Wednesday 14 January 2015

Swans "Children Of God" (1987)


Swans are an American band from New York who were formed in 1982 by Michael Gira. Whenever I have heard this band mentioned, its always been in the highest of regards. Their early album covers gave me a Hardcore vibe, but after hearing them referred to as "Experimental Rock" I decided it was time to checkout this mysterious group that kept grabbing my attention. I picked out "Children Of God" for its intriguing album cover any vivid symbolism. I found myself entirely blown away on the first listen, I was overwhelmed but what I had just listened to, and struggled to make sense of it. "Experimental Rock" really threw me off the scent. There isn't an experiment at work here, but an absolute melodramatic theater of deity fear and wonder. What little "Rock" elements their are crop up in the occasional use of lightly distorted guitars, but the main concept here is the themes guided by Gira's deep, stagnant vocals that soar with a dark divinity. Theres a variety of accompaniments to the musical, but the most noticeable would be a Industrial style brought in though pounding drums and low, distorted guitars.

After a very powerful and moving first listen, I found myself struggling to make ends of what this record was all about. It feels obvious now, but it has taken me a long time to get my head around. "Children Of God" is a biblical, loathsome and tyrannical theatrical piece that turns an assumed concept that "God is love" and turns it on its head. God is hate, malice and spite, looking upon his creations with judgment and despise. "The sex in your soul will damn you to hell", repeated over and over, stuck deep in my mind. These are the words of a psychopathic being that creates us with instincts and desires it will judge and condemn us for with an eternal fury. Its a trip, through a bleak, despairing wash of inferiority and damnation. It feels like the songs take many forms and perspectives, of which I found "Blackmail" the most intriguing, with Jarobe on vocals, her soft, apparitional performance has a subtle illusion to it, queued by sorrowful pianos. The theme is of love, compassion and want, but the title and the subtleties give it a harrowing and malicious undertone I found to be a stroke of genius. Jarobe & Gira narrate this record exquisitely and guide us through unforgiving messianic scriptures that are truly enthralling.

Instrumentally these songs are very accommodating and theatrical, creating atmospheres to intensify Gira's preaches through pounding drums, droning guitars and eerie choirs. The album plays through on a ying yang approach, with each "heavy" track being followed by light, airy acoustic numbers, its surprisingly organic and seamless, the songs drift through intensities while maintaining the same God-fearing rapture. Production wise, it doesn't cross my mind until I write this now. The album sounds fantastic, capturing everything, leaving no room to second guess. Stunning album, a real journey, and one I initially felt was "too long". The harrowing experience isn't for every mood, and its length is testament to the quality of such a brilliant piece of music.

Favorite Tracks: New Mind, Sex God Sex, You're Not Real Girl, Blackmail, Children Of God
Rating: 8/10

Tuesday 13 January 2015

KMFDM "Our Time Will Come" (2014)


German Industrial Rockers KMFDM have been going strong for over three decades. This, their 19th album, is another in a steady stream of records the band have been producing since 1984. In the 80s the group were producing Industrial music with tinges of Rock and Dance, but it was in the early 90s that they found their mainstream success through an evolution in their sound that would steer them in the Industrial Metal direction. Over the last 10 years KMFDM have matured and fine tuned their sound to a science. The group are immediately identifiable with their own breed of Industrial Metal that incorporates intrepid electronic elements reminiscent of EBM, Aggrotech and Dark Electro. Its a pulsating, energized sound. The icing on the cake is the eccentric militant feel brought across through pounding rhythms and rough German accents. Its a sound I enjoy, and I got a good dose of this record which to no surprise didn't stray far from the sound thats been strongly established in their recent history.

"Our Time Will Come" outlines a theme across these 10 songs that is clearly represented on the cover art, which follows the usual format for this band. Songs of taking power, revolution, workers unity and seeing past propaganda are expressed here in a variety of militant ways, even with some quirkier lines, "I will punch you in your head, until you say I respect you". A lot of the points raised are not news to me, but are expressed in a direct and forceful manor thats positive and inspiring. The theme works great alongside their pounding Industrial Metal sound, a good match.

