First off, I am not a big Billie Eilish fan. BUT, I found a lot to appreciate about this record. Billie and Finneas' process is so captivating and it provides context for the metric ton of subtly this album has. Songs like BIRDS OF A FEATHER, THE GREATEST, and BLUE are all so texturally interesting in a way that most pop isn't. I do think the avalanche of subtly can sometimes take me out of the experience. The songs can feel like they blend together, and while this isn't ... read more

Once again, Tyler demands attention. There is something so refreshing about an artist being this big and being this uncompromised. There is a great balance of brutal honesty compiled with great storytelling, and songs that can only be described as bangers. Take Your Mask Off may be the best example of these two statements crossing over. I am not a Tyler, The Creator scholar, so I can't say for sure how this compares to the rest of his discography, but as this stands as a single project, ... read more

This is a ridiculously charming record. There is so much fun to be had while listening and despite arguably being bloated, I was never bored. There are also a lot of phenomenal moments throughout: the end of Pigeons on Your Balcony, Strange Beast, The Detective, hell even Flies. It's weird, and wacky and doesn't take itself seriously, but is also combined with some really solid musical chops.

This album seems confused to me. It is a weird combination of styles that never really mesh well. At some points, it sounds like 2010s hard rock, ala Muse or Royal Blood, then it sounds like Dave Matthew's Band, and at really no point does it sound like Pearl Jam. The music is competently made and I don't doubt the band's abilities. Hell Eddie Vedder sounds pretty damn good. But as a package, there isn't enough personality to say I truly enjoyed this project.

This is just solid death metal. I like the dives into more melodic motifs like the violins on the title track and I enjoyed the interlude of Endless Symmetry. In theory, I enjoyed the combination of death metal and doom metal, but it sometimes felt confusing. Overall really good though.

This is a really weird album. I can't really tell if I enjoyed my time with this but I at the very least found a lot to appreciate. Kim Gordon being 70 when she made this gives this record so much inherent swag that no matter what she is saying, getting on these songs is cool on its own. The Believers is by far the stand-out track. It has the best production with the abrasiveness working incredibly well and while she never sings on any of these songs, she brings a bit of melodic presence ... read more

This is an expertly crafted debut. There are no weak aspects of this album, and some of the soundscapes they create are astounding. I fully expected to only really like the lead single Nothing Matters but not only did I find a few other standouts like The Feminine Urge, Sinner, and My Lady of Mercy, but this only bolstered my love for Nothing Matters as a phenomenal way to conclude this record (besides Mirror which seems only to bookend the album). I am very excited to see what this band has ... read more

I mean for his 5th album this year he is still proving himself to be Dave Blunts. He's still saying some heinous shit, he's still rapping over majestical beats that now feature elements of dance, shoegaze and indie influences, and he is still rapping about lean and women. On a more critical level this is definitely more bloated than Well Dude Here's My Thing but it's fun so it gets 1 or higher for at least being varied. Weloveyoudaveblunts.

This is a pretty considerable step down from 2093. These songs all sound alike and there isn't enough done to differentiate them from one another. Heard of Me and Gone 4 A Min are standouts, but overall, this is a fun, bloated project that isn't worth overshadowing 2093.

I'm not sure if this is just me, but most projects that combine Death Metal with other genres are better than 99% of all Death Metal projects. This is no different this shit slaps. Moments of this record feel utterly magical in a way I have never heard before. And despite the genre being called death metal, there is something so positive about these songs that just makes me happy, I caught myself smiling through a lot of this project.

This was by far my most anticipated album of the year, I even bought a 4'' by 4'' banner of the album cover before it came out, and it absolutely did not disappoint. This is everything God's Country did but done so much better. The riffs are gnarly, the bass is driving, the drums are pounding and the singing is nihilistic, perfect. These songs are so abrasive and mean but they have an incredible groove that you can't help but head banging even if the subject matter ... read more

This record confused and intrigued me. Beneath the heavy groans and deep experimentation, there is a great sense of groove and momentum within these tracks. Vileness Silm and Legion of Bottom Deck Dwellers are great examples of this trend. For those who want to be challenged, I would recommend.

I think this is easily an improvement on his self-titled last year. These songs feel like they matter more. I think Pink Skies is the strongest single he has put out and while it has gotten a little overplayed, it is still a masterclass of songwriting. 28 represents the strength Zach Bryan has over his contemporaries, which is intimacy. It isn't this overwhelming stadium pleaser, but the production assures it is still a hit. Oak Island has one hell of an outro that feels almost ... read more

When GY!BE plays music, you listen. It's just law at this point. The sheer statement they can make with an album title and instruments is astounding. While this doesn't reach the highs of other records in their discography, it is still ridiculously impressive how they can sound this good being so far into their career. Once again it takes incredible talent and skill to instill such emotion and political relevance without the need for lyrics.

To not go into this blind, I checked out Hellfire by Black Midi to give myself a sense of what Geordie Greep has going on. I thought it was good but it didn't blow me away. This, on the other hand, holy shit. There is always so much going on and it all makes sense. It is not common for someone to have such a good voice and also such masterful composition skills. Take the lead single Holy Holy, what a fucking song. Then the 12-minute suite that is The Magician, and that isn't excluding ... read more

To give the most amount of context, this is the first thing from Xiu Xiu I have ever heard. And god damn I am blown away. It is so spacious and the percussion is so driving. It's like a haunting funk, something I have never heard before. This has piqued my interest in the rest of Xiu Xiu's catalog but I have no idea where to go from here. So if anyone could suggest me some records I would be more than happy. Anyway, this album is phenomenal.

It is nice to hear Serj again. While I can't help but feel like there is a bit of emptiness caused by the sheer fact that the other members of SOAD aren't here, (except for Cartoon Buyer, John is on that and he sounds great) this is still really solid.

THE LIMP BIZKIT GAUNTLET: DAY 7

Wow, I wasn't expecting anything from this and I truly thought this would be one of the worst albums in Limp Bizkit's catalog. But actually, this one was one of my favorites of theirs. Everyone sounds great, there is a good amount of self-awareness that was lacking from Gold Cobra, and some decent songs. The song that is the most evident of this is their cover of Don't Change by INXS which is good. It is their best cover yet (tied with Faith just ... read more

THE LIMP BIZKIT GAUNTLET: DAY 6

Ok, this was a weird one for me. On the one hand, it is terrible and its flaws are too many to count. It is the trashiest the band has sounded, and overproduced, and Fred Durst is the least likable on this album. But on the other hand, this is a return to the Chocolate Starfish era. Wes Borland is more impactful on this than he has been on the last two albums, and songs like Gold Cobra and Walking Away are decent. Still not a good album but surprising.

One ... read more

THE LIMP BIZKIT GAUNTLET: DAY 5

Limp Bizkit does Rage Against the Machine poorly. This album represents my biggest hatred of any music that tries to be political, which is when it is vague. Nickelback's Feed the Machine and Muse's Will of the People are two great examples. Both albums are terrible and a big reason is they act like they have something to say when they don't. Rage Against the Machine has always been very direct in who they target, Limp Bizkit does not. Saying ... read more