Monday, 11 December 2017

William Patrick Corgan "Ogilala" (2017)


In absence of a new Smashing Pumpkins record we have a solo project by Billy Corgan that is essentially the same musical source stripped of percussion and distortion guitars. Ogilala is a folksy acoustic rock record with a lush touch of dazzle and spark. The bustle of acoustic chord strumming and Corgan's passionate voice is enriched by piano keys, strings, organs and even light synths akin to the ones heard on old Pumpkins records. Gorgeous production acoustics give it a earnest, inviting tone but after four good songs at the opening the album lulls into a spell of mediocrity once its best ideas are exhausted.

My biggest qualm with this record is most noticeably absent in my favorite track, "Aeronaut", a toned down vibe alike to The Verve's classic Bitter Sweet Symphony. The track drops the acoustic guitars for a string, voice and piano triplet that feels more comfortable with out the busying strumming of distant chords. The acoustic guitar is film and limp, its chords underwhelming and quiet, the sound of the pick flexing on the strings cast a shadow on the musical make up and empowers a rhythm that's one dimensional and not required.

With that In mind the failings of the record become sorely obvious, the strings or organs lay soft backings to these chord arrangements and the inclusion of pianos often just accent particular notes in the chord. The music revolves around an instrument that's just not working and despite Corgan's sincere singing the songs fall into the flat and narrow of simple compositions. With a lack of depth in that department, repeated listens yield little reward. Its unfortunate but you could possibly chalk this down to a distortion guitarists approach to acoustic not coming off well as many of these songs feel a step away from being Pumpkins songs with blaring guitars! An honest effort but it didn't work for my ears.

Favorite Track: Aeronaut
Rating: 4/10

Saturday, 9 December 2017

Godflesh "Post Self" (2017)


The clamouring chunks of battered carcass crash and collide as the desending weight of Godflesh's signature sound, the building blocks of noise that boom and blare as bloated chunks brimming with thudding guitars and rumbliung baselines, thunder in frieght between the fracas of furious dissonance thats wails between the roar and flails. The two pillars that support their iconic sound are tentatively pulled apart, the opening metallic grooves of "Post Self", "Parasite" and "No Body" find the discordant breaks between low end riffage stretched, expanded and pulled apart as the albums songs steadily plunge into harrowing, dark and introverted atmosphers of self psycadelia where guitar noise soundscapes reign supreme as experimentation strikes inspirational gold.

The listening experience of an album comes to life here as track skipping and attempted plucking of "moments" spoil the intensity of letting the forty seven minutes of music unfold into itself. The blackened hands emerge from the shade, grasping, smothering dragging one into the shadows of introspective ambiguity, the light that shines on but does not illuminate. The loud, visceral nature of the record is like a morbid curiosity that swells in your conscious, the fixation on an ugly mechanical beast lost, wounded in your paradise. Suffering, pain and anguish scream in agony as we observe from a distance, the industrial rumblings that motor and drill away as soundscapes of punishment play themselves out.

Broadrick's return to Godflesh in 2014 with A World Lit Only By Fire was rather disappointing. After such a long hiatus, a stripped back, bare bones, riff orientated metal album felt lacking as the most explored and obvious side of Godflesh was resurrected. With Post Self a wild pallet of tone and texture emerges as all sorts of influences and links signify themselves from the purpose of the music. The Industrial drum beats frequently pump and thud like decelerated EDM grooves, the deep textures of sound intensify viscerally like Power Noise, the sonic soundscapes of dissonant guitars echo Post-Punk bands and ravishingly stark synths in the closing tracks pull the likes of astral ambiance to the center of a bleak and harsh experience.

This record has reinvented the excitement once heard on Streetcleaner and Pure, the immediacy and indulgence of the record is sublime, a moody, sonic textural exploration peaked by endless strings of ideas that spark, the wailing, desperate screams on "Post Self", the intertwined noise and depraved screaming that burrows into hell on "Be God". The record is loaded with vocal work that masks itself into the wall of sound, even taking on robotic, electrified distortions on another track. With attentive ears many percussive abuses and glitches meld into the smothering sound... oh and how can one not delight in the glory of the guitars that rediscover themselves track to track in the rich density of effect drenched guitar tones. Its simply a stunning record with an obvious direction that really lets the entire album serve as an unfolding experience to leave one in awe of its apex.

Favorite Tracks: Post Self, Be God, Mortality Sorrow
Rating: 9.5/10

Thursday, 7 December 2017

Cavalera Conspiracy "Psychosis" (2017)


"From beneath the slums of a third world, a two headed Brazilian Godzilla was born, destined to leave permanent sound scares on all under pale grey skies. Hell, chaos, pandemonium, the massacre continues and with no end in sight". That's the records closing lyric and It would be equally fitting as a tone setting mission statement. "Psychosis" is one heck of a record from the Cavalera brothers who have cast a lasting influence in the world of all things Metal, between them they have amassed around thirty records since their debut with Sepultura in 1985, a phenomenal output. Cavalera Conspiracy was a chapter in the legacy I could care less for, back in 2008 their debut Inflikted was a mediocre release and I had since failed to follow their releases and so I very nearly passed this one by.

What a mistake that would of been! Psychosis is one of the tightest, mean and hard hitting Metal records Ive heard in some time. The riffs are roaring with intensity, the grooves mammoth, full of swaying rigor and the album steadily sinks into the depths as the ferocity of sound borders into Industrial territory, even Black Metal with the frightening "Judas Pariah". The whole record is tinged with a retroactive ideology once heard on old Thrash Metal records, the demonic reverberations of vocal lines have been resurrected and executed with utter class and inspiration. Max's screams and shouts can creep in from the distance or shuffle across the stereo spectrum and often shatter into the vast chambers of space these effects can muster. Its a demonic pleasure that shrouds the record in classically evil overtones while shedding the cheese that old sound carried.

The records production is a treat, everything is loud, present and punchy without feeling "overloud". A crisp creation that squeezes the texture and power from the guitars alongside a devastating kit with a deep thudding base kick and ear piercing high pitched tom rolls that burst into the music, cutting like a devilish cascades of daggers descending upon the listener, gives me chills every time. The album's songs are pulled together for an album experience with atmospheric interludes of ambiguous dystopian obscurity. Vague voices can be heard in the rumblings of sound too, these cryptic themes often creep into the main sections of songs too, providing another layer of depth to the onslaught of riveting, thrashing music.

The album starts to push hard with "Hellfire", loading clattering industrial drum stomps behind the harsh, over distorted guitars that seem to intentionally peak the mix as supernatural synths drop in for a outlandish wall of sound that has grown on me much with familiarity. Its unusual amounting of sounds satisfyingly leads into a stomping breakdown groove with a violent snare drum striking like the snap of a whip. It leads into the aforementioned "Judas Periah", the deployment of blast beats and satanic snaky tremolo guitar riffs lead give it a very Black Metal tone that diverts us from the diabolical storm into another romp of a breakdown, big slamming guitars and light synths accenting the bounce will have your head swinging!

After dragging us through fires, the title track offers respite in an equally impressive esoteric soundscape track that slowly leads its rich layers of swamping sound, vibrant synths and effect soaked acoustics, into a collapsing of noise as the track falls in on itself. These ambitious clattering of experimentation in noise finds its final statement on the following and final song, ending with hellish alien sounds of suffering and a malevolent mechanical heartbeat that's truly as terrifying as it is vivid. This dimension gives the album a depth you can't help but feel can be peeled back to reveal more. Whatever vision the two have behind such a frighting ordeal becomes irrelevant in the impact of its reality. This is an all around flawless record that I have yet to tire from an inch in my binging of the hailstorm that is "Psychosis". Kudos Cavalera brothers, the fire still burns bright in Brazil.

