Friday, May 22, 2015

We've Moved! Head over to ouchthathertz.com!

Hey everyone!

We've moved!

All updates and original content may now be viewed at our new website:

Thanks for reading, viewing, and sharing our hard work and dedication! We could not have made it this far without all of you! Now you can keep finding new music reviews, interviews, news, and even exclusive streams at our official website! See you all there!

Love,

Katt, Anderson, and Konstantina



ouchthathertz.com


Saturday, May 16, 2015

Review: 4th N Goal -Turn On the Light EP

Ah, summer time – the time of the year when everything comes to life. Winter’s bitter and harsh days have melted away into sunny skies and warm weather. Days are now spent pool-side or by the lake as you bask in the revitalizing sunlight. Sunburnt faces, cargo shorts, and skaters roam freely on the streets as ice cream trucks slowly crawl through the neighborhoods.  Road trips and cabin jaunts soon become the center of your plans, which are slated to make the most of each passing day. Late evenings may be spent around a bonfire or at a skate park with friends, watching the sun set below the horizon and giving rise to starry nights that leave a youthful twinkle in your eye. You’ve got your bags packed, your skateboard in hand, your money in your pocket, and your keys in hand, but what you’re really missing is a summer soundtrack to blare out of your stereo. Thankfully, Italy’s 4th N Goal has exactly what your summer ears have been dying to hear. Their new EP, Turn On the Light, is packed with all of the head-bopping riffs and catchy choruses that you need to narrate your summer adventures.

Kicking off this album is “Pickles”, a catchy, bouncy track that exudes nothing but good-old fashioned pop-punk fun in every potent riff.  A fade-in melodic riff steadily rises and explodes into a frenzy of hard-hitting energetic riffs and pulsating percussion that will instantly having you smiling and kicking your feet in the air. Spastic melodic arias and pick-slides abound this track as guitarists Tommy and Dimi weave punctual poppy chords with grooving punk and easycore-infused riffs that are sure to induce maximum foot-stomping and head-bobbing.  Drummer Tommy Poletti executes flawless percussive elements of crashing cymbal play, excellent fills and rolls, and toe-tapping footwork and snare hits that perfectly compliment the rest of the instrumentation as bassist Mike Frutto’s apt licks steadily groove on.  Vocalists Mocho and Sam present a raw and honest quality in their vocal display of smooth and slightly scratchy clean vocals and emphasizing their lyrics with segments of shouts and high-flying harmonies that sail overtop the infectious hail of vibrant and energetic instrumentation as they pour their hearts and souls into each verse.  

Up next is “Red Line Extreme”, another fun-loving track that will groove its way deep into your ears with an amalgamation of punchy riffs and dynamic instrumentation. An extremely brief lick and drum fill quickly erupt into fast-paced airy riffs and driving percussion. Guitarists Tommy and Dimi take a much more poppy approach to their instrumentation, crafting perfect head-bobbing riffs and soaring, spastic melodic overlays and arias that practically bleed youthful exuberance. Tommy Poletti once again flexes his percussive prowess, throwing everything he’s got into every throbbing hit, kick, crash, and expertly-crafted fill that will have you violently head-banging and sending your body soaring through the air. Mocho and Sam audibly throw all of their passion into each verse, adding tasteful harmonies, short spurts of yells, and the occasional accentuation of a gruff, scratchy quality for lyrical emphasis as they flex their commanding vocal dynamics.

