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As unlikely as this collaboration seems on paper, Adam Dutkiewicz, Shannon Lucas, and George Fisher came together in 2016 to make some killer melodeath, even if it's likely a one off thing. Each one of these songs rips, despite several of them being of short length. These three really managed to pack a lot of metal in such a short runtime. On that note though, I wish some of these songs were longer. Adam D's metalcore background also throws some melody and groove into the mix. There are some good breakdowns on here (Jagged Cross Legions) that would piss off the elitists, which I'm always a fan of. It's not just 30 minutes of two death metal legends and a scene guitarist that's out of his element, and I think that's what separates this project from other death metal bands coming out around the same time. Adam D is still doing his thing, and not trying to be something he isn't, which I appreciate. There's also a bit more technicality here than I was expecting, but hey, I always appreciate a good display of musical skill that's not just a fast arpeggiating solo. The production on this album is just about as barebones as you can get for modern death metal, and it doesn't really end up being enough. The drums are a bit too low in the mix, and the guitar tones are not nearly biting enough to have an impact. It feels like Adam didn't really change his tone up too much from KSE, but it couldn't handle the low tunings. Fisher's vocals sit just right, and are just as powerful as they ever were in CC. This isn't some kind of masterpiece record or anything, but it's a fun time nonetheless. Mostly killer, a little bit of filler.

Standout tracks: Sovereign Hate, Jagged Cross Legions, This Endless War Honorable mentions: Divide, Conquer, Burn, & Destroy, On the Brink of Devastation

Although Lorna Shore was the mainstream breakout for the niche of "symphonic blackened deathcore," Carnifex had already begun to take a stab at the genre years prior, ending up within the same realm but with a totally different sound. Whereas Carnifex's early material showcases a more straightforward brutality, World War X explores a more extravagant, theatrical side of the band that remains just as heavy and groovy as previous ventures. World War X is genuinely one of the few times I've heard symphonic metal done right. For one, you can actually hear the guitars, and two, the symphonic aspect doesn't drown out the metal aspect stylistically. It doesn't just sound like blast beats over an orchestra, and I really appreciate that. The features on this album are also crazy! Alissa White-Gluz, sure I can see that, but Angel Vivaldi?? I would've never guessed he'd be featuring on something so extreme. Both of these features are great, but Angel's solo really takes it for me. That guy can shred. As for the production, it's definitely the lowest point on the album for me. The rhythm guitar tones seem a bit too thin and sizzly for something supposed to be heavy. And the drums- man... the cymbals were way too low in the mix. I almost didn't even realize there were crashes on this album until about halfway through. The bass? Well, it's a modern metal record. I'm sure you can assume by this point. I appreciate that it's at least not over-produced. This is one of the best deathcore releases we've had in the last decade songwriting wise, though it's unfortunately a bit hindered by the production. It's a real shame that these guys don't get more attention.

Standout tracks: World War X, All Roads Lead to Hell, By Shadows Thine Held Honorable mentions: Eyes of the Executioner, No Light Shall Save Us, Hail Hellfire

Going into this album only having heard False Providence previously, I was extremely worried the rest of the record wouldn't be as good as that one song. I think I can safely say that the rest of In Stasis does not disappoint. There's obviously gonna be some songs that hit harder than others, but that's the case with every album really. This is a modern masterpiece for sure. One thing I appreciate about a band, especially a band who usually falls under the label of "progressive," isn't just how many odd time signatures or weird syncopations they use, but how many unusual melodies and chord/key changes they implement into their music. I wouldn't say Monuments does this all the time, but when they do, it's executed flawlessly. The key changes are always noticeable and add just the right amount of spice to the otherwise dramatic, epic sound of the album. Andy Cizek is a top tier vocalist for sure, and a great addition to the Monuments roster. I knew he was good from listening to Termina, but damn, he really shines here. It really doesn't get much better than being able to go from sounding like Jesus Christ to Satan at the drop of a hat. For once in my life, in terms of production, there's hardly anything to complain about. I could make a case about the guitars being ever so slightly too low in the mix, but it'd be such a minor change there's no point in dwelling on it. And the bass, well... I've given up on mentioning the bass being buried in metal albums. Complaining about the lack of bass' presence on a metal album would be like complaining that it's hot in July. Yeah... this rips.

