt CD which included "Blunt Force Trauma," "Skull Fucked," "Beaten into Submission," and "Nothing Left to Pray For;" I remember those tracks maintaining a certain amount of raw power and intensity. Though in actuality, Purification Through Violence is just that depraved of a release! John Gallagher's lyricism isn't profound nor is it smart, but it cooperates smoothly with his gurgling and the straightforward, albeit brutal musicianship.
Earache Records The World's Shortest Album	1.5
As a concept, The World's Shortest Album can actually be pretty interesting and might offer a few hearty laughs from even the most critical of detractors who never seem to give grind any love. The ride then proceeds to stop... The bands that are showcased (e.g. the influential Napalm Death, Singa-poor's own Wormrot) have one or two traits which make them stand out amongst the others, though this special album serves no purpose other than being painfully miniscule. Earache could've made this longer by shoving in as many tracks in - which would still be under 10 seconds, mind you - though I suppose the existence of *this* could've very well been defeated.
Earl Sweatshirt Doris	4.0
Earl Sweatshirt I Don't Like Shit, I Don't Go Outside	4.0
The underproduced, somber tone of this release coupled with Earl Sweatshirt's ready, but secretly unwilling rap game makes I Don't Like Shit, I Don't Go Outside out to be an emotionally impressive listen. While it only lasts for a half hour, you feel as if the album is longer than it lets on; because Earl's grown, this is actually not a horrid sight.
Earth Crisis Slither	3.0
I suppose it isn't tough to see how maligned Slither is; this *is* an album which would turn off any diehard Earth Crisis fan because of the Biohazard influences. However, it fares alright if you don't take the rest of the band's discography into consideration, and Karl Buechner's lyricism will forever strike needles into one's spine.
Eat a Helicopter The Pessimist	1.5
Allow me to sum up Eat a Helicopter's debut EP in three simple words: oh. Dear. God. I can't tell you how uninteresting and lifeless The Pessimist was, despite its short length. The material is comprised of standard, hard-hitting deathcore which would actually be pretty decent, had it not been for the tracks sort of blending together after a while.
EAT ME RAW XxBurritoXX	1.0
EAT ME RAW XALBUMX	1.5
When attacked by a bear, simply lie still on the ground and cover your face and head with your hands. When the bear is finished batting you around and mauling you, contact the US Forest Service.
EAT ME RAW Mushroom	1.5
Echo Tail King Defeatism	4.0
Women who serve the queen are but puppets, while pretty much all the boys and men who devote themselves to their sovereign aren't given any better treatment. Both groups have had it up to here with that foul oppression, so they hatch a strategy to overthrow the rulers and destroy this empire for the good of the universe. Stories such as these are told carefully on progressive rock duo Echo Tail's 2015 full-length, complete with snappy craftsmanship and gripping songwriting choices. King Defeatism is about as immediate as it is a test - and this is certainly one trial that's worth taking up. Elements of metal and post-rock are thrown in during the record's 52-minute runtime to establish that the ride won't be totally forgettable in the least.
Eddie Rath Naruto	1.5
Alright, allow me to ask a very, very simple question: why the heck would Eddie Rath put this out? Now lemme answer said query with... him either being a fanboy of Naruto, or perhaps he made this for shits and giggles. Don't get me wrong here, Eddie's actually a fairly decent rapper and his flow is a bit on the OK side - but the sort of amusing lyrics huddling with the most cliched beats you'll ever discover easily clashes against the young man's potential. I could see people handing Naruto 2009 a troll 5, though, if only because of the novelty factor. And for what it's worth, Eddie practically foreshadowed the ending of the series: *SPOILER ALERT* Naruto becomes Hokage and gets to pork Hinata. This franchise's storyline needed to come to a conclusion sooner, to be perfectly honest.
Egoist Extra Terrestrial Biological Entities	4.0
I have to admit something here: prior to listening to this entire album, I had no fucking clue what either Egoist or the anime Guilty Crown was. The moment I laid ears upon Extra Terrestrial Biological Entities as early as its opener, it was all too beauteous. Like what Sabrutin pretty much said, the album suffers a little from embracing an identity crisis and a weaker second half which practically features ballads. I'm willing to overlook such a nitpick if only for how great Chelly's voice sounds, and the electronics are also put to appropriate usage
Eiffel 65 Europop	2.5
"Blue (Da Ba Dee)" is a song that will never leave anybody's head, no matter the gap in years or time overall; the inane lyrics, that unforgettable chorus, and the Auto-Tune on Jeffrey Jey's voice is one gigantic memory harder than bricks - and especially even tougher to suppress. If for some inexplicable reason you can't memorize any part of the track, then I implore the simple-minded to see what Todd in the Shadows has to say about it. Europop is unsurprisingly danceable, as its catchiness seems to know no limits. But after a while, Italian act Eiffel 65 will tire you out. They're all style without any of the substance or grace, and for a vocal minority, the material is pretty friggin' dense. For instance, as ridiculously fun as a number like "My Console" can be, I'm detracting points solely because the "brains" of this triad didn't mention Crash Bandicoot or Twisted Metal anywhere in the lyrical content, but he *does* receive a strawberry-coated brownie for name dropping Tekken 3. Is it any wonder now why I grew up on the Nintendo 64 instead of the PS1?
Eighteen Visions Eighteen Visions	2.5
Eir Aoi AUBE	2.5
What Eir Aoi's 2014 full-length record AUBE essentially boils down to at the end of the day is harmless J-Pop. Aoi's vocal performance and a few legitimately enjoyable bangers aside, the album is not terribly interesting or winsome in the slightest, with Aoi often falling victim to more or less the same problems that her contemporaries have. Weak sauce songwriting prowess and a lack of distinctiveness both come close to ruining what's an otherwise fun record. Angel recommends: "Sanbika," "Sirius," "Astral," "Wakusei no Uta," and "Kasumi".
EkoTren Light The Fire	1.5
There isn't anything about the material worthwhile, as this melodically-driven metal sound has been done before countless times. The vocals on Light the Fire are as ugly on the inside as they appear on the outside, and the instrumental work is so gosh darn tame that it suddenly becomes less difficult to pour hot coffee into your ears.
EkoTren The Dead of Night	2.0
El-Creepo! Aloha	3.5
Aloha rarely disappoints, if you've been a fan of Todd Smith's work for ever so long. Under his moniker El-Creepo!, he showcases musical influences pooled from mostly acoustic, Hawaiian, and big band-esque sounds and naturally finds a way to tie them together. Sometimes the lyrics to these tracks are far too consistent for their own good and the audio quality isn't always up to speed, but Todd's vocals and a knack for the occasional non-pigeonholed songwriting are honestly what drive this record home.
Electric Callboy Eskimo Callboy	1.5
Electric Callboy Bury Me in Fucking Vegas	1.5
I will give props to German electronicore band Eskimo Callboy: they're aware of how ridiculous the scene is and can more or less be a literal mockery of it. Unfortunately, their debut album Bury Me in Fucking Vegas is pretty dated and goes too far in beating whatever jokes there are into the ground. Sometimes I feel that it doesn't help that terrifying memories of Someday Came Suddenly begin crawling back up. Look, you guys might be a parody, but the actual comedic value is practically nowhere to be found. On the bright side, though, the record has an extra .5 over Attack Attack!'s freshman release; "Snow Covered Polaroids" and "Transilvanian Cunthunger" are passable songs. There's probably hope for Eskimo Callboy, but I kinda doubt it.
Electric Callboy We Are the Mess	2.0
Electric Six Fire	4.0
Electric Six seem totally content through means of never really taking the material seriously on Fire, which incorporates a bit of punk rock and techno-tinged sounds. The members are having a grand time with synthesizers, a nuclear war, and taking people to gay bars for some inexplicable reason.
Elvis Depressedly New Alhambra	4.0
Clocking in at only 20 minutes long, New Alhambra demonstrates how less can occasionally become more. The people behind this project have sought out a melancholic, but also calming album with positivity that may or may not be forever shrouded in mystery. You can make a bold claim and state that Elvis Depressedly's brand of soft-spoken, reasonable, and overall unassuming lo-fi pop music isn't for just the loneliest of human hearts, but the group's style could also cater to those with ambiguous morals.
Eminem Relapse	2.5
Eminem The Slim Shady LP	5.0
If you haven't come across The Slim Shady LP at least once in your fault-ridden life, then you probably have a bad side suddenly colliding with evil; hell, if you can't remember anything about the likes of "My Name Is," "Brain Damage," or "My Fault", it becomes gradually obvious that your inner demons have the urge to cum on everybody. Eminem's second full-length album speaks for itself and really needs no introduction, because underneath the gallows humor and the deliberately haunting production values is a hip hop masterpiece. It's definitely more than meets the eye and must not go unattended. Thanks for the support, asshole.
Emmure Felony	1.0
What else needs to be said here really? Emmure's other albums - yes, including their latest shitstorm Eternal Enemies - have never been more tasteless than Felony. Now I confess that every one of the band's releases have some hidden potential which just wasn't executed well; this one offers absolutely none of that. You're so vain, you probably think this entire record is about you, don't you?
Emmure Eternal Enemies	1.5
Emmure The Respect Issue	2.0
Emmure Nine Eleven Zero Four	2.0
Emmure Slave To The Game	2.0
Emmure and innovation usually find themselves separated so much it's not all that astonishing. All of their releases ranging from Goodbye to the Gallows to the latest studio album Eternal Enemies rely on a broken, scarred formula largely comprised of chugging riffs and a bit of an overemphasis on the breakdowns; the band's debut was at least promising back then and is arguably Emmure's prime, if this existed in their case. Slave to the Game is a record that hardly stops rolling in the dirt of monotony, but it's not an entirely bad offering (just tiresome). Unsurprisingly, the melody-driven "MDMA" and "Umar Dumps Dormammu" with the latter's decent usage of electronics are my recommended tracks.
Emmure The Complete Guide To Needlework	2.5
Emmure has always been a not-so-difficult band to harp on; the abundance of breakdowns coupled with how tiresome their song structures can be earned them a whole shitload of snark. Their EP The Complete Guide to Needlework isn't much different from any of the other releases, though its lyricism is noticeably subdued and not as cringeworthy. The recording quality is a bit pathetic, yet works with the group's tried-and-true style. This EP features decent musicianship overall, but offers nothing more.
Emmure Speaker Of The Dead	2.5
Emmure Goodbye To The Gallows	3.0
Emmure Look At Yourself	3.0
Empyreon Eternal Nightmare	3.0
Getting past the overabundance of keyboards and somewhat uninspired songcraft choices, New York City-based metal unit Empyreon's debut EP is a moderately fine recording. Eternal Nightmare can pack a punch or two with its adroit instrumentation and unsurprisingly cornball atmosphere, staggering lack of inventiveness notwithstanding. Don Chaffin's performance is very passable and the other members on board essentially follow suit. Now if only the rest of the songs that make up this EP were on par with the title track...
Endo Evolve	2.0
Another day, another insipid nu-metal album. It's a bit of a shame, because from an instrumental standpoint, Endo's 2000 debut album is generally adequate for what it's all worth. However, I can also say that the title of the tenth song off Evolve basically sums up the material in a nutshell, and even if you want to relive your high school years doing nothing but listen to what this dead horse genre has in its arsenal, there are better records in case you feel free to revisit your past.
Endwell Homeland Insecurity	2.0
Endwell Revenge Is A Healthy Motive	3.0
Enmity Illuminations of Vile Engorgement	1.0
How one can appreciate the utilization of a flailing pig's vagina on Illuminations of Vile Engorgement is beyond our wildest, but slightly more intelligent imaginations.
Enslaved Vertebrae	4.0
Stringing together black and progressive metal influences all without sacrificing the need for such a perpetually dry atmosphere, Enslaved's Vertebrae is a bit too great in regards to instrumental power and uniformity. What the album may lack in superb production, it makes up for composition depth as well as the darkened emotion pouring out from Grutle Kjellson's vocal stylings.
Enter Shikari Take to the Skies	3.5
Enter Shikari A Flash Flood of Colour	3.5
(9/24/17): Revisiting British rock quartet Enter Shikari's third full-length as well as reading the album title aloud, 'A Flash Flood of Colour' couldn't have been a more apt name. Though planted firmly in modern post-hardcore, the record also showcases the band's insistence on infusing the aforementioned pxhc style with various electronic, metal, and rock subgenres. Even within ES' discography, it contains hands down some of the group's most diverse-sounding material. Judging the offering alone without comparing it to other releases, Flash Flood of Colour is intriguing as it is enjoyable. The level of compositional ability is very inconsistent on a song-by-song basis and Rou Reynolds' lyricism is super cheesy (though thematically well intentioned), but for what it's worth, one would be hard-pressed to find themselves having a boring time throughout Shikari's third affair's 42-minute runtime. Angel recommends: "...Meltdown," "Search Party," "Stalemate," "Warm Smiles Do Not Make You Welcome Here," and "Pack of Thieves."
Enter Shikari The Spark	3.5
Enter Shikari The Mindsweep	4.5
Its polarizing opinions notwithstanding, I actually found myself enjoying much of A Flash Flood of Colour; it was a bit tough for me to put my finger on it, but the British outfit Enter Shikari utilized what was mostly a crossover sound in a rather charming fashion. The latest studio album The Mindsweep has now entered the fray (via pre-release streaming), and I can tell you that it is - without any bit of doubt - better than this record's predecessor. Frontman Rou Reynolds and his fine ol' chaps essentially took their last release's experimental nature and amplified those effects, all while trying very hard to banish the roadblocks. What we have before us is a product which comes close to becoming a chef d'ouevre of sorts; hell, The Mindsweep will sooner or later become a magnum opus.
Entombed Wolverine Blues	4.0
Gruesome, groovy, intense, and one Weapon X of a ride. Swedish metal act Entombed's third studio album features a prominent death metal sound while bringing influences such as hardcore and pure rock to the table. Cutting edge for its time, the full-length record holds up surprisingly well enough and boasts not many misses. Instrumentally fierce as it is packed with decent production, Wolverine Blues is quite simply a fun experience.
Envy Atheist's Cornea	4.0
Almost as if they were one figure, Japanese rock quintet Envy use their left hand for revitalization and the right one for emotional release. Their latest full-length record Atheist's Cornea isn't anything new for the people who have gotten used to what these men can dish out, sure, but I'd be lying if I said the album was inconsistent in regards to both musical quality and production. Lead vocalist Tetsuya Fukagawa sounds great whenever he's yelling his head off and the spoken word bits are also fine; I only wish these parts were kept to a bare minimum.
Envy All the Footprints You've Ever Left and the Fear Expecting Ahead	5.0
All the Footprints You've Ever Left and the Fear Expecting Ahead flows not just seamlessly, but it is much like an enraged monsoon being greeted by docile rain. Japanese group Envy combine their post-rock and screamo sensibilities easily, and there is never a dull moment or two to be found here. They say beauty is in the eye of the beholder; a full-length album such as this lives and breathes that saying which isn't obsolete.
Erasure I Say I Say I Say	4.0
Before robot unicorns were all the rage, English synthpop team Erasure could hold onto the nights where there was no shame; even if it was cold outside. The duo's 1994 studio album, titled I Say I Say I Say, is equal parts gentle and animated. While some people can make the argument that the full-length record is a bit too consistent, the undeviating nature of Erasure's sixth LP works in the group's favor given their penchant for crafting extremely catchy tracks that prove innocuous. Andy Bell and Vince Clarke have such sweet chemistry together, it's almost like they decided to create endless batches of Mountain Dew. Though it's not necessarily good for the body, that still tastes delicious.
Escape the Fate Escape the Fate	1.0
Welcome to the bungle, we've got cum and gays! Escape the Fate's gonna bring you down... HUAH!!
Escape the Fate This War Is Ours	1.5
They really went down the rabbit hole of shrapnel with this bullcrap. This War Is Ours, while sporting a slightly salvageable production job, features many aspects ranging from so-so to just outright pathetic, with Craig Mabbitt's copycat-esque vocals being the major problem. This hard rock formula just does not suit a band like Escape the Fate at all, though I must say the title track is a bit on the decent side; interestingly enough, this was used for Soul Eater Abridged's opening theme. The issue with that, however, might just be the voice actors for said project wondering if the other tracks were any good. Here's a resounding no from me to them.
Escape the Fate Dying Is Your Latest Fashion	2.0
Escape the Fate Hate Me	2.0
Hear that? Craig Mabbitt is telling us to hate him, ergo the listeners must also detest Escape the Fate's latest record. Decent instrumentals aside, ETF's fifth studio album is plagued by massively underdeveloped songwriting and frontman Mabbitt's unappealing, contrived vocal performance. On top of that, Howard Benson just doesn't see eye to eye with the band, resulting in a rather lifeless production job here. It is uber-apparent that these boys are nothing more than a faded memory now.
Estradasphere Palace Of Mirrors	4.5
Bands or just any solo artist who have the absolute gall to flabbergast the public through spanning a myriad of styles at random are my cup of tea; my sentiment remains intact especially for the acts that utilize this as their forte, while not sacrificing the purity of lucid songwriting choices in the process. Estradasphere on their fifth studio recording Palace of Mirrors are adept at toying with various genres, and they can certainly push actual compositions out of harm's way for this album's entirety.
Eths Ankaa	3.0
Your nearest, favorite bowling alley is infested with ashes and skulls of the grimiest quality. These were brought to the area in part by French groove metal unit Eths, based in Marseille. I'm relatively alien to this band's output, so I opted to make their fourth studio album my introduction - and lo and behold, it's definitely fine work on the ensemble's end. Ankaa does a nice job demonstrating the competency of the band's instrumentalists and its captain Rachel Aspe, who officially took up the position of vocals after Candice Clot departed back in 2012. Beyond that, there isn't much else I can say about this record other than that it's an enjoyable time waster with nothing new in the slightest. Not half-bad, although the user was anticipating more.
Etienne Sin The Art of Stealing Hearts	1.0
You know that spider who was the last boss for Final Fantasy X? Supposedly, Yu Yevon was never responsible for the creation of this Sin; after all, if we didn't believe him for once, then the Sputnik community would've been considered an entourage of evil psychopaths.
Etienne Sin Behold The Renaissance	1.0
Eurobeat Brony Super Ponybeat Vol. 1	1.0
Evan Brewer Your Itinerary	4.0
Actions do speak louder than words in cases such as this. Evan Brewer's Your Itinerary is mystical from a musicianship and composition standpoint. Mr. Brewer's abilities as a bassist are not to be taken lightly here, and the same also applies for Navene Koperweis' impressive drumming and Jeremiah Abel's somewhat hypnotizing keyboard work. To be perfectly honest, this 2013 record's latter half is really where it's at as far as quality is concerned, although the first stretch of Your Itinerary makes for a solid appetizer.
Evanescence The Open Door	2.0
While not a terrible follow-up to the painfully decent Fallen, this album sometimes comes a bit too close on being downright atrocious. Ben Moody's guitar work on Evanescence' debut release was what made the material a little easy to stomach; there's no sign of him anywhere on The Open Door, which leads to songs that aren't "Call Me When You're Sober" or "Lithium" mostly forgettable and bombastic for some of the wrong reasons. Amy Lee is all over this recording, and whilst still having a heavenly voice, she's totally inept as a songwriter. Personally speaking, I don't see the appeal in that woman... There are much more talented frontwomen out there in the world, to be honest.
Evanescence Fallen	2.5
From Little Rock, Arkansas, Gothic/alternative metal outfit Evanescence are a band I used to despise at a young age, on the grounds that "Bring Me to Life" and "My Immortal" were ubiquitous so much that this angel wrote them off entirely. At this point in my life, I consider the entourage simply one of the most okay music groups in the world; not terrible, just inoffensive and - quite frankly - overrated. Evanescence's full-length debut Fallen demonstrates these guys' desire to wake up inside, although throughout the majority of this record's runtime, they can't wake up. Both instrumentally and vocally speaking, there's potential, but a lot of that's squandered by over-the-top sentimentality coupled with songwriting that lacks in any real substance. Decent for what it is, yet Fallen could've been far better. Angel recommends: "My Immortal," "Tourniquet," "My Last Breath," and "Whisper".
Evanescence Evanescence	2.5
This release gave me the urge to almost thoroughly enjoy Evanescence for who they are. Their self-titled third studio album is a bit less overdone than Fallen and especially The Open Door, though it's still quite vapid and represents the reason as to why Amy Lee shouldn't be the star of this show. Evanescence's heavier tracks (e.g. "End of the Dream" and "Never Go Back") are also tolerable enough on their own.
Evergreen Terrace Wolfbiker	3.5
Melodic hardcore unit Evergreen Terrace prove on Wolfbiker that they're a dab hand at sonic beatdowns and throwing in loads of delicious harmonies that nicely contrast with the album's vicious, yet enjoyable nature. From an instrumental standpoint, it's got more oomph compared to the otherwise decent vocals here, and the release in general could benefit from stronger compositions. As it stands, Wolfbiker is solid and offers a fair amount of mosh-centricies reserved for the meatheads as well as the mandrills whom for undisclosed reasons like to down that Pepto Bismol.
Every Time I Die Gutter Phenomenon	3.5
It's a bit on the repetitive side, though Gutter Phenomenon is a relatively straightforward album with clever lyricism, raw, Southern-like undertones, and one helluva vocal performance from Keith Buckley.
Everyone Dies In Utah Neutral Ground	2.0
exist trace World Maker	3.0
From a stylistic point of view, visual kei metal band Exist Trace aren't that much different compared to a majority of recent acts whom have emerged into the movement. This group, however, is also one of the few noteworthy ensembles wherein the members are all females - a breath of slightly fresh air, considering the vk scene is more often than not populated by men. World Maker was ET's attempt at going for an overall poppier direction whilst not discarding the girls' metal influence entirely, and to Exist Trace's credit, the results here could've turned out worse than what was necessary. It's not nearly as consistent or wholesome as Twin Gate and doesn't bear said album's sheer amount of replay value, though the hard rock-oriented musical style also suits the group fairly well at times. This would be an overall stronger, triumphant record if the likes of "Diamond" and "Just One" were to have been omitted from the studio offering.
exist trace Twin Gate	3.5
Exoskeleton Plutonian Herd	1.5
Solomon Grundy got into a bifurcated version of death metal, encountered a pal in one of the employees who worked on the Sega 32X port of Doom, and the two started a band; at least that's what I got out of this pile of dung. To give so little credit where it's barely needed, Plutonian Herd wouldn't be left field if put anywhere in a Z-grade horror film... not that anybody would pay to watch it.
Extinction Level Event The Catalyst	1.5
I remember a saying: you can't spell bass without "ass". If you're going to parody a musical style, either be subtle about it or make sure your project consists of legitimately talented composers before attempting any punchlines. Give me my 22 minutes back, Extinction Level Event. Please.
Eyes Set to Kill The World Outside	3.0
The sound of The World Outside mostly lacks in depth seeing as how the tracks begin to blend in with one another after a while; with the exception of "Come Home". For what little variety the album has, twin sisters Alexia and Anissa and the rest of their troupe don't seem incredibly low on providing overall consistency.
Ezophagothomia Instinct of Human Devourment	1.5
FACT burundanga	4.0
Surprisingly hypnotic choruses as well as glossy production values can be easily found on burundanga. This isn't anything I wouldn't really deem generic, but at the same time, the overall sound FACT find themselves working with is highly listenable and projectile vomits a good chunk of ridiculous joy.
Fair to Midland Fables From a Mayfly: What I Tell You Three Times is True	4.5
The seeds of an apple are inserted into your mind the moment Fables from a Mayfly commences, and it becomes apparent that this is an album formidable enough to soothe and poison the most neurotic of creatures. While undeniably carrying progressive influences made far more prevalent due to David Bottrill's presence, this record tells us about how Fair to Midland also don't seem too concerned on keeping things streamlined as possible whilst jumbling the strongest aspects, to the point where there's seldom brain bleach called for. Putting it all in concise, bare bones English, Fables from a Mayfly has that epic, big feel right up until the very end of its time span.
Faith No More We Care a Lot	3.0
Faith No More Introduce Yourself	3.5
Faith No More Sol Invictus	3.5
Alt-metal titans Faith No More will be discussed about for generations to come until we all become skeletal puppets, a fate that I find most likely for whatever reason. Whether it be through frontman Mike Patton's diverse vocal range coupled with his own amount of charm or the band's ability to craft songs that are unforgettable as they are dizzying and bombastic, FNM is one tough entourage to avoid. Sol Invictus, their first studio recording since 1997's sarcastically-named Album of the Year, signifies their reawakening. Though it may not be the mildly mainstream-ready The Real Thing or the influential chimera that was Angel Dust, people shouldn't be so quick to expect this comeback release to resemble those two inside and out; if anything, Faith No More's newest offering is a spiritual successor to the effort it follows in terms of both quality and overall length - and I'm one of those jizzlobbers who takes what I'll get tbh. Claims of unremarkable production alongside some padding aside, it's nice to hear Mike's vocals again, not to mention taking note of the instrumental chops provided by Billy Gould, Jon Hudson, Mike Bordin, and Roddy Bottum too.
Faith No More Album of the Year	4.0
Faith No More King for a Day... Fool for a Lifetime	4.5
Instances of a new musical direction from Faith No More were present as early as The Real Thing, helped by a new vocalist in Mike Patton. The band sought to perfect their newfound style come Angel Dust with flying colors, and that's considered to be not just an alt-metal masterpiece, but also FNM's finest hour. The San Francisco-based act marched onward with 1995's King for a Day... Fool for a Lifetime, a record that is incredibly diverse and just as spirited. The lack of Jim Martin may hurt the album's jackhammer-like status, though Trey Spruance is able to fill Jim's shoes without any problems. Adding to the diverse part, since there's definitely variety to be found on Faith's fifth full-length album, that means there's bound to be a track for everybody here. Not quite as memorable as its predecessor, but King for a Day... Fool for a Lifetime makes for an experience that's still difficult to forget. Angel recommends: "Evidence," "The Gentle Art of Making Enemies," "Caralho Voador," "Take This Bottle," "King for a Day," and "Just a Man"
Faith No More The Real Thing	4.5
Faith No More Angel Dust	5.0
Never have I become so enamored with an album such as this! Angel Dust - Faith No More's fourth full-length effort (and second CD with Mike) - is quite hard for me to put into specific words just for how perfect its overall sound can be. Even when there are garbled messes to be found, like on "Smaller and Smaller" as well as "Crack Hitler," these particular songs are still impressive and try to consider their issues as grand advantages. There are no insipid or dull moments, the instrumentation throughout the album is crisp, messy, and intelligent all at once, and... just don't even make an attempt to talk about Mike Patton's vocals on Angel Dust; they're so chameleonic and distinctive that you'll be left as speechless as an egret covered with LSD. It's safe to say that, as a band, Faith No More finally knew the direction they were going for, even if the members weren't on the same page per se.
Fall of Efrafa Inle	5.0
Inle is a whole lot more than just a magnificent album. This record cares to speak to one's heart as much as it vows to pour elixir into the homosapien's initially half-witted mind, thereby transforming its feeble state into a very beauteous monster. Fall of Efrafa's instrumentation for the album is incredibly consistent, dripping with loads of tranquility and heaviness simultaneously. Had Inle been any shorter or lacked such elegant lyrics, I wouldn't be giving this immaculate effort the rating I just chose.
Fall Out Boy American Beauty/American Psycho	1.0
Apparently speaking, it looks as if Fall Out Boy's attempts at reaching out to a newer, arguably more ignorant audience takes both balls and an insane amount of stupidity; American Beauty/American Psycho, however, is mostly the latter. Stylistic change that is gradual or quite drastic is fine as long as the familiar elements are still around, but when so much becomes altered, it gets to the point where virtually everything is totally hard to figure out. In the end, Save Rock & Roll with its ironic album title signaled FOB's ass backwards race 'round the universe, so I suppose this was expected, but sweet lord!
Fall Out Boy Save Rock and Roll	1.5
These boys change like a phoenix, and their latest album is on fire... literally. Save Rock and Roll is - aside from "Rat a Tat" (featuring Hole's Courtney Love) - the complete opposite of what the release name suggests. Fall Out Boy are now empty shells of her former selves; what little dignity they had during the first four full-length albums has disappeared. In its place are hackeneyed pop sensibilities that stem from whatever's trending in the music industry, and none of it is any good. Catchy, sure, but not tolerable... Right about now, Pete Wentz and his cronies are crashing, but they're no wave.
Fall Out Boy PAX AM Days	2.5
Fall Out Boy From Under the Cork Tree	3.0
In a nutshell, From Under the Cork Tree is one of the more annoying pop punk albums that I'd ever have to sit through. However, it's also the type of obnoxious that mainly works in Fall Out Boy's favor, as their songs are relatively harmless and undeniably infectious to a degree. It would be intriguing if Pete Wentz took over as the lead vocalist, not that I've got bad blood with Patrick Stump or anything...
Fall Out Boy Folie a Deux	3.0
Listening to this album only to later experience Fall Out Boy's next two records does make a few people (myself included, believe it or not) wonder as to what the hell happened to the quality of this quartet's music. The emo-pop outfit's fourth official release is like a spiritual predecessor to Save Rock and Roll, in the sense that FOB wanted to appeal to an even broader crowd than they already have; but while the boys' comeback album alongside American Beauty/American Psycho were half-hearted and showed how they were trying too damn hard to stay relevant, Folie a Deux has flair and activity to it. Pete Wentz, Patrick Stump, and the other two overshadowed men held onto the fun factor left over from previous recordings whilst throwing in a lot of ambition. Noticeably inconsistent and instrumentally weak it might be, though boring the offering isn't for the most part.
Falling in Reverse Fashionably Late	1.0
Between shaving my pubic hair with a laser-powered chainsaw and sitting through a repeat of Fashionably Late, I would rather feel content with picking the former option. Falling in Reverse's second full-length album is - just like this particular soundoff and the band's debut - a nasty box set of ideas which don't function if presented, let alone as a single concept. Ronnie Radke, however, made this one even worse by accentuating his ego and writing lyrics that wouldn't seem out of place for a deformed, redundant high school setting. The incorporation of some new sounds (e.g. the notorious style of crunkcore) also comes across as simply a mess; yes, some of the transitions during tracks are *that* egregious. Bottom line: stay the fuck away from this monstrosity. You would certainly do yourselves a huge favor.
Falling in Reverse The Drug in Me Is You	1.5
Falling in Reverse Just Like You	2.0
Even if it only manages to say very little considering the band's last two monstrosities, Just Like You shows Falling in Reverse improving somewhat; the guitar playing from Jacky Vincent and Derek Jones (to an extent) isn't so bad, while the production values are kinda up to snuff. Lead vocalist Ronnie Radke, though... How no one has yet to eradicate him perplexes me. I'd say "Guillotine IV" and "Brother" are standout tracks, but the rest of the songs are either uber-boring or cringeworthy - though not as laughable as anything on Fashionably Late.
Falling in Reverse Coming Home	2.5
Fallujah The Flesh Prevails	4.0
Falsifier Life in Death	1.5
I could spend 19 minutes walking any one of my dogs, and that would still be enjoyable compared to this gigantic slumber extravaganza. If you can get down to the likes of Black Tongue and Traitors despite the mind-numbingly lethargic formula, you'll have some retarded fun jamming Life in Death. As for the rest of humankind, don't waste your time. Go juggle porcupines with your buttcheeks and call it a day - and while that's happening, hear "Malevolent", for this song isn't half bad IMO.
Family Force 5 Time Stands Still	1.0
You were expecting consistent musicianship and immense quality from a religious, gangsta Optimus Prime, but it was me, Dio!
Famous Last Words Pick Your Poison	1.5
My Chemical Romance's "Famous Last Words" > basically every single track on Pick Your Poison. From Petoskey, Michigan, this metalcore act won't ever make a name for themselves if they constantly rely on what their contemporaries normally have up their arsenal. Famous Last Words' debut EP is like a child, although this time around, you don't even have to bother hearing or seeing it for yourself. Bland instrumentation, weak song structures, and vocals with as much personality as a bite-sized film actor form up to reveal a desperate-as-balls release.
Fantomas The Director's Cut	4.5
I don't even know how to describe this garbled, yet cohesive mess. On The Director's Cut, Mike Patton and the folks from Mr. Bungle and Melvins are producing night terrors once again, albeit in a slightly more listener-friendly manner; that doesn't say all too much, but the outcome is still pretty appalling. If you feel free to shit yourself on Halloween, then do it by hearing this album.
Fate Vultures	3.0
This is Fate's debut and only full-length, which was released as far back as the year 2008. Stylistically, the band performed with a deathcore sound which possessed a mostly bland formula, albeit without any damage having been done. Vultures brought nothing grand or evolutionary to this scene-ridden table, though I can say this CD isn't without its positives; the instrumental title track for one is likeable and there's almost enough harmony to balance out the problematic breakdowns. The keyword here is 'almost', folks.