Though tracks such as “Pickles” and “Red Line Extreme” showcase the band’s lively musicianship and energetic qualities, 4th N Goal’s excellent cover of Bring Me the Horizon’s “Drown” is without a doubt the album’s stand-out track. Guitarists Tommy and Dimi replace Bring Me the Horizon’s previously slower, melodic and emotionally dread-filled riffs with invigorating fast-paced punk riffs and charging bursts of melodic licks and solos, and the occasional squealing pinch harmonic to invoke full-body rhythmic spasms that you can’t help but fall in love with. Tommy Poletti also modifies Bring Me the Horizon’s driving percussion, installing faster head-bopping and limb-flailing percussive elements of sharp snare hits and crashing cymbal play as Mike Frutto’s bass licks pop and flourish overtop the heart-racing instrumentation. Mocho and Sam juxtapose layers of excellent cleanly sung harmonies with spasms of gruff yells and shouts to retain the original vocal quality while still giving  the lyrics an audible 4th N Goal & pop-punk-esque spin on the tonality and delivery. What makes this track truly stand out is the perfect harmony in which the instrumentation and vocal delivery fully thrive in as they give a much more energetic and vivacious approach to a heart-wrenching song. 

The album closes with “Ken Burns”, a lively track that will instantly grip your ears with eye-dilating, commanding instrumentation that will have you singing and flailing along. A powerful eruption of vibrant, fast-paced poppy punk riffage and pounding, quick percussion instantly greet your ears from the moment you press play. Tommy and Dimi take a more punk approach in their instrumentation with quick, palm muted riffs and slamming chords that are accentuated with spastic melodic overlays and soaring, bent notes that retain that fun, exciting, driving pop-punk feeling in their performance.  Tommy Poletti once again wages war against his kit with a series of head-bopping footwork and drumstick-snapping hits, fills and cymbal crashes as Mike delivers a quick infestation of grooving bass licks. Following parallel to the energetic and whiplash-inducing instrumentation are Mocho and Sam’s commanding, relatable lyrics and quick, heartfelt- although sometimes unintelligible- layered vocals as the band drives home the classic, elating pop-punk sense of youthful recklessness that will leave you physically exhausted by the end of the track.

Overall, 4th N Goal have created one of the most lively pop-punk releases of 2015. The band’s penchant for energetic, vibrant, and vivacious pop-punk instrumentation audibly bleeds throughout the duration of this dynamic EP. Where 4th N Goal noticeably trips up is in their vocal delivery, which, in tracks such as “Ken Burns” and “Out of Tortillas” can become very muddled and unintelligible.  But where they lack in vocal clarity they excel in instrumental delivery and excellence that very clearly states or accentuates the lyrical and vocal emotion in each track. Pack your bags, grab your skateboard, and head out to the car, because summer’s warmth is upon us, and 4th N’ Goal’s Turn On the Light EP is the perfect start to a windows-down, pizza-and-road-trip-filled, sunny season.

8.5/10



For Fans Of: Neck Deep, Chunk! No Captain Chunk!, Four Year Strong, Set Your Goals

Katt Hass

Friday, May 15, 2015

Review: The Story So Far- The Story So Far

Get out your cargo shorts, flannels, and order some pizza because The Story So Far has a new album that will knock your pizza sauce stained t-shirt off.

In January 2015 a video was posted “The Story So Far Album Teaser #1" was uploaded on the band's official YouTube channel. The video shows clips of the band members with friends goofing around and having fun. At the end of the video a text-roll appears, saying "We are writing a new record stay tuned...” On February 23, 2015 the band uploaded another video titled “The Story So Far Album Teaser #2” this video features behind the scenes clips, and footage of the boys working on the new album. The text-roll that appeared at the end of this video was "LP 3 Coming Your Way Watch Out World Here We Are Not Afraid Of The Light." On February 26 the band Tweeted saying the album was finished. In April they released a few singles; on May 11 the band posted a stream of the entire album to their website and the album is set to be released on May 19.

The  self-titled album begins with the track “Smile” a heavy opener and a testament to conformity with lyrics like “Tell me how you fit in and where do you begin? Do you toast when they toast? Do you sin when they sin? ” Up next is “Heavy Gloom”, a track in which frontman Parker Cannon hopes that his ex feels lonely without him and reflects on her actions towards him. “Phantom” – an instant The Story So Far classic- features mellow guitar melodies and Cannon’s soft crooning. The final track, “Stalemate” is a surprisingly milder track and, though not as heavy as the opening track, is a good, strong  finale to the album.