From a technical perspective the production is quite masterful. An audible execution of bold, strong instruments and sounds working side by side effortlessly. Theres plenty of room for all sorts of quirky electronic sounds alongside aggressive leads, pounding industrial drums and jolty distorted guitars. The album as a whole has a fantastic balance between the electronic and metal elements that give each of the songs a flexibility to execute different ideas within their sound, without detracting from the continuity of the record. These tracks are well written, and decorated with electronic sounds that become momentary leads in the moments the guitars drop out. It worked well as a whole and was another welcome dose of the KMFDM sound.

Favorite Tracks: Salvation, Blood VS Money, Get The Tongue Wet
Rating: 5/10

Monday 12 January 2015

Khold "Til Endes" (2014)


After six years of silence, Norwegian Black Metalers "Khold" return out of the chilling frosty blue with a new, but short record. Khold's brand of Black Metal is different from the traditional Norwegian sound, the group, who's first album "Masterpiss Of Pain" dropped in 2001, have a significant and noticeable influence from Groove Metal in their rhythmic approach, and tonally the guitars have a bombastic dropped chord sound of which you could draw comparisons to Nu Metal, which was in its peak at that time. This influence was most noticeable on 2004's "Morke Gravers Kammer", my favorite of theirs, which plays out slamming groovy riffs in a lush and textural cold, dark Black Metal format. Since this record Khold have not changed their formula much, nor had they pushed any creative boundaries, I was expecting more of the same, and after six years this group return with exactly that.

If your into Khold, like me, then "Til Endes" can be an entertaining record in the right mood, but without any progression to their sound it remains a tight niche they carved themselves into, and honestly its not exciting as it once was. "Til Endes" has a little bit of everything they have done previously, and it doesn't aim to put its focus on any of it in particular. Across these eight tracks the band execute an array of riffs and ideas that span across the spectrum of Black and Groove, and most of which sound like rehashes of old ideas and previous material. There is a slightly Thrashy tinge to some of the guitar work which is accompanied by a Thrash like solo on the track "Dommens Armé". Its not an unwelcome addition, but fails to add anything thats not been heard before.

The production of this record is a noticeable mark behind their previous records, playing them side by side you hear a significant lack of dimension captured across the instruments, giving it a narrow and quiet sound that doesn't exactly tame the music itself. After the ears adjust its a nice, crisp sound with their classic slamming, yet cold guitar tone. The drumming feels a little distant and tinny, the bass plods along behind the guitars and Gard's snarly, growling vocals are captured modestly. Overall this album lacks new ideas, rehashes old ones, and is drowning in mediocrity. For a sound I feel I've heard through and through, it offers me very little in the way of something new to digest.

Rating: 4/10

Sunday 11 January 2015

The Cure "Boys Don't Cry" (1980)


I've been aware of English Goth Rock group "The Cure" and their influential status for a long long time, but Id never given them a listen until recently. I can't count just how many times I've listened to this record, but essentially I have held of from talking about it in search of a deeper understanding of this record and it's importance. Nothing profound has really come to mind, I just found this record to be a simple pleasure, a light and relaxed listen that had a fluency and ease about it that made each song as enjoyable as the last. Maybe thats the beauty of it? In the age of cerebral, introverted extreme music we can loose touch with the pleasures of melodics and simplicity.

Boys Don't Cry is a warm, spacious Post-Punk record that has a tinge of moodiness to it that would later blossom into a Goth Rock aspect of their sound. On this one, the trio stroll through 12 short numbers that create an uplifting and mindful feeling through a minimalist and toned down sound that greatly appreciates the space between the instruments. The kit is soft, the bass kick is padded, the snare devoid of any snap or punch, and the symbols are quiet and low in the mix. The bass lines rock a steady groove, providing a backbone for these songs which Smith's guitars compliment at their own pace, the trio don't overpower there own ideas by trying to give all the instruments something to do at the same time, on certain tracks and moments the bass and drums rock together quietly with Smith's musings, and the absence of guitars works in their favor.

