Wednesday, 16 August 2017

The I.L.Y.S "Bodyguard" (2017)


The I.L.Y.S are back with their third full length release! Two thirds of the legendary Death Grips, this Sacramento duo brings some of the bizarre oddities to a experimental Noise Rock setting. Bodyguard is seemingly more of the same but with more accustomed ears, Psychedelic Rock and other branches in the Rock umbrella become more apparent in a release that's toned down its Industrial and Punk leanings. There's a lot of conventional riffs, tricks, progressions and styles at work here yet its packaged with subtle electronics and interesting production choices that yield a slightly unconventional aesthetic as unusual sounds enter the fold. It has a rather tame tone in comparison to what they did with Ive Always Been Good At True Love.

Unfortunately my reaction to this record is muted. Mediocrity reigns supreme even though there is a lot of interesting and charming chemistry here. The bests moments or "hooks" seem to have a golden gloss to them, always feeling reminiscent of music from eras gone by. These moments of intrigue and curiosity are quite possibly dispelled by the vocals as my interest in the music never solidifies into a emotional response. The lyrical aspect of the record drifts in one ear and out the other, one string of words stuck, "like sperm on a hi-hat" purely for being rather bizarre.

The singing style doesn't resonate, it lacks power and oomph, the acoustic fidelity questionable as the words tend to level out with the other instruments, sucking the life out their contribution. In general its a disappointment that's not apparent. A seemingly reasonable experience that's entirely forgettable once the next record comes on. There are echos of good ideas here but the execution just isn't up to it.

Rating: 3/10

Tuesday, 15 August 2017

Izioq "Music To Play In Your Head" (2017)


Izioq's latest assembly of fantasy, carefree and innocent video game alike music comes to us in two halves, a twenty eight track record split by a four track "Game Jam". Its the sixth full length and the first to potentially aim in a new direction however upon many listens it becomes quite clear that this release is an assortment of ideas and short compositions with no overall objective of theme beyond the usual carefree wonder of childhood Izioq aims to, and succeeds, in capturing with his melodies.

The majority of songs here are instrumental loops with several variations of melody from the lead. None of the songs surpass three minutes and tend to linger around ninety seconds. As a result there is very little progression or musical events at hand but rather moments of atmosphere captured by a small ensemble of luscious lullaby sounds to indulge with. In its first half we have more of the traditional style at work however strong influences of Nobuo Uematsu can be heard in a handful of places, to much delight of course. The middle "Game Jam" section is where the experimentation starts. Quirkier sounds and samples come into play, sequenced drums adjoin and beyond it the second half loosens up with songs like "Chop Chop" bringing a Jazz Hop vibe thanks to a sampled beat and "Organ Doctor" goofs around with a fast thudding baselines and quirky electronic melodies on top.

This second half looses me somewhat as the tracks tend to jump around from one to the next, the instruments, tone and vibes shuffle from one song to the next, dispelling atmosphere. As an album experience this doesn't amount to much more than a snug collection of compositions however the first half does have a lot more consistency that flows well. I hope this experimentation can lead to a more cohesive direction for Izioq as there are many interesting ideas on display here.

Favorite Tracks: Unagi Loneliness, Lost Marbles, Mare E Sole, Past Is Serious, Organ Doctor
Rating: 5/10

Saturday, 12 August 2017

Jay-Z "4:44" (2017)


As it says on the album cover, this is billionaire rapper Jay-Z's thirteenth studio album. Originally released as a Tidal exclusive, the album went platinum swiftly no thanks to business deal resulting in a bulk purchase to push it over the edge. This put me off giving the record a try, that and the play duration which is just thirty six minutes, significantly shorter for a rapper from the compact disc generation, usually filling the CD to the brim with cuts. Impressions are just that, from the opening track "Kill Jay-Z" you realize your in for an introspective journey. With the arrival of his twins, Jay is has a lot of reflecting to do on the lifestyle of his past and many of the decisions he now finds questionable. Its packaged as a collection of raw thoughts, rapped to his former self as he closes the door on that chapter, an interesting window into the life and mind of the self made man.

For me, Jay-Z has always been a tough nut to crack. His debut is a classic and The Blueprint too but beyond two projects he has never really dazzled me with his raps or production style. On this record the lyrical content has a real pull as he lays out his internal feelings openly at an interesting point in his career, cruising beyond his peak of his success yet still striving for more as a businessman. He shares his motivations about leaving his wealth to his family and future generation, while talking about the sins of his father who shamed their family name. In another track he touches on his past and unfaithful behavior, questing what his daughters will think if and when they find out. The openness is quite the endearing quality for this record and it spans several tracks. One of which, "Moonlight" has Jay-Z poking fun at modern rappers with the "skrt skrt" and "trill" slang, saying they all sound alike.

Behind it soft, soulful, jazzy, mood setting, yet rather tame instrumentals appease the stage for the raps to take the main focus. Sample driven, with many pitch shifting loop manipulations, the style is far from edgy and natural progression for a 90s rapper. It attempts new tricks with the old techniques and for the most part is solid, laying down coherent tunes that line up with toned down, tame drum beats, making it an accessible experience for the average listener. 4:44 is a fine record with little to falter yet doesn't do much to dazzle beyond its subject matter solidifying an interesting point in his life, its a reasonable effort, its charm is in its honesty.

Rating: 6/10

Tuesday, 8 August 2017

Tyler The Creator "Scum Fuck Flower Boy" (2017)


Ive vaguely followed Tyler and his Odd Future collective over the years. Seemingly always in a spot of controversy, Its his music I am more interested in however it only takes a spin to realize his lyrics are always going to raise some eyebrows and ruffle some feathers. As someone who's generally not offended, his lyrics about rape and violence come off as a dark sense of humor and youthful rebellion rather than anything to take seriously. On this record though there is obviously more to take seriously, Tyler expressing feelings of loneliness and supposedly comes out but given his reputation for stirring the pot you've got take it with a pinch of salt. "Flower Boy" is Tyler's fifth album in seven years and to my ears his most cohesive experience with a fruitful production style rich in colorful sounds, melodies and fun.

Although I'm not entirely versed with Tyler's back catalog, this release feels he like finds his voice, maturing, coming forthright and letting down his guard to express his feelings of living in the limelight. Its a refreshing break from the slew of controversy stirring I once knew him for. Although I found it amusing and entertaining, this side of Tyler is far more endearing and sensitive. It would indeed be the ideal moment for him to come out. Given his history, lines about making out with "white boys" could possibly be metaphoric rather than literal but more than likely its him just trolling us again.

His honesty and openness really finds its home in a musically colorful and textured record that brings a wide array of instrumentation and voices together in a fluid and inspired journey that's adventurous, mellow and summery. Even though his maturity may extended to inner doubt and self questioning, the vibes are warm and fuzzy. Lots of quirky, friendly synths and R&B voices join him for a fleshed out experience that takes many detours of the path of verse chorus rap. "Skits" mix in among the songs with context and direction, further decorating this diverse and adventurous record that features a lo of compositional variety and creativity. A great example is "Garden Shed", a slow atmospheric burner that lets a guitar lead, Prog synths and singing, some auto tuned, to come to the forefront as it slowly leads us into one of Tylers best verses of the record.

Currently this album stands on solid ground with me but its been a slow burner, something with depth that's chewy and substantial. I can't help but feel my appreciation of it will grow with time, its a colorful experience and ironically my favorite track is its most contrasting and straightforward song, "Who Dat Boy" with A$AP Rocky, a dark and gritty banger with menacing strings and a dirty sub baseline rocking a traditional son structure. At forty six minutes its a really sterling effort that may go down as the young rappers best.

