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

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

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

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: 6/10

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

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

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

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

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

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