Here's a more expanded and refined version of your review:

Decent. If I had to sum up my experience with this album from Japanese metal/hardcore band Decasion in one word, that would be it. They’re clearly talented musicians who play well together, but the songwriting often falls into uninspired territory, leaving much of the album feeling a bit bland. There are moments where the band taps into something sweet—brief flashes of energy or melody that hint at potential—but overall, the songs lack a distinct identity.

One thing they undeniably excel at is their two-step sections. Those parts are super tight, and at times, they’re the only truly engaging elements in the tracks. However, the rest of the compositions don’t always bring the same level of excitement. The vocals, for the most part, stick to one style throughout the album. While there are some minor variations, nothing really stands out as particularly mesmerizing. They remind me of that classic "old guy metal" vocal approach—gruff, effective, but not exactly dynamic.

Instrumentally, the guitars sound great. They’re tuned low, which gives the album a heavy, crushing tone, but the riffs themselves can get repetitive, making them feel less impactful over time. The bass is... there, I guess? It never really stood out or added much depth to the mix. As for the drums, they had their moments. When the drummer locked into a tight groove or threw in a well-placed fill, it added a nice touch, but there were also times where the execution felt a bit sloppy.

In the end, I get the feeling that experiencing Decasion live and listening to them on record would feel pretty much the same. They have the chops, but the songs don’t quite have the staying power to make the album truly memorable.

こちらが日本語訳です：

まあまあ。 日本のメタル／ハードコアバンド、Decasionのこのアルバムを一言で表すなら、そう言うのがしっくりきます。メンバーの演奏技術は確かで、バンドとしてのまとまりも感じられますが、楽曲の作り込みがあまり印象に残らず、全体的に少し退屈に感じました。時折、「おっ」と思わせる瞬間や心地よいメロディがあるものの、曲ごとの個性が薄く、全体の流れが単調に感じられます。

ただ、ツーステップのリズムはかなりタイトで、このアルバムの中でも特に際立つ部分だと思います。しかし、逆に言えば、それ以外の要素があまり耳に残らないのが残念です。ボーカルはほぼ一貫して同じスタイルで歌われており、多少の変化はあるものの、特に惹きつけられるような表現は見られません。いわゆる「オールドガイ・メタル」的な歌い方で、それなりに味はあるものの、ダイナミックさには欠けています。

ギターの音作りは良く、低音でヘビーな響きを持っていますが、リフのパターンが単調になりがちで、聴いているうちに少し飽きてしまうこともありました。ベースに関しては…一応鳴ってはいるけれど、特に印象的なプレイはなく、全体に埋もれてしまっている印象です。ドラムは、キメの部分やフィルの入れ方がうまくハマると気持ちいいのですが、時折荒さが目立つこともありました。

総じて言うと、Decasionはライブで観ても、音源で聴いても、あまり印象が変わらないタイプのバンドなのではないかと感じます。演奏技術は確かですが、楽曲の強さがもう一歩足りないように思いました。

Here’s an expanded and refined version of your review:

Despair. That’s what you’re getting with this album from Anxious Arms—but not in the way you might expect. Rather than an overwhelming sense of doom or outright misery, the band channels their influences from grunge, doom, metal, and hardcore to build an atmosphere of dread and unease. Throughout most of the album, they successfully cultivate this brooding, almost suffocating feeling—until the final moments, when they suddenly abandon all restraint and hit you with an explosion of chaos, kicking in your teeth with unrelenting intensity.

It’s clear that Anxious Arms is aiming to create an immersive experience, one that pulls the listener into their sonic world. And for the most part, they succeed. However, something feels slightly off in execution, and I think the biggest culprit is the vocals. The issue isn’t just the vocal performance itself, but also the way it’s mixed and layered into the songs. The vocalist's artistic choice to lean into slow, drawn-out singing often works against the music rather than enhancing it. At times, his voice feels mismatched with the instrumental, failing to carry the weight the songs demand. Other times, he’s barely audible, lost in the mix. It’s frustrating because when he does let loose and scream, he sounds fantastic. His energy in those moments fully aligns with the intensity of the music, making me wish he leaned into that style more consistently.

Instrumentally, the album has a lot going for it. The bass is the real standout here, adding a significant amount of weight and texture to the sound. It thickens the atmosphere, making the songs feel sonically rich and engaging. The guitars lay down some solid riffs and interesting parts, though nothing particularly groundbreaking or memorable in the long run. The drums, when clearly audible, bring some tight and enjoyable playing to the table. One of the best aspects of the drumming is the use of cymbals throughout the album—there’s a lot of thought put into how they accentuate the mood and dynamics of each track.

In the end, Anxious Arms has crafted an intriguing album, one that’s worth revisiting a few times to fully absorb its nuances. While the vocals hold it back from reaching its full potential, the atmosphere, instrumental textures, and moments of sheer intensity make it a compelling listen for fans of dark, heavy music.

Here’s an expanded and refined version of your review:

Two sides of the same coin. That’s the best way to describe Poser and Grasping at Straws on this split release. Both bands deliver a relentless, overproduced take on deathcore—crushingly heavy, aggressive, and polished to an almost mechanical degree—but neither really brings anything fresh to the table. Their styles are so similar that the songs could almost be interchangeable, following the same blueprint: ultra-low-tuned guitars churning out thick, chugging riffs, monstrous, bloodcurdling vocals, lightning-fast drumming, massive breakdowns, and pristine production that makes everything sound bigger than life. On paper, that all sounds great, but in execution, it often feels like it’s been done before. The sheer heaviness starts to work against them, making the music feel almost forced—like they’re trying so hard to be brutal that it ends up lacking the raw, organic energy that makes heavy music truly hit.

That said, there are some subtle differences between the two bands that give each side of the split its own flavor. Poser leans more into the straight-up modern deathcore sound, drawing heavy influence from bands like Thy Art Is Murder and Veil of Maya. Their two tracks are packed with thick, crushing riffs and pummeling breakdowns, all amplified by an almost surgically clean production style. While the songs are undeniably heavy, that very same polish works against them—there’s no real grit or rawness, nothing that makes the music feel dangerous. It’s well-executed, but a little too safe. However, one notable moment on the split comes from the opening track, where they briefly break out of the heaviness with an acoustic section and clean singing. It actually flows really well and adds a dynamic shift that makes the song stand out a bit. It’s a small but welcome change of pace.

On the other hand, Grasping at Straws takes a slightly different approach, incorporating more nu-metal and metalcore influences into their deathcore sound. Their tracks are groovier, shorter, and make use of elements like turntable scratches to give their songs a bit more bounce. There’s a definite Kublai Khan feel to their sound, but without the same swagger or attitude that makes that band’s music so compelling. The grooves are there, the heaviness is undeniable, but again, it doesn’t feel particularly unique or memorable.

So, are these tracks heavy? Absolutely. Are they fun to listen to? Sure, if you’re just looking for something to bang your head to. But are they doing anything new or exciting within the genre? Not really. Both Poser and Grasping at Straws clearly know how to write punishingly heavy music, but in an oversaturated scene where bands are constantly pushing the boundaries of extreme music, this split ultimately feels like just another drop in the ocean. It’s enjoyable, but not essential.

Expanded Review:

The "bad kid" herself, Crystal Tea, has finally dropped her long-awaited debut album, and it’s an ambitious, genre-blending experience. Across this record, she explores a wide range of sounds, from indie rock and smoky lounge music to soft ballads and experimental jams. It’s clear that she’s pushing her artistic boundaries, venturing into new musical territories with confidence. While these sonic experiments add variety to the album, they don’t always land as well as her more rock-oriented tracks.

