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Contributor Reviews 48 Soundoffs 3,262 News Articles 4 Band Edits + Tags 1,985 Album Edits 392 Album Ratings 4171 Objectivity 74% Last Active 08-16-22 8:20 am Joined 04-28-12 Forum Posts 94 Review Comments 11,437
Average Rating: 3.48
Rating Variance: 0.38
Objectivity Score: 74% (Fairly Balanced)
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If Pale Folklore embodied the slow Autumn fading into Winter, The Mantle is the part preceding the white season's peak. Calmer, yet still menacing, and the omen of darker and more difficult days. This atmospheric change is represented by the replacing of the doom riffs for folky ones, which make for an equally gloomy yet different ambience. The core of the sound (black, folk and progressive metal) is still present, but the now more present post-rock and folk tints make this album the most profound journey the band has ever embarked on. This is a band at its most cinematic, painting a mystic trip into the wilderness. Flowing seamlessly without ever taking a break or meandering for too long, this is the type of record that will always be (at least in my heart) heralded as a timeless classic because of how ancient it sounds without ever being outdated. This is not a representation of nature, this is nature itself, in its purest and most indescribable beauty. The band showcases their pantheistic view of the world, and one can't help but agree with them when they are capable of evoking such majestic landscapes with no more than their words and instruments. Going beyond metal, beyond music, this is a work of art that will deeply shake those who dare to get carried away. If this grand panorama before me is what you call God, then God is not dead . 5.0
The deep winter; the one record to throw when the first snowflake makes its timid apparition. More metal-oriented than The Mantle , this is where the band decides to delve into chaos. While Pale Folklore was the introduction to their white forest and mountain universe, The Mantle an ode to what Mother Earth could produce, Ashes Against the Grain will remain the bleakest take on nature Agalloch ever did, and the construction of the album showcases this take: the solis are the most desperate Anderson ever granted us, and if the first three (and a half) tracks all feature these depressing tones, Not Unlike the Waves , the hardest-riffing track here, pounds you before throwing you into the unescapable snowstorm that represents the final trilogy of madness. As us humans live our precious little lives without any concern for our collective womb, we are slowly drifting away from the millennial trees and rocks. Perhaps at some point, it will revolt and will have no choice but to repel, to death if necessary, its ungrateful children. And in the end, nothing will remain but white noise. This precise moment, when nature will sacrifice its own creation, will later be described in these words: There has never been a silence like this before , there will never be an ode like this again . Even when our fortress will be burning, we can't help but blame the god of men, without ever realizing this god is the grand panorama. Maybe our divinity is the reality we live in, the world we should cherish. It's too late either way. 5.0
Do you remember (the 21st night of September) the time you joined Sput? Whether you were a curious young nerd or an experienced boomer, joining this site was a step into another way of approaching music. I didn't know shit when I joined, but I was eager to learn, and the first genre I dived into was post-hardcore, from stone cold classics ( Zen Arcade ) to modern albums just waiting for the years to pass to gain their classic status ( Worship and Tribute ). But the first album that made me love the genre was Watch Out! . It retained the adolescent music I needed at the time (I was mainly listening to punk and metalcore, eh) while staying true to the genre, and it even added pop sensibilities. In all honesty, it's not the best album in the whole genre, nor the most groundbreaking one. But everything it tried to do was met with success: the vocal power trio each bring a different vibe and energy to their performance, from George's raw violence, Wade's punky energy and the catchy and poppy Dallas. The production is as tight as a stripper's string, the chorus were so anthemic they allowed the band to kinda breakout out of the indie, and they displayed the energy a young bloke into heavy music needs. I can't further explain why I love this album, and maybe that's for the best. I encountered it at the perfect time of my life (summer before entering uni), I listened to it relentlessly at the time, and, since then, I never grew tired of it. If that's not the definition of a classic, I don't know what is. Maybe music isn't dead, maybe we all just forgot what it fucking sounded like . 5.0
