First, I took issue with the repeated use of the term “high-functioning autism” throughout the text.  Many people in the autism community have expressed that this kind of labeling is harmful.  When an autistic person is labeled as “high-functioning” it can minimize their—very real and difficult—struggles; while labeling a person as “low-functioning” is insulting, could make them feel embarrassed or powerless, and dismisses their strengths.  People labeled as “low-functioning” can still be extremely intelligent, creative, funny, wonderful people—something that this label does not imply.  This is not to mention the connection to the Nazi regime’s “euthanasia” campaign against people with disabilities (which I have also written about).  A more accurate, kind, and inclusive way to communicate the abilities of someone with ASD would be to refer to their level of support needs—as in, they have high, moderate, or low support needs.

Second, the text heavily promoted ABA therapy—a highly controversial form of therapy that many people in the autism community find abusive and traumatizing.  ABA therapy asserts that children should be in therapy 20 to 40 hours per week.  40 hours per week is the equivalent of a full-time job.  While I understand that there is research supporting that children can make significant gains in this time, I wonder how this would affect their mental health? Might some of these children grow up to feel like they spent their entire childhood “working”?  How do the results of ABA therapy compare to less intense, gentler, or more incidental teaching/therapy styles?  These are some of the questions that I would have loved for PSYC478 to address.

Furthermore, the videos of ABA “training” that were required for the course made me severely uncomfortable—in my opinion, these therapists look like they are training dogs, not teaching innocent, vulnerable children.  I would not allow a therapist or teacher to treat either of my children that way.  This is not to mention the story mentioned in Unit 10, about a little boy named Cooper being physically restrained at a table for “table time” while he screamed and tried to get away.  This practice is supposed to facilitate play skills—but how is a child supposed to learn (or play, for that matter!) if they are experiencing that level of distress?  Did Cooper actually learn to calm himself at the table, or did he just shut down?

Third, the author refers to autistic children and their “healthy” siblings on page 200.  My son is not unhealthy.  He is neurodivergent.  His sister is not the “healthy” sibling.  She is neurotypical.  Using “healthy” and “unhealthy” as a descriptor further insinuates that there is something wrong with the autistic person, or perhaps there is something that parents could have done to change the diagnosis.

Finally, no where in the text or course commentary were the voices of people with autism represented.  It is baffling that AU would feel that it is appropriate to talk about a group of people without including them in the conversation.  I think that it is important to note that Indigenous voices have been represented in every Indigenous Studies course I have taken (which is wonderful!)—but why aren’t the same provisions made for people with disabilities?  Do they not also deserve the chance to speak for themselves?

I love going to AU—I would never have been able to get my degree without it.  While I don’t want to show my amazing school in a bad light, I also think it is incredibly important for institutions to be held accountable when they miss the mark.  I would hate to think of a student who had little or no lived experience with autism, or perhaps a parent of a newly-diagnosed child, taking this course and leaving with an inaccurate, outdated, and frankly—negative perception of what autism is.  Language is extremely important when spreading awareness and advocating for people with disabilities.

I am sure AU should be able to find a new textbook to be used for this course that presents a more balanced view of autism and incorporates the voices of people on the spectrum.  If this is not possible, perhaps a more thorough course commentary that addresses these issues, or directing students to outside resources is in order.  I believe AU has a responsibility to remedy this situation, not only for the students who are paying to receive an education, but for everyone in the autism community.

I’d forgotten about this article from issue 3106, way back at the middle of February, until a reader brought it up.  I was very glad they did, as my understanding is that this article spurred some changes and a re-examination of some courses at AU.  And any article which can lead to improvements at the university level absolutely deserves to be included as the Best of the Voice.

Artist:

Toronto-based artist Rachel Bobbit has released her new EP The Half We Still Have.  The album is available for streaming anywhere you get your music.

Rachel (vocals and lead guitar) is joined on The Half We Still Have by friend Justice Der on guitar and e-bow, Stephen Bennett on drums/percussion, Isaac Teague on bass, Sam Laramee on synth, and Alex George on strings.

Rachel got her start on Vine as a teenager, uploading covers of pop hits and all-time classics until Vine shut down.  She eventually found herself in school taking a jazz program, but ultimately left during the pandemic to focus on her own music.

Of the album, Rachel says, “I wanted these songs to reflect the intense dynamics that take shape in relationships.  I’ve found in some relationships, you give and give, only to eventually lose yourself in the process.  In those moments where we feel abandoned and hollow, a small sliver remains intact, preserved, and personal.”