Where Crystal Tea truly shines is on the rock-driven songs, such as "Minority," "Bad Kid," and "Buddy Buddy." These tracks might follow a straightforward structure, but her commanding presence, strong vocals, and infectious hooks elevate them above simple rock tunes. There’s a raw energy in these songs that makes them the most captivating moments on the album. The band backing her on these tracks sticks to a somewhat basic formula, but their execution is tight and effective. The drums have a nice crispness, the bass is thick yet controlled, and the guitar work feels more dynamic and technically refined compared to other parts of the album.

Even when she slows things down with classic ballads like "With an Unfolded Collar" or "Schoolgirl Bye Bye," Crystal Tea maintains a confident, emotive presence. Her voice carries weight in these songs, and while they may not be as bold as her rock material, they highlight her ability to deliver emotionally resonant performances.

However, when she steps into more experimental territory, the results are a bit hit-or-miss. Songs like "Boys' Caravan," "Sonatine," and "This Is Betatesting" feature creative choices that, unfortunately, take them from being potentially great to just okay. In "Boys' Caravan," she stretches her vocal phrases a bit too long, making the delivery feel sluggish. "Sonatine" starts off promising, but then she throws in an oddly long and meandering scat section at the end that feels unnecessary. And then there’s "This Is Betatesting," which abruptly shifts from a country-inspired section into a gothic-style breakdown with a messy, jarring transition that disrupts the song’s flow. While it's admirable that she’s willing to take risks, some of these choices ultimately detract from the album’s overall cohesion and impact.

On the technical side, the production is generally solid. Most of the instrumentation and vocal mixing are well-handled, giving the album a clean, polished sound. However, there are a few moments where the vocals sit too high in the mix, overpowering the instrumental sections, or where certain instruments feel a bit unbalanced. Fortunately, these issues are minor and don’t take away too much from the listening experience.

All in all, Crystal Tea's debut album is a bold and diverse effort, filled with both high points and missteps. When she sticks to her strengths—particularly on the rock-oriented tracks—she delivers some truly standout moments. While not every experiment pays off, her willingness to explore different styles makes this an interesting and worthwhile listen. If she hones her approach and refines some of her riskier ideas in future releases, she has the potential to carve out a unique space for herself in the indie and alternative scene.

Korean Version (한국어 번역):

"나쁜 아이" 크리스탈 티가 마침내 데뷔 앨범을 발표했다. 이 앨범은 그녀의 다양한 음악적 탐구가 돋보이는 작품으로, 인디 록에서부터 재즈풍의 라운지 음악, 부드러운 발라드, 그리고 실험적인 곡들까지 폭넓은 스타일을 담고 있다. 그녀가 새로운 음악적 영역에 도전하고 있다는 점은 확실하지만, 실험적인 곡들이 반드시 성공적인 것은 아니다. 오히려 그녀의 록 스타일 트랙이 가장 강한 인상을 남긴다.

"Minority," "Bad Kid," "Buddy Buddy" 같은 록 기반의 곡들은 구조적으로 단순할 수 있지만, 크리스탈 티의 강렬한 보컬과 중독성 있는 멜로디 덕분에 큰 힘을 얻는다. 특히 그녀는 이 곡들에서 강한 존재감을 발휘하며, 자연스럽고 자신감 넘치는 보컬 퍼포먼스를 보여준다. 밴드의 연주 역시 비교적 기본적인 구성을 따르지만, 연주력 자체는 탄탄하다. 드럼은 경쾌한 타격감을 주고, 베이스는 묵직하고 안정적인 느낌을 더하며, 기타 연주는 다이내믹하고 테크니컬한 요소를 갖추고 있어 앨범 내에서도 돋보인다.

그녀는 발라드 트랙에서도 안정적인 모습을 보인다. *"With an Unfolded Collar"*나 "Schoolgirl Bye Bye" 같은 곡에서는 감성적인 보컬이 돋보이며, 과하지 않으면서도 섬세한 감정을 담아낸다. 록 스타일의 곡들만큼 강렬한 인상을 주지는 않지만, 크리스탈 티의 다양한 표현력을 보여주는 트랙들이다.

하지만 실험적인 곡들에서는 다소 아쉬운 부분이 있다. "Boys' Caravan," "Sonatine," "This Is Betatesting" 같은 곡들은 창의적인 시도를 하고 있지만, 이로 인해 곡의 완성도가 떨어지는 경우가 많다. 예를 들어 *"Boys' Caravan"*에서는 보컬이 지나치게 늘어지는 느낌을 주어 곡이 지루하게 들리기도 한다. *"Sonatine"*은 초반부에는 괜찮지만, 후반부에 갑자기 긴 스캣(Skat) 파트를 추가하면서 곡의 흐름이 어색해진다. *"This Is Betatesting"*에서는 컨트리 스타일에서 고딕 스타일로 갑작스럽게 전환되는데, 전환이 너무 어수선해서 곡의 흐름이 깨진다. 그녀가 다양한 시도를 하는 것은 긍정적이지만, 이러한 실험적인 요소들이 꼭 필요했는지에 대한 의문이 남는다.

프로덕션 측면에서는 대체로 좋은 퀄리티를 유지하고 있다. 대부분의 악기와 보컬 믹싱은 깔끔하고 듣기 좋게 조정되었지만, 몇몇 트랙에서는 보컬이 너무 앞서 있는 믹싱이나 악기의 균형이 약간 맞지 않는 문제가 있다. 다행히도 이러한 문제들은 앨범 전체의 퀄리티를 크게 해치는 수준은 아니다.

결론적으로, 크리스탈 티의 데뷔 앨범은 대담하고 다양한 시도를 담은 작품이다. 록 스타일의 곡들에서 가장 강한 개성을 발휘하며, 그녀의 보컬과 멜로디 감각이 빛을 발한다. 그러나 실험적인 트랙에서는 아쉬운 부분도 존재한다. 앞으로의 앨범에서 이러한 도전적인 시도를 더욱 정교하게 다듬는다면, 크리스탈 티는 인디와 얼터너티브 음악 씬에서 독창적인 위치를 차지할 수 있을 것이다.

Expanded Review: Skeletal Remains – A By-the-Numbers Death Metal Assault

Skeletal Remains' latest album is a full-fledged, no-frills death metal experience—exactly what you’d expect from a band with a name like that. They hit all the hallmarks of the genre: complex riffs, relentless drumming, pummeling bass lines, brutal lyrics, and guttural vocals that leave no room for subtlety. It’s a record that fully embraces the old-school death metal ethos, but in doing so, it runs the risk of feeling a bit too familiar, almost like a patchwork of death metal’s greatest hits.

From the very first track, it's clear that Skeletal Remains knows how to play death metal exceptionally well. Their technical proficiency is undeniable, and at times, the album boasts impressive guitar work, with rapid tremolo-picked sections, crushing chug-heavy breakdowns, and the occasional unexpected melodic flourish. The drumming is equally intense, delivering machine-gun double bass, blast beats, and well-placed fills that keep the energy high. However, despite the undeniable skill behind the performances, much of the songwriting feels predictable. Many of the tracks sound like they could easily belong on an album from genre heavyweights like Cannibal Corpse or Morbid Angel, to the point where the record sometimes lacks a distinct identity.

That’s not to say there aren’t moments where Skeletal Remains steps outside the standard formula. There are sections where they experiment with unique guitar phrasing, dissonant chords, and unexpected rhythmic shifts, adding some variety to the mix. The drumwork occasionally deviates from straightforward brutality, featuring clean, well-placed fills and dynamic shifts that offer brief moments of freshness. However, for a large portion of the album, these elements are buried beneath a wave of familiar-sounding riffs and predictable structuring. The musicianship is solid, but whether it's compelling enough to hold a listener’s attention for the entire runtime is debatable.