This album is not too different from the albums before; it could even be considered as “Under Soil and Dirt” part two. The album themes remain the same as the ones before: each track revolves around a bad ex-girlfriend and Cannon executes his lament well with his vocal gymnastics. The album was hyped up a lot to be somewhat anti-climactic, as the sound of the album and the lyrics were familiar to fans.  However, the album is still a good listen, and The Story So Far did a great job with their new lyrical material.  New and old The Story So Far fans will appreciate this album and it will surely be one of the favorite pop-punk albums of the summer.  (Konstantina Buhalis)

Favorite Tracks: Phantom, Nerve, Smile, and Heavy Gloom


7/10



For Fans Of:  Knuckle Puck, Man Overboard, The Wonder Years

Wednesday, May 13, 2015

Review: Robbed By Giants - Worst of You, Best of Me

Georgia is famous for country stars, but recently the state has produced an indie band that has the ability to become larger than life. Robbed By Giants hails from Rome, Georgia, and they have just released their first album titled Worst of You, Best of Me.

The album features five tracks, fueled by the rawness of the acoustic guitar, and has a southern charm to it. Their stylings are slightly varied, but the band maintains an overall indie quality. While the band is new to the scene, their style of music seems familiar. The music is gritty, and the entire album was recorded in two days. The instrumentals are the real star of this album, Thomas Orr, vocals and guitar, does an excellent job of balancing his vocal abilities with guitar melodies.  Jordan Epperson, the percussionist is laid back with his style, he does not over play the drums, and he meshes the percussion perfectly with the vocals and guitar.

All of the tracks on this album are slightly varied. The first track “Satisfied” is a jumping track, complete with a horn section. The second track “London” is a textbook indie track, soft melodies, quiet vocals, and illustrative lyrics.  The following track “Part 1(Worst of You, Best of Me) follows suit with the same quiet intensity as the previous track. This song is emotional, a true indie love song.  “Part 2 (Epps)” is an instrumental track, and showcases the band’s technical skills, featuring a reprise of the horn section that was used in the first track.  The final track “Anything” is another love song that is addressed to an unknown lover. The album deserved to have a few more tracks, because it feels like it drops off at the end. Some might find the album to be slightly boring because the last few tracks are all similar and have the same tone and slightly similar instrumentals.  However, the band’s musicality and Orr’s crooning vocals really set the stage for the indie album you didn’t know you wanted.

In conclusion, Worst of You, Best of Me is a tasteful, charming album that sounds as if it belongs in the soundtrack for Grey’s Anatomy. Robbed By Giants has the potential to make a name for themselves in the indie scene. (Konstantina Buhalis)

Favorite Tracks: London, Part 1 (Worst of You, Best of Me)


7.5/10

Stream and download Worst of You, Best of Me here!

For Fans Of:  Bon Iver, Dave Matthews Band, Ben Howard

Saturday, May 9, 2015

Review: Until Yesterday - We Learn To Live With Ourselves

People will do anything to avoid facing themselves. We naturally prefer to tackle obstacles in the simplest way possible, regardless if it’s actually the right way to solve an issue. Unfortunately, when we are faced with personal issues, we opt for simpler, temporary solutions rather than long-lasting and healthier alternatives. Our favorite solution? Avoidance. We avoid such a daunting task as self-reflection or introspection rather than directly deal with our issues at hand. Why? Because it’s easy.  It’s easier to chase white dragons, hit the bottle, and shut out other people. It’s easier to avoid looking directly into the mirror for fear of whom or what we may see reflected back at us. As a result, we further deteriorate, rendering ourselves empty shells or distant echoes of who we once were as we are slowly consumed by the endless cycle of running from our own shadow. Some of us will spend the rest of our lives running from our mistakes, our past(s), and ourselves. Others will stop running, turn to face their issues, and create something from their self-destruction. Standing amongst those courageous few is none other than Columbus, Ohio’s Until Yesterday. Their debut full-length release, We Learn to Live With Ourselves, narrates a harrowing reflective tale as it mercilessly thrashes your ears with every passionate riff and emotive verse.  

