Old Tower "Ruination" (2017)

In the age of ever changing release formats we have Ruination, The New Darn Cometh, simply a lone nine minute track of meditative Dungeon Synth, the defining style of Dutch musician Old Tower. Its another gloomy and atmospheric piece of brooding, darkly synth that could be placed right alongside The Rise Of The Scepter, released earlier that year. Its pallet and range of events are limited in scope but its sense power to conjure rural visions of dark, foreboding medieval times are on form.

Horns and trumpets of isolated glory sound of the song as a familiar vale of deep foggy synths mystifies its leading melodies, one can see a stoic castle being consumed by heavenly clouds sweeping in over cold and unforgiving moors of a harder time for man. Its crawling pace steadily brews its way towards a break of soft choral choirs that allure in gong strikes and a sense of epic that drifts gently out of focus without a peak. At its end a murmurous melody of lonely mischief winds out the last minutes of the song on a whimper. As a reasonable song packaged within a short project, the music yearns to be part of something bigger but is lonesome. Old Tower has a spell bounding and wondrous sound that I wish to indulge in for far longer.

Rating: 2/10

Greta Van Fleet "From The Fires" (2017)

Following up on Black Smoke Rising we have an unusual release from the greatly hyped Greta Van Fleet. Its marketed as a double EP, eight songs that could of been an album however four of the songs are from the aforementioned release. So its like another four songs released alongside the last. Because of that Ive just focused on the new independent tracks, of which two are covers. That was unknown to me before writing this up, perhaps it serves as a testament as to how well they embody the era that inspires them since I was none the wiser, these songs fit sweetly into the run time.

These songs took a little longer to get into and I believe that's because these are the less dynamic cuts. They don't aim to dazzle up front with hard hitting licks but sneak up on you as their atmospheres build in intensity. Both the originals here culminate in guitar solos after the songs tempo feels hastened in the rising tide of instruments steadily raising the energy. The cover songs also ask something more from front man Josh Kiszka who certainly rises to the occasion without a sweat.

Admittedly I felt these song illuminated their potential to reach more crevasses of this era but in reality its a patchy release to comment on with just two originals. With an album arriving in just a month we will find out what this band is made for. Until then I will continue to enjoy these EPs very much so. Its been a while since Ive been so excited for a band outside my musical comfort zone and this is it!

Favorite Track: Edge Of Darkness

Rating: 5/10

Greta Van Fleet "Black Smoke Rising" (2017)

Do Greta Van Fleet live up to the hype? Does it even matter? Music should be about what you get out of it! If you can connect with the artists vision there is often something wonderful to be enjoyed. That is certainly the case for me and I even got to see them live earlier in the year at Download Festival. I really wish I had got to spin these songs sooner as I would of really dug that show. Familiarity and repetition are important for getting to know music but the reality is I was already singing along by the third listen. The four songs that make up this record are fantastic.

Hailing from Michigan USA, Greta have fallen under the spotlight for their enigmatic revival of 60s Rock, frequently being compared to the likes of Led Zeppelin. It is singer Josh Kiszka, one of the three brothers, who's electric singing makes them stand out. His howling voice hails back to that era vividly and compared to anything popular, or within my scope that's happening right now, he stands alone. It is a little unfair to focus on him alone though, the rest of the group embodies this era too.

Across these four songs you may be thinking this is a nostalgia trip but whats really making this music tick is the songwriting. The hooks are driving and powerful, the keys and organs gleam with that spark Lynyrd Skynyrd had. The music develops its themes and channels them into fantastic eruptions of energy when Josh kicks his voice into fifth gear and the guitars rise up with the hard grooving licks. Between its brilliant choruses the verses set the tone for whats to come, keeping you anticipating the shifts and waves of mood and charged emotion that come with it.

Another thought crosses my mind. This is not a style and era of music I'm that well versed in and so they could be plugging a void. The production is modern, bright and crisp, so much so to make the music far more inviting compared to the soft and muted recordings of times gone by. As I said up above, music is what you can get out of it. If you've exhausted everything from a style you like then its hard to get excited about new music in the same vein. I can see why fans of Classic Rock are skeptical but there is a huge opertunity here for a new generation to discover some truly fantastic music.

Favorite Tracks: Safari Song, Flower Power, Black Smoke Rising

Rating: 7/10

Algiers "The Underside Of Power" (2017)

I first heard of this record in relation to Zeal And Ardor, referencing the singing which harbors bold accents of chain gang vocals and origin blues vocals. That lured me close and Ive since been sucked into this fantastically dark and rooted musical experience. Hailing from the southern city of Atlanta, Algiers are primarily a Post-Punk band fronted by singer Franklin Fisher, who's voice is a constant pleasure, strong and powerful he acts like the guiding light that unifies the mood and meaning of the instrumentals and gospel singers parading behind him. This is their sophomore album released last year to much critical acclaim and I have to share in their praise of these forty four minute of engrossing musical art.