Lyrically, the album sticks to the usual death metal themes of gore, violence, anti-religion, and existential dread. Songs about "no gods, no masters" and graphic descriptions of cannibalism are delivered with the expected ferocity, but they don’t feel particularly fresh or unique. Many of these themes have been explored countless times before, and while some tracks attempt to inject a more creative or thought-provoking element into their lyricism, it's not quite enough to make a significant impact.

One of the more surprising aspects of the album is that some of the best moments actually appear in the latter half of the tracklist. The deeper cuts seem to offer more dynamic songwriting, with more engaging riffs, tempo shifts, and well-executed breakdowns that breathe a bit of life into the record. While these tracks don’t necessarily reinvent the wheel, they do provide a welcome change of pace compared to the more formulaic opening songs.

The vocals are another aspect that, while solid, lack variety. The vocalist delivers a consistent and appropriately guttural performance, but the lack of variation in delivery can make the album feel a bit repetitive. There's very little in terms of tonal shifts, vocal layering, or dynamic range—it's an all-out assault from start to finish. While this is not inherently a bad thing for death metal, it does contribute to the album feeling a bit stagnant over time.

Production-wise, the album sounds fantastic. The guitars are thick and crushing, the drums are punchy and clear, and the bass (when audible) adds a nice low-end weight to the mix. The only real issue is that the vocals occasionally feel buried in the mix, making them less impactful than they could be. However, overall, the album has a polished yet aggressive sound that matches the intensity of the music.

Final Thoughts

Skeletal Remains have delivered a textbook death metal record—one that is technically proficient and sonically brutal but not necessarily groundbreaking. For fans of the genre, this album will check all the boxes: fast riffs, crushing breakdowns, demonic vocals, and unrelenting speed. However, for those looking for something more distinct, innovative, or memorable, this album might not leave much of a lasting impression. It’s a solid listen, but it ultimately falls into the category of "good but not essential" death metal releases.

Would I recommend it? If you love old-school death metal and don’t mind an album that sticks rigidly to the genre’s formula, then absolutely. But if you’re looking for a death metal record that challenges conventions or brings something fresh to the table, you might not find that here.

Killed by the Lights – A Fusion of Metalcore and Radio Rock

If Trivium and Hoobastank had a baby, it would probably sound a lot like Killed by the Lights. This metalcore-infused rock band fuses the fast, chugging grooves and intensity of Trivium with the radio-friendly, soaring choruses of Hoobastank, creating a listening experience that is both heavy and accessible. The result? A band that delivers a fun and energetic blend of crushing breakdowns, catchy melodies, and driving rhythms, even if some aspects of their sound feel a bit uneven.

Heavy Grooves and Melodic Hooks

When Killed by the Lights leans into their heavier side, they shine. The hard-hitting, chugging guitar riffs, paired with deep, pounding drums and thick basslines, create an undeniably tight and impactful sound. The metalcore elements hit hard, especially in the verses, where they unleash harsh, aggressive vocals that complement the heaviness of the instrumentals. These moments feel well-executed and intense, giving the band an edge that keeps them from sounding too polished or overproduced.

However, the band isn’t content with just delivering pummeling riffs and breakdowns. They aim for radio-friendly appeal, shifting into softer, melodic choruses with catchy hooks and clean singing. While these sections add variety and accessibility, they are also where the band's biggest weaknesses emerge. The clean vocals often feel strained and somewhat forced, making them less impactful than the raw power of the screams. Rather than flowing naturally, the transitions between heavy and soft sections can feel jarring or awkward, disrupting the momentum of otherwise solid tracks.

Songwriting and Pacing

For the most part, the pacing of the album is well-structured, keeping a good balance between heavy and melodic moments. The band clearly knows how to craft dynamic songs that shift between crushing intensity and anthemic sing-along sections. However, there are times when their genre-blending feels forced—certain transitions between styles don’t feel as fluid or organic as they should, leaving some songs feeling disjointed.

Lyrically, the album sticks to straightforward themes—nothing too groundbreaking, but still effective for the style. The band focuses on themes of personal struggles, resilience, and emotional turmoil, all delivered with enough passion to feel genuine, even if the lyrics don’t necessarily stand out as particularly innovative.

Production and Performance

One of the band’s strongest elements is their production. The album sounds polished and heavy, with a punchy mix that gives weight to the instruments. The guitar tones are thick and meaty, the drums hit hard, and the bass provides a solid backbone that prevents the sound from feeling too thin. While a few tracks feel less inspired or a bit underwhelming, the overall energy of the album makes up for the occasional weaker moment.

Final Thoughts

Killed by the Lights delivers a fun, energetic fusion of metalcore and radio rock, even if their execution isn’t always perfect. Their heavy sections are powerful and well-executed, but their attempts at catchy, melodic choruses don’t always land. With a bit more refinement in their vocal delivery and transitions, they could develop a more cohesive and unique identity. As it stands, they offer an enjoyable but somewhat uneven listening experience.

Would I recommend it? If you enjoy bands that mix metalcore aggression with radio-rock hooks, absolutely. But if you’re looking for something truly innovative or seamless in its fusion of styles, this might not fully satisfy. That being said, there’s plenty of potential here, and I wouldn’t be surprised if the band hones their sound into something even stronger in the future.

The Black Dahlia Murder – Servitude (Album Review)

The Black Dahlia Murder returns after enduring significant hardships over the past few years, but unfortunately, their latest album, Servitude, doesn’t feel like a triumphant comeback. Instead, it sounds half-baked, repetitive, and lacking in originality. While the band’s signature melodic death metal aggression is still present, the album struggles to capture the energy and creativity that once set them apart. Rather than feeling like a fresh step forward, it often comes across as a band forcing itself to sound like The Black Dahlia Murder, but without the same bite.

A Lack of Innovation

One of the album’s biggest issues is its lack of standout moments. Sure, the songs are fast, heavy, and technically proficient, but they blend together too much, making it difficult to distinguish one from the next. Out of the ten tracks, only a couple manage to break away from the monotony.

• "Mammoth’s Hand" stands out by incorporating a progressive edge, making it feel more fleshed out and engaging compared to the rest of the album.
• The title track, "Servitude", has a bit more weight and drive to it, giving glimpses of what the album could have been if the band had pushed themselves further.

Unfortunately, the rest of the record suffers from sameness, with riffs and song structures that feel too safe and uninspired.

The Guitars – A Repetitive Offender

The guitar work, typically one of The Black Dahlia Murder’s strongest assets, is a major disappointment here. The riffs sound nearly identical throughout most of the album, making it difficult to pick out anything truly memorable. The solos, which are present in almost every song, also fail to impress. Rather than adding depth or excitement, they drag on for too long and feel uninspired, making their inclusion feel more like an obligation than an enhancement.

At times, the riffs even feel a bit too reminiscent of Dethklok, which unintentionally gives the album a cartoonish, generic quality rather than the razor-sharp precision the band is known for. While there are brief moments of strength, like in "Servitude" and "Mammoth’s Hand", they aren’t enough to carry the album past its repetitive nature.

Bass and Drums – The Redeeming Factors

The bass work does have some presence, sounding thick and beefy at times, but it never really takes center stage or adds much to the overall impact. Tracks like "Asserting Dominion" and "Panic Hysteric" allow it to shine a bit more, but for the most part, it sits in the background without making a lasting impression.

The drumming, however, is one of the most consistently solid aspects of the album. The performances are tight, energetic, and filled with dynamic fills that help keep the songs from feeling completely lifeless. Songs like "Aftermath" and "Cursed Creator" showcase some strong, creative drumming, injecting some much-needed variety into the record.

The Vocals – Finding Their Own Identity (Eventually)

The biggest question going into Servitude was how the new vocalist would fill the shoes of their late frontman. On the opening track, "Evening Ephemeral", it’s clear that the new vocalist is trying very hard to emulate the band's previous style, but the performance feels a little forced. As the album progresses, however, the vocals start to develop their own identity, feeling more natural by the later tracks.