Kicking off the album is “Spring Rain”, an explosively energetic track that will grip your ears with every emotionally devastating riff and verse.  Dark, brooding notes and licks gradually meet a pulsating drum fill before exploding into an abusive torrent of skin-shredding riffs, driving percussion, and thick, heavy screams.  Guitarists Morris and Patton masterfully mesh together sporadic, fast-paced riffs with controlled, slower, bitter riffage as wailing melodic overlays soar overhead to create a dynamic, face-ripping, eye-widening instrumental effect. Drummer Nathan Conley unleashes a storm of relentless, ear-popping percussive might in a series of expertly crafted rolls, fills, footwork, and cymbal play as bassist Alex Sheridan’s bitter undertones steadily groove on. Vocalist Nicholas Marzluf wields a brilliant display of rich mid and high screams, brutal low growls, and effects such as split-scream harmonies and tastefully light echoes to add extra layers of intensity, punctuation, and depth to his overall vocal delivery.  An interlude built upon mildly ambient, brooding, melodic licks and the familiar introductory drum fill reaches culmination in the form of an aggressive and energetic breakdown before returning to the previously devastating riffage and gradually fading out to the sound of a gentle piano medley.

Up next is “When the Light Leaves the Room”, a ravaging track that is bursting at the seams with jarringly emotional riffage and intense, heavy breakdowns. Sweeping, apologetic plucked notes and a light piano aria gently lead your ears to a false sense of security before introducing you face-first to a traumatic amalgamation of hard-hitting, slightly reverberated riffs and licks, grooving bass undertones, and pulsating percussion.  Gloomy, melodic riffs beautifully melt into somber licks and melancholic overlays, which in turn violently clash with tumultuous and sporadic bursts of searing, heavy riffage. What makes Morris and Patton’s instrumental delivery so powerful in this track is their inherent sense of maintaining energy through stop-and-start riffage, in which heavy riffs are rudely interrupted for blissful, sorrowful light melodic licks and riffs before suddenly plunging back into the hail of heavy instrumentation. Conley’s drumming follows in a complimentary parallel fashion, crafting stellar rolls, fills, and cymbal play to create the perfect accentuation to the rest of the instrumentation. Marzluf puts more focus on his rich, full-sounding mid-scream range in this track, instead lightly placing highs, lows, and spoken-word-yells as accent marks to add depth and emphasis his vocal delivery. Multiple breakdowns abound this track, each one adding perfectly poignant intensity and emphasis to the track as the collective musicality and instrumentation savagely tears at your ears like wolves to a moose’s hide. 

Though quite a few songs can be considered as standout tracks, title track “We Learn to Live With Ourselves” is absolutely deserving of an honorable mention. A lengthy drum fill instantly greets your ears and soon meets a sweeping piano medley before taking on an aggressive form of vicious and irate instrumentation. Spastic, ferocious riffs that seethe with a violent anger progressively build in intensity as sporadic flecks of melodic overlays join the fray of murderous, whiplash-inducing instrumentation. Conley displays a dynamic and unrelenting percussive display of quick footwork, excellent cymbal play, and expert execution of rolls and fills. Marzluf’s ferocious mid screams and harsh high screams take the forefront of his vocal delivery as he audibly pours his heart into each word of every verse. The seemingly endless onslaught of blood-boiling, vicious instrumentation comes to a sudden halt in an interlude built upon emotionally drenched riffage that simmers out into muted chords and licks before further dissolving back into the seductive introductory piano medley, leaving you breathless, emotionally destroyed, and shaking.

