| 3.0 good |
| 1997 Notes From Underground |
| Ampere All Our Tomorrows End Today |
| Animal Collective Fall Be Kind |
| Arcade Fire Neon Bible |
| As Tall As Lions You Can't Take It With You |
| At the Gates Slaughter of the Soul |
| Brand New Your Favorite Weapon |
| Cattle Decapitation The Harvest Floor |
| Charles Bronson Complete Discocrappy |
| Circle Takes the Square Circle Takes the Square |
| City of Caterpillar City of Caterpillar |
| Combatwoundedveteran I Know A Girl Who Develops Crime Scene Photos |
| Company Of Thieves Ordinary Riches |
| Converge Axe to Fall |
| Death Cab for Cutie Narrow Stairs |
| Eluvium Similes |
| Fear Before The Always Open Mouth |
| In/Humanity Violent Resignation: The Great... |
| Jeromes Dream Completed |
| Jimmy Eat World Bleed American |
| Kayo Dot Blue Lambency Downward |
| Killie September Against Sexism |
| Loma Prieta Dark Mountain |
| M83 Digital Shades Vol. 1 |
| Manchester Orchestra Mean Everything to Nothing |
| MGMT Oracular Spectacular |
| Modest Mouse We Were Dead Before the Ship Even Sank |
| Neil Perry Lineage Situation |
| Neptune Gong Lake |
| Gong Lake, a rock effort with vanguard tendencies, balances electronic music, ambience, atmospheric rock, and post-rock soundscapes. While certainly eclectic, Gong Lake seems to lack the bark and the bite it needs to truly stand out. The hip-hop-esque "Yellow River" and one of my personal favorites, "Black Tide" show the listener the best side of Neptune. However, "Grey Shallows" shows that Neptune can be tedious just as easily. Therefore, the album is good: It's too boring to be fantastic, but it is original, and does keep the listener interested for the most part. |
| pg.99 Document #5 |
| pg.99 / Majority Rule Document #12 |
| Pig Destroyer Natasha |
| Radiohead In Rainbows |
| The Dillinger Escape Plan Miss Machine |
| The Fall of Troy Doppelganger |
| The Mars Volta Octahedron |
| Yeasayer Odd Blood |
| 2.5 average |
| Alexisonfire Watch Out! |
| Arsonists Get All the Girls Portals |
| Combatwoundedveteran This is Not an Erect, All-Red Neon Body |
| Cryptopsy Once Was Not |
| Daitro Y |
| Doves (UK) Some Cities |
| Elder (USA-PA) Reflect |
| fun. Aim and Ignite |
| In Mourning Monolith |
| Lady Gaga The Fame Monster |
| Lindstrom and Christabelle Real Life Is No Cool |
| Someone Still Loves You Boris Yeltsin Broom |
| The Black Dahlia Murder Miasma |
| The Chariot Everything Is Alive, Everything Is... |
| The Fall of Troy The Fall of Troy |
| The Sawtooth Grin Cuddlemonster |
| Cuddlemonsters are entities whose presence you would not associate with this release, therefore creating a name with no correlation to this sixteen minute long EP. A combination of intense riffage, ineffably high shrieks, fast drumming, and unorthodox song structures dominate this EP, but unfortunately, it wears off easily. Some of the tracks serve no purpose other than filler, and very little potential is present to be good. Nevertheless there is potential, but nothing is done with it to improve the quality of this mediocre release. |
| Yukon Blonde Yukon Blonde |
| 1.0 awful |
| Alesana Where Myth Fades to Legend |
| As Blood Runs Black Allegiance |
| Asking Alexandria Stand Up and Scream |
| How paradoxical is it that we, as a race have been able to place the worst of both worlds (in this case, trance and metalcore) adjacent to one another and still become successful? Sure, if one were to really tweak all the small (or in this case large) elements of said juxtaposition, then perhaps one could perfect it. For now, we have asking Alexandria. Generic, slow breakdowns play a key component to the supposed "heavy music" that Asking Alexandria produce. These breakdowns make up a dumfounding majority of this album. The minority are terribly awkward and cheesy trance bits (auto-tuned vocals and programmed instruments only amaze the listener more so than he already is) and lyrics that reference gore ad nauseum. The cliche, cheesy way this is all done makes this album overtly repetitive. Subsequently, this band has created one of the most painful releases of the decade, leading one to believe that Asking Alexandria had a rather odd way of perceiving the concept of "aural assault." |
| Attack Attack! If Guns Are Outlawed, Can We Use Swords? |
| In response to this EP's title, no, we cannot use swords. We can just play a couple tracks off this instead. That will do the trick. |
| Bathory Requiem |
| Bring Me The Horizon Count Your Blessings |
| Bring Me The Horizon This Is What the Edge of Your Seat Was Made For |
| Bring Me The Horizon Suicide Season Cut Up! |
| Cloacal Kiss Easter |
| Cradle of Filth Godspeed on the Devil's Thunder |
| Literally the most annoying and offensive extreme metal record to be generated in the past ten years. Staccato female singing litters the "dark" atmosphere of the album, and the vocals of Dani Filth have only gotten worse. The musicianship is not noteworthy in the slightest, and a concept throughout the album that could have easily been an excellent plot is approached in a pathetic manner, therefore leading to the conclusion that Cradle Of Filth are desperate to do anything to continue shoving their "dark and enigmatic" image down our throats. Even if we DON'T want it. |
| Cryptopsy The Unspoken King |
| Despised Icon The Ills Of Modern Man |
| Emmure Felony |
| Evergreen Terrace Almost Home |
| Almost Home blends the worst aspects of pop-punk with the most generic from metalcore and post-hardcore to create a series of songs that are awkward, show no sense of originality, and are simply incapable of holding my interest. Scathing pop-punk choruses litter the album and the vocals, at time, are insufferable. Breakdowns rarely, if ever, deviate from 4/4 time, and they're repetitive and slow. These hindrances plague an already monotonous, generic release. |
| Jaldaboath Hark the Herald |
| Job For A Cowboy Doom |
| Oceano Depths |
| Silverstein A Shipwreck in the Sand |
| Story of the Year The Constant |
| The Irish Front Universe |
| Underoath They're Only Chasing Safety |
| Underoath Act of Depression |