That being said, the repetitive nature of the instrumentals overshadows the vocals, making it difficult for them to truly shine. While the vocal performance isn’t bad, it also isn’t enough to carry the album past its uninspired songwriting.

Production and Pacing

The production quality is good, which is one of the album’s saving graces. Every instrument is clear and well-mixed, and nothing feels too low or drowned out. The pacing of the album is also fast-moving, which makes it easy to get through quickly, but also reinforces the feeling that everything is blending together too much.

Final Thoughts

Servitude feels like a band trying too hard to sound like itself, rather than evolving or taking any risks. While there are flashes of quality—particularly in the drumming, a couple of standout tracks, and the solid production—the album overall feels uninspired and overly safe. Instead of delivering a fresh, revitalized take on melodic death metal, Servitude ends up recycling the same ideas without injecting anything truly new or exciting.

Is It Worth Checking Out?

If you’re a die-hard fan of The Black Dahlia Murder, you might find some enjoyment here, but don’t expect anything groundbreaking. If you’re looking for a fresh, inspired take on melodic death metal, this album might leave you feeling underwhelmed.

At the end of the day, Servitude isn’t necessarily bad, but it’s far from the return to form that many fans were hoping for.

Camila Cabello – C, XOXO (Album Review)

Wait… this is the same artist who gave us Señorita and Havana? What happened here? Camila Cabello has officially jumped the shark with C, XOXO, delivering an album that is messy, unfocused, and just plain bad on so many levels. From poor production choices and questionable vocal performances to lackluster songwriting and awkward guest features, nearly everything on this album feels like a bad idea that nobody had the courage to shut down.

It’s clear she wanted to experiment and rebrand herself as edgy, hip, and sexy, but instead, the result feels forced, try-hard, and honestly embarrassing.

Production – Some Bright Spots, But Mostly a Mess

The beats on this album are a mixed bag, and unfortunately, more often than not, they miss the mark. While some tracks have an okay feel, like the beat on Pretty When I Cry, others feel completely incoherent, like I LUV IT. Then there are those that feel lazy and repetitive, like DREAM-GIRLS, making the entire album sound more like a playlist of TikTok snippets than a well-thought-out project.

The production struggles to establish a consistent identity, jumping between hyperpop, trap, R&B, and club music without any real cohesion. The scattered direction makes the album feel disjointed rather than genre-bending, as if she’s trying on different sounds without actually committing to any of them.

The Biggest Problem? Camila Herself

The real downfall of this album is Camila’s vocal performances. It’s not just that she sounds bad—it’s that she sounds confused. The heavy use of autotune and vocal processing completely strips away any natural charm in her voice, making her performances feel robotic, lifeless, and borderline unlistenable at times.

Tracks like I LUV IT, Chanel No. 5, Twentysomething, B.O.A.T., and Hot Uptown all suffer from the same problem—her overproduced, synthetic-sounding vocals make it hard to connect with anything she’s saying.

When she finally dials it back and sings more naturally, the results are so much better. "Pink XOXO" is one of the few moments where she actually sounds good, proving that if she stripped away the overproduction, she could’ve salvaged something from this album.

Lyrical Issues – Placeholder Lyrics That Never Got Fixed

Another massive issue is the lack of effort in the lyrics. A lot of these songs feel like rough drafts, with lines that sound like placeholders that were never revised.

• On B.O.A.T., she awkwardly says “Best of All Time” instead of the usual “Greatest of All Time,” and it feels like she’s forcing a unique spin that just comes off as clunky and unnatural.
• 305tilidie is supposed to be a thoughtful piano interlude about girls getting ready to party, but instead, it just feels bland, boring, and unnecessary.

Overall, the songwriting feels underdeveloped and directionless, as if the lyrics were rushed to fit whatever vibe she was going for instead of telling a compelling story.

Guest Features – Some Hit, Some Overstay Their Welcome

The guest performances on this album are another mixed bag.

• Lil Nas X actually works well on HE KNOWS, mainly because he brings way more charisma than Camila does. His energy outshines hers completely, especially since she opts for these weird, whispery vocals that get buried in the mix.
• Drake’s feature on Uuugly starts off okay, but the more time he gets on the track, the worse it gets. It feels like he lingers for way too long, and by the time he’s done, the song has completely lost its appeal.

It’s frustrating because these features could have elevated the album, but instead, they just make Camila feel even more like the weakest link on her own record.

Final Thoughts – A Massive Misstep

It’s clear that Camila wanted to reinvent herself and step away from her earlier pop sound, but the execution here is disastrous. This album doesn’t feel bold or experimental—it feels lost. Instead of pushing creative boundaries, it sounds like she’s trying way too hard to fit into trends, and it backfires completely.

Between overprocessed vocals, uninspired beats, half-baked lyrics, and awkward guest spots, C, XOXO feels like a major step backward for Camila. Instead of redefining her artistry, she’s ended up with a collection of forgettable songs that lack any real identity.

If this was supposed to be a statement album, the only statement it makes is: What the hell was she thinking?

This debut album from a psychedelic indie band out of Boston, Massachusetts, is a refreshing trip back to a time when finger mustaches were all the rage and Urban Outfitters was the go-to spot for quirky finds to impress your friends. With a sound that blends psychedelic riffs, tight drumming, vibrant keys, and a unique vocal delivery, this band is eager to make a name for themselves in the indie rock scene. From the opening track, you can feel their energy as they bring something both nostalgic and fresh to the table.

Impressive Musicianship

One of the standout features of this band is the musicianship. The guitars are a dynamic mix of psychedelic and garage rock riffs, creating tracks that are both catchy and immersive. Songs like "Gay Breakfast" and "Bloodsucker" highlight the band's ability to craft memorable hooks while still maintaining a distinct, creative edge. What makes this even more impressive is the band’s unique decision to employ two drummers. You’d think that would result in a much bigger, more chaotic sound, but instead, the drumming feels tight and controlled, complementing the melodies rather than overpowering them. Tracks like "Radar Worms" and "Cig Race" showcase this well, with precise rhythms that contribute to the energetic feel of the album without overwhelming the other elements.

The bass provides a fuzzy, funky undertone throughout, subtly woven into the mix. Its low presence adds a cool, mysterious vibe to many of the tracks, particularly when it’s paired with the drums and keys, as in "Radar Worms". The keyboard work is vibrant and energetic, adding an extra layer of richness to the album, and when paired with the rhythmic backbone, it helps to transport the listener into the band’s psychedelic world.

The Vocals – Mesmerizing and Captivating

Perhaps the most striking feature of this eclectic band is their vocalist, whose ability to mesmerize listeners with her delivery is nothing short of impressive. She captivates with the way she delivers her lyrics, especially during the choruses, where the words feel almost hypnotic. The lyrics themselves are simple but incredibly catchy, often using playful, tongue-in-cheek storytelling that you’ll find yourself singing along to by the end of your first listen.

Songs like “Cig Race”, “Bloodsucker”, and “Detach” will get stuck in your head, their hooks so infectious that you’ll find yourself humming them long after the album ends. However, at times, the vocals do get a bit drowned out by the sheer volume of the guitars and drums. On tracks like “Cig Race” and “Bloodsucker”, the vocals are often buried in the mix, making it harder to fully appreciate her delivery during the more intense choruses. This isn’t necessarily a deal-breaker, but it’s an element that could have been better balanced.

Lyrical Themes – Emotion and Metaphor

The lyrics on the album reflect a deep emotional core wrapped in interesting metaphors. Whether it’s the playful narrative of getting caught stealing from Claire’s in “Sticky Fingers” or the more emotional introspection on “Detach”, which explores the theme of detaching from pain, the songwriting shines with creativity and depth. Even darker tracks like “Radar Worms” bring a sense of vulnerability through their introspective, almost melancholic lyrics.

