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Chris Brunelle

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Octahedron
Octahedron is the fifth full-length studio album by American progressive rock band The Mars Volta, released on June 23, 2009. The album was released by Warner Bros. Records in North America and Mercury Records worldwide. It debuted at #12 on the Billboard 200 Album chart with sales of [......]
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Desensitized
Desensitized is the second studio album by American alternative metal band Drowning Pool. It was their first album after the death of vocalist Dave Williams as well as the first and only album to feature Jason 'Gong' Jones as vocalist.
The album marked a slight yet recognizable change in the band's [......]
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Nimrod
Nimrod is the fifth album by the punk rock band Green Day, released on October 14, 1997 on Reprise Records. The album entered the Billboard U.S. charts at #10, and achieved double platinum status, although it did not revive Green Day's sales to the level of Dookie. Nimrod achieved critical [......]
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The Real Thing
The Real Thing is the third studio album by American rock quintet Faith No More, first released through Slash Records on June 20, 1989. It was the first release by the band not to feature vocalist Chuck Mosley; instead the album featured Mike Patton from the experimental rock band Mr. [......]
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Never Apologise Never Explain
NOTOC
Never Apologise Never Explain was the eight full-length album by the band Therapy? , and the second to be released on Spitfire Records. It was released on September 27, 2004. The album was recorded in June 2004 at Parkgate Studios, Hastings.
"Never Apologise Never Explain" marked a return to the [......]
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We Are the Nightmare
We Are the Nightmare is an album by technical death metal band Arsis. It was released April 15, 2008 via Nuclear Blast Records.

History
Recording began on the September 3, 2007 at Planet Z Studios in Massachusetts and ended on October 19. It was produced by Zeuss who has previously worked [......]
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Strap It On
Strap It On is the first album by Helmet. Originally released in 1990 through Amphetamine Reptile Records, it was subsequently rereleased by Interscope in November 1991.
Critics considered the album innovative for its explosive, propulsive, and often staccato riff style which greatly exploited drop D tuning. It has since become a [......]
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