Rating: 2/10
Monday 12 December 2022
Skinny Puppy "Cleanse Fold And Manipulate" (1987)
Thursday 4 August 2022
The Color 8 "Foot On The Gas" (2022)
This Arizona based four piece, The Color 8, are a somewhat eclectic assembly of talents. These musicians may revel in one anothers company but for this listener, their musical inspirations feel left behind in the past, as opposed to being nostalgic or revivalist. Little new is offered with many metallic riffs offering similar once aggressive tones to the likes of Cypress Hill's crossover, or Ice T's classic Body Count.
Its all driven forward by loose, dirty distortion guitar riffs, Rap and Metal collides with the spirit of their encounter around the late nineties early naughts. For that alone I'll find a stronger connection than most. Even appealing to my personal tastes, this five track struggles. Half rapped, half shouted hooks rarely land and the swift dexterous rap verses lack a spark on personality in the wake of rappers that came before.
WTFU is possibly the albums best track. Social politically charged, dropping in with bouncy riffs on the chorus, harmonic guitar noise licks for the verses. Its great but all from the Rage Against The Machine playbook. I could drone on with details and specifics but ultimately a lack of something original shining through really hinders the mediocrity. I've checked out their other material online and its clear they are talented, capable of so much more than this dulled rusty Rap Metal revival.
Monday 9 May 2022
The Gathering "Beautiful Distortion" (2022)
Presently decades beyond the youthful beauty of their magnum opus Mandylion, my excitement for the group has vanished in the wake of Beautiful Distortion. Now eight years on from their last release, Its occurred to me how little of The Gathering I know beyond Always... and their aforementioned classic. No longer with the vibrant charm of Anneke van Giersbergen leading way, her replacement, the Norwegian Silje Wergeland, has quite a similar temperament, softness and power. Until research before writing, I thought of Anneke's performance as underwhelming and dragged down by the drab and dull character of the accompanying instrumentals.
Sadly, nothing about the record sticks. Mostly unfolding in six minute stints, the eight songs are all mid-tempo strolls across tame, paled atmospheres. Its as if the group are seeking the epic, a beautiful destination manifested through the gentle brooding of its inoffensive instruments. It rarely manifests as such, perhaps We Rise comes close with its gristly guitar pushing some shadowy weight against the light. The rest of the material meanders within itself as softer guitar distortions seek a resonance with the otherwise smooth setting. The dynamic rarely pushes into any interesting territory.
As a form of toned down Post-Rock, these songs simply pool together some passable ideas that dabble and drone in lengthy repetitions where the atmosphere just doesn't amount to much. It gets quite shaky on the last two songs as the worst ideas manifest a rather inoffensive temperament into something quite amateur, reminiscent of a local band who cant hear themselves. My words may be harsh but the music was deafeningly dull, lacking any gusto, spirit or ambition. Its been disappointing but also a reminder to get to know their older records some more. That I can be thankful for!
Rating: 2/10
Wednesday 6 April 2022
Erang "A Season Of Leaves" (2022)
The final of five, A Season Of Leaves was the least enjoyable for me. With a misdirection of soft bells at its opening, the music crashes in hard with the Summoning's blueprint. Distant hazy distortion guitars bleed over thunderous drum strikes and shrill wretches of screams chime over a counterpart melody played via the bright key tones. With breaks from extremity led by a deep, epic narrative voice, the Tolkein vibes emanate. Admittedly, its a competent piece of music but the lack of originality leaves me with a sour taste.
From here the format is stretched, pushing the ugly Black Metal in sideways directions and fusing with more Erang-like folkish instrumentation. Its a true mishmash that reaches a low on Le Loup, La Chouette Et Le Vent. The sloppy extremity has no candor. The final track actually finds some fascinating chemistry in stints. The racing drums batter along with thees ascending chorals in the backdrop. Its momentous and rallies to an esoteric realm as zany synths wage in. Without cohesion though, it falters.
Ultimately, this was a brave release to put out there as an artist. Making bold decisions and striving for something different, its five seasons offer up a lot of intriguing musical ideas. In places in sparks, in others it falls flat and that might be down to preference, or simply artist fatigue as the traditional tropes lay all to bare for me. Either way I am glad Erang keeps pushing on! This was quite unlike any other listening experience I have had in some time.