That said, there’s a slight hiccup with the song “Gallop Ultra”. This track takes a more experimental approach, incorporating psychedelic riffs, weird synths, and a circus-like instrumental breakdown towards the end. While it’s certainly different and shows the band’s willingness to experiment, it feels somewhat disjointed in comparison to the rest of the album, where the sound is more cohesive and grounded.

A Nostalgic Ride with Modern Flair

Overall, this album is a wonderful mix of old-school indie vibes and modern influences. If you’re feeling nostalgic for those hipster mid-2010s days, when everything was quirky and unique, you’ll definitely enjoy this ride. The band’s psychedelic sound is full of energy and fun, and while the album has its flaws (like some buried vocals or occasional experimentation that doesn't land), the overall experience is one that fans of indie rock and psychedelic music will appreciate. With catchy songs, hypnotic vocals, and impressive musicianship, this debut album is one that will leave you wanting more.

When Within the Ruins released Phenomena over 10 years ago, I saw them as just another band in a sea of death metal acts trying to find their footing. Fast forward to the release of Phenomena II, and it's clear they've come a long way. This sequel marks a significant turning point for the band, as they've proven themselves as a force in the metal world, with a sound that is undeniably their own. The evolution is palpable — from their bold, crushing vocals, tight drumming, and heavy bass to the star of the show, their incredibly technical and intricate guitar riffs. These guys have truly paid their dues and worked tirelessly to carve out a distinct and memorable style in the genre.

The Double-Edged Sword of Technicality

The band's most notable strength is undoubtedly their guitar work. The highly technical riffing is both their signature and their defining characteristic. From intense strumming to detailed guitar scales, you’ll instantly recognize their style, and that’s part of what makes them stand out. But, as with any heavy reliance on a particular element, it can become both a blessing and a curse.

While the technicality of the guitars makes the band unique and sets them apart from their peers, it can, at times, feel a bit overwhelming. The songs, long and intricate, sometimes feel like they’re pushing the boundaries of what’s necessary, leaving you with moments of guitar overload. The intensity can start to blur, and you’re left craving a more simplified riff or a break from the complexity. When the band does introduce some simpler, groovier riffs, it offers a welcome relief from the technical barrage, allowing the listener to take a breath before diving back into the more detailed sections. It’s a double-edged sword: without these complex riffs, the band wouldn’t have their distinctive identity, but at the same time, they risk losing some listeners in the process.

Drumming and Bass – Adding Depth and Punch

The drumming on Phenomena II is one of the standout features of the album. It’s punchy, energetic, and adds that extra bit of power to each track. The way the drummer interacts with the cymbals, particularly during the more explosive sections, is a treat. The cymbals add an additional layer of texture and dynamism, enriching the overall sound. It's the little details like this that help to elevate the band’s performances beyond just technicality.

The bass playing also deserves a mention. It’s not just filling out the bottom end; it’s adding to the heaviness of the album. Tracks like “Death Mask” and “Enigma II” highlight the bass's ability to cut through the mix and add a deeper, richer sound to the arrangements. The bass gives the songs their weight, making the more melodic sections feel grounded and powerful.

The Vocals – Big, Brutal, but Missing Variety

When it comes to vocals, Phenomena II does not disappoint. The harsh vocals are intense and menacing, with an abrasive quality that adds aggression and depth to the music. The vocalist does a great job of delivering those gritty, guttural screams that are synonymous with death metal, and they fit perfectly with the band’s heavy and complex instrumentation.

However, I do have one major disappointment with this album: the absence of clean vocals. On their previous albums, the band introduced some clean vocal sections that added a refreshing contrast to the otherwise aggressive sound. These moments of melodic, clean singing provided a dynamic balance, offering a breath of fresh air amid the chaos. Unfortunately, there are no such moments on Phenomena II, and I think it’s a missed opportunity to add an extra layer of contrast and melody to the album. While the harsh vocals are solid, the absence of this variety makes the album feel somewhat monotone at times.

Production and Sound

The production on Phenomena II is stellar. The band’s signature guitar riffs and pounding rhythms are captured beautifully, with every instrument clearly defined in the mix. The layering is well done, and nothing feels buried or lost in the chaos. It’s a well-balanced, polished sound that allows each element to shine, from the technical guitar work to the powerful drumming and gritty vocals.

Since this album is a sequel to Phenomena, the band wasn’t necessarily aiming to be ultra-innovative. Instead, they set out to recapture the sound and energy that made the original so engaging, and they’ve succeeded in doing that. While there are a few areas where the album could have pushed the envelope a bit more, it’s clear that they’ve stuck to what works for them, and as a result, Phenomena II is an enjoyable, powerful follow-up that will resonate with fans of the band and metal fans in general.

Conclusion

Phenomena II is a testament to the band’s growth and perseverance. The intricate guitar work, energetic drumming, and powerful vocals are what make this album a standout, even if the heavy reliance on technicality can sometimes be overwhelming. While the lack of clean vocals is a downside, the album still succeeds in maintaining a tight, focused sound that showcases the band’s evolution. Within the Ruins has certainly solidified their place as one of the more interesting and well-established acts in the metal scene, and with Phenomena II, they’ve proved they’re more than just another death metal band — they’re here to stay.

The boys in Blink-182 aren’t done with their big comeback just yet. A year after the return of their classic lineup, we’re gifted with Part 2 of their latest album — an extra batch of 8 tracks. While it’s always exciting to hear more from Tom, Mark, and Travis, these additional songs feel more like a bonus than essential material. Sure, Blink fans will appreciate anything that falls under the iconic band’s banner, whether it’s a hit or a miss. But with these tracks, it’s clear that they didn’t make the initial cut for a reason.

The Energy’s Still There, But Something’s Missing

The tracks on this release carry some of that classic Blink energy, with hints of Box Car Racer and Angels & Airwaves influence creeping in as well. You can hear the band’s signature sound — the catchy riffs, the familiar rhythms, and of course, Tom’s unmistakable voice — but something feels a bit off. It’s almost like they were created during a jam session with some fun vibes, but without the same intensity or passion that defined the original release.

Each track has something that holds it back. Whether it’s off-key vocals, lackluster lyrics, or instrumental sections that feel flat, it’s clear that these songs aren’t up to the same standards as the material that made it onto the original album. The energy might be there, but the magic is missing.

Production Quality Still Shines

Despite the songs feeling a bit underwhelming in terms of content, the production is still top-notch. The tracks are well-mixed, and everything sounds good when you listen. The instrumental arrangement and the overall polish keep the songs enjoyable on a surface level. But while the production holds up, it doesn’t quite make up for the lack of substance that permeates the album.

A Few Gems and a Lot of Filler

There’s one track that stands out from the rest — “Take Me In.” This one seems to hit closer to the mark in terms of what fans were hoping for. It carries the energy and vibe that makes Blink so endearing, and it’s a nice way to wrap up the album. The rest of the tracks, however, don’t quite live up to expectations. They’re fun in a nostalgic sense but lack the memorable charm of the songs on the original album. They feel like filler, not quite strong enough to make the first cut, but good enough to be released as bonus content for those who are eager for more.

Conclusion: For the Die-Hards, Not the Casual Listener

Ultimately, Part 2 of the album isn’t a game-changer for Blink-182. If you’re a die-hard Blink fan, you’ll enjoy having extra material to sink your teeth into. It’s more of what you love, even if it’s not the band’s best work. However, if you’re more of a casual listener, this release probably isn’t going to change your perspective on the band. The tracks are fun but largely forgettable, and you’re not missing out on much by skipping this one.

In the end, it’s a nice addition for those hungry for more, but it’s also a reminder that sometimes, less is more. The real gems came with the original album, and this batch feels like a bonus that, while nice, doesn’t quite match up to the high standards set by the main release.