Rating: 9/10

Tuesday, 5 December 2017

Ulver "Sic Transit Gloria Mundi" (2017)


To use Francis Bacon's horrifying "Screaming Pope" as a record cover is an ambitious statement. For a band once associated with Black Metal I half expected this to be a transition in sound but this three track EP is simply additional songs from the The Assassination Of Julius Ceasar recording sessions. Despite being left out, these may be some of the best songs from the album released earlier in the year. For Ulver's lush and serine re-imagining of 80s Synth Pop I do not understand the relation with the dark and harrowing painting of Fancis Bacon but its the least of concerns given there are three new songs to enjoy.

"Echo Chamber" treads on unearthed ground, an atmosphere of unsettled tension, cautiously guides us through a mid-tempo night time drive of synthetic atmosphere. Slow, winding melodies scale up against Rygg's lyrics siting terror events in London as a catalyst for the current social political climate. "Bring Out Your Dead" ironically brightens the mood with a fast bustling hi hat to shift things into cruise control, although the lyrics have a sad tone, the songs melodies and synth revolve around an uplifting emergence for the dark.

"The Power Of Love" gently unfolds with archaic pianos soaking in a rich reverb, Rygg softly sings with passion to lead us into a ballad as the instrumentation unfolds. Delicate deliveries and a sincere performance give it quite the charm and class to let an underlying string element lead us into a climatic conclusion in the songs second phase. Its a remarkable track but I can't help but ponder what a cheesy synth pop ballad it could of been. The same music, retrograded back a couple of decades, this would of been a blueprint chart topping cliche track, yet with the right approach and tone its an entirely different, very enduring song. A cracking EP, three solid songs, would love to hear more!

Rating: 4/10

Sunday, 3 December 2017

Danzig "Danzig" (1988)


I'd never had much luck getting into the Misfits and if it wasn't for Rick Rubin's involvement producing this record Id probably of passed up diving into the solo material of an artist from a band I'm yet to vibe with. Named after front man Glenn Danzig, this four piece outfit revolve around their singer, songwriter who disbanded the Misfits six years earlier. His intent was to take his musically seriously, something he couldn't do with his former band mates and so he formed "Samhain", a band with a very similar image, using the same iconic font, following themes of horror and the occult in its imagery. The success of that band landed him a record deal with Rick Rubin's newly formed American Records and this is the resulting debut for both band and label, considered by many as a classic.

Danzig's voice and personality are the focal point of this record, its charm, atmosphere and attitude all swell from a creative force not heard like this before. Once an angry shout soaring over distortion guitars, Glenn tones down the format for a Hard Rock, grungy Blues Rock beast that has him singing with soul and passion over lightly overdriven guitars that kick blocks of chomping Heavy Metal groove between the mood of bluesy classic six string, plucked and strum chords arrangements.

 The blend of styles is warm and inviting, making for songs with a bit of bite and strength between its hard Blues Rock tone. Danzig's singing brings the record to life with his lower vocal range illuminating the feeling in his poetry. The riffs, words and arrangements all add up here on a lively record that's broken up neatly with Heavy Metal guitar solos tinged in a Southern Rock tone. The production is crisp for the era, the drums have an especially nice padded tone about them and it all culminates in a solid record with no weak points, an obviously classic but a style I am still becoming accustom to.

Favorite Tracks: Am I Demon, Mother
Rating: 8/10

Friday, 1 December 2017

Wu-Tang Clan "Wu-Tang Forever" (1997)


Four years passed and following up on their uncompromising classic debut Enter The Wu-Tang 36 Chambers, the nine rapper clan from Staten Island dropped an ambitious sophomore double LP intent of solidifying their place in Hip Hop's legacy. Clocking in at nearly two hours of music the group give their all for a lengthy record that perhaps suffers from its own ambitions as mediocrity in the beats and rhymes fill the gaps between strokes of sheer brilliance. There is undoubtedly a 36 Chambers worth of gold in here but drowned by a lack of filter the record suffocates itself with.
 
  I'm guilty of letting this record pass me by in the past, obviously "Triumph" is a timeless classic but beyond a couple of spins many years ago I never got into the rest. It wasn't until a recent discussion with a friend that I was encouraged to give it a proper try and so over the past few months Ive taken select moments to run through the two hour experience. What I leaned quickly is the best is loaded on the first disc and the second half unfortunately drifts. If that's listening fatigue, who knows? One things for sure, Ive missed out on some classic, banging Wu-Tang tracks all these years!

Forever is a measured step from its predecessor, not ready to leave the dirty, gritty beats behind it finds itself with a sharper, keen production, with a clarity the band steer clear of exploiting with a dirty, bold production from the RZA who keeps his beats rugged and raw, deploying similar production ideas from before and even some echoed drum loops and hooks heard on 36 Chambers. Raw sampling and forced chemistries illuminate the rhymes as the vocal fidelity stands a front, with each of the nine and guests like Cappadonna given a spotlight to shine as the beats spin on loop.

And shine brightly do they, Forever's most impressive moments come from the dexterous words of the nine and their free association style, in flourishing form, flipping rhymes, metaphors and meanings melded in the wordplay soup that spills with a splash to wet your apatite. When the Wu-Tang go off on one they have you in the palm of their hand, throwing flows like blows one can barely stay on their feet as fists fly by ears, your left trying to keep up. Props have to be given to Inspectah Deck who drops the albums... maybe the groups bests verses on "For Havens Sake" and "Triumph". Get your books and scalpel, dissection is required! "I bomb atomically, Socrates philosophies and hypotheses can't define how I be dropping these mockeries." The Wu-Tang need no accolades, their talent speaks volumes and the two discs are loaded with dense rhymes and flows to chew upon.

The instrumentals are perhaps out shun by the rhymes as their role is best served in forging the atmosphere and tone for the lyrics. It never feels like they overtake focus from whoever is on the mic. Studying the sample arrangement and drum beats exposes a lot of repetition that's again serving whoever is rhyming. The chemistry is right and it feels ironic that the best beats, "Severe Punishment", "Triumph" again, are where the best rhymes end up. RZA's gritty, raw style makes for many sinister, street atmospheres mixed in among socially conscious emotional tracks with a helping of sorrowful pianos, soulful samples and of course the sounds of martial arts, kung-fu flicks reinforcing the theme.

With a wealth of good material the album looses itself mostly on the second disc as the mediocrity becomes majority. If this where a single record it would be all killer no filler, possibly a classic but as the album draws on too many half baked ideas and lack of moderation let reasonable songs drown out the classic material. There are also themes of Wu-Tang education surfacing in the second half which don't tie up conceptually and tend to dissolve into rants. The ODB also drops some disgusting lyrics on "Dog Shit", usually a wild eccentric accent to the rhyming shenanigans of his group this solo performance feels like exactly that comparing its tone to the rest of the record. In 97 Wu-Tang struck back hard with a lot of ambition and I feel like they met that ambition, just not in the volume of a double record.

Favorite Tracks: For Havens Sake, Severe Punishment, A Better Tomorrow, Triumph, The City, Hellz Wind Staff
Rating: 8/10

Thursday, 30 November 2017

Moonspell "1755" (2017)


The blunder is real, as you can imagine I was filled to the brim with excitement when I caught wind of a new album from Moonspell. Id never heard the Portuguese Gothic Metal outfit before and upon my first listen to 1755 I found myself thinking "this doesn't sound like them". Well that's because I made the catastrophic error of confusing them with Moonsorrow who's last record was a true gem, one to remember, unfortunately I had trouble remembering their name and so we embark on an expected journey with another band also inspired by the moon!

Getting past the initial "This wasn't what I wanted" phase, a strong record is to be found here. Drawing from symphonic, orchestral and fantasy influences Moonspell craft an inviting breed of Metal tinged with Gothic, Doom, Heavy and even Black varieties that never goes to strongly in any direction. Its compositions are heavily involved with the keyboards which elevate otherwise mediocre arrangements of riffs to cinematic, adventurous levels. The snarling beastly scream of front man Ribeiro cuts through with a commanders presence, steering the ship. Unfortunately his impact is muted by the language barrier, the lyrics could of made better sense of lively symphonies which create quite the sense of unfolding events. Given the name of the album I can't help but feel It may be about the earthquake that killed hundreds of thousands of people in Portugal's capitol, Lisborn.