Favorite Track: Who Dat Boy, Garden Shed
Rating: 7/10

Monday, 7 August 2017

Horsebeach "Beauty & Sadness" (2017)


Here's another contender for my album of the year that's been stuck on repeat these past couple of months. "Beauty & Sadness" is the gift that keeps on giving, a wondrously expressive record tinged in a nostalgia that flirts with many styles and influences while graciously holding its own. This is my first experience with the Manchester four piece outfit who have released two full lengths prior to this third. Its a sterling introduction, ten concrete tracks weighing in at thirty six minutes, precisely what I look for in a record.

Describing their sound beyond its inspiration is a tricky business, Indie Rock might be your point of reference but shades of Post-Punk, echos of Psychedelic Rock melodies and the slight Ethereal charm of soothing reverberations put it firmly in its own grasp. Then there's the synths turning up on a handful of tracks, adding another dimension to their sound without any obviously intrusion to the chemistry, it sweetly brews into the chemistry without an eyebrow raised. On "How Far Must We Go" they bring a Smooth Jazz flavor, playing like a slick saxophone over a grooving baseline jam.

To walk you through the sounds and variety that I adore about this record, it kicks off with its most ambiguous track, morphing, swirling and burying a repeated sampled voice into a thick haze of synth that brings about, dare I say it, warm, fuzzy Vaporwave vibes. From there we step into a bright setting with a gorgeous melodic lead guitar with an infectious lead melody between acoustic chord strumming. We are first introduced to the records voice, a singer who knows his range, a sincere expression that can sway between a firm tone for adventure and a more vulnerable, softer side best heard on "My Heart Longs For You, Pizza" which has a golden oldies vibe I adore, it highlights the nostalgic use of reverberation that his voice often sinks into.

The albums production is a charm of its own, the music has a wonderfully aged feel about it. There's more texture and depth to be heard in the instruments, all smothered in a warm inviting reverberation that runs deep. You might think it just stands out as a breath of fresh air compared to all the squeaky clean, compressed, volume war music of modern production but the reality its chemistry is a charmer. Warm tones, indulgent room acoustics and thick, deep baselines illuminate the magic atmosphere this one conjures.

"Breeze" introduces an instrumental break in the midsection, a drum machine guides us on a Trip Hop alike beat as a echoing guitar jams a solo over a warm murmuring baseline and hazy strum chords. Its followed up with "Theme For Sadness", an entirely synthesized composition, a slightly spooky, teetering on mystery journey that to those familiar, is vaguely reminiscent of Dungeon Synth, in an unintentional way. The title track, possibly my favorite, lures us back in with a pounding baseline and memorable synth melody, very reminiscent of a famous Joy Division song, once you hear it you can't go back!

If you've read my ramblings this far then its no surprise I'm a big fan of this record but as Ive tried to convey my experience is charmed by a unique nostalgic vibe that has me hearing all sorts of styles, similarities and influences that never feel direct, or even close. It lured me in and once there the catchy nature of the melodies had me hooked. Horsebeach make their voice and own it! Can't wait to get my claws into those two records that came before this one.

Raitng: 9/10

Thursday, 3 August 2017

Autumn's Grey Solace "Celestial Realms" (2017)


This post will be short and sweet. Autumn's Grey Solace are one of my favorite bands. Their dark yet luminous, soft and sorrowful spell of Ethereal indulgence is an absolute treat. Serene and tranquil, the heavy washing of reverberated sounds lets the alluring vocals of Erin Welton soar graciously through gorgeous synths and shimmering guitars that meld into an ooze of soothing noise, sounding both luscious, ripe and harmonious. In the first few years of being heavily into their music, rotating it often, I grew to adore their releases but after 2012's stunning "Divinian", "Monajjfyllen" and "Windumæra" couldn't quite do it for me. With this release I fear the same fate, these songs are just unable to make an impact on me.

As a listener the problem is in predictability and similarity, not a moment passes by that feels unexpected or surprising, every strum of the guitar, chord arrangement or note sung feels like pieces of the puzzle re-arranged. No song here was a stranger, from start to end It feels like Déjà vu, all Ive heard before and that makes it harder to leave an impression. The records tone, production and aesthetic is sublime, one of their best sounding records but the music is so distinctively typical and within the usual tropes they perform it fails to make itself known or unique. After many enjoyable listens I feel as if I could of been listening to anyone of their recent releases, it lacks distinction or something to separate and call its own.

Favorite Track: Andromedea
Rating: 5/10

Wednesday, 2 August 2017

Municipal Waste "Slime And Punishment" (2017)


Its the sixth release from legendary east coast outfit Municipal Waste. Formerly viewed as "revival crossover" their sixteen year tenure has established them as one of Crossovers best. Last time I checked in with them was back in 2007 where they were riding a wave of hype that produced wild festival shows with fans literally bringing surf boards to crowd surf at the bands command. It was quite the memorable show but since then I never stayed tuned in with the band, after five years of silence it seemed like a good time to give them another whirl and see if their upto the same old tricks.

"Slime And Punishment" is a fast and fun, thrashy blast of party hard, headbanging aggression that's not to be taken seriously. They have hardly evolved in ten years and the addition of a second guitarist doesn't seem to have given their sound any new edge. There are not many parts of this record that utilize two tracks, beyond a backing track for a guitar solo its mostly unable to break away from linear guitar work. Just another riff fest of crossover that brings far more thrash in the guitar work with all the classic chugging rhythms and grooves, power chord shredding rearranged to create another set of mosh friendly tracks for the energetic live show.

Tony Foresta's strained shouts bring the hardcore edge with a constant barrage of gang vocals chiming in along side him. "Parole Violators" presents a missed opportunity as a breakdown riff leads into some comical role play between a corrupt sleazy cop and skate punk, painting a hilarious image of an oldskool corrupted authoritarian attitude, the sort you'd see in movies reflecting times gone by. This album would of have a real wild card up its sleeve with more of that comical edge. Unfortunately its just another rapid riff fest of head bobbing fun, composed, performed and produced with a routine level of excellence from experienced metalheads that lacked a spark to really get me into it. Solid album but didn't offer anything I haven't heard done before.

Rating: 5/10

Sunday, 30 July 2017

Chief Keef "Thot Breaker" (2017)


Chief Keef is a name Ive heard thrown around from time to time, often lumped into the category of "garbage rappers" who don't have the same lyrical principals of the generations before them. The young Chicago artist was in school and on house arrest when his popularity blew up online, leading him to a record deal with Interscope Records. His first full length dropped at the age of seventeen in 2014 and catching wind of this new release (an album? mixtape? or freebie, I'm not sure), I figured It was time to check out Keef and see what he's about.

After five or six spins Ive been shocked, Ive laughed, grooved and cringed but mostly felt utterly dismayed by the sheer ludicrous demeanor of Keef's record persona. His attitude embellishes self gratification, shallow materialism, bigoted sexism and drug addiction portrayed as a desirable lifestyle, at least to Keef who seems to relish in the excess he paints with his words. The record is littered with mind blowing lines. I always though of a "trophy wife" as a symptom of objectification and seeing measurable value in beauty, yet with a line on "Can You Be My Friend" Keef literally says "hold you slowly, treat you like a trophy". He also wears his addiction like a badge of honor, proclaiming "You trying to smoke what I smoke, you take a hit and die". I could go on but the point is Ive come up against an entirely different perspective and attitude towards life, people and morals that just shocks me, mostly because the music is an glorification of this world view and lifestyle.

