Lateralus is Tool operating at a level most bands never reach. Every element — the rhythmic complexity, the dynamics, the way songs build and release — feels completely deliberate and completely earned. It’s one of those records where the ambition and the execution are perfectly matched, which is rarer than it sounds.

The floor here barely dips below excellent. Even the more restrained moments carry weight. The album asks a lot of the listener in terms of patience and ... read more

Ænima is where Tool fully arrived. The rawness of Undertow is still there but now channeled into something more expansive and intentional — longer songs, deeper grooves, and a kind of philosophical weight that matched the musical ambition. It’s one of the defining records of its era and still sounds singular today.

The floor is high and the ceiling is massive. Even the weaker rated tracks are solid, and the album’s best moments are some of the most compelling heavy ... read more

Undertow is Tool before they fully became Tool — rawer, more direct, and less interested in the labyrinthine structures that would define their later work. That’s not a criticism. There’s a bluntness to this record that hits differently than Ænima or Lateralus, and it works in its favor more often than not.

The album is anchored by some of the band’s most viscerally powerful songs. When it’s working, there’s a weight and darkness to it that few records ... read more

A clear step up from The Gray Chapter. We Are Not Your Kind feels like a band that found their footing again — more focused, more atmospheric, and with a genuine sense of ambition that the previous record lacked. The industrial and dark ambient elements woven throughout give it a texture that’s new for Slipknot without feeling forced.

The highs are genuinely great, some of the best work they’ve done in over a decade. But like most late-era Slipknot, the tracklist runs long ... read more

Oh god.

Ear bleeding music.

This is ear bleeding.

This is actually ear bleeding. This guy creates videos on Instagram of himself self-glazing. The music is so awful that I would rather die than listen to it. The only positive thing about this is that the boy is pursuing his dream, even though I don’t understand what kind of person would want this dream.

This is actually ear bleeding. This guy goes on Instagram making videos of himself self-glazing. The music is so horrible that I would rather die than listen to it. The only positive aspect of this is that the boy is fulfilling his dream, even though I don’t understand what kind of kid wants this dream.

This is actually ear bleeding. This guy goes on instagram making videos self-glazing himself. This music is so horrible that I would rather die than listen to this shit. The only good thing out of this is that the boy is fulfilling his dream, even that what kinda kid wants this dream.

This song is solid. It's muse back with their original style that makes them muse in the first place.

This album was horrible. That’s the biggest thing I have to say. It takes real talent to make bad music. That’s the only think saving this from a zero.

Kid A is one of those albums where the reputation does most of the work.
Everything in Its Right Place opens it and that part makes sense — it’s eerie and it pulls you in. How to Disappear Completely and Idioteque are the moments where the experimentation actually lands emotionally. Motion Picture Soundtrack is genuinely beautiful.
But the title track is a 50 for a reason. The National Anthem drags. Treefingers, Optimistic, Morning Bell — they’re not bad, they’re ... read more

OK Computer is one of those records everyone agrees is important. The scores here are more honest than that.
Exit Music and Karma Police are two hundreds and they deserve every bit of it. Let Down might actually be the best song on the record — that build, that release. No Surprises is the quietest gut punch they ever wrote.
But Fitter Happier is a 40 and I stand by that. It’s an interesting idea that stops the record cold. Subterranean Homesick Alien, Electioneering, Climbing Up ... read more

The Bends is Radiohead before Radiohead became Radiohead. And it’s better than people remember.
Fake Plastic Trees is the obvious peak — one of the saddest songs ever written and it knows it. High and Dry and Bullet Proof sit right behind it and they hit every time. Black Star is the underrated one. Street Spirit closes it with that same hollow dread it always has.
The middle sags a little. Bones, (Nice Dream), Just, Sulk — none of them are bad but they blur together in a way ... read more

Basement has always been one of those bands that felt like they were made for a specific kind of loneliness. WIRED doesn’t really change that. It’s comfortable. Maybe too comfortable.
Time Waster and Pick Up The Pieces hit — there’s a weight to them that actually lands. Summer’s End closes it out well. But the middle of this record drags. Satisfy feels half-finished. Deadweight and Head Alight blur together after a while.
It’s not that any of it is bad. ... read more

Good start to a amazing discography.

Bright as Blasphemy doesn’t reinvent anything. It doesn’t need to. It’s Chevelle being Chevelle at a level they haven’t hit in a while.
Wolves (Love & Light) is the obvious centerpiece — one of the best singles they’ve put out in years, and the 100 is right. The Cowards two-parter is the most ambitious thing on the record and it pays off. Rabbit Hole into Jim Jones is the best back-to-back sequence here.
Hallucinations, Blood Out in the Fields, Al Phobias ... read more

NIRATIAS is the most uneven Chevelle album in a while and it shows.
Self Destructor and Peach are two hundreds and they earn it. Self Destructor especially is one of the best singles they’ve put out in years. Mars Simula, Piistol Star, Remember When round out the highlights and they all hit.
But Test Test… Enough, Ghost and Razor, Verruckt, Lost in Digital Woods are filler in a way Chevelle usually avoids. The interludes kill momentum every time. Endlessly just kind of sits ... read more

The North Corridor is Chevelle being quietly great when nobody was paying attention.
Last Days is the obvious standout — one of the better closers they’ve put together, and the 100 is right. Joyride (Omen) is the other peak, hits hard and doesn’t overstay. Door To Door Cannibals opens the whole thing strong.
But what’s impressive is how consistent the floor is. Rivers, Young Wicked, Punchline, Shot From A Cannon — all 90s, all solid, none of them phoning it in. ... read more