The record plays with varying intensities and tempos, never a dull moment as its rich tapestry of strings, keys, distortion guitars and vocals forge imaginative songs but as the record comes to an end its best is in store, the closing "Lanterna Dos Afogados" elevates the record a deep and brooding passage of music in its build up, moving from a whispering voice over a soft piano into a dense wash of sorrowful instruments mourning in harmony. The back and forth between these halves culminates with an exotic guitar solo and then the song is plunged into a passing of darkness it recovers from with the returning theme drenched in thick organs and gothic male choirs. A very memorable, satisfying song from a decent record with little to fault.

Favorite Track: Lanterna Dos Afogados
Rating: 6/10

Tuesday, 28 November 2017

Blut Aus Nord "Deus Salutis Meæ" (2017)


Harrowing, sinister and damn right ugly, the flailing torment of souls arrives in audio torture form as the damned "Blut Aus Nord" arise once again from the depths with another hellish installment in their derivative hybrid of Black Metal and Industrial. Taking on a new savagery, the French outfit assault the senses with nonsensical, bizarre guitar work that sacrifices melody to madness in a highly ambitious project one can tire from in its unsettling perpetual darkness. Its a big shift in sound given the last album was the third chapter in their Memoria Vetusta series, a comparatively "brighter" sound rooted in more traditional style. Here we see the group twist the nails for another stab at satanic absurdity.

The record kicks off with a frontal aesthetic experience, squeezing its texture into dimensions that feel oddly expansive and yet narrow as a diminished guitar distortion chugs a single note groove that feels massive within its distant, meaty bass rumble. It stretches back and forth, surrounded by thin synths, the rattling clatter of devious drums, nefarious gargling screams and ritualistic chats of corrupt worship passing by, poise the atmosphere in a temperate position for which it can choose to go.

If any sense of potential groove, or traditional Metal was lurking the following "Impius" hurtles us into the cacophony of heinous demonic noise as the utter agony of guitar screeching sludge is swarmed and strangled by abhorrent voices, vile screams roaring from the abyss and the wicked screeches of odious witches. They assault with a vivid flavor fit for the worst horror scenes and beyond your imagination. Its a truly frighting sound, the tapestry of nightmares. This wretched dissonance of discord dances on the grave of melody as it takes every opportunity to punish the listener with its unrelenting apatite for blackness. Its inclining of musical coherence, twisted in deviation as the continuous displeasure becomes its focal point.

There are mid-tempo moments, the blast beats do scale back occasionally and on "Abisme" the chants of fallen priests can be heard calling from the depths of hell but in these calmer moments no sense of respite emerges. The atmosphere is anxiety riddled, poised on a bed of blades unable to sleep and that is a "disaster art" unto itself but one that I can only be appreciative of, rather than enthralled by. With musical sensibilities cast to abandon the experience only goes so far before it can feel novelty. After many listens I feel as if its made a mark as a horrid, grotesque experience I'll probably never revisit with any semblance of frequency. As art its utterly fantastic, as part of my musical map I'm not sure it can claim a place.

Rating: 6/10

Sunday, 26 November 2017

Biohazard "Urban Discipline" (1992)


After "Tales From The Hardside" sucked me into the Crossover Thrash world of NYC's Biohazzard I couldn't help but check out their sophomore full length which critics often site as their best record. Where State Of World Address captured my interest, their prior release Urban Discipline owns it. Filled with fist thumping grooves, lively gang shouts and the aggressive "in your face" raps of front men Evan and Billy, Biohazzard get us fired up with adrenaline soak tunes to stomp along with.

Demanding self respect with an attitude, words come from the inner strength, street hard mentality to point the finger at societies woes with a voice of reason to shine focus on apparent hypocrisies. Every song has a stance to hold ground and grit your teeth as guitars slam in with Hardcore dance floor movers between power chord thrashings to pull intensities from two avenues. Most the songs play off this dichotomy as gang shouts often throttle us from the lineage of chord arrangements to low end chugging slams.

With a rather chromatic, dated production the songs benefit from a consistent, slightly dulled tone that doesn't over emphasis musical shifts with bombastic, audacious instruments. Instead the muted clarity lets the gear shifts creep up on you with the next riffs magic taking you by surprise. Even after plenty of spins I find them catching me off guard as the music outpaces its dated production. The base drum kick would be all but lost if not for heavy syncopation and the snare has a harsh rattle but the drums still rock the grooves and hold the music together.

At the front of the music the thuggish rapping duo have remarkable charm when it comes to energy and passion as their liveliness makes mockery of the flat sung notes and narrow shouts the two pull off. My favorite song "Business" is loaded with off notes as they push beyond their vocal range. The fantastic lyrics, heartfelt charisma and intense guitars make it a personal highlight for me. "Music's for you and me! Not the fucking industry". The production dulls its glowing energy somewhat but can't stop it from being a real skull cracker in the opening half. It lets itself down towards the end as it draws out with various ideas and experiments that don't quite work out as well.

 Favorite Tracks: Chamber Spins Three, Business, Man With A Promise
Rating: 7/10

Friday, 24 November 2017

Discharge "Hear Nothing See Nothing Say Nothing" (1982)


Ten spins or so into this cult record I am waiting for a spark to ignite, teetering on a hunch that all will slide neatly into place in an eruption of adrenaline and excitement. It may never come but my enjoyment isn't hindered and comes with a great sense of appreciation and understanding to the significance of such a record. Ive heard this record referenced by many musicians, a "bands band" so to speak. Discharge are an English four piece Hardcore Punk band who put this debut album out in May of 1982 and it fits so sweetly into the linage of extreme music, providing a linking point between Punk music and the likes of Grindcore, Crust Punk and even Black Metal.

Pushing simplicity and minimalism to once new extremists, Discharge deploy a claustrophobic guitar distortion that bleeds itself into the crevasses around the pounding punk march of ruthless, determined drumming. The low fidelity fuzz creates a wall of sound, pushing hard with brief, one dimensional riffs consisting of short repetitions droning over and over again, ready to exhaust the listener of their appetite as the fast thrashing guitar pummel and pummel to no end. At twenty seven minutes between fourteen songs they average two minutes usually consisting of no more than one or two riffs drilled over and over with frequent guitar solos utilizing a similar tactic of minimalism as short bursts of notes repeated over and over erupt above the ferocious dissonance. 

Singer Cal Morris manages to rise above the onslaught, shouting full throat with a rough, burly rawness that persists at a dogged, stubborn pace. Its more than reminiscent of Lemmy from Motorhead who released the iconic Ace Of Spades a couple years beforehand. With that exception everything else is so telling of whats to come. The guitar tone and intensity is an obvious precursor to Grindcore which would arrive a few years later with Napalm Death. The production, which in itself is rather impressive for a thirty five year old record, has its significance in utilizing the potential magic of low fidelity recordings. These ideas would be taken even further in the 90s thanks to Darkthrone.

Its lyrical themes delve into power structures, authority, the brutality of war, freedom and all range of social political points. It always comes from the humanitarian perspective, packaging large topics into short simplistic slogan alike lyrics shouted with fury and anger to stir much needed thought in the listener. Its very much my cup of tea but given my adoration of what it inspired leaves me feeling as its just behind the threshold of my goosebumps, a slightly muted emotional response however objectively its utterly fantastic and such a clearly influential record and sound. Very glad to have checked it out, it fits snugly into the musical evolution map.