Whats been so strange with this record is how much I dig the instrumentals, even the vocal delivery. Keef sing raps with a velvety auto-tune that sinks into the glossy, reverberated synthetic sounds that conjure a sleek, indulgent modern, night life atmosphere. Tight trap beats shuffle and rattle away sharp hi-hats and quick kick snares that hold a tempo for Keef and his synths to jive over. The chemistry is strong, the auto tune vocals often harmonizing, coming together with an organic feel. Its a great record to listen to when not paying attention to the lyrics but that aspect really spoiled my enjoyment of otherwise solid instruments with a lot of style and atmosphere.

Its loaded with swagger and braggadocio that plays into the compositions, its subject matter however just isn't right for my taste and as a result it sound rather goofy and soon to be dated, especially the trendy hype mans whispery shouts that back up the lyrics, saying "bang bang" in excessive auto tune, sometimes stating "bitch" over and over. I'm not sure who hes talking to but its kind of ridiculous... Checking out Keef on youtube it sounds like his older material might be more interesting but for now I need a break from this self centered madness.

Rating: 4/10

Thursday, 27 July 2017

Lorde "Melodrama" (2017)


Fun fact for you, Lorde is the first musician in my archive from New Zeland! The young singer made her mark on pop music a few years back as a raw talent and teenage sensation, however this record is the first Ive heard of her. Written alongside Jack Antanoff "Melodrama" is fundamentally an introspection of party life, drinking culture, relationships and breakups, dramatized and illuminated in the ever passing Ethereal haze of glossy, reverberated instruments and Lorde's breathy soft yet strong voice. Its written and performed beautifully, playing with an ever growing sense of meaning as the record builds upon itself, climaxing with a couple of great songs at the end.

This introspection is a poetic rendition of moments that matter, its a glorification and resolve simultaneously as Lorde works through the two themes that clash in my mind. Between the cracks of party culture and substance euphoria, Lorde finds some stunning sentiments, "I'll love you till you call the cops on me" when the record swings back to her heartbreak. Inspired moments like this come through both lyrically and musically, a strength that frequents as moving lyrics collide with swooning instrumentation and she immortalizes her pain.

The concurrence of a smooth, bright piano makes it way though the songs, alongside Lorde, as contractions of muffled slow dance beats shuffle the tone and tempo. A frequent of click beats guide many of the percussive tracks and the emergence of dense synths and electronic jitters make up the sounds that character the record and develop its songs, often wrapped in shapely reverbs that craft the atmosphere. Its chemistry matches the range for vulnerability and strength as the emotions come through in sturdily sung notes of resilience and the moments where her singing collapses to a breathy talk in the wake of her words.

Its a powerful performance that hits you on the personal level with tracks like "Liability" and can lift your mood up with timeless hooks like the chorus of "Perfect Places", an elevating end to a fine record that has little to fault other than your preference of subject matter. Its a cleverly crafted, inspired piece of genuine "pop" or "popular appeal" music that almost anyone could get their teeth into. Considering words are often a weak point for me with music It probably a testament to the strength of her articulation, I'll end this ramble with one of my favorite lines "I am a toy, that people enjoy, until the tricks don't work anymore". Beautiful musings.

Favorite Tracks: Liability, Winter In The Dark, Liability (Reprise), Perfect Places
Rating: 9/10

Wednesday, 26 July 2017

Sikth "The Future In Whose Eyes" (2017)


After a seven year hiatus, England's infamous Progressive Metal outfit Sikth reunited with their original line up and unleashed a very promising EP, Opacities. Reunions can be a fickle business, able to swing in any direction. It set the bar high for this full length release but I wasn't anticipating the band to, dare I say it, out do their classic debut The Trees Are Dead And Dried Out... . Its a bold statement to make and it comes over twenty or more listens where learning the ins and outs has only strengthened my adoration of a record that plays through hit after hit. There isn't a weak point to be found, everything is utterly brilliant and the albums moving, emotional poetic breaks performed by Mikee Goodman on "This Ship Has Sailed", "The Moon's Been Gone For Hours" & "When It Rains" perfectly fit the theme while juxtaposing the musical intensity of the Metal tracks persona. Upon writing this Ive learned that Justin Hill left the band before the record, his replacement Joe Rosser barely noticeable, fitting snugly into the Sikth sound with a similar vocal style.

Reflecting on the current social political state of affairs, Sikth's concurrent theme of disconnection from nature seems the ideal stage for their statements littered throughout insightful lyrics. The most potent of which found neatly packaged as punch lines in the illuminated choruses and hooks that spark every song. "Century Of The Narcissist" remarks on the sharing obsessed social media generation and the impact it will have on us. The best of it comes out in the choruses "Money makes the world go round, they weave the web without a sound" breaking from the frantic screech and shouting to glossy melodic, sing along hooks that will make wonderful moments live.

Each song is armed with these hooks and the compositions are thick, dense, rife with ideas. Never does a song get dull, the compositions find plenty of temperament to direct the energy into different direction with passageways of Post-Rock melodic, shimmering acoustic guitars, djenty time signature break outs and all sorts of creative avenues. In its density the band fly out the traps with intrepid riffs, bouncing off one another with lively fret board blazing melodies interwoven between chugging grooves. The drums charge down with an arsenal of tricks to liven the show, in every song you can hear stunning moments of creativity that might pass you by with an inattentive ear. The bass gets in on the action making itself known with jiving high strung slaps to rise from the backbone groove and add some aesthetic dazzle.

I touched on it before but this album is simple loaded with stunning sing along moments as the choruses come with a masterstroke to elevate what are mostly already excellent, absorbing songs. Guest vocalist Spencer Sotelo of Periphery may steal the show with one of the albums best, his powerful, bright, pristine voice is quite possibly becoming my absolute favorite in this generation of Metal. It all comes together through a production that I barely noticed. A total compliment, everything feeling so together and on point that never the texture of the instruments come into question, or do they ever clash. The albums flow is superb, each song a pleasure and rolling from one to the next you'll find yourself at the end drooling for more. If I had any criticism it may be a lack of the experimental flavor tracks like "Emerson" and "Tupelo" brought their debut, however it in no way feels lacking of a need for it. The album stands on its own two and those elements of their sound are left in the past. "The Future In Whose Eyes" is utterly brilliant, a contender for best album this year.

Rating: 9.5/10

Tuesday, 25 July 2017

KRS-One "The World Is Mind" (2017)


Hip Hop legend Kris Parker, also known as KRS-One, is a phenomenal voice in Rap music. He was there in the golden years with the group Criminal Minded who dropped their influential debut back in 1987. His musical partner Scott La Rock was killed during the recording of their second album which eventually set Kris onto a solo path, releasing his brilliant "Return Of The Boom Bap" solo debut in 93. Since then he has been rather consistent releasing records every few years up to this day. Kris is a very bright and intelligent voice within the Hip Hop community with an eye for observation and mouth for impacting social commentary. His talent for clever, witty lyrics with a sharp, potent point holds up to this day, flow and delivery so fine tuned its probably effortless now.

"The World Is Mind" plays like a rolling collection of strong 90s themed instruments with thoughts, topics and ideas brought to them through the lyrics. Pretty standard stuff, no overarching theme, unpredictability or challenging sounds. In its strengths it falls down, covering no new ground and rarely providing a spark of excitement, doing the old formula to a science. Kris recycles lots of themes, stories and commentaries Ive heard him recite before. He criticizes the modern scene, talking down young rappers and boasting about how it was done "back in the day". Its all delivered with the finesse and brilliance you'd expect but its a tired experience when tuning in with oldskool rappers who haven't evolved their direction.

Littered through the album you can find knowledge and wisdom in various lines, verses and themes of the track. Kris's rap style is as potent as ever but given my tiring ears for a recycled sound it becomes a bit dull against the rigid boom bap beats that barely evolve beyond their entry loop. A few modern ideas emerged on a scarcity of tracks like "No Problems", using lush synth sounds and snappier beats. This would of been stellar fifteen years ago but in 2017 their is more exciting music happening elsewhere in the scene, I can't fault the record for anything other that not been inline with my taste right now. The record does however wrap up with a fantastic title track, a poetic fable deciphering the album name meaning, that the world is constructing in your mind.