The guitars bring in the most colorful aspect of sound, cleanly strum chords are tinged with flange for a tone that has an exotic touch. Its a splash of color into an otherwise tamed sound. Smith's vocals are enjoyable, I like his strong accent and afflictions, they are the final component of what gives this record a pleasant and warm approachable sound. As I said earlier, I didn't find anything profound about this critically acclaimed record, but its a simple pleasure I can listen to over and over.

Favorite Tracks: Boys Don't Cry, Accuracy, Jumping Someone Else's Train, Killing An Arab, Three Imaginary Boys
Rating: 7/10

Friday 9 January 2015

Linkin Park "Meteora" (2003)


I often wonder what it would be like to hear the music of my youth for "the first time" in the context of todays modern music with my vast apatite and knowledge of music (mainly Metal & Hip Hop). It dawned on me that Meteora was essentially that. Although I am familiar with Linkin Park, I have never actually listened to anything other than "Hybrid Theory" and "Reanimation" (smelly album). This would be a great opportunity to get a taste of listening to that music in the present day.

I was rather skeptical at first, a little unsure what to expect, but very quickly this album rapidly grew on me and I found myself feeling like it was the 00s again, listening to Hybrid Theory for the first time. At first Meteora came of as more of the same, but on repeated listens it became very apparent how fine tuned and well crafted this record is. On the surface not much has changed about their sound, its more of the same formula, Mike's mini raps, Chester's screams balanced with clean hooks and of course the characteristic electronic sounds accompanying the Nu Metal backbone. Under the surface there is more at work here, it feels like the group made a conscious decision to tone down the aggression slightly and focus on mastering their pop sensibilities and hooks. The melodic leads and choruses on this album are so infectious and satisfying, everything from the delivery of Chester's appeasing cleans, the crisp and soft guitars, electronic melodies just feel so in-sync and on the same wavelength. Its far from challenging and very much easy to enjoy, which is a strength they play to. Linkin Park is not trying to change your understanding of music or challenge your perspective, they are writing straight forward poppy music and they do it here to a perfection on particular tracks.

For all good thats been said, there are two things that came to mind, first of all the drumming, not at a single point in this album did the drums ever come to the forefront of my attention, is this a good or a bad thing? Is the rhythm department executing a subtle genius of accommodating beats, or are they just tame, generic and holding the tracks together? I really don't have an opinion but it was an interesting observation. Second of all the lyrics are once again the epitome of teenage angst, expressing simplistic and overly emotional fears and frustrations with a lack of any real introspection or depth to the subject matter. This is probably a strength though, easy to relate and simple to recite, its what you need in poppy music and perhaps the magnitude of this pop appeal is a reflection of how focused this record is on its catchy hooks and choruses. Overall, fantastic record, enjoyed it as much as "Hybrid Theory", very satisfying to hear more of that great sound they forged.

Favorite Tracks: Don't Stay, Hit The Floor, Easier To Run, Faint, Breaking The Hobbit, From The Inside, Nobody's Listening
Rating: 8/10

Wednesday 7 January 2015

Zornik "One-Armed Bandit" (2004)


One-Armed Bandit is the sophomore album of Belgium rockers "Zornik", a record I have spent much time enjoying and wrapping my head around. Zornik would be described as a "Rock" band, but in this modern era of music I find that term to be vague and nonspecific, a generalization for the traditional guitar, bass, vocal and drums band format. Their sound on "One-Armed Bandit" is characterized by some Indie and Alternative influences as well as a strong 90s Pop Rock undercurrent. They also spruce up their pallet with some additional synthesizers and electronic elements, giving this record a diversity thats strengthened by the varied approaches in songwriting. I'm glad I gave this record a chance, usual I look to abrasive sounds and confrontation for appealing musical ideas, this record reminded me that good music can be found in the most approachable of styles too.

