Music Reviews

It only took 4 years but here we are.

The Cornflakes is a band for which I have a special place in my heart – they were the first concert I ever attended after all (not counting the one concert I went on with my parents when I was like 6 or 7). Now it’s been about 4 years since the band’s last body of work with their breakout LP „Pomoc!“ which had some obvious mixing issues and was all around really rough around the edges, but it still showed great promise for the band, especially with tracks such as „Kazatel“ or „Neznámý Hrdina“. The rough unfiltered sound with the raw vocals, heartfelt lyrics and hard-hitting breakdowns of those tracks and many more was a formula that The Cornflakes adapted here and only went on to perfect more further down the line.

Which brings us to day – after 4 years and a few singles the band finally came out with their brand new 4-track EP „Zpověď“ – so how does this one hold up? Well right off the back I’ll at least say one thing – the 4 year wait was definitely worth it at least in the mixing department. These songs sound crisp and sharp as a rock (whatever that means – point is they sounds miles better than the ones on the band’s previous project). Now this project isn’t necessarily anything all that new to the people that have been keeping up with the band’s work since all the songs from here have already been released as singles in the last few years. They do however make up for somewhat of a cohesive experience for such a short project.

Let’s start with the opener and also the title track „Zpověď“ which opens up with this triumphant riff that immediately grabs your ear. After that the rest of the instrumentation comes crashing in and it makes for one heck of an opening act. The drums are super sharp and mix really well with the riff. The chorus is also really memorable even though it’s not my favorite off the EP (don’T worry, we’ll get there). Overall it makes for a really solid opening track even though I’m not crazy about some of the verses, but the song does pick up the tempo quite a bit towards the end which kinda balances that out for me.

The follow-up track „Milióny“ is one I really enjoyed already when it released as a single. I gotta say the part that always completely sells me on this song is the key-synth bridge leading into the chorus, that has to be like one of the most experimental moments in the band’s catalogue so far and the risk payed off big time. It sounds amazing especially when paired with the guitars and the spoken word fits the mood also quite well. Also the chorus bangs quite a lot if I do say so myself. I like this one even better than the first song, an instant classic for the band right here.

Speaking of more experimental songs… The second to last song „To Jsi Ty“ has the most gorgeous intro I’ve heard not just in the band’s discography but kinda like overall just in a while? The song’s sentiment is infectious from the moments the singing kicks in. If it wasn’t for the last song on this album, this one would easily be my favorite, even though it is kinda tied for me. I have little gripes with this one, my biggest issue is that even though the eventual heavy part of the song sounds really good on a technical level, I really think the song would have benefited from being only the softer part just by itself – I like the song regardless though, definitely another big highlight.

And look, even though the closer „Bellum Iustum“ is the oldest of the songs here, so the mix is kinda rougher than the other song on here, I still think I enjoy it about the most, mostly for nostalgia reasons, but also because the song is just an absolute unhinged banger from front to back. The singing is the rawest, the breakdown is the nastiest, overall just the perfect mosh-pit song. The mixing does still stand out on this one though, so I can’t just turn a blind eye to that. Still a banger, as good as I remember it being.

So, overall what do I think of this one? If I had to call it one thing I’d call it an improvement – it’s clear that this album is just on a whole nother level quality wise compared to the last. There are still many issues I have with it, don’t get me wrong, but for what it is, I think The Cornflakes just made a really solid EP that hopefully is a sign of what’s to come (meaning hopefully an LP, pleasibegyouguysiwroteyouareviewcomeon).

-favorite tracks: Milióny, To Jsi Ty, Bellum Iustum

-least favorite tracks: Zpověď (if I had to pick)

Light 7/10

After half a year of hyping thist thing up, it has finally arrived, Architect’s ninth studio album and it’s their longest one yet, ranging over 58 minutes in length, which honestly is also the biggest flaw I found with this album – there is just sooo much filler on this thing, like 3-4 songs could’ve been easily cut and nothing would change. Also the sounds on this one are the most industrial and electronic Architect’s has ever presented, you could call it even „experimental“ in some regards.

