It’s a fine release; American Psycho is the stand out track. Somewhere between an Interpol inspired gothic indie rock meets The Last Dinner Party meets almost what new Scowl/Destroy Boys is doing.
They’re a really good Deathcore band trying everything in their power to not be, for minuscule positive results and overwhelmingly “turn off the song, please skip this song.” levels of negative.
A heavy song trying to break free from being generic with some massively enjoyable heavy moments.
Always been a fan of Kurt Travis’ vocals on Dance Gavin Dance releases. That’s the one major thing that has always made the band so special; usually an evolution of band’s artistry comes through genre evolution, little shifts here and there. I always felt the vocal changes (yes, more than just the singer; this is the ONLY Dance Gavin Dance release without longtime vocalist Jon Mess) caused an almost instinctive shift in how Dance Gavin Dance approached their specific blend of ... read more
I’m really into this song; love that Jon is going back to the pre-Instant Gratification shrill high pitched screaming. It’s not the high of a War Machine from the newer DGD, but it’s a fun song.
Both songs from this upcoming album go incredibly hard, but a fucking JACK BAKER REFERENCE?! Peak.
I thought it was pretty solid and good start to the newer sound La Dispute is going for. Maybe I’m a little off base, but it felt like a more reserved Wildlife.
Suzanne might just be an up-and-coming songwriter’s playbook for excellence. Knowing how to create a narrative, knowing when a melody can keep you and the listener in a pocket for a few moments; it’s the same melody both vocally and instrumentally, and yet I could listen to a 20 minutes version of this main character’s life.
Don’t know how the user score isn’t at least like an 84-88, this is some amazing ass post-rock that really hits.
This shit sucks. It’s the same song 9 times over and then Mr. No Cash made an indie pop song (I Remember) that’s very mediocre, but not overly offensive. The rest of the album is pretty bad though. Like brainrot “we only need a random 7 seconds worth of” music without nutritional value aside from the cookie cutter production which isn’t bad, but doesn’t stand out enough to make for the painful bad song structure formula. The musical equivalent of the popular ... read more
Unfortunately a one song album with a couple of bright spots. And I’m being honest…. When You’re Gone might be the band’s *second* best song, I had to edit this; Linger is definitely number one, but god When You’re Gone is so beautiful.
Spoiler, this shit slaps. As much as it’s Bowie singing over the remixed and remastered version of the og song, his presence is almost haunting.
I guess I was put on this earth to be the Ever Since New York defender; it’s either the second or third best song vocally.
It’s a flat 80, the great songs are absolutely fantastic and elegant and beautiful, the rest of the album is very mid 70’s inspired hard rock.
There’s nice vocal melodies, but the screaming vocals feel too shoed in and even when the breakdown is to be expected, it’s paint by the numbers.
Even though this project didn’t grab me like some of the other people reviewing, I feel like I understand the broad appeal. It’s like an ambient fetal position. I will say the first song, It’s Just A Burning Memory felt like the elevator ride into something darker than Hell. If Hell was red, that song felt like a charred purplish brown.
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Recent Review Comments
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