This release is a bit of a head-scratcher. The band dropped an EP last year that contained the majority of these tracks, and aside from two new additions (one being a full song and the other an interlude), what you're essentially getting is the same EP repackaged. The tracklist is rearranged, but the songs themselves remain unchanged — no new mixes, no fresh arrangements. It’s as if the band decided to release the same material again, but with a fresh coat of paint.

Same Songs, Different Packaging

If you’ve already heard the EP, you’re not going to find much new here. The songs are still long, drawn-out tracks that maintain a heavy, slow hardcore sound. While they do sound sonically solid, with decent vocal performances, the lack of any real updates makes this album feel like a retread. There’s no significant evolution or exploration of new ideas here, which leaves the whole release feeling a bit redundant.

New Song Doesn’t Break the Mold

The new song included in the mix doesn’t really deviate from the band’s established formula. It still carries the same heavy, slow-paced hardcore vibes you’ve come to expect from the group. That being said, the pacing in this new track is pretty well done, and the transition from the previous song into the interlude creates a smooth flow. The interlude, in particular, introduces an interesting robotic, impending doom atmosphere, which is a nice touch — though it ends abruptly and feels more like filler than an essential part of the album. It’s almost as if the interlude was thrown in just to pad out the album’s runtime.

For Fans of the EP, Nothing More

At the end of the day, if you’ve already listened to their EP, you pretty much know what to expect from this album. It doesn’t introduce anything particularly groundbreaking or new, so if you’re a fan of the original release, you’ll likely still enjoy the tracks. However, for anyone who hasn’t heard the EP, this album may come off as redundant. It's essentially the same songs, just repackaged with a couple of extras that don’t necessarily add anything substantial to the overall experience.

In conclusion, it’s a release that feels like more of a cash grab than a meaningful expansion of the band’s sound. If you’re craving something new or innovative, you won’t find it here. But for fans looking for a bit more of what the band already offered, this album does its job — albeit without pushing any boundaries.

"Trouble" is certainly on the horizon with Scatterbrain’s latest album — and for a few different reasons. A chaotic mix of genres from the '90s, ranging from metal and funk to ska, this album is a wild ride from start to finish. The easiest way to sum it up is this: it’s a clash of sounds, paired with some questionable vocals. The result is an album that can either be a fun, cheesy experience or a frustrating, confusing mess — depending on how seriously you choose to take it.

A Cheesy, Fun Escape — If You Let It Be

If you don’t expect much and embrace the absurdity, Scatterbrain’s album can be an enjoyable dive into nostalgia with its wacky, over-the-top moments. The lyrics are cheesy, the vocals intentionally offbeat and humorous, and the overall vibe is one of playful chaos. The album isn’t exactly going for highbrow art or polished production; instead, it seems to be reveling in its own sense of absurdity. If you let go of expectations and approach it with a sense of humor, it can be a guilty pleasure, full of catchy riffs, quirky energy, and moments that might make you laugh rather than think too hard about the quality.

A Disjointed, Confusing Collection

On the other hand, if you approach this album with a more serious mindset, it can quickly become a frustrating experience. The production feels rough, and the genre mixing often seems forced rather than inspired. The band crams an eclectic assortment of influences — from ska to metal to funk — into one song, and while it’s impressive in its ambition, it doesn’t always come together in a way that feels cohesive. At times, it feels more like a collage of ideas from various legacy bands than a solid album. The blending of so many different musical elements can leave you feeling disoriented and confused, like you’re not sure what genre you're listening to from one track to the next.

Scatterbrained, but Not in a Good Way

True to their name, Scatterbrain manages to live up to the reputation with their wildly unpredictable musical choices. While the genre shifts and chaotic style might appeal to fans of experimental music or those nostalgic for the randomness of the '90s, it ultimately makes the album hard to follow and harder to appreciate fully. The lack of cohesion, combined with the questionable vocal choices, makes for a production that feels amateurish and unpolished.

Is It Impressive? Sure. Is It Cohesive? Not Really.

The one thing that stands out about this album is its ambition. The band attempts to blend over ten different songs and influences into a single track, and while that’s certainly impressive in terms of scope, it doesn’t always come together in a way that makes sense. The final product feels like a disjointed mess of clashing sounds rather than a unified musical statement.

In conclusion, Scatterbrain’s album is a wild, unpredictable ride that’s bound to leave listeners either laughing or scratching their heads. If you can embrace the chaos, there’s some fun to be had in the absurdity of it all. But if you’re looking for something with structure, consistency, or solid production, you may want to look elsewhere. The album, like the band’s name, will leave you feeling scatterbrained, but whether that’s a good or bad thing depends entirely on your perspective.

Death feels a bit like a paradox on Boundaries’ latest album. On one hand, the hardcore band delivers some incredibly heavy sounds that are sure to satisfy fans of the genre, with brutal vocals, crushing riffs, and monstrous drums. However, on the other hand, there’s a sense of familiarity that makes some tracks feel a little too "by the numbers." While they clearly know how to bring the heaviness, the album sometimes lacks the spark of originality that would set it apart from similar acts in the scene.

Heavy, But Not Always Distinctive

From the moment the album kicks in, you’re hit with intense, bone-crushing riffs and vocals that leave an impression. The band’s ability to craft hard-hitting music is undeniable. There are moments where their melodic clean singing adds a refreshing contrast to the sheer weight of the hardcore sound, helping to breathe life into what could otherwise be a relentless barrage of noise. However, despite these moments of dynamism, a sense of repetition starts to creep in. Some of the tracks feel like they blend together — while heavy and well-produced, they lack distinctive features that could make them stand out in the crowded hardcore/metalcore landscape.

Intense, But Familiar

While the intensity is certainly present, the tracks often fall into a familiar pattern that doesn’t leave much room for exploration. The album does have a raw power that’s hard to ignore, but it sometimes feels like the band is riding the same wave of intensity without evolving beyond it. This can make the listening experience feel a bit predictable. However, there are a few songs that stand out with some more intricate riffs, cooler vocal dynamics, or unique structures. These moments shine through as the band’s more inspired pieces, adding flavor to the record’s otherwise consistent aggression.

Paying Homage, But Not Innovating

The band does an excellent job of paying homage to the classic metalcore scene, evoking the sounds of the early 2000s with a modern twist. But in doing so, they sometimes miss the chance to push their own creative boundaries. Instead of pushing the genre forward or adding something new to the conversation, they tend to lean on established formulas that, while effective, don’t break new ground. It’s clear the band has respect for the roots of metalcore, but there’s a lingering sense that they could’ve taken more risks to carve out their own niche.

Refreshing Lyrics, But Not Revolutionary

One of the highlights of this album is the lyricism. The band’s use of metaphor and imagery in their songwriting is engaging and provides an extra layer of depth to the tracks. It’s evident that they put thought into their lyrics, crafting lines that offer more than just the typical hardcore fare. The metaphors help shape the writing, making it fun to dig into the meaning behind the songs. However, while the lyrics are certainly refreshing, they don’t quite reach the level of innovation that could elevate the album into something groundbreaking.

Final Thoughts

So, are Boundaries pushing the limits of metalcore? Not necessarily. While they’re not reinventing the genre, they’ve crafted a solid collection of songs that will likely resonate with fans who appreciate the heavy, emotionally charged sounds of hardcore and metalcore. The album delivers some great moments, but it’s not without its shortcomings. The repetitive nature of some tracks, combined with a lack of major innovation, keeps the album from standing out in a genre full of similar-sounding bands. Still, there’s enough here to enjoy, and if you’re looking for heavy music with some engaging moments, this record does its job. It’s a halfway decent journey, but not one that will blow the doors off the genre.