Fear Before The Always Open Mouth	4.5
The human race is not always ordinary; at times, mankind becomes fueled by calculated insanity, thereby being unable to recollect both the past and the incorrigible future. The Always Open Mouth is a three-headed minotaur of an album boasting a tenaciously bitter atmosphere and stunning instrumentation, with Adam Fisher's vocals showcasing confidence and deliberate uneasiness above all other characteristics. Fear Before have put out an overall grandiose, if mildly harmful record pouring its contents into our veins.
Fear Factory Digimortal	3.0
Considering how Demanufacture and Obsolete became album juggernauts for industrial metal band Fear Factory, a follow-up to the latter was probably inevitably hyped at the time. FF's fourth studio recording Digimortal discards the heart and anonymous soul its predecessors had and showcases the group adding in nu metal influences. Bear in mind, however, that Fear Factory still kept quite a bit of what made them tick. On its own, Digimortal is a very decent effort on Burton C. Bell and his weaponizers' part, equipped with passable musicianship and the frontman's unyielding presence; when put together with the other releases is where this one becomes an issue, seeing how it's more accessible and most likely divided the fanbase.
Fear Factory Obsolete	4.5
We are souls placed inside corrupt machines, commandeered by totalitarians with scars for body paint. Obsolete follows a story quite similar to the statement I just made - more or less - and has a grandiose, industrial metal sound with fresh death and alternative elements. Because of the production's high quality and the vocal range Burton C. Bell possesses, one can easily be forgiven for believing this album's aged too well. It's every bit as depressing, vicious, and clinical as it should be.
Fear, and Loathing in Las Vegas Dance & Scream	1.5
Fear, and Loathing in Las Vegas New Sunrise	3.0
Kobe boys Fear, and Loathing in Las Vegas' fifth and most recent studio effort is yet another nice entry into the electronicore band's discography. The first album underneath Warner Music Japan, I was... skeptical about FALILV making the transition from VAP to Warner, and the pre-release tracks leading up to New Sunrise's eventual launch didn't help matters - "LLLD" in particular is a hard pill to swallow: song has a good concept, but bad execution. Lo and behold, the latest record isn't totally different from previous material, and I dare hold the belief that it stands as the group's most cohesive offering. Just about every contributor on board gives decent performances, too. But what New Sunrise has in unity plus fun instrumentation, this LP (oddly enough) lacks in memorable songs not to mention a sense of urgency that was present even on Phase 2. Again, I wouldn't call my experience with album #5 a foul one, although when placed next to the last three full-lengths, it's a mixed bag ngl. Angel recommends: "Before I Fail," "Power of Life and Death," & "Accept Each Other's Sense of Values."
Fear, and Loathing in Las Vegas PHASE 2	3.5
More or less a beneficial equilibrium between electronica and metalcore styles, Phase 2 is sort of an engaging album that was put out by Fear, and Loathing in Las Vegas. The sound here is basically a tolerable version of Attack Attack!'s debut studio album, though if anybody such as myself were to keep on saying this, then I guess ignorance isn't always bliss.
Fear, and Loathing in Las Vegas Feeling of Unity	3.5
Before you go around mentioning it yourself, yes, this Japanese electro-metal band take their name from a Hunter S. Thompson novel; to avoid confusion, a comma was included after "Fear". Anyway, Feeling of Unity is yet another agreeable full-length effort from these Kobe boys - and one that manages to fare slightly better than Phase 2, too. Fear, and Loathing in Las Vegas are by no means a revolutionary act nor are they ever going to sit well with the majority, but quite frankly, it doesn't really matter much. I appreciate their energetic approach to the subgenre. Angel recommends: "Cast Your Shell," "Escape From the Loop," "Ignite Your Frail Mind," "Let Me Hear," and "Journey to Aim High".
Fear, and Loathing in Las Vegas All That We Have Now	4.0
Between this and Phase 2, I find the band's third studio album's precursor to be the better starting point for newcomers. Whilst both records have their merits, All That We Have Now bears slightly less problems and the vocal interplay between So and Minami is hardly what I'd consider inconsistent. Fear, and Loathing in Las Vegas are an undoubtedly intriguing troupe of electronicore stallions who deserve a bit more recognition; on another note, the aggregate score for this is unsettling, to say the least.
Fearless Vampire Killers Militia of the Lost	2.0
Die, Fearless Vampire Killers, you don't belong in this world! Your consistency is as empty as your soul. Mankind ill needs a savior such as you. What is Militia of the Lost? A miserable little pile of secrets! Now enough talk, become better musicians.
Feed Her to the Sharks Fortitude	2.5
Fortitude is all fun and games until somebody - and by somebody, I mean Feed Her to the Sharks - comes to the realization that it's no longer the mid-2000s anymore. Everything about this album ranging from the artwork to the vocal performances is simply bland; hell, the quality of the musicianship is decent enough, yet not at all intriguing, is it? Recommended tracks: "Faithless," "Shadow of Myself," and "Let Go".
Fergie The Dutchess	1.0
It's a given that according to Stacy "Fergie" Ferguson, more commonly known for her tenure with The Black Eyed Peas (the musical equivalent of jarring accessibility), sex sells in the pop music industry; at the very least, this is how I see it. Anyway, Fergie's debut album as a solo artist The Dutchess is through-and-through trite and hardly cuts corners as much as it allows this preposterous skank to give herself papercuts. There isn't anything on here you haven't heard elsewhere and because of will.i.am's involvement, all the songs with the possible exception of "Big Girls Don't Cry" have no real glaring strengths.
Fetty Wap Fetty Wap	3.0
Fetty Wap's self-entitled debut LP is a pleasant surprise, and I'm saying that as nicely as possible. It's not always a totally worthwhile listen, but when the album is adequate, it's really adequate. Featuring a concise blend of hip hop, trap, and R&B music, Fetty Wap is as serviceable and a wee bit inoffensive as they come, which then brings us to the most divisive factor of the record: the vocals. I like and simultaneously dislike the quality of Fetty's voice; his performance is at times effective, but occasionally borders on cringeworthiness. To add to this, those little vocalizations he does become annoying after a while. What the fuck is that, anyway? Bruce Lee-esque kiais? Mating calls? Is he channeling his inner Howard Dean? Hmm... Well, the bottom line is this is enjoyable for what it tries to be. "Trap Queen" is already stuck in my head.
Fightstar Behind the Devil's Back	4.0
On Behind the Devil's Back, the fourth studio album by British post-hardcore crusaders Fightstar, your ass will be kicked nearly all the way up an exaggerated mountain with this record, and then they'll bring a tree to life and have it pulverize your ears. Fightstar's 2015 full-length release breathes personality and a balanced amalgamation of melody and savagery; moreover, the album warrants repeated listens because it's just too damn entertaining. I instantly fell in love with the synth work, while the vocals shared between Charlie Simpson and Alex Westaway have this unyielding kick to them. These people are a fascinating lot, without any shadow of a doubt.
Finger Eleven Them vs. You vs. Me	3.0
Them vs. You vs. Me isn't nearly as wearisome or avoidable as people may lead you to believe; the single "Paralyzer", in spite of having a addictive chorus and a slightly odd music video, isn't entirely a good representation of this album's musical direction. For this release, Finger Eleven don't have any "Slow Chemical" or "Drag You Down"-quality tracks up their sleeves, but a sheer amount of ballads like "Window Song" and mid-tempo rockers such as "So-So Suicide" which would possibly make Alien Ant Farm blush. The record, while eventually growing stale, shows that these men can do what is ostensibly a butt rock full-length pretty darn well.
Fire from the Gods Narrative	2.5
Each and almost every crop circle in the universe houses a different group; one contains a slew of artists and bands whom can walk the walk whilst talking that talk, and the other is filled to the brim with losers unable to stand up straight for barely three minutes. Texan metalcore unit Fire from the Gods belong to a sphere including people who don't come without promise, but never capitalize much on it. Narrative, the act's debut full-length album, is a record featuring a blend of rap, modern nu-metal, and occasional djent touches; it must be noted that the styles only really come together with ease on "Excuse Me". Putting this song aside alongside cool bangers "End Transmission" and "Pretenders", the rest of Narrative is supremely ho-hum. Again, Fire from the Gods demonstrate their potential, though I'd like to hear them do a better job at expanding upon that come subsequent outings.
Fireflight The Healing of Harms	2.5
Christian rock band Fireflight are led by an engaging frontwoman in Dawn Michele. It's too bad that the instrumentalists on the act's 2006 release The Healing of Harms don't even go anywhere near at least a two-dimensional level. Even though the musicianship is fairly competent on its own, the other four members who make up this band are often lurking in Michele's shadow, thereby offering no memorable riffs, bass lines, or song structures. It's not a horrible full-length album - and Fireflight can improve upon the obvious - but I can't really recommend this to anybody except... well, Christian rock fanatics. And maybe fans of female-fronted outfits in general.
Five Finger Death Punch Got Your Six	1.5
I wish drag queens would just slap the shit out of Ivan Moody already; let him see what it feels like to kiss a freight train, because he's too insufferable. Anyway, groove metal act Five Finger Death Punch's latest full-length release is another heaping pile of dung. There is no musical progression that is discernible here, and there doesn't happen to be any signs of maturity either. Leave the macho wigger posturing to the professionals, 5FDP, pretty please, since you folks somehow make it more cringeworthy than it actually is. Got Your Six does have tolerable songs in "My Nemesis," "Question Everything," and "Digging My Own Grave", but the record also houses an unsurprising amount of dust-biters (e.g. "Ain't Last My Dance" and "Boots and Blood"). In all, don't act so surprised if people like us aren't willing to eat this one up.
Five Finger Death Punch The Wrong Side of Heaven and The Righteous Side of Hell, Volume 1	2.0
Do you really want me to describe in great detail just how terribly unamusing and painfully generic The Wrong of Heaven and the Righteous Side of Hell is? The album's (Vol. 1, to be exact) cover art - which is honestly the best part about this offering - will already have you acknowledging just how predictable hard rock apes Five Finger Death Punch are. If they concentrated less on that hulking bodybuilder-like image they're trying to maintain oh so much and focused more on aiming to become better songwriters, 5FDP wouldn't be the butt of many jokes, I guess. Whilst The Wrong Side of Heaven... does contain a few genuinely cool tracks, with a bit of an emphasis on that f-word there, the rest is all a crock of shit you'd hear at a testosterone-filled professional wrestling match with the most bloodthirsty, annoying crowd ever imagined.
Five Finger Death Punch The Way Of The Fist	3.0
On their debut album The Way of the Fist, Pantera worshippers known as Five Finger Death Punch focus on injecting as much manliness into their sound as possible, with an even manlier vocalist in Ivan Moody to boot. The songwriting's enough to let listeners grow muscles right on top of their muscles! Alright, all second-rate macho jokes aside, this is certainly a passable first impression with some enjoyable musicianship, even if most of it seems incredibly generic - much like your everyday football coach who's probably taken steroids since he was 12.
Flagitious Idiosyncrasy in the Dilapidation Wallow	3.0
Japanese grindcore band Flagitious Idiosyncrasy in the Dilapidation (what a name!) is comprised of ladies that happen to be more like pretty faces than the savage housewives you were once promised. Wallow, despite being rather monotonous in some areas, is still a fairly entertaining grind release.
Flo Rida R.O.O.T.S.	1.5
Flobots Fight with Tools	4.0
Without the usage of the viola instrument and the stunning chemistry Jonny 5 has with Brer Rabbit, Fight with Tools might've just been another alternative hip hop album attempting so hard to prove all sorts of various points. I was introduced to Flobots through - surprise, surprise - the earworm-y "Handlebars", though this track alone does not determine the quality of the record itself; other standouts include "Stand Up," "Never Had It," "Combat," and "Mayday!!!".
Florence and the Machine How Big, How Blue, How Beautiful	4.0
The queen of turmoil who lives up in the colder parts of the galaxy has noticed Florence Welch's handiwork on indie rock band Florence and the Machine's third full-length record. Basically speaking, she is most pleased with how this English lady suffers from trauma and milks these experiences for all their worth. This album is as elegant as it is dreadful in the literal sense, and we as the audience can see How Big, How Blue, How Beautiful with our third eye.
Flying Lotus 1983	4.0
Flying Lotus delivers some good ol' electronically-powered experimentation on his debut album 1983, titled after the year of his birth. The bits and pieces of this record are short, but undeniably sweet and quite a trip even for non-stoners; quit possessing the mentality that you have to be high to enjoy this! Granted, hearing the Adult Swim bumper music in general could probably do that to you, but I swear there's more to it.
Flying Lotus Los Angeles	4.0
Flying Lotus You're Dead!	5.0
It's as if some diabolical fiend took the soothing sounds of experimentalism, masturbated with this aspect, and also prioritized the tenaciously weird, yet very charismatic artwork. Electronic music producer Flying Lotus seems to have his sights set on transcending the fabric of space of time in regards to You're Dead!, with charming guest contributions by the riveting likes of Kendrick Lamar, Thundercat, and Captain Murphy to boot. Dare I say that this 38-minute album transforms itself from ingenious work to a black hole of unnerving invincibility.
Flyleaf Flyleaf	3.0
Flyleaf is an album which is far more concerned with highlighting the talents of Lacey Sturm's lovely voice, and this isn't nearly as over the top as Amy Lee's vocals. The record's faults mainly lie within the musicianship, which certainly works for Christian rock standards but doesn't showcase very much diversity when it comes to songwriting; practically to the point of being as basic as possible. For what it is, in the end, Flyleaf's debut album is chock full of some enjoyability.
Fort Minor The Rising Tied	4.0
Mike Shinoda's true forte lies in hip hop, as The Rising Tied shows without facing a multitude of roadblocks. Even when he's in Linkin Park, I would honestly say that between Chester Bennington and Mike, the latter is the overall superior vocalist. Under the Fort Minor moniker, he is by no means a pushover, and manages to generate a very likable, tactful record with a serious amount of staying power. The Rising Tied's 51-minute runtime is almost warranted, but not completely so because there are some songs here that aren't as electrifying as other tracks ("Feel Like Home," "In Stereo" and "The Battle" are filler ditties). Still and all, I'd certainly suggest you guys give this release a chance, for there really is a lot to admire about the offering. Angel recommends: "Right Now," "Where'd You Go," "Back Home," "Cigarettes," "Kenji," and "Red to Black".
Four Letter Lie Let Your Body Take Over	2.0
"Cowboys & Indians" is the one redeemable track off this trite excuse for a studio album. Seriously, did Four Letter Lie take - I dunno - one or two pages from Ronnie Winter's immature autobiography just to create this? Because those are vibes that I partially got upon the first listen.
Four Letter Lie What A Terrible Thing To Say	2.5
Much like with their previous record Let Your Body Take Over, this band still reeks of stiff formulas and Kevin Skaff's grating clean vocals on What a Terrible Thing to Say; on a more uplifting note, Four Letter Lie do a slightly better job at balancing the pop punk and post-hardcore styles this time around, insipid as it may be.
Four Letter Lie A New Day	3.0
A New Day is a very bare bones album which expectedly lacks in new tricks, though the record itself makes up for such a big flaw via adequate enthusiasm. The sound of Four Letter Lie's third record could've been screwed over had Kevin Skaff never ended his tenure with them; Brian Nagan - as generic as his screams are - is quite enough.
Four Letter Lie Like Structures	3.0
Foxy Shazam Introducing	4.0
It can't be too hard to admit that what Foxy Shazam are doing has already been done before: attempting to shoulder tackle in a diverse range of styles at the expense of any actual conventionality. Introducing..., to give a massive heap of credit where it must be due, sounds pretty cohesive all the way through at a simple 33 minutes. The instrumentals begin to become eargasmic after only seconds have passed and FS' vocalist Eric Nally seems to be following in Barry Donegan's footsteps adequately.
Frank Iero and The Future Violents Stomachaches	4.0
Frank Iero... Whether you know him as the rhythm guitarist for My Chemical Romance or his involvement with other projects such as Reggie and the Full Effect and Leathermouth, there's just no doubting that Iero himself matured as time passed. Under the mangled alias 'frnkiero andthe cellabration', he and Jarrod Alexander deliver a glorious first impression with Stomachaches. Murkiness emanates from the production quality all throughout, while Frank's vocals and the post-punk influence that has clearly affected the craftsmanship are enough to pull fools down from the balcony of demolition lovers. It's quite an easy release to get into, recording values notwithstanding.
Frank Riggio Psychexcess II - Futurism	4.5
With Psychexcess II - Futurism on the person, pretend you are trapped inside a large ball, and in said object, you are moving through various dimensions. These worlds that are being explored revolve around much-discussed concepts such as one's childhood, their lives as elderly folk, the works. From the past all the way to a distant future, this has always been a most intriguing adventure, but this album put together by French electronic music composer Frank Riggio only further accentuates the amusement. Largely driven by sonic experimentalism, the 2015 full-length record is vast in character and unabashedly smart in putting its consumers in a deep trance. Psychexcess II is made up of 19 tracks in all, but even with this number of songs, it goes by quicker than you're led to believe - and upon finishing the effort on just the first setting, you'll be tempted to replay this all over again, begging for more material in the process. Simply put, the album kicks ass and takes names in a thorough manner. Follow the link in Potsy's sound-off, bitches!
Frank Zappa Zoot Allures	4.0
Weeks have passed since I was ferociously knocked out by the Hot Rats, and as I started to regain consciousness, the cold fists of the Zoot Allures connected with my pelvis. This felt most humiliating, though in the end, I reckon the pain I had to endure was worth it. The eccentric, yet ever so charismatic ringmaster who led the Apostrophe troupe - Frank Zappa - was as much a well-versed storyteller as he was a composition hoarder. His tales ranged from workin' in a gas station to becoming some sort of disco boy to handing out black napkins via unforgettable guitar riffage. While I'm afraid that's all I knew at the time, more secrets shall be revealed; ASAP won't cut it in this regard, but who is to say, really? Oh, great, now Zappa's making me hallucinate, too.
Frank Zappa Apostrophe	4.5
Frank Zappa Hot Rats	5.0
Frankie Cosmos Zentropy	4.0
Frankie Goes To Hollywood Welcome to the Pleasuredome	4.0
Franz Ferdinand Franz Ferdinand	4.5
Fredrik Thordendal's Special Defects Sol Niger Within	4.0
More deep in thought than the cosmos and no less untamed than the output from his main band, the extreme/progressive metal outfit Meshuggah, Fredrik Thordendal had unveiled a sickeningly explosive, yet also Machiavellian beast in Sol Niger Within. This is one extensive track separated into 29 songs which are - whilst short-lived - breathtaking. It manages to merge complex, jazz-like aspects and furious guitar-driven diatribes together, all while only missing a beat or two. Fans of Meshuggah might be reminded of Catch Thirtythree, and others may or may not recall whatever concoctions Devin Townsend has up his arsenal. Simply put, this is some awesome material; listener discretion is advised. You will be probed hard.
Freezepop Freezepop Forever	3.0
Electronic music group Freezepop throw a pinch of adorability and Nintendo-esque sounds as bait to lure in the most loudest and proud of geeks in the universe on Freezepop Forever - with varying degrees of success. Liz Enthusiasm's vocal performance is sweet, but lacks in any true semblance to emotion (this might be the point, however); witness the hilarious "Tenisu no Boifurendo" to get a taste of what I'm trying to say here. This album is immediately tolerable as long as you're putting hours in attempting to beat Pokemon Gold & Silver, though listeners themselves should see no other vital reasons revisting such a foolishly acceptable release.
French Montana Excuse My French	1.5
Excuse my French here, but just because you welcomed a myriad of guest cameos onto your album and bear the same surname as Tony Montana, doesn't precisely mean this release is worthy of anyone's precious time. Admittedly it has a few brief moments of decency (noticeably speaking, "Freaks"), but most of the songs are branded as cookie-cutter hip hop made to follow modern trends and the like - and it's barely as salvageable as one might think.
fresh beatZ The Life Of A Scholar	1.0
fresh beatZ The Misunderstood	1.0
fresh beatZ aren't supposed to belong in the trash compactor, unless if I'm mistaken. Ironically enough, even if it's all a sick joke, they still give avant-garde music a bad name; for instance, would anybody want to associate The Butthole Surfers with a Game Boy Advance? Didn't think so...
Freya Lift the Curse	3.0
On Lift the Curse, New York outfit Freya continue the hardcore-like aggression of their second album's younger sibling As the Last Light Drains, at the expense of sacrificing a majority of the clean vocals that were present; these do appear during the chorus of "Lilith" and "War Pigs", with singing from Karl himself instead of Erick Edwards. The results are nothing to envy about, but the musicianship remains as straightforward and brutal as ever.
From Ashes To New From Ashes to New	2.0
Moar like "Asses to Nematodes", amirite? In all honesty, though, this Lancaster-based metal band is definitely not convincing me in the slightest here in regards to what they can do. Their self-titled EP, with the exception of some overall passable craftsmanship, is basically a case of adding more firewood to an already unwarranted pile; the pile referring to the nu-metalcore style of music.
From Ashes To New Day One	2.0
Prior to Lancaster, Pennsylvania-based metalcore band From Ashes to New's official debut album, I encountered the act's self-titled EP, which was alright at best and hilariously generic at its absolute worst. Similar sentiments have been echoed here, as Day One really isn't any different in that regard and properly introduces us to a group comprised of unappealing songwriters and a cliche storm of ideas thrown up, down, and all around. This strikes me as unfortunate because there is an otherwise serviceable record buried underneath the shit. Stee-rike two!
From First to Last From First to Last	2.0
From First to Last Dear Diary, My Teen Angst Has a Body Count	3.0
This is simply one of those albums where nostalgia just can't decide the outcome. From First to Last's debut album Dear Diary, My Teen Angst Has a Body Count provides good enough instrumentation and a teenaged Sonny Moore (before he was Skrillex) as the band's lead vocalist, though the sound lacked in strength and earnest passion, while the lyrics clearly left a lot to be desired; with the latter, it isn't surprising considering half the groups I've heard regarding the 2000s post-hardcore era kind of carry the same issue. But when they're blurted out by an on-and-off vocal performance, a few things aren't adding up like they should. Oh, well, I'll give FFTL this: hearing "Populace in Two" on Burnout 3: Takedown back when I was in elementary school was a rush.
From First to Last Dead Trees	3.0
Anyone else find it bizarre how Spencer Sotelo's a better fit for From First to Last - an extraneous post-hardcore band catering to cowards and suicidal teens (stereotyping's fun!) - than he is for progressive metal unit Periphery? Well, maybe it's just me or something. But when all is really said and done here, Dead Trees is a no-frills, enjoyable release. The lyricism's barely much to write home about, but considering the themes FFTL and their peers are known for dealing with, it can be overlooked due to the crunchy, serviceable instrumentation suiting the rather savage personality of the album. It's primarily mindless fun and our insecure team of wolves are capable of delivering on that. I could, however, do without the introductory number as it adds nothing to the quality and the final song "I Don't Wanna Live in the Real World". The last track ruins the overall mood and I don't feel content with making Guantanamo Bay jokes, so there.
From Zero My So-Called Life	1.0
One Nation Under, despite falling prey to at least some of nu-metal's most glaring stereotypes, was a generally respectable debut album from a Chicago-based group who possessed hidden potential here and there. Unfortunately, I just can't bring myself to say the same about From Zero's second and final record. My So-Called Life has no soul, nor does it have any redeeming factors, really. This band was dicking around too much and the result was shallow, inexcusable bile that practically acts as if their last release was a big afterthought. The quality of Jett's vocal performance couldn't save the sophomore slump, and the guitar work is overall painfully emotionless. I guess it's a good thing From Zero called it quits after My So-Called Life.
Fronzilla Party People's Anthem	1.0
Allow me to throw my two cents: as ridiculously dumb as a lot of crunkcore solo artists and bands are, quite a few of them fall under a category known as "so bad, it's good". However, on the other side of this planet lies a white-as-fuck dinosaur who milks his own douchebaggery for all its worth, and yet he still thinks it's charming. Attila frontman Chris Fronzak fits the description all too well. Once a moderately decent vocalist, the quality of his performances have been deteriorating since About That Life. Under the moniker Fronzilla, in which he focuses on rap, the vocals on Fronz' solo debut Party People's Anthem are at an all-time low. Combine the basic bitch's lack of charisma with what may arguably be some of the laziest beats backing him up and there's your reason for why we still talk a lot of shit; that, and Fronz' assholism was never amusing to begin with. All this white boy posturing and these party antics make an undeniably marketable image - but they don't a great one make.
Fuck the Facts Desire Will Rot	4.0
Fuck the Facts' 2015 full-length album Desire Will Rot is like a dessert that's just sitting between two catastrophic hovercrafts. It has the viciousness and subtlety of a rocket launcher listeners should expect from the subgenre, but the record's never too narrow-minded as far as masterful songwriting is concerned. "Storm of Silence" and the epic "Circle" are fairly neat compositions, demonstrating the Canadian bastardized grindcore act's method of pushing the envelope pretty darn well. Rarely does the album become sterile after a couple more listens - and those vocals are a sound for fractured ears.
Fugazi In on the Kill Taker	4.0
Capturing pugnacity while also barely forgetting the importance of a systematic approach, In on the Kill Taker without question makes for a lucrative escapade for Fugazi enthusiasts and quite possibly lovers of the post-hardcore sound in general. From a songwriting perspective, various aspects on the album give every indication of being thoughtful and seem to bloom with instant vehemence.
Fugazi The Argument	5.0
"Check Fugazi," said the chloroform-ingesting automatons wearing football helmets. This one phrase might have been uttered numerous times, and it isn't too hard to see why that would be the case; this post-hardcore band is about as influential as both of Judas' palms. Innovation and calculating unity have hopped aboard on the sheer, silver plaque that is The Argument, as Ian MacKaye and Guy Picciotto's vocals resonate tremendously with the overall tight musicianship this record often likes to excrete. Interested in taking the path of righteous enlightenment and decaying evil? Some should look no further and simply listen to this insightful behemoth of an album.
fun. Some Nights	2.0
Funeral for a Friend Tales Don't Tell Themselves	3.0
Funeral for a Friend Conduit	3.5
Funeral for a Friend's sixth full-length album Conduit should mostly be looked at as a double-decker sandwich: while it certainly has a delicious flavor, the thing just can't last forever, and you'll be begging for more in less than a minute. From a musical standpoint, the record's back-to-basics approach has a surprising amount of enjoyability despite the lack of variation and Matthew Davies' seemingly tired vocal performance.
Funkadelic Maggot Brain	5.0
G-Eazy When It's Dark Out	1.5
Gerald Earl Gillum is definitely on some kind of drug, but said drug can't do anything to redeem the expressionless swagger that When It's Dark Out gives off. There's hardly a sense of urgency to be found throughout this 2015 studio album, not enough color, and the guest appearances on it serve to only be underwhelming at best. "For This" is one of the few semi-decent cuts, as the chemistry between G-Eazy and IAMNOBODI proves passable and the production suits the mood of the track well. Snoozeville and G-Eazy's third full-length effort are definitely not far from one another.
Gackt DIABOLOS	3.0
Gackt Rebirth	4.0
Even if you were a close-minded tyrant living underneath the magenta-colored blanket, it would still be hard not to appreciate the material ex-Malice Mizer frontman Gackt has in store for us; Rebirth is pretty much no exception. It's colorful from an atmosphere point of view and just plain thoughtful in regards to the overall composition approach. The cover art's quite appropriate as well.
Gackt Mizerable	5.0
Whether you know him as the former lead vocalist for Japanese visual kei rock band Malice Mizer or anything else, Gackt Camui is as much a vastly talented composer as he is a brilliant singer. While not his official solo debut, Mizerable was the first release this charismatic, unassuming young man dished out. By EP standards, it is indeed fantastic; but in the case of recordings, the offering will make one who confronts its presence both exhilarated and touched. If you ever browse through a dictionary just to find the term "perfect", then a picture of Gackt will undoubtedly accompany the word. Whilst there is only four tracks presented on Mizerable, the emotional weight and songwriting tactics for each of them are far more than meets the eye. Honestly, if you feel nothing after getting dragged away by the amazing utilization of a piano in the number "Lapis", then it would appear you've not a soul that's worth any ounce of sympathy - and there's a part of me that really doesn't care how mean-spirited that sounded. I have yet to gaze upon Mars and I already found this mini-album a phenomenal ferris wheel. Gackt has this effect on people, maybe?
Gackt MARS	5.0
How this continues to fly under the radar has baffled me, because ex-Malice Mizer vocalist Gackt's debut studio album is a release nearly everybody should give a hearty chance. Mars is this consistently enjoyable, lovably perfect specimen of a full-length record that essentially succeeds on all accounts. From the songwriting all the way to Gackt's ultimately smooth, flawless vocal performance, it is without further questioning a one-way ticket to Heaven. Even if you're a midget wearing your old-fashioned fedora as you experience the sheer invulnerability of Mars, the planets in the solar system will align quickly all while lining up in a cautious manner. Now I may be exaggerating a little here, but Gackt Camui's way of crafting tunes as if he were a prog musician with a pop rock songsmith's mindset is just gorgeousness incarnate. Also, he isn't known as one of the most sexiest men in Japan for nothing; If I were gay, I'd totally fall for him. Basically, read the reviews for the album on Sputnik and look at CalculatingInfinity's thoughts on the top of this soundoff page here if you have the desire to look through that dazzling porthole.
Galneryus Angel of Salvation	4.5
It's clear right from the start of this amazing full-length album that Japanese power metal band Galneryus are not only charismatic in style, but they're also quite ingenious whenever substance becomes the name of the game here. Equipped with a symphonic undercurrent, Angel of Salvation makes for one hell of a precious time, whether it be Masatoshi "Sho" Ono's soaring vocal performance in general or the extreme, bombastic production quality befitting the overall disposition of the record. The keyboard melodies and the guitar work are an explosive twofer which is tough to put into words, really. It's a wank and spank extravaganza with very, very few dull moments present.
Gary Numan The Pleasure Principle	4.0
At one point or another, we've all heard the legendary synthpop hit "Cars"; whether you know all about the song because of Grand Theft Auto: Vice City, Family Guy, or industrial metal band Fear Factory's cover, it's a number that just won't leave our heads even on the day of the Apocalypse. English musician Gary Numan's 1979 full-length effort The Pleasure Principle is cold, futuristic, and downright entertaining. Contrary to popular belief, the record hasn't aged as well as you'd like to think, but this statement notwithstanding, I would still recommend the album. It was really impressive for its time, that much is more than certain. There are many tracks off here that are well-written and too damn infectious for words.
Gene Simmons Asshole	1.0
Ladies and gentlemen, boys and girls, children of all ages... Put your weak hands together for the king of all stupidness! No, seriously, why did Gene think this was such an ingenious idea again?
Gene Simmons Gene Simmons	1.5
Genghis Tron Board Up the House	4.5
Genghis Tron released a cybernetic beast that craved human entrails and coherency in 2008. Entitled Board Up the House, the band's album showed how to properly mix the upfront stylings of grind, electronic, ambient, and mathcore. It's quite a varied offering, and Converge guitarist Kurt Ballou's production duties do a banged-up job at assisting with parts of the diversity.
Genocide Organ Leichenlinie	4.0
First and foremost, I'd like to point out that Sach's power electronics list convinced me to give this album a fair, yet unhinged listen. Secondly, Leichenlinie by German group Genocide Organ proves to be more than just a serviceable record, and with tracks such as "Klaus Barbie," "Face of Horror," and "This Is No Lie" on here, I find it difficult not to enjoy the overall product. It sounds angry, bold, perverted, and downright intriguing enough to warrant future revisits. You ought to know what you're in for once you take a look at the cover artwork.
Gerard Way Hesitant Alien	4.0
After the teenagers scared the living shit out of him, Gerard Way did away with his melancholic, yet flattering past with My Chemical Romance and started anew. His solo debut album Hesitant Alien is surprisingly very good and sports dazzling production values from top to bottom. The songs are rousing and - whilst different from anything he's done with that other band - have an intriguing flavor to them.
Get Scared Best Kind of Mess	2.0
Generic can be executed properly and with swift justice, but man are these Layton, Utah natives unable to take the hint. American rock quartet Get Scared's debut studio album Best Kind of Mess exists just for the sake of adding more unnecessary firewood to the scene-oriented circle - and it's a circle that, mind you, was already huge in the first place. Catchiness and competence can't quite make up for lackluster songwriting, dated appeal, and an overall samey nature. I wasn't getting the bejeezus scared out of me so much as I getting exhausted by how extraordinarily derivative this group sounds. They aren't even subtle with their influences not one iota.
GG Allin Hated In The Nation	4.0
Ghoulgotha The Deathmass Cloak	3.0
Trust me on this one here: Ghoulgotha's first studio album isn't nearly as atrocious or time-consuming as the infraggable Jac may lead you to believe (no offense, man). Underutilized songwriting capabilities and an inoffensive, yet still flat vocal performance from the frontman aside, the band's way of summoning an old-fashioned death metal sound is by no means lackluster. The Deathmass Cloak's production values are murky and quite raw, complimenting the nihilistic disposition of said record, and some of the instrumentation here is delicious like junk food; it's not wholesome and whatever meals you face might not be good for you, but don't lie to me and say that it tastes downright awful.