The Half We Still Have is four tracks: Two Bit; Marion; The Call’s Inside The House; and Clay Feet.  The songs “Two Bit” and “Clay Feet” have music videos available on YouTube.

Rachel’s sound reminds me very much of The Cranberries—incorporating elements of indie, rock, and pop rock.  Rachel’s vocals even have slight tones of Irish folk.  In All four songs are slow, dreamy, and ethereal.  Rachel’s voice is gorgeous, reminding me of Dolores O’Riordan (The Cranberries), Kate Bush, and Lana Del Ray.

The music video for “Two Bit” depicts Rachel looking sad and vacant going about a day at home—vacuuming, washing dishes, folding laundry, and playing guitar on her bed.  According to Rachel, the song is about rationalizing an unhealthy relationship dynamic.  Anyone who would love to go back in time and give their younger selves a hug will relate to this song, with lyrics like, “Fumbling nights/Seventeen, that’s right/I was a baby/What you called a misunderstanding/Gave way to a canyon/Of what if nights/Looking back with a four-year gap/I want to hold her”.

The music video for “Clay Feet” depicts Rachel looking like a literal mystical fairy queen in a field of flowers.  She gets her hair braided, plays guitar, looks in a mirror, and looks through holes in hanging laundry.  It’s nonsensical, aesthetic, and beautiful.  According to Rachel, “Clay Feet” describes a love that is all consuming and desperate.  With lyrics like, “I’d make you my girlfriend boyfriend lover/Put you on a chair and let you hover/Decorate your feet and mouth with syrup/When you ask to climb back down I’ll stretch up”.

Overall, I really enjoyed The Half We Still Have. 

Check out Rachel Bobbit on TikTok, Instagram, and Twitter.

Absolute Losers was formed in 2019 in Charlottetown, Prince Edward Island.  The band consists of Daniel Hartinger on drums, Josh Langille on guitar, and Sam Langille on bass and lead vocals.  The alwbum comes on the heels of their previous singles, “Ashtray” and “Coexist”.

The band describes their music as “pop songs hidden beneath wiry guitar work, intertwining bass and drum parts, and nonchalant vocals.  Rather than overcompensating, the band leans into the thinness of a trio with active interplay between instruments making each instrumental part count.”

At The Mall consists of twelve tracks: Bender; By Design; By Fright; Instrumental; Sky So Violent; Speeding; At The Mall; Fine Line; Mirror; Sketch; Yes Truly; and Chuck.  The songs “By Fright”, “Yes Truly”, and “Sketch” have already been released as singles.  “Yes Truly” also has a music video available on YouTube.

According to MasterClass “Post-punk music is an offshoot of punk rock that embraces greater ambition in terms of harmony, melody, rhythm, and lyrical content while retaining punk energy and urgency.  Prominent post-punk bands such as Gang of Four, Wire, Joy Division, The Smiths, Echo & the Bunnymen, Sonic Youth, and Fugazi helped set the stage for the alternative rock explosion of the 1990s.” On that note, Absolute Losers remind me of other bands that could be categorized under the post-punk label, such as Talking Heads and The Cure.

Two of the songs, “Bender” and “Instrumental” are instrumental tracks without any lyrics—letting the music speak for itself.  What I thought was particularly interesting is that many of the tracks, such as “Mirror” and “Yes Truly” have very few lyrics at all, even though they’re not completely instrumental.  Other songs, like “Sketch” have vocals that seem to be more spoken than sung.  My favourite song on the album is probably “Sky So Violent”, with lyrics like, “this time/ I see/ something that’s outside of me/ slumber/ in paradise/ wake and watch it fall before my eyes.”

The music video for “Yes Truly” is quirky, funny, and fits the band’s vibe perfectly.  It looks like it was filmed on an old camcorder from the 90’s, and showcases the band performing against a white backdrop, playing pool at a bar, and hanging out in someone’s basement.  The band is also dressed in full 90’s attire, which just adds to the nostalgia-feel of the video.  Absolute Losers obviously doesn’t take themselves too seriously, which I love!

Overall, I enjoyed At The Mall, and you can check out Absolute Losers on Instagram and Facebook.

Artist:

Danish metalcore four-piece Royal Deceit will be releasing their sophomore album ILL on August 11^th, 2023.  The album will be available for streaming anywhere you get your music.

The band was formed in 2014, the members “hailing from the darkest corners of Jutland, Denmark.” They describe themselves as “a bastard child of Killswitch Engage and Letlive.”

