For Everything is an album for people who like having their eardrums punished, a perfect synthesis of screaming hardcore punk and the machine logic of breakcore. This is what happens when you take the riffs, chugs, and throat-shredding vocals of a metal record and rebuild it frame by frame from the inside out with precision.

When breakcore first emerged, it was all about the impossible intricacy, with Amen breaks chopped at speeds that a human could never play, but over time the genre got lazy as producers just looped a fast break, slapped some pads on top and called it a day. Aaron Spectre, the mind behind Drumcorps, is meticulous in his programming, with every sound examined, twisted, bitcrushed, pitch-shifted and mangled until it sounds half-machine, half-weapon.

The structures follow the hardcore logic of buildup, breakdown, collapse, repeat like a band, with the same groove and impact you get from Knocked Loose or Kublai Khan TX, except here everything has been dissolved into voltage. It doesn’t feel like dance music. It’s electronic punk, with chugging guitars, slamming drums, and tearing vocals all being shredded and rebuilt in an apocalyptic industrial nightmare.

Plague Vector stands out for the way it shifts through sections with drums glitched to hell one moment, and a sudden pocket of space the next where vocals are warped like melted metal as the bass hangs ominously underneath. Disregard Previous Instructions moves in a swaggering glitch-hop tempo before doubling its speed in blasts of chaos, but no matter how violent it gets you never lose your place in the rhythm, keeping the body moving while the brain tries to decode the mayhem.

Defiantly free from gloss, For Everything feels feral and even political by sheer force of volume, as if computers learned to scream. Cut from the same cloth as Nine Inch Nails but even bleaker, this album aims to be as horrible as possible and succeeds gloriously.

The meticulous crafting recalls the early days of Venetian Snares where you could hear the hours poured into every micro-edit, with each track feeling like a compressed, reversed, sliced and soldered act of labour. Bees in a Can hits with the violence of March Of The Pigs at double intensity, Looking for Stars slows into a brief techno relief, whilst the closer For Everything dissolves into drones, and beneath all the programming there’s groove and genuine songwriting. Each collapse and glitch is perfectly placed for maximum extremity, not random chaos, proving that breakcore can still evolve and feel rebellious.

For Everything is a stunning hybrid that feels like the first time you heard Aphex Twin or Venetian Snares and thought ‘no human should be able to make this’, but with metal guitars and a punk soul. A love letter to chaos, precision, and total noise.