Giant Squid Cenotes	4.5
Giant Squid pride themselves on this balefully opulent mini-album, topped with gorgeous cello abilities from Jackie Perez Gratz and Aaron Gregory's automaton-fueled vocal work throughout Cenotes. The riffs and drumming are also sharp and resonate clearly with the context of this little EP.
Giant Squid The Ichthyologist	5.0
You'd be astonished at how much humanity and the number of sane points that aquatic life can take away from your pure, virgin body and soul. Little do the people residing in San Francisco, California know, there is a band sturdy, well-meaning, and overall tenacious enough to become sea creatures worthy of changing mankind the least we anticipate it; Giant Squid is this musical entourage. With their second full-length release The Ichthyologist, the band's attention-grabbing slab of post-metal sounds that are neither too overwhelming nor fragile is something to behold. Their way of utilizing dark, aggressive guitar-laden sections alongside other atonal effects capable of suiting the record's personality is definitely enveloped by undeniable greatness, and Aaron Gregory's cold, yet powerful vocal delivery throughout most of The Ichthyologist should never be taken lightly. Bits and pieces of the cello instrument provided by additional singer Jackie Perez Gratz enhance this particular listening experience, as does Matt Bayles' grandiose production skills; his recording techniques are very much appreciated and fit the album's evocative aura to a tee. Simply put, Giant Squid's sophomore offering hits all the right notes, breaks down all those cryptic barriers, and drags its grateful victims down into an ocean of a profound nature. It's musically crunchy while not becoming too voracious in the process and the compositions are nothing short of glistening excellence.
Gift Giver Shitlife	1.0
First King 810, now this group of scumbags... For the love of sugar honey iced tea, are there any nu metalcore bands worth listening to? There's not one redeemable characteristic to be found on Shitlife (great album title, by the way, 'cause it sums up this act's future). Fuck this noise straight to Gehenna and back.
Giles Giles	3.0
Between the Buried and Me frontman Tommy Rogers is one of my favorite vocalists in the metal industry. That said, his solo debut album Giles is an electronica offering with the main issue being that it's a bit too short and somewhat overpowering. However, due to how brief these tracks are, some of them can also be worthy jams able to fit within a club setting (e.g. "Gup Gown").
Girlpool Before the World Was Big	4.0
Formed by Harmony Tividad and Cleo Tucker, two young women encountering the jaws of adulthood, Girlpool's debut album sounds as precussionless as it does mournful. Admittedly, growing up is not always going to be a cakewalk, though this duo are bound to come across a sense of independence in the meantime.
Girugamesh NOW	2.0
Girugamesh Girugamesh	2.5
Having gotten their moniker from a Final Fantasy character, Girugamesh are the sort to easily be treated as an afterthought - and after listening to their self-titled studio album, it wouldn't be hard to see why that is. Released in 2007, Girugamesh doesn't have a whole lot to offer as far as songwriting and overall impact goes. The Chiba-based metal act are merely playing things safe here whilst not really taking much advantage of the typical song structure, although the musicianship presented is at least salvageable. Girugamesh frontman Satoshi is as disposable as they come, honestly, and the same basically applies to the rest of this outfit. By and large, the quartet's second full-length LP is more uninteresting than it is outright horrid. There are moments when these boys actually put effort into the compositions, but I like to think said instances are pretty sporadic. Angel recommends: "Patchwork," "Shining," "Shiroi Ashiato," and "Kowareteiku Sekai".
Glamour of the Kill The Summoning	1.5
I tend to wonder if Glamour of the Kill really cared about this debut recording. The Summoning's content is so heartless and absent-minded it nearly traumatized me; okay, that was a little bit of overreaction on my part, but barely anything on the album sticks out like a sore thumb. The members were too fixated on replicating either Trivium or Black Tide, it seems.
Glasseater Everything Is Beautiful When You Don't Look Down	2.5
Everything Is Beautiful When You Don't Look Down has decent musicianship and a boisterous highlight in "Recurring," though the album gives off a soporific feeling in the end. If you're into the likes of Senses Fail and Lostprophets, then Glasseater would most likely be your type of band. If not, then just keep searching.
Gnarls Barkley St. Elsewhere	4.0
St. Elsewhere is perhaps one of the more audacious, most electrifying debut albums somebody such as myself would ever bother confronting in the world of music. The team of CeeLo Green and producer Danger Mouse couldn't be any less hazardous to those who dare approach this recording. Gnarls Barkley' first full-length offering revels in precious minimalism as well as CeeLo's exceptional, unmistakable vocal deliveries that are able to make the foulest of mongrels go from impure to proud atoners in seconds. I'll have to agree with Jom on this, though: St. Elsewhere's biggest issue doesn't stem from a majority of the tracks by themselves, but rather their underwhelming (if not rapid-fire) lengths; "Feng Shui," "Transformer," and "Necromancer" are definitely charming numbers, but they'd be practically unstoppable tunes if more time was put into those tracks. Still and all, GB's first trip down magical soul avenue isn't an unremarkable one, no sir.
Go! With Fourteen O The End Is Close. Almost No Need For Money.	1.0
It's bullcrap like this record that makes me regret the phase I went through back when I was still in middle school. Swedish duo Go! With Fourteen O's first and only studio album features no winning qualities whatsoever, and it was merely a sad attempt at cashing in on the nintendocore scene which proved trendy during the early-to-mid 2000s. The End Is Close. Almost No Need for Money. is overall painful to sit through, even if it contains a total of 6 tracks - not one of which has anything noteworthy.
Go-Zen Hinamatsuri	2.5
In comparison to the band's debut album, Hinamatsuri's production job is slightly weaker. There really isn't else to talk about, since this was an EP after all. But if you're a fan of Jig-Ai or prefer grind to be as filthy and bare bones as possible, then this release is right up your alley.
Go-Zen Hitoshizuku	2.5
God Forbid Earthsblood	3.0
Although the songwriting department obviously could've been improved upon in places, God Forbid's Earthsblood is a self-explanatory horse of a different color on the inside and a complex sheep with a familiar face on the outside. Byron Davis' monolithic vocals suit the thrash metalcore-like destructiveness of the record very well, with the cleans supplied by rhythm guitarist Dallas Coyle being fairly acceptable despite his slightly irritating tone. The somewhat proggish nature of Earthsblood colliding with the typical savagery makes for both intriguing and tiresome moments: effective on numbers like "The New Clear", yet a bit trouble-ridden on tracks such as the title song itself.
Godflesh Selfless	4.0
While not a terribly inaccessible album, Selfless' plodding guitar riffs and the overall industrial-oriented pizzazz should not be recommended for the faint of heart. Justin Broadrick's vocals possess an air of depression which aren't as unnatural as you'd expect from the genre Godflesh are most associated with, and his bandmate in G.C. Green rarely underperforms. The programming utilized almost feels organic in a sense as well. This duo's third studio album would've benefited a bit more via lo-fi production values, though I consider the audio quality of Selfless to be essentially a nitpick.
Godsmack 1000hp	1.5
I can legitimately hear this entire album being played over any Monster Jam event in existence; those would still be more entertaining than 1000hp, if only because the monster trucks themselves can drown out the noises coming from this butt rock.
Godsmack Awake	3.0
Godspeed You! Black Emperor 'Asunder, Sweet and Other Distress'	4.0
May the sugary thespians of yesteryear drown themselves in post-apocalyptic waste and lean their backs against the unyielding plaque; a plaque that only Godspeed You! Black Emperor is willing to construct even in the darkest of times. The playwrights shall one evening see the post-rock band's latest work as something more than just pandering to the crowd who holds onto above-average intelligence, as Asunder, Sweet and Other Distress is like a thunder cloud sleeping inside tranquility and a very sufficient amount of artistic relevance. GY!BE should be presented with crowns courtesy of the mongrels whom think they have winning complexions.
Godspeed You! Black Emperor Slow Riot For New Zero Kanada	5.0
Godspeed You! Black Emperor are most certainly in a position to stupefy whatever mental capacities we as perfectly flawed mortals have - and with only two justifiably orotund songs off Slow Riot for New Zero Kanada, there isn't a single hamartia to be detected if at all. The project's utilization of post-rock and ambient styles fit the EP release like a glove once worn by unassuming thespians this side of the melancholy universe. Even if the recording is completely absent from bearing an instance of vocals (unless you count the sample used in "Blaise Bailey Finnegan III"), the somber tone of Slow Riot is absolutely reflected by the unflappable, but no less sturdy compositions.
Godzilla Godzilla	1.5
Not really astonished that wwba gave this a damn 4, though whatever. Getting to the subject of the album, it seems Godzilla was that one overlooked glam metal band who sifted through scratched discs courtesy of Skid Row, Poison, Aerosmith, and virtually every other rock band renowned during this period. The truth is: their self-titled release wouldn't have been so lifeless and severely half-assed had previous groups never existed. But even so, I bet a baby carrying two packs of napalm could tell there was no thought put into this; by Jet Jaguar's constipated son does the review make accurate sense.
Gojira From Mars to Sirius	4.0
You know, a more appropriate title for the album would be Don't Fuck With Whales Because They're Vicious Environmentalists. Anyway, French progressive death metal act Gojira (where's King Ghidorah?) maintain a sense of controlled rage and consistency throughout most of this record. Mario Duplantier's drumming is thunderous enough to become a storm when you least expect it, while the guitar work likes to stay warrior-like; as stupid as that sounds, this isn't too far-fetched. From Mars to Sirius possesses one major setback in the form of its overall length: it's a bit longer than it has every right to be, and sometimes the way the songwriting level meanders doesn't help the offering's case. Even so, Gojira's third full-length album is still a solid sea creature and can definitely appease the most tough and stoic of people.
Good Charlotte Cardiology	1.0
Good Charlotte Good Morning Revival	2.0
Gore Beyond Necropsy Noise-A-Go Go!!!	4.5
Noise-A-Go Go!!! goes on and on and on, and never - if for a brief second - thinks of halting. It just so happens to be one of the goriest albums I've ever came across, and I found myself loving pretty much all of its moments.
Gorerotted A New Dawn for the Dead	3.0
A New Dawn for the Dead, which was technically the final full-length album by British death metal act Gorerotted, does not sweat small details. This recording's inexorable, ugly, and the compositions themselves are quite blunt. However, while the goregrind-influenced style Gorerotted bring into play isn't what most would consider roundabout, the album's still amusing from top to bottom.
Gorillaz The Fall	2.5
Gorillaz Humanz	3.5
An aspect I've always respected English alternative project Gorillaz for is the fact each and every one of their albums brings something different to the table; the self-titled is arguably the troupe's most urban record, Demon Days has a theatrical flavor, Plastic Beach features a prominent pop sheen, and so forth. Boasting a strong R&B/soul influence, the virtual band's latest recipe titled Humanz is certainly a grower of its own. While the fifth album doesn't flow seamlessly track-to-track nor is the overarching story all that realized, this effort is still worthwhile at the end of the day, and I'm just glad Gorillaz are putting out material again. Also be sure to check out the deluxe edition, cuz songs like "The Apprentice," "Out of Body," and "Ticker Tape" should've been on the standard version tbh. Soak T H E B A T H in whilst you're ahead.
Gorillaz Plastic Beach	4.5
Gorillaz Demon Days	5.0
Goropsy Mac and Cheese	3.5
The ambience and brevity function as a double-edged sword: on one hand, it's as hazardous as applying nuclear waste to the skin, but on the brighter side, it isn't just serviceable, Mac and Cheese is undoubtedly a little miraculous. A dish anybody can rock as long as the brain you have has an off switch.
Gotsu Totsu Kotsu Where Warriors Once Dreamed a Dream	4.0
Never accept an inferior position to anyone, for it's the strongest spirit that wins, not the most expensive sword. Based in Kawagoe, Saitama, Japanese death metal unit Gotsu Totsu Kotsu are indeed sturdy in essence if the band's newest studio album is any indication of that. Made up of 12 tracks, Where Warriors Once Dreamed a Dream does well at convincing the listener that the "blade" exists as more than a simple weapon - probably an answer to life's questions. Killer bass playing and admirable vocals from frontman Haruhisa Takahata combined with some sick songwriting chops essentially make this solid outing. Had it not been for the dry production values, my rating for Gotsu's 2016 record would be higher. Tighten the straps of your helmet.
Grade Headfirst Straight To Hell	5.0
How in the world did this continue flying under the radar for so long!? Headfirst Straight to Hell feels and sounds like a complete puzzle which can arguably defeat the evil that nests within Pandora's Box. Okay, divine exaggeration aside, the songs off this album carry an immense quantity of firepower and emotion, thanks to the absolutely raw-sounding compositions and Kyle Bishop's comfortable dosage of alluring clean vocals and unforgivingly tense screaming. Oh, sure, there exist disfigurements during this release's time, yet somehow Grade ends up either purifying them or just playing along with the occasional blemishes. If anybody out in the world loves gorging themselves with the likes of Fugazi or Glassjaw, then I'm pretty sure you'll have a sweet, astounding experience with Headfirst Straight to Hell.
Grailknights Return to Castle Grailskull	1.0
Greater Than Underscore Greater Than You Ain't Shit (Until You've Been Shat On)	1.0
Greeley Estates Go West Young Man, Let The Evil Go East	3.0
Greeley Estates may not be adding much to the modern metalcore scene, although as Go West Young Man, Let the Evil Go East indicates, they're an undeniably fun band whom possess an equal number of hits and misses. Ryan Zimmerman's vocal performance is a bit spotty in places and the second half of this album will make your patience grow thinner and thinner, but with these noticeable problems aside, it's still a pretty good release. Alex Torres can bring the riffs, I must say.
Green Day iDOS!	1.0
Green Day American Idiot	3.5
2004 marked the year when punk rock triad Green Day welcomed a new kind of tension all across a nation that admittedly was an alien. The band's seventh full-length album was their comeback release at the time it was first launched, and it also allowed them to resonate with a younger generation. With its iconic cover artwork and the impact this record created, American Idiot is without exaggeration influential, though also quite overrated. Putting aside everything else, the offering that made Green Day relevant again is entertaining, but not exactly flawless from beginning to end. Containing 13 tracks and lasting 57 minutes long, American Idiot does boast some filler, namely in the form of tracks such as "Give Me Novocaine," "She's a Rebel," and especially "Wake Me Up When September Ends"; the latter song is pretty insufferable. It's an affair that I feel has been praised too highly, although at the end of the time bomb day, Green Day's seventh official recording is at the very least worthwhile. There's a healthy size of energy that the instrumentation provides and the group's attempt at a "punk rock opera" is commendable, and yet I'm tempted to stick with these guys' 90s output more overall. Angel recommends: "Jesus of Suburbia," "Holiday," "Boulevard of Broken Dreams," "Letterbomb," "Homecoming," and "Whatsername".
Green Day Insomniac	4.5
Once upon a time, there were many who assumed there was no such thing as a 'popular' punk rock band; Green Day had then emerged onto the scene, and life itself became a walking contradiction. Insomniac's bitterness and swell amount of maturity is hidden just a bit by the adolescence of Billie Joe, Mike Dirnt, and Tre Cool. Each song is every bit as rousing as they are sarcastic, and the musicianship just doesn't seem to let up. For a hardcore Green Day fanatic, this album is a must-have.
Green Jelly 333	4.0
What if you were to come across an album with mystical capabilities? The CD in question... That's undoubtedly 333. Containing both punk and metal sensibilities, it's a fun record which lets the listeners do all sorts of things to compensate for how stupid they are; for examples, they can see the other side of a mountain and jump in unadulterated frustration! Green Jelly's efforts here are unmistakable, as they'll keep asking for you to worship Carnage and kick Spider-Man's ass. This is quite a recommendation if you want something that predates the cumbersome Psychostick.
Greta Knights See You On The Dance Floor	1.5
See You on the Dance Floor is a rather lamentable excuse for a studio album constructed by this Canadian deathcore band. At times, the recording's overlap with electronic music is simply the members' way of walking all over a scene that's already been exploited enough. It can't be said more than once that Greta Knights have the aptitude for becoming better songwriters (see "New World Order"); unfortunately in regards to this full-length, GK are sticking with a familiar template and burying the aspects of it in the dunes from not so far away.
GridLink Amber Gray	4.0
The trio who comprise GridLink piss through Amber Gray's 11 songs like there's no tomorrow. The album's concentrated, but no less vicious form of grind is nearly enough to take a cake and decimate its frosting. Jon Chang's howls alone are insane, while Takafumi Matsubara's guitar work can break the jaws of a shark in a moment's time - with Bryan Fajardo not too far behind him. While not as heartbreakingly powerful as Longhena, this group's debut record is overall monstrous to a good extent.
GridLink Longhena	4.5
Arrive for the eye candy, and don't forget to stay for Jon Chang's passionate screams and the discordant musicianship on Longhena. Like a howling beast shooting itself up with LSD, this album just won't give up with the material at hand; GridLink do whatever's necessary to have the listeners blown to smithereens.
Grimes Art Angels	3.0
Canadian singer-songwriter Claire Boucher, better known by her alias Grimes, manages to deliver a solid fourth album in 2015's Art Angels, now available for that dust collector of a Nintendo 64; what, I can't borrow jokes? Anyway, getting back on the subject of this record, it's stylistically a fusion of dream-inducing indie pop and electronic music. Though this has been already done, needless to say, said combination makes for an enjoyable trip to Candyland and back. The saccharine, playful nature of Art Angels is a blessing and simultaneously a curse: I can appreciate Grimes' bubbly, sweet vocal performance for what it is, though at the same time, there are instances where she becomes too much alongside the material - which doesn't disappoint regarding filler; hoo, boy, is there a lot of it! Let's just say that your enjoyment of the recording will depend on whether you like your coffee with loads of sugar, only a pinch of it, or none at all. Angel recommends: "Flesh Without Blood," "The Belly of the Beat," "Artangels," "Realiti," and "World Princess Part II".
Grumblecunt I Piss Shit	1.0
By urinating fecal matter, the world as we know it shall turn inside out and be surrounded by an obese, demonic emperor with an intense craving for bleeps and boops and Peanuts comic strips. There's no pure, accurate way to predict the condition our beloved world will undergo, though what I can tell you is that I piss shit.
Guano Apes Offline	2.5
Guano Apes Proud Like A God	3.0
Gulaggh Vorkuta	5.0
This somehow managed to be more horrific than even Projekt Misanthropia! The classical instrumentation and the idea to bring women and children on here must've had something to do with this artwork of Hell; both figuratively and literally, that is. Gulaggh outdid Stalaggh, even if the two nightmare projects were created by the exact same nutjobs.
Guniw Tools Other Goose	4.5
Falling in love with anything or anyone perceived as weird will presumably have you scorned, but the people that go out of their way to ignore your presence just because of this little quirk ought to get bent over. As their 1997 studio album Other Goose demonstrates, visual kei rock trio Guniw Tools are indeed a peculiar group of fellows, but they also revel in being strange as well as fantastic in terms of both craftsmanship and songwriting. The variety that this album possesses is nothing short of intriguing, featuring a prominent alternative sound with traces of folk, psychobilly, pop, rock, and jazz - the latter of which is accentuated by main composer Jake (you may know him nowadays for Cloudchair and gothic rock project The Mortal). For those who are into material which borders on atypical and the visual kei scene in and of itself, Other Goose will certainly be to your liking. It's recommended that you listen to the record whilst riding a giant duck atop colorful fortresses.
Gunther Pleasureman	4.0
Deep in the night, we're looking for some fun. Pleasureman is just so horribly cheesy that it starts veering into some sort of flawed, ingenious album not even the funniest of musicians would dare to replicate.
Gut The Cumback	4.0
Gutalax Shit Happens	1.5
GWAR We Kill Everything	2.5
GWAR Ragnarok	3.0
It's a far from consistent piece of work, but to give Gwar credit where it's due, Ragnarok is another nice, amusing release within the heavy metal troupe's dirty, filthy catalog. The experimentation here often finds itself in a hit-and-miss predicament, but when the variety hits, think of it as a pretty good swing with a bat (e.g. "Stalin's Organs," "Fire in the Loins," and "Surf of Syn"). Gwar aren't doing the world any favors, even though it's not exactly in their nature to cater to our pathetic needs and wants.
GWAR This Toilet Earth	3.5
Gwen Stefani The Sweet Escape	2.5
For years and years, Gwen Stefani has been a love-it-or-hate-it type of gal. If it's not her name or presence alone that's bound to spark some debates, then it would be Stefani's vocals. In that department, I have mixed responses: on one hand, the quality of her voice is relatively distinctive, though at the same time, she can become really grating. Gwen Stefani likes to drive that point home on her second solo album, The Sweet Escape, released in 2006. Let me just say I enjoyed the songs off Love.Angel.Music.Baby more than I liked the tracks here. This is one of those releases which would've better as an EP than a full-length offering; 1) The Sweet Escape, 2) Early Winter, 3) 4 In the Morning, 4) U Started It, and 5) Wonderful Life. Unless if you're really into Gwen Stefani for both her solo work and No Doubt (although I'm sure a lot of people on Sput dislike her guts), don't bother with what The Sweet Escape has to offer.
Gwen Stefani Love. Angel. Music. Baby.	3.5
Gym Class Heroes As Cruel As School Children	3.0
Fundamentally speaking, Gym Class Heroes can immediately be likened to Fall Out Boy if Patrick Stump forced the latter band to take up more of a hip hop direction; by the way, Stump also produced this offering. As Cruel as School Children has certainly a bit to admire, though as a record, it's noticeably heavy on the filler and a decent amount of people will probably only want to hear the album for its singles.
GZA Liquid Swords	5.0
Hacktivist Hacktivist	2.0
Hacktivist Outside The Box	2.5
I'll give British metal quintet Hacktivist a pinch of credit for managing to craft a decent debut album, which overall proves to be a marginal improvement from that EP they released way back in 2012. Outside the Box is certainly preferable to the first From Ashes to New record, even though that's not saying a whole lot in the least. Brookable musicianship aside, Hacktivist still have some growing up to do if they really want to impress their audience and even others outside of it.
Halestorm Halestorm	3.0
On their self-entitled debut record, Halestorm clearly demonstrate the air of your classic heavy metal band's campiness with the badassery of a ravenous woman at the forefront. The album has its moments of average songwriting that can usually lead up to a predictable formula, though these guys (and babe) are too busy on breaking hearts and innocence to really give a damn.
Halou Wholeness and Separation	4.0
Sitting in the deepest parts of a jungle alone with your own thoughts and the last Hetap, Wholeness and Separation is also there to help you fall into slumber. Sure, one may fall asleep thanks to what this album has on display, but I dare state that the record allows for quite a mystical resting period. At 46 minutes long, dream pop outfit Halou's 2006 full-length effort is bound to leave the listeners misty-eyed whether it be because of Rebecca Coseboom's vocal delivery, the kinetic instrumentals, or how consistent the album manages to become. Halou aren't reinventing the wheel here, but they definitely created a worthwhile specimen that hits far more than it fumbles.
Halsey Badlands	1.5
Personality, substance, and the concept of a quirk. These three things and then some are what American singer-songwriter Ashley Frangipane (aka Halsey) lacks throughout her debut album. Admittedly Badlands does offer moments which are passable, though said instances are few and far between. What we have here in general is a simply unfocused, overproduced, hollow-sounding record from a lady whose promise is at best minimal. Quick side note: the lyrics to "New Americana" - structurally a bland track - reek of embarrassment. It might be satire, but the problem is that it's not good satire.
Hardcore Crayons Zozzled	4.5
Was that cool? Talk about understatement of the century right there! Based in Minneapolis, punk-jazz trio Hardcore Crayons create a downright enjoyable, irresistible, and overall inspired studio album in Zozzled. Sporting 10 songs and lasting a total of 43 minutes in length, the band's 2015 LP hits just about every target in sight. With unbelievably sharp production values, smart songwriting capabilities, and a neat-looking album cover to boot, Hardcore Crayons' Zozzled reduces any chance of bullshit and gets right to the chase. The record showcases this triad's forward-thinking, powerhouse nature greatly and is definitely a must-listen for sure. Dominic Hanft's bass playing in particular gets me moist, and I do like how extremely sporadic guitarist Dan Chizek's vocals are; the sparsity of them gives the fun instrumentation here more class than you might think. If people merely want a taste of what to expect, I personally suggest checking out the title track, "Kid Is Goat," and "More Sugar".
Haste the Day Pressure the Hinges	4.0
I've heard much about Haste the Day, though I've never really given any of their albums a proper listen until now. Something told me that the Christian metalcore band's Pressure the Hinges would've made for a decent start, and boy was I not proven wrong there. Haste's 2007 full-length album, although by no means a special type of record, is essentially genericore done right. It's passionate from a musicianship perspective, fairly consistent, and rarely pulls its worshipper-like punches. Lead vocalist Stephen Keech fits the band's overall style well - and that's putting it lightly. By and large, Pressure the Hinges is more fun than a pillow fight, and also a little more selfless than a man who's atoned for his past transgressions. Angel recommends: "The Minor Prophets," "White Collar," "Janet's Planet," "Vertigo," and "Chorus of Angels".
Hatebreed Under the Knife	3.0
Back in the 1990s - and to this day, might I add - Hatebreed don't really stick out much as a hardcore outfit. Though their Under the Knife EP may be too short and underwhelming, it did give us a pretty good idea of the releases that would follow.
Hatebreed The Divinity of Purpose	3.0
Hawk House A Handshake to the Brain	5.0
Use your head if you want to muster up the strength to comprehend what London-based hip hop trio Hawk House are going on about; after all, in the grand scheme of things, it's not quite that burdensome nor is it an ordeal. K-Dot wishes he could enter Beast Mode like these calculating acquaintances manage to do so effortlessly on their 2014 recording entitled A Handshake to the Brain. Sick beat after beat, the affair's 10 tracks can weaponize the mind in unspeakable ways, with the production quality only fueling its intrinsic demeanor. Many, many more gelatinous people ought to do themselves a solid and give Hawk House their undivided attention. Thank you, Based England.
Hawthorne Heights Fragile Future	1.5
Fragile Future was an album that not only personified the sound of desperation, it also signified the sound of an already trite outfit wearing thin. Hawthorne Heights at the time of this record's launch were becoming musically weaker, partially due to the death of their rhythm guitarist Casey Calvert in November 2007. There's hardly a single redeemable aspect about this, to be perfectly honest, and the band's third studio album might be the reason they faded further into narrow-minded obscurity ever since.
Hawthorne Heights The Silence in Black and White	2.0
My older brother indirectly got me into these guys when I was still in elementary school; past me is now going to have fun chucking things in the furnace. The Silence in Black and White, while not an entirely horrendous debut, was pretty much the record every scene and emo kid adored at the time. The musicianship is decent, though the bandmates aren't competent songwriters at all. If you put that together with the cringeworthy lyrics and the nerve-wrecking vocal interplay between JT Woodruff and Casey Calvert, then you've got a release which should've been delayed.
Hawthorne Heights If Only You Were Lonely	2.0
If Only You Were Lonely sums up my feelings about the past, when I first obtained this CD because of a phase I found myself in. The lyricism is no less awkward than Hawthorne Heights' previous album, the screams provided by Casey Calvert (R.I.P) dip in weak sauce every now and then, and there are just some tracks on the record ("Pens and Needles," "Saying Sorry," and "Light Sleeper") considered so earworm-y that the bandmates crash and burn due to the lack of maturation. At the very least, though, the musicianship is slightly passable, as are some of the backing vocals.
Hawthorne Heights Hate	2.5
Haywyre The Voyage	4.0
Voyages are long journeys involving travel that's all taking place in the physical universe, at least in the context of Martin Vogt's 2012 full-length effort. Infusing contemporary electronic-tinged sounds with classical and jazzy undertones, the 15-track creation known simply as The Voyage is a record that possesses almost as much substance as it boasts a clean form of style. Unveil those lightsabers and be prepared to swim to the moon, because Martin Vogt (under the moniker Haywyre) is a young man who has the skill to achieve something even greater in the future. Whilst this LP isn't always creative by any stretch, the quality of several songs on the affair come together to give birth to an album that's a little more than the sum of its parts.
Head Automatica Decadence	3.0
Head Phones President Vary	3.5
This is how nu metal should be done, whether the elitists and other critics like it or not. Vary features quite a number of atmospheric - for lack of a better word - moments, such as the album opener, "Furumen," and "Abiso." These type of tracks don't always flow smoothly with Anza's enigmatic vocal delivery, though the rest of the record itself has no other issues to speak of.
Heavy Heavy Low Low Turtle Nipple And The Toxic Shock	2.0
Heavy Heavy Low Low Everything's Watched, Everyone's Watchin	3.0
This album was practically one of the only methods of getting scene kids into the mathcore genre. However, I will say that the material Heavy Heavy Low Low were working with is fortunately about as bearable as a naked sun shining down on the argonauts. One aspect which could've been renovated is the vocal performance: the frontman needs to quit being so enthusiastic about Happy Slaps for once.
Hell or Highwater Begin Again	2.0
If drivel like this can keep the horses galloping over to the side of wickedness, then something about Begin Again must be working so well. Hell or Highwater have the potential to become a passable radio rock band once listeners take songs such as "Tragedy" and "When the Morning Comes" into consideration, but their biggest issue is that they just don't know to put their songwriting skills to good use throughout the rest of this record. They're basically riding on the coattails of metalcore group Atreyu, which is frontman Brandon Saller's main band where he supplies drums and splits vocal duties with dinosaur Alex Varkatzas.
Hello Kitty Suicide Club Discography	1.0
Hello Kitty Suicide Club ^_^	1.0
Hellogoodbye Zombies! Aliens! Vampires! Dinosaurs!	2.0
Hellyeah Hellyeah	1.0
Hellyeah Band of Brothers	1.5
Hellyeah Blood for Blood	2.0
Helmet Betty	5.0
Apparently considered a definitive text in the post-metal scene, Helmet's Betty had this sense of experimentation which couldn't possibly have worked more than it did in 1994. The album saw the band sprinkling their usual formula with jazz and blues influences, but the coherently raw guitar work as well as Page Hamilton's ridiculously sapient vocals weren't going to be a thing of the past anytime soon. With an everlasting puddle of technicality, organic drumming from John Stanier, and a brilliant opener in "Wilma's Rainbow", Helmet have went against the grain and mastered the basics with the release of their third studio effort Betty.
Hentai Dude Anime Vodka	3.0
This is legitimate novelty music for you, as Hurricanslash mentioned in the review. The beats are fairly simplistic in a light-hearted manner and the song titles are kinda worth just a few laughs, especially if you're some sort of hardcore Japanophile chewing away at your body pillow all while watching hentai stoned. Anime Vodka is slightly fun enough as it is.
Her Demise My Rise The Takeover	1.0
Here Comes the Kraken Hate, Greed & Death	2.0
The Hispanic deathcore band Here Comes the Kraken issued a self-titled album before this record; it was essentially run-of-the-mill deathcore music, though the first album surprisingly carried listenability. Hate, Greed & Death, however, is more of a sophomore slump. Their songwriting abilities had now dwindled bit by bit, and the addition of clean vocals were mainly misplaced. It's clear that the experimentation HCTK was going for sounded good on paper, though the execution just didn't do the trick. The turntablist (thank God for his eventual departure) sometimes makes the formulaic tracks worse.
Here Comes the Kraken The Omen	2.5
Here Comes the Kraken Here Comes the Kraken	3.0
Hey Monday Hold On Tight	2.5
Hold On Tight is the type of album released by the type of band who exist only because they feel the need to pander to the accessible crowd. Hey Monday's debut is by no means a bad record, seeing as how Cassadee Pope's vocals coupled with the tracks here are pretty good for what they are. Sadly the group's efforts come close to being in vain, due to the ideas having been executed better in the past.
Hiatus Kaiyote Choose Your Weapon	5.0
This really is some multi-dimensional, polyrhythmic gangster shit. Color me far more than just impressed. Never have I stumbled upon an album as adventurous, playful, or stimulating as Choose Your Weapon; sure, those sentiments might be magnified, but as you go on a journey through what Hiatus Kaiyote have on display, the words I speak will eventually transform into nothing except the truth.
High and Mighty Color Swamp Man	3.0
Swamp Man was the final album recorded by Japanese rock band High and Mighty Color, though instead of having gone out with a bang, they went out with an underwhelming smile disguised as an explosion. The instrumentation is mostly solid and Yusuke's vocals manage to be consistently passable, although the chemistry he has with Halca is almost non-existent; the former's performance worked better in tandem with what Makii could do, which isn't saying much, but still. Why this group decided to end their career via this moot point of a full-length is beyond me, and yet despite its place in HMC's discography, it's an otherwise fine release in and of itself. High and Mighty Color had so much hidden potential to create as well as become something more, so it's a shame that they called it quits when they did.
High and Mighty Color Rock Pit	3.5
Although it possesses a stronger second half than it does a first, High and Mighty Color's Rock Pit ends up being an unremarkably fascinating album that could've benefitted more from confident songwriting choices. Vocalists Makii and Yuusuke may be the MVPs here, but the instrumental work is overall tolerable. Not much in regards to the craftsmanship truly stands out, though for this kind of record, it's thankfully pleasuring.
