Zeal And Ardor "Devil Is Fine" (2016)

Here's a record that pays tribute to the times, the internet age, a treat to spoil yourself and indulge in something rather unimaginable two decades ago. Much like IGORRR's genre blender from hell fusing Breakbeat, Baroque and Black Metal, Zeal And Ardor throw us at the mercy of genre mixing that comes up all aces. Its core theme is rooted in a dark satanic tone fronted through the blues, or more accurately the vocal origins which originated from slave songs. You'll hear emotion bluesy, gospel singing that collides with ferocious Black Metal and zealous electronic melodies. There's even a short Trap banger in the mix, chop and screwing the vocals, throwing in light organs between the spacious grooving beats and fluttery sampling.

 Starting with the title track, call-respond singing chimes out, the clank of slave chains rattle to keep tempo and peaking the microphone it creates a stunning authenticity, although I'm fairly certain this is original, not lifted or sampled. Some grizzly distant guitars drift in and out, rumbling beneath with a groan. "In Ashes" has the menacing guitar grinding a string as eerie, morbid calls are sung. Then the pedals come crashing in and swing the song into full tilt. Whats fantastic here is how the drums take a temperate and structured raising and lowering of intensity rather than blasting out typical Metal drumming patterns.

"Children's Summon" gives light to a xylophone lead that features individually on "Sacriegium II & III" with a playful lullaby, full of carefree wonder, not far from the sort of melody you might expect to hear on an Izioq or C418 record. The song itself sets its tone after a brief blasting of instruments and screams, satanic chants reign out and before long it all amounts to a rampant onslaught of menacing Black Metal peaked by a chirpy xylophone. "Blood In The River" brings back the main theme and expands on its evil undertone with more Black Metal and rash screams.

No moment here feels without purpose or intent, although its a short listen at twenty four minutes it serves itself just fine and leaves me yearning for more with every listen. These songs have been on repeat, they are short and sweet but infectious. Charming, dreamy melodies, furious Black Metal and bluesy slave songs, a strange and enigmatic combination that does everything so right despite sounding like a calamity on paper. Completely in awe of this record, wanting, waiting for more.

Favorite Tracks:

Rating: 8/10

Basement Jaxx "Remedy" (1999)

A recent revisit to this record takes me back to my youth. At the turn of the millennium London based House duo Basement Jaxx's debut burst onto the scene with heavy airplay rotation and music video promotion on MTV that ultimately landed this record in my lap. The nostalgia was strong but I found the retrospect hadn't changed my opinion much in the ten or more so years since I last gave it a spin. The singles are banging, classic Dance tunes that speak volumes but beyond them a rather varied inclusion of styles through sampling that doesn't always hit the same intensity.

 Behind almost every song a steady is baseline thudding away in unison with programmed drums shuffling through tight varied arrangements to lay down the Dance foundations to move and groove to. Sometimes a little drab and narrow they get rather bombastic on the livelier, upbeat numbers and around them the samples and instruments create a different atmosphere for each song, with flashes of Pop, Ragga, Big Beat, Downtempo, Dub, Synthpop, Techno, Hip Hop and Ambient in the last two tracks. The duo give the House sound an expansive flavor from track to track which can be a little hit and miss.

It really comes down to taste but for the most part I like a lot of tracks on this record. For me "Always Be There" stands out as a song more released with its slow build up creating a slow settling mood for its vocal feature to climax with rich, sunny strings and echoing reverbs shuffling back and forth. The opener "Rendez-Vu" is a timeless classic sampling Spanish guitars, delivering a hook with infectious strings and topping it with the opening vocal lead "dum dum dum" and "doo wop" siting no need for coherent sentences to sing along with a tune. Each song has its own chemistries and arrangements, most of them suffer from a little repetition once the song has shown all its tricks and I'm left feeling pretty much the same way as before. It has fantastic moments but is rather inconsistent in flow. The final tracks drift off as the wheels slow down and fizzle out.