Firmly at the core of the sound is a Post-Punk vibe emboldened by the dense, punchy baselines that patrol the musics underbelly, making itself known, laying a foundation for the atmospheres forged above. Its tight with the percussion, a refreshingly modern aesthetic that's executed without flash and flare. The tricky shuffles of fast high hats and grooving sub kicks of Trap music is to be heard but the approach is a million miles away from formulaic Hip Hop beats. With a wealth of kit samples, programmed sequences avoid repetition and meld seemingly like a drummer following the musics intensity and complimenting it as such. At times its organic and can appropriately take on a more mechanical Industrial form when its called for in darker times.

Out front, loading the music with texture, dynamism and charisma is an arsenal of instruments. Guitars, pianos, keyboards playing a myriad of synth tones, the saxophone, stringed instruments and even a glockenspiel makes an appearance as the four multi-instrumentalists utilize their talents in the dense web of sound they create together. It can be a lot to unpackage and after many, many plays through the soundscapes still feel like a maze of detail to stair into. Under its emergent melodies play drones, distortions and memorizing rattles of reverberated sounds that somehow don't descend into chaos and broaden the scope of sound.

The record flows with a sense of progression, in its opening phases Fisher commands the music with his empowered, deep, emotive voice, flexing his words with expressive affections that resonate with Blues and Soul vibes. The music is inherently dark in a personal manor, burden and destitute surround his voice, the source of strength and uplift that lurks beyond the pale. There is an almost biblical quality to the epic that is his presence and on the title track we have a moment of gleam and uplift, overcoming the horror as choral gospel chants illuminate his performance rising up above all else. As the record progresses the instrumentals seemingly grow and overtake his importance as the drums get more mechanical and two tracks nearing end have him in absence.

The Underside Of Power is a riveting experience devoid of a weak spot. Its engrossing chemistry of powerful song writing and an energetic textural experience lasts its run time without a hitch. Everything feels meaningful and full of purpose. Without a gimmick or flash in the pan this really feel like an album to stand the test of time. Its place in the musical landscape is unique, its not pushing boundaries in any direction but showing where overlaps are to made, a combination of influences and sounds that becomes more than all its apparent parts. Truly wonderful.

Favorite Tracks: The Underside Of Power, Death March, Hymn For An Average Man

Rating: 9/10

Sequestered Keep "The Vale Of Ruined Towers" (2017)

Continuing our dive into the mysterious, adventurous realms of Dungeon Synth we come across this praised release by an artist I was already familiar with. I have many of the previous records from the American composer known as Sequestered Keep, because they were free and plentiful. In a span of a few months they released a dozen albums onto bandcamp, all with a striking monochromatic covers of mythic castles, epic landscapes and darkly forests. Unfortunately I wrote the music off as being far to minimal and effortless, I got the impression it was more about the fantasy of Dungeon Synth than the music itself, minimal because it was put together hastily.

If that is true or not there is no doubting this new logo and introduction of color in the album art signifies a shift in quality. The majesty unfolds with a gleam of medieval fantasy and mystic imagination not far from the kin of Fief. With bright melodies reflecting playful adventures and carefree mischief The Vale Of Ruined Towers paints a rather warm and serine setting within the so often gloomy and decrepit micro genre. Playing into the fantasy side of its sound, a welcoming tone invites the listener in to stay in this carefree realm.

The aesthetics take on a bright, pronounced and glossy sound as luminous instruments in the form of harps, bells, horns and choral synths chime in tandem through compositions of layered melodies which often stack up to several layers, creating a colorful web of sound. Its held together by a constant but easily overlooked percussive line of steady hi hats and the meek shaking of a quiet tambourine without a kick or snare in sight to enforce any groove beyond keeping tempo. Its result is a colorful vision of glory from mystic realms of surreal natural beauty where kings and queens bestow their lands.

With a fairly consistent tone its scope may sound a little narrow as its song structures and musical progressions rarely break the mood and atmosphere of the instruments. It gives the whole album a stagnancy within a beautiful setting. When instruments fade, melodies shift and songs turn direction its as if it goes around in a circle. The record sets a fine tone and atmosphere for the specific mood but on closer inspection feels like it has the power to grow and expand yet the songs remain firmly in the same spot. A great record in some regards yet being familiar with this style It feels like the opertunity as passed to push it further.

Rating: 6/10

Old Tower "The Rise Of The Specter" (2017)

Our journey through the dark mystical realms of Dungeon Synth continues on and this thirty minute project split into two halves is a peach of a find. Hailing from the Netherlands this Dutch musician has been active in the past couple of years releasing many mini albums comprised of one to two songs usually ten or more minutes in length. Each record comes with its spooky artwork of high contrast, black and white imagery using ambiguity to evoke ancient nostalgia. This one in particular sets an unsettling tone, at first glance one might mistake the hooded figure for a tower next to the brooding castle. On closer inspection the ominous black circle in the sky gives one a sense of night time, as if the image as been inverted and the moon is now black, it sets a spooky atmosphere for the music that awaits.