The album closes with “Strain”, a somber track that will tear your heart out with each doleful riff and lick. A rush of emotionally drenched melodic riffage, driving percussion, and harsh screams instantly greet your ears from the moment you press play. Morris and Patton’s slightly discordant melodic overlays and licks sail overtop sexy, grooving, ambient riffage that oozes a “classic hardcore” vibe as Conley’s impressive percussive display and Sheridan’s grooving undertones steadily pound away at your eardrums. Marzluf showcases his harsh, raw high screams overtop his rich mid screams, granting his vocal delivery a truer sense of urgency and emotional depth. The tirade of emotional urgency and somber instrumentation takes a downturn into a gorgeous set of sorrowful strummed notes against a gentle weeping piano medley, which quickly fades into the breathtaking, lingering sorrow of the piano before fading into a silence that will leave you emotionally distraught and begging for more.

Overall, Until Yesterday has successfully created one of the most emotionally devastating melodic hardcore albums of this year. What makes this album truly exceptional is the amount of raw energy, emotion, and passion that is poured into every track and ultimately connects the album as a cohesive whole. The dynamicity between each musician and instrumental element is so clearly audible in every ear-splitting riff, hit, kick, and scream that it even remains present in the silence in between each note. We Learn To Live With Ourselves is more than an album, it’s a musical and emotional standard that most other melodic hardcore bands will find hard to match.   

9.2/10




For Fans Of:  Hundredth, Counterparts, Balance and Composure

Katt Hass

Sunday, April 19, 2015

Review: The Prestige - Amer

Our lives are characterized by a series of snapshot events. We are transient beings that are comprised of a series of fleeting moments, far-fetched dreams, and vast idealizations. In the cosmic scheme of things, we’re merely temporary special specks that exit life as soon as we enter it. We, therefore, try to capture and document each moment in a photograph in an attempt to create a visual preservation of a memory and pass down its story to future generations. In a sense, we actualize the adage “a picture is worth a thousand words” every time we press the shutter button on a camera.  Sadly, photographs get lost, burned, thrown away, or faded beyond recognition, thereby burying its associated memory and message in the ever-erasing passage of time. With over 7 billion people on the planet, it’s easy to become a forgotten memory or a faded photograph, lost in the sands of time. But, a few images are so powerful that they stand as an ever-lasting tribute, and The Prestige has risen to this stature. Their sophomore release, Amer, casts a vibrant image that will outlast the turning of time with every searing riff and bitter verse.

Kicking off the album is the title track, “Amer”, a dark, eerie track that will instantly grip your ears and send chills down your spine. Blistering, eerie riffs that seethe bitterness greet your ears as rising industrial-esque instrumental effects rumble forth and plunder your ears with the might of a hellish stampede before flourishing into a ravaging intertwined display of headbang-inducing punctuality and hair-raising riffage. Drummer Thibaut Cavelier lightly wraps pounding, intense percussive elements around the swirling storm of instrumentation as vocalist Alex Diaz’s raw screams tear at your ears with a bitter, melancholic urgency. The clustering storm of skin-shredding instrumentation dissipates into the familiar eerie introductory riff before carrying over into the next aurally seductive track, “Bête Noire.” Menacing riffs, harsh screams, and driving percussion descend upon your ears like vultures to a carcass as they viciously tear at your ears. Guitarists Alex and Raphael’s excellent display of skin-shredding, heavy riffage is fast met by spastic squeals and haunting melodic overlays that soar and hover overtop the torrent of face-melting instrumentation. Lurking beneath these high-flying instrumentals is bassist Julien’s brooding bass riffs and licks that steadily groove with a bitter, chilling tonality. Drummer Thibaut Cavelier wields a powerful combination of excellent cymbal play, quick footwork, and fantastic rolls and solos for an overall insanity-inducing percussive display that will make you question the number of arms he truly has. Intermittent interludes in the form of spastic, energetic arias and quick licks burst and bloom over powerful, heavy riffs to give the track a chaotic depth to the already unnerving, bone-tingling instrumentation and musicality as it gradually settles and fades into an amalgamation of squealing instrumentals that, in turn, dissolve into silence. 

