Bal-Sagoth "The Power Cosmic" (1999)

 

Scouring the web for more unturned stones within Symphonic Black Metal, I found my way to fellow Brits Bal-Sagoth. Although not akin to my favored Dimmu Borgir incarnation, The Power Cosmic has been a lively listen! It possibly representing the band in their best stride, with an aesthetic production scaling a welcoming clarity.

Far from the dark depths of Black Metal's reach, its extreme nature, felt through bombarding drums, bombastic orchestration and howling screams, would feel unfitting elsewhere. The musics core characteristics are Fantasy and Epic in nature, weaving big symphonic adventures akin to the likes of recent discovery Fairyland.

Bal-Sagoth's identity lacks a distinction beyond the merits of its various textures and intensities, sticking firmly inline with much of the Fantasy music I've heard before. Its array of synthesized instruments emulate triumphant trumpets and battle horns in aggressive strides. Harps and stringed sounds deliver the swashbuckling adventurous melodies. Behind it all, a soft, ever present glow of choral airy synths.

The rhythm section mostly acts as a sturdy foundation. Lead guitars erupt into the music frequently with squeals and creative arrangements to add an expression less rigid than its symphonic counterparts. Its all stitched together with touches of Progressive Rock influence as the band shake up their own blueprints on occasion.

Overall the experience rarely transcends a sense of expectancy dark fantasy styling offers. Great as an album to serve a mood but lacking stand out moments. Its mostly a pleasant dazzle of upbeat, gleaming instruments sounding off battle-cries. At forty minutes, The Power Cosmic is a lean and concise offering, shy of true glory.

Rating: 6/10

Lauryn Hill "The Miseducation Of Lauryn Hill" (1998)

 

As thee lone solo release by rapper slash actress Lauryn Hill, Miseducation's reputation has been cemented by time as a remarkable mic drop. After life in movies and The Fugees, this smash record solidified her reputation. Subsequently withdrawing from the limelight, this remains as her lasting legacy and a record I've been criminally slow to get around too. Doo Wop & Everything Is Everything still stir feelings and memories fresh from my preteen years, a period before the roots of what I adore today was established. Similar to my experience of Puff Daddy's No Way Out, this was an opportunity to step into an alternate past had I gravitated to it at the time.

My nostalgia could have set high expectations but I took this one at face value, for how it felt today. This may explain my lack of affinity with the critical acclaim bestowed upon its meaty eight minutes. Most songs hit the five minute mark with solid Hip Hop beats, embellished by Jazz, Funk & Soul alike instrumental performances to liven up its loops. Sadly, a fair portion of tracks leaned into a dreary sombre tones, reflecting on life's struggles with gospel hardship vibrating on moody expressions. That's not to say these R&B grooves aren't beautiful or stunning in their heavy presence, just a personal mismatch I failed to indulge upon, despite Lauryn's exquisite singing voice.

Early on in the record, we get a few harder cuts. Rugged beats, record scratches and Lauryn pivoting to her raw rapping persona. Delivering tight rhymes with lyrical depth on a firm masculine cadence. Her narratives are mightily written, holding attention for a whole song on her own. That substantive depth is present throughout. Something about her raps cuts the mood, putting them front and center, unable to avert.

Miseducation is also interwoven with two other aspects. Love and a musical tapestry. With interludes between songs, seemingly a teacher talking to a classroom about love, Lauryn seems to grappling with a personal story through this externalization as the students discuss various aspects of the four letter word. The musical tapestry comes with some welcome Wu-Tang samples but also timely lifts of samples, grooves and chorused from well known songs. It gives the whole expression a sense of roots into other artists works. A nice sentiment she pulls of a touch of class.

In conclusion, my many repetitions did not warm me up to the majority of its R&B moods. They dominated its tone despite a healthy variety of textures stretching from Spanish guitar to Gospel church organs. Lauryn herself an impressive creative force, both in the musical arrangements and as a performer, showing off much tenderness in her voice with a strong philosophy of mind backing her personal direction. Well worth the time but not quite a classic for me sadly. Maybe if discovered back in the nineties at an impressionable time, this could have been quite different.

Rating: 7/10

Potatohead People "Nick & Astro's Guide To The Galaxy" (2018)

 

 Reveling in the merits of predecessor Big Luxury, the Potatohead People duo, Nick Wisdom and Astrological, return with another Jazz Hop indulgence. Again, the quality of compositions on display set it apart from expectant groovy indulgences of the genre. Sung choruses, guest rap verses and instrument solos break up the looped foundations. The beats are class, slick jazzy moods frequently leaning into G-Funk and dreamy detours as spurts of soft instrumentation and reverb ups the indulgence.