The darkness of the music is not terrifying, or as mysterious as one might suspect, Old Tower is a uniquely meditative and calming experience as its slow, lethargic approach to melody soaks in its surroundings within a low fidelity, reverberated setting. Bold punchy synth tones loose their cheese in the wake of an aesthetic that's mostly akin to hearing a church organ from within the church itself. The naturalistic echo lets notes bleed into the space of a large hall and when instruments layer up their is an emergence of spiritual sound that becomes difficult to decipher yet heavenly in its presence. It takes on a temporal form so to speak.

The two halves of The Rise Of The Specter have clear progressions which we might normally expect to be split into individual tracks, I believe the split may take homage to tape nostalgia and the turning over of sides. Either way the songs go through obvious shifts and some passages drift from the power when composed with fewer instruments, many listens has worn them a bit thin but the middle phase of the first half is a prime example of the magic at work. Slow scaling synths churn over between distant choral voices and culminate to the menacing rise of a foggy, deep war trumpet, setting an unshakable sense of importance to which a second gleaming synth rises over creating an epic sense of scale.

The records vision is particularly vivid for me, on some occasions I see visions of vast ethereal forest and in overs its cliff side castles battling the walls of fog rolling in from the distance. It is however a truly Dungeon Synth sound and can aid ones imagination in visiting the places associated with it. This particular style however comes with a soothing pace, softness and meditative state perfect for a more relaxing and introspective experience that is rather unique.

Rating: 6/10

Myrkur "Mareridt" (2017)

There's always music to be discovered and this year at Download Festival I decided to wander over to the forth stage while grabbing some food and to my delight caught an unexpected amazing show by the Danish group Myrkur. A combination of furious Black Metal and angelic singing played right to my tune, I knew I would have to pick up a record and my first is their second.

Mareridt, Danish for nightmare, reveals so much more about their sound from the live experience, although it is probably a dimension to their sound your just not going to hear first time around at a show. The record however shows depth and emotion in abundance as the contrast between singer Amalie Bruun and her band goes beyond a simple concept and aesthetic, tapping deep into the folk sound of pagan cultural roots.

The record achieves a meditative, indulgent state just at its surface level alone. Steady, naturalistic songs let the light draw to Bruun's singing as she delves into soft angelic singing with accents of Scandinavian heritage, on De Tre Piker she goes all the way in with what could pass as on old hymn handed down through generations, stunning singing reminiscent of Lisa Gerrard. Behind her the music finds different temperaments with the Black Metal aspect of the music finding many intensities to approach from, occasional bursts of ugly, snarly spats of grimness fuel some darkness but more often than not, it rides on the uplifting gleam of awe inspired lead melodies, similar to the epic grandiose scale of an act like Saor. It mostly serves as an aesthetic for the theme.

As the distortion guitars and drumming compete for their moments they sway up again the persuasion of heathen sounds. Violins, harps, modern synths, organs and pianos grip firmly on the naturalistic experience that will have one smelling the outdoors air, feeling the breeze as it rustles through the leaves of tress. One can really feel the spiritual connection to the forgotten past when man was closer to mother nature. The swaying and competition between two sounds gives the album a healthy flow that finds an interesting middle moment on Funeral as Chelsea Wolfe lends her voice to an abyssal, slow, crushing instrumental that could of easily been on her own record. It highlights some similarities but more so adds to the diverse pallet these songs have with one another.

On first listen I felt the Black Metal aspect to be rather rigid and stiff in its volatile phases. I could hear a lot of 90s abrasiveness at work but with each listen as the overall theme became clearer its chemistry in relation to Bruun's voice and the other cultural sounds gave it a far more organic and Post feel. Perceptions change and I am finding myself loving this record more and more with each listen. Its moods, feelings and vision run deep, the music comes to life with vivid visuals of dark and ancient times filled with pagan mysticism.

There is a very personal and mischievous period in the outro track Bornehjem, a childish Golem alike voice talks to its demons, leaving me to believe there is most likely a much more personal theme running through the lyrics, of which I haven't read, perhaps that is something I should make the effort to do. This band will undoubtedly be one of my favorite new discoveries this year and luckily there is their debut record to get into next.

Favorite Tracks: The Serpent, Elleskudt, De Tre Piker, Funeral, Ulvinde

Rating: 8/10

Logic "Everybody" (2017)

It seems Ive been set on a path to work backwards through each of American rapper Logic's yearly releases, this being his third album and his first to debut in the stop spot on billboard charts. Its as convincing as the Bobby Tarantino II mixtape, a bright, energetic album full of charisma and energy emanating from the talented MC who handles a fair amount of production with his own beats on this equally enjoyable record. It doesn't have a lot to separate it from the mixtape format other than being a little more consistent with its theme and topic.

