It’s evident to me that Crush++ is trying to mix a bunch of different styles; enough to the point of questioning why the album is labeled strictly as pop punk and emo at the point of review, when there’s so much post-hardcore, electronicore, and even screamo fundamentals; some songs, like No Lids, No Love beg for a post-metalcore, post-screamo label. There’s enough of an identity to make you excited for new material to pair along with this album. Makes me think, are we looking ... read more
I just think this EP rules; it really brings out my favorite parts of both Touché Amoré and La Dispute. Splits are such beautiful part of hardcore and post-hardcore; not only that, but to have Jeremy and Jordan trading vocals on each band’s stylings is just undefeated.
Objectively and definitely subjectively superior to their pre-hip hop hardcore music.
It’s a flat 90; its not my favorite song they’ve done, but god it’s pretttttttty good.
Probably the best way they could have covered this; not being an exact 1 for 1 copy of the Oasis classic, but make it A BRING ME THE HORIZON revision. Lots of post-hardcore, hints of emo, definitely some pop punk sprinkled in. The chorus feels so much like Nex Gen Oli melody. Good job guys.
The closing song, especially the first half is very pretty, and like most of the songs, the keep going and keep going. It’s very pretty texture, but overall the album didn’t have to be long, even for an ambient-centric album.
Never have I wanted to yell/shout/scream a single letter more than Sabotage’s opening “I” in “IIIIIII can’t stand it, I know you planned it!”
Some of the deep cuts are the best songs on the record; My Kink Is Karma and Kaleidoscope are bonafide hits.
Between this and Special, there’s positives; catchy moments, Special had more of an emphasis on the post-hardcore side of Scowl, this being more the pop rock they’ve leaned into more. Special was more generic, this has something go for it. Overall…. Eh. It’s fine.
Fun album; some misses here and there, but overall a fun, short album with pretty good production, with songs that all feel they fit a certain color palette sonically. Good In Bed, however, is probably the weakest song, hook wise. Pretty Please is the weakest song overall.
Venice Bitch is a far and away within Lana’s strongest songs. Gives me a cross of the orange California sunlight and Heaven’s pearly gates.
I’m crying, thinking about this song, and it’s not even playing… why aren’t I playing it? I should be playing it.
Has some of Abel’s best songs in Starboy, Die For You, and I Feel It Coming… and a whole lot of mid. Thankfully there’s some enjoyable songs in the midst like Party Monster, Secrets, Love To Lay, and A Lonely Night; man there’s some songs that could have been shedded for a better overall listening experience.
Ethel Cain’s Perverts feels like entering a large putrid room, or walking down a long narrow hallway with tarnished wallpaper, with the lights off, give or take, one panel that’s left with inconsistent flickering, and only your flashlight can give the visual information of a small beam, as you frantically move it around the room, questioning: “Am I the only living thing here?”
The emphasis on the ambient psychological horror, but tracks like houseofpsychoticworm gave ... read more
This just feels bigger than itself. Like it’s so grandiose and beautiful and should be played in a cathedral with the lights off with only the light shining on the stained glass windows; maybe it’s raining outside, maybe it’s NYC.
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Recent Review Comments
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