One example could be the song „Flight Without Feathers“ which is purely an ambient electronic song with some very distant guitars and sharp electronic drums, it’s kind of an aesthetic mess, though not entirely in a bad way – it also serves as a nice bridge between the two halfs of this record. The follow up song „Little Wonder“ immidiately continues going in this more electronic direction taking a more synthwave approach. The next song „Animals“ is also the first song released prior to the release of this album and the overall reception of it is pretty mixed – the song is obviously much more poppy then basically anything the band has done before, but it’s still clearly Architects – I kind of over time warmed myself to liking the song more then I innitially did, still not one of the best on the album though. The song „Libertine“ is your typical Architects song, with the twist being on the bridge, where the band attempts to create a more spaced out electronic sound with some weird pieces of percussion in the mix, it’s just a weird mixture. The next song „Golliah“ immidiately picks things up thoug, with it’s immidiate fast-paced guitars, punchy drums and guest vocals from Simon Neil, it just works overall. The song, again, tries to make a semi-experimental bridge exiting the first third, but this time there is a dirty bass added in and it actually kind of works. The breakdown is predictable but still one of the better ones on the album, it does it’s job fairly enough. Also the second bridge on this song actually kind of works too, it uses some bright keys that really give the track a new life – overall just hands down one of the best songs on the album. The song „Demi God“ follows the more electronic approach to things, but it actually semi-works here? I still am kind of conflicted on this song, it’s nothing ground-breaking, but it is one of the more adventerous songs on the album – doesn’t mean it’s one of the better ones though. The song „Meteor“ is just another boring cut on this thing, literally nothing about it stands out and the hook isn’t catchu enough to carry the rest of the song – could have been easily cut from the final mix. Now Architects are usually pretty good at closing things off in a unique stand-out way from the rest of the album – there is a different spin on it this time around, because the band decides to go full accoustic and orchestral with the closer „Dying is Absolutely Safe“ and it’s not bad, though not great – it drags on for way too long and it kind of goes nowhere – also the guitar is like ten times louder then anything else in the mix. Now, I do haven’t talked about the first half yet have I? Well yes, but that is because I don’t feel like there is much to say – if you know the Architects formula by now then you know how the first half sounds. Granted, the hooks are more catchy and the production more off-the-chains, but it’s kind of evened-out by some weird bridges, generic break-downs and cheezy song-writing. Now I still may be over-dramatizing this, I still very much enjoy the first half – the songs „Giving Blood“ and „An Ordinary Extinction“ are definetly one of my favorites here, both feature a more electronic approach to things, again, and actuallu for once succeed in doing so – also both singles released from this half „Black Lungs“ and „Dead Butterflies“ absolutely slap and nobody is going to convince me otherwise (Dead Butterflies actually being one of my favorites Architects songs by the time I’m writing this).

So yeah, there is some good to be found in this record, but it’s burried by many weird production choices, questionable song choices and occasionally some tideous lyrics. But still, this is a somewhat solid project from Architects and much better then I anticipated from the reception it has been getting so far – maybe it’s just because I’m a sucker for overproduced orchestral metalcore, but I still think this album is worth checking out if you are an Architects fan, just don’t go into it with much of a high expectation.

Strong 6/10

Ok, so real quick my basic overview of the band’s catalog up to this point: I found their deathcore roots to be really amateurish and too melodramatic, their more metalcore side is where they peaked in my opinion, with record like There is a Hell,… and Sempiternal. The experimentation with other genres on That’s the Spirit mostly payed off for the band, with the record’s more alt-rock oriented sound and catchy explosive choruses. They would continue with the experimentation on their next studio effort Amo, where they prooved that they were more then just another face in the crowd and that hey could pull of mulitple genres and aren’t afraid to go out of their comfort zone. Which bring here, to Post Horror: Survival Horror and I gotta say, this thing is amazing.