Last outing, guest verses and lyrics illuminated the runtime. This time, its instrumental cuts grab attention as the songs drift with non linear feeling. The core rhythms stand firm but around them breezy Sax solos, dreamy acoustic guitar licks and Jazz Fusion keyboard tones wrap the groove in organic expression. Especially captivating is the closer Rituals. Its eclectic pull of glitched vocals, gritty saw bass and House pianos acts as a closing novelty you could imagine fitting snugly on a 90s Trip Hop record.

Ultimately, its not too dissimilar a project with a similar flow. The pair lean into a more diverse source of inspirations which they wield to fit their mold. The result tips the scales as its interesting assembly of sounds gets to flourish in the spotlight. The beats built for rhymes come rigid and stiff in contrast. The raps contributed by guests Illa J and the like, have less of an impact than before. Either way, its another quality Jazz Hop craft to pluck out some personal favorites from, that I'm sure will last with time.

Rating: 7/10

Post Malone "Austin" (2023)

 

Returning swiftly from the lukewarm reception of Twelve Carat Toothache, Post Malone returns with a notable progression in his persona and musical identity. Austin, named after himself, is a traditional leaning Pop record that initially disappoints with its generic withdrawal from what made him standout as an artist. Flushing out percussive Trap influences and stepping back from the embellishment auto-tune offered, this new direction withdraws into pleasing practices and sensibilities established for years now.

With a lack of aesthetic novelty to draw one in, Its with repetitions that one gets to know these songs. Humble and sincere, Post revels in his emotions with an authenticity complimented by his voice. Ditching auto-tune for the most part, merits emerge in his singing that prove this talent is beyond gimmicks. The melodic lines and catchy lyrics are illuminating when they land. Backed by subtle swooning instrumentals, the union lands songs sweetly when the stars align.

With less hands involved in the records production, the trio emerge with a cohesive vision pulling on a little kick clap of coffee shop Rock, the shimmer 80s Synthpop and dreamy touch of modern Pop. Compositions are apt, purpose built, across a range of tones all lavished in gorgeous aesthetics. Its builds a summery indulgence of warmth and good times masking an underbelly of sunset reflections on masked pains.

Brushing aside the false start of the self-pity opener Don't Understand and yearning Gospel cries of Something Real, an arc emerges from upbeat to introspective. Early on the best tracks arrive on pacey percussion tempos and cool breezes. As the record matures, the calmer acoustic leaning expressions steadily shift its focus. Its a decent trajectory but given only a handful of songs really pulled this listener in.

I found Austin's lulls to highlight how well its uplifting choruses landed. Early on, every other song croons and grooves on its slick impressions. As moodier acoustics roll in, mediocrity rises. Curation is often a pitfall on lengthy records. At an hour long, its clear a concise expression of Post's warmth would have rocked strong. The reveling on melancholic vibes didn't land with the same infectiousness. This could of been something special but its retained to a handful of songs that stand apart.

Rating: 6/10

Nas "Magic 2" (2023)

 

I'll make a prediction, like King's Disease, Magic will become a trilogy too. The enthusiasm for this career rejuvenating partnership with producer Hit-Boy gets stated at intervals among these eleven songs. Like its predecessor, Magic runs lean at a thirty minute mark, breezing through cuts slicing 90s vibes with current styles in Hip Hop. A competent record, ticking all boxes of the duo's recent, remarkable, success.

Sticking in their lane ultimately leads to a lack of novelty for returning listeners. Topics circle a familiar stance affirmation, confirming this revival once again. Wedged between, a fair dose of nostalgic reflection on Hip Hop's greats from Rae & Ghost to Eric B & Rakim as well as referencing the rags to riches story frequently. After several spins one can't deny the lyrical ability on display but its mostly felt in Nas's flow. At times, his rhyme schemes feel built around puns and references over the narrative.

 The magic, pun intended, has somewhat dulled. Perhaps a case of listener fatigue, or artistically exhausting the source. No doubt the duo have more to offer but at this pace the chemistry has yet to evolve and despite its potency, I found the dose has become to large to leave one watering for more. Magic 3 will be a must listen but I'll expect simply more of the same. Fun for a while but the astonishment has faded.

Rating: 6/10