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Like the fractal roots of an ancient oak tree.
This album combines both endless forward momentum, and layers upon layers of instrumentation that never needlessly complicates things, rather each additional layer provides more and more detail, and more depth. Each song provides a journey of it's own, to be studied as one of many dusty tomes, that sits upon the shelf of life.
'The Leper Affinity' is more packed to the brim with ideas, riffs, and sonic detail as a song than most albums I've heard ... read more
I come into this album with a slight anti-Weezer bias and really want to experience this for myself.
There's a conflict at play in my mind while listening to this album, I hold honesty and authenticity as the most important aspect of music bar nothing else, yet I can't help but feel that Weezer don't embody any aspects that make rock music my genre of choice, but maybe that's part of their appeal, I don't know.
I can't take any points away from this album for perceived lack of technical ... read more
Like skydiving without a fucking parachute.
I initially thought Thirst was just an okay song, then the breakdown hit and I've been holding on for dear life since then.
Anger in it's purest form, seriously, it's just out for blood and will not stop until it gets it's share.
The features, while rare, are beautifully chosen, Poppy channels the ancient ones in 'Suffocate' and Chris Motionless sounds like a man with absolutely nothing to lose on 'Slaughterhouse 2'
The hooks are crazy, like on ... read more
This album brings forth images in my head of Anthony Fantano reading about 20 bars from 'All Day Long' like a disappointed teacher reading out a note you got caught passing around the class, and yeah, some (read: most) of the lines on this record are absolute head-scratchers. It feels like the lyrics aren't even worth reading into on anything more than a surface level, maybe there's some meaning there, frankly I don't want to know.
Yet despite this poor lyricism, and enough negative reception ... read more
Like a set of fireworks going off on a rainy night.
Every note, sound, and hit feels beautifully crafted for maximum emotional impact, which results in an experience akin to driving from the cops in an open top Mazda MX-5 (Miata for any American Bozos), that doesn't really give a fuck if you're able to keep up with it. It's operating on it's own terms, and no-one else's.
Gerard way is operating at his usual, vitally important, self (See my review of I Brought You My Bullets, You Brought Me ... read more
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Member since April 24, 2024