Erase Me is Underoath’s first album since their 2010 release, Ø (Disambiguation), and the first with the ‘classic’ lineup that the band is most known for (including original drummer Aaron Gillespie) since their 2008 release, Lost in the Sound of Separation. With the band’s comeback came new sounds and a new lyrical approach that walks away from the strictly Christian approach and into the realm of doubt, life and battling addictions. This sound change polarized the band’s fanbase, with some loving it and others hating it. But where do I stand?
Continue reading ““God, erase me! I don’t deserve the life You give!” // Underoath’s Erase Me”
It has been two years (feels like more) since I posted my review of Phinehas’ third album, Till the End, which marked the first time I wrote/posted a full review of an album. I absolutely loved Till the End, it was an amazing album, but it did depart from the band’s traditional side in favor of a heavier, darker feel. The darkness and heaviness was extremely well-done and enjoyable but I did find that I missed many of those “wow” moments with the beautiful, catchy melodies and guitar shredding. In the band’s fourth album, Dark Flag, all of that makes a triumphant return showcasing Phinehas’ most refined, hard-hitting sound to date.
Continue reading “[LEGACY] “Running away isn’t the same as being free…” // Phinehas’ Dark Flag”
It has been five long years since Les Friction
released their debut, self-titled album. The band — consisting of former E.S. Posthumus composer Helmut Vonlichten, joined by long-time colleague Nihl Finch and the enigmatic vocalist only known as “Paint” — forged their own path with spacey orchestral progressive rock in a way that had never been done before. Expectations were high for that album, as fans of the late, great E.S. Posthumus flocked to this new band hoping to have a continuation of what E.S. Posthumus did. While the roots are undeniably present in Les Friction’s sound, this band has one of the most unique sounds in modern music, even over the work of E.S. Posthumus. Even Brian May of Queen remarked, “Nobody, but nobody
, out there, is doing stuff like Les Friction is doing. Nobody dares!” The silence of waiting these past five years has felt like being lost in space, just hoping that you’d receive another transmission from home. That transmission is almost here, and it was truly worth the wait.
Continue reading “[LEGACY] “Tell the world I survived…” // Les Friction’s Dark Matter”
Silent Planet blew so many people away with their debut album, The Night God Slept, and for good reason. That album is a masterpiece through and through. They have quickly gathered a reputation as a band that creates some of the most thought-provoking music, both via ambient melodies that tap into the emotions and thought process, as well as via eloquently-crafted lyrics that talk about some of the toughest questions and debates of our time.
Continue reading “[LEGACY] “I learned to love as you learned to die…” // Silent Planet’s Everything Was Sound”
Everything In Slow Motion is a project whose name fits its sound, in my book. It’s the solo project by Shane Ochsner, former vocalist and guitarist of post-metal band Hands. Combining rock and metalcore with atmospheric, post-rock ambiance, this is a project that I’ve recently come across after discovering Ochsner’s previous band, and they’ve been a great opening to a genre that I’ve begun to explore and deeply enjoy which has led me to bands like their labelmates, A Hope for Home or Your Memorial.
Continue reading “[LEGACY] “Take your time, I’ll be here when you arrive…” // Everything In Slow Motion’s Laid Low”