For me, this album was mostly defined by the mood and tone set by vocalist Koen Buyse's soft and gentle, emotionally driven presence that would very much guide and mold these songs as the accommodating instrumentals built powerful and moving settings around his narrative which swims through a current of heartbreak and sorrow that comes through in his performances. They are heartfelt and strong, giving a real sense of a troubled soul letting it out through the music, and despite this bluesy and moody feel, these songs feel bright and positive, mostly to the credit of the accommodating instrumentals. Buyse's voice has fantastic range and flight when hitting graceful high notes, he often opts to balance it with gently spoken numbers that elevate his higher range in to epic moments in the songs that make up this record.

Instrumentally, these songs are tame, gentle and humble, strolling through calm and collected instrumentals that grace through inspired melodics. There strength is in the moments between their quieter sound where the group can build up the volume and intensity with overdriven guitars and climatic progressions utilizing Buyse's impressive high range. It gives this record great flow, and theres no shortage of variety between the tracks, which can shift gears effortlessly between different intensities. Theres a great Pop sensibility about some of the vocal leads, and no shortage of energetic riffage that fuses into the tracks from time to time. Its a warm and compassionate listen that grows on me with every listen, looking forward to more from this band!

Favorite Tracks: Scared Of Yourself, Miracles, The Place, We Are Lost
Rating: 6/10

Tuesday 6 January 2015

YOB "Clearing The Path To Ascend" (2014)


I was sent the song "Marrow" by a friend, I was thrilled by this lengthy, brooding, melodic and doom like epic that moves at a snails pace, dragging the listener through 19 minutes of heavy, sludging colorful bliss. I was excited, and got hold of this record immediately, but much to my disappointment the rest of the record, despite following similar principles, was a lot more doom and less melodic for what made Marrow shine. Although not strictly my cup of tea, this record was a decent listen that demonstrated some fantastic musicianship through unique suspense and progression. YOB are a Doom Metal group from Oregon USA, who are receiving a lot of praise for this album which has topped several Metal album of the year lists.

Whats most characteristic of their music is the slow drawn out riffage that utilizes the space between each bellowing strum, creating a monstrous stride that parades to its own cause. These riffs pound and bludgeon there way through sections that last several minutes and are spiced up by off kilt repeats and suspenseful returns. Between the guitar bludgeoning come quieter moments that are quite brittle and abrupt, with the growing mood often building to a moment that simply drops of into a lull. In the climatic moments the band stick to their riffs and accommodate the building atmosphere with additional guitar leads and demonic guttural vocals.

The record is crisp, indulgent, the textural guitar tones and foreshadowing drums mold a dynamic, expressive sound that compliments the musicianship. The clean guitars have a dreary melancholy about them, retaining a colorful melody yet expressing a cold and sorrowful tone that gives Marrow an emotional and moving climax. Its a great sound that works so well with the songs, yet for everything great about this record, for me personally the meandering nature of these songs can fail to hold my attention at times and despite being a terrific record, its one that doesn't quite hit the niche with me.

Favorite Track: Marrow
Rating: 6/10

Monday 5 January 2015

G. Love & Special Sauce "Yeah, It's That Easy" (1997)

Every now and then I have the displeasure of writing about a record I didn't enjoy, although to be fair this an medicore listen, just one that didn't do much for me beyond some mild entertainment, and thats my loss. G. Love & Special Sauce is an Alternative Blues Rock group from America who are fronted by the charismatic G. Love who servers as the vocal narrator for some fun, uplifting funky Blues Rock. On paper, and on other tracks I've heard from different records, the group have the formula for funk and blues that gives them a little flair, which in this record I couldn't find.

G. Love's folky narration and jives about American culture were not my cup of tea. I found the light hearted whimsical stories and musing in these songs to be just a step beyond what engages me, and this made it hard to get into a record thats focal point is his laid back charismatic style. Accompanying him are some chilled out grooves that bring together Funk and Blues with a touch of Hip Hop in the rhythm department. These grooves rock and swoon through the tracks, utilizing an array of instruments including the harmonica and some light organs too. Behind G. Love are some great backing vocals which on a track like "You Shall See" that elevate the song, they pop up here and there, adding a lot to the songs, but is not enough to save the record.