Wednesday 30 March 2022
Killing Joke "Lord Of Chaos" (2022)
Its been seven years since the mighty Pylon. Now forty plus years deep into their career, Killing Joke deliver two new songs on a four track EP boosted by a couple of disposable remixes. Although enjoyable for a fan, there is little new hear to be heard. Title track Lord Of Chaos is the grittier of the two Its rumbling textural base guitar throws back to the aesthetics of their early days. Its a typical exchange of meaty groove and dystopian atmosphere they have done over and over at this point.
The second track Total also stems from their 80s output. This one is moodier, with its nightly unease tone drawing from eerie synths when the guitars drop out. When they come back in its with an almighty roaring momentum. Jaz's singing reminds me of their Night Time album. Point being, its good but all has been head before.
The Big Buzz remix brings 90s electronic club music vibes to the Pylon song. Its reasonable but the bass kick thud is rather incessant. Delete In Dub pushes a Drumstep beat through a loose fitting of sound experiments and disjointed noises. It amounts to very little with Jaz's occasional voice the only thing tying it to the band. Ultimately, these two add a little fluff to new music that lacks any originality.
Rating: 2/10
Tuesday 15 March 2022
Arca "Kick III" (2021)
In picking out a peculiar sounding project featured on a top list, I've fumbled into territory truly beyond what makes music tick for me. On first listen I though this might be the most abominable record I've heard in some time. Having stuck with it, I've now grown somewhat matured comments to share on the radical harsh venture this project is. I have no context in which to address this wildly experimental music in relation to the three other chapters of Kick released in daily succession towards the end of 2021.
If this is Arca, AKA Alejandra Rodríguez's normal style, then she is certainly an artist with a distinct voice and vision. One of confrontation, dissonance and discomfort where an emerge of groove or melody from within the dystopian abrasion has alluded me. Two songs have grown on me. Their textural ambiguity and sonic assaults offering a novelty of sorts. The rest of the record sadly dulls with each listen as much of the disorienting tapestry tires in its rebellious circumvention of musical norms.
With harsh electronics, the worlds of Glitch and Noise converge on the back of unconventional, seemingly disjointed and random percussion. Its thudding bass kicks jolt off beat and zaps, buzzes and fuzz replace the rolls of snare and cymbals. Those two rattle without structure. Its more tuneful sounds seem hell bent on subverting melody, each song inducts a random assortment of sounds without direction. After a spin or two many aesthetics becomes very obviously vocalized. There is a plethora of manipulation and plugin work at play here that I could sadly not appreciate.
Once noticed, every kick and and assumed noise has a hint of vocal timbre. Alejandra mostly delivers her Venezuelan lyrics through this manipulation too. If every interesting or musing, its often buried in a dread of brutal dystopian madness. The opening Bruja & Incendio deliver some brash and swift native wordings that become quite enjoyable in their foreign nature. As a strength in the record, its use is minimal.
Beyond its reasonable opening, the record devolves into its own unusual nature, where I could find little beyond the occasional instrumental texture sparking curiosity. There was really nothing for me to resonate with. The critical acclaim makes me feel as if people are appraising the bizarre oddity it is, which is all fair game but I am personally looking for the ground where the oddities abridge an emotional connection with the listener which alluded me entirely. Maybe the continuous dreamy vocalizations on Intimate Flesh came close but that would be all.
Rating: 2/10
Monday 31 January 2022
Dagoba "On The Run" (2022)
I'm not overly enthused about this release. Its more of a passing curiosity for a band name I was surprised to hear are still going. Its was back in the early days of the Deathcore scene that my friends and I also listened to these French metallers who were in a different lane, the "Future Fusion Metal" breed that never really took off. Melding an earlier take on Meshuggah's chunky Djent guitars, blisteringly fast mechanical drumming and an atmospheric helping of electronic synth, they caught our attention. They have since seemed to of escaped my interest... Perhaps I should revisit that record? Take another walk down memory lane! Music is always infused with memory for me.
Anyways, On The Run consists of two tracks still in that vein, modernized and toned down in intensity. The opening title track however goes for an accommodating temperament, a duet with an effeminate voice fit for more than just Metal. I couldn't find a name, but she has a style that steers the music into the classic European scene of decades past where women really started to get a foothold in the scene. The soft blare of trance synths nestled in the mix gives it quite the pop appeal. Initially it felt a little contrived but its an easy going song with a darker leaning that's grown on me.
