Allan Holdsworth "Secrets" (1989)

Here's one for the record keeping, an entry which I couldn't possibly comment on its relevancy to late 80s Jazz Fusion. As a passing fan of the genre, Secrets has been a pleasurable soothing mood setter, one I discovered through reading on Fredrik Thordendale of Meshuggah. You can clearly hear a bold influence on his zany alien guitar leads. Allan lays a foundation for the dexterous dance of swift notation, a flashy guitar virtuoso seemingly orchestrating its charm through an arcane balance of tension and resolution in motion. Melodies drift by, casting spells through norms and a familiar charming dissonance that Jazz music loves to explore in earnest.

Allan finds a particular curiosity theorists could easily dive deep on, exploring odd tensions and easy tunefulness across eight tracks fitting of the decade. Slightly cheesy in its glossier incarnations, yet devilishly engaging from a performative perspective, these are dazzling displays of creative genius simply swirling in the magic of the moment. Its softer touches lull into the decades tropes whilst its musters of momentum mesmerize on a rousing journey to the unworldly stars above.

The record has variety within its tone, lending the spotlight to other instruments and singers on occasion, keeping dynamics in healthy motion. Opener City Nights is the standout track, one that packs a heavy lead guitar punch. A self evident influence on the aforementioned, as well as some bands I've listened to in the Progressive Death Metal scene. Secrets has been an impressive find to treasure, one that suits my tastes and further illuminates the rich tapestry of music and its many, many overlaps.

Rating: 8/10

Stormkeep "Tales Of Othertime" (2021)

 

In our age of nostalgic recreation, here comes another classy modern Metal band turning an ear to a Nordic past. Comprised of experienced musicians from the Colorado scene, Stormkeep ventures boldly into the late 90s Symphonic Black Metal sound. With a snarling groans akin to an early Shagrath, Otheyn Vermithrax arms the outfit with an added charm I personally adore. Behind his beastly wretched howls play anthemic marches of triumph and conquest. This is victorious battle music, fresh from fantasy realms, channeling its majesty into extremes maligned by magnificent melody.

The Seer opens and sets the tone, acoustic guitars and folksy synths cast its Fantasy setting, erupting into scaling tremolo riffs soaked in dank synth. Melodic and upbeat in nature, its darkness feels rapturous, full of adventure, as if partnered on a plundering adventure. Its calls back to Medieval times with its Heathen visions, a forgot rural time ruled by myth and magic. The track goes on to toy with groove riffs, thunderous blast beats and symphonic breaks, deploying all the classic hallmarks of the genre.

Structured between four lengthy epics and two non-metallic interludes, the album wastes no momentum in exploring its ambitious song writing. It avoids repetition as A Journey Through Storms and Eternal Majesty Manifest lean towards a Folk Metal motif, exploring Pagan tones fitting of another European scene that emerged at the same time. Its forty plus minutes reign supreme, a superb execution of ideas heard before but delivering them with a grace befitting of the clear vision they had putting this fine record together. An easy recommendation for fans of these genres.

Rating: 7/10

Matte Blvck "Vows" (2024)

 

My allure to this record arrived through Midnight & Angel. With tender voice, tight electro percussion and nightly synth melodies, this song conjured a kinship to Black Celebration, a record I adore and have always wanted to hear more of. Vows delivers that magic in moments but between its flushes of human emotive touch comes a mechanized industrial delve into aesthetic and groove that leaves a bold impression.

From Electro-Industrial to Noise, Synthpop to Darkwave, the California trio Matte Blvck command a spectrum appealing to both pop sensibilities and challenging aggressions. These songs revel in sharp potent synthetic aesthetics, assembling a gorgeous yet dystopian soundscape. Its vivid, striking, a crystal clear exploration of darkly futurist sci-fi imaginations, reflective of the modern state of music production.

The records structure is impressive, voiced tracks alternate with instrumentals that lean on percussive might and groove. Serving as shows of force, they signal talent, craft and care as its magnitudes shift focus. As a result, the album experience wins out. On the journey through its visions, strong touches of Synthwave, Techno, Trance and even a whiff of 90s Big Beat emerge. Vows is simply a delightful exploration of expression. A trove of treasures to return to and enjoy again. Truly impressive.

Rating: 8/10

The Firm "The Album" (1997)

 

Why did The Firm flop? Led by Dr. Dre's evolving production, this Rap super-group failed to garner merit from fans and critics alike. With three decades of distance amassed, not even nostalgia for classic 90s Hip Hop elevates its status, a mostly forgotten and overlook East-West collaboration with aims to end the rivalry.

Firmly rooted in concept and execution, The Album delves hard into Mafiaso Rap, a subgenre then in its prime. Chemistry between artists isn't its downfall. The concepts explored perhaps lack depth but my gut tells me they leaned to far into this Mafia lifestyle inspired motif. Its better tracks share something in common, a narrative. The best lyrical strides come through occasional story telling, leaving the bulk of the album recycling lifestyle braggadocio picture painting rhymes as its main thematic reflection.

The Album does give one a curious window into Dre's evolution. These beats pop off with snappy percussive drums, slick suggestive instruments, assembled tight and precise. For keen ears one can heard the aesthetic foundation for his classic 2001. Five Minutes To Flush slaps with a hard gated reverb bass kick. It recycles the synthetic vocal tricks heard on California Love. Firm Family share a spirit with Jay-Z and Memphis Bleek's Coming Of Age. I love hearing these links in Hip Hop records.

