brutally raw mathcore that channels the likes of early dillinger escape plan and converge with their wonky riffs, grinding blast beats and dissonant breakdowns. this album has everything you'd expect from a band with a name as unpleasant as "pupil slicer"

this band have an interesting sound that i don't even know how to describe. it's noisy, chaotic, jazzy and evidently influenced by tool. i see the vision and i really enjoyed some of the tracks on the first half, especially "kether" which is the most tool-esque, but a lot of these songs drag on for too long and just don't really go anywhere

this is only the second melvins album i've heard but i'll be blown away if they have anything that can top this. the bass on here is so nasty and heavy, and i love the use of layers throughout this record whether it's the two drummers or the weird harmonised vocals. "a history of bad men" is one of the greatest songs ever made imo

it's really embarrassing that this was made by grown adults and not some 12 year olds who are mad at their parents for telling them to clean their room

a drastic change in style that came as a shock having listened to "red" just before. i did not expect this to sound so much like talking heads lmao, not complaining though as i love both bands. "matte kudasai" is one of the most beautiful songs i've ever heard, it sounds like something that would play in the roadhouse in twin peaks

perfect album from start to finish and surprisingly heavy for a 70s prog rock record too. "starless" is as incredible as everyone says, but my favourite is "fallen angel." the riff on that track is ridiculously good and the cornet performance is goosebump-inducing. a million times better than "in the court of the crimson king" in my opinion

converge put a chaotic, genre-bending spin on metalcore on their sophomore album which is seemingly responsible for the popularisation of panic chords with its insane opening track "the saddest day." this album also sounds a bit screamo-ish at times. in typical converge fashion, the whole thing is just an unhinged rollercoaster from start to finish

horrible, nasty and disgusting (complimentary). really gritty powerviolence with just as many slow, sludgy moments as there are machine-gun-like blast beats. you just can't help but to furrow your eyebrows and frown throughout the whole thing

been anticipating this release since i saw these guys live last year and it did not disappoint. with their ignorant breakdowns and evil tremolo riffs, regress offer a crushingly heavy blend of beatdown and death metal on their deput ep. i especially love the melodic switch-up on the closing track

fiercely raw old-school style hardcore punk ep that doesn't really offer anything special and has some corny lyrics here and there but still a fun release nonetheless

i figured now is a good time to revisit this album with everything going on at the moment. incendiary delivers hard-hitting, politically-charged metalcore which is lyrically as angry as it sounds and sadly more relevant now. the perfect album to listen to when you're mad at the world

very solid and ambitious metalcore album with lots of chunky riffs and mammoth breakdowns. the weird sound effects used throughout is also an interesting touch. im mad at myself for sleeping on this

four mins of fun, groove-ridden hardcore punk with plenty of bounce, rapid energy and violent mosh parts. this band never misses

a hardcore punk album that begins with trumpets and has a harmonica solo is bound to be a masterpiece

a fun little ep tightly packed with explosive energy and stompin punk grooves

an exceptional post-metal project featuring one of the best and most unique voices in heavy music. the spacey atmosphere and sludgy riffs intertwined with julie's unhinged vocal performances makes for a phenomenal listening experience. sitting at almost an hour with just five tracks, it's an album that burns slowly but its explosive climaxes are well worth the wait

a decent display of sludgy post-metal with hints of doom. this album struggles with monotony at times but there are also some really strong tracks on here and i love the dark, gothic and haunting atmosphere she creates

hipsters love it, black metal purists loathe it. deafheaven were not the first to fuse black metal and shoegaze, but no other record had combined maniacal blast beats, ungodly fry screams and soul-stirring melodies in such a daringly divisive way. "dream house" never fails to bring me to tears, not even because i connect with the lyrics, but because it just sounds so fucking beautiful. this record is so abrasive, gut-wrenching and pretty all at the same time

tf has this got to do with palestine

i get that it's supposed to be improvised gorenoise which is intentionally unlistenable but the vocals one this one are just so grating. i was hoping for a similar sound to their first few albums with gurgling frog vocals rather than some bloke doing his best monkey impression