The Diary of a Hobbyist

SCORE: 95/100 KMFDM manage to create industrial handbooks over and over again, this album being one of many opuses to take from. '(symbols)' feels like it should more likely than not be considered to be KMFDM's most iconic project, with 'Megalomaniac' showcasing the band's knack for incredibly striking introductory songs - this one being one of their most highly recognized tracks. The hugely industrial synth-driven sound makes this album sound like something straight out of a grimy vampire club; and this sound is something that only KMFDM could pull off this well. The album flows together into what feels like one action-packed soundscape, and it's one of their project that has the most depth and synth-driven tracks within it. There's a huge sense of musical prowess for the genres that the band operates within through '(symbols)', and the album is executed incredibly well. KMFDM manage to make songs about guns and anarchy sound sexy, with the indu...

SCORE: 98/100 'Atomizer' is much more than I ever could've expected it to be - and it feels wildly ahead of its time. Although it does have some sounds of its time period, they're executed in a way that makes this album still sound fresh so many decades later. The loud and instantly recognizable sound of this album has a rough and gritty edge that makes it feel incredibly potent and strikingly gripping. I was pleasantly surprised with the sound of this album as I wasn't entirely sure what to expect (went in without ever hearing a lick of Big Black), and I was floored by how much I enjoy the sound of this album. The genre tags allured me and drew me to this album, but I wasn't sure of what it would sound like until I let it immerse me fully - which didn't take time at all. Big Black made this album sound unlike any other "similar" albums that had been released up until this point; they take clear influence from the punk scene, but they turn this inf...

SCORE: 90/100 'U​-​Void Synthesizer' is an even harsher project than 'MG Ultra' - mixing elements of grindcore/cybergrind, industrial, electronic, and various hardcore subgenres makes for an album that simply cannot be ignored. It immediately makes itself known - and the mix of different styles is something only Machine Girl could pull off the way that was done here. The clashing sounds and hard overall tone of the album make it something that you'll either love and hate - if you love punchy, in-your-face electronic; 'U​-​Void Synthesizer' might just be the album for you, but if you don't? You're in for a ride that might shake you up just a little too hard in either the right or wrong places depending on your preferences. Machine Girl's usage of cybergrind elements is something I especially enjoyed with this project, making it feel much more up my alley than their 2024 album 'MG Ultra'. The vocals here seem more fitting than they did on t...

SCORE: 98/100 'Apocalypse Dudes' is a major shift in key when compared to the band's previous effort. It incorporates more elements of glam rock within the punk roots of the band, leading to an album with undeniable charm and a massive amount of energy; it's a highly welcomed change for the band, and they leave the grit behind for something even more polished and hugely enjoyable. This album has a much more palatable and less "silly" sound when compared to their previous effort while still keeping the band's sound very much in tact. It has their signature energy being brought up to new, unadulterated heights - and they pull off this change with such an impressive amount of grace that this album feels like an absolute must. The mixture of glam rock and punk works incredibly well on this album, with both of the combined elements of the two genres coming together into one album that can best be described with the word "fun". This album just radiates...

SCORE: 98/100 KMFDM's 'WWIII' is another potent effort. It's a no-holds-barred energy fest that hits you instantaneously, letting the heavy guitars and experimental industrial sound doing all of the talking needed. The vocals on 'WWIII' are a particularly enjoyable factor, with the blended performances coming together into one irresistible project that keeps the energy going almost nonstop. It's a striking display of what KMFDM is all about - and both fans of the band and new listeners surely won't be disappointed by this project. 'WWIII' is an infectiously enjoyable album. It's one that's hard to not adore, and it's immediately captivating with the raw energy and massive amount of power it holds. There's a huge consistency within this album while it experiments with new sounds that were not heard on the other projects of theirs that I have heard thus far. There are some songs on this album that sound wildly unique for the standar...

SCORE: 89/100 'Odelay' is an album that builds heavily off of atmosphere alongside the depth of the sounds present on the record. It's a sickly sweet project that feels like a hot summer day in the sun, laying in the grass with a drink in hand as the music helps to ease you into a summery bliss that can only be achieved for a few months of the long and winding year. There's a woozy and almost surreally sweetening sound to this album - and it's one that couldn't be replicated by anyone even if they tried. Beck is an artist that I've known about for years, but he was never one that I got around to listening to until now. 'Odelay' instantaneously starts on an incredibly high note that sets the tone and expectations for the album incredibly well. It has a much more laid back and tipsy sound than expected - and it feels like a completely immersing experience of an album that will rope you in immediately. There's an instant sense of charisma and charm ...