The album consists of ten tracks: Ill; War Inside; Let Me Burn (featuring Hanging the Nihilist/Alexander Hall Kristensen); Undertow; Lowlife; Cursed Mind; Make Me Numb; This Hell; Self-Destruction; and Wolves.  Several of the songs have already been released for streaming, and four tracks have music videos on YouTube: Wolves, This Hell, Make Me Numb, and Undertow.

For those of us who may not be as well-versed in the various subgenres of heavy metal, “metalcore” (also known as metallic hardcore) originated in the 1980’s and incorporates elements of extreme metal and hardcore punk.  This type of genre is well known for its application of intense breakdowns, which are (apparently) perfect for moshing.  The instruments feature distorted double bass, drumming, guitar riffs, and the occasional use of blast beats.  The vocal techniques used in this type of music also range from clean falsettos to death growls.  Popular metalcore bands include Underoath, The Devil Wears Prada, As I Lay Dying, and Bullet For My Valentine.

I will preface my review by giving a huge trigger warning for the content of this album.  The lyrics contain significant and continuous references to extreme depression, suicide/suicidal ideation, and self-harm.  There are no visual references to any of these topics in the currently released music videos—the music videos are only comprised of shots of the band performing.

While the lyrics certainly cover some disturbing content, they are very powerful and well-written.  Anyone who has struggled with mental health in their lifetime will identify with the very accurate and vulnerable depiction of being consumed by their mental illness.

According to the band, the song “This Hell” is “a song purely about self-loathing and hatred.  It’s about that feeling you get when you freeze in place.  Instead of opening yourself up you shut out everything, while feeling trapped in some sort of hell.” With lyrics like: “I can’t see, I can’t hear/This void consumes my sanity/I don’t want to be here, but I deserve this shit/So don’t try to pull me out/Cause I will pull you down/Pull you down.”

Meanwhile, “Wolves” is about “depression and how it can hunt you down before you even realize that it has its grip and its teeth around your throat.  It expresses how a depression just completely consumes your mindset.” With lyrics like: “The teeth are sinking in/It’s tearing through my skin/Can’t take it anymore/The wolves are at the door.”

Overall, ILL is simply not my cup of tea.  However, Royal Deceit is very talented and fans of the metalcore genre should absolutely give ILL a listen.  You can check out Royal Deceit on Instagram and Facebook.

Artist:

Victoria, B.C.  indie/garage rock group, The Projectors, have released their debut self-titled LP, with an accompanying video for the single “Golden Age”.  The music video is available on YouTube and the album is available for streaming anywhere you get your music.

The band consists of lead singer/songwriter Dylan Rysstad, Robbie Shirriff on guitar, Dustin Tiljoe on second guitar, Conor Brandt on bass, and Evan Matthiesen on drums.  According to the band, they “unabashedly” draw their influences from early “aught-rock” like The Strokes or Franz Ferdinand.

Of the LP, Rysstad says, “With the first couple songs, ‘When the Lights Came Up’ and ‘Golden Age’, I really embraced certain influences and didn’t try to obscure or hide the fact that it was starting to sound like someone else.  The songs I’ve been writing for this project are what I want to be playing and listening to, and somewhat ironically, I feel like it’s the most ‘me’ if that makes sense.”

The Projectors consists of eight tracks: You Can Only Wait; Golden Age; Lost in Spaces; Slow It Down; Concessions; When the Lights Came Up; Tired of the Small Talk; and Valentine.  The songs “You Can Only Wait” and “Tired of the Small Talk” also have music videos available on YouTube.

After listening to the album, The Stokes influence is readily apparent (in the best way possible).  I also hear a lot of 60’s rock influence, reminiscent of The Beatles.  The vocals and instrumentals are raw and sincere, and the overall mixing of the album is very vintage.

While all the songs have a very similar light, upbeat sound, the lyrics completely change the vibe for each song.  Some songs, like “Valentine” and “When the Lights Came Up” are sweet love songs, while “Tired of the Small Talk” and “Golden Age” are self-deprecating songs about loneliness.  Others, like “Lost in Spaces” are vulnerable, and very accurate, descriptions of depression.

My favourite song on The Projectors is probably “Tired of the Small Talk”, with lyrics like “You know I wrestle with my thoughts/I can’t help but lose/To the boy who says he’s not into you/I tried to be what I know I’m not/I tried to steal but I got caught/Don’t know what I need from you.” I also love the song “Valentine” because it’s just one of those songs that will make your heart happy, with lyrics like: “Tell your lover/That they’re heard and understood/Show you can love them/Like some secret Latin lover would.”