Hikaru Utada Ultra Blue	4.0
Quite frankly, if it weren't for "Simple & Clean" and "Sanctuary" - two songs heavily associated with the divisive Kingdom Hearts franchise - I'd have next to no knowledge about Japanese American singer-songwriter Utada Hikaru. Up until this album right here, I haven't heard any of Utada's tracks which aren't the aforementioned tunes used in KH. Ultra Blue is the woman's overall sixth full-length record and fourth Japanese-language album, and man does it strike a nice balance of style and of course substance. The offering is paced well, contains some really beautiful vocals, and a lot of the compositions are written with enough finesse so as of not wear out whomever's listening. Ultra Blue basically has a nice personality behind it and a fine number of memorable pieces, even if the album isn't always on top of Mt. Everest. Angel recommends: "Blue," "Dareka no Negai ga Kanau Koro," "Colors," "Wings," and "Passion".
Hikrahe Lily & Cucumber	4.0
HIM Screamworks: Love In Theory And Practice	1.5
Ville Valo mixes up accessibility and poise with white foundation on Screamworks: Love in Theory and Practice, whilst the other bandmates utilize weak riffage sporting more of an oversaturated, North American feel this time around. Cheesiness is acceptable when done right, and I believe HIM aren't really using any of it to the best of whatever abilities they have, thereby offering an overall pointless album.
HIM Love Metal	2.0
Wherever you can appreciate or ultimately despise what this Finnish rock band usually churns out, there's no denying how sappy and one-dimensional HIM can be; Love Metal is proof of that. Although fairly admirable production-wise thanks to Hiili Hiilesmaa and Tim Palmer, about a good chunk of this album is unfortunately less than the sum of its parts. The instrumentation on the record lacks power while the overall atmosphere that's presented has all the subtlety of an oversized gong. If I'm being perfectly honest, a golden retriever dressed up like Edward Scissorhands would come across as more tasteful and all-around clever. "Soul on Fire" and "This Fortress of Tears" are actually good enough tracks to revisit on the plus side, while closer "The Path" is decent in its own right as well, but I wouldn't bother coming back to every other song.
HIM Dark Light	2.0
Even if this is HIM that's the main subject, Dark Light is so unabashedly melodramatic that it's absolutely tough to find more than one or two tracks here which are actually quite decent. Ville Valo and his ministry of darkness soil themselves with more black mascara than a Gothic queen trudging through the vacancy of a condemned mansion. The sound this band has sort of works for whatever genre they're most classified under, but the listeners are begging to hit the 'stop' button due to how dry pretty much everything is. Recommended tracks: "Wings of a Butterfly" and "Killing Loneliness".
HIM Venus Doom	3.0
Hinder Extreme Behavior	1.0
Hive (USA-CA) Devious Methods	4.0
Killer bees hold down their hives, usually without hesitation in fear that somebody alien to them may wipe out their home. I like to think that Michael Petrie is one of those creatures out there assisting the bees, as the DJ and record producer can probably relate in one way or another. Under the alias Hive, Petrie's Devious Methods is a full-length album worth looking into if one can eat up trip-inspired drum n bass or just electronic music at its very core. With a sampled up nature and forthright song arrangements, Petrie's 1998 record's essentially a voyage to the groovy unknown. Before long, it'll certainly hit the spot.
Holland Boys The Objectification of Me	4.0
Essentially the Holland Boys are a futuristic Gunther if he took his shirt off, lifted weights, and was a diamond that shines in the sun... Fuck yeah! It doesn't alter the space time continuum as we know it, but The Objectification of Me is a hilariously enjoyable, gay old time of an album.
Holly Herndon Platform	4.5
Put the mind to work while making productive use of all the other senses as San Francisco-based composer, sound artist, and musician Holly Herndon's 2015 megalith is present in the background. Lasting a total of 49 minutes, the 10-track studio album titled Platform contorts, soothes, and even spits at whomever is listening as the album utilizes a smorgasbord of sonic techniques and vocal processing with wild abandon. What the record lacks in accessibility, it more than makes up for concerning general headiness alongside next level songcraft. This is an engrossing affair that requires replay after replay in order to uncover little nuances which weren't known to the consumer on the first session. I'm going to touch you now.
Hollywood Undead Swan Songs	1.5
Hollywood Undead Notes From the Underground	2.0
Rap and rock are able to come together *only* if a band's material happens to be either average or above that. Notes From the Underground - the third album by Hollywood Undead - is not a great example, as the lyrics are typical wangst or straight-up dumb. Not to mention the songwriting, which is mostly trite and simply exists for a crowd who haven't a clue who Stuck Mojo or Cypress Hill are. This record has its moments of decency, but they're few and far between.
Hollywood Undead Day of the Dead	2.0
For rap rock unit Hollywood Undead, Day of the Dead is round #4 for them. Unfortunately, they haven't learned much of anything from the past three bouts, as the band continues to humiliate both the listeners and themselves. It's the same song and dance, which is most unpleasant because I know these guys can demonstrate smatterings of potential; the title track, "How We Roll," and "Save Me" are arguably the best songs on this, though that may or may not have to do with these three ditties being noticeably serious compared to pretty much everything else. If Hollywood Undead were to focus more on their songwriting prowess and genuine compassion and less on writing about tig ol' bitties alongside the *wonderful* party time, then they just might have what it takes to dish out a completely bearable record - or so help me, George A. Romero will throw cameras at Charlie Scene.
Hoobastank Muffins	1.0
Hoobastank The Reason	2.0
Hoobastank Hoobastank	2.5
On a very pointless evening somewhere in the year of 2001, Incubus had a rather unimpressive baby and dubbed thee Hoobastank. They obviously regret their choice for a dumb, unapologetic band name. Oh, well... It's really the musical thought that counts here.
Horrendous Anareta	4.5
This sounds like the spirit and individual thought patterns of Death vocalist Chuck Schuldiner led melodeath pioneers Carcass into a bathtub of salvation, resting atop just one of many vicious planets. Old-school death metal revival act Horrendous are more than what the tag will make people believe, if the 2015 LP Anareta is any proof of that. With a total of 8 spine-busting tracks, the band showcases stylistic influences both old and new whilst attempting to create a sound that is undoubtedly them in the process. Given the gorgeous production values on this thing alongside a great composition job, I'd say Horrendous were able to yield way above-average results. The record's hype is warranted, and I'm not mincing words here, either. Angel recommends: "The Nihilist," "Ozymandias," "Polaris," "Sum of All Failures," and "The Solipsist (Mirrors Gaze)".
HORSE the band Beautiful Songs By Men	2.5
This EP by itself is fine and contains much of HORSE the Band's characteristics, though Adam Crook's vocal performance is pretty soulless and quite ear-grating; Nathan Winneke was sure fortunate enough to step up to the mic for later releases.
HORSE the band Pizza	3.0
HORSE the Band have always had an abnormal sense of humor to balance out the seriousness of their first two albums, though whatever comedic value was there before is omnipresent for this literal joke of an EP. Pizza is quite enjoyable similar to the food it's centered around, but akin to the concoction in of itself, one can be unsure as to whether they desire more or grow weary after so much feasting. Dominos or Little Caesars is not enough, damnit! ...But how about that New York style?
HORSE the band R. Borlax	3.5
Nowhere near as powerful as their future releases, R. Borlax was more or less a reminder of HORSE the Band preparing for the surprises to attack. The guys' debut album strikes more hearts than it does poison them, what with its synthesizer-heavy effects courtesy of the fabulous Erik Engstrom and the vicious performance by frontman Nathan Winneke. None of the tracks on here are filler in the slightest - except for maybe "Immense Defecation of the Buntaluffigus", which is understandable - and the production, while a bit weak, does pretty well on signifying some of the 'stealthy' goofiness of certain songs. Looking back on this, R. Borlax isn't as invincible as I thought it was several years ago, though it's still a fun and somewhat merciless record nonetheless.
HORSE the band Desperate Living	5.0
This is indisputably HORSE the Band's most thorough album released during the years. Every single one of the recordings prior to Desperate Living were convivial to hear, but as time passed, it grew apparent that each of them - A Natural Death mostly - could never maintain as much staying power if you took the time to think. The Nintendocore act's latest offering doesn't discard what made them the way they always were, while absorbing more than just geeky nostalgia alone. Nathan Winneke's vocals haven't changed too much, though he's also become more confident, whilst Erik Engstrom utilizes his skills via flirting with different elements like classical piano and {gasp} dubstep which helps the band more than it would warrant their career suicide. David Isen and Daniel Pouliot don't take a back seat in spite of this slightly different musical approach. So one question remains: will HORSE gain a larger fanbase due to Desperate Living's existence? This is more or less gonna be up for debate, but I myself can say without a doubt that this quartet have fished out a winner.
Hot Water Music Fuel for the Hate Game	4.0
Hot Water Music Caution	5.0
Hot Water Music should've went up into the solar system with this album. There's not a single worthless moment off Caution, to be completely honest. The vocals from Chuck Ragan and Chris Wollard are as rough as they are determinable while the guitar riffage is certainly energetic, on point, and cooperates amazingly with George Rebelo's graceful drumming power. Caution has enough replayability to shut up the few detractors in the post-hardcore scene.
Hurricane Chris Unleashed	1.0
Hypno5e Shores of the Abstract Line	4.0
To be able to sit on water in a lotus position at the middle of nowhere is all fun and games until you find yourself listening to Shores of the Abstract Line, which is when one can truly get through the meat and potatoes. French metal outfit Hypno5e's 2016 studio album warrants patience above all else, for it by no means makes for easy listening on the first go; the spoken word monologues coupled with this record's overall cinematic feel equals an LP that's a grower inside and out. From both a songwriting and instrumentation perspective, Shores of the Abstract Line largely succeeds at delivering agog melodies while remembering the more aggressive moments.
Hysteric Blue Bleu-Bleu-Bleu	4.0
Though not entirely innovative, Japanese alternative rock triad Hysteric Blue's 2001 full-length offering is a magical album worthy enough to justify more than one measly listen. Presenting a generally enchanting atmosphere and quite potent, all-around fun instrumentation, Bleu-Bleu-Bleu is yet another one of those music releases that could warrant more love around this part of the Internet. If it weren't for Ghost Stories - a mediocre anime series with an otherwise great English dub, mind you - I wouldn't know about these J-Rockers all that much, quite frankly.
I Am War Outlive You All	2.5
I Declare War Amidst the Bloodshed	1.0
I Declare War We Are Violent People by Nature	2.0
I Prevail Heart vs. Mind	3.0
Consisting of 7 tracks in all, melodic metalcore outfit I Prevail's debut recording showcases promise - and quite frankly, that about sums up Heart vs. Mind: this band wants to prove themselves. With less underwhelming harsh vocals and a more compassionate songcraft job, I Prevail could probably go places in the community. What they have on display here is fine and everything, but for future releases, let's hope for some leaps and bounds. Whilst on the subject of this extended play, feel free to try out the title track, 'cause that song's kind of appealing.
I See Stars Green Light Go!	1.5
I See Stars The End of the World Party	1.5
This album couldn't have been blessed with a more accurate title. Between their debut album and The End of the World Party, Michigan's own I See Stars felt it was better to restrict whatever moments harsh vocalist Zach Johnson had and make Devin Oliver's singing even more cumbersome; this occurred when Austin Carlile had a one night stand with Lights in the middle of the apocalypse. The more pop-oriented feel of many of this record's songs are terribly cheesy and chained by bland excuses for lyricism, and the guitar work seems all too lifeless. For once, brief instances of breakdowns try the best they can to remedy the damages, though these don't very last. A sophomore slump this virtually is, at least when compared to 3-D.
I See Stars 3D	2.0
I See Stars Digital Renegade	2.5
In comparison to the band's last two releases, Digital Renegade is very close to an improvement for I See Stars. While it can still be low on discrete compositions as well as possessing Devin Oliver's slightly loathsome voice, the implementation of aggressive elements helps the record just a bit; "Electric Forest," "Gnars Attacks," and "iBelieve" were *this* close to warranting a borderline 3.
I See Stars Treehouse	3.0
New Demons, released in the year 2013, was a pleasant surprise for me personally; doubly so taking into account that I didn't much care for I See Stars' past three records. It was a mostly cohesive offering which showcased very well that the Warren, Michigan-based outfit could infuse their brand of melodic metalcore with electronic influences in a manner which came off as neither superficial nor all that forced. Whilst certainly not perfect, I had newfound respect for ISS upon jamming New Demons. That said, the band has recently delivered another new affair entitled Treehouse, following the departure of unclean vocalist Zach Johnson and guitar player Jimmy Gregerson. When compared to its predecessor, I See Stars' fifth full-length isn't quite as exciting, but an unlikable shift in sound this isn't. To give credit where credit is due, the instrumentation and vocals are largely adequate, and there aren't really any horrible tracks on standby aside from "All In"; seriously, what in the fuck were these fellas on when they conceived that? Although there are instances here when the troupe can put too much emphasis on hooks at the expense of any legit substance or compelling songcraft, Treehouse is an otherwise harmless album sporting cool moments. Angel recommends: "Calm Snow," "Light In the Cave," "Portals," and "Yellow King".
I See Stars New Demons	4.0
Whoa... Just whoa. Now this might be an overstatement on anyone's part, but it seems as if I See Stars have finally grown a beard. On this album, the vocal interplay between Zach Johnson and Devin Oliver is actually very good, and it helps that the latter's singing has improved a bit ever since. New Demons also wouldn't be satisfactory without the newly-added dubstep and trap elements which mesh well with the metalcore vibe; I'm no fan of the two aforementioned styles, but I was surprised to find out that they worked throughout this record nicely. Even though this is a typical ISS album at heart - with certain instances of cheese - New Demons is still miles better than its predecessors.
I Set My Friends On Fire Astral Rejection	1.0
I Set My Friends On Fire You Can't Spell Slaughter Without Laughter	2.0
I Set My Friends on Fire is a group you should always take lightly; of course, everyone's pretty much stated that at this point. Their first album tries to be hilarious in ways, though it ends up performing about twelve monkey flips straight into shark-infested waters. At least compared to Astral Rejection, You Can't Spell Slaughter Without Laughter has actual instrumentation going for it (due to Nabil Moo's presence), so it's not THAT horrible.
I Shot The Duck Hunt Dog Epic Fail	1.0
iamerror Trout Yogurt	2.0
Ian Christ Two Strings and a New Town	4.0
Strangers on a Train's own Ian Christ - more commonly known 'round these dysfunctional parts as 'deathschool' - is not going to be mankind's savior any time soon with this EP, though the young man's got heart and the tracks here are a well rounded batch, to be completely honest. Once he gets around to a full-length in the foreseeable future, expect it to blow up in everybody's mugs... or not.
Ian Christ Hara Kiri Arcade	4.0
When all you have in life is an acoustic guitar, an Internet meme for a track title, and one of the most jarring, yet oddly enthralling freakouts in recent memory (see the 7-minute epic "Hara Kiri Arcade"), your album is destined to be a winsome effort. Ian Christ's (aka deathschool) very first full-length record Hara Kiri Arcade bridges the gap between overall consistency and genuine emotion rather well, all things considered. Whilst definitely not perfect, Ian's official debut offering is one which ought to warrant more listens in order to appreciate whatever subtleties exist within the meat and potatoes.
Iceburn Firon	4.0
In retrospect, Iceburn's debut full-length recording entitled Firon isn't nearly as creative nor groundbreaking as it was considered to be way back in 1992 when it was first released; there now exist other bands and solo artists that have either tried to replicate this overall style or merely expand upon some of the aspects on display. Be that as it may, the Salt Lake City-based ensemble's first album is a thrilling specimen, no doubt about it. Iceburn's method of merging together punk, metal, and prog music doesn't always come out successful, but whenever it does, listeners who keep an open mind ought to expect dazzling moments. The rhythm section is definitely the effort's most durable characteristic, as the bass playing cooperates with the drum work in a manner not unlike how siamese twins normally function.
Icon For Hire Icon for Hire	3.0
Whilst bearing a production style more or less similar to modern pop, Christian rock outfit Icon for Hire also bring a little tongue-in-cheek action to the scene. Their self-titled album presents frankly interesting ideas and such, and a vast majority of them are executed fine enough (if occasionally trite). Really, the entire record doesn't seem overwrought, though some might say that Icon for Hire is a bit guilty of having missed opportunities as well.
Iggy Azalea The New Classic	2.0
The name of Iggy Azalea's first full-length outing couldn't really be any further from the truth. While the production quality here is a bit slick, The New Classic doesn't come with any surprise twists and the rest of its flaws are made more obvious due to Iggy's forced Southern accent.
Ill Nino Dead New World	2.5
Ill Nino Revolution/Revolucion	3.0
Serving as a passable debut album from a band whose popularity here is about as weak as a Heracross who can't learn Megahorn, Revolution/Revolucion's nu metal sound was a bit more distinctive at the time, due to the tribal percussion clearly in usage. Cristian Machado's vocal performance works some wonders for the record, but the other members could've benefitted more from various songwriting skills instead of playing things safe.
Imagine Dragons Smoke + Mirrors	1.5
Imagine Dragons Night Visions	2.0
The amount of passion displayed on "Radioactive" and "Demons" is practically non-existent regarding the rest of Night Visions. Imagine Dragons aren't necessarily a horrendous act by any stretch of one's imagination, though the structure of numerous tracks off this record is so bland they're hardly worth listening to. Maybe if their frontman sounded a bit less like Chris Martin and more akin to himself, then I'd say their debut studio album would be passable at best.
Immoralist Widow	2.0
Painfully monochrome and without a whole lot of character, Richmond-based deathcore project Immoralist's debut EP is lazy through and through. Widow might not be home to inherently terrible craftsmanship, although it's clear that these five Virginians have growing up to do. Immoralist as an ensemble should inject some personality into their formulaic sound lest they become ultimately forgotten in the end.
Impending Doom The Sin and Doom of Godless Men	1.5
Imperial Circus Dead Decadence Kurooshiku Saita Seisan Na Mukuro Wa Kanaderu-	4.0
This Japanese band performs a lovely, blood-drenched combination of black, death, and symphonic metal throughout Ode to the Dreadful Sacrament. While certain songs (*cough* "Extol") DO have a problem with overstaying their welcome, a majority of them can all be forgiven because Imperial Circus Dead Decadence never seem to miss a step or two. In particular, the interplay between vocals doesn't hamper this album so much as it does help it.
In Flames Battles	1.5
(10/18/18): My new kind of fear is In Flames churning out a country album afterwards, despite what Anders Friden has stated in the past. With that said, here lies Swedish metallers In Flames' twelfth studio release, one which ventures even further into the pop sphere while its "best" moments try too hard to recall A Sense of Purpose. If the Auto-Tunage and washed out production values don't turn customers off, then the uninspired musicianship, asinine lyrical content, and Anders' growing incompetence as a vocalist ought to do the trick. Sure, Battles is more energetic than Siren Charms, but this tidbit isn't reassuring when everything else that I felt went wrong with the record is taken into account. You could say that In Flames have... lost this battle. YEEEEEEAAAAAH!!!! I greatly doubt they're gonna win the war at this point either.
In Flames Siren Charms	2.0
(10/18/18): It's easy to debate as to whether Reroute to Remain or Soundtrack to Your Escape marked the beginning of the end for In Flames. Personally both records were swell enough, though I can understand some of the detractors' complaints. An album like Siren Charms, however, is quite inexcusable; doubly so considering it was released this late into an influential Swedish metal troupe's career. Similar to the two full-lengths circling it, IF's eleventh LP contains zero traces of melodeath, instead harboring a much more hook-laden alt-metal style that's sure to appease the naive public. 2011's Sounds of a Playground Fading was actually a nice attempt at this musical direction, even without Jesper's presence, and yet Siren Charms strikes out more often than it hits. Between this one and the succeeding Battles, the former is slightly less embarrassing. Of course, that's being damned by faint praise! Irresistibly catchy at times, sinister throughout the 44-minute duration... not in a good way.
In Flames Soundtrack to Your Escape	3.0
It will be a given that - no matter how much the post-Clayman releases tend to irk you - there's something to like about even the newer In Flames albums. Their seventh studio record Soundtrack to Your Escape almost diminishes the melodeath influence which was prevalent on its predecessors (and Come Clarity) in favor of a more experimental approach, which borders on a mainstream level somewhat. Anders Friden's fry scream techniques aren't too grating on the ears, though his singing needs to be refined. As for the musicianship, it's a bit uninspired, though the simplistic riffage and chords definitely work for this one. The electronics are also a nice touch to some of the songs here, but that's really about it. How does the entire album fare overall? Soundtrack to Your Escape clearly has its moments of homogeneity, but the sound these Swedes deliver throughout isn't too shabby and may warrant a listen or even another.
In Flames A Sense of Purpose	3.0
Honestly the main problem that I have with A Sense of Purpose is that it - with the exception of the eight-minute epic "The Chosen Pessimist" - never seems to take any risks with the sound built around the album. Compared to In Flames' latest offering Siren Charms and its predecessor in the form of Sounds of a Playground Fading, this one is slightly more approachable and not as cringeworthy. If you're a fan who was introduced to these guys through Reroute to Remain, then there's plenty here to enjoy; even if you don't care so much for In Flames' later output, A Sense of Purpose has some credibility for you to seek.
In Flames Sounds of a Playground Fading	3.0
After having heard Swedish metallers In Flames' two most recent duds and then revisiting the full-length that came before those, I've grown a bit more fond of Sounds of a Playground Fading. The band's tenth studio album was truly the last IF release to bear some semblance of thought. Whilst the composition quality throughout the record's 53-minute duration is far from consistent and production values feel stiff, this album pretty much excels in the musicianship department: Anders Friden's vocals are mostly decent, Bjorn Gelotte - without Jesper Stromblad - holds his own fine enough as is, and the other two contributors follow suit. Honestly it would've been intriguing to see these men expand upon the formula they had here instead of going further down the mainstream hole they already found themselves in since Reroute to Remain. Angel recommends: "Sounds of a Playground Fading," "Where the Dead Ships Dwell," "Enter Tragedy," "A New Dawn," and "Liberation".
In Flames Reroute to Remain	3.5
Reroute to Remain: Fourteen Songs of Conscious Insanity... This album inevitably caused a massive division within the Gothenburg, Sweden-based metal band In Flames' fanbase and how! While it still had that fundamental melodeath style, elements of alternative music were thrown in for both good and bad measure; on another note, frontman Anders Friden started sporting dreadlocks. IF's fifth studio album and its successors would have them labelled 'sellouts', unsurprisingly enough. For what it aspired to be, Reroute to Remain is a pretty good transitional release that boasts nice guitar work, little more than suitable drumming, and nifty shrieks courtesy of Anders himself, who abandoned his usage of death growls - though he occasionally brings out singing which I'm honestly neutral about. In the main, this turned out slightly better than I expected it to, and don't be too shocked if the offering will make you wanna scratch your head.
In Flames Colony	4.0
In Flames Clayman	4.0
In Flames are one of melodic death metal's pioneers, alongside At the Gates and Dark Tranquillity. To the 'true' IF fans - and by that, I'm talking about the purists - their fifth studio album Clayman was the band's last recording free from contamination; honestly, I feel the status goes to A Sense of Purpose, if only because a drastic or slight change in style isn't really a bad thing as long as there's more quality than quantity in the product. With all that said and done, this release is equal parts harmony and calculated brutality kept inside a flask. It's not home to Anders Friden's best vocal performance, though he sounds great regardless. Jesper Stromblad and Bjorn Gelotte's melodious riffs fit well enough, while Daniel Svensson's drumming here isn't captivating so much as it is very cool to hear. Clayman's successor in the form of Reroute to Remain would enter the fray so that fanbase reactions could inevitably be split.
In Flames Lunar Strain	4.0
(11/26/18): Lunar Strain in all of its 36-minute glory was an interesting beast when it first came out, and I feel it has continued to hold an intriguing place within In Flames' discography nowadays. Before Henke Forss and eventually Anders Friden came along, IF recorded their debut album with current Dark Tranquillity frontman Mikael Stanne; DT's Skydancer featured Friden on lead vocals, coincidentally. The whole deal with vocalists aside, this 1994 record bore a strong folk influence thanks to the incorporation of violins and acoustic guitar playing, though it of course possessed that familiar melodeath sheen as well. Imagine living in a world where In Flames had established the overall style found on Lunar Strain and kept Stanne on board... Would've been super cool, that. Speaking of the c-word, so was a bunch of the material which comprised this LP.
In Flames Come Clarity	4.0
In This Moment Ritual	1.5
In This Moment Blood	2.5
Fronted by the lustfully intriguing Maria Brink, In This Moment's fourth studio album in the form of Blood is undeniably different from previous works. Very much unlike the band's earlier metalcore output, this one is more experimental and - to some - blatantly outrageous. Maria's alluring voice here and the other members' contributions fit well together, but there's nothing too interesting about the album as a whole.
In This Moment Beautiful Tragedy	3.0
Whilst a largely metalcore offering, In This Moment's debut studio album Beautiful Tragedy is quite passionate for what it's halfway worth. Maria Brink's vocal performance for this record is usually hit-and-miss: her cleans represent the grace of a heron - with the best examples of this being "When the Storm Subsides" and "Beautiful Tragedy" - and her screaming capabilities are like a devil who couldn't get that abortion the way she had pre-planned it (e.g. "Daddy's Falling Angel"). As for the instrumentation, it's not really terribly interesting, though it gets parts of the job done.
In This Moment Black Widow	3.0
More often than not, Black Widow exists as a logical progression from the unfocused mess that was Blood; the latter isn't necessarily a bad album from these guys so much as it was an overall forced and pretty bland record. In This Moment expand upon their previous album's style while also breathing a slightly fresher scent, resulting in a step in the right direction for them. Don't get me wrong, the release still has those moments of awkwardness and it overstays its welcome, though the album is still an otherwise fine treat... and say what you will about Maria Brink, but without her, ITM wouldn't be anywhere near noteworthy. Her vocal performance in general is hammy, yet works given the nature of the band.
In This Moment The Dream	3.5
For their second studio album The Dream, Maria Brink and company did away with much of the metalcore-oriented formula that bombarded the band's debut release; in its place is more harmonization and a pop-centric feel. In This Moment, however, didn't shed their roots entirely given that screams still present themselves, most noticeably on "The Great Divide". Chris Howorth and Blake Bunzel are at least a step behind Maria during the record: these two employ riffs which make the choruses to most tracks pretty good fun, though they don't necessarily provide anything else. Brink's vocals are undeniably the highlight, as she doesn't sound as forced here as she did on Beautiful Tragedy or uneasy like Blood. This offering isn't ready to create imaginary voids anytime soon, but for what it's all worth, I'd say The Dream was the closest ITM ever got to recording a true knockout, with the group's latest Black Widow also being a worthy contender.
In This Moment A Star-Crossed Wasteland	3.5
Essentially what In This Moment do on their third studio album is combine the melodic metalcore traces present on Beautiful Tragedy with the relatively lighter, hard rock-driven flavor that permeated The Dream. Oh, how I can definitely appreciate "best-of-both-worlds" type music releases, yet too bad A Star-Crossed Wasteland isn't all that consistent in quality. For starters, the second half is a substantial improvement over an otherwise bland first wave of tracks other than "Just Drive". Generally speaking, it's a solid outing, albeit one that could've benefited from better pacing and more varied compositions.
Incubus (USA-CA) 8	2.0
Okay, I don't... umm... Yeah, Incubus on their latest studio outing sound equal parts desperate to cling onto whatever relevance they still got and dull. Cleverly titled 8, the Calabasas-based rock troupe find themselves going through the motions during this one, offering significantly weaker versions of songwriting ideas they've played around with in the past. Vocalist Brandon Boyd is far away from his prime as a singer and the main man's lyrics ring hollow now. A laughable mixdown thanks to Skrillex's involvement, composition choices lacking in personality, and otherwise fine musicianship that's practically rendered useless due to the production values allow for one boring experience. The last three tracks are at least worth salvaging, but these songs also don't stand up to Incubus' best material throughout their career. Pardon me while I burst into flames from hearing the lameness that should've been called Incub8.
Incubus (USA-CA) Fungus Amongus	3.0
One can most certainly get some enjoyment out of this band's first album Fungus Amongus - on a few of the CD's tracks. It's abundantly clear that the fellows at Incubus were talented for their age range, yet not enough to seek their very own identity.
Incubus (USA-CA) Trust Fall (Side A)	3.0
This 4-song EP courtesy of alternative rock band Incubus is basically a step in the right direction, after the overall snoozefest that was If Not Now, When?. With the unabashed exception that is "Make Out Party", the other three tracks on Trust Fall (Side A) are a bit far from being avoidable numbers. I'll be keeping an eye and ear out for the next installment - and to a degree, a brand new full-length record. Now pardon me while I burst into flames.
Incubus (USA-CA) Morning View	3.5
Prior to the release of If Not Now, When?, alternative rock outfit Incubus' fourth full-length recording Morning View was considered the band's most accessible - and by extension, the most melodic of their albums. Even if it contains some of the softest tracks in Incubus history, this isn't worth avoiding at all, as frontman Brandon Boyd's visceral singing cooperates just fine with the noticeably streamlined, but still far more than just acceptable instrumentation. There are songs like "Wish You Were Here," "Just a Phase," "Blood on the Ground," "Have You Ever" and "Aqueous Transmission" that are especially noteworthy IMO. Morning View, though it might not feature the best this band has to offer, could use quite a bit of your time.
Incubus (USA-CA) If Not Now, When?	3.5
Upon revisiting Incubus' seventh studio record, I've come to the realization that it's a better beast than I gave it credit for; hell, this is a much better album than the majority give it credit for. If Not Now, When? takes the softer qualities of the successful Morning View and cranks 'em up to eleven, even getting to that point where one wonders if they're listening to the same alt-rock band anymore. While the songwriting here leaves much to be desired, it's the overall instrumentals, Brandon Boyd's vocal delivery, and (to a degree) the production that make If Not Now... an enjoyable release so long as you have the patience to soak in what's presented. Feeling a light-to-decent 3.5 on the thing. Angel recommends: "Isadore," "The Original," "In the Company of Wolves," "Adolescents," and "Tomorrow's Food".
Incubus (USA-CA) Light Grenades	4.0
Sitting on the skyscraper as one of Incubus' underrated releases, it's kind of a shame their sixth full-length recording Light Grenades doesn't earn as much admiration as it probably should. Can you believe that almost 10 years have gone by since the album was first released? Anyway, I feel as if this band didn't do a lot of wrong here, as just about every track has something to like inside and out; with the exception of "Love Hurts," "Oil and Water," and "Diamonds and Coal", as those three songs are rather immobile and tough to really adore. On a songwriting level, Incubus are debatably at their most varied and mature, being able to go from the tender "Dig" to the quite vehement title track whilst not falling into any nearby creeks, and Brendan O'Brien's production style clearly fits the direction these boys took. Overall, an enthralling listen that ought to be dissected more than it actually needs to be underestimated.
Infant Annihilator The Palpable Leprosy of Pollution	2.0
A major problem I have with Infant Annihilator's first studio album, The Palpable Leprosy of Pollution, is that it takes itself more lightly than it actually should. The novelty of the duo's full-length debut offering barely hesitates to wear thin after a while, and the overbearing production quality doesn't help the album's case. This I find unfortunate because the group is competent enough from an instrumental point of view to be considered amusing, and the vocals are decent (if totally unremarkable). Infant Annihilator's debut record just makes for an unpleasant experience. Believe me when I say that there is a zaftig amount of wasted potential.
Infant Annihilator The Elysian Grandeval Galèriarch	2.5
Dat album name, dat font for the band's moniker, dat... everything else. The oft-ridiculed subgenre otherwise known as deathcore is home to various stereotypes, many (if not all) of which Yorkshire, England-based egg metal project Infant Annihilator utilize in a deliberate fashion. From its purposely juvenile lyrical content to a clear lack of restraint, The Elysian Grandeval Galeriarch demonstrates how this Internet band is carefree as they are merciless once again. On the plus side, Infant's sophomore studio album boasts a generally savage vocal performance from Dickie Allen and some fine songwriting choices compared to The Palpable Leprosy of Pollution, though it also carries a lot of the same flaws which plagued the record preceding this one. The instrumentalists are definitely skilled as is the frontman, though talent can only get people so far until they screw themselves in the ass with a decked out stalactite. IA's sense of humor as usual gets tiring after awhile alongside the technical musicianship, and though I understand that's what these fellas are going for, it doesn't automatically mean there's staying power.
Infected Mushroom Classical Mushroom	5.0
As its name will tell you, Classical Mushroom demonstrates the duo's way of producing spellbinding trance with psychedelic tendencies, and also combines this with some classical music in and out of itself. It ends up coming down to memorable songs like the popular "Bust a Move," "Dracul," and the grand closer "The Missed Symphony" which are masterfully skillful enough to keep a night young and prestigious. Infected Mushroom never lose track of the direction they took for this, leaving spaces that are initially empty to be filled with electronic juggernauts.