Favorite Tracks: Rendez-Vu, Jump N' Shout, Always Be There

Rating: 7/10

Sithu Aye "Senpai" (2015)

Sithu Aye's latest release "Set Course For Andromeda" is an impressive one, a record of two halves, a set of remarkable collaborations and a singular song split into six parts. Left yearning for more I spotted this previously overlooked record on bandcamp. For a three track EP it really packs a punch and brings out the better qualities of Sithu's sensibilities for lead and melody, undoubtedly because of its anime inspiration. On one listen alone you can hear the influence, if you've ever watched Japanese animation the style of music that accommodates can be cliche, which had me wondering if these were covers but a little reading uncovered these songs were created with specific common theme in mind for each track.

These songs are radiant, uplifting and cheerful in a carefree way and the first song reflects this strongly with the inclusion of poppy electronic chords bustling away like a dance song. There's a strong emphasis on the lead melody which can scale fast soaring solos and playful quirky melodies. The second track "Senpai" is the records strongest and could easily be the opening theme for a show, you can almost envision the cartoons behind the music as it swings between its energetic guitar solos and main hook. Despite the now obvious Anime inspiration for this record, I just took the music for what it was and loved how bold and charismatic the themes in place were. Its only now that Ive put one and two together that I can see how well the two gel. Sithu comments that the record is cheesy but I have to disagree, I think its a brilliantly warm and fun record full of lasting substance!

Favorite Track: Senpai Please Notice Me!

Rating: 5/10

Havok "Time Is Up" (2011)

American Thrash Metal band Havok from Denver Colorado are part of the Thrash revival scene that's emerged in recent years. I caught them at Download Festival and picked up this, their second record, based on the inclusion of "D.O.A", dead on arrival, a song I remembered from their impressive live show. Just like you might wish for, Havok are a band that in the two decades since the genres peak haven't strayed from the path. They have however let modern production and Metal sound influence their aesthetic in terms of quality and clarity but when it comes to the music its as Thrash as it gets. Those years gone by have picked out the best attributes, techniques, riffs and thrown them together in what would undoubtedly been a masterpiece if released in the 80s. With crisp crunchy guitars and punchy drums Havok bring the best of the genre in what sounds to me like a cross between Slayer and Testament.

Starting with "Prepare For Attack" it doesn't take long for a blitz of base pedals and choppy temperate guitar riffs to raise the energy and create an atmosphere fit for circle pits and intense moshing. No messing around and straight to the point this album is forty minutes of pure Thrash and no filler! Without faulting from this path no song is particularly stands out or becomes truly remarkable, its strengths are in its continual consistency, never leting its foot of the gas. If you've got the iTunes edition there's an extra treat in store as the bonus track is a cover of Slayer's "Raining Blood" played with flawless precision at a higher tempo, a level of adrenaline maybe matched by the menacing riffs on "No Amnesty".

Each element at work is full throttle, the drums crisp, bold and punchy the snares gorgeous tone bursts through with a solid snappy punch and the pedals pack a meaty momentum as they loudly whirl swiftly like a mechanical backbone of brutality. They work intertwined with the palm muted and open string chugging guitars to create energetic momentum in the rhythm department. The guitars tone sounds squeezed with distortion as the fast choppy guitars shred away at fast speeds, when they break for cleaner leads the tone shows a softer side and I would say the lead guitars are most reminiscent of Megadeth guitar solos and sometimes vocally too. Singer Sanchez's narrow, throaty and slightly nasal voice has a classic vibe and in one song mimics the classic bellowing and high pitched scream of Tom Araya from Slayer.

In its purity the record often echos familiarity with classic bands of the era without encroaching their identity and the only thing besides production that sounds like a step forward are the gang shouts which slide into the fold brilliantly. All other aspects of the record are classic, no guitar technique or riff sounds far from the era but the recreational aspect plays it out to a stunning level. Extremely enjoyable record, as I said, would of been a classic if released in the 80s.

Favorite Tracks: No Amnesty, D.O.A

Rating: 8/10

If These Trees Could Talk "The Bones Of A Dying World" (2016)

Four years since their second full length "Red Forest", the instrumental five-piece group from Ohio return with a maturer, cinematic record that glimmers from dark shadows as brooding emotions of warning evolve through expansive grooves, ghostly shimmering guitar leads and brightly plucked acoustic notes. A deep sense of departure and sorrow runs under the scale of these songs, as the title might suggest the inspiration is in anticipation of are destruction of mother nature and her beauty.