Favorite Track: The World Is Mind
Rating: 4/10

Monday, 24 July 2017

Manet "Dark Side Of The Valley" (2016)


With my late night rabbit hole browsing of the Internet Ive stumbled into another Doom Jazz artist! Perfect, I was looking for more after being introduced to the genre via Bohren & Der Club Of Gore. Manet is a one man band project from Norway, this being the fifth of sixth releases and on my initial listen I felt the same crime riddled city blues of moonlit streets, smokey alleyways and shady dealings that I have so far identified as the Doom Jazz vibe. With each passing listen the experience grew and although this record has a similar tone, aesthetic and pace, its ambience and vibe didn't journey to the same city, or any place at all for the matter. Although soft yearning pianos and a suspect VST trombone murmur in similar shadows, it doesn't feel as Jazz like as one might expect.

With a template of deathly slow pacing, quite, unmoving drums and slow, cautious instruments one would suspect there isn't a lot of depth to the genre, that's a dangerous assumption. Despite a composition and tonal similarity none of these songs spark that rich atmosphere my previous encounter had done. "No Rest For The Dead" may stir some emotions with its elevated lead piano but mostly the record just passes by, only managing to stir so mediocre atmosphere and soft ambience. The record finds a strong moment with "Movember Pain", a reference to mustache growing? The soft groaning of distant whirling synths over its backdrop strings gave me goosebumps!

I believe this records shortcomings is in what is most likely a digitally composed piece with VSTs and the like. Because everything is tentatively slow, soft and quiet, hearing the distinctions of an electronic instrument isn't so obvious. Listening back to Sunset Mission again in comparison It becomes very vivid how much life and character each musician breathes into their soft and subtle playing. Manet also misses a very expressive saxophone or trombone like instrument that can act as a voice for expression amidst the slow smokey atmospheres. Its a reasonable effort but obviously amateurish in counterpart to a professional Jazz outfit.

Favorite Tracks: Movember Pain, Obscured Visions
Rating: 5/10

Saturday, 22 July 2017

On Reflection: Linkin Park's "One More Light"


Two days ago we lost a voice in the Metal/Rock community, tragically Linkin Park's lead singer Chester Bennington chose to take his own life. It comes around a month after his close friend Chris Cornell did the same, a lot of voices are speculating he would still be alive if Chris where too. Chester has spoken openly about his childhood abuse and inner struggle in the past and with the reality of his actions we now realize the extent of pain and suffering he was going through. In my teenage years Chester was a big, immensely talented voice in our generations music and their massive album Hybrid Theory remains the most popular Nu Metal album to date. I never kept up with the band over the years however that record holds a special place within.

I recently decided to check in with their latest release One More Light, mainly due to a morbid curiosity with the media backlash for the bands change in direction. Listening to it again the record feels almost unrecognizable when focusing on the lyrics. My main criticism of the album was that of a disingenuous feeling between lyrics that glorify pain and suffering through what were yesterdays squeaky clean, sunny pop sound. Now reality illuminates the authenticity in his words, the sincerity all to raw to accept. Listening back to the classic "Crawling" again sounded like a whole new song, a chapter had been closed on that page. The words "crawling in my skin, these wounds will never heal" have a tragic weight about them now.

The point of this article is perception, the master of our reality. In my case a sense of a disingenuous expression has turned out to be utterly false. Ill never enjoy this record now as its drenched in a harrowing sadness given Chester's passing. Whats to be learned is the same lesson I'm trying to teach myself all the time. Everything is just a perception. You are a perception of yourself, you only perceive others and that all comes with a wealth of ignorance that our minds bypass in order to give us a sense of understanding. We are wired to think we know best when we actually know an infinitesimal amount of whats to be known... I conclude that we should grant artists some authenticity with their music, regardless and lessen our instinct to pass judgement. The same should be said of people in our day to day lives too, for we our all capable of feeling pain and should never let those expressions fall on deaf ears.

RIP Chester

Thursday, 20 July 2017

Tombs "The Grand Annihilation" (2017)


To write this post I had to remind myself why I was following this band. I think my interest In this sort of Metal is slowly wavering but after an initial disappointment, a more few spins gave me a clearer image as the music came to my mind. I was quite impressed by the Brooklyn bands 2014 release Savage Gold, listening to it again reminded me that Tombs are a very temperate, measured band that seek atmosphere in the pacing and patience of their music, a Post-Black Metal venture with shades of Death Metal casting a spell of unforgiving doom without any cheep thrills.

At forty eight minutes its quite the grind, a bleak, monotonous grind of unearthly rumblings in the mist. Tremolo shredded notes pluck and propel us forth into the baron wastelands as icy lead guitar licks breath some life into the desolate setting. Intensified by bursts of blast beats and interchanging dissonant chords, the occasional Thrash Metal intersection makes itself known as the songs cruise through a construction of riffs that sway the tone and direction with craft and intention. These songs are well constructed, without straying to the grandiose or loosing its sense of burden, Tombs hold together a consistently heavy, gloomy tone that creeps in subtle climactic moments with guitar shifts leading to sorrowful yet elegant solos. The deep bellowing vocals of Mike Hill adds to the damning atmosphere, there dominance over shrill screams much more preferable and fitting.

There's a lot to praise on this record, its obvious these are talented musicians with a good ear for song structure. The production is sturdy, crisp and clear instruments with enough mud in the tones to bring about the bleak atmosphere the band conjure. There is little to fault but my enjoyment is saturated. When its playing it makes for good company but in its absence it barely crosses my mind. As I said before I think its just my taste in this style that is fading. Nothing wows or feels unheard, unexpected, its all become a bit of a routine journey into a familiar shade of darkness.

Rating: 5/10

Wednesday, 19 July 2017

DJ Shadow "The Mountain Has Fallen" (2017)


With a new album on the horizon DJ Shadow drops a short, four track EP to get us warmed up for whats ahead. It sparked my interested thanks to its guest features, the legendary Nas of Queensbridge and new blood Danny Brown who both drop strong verses on their respected tracks, the chemistry between Shadow and his featured rappers is an interesting aspect for a reasonable set of Hip Hop instrumentals, with only the closer "Corridors" providing some genuine impressions of notoriety.

"Systematic", possibly a play on Illmatic, has Nas breaking down the self serving nature of the dominant power structure that governs our western society, then using it metaphorically for self affirming rhymes. Shadow deploys a relatively comfortable beat for the 90s era rapper with Boombap beats and a plucked guitar groove that gets expansive in the chorus with a range of colliding laser like samples and upfront vinyl scratching. Its got energy and charisma, its own sound but nothing special. "Horror Show" steps out of the comfort zone to accommodate Brown's persona with off-kilt beats that dizzy with seemingly two overlapping grooves playing off one another. Action effects stack up in the spaces between while evil super villain synths clime the notes to ascension. The tone is slightly manic but I can't help but feel the drum sampling would of benefited from something slicker and modern.

"Good News" feels like an experiment left unfinished, a spasm of drum kicks and snares messing around with time signatures seem to lack any groove. The glitched manipulation of samples may be reminiscent of IGORRR but it has no pzazz. "Corridors" is the albums best as a progressive song that builds up its atmospheric synths to meet a hard thudding bass kick decorated in reversed samples and lavished with layers of noisy sampling that increases in intensity to break into a calm moment that brings us back with a crescendo string section that doesn't really climax the song and then the needle skips, stutters and were out. Interesting listen but very little here to return to.