Infected Mushroom Vicious Delicious	5.0
At its core, Vicious Delicious is another psychedelic trance effort put out by the duo known 'round the universe as Infected Mushroom. But by digging deeper into the finished product, the release is a electronically-varied library of pulsating tracks which never really bother to tire anybody out there who's listening; not even Erez and Amit themselves. The record's length might be on the bloated side, but with the amount of diversity put into this offering alongside those gorgeous production values, Vicious Delicious' running time is hardly what I'd call 'bothersome'. There is just as much room on the outside as there is on the inside.
Infectious Grooves Groove Family Cyco	4.0
Infectious Grooves is pretty much a wackier, more dense version of Lights, Camera, Revolution-era Suicidal Tendencies, though this isn't always bound to be a bad thing. Groove Family Cyco is a record containing loads of funk colliding with the messiest style of punk music, helped by Robert Trujillo's contributions. There are moments of padding (evident in "Cousin Randy"), but nothing else feels too sluggish; with the exception of Mike Muir, though that's his vocal style for ya!
Information Flash Ego Murda Sound	4.0
Shade has been a confidant of mine for as long as I can remember, though it's laissez-faire which is family. French electronic project Information Flash's full-length debut recording somehow manages to be a lengthy listen without actually feeling long in the process. Entitled Ego Murda Sound, the 9-track album brings together elements of break, jungle, IDM, and techno whilst calling for a loose vibration that in turn percolates throughout the overall runtime. Whether it be the precise composition skills at hand, infectious samples suiting the general mood, or the complexities unveiled thanks to multiple listens, Information Flash is doing a lot right at the end of the day. It's been said that first impressions are everything, and man is this effort a robust starter.
Injury Reserve Live From The Dentist Office	4.0
Teeth the size of piano keys are enough to damage the insides belonging to Dracula, while ears fatter than a disco ball are sufficient when it all comes down to processing what Injury Reserve's 2015 debut mixtape has in store for its listeners. Live From the Dentist Office breathes life and exercises quality throughout a majority of its runtime, proving to be an overall strong record which definitely can't be judged by its admittedly awkward cover alone. Hailing from the state of Arizona, Tempe-based hip hop triad Injury Reserve display a smart, charming character to them which shows on their first official offering.
Insane Clown Posse Eye of the Storm	1.0
Insane Clown Posse Bang! Pow! Boom!	1.0
Insect Warfare World Extermination	4.5
Texas is looking to brand the symbol for humanity on our asses, and what better way than to send Insect Warfare to accomplish the task. This album is grindcore in its purest form: no overdubbing nor complicated-for-the-sake-of-being-complex passages in the least, it gets to the point right away. Thanks to the members that make up this act, World Extermination brings in the chaos factor, brevity, consistency, and most of all RIFFS.
Insert Disc 9999 HP/MP	3.0
Integrity Those Who Fear Tomorrow	4.5
Tormented vocal work, a full-frontal assault delivered by pounding guitars and devilish drumming, and really sagely lyrical matter makes Those Who Fear Tomorrow out to be an incredibly substantial album for the young, the restless, and the ones who became subjected to heavy trauma.
Interpol Our Love to Admire	4.0
The synthesizer effects spread throughout Our Love to Admire tend to give the album its laid-back, atmospheric flavor. The frontman's vocals do remind me a bit of Dave Gahan at times, though I'll consider this as more of a graceful thing rather than some glaring setback.
Interrupting Cow Utopian Dreamer	2.0
Aside from a couple salvageable moments, Utopian Dreamer sounds like another disposable deathcore release from a musical project with such wasted potential. The intro and the title track are pretty cool, I have to admit, though every other song is structured as if they were cut from the same dirty cloth. Production-wise, this little EP is inconsistent at best; just listen to "Tryna Prom?" and tell me it's not compressed.
Into Eternity Buried in Oblivion	4.0
Let's be very blunt here: the amount of emotional depth Buried in Oblivion has can become incredible at times. Although Canadian progressive metal band Into Eternity's creativity is somewhat questionable, their approach to this type of music will knock listeners flat on their backs. Splendid (if ocassionally expected) instrumentation and great vocals that are typically comprised of power metal-inspired singing, shrieks, and gutturals make the album a highly worthwhile one. Fucking eargasmic.
Ion Dissonance Breathing Is Irrelevant	4.0
What exactly does it feel like to hear Breathing Is Irrelevant in one sitting? The human brain exits your body on its own after overgoing the reanimation process, only to later become immobile after coming in contact with a power drill that can never be turned off. Much of the material might just be technical for the sake of discord and whatnot, but Ion Dissonance don't really cease to amaze quite a number of people with their odd song titles and atypical time signatures, coupled with frenetic vocals that you could probably find in other mathcore bands; not that this makes the album any more of a bother.
Iron Maiden The Book of Souls	4.0
Iron Maiden are troopers who have been granted the flight of Icarus as far back as 1975. Progenitors of the New Wave of British Heavy Metal, they're a band recognized by even the most filthiest commoners such as myself, and to say that IM is influential is a bit of an understatement, actually. Their latest studio album won't disappoint anybody who's stayed by Iron Maiden's side since the beginning, as there's loads of consistency to be found here and the production work handled by Kevin Shirley suits how epic the double record can get at times. The Book of Souls is instrumentally confident and boasts a delightfully powerful vocal performance courtesy of one Bruce Dickinson; old age is hardly stopping him from belting out some awesome hooks. Songwriting-wise, the full-length effort never grows monotonous for the most part. If you want prove of that, feast your ears on the 18-minute epic that is "Empire of the Clouds". Goddamn, what a mighty track.
Iron Maiden Piece of Mind	4.5
Piece of Mind rarely (if ever) thinks about letting up as an Iron Maiden album, nor does it show any signs of fatigue as a heavy metal record. The tremendous power of the sound mixing and the majestic instrumentation were practically made for one another, and this is made all the more remarkable due to frontman Bruce Dickinson's battlefield-sized capabilities as a vocalist.
ISIS In the Absence of Truth	4.5
Isis aren't firing on all cylinders so much as they are bringing them to the most unparalleled gods and goddesses of soil that can ever emerge from those distant clouds. As an amalgamation of the band's trademark sound and masterful progressive rock, In the Absence of Truth comes and goes with the grace of a mermaid; when it decides to act like a journey through both serene and unashamedly theatrical minds, however, the album is just heavenly. The touches of experimentalism don't hurt this offering's overall personality, while the instrumentation can pull in enough stagnant beings to reform them. I give extreme props to Aaron Turner and the other wise men for going out of their way to craft such a delightful library of songs that are simply incredible execution-wise.
ISIS Oceanic	5.0
Oceanic's unquestionable legacy can be understood more once listeners begin to enter the divine chamber, where said album rests above essentially all of the other post-metal and rock offerings. Based in Los Angeles, Isis truly made a name for themselves the moment they summoned this emotional masterpiece. Its fusion of dark serenity and organized fury alone is remarkable, and the gripping storyline behind the record only makes things more kinetic. Aaron Turner roars without any restraint, the plodding guitar and steam-fueled bass playing compliment Aaron Harris' tight, humble drumming, and Oceanic's overall atmosphere speaks volumes about what Isis were capable of.
Issues Black Diamonds	2.0
Issues Issues	2.0
Half the time, Issues' self-titled debut offering just reeks of stupidity. The riffs are milquetoast at best, Tyler Carter's vocals are beyond nerve-grating, and the blending of genres does not an interesting record make. The production quality is the only stand-out from the album, sadly enough.
Issues Headspace	2.5
Our daddy taught us not to be ashamed of our motorcicles. Speaking of Issues, both the cover art and Michael Bohn could use more tissues.
It Lies Within Paramount	2.0
With great innovation comes great intrigue; Uncle Ben, eat your heart out. Speaking of which, metalcore outfit It Lies Within basically possess none of those things. Let's just say that you won't be missing out on the band's second full-length album. Paramount is as inoffensive as it is unapologetically bland, and while it does have a few salvageable moments, said instances of passability don't make up for the ultimately milquetoast quality of the album. Contrary to popular belief, there exist acts who know how to merge electronic music and metal together, but It Lies Within sure as hell aren't one of those bands.
It Lives, It Breathes We Come In Numbers	1.0
It Lives, It Breathes comes at us full speed with their EP We Come in Numbers, whilst also dropping any semblance of substance, quality, or even good compositions down the drain in the process. The release is living proof that any fool can slam his/her fists on a keyboard while possessing the voice of an unsubtle nincompoop disguised as a majestic fuckin' eagle - just so they can work up the nerve to consider this sort of drivel "well-executed music". Unoriginal rant over. This act has recently been associated with Attila, so that should tell you about the bulk of the former band's material.
Iwrestledabearonce It's All Dubstep	1.0
Not only was this special release uncanny, Iwrestledabearonce felt that - to stay relevant for a long while - they needed remixes of four tracks off their debut album It's All Happening, which was already a tad schizophrenic on its own. The 2010s are currently a fucked up period, eh?
Iwrestledabearonce Ruining It for Everybody	2.0
Iwrestledabearonce Hail Mary	2.0
Hail Mary features everybody's favorite love-to-hate, spastic metalcore band trading in utmost craziness for a more consistent, darker sound - at the expense of any real likeability. Honestly speaking, most of what makes up this album is rather meddlesome and flat-out lacks emotion. To give the earlier material credit, you can tell these guys were enjoying themselves back then, and now they are but withering toads doomed to fail. Courtney Laplante has no energy behind her vocals for a major portion of the record, and although the guitar work has technically improved, this is more a disadvantage to the musicianship than it is beneficial. Man, talk about predictable with a capital 'P'. Icreatedaboringasshitalbumonceortwice would be a suitable name for the act at this point.
Iwrestledabearonce Iwrestledabearonce	2.5
J Dilla Donuts	5.0
Jakob Solace	5.0
When stranded in a room without a light and only the most tranquil of noises, Solace is considerably your one true friend. The New Zealand post-rock group Jakob inspire both hopelessness and mystery in the hearts of many via haunting, lush soundscapes which would've lost their spark had this album contained any traces of singing or growls. These seven tracks alone are enough to shatter the dreams of people by explaining to them how grim reality is without any audible words. Jakob sought to create a masterpiece wallowing in despair and barely reaching an in-your-face motif, and they pulled it all off beautifully.
Jamie's Elsewhere Guidebook for Sinners Turned Saints	2.0
Jamie's Elsewhere They Said a Storm Was Coming	3.0
At the expense of horrid clean vocals and non-sequitur song titles, Jamies Elsewhere have managed to craft a surprisingly tasteful and likeable (if uninspired) sophomore album in They Said a Storm Was Coming. While the overall formula of the record does get repetitive eventually, this is still a step in the right direction for these electronicore-waving boys. Although is it just me, or is Jamies Elsewhere following I See Stars in their footsteps? Both acts started out with relatively light-hearted, avoidable releases only to later take a more aggressive, serious (kinda sorta) approach to their music, and I just answered my own question.
Jamiroquai A Funk Odyssey	4.0
British acid jazz band Jamiroquai have gone out of their way to create a galactic demon of an album. A Funk Odyssey contains elements of disco funk and electronica, and Jay Kay and the others' method of approaching these styles is very tasteful. Its accessibility is pretty tough to overlook, but in spite of how apparent this trait is, Jamiroquai make damn sure on their promise to keep their funky feet planted firmly on the ground; all while knowing how to craft hooks at that.
Jane's Addiction Ritual De Lo Habitual	4.5
Rituals are probably the best way to describe this album, amongst some other things. Jane's Addiction prance and trudge through this full-length's songs with their healthy mixture of alternative, funk, progressive, and even hard rock, best supported by Perry Farrell's distinguishably impervious vocals and Dave Navarro's guitar riffs inevitably harmonizing with Eric Avery's scrumptious basslines. Ritual de lo habitual - while by no means a flawless outing - never has a mind of its own, meaning that Jane's Addiction skillfully maintains unity about 94% of the time.
Jane's Addiction Nothing's Shocking	5.0
If the pendulum never swings, then we'd forever be stuck in suspended animation. Had bands such as Jane's Addiction ever cease to come true, then alternative metal would never bother coming to fruition. Their debut studio album Nothing's Shocking is a challenging, yet also very coherent achievement showcasing the beauty and ugliness wrapped around the group's fingers. Its musicianship is authentic and magnificent, while the CD's cover art is merely the tip of the iceburg; conjoined twins with exposed grenades should be enough to tell you just how disgustingly captivating Perry Farrell's mind is.
Janelle Monae The ArchAndroid	4.5
Similar to stereotypical robots, the cyborg usually has mechanical parts, though they also have the ability to act and appear akin to humanity. Whilst normal robots are said to be unfeeling, androids are capable of expressing various emotions; in the case of Janelle Monae's 2010 masterwork, that would be compassion and an urge to become audacious. I'm making this sound cheesier than it actually is, but whatever. Having said all that, the Los Angeles-based singer-songwriter, producer, and actress' full-length debut album The ArchAndroid is more than the sum of its parts. At 68 minutes in length and featuring 18 tracks, the record houses the second and third suites to Monae's concept series entitled Metropolis and explores themes such as love and identity. This is undoubtedly quite intriguing, though many of the actual songs themselves are diverse in both sound and personality; stylistic elements like mainstream pop music, psychedelic, R&B, and rock are just the tip of the iceberg. Monae's first studio effort has a lot crammed in without going too overboard nor is it difficult to follow, encompassing a myriad of characteristics which draw me to music regardless of genre. Impressive vocal abilities from Janelle Monae herself, backbone-y composition choices, and a mostly cohesive flow make The ArchAndroid worthwhile as all get out. Beautiful.
Japan Tin Drum	4.5
Jarrod Alonge Beating a Dead Horse	4.0
By the time you've already heard Beating a Dead Horse (the cover art is so literal), Jarrod Alonge will begin giving out life lessons that are not so much tremendous in length as they are incredible regarding memorability. Speaking of which, here is the first lesson: don't be an imitation of your girlfriend's favorite -core band. BLEGH!
Jason Derulo Talk Dirty	1.5
Horrendous lyrics aside, "Wiggle" is fairly catchy in a moronic, but still passable way, and the saxophone utilized on the title track is sort of recognizable. The majority of Talk Dirty just doesn't cut it, sadly enough, as Jason Derulo's attempts at singing are pretty bad and the guest appearances aren't worth crap; Snopp Dogg's delivery of 'Damn, baby, you got a bright future behind you' admittedly made me laugh when I first heard him say that, but it was an initial reaction.
Jason Derulo Everything Is 4	2.5
Everything Is 4 (oh, boy, I wish) sees our wiggle wiggler Jason Derulo making somewhat of a rebound from what made Talk Dirty a heinously painful listen in the first place. Yes, he still spits out cringeworthy lines every once in awhile and the songwriting pretty much stays in hit-and-miss territory, although Jason sounds a bit more confident in his singing abilities and I do like how the production suits the direction Mr. Derulo took with this one - for the most part, anyway.
Jawbox For Your Own Special Sweetheart	4.0
Though it is by no means a perfect album, Jawbox's For Your Own Special Sweetheart has that raw and lively sound to it which just works swimmingly. Ted Niceley's production style makes most of the tracks into an animated uppercut of tenacity locked up within the post-hardcore genre and the musicianship is almost at a stellar level. There's a pretty good chance that if you're in a modern-day emo or indie rock outfit, then these heavyweights are probably going to be an inspiration one way or another.
JayyVon 10CMD	3.0
Jeremy Brian Griffis (under the alias Jayy Von Monroe) was once in the crunkcore/electropop duo Blood On the Dance Floor with Dahvie Vanity, and was also the more tolerable of the two members - at least relatively speaking. It warms my heart to hear that JayyVon's solo debut is actually salvageable for what he was attempting to do. 10CMD does have its share of cringeworthy moments ("Go Home Girl" is rather hard to sit through) and is underwhelming from a production standpoint, but be that as it may, this freshman record's quality is rescued by moderately endearing vocals and an overall decent songwriting approach. Looks like Jayy refuses to sink, I guess. Still and all, 10CMD is an acceptable electronic music album.
Jeff Hardy Plurality of Worlds	2.5
Jeff Hardy... Whether you love him or not in either WWE or TNA - and in this case, I prefer his tenure with the latter - you can't deny his abilities in the wrestling ring. This doesn't necessarily hold true to the guy's solo album Plurality of Worlds. While the effort does boast some decent instrumentation and tolerable songwriting choices, it mostly suffers from the abundance of autotunage done on Hardy's voice. On top of that, he himself has a *limited* vocal range, which kinda swanton bombs (sorry) the otherwise acceptable quality of the songs that are presented. In the end, Jeff's record isn't a terrible release, though it isn't what anyone would call 'great' either.
Jeff Rosenstock I Look Like Shit	4.0
I know I'm pulling a detonator out of my ass for saying this, but Jeff, you actually look like shite. No, compared to 'shit', that is essentially a compliment from me to you. There's certainly some intricate and thoughtful songwriting throughout this compilation, which shouldn't flow the way it does.
Jeff Rosenstock We Cool?	4.0
Amusingly enough, the overall existence of We Cool? implies that Jeff Rosenstock is cooler than the other side of the pillow. His take on what is a power pop record in essence must not be avoided.
Jeffree Star Beauty Killer	1.5
This 'Queen of the Internet' made 12 bastardized gallons of horse sperm and seemingly slapped together an album that falls prey to just bad lyricism and unashamedly cliche electronic beats. The guest spots by Matt Skiba, Breathe California, and Nicki Minaj barely remedy all the glorious damage witnessed on Beauty Killer.
Jeffrey Nothing The New Psychodalia	2.0
I have to admit that the cover art for The New Psychodalia is twisted and a bit indulgent, much like the overall theme of the album. Jeffrey Nothing's solo debut is rather misleading in this sense, unfortunately, as many of the songs are underwritten. The worst part about the record is how boring Nothing himself sounds in comparison to how incredibly well he's fared with Mushroomhead; he's no versatile singer for sure, but the man has a ton of passionate delivery which is hardly noticeable here. It's just about on par with Beautiful Stories for Ugly Children, and that's no fun in the least.
Jesu Conqueror	4.0
Some of the men, women, and children in our world were stuck in fetal position up until they heard Conqueror. Fronted by Godflesh frontman Justin Broadrick, the post-metal band Jesu do everything they can to make sure that the peanut gallery march onward to a brighter, less downbeat future. Broadrick's perishing alt-rock vocals coupled with the metallic guitar playing and shoegaze-inspired melodies result in a surprisingly effective, worthwhile album. Though there is little diversity, beautiful production values as well as the blizzard that surrounds the hypnotic craftsmanship will have you become infatuated with what Jesu have created. Conqueror is neither too listener-friendly nor is it all that inaccessible, to be honest.
Jig-Ai Katana Orgy	3.0
The pitch-shifted vocals in goregrind have been done to death, though leave it to Jig-Ai on making them just slightly gorgeous. The Czech outfit's second album Katana Orgy is a groovy, carnivorous recording with nothing special nor rocket science-y... Nothing more, nothing less.
Jimmy Eat World Bleed American	4.5
Once you get in the middle of the road, may angels lead you in for the rest of your sentience. Bleed American, the fourth full-length LP and most successful release by Arizona-based alternative rock-meets-emo-meets punk quartet Jimmy Eat World, is drop-dead gorgeous by nearly every account. Though a lot of what makes up this album is familiar and not at all unorthodox from a musical perspective, you'll often be asking yourself one armor-piercing question: "Does it matter if I'm listening to is predictable? What if by chance I happen to come across something that sounds unforeseeable, but I don't much care for it?". That said, JEW do what JEW do best: craft infectious melodies and maintain a great deal of passion, consistency, and truthfulness. Jim Adkins' vocals certainly help, too. Bleed American is basically home to not one atrocious track and boasts a profusion of replay value. What a robust diamond.
Jimmy Eat World Futures	4.5
From top to bottom, this is an immensely delicious album packed with interesting guitar melodies adept at sticking around in your mind for days to come. Jim Adkins' vocal performance on Futures is both direct and sempiternal, and the same can virtually be said for the percussion work provided by drummer Zach Lind. I myself was greatly impressed by this release, seeing how I was too ignorant back then to even let myself be pulled in by at least one JEW track.
Jimmy Eat World Clarity	5.0
There is a Brand New thread where I've noticed a minority preferring this record over The Devil and God Are Raging Inside Me; I'll probably suffer the wrath of the peoples' dust and bones, though I'm still in agreement. With Clarity, the American emo band Jimmy Eat World have constructed a genuine album that masterfully binds unyielding pop melodies which become borderline infectious with a tranquil, refined nature which just makes you want to keep jamming this offering for hours and hours. Jim Adkins is a very thoughtful frontman and the rest of JEW are luckily never behind in the skill and feeling departments. The guitar work is simply amazing even by itself and the compositions pull you under right before sending you back up - just to make your body descend once more since everything about Clarity is downright charmingly beautiful while never really being toothless, either.
Jimmy Urine (EURINGER) EURINGER	2.5
It's easy for me to admit that Mindless Self Indulgence were an enjoyable, creative, and effectively shocking bunch in their prime; their first three albums are still nice to put on from time to time. They were edgy without the negative connotations surrounding said word -- and the same could be said for James rEuringer (aka Jimmy Urine), the frontman for that group. The end of 2018 is drawing near and Little Jimmy ain't so little anymore, so under his real surname, he released this studio album that's technically the man's second solo record. Between the wildly uneven songwriting quality, overstaying its welcome at 56 minutes, and an overall feeling of desensitization, EURINGER would've been great had it been unveiled about 14+ years ago, not to mention Jimmy could've cut back on the fat. There's glimpses of greatness buried underneath what is otherwise a torturous exercise in lotus eating (e.g. "Problematic," "Detroit and Only Halfway Thru the Tour," "Sailor in a Life Boat"). Hopefully this was fun for the guy alongside everybody else who contributed. Eh.
Jinn Engine	4.5
Even if it's nothing more than an EP, Engine has a surprising amount of replayability. Jinn's instrumentation here is unrestrained, yet also precise and meaningful; the vocals especially add a charm to the release overall. After hearing this for myself, I really want to check out the rest of the guys' discography.
Job for a Cowboy Doom	2.0
Job for a Cowboy Genesis	2.5
While Job for a Cowboy's debut full-length album charges in with a painless death metal sound that differs from the unflattering deathcore style within Doom, much of the former is nothing but lightning fast solos and limited songwriting capabilities. This isn't to say Genesis is a terrible recording, however, as there are parts of it I'd consider to be slightly more listenable than JFAC's first EP; at least on here, you don't hear Jonny Davy howling about 'preheat pizza rolls' or something along those lines.
Job for a Cowboy Sun Eater	4.0
I think we're all pondering whether this was the same act who made Doom and Genesis or not. Arizona-based Job for a Cowboy have figured out that if they - as death metal musicians - were getting a ray of welcomed hope, then all's they had to do is devour the sun. Sun Eater has a whole lot of enjoyability and the production values certainly help; without that audible bass and Jonny Davy's malicious growls, this wouldn't be a quality record.
John 5 God Told Me To	4.0
John Lowery (aka John 5) crafted a luxurious album in the form of God Told Me To. It might be all instrumentation and no vocals, but the material itself doesn't need a singer to speak to the listeners' needs - John 5's songwriting alone can do the trick. For every pulsating rock jam with some industrial undertones exists numbers which undergo a melodic approach, with this man's guitar licks and flamenco-like tapping hardly missing the record's pre-approved target. Unlike Buckethead, John 5 has no need to conjure over a hundred releases just to prove to the masses that he's talented; by no means am I saying the former's material is tedious on its own. To summarize, God Told Me To is an incredibly skilled and fun experience with noteworthy choice cuts in "Noche Acosador," this dude's cover of Michael Jackson's "Beat It," "The Lie You Live," and "Killafornia".
John Cena and Tha Trademarc You Can't See Me	1.5
Eventually John Cena is going to look back at this and shout at the top of his lungs, "Baloney, fudge, and mustard! My life is being ruined by Sputnikers!" He might've been known as the Doctor of Thuganomics in the past, but in the present, Cena's basically a semi-wigger Superman who can either put up or shut up. Word life!
John Coltrane A Love Supreme	4.5
John Frusciante The Empyrean	4.5
John Frusciante's tenth solo record, The Empyrean, is like a giant baby who likes to sit under a most vivid waterfall nearly every day and night. The large creature represents ex-Red Hot Chili Peppers guitarist Frusciante himself while the waterfall symbolizes how creative and inspired this album truly is. At a total length of 54 minutes, The Empyrean contains no terrible songs and is an extremely neat display of what John is formidable with as far as compositions and instrumentation go. Its 70s progressive rock and psychedelic tendencies ironically sound fresh, and the kind of emotion the full-length offering boasts is too charismatic for words. Go give this a listen pronto.
John Lennon Unfinished Music No.1: Two Virgins	1.0
Unfinished Music No1 is undoubtedly an abomination crafted by The Beatles' John Lennon and Yoko Oh No; what type of condescending crap was this? I'm not sure if these two crazy lovebirds knew. The recording process is akin to a cocoon which is unable to reveal the monarch butterfly due to the strange atonal effects surrounding it. All of the racket going on in this 'album' keeps the insect-esque dome from showing its inner beauty, and the rest is history.
John Lennon Wedding Album	1.0
John Talabot Fin	4.0
The trope known as 'unintentional period piece' means nothing when applied to the interesting creation that is Fin. Based out of Barcelona, Spanish DJ/producer Oriol Riverola (aka John Talabot alongside other various aliases) has cooked up a full-length debut filled to the brim with both retro and modern characteristics. An electronic record at its very core, this 11-song album also carries musical influences like disco, trance, house, dance, and pop. Spanning 51 minutes in length, the material that makes up Fin goes through a variety of moods thanks to its dense songwriting as well as the samples provided throughout. Whilst the effort doesn't scream fully realized track-by-track (e.g. "Journeys" feels out of place; "El Oeste" is underwhelming despite that sick beat tho), Riverola has generally succeeded in making an album that will either make listeners get down or sit in reflection. Angel nominates: "Depak Ine," "Oro y Sangre," "Last Land," "When the Past Was Present," and "H.O.R.S.E."
Johnny Truant In the Library of Horrific Events	4.5
Fool me once, the rain will come to wash away tortured personages; but fool me more than that, a storm shall erase all traces of them. Released in the year 2005, In the Library of Horrific Events is capable of staying consistently remorseless and passionate throughout the 39-minute duration. Metalcore band Johnny Truant hit many right notes here, whether it be from a production quality standpoint or the instrumental department. If you thought the subgenre was toothless, unemotional, or panders too much to the younger generation, then it's acts such as this Brighton-based troupe that will implore you to think again. This is incredibly great material that the outfit is working with, and there are also exceptional composition skills to boot as well. Recommended tracks: "The Bloodening," "Realist Surrealist," "Throne Vertigo," and "Footprints in the Thunder".
Jon Lajoie You Want Some Of This?	4.0
As opposed to being unable to stick with either lolbad or lolgood, You Want Some of This? is a grand combination of the two semi-similar qualities. What further helps the album is Jon Lajoie's various one-liners ('My dick is like an airplane; it gives girls orgasms') and just how this Canadian is fully aware of how stupid the material itself is. "The Phonecall" is drawn out a bit more than it should be and "Stay at Home Dad" feels a bit empty, though the rest of this online-exclusive release is an overall joyous time to be had.
Josefin Ohrn + The Liberation Mirage	4.0
Julie Christmas The Bad Wife	4.5
There exists a battlefield of lullabies and wretched toys, all of which belong to the lovable Julie Christmas. Her solo album The Bad Wife covers quite a few moods, and this lady is entirely capable of tackling them with emotion and deliberate soundness.
June If you speak any faster	1.5
At its feeble-minded core, If You Speak Any Faster is boring, derivative, and shows that this band has acquired no special flavor. Aside from being another cookie-cutter pop punk group trying their hardest to channel their inner Fall Out Boy and The Red Jumpsuit Apparatus at the same time, that is. June's songs can be very infectious, but they're clearly stiff and without any character.
Juno Reactor Beyond the Infinite	4.0
Do pale zombies dream of electric headaches? When shall I be free from orbiting? Should you care if you forget to turn the oven off? It's these questions and then some I ask myself when Beyond the Infinite's content ventures through a pair of ears connected to my head. Whilst an admittedly loose trip on the right combination of steps, the recording is also quite attractive, being able to showcase just a bit more thought than what is envisioned. Conceived by Ben Watkins, London-based electronic music group Juno Reactor can extract one's soul and sever it in half taking into account what goes on during their third studio album's 67-minute length. Primarily a trance record, Beyond the Infinite isn't a walk in the park not to get lost in, for the release's overall personality alongside its throbbing production values are certainly a treat piled onto some nimrod's root beer float. The sampling occasionally adds more depth to the product while the composition choices are at least tasteful (if not relatively familiar). Solid work.
Jurassic 5 Power in Numbers	4.0
Bathing by candlelight with a visor on and a boombox the size of King Kong's chesticles, moments like these are best complimented when you've got an album which instantly gives off an easygoing, retro atmosphere - and amen, hallelujah, peanut butter can a record such as Power in Numbers fit that bill. Alternative hip hop ensemble Jurassic 5's third full-length offering is an engrossing listen at 56 minutes long, and contains much in the way of replay value taking into account all 17 tracks. Skillfully produced by contributors DJ Nu-Mark and Cut Chemist, the record's overall lasting appeal alongside a nice number of differing song styles is simply no joking matter. There aren't necessarily bad ditties in the context of Power in Numbers, although some tracks don't quite hit the target nearly as well as others that comprise this affair on a whole. Positively regarded.
Justin Bieber My World	1.0
If the DJ was playing one of my favorite songs, then I would've requested that the track should *not* be performed by this clown. We'll probably have no clue as to what all the girls saw in Justin Bieber - aside from, y'know, what they witnessed within all those other corporate, if not mildly inoffensive boy bands. My World makes for a fine EP to brainwash the youth of the nation at least.
Justin Bieber Purpose	3.0
Canadian singer-songwriter Justin Bieber is... well, let's just say he is a rather polarizing icon and leave it at that. Though it's by no means a fantastic comeback release, I'd be lying if I said Bieber's latest studio offering Purpose wasn't a step in the right direction. His vocals here are actually pleasurable, while the general production is snappy and suits this relatively focused version of Justin himself. Honestly, my score would be higher if not for the ridiculous chunk of filler; for example, "No Pressure" and "The Feeling" are two numbers I feel that drag the quality of the LP down (the latter especially), whilst "Life Is Worth Living" doesn't do much of anything worthwhile. Purpose could've worked way better as a mere EP, but as it is now, it's certainly acceptable. There ain't a need to chuck water bottles and Sour Patch Kids at Justin anymore.
Kamelot Haven	4.0
Frontman Tommy Karevik's performance is the one aspect on Kamelot's Haven that easily stands out the most, but let's not quickly dismiss the overall musicianship here. It's a solid slab of power metal which manages to take a few of its cues from the utilization of symphonic arrangements without really going overboard, and the clean production suits many of the songs on this album (namely "Veil of Elysium," "Under Grey Skies," and "Here's to the Fall"). The record is consistently on point as far as both composition and atmosphere go.
Kamijo Symphony of the Vampire	5.0
Symphony of the Vampire was brought to you by a man who skillfully harnesses the powers of beauty and downright intelligence. These seven songs - or 'movements', whichever you prefer - are crafted without hiccups nor any misplaced sections. Kamijo's voice is shimmering with radiance and compassion all throughout, and the musicianship here is absolutely flawless. Symphonic metal at its finest? Whether or not this epic is worthy of such an award is up to the listener...
Kanji West Chiisus	1.0
All this record has done is confirm my theory that Yeezy is secretly the whole Yakuza family crammed into one egocentric son of a biscuit. It's either that or he wants to become a literal devil in a new dress; Rick Ross' beard and weight had to be used for something, amirite, lads?
Kanon Wakeshima Lolitawork Libretto	4.5
On paper, amalgamating dark wave music with cellos and piano probably sounds a bit tiresome and gimmicky, though Kanon Wakeshima captures the essence of this profoundly. Lolitawork Libretto is not a mere album fixated on Kanon's angelic voice and immaculate choruses; it is a concise demonstration on what makes a girl work. You're going to be expecting very little weak points here.
Kanye West ye	2.0
In the words of Mr. Fuck-You-Hard-on-the-Sink West, I've only got this to say concerning ye: HUH?!?!?! ...That is all.
Kanye West The Life of Pablo	3.0
"WHAT IF WE FUCKED RIGHT IN THE MIDDLE OF THIS MOTHAFUCKIN DINNER TABLE/10 it's okay," said IGN.