Although every track on this album can be considered a stand-out track, “Léger De Main” is absolutely deserving of an honorable mention. A deep, venomous riff stealthily paces back and forth through your ears as infectious, echoed melodic notes and overlays grow increasingly haunting with each suspenseful rise and retreat. Alex opens with spine-chilling, sinister clean vocals that gradually escalate to his raw style of bristling mid screams. The eerie instrumentals, following parallel to Alex’s vocal display, also gradually rise, building in intensity with every passing second. Raphael and Alex’s haunting licks eventually give way to anxiety-inducing dark riffs and Julien’s brooding undertones which swiftly take command and steadily encroach on your ears like a panther stalking its prey. Cavelier follows suit, gradually introducing light percussive elements that steadily turn to ominous pounding that is sure to incite heart-palpitations with each suspenseful kick and hit. The instrumentals as a unit masterfully continue this seizing, heart-attack-inducing, suspenseful aural stalking before suddenly launching a blazing attack of maddening pull-riffs, grooving bass, driving percussion, and ear-splitting screams for a cumulatively blood-curdling tonality that will destroy you as it rips your ears and your sanity to shreds.

The album closes with “Cri De Coeur”, a track that oozes bitter resentment in every jarring piece of instrumentation. Sliding, enticing pull-riffs and bitter, raw mid screams instantly hit your ears with the intensity of a passing freight train. Pick slides and slightly discordant melodic overlays abound this track and nip at your ears as they soar over Julien’s spiteful bass lines and Cavelier’s aptly crafted, relentless percussion. Alex and Raphael frequently break the flood of heavy riffage with a masterful blend of ambient, haunting overlays, melodic arias, and flying sustained notes before melting back into the emotive, bone-crunching instrumentals. Cavelier unleashes his technical prowess in a series of mind-blowing drum rolls and solos that pierce your ears with the ravaging intensity of bullets from a firing squad. A grooving interlude built upon steadily rumbling bass lines and melodic, chilling arias, and eerie backing “ah’s” echo behind Alex’s urgent mid screams comes to a grinding halt for a haunting pairing of desperate screams and a faded piano medley that will make your hair stand on end. This jarringly eerie, emotive instrumental break sweeps back into one last wave of raging, ferociously bitter instrumentation, thereby leaving you aurally ravaged and bereft of breath long after the music has ceased to play.

Overall, The Prestige has created one of the most timeless and intense hardcore albums to date.  The amount of musicianship and energy that poured into each meticulously crafted track is absolutely astounding and sets the bar at a new level that most other hardcore bands will never quite reach. Every bitter riff and verse is not without purpose or precision. Amer is more than an album and more than a snapshot- it’s a story with an image that burns so vividly and vibrantly that it takes on an everlasting form. If a picture is truly worth a thousand words, The Prestige’s Amer is the story of a lifetime.

10/10



For Fans Of: Deafheaven, Every Time I Die, Touche Amore

Katt Hass

Wednesday, April 8, 2015

Review: Tidus Is Alive - Stuck In Limbo

We are kinetic and directional creatures that thrive on structure and routine. We devise schedules, maps, and other micro-manageable sequences in an effort to establish a maintainable and customizable order that best fits our ever-expanding aspirations. That’s why the feeling of being “stuck in limbo” can unleash a path of devastation that can derail even the most ambitious and fluid of dreamers.  For those of you who have the luxury of never experiencing such a phenomenon, being stuck in limbo can best be equated to being stuck in a form of stasis within an ambiguous void.  It’s as if you exist on a different plane that floats between two realms. Most people become exhausted, broken, and drained from the lack of directionality, thereby rooting themselves to the immobilizing ground upon which they stand. A rare few can recognize their situation and, despite all odds, create something from it. Among these driven few stands Denny Ranno’s solo project, Tidus Is Alive.  The one-man band’s debut EP, Stuck In Limbo, features a masterful blend of pop-punk and post-hardcore that is bursting at the seams with a contagious amount of energy.