(taken from tha rev) Before releasing Une Main Lave l'Autre (we'll shorten that to UMLA now shall we), Alpha Wann (his real name, an anomaly in the French rap industry) aka Arnold Schwarzen-word aka Philly Flingue aka Le Don was a rapper everyone in the French-speaking world considered extremely strong. But he was missing a reference project with striking pieces people will remember. Nowadays, almost everyone is unanimous: the stage is crossed with a record registered in its time which will quickly become a reference for French rap admirers. As the rapper himself says in the course of the record, very unlikely I'll hit a platinum, I have to craft a classic . Time will tell if people will still listen to UMLA 20 years from now. Until then, it deeply marked the French hip hop landscape with its almost suicidal desire to restore rap to its glory. Respectful and respected, Alpha Wann has released the best French rap album of its decade. Une Main Lave l'Autre, mais elles se joignent pour laver le visage . 5.0
20 years now, and it still sounds fresh and new. The reason is so simple it sounds cliche: this band was, and to this day still is, unique. Taking post-hardcore to a whole new level, they did not hesitate to push hardcore's envelope to come up with a sound as hysterical and emotional as hardcore, as frenetic and irreverent as punk, as anthemic and melodic as rock'n'roll, and as transcendental and poetic as prog without the whole lot ever sounding like one of its parent influence. And imagine they find the mix to be passive and plastic. After this swansong, the band divided itself into the more trad punk band Sparta and the prog juggernaut The Mars Volta. Yet, none of these spin-offs (and even the band itself when they poorly returned in the 2010s) managed to capture the essence of At The Drive-In: cryptic tales, oscillating between the most clever and the most gibberish, told by a madman accompanied by the most frenzied and shrooms-induced band he could find. It's the combination of their inner rawness and their desire to further explore cosmic wormholes that allowed this weird yet so logical planet alignment. Unlike popular belief, the Trojan horse on the artwork does not represent their sneaking into the mainstream: they brought heart and soul into an industry that had become passionless. There's no better reason to play music. 5.0
The album that attracted screaming kids into a whole new world. Letting go the covers and the 60s-y songs, this is where they truly go heavy : it seems evident now, but it's the OG riff album that thousands of motherfuckers tried to replicate without ever managing to come up with such a good harmony between 3 instruments and one voice (eh, maybe that Chuck dude somehow managed to do it). What's funny nowadays is how (don't hit me) un-heavy this sounds compared to some of the material that can come up today. And yet, this still holds up, but not for the same reasons as before. It's not heavy anymore, it's just Black Sabbath. It's always interesting to put an album in context: maybe the 70s kids liked this for different reasons than us. Maybe some of them liked it because of how evil and new it sounded; we like this because it's full of tasty riffs, and, when it's not riffing, it just means it's time to light that shit ( Planet Caravan ). It's just an album that managed to stay relevant for more than 50 fucking years. Some try to stay relevant six months before falling into the forgotten bin. Sure, it's no Mozart level yet. However, one can only have but respect for an album, and a band, that managed to please both a grandpa and his grandkiddo. Given the relentless energy the youth puts into differentiating themselves from their elders, this is a hard classic that will continue to please stoners and young peepz looking for tasty riffs. 5.0
Y'all have a personal favourite that doesn't mean a lot in the grand scheme of music? Here is mine. Cool underground hip hop hailing from France, but they be rappin' in English so y'all can understand shit for once (and the dude is French-English so he doesn't even have a shitty froggo accent). I don't think any album represents 2012 so well for me: finishing high school and entering uni, chilling with mates, drink and smoke, the infamous iTunes' animations. This was our soundtrack of that transitioning time. Quitting that sentimental bullshit, the EP is Chill Bump's best representation: keep it short (18 minutes), energetic (quick rapping and beats inspired by turntablism) and fun to shout along (I'M HIGH ON SEX AND MY BROAD IS A LIONNESS). Comparing this obscure 5 to yesterday's Clever Girl, this doesn't even have a secret cult following. It's not totally unknown, but they will for sure never make it big, and it's more than likely it will stay that way. At the very worse it will stay a personal favourite. s/o to my boy Bedex. 5.0