Kanye West Yeezus	3.5
Yeezy is the sort of lad who will fuck you hard on the sink - and after that, he'll most likely get you something to drink. Eventually you notice that the new Corolla has been slightly scratched; okay, the new Corolla was smashed. Nonsense aside, Kanye West's sixth full-length record Yeezus is practically a different beast compared to its predecessor, for while My Beautiful Dark Twisted Fantasy drowned in excess with ultimately successful results, this album has more of a minimalist air about it. However, don't think for a second that Kanye's sixth LP is easy as 123, as Yeezus is the dude's most experimental release yet. Featuring elements of the typical hip hop sound alongside other styles like industrial, punk, dancehall, and drill, the album's diversity is both its strong suit and major weakness. The shorter tracks, whilst not entirely bad, have an issue with staying consistent while holding onto whatever variation is nearby, but the relatively longer songs are among some of Yeezy's most powerful ditties. It's obviously not on par with the 2010 behemoth, although I can say that Yeezus is an enjoyable enough affair courtesy of the monster. Angel recommends: "I Am a God," "Hold My Liquor," "Blood on the Leaves," "Guilt Trip," and "Bound 2". Uh-huh, honey.
Kanye West My Beautiful Dark Twisted Fantasy	4.5
Whenever he's not in a French ass restaurant waiting for his damn croissant, making bitches famous, or putting the pussy in a sarcophagus, Kanye Omari West is fixated on running for president of the United States in the year 2020. Putting all this aside, My Beautiful Dark Twisted Fantasy pretty much tells us that Kanye wanted to create his own masterpiece at the time his fifth studio album was released, and holy fuck did he come dangeously close to achieving that. Bathing in maximalism and splendor, this is a record that couldn't be any further from the concept of subtlety - and it's all the better for it, to be honest. My Beautiful Dark Twisted Fantasy basically contains a little something for everyone big, small, and average. No one man should have all that power, but lo and behold, Kanye does. I was admittedly extremely late to the party on this release, though I wasn't really late to taking up the quest.
Karl Sanders Saurian Exorcisms	4.5
Karl Sanders, most commonly known as the frontman for the ancient Egyptian-themed death metal band Nile, offered to the sarcophagus a chilling work of art he christened Saurian Exorcisms. Its many folk and ambient elements never cease to amuse the pharaohs or the legendary Tree of Woe itself. The various forms of chanting and atmospheric instrumentation utilized is in grandiose fashion almost all of the time, with Karl's interest in Egyptology and related themes doing a lot less harm and more enlightenment. Have a nifty manuscript out and meditate while you listen to the glorious collection of rituals and such that bear secret powers.
Katatonia Dead End Kings	4.5
Such doom and gloom was necessary - on top of the ethereal instrumentation - in order for Dead End Kings to become a mesmerizing metal album. While it might not be very complex or diverse, the keyboard melodies that are utilized to go along with Jonas Renske's maddeningly serene vocals really make this one into a formidable product of endless dystopia caused by overall terrific songwriting.
Kate Boy One	4.0
Swedish electropop group Kate Boy are yet another one of those new acts to keep an eye on and an ear open. Cohesive and refreshingly delightful, their 2015 debut album One is successful in landing more hits and very few misses, especially as far as frontwoman Kate Akhurst is concerned. Her vocals usually have that certain edge to them that makes the lady's performance automatically winsome, which is helped a bit by the backing instrumentals; seriously, those synthesizers are to die for. The full-length LP isn't an ultimate masterwork of any sort, though I can safely say that it's not lacking in the enjoyment department. Sexy stuff.
Kate Bush The Kick Inside	4.0
Affectionate as much as it is intoxicating, English songstress Kate Bush's debut full-length album is pretty remarkable when you take into consideration that she was 19 years old at the time of this record's release; granted, that's nothing unheard of these days, but dishing out something like this at a young age back then certainly proved admirable. The Kick Inside relies quite a lot on Kate's soaring vocal deliveries, and in that regard, the album's an effective one. While I am a bit miffed at the lack of diversity here, the good outweighs the bad, so you best consider yourself in for a real treat. By the by, I'd say that it doesn't hurt that the record is easy to digest with its 42-minute runtime.
Katy Perry Prism	2.0
Kauan Sorni Nai	5.0
Suffering from frostbite may not be a fate worse than death itself, though it's still nothing short of tragic. Speaking of tragedy, that's basically what Russian musical duo Kauan's 2015 studio album boils down to. At 52 minutes long, Sorni Nai is not only tragic in nature, yet highly emotive and speaks volumes about a cold, realistic journey rather than some kind of hopeful location. With flourishes of doom metal and post-rock galore, this is a record that focuses primarily on atmosphere - and succeeds to deliver just that. Sorni Nai is also reliant on telling a story, concerning nine hikers who were betrayed by the forces of Winter; or at least this is my way of looking at it. Compelling compositions, epic instrumentation, and one trip down a grimdark Memory Lane equals one of the best full-length releases to have come out this year.
Kaytranada 99.9%	4.0
Hooray, I found one of those records which possess the power to make listeners scream "Yahtzee!", culminating in a visit to a vast, three-dimensional garden where the night is young. 99.9% is an enjoyable experience from front to back, the kind of album that wears a hodgepodge of musical influences on its sleeve and knows what ticks well. Haitian-Canadian electronic music producer Louis Celestin's (aka Kaytranada) debut studio effort's issues are few and far between, and while the full-length does lose a bit of momentum towards the end, 99.9% is still a generally inviting release. Come for that harlequin cover, stay for a lot of honest-to-goodness bangers.
Kelis Tasty	4.0
Kelis' vocal performance on Tasty gives me that warm, yet comfortable feeling in both my head and between my legs; need I really say more? The second half of this album triumphs over the first wave of songs, although I still think "Milkshake" is an enjoyable, infectious tune... At least outside the context of the 2003 full-length record. Tasty is one splendid album in general, even if numbers such as "In Public" sort of slow its overall quality down.
Kelly Clarkson Breakaway	3.5
It's 2016 and I'm still certain that you people still sing along to the singles off this album, many years after 2004; there's no need to be ashamed, because Kelly Clarkson's second full-length album boasts really good compositions. Breakaway, while not exactly a flawless record from start to finish, is a neat example of a pop rock release that maintains a balance between natural emotion and blatant cheese. Although the second half of the album is where this recording begins to lose steam, Clarkson's sophomore album does contain a powerful first wave of songs which almost make up for it. Angel recommends: "Since U Been Gone," "Behind These Hazel Eyes," "Because of You," "Gone," and "Addicted". Now show us your Big Bob.
KEN mode Venerable	4.0
Venerable strikes an abrupt balance between noisy dissonance, forcefully natural shouts, and sludgy riffage. Kurt Ballou's production job even does a nice job at highlighting this album's various strengths whilst evading the one or two roadblocks that are thankfully nigh-absent. KEN mode is a band you just can't ever overlook and - once you've heard at least one track off this record - I implore you to travel through the rest.
Kendrick Lamar To Pimp a Butterfly	4.0
Though the duration of this album would've still been able to take advantage of being slightly trimmed down, To Pimp a Butterfly is most definitely worth sitting through. American rapper Kendrick Lamar toys with hip hop, funk, jazz, and soul with as much success as a bodybuilder wielding a megaton hammer, and his foray into poetry is quite impressive. "Mortal Man", a 12-minute epic, showcases his relatable spoken word verses almost perfectly. There exist music releases such as this in that the hype is pretty goddamn believable, no matter how cartoonish or realistic. I honestly think Kendrick's new full-length record has what it takes to further affect gender equality and discrimination, but then again, here's me talking out of my ass.
Kesha Animal	1.5
The peppy, but alcoholic cheerleader in me wants to really like Animal, but the grown-up, yet high-sounding douchebag in me has no choice but to loathe almost everything this album represents. "Tik Tok" is the sort of guilty pleasure you'll desire to regret after hearing it played more than at least 18 times, whilst tracks like "Blah Blah Blah" have only one true resting place: the dark fires where Ke$ha must sleep until she improves herself inside and out.
Kevin Federline Playing with Fire	1.0
Thank the hammer of Odin Kevin Federline left Britney alone at the time this momentous killer was made available.
Kevin Rudolf In The City	2.0
Khia Thug Misses	1.5
Damn you, Maffew. Now whenever I think back to that moment when Vince McMahon broke his neck on Monday Night Raw, I have to bear witness to the one-hit wonder who is Khia Finch. Our dirty rap artist is popping her pussy in many of the wrong directions on her 2002 debut album, entitled Thug Misses. Aside from its "So Bad, It's Good" lead single, the record has no other songs worth remembering, and Khia's personality (or lack thereof) leaves too much to be desired. It's essentially this one huge blur that won't make the listeners roll their tongues from the crack, and then back to the front.
Kid Cudi Speedin' Bullet 2 Heaven	1.0
Scott "Kid Cudi" Mescudi took a speedin' bullet 2 his mental capacity here, there's no mistaking that. What's really shocking about this whole album is that not even Mike Judge as Beavis, Butt-head, and Mr. Van Driessen can save the record. Kid Cudi's attempt at a rock album not only suffers greatly from weak instrumentation and appalling vocals, it's marred by copious amounts of filler. I hope the man on the moon decides to avoid this one.
Kid Cudi Passion, Pain & Demon Slayin’	3.0
Following a year of paying for the damages, chicken sandwiches, and making wild animal noises for God knows why, Cleveland-based actor and recording artist Scott Mescudi (aka Kid Cudi) dropped his sixth as well as latest full-length album. A substantial improvement over Speedin' Bullet 2 Heaven, Cudder merely had nowhere to go but up, this time around reverting back to a more hip hop direction while simultaneously moving forward in the process. Taking the background of this effort into account, Passion, Pain & Demon Slayin' is a bit attractive in that regard, even if the album overstays its welcome and is very inconsistent from a quality standpoint. Still a doable record overall and - once again - a sweet upswing compared to... that previous travesty. Angel recommends: "By Design," "ILLusions," "Rose Golden," "Does It," and "Surfin'".
Kid Rock First Kiss	1.0
Kid Rock Rock N Roll Jesus	1.5
Rock N Roll Jesus is all too much like a recipe on how to nearly butcher country rock. To give Kid Rock some credit, these albums *do* sell millions - and I'm a bit certain that pretty much the only circle of personages willing to fork over their dough for this particular record might've been bamboozled. Songs such as "All Summer Long" are very obnoxious even for a single, but at least "Half Your Age" isn't as horribly mediocre as the rest.
Kid Rock Grits Sandwiches for Breakfast	2.0
Kidz Bop Kidz Kidz Bop, Volume 9	1.0
A shameless marketing ploy from top to bottom, Kidz Bop, Volume 9 is waiting to spell out 'doom' for probably the more conscious of kids out there - that is, if anybody like this even exists. I can't fucking believe what those tone-deaf children did to "Feel Good Inc": the magical, but depressing charm and iconic laughter have been completely and utterly botched.
Killswitch Engage Killswitch Engage (2009)	2.5
Killswitch Engage Disarm the Descent	3.5
Killswitch Engage As Daylight Dies	4.0
The harmonized guitar melodies to go along with Howard Jones' ability to switch between gnarly screams and some inconsistent clean vocals would usually be something considered an easy target by metalhead elitists and whatnot. As Daylight Dies demonstrates, however, that this might as well not be the case. On this record, largely everything you'd expect from Killswitch Engage is on point, as the band members have great chemistry which is further exemplified due to how tenacious the songwriting is throughout. It's quite a miracle how these guys are one of the more respected metalcore groups to exist.
Killwhitneydead Never Good Enough For You	2.5
King 810 Proem	1.0
King 810 Memoirs of a Murderer	1.0
Memoirs of a Murderer gives the term 'copycat' a whole new meaning. There was no originality nor thought put into this album, and King 810 were more comfortable with having the bastard child of Frankie Palmeri and Corey Taylor run the entirety of the boring show. Calling the record a godawful hybrid of metalcore and nu metal is a bit of an understatement, because these guys have no identity of their own.
King 810 Midwest Monsters 2	1.0
King's X Gretchen Goes to Nebraska	4.5
This is just one of many special albums considered to be the ray of light shining down from the Heavens in your bedroom imprisoned by darkness and, above all else, isolation. Gretchen Goes to Nebraska showcases alternative metal band King's X pulling out as many stops as possible whilst cautiously marking their territory. Though the record does contain a slew of genres like prog, hard rock, gospel, and soul, the manner in which our honest triad utilizes such musical influences couldn't be any less incoherent. As far as musicianship goes, this 1989 classic is nigh-impervious; the metallic guitar riffing is like nourishment itself on top of a mulberry tree, while vocal melodies shared between Doug Pinnick and Ty Tabor are basically sensational and possess a sweet "more-than-meets-the-ear" mentality. Gretchen Goes to Nebraska as of late has been a criminally overlooked gem put out by a vastly underrated group of great, talented men whom have long been forgotten due to inexcusable reasons, what have you. However, even if the majority have no recollection of these guys, they can still give their material a proper looksie and go, "Aw, shit, where has this band been in my life?"
Kinoko Teikoku Uzu Ni Naru	4.5
Standing just slightly above the mushroom empire and literally caught in a whirlpool of matter, people altogether hold onto what's closest to ensure their survival - and what they end up touching is Uzu ni Naru, the debut mini-album by Japanese band Kinoko Teikoku. Containing 7 tracks chock full of dream pop, shoegazing, and indie flourishes, the 2012 release is sentimental as it is forthright in personality while somehow giving off a nuanced air throughout its length. From the angelic vocal harmonies to the very busy and simultaneously effervescent instrumentation, simply calling Uzu ni Naru a "beautiful" offering doesn't do the material on board justice. The bass work supplied by Shigeaki Taniguchi and the airy production befitting the sound these guys are going for is the icing on the cake.
KISS Music from "The Elder"	1.0
Kiss It Goodbye She Loves Me, She Loves Me Not	4.5
With the pure hostility and lack of toothlessness spewing out from Tim Singer's chaotic vocal performance, She Loves Me, She Loves Me Not is the type of metallic hardcore record willing to chokeslam any formidable competitors down on the steel concrete. The instrumentation is about as savage as it is guileful, and the production values fit the album's emotional sound like a tattered glove. You can probably see where Converge pulled some of their influences from.
Kissing Candice Blind Until We Burn	1.5
Basically every song on Kissing Candice's full-length debut record Blind Until We Burn amounts to recycled l.i.e.s. The album is terrible not because of the incompetency of the musicians (if anything, they're decent instrumentalists), but because of how much dilly-dallying is done throughout its 40-minute runtime. Kissing Candice's lame, almost non-existent composition chops pretty much overshadow whatever ounce of talent they can showcase. All Blind Until We Burn is is nonchalant genericore which could use some energy and also bite added to the LP.
Kittie I've Failed You	2.0
Kittie's latest album is akin to a chrysalis that is unable to morph into a butterfly. It seems as if the girls have improved as musicians, but sacrificed whatever songwriting abilities they had before I've Failed You. This entire record is, therefore, boring and hardly leaves its comfort zone.
Kittie Oracle	2.5
Heavy and abrasive as it is - with more melody also incorporated this time around - Kittie's sophomore album is merely that. In no way, shape, or form am I saying Oracle is a bad modern metal record; all-female group Kittie's second full-length effort boasts overall salvageable instrumentals and frontwoman Morgan Lander's vocals are also decent. These ladies are competent, sure, but if this album can prove anything, it's that the people who comprise Kittie are awful songwriters. Getting from Point A to Point B does not a fun, riveting experience make when one realizes just how predictable and unimpressive the material off Oracle is. A couple strong moments aren't enough to save the monotony that is studio album #2 for Kittie.
Kittie In the Black	2.5
Kittie Spit	3.0
Kittie gets a massive quantity of hate on here, I've noticed - biased or not. After having checked out their debut full-length album Spit, they're perhaps a band enjoyable in both small or borderline medium doses. This album does not have an original sound, though for a group of females who were amateurish, it's frankly not as horrendous as I expected. Morgan Lander's no Cristina Scabbia or Sandra Nasic in the vocal area, although she can lure a dolt or two in with those enraged screams of hers.
Kittie Funeral For Yesterday	3.0
Kittie's fourth studio album Funeral for Yesterday was arguably a step in a different direction, for better or worse. Morgan Lander utilizes more singing on here, with her growls a little less prominent this time around. The instrumentation and overall tone of the recording has a heavy metal edge as well, and it all ends up sounding real acceptable overall. There's no song that truly stands out amidst the rest of the crowd, but Kittie certainly aren't strangers to writing satisfyingly generic material. Now if only they could become better composers, the people who are either indifferent or have a strong, personal grudge against these girls might finally warm up to them.
Kitty FROSTBITE	4.0
(10/23/18): Sonically danceable as it is uniform, Kitty's 2014 EP has appropriately winter-esque production values and very downbeat lyricism to combat how much fun it sounds on a surface level. Beckwith's ethereal and subdued vocal delivery throughout these 5 tracks only adds to the surprising depth that FROSTBITE holds. Sure, the EP can be too consistent -- and personally there could've been a tad more to gnaw on -- although in cases such as this, that's not necessarily a negative.
KMFDM Attak	3.0
A bit expendable, but still a very fine recording for KMFDM's typical standards. Attak was the first official release by the band post-hiatus and also marked the true introduction of Lucia Cifarelli to the group's ranks. For the hungriest of industrial fans and the more diehard supporters of these Germans, this album is bound to tickle your fancy one way or another despite its repetitive nature. KMFDM have stuck close to what they do best here without much audacity (or lack thereof), although in their case, it's more or less a bearable decision.
KMFDM Don't Blow Your Top	3.0
As underdeveloped as this is, Don't Blow Your Top excels at one thing in particular: the album's fun to dance to. KMFDM relied on delivering good ol' party beats back then, and this collection of rave-centric jams are no exception.
KMFDM UAIOE	3.0
While the industrial and reggae elements don't always mesh well on UAIOE, these Germans know how to create groovy tracks for the world to hear. The album doesn't possess the guitar-driven style of future KMFDM material beginning with Angst, though this particular record is no more worse because of it.
KMFDM Opium	3.0
KMFDM's debut album was as interesting as it was a fun, danceable outing which doesn't fare better or worse than the industrial act's later material. Opium is simply another offering which will excite some, but might bore others due to its largely simplistic nature.
KMFDM Our Time Will Come	3.0
KMFDM at this point have exhausted themselves, almost to the point of running out of some ideas. Their latest album Our Time Will Come isn't going to break any ground for these guys, but it's still filled with catchy industrial elements. Truth be told, Lucia Cifarelli's vocals pack just a bit more punch than Sascha Konietzko's; the latter's a bit busy with holding back the other members, and can hardly deliver any noteworthy lines.
KMFDM Nihil	4.5
Somewhere near the land of rape and honey existed a German band who's put out more albums than a mutant woman has given birth to mechanical infants. Nihil, one of KMFDM's various studio releases, is one twisted fucker of an effort filled with Sascha Konietzko's compelling vocals backed up by frenzied synthesizers and other kinetic effects which speak to the penis as much as they talk to the heart. It's hard not to respect anything about the pulsating tracks that make up the record, that's for sure.
Knife Party Abandon Ship	2.0
Without any real character, substance, or much likability, Abandon Ship - the debut album by EDM outfit Knife Party - just comes off as a namby-pamby excuse for delivering the goods to any dysfunctional house party or night club. It's nothing offensively bad, though the record is offensively generic at the end of the day.
Knives Out! Black Mass Hysteria	3.5
Dog Fashion Disco's Todd Smith and Jasan Stepp in a band with contributors of Mudvayne and Nothingface? This baffled me at first, because it's like taking a giraffe and putting said animal in the same room as a decomposed silverback. As I listened to Black Mass Hysteria, though, I realized the album was actually pretty good. While it is quite on the unimaginative side, Knives Out!'s musicianship and Todd Smith's twisted (as usual) lyrics save this supergroup's debut from becoming a dud.
Korn The Path of Totality	2.0
To call The Path of Totality a failed experiment is going just a bit too far, don't you think? Nu metal and dubstep are much like oil and water, and it's quite apparent here on this album. Although the two genres coming together results in a serious abundance of unoriginality and monotonous wobbles supplied by underwhelming guest cameos, I'll give Korn credit for taking a risk upon recording this release no matter how detrimental it was to their career. To put it simply, there are other collaborations which exist that are more ghastly than the album known as The Path of Totality.
Korn Take a Look in the Mirror	2.5
Zzzzzzzzzz... With a few exceptions on the record here and there, Take a Look in the Mirror generally comes off as uninspired and lacks much in the way of substance. I find myself hesitant to call Bakersfield-based nu-metal act Korn's sixth studio album a bad offering per se, as the instrumentation is mostly salvageable, though the 2003 full-length is bogged down by unremarkable composition choices and Jonathan Davis' rather lame approach to vocals this time around; he rarely (if ever) gives a convincing performance during most of the tracks that so happen to be on display. Let's just say Take a Look in the Mirror hasn't held up too well like any of its predecessors such as the self-entitled debut or even Follow the Leader for this matter. Angel recommends: "Counting on Me," "Did My Time," "Everything I've Known," and "Let's Do This Now".
Korn Korn III: Remember Who You Are	2.5
Revisiting the past can make for both thrilling and predictable results; in nu metal band Korn's case, however, it is moreso the latter than it actually should be the former. What Korn III: Remember Who You Are amounts to is a collection of rehashed, aggressive ideas which were organic and better-executed back when it was still the 1990s, and this also means that - instead of moving on and growing a pair - lead vocalist Jonathan Davis has nothing else to whine about. Do I sound rude? Yeah, though it's also a little justified once you really start taking things into account here. Thank the lord that The Paradigm Shift saw these guys managing to right some of the wrongs found throughout this otherwise passable album.
Korn Untitled	3.0
Upon revisiting, I'm going to be super honest here: American nu-metal troupe Korn's eighth full-length affair is better for me now than it was in the past. Though it does offer those moments of complacency and can be fairly long-winded, the Bakersfield-based outfit's Untitled record boasts admittedly nice songwriting ideas combined with moderately likable instrumentation. This album has earned too much crap as the years went by, and while it isn't exactly enjoyable from start to finish, Korn's 2007 studio affair is the closest the entourage has to what can be considered a grower. Angel recommends: "Starting Over," "Kiss," "Ever Be," "Hushabye," and "I Will Protect You".
Korn The Paradigm Shift	3.0
To this day, many people out there in the universe applaud Korn, and they'll be at odds with the naysayers and cynics who commonly mock these sort of bands. Though it may not be an excellent offering, there's quite a bit to like about The Paradigm Shift, but mostly because Jonathan Davis and the others sort of try to recreate that old magic again. To the group's credit, some of the material on here barely lacks energy and can be fun to hear for what they are, mainly "Punishment Time," "Lullaby for a Sadist," and "Prey for Me".
Korn The Serenity of Suffering	3.5
Nobody understands my pain; no one can comprehend the idea of a 20-year-old biracial nimrod getting some mileage out of nu-metal. Another day rotting in vain, another day where I learn the concept of high quality rips. Ahem! In any case, Bakersfield, California-based quintet Korn (on the kob) have finally released their twelfth full-length album - and it's a fairly solid one at that. The Serenity of Suffering is a largely enjoyable record boasting intensity, fun, and the offering of course recalls a simpler time where we could yell "ARE YOU READY?" en masse and not get pelted by Megatron figures. Though some songs are clearly better than others, Korn's latest effort has good that outweighs any bad that can be sniffed out. The Serenity of Suffering is sound from an instrumental standpoint as well as acceptable regarding frontman Jonathan Davis' vocal performance. Oh, and the cover artwork done by Ron English is half-baked. Angel recommends: "Black Is the Soul," "The Hating," "Die Yet Another Night," and "When You're Not There".
Korn Follow the Leader	4.0
From both a commercial and recognition standpoint, most of nu metal quintet Korn's releases don't really outmatch their self-titled debut album; this was, after all, revolutionary for its time back in 1994. However, the band's third full-length outing Follow the Leader deserves brownie points for allowing them to become a mainstream name. If you ask me, the nostalgic force is strong with this one - and these days, I still think it holds up very well. Barring "Children of the Korn" and "All In the Family", which feature guest appearances by Ice Cube and Fred Durst respectively, there's not a horrendous track on here, though some songs are clearly better than others. Angelboros recommends: "It's On!," "Freak on a Leash," "Dead Bodies Everywhere," "Seed," and "My Gift to You". "Cameltosis" gets a special mention, also.
Kowloon Walled City Container Ships	4.0
Although Container Ships is a recording which doesn't come at us with a sui generis atmosphere, Kowloon Walled City can manage perfectly fine utilizing an undercurrent of throes - especially if you take into consideration how well-thought-out the material itself ended up becoming.
Kraftwerk The Man-Machine	5.0
The Man-Machine is exactly what it says on the tin: Kraftwerk generate electronica-based sounds throughout the album's duration, particularly specializing in the usage of vocoders and a rather exuberant melody to counter what might seem cold and soulless on the surface. Is there really any wonder how this group became so influential and managed to make a record chock full of - as Nick Butler put it - 'mini-masterpieces'? The six tracks presented on the release can prove that quality usually ends up being victorious over supercilious quantity, and these boys are taking us to a technological metropolis where humans live and breathe inside automatons.
Kratos Himself Imaginarium Revisited	4.0
To be at ease with slumber could possibly imply that people are willing to accept themselves and everyone else whom have formed a charming octagon around this other group. By resting, one will find more enjoyment out of Imaginarium Revisited than what would've been expected if that figure was active on his/her own two feet. The Netherlands-based record producer Kratos Himself bears piles upon piles of potential, and manages to utilize most of what he's capable of doing on this 2016 release. A combination of two EPs plus a few new bonus songs that keep things fresh, Imaginarium Revisited features divergent emotions alongside showcasing Kratos' method of infusing hip hop sounds with jazzy tinges. The second half of the offering is more consistent while admittedly feeling less like some epic journey, although the first stretch of tracks are not entirely pointless by any means. Again, Kratos Himself displays fascinating promise with this fused recording that will certainly grow on those who are indifferent or don't plain like it the first or second time around.
KSI Keep Up (EP)	1.0
You know that one dance move a certain somebody name drops in that one song that takes its moniker from another dance which has gotten ridiculously popular lately? KSI, I'm about to literally break yo legs.
Kuroki Nagisa Jiyu Ritsu	4.5
Although she's still flying solo at this point, Kuroki Nagisa proves to be just as good on her own (if not better) as she was when Kenji and Satoshi were a part of the act. Nagisa's second full-length effort, Jiyu Ritsu, has no weak tracks on it, and there's very nearly a timeless appeal to the record. Not counting the self-titled mini-album, this is probably one of the most entertaining modern J-Rock/Pop releases that I've ever encountered in my life (it's up there with Today Is a Beautiful Day by Supercell); yes, that's a bold statement, but you would have to be a little dense in order to miss out on both Jiyu Ritsu and Kuroki Nagisa. All you as the listener will have to do is simple, but no less satisfying: 1) read CalculatingInfinity's sound-off, and 2) it's a safe bet that this offering's first two songs alone might lure you in to an endearing world. More folks may as well make it their mission to check what this lady has in her arsenal.
Kuroki Nagisa Kuroki Nagisa	5.0
Like a sponge, I wholeheartedly encourage you to absorb the contents of this mini-album. Released during a time when Kenji Motokawa and Satoshi still had Kuroki Nagisa's six, Kuroki Nagisa is dauntless in musical approach and blue-ribbon in execution, and you'll find it burdensome to outgrow any of these songs. As the listener, do you find Japanese rock, female songwriters, or both to be welcoming? If that should be the case, move through this hospital of orgasmic formulation immediately. A-fucking-1.
Kuroyume Mayoeru Yuritachi ~Romance of Scarlet~	4.5
Kurt Cobain Montage of Heck: The Home Recordings	1.5
A more appropriate title for this release would be Universal Fucks Up a Legacy: The Home Recordings. While it might not be the label's (and Courtney Love's, for that matter) fault entirely, my gut is telling me that ex-Nirvana primary songwriter and vocalist Kurt Cobain wouldn't have wanted this to see the light of day. On the subject of Cobain himself, it was here where he demonstrated a "composer first, musician second" mindset; he could write tunes fine if "Clean Up Before She Comes" and "Sappy" are of any indication, but the grunge icon was dreadful in other areas. I like to think of this LP as a cadaver being utilized as a marionette - and boy, how wrong that is.
Kurushimi Kurushimi	2.0
Art is used as a catharsis for various things except this record, because in the case of Kurushimi's self-titled LP, art is instead utilized as a mere time waster. If the wind family could talk and think just like human beings and other similar creatures, they would be yelling this ad nauseam: "The 9-track studio album we just sat through sax!"
Kutless Sea of Faces	1.5
Kyary Pamyu Pamyu Nandacollection	4.0
Nanda Collection's pronounced quirkiness and downright irresistible vocals courtesy of Kiriko Takemura - or commonly known as Kyary Pamyu Pamyu - are just two characteristics able to attract listeners who've just recently stumbled upon this J-pop album. Kyary's cuteness (though I might as well be saying 'kawaiiness') may be a bit too much to bear, though if you find no issues with it, then maybe the record will end up becoming sensational enough.
L'arc-en-Ciel Smile	4.0
It may seem like unimpressive J-rock to the minority that's out there, but there's a certain elegance to Smile which should make you want to come back to it a few more times just to really appreciate how much the songwriting can tug at the heartstrings. "Ready Steady Go" was undeniably my gateway to knowing about L'arc-en-Ciel, because it was the second opening theme to the 2003 anime adaptation of Fullmetal Alchemist; that, and the song unto itself is a guaranteed earworm. Anyway, the record is packed full of soaring vocal qualities provided by hyde and some rather well-developed guitar work - noticeable on such tracks like "Time Goes On," "Spirit Dreams Inside," and "Coming Closer".
L7 Bricks Are Heavy	4.0
Once you start and think about it, Bricks Are Heavy not only implies that this all-female grunge band's music kicks serious butt, the album is secretly telling us how much men really pale in comparison; fuck us, right? However, with that said, L7 have created a primarily steady, Amazonian record containing lots to digest and spit out like a warrior - only to chew the material up again because this is just too good.
Lacey Sturm Life Screams	3.5
I'll be happy to get a little something something off my chest: I used to have the biggest crush on ex-Flyleaf singer Lacey Sturm when I was younger. Nostalgic hots aside, it is now the year 2016 and this enthusiastic Christian has churned out her debut studio album. Entitled Life Screams, the record offers instrumentation that is only decent at best, and yet the underwhelming musicianship can be overlooked in favor of Lacey's vocal performance; as the years and years passed like a submarine up in the clouds, her vocals managed to get slightly better. I already thought Sturm was a pretty good frontwoman during her tenure with FL, but Life Screams is home to some of the 34-year-old's best singing yet. In the main, Lacey Sturm's solo debut LP boasts a fairly believable atmosphere accentuated by the lady's generally passionate vocal deliveries. Angel recommends: "The Soldier," "You're Not Alone," "Life Screams," "Faith," and "Run to You".
Lacuna Coil Shallow Life	2.0
Lacuna Coil Broken Crown Halo	2.5
Broken Crown Halo benefits from decent instrumentation and Cristina Scabbia's lovely vocal performance, but can't utilize anything else to the album's advantage. The harshness of Andrea Ferro's voice and some of the keyboard melodies aren't even enough for quite a number of people actually to revisit this, whether they feel like it or not.
Lacuna Coil Karmacode	3.0
Lacuna Coil Delirium	3.0
Obtaining madness is something that can only count in horseshoes and hand grenades. One of these days, people are bound to come to a conclusion that craziness for the sake of it just isn't enough; in case of seeking a better, less shallow life, folks have to find different methods as far as acting unhinged is concerned while ironically capturing newfound sanity in the process. That sure as hell didn't make sense, but this at least does: Italian gothic metal group Lacuna "Beach" Coil are sounding better on their latest studio album here than on the last few records they put out (albeit not by much). The band's eighth full-length affair Delirium is a fine effort on their part and isn't quite as forgettable as something like the previous release Broken Crown Halo. It's by no means outstanding and I kinda sorta wish male vocalist Andrea Ferro went bye-bye at this point, but at the end of the day, Lacuna's newest LP is a step in a relatively better direction. Angel recommends: "Blood, Tears, Dust," "Ghost in the Mist," "My Demons," and "Ultima Ratio". On another note, this ensemble's cover of the Madonna track "Live to Tell" isn't half-bad to be honest.
Lacuna Coil Unleashed Memories	4.0
Lady Gaga The Fame Monster	3.0
Lady Gaga is not one of those mind-blowing goddesses who can easily pass off as a miracle worker, and she isn't all that unique in the slightest. You could say her artistic integrity was inspired by the likes of Madonna, David Bowie, or - here's someone a bit left field - possibly even Marilyn Manson; simulatenously in the process, you might be branded as a biased cunt, but whatever. All of it's not vital in the world, for the material of an artist fills that role. Down to the nitty-gritty, The Fame Monster is a simple mini-album which relies on catchy dance beats and pop traits, though it occasionally features a darker approach which I just can't elaborate on. This EP works just fine on its own in the end.
