| 3.0 good |
| A Day To Remember What Separates Me from You |
| A Lot Like Birds DIVISI |
| Asking Alexandria Reckless and Relentless |
| Bastille Bad Blood |
| Blue Stahli Blue Stahli |
| Bullet for My Valentine Fever |
| Catfish and the Bottlemen The Balcony |
| Dance Gavin Dance Acceptance Speech |
| Deftones Adrenaline |
| Deftones Deftones |
| Deftones Gore |
| Denzel Curry Imperial |
| Disturbed Indestructible |
| Drake If You're Reading This It's Too Late |
| Ellie Goulding Halcyon |
| Emarosa Versus (Reimagined) |
| Emarosa 131 (Reimagined) |
| Escape the Fate Dying Is Your Latest Fashion |
| Fall Out Boy From Under the Cork Tree |
| Genesis Invisible Touch |
| Green Day American Idiot |
| Hands Like Houses -Anon. |
| Some tracks on here are pretty great. Others really aren't. Overthinking, Through Glass, Half-hearted, and Sick are some of their best songs in recent memory and are a nice change of pace from their usual sound. The cringe-inducing lyrics on No Man's Land ruin that track, easily. Bad Dream sounds like a bad Seether cover and I never want to hear anything like it again. |
| I Am Abomination To Our Forefathers |
| I Am Abomination The Passion Of The Heist |
| I See Stars New Demons |
| I See Stars Treehouse (Acoustic) |
| I feel like all of the good songs off of Treehouse got shafted with boring versions here. |
| Linkin Park Hybrid Theory |
| Linkin Park The Hunting Party |
| Maroon 5 It Won't Be Soon Before Long |
| Migos Culture |
| Miss Fortune A Spark To Believe |
| Of Mice and Men Of Mice and Men |
| Of Mice and Men Restoring Force |
| Of Mice and Men EARTHANDSKY |
| This is the closest thing we will ever get to a new Jamie's Elsewhere record, so I'll take it ... I guess. |
| Panic! at the Disco Too Weird to Live, Too Rare to Die! |
| Panic! at the Disco Death of a Bachelor |
| Paramore After Laughter |
Gotta give them props for sticking to some sort of cohesive concept on this. While it's relatively
shallow and not well excecuted in places, there are fun moments to be had here. It starts off
really good and ends horribly. After Fake Happy the songwriting starts to dip and it
just keeps going down from there.
That chanting on idle worship is some of the most annoying stuff I've heard all year.
The last two tracks are mixed horribly, drag on too long, and are barely audible. |
| Picturesque Back to Beautiful |
| Post Malone beerbongs and bentleys |
| PVRIS White Noise |
| Rain City Drive Through Art We Are All Equals |
| Red (USA) End of Silence |
| Saosin Along the Shadow |
| Silversun Pickups Better Nature |
| Silversun Pickups continue to do what they have for the last decade now. You can hear their core sound continue to wane here, but there are a few quality singles on the album that rank up there with some of their best. Cradle, Connection, Nightlight and Circadian Rhythm, respectively. The rest are honestly throwaway. |
| Sublime with Rome Sirens |
| The Color Morale My Devil In Your Eyes |
| The Underachievers Evermore: The Art of Duality |
| The Weeknd Starboy |
| Three Days Grace Life Starts Now |
| Three Days Grace Transit of Venus |
| Tilian Material Me |
| Travis Scott Birds in the Trap Sing McKnight |
| Tyler Carter Leave Your Love |
| We Came As Romans Understanding What We've Grown to Be |
| Woe, Is Me Number[s] |
| 2.5 average |
| A Day To Remember Bad Vibrations |
| This is all over the place. Some good tracks, some weird ones and some... ughh. On first listen, rthe album just goes on a steady decline by track 7.r"Reassemble" is probably the best song they've ever written.r"We Got This" is in my top 10 worst songs of the year so far. |
| Asking Alexandria Asking Alexandria |
| The existence of this band honestly confuses me. This could've been a lot worse, though. Into the Fire, Hopelessly Hopeful, and Rise Up are alright but the mixing in each of these tracks is terrible. Guitars are inaudible and Danny's voice is too loud in the mix. The only song that doesn't have this problem is Empire and that song's just awful. |
| Attack Attack! Attack Attack! |
| Blessthefall Hard Feelings |
| Breaking Benjamin Dear Agony |
| Breaking Benjamin Ember |
Really not getting the appeal of this. It's pretty much what they've been doing for the last
decade and a half now, albeit a bit heavier. |
| Catfish and the Bottlemen The Ride |
| Dance Gavin Dance Dance Gavin Dance |
| Emarosa Relativity |
| Fall Out Boy Save Rock and Roll |
| Falling in Reverse The Drug in Me Is You |
| Green Day ¡UNO! |
| I See Stars Digital Renegade |
| Issues Headspace |
| Kanye West The Life of Pablo |
| Of Mice and Men Defy |
| Rae Sremmurd SremmLife 2 |
| The Color Morale Hold On Pain Ends |
| The Color Morale Desolate Divine |
| The Word Alive Monomania |
| This is 100% a clout chasing record. The entire record sounds like a band that's been on the rdecline copping the RnB, post-hardcore fusion sound that bands like Dayseeker, Slaves, Too Close rto Touch and Palisades have done much better before. With Erik Ron as the producer here, that's rnot surprising at all.rWith that said, I'm a sucker for this kind of shit. And aside from some geniunely cringey lyrics rand same-y songs, there are some solid songwriting moments here. It's alright, but once other rbands continue to follow suit, my score will likely go down. |
| Underoath Erase Me |
| Volumes Different Animals |
| We Came As Romans Cold Like War |
| 2.0 poor |
| Asking Alexandria From Death to Destiny |
| Attack Attack! This Means War |
| blink-182 California |
| Breaking Benjamin Dark Before Dawn |
After relistening to this, it isn't bad, in fact this is probably their best album post-Phobia in
terms of the quality of these songs, but that doesn't excuse the complete lack of creativity and
variation that this band has lacked since their second record.