The music video for the single “Golden Age” perfectly fits the band’s aesthetic.  The video looks as if it was shot on a giant camcorder from the early 2000’s, and follows one of the band members as he packs up his car and drives to the beach to go surfing.  It also features some beautiful B.C.  coast.

Overall, I really enjoyed The Projectors.  You can check them out on their website, Twitter, Instagram, and Facebook.

Artist:

Montreal acoustic folk duo, Steve & Ginie Jackson have released their newest album, Colder Than The Sea. A music video for their feature single “7 Billion People” is available on YouTube.

Steve and Ginie are a couple who met during a joint concert of their respective previous bands. According to the couple, “they started to dream about traveling and playing music, and they fell in love.”

Colder Than The Sea was created in Steve and Ginie’s home during the COVID-19 lockdowns. Their music has folk pop, bluegrass, and Irish/traditional influences, but Colder Than The Sea is “more mature, more thoughtful, with new compositions that allows them to grow as musicians.”

Colder Than The Sea is comprised of twelve tracks: Into The Wild; 7 Billion People; Tear My Voice; Time To Dine; Everybody’s Calling; Karma; Happy; Take Me To The Bottle (featuring Jake Quell Bordel); Help Me!; The Hook; Fire Is Out; and Hearts.

The single “7 Billion People” is a love song about how the couple realized during lockdown that they don’t need anyone else to be happy—it’s the story of how they helped each other to grow and become better humans. The single follows the duo’s usual style—a guitar, a mandolin, and two voices, inspired by folk pop, bluegrass, and Irish/Trad influences. Their sound is reminiscent of Mumford and Sons or Peter, Paul, and Mary.

The lyrics are also extremely cute. The main line of the chorus goes, “seven billion people and all I see is you.” Another portion of the song has the lyrics, “I used to be a mess, I never really cared, I was never at my best, I was never really there, […] before I met you, babe.” So sweet, and something I among many people can surely relate to in their own relationships.

The music video for “7 Billion People” was shot in San Diego, California was filmed, edited, and directed by Jeremy Royer. The video features Steve and Ginie gazing into each others’ eyes while singing and playing their instruments in various stunning locations. The scenes of the ocean and San Diego skyline are certainly beautiful, but Steve and Ginie steal the show with their cuteness. The video pairs so well with the context of the sweet song.

The rest of the album sounds similar to the single—pretty standard folk music. Although the sound is nothing revolutionary, the duo’s voices pair so well together and the lyrics are pure poetry. Most of the tracks are upbeat and catchy, but “Hearts”, “Karma” and “Tear My Voice” are slower, more painful songs. “Into The Wild” is definitely my favourite song of the album, with lyrics like, “You hate those bedtime stories/They always make you feel like you’re dying/But mostly, you hate the mornings/And everyone you’ll meet again today […] Don’t tell me that you finally ran away into the night.”

Overall, I enjoyed Colder Than The Sea, and you can check out Steve & Ginie Jackson on Instagram and Facebook.

Artist:

The Penske File has announced their newest album Half Glow, available for streaming on July 21st, 2023.  The band has released an advance single from the album, titled “Chorus Girl,” available for streaming anywhere you get your music.  A music video for the single is available on YouTube.

Half Glow is a culmination of over half a lifetime of musical collaboration between James Hall, Travis Miles, and Alexander Standen, the childhood friends that make up the band.  The album consists of twelve tracks: Bad Dreams; Chorus Girl; We’re Both Still Alive; Under Streetlights; Ride It Out; Waiting for Rain; Will We Ever Know; Cyanide Stories; Wolves Gather; Hurricane Head; Modern World; and Lovers After Midnight.

Of the single, guitarist and vocalist, Travis Miles, explains, “The video for ‘Chorus Girl’ explores the interconnectivity of music and memory, and how the interplay between such forces holds the power to turn grief into celebration.”

Drummer and vocalist, Alexander Standen, goes on, “’Chorus Girl’ is a love song.  I wrote it on the back bench of the van at the end of a long tour.  For the first time in a long time, I was super psyched to return home.  My, then, new partner and I had made a tradition of going up north to her family’s cottage after every tour for a week of refuge.  Stocked in the place were a million CDs that we would crank up throughout our time together there.  The song is about anticipation, it’s about love; it’s also about music and shared experience.”