Standout tracks: Lavos, Cardinal Red, Arch Essence, False Providence, Makeshift Harmony Honorable mentions: Opiate, The Cimmerian

Psalms of the Moribund is "all killer no filler" taken just about as literally as possible. Every song on this album make for nonstop onslaught of tech-riffage, gutturals, blast beats, and tempo-shifting. And speaking of that, this band does not have a weak link instrumental wise. Each member has just about mastered their instrument, and they're super tight even without being too produced. The reason I say "instrument wise," though, is because there is a weak link. That being the vocals. I see where they're going with it, and I understand why, but Jens Staschel's gutturals end up a bit lacking in power, especially when they're isolated. And these guys know how to do the brutal-tech schtick well. There are bands who try it and fail in my book, even bands that are highly revered. Defeated Sanity somehow manages to showcase high technical proficiency and extreme heaviness without it sounding too much like "look at how good we are!" Even if it's on purpose, which it probably is let's be real, the production on this album is far too muddy for me to appreciate. I like being able to actually decipher the music I'm listening to. Oh well, at least it's not scooped to hell like other 2000s death metal records and you can kinda-sorta hear the bass. This is a good album. Not quite amazing, but it bangs.

Standout tracks: Prelude to the Tragedy, Hideously Disembodied, Psalms of the Moribund, Engorged with Humiliation Honorable mentions: Stoned Then Defiled, Butchered Identity

A lot of metal purists say metalcore sounds the same. An Ocean Between Us is proof that metal purists are wrong. If you hear As I Lay Dying, you know for sure it's them. These guys really have the metalcore formula perfected. This album showcases the perfect blend between heavy, headbangable groove and catchy yet powerful melodies. Even though not every song is totally memorable, what more could you really ask for from a scene album from a songwriting perspective. They certainly don't hesitate to get thrashy though- they ripped the band aid off with no warning on Within Destruction! As I Lay Dying was exceptionally tight on this album. They were locked in for this album, and the result sounds phenomenal. This is definitely one of the better produced 2000s metalcore albums for sure. Except as with many 2000s metalcore albums, the bass is nearly invisible in the mix, and all of the low end is relegated to the guitars. I swear, even the lead guitar on this record has more bass than the actual bass! I'm not totally blown away by this album. It's good, it's heavy, it's melodic, it's thrashy. There's some good songs, and then there's some alright songs. Overall, it's solid, but nothing too crazy.

Standout tracks: Nothing Left, An Ocean Between Us, The Sound Of Truth, Wrath Upon Ourselves Honorable mentions: Within Destruction, Bury Us All

The fact that Wintersun aren't more well known in the metal scene really confuses me. They dropped this record right in the middle of metalcore and nu metal dominance, and it ended up being one of the most revered melodeath albums ever not from the Gothenburg scene. Despite this, they're not quite the legends they should be based on this record. The songs on this album are technical yet not too flashy, and the melodies are beautiful and powerful. The folk metal influence is very noticeable, as is the prog influence to a lesser extent, and it adds that extra spice. I don't think I've ever heard anyone do the folk/melodic death metal combo this well. A lot of these tracks are long, but it never feels too much. At a few instance, it does feel like they were trying a bit too hard to blend epicness and technicality. For example Sleeping Stars. It works on most tracks though, such as Winter Madness and Battle Against Time. The production on this album is also unexpectedly good. I usually despise that early 2000s melodeath style of production where everything seems far too scooped (see: Hypocrisy - Into the Abyss). This album obviously has elements of that, but a lot of the melodies are actually audible, which is good in my book.

Standout tracks: Winter Madness, Battle Against Time, Starchild Honorable mentions: Death and the Healing

This is another album I would've never listened to if not for the recommendation, but damn. If only country music still sounded like this, the world just might be a better place. The fact that John Prine isn't a household name is a damn shame. The lyrics on these songs are far more comedic than I was expecting from a 70s folk country album. But the satirical direction just makes so much sense. Prine was a storytelling master, and it really shows. Not to mention a songwriting master. Each song has pretty much the exact same vibe, but you can tell one from the next. There's a level of musical complexity and understanding here that puts John Prine leagues above other country and folk artists. The prominence of keyboards on this album was a bit of surprise here. Don't get me wrong, it totally works, but I always imagined folk to be more of a "just a man and his guitar" kind of genre, without too many overdubs. I suppose that's the country aspect of this album shining through. I may be a metal guy, but I know good music when I hear it. This it it.