Rating: 3/10

Monday, 17 July 2017

Vince Staples "Big Fish Theory" (2017)


It was only a while back that I was introduced to the young Compton rapper. Summertime '06 won me over so another album springing up so quickly Is a pleasant surprise. Big Fish takes of where Summertime left, working with the same producer Vince retains the distinct production style behind his rhymes, sub baselines crunch under tight shuffling hi hats and steady, cautious snare kick grooves. Where Summertime had a smoother tone with fragrant samples and a more "traditional" Hip Hop vibe, Big Fish takes a turn to new territory with strong influences from House and Electronic music that has much of the instrumentation used performed by an array of synthesized sounds.

 The album kicks off with "Crabs In The Bucket", if you removed Vince's voice from the track it would unrecognizable as a Hip Hop track, Its sweeping wind synths lead us into a smooth Dance groove with Kilo Kish laying down soft, echoing vocals over a climatic jiving baseline groove reminiscent of G-Funk. This tone follows through the record, many tracks would fall into another category if it wasn't for Vince's rhymes and that's the albums brilliance, Its abridged styles and created something of its own, a unique fusion that seems just right for this artist. The records tone has a rather cold and spacious quality, many of these crunking baselines and tight shuffling beats intersect with abstract electronic noises without an upfront melody. In response the baseline rhythms become a focal point of direction and Vince's often flat, leveled delivery reinforces the chilling tone. It works especially well when his lyrics go into darker regions.

With a handful of banging baselines and catchy hooks the album sets off fires in one instances and puts them out with its quirkier tracks that don't quite vibe the same. Not to say they are bad tracks but there is a note able difference despite a rather consistent tone. I like Big Fish Theory for its unique crossover between style two genres and much is to be merited for that success but it doesn't mean all the songs are automatically destined for greatness. With new territory comes new challenges and through the thirty six minutes I felt as if there was an imbalance between the quirky, rhythmically arranged synths and an opportunity for more dance laden melody and atmosphere, however that's just a matter of taste and unfortunately what started out as a really interesting album started to fade somewhat by the tenth listen or so as the overall picture of the record came into view. The songs just don't quite hold up and an overall direction is lacking, most notable on Alyssa that comes in with a long vocal snippet that has seemingly nothing to do with the rest of the record. The great ideas are scattered in here but they don't find their way to cohesion.

Favorite Tracks: Crabs In The Bucket, Love Can Be, 745, Bagbak, Rain Come Down
Rating: 6/10

Saturday, 15 July 2017

How Do I Rate Albums?

The reality is that us humans like to measure value with numbers and systems to condense the unique and personal experiences. The need to simplify and digest information is strong yet Music is subjective, like art, cinema, etc... Despite this we are wired to be appeased by rating systems and the like. To me its all rather trivial and yet I myself have a rating system on this blog. That decision was mainly for myself as I frequent back to the blog to remind myself of records I'm fond of and listen to them again, id hope the words would do more for the reader than an arbitrary number stapled at the end of a post.

My aim is to describe the nuances of what Ive heard, the emotional response and other thoughts that swirl through my mind as I listen. Sometimes I feel I articulate myself well, on other days not so much but my aim is to write frequently as I get though records. Its an exercise that's therapeutic and useful as a means of self expression and memorializing. The words wont always come out right but the moments where they do are fantastic. Where I don't quite hit it off right the practice of engaging with the process continues and the record of my musical journey resumes.

So what do the numbers mean? They are in a sense a buffer between other records. Everyone has their 10s and based on my enjoyment of a record, the numbers will fall into place accordingly. This is why the words are important too. Take for example Deathspell Omega album I recently reviewed, I could understand its merits, marvel at its technicalities and appreciate its vision yet the emotional connection wasn't strong. Subjectively a lower score than a "objectively" higher one. For me the musical experience Is about finding that connection with the artists vision. Albums that do it best will give me goosebumps, adrenaline and feels time and time again, these are the ones I rank. In short its less about objectivity and more about the subjectivity of my own taste.
  • 4 - Were starting this list near the middle. Four is the benchmark, the passing grade, an entry point. This number represents a comprehensible listen that has what it takes to get an enjoyable listen out of the run time. Its the sort of record that doesn't do a lot wrong, but nothing spectacular either. Everyone's turned up, done their part and the result is mediocre.
  • 3 - A three tips its toes into the negative. Something things are a turn off, ideas fall short and in general the experience gives you the impression it could of turned out better, despite not being awful.
  • 2 - At this point were straddling the threshold of tolerance, a lack of attributes to get on board with and the stench of disappointment turns the air stale. The kind of record you'll never remember a second of.
  • 1 - Not a lot to say about these records, its only merit is its better than silence.
  • 0 - A rarity in its own, to find something so intolerable and irritating that silence would be preferred. Ive only come across one record I gave this score, it was a total and utter turn off were every idea fell flat on the floor. Doubt ill find another so awful.
  • 5 - Now lets good to the good stuff. A five is like a four, however some there is stronger music in store. Not the kind of record to return to but would at least have a song or two that may peak my interest.
  • 6 - At six we can find the music that hits the feels, the sort of record that will lure you back for another listen time to time. Good, strong music occasional with some flaws or quirks.
  • 7 - Strong records full of good songs find themselves at seven. These album Ill come back to often to hear those favorite tracks or the whole record, depending on my mood.
  • 8 - This is where the music I cant get enough of starts, eights and above are my classics, the music that hits me hard in the feels, gets the blood pumping and adrenaline flowing.
  • 9 - A nine is like an eight, just some how its a little better, if that's even possible. These three are all pretty similar in my mind, there just needs to be some system for ordering the best of the best.
  • 10 - My all time favorite records. The ones that hold a special place in my heart. If I write about a 10 its for a good reason, and I am very doubtful of a new record becoming a ten. It usually takes years and years of listening to full verify the musical enchantment at work!
That's about the best I can explain it, with a little humor sprinkled in of course. A few important things to note, length effects the score. Anything below thirty minutes may loose a mark or two. This blog is about albums, I love an experience that unfolds between thirty and seventy minutes. Anything shorter can be equally brilliant but I prefer to indulge in those musical realms rather than swing by for a brief visit. Another factor is my mood. Sometimes writing is easy, sometimes hard and my connection with the music can change on a daily basis based on whatever the chemical in my head are doing. I often go back and revise the number a few days later once the dust has settled so to speak... Thanks for reading this! Hope you enjoyed it. I thought it would be fun to try and explain what a rigid system of numbers means in the spectrum of experience.

Tuesday, 11 July 2017

Slowdive "Slowdive" (2017)


Waiting for Run The Jewels to headline Field Day in London, my ears were captivated by a beautiful haze of Ethereal droning coming the rammed tent where Death Grips had played earlier in the day. As I shuffled my way over, nursing a hot tea, the bands logo hung in massive letters, dwarfing the band members and I found myself in awe yet unable to stay. It looked like one heck of a show but I wanted to see them properly, not just for fifteen minutes before Id have to charge over to the main stage. I covered their EP Blue Day a while back but never got around to the rest of their discography. They were a short lived band in the boom of 90s shoe-gazing and couple of years back reformed, resulting a new self titled full length, notably their debut record was also named Slowdive.

The album bleeds into itself, in the same way the music does. Every moment drones on with lush melodies, falling into shimmering reverberations as soft serene singing ushering in a lullaby state of relaxation. Where these songs retain themselves in an eternal moment found through blissful shoe-gazing, the album consequently feels as if its without progression or direction. Whatever song is playing, that is the moment right now, any order of songs could of proceeded. I love how consistently soothing the calming mood and hazy tone of the record is. Its as if its without start or end, forever stagnating within its own slice of time.