The natural world is whats envisioned, no ounce or inch of urban, human affection is felt. As scaling overdrive guitars wail and cry out in their lofty reverbs the soundtrack of dwarfing mountains and endless forests emerge in the mind, the sadness feeling like a last goodbye. As organic as nature itself these songs breathe and move through a continual motion with recurring riffs growing the songs to conclusion rather than part of a formulated structure.

Under neath it all chunky prowling baselines hammer down a steady backbone. The drums creatively work out all sorts of grooves and shuffles to glue the guitars direction to the beat and taking most of the attention are the guitars which orchestrate the mammoth atmosphere through tremolo plucked leads that drift endlessly into their own reverbs. Occasional distortion leads drop in with a couple of guitar solos which felt very fitting despite not being expected, they stayed very true to the intention of the song without over bloating themselves. The tone of the acoustic guitars were stunning and added an infectious feel of melodic charm that didn't come in the form of a catchy hook or memorable line.

For all its dense atmospheres and melodic tones the record maintains a tight balance between color and grey-scale. Post-Metal or Post-Rock often has an almost narrow dimension to its sound without bright and distinguishable instruments the constant oozing of sound and sorrowful tone can feel somewhat colorless and the tinges of color that emerge highlight the beautiful composition. "The Bones Of A Dying World" is a stunning effort but in moments some songs drift into less immersive moments and a couple of less favorable tracks weight it down in my experience.

Favorite Tracks: Swallowing Teeth, Earth Crawler, The Giving Tree

Rating: 7/10

Izioq "World Of Izioq" (2016)

Time moves by fast! Already we have the second record this year from French composer Izioq. His first of the year, "New Songs For Old Kids", was my least favorite of the four but that's not to say it wasn't a good record, just a tad shorter and a little mellow in its second half as an ambient vibe drifted in. "World Of Izioq" feels like a cross between the first two. There's both recreational melodies of 8-bit wonder and lush, expansive, electronic synths which evolve from the strict set of oldskool video game sounds. In places we hear glimmers of new ideas and inspirations too which become some of my favorite moments in this latest record.

Again its a true homage to the innocence of childhood in the world of retro gaming and spirited imagination. With nostalgic carefree melodies and atmospheres of wonder there is no weight or burden for the listener. Its grounded in that innocence and is reflected so well by the record cover with its cuddly characters and welcoming smiles illuminated in the navy blue night by a friendly fire with the biggest smile. Kick starting the show with the self titled track we are brought into a rather jovial and lively upbeat set of melodies dancing around one another like the title screen of a game. As the mood continues in "Adventure Time" where we hear a distinctive accent as the song breaks for a slower moment. It may be me but I hear welcome echos of Final Fantasy and Nobuo Uematsu's story telling melodies. Again it emerges in the elegant "I Still Haven't Played Minecraft" where a flute like lead calls out a peaceful melody over lush strings and soft pianos. There are other moments where this noticeably different style emerges and it sounds fantastic, fitting in well with the overall theme.

In "The Passiest" there's an adorable moment where the song drops out to hear the clicking of controller buttons and the sound effects of retro games coming though television speakers. Its a charming touch and is very much the point of the record which develops some moodier, slower songs in the second half but never at any moment feeling a drop of sadness, with exception to Phill Collins. As we get to the back end of the record it unwinds with more abstractions and dream like melodies, finishing an arc from start to end that is quite satisfying for the thirty five minutes it runs for. A solid record and quite predictable one too. Although a few bright moments of creativity shone through this was very grounded in what has been established so far and expanded the depths of songs available for that Izioq itch.