Logic, his long time collaborator 6ix and a handful of others forge a fine selection of flowing modern beats with a healthy mix of sampling, programming and trap influenced beats, as well as a couple of pop rap tracks for the radio. They set a fine stage for the raps which totally dominate the tone with a ton of food for thought. Through story telling, point making and generally speaking his mind. Logic tackles these personal problems and criticisms head on in a very upfront, straightforward and unapologetic way. These topics are heavily focused around racism and how we as people treat one another in this society.

It can be problematic how self involved in a progressive politcal world view he is. At times the lyrics can be naive and lack nuance and certainly walk down a very entrenched path but for me the message is clear, between many of his narratives he reinforces the message of love and compassion for one another. This endearing warmth goes a long way and although his lyrical content isn't as issue for me I could see it being divisive for others who may have a different world view.

Take It Back is a mighty track, Logic engaging us with his technical delivery over a very repetitive beat that becomes hypnotic as he reminds us to take it way way back. Its a powerful song, Logic having to defend the perception of his racial identity in the face of criticism. He walks us through his life's struggles and how it relates to a much larger picture. Other features make a large mark on the record too, the inclusion of Neil Degrasse Tyson in interludes adds this fantastic layer of thought to the nature of meaning and existence. He also brings legends Killer Mike and Chuck D to the album.

Overall its a fantastic yet flawed album mixing a handful of ideas in the pot that doesnt quite formulate into a coherent vision yet forges some fantastic musical moments and plenty of food for thought. The most endearing aspect is the character of Logic himself, through all you can hear an honest and kind hearted person, it goes a long way to make the album feel less weighed down by its subject matter and lifted by the beats and inspiration.

Favorite Tracks: Hallelujah, Everybody, Take It Back, America

Rating: 7/10

Lil Uzi Vert "Luv Is Rage 2" (2017)

 Of all the so called Mumble Rap that's peaking these days, Lil Uzi Vert has been the most interesting to catch my attention, his dazed and confused feature on the Migos song Bad & Boujee and an infectious "all my friends are dead" hook on the Xo Tour Lif3 single has had me put off this record for too long now. It's his debut album, a squeal to a mix tape of the same name and after a few years of building up steam he debuted at the top spot of American billboard charts, going on to turn platinum earlier this year.

Success aside the music is the most interesting aspect of course and Lil Uzi marks his presence as an emotional voice centered in the heart of the aesthetic. Although they call it rap, he blurs the lines, often singing infectiously with a wealth of auto tune and dreamy reverberations to abstruse his words and let the feelings flow as dissonance and "mumbling" often makes for many incoherent sentences that aids it to feeling over clarity. When in the rhymes its often simplistic, overtly repetitive and so ones attention might drift into the chemistry that's beyond the words, however when singing the record really illuminates as a plethora of memorable hooks and singing charms each of the songs.

Despite being trendy and currently "mainstream" these instrumentals come across as esoteric and dystopian, in an oddly warm and inviting way. Images of rain soaked neon light cities come to mind but that is my personal experience. Lil Uzi raps his way through heartbreak and pains on an open, emotionally lead journey that has its moments of braggadocio focused on wealth and lifestyle but mostly offers something rather different from the norm. Around him washy, deep and swooning beats create an airy atmosphere that's constantly lost in its own haze. Its indulgent, relaxing and often memorizing as exotic synths bleed with reverb over tight, contrasting trap grooves.

Each of the songs create a distinction and a few stand out. On the stripped back and gritty For Real, Lil Uzi drops back on his rap skills for a track that feels of a totally different temperament. Early 20 Rager does something similar and the flow is broken up as a couple of tracks pull away from what really works and that is Lil Uzi singing, getting into his zone and lighting up this strange and wonderful place that's emotionally honest and yet feels out of space, like a never ending drug trip.

Favorite Tracks: The Way Life Goes, Feelings Mutual, Malfunction, Xo Tour Life
Rating: 6/10

Sarah Longfield "Collapse // Expand" (2017)

Sarah Longfield is one of a fair few rising stars in the "Youtube Musician" world that's been steadily growing over these last few years. Her flashy guitar skills and rainbow paint 8 string guitar stand out in the crowd. A new single and music video had me come check this record out! However I just learned its actually over a year old but who says you can't release singles for old songs? Its definitely one of the best songs of the albums ten tracks which clock in at thirty seven minutes.

Sarah's style falls very snugly into the colorful, guitar revolving post-Djent sound that's seen Meshuggah's violent use of 8-strings guitars somehow evolve into a fruitful musical forum of bright, luminous guitar playing that puts dazzling melodies and blazing lead guitar skills at the forefront of its ambitious sound. It mostly began with Animals As Leaders and Gru who Sarah doesn't distinguish her music from much with this record. The jittery, fluttering electronic percussion and sweeping, looping melodies feature heavily and with tracks like "Concentration Chaos" where she actually steps further into the electronic side of this sound with a very interesting composition that's got an alien, yet harmless, curious atmosphere about it.