As one singular experience there's barely any strong or weak points, its all very steady and even. A few songs start with the bare bones, slow, cushioning drums and warm baselines wait for the eruption of epic scaling guitars to come crashing in with a thick wave of echoing wonder. Its all rather somber and melancholy yet the flickering of tuneful melodies shining through the walls of sound give it a warm uplifting air. The voices of the two singers, Neil and Rachel, bouncing off one another resonates deeply into the music and can often be "that moment" in a song when there words peak through the haze of sounds. For forty six minutes it is a sweet musical indulgence, one that could of gone on for longer. As I mentioned this record is like one continuing moment, if your in the mood for its meditative vibes then its a real treat to be enjoyed.

Rating: 7/10

Sunday, 9 July 2017

Ho99o9 "United States Of Horror" (2017)


The New Jersey duo Horror, stylized with three nines, blew me away with a wild performance at Download Festival last year. Their anarchistic fusion of Hardcore Punk and Hip Hop has a lot to offer, unfortunately their EP Dead Bodies In The Lake didn't quite live up to the hype bar one song. With their debut full length, things are different, the ideas are in sync are ready to bombard us with rebellion and chaos. Released a few months back, this one managed to sneak past me, in a moment of excitement I foolishly ordered an import copy from America, rather than checking Amazon... A silly mistake that cost me a pretty penny and had me waiting a few weeks more to listen. Given the bands underground vibe I figured it would be hard to get hold of but as everything is commodified these days its no surprise to hear they are signed to universal records with worldwide distribution.

The music is the message, and horror's message is a weapon, aimed at our societal norms and the values that need questioning. Kicking off with a child reading a corrupted pledge of allegiance, swearing loyalty to the nines, the duo fly head first into the critical mindset to set a spotlight on the perverse and corrupt. It rattles off at a sprint, flying through short burst of songs, swaying between its fast guitar thrashing metallic Punk and the dark, disturbed Hip Hop personas with an unusual ease. The styles are held together with a strong Industrial current of pounding mechanical drums and pumping, dense electronic synths that electrify the sound and give power to the wild energy the pairs dissatisfaction inspires.

Retaining a twisted atmosphere, the album drifts into its Hip Hop persona effortlessly, the tropes easily corrupted to fit the anarchistic mold, the fast shuffling Trap hi-hats and dirty sub baselines are menacing. "Hydrolics" takes up a fantastic opportunity to lace the track with a thick layer of sarcasm that serves their purpose well. Its a real collision course of sounds that the two use to forge a unique and distinct person that comes to fruition in the diversity through the track listening. Each time they lean into Industrial noise, Hardcore thrashings or devilish Hip Hop, it comes out the mixer with a distinctly different sound yet through all this diversity the album flows a charm.

I enjoy this record more so based on my mood and apatite, where sometimes it isn't as appealing or enjoyable. Objectively, I think all the positives here really add up to something special. As much as I like the idea of the chaos this duo brew, It isn't always my preferred taste. The way they have fused styles is inspired and unique and this debut full length comes together with a plethora of ideas and some solid direction. From here the coin could spin either way, I hope the continue to push and redefine themselves as the best could be yet to come.

Favorite Songs: Ware Is Hell, Face Tatt, Knuckle Up, United States Of Horror
Rating: 8/10

Friday, 7 July 2017

Power Trip "Nightmare Logic" (2017)


I was lucky to catch this band supporting Napalm Death at the Electric Ballroom a few months back in London. They put one heck of a show, I was captivated after one song and loved their set. Of course I had to get myself a copy of their latest album, a fast, to the point thirty three minutes of brutal thrashings spanning eight tracks. Hailing from Dallas, these Texans have been at it for almost ten years and as far as I can tell, this is their sophomore full length.

The band sound right out of the 80s. A fast ripping, power shredding Thrash Metal band with frantic chugging grooves laced between gritty metallic shreds and tight picking rhythms. Tinges of Crossover creep in and a Slayer like darkness marks their sound with eruptions of wild, noisy frantic solos that burst into the fold between conventional thrashing sections. Its quite atypical of the genre but well thought out and inspired, rather than repeating old ideas the band reinvent them with some vigor and resiliance.

The eight songs take on the same tone, intensity and pace with very little to break them up other than some echoing, reverberated effects between a couple of tracks. From start to end its all killer no filler. Hard to pick a favorite however "Ruination" stands out for its frighting gang shouts and the front mans beastly screams coming to life on the chorus. His shouts are audible and gritty, drenched in reverb to give it a sense of scale that falls inline with the music.

Its a weighty record with a well formulated thrash persona, a sturdy production that brings the sweet spot of the fast open string muted picking to the forefront of the sound. As a whole it possibly lacks one thing, some "break out" moments to sweep you off your feet. It pummels hard and fast but none of the riffs defy expectation and so its a cracking head bangers listen but lacks that spark to add memorability to the songs. Other than perhaps having the potential to do better this is a great listen.

Favorite Track: Ruination
Rating: 6/10

Wednesday, 5 July 2017

Puff Daddy "No Way Out" (1997)


I have a vivid memory of a brief moment in my childhood back when my record collection was just starting. I recall the busy wintry high street, the sizeable store, the layout of the sanitized shelves and myself picking this record up and staring at it for ages. I vaguely recognized the name Puff Daddy but had no idea who his family were, or that the Notorious B.I.G was one of them. This was back when every record on display was a mystery, something of interest. I had permission from my parents to buy one album and after contemplating for sometime I believe I settled on something I knew, Micheal Jackson if I recall correctly. It occurred to me a while back that their is nothing stopping me from ordering myself a copy. Its a strange sort of nostalgia, hearing something for the first time yet knowing this would of been "that" album to bring me into the wonderful world of Hip Hop.

No Way Out is Puff's debut as a solo artist, one that unsurprisingly incorporates many of the artists from his Bad Boy records who huddle together to make one heck of a statement. Its a marvel of the 90s sound but finds itself having a unique angle, the death of Biggie Smalls who was assassinated during the recording stage, he appears on three of the tracks delivering his usual brilliance, it has a strange contrast when Puff's lyrical direction is reflecting on death and people around him dying. Its saddening and captures a very dark moment in Hip Hop history direct from one of Biggies closest friends.

The music is on point, a classy production that brings out the best in the scenes transition into less sample orientation with programmed drums and instruments. There is however a lot of interpolation and snippets loaded between the beats. As the lyrics lead, the instrumentals reflects on a healthy variety of vibes. Summery, uplifting tales of wealth and success with bold jiving grooves can then swing to the shadows as they dive into the gangster oriented braggadocio with shades of Mafioso Rap and the horrifying sounds of gun splatter. Two sides of a coin that find a path as the record flows smoothly between its luscious Disco, R&B influenced tracks and its gritty, tragic side.

Production is Puff's strength but as a rapper he does nothing wrong. Such an easy flow and tone of voice amends his lack of lyrical gymnastics or tenacious wordplay that other rappers use to dazzle. Smooth and steady his very direct use of language goes down a treat, engaging us in his thoughts, narratives and stories at a steady pace. This of course resonates with the moment this record resides within, immortalized by the tragedy that looms over tracks like "Pain" and "Is This The End", where Puff picks up the pace and holds his own with some tighter flows in brief moments.

The features across this record are great, everyone brings their best and The LOX turn up again, I keep hearing them dropping slick verses, featured on many records. Their debut, released a year later, hasn't particularly aged well with me, perhaps they save their best for other peoples records. Black Rob really impressed me with his rhymes on "I Love You Baby" and Faith Evans on "I'll Be Missing You" gives so much soul on a fitting tribute to the death of Biggie. Ive always adored that song, I fondly remember watching it on MTV as a kid, perhaps that's were I knew the name Puff Daddy from, all those years ago.