Standout tracks: Spanish Pipedream, Sam Stone, Pretty Good, Quiet Man Honorable mentions: Paradise, Your Flag Decal Won't Get You Into Heaven Anymore, Flashback Blues

I haven't really delved that deep into jazz rock, and far less into general fusion. But if there are a lot of bands like Thank You Scientist, I may need to do a genre deep dive. Both the writing and playing on this EP are top tier. It's clear these guys have a deeper level of music theory understanding than most. There are so many intricate, weird melodies and odd beats that you think shouldn't work, and then bam- it resolves, and you're left with a little musical epiphany. And the brass sections! Totally unexpected, but also unexpectedly fitting. It just... works. And very well on that note. Most of this material is progressive metal at it's core, but the brass and horns just help to differentiate Thank You Scientist from the masses of other metal bands out there. My two complaints the pacing and production of the EP. Soul Diver and Plague Accommodations seem to drag on a little, while Gigglebutton is so short it just feels like wasted disc space. And the production just doesn't hit me right. There's a lot of times I feel like I should be focusing on a guitar part, but it's just buried in the mix. And the vocals just seem a little low overall, etc. The songs are all really good, but get ever so slightly dragged down by each issue, and even more by both together.

Standout tracks: Creature Comfort Honorable mentions: Soul Diver

Overkill is one of the greatest thrash metal bands of all time, and they prove it with this record. I will stand by this assertion until the end of time, or until thrash metal miraculously experiences a widespread revival and better bands form (which won't happen). I can't even single out a specific band member to praise or criticize. Everyone here performs near flawlessly, and a rarity for 80s thrash, they're tight! Even with a few weird time changes thrown in (ex: Nothing to Die For), some of this album almost sounds like it was digitally quantized. But of course, digital music production wasn't that far along in the 80s. Overkill was just that good. Speaking of that, this is peak metal production: beefy yet sharp guitar tone, audible bass, vocal not too drowned out, and drums that sound like machine guns because of the player instead of the actual drums themselves. And not everything is absolutely drenched in reverb like most preceding thrash records. Thank God, I can actually hear the instruments. I think it's safe to say this is thrash at its peak.

Standout tracks: Elimination, Nothing to Die For, Playing With Spiders / Skullkrusher, Evil Never Dies Honorable mentions: I Hate, Who Tends the Fire

Somehow I've managed to avoid listening to this band for my entire life. Couldn't tell you how, seeing as how everyone I know who listens to them says they're a great band. After listening, I must say, I put this off for way too long. For being an alternative rock band, The Flaming Lips appear to be way too experimental to warrant that label. There's such a variety of influences pulled to create the sound found here, but it all works so well that none of it is really jarring. The synth work here is immaculate. It's not too present when it doesn't need to be so it's not overpowering, but it's always there. The overall production is also spectacular. It's clearly very produced, but not overproduced, so it doesn't sound like a generic pop-rock record. Good production can't always prop up a record on its own, but in this case, it doesn't need to. The Flaming Lips knows how to write a not just a good song but an interesting good song. They have just the right mix of weird and catchy with just enough mainstream appeal for their songs to work.

Standout tracks: One More Robot / Sympathy 3000-21, In the Morning of the Magicians, Ego Tripping at the Gates of Hell, Are You a Hypnotist?? Honorable mentions: Yoshimi Battles the Pink Robots Pt.1, It's Summertime

I was right about taking a chance on this band's later material. This is most definitely an improvement over the first EP. The main difference here being that, on the new tracks, it feels like the weirdness is far less forced. There's still the atmosphere, weird beats, and wide array of different synth sounds, but it all feels far more cohesive than on D>E>A>T>H>M>E>T>A>L. By God, Owain's vocals sounds so much prettier on this record. It's amazing what 23 years will do to people, especially if they keep practicing their craft. Everyone's gotten better for that matter. I'm also seeing a bit more hip hop influence on this record, evident with tracks like Breakfast Séance. Honestly, I love. It provides some much needed stylistic variety. Though on the note of stylistic variety, I feel like that there were some tracks that were almost too basic. Gwen Everest for example. Don't get me wrong, it's a great shoegaze song, but it doesn't sound very Panchiko'y. My biggest issue? These songs are too goddamn short! Please! It's good music, can it go on for longer? In conclusion: I will most definitely be listening to their most recent album.