SCORE: 91/100 Novembre's second studio album is one that I couldn't help but be curious about - and it's a fine work of heavier doom metal. This album feels like an excellent introduction to the death doom metal subgenre, with everything coming together very well and the vocals seeming fitting once you realize what the genre is all about. Its a seamless mix of dark, gothic doom metal while incorporating death metal screams and heavy riffs into an album that is a heavy gothic metal lover's paradise. 'Classica' takes a slight hit at first glance due to the vocals seeming like "too much" for the instrumental palate that the album has to offer, but once you adjust, it's an album that you'll be more than able to gawk at. Novembre showcases their talents best in the instrumental department, with the vocals feeling somewhat unsuitable for the style of instrumental that the album has. Once adjusted to the sound of this album and how the vocals feel a l...

SCORE: 87/100 The fast-paced breakbeat sound of 'MG Ultra' is one that hooked me in almost instantaneously; something I wasn't expecting from the project at all. It's an instant stunner from the moment the first beat hits, and it's a nonstop pool of energy that will have you holding on for dear life as you're brought on a heavily sporadic ride through the mind of Machine Girl. Apart from some less-than-desirable vocal performances, 'MG Ultra' is a massively enjoyable album that explodes and never stops for even a second of air. It's a relentless force that is both full of chaos and refined production and soundscapes, and each beat comes together into something hugely chaotic and truly enjoyable. The style of this album is deeply consistent. Everything comes together exactly as it should while still throwing some curveballs in to leave you guessing for the album's entire runtime, and it's clear that Stephenson knows what he's doing to a ma...

SCORE: 100/100 Type O Negative still manage to shine just as bright as they did on 'October Rust' with their 2003 opus 'Life Is Killing Me'; it opens on an even stronger note than their 1996 LP - and the guitar riffs make this album stand out especially high amongst the massive crowd of gothic metal albums there are to choose from. The result of Type O Negative shifting back into a heavier set of soundscapes was an album with more memorable moments that lie deep within the guitar riffs and instrumental deliveries in particular - with the vocals following suit. It's much heavier when compared to 'October Rust', and the interesting elements that experiment and mix and match with sounds leave this album feeling lush and entirely full of the most intricately wound detailing imaginable. 'Life Is Killing Me' is another victory lap for the band - it's another dreamlike gothic haze that will completely engulf you in the dark smoke it creates through soun...

SCORE: 100/100 'October Rust' is a sheer musical aphrodisiac - one that you won't be able to get enough of. Once 'October Rust' gets a proper start, it's a hard album to escape from - with a captivatingly sexy gothic sound and a stunning usage of both instrumental and vocal work, Type O Negative clearly had what they wanted to do set to perfection for this project. It's an album that will leave you completely enthralled, and it's a hard platter of songs to turn your nose up at. The immersively sensual soundscapes of 'October Rust' make this an absolute goth essential. It has everything that you could possibly want or need from the genre. It's a delightful mix of both wanting and hurting - and it feels like a gothic wonderland of everything dark and sexy wrapped into one massively filling album that isn't lacking whatsoever in content. It builds up a heavy atmosphere almost instantaneously following the 2 short intros that precede the rest...

SCORE: 98/100 HIM's Deep Shadow's demos are more than worthwhile for any diehard fans of the band, they hold enough substance to feel like another full-length project; with the demos being polished enough to pass for regular songs while holding the same high standard set by the album that came from them. The Hollola Tapes manage to be just as worthwhile as the actual album (Deep Shadows), and it's a demo tape that truly showcases the raw talent of the band with some highly interesting versions of the tracks. The 'Lose You Tonight' is surprisingly dark when compared to the finished version of the track - it feels much more stripped and murky, but in the best possible way; making it highly comparable to the actual track in a way where it's hard not to love both just the same. The demo for 'Beautiful' was particularly surprising, with heavy guitar and a sound more similar to the rock-heavy songs on their first and second albums. It's clear to see that t...

SCORE: 100/100 'Songs for the Deaf' is almost  intimidating  with the sheer power held by it - each song feeling like a hard swing straight into the highest, most charged energy imaginable. Just three albums into their discography, 'Songs for the Deaf' is widely considered to be Queens of the Stone Age's opus, with striking guitar performances, stellar drumming, and iconic vocal performances that make the album instantaneously recognizable and truly captivating with every element - it's no wonder as to why this album has the acclaim that is has gained since it's release in the summer of 2002. The loose concept of a car ride gives this album a structure that not many other projects can say that they have. Structuring the album in the way that the band did makes it that much more interesting and enjoyable - and each song is a massive showcase of everything that the band was capable of to an absolutely stunning, masterclass level. Dave Grohl's drumming on t...

