Review: Hysteria’s Review of Hundredth’s RARE

This is what drives me nuts. This is it. I cannot stand it when people try to convince me a shift in direction is always good. I am not afraid of “different” sounds coming from familiar bands, but I reserve the right to say their new sound is not good. Right now, I am going to exercise that right.

Today’s review from the Sydney based Hysteria Magazine, hails Hundredth’s newest album RARE as a “massive leap in the right direction,” for bands attempting that “full 180” in their sound. Now, I’d like to ignore Hundredth’s last 3 records, all of which I truly LOVED. I think this review needs an objective view, so I listened to this album while telling myself it was another band. While I did that, all I could think was, “Shit, this sounds a lot like Hyperview.”

That’s just it, another band that previously tried making that 180, that bored me to tears as a result. Title Fight tried doing this in 2015. And much like my opinion on Hyperview, I believe this album is incredibly boring. Try something new – sure, and when “Neurotic” was released I really liked the track. The problem here is that every other song on the album is a slowed down, mellow, over processed version of that song. Uniformity was the only word that came to mind when I finished listening to this album.

Back to Hysteria’s review, don’t call Hundredth a goddamn metal band! I’m really not a genre stickler, but for the love of God we’re not talking about Thy Art is Murder or Lamb of God here. All of the following would have been acceptable: “______ -hardcore.” You can fill that blank in with anything, and it would’ve been the correct categorization for Hundredth. Their review also talks about how “cohesive” the album is. Well, when every song sounds the same it is going to sound “cohesive.”

Lastly, the review, in its entirety, categorizes this pretty successful band as a bunch of hopeless wanderers until this album. The review ends with, “The boys seem to have finally found their groove.” They have had a signature sound. It is true that plenty of bands ripped them off, but don’t get it twisted, these guys pioneered melodic hardcore, and took some risks prior to this album. They started out like a generic metalcore band with When Will We Surrender. They made a HUGE transition by the time Let Go was released. They broke free (ha! get it?) from the generic metalcore sound by softening certain elements, introducing truly unique guitar tones that take your mind for a ride, and diversifying drum tracks so we all knew it wasn’t the product of a drum machine.

All-in-all, I don’t hate the album, I just don’t think it is great. It is a step backwards for these guys since bands employing this (throwback to The Cure) phaser pedal component to modern rock all sound the same (i.e. Title Fight, Balance and Composure, and Basement). Cohesive? No. Bland, boring, and bloated. Huge swelling noises that make you forget what you’re listening to. You can keep this album. They should’ve taken the best of this album (Neurotic, Disarray, Shy Vein, and Youth) and released an LP.

The review of it was lazy, lacked research, and needs work. 3/10

P.S. A word about the album cover, taking a screen grab of how your music looks via Windows Media Player is kinda lazy. Just saying.

Review of Jayson Greene’s Review of Born Again

On March 9, 2017 Mr. Greene reviewed Born Again

First off, I don’t know anyone who actually considers this a Notorious B.I.G. album. Second, say “posthumous” one more time for me. Are you serious? You’re reviewing a Frankenstein album, a product of none other than Sean Combs, obviously it can’t be assessed on the same level of B.I.G.’s actual work. So, to call this an album review is suspect at best, anyway, can’t stop, won’t stop, lets get into it.


This review doesn’t even speak about the music until the fourth paragraph, and after that paragraph music disappears. First Mr. Greene must take us through the history of Puff Daddy’s ambitious moves to make money, even from a tragedy. That’s who P.Diddy is, a money crazed sociopath, you didn’t need to write three paragraphs about it. This is the guy who painted his “bestie” in a light most favorable to himself. He portrayed Biggie as no-nonsense business man at 24, which is wholly unrealistic. Diddy would have us believe that after slinging crack on the streets, Biggie was “scared straight” after one meeting with THE Puff Daddy. Get out of here! Since that movie came out every mid-20s white boy who saw it, thought of him as something akin to a hero in a Greek tragedy; lacking any real character flaws. So don’t act enraged that Sean Puffy P. Colmes Diddy would make this album a thing; we all know who we’re dealing with here. Ciroc Boyz.


As far as songs go, individually there are some decent tracks. More importantly, look at the features. Most of these artists are those who had some connection to/with him. Who’s to say this wasn’t a part of the grieving process for them? Considering this whole project as nothing more than “posthumous money grab,” diminishes any cathartic effect this may have had on those closest to him (including Diddy). Go listen to If I Should Die Before I Wake. Listen closely to Ice Cube’s verse. Then say “posthumous” on more time.

I give Jayson Greene’s review a 4.5/10.


P.S. – After all that complaining Jayson Greene still managed to give it a 6/10…nice spine you got there.

“Sum, es, est, summus, estis, sunt.” –Freshman Year Latin Teacher