I respect the ambition towards the macabre, as it’s clear Charli is one of pop’s modern trailblazers in every sense of the word. That said, the sound palette here just didn’t hit nearly as hard as I’d wanted- something about her vocals over the thumping strings and encroaching production just left the whole experience a bit too disjointed imo

Converge are starting to enter Judas Priest levels of ‘how on Earth do they still sound like they’re in their prime’. Everything you could love about a Converge record is in spades here, with a particular notice I took toward the lyricism this time around. One of the most consistent modern metal bands no question- another trophy on their shelf

Deftones’ worst release to this point by a canyon’s worth (forgoing their half-conceived debut). The spirit is ‘kinda’ there, but the dreamier elements aren’t used in a compelling way like Koi No Yokan, leaving far more style than substance this time around

Potentially Deftones' most ethereal offering, evidenced by tracks like Entombed and Rosemary that are unafraid to twinkle amidst the soul-smushing instrumentation and lyricism. I think the band has a few projects that are stronger than this, but it's still an incredible record all around

The Shoegaze elements begin to take center stage on this Deftones round, but it’s a winning mission- a near flawless tracklist makes for a *strong* start to the 2010s for the band

Pretty much ever Deftones project is sensual to some degree amidst the brash noise and apocalyptic theming, but Saturday Night Wrist feels deeply intertwined with the idea of sensuality and closeness. Barring Pink Cellphone (what the holy fuck), the album manages to maintain Deftones’ propelling energy while injecting some serious smooth moments, like the opener, Cherry Waves, or Xerces

Deftones’ s/t doesn’t pack nearly as much of a punch as the prior White Pony, nor the gliding sensuality of the following Saturday Night Wrist, which leaves this record as a relatively forgettable entry despite it being solid for the bulk of the runtime. Minerva far exceeds just ‘solid’ territory however

It’s not their debut, but let’s be real- this is where Deftones truly cement their sound. Even outside of Be Quiet and Drive, Around the Fur packs a wallop with emotionally discordant and devastating alt-metal banger after banger, all with post-HC soaked intensity. The birth of the best Nu-Metal discography ever

Deftones pre-formed, undercooked, however you want to say it. This early Nu-Metal sound without all the tenets that would go on to define the band's sound... is a misfire for me, to say the least. Moments like the opener are tolerable and the performances are generally solid but it's a rough debut nonetheless

BOC’s weakest release, though the synth work and general production here is still above your average electronic group that’s for sure. Reach For The Dead and Nothing Is Real are essential BOC tracks, and you’re likely to have a similar catharsis to a bulk of this as well

Disregarding Dayvan Cowboy as its recycled material, the remainder here is still worth it just for Left Side Drive and Skyliner alone

Whereas prior BOC releases to this point have dwelt in foreboding, falsely ‘safe’ waters, the paradigm shifts on this project toward the bright and hopeful. BOC’s sound remains perfectly in tact throughout the project, but there’s a dedicated intention toward making tracks that are relaxing and, dare say- optimistic? Take Dayvan Cowboy for instance- the beautiful synths that pour into the track a minute in feel like waking up in a futuristic metropolis. The inclusion of ... read more

Kid for Today sums up the wonderfully painful longing every adult has when smell that one smell that reminds them of an exact scene from their childhood, or those feelings of nostalgia that bring you back- with the crushing feeling of loss to follow when you remember that those days are truly gone.

This isn't to undersell the other three tracks however! Even the relatively repetitive Zoetrope fits in the groove on this EP which seems to specialize in bittersweet nostalgia

Apart from the opener Sixtyniner on their prior Twoism EP, I’d wager Hi Scores is the first release to *truly* cement BOC’s reputation as IDM-haunters. The entire presentation here, even the two tracks that are featured on other BOC works, comes together to make a genuinely eerie and off-putting atmosphere that you can’t help but also bob your head to, not dissimilar at all from forthcoming works such as Music Has the Right to Children. Excellent little EP

A compelling sample of what’s to come from the most haunting IDM group of all time. That opener in particular can stack up against the bulk of what’s to come from the duo

Certified skankin’, the Rosenstock way. I prefer the base NO DREAM (I’m boring I know, I know), but this deserves major props for being his strongest foray into Ska since Arrogant Sons of Bitches 15 years prior. Rosenstock’s ability to sound youthful even after nearly 2 decades is astounding

Speeds things back up a bit after POST-‘s comparative plaintiveness. Rosenstock enters the 2020s with style, speed, and concentrated rage that leaves you feeling violently empowered as opposed to complacently furious

After a series of records that are nothing but foot-on-the-gas adrenaline, it’s jarring initially to hear Rosenstock slow things down a bit- a seven minute song to start!? Fret not- Rosenstock still brings gumption to his arsenal here. Yr Throat, All This Useless Energy, TV Stars, and 9/10 are indispensables, and the closer is proof of Rosenstock being able to make a longer ballad rock just as hard (before HELLMODE would cement the idea in cast-iron stone)

The best punk record of the last ten years? It's a bold statement, but I'm at least certain that it's the purest. WORRY obviously *sounds* like a punk record with its blistering instrumentation, wailing vocals, and short song lengths- but even more than that, the very ethos and heart of the record feels like Pop Punk in its most distilled form. It feels nearly sacrilegious to listen to these tracks out of sequence because of how strong the narrative here is weaved, but I will ... read more

Power Pop banger after Power Pop banger. By this point, Rosenstock has gotten so comfortable in the vast sphere of Pop Punk that the tunes simply flow blissfully. Raucously enjoyable