Lady Sovereign Public Warning	2.5
Stuff a batch of tea and crumpets into Missy Elliott, turn her white, and there you have Lady Sovereign. To this girl's credit, Public Warning shows that she's got spunk and doesn't really hesitate on flaunting said attitude, even if it is an act. The elements of grime, hip hop, and the occasional pop sensibility could've been utilized more properly and Sovereign's noticeable English accent will be grating towards a few listeners.
Laked God and Yak Butt Pirate Bible Force	5.0
As long as you attractive and you know how to suck, then this dynamite of a release is certainly for you. I hear bitches call Joey Brown Donkey Kong, and that's dope as shit right there...
Lamb Lamb	5.0
By breathing on the cake that slowly converts into ambrosia, one can achieve eternal life; it's hyperbolic on my end, though Lamb have managed to respire upon that delicacy in regards to their self-titled debut album likewise. The Manchester-based electronic duo not only fire on all cylinders here, they strike a combination of fear and beauty into them. Including stylistic elements such as drum and bass, trip hop, and jazz, Lamb is a generally spiritual record with not a precious moment wasted. The ethereal atmosphere this outing emits when put next to equally magical production and Lou Rhodes' seasoned vocal deliveries is like a match made in Heaven. Sure, it might not be so terribly sui generis in hindsight, though what Lamb do well, they do it amazingly at the end of the day. Don't bother trying to let the double team's first full-length slip under the radar. Angel recommends: "Cotton Wool," "Trans Fatty Acid," "Merge," "Gorecki," and "Feela".
Lamb of God Sacrament	3.5
To question one's life means to literally knock on Death's door, for at this point, many should not fear the Reaper. Sacrament reflects this quite well, what with the slight risk of bearing crystal clear quality to go along with the typical characteristics that Lamb of God are familiar with. This is a satisfying album to hear while swimming in the pits of Hell, and a delightful record to experience whilst snapping necks.
Lana Del Rey Born to Die	3.0
Based in New York, American singer-songwriter and model Elizabeth Grant (aka Lana Del Rey) is a woman I've been hearing a lot of talk about for weeks, months, and cellophane flowers leading up to my eventual venture through Born to Die. Mainly a baroque pop release that was made available in the year 2012, Grant's second studio album and major-label debut is cinematic from a production standpoint and I find the lady's vocals fairly likable for the most part, though it's easy to see why Lana Del Rey's voice could be distracting for a few folks; either you enjoy her performance or you flat-out don't, no real middle ground. Born to Die definitely has its moments, although the songwriting choices prove underwhelming at points alongside this record's admittedly scattershot nature. Best listened to upon relaxing. Angel recommends: "Off to the Races," "Video Games," "Diet Mountain Dew," "Carmen," and "Summertime Sadness".
Last Chance to Reason Lvl. 1	3.5
Lvl. 1 is a serving of progressive metalcore with a side order of blatant video game references; song titles like "Kraid Ain't Got Shit on Me" and the cover art will do nothing to make you think otherwise. Last Chance of Reason's debut studio album is definitely a likeable album and the production quality suits the tone of it nicely. The vocals on the other end of the spectrum are honestly a little atrocious and sound as if they could've belonged to any other frontman leading a deathcore band from the MySpace days. Maybe after I beat the first level, the next ones will involve a difficulty spike or two.
Last Days of Humanity Sound Of Rancid Juices Sloshing Around Your Coffin	3.0
Last Days of Humanity's debut studio album is all in impure, pitch-shifted fun. Just by keeping a straight face, you won't get to know The Sound of Rancid Juices Sloshing Around Your Coffin inside and out. Some are willing to dismiss the collection of tracks on here as a false representation of grindcore; not all grind outfits have to impersonate Discordance Axis or Rotten Sound to be honest, and not every band should concern themselves with anti-political themes or any subject related to that. Many of the songs, though lacking in a clear identity, are groovy and a bit persistent. Keep in mind that the pitch-shifted vocal delivery courtesy of the frontman will either grate the ear canals or pique a sick listener's interest.
Last Days of Humanity Hymns Of Indigestible Suppuration	3.5
Hymns of Indigestible Suppuration is yet another edible goregrind album which will obviously please those who are into this malicious genre. It's equipped with simplistic, but very enjoyable riffs and pitch-shifted roars that wouldn't go unnoticed inside a meticulously-planned toilet.
Last House on the Left Among Flies	2.0
Picturing myself participating in a mandatory baseball game, I'm ready to step up to the plate. With a bat in hand, I keep my eye on what isn't the ball, but instead Among Flies by New Albuquerque-based death metal outfit Last House on the Left. The giver winds up for the pitch, and as he throws the studio album in my direction, I intentionally earn three strikes - I'm out! Now why do you suppose somebody like me chose not to hit said full-length record? Plain and simple: there was just no point. While the 2008 LP does show that the members of Last House on the Left are instrumentally talented, that's really all there is to the quality of this album. The overall pedestrian composition job and cheap production values on Among Flies serve to be its two most egregious flaws and then some. Come for the admittedly creepy artwork, fall asleep or leave because of everything else on display.
Legionnaire (DE) Legionnaire	1.5
What little potential Legionnaire's debut EP has going for it is almost destroyed by unremarkable songwriting choices and a sterile-sounding production job. Come future releases, this German metal quintet should improve upon their composition game if they ever intend on getting anywhere within the scene. While they're at it, I would also suggest hiring a better frontman (i.e. one who doesn't deliver lifeless vocal deliveries).
Less Than Jake Losing Streak	4.0
letlive. If I'm the Devil...	2.0
That feel when slumber itself is more entertaining than pretty much the majority of what comprises If I'm the Devil.... Post-hardcore troupe Letlive's fourth studio album and newest addition to the group's discography is aimless and sounds rather stolid, proving that Fake History and even The Blackest Beautiful to an extent were flukes. It's forgettable, uninspired, and the shift in overall musical style just wasn't executed with enough finesse. Change is acceptable only with proper care and presentation, and Letlive don't appear to care all that much here. They're one or two steps closer to becoming the next Rise Against, I can see it now.
letlive. The Blackest Beautiful	3.5
An album like The Blackest Beautiful ought to be deemed a hellacious pigsty, what with the sound quality being a tad more than muddy and the certain spoken word sections (e.g. "27 Club") coming off as condescending. American post-hardcore unit Letlive. somehow use both aspects on this record to their advantage for the most part, which in turn compliment frontman Jason Butler's kinetic vocal delivery. The 2013 offering doesn't always hit a grand slam if I'm being frank, but there do exist moments on the Los Angeles-based band's third full-length recording which can justify a home run in one way or another.
Libido Airbag Barrel Blowjob	3.0
The gurgling on Barrel Blowjob that's usually interspersed with those sexual-filled electronics is a bit underwhelming, but still salvageable. Libido Airbag for Cybergrind President, though!
Lie Or Liar LIE OR LIAR	1.5
So if those other three sound-offs didn't convince you, not even a giant slap to the sternum will. Down to the nitty-gritty, Lie or Liar's self-titled debut recording is ultimately a bunch of horseshit taken from a lot of what plagues modern metalcore bound by not the thread of fate, but instead a thread of inane cliches that really aren't capitalized on one iota. Though it's instrumentally decent enough to justify the extra .5, this overall handiwork can't save the release from horrid vocals and boring-as-sin songwriting capabilities; as in, whatever sign of actual composition is there.
Light the Torch The Beauty of Destruction	2.5
As much as it pains me to have to say this, The Beauty of Destruction is predictable, by-the-numbers metalcore. You can go ahead and shoot me down - especially since John Sankey and Howard Jones are involved in this supergroup - but considering the bandmates' history and all that jazz, I was expecting something more fleshed out and consistent production-wise. Oh, don't get me wrong, Devil You Know's debut album pretty much screams hidden strength. This contains one of Howard's best vocal performances, yet the underwhelming arrangements get terrifyingly close to leaving a bitter taste in my uvula.
Light the Torch They Bleed Red	3.5
American metalcore supergroup Devil You Know's debut album, The Beauty of Destruction, made for an okay first impression. An overall decent record, the quality of this album was marred by weak production values, neutered clean vocals from frontman Howard Jones (don't worry, his screaming was still on point), and underwhelming arrangements. Some of the issues on the last release were sorted out here, thankfully. They Bleed Red not only boasts stronger instrumentation, but also better songwriting ("Let the Pain Take Hold" and "Broken by the Cold" benefit from it pretty well). While Howard's singing voice continues to be irritating as of late and the dated production is noticeable in places, I think the good outweighs the bad. On a side note, be wary of this band's rendition of "Eye of the Tiger".
Light Up the Sky Nightlife	2.0
Lights The Listening	4.0
Yes, the songs on The Listening are formulaic to the point of sheer instant replay... However, it all ends up becoming excusable for Lights herself. The tracks - notably "Ice," "Second Go," and "Saviour" - are enveloped by an air of infection which is too good to pass up. Their immediate catchiness is helped by Lights' endearing voice and thoughtful (if on the awkward scale) lyricism. Her debut album is all-around adorable electropop with synths which hardly interrupt any song's drive.
Like Moths to Flames The Dying Things We Live For	2.5
Risecore is as Risecore does. Dayton-based metalcore band Like Moths to Flames are like worms inside a giant colosseum trying to get from one side to the other, and yet they're hardly getting a move on. The group's 2015 studio album has admittedly decent musicianship and vocals, but basically suffers greatly from a lack of compelling compositions. A majority of the tracks that make up The Dying Things We Live For only end up bleeding into one another, and there aren't really any noteworthy moments to speak of as a result. Laziness such as this could penetrate a school of sloths, and God forbid that this kind of lethargy might even kill them in due time.
Lil Jon Crunk Rock	1.5
Fred Flintstone's gonna be pissed that Lil Jon has disgraced the town of Bedrock. 'Yabba dabba crunk!' just does not have a ring to it, y'know what I'm saying?
Lil Ugly Mane Oblivion Access	4.5
People can tell you otherwise, but Richmond, Virginia is both literally and figuratively a dark hellhole disguised as some unassuming location. The population is mentally stable at first glance, but then you opt to dig deeper and deeper until you come to the realization that Richmond's folks are hurting. Lil Ugly Mane is one of those people, and I'll be damned if Oblivion Access doesn't do an amazing job at showcasing that. By no means is the 2015 album listener-friendly, and in no way is it a joyous walk on the rainbow. With remarkable abrasiveness, interesting unpredictability, and an urge to poop, Lil Ugly Mane churned out a genuine record that warrants multiple listens; said listens will be all worthwhile.
Lil Wayne Rebirth	1.0
If you're in the process of putting together a rock album such as this while not really stripping the rap aesthetic away, then why not just strike a conversation with the ones called Sheer and Effort? I suppose Weezy forgot all about said rendezvous, for somebody at Cash Money must've picked the world up and dropped it on his fucking head.
Lily Allen Alright, Still	4.0
Lily Allen's debut album Alright, Still doesn't necessarily leave much to be desired. At its core, this full-length recording is outsider-like pop music with ska and reggae elements not too far from the overall sugary, but somehow darkly eccentric atmosphere Lily has going for her. An offering like this, whilst not as distinctive or impervious as us stupid little twats are led to believe, is still very solid and a fortunately well-rounded puppy.
Limp Bizkit Results May Vary	1.5
(12/30/18): Easily stands as Limp Bizkit's most uneventful, exhausting record to date. I'd hesitate to call most of the band's other studio efforts 'great' or even 'meaningful', but at least those didn't quite strike the same feeling of dread in my heart that Results May Vary did (still does btw). Aside from "Red Light - Green Light," "Head for the Barricade," and the sole decent power ballad "Build a Bridge," the material on display was all too flaccid and sloppily executed to even so much as snicker at. LB's 2003 outing altogether committed a sin bigger than being conceived by Limp Bizkit or simply having Durst involved, and that offense's name is monotony. Decent 1.5.
Limp Bizkit Chocolate Starfish and the Hot Dog Flavored Water	2.5
(12/30/18): My views on this record pretty much echo the sentiments had on Limp Bizkit's previous LP. Chocolate Starfish and the Hot Dog Flavored This Album Title Is Oscarworthy warrant more or less the same criticisms Significant Other earned. They're both overlong, contain quite a number of slapdash songwriting choices, and uh... Fred Durst on the mic. With that said, the instrumentation was still very much on point, and I wouldn't go so far as to call any of the tracks here forgettable. It bears repeating in all caps: DUMB. FUN. IN SHORT. BURSTS. Decent 2.5
Limp Bizkit Significant Other	2.5
(12/30/18): Along with their third full-length release which came out a year later, Limp Bizkit's sophomore offering Significant Other was when the band's popularity had skyrocketed -- for better or worse. Aside from a more polished production style and a stronger emphasis on hip hop, this wasn't too much of a radical departure from Three Dollar Bill, Y'all$. Like the material that arrived before *and* after this one (Results May Vary notwithstanding), LB's brand of nu-metal is stupid fun in bursts, provided listeners can stomach the excessive running time, inconsistent songcraft quality, and um... Mr. Chocolate Starfish himself, Fred Durst. Strong 2.5
Limp Bizkit The Unquestionable Truth - Part I	3.0
(12/30/18): Sonically speaking, The Unquestionable Truth... Part I has stood as Limp Bizkit's darkest and most raw-sounding effort since their debut album. Ross Robinson produced both releases, so I feel his influence was partly responsible. It remains an intriguing enough listen, not to mention this EP A) doesn't overstay its welcome; and B) the thing was a giant upgrade from Results May Vary, not that being better than the last full-length was hard. Even Fred Durst toned down his more annoying characteristics to accommodate for both the musical direction and ominous subject matter that's ever so omnipresent -- 'toned down' are the key words here. Strong 3. At this point, I'd rather Part II of TUT than Stampede of the Disco Elephants. Just sayin'!
Limp Bizkit Three Dollar Bill Y'all	3.0
(1/1/19): Prior to any ego boosts or giant controversies, Limp Bizkit on their debut studio offering were five guys who performed in an unpolished, frenetic nu-metal style. With 13 tracks altogether, Three Dollar Bill, Y'all$ had a darker, less refined sound than the majority of the LB records that would follow, with the hip hop influence having been understated (albeit present), too. This full-length made for an interesting first impression, and checking it out now is even more intriguing in light of acquiring the knowledge concerning all future releases. Those that have a difficult time stomaching the group's stealth parody element (and by extension, Fred Durst) might wanna give LB's freshman affair a chance... and even The Unquestionable Truth. Decent 3.
Limp Bizkit Gold Cobra	3.5
(12/31/18): {gasp} A Limp Bizkit outing that got rewarded something over a 2.5 from this user, much less a 3? What is this black magic!? Claims of generosity aside, Gold Cobra was honestly the most unironic fun I've ever had listening to an LB record from beginning to end. Musically it hearkened back to the infamous group's established sound unlike Results May Vary, with ensemble dark horse Wes Borland's guitar wizardry being the MVP. Meanwhile, the production values for this 2011 affair were akin to The Unquestionable Truth if the EP was written for stadiums in mind. To add to that, thank Christ these fellows finally managed to put out a full-length that lasted well under an hour long! Light/decent 3.5. Angel recommends: "Gold Cobra," "Get a Life," "Shotgun," "Walking Away," and "Why Try".
Lindemann Skills In Pills	4.0
It's still 2015 and the crummy world we're living in is now Till Lindemann and Peter Tagtgren's oyster. Skills in Pills is a party album, just to set the record straight here, so it isn't some fancy shmancy offering with a boatload of sophistication. This debut effort also isn't very creative, either, but what it most certainly is is a fun burst of dance-metal; think Neue Deutsche Harte band Rammstein (Till's main outfit), but with that group's sense of humor cranked up sevenfold. Skills in Pills is a very appropriate summertime release and Peter's contributions make the whole thing quite worthwhile. Till himself sings in English here, too, and despite the corny as shit lyricism, he sounds surprisingly effective outside his native tongue.
Lindsey Stirling Shatter Me	3.0
You know what the press likes to say, often to the point of reiterating until the cows come home: America's got talent. However, in the case of violinist and composer Lindsey Stirling, technique is something that can only get this Californian native so far. Her sophomore full-length effort Shatter Me relies on style more than it does substance, rather than finding either a balance between the two or highlighting the latter. Solid instrumentation and a pretty interesting concept woven into the record do not a sempiternal, cohesive album make; if anything, Stirling's second official release comes off as uneven in quality. It's enjoyable, albeit not too unforgettable in the slightest, and the hype surrounding Lindsey Stirling herself is baffling.
Ling Tosite Sigure I'mperfect	4.0
Everybody has one, two, or three albums that don't exactly speak to them at first, but given time, they grow quite fond of them - almost to the point of deeming them as flawless. i'mperfect by Ling Tosite Sigure is one of those CDs which can pull somebody in with its high-flying melodies, articulate heaviness (when it enters the scenario), and practically math-esque guitar work.
Linkin Park Xero	2.5
People don't seem to keep in mind that Xero was a demo; granted, not a perfectly established one, but it is what it is. The only two gripes I have with this are the awful production values and Mark Wakefield's vocals: he's not necessarily terrible, yet the dude simply lacks energy. Beyond these flaws, this offering does make for a slightly intriguing listen. If you despise Chester "CRAAAAAWLING IIIIIN MY SKIIIIIIN!!!" Bennington's guts, then maybe you might appreciate this little by little... or perhaps no.
Linkin Park Minutes to Midnight	2.5
(7/23/17): In light of lead vocalist Chester Bennington's passing, here I am doing a little retrospective on Minutes to Midnight, which was Linkin Park's third full-length and also their first album to deviate almost entirely from the nu-metal undertones that permeated the band's past two records. Sporting 12 tracks in all, studio offering #3's biggest crime other than the subpar production values lies within the pacing/structure; for one thing, why LP had "Bleed It Out" sandwiched between one nice ballad-esque ditty and another okayish slow burner is beyond me. Also sonically speaking, whilst I can appreciate this outfit's decision to avoid becoming pigeonholed, the music in itself doesn't offer too much in the way of personality nor confidence. But even so, Minutes to Midnight does contain some very potent instrumentation and vocal performances at the end of the day here. Angel recommends: "Given Up," "Leave Out All the Rest," "What I've Done," "In Pieces" to some extent, and "The Little Things Give You Away".
Linkin Park A Thousand Suns	3.0
A Thousand Suns is actually quite satisfying when treated as a collection of tunes; weirdly enough, when one looks at it as the concept album that Linkin Park intended it to be, the overall release can come across as indulgent and not really as likeable as you're being led to believe. Now just because LP took a relatively more sophisticated approach to their music, doesn't mean that it'll surpass what they've done on their first two full-lengths - but if I'm being honest, at least this and Living Things have something to offer unlike Minutes to Midnight. Those who are usually apathetic to nu metal might appreciate LP's fourth official recording's mature sound as well as the overall message behind it, and as for the people whom still aren't convinced, then just shut up when I'm talking to you. Angelboros recommends: "When They Come for Me," "Robot Boy," "Wretches and Kings," and "The Catalyst".
Linkin Park Living Things	3.0
(7/23/17): From a musical standpoint, influential modern rock unit Linkin Park's fifth studio album is a logical progression from A Thousand Suns, heavily borrowing that release's electronic influence all whilst toning down the experimentalism alongside bringing back the urgency of LP's first two full-length efforts (albeit halfheartedly). On top of all this, unlike its predecessor, Living Things establishes much less of an overarching theme and tackles numerous subjects; therefore this album bears a more 'song-centric' feel. Honestly my opinion on the offering now hasn't changed much - it's still alright on Linkin Park's end. When the craftsmanship grabs your attention, the instrumentation grabs, and one can't really typecast them, though it is unfortunately short on standout tracks plus the structuring just seems uneven.
Linkin Park Hybrid Theory	3.5
Whether one truly likes it or not, Linkin Park built upon this legacy for themselves that will still be remembered decades later, and that's pretty much thanks to their first two studio albums that proved extremely popular around the time they came into fruition. Hybrid Theory, the rock band's debut full-length release, doesn't have anything unique or mesmerizing going for it in spite of what a vocal majority (uncivilized monkeys) will say otherwise. Hell, you can easily make claims that this record exists for the sole purpose of cashing in on the nu metal movement. Although it is unoriginal and should've benefitted more from composition rather than outright wangst, I believe this album's lack of creativity can be overlooked because it's clear that LP don't fuck around in the musicianship department. Chester Bennington and Mike Shinoda make for a good vocalist duo in my eyes, whilst Don Gilmore's production values resonate absolutely fine with Linkin Park's abrasive, yet also melodic style. Even though the praise Hybrid Theory receives at this point in humanity as we know it is stretching things quite a bit, this is by no means a shitty offering. Recommended songs: "Papercut," "Points of Authority," "Runaway," "By Myself," and "Cure for the Itch". "In the End", in all its overrated, sing-along glory, does deserve an honorable mention.
Linkin Park Meteora	4.0
Let me get something off my chest here, all while I prepare for incoming grenades filled with cyanide and shitstorms: Meteora contains what I believe to be Linkin Park's most achieved sound. On the California-based outfit's second full-length recording, the band's traditional elements of nu and rap metal coalesce together alongside a slightly offbeat - but no less melodic, thankfully - nature to form a work of stability that is both mature and puerile simultaneously. When a shake up or two comes into play (i.e. the incorporation of the shakuhachi flute on "Nobody's Listening"), it helps LP's songwriting abilities rather than merely functioning as some kind of detriment. Hybrid Theory is acceptable enough for me to revisit from time to time, but Meteora's predecessor is also a bit weaker in terms of quality.
Lionize Space Pope and the Glass Machine	4.0
Drive up to the clouds, greet Jah with a high five, and then fly back down to Planet Earth; oh, and do be certain that Space Pope + the Glass Machine is playing because it's quite a blast. From Maryland, American rock entourage Lionize's second studio offering is a reggae-infused effort that also brings traces of funk and stoner rock to the table. Clocking in at 50 minutes, there's not really much the band manage to get wrong here, with the synergy between this album's contributors being effective enough to justify repeat after repeat. From the smoothness of the vocals to the (surprise, surprise) potent rhythm section and even the horns utilized throughout, Lionize deserve points for delivering quality entertainment during a majority of Space Pope + the Glass Machine's duration.
LiSA Landspace	3.0
Japanese singer-songwriter Risa Oribe, much better known by her alias Lisa (stylized as LiSA) is one of those J-Pop musicians who are remembered more for their singles than they are any full-length releases or EPs; that goes double if the songs which warrant singles become heavily associated with an anime series. LiSA's 2013 studio album Landspace, while seriously uninventive as far as compositions go, is still a pleasing record that's able to do a fine job at highlighting Oribe's overall assertive vocal delivery. The provided musicianship isn't entirely significant by any stretch, although what is utilized ends up being alright. A pretty fun offering; nothing more, and nothing less. "crossing field" and the final two tracks are the tunes I wholeheartedly recommend.
Little Dragon Little Dragon	4.0
Swedish electronic band Little Dragon's self-titled debut release is certainly a studio album made for sensual nights, though it also works nicely if you often find yourself getting lost underwater (you wouldn't be drowning in this context). With a charming amalgamation of soul, trip hop, and R&B sounds to go along with frontwoman Yukimi Nagano's generally tender vocal performance, whatever issues that Little Dragon contains are pretty much few and far between. It takes the brain away from calamity and places it deep inside a forest of calmness.
Little Simz A Curious Tale Of Trials + Persons	4.5
Liturgy The Ark Work	3.5
To have the power to feed on crimson nectar, one must first and foremost analyze just what makes it so divided amongst its predators; I believe The Ark Work plays the same role. Transcendental black metal the album sure isn't, but ambitious and kinda sitting upon the creative tower it is. Liturgy mastermind Hunter Hunt-Hendrix's vocal performance almost ruins whatever sick enjoyment I can receive out of the record - and it's not that he's a terrible singer. The quality of his voice is just too monotonous to mesh very well with the otherwise amusing craftsmanship and unnerving production values on board here. "Quetzalcoatl," "Kel Valhaal," and "Haelegen" are pretty awesome, I'm not going to lie.
Livetune Tell Your World	4.0
I'm just barely what any of you would call familiar with Vocaloid, Miku Hatsune, and all that, but I must say this mini-album's an endearing treat. Tell Your World is a nice little EP containing J-Pop goodness and an outright cute aura about it. Very nice to sit through despite the release's otherwise banal personality.
Lividity Used, Abused and Left For Dead	2.0
Lmfao Sorry For Party Rocking	1.0
The introvert in me believes *this* to be the reason why I never attend parties. Sorry for Party Rocking is fine for every other poor, unfortunate soul out there who's still tuned into MTV; for the rest of us magnificent Samaritans, however, this record is like Jersey Shore turned up to eleven.
Locust Toybox Stringland	4.5
Under the moniker Locust Toybox, David Firth shows us as the listeners a poignant vision of creativity that one shouldn't only hope of ever meeting. Stringland's 12 tracks are like a condemned man and his ray of sunshine in the form of a Samaritan - trapped behind the bars of an oddly comfortable padded cell. The sounds utilized invoke mish-mash feelings of loneliness and a hidden amount of optimism, or at least this is what I got out of hearing this album. The ambient pieces' arrangements are as powerful as they are deep, and the record's cover does a great job at portraying the moods which are in effect.
Lody Kong Dreams and Visions	3.5
On a pretty special episode of Keeping Up with the Cavaleras, brothers Zyon and Igor Jr come together with two other people in an attempt to further impress their father and Soulfly frontman Max. No rules, no going back to the primitive, and no roots bloody roots; only Dreams and Visions, the full-length debut album created by Phoenix, Arizona-based metal act Lody Kong. Released in 2016, the band's first studio recording is filled to the brim with potential, that much is clear. Putting aside Igor Jr's vocal performance which can admittedly take a while to appreciate (not to mention those lyrics) and the unimpressive songwriting chops, this album showcases quite a lot of fiery instrumentation, especially thanks to Zyon himself; honestly his drumming style fits the sound Lody Kong are going for more than it does Soulfly's. Dreams and Visions might be lacking in memorable composition choices, but it ain't forgettable in the musicianship department.
Look What I Did Atlas Drugged	5.0
In certain instances, Look What I Did's style is much like a mish-mash of Indorphine, HORSE the Band without the Nintendo gimmick, and a lil' Tub Ring. Barry Donegan - a man said to have ejaculated blood - and his comrades have put out a consistently rousing effort in the form of Atlas Drugged, scarred by surprisingly bodacious vocal melodies and musicianship which feeds on both insanity and composure at once. There is not one track here even worth slipping off the glacier, and it seems that Look What I Did had searched for their serendipitous jar of avarice.
Lord Gore The Autophagous Orgy	3.0
Lord Gore's debut studio album is nothing to scoff at. It's got an old-fashioned death metal sound colliding with a modern approach to the music, and though it may not be anything special or groundbreaking, The Autophagous Orgy is an enjoyable record that's allowed to leave room for improvement. Also, here's a trivial fact: the cover art was designed by infamous ero guro artist Waita Uziga, who some of you might recognize for Go-Zen's Hitoshizuku. Good luck getting the image out of your retinae.
Lordi To Beast or Not to Beast	3.0
Basically hard rock with the scare factor, Lordi's To Beast or Not to Beast offers as much cheesiness and enjoyability as you've come to expect from Finland's bastardized monsters of old.
Lost Salt Blood Purges Only the Youngest Grave	4.0
Only the Youngest Grave is a record that is bound to reveal more of its contents for whomever listens to the material as time passes. Taking into account the studio album's wide variety of stylistic influences and its relatively lengthier second half that exhibits the elegance of a contemplative moon, Australian native Michael Snoxall (aka OvDeath) gave birth to an LP that will challenge the mind of a consumer; casual-minded or otherwise. Lost Salt Blood Purges' second full-length release may take months and months to understand, but when all is done and over with, you'll come to appreciate Only the Youngest Grave's razor-sharp, venturesome character - to the point where future offerings by Snox are the only things that could quite possibly run through your head. Abridged version: it's an overall gripping effort with a lot going on.
Lostprophets Liberation Transmission	2.5
Lou Reed and Metallica Lulu	1.0
Secretly, I'm a small town girl and I've been taught meaningless fear and blindness. Let it be known that my amateur poetry skills far surpass the nonsensical malarkey Grandpa Lou Reed Simpson (R.I.P.) is spewing out throughout Lulu's length of almost 90 minutes. A collaboration between Reed and heavy metal veterans Metableca, it skirts the line between being the greatest disappointment and becoming the musical representation of a colored man's dick with the power to puke guts all over the bathroom floor. Calling "Junior Dad" the most underwhelming conclusion to any recording is putting it a little too nicely. It would appear that I don't spoken word enough, but on the fortunate side, I'm not one to pump blood.
LoveHateHero America Underwater	1.5
Loyle Carner Yesterday's Gone	4.0
Lucid Haven Tessellate	2.0
THROUGH THE FOREST CLIMBING TREES SWINGING VINES WITH THE BREEZE. While nowhere near as embarrassing or irredeemable as anything Design the Skyline have dished out in their entire career thus far, Tessellate - the debut EP by Texas-based deathcore project Lucid Haven - is still ultimately pointless. There are smidgens of potential demonstrated throughout the course of the recording, although these decent moments often find themselves outweighed by overall underwhelming compositions and clean vocals that are not just ill-fitting, but weak, too. Don't expect to get a whole lot of mileage out of this release, just look elsewhere.
Luna Sea Luna Sea	4.0
Standing proud as the band's debut, Luna Sea's self-titled full-length album does quite the exquisite job at juggling both hard and progressive rock genres, whilst throwing in a punk-flavored trampoline just for good measure. While certainly not the quintessential LS release that I'm looking for, it serves its colorful, but not toothless purpose well enough.
Luna Sea Image	4.0
Image, the major label debut by legendary visual kei rock band Luna Sea, contains rather harmful material in one of the most engrossing ways possible. For the majority of this recording, the quartet are able to amalgamate different musical styles whilst still sucking on a bottle of graceful coherence. The arrangements aren't consistently perfect, though tracks like "Mechanical Dance," "Search for Imitation," and "Wish" effortlessly showcase the unit's composition abilities very well. Lead vocalist Ryuichi Kawamura's pipes offer a marvelous amount of zealousness, while Sugizo, J, Shinya Yamada, and Inoran's contributions can pretty much rise from the grave of lifelessness without warning - and problematic occurrences are rendered as infrequent.
Luna Sea Mother	4.5
Machinae Supremacy A View from the End of the World	3.5
You dun goofed the moment you come to the realization that the scabbard itself is mightier than the Master Sword. As sharp as they can be, blades have a comparatively less comfortable touch compared to cases. For whatever reason, that reminds me of A View from the End of the World, the 2010 full-length album courtesy of Swedish power metal troupe Machinae Supremacy. Sporting 14 tracks enveloped by a fine amalgam of heaviness, melody, and chiptune ammunition, this record is equal parts entertaining and unashamed cheese; the latter is a given in power metal at this point. I'll admit A View from the End of the World's first half is much stronger than the second portion, but on the whole, this album does a good enough job demonstrating the musicianship and Gaz Stjarnstrom's charismatic vocals throughout its duration.
Machine Girl ...BECAUSE I'M YOUNG ARROGANT AND HATE EVERYTHING	4.0
Machine Gun Kelly General Admission	2.0
Machine guns not only mean business when handled with proper care, but they also pack heat. Cleveland-based rapper and songwriter Richard Baker, however, does not for a great portion of General Admission. Under the Machine Gun Kelly moniker, Baker's sophomore studio album doesn't have much in the way of weight nor is it that memorable to say the least. Many tracks simply go in one ear and out the other, lacking distinctiveness alongside color; the latter trait is amusing taking into account the admittedly nice cover art. Aside from "Spotlight," "All Night Long," and "Bad Mother Fucker" to a certain degree, one shouldn't bother sitting through the rest of the monotonous river that is General Admission.
Machine Head Supercharger	2.0
Machine Head The Blackening	4.0
Released to critical acclaim in 2007, American groove metal outfit Machine Head's sixth full-length outing proves to be a solid recruitment into the band's discography. Calls for biblical vengeance and le epic rocking aside, it's good to hear an overall enjoyable modern metal effort on this group's part. Although a tad excessive and the emotion that emanates from it isn't always genuine, The Blackening deserves points for boasting some nice compositions here and there as well as entertaining chemistry shared between all four of MH's main contributors. Aesthetics of Hate, I hope you burn in perdition.
Macho Man Randy Savage Be A Man	2.5
The Macho Man - much like with Mr. Perfect and the Ultimate Warrior - has since passed away: he's gone, but never forgotten and loved by many. Be a Man is essentially a rap album with no other special tricks up its sleeve aside from blatant cheesiness and repetitive, yet infectious beats overshadowed by Randy Savage's goofy flow. Be that as it may, the record is not nearly as bad as everybody here makes it out to be; I'd take this over any other rapper's songs being played on the radio any day of the week. R.I.P. "Bonesaw is ready!"