Favorite Tracks: Adventure Time, I Still Haven't Played Minecraft, Bangers And Mash, Teenage Dreams So Hard To Beat, Song To My Cat, Mind On The Moon

Rating: 7/10

Autumn's Grey Solace "Windumæra" (2016)

Its been on repeat for the last week or so and "Windumæra" is another indulgent return into the mellow, sombre and soothing world of Autumn's Grey Solace. This duo have been at it since the early naughties and this release marks their ninth in a discography of varying depth around their core Ethereal sound. Two years ago their "Monajjfyllen" release was disappointing. Despite sounding very much on tune the songs didn't amount to very much and made for a rather underwhelming listen. "Windumæra" treads the similar issues but comes off much stronger. Something in the compositions made these songs more memorable and enjoyable, yet on the surface its quite a similar record.

With thirty one minutes and eight tracks its another short record for the duo who may be running out of ideas. On first listen it felt as if I had heard every track before, their sound, techniques and aesthetics now so settled and routine that even for a listener everything felt indifferent. Fortunately this familiarity falls on the right side of the fence with just enough taking place to provide that soft and dark, mellow indulgence they offer. Listening back to "Monajjfyllen" I do wonder if its in case of what I'm in the mood for but the songs on that record do feel particularly stale.

So its another eight tracks of slow, easy going songs that graciously glimmer with bright, tonal acoustic guitars soaked in reverbs and echos. Light buried percussion and steady baselines plod beneath them. With some light and airy synths, singer Erin's vocals melt and drift into the music with her soft and delicate voice that can hit high notes so stunningly with a purity, not needing an emphasis of power or force to grace such peaks. With this lush sound they find their best moments in the creativity between Erin and the instrumentals which doesn't occur to frequently but has always been one of their strengths as her voice can gravitate so much emotion. Not a particularly memorable record within their nine but it certainly doesn't fail to deliver on the vibe, mood and atmosphere one would turn to them for.

Favorite Track: Asundran, Hærfestwæta

Rating: 6/10

Sithu Aye "Set Course For Andromeda" (2016)

The title "Set Course For Andromeda" may play down an epic expedition with simplistic words but its the records cover art that dispels the expectations. Its simplistic font, cartoon graphic and squiggly trail spaceship don't quite match the melodic wonder awaiting inside. Sithu Aye is the one man band from Burma with an ever growing reputation within the Progressive Metal scene of the Djent variety. Four years since his last full length "Invent The Universe" its a record of two halves, the first a collection of lengthy collaborations often peaking the eight minute mark. The second a single piece of music split into six parts known as "The Andromedan". Clocking in at seventy five minutes its a lengthy listen but one that's hard to fault, there's never a dull moment and perhaps the opposite is the case, it rarely takes its foot off the gas.

Weighing the scales with deep tonal polymorphic Djent grooves and firm, vibrant, colorful acoustic guitars the rhythmic force and melodic grace are narrated by the effervescent presence of lead guitars pulling the strings of direction. This instrumental record has a voice and its the lead guitar which talks in emotional volumes with solos and intermittent leads which occasionally culminate into a trio of riffs working together. Its lavish, sublime and charming, a constant engagement and indulgence to follow. Around it there's never a moment taken for granted by the accompanying instruments, much of this marvels chemistry is found in the records first act and would indicate that a real spark of chemistry has occurred between Sithu and his guests.

Mostly this record has inspired melodies playing off of crunchy Djents, ever twisting and turning through song structures that wont stay settled. It makes for a handful of breakaway moments, using the occasional Post-Metal riff or the introduction of strings and pianos to lead the way. In some moments the Djents will drop off entirely for soft airy synths and strings to fill the void with a calmer presence. With "Spiral" Sithu and Luke Martin get Jazz, a bright, playful break of swift, racing leads on the guitar and pianos dance with one another effortlessly as we watch on, mesmerized by such a gracious, amiable wash of sweet and inviting melody.

The second half, the six part song, is on a similar wavelength but a couple of tracks have some drawn out moments of ambience and overall the intensity is lowered a little. Holding a theme together a couple of melodies return, elevated, in the later stages and the density of the compositions isn't quite as layered or lavish but maybe its the length adding a little weight to the mood. The production is solid, drum machine is tight and the instruments work so well for one another. For me, the first half is a nine and the second a seven. Well a truly impressed with this record which I will return to often!