SCORE: 100/100 'The Golden Age of Grotesque' is an album I've found myself hooked on lately - the songs are instantaneously captivating, and each hard riff and hook make this album one of Manson's most entertaining. Manson manages to work this album even harder than the previous outputs that the band had done thus far. The sheer energy and entertainment value of this album is through the roof; making it one of the band's most "fun" projects. It's loud, abrasive, violent -and sheer crazy in the way a metal album needs to be. The energy of this album is completely unmatched - it's the kind of album that makes you want to mosh, riot, and hit someone all at the same time; with more of the band's signature style and incredible playing style coming through on this album like never before. It's a more rough & fast album compared to the band's previous works, with songs like 'mOBSCENE' and 'Use Your Fist and Not Your Mouth' ...

SCORE: 85/100 CHUU's debut EP is a palatable one, with delightfully layered production and pop sounds that work wonderfully in her favour, 'Howl' is deeply enjoyable and pleasant to listen to. CHUU is a very skilled vocalist who uses her voice to her advantage all throughout this EP, and the short & sweet project gives listeners what feels like a sampler platter of her skillset laid out in one delicate package. Each song is just as enjoyable as the last, and there's a huge sense of consistency that shows how CHUU knows how to make a fun, memorable track without others paling amongst them. The whole EP is enjoyable from front to back - and the shifts in tone while keeping a consistent style make it that much more enjoyable, with 'Hitchhiker' being particularly fun. 'Howl' shows a huge amount of potential and a delightful sound for the artist, making CHUU stand out above other K-Pop peers with just 5 tracks that she debuted with. The vocal prowess and ...

SCORE: 85/100 Jisoo's solo EP was another project I had been meaning to listen to when it came out - but it slipped from my radar until now. The elements of house that were brought in for the project make it feel light and airy to listen to - but it lacks anything truly interesting when it comes to sound. The songs are very fun and full of a great energy that just screams fun, bright summer in the best way possible. It might not be the most technically interesting project; but it's a very solid and refreshing K-Pop project that is more than worthwhile in the end. Jisoo works very well vocally on the project, and her talents shine throughout the 4 tracks that 'AMORTAGE' has to offer. I was pleasantly surprised by how much I wound up liking 'AMORTAGE', and the songs feel more memorable than expected. Both the front and back of the project are fun and super enjoyable - and it almost makes me with it were a little bit longer for more content to savour. It's a hi...

SCORE: 59/100 This album was one I was actually looking forward to when it released (although it got pushed too far onto my backburner of albums that never stops growing), I had heard the singles and especially enjoyed 'New Woman', so my expectations for the album were quite solid. LISA has always been my favorite member of BLACKPINK, and her debut helps to showcase her charisma as a soloist quite well (with the exception of some choices for the album that weren't as pleasant as others). The issue with 'Alter Ego' is it plays it entirely too safe, with the standard sounds you would expect from a K-Pop project taking the very front center spot of the album - letting the more experimental tracks fall far and few in between. There are obvious highlights between the somewhat clunky trap songs and lackluster pop efforts - but it's still a palatable album for the most part despite being wildly inconsistent. It's almost shocking how inconsistent this project wound ...

SCORE: 100/100 'DISCO' feels like the long lost, modern sister to 'Fever' - it feels modern without having the overbearing poppy sound you hear everywhere else, and it's something so uniquely Kylie that it makes 'Golden' pale completely in comparison (with it being her weakest overall album, but still good enough to be worthwhile). This album returns back to Kylie's roots, sitting comfortably in a style she has become known for; and for good reason. It's an album that showcases Kylie's style in a more modern setting in a way that is sheer excellence to a point where it almost feels like she's showing off just how incredible she truly is. 'DISCO' is the kind of album that will want you having to dance and sway from the moment it starts, and it's a stunning nu-disco project that holds its grooves and makes sure it leaves an impact. This album is massively refreshing after the lackluster 'Golden' - and it feels like a complet...