Its following songs get meatier, shifting emphasis to big stomping grooves erupting between rough shouts and screams. The synths tend to play accents on the unfolding momentum but too get moments to shine and play up the Trance and electronic club scene vibes. Its a decent chemistry that doesn't amount to anything spectacular but does no harm either. A little astral in places, they distantly remind me of Aeons Confer. This has been a reminder of how enjoyable Metal can be, even if not much out there feels fresh or different.
Rating: 2/10
Monday 24 January 2022
Ghost "Call Me Little Sunshine" (2022)
Tuesday 30 November 2021
Cane Hill "Krewe De La Mort, Vol. 2" (2021)
Following up on the first part of Krewe De La Mort, American Nu Metal revivalists Cane Hill return with two more reasonable songs for the arsenal. So far the best I've heard of this band was when deviating from the norm, with their Alice In Chains inspired Kill The Sun EP. Volume 2 stays on track, delivering high octane Metal. Bolstering massive Djent riffs, groove syncopation and a textural layer of Electro-Industrial noise, its quite the throttling force that comes with a sensitive side.
This time around it feels like vocalist Elijah Witt gets to lead the way with his burly yet introspective voice. Blood & Honey kicks things off with boombastic riffs and ridiculous low end guitar noise. His screams and shouts forgettable but its the pivot to energetic clean vocals that bless both tracks. He infuses the song with a wonderful melodic character, amplified by clean guitar notes gleaming in the instrumental behind him. Its a busy track but that focal point makes it work, the lyrics carrying weight too.
Busting in with roaring, triumphant Heavy Metal guitar solos, both tracks emanate "Festival Metal" vibes fit for a big outdoor stage. The following Bleed When You Ask Me goes even harder on the guitar grooves. The metallic dissonance tends to wash away into a noisy backdrop with Elijah doing all the heavy lifting. His voice forges a path through a racket of thumping syncopation. Without him this would of been dull.
Rating: 2/10
Saturday 7 August 2021
Wampyric Solitude "The Splendor Of Loneliness" (2021)
So distant now from its curious origins and sparks of individual majesty, The Splendor Of Loneliness has me checking out from this artist as a clear downward trajectory continues. It is never fun to be critical but this record has been bloated with lengthy and repetitious loops of grating low-fi. Its ideas are obvious but the execution misses the mark too often. Its opening track holds its own, the sparse percussion and esoteric gong strikes from the deep push along a slow whirl of shadowy synths. Devoid of uplift, it stares into the cold, lonely abandon that lays before it.
The music has a chemistry between instruments that overcomes its deliberate distortion and wavering fidelity. The issue is, this approach to tonality swiftly falls apart with tracks like Crypt Of Vampyric Darkness, Eternally I Hate, Enthroned Amongst The Eldritch Shadows and A Putrid Stench From The Grave Of Hope. They all push minimalism on repetition with uncomfortable synth tones that miss the sinister, imposing or demonic presence they likely aim for, sadly faltering to become an irritant for the ears. Singular notes, or small groupings of, lethargically drone sluggishly, cycling incessantly with little sense of building up tension or atmosphere.
For me, it doesn't even work as mood setting background music. Ironically its two shortest songs have flashes of magic. Grave Syndrome ushers in a creepy yet charming sinister energy as its brooding acoustic guitar gets mustered into action as a devious baseline propels it along. Ultimately, I had very little to take away from this experience given I didn't vibe with the aesthetic. I do think a lot of this musicianship rests on a blades edge. Tricky to pull of the chemistry but step wrong and its game over.
Rating: 2/10
Tuesday 8 June 2021
Wampyr "Wampyr" (2017)
This will be the first of three records I will cover on the topic my newest unearthing, Vampire Synth! Whats that? Apparently a subset of the micro-genre Dungeon Synth. Can you imagine my reaction upon stumbling onto a massive list of this so called "vampyric" music. Excitement alright, Ive often yearned for artists to look for new avenues in this easily accessible genre flooded with amateurish attempts like my own Forgotten Conquest. So far we are not off to a good start with this brief EP of three originals and a cover by James McKeown, the man behind the Wampyr moniker.