“Chorus Girl” clocks in at 3 minutes 44 seconds.  It’s an upbeat, power-pop anthem that will make you want to get up and dance.  The track reminds me of bands like 5 Seconds of Summer, The Red Jumpsuit Apparatus, and The All-American Rejects.  “Chorus Girl” is a heartfelt love song with poetic lyrics: “And Chorus Girl, do you believe me when I say/That I never miss much of anything/And I don’t want to be your mystery/Or your hollow, cut-throat, organ thief/Don’t throw the rose in the river/Bare with me.”

The music video for the single features the band performing in what appears to be the home of the “chorus girl”, who is in the process of moving out.  She drops a photo of her and one of the band members (who she was obviously in a relationship with) sees it and gets inspired to put on an album and dance.  The video is so contagiously happy—I love it! Every member of The Penske File looks like they are having a blast doing what they love, and the video itself helps to tell the song’s beautiful story.

Overall, I really enjoyed “Chorus Girl”.  I can’t wait to hear the rest of the album!  In the meantime, you can check out The Penske File on their website, Facebook, Instagram, and Twitter.

Artist:

Canadian rock band, The Beaches, have released the new single “Blame Brett” from their upcoming album, Blame My Ex.  The single is available for streaming anywhere you get your music.  A music video for the single is available on YouTube.

The Beaches was formed in 2013 and named after the Toronto neighborhood the members grew up in.  The band is comprised of lead vocalist/bassist, Jordan Miller; guitarist, Kylie Miller; keyboardist/guitarist, Leandra Earl; and drummer, Eliza Enman-McDaniel.  The four members forfeited a typical university experience to pursue their careers in music—a topic that is often addressed in their lyrics.

Of the single, Jordan says, “Blame Brett is a song with a little bit of a misleading title,” Miller says.  “It’s not really about my relationship.  It’s about feeling vulnerable and afraid to open your heart to someone new.  I’m basically talking to my future partners, explaining that I can only offer something casual while my heart heals—a song for all the hot messes out there.”

The band takes inspiration from artists like Olivia Rodrigo, Girl in Red, and The Strokes, The Beaches believe their upcoming album will be a new direction for them.  Of Blame the band says, “We’re not abandoning our rock ‘n ’roll roots, but for this next chapter of our career we wanted to take ourselves less seriously, have fun, and be less precious with the musical ideas we pursue.”

“Blame Brett” sounds like 90’s surf rock and reminds me of bands like Veruca Salt, Marina and The Diamonds, and Beach Bunny.  It’s catchy and upbeat, with well-timed gang vocals that contribute to that nostalgia feeling.  Jordan Miller’s vocals are beautifully low, sultry, and powerful.

While the track’s sound may present a nonchalant, chaotic vibe, the lyrics are deeply vulnerable—a combination of mournful, scathing, and funny.  “Blame Brett” is the perfect anthem for any woman feeling apathetic toward modern dating.  With lyrics like, “I’m sorry in advance/I’m only gonna treat you bad/I’m only gonna let you down/I’m probably gonna sleep around” and “I’m not ready for therapy/To take accountability/Right now it’s about me/Me and only about me.”

In the music video for “Blame Brett” The Beaches are the epitome of “90’s cool girl.” The video features quick cuts of the band performing against a white backdrop, driving around, and at a dimly lit house party (looking absolutely amazing in every shot).  Every member of The Beaches are giving me serious Emma Chamberlin vibes.  Most importantly, the video also features a cat wearing a pink cowboy hat.  You’re welcome.

Overall, I loved “Blame Brett”! I can’t wait to hear the rest of the album (out September 15^th 2023).  In the meantime, you can check out The Beaches on their website, Facebook, Instagram, and Twitter.

Artist:

Canadian musician Andrew Dickenson (lead singer and guitarist of Tricky Woo) has released his first solo LP as Ex Ox.  The LP is titled Nervous Complaint and is available for streaming anywhere you get your music.  The accompanying visual album is available on YouTube.

The album was inspired by Andrew surviving a horrific car crash that left him with physical and existential questions that seemingly had no answers.  He “turned inward to his home studio in the woods of Quebec; inward to the workings of a brain inside a galaxy.”

According to Andrew, Nervous Complaint cannot be nailed down to one genre, but takes inspiration from the genre krautrock (experimental/subgenre of progressive rock that originated in Germany).  Nervous Complaint is “a sonic, psychedelic contemplation on consciousness, mortality, internal and external struggle, and how we seek our place in the universe.”

Nervous Complaint has eight tracks: Nervous Complaint; It’s Your Fault the World is Ending; Moderate Reasonable Alienation; Dans L’obscurité Avec Les Loups; Telomere Crisis; Burnt Husk, Drawing of a Man; Doomed Glass Inverse; and Spraying Hubris (With Flesh Guns) into the Void.