SCORE: 70/100 My expectations for 'Golden' weren't very high when compared to Minogue's other albums (all of which I have thoroughly enjoyed). She mixes country pop with her signature dance sounds, but the result is a bit choppy - sounding more like a radio-bumped project than the other unique projects Minogue had put out prior to the release of this one. It isn't a bad project by any means, but it lacks the true flair of her other works and it sounds more like something you would hear on the radio during a drive or a trip to the mall - but not in a bad way whatsoever. Her artistic charm is still very much there, and her energy makes this project worthwhile still. 'Golden' is a massive switch in style yet again for Minogue, but it isn't a sound that works for her as well as her other experimental ventures. The country era of Kylie was short lived; but this album has a happy sound that a lot of country pop manages to squeeze in very well - with 'Golde...

SCORE: 100/100 Minogue's second self-titled project feels like her most Madonna-esque record, with elements of trip hop and house/art pop fusion coming together into one of her most fleshed out projects. 'Kylie Minogue' manages to have much more depth than any of her previous albums, branching off of the sounds found on her 1991 album while marking a complete shift in her style and image; opting for a more mature, artsy sound that makes this album stick out like a diamond in her discography. It feels like the gateway into what would make her later albums so great - a massive level of experimentation being present within a clearly-catered image that makes Kylie feel like an entirely new spirit within this album. It's a more interesting and enjoyable effort to 'Impossible Princess' (which follows a similar sound structure in some cases), and it manages to be one of her most impressive efforts. Longer tracks allow for carefully-crafted grooves to ride out right alo...

SCORE: 95/100 'The Principle of Evil Made Flesh' manages to be deeply cinematic for a debut, with the band's style feeling different yet familiar when compared to their later albums. It's a more jagged and rough project, with their roots coming through and their style being showcased in a less polished way than their later pieces; a rough edge that suits them perfectly well. It's an even darker and heavier album than their other works, with a sound that is closer to death metal and Dani Filth's vocals leading it into this territory - his voice has never and will never sound like it does on this album again, and it makes this project one of the most unique in the band's extensive discography. This is Cradle of Filth at their absolute heaviest - a sound that they would never go on to recreate, but a sound that helped to shape them into something even more spectacular. This album is an incredible feat on its own; it would be impressive no matter when in the ban...

SCORE: 97/100 'Century Child' isn't quite as textured as what the band brought to the table in 1998 with 'Oceanborn', but it's a striking change in pace that keeps the band's discography fresh and exciting while providing a breath of life into their catalogue. It has more straight-metal sounds while still keeping the symphonic tone very much alive, and Turunen brings a light into this album that no band could ever come close to. Both heavy, sharp edges and soft, blissful elements come together into one stunning soundscape within this album, with Turunen's vocals bringing light into the darkness, leading into an album that feels both heavy and hopeful through stunning guitar and drum work alongside gorgeous operatic vocal performances. The transition from 'Bless the Child' to 'End of All Hope' showcases the raw talent and ear for sound that this band clearly has, their style potent and highly enjoyable while constantly bending the curve of...

SCORE: 69/100 'Fassade' starts off more like a classical work than a metal album before booming into something heavier - a striking example of some of the more orchestral influences taken by gothic metal. Once it finishes building up at the start it blooms into a beautifully dark symphony of both dark and blissful - a combination that mingles incredibly well. The vocals on this album aren't the best, but the stunning nature of the instrumentals makes up for this to some degree. As the album progresses the vocals seem a lot less grating, and the sound of this album is a striking display of highly stylized and complex gothic metal that takes influences from countless other (similar) subgenres of metal and other genres to make one big boiling pot of different soundscapes. Some moments on the album are more worthwhile than others - and it pales significantly due to how heavy it manages to drag. The songs seem to run on for what feels like forever, but they are arranged well eno...

SCORE: 100/100 'The Phantom Agony' is even more operatic than most symphonic metal albums, paving the way while being an underappreciated album by a band that clearly has their sound down as well as it can possibly get. It touches on themes of religion and strings together a deeply-wound concept while the songs come to life with the work of the band and Simone Simons leading the album into new horizons. Stunning transitions, more orchestra-based than most, and entirely captivating, 'The Phantom Agony' is symphonic metal at its most symphonic, the metallic elements coming together strikingly while the compositions soar. The songs are mostly long in duration, but they make their runtime drawn out in a way that will leave you entirely enthralled the entire time. Epica made themselves known with just this debut - bringing the symphonic metal sound to new, soaring heights through their stunning melodies and gorgeous compositions. Every element comes together into a bigger, m...