Favorite Songs: Protect And Survive, Cries Of Help, The End
Rating: 7/10

Wednesday, 22 November 2017

Pantera "The Great Southern Trendkill" (1996)


The legendary Pantera, vanguard of Metal in the nineties, continued their succession of records with the ambitiously aggressive and vicious "The Great Southern Trendkill", the bands fourth if you ignore the early Glam Metal albums. It arrives just before the storm as Phil Anselmo's erratic behavior and back pain issues would tear the band apart. He recorded his vocals separate from his bandmates, something I did not know before returning to this record. Its actually been over a decade since I last listened to it in full, my memory of it rather absent too. Diving into the trendkill again I remember every second and am genuinely mystified as to how I never saw it as a contender for the bands best record.

Where most bands often find a path to more commercially acceptable sounds over time, Pantera seem hell bent on tightening the screws and gritting their teeth with a meaner, tougher sound each album cycle, which may even fringe on Extreme Metal in moments throughout. With the production as lean as ever the Dimebag tone hits full pelt with a stunning capture of his howling guitar stance. The swell of chugging, textural crunching grooves and shrill screeching of harmonious leads resonate with a selection of tight moshable riffs, unforgettable solos and a fair helping of experimentation that births genius like the title track, a dual guitar solo leading into riptide of duality as the groove and lead meld with a flourish of harmonic scattering.

The creativity flows through his brother Vinnie, rattling out those mechanical grooves on his slick drum kit. The measured gated reverb is sublime, giving his hits a slick clean tone with a sharp punch and spacious feeling. As always the duo's chemistry plays off one another with Dime's grooves finding a perfect fit. "13 Steps To Nowhere" stands out as a particularly strong track for Vinnie where he comes to the forefront with his double bass pedal rumbling and tom rolls when the guitars cut out. The song has a dark atmosphere which is let loose as Phil iconicly screams "Thirteen Steps" over and over, leading into a demonic break down as unearthly sounds flutter by and Vinnie unleashes a deep, booming drum strike of evil and menace.

As mentioned earlier Phil recorded his vocals separate from band, something I would have never guessed and now with a closer ear I do pickup on some sections where the lyrical lines read straight from the 4/4 however his vocal input sounds as creative and involved as his band mates. Coming with a sharp, harsh, constrained scream Anselmo oozes with inspired delivery as the pain in his lyrics leap from the songs with sincerity and intensity. His struggle felt so vividly on the impacting "Suicide Note Pt.I" where the guitars drop to acoustic for a sombre moment of reality before erupting into the chaos of guitar screeching and rumbling grooves of Dimebag in part two of the song.

The brilliance of a band on the same wavelength shines strong, Phil always pushing his band mates to go harder and hard they went however It is remarkable they pulled this off given obvious tensions within the camp. Without a second of filler Pantera offer up their hardest thrashing of brutal metal to date and its all laden with southern groove, dazzling guitar work and a sprinkle of magic the culminates with one of the greatest guitar solo to grace this planet, Floods. At the thirty five minute mark this seven minute marvel carries the record to its finial phase with Dime shredding the most emotional and surreal expressions from his guitar and throwing it down to the abyssal, sludge of his whammy bar dropping riff that has Anselmo drying "die! die! die!".

The album continues on strong with another blaring riot of mean gritty riffage on "The Underground In America" and goes out with a bang on "Sandblasted Skin" which includes a fade out, minutes of silence and a brief fade in I never quite understood. All in all its Pantera finest moment, their push for a harder sound yields a lot of creativity and experimentation that comes off a charm and keeps the whole album rocking without a weak point. Sadly so their final record couldn't quite keep up with the continuous improvement in form, one can only dream what could of been, lets be thankful for the wonderful music Dime and his cronies left us!

Favorite Tracks: The Great Southern Trendkill, 10s, 13 Steps To Nowhere, Suicide Note, Floods, The Underground In America
Rating: 10/10

Monday, 20 November 2017

Samael "Hegemony" (2017)


From way back when I was first discovering Black Metal, I fondly remembered Samael's "Ceremony Of Opposites" for being rather different to the traditional scene, infectious doses of groove and sprinklings of synths gave it a memorable edge. That memory was my motivation to check out this release marking thirty years since the Swiss band's inception. Hegemony hasn't charmed me and much like most of their music I can't be critical, for some reason there will always be bands you don't vibe with, despite appreciating what they do. As a hybrid of Symphonic Black Metal and Industrial Metal you'd think this is right up my street but for unknown reasons it doesn't click.

The records plays with social themes and rebellion packaged onto an unworldly stage of theatrical lyricism delivered through the one dimensional, thin scream of Vorph, rarely altering his intensity or texture. The songs strive forward at mid-tempo, the thump and snap of the drums driving the pace as big clumps of blasting drums and busy guitar work sets a thick industrial metallic tone for the synths to resonate off with there lively range of sounds often empiric and epic, heightening the sense of scale wonder that strives for the feel of an evil empire on the warpath.

The compositions are rock solid, the music cohesive but never sparking more than a muted emotional response from me. Bar the loud drums all of the instruments are given equal footing in a mix that muddies them together. The guitar work doesn't jump of the page yet with a keen ear you can hear some interesting leads and riffs burred in the heaving of sound. The synths suffer a similar fate with only the big backing synth chords making their way to the forefront of attention and over details creeping through with the listeners attention. There might be a good record In here, I don't have anything bad to say as every listen was enjoyable but little was memorable and without an emotional response it paled in comparison to other records Ive had on spin recently.

Rating: 5/10

Saturday, 18 November 2017

Metallica "Reload" (1997)


 Written in same period as its counterpart, Metallica split the bulk of their material into two halves and recorded them in separate sessions, returning to the studio after a brief touring period to promote the first, Load. Of this era I once dismissed I do remember being significantly fonder of Reload yet today It seems like the more varied of the two, a variety that has significant peaks and valleys. The openers "Fuel" and "The Memory Remains" are the most likely of all these songs, from both records, to make a set list.

 Followed by "Devil's Dance" we are treated to atmospheric brilliance as Metallica's creative juices yield stomping, crawling grooves and heat soaked shady leads from Kirk who drops in a marvelous solo, leaving his comfort zone and shredding wild screeches that revel in noise play. The vocal hooks are massive as James shows his harmonious range between monstrous "Yeah!" shouts. Laden with occasional effect drenched background vocal lines it oozes with charm from a band pushing their own boundaries. That high is followed by a low "The Unforgiven II", a sequel song that doesn't hit a mark, lurking in the shadow of the original its borrowed riffs and adjustments feel like a rearrangement rather than a second chapter, its all made unbearably worse by the "you're unforgiven too" pun, not a favorable lyric!

Too my ears this record definitely sounds like the second of a pair. If Load got all the first picks it explains its consistency and flow in comparison. Reload goes down a few different avenues, some yielding duller tracks like "Prince Charming" and "Attitude" which seem to lack a spark between sets of reasonable riffs. On the bright side it has some real wild cards like "Where The Wild Things Are", a song that narrows its metallic groove and surrounds it with sweet melodies, mostly from Hetfield who really shows a soft side of his voice. A big shout to "That's Not Metal" for noticing the similarity between this song and Ghost. You can definitely hear it as a precursor to their style.

Metallica get some stick for this era yet there's a lot about it that has contributed to the trajectory of Metal to come, especially the ditching of the strict "all black" metal-head uniform. The production, aesthetics and attitude of this record are much the same of what I said on my Load blog. I remember perhaps being critical of Kirk who felt a bit quite on that release yet here there are a fair few moments where he becomes a big focal point, especially when turning to big, steady atmospheric leads playing of reverb and slow bends like on the remarkable closer "Fixxer". Its hard to pick a favorite of the two, Load is the better album yet Reload has my favorite songs. Ultimately I'm now gasping for more of this era too many fans have dismissed! This era is a fantastic evolution for the band, unfortunately its the end of Metallica at the top of their game.