There are no lyrics whatsoever throughout the album.  It’s simply synth music that reminds me of the soundtrack for a Zelda game, or maybe an old sci-fi movie.  To be completely honest, I didn’t get anything out of this album.  The lack of lyrics and natural abrasiveness of the synth were just too much for me.  The visual aspect of the album was certainly psychedelic—full of imagery of the galaxy, nature, and deities, as well as obscure, melting shapes in technicolour and shadows of dancing hands.  In particular, the visual for the track “Doomed Glass Inverse” gave me motion sickness.

That being said, I can hear the different vibes and tones of the various songs—for instance “Dans L’obscurité Avec Les Loups” (In the Dark with the Wolves) had a scary, panicked feel, while “Moderate Reasonable Alienation” felt calm and floaty.  It’s obvious that this album was deeply meaningful and cathartic for Andrew.

According to the academic paper Art and Music Therapy for Trauma Survivors by Amy Green, “Trauma survivors suffering from post-traumatic stress disorder (PTSD) may be unable to verbally express the trauma that has happened to them (Malchiodi, 2008b); however, in order for healing to occur, these individuals must externalize their stories if their traumatic memories are to be reconstructed and positively transformed (Herman, 1997).  Thus, the creative arts therapies may be particularly effective in the treatment of PTSD because they offer a sensory means for children and adults to express traumatic memories.”

So, while I didn’t personally find any connection with Nervous Complaint, I’m sure this album significantly helped Andrew in processing the trauma of the car accident.  Good luck on the rest of your healing journey, Andrew.  As for us, you can check out Ex Ox on their website, Instagram, and Twitter.

Artist:

Copenhagen-based band, DETHRXNER, has released their new EP, TAUNT. The album is available for streaming anywhere you get your music.

DETHRXNER is of the metalcore/nu-core/deathcore genre. According to this Masterclass article, “Deathcore is a heavy metal subgenre that merges the hardcore punk energy of metalcore with the challenging instrumental passages and explicit lyrics of death metal. Deathcore is known for its drop tunings, blast beats, guttural vocals, and frequent instrumental breakdowns.”

The band describes themselves as combining the raw energy of heavy hardcore with the flair of modern rap.

Of the album, vocalist Neema Rad says, “TAUNT is the unapologetic version of us. It challenges the listener to question their values and encourages them to overcome whatever is holding them back. The lyrics are filled with themes of self-empowerment, perseverance, and determination in the face of struggle. The EP will hopefully inspire the listeners to take control of their lives, even in the face of adversity.”

TAUNT consists of five tracks: GET GOOD (feat. Andreas Bjulver/CABAL); ALPHA JUSTICE; REAL ONES; STAY COLD (feat. Aaron Matts/ten56.); and POWER (feat. Shaolin G/UnityTx). Music videos for the songs “GET GOOD” and “ALPHA JUSTICE” are available on YouTube.

I will preface this review by saying that deathcore is not my kind of music. At all. Right off the bat DETHRXNER reminds me of all of the other deathcore bands I know, like Bring Me The Horizon, We Butter Our Bread With Butter, Job For A Cowboy, and Suicide Silence. I think DETHRXNER sounds pretty good at what they do—but I’m certainly not the expert on this topic.

I had to look up the lyrics to the songs because I can’t understand a word they’re saying (Singing? Growling? Screaming?), but I’m so glad I did. The lyrics are amazing—vulnerable, raw, and strangely uplifting. In “GET GOOD”, the band sings, “I’m born into struggle/Molded by the pain/Ain’t got time to fumble/I’m tired of being weak/And if I want change, I better believe/I’ve got more in me […] At the end of the day/I want a smile on my face – won’t let myself decay/It’s not about the journey/It’s the pride that just keeps me yearning.”

I also have to say that the music videos are fun and interesting. Both music videos feature a juxtaposition of a pink background with the dark music. In the video for “ALPHA JUSTICE,” the band walks through a beautiful pink field while wearing ski masks and swinging weapons (I’m getting The Purge vibes). In the video for “GET GOOD,” the band performs in a room overflowing with pink balloons, while the lead singer dons a ski mask, wields a gun, and does drugs on the table.

Overall, TAUNT is not an album that I would personally listen to. However, I certainly recognize their talent, and I would highly recommend them to anyone who is into the deathcore genre. You can check out DETHRXNER on Instagram, TikTok, and Facebook.