Macklemore and Ryan Lewis This Unruly Mess I've Made	1.5
You know... Upon having heard This Unruly Mess I've Made in its 57-minute entirety, this hit me: if I had a choice to be reincarnated as a full-blown wigger or a sentient Sunkist, then the latter would be way more my thing. There's far too much bad throughout Ben Haggerty (a.k.a. Macklemore) and producer Ryan Lewis' 2016 studio album that outweighs whatever good is on display, sadly. The otherwise decent production values when put right next to "Mackerel"'s ultimately cheesy, laughably indifferent flow result in a pop rap disaster which proves longer than it has every right to be. Unlike the walrus, This Unruly Mess I've Made can't keep anybody warm.
Madball Demonstrating My Style	3.0
Hardcore is all Madball will ever be, if their album Demonstrating My Style is proof of the statement. But the thing is is that this band is very good at delivering an in-your-face attitude song after song, no matter how boring the riffs can become after much (over)analysis has come to pass.
Made Out of Babies Coward	3.5
Made Out of Babies Trophy	4.0
Madina Lake From Them, Through Us, To You	3.0
While a lack of creative ideas and unbalanced compositions are evident once you look deeper inside Madina Lake's pond, the Chicago-based band's debut full-length effort From Them, Through Us, To You presents itself as another entertaining (if obviously bland) pop punk release with acceptably wangsty vocals from Nathan Leone and mostly solid instrumentation that can more or less get a superfluous job done. The lyrics are unsurprisingly terrible, on the other hand, especially for what amounts to sappy high school poetry disguised as a concept record.
Madonna I'm Breathless	1.5
Madonna Rebel Heart	2.0
Madonna Music	3.0
Recognized by many as the "Queen of Pop", American singer-songwriter and actress Madonna Louise Ciccone (aka just Madonna) remains an influential force as well as versatile composer. Even for those whom don't particularly like what she churns out, that camp can at least learn to appreciate whatever Madonna's done throughout her career. Having said this, the woman's eighth studio outing Music may not be the most flattering album in her catalog - and a few songcraft ideas don't work too well (i.e. the country influence sounds forced) - but damn does it still offer some quality numbers; "What It Feels Like for a Girl" in particular stands out amongst the pack.
Madonna American Life	3.0
Madonna Like a Virgin	4.0
Madonna Madonna	4.5
Madvillain Madvillainy	5.0
MF DOOM and Madlib teamed up together to generate a hip hop album that demonstrates far more than just capability. Madvillainy has a fuck ton of tracks, with all of them being incredibly pointless to skip let alone ridicule. DOOM's rhyme schemes and delivery are both godly in execution, and the stellar production values on this album certainly help the case. One common source of criticism would have to be the abundance of samples placed throughout this masterpiece's running time, and even then they never tamper with DOOM's chops as not just a rapper, but also a lyrical supervillain. So much right was done with this release to counter whatever wrong would turn and rear its ugly head.
MAGIC! Don't Kill the Magic	1.5
Make Me Famous It's Now or Never	1.5
Make Them Suffer Old Souls	4.0
So your typical genericore band contemplates throwing in symphonic influences, eventually deciding to stick with them whilst staying true to the code of "br00tality". While there exist acts that have the ability to cautiously string together death metal, orchestra-inspired arrangements, and metallic hardcore music, there's quite a slew of bands I've come across that make an effort to do so are either inconsistent quality-wise (Bleeding Through) or get perceived as laughable (Winds of Plague). Thankfully, Australia's Make Them Suffer are shockingly more perceptive about this than one would give them credit for. Old Souls has a rather keen sense of sadness about it, though the poignancy doesn't interfere with MTS' heavy, passionate sound most of the time - and instead embraces it like a child would his misunderstood rabid dog. What also helps are Sean Harmanis' deliciously emotional shouts and screams throughout much of this, occasionally harmonizing with keyboardist Louisa Burton's softer voice (check "Timeless"). I wouldn't say this is the best thing to have come out this year thus far, but for some odd reason, I can't help but adore Old Souls for a lot of things it managed to get done. Very rarely do I come across deathcore-centric releases like this one adept at possessing a fuckton of staying power, though then again, this is the bias talking.
Malice Mizer Bara no Seidou	4.0
Gloomier and relatively more terrifying than past records, Malice Mizer's fourth and final studio album is a fitting end for the J-Rock group's career. Following the death of the band's drummer Ukyo Kamimura (aka Kami), Bara no Seidou was the first and only release during Malice Mizer's history to feature Masaki Haruna (aka Klaha) as the quintet's vocalist. The record also introduced a radically different sound: in place of pop music-inspired melodies and French romanticism, studio effort #4 includes noticeable Gothic aspects and an emphasis on bombast (as if these guys weren't a good kind of fustian already). While it is a step backwards compared to Merveilles, Bara no Seidou is a strong enough offering with less misses and more successes as far as general execution goes. Klaha's vocals are suitable and complement the bleak tone of this LP very well - even if he certainly isn't Gackt - whilst the composition job couldn't be any sweeter. Though the conclusion of Malice Mizer did pave the way for bandleader Mana's comparatively inferior solo project, it also showed that MM's time together as an ensemble was really fun while it lasted.
Malice Mizer Voyage ~Sans Retour~	4.0
June of 1996 was five months after my birth, and it was also the time where beauty - normally in the eye of the beholder - began to spread across various music groups like Malice Mizer, who were resuming a voyage of no return; this was the same journey they started back in the year 1992. ~Sans Retour~ contains many classical influences tied together by an exquisite pop appeal, with a great vocal performance from Gackt and some sincere instrumentation. While it might not have been a legendary record thrown into the visual kei movement, listeners must admit these aristocratic, theatrical gentlemen were talented.
Malice Mizer Merveilles	4.5
For Malice Mizer, Merveilles marked that point in the band's career in which they most certainly became a household name. Much of what made this album's predecessor a likeable release was given the ol' spit-and-shine polish, as this visual kei rock outfit continue flirting with classical music influences, French aristocracy, and the obligatory synthpop elements, albeit in a more refined manner compared to Voyage ~Sans Retour~. Gackt's vocal performance fails to disappoint here and the songwriting is - to put it mildly - incredibly dandy in many places; by extension, Merveilles is grand in execution and awesome from an instrumental standpoint. If it weren't for the track known as "S-Conscious", then the record would basically be about as perfect as an ice sculpture of a wyvern. The song's not bad in and of itself, though the overall structure is quite underwhelming and doesn't gel with me well like the rest of the songs presented.
Marilyn Manson Portrait of an American Family	3.5
Marilyn Manson Mechanical Animals	4.0
As controversial and polarizing as Marilyn Manson is, you can't say that he's absolutely no musical genius. With nine studio albums under his sadomasochistic belt, the man's mind is both creepy and quite rationally deranged. Manson's third full-length record Mechanical Animals is a salacious offering which blends his band's industrial ways with a dazzling rock appeal, and most of the results turn out pretty positive. The release's selection of tracks are colorful, though not entirely animated; songs like "Coma White" can prove that this shock value-ridden prince(ss) can handle subtlety like the third day of a seven day binge. While his pretentiousness and - for some inexplicable reason - the barbie doll anatomy you see on the cover might give a couple fellas the wrong impression, Mechanical Animals is nonetheless a peacock drying its feathers with the apple of discord.
Marilyn Manson The Pale Emperor	4.5
At this point in shock rock musician Marilyn Manson's career, the man is in his mid-40s. They say that as you get older, you're also bound to become wiser and more refined; apparently this happened to Manson, if his ninth studio album is any indication. Sporting a newfound blues influence whilst keeping that signature industrial flavor we've all come to know and have mixed emotions about, The Pale Emperor is reinvigoration in nearly every sense of the term. Instrumentally fresh and simultaneously familiar from an atmosphere standpoint, Manson's latest offering is bound to win over many who had previously abandoned him. Quite frankly, this is an ingenious record that requires patience, staying calm before the storm of disposable teens, and the subtlety of a demonic, mute couple. The Pale Emperor is an overall mystifying album.
Maroon 5 V	1.0
Maroon 5 Overexposed	1.5
Maroon 5 Songs About Jane	3.0
Love songs have usually been Maroon 5's calling card. Their debut studio album Songs About Jane is basically a concept record elaborating on this, with most of the tracks being carefree blue-eyed soul numbers with a slight rock disposition. Unlike the rest of the band's later material - well, the individual songs I've encountered - this release is really fine because Adam Levine isn't always front and center.
Maroon 5 It Won't Be Soon Before Long	3.0
Marriages Salome	4.0
Powder, smoke, and a lowly commoner dressed up as Dat Boi rose from the foam to make way for a special guest; a guest with much in the way of potential. Enter Salome, the first full-length recording created by Los Angeles-based rock trio Marriages, as the listener traverses through 9 songs of dreamy and simultaneously agog goodness. Like I mentioned earlier, this triad demonstrates a truckload of promise here - and even though I hesitate to call the material an overall unique experience, that's not to say Salome is an unlikable record; far from a turnoff, really. The great musicianship paired with singer-songwriter and visual artist Emma Ruth Rundle's winning vocal performance in general make Marriages' debut album a captivating quest to both hear and behold.
Masahiko Hataya & Kikuko Hataya The King of Fighters 2001	2.0
Good grief. The King of Fighters 2001 was one of two installments within this beloved SNK franchise to be produced by Korean company Eolith alongside developer BrezzaSoft, the latter of whom including former SNK employees at the time. While I can't speak much about the gameplay, 2k1 at the very least seemed unbalanced, and adding insult to injury were the 2D combatant sprites (they began to show their age) battling against dull stage backgrounds on top of character portraits so stylized they came off as narmtastic. Don't even get me started on the OST; the game's shoestring budget shows most in regards to the music. Themes are usually performed via a rock-meets-techno approach, plus little variety to boot... which would be alright if the compositions weren't super repetitive! They suffer from bearing off sound quality, too - hope you like hearing what resembles farts 'cause the score has plenty in store. KOF 2001 admittedly has a few nice jams scattered throughout, but the negative far outweighs the positive in this case. Angel nominates: "Kyokugen Fight," "The Queen of Fighters," "NESTS, Ruler Company in the Darkness," "0," and "I'm Truly the Strongest" to a degree.
Massive Attack Mezzanine	5.0
If there was any better way to describe a musical utopia, then all signs would point to Mezzanine. As you progress through the record, it is more than just a trip hop album; the listeners will ask themselves, "How can something so one-dimensional and serene at first end up becoming highly diverse?" The samples used go hand-in-hand with the tracks and the production values are practically off the charts. This Massive Attack omnivore displays a wide range of emotions, from peaceful to shockingly ominous and a bit schizophrenic. Think twice before missing out on this once-in-a-lifetime experience, or else you'll regret it all.
Master of Death Master of Death	2.0
Even if it should come as no surprise, stupid moniker is stupid. A lot of people around these parts know that Chuck Schuldiner was the master of Death, and that's but a mere understatement. Compared to 10CMD, this is nowhere near as likeable or refined. Dahvie Vanity's solo debut has its moments, but they tend to be few and far between. I also find it annoying how Kerry Louise appears in 8 out of the 13 songs that make up this record, almost as if Dahvie needs her to compensate for his grating vocal performance and lackluster songcraft abilities.
Mastodon The Hunter	3.5
Housing a total of 13 tracks, Atlanta, Georgia's metal quartet Mastodon's fifth studio album stresses a more stripped-down approach compared to the band's previous offerings, and in doing so, they get increasingly listener-friendly in the process. With that said, however, The Hunter is still a heavy beast of a record and manages to boast incredible moments in spite of the full-length itself being uneven in quality as well as less intelligent compositionally speaking. Certainly a fun 53 minutes for what it's worth.
Mastodon Once More 'Round the Sun	3.5
Whether you enjoy Mastodon or not, no two albums of theirs are all that similar to one another - something I personally like regarding bands such as these guys as well as artists outside the genre they perform. Make no mistake, the Atlanta, Georgia-based metal foursome's sixth full-length effort Once More 'Round the Sun is still a Mastodon album by name and essence, although it also takes the commercial appeal of its antecedent and increases that by about sixfold. The record can sure as fuck border on dad rock at points, but that's not necessarily a bad thing in Once More...'s case, for this band doesn't come off as if they had just sacrificed their own artistic merit (let alone individuality). It's a fun-sounding affair that proves to be pretty cohesive at the end of the day.
Mastodon Emperor of Sand	4.0
Reapers float above four travellers as they trudge through a barren dimension. The quartet eventually look up at the sky to find death personified, and in doing so give the figures a copy of their latest studio album. 51 minutes and a trip to Elmyr later, the skeletal ones are pleased to the point of exclaiming "�UN SOLO DE LA GUITARRA DEL MASTODONTE!" *ahem* In any case, Georgia, Atlanta metal unit Mastodon's seventh full-length record Emperor of Sand is basically a mishmash of sounds they've been pulling off since 2011's The Hunter, although there are definitely moments on here which hearken back to Blood Mountain of all releases within the band's catalog. Though not by a lot, the album is an improvement over Mastodon's past two offerings - affairs that were already cool as is in their own manner. Both the songwriting and instrumentals are strong enough to justify repeated listens, while even the production gets a boost in personality thanks to Brendan O'Brien's presence. Emperor of Sand ain't flawless by any stretch, given that the vocals continue to be a mixed bag quality-wise (and "Show Yourself" has no place on the tracklist), yet this album's pros clearly outweigh the negatives in the end. Angel recommends: "Steambreather," "Roots Remain," "Ancient Kingdom," ""Andromeda," and "Jaguar God".
Mastodon Leviathan	5.0
A mastodon is an enormous, elephant-like creature. The Atlanta, Georgia-based act's second album (entitled Leviathan) is arguably the musical manifestation of that savage beast. Nobody on this full-length album ever goes the extra mile to overlap one another, as the instrumentation is heart-pounding, calculated, and precise enough to highlight the four members' abilities. While lacking a charismatic frontman, the band makes up for this flaw through two singers - Troy Sanders (also the bassist) and Brent Hinds (also performs guitar); their vocals both add a mystical charm to Leviathan. By and large, this is one CD you should never attempt to overlook.
Matty Mullins Matty Mullins	1.5
Anyone else remember that episode of Metalocalypse where Murderface gets hooked on being religious? Yeah, that's clearly not akin to this egotistical, guilt-ridden pile of bull. My quirky rating has a .5 because the instrumentation on its own is just slightly better than Matty's babbling.
maudlin of the Well Bath	5.0
Humanity doesn't just need water in order to survive, we also require it to keep us from entering a state of derangement. Picture avant-garde metal icons maudlin of the Well as aquatic beings who are there to rush to our aid when signs point to overall hopelessness. If you've a faint heart, Bath will replenish your soul - and even if you as a music listener or ordinary creature are strong enough to fend for yourself, this album might just make you more powerful than ever before. With a diverse range of stylistic influences, solid production all around, and compelling artwork, the record certainly has a lot going for it. 60-minute masterpieces such as Bath are like thought-provoking bowling balls merging together in order to create one sphere; a sphere that will never be forgotten, but instead always remembered and revered.
Maximum the Hormone A.S.A. Crew	2.5
Maximum the Hormone Mimi Kajiru	3.0
Maximum the Hormone Yoshu Fukushu	4.0
Maximum the Hormone Mimi Kajiru Shinuchi	4.0
I can frankly say without uncertainty that Maximum the Hormone are one of the most exciting music groups to have come from Japan. Based in Tokyo, this pop metal quartet have a discography that basically signifies how much fun their output is on the inside as well as out. MTH might've had a rough start akin to a lot of their contemporaries, initially emerging onto the scene with a traditionally punk sound, but they were able to win me over as the years progressed. A good two years after Yoshu Fukushu was released, here lies Mimi Kajiru Shinuchi: a re-recording of the band's 2002 release that features cover artwork inspired by the latter. After having compared this to the original version, the growth in instrumental ability has become as clear as day, and I feel that this bonus does a sweet job at making an attempt to introduce post-Kusoban followers to the stuff Maximum the Hormone dished out prior to it alongside the next three big offerings. The new renditions of "Usugimi Billy" and "Ningen Enpi" are way too precious.
Maximum the Hormone Bu-ikikaesu	5.0
At one point in my life, I used to fall madly in love with Maximum the Hormone. There were one of those bands who could borrow a fuckload of tired aspects from mainly the nu metal and punk rock genres - and abruptly make them out to be quite unconventional, but most notably entertaining as well. Buiikikaesu in its entirety is one gay old time after another, showcasing MTH at their very best. All the songs off this album are a bit varied just as much as they are simplistic and cheesy, though guitarist and singer Ryo Kawakita's composition duties transcend enjoyability enough for me to not really write the tracks off. If there's anymore consolation, it also helps that the bandmates are having a blast with the material; Maximum the Hormone's overall sound and attitude towards their recordings can be likened to a pre-One Hot Minute incarnation of Red Hot Chili Peppers or System of a Down to some extent. In conclusion, Buiikikaesu boasts memorable tunes, uber-coordinated musicianship, and a fun aura around it that never ever tests the listener's patience.
Mayhem Ordo ad Chao	4.0
Like a voluptuous whore hiding her true self underneath a throne in need of serious repairs, Ordo Ad Chao is a evil, sadistic album. It isn't a one-of-a-kind release, but legendary black metal band Mayhem pour disturbing blood in nearly every single skeleton's eye sockets with such a record. First you come for its intentionally-underproduced nature, and eventually your ears suddenly begin listening to Attila Csihar's creepy vocal performance.
mc chris mc chris Goes to Hell	4.0
With that trademark high-pitched voice, the undeniably geeky references, and those inane skits which bear some hidden abundance of hilarity, mc chris slows down not one iota on mc chris Goes to Hell. The actual songs themselves have enough credibility to impress MC Pee Pants (he wants candy), while that cover art could give Little Brittle a stiffie or two.
Meat Beat Manifesto Subliminal Sandwich	5.0
Somewhere in the universe, the king of radio stumbled upon this album and just couldn't believe his ears - so much that he backed down from having any part in the innovation of sound. Subliminal Sandwich is a dense collection of songs which are not only diverse in nature, but certainly not forgettable and one of many rways to easily get into Meat Beat Manifesto. While the sampling isn't anything new regarding this genre, it completely invigorates the darkness surrounding the tracks which are usually based around drum and bass, trip hop, big beat, and even some doses of industrial music. Jack Dangers had himself a grand prize of fascination.
Meat Puppets Meat Puppets II	5.0
From out of nowhere, there's this warm, moist feeling that fills my heart. After embarking on a quest to comprehend the nature that is Meat Puppets II, a scruffy man catches me in his vicinity as he holds a cold bottle of beer. For whatever reason, he gyrates over to where I'm standing and asks, "Hey, boy! I've been noticin' your ass lately. Why were you given emotions?" I spit on the ground and proceed to wave this album in the guy's deformed mug. Without a word, I then walk off into the sunset, and the man falls on his back in astonishment. Tl;dr version for those who don't care for narratives: Let the record speak for itself, because this particular fusion of psychedelic effects, country-style rock, and sincerity is too incredible to further explain.
Meat Shits Ecstasy of Death	5.0
Depraved in sound and horrifically, politically inaccurate in sum and substance, Meat Shits' Ecstasy of Death is like that vile, sex-hungry demon you have always sworn never to let into your humble abode. However, as the years, months, and castrated weeks go by, you come to accept this lecherous beast; you're willing to have fun with her and vice-versa. Wack rambling aside, Robert Deathrage's effective roars, his deliberately offensive lyrical abilities, and the death metal-inspired instrumentation are a match made in Heaven's main opposing force.
Mega Drive 198XAD	4.0
Future: it belongs to those who believe in the beauty and terror of the dreams they created. To predict the future, no matter how harsh the result, one must first generate it. Drool hangs from my mouth as I'm sitting here listening to 198XAD whilst typing the sound-off you see in front, and I'm convinced that Dallas, Texas-based producer Mega Drive (known for his contributions to Hotline Miami 2) can envision tomorrow better than most. Released in 2014, this studio album that MD crafted infuses what lies ahead with a synth-powered, retro flavor that doesn't prove to be Drive's undoing. Carrying 14 tracks in all, 198XAD boasts nothing too revolutionary, but it nevertheless makes for solid jamming. Angel recommends: "Acid Spit," "Memory Dealer," "Exoskeleton," "Edge of Reality," and "Zero Point Non-Response". You a bad enough dude to rescue the President?
Megadeth Super Collider	2.0
Super Collider has a major problem with deciding whether it wants to be a hard rock album spewing mediocre vomit after another, or maybe the record has the desire to remind us why Dave Mustaine's an egomaniacal Christian. Whatever way people see things regarding this, there's no doubting the laziness and tired riffage. "Kingmaker" and "Don't Turn Your Back..." make for okay tracks at most and I find myself being neutral towards "Built for War"; who honestly cares about the rest?
Megadeth Dystopia	3.5
American thrash metal wyverns Megadeth have finally gotten out of their second dork age with Dystopia, this band's latest studio album. Though the production values are a little on the overcooked side and frontman Dave Mustaine is way past his prime as a vocalist, pretty much every other aspect of the new record more or less earns a pass. Boasting vicious, adequately energetic instrumentation and serious consistency, Megadave's fifteenth full-length offering proves to be an overall pleasant surprise after the poorly-received and lackluster Super Collider album. Angel recommends: "The Threat Is Real," "Dystopia," "Death From Within," "Bullet to the Brain," and "Poisonous Shadows". Can you put a price on peace?
Megadeth Killing Is My Business... and Business Is Good!	4.0
Some time ago, I had listened to thrash metal beasts Megadeth's freshman studio record. Killing Is My Business... And Business Is Good! made for a generally solid, entertaining album, with one major flaw in the production quality: the debut offering's audio quality was shabby and a wee bit primitive, even for something which got a release back in 1985. On a side note, I was half-asleep when I gave it my first listen, so I couldn't really give the album immense feedback or anything. In retrospect, my score ended up being a 3.5 for the original version - but the remastered? I'm feeling a decent-to-strong 4 for the relatively newer edition. Killing Is My Business...' ferocity just can't go unnoticed, especially given the uptempo aggression of many of the songs here. The musicianship will break your balls and the album is home to one of frontman Dave Mustaine's most passionate vocal performances. Bottom line: rattle your fucking head.
Megadeth United Abominations	4.0
Megadeth Rust in Peace	5.0
You can't really say much about Rust in Peace that hasn't been talked about already. Hailed as one of the greatest thrash metal records to ever slam its pugilism-driven fists into the very existence of Planet Earth, Megadeth's fourth studio album is overvalued and the instrumentation is far too concentrated and furious - and those are at least two reasons why it deserves all the recognition and overwhelming praise. This release sports the classic and most memorable Deth lineup, as Dave Mustaine's vocal performance and spirit appeared to be at an all-time high and Marty Friedman's guitar shredding is unbelievable. Bassist David Ellefson's abilities resonate very well with the bandmates, whilst Nick Menza gives it everything he's fucking got on the skins; his drumming on "Rust in Peace... Polaris" alone speaks decibels regarding the position he rightfully deserved back then. I could continue to explain just how calculatingly passionate and smart Rust in Peace is, though around this point, my soundoff would only be blasted to smithereens colliding with Vic Rattlehead's skeletal cranium.
Megadeth Peace Sells... but Who's Buying?	5.0
This demon of a thrash metal record never lets up, and even when you think it's about to, the audience will be proven wrong. I haven't heard too much of Megadeth, so I figured Peace Sells... was the easiest way to begin my journey; fortune came rushing to my side the moment "Wake Up Dead" started. The triple guitar attack couldn't be anymore righteous on this album, and Dave Mustaine's memorable vocals are backed up by the incredible musicianship about as well as a tomahawk being implanted in Earth itself. Some might be put off by how short the band's sophomore offering is, though I personally think it works with the amount of legendary tracks that are displayed. This is just one reason as to why Megadeth are considered a quintessence of thrash metal's development and - in some cases - commercialization.
Megan Nicole Escape	2.0
I got nothing but a mixture of Demi Lovato and Rebecca Black vibes after stumbling upon this EP right here. Megan Nicole isn't nearly as horrendous as the latter (thank God), though the material on Escape leaves a whole lot to be desired and Nicole herself could reduce the amount of auto-tune done to her vocals. Sputnik's bio on the artist page made me chuckle a bit.
Meghan Trainor Title EP	1.5
If she's all about that bass and no treble, then chances are Meghan Trainor will run into the mafia at one point. Her drinking with the don is probably going to be inevitable, that's for sure.
Meghan Trainor Thank You	1.5
I wanted to have some respect for this woman. Upon hearing Thank You's lead single "No", I initially believed it was a step up from previous ones in the production department. American singer-songwriter Meghan Trainor's vocals were still grating and artificial-sounding, but it was otherwise an okay song - or so this user once thought. In the context of Trainor's sophomore full-length affair, "No" is much worse alongside a lot of what makes up the 22-year-old's latest record. Predominately a dance-pop as well as R&B offering, Thank You won't make the listeners grateful, but rather have their stomachs feel uneasy. How somebody like Trainor manages to try so hard, yet not try enough ought to be proof that she's wallowing in a BS river. What's also sad is... well, Meghan can sing fine when the bullshit levels are close to non-existent; "Hopeless Romantic," "Kindly Calm Me Down," and the corny, animated movie feel that "Just a Friend to You" gives off are relatively decent cuts. It's unfortunate and simultaneously unsurprising, however, that these three tracks are surrounded by other songs which range from lame to outright cringe (e.g. "Dance Like Yo Daddy"). Just do yourself a favor and elude this as best as you can; it'll be worth it, trust me.
Meghan Trainor Title	2.0
You know how you can tell Meghan Trainor is an outright blonde, and not just by appearances? The first track off her debut album is what she calls an interlude. Title convinces me not to be jealous of this lady's sexy hair.
Mejibray Emotional [KARMA]	1.5
Melanie Martinez Cry Baby	3.5
Apparently all the best people are crazy, particularly in this day and age, though that's not to say there were cool folks in the past who could be labelled insane in a heartbeat. Based in Queens, New York, American singer-songwriter Melanie Martinez showcases a lot in the way of promise regarding the gal's full-length debut. Entitled Crybaby, this is a concept offering that essentially exists to subvert innocence, discuss about one's messed up and vulnerable half, and it's in a few ways about Martinez herself when she was oh so younger than she is now; only there was no kidnapping involved or dispatching said kidnapper irl. Crybaby is comprised of fairly well-produced, foreboding electropop material which intentionally puts on a childish front to fuck with those commoners. It's not flawless and the overall aesthetic is admittedly off-putting, though Melanie Martinez still managed to make a fine as all get out first impression with her freshman studio album. Angel recommends: "Dollhouse," "Carousel," "Soap," "Pity Party," and "Pacify Her".
Melt-Banana Speak Squeak Creak	3.5
Chaotic for the sake of chaos, and yet also somewhat incoherent for some of the right reasons. Melt-Banana were clinging to a more raw, grindcore-influenced style on the album known as Speak Squeak Creak. Most tracks, although synonymous in tone with one another due to either the discordant guitar work or Yasuko's unconventional method of belting out Engrish, are a little refreshing since they don't really drag; if anything, some of the songs presented are under a minute. In case if you were curious about what MxBx used to be like before the shift to a hi-fi sound, give this a go ASAP.
Melt-Banana Bambi's Dilemma	4.0
Care to bash your head against an infested flagpole while your insane girlfriend skips around minding her own business? Bambi's Dilemma is this in a nutshell plus a bit more, depending on how others may see the album. Yasuko Onuki's vocals are sickeningly cute as usual, though unique and a bit abnormal enough to turn certain people off, while Ichirou Agata's riffs make out with the noisy, punk-like structure as intended.
Melt-Banana Fetch	4.5
The first ever Melt-Banana album that I laid ears (and eyes) upon, and I couldn't be anymore pleasantly surprised. The layered sounds compliment the entire feel of Fetch, as do Yasuko's unique vocals. I honestly think the band wouldn't be the same without her contributions.
Melt-Banana Cell-Scape	5.0
Similar to Bambi's Dilemma and the band's most recent album Fetch, this fifth full-length release in the noise rock group's catalog bears a hi-fi sound, albeit one with so much lunacy that it becomes highly endearing. Melt-Banana showcases 10 tracks for this record which fluctuate from grand experimentation to unforgettable catchiness. While I'd be lying if I said there was no album like Cell-Scape, this doesn't necessarily imply that the offering never stands out. It can take a few listens, but given time, even the most steadfast MB fans will send nothing except praise to Cell-Scape.
Melvins Ozma	4.0
Imagine a gang of zombies marching into the mindfields, and the moment they make their way out of there, the horde unexpectedly encounters an eccentric badass in all his glory. This is a scene that came to mind as I was listening to Ozma, a record capable of making its pursuers mad with power and avarice once everything else settles down around them. King Buzzo's vocals are the uzis, the guitar playing represents roaring waters, and the percussion's presence is startling like a jackhammer. Applying sludge metal-esque riffs to a grunge atmosphere with a punk disposition may not be totally unheard of, but damn is it a thrilling event.
Memphis May Fire Sleepwalking	3.0
Mergel Invisible Landscapes	4.0
Distorting reality time after time, over and over again, week after week... I've been noticing a pattern here. From my perspective, Russian native Andrei Krasnoperov (aka Mergel) bears a state of mind that is quick to be bored to tears, so in order to avoid fatigue, he warps physical existence to suit his liking. The young man's 2012 full-length album Invisible Landscapes is a love letter not only to manipulators, but also to morbidly curious ants on an irregular hill. As an amalgam of psychedelic tendencies and mind-boggling trance sounds, the record somehow makes it a point to inject a little truth into the fantasy realm, which ends up yielding ace results. Invisible Landscapes' songs do a solid job at allowing the heart to race and enabling one's gray matter to expand until it bursts. Listener, beware, you're in for a most otherworldly dare.
Merry Nu Chemical Rhetoric	4.0
Warlords of yesteryear and a future that's coming down the pike will eventually come to terms with diversification, thereby introducing a world where the sky is more than merely the limit. Said realm is also home to visual kei rock band Merry from Tokyo. On the Japanese music group's 2005 studio album Nu Chemical Rhetoric, it's as plain as the nose on one's face that these boys are indeed an exceptional bunch. Offering a generally cohesive collection of songs whilst making a conscious effort to utilize various sounds such as blues, punk, and alternative, this is yet another J-Rock act who like to prioritize quality over quantity - which is of course a good thing. The record isn't perfect by any stretch, considering "Nisemono Tengoku" is pretty unremarkable and "Diginote" really has no place to be on here, but there's still worthwhile, intriguing amusement to be had with Nu Chemical Rhetoric. Some neat songwriting ideas and very strong craftsmanship to boot.
Mesarthim Isolate	2.0
While Australian black metal unit Mesarthim do go out of their way to incorporate a neat idea or two on their full-length debut album, the payoff is not very satisfactory at all. Isolate's harsher moments and its more danceable, fartsy atmosphere whenever both characteristics collide result in a rather messy record which could've worked better in theory. Its lack of cohesion hurts the quality of the LP, which sucks because there is a decent album buried beneath all this crap.
Meshuggah obZen	4.0
I heard these gentlemen were responsible for codifing the meddlesome djent movement, or something along such lines. Anyhoo! obZen has some bits regarding the album's tracks which end up sounding interchangeable with one another, though Tomas Haake's sheer, precise drum work, Jens Kidman's anarchic screams and shouts, and the great amount of riffs and palm muting utilized make the release worthwhile.
Meshuggah Catch Thirtythree	4.5
Catch Thirtythree may as well be the audio embodiment of some kind of spiritual apocalypse. The members of Meshuggah invoke emotions of despair and confusion throughout the album's running time whilst employing what made them so captivating since the very beginning. The lyricism - cryptic as it might be for many - will immediately pull you in, and Jens Kidman's demonic barks almost perfectly suit the tone of such profound words. The rest of the musicianship here is mechanically neat and sometimes mind-boggling, especially regarding the intense guitar work.
messFX Little Star	4.0
Genesis does what Nintendon't, though at the end of the day, Nintendon't give a fuck what Genesays and vice-versa. Referencing 20+-year-old commercials are fun, huh? The reason I'm spouting off at the mouth here is because the material holding Little Star together wouldn't sound too out of place in a soundtrack for a highly nostalgic video game. Electronic music producer and Sputnik's own MercuryToHell (aka messFX) has given birth to a full-length album that's enjoyable background noise and delicious to soak oneself in. Many tracks are well-composed to warrant revisits, and even though there are cuts here which prove more unforgettable than others, the record by and large is an engaging enough listen not to abandon. Angel recommends: "Quest of Heroes," "Dead Cell," "Astounding Future," and "Saitama Romance".
MetaL BrotherS Thunders - Demo	1.0
In this day and age, kids are actually a lot smarter than one might be led to believe. However, in no way can I say the same for MetaL BrotherS, as their first demo recording reeks of shame and misfortune. The user is convinced that these 12-year-olds listened to two of Metallica's most popular songs ad nauseam and decided to put this knowledge into their own "music", only to be unaware that what they ended up dishing out was something even amateurs could handle with more class. Thunders is capable of warranting a few guffaws, but it won't call for anything el