Favorite Tracks: Devil's Dance, Better Than You, Silther, Carpe Diem Baby Where The Wild Things Are, Fixxxer
Rating: 9/10

Thursday, 16 November 2017

Cannibal Corpse "Red Before Black" (2017)


You shouldn't think of this as a musical "review" of sorts, this blog is about the musical journey, exploration, discovery and how my relation with Death Metal's most infamous band most is surely exhausted. Approaching thirty years as a band they have offered up classics, stinkers and a fair amount of variety but they and both the genre seem to be stagnating from an evolutionary perspective. Stylistically its the same formula, approach and brutal mindset repeated year after year, failing to make it feel exciting or adventurous anymore. Given my disappointment with "A Skeletal Domain" I was going to pass this one by, that wouldn't of been a bad idea.

I first put the record on during a very adrenaline fueled mood. The bludgeoning pelt of the drums racing along, the thunderous menacing roar of visceral shouts howling at their victims and the blistering, razor sharp distortion guitars shredding carnal madness had me head banging like a loon. To good to be true? Mood can always effect an experience but it only took four or five tracks for the intensity to die down as it became monotony. My absence to this sound gave me a rush of excitement but once that settled and the record drew on, the business as usual reality came to be so.

Red Before Black edges forward again with a slightly more intense sound than its predecessor. Everything a little tighter, more intense and kudos to Corpsegrinder for somehow maintaining that inhuman roar through the years. The music is technically cutting, littering the album with all manor of intricate riffs and challenging music but its all packaged within that same Cannibal Corpse intensity they refuse to let up from. Tempo changes and slightly "expansive" twists are always chained down by the identity they have stuck by relentlessly. Whenever a moment comes that it might sound like the song could open up, or go down a new avenue its always pulled back to that blast beat led pummeling that has become utterly boring for me.

I'm glad I enjoyed it for a brief moment but past that first listen its been nothing but a slug of unexciting brutality that feels so pointless in the bands decision not to challenge themselves or move on from what they perfected years ago. Even though I love this sort of music, there is only room for so much before it becomes hard to get into anymore. I wasn't expecting them to move forward and I got exactly that, the only positive I can give them is the production, probably their best aesthetic to date.

Rating: 2/10

Tuesday, 14 November 2017

Gothminister "The Other Side" (2017)


Ive always had a soft spot for this unheard-of Norwegian outfit. Fronted by the distinct face paint baring Bjorn Brem, they would typically tick some of the wrong boxes on paper. Their breed of "festival rock" style Industrial Metal has those big stage tropes. Simple and plain lyrics shape overly dramatic themes for pumping up a crowd with easily sung along hooks packaged into Pop Metal song structures. Despite these observations I find myself getting caught up in their world, the music itself strikes a chord a chord with me, compensating greatly for some supposed shortcomings.

The Other Side is their sixth full length in nearly two decades as a band. 2008's Happiness In Darkness was where I joined them and this new release may overtake it as my favorite. A sense of a big arching theme creeps in through unimaginative lyrics that take a literal, descriptive path to build its sense of personal and communal struggle. "Taking Over" is hard to ignore with its tale of a girl who can communicate with the dead, they question her love for her father who's a killing machine and she is creeping death? The whole thing feels like a hash of dramatics coming together incoherently yet I find myself singing along every time, the delivery infectious and easy to pick up. This example is much of what I have to say for this record, the words don't add up but they drop in with power and infectious that elevates the already booming music.

Opening with "Ich Will Allies" the influence of Rammstein becomes so obvious. The pounding militant snare and German lyrics really hint to influences overlooked by the dominance of Trance and Aggrotech synths as a stylistic marker. Gothminister rock hard with the fast, sharp chugging of power chords on crisp distortion guitars that play alongside bustling EBM synth lines, often dropping out entirely in verse sections to let the dark electronics forge the atmosphere. The tight, snappy drum kit whirls away with thumping, repetitive grooves that drive the songs forward and set the tempo in its slower, calmer passageways. The production is strong, everything pulls together, loud and energetic instruments firing together.

At thirty five minutes its short and sweet, all killer no filler. Each song has its edge and across all ten tracks the Pop Metal song structures always lead to climatic choruses with great vocal hooks or power smashing drums, big moshable riffs and bursts of lively, infectious synths. With its theme rooted is the darker sound of Metal an uplifting undercurrent always broods from the synths, creating a satisfying emotional energy culminating from these big outbursts. It has the measure to wind down in some of its choruses and "Aegir" entirely. It makes for a smooth flowing record that burns through its short songs without a dull moment!

Favorite Songs: Ich Will Allies, We Are The Ones Who Rules The World, All This Time, Taking Over
Rating: 7/10

Sunday, 12 November 2017

Fever Ray "Plunge" (2017)


I dreamed but never thought it would be so, eight years on Swedish musician Karin Dreijer releases a follow up to her critically acclaimed self titled Fever Ray. In the three years since my discovery of her debut It has grown to be one of my all time favorite records, the sort you have to always consider when making top tens and playlists. Her sophomore Plunge comes entirely out of the blue, a rouge email in my inbox I thought to good to be true but alas it is so. With only a video single released a week prior, this surprise release is more than just a pleasant one.

First impressions were wild, all I could focus on was all that was different. Plunge felt dissonant, avant-garde and ambiguously adventurous with its entrancing electronics. Working with more ambitious, experimental sounds the textural journey continually weaves webs of intricate noise arrangements flailing from Glitch to Electonica, with hints of Industrial in its noisy, less melody driven passageways. The atmosphere shifts and varies from one track to the next, conjuring obscure, spacial vibes that can delve into gentle unease and unearthly sounds with the measure for calm, soothing relaxation. On its other hand these songs can become animalistic, dark and paranoid in their abrasive persuasions.

All of this often revolves around a sturdy backbone of stripped back club and House beats. Hard thuds detached from the conventional pop of a snare and tempo setting hi-hat let the dense instrumental arrangement absorb the attention a club groove would often dominate. A hand full of songs, maybe four to five of the songs feel straight of the back of the last album, utilizing the same bell and siren-like synths but deploying slow and steady kick and snare grooves in contrast to the more polarizing, experimental tracks. "Red Trails" being one of these songs you could slip onto Fever Ray has to get a shout for Sara Parkman's stunningly, morose, harrowing violin solo that seeps itself into the atmosphere like a parasite, eating the song from the inside out, carving its menace through an otherwise chilled, if not dark track. Stellar moment on the record.

The production being of this modern era is unsurprisingly crisp, no thanks to the state of technology but balancing all that heard is done with a touch of class. The record can feel almost clustered in moments with all the rattling of intricate sounds swirling around, from start to end its all managed and put together in a lean and easy setting. Karin's singing is infectious, her unique, estranged voice is unleashed with the wit to spin her expressions into elevating hooks, radiating the music and lodging themselves into your consciousness. Lyrical themes are entwined in sexuality, charged by identity and eroticism, the sometimes coarse but often poetic lyrics rub up against some obviously political statements, see "This Country" to hear unflattering commentary that's hard to ignore.

Ultimately, Plunge is a superb record, little to fault and plenty to rave about, Its an endearing listen. My main point of questioning would be in its two halves, distinctly alike to its predecessor on half the tracks taking a big leap forward in experimentation on its other half we essentially get the best on two worlds. To repeat yourself or be inconsistent on a record can sometimes be a hindrance but neither of these possible considerations seem to matter in the case of Plunge, which will probably go head to head with Sikth for my favorite release this year!

Rating: 9/10

Friday, 10 November 2017

Fief "III" (2017)


A wave of excitement took over as news of the third Fief record graced my inbox. It was the sort of enthusiasm for familiarity that has since been my focal point of thought beyond enjoying the alluring atmosphere of the record. Fief graciously invites us to relax in the luscious gardens of kings and queens, courting in the magical fantasy lands of yonder. It was precisely what I had expected and hoped for, another swooning set of short songs to indulge in. Visions of jesters, minstrels and dancers entertaining their masters in cordial company or a young adventurer, journeying through the forests of friendly creatures and ancient fairy tales, Fief sets the tone perfectly for an ancient world of eternal wonder without worry or fear.