Breaking Benjmin have something of an iconic and unique sound that's easily identifiable,
but that one sound is all they've capitalized on for over the last decade now. Crunching power
chords followed by palm mutes, juxtaposed by melodic guitars covered by Ben's crooning and
howling voice every. single. song.
They each share the same distinct tone, and I swear to God they always play in the same Drop-C
tuning each track--unless it's an acoustic one, then it's Drop-D. They've been rewritng the
same songs and similar hooks since Phobia, and now and it's gotten to the point where I can
barely tell you what song comes from what album in their discog because they all sound the
same.
I used to be the biggest fan of this band back when I was 12--and before I discovered other
music--so I'll always have some strange soft-spot for their music, but going back to this I
can't excuse what is probably Nu-Metal's most uncreative and stagnant act anymore. |
| Circa Survive Violent Waves |
| Crown the Empire Retrograde |
| Drake Views |
| Fall Out Boy American Beauty/American Psycho |
| Fall Out Boy M A N I A |
| Falling in Reverse Just Like You |
| Falling in Reverse Coming Home |
| Never been a fan of these guys. This album does nothing to sway me into liking them. The 2edgyforme songwriting and a real lack of substance in the instrumentals and variation in the tracks hurt this. The album theme isn't really consistently used nor does it feel cohesive. A lot of this is really generic stuff. |
| Fetty Wap Fetty Wap |
| I See Stars 3D |
| I See Stars The End of the World Party |
| I See Stars Phases |
It was alright when Jamie's Elsewhere did it. It was great when Hands Like Houses did it. Emarosa
did it solidly. It kinda worked for Issues, but this is where I draw the line. This trend of post-
hardcore bands re-releasing their previous songs as "artsy" acoustic songs is starting to get a
little old. Especially when it comes from a band like ISS, who really have never tried to, nor
made any indication of taking their music in this direction.
The weird and layered sing/scream and electronic/heavy transition based song structure that they
are most famous for doesn't translate well into traditional song organization and mostly feels
lacking and empty because of the lack of that dynamic that the song was originally built on. Aside
from a couple of songs that were originally designed with traditional structure in mind (i.e.
Glow, What this Means to Me) that holds true throughout the entire album. To put it bluntly, Post-
Hardcore music that's derivative of the genericore structures doesn't translate well to pop, at
all.
Also, let's just throw in a couple of random covers because why not. Fans of the band will
probably like this purely out of nostalgia and the fact that it's ISS. Outside of that I don't see
a reason for most people to want to listen to this. |
| Issues Issues |
| Jonny Craig Find What You Love And Let It Kill You |
| Justin Timberlake Man of the Woods |
| Kanye West ye |
| Linkin Park A Thousand Suns |
| Linkin Park One More Light |
| Migos Culture II |
| Of Mice and Men Cold World |
Most of these songs actually made me laugh because of how generic and edgy they are.
So it gets half a courtesy point for that.
EDIT: Okay, Relentless is my worst song of the year so far. What were they thinking. |
| Rain City Drive Routine Breathing |
| Saint Asonia Saint Asonia |
| Sylar Help! |
| The Plot In You Dispose |
I just don't understand how these guys can go from dropping one of the best metalcore albums in a
long time to... this.There's really nothing interesting going on here instrumentally other than
this spacey, rnb stuff. And there are some weird attempts at making radio rock on a couple of
tracks, too. It's all done in a way that's unfitting in the genre that they're playing in. |
| The Weeknd My Dear Melancholy, |
| Three Days Grace Outsider |
| I feel like Walst is singing over completely different tracks half the time, his delivery is just awkward. Ngl though, I actually like some of these hooks. Particularly on Infra-red and Me Against You. |
| We Came As Romans To Plant a Seed |
| We Came As Romans Tracing Back Roots |
| We Came As Romans We Came As Romans |