The strongest element of this record is the instrumentals which are far from spectacular, despite being on the right track, there is a distinct lack of stand out moments or anything where the music grabs you. They muddle through mediocrity and the bass and kit grooves are often spoiled by a loose snare clanging over the bass's warm and moving texture, its disappointing as it feels like their is great potential here, but too many misfires. A nice listen but a lack of substance for repeated listens.

Favorite Tracks: Slipped Away, You Shall See
Rating: 3/10

Saturday 3 January 2015

Cloudkicker "The Discovery" (2008)


Bomb sirens cry out in desolation as an eerie suspense unfolds. An underlying noise creeps and crawls amounting into a rising, atmospheric guitar ring out, then suddenly busts out into a gorgeous, tight, rhythmic thrashing of djent tonal guitars oozing in reverb and crushing out a simplistic repetition. Straight away I got that feeling like I knew exactly what this record was about. Several listens later that initial appeal is still here and this record is everything I thought it would be. 44 minute of enigmatic instrumental djent with a vibrant splash of color and melody. Cloudkicker is the one man band project of Ben Sharp, mutli instrumentalist who releases all of his music for free through the bands official website.

"The Discovery" is a polarizing formula, a crushing rhythmic assault is carried out by the low end guitars and forceful drumming, while the leads and high range notation color and climax these songs with rich and absorbing melodics that wash together in a sea of immersible abrasion. Its a formula that is set down from the first moment and fails to stay far from it. Through the record each of the songs offer up some different approaches, riffage and ideas that make this very enjoyable if the sound is your cup of tea. Theres some melodic, lighter, more acoustic tracks in between the heavier songs that really help this album flow and transition between tracks.

Asides some great instrumentation and songwriting, this record has a great sound to it. It comes with an "amateur" overtone to it that I can only describe as being warm and loving. It feels like someone put a lot of heart and energy into the production which sounds great, but has some technical flaws, none of which are even a big deal, but that amateur vibe stays present, and I like it very much so. One of the most notable features is the use of a drum machine that sounds like "Drumkit From Hell", having worked with this before it is certainly a hard sound to disguise but even though its noticeable the drumming is well programmed and fluent with the songs. Overall this is a fantastic record that has a lot of personal charm and one that has me yearning to seek out more from this talented artist.

Favorite Tracks: Genesis Device, Dysphoria, The Discovery
Rating: 7/10

Thursday 1 January 2015

PRhyme "PRhyme" (2014)


PRhyme is a collaboration project between legendary producer DJ Premier & Rapper Royce Da 5"9 who is known for his early association with Eminem. This mini album consists of 9 tracks and the opening track "PRhyme" focuses on the idea that the pair are in their creative primes, It sets the tone for an album of solid raps and beats that would certainly indicate both are in a creative warm spot. The two have a decent chemistry that gives the project liquid cohesion and defined character.

Premier's production is as finely tuned and crafted as you'd expect from such a veteran, bringing forth that 90s feel through approach as these tracks are littered with scratches and vocal samples from fellow 90s stars like Nas, Method Man, KRS-One & Gang Starr. The beats themselves are generally urban and darker in mood, taking a subtle roll providing backing for Royce to shine. These beats, although solid, sit in a comfort zone that sees little experimentation, taking on only a few modern aesthetics and ideas. Its not a negative point, but if your looking for something new and progressive this isn't that.

Royce is consistent and vibrant on this record, bringing an enthusiastic and motivated flow to each song as he narrates some stories but mainly delivers a boasting array of raps with a musing touch. Consistency would be a key point for me, there was no point where Royce failed to hit the mark, yet none where he really goes beyond, his best lines where from referencing Notorious BIG, "Kick in the door, wavin the four four".

The record as a whole is short and enjoyable, solid and flavorful, but perhaps lacking a depth to keep me coming back. After a few listens I feel like I got all the record had to offer and there were only two tracks I wanted to come back for. The 90s vibe was welcome but didn't really add to the body work thats already out there, one of the better beats was "Microphone Preem", utilizing a loud harsh snare and giving it something a little more unusual which could of made this project a little more. Overall a great listen to digest, but a lack of anything special.

Favorite Songs: You Should Know, Microhpone Preem
Rating: 5/10