At the time, the star studded cast probably cast a big shadow of expectation. Revisiting this decades on with out any presumptions, a fair and competent record emerges. Armed with a diversity of beats for one to pick favorites, it ultimately lacks substance and depth in lyrics content, painting gangster portraits with predictable rhymes. As suggested earlier, it leans to hard on a single concept, lacking hooks and concepts to back it up. If you're not a fan of Mafiso Rap, this will be a tough sell.

Rating: 5/10

Old Sorcery "The Outsider" (2026)

 

It turns out that the twenty minute epic Magick Truimph was not a lone anomaly but the lead single and opening track of this fervent march into the mystic chills of synth laden Black Metal. An attentive individual may notice the link in title and cover art framing with last years The Escapist. That album ended with a brief flush of distortion guitar, suggesting another link into The Outsider, a meaty seventy plus minute plunge into sways between aggressive metallic mania and occult esoteric offerings.

Barrowgrim Asylum plunders one extreme, a cold chromatic track toying frightening hellish cries from the void with cheesy horror key tones. Innigkeit and The Pain Threshold serve the other end of this diabolical spectrum, soothing yet mystic synth interludes, evoking curious atmospheres of arcane and sequestered secrets.

The records best resides where these two ends meet. The Interior Gates Of The True Soul offers up delight when its Berlin School lead melody infuses the dark ravenous blasting with an emotional through line. Suddenly the music illuminates as some sort of 80s Synthpop vibe makes its resonance with a bi-polar opposite known.

Where Sorrow Reigns is my absolute favorite, a throwback to late 90s Symphonic Black Metal. Its seemingly dense foray of darkness opens up a third of the way in. Jovial piano keys call out from a carnival of chaos. Its following grooves infuse symphonic wonder and stoke the flames of greats, like Dimmu Borgir, Emperor and Arcturus that came before. A simple wonder for this fan of that particular niche.

In essence, The Outsider is an entertaining exploration of tried and true extreme sounds, armed with peculiarities and inspiration to bring moments of genuine freshness. They are however, somewhat sparse. With competency and passion, this record plays with an excitement hard to come across these days. Its interesting to see artists shift direction but this is a somewhat retroactive pivot to enjoy an old craft.

Rating: 7/10

Apashe "Renaissance" (2020)

Stunned by its impactful predecessor Antagonist, Apashe's debutant Renaissance lingers in a shadow yet cast, a cruder amalgamation of Classical eclectic crossover with an urban grit. I'm shocked to learn its taken me two years to follow up on this bespoke Baroque bombast, a riveting union of classic aesthetics produced with hard hitting heretic percussion. Three years its junior, on this outing, one can hear a vision yet to craft a cunning to evade listeners from overt dissection of its element1s.

Thus the seams of ageless string sections and renascence orchestral tonality peal, riding upon rigid waves of obnoxious, dance floor pounding beats. Leaning into its own absurdities, stints of slickness unravel as tight, lean instruments, polished to a fault, create walls of stark rhythm. Its modern, flashy, often devilish when bass drops echo the vulgar machinations of Dubstep. Fortunately, this execution caries itself well.

With its foundations firm and fair, the record benefits from a routine cast of guests brining much need distinction to these numbers as several instrumental ideas get recycled. Insane catches my ear as a keen collaboration, veteran rapper Tech N9ne lending credibility to a crudely demonic instrumental. His snappy flow outshining the all to sinister obvious drop arriving past the songs midpoint.

You'd be hard pressed not to find some enjoyment here, however the evolution in sound tainted my experience. The craft will evolve however at this point of inception, the ideas are keen and potent, explored with a vision evoking intrigue and curiosity. My biggest takeaway is a renewal of excitement for what Apashe will do next!

Rating: 6/10

Poppy "Empty Hands" (2026)

Keeping up the impressive pace, Poppy swiftly returns with her seventh full length album. Empty Hands is another amalgamation of Alternative Metal, Pop Metal and Djent, emulating the modern scene, still struggling to surface an originality to call her own. Consistency strikes well in the album's opening half, a firm grip on bombastic guitar tones paint dense atmospheres for her singing to cut through. The opener Public Domain chops this up with a blatant ohmage to Manson's 90s Industrial style.

Diversification unravels in its second half, Eat The Hate delves into revival Grunge. A well executed song that cant quite escape her presence. The Wait, Blink and Ribs toy with Electro Pop beats and dreamy Synths, a vibe switch up I can't help but feel is closer to Poppy's voice as an artist. This is my gripe with her persona in the music, the instrumental influences of Metal and Alternative don't meld with her expressions.

On the vocal front, she is certainly working on the aggressive intensity of her shouts and screams, amping up the energy with crude throaty roars on brutality tracks Dying To Forget and Empty Hands. The latter plays a vibrant meaty Metalcore number spliced with a Pop Metal chorus. Empty Hands containing throwbacks to the late 00s Deathcore scene, peaking with an ever cringy and hilarious bree pig squeal.

Most likely thanks to switching songwriters, Empty Hands has been the easiest of her records to get into. Despite that, I still don't feel a strong connection between voice and instrumental that has been a continual pain point across her records. Its the same issue that lets these songs fade from memory, so I'm left with a familiar sense of enjoyment in the moment, but no idea which tracks will stick over time.

Rating: 7/10