No album is perfect and as stunning as this one is it has a couple of duller tracks as it draws on. An icky skit at the end of "Friend" we could of done without and the final track, a remix of "The Message" just doesn't hold up, its a bonus track but the rhymes and tone of Puffy and Mase just don't gel with the beat. Other than that its a pretty stellar record that Ill be enjoying for years to come. Should of brought it! But hey maybe I wouldn't of appreciated it in the same way back then.

Favorite Songs: Victory, Been Around The World, What Are You Going To Do, Don't Stop What Your Doing, If I Should Die Tonight, Do You Know, I Love You Baby, It's All About The Benjamins, Pain, I'll Be Missing You
Rating: 9/10

Monday, 3 July 2017

CKY "The Phoenix" (2017)


The legendary CKY from West Chester, Pennsylvania, also known as "Camp Kill Yourself", were a fond part of my youth. Soundtrack to the CKY movies full of skateboarding, pranks and tomfoolery, their songs were drilled into my mind as we watched them over and over alongside Jackass. I often return to their first two records and had the opportunity to see them live for the second time in a small and intimate venue recently. It got me hyped up for this record after having barely heard a thing from them in over a decade.

This is the bands first record without former front man Deron Miller who departed back in 2011. He's one of the original three and in his absence Chad Ginsburg has stepped up taking on the vocal role, performing the guitars, synths and continuing his duty as the bands producer. In Deron's absence their persona hasn't been tarnished, the music comes from the same place and Chad has the voice to fill his boots with a very similar vocal style that you may not of noticed had changed if you picked this record up unknowing to the lineup change.

The Phoenix is an album for the stage. Fun, lively and energetic, full of charisma. CKY continue to develop their unique sound while boldly showing their influences as flaming guitar licks emerge from their more traditional, grungy power chord grooving. With Chad in the limelight he takes the opportunity to show off his inspiring guitar skills with tones of wild, soaring guitar solos, blazing a trail of notes to try and keep up with as he quite frequently gets into the roll, especially on "Days Of Self Destruction" where the last ninety seconds of the song is dedicated to nothing but the shred!.

Many of the songs have similarities to their early classics, however they feel fleshed out with thick instrumentation that has synths humming between the cracks of bold audacious baselines that prowl and groove. The guitar leads stack up over the power chords with short lively melodies and Jess's drumming holds in all together with a subtle roll to gel everything together without being overly present. The sort of performance to impress when given due attention.

I love the density of this record. Without being overtly heavy CKY shine on the musicality that loads every passing moment with depth as everything has an intricacy. Although the song structures are rather formulaic and many sections repeat it always feels big and ambitious without being "heavy". Chad's Hard Rock and Funk influences definitely make themselves known here without taking away from their core sound. Its a very solid record with a few songs to match some of the classics.

Favorite Tracks: Days Of Self Destruction, Wiping Off The Dead
Rating: 7/10

Saturday, 1 July 2017

Timothy Steven Clarke "Tribes 2" (2001)


Following up on the Starsiege soundtrack we have another title from the same universe of mechanized PC games published by Sierra around the millennium. Its the only other piece of work Timothy has had published under his name. Tribes 2 is rather similar beast, fusing Industrial noise with metallic guitar licks and a whole host of bombarding samples for a dense and weighty soundtrack.

This time around the experience is a toned down and tied together for a less abrasive, unsurprising listen, in favor of a more consistent and metallic experience. The distortion guitars are notably more present, louder and driving, sometimes offering big mechanical chunks of groove with clunky, robotic power chords or occasionally drifting into the distance, behind the other sounds to provide a layer of depth. A few quirky lead licks, soaked in flange, reminded me of Korn, a possible influence, however the direction is far more Industrial Metal with a distinct lack of a focal melody. These songs lay down sizeable industrial foundations to parry away any obvious sense of tune. Armed up with fast percussive loops and endless samples and whirling synths, dense blocks of sound pave the way for, distorted, manipulated cultural singing samples to rise to the top, becoming the focal point of a cybernetic noise storm.

The record consists of seven tracks, which appear to be themed around levels or arenas in the game, all roughly four and a half minutes. It is obviously designed with the game in mind and so the records and songs themselves start and stop with not much story or progression, probably as they were designed to be looped during game play. An exception to "Badlands" however, the guitar takes on a form of its own as the song builds tension, devolving into a riff fest that expands into somewhat of a solo, quite a nice touch. Either way it fits right into that quirky era where Industrial Metal's popularity crossed over into game soundtracks. I'd like to hear more of this if I can find some.

 Favorite Tracks: Desert, Ice, Starwolf
Rating: 5/10

Wednesday, 28 June 2017

Code Orange "I Am King" (2014)


Code Orange's latest release Forever was certainly an intriguing listen when we look past the apparent upfront brutality. Released three years earlier, I Am King is the groups second release and one I am far more fond of, where Forever has a manipulating hand of mischievous intent that seems to intentionally derange the music, this release is much more conventional however they strike a balance where the unorthodox and heretic meddles within the walls of expectation.

Kicking off with a booming, harrowing synth, chopping in and out of focus the band fire up moments later with a manic wall of sound before dropping into a fiery guitar thrashing. It breaks to noisy dissonant chords, dense in atmosphere then jumps forward into a bouncy Nu Metal like riff. Then with a switch into a circle pit paced hardcore stomp, back to the wall of sound and then slamming into a beat down it sets us on a ride. You get the picture, its all over the place, back and forth, setting the tone for whats to come, a restless erratic energy that will switch and shuffle on you seamlessly, despite the difference, without a moment for you to rest.

All though this churning is true in parts, after the first track things seem to fall into place, each song focusing on its flavor of chaos that emerged in the opening calamity of styles. "Dream In Inertia" offers a different spice, its a slow dreary track of gloomy echoing acoustics and hammered out power chords slugging at a slower pace, the band come back to this on "Starve" and the two break the flow. It holds up well between a constant pummeling of ripe, enthusiastic fist thrashing heaviness of hard, angry music that's got the boldness to strike for atmosphere and use slow bludgeoning riffage as its weapon of distraction.

This would of been a much better introduction to the band. For thirty two minutes they have you at their mercy, within familiar conventions. The sprawl of aggression is menacing and it kicks hard and doesn't let up to its last breath which suits a short listen well. The albums production is rock solid and captures a lot of texture and tone in the guitars which is important in its dissonant and noisy sections. A much better record than its successor however that wild experimentation may have something yet to give. A mix between these to stages would be ideal.

Favorite Tracks: Slowburn, Alone In A Room
Rating: 8/10

Tuesday, 27 June 2017

Erang "Songs Of Scars" (2017)


The unwavering inspiration and output from our beloved French musician Erang strides onwards! After King Of Nothing reunited us with the land of five seasons, Songs Of Scars returns to the mysterious Sci-Fi dystopian realm of Anti-Future. Its presentation, a striking front, sets the tone. The eerie gaunt corpse painted skull featured in much of Erang's artwork stares us face on. The bold red font illicits the danger that lurks, the subtitles set the stage for a soundtrack of freight.

Where Anti-Future stepped into new territory, Songs Of Scars owns it. These deliberate compositions set the perfect tone for your John Carpenter 80s flick. The breeze of suspense, a soft paranoia, the looming of evil and smog of future tech all from the comfort of your sofa. Its a true soundtrack, one that needs no cinema in front of it convey the atmosphere it will soak you in. Each song a master stroke of tone to illuminate the never ending nightfall in which our adventures will play out.