English Version:

That Mexican OT might need to head back to technician school because this mixtape doesn’t feel well put together. The Texas rapper starts strong in the first half, with some decent verses, fun production, catchy hooks, and okay features. The beats are intriguing, and the bars show potential. However, as the mixtape progresses, it begins to feel repetitive, almost like we’re being tricked into hearing the same song over and over again. Many of the tracks follow a clear formula: he ad-libs with lots of “uh-huh” and a strange scream in the background, repeats his name, delivers his verse, hits you with a catchy hook, features a guest artist, and then rinses and repeats. Aside from about two tracks, this pattern dominates the entire album. If this mixtape were shorter, it might not be as noticeable, but after 16 tracks, it becomes a bit frustrating.

His vocal performance is another aspect I can’t quite figure out. He sounds clear and easily understood, but outside of tracks like “Function” and “Twisted Fingers,” his vocals feel quite flat. There’s nothing unique or spicy about his delivery, and he often sounds bland and unremarkable. The beats start to blend together as well, too similar to each other, often using the same elements like the screams, saxophone, and deep bass. It all feels recycled. On the positive side, his rhymes and bars are solid, and his hooks can definitely get stuck in your head. Surprisingly, when he sings, he seems more lively and engaging than when he raps.

While this project has its share of flaws, there are some standout moments that explain why he’s made a name for himself in the music world. However, whether he’s truly asserting power in the scene is a different question entirely, one that will require more time and growth to answer.

Versión en Español:

Ese Mexican OT tal vez necesite regresar a la escuela de técnicos porque este mixtape no está bien estructurado. El rapero de Texas empieza bien en la primera mitad, con algunos versos decentes, producción divertida, ganchos pegajosos y colaboraciones aceptables. Las bases son interesantes y las barras muestran potencial. Sin embargo, conforme avanza el mixtape, empieza a sentirse repetitivo, casi como si nos estuvieran engañando al hacernos escuchar la misma canción una y otra vez. Muchas de las pistas siguen una fórmula clara: él hace ad-libs con muchos “uh-huh” y un extraño grito de fondo, repite su nombre, suelta su verso, te suelta un gancho pegajoso, tiene una colaboración y luego lo repite. Aparte de unas dos canciones, esta fórmula domina todo el álbum. Si el mixtape fuera más corto, no sería tan evidente, pero después de 16 pistas, llega a ser un poco frustrante.

Su desempeño vocal es otro aspecto que no puedo descifrar bien. Suena claro y fácil de entender, pero fuera de pistas como “Function” y “Twisted Fingers,” sus voces se sienten bastante planas. No tiene algo único o especial en su entrega, y muchas veces suena monótono y sin vida. Las bases también empiezan a sonar demasiado similares, usando los mismos elementos como los gritos, el saxofón y el bajo profundo. Todo se siente reciclado. En el lado positivo, sus rimas y barras son bastante buenas, y sus ganchos realmente se quedan en la cabeza. Sorprendentemente, cuando canta, parece más animado y cautivador que cuando rapea.

Aunque este proyecto tiene sus fallos, hay algunos momentos destacados que explican por qué ha ganado popularidad en el mundo de la música. Sin embargo, si realmente está afirmando poder en la escena, esa es una pregunta diferente, una que requerirá más tiempo y crecimiento para responder.

Deicide’s latest album is a confusing and uninspired effort that leaves you wondering what the band was thinking when they put this together. It’s as though they made this album simply because they had to, without any real direction or passion behind it. While the songs do sound heavy and very much like death metal, it’s in the most lackluster way possible. The riffs are fast and aggressive, but they feel generic and unoriginal, lacking any real distinction. Sure, there are a few moments where the guitars show a bit of groove, but these moments are fleeting and often get buried under repetitive playing.

The drumming is furious, as expected in death metal, but it too feels uninspired. It’s fast and hard, but it lacks the intensity and grit that makes death metal so impactful. The few drum fills that do stand out are brief and don’t save the overall performance. The bass is barely noticeable, adding little to the mix and sounding like it’s just there for the sake of it.

When it comes to the vocals, they are as brutal as ever, but they’re one-dimensional and feel monotonous across the entire album. There’s no variety or experimentation in the vocal delivery, making each track feel like a repetition of the last. This lack of creative risk is perhaps the album’s biggest flaw, as nearly every song blends into the next and leaves no lasting impression.

Even the production, which is usually something to praise in modern metal, becomes a hindrance here. It’s clean and polished to the point that the raw, gritty edge of death metal is completely lost. Instead of feeling chaotic and powerful, the album feels sterile, mechanical, and devoid of character. The raw energy and dissonant beauty of old-school death metal are sorely missed, leaving the entire album to feel like a by-the-books release from a band that helped define the genre.

The album cover itself is a telling reflection of the music within. It looks like something AI-generated, lacking the distinctive, grungy aesthetic that was once synonymous with the death metal scene. Just like the cover, the album feels like it’s trying to capture the essence of something it once was, but ultimately fails to deliver. It's a project that misses the mark on all fronts, feeling forced and out of place in a genre that thrives on innovation and brutality.

In the name of the honeymoon, one of the freshest and most straightforward indie punk bands to come out of Korea is Sailor Honeymoon. These girl punk rockers are bringing back the raw, stripped-down garage rock vibes from the mid-2000s while keeping things simple and to the point—following the KISS principle (Keep It Simple, Stupid)! Their sound is delightfully raw and straightforward, and it’s impossible not to get hooked by their infectious, simple hooks and captivating energy. What makes it all so easy to get lost in is the incredibly buzzing and infectious bass lines. The bass has this deep, distorted quality to it that, once it grabs hold, you can’t escape its rhythmic pulse. Tracks like "bad apple," "fxxk urself," "tired angels," and "두부천원 (Tofu Is $1)" show just how powerful and immersive this bass can be.

The drums add a dynamic touch to the mix, switching up their style to create different vibes throughout the album. Whether it’s the garage rock feel in "PMS Police" or the more punk rock Beach Boys vibe in "fxxk urself," the drums keep it simple, never trying to steal the spotlight, but instead laying a solid foundation and driving the flow of the songs. At times, the drums really pack a punch, especially in “두부천원 (Tofu Is $1),” where they provide a tight, punchy rhythm that enhances the song's energy.

The guitars are another key ingredient in the mix, helping create that catchy, head-bopping sound that makes you want to keep listening. The scratchy, distorted guitar tones in "bad apple" or "in dreams" really come together with the drums, creating a sound that’s both memorable and irresistible. The synergy between the guitars and drums gives the tracks an added level of catchiness that sticks with you.

The vocals, however, are a bit of a mixed bag. On some tracks, like "tired angels," they sound clear and crisp, but on others, such as "cockroach," they’re a bit muffled or distorted. What’s surprising is that the girls often sing in a monotone, almost low-energy style, but this actually works quite well with the music they’re creating. There’s something uniquely charming about their approach, and it complements the raw, stripped-back sound. The backing vocals they layer into certain songs add nice variety, giving the tracks extra depth and texture.

Lyrically, the band balances humor with sincerity. For example, in "cockroach," they sing about trying to get rid of a cockroach, which might be a metaphor for something else. On the other hand, songs like "PMS police" delve into more serious territory, expressing the emotional ups and downs a girl experiences during her menstrual cycle. It’s refreshing to see Sailor Honeymoon be self-aware, blending humor with seriousness in a thoughtful, well-balanced way.

The production on this EP brings that raw, DIY feel you’d expect from indie punk bands, and it suits their style perfectly. However, the mix of the vocals could use a bit of work. As mentioned, the vocals sometimes feel too distorted, making it hard to catch the lyrics, which can be frustrating. Still, the overall vibe is strong, and the sound fits the band’s style.