From the very start, you can tell that the band is dedicated to combine everything they’ve learned up to this point, to create one rather short, but cohesive expirience with this 9-track EP. Not a single song on here flops, everything is a hit, each track in different regards. The opener sets the tone – „Dear Diary“ is an agressive metalcore-fused rager, with the lyrics being a meditation on the current chaotic state the world is in right now. The guitars riffs are heavy, the screaming feels raw, yet fitting and the additional production choices from none other then the music god himself Mick Gordon only add to the intensity of the track. Also the breakdown is really tasteful and refreshing, all of the breakdwons on this album are honestly. After that we get a series of singles released prior to the albums release, all of which bring different things to the table: „Parasite Eve“ is a more heavily structured, long-winded look at things, with some really epic glitchy production and an absolutely orgasmic Mick Gordon breakdwon, that had to be brought up right from the pits of hell. „Teardrops“ is a Linkin Park worshipper, with some surprisingly moving lyrics – they didn’t come off as corny at all, rather they complimented the atmosphere of the track really darn well. Oli sounds genuinely defeated on this one and the chorus just absolutely slaps – it’s one of the many grand explosive choruses on here. And finally the song „Obey“ is a punk-aesthetic nu-metal banger with some insane synths and booming guitars – also the Youngblood feature was a surprisingly wise choice, probably the best he has sounded since – well, ever. Again, the chorus just absolutely rocks and the breakdwon on this one is probably the most passionate out of those three – like seriously, if Parasite Eve’s breakdwon sounded like the pits of hell, then this one are the demons coming out of there. After those three gems we get a much needed break with the interlude „Itch For The Cure“, which serves as a preparation for what is to come next. And what actually comes next is my favorite song on here „Kingslayer“ – not only because of the insane energy that is radiating of of this thing, but also because of the unexpected, but welcomed feature from BABYMETAL and again some amazing production from our lord and savior Mick Gordon – like if this combination doesn’t tell you it’s gonna be a banger, then I don’t know what does. The song is from start to finnish just packed with energy, with those fast paced guitars, epic synth leads and agressive vocals from Oliver Sykes – this is easily the most brutal he has sounded since the release of Sempiternal. The BABYMETAL feature, as mentioned before, somehow fits super well in this and offers a nice change of pace to the track – they also absolutely nail the chorus on here. Overall it’s just a fun and exciting track, and at the end of the day what else do you need? Oh, another Linkin Park worship? Well Bring Me the heavies got you covered with the song „1×1“, which may be the on-first-listen least intresting song on here, and admiteddly isn’t as exciting as per say Teardrops, but it’s still a nice nu-metalish alt-rock tune with a melodically pleasing chorus and some nice electronic effects worked in. Then there is the song „Ludens“, which sounds like something from the bands That’s the Spirit, but with a more glitchy and electronic production this time around. This is basically as experimental as it gets for the band, and even though some of the transitions between the song’s passages may feel a littler rushed nad akward, overall I found it to be a pretty cohesive listen, especially by the end of it, when it all just makes sense in the end. For the closer the band decided to go with a hell of a slow-burner of a ballad with the song „One Day The Only Butterflies Left Will Be In Your Chest As You March Towards Your Death“ (yes, that’s how the song is actually titled), which features the amazing Amy Lee from the band „Evanescence“ on the vocals. Her voice I’d say blends pretty nicely with the song’s more low-key and slow-paced easthetic – it’s haunting yet beautiful. The hauntingness, aswell as the tention, continues to grow throughout the whole track, finally reaching it’s emotional climax towards the end, with Oliver’s quiet screamed vocals, that are slowly turning up in volume, until the song suddenly stops – a really cool detail and a great way of ending the album off.

Look, I was pretty hyped for this thing, especially considering how much I LOVED every single one of the teaser tracks, but what we got is so much more then I could ever expect – it’s the definitive Bring Me The Horizon expirience. Yes, there are some flaws here and there, and the runtime of the album could use a little bit more tracks, so it feels little more cohesive, but at this point, I’m really just nitpciking. This was a really solid listen and I can’t wait to see, what the band continues to do next.

strong 8/10

After a 5 year hiatus, Nightwish decided to come back with one of their most conceptually pleasing and realised albums yet. The album is a two sided masterclass at creating grand and heavy symphonic metal bangers with low-key and long-winded orchestral slow burners. The first disk starts with the epic „Music“, which is easily the best track of the first half of the album – the slow orchestral build up, the jungle-type send off and the classic power metal Nightwish finnish makes for a perfect opener and how was it not a single will forever remain a mistery to all of us. Then there is the actual first single „Noise“, which really is just a noise compared to the last track – if there is something clear with this track though, it’s that the chorus won’t leve your head for days, I can guarantee you that. The vocaly pleasing „Shoemaker“, and the acoustic slowdown „Harvest“, are also both nice touches, with „Harvest“ exploding into some nice power metal madness in the second half of the song. The actual slowdown of the first disk is the song „Endlesness“, which can admitedly get a little boring, but it serves its purpose as a closer and as a transition to the second disk. Though what’s definetly NOT boring, is the song „Tribal“, which always gets my blood pumping every time I listen to it. Then there is the song „Procession“, with its smooth and magical keys and its luscious yet heavy instrumentation – it’s a really strong and powerful moment on the album.

The album quickly changes pace after the first disk though – the second disk uses little to no elements of the classic symphonic metal Nightwish sound – instead it goes for this orchestral formula, which surprisingly works really well. The second half works as a cool down, after the epic ride that was the first disk – at least that’s how I interpret it. There is also basicallIy no singing on this half, which is a little disapointing, considering how much of an amazing vocalist Floor Jansen is. This half, more then anything, works as a whole expirience, and that’s why I have a hard time picking a favorite song, because they all blend into a one grand and exciting expirience. Truly and honestly my biggest complain is, that it can get real tiring real quick – if you don’t manage to get lost in the sound since the first song, you’re gonna have a hard time keeping attention to those spacy orchestral instrumentals sometimes. Though I’d like to give credit to the last song of the album „Ad Astra“, which is this beautiful 4 and a half minute beast of a song, that closes this album perfectly.

So, overall, is this album perfect? No, it definetly has its flaws, especially in the whole 80 minutes of its runtime, it can get a little tiring on a few songs here and there. Is it their best album yet? No, not even close – that position, in MY opinion, still bellongs to their previous album „Endless Forms The Most Beautiful“, but you can still hear a few improvments on this new project over here, since that album came out. Overall I’d say it is an appriciable effort from the band, with some really great highlights and for me, the 5 year long wait has really paid off.

strong 7/10