The electronics are a huge part of this record and the opening song "A New Discovery" doesn't make a first impression well. Its opening guitar chords and glitched synth noises sound almost lifted from the Animals As Leaders blueprint. However as the album develops its electronic presence becomes integral as sweeping synths, busying melodies and all flavors of rich synth tones wrap themselves around the guitars with a dreamy helping of reverberation. In some moments the lead guitar tones even seem to merge or morph with them as its layers of sounds work in tandem.

The Djent aspect is really downplayed. No big punching tones are accentuated and the moments where the music drops back to rhythm guitar are sparse and well executed with temperate grooves and light yet punchy distortions. The lead guitar playing is phenomenal with luscious two handed tapping sweeping up and down the strings in semi acoustic tones, interchanging with traditional lead playing with a pick, all across bright, colorful and inspired melodies one can follow with adventure. Her vocals too feature at attune moments where her soft and meek voice can find its space to evolve the atmosphere.

These songs are wonderful at breezing their way through a journey. With a lack of traditional song structure they twist and turn, weaving their webs with a sense of journey that has you riding the melody from one moment to the next. Its the density of the additional elements around the lead guitar that really solidify and holds its presence to command a bright, warm, slightly alien atmosphere that's intriguing and charming from start to finish.

Favorite Tracks: Ember, Tydes, Illuminate

Rating: 7/10

Chaos Moon "Eschaton Mémoire" (2017)

While browsing record label Blood Moon's latest releases, the ghoulish, foreboding artwork of this Pennsylvanian duo, Chaos Moon, caught my eye. The music is equally frightening and monstrous as the eerie, ghostly figure on the cover art would inspire. Eschaton Mémoire is an esoteric breed of Black Metal, conjuring engulfing atmospheres of arcane mysticism, witchery and the occult. Far from the barbaric, brutal thrashings of rebellious satanism heard in the genres primitive roots, Chaos Moon craft indulgent journeys through unforgiving realms beyond the grave. Although a grip of aggression is felt through blast beats and the grisly, glaring roars of the singer, the albums charm and wonder comes with passing swells of dreary, haunting melodies that collide into ambiguity, drowning in its own mood as deranged guitar riffs and swamping synths of obscuring fog meet under the light of a full moon.

With many listens the song structures of these three lengthy tracks still feel illusive. Its thick and howling tone is overwhelming and keeps the listener locked into each passing moments gravity. Even when recurring themes and compositions reveal their familiarity the thick, smothering tone and wealth of bulging sound just enriches the ghostly, ambiguous feel. Its fondly reminiscent of I Shalt Become whom I'm yet to talk of on this blog. Their miserable and mystic character is likely to have been an influence but the power of this music sheds no thoughts of other influences. Its atmosphere is massive, harrowing and black yet memorizing and trippy, like a psychedelic journey through the world of the dead. Its looses some charm when dominating screams pound alongside furious blast beats, its chemistry is in atmosphere and when the drums slow down to guide the direction it is truly wonderful if not eerily creepy slightly madening.

Rating: 8/10

Migos "Culture" (2017)

I wasn't moved by their break out hit Versace at all but having heard the Migos mentioned so often recently I figured I would give the American Hip Hop trio a try. I didn't expect much but walk away really surprised with how much I enjoyed this record. Its one half dope beats and another half comedy as these soon-to-be-dated over stylized trendy vocal sounds utterly dorky and ridiculous to the point where I find myself chuckling away at the "skrt skrt" noises and other comical sounds they conjure up, not to mention a rap from Lil Uzi Vert who sounds slightly concussed in his rhymes.

The production here, handled by many hands, is tight, crisp and modern. A spacious approach leaves lots of room for the excessive reverberations to bounces around in the space between instruments. Trap influenced hi-hat grooves rattle away over sub base kicks that snappy snares pop off of. Simplistic short melodies play steadily on pianos and similar synthetic sounds with occasional symphonic strings and the like in the backdrop. The tempo is steady and track after track sounds sharp, slick, laid back and oddly relaxing with a slight air of danger and eeriness on a handful of numbers. Its just the right atmosphere for the Migos to do their thing.

Lyrically... the verses are lacking substance, not a lot of the lines stuck with me beyond acknowledging the excessive braggadocio however I felt these modern and triplet flows were pulled of really well, lots of the vocals resonate in the atmosphere and the use of auto tune and pitch shifting effects felt aesthetically pleasing. Some of the records most memorable lines were essentially borderline gibberish but the delivery kept getting them wedged in my mind however the most fun was with the strange sound effect alike vocals making "pew pew pew" and other strange noises over the shoulder of the rapper on the mic. It amused me greatly.