Rating: 8/10

Ho99o9 "Dead Bodies In The Lake" (2014)

Horror, stylized Ho99o9, are an American Hip Hop duo from Los Angeles who perform a noisy and twisted, dark breed of Hip Hop influenced by Hardcore Punk and Horrorcore. Its most likely that people will draw comparisons with Death Grips as a influence when discussing this band, however this mixtape would suggest that despite their abrasive and noisy approaches to Hip Hop they are fundamentally different in terms of inspiration and attitude. I caught them at Download Festival and the fifteen minutes of their set blew me away, so much rebellious energy and stage presence. Their most impressive song was "DeathKult Disciplines" which can be found on this record so that's where I decided to start.

"Dead Bodies In The Lake" sets the tone with an audio clip from a movie of young kids discussing guns and a dead body they found. From there it grows with dissonant bass synths and outbursts of Hardcore guitars into a Punk sprawl of smashing crash symbols and restless shouted vocals throwing words like raps while remaining firmly Hardcore. After two tracks a gurgling baseline and sinister synth line pull together with a hollow beat to form the foundations of a hellish, paranoid Rap song. Its lead melody paranoid and deranged, taking a trip into a psychotic mind.

The record flexes between these two styles, in one half its wild, energetic and full of loud rebellion fit for mosh pits and hardcore dancing. On the other it dives into horrid, dingy, back alley raps spite with psychotic personas. The duo have a charm for hooks when slamming along to the distortion guitars which are often grooving, the accommodating arsenal of rambunctious drumming and frittering electronic noises amplify their wild tone with an infectious stir. The twos flows when performing more traditional raps aren't exactly spectacular and the extent of their horror shock lyrics doesn't save the Rap side of the record from feeling dull and played out. They have a full length on the way, I hope they steer the ship towards the better half of their sound which has a unique flair and bright chemistry great for live shows.

Favorite Track: DeathKult Disciplines

Rating 5/10

Napalm Death "Enemy Of The Music Business" (2000)

Drawn in by the short, hyper-aggressive and grooving track "Thanks For Nothing" I think Ive found what may just be my favorite Napalm Death record. With thirty years to their name and a dense catalog of records its hard to figure out whats for you in the many varying forms of Grindcore and Death Metal on display. "Enemy Of The Music Business" strikes me as the refocusing of adrenaline charged Grindcore with the better remnants of their Groove Metal records like "Diatribes". In this balancing of influences Napalm capture the pummeling style and frenetic energy with moments of groove and mosh friendly break out riffs that just works perfectly for me.

As to be expected with this band its a constant barrage of shuffling arrangements innate with aggression and anger firing out at the music industry in a time of its peak stranglehold on record sales. Barney's raging growls bark out with occasional moments of comprehension often relating to the records title. Behind him the drums rattle and rumble with intensity and snare heavy beats steer the songs into calamitous moments of blast beats and heavy pedal manipulation. They are relentless, never quieting down for pace keeping and always being and the front of an unrelenting storm. Just like the records Groove sensibilities they have moments of bounce between grinding intensity.

The song structures are best heard in the guitars and accompanying drum patterns as they quick and swiftly burn through riff after riff of dizzying power chord thrashing and brutal guitar shredding. These songs surge with an intensity from guitar work that plays with discords and tremolo picking as they continually switch and turn with every passing moment. Its a collection of loaded riffs thrown together in a maelstrom of violence that build up to short bursts of unrestrained aggression in the form of a song, usually with at least one key return to riff to hold it together.

The first half of the record throws plenty of groove and break out head banger moments into the fold and that's what makes each of these songs work for me. In the second half the mood intensifies and the blast beats, dark and snaky guitar riffs don't always surmount to a breakout moment with a few tracks. The records production is decent, its a noisy affair but the snare has bite, the kick kicks and the guitars are ripe with a sharp tone. Maybe the bass is a little buried beneath the chaos but it all comes together for the records purpose, to vent frustration, hate and aggression.

Favorite Tracks: Next On The List, Constitutional Hell, Vermin, Thanks For Nothing, Cant Play Wont Pay, Conservative Shithead

Rating: 8/10