This is why I very rarely trust anyone who gets on their high horse about grind and then tries to sell me a record under the guise of innovation. What we are going to talk about is how disproportionally this facile perspective is levelled against homogenous genres (take grindcore) where critics have a habit of fawning over even the slightest perceived innovation (take the procedural stylistic hopscotch that carried Wormrot's pastiche-heavy Hiss last year), railing 'supportively' against perceived style-wide drawbacks as though good ol' not-like-the-other-girls–isms are somehow preferable to, y'know, engaging with grind on its own endearingly unyielding terms. Today we are not going any further into why great bands still sound great when they play the tropes, and neither are we going to humour an internet-flavoured originality fetish so pervasive that the very fundamentals most reasonable people actually listen to music for now need a sodding redemption arc. Google false dichotomy right now this fucking minute. If I see one more person recycle the same introduction about how every artist of X genre has at some point stood at the crossroads between air-quotes innovation and sticking-to-the-formula, I am going to sweat scatole until you all give up using laborious justifications of the latter as a piteously thin smokescreen for your own derivative writing. Review Summary: How not to review metal (also, AOTY)
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