The indie garage rock revival might be just around the corner, and if Sailor Honeymoon continues to produce solid tracks like those on this EP, they’re definitely one of the bands to watch in Korea’s punk scene. Their energy, raw sound, and catchy hooks have the potential to make them a big name in the genre.

허니문이라는 이름을 걸고, 한국에서 나온 가장 신선하고 단순한 인디 펑크 밴드 중 하나는 Sailor Honeymoon입니다. 이 여성 펑크 록 밴드는 2000년대 중반의 거칠고 간결한 가라지 록의 분위기를 되살리며, KISS 원칙(Keep It Simple, Stupid)을 따르며 음악을 간단하고 직관적으로 만들어갑니다! 그들의 사운드는 매우 직설적이고 원시적이며, 단순한 후크와 매혹적인 연주에 빠지지 않을 수 없습니다. 이 모든 것이 쉽게 빠져들게 만드는 요소는 그들의 전염성이 강한 베이스 연주입니다. 베이스는 깊고 왜곡된 느낌을 주며, 한 번 그 리듬에 붙잡히면 그 소리에서 벗어날 수 없습니다. "bad apple," "fxxk urself," "tired angels," "두부천원 (Tofu Is $1)" 같은 트랙에서 이 베이스의 강렬함을 느낄 수 있습니다.

드럼은 다채로운 느낌을 더합니다. "PMS Police"에서는 가라지 록의 느낌을, "fxxk urself"에서는 펑크 록 비치 보이스 같은 분위기를 주며 스타일을 다양하게 변화시킵니다. 드럼은 단순하게 유지되며 중심에서 벗어나지 않고, 다른 악기들과 조화를 이루며 흐름을 잘 타고 있습니다. 특히 "두부천원 (Tofu Is $1)"에서 드럼의 펀치감 있는 비트가 곡의 에너지를 한층 더 강조해줍니다.

기타는 이 전반적인 캐치한 사운드를 만들어내는 데 중요한 역할을 합니다. "bad apple"이나 "in dreams"에서의 긁히는 듯한 기타 톤은 드럼과 함께 좋은 시너지를 이루며, 아주 기억에 남고 매력적인 소리를 만듭니다. 기타와 드럼의 조화가 이 곡들을 더욱 매력적이고 감각적으로 만듭니다.

보컬은 다소 혼합된 느낌입니다. "tired angels"에서는 명확하고 깨끗하게 들리지만, "cockroach"에서는 다소 뭉개지거나 왜곡된 느낌이 있습니다. 놀라운 점은 이 여성들이 종종 단조롭고 에너지가 적은 스타일로 노래를 부른다는 점인데, 그런데 이런 스타일이 그들이 만드는 음악과 잘 맞아떨어집니다. 그들의 스타일은 독특하게 매력적이며, 그들이 추구하는 원시적이고 간결한 사운드와 잘 어울립니다. 때때로 추가되는 백업 보컬은 곡에 다양성을 더해주며, 트랙에 깊이와 질감을 부여합니다.

가사적으로, 이 밴드는 유머와 진지함을 균형 있게 섞어 사용합니다. 예를 들어, "cockroach"에서는 집에 있는 바퀴벌레를 제거하려는 내용이 나오는데, 이게 다른 무언가에 대한 은유일 수도 있습니다. 반면 "PMS police"는 여성의 생리주기 중 감정의 기복을 표현하는 더 진지한 내용을 다룹니다. Sailor Honeymoon은 자아를 인식하면서도 유머와 진지함을 잘 결합해 균형 잡힌 방식으로 이야기를 전개하는 모습이 인상적입니다.

이 EP의 프로덕션은 인디 펑크 밴드들에서 흔히 볼 수 있는 그 원시적인 느낌을 잘 살리고, 그들의 스타일과 잘 맞습니다. 다만, 보컬 믹스가 조금 아쉬운데, 앞서 언급했듯이 보컬이 다소 왜곡되어 있어서 가사가 잘 들리지 않는 경우가 있었습니다. 그럼에도 불구하고 전체적인 분위기는 강하고, 사운드는 밴드의 스타일에 잘 어울립니다.

인디 가라지 록의 부활이 다가올 것 같은데, Sailor Honeymoon이 이 장르에서 중요한 밴드로 자리잡을 가능성이 큽니다. 그들의 에너지, 원시적이고 간결한 사운드, 그리고 캐치한 후크가 이들을 주목받게 할 것입니다.

The album Narok Bon Din (which translates to "Hell on Earth") by Thailand's heavy-hitting hardcore band Whispers, encapsulates the raw chaos and energy of a hardcore pit in a way that's impossible to ignore. This EP, though brief, packs an intense punch that perfectly captures the essence of pure havoc. Drawing strong influences from the gritty, aggressive sounds of NYC hardcore bands like Madball and Marauder, Whispers delivers tight, fast riffs reminiscent of Marauder and the hard-hitting bass and drums of Madball throughout the album.

From start to finish, the guitars remain solid and powerful, cutting through the mix with precision. The drums bring a dynamic variety to the table, shifting in intensity and rhythm to keep you engaged. While the vocals can occasionally feel a bit off due to their slightly higher-pitched tone, the deep, guttural growls fit seamlessly with the band's aggressive sound, adding a layer of intensity that fuels the overall energy of the album. The production is tight and consistent, ensuring the chaotic energy of the music is captured and conveyed properly.

The only real flaw here is the pacing. A few tracks tend to drag on or repeat certain sections a bit too much, which might cause the listener to lose focus. However, this is a minor issue and doesn’t take away from the overall impact of Narok Bon Din. What this EP delivers is an unrelenting and raw energy, perfect for hardcore fans looking for that intense pit experience. It’s a no-holds-barred, in-your-face record that showcases the band’s dedication to their craft and their ability to deliver a gut-punching, hardcore sound.

อัลบั้ม Narok Bon Din (ซึ่งแปลว่า "นรกบนโลก") จากวง Whispers แห่งประเทศไทย บันทึกถึงความโกลาหลและความอลหม่านของ pit hardcore ได้อย่างสมบูรณ์แบบ EP นี้มีความยาวที่สั้นแต่เต็มไปด้วยความเข้มข้นที่ทำให้คุณสัมผัสถึงความหายนะในตัวมันเองได้อย่างชัดเจน ด้วยอิทธิพลจาก hardcore ของ NYC จากวงอย่าง Madball และ Marauder คุณจะได้ยินริฟฟ์ที่คับแน่นและหนักหน่วงเหมือน Marauder และเบสและกลองที่กระแทกใจในสไตล์ Madball ทั่วทั้งอัลบั้ม

กีตาร์ของวงมีความแข็งแกร่งตั้งแต่เริ่มต้นจนจบ และกลองมีความหลากหลายที่ช่วยให้คุณยังคงมีความสนใจตลอดเวลา ถึงแม้ว่าเสียงร้องบางครั้งจะรู้สึกไม่เข้ากันเล็กน้อยเนื่องจากเสียงที่ค่อนข้างสูง แต่เสียงกรอบต่ำผสมผสานได้อย่างลงตัวกับเสียงอันดุดันของวง การผลิตนั้นแข็งแกร่งและมีความสม่ำเสมอ เพิ่มประสบการณ์โดยรวมให้สมบูรณ์แบบ

ข้อเสียเพียงอย่างเดียวคือจังหวะการดำเนินเพลง บางเพลงอาจรู้สึกยาวเกินไปหรือซ้ำซากเล็กน้อย แต่ก็ไม่เพียงพอที่จะบดบังผลกระทบโดยรวมของ Narok Bon Din EP นี้นำเสนอพลังที่ดิบและไม่หยุดยั้งที่แฟนๆ hardcore จะต้องชื่นชอบ มันคือการบันทึกเสียงที่เต็มไปด้วยพลังและอารมณ์ที่จะดึงคุณเข้าไปในโลกของมัน