Rating: 6/10

Favorite Tracks: Bad And Boujee, Deadz

Brockhampton "Saturation III" (2017)

This third chapter in Brockhampton's hasty trilogy has been the least exciting of the three. Its another thick jam of voices with a variety of beats showing little if any overarching themes or concepts to hold the songs together. The return of Spanish spoken interludes and serine singing over gleaming acoustic guitars on "Team" affirms some consistency in approach but with frequent listens I find myself unable to be sucked into their world, or whatever it is critics are raving about. For me, the lyrical substance falls short of making itself known and clever rhymes and keen ideas fall flat without a punch of meaning behind the rap facade, it comes across as a cluster of ideas.

The record does however kick of with a banging tune, "Boogie" is a wonderfully energetic song with a lot of hype and animation about it. It edges being noisy and slightly chaotic yet I could totally envision heating it on the radio. Its "wow wow" siren goes on and on yet never gets irritating! Everyone jumping on the mic has a lot of energy however I feel like the beat carries a lot of mediocre lines on this track and again for most of the record. That's about all I have to say, its made the least impression on me out of the three, Ill be curious to see whats next but I'm not really feeling where its currently at.

Favorite Tracks: Boogie, Team

Rating: 5/10

Pallbearer "Heartless" (2017)

Smooth, serine harmonies and scenic wonder wrapped in sadness, Arkansas based Pallbearer reinvent the Doom metal sound to their own liking, at least to my ears. Having not had a lot of experience with the genre Ive mostly come to know it for sluggish pacing, dense morbid atmospheres and gaunt guttural vocals that explore a romanticism with sadness and depression. Pallbearer on the other hand seem to explore that plane from a balcony of gleam and glory, turning this undercurrent of wallow into a luminous, uplifting crusade through the epics of the soundscape we traverse, of course that feeling of burden and melancholy lingers not far behind.

With an inviting, tonally pleasing yet dense and thick measure of distortion guitars we are lured into a dazzling arrangement of riffs, licks and leads that melt and ooze over one another in an endlessly animated, yet steady, movement of music. Guiding the motion, tight crispy drums pack a crunchy punch as the gorgeous production gives them a spacious, primed setting to work around the involved riff work. Coursing over the ornate arrangements of unfolding magic, singer Cambell illuminates much of the record with serine vocals that saddle the lines between power and vulnerability, sadness and gleam as the instrumentals lure us into spotlights for him to overwhelm the musics persuasion.

What is most charming for me is the attraction of opposites, the doom and gloom finds itself rubbing up against beaming guitars with potent a brew of indulging melody. They have the tone and texture of aggression and force, the rumble and grit of distortion cries out yet its execution is delicate and measured, finding dimension for the anger to bleed out and the meaning prevail. This feels like a record ill have fun with for some time, it has certainly made an impression and as a friend pointed out, it has that faithful re-imagining of Metal ideals much like the band Ghost. Definitely getting their first two albums now, which I have heard are supposed to be even better than this!

Favorite Track: Cruel Road

Rating: 7/10

Kaitlyn Ayrelia Smith "The Kid" (2017)

Its an involved, vivid experience... zany, eccentric and astral, "The Kid" is wild ride through a tapestry of electronic quirks and swirling synthesizers reminiscent of Tangerine Dream, engulfed in an intelligent, synthetic Art Pop construct. I saw this release in a few lists, noticeably in some "Avant-garde" sections. Its American composer Kaitlyn's sixth full length in as many years with a consistent output that seems to be building steam among critics. Unfortunately I do not share their praise, for all its vivid intensity and use of marveling sounds, I found such sounds mostly novelty with little emotional cohesion between her voice and the accompanying journey through sounds. Some passageways have direction, a sense of rise and full but a large half load in a calamity of colliding sounds that don't visualize anything too obvious.

"An Intention" Is the one song where passion and emotion pervade in the instrumental which scales back its quirkiness and gives focus to Kaitlyn's synthesized voice, always heard through some mix of multi harmonized pitch shifting. The human robotic tone is utterly engrossing as words and sung notes sway between the two ends. Its atmosphere is mysterious, nocturnal and very akin to the Fever Ray self titled record, yet it has as greater freedom in its instrumental to explore as winds whoosh and alien organ synths gleam maddening melodies over the steady, slow murmuring bass kick.

Its the a rare time across all thirteen tracks that balance is achieved, for in most the other tracks her voice plays second fiddle to a swarm of quirky, adventurous, playful sounds exploiting the dimensional space of the listener with mysterious manipulations and smothering them in a dense web of intricate noises which mostly have little melodic value. It could be considered an "experimental" approach but it feels as if the point is missed. A lot of the synthesized noises, often imitating natural, jungle sounds, feel messy and unorganized, the result yielding little spark or pizzazz to get excited about beyond aesthetics. It has certainly been an interesting experience but its hard to enjoy what feels like a deliberate move away from convention when the convention clearly works wonders. There are plenty of fruitful ideas and interesting compositions here, to often do they seem to steer away intentionally.