The album opens with “Step Aside”, an explosive track that burns with an undying amount of energetic musicality. A rumbling fade-in intro fast approaches before trampling your ears with a stampede of explosive riffs and pulsating percussion. Denny Ranno’s poppy, energetic riffs flourish and melt into fast-paced riffage and heavy chugging as intermittent melodic overlays and squeals playfully tug at your ears. Pulsating percussion built upon an amazing display of cymbal play and footwork adds a driving energy and rhythmic intensity that will pierce through your soul and captivate your eardrums. Ranno utilizes a brilliant blend of raw mid screams and clean vocals to make emotive verses, catchy choruses, and allow his overall vocal delivery to do exactly what it was meant to do: soar freely. Enthusiastic and lively breakdowns frequent this track, featuring a dynamic display of unison-shouted vocals and screams against flawless instrumentation. The sheer amount of energy, passion, and masterful technicality and musicality that abounds throughout the whole duration of this track earns “Step Aside” its place as the album’s absolute stand-out track.

Up next is “Checkmate”, a groovy, anthemic track that will infect your ears with passionate riffs and emotive verses. A groovy mixture of melodic riffs, grooving bass lines, and bouncy percussion immediately greet your ears from the moment you press play. Melodic chords wrestle back and forth with deep, thundering chugging to create a vibrant aural balance of harmony and discord. Lightly sustained melodic licks and driving percussion gently nip at your ears as they sail overtop the hail of emotive, fast-paced riffage. Ranno puts a primary spotlight on his clean vocals with tasteful hints of raw screams accenting his smooth, emotive vocal delivery. Spastic interludes of heavy riffage are tastefully scattered about before reaching culmination in the form of a groovy, mosh-inducing, enthusiastic breakdown that is guaranteed to produce massive head-banging to the point of whiplash with every well-placed chug, hit, kick, and scream.   

The album closes with “Robin”, a ballad that best showcases Denny Ranno’s softer side as he flexes his pop-punk prowess. Heavy riffs quickly fade in and take on a new form of melodic, toe-tapping chord progressions decorated with flecks of sustained notes and melodic overlays. Driving percussion is neither overpowering nor dull as every one of Ranno’s aptly crafted kicks, hits, and crashes perfectly complements the rest of the instrumentals. Once again, Ranno showcases his clean vocals and adds harmonies, muted effects, and sparsely-placed screams to give his vocal delivery a more emotive, relatable quality. What truly makes this track special is Ranno’s attention to smaller details to give the track more depth, such as an interlude in which sung notes replace distorted riffs, the utilization of lightly-crafted harmonies, and brief instrumental pauses for a more balanced, emotive affectation. The result is the kind of catchy, fun pop-punk ballad that your ears so desperately need.

Overall, TIdus Is Alive has created one of the most energetic split-genre releases of this year. Stuck In Limbo, despite its title, is the farthest thing from being stuck in limbo- it very clearly boasts its liveliness and fluidity with every energetic verse and catchy chorus. What’s most outstanding about this album- besides the fact that it was created in its entirety by one musician- is Ranno’s instrumental and vocal attention to detail to give the album the kind of depth that other pop-punk bands merely dream of. If Tidus Is Alive can create such vibrant musicality from being stuck in limbo, just imagine what the band can create once freed from such an uneasy and static state of being.

8.9/10






For Fans Of: Chunk! No, Captain Chunk!, A Day to Remember, Hero To Human, The Day After, Well Planned Attack

Katt Hass