These lonely, sombre songs lean heavily on their Casio synth keys and low fidelity aesthetics, sounding fumbled and off the mark. Meandering and directionless whatever solemn piano, gaudy choir synth or cheesy tone takes focus the music can't escape its design. The brash and awkward percussive strikes on the opening track seem like a failed rouse to arouse mystique. As it passes the yearning atmospheric synths that arise usher in a new phase seemingly unconnected. With barely more than two instruments chiming in at any one time, its possible minimalist ideas fall flat in forging anything meaningful out of the subdued setting it occupies.
I'm being harsh here, individually some moments do conjure that ancient dungeon feeling but its all to brief and interspersed by the swiftly transitioning music. It doesn't create a sense of theme bigger than any one moment that's passing by. To pile on the critique a little more, where is the vampirism? I picked these records at random, unsure of what to expect, hoping for a new nostalgia, gothic and cruel, drenched in blood, exciting the imagination for mythic legends of Counts and Countesses, dwelling in darkness and conspiring nefarious plans for their victims. This had none of that and thus my disappointment. Even removing my colored expectations I hear little distinction.
Rating: 2/10
Wednesday 5 May 2021
Earth "Earth 2: Special Low Frequency Version" (1993)
A recent revival of Hibernaculum and The Bees Made Honey had me curious about their pre-reformation works that had been heaped with praise. As a curious teenage enthusiast, this record had left me dumbfounded to what the fuss was about. Now, with open mind and ears I find myself with a similar sentiment, although context may play a roll given what this anomaly may have meant to listeners back in the nineties.
With three gargantuan songs totally seventy three minutes, Earth 2 strikes me as more of a singular experiment in tone than anything structured, planned or even designed. This is Drone Metal resembling very little of Metal and much of the drone one might associate with engine noises and electronic buzzing. The entire musical piece is a wash with the dense, drowning, fuzzy flood of guitar distortion cycled with amp feedback to muzzle anything that happens to wander across its bleak path.
Admittedly I can comment there is a strange charm and allure to the droning noise but is it a work of genius? I suspect not. As background or foreground music it is mostly grating and is best enjoyed when entirely distracted from its presence. Perhaps its just not my cup of tea. I understand the appeal but the particular aesthetic at play here is mostly a discomfort that feels pointless to endure its unsettling presence.
With Seven Angels, a lone guitar deploys burly riffs reminiscent of Black Sabbath on loop. Slowly chugging palm mutes and rising to chord slabs with slices of short melody, it stands aside for offering something to focus on yet feels unremarkable to me. The second track shifts aesthetics slightly, the guitar work goes in a moody direction but ultimately its emotions are smothered by the droning, dirty sludge.
Its not until Like Gold And Faceted that we hear drums, slow, temporal and disappearing for tempo shattering duration's, they barely crash through the wall of brown sound. At the hour mark, a scream can be heard and before it, a little lead guitar but as mentioned, these events do little to conjure purpose or intent. I must say, it does sound like cryptic rumblings are woven beneath the drone at times where its consistency breaks and cracks of something else is heard, undecipherable.
The whole thing seems like an unplanned session hinged around the concept of smothering the listener in blistering feedback for an unreasonable amount of time. Its spontaneous blurts of additional sound seems disconnect and purposeless. If there is magic to be found here, it has certainly alluded me, although I suspect the aid of hallucinogenics might yield different results for those who use them.
Rating: 2/10
Wednesday 10 March 2021
Vektor "Transmissions Of Chaos" (2021)
It's been some time since I last heard anything from American thrashers Vektor. Their previous effort Terminal Redux was quite the charmer given its dense and technical take on Thrash Metal, a great work of vision and execution. It was also the bands last, I was unaware they had disbanded and this two track warm up is a result of their recent reunion. Sadly though the two tracks didn't carry the sparkle I heard before.
Activate is a fast ripping thrasher of choppy techniques and dizzying melodic entanglement, charging head first into the wall! Its tone and jittery energy is unrelenting, not offering much in the way of a hook or catch. Its pause for an acoustic respite after blazing solos is an interesting moment but the track tends to contain itself as a short, simple drive of aggression, not looking to get expansive as they once did.
Dead By Dawn initially sounds like a cover with its clean vocals springing a different mood forth. Its a progressive path forward, opening up at the three minute mark into beefy lunges of melodic gleam and meaty distortion fretwork. Its sudden pivot to rapid power chord shredding dispels the excitement. It reuses the lunging moment to see the song out and ultimately ends up feeling a bit directionless.