An underground cult classic. So much more than a mere twinkly core record, this is a hidden jazzy'n'mathy emo-influenced instrumental rock gem. While such tags immediately bring American Football to mind, Clever Girl manages to create its own sound. Instead of reminding cold Autumn afternoons with their music, the band brings a sunny-yet-chill-Spring-mornings atmosphere. The production is as crispy as the best chicken can be: each instrument can be heard loud and clear, and since each musician knows what he's doing, the result is a lush and upbeat mathy rock EP. On top of that, the absence of vocals allows the music to display a much happier tone than their counterparts: while emo is a genre known for its sadboi themes, NDaBitJR is seamlessly flowing among happy tunes, whether is straight-up bombastic mathy rock ( Elm or Teleblister ) or the hazy and chill brass-led Sleepyhead Symphony . This 100% instrumental ethos helps the band avoid the almost unavoidable math rock/emo trap : cheesy lyrics badly sung by an adolescent dude. Such a distinctive sound compared to their counterparts, as well as the mystery of a band that only released one record, are the pillars of Clever Girl's cult following. A 2018 vinyl reissue, plus the band Cuzco mentioning them in their 2017 track We Miss You Clever Girl truly established Clever Girl as a tremendous addition into the 'did one record and then disbanded' catalog. 5.0
Shit, accidentally hit "Remove Rating". This might sound cliche, but this was my first metal-related album that I considered a classic. Its nu metal roots are evident, but the layered atmospherics, extended by Delgado's addition to the official line-up, is what makes this record an unmatched listen in terms of emotional payoff. Then, add Chino's screams, whispers, and soulful vocals telling cryptic stories, and you'll get anything I wanted in terms of heavy music as an adolescent. The back-and-forth between slow and fast songs sequencing the album is (if consciously done) also something that always was important, the album always moving between rage and despair. You can tell Chino was inspired by The Cure or Echo & the Bunnymen: there is an emotional quality attached to the record, and it shines with the band's most subtle soundscape ever. Like that first drum kick in "Digital Bath". Or that guitar sound in "Knife Party". Or those lyrics in "Change". And these heartbeats to conclude the album. I'm rambling. I can float here forever. I love this record, and I hope you're having a great day. 5.0
A band at its apex, simply. This last record contains everything that made the band good over the years, but this time all the elements are put together in a cohesive way. The guitar interplays between MacKaye's hard as feck riffs and Picciotto's dynamics, the tight af rhythm section, the vocal duality, and most importantly, the back-and-forth between their hardcore origins and the artsy persona they developed throughout the 90s. The fusion between what they were and what they were trying to be is finally accomplished here, and that might be the reason why this is their final recording. It's the kind of record that will always have an impact on me, whether by remarking a subtle detail we never heard before, or the simple, yet always amazing, sensation of witnessing once again a work that never fails to amaze. That's a good enough reason to 5.0 this.
The best 11-minute hip hop song you could ever find, like ever. As eerie as the eeriest horrorcore, as masterfully crafted as DJ Shadow ever blended several samples as one, as beautifully told as Big L could ever do, as self-destructive as Travis Miller ever was. 4.7
As one dude said in Our Band Could Be Your Life : "ye punk and protest bands are more present during conservative eras" (approximate quote). This album was released during Election Day, at the very end of George H.W. Bush's presidential mandate. Fitting, eh? What is particularly fitting is how this record ends more than a decade of conservative power. While the indie bands displayed in Azerrad's book were more driven by a cultural counter-revolution than a social one, by 1992, some people had enough of it: hence was born RATM. And if sometimes history is playing tricks on us by not putting the right people at the right time, here, the timing was perfect. First of all, politically, it was a tensed period (Rodney King, the Wall, apartheid, the Yugoslav wars) which naturally heated the people. Musically, the paradigm was shifting (or had it already shifted?) as rap was the new big guy in town, and had replaced, at least in the mainstream, rock as the protest genre: NWA and Public Enemy did more than these hair metal fuckers to raise awareness. Mix this hip hop lineage with the hardcore endeavours De La Rocha had been doing with Inside Out, and you got a damn fine cocktail of attitude, meaning and brutal yet catchy music. It's almost ironic how successful this was given its uncompromised nature. It's also cynical how the band is now returning to tour the festivals this summer. Maybe revolts should stay the youth's responsibility, before the machine takes all the rage in you. 5.0