Standout tracks: Until I Know, Think That's Too Wise Honorable mentions: Breakfast Séance, Gwen Everest

This album holds a special place in my heart, or at least one song does. Though I hadn't listened to the whole thing all the way through until very recently, I fell in love with Key to the City as a kid, forgot the name, and spent years trying to find it again before finally succeeding. Coming from an era where speed meant everything, Tony MacAlpine's playing on this album was very clearly more melodic and tasteful than his peers. He kept the same neoclassical spirit as players like Malmsteen or Becker, yet he chooses to slow the formula down a bit. MacAlpine is clearly capable of the shreddy stuff, shown on tracks like The Vision, and he does it well as usual. I must say- for a sophomore instrumental rock album from the 80s, the production on this album is incredible. No one element pierces too strongly through the mix, and everything is played incredibly well. Not to mention MacAlpine's guitar tone. It's so unbelievably smooth! Definitely one of the best lead tones ever put on tape. This album didn't totally blow me away, but man is it good!

Standout tracks: The Time And The Test, Tears Of Sahara, The King's Cup Honorable mentions: Key To The City, Hundreds Of Thousands

I'd like to start by saying this is pretty much the exact opposite of what I usually listen to, so I'm not exactly sure how to properly critique it. I'm gonna go out on a limb and guess Bladee is quite a bit more experimental than most others in this genre. This EP is very dreamy, surreal even. Each track on here has a similar atmospheric, ethereal vibe that fits oddly well with Bladee's "sadboi" lyrics. Despite the overall tones being similar, it's easy to tell one song from the next, and each track flows seemlessly along to the next. Though I don't have much to compare it to, I'd say the production on this EP is really good! No one element is too overpowering, which keeps the vibes Gud was going for intact. I must say, though. The overly autotuned vocals? Not my thing at all. Even when done on purpose, I just can't take it seriously. It's possible I'm looking at this too objectively, but I don't plan on waiting around until I'm sad to write this review.

Standout tracks: RAIN3OW STAR (LOVE IS ALL), EVERY MOMENT SPECIAL Honorable mentions: OPEN SYMBOLS (PLAY) BE IN YOUR MIND, IMAGINARY

Chuck Schuldiner is probably one of the most underappreciated guitar players of our time, perhaps of all time. Not only for his technical virtuosity, but also for his writing, which really shines on this album leagues above everything else he did with either Death or Control Denied. Individual Thought Patterns is the perfect middle ground between the primeval sonic brutality of Death's early days and the polished progressive masterpieces of it's twilight. Every song on this album is as damn near perfectly written and played as we can get as humans. As with almost every album I've listened to though, I have at least one complaint. The production, at least to me, sounds a little thin. Scratch that- very thin. There's not nearly enough low end to any of the instruments, which is ironic because at the same time, Steve DiGiorgio provides some of the most audible bass ever featured on a metal album. Fortunately, it's not too much of a detractor. Like I mentioned earlier, these songs are so incredibly well written and performed that the production is easy to look past.

Standout tracks: since I could list literally all of them here, I'll just take a moment to appreciate the guitar solo in Trapped In A Corner

I'm honestly not too sure how to feel about this EP. I'm intrigued, to say the least, but honestly I feel more drawn to the story behind the band than the music itself. It's strange, since I really should like this a lot. It has everything I want in an indie rock/shoegaze band, the ambiance, the weird shit with the synthesizers, the lofi production, etc. but to me, it just feels like they were trying too hard to be different. This EP was definitely ahead of its time, I'll give them that. But this just doesn't really do it for me unfortunately. Maybe I'm just not deep enough into indie rock to appreciate it, I dunno. I won't discount Panchiko as a band, though, I'll take a listen to their new material. I'd like to hear how they've changed after 23 years of inactivity.

Standout tracks: Laputa, Kicking Cars Honorable mentions: Cut

COB is such a weird band, and honestly shouldn't work on paper. But somehow these guys managed to craft the perfect blend between cheesy, synth-driven power metal and heavy, chuggy melodic death metal. And there's enough groove thrown in there to really spice things up. This album is raw enough to where we get the full old-school aesthetic, but the band is tight enough and proficient enough at playing to where it doesn't sound like total shit. And speaking of proficiency: holy crap, I always forget how incredible of a guitarist Alexi Laiho was! And an incredible writer too. His riffs aren't all constant guns-blazing, and he lets the songs breathe when they need to. Not to mention he's doing vocals too, so yeah, he's just that good. On the production... yeah, it's kinda terrible. Raw, yes, but that works better with punk and indie, not so much when you're trying to sound as tight and/or virtuosic as possible. This album definitely deserves a remix.

Standout tracks: If You Want Peace... Prepare For War, In Your Face Honorable mentions: Punch Me I Bleed, Next in Line