All That Remains — The Order Of Things
★☆☆☆ Occasional moment of headnodding drowned out in a sea of boring metalcorepop. ‘Nuff said.
★☆☆☆ Occasional moment of headnodding drowned out in a sea of boring metalcorepop. ‘Nuff said.
☆☆☆☆ Post-post-rockmetal that couldn’t be more boring if it tried. Seriously, there should have been a system of checks and balances that stopped this before it got anywhere near my ears.
☆☆☆☆ This album very much sounds like an excuse for a showcase of bassist/vocalist Cronos, with everyone else feeling like an afterthought. It goes on way too long, with a doggedly old-fashioned and outdated sensibility, a production quality that while energetic is slapdash at best (especially the irritating guitar tone), and vocals that are at times clownish.
★★☆☆ This is post-post-core, if that makes any sense… a savage screamfest deconstructed beyond all sense of flow, sense, or consideration of the listener. There’s a lot to admire here, but it’s also impossible to ignore that this hour of noise is as self-indulgent as it is cathartic. It’s worth a listen, but let’s never speak of this again.
★★★☆ This is one of those doom mood-piece albums that need to be consumed all in one go; the brilliance comes out once this big slab of experimental sludge has had enough time to work its evil magic on you. At first blush, you might not see that coming, but push past your initial take and listen to the whole thing.
★★★☆ Holy fuck is this heavy and dark and oh god the paaaiiiinnnnnnnn.
★★☆☆ This is frustrating: this album simultaneously boasts shredding scorchers and shamefully derivative snorers. And the title track has elements of both. So you’ve got half a three-star album comingled with half of a one-star album. Discovering which tracks go where, I leave as an exercise for the reader.
★★★☆ This album rules! What a bizarre, unique, and hard to dismiss melange of metal… as much Glassjaw, CoC, King’s X, Entombed, and latter-era Pantera as it is a work of metalcore. But I fuckin’ dig it, because it’s got a freshness to the swagger. And most importantly, there’s an astonishing diversity to the tracks even while the band nail down a very specific sound.
★☆☆☆ This is an hour of obstinately formulaic black metal, untroubled with concerns of pacing, dynamics, or even proper song endings. While not terrible, it’s likely that this album is for Marduk fans and apologists only.
★★★☆ This was a surprise, considering that almost half of this band is Aaron Turner, the second-hardest working man in metal, and judging from his recent efforts, a confirmed audio sociopath. But rather than an assault of antisocial noise, this is a dirty yet progressive slab of musical rage. It’s somewhere between Isis (natch), Old Man Gloom (natch), and The Jesus Lizard (huh?)