SCORE: 90/100 This is as close as one can get to a musical fairytale - although it might run a little bit long and slow, it's more than worthwhile in the long run. 'Mother Earth' is a lot more folk-esque than the band's debut, with elements of Celtic folk making this album feel like a bright, scenic metal daydream that only Within Temptation could dream up and pull off. It's a huge departure from the goth sound of their debut, opting for more Celtic influences after the band became inspired upon seeing the film 'Braveheart'. The vocal performances on the album are almost similar to Kate Bush in terms of tone - and this album feels much more cinematic than their previous work. The band created a more fine-tuned and nature-esque image for themselves, going in a different direction and removing their gothic elements in favour of something more symphonic in nature - den Adel's vocals taking the front seat while the instruments help to ground her into somethi...

SCORE: 100/100 The sheer power of Tarja Turunen is enough to drive this album - and it's clear that Finland is absolutely unmatchable when it comes to metal; especially symphonic metal. Turnen provides stunning high vocals that draw the more symphonic sound of the album out more while the instrumentals are just heavy enough. Synths, orchestral elements, symphonies, and striking melodies make 'Oceanborn' an absolute must for anyone looking for a symphonic metal album - this one might as well be the face of the entire genre. It's instantaneously captivating to the highest degree, and it's an album that you simply won't want to put down for anything at all. 'Oceanborn' is composed in a way that is simply marvelous - the compositions of each track are wonderful in every sense of the word; and this album truthfully feels like the standard. This is EXACTLY what all symphonic metal should sound like, what every band in the genre should strive to sound like. Whe...

SCORE: 97/100 'The Blind Hole' is one of the most striking grindcore albums imaginable - it'll instantly hook fans of the genre in, and the energy here is entirely unmatched. The overall sound quality of this album is spectacular, especially for how loud it is, and with the short songs it feels like one large spectacle that is essential to be listened to in full. Grindcore albums tend to lack standout tracks due to how all of the songs come together into one jumble of sound, and this album is no different - it does this in the best way possible, and the overall sound of this album is simply stunning in the most hardcore way possible. It doesn't let up - not even for a second, and the striking harshness and sheer intensity of this album is enough to capture anybody's attention. The transitions on this album are entirely seamless, with songs that brush into one another in the most edgy way possible - blending in through heavy guitar riffs and tracks that will leave yo...

SCORE: 79/100 Slightly undermixed, but enjoyable for such a short project - 'Die Die My Darling' is everything you could expect from a Misfits project, from the gritty punk sound to the horror-inspired lyrics, this EP is another great addition to their extensive discography, and it's one of their most interesting in terms of aesthetics. Three songs is a solid sampler for the Misfits, but it will leave you wanting more from the band; in a way that is desirable - if you're looking for an introductory piece to the band, this is a good starter point along with their second album (where I started). The overall style of this EP is nicely gritty with an edge that feels unique to the band, with striking instrumentals and some washy sounds, it's a grimy punk EP that summarizes the more muffled side of the genre very well.

SCORE: 90/100 Nothing could've prepared me for the intensity of 'Hands in the Air!', it's a project in genres that I am mostly unfamiliar with - and to call this an incredible introduction would almost be an understatement. The hard, unrestrained sound of this album is something that will make it one of the most memorable projects of the year by an artist that is far from a big name (although I hope to see them become bigger because this is an incredible album). The raw power held by this album is something you simply cannot beat, the instrumentals and vocals are both insanity in the best way possible; and this project comes together into one album that explodes the second it takes off. It's impossible to ignore, and it's a driving force that you simply won't want to end. It's a fast-paced album that comes and goes in an instant, making it an instantly entertaining and enjoyable listen that uses its ten-minute runtime to absolute masterclass levels of al...

SCORE: 92/100 Misfits' second album is fast, edgy, and everything you could possibly want from the band. It's an exceptionally short album that makes up for lost time in speed and pure, raw energy that showcases why the band is one of the faces of the punk genre. The songs are fast and full of infectious energy - everything you could possibly want from a punk record and more. The Misfits have a clear, undeniable style that comes through on this record splendidly well. Their image and charisma as a band come out to play an incredible amount throughout this album, and this is the kind of project that'll leave you hooked on a band with just one listen. Once this album kicks off, it's impossible to stop the energy radiating off of it. It's an incredibly fast-paced, high energy project that will leave you wanting to mosh and bang your head. It's everything a punk album needs to have while adding an extra layer of eeriness, and no one does it quite like the Misfits di...