Your day has actually left. Brendan Perry, former half of the iconic neoclassical darkwave duo Dead Can Dance along with the magnificent Lisa Gerard, is now apparently the full-on owner of the band. A hypocrite, advocating for AI replacing human artwork designers and using repetitive af rhythm tracks while crooning about a conflict he knows zilch about and MoThEr NaTuRe. Lets boycott his fat slop man Bandcamp cash grab. Perry the platypus, if you read this, 🖕🖕🖕jam this hard in your ... read more

Brendan Perry, more like fat AI slop gobbler. Gtfo here old man and stay retired, if you gonna do shit like this

Theres absolutely nothing wrong with this album. I was just never a fan of their particular brand of melodic metalcore. Its a style that either needs big choruses to rock the crowd or wacky funk metal/synth pop sections like Between the Buried and Me to hold my interest. Unfortunately, ABR do neither of those, but they are comfort food in terms of crafting a nice collection of breakdowns, repeated chugs, melodic leads, arpegiatted solos and ferocious fry screamed call outs.

Im glad everyone ... read more

Front loaded proggy alt metal with some bouncy nu metal tendencies of the time. Don't quite get the Tool comparisons, the vocals sound vastly different and aren't nearly as nasal or phase-chopping as Maynard's. They're more chest voiced belting reminiscent of David Draiman's clean vocals. Most songs in here are also relatively short, and usually show their strengths right when they kick off. Mixing is kinda weird, some times you get to hear the snare very intensely ... read more

I see everyone crying a river for this album. Never dove deep into this band, I caught them up from their last album Memorial and kinda figured that this is their style. Apparently they were once a great prog band, my bad should've known, given Martin Lopez is their leader and drummer. This new album is definitely a dud if you view it strictly through a prog lense, and even a slight downgrade compared to Memorial, but I think we ought to cut it some slack nonetheless. Its their full blown ... read more

This should be a must listen for music enjoyers period. Queensryche roar into the deep 90s with their final masterpiece. Transcendental, desperate, observational, regretful, this album manages to implement the groundbreaking for its time digital-recording technology to create a mysterious and cinematic soundscape, filled to the brim with songs that bounce from miserable alt rock balladry (Bridge), pounding industrial anthems (My Global Mind), slow burn AOR (One More Time) and true dark ... read more

Alternative metal legends return with an album that attempts to appeal to fans of every tidbit of their catalogue. At its base it's a continuation of the reverby separated vocal channel plus huge distorted 7 string chugging of the last two albums, but it also nicks into parts that we haven't seen them tackle in a long time. We can attribute that to Nick Raskulinez returning behind the console.

The album begins with the straightforward heavy hitters, mellows down to their romantic ... read more

Another album of solid material by Fates Warning. It definetly stands in the shadow of their previous two masterworks and the rest of what was to come, as it's neither as heavy nor as proggy. It also pales in comparison to what the other two prog metal giants, DT and Queensryche, put out in 1994 and it turns out to be a Parallels lite. However its quality remains outstanding, with streamlined and sharp songwriting from beginning to end. The lyricism is some the of deepest and most ... read more

Yall are tripping this is a very good record. The most classic Sabbath sounding they ever did with Tony Martin, and they merge all their influences fluently. From gritty 90s ballads like Dying for Love to the slowly built up intensity of Hand that rocks the cradle and the Pantera riffology of I Witness which still retains a beautiful NWOTHM spirit, these guys fared far better in the 90s than pretty much all of their counterparts. That in terms of sound mostly, and partly in songwriting, cause ... read more

The family returns with Mike Portnoy back at the helm of his kit. Right off the bat, this is their heaviest ordeal in a long time. It's also pretty straightforward as well, considering these guys' aptitude for wankery and long drawn out instrumental sections. The intro picks up right where the previous album left off, with John Petrucci's fierce 8 string B Standard chugging being at the forefront of a menacing instrumental. Night Terror as the lead single is choke full of ... read more