I however find myself distracted by the lack of evolution or expansion in the sound, I am always interested in new sounds, ideas and for exploration into what music can offer. Had I listened to this directly after I and II I may have found myself disappointed but the distance in time has been healthy for my apatite. Fief is executing this idea, this vision with brilliance and there is no complaint on my behalf, I am perhaps all too aware of my own attention span, that eventually I will exhaust this fruitful experience and wish for something new.

For now though I have really been enjoying the immersion into this fantasy realm, pleasant, bright, uplifting and soothing its the perfect soundtrack for relaxing and letting your mind wonder. With no major change in sound it is once again a typical affair of layering lush instruments together with inspired melodies alongside the occasional tambourine shuffling percussion. The songs can build and fall, with up to five instruments singing together at once, and in calmer moments a single lead instrument can path the way, whats nice is the fluctuation, the elevating and calming of songs lets its best melodies charm you when the songs reach their respective peaks. At thirty minutes this is the strongest installment yet!

Rating: 7/10

Wednesday, 8 November 2017

Metallica "Load" (1996)


 After the monumental success of the self titled "Black Album", the legendary Metallica took five years to find an artistic stride to new territory. Despite them selling multi-platinum copies and bringing hordes of new fans to the Heavy Metal culture, their back to back Load and Reload records have been the mockery of metalhead snobs from then till now. The sad reality is I was once one of them. Thankfully my journey of music discovery has led me to a place where I want to hear what the artist is about and not just what I think will satisfy my taste buds.

Metallica were right there at the formation of my passion for music, my first and still favorite record of theirs, Ride The Lightning, carved my passion for this music and being a young teen with Christmas on the horizon I had a chance to scoop up more. Visiting the local record shop I was captivated by the covers of Load & Reload and picked them as my next Metallica records, so imagine my disappointment not to hear more of that fast, dark and sleek Thrash Metal! Unfortunately that sour first experience and the rarity of encountering fans that liked these records solidified my opinion that they were garbage... I owe a big thanks to the "That's Not Metal" podcast for prodding back to these records, their epic ten hour talk covering every inch of history in detail and heaped praise on this period of the bands history. With the fire stoked again for this band Load has been on heavy rotation and with mature ears I can join them in their praise of a truly excellent musical period for the band.

Where the old guard may moan that the Thrash roots are gone, Metallica have moved on, evolving into a mature beast that channels the energy of old into hefty, momentous grooves and power throttling drives of weighty riffage that erupts among a band expanding their horizons. Broadening their pallet, the four horseman let the sounds of Blues, Country and Hard Rock accent the guitar tones, steady the pace to a strut and shift the "heavy" to the grooving backbone as their new expressions become a focal point. Songs like "Ain't My Bitch", "2X4" and "Wasting My Hate" stick to their guns but the rest of the record flourishes with the new pallet.

Hetfield has to be given major props for his performance on this record. If the riffs weren't hard, thick and jiving enough, his vocal performance soars on many moments of the record with fantastic harmonious deliveries that will have you singing along. His mannerisms, the "ooh"s and "yeah"s reach a new level of infectious attitude and enthusiasm for his art which just pours out on this record, most likely due to turning inwards for inspiration. The social, political commentaries of past are void, with practically every track carrying an introspective edge in his words. Like with the range of energy these songs carry, James matches it with endearing performances, like the emotional, ranged, Country power ballad "Mama Said" to the grit and gusto of the grisly "Poor Twisted Me".

At nearly eighty minutes the album is loaded, mind the pun, by a band producing gold that might of needed some refinement, one or two less favorable songs trimmed, some unnecessary length on tracks too but the reality is the atmosphere and drive Load has keeps its excitement from start to end. Maybe this lost treasure trove from one of my favorite bands is just too much for me at the moment as I haven't wanted to skip by a second of this yet. I think the variety the record offers has much to say, flexing chunky heavy grooves between diversions into Blues and Country let the songs wind into different territories all while maintaining the grit of the biker gang persona that resonates. Free spirit on the road man.

Production wise, we have an authentic aesthetic. You can feel the heat, sweat and sand of dusty winds and hot climates. Lars's drum kit is snappy, sharp and piercing, every strike is heard and his patterns are as always a strong fitting for Hetfield. Kirk and Jason sound somewhat underutilized, his fifteen years in the band leading to a criminal lack of creative input that finds most of the baselines backing the guitar with a warm, thick mirroring in the base that provides a meaty thud when James gets into the heavier riffs. Kirk's solo's haven't left much of a mark on me, his roll is heard emphasizing the accent and tone Metallica are coming from but his leads never overtook the expressions of Hetfield who drives everything forward with his riffs and singing.

If I were to be critical of anything it could never be the artwork, the change in image the band undertook. Metallica aimed to reinvent themselves and that's exactly what musicians should do when it calls for it. Retrospectively I can see how turning the axis on whats of expected of Metal music is so important for the genre to evolve and perhaps their choices here have had unfounded influences on the shape of modern Metal. Its quite the shame that none of these songs grace the live show anymore. This is a fantastic period for the band, evolving their artistic expression and hitting the mark in the process. Now to binge on Reload!

Favorite Tracks: Until It Sleeps, Bleeding Me, Cure, Mama Said
Rating: 9/10

Monday, 6 November 2017

Winds Of Plague "Blood Of My Enemy" (2017)


I checked out from this band pretty much immediately after their attention grabbing debut album had worn out its attention span. After a shoddy demo record the group got signed to Century Media and bolstered the symphonic aspect to their sound, setting them aside from other Deathcore bands at the time. Crunching breakdowns, filthy screams and empiric symphonies collided to form a cheap and flashy sound that would have you for a few listens. Over the years they have become a mockery to critics and this newest release will probably be no exception. Bar founding singer Johnny Plague, a complete line up change could of given the band a chance to evolve but its business as usual, the same music they were making a decade ago.

Blood Of My Enemy isn't awful but its constantly swirling in mediocrity where moments of chemistry found between the tight chugging guitar and rich orchestral synths are continually dispelled by the arrival of Johnny's tone deaf vocals and impact-less gang shouts. Its a solid sounding record where the modern production gives room for the instrumentals to vibe easily in their audibility. Crisp, snappy drums drive the rounded guitars which deploy a variety of riffing styles stretching from choppy thrashing, to mid tempos grooves and slower chord led passageways. The synths bring cultural echos and atmosphere fit for epic battles as they stitch in sounds around the guitars direction, occasionally coming with Gothic tones that accent and expand the sound otherwise not heard.

On there own we would have a reasonable record but like with their debut there is something about Johnny Plague I just don't vibe with. His scream is always fretting on the same anger with a lack of range or inventiveness in his delivery. A lot of shifts and turns hinge around his break out screams and gang shouts which continuously dispel any charm the instrumentals where building. His lyrical style focuses entirely around the "life is war", "stand your ground" hardened mindset heard in Hardcore music but the constant grotesque swearing and obsession with pairing it to actual war leads it into the unfortunate territory of "cringe" lyrics given his committal to lines like "I will give my life on the battlefield, drowning in the blood of my enemies". Simplistic language, a lack of depth and turning the same idea over and over tires instantly.

There is merit in the instrumentals but the whole vocal aspect is awful. A guest feature on the title track shows how much better this could be with someone else, I believe the voice is Courtney LaPlante formerly of Iwrestledabearonce who elevates the song. This record is massively hindered by its lead member, who is employing the same ideas that faded away ten years ago. There's more shuffled and rearranged breakdowns running on empty, sounding flat and lackluster when they jump into a song. Poor record, doubting I will be back again.