False ad: no punk released afterwards sounds like this. Maybe that's why it's an important record: it does not sound like any of its predecessors, and none of the bands they influenced managed to capture what made this so great. It sure is relying on hardcore, post-hardcore and punk, but the techno parts scattered throughout the whole record, or that fat and tight jazz section in The Deadly Rhythm , help the album be much more than mere angry music. Fundamentally, this is punk, but the experimental combinations they add create a new noise, their own noise: They told me the classics never got a style but... they do, they do. Somehow, baby, I never thought that we do too . As very few jazz records sound like Ornette Coleman's 1959 album, Refused challenged the acceptable in a punk record. They went beyond punk sensibilities, both in terms of sound and ethos: whether or not you agree with the band's politics, you must admit there isn't any better way to fight capitalism's self-satisfaction than by exploding the band right after releasing your masterpiece. Cementing the band's place in punk history, this will of doing what they wanted screams self-importance. They were obsessed with their own historical significance: from the album title to the auto-mentions throughout the record, Refused couldn't help but contemplate their legacy. It's quite arrogant to think your demise should shake the world. Turns out it did, without shaping the new punk, but rather by making everyone realize how far you could stray away from punk without ever having the slightest doubt that it is not punk. 5.0
May 2010. I hear about a band, The National. I give a listen to their newest LP, High Violet . I'm still at a moment in my music life where I almost only listen to punk. I liked the record, but it did not blow me away. December 24th 2019, I walk on a Brittany shore while listening to High Violet for the 47th time (maybe 48th), and I'm blown away. Apart from that first listen, I always was blown away by this record. It will remain the one that followed me throughout all the decade, and that thought only hit me at said decade's dusk. I was 15 then, and knew nothing about tonal musicality or Steve Reich. I'm 25 now, and I'm sometimes missing the days I was mindlessly shouting Rise Against lyrics. This is the link between the adolescent me and the "adult" me (i pay taxes so i guess i'm an adult). Sometimes things hit you and you can't do nuthing 'bout it. Sometimes they don't hit you; instead they eat your heart out everyday for 10 years. 5.0, like it always should have been.
October, all over. This record is my Autumn. This season is weird: leaves turn orange-brownish and don't have the same radiance they have during Spring. But I love the tones of these leaves. Autumn is beautiful in its austerity. Likewise, Unwound thrive melodically in their most abrasive sections, and display their most beautiful pieces of work in their saddest moments. They kept their noise rock and post-hardcore background to enhance it with depressing post-rock, morbid psych, textural synths and lyrics taking on a phenomenologist approach. It just sounds so..., I don't know. I just don't know. Sometimes things hit you. I guess it's because of how reflective the music is. While they were first known for the urgency of their music, they slowly added an apathetic vibe to it. This passive approach is at its apex on LTIY. It's patient. It forces you to stop. As if the band already was in suspended limbos. It's kind of a pointless record. Pointless music never sounded so good. 5.0
This remains one of my favourite hip hop albums of all time. Soulful and jazzy beats, clever lyrics and DEM BARZ. It's an homage to black music and jazz in particular, from the Mickey Bass's bassline (eheh) to Ron Carter's double bass, to the sublime "Jazz (We've Got)". Notwithstanding its cultural legacy, this, alongside Illmatic , is the one 90s East Coast hip hop that I can listen to relentlessly. From "Excursions" bassline to Busta Rhymes's last anthemic shouts on "Scenario", this one always feels good, whether it's sunny or thunderous, whether you're blissed or depressed. Fucking legendary. 4.8
The first installment of a legendary discography. On Pale Folklore , the music reflects the transition from Autumn to Winter. While there are moments where the snow never lets you rest, the calmer parts all feature this doomy - and almost unique in their discography - guitar sound. Whenever the cold wind is not whipping your face, lull moments let you enjoy the mixture of white snow and brown leaves in the now quiet forest. Even wi
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