These guys have been around for a long while, and along with Bring Me the Horizon they were undoubtedly the most influential force of metal in the 2010s. So after this long time, we finally get their teamup, through the appearance of former Bring me The Horizon member Jordan Fish behind the console as producer for this album. He's sort of become the Ross Robinson of modern metal, just by the fact that he's literally everywhere. Even when he's not actively producing, hes taking ... read more

Vast improvement over the debut but we still have much to go. They did invent another genre, gothic metal, to compensate for the lack of memorable and well crafted songwriting, as well some as some generational songs. The orchestral elements and operatic female vocals on the title track are what kickstarted this second genre these guys created. The vocals are still harsh but more enunciated, the Sabbathy groovy riffs are at the forefront and the odd melodic soloing is finally realized as the ... read more

Groundbreaking playstyle. No one was doing doom metal with harsh vocals back then, however it's way too rough around the edges and all of the songs blend into each other. There's zero songcraft merit except for a fleeting odd melodic lead line that's breaking here and there. Other than that, boredom and zero identity. The harsh vocals are also too sewery.

Best Disturbed album hands down. Yeah these guys are not escaping the generic allegations but there is considerable merit here compared to most of their discography. Fun hooks, bouncy Drop C guitar riffs, fitting vocal melodies, some actual lyricism and not just surface level moaning about wanting to punch drywall. The production is surprisingly good as well, the songs breathe, you can hear everyone loud and clear, compared to how muddled and muddy the previous album was. Ten Thousand Fists ... read more

Seeing the interviews from Phil himself, saying this is personal favorite record of his solo career and the one which truly came from his heart, I was intrigued and maybe a bit hyped to go into it. I mean cmon, the guy who has worked on stuff the caliber of Selling England by the Pound and dominated an entire decade commercially, finaly expresses major preference on one of his many acclaimed projects? Ultimately, I came out pretty disappointed. This is the album where he performed every ... read more

Despite the absence of guitarist and foundational member Dino Cazares, Fear Factory marches on with one of the best and heaviest albums of their whole career. Dino created the style of 7 string palm muted chugging which resembles percussion, Christian Wolbers however was just as capable and eager to emulate it. The album abandons any and all of the nu metal traces which were present on their last couple of albums and goes straight back to the ferocious and clinical precision of the ... read more

MJ's final album of his classic era and his supposed attempt at maturity/versatility. Honestly i think Thriller and Bad were much more versatile compared to this album,based on the amount of songs that each of these albums has and their runtime. Well Dangerous is like double the runtime of Thriller and Bad, but it employs the same production techniques, sound and vocal style for almost its entire length, with some genuine exceptions. Michael tries to emulate the new jack swing rhythms of ... read more

Ya know what fuck it. This is the best All that Remains album. And it comes as a big surprise cause it was literally released a year after their last (thankfully) and deepest dive into commercial butt rock slop. Apparently all that crap gave them songwriting experience cause this album shows them at their darkest, heaviest, thrashiest and most refined since the Fall of Ideals, if not ever. The production is straight up bulky, with all the volume the guitars need to make a huge shredfest. ... read more

The pinnacle of their prog antiques and songwriting. They really channel the early 70s prog giants here but ofc in their own special way of injecting groove and guitar aggression. Neil really steps up his lyrical game as well, playing into symbolisms and sociopolitical allegories. The album basically consists of two huge epics, Cygnus X1 Book 2 being the major one and the explosive continuation and payoff of Book 1 from Farewell to Kings. It's more melancholic and expands on the mythology ... read more

How can a band simply tread upward after a record like 2112? They simply can. Here we finally get some Moog synthesizer flourishes in their otherwise guitar heavy sound, but what they manage to pull off here is pristine prog. Despite the groovy guitar tone, despite Neil's pounding rhythms and cymbal rides, depsire Geddy's screeching voice, this is some of the proggiest stuff they've ever written. The title track is another straightforward rock song, but Xanadu is really an ... read more