Favorite Track: An Intention

Rating: 4/10

Brockhampton "Saturation II" (2017)

The second of three released in 2017, Saturation II is unsurprisingly very much in the same vein as its predecessor. Hip Hop collective Brockhampton from Texas hastily put together this record just a couple months after their last and in terms of production you wouldn't of guessed it. Sixteen tracks of tight hitting quirky beats and banging grooves make for a lively, energetic album that's mostly a ton of fun, with a sprinkling of illuminated instruments like "Sunny" that leaps to your attention with its glorious, luscious acoustic guitar conjuring soothing vibes counterpart to the hyped energy on the microphone.

Lyrically the large assembly of voices and styles fall wayside in patches as the commonplace cursing and excessive braggadocio dominate the premise of the groups weaker rappers. Much like the last record the album frequently drifts into streams of forgettable nonsense but luckily the gifted few wage in with substance. The track "Junky" is a milestone in terms of topics in Hip Hop, one of the group being openly gay and questioning how homophobic rappers can be. In the same track the topic turns to another progressive train of thought, questioning another trouble of the genre, misogyny, and males attitudes towards women when rhyming on the mic without a filter.

There is a lot of creativity flowing from this group. Their passion, excitement and youthful resilience leads to a freedom unleashed in fruitful ideas, not always hitting the mark but there are great hooks, rhymes and compositions that ooze with fun. Moving forward an ear for filter would suit them well, cutting out the weaker raps, rhymes and dimes this forty eight minutes could of been a killer thirty as it is a little bloated in places but certainly a big step forward from their first endeavor.

Rating: 7/10

Favorite Tracks: Queer, Jello, Junky, Fight, Sweet, Sunny, Summer

Bell Witch "Mirror Reaper" (2017)

Seattle based Doom Metal band Bell Witch have topped many lists for best Metal album of 2017. The artwork so reminiscent of Zdzislaw Beksinski and heaps of praise lured me into a record fondly familiar, its acoustic drones reminding me of Earth's Hibernaculum. Packaged as a double album it comprises of two lengthy songs totaling over eighty minutes of deathly slow and bleak Doom Metal that goes to the extremes of pace with several seconds marking the distance between the striking of snares and cymbals. It flirts with temporal timing and lets notes ring out and bellow as the distortion guitars, despite being fairly soft, drone out into a textural fuzz before the next strike is drawn. Its performance is impressive, the art of playing slow seems flawless as the group coordinate immensely slow tempos that seem organically stretch and sway but it is the lethargic nature of the music that makes these instantaneous shifts dissipate from focus.

Tempos aside, Mirror Reaper has a strong current of sorrow and sadness in its atmosphere which drifts between other worlds as the slowest moments yield little presences for melodies to pervade this somber dismay. In doing so an enticing atmosphere is illuminated by distant, sinister chants sung with a choral cleanliness. It does find its counterpart in drawn out gruesome growls, rumbling like a textural layer in the aesthetics. A few grisly howls an shrill screams erupt in one violent, conflicted moment in the music but it is mostly an instrumental affair as the sluggish drones of elongated notes crawls onwards.

For me, this album is interesting, indulgent and oddly soothing, however it never musters anything that quite hits the nerves and that is the same for most Doom and Drone music. The first track's opening twenty minutes is rather enchanting but as the song drifts inwards for grit and gusto its melodies and musters of aggression dispel that atmosphere. The second song is stripped back with faint guitars and ambient echos painting a chilling setting for a lone voice to sing a serine sadness with an almost heavenly voice. For all its beauty, the slow, spacious and minimalist approach sucks much of this away but that is a person preference. It drifts into a morbid, dirge organ solo that really drives home a current of sadness but at this length into the record my attention is a little worn out. I enjoyed checking it out and very much appreciate the brilliance on display but its not quite for me.

Rating: 5/10

Brockhampton "Saturation" (2017)

Having heard nothing other than hype and praise of this fourteen strong Hip Hop collective from Texas, I walk away from their debut album, one of three released last year, somewhat disappointed. Brockhampton certainly have character and a style that is their own but their best comes among a mixed bag of tricks. They do however, at times, represent the traditional focus of beats and rhymes against the current trend of Mumble Rap and glossy trap beats, so It felt more at home having rhyme schemes to follow. That being said various members of the group drop in with loose flows and trendy auto-tune hooks too. Its pulled from a different angle but not always hitting the mark.