Rating: 3/10

Saturday, 4 November 2017

Drudkh "Microcosmos" (2009)


I enjoyed the Ukrainian bands latest release Somewhere Sadness Wanders. Intrigued by their dense, stoic sound I turned to what some fans say is their finest moment, the seventh album, Microcosmos, which I unfortunately didn't find a connection deserving of such praise. My experience of this record is mostly mediocrity with an exceptional moment of soaring epic between a hardship of forms broken by a raw, visual Slavic folk instrumentation in the acoustic oriented moments that interlink long passageways of thick, grisly guitars that span four lengthy ordeals.

Moody cold winds, overcast skies and vast forests stretching the mountains as Drudkh capture the bleak yet beautiful side of Eastern European countrysides with their thick wall of tonal noise. The ever present drone of dense, chromatic guitars haze over clunky, muddied baselines as the drums do an industrious job of holding it together with on a kit that rattles and rumbles as if its bursting at the seems, ready to fall apart. Singer Thurious snarls and shrieks in his native tongue at regular measures with a helping amount of reverberation that bleeds his shouts into the fog of guitar distortion.

The songs grind and groan as unapologetic riffs carry the burden of continuing forward on these nine minute plus epics. They carry a hardship as bluesy woes cry from the harmonization buried in its tonal thickness. No flashy tricks, or stunts shift the music in unexpected directions or uplift the weight, "Ars Poetica" finds respite in the rumbling of a gentle snare drum alongside a folk like acoustic plucking as the song rests its tired feet for a moment. Its a continuous journey of hardship with only the occasional break for something a little more excitable, the albums longest song "Decadence" drags us through the dark to the eight minute mark for a gleaming moment of triumph and relief as the song reaches a satisfying peak with its soaring riff of victory.

Flashy electric guitar solos arise in short bursts on these songs. With a more conventional tone and flair they seem a little out of place however one can hear that's not what the band were going for. They have sorrow, grief and pain in their call but the tone feels unequal to the music and they stuck out like a sore thumb for me. The atmosphere this records holds is strong and rigid, vivid and engulfing but its wasn't quite to my taste, it leans to far into the struggle with not enough rest from the ruin.

Favorite Song: Decedance
Rating: 5/10

Thursday, 2 November 2017

Cradle Of Filth "Cryptoriana - The Seductiveness Of Decay" (2017)


The twelfth chapter of Cradle's legacy has been unleashed with another upturn in form that feels almost bizarre for Danni Filth's band who for the first time in their twenty six years release consecutive records with the same lineup of musicians. Hammer Of The Witches received a lavish amount of praise that I was equally impressed with, yet surprised to hear them turn it around after decades of patchy releases since their best output back in 1996. With Cryptoriana I again find myself taken back by how little there is to fault here, the real disappointment is in the familiarity of their sound, after fifteen years as a fan their isn't much of a surprise or freshness left.

Cradle don't venture much beyond their comfort zone, the guitars usher in the occasional thump of groove or tinges of Post-Metal in shredded tremolos but otherwise they stick to their guns. Eight tracks of solid songs around seven minutes play like back to back mini epics, well constructed songs with plenty of twists and turns, returning melodies and theatrics that end in satisfying conclusions. This lineups chemistry pulls together the best of their musical ideas, flushing out the mediocrity and settling for nothing less... for the most part, it has to be said the last two songs do drag a little in comparison.

They might be executing the same ideas heard plenty times over in their old records but the quality is undeniable, tight performances executed on a crisp production sounds gorgeous. It may be aesthetically pleasing but its true charm is in the inspiration. Genuine and passionate, the gleam of romanticized gothic melodies weave these songs together between there wanderings into the darkly shadows that manifest in metallic mania. Theatrical, vivid and bold each so is an adventure waiting to be known! Everyone gives a fantastic performance and the result is arguably their best in nearly two decades! I do however hope in the next release they could experiment a little! Cradle's defining sound has barely evolved a fraction over the years.

Favorite Tracks: Achingly Beautiful, Wester Vespertine, The Seductiveness Of Decay
Rating: 7/10

Tuesday, 31 October 2017

Wolves In The Throne Room "Thrice Woven" (2017)


Hailing from Olympia Washington, the Weaver brothers offer us their sixth full length release since forming the band back in 2003. It is their first Black Metal release in six years given that their last, Celestite, was an electronic astral ambience piece and is also the only record of theirs Ive heard before this one, so I go into this one with fresh ears and an appetite for the rich and soothingly dark atmosphere in store.

Thrice Woven hasn't formed a particular vision in my mind, instead different shades and tones illuminate the passing of time as the temperate becomes tempered into different forms. Although the shifts in sound have some flow, they measure against one another with distinctions that remind me fondly of other artists. "Born From The Serpant's Eye" has echos of Panopticon with its folk like undercurrent, resonating in the buried, sombre melodies that have cultural inflections. That opening passage transitions into traditional darkness, shredding fast riffs under pummeling blast beats before breaking for a quieter, calmer interlude. Eventually it finds its way to the passing of sludgy, mammoth guitar riffs wailing demonic groove under a howling scream of evil, a real highlight in the record.

Consisting of five tracks, the flow disrupting interludes really make it feel like a couple of songs were unnecessarily stitched together although the lyrics may offer some context there. The featuring of sublime female vocals in two melancholy interludes have such a spellbinding quality that the records angle is transformed entirely in these moments as we are lifted from the darkness to another realm of beautiful moonlit wonder. "Angraboda" has this interruption too, although made memorable by an awful inclusion of guitar feedback, it cuts into an eerie silence marked by a lonely melody similar to that of Burzum before returning to Metal, bouncing a slow plodding riff between a colossal scaling riff that ascends with median blast beats. "The Old Ones Are With Us" again has a familiar distinction, its opening passage with shimmering, lonely melodies reminiscent of I Shalt Become.

My favorite moment comes on the closing track with its utterly menacing "breakdown", half time drums, the crashing of some hideous cymbal screaming away under slow, punishing, sludgy guitars makes for a memorable moment in a record loaded with good music. Unfortunately it doesn't come together with a grander sense of self. All the shifts in tone and intensity don't amount to a bigger picture or even progress with a sense of direction, instead it feels like a string of musical ideas pulling each other along. Its still a very enjoyable record but no one song felt commanding as a whole.

Rating: 6/10

Tuesday, 24 October 2017

Humanity's Last Breath "Detestor" (2016)


Their name alone gives you an insight to the punishment awaiting. Hailing from Sweden this five-piece outfit push metallic bludgeoning to new insidious lows with a name to stick like a thorn in your mind. It captivates fatality with a simple expression, no need for any repulsive or repugnant language as so many extreme bands go for. The music too will also set them aside from the competition with what Id describe as approaching upon an inevitable "Post-Deathcore", stripping out the worst tropes from the sound and pushing whats left further down the rabbit hole of ruthless pummeling noise abuse.

The five songs that make up this short release do wonders in the immediacy. Deep rumbling guttural vocals, roaring with intensity over disgustingly down tuned monstrous guitar tones making a textural treat of punishing aesthetics to wallow in as the erratic interpolation of split second harmonic squeals and bleeding screeches will have one dizzying in despair. Its technically impressive and proficient but loaded with a dose of groove if you enjoy hearing open string chugs fretted violently in tandem with the swing and sway of grizzly drums, pounding with a vision of utter brutality.

In the long run less of this Djentmare, see what I did there? "Djent" plus "nightmare", sticks in the mind. For all its punishing heavy and sporadic violence, little melody or purpose beyond the obvious emerges. The individual grooves, riffs and guitar work become a shadow of the overall beast. Impressive in its moment but not lasting. In the days Ive been enjoying this, I can't recall a riff jumping back at me or something being lodged in the mind. Instead a couple of impressive ideas leave a mark, like the title track that drops in a wretched, harrowing, shrill scream behind a macabre "break down" of sorts. The scream gives a real sense of a human soul shocked to the core.

