"All this hurt, don't wanna even sing no singy songs."

Could not resist but be pulled in by the subtly harsh, yet delicate compositions- effortlessly complemented by her vocal performances. With an apparent understanding of music theory and visible pain and passion clearly shown, it is difficult not to acknowledge the strength at which you can share her agony.

Truly enticing vocals. Her vocal riffs, the power in the ending of the title track, to her substitutions in verse two of 'Crush'... majestic.

The modulation (namely chorus, reverb, and ... read more

You know, it's bittersweet. I remember where I was and how I felt when this came out. It was knowingly the last chance to hear X's voice and to see his vision. I won't deny my respect for him as an artist. Such simplicity, such emotion, with a voice I found appealing, and that is what I could relate to most. The bitter part is recognizing the reality of this album.

This is appalling. What a revolting cash grab.

Imagine the impact it would have had without ANY feature. And if ... read more

Unnecessarily hated.

'SKINS' continues X's vision. Not flawlessly. Without the feature, this would have been a more personal closeout for his following.

"One Minute" is hands-down the most distasteful inclusion. The first half is just... gross. And the second half is a disgrace. Additionally, "difference (interlude)" can be hard to stomach with how offkey it becomes.

Storytelling is demonstrated adequately in tracks 2 & 3. "whoa (mind in ... read more

Predictable, often overly trite, and has no original essence.

I rarely feel the need to skip Linkin Park songs, but "Good Goodbye', "Invisible", and "Sorry for Now" are misses.
"Nobody Can Save Me" and "One More Light" carry.
The rest stays either above or below average, musically.

A massive shift from the rest of their discography with next to no reason as the audience they've gathered does not apply here. An unusual move, but it ... read more

2014: I found myself surprised to see another release. I recall being a blind supporter at the time.

Still harboring some respect for the album as it was mainly designed (and self-produced!) for a specific demographic of their fans, this has always felt far too replicable. One of the skills of the band is how certain projects have such an unmistakable originality. This does not have that. Though it still harnesses the fundamentals:
e.g., customary chord progressions, harmonies, melodies, ... read more

A natural evolution of its predecessor. A simplistic continuation of anthemic, electronic alternative rock; a genre experimented with in the previous project.

Missing focus, crumbles rapidly when tracks don't show enough or are just plain.

Although it is easy to see its polish. As usual, harmonies excel. And the overall feel is one-dimensional, which works in its favor.

The biggest injustice to my opinion of ATS is remembering the exact feeling of not liking it when I heard it for the first time over a decade ago. It regrettably initiated my loss of interest in their musical future.

How naive.

A conceptualization depicting fear in nuclear fallout?
An absolute success. Absolutely haunting.

This is art. This is passion. And it is beautiful.

Muppy, being behind 70% of the record should not only be recognized for his responsibility for the album's consistency, but is also a good fit for scarlxrd.

It seems to be his shtick, but the reused adlibs get old quickly, aside from them being the same adlibs any avid listener had been hearing in the years prior to this release. Also contains some minor mixing errors (clicking, improper crossfading) and occasional EQ muddiness/imbalance. "NX ICE" doesn't fit. "dx ... read more

Enjoying this is conflicting. As a move away from their breakthrough sound while still somewhat maintaining their essence, they brought forth a tracklist that feels unbalanced and undecided. Even more damning is the album when compared to the two before it. It's just unfortunate they made the decision to steer away from what they were good at. And they knew this.

Very solid compositions hold their place here, strongly. Unsurprisingly, when Bennington has the track to himself (most of the ... read more

Knowingly aware of the artists he's impersonating all while delivering the emptiest of lines. Feigned sadness, generic flows, forced screaming, with an obvious emphasis of quantity over quality.

Features surprisingly made it even less enjoyable. SYBYR is almost never worth a feature. $NOT was so uneventful. 6ix9ine brought what he usually does.

Really though, this is was so boring. Even trying to look at it from a 2019 point of view... it just does not work.

1. Terror Reid plug.
2. No.
3. Yes.
4. Boring.
5. Somehow it *kind of* grew on me within a minute.
6. Pass.

Has about the same to show for itself as 'NAPALM' does. Whereas this sacrificed too much of itself to make room for the two-thirds of the project that didn't belong.

Sure.
No more, no less.

Entering your mind? Maybe I never understood you.

"I don't even speak spanish lol" has no business being on here.

Supplied with a decent selection of either feel-good or relatable tracks, '?' offers a slightly more conventional approach, one that's easier to follow. The main problems with the project appear from inconsistency and once again, incompletion. The enjoyable is enjoyable. The disappointing is disappointing. It also suffers from an abrupt slowdown ... read more

Noticeably emotion-driven with less of a focus on music standards from a technical perspective.

From the outside, '17' is incomplete, unpolished, and incongruous. Too short. There are evident mixing issues. The tracks do not blend. Though it does make one wonder what was intentional and what was not.

Nonetheless, it is fascinating. This could never be the work of anyone else. *This* was the vision. Through the lack of cohesion, you are forced to separate each track as its own ... read more

What an impressive introduction. And what a miscall from the label.

This LP is such a strong, defining sound. Such unexpected complexity considering it mostly being the work of the late 90s. Fantastic composition (harmonies, different vocal elements, EQ work, track progression and development) and a clear glimpse into a mind of deep suffering.

While it's always been difficult for me to truly appreciate Shinoda, Linkin Park wouldn't have been what it was otherwise. With that being ... read more

An enjoyable listen. Pleasing voice and a polished production. Some songs work better than others.

"LUNCH" is a no. Embodies what I don't like about her music (or pop/indie music in general) perfectly. Takes a colloquialism and spins it into this corny, uninteresting, scribbled-diary-entry of a song; released with the sole purpose of garnering attention. Is it only that I'm unable to relate? Perhaps. "THE DINER" is another pass. I find the "circus music" ... read more

hehe, yeah.

Otherworldly. Forever connected.

A decent showcase of heartbreak. Albeit somewhat shrouded in juvenility. Suffers from cliché lyrics and rhymes, repetition, and being too blunt.

"eyelids" exceeds expectations. It successfully conveys pain. And at the same time... it is genuinely good. "running to you" is another legitimately good track. "bitter pill" also works well.

"december 23rd" is... polarizing. I find it to be a good inclusion to the project by showing what sounds to be ... read more