Aesthetics is king and with a touch of minimalism and measure of balance our synthetic instruments, buzz saws, sine waves, bells and strings, swoon in their glossy packaging. With just a few key sounds resonating on one another, the bold, rich textures and gorgeous reverberations dazzle and delight as the songs play simplistic and singular melodies. Chiming notes cast the spell as they play off one another. From gleaming bells of fortune to deep swirling, sweeping synths of despair every song finds its own degree of the chemistry so swiftly established as the record begins to spin, bar the first track.

Despite sections of repetition on reasonable lengths of song, the craft carries the music forward, along with the slow, steady, often bare yet effective snare kick drive. Instead of opting in to key shifts or tempo changes Erang find the opportune moments deliver magic in the form musical unwinding of sensual events with swirly synths dancing without a melody to conjure a vision. This never feels overplayed, in fact the balance across the record feels stunning as these imaginative atmospheres conspicuously lure us through there transitions. From front to back It feels like every opportune moment has been realized yet fed to the listener unknowingly.

Where Anti-Future left me with a lack of event, or teetering for something more, Songs Of Scars fully satisfies. The subtle unfolding of songs in their minimalist exterior fleshes out a journey the atmosphere inspires. There are some favorites that come to mind, on occasions where the drums muster up more energy and the instruments find a colorful melody the tone borders on a form of dark Synthpop. "Street Klowns" takes the cake for its mischievous, quirky sounds, grooving, playful and fitting the mold! It makes a break to the traditional Erang Dungeon Synth sound, linking the ages together. "Metal Magic Madness" also opens this rift between worlds again.

With all this magic at work, I strangely enough find the opening and closing tracks, "1984" and "2084" to be rather underwhelming in comparison to everything else. The intro a bit to energetic and overly synthetic, it doesn't quite address whats to come, equally the outro doesn't unwind as much as I think its sweeping synths intend to. At fifty one minutes the record certainly entertains for its duration and may just be Erang's finest release yet and definitely the best of "The Last Age" records.

Favorite Tracks: Sequenced Suicide, Street Klowns, Home Schooling, Ruins Of The Lost Underground Kingdom
Rating: 9/10

Monday, 26 June 2017

Delerium "Semantic Spaces" (1994)


Id not heard of Delerium before receiving this recommendation, however I had heard the Tiesto remix of their famous "Silence" Trance song. I'm also familiar with Front Line Assembly a Canadian Industrial group who flirted with Metal on their most commercially successful venture "Millennium" released the same year. Bill Leeb and Rhys Fulber of the band formed this side project in 1987, a year after FLA, and released a prolific seven full lengths before this release, which is one of three in the year of ninety four. Its a lengthy record of steady moving electronic pieces tinging on ambience and encompassing a eastern, worldly cultural influences, very much reflective of the times.

With an arsenal of synthetic instruments the two line the back bone of these songs with layers of smooth flowing electronics, light and short wanderings of shimmering melodies, a few select sections of composition interwoven to form a dense music current that runs the course of these lengthy tracks. They are steady, smooth, calming and conjure a mellow atmosphere that's slightly juxtaposed to the actual level of instrumental activity. Looping percussive samples and bold, plump baselines hold the repetitions firmly in place, gluing the instruments together as they set the stage.

The magic happens in the forefront, this thick spine of instrumentation goes through the motions, expanding, contracting, coming and going with the flow of the music. Its the airy synths, feminine vocals, soft pianos and lead synths that inspire direction and determine the path the songs take. Some distinct cultural sounds come to this stage, eastern flutes and Gregorian chants sung by monks and choirs give the record an ethnic root that contrasts its electronic and modern persona.

With a firmly nineties electronic sound one can hear all sorts of influences from Trip Hop, to Dub, Trance, Downtempo, House and all between. Its a melting pot of that eras sound and it comes together seamlessly. There's little to criticize, the music is inspired and creates quite the setting for thought and indulgence however its not particularly thrilling. The smooth and easy flow often stagnates in places as the songs strength beyond the seven minute mark with not much more than a repeat of a previous segment. I may return to this one again, It feels like the sort of record you could grow to adore if it were in the background of some game, slowly drilling itself deep into your mind.

Favorite Track: Metaphor
Rating: 6/10

Sunday, 25 June 2017

Milk Teeth "Smiling Politely" (2013)


There's not much I could say Milk Teeth's debut EP that I haven't said about their sound already. I wanted to get through all the bands releases and was surprised to hear them establish themselves so clearly two years before Sad Sack. Perhaps I was expecting something a little more primitive, rawer, a prototype of sorts that you can often encounter on a bands first record. The flimsy album cover may of given me that impression, a 60's psychedelia inspired font for the logo and Poochie the dog with his surfboard, the third character from Itchy & Scratchy that Homer Simpson voiced. Its bland pink and white minimalism not much of an appetizer for the music inside.

These songs are as alike as whats to come, Grungy 90s tunes with a hint of Punk Rock and a mild measure of nostalgia. They would slip right in, so much so the song "Swear Jar" explains the "(Again)" appendix on Vile Child, where it was re-recorded. All that can be said is the production, aesthetics, have a little less polish, some roughness around the edges mostly heard in the guitar distortions. Every other aspect falls into place, enthusiastic drumming, passionate shouts and singing, quite interesting to hear the guitar chemistry so potent from the get go. Lots of grooving, moving guitars interlaced with moody effect soaked leads that have a real emotional weight to them. Solid debut, shame about the awful cover.

Rating: 5/10
Favorite Tracks: Wizzard Battle, Grease

Saturday, 24 June 2017

Snoop Dogg "Neva Left" (2017)


Given the mild mediocrity of last years Coolaid and the landmark Doggystyle decades behind him, I had little reason to tune in this time around, however the albums cover intrigued me, a young "Snoop Eastwood" as he might say. The picture was taken in 1992 and the album name Neva Left hinted of something nostalgic at work. Opening with his mission statement, Snoop drops a slick a smooth flow affirming his originality and gangster authenticity over Wu-Tang Clan's classic C.R.E.A.M. Initially I wasn't so sure about the the pairing but like much of the album it grew on me with each spin.

The record has a tight collection of bold beats, mostly with a big and raunchy G-Funk sounds with big punchy synthetic baselines. The songs are lined with tips of the hat to the oldskool, samples like A Tribe Called Quest's "Back in the day" and the occasional use of retro 80s drum machines paint the theme. "Go On" brings the sunny vibes with a classic summer party tune to mellow out to, his guest October London illuminates the song with a swooning chorus that's just infectious. Its not all retrospective though, the records production, handled by many, brings the best of old and new together.

Neva Left is a fantastic statement by Snoop who lays down some of his best rhymes in years, reminding us of his style, persona, attitude and even dedicates a song to his American football league named after himself. It leaves its mark but the record suffers from the same variety that's its strength when songs like "Trash Bags" and "Toss It" cutting in with obnoxious lyrics and trendy beats, the mood suffers. In a stronger light, "I'm Still Here" conjures Snoop Lion and his Reggae love but it sticks out like a sore thumb. Consistency in direction would of served the experience very well.

There are many impressive tracks though, B-Real, Redman and Method Man unite as the four horsemen of weed on the stoner track "Mount Kushmore". KRS-One turns up on "Let Us Begin" with some tight rhymes and brap sounds to blast your ear drums. Snoop brings a lot of guests on, all do there part but the records peak is with "Vapors", a reconstruction of the classic Biz Markie song, the beat is sharp, dense and layered and Snoop's slick flow is perfect for the classic. Its a pleasantly surprising show from the west coast legend who on a handful of songs does his best in decades.

Favorite Tracks: Neva Left, Go On, 420, Lavander, Mount Kushmore, Vapors, Love Around The World
Rating: 6/10