The guitars with their mammoth textural tones, gritty, loose and sludgy are so well preformed they are paradoxically tight, sharp and precise too. They make a strong impression whereas the vocals feel commonplace, atypical screams and timings. The drums are very accommodating of the other instruments, always syncopating and doing little to be in the forefront bar the occasional foray into blast beats. Its a bitter sweet record, enjoyable now but not lasting. This band have serious potential but are limiting themselves with the conventions of Extreme Metal and Deathcore.

Rating: 4/10

Saturday, 21 October 2017

Kauan "Kaiho" (2017)


Their former release, Sorni Nai, was a riveting listen, an emotional journey of stunning peaks and swerving valleys born from a wealth of inspiration based around the mythic Dyatlov Pass incident. The record is a complete entity that blossoms into a cinematic soundscape, leaving a resounding impression on me that is still unwavering. The Russian five piece are back with their seventh and first self published record, "Kaiho" which has unfortunately disappointed to no fault of their own.

Listening back through their discography the band always had a unique, soft and sombre tone, slightly cultural but distinct and melodically persuasive. Over the years the Doom Metal tropes of snarly, guttural vocals and slow, sluggish distortion guitars, heard on Lumikuuro, gave way to the lighter, artistic, richer sounds of Post-Metal which heavily complimented their melodic side. Its wasn't uncommon for these tropes to subside entirely, in fact the majority of their music has mostly been made up of the "clean" passageways which this album naturally embraces with a move away from its Metal roots.

"Kaiho" is the heart of their melancholy put out to bear. Long drawn out movements of sorrowful strings and soft airy synths paint the glorious, yet gloomy atmosphere for vulnerable singing and delicate melodies to play out. Its pace is temperate, treading on ice as every song drops with the softness of snowfall in a setting of pure ease for the listener. Everything is calm, soothing and gloriously relaxing with plenty of room for introspection and reflection as this serene sombre takes hold.

For all its slow and delicate, beautiful composition, every song is meandering, wandering without direction. The lack of urgency or event steadily drains it dry as the album draws onward without a sense of meaning or story, little feels unfolding or even heading anywhere and so the subtlety and softness fades from focus and each song feels like a point without destination. Only "Kasvot" musters a sense of something grand ironically from shimmering Post-Metal guitars resonating with the airy synths. Its a rare moment for the record as most the guitars are slowly plucked acoustics, any distortion found is heavily buried under already gentle instrumentation. Aesthetics, mood and tone are spot on here but the lack of event or direction, change in pace or upturn in mood has this record seeping out of focus, leaving each song feeling like the last.

Rating: 6/10

Thursday, 19 October 2017

Erang "The First Age" (2017)


The vast and rapid output of Erang continues, a man with an unwavering inspiration for the vision of his kingdom brings us another installment, the forth this year? Seventeen in total? I'm loosing count but alas, The First Age may suggest a return to roots but his evolution as a composer sounds aroused and fertile on a handful of songs littered among a cast of temperate mood setters. Years of experience have blossomed into a craft for intertwining layers of simple melodies on reverberated instruments that hits home every time, commonplace yet spell bounding in the right mood. The First Age is memorable for its strongest tracks which jump of a track listing that doesn't stick to one direction.

A loose concept of returning is presented with the albums titles and knowledge of the various ages within the kingdom. Album opener "1986" has Erang narrating a diary entry under the downpour of soft rain as an industrious click clack bustles away on the typewriter. As his entry draws to an end a storm erupts, leading us on a retroactive journey, replaying clips and soundbites from past records as we swirl through a portal of sound, ending on the first Erang song "Another World, Another Time".  The concept of returning to the origin is explained but thrown off balance as a couple of tracks, notably the gloomy yet enchanting tones of "All Kings Must Die" & "Everything Is A Lie", deliver the ancient wonder of more traditional Dungeon Synth sounds, both their aesthetics and theme strike close to the classic Trolldom by Lord Lovidicus. Its found again later in the record but Erang's inclination to richer, luscious sounds has the vibes expanding into different crevasse.

"Birth Of A Shadow" hits a ghastly, dark note as graveyard bells ring out over a fog that creeps in as the night falls and we fall witness to harrowing screams and roars emerging from pain over the mischievous chanting of bells. Its cinematic, gripping, the music paints a scene to embellish in, one of his best. Followed by "La Nuit Noir" we change direction with another wave of inspiration as a stunning piano piece cries out its burden of mortal agony on crimson chords. Its lead hand far more developed than usual, given fluidity to break to conventional loops that dominate the music.

For me the record is marked by standout tracks, "Escape The Lonely Madman" another that needs mentioning for is slow and grueling of withering dread that collapses into ancient eastern cultural sounds that has one envisioning trade and travelers indulging under the desert stars, the shimmering of fires lighting their midnight engagements. The best of this record seems to be pulling from different sources and I'm not sure how I feel about that, the opening sets it up to be a nostalgic rewind which I didn't feel past a few tracks, on the other hand its an excellent set of songs where Erang continues his progression as an artist, yielding more fruits of the labor than ever. On a final note I just have to say the synth in "Unmasking" very similar to the Concrete Jungles game soundtrack, took me a while to make that connection, very similar synth instrument, had to boot up the game to confirm it.

Favorite Tracks: All Kings Must Die, Escape The Lonely Mountain, Birth Of A Shadow, La Nuit Noire, Unmasking The Dead Oracle.
Rating: 7/10

Monday, 16 October 2017

Marilyn Manson "Heaven Upside Down" (2017)


There's little bad to say about Marilyn Manson's tenth record. I could get critical and say it gets off to a moderate start but as the wheels get spinning, they don't slow down! Best known for his culture shock records Antichrist Superstar and Mechanical Animals, Manson has seen a steady decline in recent years that got turned around with The Pale Emperor, a change of pace, an introspective artistic piece that turned his observational musing inwards. I was sorely disappointed at first, "Heaven Upside Down" was not continuing in that direction but with each passing listen it grew on me substantially. He may be approaching his 50s but the fire for his breed of intelligent rebellion still burns bright in this fellow.

The most obvious comparison for this change of pace is the Antichrist Superstar era. The vibes, instrumental aesthetics and attitude is similar in many spots with a helping dose of anger and aggression. His poetry is witty, sharp as a blade with cutting lines like the opening "fuck or fight" on "Jesus Crisis". I could make lists but this is Manson, his reputation needs no examples, hes on his best game here with cracking lyrics that turn in on themselves as the words unfold. His ability to write and deliver hooks elevates the instrumentals as you'd expect them to do but always catches you off guard.

Instrumentally things start off aggressive with crunching guitars leading the songs. Dirty, Industrial thumping riffs on steady repeat. "Tattooed In Reverse" experiments with gritty, buzzing baselines and sharp, often shrill oscillating synths for a rattle house of dystopian blues. "Saturnalia" Is the turning point, the music becomes expansive with echoes of The Pale Emperor distance the aggression for spaces to breath in as the moods start to flow. Its as the album winds down from its aggressive start that I find myself captivated, Manson's chemistry with his band mates seems to electrify as his performance resonates with lyrics carrying the burden of dramatic emotions.

This albums flow is a strength played to. It starts with a bang to lure you in and steadily evolves into a much deeper record. The density of the instrumentals, aided by rich electronics, plays to the versatility Industrial music can provide as the songs collectively share a space with quite a variety of textures and flavor to throw your way. It can shred distortion guitars and find its way to bustling acoustics too without loosing the heretic energy. Everything comes together on this record, the group are on fire and give us the all killer no filler treatment. I will leave this post with a favorite lyric I can't get out my head. "And I tried to look inside you, but ended up, looking through you, now you try to tell me, your not a ghost!".

Favorite Tracks: Say10, Saturnalia, Jesus Crisis, Heaven Upsidedown, Threats Of Romance
Rating: 7/10