For a band reuniting, this may just be an exercise in getting back into the process. These two numbers show both craft and execution, bringing back their very "plastic" and particular tone with a competent production but disappoint with a lack of dazzle or remark within the routine of galloping Thrash Metal running the routines of its techniques. The second track had the ambition with a bold move vocally but its conclusion was to fall back into the arms of comfort. Transmissions Of Chaos is worth a listen but hopefully they will bring bigger ideas to any full release in the future.
Rating: 2/10
Sunday 10 January 2021
Papa Roach "Lovehatetragedy" (2002)
My recent dive into the past with Infest had me thinking on their followup record Lovehatetragedy, a very Emo oriented title perhaps signifying a coming departure from Nu Metal that would follow this record. It occurred to me that upon release I devoured this album but had left it in the dust, never listening to it again once that period in life had passed. So today I thought I'd give it another spin, see what I remember, possibly enjoy and how its aged over the last two decades.
Kicking off with M-80, high adrenaline guitars rip through some exciting riffs, the theme of musical love amps up the energy, setting quite the upbeat tone for this record. Sadly it is short lived, Life Is A Bullet spins next and it starts flooding back. Lovehatetragedy is a slug of self indulged misery. Song after song has Shaddix spewing his particular craft of self defeating sorrow that glorifies all suffering in a moment without resolve. To find him some merit, its catchy writing, his choruses have a knack to them, cheesy ear worms I'm glad I had once forgotten. This is painful.
The band behind him bring back a very similar aesthetic. The approach to songwriting is as before, the rhythm guitars tend to pivot away from syncopation and metallic groove, with more hazy, melodic tinged chord arrangements creeping in. It plays into their emotional angle, which has become simply unbearable for me to endure. Its more cast iron Nu Metal with an emphasis on the lonely, moody wallowing tone that often accompanies the worst of the genres tropes.
The record starts reasonably well, a few pre-Infest songs re-recorded bolster its aggression but as it drones on the songs get drearier in tone or quite possibly my tolerance is being challenged, ending with a string of awful tracks. Its been amusing to hear how many lyrics and choruses come back to mind from memory, pretty much all of it. The depressing nature is just to much to bare. I found myself skipping a few tracks halfway, wishing the torture to end! I am a big believer in finding reasons to love music but record is too wrapped up in awful memories and its clear that Shaddix's words don't offer much in the way of help to someone in this dark space.
Rating: 2/10
Friday 8 January 2021
Cocteau Twins "Peppermint Pig" (1983)
Before the Cocteau Twins sophomore record, arrives another, ultimately disappointing, three track EP. Released in April of 1983, it captures a moment of creative poverty where the music fails to venture upon anything of remark. Reading up on its creation, the group were forced to work with an outside producer while also feeling that their creative efforts were not up to scratch. It shows just about everywhere. The record has a drab, dry tone where its instruments feel lone and separate. The baselines rumble in repetition with a tone that feels distant from the hazy guitars. They reside in a narrow, chromatic space, dull and meandering. The hypnotic wash of pedal effects and reverb offer up little depth or texture unlike before.
Its fractions from being right but these small differences in feeling turn the songs into dull drones. The title track has some merit as layers of creepy synths and loose, shaky pianos add some much needed depth. The drum machine too is lacking in arrangement variety. The tone is dull and grinding, lacking natural echo and creativity that got it by on Garlands. In front of it all Fraser sings with a routine, that distance between instruments amplify a sore tiredness in her performance. As the band have described it themselves, its not a good record but it should be said the title track holds up okay. Its Laugh Lines and Hazel that offer little musically, further exposed by this drab production style. Disappointing but not a representation of whats to come.
Rating: 2/10
Wednesday 14 October 2020
Bathory "Octagon" (1995)
Monday 3 August 2020
Joey Badass "The Light Pack" (2020)
The second track brings on Pusha T, who's style is still rather fresh and interesting to me, a reminder to check his work out further. Its a brief bit of spice over a moody, slightly gloomy beat. The final track Shine brings some uplift in tone but again I just don't find Joey's raps that exciting beyond their obvious competence. The concept of mind, body and soul this project is supposed to embody doesn't leap out at this listener. It's ultimately a small release that hasn't advanced any musical prospects for Joey and ended up feeling a little dull in the shadow of his albums.
Rating: 2/10
Thursday 2 July 2020
Behemoth "A Forest" (2020)
Favorite Track: Evoe
Rating: 2/10