The instrumentals prop up a lot of this record with spacial textural arrangements creating a back bone of quirky flavor and depth in the sound, feeling both interesting, lasting and very synthetic. Deep growling baselines drop in and out as an assortment of instruments, vocals snippets and the like create an inviting, zany mood to indulge in as its light presence provides both the tone and interest for a keen ear picking out the various manipulations and construct of these well crafted beats ranging from soft and swooning to dark, gritty and Industrial alike grooves. Not everything pulls off well but the constant flow of luminous beats makes for a fun listen with plenty of tunes to get stuck in your mind as well as classic lines like "Ill break your neck so you can watch your back".

Diversity is the records hallmark but not its strength. With so many voices and styles one song to another could sound from different records entirely. Traditional flows mix in among some members who play the one word rhyme game, the difference in quality is obvious between sharp rhyme writers and slur sprayers clutching on curses. As the album grows pitch shifted raps pop in with chipmunk like vocal manipulations, dropping trashy rhymes. Using auto tune and the like another flavor is thrown in the mix and the vibes shift swiftly. Despite this "Fake" is a favorite songs with its fantastic "yippy yay" chorus. This vocal inconstancy make it feel like another project all together.

With a large pallet of voices the album ultimately sways from its sides as the group pull together different styles with a lack of structure or organization. In a way it gives it a looser, free flow feel, as if the music for is a playground for anyone to jump in. That notion may become endearing with more time on this record but as previously said its mixed bag of tricks, its highs parallel to its lows.

Favorite Tracks: Star, Fake, Swim, Bump, Waste
Rating: 6/10

Converge "The Dusk In Us" (2017)

Converge, a band with a reputation, known as pioneers of the more erratic strain of a Heavy Metal and Hardcore crossover, the Massachusetts based band have never pulled me in yet. Skimming over some of their classics like Jane Doe, I couldn't feel the spark others have raved about for years and unfortunately that's all I can say of this release that has made a fair few top album lists this year... or last. Its mostly not working for me, a few bombastic moments grab a nod but its artsy emotional soundscapes of rip roaring guitar noise and fluttery melodies tangled in disharmony pass me by as they rub up against one another, much like the vocal and guitars.

Disheveled screams rattle away, rippling of the music in a fury of rage. They bounce from the music in their harsh rawness, dispelling any chemistry the bands vision had in store. Elasticated riffs spasm in perpetual motion, their fate at the mercy of the guitarists who love to wail in with hissing screeches of feedback amidst the aimless assault. Battering his kit the drummer flexes dexterously with a solid display of composition that queues the direction and holds musical ideas firmly in place.

I can hear what Converge are going for here. Expansive music lines the front of erratic pummeling Hardcore, broadening the scope with songs that opens up into vivid places far beyond the core of the sound. Singer Bannon's voice just doesn't sit right with me, the constant delves into structure devoid thrashings and nonsensical anti-melodies threw me off pace whenever the band get going. In a few songs, ie the title track, Bannon drops his screeching making an impression but whenever the album builds some atmosphere its quickly demolished. Would liked to of enjoyed this more but the majority of music here drags it down to far for my ears.

Rating: 3/10

Enslaved "E" (2017)

Eight lengthy tracks clocking in at an hour make up this indulgent journey through abysmal rain and thunderous storms in a climate safe from harm. We swing from the calms of gentle, luscious melodies sung from soft synths and glossy pianos as they peak through gristly rock, sturdy distortion guitars in stretches that swell into grim plummets and measured fiery onslaughts of darkness. With gleam and triumph shrouded in ancient mystery the tone is set, a path of heathen spirituality in the roots of mother nature emanates in calmer passageways. Viking choral chants occasionally greet us as we wander through mystic terrain on an epic, inspired journey.

 At this point in their career Enslaved have little to prove, fourteen albums in with a solid track record the band are freed to home in on their craft and forge songs that achieve their inspiration with little to fault. The maturity and expanded pallet lets the core sound flourish with touches of influence that spread as far as Jazz with a saxophone solo on "Hindsight" fitting so snugly into the song it barely makes itself known as an uncommon instrument but rather a perfect touch to illuminate the music. Many Post-Metal guitar sounds emerge with flourishes of shimmering Shoe-gazing leads and even Sludge in scattered guitar grooves that move in menacing lugs of burly force, often accompanied by the harsh scream of Kjellson who doesn't charm with these strained and sterile screams.

These songs are progressive, expansive, they twist and turn, evolving as time passes, making for a wonderful listening experience that's cinematic. Enriched by the layering of soft synths and occasional organs below the guitars, the flavor and aesthetic is sweetened but this chemistry is lost when the album is swept into the stormy dark. Still holding onto their roots, the music often strips itself to the raw components, "Djupet" being a song comprised entirely between the guitars and drums. It makes a little more sense when these Black Metal moments emerge in the sways of wandering songs but shows itself to hold back an otherwise far more intelligent, spell bounding chemistry that is at its best in its denser, melodic compositions.

Rating: 7/10